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 THE 
 
 GUIDE 
 
 OIL PAINTING. 
 
 BY 
 
 J. S. TEMPLETON. 
 
 SEVENTH EDITION. 
 
 Honfcoit: 
 
 GEO. ROWSEY AND CO., 51, RATHBONE PLACE. 
 1849. 
 
©ntmfc at Stationers’ 
 
 THE GETTY CENTER 
 LIBRARY 
 
TO 
 
 THE VICE PRESIDENTS, 
 
 THE 
 
 COUNCIL, 
 
 
 AND 
 
 MEMBERS 
 
 THE INSTITUTE 
 
 OF 
 
 OF THE FINE ARTS, 
 
 THIS HUMBLE ENDEAVOUR TO 
 
 EXTEND THE ELEMENTARY KNOWLEDGE OF OIL PAINTING IS 
 
 MOST RESPECTFULLY DEDICATED BY THEIR 
 
 VERY DEVOTED 
 
 AND FAITHFUL SERVANT, 
 
 THE AUTHOR. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 < 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Preface, 
 
 The following pages are intended to remove, or at 
 least lessen the difficulties that necessarily present 
 themselves at the threshold, in entering on the study 
 of any branch of Art, arising from the want of prac¬ 
 tical information, arranged in proper order, simplified 
 and clearly defined : discouragement, and not unfre- 
 quently ultimate abandonment of a pursuit, that 
 might have proved both pleasing and profitable, are 
 the consequence of the difficulties so encountered, 
 when a ready reference to information, founded on 
 the experience of others, might have smoothed the 
 way for the more resolute, and encouraged the des¬ 
 ponding to persevere. 
 
 The writer of this little work has derived what 
 information he possesses on the subject of which it 
 treats, chiefly from his own practical experience, 
 conoborated by the communications and opinions of 
 many others in the profession, of such standing, as to 
 
VI 
 
 give high value to their authority : he feels therefore 
 that he is justified in placing it, with modest confi¬ 
 dence, before those who are in a condition to require 
 it, without any hazard of leading them astray, and 
 with an earnest desire that it may prove useful. His 
 aim has been, to omit nothing that could be considered 
 essential to be known; and in entering into minute 
 details, it would be difficult to determine, what should 
 be pronounced trivial or unnecessary to be communi¬ 
 cated to such as are just commencing their search for 
 elementary information. In viewing the various 
 grades of intellect that may be directed to the same 
 pursuit, it will be admitted without difficulty, that 
 precepts, and points of instruction, which would ap¬ 
 pear superfluous and trifling to the more gifted, may 
 be necessary and of high value to others—the best 
 course then, is to provide for all, and to risk transgres¬ 
 sion rather on the side of superfluity than scantiness. 
 Many, indeed most of the works, that have been hith¬ 
 erto published on the same subject, are so deficient in 
 the detailed information here alluded to, as to deprive 
 them of half their value to the beginner, however good 
 they may be in other respects; to supply this want 
 is one of the chief objects of this little treatise, and it 
 will be a source of great gratification to the Author if 
 he should be deemed to have accomplished his aim. 
 
 Kensington, May, 1845. 
 
Contents* 
 
 PAGE. 
 
 Dedication .. .. .. .. .. .. .. iii. 
 
 Preface .. .. .. .. .. . # .. v. 
 
 The Painting Boom .. .. .. .. .. # _ 1 
 
 The Implements .. .. .. .. ,. # t 4 
 
 The Materials .. .. .. .. .. # # ..II 
 
 Of the Drying of Colours . 27 
 
 The Mixing of Colours . 28 
 
 Maguilps and Mediums .. .; .34 
 
 Methods of Applying the Colours. 36 
 
 Of Painting Heads and Flesh .. 
 
 Of Painting Back Grounds.. 
 
 Of Painting Draperies . ..53 
 
 Of Painting Landscapes .. .. .. .. .. 59 
 
 Of Painting Animals. 64 
 
 Of Flower and Fruit Painting . 65 
 
€1it dtiiitf tn dMl ^nintitig. 
 
 THE PAINTING ROOM. 
 
 CQQ Q^ gHERE circumstances permit, it is ob- 
 , viously the most satisfactory and conve¬ 
 
 nient arrangement to have a room exclu¬ 
 sively appropriated to the purposes of oil painting; 
 as, by the adoption of this plan, much time may be 
 saved that would be otherwise spent in the arrange¬ 
 ment of, and putting away the materials, previous to 
 commencing, and on leaving off work. In a room of 
 this kind, such order may easily be preserved, as will 
 greatly conduce to the comfort and convenience of 
 readily laying one’s hand on any of the materials 
 or requisites that may be wanted in the progress of 
 the work; while at the same time, they are less liable 
 to be disturbed or deranged by the officious med¬ 
 dling of persons unacquainted with their use. The 
 picture can also be left to dry undisturbed, after hav¬ 
 ing been worked upon, without risk of injury from dust 
 
 B 
 
o 
 
 or accident; while the Artist is tempted to embrace 
 every opportunity of resuming 1 his work, by the invit¬ 
 ing readiness with which he can lay his hand on his 
 materials; and he is also less liable to be disturbed 
 by the intrusion of strangers, or to be discouraged by 
 ignorant or premature criticism, while absorbed in 
 the pleasing effort of working out some peculiar effect, 
 obvious at the time to none but himself. 
 
 Such a room, which is called in plain English a 
 painting room, but which is sometimes affectedly 
 styled a Studio, or Atelier, need for ordinary practice 
 be but of moderate dimensions, and when choice can 
 be made, it should have one good uninterrupted and 
 somewhat elevated light, facing the east, or north, as 
 from windows so situated, the direct rays of the sun, 
 which are by no means friendly to the painter’s opera¬ 
 tions, retire at an early period in the morning:—the 
 furniture of the painting room should be simple, and 
 its quantity, and nature, be entirely regulated by the 
 Artist’s convenience and requirements ; if he has but 
 few seats he is the less likely to be disturbed in his 
 studies by lounging intruders, and a scarcity of tables 
 will have no tendency to prolong their visitations, by 
 any prospective suggestions of ill-timed or unneces¬ 
 sary hospitality; but in truth an over-suppTy of such 
 things in a painting room, only tends to encumber 
 the painter, and its absence will never be felt as a 
 discomfort by him, when inspired by the enthusiasm 
 
3 
 
 necessary to the production of a creditable work of 
 art: a drugget of some unobtrusive colour will be a 
 proper covering for the floor, window hangings are 
 worse than useless, as they tend to obstruct the light, 
 and harbour dust, which they yield again on the 
 slightest agitation, to the manifest injury of colours 
 recently laid on the picture. In cold weather the 
 painting room is best warmed by a close stove, by the 
 use of which, both smoke and dust are in a great mea¬ 
 sure avoided, and a more equal temperature is diffused 
 through the room; the advantage of which will be felt 
 in its tendency to promote the drying of the colours, 
 which cold or frosty weather is apt to delay; a few good 
 prints, pictures, or copies of pictures, of a character 
 and subject suited to the taste of the Artist, and the 
 branch of painting he has chosen, will form a suitable 
 decoration for the walls, and will prove extremely 
 usefUfl, in keeping up his eye and reminding him 
 constantly of the principles of composition and effect, 
 with which he should be familiar, and of which he 
 should never loose sight; a few portfolios containing 
 prints, drawings, and studies; some useful casts, or 
 other picturesque objects will form the remaining ap¬ 
 propriate garniture of the room, which should not be 
 inconveniently overstocked, and every object in which 
 should have some reference to the pursuit of its occu¬ 
 pant. 
 
4 
 
 Although a room of this description is desirable, it 
 must not be inferred that it is absolutely indispensible 
 to the practice of oil painting; there are indeed but 
 few circumstances ordinarily to be met with, so inim¬ 
 ical to its practice, as to forbid it altogether; an ardent 
 mind, possessed of a moderate share of perseverance, 
 and an aptitude for orderly arrangement, will seldom 
 be turned aside from its purpose, by slight obstructions 
 or inconveniences: the peasant’s cottage, the garret, 
 and even the stable have often been the scene where 
 the brightest genius has developed itself; and many 
 fine works, the choicest gems of choice collections, 
 have been produced under circumstances in which 
 little else than the mind of the Artist, was favourable 
 to their production. 
 
 THE IMPLEMENTS. 
 
 It is necessary the painter should be provided with 
 certain implements, and it will save much annoyance 
 and trouble if these are well chosen at the first; the 
 list is simple, the expense of procuring them need not 
 be great, and the most economical mode is to have 
 recourse to the Artist’s Colour shop for their purchase; 
 they may be thus enumerated: - Easel, Palette, Pa¬ 
 lette-knives, Brushes of various kinds, Port-crayon, 
 Mahl-stick, an oil or smudge pan, a colour slab and 
 muller, a portable japanned tin colour box,—and to 
 these may be added a looking-glass, a pair of com- 
 
5 
 
 passes, a muller, a T square, some oiled paper, or what 
 is better, some tin-foil, and a small stock of old linen 
 for palette cloths; all these the most inexperienced 
 may select for themselves, by attending to the follow¬ 
 ing observations:— 
 
 The Easel —is the frame, or rest on which the 
 picture is supported at a proper height for the Artist 
 to work on; there are several kinds of easels, but 
 those in general use, are the common square framed, 
 and the rack easel, the latter of which, is by far the 
 most convenient, particularly for pictures of a larger 
 size, that require to be occasionally raised or lowered, 
 in order to paint on the upper, or lower parts of them; 
 as with them, this can be done with one hand, thereby 
 avoiding the necessity of putting down the palette 
 and brushes each time; but as a well made rack easel 
 is rather expensive, the common framed easel, sup¬ 
 plied with pegs for adjusting the height of the picture, 
 is very frequently used: the convenient height, for 
 either kind, is about seven feet; for very small pictures 
 a table easel will sometimes be found useful. 
 
 The Palette— is the board on which the colours 
 are arranged to paint from. Palettes are usually 
 made of an oval or an oblong square form; they 
 should be of some light coloured wood, and suffi¬ 
 ciently thin and well balanced on the thumb, to avoid 
 any inconvenience being felt from their weight;—it 
 
6 
 
 is well to be provided with two or three, of different 
 sizes, to suit the magnitude, or nature of the work in 
 which they are employed.—As they ought to be kept 
 clean, the colour should never be allowed to dry on 
 them, it being then difficult to remove, therefore, on 
 leaving off painting for any considerable time, the 
 colours should be removed to a porcelain slab, and 
 immersed in water contained in a shallow pan, or 
 dish ; the palette should then he carefully cleaned 
 with a piece of rag, dipped in spirits of turpentine, 
 and wiped dry;—the colours will thus remain moist 
 for a considerable time, and ready to be transferred 
 to the palette again when required for use. 
 
 The Palette Knife. —is used for arranging the 
 colours on the palette, mixing tints, &c.; it should be 
 very flexible, about three quarters of an inch wide in 
 its broadest part tapering off a little towards the point, 
 and having a balance handle. Besides the steel 
 palette knife, there should also be had, one of ivory, 
 to use with those colours which are injured by contact 
 with steel. 
 
 tt 
 
 Brushes —The use of brushes need not be explain¬ 
 ed but their being well selected is of great import¬ 
 ance ; those usually employed in oil painting are 
 made of Hog’s hair, black fitch, red sable, and Bad¬ 
 ger’s hair, and are so denominated respectively. It 
 must be well borne in mind, that the use of large 
 
7 
 
 brushes is conducive to the acquirement of a broad, 
 bold, and free style of painting. Flat brushes are 
 generally preferred, though round ones are useful for 
 some purposes; the hair should project a moderate 
 length from the tin in which it is mounted, so as to 
 combine firmness, and flexibility. In choosing flat 
 brushes of Hog’s hair, or black fitch, such as assume 
 a clean chisel like form, without any straggling hairs, 
 when wetted and passed between the thumb, and fin¬ 
 ger, are the best. The same may be observed of 
 sables, but these should have the additional quality 
 of coming to a fine point when required. Brushes of 
 Badger’s hair are only used for softening or sweeten¬ 
 ing broad tints that have been previously laid on the 
 picture;—proper size is the point to be observed in 
 the choice of these. The following list will be a suf¬ 
 ficient guide for a selection of the number and size 
 of each sort, in the first instance, (the length of the 
 black line indicating the width of the flatted part of 
 the tin mounting.) 
 
8 
 
 The Brushes, after having- been used, should im¬ 
 mediately be washed, first with spirits of turpentine, 
 then in soap and warm (not boiling) water, well 
 rinsed, and dried, and the hairs laid smooth with the 
 finger and thumb. It is very difficult to clean a brush 
 in which the colour has been suffered to dry; and it 
 is always found to be injured. It is proper to ob¬ 
 serve, that much of the success of painting depends 
 on the good condition in which the brushes are kept. 
 
 Port-crayons —The best crayon or chalk holders 
 are those which have three slits at each end—they 
 being best adapted for receiving chalk of various sizes. 
 
 Mahl-stick —The Mahl-stick is used forsteadying 
 the hand, while painting the details; it is held in the 
 left hand, with the palette and brushes, while the 
 point, properly wadded, rests on the canvass; it 
 should be light and firm,—those made of stiff cane 
 are the best. Its aid is not always necessary, and 
 some Artists discard it altogether, as interfering with 
 freedom of hand. 
 
 Oil-pan —This is a long-shaped vessel or box, usu¬ 
 ally made of tin, the bottom slanting downwards from 
 one end to the other, into which is poured a little 
 poppy, or nut oil; its use is to lay the brushes in, 
 with the hair immersed in the oil, to keep them moist 
 when put away after using them, without being washed. 
 
9 
 
 Colour-slab and Muller — A stout glass slab, 
 ten or twelve inches square, and a porphyry or glass 
 muller, two inches in diameter, are requisite for grind¬ 
 ing up small bits of valuable colours, or such as do 
 not keep well enough in oil, to be purchased ready 
 ground. (These will be treated of in their proper 
 place.) The use of the slab and muller is easily ac¬ 
 quired. 
 
 Colour-box —Colour-boxes are fitted up in various 
 ways, and may be chosen indifferently, according to 
 fancy; they are intended to receive the colours pre¬ 
 pared for painting, some vials of oil and varnish, a 
 small palette, &c. Their best quality is portability, 
 as their chief use is for carrying out the materials 
 when painting Landscapes from nature, for travelling, 
 and other such purposes. 
 
 A moderate sized looking-glass, hanging in a con¬ 
 venient place in the painting room, for occasionally 
 looking at the picture in progress, will be found of 
 great use in enabling the Artist to detect readily any 
 errors he may have committed in drawing, perspective, 
 composition, the balance of light and shadow, and 
 colour; this it does by presenting the picture reversed, 
 and consequently doubling the error to his view; and 
 he may rest assured, if the image of the picture in the 
 glass present any thing unsatisfactory, the picture 
 itself requires correction in that particular;—the look- 
 
10 
 
 ing-glass is indeed a severe critic, but assuredly an 
 honest one. 
 
 The occasional use of a pair of compasses, a ruler 
 and a T square, will be obvious to any one the least 
 conversant with drawing. The compasses should be 
 of that kind to which a pencil or crayon holder can 
 be adjusted, for striking circles, or curved lines, and 
 the ruler and square may be combined in one instru¬ 
 ment, namely, the latter; the blade, or long arm of 
 which may be about two feet long. When straight 
 lines of greater length occur in a picture, a thread ex¬ 
 tended in their direction across it, will be a sufficient 
 guide for drawing them. 
 
 Oiled Paper —is easily prepared by brushing some 
 drying oil over sheets of thin writing paper, and then 
 hanging them up with pins to an extended cord to dry; 
 but as has been observed, tin-foil, which is scarcely 
 more expensive, is better;—its use is to fold up neatly 
 in small packages (as chemists do powders, &c.), the 
 residue of tints composed of valuable colours, or the 
 colours themselves, that may happen to remain on the 
 palette after painting, for future use: they may be 
 thus kept moist and uninjured for almost any length 
 of time. 
 
 Old Linen —has been mentioned as being prefer¬ 
 able for palette cloths, &c., and the reason of this 
 
11 
 
 preference is merely, that it is freer than any other, 
 except silk, from those flocculent particles, which by 
 adhering to the palette and brushes, might be mixed 
 with the colours, and injure their quality. There is 
 no difficulty in procuring an ample supply of old 
 linen, as perfectly pure and clean as the superfine 
 paper that is made from it, for it may be cheaply 
 purchased of the people denominated rag merchants 
 or marine dealers. 
 
 THE MATERIALS. 
 
 A review having thus been taken of the painting 
 room, with its furniture, and implements, we must 
 next proceed to the consideration of the materials. 
 It is the peculiar business of the Artist’s Colourman 
 to prepare and supply these, and in order to be cer¬ 
 tain of their quality—as their perfect preparation is 
 chiefly developed in their use—recourse should al¬ 
 ways be had to shops of established reputation for 
 their purchase. Strained canvasses, prepared panels 
 and millboards, oils and varnishes, colours, sketching 
 chalks, and a few coloured crayons, form the list. 
 
 Canvass, Panel, and Millboard— are used indis¬ 
 criminately for pictures, but canvass is the cheapest 
 in proportion to its size, is generally made use of for 
 pictures of considerable dimensions, and is usually 
 sold ready prepared and stretched on straining frames; 
 
12 
 
 which are frames fitted with wedges to their inner 
 corners, by driving which, the canvass may be tight¬ 
 ened, should it chance to become inconveniently loose, 
 as it sometimes does. There are two kinds of grounds 
 with which they are all prepared, namely, the hard, 
 or oil ground, and the absorbent ground; which latter 
 is so called from its tendency to absorb a portion of 
 the oil from the first lay of colour that is put on it; 
 an advantage (if it be one) which is not perceptible 
 in any subsequent application of colour to the picture, 
 and therefore either ground may be chosen A well 
 prepared canvass should have the ground laid without 
 streaks, and moderately thin, so that the texture of 
 the cloth should be scarcely, or not at all, perceptible, 
 and it should be free from projecting coarse threads 
 and knots; panels are always preferred with a smooth 
 surface, as they are mostly used for smaller works 
 that are intended to receive high antf delicate finish. 
 The ground with which millboards are prepared, has 
 frequently a slightly granulated surface, this being 
 better calculated to receive, and give effect to, the bold 
 and broad style in which sketches and studies for 
 pictures are usually painted, and for which millboards 
 are chiefly used. 
 
 The grounds should be of a light colour, and indeed 
 many Artists prefer them of a pure white, as they find 
 it conducive to pureness and beauty of colouring in 
 those parts of a picture which require to be painted 
 
13 
 
 on but once, as the white ground shines through the 
 colour in those parts, and gives it a lustre, it would 
 not otherwise possess. An inferior kind of prepared 
 Millboards is often used called sketching board, its 
 name indicates the purpose it is employed for. Can¬ 
 vasses, &c., that have been kept for a considerable 
 length of time previous to using, are apt to receive 
 from the atmosphere, a greasy deposit, which, though 
 imperceptible to the eye, is of sufficient quantity, 
 greatly to retard, and often altogether to prevent the 
 drying of the colours that are laid on them; to remedy 
 this, before using them, they should be placed in a 
 horizontal position, and carefully rubbed with a piece 
 of flannel and finely powdered pumice stone, well 
 sifted; they should then be washed with a weak solu¬ 
 tion of sugar of lead in water, applied with a rag or 
 sponge, which may be allowed to dry on them, the 
 powdered pumice must then be applied again, and 
 removed with a brush: should any design happen 
 to have been made with chalk, that it is wished to 
 preserve from being erased, the outlines of it may 
 be delicately gone over with a sable pencil and burnt 
 Umber, or any other quickly drying colour, thinned 
 with Mastich varnish, and allowed to harden for a day 
 or two,—they will not then be removed by the pro¬ 
 cess just described, if carefully performed. 
 
 Oils —The oils used in painting, are the vehicles 
 in which the colours are ground in the first instance, 
 
 c 
 
14 
 
 and as their names imply, they are all extracted from 
 vegetables; they are Linseed oil. Nut oil, and Poppy 
 oil; these have the property of solidifying when ex¬ 
 posed on a surface to the air;—this property is called 
 drying, and they are here set down in the order in 
 which they possess it; Linseed oil being that which 
 dries most rapidly. Good oils are of a very pale 
 amber colour, or nearly colourless, perfectly limpid 
 and transparent, and when smeared on a piece of 
 clean glass, should, in warm weather, dry as follows: 
 Linseed oil in a day. Nut oil in a few hours more, 
 and Poppy oil should not much exceed a couple of 
 days; they are all more or less influenced in their 
 drying, by the colours with which they are employed, 
 some of which greatly accelerate, while others retard 
 it, and with certain colours some oils will not dry at 
 all, unless means are employed to cause them to do so, 
 but of these we will treat when speaking of colours. 
 
 The cause of these oils drying, is, chemically speak¬ 
 ing, that they possess a peculiar affinity for oxygen 
 which they absorb from the air when exposed to it, 
 and by the action of which they are gradually thick¬ 
 ened and become solid. The natural tendency of 
 Linseed oil to assume this state, is greatly increased * 
 by mixing and boiling it with certain oxides of lead, 
 such as litharge, red lead. See., which impart to it a 
 rapidity of drying. After undergoing this prepara¬ 
 tion it is called “ Drying or Boiled oil.” When pur- 
 
15 
 
 chased it should be, though of a darker colour, quite 
 clear and transparent, is indispensable in the use of 
 some colours, and in some preparations that will 
 hereafter be described. 
 
 Oils will keep good a long time, if corked from the 
 air, and indeed they rather improve by age than 
 otherwise. It is sometimes the practice to expose 
 them to a strong light, in white glass bottles, or vials, 
 well corked, to deprive them of their yellowish hue ; 
 this is called bleaching them, but it produces no great 
 advantage, and is scarcely worth the trouble. 
 
 The following will be found an ample supply of 
 each kind:— 
 
 Varnish —Mastich and Copal Varnish are chiefly 
 employed in painting. Mastich varnish, being sim¬ 
 ply a solution of gum Mastich in rectified spirits 
 of turpentine, .dries more quickly when alone, from 
 the speedy evaporation of that essential oil, than 
 Copal Varnish, which contains a small portion of 
 fixed oil, found necessary for the solution of the gum 
 Copal; notwithstanding which however, the latter 
 varnish is found to possess a stronger influence in 
 
16 
 
 promoting the drying of colours ground in oil, when 
 mixed with them, than the former, which is quite 
 neutral in that respect. 
 
 A new sort of varnish called white Lac varnish is 
 
 recommended by Mr. Field in his “Chromatography” 
 for some purposes which will be mentioned hereafter, 
 when explaining the use and application of varnishes; 
 they are all to be had in perfection, at good colour 
 shops, and the following supply will be sufficient at 
 first: — 
 
 each half a pint. 
 
 Lac varnish—a gill. 
 
 Colours —As colours form the very being and es¬ 
 sence of a picture, and as all the other materials are 
 subservient and have reference to them; they have 
 always been regarded with peculiar interest by the 
 Artist, and have occupied a chief share of his atten¬ 
 tion. It is indeed of the first consequence that their 
 nature and properties, their sympathies and antipa¬ 
 thies, and their respective permanence or fugitiveness, 
 should be well understood, for on a knowledge of 
 these, their proper mixture and application in a great 
 measure depends, and he who goes thoughtlessly to 
 work, without this knowledge, using indiscriminately 
 such colours as seduce him by their apparent richness, 
 
17 
 
 % 
 
 or dazzle him by their temporary splendour, may 
 chance to repent his want of caution, by beholding 
 his most beautiful effects fading daily beneath his eye, 
 and his most elaborate works rendered worthless, by 
 mutations of colour and tint, to him altogether un¬ 
 accountable. 
 
 The discoveries of modern chemistry have added 
 largely to the comparatively simple list of colours 
 employed by the old masters, and yet if these disco¬ 
 veries were ten times more numerous, they would never 
 of themselves enable us to rival the beauty of colour¬ 
 ing to be found in their best works; we have the same 
 colours, in equal perfection, that they employed, with 
 a great number of others, of recent discovery, which 
 were unknown to them, but the great discovery we 
 stand in need of is, that skill and judgment in their 
 application which render most of the works alluded 
 to so pre-eminently beautiful. 
 
 It is well known that all the endless and varied ef¬ 
 fects that nature presents to our view, are produced 
 by the agency of the three primitive colours. Yellow, 
 Red and Blue, into which the rays of pure light are 
 found divisible, and if three pigments of these three 
 colours, perfect in brightness, intensity, and durability, 
 were discovered, we might hope by their means alone 
 to approach near to nature in our pictorial imitations 
 of her works, but as such a valuable discovery is 
 
scarcely probable, it will be wise to keep nature’s 
 principle constantly in view, in our selection of colours, 
 as a wholesome check upon any desire we may feel 
 to add unnecessarily to their number; and looking 
 upon it in this light, there seems to be nothing impro¬ 
 bable in the assertion of Pliny, that the ancient Greek 
 painters employed but four colours in their works; 
 for, judging from the remains of ancient sculpture 
 that have come down to us, nothing can be more cer¬ 
 tain than that the Artists of those times, founded their 
 practice on strictly true philosophical principles, de¬ 
 duced from that nature they studied so closely, and 
 imitated so faithfully. 
 
 It only remains to be added, that a multitude of 
 different colours, however good or unexceptionable 
 each may be in itself, only tends to embarrass and 
 perplex the artist in their use, creating unnecessary 
 anxiety for their proper employment, that might be 
 better expended in more important considerations; 
 colours may be called the food of a picture, the sim¬ 
 pler and plainer that food, the more healthy and 
 vigorous will be its tone and texture. 
 
 Instead then of indulging in the common practice 
 of increasing the number of colours, let us rather exert 
 our ingenuity in an endeavour to discard those we can 
 do without, taking this as a maxim, that the shortest 
 road to good colouring, is through a simple palette. 
 
19 
 
 We shall now proceed to consider in detail the 
 colours, (or pigments as they are commonly called, 
 previous to their being ground and prepared for paint¬ 
 ing) that are in general use; they are derived from 
 several sources, the Animal, Vegetable and Mineral 
 kingdoms, as well as Chemical science, each contri¬ 
 buting its share. Some are purely natural produc¬ 
 tions, ready formed to our hand, some are natural 
 productions modified by art, while some are produced 
 by art alone; and it is to be observed, that from each 
 of these sources, both good and objectionable pig¬ 
 ments are derived ; this classification of their origin 
 it is useful to know, as that of each will be presently 
 given, but their arrangement as to their respective 
 hues, is the one of most importance, and may be taken, 
 in the following order :—White, Yellow, Red, Blue, 
 Orange, Green, Purple, Brown, Black. 
 
 The principle pigments that belong to each of these 
 are. 
 
 WHITE. 
 Elake White. 
 
 YELLOW. 
 
 Yellow Ochre. 
 Naples Yellow. 
 Raw Sienna. 
 
 King’s Yellow. 
 Lemon Yellow. 
 
 Yellow Orpiment. 
 
 Yellow Lake. 
 
 Yellow Chrome. 
 
 RED. 
 
 Vermillion. 
 
 Pink Madder, 
 
20 
 
 Light Red. 
 Indian Red. 
 Red Lead. 
 
 Carmine. 
 Scarlet Lake. 
 Crimson Lake. 
 
 Lac Lake. 
 
 BLUE. 
 
 Ultramarine. 
 
 French Ultramarine. 
 
 Cobalt Blue. 
 
 Indigo. 
 
 Smalt. 
 
 Prussian Blue. 
 Antwerp Blue. 
 
 ORANGE. 
 
 Orange Vermillion. Burnt Sienna. 
 
 Orange Lead. Orange Chrome. 
 
 Orange Orpiment. 
 
 GREEN. 
 
 Terra Vert. Verdigris. 
 
 Emerald Green. 
 
 Purple Lake. 
 
 PURPLE. 
 
 Purple Madder 
 
 Cologne Earth. 
 
 BROWN. 
 
 Raw Umber. 
 Burnt Umber. 
 Vandyke Brown. 
 
 Brown Pink. 
 Bone Brown. 
 Madder Brown. 
 Asphaltum. 
 
 Cappah Brown. 
 
 Ivory Black 
 
 BLACK, 
 
 Blue Black. 
 
21 
 
 This list of pigments might be greatly extended,* 
 but it contains enough, and more than enough, for all 
 the purposes of the Artist: they are probably never 
 all used by the same individual; as above enumerated, 
 they afford a fair field for selection, a dozen of them 
 judiciously chosen will form a liberal and efficient 
 supply for the palette, and as we proceed we shall 
 take care to point out the most eligible. 
 
 Flake White—(chemical) is white lead purified; 
 it is the only permanent white generally used in oil, 
 is perfectly opaque, and dries well. 
 
 Yellow Ochre—(earth) is a good permanent colour, 
 much used, and dries well. 
 
 Naples Yellow—(chemical) is permanent, very opa¬ 
 que, a good drier, and in considerable use ; it should 
 be used with an ivory palette knife, as the contact 
 of iron injures its colour, giving it a greenish hue. 
 
 Raw Sienna—fearth) is permanent, transparent, 
 and much used, though an indifferent drier. 
 
 * Among others not enumerated in the above list, may be 
 mentioned as deserving attention and trial—Palladium Scarlet, 
 Palladium Red, Permanent Blue, New Lake, and Italian Ochre. 
 The Lake is a preparation of Cochineal, but is said to be some¬ 
 what more permanent than the ordinary lakes, and does not 
 coagulate as they do. The Italian Ochre is remarkable for its 
 brilliant yellow colour and its transparency, in both of which 
 respects it far exceeds all other ochres. 
 
00 
 
 Yellow Chrome—(chemical) is of a doubtful per¬ 
 manency, though sometimes used on account of its 
 brilliancy; is opaque, and dries well. 
 
 Yellow Lake—(vegetable) not permanent, very 
 transparent, not much employed, and dries very 
 slowly. 
 
 Yellow Orpiment—(chemical) an unsafe colour, 
 seldom used, but will stand when applied alone, in 
 Copal varnish, is very opaque, and dries very badly 
 in oil. 
 
 King’s Yellow—(chemical) nearly of the same 
 character as the preceding. 
 
 Lemon Yellow—(chemical) a new colour, not much 
 in use, is very weak, though said to be permanent, is 
 semi-transparent, and dries well. 
 
 Vermillion—(chemical) very permanent, and of in¬ 
 dispensable use, opaque, dries rather slowly, except 
 in Drying oil, with which it may safely be used. 
 
 Light Red—(earth) is yellow ochre burnt, is very 
 permanent, in general use, semi-transparent, and 
 dries readily. 
 
 Red Lead—(chemical) when of good quality is 
 
23 
 
 tolerably permanent, used occasionally, opaque, and 
 dries very rapidly. 
 
 Indian Red—(earth) is very permanent, much used, 
 opaque, and dries well. 
 
 Pink Madder—(vegetable) is very permanent, of 
 great use, very transparent, but a bad drier. 
 
 These are various preparations, of the same kind, of 
 no great repute for permanency, but used with certain 
 precautions to a considerable extent, they are very 
 transparent; but bad driers. 
 
 Lac lake—(vegetable gum) of the same character 
 as the last, but somewhat more durable. 
 
 • 
 
 Ultramarine—(Mineral) perfectly unchangeable, 
 generally used, very transparent, and dries well. 
 
 French Ultramarine—(chemical) resembles the lat¬ 
 ter, instead of which it is often used for economy, 
 though it sometimes undergoes a slight change, a good 
 drier. 
 
 Cobalt blue—(metallic,) is durable, much used, 
 transparent, iFdries freely. 
 
24 
 
 Smalt—(chemical) of the nature of Cobalt, but 
 neither so durable, nor so much used, it is a good drier. 
 
 Prussian Blue—(chemical) changeable in light 
 tints with white, but much used for dark rich blues, 
 or mixed dark tints, in which it stands well, it is a 
 most powerful and transparent colour, and an excel¬ 
 lent drier. 
 
 Antwerp Blue—(chemical) is a lighter modification 
 of the latter, but of the same general character, its use 
 is not necessary. 
 
 Indigo—(vegetable) though very deep, not very 
 permanent, and is not often used, it is very transpa¬ 
 rent, dries well. 
 
 Orange Vermillion—(chemical) permanent, very 
 eligible, opaque, and dries well. 
 
 Orange Lead—(chemical) of the same general cha¬ 
 racter as Red Lead. 
 
 Burnt Sienna—(earth) very permanent, much used, 
 rich and transparent, and an excellent drier. 
 
 Orange Chrome—(chemical) rather more durable 
 than Chrome Yellow, but in other respects of the 
 same character. 
 
25 
 
 Orange Orpiment— (chemical; has the same cha¬ 
 racter as Yellow Orpiment. 
 
 Terra Vert—(earth) permanent, used occasionally, 
 semi-opaque, and a very good drier. 
 
 Verdigris- (chemical) not at all permanent, except 
 when applied alone in Copal varnish, and a little oil, 
 in which it is now and then used on account of its 
 beauty as a glazing colour, very transparent, an ex¬ 
 cellent drier. 
 
 Emerald Green—(chemical) not very durable, 
 sometimes used sparingly on account of its brilliancy, 
 opaque, and dries well. 
 
 Purple Lake—(insect) see character of Scarlet, and 
 Crimson Lakes. 
 
 Purple Madder—(vegetable) see character of Mad¬ 
 der Lake. 
 
 Raw Umber—(earth) very permanent, much used, 
 semi-transparent and an excellent drier. 
 
 Burnt Umber—(earth calcined) of the same cha¬ 
 racter as the last. 
 
 Vandyke Brown—(earth) very durable, frequently 
 used, very transparent, an extremely bad drier. 
 
 D 
 
26 
 
 Cologne Earth—(earth) very permanent, much 
 used, very transparent, dries slowly. 
 
 Brown Pink—(vegetable) not very durable, except 
 in deep rich shades, for which it is frequently used; 
 very transparent, but an extremely bad drier. 
 
 Bone Brown—(animal) pretty durable, often used, 
 transparent, dries slowly. 
 
 Madder Brown—(vegetable) very durable, not often 
 required, very transparent, a bad drier. 
 
 Asphaltum—(bituminous) permanent, much used 
 by some Artists, though objectionable on account of 
 its liability to crack ; extremely transparent, and dries 
 rapidly. 
 
 i 
 
 Cappah Brown—(earth) recently introduced, bears 
 an unexceptionable pigment, transparent, and dries 
 with remarkable rapidity. 
 
 Ivory Black—(animal charcoal) very durable, con¬ 
 stantly used, very transparent, but rather a slow drier. 
 
 Blue Black—(vegetable charcoal) very durable, in 
 frequent use, semi-transparent, and a good drier. 
 
27 
 
 OF THE DRYING OF COLOURS. 
 
 In treating of oils, it has been mentioned that some 
 colours retard, or prevent the drying of the oils, in 
 which they are ground, these colours are technically 
 called bad driers; but this tendency may be corrected 
 in various ways; the most simple of which is, to add 
 a small portion of sugar of lead, of the best kind, very 
 finely ground in pale drying oil, to such colours as 
 require it, this may be done on the palette, with the 
 palette knife ; it is imagined by some, that this mix¬ 
 ture has a tendency to injure the colours; but if just 
 so much of it is used, as will ensure their drying in 
 moderate time, no injury need be feared, equal to the 
 probable accumulation of dust and dirt, that will be 
 deposited on them before they dry, if some such pre¬ 
 caution be not taken, not to mention, the chance of 
 smearing, and other accidents that may befal them, or 
 the irksomeness of waiting till they are in a fit state to 
 receive fresh work. 
 
 Such colours as dry rapidly alone, are also fre¬ 
 quently found to promote the drying of those that 
 dry slowly, and advantage may be taken of this, for 
 example, almost all colours dry in a short time when 
 mixed in tints with Flake White; a very small addi¬ 
 tion of Burnt Umber, will suffice to dry Vandyke 
 Brown, without materially changing its colour, a 
 minute portion of Red Lead will secure the drying of 
 
28 
 
 the Lakes without injury to their tints; Red Lead and 
 Prussian Blue, mixed to a dark Gray, may be added 
 in sufficient quantity to Ivory Black, to promote its 
 drying, without interfering with its blackness; a small 
 addition of Raw Umber, will dry Brown Pink, a still 
 smaller portion of the same will do for Raw Sienna; 
 and a little experience in the natures of the various 
 colours, will suggest other similar expedients, so as 
 nearly to avoid the necessity of using Sugar of Lead 
 altogether. 
 
 The colours are usually sold ready ground in their 
 proper oils, and put up in convenient quantities in tin 
 tubes, &c., but there are a few kinds, that do not keep 
 well in oil, such as the Lakes, Prussian and Antwerp 
 Blues and Brown Pink, these in a very short time 
 thicken and become of the consistence of stiff cold 
 size, or glue; they should therefore be purchased in 
 the state of an impalpable powder, and mixed with 
 their proper oils when required, which are, for the 
 Lakes, and Brown Pink, drying oil: and for Prussian 
 Blue, linseed oil. Some of the more valuable colours 
 should also be procured in the same state and used in 
 the same way to avoid waste, such as Ultramarine, 
 Cobalt Blue, Pink Madder, and Carmine. 
 
 THE MIXING OF COLOURS. 
 
 The proper mixing of colours is, to the uninitiated, 
 a great apparent mystery; and it seems to them the 
 
29 
 
 chief difficulty in painting; that it is of great impor¬ 
 tance we do not mean to deny, but it is a subject that 
 a proper attention to a few simple principles, will soon 
 enable any one to master. The judicious application 
 of the colour when mixed, is the greatest practical 
 difficulty the student in painting has to overcome. 
 
 Colours are technically said to work well or ill, ac¬ 
 cording to the ease, or difficulty with which they can 
 be laid on the picture; the precision with which they 
 obey the touching on of the brush, and the sympathy 
 they possess for other colours, so as to form agreeable 
 accidental tints with them, while being broken, or 
 worked together on the picture. Now it fortunately 
 so happens, that White (Flake White) the indispen¬ 
 sable pigment, the representative of pure light in 
 nature, possesses all these good qualities in a pre¬ 
 eminent degree; for with this pigment, almost all the 
 others are occasionally called on to associate or mix, 
 and indeed it may be taken as a general principle, 
 that all colours, which when mixed with white, form 
 agreeable and permanent tints, are eligible to be mix¬ 
 ed together, without injury to one another, and worthy 
 to be placed on the palette. 
 
 It must be observed that Yellow, Red, and Blue, 
 the only three primary and simple colours, cannot be 
 produced by the mixture of any other colours, while 
 all the others, may be produced by the proper mix- 
 
30 
 
 ture of these, white when mixed with colours simply 
 lightens their tint in proportion to its quantity, in¬ 
 creases their opacity, and cools their hues, its mixture 
 with yellow, red and blue pigments, have the follow¬ 
 ing results, thus with 
 
 Chrome Yellow, 
 Naples Yellow 
 Yellow Ochre, 
 Raw Sienna, 
 
 j are formed 
 
 Primrose. 
 Lemon Colour. 
 Yellow buffs. 
 Dark buffs. 
 
 Vermillion, 
 Red Lead, 
 Light Red, 
 Indian Red, 
 
 formed 
 
 Pink flesh tint. 
 Salmon Colour. 
 Flesh tint. 
 Purplish flesh tint. 
 
 Ultramarine, 
 
 Cobalt, 
 
 Prussian Blue, 
 
 \ 
 
 j are formed 
 
 Cool light blues of 
 different tints and 
 brightness. 
 
 The other mixed colours in general use, are as follow: 
 
 MIXED ORANGE. 
 
 YELLOWS. \ / REDS. 
 
 Chrome Yellow f . j Vermillion 
 Naples Yellow i j Light Red 
 
 Yellow Ochre / \ Red Lead 
 
 \ Produce Orange of 
 I various degrees of 
 l brightness and opa- 
 / city. 
 
 Yellow Lake \ / Pink Madder \ 
 
 Raw Sienna \ with ] Carmine ' Transparent Orange 
 
 Lemon Yellow ) ! Scarlet Lake ) 
 
31 
 
 By inverting the order of the reds, or yellows, semi¬ 
 transparent orange tints will be produced. 
 
 MIXED GREENS, 
 
 Chrome Yellow 
 Naples Yellow 
 Yellow Ochre 
 
 with 
 
 Ultramarine 
 Cobalt Blue 
 Prussian or 
 Antp. Blue 
 
 Produce Greens of 
 various degrees of 
 brightness & opacity 
 
 Yellow Lake 
 Paw Sienna 
 Lemon Yellow 
 
 Ultramarine 
 Cobalt Blue 
 Prusssian or 
 Antp. Blue 
 
 Transparent Greens 
 
 Mixed olive greens of various tints are made by 
 mixing with the above, for the opaque greens, a little 
 Vermillion, Light Red or Indian Red ; for the trans¬ 
 parent, Carmine, or any of the Red Lakes. They 
 may also be made by mixing any of the above Yellows 
 with a small portion of Blue Black, or the Blues with 
 Burnt Sienna. 
 
 MIXED PURPLE. 
 
 Pink Madder 
 The Red Lakes 
 Carmine 
 
 / Ultramarine A 
 | Co]balt Blue I 
 ) Prussian Blue t 
 
 Produce transparent 
 purples of different 
 degrees of depth and 
 richness. 
 
 A duller semi-opaque purple, may be formed by 
 mixing Vermillion, or Indian Red, with any of the 
 above Blues, 
 
32 
 
 MIXED BROWNS. 
 
 An infinite number of browns can be produced by- 
 combining any two of the above classes of mixed 
 colours; for instance. Green and Orange, for bright 
 Browns; Orange and Purple, for Warm Medium 
 Browns; Green and Purple for deep Olive Browns, 
 See. Browns are also made by the mixture of Red and 
 Black; but with these hints, the composition of mixed 
 Browns will be best acquired by a few experimental 
 trials. 
 
 MIXED GRAYS. 
 
 Nearly all Grays are produced by mixture, and the 
 modes of forming them are also very numerous; the 
 following are the most useful:— 
 
 Ivory Black and White. 
 
 Blue Black and White. 
 
 Vandyke Brown and White. 
 
 Light Red, Ultramarine, and White. 
 
 Vermillion, Ultramarine, and White. 
 
 Indian Red, Ultramarine, and White. 
 
 Ultramarine Ashes, and White. 
 
 \ 
 
 A very useful, clear, warm Gray, is produced by mix¬ 
 ing a small quantity of Raw Umber, with White, the 
 Umber must be used sparingly, otherwise the tint will 
 sink into a dirty Light Brown. 
 
 MIXED BLACK. 
 
 A very intense Black may be formed, by mixing in 
 
33 
 
 proper proportions. Brown Pink, Crimson Lake, and 
 Prussian Blue. The Brown Pink and Lake, should 
 be mixed together first, so as to form a deep Marone, 
 and the Prussian Blue added cautiously afterwards, 
 till the Black is perfect. This Black is seldom used 
 alone, but when mixed with Ivory Black, forms a 
 good compound colour for the strongest shadows of 
 Black draperies, &c. 
 
 We have thus stated all that seems necessary, for 
 the preliminary knowledge of the nature of colours in 
 general use; what remains to be learned may be best 
 acquired by practice in their application. 
 
 I 
 
 Sketching Chalks, &c. —Prepared White Chalk, 
 Black Italian Chalk, and Willow Charcoal, cut into 
 the form of Crayons, are severally used for making 
 the outlines of the subject on the canvass or panel; a 
 moderately soft black lead pencil may also be used 
 for the same purpose, white Chalk and Charcoal, be¬ 
 ing easily effaced, are best to begin with, as they ad¬ 
 mit more freely of corrections being made. An out¬ 
 line made of Charcoal, saturated in drying oil, will 
 become fixed in a few hours; this has the advantage 
 of not being liable to be removed by the friction of 
 brushes when painting on it. 
 
 Crayons.— A few soft Crayons of different colours. 
 White, Yellow, Red, Blue, Orange and Green, will 
 
34 
 
 be found useful in the more advanced stages of the 
 picture, when sufficiently dry and hard; with these, 
 limited modifications of its light and shade, or colour, 
 may be temporarily tried, the effects of which the Artist 
 may be unable to forsee with sufficient certainty, to 
 hazard their more permanent introduction with oil 
 colours, which are not so easily removed if required, 
 but which latter are to be substituted for the Crayon 
 touches, should the result of the trial with them prove 
 satisfactory,—if not, they (the crayon touches) can 
 be immediately effaced with a moist sponge. The 
 anticipated effect of the introduction of figures, and 
 cattle, in Landscapes, may be conveniently tested also 
 in this way. 
 
 MAGUILPS AND MEDIUMS. 
 
 By these terms are designated various compounds 
 of the Oils and Varnishes already described; they are 
 used by dipping the brushes into them for tempering 
 and diluting the colours, previously ground in oil, to 
 a proper consistence for laying on the picture; those 
 are the best which, with an agreeable texture, interfere 
 least with the permanency and colour of the tints 
 with which they are used, and have the least tendency 
 to produce cracks, and separations, on the surface of 
 the picture, as it becomes old. It has been considered 
 a difficult problem to unite all these good qualities in 
 one Medium, therefore the composition of Maguilps, 
 
35 
 
 and Mediums has usually occupied a considerable 
 share of the attention of Artists, and consequently the 
 recipes for their formation are numerous; but as the 
 aim of this treatise is to simplify, and not to perplex, 
 we shall only give a few of those which we consider 
 the best. 
 
 No. 1.—Mix equal quantities of Drying Oil and 
 Mastich Varnish, let the mixture stand undisturbed 
 for a few minutes, and it will take the consistence of 
 a thin transparent amber-coloured jelly; this forms 
 an agreeable Maguilp in very general use. 
 
 No. 2.—Mix a small quantity of Sugar of Lead, 
 very finely ground in Linseed Oil, with so much of 
 the same Oil as not to impair its fluidity, to this add 
 a similar portion of Mastich Varnish: this will form 
 an equally good Maguilp, of a much lighter colour 
 than the former. 
 
 No. 3.—Mix one part of a saturated solution of 
 Sugar of Lead in Water, with two parts of Linseed 
 Oil, stir them well together, till they are intimately 
 combined, then add two parts of Mastich Varnish ; 
 this forms a white creamy opaque compound, but 
 which will dry equally transparent as the two prece¬ 
 ding. It is called Gumption, is an excellent drier, and 
 much used. 
 
