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 1839. 
 
 X 
 
 A. 1HU BAIILy 
 
A PRACTICAL TREATISE 
 
 ON DRAWING, 
 
 AND ON 
 
 PAINTING IN WATER COLOURS, 
 
 WITH ILLUSTRATIVE EXAMPLES 
 IN PENCIL, IN SEPIA, AND IN WATER COLOURS, 
 
 LEADING THE PUPIL PROGRESSIVELY, FROM THE FIRST RUDIMENTS, 
 TO THE COMPLETION OF WORKS OF ART 
 IN THEIR FINISHED STATE; 
 
 COMPREHENDING THE 
 
 TREATMENT OF COAST SCENERY, RIVER SCENERY, 
 
 AND GENERAL LANDSCAPE. 
 
 BY 
 
 G. F. PHILLIPS, 
 
 AUTHOR OF “ THE PRINCIPLES OF EFFECT AND COLOUR,” 
 &c. &c. &c. 
 
 WITH TWENTY PLATES, 
 
 FAC SIMILES OF THE ORIGINAL DRAWINGS, MADE EXPRESSLY FOR THE WORK 
 BY THE AUTHOR. 
 
 LONDON: 
 
 A. H. BAILY & CO. 83, CORNHILL 
 1839. 
 
LONDON : 
 
 RICHARD CLAY, PRINTER, BREAD STREET HILL. 
 
CONTENTS 
 
 » 
 
 PAGE 
 
 On Drawing 7 
 
 On the Use of the Black Lead Pencil ib. 
 
 On Drawing in Sepia 10 
 
 On Painting in Water Colours 17 
 
 On the Chiaroscuro, Colour, and the Auxiliaries neces- 
 sary to the Unity of a Subject ib. 
 
 Explanation of the Diagram 29 
 
 On Colour 32 
 
 Simple and Complex ib. 
 
 Its Influence on the Mind, either in Nature or in Art . 37 
 
 Exemplified in the Descriptions of the Coloured Subjects 42 
 
 Of the Pure and Broken Tints made use of in the 
 Coloured Examples 45 
 

 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
PREFACE. 
 
 That works on Art of an established 
 character, and possessing useful information, 
 are generally expensive, must be admitted; 
 arising from the great outlay in engraving, 
 printing, colouring, and the various other 
 incidental expenses connected with their 
 completion. Hence has arisen the limited 
 sale of works of this nature ; many of which 
 not coming, in expense, within the reach of 
 the general public, the lovers of Art have 
 therefore been compelled, in many instances, 
 to forego their indulgence in a pursuit grate- 
 ful to their feelings, and frequently highly 
 useful in connexion with their avocations. 
 
 To obviate these difficulties, the present 
 Work is offered to the Public, at a price 
 within the reach of all classes of society ; 
 presuming on an extensive sale as a remune- 
 ration for the considerable expense connected 
 
VI 
 
 PREFACE. 
 
 with its publication. And taking into consi- 
 deration the number of embellishments, and 
 the style of execution, (being fac-similes of 
 the original drawings made expressly for the 
 Work,) it may not be too much to assert, 
 that no work has been yet published, that 
 has not trebled the price of the present 
 undertaking. 
 
 In the letter-press department, every thing 
 connected with the elementary subjects is 
 fully explained ; and the succeeding subjects, 
 as they rise progressively in importance and 
 interest, have been so selected and arranged, 
 as to form connecting links in the course of 
 study, between the first lessons and those of 
 a more complete or finished character ; de- 
 veloping, by simple and easy examples, 
 effects of light and shade as produced by 
 one colour only, that of Sepia. 
 
 The coloured Plates, (six in number,) 
 illustrate the various times of day ; showing 
 the effect of the atmosphere on the various 
 objects subject to its all-powerful influence. 
 
 85 , Newman Street. 
 

 
 
 
 
 
 
 
 
 
 
 

ON DRAWING. 
 
 — ♦ — 
 
 THE USE OF THE LEAD PENCIL. 
 
 The Art of Painting in Water-Colours, in 
 this country , has been carried to a height, 
 within the last thirty years, surpassing the 
 expectation of even its most sanguine ad- 
 mirers. The purity of tone, the depth of 
 colour, the boldness and freedom of execution 
 obtained at the present day, bring water- 
 colour paintings in strong competition with 
 those of oil. It can be no matter of sur- 
 prise, therefore, that with such qualities and 
 capabilities, it should have become a study 
 so generally interesting, and so universally 
 adopted. Free from the incumbrances and 
 the inconveniences of oil, it is found avail- 
 able in almost all situations, and under almost 
 all circumstances ; at home or abroad, within 
 
8 
 
 doors or without, travelling or in retirement, 
 it is practised with convenience and facility, 
 both as a study of utility and amusement; 
 affording the highest intellectual gratifica- 
 tion to the amateur, while it gives to the 
 man of science and research, the opportunity 
 of retaining more perfectly the form, charac- 
 ter, and colour of objects presented to his 
 notice. 
 
 As it is the object of the present work to 
 lead the student to a consideration of what 
 he has to accomplish, and how to effect it, 
 rather than to a contemplation of the advan- 
 tages or disadvantages arising out of the 
 materials used, I shall proceed to the 
 elementary subjects; and I would recom- 
 mend a close and careful attention to the 
 several examples laid before him ; divesting 
 his mind of any predilection that he may 
 have for certain forms or certain subjects; 
 the simplest and the least intricate, as they 
 are the least difficult, being the best adapted 
 for early imitation. 
 
