•*. *» PRACTICAL TREATISE 0 H PAINTING 1 N OIL-COLOURS. PRACTICAL TREATISE O N PAINTING I N OIL-COLOURS. and he will be led to feel himfelf warm. Some •of Claude’s pictures have this fightly greenijh hue of twilight floating lightly in the air, under the appear- ance of a thin vaporous mifl : fo have many of the works of Vernet. fd) In the Philofophical Tranfa&ions for the 3 3 year 6 INTRODUCTION. without a bluih of falfehood,— fo few fuo ceed in imitating the local hues of nature, that, year 1777, is an account of a man who had fo ex- traordinary a defedt in his vifion as to be incapaci- tated from diftinguifhing colours. The hiftory of this fmgular perfon, who lived at Maryport in Cum- berland, was communicated by Mr. Huddart to Dr. Prieftley. — As the full account would be too long for inferting here, we muft refer the reader to the ac- count itfelf ; the following however is the outline:— His name was Harris, by trade a fhoemaker. He could difcern the form and magnitude of bodies, but could not diftin&ly fee their colours : he could fee cherries on a tree, but could not fay whether they were white or black. In general, all light colours he termed white, and all dark colours black. He was fo anxious to know the nature of light and co- lours, that he attended a courfe of Ie£tures in natu- ral philofophy. — Two of his brothers were in like circumftances ; but two other brothers and lifters, as well as his parents, had nothing of this defe£t, He did not imagine that colours were mere differ- ence! INTRODUCTION. 7 that, out of a whole academy, Reynolds fcarcely had a rival (e). But, befides the fuperiority acquired by the ftudy of optics in what has been juft enumerated, the fame principles will fully explain many other things pra&ifed by painters; for, were their works not judged of on the bafis of philofophy, a confiderable fhare of their merit mull be attributed to cnees of light and {hade, but believed, from the re- marks of others, that they were various and diftindh (e) Of late years the art of colouring has been affiduoufly cultivated in the Britifh fchool, owing in a great meafure to the emulation excited by that great mafter, Sir Jofhua Reynolds. Could the ex- periments in which he failed, and thofe in which he fucceeded, be collected and divulged, a confider- able advantage muft of confequence enfue ; for good is a refult compounded of the avoidance of error and the practice of right. b 4 chance INTRODUCTION. 8 chance rather than learning. He who has viewed the effects of nature with an eye directed by found education will be able to eftablifli general rules, where another will gain only particular cafes. With regard to the application of thefe fcientific rules to painting, the works of the beft colourifls are to be carefully examined : thefe are the records which a young painter ought ever to be ftudying, that he may be enabled to exprefs the beauty of objects with the utmoft truth and exa&nefs, “ With refped to ro- “ louring fays Sir Jofhua (j ), “ though terra verte y and malachite or mountain green : the latter is not in ufe among us. Sap-green and Scheele’s green appear to have been unknown to them. Like us, they produced as many tints as they C 2 pleafed 20 * % INTRODUCTION. pleafed from blue and yellow vege- tables. “ We have no original purples in life : that from gold by means of tin, though very good when well prepared, is too dear, and is unneceffary. Their purple was a tinged earth . “ Their orange , or fandarach (red orpiment), we alio poifefs. Hence there does not appear to have been any great want of pigments, or any very material difference between the colours they ufed and fuch as we generally employ.— -Per- haps the full effed of colouring may be obtained without the ufe of the exceeding brilliant pigments, by depending more on the proportion and oppofition of tints. Colouring was carried to a great de- gree INTRODUCTION. 21 gree of excellence formerly, as may be clearly afcertained by the writings of va- rious authors, who Hate that the Roman artifts particularly trufted to it ; but it is highly probable that the moderns have exceeded them in this particular branch of painting. The number of the modern colours, and their preparations have en- abled them to excel their predeceffors in the variety of their tints, independent of the chiarojcuro , which would alone go a great way towards the fame excellence. All this, and a great deal more that might be urged to the fame effeCt, will only go to prove the lamentable ftate of fo de- firable an art, which has been tranfmitted to pofterity with fcarcely one practical rule whereby fuch performances were ef- fected. Nay, to come nearer our own times, the real method of working, and the pe- i culiar admixture of the colours, ufed by C 3 Rembrandt, 22 INTRODUCTION. Rembrandt, Rubens and Vandyke, are very partially known to us, and are now rather diftantly imitated than practically identified. Rembrandt, who was a mafter of colouring in the higheft degree, died in 1668. Zouft, who ranked next to him, died in England about eight years after. Lely died in 1680. Reily, a difciple of Zouft, furvived th,em both, and was the heft colourift of his day. Then came Richardfon, who died in 1745, and, though taught by Reily, was much in- ferior to him in merit. Thus we fee in how fhort a time the art of colouring de- clined, which was in high perfection in the time of Rembrandt . ■ Whenever a difeovery is made where- by the world is likely to reap advantage, it INTRODUCTION. 23 it becomes the duty of every one to pro- mulge and extend it. For want of an open and philofophic difpofition in mat- ters of this fort, men of great abilities have dwindled into tradefmen, and have carried to their graves a (lore of infor- mation which, during life> was a lucra- tive monopoly. By fimilar means, we are deprived of the knowledge of many valuable arts praCtifed by the ancients, who from mo- tives of jealoufy or avarice excluded others from a participation of their {kill. The Juftinian code, for inftance, contains a ftrid: prohibition of the ufe of the Tyrian purple dye, except within the walls of the palace ; and although experience con- vinced the Eaftern Emperors of the folly and impolicy of fuch interdicts, not all C 4 their 24 INTRODUCTION. their future plans could preferve this va- luable art _ What little information can be had concerning Rembrandt’s method may be learned fio'm M de Piles, but it is not of the practical fort : u Titian and Rem- “ brandt prepared their iirft lay, or “ grounds, nearly alike, and with colours “ that kindly united, and were as near to “ the life as poflible ; on which they laid “ their virgin tints with light flrokes of the (n) To prevent the total lofs, if poflible, of this highly valuable dye, the Emperors obliged the de- fcendants of theTyrian dyers, as well as other artifts, to praftife the trades of their anceftors. But in time, as the families of thefe artifts became extin£t, the art became extinct alfo \ which fliews the ne- ceflity of fome a£t of the legiflature to purchafe all receipts of any real value, and record them. Vide Codex, 1. xi. tit. vii. Until the promulgation of this law,\ it was an a£t of high ti-enfon for any private perfon to make ufe of this dye. Ibid. tit. viii. “ pencil ; INTRODUCTION. 25 «* pencil; and thus they imitated the force « and frefhnefs of nature.—’ They were « convinced that there were certain co- « lours which deftroyed each other, if « they were mixed to excefs ; and that “ they Ihould be as little fhaken as pof- “ fible by the motion of the pencil.” If M. de Piles knew the above, he might have alfo hated the names of the colour s, and the medium in which they were ground, &c. &c. From a clofe infpe&ion of the beft painted pictures of thefe great colounfts, it appears that the drugs and the colour- ing materials were in general far better prepared and more fcrupuloufly feleded than at prefent. Many of the venders of colours are not preparers of them ; and, being ignorant of their compobtion, re- ceive into their (hops whatever has the femblance *6 INTRODUCTION. •femblance of excellence. Numbers of the materials are either not genuine, or are vilely fophifticated ; and when ground, and tied up in bladders, are mixed with raw and impure oils. It would be well if the Royal Academy of Painting would eled cenfors to enforce propriety in this refped, after the cuftom of the College of Phyficians ; or at lea ft. appoint a few honeft and well informed cojourmen ; or, what is perhaps better, have a laboratory of their own, and apply the profits to the fup- port of decayed merit, and the patronage of rifL'g genius. After all, to recapitulate the more valuable confiderations of the truly ani- mated ftudent, let him never reft fatisfied with an effect ^ without endeavouring to difcover the caufe . He will, if grounded in philofophy, be able to account for moft of INTRODUCTION. 27 of the appearances of nature ; and the particular cafes, which are fo many ex- ceptions, his mind will readily retain, as being peculiarly linking in themfelves, and aloof from general explanation. “ On <£ the whole,” — to recur to Reynolds (0), “ there is but one prefiding principle a which regulates and gives liability to “ every art. The works, whether of “ poets, painters, moralills, or hillorians, “ which are built upon general nature, “ live for ever ; while thofe which de- “ pend for their exiftence on particular “ culloms and habits, a partial view of ct nature, or the fluctuation of falhion, can only be coeval with that which “ firll raifed them from obfcurity. Pre- “ fent time and future may be confidered “ as rivals, and he who folicits the one tc mull expeCt to be difcountenanced by “ the other.” ( 0 ) Difcourfe, read Dec. io, 1 77 1 > — die con- cluding part. MATERIA PICTO RIA (p); OR, history OF PIGMENTS, DRUGS, VARNISHES, AND ©THER MATERIALS WHICH ARE USED IN THE ART OF OIL PAINTING. A S AsPHALTUM. This is a folid bitu- minous fubftance, of a deep fhining black or brown colour within, with fcarcely any fmell till it be heated, when it emits a ftrong pitchy one. It is plentiful in fe- [p) It has been thought more convenient to ar- range the feveral words in alphabetical order; by which means any article may be inftantly found out, as by a Dittionary. . 3 ° B L veral parrs of Egypt, and on the furface of the Dead Sea. From France, Germany, and Switzerland, a fimilar bitumen is pro- cured, differing only in its fmell, which is more pitchy. Sometimes pitch itfelf, and the refiduum after the diftillation of am- ber, are both fubftituted for it, but are diftinguifhable from the natural bitumen. Black. See the feveral articles — Blue Black ; Frankfort Black ; Ivory Black ; Lamp Black. Bladder of colour. After pig- ments have been carefully ground in oil, and prepared for the ufe of the pencil, it is cuflbmary to fecure them from duft ■ and other adventitious alteration, by tying them up in pieces of bladder. By fimply puncturing the bladder, fo much colour as is wanted may be fqueezed from the orifice, B L t B R 3 1 orifice, and the remainder be prefcrved for a future occafion. Blue. See Indigo; Pruflian Blue; Smalt ; Ultramarine ; Ultramarine Allies ; Verditer. Blue-black. Of this colour the pre- paration is various ; but the better fort is faid to be made of the young ftalks and tendrils of the vine charred. See Frank- fort Black. Brown’ See Afphaltum; Brown Ochre; Brown Pink ; Cologne Earth; Burnt Terra di Sienna ; Umbre. Brown Ochre. See Ochre. Brown Pink is the tinging part of a vegetable, precipitated on the earth of alum, and on calcareous fubftances, fuch 5 as as cuttle- fifh bone, chalk, &c. There are manjr methods of preparing it, among which are the following : Take of French berries, one pound ; of fuftic wood, in chips, half a pound ; and of pearl-afhes, one pound. Boil them in a tin boiler, with a gallon and a half of water, for an hour ; and then {train off the tindure through flannel, while the fluid is boiling hot. Having prepared in the mean time a fo- lution of a pound and a half of alum (which takes fourteen times its weight of water to diflfolve), put it gradually to the tindure, as long as an ebullition {hall ap- pear ; wafli the fediment, as in the pre- paration ot lake ; and when it is brought, by filtering through paper and a linen cloth, to a proper confiftence/dry it on boards, in fquare pieces.^-Or, it may be made without the ufe. of falts, by boiling two pounds of the berries in a gallon of ' water, BR 33 Water, for two hours, and draining off the tinCture through flannel. In the mean time prepare a pound and a half of cuttle-fifh bone, by levigating the foft inner part with Water on marble 5 add this to the tincture, and evaporate in bal- neo Mariae ( a water-bath') till the matter become of a ftifF confidence : when the inafs is well ground, let it be cut in cakes, and dried on a board* Brunswick Green* This is a very Valuable and newly difcovered colour, and is prepared by two brothers, of the name of Gravenhord, at Brunfwick. Hitherto it has been kept a fecret ; but it is conjectured to be a precipitate of cop- per which has been diflolved in tartar and water by coCtion, and which, by eva- poration of the lixivium, is depofited in the form of a cupreous tartar . A fimilar colour is fold by Meflrs. Brandram and Co. D in CE CO 34 inSileLane, London, which poffeiTesmany, if not all, the rare qualities of that prepared at Brunfwick. Ceruss. See White Lead. Cinnabar. An ore of quickfilver, found in all quickfilvex mines. The beft is of a high red colour, brilliant, and free from gritty matters. It is a combination of quickfilver and fulphur, and when arti- ficially prepared is termed Vermilion, — which fee* Colcothar of Vitriol. A purple brown calx of iron, which remains after the diftillation of the acid from martial- vitriol : — it is alfo called Crocus Martis. Cologne Earth is of a deep brown colour. It is dug up in many parts of Germany and France ; but Dr. Hill, in 6 his- CO DR 35 hisHiftory of Foffils, obferves,that it is alfo found near Birmingham in Warwickshire, and on Mendip Hills in Somerfetfhire. Colour. In painting, the medium whereby the hues of nature are imitated. For thefe, fee the words — Red, Orange, Yellow, Green, Blue, Purple; Brown, Black, White. Common Indian Red. See Indian Red. Common Orpiment. See Orpiment. Copal. A refin from New Spain, of which varnifh is made. Distilled Verdigrise. feVerdi- grife. Drying Oil, Various are the me- D 2, thods 36 DU thcds of preparing drying-oils; but as palenefs and limpidnefs are as highly ne- ceffary as a drying quality, the operation is a nice one. The following receipt is excellent: To a quart of very old nut or linfeed oil add one pound of the cleaned, unadulterated litharge of filver. Let the glass veflel in which they are put be perfectly cylindrical, that the greafy parts of the oil, which will unite with the litharge, may fubfide without impediment. Shake the mafs many times in a