63 
 
 VARIETY. 
 
 You will have to be taught by it, though it is your own 
 work, for you were learning, when you made the sketch, 
 of the great teacher, Nature. What you then put down 
 was Nature’s lesson to you; and if you touch it when 
 away from her influence, you may obliterate the result of 
 her valuable instructions. 
 
 THE END. 
 
 LONDON I 
 
 Printed by Schulze and Co., 13, Poland Street. 
 
WATER-COLOUR PAINTING. 
 
 BEING 
 
 A COMPLETE EXPOSITION OF THE PRESENT ADVANCED STATE 
 OF THE ART, AS EXHIBITED IN THE WORKS OF THE 
 MODERN WATER-COLOUR SCHOOL. 
 
 By AARON PENLEY, 
 
 • y 
 
 MEMBER OF THE NEW SOCIETY OF PAINTERS IN WATER-COLOURS, AND PROFESSOR OF 
 DRAWING AND PERSPECTIVE TO THE HON. EAST INDIA COMPANY’S MILITARY 
 COLLEGE AT ADDISCOMBE, ETC. ETC. ETC. 
 
 Thirteenth Edition. 
 
 aus rnonAT autificem. 
 
 LONDON: 
 
 WINSOR AND NEWTON, 38 RATHBONE PLACE, 
 
 artists’ CoIour-fHalters, 6s Special appointment, to Ijer fastest} 
 ano to Sl.K.ft. (prince aiPert. 
 
LONDON 
 
 PRINTED BY ROBSON, LEVEY, AND FRANKLYN, 
 
 Great New Street and Fetter Lane. 
 
PREFACE. 
 
 To those who may be disposed to consult the following 
 pages in the prosecution of a most agreeable accomplish¬ 
 ment, it will be satisfactory to know that the informa¬ 
 tion which they contain is derived from a source which 
 may be unhesitatingly depended upon. This statement 
 rests upon the Author’s admitted skill as an artist, and 
 above all, upon his long experience as a Master. One 
 great object which he kept in view, in the preparation 
 of the work, was to divest it as much as possible of the 
 technicalities of Art; combining the laying down of a 
 few general principles, absolutely necessary to be under¬ 
 stood in the outset, with a full and copious detail of 
 practice and manipulation. The tables of colours and 
 tints, suited to every variety of object and effect, will 
 be found especially and eminently useful; and it may be 
 added that, while these tables may be fully relied upon, 
 as the result of much thought and long experience, they 
 will prove adequate to the resources presented by the 
 hi^h state of colour-manufacture, and to the require¬ 
 ments of the advanced powers of Water-Colour Painting. 
 
IV 
 
 PREFACE. 
 
 The Editor has felt much satisfaction in the confi¬ 
 dence reposed in him, implied in his being intrusted 
 with the duty of conducting these sheets through the 
 press; and he ventures to hope that this work, with its 
 earlier companion, will be a sufficient guide, in the 
 hands of the patient and industrious, to the attainment 
 of no mean proficiency in this delightful branch of 
 English Art. 
 
 K. C. L. 
 
 J. E. 
 
WATER-COLOUR PAINTING. 
 
 
 INTRODUCTION. 
 
 The intention of this System of Water-Colour 
 Painting is to direct the student in this branch of Art, 
 by pointing out the means by which the several combi¬ 
 nations of colour are produced, as well as to explain all 
 the manipulative processes exhibited in the present ad¬ 
 vanced state of Painting in Water Colours. 
 
 Assuming that a knowledge of the proper materials 
 for Water-Colour Painting has been obtained from other 
 sources,* and that the reader has made himself familiar 
 with the management of the pencil, so far as outline and 
 form are concerned,f we will, after a few words upon 
 “ finish,” and upon the principles and the necessary 
 requirements of Art generally, enter into the practical 
 details of this branch of Painting, going through its 
 several stages of progression, and endeavouring, at the 
 same time, to give some insight into the methods by 
 which certain effects are produced. 
 
 * See Rowbotkam’s “Art of Painting in Water Colours.” Winsor 
 and Newton. 
 
 f See “ The Art of Sketching from Nature.” Winsor and Newton. 
 
IJart fi. 
 
 PBINCIPLES. 
 
 1. GRANULATION. 
 
 The great charm of Water-Colour Painting lies in 
 the beauty and truthfulness of its aerial tones; and hence 
 arises its peculiar power of adaptation to the representa¬ 
 tion of skies and distances—be they light or dark, glow¬ 
 ing or sombre. The production of this beautiful effect 
 depends entirely upon the fact of the paper on which 
 we paint being granulous; that is, upon its surface pre¬ 
 senting so many little hollows and projections, which re¬ 
 ceive transparent washes of colour, whereby an altera¬ 
 tion of light in the protuberances, and half-light in the 
 cavities, is maintained. By such alteration and varia¬ 
 tion of light the eye is enabled to penetrate beyond the 
 flat surface. Such being the case, it is strictly impera¬ 
 tive on the Artist that he should never lose this grain ; 
 for upon this will depend the atmosphere, and therefore 
 the success, of his work. 
 
 2. AIR. 
 
 One of the first essentials in Landscape Painting is 
 the proper management of the sky, which should be 
 made to retire, not appearing as colour or paint, but as 
 air. It should be a representation conveying the idea 
 of vacuity or space, and not of surface. A clear and 
 open sky is not, as the mere sketch would render it, 
 blue colour, but rather a tone of the purest and most 
 
FORM, COMPOSITION, INVENTION. 
 
 7 
 
 perfect character, into which the gaze can be made, as 
 it were, to pierce; and this cannot be effected by a sim¬ 
 ple wash of Ultramarine or Cobalt. 
 
 3. FORM, COMPOSITION, INVENTION. 
 
 But the basis of all art is accurate drawing. This 
 consists in a correct form being given to every object, 
 however symmetrical or however rugged those objects 
 may be. Form is that by which all objects are recog¬ 
 nised and identified, each having its own peculiar con¬ 
 struction, answerable to the purposes for which it was 
 made. It is not characterised by the outside line only, 
 but is equally developed in the intermediate spaces be¬ 
 tween the lines. Form , upon this principle, not only 
 rests with the shape of any individual part, but is essen¬ 
 tial to the whole bearing of the lines of which our pic¬ 
 ture is composed, and, in this sense, it is composition. 
 
 Invention is now called in to assist form, in throwing 
 a proper degree of ideality and refinement over our 
 work. Invention is the power of discovering those se¬ 
 parate parts of Nature’s works which, when combined 
 and placed together, will enable us to produce paintings 
 that shall be eminently beautiful. It is an idealising of 
 what we have seen into that which we have not seen. 
 
 Imitation is the power of painting correctly what we 
 see ; it is, in fact, the capacity for producing topogra¬ 
 phically a copy of a given view. It is undoubtedly de¬ 
 sirable, so far as it tends to impress the mind with the 
 truthful representation of individual objects ; but it is 
 unsatisfactory, if we do not rest contented with the mere 
 form and proportions of the scene. In the successful 
 production of a painting, it must be assisted by inven¬ 
 tion, composition, light and shadow, and colour. 
 
8 
 
 LIGHT, SHADE, ETC. 
 
 4. COLOUK; 
 
 WITH ITS SUBDIVISIONS OP LIGHT AND SHADE, RELIEF, HARMONY, 
 
 BREADTH. 
 
 Colour may be defined as harmony, contrast, and 
 keeping; it treats of the effects of atmosphere, and gives 
 to each object its local truth. Colour is rendered diffe¬ 
 rently, according to the various degrees of light and re¬ 
 flection. Thus, red in open daylight is not the same 
 red we should see under the influence of the setting 
 sun; and it is sometimes astonishing to see the great 
 dissimilarity of colour, as it occurs in light or in shadow. 
 
 Colour, as regards composition, is defined by position 
 and repetition, and therefore its use is treated as one of 
 the principles of Art, being guided by certain laws of 
 harmony, contrast , and distribution.* 
 
 Light and shade are the means by which different 
 effects are produced, answerable to the intention of 
 the composition. This important principle in Art may 
 be divided into three heads,— Relief, Harmony, and 
 Breadth. 
 
 Relief is evidently adapted for works of large dimen¬ 
 sions, inasmuch as, from their being seen from a dis¬ 
 tance, the hardness or cutting of the lines is consider¬ 
 ably softened. It is indispensable to every thing that 
 has force. 
 
 * It is asserted by one of our leading water-colour painters, “ That 
 if the picture is intended to have a cool sky, the landscape ought to be 
 principally composed of warm tints, as a contrast of this kind tends to 
 the essential improvement of the general effect.” Surely this cannot 
 be in accordance with truth, or with the dictates of nature. A cool and 
 gloomy sky must cast a corresponding tone over the whole landscape ; 
 and simply for this reason, that colour receives all its tone from the 
 peculiarity of the prevailing light; whence, if the sky be cool, the land¬ 
 scape must be cool also. Should it be desirable to bring warmth into 
 our work, it must be by certain auxiliaries, that shall form masses of 
 warm colour, to reclaim that which otherwise is cheerless, and to render 
 it agreeable and satisfactory as a work of art. 
 
COLOURING FROM NATURE. 
 
 9 
 
 Harmony is the happy link between relief and 
 breadth. It is so arranging the whole, by the connec¬ 
 tion of one part with another in a quiet and unostenta¬ 
 tious manner, as to obtain a just combination and balance 
 through the entire picture. By this principle, light, 
 shade, and colour are so charmingly and pleasingly 
 blended together, that nothing appears harsh or abrupt: 
 all is one even and kindly effect. 
 
 Breadth is a quality in Art suitable to almost every 
 class of pictorial and scenic effect. It consists of a just 
 combination of large masses of light or of shadow;— 
 light softening into light, and shadow graduating in 
 shadow. Sometimes it is a deep and sombre effect, by 
 being chiefly made up of middle tint, dark and half- 
 dark, having a few lights of different sizes scattered 
 about the subject, so as to give vigour and create a true 
 balance. Sometimes, again, it is equally desirable in 
 mid-day scenes, where the power of light is so great 
 and the reflection so strong, that the picture is a com¬ 
 bination of light, half-light, and middle tint, having a 
 few telling and strong darks diffused through the whole, 
 but at a well-considered distance from each other. 
 
 5. COLOURING FROM NATURE. 
 
 Since the aim of these pages is to lead the learner 
 on progressively to the production of the finished and 
 deeply-felt picture, it is essential that, before making 
 the higher attempts of Art, he should attain the ready 
 use of the pencil, as to how the subject he is about to 
 sketch should be begun and completed as a sketch. 
 This previous skill and practice must be fully mastered; 
 for it is useless endeavouring to adorn with colour any 
 forms, the drawing of which is distorted and mis-shapen. 
 For the attainment of these rudimentary principles we 
 recommend a work just written, by Mr. Rowbotham, 
 
10 
 
 COLOURING FROM NATURE. 
 
 where every rule and principle for linear drawing is 
 concisely though clearly laid down. 
 
 To construct our picture truthfully as to general 
 tone, no better means can be employed than to take our 
 stand out of doors, and, with colour-box in hand, en¬ 
 deavour to imitate Nature to the best of our ability. 
 Those who place themselves before her must take cog¬ 
 nisance of different effects as they pass over the scene, 
 and never lose sight of the impressions then so strongly 
 made upon their minds. 
 
 Colouring from Nature should be decided and pure, 
 without aiming at high finish; exhibiting much study 
 and careful attention to all before us. Boldness is es¬ 
 sential ; but that boldness must be accompanied and 
 directed by prudence and discretion. 
 
 Our first studies from Nature should be limited in 
 their range as to the subject; for our attention may then 
 be directed to individual parts, and a knowledge of hues 
 and tones treasured up, that shall enable us subsequently 
 to venture upon more extensive operations. Colouring 
 on the spot where the sketch is taken is, of all processes, 
 after design and drawing, the most important. We there 
 collect a practical knowledge of tone after tone, of which 
 we should always have remained in ignorance, had we 
 not thus witnessed them. We watch the effect of light, 
 and its constant change, seeing how different every ob¬ 
 ject becomes under its peculiar and variable influence. 
 Yon mountain, which just now was purple, and now a 
 deep and still deeper purple, is suddenly lit up by the 
 outburst of the sun’s gleam, exhibiting it in all its local 
 colours with strict fidelity, though considerably softened. 
 The beautiful and luxuriant foliage at its base, which a 
 few moments before was so variegated that each tree 
 seemed to vie with the others in autumnal gaiety, now 
 bears the semblance of a dark and neutral mass;—so 
 changeful, so playful, are the hues and tones of Nature. 
 

 COLOURING FROM NATURE. 11 
 
 All these, as they occur, should be stored up in the 
 memory, or noted down at the time; for the remarks so 
 made will enrich our imagination, and serve as a mine 
 of valuable treasures, from which we can draw when we 
 are within the walls of our own dwelling.* 
 
 His coloured sketch, then, must be paramount in the 
 painter’s estimation. Upon it he must build his hope 
 of success, by having it as the foundation for all his 
 finished works;—he should begin with it, be directed 
 by it, and, in the exercise of his imaginative powers, 
 should never travel too far from what he will see was 
 originally dictated to him by Nature. Let us ever bear 
 in mind, that Art is only called in to assist, not to super¬ 
 sede, Nature. It is surprising what an impress of reality 
 there is in every thing that has been painted from Na¬ 
 ture. It possesses the charm of freshness, of purpose, 
 of reasonableness, of faithfulness. If such be the case— 
 and it most certainly is—how is it possible to bestow 
 upon this branch of the Art too great attention and 
 study ? 
 
