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 INTRODUCTION 
 
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INTRODUCTION 
 
 TO THE 
 
 ART OF PAINTING 
 
 IN 
 
 OIL COLOURS. 
 
 By J. CAWSE, 
 
 PUPIL TO THE LATE JOHN OPIE, E.A. 
 PROFESSOR OF PAINTING AT THE ROYAL ACADEMY. 
 
 WITH PLATES, 
 
 EXPLANATORY OF THE DIFFERENT PALETTES USED IN THE PROGRESS OF 
 PAINTING A PORTRAIT OR LANDSCAPE. 
 
 SECOND EDITION. 
 PRICE FIVE SHILLINGS. 
 
 LONDON: 
 
 PRINTED FOR R. ACKERMANN AND CO., 96, STRAND. 
 
 M.DCCC.XXIX. 
 
LONDON: 
 
 J. MOYES, TOOK’s court, CHANCERY LANE. 
 
PRELIMINARY REMARKS. 
 
 A CONCISE and systematic introduction to the 
 use of the palette and colours has long been a de- 
 sideratum to the student in the art of painting; 
 for, of the many publications on this part of the 
 art, most have been critical or theoretical, and none 
 practical. The design of this work is to remove 
 those difficulties which have hitherto been a great 
 and serious hindrance to the improvement of the 
 student, and to give the beginner in oils such in- 
 formation as will enable him to paint portraits, 
 landscapes, &c. with a truth of local colouring. 
 
 The necessity of such a work as this being 
 obvious, the Author assures the student in painting 
 that it is calculated for a familiar, and with mo- 
 derate application, a successful guide to the at- 
 tainment, in a very short time, of a competent 
 power over the palette. The directions respecting 
 colours, oils, varnishes, &c. will be found extremely 
 
IV 
 
 PRELIMINARY REMARKS. 
 
 useful, inasmuch as they may be the means of 
 saving the time of the student. It may not be 
 amiss to observe, that the Author does not pretend 
 to furnish instructions for the treatment of the 
 chiaro-scuro, light and shade, which is best at- 
 tained by the study and contemplation of the 
 masters most celebrated in that department of the 
 art ; neither does he give directions for placing the 
 sitter for a portrait. He merely lays down a few 
 rules for colouring, which he has seen applied 
 with success by the first Master this country has 
 produced. 
 
INTRODUCTION 
 
 TO 
 
 PAINTING IN OIL COLOURS. 
 
 COLOURS. 
 
 White is a calx of lead, produced by subjecting 
 plates of lead to the fumes of vinegar. 
 
 Black is made from vine twigs and ivory, by cal- 
 cining in a crucible. 
 
 I 
 
 Blue. — Ultramarine is extracted from lapis lazuli, 
 a stone of a bright blue colour, and is often sold very 
 much adulterated. If, when brought to a red heat, it 
 stands that trial without changing colour, it is genuine. 
 As a small quantity only need be subjected to this test, 
 a comparison may be made at very little expense with 
 the part that has not been exposed to the fire. If adul- 
 terated, it becomes blackish or pale. 
 
 Prussian blue is produced by a combination of iron 
 with an acid of a peculiar nature, distinguished by the 
 name of prussic acid. 
 
6 
 
 Yellow. — Light ochre and brown ochre are native 
 earths; and when calcined produce different shades, 
 which are denominated either light red or brown red, 
 according to their different degrees of intensity. 
 
 Red. — Light red is light ochre calcined. 
 
 India red is a native earth brought from India, and, 
 when purified by washing, is of the greatest use in 
 making numerous beautiful tints. 
 
 Lake and carmine are extracts from cochineal, mad- 
 der, Brazil wood, and shreds of scarlet cloth : they 
 are transparent and powerful glazes over the opaque 
 blues, reds, and yellows. 
 
 Umber, a kind of clay, mixed with a small quantity 
 of oxide of iron. When calcined it becomes what is 
 commonly called burnt umber. 
 
 Vermilion, a chemical composition of mercury 
 and Chinese sulphur. Of the different kinds sold, 
 the common is the best for the purposes of portrait- 
 painting. 
 
 The above are the colours generally used by all 
 artists, either for painting portraits, landscapes, drapery, 
 &c. ; though many add to the list the sienas, burnt and 
 unburnt, brown pink and Vandyke brown, Cologne earth. 
 