 In copying the elementary Examples in 
 Plates 1 and 2, the lengths and breadths of 
 the objects should be carefully observed, 
 

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9 
 
 together with the direction of the lines 
 describing the contours; as on those par- 
 ticulars depends the character of an object 
 as regards its form : and this should be re- 
 peated till they can be described with facility 
 and correctness ; by which practice the eye 
 becomes gradually matured, and the hand 
 accustomed to draw lines with correctness and 
 decision. The lines should be drawn at first 
 tenderly but steadily, avoiding every thing 
 of a hasty or slovenly character ; as much of 
 our ultimate success depends on our first 
 habits. The darker or shaded sides of the 
 objects should then be proceeded with, by 
 laying the lines by the sides of each other at 
 equal distances, and not in a promiscuous or 
 uncertain manner. By such means the hand 
 becomes firm and steady in its operations, — an 
 essential acquisition in practical drawing. If in 
 the first effort to copy an object, the proportion 
 be not correct, it is better to rub it out 
 altogether, than to get a multiplicity of lines, 
 producing weakness and confusion. 
 
 The preceding remarks apply to the subjects 
 contained in the succeeding four Plates — 3, 4, 
 5, and 6, as regards breadths and lengths : 
 
 B 
 
10 
 
 in these subjects the distances between objects, 
 and their situations, must be carefully ob- 
 served; much of the pictorial arrangement 
 depending on their being judiciously situated. 
 These subjects should be carefully sketched, 
 and not proceeded with till the whole 
 of the parts bear their relative proportions 
 to each other, as they are found to be in 
 the examples furnished for imitation. To 
 remove lines, if any alteration be neces- 
 sary, the crumb of stale bread will be found 
 to be a better material than Indian rubber, 
 as it is less likely to smear or injure the sur- 
 face of the paper, which should be carefully 
 avoided. 
 
 It will be observed that Plates 5 and 6 
 contain examples of the lead pencil, assisted 
 by flat washes on the darker sides of the 
 objects. 
 
 OF DRAWING IN SEPIA. 
 
 The use of Sepia for drawings in one 
 simple colour, has of late years become so 
 general, that Indian Ink has fallen almost 
 


11 
 
 entirely into disuse. By Sepia the greatest 
 depth usually required is obtained, and its 
 warm tone is more agreeable to the eye. The 
 mode adopted is to dip the end of the cake 
 into water, and rub it on an earthenware 
 division tile ; then dilute it with water to the 
 strength required. For these drawings, the 
 paper should be previously strained, and 
 should be larger than the subject about to 
 be drawn, to allow of a margin all round of 
 about an inch and a half. Having cut the 
 paper to the size required, wet the back with 
 a sponge dipped in tlean water, passing it 
 over several times, and leaving it for a few 
 minutes till the water is absorbed, and the 
 paper will lie flat ; run a rim of paste round 
 the edge, about three quarters of an inch 
 wide ; then turn the wetted side of the 
 paper downwards on a drawing board, and 
 press the pasted rim close to the board with 
 a paper knife, or some hard substance ; 
 passing it over several times, to press as 
 much of the paste out as possible, that the 
 paper may adhere firmly to the board. The 
 face of the paper should be then wetted in 
 the centre with a sponge, taking especial 
 
12 
 
 care not to pass it over the pasted rim : 
 without this precaution, the centre would 
 dry before the edges, and the paste would 
 not hold. It is likewise necessary to sponge 
 the front of the paper, to destroy the size on 
 the surface, and to render it absorbent ; let 
 it then dry gradually, and it will become 
 entirely flat. 
 
 Having sketched your subject (Plate 7) 
 carefully in pencil, proceed to lay in the 
 dark or shaded sides of the building, with 
 tint No. 1, as evenly as possible; likewise the 
 windows, gateway, the roof, and other parts 
 of the subject, as shown in the example. 
 This should be done with the pencil 
 moderately filled with colour : your board 
 being in a slanting direction, by beginning at 
 the top of the object, the colour will flow 
 freely downwards. If the pencil should not 
 hold a sufficient quantity of colour to cover 
 the space begun, replenish it moderately, 
 that when you have reached the bottom of 
 the object, you may not have too much left 
 in the brush or pencil. In this part of the 
 process, be careful to leave the lights pure and 
 unsullied; the markings or delicate tints on 
 



13 
 
 the light sides will be put in afterwards with 
 more facility. The darker tints on the dark 
 sides of the building, in the windows, gate- 
 way and ground, are tint No. 2, as seen in 
 Plate 8. As with this tint the dark sides are 
 only partially covered, a less quantity of 
 colour in the pencil will be necessary. After 
 taking the colour, the pencil should be drawn 
 over a piece of spare paper, to bring it to a 
 point, that the colour may be laid with preci- 
 sion, clear and without muddling, but with a 
 pencil not too dry ; the colour should be in 
 a state to flow freely. Leave each wash to dry, 
 before proceeding with the next. The tint 
 No. 3 is used for the small dark touches, as 
 seen in the example, Plate 9 ; and should be 
 used as the tint No. 2, with a pencil mode- 
 rately filled, and carefully brought to a point. 
 These Plates show the treatment of the sub- 
 ject in its several stages. The front of the 
 building is laid down with a faint tint, to give 
 it solidity, and render it distinct from the 
 sky. 
 
 Plate 10, Street Scene, is illustrative of the 
 effect of morning ; — the sun lighting up the 
 whole of the buildings to the right, while 
 
14 
 
 those on the left are obscured by shade; 
 the darks of the windows, doors, pent-houses, 
 &c. lighting up and giving relief to the mass. 
 The sky is subdued with a thin wash, to give 
 value to the lights on the right hand; the 
 darks of the windows, old water-spouts, &c. 
 adding considerably to their brilliancy. Sub- 
 jects of this character materially depend for 
 their day-light appearance on the sharp, 
 certain, and decided manner of their execu- 
 tion ; and should be treated so as to preserve 
 the greatest breadth. 
 
