PASTEL - PAINTING 
 
 BY 
 
 J. L. SPEINCK 
 
 ARTIST-PAINTER 
 
 SECOND EDITION 
 
 LONDOJSr 
 
 LECHERTIER, BARBE, & CO. 
 ^xtbW €okxxxmtn 
 
 60 KEGENT STREET, W. 
 
 1889 
 
 Price One Shilling 
 
PASTEL - PAINTING 
 
 J. L. SPEINCK 
 
 AUTIST-PAINTER 
 
 "U" Xi C I S IPJE ^ 
 
 SECOND EDITION 
 
 LONDON 
 
 LECHEETIEE, BAEBE, & CO. 
 
 girfxsts' €alonxmzxt 
 
 60 EBGENT STREET, W. 
 1889 
 
CONTENTS 
 
 PAQK 
 
 Introduction 3 
 
 First Style— Drawing with a carefully prepared Out- 
 line, ON White or Tinted Paper or Vellum . . 4 
 
 Second Style — Outline drawn in a previously prepared 
 
 Background in one of the three Keys. ... 9 
 
 Third Style — Pastel- Paintings executed directly and 
 spontaneously into the Key of a chosen Back- 
 ground, AS in Oil-Painting 16 
 
 Landscape 27 
 
 The Sketchy Style, or Pastel Crayon Drawing . . 29 
 
 The More Developed Style 31 
 
 Appendix: How to Blend own-made Crayons . . .35 
 
PAS TEL -PAIN TING. 
 
 INTEODUCTION. 
 
 Pastel-painting belongs, par droit de conquete, to the French 
 school, and it is chiefly to French artists that the chefs-d'oeuvre 
 of this lovely branch of art have to be attributed. 
 
 Some of the German and Dutch painters have collaboratedf 
 in the same branch, but with a great want of taste and finesse 
 d'esprit (for example, Denner), and the fact would scarcely be 
 worth mentioning were it not for the few most exquisite and 
 admimble specimens, especially those by Yandyck, one of which, 
 the portrait of a young gentleman with a deep lace collar, is 
 in the Academy at Venice. This painting is under glass, and 
 by this exceptional care may be easily distinguished. 
 
 My intention in writing a few words on Pastel-painting is 
 to assist artists, as well as distinguished amateurs, in the 
 material and technical part of this art ; the theoretical part, 
 being exactly the same as in oil and water-colour, will be only 
 touched as far as necessary to facilitate the working, and 
 bring it to a happy and satisfactory result. 
 
 If we take a bird's-eye view of all the master works which 
 have been produced in pastels, beginning from the time of 
 Louis XIY. to the end of the reign of Louis Philippe, and 
 if we add to those the productions of a few artists since this 
 great period — Brochard, Brown, and notably Mile. O'Connell 
 — we distinguish three different styles. 
 
 a2 
 
4 
 
 1. Pastels drawn with a carefully prepared outline, on white 
 or tinted paper or vellum. 
 
 2. Pastels with the outline drawn in a previously prepared 
 background in one of the three keys.* 
 
 3. Pastel-paintings executed directly and spontaneously 
 into the key of a chosen backgi^ound, as in oil-painting. 
 
 Knowmg by experience how often I have been disappointed 
 on referring to books for assistance in art, by finding, instead 
 of short and practical advice leading straight to the object in 
 view, a number of little stories, and even these often badly 
 told, I have tried to avoid this fault, and to spare time by going 
 at once to work. If the reader will follow me with his fullest 
 attention, I will endeavour to write as simply and easily as 
 possible on the facts themselves ; I mean the categorical order 
 of the technical part and its manipulations, hinting only now 
 and then at the special sense of conception in the three 
 different branches, so as to facilitate the adoption of one of 
 these, according to individual taste and feeling in art. 
 
 FIRST STYLE. 
 
 Drawing with a carefully prepared Outline, on White 
 OR Tinted Paper or Vellum, exemplified by the 
 Sketch of a Head. 
 
 This may be considered the easiest style of painting in 
 pastels or coloured paste, enabling the artist to adhere to his 
 
 * Key-sliade, local shade, or local colour. The word local is derived 
 from the Latin locus, meaning room or space. The three expressions 
 above are synonyms denoting the room or space in which, and under 
 whose influence, we have to paint. Out of the three I have selected 
 "key-shade," because it may be used equally for in-doors and out- 
 of-doors painting, but chiefly because it avoids the mistake com- 
 mitted in many books, where "local colour" is so often, or rather is 
 always, confounded with the individual colour proper to the object 
 itself. 
 
5 
 
 carefully prepared outline from beginning to end. For this 
 style I recommend semi-hard pastels, to be used on cream- white 
 or any slightly tinted paper. Most excellent samples of these 
 papers may be had at Messrs. Lechertier, Barbe, & Co.'s ; if 
 tinted paper is preferred, I strongly recommend the one Mr. 
 Bright, the talented Pastellist, has generally used. When 
 working on white paper, make your outline with a semi-soft 
 brown or black Conte crayon. Eound this outline indicate, 
 first of all, your chosen key-shade, bordering it with the head 
 and shoulders. This lightly laid key-shade represents the 
 background in which you have to blend all your complexion 
 shadings, and into which, by degrees, you have to soften down 
 the head. Now indicate all the dark and half-dark parts and 
 lines in eyes, nose, mouth, and ears with a reddish-brown 
 pastel ; then, with pastels corresponding in oil to raw sienna, 
 burnt sienna, Venetian red, rose madder, and cobalt, coat lightly 
 and thinly, work alternately the pastels, prepare your shadows, 
 half-shadows, and middle-toned parts. The remaining part of 
 the complexion ha,s to be covered, or rather veiled, with the 
 key-shade wliich you just indicated round the head and 
 shoulders, working it also into the hair round the face, which 
 ultimately will serve as a binding shade between hair and com- 
 plexion. You have to limit all these flat tints through the 
 whole tone-scale with the utmost attention to correct drawing, 
 as those tints, when strictly confined to their limits, tone-value, 
 and shade, will insure a successful modelling of the head. It 
 is desirable to leave them untouched till the whole head is laid 
 in the same way. 
 
 I must particularly draw attention to the importance of 
 what precedes, knowing too well how quickly these valuable 
 limits disappear under the finger of the beginner, impatient to 
 obtain the charm of softness by blending these tints together. 
 
6 
 
 The second part of the work will include the tints in con- 
 nection with the middle tone of the complexion, namely, the 
 part which is influenced neither by shadow nor light, but by the 
 reflex only, and it is here that the key-shade, determined upon 
 at the outset, round the he^xd and shoulders, will come into 
 prominence. From the mi(kIlo tone, consequently, work up- 
 wards to half-light and full light over their intermediate shades, 
 always with neat and angular limits, as in mosaic work. But 
 previous to this turn your attention to the hair, which coat 
 exactly in the same way — l)oginning by the deeper parts first, 
 but when approaching the limits where the hair comes into 
 contact with the f\ice, be careful not to destroy the key- 
 shade with which you previously veiled the upper part of the 
 complexion, and which we may call the auxiliary binding shade 
 between complexion and hair, lying partly in the hair 
 bordering tlio complexion, partly in the complexion bordering 
 the hair. Approach this delicate part by introducing the half- 
 lights and high lights ; great care must be taken not to brighten 
 too soon the prepared union shade between complexion and 
 hair. To restore this would require ability in manipulation. 
 This obtained, decide the colour of the dress. If a white dress, 
 indicate, as a matter of course, the shadows, half-shadows, tone, 
 and the legato to half-light ; the full light is your white paper. 
 In case of a dark dress, which should rather be avoided for fear 
 of heaviness, the shade of the dress should at least be consider- 
 ably subdued into the key, to avoid too harsh a contrast. Of 
 course, a man like Velasquez would introduce a hat as black 
 as black can be, against a white background, to the highest 
 delight of the spectator, but it is as well to leave these whims 
 in art to Velasquez and other stars of his sort. 
 
