PRICE ONE SHILLING. 
 
 A TREATISE ON 
 PORTRAIT PAINTING 
 
 FROM LIFE. 
 
 ALSO, INSTRUCTIONS FOR 
 
 PAINTING UPON PHOTOGRAPHS 
 
 AND 
 
 PAINTING FROM PHOTOGRAPHS. 
 By F. HAVNES. 
 
 SUPPLEMENTED WITH A DISCOURSE ON ART 
 
 BY THE SAME. 
 
 SECOND EDITION. 
 
 GEORGE.ROWNEY & CO., 
 
 MANUFACTURING ARTISTS' COLOURMEN, 
 
 64, OXFORD STREET, AND PRINCES HALL, PICCADILLY, 
 
 LONDON. 
 
/sold by\ 
 
 /dimmock\ 
 
 I London St. j 
 V NORWICH/ 
 
Digitized by the Internet Archive 
 
 in 2010 with funding from 
 
 Research Library, The Getty Research Institute 
 
 http://www.archive.org/details/treatiseonportraOOhayn 
 
A TKEATISE ON 
 
 PORTRAIT PAINTING 
 
 FROM LIFE. 
 
 ALSO, INSTRUCTIONS FOR 
 
 PAINTING UPON PHOTOGRAPHS 
 
 AND 
 
 PAINTING FROM PHOTOGRAPHS. 
 
 BY F. HAYNES. 
 SUPPLEMENTED WITH A DISCOURSE ON ART 
 
 BY THE SAME. 
 
 SECOND EDITION. 
 
 GEORGE ROWNEY & CO., 
 
 MANUFACTURING ARTISTS' COLOUEMEX, 
 
 64, OXFORD ST., and PRINCES HALL, PICCADILLY, LONDON. 
 
 MDCCCLXXXVH. 
 
LONDON : 
 
 HENDERSON, RAIT, AND SPALDING, GENERAL PRINTERS, 
 
 3 & 5, MARYLEBONE LANE, W, 
 
CONTENTS. 
 
 PAGE 
 
 Introduction 5 
 
 Materials 7 
 
 Posing and Lighting 9 
 
 Suitability of Coloui' in Draperies, Backgrounds, and 
 
 Accessories ... ... ... ... ... ... ... 11 
 
 Painting the Portrait from Life: — 13 
 
 First Stage, or in Monochrome ... ... ... ... 16 
 
 Second Stage, or First Colouring ... ... ... ... IS 
 
 Third Stage, or the Second Colouring of the Head ... 23 
 
 Fourth Stage, or Re-touching of the Head 2b' 
 
 Finish 27 
 
 Handling 29 
 
 Seeing Tints in Flesh ... 29 
 
 Complexions ... ... ... ... ... ... ... 30 
 
 Temperaments 32 
 
 Dress of Hair, &c. — Characteristics ... ... •■• ••• 32 
 
 First Colouring of Draperies, Backgrounds, and Acces- 
 sories 33 
 
 Relief 35 
 
 Draperies and Backgrounds further considered 36 
 
 Force and Point 40 
 
 Texture and Loading with Colour ... ... ... ... 41 
 
 Perspective 42 
 
 Luminous Colour and Glazing 43 
 
 Painting Photographs in Oil 44 
 
 Painting from Photographs in Oil 46 
 
 Defects in Photographs, and How to Correct in Painting 48 
 
 Painting in Water Colour from a Photograph 49 
 
 Painting on Photographs in Water Colour 56 
 
 Discourse on Art 60 
 
INTBODUCTION. 
 
 Th e writer hereof claims that all is free from plagiarism ; 
 and is from his own practice of over 30 years. 
 
 Technical difficulties and processes often obstruct the 
 advancement of persons of talent ; an endeavour is here 
 carefully made, to render the required assistance, to 
 treat the subject in a philosophical manner, and to 
 show a reason for what is said. 
 
 Although it is the proper province of Art to paint 
 from Nature — and that must be practised for a con- 
 siderable time before any one can become conversant 
 with colour and expression — nevertheless, since now-a- 
 days advanced Photography has become an Art also, 
 and moreover, as the necessity of earning a competency 
 has directed many to the pursuit of painting photographs, 
 and painting from photographs, together with the 
 fact that much of the portrait painting even of a first- 
 rate kind is now done with its aid — and many believe 
 in the infallibility of such ; added to which there are 
 numbers of copies required from photographs of those 
 who are gone ; it would seem' like only performing half 
 the work to omit some instructions upon this department 
 of the subject, so a brief addition will be found of the 
 application of the practice of general portrait painting 
 to " painting photographs," and " painting from 
 photographs." 
 
VI INTRODUCTION. 
 
 The work is supplemented with a discourse upon Art 
 which the Author hopes may be interesting not only to 
 Artists, Art students, and patrons of Art, but also to 
 the general reader. 
 
 The position of fine Portraiture in Art should rank 
 high ; the most celebrated painters have practised it, 
 but the individuality and precision, which in the best 
 are its characteristics and requisites, have precluded the 
 possibility of there being many very successful. 
 
 The contemplation of great Characters of History in 
 their " Counterfeit Presentment," as of those of families 
 whose images are endeared to the social circle, make 
 this Art an essential in the World's interest. 
 
 Such books as the writer has met with, have appeared 
 either too desultory, too vague, or rudimentar} r ; some 
 of the modern handbooks being almost mere confused 
 lists of materials, &c. ; so that a fair practical work on 
 Portraiture, the result of thinking and working, ap- 
 peared to be a desirable addition to the library of 
 an Art student. 
 
TREATISE ON PORTRAIT PAINTING BY AN 
 OLD HAND. 
 
 MATEEIALS. 
 
 OILS. 
 
 Paint as much as possible with the solid paint ; especially 
 first stages, when "pale drying oil," should be used 
 and no more of that than is absolutely necessary to 
 make the colours work freely. Hog hair brushes are 
 best to use, almost throughout. Never use Megilp or 
 Medium in early stages. The picture would crack 
 with such hard materials for foundations. Use paint, 
 simply thinned a little with the oil named above. 
 
 In the finish of flesh and all light draperies, bleached 
 linseed or poppy o//must be used, with Megilp added for 
 glazing. Pale drying oil will turn yellowish, and, 
 therefore, would spoil the colouring of any fair or 
 delicate complexion. 
 
 M C GILP. 
 
 This, as just stated, is suitable for glazing on light 
 delicate objects; being made from gum mastic and 
 bleached linseed oil, it is pure and, it is expected, will 
 not afterwards discolour. 
 
A TREATISE ON 
 
 BRUSHES. 
 
 Hog tools, as before observed, do well for general 
 painting. The finest quality of them are soft ; and as 
 all sizes, both round and flat, are obtainable, almost 
 every part of a picture (approaching life-size especially), 
 can be worked with them, excepting delicate matters, 
 such as eyes, lips, &c, and minute objects, when sables 
 may be used. 
 
 In either case, use as large a brush as can be managed 
 so as to obtain all possible freedom. 
 
 BADGERS. 
 
 Large masses of colour sometimes are blended together, 
 after laying on, as on backgrounds, draperies, &c, and 
 occasionally flesh tints require blending one into another ; 
 for this purpose badgers are used of different sizes. But 
 if tints are placed properly side by side, there will not 
 be a constant call for this ; and in front objects it should 
 be sparingly used, especially when roughly painted, or in 
 heads, as it often weakens the handling and muddles 
 the brilliancy of the colouring. There should also be 
 small occasion for the use of the badger in any flesh or 
 front object, though a softer feeling is advisable in 
 remote parts, as smoothness recedes whilst boldness 
 of paint and touch will, as a matter of course, project. 
 
 The colours requisite for general purposes are given 
 further on. 
 
PORTRAIT PAINTING FROM LIFE. 
 
 POSING AND LIGHTING. 
 
 This is a most important part of the study requisite 
 to the production of successful portraits ; inasmuch as 
 the characteristic arrangement of the figure, and the 
 turning of the head upon the shoulders, together with 
 suitability of light and shade to temperament, as well 
 as the expression of the face, and the surroundings of 
 colour, are the chief means by which an artist essays to 
 convey — in an immovable, inanimate image upon a flat 
 surface — the semblance of living, embodied beings, 
 endowed with feeling, expression, and character. 
 Practically, then, and to give some illustrations, we may 
 consider the following points : — 1st. Arrangement of 
 the figure. 2nd. Turning of the head. 3rd. Light and 
 shade. 4th. Colour of draperies and accessories. 
 
 1. Arrangement of figure. — It may be thought there 
 should be no difficulty for a perceptive person to know 
 that an elegant, graceful figure is best delineated by 
 a waving line of posture, and standing, much more so 
 than sitting ; that grandeur and dignity should have 
 a swelling bend of the front of the body, and an 
 elevation of the chest. Thoughtfulness and modesty 
 an almost reverse outline ; . firmness and strength a 
 straight and more square arrangement. But, to carry 
 out these suggestions better, it appears advisable to 
 couple this with the next section. 
 
 2. Turning the head upon the shoulders. — A sitting- 
 figure, bending forward, with a strong top light, the 
 
10 A TREATISE ON 
 
 upper part of the head projecting and expression 
 thoughtful to match, will indicate strong mental 
 reflection. These, again, with the eyes turned upwards, 
 and head backwards, suggest reverie and inspiration. 
 The head turned quickly round and looking away 
 towards one side, on shoulders placed squarely gives 
 energy and quickness. A curious matter may be 
 wisely inserted here, i.e., if this last position be used, 
 and the eyes, instead of looking away, be turned to the 
 spectator, the result will be a sinister expression, as of a 
 detective on the alert. Stout, phlegmatic, easy-going 
 people, if sitting, may be well reclining, three-quarter 
 figure, face much the same, with the eyes directed 
 before them, or the head slightly turned, yet keeping 
 the eyes directed easily in front. Or, if standing, the 
 figure may be on a swelling curve, with a hand resting 
 on the hip (if a gentleman), or on a table, or other 
 object ; the head being easily posed in about the same 
 position, or gently turned a little, looking at the 
 spectator. 
 
 3. The light and shade. — Light and shade has a 
 material part in the conveying of a suitable impression 
 to the whole character, of both the subject and the 
 picture ; thus, for a child, much light is suitable, and 
 general gaiety of feeling. For a military subject, 
 more severe contrasts, and more depth and energy. If 
 a thinker, or philosopher, repose, and Rembrandtesque- 
 ness of effect. In all, consistent unity of feeling to suit 
 the appearance and expression of the subject, as in 
 pose. 
 
PORTRAIT PAINTING FROM LIFE. 11 
 
 Attitudes in motion suit young people, sitting ones 
 those of mature ages. Attitudes are, as it were, the 
 language of Portraiture, and unison of expression there- 
 with should aid in giving character. Consequently, 
 before beginning, the painter should see and remark to 
 himself what are the peculiarities of a subject, both as a 
 whole and in detail, before painting. 
 
 A lighter picture suits young people, with softer 
 shadows than those of middle age. Old people generally 
 make fine pictures with strong effects of light and 
 shade. Compactness is desirable in grouping. A bunch 
 of grapes is considered a good model for grouping several 
 figures, so is the cone. 
 
 4. Colour in draperies, backgrounds, and accessories. — 
 Herein may be found fully as much occasion for the 
 display of propriety, suitability to the subject and 
 skill in developing the salient characteristics as in 
 the other divisions ; because it behoves the painter to 
 use his best judgment in using appropriate colours for 
 dressing the subject. This relates more particularly to 
 ladies. The dresses of gentlemen do not present much 
 variety. Suitable colours for a fair or golden-haired 
 lady may be found amongst light blues, azure, pea- 
 green, pink, lavender, primrose, scarlet, black and white, 
 or cream colour. White, with more blue, heightens,, 
 whilst more red reduces the rosy tint in cheeks. 
 
 Purple, red and black develop and harmonize with 
 strong complexions wherein is much of the rubicund 
 tint ; whilst brown, green, drab, and black suit the 
 sallow and parchment coloured faces. Swarthy com- 
 
12 A TREATISE ON 
 
 plexions are subdued by warm brown, olive green, or 
 crimson velvet. But it may be here remarked that black 
 and white suit all, and give tone to any picture. And 
 when black (especially black velvet) comes near a face, 
 it subdues the strength of the red ; whereas white, 
 occurring in the like position, has the effect of height- 
 euing colour in the palest complexion, giving value 
 to every tint therein, by comparison. Black and 
 white occurring in juxtaposition, and softly shaded 
 together, have a fine effect, but require a rather 
 generally powerful style of light and shade throughout 
 the whole picture, to support them ; otherwise, the rest 
 of the work will appear weak and unfinished. Red does 
 best amongst black as a rule ; for red is the light of 
 shade. 
 
 Accessories and backgrounds. All the colours of 
 objects in, as well as the contrasts of, and strengths of 
 lights and shades appertaining to accessories must be 
 secondary to those upon the chief object, the figure, or 
 it will not come forth relieved. We work upon a flat 
 surface, and therefore, have to use Art, i.e., artificial 
 means for producing the appearance of relief, and im- 
 parting effect to the chief point. 
 
 To cany the spectator's eye through a picture, the 
 principal colours of the front object or objects are to be 
 repeated in the background, but in a minor degree. 
 
 A deep warm brown tone of shade pervading the 
 figure, the near accessories, and the background 
 shadows, will give breadth of tone throughout ; whilst 
 the general tint of the lights and half tints of the 
 
PORTRAIT PAINTING FROM LIFE. 13 
 
 background should at once be a contrast and relief, 
 comparatively speaking, to the complexion ; and coni- 
 plimentaiy to any marked colours of drapery on the 
 subject or foreground accessories. A greyish background, 
 with warmish lights, relieves a fair face ; bluer for red 
 ones, or a greenish olive for dark complexions. Yellow 
 or buff surrounding draperies benefit brown faces, by 
 reducing their tone through the opposition of warmth, 
 as white gives force to lively bright ones. 
 
 PAINTING THE PORTRAIT FROM LIFE. 
 
 Having considered the characteristics of the subject, 
 and decided consequently upon an appropriate pose, a 
 general outline may be made of the whole figure, 
 beginning with large lines indicating general contour. 
 
 A grey canvas is preferable to white — being easier 
 for the eyes, and affording a half tone to work upon. 
 
 Sticks of charcoal are good, when its marks are 
 readily removed by dusting with a rag. 
 
 The whole being outlined, it may be remarked that 
 the proportion of a head is eight eyes from top to chin 
 — divided into halves by a line drawn through the 
 corner of the eyes — an eye averaging one inch or a little 
 over — so that a head will measure generally about eight 
 and a half inches. There is an eye between the eyes, 
 and so, on the average, three, to three and a half from 
 outer angles of eyes ; eyes to tip of nose, one and 
 five-eighths ; eyes to centre of lips, two and a half ; 
 eyes to chin, from three and five-eighths to four and a 
 
14 A TREATISE ON 
 
 quarter. These are the general proportions of faces as a 
 rule, and of course it will be apparent that it is necessary 
 to have a standard or rule of proportions, because it is in 
 deviating from this standard that individuality, or 
 peculiarity of an individual is obtained — in other 
 words, their correct resemblance. For instance, some will 
 have a head higher from the eyes upwards, than the 
 face is downwards from the eyes to the chin. 
 Others the reverse. Some have eyes considerably less 
 than an inch across, and less than an eye between. 
 Noses vary likewise both in length and form, mouths 
 in widtli and projection, also in approximation to or 
 deviation from the shape commonly called a Cupid's 
 bow. 
 
 Such heads as that of the Venus de Medicis for 
 females, and the Apollo Belvidere for men, are taken 
 as models of standard beauty. 
 
 If therefore a student in portraiture will use those in 
 comparison with his subject — observing where in each 
 part it resembles or deviates from the like parts — and 
 so mark the work, the distinctive individuality requisite 
 to convey strong resemblance will be obtained. 
 
 Lighting the Face. — By judicious management of the 
 light almost any face may be rendered agreeable. By 
 wrong direction of light almost any may be spoiled. 
 Let a painter for illustration place, say, a middle aged 
 lady close under a gas chandelier, i.e., a vertical light, 
 the cavities of the face will be all thrown into shadow, 
 whilst lines will be made apparent, hard and severe, 
 that were scarcely perceived in other lights. This is 
 
PORTRAIT PAINTING FROM LIFE. 15 
 
 equally objectionable, if the strong light be a close side 
 light. Now let the same face be lighted in front, and 
 from a greater distance to get a more diffused light. The 
 appearance presented will be many years younger and 
 infinitely more agreeable. Usually speaking, the light 
 which develops most heads well may come at an angle 
 of forty-five degrees. 
 
 Having now indicated the preliminaries of pose — 
 perceiving of characteristics and lighting — we next 
 approach the painting. Before painting we should 
 understand how to best see nature, and so commence the 
 imitation thereof. 
 
 The suggestion for perceiving and securing a likeness, 
 by comparing a head, both as a whole, and in each 
 feature, with a standard model, will readily appear as 
 sure a guide as may be ; which also applies to the whole 
 contour of the figure. The painter having observed by 
 comparison, will see more strikingly, the peculiar 
 characteristics of his model, and also will the better 
 judge the pose suitable : for example, a front view for a 
 full fat face, a three-quarter or nearer profile for thinner 
 or aquiline countenances, &o. These settled, will pretty 
 much guide as to the turning of the figure. And this 
 comparing of a sitter with a given standard model, 
 enabling a painter to catch the peculiar characteristics, 
 will be found convenient and useful ; because any one 
 can have the statues of Venus and Apollo in a studio. 
 
 Not to be prolix, it is, after all, only a handy way of 
 doing what all mankind (most perhaps unawares) do 
 constantly, and must — i.e., work by comparison, from 
 
16 A TREATISE ON 
 
 objects present or in the memory, in imitating any- 
 thing. 
 
 A picture should be begun in masses, the details 
 should come into it gradually. To see Nature in 
 masses, the head must be looked at, as it were, 
 indistinctly, by the painter closing one eye and looking 
 short of his object with the other, by which means he 
 will see the broad masses, without being troubled 
 with detail. To put this on canvas, we should com- 
 mence by placing that which starts first to our per- 
 ception on looking at the model — namely, the highest 
 lights, then the secondary lights, half lights, half 
 shades, three-quarter shades, — and so on in broad 
 sweeping strokes, down to the deepest shadows, the 
 darkest of all being that shadow cast by the nose. All 
 being on, they may be slightly blended together with 
 a clean, soft brush. 
 
 FIRST STAGE, OR MONOCHROME. 
 
 It has been the practice in former times, as now, by 
 many good masters to lay on the first stage in a mono- 
 chrome, black and white, or brown and white, as a 
 basis. Some have, and some of the present time do, 
 begin in colours. But the shadows must evidently be 
 hot and flaring if begun in warm, thin, transparent 
 colours on a very light canvas ; add to which, if the 
 painter be a beginner, he will find it a complex 
 difficulty, having to get in at once the image, likeness, 
 light and shade and colour. 
 
PORTRAIT PAINTING FROM LIFE. 17 
 
 As the shadows, when the picture is completed, should 
 be glazed with transparent colour, to give solidity and 
 relief by their opposition to body opaque lights, &c, 
 it is evident that not only should the first time over be 
 solid, but cool for glazing, because rich finish shows 
 best when warm tones are passed over cool ones. 
 
 Whilst on the subject of the head being commenced 
 in monochrome, it may be to the purpose here to 
 remark upon a few points as to expression. 
 
 The Eyes. — "WTien the upper lid is raised in the centre, 
 showing the top of the iris, it suggests keen energy, 
 especially if the bright speck shows over the pupil ; 
 when the lid is lowered instead, a soft repose results. 
 Eyes are made to smile by raising the lower lid, 
 especially at the outer angle, and drawing the upper 
 lid down at the outer angle. Eyebrows raised at the 
 inner angle give a melancholy expression ; lowered and 
 contracted, a studious or thoughtful one, which is 
 increased by giving depth of shade between them ; 
 this in extreme, gives anger. Shade in the centre of a 
 forehead, helps to suggest thought. 
 
 The Mouth. — Lips turned up at the corners suggest 
 smiling and agreeableness ; turned down, moroseness ; 
 projecting lower lip, firmness. 
 
 Lights and shades materially aid in producing 
 expression : light, raising muscles ; shadow, depressing 
 them. For instance, a bright light on the upper part of 
 the cheeks, and under the eyes, and by the curve of the 
 mouth, gives cheerfulness by raising the flesh in appear- 
 ance, whilst shade in those parts has the opposite effect. 
 
 B 
 
18 A TREATISE ON 
 
 The student will learn much of this by observing how 
 the lights and shades form on his own face, by assuming 
 various expressions before a looking-glass. 
 
