THE A R T^^A-^ ^^5^^^^^ LANDSCAPE PAINTING IN OIL COLOURS. TAVENTY- SECOND EDITION. ^cs protat artificcm. WI]S^SOH AND HBONE PLACE. Price One Shilling, Digitized by the Internet Arcliive in 2013 littp://arcliive.org/details/artoflandscapepaOOwilJ THE ART OP LANDSCAPE PAINTING IN OIL COLOURS. TWENTY-THIED EDITION. are protat srtificem. LOISTDON: WINSOE AND NEWTON, 38 EATHBONE PLACE, Artists' (Colour iJHaftfvs, Jjtr S>pecial ^ppointnwnt, to |§cr iHajcstg, nxi^ to STijctr lAOgal f^igfincsses t^e ^nnte antj princess of SEaks. [The Rigat of Translation is reserved.] LONDON Printed by H. Weston, 40 Rathbone Place. CONTENTS. Page Implements ..... .... 9 Colours 18 Oils and Varnishes ......... 29 Megilps, &c 31 Processes and Manipulations : Glazing .......... 34 Impasting .......... 36 Scumbling 37 Handling . . . . .38 Light, &c. 39 On the Mode of Commencing and Conducting a Picture . . 41 The First Painting 43 The Second Painting 45 The Third Painting 47 On the Colours and Tints for different parts of the Picture : The Sky 48 Clouds . 51 Distances 53 Middle Distances ........ 55 Trees 56 Foregrounds 61 PREFACE. The just appreciation of the works of tlie great Masters in Painting is becoming daily more extended. This arises from the facilities which are afforded, to all classes, for seeing and studying these works in the National and other collections. One result can hardly fail to spring from this growing taste ; and as, in the sister art of poetry, the perusal of the immortal outpourings of the mighty dead has kindled the flame in many a soul, which else had been silent, so it will not be unreasonable to suppose that many an eager desire will be excited to attain some excellence in the Painter's Art. To help the young as- pirant in his first attempts is the object of the following pages. They are written with great care as to their plainness and perspicuity ; and the rules and directions are, in all instances, either the result of extensive personal experience and observation, or are gathered from sources unquestionably to be depended upon. It appears to the Editor that it is impossible to over-rate the advantages 6 PREFACE. whicli must attend the encouragement of tlie study of tlie Fine Arts among all classes of society ; and he trusts that he may be pardoned for hoping that his little work may find its way into the hands of the young of all ranks. The humanizing influences of Art he believes capable of conveying unmixed pleasure ; and he will be more than thankful if he shall have been the means, through these pages, of adding to the real sources of happiness and enjoyment among the rising youth of his country. J. Edwards, M.A. THE AET OP LANDSCAPE PAINTING IN OIL COLOUES. The following pages treat of one brancli of the Art of Oil Painting, — that of imitating upon canvas, with fidelity and truth, the varied aspects of nature, as they present themselves to the eye in Landscape. It is taken for granted that the pupil is so far acquainted with the general principles of Drawing and Perspective^ as to be able to apply them with facility and certainty to the representation, in outline, of a given view or subject. This being the case^ he will see principles and rules here laid down, which will place within his reach the power of securing to himself one of the most delightful and agreeable accomplishments he can possess. These rules he will find compressed within moderate limits ; but he will find them also to be fully sufficient to ensure no mean proficiency in the practice of 8 the Art, if he will apply himself to the pursuit with thoughtful diligence and patient assiduity. In order that the subject may be laid before him clearly and methodically, the matter is generally divided into three parts. The First Part consists of a description of the Imple- ments and Materials used in the branch of Art here treated of. The Second Part contains a concise but clear explana- tion of the general Processes and Manipulations by which the various pictorial effects can be faithfully represented. The Third Part consists of an Explanation of the Principles upon which a Landscape should be painted, and of the Mode of applying the processes and manipulations described in the previous part. PAET L IMPLEMENTS AND MATERIALS, IMPLEMENTS. The Implements and Materials absolutely necessary for Oil Painting are neither numerous nor expensive. Oil and varnish, a few colours and brushes, a palette, a palette knife, an easel, a rest- stick, canvas, and a little chalk, will suffice to enable the beginner to make his essay. The most convenient and advantageous mode of pro- ceeding will be, to obtain from any respectable dealer one of the usual tin oil-painting boxes, fitted completely with the necessary articles. It will contain, besides colours, a set of brushes — comprising hog-hair, sable, and badger brushes ; a palette, a knife, port-crayon, chalk, oil, and varnish. Besides these, there must be procured an easel, a mahl-stick, a glass slab and muUer, and canvas. In order to enable the learner to make his purchases of these articles with safety and judgment, we shall offer in the outset a few words of explanation as to their nature and qualities. F alettes. — Palettes are made of mahogany, and of satin and other light-coloured woods : they are also made of papier mache, prepared with white enamel surface — very 10 IMPLEMENTS. useful when pale and delicate tints liave to be mixed. Palettes should be light in weight, and thin, and so per- forated for the thumb as to rest well balanced on the hand. They are made of oval and oblong shapes ; the latter form is more generally used and convenient, as affording greater space for the working of tints, as well as for their advan- tageous arrangement. Wooden palettes should be prepared for use by rubbing into them as much raw linseed oil as they can be made to imbibe. If this dressing with oil be thoroughly effected, and the palette then be suffered to dry till it becomes hard, the wood will subsequently not be stained by the absorp- tion of colour. A palette thus prepared is easily cleaned, and presents a hard and polished surface, exceedingly agreeable for the preparation of tints. It is important to keep the palette free from indentations and scratches, and on no account to neglect cleaning it, the colour never being allowed to harden upon the wood. The Dipjper is a small tin cup, made so that it can be attached to the palette : it serves to contain oil, varnish, or other vehicle used, as will hereafter be explained. The Palette Knife. — The palette knife is the implement with which the colours are manipulated on the palette. It is used to temper the colours ; that is to say, to mix tints and arrange them. It should be thin and flexible, tapering towards the end, having the handle heavier than the blade. A square Slab of ground Glass, in a wooden frame. — This article is indispensable, as the colours and tints ought to be tempered and mixed on it before they are transferred to the palette. A glass muUer should accompany the slab ; it is used to rub up any fine colour, which for economy or IMPLEMENTS. 11 convenience may be kept in powder, such as Pure Ultra- marine, Madder Lake, &c. Two or three flat China tiles, about eight or ten inches square, will be found extremely serviceable for the purpose of keeping the tints clean and apart from each other (the series, for instance, of cold tints from the warm ones). These tiles enable the artist to have at instant command a replenishment of the colour he may be using ; a very desi- rable resource, because a colour will sometimes, in course of working on the palette, become mixed and changed. They are also useful to preserve such tints as may be mixed, but not used in the day's work ; for the tiles can be immersed, with the colours on them, in dishes of water, and so re- served for the next painting. TJie Easel. — The Easel is a frame which supports the painting during its progress. Easels are of various forms ; but the most convenient is undoubtedly the rack easel, which allows the painter to raise or lower his work with speed and convenience, as occasion may require. The commoner and cheaper kind are supplied with pegs for this adjustment of the height of the work. It is desi- rable that the easel should stand firmly, and not be liable, as is too often the case, to be overset by any slight cause. The Rest, or MaJil-Stich. — This is used to rest or guide the right hand or arm when particular steadiness is required, as is the case in the painting of small objects and minute details. It is usually formed of cane or lance-wood, and should be light, yet firm. The lower end of the stick is held in the left hand, while the upper extremity, which is covered with a soft round ball or pad of leather, to prevent 12 IMPLEMENTS. injury, rests on the canvas or some other convenient support. Brushes. — To paint with effect it is of the first conse- quence to have the brushes well selected, and of the best' quality that can be procured. They are of various kinds : — of hog-hair, sable, badger, fitch, and goat-hair. Of these, the most useful are the hog-hair, sable, and badger brushes. The black fitch and white goat-hair are but seldom used, as the sable and hog tool will effect all that can be done by the former. Nothing can be superior to a well-made, fine, white bristle tool, in larger work ; or to a good red sable for details. Hog-hair Tools. — These brushes are made both round and flat. Flat hog-hair are generally more useful than round ones ; they are preferred, as assisting in giving a squareness and crispness of touch. They should be strongly and neatly made ; and in select- ing them be sure that the hair has not been cut at the points, for this is sometimes done with inferior brushes ; but such brushes have an unpleasant and coarse touch, laying on the colour in a scratchy manner. It will be found to be a good test if they are made of very fine silky-look- ing hair, and very soft to the touch. They should however be firm, yet elastic, springing back to their form after being pressed laterally upon the hand. Lastly, their shape should be flat and wedge- like, with- out straggling or diverging hairs. Let the handle be of cedar, and polished ; the cedar is pleasant and light to hold, and being polished is easily cleaned. The old white pine handles, soon becoming IMPLEMENTS. 13 ingrained with colour, are both dirty and disagreeable to work with. It may here be remarked, as an important principle, that it is of the greatest use to a beginner to paint with as large brushes as his subject will admit of ; for whoever begins with large brushes cannot easily fall into an insignificant petty style. 8 able Brushes. — The observations regarding hog-hair tools will apply to the sable tools ; but these latter should have the additional property of coming to a fine yet firm point. Be careful in choosing those sable brushes, the hair of which is of a pale yellowish cast ; and especially see that it is firm, and that it springs well to its point. The round sable tool is as serviceable as the flat one, and is used in working the finishing parts of a painting. Round brushes in quills, known by the name of sable pencils, are also applicable to the same purpose. Pencils, that bag or swell where the hair is inserted in the quill, or the hairs of which diverge, and form several points, are worthless. Badger Tools. — These are known by the significant names of "softeners" and "sweeteners." They are of various sizes ; and the hair, instead of coming to a close end or point as in other brushes, diverges or spreads out, after the manner of a dusting- brush. When good, their hair is long, light, and pliant, of a reddish-brown, or black, with clean white ends. The chief use of the badger tool is to " soften " or " sweeten " (as is termed) broad tints, such as skies, water, distances, and the like ; it is acknowledgedly a very valuable assistant to the young painter; but it must be IMPLEMENTS. used witli great forbearance and caution, because, in inex- perienced hands its injudicious use frequently destroys forms, and produces wbat is called " woolliness." Although badger hair is generally employed for " soften- ers," yet any brush of soft hair, and not having a close point, may serve as a softening brush. The hog tool makes a good softener for large surfaces, where stiff colour has been employed ; and for small points requiring sweetening, nothing better can be used than a flat sable, which should however be first slightly moistened with oil or with the vehicle you are using, and then brought to a clean fine edge by being compressed and drawn between the finger and thumb. If the badger tool be much employed on a large surface of colour (as skies), the points of the hair frequently become so loaded with colour, that it is necessary to clean it often as you proceed. This is best done by pinching up the brush rather tightly at the ends, and wiping it on a clean rag. The brush is thus kept free from colour during the progress of your work, which might otherwise be sullied and deteriorated in the purity of its tones. The badger brush is also useful to the landscape painter, for carrying minute points of colour into those wet parts of the work which require to be lightened, enriched, or varied ; as will be hereafter explained. Gleaning Brushes. — It is of the utmost importance that all brushes, after being used, should be carefully cleaned. This is best effected by immersing the hair of the brushes in a little raw linseed oil ; the oil should afterwards be washed out with soap and warm water, till the froth, which is made by rubbing the brushes on the palm of the IMPLEMENTS. 