 This first stage of a head is unquestionably the heaviest part 
 of the task, but the strict observance of the above instructions 
 
7 
 
 will insure a satisfactory result, and lead on to the more plea- 
 sant part of the work, where we have to blend, with the same 
 crayons, these limited tints into softness. Here two roads are 
 open to the artist— either to finish the head to the highest 
 degree by reiterating the softening up with the pastel crayons 
 themselves, or to manipulate the blending between the differ- 
 ent tints with the finger, which last method accelerates the 
 work considerably, and, if well understood, adds a high degree 
 of i)iistel charm to the painting — that of a lovely velveteen 
 bloom, its on the untouched peach. 
 
 The style of painting we have just described might be cha- 
 racterised iis tender, soft, and sketchy. France, that has so 
 powerfully contributed to this special art, has endowed it with 
 a graceful name, cjilling it bluette." 
 
 To Ciirry this simile to the sister art of Music, do we not 
 meet witli immortal 'M)luettes " by Chopin 1 and may not the 
 tenderest tlioughts of Schumann and Mendelssohn (for 
 exami)le, " Oh, Lovely Month of May !" and " When I Gaze 
 into Thine Eyes," by the former, and "The Friihlingdied ' 
 by the latter) receive the same suggestive and harmonious 
 designation ? 
 
 You will observe that I have tried to demonstrate the whole 
 manipulation in one single cast, so as not to interrupt the 
 reader's attention with details which we will treat now. 
 
 We have to begin the eyes by the iris, the shade of which 
 has to be extended slightly over the outline, so as to meet 
 softly the following higher shade of the eyeball. This, in its 
 turn, must not be put with a single-tint crayon, but is to be 
 obtained by the following three secondaries : citrine, russet, and 
 olive ; if not, the eye will never look transparent, but will 
 have a chalky, dull appearance. In case of a beard, its shade 
 has also to be considerably spread into the complexion, which 
 
8 
 
 in its turn has to meet it softly, allowing it to stand against 
 the complexion in different tone-values, by which method we 
 obtain three great advantages, namely, softness, depth, and 
 receding effect. Differently treated, the beard will appear cut 
 and flat, reminding one of the childish conceptions of the 
 ancient Egyptian monarchs as handed down in effigy. 
 
 The charm and truthfulness of these fine, broken tints, 
 faintly discernible through the complexion-shade, exquisitely 
 convey the impression of accidental groups of hair. 
 
 Wherever lace, collars, linen, and especially veils, are 
 upon or against the complexion, the complexion has prelimi- 
 narily to be coated underneath with a slightly deeper shade, 
 as it is more or less shadowed by these objects. For the 
 laying in of the above-mentioned accessories, begin first by the 
 middle tone, and half-shades, shadows, and then the half-lights 
 and high lights, with their blendings to follow. These two last 
 tone- values, containing the detail and execution, have to be put 
 in carefully and with great neatness. 
 
 It must be understood that the complexion should never 
 be allowed to fall into gray, therefore particular attention must 
 be paid to the prismatic display. In whatever part of the face 
 or body you have to work, use the three primaries : yellow, red, 
 and blue ; or when in more broken parts, citrine, russet, and 
 olive. If these conditions are not observed, your face will 
 have no life, the palpito being lost. 
 
 A very cursory glance at this pamphlet will be sufficient to 
 show that it is written for the benefit of those who have 
 already mastered drawing and shading ; without this no paint- 
 ing is possible ; but if this first tribute to art has been paid, a 
 very few lessons will enable any intelligent pupil or amateur to 
 enjoy painting, and in this case. Pastel may be the easiest to 
 begin with. A few more words in addition to the above may 
 
9 
 
 be useful. Be as sober as possible in the choice of hues con- 
 stituting your picture ; avoid too great a diversity of colours 
 as well as those which are too vivid or glaring, and combine 
 those of your set with the greatest advantage to be derived 
 from contrast. This style, being called in French "genre leger^'' 
 gives full licence to the freedom of fancy, provided it be plea- 
 sant and simple, that is, overcharged neither in tone, power, 
 nor by too great intensity of colours. To illustrate this, a few 
 examples of contrast in colour will be sufficient. For instance, 
 a fiice of a tea-rose shade, a white veil, and a few bows of pale 
 blue ribbon ; again, in complement to the face, a white dress 
 surrounded by a short mantle of Havanna brown and peacock 
 blue ; or again, a white dress, with a black Spanish veil and a 
 pink ribbon. For any of the above combinations a faint indi- 
 cation round the shoulders and head of a pearl-gray key-shade 
 as background will be fully in accordance. 
 
 The most eminent leading artists in this first style [genre 
 leger) whom I recommend for study are : Boucher, Greuze, 
 and Girodot (especially the two first) ; but, however high their 
 reputation and merits may be, trust to your own feeling and 
 taste, never forgetting that, above all, Nature is your guide. 
 
 SECOND STYLE. 
 
 Outline drawn in a previously-prepared Background 
 IN one of the three Keys. 
 
 In this second style nobody equalled the great Latour, the 
 most perfect Pastellist that ever lived. His skill and purity 
 of touch are simply amazing, and no book could teach so much 
 as an hour's contemplation of any one of his marvellous pro- 
 <luctions. 
 
 To start, choose a tinted paper of a citrine, russet, or olive- 
 
10 
 
 blue shade, according to the key into which you intend to 
 paint the portrait or figure. Make your outhne with a deep, 
 warm, brown pastel. When correctly and firmly outlined, 
 especially in the shadows and receding parts, shape the whole 
 into a brown chiaro oscuro, in the same way as you would 
 make a light-and-shade study in charcoal, with the difierence 
 in this particular case that the brown pastel should relate to 
 your chosen key, namely, citrine-brown, russet-brown, or olive- 
 brown. With the assistance of your finger, and not with a 
 stump, soften from the half-shade slightly over the paper, leav- 
 ing it nearly untouched in full light, or only so much as to 
 enable the complexion -shade to sink, or to hite into the slightly 
 coated tint of your key-brown. Do the same over the back- 
 ground, reserving for the lightest parts the tint of the paper, 
 which is your key. The reason of this undercoating of brown 
 is to enable you to meet easily the very space into which you 
 have afterwards to paint. As this style will scarcely admit 
 (after the preliminary coating) of the rubbing in with the 
 finger, as all the different shadings have to be put categorically, 
 with limited flat tints, shade after shade, from full light to the 
 shadow, the preliminary work in brown must consequently be 
 of an exquisite correctness. Begin by the half-light first, and 
 work gradually into the tone or middle tone, the one lying 
 between half-light and half-shadow. Coming to this part of 
 your tone-scale, keep in readiness your three broken second- 
 aries — citrine, russet, and olive — which, crossed one over the 
 other, will produce the shade of your paper, this being your 
 key. From this you will start with your half-shadow, shadows, 
 and receding parts. All the depths of a sanguine character 
 have now to be touched up with rose and brown madder, ver- 
 milion, or burnt sienna, according to the depth of the tone- 
 value. 
 
11 
 
 The reason for postponing the parts in full light is of great 
 importance. Without this precaution the neatness of touch in 
 the style of Latour would be impossible, the charm and master- 
 ship of the work depending upon the working from the middle 
 tone up to the full light. Again, from the middle tone to the 
 half-light we have still space enough to cross over until the 
 right shade is obtained, but from the half-light, blending over 
 to the full light, the touches have to be laid in staccato-like^ 
 spontaneously, and the more you approach the half-light, the 
 more daring and full paste you have to apply. Stronger still 
 have the full-light touches to be inserted, as in oil-painting. 
 
 This style is chiefly worked with semi-soft crayons from 
 the middle tone upwards. Their exquisite make admits of any 
 amount of neatness in touch, and with a few preliminary 
 studies in still life, especially in flowers, where we deal so much 
 with small petals, tiny stems, and twigs, the most exquisite 
 neatness and dexterity can easily be acquired. If you set 
 aside all idea of pastel, and imagine for a moment you have to 
 do with the simple black and white chalk crayons to which you 
 are well accustomed, the apparent difficulties will disappear. 
 
 A few words to encourage the beginner. I have seen a 
 lady at the Louvre, in Paris, copying Yandyck's famous 
 Cupids " with the garlands of flowers, reduced to a scale of 
 12 inches by 6 inches. The heads were consequently about 
 the size of a shilling, or less. She worked from a little box 
 containing small and clumsy pieces of broken pastels ; yet I have 
 never seen a more finished and admirably executed miniature. 
 The explanation is easy enough ; reiterating soft touches many 
 a time over one and the same place, hardens the paste and 
 brings it nearly to the state of a soft stone or plaster. Great 
 ability, the result of practice, accounts for the rest. 
 