 Having, as before said, now got in the first painting 
 of the head, it will be necessary to let it stand some 
 days to dry before repainting in colour. Meantime, the 
 drapery, background, and accessories should be laid in ; 
 the same monochrome being used. Breadth and soft- 
 ness being preserved throughout, i.e., no spotty black 
 shadows, nor severe white lights ; care being also taken 
 that the objects are not stronger in contrasts, &c, than 
 the head. 
 
 SECOND STAGE, OE FIEST COLOURINa. 
 
 We will here remark upon the advantage of adopting 
 as simple a method as may suffice, using as few colours 
 as will do the work well ; because multiplicity, besides 
 being quite unnecessary, is confusing. The following 
 will paint almost anything : — 
 
 Flake "White Antwerp Blue 
 
 Yellow Ochre Ivory Black 
 
 Raw Sienna Bitumen 
 
 Burnt Sienna Sugar of Lead 
 
 Crimson Lake Linseed Oil 
 
 Vermilion Pale drying Oil 
 
 Indian Red Megilp. 
 
 Let the palette be set in the order printed above, 
 commencing with white, j'ellows, &c, on the right ; the 
 
PORTRAIT PAINTING FROM LIFE. 19 
 
 others going to the left, gradually to the shadow colours. 
 On the extreme right, instead of actual white we have 
 flesh lights, made of white, yellow ochre, and a little lake 
 mixed to a tint resembling the brightest point on a face, 
 to be varied with other colours to suit the complexion 
 under treatment; for instance, add raw sienna if a 
 sallow one. By the side of this may be another patch 
 of secondary high lights, made from the same colours, 
 stronger in degree. On the left hand of the palette is 
 " common brown ; " this we make of ivory black and 
 burnt sienna, made cool with more black, or warmer 
 with more burnt sienna, as required. 
 
 The use of this common brown is invaluable, as 
 affording a means of getting tints down in degree 
 without their being crude, to any depth, in modelling. 
 It will be found mostly in the half and three-quarter 
 tones that a complexion is conveyed. 
 
 The following may be set down as a general rule 
 where to place the various tints, (observing that depth 
 is aided by using the above-named common brown) ; flesh 
 tints, and high lights, use white, yellow ochre, and red. 
 Next to this the same, rather orange. Next, the same, 
 with a little lake and common brown ; or, if very fail', 
 a very little blue made pinky. Next, the last, with 
 blue. Going into the shadow, use common brown, 
 Antwerp blue, and flesh lights ; for the shadows, 
 yellowish brown, or reddish brown. These tints are 
 more for the forehead and chin. The cheeks, are to 
 partake more of tints with the lake and raw sienna. 
 Always bear in mind that in the centre of a face the 
 
 b 2 
 
20 
 
 A TREATISE ON 
 
 colours are warmest, whilst cooler tints are to be at the 
 sides. The first time over in colour, flesh should be 
 throughout cooler than required when finished, lighter 
 and softer in the shades, markings (especially the 
 pearly and blue greys) and the deep shadows, which 
 are ultimately to be rich. The mellow yellow brown, 
 on shadow side of forehead, under chin, &c, the red- 
 ish tone imder nose, cavities of ears, nostrils, shadows 
 tlnown by locks of hair, &c, should be made purplish 
 and cool in this stage ; and whilst on the subject of 
 shadows let us note that the edges of shadows are of a 
 purplish grey. The orange and red tints are to be all 
 kept comparatively cool this first time over in colour, 
 hence this stage is called, " dead colour." 
 
 The flesh about cheek-bones is usually rather more of 
 a yellow tint than the middle of the cheeks ; but in a 
 warm complexion has a little of the orange in it ; in a 
 rich strong complexion burnt sienna and crimson lake 
 are to be used in the red of the cheek. The chin is paler 
 generally. 
 
 The eyes are to be softly coloured, the iris being trans- 
 parent shows the tint by refraction on the side of the 
 pupil opposite to that from which the light comes. The 
 outline round the iris should not be marked hard, but 
 blended into the white of the eye, which must be pearly 
 and subdued. The pupil should be put in softly, its 
 intensity will be increased as the other deep passages 
 advance, such as the depth of hah', to be finished with 
 glazing. 
 
 The mouth may be modelled in colour, greyish lake 
 
PORTRAIT PAINTING FROM LIFE. 21 
 
 tints for the upper lip, greyish, vermilion for the lower 
 one ; brightest in colour, of course, where lightest. Do 
 not mark the division between the lips too strongly, nor 
 make the edges of the lips rigid, but all soft. 
 
 The Hair may be laid on in colour now, rather 
 lighter than intended afterwards, and broad in treat- 
 ment ; that is to say, not any lines of detail, but masses 
 of lights and shadows, giving the general form. Where, 
 if any, shadows are cast by hair on the forehead &c.,let 
 these be of a purplish Indian red tint, edged with a 
 purplish grey, like other shadows. 
 
 A shadow is strong in proportion to its proximity to 
 the light, and is caused by an intervening object sud- 
 denly ; whereas a shade is merely the gradual declining 
 from light to dark on a bone, muscle, or feature. 
 
 Eyebrows may be softly laid in also with their 
 actual colour ; grey being used to edge them into the 
 light forehead, &c, whilst the dark parts should be a 
 deep reddish grey or warm purple. 
 
 The Ear is to be painted in this stage of a general 
 lakey grey, the laps only moderately marked, and lobe 
 rather warmer, but all having plenty of grey half tint, 
 the darks of the recess a reddish Indian red purplish 
 grey, as also the shadow thrown by the lobe, edged with 
 cool purplish grey. 
 
 Reflections. — It will be observed in nature that the 
 edge of the side of the face in shade has a soft half 
 light upon it. This is caused by reflection from the 
 surrounding objects, and to a degree enters into all the 
 dark shadows of the whole face and figure, sufficiently 
 
22 A TREATISE ON 
 
 to make out the form and modelling of each part. By 
 reflected lights the edges of objects are relieved against 
 shadows and dark parts. This prevails also in faces, 
 where it will be observed that the edge of the nose, 
 (wing of the nostril), lobe of ear, lips, edge and bottom 
 of chin, &c, are relieved against the shadows which they 
 cast by reflections. The colour of reflected lights should 
 be usually made warmish and luminous, but will be 
 influenced by any near object imparting its colour and 
 brightness. Locks, ringlets, and curls of hair, moustaches, 
 or whiskers, have these reliefs on the shadow side, which 
 may be seen by carefully observing Nature. The nearer 
 any object is to the spectator's eye, the more marked 
 should these reflections be in the picture. Study of 
 Nature is ever advisable ; but all eyes and intellects are 
 not equally capable of perceiving ; hence the require- 
 ments of instruction from those of experience, and the 
 consequent saving of much time to the student. 
 
 One more remark, and then we may fairly consider 
 that the first colouring will have been laid down. That 
 is with respect to shadows and markings. Let all 
 the dark lines of eyelids, eyebrows, nose, lips, every- 
 where be soft, both in definition and colour, as 
 strength in this stage would be in the way of future 
 corrections and transparent richness. The full effect 
 must come gradually, as it does upon the eye when 
 looking at life. 
 
 In fresh coloured or ruddy complexions, it may be 
 found serviceable to use light red instead of lake in the 
 high lights and general pinky tints of the light parts of 
 
PORTRAIT PAINTING FROM LIFE. 23 
 
 a face, as affording more solid basis to work the necessary 
 transparent colours for finishing. 
 
 And it may be well also to mention a composition for 
 the deep shades, to be used the first and second times 
 over, which affords a good ground for glazing rich 
 colours upon. This tint is made of black, white, 
 Indian red, and lake, mixed to a murrey of a middling 
 tint and depth. This colour will be found to work well 
 in the early stage of a head, as it blends well into the 
 other tints. At the same time the common brown should 
 be used in all other parts of the flesh, for the reasons 
 set down before. 
 
 It will be apparent that neither light red nor the 
 above shadow tint can be admissible in the very fair, 
 pale, or sallow complexions. 
 
 THIRD STAGE, OR THE SECOND SOLID 
 COLOURING OF THE HEAD. 
 
 Warm the canvas slightly before a fire, rub over the 
 part to be repainted, — the head at present — with a little 
 Megilp and bleached linseed oil mixed, using the fingers; 
 rub all off again with cambric or other clean rag free of 
 flue. The warming dispels any damp, and the oiling is 
 to make the surface receive paint freely. The second 
 colouring or repainting is to give more general strength 
 of light and shade, together with more accuracy of 
 outline to the features, rectify and produce more of the 
 subject's expression and character, also a decision in the 
 colouring of the complexion, hair, eyes, &c, so as to 
 
24 
 
 A TREATISE ON 
 
 make out the temperament. This is the place to 
 note that a Portrait-painter must become conversant 
 with the sciences of Phrenology, Physiognomy, and to 
 some degree of Physiology, so that he shall comprehend 
 the subject, and so know what points of expression, 
 colour, &c, to emphasize. 
 
 Indeed, it should be pre-supposed that a painter is 
 familiar with these, also perspective, drawing, and 
 modelling, before he poses the figure or starts an outline 
 at the beginning of a picture. 
 
 The second colouring is to be begun by laying on the 
 high lights in their several degrees — observing that 
 they are always brightest where they fall on the 
 most prominent and reflective objects, such as the bony 
 forehead and the bridge and tip of the nose — a project- 
 ing cheek bone will have them in the second degree, 
 the chin lower, &c, — all lower as they recede from 
 the light. 
 
 As to colour, yellowish, or orange, or reddish, and 
 lakey tints, with greys partaking of these in 
 varied degrees, will be found to prevail most in the 
 centre of the face, as in the middle of the forehead, 
 cheeks, nose, chin ; whilst, as we approach the sides, 
 the flesh becomes greyer, until we reach the mellow 
 shadows; and on looking at Nature, which should be a 
 constant practice, we shall observe that the greys on the 
 light side have more of the lakey, lavender, lilacy, and 
 blue tint ; they resolve more into the neutral on the 
 shadow side, and ajipear comparatively greenish next 
 to the dark shade. This is varied, as a matter of course, 
 
PORTRAIT PAINTING FROM LIFE. 25 
 
 according to complexion; and these greys are much the 
 result of comparison, one tint with another — more so 
 than actual positive tints ; there being on an average, 
 especially in fair complexions, but little actual or 
 positive colour, the purest being in the vicinity of the 
 light and half tones, the nose and cheeks. This is 
 generally speaking, for peculiarities are to be seen in 
 many individuals. In all but these purest tints, the 
 " Common Brown " before referred to is to be employed, 
 made warm or cool according to the subject, for 
 reducing tints ; and it is invaluable as a means for 
 working the modelling down into deep shadow without 
 the colours becoming crude. 
 
 In this second stage of the colouring, the lines of 
 features, eyelids, shadows under eyebrows, nostrils, 
 cavity of ear, also the dark passages of the hair, 
 &o., are to be worked deeper; this time semi-trans- 
 parent, but the full richness left for glazing, which will 
 be spoken of in the chapter on finish. These semi- 
 transparent tints for the shadows may be made of 
 the common brown and vermilion or Indian red, 
 purple and raw sienna, or vermilion and bitumen with 
 the common brown, and a little flesh light to give the 
 degree of depth required, i.e., prevent it being too 
 heavy to receive the ultimate finish. 
 
 The same treatment is applicable to the hands. 
 
 In this second colouring, or, more properly repainting, 
 
 of the head, we have to lay in all shades of the hair, 
 
 in masses; and paint softly on the forehead any shadows 
 
 cast by locks of hair, if there be any such, but not 
 
26 A TREATISE ON 
 
 any locks of hair in detail : those will come afterwards 
 in due course with the finish. These shadows may be 
 a purplish red grey, made of a little crimson lake and 
 Antwerp blue (purple), and a little common brown and 
 vermilion — these, with flesh lights added, will give a 
 neutral reddish purple, which will receive the after 
 glaze of warm transparent colour well, of whatever 
 depth may be required. 
 
 We should next repaint the background draperies 
 and accessories ; getting them down to as near the right 
 strength as may be, and completing them, so far as 
 body-colour can — additional strength and transparency 
 of shadow having to be imparted when dry by glazing. 
 
 FOUETH STAGE, OE EE-TOUCHING OF 
 THE HEAD. 
 
 Having got about the required depth and strength on 
 the background, draperies, and accessories — (still leaving 
 any very bright high lights on white linen, &c, until the 
 flesh is finished) we are enabled to see what additional 
 strength is required to the shadows and general model- 
 ling of the head. 
 
 Warm the canvas, damp with Megilp and oil, and 
 proceed as before, enriching tints with semi-opaque 
 re-touchings. By semi-opaque is meant transparent 
 colours (to which the flesh lights are added), such as 
 raw sienna and lake, to enrich the carnation on 
 cheeks ; or vermilion for lips. Semi-opaque re-touching 
 for deep shadows might be made of — for shadow 
 
PORTRAIT PAINTING FROM LIFE. 27 
 
 under the nose — vermilion and common brown or 
 bitumen ; for shadow on the edge of the forehead, 
 which is of a yellowish brown, of bitumen and yellow 
 ochre, or raw sienna, or these with white, if pale or 
 lightish ; for the side of cheek, redder, with perhaps 
 vermilion and bitumen. Use Megilp and oil mixed 
 to thin this colour. 
 
 The lights and pearly greys may require heightening ; 
 this we do by scumbling, as it is called, which consists 
 of passing thin opaque tints over such passages as may 
 require it. The effect of scumbling materially aids in 
 obtaining the various beautiful pearly tints to be seen in 
 fine complexions, and can be used to soften any mute- 
 ness. It is available in any part, down to the deepest 
 shadows, by adding the common brown to reduce the 
 tone. As a matter of course, scumbles are thin, and are 
 laid on with Megilp and oil mixed. The last glazings 
 of shadows will be best done in Megilp alone. 
 
 FINISH. 
 
 First warm and Megilp as before. Finishing 
 consists in glazing with transparent colours all deep 
 warm passages. The shadows of hair, with bitumen or 
 other brown. The shadows of flesh with the same, and 
 sometimes Indian red or vermilion added. The nostril, 
 with lake, or lake and vermilion, or lake and burnt 
 sienna. Cavity of ear, with vermilion and Indian red, 
 or bitumen. All shadows of flesh similarly. The car- 
 nations with raw sienna and lake, or lake alone, or lake 
 
28 A TREATISE ON 
 
 and burnt sienna, according to complexion. Lips, with 
 lake or lake and vermilion for the lower one, lake and 
 Indian red for the upper one. Rich deep touches about 
 eyelids, shadows under eyebrows, &c, made of bitumen 
 and Indian red, or with raw sienna added. Shadows 
 from locks of hair, &c, with the same. All the shadows 
 of draperies that are dark may be glazed with bitumen 
 or some other transparent brown. 
 
 It should here be noted that the circumstance of 
 having rubbed over the part (head, drapery, or back- 
 ground) requiring to be worked upon with Megilp, 
 enables the painter to begin or leave off anywhere 
 without being obliged to re-paint the whole. 
 
 Passages of light, locks of hair, or details of drapery, 
 may require brightening, or scumbling up ; eyelashes 
 indicating, &c. If any of these are dark, they may be 
 done with transparent touches ; if light, laid on in body- 
 colour. Greys may be improved, corrected, or enriched, 
 pupils deepened, the point of light added to the eye, and 
 any fine finish added. If the general breadth of light 
 and shade, expression, form of features, and likeness 
 have been previously obtained, add the full crisp 
 touches of bright lights. Review the whole, and if the 
 picture then is as near the original as it is in the power 
 of the painter to give it, the wise course is to leave off. 
 There is much in knowing when to do that, as frequently 
 a tolerably good work is spoiled by trying too anxiously 
 to do too much. 
 
 If the student looks at his work in a mirror as he 
 progresses, or at finish, the image being reversed, will 
 
PORTRAIT PAINTING FROM LIFE. 29 
 
 be a new picture, comparatively to him, as to a stranger ; 
 and this will enable him to see errors, if there are such, 
 which before had escaped him. 
 
 HANDLING. 
 
 This is a department in the treatment of heads, as 
 in fact in every part of a picture, of much import- 
 ance ; though not necessarily in the early stage so much 
 as after and in the last. It means the mechanical 
 working of the brush, together with the sweeping, 
 loading of colour, &o., light into dark, and dark into 
 light ; it will be evident that strong lights and 
 shades give most facilities for its display. The amount 
 of roughness or otherwise must ever be adapted to the 
 subject ; rough and thick on aged, rough subjects, and 
 smooth for young ones, &c. Strokes may be curved, 
 broken, &c, according to form of feature, &c. This is 
 speaking of painting faces. Hair will be usually less 
 loaded with paint than flesh. Perhaps a good general 
 guide for the amount of paint to lay on may be given 
 by saying that all the parts of a figure should be about 
 equally loaded, the most prominent the thickest. 
 
 A perceptive person will be aware of the necessity of 
 managing the brushwork differently on different textures 
 to give their impressions in paint. 
 
 SEEING TINTS IN FLESH. 
 
 Sometimes students experience difficulty in discerning 
 the tints in nature, that is to say, the delicate pearly 
 
30 A TREATISE ON 
 
 greys ; for in all complexions there are greys by com- 
 parison, however ruddy or brown the subject may be. 
 To such students it may be a help to hold a piece of 
 white paper or linen by the side of any part where the 
 appearance in respect of colour is in question ; this, by 
 comparison, will make the colour seem more decided, 
 and a help to some. 
 
 Complexions. — The two leading tints, called " flesh 
 lights," made, as before said, of white, raw sienna and 
 light red, or white, yellow ochre and crimson lake, and 
 the " common brown," being understood as the basis 
 for light and shade, into which all other colours are 
 to be mixed; the addition of "lights" is for heightening, 
 whilst the addition of the brown for reducing shades 
 in modelling, and getting down parts into shade, so as 
 to produce breadth without crudeness ; a painter may 
 readily give a representation of the living complexion 
 by adding to these plentifully, in all directions, the 
 leading or characteristic tint thereof. Supposing it to be 
 a rich, ruddy face, there may be used raw sienna and lake, 
 vermilion and raw sienna, or crimson lake and burnt 
 sienna, in which complexions some might suppose greys 
 were nowhere to be seen or required ; but if a painter 
 depict flesh without greys, it would resemble leather. 
 A trained eye will discover all the greys in their usual 
 places, only modified in accordance with complexion. 
 
 On the shadow side of a face the lights are to be 
 slightly subdued in any case. For this a little of the 
 common brown may be used, with a touch more of raw 
 sienna, to keep it from being cold or dirty, and Indian 
 
PORTRAIT PAINTING FROM LIFE. 31 
 
 red, in a very slight degree added instead of lake, 
 as being more subdued, and therefore more suitable 
 for carnations and purplish greys, where also the cool 
 greys should be less pronounced, i.e., more common 
 brown used and less blue than in the greys in 
 light. 
 
 Lines and wrinkles must be given with warm colour, 
 and rounded with grey, but warm in effect, especially 
 on a light passage — as forehead, light cheek, &c. Such 
 lines may be made of raw sienna and lake or vermilion, 
 Indian red, or burnt sienna, according as may appear 
 suitable for place and the complexion. 
 
 Whilst young people have the bloom of the peach, or 
 the freshness of the rose, and middle-aged have rich- 
 ness, mellowness, or tan ; old people have usually much 
 yellow in the lights, and purplish three-quarter tints 
 of many purplish shades; their individual complexions 
 being conveyed in the half tints, though the ex- 
 treme shadows must be mellow, rich, and warm, to 
 preserve luminousness. 
 
 In a fair lady much tender pinky grey is observable 
 in the centre of the face, about the eyelids, under eye- 
 brows, &c, whilst the cool greys on the temples are 
 bluish, as also round outer edge of chin and the half 
 shade of neck, &c, resolving as usual into a cool 
 greenish grey as it blends into the warm shadow. 
 
 The best time to judge of the exact amount of 
 colour in a face is, say, half-an-hour after sitting, as 
 as first it will be perhaps too much flushed, and later 
 on too pale from fatigue. 
 
32 A TREATISE ON 
 
 TEMPERAMENTS. 
 
 The Nervous are fair, usually blue or blue grey eyes, 
 rich brown hair, a moderate amount of lakey pink on 
 cheeks ; delicate pearly greys in the flesh. They are 
 refined and poetic. 
 
 The Sanguine are of a fair, vermilion tint throughout, 
 sandy, auburn, or chestnut hair, hazel or blue eyes, 
 vermilion tinted cheeks, quick and earnest in action, 
 enthusiastic. 
 