36 
 
 No. 4—One part Copal Varnish, mixed with two 
 of Linseed Oil, to which a little of Sugar of Lead is 
 added, as in No. 2, is sometimes used ; this does not 
 coagulate like the preceding. 
 
 Some persons object to the use of varnishes alto¬ 
 gether in painting, and dilute their colours with Lin¬ 
 seed oil, and spirits of Turpentine, mixed in equal 
 quantities; this for some purposes, will be found 
 rather difficult to manage; though the pictures so 
 painted, are considered very durable ; its drying pro¬ 
 perties are very slight, therefore in using it, the pre¬ 
 cautions mentioned under the head of colours, to 
 secure their drying, must be carefully attended to. 
 
 Some again from a wish to avoid an injurious ex¬ 
 cess of oil in their colours, dilute them with Spirits of 
 Turpentine alone,—this mode of painting is of still 
 more difficult management, and with it the same pre¬ 
 cautions, must be taken, for the slowly drying colours. 
 
 METHOD OF APPLYING THE COLOURS. 
 
 There are several technical distinctions in the modes 
 of applying the colours to the picture in its various 
 stages, that require explanation in order that the de¬ 
 signating terms which are given to them, and neces¬ 
 sarily used in the directions that follow hereafter for 
 painting the various classes of subjects, may be the 
 
37 
 
 more readily understood; these are severally called. 
 First, the Lay-in or dead-colouring; Second, Painting 
 in detail; Third, Glazing; Fourth, Scumbling; Fifth, 
 Dry touching, or as it is sometimes called Dragging. 
 There are also such terms as Loading, Scraping, Oil- 
 ingout, &c.—these we now proceed to describe. 
 
 1.—The Lay-in or dead-colouring, is performed by 
 going over the picture with a moderate quantity of 
 colour in the lights, which should be more thinly laid 
 in the shadows (using large brushes) giving to each 
 object a somewhat slighter or weaker effect of light, 
 shade, and colour, than it is intended to possess when 
 finished; omitting the details, and not defining the 
 outlines too sharply; in this process too, an idea of 
 the general effect of the light and dark (or Chiaro- 
 ’Scuro) of the picture should be preserved. A picture 
 properly laid-in, or dead-coloured, should present in 
 general a quiet atmospheric effect, with silvery gray, 
 and transparent neutral brown tints predominating 
 among the other colours; to produce this, the colours 
 used should be as few as possible, and the tints should 
 be carefully laid in a broad and simple manner in 
 their proper places at once, avoiding much blending 
 or mixing on the picture. 
 
 It is a vulgar and fatal error to suppose, that the 
 dead-colouring of a picture may be done in a slovenly 
 or hap-hazard manner; on the contrary it requires 
 
 E 
 
38 
 
 great care and judgment, as on it, much of the ulti¬ 
 mate success depends: for it often happens that a 
 considerable portion of it is left apparent, through all 
 the subsequent operations that are necessary to com¬ 
 plete the picture. 
 
 2. — Painting in detail — called also the second 
 painting; may be described as a repetition of the 
 former, but comprehending more attention to the 
 characteristic detail, and finish of the various objects; 
 in this process, their drawing, light and shade, reflec¬ 
 tions, and variety of tints in colouring, are more 
 elaborately made out; and the relative distances of 
 objects from the eye, are more carefully preserved by 
 means of aerial perspective; the shadows, though 
 strengthened, are, as before, painted thinly, and with 
 a certain degree of transparency, so as to allow those 
 of the dead-colouring to be partially apparent through 
 the second work, and more care is required in uniting 
 them with the half-tints, so as to produce roundness 
 or solidity, and a greater body of colour is laid on the 
 lights, which should also be pencilled with greater at¬ 
 tention to character, and sharpness, and the touches 
 on the high lights should be put in with firmness and 
 precision. 
 
 When it occurs that portions of the first lay, or 
 dead-colouring, are found sufficient, or nearly so, for 
 the required effect, they should be but slightly or 
 
39 
 
 not at all interfered with in the second painting; this 
 will be found generally to happen in shadows, and 
 half-tints; and will greatly conduce to clearness and 
 transparency of colouring. 
 
 When all the parts of a picture have been thus 
 painted in detail it should present a tolerably finished 
 effect, both of colour, and light and shade, only re¬ 
 quiring modification more or less, by the following 
 processes. 
 
 3. Glazing—When transparent colours, diluted 
 with a considerable quantity of any of the Maguilps, 
 or Mediums already described, are laid thinly, either 
 in broad flat tints, or partial touches, on portions of 
 the picture, it is called Glazing; and a tint, or colour, 
 thus applied, is called a Glaze; which, when it is of 
 moderate strength, will allow the work beneath to 
 appear distinctly through it, but tinged with its colour. 
 
 The uses of Glazing are, to strengthen such shadows 
 as require it, or to give warmth, or coolness, to their 
 hue, to subdue those lights that are obtrusive from 
 their brightness, or to give additional colour, force 
 and richness to those that are deficient in these quali¬ 
 ties; to give those diversified tintings that frequently 
 occur on the surfaces of near objects, and occasionally 
 to supply such details, and markings in them, as may 
 have been previously omitted. Thin delicate glazes 
 
40 
 
 judiciously passed over large portions of the picture, 
 are sometimes found of great service in improving the 
 general effect, both in breadth, as regards light and 
 shade, and tone, as regards colour. 
 
 Great caution must be observed, that no attempt be 
 made to glaze, until the colours over which the glazing 
 is to be laid, be perfectly dry and firm; otherwise 
 they will be dissolved and rub up in the operation, 
 and so much of the work be thereby spoiled; to avoid 
 this, two or three days should be allowed to intervene 
 between the drying of colours, and the subsequent 
 glazing on them. 
 
 Semi-transparent, and even opaque colours are 
 sometimes used as glazing colours, when rendered 
 sufficiently transparent by mixing a small quantity of 
 them, with a large proportion of Maguilp, Vermillion, 
 Light Red, Yellow Ochre, &c. may be employed in 
 this way, and frequently with excellent effect, but 
 with great caution ; for if used in excess, they will 
 mar the beauty of the work, by injuring its trans¬ 
 parency. 
 
 Glazing requires much practice and experience for 
 its proper performance, as the facilities it presents for 
 modifying effects often tempts to an injudicious or 
 incautious use of it; the result of which, to the picture, 
 is generally a heavy and dirty tone of colour; still it 
 
41 
 
 must be remembered, the power it gives when judi¬ 
 ciously used, is one of the chief recommendations of 
 Oil Painting. 
 
 4. Scumbling—By Scumbling is meant, the driving 
 opaque tints very thinly, over parts that have already 
 been painted, and that are sufficiently dry and firm 
 to undergo the operation; it is usually performed with 
 a hog’s hair brush, very sparingly charged with the 
 tint to be employed ; which is called a Scumble, and 
 must be generally lighter, though nearly of the same 
 tone of colour as the part over which it is passed. 
 
 Scumbling may, with proper judgment, be used in 
 any part of the picture, but it is better, if possible, to 
 avoid using it over shadows, more particularly such 
 as are wished to be kept transparent, and to confine 
 its application chiefly to the lighter parts, where it 
 may be required. 
 
 Its use is, to weaken the force of colours that are 
 too strong, and force themselves too much on the eye, 
 for the preservation of harmonious effect; to give air 
 and distance to objects that seem too near, and to 
 soften and unite such tints on the surface of particular 
 objects, as may be too violently contrasted for breadth 
 of effect. 
 
 A Scumble is generally a tint made of some colour 
 mixed with white; its usual effect is to render the part 
 
42 
 
 of the picture where it is employed somewhat cooler, 
 grayer, and less defined than before; hence it is of 
 great service in correcting any tendency to muddiness 
 or dirtiness of colouring; and also to what is called 
 hardness, or over-distinctness of detail. 
 
 Scumbling in its effects, may be viewed as the op¬ 
 posite of Glazing; and when a picture has been in¬ 
 jured by too free a use of the latter, it may, in a great 
 degree be remedied by the former; indeed each is, to 
 a great extent, calculated to remedy any errors that 
 may be committed in the use of the other; and their 
 judicious combination in the same picture, is found 
 to produce the gratest possible clearness, brilliancy, 
 transparency, and richness of colouring. 
 
 Dry-touching or Dragging—is nothing more than 
 going over certain parts of the picture when it is dry, 
 with light delicate finishing touches, in order to im¬ 
 prove the character, and to relieve or give surface 
 texture to objects requiring it. The tints used for 
 this purpose may, as occasion dictates, be either lighter 
 or darker than the parts to which they are applied; 
 it must be dexterously done with a light free hand; 
 in some places holding the brush loosely between the 
 finger and thumb, so as to leave the colour contained 
 in it only partially adhereing to the former more pro¬ 
 jecting touches. 
 
43 
 
 Certain unpleasant appearances, technically called 
 mealiness and spottiness, are the consequences of 
 overdoing this portion of the work, the progressive 
 effect of which must therefore be watched with jealous 
 deliberation. 
 
 Loading—is a term applied to laying colours in 
 thick masses on the lights, so as to make them project 
 considerably from the surface, with the view of their 
 being strongly illuminated by the light that falls on 
 the picture, and thus mechanically to aid in producing 
 round ness and relief, or in giving a sparkling effect to 
 polished or glittering objects; this artifice however, 
 must be had recourse to sparingly, otherwise it defeats 
 its own object, and gives the execution a coarse and 
 vulgar air. 
 
 Scraping—is merely used for removing the thicker 
 and more prominent touches of colour from those parts 
 of a picture which, for any cause, it is desirable to 
 repaint, it is found generally to leave the surface in a 
 very agreeable state for receiving the colours afresh; 
 but it must not be attempted till the colours so to be 
 removed, have acquired great solidity, or else they 
 will be torn off, and leave the surface in a rough and 
 ragged condition, that cannot be remedied without 
 much difficulty ; a sharp table knife, that has been a 
 good deal used, is the best instrument for scraping. 
 
44 
 
 Oiling out—The surface of colours in drying, fre¬ 
 quently assumes a state that renders it difficult to lay 
 fresh colours thereon properly,—to correct this, pre¬ 
 vious to commencing work, the picture must have a 
 little oil (either Linseed or Nut) sparingly applied to 
 it with a brush, and then perfectly removed by wiping 
 it with a soft silk rag, this will be effectual. 
 
 It sometimes happens that the colours dry in, as it 
 is termed—this means that the oil they have been 
 mixed with is partially absorbed by those colours over 
 which they are laid, whereby their brilliancy is par¬ 
 tially obscured, but it may be restored when required, 
 by a very thin application of either Mastich or White 
 Lac Varnish. 
 
 OF PAINTING HEADS AND FLESH. 
 
 The number of sittings required for a portrait, de¬ 
 pends entirely on the degree of facility acquired by 
 practice, and on the kind of subject, whether it be 
 male or female, old or young, &c. so that no precise 
 number can be fixed on; the general average is seven 
 or eight, which is commonly found sufficient for a 
 finished head ; the time occupied by each sitting, be¬ 
 ing, an hour and a half, or two hours. 
 
 It is usual with beginners to occupy the whole of 
 the first sitting in making the outline or sketch, which, 
 
45 
 
 as a white ground is best, may most advantageously 
 be done, first with dry charcoal, and afterwards fixed 
 with charcoal soaked in drying oil, as already de¬ 
 scribed. In sketching the head great attention should 
 be bestowed on the proportions of the sitter’s features, 
 as on these proportions likeness in a great measure 
 depends; where these are right, the likeness can 
 never be far wrong, but if incorrect, no labour will 
 produce a very good one. 
 
 THE FIRST PAINTING. 
 
 The sketch having been made, the first painting or 
 dead-colouring (see page 37) may be done in one 
 sitting, and the colours required on the palette are as 
 follow :— 
 
 1 Flake White. 
 
 2 Yellow Ochre. 
 
 3 Raw Sienna. 
 
 4 Burnt Sienna. 
 
 5 Light Red. 
 
 6 Vermillion. 
 
 7 Crimson Lake. 
 
 8 Indian Red. 
 
 9 Ultramarine. 
 10 Ivory Black. 
 
 These are to be set in the order in which they are 
 numbered, near the outer margin of the palette, be¬ 
 ginning with the white, above the thumb hole. 
 
 TINTS. 
 
 1 Yellow Ochre and White, two degrees. 
 
 2 Light Red and White, two degrees. 
 
 3 Vermillion and White, two degrees. 
 
 4 Lake, Indian Red, and White. 
 
46 
 
 5 Ultramarine and White. 
 
 6 Ivory Black and White. 
 
 7 Indian Red and White. 
 
 8 Lake, Indian Red, Ivory Black and White, for shadows. 
 
 9 Lake and Indian Red, for warm shadows. 
 
 These tints are to be mixed on the palette from, 
 and set just within the preceding, and in the same 
 order. 
 
 Begin (using Hog’s hair brushes) with tint No. 8, 
 laying in all the shadows thinly and carefully, keep¬ 
 ing the outlines correctly ; then proceed to lay in the 
 lights with the lightest tint of No. 2, commencing with 
 the highest lights on the face, gradually strengthening 
 it as it approaches the shadows, and adding a little 
 of tint No. 5, for joining it with the shadows, which, 
 when united by a little delicate working with this 
 tint, will produce a clean pearly middle tint; to faci¬ 
 litate the blending of the lights and shadows, either a 
 small softner of Badger’s hair, or a flat Hog’s hair 
 brush may occasionally be used dry, care being taken 
 not to work the colours of the lights far into the sha¬ 
 dows, so as to injure their strength and clearness. 
 When thus laying on the lights, they must be strength¬ 
 ened and graduated in accordance with nature, so as 
 to produce an appearance of roundness; which will 
 be much assisted by a moderate use of the blue tint 
 (No. 5) gradually worked in when approaching the 
 outlines and shadows. This is the first stage. 
 
47 
 
 When thus much is satisfactorily done, proceed to 
 lay in the tints of the complexion, the mouth, &c., 
 with tint No. 3, strengthening them towards the sha¬ 
 dows with tint No 4, also work in the other tints of 
 the face as nature dictates, such as the grays, the pur¬ 
 ples, or greens, with the remaining tints on the palette, 
 being careful to avoid a mottled or spotty look, and 
 keeping the whole lighter than nature,—after this, 
 proceed to improve the shadows with tint No. 9, 
 working it in only where it is required, and using it 
 for the stronger markings of the features; such as the 
 touches of deep warm shadow under the eyebrows, 
 the nostrils, and the mouth : then with a tint com¬ 
 posed of No. 5, and the lightest degree of No. 1, 
 mixed to a delicate pearly green, with a light hand 
 and tender touch, gently cool down and harmonize 
 such parts as require it, avoiding, as much as possible, 
 disturbing the tints already laid. 
 
 When this is done, lay in a light tint of the hair, of 
 its appropriate colour—very thinly, marking its forms 
 with colour a little darker, joining it softly and with 
 free touches, to the flesh, and the first painting of the 
 head will be complete. 
 
 For a beginner, all this may possibly be too much 
 to achieve in one sitting, particularly as over haste 
 and want of care are to be guarded against; therefore 
 it may be as well in such case, to terminate the first 
 
48 
 
 sitting with the first stage of dead-colouring; taking 
 another sitting for its completion, previous to com¬ 
 mencing which, a little oil should be applied (see 
 page 44) to prepare the surface for receiving the tints. 
 
 Remarks. —The lights in this stage, should be laid 
 in with a great body of colour, avoiding unpleasant 
 roughness, both the lights and shadows should be 
 fainter than nature, particularly the latter, as they are 
 finished by glazing, which will strengthen them suffi¬ 
 ciently ; the tints should be laid in their proper places 
 at once, or worked together when necessary, with the 
 brushes used in laying them, and avoiding sweetening 
 or softening them together with the sweetener, as much 
 as possible. The tint No. 2 (light red and white) 
 must be considered as the ground for receiving all the 
 other tints of the lights. Breadth of effect, and round¬ 
 ness, without much marking or detail, is to be aimed 
 at chiefly, in the first painting. 
 
 THE SECOND PAINTING. 
 
 The second painting will require several sittings, 
 ^he first and second of which, (with a palette set as 
 before) should be employed in correcting the tints on 
 the lights, with scumbling and thin painting where 
 they require it, and in improving the shadows, by 
 glazing them delicately to their proper colours, by a 
 few touches of a stronger and firmer character, and 
 
49 
 
 working in the principal reflexions. The higher lights 
 should also be touched in with greater brightness and 
 spirit, and a somewhat thicker body of colour; the 
 features should be corrected in their drawing - and 
 worked into more finish, occupying the attention col¬ 
 lectively as a whole, and not separately, which is the 
 only way to make them harmonize in expression and 
 character, and to secure likeness. The tints for the 
 lights of the eyes, are compounded from tints 1, 5, 
 and 6, varied a little occasionally with tint 2. 
 
 Subsequent sittings for the second painting, will be 
 occupied in improving the likeness, by still further 
 attention to the details of the features and other mark¬ 
 ings of the face, improving the shadows by such addi¬ 
 tional glazing as they require, strengthening the hair 
 by glazing and putting in its lights, so as to give it 
 more form and individual character, and relieving it 
 from the flesh by proper shadows thereon, of a clear 
 warm reddish tone, broken into the flesh colours with 
 cool pearly half tints. 
 
 FINISHING. 
 
 The various stages in the progress of a picture, 
 slide so gradually into one another, that it would be 
 difficult if not impossible to draw the line where one 
 ends and another begins, thus the process of finishing 
 a head partakes, in a great degree, of the nature of a 
 
 F 
 
50 
 
 portion of the work described in the latter part of 
 the second painting, the chief addition being that of 
 glazing. 
 
 The work of finishing is done by putting in judi¬ 
 cious touches of glazing and scumbling, so delicately 
 as not to obliterate or obscure, but only to improve 
 and render as perfect as possible, what has been al¬ 
 ready done: too much must not be attempted at one 
 sitting in this stage of the work, as the tints laid by 
 the glazings and scumblings may interfere with and 
 dirty each other; it is better then to be over-cautious 
 rather than otherwise, and to allow the colours to dry 
 frequently, and so repeat the operations when neces¬ 
 sary. When nearly all has been done that is required, 
 a few free light touches, done in the manner of dry 
 touching, (see page 42,) will complete the work. 
 
 Remarks.—The colours used for glazing, are for the 
 lights. Pink Madder, or Carmine, used in some places 
 alone, or occasionally modified with Light Red, Ver¬ 
 million, and Ultramarine mixed to various tints. Raw 
 Sienna, and Raw Sienna and Ultramarine may be 
 used for the Yellowish and Greenish glazings. For 
 glazing the shadows, the colours employed are. Lake, 
 Burnt Sienna, Ultramarine, Ivory Black, from which 
 the tints required may be mixed ;—too much attention 
 cannot be paid to keeping the glazing tints for the 
 shadow's, clean and transparent, as any degree of opa¬ 
 city injures them. 
 
51 
 
 For scumbling, Light Red and White, with a very 
 little Vermillion, will be found to be the tint of most 
 general service, and will preserve its clearness with 
 almost any other tint with which it is mixed, for 
 glazing and scumbling the best Maguilp to use is No. 
 1, (see page 35.) 
 
 OF PAINTING BACK-GROUNDS. 
 
 In giving directions for painting Back-grounds, 
 very little need be added to what has already been 
 said, when treating of the methods of applying the 
 colours, (see page 36.) As to the tone of colour ne¬ 
 cessary in Back grounds, almost every face having its 
 own particular complexion, the application of any 
 general rule would be difficult, the tone and colour of 
 the Back ground being governed by the complexion 
 chiefly, as well as by the colour of the hair, the dress, 
 and whether an in-door, out-door, or landscape effect 
 is to be employed; the only general rule that can be 
 given is, that the colours of the Back-ground, what¬ 
 ever it may be, must harmonize with the head and 
 other parts of the figure, and give them all the relief 
 requisite. The best way to effect this is to break the 
 colours of the flesh and such other parts as much as 
 possible into the colours of the Back-ground, subduing 
 and generalizing them afterwards, by proper glazing 
 and scumbling, so that they may not stare out, or come 
 into competition with the colours employed in the 
 lighter parts of the face and figure. 
 
5*2 
 
 In general neutral transparent Browns, and warm 
 Grays used in conjunction, will be found the safest 
 and least perplexing tints, for beginners to manage ; 
 as they will harmonize with, and bear out clearly ar.d 
 pleasantly, almost all other colours; when the ma¬ 
 nagement of these has become familiar, the introduc¬ 
 tion of some simple addition may be tried, such as a 
 piece of drapery of a subdued Red, Blue, &c, the 
 folds of which should be copied from nature, and thus 
 step by step and with the careful observation of good 
 pictures, the theory and practice of Back-ground 
 painting, may be acquired. 
 
 The colours of chief service in painting Back¬ 
 grounds are 
 
 COLOURS. 
 
 White. 
 
 Ivory Black. 
 Vermillion. 
 Light Bed. 
 Yellow Ochre. 
 Baw Timber. 
 Burnt Umber. 
 
 Prussian Blue. 
 Ultramarine, 
 Crimson Lake. 
 Purple Lake. 
 Baw Sienna. 
 Burnt Sienna. 
 
 Ultramarine is used when clear azure tints are re¬ 
 quired for skies; .and the Lakes, for glazing red 
 draperies. The above colours will produce every 
 variety of tint necessary, the following being those 
 chiefly required :— 
 
53 
 
 TINTS. 
 
 1. Black and White. 
 
 2. Ivory Black, White, and a little Vermillion. 
 
 3. Yellow Ochre, or Haw Sienna and White. 
 
 4. Haw Umber and White. 
 
 5. Yellow Ochre, Prussian Blue and White. 
 
 6. Yellow Ochre and Black. 
 
 7. Vermillion and White, with very little Prussian Blue. 
 
 8. Light Bed and Black. 
 
 9. Burnt Sienna and Black. 
 
 The largest brushes should be used, and it is best to 
 begin nearest to the head, working from it as from a 
 central point, for it will generally be found that when 
 the tints next to it are well chosen, the more remote 
 tints will be easily hit, and almost fall as a matter of 
 course into their proper tones, if the painter has an 
 ordinarily good eye for harmonious colouring. Some 
 white should be used in almost every tint in the lay-in 
 of the back-ground, perfectly transparent or glazing- 
 colours, being too powerful, but semi-transparent 
 colours frequently give great beauty, by allowing the 
 ground in parts to appear through them—above all 
 blackness and heaviness should be avoided as being 
 totally the reverse of that “Free, transient, light ” effect 
 so desirable in Back-grounds. 
 
 OF PAINTING DRAPERIES. 
 
 The best and simplest method of painting Dra- 
 
54 
 
 peries is, to make out their folds, forms, and a good 
 deal of the character of the stuffs of which they are 
 composed, in the first painting, by a few simple gra¬ 
 dations of the tints of the colours of the drapery— 
 four of these tints will, in most cases, be quite suffi¬ 
 cient, and the lightest should be laid on in a conside¬ 
 rable body, and lighter than nature, so as to allow of 
 glazing in the work of the second painting; and the 
 darker parts or shadows should be laid in thinly, and 
 in rather a neutral manner of colouring ; which, when 
 finished with transparent tints, will give brightness 
 and value to the lights, and receive the reflexions 
 agreeably. 
 
 Draperies ought always to be painted from the stuffs 
 thrown or cast into the folds required, which should 
 not be disturbed till it is finished; for, materially 
 changing the forms of the folds when they have been 
 once painted is very injurious, and should not be done 
 unless it is found absolutely necessary. 
 
 The following colours will be found well adapted to 
 the production of the respective Draperies. 
 
 COLOURS FOR WHITE DRAPERIES. 
 
 White. 
 
 Yellow Ochre. 
 Indian Red. 
 
 Ultramarine. 
 
 Black. 
 
 Light Red. 
 
55 
 
 TINTS FOR FIRST PAINTING. 
 
 White, slightly tinged with Yellow Ochre. 
 
 White and a little Ivory Black. 
 
 White, Black, and a little Indian Red. 
 
 Black, Indian Red, and a little Yellow Ochre and 
 White (for shadows.) 
 
 In the second painting, Ultramarine and a little 
 Light Red make a fine glaze for the middle tints, 
 where they require it; and the reflexions may be made 
 of White, Black, Yellow Ochre, and Indian Red. 
 
 BLUE DRAPERIES. 
 
 Blue draperies, when large, are frequently painted 
 with Prussian Blue, but when economy is less an ob¬ 
 ject than permanency. Ultramarine should be used ; 
 at all events for the lights, as Prussian Blue is quite 
 unexceptionable for the darker parts or shadows. 
 
 colours. 
 
 White. Prussian Blue. 
 
 Ultramarine. Black. 
 
 TINTS. 
 
 White and Ultramarine. 
 
 White, Prussian Blue and Ultramarine. 
 Prussian Blue and a very little White. 
 Prussian Blue and a little Black. 
 
In the second painting or finishing, the lights must 
 be glazed to their proper strength with Ultramarine. 
 
 RED DRAPERIES. 
 
 (Scarlet or Crimson.) 
 
 COLOURS. 
 
 White. Crimson Lake. 
 
 Vermillion. Indian Red. 
 
 Ivory Black. 
 
 TINTS. 
 
 Vermillion and a little White. 
 
 Vermillion, Lake and Indian Red. 
 
 Indian Red and Lake. 
 
 Indian Red, Lake and Black. 
 
 It is a good way to prepare the ground for red dra¬ 
 peries, by rubbing it over thinly with a tint made of 
 Light Red and a little White. 
 
 The Glazing is, for the lights. Crimson Lake and a 
 little Vermillion, and for the half tints and shadows 
 Lake alone, or Lake with a little Black. 
 
 YELLOW DRAPERIES. 
 
 COLOURS. 
 
 White. Vermillion. 
 
 Naples Yellow. Blue Black. 
 
 Yellow Ochre, Burnt Umber. 
 
57 
 
 TINTS. 
 
 Naples Yellow and White. 
 
 Yellow Ochre, with a very little Ivory Black, 
 and still less Vermillion. 
 
 Burnt Umber, with, occasionally, Ivory Black, 
 and Vermillion for the deepest shadows. 
 
 It is best to avoid glazing yellow draperies, but if 
 absolutely required. Raw Sienna for the lights, and 
 Raw Sienna and Burnt Umber for the shadows, may 
 be used. 
 
 When a very bright effect of yellow drapery is re¬ 
 quired, some touches in the highest lights, put in 
 when the first work is dry, with King’s Yellow or 
 Orpiment ground with drying oil, and used with Co¬ 
 pal varnish, will produce it, but these colours must be 
 used alone, and not mixed with any others. 
 
 GREEN DRAPERIES. 
 
 The colours and tints set down for painting Blue 
 draperies, with the addition of Naples Yellow, or Yel¬ 
 low Ochre, according to the hue of Green required, 
 will do for the Green draperies,—the Yellow however 
 must be used more sparingly in the shadows, than in 
 the lights, and a very little Indian Red added to the 
 shadows and middle tints, will give them an agreeable 
 warmth, but it must be used very sparingly, to avoid 
 heaviness. 
 
58 
 
 BLACK DRAPERIES. 
 
 Ivory Black dries badly, and frequently when used 
 alone for shadows, does not bear out well; to correct 
 which, before using, it should be treated as follows: 
 mix as much sugar of lead with water, in a small vial, 
 as the water will dissolve, mix equal parts of this and 
 Mastich Varnish, or rather more of the latter, on the 
 palette with the palette knife, till it stands up like 
 thick cream, then add another part of Copal Varnish, 
 —put as much of this mixture to the black as will 
 leave it of an agreeable consistence, and it will work 
 pleasantly and dry well. 
 
 COLOURS FOR BLACK DRAPERIES. 
 
 White. Lake. 
 
 Ivory Black. 
 
 TINTS. 
 
 White, Black and a very little Lake. 
 
 White and a larger proportion of Black and Lake. 
 
 Black and a little White and Lake. 
 
 Black and Lake. 
 
 A little of the mixed Black, described at page (32) 
 mixed with the last named tint for the shadows will 
 add to its clearness and depth, and a ground of Light 
 Red, rubbed in previous to painting the drapery, 
 and allowed to dry, will make the tints bear out the 
 better. 
 
59 
 
 There are many other varieties of tints in draperies, 
 the colours and tints proper for painting which, it 
 would be impossible to describe w'ithin reasonable 
 limits; and even if the attempt were made, little ser¬ 
 vice would be thereby rendered to the student, as but 
 little information of a precise and determinate nature 
 could be conveyed to him, on a subject in which dif¬ 
 ferences so minute and delicate may be made; he 
 must therefore be left to the exercise of his own in^e- 
 nuity and increasing skill, for employing the colours 
 requisite to produce the endless variety of hues in the 
 draperies he may find it necessary to paint. 
 
 Some authors attempt to give rules for painting the 
 various kinds of stuffs, such as satin, velvet, cloth, &c., 
 but neither can this be done,—the only way to pro¬ 
 duce a proper discrimination of the characteristics of 
 these varieties, is to imitate them from nature, and the 
 general, as well as the detailed rules we have already 
 given, will be found greatly to facilitate this result, 
 without embarrassing the student by a multiplicity of 
 unnecessary observations, that must naturally occur 
 to himself, in the course of his practice. 
 
 OF PAINTING LANDSCAPES. 
 
 The colours for Landscape painting are 
 Flalce White. Vermillion. Ultramarine. 
 
 Yellow Ochre. Light Red. Prussian Blue. 
 
GO 
 
 Naples Yellow. Indian Red. Raw Umber, 
 
 flaw Sienna. Burnt Sienna Burnt Umber. 
 
 Lake. Black. Terra Verte. 
 
 TINTS FOR SKIES. 
 
 Ultramarine and White, in several degrees for Azure. 
 
 Ultramarine 
 
 for the gray 
 tints of 
 clouds. 
 
 and 
 
 White. 
 
 These, by the addition of either of the Yellows or 
 a little Raw Umber, may be mixed to suit the endless 
 variety of gray tints in clouds observable in nature. 
 
 White and Naples Yellow. \ 
 
 White, Naples Yellow and Vermillion. ( 
 
 White and Light Red. \ ° r the Hght tuits of 
 
 White and a very little Raw Umber. J clouds. 
 
 White and a little Indian Red. 
 
 These may be mixed to various degrees of strength 
 and tint, to suit morning, mid-day, or evening effects, 
 and the first three may be used for the warm tints, 
 into which the azure is frequently blended near the 
 horizon. 
 
 DISTANCES. 
 
 The tints for the extreme distances are made nearly 
 in the same manner as those for skies, only that they 
 
61 
 
 are usually somewhat stronger. The nearer or middle 
 distances run a little more into greens, brownish grays 
 and light grayish browns, using along with the tints 
 just mentioned. 
 
 White, Yellow Ochre, and Prussian Blue. 
 
 White, Light Bed, and Prussian Blue. 
 
 White, Baw Umber, and Prussian Blue. 
 
 White, Burnt Sienna, and Prussian Blue. 
 
 And others of the same kind. 
 
 TINTS FOR FOREGROUNDS. 
 
 GREENS. 
 
 1— Ultramarine, on d 0ch ^ 
 
 Prussian Blue J 
 
 2— The same, and Naples Yellow. 
 
 3— The same, Baw Sienna and a little White. 
 
 4— Blue Black, Naples Yellow and a little White. 
 
 TRANSPARENT OR GLAZING. 
 
 5 — Baw Sienna and Ultramarine. 
 
 6— Burnt Sienna and Prussian Blue. 
 
 7 — Terra Vert either alone or with a little Baw Sienna. 
 
 BROWNS. 
 
 8— Baw Umber and White. 
 
 Baw Umber, Light Bed and White. 
 
 Burnt Umber and White. 
 
 Burnt Sienna and Naples Yellow. 
 
 Light Bed, Vermilion and Black. 
 
 G 
 
62 
 
 Good glazing Browns may be made in a great va¬ 
 riety of ways, and the Brown tints in foregrounds are 
 so various that it would be impossible to specify any 
 particular mixtures that would be preferable to others 
 that might be mentioned—an exceedingly useful tint 
 may however be made with Burnt Sienna and Ivory 
 Black; this will be found an excellent tint for rub¬ 
 bing in the effect of the foreground, in the manner of a 
 sepia or bistre drawing, previous to dead-colouring it. 
 
 GRAYS. 
 
 Black and White. 
 
 Vermilion and Ultramarine with a little White. 
 
 Indian Red, Prussian Blue and White. 
 
 Light Red, Black and White 
 
 Burnt Umber, Prussian Blue and White. 
 
 In addition to what has already been said, with 
 respect to first and second paintings, &c., it must be 
 observed that as a general rule in landscape painting, 
 it is best to begin with the sky, and proceed down¬ 
 wards to the first and second distances, then to the 
 middle grounds, and last of all, to the foregrounds. 
 When the composition is such that trees, or other ob¬ 
 jects rise out of the foreground, and cut clearly and 
 sharply against the sky and distances, these latter 
 must be finished before the foreground objects, so as 
 that they may not require to be worked upon after¬ 
 wards,—the sky should be painted with a considerable 
 
63 
 
 body of colour, and with very little or no Oil or 
 Maguilp added to the colour, which should dry flat, 
 —that is, without a shining surface; if the colour 
 requires thinning for the sky and distances, it is best 
 to use a little spirits of turpentine alone, for that 
 purpose. 
 
 The best way to learn a good original and natural 
 style of landscape painting, is to paint from the ob¬ 
 jects in nature direct, taking the colours, &c., out into 
 the open air, and making studies, first of picturesque 
 single objects, such as stumps of trees, old palings 
 and gates, that are weather stained, cottages, ruined 
 or other buildings, rocks, and all such things as may 
 serve to fill up the composition of a foreground, for 
 which purpose they may afterwards be used. When 
 considerable facility in the use of the colours has been 
 acquired in this way, scenes of a simple kind may be 
 tried, taking care at first to avoid any great complica¬ 
 tion of objects, the student going on progressively to 
 scenes and subjects of a more extensive kind, as he 
 finds his powers of representing them increase, will 
 realize an improvement much more rapid than if he 
 were to follow any other course of study. Care must 
 be taken however, not to paint too long at any one 
 time, from one subject, as the light and shade con¬ 
 stantly alter, and he will find himself thereby a good 
 deal perplexed ; it will be proper therefore, to limit 
 the sittings for each subject to an hour and a half or 
 
two hours at most, but several subjects may always be 
 in progress, so as to occupy the successive portions of 
 the day. 
 
 OF PAINTING ANIMALS. 
 
 Owing to the little certainty there is of animals 
 keeping in one position for any considerable length of 
 time, the difficulty of drawing them correctly, and of 
 observing their light and shade properly, is greatly in¬ 
 creased, it will therefore facilitate the work of painting 
 them, if previously, a correct study of their drawing, 
 position, and light and shade, be made in black and 
 white chalks, on tinted paper; as alterations can be 
 much more easily effected in such a study, until the 
 whole is correct, than if they had to be made in the 
 picture. A great deal of the first painting or dead¬ 
 colouring may be done from this study; referring at 
 the same time to nature for the proper colouring. 
 
 A hand that has acquired great experience in 
 animal painting, may ultimately dispense with the 
 trouble of making the chalk study, but it will be found 
 of immense assistance to the beginner; being the only 
 way indeed to ensure success. 
 
 * 
 
 The general rules that have already been given, rela¬ 
 tive to the various stages of a picture, are applicable 
 to animal painting, with this additional observation, 
 
6 o 
 
 that the less an appearance of labour or overworking 
 is apparent, the more spirited and life-like will be the 
 representation; it is best therefore, to put in the first 
 painting; with rather more finish and effect, than are 
 required for other subjects, and to finish on this by 
 a plentiful use of glazing, using while the glazing 
 colours are still wet, free, light, graceful touches of 
 opaque colours for putting in the lights and giving 
 character to the hair, &c. 
 
 There is such an infinite variety of tints in the 
 colouring of animals, that no attempt can be made to 
 give directions for compounding them; it may be pre¬ 
 sumed however, that the reader has now arrived at a 
 pretty good general idea of the manner in which the 
 various colours are employed in the formation of tints ; 
 and a little experience will do more than many words, 
 in enabling him to apply the knowledge he has ac¬ 
 quired, to the mixing of tints for animal painting. 
 
 OF FLOWER AND FRUIT PAINTING. 
 
 Here again, in the various natural processes ob¬ 
 servable in the developement, budding, blowing, 
 ripening and decay of the various kinds, the changes 
 are so rapid, and the successive appearances of the 
 same object, follow each other so quickly, that it 
 requires indefatigable attention, and considerable 
 facility of execution, to represent a flower or a fruit 
 
66 
 
 under one appearance, before it begins to assume 
 another; flowers in particular are so subject to these 
 changes, that in general it is found best to paint them 
 as they grow, and not to pluck them; as in the latter 
 case, they soon lose that lustre and brightness of hue, 
 that render them fit subjects for the pencil; and it 
 must be remarked, that none of the colours we possess, 
 not even the most brilliant and perfect, can vie with 
 the natural colours of flowers and fruit; this defi¬ 
 ciency of the artificial pigments must therefore be 
 compensated, by using judicious contrasts of colours 
 in the groups or in the grounds,—an art which several 
 eminent masters have employed in this department, 
 with an effect truly wonderful. 
 
 For the reasons above given, flowers and fruit 
 should be finished, as nearly as possible, in one 
 painting, leaving little to be done but what may be 
 effected by delicate glazing, and the addition of a few 
 clean light finishing touches. 
 
 Most of the tints that have been heretofore des¬ 
 cribed, will occupy a useful place on the palette of 
 the fruit and flower painter; the ground on which 
 they are employed, should be of the purest white; 
 and the utmost attention should be given to transpa¬ 
 rency, richness, and brilliancy. The occasional study 
 of flowers and fruit, will be found of great service to 
 Artists in all departments; but to none more so, than 
 
67 
 
 to the painter of portrait and figure subjects; as no¬ 
 thing has a greater tendency to inculcate a habit of 
 clean and brilliant colouring and execution, or to 
 give a good knowledge of the properties of the various 
 pigments. 
 
 THE END. 
 
* 
 
 . 
 
 
 
 
 ► 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 * 
 
 
LIST OF MATERIALS 
 
 Carmine 
 Purple Scarlet 
 Madder Purple 
 Ditto Lake 
 French Ultramarine 
 Madder Brown 
 Indian Yellow 
 
 Oil Colours in Tube. 
 
 s. d. 
 
 
 ... 3 0 
 
 Lemon Yellow 
 
 ... 3 0 
 
 Cobalt. 
 
 ... 2 6 
 
 Mars Yellow 
 
 ... I 6 
 
 i 
 
 Do. Orange 
 Orange Vermilion 
 
 
 Vermilion 
 
 / 
 
 The following 
 
 6d.; Double Is. 
 
 s. d 
 
 I 16 
 
 New White 
 Flake do. 
 
 Sacrum 
 
 Naples Yellow, 1, 3, & 3 
 Patent do. 
 
 Chrome do., 1, 2, & 3 
 Italian Oker 
 Yellow do. 
 
 Raw Sienna 
 Roman Oker 
 Brown do. 
 
 Burnt Umber 
 Raw do. 
 
 Bone Brown 
 Bitumen 
 
 Cappah Brown 
 Cologne Earth 
 Light Red 
 Venetian do. 
 Indian do. 
 Burnt Sienna 
 Vandyke Brown 
 Ivory Black 
 Lamp do. 
 
 Blue do. 
 
 Indigo 
 
 Prussian Blue 
 Antwerp do. 
 Brown Pink 
 Italian do. 
 
 Yellow Lake 
 Crimson ditto 
 Purple do. 
 
 Scarlet do. 
 
 Indian do. 
 Permanent Blue 
 Palladium Red 
 Palladium Scarlet 
 Emerald Green 
 Terra Vert 
 
 Verdigris s. d. 
 
 Vermilion in papers 16 
 Palladium Red do. 1 6 
 Asphaltum in pots 0 8 
 McGuelpli do. 0 8 
 
 Powder Colours. 
 
 Per oz. 
 
 s. 
 
 d. 
 
 
 Per o 
 
 Ultramarine from 31s. 6d. to 126 
 
 0 
 
 Mars Orange 
 
 
 Ditto Ashes... 10s. and 21 
 
 0 
 
 Crimson Lake 
 
 
 French do. 
 
 10 
 
 6 
 
 Scarlet do. 
 
 
 Smalt 
 
 21 
 
 0 
 
 Purple do. 
 
 
 Carmine ... 
 
 24 
 
 0 
 
 Antwerp Blue 
 
 
 Madder Purple ... 
 
 21 
 
 0 
 
 Prussian do. 
 
 
 Ditto Lake 
 
 16 
 
 0 
 
 Indigo 
 
 
 Ditto Brown 
 
 6 
 
 6 
 
 Indian Red 
 
 
 Lemon Yellow 
 
 8 
 
 0 
 
 Yellow Lake 
 
 
 Indian Ditto 
 
 6 
 
 6 
 
 Brown Pink 
 
 
 Pure Scarlet 
 
 6 
 
 0 
 
 Italian do. 
 
 
 Cobalt 
 
 10 
 
 0 
 
 New White 
 
 
 Mars Yellow 
 
 10 
 
 0 
 
 Flake do. 
 
 
 All the other colours Is. 6d. per oz. 
 
 s. d. 
 10 0 
 12 6 
 10 0 
 6 0 
 
 3 0 
 
 0 6 
 0 4 
 
Oils, Varnishes, &c. 
 
 Poppy Oil ... 
 
 per pint, 
 s. d. 
 
 ... 3 0 
 
 per phi 
 s. d. 
 0 6 
 
 Nut do. 
 
 ... 3 6 
 
 0 
 
 8 
 
 Linseed do.... 
 
 ... 1 6 
 
 0 
 
 6 
 
 Light Drying do. 
 
 ... 3 0 
 
 0 
 
 6 
 
 Dark do. 
 
 ... 2 0 
 
 0 
 
 6 
 
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 ... 1 3 
 
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 6 
 
 Gold Size... 
 New Dryer 
 Copal Varnish 
 Spirit do. 
 Mastich do. 
 
 per pint, 
 s. d. 
 ... 5 0 
 ... 3 6 
 ... 7 6 
 7 6 
 ... 6 0 
 
 Prepared Canvass and Ticken. 
 
 3- 4th, or 27 inches wide 
 
 7-8th, or 30 do. 
 
 4- 4th, or „ 
 
 3 ft. 6 in. 
 
 3 ft. 9 in. 
 
 4 ft. 6 in. 
 
 5 ft. 2 in. 
 
 6 ft. 2 in. 
 
 per yard 
 do. 
 
 tt 
 
 it 
 
 tt 
 
 tt 
 
 it 
 
 Can. 
 s. d. 
 ... 3 0 
 
 ... 3 3 
 
 ... 3 6 
 
 ... 5 0 
 
 ... 6 6 
 ... 8 0 
 ... 10 0 
 ...I 12 0 
 
 On Plain Frames. 
 
 12 inches by 10 
 14 do. by 12 
 17^ do. by 14 
 21 do, by 17 
 24 do. by 20 
 3-4 or 30 by 25 
 Kit Cat, or 30 by 28 ... 
 Small half Length 341 
 by 44f | 
 
 Half Length, 4 ft. 2 by 
 3 ft. 4 
 
 Bishop’s do. 4 ft. 8 by 
 3 ft 8 
 
 Can. 
 s. d. 
 1 6 
 2 0 
 
 2 3 
 2 6 
 
 3 0 
 
 4 0 
 
 5 6 
 
 8 0 
 10 6 
 1 6 6 
 
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 2 3 
 2 6 
 
 3 0 
 
 4 0 
 
 5 6 
 7 0 
 
 10 0 
 
 14 0 
 
 20 0 
 
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 s. d. 
 
 12 inches by 10 
 14 do. by 12 
 171 do. by 14 
 21 do. by 17 
 24 do. by 20 
 3-4 or 30 by 25 
 Kit Cat, or 36 by 28... 
 Smallhalf Length 341 ] 
 by 41J ... 
 
 H alf Length, 4 ft. 2 by 
 3 ft. 4 ' ... 
 
 Bishop’s do. 4 ft. 8 by 
 3 ft. 8 ... I 
 
 Whole Length, 7 ft 16 j 
 by 4 ft. 10 ... 42 0 
 
 Bishop’s do. 8 ft. 10| 
 by 5 ft. 10 ...I 55 0 
 
 9 0 
 12 6 
 18 6 
 
 per phi. 
 s. d. 
 
 1 0 
 0 8 
 1 0 
 1 0 
 1 0 
 
 Tick, 
 s. d. 
 4 0 
 4 3 
 4 6 
 0 0 
 8 0 
 10 0 
 12 0 
 14 6 
 
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 s. d. 
 2 G 
 
 2 9 
 
 3 3 
 
 4 0 
 
 5 0 
 
 6 0 
 7 6 
 
 15 0 
 21 0 
 45 0 
 60 0 
 
 7 by 
 
 8 
 
 10 
 
 10 
 
 11 
 
 12 
 
 14 
 12 
 
 13 
 
 >4 
 
 15 
 
 16 
 
 14 
 16 
 17 
 
 it 
 
 ti 
 
 it 
 
 it 
 
 >1 
 
 Frepared Milled Boards for Oil Painting. 
 
 5.i each. 
 6 
 
 7 
 
 8 
 9 
 9 
 9 
 
 10 .. 
 
 10 
 10 
 11 
 11 
 12 
 12 
 
 12 .. 
 
 No. 1. 
 
 No. 2. 
 
 
 
 No. 2. 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 
 
 s. 
 
 d. 
 
 0 
 
 0 
 
 
 
 18 by 12 each 
 
 2 
 
 G 
 
 0 
 
 8 
 
 
 
 17 
 
 „ 13 
 
 2 
 
 6 
 
 0 
 
 9 
 
 
 
 18 
 
 „ 13 ... ." 
 
 2 
 
 9 
 
 0 
 
 9 
 
 
 
 20 
 
 „ 13 . 
 
 2 
 
 10 
 
 1 
 
 0 
 
 
 
 17 
 
 „ 14 . 
 
 2 
 
 9 
 
 1 
 
 0 
 
 
 
 18 
 
 „ 14 . 
 