7 
 
 and others. But to the beginner in painting I would 
 recommend as little addition as possible ; as the using of 
 but few colours will prevent the confusion which I have 
 often observed on many palettes, and which has naturally 
 been transferred to the pictures. 
 
 OILS. 
 
 All the menstrua employed in painting should be, 
 for a very obvious reason, limpid and clear: limpid, 
 because if they are glutinous, this quality obstructs the 
 easy motion of the pencil, and detracts from the bril- 
 liancy and the sharpness of the execution ; and clear, be- 
 cause the nearer they approach to being colourless, the 
 less of any foreign mixture they communicate to the 
 tone or hue of a picture. If, therefore, any menstruum 
 could be obtained both limpid and colourless, the dis- 
 coverer would deserve to be hailed as a real benefactor 
 to the art of painting. 
 
 After trying every new invention that seemed likely 
 to open a door to improvement, and assisting in the 
 trial of every resin and gum in the list, I am convinced 
 that the best article an artist can use is oil : for thouoh 
 
 ^ O 
 
 Canada balsam and balsam copaivi are colourless, or 
 nearly so, still they are so glutinous and liable to crack 
 when dry, that they are equally unsafe, — to say nothing 
 of the addition of sugar, or acetate, of lead, without which 
 they will not dry. It is with these two gums that 
 
8 
 
 all the attempts have been made to find a substitute 
 for oil. 
 
 The vehicle, therefore, \vhich I would recommend, is 
 a mixture of oil, — either boiled linseed, or poppy, or 
 nut oil, — with about one-third of good clear spirit of 
 turpentine. It may be mixed to the proportion of half 
 oil and half turpentine. 
 
 I am the more earnest in this recommendation, as 
 I have witnessed the ill effects of the numerous nos- 
 trums in the shape of megelpSy gumtions, impastoes, &c. 
 which obtrude themselves on the young artist’s notice, 
 and which he is induced to employ, under the idea of 
 their abridging his labour and heightening the brilliancy 
 of his colouring. This they may do for a short time, 
 but in the end they inevitably fail ; for that tint of 
 colour which, when laid upon the picture, is composed 
 (and it generally is so) of more than half varnish and oil, 
 must, when dry, change its hue. On the other hand, 
 the mixture which 1 have, recommended never changes 
 but for the better ; and the use of it removes the necessity 
 of allowing for the colours changing or getting lower in 
 tone, which must be done in using the above-mentioned 
 megdps — a practice which, adopted from a desire to be 
 beforehand •with time, ruins one half of the pictures that 
 are painted. 
 
9 
 
 VARNISHES. 
 
 These are mastic varnish and copal. The former 
 is preferable, as it is easily removed from the picture 
 in case of its becoming dirty. The longer the time 
 that is suffered to intervene between finishing and var- 
 nishing the picture, the better. 
 
 The best varnish for a picture that has been recently 
 painted, and is intended for exhibition, is a mixture 
 of brandy, white of egg, and a few drops of juice of 
 garlic, applied to the picture in a horizontal position. 
 The garlic preserves the picture from being dirtied 
 by flies. To remove this preparation, use a sponge 
 and clean water till no froth appears, and when dry, 
 apply the varnish. 
 
 GROUNDS. 
 
 As it is generally supposed that the Venetian masters 
 owed much of the harmony, brightness, and durability 
 of their colouring to the preparation of their grounds for 
 painting on, I here insert the mode of preparing that 
 ground, according to the receipt of Sebastian Grandi, an 
 Italian colour-grinder and maker, who received from the 
 Society of Arts their honorary silver medal, and a pre- 
 mium of fifty guineas. His several communications re- 
 lative to the preparation of grounds were most respect- 
 
10 
 
 ably certified to the Society by Benjamin West, late 
 President of the Royal Academy ; Sir Thomas Lawrence, 
 his successor; and the following Royal Academicians: 
 John Opie, M. A. Shee, J. Northcote, J. Faringdon, 
 Richard Cosway, and P. J. de Loutherbourg, who all 
 confirmed the good quality of the grounds prepared by 
 Mr. Grandi. The materials are extremely cheap, as 
 well as easy to be procured, and none of the processes 
 for preparing them are at all difficult. 
 