 The Bilious are dark, brunette, or swarthy, brown or 
 black eyes, deep warm tint on cheeks, of the kind made of 
 lake and burnt sienna, or sometimes the face is entirely 
 dark opal. The hair is black, strong, intense, and de- 
 termined, enduring. 
 
 The Lymphatic, pale grey and puffy, coarse, light- 
 ish brown hair, pale eyes of a grey colour, mostly stout 
 in person, they are slow and lethargic, indolent often. 
 
 These are general types of the Europeans, most 
 people are mixtures of two or more, some compoimded 
 of all four, seldom any purely one. 
 
 Characteristics, Hair, 8fe. — The hair or head dresses 
 should be arranged for a portrait as usually worn, 
 In nature they are so conducive to individuality that 
 any particular alteration causes doubt at first sight in 
 recognizing a person. 
 
 We should also depict any peculiarity of manner, if 
 such, as to pose and trait in painting a subject of 
 notoriety. 
 
 Painting Hair. — The treatment of hair is considered 
 one of the most important matters about a portrait, and 
 
PORTRAIT PAINTING FROM LIFE. 33 
 
 tests a painter's skill. Its characteristics are thinness and 
 softness. It should always be drawn with freedom, and 
 painted broadly, i.e., without lines, or even detail in the 
 first stages. Any detail or suggestions of lines should 
 be given in transparent colour at the last finishing glaze 
 on the shadows, and only coming partly towards the 
 lights, which must be preserved broad. 
 
 The local tints of hair usually show most in the half 
 tones. The bright, glossy light on auburn hair is in- 
 clining to lilac ; on ordinary brown, lakey grey ; on black, 
 bluish grey ; on flaxen and golden hair, it is yellow with 
 grey half tints as in gold, which has the colour strongest 
 in the light. 
 
 In the early stages all the edges should be soft and 
 indefinite, the shadows broad and cool, their depth, 
 richness, and general detail added as the picture 
 advances. 
 
 FIRST COLOURING OF DRAPERIES, BACK- 
 GROUNDS AND ACCESSORIES. 
 
 The head and hair having been put on in colour the 
 first time over, or dead-colour,' we proceed next to the 
 background, accessories and draperies, and lay in the 
 background first, with its contrasts of colour to suit 
 the complexion ; but in any case always grey in 
 general effect as compared with the colours of front 
 objects, and slightly deeper in the lightest passages 
 
 c 
 
34 
 
 A TREATISE ON 
 
 than the half tints of the flesh. As a rule the shadows 
 of backgrounds should he much warmer than the 
 lights. The objects in backgrounds should be treated 
 broadly, and not invested with detail, or strong 
 lights and shades. The deepest shades are not at this 
 stage to be very warm or brown, but generally grey, 
 such as the " common brown " and white will make, 
 softened into purplish half and three-quarter tints. 
 
 Draperies and accessories should also be put on 
 broadly, and strong contrasts left for an after repainting, 
 when corrections in drawing and chiaroscuro should 
 be made — with any required alterations — so that severe 
 decision in this early stage would be only in the way, 
 and detail a waste of time. 
 
 In this place it is essential to note that white objects, 
 such as linen, &c, are not to be painted up with the 
 whitest parts laid on, but a broad general sort of half 
 tint laid in with subdued half and three-quarter shades 
 — all comparatively warm in tone — like cool brown and 
 white make. Also note that, by white, we mean 
 white with a tinge of yellow added, to take off the 
 crude cold asperity of the white, which should never be 
 used by itself. 
 
 How to manage contrasts of light and shade, com- 
 binations of colour, relief of near objects, and general 
 construction of the picture, have been treated of in 
 former chapters. We have here in addition to what 
 has been just said, only to add that the outlines and 
 definitions of forms are to be kept soft, that the lights 
 on draperies and accessories are to be broad, their 
 
PORTRAIT PAINTING PROM LIFE. 35 
 
 brighter points left for the after stage, that the deepest 
 shadows are only to be moderately strong, their intense 
 parts having to be given in another stage when all is 
 on and seen to be accurate in form and place. 
 
 There is a defective quality about some pictures 
 called spottiness : the result of making the lights in 
 different parts of a picture of equal brightness, whereas 
 there should be only one brightest part, and all other 
 subdued in degree from it. 
 
 BELIEF. 
 
 Foreshortening and relief are helped much by having 
 a light intervening between the shadows from an 
 object, and that object itself; also by having retiring 
 surfaces indefinite, and rendered transparent by glazing. 
 For instance, a background is made to recede by 
 glazing, whilst foreground objects are brought forward 
 by bold body colour. 
 
 Perspective aids relief where the objects intro- 
 duced render such admissible ; so does the opposition 
 of retiring colours to those that come forward (which 
 has been already explained), together with the softness of 
 receding lights and shades contrasted with the forcible 
 oppositions in prominent objects. These are the artist's 
 aids in creating the illusion, which in many works so 
 annihilates all appearance of a flat canvas. 
 
 c 2 
 
36 A TREATISE ON 
 
 DRAPERIES AND BACKGROUND FURTHER 
 CONSIDERED. 
 
 In cases where the artist is free to choose the colour 
 of draperies and accessories, it may be well to state as a 
 leading principle in the disposition of colours that all 
 such as appertain to light, as white, yellow, red, and 
 their compounds, come forward ; whilst greys, greens, 
 browns, and blacks, retire. Consequently by having 
 the former in the front on the figure and accessories, 
 helped with strong opposition of lights and shades, and 
 the latter in the background, where the contrasts of 
 light and dark are modified, the appearance of reliej 
 must be the result, especially if aided by good drawing, 
 perspective, &c. 
 
 CLOTH AND SILK. 
 
 Cloths have broad masses of lights, even the finest 
 have but few breaks. 
 
 Silks are full of angles and sparkling breaks, with 
 reflected lights throughout ; the folds are smaller and 
 more numerous than in satins, which are heavier, the 
 half-tones broader and larger, and consequently richer 
 in effect. It is always observable in Nature, as in 
 the pictures of Rubens and Velasquez, that the ex- 
 tremely rich draperies have large unbroken masses of 
 gorgeous colour. 
 
 VELVETS. 
 
 A peculiarity in velvets, necessary to be understood 
 for its representation, is that from the circumstance 
 
PORTRAIT PAINTING FROM LIFE. 6( 
 
 of the pile absorbing the light, the highest lights are 
 seen on the edges of folds, whilst their prominences 
 are darkest. They should be painted transparently 
 
 throughout. 
 
 EL IE DRAPERIES. 
 
 The highest lights should not be cold blue and white, 
 but blue broken with flesh lights instead ; blue for the 
 half-tones, with black for shade, and some lake added 
 to prevent any inclination to greenness, and to give 
 richness. The deep shadows to have lake added, and 
 glazed with lake and bitumen. 
 
 GREEN. 
 
 The foundation coat for green should have plenty 
 of yellow in the lights and half-tints, with brown in 
 the shadows, over which, when finished, glaze with 
 bitumen and much lake. The reflected lights should 
 be made warm. The high lights may be broken with 
 flesh lights, as in the painting of blue, to keep up the 
 breath of warmth which shoidd pervade the light 
 throughout the whole picture. 
 
 YELLOW AND BROWN. 
 
 Whatever the tint, let the high lights have flesh 
 lights in them instead of cold white, the individual 
 tint residing in the half-tones. In yellows the three- 
 quarter tints have grey, which sweetens them, and 
 increases the brightness of the colour of the half -tint ; 
 iu browns they are purple. The reflections of yellow 
 have vermilion in them or orange, whilst browns have 
 
38 A TREATISE ON 
 
 crimson. These to be modified according to circum- 
 stances. 
 
 CRIMSON. 
 
 Let the high lights be golden. Burnt sienna, lake, 
 raw sienna, vermilion, &c, varied to suit the colour for 
 the lights, mixed with flesh lights, the local colour to be 
 in the half -tints. Crimson is to be much enriched by 
 using some purple in the three-quarter tijtf s, the deep 
 shadows yellow brown, glazed with bitumen. The first 
 si ages of this, as of other warm draperies, should be softer 
 in colour than is required in finish. Use common 
 brown in shading down parts and masses ; and let 
 the deep shadows partake ^f this, with body-colour, 
 as a solid basis to work upon. 
 
 Reflections warm, of course, and varied according to 
 surroundings. Yandyke and others managed their 
 backgrounds so as to repeat in a subdued degree the 
 chief colours of the front objects, and so preserve 
 breadth of effect. 
 
 WHITE LINEN. 
 
 Use a little yellow (either raw sienna or yellow ochre) 
 with flake white for the lights ; to this add ivory 
 black with a touch of Antwerp blue and lake for half 
 tints, more black and blue for three-quarter tints, and 
 this reduce with common brown, deep into the darkest 
 shadow, which make warm with the sienna and bitumen, 
 or if in proximity to a warm drapery, burnt umber. 
 If near red drapery, it may be found necessary to 
 glaze the deep shadows with lake, burnt sienna, and 
 
PORTRAIT PAINTING FROM LIFE. 39 
 
 bitumen. Lines, folds, or creases, in the mass of light 
 should be warm, their half-tones made of brown and 
 white, the shadows to have yellow in them, to prevent 
 iciness, which would break up the effect. It is a subject 
 of some consequence to treat a mass of white drapery 
 studiously, it being a key to the effect of the whole 
 picture. The half-tints and greys on white being in 
 their character cool, the shadows should be warm and 
 luminous, even if in front of blue or grey drapery, as 
 the shadows of those too should be warm and rich, in 
 contrast to their lights and half-tints, or the effect will 
 be heavy. In fact, to preserve tone in a picture, rich 
 brown shadows should pervade all the objects, especially 
 in the foreground. 
 
 BLACK CLOTH. 
 
 Use lake in all the tints of black cloth, excepting the 
 deep shadows, which must be rich transparent brown 
 when finished, with reflections according to surroundings. 
 High lights, white, black, and lake ; half -tints, the same 
 deeper ; towards the shadows on the shadow side, 
 gradually infuse common brown, so as to lose the 
 purplish black a good deal as it goes into shadow. 
 Sometimes vermilion is added in the high lights, or 
 even raw sienna to kill the cold hue, according to the 
 surrounding colours of objects. In any case the deep 
 shadows are all (as much as can be without being 
 striking) to have plenty of bitumen and lake glazed on 
 ultimately ; so the half -tints alone remain pure to give 
 the local colour, and thus we get rid of the heaviness. 
 
40 A TREATISE ON 
 
 FORCE AND POINT. 
 
 A telling portrait may be made by opposing a dark 
 background to light draperies, or the reverse. Some- 
 times a mannerism is used of having the shadow side 
 of the head and figure to tell strongly against light 
 behind. This in moderation is good — if it be not hard 
 on the edge — and requires qualifying by circumstances. 
 
 The comparative strength of light and shade on 
 the different parts of a subject must be dictated 
 by the relative distances of those parts from the 
 spectator's eye. Thus, on a hand and arm actually 
 in front, the light may be as bright as possible, 
 and the deepest shadows on the same, nearly 
 black, whilst on parts more remote, as on the reced- 
 ing hand and arm, they should be softer. Distinct 
 contrasts of light and shade come on the eye sug- 
 gesting and producing the appearance of nearness, 
 from a cause similar in effect to that by which we 
 are enabled to know the distance of sound, namely 
 by clearness and distinctness giving proximity, while 
 softness tells us that those sounds are farther away. 
 
 Point, in a picture, means laying stress on the 
 part or parts of most consequence. In a compo- 
 sition the chief light is usually made to fall on the 
 principal object, whilst, perhaps, that light is made 
 to speak, and is brightened by being opposed close 
 to the darkest bit in the picture. (See Lawrence, 
 also Rembrandt's " Nativity" for this.) 
 
PORTRAIT PAINTING FROM LIFE. 41 
 
 Point, in a head is meant, and is advantageously intro- 
 duced where there is a peculiar beauty of expression or 
 feature, or both, which we wish to be striking. So, if 
 beautiful eyes, we give it to them by making the bright 
 touch a little sharp and strong, with transparency 
 and depth to the pupils — lines of the eyelids, &c. 
 Same with respect to the mouth, &c, &c. 
 
 Texture and Loading with Colour. — Much diversity of 
 opinion prevails with respect to whether a picture 
 should be thickly loaded with paint or smooth. Now, 
 as we know that there are the finest works on earth 
 painted by the same hands in both manners, the 
 c|uestion becomes a matter of will and difference 
 of taste. As much knowledge, genius and feeling, 
 truthfulness of effect to Nature, and successful result 
 every way, are obtained by one as by the other, perhaps 
 moderation as to the quantity of the pigment used is 
 the most consistent generally. "What the painter has 
 to do, is to convey, if a historical work, the story 
 properly told, with suitable sentiment, feeling and 
 pathos ; if a portrait, the individual, and good imitation 
 of the textures of his or her draperies, &c. — not paint, 
 never paint. No method thick or thin should ever 
 suggest the material used, but the things represented, 
 whether flesh or fabric. So it cannot be a question of 
 paint, or a fashion prevailing in saiy age or clique 
 — but truthfulness to Nature. 
 
 There is one danger, however, about loading and 
 working a head too boldly, which is, that seldom much 
 accuracy of likeness is obtained that way, especially 
 
42 
 
 A TREATISE ON 
 
 if a refined or delicate face. Besides there is such a 
 wide difference between bold painting well qualified, 
 and impudent painting which results in vulgar failure. 
 
 PERSPECTIVE. 
 
 Perhaps it may suffice for portraiture to remind the 
 student that lines which recede from the front converge 
 — for instance, say we are drawing a three-quarter 
 head — the horizontal lines tend to a common point 
 from the near to the off cheek ; or, in more simple and 
 practical words, suppose a line were drawn through the 
 angles of the eyes, and another through the corners of 
 the mouth, these two lines converge on the retiring or 
 off side of the face, and if extended on the canvas some 
 distance bej'ond the head, would meet at a point. So 
 it is with all objects — furniture, architecture, &c. 
 The vanishing scale will decide all matters connected 
 therewith, as it does the height of figures and other 
 objects placed in groups. 
 
 It is not the province of this treatise to describe the 
 rules of perspective. These and drawing are supposed 
 to have been learnt by any who would desire to become 
 painters. 
 
 What is said above is merely as a reminder, and so 
 far necessary as directing attention to certain appear- 
 ances in nature requisite to be understood to ensure 
 propriety of delineation and relief. 
 
PORTRAIT PAINTING FROM LIFE. 43 
 
 LUMINOUS COLOUR AND GLAZING. 
 
 Much of the charm of a picture depends upon its 
 being luminous (so far as colour and effect of light 
 and shade are concerned), full of rich transparent 
 shadows, full of warm reflections, and luminous bright 
 tints both on the flesh and wherever attainable. Glazing 
 transparent colours over opaque ones will give this ; 
 glaze lake and raw sienna over the carnations of a 
 blooming young cheek, previously painted with 
 lake, vermilion, raw sienna, and white in the solid 
 body colour ; or if a richer complexion, glaze with 
 burnt sienna and lake. On cool greys, lake is a good 
 colour to glaze with ; on deep shadows, bitumen alone, 
 or with other rich colour added ; but whatever be 
 added, transparency must be preserved. Sometimes 
 these glazes shoidd be repeated, especially in obtaining 
 deep shadows. In glazing, use Megilp, and warm the 
 picture both before and after, to preserve the brightness. 
 To keep the colour of flesh clean let the order of the 
 tints be observed as laid down, minding that the yellow, 
 orange, and pinky tints pervade the lights, with blues, 
 greys, greens, and purples outside ; the shadows should 
 be mellow and rich, and never allow cold greys to get 
 into the lights, as that would instantly make it dirty. 
 These things observed, the result is certain to be clean 
 and satisfactory. 
 
44 A TREATISE ON 
 
 PAINTING PHOTOGKAP1IS IN OIL. 
 
 If tlie prints are carbon they may be worked upon 
 at once without any sizing or preparing ; if on albu- 
 menized paper they require something to prevent 
 the oil and paint sinking into the paper. A little 
 Megilp does very well, but will require two days 
 to become firmly dry for painting upon. The method 
 most handy is to varnish the print with a thin coat of 
 " Soehnee's " negative varnish (obtainble from dealers 
 in photographic materials) . This on being floated over, 
 or spread on the print, with a brush, and dried quickly 
 by being held before a fire, presents a bright surface, 
 with sufficient body to prevent the paper absorbing too 
 much, and at the same time is not thick as are many 
 other varnishes, which bury the fibre or grain of the 
 paper, and present such a slippery surface that there 
 is much difficulty in manipulating upon it. 
 
 Photographs upon opal (which is white glass with one 
 side ground) require no preparing for either oil or water- 
 colour. 
 
 In working upon photographs in oil we must suppose 
 the print to be either a good or defective one. By the 
 former is meant a print in which the image is soft and 
 round, the light and shade well gradated, expression 
 satisfactory, with the distortion of features reduced to a 
 minimum by being taken with a long focus lens, 
 wherein the spherical aberration is not ruinous to truth 
 of proportion, as in the case of photographs taken with 
 
PORTRAIT PAINTING FROM LIFE. 45 
 
 short focus lenses. The photograph, then, being so 
 far good, we commence by first damping whatever 
 part is going to be worked upon with a little Megilp, 
 or Megilp and oil mixed, which take off again, either 
 with the clean finger, or an old silk or cambric 
 handkerchief. This will cause the colour to work freely, 
 but it must not be wet, as that on the smooth surface 
 underneath would prevent any possibility of giving 
 a body to the colour, or meaning to the touch. 
 
 The print, then, to be worked upon being a good one, 
 of a fair average light tone, with good bright lights, the 
 briefest and most simple direction from this point will 
 be to use the colours set down for painting the first 
 stage of " colouring " a head on canvas from life ; to 
 work carefully, and safely preserve the likeness by 
 minding that each shade throughout, as it is laid on in 
 solid colour, does not deviate from, hut is exactly the same 
 as that of the photograph underneath in every part that 
 is worked upon. Painting with a guide print by 
 the side, of the same depth, or a slight degree deeper, 
 to show each shade a little more decided, the work should 
 go on well. In succeeding stages, and the finish, 
 follow the directions laid down for finishing a head 
 from life, still carefully watching that no alteration 
 takes place in outline, modelling, or expression, 
 from what is considered satisfactory in the " Guide." 
 Treat the picture throughout likewise as directed when 
 working from life, always bearing in mind one thing 
 in relation especially to the face, that deviation in 
 any sensible degree from the exact lights and shades will 
 
46 
 
 A TREATISE ON 
 
 entail loss of resemblance ; for a fine untouched photo- 
 graph is neither more nor less than a transmitted image of 
 nature, made out by gradations of lights and shades. 
 So go on to the end, touch up lights, correct shades of 
 modelling, glaze down shadows, as directed in working 
 from life, giving points of strength in sharp, deep 
 touches where required, until the painting presents a 
 faithful transcript of the plain guide, with the addition 
 of colour and the difference that it would have in 
 life. 
 
 PAINTING FROM PHOTOGRAPHS IN OIL. 
 
 By this is meant making a painting from a photo- 
 graph upon the bare canvas or any similar surface. To 
 secure the drawing we trace the outline in this way : 
 a transparency is placed so that the light of a magic 
 lantern condenser is transmitted through it, and a 
 photographic lens thence disperses the image on to the 
 canvas, where we run over the outline with a pencil. 
 This must, of course, be done in a dark room. 
 
 In arranging, care must be taken to have both the 
 transparency and canvas quite perpendicular, and 
 perfectly parallel with each other, as any deviation from 
 the square on the part of the transparency, would get 
 magnified by the lens on reaching the canvas, and any 
 inclination of the canvas sideways would broaden the 
 image, whilst being tipped over or under would 
 elongate it — being, in that case, like a shadow thrown 
 down an inclined plane. A nice thin transparency, 
 
PORTRAIT PAINTING FROM LIFE. 47 
 
 with the head about an inch long is best ; then the 
 light from, the condenser will cover the face at once ; 
 but with an ordinary magic latern, it will have to be 
 removed to different parts of the transparency as each 
 is drawn, care being taken not to touch the slide or 
 camera box containing the transparency or the canvas, 
 as a touch would disarrange all. It will be found that 
 for a life-size or other large picture, it will require the 
 transparency to be nearer the lens (say six inches, if 
 working from an inch head, and life-size be required), 
 and the lens farther from the canvas for smaller sizes. 
 The nearer the canvas to the lens, and the farther the 
 transparency from the lens, the smaller will be the image 
 on the canvas. To get sharpness, the respective 
 distances of the three are adjusted together by 
 alternately moving each until the required size and 
 sharpness of outline are at the same time obtained. 
 