 In every branch of painting we have resources. Should 
 
12 
 
 the last staccato touches be not altogether satisfactory, take a 
 small sable brush and carefully dust the full and half lights 
 down ; then blow carefully the remaining dust from the face, 
 and begin again. 
 
 As these last touches have to be coated with a single pastel 
 one over the other, should the correct shade be missing in 
 your assortment, you will find in an Appendix at the end of 
 this how to prepare, in the simplest way, and in the shortest 
 time, every required tint possible. These pastels must be 
 prepared the day before your sitting, and will enable you to 
 work with the same correctness in blending as in oil. 
 
 A few additional words will considerably facilitate the 
 work. 
 
 As soon as the preliminary modelling is done in brown, 
 place in a small handy box, which you keep before you, 
 different shades of brown. They must be of the softest 
 nature, on no account gritty, or the whole work would 
 be spoilt ; they must also be transparent, and not opaque, as 
 when mixed or prepared with white. To the above browns 
 you add carmine, burnt carmine, French blue, indigo, and 
 cobalt, several deep shades in orange, and several shades of 
 warm and cold olive-green, deep and middle tinted ; conclude 
 this collection with a few pastels of gray of different tone- 
 values. These grays have to be in exact accordance with your 
 chosen key, and it is with some of these grays that you have 
 to break the complexion-shade at the middle tone between half- 
 light and half-shadow. 
 
 When you have proceeded so far with the coating of your 
 work, during which you have to take the greatest care that all 
 your flat tints be carefully limited to avoid a spotty appearance, 
 prepare a second box. In this assortment begin again with 
 the grays relating to your key, adding to them the same 
 
13 
 
 collection as before, but this time choose them of a higher 
 degree in your tone-scale, corresponding to half-light and light. 
 Now it is of considerable importance to know that these colours 
 in pastels are prepared sometimes with ochre, or some kind of 
 yellow, and sometimes with white. I prefer those heightened 
 or brightened with yellow ; they are far finer in shade and less 
 gritty, and the whole work will take a hue of amber, which 
 is a great advantage, as nothing is more diflScult to obtain in 
 pastel than warmth of life. The parts of half and full light, 
 I repeat, must not be thickly pasted during the first coating 
 of the face, but when the whole laying-in is finished, then is 
 the moment to manipulate the more highly lighted parts. For 
 this purpose be sure to have ready your own mixed pastels ; 
 these are nothing more than again the same crayons, only 
 broken and ground in combination with the required tints 
 relating to half and full light with their blending parts. 
 
 Let your first consideration be this — to keep the pastel 
 as long as possible of a warm hue, and before bringing the 
 half-lights and full-lights in, do not break wantonly into the 
 prepared middle tone and half-shadow; as long as this pre- 
 caution is observed, there is no risk whatever of a mishap. 
 Should you lose, by over-pasting, the key-shade of your back- 
 ground, or its depth, or transparency, or charm of colour, a 
 few soft touches with a sable brush, or a softener, or, if the 
 paste keeps tenaciously to the paper, a flat brush of hoghair, 
 will remedy the fault immediately. 
 
 It may here be of use to say a word against the opinion 
 of those who write so much about the fragility of pastel- 
 drawings, asserting that they cannot be moved for fear of the 
 paste coming oflf. An accident which happened to me may be 
 the best argument against this. I once executed a portrait 
 with which I was dissatisfied, and therefore put it aside. It 
 
14 
 
 had no glass, and was for many years removed, knocked about, 
 and thoroughly neglected. One day, being in want of a 
 similar- sized stretched paper, I thought of cleaning this one 
 down, and was surprised to find it hardly damaged. I took 
 first a duster and passed it over several times, and a good deal 
 of pastel came oflT, but the portrait was still there. I then 
 employed a softener, afterwards a flat hogbrush, and at last 
 the paste came off, but the portrait was still there, giving me 
 the impression of a strong water-colour painting. 
 
 This accident taught me a very useful lesson. I became, 
 in the first place, more daring in pastel, and when dissatisfied 
 with my work, I many a time profited by this experience, and 
 repeated the same operation (only more carefully), obtaining 
 most wonderful and unexpected results. 
 
 For this purpose the paper must be pumiced, or prepared 
 with size. The pumiced paper is sold in different textures. I 
 recommend the softest ; it is quite sufficient to make the pastel 
 adhere, and in cases where the finger is required for rubbing 
 in preliminary shadings (which is frequently requisite in back- 
 grounds and landscapes), we thereby avoid the thinning of the 
 skin, one of the most painful sensations. 
 
 Should the softest pumiced paper appear too rough, take a 
 large piece of the same paper, and with it rub slightly the one 
 upon which you are going to paint, which, as a matter of 
 course, must always be stretched, having one, or better still, 
 two thick blotting-papers, absolutely of the same size, under- 
 neath it. 
 
 I attribute the strong adhesions of my pastels to the paper 
 partly to my way of manipulating the crayons. I put them in 
 with great firmness, always with careful attention to the right 
 place. Practice and experience will give you much advantage. 
 
 The pastel crayons we generally use are sold by Lechertier, 
 
15 
 
 Barbe, & Co. The soft crayons are 2^ in. long, and the semi- 
 soft 3^ in. Both kinds are indispensable, but I do not mean 
 the complete assortments, but a good many chosen from them 
 on account of their different textures. 
 
 The first thing which will happen as soon as work is begun 
 with a new crayon is unavoidably hreahing it. This is by no 
 means a disadvantage; indeed, after a little experience you 
 will probably proceed to break it intentionally. If the crayon 
 breaks in three fragments it will give six different angles, instead 
 of two, to work with, and without the sharp edges thus pro- 
 duced, details are not obtainable. Further, some of these 
 pieces frequently represent a length of an inch or so, which it 
 is advantageous to pass lengthwise over the larger spaces, thus 
 obtaining breadth, clearness, and transparency, the underneath 
 coating shining through in aerial parts (distance in a landscape) 
 with a charming effect. With the sharp edges of pastel, their 
 transversal position, and the full length of the crayon, you are 
 enabled, after some practice, to effect every shape required. 
 
 As a broad principle in pastel -painting, always keep this 
 rule before you : do not allow shadows to become chalky and 
 opaque^ but keep them warm and transparent. Not only will 
 your bright parts become more effective, but the whole beauty, 
 as in all branches of painting, depends upon it. 
 
 In case you should come across a very hard pastel, which 
 could not possibly be replaced, refer to the Appendix for 
 instructions in remoulding it. 
 
16 
 
 THIRD STYLE. 
 
 Pastel-paintings executed directly and spontaneously 
 INTO THE Key of a chosen Background, as in 
 Oil-Painting. 
 
 This third style of pastel-painting admits of any amount of 
 liberty of action, and is chiefly mentioned for the benefit of 
 artists, or highly advanced amateurs who have thoroughly 
 mastered the difficulties of drawing. 
 
 The paper must be of the strongest texture, and, if possible, 
 previously sized, then twice, or, better still, three times washed 
 down with tepid water. 
 
 By these repeated washes the size saturates the paper 
 throughout. The second and third washing, with a soft 
 sponge, can only be done after having allowed the paper to 
 become perfectly dry. 
 
 After the third wash the paper should be examined. All 
 traces of the size should have disappeared, leaving at the 
 surface an evenly covered, slight, thin glaze all over; the tint 
 will be that of a vellum slightly tinted. 
 
 Before beginning, choose the key, which you have to coat 
 over the whole surface of the paper with the two primaries 
 red and blue, and the secondary, orange. Orange is decidedly 
 preferable to yellow, when of a subdued hue (backgrounds 
 usually should be so), unless you prefer a very high-toned gray, 
 or still more justifiable, when the background is of an absolute 
 golden hue, as, for instance, in the two Ascensions by Titian 
 and Murillo. The tone- value of the background must be of 
 a middle tint. In the first place, the outline, to render it 
 distinct, must be drawn in with a deep-brown pastel. I use 
 this word " pastel " so frequently to avoid the very thought of 
 anything like a hard crayon. We have to deal with soft 
 
17 
 
 coloured paste, which is simply dry, instead of being prepared 
 with oil or glycerine ; but the depth and richness must be the 
 same as in Oil-painting, the only difference being the velvety 
 appearance, which, like a veil, extends over the whole. 
 
