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PASTEL PAINTING 
 
 SIMPLIFIED AND PERFECTED 
 
 After the Methods Compared with the Studies of the Best Masters 
 
 by GOUPIL 
 
 MEMBER OP THE ACADEMY, PUPIL OF HORACE VERNET, PORTRAIT PAINTER 
 AT THE WORKS OF SEVRES, AND EX-PROFESSOR OF DRAWING 
 IN THE PUBLIC SCHOOL OF THAT CITY, ETC. 
 
 TRANSLATED AND REVISED BY 
 
 S. M. 
 
 THIRD EDITION 
 
 PHILADELPHIA : 
 
 F. WEBER & CO., 
 
 1125 Chestnut Street 
 
THE GETTY CEflTF 
 LIBRARY 
 
PREFACE. 
 
 Is there a Special Method for Painting in 
 Pastel ? 
 
 This kind of painting, which is undoubtedly one of the 
 most captivating to amateurs, though by its fragility ex- 
 posed in a thousand ways to the danger of being destroyed, 
 is, however, one of the easiest to accomplish, because of 
 the rapidity with which it is executed. 
 
 If carefully preserved by a glass from dampness and 
 exposure to the air, care being taken to keep the picture at 
 a little distance from the glass, a pastel painting can cer- 
 tainly remain perfect for a very long time. The truth of 
 this is proved by the freshness and lustre of the numerous 
 old pastel paintings in the collection of drawings of the 
 Master at the Louvre, 
 
 Casting a retrospective glance at the most recent works 
 in the Exhibitions of Fine Arts, that is to say, within the 
 last ten years, if we compare the works of modern artists 
 with those of the old pastel painters, we shall be convinced 
 that the kind of painting called Pastel has always been in 
 favor, especially for portraits. The soft coloring of the 
 pastel makes a flattering picture of even the most disa- 
 greeable and repulsive faces, and this Is the reason why 
 
4 
 
 people prefer it, as is proved by the very great number of 
 portraits in pastel. The process in this point of view is ad- 
 vantageous to trade and remunerative in the highest degree ; 
 it is also usefully employed in decorating and furnishing, 
 which adds still more to its pecuniary success. For fruits, 
 vegetables, still life, as well as for animals and landscapes, 
 it is an easy and expeditious work, producing much effect. 
 
 But pastels of high artistic value are very rare now. 
 Workers in it are numerous, and we must seek the masters 
 among those who have endeavored to raise pastel painting 
 to the rank of serious study. 
 
 At the head of these eminent artists we do not hesitate 
 to inscribe the name of M. Mardchal, of Metz, who has 
 made genuine pictures in pastel as large as historical paint- 
 ings, and who has made himself a name by his compositions 
 on glass windows, and his monumental paintings. M. 
 Marechal has had, however, scholars and imitators of great 
 merit. 
 
 Public attention has for a long time been justly drawn 
 to the pastels of the painter Eugene Giraud through his 
 pictures from Spanish subjects, which are so attractive, 
 spirituel and life-like. He was the drawing-master of Her 
 Royal Highness, the Princess Mathilde, who does pastel as 
 well as water-color painting. M. Goedas, who excels in 
 portrait painting, has made excellent scholars in this kind 
 of work. 
 
 The charming painter Philippe Rousseau, whose work 
 in oil painting is so masterly grand and true, has executed 
 some subjects of still-life and animals, and he has handled 
 them so intelligently, that one cannot forget them. Jadin, 
 the painter of hunting scenes, has for a long time given to 
 the lovers of art, models of animal subjects, executed some- 
 what like the great art; one recollects also, with pleasure, 
 some military groups in pastel by the late R6gamer. Mme. 
 
Valentine de Goutades has made a beautiful pastel copy 
 of Mme. Viges Lebrun’s Marie Antoinette. 
 
 Chaplin’s oil painting has all the freshness of pastel, the 
 crayons of which he handles with the greatest ability. 
 Mme. Becq de Fouquidres is a refined pastel painter. 
 
 A great many landscape painters excel in this kind of 
 painting. Decamps has done some beautiful work; also, 
 Cabat, Bouquet, etc. It would be too long to enumerate 
 the list of portrait painters and others celebrated for their 
 pastel pictures. 
 
 The modern artists who continued to cultivate pastel, 
 formerly using it only for portrait painting, have succeeded 
 in extending and perfecting the process and the colors to 
 such a degree, that they may be applied to all kinds of 
 studies — to landscapes, to flowers and fruit, to scenic paint- 
 ings with all the strength of coloring possessed by an oil 
 painting. M. Marshal, mentioned before, has made him- 
 self noted in the expositions of Fine Arts by work equal- 
 ing in vigor Titian’s power of coloring. To the question 
 at the head of the chapter we shall reply, that to become a 
 good worker in pastel, a previous knowledge of drawing is 
 indispensable; a proficiency in the different kinds of 
 crayon-drawing, sketching, and the use of the stump will 
 greatly facilitate the study of pastel. 
 
 Oeigin and Advantages of Pastel. 
 
 The name pastel , from the Italian pasta, which means 
 paste, is given to a kind of drawing or painting done with 
 colored crayons, more or less soft, on paper of a certain 
 grain; on paper, boards, etc., coated with a certain prepa- 
 ration; on wood, prepared in the same way; on vellum, 
 rendered downy or cottony by rubbing; or even on canvas. 
 
6 
 
 coated with a preparation. The work is very pleasing on 
 account of the quickness and facility with which it can be 
 done, accompanied by no disagreeable odor, as in oil and 
 also adapting itself to all kinds of styles, thus giving to the 
 amateur a most delightful recreation. 
 
 Pastel painting is done by crushing the soft colors and 
 rubbing them on with the finger, as will be hereafter ex- 
 plained. The only objection to the pastel pictures is that 
 great care must be taken to preserve them. This, however,, 
 has been overcome to a great extent by a new process of 
 fixing the pastel colors, hereinafter described. It is neces- 
 sary, as has been said before, to protect them by a glass 
 from dust, air and dampness and from being handled, all 
 of which would injure or destroy them. But a few very 
 simple precautions given here, will secure to them a long 
 duration. 
 
 It does not, like oil painting, require a certain light in 
 order to be seen and it approaches nature more nearly than 
 any other kind of painting. Its shades are true, brilliant, 
 full of freshness, rich and velvety in their lustre. The 
 Gobelin tapestries have the look and freshness of a pastel 
 drawing. 
 
 Oil painting excites our admiration by its energetic and 
 powerful touches; aquarelle by its fine transparency; but 
 the pastel pleases by its richness, its velvety appearance, 
 which it seems to have stolen from the wing of the butterfly 
 to be reproduced in the smiling features of beauty or the 
 rich hues of flowers. 
 
 It suits every style. For amateurs the pastel is pre- 
 eminent in the representation of fruits and flowers from 
 nature; it has all the brilliancy of light and the vigor and 
 warmth proper to pictures of still-life, and to emblematic 
 decorations. Fruits and flowers grouped with game, armor 
 and hangings, objects of art or curiosity, will afford to the 
 
7 
 
 young artist at all times excellent exercise in the compo- 
 sition of arrangements and practice in imitation, at the 
 same time forming the taste by the happy choice of those 
 elements, which should serve him as models. 
 
 We recommend specially pastel painting, which of all 
 others, offers the least difficulties and is consequently less 
 subject to cause discouragement. The outfit is very sim- 
 ple, not at all cumbersome, and the work may be com- 
 menced, dropped and taken up again without any incon- 
 venience. The colors are delicate, powdery, easily effaced, 
 and always dry of their own nature. Care must be taken 
 to preserve them from being spoiled by contact with greasy 
 or oily substances, moisture of the hand, etc. 
 
PASTEL DRAWING 
 
 FUNDAMENTAL HINTS. 
 
 Definition of Terms Relating to the Dis- 
 tinctive Qualities of Colors. 
 
 Color can only be defined as the manner in which ob- 
 jects affect the eye under the influence of light. The illus- 
 trious Chevreul discovered the law of contrast in colors. 
 
 Transparency , a property of color, which permits light to 
 pass through it, is the opposite to opacity, which is imper- 
 vious to light. 
 
 Colors are lively, bright, brilliant, striking, dazzling, soft, 
 dull, heavy, dingy, tame, sombre, grave, harmonious, origi- 
 nal according to the qualities expressed by these terms. 
 
 Tone, the degree of color, more or less light, more or less 
 dark. We say, for instance, that the tone of a picture is 
 light and transparent in opposition to one that is warm, 
 rich and vigorous. The Titians and Giorgiones are deep, 
 rich, grand in coloring. 
 
 Water-color painting is distinguished by the fineness of 
 its light and transparent tones. Distemper has only solid 
 and opaque tones. The coloring is said to be firm and 
 vigorous, when it is bold, free, strong and contributes of 
 itself to increase the effect ; this is true or real color. 
 
10 
 
 Tone, shade, strength, give relative ideas of colors ac- 
 cording to their degrees of light and shade. 
 
 A tone or color is said to be warm if it is red, yellow or 
 brown. Bine and black are cold tones. 
 
 Soft color belongs to a painting in which the tints are 
 vague and undefined, as in a fog. Color may be ideal or 
 imaginary. 
 
 Ordinary language abounds in expressions which are 
 vague and defined by the dictionaries in such a manner as 
 to confuse; it would be well to define them more exactly. 
 IsTacarat is a red between cherry and rose. 
 
 The word scarlet (according to the dictionary) is a very 
 bright red color. Is that a definition? 
 
 The word crimson (one of the seven colors) is equally 
 vague in the dictionary. The word incarnat is defined 
 more precisely, a red between rose and cherry: nacarat is 
 a red with a cast of orange. Rouge de feu (fiery red) is a 
 variable red. 
 
 Purple comes from a Tyrian shell-fish which formerly 
 gave this boasted color. Perse and J uvenal designate royal 
 purple by the word hyacinthe, Ovid also, while by a stretch 
 of singularity, lapidaries give the name of hyacinthe to an 
 orange- colored stone. Thus misconceptions arise from 
 the want of clear and exact definitions. 
 
 Does not artistic language gain in force and beauty if it 
 borrows its comparisons from those types, which since the 
 creation, have never varied, and with which every one is 
 familiar from childhood? Coquelicot (from the cock’s 
 comb), poppy red, is vermilion. 
 
 Wine-red gives an exact idea of the color, also cherry- 
 red, sky-blue, turquoise-blue. We can say black as a bot- 
 tomless gulf, black as ink or "as black as your hat,” in spite 
 of gray hats ; raven black, canary-color, olive green, sea- 
 green, emerald green, etc., all being so many definitions 
 
11 
 
 of color, explained by the objects of comparison. Work 
 with white, gray or black on different colored grounds and 
 you will find the white, gray and black to appear different 
 on each. Chevreul demonstrates this. 
 
 Color is true when it paints the object exactly as it is 
 clothed in nature; it is conventional when it is applied to 
 caprices of the art, such as the ornamentation of arabesques 
 or when it loses, conventionally, the real coloring of terres- 
 trial objects, to be represented in imaginary tints supposed 
 to exist in air or in an apotheosis or in the representation 
 of an infernal picture or pure fiction. There are colors 
 called changeable, such as mother-of-pearl and those that 
 change with light, as the plumage of certain birds, hum- 
 ming-birds for instance, which seem to borrow their bril- 
 liancy from the light of precious stones. 
 
 The colors of the solar spectrum formed by a ray of solar 
 light, falling through a prism on an object in a darkened 
 room, are true types of the gradations of color in their 
 most complete degree of purity. 
 
 Harmony of Colors. 
 
 Shading, the graduation of any color whatsoever, is thus 
 called. 
 
 It is established by common consent that 1 marks the 
 lightest possible shade, almost white, and 15, the darkest 
 and deepest of the color given; that is to say, its intensity 
 cannot be exceeded. We say 15 as we would say 30, etc. If 
 every pastel crayon has 15 gradations or shades, there is a 
 ■difference of one-fifteenth of a tone, light or dark, between 
 them. Such is the method of grading them. 
 
 The scale of colors is infinite in theory since there is an 
 infinite graduation of shades in going from white to black 
 
12 
 
 and it is considered very incomplete, limited to 15 degrees 
 only. 
 
 There is then a great difference between the words color, 
 and tone or degree of intensity of color. There are in or- 
 dinary language expressions, which convey an entirely dif- 
 ferent meaning, when applied to colors. 
 
 There are three simple colors; red, yellow and blue, 
 which produce, being mixed, orange, green and violet. 
 