 2 
 
 9 
 
 ] 
 
 2 
 
 
 
 20 
 
 „ 14 . 
 
 3 
 
 0 
 
 1 
 
 2 
 
 
 
 19 
 
 „ 15 . 
 
 3 
 
 0 
 
 1 
 
 3 
 
 
 
 21 
 
 „ 15 . 
 
 3 
 
 6 
 
 1 
 
 3 
 
 1 
 
 G 
 
 23 
 
 „ 16 . 
 
 3 
 
 9 
 
 1 
 
 0 
 
 2 
 
 0 
 
 21 
 
 „ 17 . 
 
 4 
 
 0 
 
 1 
 
 6 
 
 2 
 
 0 
 
 22 
 
 18 . 
 
 4 
 
 3 
 
 1 
 
 6 
 
 2 
 
 0 
 
 24 
 
 „ 18 . 
 
 4 
 
 G 
 
 1 
 
 8 
 
 2 
 
 0 
 
 34 
 
 „ 20 . 
 
 
 
 1 
 
 10 
 
 2 
 
 i 
 
 30 
 
 „ 25 . 
 
 
 
 No. 3. 
 s. d. 
 3 0 
 3 0 
 3 3 
 3 4 
 3 3 
 3 3 
 3 6 
 
 3 6 
 
 4 0 
 4 6 
 
 4 9 
 
 5 0 
 5 6 
 G 6 
 
 10 0 
 
Mahogany Panels for Oil Painting. 
 
 
 Each. s. 
 
 d. 
 
 
 Each. 
 
 8. 
 
 9 by 7 ... 
 
 .1 
 
 6 
 
 16 by 11 ... 
 
 
 ..( 4 
 
 10 by 8 ... 
 
 .2 
 
 0 
 
 16 by 12 ... 
 
 
 ... 4 
 
 11 by 9 ... 
 
 .2 
 
 6 
 
 18 by 14 ... 
 
 
 ... 6 
 
 12 by 9 ... 
 
 .2 
 
 9 
 
 19 by 16 ... 
 
 
 ... 7 
 
 12 by 10 ... 
 
 .3 
 
 0 
 
 20 by 16 ... 
 
 
 ... 9 
 
 14 by 9 ... 
 
 .3 
 
 0 
 
 21 by 17 ... 
 
 
 ... 10 
 
 14 by 10 ... 
 
 .3 
 
 6 
 
 24 by 20 ... 
 
 
 ... 14 
 
 
 
 
 30 by 25 ... 
 
 
 ... 24 
 
 The above are kept in oil or water ground. 
 
 Brushes for Oil Colour Painting. 
 
 per Doz. 
 
 Fitch in Quill ... 
 
 Swan do. 
 
 Fitch in Tin, 1 to 6 
 
 Sables do., 1 to 6, Bound and Flat 
 
 Ditto do. Flat, 7 to 12, each Is., Is. 2d., Is 
 
 d. 
 
 0 
 
 0 
 
 0 
 
 0 
 
 4d., Is. 8d., 2s., and 2s. 6d. 
 
 Ditto do. Bound, 7 to 12, each Is. 4d., Is. 8d., 2s„ 2s. 4d., 2s. 8d., and 3s. 
 
 Flat and Bound French Tools, from Nos. 1 to 6, 
 Ditto ditto, „ Nos. 7 to 9, 
 
 Ditto ditto, „ Nos. 10 to 12 
 
 Ditto ditto, „ Nos. 13 
 
 Ditto ditto, „ Nos. 14 
 
 Badger Tools, each, No. l,5d.; No. 2,9d.; No. 3, Is.; 
 
 each. 
 
 s. d. 
 0 6 
 
 No. 6, 2s. 6d.; No. 7, 3s. 3d.; No. 8, 4s. 6d.; No. 9, 5s. 6d. 
 
 No. 4, Is. 6d.; No. 5, 2s.; 
 
 Easels, Palettes, &c. 
 
 Deal Forked Easel, each 
 Framed ditto 
 Ditto Folding do. ... 
 
 Satin Wood do. 
 
 4d. 
 
 Middle do, 
 
 Large „ 
 
 Palette Knives, Steel, Is., is. “iu., is. uu., aim 
 Ditto Ivory, Is. and Is. 6d. each. 
 
 Best Sticks, Is., Is. 6d., 2s. and 2s. 6d. 
 
 Oil Sketching Paper, lOd. and Is. per Sheet. 
 Sketching Boards, Is. 6d. and 2s. per Sheet. 
 
 £. s. d. 
 
 
 
 £. 
 
 3 . 
 
 d. 
 
 0 10 0 
 
 
 M ahogany Forked Easel 
 
 0 
 
 16 
 
 0 
 
 0 16 0 
 
 
 Ditto Framed do. ... 
 
 1 
 
 6 
 
 0 
 
 1 1 0 
 
 
 Ditto Folding. 
 
 1 
 
 6 
 
 0 
 
 inch. 
 
 
 Ditto Back „ ... 
 
 3 
 
 3 
 
 0 
 
 fi 
 
 
 Ditto do. „ ... 
 
 3 
 
 13 
 
 6 
 
 l, empty, 9s 
 
 . complete 
 
 1 
 
 7 
 
 0 
 
 do. 15s. 
 
 . do. 
 
 2 
 
 5 
 
 0 
 
 „ 20s. 
 
 ... ••• f> 
 
 3 
 
 0 
 
 0 
 
 AND EVERT OTHER REQUISITE EOR PAINTING AND DRAWING. 
 
 GEO. ROWNEY AND CO., 
 
 fttanufacturers of Artists’ fttaterfals, 
 
 51, RATHBONE PLACE, LONDON. 
 
LONDON: 
 
 Printed foi 4 Geo. Kownbt and Co., 51, Rathbone Place. 
 
 
•£0 PICTOft/^ 
 
 HOW TO USE THE 
 
 BLACK LEAD PENCIL, CHALKS, 
 
 AND 
 
 WATER COLOURS; 
 
 THB CAPABILITIES OP THESE MATERIALS, WITH EVERY INFORMA¬ 
 TION NECESSARY TO PUT THE STUDENT ON THE PROPER 
 COURSE FOR ATTAINING EXCELLENCE 
 
 IN 
 
 THE FINE ARTS. 
 
 ,/mtrtl) (Eintum. 
 
 BY H. O’NEILL 
 
 LONDON: 
 
 GEORGE ROWNEY, & Co., 51, RATHE ONE PLACE. 
 
 MDCCCXLIX. 
 
€ntmi> at Statianm' §a[[ 
 
 Leicester: 
 
 PRINTED BY T. CHAPMAN BUOVfNB, BIBLE AND CROWN, 
 MARKET PLACE. 
 
(Content# 
 
 Preface .. 
 Introduction. 
 
 Outline.—1. 
 
 Materials.— 
 
 Shading.—1 
 
 TAGE 
 
 .. .. ix 
 
 — 1. The Fine Arts defined—2. Painting is 
 not a mere imitative art, its proper object 
 —3. The three divisions of Painting.. .. xi 
 
 PART I. 
 
 How to place the original and the paper for 
 making the copy on—2. Proper height for 
 a table—3. Proper position for the student 
 —4. How to hold the pencil—5. Proper 
 materials for sketching—6. Rules for sketch¬ 
 ing—7. To transfer the sketch—8. To copy 
 larger or smaller than the original. 1 
 
 CHAPTER I. 
 
 1. The Black Lead Pencil—2. Italian Black 
 Chalk—3. Conte—4. Dutch Chalk—5. Red 
 Chalk—6. White Chalk—7. Portcrayon— 
 
 8. Chalk Pencils, Charcoal ditto—9. Chalk 
 and Charcoal in Reed—10. How to cut Chalk 
 —11. Papers, proper kinds for Pencil and 
 Chalk Drawings—12. Stumps. 9 
 
 CHAPTER, II. 
 
 Stumping—its advantages—how to stump— 
 proper stumps—2. Shading by lines, or 
 handling—3. How to shade a sky—a flat 
 tint—distant mountains—near mountains— 
 
VI 
 
 CONTENTS. 
 
 PAGE 
 
 trees—smooth walls—rough walls—ceilings 
 —summary— 4. Handling figures—proper 
 lines for them—how to be crossed—the hair 
 —the flesh—the fingers—drapery with round 
 folds—Sharp shadows in flesh and drapery— 
 Handling of stumped drawings — general 
 principles of handling—lights on crayon 
 paper with chalk—Pencilling Tints—with 
 bottle white—colored crayons—clean hands 
 —proper part of a drawing to begin with .. 13 
 
 Miscellaneous Matters. —1. Proper size for Studies of 
 the human Figure—2. How to get the pro¬ 
 portions of Figures in studies from Nature— 
 
 3. Drawing at an Easle—4. Securing Draw¬ 
 ings from rubbing—5. Pen and Ink Draw¬ 
 ings—6. Permanent Conte—7. Wax Crayons 
 —8. Three stages of study—the Flat—the 
 Round, and the Life—9. Importance of good 
 Drawing—accuracy, selection, taste —10. 
 Excellence of the Greeks and Italians in 
 Drawing—11. The Plumblest Subject admits 
 of a Tasteful Representation—12. The Stu¬ 
 dent must at all times cultivate the gifts of 
 Nature. 22 
 
 PART II. 
 
 Introduction. —1. Great Improvement in modern Water 
 Colours. They excel Oils for some purposes. 
 Water Colour Paintings highly esteemed by 
 the patrons of Art—2. The Peculiar excel¬ 
 lencies of Water Colours. 31 
 
CONTENTS. 
 
 VU 
 
 PAGE 
 
 Materials used for Water Colours.—1. General quali¬ 
 ties of Colours—Tone, Permanency, Power, 
 Transparency, Body—Fitness for even Tints 
 Blues, Reds, Yellows, Greens, Orange, Pur¬ 
 ple, Browns, Greys, Blacks, and White. .. 34 
 
 CHAPTER II. 
 
 Alphabetical List of Water Colours. —With their 
 Tone, Permanency, Power, and Fitness for 
 even washes, in separate columns .. .. 54 
 
 CHAPTER III. 
 
 Materials, &c. —1. Papers—rough, plain, hot pressed, 
 extra thick, paper-makers’ sizes—2. Brushes, 
 in quill, in tin, round, flat, ordinary points, 
 dome pointed — 3. Water—4. Gum—5. 
 Drawing boards to stretch paper—6. T 
 square, compass, drawing desk, water vessels, 
 slabs.64 
 
 CHAPTElR IV. 
 
 Miscellaneous Matters. —1. A box of colours for general 
 use—2. Theory of compounding tints— 
 practical illustrations—3. The modern sys¬ 
 tem of water colours—4. The axiom of 
 Rubens. 70 
 
 CHAPTER V. 
 
 Practical Rules. — 1. Practical rules for compounding tints 
 —Greys, Greens, Browns, Purple, Orange 
 —2. How to lay a wash evenly—How to 
 correct an uneven wash with water, with a 
 damp cloth, Hatching—3. The use of Gam¬ 
 boge, Lake, and Prussian Blue, Gum, an 
 
VU1 
 
 CONTENTS. 
 
 TAGS 
 
 Intense Black, Sepia—4. Sloppy washes, the 
 reverse — scraping out lights, lights with 
 white, lifting colour, rubbing out colour, 
 softening a shade—5. How to paint an even¬ 
 ing sky, injurious effects of disturbing tints 
 —6. Moist colours for foregrounds and 
 studying landscape from nature—the field 
 box, the water bottle, brushes, solid sketch 
 books, sketching portfolios, sketching stool 
 —7. Painting flesh, draperies, and flowers . 76 
 
PREFACE. 
 
 The Author of the following pages has been 
 often requested to name an introductory work fitted 
 for students in the fine arts. But although he 
 has read many works on art, of an elementary 
 and didactic character, he has not met with one 
 which answered the desired purpose. Having had 
 much experience in teaching drawing, he has, he 
 trusts, both in his former career as a teacher, and 
 in his present one as an artist, acquired an ac¬ 
 curate knowledge of what a student in art w'ould 
 require to know from a master. He purposes 
 to communicate this knowledge as far as it may 
 be done by words, in a brief way, and by so 
 doing, to put the beginner on the right course for 
 attaining excellence in the fine arts. 
 
 In this work the student is taught how to sit in 
 a graceful, healthy, and artistic manner; to hold 
 the pencil, portcrayon, and brush properly; and 
 the best way of proceeding, either for a simple 
 
X 
 
 PREFACE. 
 
 sketch, or a highly finished drawing ; the materials 
 and modes which may be used ; their capabilities 
 and fitness for the various purposes of art; and 
 the theory and practice of the present improved 
 style of water colour painting; the whole being 
 in accordance with the system of the most eminent 
 artists, and intended to supply the student with a 
 proper directory—one which without a master may 
 be a sufficient instructor, and with one be found a 
 valuable assistant. 
 
 These pages are intended for the amateur, as 
 well as the professional student; both pursue the 
 same route, the difference being, that one takes an 
 occasional ramble for pleasure, the other enters on 
 a life-long journey. The author has endeavoured 
 to show the best way, and trusts both will find that 
 he has provided them with a useful guide to Pic¬ 
 torial Art. 
 
INTRODUCTION. 
 
 1. The Fine Arts defined. 
 
 2. Painting is not a mere imitative art, its proper object. 
 
 3. The three divisions of painting. 
 
 1. —By the Fine Arts are generally meant 
 painting, sculpture, and architecture, with an ex¬ 
 tension of the signification to engraving, moulding, 
 and other ways for making copies of works of 
 art. These arts address the mind through the 
 agency of the eye. To initiate the student into 
 the first of them is the object to which the pre¬ 
 sent work is devoted. 
 
 2—Painting is called an imitative art, it is so 
 only in a limited sense. The student at first copies 
 from drawings or prints, and advances to copy 
 from natural objects; when the ability to imitate 
 these well has been acquired, the task of servile 
 imitation is to be adandoned, the subjects in na¬ 
 ture, or the conceptions of fancy, are to be treated 
 with the hand of one who is no longer a mere 
 
Xll 
 
 INTRODUCTION. 
 
 student. Still works of art must not be mere 
 whims, capriciously fancied and executed—they 
 must have a relation to nature, and be in strict 
 conformity with the principles of art. To be able 
 to imitate nature well is necessary towards re¬ 
 presenting the noble and beautiful conceptions of 
 a cultivated, poetic, and virtuous mind : to realize 
 such conceptions, is the proper object, and the 
 triumph of art. 
 
 3.—Painting consists of three divisions—out¬ 
 line, light-and-shade, and colour. By outline, 
 the mere form of an object is shewn—light-and- 
 shade give the appearance of roundness and 
 solidity ; and by colour the resemblance is com¬ 
 pleted. These divisions correspond to the visible 
 qualities of objects; outline, light-and-shade, and 
 colour, belong to nature as well as to art. 
 
a (BUu&c to ptttortal art. 
 
 PART 1, 
 
 CONTAINING OUTLINE AND LIGHT AND SHADE. 
 
 FIRST DIVISION—OUTLINE. 
 
 1. How to place the original and the paper 
 
 for making the copy on. 
 
 2. Proper height for a table. 
 
 3. Proper position for the student. 
 
 4. How to hold the pencil. 
 
 5. Proper materials for sketching. 
 
 6. Rules for sketching. 
 
 7. To transfer the sketch. 
 
 8. To copy larger or smaller than the original. 
 
 OUTLINE. 
 
 1.—The student having selected an easy sub¬ 
 ject, as a drawing or print of a face, or simple 
 cottage, must, as a first step to making a good 
 copy, get a correct outline. For this purpose 
 the [original, and the paper on which the copy is 
 to be made, should be fastened to a drawing- 
 board, with drawing pins, putting a couple of 
 sheets of paper under the intended sketch, if the 
 paper be thin ; the board is to be sloped consider- 
 
2 
 
 A GUIDE TO 
 
 ably more than a writing desk, in order that it may 
 be fairly opposite to the eye. 
 
 2_The table should be no higher than the 
 
 elbows of the student; if the table be too high 
 the seat may be raised. 
 
 3. —The body is to be kept upright and 
 square, no bending or twisting whatsoever, the 
 left arm lying close to the side, and the hand 
 resting near the edge of the table; if the right 
 hand rest on the paper, it should be quite lightly 
 on the tip of the little finger: have a piece of 
 paper under it to keep the drawing clean. Atten¬ 
 tion to these directions insures not only a graceful 
 and healthy position, but also allows of that free¬ 
 dom which is necessary to success. 
 
 4. —The pencil must be held longer than 
 a pen; for sketching it may be held very long 
 and loosely, by W'hich means, and the arm being 
 at perfect freedom to move in every direction, 
 a free steady outline can alone be attained: this 
 for most purposes is also the best way to hold 
 the portcrayon or brush ; when any part of a 
 drawing requires great precision the hold may 
 be shorter and more firm. 
 
 5. —When a drawing is to be shaded in pencil, 
 the sketch or outline had better be done with 
 a rather soft pencil, in light lines, removing 
 
PICTORIAL ART. 
 
 3 
 
 errors with Indian rubber or crumb of bread; 
 when to be shaded in chalk, it may be made with 
 good soft charcoal, held in a portcrayon, and the 
 errors wiped aw r ay with a pocket handkerchief, 
 or a piece of soft calico. 
 
 Charcoal for sketching, ought to be made from 
 soft wood ; that from the willow is very good. 
 The French charcoal, (which is made from vine 
 stalks) is the best. 
 
 When the sketch is got correctly, the lines are to 
 be marked more firmly with a middling hard pen¬ 
 cil, a H. or H.B. or F.; but if the drawing is to 
 be shaded with chalk, the outline should be marked 
 with a rather hard chalk. 
 
 6.—The following rules are to be attended to in 
 making an outline :— 
 
 Sketch w r ith a soft material, and light steady 
 lines. 
 
 In commencing your sketch, fix upon some im¬ 
 portant point in the original, consider how far 
 from the top and the sides that point is, and touch 
 a light dot on your paper, as nearly as you can 
 guess in a corresponding place; compare the se¬ 
 lected point and your dot with each other, and 
 rectify any error; proceed in this way until you 
 think you have got your dot in its proper place; 
 
4 
 
 A GUIDE TO 
 
 then, and not till then, measure, with care, the 
 distance of the point from the top and the side, and 
 so determine whether you are right or not. This 
 plan must be constantly followed, as by it alone can 
 the eye be cultivated to accuracy. 
 
 The principal lines and larger masses are to be 
 sketched first; until these are got in their proper 
 places, the student should not attend to the minuter 
 parts. 
 
 7—When the original is intricate, (and of 
 course it is likely there will be much rubbing out 
 of errors, by which the surface of the paper would 
 be frayed and injured) it is a good plan to make 
 the sketch on common paper, and transfer it to 
 that on which the drawing is to be completed. 
 
 The sketch may be transferred thus:—If the 
 drawing is to be finished in pencil, rub the back 
 of the sketch with a soft pencil, but use chalk if the 
 drawing is to be completed in that material, taking 
 care that there is a strong tint behind the lines. 
 Lay the sketch, thus prepared, with its face up¬ 
 wards, over the drawing paper, and trace over the 
 lines with a hard point, (as a pencil, a pointed piece 
 of hard wood or ivory,) the pressure will mark the 
 outline on the drawing paper; go over this trace 
 carefully with pencil or chalk, and then, with a few 
 
PICTORIAL ART. 
 
 5 
 
 light whisks of a soft cloth, sweep off any loose 
 dust that may have come from the back of the 
 sketch. Should the cloth not remove all the soils, 
 take some crumb of bread, about two days old, and 
 perfectly free from butter, a few rubs of which 
 will completely cleanse the drawing. 
 
 The student is recommended to make the copies 
 exactly the same size as the originals, until the 
 power is acquired of sketching correctly without 
 much difficulty ; afterwards it will be well to prac¬ 
 tice copying in different sizes, as by this means 
 the eye will be improved in the knowledge of 
 proportion, and the student prepared for studying 
 from nature; besides, it is often an advantage to 
 be able to make a copy of any required size. A 
 few directions how to do so are here given : 
 
 8.—The first point to be attained is to make the 
 length and breadth of the copy relatively pro¬ 
 portional to those of the original: for instance, if 
 the original be twenty inches long, and fifteen 
 inches wide, and the copy be required to be twelve 
 inches long, the width of the copy should be nine 
 inches; for as 20 is to 15, so is 12 to 9. The 
 relative proportions can be always found by cal¬ 
 culation : thus, if the original be 30 inches by 
 2G, and the length of the copy be 17 inches, the 
 
6 
 
 A GUIDE TO 
 
 breadth will be found, by rule of three direct, 
 to be Id-— 
 
 30 ... 26 ... 17 
 17 
 
 182 
 
 26 
 
 30 | 44*2 | 14| about l 
 
 Another way is by marking the size of the 
 original on a large board, a table, or other suitable 
 level surface: 
 draw 
 
 a 
 
 diagonal 
 
 or 
 
 straight line across it 
 from corner to corner, 
 from A to C, let the ® 
 line from C to E equal 
 the length of the in¬ 
 tended copy, draw E 
 F, F G parallel to the 
 sides of the first figure 
 (that is parallel to A 
 B, and AD.) E F 
 will be the required breadth, and the figure E 
 F G C, will be of the same relative proportions 
 as the original. If we wished to make the copy 
 larger than the original, the process is based on 
 the same principle; suppose the smaller figure 
 
PICTORIAL ART. 
 
 7 
 
 E F G C, to be the size of the original, and the 
 copy were required to be the size of AB CD, 
 the side C E and diagonal C F, must be ex¬ 
 tended sufficiently, and the figure completed by 
 drawing the sides A B and A D parallel to those 
 of the smaller figure. 
 
 Having fixed the length and breadth of the copy, 
 the original may be divided into as many squares 
 as the copyist may think proper, and the same 
 number of squares are to be marked on the intended 
 copy thus :— 
 
 Let the part contained in each particular square 
 of the original be copied into each corresponding 
 square of the copy, and the desired result will be 
 attained. Threads passed over small pins will 
 answer for making the squares on the original; 
 and a soft pencil those on the copy. 
 
 Dividing into squares is used by engravers, &c. 
 who require to copy with great accuracy. The 
 student who intends being an artist, is recommended 
 
8 
 
 A GUIDE TO 
 
 not to use this method in general; but rather by 
 a careful study of the relative positions of points, 
 the direction of lines, their relative lengths, &c., to 
 cultivate his eye to accuracy, so as to be able, as 
 much as possible, to dispense with mechanical aids. 
 
PICTORIAL ART. 
 
 9 
 
 CHAPTER I. 
 
 SECOND DIVISION, LIGHTANDSHADE. 
 
 MATEKIALS. 
 
 1 . 
 
 The Black Lead Pencil. 
 
 2. 
 
 Italian Black Chalk. 
 
 3. 
 
 Conte. 
 
 4. 
 
 Dutch Chalk. 
 
 5. 
 
 Academy Chalk. 
 
 6. 
 
 Red Chalk. 
 
 7. 
 
 White Chalk. 
 
 8. 
 
 Portcrayon. 
 
 9. 
 
 Lithographic Chalk. 
 
 10. 
 
 Chalk Pencils, Charcoal ditto. 
 
 11. 
 
 Chalk and Charcoal in Reed. 
 
 12. 
 
 How to cut Chalk. 
 
 13. 
 
 Papers, proper kind for Pencil and Chalk Drawings. 
 
 14. 
 
 Stumps. 
 
 1 .— A 
 
 list of the various degrees of hardness 
 
 and blackness of lead pencils will be found at the 
 end of the work. 
 
 Those 
 
 marked H. HB. FB. and BB. are 
 
 best for general purposes. 
 
10 
 
 A GUIDE TO 
 
 2—Italian Black Chalk works very mellow, 
 but is in general a rather pale black. This is a 
 production of nature. 
 
 3. —Conte is an artificial chalk, of which there 
 are various kinds. The square Conte, Number 1, 
 is hard; Number 2, is soft; Number 3, very 
 soft. 
 
 Round Conte is more carefully prepared, and 
 pleasanter to use. It is made of two degrees, like 
 the No. 1 and 2 square. 
 
 Glazed Conte is the deepest black of all. It is 
 rather high in price. 
 
 4. —Dutch Chalk is a new kind, in some re¬ 
 spects equal to the best Contes, and sold at a 
 moderate price. It is manufactural solely by 
 Rowney and Co. 
 
 5.,—Academy Drawing Chalks, a similar kind 
 to the Dutch Chalks, works very like the Ita¬ 
 lian, but is better in colour. This is the cheapest 
 and best Chalk in use. 
 
 6.—Red Chalk is used by some artists (it was 
 an especial favourite with the old French School 
 of Vanloo.) When good it works very sweetly. 
 
 ' •—There are both natural and manufactured 
 White Drawing Chalks, these last will change, if 
 made from white lead. 
 
PICTORIAL ART. 
 
 11 
 
 8—All these chalks require to be held in a 
 Portcrayon. 
 
 9. —Lithographic Chalk is a very nice material 
 to draw with. Sketches made with it will not rub or 
 smear. This quality, however, confines its use to 
 those who are tolerably proficient, as it does not ad¬ 
 mit of rubbing out. 
 
 10. —Chalks can be had in cedar pencils, like 
 black lead; these are neat and answer for small 
 drawings, but in large subjects they do not admit 
 of the freedom of hand which can be attained with 
 the portcrayon. 
 
 11. —A new kind of Chalk and Charcoal Pencils 
 has been lately introduced, and is a decided im¬ 
 provement ; in these the material is inserted into 
 reed instead of cedar. 
 
 12. —A sharp knife is necessary for pointing 
 pencils or chalk; they should be cut with a long 
 slope, unless very heavy pressure be intended. 
 Chalks and charcoal when held in the portcrayon, 
 require to be cut from the point towards the port¬ 
 crayon. A rasp has been invented for the pur¬ 
 pose of pointing chalk and pencils; to those who 
 cannot use the knife expertly, it is an acquisition. 
 A piece of glass paper for rubbing the chalk on, 
 will be of use, as by it the pointing can often 
 be effected more readily than with a knife : put two 
 
12 
 
 A GUIDE TO 
 
 or three thicknesses of paper underneath, and 
 fasten it to a board to keep it steady. 
 
 PAPER. 
 
 13._For black lead pencil drawings a smooth 
 
 paper answers best. Thin Bristol or London 
 board is generally preferred for very neat highly 
 finished drawings; hot pressed drawing paper 
 answers very well for general purposes, and good 
 post paper for beginners and common uses. 
 
 Both landscapes and figures are often done on 
 a tinted drawing paper, called “ crayon paper;” 
 drawings on such paper can be executed in less 
 time and with a richer effect than when white paper 
 is used. The lights are put in with white chalk, 
 or bottle white. 
 
 A kind of prepared paper is sold called Pencilling 
 Tints, which consists of a thin layer of colour on 
 white paper. Pencils or Chalks work pleasantly 
 on it. The white is obtained by scraping the 
 coloured surface off with a knife. 
 
 14_A few stumps will be necessary if the 
 
 student intend to make stumped drawings. Stumps 
 are pointed rolls of leather or paper—they can be 
 had ready made at the Artists’ colour shops. 
 
PICTORIAL ART. 
 
 13 
 
 CHAPTER II. 
 
 LIG HT-AND S HADE. 
 
 SHADING. 
 
 1. Stumping—its advantages—how to stump—proper stumps. 
 
 2. Shading by lines, or handling. 
 
 3. How to shade a sky—a flat tint—distant mountains— 
 
 near mountains—trees—smooth walls—rough walls— 
 ceilings—summary. 
 
 4. Handling figures—proper lines for them—how to be 
 
 crossed—the hair—the flesh—the fingers—drapery with 
 round folds—Sharp shadows in flesh and drapery— 
 Handling of stumped drawings—general principles of 
 handling—lights on crayon paper with chalk—with 
 bottle white—coloured crayons—clean hands—proper 
 part of a drawing to begin with. 
 
 1.—Stumping is used in figure drawing, and is 
 a quick and effective method. Get the outline 
 correctly on crayon paper, reduce soft black chalk 
 (stumping chalk) to a fine powder, and roll the 
 point of a stump in it, so as to take up a little, with 
 this get in the shadows, tenderly and evenly, and 
 finish them with such touches of any of the black 
 chalks, as may be necessary to give character, sharp¬ 
 ness, and depth ; use white chalk for the lights. 
 To attain success in this mode of drawing, as in 
 almost every other, requires considerable practice* 
 
 B 
 
14 
 
 A GUIDE TO 
 
 A piece of soft calico, or the tip of the finger 
 may be used to soften the stumping. 
 
 Stumping is particularly suitable for figures of a 
 large size; for these, soft leather stumps answer 
 best; the hard stumps, which are made of paper, 
 cork, &c., are for small drawings. 
 
 2—Shading by lines, or “ handling.” By the 
 term “ handling” is meant, the management of lines 
 in shading. 
 
 Objects of different characters require different 
 modes of handling. Those about to be explained 
 are adopted by the most eminent artists of the pre¬ 
 sent day. To understand them a careful study of 
 engravings, lithographs, but more especially good 
 drawings is necessary; without such an investiga¬ 
 tion mere words will be of little use. The student 
 will please to remember that the sloped lines of 
 shading can be done with ease, when inclining from 
 right to left, but are difficult to execute when in¬ 
 clined in the opposite direction; and any lines 
 which, in the plate or drawing on stone, were done 
 from right to left, will be reversed in the prints. 
 
 SHADING LANDSCAPES, BUILDINGS, &c. 
 
 3.—The part representing the blue of the sky 
 is to be shaded by horizontal lines, flowing into 
 
PICTORIAL ART. 
 
 15 
 
 each other, so that no joining be perceptible; and 
 it may here be observed, that when an even shade 
 is required, and the extent is too great for each line 
 composing it to be executed at once, then the 
 shade is done by lines of a convenient length, their 
 terminations being brought to fine points, and the 
 next portion begun with fine points, and overlap¬ 
 ping the preceding portions, they will join with the 
 first ones, without the junction being perceptible. 
 This mode of uniting lines is of general use, especi¬ 
 ally in figure drawing. The pencil is to be lifted 
 olf the paper at each line. 
 
 Flat tints of trees, are got in with horizontal 
 lines, short and blunt, keeping the pencil on the 
 paper while several are being done. The modes 
 by which the peculiar characters of different trees 
 are imitated, termed “touch,” can be acquired only 
 from a good master, or good examples. 
 
 Clouds are shaded with curved lines, and if 
 crossed, they are to be by lines at acute angles with 
 the others. 
 
 Walls are shaded by perpendicular lines, so are 
 columns and other upright objects, as posts, masts 
 of ships, and the like. 
 
16 
 
 A GUIDE TO 
 
 If the wall or other object be smooth and the 
 lines composing the shade too long to be done at 
 once, each line is to be done in portions, which 
 must overlap each other, so that the junctions be 
 not perceptible; but if the object be rough, short 
 blunt lines are best. 
 
 Mountains are shaded by lines, corresponding in 
 inclination with the slopes of the mountains; so are 
 rocks, or any other objects, the inclinations of which 
 are evident. 
 
 Distant mountains of which the tints are smooth, 
 are shaded by fine lines, without perceptible join¬ 
 ings ; nearer mountains, and rocks that appear 
 rugged, are represented by short blunt lines, vary¬ 
 ing in their inclinations with the various slopes of 
 the mountains, and by their different degrees of 
 coarseness and bluntness, imitating the variety of 
 ruggedness in the natural objects.. 
 
 Ceilings and other horizontal objects, are repre¬ 
 sented by horizontal lines. 
 
 Thus it is seen that for all objects having a de¬ 
 cided and visible direction, the shading must agree 
 with it, but when there is no decided direction, the 
 shading is done by horizontal lines. 
 
 FIGURES. 
 
 4.—The handling of drawings of the human 
 figure, is different from landscapes, because figures 
 
PICTORIAL ART. 
 
 17 
 
 are very different objects from those which consti¬ 
 tute landscape scenery. Figures are bounded by 
 curves—the flesh, the hair, even the folds of the 
 drapery partake more or less of the curved character, 
 curved lines are therefore best for representing 
 them. Examine a good drawing, engraving, or 
 lithograph of the human figure, almost every line 
 of it will be found to be curved. 
 
 The sweep of the lines should correspond pretty 
 closely with the curvature of the original, and, like 
 a large even shade in landscape, when each line is 
 too long to be done at once, the termination of each 
 portion of it must be fine, and the next overlap, so 
 that the whole may look like one uninterrupted line. 
 The direction of the lines used in shading the hair 
 must be the same as it appears to have in nature, 
 and in shading it when in curls, as the sweep of 
 the curves cannot always be done at one touch, but, 
 on the contrary, two or three separate touches may 
 be required, each touch or part must begin and end 
 fine, so that it may unite with its corresponding 
 portion, without any apparent joining. The neces¬ 
 sity for executing a line in portions, and uniting 
 these portions so that no junction shall appear, is 
 of constant occurrence. 
 
 In order to get a shadow sufficiently deep, 
 mellow, and rich, it is necessary to cross the lines ; 
 
18 
 
 A GUIDE TO 
 
 the crossing is to be at an acute angle, so as to 
 form narrow lozenge-shaped interstices. Crossing 
 at right angles is very seldom proper, it may be 
 used when a shadow is not sufficiently clear look¬ 
 ing ; in that case, a judicious crossing at right 
 angles will improve it very much. 
 
 In all shadings representing rounded objects, 
 the ends of the lines should be fine, and towards 
 the light, for if the sides lay so, it would be much 
 more difficult to produce the effect of roundness. 
 Hence, although in the deeper parts of a shadow, 
 the lines may lie in whatever direction it may suit 
 the hand to execute, yet where the shade becomes 
 tender, the lines must have the direction that will 
 run their ends towards the light. 
 
 The moderate fullness of the cheek is to be imi¬ 
 tated by lines, slightly curved. The greater con¬ 
 vexity of the fingers requires that the lines should 
 have considerable roundness. 
 
 The above rules for shading flesh apply also to 
 drapery. Rounded folds must be shaded by 
 rounded lines, straight folds, by straight ones. 
 
 In shading flesh and drapery a sharp termi¬ 
 nation to the shadow is sometimes required—for 
 instance, about the eyes, the wings of the nose, 
 the nostrils, and the nails, as well as the sharp 
 
PICTORIAL ART. 
 
 19 
 
 folds of thin drapery; in such cases the edges of 
 the lines must lie to the light. 
 
 A knowledge of perspective would assist the 
 student in determining the degree of curvature 
 proper for lines, and also the direction their con¬ 
 vexity should have. 
 
 The finishing lines of stumped drawings are to 
 be regulated by the rules here given. 
 
 When a drawing that has been done entirely in 
 lines, looks poor and raw, it may be improved by 
 rubbing the shadows gently with the tip of the 
 finger, or a stump; of course it will lose in clear¬ 
 ness, this may be remedied by touching over the 
 lines with care, to restore their sharpness. 
 
 On crayon paper the lights are got in with white 
 chalk, the handling being regulated in the same 
 way as has been directed for the shadows; the 
 lights may be mellowed with a stump, a piece of 
 soft calico, or the tip of the finger. 
 
 The back-ground of figure drawings, when it 
 consists of a shadow merely, is shaded with diagonal 
 lines from right to left; these are almost always 
 crossed, and the crossing lines lie at acute angles 
 
20 
 
 A GUIDE TO 
 
 to the others; each line, when long, is done in 
 portions, overlapping each other, so as to have no 
 perceptible joinings. 
 
 It will be observed that, by the rules laid down 
 for shading both landscapes and figures, the visible 
 direction of an object is to be imitated by lines of 
 corresponding direction ; the rule which directs 
 that the final lines of the shadows must, when next 
 the light have their ends towards it, may seem an 
 exception, but it is not so, the direction is still to 
 be followed, only choosing that by which the sha¬ 
 dow can be best imitated. By attending to this 
 one rule of imitating the apparent direction, the 
 student can be scarcely ever at a loss to know how 
 any subject should be shaded. 
 
 The lights of drawings on crayon paper, espec¬ 
 ially landscapes, are often put in with bottle white, 
 diluted with water. Some practice is necessary 
 in order to use it properly ; in landscapes it is done 
 in washes with a brush, in figure it is best to han¬ 
 dle it in with a pen, laying the lines clean and 
 steady. 
 
 When a figure drawing is finished in light-and- 
 shade, a pleasing effect is produced by touching the 
 lips and cheeks with a red crayon, the eyes w T ith 
 blue or brown, and even the hair and drapery with 
 a little colour; the crayons must be used very 
 
PICTORIAL ART. 
 
 21 
 
 lightly, so as to keep the tints tender, they may be 
 mellowed with a soft cloth, or the finger. The 
 swiss and wax crayons, are very convenient for this 
 purpose. 
 
 While using chalks and charcoal a damp cloth 
 will be necessary to wipe the hands occasionally, 
 as they are liable to get dirty from the dross, and 
 it is of importance that they should be kept clean, 
 lest any soils from them might injure the effect of 
 the drawing. A piece of paper will also be re¬ 
 quired under the hand, to prevent its coming in 
 contact with the drawing paper. 
 
 It is best to begin the shading at the upper left 
 hand corner, and gradually work downwards and 
 across, in order to avoid laying the hand over any 
 part of the shading, for the pressure of the hand 
 would be likely to injure the drawing. 
 
22 
 
 A GUIDE TO 
 
 CHAPTER III. 
 
 MISCELLANEOUS MATTERS: 
 
 1. Proper si 2 e for Studies of the Human Figure. 
 
 2. How to get the proportions of Figures in studies from 
 
 Nature. 
 
 3. Drawing at an Easel. 
 
 4. Securing Drawings from rubbing. 
 
 5. Pen and Ink drawings. 
 
 6. Permanent Conte. 
 
 7. Wax Crayon. 
 
 8. Three stages of study—the Flat—the Round, and the 
 
 Life. 
 
 9. Importance of good drawing—accuracy, selection, 
 
 taste. 
 
 10. Excellence of the Greeks and Italians in drawing. 
 
 11. The Humblest Subject admits of a Tasteful Repre¬ 
 
 sentation. 
 
 12. The Student must at all times cultivate the gift of 
 
 Nature. 
 
 1._The Student who purposes being an artist, is 
 
 recommended to make studies of the human figure 
 the size of life, more especially of heads, hands, 
 and feet; until lately, owing to the small size of 
 drawing paper, only parts of the human figure 
 could be drawn the full size, but now paper 
 
TO PICTORIAL ART. 
 
 23 
 
 sufficiently large for such studies, can be had at a 
 reasonable rate. 
 
 f 
 
 2.—When figures are drawn smaller than life, 
 they should be of some fixed proportion, as one 
 half, one third, one fourth, &c. For example, if 
 the living model be six feet high, the foot will 
 be about twelve inches long; a study from that 
 model will be either three feet, two feet, or one 
 foot six inches high, according to the proportion 
 fixed on, and the length of the foot, six inches, 
 four inches, or three inches ; in relative proportion 
 to the drawing. By pursuing this plan the student 
 can determine the proper size of any part of his 
 drawing, with nearly as much certainty as if he 
 were making a copy from another; the only ex¬ 
 ception is that the effect of perspective influences 
 the size of those parts of the model that are 
 farthest from the eye, for which a due allowance 
 must be made. 
 
 3_It is best to rest a large drawing on an easel, 
 
 and for the student to stand while executing it, 
 as by so doing the effect can be properly seen, 
 and the whole got in with the requisite correctness 
 and freedom. Stumping is better than handling 
 for very large drawings, the common stumps are 
 too small for some purposes; larger stumps, and 
 
24 
 
 A GUIDE TO 
 
 for broad shades, as in back-grounds, a flat stump 
 will be required. 
 
 If a pulley be fixed at the top of the easel, and 
 a rope passed over it, one end being attached to 
 the drawing board, and a sufficiently heavy weight 
 tied to the other end, the board can be raised or 
 lowered with the greatest ease, and by this means 
 the trouble saved which necessarily results from the 
 use of pegs, rests, racks, and such contrivances. 
 
 The above plan will be found equally convenient 
 for oil paintings. 
 
 A Mahl-Stick will be required if the drawing be 
 supported on an easel. 
 
 4.—Chalk and pencil drawings are easily injured 
 by rubbing. There are various ways for obviating 
 this evil. 
 
 A piece of glazed tissue paper attached to the 
 face of the drawing, by gumming it at one of its 
 edges will answer tolerably well. 
 
 Skimmed new milk, weakened with a little water; 
 thin gum water, or isinglass size, will render draw¬ 
 ings quite secure. The milk answers best. If 
 used too strong it will dull the drawing, if too weak 
 the drawing will be still liable to rub. 
 
 To use any of these, the drawing must be 
 
PICTORIAL ART. 
 
 25 
 
 fastened to a board with drawing pins ; hold the 
 board in an inclined position over a dish, or other 
 similar vessel, and pour clean water all over the 
 drawing, commencing the wetting low down, and 
 proceeding upwards, in horizontal rows, taking 
 care that the whole of the paper is wetted; let 
 the moisture drain off, and, while the paper is 
 still wet, pour on the milk or other fluid, com¬ 
 mencing at the top, and taking care that the en¬ 
 tire paper be covered with it: it is not necessary 
 to slope the drawing when using the milk ; it may 
 be laid on a table, and by giving it a slight in¬ 
 clination in different directions, after the milk has 
 been poured on, the whole of the paper may be 
 covered. The use of wetting the drawing with 
 water is to remove any loose particles that would 
 injure the effect of the drawing if they were 
 suffered to remain ; and the wetting is commenced 
 at the bottom of the paper, because the loose par¬ 
 ticles will flow off the wet surface, but would ad¬ 
 here to a dry one ; and if the wetting were begun 
 high up, the drossy particles would form streaks 
 by which the drawing would be injured. 
 
 If the drawing be on crayon paper, and the 
 lights have been put in with white chalk, the 
 securing fluid will destroy them. A drawing 
 on crayon paper had therefore better be secured 
 
26 
 
 A GUIDE TO 
 
 before the lights are done, and they can be added 
 afterwards either with bottle white, or white chalk. 
 Bottle white is peculiarly suited for landscape 
 drawings, as by diluting it with water, to the re¬ 
 quisite degree of strength, it can be washed on 
 with very good effect: it is more difficult to use 
 it advantageously with figure drawings, particu¬ 
 larly when they are of a large size; the best way 
 is to handle it in carefully with a pen. 
 
 5. —A pleasing and effective drawing may be 
 made on crayon paper, with a pen, and any brown 
 colour, such as indelible brown ink, or warm sepia; 
 the lights to be put in with bottle white. 
 
 6. —Melt some bees wax and a small quantity of 
 lard or butter together, and soak No. 2 Conte in 
 the liquor, till the crayon has thoroughly im¬ 
 bibed it. Drawings made with this crayon will 
 scarcely rub at all. If too much lard be used, 
 the drawing will be less safe, if too little, the 
 crayon will be too hard; a few trials will satisfy 
 the student on that head. When well prepared 
 these crayons are very pleasant to use. 
 
 7. —There are coloured wax crayons that are 
 very secure. 
 
 The principal modes in which drawings can be 
 
PICTORIAL ART. 
 
 27 
 
 done have been now mentioned : there are others, 
 but those described will be quite sufficient for the 
 student’s purpose. If he can use them well, he 
 will have gone a good way towards being a clever 
 Artist. 
 
 8._But two ways of study have been indicated, 
 
 namely—drawing from the flat (prints or draw¬ 
 ings) and from the life. Before the student begins 
 drawing from the life, it is usual to study from 
 statues and busts, or, as it is termed, “from 
 the round.”—Any rules which have been laid 
 down for drawing from the life, will equally apply 
 to the other, and hence it is unnecessary in a brief 
 work like this, to dwell upon the subject. 
 
 9_The importance of good drawing is so great 
 
 that too much attention cannot be paid to it—by 
 good drawing is meant not a merely correct re¬ 
 presentation of any object, however tasteless or 
 imperfect, but a correct representation of such 
 an object, as a well cultivated mind would admire. 
 One purpose of the fine arts is, to represent such 
 subjects as are most suitable to a refined mind and 
 a pure taste, so that we may be gratified by re¬ 
 presentations of grace, dignity, and beauty ; and 
 the arts, especially in their higher departments, 
 be made sources of intellectual enjoyment, and 
 
28 
 
 A GUIDE TO 
 
 active promoters of the more ennobling feeling of 
 humanity. Now objects in nature are often very 
 deficient in the qualities necessary to constitute 
 an excellent picture, and hence the student must 
 not only copy with care, he must select with 
 care also, and improve the representation by 
 such additions as are proper to it, as. well as by 
 omitting those things that are injurious. 
 
 10. —The artists of Ancient Greece incessantly 
 sought the perfection of form, and succeeded in pro¬ 
 ducing works which have remained unequalled, from 
 their time to the present, a period of nearly two thou¬ 
 sand years. The great Italian Artists also labored 
 to attain the highest excellence of form, and the 
 consequence is, that, though excelled in some 
 respects by the artists of other countries, yet, 
 from the ennobling nature of good drawing, em¬ 
 ployed on dignified and moral subjects, their 
 works hold an admitted pre-eminence over all 
 those that have been executed during the Christian 
 ages. 
 
 11. —These observations on the value of good 
 drawing are not intended to apply only to the 
 noblest representations of the human figure and 
 its accessories, as we find them in the best works 
 of the Greeks and the Italians, for the same sys¬ 
 tem of careful selection and correct drawing, is 
 
PICTORIAL ART. 
 
 29 
 
 applicable to every class of subject: even in re¬ 
 presenting the humblest weed, a good choice 
 should be made, a tasteful representation given, 
 and a character of refined art diffused over the 
 representation. These remarks may seem suitable 
 only to the more advanced period of a student’s 
 career, such limitation is not intended ; at every 
 period the cultivation of a pure taste should be 
 attended to with the utmost care. 
 
 12_However much nature may have gifted us 
 
 with genius, the resources of art are necessary for its 
 full developement; and, as the worthless crab has, 
 by assiduous cultivation, been improved into the 
 delicious apple, so the powers with which nature 
 may have gifted the student, will be useless if 
 neglected; but by proper cultivation may be 
 rendered a means of honorable distinction and 
 emolument to their possessor, and of the purest 
 pleasure, perhaps, of high moral improvement, to 
 those who shall have the good fortune of looking 
 on the fruits of their successful exertion. The 
 aphorism of the ancient writer : 
 
 “ Nullus dies sine linea.” 
 
 is as necessary to the student in art as in litera¬ 
 ture. But while there should be (i no day with¬ 
 out a line,” care must be taken to avoid that 
 <( laborious idleness” in which the hand is busy. 
 