 I remember certain figures painted in oil by the late 
 Fortuni, without any vehicle but diluted turpentine, of abso- 
 lutely the same appearance as pastel. To obtain this aspect 
 the painting remains unvarnished. 
 
 In writing a book on any subject it is a duty to be as 
 explicit as possible ; therefore I will at once choose a subject, 
 ^tnd follow up, step by step, the different stages of the work. 
 
 Take, for example, the portrait of a fair young lady dressed 
 in white satin, standing against olive-green drapery — white 
 lace round neck and arms. For the sake of variety and effect, 
 we will place the model in a two-fold light, north and south. 
 The stronger, or south light, coming from the left, will pre- 
 dominate over the full length of the portrait ; the light from 
 the right, or north light, will afford the cold, reflex shine. 
 
 We will suppose the figure in three-quarter length, stand- 
 ing, and leaning on the right arm against the olive-and-green 
 drapery, the left arm hanging carelessly downwards. The face, 
 nearly in profile, of a tender tea-rose complexion ; the hair of a 
 -dark, mellow, golden hue ; the dress, as before mentioned, of 
 white satin, with deep lace round the neck and sleeves. 
 
 When the background, which should be coated as thinly 
 as possible, is finished, draw the outHne of the entire figure, 
 after which proceed to work at the head. Bring your flesh 
 tint from the full light to the middle tone, very lightly pasted, 
 merely gliding over it gently, and keeping the pastel lengthwise, 
 to avoid sharp touches. These directions must be carefully 
 and scrupulously observed during the first coating. Paving the 
 way, in the same sketchy manner, continue to work downwards 
 
18 
 
 till approaching the neck, which you have to coat under the 
 influence of the above-mentioned double reflex. 
 
 In the first laying-in of the complexion, never upon any 
 account introduce cold and crude grays ; always, and without 
 exception, use instead primaries of different tone-values, that 
 is, yellow, red, and blue. When working in full light, half- 
 light, and their intermediates, of course bright and high-toned 
 yellow, red, and blue should be used. Now leave the com- 
 plexion, for awhile, in its present condition, and proceed to the 
 hair, which, being of a dark, golden hue, must be softly coated 
 all over with a pastel which possesses the middle tone of the 
 hair, employed lengthwise, and just so much of it as to give a 
 sufficient contrast of dark, golden hair against broken olive- 
 green, leaving a slight part of the key-shade between hair and 
 complexion, which, in a later stage of the work, when the 
 higher flesh tints have to be worked in, will turn to great 
 advantage into those charming olive-grays, avoiding the ugly 
 impression of a wig. 
 
 You now open a few lights, which are of an ash-golden hue, 
 the orange-russet of the hair in full light being broken by the 
 cold reflex of the northern light. Here, again, attempt no 
 more than a musician would in preparing and tuning his violin 
 before the performance, passing lightly over the strings to feel 
 his way. Before you touch the white dress pass over the 
 complexion parts in the face and neck, touching the deep 
 receding parts of nostrils, ears, eyelids, and lips only with rose 
 madder and very little vermilion, but, as a matter of course, 
 without destroying the tone-value of half-shade and shadow, 
 the middle tone having been reserved in the previous coating. 
 
 Now is the moment to begin the dress, w^hich we have to 
 divide into light and shade, to bring it out of night into day- 
 light. If the rubbing-in of the background has been strictly 
 
19 
 
 observed — which should be as thin as a veil, and with the three 
 primaries, a deep warm red (for instance, laque Eobert), French 
 blue, and a deep orange, perhaps deep chrome and deep cad- 
 mium — the result, when breaking into it with the different 
 pastels combined in readiness for the white dress, will be of a 
 charming effect, which no other method could obtain. 
 
 The pastels with which you introduce the lights and half- 
 lights must be chosen with the most scrupulous care, for it is 
 of great importance they should fall into the right blending 
 relative to the key, in order to avoid overpasting by too fre- 
 quently reiterated coatings. 
 
 The white dress is now divided in warm and cold reflex, and 
 their blending shades, and should be understood that the 
 tone- values in the cold reflected parts will only contain the 
 middle tone and half-light. The untouched parts in half- shade 
 and shadow have to be glazed over with warm orange and 
 laque Robert, with the addition of an assistant pastel of a cold 
 olive-green, higher in tone than the key-shade used for the 
 background, so as to obtain a considerably higher tone- value 
 for the whole dress, tuning it throughout to its home tone and 
 home colour — white. This being the highest tonality of the 
 picture, upon its correctness depends the remaining tonalities, 
 of which we have four in all — the highest the white dress, the 
 second the complexion, the third the dark golden hair, and the 
 fourth the olive-green background — our key. 
 
 During the whole operation of the general coating, namely, 
 the laying-in of the picture {Vehauche), the pastels have to be 
 used lengthwise, in order to avoid sharp touches and to preserve 
 the most important condition in pastel — I mean transparency. 
 
 Here I must call the attention of the reader to the theo- 
 retical part. We just described the white sabin dress as the 
 highest tonality in the picture, and it would undoubtedly be 
 
20 
 
 treated as such, were it not for the interference of unity and 
 logic. 
 
 Our first consideration in painting should be to sacrifice 
 everything in the interests of the face^ which is the main point 
 of our conception, and must in consequence be the main point 
 of our picture. Positively, the white dress would remain 
 dominant, but, conditionally, its highest tone-value has to bend 
 before the Queen, our fair young girl, who is the uncontested 
 dominant of the picture. 
 
 A portrait is neither more nor less than the imitation of 
 a body, whose expression, intelligence, and spirit are concen- 
 trated in the head — the seat of intellect. 
 
 We must treat the head in a portrait as a song in music, in 
 which a good composer sacrifices everything to the advantage 
 of the motif. Wherever the human voice is introduced in a 
 musical composition, not even a choir of soprani, notwithstand- 
 ing its higher tone-scale, would be allowed to prejudice the 
 solo part of a mezzo-soprano, to which it must be made subor- 
 dinate ; in the same way has the white dress to give way to the 
 head. The white dress must, therefore, be kept under, and sink 
 into the tertiary colour of the key, with a slight indication now 
 and then of its home colour, to the advantage of the arm and 
 neck, wherever the flesh tint fades or melts into the middle 
 tone or shadow. The white lace round the neck will, through 
 contrast of tone, help to express its graceful shape, and the same 
 combination of tone, contrast, and colour is to be observed 
 round the arm, slightly enveloped in the folds of the skirt. 
 
 Returning again to our portrait, which we left in the state 
 of a general and preliminary coating, we proceed now to meet 
 our intermediate tints at the middle tone. This part of the 
 work requires expertness of hand and considerable practice. 
 
 We have, from the middle tone to the shadow, to bear in mind 
 
21 
 
 the importance of semi-transparency, and, from the same tone 
 being the intermediate between light and shade, to enter the 
 half-lights and their blendings. We now decide, with firmly 
 limited tints, all the gradations up to the full lights, by which 
 we conclude the complete modelling of the head. It has been 
 repeatedly observed that all the darker shades have to be pre- 
 viously prepared, and the lighter ones to be coated into them 
 by flat layers. Sharp lines are not allowable, as in coloured 
 crayon drawings, but a charm of neatness and expression can 
 only be the result of a correct blending of one flat layer with 
 another. As we have stated before, take ofi* very carefully any 
 spoiled part with a soft brush, after which prepare the pre- 
 ceding shade again, which, when approaching to the higher 
 one, gives the missing neat line. 
 
 Coming now to the last finish of the head, it remains to be 
 decided whether the complete blending of all these carefully 
 \ coated flat tints shall be obtained by the pastel only, or with 
 ^the assistance of the finger. Not only would it take consi- 
 derably more time with the pastel only (which would be the 
 proper course to pursue in the preceding style), but the most 
 charming part — the overglazing — would be lost. 
 
 This glazing is best obtained by gliding with your finger 
 over one, two, or three crayons at a time until you attain the 
 desired shade. By this process, where a soft blending is 
 needed, you obtain as fine a display of colour as in any oil or 
 water-colours. 
 