15 hand, is perfectly colourless. The brushes should next be rinsed in clean water, and the water pressed out by the application of a clean towel. The hair should then be laid straight and smooth, and each brush restored to its proper shape, by passing it between the finger and thumb, before it is left to dry. Care should be taken not to break the hair by too violent rubbing, as that would render the brushes useless. Many painters use turpentine instead of linseed oil, in the cleaning of brushes ; and it certainly effects the object more quickly ; but the only use of turpentine that should be permitted, is to rinse the brushes in it slightly, when it is required to clean them quickly ; but on no account should they be permitted to remain, as is sometimes the case, soaking in the turpentine. This practice is certain to injure, and in most cases completely to spoil, the brushes ; rendering the hair harsh and intractable, and frequently dissolving the cement by which the hair is held in the socket of the handle. Canvas. — This is the general material used for painting. It is kept prepared in rolls of various widths, and is sold also strained on frames of any required size. The ground or preparation of the canvas should be thin, yet com- pletely covering the threads of the fabric ; and it should be free from projecting lines and knots. Oil Sketching Paper is an extremely serviceable material for the young artist. It is made of drawing paper, covered with two or three thin coats of oil colour, so as to furnish a ground similar to that of prepared canvas. It is cheap and portable, and serves very well for early attempts, and for preparatory sketches ; for trying the effects of any work 16 IMPLEMENTS. previous to its commencement, as well as during its progress. This sketching paper is usually made of the imperial size and, when used, a piece should be cut of the required dimensions, and fastened at the four corners, by drawing pins, to a deal drawing board. The paper has this advantage, that, if your sketch is required to be preserved, you can readily paste or glue it upon canvas, and then mount it on a deal stretching frame, when it will present the appearance of strained canvas. Academy Board. — This is a thin millboard, prepared in the same manner, and adapted to the same uses, as the pre- pared paper. It is the material on which most of the studies made at the Academy are painted. Being stiffer than the paper, it does not require to be fastened to a drawing board. These boards are in size about 24 by 18 inches. Millboards are thicker than the Academy boards, and the grounds are prepared with greater care. They are made of a greater variety of sizes, varying from 8 by 6 inches, to 24 by 20 inches. They are much used in sketching in oil colours from nature, to which purpose they are peculiarly adapted. Panels of well-seasoned mahogany are prepared with exceedingly firm and smooth grounds, for works requiring great detail and finish. Grounds. — ^Much diversity of opinion has existed re- specting the colour of the surface of the prepared canvas. It is a subject of considerable importance, for it is impos- sible to paint a richly- coloured picture, with life and warmth, upon a dull unsuitable ground. * 30 by 21 inches. IMPLEMENTS. 17 A landscape, if carefully handled, can be brought on and finished in a more brilliant manner on a white ground than on any other. It has, however, been objected to a pure white ground, that it is liable to impart a cold chalky effect ; but it must be remembered that what is at first white in oil, becomes in a short time of a yellowish hue, and its coldness of tone is thereby lowered. The white, or pale cream-coloured, and pale, warm, drab- coloured grounds, seem to surpass all others. The reason is obvious ; they throw a light, and consequently a trans- parency, through the work ; and, as all colours in oil painting have a tendency to sink into the ground on which they are laid, and to become darker, this tendency can be counteracted only by having grounds of considerable lightness and brilliancy. Cold grey grounds have been used in landscape painting ; but they impart a heaviness of colouring much to be avoided. Some artists have painted on grounds of a dull red, or leather- coloured tint, and much richness may be gained by such tints ; but after a time the colours of any por- tion that may have been thinly painted sink into this strong ground, and the efiect produced is heavy and disagreeable. Upon the whole, a white ground is to be preferred, as soon as the learner has acquired some knowledge of the subsequent effect of his colours ; but as the inexperienced find much difficulty in preventing the coldness and poverty of expression which they are not unhkely to beget, it will be advisable for the beginner to take the usual light stone drab that is generally given to canvas ; for it furnishes him with a middle tint or tone to start from, which, when C 18 COLOURS, visible in shadows and middle tints, lias not tlie raw chalkiness shewn under similar circumstances on an un- skilfully or imperfectly covered white ground. COLOURS. Flake White. — Flake White is a preparation of white lead. The white lead at present sold by all the principal colour houses, is a superior carbonate of lead made in Germany, and known by the name of "Kremnitz White." It varies in quality according to the purity of the lead, and the care and success of the manufacture. The best kind possesses great body and permanency, and is of a dazzling whiteness. There are different kinds of preparation of white lead, and various other white pigments, with which the painter need not encumber himself, the above-mentioned Kremnitz White being sufl&cient for every purpose. Aureolin. — This superb yellow is one of the latest and most important contributions of science to the Artist's palette. It possesses a rare combination of invaluable qualities — purity, brilliancy, transparency, and perma- nence : it ranks in importance with Genuine Ultramarine. It is remarkable as being a nearer approach to the pure colour of the solar spectrum than any other known yellow. It is of a rich and vivid hue, and its tints are very pure ; the lighter ones being extremely delicate and clear. It mixes well with all other colours, forming, with blues, an extensive range of greens of unrivalled brilliancy. Delicately pure and clear aerial greys, suitable for the representation of soft thin effects of atmosphere, are to be produced from a combination of Aureolin with Cobalt, COLOURS. 10 Rose Madder, and White, and also from Anreolin, Cobalt, Brown Madder, and White. By substituting Genuine Ultramarine for Cobalt, the tints are still clearer and more deKcate. These greys are, each of them, beautiful, and variable with other blues. Reds and Browns, with Aureolin, yield a most exquisite range of tones ; and as they mix together most kindly, they are truly desirable where purity and delicacy are sought. The permanence and unalterable purity of even the lightest and faintest tints of Aureolin may be confidently relied upon. These qualities have, indeed, been fully established and ascertained by the most severe tests to which colour can be subjected by several of our ablest chemists. It is of importance to note that, by the side of Genuine Ultramarine and Madder Red, Aureolin completes a triad of brilliant, transparent, and permanent primitive colours ; thus supplying a deficiency which has hitherto existed. Naples Yellow. — ^This is a compound of the oxides of lead and of antimony. It possesses a dense opaque body, ranging in this respect next to white lead. Of late years two kinds of this pigment have been made ; that called French Naples Yellow is of an orange-yellow toncj afibrding light, clear, sunny tints, when combined with white ; but it is not so well adapted for use, in opaque green tones, as the old manufacture, which is of a greenish yellow. Some of the preparations of this pigment are injured by the abrasion of a steel knife j but this is not the case with the French Naples Yellow. Yellow Ochre. — This is a yellow earth of very extensive c 2 20 COLOURS. use ; permanent, and drying tolerably well. It affords, when combined with Antwerp Blue or Indigo, a fine range of quiet greens. Transparent Gold Ochre. — The ochre known by this name is a variety of the above, but brighter and much more transparent. It approaches somewhat to the character of clear bright Raw Sienna, though more pure and brilliant, serving for strong vivid semi-transparent greens, and affording bright sunny tints and pure clear greens. Boman Ochre. — This resembles in a great degree the last^ mentioned pigment, but it is not so clear in its tints, and is more opaque. Baw Sienna. — This is a permanent, and in many respects a valuable pigment, and of great service in landscape. It is of a rather impure yellow. Brown Ochre. — This is a dark ochre of great value in landscape painting, producing a variety of useful and per- manent tints. It is of a dark brownish yellow, affording, when unmixed, a rich mellow tint ; and, when mixed with other colours, a series of rich yet sober tones of extensive use. It is, for instance, of great service in sandy fore- grounds. Cadmium Yellow. — This is a preparation of sulphuret of cadmium. It is a splendid glowing yellow, the brilliant qualities of which make it invaluable for such subjects as gorgeous sunsets. It works and dries well, and passes readily into agree- able tints, when combined with white lead. Pale Cadmium. — The light- coloured sulphides of Cad- mium are of late introduction. They vary from a straw colour to a lemon or primrose tint, and thus supply a COLOURS. 21 want long felt. They replace advantageously the fugitive and imperfect yellows of their class, which alone hitherto have been obtainable. Pale Cadmium furnishes light warm tints of great clearness and beauty. Chrome Yelloiv. — The brilliancy of this pigment renders its use tempting to inexperienced painters ; but, without great knowledge and caution, a coarse and disagreeable effect is produced by its use. There are several tints of this pigment — ^ale, deep, orange, and scarlet. Lemon Yellow. — This is a beautiful light vivid yellow, chiefly adapted for points of high lights. It is a perma- nent colour. Indian Yellow. — This is a rich pure yellow, forming full rich greens. Yellow LaJce. — This is a bright, transparent, vegetable yellow ; a difficult drier, and liable to be destroyed by hght. It affords beautiful foliage tints, and would, if it could be depended upon, be extremely valuable in what is called "glazing." Italian PinJc. — This is a stronger and richer kind of Yellow Lake, possessing properties similar to those last named. Vermilion. — This is a durable and unexceptionable pig- ment ; very powerful, and of great opacity. There are several shades of it manufactured, ranging from a crimson tone, through scarlet to orange. The scarlet tint is most useful for landscape painting. Very tender aerial greys are formed, by adding a minute portion of Vermilion to a mixture of Cobalt or French Ultramarine and White. It is a somewhat slow drier. Indian Bed, — This is a pigment of high importance. It 22 COLOUKS. is permanent, and a good drier. It ought to be of a purple- lake tone. Light Bed. — This is obtained by calcining the finest specimens of Oxford Ochre. It bears somewhat of an orange hue, and is an excellent drier. It affords a fine series of usefnl tints. Venetian Bed, — This has a more scarlet tint than the Light Red ; while in other respects it is very similar to that pigment. Cadmium Bed. — A sulphide of Cadmium newly intro- duced. It is obtained by a process different from that which furnishes the yellow sulphides. It is a powerful orange red, of a rich mellow and agreeable quality of tone, most serviceable where rich and clear warm tints are- required. It is of undoubted permanence, and its general excellent qualities place it among the highest of the orange- red class of pigments. Madder Lake. — The Madder Lakes are prepared,, ranging from pink to the deepest rose colour, under the respective names of — Pink Madder, Rose Madder, Madder Lake, and Madder Carmine ; the last being the most intense in colour. They are the only permanent transparent reds known. The Rose Madder is the tint chiefly used ; it possesses great richness and transparency. These Madder Lakes form permanent tints, when used with white lead ; and their transparency renders them perfect, either as glazing or finishing colours . Cappah Brown and IBurnt Umber sadden Madder Lakes to the rich tones adapted for general use in shadows. All these pigments are beautiful and pure in colour ; qualities in which they excel the lakes and carmines of COLOURS. 23 coclimeal. It may be also added, that perfectly permanent transparent reds and rose colours are to be obtained by them only. Some, when mixed with white, lose the tint which rendered them so valuable. Unfortunately they are bad driers, and require to be forced, by the addition of a little gold size or varnish. The lakes made from the cochineal insect, although liable to serious objections, are nevertheless freely used by painters. They are known by the respective names of — Crimson, Scarlet, and Purple Lake. Crimson Lake. — This is occasionally used in mixing tints, to impart richness ; but it has no durability, and is a bad drier ; hence it is a pigment that should be avoided as much as possible in oil painting. Scarlet Lake. — This is never required by the landscape painter. Madder Lake and Vermilion make all the ne- cessary tints of this class, Furjple Lake. — This is sometimes used to enrich shadow tints ; it is the least objectionable of the three. To these may be added : — Lac Lake, or Ifidian Lake. — Being rich, transparent, and deep, it is of great power, and is more durable than the cochineal lakes. It can, however, be dispensed with, since combinations of Madder Lake and Madder Brown serve for every purpose to which the others can be applied. Ultramarine (Lapis Lazuli). — This exquisitely beautiful blue varies from the utmost depth of shadow to the highest brilliancy of light and colour. It is transparent in all its shades, and pure in its tints, drying and working well. It has so much of the quahty of light, and of the tint of 24 COLOURS. air in it, as to be singularly adapted to the purposes of the landscape painter. It enters admirably into pnrples, blacks, greens, greys, and other tints, and has justly obtained the reputation of clearing or carrying light and air into all colours, both in mixture and in glazing. Genuine Ultramarine is the most perfect of our pig- ments ; it is in fact the only pure primary colour we have. It has depth also, and remains pure when mixed with white. The high price of Ultramarine is, to a great extent, a prohibition to its general use ; but the landscape painter seldom requires any other than the paler and cheaper tints. It has not been used to so great an extent as formerly, owing to the introduction of French Ultramarine, which furnishes a cheap and tolerably effective substitute for most ordinary uses. Ultramarine Ashes. — These are the ashes or remains of the lapis lazuli, from which Ultramarine has been extracted. They vary in colour from dull grey to blue. Although not equal in beauty, and inferior in strength of colour, to Ultramarine, they are extremely useful pigments, affording greys much purer and more tender than such as are com- posed of black and white, or of other blues ; and they are better suited to the pearly tints of foliage, the grey of skies, and the shadows of landscape and buildings. They are of delicate and very tender azures, not so posi- tive in tint as Ultramarine ; of great service however for skies and distances, where hazy greys are required. The brighter sorts of Ultramarine Ashes are, more COLOURS. 