 Plate 11. — Though in treating of the sub- 
 ject shown in its several stages in Plates 7, 8, 
 and 9, three tints have been considered 
 sufficient, yet in subjects of a more finished 
 character, it will be found that the de- 
 grees of tint are varied almost to infinity. 
 The present subject should be proceeded 
 with in the three tints already laid down, 
 and afterwards heightened by repeated touches 
 of strong colour, to enrich and give force to 
 the stronger parts; the lighter parts being 
 varied with thin washes of colour, to relieve 
 it from monotony. 
 
 Plate 12. Lane Scene. — Few subjects afford 
 
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15 
 
 more interest, or are more generally grateful 
 to the feelings, than lane scenery, and more 
 especially those formed by masses of foliage 
 on either side, and where the scene is limited 
 by such masses intersecting each other, 
 from the winding of the road or path, and 
 confining the attention to the magical in- 
 tricacy and variety of the multifarious objects 
 mingling with each other. This subject is 
 intended to represent the pure light of a 
 fresh morning, breaking partially over the 
 fore-ground objects, and giving by contrast a 
 greater depth to those in shade, which lie in 
 the centre of the picture ; the masses of light 
 being reserved for the sky and the fore- 
 ground ; and the latter of these possessing the 
 greater force, from the cloud-shadows and 
 darks forming a sharp contrast. The quiet 
 of the scene is preserved by the solitary 
 figure, with his plodding, shuffling gait. 
 
 Plate 13. Coast Scene. — The character of 
 coast scenery is too well and too generally 
 appreciated to require much to recommend it 
 to the notice of the artist or the amateur : 
 the constant action of the water, in its ruffled 
 and in its more quiet state ; the vessels 
 
1G 
 
 moving on its buoyant surface ; the reflec- 
 tions of the various objects in its vicinity; 
 all contribute to its powerful and various 
 attractions. In this subject, the largest mass 
 of light is reserved for the sky, leaving the 
 lower part of the picture as little disturbed by 
 action as possible ; which contributes mate- 
 rially to its wild and desolate appearance. 
 The solitary boat in the foreground, making 
 its way for the shore, is introduced as an 
 incident contributing to the general effect. 
 
 Plate 14. River Scene. Evening. — In this 
 subject nearly the whole of the objects are in 
 a subdued tone, contributing by their unob- 
 trusive appearance to the natural quiet of the 
 scene; the leading character of which is an 
 undisturbed serenity, which even the lines of 
 the composition essentially assist. 
 
ON 
 
 PAINTING IN WATER COLOURS. 
 
 ON THE CHIAROSCURO, COLOUR, AND THE AUXILIARIES 
 NECESSARY TO THE UNITY OF A SUBJECT. 
 
 The essential qualities of landscape sub- 
 jects depend on form, arrangement, light and 
 shade, and colour; and though it may be 
 desirable to unite all these qualities, in the 
 highest degree of excellence, in one work of 
 art, it not unfrequently occurs, that pictures 
 possessing effect and colour only in an 
 eminent degree, and where the forms and 
 arrangement are of a second-rate quality, will 
 exhibit a charm to the eye almost irresist- 
 ible. Hence it may be inferred, that the 
 artful management of the light and dark, and 
 the colour of a picture, stand pre-eminent as 
 qualities in landscape subjects. It may be 
 further seen, by reflecting on the impressions 
 made on our minds when looking at nature, 
 that the magical combinations of light and 
 shades, and the contrast and harmony of 
 
 c 
 
18 
 
 colour, so rivet the attention, as to render the 
 forms and arrangements of the various objects 
 scarcely noticeable. To explain the qualities 
 of light and shade in a picture, as to the 
 effects produced on the mind, will therefore 
 be found necessary in this division of the work. 
 
 It must be observed, that there are two 
 modes of managing the light and shade in works 
 of art, — the one producing vigour by means of 
 powerful opposition ; the other producing 
 richness by gradation of tint, and massing dark 
 objects together and light ones together. 
 
 The former principle is more particularly 
 illustrated in the first subject, given in Sepia, 
 Plates 7, 8, 9 ; where the dark and light 
 sides of the building are brought in strong 
 opposition to each other ; and likewise in 
 Plates 11 and 12. The darks and lights being 
 immediately opposed to each other, give that 
 vigorous effect arising from a light breaking 
 powerfully on the sides of objects opposed 
 to it. The latter principle is illustrated in 
 the two succeeding subjects — Plates 13 and 
 14, where the points of opposition are less 
 frequent ; the dark mass of rock not coming 
 against the lighter part of the sky, but on the 
 

 
 
 
 
 
 
 
 
 
 
 
 ' 
 
 I • 
 
 
 
 
 
 
 
 
 
 
 
 
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1 
 
 k\i 
 
 A ! i : 
 
 
 
19 
 
 darker, which tends to reduce its force : the 
 vessels at the point are backed chiefly by the 
 dark of the water in the distance, the tops of 
 the masts only coming against the light of 
 the sky : it will likewise be observed, that the 
 boat in the foreground is placed, not in the 
 light part of the water, but on the darker 
 part, which prevents that sharp, cutting effect 
 which would result from its being opposed 
 to the light. In Plate 14, it will be seen that 
 the dark objects chiefly come against each 
 other, except the top and sails of the mill, 
 which are opposed to the sky ; but even these 
 are not placed against the pure light of it : 
 the dark tops of the barges are the only 
 darks in this subject which are opposed to 
 pure white ; the result of which is a mellow 
 and richer effect. 
 