 Ample instructions will be found, as to colours and 
 their several combinations, in the following pages; but 
 we wish it to be distinctly understood, that the execu¬ 
 tive part of a sketch should be both simple and clear. 
 Mere washes of colour will in most cases be found to be 
 sufficient. No washing off will be required, nor any of 
 the means described for more finished works. The tints 
 should be painted in at once with correctness, and must 
 be as little disturbed as possible. 
 
 * For instances of this jotting down of transient effects and impres¬ 
 sions, see page 36. 
 
fiart H. 
 
 PRACTICE. 
 
 1. FIRST GENERAL TINT. 
 
 Having thus briefly touched upon the leading 'prin¬ 
 ciples of Art, with a view to show the necessity of making 
 ourselves acquainted with them, we will enter into the 
 practical part of Painting in Water-Colours—that part 
 which concerns the proper execution of a picture; and 
 in which we shall exhibit those processes and manipu¬ 
 lations which constitute what may be called the mechan¬ 
 ism of the art. 
 
 Paper, being white, is too opaque to paint upon 
 without some wash of colour being first passed over it 
 (for the light tones of the sky would else be apt to look 
 crude and harsh); we must therefore go over it with 
 some desirable tint, that shall break, in a slight degree, 
 the extreme brilliancy of the mere paper. For this 
 purpose a thin wash of Yellow Ochre and Brown 
 Madder is to be put over the whole surface of the 
 paper w r ith a large flat brush, care being taken never 
 to drive the colour too bare, i. e. never to empty the 
 brush too closely, but always to replenish before more 
 is actually required. The drawing-board must be sloped 
 at about an angle of 45 degrees, so that a sufficient tend¬ 
 ency may be given to the colour to flow downwards : 
 should the brush be too full towards the lower edge, 
 gently place it upon a damp sponge, which will suck up 
 the superfluous moisture, and render the brush fit to con¬ 
 tinue the process without leaving blurs. This method 
 should always be resorted to in every case where the 
 brush is too full: a cloth or blotting-paper will answer 
 
SKY. 
 
 13 
 
 almost as well, and, indeed, where the quantity is small, 
 much better. 
 
 This first wash of colour not only gives a tone to the 
 paper, but secures the pencil sketch from being rubbed 
 out. 
 
 The reason why, in this previous preparation of the 
 paper, Yellow Ochre, as a yellow, is preferred to any 
 of the others, is, that it is a broken yellow, that is, a 
 yellow slightly altered by having another tint, such as 
 red or brown, in its composition; it is somewhat opaque, 
 and hence, from this quality, is especially adapted for 
 distances. Brown Madder also is a subdued red; and 
 when in combination with the former, it produces a 
 Neutral Orange, partaking of the character of soft light. 
 As a general rule, Yellow Ochre is to predominate in 
 broad daylight, and Brown Madder in that which is 
 more sombre and imperfect.* 
 
 2. SKY. 
 
 This first tint being dry, quite dry, it must now be 
 washed over with clean water and a soft brush, which 
 will remove all colour that does not attach itself to the 
 paper firmly. Blotting-paper must then be placed over 
 it, to take off the wet, and simply to leave it in a damp 
 state, in order that it may receive the first wash for the 
 sky softly. Now commence from the top with a large 
 brush,—the softer the hair the better,— charged with 
 any one of the colours hereafter enumerated for the sky, 
 adding water as it approaches the horizon. This, of 
 course, is on the supposition that there are to be no 
 clouds. To expedite the work, the drawing may be 
 held to the fire to dry, as it will not be injured by so 
 doing. When it is dry, the process of washing off with 
 clean water, as above described, has to be gone through, 
 
 * This compound tint of neutral orange may now be had at Messrs. 
 Winsor and Newton’s. 
 
14 
 
 SKY. 
 
 that the colour may be in a slight degree removed from 
 the upper surface of the paper, producing two separate 
 gradations. The operation of laying on the colour and 
 softly washing over it afterwards, must be repeated three 
 or four times, and the result will be a transparent aerial 
 tone. • Always go over the whole drawing with the sky 
 tints, excepting the high lights, as by so doing air tones 
 are brought into the foreground. Whether the first tint 
 is sufficiently deep must be left to the peculiarity of the 
 subject in a great measure. Too much attention cannot 
 be paid to the “ under tints.” The number of washes 
 to be put on a painting must of necessity depend upon 
 the degree of finish required. In some instances one 
 wash, after having been passed over with water, will be 
 enough; others may have two, three, or four. The 
 judgment of the Artist must be exercised on this point, 
 as no definite rule cau be given. 
 
 For a clear sunset, the Neutral Orange, of Yellow 
 Ochre and Brown Madder, must be repeated, with a 
 preponderance of the former at the top, assisted by a 
 little Cadmium or Indian Yellow near the sun; Brown 
 bladder being added downwards. 
 
 We must here again dwell upon the necessity of 
 using the brush with clear water between each wash of 
 colour, and of applying the blotting-paper, as by having 
 the paper damp there is no occasion for haste. Besides, 
 the paper, being damp, will be in a more fit state to re¬ 
 ceive water, by having affinity for it. The edges of 
 colour will dry softly, and the touch will be given with 
 certainty. 
 
 A wash of Cobalt, or of Cobalt warmed by a little 
 Bose Madder, must then be passed over the top of the 
 sky, softened downwards. This should be very flatly 
 given. A tint of Yellow Ochre, and one of Yellow 
 Ochre and Indian Bed, must then be prepared. This 
 done, apply these tints by commencing over the top 
 
CLOUDS. 
 
 15 
 
 part of the blue with clear water, gradually adding the 
 yellow, and changing to the compound tint, strength¬ 
 ening as may be desired. These washes have to be taken 
 over the whole of the drawing, to ensure the prevailing 
 atmosphere. Should the Yellow Ochre not be suffi¬ 
 ciently bright, add some Cadmium Yellow, a colour 
 particularly brilliant as well as lustrous, and of immense 
 value in sunset pictures and draperies. 
 
 The red portion of the sky may be improved by a 
 thin wash of Rose Madder, or of Rose Madder and a 
 little Cadmium Yellow. This last tint is more trans¬ 
 parent and true than either Light Red or Venetian Red. 
 When the Red is to be deepened, add a little Purple 
 Madder. If deep purple lines are louring over the ho¬ 
 rizon’s brink, a compound of Cobalt or French Blue with 
 Purple Madder, or with a little Indian Red and Lake, 
 will be found to give the effect admirably. In the lower 
 portion, or downwards rather from the Blue, great at¬ 
 tention must be paid to the blending of the tints. The 
 extreme brightness of this lower portion, which is of 
 a pale yellow, should occupy but a very small space. 
 From this we must gently graduate into Yellow, then 
 successively into Orange, deep Orange, Red, Crimson, 
 a Murky Red, Purple, Slate colour, and lastly Bluish 
 Green. These are the gradations from light to shadow 
 downwards ; but in the ascending portion. Red occupies 
 no place: the Pale Yellow above spoken of changes 
 into a Sea Green, then into a broken Blue, and Grey, 
 becoming colder and more colourless as it reaches the 
 zenith. 
 
 3. CLOUDS. 
 
 As yet we have been speaking of a clear sky only; 
 the difference that exists with regard to clouds is, that 
 they come under the influence of the sun. Those above 
 the sun must necessarily be tinged at their lower edges 
 with the prevailing colour, the gradation from light to 
 
16 
 
 CLOUDS. 
 
 dark being strictly observed. Here, however, great 
 judgment is requisite, as clouds receive more or less 
 shadow according to their substance and intensity. 
 Some will partake of the light only, others will but 
 admit of the first and second gradation, while those 
 possessing much body must, in their dark portions, have 
 the full complement of shade. Then, again, their power 
 of reflection is more or less vivid, according to the proxi¬ 
 mity of the sun. Those clouds near to it, being entirely 
 penetrated by its lustre, will present a metallic appear¬ 
 ance ; while those more remote are scarcely affected by 
 his rays, save on the side facing the light. When the 
 sun is low down and losing power, a roseate and laky 
 tone is reflected over the whole, gradually becoming 
 more purple, until it changes into the cold slate colour. 
 To this twilight succeeds; which, itself deep, and 
 strengthening in its depth, gives a strange mystery to 
 the scene, producing two great contrasts,—two great 
 masses of Harmony—Harmony in the Sky—Harmony 
 in the Landscape. The distance of the Landscape mys¬ 
 tically softens into air ; the Sky for some time remains 
 bright in reflected light, while the Landscape is growing 
 dark, and less and less illuminated by the rays from 
 above. 
 
 Clouds are not to be regarded as one flat surface, but 
 as so many retiring portions of the picture, some more 
 remote than others, each taking some particular form, 
 according to its kind, height, and density. Form is of 
 the greatest importance in portraying clouds; and their 
 character should be so truthfully given, that the eye may 
 discern their precise shape as easily as it can that of any 
 local object. 
 
 Whatever, then, may be the Form of clouds, it must 
 be carefully depicted and perfectly understood, how¬ 
 ever faint it may be required to be. Clouds being an 
 accumulation of vapour, varying in endless shapes, 
 according to their height and to the force of wind, it is 
 
CLOUDS. 
 
 17 
 
 essentially useful that correct drawings of them be con¬ 
 stantly made in Pencil outline, any peculiarity of colour 
 in them being at the same time noted down. Such 
 attention to their character will supply us with a con¬ 
 stant change and variety, and makes us conversant with 
 every kind as they occur. Some, from their altitude and 
 the thinness of their texture, receive no shadow; others 
 below them take the appearance of solid and immense 
 masses, broad in their light, multitudinous in their parts, 
 and possessing at times so much softness, that their 
 shadowed parts seem to melt into the air behind. This 
 is especially the case in hot weather, and in what are 
 termed “ Fine-Weather Clouds.” Next in order are 
 the rain-clouds, covering the mountain-tops, ofttimes 
 broken and detached, at other times forming large masses, 
 dark, portentous, and gloomy. All these kinds and 
 classes must be studied, and their effects narrowly 
 watched, as they brood over or are scattered around the 
 Landscape. The colour-box, as well as the pencil, must 
 be in constant use in laying up these lessons of Nature ; 
 and this will repay us for our trouble when we call these 
 treasured memorials into use in our painting-room. 
 
 In the execution, the first washes must be very 
 broad, the next less broad, each succeeding one be¬ 
 coming smaller and smaller. Upon this will depend the 
 effect of vapour. Unless the space be large, the point 
 only of the brush should be charged with colour, and 
 always be replenished in a similar manner; there will 
 thus be no heavy blotches or pools of colour floating at 
 the lower edges. The forms of clouds are most fre¬ 
 quently given by holding the brush sideways, not by 
 working with its point. Held in this way, it becomes 
 weak and sharp, leaving a number of small lights which 
 give the effect of wind. All angular forms are also easily 
 produced by this mode of using the brush; and when it 
 is judiciously dragged on its side, by its being held less 
 
 c 
 
18 
 
 CLOUDS. 
 
 upright, the effect of detached and fleecy clouds is ad¬ 
 mirably given. Indeed, in no other way can these be so 
 successfully treated. Small light clouds are often made 
 by putting plain water to their shape, and after applying 
 the blotting-paper to absorb the moisture, by gently 
 rubbing the part with bread-crumbs or India rubber ; 
 with the former, if they are not required to be so very 
 brilliant; with the latter, if they are: these lights must 
 then be tinted or not, according to circumstances. 
 
 To obtain the effect of granulation, washing with 
 water and a brush, large or small, is generally sufficient; 
 but should this fail, and it is desirable to be more de¬ 
 cided, very fine sand-paper must be rubbed over the 
 clouds: but as this process sometimes removes rather 
 too much colour, the superfluous light thus introduced 
 will have to be withdrawn by stippling-in with a cor¬ 
 responding tone. Carefully employed, this is one of the 
 most successful means by which atmosphere is given to 
 dark and clouded skies. It completely removes the idea 
 that what is seen consists of mere flat washes, and im¬ 
 mediately gives a texture not to be obtained in any other 
 way. The sand-paper must be that known as number 
 0, and to produce a proper working surface upon it, 
 two pieces should be well rubbed together before being 
 used. Any subsequent washes will flow on most agree¬ 
 ably, and be free from hard edges. Indeed, frequently, 
 in large works, the whole paper is thus rubbed over 
 with sand-paper previously to commencing with colour. 
 
 Should any large or small masses be too dark, water 
 may be washed over them, the blotting-paper applied, 
 some bread crumbled over it, and then gently rubbed 
 with the fingers. This will remove the superabundant 
 tone softly and clearly, and at the same time give gra¬ 
 nulation. A soft silk handkerchief may be employed 
 instead of the bread-crumbs. Finely-powdered and 
 sifted pumice-stone rubbed over the sky with the fin- 
 
COLOURS FOR SKIES. 
 
 19 
 
 gers will produce a fine aerial effect, and entirely re¬ 
 move any defective blurs or scratches. A sharp knife 
 may be used for obtaining sharp light, or any gradation 
 of softened light, such as is seen in the vicinity of the 
 sun ; great care, however, must be taken to prevent its 
 having the appearance of a scratch. The idea suggested 
 must be that of light, and light only : the meansmust 
 be hid, the result only shown.* 
 
 The sponge should never be used until the part to 
 be operated upon has been thoroughly washed with a 
 brush; after which it must be passed over lightly in all 
 directions, to prevent its taking off the colour unevenly 
 or in partial lines. 
 