 The Venetian Ground. 
 
 Break grossly the bones of sheeps’ trotters, and boil 
 them in water till cleared from their grease ; then put 
 them into a crucible and calcine, and afterwards reduce 
 or grind them to powder in a mortar. To some thin 
 paste add an equal quantity of the pulverised bone- 
 ashes, and grind the whole mass well together. This 
 mixture forms the ground for the panel. ' When the 
 panel has been well pumiced, some of the ground is 
 to be rubbed on with a pumice-stone, that it may be 
 incorporated with the panel. Another coat of the com- 
 position is next applied with a brush, when it is suffered 
 to dry, the surface being afterwards rubbed over with 
 sand-paper. A thin coat of the composition is then 
 applied with a brush ; and if a coloured ground be re- 
 quired, a coat or two must be added, so as to complete 
 the absorbent ground. When a panel thus prepared 
 is wanted to be painted on, it must be rubbed over 
 
11 
 
 with a coat of raw linseed or poppy oil, as drying oil 
 will destroy the absorbent quality of the ground ; and 
 the painter’s colours should also be ground very fine. 
 
 The grounds thus prepared do not crack. They may 
 be painted in a very short time after being laid; and, 
 from their absorbent quality, allow the business to be 
 proceeded in with facility and better effect than with 
 those prepared in the usual mode. 
 
 Various other grounds are in use among artists, such 
 as the unabsorbent one sold at the colour-shops, com- 
 monly called primed cloth ; and another lately in- 
 troduced into practice, made by pasting paper over 
 canvass, or book-muslin over primed cloth or panel. 
 But, whatever may be the qualities of the different 
 grounds recommended to the young artist, he must re- 
 member, that painting is an art not to be communicated 
 by any secret process ; and that though Venetian 
 grounds are very good things in their place, still neither 
 the use of them, nor any nostrum in the shape of varnish. 
 See. will alone make a painter. The only way for him 
 to make improvement certain, is to consider them as 
 assistants only towards the great end of art — the imi- 
 tation of nature. 
 
 There are various tints of coloured grounds for 
 painting on. Those are best which approach nearest to 
 white ; because all whites and light colours sink into 
 the grounds upon which they are laid. 
 
12 
 
 Materials necessary for painting a Portrait 
 in Oil Colours, 
 
 An Easel and rest-stick for the hand. 
 
 A Palette of walnut-tree, rose, or satin-wood, to 
 lay the colours used in painting on. 
 
 Primed Cloth, or panel, prepared either with 
 muslin or the Venetian ground. 
 
 A Palette Tin, technically called a Dipper, to hold 
 the mixture of oil and turpentine ; and another to hold 
 turpentine spirits, for washing brushes in, and some rags 
 to wipe them on. 
 
 Hog-hair Tools of this size : 
 
 Camel-hair Pencils may be used with great 
 effect in the finer parts of the picture. Pliability, and 
 the capability of being drawn to a point and continuing 
 so, are the chief qualities of good brushes, and without 
 these they are useless. 
 
13 
 
 A Palette of Colours laid for a first Sitting or 
 beginning of a Portrait, 
 
 a. White, either Nottingham white or flake white. 
 
 b. India red. . . . 1 — 2 1 are tints made by the addi- 
 
 c. Black 1 — 2 3 tion of white. 
 
 d. A tint made by mixing India red and black gra- 
 dually with white, and called the shade tint. 
 
 The brushes used in this sitting are hog-hair tools, of 
 a sufficient size to leave the colour smooth and broad ; and 
 sable pencils and small fitches, to mark the drawing of 
 the features, &c. 
 
 The oils — boiled oil and turpentine, mixed in the 
 proportion of half oil and half turpentine. 
 
 FIRST SITTING. 
 
 The great object of a portrait being resemblance to 
 nature, the artist, on setting to work, should adopt the 
 means that will mechanically insure him success. The 
 drawing, therefore, both of the figure and head, particu- 
 larly the features, should be exactly correct ; and if the 
 size of life, the distance between the corner of the eye 
 and corner of the mouth under it, may be measured and 
 marked on the canvass. In short, unless the drawing is 
 perfect, it is in vain to attempt proceeding with the 
 colouring part. 
 