 In considering the forms and the arrange- 
 ment of objects, it must be observed that 
 simplicity and variety should be the pre- 
 vailing features of a subject. It should not 
 be so crowded as to produce confusion, nor 
 so spare of objects as to be deficient of 
 interest; and it will be found that from a 
 small number of objects, well selected and 
 
20 
 
 judiciously placed, is obtained the most 
 effective composition. Objects of the same 
 class or kind should be varied in the size, 
 the colour, or the view : figures should be, 
 some standing still, some walking or sitting; 
 some carrying burthens, others idle; some 
 shown in a side view, others in front. Trees 
 should for the same reason be, some large, 
 some small ; some upright, some leaning ; 
 some bold and massy in their leafage, others 
 light and free, with the sky seen through in 
 various parts : vessels, some in motion, others 
 moored ; some lying broad-side to the view, 
 others fore-shortened, shewing little more of 
 the hull than the head or stern ; some with 
 their sails bent, others furled; and likewise 
 varied in their size, height, and situations. 
 It is the aim of an artist to see every thing, 
 and to seize and retain such things as may 
 be rendered available to his purpose. In the 
 arrangement, objects should not be too much 
 separated from each other, but should be 
 grouped and thrown into masses; and the 
 single or isolated objects introduced merely 
 to connect or to lead the eye from one group 
 to another. In the grouping of objects, there 
 
21 
 
 should be no appearance of studied arrange- 
 ment, nothing formal, no palpable expression 
 or effect of any geometrical figure ; but 
 should be free, and possess the look of casual 
 or unrestrained effort. 
 
 Nature is the great school of study — nature 
 uncontrolled ; not the planted garden, with its 
 well-rolled walks and its nicely trimmed 
 boundaries, its artificial grottoes and its mock 
 ruins, its regular vistas and its made water-falls 
 — the artificial character of which surrounds 
 us on every side ; and which is only ren- 
 dered tolerable by the powerful efforts of 
 nature occasionally destroying the formality, 
 and directing vegetation to break forth in 
 various fantastic forms, by throwing the 
 ponderous limbs of trees over the smooth- 
 clipped lawn, bending and winding gracefully 
 with their multifarious intricacies, and partially 
 concealing, by the magic influence of shade, 
 the monotonous flat beneath. Nature free 
 from such restraints is the school of the 
 artist ; and it is only by a constant study of 
 her never-ending varieties, that he becomes 
 enabled to appreciate her numerous com- 
 binations, to select judiciously those the most 
 
22 
 
 permanently interesting, and to give them 
 with due force and effect. Hence he learns 
 his principles of composition, by observ- 
 ing how flat and uninteresting lines of 
 buildings are broken and relieved by trees 
 or other objects rising against them, — by cloud 
 shadows producing a partial obscurity, — and 
 the various depths of the background objects; 
 all or either of which contribute to aid the 
 pictorial arrangement of a subject. Here he 
 finds all the varieties of colour enriching the 
 different objects, and relieving them from 
 each other ; with the gradations from light 
 to dark, and from warm to cool colour, and the 
 occasional opposition of cool colour to warm, 
 giving relief and variety. By thus observing 
 nature, his mind becomes stored with ideas 
 essential to his pursuit, and with the mode of 
 effectually applying them on all occasions, to 
 support, or increase, the interest of the subject. 
 
 But of however great importance the colour, 
 the composition, and the management of the 
 chiaroscuro may be considered, the treatment 
 of a subject as regards its unity must be ever 
 kept in mind. By this unity, or consistency, 
 the character of the subject in its various 
 
23 
 
 parts is preserved without confusion ; nothing 
 extraneous, or improbable, being introduced 
 to weaken the interest, or to render the 
 intention of the artist doubtful in the sub- 
 ject represented. If the scene be simply 
 rural, the auxiliaries should be the same : — 
 cottagers, cottage children, husbandmen, 
 cart-horses, dogs, poultry, and the like. These 
 should be variously and suitably employed. 
 Heath scenes with gipsies, travellers, cattle, 
 sheep, horses, &c. Lane scenes with travel- 
 lers or gipsies, sheep or cattle, children, 
 beggars, &c. Park scenery with deer, sheep, 
 cattle, horses, dogs, &c. ; but here the horses 
 may be riding horses, and the dogs of a breed 
 for sporting and other purposes, — as the 
 pointer, the greyhound, the spaniel, the new- 
 foundland, and the several varieties usually 
 found in such enclosures. The wild scenery 
 of the hills and mountains should have their 
 interesting and characteristic embellishments, 
 — as sheep, goats, travellers, &c. ; not omitting, 
 in the rocky and desolate scenery of some 
 countries, the bandit or the chamois hunter. 
 
 The unity of a subject is further supported 
 by its colour and chiaroscuro. Objects of a 
 
24 
 
 vast and sublime character require deep- 
 toned colour, and broad masses of shade, with, 
 occasionally, gleams of light and abrupt 
 transitions, to give force to their rugged and 
 imposing character; with a lowering or 
 stormy sky, burying in its deep cloud-shades 
 the gigantic features of the scene. The colour 
 should be kept in broad and simple masses 
 of warm and cool, with but little palpable 
 variety, yet sufficiently varied to prevent 
 flatness or monotony. The whole treatment 
 of such subjects should be broad, simple, 
 massy and effective ; even the detail or smaller 
 parts being generally characterised by a 
 doubtful obscurity. In this class of subject, 
 the middle tint and dark should considerably 
 preponderate, imparting by its influence a 
 gloomy solemnity; and the foreground, in 
 such cases, must be reserved for the stronger 
 light, and more evident display of forms or detail 
 In scenes of a gay and cheerful character, 
 the light and half-light of the picture pre- 
 dominate, allowing but a small portion for 
 middle tint or dark ; the darks in this case 
 arising from the local depth of colour of the 
 several objects distributed throughout the 
 
25 
 
 composition ; the local darks being relieved 
 from blackness or heaviness, by the stronger 
 or deeper touches in the objects themselves ; 
 such local darks contributing by their force 
 to give light to the masses of light and half- 
 light, by which they are surrounded. The 
 figures and objects used as auxiliaries should 
 here be of a light and spirited character ; 
 the leafage of the trees should be thin, ad- 
 mitting the light to pass freely through their 
 several parts, and the branches gracefully and 
 elegantly disposed. The colour in such sub- 
 jects should be cool, fresh, and vigorous ; 
 and the lights clear and decided ; with the 
 detail, especially in the foreground and middle 
 distances, sharply and distinctly expressed. 
 