 In painting clouds, the great secret lies in using the 
 tints very liquid and thin, always keeping the idea of 
 form in each wash. This rule cannot be too carefully 
 attended to, as it ensures great clearness, purity, and 
 air. When the clouds are very light at the top, and the 
 shadow is exceedingly soft, begin with plain water, and 
 gradually add colour, strengthen it by degrees. 
 
 TABLES OF COLOURS AND TINTS FOR SKIES AND CLOUDS, 
 
 1. FOR SKIES. 
 
 ' Cobalt. 
 
 Cobalt and Rose Madder. 
 
 Daylight Skies, J Cobalt and a little Purple Madder, 
 more or less pure. 1 Cobalt for the first washes, and a thin glazing of 
 Ultramarine over them. 
 
 Cobalt, with a very little Indigo and Rose Madder. 
 
 A little Chinese White added to the above will produce more air. 
 
 * There are some artists who paint-in their skies very broadly and 
 boldly, without any attempt at finish or detail; and for this reason, that 
 by keeping it unworked upon any more than is actually necessary, 
 greater effect and finish may be thrown over the landscape, more espe¬ 
 cially the middle distance. But there should be an equality of finish 
 throughout, though some parts may and must be subservient to others; 
 there must be a perfect harmony and keeping existing over the entire 
 picture. A unity of purpose, with a proper distribution of finish, should 
 be our aim; so that, when we are led to examine the subordinate parts 
 more minutely, we may not find them neglected. 
 
20 
 
 COLOURS FOR SKIES. 
 
 (French Blue may be substituted for the Cobalt, but 
 it is not so pure or natural, neither does it wash on with 
 the same facility.) 
 
 Twilight. 
 
 { Cobalt and Indigo. 
 
 Indigo, Cobalt, and a little Purple Madder. 
 
 Indigo and Purple Madder. 
 
 Indigo and Cobalt, warmed with Indian Eed. 
 
 These are for the upper portion of the sky. Those 
 portions which receive and bear the impress of reflec¬ 
 tion, must be according to the following Table for Sun¬ 
 set, only in a more subdued ratio. 
 
 Sunset 
 
 for all parts of 
 the sky. 
 
 ' Cobalt and Indigo. 
 
 Cobalt and Rose Madder. 
 
 Cobalt and Purple Madder. 
 
 Yellow Ochre. 
 
 Yellow Ochre and a little Indian Yellow. 
 Yellow Ochre and Indian Red. 
 i Yellow Ochre and Light Red. 
 
 ' Cadmium Yellow. 
 
 Cadmium Yellow and Rose Madder. 
 Cadmium Yellow and Indian Red. 
 
 Rose Madder. 
 
 Purple Madder. 
 
 Rose Madder and Indian Red. 
 
 _ Rose Madder and Purple Madder. 
 
 As the changes in skies are so great, so is the scale 
 of colour a large one, but the intermixture of each must 
 be according to the intensity or brilliancy of the work. 
 
 Sunrise. 
 
 Indigo and Rose Madder. 
 
 Indigo and Indian Red or Purple Madder. 
 
 The only difference of the illumined portion of the 
 sky from a sunset is, that the Beds preponderate: in 
 the sunrise the light is gaining strength, while in the 
 sunset it fades. 
 
 2. FOR CLOUDS. 
 
 f Light Red and Cobalt. 
 
 If soft and aerial. -< More Cobalt, if of a blue tone, and Light Red, if 
 l warm. 
 
 A little Chinese White may be added. 
 
 These tints may be varied by taking more of one than 
 
COLOURS FOR CLOUDS. 
 
 21 
 
 of the other, the change being made while the picture 
 is yet wet. This should always be done, as the colour 
 of a cloud is not the same throughout, the light differing 
 from the shadowed side. As great beauty and truth¬ 
 fulness will result from this, much practice should be 
 devoted to it. The brush, however, is not to be washed 
 at each change, but its point simply dipped into the 
 other tint, which will be found sufficient. It is not 
 advisable to use two brushes (unless to soften off en¬ 
 tirely), as too rapid a contrast is generally given by so 
 doing. 
 
 If of a Purple tone. 
 
 Indian Red and Cobalt. 
 
 Brown Madder and Cobalt. 
 
 Light Red, Rose Madder, and Cobalt. 
 Purple Madder, Yellow Ochre, and Cobalt. 
 
 Should the tints be required of any considerable 
 strength, substitute French Blue for the Cobalt, at all 
 events in the last few washes. 
 
 If dark and 
 louring, 
 
 and for Twilight, 
 away from the 
 Sun’s influence. 
 
 ' Indigo and Light Red. 
 
 Indigo and Indian Red (very useful). 
 Indigo, Lake, and Sepia. 
 
 Indigo and Brown Madder. 
 
 __ Indigo, Indian Red, and Yellow Ochre. 
 
 , If a Cold Grey. 
 
 Silvery tones, ex¬ 
 ceedingly useful. 
 
 For High Lights. 
 
 ' Cobalt and Lamp Black. 
 
 Cobalt and Blue Black. 
 
 «j French Blue and Lamp Black. 
 
 French Blue, Sepia, and a little Purple Madder. 
 Ultramarine Ash and Lamp Black (very soft). 
 Lamp Black, Light Red, and Cobalt, in different 
 proportions. 
 
 ' Yellow Ochre. 
 
 Yellow Ochre warmed with Rose 
 , Madder. 
 
 1 Yellow Ochre and Light Red. 
 
 Cadmium Yellow, warmed with Rose 
 Madder. 
 
 All in 
 - thin light 
 Tints. 
 
 The tone of the Neutral Orange, which was first 
 washed all over the paper, is generally sufficient for 
 high lights in Daylight effects. 
 
22 
 
 COLOURS FOR CLOUDS. 
 
 If Stormy. 
 
 ' French Blue and Lamp Black. 
 
 French Blue, Lamp Black, and Light Red. 
 
 Lamp Black and Light Red, if murky and dirty. 
 (This tint is particularly useful in the dark 
 marking of the clouds.) 
 
 Indigo, Indian Red, and Yellow Ochre. 
 
 Indigo, Lamp Black, and Lake. 
 
 Lamp Black and Lake. 
 
 Indigo and Brown Madder. 
 
 _ Indigo, Burnt Sienna, and Lake. 
 
 (It is desirable to make ourselves acquainted with 
 the several combinations just mentioned, as to their ca¬ 
 pability of tone; a knowledge of compound tints will 
 then be gained, and we can select more readily.) 
 
 SUNSET AND SUNRISE CLOUDS. 
 
 If Golden. 
 
 { Cadmium Yellow. 
 
 Yellow Ochre and Cadmium Yellow. 
 Gamboge and Cadmium Yellow. 
 Indian Yellow and Rose Madder. 
 
 If deep Orange. 
 
 If Scarlet. 
 
 ” Cadmium Yellow and Rose Madder. 
 
 Cadmium Yellow and Indian Red. 
 
 Yellow Ochre and Indian Red. 
 
 Indian Yellow and Rose Madder. 
 
 «{ Indian Yellow and Light Red. 
 
 Orange Mars. 
 
 Gamboge and Rose Madder. This tint may be 
 glazed over any of the others, and this process 
 will give them a luminous character. 
 
 f Any of the above compounds, using more Red 
 ■< than Yellow, and glazing with Gamboge and 
 (_ Rose Madder. 
 
 (Orange Vermilion, if used so, thin as to get rid of 
 its opacity, is a fine tone ; but it must be remembered 
 that transparency is the character of the Sunset or Sun¬ 
 rise, and hence arises the difficulty of using such opaque 
 colour effectively.) 
 
FORCE OF COLOUR. 
 
 23 
 
 If Crimson. 
 
 If Purple. 
 
 Slate Colour. 
 
 Cold 
 
 Neutral Green. 
 
 { Indian Red, glazed with Rose Madder. 
 
 Light Red and Rose Madder. 
 
 Rose Madder, strengthened with Lake. 
 
 Rose Madder, deepened with a little Purple Madder. 
 
 { Indian Red, Rose Madder, and Cobalt. 
 
 Purple Madder and Cobalt. 
 
 French Blue must be substituted for Cobalt in all 
 deep tones. 
 
 f Indigo, Cobalt, and Brown Madder. 
 
 I Lamp Black, Indigo, and Indian Red. 
 
 | Cobalt. Sepia, and Brown Madder. 
 
 [_ Lamp Black, Purple Madder, and Cobalt. 
 
 { Indigo, Cobalt, Yellow Ochre,'I This tint is for 
 and Rose Madder. I the Clouds at the 
 
 Cobalt, Burnt Umber, or Yan- [ greatest distance 
 dyke Brown. J from the Sun. 
 
 As a general rule, in mixing compound tints, always 
 begin with the predominating colour, and add the others 
 to it: by so doing much trouble will be saved. 
 
 In painting Sunsets, it is best to let the first tones 
 be rather subdued, afterwards heightening their bril¬ 
 liancy by passing pure colours over them; this will 
 prevent crudity and staring gaudiness. 
 
 4. FORCE OF COLOUR. 
 
 Power does not consist in strong and gay colours, 
 but is entirely the result of proper combinations and 
 contrasts. Place the pale and delicate Primrose in warm 
 green, orange, or scarlet, and the contrast is gone; but 
 on a purple or plum-coloured ground, it will tell with 
 brilliancy and vigour. In the first case, the power of 
 colour is not brought out, but harmony and breadth 
 ensue; inasmuch as the yellow, being a component part 
 of warm green, of orange, and of scarlet, has an affinity 
 to them, and no opposition. Thus must it be in all 
 cases requiring Force of colour. Two contrasting tones 
 must be brought together, and the power of each will 
 then be felt. 
 
u 
 
 DISTANCE. 
 
 5. ON DISTANCES. 
 
 A. MOUNTAINS. 
 
 In treating of distant mountains, a distinction is to 
 be made between them and the clouds, the former re¬ 
 quiring solidity, while the latter are only to be regarded 
 as vapour and air. Mountains, being opaque bodies, 
 are acted upon by atmosphere more or less, according 
 to their position, their distance, and according to the 
 state of the weather. To express this distinction, we 
 must have recourse to an under tint, excepting where 
 the tone is decidedly blue (an uncommon case). No 
 mixture can give this with such truth as the Neutral 
 Orange, composed of Yellow Ochre and Brown Madder. 
 A wash, therefore, should be passed over the mountains, 
 with nearly all yellow in the high lights, or in the gleams 
 of sunshine, and, on the contrary, almost all Brown Mad¬ 
 der for the shadows. These two degrees of tone must 
 be run into each other while the drawing is wet. A 
 beautiful and soft under tone will thus be given to re¬ 
 ceive the greys. 
 
 B. THIRD OR EXTREME DISTANCE. 
 
 It may be laid down as a general principle, that the 
 extreme distance should be painted rather cold than 
 otherwise. Blue being the principal component of at¬ 
 mosphere, it is of the utmost importance to obtain this 
 in the first instance, particularly as, from its being only 
 of a blue tint, not blue colour, it is so immediately 
 changed and acted upon by subsequent washes: whereas, 
 the blue tone once lost, it will be found very difficult to 
 be recovered. Wherever a picture is found wanting in 
 air effect, the cause will, upon examination, be found to 
 rest entirely upon the absence of pure greys, bordering 
 upon a bluish tone, not tending, be it observed, to 
 
DISTANCE. 
 
 25 
 
 brown or purple. A bluish grey, then, of rather a cold 
 tone, is recommended as the prevailing tint with which 
 to begin the extreme distances; and, as a broad prin¬ 
 ciple, it is better to pass with this over as much of the 
 landscape as possible, and so lay the foundation for a 
 general atmosphere. 
 
 Always lay the washes on as largely as possible, and 
 never neglect to pass them over every object that is 
 darker than themselves. As we have before observed, 
 so we say again, the under tones assist the upper ones, 
 and not only impart air to them, but serve to break their 
 brilliancy and rawness. 
 
 It is advisable to run the first colours one into an¬ 
 other, without any reference to form ; merely finding the 
 position for lights and shadows. This is termed blotting 
 in, and consists of so many indications of colour only. 
 The above process is very full of import, and, if well 
 managed, will conduce to great beauty. 
 
 Our next stage will be to produce all the forms and 
 their shadows, bringing the previous “ blot” into cha¬ 
 racter and drawing. Tone after tone is to be added, 
 according to what is required for each particular part; 
 between each layer, however, we must revert to the 
 process of washing off, to preserve the granulation, and 
 to ensure the after colours flowing more sweetly. It 
 perhaps may not be here out of place to mention, that, 
 unless the paper is rather open in its grain and is slightly 
 absorbent, there is little chance of producing clear and 
 soft tones. The colour should sink into the paper, with¬ 
 out, however, losing its brilliancy or power. If the 
 paper be too absorbent, the colour will lose force, and 
 so cause double the labour: if, on the other hand, it be 
 too smooth or of too fine a grain, the colours will lie 
 upon the surface and not flow evenly. 
 
 As, in painting clouds, we are to let the whole of our 
 washes have some particular form, so are we to be care- 
 
26 
 
 DISTANCE. 
 
 ful to do the same in all distances; and the eye should 
 be enabled to determine the shape throughout. This, 
 and this only, will produce transparency and decision. 
 Transparency signifies the quality of being seen through 
 or into; and in no better way can it be effected than by 
 giving a number of thin washes of determined character, 
 each smaller than the preceding one ; the greatest degree 
 of softness can be produced by this process. If trans¬ 
 parency be sought for, be very jealous of losing the forms 
 of any of the washes, from their commencement to their 
 termination. This is a golden rule to the painter in 
 W ater-Colours. 
 