 These colors are light or dark : mix red, yellow and blue 
 and you have a dirty gray; orange, green and violet give a 
 dirty gray. To break the tones of a color, so to say, is to 
 mix them in such a manner, as to produce gray. 
 
 Pastel, so useful and so preferable to any other kind of 
 painting, when we wish to catch the effect of a view, which 
 will quickly disappear, such as a sunset, light breaking sud- 
 denly between the clouds, cannot be replaced either by oil 
 or water-colors when we wish to transfer at once to paper 
 that, which the mind conceives, because the imagination 
 easily loses some of its fire, when, in the heat of ardent con- 
 ception, it meets with obstacles and delays in the very 
 means that should give it birth. 
 
 Materials Used in Pastel Painting. 
 
 An assortment of soft pastels of the principal colors- 
 A half-box of half-hard pastels. 
 
 A box of hard colored crayons. 
 
 Tinted paper of different colors. 
 
 Boards or paper prepared for pastel painting. 
 
 Pastel canvas and monochromatic boards. 
 
 Plaques prepared for pastel paintings. 
 
 Gray paper, leather and felt stumps. 
 
 Black and red crayons, and sauce crayons. 
 
13 
 
 A box of charcoal. 
 
 A bottle of fixatif. 
 
 One atomizer. 
 
 A scraping knife. 
 
 Precaution . — Great care must be taken to preserve the 
 colors from dampness and injurious exhalations. 
 
 Pastel Paper. 
 
 The paper to be used for pastel painting should have a 
 rough or cottony grain, as smooth or much-sized paper 
 will not hold the crayons. It is easy to ascertain the right 
 quality of the paper by applying a strong color, rubbing it 
 lightly with the finger, then overlaying it with a lighter 
 shade, if the latter preserve the color in spite of the 
 stronger one beneath, it will prove sufficiently that the 
 paper is of the right kind. The best of all, however, is 
 what is called pumiced paper, as its coating of fine sand, 
 saw-dust, cork or pounce, takes the pastel best; the tints 
 lose nothing of their freshness and lightness; it can be 
 charged with color without inconvenience to the parts 
 where the outline should be expressed ; the touches remain 
 on it firm and vigorous; finally, it may be retouched as 
 often as may be desired, without fear of its becoming 
 greasy or of its not taking the crayon. 
 
 Some persons work in pastel on unsized bluish or gray 
 paper, others on parchment, vellum, taffeta, linen or white- 
 paper. 
 
 Blue or gray paper, pasted on linen or muslin, then 
 tacked on a frame or stretcher, is very good for pastel, the 
 linen serving to strengthen the paper. This gray or bluish 
 paper is generally a little rough and is suitable for bold 
 execution, not intended to be seen too closely. 
 
 Very strong paper is sometimes stretched on the frame 
 
14 
 
 and boiling water thrown on its surface three or four times, 
 rubbing it each time with a soft brush, to take off the size. 
 When it is thoroughly dry, remove the inequalities of the 
 grain by smoothing it with pumice stone. 
 
 In Italy, certain painters coat a linen cloth with parch- 
 ment size, in which they have thrown well sifted marble or 
 pumice powder, after which they polish the canvas with 
 pumice stone, to remove the unevenness. This preparation 
 takes the pastel very well. 
 
 It would even suffice to coat the cloth with a simple layer 
 of chalk mixed with paste. 
 
 Primed or sized tapestry paper affords an excellent foun- 
 dation for pastel, being already prepared. It should be 
 strengthened by mounting it on muslin or strong paper and 
 tacked on the frame. 
 
 For elaborate work, the parchment, well prepared and 
 pounced, is the best material for thick and heavy pastel 
 painting. 
 
 Fleecy vellum, which is shaggy on one side, is very ad- 
 vantageously employed, but its high price precludes its use 
 for the simple studies of beginners. 
 
 Wooden or card panels and canvas may be used as 
 grounds for pastel by being prepared as above. 
 
 All of the above described methods of preparing the 
 paper, boards, canvas, etc., for pastel painting have now 
 been set aside by the respective materials now offered by 
 the trade, of a much better quality and cheaper than the 
 artist himself could prepare the same. 
 
 Pastel Crayons. 
 
 There are two sorts of pastels, soft and hard and they 
 are at present assorted as pastels for portraits and pastels 
 
15 
 
 for landscapes. As it is utterly impossible to manufacture 
 as many shades as there are in nature, only a certain num- 
 ber of tints can be taken, from which the most useful 
 should be chosen. 
 
 The choice of materials, indispensable to the composition 
 of the pastel crayon, as in any work, is of the greatest im- 
 portance. The mineral kingdom furnishes for this pur- 
 pose solid elements. We reject from pastel many colors, 
 used in other kinds of painting as unsuitable and replace 
 them by analogous tones, such are Colonge earth, Cassel 
 earth, bitumen, blue and green ash, the cochineal lakes, the 
 yellow lakes (brown pink), which it is impossible to use. 
 
 The colors affected by the air, as well as those which 
 change, when blended with others, viz., white lead, Prus- 
 sian blue, destroyed by bases containing lime; the vegetable 
 lakes, injured by contact with the air, light and lime, are 
 employed and are found in all assortments of pastel 
 crayons in spite of these drawbacks. We give here a list of 
 the most reliable colors : 
 
 Pipe-clay is mixed with those colors that have of them- 
 selves but little solidity. 
 
 White zinc. 
 
 Carbonate of lime. 
 
 Spanish white or chalk. 
 
 Naples yellow, replaced by ochre, mixed with white or 
 by the protosulphate of cadmium. 
 
 Yellow ochre. 
 
 Calcined oxide of zinc. 
 
 Chrome yellow. 
 
 Indian red, very solid. 
 
 Red ochre. 
 
 Soft red chalk. 
 
 Chinese vermilion. 
 
16 
 
 Brown red. 
 
 Venetian red. 
 
 Ohrome red. 
 
 Cadmium. 
 
 Carmine. 
 
 Madder lake. 
 
 Indigo. 
 
 Prussian blue. 
 
 Prussian black or brown. 
 
 Burnt and Paw Umber. 
 
 Cobalt. 
 
 Ultramarine. 
 
 Soft crayons should be friable, but of sufficient hardness 
 to prevent their being broken or crumbled too easily in the 
 fingers ; their delicacy depends on the care taken to grind 
 the colors, the bases most commonly used for combining 
 the molecules being gum arabic or tragacanth, the latter 
 of which is preferable. A little candied sugar is added, 
 but with care, when the paste requires but a slight degree 
 of agglutination. 
 
 After putting them in clean water the mixture is worked 
 into consistency. The white, magnesian colors, soft to the 
 touch, are employed with advantage as bases or excipients 
 (foundations) for most crayons. 
 
 The dry colors, which do not readily unite, are softened 
 with soapy water, to which gum adds consistency. Isin- 
 glass, powdered slate, porcelain clay, fuller’s earth, may be 
 employed with care, to modify the mass. 
 
 Most painters pay little attention to the substances of 
 which colors are composed, and resemble, in this respect, 
 those architects who build without ascertaining the quality 
 of their materials, and without securing a proper founda- 
 tion for their building. A few words on this subject will 
 be appropriate here. 
 
17 
 
 White lead, which is used in oil-painting, is banished 
 from pastel and is replaced by chalk ; the best is that called 
 “French chalk/ 5 * a species of calcareous earth or white 
 marl, which is prepared at Troyes, where there are vast 
 beds of it take the finest particles, free from stony grains. 
 
 Yellow ochre is a sort of ferruginous lime, with which 
 the water that runs through mineral beds containing iron 
 is charged and which it deposits in its course. It is a little 
 like dull gold in color; choose the lightest, the least com- 
 pact and the liveliest shade. 
 
 Brown or red ochre is another lime or rust of iron, 
 deeper than yellow ochre. 
 
 Italian clay is the best red ochre; all the yellow and 
 brown ochres are generally the most solid of all the colors. 
 
 As for yellow lake, it is simply a preparation of chalk, 
 colored yellow by a decoction of French berry (graine 
 d’Avignon), more or less strong, the color being fixed by 
 means of alum. This is a very good color, though less 
 solid than the ochres. The shade is golden yellow, like the 
 jonquille or yellow narcissus. 
 
 Vermilion (Cinnabar) is a chemical combination of 
 mercury and limestone, which produces a solid mass of 
 brown-red in brilliant spangles, which pulverized become 
 scarlet. It is ordinarily mixed with a little sand. The 
 Dutch excel in the manufacture of this pigment. Chinese 
 vermilion is commonly passed off as cinnabar, which is cin- 
 nabar mixed with a little carmine. Pure cinnabar is very 
 solid. 
 
 Carmine is only cochineal, a little insect which is found 
 on the nopals or fig-trees of Africa. It is also obtained 
 from Mexico, where these trees abound. The cochineal is 
 boiled one or two minutes with a little alum and Chouan 
 
 ^Carbonate of lime, 
 
18 
 
 berries and bark. The precipitate which results is a very 
 bright crimson-red. 
 
 Crimson lake is made in nearly the same manner, bnt is 
 extracted from Brazil wood instead of cochineal. Properly 
 speaking, it is a sort of wax or red gnm produced in the 
 Indies by flying ants, and is what is called gum-lac. They 
 make sticks of sealing-wax of it, but the lake used as a color 
 is less solid than carmine. 
 
 Prussian blue is obtained by calcining bullock’s blood 
 dried in a crucible, with carbonate of potash; then this is- 
 boiled, and it gives a greenish precipitate, a little red vit- 
 riol and alum being added; but the addition of a little 
 muriatic acid makes this precipitate become a beautiful 
 blue. 
 
 Before the discovery of this composition, unknown to the 
 ancients, indigo or Indian blue was used. 
 
 The greens of the pastel are manufactured by mixing 
 yellow and blue in different proportions. 
 
 Umber, or more properly Umbrian earth, is a compact 
 earth, a little greasy to the touch, of a rusty brown color, 
 very obscure; it is an iron ochre, mixed with turf or peat, 
 which is found in Italy or on the Cevennes. 
 
 Cologne earth is a substance, in mass rough to the touch, 
 of a deep brown, bordering on violet. It is much more 
 compact, like bitumen, than umber. It is difficult to dis- 
 tinguish it from bistre, which is obtained from chimney- 
 soot, and which is often sold for Cologne earth. 
 
 Ivory black or lampblack is obtained from bones calcined 
 in fire; this is what is called bone-black. Vine-black, char- 
 coal, oak, elm, hazel, poplar and other blacks are also very 
 solid. 
 
 Bases are those white colors which serve as excipients 
 for most crayons, giving them consistency and serving to 
 heighten the color. They are: 
 
19 
 
 Carbonate of lime and French chalk. 
 
 Pipe-clay, nsefnl in fixing those colors which are weak- 
 ened by contact with lime. 
 
 Plaster, sometimes; the magnesian earths very good; 
 porcelain clay, slate, fuller’s earth. 
 
 White zinc and carbonate of lime, the latter in the pro- 
 portion of one-eighth, with the addition of the white of 
 eggs or milk, makes a perfect base. 
 
 A decoction of barley or malt is a good mucilage for 
 colors having already some consistency ; it holds in solution 
 sugar, albumen, mucilage, starch, gluten, tannin. 
 
 Yellow ochre requires more or less gum-water. Red 
 ochre, Italian earth, the yellows shading red, are prepared 
 by themselves, or with a little gum mucilage and chalk. 
 
 ' For oxide of zinc, add milk or white of eggs to the mu- 
 cilage. 
 
 Red crayons are mixed with white of eggs; vermilions 
 with clay, chalk and gum. 
 
 The crimson lakes, madder and carmine, are mixed with 
 clay, sometimes with starch, brewer’s yeast, barley-water,, 
 white of eggs, or milk, or gum, whichever is most suitable. 
 
 Blue crayons require no addition, except perhaps chalk: 
 and gum-water. 
 
 Green crayons, with chalk or pure, are mixed with gum 
 tragacanth, mucilage, chalk, and gum. 
 
 Brown crayons, pure, are mixed with chalk and gum- 
 water. 
 
 Prussian brown is mixed with chalk and barley-water. 
 
 Brown is composed of umber, black, ochre, Cologne 
 earth, with chalk and some magnesia. The mucilage is 
 composed of white of eggs and malt. 
 