 The traced outline, or, in other words, the drawing, 
 being so obtained upon canvas, then with a print, for 
 guide in the painting, proceed just the same as is laid 
 down in this work when describing the painting of a 
 solid picture upon canvas from life. But in so doing, 
 it is pre-supposed that the painter is copying a good 
 photograph, as in last chapter. If, however, what has 
 to be made a picture of is a bad copy or defective 
 original, then deviations therefrom and corrections are 
 to be made, as they are also when working upon a bad 
 photograph. These defects and corrections will be best 
 made a chapter of by themselves, as much depends on 
 being able to know what are probable, if not certainly 
 
48 A TREATISE ON 
 
 ascertained, errors in the print, which is used as the 
 guide, and, of course, is the same in a transparency, 
 which has to furnish the image to be outlined. 
 
 DEFECTS IN SOME PHOTO GBAPHS, 
 
 AND TIOW TO CORRECT IN PAINTING UPON OR COPYING 
 FROM THEM. 
 
 Mockiness is a term used by photographers to signify 
 harshness of light and shade ; and is the result of want 
 of half-tones, or that delicate gradation of shades which 
 constitutes the chief excellence of a well-exposed photo- 
 graph. In such cases the black shadows must be 
 lightened, and worked with intermediate degrees of 
 shades, up to the lights ; also harsh patches of light 
 reduced where they are not the actual bright lights. 
 
 Distortion. — This occurs from using bad lenses, too 
 short in focus, &c, in which cases all prominent features 
 are represented too large in proportion to those which 
 recede ; noses, too large ; eyes, too small ; a hand which 
 is placed in front, too large for one placed further back; 
 perpendicular lines falling all ways ; divergence from 
 truth, in fact, from the same cause that one's face and 
 figure looks so grotesque in the bull's-eye of a lantern, 
 or a very convex mirror, seen in old fashioned dining- 
 rooms, &c. 
 
 Expression. — The expression is seldom right, or cha- 
 racteristic, though this oftener results from fault of the 
 sitter than the photographer. The sitter either assumes 
 
PORTRAIT PAINTING FROM LIFE. 
 
 a look, or one is directed to look pleasant who cannot"; 
 or some scared gaze creeps in through nervousness ; or 
 other inconsistent appearance is there. 
 
 What the painter has to do in such cases is to con- 
 sider what would be right, and so alter and improve 
 upon the guide, so as to make an agreeable picture ; which 
 can be done, and still retain the proper form and 
 characteristics everywhere, thereby improving the por- 
 trait, not departing from it. 
 
 These remarks are intended to aid the painter when 
 endeavouring to make a good picture from an inferior 
 photograph ; but if the latter be good, as so many are 
 now-a-days, every care is to be taken not to alter whilst 
 endeavouring to convert the image into a painting, nor 
 interfere with their balance of lights and shades, or 
 other beauties. 
 
 PAINTING FROM PHOTOGRAPHS IN WATER 
 COLOUR. 
 
 It is supposed that the reader hereof has read the 
 instructions on painting photographs in oil so that there 
 will be no occasion to repeat the principles of photograph 
 painting, but only to apply them to the different processes 
 required for manipulating in water colour. 
 
 A sheet of crayon paper may be chosen of a tint suitable 
 to the complexion — that is to say, cool grey for a fair 
 one, or a salmon grey ; bluer for florid faces, or where 
 red drapery has to be introduced ; olive, if a dark, or 
 brown, or sallow person has to be painted. 
 
 i) 
 
50 A TREATISE ON 
 
 The better way is to draw the picture before mount- 
 ing the paper on board, so as to make sure of its being 
 satisfactory first. Then mount with flour-starch upon 
 stoutish cardboard or Bristol board. Should it curl up 
 in drying, paste a piece, the full size, of brown or other 
 strongish paper at the back ; it will then keep flat. 
 Ordinary crayon paper might be too coarse for small 
 heads; in which case other tinted paper suitable for 
 painting upon in water colour may be obtained. 
 
 The picture is to be traced in the same way as was 
 directed to be done on canvas for oil-painting, using a 
 transparency, magic-lantern and lens, and going over 
 the outline with an II B pencil, minding that the hands 
 are clean, so as not to soil the paper. Perhaps it is 
 advisable to use a mahl-stick. If the drawing be made, 
 as directed, upon paper before it is mounted, it may be 
 tacked on a canvas or board, so as to lay flat. 
 
 The drawing being made and moimted, proceed with 
 the painting, as follows : — Take a large camel-hair 
 brush and go over the whole with a plentiful wash of 
 water. This is to saturate the paper, so that it may 
 not absorb the colour too quickly and to allow of the first 
 stage of painting being given with freedom. Lay 
 on in broad washes. Some papers absorb a great 
 deal. 
 
 Make a black by smoking a plate over an ordinary 
 candle ; when well covered with the black smoke, rub 
 thinnish gum-water into it. The gum-water should 
 be only just strong enough to make the smoke adhere 
 to the plate. The rubbing is to be done with very 
 
PORTRAIT PAINTING FROM LIFE. 51 
 
 clean fingers, and whilst the plate is hot. If well 
 rubbed, it will be quite as fine as any ivory black, and 
 more transparent ; in addition to which, it washes 
 more freely. This lot of black on the plate is the stock, 
 from which a little is to be taken off as required and 
 put upon the china palette to work with. This being 
 done, and the drawing wetted as before directed, pro- 
 ceed as follows : — With a brush as large as can well 
 be used, according to the size of the features, make a 
 shade just dark enough to be pretty distinct, and rather 
 free with water. With this go over the dark parts 
 that will make out the features and the general head, 
 such, for instance, as the shades of hair, shade under 
 eyebrows, eyelids, nose, lips, chin, ear, &c. This means 
 the dark bits. Next lay in freely the large dark masses 
 of shadows throughout, next a soft broad wash all over 
 the hah - , the high lights and all, according to its depth 
 — i.e., if very dark hair, rather deep ; the same by the 
 irises, leaving out the bright speck ; next, with a fainter 
 shade, softly lay in the light shades all over the face, 
 using the faintest possible towards the high lights, 
 where it must, of course, be pure. 
 
 This treatment will have made out a soft, faint 
 image of the head — something equivalent to a lightish 
 photograph — and, besides being a stage towards the 
 end in that respect, answers, also, the following very 
 important purpose in connection with colouring — 
 namely, it is the same in effect as the common brown 
 frequently mentioned in oil painting for obtaining shades 
 without crudeness. Being carbon, it is imperishable. 
 
 n 2 
 
52 A TREATISE ON 
 
 Now commence colouring. As the paper will 
 probably be a tint some degrees below white, it will 
 be requisite to use a little body-white, and colours 
 with body in them, for first courses. To get the 
 higher lights up, as, also, after advancing a little, 
 to lay the high lights on rather more solidly, where 
 the very bright points strike: — 1st. "Wash all over the 
 head with Naples yellow, a little white, and light 
 red. 2nd. Wash the same a little stronger all over 
 again, leaving out the brightest point in the fore- 
 head. 3rd. The above, with a little more yellow 
 and a touch of crimson lake added. This is to go 
 over all the lower part of the head, that is to say, 
 all below the eyes. Next, give another of the same 
 with more lake, for warm parts of cheeks. 
 
 Now lay in the greys — using a little cobalt and 
 lake for the pinky ones ; Antwerp blue for the bluer 
 ones ; Antwerp blue and lake for the purpler ones ; 
 and Antwerp blue and raw sienna, or Antwerp blue 
 and raw umber for the greener ones. Eich shadows 
 lay on last, as follows : — The shadow down side of 
 forehead may be raw umber with a little raw sienna 
 — perhaps a little burnt sienna also if required 
 warm. This shadow-tint is also suitable for the 
 bottom of the chin, and, with the addition of ivory 
 black to deepen it, for the throat. The shadow-colour 
 for the side of the cheek may have Indian red — also 
 under the nose, eyelids, cavity of ear, shadow from the 
 ear. The dark by the side of the forehead, cheek, 
 under chin, &c, are, properly speaking, shades ; being 
 
PORTRAIT PAINTING FROM LIFE. 53 
 
 the result of the rounding down in modelling of those 
 parts, and consequently the deepish greys which blend 
 into them are to be greenish ; whereas the darks 
 named above as being under the nose, under the lobe 
 of the ear, are cast shadows, as are also shadows from 
 locks of hair, and cast shadows should be edged with 
 purple grey. The greys on a lady's neck, &c, are 
 bluish grey — on men's, more neutral. 
 
 As a general rule, and to guide the student, it may 
 be observed that to produce bright, clean flesh there 
 should be, in whatever complexion, a prevalence of the 
 following arrangement of tints : — Yellowish white 
 lights, pale orange next, pinky grey next, bluey grey 
 next, and greenish grey by the side of the dark shade ; 
 whilst the deep shades should be quite rich. This very 
 rich shade may be made warmer, mellower than appears 
 in Nature, and the greenish-grey by its side will, by 
 blending into it, prevent its appearing too strong, 
 whilst its being rich will give life, vigour, and lumin- 
 ousness to the head. The same effect is the result of 
 the strong red shadows edged with purple ; greenislt- 
 greys, and pink// half-tints make any complexion clean. 
 Though these several tints may not be so palpable 
 in some complexions, experience will teach anyone 
 that they are there, in different modifications. 
 
 To return to the washing-on of colours. We sup- 
 pose now that the general tints are on. Next proceed 
 as follows : — With the same set of tints in their several 
 places, hatch upon any unequal parts to make the 
 washes level or uniform, that is to say, work with 
 
54 A TREATISE ON 
 
 shortish broad strokes, like small touches, where the 
 large washes have not made it uniform. 
 
 This hatching, done smaller, is to he repeated 
 throughout to strengthen and correct the tints, and at 
 the same time improve the likeness. 
 
 The last stage is working in lines, which are to 
 curve according to the form of the bone, muscle, or 
 feature. 
 
 All the hatching is to be done so softly as not to 
 show, any further than simply to level the washes laid 
 on previously ; and afterwards, when the strengthening 
 of the tints and modelling is being advanced, the 
 hatches are to be gone over and over two or three 
 times gradually, so as not to show palpably; otherwise, 
 if too strong, they would interfere with the fine effect 
 of the succeeding lining of the finish, and the stippling, 
 which comes last of all to fill up the interstices — a good 
 guide for which is to be found in some large steel 
 engravings, especially fine old ones. 
 
 If, during the working of a head as directed, any 
 stage of the hatching gets to look hard or dry by being 
 too strong, the softness may be in a measure restored 
 by again washing over it with the semi-opaque colours 
 used at first, throughout if required, or any part by 
 itself with the tint suitable for that part. Also the 
 same may be done last, after finishing, with the lining 
 and stippling if it appears hard and wiry. 
 
 It is advisable in commencing the colouring of the 
 head, to lay in the first wash of yellow, red, and white, 
 rather warmer than might appear warrantable by com- 
 
PORTRAIT PAINTING FROM LIFE. 55 
 
 parison with the complexion iu Nature. The advantage 
 
 of this is that the warmth will, as it were, shine through 
 
 the greys, which are laid over afterwards, and which, by 
 
 making them cool (and even, in proper places, blueish), 
 
 can be made to reduce it to the palest complexion. 
 
 A medium is frequently used by some painters in 
 
 water colour, called "water colour medium,"* which 
 
 may be made of the following ingredients : — 
 
 Gum Arabic, half an ounce. 
 Lump Sugar, one drachm. 
 Alum, three scruples. 
 Alcohol, one teaspoonful. 
 Water, eight ounces. 
 
 The lump sugar is to prevent the gum cracking, the 
 alum preserves it from decomposition, alcohol assists in 
 uniting, dissolving, and rendering all fluid. The 
 quantity of water named will of course make the 
 solution weak, but quite strong enough to work the 
 general flesh. A stronger mixture for enriching the 
 dark shadows at finish, &c, may be made of the same 
 with only half the water. Each to be kept in a 
 separate bottle, labelled " weak " and " strong " 
 medium. A little of the weak may be added to the 
 first and all the other washes, and can be used through- 
 out both in the hatches and finishing. 
 
 The use of this prevents colours sinking, and enables 
 a painter to produce an effective picture more quickly 
 than if working without it. 
 
 Supposing the picture to be a vignette (bust or other- 
 
 * Excellent water colour Megilp is sold by artists' colour makers. 
 
56 A TREATISE ON 
 
 wise), it is evidently better upon tinted paper than 
 white, from the circumstance that the paper, if tinted, 
 being deeper than the lights and half-tints of the flesh, 
 relief of the latter will result. 
 
 The haii- must have a first wash throughout of cobalt 
 and lake, or other grey according to its tint, to represent 
 its glossy lights ; next its local colour in the half-tints ; 
 and lastly the rich brown shadows with lake in it, 
 always beginning with broad masses, and, at finish, 
 imparting what details of lines there may be in the 
 shadom, and thence up into the half shades, but never 
 breaking up into the lights with lines. 
 
 PAINTING UPON A PHOTOGRAPH 
 IN WATER COLOUR. 
 
 The treatment in water colour of a photograph 
 depends materially upon whether it is a very good 
 one, or the reverse. But, in either case, the colours to 
 be employed require to be generally of a warmer class 
 than if a picture is being made upon plain paper, from 
 the fact that there is the grey colour of the print 
 to begin with, which, especially in the shadows, requires 
 to be converted into a rich mellow tone. 
 
 Also, it must be apparent that if working upon an 
 exceedingly fine photograph, wherein all the lights are 
 bright and well balanced, all the gradations of tone soft 
 and true, all the shadows clear, so that they can be 
 seen into, and expression and likeness altogether satis- 
 
PORTRAIT PAINTING FROM LIFE. 57 
 
 factory, in such a case the use of much opaque colour iu 
 washes or any part of the process of painting would be 
 certain destruction. A certain amount of slightly semi- 
 opaque colour may be used once, i.e., in the first 
 wash of the flesh, to impart an appearance of solidity ; 
 and such is good to work on. But the general 
 character of the colours used throughout should be of 
 a transparent character — such as raw sienna, burnt 
 sienna, Indian yellow, crimson lake, Antwerp blue, 
 Vandyke brown, madder brown, &c. 
 
 The painter should work upon a print very little 
 lighter than an average plain print, and should be 
 furnished with a duplicate, one or two degrees deeper, 
 wherein the various shades of modelling are of a more 
 decided character. The light print which is to be 
 painted will therefore require those same shades of 
 modelling imparted, of a consistent strength ; and this 
 affords opportunity of converting it, with skilful 
 management, into a painting, or the semblance 
 thereof. 
 
 Generally speaking, upon such a good photograph, 
 the first wash may be made of a very little Naples 
 yellow, Indian yellow and lake, for a fair person, with 
 the addition of light red for the second wash, and for 
 the rest of the warm washes using more Indian yellow 
 and lake ; for the silvery greys a little lake and Antwerp 
 blue ; for the cooler greys the Antwerp blue alone ; 
 with Indian yellow added for the green greys. 
 These over the semi-opaque wash will impart a 
 general impression of flesh. The hatching to level 
 
A TREATISE OX 
 
 it, and the lining to finish, must all be worked with 
 colours of a like character, i.e., almost transparent, and 
 rather strong and bright, as, Indian yellow and lake. 
 
 The flesh should be painted in all comparatively 
 cool at the early stage ; and the warmth imparted 
 gradually, up to the required complexion. 
 
 It will be found, when painting with transparent 
 colours, that brighter effects are produced by working 
 warm colours over cold ones (where compounds are re- 
 quired), thus: if a purple, wash or hatch, lake over blue; 
 if a green, yellow over blue. And so the heightening 
 of a tint is obtained with more force, and at the same 
 time softness, by giving the strong touches last ; 
 like lips painted and modelled first with plenty of 
 grey, and the red last. 
 
 Vermilion, although comparatively opaque, may be 
 added in the redder parts, as lips, cheeks, cavity of ear, 
 and nostril, to other red, as lake, to heighten it. Lake 
 and burnt sienna, with a touch of vermilion, give a fine 
 tint for enriching a ruddy cheek at finish. A little of 
 the weak Megilp may be used throughout, and the 
 stronger in the shadows at the finish. 
 
 Painting Copies or Defective Photographs in 
 Water Colour. — If rocky in the lights, they must be 
 worked upon with a colour made to match the photo- 
 graph. Indian red, ivory black, and blue will sometimes 
 do this, if the print is cool in tone ; if warm, burnt 
 sienna, instead of blue, added to the Indian red and 
 ivory black. With this, any lights that should be half 
 shades, must be reduced by soft, small, broad washes 
 
PORTRAIT PAINTING FROM LIVE. 59 
 
 and strokes, and any white "blemishes touched out ; 
 also where there are any black spots, or dark 
 patches, they must be covered by a light shade, made 
 of the foregoing, added to white in the degree required 
 for the part : a little yellow and lake may be advan- 
 tageously added to the white, as otherwise the least 
 addition to it of the shade colour mentioned would 
 make a cold grey. Any patches too black in appear- 
 ance in the shadows are also to be rectified by com- 
 pounds of the two, i.e., the light and the shade 
 colour, so that, in fact, the picture is to be corrected in 
 monochrome before proceeding Avith the colouring. 
 
 This being done, the washing and ultimate process 
 may be carried forward, as directed, for painting good 
 photographs. The quantity of colour and boldness of 
 manipulation to be proportioned to the size of the 
 picture. To prevent prolixity, it is advisable to peruse 
 what has been said respecting painting good and bad 
 photographs in oil, together with the other remarks 
 about photographs. 
 
 Opals. — Opals are very much like ivory to paint 
 upon in water-colour. The tints do not sink, as 
 on paper, therefore they require softer treatment ; 
 neither is much water to be used, as there is no absorp- 
 tion, and it must be borne in mind that, in consequence 
 of the film on which the image is printed being tender, 
 great care must be used to do all correct, because if 
 parts have to be fretted, by taking paint off, the film 
 will come up from the opal in such places, and with it 
 a part of the image. 
 
0(J A TREATISE ON 
 
 A DISCOURSE ON AKT. 
 
 In attempting a discourse on Art, I propose, first, 
 briefly to review its history, and then to give a general 
 outline of its essential characteristics, and to offer a few 
 words of advice ; not so much to artists, as to those who 
 may be thinking of becoming such ; on the one hand, 
 endeavouring to avoid the grandiose style of diction 
 with which the subject is often enveloped in a cloud of 
 mystery ; and on the other, the tedious pedantry of a 
 preceptor; presuming that any who have taste sufficient 
 to hear or read about painting and sculpture are too 
 sensible to be satisfied with the former, and will not 
 expect the latter here. 
 
 The " Fine Arts " is the term specially applied as 
 distinguishing painting and sculpture from many so- 
 called arts, because now-a-days so many things are 
 adorned with that title — many where the term 
 "science" or "skill" would be more applicable. 
 Sculpture and painting are our subjects. Sculpture is 
 adapted for subjects wherein form is the chief character- 
 istic, and is necessarily limited in its field to objects 
 decided and tangible. But though it cannot have the 
 advantage of varied distance, perspective, suggestive- 
 ness, the introduction of great numbers of objects, or 
 the magic mystery and charm of light and shade or 
 colour, yet sculpture possesses an advantage not possible 
 in painting — each object can be seen on all sides, back 
 and front, above and below. 
 
PORTRAIT PAINTING FROM LIFE. 61 
 
 With this advantage, however, there is the complex 
 difficulty of rendering the subject true from every point 
 of view. Hence it is evident what genius and skill 
 must have been employed in the most perfect statues 
 of the ancient Greeks ; also of Michael Angelo and a 
 few others. 
 
 Painting has a wider scope ; is more capable of con- 
 veying sentiment, pathos, feeling, the magic of light 
 and shade, mysterious shadow, aerial perspective, with 
 its wonderful charm and illusive deceptions of distance } 
 apparently annihilating all idea of the flat surface of 
 the canvas ; introducing hosts of figures in any variety 
 of condition at the will of the designer. 
 
 The arts of painting and sculpture reveal to the 
 sense of vision tangibly the inward mental conception, 
 and thereby reproduce to other minds the feeling of the 
 producer — a wonderful proof of the invisible soul of 
 man. 
 
 High art, the lofty and grand, can only be produced 
 by those capable of deep feeling. By such, the 
 impressive scenes of celebrated historic events and the 
 conceptions of the poet are represented in paintings 
 more fully than by any other medium — either language, 
 music, or sculpture — and the 'magic of art is shown in 
 works wherein the master conveys sentiment and 
 feeling, whether it be the tranquil poetry of a moonlight 
 landscape, the tumult of battle with its horrors and con- 
 fusion, or the realisation of an exalted sacred subject, 
 with its teachings of piety, peace, and goodness. 
 