day for a week, or longer ; and care- fully, without mixing the greafy fedi- ment, pour off the drying-oil for ufe. N. B. When drying-oils are made with heat, they are only applicable to coarfe outfide painting, and the darker pig- ments. Dutch Pink. This colour, like brown pink. 37 E A pink, is prepared of French berries, with this difference, that turmeric inftead of fuftic is admixed, and that chalk is ufed in lieu of cuttle- fifh bone. It is alfo pre- pared, after the fame manner, with ftarch and white lead. Its goodnefs confifts in its being of a fine golden yellow, and very bright. Earth, White. Many ingenious men have employed their talents in dis- covering a more wholefome, and equally cheap, pigment as white lead ; and, per- haps, the finer and whiter forts of earth might be ufefully fubflituted. The Terra Goltbergenfis is of a white colour, which is dug up in feveral parts of Germany, more particularly at Goltberg, whence its name, and Strigaw, and at Lignitz in Silefia. At this time it is procured in the neighbourhood of Haffelt, in the D 3 bifhoprick 38 E A biftioprick of Liege, in the circle of Weftphalia, where it is ufually fealed with the impreffion of an Eagle and the words “ Terra GoltbergenfisE — Of to- bacco-pipe clays there are alfo feveral forts that appear convertible into pigments, efpecially one of this clafs which is found near Lymington in Hampfhire, which is not at prefent turned to much ufe. But the earth termed Melinum in natural his- tory has been ever famous in the annals of painting, being the principal white of the painters of antiquity. It is ftill found in the fame place from whence the paint- ers of old had it, viz. the ifland of Milo, called Melos by the Greeks, whence its name, and is common in all the adjacent iflands. It is not quite fo bright a white as white lead ; but, as it never turns yel- low as white lead does, it is far preferable to that article in the courfe of time. Be- tides, EN F R 39 fides, as mod of the difcolouring fub- ftances of white earths may be attributed to iron, if it were treated with marine acid, the brightnefs might be improved. See Hill’s Hid. of Foffils, p. 45. English Pink. This is fometimes termed light pink , from its being of a lighter colour than Dutch pink, to which it is fimilar in preparation, except that a greater quantity of chalk enters the com- pofition, to render it conliderably lighter. Flake White. See White Lead. Frankfort Black. This is made of the lees of wine burnt, then walhed in water, and ground in mills for that pur- pofe, together with ivory or peach-ftones burnt. It makes the principal ingredient in the rolling-prefs ink ; and is generally D 4 brought 40 GL G R brought from Frankfort, Mentz, or Strak bourg, in lumps. The French alfo pre^ pare it, and theirs is far preferable. Glazing. A term ufed by artifts to exprefs the application of a thin fuperficial coat of tranfparent colours. It is gene- rally pra&ifed in the fhades 5 and the colour is mixed with meggellup. Green. See Brunfwick Green ; Pruf- fian Green j Scheele’s Green ; Terra V erte; Verdigrife, common and diftilled. Green, Brunswick. See Brunfwick Green, Green, Prussian. See Prufiian Green. Green, Scheele’s. See Scheele’s Pfeen, FI AIR HA IN 4 * Ha i r Pencil. See Pencil. Inpian Red. There are two forts, yiz. the common and the real. Common Indian red is no other than the ochre or colcothar left after the diftillation of the acid from martial vitriol, well wafhed from the falts, and ground. Real Indian red is a natural ochrous earth brought from the ifland of Ormus, in the Perfian Gulph, and called by fome writers Terra Perfica, In general it may be obferved, that the calces of iron may be made to appear either purple or red, according to the manner in which the calcination is performed. Various paints are kept in the drops under different names, which differ only from each other in fome tri- vial circumftances, — fuch as : Scarlet Ochre ; Spanifh Brown ; Indian Red ; Venetian Red, Indigo 42 IV I N Indigo is a blue fecula obtained by maceration from the plant Anil, The very bell fort comes from Spanish Ame- rica ; but within thefe few years a vail quantity has been brought from Bengal, which equals, in many famples, the fineft that has been produced on the globe. It is not fo well calculated for oil as for water: it is, therefore, applied in great quantities to the purpofes of dyeing. Ivory Black. If this colour were really prepared from the rafpmgs of Ivory , which in truth it ought to be, it is a very beautiful jet black j but unhappily it is prepared only from bones , which by no means equal it in fplendour, although they may be confiderably cheaper. It is a very bad dryer, and requires a confiderable ad- mixture of fugar of lead. King’s K I 43 L A King’s Yellow. This is an orpi- ment, or preparation of arfenic and ful- pher, of an extreme bright colour. It will ftand well, if kept unmixed and by itfelf; but, if it be mixed with lead and fome other colours, it flies off or changes. It may be obtained from common orpi- ment by fublimation. Lake, fo called from gum-lacca, from which it was at firft prepared, is a very beautiful tinge of red, purple, or yellow colouring fubftances precipitated on the earth of alum. The red and purple lakes are prepared from cochineal, madder, and kermes berries; the yellow lort, from the curcuma or turmeric-root. So nice are the miniature-painters in water-colours in the procuration of lake, that great prices are given for it. The great complaints made againft the red lake are, that it is too pur - pie. 44 LA pie, and too apt to fade and vanifh. Could an UTiadulterated fcarlet lake, that would ftand the tell of time, be philofophically prepared, fuch a colour would accumulate fame and fortune on the ingenious artift who invented it. Lamp-Black. This colour is the foot of oils, refins, and other inflammable fub- ftances colleded from lamps. At prefent, fo great is the confumption, a procefs of a much greater extent is effeded. For in- ftance, in Norway and Sweden it is fre- quently obtained from the dregs and drainings of refin, together with chips of the wood and bark of the pine, burnt in ovens of a peculiar conftrudion. Simi- lar modes are now probably pradifed in England, where vaft quantities are made for the painting of the bends and mafts of fhips; fince it has been difcovered, that lamp LE M A 45 lamp-black mixed with tar or oil is a perfect non-condudtor, and has proved a prefervative from lightning, by repelling the ele&ric matter from thofe parts which are coated with it. Lead, Red. See Red Lead. Lead, Sugar of. See Sugar of Lead. Lead, Precipitate of. See White Precipitate of Lead. Lead, White. See White Lead. Light Pink. See Englilh Pink. Mastic, or Mastich. Atranfparent refin from the lentifc tree. Masticot, or Massicot, is white lead 46 ME N A lead calcined till it aftume a yellowifh co* lour. Meggellup. A term ufed by artifts to exprefs a compofition or mixture of turpentine, maftic varnifti, and linfeed oil, with which they apply their glazings . Others prepare it of one part of genuine maftic varnifti, and two parts of pale dry- ing oil. AVhen the two ingredients are quickly ftiaken together they will form a clear jelly, which will be found extremely ferviceable in many parts of painting. Minium. See Red Lead. Native Cinnabar. See Cinnabar. Naples Yellow. This colour was for a long time fuppofed to be a prepara- tion of arfenic, but it is now well known to N A 47 to contain lead. Dr. Hill in his Hift. of Foffils, p. 56, is highly miftaken as to the nature of this material. He fays that it is a bolar earth, impregnated with a ferrugi- nous calx, very beautiful, of a bright and elegant yellow, between a gold and faffron colour, and of a very loofe, porous, fpongy and fhattery texture. It is found, as he fays, in fome parts of Italy, fometimes on the furface of the earth, at other times very deep. — The truth is now, however, difco- vered by M. Fougeroux, who has demon- ftrated that it is made by art. The perfon who prepares it at Naples, fcrupuloufly con- ceals every circumftance that might lead to a difcovery of its nature and preparation. It contains, by chemical analyfis, an abfor- bent earth, a vegetable acid united with lead, an aluminous and ammoniacal fait, and a calx of antimony. Accordingly, on mixing together intimately twelve ounces of 4$ N O O C of white lead, one of alum, one of fa! ammoniac, and three of diaphoretic anti- mony, in an unglazed earthen pan, co- vered over, and expofmg it to a moderate heat for the fpace of eight hours, he ob- tained a fubftance of the fame colour and the fame properties with Naples yellow, or Giallolino , as it is there called. See Hift. Acad. Sciences, 1766. Nottingham White. See White Lead. Ochre. The name of a large genus of earths, ufed principally by the painters. The moft common kinds are the red and yellow, though there are brown, blue and green. Of the yellow, Dr. Hill deferibes eleven fpecies ; of the red, the fame num- ber; of the brown, two; of the blue and green, one fpecies each. Ochre is a fer- ruginous 49 01 ruginous earth, or ore of iron : the fpeci- mens of fuch as are dark may be bright- ened by calcination. They appear to be produced by the decompofition of martial pyrites, which confift of fulphur and iron. By the adtion of air and water the fulphur becomes acidified, and forms vitriol, and the iron is depofited on calcareous earths which feize the acid. Iron is frequently extradled from this ore. Oils. The oils ufually applied to the purpofes of the painter are, linfeed, nut, and poppy oils, and the oil (improperly fo termed) of turpentine. The paler and more limpid thefe oils are, the better, pro- vided no heterogeneous matters are applied to them to render them fo. Experience has proved, that great age is required to ren- der feed-oils valuable, as they then acquire a drying quality, and lofe that turbid ap- E pearance 5 ° OK OR pearance which when new they invariant bly poffefs. Oker. See Ochre. Orange. See Orange Lake; Red Orpiment. Ora nge Lake. This may be pre- pared by boiling four ounces of the bell Spanifh anotto, and one pound of pearl- afhes, for the fpace of half an hour, in one gallon of water. Strain the tin&ure, and mix it gradually with a folution of a pound and a half of alum in fix quarts of water, defifting when no ebullition enfues. Treat the fediment as is ufual in preparing common lake, and dry it in fquare bits, or round lozenges. Orpiment is a combination of the calx of arfenic with fulphur, and is of a yellow colour. By an expofure to a great PA 51 degree of heat, the above combination af- fumes a red colour, which is then termed red orpiment, or realgar. M. Chaptal and M. Bucquet compare this operation with, the converfion of mercurial sethiops into cinnabar, or vermilion. Palette, among painters, is a little oval table, or piece of wood, very thin and fmooth ; on and round which the requi- fite colours are placed, that they may be ready for the pencil. It has no handle, but in lieu thereof a hole at one end, through which the thumb is thruft, to keep it firm in the hand. Patent Yellow. This colour, for which the ingenious Mr. Turner has a pa- tent, is prepared by triturating red lead and common fait together in a mortar, and then expofing them in a crucible (made of to- bacco-pipe clay) to a certain heat. The E 2 fait 52 PE PR fait is decompofed ; the marine acid unit- ing with the calx of lead forms the patent yellow ; and the bafis of the fait, which mu ft be carefully wafhed out, is the mi- neral alkali, of fo much confequence in the foap, glafs, and other manufactories. Pencil. An inftrument ufed by paint- ers for the application of their colours. They are of various kinds, according to their ufes : the moft ufual are of badgers’ and fquirrels’ hair, of fwans’ down, and boars’ bridles. Thefe Lift are bound to fticks, and are more generally termed bnijhes ; the others are included in the barrel of a quill. I Prussian Blue. A combination of iron with a fubftance of the nature of an acid, diftinguifhed by the name of acid of P ruffian blue. Various theories have been propofed refpe&ing this colour, by Geoffrey, P R 53 GeofFroy, Macquer, Sage, and others, all depending on the received knowledge of chemiftry of that period : but Scheele and Berthollet have thrown much light on this fubjeCt, and have converted the old term of phlogiji'icated alkali into PruJJian acid . — To make this article, on a fmall experi- mental fcale, any animal matters, fuch as blood, the rafpings of horn, clippings of fkins, &c. &c. are converted into char- coal, by heating them in a covered veflel, together with an equal weight of alkali. Lixiviate this coal in water; then ftrain it, and evaporate to a degree of ftrong concen- tration. This lixivium is then to be gra- dually admixed to a folution of two ounces of martial vitriol and four ounces of alum, when a blueilh depofit is formed, which is rendered more intenfely blue by treat- ment with marine acid. Manufacturers proceed on a much larger fcale. E 3 Prussian 54 PR RE Prussian Green. This is a colour feidom employed, and is made by Tome admixture during the operation of making Prufiian blue. Purple. See Colcothar of Vitriol 3 Purple Lake ; True Indian Red, Purple Lake. See Lake, Realgar. See Orpiment. Red. See, Burnt Terra di Sienna; Cin- nabar ; Common Indian Red ; Rofe Pink ; Red Lake; Red Lead; Scarlet Ochre; Spanifh Brown; Venetian Red; Ver- milion. Red Lead is a calx of lead of a vivid orange-red colour, which colour it acquires by a flow calcination in a rever- berating furnace. From Holland, for the moft part, the red lead in commerce is brought : RE S A 55 brought : — it is frequently termed Mi- nium. Red Ochre. See Ochre. RedOrpiment. See Orpiment. Rose Pink. This is a very beautiful red colour, but is fo perilhable as to be little efteemed. It is made of chalk, co- loured with a deco&ion of Brazil wood, heightened by an alkaline fait. Sacrum. A vulgar and corrupted mode of exprefling Saccharum Saturni, or Sugar of Lead. Sandarach. A name fometimes given to a combination of arfenic and fulphur. Sandarach Gum. Improperly fo called, becaufe it is a refin. It is pof- E 4 felled 56 SC S P fefled of confiderable tranfparency, and is therefore ufed in varnifh. It is ob- tained from the juniper tree, in which it occupies a place between the bark and the wood. Scarlet Ochre. See Ochre. Scheele’s Green. To one pound of blue vitriol diffolved in a fufficient quantity of water, add immediately one pound of purified alkali, and five ounces and a half of pulverized white arfenic, diflolved previoufly in eight pounds of boiling water : the precipitate, arifing from the mixture of thefe two folutions, is to be well wafhed or elixated,and dried. Smalt is the pulverized blue glafs of cobalt. By us it is generally termed powder-blue, and is ufed with flare h, to give a beauty to fine linens. Spanish Brown is an ochrous ruddy S P 57 ruddy earth, which