25 properly, pale Ultramariiies ; the lowest kinds or last wash- ings of the lapis lazuli are called Mineral Grey. French Ultramarine (French Blue). — This valuable colour is extremely powerful in tone, and nearly transparent. It has a light tendency to the purple hue, and to the landscape painter is generally useful in all cases where economy renders a substitute for Genuine Ultramarine desirable. It rivals Genuine Ultramarine in depth, although it does not equal it in purity and brilliancy. It dries well ; the inferior kinds however are liable to a slight and not very serious change, by losing a little of their purity, and becoming greyer. Cohalt Blue. — This is a pure light azure, affording clear bright tints in skies and distances. With Light Red it gives beautiful cloud tints ; with Madder Brown it affords a range of fine pearly neutrals. Cobalt has not the depth and transparency of Ultramarine ; but it is superior in clearness and beauty to other blue pigments. It dries well, and is nearly transparent ; but it is some- times liable, when used for skies, to acquire a green tone, occasioned by its suffering the oil to rise to the surface ; the yellow tint of which imparts a green tinge to the colour. Prussian Blue. — This is a deep and powerful transparent blue, drying and glazing well. It borders slightly on green. Its chief use to the landscape painter is in mixed tints of greens, purples, and other such colours. Antwerp Blue. — This is a lighter- coloured and somewhat brighter Prussian Blue, and possessing the general quali- ties of the latter, except in extreme depth. 26 COLOURS. Indigo. — This is not so bright as Prussian Blue. It dries well, and works and glazes satisfactorily. It is seldom required in landscapes, since Prussian and Antwerp Blues, when saddened with Black, answer the purpose better. Ivory Black (Calcined Ivory) . — This is the richest and most transparent of the blacks, and is generally serviceable. Blue Blach (Vegetable Charcoal). — This is of weaker body than Ivory Black, and is better suited for the greys and general mixed tints of landscape painting. Lamp Black. — This is occasionally used in mixed greys, but can be dispensed with, as it may on all occasions be advantageously replaced by Blue Black. Burnt Terra Sienna — This is a rich transparent brown orange, affording a range of valuable landscape tints of rich greens, in combination with blues, and of sunny tones when used with white. It is permanent, and dries well. Mars Orange. — This is an artificial iron ochre, of a clearer tone than Burnt Sienna, but not so transparent. It affords bright warm tones with white, but does not answer for greens. Orange Chrome. — This is the most durable and least exceptionable of the chromates of lead. Field^s Orange Vermilion. — A perfectly durable pigment ; is, as its name imports, a vermilion of an orange colour, having the powerful body and properties of other ver- milions. It is of glowing warmth, and yields with white, which it tinges with great power, pure and delicate car- nation tints that are generally serviceable, and especially in delicate sky tints. COLOURS. 27 VandyJce Brown (Bituminous Earth) . — This is a rich transparent pigment of great durability, but a bad drier. Cologne Earth. — This, in its general qualities, resembles Vandyke Brown, except that, in combination with white, it furnishes a range of cooler brown tints. Caipjpah Brown. — This is a very eligible brown. It dries very rapidly ; is transparent, rich, and deep in colour. Bone Broivn (Ivory Bust Roasted), — This is a bad drier, and is not greatly used, but may be occasionally applied in forming clear, silvery, warm greys, in combi- nation with white. ' Asphaltum (A Solution of Asjplialtum in Turpentine). — Its fine brown colour and perfect transparency are lures to its free use. It must however be regarded rather as a dark varnish than as a pigment. It dries rapidly, and, when used in excess, is liable to crack. Its great transpa- rency causes it to be much used for shadows and for glazing ; but it must be remembered that it is a rather dangerous colour in inexperienced hands. Bitumen. — This is Asphaltum ground in strong drying oil, by which treatment it is more eligible for the painter's use. Madder Brown. — This rich lakey brown, one of the valuable products of the madder root, is, if made with skill, of intense depth and transparency ; affording the richest description of shadows, and the most delicate pale tints. Being quite permanent, working most kindly, and being a good drier, it is a pigment that cannot be too strongly recommended to the landscape painter's notice. With French Blue, or with Cobalt and White, a set of fine warm or cold greys may be obtained, in proportion as the brown 28 COLOURS. or blue predominates. With blues and bright yellows, it gives fine autumnal russet greens. Raw Umber. — This is a yellowish brown, of great service in light shadow tones and delicate greys. Burnt Umber, — This is a quiet brown, affording clear warm shadow tints. It may be occasionally substituted for Vandyke Brown. It is a quick drier. Terre Verte. — This is a sober-toned green earth, of the utmost use in landscape painting. Its combination with Indian Red a.nd Naples Yellow forms a series of mild russet greens, of much use in middlp distance. It is very durable ; and, not possessing much body, is semi-trans- parent, and dries moderately well. Green Oxide of Ghromium. — This is a deep-toned green. It is occasionally employed with great effect by admixture with yellows and white. Being very dense and powerful, it must be used with great care to avoid heaviness. It is valuable when used as a cold grey green, if diluted with a large quantity of white. These cold greens possess a silvery luminous quality, and impart the effect of atmos- phere. Emerald Green. — This is a brilliant green, but too violent in colour to be of much service in landscape. It is however occasionally of value, if discreetly used, in the drapery of a foreground figure, where a bright green may be demanded ; or in a touch on a gaily-painted boat or barge. It is permanent both in itself and when in tint with white. Brown PinJc. — This is a rich transparent olive, inclining sometimes to green, and sometimes towards the warmth of OILS AND VARNISHES. 29 orange. It is of great depth, and works well, but is a bad drier. In tbin glazing it is not permanent. Verona Brown. — This is an olive brown of great service in tender drab greens, and in combination with Terre Yerte and Lakes ; forming with the latter, rich autumnal tints of great beauty. OILS AND VARNISHES. Vehicle. — The diluent used to temper and thin the colours, for the purpose of bringing them to a proper working state, is called a "Vehicle." The colours of pigments "bear out" with effects differing according to the liquids with which they are combined ; and, according to these, are either enlivened, that is, "brought out," or are obscured. Vehicles are hardly of less importance than the colours themselves, being among the chief materials and indis- pensable means of painting. They are extremely diversified, to suit the various purposes and fancies of the artist ; we, however, need treat of those only which are fittest to be employed. All oils or varnishes act more or less to the eventual prejudice of the colour with which they are combined for application. What is desired in oil painting is a vehicle which, while it has an agreeable working quality, shall neither change nor be degraded by time, nor interfere with the purity of the tints as they appear at the moment they are first laid on ; — a vehicle that shall neither perish nor crack as it becomes old. Oils. — The linseed, poppy, and nut oils, are the fixed 30 OILS AND YAKNISHES. oils nsed as vehicles ; turpentine, and^ occasionally, spike- lavender ; tlie latter, however, is seldom employed. Of the fixed oils. Linseed is in most common nse. It should be of a pale amber colour, transparent, and limpid ; and, when used in moderately warm weather, it should dry in a day. The most valuable qualities of linseed oil, as a vehicle, consist in its great strength and flexibility. It is by far the strongest oil, and the one which dries best and firmest under proper management. The next in importance is Pojopy Oil. It is inferior in strength, tenacity, and drying, to linseed oil ; but it has the reputation of keeping its colour better ; and it is on this account generally employed in grinding white, and most of the light pigments. Nut Oil, as we procure it in England, is more uncertain in its qualities than either linseed or poppy oil ; and is frequently extremely long in drying. Poppy oil, however, supplies its place so well, that it is not commonly required. Oils are all more or less influenced, in their drying, by the colours with which they are combined ; some of which greatly accelerate, while others retard it. With certain colours some oils will scarcely dry at all, unless means are employed to cause them to do so. Drying Oil. — Drying Oil is prepared by boiling linseed oil with certain oxides and salts of lead, which impart to it a power of drying with rapidity. It is employed with those colours which do not dry well without being forced. Two kinds are prepared — a dark or strong drying oil, and a paler and less powerful kind. Japanners' Gold Size is sometimes employed as a powerful OILS AND VARNISHES. 31 means of drying dark and transparent colours, whicli are in general comparatively bad driers. The Volatile Oils are destitute of the strength of the fixed oils, having scarcely more cementing power in painting than water alone. Turpentine is a very useful addition to linseed oil, for preserving the purity of light and bright pigments from the change of colour to which this oil is subject. Owing to their extreme fluidness, the volatile oils are generally useful diluents of the thicker oils, varnishes, and vehicles ; but the thin essential oils thus introduced often weaken the body of the vehicle, and occasion it to flow so much, that the colours used therewith will not keep their place, rendering the touch of the pencil spiritless and uncertain. These properties give occasion for the intro- duction of resin and varnish, wliich communicate a body to oils. These vehicles have been compounded under the name of ''Megilps." Megilps. — The vehicles known by this name are in great favour with artists. They possess a gelatinous texture, which enables them, while flowing freely from the pencil, yet to keep their place in painting and glazing. The Megilp generally in use, which however may be purchased ready prepared, is formed by mixing together equal parts of strong mastic varnish and drying oil. After remaining undisturbed for a few minutes, it assumes a gelatinous texture, resembling a thin, transparent, amber- coloured jelly. Megilp varies in colour, according as it is made with either a pale or deep-coloured drying oil. The palest kind is made by rejecting the drying oil, and using instead linseed oil, in which a small quantity of finely-groimd sugar 32 OILS AND VARNISHES. of lead has been diffused. With equal parts of this com- pound and of mastic varnish, a very light megilp is obtained. Another improved compound employed as a vehicle, is made by mixing one part of a saturated solution of sugar of lead in water, with two parts of linseed or poppy oil. These are to be well stirred or shaken together, till they are combined ; and then two parts of mastic varnish are to be added, and well mixed with the preceding. By this means a white creamy emulsion is obtained, which, though opaque in use, becomes quite transparent as it dries. Painters differ in nothing so much as in the vehicle they employ. Some use the oils only, others the megilps ; many have a peculiar compound of their own, to which they attach importance. It will, however, be the best for the beginner to give himself no trouble on the subject, but to select and adhere to the simplest and most convenient form. With this view he will find that a compound used occasion- ally in combination with megilp, and consisting of one part of copal varnish, one part of linseed or poppy oil, and one part of turpentine, will furnish him with a pleasant and serviceable vehicle for general use. Let him take care, however, to force its drying by the addition of ground sugar of lead, when employed with slowly- drying pigments. No other method will be necessary, except in painting skies and other very light-toned masses, in which case drying oil and megilp must be carefully avoided. It is by no means intended to confine the learner to the exact quantities here given ; a little experience will teach him to - compound his vehicle in the manner best suited to his own style of working. OILS AND VARNISHES. 