 To descend from the consideration of the higher 
 
62 A TREATISE OX 
 
 attributes, it is also art to produce effects of deception 
 by apparently inadequate means; for instance, giving 
 the appearance of rotundity and relief on the flat sur- 
 face of a picture ; or the appearance of distance by 
 perspective. 
 
 Anatomy and expression — giving character and 
 texture to objects — require the painter's eye to perceive 
 and the painter's "combination" of tact to invent 
 means of giving these appearances, by mechanical 
 skill of handling, together with accuracy of colour and 
 form. The painter must possess a mastery over all 
 these. 
 
 Invention and feeling are leading essentials of a 
 picture. " Invention," says Homer, " is the highest 
 power in man," and comes nearest of any other in 
 a human being to resembling the creative power of 
 his Maker. 
 
 There are various degrees of invention : invention of 
 the subject ; inventing incidents in composition to 
 convey the meaning ; originality of conception. Add 
 to these an invention of manner observable in the 
 grandeur of Michael Angelo's compositions (and which 
 small critics have termed " extravagant "), or the 
 mysterious chiaroscuro of Rembrandt. In truth, to 
 descend lower, there is, to speak practically, constant 
 call for invention from the painter, in detail, in mani- 
 pulation, in devising means to bring about results in 
 execution, and to give feeling. 
 
 This brings us to consider feeling, which means 
 imparting the required sentiment and character to 
 
PORTRAIT PAINTING FROM LIFE. 63 
 
 the scenes and figures of which the work is made 
 up, and the impression of the whole to even the 
 textures of parts — and herein judgment and taste are 
 required to put in detail or omit it, according to the 
 subject ; for in great and imaginative works ordinary 
 trifles are to be omitted, as by the Greeks and by the 
 Italians, Da Vinci, Michael Angelo, Raffael ; whereas 
 in more realistic pictures, details are essentially requisite 
 to making out the impression — as in the pictures of 
 Grerard Duow, Teniers, Wilkie, Faed, Frith, &c. 
 
 The origin of sculpture and paintiug in the 
 beginning was probably due to the imitative element 
 inherent in mankind, and being found capable 
 of communicating ideas and thoughts, of recording 
 events, perpetuating history, making visible objects 
 for the mind to dwell upon and worship, as poetry 
 became a means of employing the utmost powers of 
 the mind wherein, during the brief space of a life, 
 one man's intellect has achieved what the rest of the 
 world could but marvel at for ever. Witness Homer, 
 Shakespeare, Phidias, Raffael. 
 
 The remotest history of art places its origin in the 
 East — in Egypt — the earliest civilized nation of 
 antiquity. Those first attempts were crude and strange, 
 and progress was slow, keeping pace with the develop- 
 ment of the human mind. 
 
 The earliest subjects were sacred — for art was thought 
 to be too exalted to be devoted to others — in fact, in 
 early Egypt it was a sacred calling, and its professors men 
 trained to the service of religion. They were bound by 
 
64 A TREATISE ON 
 
 rules — not allowed to swerve from them — so that they 
 became mechanical, conforming and adhering to certain 
 forms, established for many centuries, prohibiting any 
 advance towards beauty. 
 
 The unthinking, monotonous adherence to fixed forms 
 in modern Chinese painting and sculpture has its pro- 
 totype in the productions of the ancient Egyptian?, 
 whose singular representations of the human figure, 
 of animals, and other objects, were not permitted by 
 the priesthood to be departed from, as those fixed forms, 
 with all their absurdities, were held sacred ; and no 
 common or illiterate person was allowed to practise art, 
 lest they shovdd introduce anything at variance with the 
 laws established of the figures of the deities. Their con- 
 ventionalities became characteristics, perhaps from policy 
 in the priesthood to inspire awe and wonder, by making 
 the representations of their deities, &c, different from 
 ordinary humanity. No approach was made towards 
 beauty ; hence, they never advanced beyond the stiff 
 postures, absurd violation of all consistency in drawing 
 and perspective ; such as putting a front view eye in a 
 profile head, the feet and hands twisted aside, in a 
 figure standing full front, dislocated necks, &c. They 
 knew nothing of dignity or grandeur, and the only way 
 they had of producing either was by size — frequently 
 enormous — apparently intended to arouse reverence 
 and admiration. 
 
 The monuments of Babylon are much the same as 
 those of Egypt, but rather more resembling nature and 
 freedom. 
 
PORTRAIT PAINTING FROM LIFE. 65 
 
 From this condition art advanced, and attained its 
 highest perfection in ancient Greece. At first there, 
 500 B.C., it had much of the old Egyptain character. 
 In its golden age, 400 B.C., the perfection of later Greek 
 art is to be attributed to their public spirited enthusiasm. 
 With them, art was a glory, and its practice sacred. 
 An artist in ancient Greece was looked up to as a 
 superior being, honoured as the bearer of a divine gift, 
 devoted to the gods and the community. 
 
 The arts were the breath of life with the Greeks, and, 
 as Cicero observes, nothing could have compensated 
 them for the loss of such works as the Venus ; it would 
 have been felt as a public calamity. Art was with them 
 the highest aim of public thought, and the universal 
 interest, made it rise to its perfection. From absence of 
 that national interest, high art has never since been 
 equal to what the Greeks made it. Phidias, Appelles, 
 have not reappeared. 
 
 Art fell when Greece fell, and Rome rose. The 
 Roman conquerors had no such love for art as the 
 ancient Greeks, they only used it for a luxury, and 
 though they employed Greeks, it was no longer upon 
 the class of work achieved of old ; but for adornments, 
 and commemorations of their victorious achievements. 
 
 During ages of conquest and barbarism it had passed 
 away from Greece, and had died out, or almost sunk to 
 the low level of its primeval condition in Egypt. 
 
 Upon the establishment of Christianity, however, and 
 under the influence of the Church, it revived in Italy. 
 Leo X. and Julius II. were chief patrons, when Leonardo 
 
 E 
 
66 A TREATISE ON 
 
 da Vinci, Michael Angelo, and Raffael flourished, to 
 attempt to impart but an idea of whose marvellous works, 
 their learning, power of invention, intuitive perception, 
 and knowledge, would he in vain ; for all that the ablest 
 since their day can do by a life-long study enables 
 them but partly to comprehend their works, to wonder 
 and admire. With these greatest of all, and other 
 masters in Italy, art rose again. There, and in other 
 European nations, as Holland, Germany, Spain, Flanders, 
 appeared several most extraordinary geniuses, whom 
 we call the old masters; most of the greatest being 
 nearly contemporary, and achieving works not since 
 approached. 
 
 The world does not possess painting* by the great 
 Greeks ; we only know of their merit from contem- 
 porary historians and other writers. Their paintings 
 have perished, but some of their unequalled statuary 
 and sculpture remain to be marvelled at, such as the 
 Laocoon, Venus de Medici, Apollo 13elvidere, Hercules, 
 the Elgin Marbles, and many others. 
 
 But the world happily possesses the greater part of 
 the works of those whom we are accustomed to term 
 the old masters, by which is meant those from about 
 the time of Ballad up to Rubens. The variety of 
 subject treated, the extent of knowledge, thought- 
 power, feeling, skill, in them is almost infinite, or, it 
 may at least be said, is amazingly comprehensive. 
 Yet, excepting the above and a few others, most were 
 produced b}^ devoted enthusiasts in poverty. Few were 
 like llaffael and Rubens, princely rich. 
 
PORTRAIT PAINTING FROM LIFE. 67 
 
 Thus we find that the first development of art in 
 Egypt was under the sanction of the priesthood, made 
 exclusive, and even limited to men trained in religion, 
 supported as a national institution. Also we find that 
 in Greece, where it was most perfected, it was all in all 
 to the entire community — unlimited honour, unlimited 
 rewards were given the great masters. Agaiu, in 
 Italy, with the Church and State for its support, the 
 supreme Pontiff, his cardinals, the great, the learned, 
 and most opulent, we see the result of combination, 
 genius, devotion, enthusiasm, and patronage. The 
 history of ancient Egypt and ancient Greece is too 
 remote for us to have details of individual instances ; 
 but of the great masters of Italy, 400 years ago, we 
 know more ; and we know that there were many great 
 men who were also of that country and of nearly the 
 same period whose works are immortal, but who had 
 not the patronage of the wealthy, as had Raffael and 
 Michael Angelo, but who achieved works second only to 
 theirs, by long devotion of lives to hard work, in 
 poverty — some in absolute want ; for the spirit of art 
 was irresistibly strong within them ; and where so, it 
 worked its way, if not amidst luxury and wealth in 
 palaces, in contented poverty under any roof that 
 happened to be apportioned to their hard lot. The 
 spirit did its work, whether under the advantages of 
 fortune or despite all adverse circumstances. 
 
 It woidd seem that there are periods wherein certain 
 conspicuous conditions tend to remarkable results. There 
 have been ages, marked as periods, wherein vast revolu- 
 
 e 2 
 
68 A TREATISE ON 
 
 tions Lave occurred from time to time ; the world ad- 
 vancing in parts, then declining there to develop and 
 advance further elsewhere. So it is in arts, literature, 
 politics, and arms — so in religion — so in the mental, 
 moral, and social condition of mankind. 
 
 Now-a-days, both patronage and practice are, 
 generally speaking, wrong. On the one hand, there 
 is no patronage for histrionic greatness in art to depend 
 upon as a settled prospect — all precarious, because not in 
 requisition by the Church, as of old ; nor is the moneyed 
 community educated or bred up to a feeling or capacity 
 equal to earing sufficiently to employ high talent upon 
 long and costly undertakings in their palaces and 
 mansions ; nor is any public action taken for the 
 Mipport and encouragement of it. Consequently, there 
 is not the universal interest felt in or honour paid to 
 art as was in the middle ages —all which conditions 
 developed and fostered it. Thus, on the one hand, we 
 have want of patronage. 
 
 On the other, there is, on the part of so-called students, 
 no object of greatness pursued. If the pictures and 
 statues that are now-a-days being done were to be pre- 
 served, in most instances, posterity would be puzzled to 
 name the school from which they emanated. Simple 
 appearances of things, frivolous subjects, without senti- 
 ment or purpose, is too much, with rare exceptions, the 
 character of the medley exhibitions which we see yearly. 
 
 Comparing the present condition of art, the patrons, 
 professors and their productions, with the celebrated 
 periods of art-greatness in bygone periods, the contrast 
 
PORTRAIT PAINTING FROM LIFE. 69 
 
 is striking and instructive ; for although some historical 
 works of the Moderns evince consummate learning 
 and knowledge, high classical taste and requirement, 
 beautiful treatment, with excellent colour and mastery 
 of detail, remarkable skill in handling, imitation of 
 textures, together with realistic portrayal of Nature in 
 her ordinary appearances to a degree often surprising, 
 there does not appear any particular originality 
 to be characterized as a school, not the sublime 
 grandeur which distinguished some of the great old 
 masters; and in instances where Moderns have made 
 sacrifices in endeavours to produce historical works, the 
 lack of encouragement or reward has been very different 
 from what the more fortunate of former ages received. 
 And though, as just observed, some truly accomplished 
 sculptors and painters have lately appeared, and do now 
 exist, the number of mediocre and inferior ones is 
 legion. Of any rank and condition, many of the best 
 are deprived of the opportunity of ever achieving fame, 
 for their abilities are necessarily prostituted to earning 
 a livelihood at common work. As to being learned or 
 philosophic in their art, this class ignore such matters 
 altogether. Too many arrive at, or start with, a notion 
 that if they can manage the palette, and produce a 
 specious something, they have made a picture, and are 
 enrolled painters for ever. 
 
 As to who should or can become painters, much 
 depends upon the enthusiasm, the ability, and energy 
 of any one ; coupled with early opportunities and other 
 advantages. 
 
70 A TREATISE ON 
 
 Reynolds said " there is no royal road to success in 
 painting," meaning that, whatever the natural qualifica- 
 tions, there is much to learn and much industry 
 required. Let none begin who are not devoted 
 thoroughly, so as willingly to sacrifice all for it, night 
 and day. 
 
 In the words of Michael Angelo, " Art is a jealous 
 mistress, who will admit of no rival." 
 
 It is difficult to rise or make a name in art for those 
 who have to work for a living, as the time taken in 
 getting this position should be spent in learning and 
 advancing in the higher walks of art that eventually 
 lead to fame. The struggling artist finds it difficult to 
 get a name ; yet until this is achieved he cannot hope 
 for patronage. From this cause, though a number of 
 pictures are bought at exhibitions, and elsewhere, 
 every year, purchasers do not always buy from taste, 
 feeling, or knowledge. This class only " invest " in 
 paintings by artists whose works have got up in the 
 market, so as to be safe of " realizing " at a profit when 
 wishful. 
 
 Though there is neither the Church nor Government 
 support to foster art, as in the former ages referred 
 to, it is nevertheless probable that we are at the 
 present time, by our efforts, by the growing taste 
 evinced by connoisseurs, and the gradual diffusion of in- 
 terest in the works of genius, laying a foundation which 
 shall at no distant period develop conditions and results 
 akin to those of the periods which produced Phidias 
 and Raffael. 
 
PORTRAIT PAINTING FROM LIFE. 71 
 
 In conclusion, as the issue of all this discourse, from 
 a life of thought, some reading, study, and experience, 
 I would wish to offer a few words of advice to the 
 young aspirant after art. First to be sure of a strong 
 desire to become excellent, so strong that no opposition, 
 no difficulty, can subdue or daunt him, for that there 
 will be much of each is certain ; second, if he is with- 
 out resources, no purse or friends to supply the re- 
 qusite, whilst on the road, let him beware how the 
 enthusiasm of youth or ambition betray him into a path 
 which leads on, on, on to perhaps old age and poverty. 
 For the bright vision of early life, in most things, is 
 illusive — to die whilst he lives, to live after he is dead, 
 for fame, or hope of fame, when even whilst living, he 
 cannot make a blast of the trumpet heard amidst the 
 general din. He must not look to patronage for sup- 
 port whilst working his toilsome way up the hill. 
 Before he can get rewarded by recognition and remune- 
 ration he must work on year after year amidst, perhaps, 
 hard privation, into notoriety, by producing and sending 
 his works to exhibitions, where the best are not always 
 admitted, where the unknown are frequently " skied " 
 and passed by, living in the hope that they may be 
 admired and bought. There, if his efforts are ever to 
 become known, it will be through notices of praise or 
 perhaps condemnation in the critiques of reviewers. 
 
 Unlike poetry, which may be dashed off at once by 
 one naturally endowed, painting requires a good part of 
 a man's life to acquire the practice of it, whatever his 
 abilities may be But if the student have the 
 
72 A TREATISE ON PORTRAIT PAINTING FROM LIFE. 
 
 conscious sense of genius, with fair means, whereby lie 
 can live with his mind free from the ordinary cares of 
 life, which are a hindrance to, and so clash with higher 
 thoughts, there is no nobler pursuit than the higher 
 achievements of art, and no doubt there will arise some 
 here worthy the honour which has been gained by 
 those of other lands. Let the student endeavour to 
 catch inspiration from the writings of Homer, the 
 Bible, Shakespeare, Dante, Milton. 
 
 Then let him study the works remaining of ancient 
 Greece (we have the Elgin Marbles, and copies of most 
 of the antique), the great Italians, our own Flaxman, 
 Barry, Haydon ; such a life, well spent in industrious 
 practice and study, with well directed energies, may 
 attain great results ; and the time may come when, 
 perhaps at no far distant date, posterity shall wonder and 
 admire on beholding preserved monuments of genius 
 in sculpture and painting by the hand of an English- 
 man. 
 
 HENDERSON, RAIT, & SPALDING, PRINTERS, MARYI.EBONE LANE, LONDON, W. 
 
MATERIALS 
 
 OIL PAINTING 
 
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 OF THEIR SYSTEM OF 
 
 GRINDING COLOURS BY MACHINERY, 
 
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 Messrs. G. Rowney & Co. feel assured the Oil Colours 
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 Messrs. Rowney & Co. have great satisfaction in knowing 
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GEORGE ROWNEY & CO. 
 
 TESTIMONMALS 
 
 FROM MEMBERS AND ASSOCIATK MEMBERS OF THE 
 
 ROYAL ACADEMY, AND OTHER EMINENT ARTISTS. 
 
 io, New Mi i.man Strbei 
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 Messrs. G. Rownev & Co. 
 
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 Gentlemen, — As far as I have yet had the opportunity of trying the Colours 
 you have done me the favour of sending, I am of opinion that they afford a very 
 satisfactory proof of the advantage of your new system of Grinding Colours by 
 Machinery. All painters must agree that the qualities of depth and brilliancy 111 
 Colours are greatly enhanced by good and sufficient grinding. 
 
 I am, Gentlemen, your most obedient Servant, CHARLES LANDSEER, R.A. 
 
 Messrs. G. Rownev & Co. 
 
 Wa i.ton-on-Tha mes. 
 
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 coarse under the ordinary grinding, seem to him to have more especially benefited 
 by the prf.i ess. 
 
OIL COLOURS. 
 
 GEORGE ROWNEY & CO.S 
 OIL COLOURS. 
 
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 The cheaper colours are put in 3-inch and 4-inch tubes. 
 
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 Venetian Red 
 Chinese Vermilion 
 Paladium Red - 
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 rURPLES. 
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 Indigo 
 
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 Smalt 
 
 BLUES. 
 
GEORGE ROWNEY & CO. 
 
 Each. 
 * d 
 
 ■ U II lii- 
 
 &R0WNP1NK 
 
 I^OxfordSTi 
 j, LONDON 
 
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 < limine Green, ,,2 
 ( Ihrome Green, ,,3 - - 
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 Naples Yellow, No. I 
 Naples Yellow, ,,2 
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 McGuilp ------ 
 
 Pyne's McGuilp ... - 
 
 Rowney's Medium, No. I - 
 Rowney's Medium, No. 2 (quick drying) 
 Sacrum ------ 
 
 Siccatif ------ 
 
 EXTRA SIZE TUBES OF OIL COLOURS. 
 
 Tubes, Double Size of 4-inch Tubes - o S 
 Treble ,, „ - 10 
 
 ,, Containing ^-lb. White - 
 1 lb. „ - 
 „ ,, 2 lbs. ,, - 
 
 In ordering double tubes of expensive colours please state whether double 
 2-inch or double 4-inch are required. 
 
GEORGE ROWNEY & CO 
 
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 POWDER COLOURS, 
 
 GROUND EXTRA FINE BY MACHINERY. 
 
 REDS. 
 
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 Carmine, Fine quality 
 
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 Crimson Lake 
 
 Crim. Lake, Ex. Fine quality 
 
 Deep Rose - 
 
 Extract of Madder Carmine 
 
 Indian Lake 
 
 Burnt Carmine - 
 Indian Purple 
 Purple Lake 
 
 I'er Ounce 
 
 s. d. 
 
 - O 
 
 6 
 
 - o 
 
 6 
 
 - o 
 
 6 
 
 - o 
 
 6 
 
 - 4 
 
 6 
 
 - 9 
 
 o 
 
 - 12 
 
 o 
 
 - 3 
 
 9 
 
 ty 9 
 
 o 
 
 - 18 
 
 o 
 
 le iS 
 
 o 
 
 - I 
 
 6 
 
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 Light Red - 
 Madder Lake 
 Magenta 
 Pure Scarlet 
 Red Lead - 
 Rose Madder 
 Scarlet Lake 
 Scarlet Vermilion 
 Venetian Red 
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 PURPLES. 
 15 o Purple Madder - 
 - 18 o Violet Carmine - 
 Mauve 
 
 Antwerp Blue - - - 1 
 Cobalt - - - -4 
 
 Cceruleum - 1 
 
 French Ultramarine, Ordinary o 
 French Ultramarine, Extra 
 
 Fine .... 3 
 Indigo - - - - 2 
 
 Mineral Grey, Warm Tint 
 Mineral Grey, Cool Tint 
 
 o 
 
 9 
 BLUES. 
 O Permanent Blue 
 6 Prussian Blue 
 6 Ultramarine, Genuine 
 6 Ultramarine, 
 
 Ultramarine, 
 
 Ultramarine, 
 o 
 
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 3 
 
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 o 1 
 
 7 17 
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 4 14 
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 Per Ounce 
 
 s. d. 
 - I O 
 
 Lamp Black 
 
 Pei 
 
 Ounce 
 j. d. 
 1 O 
 
 Ivory Black - 
 
 - 
 
 1 
 
 
 
 
 
 
 
 
 
 WHITES. 
 