14 
 
 The drawing completed, the first business is to make 
 out all the forms with the shade tint, 1 and 2, as if the 
 portrait was to be finished with that tint only. The 
 lights should be painted with the tint of India red and 
 white, b, 1 and 2, and worked to the complexion, and 
 both lights and shades united together with a tint made 
 of black and white mixed to a pearly gray, and alto- 
 gether blended with a long softener, or what is called a 
 badger-hair tool ; and after rubbing in the back ground 
 with the remaining colour on your palette, the first sitting 
 is completed. The nearer the general effect of the 
 picture approaches to a pearly silver gray, in the better 
 state it is for the second sitting. 
 
 A Palette of Colours laid for a second Sitting of 
 a Portrait 
 
 a. Flake white. 
 
 b. Brown ochre. 
 
 c. Light red. 
 
 d. India red. 
 
 e. Black. 
 
 1, 2, 3, 4, Tints made by the mixture of white with 
 each of the colours, and graduating from 1, the tint 
 made with most of the pure colour and white, to 4, 
 made with most white and least colour, and carefully 
 matched in the carnation tints to the complexion of the 
 sitter. 
 
TIate 2 . 
 
15 
 
 The brushes used in this sitting are small hog-hair 
 brushes and fitches, with the addition of sables for the 
 finer parts. 
 
 The oils are the mixture of oil and turpentine ; and 
 as the portrait advances towards the finishing sitting, 
 nut or poppy oil may be substituted in the mixture for 
 boiled oil. 
 
 SECOND SITTING. 
 
 The second sitting commences with passing a thin 
 coat of poppy oil over the picture, and then wiping it 
 nearly all off with a clean, rag, so as to leave very little 
 more than a moist dew on the picture. Then proceed 
 to lay in the carnation tints (which must be previously 
 mixed, and matched with the complexion of the sitter,) 
 with a stiff fitch pencil, and be careful to keep in sight 
 the likeness of colour and form. Then glaze the 
 shadows, which in red or sanguine complexions always 
 have a hue of purple, while the shadows of fair com- 
 plexions incline invariably to gray ; and remembering 
 that it is the nature of shade to be cool and transparent, 
 be sure your shadows at the side of fair eyebrows, nose, 
 lips, &c. are so; for nothing gives so much the character 
 of vulgarity as the shadows being made warm with those 
 dashes of red and yellow which are always seen in 
 portraits executed in a bad taste. In uniting the lights 
 and shade, avoid mealiness, which is occasioned by their 
 coming together without the intervening gray tint ; and 
 
16 
 
 if the general appearance of the picture is clean, with 
 the drawing preserved and the likeness improved, the 
 portrait is in order for the finishing sitting. 
 
 A Palette of Colours laid for a last or finishing 
 Sitting for a Portrait, 
 
 The colours here used are the same as those for the 
 second sitting, with the addition of vermilion, lake, and 
 Prussian blue, which may be changed for ultramarine. 
 
 The oils used are nut or poppy oil, with the addition 
 of spirits of turpentine. 
 
 \ 
 
 The brushes are fine sable pencils and camel-hair. 
 
 1, 2, 3, are tints made from the colours by their mix- 
 ture with white ; and in this, as in the preceding sitting, 
 they must be matched to the complexion of the sitter. 
 
 THIRD SITTING. 
 
 The third and last sitting is wholly employed in 
 going over the features, improving the lights, and cor- 
 recting the glazings with the pure colours and tints; and, 
 as it is of the greatest consequence to preserve the spirit 
 of touch, this should be done without softening. It is 
 recommended to consider, before the application of a tint, 
 that the effect may be produced with one touch of the 
 

T/ate 
 
17 
 
 pencil, and if it cannot be applied without hazard, it 
 will be better not to attempt the alteration ; as it often 
 happens that likeness, the most valuable property in a 
 portrait, is irrecoverably lost by an injudicious endeavour 
 to improve. 
 
 In the finishing sitting many artists use what is called 
 a retouching varnish, with which the picture is slightly 
 varnished previously to finishing : it is of such a nature 
 as to admit of painting on for days before it completely 
 dries. The employment of poppy or nut oil in the last 
 sittings renders the use of this kind of varnish needless, 
 as those oils are rather slow in drying, and consequently 
 afford sufficient time for retouching. 
 