 In conclusion, I will give a few hints concerning the finish 
 of the white dress, and the arm in connection with it. The 
 first condition is to observe the difference of tone- value between 
 both. Notwithstanding that our dress has been worked into 
 middle-tone value, the arm and hand must be still deeper in 
 tone. 
 
22 
 
 We left the general coating of the white dress divided into 
 three parts — half-light, reflex, and middle tone. Now be sure 
 that you have carefully prepared all your pastels, having in 
 readiness those for half-light and reflex, the last to be 
 sparingly used. Execute the dress and its folds in a broad 
 sense, paying particular attention that the dress should fit 
 the body. By this I mean to avoid giving the impression 
 of a dress painted on a lay figure — a well-chosen life model 
 is always preferable ; but before you reach the last finish of 
 the dress, turn to the arm and hand. 
 
 The entire part, namely, the white dress and the arm 
 reposing upon it, must be screened against light by moving 
 the curtain until you obtain the desired middle-toned value or 
 half-shade. Then heighten tone of the dress by a more distinct 
 shaping of form. Our object in first preparing the white dress 
 was that you might more easily find the right tone-value for 
 arm and hand. 
 
 To the flesh tint of the arm you have further to add lighter 
 tints of broken secondaries, remaining still broad in style and 
 of less finish than in the head, paying attention chiefly to the 
 anatomical part, and endeavouring to maintain the correct 
 tone-value. 
 
 The arm being covered past the elbow with the large sleeve 
 terminating in lace, it would be advisable to draw it first 
 undraped on the dress, and only when assured of its correctness 
 in shape and proportion, to draw and paint the sleeve upon it. 
 
 Kef erring again to the paramount importance of keeping 
 well distributed the light and shade in a picture, it is neces- 
 sary to caution the artist against conventionality, and well to 
 observe that such gradations in shade, to combine advan- 
 tageously with the main feature of a picture, should always be 
 based upon logic and good sense. 
 
23 
 
 The full light being prevented from falling on the white 
 dress through bringing the curtain at the window as far 
 forward as desired, will allow the complexion of the head and 
 neck to take the doyninant in the combined tone- scale of the 
 portrait. 
 
 There are exceptional cases where a high tonality will 
 assert itself in a full tone-power. As an example of it we will 
 give the head of a child, with a large white collar round the 
 neck, with a bonnet and a short mantle of peacock-blue velvet. 
 Here the white collar, occupying a very small space compared 
 to that taken up by the blue mantle, the blue bonnet, and the 
 head, will be of considerable advantage to the latter ; without 
 it the pale complexion of the child and its flaxen hair would 
 appear insipid and weak in tone. The intense white collar, 
 in this case, is a happy link or mediator between the intense 
 blue of the mantle and the tender rosy face of the child, which 
 it rather tends to relieve. Yelasquez used it often, and he 
 knew how to use it. Going back to our portrait, the case 
 here is altogether different; the white dress occupies a con- 
 siderable space, more than half of the whole picture. Sir 
 Joshua Reynolds most correctly perceived, after much study 
 of tone-balance and tone-distribution in the works of the 
 great Italian school, that the quantum in space of the high 
 light of a picture should not, if possible, exceed the fifth and 
 sixth, or seventh part in proportion to it. Rembrandt, in most 
 of his highly effective pictures, often used the ninth part, and 
 everyone knows what admirable results he obtained by this 
 combination. 
 
 In addition to the three previous chief styles of pastel- 
 painting, for varietv^s sake we will give two more, which will 
 enable the artist to have his full choice. The first concerns the 
 artistic sketch, the second gives the most minute and elaborate 
 finish. 
 
24 
 
 I choose for the first example one of the best crayon 
 drawings — the portrait of the late eminent painter Horace 
 Yernet. The paper was of an exquisitely fine tint, blending 
 between a faint complexion-shade and olive-gray ; the outline 
 was executed with black and brown Conte crayons; all the 
 depths, the more sanguine parts — nostrils, eyelids, ears, lips, 
 and the pale cheeks — were lightly touched with a shade corre- 
 sponding to light red ; a very faint indication surrounding the 
 head and the top part of the shoulders, of a colder shade than 
 the paper, produced by their skilful combination ; a fine and 
 pale complexion-shade over the face, which was intensified by 
 an old-fashioned, large white neck-tie; his typical short gray 
 coat, with a stand-up collar, of a middle-toned gray, just 
 covering the deltoid, and half way to the sternum. 
 
 Such a portrait-sketch a skilful hand can finish exquisitely 
 in one sitting. It is of a highly artistic and charming appear- 
 ance, and very appropriate for portraits of young ladies or 
 children. The hair, of a faded gray, was obtained by three 
 shadings : first, the paper itself, being of a warmer appearance, 
 taking the above-mentioned rubbing-in of a colder bluish-gray 
 round it ; the second, by a few depths of a deeper gray ; and the 
 third by a lighter gray than the shade of the paper. These 
 two crayons, with their intermediate blendings, produced a 
 complete modelling of the gray hair. For this style (as for the 
 one which follows) only the semi-soft crayons are to be used. 
 
 The second style, admitting of the highest finish, has been 
 practised by many distinguished artists, but no one has 
 brought it to such perfection as Randel, Court painter at Berlin. 
 For this style you have to use a palette covered with wash- 
 leather, like those used by the French artists for charcoal 
 drawings. The paper must be of a creamy- white shade, soft, 
 but firm in texture, and most carefully stretched. As soon as 
 
25 
 
 the outline is done, choose your chromatic scale in soft pastels, 
 from white downwards, each of which rub separately on your 
 wash-leather palette, exactly as you would do on a wooden 
 palette when painting in oils. Now take three stumps of 
 different sizes, which must be soft, semi-firm, and slightly 
 flexible. With them dip rather lengthwise, so as to get the 
 point and the edge of the leather stump coloured in one or two 
 of the prepared ipsistel powders, according to the shade required. 
 Then begin with the depths, for which, as a matter of course, 
 use the transparent primaries for transparency's sake. In all 
 parts where the outline is to be neatly filled up, use the point 
 of the stump, turning it lengthwise for the more fleshy model- 
 ling of larger flat layers. Try to abstain from white until 
 the middle tone of the carnation, and only from the blooming 
 part of the cheeks begin to dip into white, always with dis- 
 cretion, and only just sufficiently to obtain the more opaque 
 character of the lighter carnation shades. The more you 
 advance in your first coating the more you will find a test 
 paper necessary, which can be fastened with a drawing-pin to 
 your picture. This will spare much trouble, and enable you 
 to bring your shadings (after previously testing them) clear 
 and correct to your drawing. 
 
 Before beginning the hair you must, as before observed, 
 prepare the blue-gray blending shade between hair and carna- 
 tion, to avoid the sharp division between them. 
 
 The eminent pastellist Eandel seldom used full back- 
 grounds, but merely a complementary shade, in a happy com- 
 bination of contrast to the head and dress, allowing it to melt 
 softly into the paper. When dress, carnation, hair, and back- 
 ground (which must be ad libitum according to the taste of the 
 artist) are thus prepared, leave the palette and turn to semi-hard 
 pastel crayons ; the sets sold by Lechertier, Barbe, <fe Co. are the 
 
26 
 
 most complete. With these, sharpened against sand-paper, you 
 obtain every gradation of hmited tints. Randel's favourite 
 size of head in this style was from 3 inches to 4 inches. These 
 portraits possess an incomparable charm of finish and sweetness. 
 
 I regret to say that there are not many pastel paintings in 
 London within the reach of the student. I have had the 
 opportunity of seeing some few in private houses where I have 
 given lessons ; these for the most part belong to the better class 
 of pastel-painting, most of them in the style of Greuze. 
 However, pastel is so close in kindred to oil-painting, that, 
 happily for those who wish to do good work in art, there are, 
 in the latter branch, excellent and praiseworthy specimens 
 of all kinds of teaching in painting — in composition, technic, 
 and theory. 
 
 In the preceding pages sufficient indications have been 
 given of the technical and material parts of pastel-painting. 
 It remains now, therefore, to point out the leading power of 
 the English school, to whose works the student in art may be 
 safely referred. 
 