 If, however, we use the process of at once laying 
 strong tones, and of then softening them off with pure 
 water, so that they may thus be made to reach the pro¬ 
 per degree of power, the result will often be opacity and 
 heaviness. It is a rare occurrence that there is any 
 necessity for softening off with clean water. 
 
 C. MIDDLE DISTANCE. 
 
 In approaching more towards the middle distance, 
 the colour may be used thicker with great advantage, 
 care being taken that no blotches be left. We can, 
 however, only effect this by the use of certain colours, 
 as Yellow Ochre, Naples Yellow, Cobalt, Light Red, and 
 Rose Madder; these are all light, even in their greatest 
 intensity, and are therefore very useful in distances. 
 There is also particular quality in these pigments, which, 
 when they are used together, enables the Artist to paint 
 upon and into them while wet, so as to finish the light 
 and shadow, and almost their detail, before they are dry, 
 in the same way in which oil painting is worked. We 
 can mould the tints to be produced from these colours 
 into any thing required for distance ; and when they are 
 dry, and afterwards slightly washed over, nothing can 
 
COLOURS FOR DISTANCES. 
 
 27 
 
 exceed tlieir truthfulness as to air. A little Indigo may¬ 
 be added to the Cobalt, to alter its tendency to chalki¬ 
 ness, especially where the blue tone is required to be 
 sombre and dark. Indeed, in some cases, it is most 
 desirable to do so, but then it should only be as an 
 assisting colour, since Indigo, if used in some depth, 
 tends to blackness. 
 
 Objects of minute forms are not to be regarded until 
 the picture is approaching to its completion, and then 
 they are either to be “ taken out” or to be added with a 
 darker colour. Lights on projecting rocks, trees, and 
 herbage in general, are to be touched on to their exact 
 shape with clear water, and then wiped out sharply with 
 a soft silk handkerchief or a clean piece of wash-leather. 
 Should either of these fail, place the water on again, 
 and then apply the blotting-paper, and rub with bread. 
 This last mode is a very certain one, and brings off the 
 colour without injury to the paper, leaving it in a desir¬ 
 able state for toning upon. 
 
 The “ taking off” of colour has an effect that can 
 never be attained by simple washes. Texture and qua¬ 
 lities are gained by which a papery appearance is com¬ 
 pletely done away. Water-Colour Painting owes many 
 of its beauties and peculiarities to the fact of its admit¬ 
 ting of the colour being thus either partially or entirely 
 removed. 
 
 TABLES OF COLOCKS AND THEIR COMBINATIONS FOK 
 MOUNTAINS AND DISTANCES. 
 
 { Neutral Orange, composed of Yellow Ochre and 
 Brown Madder; using more Yellow Ochre for 
 the Lights, and more Brown Madder for the 
 Shadows. 
 
 " Cobalt, with a very slight addition of Naples Yel¬ 
 low and Bose Madder. 
 
 Cobalt, with a little Bose Madder. 
 
 ' Cobalt, Indigo, and Bose Madder; if more subdued, 
 French Blue, softened with a little Lamp Black. 
 Ultramarine Ash. 
 
 First Wash 
 for Mountains. 
 
 Mountains 
 or Hills, 
 if very remote. 
 
28 
 
 COLOURS FOR DISTANCES. 
 
 If lit up by the 
 Sun. 
 
 ” Yellow Ochre and Rose Madder. 
 
 Cadmium Yellow and Rose Madder. 
 
 Yellow Ochre. 
 
 Naples Yellow. This being opaque will give sharp 
 , lights. 
 
 1 Lemon Yellow. 
 
 Yellow Ochre and Indian Red. 
 
 Yellow Ochre and Light Red. 
 
 Rose Madder. 
 
 _ Light Red. 
 
 If nearer. 
 
 ” Cobalt, Indigo, and Brown Madder. 
 
 Cobalt and Brown Madder (very useful). 
 
 Cobalt and Light Red (very useful). 
 
 Cobalt, Indigo, and Rose Madder. 
 
 Indigo and Rose Madder. 
 
 Indigo, Yellow Ochre, and Rose Madder. 
 
 Cobalt, Sepia, and Brown Madder (very useful). 
 Indigo and Purple Madder (beautiful and soft 
 purple). 
 
 Cobalt and Purple Madder (brighter). 
 
 _ French Blue, Lamp Black, and Rose Madder. 
 
 Distant Foliage 
 and Herbage 
 in general 
 in the Distances. 
 
 ' Yellow Ochre, Cobalt, and a little Rose Madder. 
 Yellow Ochre, Cobalt, Indigo, and Rose Madder 
 (stronger). 
 
 J Yellow Ochre, Cobalt, and Light Red. 
 
 ’ Roman Ochre, Cobalt, and Rose Madder. 
 
 Yellow Ochre, Indigo, a little Cobalt, and Indian 
 Red. 
 
 __ A little Naples Yellow with either of the above. 
 
 For Glazing the 
 above. 
 
 ' Indian Yellow. 
 
 Indian Yellow and Brown Madder. 
 
 Italian Pink. 
 
 Gamboge. 
 
 <j Gamboge and Brown Madder. 
 
 Gamboge and Yandyke Brown. 
 
 Burnt Sienna. 
 
 Raw Sienna. 
 
 _ Orange Mars (a most transparent colour). 
 
 The foregoing combinations are all beautiful, and 
 will be found to answer every purpose for distances. In 
 employing them, a constant change must be made in 
 their proportions, so as to prevent a monotonous tone 
 of any extent. The lights and half lights will have to 
 
COLOURS FOR DISTANCES. 
 
 29 
 
 receive thin washes of colour, according to the intended 
 hue. The side of the brush, which should be in a large 
 goose or swan quill, should be used in the foliage, espe¬ 
 cially if the colour be thick ; it can then be laid on 
 flatly, and in broad tones, and so present a good surface 
 for receiving the after touches. Our first object should 
 be to give the light and shadow, and upon them show 
 the detail: we mention this again, so that no uneven 
 blotches or bits of dark colour may be allowed to remain, 
 because each of these would attract attention, and of 
 itself make up a detail. Each portion of the work must 
 then be examined as we proceed, and be rectified where 
 incorrect. At the outset, let all the colours be driven 
 flatly, and in masses sufficiently large to receive those 
 finishing touches by which we obtain likeness and 
 identity. 
 
 The extreme and middle distances of a picture are so 
 important and so very beautiful, that considerable thought 
 and study should be devoted to them. Such mystery, 
 such softness, such grandeur, and such simplicity are 
 their characteristics, that the best efforts of the mind are 
 directed to the just representation of each class. To 
 effect this is no trifling thing, especially as the indica¬ 
 tions of form are oftentimes so faint, that we are obliged 
 to look again and again, before their meaning is compre¬ 
 hended. Be this as it may, always give such intention 
 to the work, that, however indistinctly the form may 
 have been rendered, the spectator can only imagine the 
 object to be that which it was positively your intention 
 he should imagine it to be. If this be attained, the work 
 will be a “ Finished Picturebut if not, then it will 
 come under the title of a “Finished Sketch.” 
 
30 
 
 CALM WATER. 
 
 6. CALM WATER. 
 
 Nothing can more materially heighten the beauty of 
 a landscape than water. This charm is greatly increased, 
 from the fact of its being found in situations most lovely 
 and romantic. The quiet and silvery lake, embosomed 
 in the heart of cloud-capped mountains, and margined 
 by luxuriant trees of every growth, broken occasionally 
 by some jutting rock worn grey by time, conveys to the 
 mind every feeling that is calculated to soothe while it 
 captivates; so peaceful, so calm, so primitive—(if the 
 term may be used)—is its repose. There is, without 
 doubt, nothing that can so completely tranquillise our 
 thoughts, or so truly represent serenity, as this. 
 
 “ Still water” is not only beautiful in itself, but is one 
 of the elements of a picture particularly adapted for 
 giving breadth of effect, while it repeats the colour of 
 the sky and surrounding objects to perfection. 
 
 AVater should always be painted in broadly, at the 
 time when we are treating that which is above the water, 
 and in the same tint. Every reflection so coloured will 
 bear a just resemblance to nature, both as to colour and 
 quality, and cannot with equal truth be depicted in any 
 other way. If the general tones be required to be darker 
 than the reflection, tints should be passed over them 
 when dry; and these tints nearly in every case will be 
 greys of the prevailing colour of the clouds or atmo¬ 
 sphere. Should there be any lines or masses of light 
 rather broad in their character, they should always be 
 left ; but those that are small and trifling in their num¬ 
 ber are to be “ taken out” with the handkerchief, wash- 
 leather, or bread. 
 
 So far as reflection goes, water is an easy thing to 
 paint; but it does not rest here. The surface has to be 
 shown, so that we first recognise its presence, and then 
 penetrate into its depth for reflection. There are few 
 difficulties in painting more likely to puzzle the student 
 
CALM WATER. 
 
 31 
 
 than this. Nothing is more indefinite, yet nothing of 
 greater importance. Observation on this should be ex¬ 
 ercised to the utmost of our ability, from the fact of there 
 being so little to produce the necessary effect. The di¬ 
 rection of the various ripples catching the light must 
 occupy our attention, as it is upon these alone we are 
 dependent for the suggestion of the presence of a surface. 
 At times the stillness is so perfect, that we look, as it 
 were, upon a sheet of glass ; it will then entirely rest 
 upon accidental causes that we shall be enabled to convey 
 any other feeling than that of reflection. Boats serve to 
 give motion, and are to be introduced with strict refer¬ 
 ence to the composition, in order that they maybe judi¬ 
 ciously placed. Cattle also, when the water is shallow, 
 help us over the difficulty, and bring colour and force 
 at the same time. Water-fowl have the same advantage, 
 by breaking the repose of the surface, and are thus use¬ 
 ful aids in many difficulties. In scarcely any thing are 
 we so often deceived as in the correct tone of water, and 
 that more especially when it is seen under the influence 
 of half light. It is to all appearance colourless ; and it 
 is not until some object, more intense in its light, is 
 brought in contact with it, that we are made cognisant 
 of the depth of tone which it possesses. The small sail 
 of a boat will be sufficient for this purpose, or even a 
 single figure; so little does it require to produce con¬ 
 trast, provided the light be a decided one. 
 
 As to the colours and various intermixtures for paint¬ 
 ing water, the reader must have reference to the previous 
 tables for skies, clouds, and distance. They are to be 
 strictly adhered to; but if any difference is to exist, let 
 it be in the use of more grey. As general tints, how¬ 
 ever, the following will be found of great utility and 
 transparency ; they are extremely valuable, when reflec¬ 
 tions do not take place, or when the weather is not tem¬ 
 pestuous. 
 
32 
 
 BROOKS AND RUNNING STREAMS. 
 
 TINTS FOR STILL WATER (DEPENDING UPON THE WEATHER). 
 
 ^ n'k/ 16 } Cobalt, Rose Madder, and Yellow Ochre. 
 
 Darker .... Cobalt and Indian Red. 
 
 More Clouded . . Cobalt, Indigo, and Brown Madder. 
 
 The same . . . Cobalt, Brown Madder, and a little Sepia. 
 Darker .... Indigo and Brown Madder, or Light Red. 
 
 7. BROOKS AND RUNNING STREAMS. 
 
 Here the character of the water becomes entirely 
 changed, and the more so according to the force of its 
 current or according to its chemical properties. Some 
 streams will be as clear as crystal; some of a deep sienna 
 tint; and others will partake of a subdued green, ren¬ 
 dered brighter by a canopy of foliage. They have an 
 infinite variety of tones, which can only be known by an 
 acquaintance with Nature. The bed of the stream will 
 also be differently composed,—from the smooth and 
 separated pebble to the almost continuous mass of solid 
 stone. Many streams have a bottom of sand ; and it is 
 not uncommon that it should be concealed by a thick 
 layer of weeds, which give immense depth of tone. Then, 
 again, the course of the stream will be subject to constant 
 change;—now obstructed by large, detached masses of 
 stone, rounded oft’by resistance,—now hurried over some 
 sudden fall, reflecting all the hues of the prism, and 
 dashing into foam. Here the expanse remains unbroken 
 for some distance, giving to the water a glassy surface, 
 which reflects all around; when some little unexpected 
 change of position on the part of the spectator causes a 
 succession of sparkling lights, revelling in their vivid¬ 
 ness. Scenes of this description are highly picturesque, 
 and, when successfully treated, become the subjects of 
 the grandest and most pleasing works of Art. 
 
 After selecting the proper tints, and giving the first 
 washes of colour as broadly as possible, put in, with 
 
BROOKS AND RUNNING STREAMS. 
 
 33 
 
 considerable strength of tint, the stones, or whatever may 
 compose the bed of the river. Then wash off gently 
 these portions, when dry, with a soft brush and clear 
 water, to get rid of the sharpness of outline ; and, ap¬ 
 plying the blotting-paper, immediately pass over the 
 whole, to the river’s brink, with the exact local colour. 
 This must be repeated two or three times, as depth of 
 colour, attainable only in this way, is often necessary. 
 If possible, the lights should be left when the washes 
 are given ; they will have more purity than they would 
 have, if taken out afterwards ; but always be careful that 
 each light have some particular form. This is essential 
 to ensure crispness and brilliancy; but never break or 
 spoil a large wash for the sake of a few scattered lights. 
 The broader the effect, the better ; avoid, therefore, too 
 many touches of white, because they will cut up the work 
 and create confusion. 
 