 The vigour and powerful effect obtained by 
 the modes already stated, are produced with 
 more facility than from any other treatment ; 
 but as there are other qualities, of an equal if 
 not of still higher importance, arising from the 
 introduction of a greater spread of middle 
 tint, it becomes necessary to show its peculiar 
 advantages. 
 
 Where a considerable portion of middle 
 tint prevails, the light objects opposed to it 
 
 D 
 
26 
 
 are more strongly relieved from the back- 
 ground; while the darker objects, and even 
 those of intense depth, are considerably 
 softened down by the tone of the ground by 
 which they are surrounded, producing rich- 
 ness of effect from the outlines or contours 
 appearing less violent; and also a solidity is 
 obtained, which gives weight and importance 
 to the subject ; and at the same time affords 
 an opportunity of introducing a greater rich- 
 ness of colour, without glare or gaudiness, 
 which would be the case if not supported by 
 the general depth of colour carried through 
 the subject. The light objects, in this 
 treatment, will bear that tone of colour which 
 brings them near to nature without heaviness ; 
 and all the intricacies of light and shade and 
 colour become available in the hands of the 
 experienced artist. 
 
 It must not be here understood that power- 
 ful light is unnecessary ; but that the spread 
 of light, forming the several masses in the 
 subject, should be more limited, to allow a 
 greater spread of middle tint, which will be 
 found to prevail in most of the effects ob- 
 servable in nature. 
 

 
 
 
 
 
 
 
 
 
 
 
 ; 
 
 
 
 
 
 
 
 
 
 
 
 
 - 
 
 
 
 
 . 
 
 
 
 
 
 , 
 
 
 
 
 
 
 . 
 

 TINTS USED IN THE COLOURED EXAMPLES:— 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 ■ 
 
 
 
 
 
 
 LIGHT RED. 
 
 BURNT UMBER. 
 
 SEPIA. 
 
 grey of indigo and 
 
 INDIAN RED. 
 
 COBALT AND SEFIA AND INDIAN RED. 
 
 MADDER BROWN. 
 
 COBALT. INDIGO, BURNT SIENNA, 
 
 AND INDIAN YELLOW. 
 
 INDIGO AND 
 BURNT SIENNA. 
 
29 
 
 Explanation of the Diagram. 
 
 To give all the varieties and gradations of 
 tints, broken and tempered by admixture, 
 would tend to perplex the mind of the prac- 
 titioner, rather than to furnish it xVith those 
 ideas of a simple and intelligible character, 
 which alone can be rendered available in 
 his first or early efforts. And, as in the 
 examples in Sepia, where three degrees of 
 tint only have been laid down as the general 
 basis, so it becomes necessary, in the conside- 
 ration of colour, to supply a basis as simple 
 and as intelligible for his early operations; 
 and which, in many instances, will be found 
 to be sufficient for all the purposes of effect ; 
 opposition and harmony comprehending the 
 essentials in colour, as connected with the 
 local colour of nature. It should be known, 
 that we have but three pure or primitive 
 colours, from which all the tints in nature 
 are obtained by admixture ; the power, 
 brilliancy, or harmony of which depends on 
 the matching or placing of them near each 
 other, by which means they may operate to 
 produce the effect desired. To illustrate 
 
30 
 
 which, the three primitive colours, yellow, 
 red, and blue, are so placed as to give the 
 broken tint, made or derived from two of them, 
 between those from which it is derived : thus 
 the orange, compounded of the yellow and 
 the red, is placed between those two colours ; 
 the purple, between the red and the blue, 
 from which it is derived ; and the green 
 between the yellow and the blue, those two 
 colours producing it : and it will be found 
 that those admixtures, which are termed 
 derivatives, operate as links connecting the 
 primitives together. And if those primitives 
 of which they are compounded be tenderly 
 gradated into each other, we have the effect 
 produced in the iris, and which effect by such 
 gradation is termed harmony ; but as op- 
 position of colour is necessary to give force 
 or to counteract weakness, those derivatives 
 are found most effectually to accomplish such 
 purpose, by being placed in juxta-position 
 with the primitives from which they are not 
 derived: thus the green will be opposed to 
 the red, the orange to the blue, and the 
 purple to the yellow. But it must be observed, 
 that the opposing thus of the derivatives to 
 
31 
 
 the primitives, will be sometimes too crude for 
 the general harmony : the practice of sub- 
 duing such crudeness most readily, will be 
 found to be by tempering the green with a 
 small portion of the red with which it is 
 brought in contact ; the tempering the purple 
 with a small portion of the yellow ; and the 
 orange, if too flaring, with a small portion of 
 the blue : but in thus tempering the orange, 
 a blue should be made use of which is not 
 inclined to the green, but should be of a 
 pure character — as the ultramarine, the smalts, 
 or the cobalt. The powerful opposition of 
 the primitives and the derivatives in their full 
 force, can only be used with judicious effect 
 in small quantities, — as in the draperies of 
 figures, the portions of vessels richly deco- 
 rated with flags, &c. and such parts of their 
 hulls as may be powerfully and splendidly 
 ornamented, and which are placed in the fore- 
 ground of the subject. The general manage- 
 ment of the pure and broken tones of colour, 
 and their several proportions according to the 
 nature of the subject, will be found treated 
 on subsequently, under the proper head or 
 division of the work, on Colour. 
 
32 
 
 ON COLOUR. 
 
 SIMPLE AND COMPLEX. ITS INFLUENCE ON THE MIND, EITHER 
 
 IN NATURE OR IN ART. EXEMPLIFIED IN THE DESCRIP- 
 
 TIONS OF THE COLOURED SUBJECTS. 
 