 
 
 
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 3 
 
 Permanent White, or 
 
 Barytes 
 
 
 
 New White, or Cremnitz 
 
 
 
 White - 
 
 - 
 
 O 
 
 6 
 
 White - 
 
 " 
 
 
 
 6 
 
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 Zinc White, superior 
 
 ■ 
 
 O 
 O 
 
 2 
 
 3 
 
 
 
 GREENS. 
 
 
 
 
 Emerald Green - 
 
 - 
 
 
 
 3 
 
 Terra Vert - 
 
 - 
 
 O 
 
 6 
 
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 Malachite - 
 
 3 
 4 
 
 
 6 
 
 Verdigris 
 
 - 
 
 I 
 
 
 
 Mineral Green 
 
 - 
 
 
 
 9 
 
 Veronese Green - 
 
 
 3 
 
 
 
 
 
 BRO 
 
 WNS. 
 
 
 
 
 Bone Brown 
 
 - 
 
 
 
 6 
 
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 - 
 
 6 
 
 
 
 Brown Ochre 
 
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 c 
 
 6 
 
 Manganese Brown 
 
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 6 
 
 Brown Pink 
 
 - 
 
 1 
 
 6 
 
 Mummy 
 
 - 
 
 1 
 
 6 
 
 Burnt Umber 
 
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 6 
 
 Raw Umber 
 
 - 
 
 
 
 6 
 
 Cappah Brown - 
 
 - 
 
 
 
 6 
 
 Rubens' Madder 
 
 - 
 
 6 
 
 
 
 Cassel Earth 
 
 - 
 
 
 
 6 
 
 Vandyke Brown 
 
 - 
 
 
 
 6 
 
 Indian Brown 
 
 - 
 
 
 
 6 
 
 Verona Brown - 
 
 - 
 
 
 
 6 
 
 
 YELLOWS 
 
 AI> 
 
 ID ORANGES. 
 
 
 
 
 Aureolin 
 
 - 
 
 [2 
 
 
 
 Lemon Yellow - 
 
 - 
 
 4 
 
 6 
 
 Cadmium, Pale - 
 
 - 
 
 6 
 
 
 
 Mars Orange 
 
 - 
 
 6 
 
 
 
 Cadmium, Yellow 
 
 - 
 
 6 
 
 
 
 Mars Yellow 
 
 - 
 
 4 
 
 6 
 
 Cadmium, Orange 
 
 - 
 
 6 
 
 
 
 Naples Yellow, No. 
 
 I 
 
 
 
 6 
 
 Cadmium, ,, deep 
 
 9 
 
 
 
 Naples Yellow, ,, 
 
 2 
 
 
 
 6 
 
 Chinese Orange 
 
 - 
 
 4 
 
 6 
 
 Naples Yellow, ,, 
 
 3 
 
 
 
 6 
 
 Chrome, Xo. I, Pale 
 
 Lemon 
 
 
 
 6 
 
 Orpiment - 
 
 - 
 
 
 
 6 
 
 Chrome, ,, 2, Golden Tint 
 
 
 
 6 
 
 Orange Vermilion 
 
 - 
 
 1 
 
 6 
 
 Chrome, ,, 3, Orange 
 
 
 
 6 
 
 .Raw Sienna 
 
 - 
 
 
 
 6 
 
 Chrome, ,, 4, Dp. 
 
 Orange 
 
 
 
 9 
 
 Roman Ochre 
 
 - 
 
 
 
 6 
 
 Indian Yellow - 
 
 - 
 
 6 
 
 
 
 Strontian Yellow 
 
 - 
 
 4 
 
 6 
 
 Italian Pink 
 
 - 
 
 1 
 
 6 
 
 Transparent Gold Ochre 
 
 
 
 6 
 
 Italian Pink Golden 
 
 - 
 
 3 
 
 
 
 Yellow Ochre 
 
 - 
 
 
 
 6 
 
 King's Yellow - 
 
 - 
 
 
 
 6 
 
 Yellow Lake 
 
 - 
 
 1 
 
 6 
 
 Gamboge in Lump, selected. 
 Soluble Vandyke Brown. 
 
 Chinese Vermilion, in packets. 
 Pkts. of Powder Colours, 6d. each 
 
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10 GEORGE ROWNEY & CO. 
 
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 Black, Bitumen, Vandyke Brown, Raw Umber, 
 Terra Vert, Emerald Green, Sacrum ; two 
 bottles, Mastic Varnish and Light Drying Oil, 
 Capped Dipper, one each 1 to 6 Flat French 
 Tools, 3 inch Palette Knife, and 12. inch 
 Mahogany Palette. 072 1 1 o 
 
 D. 
 
 The same as Box C, with the addition of a 
 recess underneath for Millboards. Fittings same 
 as BoxC, and two Prepared Millboards 12 inches 
 by 8 inches. - - - - - - -099 158 
 
12 
 
 GEORGE ROWNEY & CO. 
 
 OIL SKETCHING BOX, G, 
 E. 
 
 Improved Flat Sketching Box — size, 13^4 
 inches by 8>£ inches, i%& inch deep — containing 
 two Double Tubes, Flake While and McGuilp ; 
 Twenty Single Tubes, Chrome 1 and 4, Naples 
 Yellow, Yellow Ochre, Vermilion, Burnt Sienna, 
 Light Red, Indian Red, Rose Madder, Crimson 
 Lake, Cobalt, Permanent Blue, Prussian Blue, 
 Ivory Black, Brown Pink, .Manganese Brown, 
 Raw Umber, Bitumen, Emerald Green, Terra 
 Vert ; one eaeh 1, 2, 3, and 6 Flat Sables in tin, 
 one each 1 to 6 Flat French Tools, No. 2 Badger 
 Softener, two bottles, Light Drying Oil and 
 Turpentine, Capped Dipper, $% inch Palette 
 Knife, and 13 inch Mahogany Palette. 
 
 £ s . J. 
 
 Kitted. 
 £ s. d. 
 
OIL COLOUR BOXES. 13 
 
 t- Empty. Kitled 
 
 £ s. d. £ s . d. 
 
 The same as Box F, with the additionof a recess 
 underneath for Millboards. Fittings same as Box 
 E, and two Prepared Millboards 1 3 inches by 8 
 inches. - - - - - - - -01361150 
 
 G. 
 
 Oil Sketching Box — size, 12 '4 inches by 4% 
 inches, 2 inches deep — containing the following 
 nineteen colours, viz., Flake White, Naples 
 Yellow, Yellow Ochre, Raw Sienna, Cadmium 
 Yellow, Light Red. Indian Red, Scarlet Ver- 
 milion, Crimson Lake, Madder Brown, Cobalt, 
 Cceruleum, Prussian Clue, Veronese Green, Terra 
 Vert, Ivory Black, Bitumen, Raw Umber, and 
 McGuilp, one each 1 to 6 flat Sables in Tin ; one 
 each 1, 4, and 6 flat French Tools, No. 6 Badger 
 Softener, 3J2 inch Palette Knife, Chalk, 6 inch 
 Portcrayon, Japanned Tin Bottles of Linseed Oil 
 and Turpentine, Double Dipper, and Folding 
 .Mahogany Palette. The Box contains a con- 
 trivance to hold a canvas, as shown in illustration, 
 the strap, passing under the feet, holds the Box 
 
 firmly on the knees. ( See cut, page 11) - - o 13 6 1 16 6 
 
 H. 
 
 Small Oil Colour Box — size, 9 inches by 7 
 inches, 2^inchesdeep — containing twelve Single 
 Colours, viz., Chrome No. 1, Naples Yellow, 
 Yellow Ochre, Raw Sienna, Burnt Sienna, Ver- 
 milion, Crimson Lake, Cobalt, Prussian Blue, 
 Ivory Black, Vandyke Brown, Terra Vert; Double 
 Tubes, Flake White and Medium ; 4 bottles, 
 Mastic, Light Drying Oil, Linseed Oil, and Tur- 
 pentine ; one each 1 to 6 flat Sables in Tin, one 
 each 1 to 6 flat French Tools, No. 3 Badger 
 Softener, Chalk, 6 inch Portcrayon, 3^ inch 
 
 Palette Rnife,and Mahogany Palette. {Seecttt,pi^) 072 1 6 6 
 
 I. 
 
 Small Oil Colour Box — size, 10 inches by 7 
 inches, 2 l / z inches deep — containing three Double 
 Tubes, Flake White, Medium, and Yellow 
 Ochre ; 16 single Tubes, Chrome No. 1, 'Naples 
 Yellow No. 2, Raw Sienna, Brown Pink, Crimson 
 Lake, Light Red, Indian Red, Vermilion, Cobalt, 
 Permanent Blue, Prussian Blue, Ivory Black, 
 Vandyke Brown, Raw Umber, Terra Vert, Emer- 
 ald Green ; four bottles, Mastic Varnish, Light 
 Drying Oil, Poppy Oil, and Turpentine, one each 
 O to 6 Flat Sables in Tin, one each o to 6 Flat 
 French Tools, No. 5 Badger Softener, Chalk, \ l / z 
 inch Portcrayon, 3)^ inch Palette Knife, 10 inch 
 Mahogany Palette. (See cut, page 14. J - o S 3 1 11 6 
 
14 
 
 GEORGE ROWNEY & CO. 
 
 SMALL OIL COLOUR BOXES, H, I, & K. 
 
 K. 
 
 The same as Box I, with the addition of a recess 
 underneath for Millboards. Fittings same as Box 
 I, and three Prepared Millboards, 10 inches by 
 7 inches. ----.__. 
 
 L. 
 Small Oil Colour Box — size 10^' inches by 
 7%. inches, 3 inches deep— containing ihreedouble 
 Tubes, Flake White, Medium, and Yellow 
 Ochre; twenty single Tubes, Pale Cadmium, 
 Naples No. 2, Yellow Ochre, Raw Sienna, Yellow 
 Lake, Brown Pink. Crimson Lake, Light Red. 
 Indian Red, Vermilion. Rose Madder, Cceruleumj 
 Cobalt, Permanent Blue, Prussian Blue, Ivory 
 Black, Vandyke Brown, Raw Umber, Terra Vert, 
 Veronese Green ; three bottles, Mastic Varnish, 
 Light Drying Oil, and Turpentine ; one eacho to 
 6 Round and Flat Sables in Tin, one eacho to 9 
 Flat French Tools, N0.6 Badger Softener, Chalk, 
 4K inch Portcrayon, 3 1 , inch Steel and 6 inch 
 Ivory Palette Knives, Capped Dipper, Mahogany 
 Palette. The Tray for the Colours lias a cover 
 which opens out when the Box is in use. - 
 
 Kmptv. 
 £ s. d. 
 
 Fitted. 
 £ s. d 
 
 I 16 
 
OIL COLOUR BOXES. 
 
 15 
 
 MIDDLE OIL COLOUR BOX, N. & O. 
 
 M. 
 
 The same as Box L, with the addition of a recess 
 
 underneath for Millboards. Fittings same as Box 
 L, and three prepared Millboards, 10 inches by 
 7 inches. - ' 
 
 N. 
 Middle Oil Colour Box— size 12^ inches by 
 8X inches, 2% inches deep— containing six double 
 
 Tubes, Flake White, Yellow Ochre, McGuilp, 
 Siccatif, Light Red, and Ivory Black ; twenty- 
 one single Tubes, Zinc White, Chrome No. 1, 
 Naples Yellow No. 2, Raw Sienna, Brown 
 Ochre, Burnt Sienna, Indian Red, Crimson Lake, 
 Scarlet Lake, Rose Madder, Cceruleum, Cobalt! 
 French Ultramarine, Prussian Blue, Raw Umber, 
 Vandyke Brown, Manganese Brown, Bitumen, 
 Terra Vert, Veronese Green, Emerald Green * 
 4 bottles, Mastic Varnish, Light Drying Oil,' 
 Poppy Oil, and Turpentine ; one each o to 6 
 Flat Sables in Tin, one each o to 9 Flat French 
 Tools, No. ? Badger Softener. 4 inch Steel and 
 6 inch Ivory Palette Knives, and 12 inch 
 Mahogany Palette. 
 
 Empty. 
 
 £ 
 
 H 
 
 Fitted. 
 
 2 '3 
 
16 
 
 GEORGE ROWNEY & CO. 
 
 IMPROVED LARGE OIL COLOUR BOX, P & Q. 
 
 O. 
 
 Empty. 
 
 £ 
 
 Fitted. 
 
 £ s. d. 
 
 The same asBoxX, with the addition of a recess 
 underneath for Millboards. Fittings same as Box 
 X. and three Prepared Millboards, 12 inches by 
 S inches. (See cut, page 15.) 
 
 7 9 
 
OIL COLOUR BOXES. 1 7 
 
 p Empty. Fitted. 
 
 r ' £ s. d. £ t. d 
 
 Improved Large Oil Colour Box — size, 14^ 
 inches by clinches, 2^ inches deep — containing 
 four double tubes, Flake White, Yellow Ochre, 
 Medium, and Ivory Black ; thirty-four single 
 Tubes, Zinc White, Lemon Yellow, Naples Yellow 
 Nos. I and 2, Yellow Lake, Pale Cadmium, 
 Deep Cadmium, Raw Sienna, Brown Ochre, 
 Burnt Sienna, Chinese Orange, Light Red, 
 Indjan Red, Vermilion, Orange Vermilion, Rose 
 Madder, Crimson Lake, Scarlet Lake, Madder 
 Brown, Cceruleum, Cobalt, French Ultramarine, 
 Prussian Blue, Indigo, Brown Pink, Raw Umber, 
 Vandyke Brown, Manganese Brown, Bone Brown, 
 Bitumen, Veronese Green, Terra Vert, Emerald 
 Green, and Sacrum ; four bottles, Mastic Varnish, 
 Light Drying Oil, Poppy Oil, and Turpentine ; 
 Double Capped Dipper, one each o to 9 Round 
 and Flat Sables in Tin, one each o to 12 Plat 
 French Tools, No. 9 Badger Softener, 4 inch Steel 
 and 8 inch Ivory Palette Knives, Charcoal, Chalk, 
 6 inch Portcrayon, 14 inch Mahogany Palette. 
 (See cut, page 16.) o 16 6 4 4 o 
 
 .9- 
 
 The same as Box P, with the addition of a recess 
 underneath for Millboards. Fittings same as Box 
 P, and three Prepared Millboards, 14 inches by 
 
 9 inches. (See cut, page 16.) - - - -1004 10 6 
 
 R. 
 
 Complete Large Oil Colour Box — size, \^% 
 inches by 10 inches, 2.% inches deep — with four 
 Screw-top Japanned Bottles for Oils and Varnishes, 
 Japanned Brush Washer and Smutch Pan. The 
 colours are held in a covered tray, containing 
 twenty-six colours, viz., Flake White, Lemon 
 Yellow, Naples Yellow No. 2, Pale Cadmium, 
 Yellow Ochre, Italian Pink, Raw Sienna, Burnt 
 Sienna, Light Red, Indian Red, Vermilion, 
 Crimson Lake, Madder Lake, Indian Lake, 
 Cceruleum, Cobalt, Permanent Blue, Prussian 
 Blue, Ivory Black, Bitumen, Vandyke Brown, 
 Raw Umber, Terra Vert, Mineral Green, Emerald 
 Green, McGuilp ; four bottles, Mastic Varnish, 
 Light Drying Oil, Linseed Oil, and Turpentine ; 
 one each o to 6 Round and Flat Sables in Tin, 
 one each o to 12 Flat French Tools, No. 9 Badger 
 Softener, 4 inch Steel and 8 inch Ivory Palette 
 Knives, Charcoal, Chalks, 6 inch Portciayon, 
 Three-jointed Common Mahl Stick, and 14 inch 
 White Wood Palette. (See cut, page 18.) - - 149 3 10 o 
 
18 
 
 GEORGE ROWNEY & CO. 
 
 COMPLETE LARGE OIL COLOUR BOXES, R & S. 
 
 c Empty. Fitted. 
 
 b £ s. d. £ s. d. 
 
 The same as Box R, with the addition of a 
 recess underneath for Millboards. Fittings also 
 same as Box R, and three Prepared Millboards, 
 14 inches by 10 inches. I 7 6 3 16 o 
 
OIL COLOUR BOXES. 
 
 19 
 
 Improved Extra Large Oil Colour Box— size, 
 l6# inches by nji inches, 4% inches deep- 
 containing four double Tubes, Flake White, Yel- 
 low Ochre, McGuilp, and Ivory Black ; forty-six 
 single Tubes, Zinc White, Lemon Yellow, Yellow 
 Lake, Indian Yellow, Cadmium Pale, Cadmium 
 Orange, Cadmium Orange deep, Mars Yellow, 
 Naples Yellow Nos. 1 and 2, Raw Sienna, Italian 
 Ochre, Brown Ochre, Burnt Sienna, Chinese 
 Orange, Light Red, Indian Red, Orange Ver- 
 milion, Scarlet Vermilion, Vermilion, Scarlet 
 Lake, Crimson Lake, Rose Madder, Madder 
 Lake, Brown Madder, Purple Madder, Ultra- 
 marine Ash, Coeruleum, Cobalt, French Ultra- 
 marine, Permanent Blue, Prussian Blue, Mineral 
 Grey Nos. 1 and 2, Brown Pink, Raw Umber, 
 Burnt Umber, Vandyke Brown, Manganese 
 Brown, Bitumen, Veronese Green, Terra Vert, 
 Malachite Green, Mineral Green, Chrome Green, 
 and Sacrum ; 6 bottles, Mastic Varnish, Siccatif, 
 Light Drying Oil, Poppy Oil, Linseed Oil, and 
 Turpentine ; Double Capped Dipper, Rimmed 
 Dipper, one each o to 9 Round and Flat Sables 
 in Tin, one each o to 12 Flat French Tools, one 
 each o to 6 Round French Tools, one each 00 to 6 
 Round and Flat Extra Fine French Tools,' 1% 
 inch Flat Varnish Brush, one No. 9 Badger 
 Softener, 4% inch Steel and S inch Ivory Palette 
 Knives, Charcoal, Chalk, 6 inch Portcrayon, best 
 Three-jointed Mahl Stick, 16 inch Mahogany 
 Palette, and three prepared Millboards, 16 inches 
 by 11 inches. --_.._ 
 
 •p Empty. Fitted. 
 
 £ *. d. £ s . d. 
 
 I 6 S 12 9 
 
20 
 
 GEORGE ROWNEY & CO. 
 
 DIPPERS, BRUSH WASHERS, &c, 
 
 FOR OIL PAINTING. 
 
 s. d. 
 
 o 4 
 
 o 7 
 
 o 5 
 
 o 9 
 
 Each. 
 Plain Tin. Japan'd. 
 No. *• d - 
 
 1 Single Tin Dipper for the Palette - -02 
 
 2 Double ditto 04 
 
 3 Single Conical .------03 
 
 4 Double ditto o 
 
 5 Single Tin Dipper, with screw top . - - o 
 
 6 Double ditto ditto - - - - I 
 
 7 Single Tin Dipper, with capped lid - - o 
 
 8 Double ditto ditto - - - - I 
 
 9 Single Conical, with capped lid - - - - ° 
 10 Double ditto ditto . - - - 1 
 
 12 Single Dipper, with removable rim - - - o 
 
 13 Double ditto ditto - - - - o 10 
 
DIPPERS, BRUSH WASHERS, &c. 
 
 21 
 
 Tin Brush Washer. 
 Square Bottom, Round Top. 
 
 Square Brush Washer. 
 
 Double TinBrush Washer. 
 Square Bottoms Round Tops. 
 Plain Tin. Japan'd. 
 Each. Each. 
 
 1 in Brush Washer, square bottom, round top - 
 Double ditto ditto 
 
 Square Brush Washer 
 
 Round Brush Washer, small - 
 
 Oblong screw-top Bottle, to fit Oil Colour Boxes 
 
 *. d. 
 
 i 3 
 
 2 6 
 
 I IO 
 
 O II 
 
 OIL SLANT AND SMUTCH PAN. 
 
 12-inch Tin Oil Slant 
 14-inch ditto 
 
 12-inch Smutch Pan 
 14-inch ditto 
 
 PI 
 
 iin Tin 
 
 k. 
 
 ach. 
 
 s. 
 
 d. 
 
 I 
 
 5 
 
 I 
 
 8 
 
 I 
 
 8 
 
 2 
 
 
 
22 
 
 GEORGE ROWNEY & CO. 
 
 OIL BRUSH CASES. 
 