 The smaller lights are often given by Chinese White, 
 which is now in much repute, and very deservedly so, 
 being of immense value where its use is required; there 
 should, however, be great caution in its use, and no one 
 part of the work should bear the impress of its being 
 different from other parts. It is designed to produce the 
 desired effect, without being observed as the “Chinese 
 White ” that gave it. 
 
 Some little experience is necessary before this pigment 
 can be laid on with advantage; not, indeed, that it is 
 difficult to work, for in this respect it is perfect; but 
 because a tremulous or uncertain hand gives the touch 
 unevenly and without decision. Sharpness of touch is 
 indispensable, and can only be obtained by a quick and 
 firm action of the hand. The form once determined, the 
 colour is to be applied fearlessly. A small quantity 
 should be taken from the bottle, and gently rubbed upon 
 the palette, until equally mixed. Should it be required 
 
 D 
 
34 
 
 COLOURS FOR BROOKS, ETC. 
 
 rather thinner, add a little water ; but if thicker, allow it 
 to remain a few minutes, when it will be fit to produce 
 the most vivid and sparkling lights. The brush should 
 receive it only at the top, where it can be better managed, 
 and thus decided and angular forms can be more easily 
 put down. Fresh white must constantly be taken, or 
 the sharpness will not be apparent. A small flat sable is 
 very serviceable, and, in most cases where Chinese White 
 has to be used, is much better than a round one. In 
 running streams, where the lights are not left, their 
 insertion should be reserved for the finish, in order to 
 preserve their clearness. The knife is very successful in 
 taking out sharp lights, as well as in those which are 
 more soft, and produces the effect of foam with great 
 facility. Lights may also be taken out by rubbing, as 
 before described. 
 
 TABLE OF COLOURS FOR BROOKS AND RUNNING STREAMS. 
 
 If Yellow, 
 or deep Orange. 
 
 If of a Green tone. 
 
 If partaking of a 
 Grey character, 
 yet bearing colour. 
 
 If very dark. 
 
 For the weeds 
 under Water, 
 when very dark, 
 
 f Raw Sienna. 
 
 ■< Raw Sienna and Vandyke Brown. 
 
 (_ Raw Sienna and Brown Madder. 
 
 ' Raw Sienna and Indigo. 
 
 Roman Ochre and Indigo. 
 
 J Indian Yellow, Burnt Sienna, and Indigo. 
 
 ’ Indian Yellow, Vandyke Brown, and Indigo. 
 Brown Pink and Indigo, subdued with Vandyke 
 Brown. 
 
 { Burnt Sienna and Cobalt. 
 
 Cobalt, Brown Madder, and Raw Sienna. 
 
 Cobalt, Purple Madder, and Gamboge. 
 
 Indigo, Brown Madder, and Indian Yellow. 
 
 I Brown Madder and Vandyke Brown. 
 
 ■< Vandyke Brown, Lake, and Indigo. 
 
 1 Indian Yellow, Sepia, and Lake. 
 
 f Indian Yellow, Burnt Sienna, and Indigo, used 
 I very thickly. This is a mixture of much power 
 L and softness. 
 
ROUGH WATER, OR SEA. 
 
 35 
 
 For the dark 
 Markings and Di- 
 visions of Stones. 
 
 Brown Madder and Indigo. 
 
 Vandyke Brown, Lake, and Indigo. 
 
 Payne’s Grey and Burnt Sienna (very useful). 
 French Blue and Burnt Sienna (do). 
 
 Brown Madder, deepened by French Blue (very 
 rich). 
 
 Sepia and Brown Madder (very rich). 
 
 The student must bear in mind, that in all dark mix¬ 
 tures of colour too great a proportion of blue will be 
 certain to produce blackness, so that as little blue should 
 be taken as possible. In the extreme depth of shadow, 
 the colour should be very warm and transparent, and will 
 often be rendered stronger by a glazing of Gamboge and 
 Lake. 
 
 8. BOUGH WATER, OR SEA. 
 
 To represent the waves of the sea, there must be some 
 knowledge of the manner in which they are formed. A 
 correct drawing of them is indispensable ; the light, sha¬ 
 dow, and reflection, must be well considered and under¬ 
 stood, with the suitable colour adapted for each. 
 
 To give to waves the character of motion is extremely 
 difficult, nor must we ever expect to delineate them satis¬ 
 factorily, unless we are enabled to trace their influence 
 from one to the other, so that their head, with the rise 
 and fall, is both apparent and reasonable. It is not 
 enough to give the broad effect of the wave: we must 
 apportion to each part of it a certain detail that shall 
 suggest the character of motion and of wind. One part 
 will show the local colour of the sea ; another will partake 
 of the tone of the sky; and another will receive greater 
 force from reflecting the colour of the opposite portion of 
 it, particularly when the wave is hollow and short.* 
 
 * The general failing in the representation of the sea is, that instead 
 of appearing liquid and thin, it is made to bear the semblance of opacity 
 
36 
 
 ROUGH WATER, OR SEA. 
 
 The pencil should frequently be employed in the open 
 air, in registering the forms belonging to every descrip¬ 
 tion of wave. At first, it will be enough to make the 
 outline only; but subsequently it will be desirable also to 
 put in the shadows into these sketches, as well as to note 
 down their peculiarity, as regards not only colour, but 
 every other circumstance that may be natural to the 
 class. 
 
 As a specimen of this mode of making notes upon such 
 natural objects and appearances, we here subjoin a note 
 which we made upon the spot, after having finished a 
 correct drawing in outline and shadow of a very heavy 
 surf. 
 
 “ JULY 8, 1846. HEAVY SURF AT SCARBOROUGH. 
 
 “ The sky of a silvery tone, also the water. The dark 
 and upper portion of each wave is rather of a greenish 
 hue. Some of the upper parts of the surf, when turn¬ 
 ing over, are of a dark Sienna tint. The surf on the 
 shallow part of the sand is yellowish, as the sand is 
 mixed with it. The wet part of the sand resembles the 
 colour of the sky, except when any object is situated 
 
 and solidity. In order to convey the idea of transparency, some object 
 is often placed floating on some portion of the wave, so as to give re¬ 
 flection; and it is strange that we find our greatest men having recourse 
 to this stratagem. To say it is not true in all cases, is saying too 
 much; but this we do assert, that, as a general principle, it is quite 
 false, and we prove it in this way: water has its motion, more or less, 
 from the power of the wind; it is acted upon in the mass, and thus di¬ 
 vided into separate waves, and these individually have their surface 
 ruffled, which renders them incapable of receiving reflection. The ex¬ 
 ception to this will be, where the heaving of the sea is the result of 
 some gone-by storm, when the wind is hushed, and the surface becomes 
 bright and glassy. In this state, reflections are distinctly seen. An¬ 
 other exception will be in the hollow portion of the waves, as they curl 
 over, and dash upon the shore. 
 
COLOURS FOR SEA. 
 
 37 
 
 upon it, then it causes a strong reflection. The white 
 surf is reflected in the lower portion of the wave.” 
 
 We also give another specimen. 
 
 “ JULY. BRIGHTON. RATHER ROUGH. 
 
 “ The sea near the shore of a yellowish-brown, gra¬ 
 dually getting into a light transparent bottle-green as 
 it recedes. The extreme distance is darker. The lines 
 of shadow are dark and decided, being neutral in 
 tone.” 
 
 It must be our aim to wash on our first tints with as 
 much grey as possible, gradually getting into purer 
 colour on approaching the shore. No notice need at 
 first be taken of the more distant waves, as they are 
 much more soft and natural when “ taken out” after¬ 
 wards. The extreme edge and highest lights of the 
 foaming surf will always be treated better by the use of 
 the knife, of bread, or of Chinese White, than they would 
 if left at first. Great softness as well as decision is 
 necessary; and in that portion constituting the spray, 
 with its small particles coming before dark objects, we 
 cannot exhibit it with truth by any other means than 
 these. 
 
 Avoid small touches, and make it a rule to let the 
 washes be as large and as thin as possible. 
 
 Attend to the breadth of effect, and, in adding details, 
 be very careful that they do not cause a multiplicity of 
 parts, and so create littleness or confusion. 
 
38 
 
 COLOURS FOR SEA. 
 
 TABLE OF COLOURS FOR THE SEA. 
 
 For the Grej’S 
 and first Washes. 
 
 ” Cobalt and Light Red. 
 
 Cobalt, Purple Madder, and Yellow Ochre. 
 Cobalt and Indian Red. 
 
 , French Blue and Lamp Black. 
 
 ' French Blue and Brown Madder. 
 
 French Blue, Indigo, and a little Rose Madder. 
 Indigo, Yellow Ochre, and Rose Madder. 
 
 __ Indigo and Indian Red. 
 
 These mixtures possess different powers, and are to 
 be selected according to softness or intensity of tone. 
 
 Washing off between each layer of colour is essential, 
 if any finish is intended. 
 
 Local Tints. 
 Stormy. 
 
 -j 
 
 l 
 
 Cobalt and Burnt Sienna. 
 Vandyke Brown and Cobalt. 
 Vandyke Brown and Indigo. 
 Burnt Sienna and Indigo. 
 
 Raw Sienna and Lamp Black. 
 Raw Sienna and Sepia. 
 
 Raw Umber, Indigo, or Cobalt. 
 Vandyke Brown and Raw Sienna. 
 
 Sea Greens, 
 more or less pure. 
 
 ' Raw Sienna and Cobalt. 
 
 Raw Sienna and Indigo. 
 
 Raw Sienna, Prussian Blue, and a very little 
 Bistre. 
 
 Bistre, Prussian Blue, and Gamboge (a fine tint). 
 ■ Cadmium Yellow and French Blue (a beautiful 
 * sea-green). 
 
 Gamboge and Cobalt. 
 
 Gamboge and Sepia. 
 
 Roman Ochre and Indigo. 
 
 Emerald Green, used very lightly to heighten the 
 purity of some very vivid and effective part. 
 
 For the highest 
 lights possessing 
 Colour. 
 
 { Raw Sienna. 
 
 Yellow Ochre. 
 
 Raw Sienna and Vandyke Brown. 
 Raw Sienna and Brown Madder. 
 
SHIPPING AND BOATS. 
 
 39 
 
 9. SHIPPING AND BOATS. 
 
 The introduction of vessels of any kind will not only 
 require some knowledge of their construction, but of 
 their positions, as well as of the quantity of sails to be 
 set. The direction and force of the wind, too, must ever 
 be borne in mind, that a proper consistency, as regards 
 this element, may be maintained in the disposition of the 
 sails, vane, cordage and other objects influenced and 
 acted upon by the wind. 
 
 When judiciously arranged, nothing can give more 
 beautiful pyramidical and curved forms of composition 
 than shipping ; their sails, from the variety of their 
 shapes and colour, serving to give points of effect, 
 whether of relief or of breadth. 
 
 There are few objects more picturesque than a group 
 of old fishing-boats on the beach, with their sails half 
 unfurled or lying about, partially hanging over the sides 
 of the brine-worn hull. The dark and open net, broadly 
 spread from mast to mast, with baskets piled or thrown 
 into careless confusion, serve also to make up the fore¬ 
 ground with singular felicity; while the costume of the 
 fishermen themselves, with their slouched hats and 
 weather-beaten faces, are scarcely less picturesque. 
 
 Linear perspective is of great importance in this 
 branch of the Art, from the fact of a constant fore-short¬ 
 ening, and a great variety of angles, always occurring. 
 It is therefore advisable to take every advantage of sketch¬ 
 ing from Nature, in order to become conversant with 
 every kind of vessel desirable for pictorial effect. 
 
 TABLE OF COLOURS FOR SHIPPING, SAILS, ETC. 
 
 If Black. 
 
 r French Blue, Sepia, and Lake. 
 J Indigo and Lake. 
 
 | Lamp Black. 
 
 Lamp Black and Lake. 
 
40 
 
 COLOURS FOR SHIPPING AND BOATS. 
 
 If Black. 
 
 If Yellow. 
 
 Light Sails. 
 
 Red Sails. 
 
 Lamp Black and Light Bed. 
 
 Payne’s Grey and Burnt Sienna. 
 
 Payne’s Grey and Light lied. 
 
 Payne’s Grey and Vandyke Brown. 
 
 _ French Blue, Brown Madder, and Burnt Sienna. 
 
 { Raw Sienna. 
 
 Raw Sienna and Vandyke Brown. 
 
 Raw Sienna and Brown Madder. 
 
 Raw Sienna and Raw Umber. 
 
 { Yellow Ochre, more or less faint, with a little Raw 
 Umber, mixed for the Shadows ; or first put in 
 with either Payne’s Grey and Light Red, or 
 Cobalt and Light Red. 
 
 ' Burnt Sienna and Brown Madder. 
 
 Burnt Sienna. 
 
 J Burnt Sienna and Indian Red. 
 
 Light Red and Brown Madder. 
 
 Light Red and Purple Madder. 
 
 Roman Ochre and Brown Madder. 
 
 Baskets. 
 
 Very deep and 
 intense tints. 
 
 ” Raw Sienna. 
 
 Raw Sienna and Vandyke Brown. 
 
 -i Raw Sienna and Brown Madder. 
 
 Raw Umber. 
 
 __ Indian Yellow, Burnt Sienna, and Indigo. 
 
 ” Sepia and Brown Madder. 
 
 Sepia and Lake. 
 