 There is nothing connected with art less 
 generally understood, or in which the prac- 
 titioner is more easily led into a style of a 
 meretricious character, than that of Colour. 
 The artist and the amateur are both readily 
 carried away by the prevailing custom or 
 fashion of the time. It is only for an artist 
 to become a favourite, either from his supe- 
 rior talents, or from the meretricious qualities 
 of his works, to have scores of imitators, fol- 
 lowing him with implicit faith through all 
 the mazy labyrinths of his productions, with- 
 out a single question arising in their minds 
 as to the road they are travelling, or to the 
 consequent results ; but, presuming on the 
 general celebrity of the name, they follow him 
 undeviatingly through all his errors, incapable 
 of making judicious selections from* the best 
 of his works, or from the better parts of any 
 single production. Hence has arisen that 
 
*>y mpyy Jjr y* ?trr/> > 
 
conventional treatment of colour, so prevalent 
 in modern art ; and which impresses us with 
 the idea, that the various productions of an 
 artist are all produced from the same palette ; 
 the same tones of colour being observable in 
 all his works ; — the freshness of nature, and 
 her leading characteristics, being wholly dis- 
 regarded. 
 
 To avoid such inconsistencies, should be 
 the object of the practitioner ; and which can 
 only be accomplished by a constant reference 
 to nature. His early studies, as soon as he is 
 capable, should be faithful transcripts of the 
 various objects to be met with under the 
 changing influences of the atmosphere ; at- 
 tending to the local colour in all its varieties 
 of cool and warm, bright and obscure — under 
 the influence of powerful light, of deep 
 shade, and its intermediate gradations — when 
 affected by the morning’s grey, and the noon- 
 tide splendour, the rich and mellow light of 
 evening, and the deep and sombre tones of 
 twilight. The eye, being thus accustomed 
 to the chaste and sober tints of nature, will be 
 less easily led to admire that which is mere- 
 tricious, or which has not nature for its basis. 
 
34 
 
 As Colour will be better understood by 
 classing it under its proper heads of simple 
 and complex, it may be necessary to observe, 
 that the term simple comprehends the local 
 tones of objects generally, without any refe- 
 rence to their effects when taken in combi- 
 nation ; while by the term complex is to be 
 understood that judicious arrangement, de- 
 pending on a proper distribution of the warm 
 and cool tints, essential to the composition 
 and to the character of the subject, the pre- 
 dominance of either to support such character, 
 and the balance necessary to be preserved, 
 together with their occasional intermediate 
 gradations. 
 
 As in the preceding remarks it has been 
 shown what is to be understood by the term 
 Local Colour, simply comprehending the tones 
 found in the various objects by which we are 
 surrounded, it becomes necessary to explain 
 it in its combinations, which is generally 
 in reference to its qualities of warm and cool. 
 Where the harmony or general look of the 
 subject is cool, objects of warm colour — as 
 reds, browns, reddish browns, yellow, yel- 
 lowish white, warm greens, &c. — are required 
 
to give contrast, and to relieve it from 
 monotony. In such case the warm tones of 
 colour should be mostly of a subdued cha- 
 racter, and seldom introduced in their full 
 strength and purity; or, if so introduced, 
 should be in small portions ; as an extensive 
 mass of pure red, or pure yellow, would not 
 only destroy the cool character of the subject, 
 but would be gross and offensive in its general 
 effect. Where the general look or harmony 
 of the subject is warm, objects of a cool 
 quality become necessary as foils, to relieve 
 it — as blues, greens of a cool quality, cool 
 greys or purples, and tones approximating 
 to black, &c. It should be ever kept in 
 mind, that strong colour in an isolated state, 
 or standing by itself unsupported by colour 
 of a similar quality, becomes a spot, from its 
 strength and powerful opposition ; it must 
 therefore be led off, or kept in countenance 
 by colour of the same quality, but of different 
 degrees of strength and purity ; as pure reds 
 may be carried off by subdued ones, by those 
 of a cooler quality, by reddish browns, by 
 browns, and by tones even of a reddish 
 purple. 
 
But though powerful colour may be thus 
 subdued and brought into harmony, it should 
 be remembered that, in thus subduing its 
 force, the vigour of the subject should be 
 maintained, and not be sacrificed to the har- 
 mony; but both be preserved by a judicious 
 balance of their several qualities. 
 
 Independent of these general principles, it 
 is necessary to consider the varieties of at- 
 mosphere, the pure and the gross, with its 
 peculiar characteristics in reference to seasons 
 and to climate ; for the absurdity must be 
 evident, of giving an Italian atmosphere to an 
 English locality, or an English atmosphere to 
 one of Italy ; though these mistakes too 
 frequently occur to escape notice, where pure 
 ultramarine, and that of considerable depth, 
 is prevalent in the skies of some pictures, 
 and seems pressed, as it were, into the 
 service of English scenery. Hence it follows, 
 that an unity of colour should be carried 
 through every work of art ; and that the 
 vapoury character of our own atmosphere is 
 essential to mark its individuality. The sea- 
 sons have also their distinguishing qualities ; 
 and we should remark the humid atmosphere 
 
of spring, with its grey clouds, and yellowish 
 grey lights ; the neutralized blue of the morn- 
 ing skies, and the dingy yellow at the close of 
 day ; the pure and pearly greys of a summer’s 
 morning, the bright and silvery tones of the 
 midday light, and the glowing tints of an 
 evening sun ; the hazy warmth of a fine 
 autumnal morning, the massy purple clouds 
 of the advancing day, and the gorgeously 
 rich tones of colour skirting the horizon at its 
 decline. These, with their influences on the 
 surrounding objects, become the constant 
 study of the artist ; and it is by such study 
 that he becomes enabled to appreciate, to 
 select, to combine, and to arrange, in such a 
 manner as to give an air of truth to his 
 various compositions. 
 