 No. i. — 14 inches by \]/ 2 inches 
 ,, 2. — 14 ditto by 2 ditto 
 ,, 3. — 14 ditto by 2Y2 ditto 
 
 Plain Tin. Japan'd. 
 Each. Each, 
 
 j. d. s. d. 
 
 09 17 
 
 I G 18 
 
 I 
 
 I IO 
 
 OILS, VARNISHES, &c. 
 
 Mastic Varnish 
 
 ♦Glass 
 Bottles con- 
 taining 
 half-a-gill. 
 Each, 
 s. d. 
 - I 6 
 
 Quarter 
 
 Pints in 
 
 stone 
 
 bottles. 
 
 Each. 
 
 £ s. d. 
 
 030 
 
 Half-Pints 
 in stone 
 bottles. 
 
 Each. 
 
 £ s. d. 
 060 
 
 Pints 
 
 in stone 
 bottles. 
 
 Each. 
 £ s. d. 
 O 12 O 
 
 Per 
 
 Gallon. 
 
 (Can, 
 zs. yd. ex.) 
 
 £ s. d. 
 
 4 10 
 
 Crystal Varnish 
 
 
 
 9 
 
 O I 
 
 3 
 
 2 
 
 3 
 
 O 
 
 4 
 
 6 
 
 1 
 
 16 
 
 
 
 Light Amber Varnish 
 
 2 
 
 
 
 3 
 
 9 
 
 7 
 
 
 
 O 
 
 13 
 
 6 
 
 5 
 
 5 
 
 
 
 Paper Varnish 
 
 
 
 9 
 
 i 
 
 3 
 
 2 
 
 3 , 
 
 O 
 
 4 
 
 6 
 
 1 
 
 16 
 
 
 
 Copal Varnish 
 
 1 
 
 
 
 1 
 
 8 
 
 3 
 
 
 
 O 
 
 6 
 
 
 
 2 
 
 5 
 
 
 
 Oil Copal Varnish 
 
 1 
 
 
 
 1 
 
 8 
 
 3 
 
 
 
 O 
 
 6 
 
 
 
 2 
 
 5 
 
 
 
 White Hard Varnish 
 
 1 
 
 
 
 1 
 
 8 
 
 3 
 
 
 
 O 
 
 6 
 
 
 
 2 
 
 5 
 
 
 
 Japan Gold Size - 
 
 
 
 8 
 
 1 
 
 
 
 2 
 
 
 
 O 
 
 3 
 
 9 
 
 1 
 
 10 
 
 
 
 White Lac Varnish 
 
 1 
 
 
 
 1 
 
 8 
 
 3 
 
 
 
 O 
 
 6 
 
 
 
 2 
 
 5 
 
 
 
 Nut Oil 
 
 
 
 6 
 
 c 
 
 11 
 
 1 
 
 6 
 
 O 
 
 3 
 
 
 
 1 
 
 1 
 
 
 
 Poppy Oil - 
 
 
 
 6 
 
 
 
 1 i 
 
 1 
 
 6 
 
 O 
 
 3 
 
 
 
 
 
 18 
 
 
 
 Purified Linseed Oil 
 
 
 
 6 
 
 
 
 9 
 
 1 
 
 
 
 O 
 
 2 
 
 
 
 
 
 12 
 
 
 
 Light Drying Oil - 
 
 
 
 6 
 
 
 
 10 
 
 1 
 
 3 
 
 O 
 
 2 
 
 3 
 
 
 
 15 
 
 
 
 Dark Drying Oil - 
 
 
 
 6 
 
 
 
 10 
 
 1 
 
 3 
 
 
 
 2 
 
 3 
 
 
 
 13 
 
 6 
 
 Fat Oil - 
 
 
 
 9 
 
 1 
 
 3 
 
 2 
 
 3 
 
 O 
 
 4 
 
 6 
 
 1 
 
 17 
 
 6 
 
 Spirits of Turpentine 
 
 
 
 5 
 
 
 
 6 
 
 1 
 
 
 
 O 
 
 1 
 
 6 
 
 
 
 9 
 
 
 
 *Also in bottles 
 
 containing 
 
 half the 1 
 
 quantity 
 
 at 
 
 half the 
 
 price. 
 
 
 
SICCATIF, PREPARED CANVAS, &c. 23 
 
 SI CCATI F, 
 
 PREPARED BY 
 
 GEORGE ROWNEY & CO. 
 
 This medium is intended to supersede the use of Oils or McGuilps 
 should be mixed with the colours on the palette, either pure or with the 
 admixture of Oil, or Spirits of Turpentine. The former makes it dry 
 more slowly ; the latter increases its drying property. Age renders 
 it nearly colourless, and causes it to dry more rapidly. Exposure to the 
 atmosphere thickens, the addition of Spirits of Turpentine thins the 
 
 medium. 
 
 *. d. 
 
 Bottles 13 
 
 Tubes 04 
 
 PREPARED CANVAS. 
 
 IN ROLLS OF SIX YARDS. 
 
 Quality A. 
 
 Roman, or Ticken. 
 
 Per yard. 
 
 j. d. 
 
 \i of a yard or 27 inches wide 29 
 
 Ji » 31 32 
 
 3 feet 3 8 
 
 3 ,, 2 inch. -- ....--.-40 
 
 3 „ 6 ,, - - ....... 4 6 
 
 3 „ 9 „----•------ 5 8 
 
 4 » 6 ,, • - - - - - 72 
 
 5 >. 2 „ 8 8 
 
 6 „ 2 ,, - - - - - - - - - 10 2 
 
 7 ,, 2 ,, - - - - - - - - - 12 9 
 
 Quality C, per yard, 2s. Sd. Made 48 inches wide only. 
 Large Canvases, 6s. per square yard. 
 
24 
 
 GEORGE ROWNEY & CO. 
 
 GEORGE ROWNEY & CO'S 
 
 LIST OF 
 
 PREPARED CANVAS AND WEDGED FRAMES. 
 
 Wedged Wedged 
 Frames with Frames with Wedged 
 Canvas. Canvas. Frames 
 
 Quality A. Quality C. only. 
 
 Roman or Ticken. 
 
 Size. 
 
 Inches. 
 
 8 by 
 
 9 >> 
 
 9 „ 
 
 10 „ 
 
 10 „ 
 
 12 M 
 
 12 „ 
 
 12 ,, 
 
 13 .. 
 
 14 >> 
 
 14 » 
 
 15 » 
 
 16 „ 
 
 17 „ 
 
 18 „ 
 
 18 „ 
 
 19 M 
 
 20 ,, 
 
 20 ,, 
 
 21 ,, 
 
 21 ,, 
 
 22 ,, 
 
 22 ,, 
 
 24 » 
 
 24 „ 
 
 24 ., 
 
 24 ,, 
 
 27 „ 
 
 29K >» 
 
 SO „ 
 
 3° » 
 
 36 „ 
 
 36 „ 
 
 44 ,, 
 
 5° M 
 
 56 „ 
 
 94 >, 
 
 106 ,, 
 
 Proportion for 
 
 Each. 
 
 Each, 
 s. d. 
 
 6 
 7 
 7 
 8 
 8 
 8 
 9 
 9 
 9 
 11 
 
 Each. 
 
 6 Portrait - --00 
 
 6 Landscape - - -00 
 
 7 Portrait - - -00 
 
 7 Landscape - - - 00 
 
 8 Portrait o 
 
 8 Landscape o 
 
 9 Landscape o 
 10 Portrait o 
 
 9 Landscape o 
 
 10 Landscape - - - o 
 12 Portrait o 
 
 11 Landscape o 
 
 12 Landscape - - - o 
 
 13 Landscape o 
 
 12 Landscape o 
 
 14 Portrait o 
 
 13 Landscape - - - c 
 12 Landscape o 
 
 16 Portrait o 
 
 14 Landscape o 
 
 17 Portrait o 
 
 16 Landscape o 
 
 17 Landscape o 
 12 Landscape o 
 16 Landscape - - - o 
 
 18 Landscape - - - o 
 20 Portrait, Head-size - o 
 20 Landscape o 
 2\]A Landscape- - - O 
 20 Landscape - - - o 
 25 Portrait, 3{- size - o 
 24 Landscape o 
 28 Portrait, Kitcat - - o 
 34 Portrait, Small half-length o 
 40 Portrait, half-length - o 
 44 Portrait, Bishop's half-length o 15 
 
 58 Portrait, whole length -220 108 
 
 70 Portrait, Bishop's whole length 2 1^0 132 
 
 C quality is not made larger than 36 by 28 
 The last two are 4.C extra with hinges. 
 Irregular and large sizes made to order on the shortest notice. 
 Artists' Canvas prepared in a variety of ways, including Pure White single- 
 primed, and absorbent Grounds, 
 Odd-sized Frames up to 30 by 25 are charged the same as Frames two sizes 
 larger, for instance — a Frame 15 by 12 would be charged the same price as 
 one 18 by 12. 
 
 o 
 
 9 
 9 
 9 
 9 
 11 
 11 
 1 1 
 11 
 
 3 
 2 
 
 4 
 8 
 
MILLBOARDS. 
 
 25 
 
 PREPARED MILLBOARDS FOR OIL PAINTING. 
 No. i of Ordinary Thickness. 
 
 
 
 
 
 
 Each. 
 
 
 
 
 
 
 Each. 
 
 
 
 
 
 
 i. 
 
 d. 
 
 
 
 
 
 
 s. d. 
 
 6 
 
 inches 
 
 by 5 
 
 inches - 
 
 o 
 
 6 
 
 12 
 
 inches 
 
 by 8 
 
 nches - 
 
 I O 
 
 7 
 
 5) 
 
 
 5} 
 
 / 
 z >> 
 
 o 
 
 7 
 
 12 
 
 >) 
 
 9 
 
 ,, 
 
 - 
 
 I O 
 
 8 
 
 33 
 
 
 
 
 99 
 
 o 
 
 8 
 
 12 
 
 j 1 
 
 10 
 
 >» 
 
 - 
 
 I I 
 
 9 
 
 39 
 
 
 6 
 
 ,, 
 
 o 
 
 9 
 
 13 
 
 >> 
 
 9 
 
 ,, 
 
 - 
 
 I I 
 
 9 
 
 3 J 
 
 
 7 
 
 93 
 
 o 
 
 9 
 
 13 
 
 ,, 
 
 10 
 
 59 
 
 - 
 
 I 2 
 
 9 
 
 39 
 
 
 8 
 
 33 
 
 o 
 
 9 
 
 13 
 
 |J 
 
 11 
 
 » j 
 
 - 
 
 I 2 
 
 10 
 
 39 
 
 
 7 
 
 33 
 
 o 
 
 9 
 
 14 
 
 5? 
 
 9 
 
 ,, 
 
 - 
 
 I 2 
 
 io 
 
 ,, 
 
 
 S 
 
 33 
 
 o 
 
 9 
 
 14 
 
 33 
 
 10 
 
 „ 
 
 - 
 
 1 3 
 
 1 1 
 
 39 
 
 
 8 
 
 ,, 
 
 o 
 
 1 1 
 
 14 
 
 ,, 
 
 11 
 
 35 
 
 - 
 
 1 4 
 
 ii 
 
 .. 
 
 
 9 
 
 »> " 
 
 I 
 
 o 
 
 
 
 
 
 
 
 
 
 
 
 No. 2 
 
 OF 
 
 Extra Thickness. 
 
 
 
 
 
 
 
 
 
 Each. 
 
 
 
 
 
 
 Each. 
 
 
 
 
 
 
 j. 
 
 d 
 
 
 
 
 
 
 5. d. 
 
 14 
 
 inches 
 
 by 
 
 12 
 
 inches - 
 
 I 
 
 6 
 
 17 
 
 nches 
 
 by 12 
 
 inc 
 
 les - 
 
 2 O 
 
 ^5 
 
 ,, 
 
 
 II 
 
 >) 
 
 I 
 
 8 
 
 17 
 
 33 
 
 14 
 
 , 
 
 - 
 
 2 3 
 
 15 
 
 ,, 
 
 
 12 
 
 ,, 
 
 I 
 
 9 
 
 IS 
 
 33 
 
 12 
 
 3 
 
 - 
 
 2 3 
 
 16 
 
 ,, 
 
 
 II 
 
 33 
 
 I 
 
 9 
 
 18 
 
 J 3 
 
 13 
 
 3 
 
 ■- 
 
 2 4 
 
 ID 
 
 >> 
 
 
 12 
 
 33 
 
 I 
 
 ii 
 
 18 
 
 33 
 
 14 
 
 9 
 
 - 
 
 2 8 
 
 No. 3 of Double Thickness. 
 
 Each. 
 
 s. d. 
 
 Each. 
 
 19 inches 
 
 by 12 inches - 
 
 2 
 
 6 
 
 21 
 
 inch 
 
 ;s 
 
 by 
 
 17 
 
 inches - 
 
 3 9 
 
 19 3 3 
 
 13 
 
 33 
 
 2 
 
 6 
 
 22 
 
 ,, 
 
 
 
 15 
 
 33 
 
 3 5 
 
 19 ,3 
 
 H 
 
 33 
 
 2 
 
 8 
 
 22 
 
 33 
 
 
 
 16 
 
 33 
 
 3 9 
 
 19 „ 
 
 15 
 
 ,, 
 
 2 
 
 9 
 
 22 
 
 33 
 
 
 
 18 
 
 33 
 
 4 6 
 
 10 ,, 
 
 14 
 
 ,, 
 
 3 
 
 
 
 24 
 
 33 
 
 
 
 iS 
 
 33 
 
 5 3 
 
 20 „ 
 
 16 
 
 ,, 
 
 3 
 
 2 
 
 24 
 
 ,, 
 
 
 
 20 
 
 ,, 
 
 6 
 
 21 ,, 
 
 15 
 
 3, * 
 
 3 
 
 3 
 
 3° 
 
 33 
 
 
 
 25 
 
 33 
 
 9 
 
 SKETCHING OR ACADEMY ] 
 
 BOARDS 
 
 FOR 
 
 OIL PAINTING. 
 
 
 
 
 Each. 
 
 
 
 
 
 
 
 Each. 
 
 
 
 
 5. 
 
 d. 
 
 
 
 
 
 
 
 s. d. 
 
 8 inches 
 
 by 6 inches - 
 
 
 
 2 
 
 14 
 
 inch 
 
 S3 
 
 by 
 
 12 
 
 inches - 
 
 5 
 
 9 3 3 
 
 7 
 
 , 
 
 O 
 
 3 
 
 15 
 
 ,, 
 
 
 
 10 
 
 ., 
 
 5 
 
 10 „ 
 
 7 
 
 , 
 
 O 
 
 3 
 
 15 
 
 • 33 
 
 
 
 11 
 
 3 1 
 
 6 
 
 10 ,, 
 
 8 
 
 , 
 
 O 
 
 3 
 
 16 
 
 33 
 
 
 
 12 
 
 „ 
 
 6 
 
 12 „ 
 
 8 
 
 , 
 
 O 
 
 3 
 
 iS 
 
 33 
 
 
 
 14 
 
 ,, 
 
 9 
 
 12 ,, 
 
 9 
 
 , 
 
 
 
 4 
 
 19 
 
 33 
 
 
 
 12 
 
 ,, 
 
 6 
 
 12 „ 
 
 10 
 
 , 
 
 O 
 
 5 
 
 20 
 
 ,, 
 
 
 
 15 
 
 ,, 
 
 10 
 
 13 3. 
 
 9 
 
 , 
 
 O 
 
 5 
 
 24 
 
 33 
 
 
 
 19 
 
 ,, 
 
 1 
 
 13 3. 
 
 10 
 
 , 
 
 
 
 5 
 
 19 
 
 33 
 
 
 
 12 
 
 Stout - 
 
 8 
 
 14 3, 
 
 9 
 
 , 
 
 O 
 
 5 
 
 24 
 
 3 3 
 
 
 
 19 
 
 33 
 
 1 3 
 
 14 39 
 
 10 
 
 3 
 
 O 
 
 5 
 
 
 
 
 
 
 
 
26 
 
 GEORGE ROWNEY & CO. 
 
 CANVAS BOARDS. 
 
 These Boards present a surface of the best primed Canvas, and from 
 their neat and portable form, are undoubtedly the very best kind of 
 Sketching Board ever introduced. 
 
 7 inches 
 
 8 ,, 
 
 by S% 
 6 
 
 inches 
 
 Each. 
 s. d. 
 
 - o 7 
 
 - o 8 
 
 ii 
 
 12 
 
 nches by g 
 8 
 
 inches 
 >> 
 
 Each. 
 
 *. a. 
 I o 
 I 
 
 9 ,, 
 
 6 
 
 
 - o 9 
 
 12 
 
 „ IO 
 
 j> 
 
 i I 
 
 9 n 
 
 io ,, 
 
 10 „ 
 
 11 11 
 
 7 
 7 
 8 
 8 
 
 
 - o 9 
 
 - o 9 
 
 - o 9 
 
 O II 
 
 13 
 13 
 14 
 
 9 
 
 „ IO 
 
 „ IO 
 
 >» 
 
 I I 
 
 I 2 
 
 - i 3 
 
 
 
 OIL 
 
 SKETCI 
 
 ING 
 
 PAPER. 
 
 
 Per Sheet. 
 s. d. 
 
 Royal Size, 24 inches by 19 inches, Canvas grain 
 Imperial, 30 „ 21 „ „ „ - - 
 
 Goodall's Sketching Paper, 21 inches by 15 inches - 
 
 PREPARED MAHOGANY PANELS. 
 
 8 inches by 6 inches 
 
 9 
 
 6 
 
 9 
 
 7 
 
 10 
 
 7 
 
 IO 
 
 8 
 
 II 
 
 8 
 
 1 1 
 
 9 
 
 12 
 
 8 
 
 12 
 
 9 
 
 12 
 
 , 10 
 
 13 
 
 8 
 
 13 
 
 9 
 
 13 
 
 , 10 
 
 13 
 
 1 11 
 
 14 
 
 9 
 
 14 
 
 , 10 
 
 14 
 
 , 12 
 
 15 
 
 1 11 
 
 15 
 
 1 12 
 
 16 
 
 > 12 
 
 Each. 
 
 
 
 
 
 Each- 
 
 j. d. 
 
 
 
 
 
 5. d- 
 
 1 6 
 
 17 
 
 nches 
 
 by 12 
 
 inches 
 
 - 5 9 
 
 1 6 
 
 17 
 
 >) 
 
 !3 
 
 ■>•> 
 
 - 6 3 
 
 1 6 
 
 17 
 
 >> 
 
 14 
 
 j> 
 
 - 6 6 
 
 2 
 
 iS 
 
 ,1 
 
 12 
 
 j> 
 
 - 6 3 
 
 2 3 
 
 18 
 
 »> 
 
 13 
 
 »> 
 
 - 6 6 
 
 2 6 
 
 18 
 
 5> 
 
 14 
 
 !> 
 
 - 7 
 
 2 9 
 
 19 
 
 '> 
 
 13 
 
 >» 
 
 - 7 
 
 3 
 
 19 
 
 15 
 
 14 
 
 >» 
 
 - 7 9 
 
 3 
 
 19 
 
 '> 
 
 16 
 
 5) 
 
 - 9 
 
 3 6 
 
 20 
 
 >> 
 
 14 
 
 „ 
 
 - 8 3 
 
 3 
 
 20 
 
 )> 
 
 16 
 
 5> 
 
 - 9 6 
 
 3 6 
 
 21 
 
 5» 
 
 17 
 
 >> 
 
 - 11 6 
 
 3 9 
 
 22 
 
 >> 
 
 16 
 
 5> 
 
 - 11 6 
 
 4 
 
 22 
 
 |, 
 
 18 
 
 5> 
 
 - '3 3 
 
 3 9 
 
 2 3 
 
 „ 
 
 16 
 
 » 
 
 - 12 3 
 
 4 
 
 24 
 
 5> 
 
 iS 
 
 »> 
 
 - 14 
 
 5 ° 
 
 24 
 
 >! 
 
 20 
 
 ■)■> 
 
 - 14 9 
 
 5 
 
 28 
 
 >) 
 
 20 
 
 J> 
 
 - 19 9 
 
 5 3 
 
 3° 
 
 5> 
 
 25 
 
 !> 
 
 - 26 6 
 
 5 3 
 
 36 
 
 ?> 
 
 28 
 
 » 
 
 - 39 6 
 
BLOCKS WITH AND WITHOUT CASES. 
 
 27 
 
 BLOCKS WITH AND WITHOUT CASES FOR SKETCHES 
 
 IN OIL COLOURS. 
 Made on the principle of the Solid Sketch Block, and are composed of 
 a number of sheets of Prepared Paper, fastened at the edges, forming 
 a solid block of paper, from which each sheet may be separated by 
 passing a knife round the edge. 
 