 These few hints on the composition of the crayons ap- 
 pear necessary, and at the same time sufficiently clear. 
 With regard to the number of pastel crayons, it can be 
 
20 
 
 limited to thirty, sufficient for general use, each color being 
 graded by white from its own natural shade to the lightest : 
 
 Vermilion. 
 
 Vermilion and white. 
 
 Vermilion and white in greater proportion, etc. 
 
 Light chrome and its gradations. 
 
 Chrome orange. 
 
 Emerald green. 
 
 Gamboge and white and its gradations. 
 
 Yellow ochre and its gradations. 
 
 Bed-brown and its gradations. 
 
 Burnt Sienna. 
 
 Indigo and cobalt, and their gradations. 
 
 Browns. 
 
 We have judged it to be agreeable to the readers to give 
 them some idea of the manufacture of crayons. It may be 
 useful to them to know how to modify the soft crayons 
 which they buy. They may be reground with a glass 
 muller on a glass slab, and moulded in a stiff paper cylin- 
 der, which can be removed when the paste is dry. 
 
 It is well understood that if we do not number white 
 among the primitive tones, it is because white, though it 
 contains all the other colors, is not its Jf a color existing in 
 nature ; nevertheless, nothing can be done in pastel without 
 it. The same may be said of black, which ought to be re- 
 jected on account of its heaviness and gloomy tone, or 
 -extended only to those delicate shades which are derived 
 from it, as velvets, silks, and in general black robings can 
 be done only with black sauce crayon. 
 
 The black crayon is indispensable to certain shades of 
 which it forms the undertone, that is, for those black or 
 blackish shades which ought to be fine, transparent, harmo- 
 nious. These tones are obtained by mixing burnt Sienna, 
 ochre, and indigo, as in water colors, and instead of a 
 
21 
 
 heavy, dull, harsh tint, this process gives a light, harmo- 
 nious tone, throwing warmth and shadow on the whole. 
 
 Perception and Observation are Necessary 
 to the Worker in Colors. 
 
 The knowledge of the different kinds of crayons used in 
 pastel painting is acquired by practice, but what cannot be 
 taught, is how and where to use them. There are indeed 
 principles which all workers in colors observe, principles as 
 exact as a rule of mathematics, but the principles that 
 regulate the degree of light and shade, the blending and 
 contrasting of colors, cannot be applied by every one, for 
 there is an innate perception of color, which belongs only 
 the artist’s eye, to the accurate vision, comprehending at a 
 glance and to the intelligent observation of the varied pict- 
 ures which Nature, at all times, displays to our view. 
 
 Study nature, then observe how the colors of the objects 
 by which we are surrounded change every hour of the day 
 and with every change of the atmosphere, and this study 
 will enable you, pretty well, to give to each the proper 
 degree of coloring. 
 
 Does not the atmosphere, when the day is clear, seem to 
 clothe every object with a blue misty vapor, while the 
 morning sun burnishes the same with gold and at sunset 
 the same objects are tinged with orange and red? 
 
 From this it is proved that it is impossible to give an 
 arbitrary rule, a fixed and invariable law for what is called 
 the science of coloring. To have this science is to be en- 
 dowed with one of the rarest of gifts ; to acquire it, is, after 
 a profound study of Nature and its phenomena, to discover 
 the means of reproducing it, as it is in reality. 
 
22 
 
 The Education of the Eye. 
 
 Education being the daily improvement of human life by 
 the constant exercise of each and all of our faculties and 
 •senses, we have all, insensibly, learned to distinguish the 
 colors of objects; but if it be asked how these observations, 
 made without study or reflection, form the ground of our 
 judgments, most ordinarily, by their mere development, is 
 a question which it would be embarrassing to answer. 
 
 The inherent indifference of the egotism which pervades 
 society, making life a mechanical routine, is one of the 
 greatest obstacles to progress. The sense of sight is not 
 exercised in childhood; we know only just enough of its 
 value to walk without tripping or stumbling, or to avoid 
 dangers which menace our personal preservation. We grow 
 up to maturity, sometimes even to old age, in entire ignor- 
 ance of the treasures of enjoyment opened oat to us by the 
 contemplative study of the play of light and shade. 
 
 There are means by which we can acquire definite ideas 
 of colors, their beauties, their characteristics, and their var- 
 iations, as for the development of our notions of figures; 
 study and reflection often supply those innate perceptions 
 which give intuitively the right knowledge of colors. Even 
 as the hand by experience and practice conveys to the mind 
 the power to judge of the weight, resistance, elasticity, or 
 toughness of objects, so the eye acquires a just idea of the 
 preponderance and harmony of colors, which idea is noth- 
 ing more or less than the knowledge of their proportions. 
 
 To illustrate this to the eye and mind of a child, take 
 equal quantities of red and yellow, powdered fine, and mix 
 them together till the color of both is lost in the new shade ; 
 take again a double quantity of one or the other and the 
 mixture will have a deeper tinge of red or yellow, as one or 
 the other predominates. 
 
23 
 
 This experiment may be varied by mixing the colors in 
 various proportions of quantity, and exercising the eye of 
 the student so frequently, that it becomes accustomed to 
 distinguish the proportions of the colors in any mixture 
 whatever. But it is necessary to be familiarly acquainted 
 with the six typical colors, so-called, because compared to 
 objects, which, from the creation, have been the types of 
 these colors; yellow, as gold; orange, yellow as an orange; 
 red as a poppy; green as grass (verdigris); blue as the 
 sky; purple as the violet; black as the clouds or night; 
 white as snow. 
 
 To those who have acquired some proficiency in drawing 
 and who wish to study colors, a study which furnishes such 
 varied pleasure, it will be useful to give here in brief some 
 elementary instructions on color, and to recommend to 
 them at the same time some exercises destined to educate 
 the eye, to accustom it to distinguish and to tell at sight the 
 composition of colors, which present themselves to the 
 view. 
 
 Colors borrow their brightness from light, that of the sun 
 is white; artificial light is of various colors; gas, which is 
 nearly white, appears orange in broad daylight. Both solar 
 and artificial light act differently on sight and color, and 
 the changes that every color undergoes from sunrise to 
 sunset are known to everyone. By this we may judge how 
 comprehensive is the study of coloring. Light is never 
 completely absent from us, even at night, as we know that 
 certain bodies have at night luminous properties and give 
 light of themselves, producing a sort of glimmer, which is 
 perhaps due to electricity. The light of fire produces 
 strangely curious effects in colors. But to return to the 
 practical part of our subject, we shall simply say that we 
 recognize three primitive colors ; viz : red, yellow and blue. 
 These will be best obtained for pastel, as follows : 
 
24 
 
 Red, with vermilion and carmine or crimson lake in 
 equal parts. 
 
 Yellow, with light chrome or gamboge. 
 
 Blue, with the beautiful Prussian blue. 
 
 Yellow, red and blue are what are called primitive colors,, 
 that is, they cannot be obtained by mixing. 
 
 Every color, simple or mixed, may be made lighter by 
 means of white, or obscure by means of black, which repre- 
 sents shade or darkness. 
 
 Red, yellow and blue mixed, produce the other colors: 
 red and yellow give orange; red and blue give violet; 
 yellow and blue give green. By mixing any three of these 
 six colors — yellow, red, blue, orange, violet green — in 
 equal or unequal proportions, the result is always gray. 
 
 The colors of the solar spectrum, and those seen in the 
 rainbow, observe the following order: red, orange, yellow, 
 green, blue, indigo and violet, and fade, one into the other, 
 by an inimitable process, without losing their purity. 
 
 Again, by mixing orange and violet we obtain a brown 
 bordering on red; violet and green produces a brown with 
 a blue tint; green and orange give a yellow brown; these 
 shades are commonly called simple brown, gray or slate 
 brown, olive brown. 
 
 If we substitute figures for the colors we shall have a 
 mathematical table of all the compounds resulting from the 
 mixture of the nine colors. 
 
 Simple. 
 
 1. Yellow. 
 
 2. Red, 
 
 3. Blue. 
 
 Third. 
 
 1 + 4, or yellow and orange. 
 1 -j- 7» yellow and brown. 
 1+6, yellow and green. 
 
 1 -j- 9, yellow and olrve. 
 
 Second Compound. 
 
 7. Brown. 
 
 8. Gray, Slate. 
 
 9. Olive. 
 
 Fourth. 
 
 2 -f 7, red and brown. 
 
 2 -j- 4, red and orange. 
 
 2 + 5, red and violet. 
 
 2 + 8, Red and gray. 
 
 First Compound. 
 
 4. Orange. 
 
 5. Violet. 
 
 6. Green. 
 
Fifth. 
 
 Others. 
 
 3 -j- 4» blue and orange, 
 3 + 5* blue and violet. 
 3 -j- 8, blue and gray. 
 
 3 + 9, blue and olive. 
 
 4 + 7, orange and brown, 
 6 + 9, green and olive. 
 
 4 + 8, orange and gray. 
 
 5 + 9, violet and olive. 
 
 Others. 
 
 6 + 7, green and brown. 
 
 7 + 8, brown and gray. 
 
 8 + 9, gray and olive. 
 
 To ascertain exactly the amount of influence, every color 
 exercises upon its surroundings, cover a square of paper 
 with a ground of plain gray, composed of white and black 
 in equal parts, leaving a vacant circular spot in the centre ; 
 then fill in this circular space with any one of the nine 
 colors mentioned above. It will be observed that a yellow 
 centre makes an aureola of violet on the gray ground; red, 
 a green aureola; blue, orange; and that, on the contrary, 
 violet gives yellow; green, red, etc. 
 
 The name of complimentary is given to those colors 
 which give vivacity to each other ; they are thus classed : 
 
 Red is the complementary of green, and vice versa. 
 
 Orange is the complementary of blue, reciprocally. 
 
 Yellow is the complementary of violet, and violet is the 
 complementary of yellow. 
 
 If a white ground surround the colors, instead of gray, 
 it will strengthen the color ; if a black ground, on the con- 
 trary, it will dim. These demonstrations prove sufficiently 
 to the most incredulous the immense influence of the color 
 of the ground, on which the picture is laid, be that picture 
 a flower, a head or any colored object whatsoever. Besides 
 being of delightful interest, they teach also the causes of 
 harmony and discordance, and enable us to comprehend 
 the absurdity of wishing a portrait painter, with knowledge 
 and perception, to clothe a person of a certain complexion 
 
26 
 
 in a dress whose color totally disagrees with his complexion 
 for the sole reason that this color pleases the sitter. Ladies 
 should study the laws of contrast and should understand 
 that certain shades, very becoming to their friends, are 
 often as unbecoming to themselves. A walk in the garden 
 may afford a useful and agreeable study, fruitful in salu- 
 tary meditation on the relations of color as well as of form. 
 
 In grouping flowers, the largest and handsomest should 
 form the centre of the boquet, then the next in size and 
 so on, till the smallest, which should be the lowest or else 
 at the top; however, to form an agreeable whole, the little 
 flowers may be gracefully thrown in between the others. 
 
 Soft yellow, rose or flesh color, blue and white harmonize 
 with red. With violet, pale rose, rose, orange and white 
 make a good effect. 
 
 Strong colors should not be brought together, as deep 
 yellow, carmine and blue. Dark green heightens light 
 colors, but as some would fade by this strong contrast, these 
 would be freshened and brightened by light, soft green. 
 Bouquets should be full in the centre, tapering off gradu- 
 ally; the same rule applies to festoons and garlands. 
 Flowers of a single color may be placed side by side, with- 
 out regard to contrast, avoiding, however, the unartistic 
 mistake of putting two contrary shades of the same color, 
 as rose and brick red, or sky blue and lilac, together; the 
 simple unpretending flowers are, by preference, at the 
 ends, and good taste would suggest to group the variegated 
 flowers with the plain. 
 
 Park and landscape gardeners should make a special 
 study of color and apply it profitably in disposing the dif- 
 ferent shades of every species of tree in such variety as to 
 charm the eye. The architect, the upholsterer, the deco- 
 rator, the sign painter and other industrial professionals 
 too numerous to mention, should study the harmony of 
 
27 
 
 eoolors and their laAvs of contrast. A special knowledge of 
 the phenomena of coloring is indispensable to the modiste 
 .and costumer, and above all, a knowledge of the effects of 
 -artificial light, which being yellow or orange, changes the 
 most beautiful bine, green, makes yellow fade white, while 
 it gives to the latter a yellow cast. Most of all should the 
 painter consider well the choice of colors for his picture. 
 ‘Color speaks to the mind through the eye, calling forth old 
 memories. 
 