30 A GUIDE TO PICTORIAL ART. 
 
 but the understanding idle. Sir Joshua Reynolds 
 in his discourses on the Fine Arts, says :—“ The 
 great business of study is to form a mind adapted 
 and adequate to all times, and all occasions; 
 to which all nature is laid open, and which 
 may be said to possess the key of her inexhaust¬ 
 ible riches.” To those excellent discourses the 
 Author begs leave to refer the professional student 
 for much valuable information on the Fine Arts. 
 
a ©utiic to litctortax art 
 
 PART 2, 
 WATER COLOURS. 
 
 --- 4 ..- - - 
 
 INTRODUCTION. 
 
 1. Great improvements in modern Water Colours. They 
 
 excel Oils for some purposes. Water Colour 
 Paintings highly esteemed by the patrons of 
 Art. 
 
 2. The peculiar excellencies of Water Colours. 
 
 The first part of this work was devoted alto¬ 
 gether to the subject of drawing, which of necessity, 
 forms the introductory portion of a course of study, 
 and will require the utmost attention at all times ; 
 still colour is necessary to complete a picture. The 
 subject of painting in water colours will occupy the 
 second portion of this work. 
 
 1.—During the present Century Water Colours 
 have risen to an importance, of which previously 
 they had not been deemed capable; the per¬ 
 severing exertions of Colour-makers to improve 
 
32 
 
 A GUIDE TO 
 
 the colours, and of Artists to develope their full 
 capabilities, have resulted in the creation of a new 
 art, the present style of water colour painting; a 
 style which rivals, and, in some respects, excels oil 
 painting : while the emoluments received by its 
 successful professors are a satisfactory proof of the 
 high estimation in which water colour pictures are 
 held by the patrons of art. 
 
 2.—The advantages possessed by w r ater colours 
 are, a purity and lightness in the skies and 
 distances, unattainable by any other material, 
 while the foregrounds can be rendered with a force 
 and detail scarcely, if at all, inferior to oils; they 
 are free from the glossiness so unpleasant in oil 
 pictures; they answer for framing as well, while, 
 by their peculiar capability of being kept in a port¬ 
 folio, they can lie in a small space secure from 
 injury, and easy of removal ; besides a drawing can 
 be discontinued at any period of its progress with¬ 
 out inconvenience; the process is simple, cleanly, 
 and inodorous; the work dries rapidly; the ma¬ 
 terials are very portable; they are admirably 
 adapted for slight sketches, while they are equal 
 to the richest effect, and the most elaborate 
 finish. Their range of usefulness is therefore 
 very great, and hence they are employed in 
 works of a high character; in sketching from 
 
PICTORIAL ART. 
 
 33 
 
 nature ; by amateurs ; in teaching ; atld a variety 
 of the minor branches of the fine arts. 
 
 With respect to the method of preparing water 
 colours, there can be no doubt, and years of ex¬ 
 perience in the manufacture of water colours have 
 proved the fact, that a vegetable mucilage is the 
 most proper for them; animal mucilage is liable 
 to rapid decomposition, and requires the aid of 
 essential oils to hide the disagreeable effluvia 
 arising from it; these scents do no further good, 
 while, on the other hand, they have a deteriorating 
 influence on many colours. To test colour so 
 prepared, it is only requisite to put a little piece 
 to soak in clean water, and if prepared with any 
 animal mucilage, it will emit a disagreeable smell 
 in a day or so, while the vegetable mucilage 
 emits only a slight acid odour. The more simple 
 waters colours are prepared the better, and the 
 more likely to be permanent. 
 
34 
 
 A GUIDE TO 
 
 CHAPTER X. 
 
 MATERIALS USED FOR WATER COLOURS. 
 
 1. General qualities of Colours. 
 
 2. Tone, Permanency, Power, Transparency, Body. 
 
 3. Fitness for even Tints. 
 
 The pigments, or substances used for paints, 
 are derived from various sources, and possess 
 qualities which fit them in different degrees for 
 the variety of purposes to which they are applied 
 in the art. Some are formed in a natural state, 
 of which the ochres, and some of the browns are 
 instances; but the greater number are artificial 
 products, and all in their conversion from the 
 state of rough pigment to that of finished colour 
 undergo a variety of processes, many of which 
 are laborious and require great knowledge and 
 attention. The mineral, vegetable, and animal 
 kingdoms have been ransacked, the aid of modern 
 science evoked, and the ingenuity of the manu¬ 
 facturer exerted, to provide colours suited to the 
 variety of ways in which they are made use of in 
 the present day. It is gratifying to know that in 
 the department of water colours these exertions 
 
PICTORIAL ART. 
 
 35 
 
 have been crowned with the most triumphant 
 success, as is clearly shown by the variety, beauty, 
 and general excellence of our present list of water 
 colours. 
 
 Water Colours differ from each other not only 
 in tone, but also in permanency, power, transpa¬ 
 rency, and fitness for even washes. These qualities 
 constitute their most valuable characteristics, and 
 to them, therefore, the attention of the student is 
 first directed. 
 
 TONE. 
 
 By Tone is meant the particular hue of a 
 colour, as whether it is a blue, a red, or a yellow ; 
 whether the blue is pure, or inclines to the purple, 
 the green, or the grey. Some colours resemble 
 others very closely in tone, but differ in other 
 qualities, hence the tone of a colour is no proof of 
 its fitness for any particular purpose in art; for 
 instance, the common lakes and the madder lakes 
 are not dissimilar in tone, but the former have 
 more power, the latter more permanency; one 
 kind will answer for rich shadows, the other for 
 delicate tints. 
 
 PERMANENCY. 
 
 This is a quality of primary importance in some 
 departments of the fine arts, and in others it is of 
 minor value. An artist who expects his picture 
 
36 
 
 A GUIDE TO 
 
 to be exposed for years to the influence of day 
 light, and perhaps occasionally of sunshine, must 
 be careful to select permanent colours, and must 
 even sacrifice purity of tone if necessary, for that 
 purpose; but if the colour should be only re¬ 
 quired for temporary purpose, or if a change in 
 tone should be a matter of no great moment, then 
 a colour that is not permanent, but is of a clear 
 hue and washes well, will be preferred to a per¬ 
 manent one that is not so pleasing in tone, or does 
 not answer for even washes. 
 
 POWER, TRANSPARENCY, AND BODY. 
 
 By Power is meant the capability of a colour 
 for producing deep shadows ; by transparency, that 
 it will not hide other tints when passed over them. 
 Body is the opposite of these, and is termed 
 opacity. 
 
 Power. —A variety of tints from the palest to 
 the very darkest can be made with prussian blue ; 
 with cobalt, on the contrary, dark tints cannot be 
 made; hence prussian blue has more power than 
 cobalt. 
 
 Transparency. —If a wash of prussian blue 
 be passed over a red tint,—crimson lake, for in¬ 
 stance,—the colour will be neither blue nor red, but 
 purple, a compound of both; this effect arises 
 from the prussian blue being a transparent colour, 
 
PICTORIAL ART. 
 
 37 
 
 and consequently allowing the red to be seen 
 through it, as if it were blue glass (hence colours 
 that have this property are called glazing colours.) 
 All colours possessing power possess transparency 
 also ; but the converse is not always equally true, 
 as there are some transparent colours destitute of 
 power. 
 
 Body. — Every colour can, by being mixed with 
 water, in various quantities, be made to produce 
 tints from the very lightest to whatever depth 
 the power of each colour reaches; it is on this 
 property that water colour painters chiefly depend 
 for producing their effects; but every colour will 
 not produce dark tints in an equal degree, many 
 of them consist of but a small quantity of colour¬ 
 ing matter, combined in some instances with a 
 transparent base, as is the case in gamboge; and in 
 others with an earth, which being opaque, such 
 colours have “ body; ” of these yellow ochre is 
 an example. If with a strong tint of prussian blue, 
 a quantity of white be added, the colour will have 
 lost its power and transparency, it will, in fact, be 
 united to an opaque base, and become semi-trans¬ 
 parent ; and if passed over another colour, (as a tint 
 of crimson lake,) will still retain its own hue ; nor 
 will its depth be increased by increasing the 
 quantity put on. Such is the nature of a colour 
 
38 
 
 A GUIDE TO 
 
 possessing body; in proportion as a colour has this 
 property, it veils or hides any colour it is passed 
 over, and is deficient in the power of producing 
 dark tints. 
 
 These qualities of power, transparency, and 
 body, are of essential use in the various processes 
 of water colour painting, as will be shown when 
 treating on the practice of the art. 
 
 Colours are divided by Artists into the primary, 
 _blue, red, and yellow ; secondary,—orange, pur¬ 
 ple, and green ; and tertiary,—brown, grey, and 
 olive : this division, though theoretic, is so con¬ 
 venient, that it is generally adopted in practice. 
 Two classes of pigments, however, are excluded 
 by it, namely, blacks and whites. The above 
 arrangement, with these two classes added, is the 
 one followed in this work. 
 
 BLUES. 
 
 Ultramarine_ A brilliant blue of the purest 
 
 tint, one of the most permanent colours. Semi¬ 
 opaque, mixes and washes badly. This colour is 
 heavy, and will not float in water; it has been 
 also found impossible to divert it of a gritty 
 quality, being insoluble in water. These defects 
 render it unfit for even washes, and, added to 
 its very high price, cause it to be very little 
 used, more particularly since the chemical science 
 
PICTORIAL ART. 
 
 39 
 
 has enabled colour-makers to furnish artists with 
 the imitation Ultramarine at a cheap rate. 
 
 French , or Constant Blue .—The imitation Ultra- 
 marine ; a brilliant blue, nearly equal to Ultra- 
 marine in tone, permanency and power : washes 
 well. 
 
 Cohalt Blue .—A pure blue, nearly equal to 
 constant blue ; has less power, is tolerably perma¬ 
 nent ; washes well, and is a useful colour for com¬ 
 pounding serial greys for the distances in land¬ 
 scapes, but is not proper for foregrounds, as it has 
 too much body : is prepared from the metal cobalt. 
 
 Prussian Blue .—A bright blue, not perma¬ 
 nent, possesses considerable power, it washes well; 
 is prepared from ferrocyanogen and iron : and is 
 used by architects and engineers for its excellent 
 qualities in tinting, and by figure and landscape 
 painters occasionally, (though not to be depended 
 on for permanency,) in compounding greens and 
 purples. 
 
 Antwerp Blue .—Has less power than prussian 
 blue, which it resembles in other respects. 
 
 Indigo. —A rather dull blue ; permanent, great 
 
40 . 
 
 A GUIDE TO 
 
 power, washes well; is much used for dull 
 greens and greys: is prepared from the indigo 
 plant. 
 
 Intense Blue .—Another preparation of indigo, 
 more brilliant than the former; great power, is 
 difficult to use in washes, as it penetrates the 
 paper, very quickly : is used in compounding deep 
 blacks. 
 
 Smalt _A bright deep blue, permanent, con¬ 
 
 siderable power, washes badly: is used prin¬ 
 cipally for flowers and draperies : is prepared from 
 the metal cobalt. 
 
 Blue Verditer .—A colour of little use; is a 
 purple bright blue, not to be depended on for 
 permanency : not much power. 
 
 BEDS. 
 
 Crimson Lake .—A rich deep rose-red, soon 
 loses its brilliancy; has considerable power, washes 
 well, cannot well be done without for some pur¬ 
 poses : is used chiefly in deep shadows, where 
 the change it suffers is not of much consequence ; 
 architects and engineers also find it valuable from 
 its clear tone and excellence in washes. 
 
 Scarlet Lake .— Is, as its name implies, more 
 
PICTORIAL ART. 
 
 41 
 
 scarlet in its tone than the preceding, it has 
 less power: resembles crimson lake in its other 
 qualities. 
 
 Purple Lake —Is a deep purplish red, in 
 others respects like the preceding lakes: these 
 three lakes are prepared from the cochineal 
 insect. 
 
 Rose Madder and Madder Lake. — These 
 are very similar in tone, being a rose red, are 
 permanent, transparent, but not much power; 
 wash moderately well, and are to be preferred to 
 the former lakes where delicacy and permanency 
 are required : are prepared from the madder root. 
 
 Deep Rose. —A brilliant rose tint, considerable 
 power and permanency : washes well. 
 
 Carmine. ■— A very fine toned rose red, not 
 permanent, of considerable power, washes well: 
 prepared from the cochineal insect. 
 
 Vermillion -A scarlet red, is reputed to 
 
 stand well, has great body; is so heavy that it 
 will not float in water, and hence it washes 
 badly : is a sulphuret of mercury. 
 
 Scarlet Vermillion. —Properties like the former, 
 with the exception that it washes better, and is 
 more scarlet in its hue : stands badly. 
 
42 
 
 A GUIDE TO 
 
 Orange Vermililon _More orange in tone 
 
 than the preceding, rather more transparency, 
 washes somewhat better ; is generally esteemed by 
 miniature and flower painters. 
 
 Pure Scarlet , or Iodine Scarlet. —A very 
 vivid scarlet, not to be depended on for per¬ 
 manency ; has great body, washes badly : answers 
 when touches of positive colour are required. 
 To be kept from iron. 
 
 Indian Red _A dull lakey red, permanent, 
 
 considerable body, washes well; is chiefly used 
 for greys with indigo, and for back grounds in 
 miniature : is a paroxide of iron. 
 
 Light Red _A dull orange, permanent, con¬ 
 
 siderable body, washes well; is used both in 
 figure and landscape for the lighter tints; mixed 
 with cobalt it makes a good grey: is ochre 
 burnt. 
 
 Venetian Red _Like the former in every 
 
 respect, but that it is a milder orange tone, hence 
 it is preferred by many artists to light red : it is a 
 preparation of iron. 
 
 Red Lead _A bright scarlet, not permanent, 
 
 considerable body, washes badly. This colour is 
 not safe to use, as it is liable to change into a dull 
 leaden brown : is a preparation of red oxide of lead. 
 
PICTORIAL ART. 
 
 43 
 
 Burnt Carmine .—A rich toned reddish colour 
 not very permanent, considerable power : washes 
 well. 
 
 YELLOWS. 
 
 Cadmium Yellow .—A brilliant yellow, con¬ 
 sidered permanent, semi-transparent, washes well. 
 This is a new colour, prepared from the metal cad¬ 
 mium. 
 
 Gamboge .—A lively yellow, not very perma¬ 
 nent ; no great power, though very transparent; 
 washes well, is a gum resin, in light washes it 
 is a pure yellow; when used strong it verges on 
 the brown; it serves to brighten greens and 
 oranges, either by glazing (washing transparent 
 colours over others) or by mixing with blues or 
 reds. 
 
 Yellow Ochre .—A warm yellow', not very 
 bright, permanent, considerable body, washes well: 
 is an earth. 
 
 Brown Ochre .—Like the former, but more 
 brown in tone, and possessing more power. 
 
 Roman Ochre .—A richer yellow than brow T n 
 ochre, in other respects like the two preceding. 
 The ochres, especially the last, are of considerable 
 use, there tone is agreeable, and their pemanency 
 
44 
 
 A GUIDE TO 
 
 constitute a strong recommendation to the artist; 
 they are used for light tints and compounding 
 browns and greens; the last mixed with a rich 
 warm transparent yellow, and brightened with 
 light red or burnt sienna, produces a fine au¬ 
 tumnal tint; and, in combination with antwerp 
 blue, or indigo, it gives a useful series of quiet 
 low toned greens. 
 
 Raw Sienna —A warm and rather rich yellow, 
 permanent, no great power, washes tolerably well, 
 is a little gummy, or rather pasty: is an earth, 
 the terra-de-sienna of the old painters. 
 
 Mars Yellow .—A warm yellow, permanent, 
 considerable body, washes well: is an artificial 
 ochre. 
 
 Italian Pink .—A rich transparent yellow, bor¬ 
 dering on a greenish hue, not very permanent, is 
 used to brighten burnt sienna for a sunny tone; 
 and, as it is a good glazing colour, it serves to en¬ 
 rich greens, and improve autumnal tints. 
 
 Yellow Lake —Is very like the former in its 
 general properties, with less power : both these 
 colours are vegetable products. 
 
 Chrome .—There are three shades of chrome, 
 pale, deep, and orange; the pale is a pure yellow, 
 the second a rich toned yellow, the last a deep 
 
PICTORIAL ART. 
 
 45 
 
 orange tone; they are held by some to be very 
 permanent, others think them unsafe. The Au¬ 
 thor’s experience is in favour of their permanency. 
 They are colours of a strong body, wash tolerably 
 well: are chromates of lead. 
 
 Indian Yellow .—A rich yellow, tolerably per¬ 
 manent, useful in draperies, flowers, and in com¬ 
 pounding rich landscape greens; it washes well, 
 and possesses considerable power: is a preparation 
 from the leaves of an Indian tree united with an 
 animal product. 
 
 Lemon Yellow .—A delicate yellow, permanent, 
 possesses no power, and not much body, washes 
 well: is prepared from platina. 
 
 King's Yellow .—A bright yellow, not to be 
 depended on for permanency ; oxides of lead injure 
 it, has considerable body, does not wash very well: 
 is a sulphuret of arsenic. 
 
 Gallstone .—A rich yellow, perhaps the most 
 gorgeous we have, is not permanent, considerable 
 depth, is used in flower painting, washes well: 
 is an animal product. 
 
 Naples Yellow .— A pale yellow, permanent, 
 but iron injures it, (therefore the ochres, light red, 
 Venetian red, mars yellow and orange, Prussian and 
 
46 
 
 A GUIDE TO 
 
 Antwerp blues are likely to injure it,) has consider¬ 
 able body, washes tolerably well: is a compound 
 of zinc or lead, and antimony. 
 
 Brown Pink .—A dull greenish yellow, tolerably 
 permanent, safest in dark shades, considerable 
 power, washes well, is a vegetable preparation. 
 This colour is of great use in landscape, giving 
 rich deep tints in foliage and foregrounds; in com¬ 
 bination with gamboge, burnt sienna, or Roman 
 ochre, it produces rich warm tones, and with indigo, 
 a good landscape green. There are two tints of 
 brown pink—the green and the autumnal tint. 
 
 GREENS. 
 
 Emerald Green .—A brilliant pea green, not 
 to be depended on for permanency, has consider¬ 
 able body, washes well, prepared from copper. 
 This brilliant green is generally employed very 
 sparingly, as it attracts the eye so decidedly to 
 whatever part of the picture it occupies; is used 
 for the heads of boats, the bright lights of curtains, 
 and similar uses: no mixture will answer equally 
 well for such purposes. 
 
 Green Bice .—A light and rather warm green, 
 not permanent, a body colour, washes well, is but 
 little used: from copper. 
 
PICTORIAL ART. 
 
 47 
 
 Hooker s Greens —Bright grass greens ; toler¬ 
 ably permanent^ considerable power : wash well. 
 
 Prussian Green. —A very cold green; a mix¬ 
 ture of gamboge and Prussian blue. 
 
 Terra Verte. —Is a green earth : is used only in 
 oil painting. 
 
 Olive Green —Sometimes called De Wint’s 
 green; a compound green, of a rather low tone, per¬ 
 manent, considerable power, washes well; is a use¬ 
 ful green for landscapes. 
 
 Sap Green —A grass green, not permanent, is 
 transparent, but feeble, being gummy; washes 
 badly : is a vegetable product from Indian berries. 
 
 Verdigris. — A sea green, not permanent, trans¬ 
 parent, but little power, washes well, does not 
 answer for mixing with other colours : from copper. 
 
 ORANGE. 
 
 Mars Orange. —A deeper tint than Mars yel¬ 
 low, which it resembles in other respects. 
 
 Orange Chrome has been mentioned already, 
 under the head “ Chrome.” 
 
 Orpiment. —Out of use now : is a preparation of 
 lead. 
 
48 
 
 A GUIDE TO 
 
 PURPLE. 
 
 There is a compound purple, named purple; 
 a good purple tone, considerable power, washes 
 well: is a compound of Prussian blue and lake. 
 
 BROWNS, GREYS, BLACKS, AND WHITES. 
 
 Burnt Sienna .—A reddish brown, very per¬ 
 manent, tolerably powerful, washes well, is apt to 
 look foxy in dark shadows; its value in brighten¬ 
 ing autumnal tints has been already mentioned in 
 treating of gamboge and the ochres; it is a colour 
 of extensive use, particularly in landscapes: with 
 blue it makes low toned greens, and with careful 
 management may be used to great advantage in 
 flesh and hair, in combination with other qualifying 
 colours : it is burnt raw sienna. 
 
 Raw Umber .—A low toned brown, permanent, 
 not much power, washes very well; is of use in 
 buildings, and low toned greens for distances: is 
 used principally in oil painting. 
 
 Burnt Umber .—In qualities like the preceding, 
 but that the tone is a deeper reddish brown, is 
 more useful than the former : both are earths. 
 
PICTORIAL ART. 
 
 49 
 
 Vandyke Brown .—A rich brown, permanent, 
 considerable power, washes very well; is a bog 
 earth. This is a very useful colour : with blues it 
 makes a series of neutral greens, of considerable 
 power. 
 
 Sepia .—A very low toned brown, permanent, 
 great power, one of the best washing colours we 
 have; hence it is used for studies in one tint: 
 with a bright deep blue, as Prussian blue, it will 
 make low olive greens, and with gamboge a green¬ 
 ish brown : is the concreted ink of the cuttle or 
 sepia fish. 
 
 Warm Sepia —A compound consisting of sepia 
 and a warm colour to improve the tone ; is a little 
 warmer, but in other respects is similar to sepia. 
 
 Chaloris Brown .—Of a warm hue, permanent, 
 considerable power, washes very well: was in¬ 
 vented by the celebrated Chalon, and has been used 
 by sketching societies to make light-and-shade 
 drawings on tinted paper. 
 
 Cologne Earth. — A cool low toned brown, 
 permanent, does not wash very well, is useful in 
 buildings. 
 
 Bistre .—A rich brown, permanent, considerable 
 power, washes well. 
 
50 
 
 A GUIDE TO 
 
 Madder Brown. —A rich warm brown, perma¬ 
 nent, great power, washes well. 
 
 Indelible Brown Ink. —This is a fluid of a rich 
 brown colour, permanent; it is generally used with 
 a reed pen for marking the details in pictorial archi¬ 
 tecture ; as its name imports, it is indelible on the 
 paper once it is dry, so that the artist can wash 
 over it repeatedly, without disturbing it; and this 
 quality it retains even when diluted with water to a 
 very faint tint. 
 
 Paynes Grey _A compound grey, of a cool 
 
 tone, is permanent, great body, washes well. 
 
 Neutral Tint. —A warmer grey than the former; 
 is also a compound colour, and resembles the pre¬ 
 ceding in every other respect. 
 
 Ivory Black. —A deep black, permanent, consi¬ 
 derable power, washes well: is ivory charred. 
 
 Lamp Black. —Has more body than the former : 
 of a cold tint, and very opaque. 
 
 Blue Black —Like the two preceding, but bluer 
 in tone : a vegetable black. 
 
 Indian Ink. —This is a weak black, yet from its 
 mellowness in working, and a degree of fixedness 
 
PICTORIAL ART. 
 
 51 
 
 on the paper, it is extensively used by architects 
 and engineers: it works very soft and mellow in 
 washes, but its feebleness prevents its being used 
 extensively for light-and-shade drawings: is per¬ 
 manent. 
 
 British Ink —A more powerful black than In¬ 
 dian ink ; is permanent, but has a coarseness about 
 it that prevents its rivalling the foreign product: is 
 lamp black, with an excess of ox-gall. 
 
 Chinese White .—A good white, permanent, con¬ 
 siderable body, washes well: the oxide of zinc. 
 
 Constant White .—A brilliant white, perma- 
 nant; it dries many degrees higher than it appears 
 while wet: it answers well where great brilliancy 
 is required, but needs considerable practice to use 
 it successfully in tender touches: is the sulphate of 
 barytes. These whites are prepared in cake as well 
 as in the fluid state: they injure vegetable colours, 
 and are injured by contact with colours containing 
 iron, such as ochres. 
 
 Flake White .—Is liable to change : is a carbon¬ 
 ate of lead. 
 
 In the list of colours which has been given, there 
 are very few compounded of two or more pigments: 
 Warm Sepia, Purple, Chalon’s Brown, Olive 
 Green, Hooker’s Greens, Neutral Tint, and Payne’s 
 Grey, being the only ones contained in the list. 
 
52 
 
 A GUIDE TO 
 
 For the general purposes of art, it is best that the 
 colour-maker should prepare the pigments in a pure 
 state, leaving to the artist the business of com¬ 
 pounding his tints as he may require; but as for 
 particular objects certain tints must be constantly 
 required, some artists of eminence have invented 
 compound tints, the excellence of which has caused 
 them to be generally used, of which De Wint’s 
 Green, and Chalon’s Brown are instances. Hard¬ 
 ing, Holland, and Varley, three artists of talent, 
 have invented an entire series of tints, suited for 
 their peculiar styles in the branches of art they 
 professed, namely—miniature, flowers, and land¬ 
 scape ; for these they have been found of consider¬ 
 able use, especially by amateurs. They may be 
 depended on for possessing those qualities that 
 would render them most generally useful. Hard¬ 
 ing’s tints for miniature painting, Holland’s tints 
 for flower painting, and Varley’s tints for landscape 
 painting, are prepared only by Messrs. Rowney 
 & Co,, the Artists’ Colour Manufacturers, of 51, 
 Rathbone-place, London. As a particular list of 
 these is given, and each colour is named from its 
 tint, it seems unnecessary to enter into a more par¬ 
 ticular description of them. 
 
PICTORIAL ART. 
 
 53 
 
 The following colours have been introduced lately, but may more 
 properly be considered as chiefly improvements of colours 
 already manufactured and in use. 
 
 Permanent Lake .—A deep rich lake, permanent, as its name 
 implies, in other respects is similar to the cochineal lakes. 
 
 Permanent Italian Pink .—Not quite so bright a tint as the old 
 sort; but retains its colour well. 
 
 Pure Blue .—A kind of prussian blue, which stands well. 
 
 Italian Ochre .—A semi-transparent ochre, stands well, is very 
 bright, not very much body. 
 
 LIST OF COLOURS. 
 
 Harding’s permanent tints 
 Fair Complexion 
 Dark do. 
 
 Carnation 
 Auburn 
 Demi Tint 
 Shadow Colour 
 
 Holland’s tints for 
 Damask 
 Bright Orange 
 Rose Tint 
 Blue, No. 1 
 Blue, No. 2 
 Yellow 
 
 varley’s tints for 
 Pure Green 
 Warm Grey 
 Purple Grey 
 Neutral Tint 
 
 FOR MINIATURE PAINTING, 
 
 Intense Sepia 
 Light Amber 
 Dark Amber 
 Imperial Blue 
 Deep Blue 
 Morone Crimson 
 
 FLOWER PAINTING. 
 
 Yellow Green 
 Dark Green 
 Brown 
 
 Shade Tint for White 
 Ditto do. for Yellow 
 White 
 
 LANDSCAPE PAINTING. 
 
 Dark Warm Green, No. 1 
 Warm Green, No. 2 
 Orange 
 
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PICTORIAL ART 
 
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62 A GUIDE TO 
 
PICTORIAL ART. 
 
 63 
 
 The list contains nearly a hundred colours: there 
 are more manufactured, but the above will be found 
 amply sufficient for every purpose. 
 
 The qualities ascribed are not invariable; there 
 are considerable differences between the colours of 
 different makers; and even the same maker will 
 occasionally produce a colour vastly superior to the 
 general quality. The Author has, for many years, 
 principally used those made by the Messrs. Row- 
 ney, & Co., and it is chiefly with reference to 
 theirs, that the descriptions have been given. 
 
64 
 
 A GUIDE TO 
 
 CHAPTER III. 
 
 1. Papers—rough, plain, hot pressed, extra thick—paper- 
 makers sizes. 
 
 2. Brushes in quill, in tin, round, flat, ordinary points, dome 
 pointed. 
 
 3. Water. 
 
 4. Gum. 
 
 5. Drawing boards to stretch paper. 
 
 6. T square compass, drawing desk, water vessels, slabs. 
 
 PAPER. 
 
 1 •—Drawing Paper varies in quality very much; 
 some makers use inferior materials, and in bleaching 
 employ an acid which produces great whiteness, but 
 has the dangerous property of changing vegetable 
 blues and greens into red; such papers must, of 
 course, be carefully avoided by the water colour 
 artist. The Author has found Whatman’s papers 
 always very good ; those styled Harding’s drawing 
 papers were invented by a distinguished artist, and 
 may be safely depended on. 
 
PICTORIAL ART. 
 
 65 
 
 Drawing Papers have three different surfaces, 
 “ rough/’ “ plain,” and “ hot pressed the first, 
 also called cartridge, is preferred by some eminent 
 artists, but the plain has a slightly rough surface, 
 and is the kind most generally used; the hot 
 pressed is too smooth, except for very neat 
 drawings. 
 
 The sizes of drawing papers vary. For general 
 use perhaps “ double elephant” will be found best, 
 it is a good size, stout, cheap, and has a good 
 surface. “ Antiquarian” is another excellent paper, 
 and “ emperor” answers for unusually large 
 drawings. 
 
 The larger sized papers are made thicker than 
 the smaller; but besides, these papers are made 
 “ extra thick” for certain purposes; and in “ Lon¬ 
 don” and “ Bristol” boards, a very stout article is 
 furnished, consisting of several sheets of paper 
 pasted firmly together: these are very much used 
 by flower and miniature painters, and also by 
 drawing masters in teaching water colours. 
 
 Harding’s drawing paper is made of two degrees 
 of stoutness: the size is 30 inches by 22. 
 
66 
 
 A GUIDE TO 
 
 THE SIZES OF OTHER PAPERS ARE 
 
 Demy. 
 
 
 in. by 15 
 
 Elephant.28 in. by 23 
 
 Medium.... 
 
 ..22 
 
 “ 17 
 
 Columbier .... 34 “ 
 
 23 
 
 Royal. 
 
 
 “ 19 
 
 Atlas .33 “ 
 
 26 
 
 Super Royal 
 
 ..27 
 
 “ 19 
 
 Double Elephant40 “ 
 
 26 
 
 Imperial .. 
 
 ..30 
 
 “ 21 
 
 Antiquarian.... 5 2 ‘ ‘ 
 
 31 
 
 Emperor 66 inches by 47. 
 
 Royal and Imperial are the sizes that are made 
 extra stout. 
 
 A new kind of paper has been introduced for large 
 drawings, plans, &c., called “ Cartoon Paper;” it 
 is 4 ft. 6 in. wide, and may be had of any length. 
 
 BRUSHES. 
 
 2—Brushes are made both round and flat; the 
 round answer for general use, the flat for laying 
 level washes, softening tints, &c. The round are 
 made both in quill and tin, and their points are of 
 two kinds: the common ones and the French, or 
 dome pointed; the common serve for most pur¬ 
 poses ; the others come to a fine point, and will be 
 required when minute precision is necessary. The 
 size of the brush must depend on the size of the 
 drawing to be executed: a general rule is to use a 
 large brush in preference to a small one when the 
 drawing admits of it. 
 
 Camel’s hair brushes are the ones generally used 
 for water coloured drawings. Sables, from their 
 
PICTORIAL ART. 
 
 67 
 
 possessing more strength, are preferred occasion¬ 
 ally ; the brown sables are not so strong as the red 
 ones, and, for that reason answer better for water 
 colour painting. Sable brushes are very high 
 priced; some of them cost upwards of a guinea a 
 single brush. 
 
 3. —That the water should be good is of im¬ 
 portance; in some places river or spring water is 
 impregnated with lime and other matters, that 
 render it unfit for the artist’s purpose; some artists 
 use distilled water. There should be always, at 
 least, two vessels of water, one to cleanse the 
 brushes in, the other for mixing tints. The 
 brushes should always be washed out quite clean 
 and left in a proper shape, when putting by for 
 future use. 
 
 4. —Gum water is occasionally required; it is 
 best made fresh from the best gum arabic: a little 
 white sugar candy will improve it. 
 
 5. —Drawing boards for water colours are of two 
 kinds, the panelled and the plain: the panelled 
 answer for stretching paper without pasting; the 
 paper, being first thoroughly wetted, is laid level 
 on the panel, and both being forced into the 
 outer frame, are kept in their places by means of 
 two sticks let into the frame at the back of the 
 panel; the paper when dry will be quite level; 
 
68 
 
 A GUIDE TO 
 
 by this means the unpleasant puckering which 
 occurs when paper is wetted without being 
 stretched will be avoided. Most artists, how¬ 
 ever, prefer stretching their paper on a plain 
 board: the way is to wet the paper well on both 
 sides with a soft sponge and clean water, and 
 leave it to soak; wet the drawing board, but 
 less than the size of the paper by at least an 
 inch all round; lay the paper on the board, and 
 gently press it down with the damp sponge; raise 
 the edges of the paper a little, and, with a hog’s 
 hair brush, put paste, or still better, glue, under 
 them, to about half an inch in; lay down the 
 edges again, press them down with a dry cloth, 
 then lay the board perfectly level, and wet the 
 paper, except at the edges, taking care not to 
 leave the wet in pools on it. As paper expands 
 while wet, and shrinks again in drying, the object 
 of the directions here given is, that the edges may 
 be dried before the middle, which being accom¬ 
 plished, the paper will be perfectly level: and even 
 should it bag a little when a large wash be put on, 
 or the paper otherwise made very w 7 et in the pro¬ 
 cess of getting in the picture, still it will, when 
 dry, return to its level condition. 
 
 Drawing boards are made in regular sizes to suit 
 the various drawing papers. 
 
PICTORIAL ART. 
 
 69 
 
 6.—The student will find a T square useful for 
 squaring the drawing, and a plain compass may 
 also be occasionally necessary. A drawing desk, 
 with a rack at the back, by which it may be sloped 
 more or less, as occasion may demand, will be an 
 advantage. 
 
 The student should always be provided with 
 soft blotting paper, or a piece of soft cloth to wipe 
 the brush on. The brush should not be put in the 
 mouth, as some of the colours are very deleterious, 
 and, besides, saliva injures the tints. A couple of 
 white plates will generally be sufficient for mixing 
 the tints in; if the drawing be large and a good 
 deal of tint required, small delf saucers answer very 
 well for holding the colour. Various kinds of 
 slabs have been invented, and are to be had at 
 most colour shops; each kind has certain ad¬ 
 vantages and disadvantages: the plain plates and 
 saucers are preferred by many artists to any kind 
 of slab. 
 
70 
 
 A GUIDE TO 
 
 CHAPTER IV. 
 
 1. A box of colours for general use. 
 
 2. Theory of compounding tints—practical illustrations. 
 
 3. The modem system of water colours. 
 
 4. The axiom of Rubens. 
 
 1.—The list of colours which has been given 
 contains many for which an artist would, in 
 general, have no occasion, though each colour 
 may be of use for a particular purpose: in some 
 cases permanency is not of so much consequence 
 as brilliancy of tint, or evenness in the washes; for 
 instance, an engineer may wish to have a part of 
 his plan of a light blue tint, for his purpose per¬ 
 haps prussian blue will answer best, as it washes 
 very evenly; but if an artist wish to have a light 
 blue sky he must use some of the more permanent 
 blues which may not wash so well, but will pro¬ 
 duce a more aerial effect, besides being permanent. 
 Again, a pale yellow, of a strong body, is required 
 (for touching the lights on gold lace, for instance) 
 Naples yellow may be used for the purpose, or 
 constant white, toned with yellow: again, if we 
 wish to give a yellow tone to a light tint in our 
 picture, Naples yellow will do this, and not darken 
 
PICTORIAL ART. 
 
 71 
 
 the colour; gamboge will do so and deepen the 
 shade. Thus the artist may at times have to seek 
 in the whole range of colours for the one adapted 
 to his purpose. But, as the student cannot be 
 expected to enter on a search of this nature, a list 
 of colours suited for the general purposes of figure 
 and landscape painting is here given. Not 
 meaning to imply that every good colour is named, 
 nor even that no more than are mentioned will be 
 ever required, but merely that these will answer 
 very well for most occasions, while, as the student 
 advances, a greater variety may be adopted, as an 
 advantage will be found in having a rich assort¬ 
 ment of colours so soon as the student knows how 
 to make a proper use of them. 
 
 List of colours for general use in figure and 
 landscape:—Cobalt, Prussian Blue, Indigo, Crim¬ 
 son Lake, Vermillion, Venetian Red, Madder 
 Lake, Indian Red, Gamboge, Raw Sienna, Ro¬ 
 man Ochre, Brown Pink, Burnt Sienna, Van¬ 
 dyke Brown, Sepia, Warm Sepia, Madder Brown, 
 Blue Black, Permanent White. If the white, 
 instead of being in cake, be got in the fluid state, 
 there will be eighteen colours, a usual number in a 
 colour box. 
 
 In the above list it will be seen that the greater 
 part of the colours are of considerable power, 
 
72 
 
 A GUIDE TO 
 
 such colours being those most generally required 
 for the purposes of art; and when a touch of 
 body colour is wanted in the lights, a little white 
 toned to the proper tint will serve the purpose. 
 
 HOW TO COMPOUND TINTS. 
 
 2.—The colours with which the artist is fur¬ 
 nished by the colour maker, are not, with few 
 exceptions, of the tints that will be required: to 
 be able to mix and alter tints is therefore ne¬ 
 cessary. 
 
 The theory of compounding tints may be illus¬ 
 trated in the following way :— 
 
 PURPLE 
 
 o 
 
 blue O... .0 
 
 RED 
 
 GREEN 
 
 (^).(^ N ).-(^ORANGE 
 
 YELLOW 
 
 Rub prussian blue, lake and gamboge, on 
 separate parts of a plate; these will represent 
 the three primitives— Blue, Bed, and Yellow; 
 unite the blue and red together, they will pro- 
 
PICTORIAL ART. 
 
 73 
 
 duce purple, the blue and yellow will produce 
 green ; and the red and yellow orange; and by 
 blending the blue, red, and yellow together, in 
 various proportions, grey , olive , and brown, will 
 be produced. Thus, then, we have the primaries 
 blue, red, and yellow—no compounding of colours 
 will imitate these; the secondaries, purple, green, 
 and orange; and the tertiaries grey, olive, and 
 brown. To produce the secondaries, tertiaries and 
 various colours may be employed, according to the 
 particular quality of tone wished for; by uniting 
 the three primaries in such quantities that the 
 tones will be equally balanced, and using them 
 sufficiently strong, they will produce black. 
 
 In practice, if we wish for a dull orange, 
 Venetian red, with a little ochre, will produce it. 
 If a brilliant orange be required, a wash of Ver¬ 
 million being laid on first, and when dry, a wash 
 of gamboge passed over it will give a tolerably 
 brilliant orange. If we desire to neutralize either 
 of these tints, as orange is composed of red 
 and yellow, the third primary, blue, must be 
 used: in the same way, if a tint be too purply, 
 a little yellow will correct it; if a geeen be too 
 bright the evil can be remedied by adding some 
 red. Thus, in each case, the third primary is 
 employed to neutralize the brilliancy of the 
 others. 
 
74 
 
 A GUIDE TO 
 
 The system which is best adapted for develop¬ 
 ing the full powers of water colours is—to use 
 the most powerful in the shadows, those of less 
 power in the middle tones, and those of most body 
 in the lights and distances. Many distinguished 
 artists, not satisfied with the quantity of power 
 and body contained in the cake colours, increase 
 the depth of their shadows with gum, and the 
 brilliancy of their lights by the use of white, either 
 mixed with any necessary qualifying tone, or 
 changed after it has dried by a wash of colour: the 
 white is not always laid on, merely in thin washes, 
 but in some cases in considerable quantity. The 
 use of body colour is condemned most strenuously 
 by the followers of the old style, in which the 
 lights were toned with washes of thin colour; but 
 there is scarcely an eminent water colour artist of 
 the present day who does not occasionally use body 
 colour in the lights. 
 
 4.—The axiom which Rubens laid down for 
 oil painters, that “white is poison to the shadows,” 
 is well deserving the attention of the water colour 
 artist; for, though the distinction between body 
 colours and transparent ones is not so marked, yet 
 it exists, and requires to be observed in water 
 colours as in oils. The painter in oils uses a 
 quantity of white with the colours he employs in 
 
PICTORIAL ART. 
 
 75 
 
 the lights, by which their body is increased; and, 
 on the other hand, he uses glazing colours in the 
 shadows, and works a quantity of varnish or other 
 vehicle into them, thereby adding to their natural 
 transparency; the same system is pursued by the 
 painter in water colours: the paper gives to his 
 lights an appearance of body which is sufficient for 
 general purposes, and he judiciously adds white 
 ill some places, by which their body and force 
 are augmented. In the shadows, on the contrary, 
 he carefully avoids colours having a body, and 
 occasionally uses gum to increase their depth and 
 transparency. 
 
 Body colours and white are best used in the 
 lights of earthy and opaque objects: such as 
 clay-banks, stone and brick-work; white-washed 
 walls, palings, and the like: but transparent 
 colours answer better for flesh, trees, plants, the 
 dark parts of water, and all places where the 
 objects to be imitated partake of a transparent 
 character. 
 
 If the body colours predominate too much, the 
 effect will be heavy; if too much transparent 
 colours be used, the picture will look flimsy. 
 
76 
 
 A GUIDE TO 
 
 CHAPTER V. 
 
 1. Practical rules for compounding tints—Greys, Greens, 
 Browns, Purple, Orange. 
 
 2. How to lay a wash evenly.—How to correct an uneven 
 wash with water, with a damp cloth. Hatching. 
 
 3. The use of Gamboge, Lake, and Prussian Blue, Gum, an 
 Intense Black, Sepia. 
 
 4. Sloppy washes, the reverse—scraping out lights, lights 
 with white, lifting colour, rubbing out colour, softening 
 a shade. 
 
 5. How to paint an evening sky, injurious effects, dis¬ 
 turbing tints. 
 
 6. Moist colours for foregrounds and studying landscape 
 from nature—the field box, the water bottle, brushes, 
 solid sketch books, sketching portfolios, sketching stool. 
 
 7. Painting flesh, draperies, prints, and flowers. 
 
 COMPOUNDING TINTS. 
 
 1—By bearing in mind the theory of com¬ 
 pounding tints, which has been explained, the 
 student will clearly understand the following com¬ 
 binations : 
 
PICTORIAL ART. 
 
 77 
 
 GREYS. 
 
 Brown Madder and Cobalt. 
 
 Brown Madder and constant Blue. 
 Indian Red, and either of these Blues. 
 
 These greys are of the most pearly kind, they 
 answer for the distances of a landscape, and the 
 shadows of light clouds, when the effect intended 
 is that of a fine clear summer’s day. Light red, or 
 Venetian red, and the former blues, make duller 
 greys. Indian red and indigo form a powerful 
 grey. 
 
 In these greys we have, in the first three, 
 pure blues united to reddish browns; the cobalt 
 and constant blue have a good deal of body, and 
 hence the greys are pearly, and fitted for serial 
 effects: in the ones made with light red, or 
 Venetian red, we have still colours possessing 
 considerable body; but the reds are yellower 
 than those of the previous greys, and hence 
 there is a slight tendency to green. The indian 
 red of the last grey has considerable body, but the 
 indigo has great power: the indian red is pinky, 
 the indigo greenish in tone, and hence a heavy, 
 powerful grey is the result. These greys will be 
 sufficient for most purposes; the number of greys 
 
78 
 
 A GUIDE TO 
 
 that may be produced is nearly endless; grey 
 being a combination of blue, red, and yellow, with 
 the blue predominating: hence any series of these 
 three, or any two colours in which these three 
 tones are united, will produce grey. 
 
 Greens— If the greens be required for the 
 distances, they should be composed of colours 
 having a body; the less powerful greys with a 
 little roman ochre will answer: in the middle dis¬ 
 tances raw umber and indigo, or Venetian red and 
 indigo, may be used with advantage. In the fore¬ 
 ground, where the rich deep tones are required, we 
 may use in the shadows 
 
 Roman Ochre and Indigo. 
 
 Vandyke Brown, Do. 
 
 Burnt Sienna, Do. 
 
 Brown Pink, Do. 
 
 Raw Sienna, Do. 
 
 Gamboge and Prussian Blue. 
 
 Any of the Yellows and Blue Black. 
 
 In the light of greens, it is not easy to get 
 colours having a body to look well. Gamboge, 
 roman ochre, raw sienna, and light red, with a 
 toning of indigo or prussian blue, will answer best. 
 
PICTORIAL ART. 
 
 79 
 
 In browns, for the shadows, we have a rich 
 assortment in Vandyke brown, burnt sienna, the 
 sepias, and madder brown, all colours of consider¬ 
 able power, and the tone of which can be reduced 
 by indigo or prussian blue, and brightened and 
 toned by lake, roman ochre, raw sienna, or gam¬ 
 boge : for it is to be observed that the change to 
 which lake is liable, is of no consequence in deep 
 shade, while its transparent richness is a great 
 advantage. In the lights of browns we have in 
 those that have been mentioned, together with the 
 ochre and Venetian red, but above all things, in 
 the power which white gives, every requisite for 
 our purpose. 
 
 Purples —Madder lake and constant blue; 
 lake and prussian blue; or any other compounds of 
 blue and red will make a purple. 
 
 Orange Tints may be made from Vermillion 
 and gamboge; lake and gamboge: madder lake, 
 or pink madder, and raw sienna; Venetian red and 
 roman ochre; and other combinations of reds and 
 yellows. 
 
 These instructions for compounding tints will, it 
 is trusted, be found sufficient for the student who 
 has mastered the theory that has been explained at 
 page 72. 
 
80 
 
 A GUIDE TO 
 
 HOW TO LAY WASHES. 
 
 2.—One object to be attained is, to get on the 
 tints as much as possible at once; to do so, the 
 tint must be prepared in sufficient quantity, and 
 put on with an expertness of hand which cannot be 
 acquired without considerable practice. A good 
 plan is, to have a coloured sketch to work from; 
 place the intended drawing on an easy slope, and 
 commence at the upper part, proceed gradually 
 downwards, and as much as possible move the 
 brush in a horizontal direction; but if the desired 
 evenness of tint should not be attained, there are 
 several remedies. 
 