 A Palette of Colours laid for painting the Back- 
 ground of a Portrait, 
 
 a. White. 
 
 b. Brown ochre. 
 
 c. India red. 
 
 d. Raw umber. 
 
 e. Burnt umber. 
 
 f. Blue. 
 
 g. Black. 
 
 , h. A tint made of equal parts of black and India 
 red, called the shade tint. 
 
 1, 2, 3, are tints made from the respective colours. 
 
 B 
 
18 
 
 The oils used are the mixture made with two parts 
 of boiled oil and one part of spirits of turpentine ; and 
 the brushes used are principally hog-hair tools and stiff 
 fitch pencils. 
 
 Directions for painting the Back-ground of a 
 
 Portrait 
 
 With the tint made of black and India red, lay in the 
 back-ground, and let the colour be levigated with the 
 mixture, so that it may be laid transparent and clean ; 
 and increase it in strength in the shaded parts. Then, 
 while it is wet, paint in those tints of colour that are 
 required to imitate the objects to be represented in 
 your back-ground, and endeavour to finish it at once ; 
 keeping in mind, that it is the practice of the best mas- 
 ters to have very few objects in their back-grounds, and 
 to make the whole as retiring as possible. With a 
 softener then blend the whole together. But, if your 
 back-ground has no objects in it, which is commonly 
 the case in a portrait with the head the size of life, on a 
 three-quarters cloth, be careful that your back-ground 
 is sufficiently broken in its tints of colour, that your 
 sitter may not seem as if he existed in a vacuum. 
 
 Transparency, harmony, and atmospheric purity of 
 colour, are the technical requisites of a well -painted 
 back-ground. Thus Du Fresnoy says : — Let the field 
 or ground of the picture be pleasant, free, transient. 
 
^Plate P . 
 
19 
 
 light, and well united with colours which are of a friendly 
 nature to each other, and of such a mixture that there 
 may be something in it of every colour that composes 
 your work, as it were the contents of your palette.” 
 
 ‘‘ Variety of tints, very nearly of the same tone, 
 employed in the same figure, and often upon the same 
 part, with moderation, contribute much to harmonise.” 
 
 De Piles. 
 
 A Palette of Colours laid for Painting by Lamp- 
 Light from the Living Model, 
 
 The colours used are white, light red, and black. 
 
 1, 2, 3, are tints made from each colour by the 
 addition of white. 
 
 The oil is the usual mixture of boiled oil and spirits 
 of turpentine. 
 
 The brushes are small hog-hair brushes and fitches, 
 according to the size of the figure and picture. - 
 
 I derived much improvement, when I commenced 
 using oil colours, by painting by lamp-light my studies 
 from the living models at the Royal Academy; though 
 at the outset I experienced some difficulties, arising from 
 my picture appearing very dirty in the flesh tints, when 
 
viewed by day-light, till I 'was advised by the late Mr* 
 Barry, Professor of Painting there, to use the annexed 
 palette, which I found completely to answer every purpose, 
 as the flesh tints that are painted with it have a very 
 slight difference in appearance when seen by day-light, 
 and may only want improving with the finishing palette 
 used for portraits. 
 
 A Palette of Colours laid for the beginning or first 
 Sitting of a Landscape Painter from Nature, 
 
 a. White, either flake or Nottingham white. 
 
 b. Brown ochre. 
 
 c. Blue black. 
 
 1, 2, 3, tints made by the addition of white, gra- 
 duating to 3. 
 
 The oil used is the mixture of boiled oil and turpen- 
 tine, and the brushes are hog-hair and stiff fitches. 
 
 Your drawing made, the forms, &c. may be rubbed 
 in with a tint made with burnt umber and lake, well 
 mixed together, leaving the colour of the ground or 
 cloth* for the light, using the colour thin, in the manner 
 
 * I have found mill-board of great use in painting studies from 
 nature : it is easily prepared for the purpose of painting on, by passing 
 over it some thin paste, which takes away its extreme absorbency. 
 
Flate d' . 
 