 Lively colors inspire recollections of the buoyant, joyous, 
 exuberant spring, and rural pleasures. Autumn shades, 
 brown, yellow, the withered leaf, breathe the sad harmonies 
 of decay and death, the end of all things. 
 
 To be convinced of the ridiculous impression produced 
 by inappropriate coloring, imagine, for example, the Ship- 
 wreck of the Medusa, painted with all the glowing, lively 
 colors of a masquerade; the sufferers in red, blue, or yellow 
 satin garments, could only excite pity for the artist who 
 had thus pictured them. Or imagine a festive scene with 
 the guests in black, convivial and merry in funeral robes, 
 what sentiments could such incongruity inspire. A shep- 
 herdess of Boucher’s, whose complexion and face should be 
 green and her clothing red, would be absurd, and the 
 -absurd is the destruction of the beautiful. 
 
 A certain falsity in coloring is sometimes not without its 
 charm, provided, however, it does not entirely destroy the 
 true. 
 
 The sketches of certain painters have very little coloring, 
 but little though it be, if there is a light coating of color, 
 which reveals as under a cloud the existence of shades 
 which are the life of nature, this gives a sufficient idea to 
 the imagination to enable it to continue in the master’s own 
 style, the work that he had scarcely outlined; it is the 
 thread of truth, that gives the clue to our mind, always 
 
28 
 
 with pleasure, when repeating it in our own ideal. The 
 decorative style admits of ideal colors, of cameo, of pictures 
 in one, two or three fantastic colors, showing simply the 
 ornamental imitation. 
 
 The Outline of the Pastel. 
 
 The freshness and purity of the pastel forming its chief 
 merit* care should be taken, in sketching the work, not to 
 injure the paper. 
 
 Wrong shades or faulty outlines may be removed with a 
 proper brush, or a piece of pointed rubber, without altering 
 the rest, especially the mass of the shades. 
 
 GENERAL OBSERVATIONS. 
 
 Portraits and "Genre/" 
 
 The material processes offer few difficulties, but in ap- 
 plying them it is necessary to know the positive rules of 
 painting and coloring. The picture on a small scale differs 
 from full length or life size. It surpasses the miniature 
 in appearance. 
 
 For small likenesses or figures to be quickly executed, 
 after having sketched the outline, the pastel should he 
 lightly laid on with a cork or gray paper stump, or a stump 
 made of elder pith. After having thus disposed the local 
 tints, the plans of light and shade by observing the greatest 
 accuracy in the contrast of tone, color, and reflex, of a style 
 a little striking and resembling a mosaic in appearance, the 
 
29 
 
 whole should be strengthened by hatching it, as in drawing, 
 with half hard pastels, finely pointed by means of sand 
 paper; the second time, the hatching should be of the 
 lozenge form, to imitate softly the flexibility and graceful 
 bend of the lines in an engraving, giving it a high finish by 
 dotting, as in miniature. 
 
 To set the figure in the strongest relief and give it per- 
 fect finish, the dress, the drapery, and other accessories 
 ought to be less elaborate; such, at least, is the recommen- 
 dation of nearly all professors to beginners, the reason of 
 which, experience alone can demonstrate. The novice in 
 painting will understand the expression, “the work/’ or 
 “heavy touching / 5 as a mode of giving the whole without 
 any details ; the suppression of those details, not absolutely 
 necessary to the integrity of the form represented, const!* 
 tutes the essential quality of the sketch. In a small pic- 
 ture, the vesture and other accessories must be sacrificed, 
 .so to say, to give finish and perfection to the head. 
 
 To express those details which give effect to the head, 
 •and to reject those which, if carefully executed, would de- 
 tract from it, is a great art, and proves more or less the 
 taste of the artist; in fact, it is itself a science. 
 
 The talent of the portrait painter, then, consists not in 
 the literal execution of mechanical processes, but in the 
 happy manner of so disposing the parts that they become 
 subservient to the whole, thus fixing the spectator’s atten- 
 tion, of necessity, on the face rather than on the drapery or 
 ornaments, which, if too well executed, would destroy this 
 effect. To study the works of genuine art and to endeavor, 
 in studying them, to find out what it is that charms the 
 eye, and to grasp it, are stepping stones to success. The 
 daguerreotype is not a good model for those who wish to 
 give themselves to small portraits, except as indicating ex- 
 actly the relative place of the lines. 
 
30 
 
 The student wishing to paint a small portrait in pastely 
 will first choose a grayish tinted paper, on which the sketch 
 will be made, as before directed. The first question then, 
 will he : How to commence, by light or dark colors ? 
 
 We counsel him to begin at the top and with the light 
 colors, as, if he looks at his model, sense and reason wilt 
 convince him that the lighter objects striking the eye first, 
 are easier to seize. 
 
 But to take an accurate impression of the model, to know 
 how to do which, requires much method, it is necessary to 
 learn to see it accurately; not merely its lineal conforma- 
 tion, but the arrangement, the coloring, the pose, as the* 
 outline drawing gives only a mechanical idea of the promi- 
 nent parts ; it is by the play of light and shade, the study 
 of the clair-obscura, that parts in relief can he imitated.. 
 To appreciate the tout ensemble , the model should not be- 
 too close, nor yet too far off, as the details would then bn 
 lost. However, it is better, especially in the beginning, to* 
 take the sketch at some distance, say of about three yards,, 
 and for the details to bring it closer. The most luminous,, 
 lively and brilliant tints will serve as a standard of compar- 
 ison for the others ; thus the well-tutored eye will easily dis- 
 cover the composition of the tone of the complexion by 
 comparing it, for its red tint to the red lips, and for the 
 degree of light, to the whiteness of linen, the white of the 
 eye, and the color of the eyeball. There is always a pre- 
 dominant color in every complexion, which the good col- 
 orist distinguishes instinctively and finds on his palette or 
 in his box of crayons, the mixtures which will serve best 
 to imitate it, after having marked out the tints in mosaic 
 style, making the contrasts a little stronger than in the 
 model, and giving particular attention to establish the most 
 perfect possible justice in the color of the eyes, flesh-tints^ 
 the eyebrows, also the hair. 
 
31 
 
 To unite and harmonize the shades, run them together 
 with the end of the little finger, but so carefully that only 
 the edges are blended, as in nature ; this soft light touching 
 is called flow, and should not, of course, destroy the design. 
 
 As this work diminishes the strength of the tones, it ex- 
 plains why a little exaggeration in the contrasts is recom- 
 mended in the beginning. After modifying the tones, a 
 delicate finish is given by the half-hard crayon, in careful 
 touches to the lines, the wrinkles, the eyelids, mouth, nos- 
 trils, eyelashes, brows, hair, etc., which require a special 
 study. 
 
 Persons not very expert in drawing, may make the out- 
 line, etc., by means of impression or tracing paper, or by a 
 cartoon, taking care not to soil the paper on which the work 
 is to be done. 
 
 To Outline Heads, etc. 
 
 The best way is to proceed by measurement, considering 
 the model as a mosaic. De Latour and the celebrated Ro- 
 salba did this, it is said. Avoid using the lakes too freely, 
 vermilion is preferable in the composition of tones, and the 
 heavy shades may be modified by overlaying them with 
 blue and carmine, the only way to secure transparency at 
 pleasure. 
 
 We cannot insist too much on the counsel already given, 
 not to make too much use of the fingers in blending the 
 colors, as this would destroy the transparency and softness, 
 the richness and fulness which belong to the pastel. 
 
 It is by hatchings that the effect is secured. The finger 
 should only be used to merge the tones one into the other 
 and so lightly as not to injure the paper. This light rub- 
 bing being done, the delicacy of the tones should be restored 
 
32 
 
 by touches which cannot be prescribed, as they belong to 
 the domain of intelligence and perception. 
 
 If a wrong color has been used, it can easily be removed 
 by brushing it lightly, being careful not to let the dust 
 settle on the other parts. 
 
 When all the light and dark places are indicated, a 
 brown red pastel is used for the shaded part of the nose, the 
 darkest part of the eyebrow, and the under part of the lips, 
 and this warm color gives life to the whole. 
 
 The color of the cheek-bone serves for the relative color 
 of the rest. For a fresh, ruddy complexion, vermilion 
 shades are used, toned with white and ochre; if the com- 
 plexion be pale, the white should predominate. To blend 
 and harmonize these, surround them first with a shade of 
 light blue gray, then with a tint of greenish red and finally 
 with one a little more red to unite with the color, brown- 
 red first laid on. The lights and shades of the forehead 
 are not generally so pronounced as those of the cheeks and 
 the jaw. 
 
 Avoid carefully making a ring around the shades, also 
 making the features too sharp, the white of the eye, too 
 white, and the paint of vision too heavy in tone. 
 
 The shades of the outlines must not be too dark for fear 
 of making them too heavy. It is better to put them on 
 very softly, at first, and color them little by little, for this 
 is the only way to make them transparent. 
 
 Let us come now to the processes employed by De Latour 
 and his contemporaries. Before laying the shades intended 
 to give the general effect, they spread a light coating of red 
 (blood-red, sanguine) under those parts where the shadows 
 are to be which gives them a beautiful vitality. It is not 
 well-known, in our day, that Titian, Paul Veronese and 
 even Raphael, laid a coat of brown-red or vermilion under 
 draperies, which they wished to paint in blue. This pro- 
 
33 
 
 cess has been successfully employed in pastel, as well as in 
 oil-painting, particularly in the human face. Yet more, 
 De Latour and Greuze laid a tightly rubbed coating of 
 black crayon under the flesh tints that should be of a 
 bluish cast. Experience has proved that no blue of any 
 kind can give that bluish shade thus produced. 
 
 The Hate. 
 
 The shade of the hair must, of course, be that of the 
 model. First, the different degrees of shading are to be 
 marked off by laying on the part in shadow, a tone equiva- 
 lent in strength to that laid on the cheeks. Next comes a 
 warmer tint which leads to the third or luminous tint. It 
 is well to mark the outline of each fold or degree (mass) 
 with a warm tone and to shade off with the fresh tones; 
 when all the shades are laid on, they should be blended or 
 rubbed one into the other with the little finger or with the 
 stump. Care must be taken, however, while giving soft- 
 ness to the edges, that the outline be not destroyed and that 
 the light tints are not soiled by the dark shades when they 
 lie next each other. The best way to blend them in such 
 cases, is by means of a demi-tone, which harmonizes with 
 both. 
 
 Draperies and Back-Grounds. 
 
 Draperies and accessories should always be treated more 
 free than the flesh tints. 
 
 The back-ground of a portrait should be in accordance 
 with the effect to be produced; its first quality should be 
 to heighten the light colors and make them appear brighter 
 
34 
 
 by strong contrast, or to set off the dark coloring by its 
 lightness. 
 
 A uniform back-ground can never produce this effect, 
 being too monotonous. A back-ground skilfully managed 
 in light or dark around the face, especially if it be com- 
 posed of tones corresponding with those of the head, will 
 give to the picture that harmony from which springs its 
 greatest charm. A warm tone should be chosen to bring 
 out a complexion in which cold tones predominate, and 
 vice versa* 
 
 To Restore Pastel- Paper. 
 
 Pastel-paper, which the constant rubbing of the finger 
 has worn, may be renewed by rubbing it with flat pumice 
 stone, very fine sand-paper, or a pice of cuttle-fish; this, 
 however, puckers the paper, a defect which is easily reme- 
 died by moistening it on the wrong side with a sponge dip- 
 ped in alum water. This process, however, relates only to 
 paper, which is not specially prepared for pastel painting. 
 
 LANDSCAPES IN PASTEL. 
 
 The Sky. 
 
 For a blue sky, first use a light yellow shade, or rather 
 reddish, towards the edge of the sky and the distances, then 
 
 *Warm tones are those which border on red and yellow. Cold 
 tones, on the contrary, are black, gray and blue. There are warm 
 greens and cold greens in a landscape. 
 
35 
 
 put on the blues, beginning with the lightest, rubbing them 
 so as to cover the whole surface, and laying each shade a 
 little over the one preceding. 
 
 It is with the palm of the hand that these colors are 
 mixed, spread and blended, so as to form the vault of the 
 heavens. 
 
 For a sunset, after placing the yellow and orange be- 
 tween them and the blue, put the lake tones, which will 
 prevent green tints, etc. 
 
 When the ground of the sky is well laid, then the deep 
 clouds are placed, after that the lighter, and so on. 
 
 Mountains. 
 
 Mountains are massed with blue and violet, mixed to- 
 gether with the fingers. The finishing touches are given 
 with half -hard crayons. 
 