 , Purple Madder. 
 
 | Vandyke Brown, Lake, and Indigo. 
 Vandyke Brown. 
 
 _ Brown, Pink, and Purple Madder. 
 
 Burnt Carmine is a very powerful colour for the 
 deepest touches, as well as in deep draperies. 
 
 10. ROCKS. 
 
 No objects have a greater variety of colours than 
 rocks, whether in the same mass or in different masses. 
 Grandeur and sublimity are the characteristics of the 
 larger kind, while those of smaller dimensions, detached 
 from the parent mass, are often interspersed to give wild¬ 
 ness to the scene. Vegetation clings with rigid tenacity 
 
ROCKS. 
 
 41 
 
 to the bare face of the solid material, producing contrasts 
 of the most desirable kind, and rendering the solitary 
 scene even gay in its solemnity. 
 
 The prevailing tone of rocks is grey, varying from 
 warm to cold, according to the time of their exposure to 
 the weather. 
 
 Crispness of outline is one of the leading features to 
 be aimed at in their representation; and this is obtained 
 by decided washes of colour, taking some particular form. 
 In all cases, the broader the wash the better, the marking 
 of separate parts being given at the finish only. Much 
 beauty will result from glazings of their local colour over 
 the greys; transparency will then be added to solidity, 
 and every variety of hue brought out by these simple 
 means. 
 
 Unless the vegetation covers a large space, and the 
 lights are not brighter than the rock, these first washes 
 should invariably be passed over the whole mass of the 
 rock, and the herbage painted on them. 
 
 The handkerchief will be found very serviceable in 
 removing large portions of colour for the purpose of giving 
 granulation and texture; and in the huge fallen portions 
 occupying some position in the foreground, thick colour 
 must be dragged over their surface, by working the 
 brush flat, and washing it to the side. By its being held 
 thus, the hairs necessarily become weak; and if it be 
 passed over lightly with rather dry colour, the upper 
 surface of the paper alone can receive it, and that but 
 partially. No other means are so effectual in producing 
 roughness of texture ; indeed, in the representation it is 
 perfect. 
 
42 
 
 COLOURS FOR ROCKS. 
 
 TABLE OF COLOURS FOR ROCKS. 
 
 For Grey Rocks. 
 
 ” French Blue and Lamp Black. 
 
 Lamp Black. 
 
 Cobalt and Light Red. 
 
 Indigo and Light Red. 
 
 Indigo, Burnt Sienna, and Lake. 
 
 Indigo and Brown Madder. 
 
 Indigo and Indian Red. 
 
 Lamp Black, Cobalt, and Purple Madder. 
 Lamp Black and Emerald Green. 
 
 Lamp Black and Rose Madder. 
 
 Vandyke Brown and French Blue. 
 Indigo, Rose Madder, and Roman Ochre. 
 _ Raw Umber and French Blue. 
 
 Local Colours 
 Warm and Cold. 
 
 'Raw Sienna, Vandyke Brown, and Cobalt. 
 Raw Sienna, Brown Madder, and Indigo. 
 Yellow Ochre and Light Red. 
 
 Yellow Ochre. 
 
 Light Red. 
 
 Burnt Sienna. 
 
 j Burnt Sienna and Payne’s Grey. 
 
 ] Indian Yellow, Burnt Sienna, and Indigo. 
 Brown Madder. 
 
 Raw Umber. 
 
 Raw Sienna and Brown Madder. 
 
 Brown Madder and Sepia, 
 
 Bistre and Prussian Blue. 
 
 _ Light Red and Prussian Blue. 
 
 Rocks and stones being subject to such an infinity of 
 change, the colours should be run one into another while 
 wet. We have before stated, that it is not necessary to 
 wash the brush at each change, but simply to place the 
 point into a different colour; and we now wish to impress 
 this method more strongly upon the student, because it 
 is the only certain mode of procedure that will be accom¬ 
 panied with reality and truth. 
 
 The dark portions of stones should be given with thick 
 colour, care being taken to keep the tone warm. It is 
 
FOLIAGE. 
 
 43 
 
 a mistake to suppose that the intensity of the inward 
 recesses of the riven rock can be attained by touching in 
 at once with a dark colour. This would be to give a 
 solid opaque appearance, whereas we want transparency; 
 to gain which we must put touch upon touch, lessening 
 the size of the touch each time : the result will then be 
 gradation and depth. 
 
 11. FOLIAGE. 
 
 We now come to one of the most important features 
 of the Landscape. 
 
 Foliage meets the eye at almost every turn, present¬ 
 ing forms that are truly graceful. It stands proudly 
 luxuriant in its growth, waving in the breeze. Every 
 spot it occupies receives beauty from its presence; while 
 to each class of scene it adapts itself with singular 
 felicity. 
 
 The Marsh and the River’s brink—the stately Park 
 and the impenetrable Forest—the Mountain’s retreat, 
 from the base to its summit—all have their peculiar 
 classes of foliage, which, while they adorn, carry out to 
 the full the impression conveyed to the feelings. Scenes 
 Pastoral, Sylvan, Grand and Sublime, have their distin¬ 
 guishing characteristic enhanced by the introduction of 
 trees. 
 
 We shall treat of trees under the general head of 
 Foliage; and to depict one class from another, our atten¬ 
 tion must be given to them in respect of the following 
 characteristics : 
 
 The outward form : 
 
 The disposition of the branches : 
 
 Whether the limbs are angular or curved : 
 
 The character of the main stem ; 
 
44 
 
 FOLIAGE. 
 
 Whether the trunk divides itself into several principal 
 limbs near the base ; or whether 
 
 The division is at a great height from the ground: 
 
 Whether the bark is smooth or rough: 
 
 Whether it peels off round the tree or down the tree: 
 
 Whether the colour is grey, brown, or green, or, as 
 in the Scotch fir, red: 
 
 The colour of the foliage, both of the upper and under 
 side : 
 
 The construction of the leaf as to size and shape : 
 
 The time of the year, the general luxuriance of the 
 tree, with its height and bulk. 
 
 Each and all of these several particulars must have our 
 careful study and attention. The great truth to be esta¬ 
 blished is character. Now this is not to be obtained by 
 a minute attention to every leaf, or to its exact shape,— 
 although we must be cognisant of this. There are leaves 
 many and forms many, all of which are, more or less, 
 disturbed by the wind. Some lie in this direction, and 
 others in that; so that to attempt to portray any by its 
 actual shape is hopeless. The impression generally con¬ 
 veyed to the eye is that at which we should aim. 
 
 The great difficulty will be found in giving the idea of 
 multiplicity, while we represent the mass. Firmness of 
 handling, sharpness of outline, and truth of light and 
 shadow, are amongst the leading points to be gained. 
 Colour and force of opposition are alike indispensable, 
 and it is not an easy thing to treat a considerable quan¬ 
 tity of foliage without falling into sameness and insi¬ 
 pidity. 
 
 The first thing to be done is to wash on the local 
 colour; then, upon that, separate the light from the 
 shadow, and afterwards give the principal markings or 
 divisions of the foliage. When this is done, improve 
 the outside form by extending the touches, but be 
 
FOLIAGE. 
 
 45 
 
 cautious not to make them too numerous or too small. 
 The lights must next engage our attention; they should 
 be touched upon with plain water, and removed with 
 the handkerchief, wash-leather, or bread, and then they 
 are to be washed over with some desirable colour; the 
 branches may now be added, and the tree will be com¬ 
 plete. 
 
 This is the broad principle for painting trees. 
 
 Should it be desirable to produce them with liquid 
 colour, the brush must be well filled, but not over¬ 
 charged ; the outside forms are more easily given by 
 using the side of the brush than its point, particularly 
 where the leaves are thin, scattered, and uncertain. It 
 is prudent to wash gently with clear water and a brush, 
 previously to putting on the shadows; but not in all 
 cases. The side of the brush must again be employed 
 for giving sharp and decided forms, but so used that it may 
 impart plenty of colour without leaving dark blotches; 
 to attain which we must place the brush on a sponge or 
 cloth. Greater expedition is required in our work, if we 
 use liquid colour, lest while we are engaged on one part, 
 the other becomes too dry. 
 
 Some trees can be more firmly painted by working 
 the colour thickly; and not only does this afford greater 
 power, but it enables us to attend to one part at a time, 
 so that we may keep touching and retouching upon it 
 while wet. A tree may be constructed in this manner 
 before drying, with the local colour, light and shadow, 
 and detail ; and it will then resemble more the charac¬ 
 ter of oil than -water-colour painting. The high lights 
 have then to be “ taken out,” and the glazing colours 
 passed over each part of the tree to give transparency. 
 A few touches in the extreme depth are to be added, 
 with here and there an improvement in the outside 
 form. 
 
46 
 
 FOLIAGE. 
 
 The colours to be used for this purpose are not the 
 transparent ones, but must possess a degree of opacity 
 and turbidness; of all others, none can surpass, for near 
 trees, Indian Yellow, Burnt Sienna, and Indigo; the 
 Indian Yellow being the colour that gives the opacity. To 
 prevent the colours flowing, a little water-colour Megilp 
 may be used with them. This vehicle completely resem¬ 
 bles in its effects those of oil painting, and can be put, 
 while wet, into any form. A flat sable brush is valuable 
 for working it, and the trees may be treated just in the 
 same manner as in oil painting. Lights can be taken out 
 most delightfully, and very crisply. As the Megilp causes 
 the colour to dry rather dull, glazings of transparent 
 colours are necessary; and it is better to put them on 
 lightly two or three times, than to make them strong 
 enough at once. If any of the lights be very brilliant, 
 water must be put upon the shape, the blotting-paper 
 applied, and the spot then rubbed briskly with India 
 rubber; this will regain the white paper, which will re¬ 
 ceive any kind of pure washes with great brilliancy. Too 
 much attention cannot be given to the stems and branches; 
 as, if they are not well managed, the tree will be entirely 
 spoiled. They must always appear to pass behind the 
 foliage, beginning again of a proper thickness when they 
 reappear at the top of it. We must be able, in imagina¬ 
 tion, to trace the whole ramification, from the top to the 
 bottom, through all the intricacies of leafage. All the 
 shadows are to be washed on very broadly at first, leaving 
 the markings for the finish. When the character of the 
 bark is rough, great care must be taken not to cut up 
 the breadth of light by too many catching lines ; for of 
 this hardness would be the sure consequence. Separate 
 studies of the trunks, where they bear any decided pecu¬ 
 liarity, will be found extremely useful. 
 
COLOURS FOR TREES, ETC. 
 
 47 
 
 TABLE OF COLOUBS FOB TBEES A>'D FOLIAGE. 
 
 All these com¬ 
 pound Tints are 
 beautiful, and may 
 be made more or 
 less bright or som¬ 
 bre, according to 
 the proportion of 
 Yellow or Blue 
 with the Brown or 
 Red. 
 
 Those partaking 
 of the Orange 
 Tone, and marked 
 *, are for Autum¬ 
 nal effects, as well 
 as for Glazing. 
 
 " Gamboge, Burnt Sienna, and Indigo. 
 
 A little Cobalt to the above will give greater 
 purity. 
 
 Gamboge, Brown Madder, Indigo, and Cobalt. 
 Gamboge and Sepia. 
 
 Roman Ochre, Lake, and Indigo. 
 
 Roman Ochre, Indigo, Rose Madder, and Cobalt. 
 Brown Pink. 
 
 Brown Pink, Vandyke Brown, and Indigo. 
 
 Olive Green. 
 
 Olive Green and Indigo. 
 
 Olive Green and Burnt Sienna. 
 
 Prussian Blue and Bistre. 
 
 Prussian Blue, Bistre, and Indian Yellow, or 
 Gamboge. 
 
 Indian Yellow, Burnt Sienna, and Indigo. 
 
 J Indian Yellow, Vandyke Brown, and Indigo. 
 
 ’ Indian Yellow, Sepia, Indigo, and Cobalt. 
 
 Indian Yellow and Lamp Black. 
 
 *Gamboge and Brown Madder. 
 
 *Raw Sienna and Indigo. 
 
 *Brown Ochre. 
 
 *Burnt Sienna. 
 
 *Indian Yellow and Purple Madder. 
 
 *Indian Yellow and Rose Madder. 
 
 Itaban Pink, with either Indigo or Cobalt. 
 *Roman Ochre and Brown Madder. 
 
 Prench Blue may be substituted for Indigo in the 
 purer tint. 
 
 Naples Yellow, with either of the above, where 
 opacity or a misty greyness is required. 
 ^Naples Yellow to be touched on sharply and 
 thick for strong and catching lights, where they 
 can neither be left nor taken out. 
 
 The above list is a very comprehensive one, and should 
 be regarded with attention. Every tint, from the brightest 
 to the deepest, will be found there; and it will be worth 
 the trouble to try each as they occur, by which their fitness 
 for our purpose will be ascertained in a short time. There 
 is yet one thing to caution the young Artist against, which 
 is blackness in the darkest shadows of the foliage. This 
 
48 
 
 FOREGROUNDS. 
 
 will result from too great a use of Indigo ; but should the 
 evil exist, no colour will regain the proper tone so well as 
 Indian Yellow used thickly. 
 
 TABLE OF COLOURS FOR STEMS AND BRANCHES. 
 
 For the Stems 
 and Branches, 
 both Grey and 
 W arm. 
 
 ' Vandyke Brown. 
 
 Brown Madder. 
 
 Brown Madder and Indigo, or French Blue. 
 
 Burnt Sienna and French Blue. 
 