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 ■ ^ ^ r- , 
 
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 W-r^' • 
 
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 J, 
 
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 h, 
 
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21 
 
 of washing with India ink ; this done, let it dry. Then 
 commence the first layer of colour with the annexed 
 palette, and paint the sky with a full body of colour, 
 making out the forms of the principal clouds ; the lighter 
 it is left, the better it will support the finishing colours. 
 Proceed next to the faintest distances, graduating down 
 to the fore- ground ; and lastly sweeten the whole toge- 
 ther, which leaves the work in good order for finishing. ; 
 
 j 1 Palette of Colours laid for finishing a Landscape. 
 
 a. Flake white. 
 
 b. Light ochre. 
 
 c. Brown ochre. 
 
 d. Brown pink. 
 
 e. Burnt siena. 
 
 f. Burnt umber. ' 
 
 g. Lake. 
 
 . h. Black. 
 
 i. India red. 
 
 k. Prussia or Antwerp blue. 
 
 l. Ultramarine. 
 
 1, 2, 3, are tints made by the mixture of white, from 
 I with most pure colour to 3 with least. 
 
 The oils used are the mixture of boiled oil and tur- 
 pentine, and, towards the finish of the picture, nut or 
 

 poppy oil, as, from their slowness in drying, they afford 
 time for retouching. 
 
 The business of finishing is to glaze and heighten 
 with pure colours the chiaro-scuro preparation made 
 with the first pallette. Prussian blue, brown pink, lake, 
 and burnt umber, are the most useful and powerful 
 glazers, and produce, when mixed, every variety of tint ; 
 and these should be carefully matched on the palette 
 with the objects intended to be represented, before they 
 are applied to the canvass. 
 
 The same general rules that have been given for 
 portrait-painting equally apply to the painting of land- 
 scape. Correct drawing, and attention to truth and 
 clearness of colour, are not less requisite in the one than 
 in the other, since the object of both is the imitation 
 of Nature. 
 
 LONDON : 
 
 J. MOVES, TOOK’S court, CHANCERY LANE. 
 
R. ACKERMANN AND Co.’s 
 
 PREPARED 
 
 GENUINE CUMBERLAND BLACK-LEAD PENCILS, 
 
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 HH Two Degrees harder, and used by Architects. 
 
 HHH Three Degrees harder, and used by Architects, Engineers, Surveyors, &c. &c. 
 F Fine Pencils for Drawing, used by Artists, Drawing-masters, and Pupils. 
 
 FF Ditto Ditto Ditto (double thick in lead.) 
 
 B Black for Shading, and used by the same. 
 
 BB A deeper Black for Shading than B. 
 
 HB Hard and Black for Shading. 
 
 Ackermann and Co.'s fine genuine Cumberland Black-lead not prepared, 
 
 have been known for many years as the best Pencils for Sketching and general use. 
 They are particularly adapted for young Students to copy from Lithographic Studies. 
 
 The prepared Pencils FF, B, and BB, serve for the deep shades and finishing 
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 N. B Drawing Materials of every description, and the greatest variety of 
 
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 Engraved by Martin. 
 
 A NEW DRAWING-BOOK, in the manner of chalk, containing 
 
 12 Plates Views in the West of England. 12^. Engraved by Prout. 
 
 PROUT’S NEW DRAWING-BOOK of Picturesque Objects, for 
 
 young Students, drawn on stone. 6s. Engraved by Prout. 
 
 PYNE’S RUSTIC FIGURES, 12 Numbers, 8vo, 2s. 6d. each; half- 
 bound, 11. Il5. 6c?. The same, large 4to, 6 Numbers, 6s. each; half-bound, 1?. 16s. 
 Engraved by Pyne. 
 
 A Series of EASY LESSONS in LANDSCAPE DRAWING, con- 
 taining 40 Plates, from the first principles, in the' chalk manner, to the finished 
 landscape, in colours. U. lls. 6d. half-bound. Epgraved by Prout. 
 
 A BOOK of TREES, after Nature, containing Four Plates, drawn 
 
 and engraved in the manner of chalk or pencil. 10«. 6c?. Engraved by Phillips. 
 
 LESSONS and EXAMPLES in POONAH PAINTING, with 
 
 formules and directions for their use, by means of which a thorough knowledge of this 
 fashionable style of drawing may be acquired. 9^. 
 
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