 I 
 
 When the sky has been laid-in unevenly, turn 
 the drawing upside down, and with a flat camel’s 
 hair, or sable brush, and plenty of clean water, wet 
 it all over; then, with gentle rubbing, having the 
 brush constantly full of water, level the ine¬ 
 qualities : sometimes, especially on rough paper, 
 the sponge may be required to remove stubborn 
 blemishes. Jf there should be some parts too 
 light, they can be remedied by additional washes 
 of colour. Touches with the point of a fine brush, 
 (generally termed hatching) will be required at 
 times, in order to produce a perfectly level tint. 
 
PICTORIAL ART. 
 
 81 
 
 The same means will answer for any other part of 
 the drawing that may be uneven. 
 
 By wetting an uneven wash with a soft brush 
 and water, and rubbing it very lightly and rapidly 
 with a cloth, the tint may be made to look even, 
 and, at the same time, have a granulated appear¬ 
 ance that answers well for old walls, back-grounds, 
 portraits, and all places for which a rather rough 
 surface is desirable. 
 
 When a tint cannot be got at once of the 
 required depth or tone, it must be gone over with 
 other washes of colour until the object shall be 
 attained ; but in doing so, care must be taken not 
 to disturb the under colour. 
 
 3— Gamboge —Although included in the list, 
 is a colour that should be used as little as possible; 
 as a glaze, it may be resorted to at times, in order 
 to make a tint look richer, its gummy character 
 adapting it admirably for that purpose. Raw 
 sienna also serves to give colours a richness. Lake 
 and prussian blue will be occasionally required 
 for toning some tints: but the less gamboge, 
 lake, and prussian blue are used the better. 
 
82 
 
 A GUIDE TO 
 
 Gum may be used with great advantage, 
 especially in dark draperies and flowers, for en¬ 
 riching the tones. 
 
 Blue Black has been named in the list of 
 colours, but a more powerful black can be com¬ 
 pounded—intense blue or indigo, with sepia and a 
 little lake, will produce a very deep black. 
 
 Sepia is very generally used for making studies 
 in one colour; its pleasing tone, power, and fitness 
 for washes, adapt it admirably for the purpose. 
 When studies in light and shade are wanted, or 
 when the student wishes to practice the laying-on 
 of tints, the touch of trees, or such like, sepia will 
 be found an excellent material. 
 
 4.—By putting on a wash of colour, rather 
 sloppy, a hard edge will be produced; this effect 
 may be occasionally desirable, but it must, in ge¬ 
 neral, be carefully avoided. If on the other hand, 
 there be but little colour in the brush, and it be 
 dragged rather quickly over the paper, the wash 
 will be rough and broken, by which, with a few 
 judicious touches for shadows, the effect of a rough 
 road, a gravelly beach, or, even at times, the 
 flickering effect of trees, with the light shining 
 through them, may be admirable produced. 
 
PICTORIAL ART. 
 
 83 
 
 GETTING OUT LIGHTS. 
 
 Sparkling lights are often required in water 
 colour drawings—as the bright lights in water, the 
 flickering of light through trees, lace and jewellery- 
 in portraits, and so on: for these there are two 
 modes—one is with a rather strong and sharp pen¬ 
 knife to scratch or cut them out, by removing the 
 colour, and exposing the white paper; the other 
 mode is by touches of white. 
 
 When it is wished to remove a small portion of 
 colour, in order to get another tint in its place, 
 as, for instance, to introduce a small figure, or 
 cattle, into a landscape, it is usually done by wet¬ 
 ting the part with water, and after it has soaked 
 a little, rubbing it with a soft cloth, by which, in 
 general, the dolour will be sufficiently removed. 
 If the wet be well soaked up by pressing it with 
 a cloth, and the place rubbed with indian rubber 
 or crumb of stale bread, the colour will be got out 
 entirely 
 
 SOFTENING. 
 
 Softening when only required to be done in 
 small quantities, as in the shading of flesh, 
 
84 
 
 A GUIDE TO 
 
 flowers, fruit, &c., is best managed by putting on 
 the colour while wet, touching the part intended 
 to be softened with a brush containing water only. 
 The most convenient way is to have both the 
 brush for laying on the colour, and the one for 
 softening it, fixed on the same handle. In case 
 softening is required for a large surface, the best 
 way is to wet the part intended to be softened with 
 the water first, and while wet run the colour along 
 the edge of the wetted part. 
 
 AN EVENING SKY. 
 
 5_This kind of softening is particularly useful 
 
 in painting a serene evening sky; such a sky is an 
 excellent illustration of the influence of the three 
 primary colours on each other; it is to be done as 
 follows: the outline of the picture being made out 
 delicately, and with a rather hard pencil, lest the 
 sketch might injure the purity of the tints, mix 
 a light tint of cobalt, turn the board upside down, 
 slope it moderately, and with clean water wet 
 about three inches in breadth, and all across 
 that part of the sky next the horizon where the 
 blue is to terminate, run the tint of cobalt about 
 half way in on the wetted part, and cover the 
 blue of the sky, moving the brush in horizontal 
 sweeps: the blue will unite with the water, so 
 
PICTORIAL ART. 
 
 85 
 
 as to soften off with the utmost delicacy. In order 
 to deepen the blue towards the upper part of the 
 sky, it will be necessary to go over it two or three 
 times, softening off in the same way as at first; 
 but of course as the blue is not to extend so far 
 each time, the wetting must be done wherever the 
 required tint is to terminate; take care that each 
 tint is dry before another is begun. When the 
 blue is done, turn the board, and proceed with the 
 yellow. Raw sienna, with a little gamboge, and a 
 slight toning of the purest pink madder, will make 
 a tint that may serve very well for this purpose. 
 Wet all across the drawing, and high up on the 
 blue, with clean w r ater, in the same way as was 
 done for the blue tint, and run the yellow in with a 
 full brush and a. light hand, so as not to disturb the 
 blue, bringing the yellow very low down in the 
 drawing; repeat the wettings and tintings till the 
 yellow is finished. Where the blue and yellow 
 unite, the colour will be green, that must be 
 neutralized by a couple of very delicate washes of 
 red; pink madder is the best colour for this pur¬ 
 pose ; the red should pass over the greater part of 
 the blue and yellow, but its strength must be 
 where these meet; be careful that each wash of 
 colour is dry before another be passed over it. 
 Any clouds may be put in with transparent grey. 
 
86 
 
 A GUIDE TO 
 
 red, or orange, as may be required. The tones 
 which have been mentioned will correspond to 
 those of nature. Let the student study a fine 
 cloudless evening sky, and it will be found that 
 between the blue and yellow a pinky tone is inter¬ 
 posed, by which the greenness is neutralized. 
 This pink colour is scarcely seen during wet 
 weather, and then the green tone is very per¬ 
 ceptible. 
 
 The mode for painting an evening sky, which 
 has been explained, is the one followed by the 
 Author; other artists have different methods: 
 some begin at the top with the rose tint, and, 
 while wet, change to a yellow; when the yellow 
 is done they turn the board, and commencing 
 near the horizon with a rose or a purple tint, 
 change gradually (while wet) into a blue; and 
 when the blue and yellow are put on, wash with 
 pure water, in order to remove blemishes; in either 
 way the tones are nearly the same. The Author 
 has seldom, if ever, found any necessity for the 
 washing with pure w T ater, which may be at¬ 
 tributable to his having the less difficult task of 
 managing but one colour at a time; and certainly 
 the less there is of such washing the better, as it 
 must tend very much to injure the pusity of the 
 tints. Whether the blue or the yellow be com- 
 
PICTORIAL ART. 
 
 87 
 
 menced with, fresh water and another plate ought 
 to be got before the second tint is begun, lest 
 any tinge of the first colour might get into the 
 other; for a very slight mixture will injure the 
 brilliancy of the other colour. 
 
 The observation which has been made above, 
 relative to the injurious effects of washing a sky 
 with water, in order to remove inequalities, applies 
 to every part of a drawing. After colours have 
 been put on, they should be disturbed as little as 
 possible. 
 
 FOREGROUNDS. 
 
 6.—The foreground is the place where the 
 richest tones must necessarily be placed. A desire 
 to render water colours more adapted for sketching 
 from nature, led to the invention of iC moist 
 colours;” these have the property, when in mass, 
 of keeping moist for a long time; but they dry like 
 cake colours, when applied on paper, with the ad¬ 
 ditional advantage, that they can be used with a 
 freedom, and have a richness peculiar to them¬ 
 selves ; and hence they are preferred by many 
 artists for the foregrounds of their pictures. 
 
 STUDYING FROM NATURE. 
 
 lor studying landscape from nature the moist 
 
88 
 
 A GUIDE TO 
 
 colours are invaluable. The box for them is of 
 tin japanned, the lid of which is made to serve for 
 blending the tints; and there is a ring which can 
 be slipped over the thumb, so that the box may be 
 held like a palette. 
 
 Moist colours are used by taking a sufficient 
 quantity up with a penknife, which being pressed 
 against the plate or palette, will adhere, and may 
 be readily rubbed down with the brush as it is 
 wanted. Or a touch of colour can be taken with 
 the wet brush off the mass in the box. 
 
 A water bottle will be found useful in the field. 
 The case consists of two tin cups, which are so 
 contrived that they can be attached to the box; 
 and thus, the colours and the water are literally 
 “at hand,” for the student’s convenience. 
 
 The brushes can be carried in the colour box, 
 in which there is ample space for them. 
 
 Solid sketch books are much better adapted 
 than the usual kind for studying landscape from 
 nature in water colours. These books consist of 
 a number of sheets of paper compressed, so as to 
 form a solid block, each sheet of which can be 
 detached from the rest, by passing a penknife 
 all round under its edge: but sketching portfolios 
 
PICTORIAL ART. 
 
 89 
 
 are preferred by many; in these there is a slight 
 frame, under which a piece of paper can be held 
 firm, thus temporarily straining it; by this plan, 
 no more paper need be carried than may be re¬ 
 quired for one day’s use. Extra thick draw¬ 
 ing paper answers best for the sketching port¬ 
 folios. 
 
 The field apparatus will be completed by the 
 addition of a portable sketch stool; these stools 
 close into a very sightly stick or truncheon, and 
 when opened, and a web seat placed on them, 
 make a comfortable seat — a great advantage in 
 damp weather, or where there is no convenient 
 place for sitting on. 
 
 COLOURING FIGURES. 
 
 i •—The instructions which have been given 
 are intended to show how the powers of water 
 colours may be developed in the most artistic 
 manner; and the illustrations have been given 
 from landscape in preference to figure, because 
 the various qualities of the colours can be shewn 
 so decidedly in the varied effects of sky, distance, 
 and foreground, and the different qualities of the 
 several objects which are embraced in landscape 
 painting; but the principles which have been 
 laid down apply equally to every style of subject: 
 
90 
 
 A GUIDE TO 
 
 judgment and practice will be necessary to en¬ 
 able the student to apply them properly. With 
 a few observations on painting figures, we will 
 conclude this treatise, hoping that we may have 
 succeeded in what we have never seen attempt¬ 
 ed before, namely —a clear development of the 
 present improved style of painting in water 
 colours. 
 
 The flesh of figures must be worked with 
 transparent colours in the deep shadows, and 
 colours of some degree of body may be ventured 
 on in the lights; but this must be done cauti¬ 
 ously, as flesh has a natural transparency, and 
 that quality cannot be imitated by colours hav¬ 
 ing much body; not but some first class water 
 colour artists do sometimes use white in the flesh 
 colour of their lights, and that too very freely; 
 such painting may have the general effect, but 
 it will want the semi-transparent appearance of 
 flesh: the general effect of the picture may be 
 sustained by the brilliancy which the body colour 
 gives, but certainly the truthfulness of the imita¬ 
 tion suffers. It is but proper to state, that the 
 Author has seldom, if ever, seen body colour 
 used in the flesh of figures, when of a large size; 
 but in figures that are introduced as pictorial ad¬ 
 juncts, when of course their influence on the 
 
PICTORIAL ART. 
 
 91 
 
 general effect is of far more consequence than re¬ 
 semblance of appearance, even dark draperies in 
 such figures are advantageously laid in with body 
 colour in the lights. But for what may be 
 properly styled figure drawings, where texture as 
 well as pictorial effect has to be studied, body 
 colour must be used very sparingly. 
 
 The shadows in the flesh of figures may be 
 done with madder brown and cobalt, or constant 
 blue, for a fair complexion, modifying the grey 
 with Roman ochre and madder lake, as may be 
 required; and for a darker complexion, madder 
 brown, or Indian red and indigo, modified with 
 the ochre and lake as before. Venetian or light 
 red may serve very well for the flesh tint; or a 
 mixture of Roman ochre, or raw sienna and pink 
 madder, will be still better: these colours will also 
 answer for the lips and cheeks; Vermillion had 
 better not be used. As for the eyes, the blues 
 that have been named will serve for blue or grey, 
 modified with brown madder, and for browns, van- 
 dyke brown, burnt sienna, raw sienna, &c., will 
 be quite sufficient; the same colours, with the 
 sepias will answer for the various tones of hair: 
 the finishing shades of flesh must be made up of 
 the most transparent tones—madder brown and 
 raw sienna, with a little crimson lake added for 
 
92 
 
 A GUIDE TO 
 
 the darkest touches; when the flesh is finished, 
 a few touches of gum in the darkest parts will 
 be an improvement. The brilliant lights in the 
 eyes are best done with constant white. 
 
 In the draperies the same system of transparen¬ 
 cy in the shadows must be observed, while in the 
 lights it is best to have a little body, just barely 
 sufficient to give them a character of solidity, so 
 that they may not look poor and washy. The 
 lights of white drapery, as in the collar and breast 
 of a shirt, a cravat, or the high lights of the work 
 on a lady’s collar, will be improved by touches 
 of constant wdiite; gold lace, the sparkling lights 
 of metals, as the sword, and other military appen¬ 
 dages, military gloves, &c., will also be improved 
 by body colour. 
 
 It is hoped that these general directions, when 
 coupled with what has been previously stated, 
 will be sufficient. 
 
 FRUIT AND FLOWERS. 
 
 In fruit and flower painting the transparency 
 and brilliancy of colours are matters of paramount 
 importance : the student must seek in the list of 
 colours for those that possess these qualities in 
 the highest degree; and be careful to get them 
 
PICTORIAL ART. 
 
 93 
 
 on with as little disturbing of the under tints as 
 possible; as in any case smudging and disturbing 
 colours, once they are laid on, has an injurious 
 effect. The usual course is, to commence with a 
 clear neutral tint for the shadows, and finish with 
 the transparent colours, using body colour very 
 sparingly in the sparkling lights of fruit, the sta¬ 
 mens and other parts of fructification of flowers, 
 and perhaps occasionally on a slender stem. 
 
 The practice of Rubens, Titian, and other 
 celebrated colourists, fully justifies the Author in 
 recommending the study of fruit and flowers to 
 the student, who is anxious to become a good 
 colourist. 
 
 As a picture will sometimes take a considerable 
 time to execute, during which it is liable to dust, 
 which of course would injure the colours, care 
 should be taken to guard against the evil as much 
 as possible; besides keeping it covered, it should 
 be wiped with a clean soft cloth at the commence¬ 
 ment of each sitting 1 . 
 
 The pririciples and practice which have been 
 explained, are calculated to develope the full 
 powers of water colours; with the information 
 
94 A GUIDE TO PICTORIAL ART. 
 
 * 
 
 which has been given respecting the proprieties 
 of each colour, the student cannot find any diffi¬ 
 culty in modifying them, when only a slight 
 sketch, or a temporary object is desired. 
 
 THE END. 
 
 Printed by T. Chapman Browne, Bible and Crown, Leicester, 
 
 

LELQHTOXS & TATLOR, 19, LAMIi’s CpX.DC IT Sir. 
 

 A GUIDE 
 
 TO 
 
 , \ 
 
 WATER COLOUR 
 
 PAINTING. 
 
 BY R. P. NOBLE. 
 
 WITH AN ILLUSTRATION IN COLOURS. 
 
 JFourt^ ©Bitum. 
 
 LONDON: 
 
 GEORGE ROWNEY AND CO., 51, RATHBONE PLACE. 
 
 1850. 
 

 
 
 
 
 
 
 
 
 
 
 
PREFACE. 
 
 In writing a work so limited in extent as that at 
 present submitted to the public, much difficulty 
 must necessarily be felt, in combining directions 
 likely to appear trivial to some readers, with matter 
 of a more interesting nature. 
 
 The writer has been so frequently applied to, by 
 pupils, for lists of colours and their admixtures, 
 that he supposed a Hand-book of Water Colour 
 Painting might be generally useful; since there is 
 no published work giving detailed instruction on 
 this subject. 
 
 While it is imperative to omit nothing that will 
 forward the views of the youngest beginner, and 
 render the subject as clear and comprehensible as 
 possible; it is, at the same time, essential, that the 
 tone of the work should be initiative, so that the 
 reader may not imagine he is saved the trouble of 
 thinking, but rather induced to bring his thinking 
 faculties to bear upon matters relative to art. 
 
 Many give up the study and practice of water 
 colour painting, from the circumstance of their 
 
IV 
 
 PEEFACE. 
 
 labours never leading to a satisfactory result; others 
 persevere, but waste much time in arriving at facts, 
 which may be communicated in a very short time, 
 or gained by the attentive perusal of a few pages ; 
 indeed, this is the advantage of a work of this 
 nature, the remarks being confined within the 
 narrowest compass, so as not to tire the patience of 
 the reader. 
 
 On the publication of similar books, it has been 
 fomid impossible to present the reader with an 
 illustration; the example in the title page is printed 
 in colours, and as nearly as practicable a fac simile 
 of a water colour drawing, and also answers to the 
 description in the work. 
 
 Great benefit is derived from the brinmns this 
 invention to such perfection, it being, above all 
 things, necessary that the young student should 
 find the tints in the illustration correspond with 
 those described in the work; and not experience 
 the disappointment which is an inevitable feeling 
 when the contrary is the case. The accompanying 
 engraving is so close an imitation, that nine out of 
 ten pronounce it at once a drawing. 
 
 If the want so long felt in this branch of graphic 
 art should be supplied by this work, the author will 
 experience great happiness in having devoted his 
 attention to the furtherance of an art peculiarly 
 English. 
 
CONTENTS 
 
 RULES OF ART . 
 
 FORM AND COMPOSITION . 
 
 STUDY OF BLACK AND WHITE 
 COLOUR . . ... 
 
 MATERIALS ..... 
 PROPERTIES OF COLOUR 
 MIXTURE OF COLOURS 
 
 ILLUSTRATION OF FOREGOING REMARKS . 
 EXAMPLE 
 
 MANIPULATION .... 
 MOONLIGHT ..... 
 8TILL LIFE .... 
 
 U8E OF CHINESE WHITE 
 
 CHARCOAL AND THE PREPARATION OF PAPER 
 NECESSITY OF GOOD EXAMPLES 
 
 PAGE 
 
 2 
 
 5 
 
 7 
 
 14 
 
 17 
 
 19 
 
 30 
 
 35 
 
 45 
 
 50 
 
 51 
 
 53 
 
 54 
 
 55 
 55 
 57 
 
 APPENDIX 
 

 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 Jtr;. >r u/ x A. i t ■ r 
 
 
 
 
 
 
 
 
 
 
 
 ' -x ' 
 
 
 
 
 
 
 
 
THE GUIDE 
 
 TO 
 
 WATER COLOUR PAINTING. 
 
 The writer cannot hope to do more than render a 
 hand-book of Water Colour Painting serviceable 
 in assisting the student in his early endeavours, and 
 in leading him to further inquiry. A perfect know¬ 
 ledge of the composition, light and shade, and 
 colouring of a picture, is only successfully obtained 
 after years of study, and the professional painter is 
 happy to overcome the difficulties of his art after a 
 life passed in the pursuit of Nature. There are many 
 scientific and valuable works on these subjects, but 
 a considerable previous knowledge of the subject is 
 
 B 
 
2 
 
 THE GUIDE TO 
 
 presumed by their authors. The object of this 
 little book is the instruction of those who, having 
 already made themselves well acquainted with the 
 use of the lead pencil, wish to please and amuse 
 themselves by the practice of water colour painting, 
 and, as far as may be achieved by such limited 
 means, the facilitation of their progress. 
 
 If the writer succeed in giving his readers an 
 insight into this branch of the graphic art, and 
 exciting in them a desire to master the rules estab¬ 
 lished in the more extensive works of celebrated 
 masters, he will not have written in vain. Let 
 not any one be deterred from the study of this cap¬ 
 tivating art, by being deficient in the qualification 
 of what is commonly called a good touch; the more 
 essential qualities, feeling and taste, should be 
 chiefly considered. Mere freedom of hand is more 
 the gift of a writing master than a painter, and 
 when unguided by rule is of no avail, but of great 
 advantage when influenced by precepts of art. 
 
 An appearance of ease attracts, because it is to 
 be presumed that a fine work, which seems so easy, 
 is the production of a very skilful master. Too 
 much exactness is very prejudicial; it is apt to 
 
WATER COLOUR PAINTING. 3 
 
 make the painting little and lead to endless fine 
 touches, while true finish (making everything 
 appear as true and natural as possible, and conceal¬ 
 ing the pains and study by a pleasing deception) is 
 neglected. It is, without doubt, very difficult to 
 know when enough has been done. If the subject, 
 and the manner of its treatment according to rules, 
 be well considered, the drawing should be executed 
 with as much ease and rapidity as possible, without 
 bewildering the brain, by starting scruples and 
 creating difficulties. Facility can only be acquired 
 by possessing perfectly all the precepts of the art, 
 and making them habitual. There are some who 
 say “that a person having so little genius as to 
 require rules, had better leave painting alone.” 
 But there is no doubt that the rules give readiness 
 of hand to the slowest, while they guide and in¬ 
 crease the ease which is a gift of nature. 
 
 Facility may be considered, firstly, as diligence 
 and an aptitude of mind and of the hand; secondly, 
 as a disposition in the mind, to remove easily those 
 difficulties which arise in the work. The first is 
 pleasing, but often leads astray and causes anxiety; 
 the last makes us paint with tranquillity and repose 
 B 2 
 
4 
 
 THE GUIDE TO 
 
 of mind, because we feel confident and assured of 
 our principles. The highly gifted have both in 
 perfection. 
 
 They who affirm that rules perplex the mind and 
 restrain the hand, instead of giving facility, will be 
 found generally to have habituated themselves to 
 an ill method of painting, to such an extent that the 
 pencil might as well be taken from their hands, if 
 they are to correct themselves by rule. Many 
 would be obliged to hold their tongues, if they 
 were bound to speak grammatically. 
 
 All rules to guide art are gathered from the con¬ 
 templation of nature, by minds whose perceptive 
 faculties are so much alive to the beautiful, that 
 they know immediately when they receive a pleas¬ 
 ing sensation, and note the causes and circumstances 
 which produce it 
 
 Before entering upon the subject of the properties 
 and application of the pigments, it is desirable to 
 present to the student a few general remarks, on 
 form, light and shade, and colour, and, as far as 
 space will allow, point out the errors into which a 
 young painter may fall. 
 
 In form and composition, the study should be 
 
WATER COLOUR PAINTING. 
 
 5 
 
 how to contrast the lines and dispose the incidents 
 in unequal quantities, that each object may receive 
 additional charms from association, the large from 
 being opposed to the small, the near to the more 
 remote, the perpendicular to the horizontal, and 
 moreover to anticipate and prepare for those effects 
 which are to be derived from the aid of light and 
 shade and colour. 
 
 To effect this, the student must avoid repetition 
 in the lines and forms of different objects, and 
 contrast varieties of form, and remember that 
 objects are chiefly distinguished by their forms, and 
 are preferred according to their beauty with respect 
 to form; thus an arrangement of many incidents 
 is adopted from the peculiar beauty of the lines 
 arising from that particular disposition of the sub¬ 
 ject The leading features of a picture should not 
 be placed over each other perpendicularly, neither 
 should they be placed in a straight line parallel to 
 the edge of the picture. The study of a single 
 object, such as, a boat with sea and sky, a figure, or 
 any circumstance with much space and little inci¬ 
 dent near it, is very useful, and, from its simplicity, 
 well adapted to the consideration of a beginner. 
 
6 
 
 THE GUIDE TO 
 
 Suppose a cloud is placed immediately over the 
 boat, and some sea birds flying directly beneath it, 
 while a buoy floats at the same distance with a 
 smaller vessel over that. Let the general lines of 
 the sky and sea assimilate, and a sketch is produced 
 to excite the ridicule of the least enlightened; and 
 yet these errors occur in works of pretension: there 
 is, therefore, the greater necessity to impress their 
 absurdity on the mind of the student by exhibiting 
 them in the most palpable form. A master sometimes 
 receives a most valuable lesson by finding that he 
 has committed the error he has continually cautioned 
 others to avoid, and is taught that the « Aliquando 
 dormit Homerus” will not excuse painters, who are 
 expected to use their eyes. 
 
 To return to the boat. By a judicious contrast 
 of the lines of the sail and rigging with those in 
 the clouds, and giving variety to the forms of the 
 waves, much character and distinctness of objects 
 will be given. By the introduction of a distant 
 craft near to the principal object, a great opposition 
 is effected and an idea of space is conveyed, in out¬ 
 line ; the buoy and birds will give interest to the 
 foreground and prevent monotony, if placed rather 
 
WATER COLOUR PAINTING. 
 
 7 
 
 nearer than the principal object and at some distance 
 from it, that it may serve as a balance to the prin¬ 
 cipal object and prevent its being forced upon the 
 eye, which is always unpleasing and disagreeable 
 in any composition. Good feeling in the study of 
 arrangement, or the pleasing combination of objects, 
 may be acquired by stripping the portions of the 
 picture of additional incidents introduced to make 
 a picture, and ascertaining if the large quantities be 
 well balanced, or if any alteration would affect 
 improvement. 
 
 A strict investigation of nature’s means of affect¬ 
 ing the mind with pleasing sensations will lead to 
 ideas of beauty; and the student having acquired 
 such ideas, will gain the habit of regarding a scene 
 in nature as a picture, and thus by the perusal of a 
 scene where are many animated and moving objects, 
 he will be aware when a perfect picture is before 
 him, and inquire what makes the difference between 
 a mere assemblage of incidents and a picture. 
 Knowledge gained in this way may be applied 
 successfully to landscape. 
 
 The study of black and white is of great impor¬ 
 tance, since the effect of a picture depends upon its 
 
8 
 
 THE GUIDE TO 
 
 proper management. By a judicious practice of 
 black and white, the masses become disentangled or 
 relieved, and the different distances may be observed 
 at the first glance. The careful study of good 
 engravings will be found of great assistance, the 
 eye not being distracted from these important 
 matters by the charming qualities of colour. 
 
 Form, light and shade, and colour, are always 
 united in nature, but to the painter they are 
 separate studies and quite distinct from each other. 
 Fight and shade should be rendered subservient 
 to composition, and should be managed so as to 
 assist form. No dependance should be placed upon 
 it as a means to alter form. In the same way, 
 colour heightens and assists the black and white, 
 but should the effect of the black and white be 
 defective, no colouring can make it correct. 
 
 A free sketch, or what is technically called a 
 blot in one colour, will sometimes suggest more to 
 the student than a laborious drawing; in the latter 
 the eye becomes accustomed to the defects. The 
 labour of the hand will never supply anything to 
 compensate for the want of thought. Many trials 
 may be made in a short time; and if black chalk 
 
WATER COLOUR PAINTING. 
 
 9 
 
 be used, parts may be rubbed out and changed 
 without that feeling of weariness which might be 
 felt after much time had been expended to produce 
 a false work. Quick as thought is an old saying, 
 and one very graphic, for a valuable idea is more 
 likely to enter the mind when excited and alive by 
 being interested in an engaging exercise, than when 
 employed in laborious plodding. 
 
 These experiments in black and white will serve 
 to convince the student of the correctness or incor¬ 
 rectness of his ideas and impressions in the broad 
 treatment of his subject. Any palpable imperfec¬ 
 tion must strike him; such as, two lights of the 
 same intensity and equality of form, a want of ten¬ 
 derness and contrast, exhibited by dull, leaden 
 masses of even tint, quantities of shade equal in 
 form and depth of tint, or a too great prominence 
 in the parts not intended for the principal. Having 
 satisfied himself with regard to the large features of 
 the landscape, he may introduce the accessories, 
 such as cattle, figures, &c., clothes on a line, hedge 
 or bank; these serve to carry small intense portions 
 of light and dark into the general light and the 
 middle tint of the picture, giving richness and 
 b 5 
 
10 
 
 THE GUIDE TO 
 
 brilliancy to the one and clearness and variety to 
 the other. 
 
 By continual practice, from engravings, dissect¬ 
 ing them as it were, and from his own sketches, the 
 student will be insensibly led to see the principle of 
 the engraving and the cause of failure in his own 
 work. It is only by such careful study the painter 
 is enabled to see nature when he goes to her. 
 Many look, but few see. Sometimes it is vain to 
 try to represent her; she may be said to be always 
 beautiful, but it does not follow that an imitation 
 should have either charm or interest as a picture. 
 Imagine the before-mentioned boat with its sail and 
 rigging relieving dark and cutting against a light 
 sky, the sea calm, allowing the vessel to lie straight 
 upon its surface; the principal object becomes quite 
 insignificant, and a painting of such a subject would 
 only give an idea of poverty of thought and canvas 
 to let. On the other hand, suppose the sea in 
 motion with a fresh wind, the sail set, figures 
 engaged, with large masses of clouds, and breaks in 
 the sky near the horizon, with a distant vessel 
 giving space to those openings, while accidental 
 shadows give variety to the foreground and find 
 
WATER COLOUR PAINTING. 
 
 11 
 
 their strongest point in the hull of the boat, here 
 hidden, and there rising against the white foam and 
 spray, floating timber disposed with other acces¬ 
 sories so as to give space and interest to the fore¬ 
 ground, and what under one aspect is an insipid 
 circumstance, becomes in skilful hands the materials 
 for a picture. 
 
 Thus, in treating a subject, the painter must fall 
 back upon himself, and avail himself of the ideas 
 and ingenious thoughts he has gleaned from a study 
 of nature or books, that he may supply by art the 
 deficiencies of the particular scene and circumstance 
 presented to him. In other words, he must store 
 his mind from nature where she is rich, and bestow 
 his acquisitions where she seems poor. 
 
 A change in the sky, and the placing picturesque 
 figures with baskets, or engaged in a manner 
 appropriate to the subject, will sometimes be suffi¬ 
 cient to convert a mere sketch of a pleasing object 
 into a picture, by giving completeness, and carrying 
 the dark through the picture, as may be seen in the 
 accidental shadows introduced in the pictures we 
 admire. 
 
 If one half of a painting be nearly occupied by a 
 
12 
 
 THE GUIDE TO 
 
 ruin, which is, in its details and general form, 
 admirably adapted for a subject, and the other half 
 merely shows a broken line of low hills at the 
 horizon, with sky and ground, it will be readily 
 perceived that the interest or effect of the building 
 is weakened by the large insipid space, causing a 
 dissatisfied and uncomfortable feeling. To correct 
 this, place a group of figures to break the monoto¬ 
 nous line of hills, and let one stand more promi¬ 
 nently than the rest to repeat the perpendicular line 
 of the building in a secondary manner; let them be 
 engaged, with white clothes, or anything light to 
 prevent the principal light from being a spot, while 
 the darks on their dresses serve to clear the shadow 
 from the ruin, and carry it into the middle tint of 
 the distance by means of cattle, &c., and the whole 
 becomes arranged so that the eye may dwell with 
 pleasure on the object which makes the subject. 
 
 It is a fixed rule that the eye should never be 
 tempted to count objects, from their seeming totally 
 separated and disunited, and not combined so as to 
 form a whole; to avoid this, the student can avail 
 himself of accessories to prevent equal quantities, 
 and to connect the lights. 
 
 O 
 
WATER COLOUR PAINTING, 
 
 13 
 
 When a variety of objects are to be grouped to 
 form a perfect picture, one group must be preserved 
 as the principal, and should be so managed that the 
 other groups or incidents do not interfere with it, or 
 mar its effect upon the eye; yet, it must be ob¬ 
 served that, while the objects should be detached 
 from their grounds by opposite tones of light and 
 shade, it is necessary that some part of each object 
 should be of the same tone or tint as its back¬ 
 ground, that they may blend and harmonize, and 
 not present an insulated and spotty effect. 
 
 The student should never forget that black and 
 white have great power of expression, when pro¬ 
 perly used. Form, will only give a faint idea of 
 surface and space. Black and white, when dexter¬ 
 ously practised, will give relief or cliiaro oscuro, 
 and will serve to imitate the surfaces of objects, 
 both natural and artificial. 
 
 As a bunch of grapes was Titian’s principal rule 
 and surest guide, so is a fine landscape seen from 
 an eminence the most instructive to one wishing to 
 excel in landscape generally. The distance stretch¬ 
 ing for miles, endless variety of woods and fields, a 
 winding river, bold rocky features in the fore- 
 
14 
 
 THE GUIDE TO 
 
 ground, buildings, all seen under the alternating 
 effects of light and shade, will suggest most of the 
 qualities of a good picture, harmonious arrangement 
 of lines, imperceptible blendings, contrast, &c. It 
 is from tracing these to their source we are taught 
 the laws that govern works of art. By a contem¬ 
 plation of such a scene the mind becomes charged 
 with ingenious thoughts and artifices, equally ap¬ 
 plicable to the treatment of a simple subject, and to 
 one where a multitude of objects are to be disposed 
 pictorially. 
 
 It should be insisted upon the mind of every stu¬ 
 dent, that no amount of what is termed finish, but 
 which with more propriety should be termed fritter, 
 can compensate for defects in the arrangement of 
 black and white. 
 
 Colour has been called “ the sunshine of art.” It 
 wonderfully assists the expression of space and 
 atmosphere; it is governed by certain laws, but one 
 who has not “ an eye for colour” will find their 
 mode of operation difficult of comprehension. 
 Rules for colour cannot be so precisely given, nor 
 so easily followed, as those of composition, and 
 light and shade. 
 
WATER COLOUR PAINTING. 
 
 15 
 
 Much might be written on the application of 
 colours to the different parts of a picture, according 
 to the relation they have to the degrees of black 
 and white; for instance, a mass of trees being 
 arranged so as to express sunshine and the principal 
 light in black and white—it becomes necessary to 
 apply natural hues of colour so as not to alter this 
 effect. This could be managed by supposing the 
 trees all affected by autumn, and so arrange yel¬ 
 lows, oranges, and reds (which are all used to 
 represent light and warmth in painting) according 
 to the degrees of light possessed by those colours. 
 Such considerations as these are too complicated for 
 an elementary treatise on Water Colour Painting. 
 
 The most that can be done with propriety in this 
 book is, to give the qualities of the capital colours, 
 or those most in use, as they serve to make the 
 composition of all the rest, whose number is almost 
 infinite. And further, to recommend the student to 
 make blots in colour as in light and shade, after 
 becoming familiar with their properties and uses. 
 This will be productive of many useful hints to him, 
 as the accidental blending of colour will bring out 
 the qualities of his eye. 
 
16 
 
 THE GUIDE TO 
 
 When making these rough effects of colour, the 
 student should determine on the hue and tone of 
 each particular part, either from feeling, impression 
 of nature, or a good original drawing. Then 
 begin with the sky and distance, and lay on the 
 tints with full brushes, blending and altering them 
 while wet, until, as nearly as possible, the intended 
 effect is produced. Should a little character or 
 detail be required in the deeper parts, paint with a 
 brush nearly dry, but charged thickly with the 
 requisite colour, into the floating tints. Of course 
 the outline and forms should be attended to, but the 
 chief desideratum in these experiments is the har¬ 
 mony and blending of colours. 
 
 The tube colours invented and prepared by 
 Messrs. Rowney and Son are best suited for this 
 purpose, and for sketching out of doors, as a por¬ 
 tion of the solid colour in a fluid state can be placed 
 upon the palette in an instant, whereas the tints 
 might dry while the student is engaged in filling 
 his brush. For sketching from nature they are in¬ 
 valuable, great rapidity being sometimes necessary 
 to catch the effect of gleams wdiich scarcely last a 
 moment. These colours are also remarkable for 
 
WATER COLOUR PAINTING. 
 
 17 
 
 their extreme clearness and brilliancy. With such 
 appliances, the water colour painters of the present 
 day need not dread the juxtaposition of works 
 painted in any vehicle. 
 
 THE MATERIALS. 
 
 Sable brushes are best suited for painting in 
 water colours; two of the large sizes and several 
 of the others, with a flat camel’s hair pencil, will be 
 found sufficient. Cold pressed imperial paper is 
 perhaps the best for landscape. The rough imperial 
 and double elephant have each advantages, but 
 much, of course, depends upon an artist’s fancy and 
 what he thinks best adapted to his particular style. 
 The paper should be prepared to receive the draw- 
 i n g by being well sponged and stretched upon a 
 mahogany drawing board. If a drawing require 
 remounting, it should be carefully wetted on the 
 back, so that it may imbibe a sufficient quantity of 
 water without disturbing the colour on the other 
 side. Next prepare a piece of common cartridge 
 
18 
 
 THE GUIDE TO 
 
 paper by sponging both sides until it is well soaked; 
 this piece should be greater by one inch every way; 
 cover it to the thickness of three-quarters of an inch 
 all round with a layer of paste, lay this pasted side 
 on a common deal board that will not warp, and 
 press it flat with a cloth, taking care there "are no 
 air bubbles between it and the board. Now paste 
 the back of the drawing all over and lay it down in 
 the middle of the cartridge paper, cover it with a 
 piece of dry paper and rub it smartly with a cloth; 
 this will insure the adhesion of every part of the 
 drawing to the paper beneath it. Remove the dry 
 paper and allow the drawing to remain one or two 
 days; it can be removed from the board by cutting 
 an inch from the edge of the cartridge paper. 
 
 This is an useful contrivance, as it makes the 
 drawing firm and gives importance to it, at the 
 same time that it makes it perfectly flat. This 
 process also throws out much of the colour that 
 may have disappeared or sunk into the paper from 
 too great absorption. 
 
 Tiles with divisions, white saucers and a flat 
 palette, will meet all cases. 
 
WATER COLOUR PAINTING. 
 
 19 
 
 The colour box should contain tubes of the 
 following colours: 
 
 Indigo, 
 
 Yellow ochre. 
 
 French blue, 
 
 Vandyke brown, 
 
 Cobalt blue. 
 
 Brown madder. 
 
 * Purple lake. 
 
 Sepia, 
 
 Indian red. 
 
 Burnt sienna, 
 
 Indian lake. 
 
 Venetian red. 
 
 Pink madder. 
 
 Olive green. 
 
 Indian yellow. 
 
 Brown pink. 
 
 Gamboge, 
 
 Vermillion. 
 
 THE PROPERTIES OF COLOURS. 
 
 There are only three primary colours in nature; 
 these are blue, red, and yellow. 
 
 By combining any two of these primary colours 
 there are produced three other colours : as— 
 Orange from red and yellow; 
 
 Green from yellow and blue; and 
 Purple from blue and red. 
 
 The complimental colour of any primary colour 
 is that which is produced by combining the other 
 
20 
 
 THE GUIDE TO 
 
 two. Thus, green is the complimental colour of 
 red, orange of blue, and purple of yellow. 
 
 A colour and its complimental mutually increase 
 in intensity when placed adjacently to each other. 
 The primary colours are suggestive of various ideas, 
 according to particular circumstances. 
 
 Yellow and red give notions of light and heat, 
 and come near the eye. It may be here remarked 
 that these colours are less impaired by distance 
 than other colours, and yellow less than red, and 
 green less than purple. 
 
 So, from the presence of blue, an idea of coldness 
 and distance is communicated. 
 
 As tints incline towards yellow and red, they 
 approach warmth and brightness ; so tints inclining 
 towards blue give ideas of coldness and distance. 
 
 The contrasts of greatest power are: 
 
 Orange and blue; 
 
 Red and green ; and 
 Yellow and purple. 
 
 Orange opposed to blue seems to have more 
 brilliancy and depth, and the latter appears more 
 daik and full and more blue from the propinquity 
 of orange. 
 
WATER COLOUR PAINTING. 
 
 21 
 
 These facts deserve much attention, as great part 
 of the charm of colouring is derived from these 
 results. The colours themselves undergo no abso¬ 
 lute change when thus opposed* to each other, but 
 the sensations they produce on the eyes from juxta¬ 
 position make them appear brighter and more 
 intense. Atmosphere, light and shade, reflexion 
 and circumstance, affect all colours in a greater or 
 less degree. 
 
 A little observation out-of-doors will serve to 
 show the change that the colours of objects undergo 
 as they are removed at a greater or less distance 
 from the sight, and more particularly at a consider¬ 
 able distance. The colours, never positive (if the 
 objects be purely natural), are broken by the effect 
 of atmosphere into an endless variety of hues. 
 
 It is impossible to lay down mathematical rules 
 for the mixing of colours, to produce the innume¬ 
 rable effects caused by atmosphere in the appear¬ 
 ance of distant objects; much must be left to the 
 eye and hand of those who are solicitous to obtain 
 them. The most that can be done is to point out 
 certain varieties of blues, reds, and yellows, and give 
 rules for their application to certain parts of the 
 
22 
 
 THE GUIDE TO 
 
 picture, and assure the student that those tones and 
 hues he admires in good works are brought out by 
 such means. Directions for the use of the various 
 pigments are very useful, but an attempt to reduce 
 the quantity of each colour in every mixture to 
 scale would be futile, and would only distract the 
 student. 
 
 If blue and yellow be mixed to form a green, 
 and red be added, the green will be affected accord¬ 
 ing to the quantity of red mixed with it, and will 
 become a broken or reddish green. Indigo and 
 burnt sienna mixed together make a fine broken 
 green for trees. The burnt sienna is a broken 
 orange, with sufficient yellow to produce a greenish 
 hue when blue is added. 
 
 Vandyke brown, burnt umber, brown madder, 
 Cologne earth, bistre sepia, &c. are natural broken 
 colours, and may be produced by the mixture of 
 the primary colours. 
 
 Brown madder is a very useful colour in water 
 colour painting; it may be described as a brown 
 inclining to red; when mixed with indigo it makes 
 a good grey of a purplish hue. 
 
 The effect of opposition is as sensibly felt when 
 
WATER COLOUR PAINTING. 
 
 23 
 
 these broken colours are placed near to others of a 
 positive nature, as in the case of the primary and 
 complemental colours. Thus, brown madder as¬ 
 sumes a yellower hue when opposed to purple, a 
 darker and blacker hue when opposed to orange, 
 and a redder and warmer hue when opposed to 
 green. This may be proved by surrounding brown 
 madder with the above-named colours, and com¬ 
 paring it with itself surrounded by white paper. 
 This fact, then, is established. A colour may be 
 changed by adding more of the tint required, or by 
 opposition. This may be well observed in a litho¬ 
 graphic engraving, when a small portion of white 
 paper is left to receive the impression, while all the 
 rest of the plate receives the impression on a ground 
 of warm brown. The colour of the lithographic 
 ink will approach by contrast very near to pale 
 indigo where the white paper receives it. 
 
 Too many experiments on the effect which 
 colours give to each other under different opposi¬ 
 tions camiot be made, as the student must rely— 
 knowledge having been gained by such results— 
 upon this power of affecting the eye by contrast of 
 colour; he will also learn the value of the broken 
 
24 
 
 THE GUIDE TO 
 
 colours, which form the greatest portion of a picture; 
 he will also note the different appearance a colour 
 assumes, when placed on his picture amongst other 
 colours, to that it had when on the palette; thus an 
 alteration of importance may be suggested. 
 
 It may not be amiss to remark in this place, that 
 it is better to keep all the parts of the picture in the 
 same state of forwardness; the discord or harmony 
 will be sooner perceived if this be attended to as 
 much as possible. 
 
 The shadows across a path in an open field of 
 stubble, during the last hour or two of a summer’s 
 evening, cannot have failed to excite observation, in 
 those who have the habit of looking at nature. 
 They appear so thin and cool, and the hue pur¬ 
 plish, that an unskilful hand would attempt to 
 imitate them by an abundant use of blue and lake, 
 and contrast the tint made by a combination in 
 which they were prominent, by a rich orange in 
 the light or sunshine of the path. This would fail 
 in conveying an agreeable idea of such pleasant 
 looking pathways. But if the student remember, 
 that a broken colour that has a tendency to purple 
 in its prevailing hue (as lamp black mixed with 
 
WATER COLOUR PAINTING. 
 
 25 
 
 purple lake) may be made to appear a cool grey by 
 judicious contrast, and still have sufficient local 
 colour in its composition to make it harmonize with 
 the colour of the light, while it offers a strong oppo¬ 
 sition, he will succeed at all events in avoiding a 
 harsh, cutting effect. 
 
 Nature herself points out the manner to adopt, 
 for the effect of the shadow is owing to the absence 
 of the glowing reflexion which pervades the gene¬ 
 ral landscape, and its receiving a cool reflexion 
 from the blue sky overhead; at the same time it is 
 opposed to the warm sunlight, influencing a local 
 colour, having perhaps a tendency to orange. 
 
 It is by trial and comparison with nature, that the 
 natural power of the eye and qualities of the mind 
 are improved. By thus instructing and exercising 
 himself, the student may attain a nicety of discrimi¬ 
 nation that will make him sensible of the properties 
 of colour, and feel the peculiarities of hue. 
 
 Before proceeding to show the method of mixing 
 peculiar pigments to give the local hues to objects 
 under various influences, a few words are necessary 
 to explain the nature of those pigments as the 
 representatives of blue, red, and yellow. If this be 
 c 
 
26 
 
 THE GUIDE TO 
 
 understood, the following scheme will have twice as 
 much utility. 
 
 It is a general rule that yellows, oranges, and 
 reds, approach nearer than blues, purples, and 
 greens; so yellow browns, red browns, &c., ap¬ 
 proach nearer than greys, greens, &c., but this is 
 not the case unless the colours employed in making 
 those yellow browns, &c. be of the same species as 
 those employed to make the greys, &c. 
 