 Indian Yellow, Burnt Sienna, and Indigo, the 
 most useful for Branches shadowed by depth of 
 Foliage. 
 
 Payne’s Grey and Light Red. 
 
 Lamp Black and Rose Madder. 
 
 French Blue and Purple Madder. 
 
 Indigo and Lake, with a little Yellow Ochre. 
 Brown Madder and Sepia. 
 
 _ Sepia and Purple Madder. 
 
 12. FOREGROUNDS. 
 
 A good, foreground often gives interest to a scene 
 which otherwise would have nothing to recommend it. 
 For this reason, it is desirable to make and keep accurate 
 studies of objects suitable in this respect for every class 
 of subject. We have said “accurate,” because, being 
 immediately close to us when the sketches are made, they 
 are so much more likely to show their entire details ; and 
 the greater our knowledge of any object is, the more 
 boldly and readily we shall be enabled to paint it. Every 
 thing we can name will come under the denomination of 
 a foreground object, so that some little experience is ne¬ 
 cessary to its successful introduction and treatment. Too 
 servile an imitation of each individual part is sure to lead 
 to “ littleness” of style, and the object, by being thus ob¬ 
 trusive, will destroy the breadth of the picture. Character 
 in this, as well as in foliage, is the principal end to which 
 our efforts must be directed. The great charm in fore- 
 
FOREGROUNDS. 
 
 49 
 
 ground painting lies in brilliancy without crudity,—in 
 force without violent contrasts,—in a beautiful disposition 
 of “ lines,” and a perfect adaptation of this to the other 
 portions of the work. 
 
 Much has been advanced respecting water, rocks, and 
 trees ; we shall now notice herbage in general, in respect 
 of foreground painting. Having previously obtained a 
 knowledge of the various kinds of grass, weeds, ferns, 
 rushes, &c. we must wash them all in without reference 
 to any of their inner forms. This should be done with 
 rich and full colour in broad masses, varying the colour 
 while the drawing is wet, as the subject may dictate. Our 
 next object must be to give the several undulations of the 
 ground upon which they are growing, by strictly putting 
 in the shadows to their proper form. Much attention is 
 requisite in this stage of the work, or we shall fail in ren¬ 
 dering a due unevenness of surface. This done, mark 
 out with decision the character of the grass, &c. always 
 touching them as largely as possible, that others, more 
 minute, may be placed upon them. Having obtained a 
 broad and good effect, begin to “ take out” a few of the 
 strong lights upon the more detached blades of grass, as 
 well as the broad parts, such as dock-leaves, &c .; this will 
 give detail and looseness to the mass, and heighten the 
 breadth of light. It is seldom we are enabled to complete 
 herbage in the foreground without “taking out,” because 
 texture different from that obtained by the mere washing 
 on of colour is necessary. Not only is texture gained by 
 it, but a luminous transparency is also given, whereby 
 sunlight is rendered with greater exactness. In addition 
 to these qualities, we are enabled to produce a considera¬ 
 ble diversity of tints upon the separate parts of each weed, 
 if so desired; and thus the individual identity is more 
 established, and the work materially enriched. 
 
 E 
 
50 
 
 BANKS AND ROADS. 
 
 TABLE OF COLOURS FOR FOREGROUND, HERBAGE, ETC. 
 
 Pure Greens for 
 Grass, more or less 
 bright. 
 
 Indian Yellow and Indigo. 
 Gamboge and Indigo, or Cobalt. 
 Raw Sienna and Indigo. 
 
 Roman Ochre and Indigo. 
 
 Broken Greens, 
 both for Light and • 
 Shadow. 
 
 Gamboge, Burnt Sienna, and Indigo. 
 Indian Yellow, Burnt Sienna, and Indigo. 
 Brown Pink and Indigo. 
 
 Brown Pink. 
 
 Raw Sienna, Lake, and Indigo. 
 
 Roman Ochre, Lake, and Indigo. 
 
 _ Gamboge and Sepia. 
 
 Warm tones for 
 high Lights, also 
 for faded and de¬ 
 cayed Leaves. 
 
 ' Gamboge and Brown Madder. 
 
 Indian Yellow and Brown Madder. 
 
 Brown Ochre. 
 
 Burnt Sienna. 
 
 Raw Sienna. 
 
 Roman or Yellow Ochre. 
 
 Indian Yellow. 
 
 Gamboge and Vandyke Brown. 
 
 Italian Pink. 
 
 Gamboge and Rose Madder. 
 
 Indian Yellow and Purple Madder. 
 
 Pure Naples Yellow, for the sharp touches on 
 grass. 
 
 For glossy leaves 
 in high Light; also 
 for all very cold 
 Tones. 
 
 Cobalt and a little Emerald Green. 
 Cobalt and Rose Madder. 
 
 Indigo. 
 
 Indigo and Rose Madder. 
 
 Cobalt and Purple Madder. 
 Prussian Blue and Rose Madder. 
 Payne’s Grey and Gamboge. 
 Cobalt and Naples Yellow. 
 
 13. BANKS AND ROADS. 
 
 Solidity is tlie characteristic of ground, to obtain which 
 we depend upon flat, clear washes of colour. Decision of 
 
BANKS AND ROADS. 
 
 51 
 
 outline is requisite in each wash, in order to give some 
 particular form to every angle and to every deviation 
 from a right line. A blending of tints also must be care¬ 
 fully observed, with their fitness for sunshine or shade. 
 All detached lumps of earth or stones must be regarded 
 as objects by themselves, with reference, however, to the 
 locality in which they are placed. From their colour 
 being different from that of the other parts of the ground, 
 they are particularly useful in giving dispersion of tone; 
 and, although each stone is to possess its high light, half 
 light, shadow, colour, and reflection, yet it is to occupy 
 its position in the picture simply as a stone, and must, as 
 to its effect, be combined with the ground generally, of 
 which it forms a part, in order to preserve unity of in¬ 
 tention and purpose. 
 
 As the most picturesque roads are much broken, and 
 consist of deep ruts and a succession of inequalities, with 
 stones lying scattered about in all directions, they must 
 therefore be made up of many parts, and subject to nu¬ 
 merous lights and shadows. Remember, however, that 
 too many strong lights and too many deep shadows will 
 interfere with the general effect ; and, although each 
 may be correctly drawn, yet they must be subservient to 
 the impression of breadth. 
 
 In the execution of these portions, observe the fol¬ 
 lowing directions : 
 
 Let all the first washes and shadows, with lights and 
 half lights, be flatly given. 
 
 Use the handkerchief or wash-leather to “ take out” 
 lights, and to produce accidental forms. 
 
 Drag the brush over the road or bank with rather 
 dry colour, particularly over any large mass of stone. 
 
 If a rut is deep, give it the appearance of depth, by 
 repeated washes of a warm tone, not by one dark mark 
 of colour. 
 
52 
 
 BUILDINGS. 
 
 TABLE OF COLOURS FOR BANKS AND ROADS. 
 
 The first 
 general Tones of 
 the Ground. 
 
 ' Yellow Ochre. 
 
 Yellow Ochre and Light Red. 
 
 Yellow Ochre, Burnt Sienna, and a very little 
 Cobalt. 
 
 Yellow Ochre and Vandyke Brown. 
 
 Burnt Sienna. 
 
 Light Red and Lamp Black. 
 
 Yellow Ochre, Light Red, and Payne’s Grey. 
 Yellow Ochre and Indian Red. 
 
 Mixtures 
 for Shadows. 
 
 ' Lamp Black and Light Red. 
 
 Lamp Black and Rose Madder. 
 
 Indigo and Light Red. 
 
 Indigo and Indian Red. 
 
 Payne’s Grey. 
 
 French Blue and Brown Madder. 
 French Blue, Burnt Sienna, and Lake. 
 Sepia. 
 
 Sepia and Brown Madder. 
 
 Vandyke Brown. 
 
 Vandyke Brown and Purple Madder. 
 
 _ Purple Madder. 
 
 Vandyke Brown is the general colour for dragging 
 over the surface, to give roughness of texture. A little 
 Chinese White may be added to any of the above, for 
 the purpose of giving colour to the detached stones. 
 
 14. BUILDINGS. 
 
 Truth of outline and correctness of perspective are 
 the first essentials for the accurate representation of build¬ 
 ings of every description. Stone, brick, wood, slate, 
 plaster, and mud are only distinguished by colour and 
 texture. Clearness of washing and decision of touch, 
 with dexterity in dragging the brush over the surface, 
 are the principal requirements for the work. 
 
COLOURS FOR BUILDINGS. 
 
 53 
 
 TABLE OF COLOURS FOR THE PARTS OF BUILDINGS. 
 
 Tints 
 for Stone. 
 
 Bricks or Tiles 
 in Light. 
 
 'Yellow Ochre. 
 
 Yellow Ochre and Lamp Black. 
 
 Yellow Ochre and Sepia. 
 
 J Yellow Ochre, Sepia, and Payne’s Grey (very 
 beautiful). 
 
 Raw Umber, by itself or with French Blue. 
 
 Burnt Umber. 
 
 _ Yellow Ochre, Light Red, and Cobalt. 
 
 ' Burnt Sienna. 
 
 Light Red. 
 
 < Brown Madder. 
 
 Indian Yellow and Brown Madder. 
 
 _ Yellow Ochre and Indian Red. 
 
 Bricks or Tiles in 
 Shadow. 
 
 Wood. 
 
 'Burnt Sienna and Brown Madder. 
 
 Light Red and Payne’s Grey. 
 
 Burnt Sienna and Purple Madder. 
 
 Purple Madder. 
 
 -j Vandyke Brown, Purple Madder, and French 
 Blue, or Indigo. 
 
 Indian Red and Indigo. 
 
 Roman Ochre, Indian Red, and French Blue. 
 
 _ Lamp Black and Lake. 
 
 "Yellow Ochre and Lamp Black. 
 
 Cobalt and Light Red. 
 
 Indigo and Light Red. 
 
 Lamp Black. 
 
 Sepia. 
 
 Raw Umber. 
 
 J Burnt Umber. 
 
 ] Vandyke Brown. 
 
 Lamp Black and Lake. 
 
 Payne’s Grey, with either Yellow Ochre, Burnt 
 Sienna, or Light Red. 
 
 Brown Madder and Sepia. 
 
 Brown Madder and French Blue. 
 
 _ Brown Madder, Burnt Sienna, and French Blue. 
 
 ' Lamp Black. 
 
 Lamp Black and Rose Madder. 
 Sepia, Lake, and Indigo. 
 
 Indigo and Lake. 
 
 French Blue and Purple Madder. 
 French Blue and Brown Madder. 
 French Blue and Black. 
 
 _ Payne’s Grey. 
 
54 
 
 FIGURES AND CATTLE. 
 
 (Plaster the same as slate, with the addition of Yel¬ 
 low, more or less,—Yellow Ochre.) 
 
 Mud Walls. 
 
 Burnt Umber. 
 
 Sepia and Yellow Ochre. 
 
 Use any one of the above, in combination with more 
 or less French Blue or Indigo, if grey is required. 
 
 " Brown Madder. 
 
 Purple Madder. 
 
 Brown Madder and French Blue or Indigo. 
 , Indigo and Lake. 
 
 "I Yellow Ochre and Brown Madder. 
 
 Sepia. 
 
 Vandyke Brown. 
 
 _ Yellow Ochre and Sepia. 
 
 ON FIGURES AND CATTLE. 
 
 Human Figures are, without doubt, of primary im¬ 
 portance, as they often make the real subject of the 
 picture. They require to be so placed that the com¬ 
 position may be assisted, as well as enriched, by their 
 presence. Each class of scene will require its particular 
 character of figure, just as each time of day calls for 
 corresponding occupation. Going to labour, labouring, 
 and returning from labour—all have to tell some tale, 
 whereby interest is conveyed. Figures are introduced 
 for various causes: 1st, because they give life to the 
 view; 2dly, they bring colour and force ; 3dly, they 
 are made to occupy the place of some undesirable part 
 of our sketch ; 4thly, they give size and dimension to 
 the whole. Some localities require a crowded assem¬ 
 blage, others but one figure, and that contemplative 
 and solitary. It matters little how many or how few 
 there are, they are only to be introduced to carry out 
 the design, and to give it increasing interest and beauty. 
 
FIGURES AND CATTLE. 
 
 55 
 
 How or where these figures are to be placed must 
 be left to the judgment of the Artist, and the determina¬ 
 tion of this should occupy much thought and observation. 
 We say observation , because much information as to posi¬ 
 tion and effect may, and certainly can, be obtained from 
 looking at and examining the works of great men. We 
 should, while studying these works, endeavour to ascer¬ 
 tain why the figures and groups occupy such and such 
 positions; for this purpose it will be useful to place the 
 finger or hand across certain of the figures, to see what 
 the effect would be without them, and how it is en¬ 
 hanced by them. Figures should be drawn from Na¬ 
 ture, and every advantage taken of their position and 
 form while in action. If time will not permit for colour¬ 
 ing, note down the particular colours, and whether they 
 contrasted or harmonised well with the scene of action. 
 A small Sketch-book should be kept entirely for this 
 purpose, so that we can easily refer to it, and make ex¬ 
 tracts whenever they may be required. In the drawing 
 of the human form, we must guard against false propor¬ 
 tions and distorted limbs. 
 