was formerly fupplied from abroad, as its name imports, but is now dug up in feveral parts of England. Spirit op Turpentine. This is an elfential oil, which has given rife to the improper name of oil of turpentine ; but it is not of an oleaginous nature. By diftillation in balneo Marias (a chemical water- bath) the fpirit rifes from the tur- pentine, and leaves a refiduum of a yellow colour, termed yellow refin, or rofin. SpongeTencil. Among the an- cients, pencils of fponge were ufed, by which the foaming of the fea, and other reprelentations of a fimilar nature were moft ingenioufly effected. Elence, doubt- lefs, the ftory of the painter, who not be- ing able to exprefs the foam of a war- horfe, fucceeded by dajhing the fponge at the pidure. Sugar TE ft S U Sugar of Lead. Lead and its calces may be diffolved by the acetous acid, and will afford a cryftallizable fait, called fugar of lead from its extreme fweetnefs. This, like all the preparations of lead, is a deadly poifon. It has the property of rendering oils thicker, and caufing them to dry more rapidly. Litharge, which is a preparation of lead, is ufed with the fame intention in drying oil. Sweetener. A term ufed by fome ai tiffs for a hair-pencil, or brufh, with which the abrupt edges of colours are foftened and blended together, as in the operation of glazing, &c. Terra di Sienna. This is a ferru- ginous earth, and capable of becoming red by calcination. It is a highly valuable colour to the portrait-painter, for deferr- ing TE TU 59 ing the warm reflected lights of the face, neck, &c» Terra Verte. This is a native earth, of a green colour, which it pro- bably receives from an admixture of cop- per. When well levigated, for it is of a gritty texture, it is very durable, though not bright. Turpentine. This is a refinous infpiflated juice extruded from trees of the fir kind. Four forts are diftinguifhed by medical writers ; but the moft common, from which the fpirit of turpentine is made, is obtained from the pinus fylvef- tris of Linnseus. Turpeth Mineral, or Turbith Mineral, is but little ufed in painting, though it feems richly deferving of notice. Its fine yellow colour is likely to poffefs durability, and is therefore preferable to king’s 6 o UL king’s or Naples yellow. It is prepared by mixing crude mercury in a retort with equal parts of vitriolic acid, and fubje&ing thefe to an intenfe heat, till the mercury is reduced to a white mafs. Let this be afterwards elixated with water, and it will affume a brimftone-yellow hue. Ult r amarine. Its great price hin- ders it from being much ufed, although it is by far the bed and moft durable blue colour known. Pruffian blue has of late been much ufed in lieu of ultramarine ; but it is a fad fubftitute, it being lefs dur- able, and lefs brilliant in its primitive hate. Its preparation confifts in firft calcining the lapis lazuli in a crucible, then grinding it very fine on a porphyry ; then mixing it up with a pafte made of w r ax, pitch, maftich, turpentine and oil; and laftly, wafhing the pafte well in clear water, to feparate UL 61 feparate the colouring part from the reft, which precipitates to the bottom, in form of a fubtile, beautiful, blue powder. The water is then poured off, and the powder at bottom is dried in the fun ; and is the true ultramarine . — To know whether it be pure and unmixed ; — put a little of it in a crucible, and on heating it red-hot, if the powder has not changed its colour, it is certainly genuine : on the contrary, if any change be perceived, or any black fpots appear, it is either fpurious or adul- terated. Ultramarine Ashes. This is the name of a pigment which is the refiduum of the lapis lazuli after the preparation of ultramarine. Thefe afhes cannot poflefs the beauty and value of the firft colour, as the colouring particles are mixed with thofe of another kind, which are red. Their 62 uivi Their fophiftication may be dete&ed af- ter the manner in the preceding article. Umbr£. This is a Mile fubftance, of a brown colour, which takes its name from Ombria, the ancient name of the duchy of Spoleto in Italy, whence it was firft obtained. Dr. Hill and Mr. Da Cofkt confider it as an earth of the ochre kind, feveral large maffes having been thrown up in digging on Mendip Hills in So- merfetfhire, and in the county of Wexford in Ireland. It is found in Egypt, Italy, Spain and Germany, as alfo in Cyprus $ but it is brought into England principally from different parts of the Turkifh do- minions. 1 his fubftance, when burnt, makes a good fhade for gold. It need only be put into the naked fire in large lumps, which fhould not be taken out till they be thoroughly red-hot. i Varnish. Varnish. A vifcid, gloffy liquor, ufed by painters, gilders, and various other workmen, to give a glofs and Iuftre to their works, as alfo to defend them from various accidents, from weather, duft, Sc c. A more particular treatife on varnilh will be given by itfelf ; it will be needlefs, therefore, to dilate further here. Venetian Red. This differs in no* thing from red ochre, or the colcothar of vitriol well calcined. See Indian Red. Verdigrise. Copper corroded, and reduced to a very beautiful green colour, or ruft, by the vinous acid, is termed verdigrife. Montpellier is the principal place of its manufacture, it being the capital of Languedoc, where the vine is propagated to a great extent. M. Monet gives' the following method of preparing verdigrife: 64 . V E verdigrife Vine-ftalks well dried in the fun are fteeped during eight days in ftrong wine, and again dried. After this they are put into earthen pots, and wine is poured upon them ; the pots being clofely covered. When the fermentation, which in fummer takes place in eight days, and in winter fomewhat later, has advanced, the ftalks are to be taken out of the pots. They are then to be drained for a while, and alternate layers of ftalks and plates of Swedifh copper are to be. arranged in earthen pots clofely covered. After three or four days the plates, will be corroded ; when they are to be taken out, and left in a cellar, and are occasionally to be wetted with water, or weak vinegar. This operation of wetting and drying being repeated three times, the ruft may be fcraped off for fale. Other methods are pra&ifed elfewhere, by ordinary vinegar ; s tut but It lias beeh obferved that, if the acid be not vinous , the verdigrife will not have that un&uofity fo defirable, and even neceflary, in painting. Great quantities are now made at Grenoble, fince the vulgar prejudice in favour of the cellars of Montpellier has been done away. Verdi ter is a blue colour, prepared with chalk, and copper precipitated from aqua-fortis. It is ufed by painters in wa- ter, and is principally eonfumed by the paper-ftainers. Vermilion. Under the article Cin- nabar it was ftated that vermilion was ho other than a factitious imitation of that colour, the component parts confifting of quickfilver and fulphur. M. Beaume gives the following procefs as a good one : Make a perfect asthiops mirteralis by tfi- F turating 66 W H turating two parts of fulphur with one of quickfilver. Take of this aethiops any quantity, and expofe it to the fire in a matrafs ; a more intimate combination will take place, and the mixture will fub- lime to the upper part of the veflel, in form of a very deep reddifh -brown mafs. To make it more perfect, one or two more fublimations are neceflary. In the fhops, this is termed fa&itious cinnabar ; but by grinding it very fine, with a mix- ture of clear urine, and a little fafffon as fome fuppofe, the intenfenefs of the co- lour is fomewhat loft, and it aflumes the name of vermilion . White. Flake-white and white lead are the two principal colours ufed in oils. Though thefe are called the heft prepa- rations of lead, yet fome others exift un- der the names of cerufs and Notting- ham W H 67 ham white, which will be explained in the following article* White Earth. See Earth, White. White Lead. The preparation of this pigment has become a diftind trade, and is pradifed in many parts of this kingdom. The author of the Chemical Didionary, M. Macquer, gives the fol- lowing defcription of the procefs : Leaden plates rolled fpirally, fo that the fpace of an inch fliall be left between each circum- volution, muft be placed vertically in earthen pots of a proper fize, containing fome good vinegar. Thefe leaden rolls ought to be fupported in the pots, that they do not touch the vinegar, but that the vapour of this acid may circulate free- ly betwixt the circumvolutions. Thefe pots are to be covered, and placed in a bed of F 2 dung, WH 68 dung, or in a fand-bath, by which a gentle heat may be applied. The acid of vinegar, being thus reduced into vapours, eafily attaches itfelf to the furface of thefe plates, penetrates them, and is impreg- nated with this metal, which it reduces to a beautiful white powder, called cerufs . When this powder is ground, and fitted for painting, it is termed •white lead . — Flake-white and Nottingham- white are alfo preparations of lead, and are nearly the felf-fame thing. Through the com- munication of a philofophical gentleman of veracity, the writer of this is enabled to hate — that the principal difference be- tween the procefs of making white lead and Nottingham- white confifts in the ufe of alegar inftead of vinegar . From sl very fevere trial he made of both the white colours, the preference is decidedly in favour of Nottingham- white : — he painted WH 69 painted the back-board of a pi&ure frame, one half with common white lead , the other half with Nottingham-white, The picture in its frame was hung up as ufual, and was not difturbed for feveral months j at the end of which time the picture was removed, and the fide painted with Notting- ham-white was nearly as white as ever, while the other half was changed to a deep yel- low. — If a conje&ure may be offered on the fuperior efficacy of alegar over vinegar in the preparation of a white colour from lead, it is — that alegar contains more of a vinous acid than common vinegar ; for, independent of the greater quantity of faccharine matter which enters into its compofition, it poffeffes the virtue and fpirit of the hop , a peculiarity unknown to the common vinegar. That a vinous acid is fuperior to any other is well, known, as the verdigrife made at Mont- F 3 pelli^r 70 WH pellier and Grenoble from vine-ftalks acidified in wine, is better, and fells at a higher price than that which is made of ordinary vinegar. See the article Verdi- grife. White Precipitate of Lead. Al- though the principal intention of this “ Hi/I or y of Pigments , EsV.” is to give a more general knowledge to the ftudent in oiL-painting, yet the more curious artift will indulge us in giving the following defcription of a water-colour, which is highly valuable to the painter in minia- ture, and may be found capable of great improvement. If a fmall quantity of ftrong nitrous acid be poured upon litharge ( which Jee) y the acid unites itfelf to the metal with confiderable effervefcence and heat. Some 5 water \VH 7 1 water being now poured on, and tbe glafs veffel containing the mixture fhaken, a turbid folution of the litharge is made. If a fmall quantity of acid of vitriol be now added, it throws down a beautiful white precipitate \ and the acid of nitre being left at liberty to ad upon the re- mainder of the litharge, begins anew to diffolve it with effervefcence. When it is again faturated, which will be known by the difcontinuance of the bubbles, more acid of vitriol is to be dropped in, and a white precipitate is again thrown down. If any of the litharge remains undiffolved, the nitrous acid being fet at liberty a fe- cond time, attacks it as at firft ; and by continuing to add acid of vitriol, the whole of the litharge may be converted into a mod beautiful and durable white. Unfortunately this colour cannot be ufed in oil, though in water it feems fuperior F 4 7Z W H to any. N. B s If the procefs be well managed, an ounce of nitrous acid may be made to convert feveral pounds of litharge into a ydiite of this kind. It has been ftrongly recommended tq paper- ftainers, and others who ufe water- colours in large quantities, to prepare their lakes, and the colours now prepared of chalk, on the bails of the above precipi- tate of lead. — For inftance : if the colour required be a very fine one, fuppofe from cochineal, the colouring matter is to be firft extraded by fpirit of wine, without heat. When the fpirit is fuiliciently im- pregnated, it is to be poured by little and little upon the calx : the fpirit foon evapo? rates, and leaves the calx coloured with the cochineal. More of the tindure is then to be poured on, rubbing the mix- ture conflantly ; and thus, by proper ma- nagement} WH 73 nagement, many beautiful colours, not in-? ferior to the beft carmine, may be pre- pared. — When only a fmall quantity of colour, for the more exquifite touches of the miniature painter, is required, we would recommend the procefs to be con-? dueled on the bafis of white precipitate , or calx of tin , purfuing the fame method of rubbing in the colouring tincture as when white precipitate of lead is ufed. If, in head of cochineal, Brazil-wood, tur- meric, logwood, &c. be fubftituted, dif- ferent kinds of red, yellow, and purple may be produced. — Aqueous decodtions, in lieu of fpirituous extracts, may be ufed for coarfer work ; but the procefs is more tedious, from the length of time required to evaporate the water. Art may, how-? ever, be employed here to aifift the eva- poration, provided the heat be low and gradual \ and the;i the quantity of colour prepared 74 WH prepared at one time might well a/lfwer the operators trouble. Yellow. See Dutch Pink; Englilh Pink ; King’s Yellow ; Maflicot ; Naples Yellow ; Orpiment; Patent Yellow; Terra di Sienna; Turpeth Mineral; Yellow Ochre. Yellow Ochre., See Ochre. PRACTICAL [ 75 3 PRACTICAL RULES f OR PAINTING in OIL COLOURS. THE following rules are derived from the obfervations and pra&ical experience of the late ingenious Mr. Bard well, fo well known and admired, at a period pre- vious to the formation of the Royal Aca- demy. Time has evinced the truth of his method, and has eftablifhed certain principles on which the ftudent may fafely rely. Such great difcoveries, however, have been made, fince his time, in the preparation 76 PRACTICAL RULES FOR preparation of fome coiours *, as to call forth the powers of modern ingenuity to apply them. Much is left to be done ; and from the prefent flourifhing flate of the Royal Academy, it is to be hoped that the day will come when modern ge- nius lhall eclipfe the produ&ions of former ages. On a comparifon with Mr. Bardwell’s work, it will be found that many altera- tions and corrections haye been made ; but thefe chiefly confift in the ftriking out many redundancies, and errors that had crept into it : — the principles are everywhere fcrupuloufly adhered to. * Viz. Brunfwick Green, Patent Yellow, Scheele’s Qrcen, &c. PAINTING in OIL COLOURS, 77 Lift of the principal Colours tifed in the Flefli ,from which all the Tints are, made . ..Flake -WHITE*, or Fine White, is the very bed white we have. This colour fhould be ground with the fined poppy oil that can be made. At prefent our white is bad, only on account of the oil, which is not really poppy. White is a friendly working colour, and comes for- ward with yellows and reds, but retires with blues and greens. It is the nature of all whites to fink into whatever ground they are laid on; therefore they fhould be laid on white grounds . 