 Suppose a yellow brown be made from the 
 mixture of cobalt blue, pink madder, and gamboge; 
 and a cool grey be made from the mixture of indigo, 
 indian red, and indian yellow; it will be found, 
 on the application of these colours, that the grey 
 will not retire. But reverse the order, by 
 making the brown from the strong sensible colours, 
 and the grey from the more tender, and the grey 
 will retire, while the brown will appear to come 
 forward. 
 
 There are colours which are naturally soft and 
 faint, as ultramarine among blues, pink madder 
 among reds, and gamboge among yellows. These 
 pigments approach in colour much nearer to the 
 prismatic hues than the stronger pigments, and on 
 
WATER COLOUR PAINTING. 
 
 27 
 
 that account are employed for skies, which are com¬ 
 posed of ether or atmosphere, and distances which 
 receive purity, beauty, and brilliancy from the 
 effect of atmosphere. 
 
 In painting, light and white may be considered 
 the same, and since no colour resembles the air 
 more than white, those colours which approach 
 nearest to it in lightness, will be found the best 
 adapted to express atmosphere and distance. When 
 we say a “ heavy cloud,” we never think of those 
 pearly greys which are seen in clouds high in the 
 heavens, requiring the use of the most delicate 
 pigments for their true representation; it rather 
 gives us an idea of coming near, and immediately 
 suggests the employment of stronger colours. 
 
 Colouring is much simplified by these con¬ 
 siderations, because the student, having the three 
 appropriate pigments pointed out to him, may 
 paint each portion, distance, middle distance, 
 and foreground, as if it were a picture by itself, 
 giving every variety of tint to objects however 
 faintly appearing, and different degrees of distance 
 and clearness or distinctness to the part included 
 c 2 
 
28 
 
 THE GUIDE TO 
 
 under the general term distance; so with middle 
 distance, &c.; and he will soon feel assured that 
 the contrast in the whole completed work will give 
 relief and atmosphere to a harmonious arrangement 
 of colour, and so prevent what is so frequently 
 observed, a prevalence of a sort of ashy grey, 
 used on all occasions to divide objects from each 
 other. 
 
 I his used to be the case with the old system of 
 neutral tint, and the describing a drawing in the 
 different stages; drawings made under these direc¬ 
 tions, used generally to be harsh, black, and crude, 
 without air or colour, and at the best only appeared 
 like badly coloured engravings. So far from the 
 subject being simplified by these receipts, it w T as 
 rendered more complicated, because the process is 
 directly contrary to nature. In nature the air and 
 shadow are between us and the objects, or, in other 
 words, they are thrown over the local colours; in 
 the neutral tint system, the local colour was laid 
 over what was intended to represent atmosphere 
 and shadow; that is, objects were made out in 
 different shades of grey, and then received the local 
 
WATER COLOUR PAINTING. 
 
 29 
 
 colours. The effect of a cold colour laid over a 
 warm colour, in contradistinction to that of a warm 
 colour laid over a cold, may be easily seen by 
 covering light red with indigo, and indigo with 
 light red. Two different shades are produced by 
 the same colours used in the same strength. This 
 is equally perceptible if a grey of a cold hue be 
 substituted for the indigo, and a warm brown for 
 the light red. 
 
 From an inability of the means to give strength 
 and quality to the deep parts of the painting, in the 
 process alluded to, the distant parts are only dis¬ 
 tinguished from each other by different degrees of 
 neutral tint, and the light parts are equally bright, 
 whatever the difference in the local colour of the 
 objects represented, and a pale sickly effect is the 
 consequence. By attention to the rules for the 
 mixing of colours, the student will more readily 
 escape those errors, by giving objects a tone of 
 colour in accordance with their supposed distance, 
 as expressed by size, and, without impairing what 
 is called the “ keeping” of his picture, imitate at an 
 humble distance the faultless colouring of nature. 
 
30 
 
 THE GUIDE TO 
 
 ON THE MIXTURE OF COLOURS 
 
 APPROPRIATE TO VARIOUS NATURAL OBJECTS. 
 
 The opaque colours generally express distance. 
 The colours chiefly used in skies and distances 
 are: 
 
 Indigo, Pink madder. Yellow ochre. 
 
 Cobalt blue, Venetian red. Gamboge. 
 
 O 
 
 FOR SKIES AND EXTREME DISTANCE. 
 
 Blue of sky: cobalt blue, lowered with pink 
 madder and gamboge to the hue required. Ochre 
 may be substituted for gamboge if thought advisa¬ 
 ble. 
 
 Clouds: the same, mixed so as to form a variety 
 of warm, and cool pearly greys. 
 
 Also for the extreme distance: cobalt and 
 Venetian red. 
 
 For more local tints: blend the colours so that 
 the tint produced may incline towards yellow, red, 
 or whatever hue is required, or a faint brown, for 
 
WATER COLOUR PAINTING. 
 
 31 
 
 buildings, &c. As the middle distance is ap¬ 
 proached, use indigo, pink madder, and ochre, on 
 the same principle for the light parts; and indigo, 
 pink madder, and gamboge for the shady portions. 
 
 SETTING SUN. 
 
 Yellow ochre and pink madder, or Venetian red 
 and yellow ochre. Sometimes vermillion and gam¬ 
 boge or indian yellow in small proportions, when a 
 very strong effect is to be given. 
 
 MIDDLE DISTANCE. 
 
 Trees: indigo, burnt sienna and gamboge. These 
 colours will make pleasant tints for the light, if 
 mixed in various proportions. Indigo mixed with 
 vandyke brown becomes a fine deep grey of a 
 decidedly green hue, and is a good transparent 
 colour for the shade. Purple lake may be added 
 when the tint is required to be more neutral. 
 
 The student must exercise much judgment in the 
 use of indigo, as there is great danger of extreme 
 coldness and blackness, without depth. It may be 
 dispensed with in some of the darkest parts; on the 
 
32 
 
 THE GUIDE TO 
 
 near objects, sepia mixed with indian yellow may 
 be employed. 
 
 FOREGROUND. 
 
 Greens in foreground may be made by a mixture 
 of sepia with olive green in the shade, and olive 
 green and burnt sienna in light. Indian yellow 
 niay be added and used pure for small bright 
 specks. Brown pink in bright refracted lights in 
 foliage or herbage. Earthy banks, &c. Indigo, 
 mdian red, and ochre for the ash grey of loom. 
 Burnt umber alone or mixed with burnt sienna, 
 pure ochre, and ochre mixed with sepia, sepia 
 alone, and mixed with purple lake, for dark parts; 
 also vandyke brown and purple lake, or pure brown 
 madder, for very dark touches. 
 
 Indigo mixed with gamboge makes a cold fresh 
 gieen, well suited to dark leaves and herbage: 
 purple lake may be added for cool reflected lights; 
 indian red mixed with indigo to a pale tint for 
 willow leaves or foliage stained by muddy water, 
 or for the grey back of a leaf, lichen on wood, &c. 
 These cool greys and greens are of great value 
 
WATER COLOUR PAINTING. 
 
 33 
 
 when introduced in foregrounds to repeat the cool 
 greys and cold lights of the sky, in pictures com¬ 
 posed of much warm colour in the middle distance, 
 as mid-day effects, sunsets, &c. 
 
 ROADS. 
 
 Yellow ochre, mixed with burnt sienna and 
 lowered with indian red and indigo, or amalga¬ 
 mated on the paper while wet. Indigo and burnt 
 madder for cast shadows, also indigo and indian 
 red. Indigo and brown madder being transparent 
 colours, will allow a wash of cobalt blue and pink 
 madder to alter the hue, without danger of opacity. 
 
 WATER. 
 
 Same as for clouds, blended with the local colour 
 of the water (generally greenish), and with the 
 reflected objects. 
 
 DARK SEA. 
 
 Indigo, Vandyke brown, and lake, 
 c 5 
 
34 
 
 THE GUIDE TO 
 
 DARK SKIES FOR SEA PIECES. 
 
 Cobalt blue, mixed with brown madder; indigo, 
 mixed with pink madder and gamboge. 
 
 CHIMNEYS AND COTTAGES GENERALLY. 
 Ochre mixed with french blue and indian red, 
 indigo and Venetian red, ochre and pink madder for 
 
 bright parts of brickwork. When the hue is more 
 
 - ! 
 
 decidedly red, Vermillion may be used, but with 
 great caution, and in extremely small quantities. 
 These for the light. For shade, mix sepia and 
 purple lake, or sepia and indian red; sepia alone 
 for light flickering shadows from trees. 
 
 • • 
 
 It vdll be observed that the opaque colours are 
 employed chiefly in the light, and with the semi¬ 
 transparent in the distance, while the most trans¬ 
 parent are reserved for shade and foreground. 
 There are two reasons for this; one is, that the 
 strength possessed by most of the transparent 
 colours make them fitted for the foreground, as the 
 nearest part of the picture, and they are chiefly 
 found among the browns which have a place there; 
 the other is, the advantage they have, in the dark 
 
WATER COLOUR PAINTING. 
 
 35 
 
 or shady parts, of allowing the light of the paper to 
 be seen through, even when laid on very thickly; 
 so that power is obtained without heaviness or 
 opacity. 
 
 This is worthy of reflection, for the application 
 of this knowledge will enable the water colour 
 painter to overcome the defects of the vehicle, with¬ 
 out the use of solid white. The more the dark 
 parts of a drawing are painted at once, the more 
 crisp and transparent will they appear; indeed this 
 should be observed in the whole work. The effect 
 alluded to is more readily produced when the tube 
 colours are employed, since the pallette can be set 
 with them, as in oil painting. 
 
 To illustrate these remarks in the progression of 
 a drawing, imagine a landscape, or varied scene, 
 under an evening effect. The foreground composed 
 of rough rocky stones, lying near a broken stone 
 wall, which divides a rude winding roadway from a 
 stream extending from the left of the foreground to 
 the middle distance, and lost where it bends round 
 a promontory in the middle distance. The margin 
 of the river on the left skirted by trees of various 
 forms and kinds, poplars, oaks, elms, &c.; over 
 
36 
 
 THE GUIDE TO 
 
 these a range of low hills, with herbage and rock 
 intermixed; a projecting mass of rock or buildings 
 on the foremost parts. Beyond this, a range of 
 mountains with pointed and angular forms. Some 
 cattle cooling themselves on the strip of land near 
 the promontory, showing its distance from the 
 opposite side. Suppose the bank, on the other side 
 of the roadway, (which is hidden at this point) to 
 be carried out of the picture to the right, as the 
 commencement of a mountain or hill. A mass of 
 trees growing on the hill-side near the roadway, 
 rather round in form, nearly hides this indication ; 
 these are prevented from appearing heavy by being 
 made the background to the stems and spray of 
 some graceful birch and ash springing from a point 
 about half way between the foreground and the 
 promontory, and rising near to the upper edge of 
 the drawing. The roadway at this point is lost; a 
 half-hidden figure shows its direction; while the 
 first of a flock of sheep are coming down the hilly 
 roadway (bounded on the right hand corner by a 
 mass of rock) into the foreground to complete the 
 subject. 
 
 The left hand side of the sky being a large open 
 
WATER COLOUR PAINTING. 
 
 37 
 
 space, is the best for masses of cloud receiving 
 warmth and light from the sun setting out of the 
 picture to the right. 
 
 Spread a tint of yellow ochre over the whole 
 surface of the drawing; this tint should be of a 
 moderate strength, and more ochre should be added 
 while passing the tint over the landscape portion 
 of the drawing, so that it may have a greater 
 power of colour in this stage than the sky. This 
 being suffered to dry, form a tint from the mixture 
 of cobalt blue and pink madder, the blue predomi¬ 
 nating, and use it in a very diluted state on the side 
 whence the sun is supposed to shine, graduating 
 the tint as the opposite part of the sky is approached, 
 so that the ether may appear of a clear and rather 
 strong colour; the lights of the clouds to be left, 
 and care taken to diminish the strength of the tint 
 in the lower part of the sky. The same tint may 
 be carried over the mountains, leaving small bril¬ 
 liant lights or edges of light if there be any. A 
 slight wash of pink madder and ochre, or Venetian 
 red and ochre, may now be given to the lights on 
 the clouds, and they may afterwards receive their 
 middle tint, composed of pink madder, yellow ochre. 
 
38 
 
 THE GUIDE TO 
 
 and cobalt blue. The clouds may be finished by 
 shading with cobalt blue and Venetian red; the 
 water should receive its tints at this time; any 
 very bright lights should be left. Should the bluer 
 portions of the sky be less powerful than is essential 
 to give clearness and distinctness to the forms of 
 the clouds, it can be strengthened by another wash 
 used as the former. Any light fleecy clouds which 
 are darker than the ether may be laid on with 
 Venetian red and ochre; a little cobalt will vary 
 the tint and blend it with the ether. If these clouds 
 are meant to show lighter than the blue of the sky, 
 they should be left. Mix in one saucer, ochre, pink 
 madder, with very much more strength than the 
 sky tints; and in another, cobalt, pink madder, and 
 gamboge, with as much strength as possible, so that 
 it will work freely. Having a brush charged with 
 the first, proceed to lay in the light parts of the 
 mountain, varying the colour by the addition of 
 cobalt blue where a greenish hue is intended, pink 
 madder where the granite prevails, with a reddish 
 tint; and being careful to leave the highest lights 
 on the leading forms or characteristics made visible 
 by the sun’s effulgence when sinking below the 
 
WATER COLOUR PAINTING. 
 
 39 
 
 horizon. Then, with a brush ready at hand filled 
 from the other saucer, lay in the shady parts, vary¬ 
 ing the colour after the same fashion. These oppo¬ 
 site tints of light and shade should be made to blend 
 imperceptibly wherever they meet. This is difficult 
 at first, as they will, if not cautiously dealt with, 
 run together and express nothing; on the other 
 hand, if the manipulation be successful, this single 
 operation will give all the character observable at 
 such a distance. Practice will teach the student 
 when to allow the different tints to unite. A touch 
 or two at the moment of drying, and, in fact, in all 
 stages, may be rendered very effective, and cannot 
 be given with the same result except at those par¬ 
 ticular times. This method is more likely to ensure 
 an appearance of ease, and at the same time great 
 variety of colour and form, without hardness or 
 dryness. When laying in these tints, a little water 
 should be added to make them lighter at the parts 
 immediately opposed to the range of hills intended 
 to be many miles nearer. This greatly assists the 
 expression of space, and is shown very perceptibly 
 by nature. Indigo, pink madder, and gamboge mixed 
 will be found useful for dark touches in shadows, 
 
40 
 
 THE GUIDE TO 
 
 and cobalt mixed with indian red may be used for 
 the same purpose in the light. 
 
 For the hills, mix indigo and yellow ochre so as 
 to make a light green; lay in the light parts with 
 this, adding ochre when a brighter and warmer 
 light is to be expressed, and pink madder when the 
 surface is broken by rock and earth. As before, 
 have another brush ready charged with indigo 
 mixed with indian lake and gamboge for the shade. 
 Any bright projecting bit of rock may receive a 
 touch of yellow ochre and indian red mixed. A 
 few broad touches will bring this sufficiently for¬ 
 ward ; they may be given with a brown produced 
 by the mixture of indigo, purple lake, and gam¬ 
 boge, inclining to orange or purple, as they are to 
 be used for the shady or light parts. The trees 
 skirting the stream should be covered at the same 
 time with the first and lightest tint applied to the 
 former, varied in the same way and brought into the 
 water, leaving a sharp slip of light at the edge for 
 a bank or path. Any very light stems of trees 
 should be left. When this has become quite dry, 
 lay in the trees with gamboge, burnt sienna, and 
 indigo mixed for the light; a very yellow green 
 
WATER COLOUR PAINTING. 
 
 41 
 
 may be made for the same purpose with yellow 
 ochre and indigo, and burnt sienna added to vary it 
 and give autumnal hues. Indian lake, or pink 
 madder, or Venetian red, may be employed in the 
 same way. Indigo mixed to cold grey green with 
 burnt sienna will be found useful for the shade; 
 this may be made more neutral by the addition of 
 purple lake, and indigo alone may be blotted in 
 where the hollows of the foliage appear very dark. 
 Purple lake mixed with indigo and gamboge for 
 stems; stronger and browner for dark touches. We 
 now come to the nearer parts of the middle dis¬ 
 tance. In this subject great portion would be 
 under the influence of cast shadows. The rocky 
 masses lying in the water near the promontory may 
 be covered by a tint of indigo and brown madder 
 mixed; a little olive green will vary the tint, if a 
 greenish hue be wanted. Gamboge mixed with 
 indigo to a light green, and varied with purple and 
 indigo, will serve for the parts of the rising ground 
 seen through the stems of trees and to the right of 
 the dark round shaped mass, which may now 
 receive a tint of indigo mixed with burnt sienna 
 
42 
 
 THE GUIDE TO 
 
 and olive green, varied according to the light or 
 dark, and purple lake added for the leafy parts at 
 the edges, to neutralize the colour and give rotun¬ 
 dity to the foliage. The light forms of the birch, 
 with their stems and spray, must be preserved clean 
 and sharp. The foreground may be laid in with 
 indian red, mixed with yellow ochre and broken by 
 sepia or indigo; all very brilliant small lights on 
 the wall or road to be left; shadows across the 
 road may be rendered by washes of indigo mixed 
 with brown madder; and lamp black mixed with 
 purple lake for cool slate-coloured rocks in shade. 
 The birch trees should be covered with a tint of 
 indian yellow and burnt sienna, and shaded with 
 brown madder and indigo mixed, or sepia and 
 purple; this must be guided by the presence of 
 yellow or orange in the light parts. The stems 
 may be brought out by dark touches of Vandyke 
 brown, brown pink mixed with purple lake in 
 shade; the light sides have great brilliancy from 
 their bleached appearance, rotundity, and shining 
 surfaces. Pure pink madder very faint, indian red 
 mixed with cobalt blue, yellow ochre and Vermillion 
 
WATER COLOUR PAINTING. 
 
 43 
 
 mixed, will be found serviceable for these. The 
 dark greens about the foreground should be com¬ 
 posed of sepia and indian yellow. The browns, 
 Vandyke brown mixed with purple lake, pure 
 purple lake very intense, brown pink, in the same 
 way. These applied in the dark parts will give so 
 much vigor as to give space to the middle distance 
 and increase the effect of aerial perspective. That 
 colour for figures is generally chosen which is the 
 most absent from the prevailing hue of objects in 
 their neighbourhood. The figure may have some 
 red and white about his clothes; the sheep a little 
 yellow ochre. 
 
 The drawing is now so far progressed that the 
 general effect of colour is apparent, and the student 
 will find (when he has brought his work to this 
 state, should it turn out well) that very little is 
 wanting to perfect it. The sky may perhaps have 
 some inequalities of colour where perfect flatness of 
 tint is demanded. (It is always better to leave 
 those things for after consideration, and not dwell 
 too long on any one part.) This is easily remedied 
 by passing the flat hair pencil, with water only, over 
 the uneven parts; a little patience will effect the 
 
THE GUIDE TO 
 
 44 
 
 removal of these imperfections. If extra warmth 
 be required in the light parts of the sky and moun¬ 
 tains, let them be strengthened by washes of the 
 before-mentioned tints; sometimes pure Venetian 
 red, or Vermillion, (this requires great caution) 
 passed over once, will do all that is necessary. 
 This must be done without destroying the look of 
 vivacity and crispness which contribute so much to 
 the captivating appearance of a water colour draw¬ 
 ing. 
 
 In mixing the tints, always incline towards 
 warmth, because a little more coolness and atmo¬ 
 sphere may be given by a wash of cobalt blue, mixed 
 with pink madder or indian red, &c. A little more 
 warmth in the light will be found sometimes suffi¬ 
 cient to produce the desired effect, but there is 
 danger here of making a rusty looking, hot picture. 
 Great skilfulness would scarcely insure the leaving 
 every small light, mere specks; indeed, at the com¬ 
 mencement of an original subject, it is impossible to 
 anticipate the position of the brilliant little high 
 light, so as to leave the pure white paper. In the 
 subject illustrated, there are some small cows in the 
 middle distance; the one intended to be white 
 
WATER COLOUR PAINTING. 
 
 45 
 
 should be left when the water receives its blueish 
 tint, the others meant to be more or less dark 
 covered over; if any particularly bright bits are 
 necessary for horns, marks, &c., they may be given 
 by the dexterous use of a sharp penknife. 
 
 Reflexions in water should be painted similar in 
 hue to the objects, but lower in tone, and more 
 transparent. 
 
 Large stems of trees may be coloured effectively 
 bv applying varied greys, browns, &c., made by a 
 mixture of indian red, french blue, and ochre for 
 light side, leaving any very bright feature shown in 
 the bark. Sepia, or sepia mixed with purple lake, 
 may be used for the shade, suffering the tint to 
 blend with that used for the light as before directed. 
 Brown madder and brown pink, and sometimes 
 Vandyke brown, will be found of service in touching 
 and for very dark parts, holes, &c. 
 
 To render the subject still more simple, the 
 reader is requested to turn to the example in the 
 title page. Similar scenes may be easily found 
 without going many miles from London. 
 
 The paper does not require the preliminary wash 
 of ochre for this effect. The sky is painted with 
 
46 
 
 THE GUIDE TO 
 
 tints made from colours already described for that 
 purpose. Two saucers should be prepared, one for 
 the ether, and another for the lightest cloud tint 
 When laying on the blue, be careful to leave the 
 shapes of the light part of the clouds; then, with 
 another brush, wash in the middle tint and suffer it 
 to blend with the blue on the shady side of the 
 cloud. Add a little Venetian red as the tint is 
 carried down to the horizon; mix more cobalt for 
 the distance, and carry it down to the line of the 
 field where the windmill stands, and prevent it from 
 setting into a harsh line by taking up the colour 
 with a brush that is nearly dry. A little gamboge 
 may be washed over the field, strengthened at the 
 near part with indian yellow, mixed with very little 
 indigo. Give ja first colour to the road and cottage, 
 pure yellow ochre for the light of the plaster, with 
 white paper left in very small portions; the shade 
 sepia, or brown madder,- mixed with indigo; the 
 hedge by the cottage, brown pink, olive green 
 mixed with burnt sienna, and in some parts pure 
 brown madder; shade and dark parts, water, &c., 
 to be formed from the colours already enumerated. 
 If this be quickly performed, in a drawing of 
 
WATER COLOUR PAINTING. 47 
 
 moderate size, all the parts will blend with each 
 other, and the first wash after the sky is painted 
 will hardly be dry before the last wash is given. 
 
 Much of the effect appears at this point; an 
 adumbration of the subject is seen. 
 
 One part should be taken up after the other, 
 according as they are more or less adapted to 
 receive the additional colour in the various ways 
 which give expression and feature. For example, 
 if it be desirable to leave light markings for tiles or 
 any hard substance seen with a half light in shade, 
 the paper should be suffered to get quite dry. So 
 in windows, although it be necessary to allow the 
 colour to blot and run, yet a sparkling light must 
 be preserved bright and sharp. So, generally, when 
 form is to be shown in detail, particularly in the 
 lighter parts. 
 
 For the plaster, the first tint should be perfectly 
 dry, that the various greys and browns may be 
 repeated in the crispest manner to give texture and 
 surface; dragging, with a brush thickly charged 
 with colour and with but little moisture, is very 
 useful sometimes in giving texture to bits of 
 rock and foreground. 
 
48 
 
 THE GUIDE TO 
 
 Nothing that promises to bring us nearer to 
 nature should be left untried; at the same time, a 
 wrono- application of mechanical artifices should be 
 strictly guarded against, for nothing is more injuri¬ 
 ous, since it prevents a picture from possessing the 
 great charm, which is the perfect concealment of 
 the means. It has been truly said, “ that the 
 greatest secret that belongs to art is to hide it from 
 the discovery of spectators.” 
 
 The colours on the figures are very deep, reliev¬ 
 ing from a quantity of light space, and seeming 
 intensely dark from their situation; this makes 
 them serve as a balance to the large mass composed 
 of house, trees, &c.: when any large mass in a 
 picture is to be balanced by a small quantity of 
 dark, it will always be found necessary to compen¬ 
 sate by depth for its want of size. 
 
 When the drawing is dry, begin with the sky, 
 and heighten or subdue as seems best, give the 
 shade to the clouds, taking care that the indications 
 of shadow and feature generally grow lighter and 
 more tender the nearer they come to the horizon; 
 any peculiarity may be given to the distance, such 
 as country only distinguishable from the sky by 
 
WATER COLOUR PAINTING. 49 
 
 outline, a dark touch of blue in the shadows from 
 clouds, &c. The windmill can he brought out by 
 darkish touches, and the field near it subdued, if 
 necessary, with ochre, mixed with pink madder and 
 indigo, without losing the sunshiny appearance. 
 
 Dark touches on the roof, chimneys, and win¬ 
 dows of the cottage will make it relieve boldly 
 against the sky, and give distance to the smaller 
 objects. These may be made with Vandyke brown, 
 mixed with purple lake; brown madder for the 
 dark stems of the willows in the hedge, &c. 
 
 Brown pink mixed with purple lake is sometimes 
 of great service in giving a very dark transparent 
 touch to water. 
 
 The effect of clear water from a brook running 
 across a road may be given by blending the local 
 colour of the road with a little blueish grey, and 
 leaving some bright sharp forms for ripple, and 
 showing in these the colour of the sky. This mav 
 be effectively done by laying in a little brown 
 madder, and carrying over it, when dry, a «oa£ of 
 cobalt blue, mixed with indian red. 
 
 In large pieces of water, as lakes, rivers, &c., it 
 is sometimes a resource to use the fiat camel’s hair 
 D 
 
.50 
 
 THE GUIDE TO 
 
 to soften distant reflections, and produce an appear¬ 
 ance of atmosphere, where objects appear so tender 
 that they almost seem to float in mist and unite 
 
 with their reflections. 
 
 So in painting particular skins, washing and 
 sponging are absolutely necessary; but these should 
 be after considerations with the student. He may, 
 perhaps, be delighted with pictures whose authors 
 strove for peculiar qualities, and believed their 
 existence essential to the sentiment of their subject; 
 but he must remember that they did not begin by 
 scraping and sponging the first tint they ever laid 
 on paper. Singularity of style is more frequently 
 adopted in after life. 
 
 There are of course many things to be thought 
 of (merely relating to the colours and paper) when 
 it is wished to carry a drawing as far as the nature 
 of the vehicle will allow, which cannot be explained 
 here. This being merely an elementary book, its 
 object is to smooth the way at the commencement, 
 and direct the first touches of those who wish to 
 make a satisfactory copy of a drawing, or a com- 
 preliensible sketch from nature. 
 
 For moonlight pieces, wash in the general effect 
 
WATER COLOUR PAINTING. 51 
 
 of sky with burnt umber, mixed with cobalt blue 
 and pink madder, to light or cold hues, according 
 to the nature of the sky; sepia, mixed with pink 
 madder and cobalt blue, for dark clouds and 
 distance; indigo, mixed with Vandyke brown and 
 pink madder, for the general landscape ; if stronger 
 tints be required, substitute purple lake for the 
 pink madder. Indigo mixed with sepia will form 
 very dark cool greens for deep parts, and sepia and 
 purple lake mixed, will be found useful in stems of 
 trees, dark parts of buildings, &c. &c. The fore¬ 
 ground objects may be brought out with vandyke 
 brown and purple lake, and the more positive 
 colours, as olive green, or sepia, mixed with indian 
 yellow. Artists rarely represent scenes by moon¬ 
 light; the moon rising just after the sun has set, is 
 a more favourite subject. A fine moonlight night 
 awakens a feeling of pleasure whenever it is seen, 
 and has inspired poets at all times. A painting of 
 it demands the greatest skill, to be satisfactory; yet 
 it may be doubted, if the sentiment which the 
 reality calls forth were ever conveyed, or whether 
 some disappointment is not felt in its representation. 
 Many excellent hints may be got during a walk by 
 
52 
 
 THE GUIDE TO 
 
 moonlight, particularly in light and shadow, the 
 light being more easily traced, and more positive 
 than in sunshine. Buildings show to great advan¬ 
 tage if their general outline be good ; the ungrace¬ 
 ful littlenesses and inelegant details, which distract 
 the eye by daylight, being lost or mellowed by deep 
 shade. 
 
 The breadth of the shadows, and the glittering 
 lights which sparkle in the middle tint, with the 
 concentrated brilliancy of the principal light, are 
 worthy of much consideration, these being the 
 requisites of good effect. 
 
 Flowers, fruit, and still life, are good objects for 
 the study of colour, and possess the advantage of 
 being always at hand or procurable in bad weather. 
 
 Fine paintings of well arranged groups of fruit 
 and flowers have great charms for many amateurs, 
 but they become of very little importance if they 
 fall short of great excellence. A little skill in this 
 class of subject is not regarded, while the same 
 skill or amount of knowledge in landscape painting 
 is an unvarying source of pleasure, and often gives 
 a delight by causing retrospection, which could 
 
WATER COLOUR PAINTING. 
 
 53 
 
 never be experienced without pleasing mementos in 
 the form of sketches. 
 
 The still-life of earthenware jars and pitchers, 
 grouped with wooden tubs, cloths, &c., are the 
 most choice subjects for the landscape student. The 
 colour and effect of light on those objects is very 
 beautiful, and offers great variety ; it is, moreover, 
 of that kind which appears in a natural scene. 
 One who is accustomed to make good sketches of 
 such materials will find but little difficulty in the 
 management of the pigments when sketching out of 
 doors. The different surfaces to be indicated, with 
 reflected lights, the depth and richness of the colour 
 in the dark parts, will make the student feel the 
 necessity of applying the opaque semi-transparent 
 and transparent pigments, according to their pecu¬ 
 liar properties: being familiar with these matters, 
 he will be stimulated to exercise his eyes and hands 
 by study hi the fields, and so engender ideas rela¬ 
 tive to art. 
 
 When the mind has admitted these ideas, it will 
 never rest until its servants, the hands and eyes, 
 have succeeded in satisfying it. 
 
 Some more particular allusion should perhaps be 
 D 2 
 
54 
 
 THE GUIDE TO 
 
 made to the opaque or Chinese white, as it is of 
 great assistance when tinted paper is used for 
 sketches. 
 
 The paper should be a very quiet tint as neutral 
 as possible, and either cool or warm in hue accord¬ 
 ing to the effect intended. The tint may be made 
 to serve for middle tint in light of buildings, stems 
 of trees, hanks, &c. If the high lights be warm, a 
 little ochre and pink madder may be mixed with 
 the white for clouds, and very small brilliant lights, 
 as white clothes, water, &c.; more ochre with burnt 
 umber added for the brightest parts of buildings; 
 in fact the lightest parts of the subject are painted 
 as usual, only a mixture of white and ochre is used 
 in forming the tints, instead of water alone. 
 
 If the opaque parts be two thick, when dry they 
 can be scraped with a knife, and, if need be, glazed 
 with colour. 
 
 The pure white may be used in the same way for 
 a cold effect. 
 
 In chalk drawings, the white chalk is better for 
 the lights, on account of its crumbling texture. 
 
 Charcoal is very effective for the expression of 
 objects in black and white; it has the advantage of 
 
WATER COLOUR PAINTING. 
 
 55 
 
 being easily removed by a toncli with a brush, for 
 alterations. The paper should be soft and absorbent, 
 and prepared by having a coat of thin isinglass size 
 spread over the surface upon which the drawing is 
 to be made; if this be done, the drawing, when 
 completed, may be fixed by subjecting the back of 
 it to the steam of a tea kettle; by this means the 
 heat is driven through the paper and melts the size, 
 which seizes the small particles of charcoal and 
 binds them as it dries. 
 
 It has been remarked how people grown invete¬ 
 rate in an ill practice of painting, are put out of 
 condition of doing anything, if they attempt to 
 reform by attention to rules and precepts of art. 
 This shows the necessity of selecting things of 
 merit, however simple they may be, for the study 
 of young beginners. It is extremely difficult to 
 overcome the bad manner acquired in imitating the 
 faults of the defective studies or lessons too fre¬ 
 quently thought good enough to place before a 
 beginner. 
 
 Every example which is not really good in its 
 way, ought to be rejected, since whatever is seen 
 continually, will, if bad, vitiate the taste—if good, 
 
56 
 
 THE GUIDE TO 
 
 improve it. Wrong impressions may be easily 
 received, but the force of habit is so great, that 
 their eradication is a work of extreme difficulty. 
 
 At the present day, every one desirous of attain¬ 
 ing skill in this art may procure fine engravings 
 and good drawings at less cost than was paid for 
 the most wretched things a few years back; and 
 the most earnest student may congratulate himself 
 on the advantages of having every source of in¬ 
 struction of a first-rate character readily open to 
 him. 
 
APPENDIX. 
 
 Although painting at once be urged on the 
 beginner, that he may not be bewildered with 
 thinking on a variety of mere mechanical aids, and 
 that he may preserve the freshness and trans¬ 
 parency of his colouring, yet it may be considered 
 necessary to remark on some of the processes 
 adopted in water colour painting. 
 
 A difficulty is sometimes experienced in laying 
 on the broad washes, so as to insure flatness or 
 evenness of tint, and leave particular forms, as 
 clouds, small brilliant lights in distance, &c. This 
 may be accomplished by painting in the lights 
 intended to be left with yolk of egg, previous to 
 commencing in colour. This having dried, the 
 
58 
 
 THE GUIDE TO 
 
 various tints may be carried over it freely, without 
 danger of disturbing it; the colour can be readily 
 removed from these places, by application of india 
 rubber or bread. This expedient is serviceable 
 where an object of a simple form is to be relieved 
 quite clear and sharp from its ground; but it will 
 be found that skies painted in this manner are apt 
 to appear hard and cutting in outline, without the 
 freedom, lightness, or blending in the forms so cha¬ 
 racteristic of nature. 
 
 Should it be found necessary to go over a draw¬ 
 ing again, it may be covered with a solution of 
 borax; this will prevent the second colouring from 
 rising or tarnishing the colours employed in the 
 first painting. Borax, however, is apt to change 
 vegetable colours. 
 
 The drawing papers are not always equally 
 good; it will be sometimes found that the colours 
 are too much absorbed, and appear dull in the parts 
 where they should be very strong and transparent. 
 Gum arabic dissolved in warm water will improve 
 the effect, by bringing out the colour, and giving 
 greater deptli and richness of tone. 
 
 Small lights in foliage, &c., may be removed by 
 
WATER COLOUR PAINTING. 
 
 59 
 
 rubbing with a cloth, after having wetted the 
 drawing*in the required forms with a hair pencil 
 dipped in water. This should be resorted to as 
 little as possible, for if too much dependence be 
 placed on this resource, a heavy woolly effect will 
 be the consequence. Lights on water and very 
 small streaky clouds in sky are sometimes taken out 
 with a knife made for the purpose. 
 
 Should a difficulty arise in keeping the various 
 tints moist, while painting in and blending on the 
 paper, some gum tragacanth may be kept dissolved 
 in a bottle and used with the colours. 
 
 In architectural subjects, where a good deal of 
 washing and sponging is resorted to, to insure large 
 flat masses of even tint, the outlines should be 
 drawn in with indelible brown ink, that the subject 
 may not be lost during these operations. 
 
 A good effect is produced in skies and distances, 
 by rubbing pummice stone powder over them with 
 a cloth; much colour is ground off and parts are 
 rendered more faint and delicate without losing 
 crispness. 
 
 If the paper work greasy, dissolve a piece of 
 ox-gall, the size of a pea, in a tumbler of water. 
 
60 
 
 WATER COLOUR PAINTING. 
 
 and use this solution with the colours, instead of 
 plain water. 
 
 Coloured crayons are of great service where the 
 effect of any particular colour on figures, &c., or 
 where greater brilliancy or quantity of light is to 
 be shown. This is sometimes very important at 
 the completion of a drawing; the trial is made in 
 an instant, and the chalk is easily removed with 
 bread. 
 
 It is an essential point to have water free from 
 ingredients prejudicial to colours. The purest and 
 best for the purpose are distilled and rain waters. 
 Mineral or spring waters are destructive to whites 
 or delicate vegetable colours. 
 
 FINIS. 
 
(iEO. ROWNEY & GO.’ s 
 
 LIST OF MATERIALS 
 
 FOR 
 
 ©RAWSit AH® 
 
 51, RATHBONE PLACE, 
 LONDON. 
 
 Water Colours, in Cakes, or in Moist Colour. 
 
 PREPARED IN A SUPERIOR MANNER. 
 
 S. d. 
 
 Ultramarine ... ... 21 0 
 
 Deep Hose ... ... 7 0 
 
 Pure Scarlet ... .,. 5 0 
 
 Carmine ... ... 5 0 
 
 Burnt ditto ... ... 5 0 
 
 Mars Orange ... 5 0 
 
 Smalt ... ... ... 5 o 
 
 Purple Madder ... 5 0 
 
 Gallstone ... ... 5 o 
 
 Madder Lake, or Pink Madder 3 0 
 
 Intense Blue... ... 3 0 
 
 Lemon Yellow ... ... 2 0 
 
 Const. Blue, or French Ultra 2 0 
 
 s. d. 
 
 Cobalt Blue ... ... 2 0 
 
 Azure Blue ... ... 2 0 
 
 Crimson Lake ... ... 1 6 
 
 Scarlet ditto ... ... 1 C 
 
 Indian Yellow ... ... 1 6 
 
 Sepia ... ... 1 6 
 
 Warm ditto ... ... 1 6 
 
 Madder Brown ,.. 1 6 
 
 Permanent White ... ... 1 6 
 
 Mars Yellow ... 16 
 
 Scarlet Vermillion ... ... 1 6 
 
 Permanent Blue ... 16 
 
 Chinese White ... ... 1 6 
 
 Purple 
 Ditto Lake 
 Vermillion 
 Indian Red 
 Venetian Red 
 Light Red 
 Red Lead, or ) 
 Orange Mineral ] 
 OraDge Orpiment 
 Chrome, 1, 2, 3 
 King’s Yellow 
 Naples Yellow 
 Gamboge 
 Italian Pink 
 
 Is. EACH. 
 
 Brown Pink 
 Yellow Lake 
 Yellow Ochre 
 Italian ditto 
 Roman ditto 
 Brown ditto 
 Raw Umber 
 Burnt ditto 
 Raw Sienna 
 Burnt ditto 
 Vandyke Brown 
 Bistre 
 
 Cologne Earth 
 Payne’s Grey 
 Neutral Tint 
 
 Ivory Black 
 Lamp ditto 
 Blue ditto 
 Indigo 
 
 Prussian Blue 
 Antwerp Blue 
 Blue Verditer 
 Emerald Green 
 Verdigris 
 Olive Green 
 Hooker’s Green, I 
 and 2 
 
 Prussian Green 
 Sap Green 
 Flake White 
 
 All the above are Manufactured of the 
 Quarter Cakes. 
 
 same quality in Half and 
 
 Moist Wafer Colours same price in the Half Cakes. 
 
2 
 
 GEO. ROWNEY k. CO .’ 3 
 
 3d. IMPROVED WATER COLOURS, 
 
 OF THE SAME QUALITY AS THE LARGE CAKES OF COLOUR, MANUFAC¬ 
 TURED ONLY AT THEIR ESTABLISHMENT. 
 
 Purple 
 Indian Red 
 Lig-ht Red 
 Venetian Red 
 Vermillion 
 
 Red Lead or Orange 
 Mineral 
 
 Orange Orpiment 
 Chrome, 1, 2, 3 
 King’s Yellow 
 Naple’s Yellow 
 Gamboge 
 Italian Pink 
 Brown Pink 
 
 3d. EACH. 
 
 Yellow Lake 
 Yellow Oker 
 Roman Oker 
 Brown Oker 
 Raw Umber 
 Burnt Umber 
 Raw Sienna 
 Burnt Sienna 
 Vandyke Brown 
 Bistre 
 
 Cologne Earth 
 Ivory Black 
 Lamp Black 
 Blue Black 
 
 Neutral Tint 
 Payne’s Grey 
 Indigo 
 
 Prussian Blue 
 Antwerp Blue 
 Blue Verditer 
 Emerald Green 
 Verdegris 
 Olive Green 
 Hooker’s Green, 
 1 , 2 
 
 Prussian Green 
 Sap Green 
 Flake White 
 
 The following are Extra Colours, with Prices annexed: 
 
 4M EACH. 
 
 Crimson Lake 
 Scarlet Lake 
 Indian Yellow 
 Sepia 
 
 Lemon Yellow 
 Cobalt Blue 
 
 Warm Sepia 
 Madder Brown 
 Permanent White 
 Chinese White 
 
 6d. EACH. 
 
 Mars Yellow 
 Scarlet Vermillion 
 Permanent Blue 
 Italian Ultramarine 
 
 Constant Blue or French Ultra. 
 Azure Blue 
 
 Madder Lake 
 
 Pure Scarlet 
 Carmine 
 Burnt Carmine 
 
 Deep Rose, Is. 9d. 
 
 9d. EACH. 
 
 Rose Madder 
 
 Is. 3d. EACH. 
 
 Dahlia Carmine 
 Smalt 
 
 Purple Madder 
 
 Intense Blue 
 
 Gallstone 
 Mars Orange 
 Cadmium Yellow 
 
 Ultramarine, 5s. 3d. 
 
3 
 
 GEO. ROWNEY k CO.’ s 
 
 MOIST WATER COLOURS IN' TUBE. 
 
 The mode of preparing these Colours renders them a most valuable Improve¬ 
 ment over all others. By this method the Colours are always fit for use, 
 and may be pressed out of the tube in a body, while they possess greater 
 brilliancy and depth than any others. The troublesome process of rubbing 
 the Colour on the Palette is avoided. No waste is incurred by breaking, as 
 in the Cake. They will keep any length of time without drying up or spoiling, 
 as do most preparations of moist Colours. And the very general practice 
 which prevails of mixing the Tints with the Brush on the Colours them¬ 
 selves, and which so much deteriorates from their purity and brilliancy, is 
 rendered impossible, by the Colours being kept separate, and only so much 
 as is required at the time being placed on the Palette. 
 
 All the Colours are prepared in the above manner, and are sold at the 
 same prices as the Cakes, and they may be had either singly or in Boxes 
 appropriately fitted. 
 
 MOIST WATER COLOURS IN PANS. 
 
 Prepared in the same manner as the above, warranted to keep moist for 
 
 any length of time. 
 
 A variety of Novel and Useful Inventions for the convenience of Sketching. 
 
 PREPARED 
 
 FOR PAINTING ON GLASS, 
 
 AS USED FOR THE 
 
 DISSOLVING VIEWS AT THE ROYAL POLYTECHNIC INSTITUTION; 
 
 INVENTED AND MANUFACTURED BY 
 
 GEORGE ROWNEY & CO. 
 
 The following Testimonial from C. Smith, Esq., the Artist engaged by 
 
4 
 
 the Royal Polytechnic Institution, will sufficiently indicate the value of the 
 above Colours: 
 
 October 29th, 1848. 
 
 Messrs. Rowney & Co. 
 
 Gentlemen, 
 
 I have tried your New Preparations of moist 
 Colour for Glass Painting, and find them far superior to any I 
 have hitherto used, as they work with a neatness and facility that 
 could not be attained by the usual mode of Oil and Varnish Co¬ 
 lours, and to which they are in every respect preferable; those 
 who Paint on Glass will find them a valuable acquisition. 
 
 I am, Gentlemen, 
 
 Yours, truly, 
 
 30, Tavistock Street, CHARLES SMITH. 
 
 Covent Garden. 
 
 DIRECTIONS FOR USE. 
 
 The Outline to be traced or drawn on the Glass with Intense Brown, 
 thinned with sufficient water to make it flow freely from the brush. When 
 dry, pass a thin coat of Yarnish over it, which will prevent the Outline from 
 being’ disturbed by the subsequent Paintings. It is better when using the 
 Varnish for the Glass to be very slightly warm, otherwise the Varnish may 
 chill. 
 
 As the Varnish dries instantly, the Painting is not retarded, and the tints 
 of colour may be then put in as evenly as possible, and without mixing the 
 different Colours more than necessary. This second Painting, whfin dry, to 
 be Varnished, after which the shading and finishing touches to be added, 
 and another coat of Varnish completes the whole. 
 
 The Colours throughout to be thinned only with water. 
 
 This Invention places the Art of Painting on Glass within the power of 
 any one possessing a moderate knowledge of Drawing; while the old pre¬ 
 paration of Varnish Colours placed difficulties in the way of the most 
 practised Artists. In addition to which, the time saved by this new process 
 is considerable, and the beauty and clearness of the Paintings is much 
 increased. 
 
 List of the Colours. 
 
 (PREPARED IN METALLIC TUBES.) 
 
 Pink 
 
 
 s. 
 
 - 3 
 
 d. 
 
 0 
 
 Light Green 
 
 . 
 
 s. 
 
 - 1 
 
 d. 
 
 0 
 
 Crimson 
 
 - 
 
 1 
 
 0 
 
 Dark Green - 
 
 - 
 
 1 
 
 II 
 
 Orange 
 
 - 
 
 - 1 
 
 0 
 
 Light Yellow 
 
 - 
 
 - 1 
 
 0 
 
 Opaque Black 
 
 - 
 
 1 
 
 0 
 
 Dark Yellow - 
 
 - 
 
 5 
 
 0 
 
 Light Blue 
 
 . 
 
 - 1 
 
 0 
 
 Warm Brown 
 
 - 
 
 - 1 
 
 6 
 
 Dark Blue 
 
 - 
 
 1 
 
 0 
 
 Intense Brown 
 
 - 
 
 I 
 
 C 
 
 Varnish, Is. per Bottle. 
 
 Box of the above, containing Palette and Brushes, 25s. 
 
5 
 
 Harding’s Tints for Miniature Painting. 
 
 Each. 
 
 s. d. 
 
 Fair Complexion 
 Dark Ditto 
 Carnation 
 Auburn 
 
 s. d. 
 
 Demi Tint \ 
 Shadow Colour log 
 Intense Sepia l 
 Light Amber ' 
 
 s. d. 
 
 Dark Amber \ 
 Imperial Blue >30 
 Deep Blue ) 
 Marone Crimson 5 0 
 
 Morocco Boxes, containing the first six colours, with Sable Brushes 
 in Ivory Cases ... ... ••• ••• ••• 21 0 
 
 Ditto, ditto, containing the twelve colours, with ditto .... 42 0 
 
 Holland’s Tints for Flower Painting. 
 