33 Mastic Varnish, — This is simply a solution of gum-mastic in turpentine. It is an indispensable requisite in tlie modern practice of oil painting, in which it is employed, not only as a varnish but as a component part of many of the vehicles in common use. Copal Varnish. — This greatly assists the drying of colours ground in oil. It is employed by many artists as a vehicle, v^hen diluted with turpentine. It must however be ob- served, that it has the defect of cracking, when used without suflB-cient drying or other oil to temper it. Copal, in dis- solving, swells or augments in bulk (like glue in water), and contracts proportionally in drying : it is this property which disposes it to crack as above mentioned. Amher Varnish, — This has attracted some attention as a vehicle for painting. It is of deeper colour than copal, and dries very slowly. It requires however little notice, for it has yet to be proved that its merits are equal to its reputation. D PAET 11. PROCESSES A-NB MANIPULATIONS. In the production of a painting in Oil Colours, there are certain manipulations or modes of operation, an explanation of which is necessary in introducing a beginner to the practice of the art. These operations are distinguished by the technical names of — GLAZING. IMPASTING. SCUMBLING. HANDLING. GLAZING. A Glaze is a thin transparent film of colour, laid upon another colour to modify the tone, or to aid the effect of t'le latter ; the work thereby appearing distinctly through the superimposed layer of glaze, from which it receives a characteristic hue. This process of glazing is effected by diluting proper transparent colours with megilp or other suitable vehicle. Thus diluted, these colours are laid upon portions of the work, either in brjad flat tints or in torches partially and judiciously distributed. GLAZING. 35 The object of this process is to strengthen shadows, and to give warmth or coldness to their hue ; to subdue hghts that are unduly obtrusive, or to give additional colour and tone to those that are deficient in force and richness. Should it be necessary to lighten the tone of any part of the picture, this cannot be done by merely glazing ; the tints must first be concealed with brighter colours, of sufficient body for that purpose, and the glaze may then be applied. The glaze should usually be darker than the ground colour upon which it is to be laid ; and, as a rule for the application of the principle of glazing, it may be observed, that the first painting of the picture should be brighter than the subject may require, in order that the subsequent glazings may lower and obscure it to a proper and efiective degree of tone. It has been observed, that glazing is generally effected by the application of diluted transparent colours ; but occasionally semi-transparent colours are used for this purpose, provided they be first rendered sufficiently trans- parent by the admixture of a large proportion of vehicle. These latter glazings are capable of being applied with excellent effect, where it may be necessary to modify the tones of those parts of the picture which do not appear satisfactory, or to produce particular effects, such as repre- sentations of smoke, dust, mists, and the hke. It must, however, be carefully observed, that extreme caution is necessary in glazing with opaque colours ; because, if thus used in excess, they will deteriorate the picture by destroy- ing its transparency. And it may further be observed, that the successful D 2 36 IMPASTING. application of this, as well as of any other important principle, will depend npon experience and judgment. The acknowledged object of the process is the attainment of harmony, force, and brilliancy, to correct what is imperfect, and to perfect what is so far correct but incomplete ; and hence the temptations to its nse are exceedingly seductive. But when it is acknowledged also, that its injudicious use often produces that leathery discolouration so painful to the eye, and sometimes even an absolute and dull monotony, it can scarcely excite surprise, that the student is earnestly recommended to great caution in his first essays in glazing. Assuredly the process cannot be altogether discarded ; but it may be laid down as a rule, that it should not be in- discriminately used, when other modes answer the same purpose ; for, after all, it is preferable to obtain transpa- rency by solid painting rather than by glazing. Should a glazing produce a result different from what was intended or expected, the glaze may easily be removed by a rag, or, if the spot be small, by the finger, provided the removal be efiected immediately^ that is, before the glaze has had time to fasten itself upon, or to soften, the colour on which it is laid ; and in no case must glazing be attempted before the colours, over which it is laid, have become perfectly dry and firm. IMPASTING. In oil painting, the shadows, or dark portions of the picture, are painted thinly ; while the lights are laid on, or " imjpasted,^^ with a full pencil and a stiff colour. in tbe lights of the foreground, and of parts not intended SCUMBLING. 37 to be remote, or to "retire," the "impasting" should be bold and free ; while, in the more brilliant lights, it cannot well be too solid. There is, however, a reasonable limit to the practice ; since actual protuberance or prominence of the paint itself will, in certain lights, produce a false shadow, and therefore a bad and false effect. This will be understood, from observing that the loading of thick masses of colour upon the picture, so as to make them project considerably from the surface, is done with the view of their being strongly illuminated by light actually incident upon the picture, and of thus mechanically aiding in the production of roundness and relief, or in giving a sparkling effect to polished objects or glittering points. But this artifice must be had recourse to sparingly and cautiously, else it defeats its own object, and produces a coarse and vulgar air and effect. The palette knife has always been a favourite instru- ment of this "impasting," or laying on of colour, capable as it is of producing an agreeable brightness on, and of giving an appropriate flatness to, the pigment. A clear and appropriate tint, for instance, skilfully swept across a sky by these means, often produces a surprisingly brilliant and charming effect. None, however, let it be carefully ob- served, but the most experienced hand should attempt this most difficult and dangerous process. SCUMBLING. Scumhlmg, the opposite process to that of glazing, is done by going lightly over the work with an opaque tint, gene- rally produced by an admixture of white. For this purpose 38 HANDLING. a hog-liair brush is usually employed, charged with colour but sparingly ; and with it the tints are drawn very thinly, and somewhat loosely, over the previous painting, which, be it observed, should, as in the case of glazing, be dry and firm. Scumbling is used to modify certain effects, by render- ing the portion to which it is applied cooler, greyer, and in fact less defined, than it was before, and to give air and distance to objects that seemed too near. It is thus of service both in correcting a tendency to muddiness or dirtiness of colour, and to what may be called hardness or over- distinctness of detail, and in weakening the force of colours, that are too powerfal, by softening and uniting such tints as may be too violently contrasted. It will be thus seen that the judicious combination of Scumhlmg and Glazing will produce richness, brilliancy, and transparency ; and that thus each is, to some extent, calcu- lated to remedy the defect produced by the too free use of the other. Let it be borne in mind that it is desirable to avoid, as far as possible, scumbling over shadows, as an inexperienced hand might thus destroy their taansparency. HANDLING. By " Handling,'' is meant the mechanical use of the pencil, or brush ; exhibiting the artist's power of adapting certain modes and processes in the expression and repre- sentation of the different textures of objects, such as foliage, wood, water, and so on. "Handling" is not merely a freedom or playfulness of the pencil, or brush, but a power of justly delineating the LIGHT. 39 form of the object intended ; for it must be remembered that, in painting, the brush is constantly employed in drawing forms. Hence every painter falls into a manner or style of painting, as peculiar to himself as is his hand- writing ; and his brush ought therefore to be as much under his command in painting as his pen is in writing. The young artist should not, however, be led away by his desire to display spirit, so as to leave the marks of his pencil everywhere visible. This is to be particularly guarded against in distant objects, where distinctness is rather to be avoided ; for, by too much pencilling and too accurate draw- ing, they lose the effect of distance. LIGHT, &c. The position of a painter at his easel should be such, that his work may receive the light from his left, falling upon it only from the upper part of the window of his painting- room, the lower part being darkened by a piece of green baize, or by any other suitable means. A light which proceeds from the north is best, because, in our latitude, it is most uniform throughout the day. If, however, this is not practicable, it may be enough to paint in a light not under the direct rays of the sun. In landscape, it is usual to work from a drawing or sketch previously taken from nature, which need not therefore be placed in any particular light, as in the case of the model of the portrait painter. But it is advisable that the young artist should test the quality and power of the light under which he paints, by occasionally taking his work into other rooms, and so viewing it under different positions and aspects; he may, 40 LIGHT. else, be misguided by the peculiar appearance wMcb paint- ings sometimes assume; for the striking effects of a too confined light, in a partially darkened room, may cause him to giye to his shadows a force and intensity which may be weak and insipid, when the work is viewed in the full light of day ; and, conversely, colouring executed in too broad a light may appear coarse and harsh, when seen under another aspect, in a light modified and subdued. Again ; reflections from the internal objects, and from the wall and furniture of the painting-room, must be avoided, for they embarrass and deceive. In fact, the larger the room the better ; and it should be kept as free from dust as possible. Accuracy of drawing is of the first importance ; and any test of accuracy in this respect is most desirable. Errors in drawing may be readily detected by the aid of a look- ing-glass ; for, if the image of a picture present anything unsatisfactory to the eye, the picture itself requires cor- rection in that particular. The cause is too obvious to need explanation. The following rule cannot be too stringently enforced : — Cautiously avoid contracting habits of inattention, both in the arrangement and in the putting away of your mate- rials. Neglect and carelessness in this respect are marks of a weak and slovenly mind, — of a mind incapable of attain- ing habits of method and order. PAET III. PRIJSrCIPLES AND EULES FOR LANDSCAPE PAINTINa. ON THE MODE OF COMMENCING AND CONDUCTING A PICTURE. There is no exact system upon wMcli a landscape should be painted, for results equally good and agreeable arise from various modes of proceeding ; in fact, almost every painter of eminence and experience has a distinctive mode and system peculiar to himself. There are, however, cer- tain rules which must, in a greater or less degree, be observed ; and in detailing these rules a mode of proceeding is selected, which is not only easiest to the beginner, but practised by some of the best landscape painters of the present day. The first thing to be done is to select a canvas of a moderate size — about 18 inches by 12, or 20 inches by 14. Larger sizes are difficult and unmanageable in the finishing ; smaller ones are apt to engender a petty and confined style of work. The selection of the canvas, with a light or cream- coloured ground, being thus made, let the design be drawn 42 COMMENCING AND CONDUCTING A PICTURE. upon it with a firm well-defined outline. For this purpose much time can be saved, and a good effect produced hy judicious employment of water colours : a mode of pro- ceeding now common, and extensively recognized. It will be found that the difficulty, which arises in making the water colour adhere to the oil ground, may be overcome by mixing a little ox-gall in the water used for the colour. This being done, tint the lower part of the canvas in a clear warm tone, with a mixture of Yellow Ochre and Venetian E-ed, or with a pale hue of Burnt Sienna, in water colour. The upper or sky part of the canvas being left clear, commence the work lightly about where the horizon will appear, and gradually strengthen the tint as you descend. The tint so laid being quite dry, sketch accurately, with washes of Burnt Umber or Vandyke Brown, in water colour, all the objects of your design, marking more par- ticularly, with some degree of finish, the figures and fore- ground details. These brown shadows, when worked over with semi-opaque greys, or with other colours, whether transparent or semi-transparent, give to the foreground and middle-distance a richness which the beginner would probably fail to obtain by other and more elaborate means. The sketch being thus laid in, the systematic painting of the picture may now be commenced. For the convenience of description, it will be expedient to designate the different portions of the work, in its progress, as a first, a second, and a third painting; the first painting consisting of the early or dead colouring ; the second, being that in which the subject is brought THE FIKST PAINTING. 