 For elegance of composition, and the most exquisite technic, 
 the portrait of " Miss Primrose," by Sir Frederick Leighton,. 
 exhibited last year at the Academy, must be held in remem- 
 brance. 
 
 To show by a single work how far perfection in technic and 
 fine taste may be attained, I refer to Miss Muffit," one of the 
 best conceptions imaginable, of which Sir John Everett Millais 
 is the author. This never-to-be-forgotten little pet was exhibited 
 this season at the Grosvenor Gallery. There is, also, by the 
 same artist, another specimen in a more severe style at the 
 Gilbert Gallery, called " Souvenir de Yelasquez," which, most 
 happily for the student in art, is always to be seen. Master- 
 ship is here proclaimed in every inch of the work. An earnest 
 study of it will be well repaid. 
 
27 
 
 For spontaneous and spirited touches in full palpito, study 
 the works of Orchardson. His charming picture of Madame 
 de E/Ccamier, exhibited last year at the Academy, is a model of 
 simplicity, and an example for all those who wish to acquire the 
 secret of expressing much with a trifle, for such is the case 
 where the material part, reduced to its last limits (nearly the 
 bare canvas), is, nevertheless, a work full of interest and spirit. 
 
 Lastly, for those who wish to study the high stadium of 
 art, the historical style, where harmony, with all its attributes 
 and high principles of unity, is thoroughly understood, I 
 heartily recommend the conscientious and honest works of 
 Goodall, of which the Flight into Egypt " is an undeniable 
 proof, 
 
 LANDSCAPE. 
 
 In Landscape we have to deal with out-of-doors painting, 
 where we come into close contact with Nature, the great 
 expounder of the laws of harmony, and from whom we derive 
 all the principles relating to it. 
 
 In observing the sun (the light), the dominant in landscape, 
 and upon which all the conditions of harmonising a picture 
 depend, we obtain three mean keys — citrine, russet, and olive. 
 Each of these keys has its final gradation in browns, which in 
 their turn are finally transformed into grays, the neutralisation 
 of the prism. 
 
 The main point of this short pamphlet being dedicated to 
 Pastel, I am bound to respect the prescribed limits, and will 
 only add for simplicity's sake that from morning to noon the 
 key will be citrine ; when the sun inclines to the horizon, the 
 key turns into russet ; but when the last traces of the fiery 
 globe disappear, the key changes to olive- Upon the light de- 
 
28 
 
 pends the character of the shade of the atmosphere and shadows^ 
 the contrast to light. The whiter the light, the bluer the 
 atmosphere; when the light dissolves itself into a golden hue, 
 the atmosphere becomes mixed with it, and the shadow-contrast 
 turns purple. In conclusion, when the sun turns russet, the 
 atmosphere takes up a hue of blue-green, and its contrast (the 
 shadow) becomes greenish-purple. 
 
 Many of the above remarks are quoted from my MS. work 
 on Harmony, entitled, " A Syntax for Painters,'' and in 
 reference to which I may, perhaps, be allowed to insert the 
 following letter, in which the distinguished artist Carl Haag 
 has expressed his opinion of its merits : — 
 
 "Dear Mr. Sprinck, 
 
 " I have read with great interest your manuscript (* Treatise 
 on the Art o£ Painting; or, Syntax for Painters'), and I sincerely hope 
 that it will soon make its appearance before the art-loving world, inas- 
 much as it cannot fail to prove itself a long-wished-f or and competent 
 adviser to everyone who desires to study this branch of art. 
 
 " Useful as it must be to the pupil, 1 am sure that it will be received 
 and read with no less interest by our more experienced artists. 
 
 " Believe me to remain, 
 
 Yours very truly, 
 
 " (Signed) Carl Haag." 
 
 The pastels to be used in landscape are to be of a firmer 
 paste, very much like the white chalk crayons of which I 
 spoke in a preceding chapter. They are thinner and longer 
 than the soft paste pastels, and sold in well-assorted boxes under 
 the name of semi-soft pastels. 
 
 Here, again, for landscape two roads are open — the more 
 sketchy style, on gray paper of different shadings, chosen 
 according to the intended keys ; and the more developed one, 
 where the key is previously coated. 
 
29 
 
 With this second-mentioned style paintings of the strongest 
 intonations can be copied, and rapid studies from Nature can 
 be made, with the fullest development of harmony. 
 
 The Sketchy Style, or Pastel Crayon Drawing. 
 
 The pastel paper should always and without exception be 
 stretched. On the chosen paper you trace the outline with 
 Conte crayon No. 2 or 3, or with any shade of brown of same 
 degree of hardness. For the outline in this sketchy style I 
 prefer, myself, the black Conte, following and crossing the same 
 closely with the brown crayon for the shadowed parts, which, 
 as a matter of course, must always belong to one of the three 
 key-shades, citrine, russet, and olive. 
 
 The earthy or solid part of the landscape must so far be 
 coated in shadows and half-shadows with the relative brown ; in 
 the more remote parts and distance with the addition of cobalt, 
 so that, without sacrificing the key-paper in the middle tone, 
 the whole should be sufficiently toned to show more correctly 
 the tone- value of the sky, to avoid insipidity and flatness. The 
 sky should give the feeling of atmosphere and so much appear- 
 ance of depth that a bird might fly in it. 
 
 During the first coatings all crayons have to be used of 
 difierent lengths, obliquely, horizontally, and vertically, passing 
 alternately one over the other. Transparency, aerial effect, 
 and breadth will be the desired result. The difierent shapes of 
 thin edges, sharp or obtuse, are not to he used before the intro- 
 duction of details, upwards to half-light, and full-light from 
 the middle tone, which is the normal key-shade of your chosen 
 paper. 
 
 We now introduce the difierent shadings of the sky, which 
 are considerably higher in tone-level than the solid and 
 compact earth and its belongings. 
 
30 
 
 The untouched key-shade of your paper will stand dark, and 
 it is this middle tone which is now waiting to receive its half 
 and full lights and their intermediate blendings, which is the 
 leading tone for your sky, like the key-note in music. 
 
 The middle tone in the sky will consequently be on a 
 higher tone-scale than the middle tone of solid earth, being 
 considerably heightened into air and brightness. When 
 watching Nature you will become charmed by the wonderful 
 simplicity of her laws : where the middle tone (the key- 
 shade of our paper) turns to be the tone-value of the shadow 
 in the clouds, and which I call the " counterpoint " — that is, 
 the contrast — shade to the light. 
 
 Having finished the sky, devote yourself to the more de- 
 tailed parts of groundwork and trees, when the crayons of your 
 own make are of paramount importance, as touches, especially 
 those relating to half and full light, which must be spontaneous 
 and of great neatness, cannot be retouched lest they lose their 
 crispness. Your own-make crayons, giving every variety of 
 shade and in all gradations, are of great assistance. Without 
 them Latour's cliefs-dJoe^uvre would not exist, for their intrinsic 
 artistic value consists chiefly in the magic purity and neatness 
 of the spontaneous touches. 
 
 Take now, for diversion's sake, an olive-brown tinted paper, 
 and let our subject be an evening effect after sunset. In this 
 case the shadows in the clouds, as well as in the distance, w^ill 
 be of a bluish-gray, the light of a citrine-russet character. The 
 dominant shade of the counterpoint will this time involve the 
 whole of the solid earth and its contents in a dim veil of 
 olive-brown, the very tint of our paper, broken now and then 
 by the different home or own colours of meadows, trees, roads, 
 and other accidents, in tone- value of half-shade, middle tone, 
 half-light, and the cold reflexes of blue-gray clouds, or the cold 
 evening sky after sunset. 
 
31 
 
 Here, as in the preceding example, after the first tiny coat- 
 ing of the key-shade, every endeavour must be made to preserve 
 the display of prism, especially in the sky, by working and 
 crossing in all parts with yellow and orange, red and blue. I 
 say this to avoid the falling into a monochrome. The first 
 and preliminary coating is only an assistant shade in tone and 
 modelling, which may be compared to a certain extent to the 
 raw clay in sculpture by which the artist obtains first his rough 
 framework, to which he afterwards adds life and beauty. 
 
 The More Developed Style. 
 
 For this style, in order to avoid from the first the over- 
 loading of paste, choose a paper according to one of the three 
 key-browns. Upon this you trace with a darker brown crayon 
 the outline of your landscape, including the framework of clouds. 
 