 Each Block contains 24 Surfaces of Oil Sketching Paper. 
 These Sketching Blocks in cases are also made with Japanned Tin 
 Frame, which serves as a protection to the wet sketches. 
 
 
 
 
 Block 
 
 
 
 Block 
 
 with Case 
 
 
 
 with Case 
 
 and 
 
 
 
 and 
 
 Japanned 
 
 
 
 Block Wooden 
 
 Tin 
 
 
 
 only. Protector. 
 
 Protector 
 
 
 Size. 
 
 Each. Each. 
 
 Each. 
 
 
 
 j. d. s. d 
 
 5. d. 
 
 Imperial i6mo 
 
 7 inches by 5 
 
 2 33 
 
 4 9 
 
 Ditto Svo - 
 
 - 10 ,, 7 
 
 SO 56 
 
 7 3 
 
 Ditto 4to 
 
 - 14 >) IO 
 
 60 90 
 
 12 C 
 
 Ditto half - 
 
 - 20 ,, 14 
 
 12 O l8 O 
 
 24 O 
 
28 
 
 GEORGE ROWNEY & CO. 
 
 PALETTE KNIVES. 
 
 j 
 
 IS 
 
 No. 
 
 3 inch. 
 *. d. 
 
 Each. 
 1 . inch. 
 s. d 
 
 o 8 
 
 Shape. 
 A Cocoa Handle - 540 o 8 
 B Ditto Balance - 541 o 10 on 
 
 E Cocoa Handle Trowel 554 19 in 
 C Cocoa Long Shank 564 12 12 1 
 Artists' Diamond-shape Trowel Palette Knives 
 Artists' Trowel Scrapers, 34' inches 
 French shape Artists' Trowel Palette Knives, 3 inch 
 F Gilders' Knives, 6 inches 
 
 Ditto ditto Ebony Handles - 
 
 Ivory Palette Knives, 6 inches - 
 
 Ditto ditto 8 
 
 i inch. 
 s. d. 
 
 O 9 
 
 O I I 
 2 O 
 
 4% inch. 
 *. d. 
 
 IO 
 
 1 I 
 
 2 2 
 I 3 
 
 each 
 
 5 inch 
 s. d. 
 
POCKET KNIVES AND PALETTES. 
 
 29 
 
 THE ARTIST'S POCKET KNIVES. 
 
 Messrs. Ro.WNEY & Co. have had manufactured expressly for them 
 by one of the best Sheffield makers, a Knife of the finest quality, 
 especially adapted for the use of Artists. It is not larger than an 
 ordinary Pocket Knife, and contains :— A Palette Knife ; A Fine 
 Blade; A File for Sharpening Pencil or Chalk ; An Erasing 
 or Scraping Blade. Price $s. 6d. each. Or, with the addition of a 
 Screw for drawing the corks of varnish bottles, price Js. 6d. each. 
 
 STUDENTS' POCKET KNIVES. 
 
 Students' Pocket Knives 
 
 Ditto ditto Two Blades 
 
 Each 
 j. d. 
 
 I 2 
 
 MAHOGANY PALETTES, OVAL, OBLONG, & HOOK SHAPE. 
 
 Honduras Spanish 
 Mahogany. Mahogany. 
 
 9 inches long 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 
 Each. 
 
 s. d. 
 
 I 2 
 
 I 5 
 
 i 8 
 
 1 11 
 
 2 o 
 
 2 5 
 
 2 11 
 
 3 3 
 
 Each 
 i. d. 
 
 i 6 
 
 1 
 
 2 
 
 2 
 2 
 2 
 3 
 3 
 
 LIGHT WOOD PALETTES, OVAL, OBLONG, & HOOK SHAPE. 
 
 Satin 
 
 9 inches long 
 10 
 II 
 12 
 13 
 14 
 15 
 16 
 
 FOLDING PALETTES. 
 
 12 inch Honduras Mahogany 
 12 inch Spanish ditto 
 
 12 inch Sycamore 
 12 inch Satin Wood 
 
 Sycamore. 
 Each. 
 s. d. 
 
 Wood. 
 Each. 
 s. d. 
 
 5 
 8 
 
 Each, 
 i. a. 
 3 O 
 3 6 
 
 3 6 
 
 4 3 
 
30 
 
 GEORGE ROWNEY & CO. 
 
 BRUSHES 
 
 RED 
 
 FOR OIL PAINTING. 
 
 SABLES IN 
 
 ROUND. 
 
 TIN. 
 
 *RED SABLES IN TIN. 
 
 WITH POLISHED CEDAR HANDLES. 
 ROUND OR FLAT. 
 
 
 
 
 Each. 
 
 
 
 
 
 Each. 
 
 
 
 
 J. d. 
 
 
 
 
 
 *. d. 
 
 No. 
 
 OO, o& I, 
 
 Round or Flat o 6 
 
 No. 
 
 4, 
 
 Round or 
 
 Flat - 
 
 O II 
 
 
 2, 
 
 ditto 
 
 o 7 
 
 
 ">, 
 
 ditto 
 
 - 
 
 I 2 
 
 
 3. 
 
 ditto 
 Flat. 
 
 o 8 
 
 
 6, 
 
 ditto 
 
 Flnt. 
 
 I 4 
 
 
 Round. 
 
 
 Round. 
 
 
 
 Each. 
 
 Each. 
 
 
 
 
 Each. 
 
 Each. 
 
 
 
 s. d 
 
 *. d. 
 
 
 
 
 s. d. 
 
 j. d. 
 
 No. 
 
 7 
 
 - i 6 
 
 I 8 
 
 No. 
 
 ro 
 
 - 
 
 2 9 
 
 3 6 
 
 ,, 
 
 8 - 
 
 - i 9 
 
 2 3 
 
 ,, 
 
 1 1 
 
 - 
 
 3 3 
 
 4 6 
 
 ., 
 
 9 
 
 2 O 
 
 3 o 
 
 >, 
 
 12 
 
 - 
 
 3 9 
 
 5 9 
 
 •The prices of Red Sables aie fluctuating. 
 
BRUSHES. 
 FRENCH TOOLS, OR HOG~HAIR BRUSHES. 
 
 WITH PLAIN CEDAR HANDLES. 
 ROUND OR FLAT. 
 
 Nos. oo, o, i, 2, 3, 4, 5, and 6 
 
 7 
 S 
 
 9 
 io 
 ii 
 
 31 
 
32 
 
 GEORGE ROWNEY & CO. 
 
 LYONS HAIR BRUSHES. 
 
 SAME SIZE AS SA1 
 
 =^^^"?-Z' "2 A-3MAAOii- ' 
 
 Each. 
 
 
 
 BsS§fi|l^P 
 
 
 Each. 
 
 
 s. a. 
 
 
 
 s. (i. 
 
 No. oo, o & I 
 
 - o 5 
 
 No. 
 
 4 • 
 
 ■ o 7 
 
 ), 2 - 
 
 - o 5 
 
 5 J 
 
 5 - 
 
 - o 9 
 
 » 3 ■ 
 
 - o 6 
 
 )) 
 
 6 - 
 
 I o 
 
 EXTRA FINE FRENCH TOOLS. 
 
 POLISHED CEDAR HANDLES. 
 
 Nos. oo, o to 6, Flat or Round - - 8d. each. 
 
 The Hair of which these Brushes are made is dressed in such a manner 
 as to render it finer and softer than the ordinary hog hair, without in 
 any way impairing its elasticity. 
 
 FAN SHAPE BRUSHES. 
 
 FOR PAINTING HAIR, GRASS, OR LIGHT FEATHERY TOUCHES. 
 
 Hog Hair, Nos. I to 6 
 Sable Hair, No. i - 
 
 3 " 
 
 4 " 
 
 5 - 
 
 6 - 
 
 8d. each. 
 
 6d. 
 
 8d. 
 
 - lid. 
 
 - is. id. 
 
 - is. 5d. 
 
 - is. 9d. 
 
BRUSHES. 
 
 33 
 
 IRREGULAR SHAPED FRENCH TOOLS. 
 
 C, No. 6 
 
 The above shapes are made in Nos. i to 6. 
 A. Short Hair, Thin Flat .... 
 
 C. Extra Thin Hair, Flat (Landseer Brushes.) 
 
 D. Short Hair, Round .... 
 
 E. Lone; Hair, Round .... 
 
 Each. 
 
 D, No. 3 
 
 E. No. ; 
 
 FLAT BADGERS IN TIN. 
 
 I inch wide 
 
 2 
 
 Each. 
 
 s. d. 
 
 i 6 
 
 inch wide 
 
 2 3 [ 1%. 
 
 3 o | 4 
 
 (See Cut, page 34.; 
 
 Each. 
 
 s. d. 
 
 3 9 
 
 4 6 
 
 5 3 
 
 6 o 
 
 ROUND BADGERS IN QUILL, TIED WITH WIRE 
 
 No. 1 
 
 Each, 
 s. d. 
 O 6 
 
 No; 7 
 
 O 9 
 
 , s 
 
 I 2 
 
 1 6 
 
 » 9 
 
 ,, 10 
 
 2 O 
 
 ,, n 
 
 2 6 
 
 ,, 12 
 
 Each. 
 
 s. d. 
 
 (See Cut page 34.) 
 
34 
 
 GEORGE ROWNEY & CO 
 
 BRUSHES FOR OIL PAINTING. 
 =-LAT BADGER IN TIN. I ROUND BAD GER IN QUILL. 
 
 II 1.1) WITH WIRE. 
 
 ( For prices see page 33. ) 
 
 No. 11. 
 
BRUSHES & EASELS. 
 
 35 
 
 FLAT HOG HAIR VARNISHING BRUSHES. 
 
 WARRANTED. 
 
 Each, 
 s. d. 
 
 1 inch wide 
 
 2 ,, 
 2^ 
 
 3 inch wide 
 
 4 i.' " ." 
 2nd quality ditto, per inch 
 
 Each. 
 
 j. d. 
 
 3 o 
 
 3 6 
 
 3 9 
 
 o 6 
 
 BLACK FITCH HAIR, IN TIN. 
 
 Nos. I to 6, Round or flat, 6d. each. 
 (Size, same as Sables in Tin, page 30.) 
 
 EASELS. 
 
 MADE BY MACHINERY, 
 
 TABLE EASELS. 
 
 Heigh 
 
 
 Ea 
 
 :h. 
 
 In. 
 
 
 r. 
 
 d 
 
 IS 
 
 Deal table easels 
 
 3 
 
 O 
 
 21 
 
 Ditto 
 
 4 
 
 O 
 
 24 
 
 Ditto 
 
 5 
 
 O 
 
 18 
 
 Mahogany tabic easels 
 
 5 
 
 O 
 
 21 
 
 Ditto 
 
 6 
 
 
 
 24 
 
 Ditto 
 
 6 
 
 9 
 
 18 
 
 Deal table easels, with 
 
 
 
 
 sliding frame - 
 
 5 
 
 9 
 
 21 
 
 Ditto 
 
 6 
 
 9 
 
 24 
 
 Ditto 
 
 7 
 
 6 
 
 18 
 
 Mahogany table easels, 
 
 
 
 
 with sliding frame - 
 
 7 
 
 6 
 
 21 
 
 Ditto 
 
 8 
 
 9 
 
 2 + 
 
 Ditto 
 
 10 
 
 
 
 I 
 
 FOLDING EASEL, CLOSED. 
 
 Deal Forked Easel, 5 feet or 6 feet high 
 Ditto Portable Folding .... 
 
 Mahogany Forked Easel .... 
 
 Ditto, Portable Folding .... 
 
36 
 
 GEORGE ROWNEY & CO 
 
 fl 
 
 1 
 
 EASEL, WITH SLIDING FRAME. 
 MAHOGANY EASELS. DEAL EASELS. 
 
 MADE BY MACHINEKV. 
 
 
 I 
 
 $. 
 
 d. 
 
 Mahogany framed Easel, 6 feet 
 
 1 
 
 1 
 
 6 
 
 Ditto, sliding panel, 4 feet - 
 
 1 
 
 16 
 
 6 
 
 Ditto ditto, 5 feet 3 inches 
 
 1 
 
 17 
 
 3 
 
 Ditto ditto, 6 feet - 
 
 2 
 
 10 
 
 
 
 Mahogany sliding frame, 4ft. - 
 
 1 
 
 19 
 
 9 
 
 Ditto ditto, 5ft. 6in. 
 
 2 
 
 18 
 
 6 
 
 Ditto ditto, 6 feet - 
 
 } 
 
 6 
 
 
 
 Walnut ditto, 4 feet - 
 
 2 
 
 2 
 
 9 
 
 MADE BY MACHINEKV. 
 
 
 £ 
 
 s 
 
 Deal framed Easels, 6 feet 
 
 
 
 12 
 
 Ditto, with sliding panel 4ft. 
 
 1 
 
 O 
 
 Ditto ditto, 5ft. 3in. 
 
 1 
 
 10 
 
 1 litto ditto, 6 feet - 
 
 1 
 
 16 
 
 Deal sliding frame, 4ft. - 
 
 1 
 
 7 
 
 Ditto ditto, 5ft. 6in. 
 
 2 
 
 2 
 
 Ditto ditto, 6 feet - 
 
 2 
 
 3 
 
SKETCHING EASELS 
 
 37 
 
 FRENCH SKETCHING EASELS. 
 
 5 feet high - - - - £i os. od. each. 
 
 This Easel, from its extreme portability, is admirably adapted for, 
 sketching in the open air. The canvas, when in use, being held 
 
 securely by the Easel, is not liable to be thrown down or disturbed. 
 
38 
 
 GEORGE ROWNEY & CO. 
 
 FRENCH STUDIO EASEL 
 
EASELS. 
 
 39 
 
 FRENCH STUDIO EASEL. 
 
 This Easel lias a Screw at the back worked by the handle in front, by which the 
 picture may be raised or lowered To give the forward inclination, a screw is attached 
 to the slide at the back which is worked by a wheel from under the trav. This pre- 
 vents the possibility of the inclined part falling suddenly forward when a heavy 
 picture is upon it. The Stand hasan adjusting screw to accommodate any inequality 
 in the floor. This is a m st serviceable Easel, and is made of Oak. 
 
 AS 5*. each 
 
 CORBOULD'S EASEL. 
 
 Corbould's Easel - 
 Corbould's Easel, with desk 
 
 each 
 
 £ s. d. 
 
 3 12 o 
 
 4 14 6 
 
40 
 
 GEORGE ROWNEY & CO. 
 
 GEORGE ROWNEY & COS 
 
 PORTABLE SKETCHING EASELS. 
 
 Folding Ash, 5 or 6 feet, in case - 
 
 Mahogany or Walnut-Wood, 5 feet, in case 
 Ditto ditto 6 ,, ditto 
 
 Ash Sketching Forked Easel, 4 feet 3 inches - 
 Student's Folding Sketching Easel 4 feet 
 
 Bach. 
 
 I. d. 
 
 9 9 
 
 12 6 
 
 14 o 
 
 6 
 
SKETCHING EASELS. 
 
 41 
 
 THE GERMAN SKETCHING SEAT 
 
 AND EASEL COMBINED. 
 
 ADAPTED FOR EITHER Oil. OR WATER-COLOUR SKETCHING. 
 
 THE EASEL, OPEN. 
 
 £ S. d. 
 
 Seat and Easel combined, similar to above illustration - i o o 
 
 Ditto ditto adapted for the use of Ladies - I 13 o 
 
 Square Seat, without the Easel - - - - - - 1 1 9 
 
 Improved Seat and Easel combined, with brass rack, sliding 
 
 legs, and box for holding colours and brushes - -156 
 With extra strong leather seats 3s. 9d. additional. 
 
42 
 
 GEORGE ROWNEY & CO. 
 
 SKETCHING STOOLS. 
 
 Four-legged Sketching Stools, 21 inches common - 
 ditto 24 
 
 ditto 21 inches best web scat 
 
 ditto 24 ,, 
 
 ditto 21 canvas ,, 
 
 ditto 24 ,, 
 
 
 $. 
 
 rf 
 
 each 
 
 2 
 
 
 
 - 
 
 2 
 
 3 
 
 - 
 
 4 
 
 6 
 
 
 5 
 
 
 
 - 
 
 5 
 
 6 
 
 5 8 
 
 REST OR MAUI. STICKS. 
 
 Bamboo Rest Sticks 
 Lancewood ditto, 5 feet long 
 
 Por 
 
 able Jointed ditto 
 Telescope - 
 
 Jointed, 2 joints 
 
 Mahogany Hand Rests, polished 
 
 each o 6 
 
 SKETCHING UMBRELLAS. 
 
 Superior made of Brown Holland, length of ribs 28 V 2 inches 
 cane ribs with Fan Joint 
 
 Superior, made of Brown Holland, length of ribs 32 inches 
 
 cane ribs with Fan Joint 
 
 With Bamboo Sticks, 2s. 3*/., extra. 
 
 Made of Brown Holland, length of ribs 26 inches, with 
 Fan Joint, bayonet joint 
 
 Ditto, ditto 2QJ4 inches ditto 
 
 Each. 
 £ s. d 
 
 1 7 9 
 1 9 3 
 
 18 o 
 
 1 o o 
 

 
 & 
 
GEO.' ROWNEY & CO.'S 
 TREATISES ON THE FINE ARTS. 
 
 Price each. 
 
 •HINTS ON SKETCHING FROM NATURE. Part I. N. E. Gkbbn i o 
 
 •HINTS ON SKETCHING PROM NATURE. Part II. N.E.Green ... i o 
 
 •HINTS ON SKETCHING FROM NATURE. Part III. N. E. Gkeen ... i c 
 
 GUIDE TO LANDSCAPE ANIMAL DRAWING. N. E. Green .. .. i o 
 
 GUIDE TO PORTRAIT PAINTING IN OIL COLOUR. F. Havnes .. i o 
 GUIDE TO FIGURE PAINTING IN WATER COLOURS. Sydney T. 
 
 Wkjtkford j o 
 
 GUIDE TO SKETCHING FkCL\T NATURE. Leonidas Clint Miles i o 
 
 PRINCIPLES OF PERSPECTIVE. Henry Lbwis. P..A i o 
 
 GUIDE TO WATER COLOUR PAINTING. R. P. Noble i o 
 
 HINTS FOR SKETCHING TREES FROM NATURE, IN WATER 
 
 COLOURS. Thomas Hatton , o 
 
 GUIDE TO OIL PAINTING. Part I. J. S. Temfleton i o 
 
 GUIDE TO OD^ PAINTING. Part II. (Landscape from Nature.) A.Clint i o 
 
 GUIDE TO LIGHT AND SHADE DRAWING. Mrs. M. Merrifif.i.d ... i o 
 
 GUIDE TO PENCIL AND CHALK DRAWING. G. Harlev i o 
 
 GUIDE TO PICTORIAL ART. H. O'Neil i o 
 
 GUIDE TO PICTORIAL PERSPECTIVE. B. R. Green i o 
 
 GUIDE TO FIGURE DRAWING. G. E. Hicks i o 
 
 GUIDE TO FLOWER PAINTING in Water Colours. G. Rosenberg ... i o 
 
 GUIDE TO PAINTING ON GLASS. H. Bielfibld i o 
 
 GUIDE TO MINIATURE PAINTING AND COLOURING PHOTOGRAPHS. 
 
 J. S. Tbmpleton I o 
 
 ON THE MATERIALS USED IN PAINTING, with Remarks on Var- 
 nishing and Cleaning Pictures, Charles Martbi i o 
 
 GUIDE TO ANIMAL DRAWING. C. H. Wbigall i o 
 
 GUIDE TO ILLUMINATING AND MISSAL PAINTING. W. and G. 
 
 AUDSLEY I o 
 
 Ditto, with additional Chromo-Lithograph Illustrations, cloth, gilt 2 6 
 
 THEORY OF COLOURING. J. Bacon 1 
 
 GUIDE TO PORCELAIN PAINTING. Sydney T. Whiteford 1 o 
 
 Ditto, w ith additional Illustrations, cioth and gilt 2 6 
 
 GUIDE TO MODELLING AND THE PRINCIPLES AND PRACTICE 
 
 OF SCULPTURE. With Illustrations. By George Halsb , o 
 
 PRACTICAL MANUAL OF HERALDIC ILLUMINATION. F. J. Baigf.nt 
 
 and C. I. Russell. Demy 8vo, cloth and gilt 6 o 
 
 PRACTICAL GUIDE TO SCENE PAINTING. F. Lloyds. Cloth and gilt ...10 6 
 
 * Three Part* bound in one, cloth and gilt, 5s.