2. Ivory Black is the bed black we have : it is a colour which fympathizes * See die article White Lead in the Materia Pic- toria. 1 and 78 PRACTICAL RULES FOR and mixes kindly with all the other. It is a true (hade for blue. Ivory-black and a little Indian red make the belt general {hadow-colour that can be. It is ground with linfeed oil, and ufed with drying oil and fugar of lead Black is a cold, retiring colour. 3. Ultramarine is the fineft blue in the world. It is a tender, retiring colour, and never glares; and is a beautiful gla- zing colour. It is ufed with poppy oil. 4. Prussian-Blue is a very fine blue, and a kindly working colour. It is ground with linfeed oil, though nut oil is more proper. It fhould never be ufed in the fielh, but in the green tint and in the eyes. 5. Light Ociire is a friendly mixing colour, and of great ufe in the fielh. It is PAINTING in OIL COLOURS. 79 is ufually ground with linfeed oil, but nut oil is better. All yellows are ftrength- ened with reds, and weakened with blues and greens. 6. Light Red (light ochre burnt) and white, mixed, produce the moft per- fect flefh colour that can be made. It is a beautiful, clean, kindly working co- lour, but too ftrong for the white, and therefore will grow darker. It fhould be ground and ufed with nut oil. 7. Vermilion made of the true na- tive cinnabar only fhould ever be ufed. It will not glaze ; but is a line colour when glazed upon. It is ground with linfeed oil, and Ihould be ufed with drying oil. 8. Carmine is the moll: beautiful crim- fon that can be : it is a middle colour be- tween 86 PRACTICAL RULES FOR tween lake and vermilion; is a fine work- ing colour; and glazes delightfully. It fhould be ground with nut oil, and ufed with drying oil. 9. L Ake is a tender, fympathizing, deep red ; but of no ftrong body ; there- fore it fhould be ftrengthened with Indian red. It is the beft glazing colour that can be ufed. It is ground with iinfeed oil# and ufed with drying oil. 10. Indian Red is a ftrong, pleafant- working colour; but will not glaze well; and, when mixed with white, falls a little* It is ground and ufed as the lake. 1 1. Brown Pink is a fine glazing co- lour ; but of no ftrong body ; In the flefti it ftiould never join, or mix with the lights ; becaufe this colour and white an- tipathize PAINTING in OIL COLOURS. 81 tipathize, and mix of a warm dirty hue 5 for which reafon their joinings fhould be blended with a cold, middle tint. In glaz- ing of fhadows, it fhould be laid before the other colours that are to enrich it . It is one of the finifhing colours, and theiefore fhould never be ufed alone in the firft painting. It is {lengthened with burnt timbre, and Weakened with terra verte ; ground with linfeed oil, and ufed with drying oil. il. Burn? Umbre is a fine warm brown, and a good-working, ftrong co- lour. It is of great ufe in the hair, and mixes finely with the warm fhade. G Lift §2 PRACTICAL RULES FOR Lift of the principal Tints that are ab- folutely neceffary for painting Flefh; ail •which are made from the principal Co- lours juft enumerated. No. i. Light Red Tint is made of light red and white. It is the mod kind and beft conditioned of all colours, for the general ground of the flefh. With this colour and the fhade tint (No. 9.) w r e fhould make out all the flefh, like claro obfcuro, or mezzotinto. We fhould alfo remember, that this colour will grow dark- er; becaufe it is in its nature too ftrong for the white ; therefore we fhould im- prove it ; that is, mix fome vermilion and white with it, in proportion to the fair- nefs of the complexion. And though it is thus mixed, yet it will be called light- red tint in all the courfe of the w r ork ; 0 becaufe PAINTING in OIL COLOURS. 83 becaufe it fhould not have the vermilion tint confounded with it, as if there was no difference. No. 2. Vermilion Tint is only ver- milion and white, mixed to a middle tint. It is the moll brilliant light-red that can be : it agrees belt with the white, light-red, and yellow tints. No. 3. CARxMiNE Tint is carmine and white only, mixed to a middle tint. It is, of all colours, the moll beautiful red that can be for the cheeks and lips : it is one of the finifhing colours, and fhould never be ufed in the firft painting, but laid upon the finifhing colours, without mixing. No. 4. Rose Tint is made of the red fhade (No. 10.) and white mixed to a middle degree, or lighter. It is one of the G 2 cleaned 84 PRACTICAL RULES FOR cleaned and mod delicate tints that can be ufed in the flefh, for clearing up the heavy- dirty colours; and therefore, in changing, will fympathize and mix kindly. No. 5. Yellow Tint is often made of Naples yellow and white; but it is made alfo of light ochre and white, which is a good working colour. Remember the ochre is too drong for the white ; therefore we fhould make a little allowance in ufing it. It follows the light-red tints, and fhould always be laid before the blues. If we lay too much of it, we may recover the ground it was laid on with the light red-tints. No. 6 . Blue Tint is made of ultra- marine and white, mixed to a liglitifh azure. It is a pleafant working colour : with it we fhould blend the gradations. It follows the yellows; and with them it makes PAINTING in OIL COLOURS. 85 makes the greens; and with the red it pro- duces the purples. No colour is fo proper for blending down, or foftening the lights into keeping . No. y. Lead Tint is made of ivory- black and fine white, mixed to a middle degree. It is a fine retiring colour; and therefore is of great ufe in the gradations, and in the eyes. No. 8 . Green Tint is made ofPruf- fian blue, light ochre, and white. This colour will dirty the lights, and fhould be laid fparingly in the middle tints. It is moft ufed in the red fhadows, where they are too ftrong. It is of a dirty anti- pathizing nature. No. 9. Shade-Tint is made of lake, Indian red, black, and white, mixed to a G 3 beautiful 86 PRACTICAL RULES FOR beautiful murrey colour, of a middle tint. This is the belt colour for the general ground of fhadows; for which reafon it is here called the fhade tint : it mixes with the lights delightfully, and produces a pleafant clean colour, a little inclined to the reddifh pearl. As all the four colours of its compofition are of a friendly fympathizing nature, fo confequently this will be the fame; and therefore may be eafily changed, by the addition of any other colours. No. io. Red-Shade is nothing but lake and a very little Indian red. It is a charming working colour, and a good glaze r : it ftrengthens the fhadows on the fhade tint; and receives, when it is wet, the green and blue tints agreeably. It is a good ground for all dark fhadows. No. ii. PAINTING in OIL COLOURS. 87 No. 11. Warm-Shade is made of lake and brown pink, mixed to a middle degree : It is a fine colour for {Length- ening the fhadows on the fhade tint, when they are wet or dry. We muft take care that it does not touch the lights, be- caufe they will mix of a dirty fnuff-colour ; and therefore fhould be foftened with a tender cold tint. No. 12. Dark-Shade is made of ivo- ry black and a little Indian red only. This colour mixes very kindly with the red- fhade, and fympathizes agreeably with the middle tints in the dead- colouring. It is a charming glazing colour for the eye-brows and darkeft fhadows. It is, of all, the mo ft excellent fhadow-colour, and one of the fineft working colours we have, G 4 FIRST 88 PRACTICAL RULES FOR FIRST PAINTING. The Colours and Tints that are necejfary for the Firfi Painting of the Fief 3 are. Fine White. Light Ochre and its two Tints. Light Red and its two Tints. Vermilion ..... and its Tint. A Tint made of Lake, Vermilion, and White. Rpfe Tint. Blue Tin{. Lead Tint. Green Tint. Half-fhade Tint —made of Indian Red, and White. Shade Tint. Red Shade. Warm Shade. The finifhing palette for a fine com- plexion PAINTING in OIL COLOURS. 89 plexion requires fix more ; viz. Carmine and its Tint, Lake, Brown Pink, Ivory Black, and Pruflian Blue. The firft painting, or dead- colouring. Is divided into two parts : the firft may be called the jirji lay y ok ground ; the fecond, the laying on the virgin tints. The firft lay of colours confifts of two parts : the one is the work of the fhadows only, and the other that of the lights. The work of the fhadows is to make out all the drawing, very corre&ly, with the fhade-tint, in the fame manner as if it was to be done with this colour only ; and remember to drive or lay the colour fparingly. The lights fhould be all laid in with the light-red tint, in different de- grees, as we fee them in nature : thefe two 9 ° PRACTICAL RULES FOR two colours united produce a clean, tender, middle tint ; for, mixing with the Ihade- tint, they turn to a pearly hue ; and by {Lengthening them with the light- red, we may work to a very good refemblance. In uniting the lights and fhades, we ihould ufe a long foftener *, about the fize of a large fwan’s quill ; which will help to bring the work into character, and leave the colouring more delicate; then go over the darkeft ihadows with the red or warm lhade> which will finifh the hrft lay. The warm (hade being laid on the fhade^ tint, improves it to a warmer hue ; but if laid inflead of the fhade-tint, it will dirty and fpoil the colours it mixes with ; and if the red {hade be laid firft, inftead of the {hade-tint, the fhadows would then appear *&>f>the article Sweetener in the Materia Pidona. too PAINTING in OIL COLOURS, gx too red and bloody. Therefore, notwith- Handing thefe two colours are the beft that can be for the Ihadows, yet they are too ftrong to be laid alone ; which is a proof of the great ufe and merit of the fhade- tint. Here we may obferve, that the Ihade and light-red tints are fo friendly and delicate in their natures, that they will not dirty, though we are continually changing them. How proper then, and agreeable to our purpofe, are they, for making the moil principal part of the like- nefs, when in altering and changing they always produce a clean colour of the in** yiting pearly hue ! THE SECOND PART OF THE FIRST PAINTING. In order to finifh the fir ft painting, im- prove 9 2 PRACTICAL RULES FOR prove the reds and yellows to the com-* plexion, and after them the blues ; obferv- ing, that the blues on the reds make the purple, and on the yellows produce the green. The fame method is to be under^ Rood of the fhadows ; but be fure to leave them clean, and not too dark : therefore allowance fhould be made in their grounds with the light-red ; becaufe glazing them will make them darker. When the cloth is of a dark or bad colour, there muft be a ftrong body of colour laid all over the fhacjows, fuch as will not fink into the ground, but appear warm, and a little lighter than the life, fo that it may be of the fame forwardnefs to finifh, as if it had been a light ground. Therefore the bufi- nefs of dead-colouring is, that we leave it always in the fame order for finifhing, though the colour of the cloth be quite the reverfe, It MINTING in OIL COLOURS. 93 lx is proved by experience, that the grounds of lhadows, in what we call the dead-colouring, fhould be filch as will fupport the character of the finilhing co- lours ; which ground muft be clean, and - a little lighter than the finilhing colours * a little lighter, becaufe the Jini/hing of lhadows is glazing ; and no other method but glazing can leave fuch brilliancy and beauty as they ought to have. For, glaz- ing the lhadows in the firjl painting is not fo proper as laying a body of lhadow co- lours, that are very near to the life, though a little lighter. Thefe may be glazed and touched upon, when dry, with a great deal of eafe : but if we begin the firft painting with glazing, we lhall find it will ftare, and be of no ufe ; and the folid co- lours, which are laid on it, will look heavy and dull. Therefore all lhadows and co- lours, that are to be glazed, Ihould be , done PRACTICAL RULES FOR 94 done with colours of a clean folid body ; becaufe the glazing is more lading, and has the bed effed, on fuch colours. Re- member to leave no roughnefs ; I mean fuch as will appear rough, and interrupt or hurt the charader of the finifhing co- lours; which, by examining the work whild it is wet, with a foft tool, or, when it is dry, with a knife, may be avoided, as it will eafily take off the knots and roughed: parts. The light-red and white improved is fuperior to all other colours for the drd lay or ground ; which fhould be always done with a full pencil of diff colour, made brighter than the life, becaufe it will fink a little in drying. The greater the body and quantity of colour, and the differ it is laid, the lefs it will fink. Every colour in drying will fink, and partake, in pro- portion PAINTING in OIL COLOURS. 9 s portion to its body, of the colour it is laid on : therefore all the lights of the flefh, if not laid on a light ground, muft confe- quently change a little from the life, if there is no allowance made. The {hade- tint for the fhadows (hould fall into the rofe tint, as the complexion grows de- licate ; all which fhould be lightly united, with a foft long-pointed tool, to the lights, making out the whole like mezzotinto. I believe the great mailers very feldom fweetened or foftened the colours ; but in uniting the firft lay, they were very careful in preferring the brightnefs of their colours, and therefore did not work them below the complexion. For, to force or keep up a brilliancy in the grounds can only be done with the whites, reds, and yellows ; which method will make up for the deficiency of the white grounds: therefore 96 PRACTICAL RULES FOR therefore, the firft painting fhould be left bright and bold, and the lefs the colours are broken the better. We fhould for- / bear lifing any colours that will prejudice them, and be contented to add what is wanted the next painting ; where if we fail, a clean rag will reftore the firft ground. SECOND PAINTING in OIL COLOURS. 