 The first style is more appropriate to those whose individual 
 taste and feeling incline more for elegance and dexterity of 
 touch to the more tender impressions of Nature's grace, pro- 
 ducing mere drawings in coloured crayons. The second, on the 
 contrary, with which we have now to deal, approaches very 
 nearly the powerful landscapes of a Gainsborough or a Cecil 
 Lawson, referring to the whole display of harmony in tone and 
 colour. 
 
 Dexterity and taste in drawing suffice in the first instance, 
 but in the second a thorough knowledge of harmony is requi- 
 site. Happily for the student, this will always be before him 
 as long as he keeps strictly to Nature ; and only a few lessons 
 are necessary to enable him to read the beautiful book of 
 Nature's Law. 
 
 The paper upon which you have now to begin, we will say, 
 is of a deep brown-olive shade, the chosen key of your picture. 
 Now firmly and decisively attack the bright parts of the 
 
32 
 
 clouds, having handy two or three pastels closely imitating 
 the very key-shade of your paper. With these, according to 
 the different tone- values in the atmosphere, and the distance, 
 and the shadows of clouds, go lengthwise and lightly over the 
 paper. This prepared, you break in with the blue of the 
 atmosphere between the clouds, and with a more tender touch 
 over the whole distance, allowing the lighter prepared brown 
 key-shade to shine through. Now bring your sky to its 
 conclusion, bearing in mind that the imitated paper-shade 
 has to be cautiously modelled, being the shadow-shade of your 
 clouds, the contrast-shade to your light, with the addition of 
 atmosphere leading to broken purple. It should be well 
 understood that, whether copying from a picture or directly 
 from Nature, you have to choose the shade of paper according 
 to the desired key. 
 
 After the nearly finished sky the whole landscape will 
 appear to be in darkness, with its still darker outline' in deep 
 brown. It is with this deep-brown pastel that you decide all 
 depths, shadows, and tree-stems. Pay no attention to the 
 difference of tone-value, should it even be the silvery stem 
 of a birch-tree, but, with the three primaries, imitating as 
 closely as possible the shade of your paper, glide thinly length- 
 wise over the rest in trees and groundwork. Everything has 
 to be coated with this, even a cornfield, though, of course, very 
 slightly. 
 
 Eor the remainder, proceed exactly as you would in oil- 
 painting. Bring in the blue, reflected atmosphere in half- 
 shades and middle tones ; touch lightly, obliquely, horizontally, 
 or vertically, according to the law of " penellatura " (the 
 moving of the brush in oil-painting), over the parts in half- 
 light, using now more frequently the edges of your pastels, 
 the sharpest of which will admit, with practice, the most 
 
33 
 
 exquisite neatness in executing leaf work, or any kind of detail 
 in the foreground. 
 
 A deep brown Conte crayon is useful for tiny twigs and 
 branches. For foliage standing against the sky, break your 
 pastel according to the desired size, and work flat and length- 
 wise into it in the same way in which you would use in water- 
 colour the edge of brush for this purpose. 
 
 You have now to introduce the intermediate parts, between 
 half-light and shadow. When the picture has arrived at this 
 stage, the special conditions of pastel-painting are at an end, 
 I have, therefore, only to add : spare the transparency of your 
 shadows, and wherever you may have failed in neatness or 
 purity of detail, take the part gently off with a sable brush, 
 coat with the key-shade lightly afresh, and begin again. 
 
 Working and blending with the finger in this second style 
 of pastel-painting is not only admissible, but greatly accelerates 
 the work, many unexpected, charming, and truthful shadings 
 being the result. 
 
 In addition to the above, and before the final conclusion of 
 my short Essay on Pastel-Painting, I wish to add a broad and 
 general principle. In oil, as in pastel, the beauty and the 
 intrinsic value of a painting consists in the artist's autograph, 
 which is only obtainable by a spontaneous working wet in wet, 
 keeping the limited flat layers from the middle tone upwards 
 to the full light, and downwards to the full shadow. Traces 
 of the brush remaining visible through all the tone-cadence of 
 modelling, they not only contain the unquestionable proof of 
 workmanship, but the inimitable touch and intrinsic value of 
 the artist's autograph. 
 
 This is the touchstone by which we recognise an original 
 from a copy. 
 
 In pastel-painting, notwithstanding the dry powdered 
 
34 
 
 state of the crayon, artists of high mark have still the same 
 advantage as in oil, by coating their first layers previously with 
 the key-shade, into which they work exactly as in oil ; leaving 
 as they go flat layers within defined limits, in which lies the 
 very reflex of the artist's heart and soul. 
 
APPENDIX. 
 
 HOW TO BLEND OWN-MADE CEAYONS. 
 
 However complete your collection of pastels may be, you will 
 often need shadings relating especially to light, half-light, and 
 their intermediates, which will not always be among the 
 collection, and which are indispensable for the final decisive 
 touches. To meet this difficulty, prepare on a small piece of 
 paper, similarly tinted to your chosen key, the desired shade. 
 
 Take a slab of ground glass, upon which break with a muller 
 several pieces of pastel, adding or changing until the mixture 
 answers positively the required tint. Dipping your two fore- 
 fingers into a cup of water, let some drops fall upon the pre- 
 pared powder until it becomes of the consistency of thick cream. 
 Then grind it with the muller till the paste resists, cleaning the 
 edges of your muller ; scrape up the whole of the paste together, 
 preferably with a bone or ivory palette knife, previously dipped 
 in water in order that the paste should not stick to it. This is 
 of importance — if neglected, the half-dry paste breaks instead of 
 smoothly gliding off it. After this, the paste has to be dropped 
 on to a clean, plain, wooden board. I have always used the 
 cover of my pastel box itself to place these upon, and nothing 
 answers the purpose better. 
 
 In summer put the preparations thus obtained in the sun, 
 and leave them until dry ; in cold weather dry them before a 
 fire. When they acquire the consistency of soft wax or putty, 
 
36 
 
 take up carefully the driest with your fingers and, placing it 
 again on the glass slab, roll it lengthwise with the fingers until 
 the desired shape is obtained. When all are shaped in a similar 
 way, replace them on the board and leave them there until they 
 are completely dry. 
 
 CEAYONS TO BE USED IN THE FIRST COATINGS. 
 
 Deep Yellow and Orange, corresponding in 
 oil-colours to . . . 
 
 Cadmium, Deep 
 Chromes, Ind. Yel- 
 low, Eaw and 
 Burnt Sienna. 
 
 ^ Rose Madder, 
 Laque Robert, 
 
 Reds do. do. -j Brown Madder, 
 
 and all deep trans- 
 l parent reds. 
 
 ' Cobalt, 
 French Blue, 
 
 Blues do. do. -| Permanent Blue, 
 
 I Antwerp,Prussian 
 I and Indigo Blue. 
 
 All the crayons mixed with their bases white, being more 
 opaque, have to be avoided in the first coatings, where trans- 
 parency is of paramount importance. 
 
 All the remaining tints of pastel crayons correspond exactly 
 to oil-painting when broken with white, the choice of which 
 depends, of course, on the artist's taste and sympathy. 
 
 THE END. 
 
3 
 
 NOTICE. 
 
 Mr. J. Sprinck receives yearly pupils and gives private 
 lessons in Pastel, Water-colour, and Oil Painting j lie also holds 
 Classes and delivers Lectures on Harmony for Professionals 
 and advanced Amateurs, with demonstrations in the above- 
 named branches, at 
 
 4 LANGHAM CHAMBEES, 
 
 ALL SOULS' PLACE, 
 
 PORTLAND PLACE, W. 
 
EXTRACTED FROM THE GENERAL CATALOGUE 
 
 OF 
 
 LECHERTIER, BARBE, & CO., 
 
 UNIVERSAL ARTISTS' COLOURMEN. 
 
 SOFT COLOURED CRAYONS (PASTELS). 
 
 Triple=bottom Box, containing 200 Pastels, 40^. 
 
 Double-bottom „ „ 156 
 
 Flat Boxes, containing : 
 s. d. 
 