43 forward to receive tlie finishing work, wliicli work consti- tutes the thi rd painting. It may be observed, that the landscape painter cannot rigidly adhere to this systematic division, which may be followed out with advantage by the portrait or figure painter. THE FIRST PAINTING. Have near your easel a slab of ground glass, on which you can temper and prepare your tints to a proper hue and consistency before they are transferred to the palette ; and bear in mind this important maxim, that a large number of tints cannot be managed with the same ease as a smaller one. A set of tints, of the hues required for the sky and for the distances is now mixed ; and you commence with the blue of the sky, working downwards, and securing a proper gradation of colour ; then follow the distances, mountains, &c. The same tints are employed throughout this part of the work, only somewhat strengthened by deeper grey tones, which, in the after paintings, are gra- dually abandoned for the local colours of the foreground. The sky and the distance being thus laid in, the work is left to dry, else the colours of the middle ground would be sullied by the opaque greys of the sky and the distance. It would obviously be an error to lay in the middle ground in grey colour ; for, were this done, there would be lost that transparency and that clearness which are to be pro- duced only by the original ground of the canvas being preserved, in a certain degree, to the last. The mode of applying the colour to the canyas is THE FIRST PAINTING. chiefly by toncLes or pats of the brush, in succession, from left to right, beginning at the left upper angle of the picture, and laying the colour in nearly of the same thick- ness throughout. It must again be carefully observed, that the colour should be tempered with a proper quantity of vehicle, that it may work crisply and pleasantly ; and, above all, that it be laid sparingly upon the canvas. Short-haired brushes are best adapted for painting with little colour. A quantity of heavy colour, in one layer over another, pre- vents the due modelling and proper perfecting of the work. Most carefully must it be remembered, that too much attention cannot be given to the procuring of good and well-made brushes. In laying on or "impasting" the lights, the brushes should be rather longer than those used for the general painting ; because such a brush will be found to yield the colour more readily. Still it must not be so long as to be weak ; and it should be made of a soft, even bristle. In the first painting, the lights are laid on with a moderate quantity of colour, the shadows being put in more thinly. Let all the tints be introduced in a firm and clear manner, without much mixing or teasing with the brush ; for, by laying them on in this firm way, you prevent the occurrence of a certain turbid or muddy appearance, which colours are apt to assume when much worked about. Having mixed a well-ordered set of tints, arrange and lay them carefully in their places, on the work, without con- fusing them with each other. For this purpose, be careful to place every colour at once, as nearly as possible, where it is to remain. Whenever, in the early painting, parts are THE SECOND PAINTING. 45 laid of a perfectly correct hue, those places must be exempt from further retouching, as they will always thus have the greatest transparency and beauty. By not going too far in the first painting, and by allow- ing it to dry, the student secures the drawing, as well as the purity and clearness of his first painting. This course is advisable, until he has had some practice in the mani- pulation of colours. Unless indeed the colours be allowed to harden between the first and second painting, and also between the second and third, they will be liable to be rubbed off by the application of the oils and glazings used in the after paintings. THE SECOND PAINTING. When the first painting is dry, the picture should have a damp cloth passed over its surface. Being then wiped dry, let it be rubbed over with a small portion of poppy oil, for this makes the after-painting unite with the first, and so tends to give to the spectator the notion that the whole has been a continuous work. It is a mere moist- ening of the surface that is required ; no excess of oil therefore is to remain. All beyond what is necessary for this purpose is to be removed by the moderate appHcation of a piece of silk or soft linen. In the second painting, we advance by giving more at- tention to the characteristic details of the various objects. Their drawing, light and shade, reflected hues, and varieties of tints in colouring, are more elaborately made out ; the relative distances of objects from the eye are most carefully 46 THE SECOND PAINTING. preserved ; and the shadows, being still painted thinly and transparently, are carefully united (where it is necessary to unite them) with half-tints, so as to produce roundness or solidity. A great body of colour is laid on the lights, which are also now pencilled with great attention to character and sharpness ; and the touches on the high lights are put in with firmness and precision. The brightest lights are best obtained by making them quite white on the first paintings, and then bringing them to their proper hue by glazing. The badger-hair softener is now to be used, but cau- tiously and sparingly, to unite and soften the tints into each other, and to reduce the surface to a level, by re- moving the marks of the brush. In this way the painting receives greater transparency, and so far an agreeable finish. Whatever the subject be, let the early paintings be of a light and rather brilliant style of colour ; for, in finishing, it is scarcely possible to prevent the brighter colours from being cooled down and subdued. Avoid the early intro- duction of much cool colour, which can be conveniently and effectually added as the ^picture advances towards completion. Remember, too, that every colour in drying will sink, and that it will partake, in proportion to its body, of the colour upon which it is laid ; hence all tints, if not laid upon a hght clear under-painting, will change, and will, in drying, lose a httle of their power and bril- liancy. It is necessary, therefore, that some allowance, in preparing tints, should be made for this change. In connexion with this it may be remarked, that strong tones and shadows should not be laid in with too much power THE THIRD PAINTING. 47 and depth, but something should rather be left to the deepening effect of time. Thus it will be understood how the second painting should give us a tolerably finished effect, ere we proceed to the final or third painting. THE THIRD PAINTING. The third, or finishing painting, is commenced by wiping and oihng the picture in the manner before described as necessary for the second painting. We then proceed to complete those details of form and colour which were brought forward in the former paintings — employing, for this purpose, delicate touches of glazing and scumbling alternately ; not to conceal, but to improve, and to render as perfect as possible, what has been already done. Sharp vigorous touches are now to be given, where the markings of the details require them, and where there may be either too great a softness or an obvious want of character and transparency. Consider well and long, before using the pencil for this purpose ; for these isolated touches must be made with freedom and decision, or they fail in pro- ducing the desired effect. They should be of a warm tone — not cold, not grey ; and the tints used for this purpose may be, as occasion may require, either lighter or darker than the parts to which they are applied. Recourse is generally had to smaller brushes, in effecting this object. In this stage of the work, do not attempt too much at one sitting, as, by proceeding too far, the tints laid by scumbling and glazing interfere with each other ; and the eye, by coming more frequently to this important duty of 48 THE SKY. judging the work, is better capable of seeing wbere the necessary toucbes are most required. It is, in fact, best to allow the colours to dry gently, and to repeat the operation when necessary. Lastly ; a mode of aiding the finish is, by passing over a portion of the work with light delicate tones, which are left only on the projecting touches of texture objects. This operation must be done carefully and dexterously, with a light hand, holding the brush so loosely as to permit the somewhat thick colour, with which the brush is charged, to adhere partially to those projecting points of the picture with which the hair thus gently comes in con- tact. This manipulation is called " dragging," or " dry touching but the greatest care must be taken not to carry it too far, else it will deteriorate the work by pro- ducing what may be characterized as " mealiness ;" that is, the colours will appear as if they had been sprinkled with meal, or covered with a white dust, which makes them look dull and faded, both in the lights and in the shadows. ON THE COLOUES AND TINTS FOR DIFFERENT PARTS OF A PICTURE. THE SKY. The sky is a most important part of a picture, giving to it the due air-tint, and so influencing the whole work. In the preparation of sky tints, it is to be observed that they are graduated in intensity by a greater or less quan- tity of white ; and, in laying them on, we place the THE SKT. strongest of them at the highest part of the sky, making them paler and less intense as we descend towards the horizon where the use of blue in the tint is discontinued, and other tints are used suitable to the character of the picture and to the time of day under which it is seen. The principle is true also in this respect, that the tints are kept lighter as we approach the parts nearest the sun. The tints, however, are varied, from the horizon to the zenith, or highest point of the picture. Thus ; in the rep- resentation of a sunset, the blue of the zenith may be united with the yellow and orange of the horizon, by different connecting tints, as in the transition from blue to violet, then to the rose tints, and so to the horizontal orange and yellow. This is one instance. In another kind of evening sky, transition might be from blue to violet, and from violet to light orange. But, in order that the transition from the pale blue to the orange may be gradual and insensible, the two tints, though so very different in kind, should have the same degree of force and intensity. The sky tints of the horizon vary greatly; but in gene- ral, for a serene sky, the most luminous of flesh- tints may be safely imitated, provided they be modified according to circumstances : at one time by rendering the tint more rosy ; at another, by giving to it more of a whitish, or a somewhat yellow cast ; at another, by a tendency to a greenish hue. In order, however, to preserve the aerial aspect of the sky, it should not be painted with too many colours. The sky-palette should be simple — the colours few; but E 50 THE SKY. let there be as many gradations of those colours as pos- sible. Paint the sky in at once ; but if two paintings be necessary, the first should be, in tone, lighter than the sky is intended to be at the second or finishing painting. And let it be observed, that it is necessary not to paint the sky too blue : this is a fault into which a beginner is apt to fall ; but it is easier to deepen the blue tint after- wards, by a little scumbling, while it is not easy to re- cover a light brilliant tone, if the blue has been laid on too heavily. The most useful colours for painting skies are, — French Ultramarine, Vermilion, Indian Eed, Madder Lake, Aureolin, Yellow Ochre, Naples Yellow, Kaw Umber ; the necessary gradation of them being produced by an admixture of white. The necessary tints are, — Aureolin and White ; Naples Yellow and White; Yellow Ochre and White; Yermilion, Naples YeUow, and White; Madder Lake, Aureolin, and White ; Madder Lake, Naples Yellow, and White; Yermilion, Yellow Ochre, and White; Indian Red, Yellow Ochre, and White; Madder Lake, Yellow Ochre, and White; CLOUDS. 51 the proper gradation in each being produced by a greater or less admixture of white, as before. CLOUDS. For the painting of Clouds the following colours are necessary : — Cobalt, Aureolin, and White; Frenoli Blue, Yermilion, and White ; French Blue, Indian Red, and White ; French Blue, Raw Umber, and White ; French Blue, Raw Umber, Naples Yellow, and White. In clear evening skies the following tints are found to be of great service : — Madder Lake, Aureolin, and White; Madder Lake, Light Red, and White; Madder Lake, Light Red, Yellow Ochre, and White. Light Clouds are painted over the azure ground with little colour only. Violet greys, which are chiefly required for this purpose, are composed, in varying proportions, of— French Blue, Light Red, and White ; French Blue, Light Red, Madder Lake, and Wlnte ; French Blue, Light Red, Yellow Ochre, and White; French Blue, Light Red, Aureolin, and White. If the tone is required to be very bright and pure, use Vermilion in place of Light Hed ; if, on the contrary, the tone is to be more sombre, Indian Hed should be employed in the place of Light Red. Those sides and borders of clouds which reflect the light of the sun, are to be laid in with warm horizon tints. B 2 52 CLOUDS. For the variously- tinted clouds use, at one time, Yermilion ; at another time Indian Red ; at another, Light Red ; at another. Madder Lake ; and when the clouds take a yel- low reddish tint, add Yellow Ochre ; being, in all cases, careful not to carry your grey upon the luminous part of the clouds. If it be desirable that the purple tone of the grey should prevail, add the orange tone to the Indian Red and Blue. It is of great importance to place the warm clouds, with distinctness and clearness, upon the blue ground ; so that, whilst the blue of the sky may partake of the light grey of the clouds — (a grey not very greatly removed in strength from the warm light tones of the flakey cloud),— yet the crispness, with which these clouds are put on, may bring^ them sharply and brightly out. In order to give solidity and brightness to the high lights of the clouds, these lights must be laid on with stiff colour, having but little vehicle in it. A little delicate cool grey is also to be given to the shadows of the light clouds ; but this must be done with only a small quantity of vehicle ; after which the softener must be gently drawn over the lights and half-lights, so as to give to the whole a rich pulpy appearance. For this purpose, having spread with the palette-knife a layer of the azure colour upon the palette, press gently the points of a clean softener into the colour so spread out, and with it touch delicately