97 SECOND PAINTING. THE Second Painting begins with lay- ing on the lead quantity that can be, of poppy oil ; then wipe it almoft all off, with a dry piece of a filk handkerchief. The fecond painting is alfo divided into two parts : one is called the firft lay of the fecond painting ; which is tumb- ling the lights and glazing the Ihadows : the other, finifhing the complexion with the virgin tints, and improving the like- nefs, as far as can be, without daubing. Scumbling is going over the lights, where they are to be changed, with the light-red tints, or fome other of their own colours, fuch as will always clear and im- prove the complexion, with fhort ftiff H pencils ; 9 S PRACTICAL RULES FOR pencils ; but fudi parts only as require it ; otherwife the beauty of the firft painting will be fpoiled, and we make double work. The light-red tint improved, is the very beft colour that can be for fcumbling, and improving the complexion in gene- ral. Where the fhadows and drawing are to be corrected, we fhould do it with the fhade-tint, by driving the colour very ftiff and bare, that we may the eafier retouch and change it with the finifhing tints. Some parts of the fhadows fhould be glazed with fome of the tranfparent fha- dow-colours, fuch as will improve, and come very near to the life ; but be fure not to lay on too much of it, for fear of lofing the hue of the firft painting, the ground of which fhould always appear through the glazing. Be very careful, in uniting the lights and fhades, that they do 6 not PAINTING in OIL COLOURS. 99 not mix dead and mealy ; for the more the lights mix with the fhades, the more mealy thofe fhades will appear. Thus far the complexion is prepared and im- proved, in order to receive the virgin tints and finifhing touches. THE SECOND PART OF THE SECOND PAINTING, Is to go over the complexion with the virgin tints ; thefe are the colours which improve the colouring to the greateft per- fection, both in the lights and fhadows. This fhould be done in the fame manner as we laid them in the fecond part of the firft painting ; that is, with the reds, yel- lows, and blues ; blending them with deli- cate light touches of the tender middle tints, without foftening. We fhould leave H 2 the i OO PRACTICAL RULES FOR the tints and their grounds clean and dif- tindt, and be content to leave off whilft the work is fafe and unfullied, leaving what is farther required for the next fitting j for, in attempting the finifhing touches before the other is dry, we lofe the fpirit and drawing, and dirty wherever we touch. THE PAINTING in OIL COLOURS, ioi THE THIRD PAINTING, or FINISHING. It is to be fuppofed the complexion now wants very little more than a few light touches ; therefore there will be no oc- cahon for oiling* Begin with corre&ing all the glazing; firft, where the glazing ferves as a ground or under pait, we fhould determine what fhould be done next, that we may be able to make the alteration on the part with one ftroke of the pencil. By this method, we preferve both the glazing and the tints ; but if it happens that we cannot lay fuch variety of tints and finilhing colours as we intended, it is much better to leave H 3 ©fF 102 PRACTICAL RULES FOR off while the work is fafe and in good order ; becaufe thofe few touches, which would endanger the beauty of the co- louring, may eafily be done, if we have patience to ftay till the colours are dry ; and then, without oiling, add thofe fmifhings, with free light ftrokes of the pencil. I believe that Rembrandt touched upon his beft pi&ures a great many times, letting them dry between r it was this method, moft certainly, which gave them that furprifmg force and fpirit, which is fo inimitable. I find it much eafier to foften the over-firong tints when they are dry, than when they are wet ; becaufe we may add the very colours that are wanting, without endangering the dry work. If any of the colours of the palette want to be a little changed to the life, PAINTING in OIL COLOURS. 103 life, when we are painting, it is much better to do it with the knife on the palette, than with the pencil ; becaufe the knife will mix, and leave it in good order for the pencil JU 4 OF xo 4 PRACTICAL RULES FOR OF BACK-GROUNDS. Van DYCK made out the keeping in his back-grounds more from the different oppofition and harmony of the colours, than from his knowledge of the claro obfcuro. There is not in his pictures that intelligence of light and {hade, which is fo ftriking and beautiful in Rembrandt’s. Van Dyck’s general method was to be very ftill and mellow, and to break the colours of the ground with thofe of the drapery. This will certainly produce harmony, the principles of which method belong only to the art of colouring : but it is the knowledge of light and fhade which gives that furprifing force and ftrength, which, at firft fight, we find in Rembrandt’s works. There is a picture of a lady, PAINTING in OIL COLOURS, ioj a lady, where he has made the ground juft light enough to fhew her complexion and hair, which is a dark brown, in the greateft perfedion : the ground is a wall, which, near to the face, is lighter than the fhadows of the flefh, and the light diminifhes fo artfully in the gradations, that though the part round the head is much darker, yet it appears to be of the fame colour with that near the flefh. This method of relieving the head from the ground is better than Van Dyck’s method, where he has made the ground almoft or the fame colour with the hair j and though his way of breaking the colours of the ground with thofe of the draperies is admirable, yet there appears too near a famenefs, as in fome of his pic- tures, where he has carried this principle fo near that it is almoft imperceptible. In Rembrandt’s pidures at Yarmouth, the lights to 6 PRACTICAL RULES FOR lights and {hades are as vifible as thofe ill his prints, and are remarkably broad, clear, and {till ; the fhadows are very %arm and thin, and look as if they were painted all at once, with a plenty of co- lour, which appears tranfparent : which tranfparency was done by glazing the dead colouring. The principal colours that are necef- fary for painting of back-grounds in por- traiture, as walls, buildings, or the like, are white, black, Indian red, light and brown ochre, Pruflian-blue, and burnt timbre, from which the eight principal tints are made, as follows : 1 . Pearl is made of black, white, and a little Indian red. 2. Lead , of black and white, mixt to a dark lead-colour. 3. Yellow , PAINTING in OIL COLOURS. 107 3. Yellow , of brown ochre and white. 4. Olive, of light ochre, Pruffian-blue, and white. 5. Flejh, of Indian red and white, mixt to a middle tint. 6. Murrey, of Indian red, white, and a little black, mixt to a kind of purple, of a middle tint. 7. Stone, of white, umbre, black, and Indian red. 8. Dark-JIoade, of black and Indian red only. Here the lead tint ferves for the blues; the flefh tint mixes agreeably with the lead ; and the Murrey is a very good blending colour, and of great ufe where the olive is too flrong. The umbre, white, and dark-fhade, will produce a fine Variety of hone colours : the dark-fhade and umbre, ufed plentifully with drying oil, io8 PRACTICAL RULES FOR cil,make a charming warm fhadow-colour* All the colours fhould be laid with drying oil only, becaufe they mix and fet the better with the foftener. Where the marks of the trowel are fo ftrong in the priming of the cloth, that one body of colours will not be fuffi- cient to conceal it, we fhould lay a colour to prevent it ; which fhould be dry, be- fore we begin with thofe parts that we cxpedl to finifh at one painting. The method of painting back-grounds is divided into two parts. The firft part is the work of the hi ft lay : the fecond is to follow on that, with the finifhing tints. o£ PAINTING in OIL COLOURS. 109 OF THE FIRST LAY. WE fhould always begin from the fhadowed fide of the head, and paint the lights firft ; from them go into the gra- dations and fhadows, which fhould be done with a large ftiffifh tool, very fpar- ingly, with the dark-fhade and white, a little changed with the colours that will give it more of the required hue, but very near in regard to tone and ftrength ; leaving them like mezzotinto. The dark and warm fhadows fhould be laid before the colours that join them: this we fhould do with the dark-fhade and umbre, drove with drying oil, before the colours that join them, becaufe, if thofe colours were laid on firft, they \vould interrupt and fpoil the tranfpa- rency, IIO PRACTICAL RULES FOR reney, which is their greateft beauty. The more the firft lay is drove, the eafier and better we may change it with the finilhing tints ; therefore we may lay them with the greater body. The fecond part is to follow dire&ly, whiift the firft lay is wet, with thofe tints that we think are moft proper to harmonife and fmilh with. Begin with the lights firft ; and re- member, as we heighten and finifh them, we do it with warmer colours ; and let thofe be accompanied with fine tender cold tints. The lightefl part of the ground is always neareft to the fhadowed fide of the head : this is the part which governs all the reft ; and fhould be painted with a variety of light, warm, clear colours, which vanifh, and lofe their ftrength im- perceptibly PAINTING in OIL COLOURS. 1 1 1 perceptibly in the gradations. Thefe fhould be laid with a kind of Cjjoudy touch, rather than fpotted ; and we muft take care that we do not cover too much of the firft lay, but confider it as the principal colour. From the lights we go to the grada- tions and fhadows ; for when the lights are well adapted to produce a nd fupport the head, it is eafy to fall from them into whatever kind of fhadows we fhall find moft proper for our work : then foften and blend the whole with a long large tool ; which, with the ftrength and body of the drying oil, will melt and l'weeten all together, in fuch a flattering manner, as will feem furprilingly finifhed. Re- member the tints will fink, and lofe a little of their ftrength and beauty in dry- ing. All the grounds, as walls, fhould / ii2 PRACTICAL RULES FOR fhould be finiflied at one painting ; but ifthejf' want to be changed, we may glaze them with a little of the dark-fhade and drying oil, drove very bare ; on which, with a few light touches of the colour that is wanting, we may improve their hue. The dark fhadows may alfo be {lengthened and improved by glazing, which fhould be done after the figures are near finifhed, for fear of making them too ftrong. Rembrandt’s grounds are rather brighter in the lights, and have more variety of tints than any other painter’s : and to be fure he had obferved, and juftly too, that thofe tints diminifh in proportion with the lights : therefore his fhadows have but a faint appearance of tints. He underftood the gradations in perfection, by mixing and breaking the firft lay of colours, PAINTING in OIL COLOURS. 1 1 j colburs, fo artfully, that they flatter us in regard to their real ftrength. Fresnoy fays, “ Let the field or ground 4t of the piElure he pleafant, free , tranfient , /e mud remember to re- cover it with the colour of the part on which it was laid i this may be done dire&ly, or when it is dry. We fhould alfo obferve, whether the reheds proceed from the fame colour or any other, that the method of ufing them is the fame. Before I proceed to the particular colours, it will be proper to make fome obfervations on their grounds. It often happens, that the colour of the cloth is very improper for the ground of the drapery ; and when it is fo, we fhould change it with thofe colours which we think are moil proper to improve and fupport the finishing colours. This me- thod of dead- colouring muft confequently preferve them in their greateft luflre. In dead-colouring, we fhould lay the lights PAINTING in OIL COLOURS. 127 lights and Ihades in a manner, fo as only to (hew a faint idea of them, with regard to the fhape and roundings of the figure. If we have a defign to work from, then it will be proper to make all the large and principal parts in their places ; which fhould always be done with a colour that is clean, and lighter than the intended drapery, though in general of the fame hue : and let the fhadows be no darker than a middle tint: thefe fhould be mixed and broke in a tender manner, and then foftened with a large tool, fo that nothing rough or uneven be left to interrupt or hurt the character of the finifhing colours* WHITE SATIN. ALL whites fhould be painted on white grounds, laid with a good body of colour, 128 PRACTICAL 'RULES FOR colour, by reafon this colour finks more into the ground than any other. There are four degrees of colours in the firft lay to white fatin : the firft is the fine white for the lights ; the fecond is the firft tint, which is made of fine white and a very little ivory black, mixed to an exadt middle degree between the white and middle tint. This colour follows the white ; and it is with this we fhould ihape the lights into character, before we lay on any other: and take care that this firft tint appear diftin&ly be- tween the white and the middle tint, otherwife the beauty and character of the fatin will be fpoiled. I he middle tint fhould be made of white, black, and a little Indian red: thefe three colours are very friendly, and mix i to PAINTING in OIL COLOURS, 129 to a beautiful clear colour of a pearly hue, which has the true brightnefs and warmth of the general hue of the fatin. Re- member to allow for the red hue chang- ing a little to lead. If there is occafion to make any part in the middle tint lighter, we fhould do it with the firft tint only. This colour fhould alfo be laid fparingly before the white, in all the little lights that happen in the middle tints and fha- dows ; on which we fhould lay the white with one light touch ; and be fure not to cover all the part that was made with the firft tint : if we do, it will fpoil the charader, and look like a fpot, for want of the foftening edge or border, which muft be between the white and the middle tint. The fhade-tint fhould be made of the fame colour as the middle tint ; but with lefs white, fo that it be dark enough for the fhadows in general; K with i 3 0 PRACTICAL RULES FOR with which we fhould make out all the parts of the fhadows nicely to character : this is the work of the firft lay. Next come the reflects and finifhing tints. Brown ochre, mixed with the colour of the lights, is the moft ufeful colour in general for all reflects in draperies that are produced from their own colours. All accidental reflexes are made with the co- lour of the parts from which they are pro- duced, and the local colours that receive them. There are but two reflecting tints wanted for draperies in general ; u e. to any one particular colour : one fhould be lighter than the middle tint, the other darker. Thefe colours may be a little changed on the palette with the firft and middle tints, as occafion requires, or lightly broken MlMTING IN OIL COLOURS. 