 20 0 40 Pastels 
 
 132 Pastels 
 62 „ 
 56 „ 
 
 10 
 7 
 
 26 
 
 285. 
 
 d. 
 6 
 6 
 
 These are the kind used for fully coloured and finished drawings. 
 The assortment of Crayons is composed of 250 various colours or shades* 
 and each crayon may be had separately. The degree of softness will 
 be found just what it should be. The Crayons yield freely without 
 crumbling, and rub easily, and adhere to the paper or canvas. 
 
 Each. 
 
 Ordinary Colours 
 
 No. 48, Vermilion 
 
 136, 137, 138, Burnt Carmine; 139, Carmine, 1st shade 
 
 140, Carmine, 2nd shade; 148, Cobalt, 3rd shade 
 
 141, „ 3rd „ 149, „ 4th „ ... 
 
 146, Cobalt, 1st 
 
 147, „ 2nd „ 
 
 d, 
 3 
 6 
 9 
 0 
 9 
 6 
 3 
 
EDOUARD'S SOFT COLOURED CRAYONS. 
 
 Many artists have a preference for this French maker^s Crayons 
 m consequence of their peculiar texture. An assortment of the 
 best tints is always kept in stock, and any Crayon can be had 
 separately. 
 
 Ordinary Colours e^^j^ q ^* 
 
 Carmines, Lakes, Madders, and Deep Lakes ... .**.* „ i q 
 
 YermiHons, Extra Greens, Yellows, and Shades of Lakes 
 
 and Carmine ... ... ... .. ... 0 9 
 
 Large Box, containing 100 Crayons assorted 36 0 
 
 SEMI-HARD COLOURED CRAYONS. 
 
 These Crayons are firmer 
 than the Pastels, and softer 
 than the pointed coloured 
 Crayons; they are used for 
 fine touches in soft crayon 
 and other drawings, and 
 are only sold by sets. 
 
 Each 
 
 Flat Wooden Box 
 containing the 
 complete set of 
 100 Crayons ... 16 
 
 Do. half set of 50 
 Crayons 8 
 
 Do. quarter set of 
 25 Crayons ... 4 
 
 FRENCH POINTED COLOURED CRAYONS. 
 
 In Mfty various Colours or Tints. 
 
 Ordinary Colours 
 Yermilion 
 
 Cobalt 
 
 Carmine... 
 
 „ Second Shade. 
 Boxes containing 12 Crayons 
 assorted 
 
 18 „ 
 
 24 
 
 Each 
 s. d. 
 0 1 
 
 1 0 
 
 1 6 
 
 2 0 
 
PREPARED PAPER AND CANVAS. 
 
 For Soft Coloured Crayon Drawing. 
 The " pumicif " paper has a sharp, fine gram, and retains a body of 
 
 crayon. The " anti-ponce ' 
 
 is softer and more easily worked on. 
 
 per sheet 
 
 Jesus's Pumicif Size 28 in. by 21 in. 
 Grand-aigle Pumicif „ 41 „ 29 in. 
 ^q&we'^ Anti-jwnce „ 28 ,, 21 in. ... „ 
 Grand-aigle „ „ 41 „ 29 in. ... „ 
 Prepared Canvas for soft coloured crayon drawing, with 
 rough grain, 39 in. wide per yard run 
 
 No. 
 
 6. 
 
 8. 18 
 10. 21| 
 12. 23J 
 15. 25J 
 20. 28f 
 25. 31f 
 
 OVAL MILLBOARDS. 
 
 With Anti-ponce Paper strained over, 
 16 in. by 12f 
 
 15 
 18 
 
 19f 
 
 23i 
 25i 
 
 Sketching Boards, 28f in. by 23J in. square 
 
 PREPARED VELLUM. 
 
 Skin, about 42 by 28 in., rough on one side, for soft coloured £ 
 crayon drawing ... ... i 
 
 7 6 
 
 s. d, 
 each 1 9 
 „ 2 
 
 0 
 
 CONTINUOUS PAPERS. 
 
 Yarious Grains and Tints, 58 in. wide, from Qd. to Is. Sd. per yard. 
 
 SUNDRIES. 
 
 Conte Crayons ... 
 Amadou Skins ... 
 Paper Stumps, in 8 sizes 
 
 Leather „ „ 
 
 Rouget's Fixatif, special, for pastels 
 
 s, d. s. d. 
 
 0 6 per doz. 
 ... 0 9 to 1 6 each. 
 From 0 1 „ 0 8 „ 
 » 0 2 „ 0 6 „ 
 1 6 per bott. 
 
 Samples of Papers sent on application. 
 
 LECHERTIER, BARBE, & CO., 
 
 6o REGENT STREET, LONDON. 
 
 Price Lists on ajyj^Ucation of all requisites for any land of Drawing, 
 Painting, and Modelling. 
 
 Spottiswoode <k Co. Printers, New-street Square, London. 
 

 Price. 
 
 Per post. 
 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 Painted Tapestry and its Application to Interior 
 
 
 
 
 
 Decoration. Practical Lessons in Tapestry Painting 
 
 
 
 
 
 with Liquid Colour. By Julien Gtodon. Translated 
 
 
 
 
 
 by ±>. xJucKNALL, Arcnitect. Witn coloured plates . 
 
 6 
 
 0 
 
 6 
 
 6 
 
 The Theory and Practice of Linear Perspective 
 
 
 
 
 
 applied to Landscape, Interiors, and the 
 
 
 
 
 
 Figure, for the Use of Artists, Art- Students, 
 
 
 
 
 
 &c. Translated from the- French of Professor 
 
 
 
 
 
 V. Pellegrin. Second Ldition . . • . 
 
 1 
 
 0 
 
 1 
 
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 A Guide to Modelling in Clay and Wax, and 
 
 
 
 
 
 for Terra-Cotta, or Sculptural Art made Easy 
 
 
 
 
 
 for Beginners. By Morton Edwards, Professor 
 
 
 
 
 
 of Modelling. Third Edition 
 
 1 
 
 0 
 
 1 
 
 1 
 
 Limoges Enamels by the Processes of the Early 
 
 
 
 
 
 Limoges Enamellers. A Series: of Practical 
 
 
 
 
 
 Lessons. By L. Dalpayrat, Enamel Painter. 
 
 
 
 
 
 Translated by G. Bouvier 
 
 1 
 
 0 
 
 1 
 
 I 
 
 A Handbook to the Practice of Pottery Painting. 
 
 
 
 
 
 By John C. L. Sparkes, Head Master of the Art 
 
 
 
 
 
 Training School, South Kensington, Director of the 
 
 
 
 
 
 Lambeth School of Art. Third Edition . . . 
 
 1 
 
 0 
 
 1 
 
 1 
 
 Practical Lessons in Painting on China, Porcelain, 
 
 
 
 
 
 Earthenware, Faience, and Enamel. By 
 
 
 
 
 
 Madame la Baronne Delamardelle, Professor. 
 
 
 
 
 
 Translated by Gitstave Bouvier. Sixth Edition . 
 
 1 
 
 0 
 
 1 
 
 1 
 
 The Art of Pan Painting, By Madame la Baromie 
 
 
 
 
 
 Delamardelle, Translated by Gustave Bouvier . 
 
 1 
 
 0 
 
 1 
 
 1 
 
 A Handbook for Oil-painting. Very clear instructions 
 
 
 
 
 
 for Students and Amateurs. By Joseph Bouvier . 
 
 1 
 
 0 
 
 1 
 
 1 
 
 The Prototype of Man. Giving the Natural Laws of 
 
 
 
 
 
 Human Proportions in both Sexes. A Manual for 
 
 
 
 
 
 Artists and Professors of Drawing. By Charles 
 
 
 
 
 
 Koghet. Translated by C. Carter Blake, Doc. Sci. 
 
 1 
 
 0 
 
 1 
 
 1 
 
 Practical Perspective applied to Artistic and 
 
 
 
 
 
 Industrial Design. By Armand Cassagne. Trans- 
 
 
 
 
 
 lated from the French by G. Murray Wilson. Con- 
 
 
 
 
 
 taining 265 Geometrical Figures and 60 Picturesque 
 
 
 
 
 
 Applications drawn by the Author .... 
 
 8 
 
 0 
 
 8 
 
 
 LECHERTIER, BARBE, 8c CO., 60 REGENT STREET, 
 
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 Spottiswoode d: Co. Printers, New-street Sguctre, London.