the darker portions of the clouds, somewhat uniting them with the dark vicinity of the sky. Executed successfully, this process will give the painting a stippled appearance. Then, taking another clean softener, blend the cool tints on the surface without DISTANCES. S3 disturbing the colonr beneath. The effect of this, if care- fully done, will be the production of a beautiful harmony with the azure, which will give also a. luminous character to the interior of the clouds. A too free and injudicious use of the softener will produce wooliness, and render the colour beneath opaque. Generally speaking, the clouds may be painted on the sky, while it is yet wet ; and they may thus be united with it, by having their edges a little softened. But where the li gilts of the clouds are to be made with sharp well- defined edges, these lights may be best produced by being placed in when the first flat painting is quite dry. DISTANCES. The shy line is the boundary between the horizon and the sky, — that line where the sky ends, and the solid abjects of the picture begin. In order to procure the truth and the solidity (so to speak) of nature, it is o'* the first consequence that this boundary be marked in a manner so far free from indistinctness and from confusion with the sky, as to preserve a good general shape. In fact, it is often the strongest line in the picture. Distances, as before remarked, are painted with the same tints as those used in the sky, somewhat strengthened however by deeper grey tones. Distant mountains or high lands will often have their smnmits well defined, even by colours as well as by lights and shadows, when their bases are not visible. This is ocjcasioned by the mists and vapours which are constantly exhaled from the lower portions of the ground ; for which 54 DISTANCES. reason the distant snmmits must obviously be more clearly marked out than the bases, even though the latter be con- siderably nearer to the eye. All distant objects, lying immediately under the effect of a clear sky, will have in their hues a portion of the azure or other tints of the sky ; and, hence, distances are gene- rally laid in with the sky tints, modified, as we remarked above, to the occasion in hand. They should be treated broadly, ^. e., without much de- tail, and with masses of light and shadow. Indeed, this vagueness is necessary, both in contour and tint ; each, of course, being modified by the degree of remoteness in the objects, as well as by the supposed state of the atmosphere, and the time of day. The management of distances will be best felt and understood in the following acknowledged principles : — " Light is most easily seen in distances, the darkest colours being the first to lose effect." " The defined and absolute colours of objects diminish with the increase of the distance of the objects, as well as with the increase of the air tint." On these principles it will be understood how dark ob- jects become lighter, and light ones darker, by distance — though not in an equal degree ; for lights are slowly lost, while dark objects part with their colour more quickly in retiring. The distance, however, at which these two classes of objects become of one colour or tone, depends upon the state of the atmosphere. For general effect, it will be necessary judiciously to insinuate, here and there, some greenish tints, as well as some light tones very nearly of a flesh colour. MIDDLE DISTANCES. 55 If it be possible, paint tbe distance in wliile the sky is yet wet, and even with the same tints as those of the lower portion, but only stronger and darker in hne. Should it be impossible, from the multiplicity of details, to effect this at the first painting, scumble over the whole with a tint either cooler or warmer, as will best improve the efiect : into this you can then touch the various objects with diflPerent tints< As the objects advance towards the foreground, a little more distinctness of colour may be given ; but it must rarely be stronger than that which black, white, and yellow ochre will produce ; or a delicate grey and Naples yellow : and a little warm colour may be interspersed, either in the buildings or in the objects which may require such a variety. The rule, which was laid down for the painting of the sky, is equally applicable here ; namely, that it is of the first importance to make the middle distance, in colour and in the nature of its objects, of such a character as will lead the eye agreeably and imperceptibly from the third dis- tane to the foreground. The colours used for middle distances are, — MIDDLE DISTANCES. Terre Yerte, Vermilion, Indian Red, Lake, Prussian Bine, French Ultramarine, Naples Yellow, Yellow Ochre, Light Eed, Madder Brown, Eaw Sienna, Burnt Sienna. 56 TREES. The tints for middle distances are made by a graduated admixture of — White with French Ultramarine and Vermilion ; J, ,, French Ultramarine and Light Red j „ J, Terre Yerte and Light Red ; „ J, Terre Yerte and Yermilion ; „ „ Terre Yerte and Indian Red ; „ „ Terre Yerte and Lake ; „ „ Terre Yerte and Brown Madder ; 5, „ Terre Yerte and Prussian Blue ; „ „ Indian Red ; „ „ Yermilion. All these tints are for the production of warmth, and are to be enriched by yellows, or to be glazed. Let it be observed that, when you mix a tint, it is best in the first instance to mix red and white only, and to add the yellow afterwards ; a method which less disturbs the transparency of the tint. TREES. Of course it is of the first importance in painting, to represent and distinguish the difierent varieties of trees ; and this is done rather by the nature of their branching — their general sway, as it were — than by their colour and leafing. YVhen near the eye the masses of the foliage, as well as the general hue and tone of the verdure, should be carefully studied and observed ; and these are to be truth- fully depicted, not by marking out the shape of each leaf, but by a peculiar touch and handling, which at once in- forms the eye to what family the trees belong (willow, or TEEES. S7 oak, or sycamore, for instance), before approacliing so near as to perceive the minute forms of the foHage. In the mdcldle distance, the greens of the land and trees must gradually partake of the aerial tone of the third dis- tance, in proportion as the objects recede towards the horizon. Yet it is well not to neglect those accidental touches of the sun's rays, which give such important aid to the painter, by separating the various divisions, and breaking the monotony of the landscape. These bright spots of light should be slightly golden, yet of a very subdued character compared with similar effects in the foreground. They are of various tints : some of them are yellowish ; others nankeen, or almost of a flesh colour ; some roseate ; others of an orange tint. Having thus observed the proper colour, lay the foliage in irregular blots, with a brush filled with plenty of colour freely mixed with megilp : the copious use of this vehicle imparts a rich pulpy appearance to the work. Then take a small sable pencil, and mark out and form these irre- gular blots into a more defined shape and variety of touch. Paint into this foliage with opaque touching, for this is in accordance with nature — leafing, when against the light, being richer in colour than when under the re- flections from the opposite sky. In fact, the upper sides of leaves are generally smooth and glassy — a condition which causes them to take the reflections of the sky; hence, the outer touches ought to be cool (partaking of the coolness of the sky) ; not so the interior of the masses. Painting into the depths of the shadows, with decided dark touches, prevents the whole from being flat and heavy- 58 TREES. It is necessary also to paint into the retiring, i. e., tlie more distant portions, while yet wet, with more delicate opaque tints ; for this not only takes off the effect of too much sameness, but gives greater relief to the advancing branches. If you wish to give the appearance of light shining> either through any particular branch of foliage, or upon it, paint such parts in the first instance in high relief; and when dry glaze over them with a brighter colour, such as Yellow Lake in combination with Prussian Blue ; and even then (as was observed above), paint into the contiguous part with an opaque tint of a less obtrusive colour ; but do not, in the first painting, make your trees of a fine green ; depend rather, for the proper effect, upon repeated glazings and touchings afterwards into the masses, with delicate grey and green tones. In painting trees, you must take into consideration the unsteady appearance, and, as it has been elegantly termed, the multitudinous ripplings^ of the general mass. Hence it is better to put the general effect in with the end of the brush, or in such a way as will give a rich surface to work upon — a surface filled with transparent colour of un- steady character, laid in with reference to the subsequent finished pencilling ; for, in commencing trees, or anything else, it is of paramount importance to work with a clear reference to the finishing. Trees are often laid in, over the sky, without details ; * irovTLwv re Kufidrcov And of ocean waves The conntless smiling. — jEsch. Prom. Vinct. TEEES. 59 the visible portion of the heavens, when small, being thus obliterated by the mass blotched on. In such in- stances the little points of azure, seen in nature through the foliage, are recalled when the picture is re- painted. For greens in shadow there is no need of blue ; they may be formed of a mixture of black and different yel- lows : the olive-toned greens thus produced are soft and very harmonious for shadows. Should you wish the tint to partake of a light greyish cast (as in the case of willows in shadow), use Black, Naples Yellow, and "White. If a yellow reddish tint be needed for these dull greens, let the yellow predominate ; but if the verdant part you are painting be now so far back in the perspective, that the violet grey-blue tint, peculiar to the distances, begins to take an aerial tone, then use French Blue. The greens which French Blue would give, when mixed with Naples Yellow, or with Yellow Ochre, break, and are subdued by the use of Madder Lake, or sometimes by Light Hed ; more or less White being mixed with it, where it is required to gain an at- mospheric tint. In painting trees, it will be necessary to make the extremities of the branches more tender in colour than their middle parts ; and by letting the light be seen through various portions, great thinness and beauty may be at- tained, and thus that solidity and heaviness avoided, which are so unpleasant to the eye. Stems and Truiiks of Trees, — Having painted the stems in with a grey colour as near to nature in tint as may be practicable, take your pencil, and, with its upper end cut 60 TEEES. to a fine point, draw the details in throngh tlie colour while yet wet. When the whole is dry, glaze over those details nearest to you with an admixture of a little Black and Burnt Sienna, and wipe it partially off, so that a portion may remain in the crevices. On the other hand, scumble over the distant stems, as well as the retiring parts of the Hearer ones, with a little pearly grey, causing them to melt in with the surrounding back-ground. For their foliage, when they have any, touch it in with Prussian Blue and O'chre, for the dark leaves, and with Terre Verte and I^aples Yellow, for the lights : using a finely-pointed sable to give the character of the leaves, and gradually throwing them into a mass as they retire. The following mechanical processes are frequently re- sorted to, to produce a representation of foliage : — An old worn hog-hair tool, having scanty hairs, and those of irregular length, is employed. Such a brush leaves a jagged, varying, busy touch. Sometimes the brush is crushed perpendicularly and fl^t upon the colour on the palette. This causes the hair to diverge irregularly from the tie or ferrule ; and, the points of the hair being thus charged with ' colour, the brush is held loosely between the thumb and finger, and the points of the hair touched upon, or rather jerked against, the work. The irregular scratchy-looking foliage, thus produced, is touched and worked, while it remains wet, with small hog-tools or sables. Another mode is to use a flat sable, which is to be filled with colour, and then drawn over a tooth-comb. By its being touched several times upon the extremities of the teeth of the comb, the hair is divided into several FOREGROUNDS. 61 points, from which the coloTir is transferred hghtly to the work. Colour is laid in for grass by lightly touching the canvas, and jerking or flicking the brush upwards, so as to produce a free and natural representation of irregular blades of herbage. For long straggling stalks of grass, or for weeds or hedges, a finely-pointed sable is used in a similar manner. These may be called the mere tricks of art ; but, when a proper effect can be produced, few will question the means by which that effect has been obtained. FOEEGROUNDS. In preparing the palette for foregrounds, add the fol- lowing colours to those already employed : — Yellow Lake, Lemon Yellow, Madder Brown, Venetian Red, Brown Ochre. Some of these must be sparingly used, or else they may prove too brilliant. The lakes, and some other colours which are also bad driers, should be forced by using with them a little japanners' gold size, because it has a rapidly- drying* property. In commencing with the foreground, use the end of a hog-hair tool, well filled with megilp and colour (either Burnt Sienna and Prussian Blue, or Ochre and Blue), and lay in the several masses in strength as they may respectively require ; and, having" thus got their general 62 FOREGROUNDS. form and breadth, proceed to make out the details with a finely-pointed sable, using Raw Sienna and Bine, in the tints, and Naples Yellow and Blue, for the lights. Yon now proceed with the finish and detail, by mark- ing out weeds and creepers, which give such charming richness and variety to the picture ; such as the wild con- volvulus, and the like, with here and there a blackberry branch jutting out into high relief. When all these objects are to be introduced, it will be necessary to flatten the ground behind them, in order that they may receive both sharpness and finish when painted. Weeds and plants must be studied and drawn with the greatest care and accuracy, both in form and in light and shade, having the near edges of the several leaves sharp and cutting against the ground, which will give them their true perspective. By imparting an indistinctness to the outlines farthest from the eye, you give them a more re- ceding character. As to the strength and delicacy of their shadows, that must depend upon the advantage these shadows will have in the general efiect. A remark made in a previous page may here be repeated, that, when the light shines through the leaf it is of a bright green, such as may be produced by Yellow Lake and Blue ; but when viewed on the upper surface most leaves appear to be rather of an opaque and grey colour, from their receiving the reflection of the sky. Introduce also the difierent touches of grass and small plants, that are scattered amongst and mingled with the larger weeds. FOREGROUNDS. 