131 Broken on the part that receives them: but this laft method is not fo fafe as the other. The tint fufficient for blending; the dark fhadows to the mellow tender hue, is made with the fhade-tint and a little brown ochre; which fhould be laid on very fpar- ingly, with foft light touches* for fear of making them dull and heavy. If it fhould be over-done, we may recover it with the colour it was laid upon. We often fee a little blue ufed in the firft tint of white fatin. Van Haecken, who was the belt drapery-painter we ever had in England, did fo ; and fometimes, inftead of the blue, he ufed blue-black, till he found it to be a pernicious colour, and was therefore obliged to ufe blue; be- caufe his middle tint, which was made only of black and white, was fo very cold, that no other colour but blue would make a K 2 colder 1 3 2 PRACTICAL RULES FOR colder tint : yet lie managed thefe cold colours, in all the lights and middle tints,, lo agreeably, and fo light and eafy was his touch, that we cannot help admiring, and may learn fomething from him. Though, - he was not fo lucky in his fhadows, which were generally of a heavy dirty hue : this was owing to the colours he ufed, and the method of ufing them; which will always have fuch an effedt, when a warm or dirty colour is mixed with a clean light one; for, being mixed together, they will form a dirty colour, that muftconfequently appear lo in the work. But if his lead or fhade- tint had been mixed with Indian red in- ftead of the ochre, and then followed with a few light blending touches of the ochre- tint, it would have left them clean and mellow. It is the want of the red hue which makes the white fatins appear 1b often like pewter. BLUE PAINTING in OIL COLOURS. *33 BLUE SATIN. BLUE fatin is made of Prufiian-blue and fine white. The beft ground for blue is, white for the lights, and black and white for the fhadows. The firft lay of colours for blue is di- vided into three degrees or tints. We fhould firft make the middle tint of a beautiful azure ; then mix the colour for the lights about a middle degree between that and white. Make the fhade-tint dark enough for the Ihadows in general. All the broad lights fhould be laid with a plenty of colour, and fhaped to chara&er with the middle tint, before we lay on K- 3 any i 3 4 PRACTICAL RULES FOR any other colours. Remember, the left the colours are mixed, the better they will appear, and hand ; for the lights of blue fhould be managed with as much care as thofe of white fatin. Next is, to follow with the reft of the middle tint, and then make out all the fhadows. 1 he more we drive the {hade-tint, the better it will receive the reflects and finiftiing tints. The fhadows fhould be {Length- ened and blended with ivory-black and fome of their own colour, which will mix with them into a tender, mellow hue. The reflects are made as thofe of white fatin ; that is, with ochre and fome of the lights ; which fhould be perfectly done, as we intend it, at one painting. The fhadows, when dry, may be a little im- proved, if there is occafion to alter them, with PAINTING in OIL COLOURS. 135 with the colours they were made with. The Pruffian-blue proper to be ufed, is that which looks of the moft beautiful azure before it is ground ; and the fooner it is ufed after it is ground, the better it will work and appear. Velvet may be painted at once. The method is, to make out the firft lay with the middle tint and fhade tint ; on which we fhould lay the high lights with light touches, and finifh the fhadows as we did thofe of the fatin : but the neareft imita- tion of velvet we can make, is done by glazing ; which is prepared on a ground or dead- colouring of fuch colours as will, when dry, bear out and fupport the glaz- ing colour in its higheft perfection. The nature of the glazing colour is to be of a line tranfparent quality, and ufed limply with oil only ; fo that whatever ground 1 36 PRACTICAL RULES FOR it is laid on, the whole may appear di- ftin&ly through it. The beft ground for blue is made with white and ivory-black; the white is for the high lights, which, with the middle tint and fhade-tint, makes out the firfl lay, like mezzotinto. Remember to make the middle tint lighter in proportion to the glazing, becaufe that will make it the darker. It is often ne- ceffary to cover all but the high lights with a thin glazing ; not with plenty of oil in the colour, but laid with lefs quaii- tity than if it was to be done once only. If any of it touch the lights, we fhould wipe it off with a clean rag. The very high lights fhould be improved, and made of a fine white, and left to dry. The glazing colour is Prufiian-blue, ground verv fine w r ith nut oil ; and fhould be laid with a large, flifnfh tool, that will drive the colour, as occafion requires. It is Fx^INTING in OIL COLOURS. 137 on the laft glazing we fhould ftrengther* and finifh the fhadows. The greatefl fault in the colouring of draperies is, the painting the fhadows with ftrong glaring colours, which deftroy the beauty of the lights. This is not only the reverfe of art, but of nature, whofe beauty always diminifhes in proportion with the lights ; for this reafon we fhould take care to blend and foften the fhadows with fuch friendly colours as will agree with their local character and obfcurity. Here we may obferve, that glazing the middle tint, which is made of black and white, will not produce a colour fo blue, as if it had been prepared with Pruflian- blue and white ; yet this colour will pre- ferve the beauty of the lights in the highefl perfection, by reafon of its tender pbfcure hue, when the bluenefs of the other 1 38 PRACTICAL RULES FOR ether would only diminiflh them. This method of glazing the blue is the general rule for all glazing. When we are glazing blue, the lights may be glazed with ultramarine, though all the other parts are done with Pruffian blue. This method faves a great quan- tity of that valuable colour, and anfvvers our purpofe as well as if it had all been done with ultramarine. Though this general method of paint- ing fatins, is to make the firft lay of co- lours with three degrees of tints ; yet we fhould underhand, in ufing them, that they produce two more : for the mixing of two different colours together on the cloth, will make another of a middle tint between them : fo it is with the lights and middle tint ; and with the middle and (hade- PAINTING in OIL COLOURS. 139 fhade-tint ; the firft anfwers to the firft tint in white fatin ; and the laft will con- fequently be a fort of gradating, or half- fhade. If the lights and middle tint mix to a beautiful, clean colour, of a middle hue between both, there will be no occafion for a colour to go between them, as in the blue fatin ; but if in mixing, they produce a tint inclining to a dirty warm hue, then there muft be another found of a fympathizing nature, which fhould be laid between them, in order to preferve the beauty of the lights, as the firft tint Jn the white fatin ; for if it was not fo, the red, in the middle tint, would certain- ly dirty and fpoil the white. It is highly neceffary to underhand thefe principles of the firft lay of colours, in *4° PRACTICAL RULES FOR in order to have a perfect knowledge of the general rule of colouring, on which the principles of colouring depend. SCARLET AND CRIMSON A LIGHT yellow-red, made of light ochre, light-red, and white, is the proper ground lor fcarlet; the fhadows are Indian red, and, in the darkeft parts, mixed with a very little black. The fecond painting fhould be a little lighter than we intend the fmilhing co- lour ; in proportion to the glazing, which will make it darker. Ihe high lights, are vermilion and white for fatin, velvet, and cloth; the middle is vermilion and white, with a very PAINTING in OIL COLOURS. 141 Very little lake or Indian red ; the (hade- tint is made with Indian red and lake, with the addition of a little black iri the darkeft fhadows . The difference between fcarlet and crimfon is, that the high lights of crimfon are whiter, and the middle tint is made darker. Their refle&s are made with light-red and vermilion. The high lights (hould be laid and managed in the fame manner as thofe of the blue, for fear of dirtying them ; and fometimes they require to be touched over the fe- cond time, before we glaze them. The more the colours of the fecond painting are drove, the ealier and better they may be managed to character ; but the high lights fhould have a good body of colour, and be left with a delicate light touch. After it is well dry, we (hould hnifh with glazing the whole with fine lake, and im- prove the refledls and (hadows. Remem- o her 142 practical rules for ber that the fcarlet requires but a very thin glazing ; and it is better to glaZe the crimfon twice over, than lay too much at one painting. PINK-COLOUR. THERE are two different methods of painting a pink colour : one is by glaz- ing ; the other is done with a body of co- lours at one painting. The fame grounds do for both ; whieh fhould be a whitifh colour, inclining to a yellow, for the lights ; and Indian red, lake, and white, for the fhadows. The fecond painting for the glazing method is done with the fame colours, and a little vermilion for the reflects ; and PAINTING in OIL COLOURS. 143 and vermilion and white for the high lights : when it is dry we fhould glaze it with fine lake, and then break and foften the Ihadows into character and harmony dire&ly. The other method is, to make the high lights with carmine and white ; the middle tint with lake, white, and a little carmine ; and the Ihadows with lake and Indian red, with a little vermilion for the reflects. But remember the Ihadows will require to be broken with fome tender obfcure tint. YELLOW. THE Ground for yellow fhould be a yellowilh white for the lights, and a mix- ture of the ochres for the Ihadows. There i 4 4 PRACTICAL RULES FOft There arc the fame number of tint3 in the yellow as there are in the white fatin ; the method of ufing them is the very fame. The lights are made with king’s yellow, ground with clean good drying oil. The firft tint is light ochre* changed with a little of the pearl tint made with the dark fhade and white $ which Ihould be laid and managed as the firft tint in white fatin. The middle tint is a mixture of the light and brown ochre, foftened with the pearl tint. The fhade- tint is made with brown pink and brown ochre. Thefe belong to the firft lay. The reflects are light ochre ; and fome* times, in the warmeft parts, mixed with a little light-red : the fhadows are ftrength- ened with brown pink and burnt umbre. These colours, well managed, will pro- PAINTING in OIL COLOURS. i 45 produce a yellow very like Van Dyck’s ; but if we leave out the king’s yellow, which is in the high lights only, then it will be one of Lely’s favourite yellows. GREEN. THE proper ground for green is a light-yellow green ; which is made of light ochre, a little white, and Pruffian- blue, for the lights ; and the ochre, brown pink, and Pruflian-blue, for the ffiadows. The fineft green we have, for drapery, is made of king’s yellow, Pruffian-blue, and brown pink. The high lights are king’s yellow and a very little Pruflian- blue ; the middle tint has more Pruffian- blue j and the fhade-tint is m^de with fome of the middle tint, brown pink, and L more? 146 practical rules for more PrufTian-bluc : but the darkefl: fha- tlows are brown pink and a little Pruffian- blue. The lights and middle tint fhould be managed in the fame manner as thofe of the blues. The lhade tint fhould be kept entirely from the lights, becaufe the brown pink that is in it, will, in mixing, dirty them, as the black does thofe of the blues. Remember to allow for their dry- ing a little darker; and that the king’s yellow fhould be ground with good dry- ing oil ; for the longer it is drying, the more it will change and grow darker ; and the fooner it is ufed, the better it will hand. It is proper to have two forts of king’s yellow ; one to be very light, which will do belt for the high lights of velvet. CHANGEABLE. PAINTING in OIL COLOURS. 147 CHANGEABLE. CHANGEABLE colours are made with four principal tints, viz. the high lights, middle tint, fhade tint, and reflect- ing tint. The greateft art lies in finding the exadl colour of the middle tint ; becaufe it has more of the general hue of the filk than any of the others. The fhade-tint is of the fame hue with the middle tint, though it is dark enough for the fhadows. The high lights, though often very dif- ferent from the middle tint, fhould be of a clean, friendly-working colour, that will, in mixing with it, produce a tint of a clean fympathizing hue. The method of painting filks is to make out the folds with the fhade tint, L 2 and i 4 8 PRACTICAL RULES FOR and then fill them up in the lights with the middle tint. This is the firft lay, which fhould be done to our fatisfa&ion before we add any other colours; and the ftiffer the middle tint is ufed, the better the high lights may be laid upon it. The reflecting tint falls generally upon the gradating half-ftiades, and fhould be laid with tender touches, fparingly, for fear of fpoiling the firft lay. This method of painting anfwers to all coloured filks, as well as changeable, with this difference only, that the plain colours require not fo much art in match- ing the tints, as the changeable do. The laft part of the work is the finiflhing, and {lengthening the fhadows with an obfcure tint, a little inclining to a mellowifh hue ; fuch as will not catch the eye, and inter- rupt the beauty of the lights. black* PAINTING in OIL COLOURS. 149 BLACK. THE bed; ground for black is light- red for the lights ; and Indian red and a little black for the fhadows. The finifhing colours are, for the lights, black, white, and a little lake. The mid- dle tint has lefs white, and more lake and black. The fhade-tint is made of an equal quantity of lake and brown pink, with a very little black. The method of painting black is very different from that of other colours ; for as the principal thing in them, is to leave their lights clean and brilliant, fo in black, it is to keep the fhadows clear and tranf- parent. Therefore we fhould begin with the fhade-tint, and glaze over all the fha- L 3 dows 1 5 o PRACTICAL RULES FOR dows with it. Next, lay in the darkeft fhadows with black, and a little of the fhade-tint, very corredly. After that fall up the whole breadth of lights with the middle tint only. All which fhould be done exadly to the cliara&er of the fatin, &c. and then finifh with the high lights. Here we may obferve, the ground, being red, will bear out and fupport the reds, which are ufed in the finifhing co- lours : the lake in the lights takes off the cold hue, and gives it a more beautiful colour. If the fhade-tint was of any other colour than a tranfparent warm hue, the fhadows would confequently be black and heavy ; becaufe no other colours can pre- ferve the warm brilliancy, which is want- ing in the fhadows of the black, like lake and brown pink. Black is of a cold heavy nature, and always too ftrong for any other PAINTING in OIL COLOURS. 