 Prepared only by G. Kowney & Co. 
 
 Damask 
 
 s. 
 
 \ 3 
 
 d. 
 
 0 
 
 Blue, No. 2 
 
 s. d. 
 
 \ 
 
 Brown 
 
 Bright Orange... 
 Hose Tint 
 
 L. 
 
 0 
 
 Yellow 
 
 Yellow Green 
 
 1 ° 
 
 Shade for White 
 Ditto for Yello w 
 
 Blue, No. 1 
 
 .. l 
 
 0 
 
 Dark Green 
 
 ) 
 
 White 
 
 Box of the above complete, 21s. 
 
 s. d. 
 I 0 
 
 Varley’s Tints for Landscape Painting. 
 
 
 s. d. 
 
 
 s. 
 
 d. 
 
 Pure Green 
 
 ... \ 
 
 Dark Warm Green, No. 1 
 
 
 
 Warm Grey 
 Purple ditto 
 
 ... | 1 0 
 
 Warm Green, No. 2 
 Orange 
 
 S 1 
 
 0 
 
 Neutral Tint ... ... ) 
 
 
 
 
 Box of the above complete, 12s. 
 
 
 
 
 Boxes of Water Colours. 
 
 
 
 
 
 
 s. 
 
 d. 
 
 Sliding Top 
 Ditto 
 
 Boxes, with six half cakes 
 
 ... 3 
 
 6 
 
 twelve ditto 
 
 
 6 
 
 0 
 
 Ditto 
 
 six whole ditto 
 
 ... 5 
 
 0 
 
 Ditto 
 
 twelve ditto 
 
 
 10 
 
 6 
 
 Ditto 
 
 eighteen ditto ,i. 
 
 .. 15 
 
 0 
 
 Ditto 
 
 twenty-four cakes 
 
 20 
 
 0 
 
 Lock Boxes 
 
 twelve cakes, pencil, &c. 
 
 , French polished ... 
 
 .. 14 
 
 0 
 
 Ditto, 
 
 with drawers, ,, 
 
 
 16 
 
 0 
 
 Ditto 
 
 eighteen 
 
 »» »» ••• 
 
 ... 21 
 
 0 
 
 Lock and Drawer Boxes, twelve cakes, complete, with Ink Stone, Wa¬ 
 ter Glass, &c., &c., French polished ... ... ...21 0 
 
 Ditto eighteen, complete, with ditto 30 0 
 
 Ditto twenty-four, complete, with „ ... 42 0 
 
 Handsome Caddy Lid Polished Spanish Mahogany Boxe3, twelve 
 
 cakes and extra fittings ... ... ...35 0 
 
 Ditto eighteen, ditto ditto 52 6 
 
 Ditto twenty-four „ „ 63 0 
 
 Ditto Hosewood ditto, twelve „ „ 45 0 
 
 Ditto „ „ eighteen „ „ 60 0 
 
 Ditto ,, „ twenty-four ,, ,, 80 0 
 
 A variety of handsome Boxes inlaid, &c., from 42s. to £10.10s. 
 
G 
 
 ROWNEY & Co’s CUMBERLAND LEAD PENCILS, 
 
 MANUFACTURED OF THE GENUINE PLUMBAGO. 
 
 H—Hard 
 HH—Harder ... 
 
 HHH-Very Hard ... 
 
 HHHH—Extra Hard 
 HB—Hard and Black 
 F—•Middling' Degree 
 B—Black, for Shading 
 BB—Very Black, for ditto 
 
 *. d. 
 
 EHB —Extra Hard and Black ... ... ... o 9 
 
 FF—VeryEine. Extra EHB. Extra BB. Extra HH ... 1 0 
 
 BBBB—Each ... ... ... ... "... 2 0 
 
 The last Jive Pencils are made at the suggestion of several Artists of 
 
 eminence , are particularly well adapted for the present improved style of 
 pencil drawing , and have a greater body of lead. 
 
 Pencils of various sizes for Pocket Books, &c., \d., and 2d. each. 
 
 THE IMPROVED 
 
 BLACK LEAD PENCILS, 
 
 MANUFACTURED BY 
 
 GEORGE ROWNEY & COMPANY. 
 
 pr) Appointment 
 
 TO HER MAJESTY’S STATIONERY OFFICES AND SCHOOLS OF 
 
 DESIGN, ETC. 
 
 —-♦- 
 
 The following are the. different Degrees , with the Distinguishing Letters 
 indicating the purposes for which the before-mentioned Pencils may be 
 applied. 
 
 PI 
 
 HH 
 
 HHH 
 
 HHHH 
 
 HB 
 
 B 
 
 BB 
 
 F 
 
 EHB 
 
 DEHB 
 
 FF 
 
 BBB 
 
 Hard for Sketching 
 Harder, for Outlines 
 Very Hard, for Architects 
 Extra Hard, lor Engineers 
 Hard and Black 
 Black, for Shading 
 Softer, and very Black 
 Firm, for Ordinary Drawing 
 
 3d. each, 
 or 
 
 2 s. 6d. doz. 
 
 EXTEA LETTERS MOST CAREFULLY PREPARED. 
 
 Extra Hard and Black 
 Ditto ditto Extra Thick Lead 
 Very Firm and Double Thick Lead 
 Softer and very Black Double Lead 
 
 6 d. each, 
 or 
 
 5s. doz. 
 
 BBBBBBB Very Broad and Black, for large, hold Pencil) Is. each. 
 
 Drawing j or 10s. dozen 
 
7 
 
 G. R. Sf Co. 
 
 in submitting their New Improved Blade Lead Pencils to the 
 profession, call particular attention to their elegance , cheapness, 
 and, above all, to their superior quality, and beg to subjoin the 
 following 
 
 TESTIMONIALS:— 
 
 9, Radnor Place, Hyde Park, 
 
 24 th July, 1848. 
 
 Gentlemen,—I have from the first used your Improved Draw¬ 
 ing Pencils, considering them by far the best manufactured. I 
 recommend all my friends and pupils to use them, and have much 
 pleasure in giving this Testimonial of their quality. 
 
 Yours faithfully, 
 
 Messrs. G. Rowney Sf Co. T. M. Richardson. 
 
 17, Cambridge Terrace, 
 
 nth July, 1848. 
 
 Gentlemen,—I have much pleasure in bearing my Testimony to 
 the excellence of your Black Lead Pencils; I have found them in 
 every respect satisfactory. 
 
 I am, Gentlemen, your obedient Servant, 
 
 Messrs. Rowney Co. James E. Doyle. 
 
 36, Mornington Crescent, 
 
 July 4th, 1848. 
 
 Gentlemen,—I have great pleasure in adding my Testimony to 
 the superior quality of your Black Lead Pencils. 
 
 Although my use for the lead pencil is very limited, I have no 
 hesitation in saying, I never found any work with such unvarying 
 evenness of line and tone. 
 
 I am, Gentlemen, your obedient Servant, 
 
 Jno. Richd. Pickersgill, a.r.a. 
 
 To Messrs. G. Rowney Sf Co. 
 
8 
 
 16, Albert Street, Mornington Crescent, 
 
 July 2nd, 1848. 
 
 Gentlemen,—In answer to yours of the 30th, I beg to say I 
 have found your Improved Black Lead Pencils everything that 
 could be wished for my purposes. 
 
 For keeping their point and being free from grit, they are cer¬ 
 tainly superior to any I have yet tried. 
 
 I am, Gentlemen, your obedient Servant, 
 Messrs. G. Rowney Sf Co. Fred. Goodall. 
 
 ' 4, Augustus Square, Regents Park, 
 
 July 1st, 1848. 
 
 Gentlemen,—I find your Pencils almost universally used among 
 my pupils, and I may add, I know of no better manufactured. 
 
 Yours truly, 
 
 To Messrs. Rowney Sf Co. Geo. Harley. 
 
 Streatham Place, Brixton Hill, 
 
 July 10 th, 1848. 
 
 Gentlemen,—I have been in the habit of using your Improved 
 Lead Pencils for some time, and find them, for my purpose, 
 superior to any other. They combine richness of colour with a 
 firm point, and do not break in using. 
 
 I am, Gentlemen, yours truly, 
 
 Messrs. Rowney Sf Co. David Cox, Jun. 
 
 10, South Parade, Bromplon, 
 
 July 6 th, 1848. 
 
 Gentlemen,—With much pleasure I send you my opinion upon 
 the qualities of your Lead Pencils. I consider they contain the 
 very qualities that artists and amateurs have so long desired, viz., 
 an easy control over them, which is not accomplished in the use 
 of other lead pencils. In addition to this, they do not rub and 
 smear so easily as other lead pencils. Since I first purchased your 
 pencils I have used no other, nor will my pupils, in whom there is 
 not one dissentient voice. The perfection of a lead pencil is in 
 its affinity to the paper and obedience to the will and the fingers. 
 You are perfectly at liberty to make use of this, my Testimonial, 
 in favour of your excellent Lead Pencils. 
 
 I am, Gentlemen, truly yours, 
 
 Geo. R. Lewis. 
 
 Messrs. Rowney Sf Co. 
 
9 
 
 From T. M. Richardson, Sen., Esa., New castle-on-Tyne. 
 
 53, Blackett-street, Newcastle-on-Tyne. 
 
 Gentlemen— I have made use of your New Pencils, and 
 consider them a most desirable acquisition either to the Artist 
 or to the Amateur. They work pleasantly, and the variety of 
 tint which they are capable of producing renders them valuable 
 in sketching. 
 
 I am, Gentlemen, yours most truly, 
 
 Messrs. Rowney Sf Co., Thos. M. Richardson, Sen. 
 
 London. 
 
 Old Brampton, 20 th June, 1848. 
 
 Gentlemen,—I like your Pencils better and better the more I 
 use them ; they are in all respects excellent; since I have first tried 
 them I have used no other. 
 
 Yours, &c., 
 
 Messrs. Rowney 8f Co. H. W. Hulme. 
 
 18, Oxford Terrace, 30 th June, 1848. 
 
 Mr. Runciman presents his compliments to Messrs. Rojvney 
 & Co., and has no hesitation in stating that he considers their 
 Improved Pencils equal to the best Pencils that are made, and in 
 some respects far superior; and as the cost of them is so much 
 less than those of other manufacturers, Mr. R. of course uses only 
 those of Messrs. R. & Co. 
 
 Messrs. Rowney 8f Co. 
 
 From G. Barnard, Esa., Head Drawing Master of Rugby 
 
 School. 
 
 85, Great Portland Street, London. 
 
 Gentlemen,—In reply to your enquiry respecting my opinion of 
 the quality and value of your new Pencils, I do not hesitate to say 
 that I find them excellent in all respects, with entire freedom from 
 grit, and working well, whether hard or soft; these qualities, com¬ 
 bined with their moderate price, render them very valuable to 
 artists and their pupils. 
 
 I am, Gentlemen, truly yours, 
 
 G. Barnard. 
 
 Messrs. Rowney Sf Co. 
 
10 
 
 From J. A. Hammersley, Esq,., Head Drawing Master of the 
 Government School of Design, Nottingham. 
 
 Dear Sirs,—I have tried all the Lead Pencils you forwarded to 
 me, and consider them the best I have ever had ; indeed it is im¬ 
 possible justly to compare them with any others, as they possess 
 qualities I never yet found in Pencils, amongst which I may name 
 their beautiful transparency and clearness. I have not only made 
 use of them myself, but have had them tried by several students in 
 this Institution, and their excellence is acknowledged by mv dudUs 
 The BBB’s are most superb Pencils. 
 
 __ I am, Sirs, yours most respectfully, 
 
 Messrs. Rowney 8f Co. J. A . Hammersley. 
 
 From G. Petrie, Esq., Vice President of the Royal Hibernian 
 
 Academy. 
 
 Great Charles-street. 
 
 Gentlemen—I have tried the set of Pencils which you were 
 so good as to send me, and I have no hesitation in expressing 
 my opinion, that they are far superior to any that I have used 
 for many years, perhaps indeed to any that I ever used. Were 
 the price of them three or four times what it is, I should take 
 them with pleasure; and I shall recommend them confidently 
 to my friends. 
 
 I am, Gentlemen, faithfully yours, 
 Messrs . Rowney fy Co . George Petrie, r.h.a* 
 
 4, Berner Street, Oxford Street, 
 
 July 19th, 1848. 
 
 Dear Sirs,—I feel pleasure in stating I consider your Lead Pen¬ 
 cils the best in quality I have ever used. The BB is most useful 
 for preserving freedom in outline. 
 
 Truly yours, 
 
 Messrs. G. Rowney Co. , M. 0‘Connor. 
 
 From Henry Worsley, Esq., 119, Great Portland Street. 
 
 Gentlemen, I have used your New Pencils for various purposes, 
 and find them excellent for all. Combined with the price, their 
 qualities cannot fail to make them an acquisition to artists and the 
 public generally. I shall feel much pleasure in recommending them. 
 
 I am, Gentlemen, obediently yours, 
 Messrs. Roivney Co, Henry Worsley. 
 
11 
 
 120, Baggot-street, Dublin. 
 Gentlemen—The Pencils you sent me I have tried, and found 
 them to answer remarkably well for general use. The Pencil 
 marked BB is particularly good for bold Drawing. 
 
 I am, your’s truly, 
 
 Messrs. Rowneg 8f Co. William Brocas. 
 
 From W. G. Herdman, Esa., Secretary of the Society of Arts, 
 
 Liverpool. 
 
 6, Lansdowne Place, Everton, 6th March, 1847. 
 
 I have tried the Pencils manufactured by Messrs. Rowney & 
 Co., and find them most free and pleasant to work with; and 
 capable of producing great depth and richness of effect. 
 
 William Gawin Herdman. 
 
 Midland Great Western Railway. 
 
 Engineers' Department, Feb. 20th, 1847. 
 
 I beg to certify that I highly approve of Messrs. G. Rowney & 
 Co.’s Pencils for engineering drawings. They are extensively used 
 in my office and in the field, by my assistants, and are greatly pre¬ 
 ferred to all other sorts, both for durability, economy, and cleanli¬ 
 ness. 
 
 Geo. Hemans, 
 
 Messrs. Rowney <Sy Co. Chief Engineer to M. G. W. Railway. 
 
 From the London Art Union. 
 
 “We have recently tried some Lead Pencils manufactured by 
 Messrs. Rowney & Co., which we confidently recommend. Their 
 quality is good, both as respects colour and firmness; they are 
 free from grit, do not easily break, and moreover are remarkably 
 cheap.” 
 
 -4- 
 
 THE IMPROVED PENCILS MAY BE HAD IN SETS AS 
 FOLLOWS 
 
 s. d. 
 
 7 Pencils in Roan Case - - - - - 2 6 
 
 7 Ditto in ditto divided and lettered - - -30 
 
 7 Ditto in Embossed Gilt Morocco Case - - -50 
 
 12 Ditto a Full Set, comprising 4 Extra Letters, in Roan Case, 1 5 q 
 
 divided and lettered - - - - ) 
 
 12 Ditto ditto in Embossed Gilt Morocco Case, -70 
 
 CAUTION. 
 
 The Public are respectfully requested to observe that the name of “ George 
 Rowney <$ Campy'' is stamped on each Pencil; as their unprecedented suc¬ 
 cess has induced other manufacturers to imitate them in their outward 
 appearance, as the means of selling an inferior article, to the injury of the 
 character established by Messrs. R. & Co'., for their Pencils. 
 
12 
 
 Crayons and Chalks. 
 
 French Coloured Crayons, 2d. each \ These may be had in Boxes of various 
 Indelible ... ... 4 d. „ > descriptions containing- 1, 2, or 3 
 
 Swiss ... ... 6 d. ,, ) Dozen 
 
 Complete set of Swiss Crayons in box, 144 Shades ... £3 10 0 
 
 Coloured Crayons in Cedar ... ... ... ... 3d. each 
 
 Black, Red, and White Chalk Pencils ... ... 3d. „ 
 
 Indian Rubber Pencils ... ... ... ... 6 d. „ 
 
 Creta Laevis Pencils ... ... ... ... 6 d. „ 
 
 Per Doz. s. d. 
 
 ContS Crayons Nos. 12&3, square 0 8 
 Ditto Nos. 1 & 2, round 1 0 
 
 Per oz. 
 
 Black Italian Chalk... ... 1 0 
 
 Ditto French ... ... 10 
 
 Per Doz. s. d. 
 
 Conte Crayons Glazed, round... 2 0 
 Ditto White ditto 1 0 
 
 White Chalk 
 Red 
 
 Per oz. 
 
 0 10 
 0 8 
 
 Charcoal and Pipe-clay Crayons 2d. per Dozen, 
 
 ROWNEY’S ROYAL ACADEMY BLACK CHALKS, 
 
 3 degrees, 6d. per dozen. 
 
 Brushes for Water 
 
 Per Doz. s. d. 
 
 Superfine Camel, sorted sizes 1 0 
 
 Small Swan Quill „ 3 0 
 
 Large ditto „ 4 0 
 
 French Camels „ 3 0 
 
 Ditto, from 8 d. to 2s. each 
 Ditto in tin, from 6 d. to Is. 6 d. each 
 Flat Camels in tin, from 6 d. to 3s. „ 
 Round ditto „ id. to 2s. „ 
 
 Miniature Camels, each id. 
 
 Ditto Sables, each 6 d. 
 
 Flat Sables in tin. Brown for Minia¬ 
 ture Painting, each Is. 
 
 Round ditto, ditto, each Is. 
 
 Colour Drawing, &c. 
 
 Red Sables, Crow Quill, each 5 d. 
 Ditto Duck „ „ 8 d. 
 
 Ditto Goose „ „ 10<f. 
 
 Ditto in tin from 6 d. to 2s. 
 
 Brown ditto, Crow Quill, „ 5 d. 
 
 Ditto Duck „ „ 8 d. 
 
 Ditto Goose „ „ lOrf. 
 
 French ditto, Crow Quill,, 10d. 
 Ditto Duck „ ,, Is. 
 
 Ditto Goose „ „ Is. 3d. 
 
 Ditto Large „ „ Is. 2d. 
 
 Swan Quill, 3s. 6 d. 4s. 6 d. & 6 s. each 
 Eagle ditto, large,7s. 6 d., 9s., 10s. 6 d., 
 12s. 6 <L, 21s., and 31s. 6 d. each. 
 
 Whatman’s 
 
 Drawing Papers, &c. 
 
 Plain or 
 
 s. 
 
 d. 
 
 Demy, 20 by 15 ... 
 
 per Sheet, 
 
 hot pressed 
 
 0 
 
 24 
 
 Medium, 22 by 17 
 
 •• ••• >» 
 
 99 • •• 
 
 0 
 
 3 
 
 Royal, 24 by 19 ... 
 
 • •• J) 
 
 99 ••• 
 
 0 
 
 4 
 
 Super Royal, 27 by 19 
 
 •• 99 
 
 99 ••• 
 
 0 
 
 5 
 
 Imperial, 30 by 21 
 
 ••• !> 
 
 99 ••• 
 
 0 
 
 6 
 
 Columbier, 34 by 23 ... 
 
 • • 99 
 
 99 ••• 
 
 0 
 
 8 
 
 Atlas, 33 by 26 ... 
 
 ••• 99 
 
 99 ••• 
 
 0 
 
 8 
 
 Double Elephant, 40 by 26 
 
 •• ••• ** 
 
 99 ••• 
 
 0 
 
 9 
 
 Antiquarian, 52 by 31 
 
 • •• M 
 
 99 ••• 
 
 3 
 
 6 
 
 Harding’s Pure Drawing Paper, Imperial, 30 by 21 
 
 »* ••• 
 
 0 
 
 6 
 
 Ditto ,, Tablet 
 
 Extra Stout Royal 
 
 it 99 99 
 
 99 ••• 
 
 1 
 
 0 
 
 ••• 99 
 
 99 
 
 0 
 
 8 
 
 Stout Imperial 
 
 •• ••• >» 
 
 99 ••• 
 
 0 
 
 8 
 
 Extra Stout ditto 
 
 • •• ** 
 
 99 ••• 
 
 1 
 
 0 
 
 Royal Cartridge Smooth 
 
 •• ••• 99 
 
 99 ••• 
 
 0 
 
 3 
 
 Imperial ditto „ 
 
 ••• 99 
 
 99 ••• 
 
 0 
 
 5 
 
 Royal „ Rough 
 
 •• ••• »» 
 
 99 ••• 
 
 0 
 
 5 
 
 Imperial „ „ 
 
 • •• 99 
 
 99 ••• 
 
 0 
 
 6 
 
13 
 
 Imperial Crayon Paper, various Tints 
 Ditto Machine „ 
 
 French Tracing Paper 
 Double Crown ,, 
 
 Black ditto 
 
 Tissue Paper, Double Crown 
 
 8. d. 
 0 5 
 0 5 
 0 6 
 0 4 
 0 4 
 1 0 
 
 Turnbull’s London Boards, &c. 
 
 
 2 Sht. 
 
 3 Sht. 
 
 4 Sht. 
 
 6 
 
 Sht 
 
 Foolscap 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 0 
 
 4 
 
 0 
 
 6 
 
 0 
 
 8 
 
 1 
 
 0 
 
 Demy 
 
 0 
 
 6 
 
 0 
 
 9 
 
 1 
 
 0 
 
 1 
 
 6 
 
 Medium 
 
 0 
 
 8 
 
 X 
 
 0 
 
 1 
 
 4 
 
 2 
 
 0 
 
 Boyal ... 
 
 0 
 
 10 
 
 1 
 
 3 
 
 1 
 
 8 
 
 2 
 
 6 
 
 Super Boyal ... ... ... 
 
 1 
 
 0 
 
 1 
 
 6 
 
 2 
 
 0 
 
 3 
 
 0 
 
 Imperial 
 
 1 
 
 6 
 
 2 
 
 3 
 
 3 
 
 0 
 
 4 
 
 6 
 
 Boyal Crayon Boards 
 
 0 
 
 8 
 
 1 
 
 0 
 
 
 
 
 Imperial ' ditto 
 
 1 
 
 0 
 
 1 
 
 6 
 
 
 
 
 
 Boards for mounting Drawings, <£c., about half the above prices. 
 
 Sketch Books. 
 
 Octavo Demy, 7 by 4^ in.each 
 „ Medium, 8 by 5 ,, 
 
 „ Boyal, 9 by 54 „ 
 
 „ Imperial, 10 by 7 „ 
 Quarto Demy, 9| by 7 ,, 
 
 ,, Medium, 104 by 8 ,, 
 
 ,, Boyal 114 by 9 „ 
 
 „ Super Boyal, 13 by 9 
 „ Imperial, 14 by 10 
 
 half bnd 
 40 leaves. 
 s. d. 
 
 2 0 
 2 6 
 
 3 0 
 
 4 6 
 
 3 6 
 
 4 9 
 6 0 
 
 7 3 
 
 8 9 
 
 stitched 
 22 leaves. 
 s. d. 
 
 0 6 
 1 9 
 1 0 
 1 6 
 
 1 3 
 1 6 
 
 2 0 
 2 6 
 3 6 
 
 cm. h. bd. 
 22 leaves. 
 s. d. 
 
 1 2 
 
 1 4 
 1 8 
 
 2 3 
 2 0 
 
 2 3 
 
 3 0 
 
 3 6 
 
 4 6 
 
 extra with 
 Tissue paper 
 
 The above half bound books may be had with clasps 6d. extra. 
 
 Half Demy, 
 
 Portfolios. 
 
 Each 
 
 s. 
 
 with Flaps 
 
 d. x. d. 
 
 15 by 10 inches 
 
 ... 2 
 
 8 
 
 4 8 
 
 Quarto Imperial 
 
 15 „ 11 ... 
 
 3 
 
 0 
 
 5 0 
 
 Music size 
 
 16 „ 11 
 
 ... 3 
 
 0 
 
 5 0 
 
 Ditto with bars 
 
 16 „ 11 ... 
 
 4 
 
 6 
 
 6 6 
 
 Half Medium 
 
 17 .. 14 
 
 ... 3 
 
 3 
 
 5 3 
 
 Half Super Boyal 
 
 19 .. 13 ... 
 
 4 
 
 9 
 
 7 0 
 
 Demy 
 
 20 „ 15 
 
 ... 5 
 
 6 
 
 8 0 
 
 Medium 
 
 22 „ 17 ... 
 
 6 
 
 3 
 
 9 3 
 
 Boyal 
 
 24 19 
 
 ... 7 
 
 6 
 
 11 6 
 
 Super Boyal 
 
 27 „ 19 ... 
 
 12 
 
 0 
 
 17 0 
 
 Imperial' 
 
 29 „ 21 
 
 ... 16 
 
 6 
 
 21 0 
 
 Large Atlas 
 
 33 „ 26 ... 
 
 18 
 
 6 
 
 24 6 
 
14 
 
 
 Mahogany Drawing Boards, &c. 
 
 Each. 
 
 a. 
 
 d. 
 
 Quarto Royal, 
 
 10 J by 8 inches 
 
 ... 5 
 
 0 
 
 „ Imperial 
 
 13 ,, 9^ ... ... ... 
 
 6 
 
 6 
 
 Demy 
 
 18 „ I3A 
 
 17A„ 10| 
 
 ... 10 
 
 0 
 
 Half Royal 
 
 8 
 
 0 
 
 ,, Imperial 
 Medium 
 
 19|„ 13i 
 
 ... 10 
 
 0 
 
 20 „ 15i 
 
 12 
 
 0 
 
 Royal 
 
 22 j„ 17i 
 
 ... 15 
 
 0 
 
 Imperial 
 
 28 „ 19 
 
 20 
 
 0 
 
 Deal Clamped Drawing Boards, from Octavo Imperial, Is. each, to Anti¬ 
 quarian size, 21 s. 
 
 Materials for Sketching. 
 
 Each. s. d. 
 
 Octavo Imperial Sketching Folios ... ... ... ... 4 6 
 
 Quarto Royal ditto ... ... ... ... 5 0 
 
 „ Imperial ... ... ... ... ... 6 6 
 
 Octavo Royal Blocks, 32 Sheets stout Drawing Paper ... ... 3 0 
 
 „ Imperial ditto „ „ . ... 4 0 
 
 Quarto Royal „ „ „ „ ... ... 5 0 
 
 „ Imperial „ „ „ . ... 6 6 
 
 Octavo Royal Tablets, 32 Sheets stout Drawing Paper, Pocket Port¬ 
 folios ,, ,, ,, ,, ... ... 4 6 
 
 „ Imperial ditto ,, „ „ ... ... 6 0 
 
 Quarto Royal „ „ „ „ ... ... 7 6 
 
 ,, Imperial „ „ „ „ ... ... 10 0 
 
 Japan Sketching Boxes, fitted with moist colours to any arrangement, 
 
 from 7s. 6 d. to 42s. 
 
 Improved Portable Dippers with screw ... ... ... 3 0 
 
 Sketching Tools, 18 inches, with seat ... ... 4s. 0 d. and 6 6 
 
 „ 21 ditto ... ... 5s. 6 d. and 7 0 
 
 „ 25 „ ... ... 6s. Od. and 7 6 
 
 Patent ditto, with ditto enclosed, 2s. 6o', extra 
 
 Plain Top Sketching Sticks ... ... ... ... 8 0 
 
 Screw Top ditto ... ... ... ... ... 10 0 
 
 ,, ditto with hook ... ... ... ... 12 0 
 
 Miscellaneous for Water Colour Painting, &c. 
 
 
 s. 
 
 d. 
 
 Permanent Chinese 
 
 White in 
 
 
 Bottles 
 
 ... 1 
 
 6 
 
 Ox Gall in Pots 
 
 1 
 
 0 
 
 Colourless ditto in Bottles ... 1 
 
 0 
 
 Water Colour, McGuelph ditto 1 
 
 0 
 
 Ditto Asphaltum 
 
 1 
 
 6 
 
 Liquid Gum 
 
 ... 0 
 
 9 
 
 Gold Saucers ... 
 
 ... 1 
 
 0 
 
 Silver ditto 
 
 ... 0 
 
 6 
 
 Gold Shells 
 
 1 
 
 0 
 
 Silver ditto • 
 
 ... 0 
 
 6 
 
 Pink Saucers 
 
 6 d. and 1 
 
 0 
 
 Blue ditto 
 
 M. and 1 
 
 0 
 
 Stumps 
 
 2d. to 1 
 
 0 
 
 Chinese Pencils 
 
 ... 0 
 
 4 
 
 Mathematical Instruments 
 
 
 Table Easels 
 
 
 
 T Squares 
 
 
 
 Body Colours 
 
 
 
 Brown Ink 
 Parallel Rules 
 Ivories for Miniatures 
 Ivory Palettes 
 Earthenware ditto 
 
 ,, Cabinets 
 
 ,, Saucers 
 
 „ Inkstones 
 
 Indian Rubber 
 Patent ditto 
 Sponge 
 Indian Glue 
 
 Black Lead Saucers for Mezzotinting 
 Screen Handles 
 Children’s Colours 
 Rice Paper 
 
 Miniature Frames and Cases made 
 to any size or pattern 
 Varnishing and Polishing 
 
 Mathematical Instruments, warranted Town made. 
 
15 
 
 Pencil Cases. 
 
 No. 1 
 No. 2 
 No. 3 
 
 Flat, lettered and divided, 2s. 
 
 Each. 
 
 Cloth. Leather 
 
 d. 
 
 4 
 
 6 
 
 8 
 
 s. d. 
 0 6 
 0 9 
 1 0 
 
 Flat, plain, undivided. Is. 6 d. each. 
 
 Brass, common... 
 
 Ditto, best 
 
 Steel 
 
 Albata 
 
 Ditto, with Screw Tops 
 
 Portcrayons. 
 
 Each. 
 
 s. d. 
 ... 0 4 
 
 1 0 
 
 ... ... 1 0 
 ... ... 1 6 
 
 ... 2 0 
 
 
 Oil Colours in Tube. 
 
 
 
 s. d. 
 
 
 s. d. 
 
 Carmine ... ... 
 
 ... 3 0 
 
 Lemon Yellow ... \ 
 
 Purple Scarlet 
 
 ... 3 0 
 
 Cobalt .. 
 
 ••• \ i a 
 
 Madder Purple 
 
 ... 2 6 
 
 Mars Yellow ... ( 
 
 Ditto Lake... ... 
 
 ... 1 6 
 
 Ditto Orange ... / 
 
 French Ultramarine 
 
 ) 
 
 Orange Vermillion 1 n Q 
 
 Madder Brown 
 
 1 6 
 
 Vermillion ) 
 
 Indian Yellow 
 
 ) 
 
 
 
 The following 6 d.; Double Is. 
 
 New White 
 
 Cappah Brown 
 
 Yellow Lake 
 
 Flake do. 
 
 Cologne Earth 
 
 Crimson ditto 
 
 Sacrum 
 
 Light Bed 
 
 
 Purple „ 
 
 Naples Yellow, 1, 2, & 3 
 
 Venetian do. 
 
 Scarlet „ 
 
 Patent do. 
 
 Indian 
 
 
 Indian „ 
 
 Chrome do., 1, 2, & 3 
 
 Burnt Sienna 
 
 Permanent Blue 
 
 Italian Oker 
 
 Vandyke Brown 
 
 Palladium Bed 
 
 Yellow do. 
 
 Ivory Black 
 
 Palladium Scarlet 
 
 Haw Sienna 
 
 Lamp „ 
 
 
 Emerald Green 
 
 Homan Oker 
 
 Blue „ 
 
 
 Terra Vert 
 
 Brown do. 
 
 Indigo 
 
 
 Verdigris s. d 
 
 Burnt Umber 
 
 Prussian Blue 
 
 Vermillion in papersl 6 
 
 Baw do. 
 
 Antwerp ditto 
 
 Palladium Bed do. 1 6 
 
 Bone Brown 
 
 Brown Pink 
 
 Asphaltum in pots 0 8 
 
 Bitumen 
 
 Italian ditto 
 
 McGuelph do. 0 8 
 
 Prepared Canvass and Ticken. 
 
 3- 4th, or 27 inches wide 
 
 7-8th, or 30 ditto 
 
 4- 4th, or ditto 
 
 3 feet 6 inches 
 
 3 feet 9 inches 
 
 4 feet 6 inches 
 
 5 feet 2 inches 
 
 6 feet 2 inches 
 
 per yard 
 ditto 
 
 Can. 
 s. d. 
 ... 3 0 
 3 3 
 ... 3 6 
 5 0 
 ... 6 6 
 8 0 
 ... 10 0 
 12 0 
 
 Tick. 
 s. d 
 4 0 
 4 3 
 4 G 
 6 0 
 8 0 
 10 G 
 12 0 
 14 6 
 
1G 
 
 Prepared Canvass and Ticken continued. 
 
 On Plain Frames. 
 
 12 inches by 10 ... 
 
 14 ditto by 12 
 174 ditto by 14 
 21 ditto by 17 ... 
 
 24 ditto by 20 
 3-4 or 30 by 25 
 Kit Cat.'or 36 by 28 ... 
 Small half Length 344 
 by 44| • ... 
 
 Half Length, 4 ft. 2 by 
 
 3 ft . 4 
 
 Bishop’s do. 4 ft. 8 by 
 3 ft. 8 
 
 Can. 
 
 Tick. 
 
 On Stretching Frames. 
 
 Can. 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 
 s. 
 
 d. 
 
 1 
 
 6 
 
 2 
 
 0 
 
 12 inches by 10 
 
 2 
 
 0 
 
 2 
 
 0 
 
 2 
 
 3 
 
 14 ditto by 12 ... 
 
 2 
 
 3 
 
 2 
 
 3 
 
 2 
 
 6 
 
 174 ditto by 14 
 
 2 
 
 9 
 
 2 
 
 6 
 
 3 
 
 0 
 
 21 ditto by 17 
 
 3 
 
 3 
 
 3 
 
 0 
 
 4 
 
 0 
 
 24 ditto by 20 
 
 4 
 
 0 
 
 4 
 
 0 
 
 5 
 
 6 
 
 3-4 or 30 by 25 
 
 5 
 
 0 
 
 5 
 
 6 
 
 7 
 
 0 
 
 Kit Cat, or 36 by 28 .. . 
 Small Half Length 344 
 
 6 
 
 0 
 
 8 
 
 0 
 
 10 
 
 0 
 
 by 44f 
 
 Half Length, 4 ft. 2 
 
 9 
 
 0 
 
 10 
 
 6 
 
 14 
 
 0 
 
 by 3 ft. 4 
 
 Bishop’s do. 4 ft. 8 by 
 
 12 
 
 6 
 
 16 
 
 6 
 
 20 
 
 0 
 
 3 ft. 8 
 
 18 
 
 6 
 
 
 
 
 
 Whole Length, 7 ft. 
 
 10 by 4 ft. 10 
 Bishop’s do. 8 ft. 10 
 
 42 
 
 0 
 
 
 
 
 
 by 5 ft. 10 
 
 55 
 
 0 
 
 Other sizes made to order. 
 
 Tick. 
 s. d. 
 2 6 
 
 2 9 
 
 3 3 
 
 4 0 
 
 5 0 
 
 6 0 
 7 6 
 
 11 0 
 
 15 0 
 
 21 0 
 
 45 0 
 
 60 0 
 
 Powder Colours. 
 
 Per oz. 
 
 s. 
 
 d. 
 
 Per oz. 
 
 s. 
 
 d. 
 
 Ultramarine, from 31s 
 
 6 d» to 126 
 
 0 
 
 Mars Orange 
 
 ... 10 
 
 0 
 
 Ditto Ashes 10s. and 21 
 
 0 
 
 Crimson Lake ... 
 
 12 
 
 6 
 
 French ditto ... 
 
 ... 10 
 
 6 
 
 Scarlet ditto ... 
 
 ... 10 
 
 0 
 
 Smalt ... 
 
 21 
 
 0 
 
 Purple ditto ... 
 
 6 
 
 0 
 
 Carmine ... 
 
 ... 24 
 
 0 
 
 Antwerp Blue ... 
 
 ... 3 
 
 6 
 
 Madder Purple 
 
 21 
 
 0 
 
 Prussian ditto ... 
 
 3 
 
 0 
 
 Ditto Lake ... 
 
 ... 16 
 
 0 
 
 Indigo ... 
 
 ... 3 
 
 0 
 
 Ditto Brown 
 
 6 
 
 6 
 
 Indian Bed ... 
 
 3 
 
 0 
 
 Lemon Yellow ... 
 
 ... 8 
 
 0 
 
 Yellow Lake 
 
 ... 3 
 
 0 
 
 Indian ditto 
 
 6 
 
 6 
 
 Brown Pink 
 
 3 
 
 0 
 
 Pure Scarlet 
 
 ... 6 
 
 0 
 
 Italian ditto ... 
 
 ... 3 
 
 0 
 
 Cobalt 
 
 10 
 
 0 
 
 New White ... 
 
 0 
 
 6 
 
 Mars Yellow 
 
 ... 10 
 
 0 
 
 Flake ditto ... 
 
 ... 0 
 
 4 
 
 All the other colours Is. 6 d. per oz. 
 
 Oils, Varnishes, &c. 
 
 
 per 
 
 pint 
 
 per 
 
 plil. 
 
 
 per 
 
 pint 
 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 
 s. 
 
 d. 
 
 Poppy Oil 
 
 3 
 
 0 
 
 0 
 
 6 
 
 Gold size 
 
 ... 5 
 
 0 
 
 Nut ditto 
 
 3 
 
 6 
 
 0 
 
 6 
 
 New Dryer ... 
 
 3 
 
 6 
 
 Linseed ditto 
 
 1 
 
 6 
 
 0 
 
 6 
 
 Copal Varnish 
 
 ... 7 
 
 6 
 
 Light Drying ditto 
 
 3 
 
 0 
 
 0 
 
 6 
 
 Spirit ditto ... 
 
 7 
 
 6 
 
 Dark ditto 
 
 2 
 
 0 
 
 0 
 
 6 
 
 Mastic ditto 
 
 ... 6 
 
 0 
 
 Turpentine ... 
 
 0 
 
 a 
 
 0 
 
 0 
 
 6 
 
 
 
 
 perph 
 s. d. 
 1 0 
 0 6 
 1 0 
 1 0 
 1 0 
 
17 
 
 Prepared Milled Boards for Oil Painting. 
 
 
 
 No. 
 
 1. 
 
 No. 
 
 2. 
 
 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 7 by 
 
 5J each. 
 
 0 
 
 6 
 
 
 
 8 „ 
 
 6 
 
 0 
 
 8 
 
 
 
 10 „ 
 
 7 
 
 0 
 
 9 
 
 
 
 10 „ 
 
 8 
 
 0 
 
 9 
 
 
 
 11 
 
 9 
 
 1 
 
 0 
 
 
 
 12 „ 
 
 9 
 
 1 
 
 0 
 
 
 
 14 „ 
 
 9 
 
 1 
 
 2 
 
 
 
 12 „ 
 
 10 
 
 1 
 
 2 
 
 
 
 13 „ 
 
 10 
 
 1 
 
 3 
 
 
 
 14 „ 
 
 10 
 
 1 
 
 3 
 
 1 
 
 6 
 
 15 „ 
 
 11 
 
 1 
 
 6 
 
 2 
 
 0 
 
 16 „ 
 
 11 
 
 1 
 
 6 
 
 2 
 
 0 
 
 14 „ 
 
 12 
 
 1 
 
 6 
 
 2 
 
 0 
 
 16 „ 
 
 12 
 
 l 
 
 8 
 
 2 
 
 0 
 
 17 „ 
 
 12 
 
 1 
 
 10 
 
 2 
 
 2 
 
 
 
 No. 
 
 2. 
 
 No. 
 
 3. 
 
 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 18 
 
 by 12 each. 
 
 2 
 
 6 
 
 3 
 
 0 
 
 17 
 
 „ 13 
 
 2 
 
 6 
 
 3 
 
 0 
 
 18 
 
 „ 13 
 
 2 
 
 9 
 
 3 
 
 3 
 
 20 
 
 „ 13 ... 
 
 2 
 
 10 
 
 3 
 
 4 
 
 17 
 
 „ 14 ... 
 
 2 
 
 9 
 
 3 
 
 3 
 
 18 
 
 „ 14 '... 
 
 2 
 
 9 
 
 3 
 
 3 
 
 20 
 
 „ 14 ... 
 
 3 
 
 0 
 
 3 
 
 6 
 
 19 
 
 „ 15 ... 
 
 3 
 
 0 
 
 3 
 
 6 
 
 21 
 
 „ 15 ... 
 
 3 
 
 6 
 
 4 
 
 0 
 
 23 
 
 „ 16 ... 
 
 3 
 
 9 
 
 4 
 
 6 
 
 21 
 
 „ 17 ... 
 
 4 
 
 0 
 
 4 
 
 9 
 
 22 
 
 „ 18 ... 
 
 4 
 
 3 
 
 5 
 
 (i 
 
 24 
 
 „ 18 ... 
 
 4 
 
 6 
 
 5 
 
 6 
 
 24 
 
 „ 20 ... 
 
 
 
 6 
 
 6 
 
 30 
 
 „ 25 ... 
 
 
 
 10 
 
 0 
 
 Mahogany Panels for Oil Painting. 
 
 9 by 7 
 
 Each s. 
 
 ... 1 
 
 d. 
 
 6 
 
 10 by 8 
 
 ... ... 2 
 
 0 
 
 11 by 9 
 
 ... ... 2 
 
 6 
 
 12 by 9 
 
 ... ... 2 
 
 9 
 
 12 by 10 
 
 ... 3 
 
 0 
 
 14 by 9 
 
 ... ... 3 
 
 0 
 
 14 by 10 
 
 ... 3 
 
 6 
 
 16 by 11 
 
 4 
 
 6 
 
 16 by 12 
 
 Each 
 
 s. 
 
 ... 4 
 
 d. 
 
 6 
 
 18 by 14 
 
 ••• ... 
 
 6 
 
 6 
 
 19 by 16 
 
 • •• 
 
 ... 7 
 
 6 
 
 20 by 16 
 
 ... 
 
 9 
 
 0 
 
 21 by 17 
 
 • •• 
 
 ... 10 
 
 6 
 
 24 by 20 
 
 •.. ... 
 
 14 
 
 0 
 
 30 by 25 
 
 ... 
 
 ... 24 
 
 0 
 
 The above are kept in oil or water ground. 
 
 Brushes for Oil Colour Painting. 
 
 Per Doz. s. d. 
 
 Fitch in Quill ... ... ... ... ... 3 0 
 
 Swan ditto ... ... ... ... ... 6 0 
 
 Fitch in Tin, 1 to 6 ... ... ... ... ... 8 0 
 
 Sables ditto, 1 to 6, Round and Flat ... ... ... 8 0 
 
 Ditto ditto Flat, 7 to 12, each Is., Is. 2d., Is. id., Is. 8 d., 2s. and 2s. 6 d. 
 
 Ditto ditto Round, 7 to 12, each Is. id.. Is. 8 d., 2s., 2s. id., 2s. 8d., and 3s. 
 Flat and Round French Tools, from Nos. 1 to 6, each ... 0 6 
 
 Ditto 
 
 ditto 
 
 „ Nos. 7 to 9, 
 
 99 
 
 ... 1 
 
 0 
 
 Ditto 
 
 ditto 
 
 „ Nos. 10 to 12, 
 
 99 
 
 ... 1 
 
 6 
 
 Ditto 
 
 ditto 
 
 „ No. 13, 
 
 99 
 
 ... 3 
 
 0 
 
 Ditto 
 
 ditto 
 
 „ No. 14, 
 
 99 
 
 ... 3 
 
 6 
 
 Badger Tools, each, No. 1, 5 d; No. 2, 9d; No. 3, Is; No. 4, Is. 6(Z; No. 5, 2s; 
 No. 6, 2s. 3d; No. 7, 3s. 3d; No. 8, 4s, 6 d; No. 9, 5s. 6rf. 
 
18 
 
 Easels, Palettes, &c. 
 
 Deal Forked Easel, each 
 Framed ditto 
 Ditto Folding' ditto 
 Mahogany Pallettes, 3d p 
 Satin Wood ditto 4 d 
 
 Middle ditto 
 
 Large „ 
 
 Palette Knives, Steel, Is., Is. 6 d.. Is. 9 d., and 2s. each 
 Ditto Ivory, Is. and Is. 6 d. each 
 Rest Sticks, Is., Is. 6 d., 2s. and 2s. 6 d. 
 
 Oil Sketching Paper, lOd. and Is. per Sheet 
 Sketching Boards, Is. 6 d. and 2s. per Sheet 
 
 £. s. 
 
 d. 
 
 
 
 
 £. s. 
 
 d. 
 
 0 9 
 
 0 
 
 
 Mahogany Forked Easel 
 
 0 14 
 
 0 
 
 0 12 
 
 0 
 
 
 Ditto Framed ditto 
 
 1 4 
 
 0 
 
 0 16 
 
 0 
 
 
 Ditto Folding 
 
 99 
 
 1 4 
 
 0 
 
 inch 
 
 
 
 Ditto Rack 
 
 99 
 
 3 3 
 
 0 
 
 99 
 
 
 
 Ditto ditto 
 
 99 
 
 3 13 
 
 6 
 
 , empty, 9s. 
 
 ... 
 
 complete 
 
 1 7 
 
 0 
 
 ditto 
 
 15s. 
 
 ... 
 
 ditto 
 
 2 5 
 
 0 
 
 99 
 
 20 s. 
 
 ... 
 
 99 
 
 3 0 
 
 0 
 
 MATERIALS FOR VELVET, GRECIAN AND POONAH 
 PAINTING, AND WAX FLOWER MAKING. 
 
 AS ALSO EVERY OTHER REQUISITE FOR THE FINE ARTS. 
 
 GEO. ROWNEY k CO/s 
 
 PENCILLING TINTS. 
 
 4 to, Imperial size, in one dozen packets, 4s .; 8«o, Imperial size, in one dozen 
 
 packets, 2s. 
 
 They consist of a preparation of Coloured Enamel, laid on white paper. 
 On this the pencil or chalk drawing is made. The appearance of white 
 chalk is obtained by scraping the enamelled surface off the paper. This 
 paper is exceedingly pleasant to work on, and has a much better effect than 
 the ordinary tinted paper. 
 