63 In working np the foreground, do not elaborate the plants or foliage so minutely as to make them appear studied, and so cause them to interfere with the other parts of the picture ; for it is not the landscape painter's business to describe like a botanist, though he should be so gene- rally correct that the different species of the plants he introduces may be distinguished. Observe, too, that vegetation should not be coloured too green, that is, with a raw colour of blue and yellow ; but that by uniting a red (such as lake), or orange (such as burnt sienna), with the greens, you impart to them a more subdued and sombre, or autumnal, hue ; for nothing is more offensive than too coarse and raw a green. In fact, distinguish carefully between a glaring and a glowing colour — between what is vulgarly staring and what is rich. To give the twigs and branches, and the large dark markings at the bottom of heavy hedges and dense shrubs, it will be necessary to liaicli (as it were) many lines, with a pink-toned brown (as Madder Brown). Now all these methods cannot be finished at once ; you are, therefore, in re-painting, to glaze into the masses with transparent colours, for the purpose of giving the rich depth and variety of nature, and then to resume your minute touching of detail. In painting banks, do not neglect to give a force and foreground character to them as they approach the eye, by means of stems, and the reflections of the trees in water: but, independently of this, aim at greater minute- ness of detail and richness of colour, and make much of hedges and reeds, which tend to soften the abrupt harshness of the stems of the trees. 64 FOREGROUNDS. In painting water, wlietlier in a state of motion or of stillness, it is often made too light for its surrounding banks ; and tlms painted it throws the whole picture out of harmony. Nothing, however, is more conducive to the harmony and completeness of a picture than the represen- tation of water, either as a winding or a fallmg stream, or as a still lake. It enables the artist to repeat the various forms by reflections of them in the water, or to unite the sky with the lower parts of the landscape, leading down the light; breaking it (as it were) into smaller portions, and bringing the grey reflected light of the sky into con- tact with the strong shades and the rich browns of the foreground. As an example of the nature of tint and colour in water^ it may be stated that water in shadow is often of a brown colour, as when the current has had its course through a long tract of peat moss. This is the appearance which the rivers in Devonshire often exhibit. Lastly ; the distance must, to a certain degree, melt into the horizon. Thus every part of the picture requires to be more distinctly made out as it comes forward ; and the foreground must not only be well detailed, but highly enriched with plants and various shrubs, and the ground itself finely broken. The soft vacuity of the distance will contribute to in- crease the effect; and a well disposed group of figures or of cattle will add to the reality, as well as to the beauty, of the scene. THE END. PARIS, 1865. LONDON, 1863. PARIS, 1867. Prize Medals awarded at the International Exhibitions ^'For Excellence of Manufacture of Artist Colors." N E W M A N'S SUPERFINE CAKE COLORS. SUPERFINE MOIST COLORS, "SLOW DRYING TUBE" MOIST COLORS, SUPERFINE OIL COLORS, ILLUMINATING BODY COLORS, PHOTOGRAPHIC COLORS, &c., (fee, (fee. (SEE SEPARATE CATALOGUES.) 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Solid Mahogany Brass-Bound Box, with 18 Cakes, Drawer, Palettes, Cabinet Saucers, Cup and Cover, Water-glass, Brushes, Pencils, &c. 8 3 Ditto Ditto, with best selection of Colors, Brushes, &c. • . 4 4 Ditto Ditto, with 18 Cakes, Drawer, Palettes, Cabinet Saucers, Water-glasses, Metal Chalk Box, Brushes, Pencils, Stumps, &c 3 13 Ditto Ditto, with best selection of Colors, Brushes, (fee. .. 4 14 6 Ditto Ditto, with 24 Cakes, Drawer, Palettes, Cabinet Saucers, Water-glasses, Metal Chalk Box, Brushes, Pencils, Stumps, Porte-Crayons, (fee, (fee, 4 4 Ditto Ditto, with best selection of Colors, Brushes, (fee. . . 5 5 Ditto Ditto, with 32 Cakes, Drawer, Palettes, Cabinet Saucers, Water-glasses, Metal Chalk Box, Brushes, Pencils, Stumps, Porte-Crayons, (fee, (fee • • 5 5 Ditto Ditto, with best selection of Colors, Brushes, (fee. . . 7 7 Ditto Ditto, with 45 Cakes, Drawer, Palettes, Cabinet Saucers, Water-glasses, Metal Chalk Box, Brushes, Pencils, Stumps, Porte-Crayons, (fee, (fee 6 6 Ditto Ditto, with best selection of Colors, Brushes, (fee . . 8 8 The Boxes with "best selections " have, beside a more expensive selection of Colors, Sable as well as Camel-hair Pencils, with other useful Articles, and any of them can be had fitted with Mathematical Instruments, Scales, &c., of the best quality. Solid Electrum-bound, Dove-tailed Boxes, with Albata or Silver Chalk Box and Fittings, Silk- Velvet lanings, complete sets of Mathematical Instruments, Colors, (fee, kept in stock, or made to order for PKESENTS. Any of these Boxes can be had fitted up with the Kew " Slow Drying " Moist Colors, in Tubes, or the ordinary Moist Colors, in Cups or Tubes, The Prices being the same as when fitted with Cakes. Please order Newman's *'Slow Drying" Tube Moist Colors, if these are required. 24, SOHO SQUARE, LOlfDON. NEWMAN'S 7: MOIST WATER COLORS. In Whole or Half Cups, or Collapsible Tubes. s. d. s. d. 1 Malachite Green 3 2 3 1 3 1 3 1 6 3 1 3 Burnt Carmine 4 Naples Yellow, Pale or Deep 1 Burnt Eoman Ochre 1 New Madder Red .. 5 1 1 1 1 Cadmium Yellow, Pale . . 3 Orange Verm, 2 (as Field's) 3 Cadmium Yellow, Deep . . 3 1 3 Permanent Scarlet • . 3 1 Permanent Yellow . . 1 6 Chinese Vermilion . . 1 3 Chinese White 1 1 Chromium, Green Oxide of 3 Prussian Green 1 2 1 Constant White 1 6 1 6 I 6 Purple Madder 5 2 1 1 1 3 1 1 3 1 1 Hooker's Green, No. 1, Light 1 1 6 Hooker's Green, No. 2. Dark 1 Scarlet Vermilion . . • . 1 6 3 1 6 1 1 6 1 6 1 1 " Turner " Brown • • 1 6 1 Vandyke Brown 1 1 1 1 1 3 1 1 1 Madder Carmine 5 The above is a List of the more useful Colors, in the Moist state, but any others can be had if required. The Colors in ITALICS are of recent introduction, and may not be known to some Artists. They aee all Permanent. NEWMAN'S NEW "SLOW DRYING" TUBE COLORS. Prices the same as ordinary Moist Colors. See First Page. Chinese White, in Tube (or Bottle), Is., 2s. 6d., 5s., and 7s. 6d. each. 24, SOHO SQUARE, LQNDQN. NEWMAN'S BEST JAPANNED SKETCHING BOXES, With Folding Palette Lid, and space for Brushes. Japanned Boxes, With Colors only With Colors and CamelHairBru-hes With Colors and Sable Hair Brushes containing Whole. Hnlf. Whole Half. Whole. Half. 3 Moist Colors . . ^ „ „ (5 „ „ .. 8 „ „ 10 „ „ .. 12 „ „ .. 14 „ „ .. 16 „ „ .. 18 „ „ 20 „ „ 24 „ „ 30 „ „ .. 7/6 9/6 12/. 14/6 17/- 20/- 22/6 30/6 33/- 37/- 44/6 56/- 4/9 6/- 7/6 9/- 10/6 12/3 13/9 17/6 19/- 21/9 25/3 30/9 8/- 10/- 13/6 16/- 18/- 22/- 24/- 33/6 35/- 42/- 50/- 63/- 5/- 6/6 8/6 9/6 11/- 13/6 15/0 19/. 21/- 23/6 27/6 33/. 9/6 11/6 14/6 20/- 23/- 28/6 31/6 40/- 43/6 47/6 55/- 70/- 6/9 8/. 10/. 12/6 15/- 17/- 18/6 23/6 26/- 29/- 31/6 40/0 Boxes with three and four Colors are selected for Sketching in Light and Shade ; the others are best selections for Figure and Landscape. JAPANNED **POCKET'' SKETCHING BOXES, With Folding Palette Lid, — Colors selected for Figure and Landscape. Box containing 6 Moist Colors, size 3^ by 1| 7 6 Ditto, 12 ditto „ 3| „ li 10 Ditto, 14 ditto „ 3| „ U 11 6 Ditto, 16 ditto „ 4i „ li 13 Ditto, 18 ditto „ 4| „ 1| 15 These sizes are without space for Brushes. Those with space for Brushes are half an inch wider, and the same prices as above. 24, SOHO SQUARE, LONDON. NEWMAN'S 9 JAPANNED "COMBINED" SKETCHING BOXES. Whole and Half Cups combined, ^ith space for Brushes. Whole Cups of the more useful Colors, and Half Cups of those less required, the selection being for Figure and Landscape. Box with 6 Whole and 4 Half Cups Ditto 8 „ 8 „ Ditto 10 „ 4 With Colors only. i; s. d. 14 6 1 10 With Colors and Camel Hair Brushes. £ s. d. 10 110 110 With Colors and Sable Hair Brushes. s. d, 10 1 7 (> 1 7 6 JAPANNED ''THUMB-HOLE" BOXES. With 20 Whole and Half Cups, the best and most useful selection, for Figure and Landscape (?'ecomw2ew6Zec?) .. 1 L5 Ditto ditto All Half Cups 10 24, SOHO SQUARE, LONDON. 10 NEWMAN'S JAPANNED **TUBE" MOIST COLOR BOXES, With space for Brushes, and Improved Folding Palette Lid, with divisions for holding Colors in use. (/\) Leather Slip Cases for Palette to carry in the pocket if required. Japanned Boxes. Box with Colurs only. With Colors and Camel Hair Brnshps With Colors and Sable HairBrushes i' s. d. £ s. d £ s. d. Box with STubes of Moist Colors. . 17 6 19 1 5 10 ditto 1 1 1 1 7 6 12 ditto 1 3 [) 1 5 1 13 6 14 ditto . , 1 R 1 11 6 1 IV 6 16 ditto 1 15 1 18 2 5 18 ditto 1 1? 2 6 2 7 G 20 ditto 2 2 2 7 6 2 12 6 24 ditto 2 12 () 2 16 3 3 30 ditto 3 1 3 7 6 3 15 6 Extra Boxes with Locks, Trays, Brushes, &c., from £4:. 4s. Solid Mahogany Boxes plain or metal bound, fitted with Moist Colors in Cups or Tubes, Brushes, Palettes, Mathematical Instruments, &c., &c. THESE COLORS CAN BE HAD " SLOW DRYING " IF REQUIRED. SEE FIRST PAGE newmanVsizTng^^pb^ FOR WATER-COLOR DRAWING. Sold in Bottles, 1/6 and 3/- each, or in Pints, Half-pints, ^c. By using a little of this material over the Color when dry, it becomes quite fixed, with a hard surface, and can be worked on without fear of disturbance. — Or if a little is mixed with the color when on the palette, like gum water, it will have the same effect. This is particularly valuable where masses of color are laid on, as in Body Color Painting, &c. The Brushes must always be Washed before being allowed to dry. 24, SOHO SQUARE, LONDON-. NEWMAN'S 11 "SLOW DRYING TUBE" MOIST COLORS, In Tubes, Double Tubes, &c. SEE FIRST PAGE. Prices are the same as the ordinary Water Colors. THEY ARE EQUALLY ADAPTED FOR THE STUDIO OR THE FIELD. These Colors never dry up in the Tube, — Tints once prepared on the palette, remain moist and serviceable for any length of time, even when exposed to the air in any climate and under the hottest Sun. — '*For quality of tone, solidity, brilliancy, purity, and working well, they are very wonderful indeed," — Wash evenly and without difficulty. See Testimonials from Artists using these Colors. Please ask for Newman's "SLOW DRYING TUBE" Moist Colors. PREPARED CHINESE WHITE, NEW ' ILLUMINATING BODY" COLORS, In a Moist State in Stoppered Bottles, Prices the same as Cake Colors. Tliese Colors being without any admixture of body white, are solid and covering without being opaque — brilliantly luminous, and valuable for all purposes for which " Body Colors " are used— For Body Color Drawing, Illuminating, Drapery and Backgrounds, in Photographic Coloring, (fee, &c. See " Illuminating and Photographic Catalogues." Handsome Solid Dovetailed Mahogany Box, with a Selection of 12 of these NEW COLORS, and a Japanned Box of the most useful Moist Colors, to be used in combi- nation with Body Colors (fitting into the Body Color Box, and to be used separately if required), with Sable and Camel Hair Brcshes, Washing Brush, (fee, &c. ^62. 5s. (fe 2 12 6 24, SOHO SQUARE, LONDON. 13 NEWMAN'S SUPERFINE ARTIST BRUSHES FOR WATER COLOR PAINTING. Superfine Sable Pencils, in Quill, 4d., 6d., 9d., is., & is. (id. each. Ditto Ditto, Swan and Eagle Quills, No. 5 , . 2s. 6d. No. 6 . . No. 7 . . 4s. No. 8 . . 5s. No. 9 . . 7s. 6d. No. 10 . . 10s. Cd,* 12s. 6d., 15s., to 21s. &c., each Sable Writers and Stripers, in Quill, 6d., 9d., and is. each. Ditto Ditto, Swan Quills, Is. 6d., 2s. 6d., and 4s. each. Large Sable Washing Brushes, 3s., os. and 7s. 6d. each. Finest Sable Brushes^ in Metal Tuhes, Polished Handles. •Flat. Eoucd Flat. Bound. Flat. Eound. s. d. s. d. s. d. s. d. s. d. s. d. .. ..0 6 t) 5 .. ..19 1 9 10 . ...7 6 8 1 .. ..0 9 9 6 .. ..2 2 11 . ...9 10 2 .. 1 1 7 ..2 6 2 6 12 . ...10 6 12 6 3 !. ..13 1 3 8 .. ..3 6 4 &c. &c. 4 .. ..16 1 6 9 .. ..5 6 Large Sable Brushes, in Metal Tubes, Polished Handles, No. 7 .. 4s. No. 8 .. 5s. No. 9 .. 6s. No. 10 .. 7s. 6d. No. 11 .. 9s. No. 12 .. 10s. 6d. Flat Sable Brushes, Metal Tubes, Polished Handles, 2s. 6d. per in. Fine Camel-hair Pencils, Polished Sticks, is. 6d. per dozen. Ditto Ditto, Swan Quills, 2d., 3d., 4d., 6d. each. Camel-hair Writers and Stripers, Qniii, is. to 6s. per dozen. Superfine Camel-hair Pencils, Polished sticks. Gold and Silk bound, like Sables, 2s., 3s., and 4s. per dozen. Ditto Ditto, Swan Quills, 6d., 9d., Is., and Is. 6d. each. Round Camel-hair, Metal Tubes, Polished Handles, Flat Camel Hair, Metal Tubes, Polished Handles. i inched. Iinch9d. U inch Is. liinchls. 2d. 2 inch Is. 6d. (fee. 24, SOHO SQUARE, LOKDON. NEWMAN'S n WATER COLOR BRUSHES- Continued. Fine Round Camel-hair washing Brushes, ^vire bound, i)..jiie- pointed, and Polished Handles, No.!.. Is. I N0.2..IS. 6d. I No. 3 .. 2s. ()d. eMcli. Fine Camel-Hair Washing Brushes, Meiai Tubes, Polisbed Handles, Flat or Round, No. 1 . . Is. I No. 2 . . Is. Cd. I No. 3 . . 