 The full force of colour should be given to figures, 
 as, from their purity of tone and brilliancy by contrast, 
 the whole of the tints in the landscape are subdued and 
 broken. All crudeness that before existed will thus be 
 taken away, and the distance will receive additional 
 atmosphere. To enumerate any colours for them would 
 be useless, as all may, more or less, be used with ad¬ 
 vantage. They should be painted in carefully, though 
 boldly, and never with too small a brush. Chinese 
 White is of immense value in the high lights, as well as 
 in mixture with some of the colours. By it many tints 
 are obtained that have body and force, and which by 
 their opacity will lie over any of the others. 
 
 Cattle will next and last require a few words. Their 
 
56 
 
 FIGURES AND CATTLE. 
 
 introduction is always pleasing, and a degree of pictu¬ 
 resque effect is gained that would be wanting without 
 them. Groups of them are often among the leading 
 features in the landscape, forming masses of colour in 
 sunshine, and then gently graduating into shade. Cows 
 and oxen are so desirable in colour and contour, that we 
 find them almost in every picture where they can be 
 appropriately placed. White, cream-coloured, yellowish 
 dun, light bay, bay, deep bay, brown, and black—all 
 these form so many steps from light to dark, that we 
 can carry out the scale with immense benefit, and thus 
 bring beautiful colour and contrasts of colour into the 
 picture. Horses are equally serviceable, giving rus¬ 
 ticity and character to the subject. The variety of 
 colour renders them desirable in this point of view, and 
 a white horse is often made the key, or principal light, 
 of the picture. Dogs and sheep, being much smaller, 
 are to be regarded more as accessories to the others, and 
 so admirable are they in form, that they serve to give 
 great beauty to the whole. 
 
 TABLE OF COLOURS FOR CATTLE AND OTHER ANIMALS. 
 
 { Yellow Ochre. 
 
 Yellow Ochre and Burnt Sienna. 
 
 Light Red. 
 
 Burnt Sienna. 
 
 f Burnt Sienna and Brown Madder. 
 
 ■< Light Red and Brown Madder 
 [ Indian Yellow and Brown Madder. 
 
 { Brown Madder. 
 
 Vandyke Brown and Purple Madder. 
 
 Brown Madder and Sepia. 
 
 Vandyke Brown and Lake. 
 
 { Sepia and Lake. 
 
 Vandyke Brown. 
 
 ' Indigo and Lake. 
 
 Brown Madder, Indigo, and Lake. 
 
 < Lamp Black and Lake. 
 
 French Blue, Sepia, and Lake. 
 
 _ Payne’s Grey and Vandyke Brown. 
 
 Light Cows, 
 Horses, and Dogs. 
 
 If Bay. 
 
 If Dark Bay. 
 
 If Dark Brown. 
 
 If Black. 
 
CONCLUSION. 
 
 57 
 
 r Yellow Ochre. 
 
 J Roman Ochre. 
 
 | Roman Ochre and Vandyke Brown. 
 
 (_ Raw Umber. 
 
 f Burnt Sienna and Payne’s Grey. 
 
 \ Cobalt and Light Red. 
 
 f Payne’s Grey, shaded with 
 •< Vandyke Brown and Payne’s Grey; or 
 [ Payne’s Grey and Brown Madder. 
 
 If great power and transparency be required, the 
 effect will be greatly heightened by passing a little gum- 
 water, or other vehicle, over the strongest parts ; this 
 will cause the colours to shine out with much force, and 
 bring them completely in advance. Judiciously em¬ 
 ployed, there is nothing that is calculated to give so 
 much transparency and force to our work. 
 
 Sheep. 
 
 Shadow Colours. 
 
 Black Head and 
 Feet. 
 
 CONCLUSION. 
 
 We conclude with adding one word on style, man¬ 
 ner, or mannerism. Every one is endowed with certain 
 powers of perception, which in the course of time be¬ 
 come educated and developed. This faculty is different 
 in each individual, and hence his ideas will vary from 
 those of others in the treating of his subject. As his 
 feelings are, so will he depict them. This will account 
 for the variety of style which we see in painting; al¬ 
 though all have the same end in view,—namely, a re¬ 
 presentation of Nature agreeably to the principles of 
 Art, the latter being founded on the former. To effect 
 this, each Artist will have some peculiar manipulation 
 of his own, such as will convey to his mind the most 
 perfect and ready manner of working out his subject. 
 
 The just inference from all this is, that to imitate this 
 or that man’s execution is to trammel ourselves with a 
 chain that may materially affect our freedom. By so 
 doing, we copy servilely the means employed; whereas 
 
58 
 
 CONCLUSION. 
 
 the means should only be the result of the workings of 
 the intellect, and that intellect our own. True it is, 
 there are many standards of excellence, upon which our 
 first and rudimental efforts should be founded; but the 
 ultimate and safe rule is, “ Study Nature welland, as 
 she is read, so let her be depicted,—not in the manner 
 of another, but in a style which you have dared to make 
 peculiarly your own. 
 
INDEX. 
 
 Absorbency, effects of too great . . . . - . . .26 
 
 Air, effects of, to be arrived at in painting.6 
 
 Autumnal effects in foliage, colours for.47 
 
 Banks and Eoads.50 - 
 
 -colours for.52 
 
 Bark of Trees, observations upon.44 
 
 Baskets, colours for.40 
 
 Beds of Running Streams.32 
 
 Blackness, caused by use of too much blue, to be avoided . . 35 
 
 Blotches, to be avoided.29 
 
 Boats.39 
 
 --serving to give motion and colour in calm water . . .31 
 
 Branches, colours for.48 
 
 Breadth, principle of. . . 9 
 
 Brighton, note made at.37 
 
 Broken Greens.50 
 
 Brooks and Running Streams.32 
 
 Brooks and Streams, colours for.34 
 
 Brush, how held in painting clouds.17 
 
 Buildings . .52 
 
 Cadmium Yellow, value of, in sunsets and draperies . . .15 
 
 Carmine, Burnt, used in deep draperies.40 
 
 Cattle, effect of, in shallow water.31 
 
 -sketches to be made and registered.55 
 
60 
 
 INDEX. 
 
 PAGE 
 
 Chalkiness in middle distance corrected by Indigo . . .27 
 
 Chinese White, for smaller lights, in running streams . . .33 
 
 •-how to be manipulated in the painting of running 
 
 water.34 
 
 Clouds, colours for. 21 
 
 - painting of, when under the influence of the sun’s beams . 16 
 
 Colour, principles of ......... 8 
 
 - for Brooks and Streams.34 
 
 -- to be driven flatly and in masses.29 
 
 Composition, defined.7 
 
 Contrasts, how produced, in calm water.31 
 
 Cows, colours for .......... 56 
 
 Daylight Effects in Clouds, how produced. 21 
 
 -Skies, colours for.19 
 
 Dock Leaves, &c., how treated in foregrounds . . . .49 
 
 Dogs, colours for.56 
 
 Distances, treatment of.29 
 
 Draperies, carmine used in painting deep.40 
 
 Drawing, importance of accuracy in.7 
 
 Earth, lumps of, how treated.41 
 
 Extreme distance, treatment of ....... 28 
 
 -and Middle Distances, importance of . . .29 
 
 Eerns, drawings of, in foregrounds. 49 
 
 Figures to he drawn from Nature. 55 
 
 Pine-weather Clouds.17 
 
 Pleecy Clouds, mode of painting.18 
 
 Force of Colour, what it is . . . . . . .23 
 
 Foregrounds, accurate studies of objects for.48 
 
 Foliage.. 
 
 —-in distance, colours for.28 
 
 -colours for .... ..... 47 
 
 Form, definition of. 7 
 
 - to be given to light, in painting running streams . . .33 
 
 Forms of Clouds.. 
 
INDEX. 
 
 61 
 
 PAGE 
 
 Forms of Washes, importance of.27 
 
 -rules for the observation of.43 
 
 Glazing Colours, when used in the painting of trees . . .46 
 
 Granulation of the paper to be preserved.6 
 
 -in cloud painting.18 
 
 Grasses, drawings of, in foregrounds.49 
 
 Gum-water, use of, in foreground objects.57 
 
 Harmony, principle of.8 
 
 Herbage, in respect of foreground-painting . . . . .48 
 
 -colouring of, in the distances.29 
 
 -glazing of, in the distances.28 
 
 High Lights, tones for, in foregrounds, &c.50 
 
 -in clouds, colours for.21 
 
 Hills, treatment and colouring of remote.8 
 
 Horses, colour of, and their pictorial effect.56 
 
 Human Figures, treatment of ..54 
 
 Imitation defined.7 
 
 Indian Yellow, recovers tones lost by the use of Indigo . . .48 
 
 Invention, definition of.7 
 
 Knife, use of, in taking out lights.19, 37 
 
 Leaves, tones for decayed ........ 50 
 
 - tones for glossy.50 
 
 Lights, to be left, to have form, in painting running streams . . 33 
 
 - if smaller, given by Chinese White, in streams . . .33 
 
 _to be inserted at the finishing of the picture . . .34 
 
 Light and Shade, principle of.8 
 
 Line in Perspective, importance of, in the drawing of boats, 
 
 shipping, &c.39 
 
 Liquid Colour, use and management of, in painting foliage . . 44 
 Littleness of style, to be avoided in foregrounds .... 48 
 
 Marsh-foliage.43 
 
 Megilp, water-colour, how used in the painting of trees . . 46 
 
62 
 
 INDEX. 
 
 Middle Distance, treatment of. 
 
 Mountain, example of the effects of light upon 
 
 Mountains, how to be treated. 
 
 .■ -first wash for ....... 
 
 Mountain-tops, clouds upon. 
 
 Mud Walls, colours for. 
 
 Nature, colouring from. 
 
 -importance of the study of. 
 
 Neutral Orange of Yellow Ochre and Brown Madder, effects of 
 
 Orange Vermilion, use of, in sunset and sunrise clouds . 
 
 Picture, finished, how different from a finished sketch 
 Pyramidical forms in the grouping of shipping, &c. 
 
 Pure Greens. 
 
 Perspective, importance of, in buildings 
 Plaster, colours for 
 Pencil Sketch, how secured . 
 
 Pumice-stone, powdered, of great use 
 
 Running Streams. 
 
 Rough Water . .. 
 
 Reflections in Water. 
 
 Rocks. 
 
 - vegetation on, how painted .... 
 
 - colours for. 
 
 Rushes, drawings of, in foregrounds 
 Roads, rules for the painting of ... 
 
 Relief, principle of. 
 
 Sketch, finished, how different from a finished picture 
 Stones in Water, colours for division and markings of 
 
 Sea. 
 
 Scarborough, note made at. 
 
 Surf, lights. 
 
 Sea, colours for the painting of ... . 
 
 Stormy Sea, colours for. 
 
 PAGE 
 
 29 
 10 
 24 
 . 27 
 17 
 . 54 
 
 . 9 
 . 57 
 , 14 
 
 . 22 
 
 . 29 
 . 39 
 . 50 
 . 52 
 . 54 
 . 13 
 . 18 
 
 . 32 
 . 35 
 . 36 
 . 40 
 . 40 
 . 42 
 . 49 
 . 51 
 . 8 
 
 . 29 
 . 35 
 . 35 
 . 36 
 . 36 
 . 37 
 38 
 
INDEX. 
 
 63 
 
 PAGE 
 
 Sea Greens.38 
 
 Shipping. 39 
 
 Sails, effect of, in pictures.39 
 
 -colours for ..40 
 
 Stones and Bocks, how coloured ........ 42 
 
 Stems and Branches, principle of drawing.46 
 
 -colours for.48 
 
 Stones and Leaves, &c., colours for ...... 52 
 
 Slate, colours for.53 
 
 Space, not Surface, to be represented.6 
 
 Sketches from nature to be constantly made and registered . .11 
 
 Sky.13 
 
 Sunset Skies.14 
 
 Sand Paper (No. 0) used in the granulation of clouds . . .18 
 
 Sponge, use of, in cloud painting.19 
 
 Sunset, colours for.20 
 
 Sunrise, colours for.20 
 
 Silvery tones of Clouds, colours for.21 
 
 Sunset and Sunrise Clouds, colours for.22 
 
 Sheep, colours for.57 
 
 Thatch, colours for.54 
 
 Thick colour, how used in the painting of trees . . . .44 
 
 Third Distance, treatment of.24 
 
 Tiles, colours for.53 
 
 Tint, first general, how made and used.12 
 
 Trees, rules for observing the foliage of.43 
 
 - representation of, in masses.44 
 
 -colours for.47 
 
 Trunks of Trees, observations upon.44 
 
 ■-studies of.46 
 
 Twilight, effect of.16 
 
 -colours for.20 
 
 Vandyke Brown, how far useful in painting banks and roads . 52 
 
 Vegetation on rocks, how painted.40 
 
 Washes, with clean water, in skies, importance of . . . .14 
 
64 
 
 INDEX. 
 
 PAGE 
 
 Water, colours for painting the same as those for clouds, skies, and 
 
 distance.31 
 
 Water, colour, effect of, in landscape.30 
 
 -to be painted in broadly.30 
 
 -reflections in.30 
 
 Water-fowl, effect of, in calm water.31 
 
 Water, still, tints for.<32 
 
 Waves, correct drawing of, indispensable.35 
 
 Weeds, in the beds of running streams.32 
 
 - colours for.34 
 
 - drawings of, in foregrounds.49 
 
 Wind, effect of, or waves, how represented ..... 35 
 
 Wood, in buildings, &c., colours for.53 
 
 Zenith, graduation of tints to the.15 
 
 LONDON: 
 
 PRINTED BY ROBSON, LEVEY, AND FRANKLYN, 
 Great New Street and Fetter Lane,