15 1 other colour ; therefore we Should make an allowance in ufing it. There will be a few reflects in fatin, which Should be added as thofe of other colours ; but they fhould be made of Strong colours, fuch as burnt umbre, or brown ochre, mixed with a little of the fhade-tint. Though the grounds which are here mentioned for the draperies, are absolutely neceflary for the principal and neareft figures in a picture, fuch as a Single por- trait, or the like ; yet they are not in- tended for figures, which are placed more into the picture. Such as are behind the principal or front figures, their grounds fliould always be fainter, in proportion to their local finishing colours. L 4 LINEN. ij2 PRACTICAL RULES FOR LINEN. THE colours ufed in linen are the fame as thofe in white fatin, except the firft tint ; which is made of white and ultramarine afhes, inftead of the black, and mixed to a very light blueifh tint. In the dead-colouring we fhould takg particular care, that the grounds be laid very white and broad in the lights : the fhadows are made with black, white, and a little Indian red, like the middle tint of white fatin. 1 hefe ihould be left very light and clean, in order to fupport the finifhing colours. The fecond painting begins with glaz- ing all the lights, with a ftifF pencil and fine white only, drove bare, without ufing any PAINTING in OIL COLOURS. 1 53 any oil : the fhadows may be fcumbled with poppy oil, and fome of the colour they were made of. This is the firft lay, on which we are to follow with the finifh- ing colours dire&ly. The middle tint of white fatin is the bell colour for the gene- ral hue of the fhadows. With this and white, in different degrees, we fhould make out all the parts to chara&er, with free light touches, without foftening. Then with a large long- pointed pencil, and fine w T hite, lay the high lights very nicely, with one flroke. After this comes the fine light blueifh tint, which fhould be mixed light, and laid in the tender gra- dations very fparingly and lightly, with- out filling them up. Remember the firft lay fhould be left clear and diftinfl ; the more it appears, the better. It is the overmixing, and joining 154 PRACTICAL RULES FOR joining all the colours together, which fpoils the beauty of the character ; there- fore it is better to let it dry before we add the reflects and finifhing tints. The method of letting the beautiful clear colours dry, before we add the ■warm, reflex, and harmonizing tints, prevents them from mixing, and dirtying each other. The principal blending colours ufed in the reflects, are the yellow tint, green tint, and the rofe tint; which laft is made of lake, Indian red, and white. I find glazing the pearl and lead colours with white, though it feems to anfwer our purpofe when it is done, will certain- ly fink, and be loft in the grounds on which it is laid ; therefore we fhould make the dead- colouring as white as we intend the PAINTING in OIL COLOURS. 155 the finifhing colours, by reafon they will fink a little, in proportion to the colour of the cloth, which the glazing with pure white only will recover. LANDSCAPES. 156 PRACTICAL RULES FOR LANDSCAPES. Tl-IE principal Colours ufed in Land' fcapes, are, 1. Fine White. 2. Common White. 3. Fine Light Ochre. 4. Brown Ochre. 5. Brown Pink. 6. Burnt Umbre. 7. Ivory Black. 8. Pruffian-Blue. 9. Ultramarine. 10. Terra- Verte. 1 1 . Lake. 12. Indian Red. 13. Vermilion. 14. King’s Yellow. The PAINTING in OIL COLOURS. 157 The principal Tints ufed in Land- fcapes, are, 1. Light Ochre and White. 2. Light Ochre, Pruflian-Blue, and White. 3. Light Ochre and Pruflian-Blue. 4. The fame, darker. 5. Terra-Verte and Pruflian-Blue. 6. Brown Pink and Pruflian-Blue. 7. Brown Pink and Brown Ochre. 8. Brown Pink, Ochre, and Pruflian- Blue. g. Indian Red and White. 10. Ivory Black, Indian Red, and Lake. The colours neceflary for dead-co- louring, are common white, light ochre, brown ochre, burnt umbre, Indian red, ivory black, and Pruflian-blue. The t 5 S PRACTICAL RULES FOR The principal colours and tints for painting the fky, are line white, ultra- marine, Pruffian-blue, light ochre, ver- milion, lake, and Indian red. The tints are a fine azure, lighter azure, light ochre and white, vermilion and w r hite, and a tint made of white, a little vermilion, and fome of the light azure. Landscapes fhould be painted on a fort of tanned -leather colour , which is made of brown ochre, white, and light- red. "I his colour gives a warmth to the fhadow colours, and is very agreeable and proper for glazing. Sketching^ or rubbing in the deflgn, is the fir ft work of the pi&ure. Tuts PAINTING in OIL COLOURS. 159 This fhould be done with burnt umbre, drove with drying oil, and a little oil of turpentine, in a faint, light, fcumbling, free manner, as we fhade with Indian ink and water ; leaving the colour of the cloth for the lights, as we do that of the paper. Remember, in doing it, we leave no part of the fhadows fo dark as we intend the lirft lay, or dead- colouring, which is to be lighter than the finifhing colours. And though the foliage of the trees is only rub- bed in, with a faint fort of fcumbling, yet the trunks and bodies fhould be in their proper fhapes, with their breadths of light and fhadow. All kinds of buildings fliould be done in the fame manner, leaving the colour of the cloth for their lights. The figures on the fore-ground, if they are de- termined, fhould alfo be fketched in the fame method, and then left to dry. OF i6o PRACTICAL RULES FOE Of dead-colouring. LET the firft lay or dead-colouring be without any bright, glaring, or ftrong, dark colours ; fo that the effect is made more to receive and preferve the finifhing colours, than to Ihew them in the firft painting. The fky fhould be done firft ; then all the diftances ; and fo work downwards to the middle group, and from that to the fore-ground, and neareft parts. Remem- ber that all the parts of each group, as trees, buildings, or the like, be all painted with the group they belong to. The greateft fecret in dead-colouring is, to find the two colours which ferve for the ground of the fhadows in general, the fky excepted, and the method of ufing them 4 MINTING in OIL COLOURS. 161 them with the lights : the firft of which is the dark-fhade with a little lake in it ; the other colour is only burnt umbre. Thefe fhould be a little changed to the natural hue of the objects, and then laid and drove with drying oil, in the fame manner as we fhade with Indian ink, which is a fcumbling kind of glazing; and as fuch they fhould be left ; for, otherwife, they would be dark and heavy, and therefore would be entirely fpoiled for the finifhing glazing. Both thefe co- lours mix and fympathize agreeably with all the lights, but fhould be laid before. them. When the landfcape is defigned, begin with the fky, which fhould be laid with a good body of colours, and left with a faint refemblance of the principal clouds ; and this we fhould do more in the manner M of 1 6 2 PRACTICAL RULES FOR of claro obfcuro, than with finishing co- lours : the whiter it is left, the better it will bear out and fupport them. The diftances fhould be made out faint and ob- fcurely with the dark-fhade, and fome of their lights in different degrees ; and laid fo, as beft to find and fhew their prin- cipal parts. As we come more into the middle group, we fall by degrees into the burnt umbre in thefhades. All the grounds - of the trees fhould be laid or rubbed in, enough only to leave an idea of their fhapes and fhadows faintly. The ground of their fhadows rauft be clean, and lighter than their fihifhing colours, fuch as will ihpport their character, and feern eafy to finifh on. In painting the. lights, it is better to incline more to the middle tint, than to the very high lights j and obferve to leave them PAINTING in OIL COLOURS. 1 63 them with a fufficient body of clean co- lours, which will receive and preferve the finifhing colours the better ; all which may be done with a few tints. After this, go over the whole with the fweetener very lightly, which will foften and mix the colours agreeably for finilhing. M 2 SECOND 1 64 PRACTICAL RULES FOR SECOND PAINTING. BEGIN with the Iky, and lay in all the azure and colours of the horizon ; then foften them. After that lay in the general tint of the clouds, and finifh on it with the high lights, and the other tints that are wanting, with light, tender touches ; then foften the whole with the fweetener very lightly. Remember the finifhing of the Iky Ihould be done all at one painting, becaufe the tender character of the clouds will not do fo well as when the whole is wet. Obferve, that the IlifFer the azure and colours of the horizon are laid, the better the clouds may be painted upon them. TnEgreateft diftances are chiefly made with PAINTING in OIL COLOURS. 1 6 5 ■with the colour of the fky ; and as they grow nearer and darker, we fhould glaze and fcumble the parts very thin, with fuch glazing fhadow-colours as come neareft to the general hue of the group the obje&s are in. This glazing fhould be of a darkifh hue, and the firft painting or dead-colour fhould be feen through it di- ftin&ly. On this lay, or ground, we fhould add the finifhing colours. Now, fuppofing this glazed ground is properly adapted to the object and place, it will be eafy to find the other colours which are wanted for the lights and fi- nifhings of the fame. But in laying them we muft take great care that we do not fpoil the glazing ; therefore we fhould be very exa£t in preparing thofe colours on the palette, and then be fure to lay them with light free touches. m 3 Before 1 66 PRACTICAL RULES FOR Before proceeding any farther, it will be proper to fay fomething of the moit ufeful glazing colours. Lake, Terra-Verte, Pruffian-Blue and Brown Pink, are the four principal. The more we manage them like Indian ink, and the more difiindt we leave them, the better their tranfparent beauty will Band and appear, provided we do it with good drying oil. After thefe four glazing co- lours, burnt umbre is a very good glazing, warm brown, and of great ufe in the broken grounds and neareR parts ; but the moft agreeable colour for the darkeft fhadows, is the dark {hade improved with lake. It is a fine warm (hade, when it is drove with d rvine oil : no colour in the j world is fo fweet and fympathifing ; it mixes harmonioufly with all the lights, as well as the fhadows, and is a charming colour PAINTING in OIL COLOURS. 167 colour in the trunks and bodies of trees, and in all kinds of buildings. We fhould make out all the ground of the objects with fuch glazing fhadow- colours, as feem neareft to the natural hue of the object, in that fituation. But as the principal glazing colours themfelves are often too ftrong and glaring, they fhould therefore be a little changed, and foftened with fuch colours as are of a near re- femblance to themfelves and the objects. Thus, if it is in the diftances, the terra- verte and azure, which are their principal glazing colours, may be improved and made lighter with fome of the fky tints ; and as the diftances come nearer, with the purple. As we get more into the middle group, the terra-verte and Pruftian- blue may be changed with fome of the green tints, fuch as are made without M 4 white ; 1 63 PRACTICAL RULES FOR white; for white is the deftruftion of all glazing colours. As we approach the firft group, there is lefs occafion for changing them ; but the fore -ground, and its ob- jects, require all the ftrength and force of glazing which the colours are capable of producing. After this glazing ground, we fhould follow with ftrengthening the fame in the ihadows and darkeft places, in fuch man- ner as will feem eafy to finifh ; which is the firft lay of the fecond painting. The colours that come next for finifh* ing, are in the degree of middle tints. Thefe fhould be carefully laid over the greateft breadth of lights, in fuch manner as not to fpoil and cover too much of the glazing. Do it with a good body of the polour, as ftiff as the pencil can agreeably manage PAINTING in OIL COLOURS. 169 manage to chara&er. Remember, the colours of the middle tint fhould be of a clean, beautiful hue. According to thefe methods, I think it will be eafy to finifh all the fecond painting as we w r ork down, from the Iky, through the middle group. As we come to the fir ft group, where all the objects fhouldappear perfe&ly finifhed, we Ihould finifh their under or moft diftant parts, before we paint any of the other >^hich appear nearer. Obferve this me- thod down to the laft and neareft objects of the picture j and where it fo happens that painting one tree over another does not pleafe, forbear the fecond, until the firft is dry. Thin, near trees, of different colours, will do better if we let the under parts dry before we add the finifhing Cplourg. THE 1 7 o PRACTICAL RULES FOR THE THIRD AND LAST PAINTING. If oiling is neceffary, lay the leaft quan- tity that can be ; which fhould be done with a ftump-tool, or pencil, proportioned to the place that is to be oiled, fo that we may oil no more than is wanted : then wipe the whole place that is oiled, with a piece of filk handkerchief. By this me- thod we leave no more oil than is proper for our purpofe. When we are going to finifh any ob- jects, we fhould remember to ufe a great variety of tints, very near of the fame co- lour; but moft of all, when we are finifh- ing trees. This gives a richnefs to the colouring, and produces harmony. The greens PAINTING in OIL COLOURS. 1 7 1 greens will fade, and grow darker ; there- fore it is highly necedary to improve and force them, by exaggerating the lights, and making an allowance in ufing them fo much the lighter. For the fame reafon, we fhould take great care that we do not overcharge and fpoil the beauty of the glazing ; for if we do, it will be dull and heavy, and will confequently grow darker. The method for painting near trees is to make the fil'd lay very near to nature, though not quite fo dark, but more in the degree of a middle tint, and follow it with drengthening the fhadows, and im- proving the middle tints ; and lad of all, lay the high lights and finifhing colours. But all this cannot be done as it fhould be at one painting : therefore, the hejl wav is to do no more than the fil'd lay with 4 1 72 PRACTICAL RULES FOR with the faint fhadows, and leave it to dry. Then begin with improving the mid- dle tints and Ihadows, and let them dry. The third and laft work is adding all the lights and finilhing colours, in the belt manner we are able. This method of leaving the firft and fecond part to dry fe- parately, not only makes the whole much eaiier, and more agreeable, but leaves the colours in the greateft perfection ; becaufe moft of the work may be done with fcum- bling and glazing, and fome parts without oiling. The lights alfo may be laid with a better body of colour, wdiich will not be mixed and fpoiled with the wet ground. What I have faid of trees, anfwers the fame to all kinds of fhrubs and bullies. PAINTING lft OIL COLOURS. 