2s. 6d. each. Fine Fitch-hair Pencils, in Quill, 2d. and 3d. each. Ditto, Swan Quills, 6d. 9d. and Is. each. Fitch-hair Brushes, Metal Tubes, Polished Handles, No. l-.Od. I No. 2..9d. I No. 3 .. Is. each. Fine Goat-hair Pencils, in Quiii, 2d., 3d , and 4d. each. Flat or Round Goat-hair Brushes, Metal Tubes, Polished Handles No. 1 .. 6d. I No. 2 .. 9d. | No. 3 . . Is. each. Print Colorers' Brushes. F(*liage Brushes, for Trees. Rigging Brushes, ^ov Marine Painting. Artists' Hair Brushes, ^or Animal Painting. Sponge Pencils, foi^ softening Tights in Skies, JLc. Poonah Brushes. Mezzotinting Brushes. Scrub and Velvet Painting Brushes. Gilder's Tips. Polished Pencil Sticks, Cd. and is. per dozen. Flat Camel-hair Damping Brushes, for Copying Macliines, Manifold Wiiters, &c. Manufacturer of every description of Brush for Artists' use. 24, SOHO SQUARE, LONDON. NE WM AN'S SUPERFINE ARTIST BRUSHES, FOR OIL PAINTING. Finest Oil Sable Brushes, Metal Tubes, Polished Handles, Flat. Round. Flat. Hound. S. d. s, d. s. d. S. d. No. 1 .. 4 4 each No. 6 .. 10 10 each. 3 .. 5 5 „ „ 7 .. 1 1 3 „ „ 3 .. 6 6 „ „ 8 .. 1 3 1 6 „ „ 4 .. 7 8 „ „ 9 .. 1 6 2 „ „ 5 • . 8 10 „ &c. Fine Hoff-hair Brushes, Flat or Eound, Metal Tubes, Polished Handles, No. 1 . 3 each. i>0, / • . . . U a tJdUll. „ 2 . 4 „ 8 . . . , 10 , „ 3 . 5 „ Q Oil „ 4 , 6 „ „10 .. .. 1 „ „ 5 7 „ „11 .. .. 1 3 „ „ 6 , 8 „ „ 12 .. .. 1 6 „ Extra fine Hog-hair Brushes, Flat or Eound, Metal Tubes Polished Handles, No. 1 . 6 each. No. 6 . . . . 10 each. „ 2 , 6 „ 7 .. .. 10 „ „ 3 , 7 „ „ 8 .... 1 3 „ „ 4 , 9 „ „ 9 .. .. 1 6 „ „ . 10 „ Badger-hair Softeners, Round , with Polislied Handles, No. 1 . 9 each. No. 7 . . . . 3 each. „ 2 , 1 „ „ 8 .. .. 3 6 „ n 3 , 1 3 „ „ 9 .. ..4 „ » 4 1 6 „ „ 10 .. .. 5 „ » 5 2 „ „ 11 .. .. 6 „ „ 6 2 6 „ „12 .. .. 7 6 „ Flat Badger-hair Brushes, Metal Tubes, Pohshed Handles, 1 2 2i inch 6 each. „ „ 3 inch 3^ ,) 4 „ 10 12 each. „ „ Fine Hog-hair Varnishing Brushes, in Metal, wire bound 1 inch 2 „ each. 6 „ „ 2 1 inch , 3 „ . . 2 . 3 &c. 6 each. „ For Oil Painting Materials, see Oil Color Catalog:ue. 24, SOHO SQUARE, LONDON. NEWMAN'S 15 SUPERFINE DRAWING PAPERS, Of very superior quality and substance, and of every variety of surface, each sheet having the Initial " N " in the water mark. INCHES. PEE SHEET. 20 by 15 .. .. 2d., M., to Medium 22 , , 17 .. Sd., M., to 24 , , 19 4(f., 6d., 8d., to Super Royal 27 , 19 M., 6d., to , 21 td., Sd., Is., 1/6, to Ditto Creswick . . 30 , , 21 lOcZ., to Columbier . . 84 , , 23 .. 9d., Is., to SS , , 20 .. .. M., Is., to Double Elephant 40 , , 26 .. 9d., Is., to Ditto Creswick . . 40 , , 26 1/3, to Antiquarian 52 , , 31 3/6, to By taking a Quire of any of these Papers the purchaser will have a great advantage in price. Endless Cartoon Drawing Paper, r)4 inches wide, first quality. Ditto Ditto, Thin. Ditto, Ditto, Tinted, 45 inches wide. Mounted Drawing Papers, on White or Brown Cloth. Tracing Paper, Sheet or Continuous pieces. Patent Tracing Linen of the best quahty and all widths. Erench Vegetal Tracing Paper, all sizes. Sir Edwin Landseer's Thick Tinted Paper, for Chalks. J. D. Harding's Drawing Paper. Extra Thick Ditto, Size 30 inches by 21, or 42 inches by 30. Carl Werner's Tinted Drawing Paper, prepared by j. n. Tinted Crayon Papers, Hand or Machine made. Drawing Cartridges, various sizes. Extra Thick Ditto. Engineers' Drawing Cartridges. Adhesive Cloth, for Mounting Tracings. Drawing Papers & selections of Colors as used by Messrs. Leitch, Harding', Copley Fielding, Cattermole, De Wint, and other Artists of celebrity. Circular Japanned Cases for Papers of every size, for the convenience of Travellers. 24, SOHO SQUARE, LONDOU". 16 NEWMAN'S **CRESWICK" DRAWING PAPEE, EOUGH OR SMOOTH. This Paper is better adapted for out-door sketching than any other, particularly in Hot Climates, as it takes color freely, without damping, and the under colors are not disturbed by being worked over — giving the invaluable effect of " Atmosphere," so diflficult to obtain with ordinary papers. This Paper has other valuable qualities peculiar to itself. Each sheet has the initial N the water mark. Size 30 by 22 inches and 40 by 26 inches. lOd. &ls.; Is.Sd. to Is. 9d. per Sheet. Elock and Sketch Books of this Paper of all sizes kept in Stock. (See Solid Block Books.) NEWMAN'S ^'VAULEY ' DRAWING PAPER. This Paper is particularly useful for rapid sketches, where force in color is desired. It is pasted down on a second sheet to give substance. Size 20 by 15 and 30 by 19 inches. 6d. and Is. per Sheet. Block Books of the above, with Pocket for Sketches, About 9 by 7 Block Book 14^ by 9 Ditto „ 18^ by 14| Ditto Thin 18 i by 14 1 Ditto Long 15 by 6 Ditto Don'^' 18| by 10 Ditto Dong 18^ by 10 Ditto Thin s. d. s. d. 7 Block only . . 5 13 Ditto 10 17 Ditto' . 12 25 Ditto . 20 10 Ditto 7 14 Ditto 10 10 Ditto 6 NEWMAN'S "GREY VAELEY" DRAWING PAPER. This Paper is of peculiar grain, and of a neutral grey tint, well adapted for Landscape Painting, (fee. It is pasted down on a second sheet to give substance. Size 24i by 18{ inches. 8d. per Sheet. Block Books of the above, with Pocket for Sketches, About 9 by Block Book 5 6 Block only . 4 12 „ 9 Ditto 10 t) Ditto 7 6 18^ „ 12 Ditto Thin 14 6 Ditto . 9 6 18^ „ 12 Ditto 20 Ditto . 15 Long 12§ „ G Ditto 8 6 Ditto 5 6 Long 18 „ 8 Ditto 14 Ditto . 10 Long 18 „ 8 Ditto Thin 10 Ditto (5 ether Shapes and Sizes kept in Stock. 24, SOHO SQUAEE, LONDON, NEWMAN'S 17 SOLID BLOCK BOOKS, Half-bound, with Leather Back and Corners, — Pocket for Sketches, Made of the " N " other Best Drawing Papers. Whatman, Creswick, Harding, &c. About Long Long s. d. d. 5 by 3| Block Book,/? om 2 6 Block only, from 1 6 7 „ 5 Ditto . 4 Ditto . 2 (i 9 „ 5i Ditto . 5 Ditto . 3 6 10 „ 7 Ditto . 6 6 Ditto . 4 « ILi „ Bi Ditto . 8 6 Ditto . C 114 „ 9 Ditto . 7 () Ditto . 5 12^-,, 9 Ditto . 10 6 Ditto H 14 „10 Ditto . 13 Ditto 14 „10 Ditto 13 6 Ditto . 10 Ditto . 16 Ditto 12 19 „V2i Ditto . 20 Ditto . 15 14 „ (5^ Ditto . 9 Ditto CI 19 „ H Ditto 14 6 Ditto . 11 These are a selection of the most useful sizes and prices. 24, SOHO SQIJAEE, lOI^DOM. W NEWMAN'S BLOCK BOOKS OF TINTED PAPER. s. d. s. d. 5 by 3^ Block Book,/?om 2 i) Block only, /rom 1 t) 7 „ 5 Ditto , 3 6 Ditto . . 2 10 „ 7 Ditto . 6 Ditto . . 4 14 „10 Ditto 9 6 Ditto . . 7 20 „14 Ditto 21 Ditto .. 14 Solid Block Bo:ks with Desk Backs of all the Sizes. Many other sizes and descriptions of Block Books are kept in Stock or made to order, but the above are the most generally useful. NEWMAN'S SKETCH BOOKS, Half-bound, Leather Back and Corners, Sheath for Pencil, Band, Ac, made of the best " N " and Tinted Drawing Papers. s. d. About 5 by 3 1 inches 1 9 each. 7 „ 4| „ 2 6 7| „ 5^ „ .. 3 8 „ 5 „ .... 3 9 „ 51 „ 3 G 9^ „ „ 4 3 10 „ 7 „ 5 11 „ 9 „ (5 14^ „ 10 „ 9 6 SOLID SKETCH BOOKS, "With the leaves to open back like ordinary Sketch Books, are charge 1 the same as Solid Block Books, and can be had of all sizes. Books of other sizes kept in Stock or made to Order. 24, SOEO SQUARE, LOKDON. NEWMAN'S 19 STITCHED DRAWING BOOKS, With Paper Covers, containing 22 Leaves of the best " |S|" White and Tinted Drawing Papers, interleaved with Tissue. a. d. Al>out 7 by 4i inches.. 10 each 8 „ 5 „ 12 9 „ 5i „ .. : 14 9 „ 7 „ 18 lU „ 7 „ 2 10 „ 8 „ 2 3 11 9 2 14i „ 10 „ 4 3 Cheaper Books for Schools, X-c, kept in Stock. Drawing Books, whole or half bound in Morocco, Russia, Sic. NEWMAiJ'S TINTED IVORY PAPER. The High Lights taken out with the Eraser. s. d, Svo Imperial 11 inches by 7^ per dozen 2 4to „ 15 iiiches by 11 „ 4 Hrtlf 22 inches by 15 „ 7 A VARIETY OF TINTS. NEWMAN'S GRADUATED TINTED IVORY PAPER. Th^se Hoards have the bky, Distance, and Foreground blended into each other, and are of oval, circular, or oblong shape. ^vo. Imperial 11 inches by 7^ per dozen 3 4ld „ 15 inches by 11 „ 5 Half 22 i inches by 15 „ 10 Sketch aKd Block Books of assorted Effects. Erasers for the Tinted Ivory Paper Is. each. i, SOEQ SQUARE, LONDON. 20 NEWMAN'S 24, SOHO SQUARE, LOKPON. NEWMAN'S 21 JAPANNED HALF-ROUND BOTTLE & CUPS (Fig. U.) Copper Plated Bottle & Tin Cups. s. d. No. 1 6 Copper Plated Bottle & Cups. s. d. No. 1 10 6 2 12 6 3 15 2 6 3 7 Best Waterproof Water Bottles with Metal Screw Tops, holding half a pint, a pint, or a quart of Water, with or without Shoulder Strap (Fig. Z), from 3/0 to 5/6 each. Swivel Shoulder Straps, for Water Bottle, or other purposes, 3/6 each. s. d. Improved Japanned Tin Dipper, with moveable rim, 1/-, 1/3 and 1 6 Ditto ditto with rim, double 2/-, 2/6 and 3 Japauned Corked Conical Tin Dipper 1 Ditto ditto ditto, double 10 Improved Japanned Tin Dipper, with rim . . • . 2 Japanned Corked Oval Bottle 2 Ditto Circular Cup, with rim, to attach to button hole (R) 2 Ditto Half-round Cup, to attach to button hole (S) . . • . 2 Sketching Water Bottles and Cups, in Chased Silver and other Metal of various forms. ARTISTS' JAPANNED WATER BOTTLE AND CUPS WITH BRUSH CASE COMBINED, Plated inside (Fig. W). Price, of the case only, 10/6. With Set of Superfine Camel Hair Pencils and Washing Brush, 13/6. With Set of Superfine Sable Pencils and Washing Brush . . 17/6. Covered with Morocco or Russia Leather (Fig X). Price, of the case only, 12/6. With Set of Superfine Camel Hair Pencils and Washing Brush, 16/. With Set of Superfine Sable Pencils and Washing Brush . . 25/- Beat Japanned and Plain Dippers, for Water-Color or Oil Painting, single or double. Japanned or Plain Brush Washers. Japanned or Plain Smudge Pans. Japanned Paper and Brush Cases, of difierent sizes. NEWMAN'S PREPARED SIZE l^eeps good in any Climate, and for any length of time. Sold in Bottles, at 1/ and 2/6 each. This Material is very valuable in giving a flat, dead, and rich effect to color when mixed with it on the palette. 24, SOHO SQUARE, LOlfDOU'. 22 NEWMAN'S CHALK BOXEf Polished Mahogany, Slide Box, containing an assortment of i* s. d. : Conte Ciavons Biaok, White, and Re-.i Chalks, Charcoal, Stnmps, and Porte Crayon 5 Ditto, ditto, with a larger selection of the above materials . . U 7 <1 Polished Solid Mahogany Box, containing an assortment of Conte Crayons, Black, Grey, White, and Red Chalks, Stumps, Porte Crayons, and Black Lead Pencils 10 ('» Solid Wood Box, covered with Leather, containing a good assortment of Italian Black, Grey, White and Red Chalks, Conte Crayons, Stumping Chalk, Charcoal, Drawing Pins, Stumps, Porte Crayons, Knife, Black Lead Pencils, &c. 1 1 Japanned Tin Box, containing Conte Crayons, Chalks, Stumps, Porte Crayon, &c 7 6 Ditto, ditto, containing a larger assortment of Conte Crayons, and Italian Black, Grey, White, and Red Chalks, Stumps, Porte Crayons, Knife, Pencils, &c 15 Double Sliding Block-Tin Box, containing a good assortment of Conte Crayons, and Italian Black, Grey, White, and Ked Chalks SOFT SWISS CRAYONS. IN POUSHED MAHOGANY BOXES. £ s. d. Complete Set .. 3 lo o Half ditto 1 16 Quarter ditto . . . . 18 Single Crayons ..each 6 Yermilion 9 Lake 9 Cobalt each French Ultramarine „ Carmine . . . . „ Bright's Crayons, set of 42 .. .. 1 d. 24 SOHO SaUARE, LONDON. NEWMAN'S n FRENCH COLORED CRAYONS, IN FLAT WHITE WOOD BOXES. £, s. d. Box, containing about 2 dozen Tints 30 Ditto, ditto 3i ditto 050 Ditto, ditto 4| ditto 7 Ditto, ditto 5 ditto 10 Ditto, ditto 11 ditto 1 1 Rough Prepared Paper and Canvas for ditto. FINEST PASTEL CRAYONS, IN ROUND FIGURED BOXES, CONTAINING 12 Crayons, assorted 18 assorted • . 24 ditto 30 ditto 36 ditto 48 ditto Stumps of every description in Leather, Cork, Paper, &c. GRATIA'S ARTIST CRAYONS IN POLISHED MAHOGANY BOXES. CHALKS, CRAYONS, &c. Pure Italian Black Chalk, very fine per oz. 1 G Pure Italian Grey Chalk „ „ 10 Pure White Chalk, hard, medium, or soft „ 10 Pure Red Chalk „ (5 Pure Italian Black Chalk Pencils per doz. 5 6 Pure Italian Grey Chalk Pencils . • „ 6 6 Pure White Chalk Pencils „ 5 6 Pure Red Chalk Pencils , „ 8 Black Stumping Chalk, very soft and rich. No. 1. small „ 3 Ditto ditto ditto No. 2, middling „ 4 Ditto ditto ditto No. 3, large „ 6 Conte Crayons, No. 1, hard ; No. 2, medium ; No. 3, soft „ 9 Ditto, round, No. 1, hard ; No. 2, middling .. „ 10 Ditto, round, glazed . . • „ 16 Ditto, Bistre „ 9 Ditto, Pencils, in Cedar • • . . „ 4 Charcoal, in Sticks for Sketching, finest „ 6 Charcoal in Pencil per doz. 3s. and 6 6 Lithographic Chalk, finest English, hard or soft . . „ 2 Ditto Chalk, Limercier's, Nos. 1, 2, and 3 . . „ 10 Ditto Ink, in Sticks, finest English .... „ 20 Ditto ditto, finest Foreign .... „ 10 French Chalk Pencils, finest, 3s. per doz.; common.. „ 10 Red Chalk Pencils, common .. .. , „ 10 White Chalk, for School use per gross hox 2 6 Pipe Clay Crayons per doz. 6 24, SOHO SQUARE, LONDON. 24 NEWMAN'S PURE CUMBERLAND LEAD DRAWING PENCILS, Very firm, rich and full in color, of the purest Cumberland Lead, HHHH, HHH, HH, H, F, FF, HB, B, BB. 6d. each. EHB, 9d. BBB, Is. BBBB, Is. 6d. BBBBBB, 2s. 6d. each, DITTO, DITTO, OF TiJLTB.IL TINU qUikI.ITV, *^FF extra," " EHB extra," and *'BBB extra." Is. 6d. Cack NEWMAN'S ARCHITECTURAL PENCILS, HHHH, HHH, HH, H, F, HB, B, BB. 4d. each. NEWMAN'S STUDENT DRAWING PENCILS, These Pencils are very strongly recommended for Schools, &c., &c., they are made of Cumberland Lead, are not liable to break, have no grit, are rich in color, and very firm. HHHH, HHH, HH, H, F, FF, HB, B, BB. 3d. each. EHB, BBB. 6d. each, bbbb. 9d. each, bbbbbb. is. 6d. each. Leather Cases containing Six, Twelve, or Twenty-four Pencils assorted. Brockedon's Pencils Pentagraph Pencils Brookman and Langdon's ditto Mordan's ditto Burgess's ditto J. D. Harding's ditto, single or in sets. Kiddie's Lead and Slate Pencils Pencil Cases, in Leather, & Paper Patent Plombagine Pencils Leads for ditto India-rubber— Bottle or Patent WOLFF'S CRETA LiEVIS PENCILS, IN FLAT LEATHER CASES. £ 8, d. Case, containing 12 Tints • 7 Ditto, ditto 18 ditto 10 Ditto, ditto 24 ditto 14 Ditto, ditto 36 ditto 1 10 Single Pencils 6d. and Is. each. PORTE-CRAYONS, STUMPS, &c. FOR CHALK DRAWING. Best Albata Porte Crayons each 1 ,, and Steel Porte Crayons, extra lengths each Is. 6^d. to 2 6 Porte Crayon, with wooden centres for holding two each Is. to 1 6 Crayon Cutter each 1 Ditto, on stand „20 Best Leather, Cork, and Paper Stumps „ 6 Ditto, Ditto, or Paper Stumps, extra sizes, each 9