 The Ground. 
 
 When the ground (soil) is to be of a reddish or grayish 
 color, it should be underlaid with a tint of black or brown ; 
 if yellow, with bright-red or some other kind of red. 
 
 Trees. 
 
 For blue-green, make the undertone yellow or red; for 
 yellow-green, make it black crayon; for autumn leaves, 
 take the yellow-browns, etc. 
 
 Water. 
 
 Water, near the horizon, is sketched with nearly the 
 same color as it is painted ; as it approaches the base of the 
 
36 
 
 picture, an under-coating of black crayon is given, first 
 lightly, then more heavily towards the foreground, and in 
 the very front with the black, mix a cold green. 
 
 If the bed of the river is to be shown, sketch it with red 
 and yellow, and, this part being done, lightly add the water. 
 
 The Scraping Knife. 
 
 The scraper may be usefully employed, when the foliage 
 is too heavy, to make openings through the trees, by scrap- 
 ing off the green and black where the sky should appear. 
 If the color of the place thus cleared does not well represent 
 the sky, it may be touched with blue. 
 
 Flowers and Fruit. 
 
 This class of pictures, so pleasing, is but little cultivated 
 in pastel, except by Mme. Stephen and Miles. Allain and 
 Petit Jean. M. Lecurieux has, however, executed some 
 large studies, beautifully done in pastel. 
 
 The management of the subject, a boquet of flowers, or 
 a picture of fruit, requires, as in landscape or portrait 
 painting, perception and intelligence, especially in copying 
 the models, nature so bountifully affords during the differ- 
 ent seasons of the year. It is also necessary to study the 
 work of the masters. 
 
 The subject should be selected with reference to the 
 place, which the picture is intended to adorn, a dining- 
 room, library, parlor, or vestibule. Fruits, animals, flowers 
 suit the vestibule and dining-room, while landscapes, por- 
 traits, etc., find a more fitting place in the parlor. 
 
 Landscapes and views please us, as they recall scenes 
 and places familiar to us by association or study; but the 
 portrait and the historical picture charm us still more, as 
 
37 
 
 we there see faithfully expressed, the attitudes, the gestures 
 of those among whom we live, and above all do we see 
 depicted those emotions of the soul, which the genius of 
 the artist has reproduced. 
 
 Inanimate Nature, or Still Life. 
 
 This kind of painting exercises in the artist not merely 
 taste in the arrangement of vases, flowers, game, etc., his 
 talent of imitating coloring, design and modelling, but 
 also his genius in the conception and execution of artistic 
 allegorical ideas, that is, to present objects, even trifling to 
 the eye, as to attract the attention of the most indifferent. 
 
 Tastes are as various as the individual mind. To the 
 gourmand, the picture of a well-filled table gives great 
 delight. Others prefer a sea-side view, eespeeially if their 
 opportunities of enjoying the reality are rare, while the 
 wealthy and luxurious admire the expensive vases, orna- 
 ments and bijoux, rare and curious, such as the inimitable 
 talent of M. Desgoffe produces, for instances, a perfect 
 mirror on canvas. 
 
 But the majority of intelligent people are not content 
 with a simple photographic picture; they look for more; 
 they wish to lose the material in the poetical; hence they 
 are enraptured with pictures of old armor, lying among 
 books and old parchments, all disorderly, souvenirs of long 
 ago, where the imagination loves to wander; they will ex- 
 amine, in their own fashion, each detail, and learn from 
 such a picture a lesson of the vicissitudes of earthly 
 things. 
 
 A simple bouquet of bright fresh flowers will unques- 
 tionably attract general attention, but if this bouquet be 
 thrown beside the traditional shepherd’s hat and bag-pipes, 
 Boucher’s ideal, and from a mysterious gloom a serpent is 
 
38 
 
 seen to glide and twine its glassy rings among the flowers, 
 is not this an allegory of the dangers, attending the pleas- 
 ures of sense, and the more perfectly the painter conveys 
 the idea the greater the interest his pictures awakens, and 
 this is what he should aim at, after he has succeeded in the 
 management of his colors and the effects of light and 
 shade. 
 
 The Fixing oe the Pastels. 
 
 One of the most important parts with the pastel paint- 
 ing, is the fixing of the colors. Various methods and 
 preparations have been invented, which answer its purpose 
 more or less. The great advantage in the fixing, not only 
 lies in the colors, making them less sensitive against care- 
 less handling or touching by the glass, etc., hut in the fact 
 that the colors can he treated more like oil colors. While 
 one color is laid on and fixed, it allows the artist to paint 
 and glaze over with another color, without disturbing the 
 lower, and thus producing most beautiful effects. 
 
 The fixing of the colors can be done on any material 
 suitable for pastel painting, more especially so on paper, 
 boards, canvas, etc., heretofore mentioned, as prepared ex- 
 clusively for the purpose. 
 
 The newest and best adapted fixatif, manufactured by 
 F. Weber & Co., is their Sphinx Fixatif. It is applied 
 with an atomizer and on the fineness of the sprays and on 
 the evenness of depositing the same, depends the success of 
 the fixing to a great extent. 
 
 If the atomizer works right, that is to say, if it sends 
 out the spray in form of vapor, a distance of from 20 to 
 30 inches, according to the strength of the blowing, is re- 
 quired to apply the fixatif. 
 
 It is always preferable not to apply the sprays perpen- 
 
39 
 
 dicularly, but in a horizontal direction. Respecting the 
 time of the exposure of the picture to the sprays, a little 
 experience will be necessary; it might, however, not be 
 amiss to state that the picture should be damp but not wet. 
 The quantity of the fixatif to be applied necessarily de- 
 pends upon the quantity of the colors to be fixed, as also 
 partially upon the material they are painted on. As a 
 general rule, it is better to go over a picture a second time 
 than only once after being dry, and let the fixatif act a 
 longer time, as in the other case the greater dampness is 
 apt to curdle the fine parts of the colors, and hence spoil 
 the beauty of them. For a similar reason the fixing should 
 not be done under a temperature of 70 degrees Farenheit, 
 and it is also to be recommended that in winter time the 
 picture should be dried near a stove, and in sunshine in 
 summer time. 
 
 The fixing of the colors possesses a real high value in the 
 hand of the artist during the execution of the picture. Let 
 us draw your attention only to a few points. A fixed 
 pastel picture acts to the following application of a color, 
 like a new painting ground. Light on light, gives a greater 
 luminosity, dark on dark, greater depth of color, than could 
 be produced in pastel painting heretofore. A white line 
 on a fixed black ground remains white, the same as a black 
 line on a white ground appears black; without the fixing, 
 the colors in both cases, through their mixing together, 
 would produce a gray. This admits the glazing in colors, 
 as also the changing in tints. Every artist may, according 
 to his own individuality, find different advantages yet in 
 this style of fixing the pastels. This addition to the art 
 of pastel painting is of a like importance, as the durability 
 of the picture gained by the fixing. 
 
 The sizing of the material (pasteboard, paper, canvas, 
 etc.) to be painted on, is also of great importance, in so far 
 
40 
 
 as a pasteboard, paper, etc., sized too lightly, absorbs the 
 the fixatif too much, while a too strongly sized ground is 
 apt to leave the colors too wet, and we may mention here, 
 that the boards, papers, etc., prepared by F. Weber & Co., 
 are sized uniformly, and in a manner to fully answer the 
 purpose. 
 
 With very light and delicate tints the fixings should be 
 done from a greater distance, and in very fine sprays. 
 
 Light ochres are colors not well suited for fixing. It 
 is always well to use an atomizer for the fixatif, which 
 should be cleaned after use with alcohol. 
 
41 
 
 GENERAL RULES AND REMARKS. 
 
 If the picture is to hang over a door, for example, em- 
 blems of art, science or industry, the instruments used, are 
 proper to decorate a work or study-room, or a library. This 
 principle must always be borne in mind, that the subject 
 must be appropriate to its destination. Should the picture 
 be intended to hang very high, introduce no small details. 
 
 Flowers, on a large scale, highly colored and not too 
 finely finished, producing at a distance a pleasing contrast 
 of colors, are suitable over the door of a dining-room, or 
 even a parlor. The effect will be heightened, if birds of 
 bright plumage enliven the picture. 
 
 Cornucopias, forming supports, medalions in cameo, 
 light blue or gray, will always produce a good effect. The 
 beautiful decorations on the ceilings of the palace of Ver- 
 sailles by Charles Lebrun, are fine examples of this style of 
 decoration. There are also in the Louvre, or in a good 
 collection of engravings, subjects of this kind, animals, 
 flowers, vases, and emblems by Desportes, Oudry, Weenyx, 
 and Lepautre, which will give good ideas of arrangement, 
 etc. It should be remembered, that the coloring of these 
 decorative paintings should always be in keeping with the 
 style of the architectural decorations. 
 
 The beauty of coloring does not consist in a multiplicity 
 of tints, even as wealth does not consist in possessing a 
 great deal, but in knowing how to make good use of it. 
 
 A picture is often rich in coloring, though it has very 
 little; all depends on the contrasts, the strength, the rela- 
 tive position of the colors, as in arithmetic the value of the 
 figure is increased or diminished according to its place. 
 
42 
 
 Water color and pastel are two most valuable means of 
 studying the fugitive scenes of nature. Pastel is particu- 
 larly adapted to coyping from nature almost instantane- 
 ously those changing and varying tints of sky and cloud 
 which the sun and the wind produce. 
 
 Eugene Delacroix possessed, in an eminent degree, the 
 rare talent of catching the true effect of a scene, which he 
 wished to remember. He has left a very great number of 
 water color, pastel, crayon and pen sketches, which testify 
 the indefatigable ardor, with which he studied every page 
 of the great book of nature; and the result of this study 
 is shown in the animation and life, that breathes through 
 all his pictures, even the most incorrect. To give true ex- 
 pression to his work was the aim of his life, and his ex- 
 ample is a lesson to the young, proving once again, that to 
 arrive at mastery, the student, like Le Poussin, should 
 neglect nothing in the study of nature. 
 
 Advice to Amateurs. 
 
 The amateur, in general, is cold and thoughtless. Left 
 to his own resources, he imagines that he is studying be- 
 cause he uses paper and hurries through some water color 
 copies, and pictures, but, in confining himself to these, he 
 advances little, as he could not reproduce from memory the 
 copies which have given him so much trouble, and this is 
 the only way of proving to himself, that he has understood 
 the models. Unable to pursue the course of studies proper 
 for an artist, he must confine himself to easy subjects and 
 be content to move in a limited, modest sphere of the vast 
 domain of art. 
 
 Sketching is a study as indispensable to the artist as 
 agreeable to amateur, as the sketch fixes in his memory. 
 
43 
 
 what he has not time, in travelling, to study minutely and 
 in detail. A sketch is a resume in drawing, of any natural 
 object whatever in its general character. The caricature 
 is a sketch of an individual, exaggerating the character- 
 istics or peculiarities. 
 
 To sketch well requires observation, a quick eye, and a 
 ready hand. It is a pecular talent, which some persons, 
 even artists, never attain ; but every one will recognize the 
 immense advantages it affords for the development of 
 memory, taste and observation. 
 
 Taste may be exercised in all things; a spirit of order 
 conducing to it. Symmetry, regularity and the constant 
 exercise, which the well-ordered arrangement of furniture 
 offers to the eye, are essential principles to the beautiful, 
 and develop the sentiment of it, while the incongruous, the 
 irregular, the confused, pell-mell, or what seems the result 
 of chance, destroy it in its germ. 
 
 The fashion of the present day, which brings together in 
 the drawing-rooms and salons of the wealthy, furniture and 
 objects of art of every style, elaborate and plain, of every 
 period, ancient and modern, destroys the public taste and 
 changes these would be elegant mansions into storehouses 
 of curiosities. 
 
 The science of arrangement constitutes taste. It is an 
 instinct with some ; with others it is the result of study and 
 reflection. It increases order, the knowledge of forms and 
 proportions, and regulates our preferences. The study of 
 drawing is the foundation of this science, infinite in its 
 applications and its results. 
 
 Everybody can gather flowers in a garden, but it requires 
 taste to form them into a bouquet; a servant may and can 
 sweep a room, but it is only a lady that can give it, by a 
 few touches, an air of elegance and refinement. There are 
 many who pride themselves on their collections of draw- 
 
44 
 
 mgs, paintings, engravings, etc., bnt how few know how to 
 arrange them with taste ? In almost every parlor is found 
 an album — it is a mania — but where is there a picture in 
 them all that would be worth a second glance ? 
 