 As regards colour, it must be mentioned 
 that the general look of a picture materially 
 depends on the quantity of cool or warm 
 colour of which the subject is composed. And 
 though the quantity of either, depending on 
 the nature of the subject, prevents the setting 
 certain bounds to such quantities, yet, by a 
 reference to nature, and considering the 
 effects produced on the mind by the pre- 
 
38 
 
 ponderance of either, it will be readily felt in 
 what class of subjects the warm or the cool 
 should have the ascendency. 
 
 It will be found that those subjects which 
 are of a cheerful character, and where there 
 is an extensive spread of light, will show 
 colour in its various degrees through all the 
 grounds of the picture — that is, the fore- 
 grounds, the middle grounds, and even the 
 distances: there will consequently be a greater 
 spread of warm colour — neutrality or absence 
 of colour implying coolness : and on the con- 
 trary it will be found, by observing the 
 quality of cool colour in storms at sea, or on 
 the coast, where the grey or neutralized 
 tones of the sky occupy a large space in that 
 portion of the subject, and its influence on 
 the reflective quality of the element beneath 
 carries that neutrality into the lower part of 
 the subject, that there will be a greater 
 quantity of cool colour, or absence of colour 
 generally; those parts only of the subject 
 showing local colour in its purity, which are 
 under the influence of the stronger light. 
 
 Hence arise, from a combined operation of 
 licht and colour, the characteristics of cheer- 
 
 o 
 
39 
 
 fulness and splendour ; and from their absence, 
 the powerful effects of gloom and sentiment ; 
 the relative proportions of colour and neu- 
 trality, or what is termed warm and cool 
 colour, increasing or diminishing the effect of 
 either class of subject. 
 
 It will from the preceding observations be 
 seen, that though the cool or neutral quality 
 of colour partakes of or approximates to 
 blue, it does not follow that the purer the 
 blue, the colder will be the general effect : 
 on the contrary, as purity of colour implies 
 light, even blue in its purity will become an 
 accessory to the general warmth, gaiety, and 
 splendour of the scene ; operating in such 
 cases as a foil to the surrounding colour, and 
 giving it increased value. Cool or fresh 
 greens, as they are generally termed, possess 
 the same invigorating and cheerful quality, 
 when used among or opposed to colour or 
 tones of colour consisting of the reds, yellows, 
 or browns, in their several degrees ; the in- 
 troduction of such pure greens or blues being 
 always kept in small proportions. Thus, on 
 the spread of light or dark, on the diffusion 
 of colour or neutrality, and on the judiciously 
 
40 
 
 opposing colour to colour in the light parts 
 of a subject, depend essentially the leading 
 features, or characteristic look, of a work of 
 art. 
 
 It is scarcely necessary to remark, that, 
 whatever truth of effect may he obtained by 
 thus proportioning the light and dark, or the 
 warm and cool colours of a picture, the pre- 
 ference will be given generally to those works 
 possessing the greater quantity of light and 
 ot warm colours, as the subjects in nature 
 possessing those qualities affect us to give 
 them generally a preference ; and it there- 
 fore becomes a question, in such cases, of no 
 mean importance, as to the proportions of 
 warm and cool colour, either pure or broken, 
 which may be comprised in one subject, for 
 obtaining the object desired. As there is no 
 object in nature depending so essentially on 
 the combinations of its colour for its grateful 
 influence over our feelings, as the iris, it may 
 not be unimportant to consider the propor- 
 tions of the various tints of which it is com- 
 posed, and which are found to be as follow : 
 — dividing the whole into 100 parts, the 
 purple will be 1 1 ; red, 1 1 ; orange, 8 ; yellow, 
 

41 
 
 14; green, 17; blue, 17 ; violet, 22. Thus, 
 taking the palpably warm tints, — red, 1 1 ; 
 orange, 8; yellow, 14, — making 33; and con- 
 sidering the green, being compounded of 
 yellow and blue, giving 8i parts yellow ; and 
 the purple, being compounded of red and blue, 
 giving 5^ parts red, making together 14 parts, 
 — and from the influence of the blue, when- 
 ever its cheerful character from the strength 
 of light can render it a portion of those 
 colours which imply warmth, we obtain 17, — 
 the show of warm colour, or of colour 
 opposed to neutrality, will be as 64 to 36, or 
 in the proportion of something more than 6 
 to 4. And if we take the three primitive 
 colours, and consider their relative proportions 
 — red, 11 ; yellow, 14; blue, 17 — we shall dis- 
 cover nearly the same result as to proportion ; 
 the warm colours, red and yellow, giving 25 
 parts, the blue 17 ; that is. the warm in the 
 proportion of about 6 to 4. 
 
 The mind may be further led, in the con- 
 sideration of colour, to successful results, by 
 observing the proportions of warm and cool 
 colour to be found in nature under various 
 circumstances, when the combinations or 
 
 F 
 
42 
 
 quantities of either are such as to be more 
 than usually grateful or interesting to the 
 feelings ; and by noticing their gradations 
 into each other, their sudden check or oppo- 
 sition, the extent of the several masses, and 
 the delicate or powerful varieties observable 
 in the various parts ; together with their 
 relative strengths, and their tender and har- 
 monious combinations, with all their multi- 
 farious forms and intricacies. 
 
 In the Examples given for illustration, it 
 will be seen that the warm and cool colour 
 is kept in broad masses. In Plate 15, the 
 largest spread or mass of cool colour is in 
 the sky, and the most powerful mass of 
 warm is in the middle distance : the colour 
 in this mass is tenderly varied, to prevent 
 flatness ; the cool quality of the sky is 
 balanced by the cool greens of the fore- 
 ground, and by the grey tones of the road. 
 
 In Plate 16, the spread of cool colour is 
 more extensive than in the preceding, as the 
 cool tones of the sky are reflected in the 
 water, and a portion of the light part of the 
 water is subdued by the grey, to keep it dis- 
 tinct from the sky, and likewise to give that 
 

 
43 
 
 part of the subject weight and solidity ; the 
 warmth of the sky is repeated in the water 
 by its reflective quality, which gives an ex- 
 tension of the warm mass ; the warm tones 
 of colour are likewise distributed through 
 the subject by the vessels and boats, and by 
 the warm patches of verdure on the shore in 
 the middle ground. 
 