173 The figures in a landfcape are the laft work of the pi&ure ; thofe in the fore- ground fhould be done firft, and thofe in the diftances next : for, after the figures in the firft and fartheft group are painted, it will be much eafier to find the proportions of thofe in the middle parts of the pi&ure. And we fhould obferve, that the fhadows, of the figures fhould be of the fame hue or colour with thofe of the group, or place, they are in. EPITOME [ I 74 1 EPITOME OF COLORITTO. A VERY valuable work, now fcarcely procurable at any rate, was publifhed by the late ingenious M. le Blon. It was termed Coloritto , or the Harmony of Co- louring ; which is the art of mixing co- lours, in order to reprefent naturally in all the gradations of painting light and fhade, the or any other object that is reprefented in the true and pure light. After EPITOME of COLORITTO. 175 After duly confi dering the philofo- phy of colours, and putting his obferva- tions to the teft of experiment, he draws lours, viz. Yellow , Red, and Blue ; for all other colours can be compofed of thefe three, which may be called primitive ; for example, Yellowl and [make an Orange Colour. Red 1 and Blue Blue ! and [make a Green Colour. Yellow J And a mixture of the above three original colours makes a Black , as alfo every other colour whatfoeverj as has been demon- thefe conclufions — that Painting can re- prefent all vifible objects with three co - Red ftrated tyS EPITOME of COLORITTa Ilrated by the invention of printing figures in their natural colours *. It is here to be underftood to mean material colours only, not impalpable ones; for the admixture of the latter will pro- duce a perfect •white , as Sir Ifaac Newton has fhewn. But both are the produce of all the primitive colours compounded or mixed together ; the one by impalpable 3 the other by material colours. True Painting reprefents ; iff. Lights, by White* 2d. Shades, by Black. 3d. Reflections, by Yellow. 4th. Turnings off, by Blue. N. B. In nature, the general reflex-co- * The prints here alluded to are not very com- mon, but may be occafionally found at brokers-* {tails. The modern mode of printing in colours is -Very different. lour EPITOME of COLORITTO. 177 lour is yellow ; but all the accidental re- flections, caufed by an oppofite body or objeCt, partake of the colour of the oppo- fite body that caufed them. The author proceeds next to lay down rules for the preparation of the various palettes neceifary in this mode of paint- ing. They are reprefented by copper plates, printed in the genuine colours and admixtures, with the gradations of tints that are ufed in the different ftages of the work. But thefe are more expenfive than ufeful, as the theory is too fimple and beautiful to need any additional aid. N On [ 178 1 ON VARNISH* MAKING. Varnishes are of two forts, viz. spi- rit Varnifh, and Oil Varnifh. OBSERVATIONS* ON THE PREPARATION OF SPIRIT VARNISH. i. SPIRIT Varnifh may be made in the heat of a water-bath (balneum Mariae), * Thefe obfervations are taken from the Memo- randums of French Artifts, who are the beft makers of varnifh of any people in the world. taking % ON VARNISH-MAKING 179 taking care to clofe the veflel which con- tains the materials, in proportion to the heat required to melt them. 2. Put in no more at a time than three fourths of fpirit of wine ; let one fourth fpace be referred for the ebullition, and for receiving the fpirit of turpentine, with- out which the varnifli would evaporate. 3. Let all the more folid articles of which the varnilh is to confift, be put in, if poflible, at the fame time. 4. Continue to heat the veflel till the whole ingredients are diflolved : this may be known by the non-refiftance and limpid ftate of them. 5. At this period, incorporate the re- mainder of the fpirits of wine, viz. a fourth N 2 part, i8o ON VARNISH-MAKING. part, with the varnilh now ready to re- ceive it. 6. Permit the whole to mix, by con- ftantly ftirring them together, with the water-bath at its full heat ; when the varnilh will aflume the appearance of a uniform fluid. 7. Lest any impurity has intruded, drain the varnilh, whilft hot, through a line cloth. 8. Let the varnilh be at reft forfie days before it is ufed. 9. Spirit Varnilh is totally oppofite in its nature to oil varnilh ; for it is better for being new, being apt to grow thick and yellow by keeping, whereas the other improves in beauty by age. obser- ON VARNISH-MAKING. 181 OBSERVATIONS ON THE PREPARATION OP OIL VARNISH. 1. COPAL and amber are the principal ingredients in oil varnifh ; both thefe fubftances have the valuable properties of fol.idity and tranfparency. 2. The above fubftances ought never to be mixed together * : the copal, being almoft colourlefs, fhould be referved for clear and light colouVs ; and the amber fhould be employed over gold, or colours of a fombre hue. 3. The beft mode of operating is to diftolve the copal, or the amber, by itfelf, * The famous Vernis Martin is an exception to his rule. n 3 before i&2 ON VARNISH-MAKING. before the oil is put in ; beeaufe the heat that is required to diffolve either, will burn and difcolour the oil. 4. The oil of which the varnifh is com- pofed fhould be perfectly free from greafi- nefs, and carefully bleached. 5. Watch attentively to the moment of fufion ; for, if the heat be too great, the whole will be dilcoloured. 6. At the inftant of per fed fufion, pour in the oil (which mull be previoufly heat- ed', by little and little, birring it with a wooden fpatula. 7. When the fluid is uniformly mixed, take the pot off the fire, and ftir it till it is merely warm. At this time, mix in the prefcribed quantity of fpirit of tur- 2 pentfne, ON VARNISH-MAKING, 183 pentine, which fhould exceed the quantity of the oil. Remember well, that if the oil was more than warm , it would catch fire on adding the fpirit of turpentine. 8 . Strain the varnifh through a fine cloth, to remove all impurities. 9. Should any of the copal, or the am- ber, remain in the ftrainer undiffolved, expofe the pieces to the a&ion of the air for a long time, to diflipate the oil ; and be particularly cautious againft ufing them in varniih, till this operation is performed, or the adhering particles of oil will burn, and difcolour the whole. 10. Oil varniih, if well preferved, is very much improved by age ; but it is at the fame time liable to grow thicker. When, therefore, oil varnifh is about to be N 4 ufed, 1 84 ON VARNISH-MAKING. ufea, the operator may render it more fluid, if neceflary, by incorporating a little of the fpirit of turpentine whilft the var^ nilh is made hot in a water-bath. 11. In the hotteft days of fummer good old varnifh Ihould be perfectly dry, and free from tacking, in twenty-four hours : in the winter, the room ought to be heated by flues in the wall, as well to prevent dull as to imitate the warmth of fuminer, 12. The oils of poppies and of nuts are both ufed in the preparation of var- nifhes ; but very old linfeed oil, which has been drawn without heat (termed cold drawn), and perfedly bleached , is equally as good, and confiderably cheaper. GENERAL [ i8 5 ] GENERAL REMARKS, WORTHY THE ATTENTION OF THE YARN IS H - MAKER. !. All Varnilhes fhould be prepared of fubftances that are folid, glofly, and ficcative * ; and the liquids in which thefe fubftances are diflblved fhould be limpid and colourlefs. 2. All bituminous and refinous fub- ftances which are adapted to the making * Expreflive of a drying quality : the word is rather new, but is of French extraction. Of j 86 GENERAL REMARKS. of varnifh wiil burn if they are too much heated, and will become friable and in- capable of being polifhed. 3, The materials fhould be very pure and clean, and fhould be rather broken into fmall pieces than pulverized (except in very particular cafes), becaufe they are lefs liable to burn, by their not adhering fo readily to the fides of the containing, veflefi 4. The operation Ihould be performed in an open place,, during the day-light ; for, if the fpirituous vapour from the heated materials fhould take fire, from a lighted candle for infiance, or other ignited body, the confequences might be difaftrous. — A cover fhould, therefore, be in readinefs' (clofely fitted), together with wetted cloths, to extinguifh the flame. GENERAL REMARKS. 187 5. Some forts of varnifh, as has been obferved, may be prepared by the heat of a water-bath only ; hut as many will re^- quire a Wronger heat, remember to keep the fire conjiant and equable, 6. Should it burn-to, prevent its buffer- ing by foaking the part inflantly with fpi- rits of wine ; or apply a comprefs moiflen- ed with fpirit of wine. 7. When the varnifh is made, take great care to purify it as much as poffible, by draining it through fine linen, or filk ; and keep it in ?i arrow -mouthed, glazed, earthen bottles, clofely flopped. N. B. Very nice operators prepare their varnifh in glazed, earthen veflels, and ufe them only once for the fame pur- pofe ; they have experienced, that the heat communicated 1 88 GENERAL REMARKS. communicated to the veiTel may occasion- ally crack the glazing, which imbibing fome of the former varnifh, may com- municate a brown colour to the new. THE late ingenious Dr. Lewis * has giv-en a very valuable account of a mode of making amber varnifh. It is a Simple varnifh, of great ufe for many purpofes, and fuppofed to be the bafis of the one ufed on coaches. The preparation is as follows -.—Gently melt the amber in a crucible, then reduce it into a powder, and boil the powder in linfeed oil, or a mix- ture of linfeed oil and Spirits of turpen- tine. Drying oil is commonly made ufe of by the workmen ; but it feems more * See his "Commercium Philofophico-Technicum, *■ 4to, London 1763.” eligible GENERAL REMARKS. eligible to take the oil unprepared, that the boiling requifite for giving the drying quality may be employed at the fame time in making it ad upon the amber. By the previous melting of the amber, its nature is changed, and part of its oily and faline matter expelled, as happens in the common diftillation of it. When the diff illation is not far protraded, the fhin- ing black * refiduum anfvvers as well as the amber melted on purpofe. Hence fome of our chemifts, inftead of urging the diftillation to the utmoft, by which the amber would be reduced to a mere coal, find it more advantageous to difcon- tinue the procefs when the thinner oil and part of the fait have arifen, that the remaining mafs may be in great mea- * It has been before obferved that amber varnifh is only ufed over of manganefe gives alfo a white calx. I had at firft great hopes from this colour, as, contrary to all thofe extracted from the other metals, it became white by the phlogiftic vapour. There remained, therefore, but one difficulty to overcome, viz. to feparate from the manganefe the portion of iron which it ufually contains, and which infallibly makes the earth a little yellow. To accompliffi this in the cheapeft manner, I fubmitted the black ore ON WHITE PIGMENTS- 241 ore of manganefe to a long calcination, to render its iron infoluble. I after- wards applied vinegar to it, after the ex- ample of M. de la Peyroufe ; and in precipitating the folution by alkali, I eafily obtained a pure white precipitate. But I foon perceived that the facility with which a colouring body lofes its phlogiftoa is no lefs an inconvenience than that of attra&ing it, and produdive of the fame alterations. The white of manganefe became very foon yellow when expofed to the air; and this is not to be afcribed to the iron contained in it, fince neither the galls nor Prulfian alkali had difcovered any of it in the folution. This fubftance, therefore, can be of no ufe in producing a white colour for painting. R I PLACED 242 ON WHITE PIGMENTS. I placed (when the experiments were made ) in my apparatus, pieces of cloth, on which were laid the white of calcare- ous tartar, different preparations of white from tin and zinc, in oil and water ; and I allowed them to continue expofed to the phlogiftic vapour during the fit- ting of the Academy*. If they were not altered, their fuperiority over the whites in ufe would be fufficiently efta— blifhed. The fitting continued for near an hour; and the bottle having been opened, all the colours continued to have the fame (hade which they had before. I can, therefore, recommend to painters thofe three whites, and particularly that of zinc, the preparation of which is ex- pofed to lefs variation, the fhade more lively and uniform, and, moreover, it is * At Dijon. fit ON WHITE PIGMENTS. 243 fit for all purpofes, and perhaps procured at lefs expence. I will aflert farther, that it may be procured in fufficient quantities to fupply the place of ceruffe in every branch of the art, even in interior houfe-paint- ing*. I would recommend it lefs with a view of adding new fplendor to this kind of ornament, than for the fafety of thofe who are employed in it, and perhaps for the fafety of thofe who inhabit houfes ornamented in this manner. But, without being too fanguine, al- though the procefs in the preparation be fimplified in proportion to the demand, as is ufually the cafe, yet there is reafon ‘ * Would it not anfwer the purpofes of an inge- nious Colourman, to prepare and vend this pig- ment ? R 2 to ON WHITE PIGMENTS. 244 to apprehend, that the low price of cc- rufle will always give it the preference in houfe painting. With regard to thofe who apply colours to nobler purpofes, they will not hefitate to employ the white of zinc. I am allured that four livres is paid for a pound of white of crems ; and I believe the white in queftion, pre- pared in the manner which I have point- ed out, might be fold for fix. M. Courtors, conne&ed with the laboratory of the Academy, has already declared that it is ufed in houfe-painting, lefs in regard to its unalterability than its fblubiiity; and this may be the more readily believed, as the flowers of zinc enter into many compofitions of the apo- thecary. M. Courtors has alfo arrived at the art of giving more body to this white, which the painters feemed to defire, and of 4 I ON WHITE PIGMENTS. 245 of making it bear a comparifon with white lead either in water or oil. The only fault found with it is its drying too flowly when ufed in oil ; but fome ex- periments which I have made, incline me to believe that this fault may be eafily remedied, or greatly corre&ed, by giving it more body. At any rate, it may be rendered liccative at pleafure, by adding a little vitriol of zinc (white copperas) flightly calcined. Painters already know the proper- ties of this fait ; but perhaps they do not know that it mixes with the white of zinc better than with any other colour, for the reafon that they have chemically the fame bafe. It is prepared by depriv- ing the white copperas of that fmall por- tion of iron which would render it yel- low ; which is eafily done, by digeft- mg 246 ON WHITE PIGMENTS, ing a fblution of it on the filings of zinc. A mixture of this fait thus prepared may be made on the palette, which will caufe no alteration in the colour, but be produ&ive of great effect in a very fmall quantity. FINIS.