 Pastel by Eubbing. 
 
 All that has been previously said relates to the pastel 
 emphate (impasted) ; there is another kind of pastel work 
 called pastel frobte (rubbed), which is done as follows: 
 
 After having outlined the subject, with red or black 
 crayons, the shades are marked off with a stump and sauce 
 crayon, then the crumbled pastel is rubbed lightly on to 
 make the tint. 
 
 The nostrils, eyes, mouth, hair and eyebrows are accented 
 with half-hard pastels ; the last touches are hatchings with 
 the half-hard pastel lightly accented, this with the fine 
 dotting which finishes the work gives warmth to the tone 
 and drawing. 
 
 Charming effects are produced by this simple process, in 
 which M. Guet, Mme. LSomenil and Steuben have attained 
 superiority. 
 
 The best paper for this kind of pastel is parchment paper 
 of a light shade. The stumps may be cork, gray paper or 
 elder-pith. 
 
 A knowledge of rules is, no doubt, advantageous, but 
 practice and experience alone teach their right application. 
 
 If these limited and cursory instructions prove useful to 
 the student of pastel, this treatise will have fulfilled ’ts 
 end. Let the deficiencies be attributed to the difficulty of 
 the subject, and credit be given for the desire to benefit and 
 instruct. 
 
45 
 
 Aqua-pastel. Pastel Imitations of Oil for 
 Window-shades. 
 
 Many attempts at pastel have been made on all sorts of 
 surfaces, stuffs and various materials. 
 
 A celebrated engraver, M. Andrew, invented a kind of 
 painting, which he called Aqua-pastel. 
 
 This process was accomplished by means of soft crayons 
 of all colors and shades, prepared with honey. He has 
 written an interesting pamphlet on this subject. The ma- 
 terial he used to work on was a stuff called madapolam. 
 
 He painted on cloth with middling results; he discour- 
 ages the use of velvet, hut recommends the wrong side of 
 satin, also muslin, not too fuzzy. To these materials he 
 gave a preparation or sort of sizing, made half and half 
 of starch and rice flour mixed with water to the consist- 
 ency of clear-starch. The muslin was put in the stretcher 
 on a zinc plate and the first layer of size was put on warm ; 
 when perfectly dry a second coat of size was given; then, 
 a third. 
 
 The crayons were used as in pastel, taking care to 
 moisten the panel with water beforehand, and to work 
 while it was wet. Special tools helped to spread the colors, 
 such as a trowel-shape palette knife, which spread and 
 grounded the crayons (first coarsely broken) in the canvas; 
 stumps ingeniously fashioned in cork like the beak of a 
 bird, a cone, the mouth of a flute, etc., were used instead of 
 the finger to ground and polish the work. 
 
 The liquid used to fix the colors was Flanders paste, dis- 
 solved half and half in water; it was applied warm to the 
 back of the picture; when this was dry, another was put 
 on the front, which last one gave stability to the painting 
 under it. 
 
 To make it look like oil painting a coat of picture var— 
 
46 
 
 nish was overlaid, mixed half and half with turpentine. 
 The oil colors (transparent) were then put on, and the 
 whole was revarnished. This process served for window 
 shades and blinds. 
 
 The Amateur. 
 
 To the persevering amateur we shall say briefly : : 
 
 Perseverance, an inquiring mind, good will, and a desire 
 to succeed are certain guides to progress. 
 
 The field of study of the fine arts compared to nature, is 
 open to all intelligences. 
 
 Examine attentively the works of the masters in the gal- 
 leries of art and yon will speedily be convinced that there 
 are as many ways of imitating nature as there are individ- 
 uals. Study all the masters without preference for any 
 particular one. You will see, that while one is devoted to 
 the study of nature in its every detail, another gives only 
 the picturesque and the grand in persons and things. That 
 master represents only historical facts and actions, like 
 genius of which consists in the scenic grouping and life- 
 like expression of the personages represented, without too 
 much preciseness of form or too great truth in the color- 
 ing ; this one is content to give a faithful picture just as 
 they appear in reality, without seeking a more worthy 
 subject for his pencil. The first is ideal, the last, material. 
 
 Paul Veronese sheds a profusion of light over his mas- 
 terpieces, Le Poussin, in his wonderful painting of the 
 Deluge, inspires terror by the blackness of the sky and the 
 waters, which threaten to engulf man and beast. Rem- 
 brant is often enveloped in a shadowy clair-obscur , pro- 
 found and mysterious. Rubens, luminous and brilliant, 
 shows us everywhere life and action. His women, full of 
 health and youth, resemble neither those of Titian nor 
 
47 
 
 Raphael. Every artist has painted women as he saw them 
 around him in each country, dark or fair, gay or melan- 
 choly, showing thus the universality of the beautiful in 
 form and color, and proving also that it is everywhere for 
 those who have eyes to behold it. 
 
 Study the points of difference and resemblance in the 
 different masterpieces of art and in the genius of each, and 
 you will thus make from your own impressions, a most 
 instructive classification. lib i 1 by so doing, that we learn 
 to criticize, and distinguish the characteristics of the dif- 
 ferent schools. Never be exclusive; many artists are lost 
 by adopting an exclusive style. 
 
 Treatises teach mechanical processes, which the student 
 will use with more or less zeal and success, as he finds best 
 suited to himself. Every one can make progress in pro- 
 portion to his own co-operation. 
 
 The peach is a very beautiful fruit, pleasing to the eye 
 on account of its velvety skin, its well shaded coloring 
 made, as it were, to be imitated in pastel; moreover, it is 
 sweet to the taste and soft to the touch, and agreeable to 
 the smell. 
 
 Study the beautiful pastels of the masters. Their charm 
 is inexpressibly great; open a box of handsome pastel 
 crayons well graded in color, do you not desire to know 
 how to use them ? Does not desire excite in you the hope 
 of success? Is not hope a leading element in our happi- 
 ness ? 
 
 Your first well directed efforts will teach you patience, 
 the most useful of the virtues. Eegin with the simplest, 
 such as tapestry designs of flowers in squares like mosaics, 
 blend the colors one into the other softly with the finger 
 and it gives an appearance of more finished work. Then 
 comes the copying of flowers from nature, afterwards, 
 figures, whose colors being less varied and striking, require 
 
43 
 
 more clearness and exercise of the eye, also a thorough 
 knowledge of drawing. 
 
 The copying of geometrical figures is especially recom- 
 mended as an excellent study of the play of light and shade. 
 A perfect knowledge of these is to possess the best scientific 
 elements of imitation in drawing, because geometrical 
 figures enter into every design. 
 
 It is well to exercise one’s self in copying transparent 
 and translucent bodies, such as crystals, vases, etc. 
 
 All is measure and proportion in drawing, in painting, 
 in sculpture and in architecture. 
 
 Experimental Practice. 
 
 There are many ways of making one’s self familiar with 
 the use of the pastel, for instance, by frequently practising 
 the blending of colors on strips of rough glass, on rough 
 paper, on pastel paper, etc. 
 
 These experiments will teach the choice of the right ma- 
 terials suitable for every subject, and the intelligence of 
 the artist will guide him in the execution of his work. 
 
INDEX. 
 
 PAGE. 
 
 Author’s Preface, 3 
 
 Origin and Advantages of Pastel 5 
 
 Fundamentul Hints, 9 
 
 Definitions of Terms, etc., 9 
 
 Harmony of Colors, 1 1 
 
 Material used in Pastel Painting, . . . . .12 
 
 Of Pastel Paper ; how to Prepare to Ground, . . .13 
 
 Pastel Cryons, 14 
 
 Perception and Observation are Necessary to the Colorist, 21 
 
 The Education of the Eye, 22 
 
 The Outline Sketch, 28 
 
 General Observations, 28 
 
 Portraits and “Genre, 28' 
 
 To Outline Heads, etc., ....... 31 
 
 The Hair, 33 
 
 Draperies and Backgrounds 33 
 
 To Restore Pastel Paper Worn by Rubbing, . . .34 
 
 Landscapes in Pastel, 34 
 
 Skies and Mountains, . . . . . . • 34 , 35 
 
 Ground ; Trees ; Water, ....... 35 
 
 The Scraping Knife, 36 
 
 Flowers and Fruit, ........ 36 
 
 Inanimate Nature, ........ 37 
 
 The Fixings of the Pastels, 38 
 
 General Rules and Remarks 41 
 
 Advice to Amateurs, ........ 42 
 
 Half-hard Pastels. Pastel by Rubbing, . . . .44 
 
 Aqua-Pastel. Pastel-Imitation of Oil Painting, . . 45 
 
 The Amateur ......... 46 
 
 Experimental Practice, 48 
 
50 
 
 NOTICE. 
 
 The study of Pastel Painting has made great progress within? 
 the last few years, and in many of our schools there are students 
 who have acquired considerable proficiency in this beautiful 
 branch of art. 
 
 The great demand for single colors and tints of soft pastels* 
 and the annoyance and trouble in supplying them from abroad* 
 have some years ago induced us to make another step forward in 
 the direction of manufacturing Artists’ Materials in this country 
 by commencing to manufacture 
 
 and we feel gratified in stating that the assortment we now offer* 
 and of which we publish a list herewith, ranks in softness, purity 
 and equality of color with any of the imported makes, and are 
 considered superior by many prominent artists. 
 
 We make each of the soft pastel colors in eight tints, gradu- 
 ated from Nos. i to 8, of which No. i is the deepest, and No. 8 
 the lightest shade. 
 
 Each color of the half-hard pastels are made in six tints, of 
 which No. i is the deepest, and No. 6 the lightest. 
 
 The back-ground pastels are made in three tints, the No. i 
 being the deepest. 
 
 For the convenience of the artist, as well as the dealer, to 
 enable them to sell the pastels singly, we put them up in neat 
 wooden boxes, containing one dozen pastels of either one shade 
 or tint in a box, or one color assorted in six tints, Nos. i to 6. 
 
 The size of the pastels is that of Eefranc’s largest. We will 
 constantly add to the list such colors as are desirable. 
 
51 
 
 We have made up at a great expense Sample Cards of our 
 Pastels, showing every shade in its gradation. While these cards 
 are a great help to the artist and dealer to select from, they at the 
 same time are highly instructive to the art student to learn the 
 -colors in their relative reduction of their shades. For prices of 
 these Sample Cards see page 55. 
 
 The quality of our SAUCE CRAYON IN FOIL has made or it 
 a reputation and created a demand extending all over the United 
 States. In a comparatively short time it has pushed out of thi s 
 market the best imported manufacture, while we offer it at a 
 much lower price than the latter. 
 
 We also furnish our SAUCE CRAYON IN POWDER, put up in 
 glass vials. 
 
 Our SEPIA SAUCE CRAYON IN FOIL and SEPIA CRAYONS 
 IN ROUND STICKS will be found valuable additions to any crayon 
 artists’ outfit. 
 
 We claim for our improved SPHINX FIXATIF, for fixing Pastel 
 Colors, that it has the advantages over all other Fixatifs in fixing 
 the colors absolutely, while it does not materially change the 
 tints. It does not leave the white hue on the strong tints which 
 most other fixatifs do, and therefore it is especially adapted for 
 fixing Charcoal and Black Crayon Drawings. 
 
 We still continue to make our regular Fixatif, so well known 
 in the market. 
 
 We beg to draw the attention of our patrons to the excellent 
 quality of our own manufacture of 
 
 Pastel Paper, made in three sizes of sheets. 
 
 Monochromatic Boards, three different kinds. 
 
 Pastel Boards, in ten sizes. 
 
 Pastel Canvas, in rolls of 6 yards ; 27, 30, 36, 42 and 54 inches 
 wide ; made with Fine Fibre, Monochromatic and Velvet Finish. 
 
 F. WEBER eg CO., 
 
 1125 Chestnut Street, Philadelphia. 
 
52 
 
 PRICE LIST 
 
 p. 09eb^ $ (o.’s Soft Pastel Colors. 
 
 LARGE SIZE 
 
 Put up in wooden boxes of 12 pastels, either of one color 
 assorted in six tints, Nos. 1 to 6, or of one tint only. Bach color 
 is shaded in eight tints, of which No. 1 is the deepest. The lightest 
 tints, No. 7 and 8, are put up separately in boxes of one tint only. 
 
 
 
 Per 
 
 
 
 Per 
 
 Each 
 
 doz. 
 