 In Plate 17, the warm colour predomi- 
 nates ; the density of the atmosphere of a 
 hazy morning giving more strength of colour 
 than when in a more rarefied state ; the 
 warmth of the sky, and the warm tone of the 
 buildings from the light of the sun, form the 
 principal mass of light warm colour, which 
 is carried through the composition by the 
 warm colour in the foreground, and the re- 
 flection in the water of the light of the sky : 
 the cool mass of colour in the sky, and water 
 on the left side, is carried to the right by the 
 grey tones broken over the foreground, and 
 the grey parts of the wood on the causeway 
 
 Plate 18. — The principal unbroken mass 
 of warm colour in this subject, is in the sky ; 
 it is repeated by its reflection in the water, 
 and carried through the picture by the warm 
 
44 
 
 browns of the buildings, and by the warm 
 tones of the foreground ; the larger boats in 
 the foreground possessing the stronger colour, 
 become the focus of the warm tints and like- 
 wise of the darks of the subject; — the cool of 
 the sky, with its reflection in the water, and 
 the cool water mingling with the foreground, 
 being the only cool parts in the picture, 
 except the occasional grey tints broken in 
 with the fore-ground. 
 
 Plate 19. — The largest spread of light 
 warm colour in this subject is in the sky, 
 which is of a very tender character, from the 
 clear and fresh quality of the atmosphere ; 
 the warm colour being carried through the 
 subject by means of the boats : the cool tints 
 of the clouds, and the cool quality of the 
 whole of the water, giving a preponderance 
 to the cool over the warm in this subject, 
 contributes to its general freshness. 
 
 Plate 20. — In this subject, the rich warm 
 tones of colour in the sky, require the deep 
 but somewhat neutralized tones of the middle 
 ground and distance to throw it into light; 
 the mass of cool grey in this subject running 
 through the centre of the picture : the 
 
45 
 
 warmth 'of the foreground, and the fore- 
 ground figures, balance the warmth of the 
 sky, and bring the light into that part 
 of the subject, while the fresh cool tones 
 of the sky give increased value to the warm 
 light in this part of the composition. 
 
 ON THE PURE AND BROKEN TINTS MADE USE OF 
 IN THE COLOURED EXAMPLES. 
 
 Plate 15. — Sky, yellow ochre in the light, 
 cobalt and madder brown in the dark. 
 Warmth of the clouds, grey and burnt sienna; 
 distance, cobalt and madder brown; clumps 
 of foliage, grey and burnt sienna ; the light 
 part of the heath, Roman ochre partially 
 changed with a little indigo, the dark parts 
 with Indian yellow, burnt sienna, and indigo ; 
 the road, grey, madder brown, and a little 
 cobalt, warmed in parts with burnt sienna; 
 the darker touches, sepia and Indian red. 
 
 Plate 16. — Yellow ochre in the light of 
 the sky ; clouds and darker parts, cobalt and 
 
46 
 
 madder brown ; distance, cobalt and madder 
 brown, strengthened with indigo ; the warmer 
 patches of verdure, burnt sienna and Indian 
 yellow ; the water, yellow ochre in the light ; 
 the darks are of the grey made of cobalt 
 and madder brown, a thin wash of which is 
 passed over the subdued light in the fore- 
 ground ; the hulls and sails of the vessels, 
 sepia and madder brown, changed in parts 
 with the grey. 
 
 Plate 17* — The light of the sky, Naples 
 yellow, gradated into the dark with madder 
 brown; the darker parts and clouds, cobalt 
 and madder brown ; the light of the buildings, 
 burnt sienna and Roman ochre, subdued 
 with the grey tint; the darks are of the 
 grey tint, rather warm ; the light of the 
 ground, Roman ochre and burnt sienna ; 
 the boats, sepia and madder brown ; the 
 water, cobalt and madder brown in its varied 
 proportions. 
 
 Plate 18. — The sky, Naples yellow, gra- 
 dated into the darker part with madder 
 brown, and strengthened in the darker part 
 with cobalt; the line of cloud, cobalt and 
 madder brown ; the water, of the same tints 
 
47 
 
 as the sky ; the distant trees, Indian yellow, 
 burnt sienna, and indigo ; the warm tones 
 of the buildings, burnt sienna or burnt umber 
 subdued with the grey ; the foreground, 
 sepia, with touches of burnt umber, and warm 
 green of Indian yellow, burnt sienna, and 
 indigo ; the boats, sepia and madder brown, 
 the warm tones burnt sienna. 
 
 Plate 19. — The light of the sky, a thin 
 wash of light red ; the clouds, cobalt and 
 madder brown ; the line of distance, cobalt 
 and madder brown ; the sea, indigo and 
 burnt sienna with a small portion of yellow 
 ochre, the cooler parts with more indigo ; the 
 boats, sepia and madder brown, strengthened 
 with sepia in the darker parts. 
 
 Plate 20. — The sky, Naples yellow, gra- 
 dated into the cooler parts with madder 
 brown, the deeper parts cobalt and madder 
 brown ; the clouds the same, but with more 
 madder brown ; the dingy orange of the sky 
 near the horizon strengthened with madder 
 brown ; the distant hill, cobalt and madder 
 brown ; the castle and middle ground, burnt 
 umber with a little indigo, changed in parts 
 with Roman ochre and touches of cool green; 
 
48 
 
 the foreground, burnt sienna and Roman 
 ochre, subdued with the grey; the water, 
 burnt sienna and indigo ; the cattle, burnt 
 umber, with strengthening touches of madder 
 brown and sepia. 
 
 THE END. 
 
 RICHARD CLAY, PRINTER, BREAD STREET HILL, LONDON.