 Kach 
 
 doz' 
 
 White, $0 05 
 
 $ 50 
 
 Yellow Green, 1 to 8, $0 05 
 
 $ 50 
 
 Black, 
 
 5 
 
 50 
 
 Blue Green, 1 to 8, 
 
 5 
 
 50 
 
 Velvet Black, 
 
 10 
 
 1 00 
 
 Brown Green, 1 to 8, 
 
 5 
 
 50 
 
 Black Gray, Nos. 1 to 8, 
 
 5 
 
 50 
 
 Chrome Green, 1 to 8, 
 
 5 
 
 50 
 
 Blue Gray, “ 
 
 5 
 
 50 
 
 Kmerald “ 1 and 2, 
 
 10 
 
 1 00 
 
 Warm Gray, “ “ 
 
 5 
 
 50 
 
 “ 3 and 4, 
 
 8 
 
 80 
 
 Brown Gray, “ “ 
 
 5 
 
 50 
 
 “ 5 to 8, 
 
 5 
 
 50 
 
 Green Gray, “ 
 
 5 
 
 50 
 
 “ “ 1 to 6 assorted, 
 
 
 75 
 
 Brown Red, “ “ 
 
 5 
 
 50 
 
 Emeraude Green, 1 to 8, 
 
 5 
 
 50 
 
 Burnt Ochre (Bt Red), 1 to 8 
 
 5 
 
 50 
 
 Olive Green, 1 to 8, 
 
 5 
 
 50 
 
 “ “ and Black, “ 
 
 5 
 
 50 
 
 Terre Verte, “ 
 
 5 
 
 50 
 
 “ Sienna, Nos. 1 to 8, 
 
 5 
 
 50 
 
 Green Blue, “ 
 
 5 
 
 50 
 
 Indian Red, “ “ 
 
 5 
 
 50 
 
 Cobalt Blue, 1, 
 
 20 
 
 2 00 
 
 Red Brown, ex dp., 1 & 2, 
 
 10 
 
 1 00 
 
 “ 2 and 3, 
 
 15 
 
 1 50 
 
 “ 3 & 4 , 
 
 8 
 
 80 
 
 “ 4 to 8, 
 
 10 
 
 1 00 
 
 “ 5 to 8, 
 
 5 
 
 50 
 
 “ 1 to 6 assorted, 
 
 
 1 35 
 
 “ 1 to 6 assorted, 
 
 
 80 
 
 Utramarine Blue, 1 to 8, 
 
 5 
 
 50 
 
 Madder Brown, 1 and 2, 
 
 10 
 
 1 00 
 
 Prussian “ “ 
 
 5 
 
 50 
 
 “ 3 and 4 , 
 
 8 
 
 80 
 
 Blue Purple, 1, 
 
 20 
 
 2 00 
 
 “ “ 5 to 8. 
 
 5 
 
 50 
 
 “ 2 and 3, 
 
 15 
 
 1 50 
 
 “ 1 to 6 assorted, 
 
 
 80 
 
 “ 4 to 8, 
 
 10 
 
 1 00 
 
 Burnt Umber, 1 to 8, 
 
 5 
 
 • 50 
 
 1 to 6 assorted, 
 
 
 1 35 
 
 Raw ” 1 to 8, 
 
 5 
 
 50 
 
 Red Purple, 1, 
 
 20 
 
 2 00 
 
 Yellow Ochre, 1 to 8, 
 
 5 
 
 50 
 
 “ 2 and 3, 
 
 15 
 
 1 50 
 
 “ Brown, 1 to 8, 
 
 5 
 
 50 
 
 “ 4 to 8, 
 
 JO 
 
 1 00 
 
 Flesh Ochre (Ochre and Ver- 
 
 
 
 “ 1 to 6 assorted, 
 
 
 1 35 
 
 milion), 1 to 8, 
 
 5 
 
 50 
 
 Crimson Bake, 1, 
 
 15 
 
 1 50 
 
 Naples Yellow, 1 to 3, 
 
 10 
 
 x 00 
 
 “ “ 2, 
 
 10 
 
 1 00 
 
 “ 4 to 8, 
 
 5 
 
 50 
 
 “ “ 3 to 8, 
 
 5 
 
 5 ° 
 
 “ “ 1 to 6 assorted, 
 
 
 75 
 
 “ “ 1 to 6 asstd, 
 
 
 1 75 
 
 Chrome Yellow, 1 to 8, 
 
 5 
 
 50 
 
 Madder Bake (Rose Madder) 
 
 
 
 “ Orange, 1 to 8, 
 
 5 
 
 50 
 
 “ 1 and 2, 
 
 20 
 
 2 00 
 
 Saturn Red, 1 to 8, 
 
 5 
 
 50 
 
 “ 3 and 4, 
 
 15 
 
 1 50 
 
 Cadmium Yellow, 1, 
 
 20 
 
 2 00 
 
 “ 5 to 8, 
 
 10 
 
 1 00 
 
 “ “2 and 3, 
 
 15 
 
 1 5 ° 
 
 “ 1 to 6 assorted, 
 
 
 1 50 
 
 “ 4 to 8, 
 
 10 
 
 1 00 
 
 Carmine, 1, 
 
 30 
 
 3 00 
 
 “ “ 1 to 6 asstd, 
 
 
 1 35 
 
 “ 2, 
 
 25 
 
 2 50 
 
 Vermilion, 1, 
 
 15 
 
 1 50 
 
 “ 3 , 
 
 15 
 
 1 5 ° 
 
 “ 2 and 3, 
 
 10 
 
 1 00 
 
 “ 4 . 
 
 10 
 
 100 
 
 “ 4 to 8, 
 
 5 
 
 50 
 
 “ 5 to 8, 
 
 5 
 
 50 
 
 “ 1 to 6 assorted, 
 
 
 85 
 
 “ 1 to 6 assorted, 
 
 
 I 5° 
 
 Counter case?, to retail from, furnished at cost price, 
 
53 
 
 p. G Web^r ^ (o.'s §oft Pastels in picif c Wl?ite c5 Wood ISoxes 
 
 No. Per box 
 
 ooo Treble bottom, has 378 asstd soft and half-hard Cray- 
 ons, including Carmine $12 00 
 
 00 Double bottom, has 300 asstd soft and half-hard Cray- 
 
 I 
 
 ons, including Carmine 
 
 Double bottom, has 164 asstd Crayons including Carmine 
 
 9 00 
 6 co 
 
 2 
 
 Full size, 
 
 “ 130 “ “ “ “ 
 
 4 Oo 
 
 3 
 
 Half “ 
 
 “ 66 “ “ “ “ 
 
 2 25 
 
 4 
 
 Quarter size, 
 
 , fine has 56 “ “ “ “ 
 
 I 5 ° 
 
 5 
 
 X 
 
 ordinary, with 44 assorted Crayons. 
 
 I OO 
 
 6 
 
 X 
 
 “ 30 “ “ 
 
 60 
 
 6 
 
 X 
 
 Black 
 
 60 
 
 6 
 
 X 
 
 White 
 
 60 
 
 6 
 
 X 
 
 Blue, assorted shades 
 
 60 
 
 6 
 
 X 
 
 Brown, “ “ 
 
 60 
 
 6 
 
 X 
 
 Carmine, “ “ 
 
 3 °o 
 
 6 
 
 X 
 
 Gray, “ “ 
 
 60 
 
 6 
 
 X 
 
 Green, “ “ 
 
 60 
 
 6 
 
 X 
 
 Flesh, “ “ 
 
 60 
 
 6 
 
 X 
 
 Lake, “ “ 
 
 60 
 
 6 
 
 X 
 
 Vermilion, “ 44 
 
 1 00 
 
 6 
 
 X 
 
 Yellow, “ “ 
 
 60 
 
 6 
 
 X 
 
 Yellow Ochre, assorted shades 
 
 60 
 
 Complete sample cards, containing all shades of F. Weber & 
 Co.’s Soft and Half-Hard Pastels furnished at $1.50 net, for the 
 set, conta : ning about 500 samples. 
 
54 
 
 p. 09eber § (o.’s Soft pastes fof Backgrounds. 
 
 Made in Three Tints, of Extra Large Size. 
 
 No. 1, DEEP. No. 2. MEDIUM. No. 3 LIGHT. 
 
 Packed i dozen in a box, assorted Nos. i to 3 
 
 Black Gray 
 
 Each 
 
 ....$ 08 
 
 Pr dz 
 
 $ 80 
 
 Yellow Brown 
 
 Each 
 $ 08 
 
 Pr dz 
 
 80 
 
 Blue Gray 
 
 .... 08 
 
 80 
 
 Burnt Umber 
 
 , 08 
 
 80 
 
 Warm Gray 
 
 .... 08 
 
 80 
 
 Raw Umber 
 
 08 
 
 80 
 
 Brown Gray 
 
 .. . 08 
 
 80 
 
 Brown Green 
 
 08 
 
 80 
 
 Green Gray 
 
 .... 08 
 
 80 
 
 Olive Green 
 
 08 
 
 80 
 
 Purple Gray 
 
 .... 08 
 
 80 
 
 Black & Chrome Yell 
 
 08 
 
 80 
 
 Red Brown 
 
 .... 08 
 
 80 
 
 Ultramarine Blue 
 
 08 
 
 80 
 
 Chrome Yellow.... 
 
 
 80 
 
 White 
 
 08 
 
 80 
 
 F=. MEBER 5* OCX’S 
 
 ftalf-ptard pastels in plat O&fyife 09ood Boxes, 
 
 For Girault’s and Uefrance’s Soft and Half-Hard Pastels see 
 our regular Catalogue of Artists* Materials. 
 
55 
 
 p. 09 eber § (Jo.’s palf-pard pastels. 
 
 Each color is made in six tints, of which No. i is the deepest, 
 and gradually shaded to No. 6 , the lightest tint. 
 
 Each color is put up in a wooden box of 12 pastels, assorted 
 1 to 6 , or of one tint only. 
 
 
 
 
 Per 
 
 
 
 
 Per 
 
 
 
 Each 
 
 Box 
 
 
 
 Each 
 
 Box 
 
 Black, 
 
 
 $0 05 
 
 $0 50 
 
 Red Brown, ex. dp, 
 
 1 & 2 
 
 10 
 
 1 00 
 
 White, 
 
 
 5 
 
 50 
 
 “ “ 
 
 3 & 4 
 
 8 
 
 80 
 
 Black Gray, 
 
 1 to 6 
 
 5 
 
 50 
 
 “ “ 
 
 5 & 6 
 
 5 
 
 50 
 
 Blue Gray, 
 
 1 to 6 
 
 5 
 
 50 
 
 “ “ 
 
 1 to 6 asstd 
 
 75 
 
 Brown Gray, 
 
 1 to 6 
 
 5 
 
 50 
 
 Red Purple, 
 
 1 to 6 
 
 5 
 
 50 
 
 Green Gray, 
 
 1 to 6 
 
 5 
 
 50 
 
 Brown Madder, 
 
 1 & 2 
 
 10 
 
 1 00 
 
 Warm Gray, 
 
 1 to 6 
 
 5 
 
 50 
 
 “ 
 
 3 & 4 
 
 8 
 
 80 
 
 Burnt Ochre, 
 
 1 to 6 
 
 5 
 
 50 
 
 “ 
 
 5 &6 
 
 5 
 
 50 
 
 Raw Umber, 
 
 1 to 6 
 
 5 
 
 50 
 
 “ 
 
 1 to 6 asstd 
 
 75 
 
 Burnt Umber, 
 
 1 to 6 
 
 5 
 
 50 
 
 Carmine, 
 
 1 
 
 30 
 
 3 00 
 
 Chrome Yellow, 
 
 1 to 6 
 
 5 
 
 50 
 
 “ 
 
 2 
 
 25 
 
 2 50 
 
 Yellow Ochre, 
 
 1 to 6 
 
 5 
 
 50 
 
 “ 
 
 3 
 
 15 
 
 1 50 
 
 Chrome Green, 
 
 1 to 6 
 
 5 
 
 50 
 
 “ 
 
 4 
 
 10 
 
 1 00 
 
 Flesh Ochre, 
 
 1 to 6 
 
 5 
 
 50 
 
 “ 
 
 5 & 6 
 
 5 
 
 50 
 
 Brown Red, 
 
 1 to 6 
 
 5 
 
 50 
 
 “ 
 
 1 to 6 asstd 
 
 1 50 
 
 Indian Red, 
 
 1 to 6 
 
 5 
 
 50 
 
 Vermilion, 
 
 1 
 
 15 
 
 1 50 
 
 Saturn Red, 
 
 1 to 6 
 
 5 
 
 50 
 
 “ 
 
 2 & 3 
 
 10 
 
 1 00 
 
 Prussian Blue, 
 
 1 to 6 
 
 5 
 
 50 
 
 “ 
 
 4, 5, 6 
 
 5 
 
 50 
 
 Ultramarine Blue, 
 
 1 to 6 
 
 5 
 
 50 
 
 
 1 to 6 asstd 
 
 85 
 
 Cobalt Blue, 
 
 1 & 2 
 
 24 
 
 2 40 
 
 Madder Bake, 
 
 1 & 2 
 
 24 
 
 2 40 
 
 “ 
 
 3 & 4 
 
 18 
 
 1 80 
 
 “ “ 
 
 3 & 4 
 
 18 
 
 1 80 
 
 “ “ 
 
 5 & 6 
 
 12 
 
 1 20 
 
 “ “ 
 
 5 & 6 
 
 12 
 
 1 20 
 
 “ asstd. 1 to 6 
 
 
 1 80 
 
 “ “ 
 
 1 to 6 asstd 
 
 1 08 
 
 Complete sample cards, containing all shades of F. Weber & Co.’s Soft 
 and Half-Hard Fastels furnished at $1.50 net, for the set, containing about 500 
 samples. 
 
5fi 
 
 p. Weber § £o.’s pastel Outfits* 
 
 Filled Complete for Painting in Pastels. 
 
 THE “AMATEURS 1 ’’ PASTEL OUTFIT 
 
 The “Scholar’s” Outfit No. 1, consisting of Polished Maple- 
 wood Box, with fancy Brass Handle and Fastener, fitted with 
 divisions for materials and tray with lid for Pastels, inside 
 measurement of box, 6 xio^xi^ inches. The box contains 
 29 F. Weber & Co.’s Soft Pastels, assorted colors, bottle of 
 Fixatif, Folding Tin Atomizer, Leather Stump, 3 Gray Paper 
 Stumps, 3 Tortillions, Brass Crayon Holder, piece Pointed 
 Rubber, 2 Black Conte Crayons, 6 Thumb Tacks, 2 pieces 
 Pastel Paper, and piece of Chamois Leather each, $ 2 00 
 
 The “Amateur’s” Outfit, No. 2, consisting of Polished Maple- 
 wood Box as above, but much larger, and fitted with tray, 
 having 2 divisions for Pastels, inside measurement of box, 8 
 xio^xi )4 inches. The box contains 58 of F. Weber & Co.’s 
 Soft Pastels, assorted fine colors, bottle of Fixatif, Folding 
 Tin Atomizer, 2 Leather Stumps, 4 Gray Paper Stumps, 6 
 Tortillons, piece Pointed Rubber, Brass Crayon Holder, 3 
 Black Conte Crayons, 6 Thumb Tacks, 2 pieces Pastel Paper,, 
 and piece Chamois Leather ...each, #3.5© 
 
57 
 
 BOOK OF INSTRUCTION. 
 
 Ooupil, a Treatise on Pastel Painting, simplified and perfected, 
 each, 50 cts. 
 
 P- W^ber § (Jo.’s paleffe (Jrayon Material Box. 
 
 Polished wooden case, with thumb-hole, and chamois mounted on 
 the inside of lid, containing an assortment of Crayons, Sauce, 
 Stumps, Crayon Holder per box, $i 25 
 
 P* Weber S) (o.’s paper prepared for pastels 
 
 Per Per 
 Size Sheet Quire 
 
 Royal, 19x25... Jo 25 $5 00 
 Imperial, 20x30.... 30 6 00 
 
 Per Per 
 Size Sheet Quire 
 
 Colombier, 25x35, 45c $10 00 
 Dbl. Elephant, 30x40, 60c 14 00 
 
 p. Weber £ (Jo.'s -ptea^ Boards prepared for pastels. 
 
 
 
 
 Per 
 
 Per 
 
 
 
 Per 
 
 Per 
 
 
 
 Size 
 
 Sheet 
 
 : Doz. 
 
 
 Size 
 
 Sheet 
 
 Doz. 
 
 No. 
 
 2. 
 
 7x9 
 
 $u 15 
 
 $1 60 
 
 No. 12, 
 
 20x24, $0 60 
 
 #6 75 
 
 i i 
 
 5, 
 
 10^X13^ 
 
 25 
 
 2 60 
 
 “ 15, 
 
 22x28, 
 
 65 
 
 7 65 
 
 < i 
 
 6, 
 
 1 2 J4xi6 
 
 35 
 
 4 20 
 
 “ 20, 
 
 25x30, 
 
 80 
 
 9 50 
 
 4 ( 
 
 8, 
 
 15x18 
 
 45 
 
 5 25 
 
 “ 25, Med. 22x28, 
 
 40 
 
 4 00 
 
 4 i 
 
 10, 
 
 18x22 
 
 5o 
 
 5 60 
 
 “ 26, Special 22x28, 25 
 
 3 00 
 
 Special Sizes, if ordered in quantities, made to order. 
 
58 
 
 p. C/9cber (o.’s Monochromatic Boards 
 
 No. 
 
 Per Per 
 Size Sheet Doz. 
 
 2 Thin, 18x23, $° 35 H 00 
 i Thick, 18x23, 45 5 00 
 
 No. 
 
 3 Thin, 22x28, 
 
 4 Thick, 25x34, 
 
 , Per Per 
 Sheet Doz. 
 
 $ o 50 $ 6 03 
 65 7 50 
 
 p. Web^F ^ (o.’s pastel ^an\)as 
 
 IN ROLLS OF SIX YARDS 
 
 27 inches wide, fine fibre preparation $1 
 
 20 “ “ ‘ 
 
 36 “ 
 
 42 “ “ ‘ 
 
 54 “ 
 
 64 “ 
 
 27 
 30 
 ■26 
 42 
 
 Wider Pastel Canvas prepared to order. 
 
 extra fine, velvet finish 1 
 
 Per Yard 
 
 Per Roll 
 
 . $1 IO 
 
 $5 50 
 
 . I 25 
 
 6 00 
 
 . I 50 
 
 7 50 
 
 . 2 OO 
 
 10 CO 
 
 . 3 OO 
 
 15 00 
 
 > 3 50 
 
 20 00 
 
 . 1 35 
 
 6 75 
 
 . 1 50 
 
 7 50 
 
 • 1 75 
 
 9 00 
 
 . 2 00 
 
 10 50 
 
 F. Weber & Co.’s Pastel Canvas and Pastel Paper 
 
 Prepared for SOLAR PRINTING. MADE TO ORDER. 
 
 Papier-Mache Plaques 
 
 Prepared for PASTEL PAINTING. ROUND. 
 
 
 Each 
 
 Per Doz. 
 
 
 Each 
 
 Per Doz. 
 
 6 inches 
 
 ....$ 30 
 
 $3 50 
 
 16 inches 
 
 
 $12 OO 
 
 7 “ 
 
 •••• 35 
 
 4 25 
 
 18 “ 
 
 ... I 25 
 
 15 OO 
 
 8 l /2 “ 
 
 .... 40 
 
 4 75 
 
 20 “ 
 
 ... I 50 
 
 l8 OO 
 
 io “ 
 
 .... so 
 
 6 00 
 
 22 “ 
 
 ... 1 75 
 
 21 OO 
 
 12 “ 
 
 .... 65 
 
 8 00 
 
 24 “ 
 
 
 24 OO 
 
 14 “ 
 
 .... 80 
 
 10 00 
 
 
 
 
 
 
 OBLONG 
 
 
 
 
 Each 
 
 Per Doz. 
 
 
 Each 
 
 Per Doz 
 
 5x 8 inches .. 
 
 
 $4 50 1 
 
 8x12 inches.. 
 
 $ 65 
 
 $7 50 
 
 6x 9 “ 
 
 .... 45 
 
 5 00 
 
 9x13^ “ .. 
 
 80 
 
 10 00 
 
 7x10^ “ ... 
 
 — 55 
 
 6 50 
 
 10x15 “ 
 
 I CO 
 
 12 00 
 
 Sample Books of Pastel Paper, Boards and Canvas 
 Furnished on Application 
 
59 
 
 F. Weber & Co.’s Sauce Crayons 
 
 Each Per Doz. Per Gro. 
 
 F.W. & Co.’s “Philadelphia” Sauce Crayons, 
 
 wrapped in foil, packed 3 doz. in a box, $ 05 
 F.W. & Co.’s “Philadelphia” Sauce Crayons, 
 
 in glass vials, packed 1 doz. in a box 08 
 
 F.W.& Co.’s “Sphinx” Crayon Sauce, bluish 
 tint, wrapped in foil, pached 3 doz. in a 
 
 box 05 
 
 F.W.& Co.’s “Sphinx” Crayon Sauce Sauce, 
 
 in glass vials, packed 1 doz; in a box 08 
 
 F. W. & Co.’s Sepia Sauce Crayons, wrapped 
 
 in foil 06 
 
 F.W.&Co.’s “Sepia” Crayon Sauce, in glass 
 
 vials, packed 1 doz. in a box 08 
 
 F. W. & Co.’s Sepia Crayons, round, No. 1 
 
 hard, No. 2 medium, No. 3 soft 04 
 
 Atomizers and Fixatif 
 
 Atomizer, japanned tin, folding 
 
 The Indestrnctible Atomizer, solid metal tubes, nickeled ‘ ‘ 20 
 
 Rouget Atomizers, complete with Fixatif, in box “ 2 50 
 
 Fixatif, F. W. & Co.’s, for Charcoal and Pastel Draw- 
 ings, 2-oz. bottle each 20c., per pint, $1 25 
 
 Fixatif, F. W. & Co.’s, Sphinx, for Charcoal and Pastel 
 
 Drawings, 2-oz. bottle each, 20c., per pint, $1 25 
 
 Fixatif, Rouget’s, 2-oz. bottle each 50 
 
 $ 50 
 
 $5 00 
 
 80 
 
 9 CO 
 
 50 
 
 5 00 
 
 80 
 
 9 00 
 
 60 
 
 6 00 
 
 80 
 
 9 00 
 
 40 
 
 4 00 
 
 Kelt stumles 
 
 Owing to their softness and elasticity they surpass all other 
 Stumps. Nos. 2468 
 
 Size in Diam T \ if if 
 
 Each $15 $ 22 # 30 $ 40 
 
 For any other Crayon Materials we beg to refer to our 
 General Catalogue. 
 
60 
 
 F. WEBER 8c CO. 
 
 MANUFACTURERS OF 
 
 ARTISTS’ CHNyRS 
 
 Plain and Ticken Sketching, English Plain, Romany 
 Ticken and French Absorbent* 
 
 Finely Prepared Artists’ Oils and Varnishes 
 
 RUSSELL’S CANVAS BOARDS 
 
 Academy Boards, Oil Sketching Boards and Paper 
 
 Japanned Tin Boxes, Wooden Palettes, Studio and Sketching Easels 
 
 For Oil, China and 
 Water Color Painting 
 
 In Half and Whole Pans, 
 Tubes, Glass Pots and Bottles 
 
 FINE ARTISTS’ BRUSHES 
 
 MOIST WATER COLORS 
 
 Designers’ Distemper Colors 
 
 Water Color Liquids and Indelible Drawing Inks 
 
 Liquid Photograph and Tapestry Colors and Material: 
 
 SOFT and HALF HARD PASTELS 
 
 IN OVER 500 DIFFERENT SHADES 
 
 The Philadelphia Crayon Sauce, in Tin Foil and Glass Vials 
 
 PASTEL PAPER, PASTEL BOARDS and PASTEL CANVAS 
 
 PAPER MACHE PEACQUES 
 ALSO IMPORTERS OF AND DEALERS IN 
 
 Winsor & Newton’s Artists’ Oil Colors, Brushes and Canvas 
 
 LaCroix’s and Mueller & Hennig’s China Colors 
 
 French Fastels and Crayon Materials 
 
 Drawing and Tracing Papers, Tracing Cloth 
 
 MATHEMATICAL INSTRUMEMTS 
 
 And all Kinds of Drawing Utensils 
 
 Drawing and Painting Studies 
 
 Everything in Artists' and Drawing Materials 
 
 OF DOMESTIC AND FOREIGN MANUFACTURE 
 
 Pyrography or Wood Burning Materials 
 
 And Articles for Decorating: 
 

GETTY CENTER LIBRARY 
 
 3 3125 00070 6552