 The success of these Tints has suggested the idea of the 
 
 Graduated Tints, 
 
 which are similar to the Pencilling Tints, but have a tint printed to suit 
 different effects. Commencing with a blue ground for the sky, which gra¬ 
 dually softens into a warm tint for the horizon, and terminates in a rich 
 warm toned colour for the foreground. 
 
 They are prepared with Tints suitable for Sun-rise and Sun-set, Mid-day 
 and Moonlight effects ; also, Snow scenes, and Marine Or Water subjects. 
 
 They are admirably adapted for sketching, as a beautiful and effective 
 drawing may be made in a few minutes. 
 
 Chalk, Pencil, Crayon, or Water Colour are each suitable for producing 
 these rapid effects. 
 
 4to, Imperial size, in packets of one dozen, 5s. or 6 d. each. 
 
 8vo, ditto ditto 2s. 6 d. or 3d. „ 
 
GEO. ROWNEY & CO., 
 
 MANUFACTURING ARTISTS’ COLOURMEN, 
 
 51, EATHBONE PLACE, 
 
 Water Colour painting has of late years attracted so much 
 attention as to become one of the most important branches 
 of the Fine Arts in this country. Such great advances of the 
 British Artists in this mode of painting, has necessitated a 
 corresponding activity on the part of the preparers of Water 
 Colours. 
 
 Messrs. Rowney and Co. have great pleasure in calling the 
 public attention to their Water Colours in cake, the brilliancy 
 and permanency of which are not to be surpassed by those of 
 any other manufacturer. 
 
 MOIST WATER COLOURS. 
 
 For the sake of greater freedom and effect this mode of pre¬ 
 paring Water Colours possesses many advantages, more 
 especially for sketching from nature, from their facility in 
 washing up on a slight application of a wet brush, and from 
 the depth of tone which may be produced with them. Those 
 manufactured by Messrs R. and Co. will be found free from the 
 objections made to the moist colours generally ; as they are not 
 liable to harden in the pan, nor to ferment from the presence 
 of saccharine matter (none being employed in their prepara¬ 
 tion), and they will dry perfectly on the paper, even when 
 laid on with a thick body. A further improvement has been 
 made by Messrs. It. and C. in preparing the 
 
 MOIST WATER COLOURS IN TUBE. 
 
 The mode of preparing these colours renders them a most 
 
2 
 
 valuable improvement over all others. By this method the 
 colours are always fit for use and may be pressed out of the 
 tube in a body, while they possess greater brilliancy and depth 
 than any others. The troublesome process of rubbing the 
 colour on the palette is avoided. No waste is incurred by 
 breaking, as in the Cake. They will keep any length of time 
 without drying up or spoiling, as do most preparations of 
 moist Colours. And the very general practice which prevails 
 of mining the Tints with the Brush on the Colours themselves, 
 and which so much deteriorates from their purity and bril¬ 
 liancy, is rendered impossible, by the Colours being kept 
 separate, and only so much as is required at the time, being 
 placed on the palette. 
 
 Moist Water Colours 
 
 Water Colours in Cake. in Tube. 
 
 The following is a list of the various Colours, with their 
 prices attached for either 
 
3 
 
 HALF CAKE AND QUARTER CAKES. 
 
 of the same quality, at proportionate prices. 
 
 B. 
 
 Ultramarine . . .21 
 
 Deep Rose ... 7 
 
 Pure Scarlet . 
 
 Carmine 
 Burnt ditto 
 Mars Orange . 
 
 Smalt 
 
 Purple Madder 
 Gallstone 
 M adder Lake,or Pink Madder 3 
 Intense Blue . . 3 
 
 Lemon Yellow . 2 
 
 Const. Blue or French Ultrae 2 
 
 Cobalt Blue 
 Azure Blue 
 Crimson Lake . 
 Scarlet ditto 
 Indian Yellow . 
 Sepia 
 
 Warm ditto 
 Madder, Brown 
 Permanent White 
 Mars Yellow 
 Scarlet Vermilion 
 Permanent Blue 
 Chinese White 
 
 > 
 
 s. d. 
 2 0 
 2 0 
 
 
 1 6 
 
 Purple 
 Ditto Lake 
 Vermilion 
 Indian Red 
 Venetian Red 
 Light Red 
 Red Lead or ] 
 Orange Mineral J 
 Orange Orpiment 
 Chrome, 1, 2, 3 
 King’s Yellow 
 Naples Yellow 
 Gamboge 
 Italian Pink 
 
 Is. each, 
 
 Brown Pink 
 Yellow Lake 
 Yellow Oker 
 Italian ditto 
 Roman ditto 
 Brown ditto 
 Raw Umber 
 Burnt ditto 
 Raw Sienna 
 Burnt ditto 
 Vandyke Brown 
 Bistre 
 
 Cologne Earth 
 Payne’s Grey 
 Neutral Tint 
 
 Ivory Black 
 Lamp ditto 
 Blue ditto 
 Indigo 
 
 Prussian Blue 
 Antwerp Blue 
 Blue Verditer 
 Emerald Green 
 Verdigris 
 Olive Green 
 Hooker’s Green, 
 1 and 2 
 
 Prussian Green 
 Sap Green 
 Flake White 
 
 Japanned Tin Sketching Boxes, 
 
 FILLED WITH MOIST COLOURS. 
 
 (The following arrangements of Colours are selected from those 
 most in use by the first Water Colour Artists.) 
 
 No. 1, 
 
 3 Cake Box 
 
 ("Light and Shade Drawings on Tinted 
 Paper.] containing Sepia, French Ultra¬ 
 marine and Chinese White. 
 
 (Price 9s.) 
 
4 
 
 No. 2, j 
 
 6 Cake Box | 
 
 f (Assorted for Landscape.) 
 
 1 containing Gamboge, Yellow Oker, Light 
 
 1 Red, Crimson Lake, Prussian Blue, Van- 
 k dyke Brown. (Price 10s.) 
 
 No. 3, | 
 
 6 Ditto, | 
 
 f (Landscape and Figures.) 
 
 \ containing Sepia, Indigo, Cobalt, Crimson 
 
 1 Lake, Light Red, Gamboge. 
 
 (Price 1 Is. 6d.) 
 
 No. 4, 
 
 8 Cake Box, 
 
 f (Landscape.) 
 
 i containing Gamboge, Raw Sienna, Burnt 
 < Sienna, Vermilion, Crimson Lake, Cobalt, 
 j Indigo, Vandyke Brown. 
 
 \ (Price 13s. 6d.) 
 
 No. 5, , | 
 
 8 Ditto, 
 
 f (Landscape and Figures.) 
 i containing Yellow Oker, Light Red, 
 
 ' Scarlet Vermilion. Madder Lake, Cobalt, 
 
 1 Madder Brown, Vandyke Brown, Prussian 
 ^Blue. (Price 16s.) 
 
 No. 6, ) 
 
 10 Cake Box, i 
 
 ' (Landscape.) 
 
 containing Gamboge, Yellow Oker, Burnt 
 
 1 Sienna, Venetian Red, Crimson Lake, 
 
 | Vandyke Brown, Olive Green, Neutral 
 Tint, Cobalt, Indigo. 
 
 (Price 16s.) 
 
 No. 7, 
 
 10 Ditto, I 
 
 f (Landscape and Figures.) 
 
 containing Yellow Oker, Indian Yellow, 
 
 1 Burnt Sienna, Light Red, Vermilion, 
 
 | Madder Lake, Cobalt, Prussian Blue, 
 
 ' Vandyke Brown, Brown Pink. 
 v (Price 18s.) 
 
 No. 8, 
 
 12 Cake Box. i 
 
 ' (Landscape.) 
 
 , containing Brown Pink, Vandyke Brown, 
 
 | Indigo, Cobalt, Crimson Lake, Indian 
 j Red, Vermilion, Burnt Sienna, Yellow 
 ' Oker, Gamboge, Chrome Yellow, Payne’s 
 v Grey. (Price 1 8s.) 
 
5 
 
 No. 9, 
 12 Ditto, 
 
 No. 10 
 14 Cake Box, 
 
 No. 11, 
 14 Ditto, 
 
 No 12, 
 
 16 Cake Box, 
 
 No. 13, 
 16 Ditto, 
 
 ' (Landscape, Figures, &c.) 
 containing Gamboge, Indian Yellow, 
 Italian Oker, Light Red, Scarlet Vermil- # 
 ion, Madder Lake, Purple Lake, Van¬ 
 dyke Brown, Brown Pink, Indigo, French 
 Ultramarine, Chinese White. 
 
 ^ (Price £1. 2s. 6d.) 
 
 ' (Landscape.) 
 
 containing Cobalt, Indigo, Neutral Tint, 
 Emerald Green, Brown Pink, Sepia, 
 'i Madder Brown, Crimson Lake, Indian 
 Red, Light Red, Burnt Sienna, Indian 
 i Yellow, Yellow Oker, Gamboge. 
 v (Price £1. 2s. 6d.) 
 
 " (Landscape, Figures, &c.) 
 containing Indigo, French Ultramarine, 
 Neutral Tint, Emerald Green, Olive 
 Green, Vandyke Brown, Madder Brown, 
 Purple Lake, Rose Madder, Scarlet Ver¬ 
 milion,Light Red, IndianYellow, Chrome 
 
 Yellow, Gamboge. 
 
 (Price £1. 5s. 6d.) 
 
 f (Landscape, Figures, &c.) 
 containing Chrome Yellow, Gamboge, 
 Indian Yellow, Yellow Oker, Burnt 
 Sienna, Light Red, Scarlet Vermilion, 
 Madder Lake, Crimson Lake, Madder 
 Brown, Sepia, Olive Green, Emerald 
 Green, Payne’s Grey, Indigo, Cobalt. 
 
 (Price £1. 8s.) 
 
 " (Flowers, Landscape, &c.) 
 containing Gamboge, Indian Yellow, 
 Gallstone, Lemon Yellow, Vermilion, 
 Indian Red, Pure Scarlet, Madder Lake, 
 •s Carmine, Dahlia Carmine, Sepia, Ivory 
 Black, Olive Green, Emerald Green, 
 Indigo, French Ultramarine. 
 
 B (Price £2. 5s.) 
 
6 
 
 No. 14 
 18 Cake Box. 
 
 '(Landscape, Figures, &c.) 
 containing Lemon Yellow, Indian Yellow, 
 Gamboge, Yellow Oker, Burnt Sienna, 
 Light Red, Vermilion, Madder Lake, 
 ^ Purple Lake, Brown Madder, Olive 
 Green, Vandyke Brown, Emerald Green, 
 Payne’s Grey, Indigo, Cobalt, Chinese 
 White, French Blue. 
 
 ^ (Price £1. 13s. 6d.) 
 
 No. 15, 
 
 20 Cake Box. 
 
 ^-(Complete for Landscape, Flowers, 
 Figures, &c.) 
 
 containing Lemon Yellow, Gamboge, 
 Indian Yellow, Yellow Oker, Chrome, 
 J No. 3, Vermilion, Light Red, Indian Red, 
 Rose Madder, Carmine, Purple Madder, 
 Vandyke Brown, Sepia, Brown Pink, Sap 
 Green, Emerald Green, Indigo, French 
 Ultramarine, Smalt, Cobalt. 
 
 (Price £2. 7s. 6d.) 
 
 N. B. For any colour in the foregoing lists another may be substituted, 
 and if the colour selected is higher or lower in price, the difference added 
 or deducted. 
 
 MOIST WATER COLOUR BOXES. 
 
 OF JAPANNED TIN. 
 
7 
 
 MOIST WATER COLOUR BOXES, 
 continued. 
 
 Pneumatic Boies 
 
 
 • 
 
 8. 
 
 d. 
 
 s. 
 
 d. 
 
 to hold 3 
 
 Cakes 
 
 3 
 
 9 
 
 . 
 
 • 
 
 4 
 
 )) * * * 
 
 4 
 
 0 
 
 . 
 
 • 
 
 6 
 
 99 9 * * * 
 
 4 
 
 4 
 
 7 
 
 0 
 
 8 
 
 • ) • • • 
 
 4 
 
 8 
 
 7 
 
 6 
 
 10 
 
 
 5 
 
 0 
 
 8 
 
 0 
 
 12 
 
 • i • • • 
 
 5 
 
 4 
 
 8 
 
 6 
 
 14 
 
 99 * • * * 
 
 6 
 
 0 
 
 9 
 
 0 
 
 16 
 
 9 9 • • * 
 
 6 
 
 8 / 
 
 9 
 
 6 
 
 18 
 
 99 * • * * 
 
 7 
 
 4 
 
 10 
 
 0 
 
 20 
 
 99 • • • 
 
 8 
 
 0 
 
 10 
 
 6 
 
 24 
 
 •« • • • • 
 
 9 
 
 4 
 
 12 
 
 0 
 
 The Pneumatic Boxes are an improvement of the Japanned 
 Sketching Boxes, being made to contain a supply of water 
 underneath the colours; and with a chamber to hold water 
 for use while sketching; the chamber being filled by pressing 
 the bottom of the box. 
 
 PNEUMATIC BOX. 
 
\ 
 
 8 
 
 Boxes for Moist Colours in Tube, 
 
 made to contain 12 Colours, 8s. 
 
 i 
 
 BOXES, for holding a small supply of Colour for a few days’ 
 use ; the wells to be filled from the tubes, 7s. 6d. 
 
 
 l.F*W 
 
 JAPANNED WATER BOTTLES, for carrying a supply of 
 water for sketching, with cups to fix on the palette or 
 box as above, price fis. 
 
9 
 
 \ 
 
 Hardings's Tints for Miniature Fainting. 
 
 Each. 
 
 Fair Complexion 
 Dark ditto . . 
 Carnation . . 
 
 Auburn . . . 
 
 Demi Tint . . 
 Shadow Colour 
 
 Intense Sepia . 
 Light Amber 
 Dark Amber . 
 Imperial Blue . 
 Deep Blue . . 
 Marone Crimson 
 
 s. 
 
 3 
 
 5 
 
 Morocco Boxes, containing the first six colours, with Sable 
 
 Brushes in Ivory Cases.. .21 
 
 Ditto ditto, containing the twelve colours, with ditto . 42 
 
 Holland’s Tints for Flower Fainting. 
 
 Prepared only by G. Rowney § Co. 
 
 Damask . . . 
 
 Bright Orange 
 Rose Tint . . 
 Blue, No. I 
 Blue, No. 2 
 Yellow . . . 
 
 Yellow Green . 
 Dark Green 
 Brown . . . 
 
 Shade for White 
 Ditto for Yellow 
 White . . . 
 
 Box of the above complete, 21s. 
 
 8 . 
 
 1 
 
 Varley’s 
 
 Pure Green 
 Warm Grey 
 Purple ditto 
 Neutral Tint 
 
 Tints for Landscape Fainting. 
 
 S. 8. 
 
 Dark Warm Green, No. 1 \ 
 
 . Warm Green, No. 2 . .> 1 
 Orange. ) 
 
 Box of the above complete, 12s. 
 
10 
 
 \ 
 
 Colours Prepared for Fainting on Glass 
 
 As used for the Dissolving Views 
 AT THE ROYAL POLYTECHNIC INSTITUTION, 
 
 INVENTED AND MANUFACTURED BY 
 
 GEORGE ROWNEY & CO., 51, RATHBONE PLACE, LONDON. 
 
 The following Testimonial from C. Smith, Esq., the Artist 
 engaged bg the Royal Polytechnic Institution , will sufficiently indi¬ 
 cate the value of the above Colours: 
 
 Messrs. Rowney & Co. October 22th, 1848. 
 
 Gentlemen—I have tried your New Preparations of 
 Moist Colour for Glass Painting, and find them far superior to 
 any I have hitherto used, as they work with a neatness and 
 facility that could not be attained by the usual mode of Oil 
 and Varnish Colours, and to which they are in every respect 
 preferable ; those who paint on Glass will find them a valuable 
 acquisition. 
 
 I am, Gentlemen, yours truly, 
 
 CHARLES SMITH. 
 
 30, Tavistock Street, Covent Garden, 
 
 Directions for Use. 
 
 The outline to he traced or drawn on the Glass with Intense 
 Brown, thinned with sufficient water to make it flow freely 
 from the brush. When dry pass a thin coat of the Varnish 
 over it, which will prevent the Outline from being disturbed 
 by the subsequent Paintings. It is better when using the 
 Varnish for the Glass to be slightly warm, otherwise the 
 Varnish may chill. 
 
 As the Varnish dries instantly, the Painting is not retarded, 
 and the Tints of Colour may be then put in as evenly as 
 possible, and without mixing the different Colours more than 
 necessary. This second Painting, when dry, to be Varnished, 
 after which the Shading and Einishing Touches to be added, 
 and another Coat of Varnish completes the whole. 
 
 The Colours throughout to be Thinned only with Water. 
 
 This invention places the Art of Painting on Glass within 
 the power of any one possessing a moderate knowledge of 
 Drawing ; while the old preparation of Varnish Colours placed 
 difficulties in the way of the most practised Artists. In addi- 
 
11 
 
 tion to -which, the time saved by this new process is consider¬ 
 able, and the beauty and the clearness of the Painting is much 
 increased. 
 
 LIST OF THE COLOURS: 
 
 (Prepared in Metallic Tubes). 
 
 s. d. 
 
 Crimson.5 0 
 
 Scarlet.5 0 
 
 Orange.10 
 
 Opaque Black ... 1 0 
 
 Blue.10 
 
 Light Green 
 Dark Green . 
 Light Yellow 
 Warm Brown 
 Intense Brown 
 
 s. d. 
 . I 0 
 
 . 1 0 
 
 . 1 0 
 
 . 1 6 
 
 . 1 6 
 
 Varnish, Is. per Bottle. Box of the above, containing 
 Palette and Brushes, 25s. 
 
 GEO. ROWNEY & CO’S. 
 
 WATER COLOUR BOXES, FITTED. 
 
 MAHOGANY WHOLE CAKE BOXES, 
 
 12 Cake, 14#. 
 
 With sliding top, six colours and brushes . 
 
 • • 
 
 s. 
 
 6 
 
 d. 
 
 0 
 
 Ditto, twelve ditto, and ditto 
 
 
 12 
 
 0 
 
 Ditto, eighteen ditto and ditto 
 
 • • 
 
 18 
 
 0 
 
 LOCK BOX, POLISHED, with twelve 
 brushes, pencils, &c. 
 
 colours, 
 
 14 
 
 0 
 
 Ditto, eighteen ditto, ditto, ditto 
 
 . 
 
 20 
 
 0 
 
 Ditto, with drawer, containing saucers, twelve colours, 
 brushes, pencils, &c. 
 
 16 
 
 0 
 
12 
 
 COMPLETE 
 
 12 CAKE BOX, 
 
 One Guinea. 
 
 Complete Colour Boxes, with twelve colours, brushes, 
 pencils, &c. ...... 
 
 Ditto, ditto, eighteen colours . ■ 
 
 Ditto, ditto, twenty-four ditto .... 
 
 s. d. 
 21 0 
 30 0 
 42 0 
 
13 
 
 brass bound, 
 
 12 Cake , £2 12s. 6d. 
 
 CADDY LID BOX, Spanish mahogany polished; 
 containing 12 colours, ink stone, pallettes, cut 
 water glass, extra brushes, pencils, &c. &c., 
 
 ' very complete . • • • * ' „ 
 
 Ditto, 18 colours, ditto, ditto, ditto • • ' ^ 
 
 Ditto, 24 colours, ditto, ditto, ditto 
 
 ROSEWOOD 
 
 CADDY LID BOX, 
 
 v Brass bound. 
 
 HANDSOME ROSEWOOD CADDY 
 LID BOX, containing 12 colours, ink 
 stone, palette, cut water glass, sable 
 and other brushes, pencils, &c. kc. 
 very complete . • • • • ' 
 
 Ditto, ditto, 18 colours, ditto, ditto, ditto 4 0 
 
 Ditto, ditto, 24 colours, ditto, ditto, ditto 4 U 
 
 A variety of handsome Boxes, inlaid, &c. -------- 
 
 fittings for every style of painting in Water Colours, from £2 is. 
 
 to £10 10s. 
 
 0 
 
 0 
 
 0 
 
 2 12 
 
 3 10 
 
 4 10 
 
 with suitable 
 
 Half-Cake Boxes, 
 
 Vith Sliding Top, six half cakes and brushes 
 Ditto twelve ditto and ditto 
 
 pitto eighteen ditto and ditto 
 
 s. d. 
 . 3 6 
 
 . 6 0 
 
 . 9 0 
 
14 
 
 Lock Box, polished, with 12 half cakes, Brashes, 
 
 Pencils, &c. .9 0 
 
 Ditto eighteen half cakes, ditto, ditto . 12 0 
 
 Ditto with Drawer, Palette, twelve half cakes, 
 
 Brushes, Pencils, &c.12 0 
 
 Ditto with ditto, twelve half cakes, ditto and 
 ditto, Complete Colour Box, with twelve half 
 cakes, Brushes, Pencils, Cut Water Glass, &c. 12 0 
 
 Ditto eighteen half cakes, ditto, ditto 15 0 
 
 Ditto twenty-four ditto, ditto £1 4 0 
 
 Ditto twenty-four ditto, with Drawer and 
 
 Palette .£1 10 0 
 
 Quarter-Cake Boxes. 
 
 Sliding Box, with six quarter cakes and Brushes . 2 0 
 
 Ditto twelve ditto, ditto, ditto . .40 
 
 Ditto eighteen ditto, ditto . . .60 
 
 Ditto twenty-four ditto, ditto . ..80 
 
 PERMANENT CHINESE WHITE. 
 
 A 
 
 PREPARATION 
 
 OF 
 
 WHITE OXIDE 
 OF ZINC. 
 
 This chemical 
 preparation is 
 one of the most 
 valuable acquisi¬ 
 tions to the water 
 colour painter, 
 from its great 
 permanency and 
 body. This white 
 washes evenly 
 and freely on the 
 paper, and when 
 gives to a drawing all the solidity and power 
 
 Price in Bottles, 
 or in 
 
 Compressible 
 
 Tubes, 
 
 Is. 6d. 
 
 dry, retains the 
 same tone of 
 colour as when 
 wet; a property 
 not possessed by 
 any other per¬ 
 manent white. 
 
 A judicious 
 use of this pig¬ 
 ment, pure and 
 mixed with 
 other colours, 
 of an oil painting. 
 
15 
 
 LIQUID INDIAN INK. 
 
 A preparation for the use of Artists, Amateurs, Architects, 
 Surveyors and Draughtsmen, whereby a solution of this useful 
 Brown is immediately available without the loss of time and 
 trouble incurred, with the ordinary Indian Ink. 
 
 Price Is. per Bottle. 
 
 LIQUID COLOURS AND MEDIUMS. 
 
 CONSTANT WHITE. 
 
 [sulphate of barytes.] 
 
 This is an extremely white pigment, but not possessing the 
 body of Chinese White; it is generally used for high lights, 
 &c., in Landscape and Miniature Painting. 
 
 Price Is. 6d. per Bottle. 
 
 - A1PHALTUM. 
 
 PREPARED FOR THE USE OF WATER COLOUR 
 PAINTERS. # 
 
 Price Is. 6d. per Bottle. 
 
 INDELIBLE BROWN INK. 
 
 FOR OUTLINES OR FOR SKETCHING. 
 
 This rich and permanent Ink is found to be of great service 
 to the Architectural Artist, as the outline, or ornamental 
 design, drawn with it (even if the Ink be diluted with water 
 to the palest tint,) cannot, when dry, be effaced by continued 
 
 washings. 
 
 Price Is. 6d. per Bottle. 
 
 WATER COLOUR MEGILP. 
 
 A most desirable medium, imparting additional depth, bril¬ 
 liancy, and transparency in Water Colour Painting, improving 
 the working of the colours, and preventing them running one 
 into another. 
 
 Price Is. 6d. per Bottle. 
 
I 
 
 16 
 
 I 
 
 PROUT’S LIQUID BROWN. 
 
 A BEAUTIFUL TRANSPARENT BROWN FOR WATER C0L0UR9. 
 
 Price Is. per Bottle. 
 
 PREPARED OX GALL. 
 
 A preparation required occasionally in Water Colour Paint¬ 
 ing, where, from the greasy nature of the paper or colour, an 
 even wash cannot be obtained. The smallest portion of this 
 preparation is sufficient to obviate the defect. 
 
 Price 6d. and Is. per Box. 
 
 COLOURLESS LIQUID OX CALL. 
 
 This limpid extract of Gall possesses all the strength and 
 properties of the Gall, as it is usually sold in the paste state, 
 but is deprived of its unpleasant qualities. 
 
 Price Is. 6d. per Bottle. 
 
 PREPARED CUM WATER. 
 
 Price 6d. per Bottle. 
 
 CUMBERLAND BLACK LEAD DRAWING PENCILS, 
 
 MANUFACTURED BY 
 
 CEORCE ROWNEY * CO. 
 
 Of the Genuine Plumbago, or of Patent Compressed Lead, of 
 the following degrees :— 
 
 H—Hard » • . • 
 
 HH —Harder .... 
 HHH— Very Hard . 
 
 TTTTTTTT —Extra Hard 
 
 HB —Hard and Black . . ' 
 
 P—Middling Degree 
 B—Black, for Shading 
 BB—Very Black, for ditto 
 
 EHB —Extra Hard and Black 
 
 pp —Very Fine. Extra EHB. Extra BB. 
 
 BBBB— Each .... 
 
 “•Each 6d. 
 
 s. d. 
 . 0 9 
 Extra TUT, 1 0 
 . 2 0 
 
 The last six pencils are mhde at the suggestion of several Artists 
 of eminence , are particularly well adapted for the present improved 
 style of pencil drawing, and have a greater body of lead. 
 
17 
 
 GEO. ROWNEY k CO.’S IMPROVED DRAWING 
 
 PENCILS. 
 
 NEATLY GOT UP IN POLISHED CEDAK, 
 
 In order to prevent the Lead Dust adhering to the Pencil, and 
 consequently soiling the fingers. 
 
 To sell at 3d. each, or 2s. 6d. per Dozen. 
 
 Extra Letters, (such as hitherto sold at Is. each,) 6d. each, or 
 
 5s. per Dozen. 
 
 H—Hard for Sketching 
 HH —Harder for Outlines 
 HHH—Very Hard for Architects 
 HHHH —Extra Hard for Engineers . 
 
 HB —Hard and Black 
 B—Black for Shading 
 BB —Softer and very Black 
 P—Firm for Ordinary Drawing 
 
 EXTRA LETTERS MOST CAREFULLY PREPARED. 
 
 3d.each, 
 s or 2s. 6d, 
 per Dozen 
 
 EHB —Extra Hard and Black . 
 
 DEHB —Ditto ditto, Extra Thick Lead 
 PB—Yery Firm and Double Thick Lead . 
 BBB —Softer and Yery Black Double Lead 
 
 6d. each, 
 or 5s. 
 per Dozen 
 
 BBBBBBB —Yery Broad and Black, for large 
 bold Pencil Drawings 
 
 Is. each, 
 or 10s. 
 per Dozen 
 
 BY APPOINTMENT 
 
 TO HER MAJESTY’S STATIONERY OFFICES AND SCHOOLS OF DESIGN. 
 
 Messrs. G. It. and Co., in submitting these Pencils to the public, 
 call particular attention to their elegance, cheapness, and above all, 
 their superior quality; and beg to subjoin the following Testimonials. 
 
18 
 
 9, Radnor Place, Hyde Park, 24 th July, 1848. 
 Gentlemen—I have from the first used your Improved 
 Drawing Pencils, considering them by far the best manu¬ 
 factured. I recommend all my friends and pupils to use 
 them, and have much pleasure in giving this testimonial of 
 their quality. 
 
 Yours faithfully, 
 
 Messrs. G. Roioney and Co. T. M. RICHARDSON. 
 
 36, Mornington Crescent, July Ath, 1848. 
 
 Gentlemen—I have great pleasure in adding my testimony 
 to the superior quality of your Blacklead Pencils. 
 
 Although my use for the lead pencil is very limited, I have 
 no hesitation in saying, I never found any work with such 
 unvarying evenness of line and tone. 
 
 I am, Gentlemen, your obedient Servant, 
 
 JNO. RICHD. PICKERSGILL, A.R.A. 
 
 To Messrs. G. Roioney and Co. 
 
 16, Albert Street, Mornington Crescent, July 2nd, 1848. 
 
 Sirs—In answer to yours of the 30th, I beg to say I have 
 found your Improved Blacklead Pencils everything that could 
 be wished for my purposes. 
 
 For keeping their point and being free from grit, they are 
 certainly superior to any I have yet tried. 
 
 I am, Sir, your obedient Servant, 
 
 Messrs. G. Roioney and Co. FRED. B. GOODALL. 
 
 4, Augustus Square, Regent’s Park, July 1st, 1848. 
 Gentlemen—I find your Pencils almost universally used 
 among my pupils, and I may add, I know of no better manu¬ 
 factured. Yours truly, 
 
 To Messrs. Roioney and Co. GEO. HARLEY. 
 
 Streatham Place, Brixton Hitt, July 10 th, 1848. 
 
 Gentlemen—I have been in the habit of using your Im¬ 
 proved Lead Pencils for some time, and find them, for my 
 purpose, superior to any other. They combine richness of 
 colour with a firm point, and do not break in using. 
 
 I am, Gentlemen, yours truly, 
 
 DAVID COX, Jun. 
 
 Messrs. Roioney and Co. 
 
19 
 
 10, South Parade, Brompton, July 6th, 1848. 
 
 Gentlemen—With much pleasure I send to you my opinion 
 upon the qualities of your Lead Pencils. I consider they 
 contain the very qualities that artists and amateurs have so 
 long desired, viz, an easy control over them, which is not 
 accomplished in the use of other Lead Pencils. In addition 
 to this, they do not rub and smear so easily as other Lead 
 Pencils. Since I first purchased your pencils I have used no 
 other, nor will my pupils, in whom there is not one dissen¬ 
 tient voice. The perfection of a Lead Pencil is in its affinity 
 to the paper and obedience to the will and the fingers. You 
 are perfectly at liberty to make use of this, my testimonial, in 
 favor of your excellent Lead Pencils. 
 
 I am, Gentlemen, truly yours, 
 
 Messrs. Rowncy and Co. GEO. R. LEWIS. 
 
 From the late T. M. Richardson, Sen., Esa. ,Neiocastle-on-Tyne, 
 
 53, Blackett Street, Newcastle-on- Tyne. 
 
 Gentlemen—I have made use of your New Pencils, and 
 consider them a most desirable acquisition either to the artist 
 or the amateur. They work pleasantly, and the variety of 
 tint which they are capable of producing renders them 
 valuable in sketching. 
 
 I am, Gentlemen, yours most truly, 
 
 THOS. M. RICHARDSON, Sen. 
 Messrs. Rowney and Co., London. 
 
 Old Brompton, 26th June, 1848. 
 
 Gentlemen—I like your Pencils better and better the more 
 I use them; they are in all respects excellent. Since I first 
 tried them I have used no other. 
 
 Yours, &c., 
 
 Messrs. Rowney and Co. H. W. HULME. 
 
 18, Oxford Terrace, 30 th June, 1848. 
 
 Mr. Runciman presents his compliments to Messrs. Rowney 
 and Co., and has no hesitation in stating that he considers 
 their Improved Pencils equal to the best pencils that are 
 made, and in some respects far superior; and as the cost of 
 them is so much less than those of other manufacturers, 
 Mr. R. of course uses only those of Messrs. R, and Co. 
 
20 
 
 From G. Barnard, Esq., Head Drawing Master of Rugby 
 School, 85, Great Portland Street, London. 
 
 Gentlemen—In reply to your inquiry respecting my opinion 
 of the quality and value of your New Pencils, I do not hesi¬ 
 tate to say that I find them excellent in all respects, with 
 entire freedom from grit, and working well, whether hard or 
 soft; these qualities, combined with their moderate price, 
 render them very valuable to artists and their pupils. 
 
 Truly yours, 
 
 G. BARNARD. 
 
 From J. A. Hammersley, Esq., Head Drawing Master of 
 the Government School of Design, Manchester. 
 
 Dear Sirs—I have tried all the Lead Pencils you forwarded 
 to me, and consider them the best I have ever had; indeed 
 it is impossible justly to compare them with any others, as 
 they possess qualities I never yet found in pencils, amongst 
 which I may name their beautiful transparency and clearness. 
 I have not ofily made use of them myself, but have had them 
 tried by several students in this Institution, and their excel¬ 
 lence is acknowledged by my pupils. The' BBB’s are most 
 superb pencils. 
 
 I am, Sirs, yours most respectfully, 
 
 J. A. HAMMERSLEY. 
 
 From G. Petrie, Esq., Vice President of the Royal Hibernian 
 
 Academy. 
 
 Great Charles Street. 
 
 Gentlemen—I have tried the set of Pencils you were so 
 good as to send me, and I have no hesitation in expressing my 
 opinion that they are far superior to any that I have used for 
 many years—perhaps, indeed, to any that'I have ever used. 
 Were the price of them three or four times what it is, I should 
 take them with pleasure, and I shall recommend them confi¬ 
 dently to my friends. 
 
 I am, Gentlemen, faithfully yours, 
 Messrs. Roicney 8$ Co. GEORGE PETRIE, R.H.A. 
 
 4, Berners Street, Oxford Street, July 19 th, 1848. 
 Dear Sirs—I feel pleasure in stating I donsider your Lead 
 Pencils the best in quality I have ever used. The fiB is most 
 useful for preserving freedom in outline. 
 
 Truly yours, 
 
 M. O'CONNOR. 
 
 
 Messrs. Roicney and Co. 
 
21 
 
 From, Henry Worsley, Esq., 119, Great Portland Street. 
 Gentlemen—I have used your New Pencils for various 
 . purposes, and find them excellent for all. Combined with the 
 price, their properties cannot fail to make them an acquisition 
 to artists and the public generally. I shall feel much pleasure 
 in recommending them. 
 
 I am, Gentlemen, obediently yours. 
 
 Messrs. Rowney and Co. HENR\ WORSLEY. 
 
 120, Baggot Street, Dublin. 
 
 Gentlemen—The Pencils you sent me I have tried, and 
 found them to answer remarkably well for general use. The 
 Pencil marked BB is particularly good for bold drawing. 
 
 I am, yours truly, 
 
 WILLIAM BROCAS. 
 
 From the London Art Union. 
 
 We have recently tried some Lead Pencils manufactured by 
 Messrs. Rowney and Co , which we confidently recommend. 
 Their quality is good, both as respects colour and firmness ; 
 they are free from grit, do not easily break, and moreover, are 
 remarkably cheap. 
 
 St. Andrew's Street, May 24th, 1845. 
 Gentlemen—I have tried the Pencils which you were so kind 
 as to send me, and am very much pleased with them. I find 
 them free from the many defects which render other pencils so 
 unpleasant to use. Their excellence, added to the style in 
 which they are finished , and their very cheap price, must 
 secure for them a very extensive sale. 
 
 I remain, Gentlemen, yours truly, 
 
 Messrs. Rowney and Co., London. H. O’NEILL, M.S.I.A. 
 
 28, Grand Parade, Cork. 
 
 Gentlemen—I beg to thank you for your case of newly- 
 invented Drawing Pencils, and, as you desire, to give my honest 
 and candid opinion concerning their merits. I have given 
 them every fair trial, both in Sketching from Nature and in 
 Pictorial effect, and can find no praise too great for them: 
 they possess many advantages over pencils of a less modern 
 date, too numerous to be inserted in a letter. 
 
 I am, Gentlemen, your obliged and obedient Servant, 
 
 Messrs. Rowney and Co, JOHN NOBLET. 
 
22 
 
 23, Great Brunswick Street. 
 
 Gentlemen—I feel pleasure in stating, that in my opinion, 
 your new Blacklead Pencils are excellent in quality and 
 admirably prepared, thus combining advantages which render 
 their use both easy and delightful. Their very moderate price, 
 too, is an additional recommendation. 
 
 I am, Gentlemen, yours, &c., 
 
 B. MULEENIN, A.E.H.A. 
 
 10, Tichbourne Street, Quadrant. 
 
 Gentlemen—At your request I have tried your Pencils, 
 which I have found in every respect superior to any pencils I 
 have hitherto used : I can most confidently recommend them 
 as possessing every quality that can be desired. Their cheap¬ 
 ness and elegance are sufficient to ensure their sale. 
 
 I remain, your obedient Servant, 
 
 Messrs. Rowney and Co., J. SYER. 
 
 Avon Beg Cottage, Carrick/ergus March 30 th, 1846. 
 
 Gentlemen—The specimen of your Threepenny Pencils, 
 sent to me through your Agent, Hr. Marcus Ward, Belfast, 
 gives me the opportunity of according in opinion with other 
 Artists who have tried them, as I have never used pencils with 
 which it is more easy to produce soft, and, at the same time, 
 bold effect. The BB, being a beautiful medium, is admirably 
 adapted both for distance and fore-ground ; the single B being 
 most suitable for free sketching. I feel bound, in justice to 
 you, to recommend them with the greatest confidence, trusting 
 that their quality may always entitle them to a preference. 
 
 I am, Gentlemen, yours, &c., 
 
 Mes&rs. Rowney and Co. J. HOWARD BURGESS. 
 
 20, Great George Street, Cork, August 21, 1845. 
 
 Gentlemen—l^or some months I have been making use of 
 your N ew Pencils with great satisfaction: they possess two 
 very desirable properties, cheapness and excellence , and I have 
 no doubt, but that they will command a very extensive sale in 
 Cork. Your BB is a splendid Pencil, admirably adapted for 
 bold, effective Drawing. 
 
 I am, Gentlemen, yours obediently, 
 
 ROBERT F. STOPFORD. 
 
 Messrs. Rowney and Co., London. 
 
23 
 
 \ 
 
 42, $ow£A Mall, Cork, Sep. 1 \th, 1845, 
 
 Gentlemen—The Pencils you were so kind as to send me 
 I have carefully tried, and found them of excellent quality in 
 every respect: in my opinion no better could be, and remark¬ 
 ably moderate in priee. 
 
 I am, Gentlemen, yours truly, 
 
 Messrs. Rowney and Co. JOHN BRENAN. 
 
 From W. G. Wall, M.S.I.A. 
 
 Gentlemen—I have used your 3d. Drawing Pencils, and 
 have great pleasure in stating that they are altogether the best 
 I ever used at any price. They are perfectly FREE FROM 
 GRIT, and WORK most beautifully. 
 
 I am, Gentlemen, yours most truly, 
 
 WILLIAM G. WALL, M.S.I.A. 
 
 I 
 
 From W. G. Herdman, Esq., Secretary of the Society for 
 
 Liverpool. 
 
 6, Landsdoum Place , Everton, 6th March , 1847. 
 
 I have tried the Pencils manufactured by Messrs. G. Rowney 
 and Co. and find them most free and pleasant to work with, 
 and capable of producing great depth and richness of effect. 
 
 WILLIAM GAWIN HERDNAN. 
 
 CAUTION. 
 
 The Public are respectfully requested to observe that the name o! 
 « George Rowney and Compy.” is stamped on each Pencil; as their 
 unprecedented success has induced other manufacturers to imitate 
 them in their outward appearance, as the means of selling an inferior 
 article, to the injury of the character established by Messrs. R. and 
 Co. for their Pencils. 
 
DOME POINTED SABLE HAIR PENCILS, 
 
 24 
 
 Erashes for Water Colour Painting. 
 
 SABLE HAIR PENCILS, OF THE VERY FINEST DESCRIPTION. 
 
 lGs. 14s. 10s. 6d. 7s. 6d. 6s. 6d. 
 
 BOUND WITH SILK AND GOLD WIRE. 
 
25 
 
 Brushes for ¥L r ater Colour Fainting, 
 
 CONTINUED. 
 
 FRENCH DOME POINTED SABLE PENCILS. 
 
 3s. 6d. 2s. 6d. Is. 6d. Is. 
 
 e 
 
26 
 
 Hed or Brown Sables. 
 
 
 Miniature Sables, 5d. each. 
 
 - . - Crow Quill, 4d. 
 
 mm 
 
 Duck Quill, 6d. 
 
 3* Large Duck, 8d. 
 
 Small Goose, 9d. 
 
 Goose, lOd. 
 
 LARGE SWAN QUILL CAMELS, 4d. 
 
 SMALL SWAN QUILL CAMELS, 3d. 
 
 FULL GOOSE CAMELS, 2d. 
 
Superfine Camel Hair Pencils, Is. per dozen 
 
 < 
 
 27 
 
28 
 
 ROUND CAMEL HAIR BRUSHES IN TIN, from No. 1, 2|d., to No. 
 
* 
 
 29 
 
 ✓ 
 
 SEYEN-QUILL FRENCH CAMEL, Is. 
 
% 
 
 30 
 
 DYED OR RED SABLE HAIR BRUSHES, 
 
 Nos. 6,. 
 
 in Metal Ferrules , Polished Handles, 
 
 FLAT. 
 
 5 
 
 4, 
 
 3, 
 
 2 , 
 
 1, each Is. 
 
t 
 
 31 
 
 DYED OR RED SABLE HAIR BRUSHES, 
 
 in Metal Ferrules, Polished Handles, 
 
 \ 5 
 
 ROUND. 
 
 Nos. 6, 5, 4, 
 
 1, each Is. 
 
 P 
 
 LARGE BRUSHES, OF THE SAME MATERIAL, 
 From 3s. 6d. to 21«. each, round and flat. 
 
 / 
 
\ 
 
 32 
 
 Earthenware Palettes, Slabs, &c. 
 
 OVAL. 
 
 OBLONG. 
 
 Square Tiles, 2d. per inch. Square Tiles, with rim, 
 
 3d. per inch. 
 
33 
 
 Indian Ink Stones. 
 
 
 in. 
 
 in. 
 
 
 Small Size, 
 
 02 
 
 by if, 
 
 5d. < 
 
 Middle „ 
 
 4 
 
 by 2 |, 
 
 8d. 
 
 Large „ 
 
 6i 
 
 by 41 
 
 Is. 6d. 
 
 an 
 
 HD 
 
 Slanting Divided Tiles. 
 
 f3 Divisions 
 
 4 
 
 5 
 
 6 
 8 
 
 10 
 12 
 *12 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 s. d. 
 
 0 8 
 
 <11,1-11 
 
 
 . . 1 4 
 
 1 4 
 
 (HIL 
 
 Jll 
 
 1 4 
 
 (. M 
 
 P» 
 
 2 0 
 
 2 0 
 
 i;; l. fill 
 
 \~m 
 
 2 4 
 
 (i ,L 
 
 bn 
 
 well . 3 9 
 
 * 
 
 UDlJ 
 
 Ipm 
 
 Square Divided Tiles. 
 
 ■ ■ 
 
 L. 
 
 i “ 
 
 
 L 
 
 3 Divisions 
 6 „ 
 
 9 „ 
 
 12 „ 
 
 s. d. 
 
 0 9 
 
 1 4 
 1 8 
 
 2 0 
 
 New Colour Slab. 
 
 5 Well and 5 Slant Slab. 
 
 ■u 
 
 
 Ui) 
 
 in 
 
 
 m 
 
 9d. 
 
 c 5 
 
 2s. 
 
34 
 
 Round Paints. Cabinet Nests of 
 
 Saucers. 
 
 Tinting 
 
 Saucers. 
 
 Round paints, 2d. each, or Is. 6d. per dozen. 
 
 Cabinet Saucers, small, the set, 1 s. 6d. In morocco cases, 3s. 6d. 
 
 Ditto, large . 2s. 6d. ,, 4s. 6d. 
 
 Tinting Saucers, from lOd. to Is. 6d. per dozen. 
 
 Whatman’s Drawing Papers. 
 
 Plain Surface for Water Colours. Hot-pressed ditto, smooth for 
 
 Pencilling. 
 
 
 Size. 
 
 Per Sheet. 
 
 Per Quire 
 
 
 
 S. d. 
 
 s. 
 
 d. 
 
 Demy 
 
 20 by 15 in. 
 
 0 2 
 
 3 
 
 0 
 
 Medium 
 
 22 „ 17 
 
 0 2~ 
 
 4 
 
 0 
 
 Royal 
 
 24 „ 19 
 
 0 4 
 
 6 
 
 0 
 
 Super Royal 
 
 27 „ 19 
 
 0 5 
 
 7 
 
 6 
 
 Imperial 
 
 30 „ 21 
 
 0 6 
 
 9 
 
 0 
 
 Columbia 
 
 34 „ 23 
 
 0 9 
 
 15 
 
 0 
 
 Atlas 
 
 33 „ 26 
 
 0 9 
 
 15 
 
 0 
 
 Double Elephant 
 
 40 „ 26 
 
 0 10 
 
 18 
 
 0 
 
 Antiquarian 
 
 52 „ 31 
 
 3 6 
 
 . 
 
 
 Sxtra Drawing 
 
 Papers. 
 
 
 
 
 
 Per Sheet. 
 
 Per Quire. 
 
 
 
 s. d. 
 
 s. 
 
 d. 
 
 Whatman s Stout Imperial 
 
 0 8 
 
 14 
 
 0 
 
 Ditto, Extra Stout ditto 
 
 0 10 
 
 18 
 
 0 
 
 Ditto, ditto, ditto, very rough surface 0 10 
 
 18 
 
 0 
 
 Rough Imperial Paper 
 
 0 6 
 
 9 
 
 0 
 
 Stout Double Elephant Paper 
 
 1 8 
 
 36 
 
 0 
 
 Harding’s Drawin 
 
 g Paper 
 
 0 6 
 
 10 
 
 0 
 
 Double thickness of ditto 
 
 1 0 
 
 20 
 
 0 
 
35 
 
 Colossal drawing Papers, 
 
 IN ANY LENGTH, 
 
 For Plans, Large Drawings, &c. 
 
 s. d. 
 
 "White, 4 ft. 6 in. wide. Per yard, 1 6 
 
 Grey, 3 ft. 9 in. . Ditto 1 3 
 
 Tinted Drawing Papers. 
 
 Imperial size, of every variety of Tint suitable for Pencil, Chalk, 
 Crayon, or Water Colour Drawing. 
 
 Hand-made, or Machine-made papers, 5d. per sheet, 8s. 
 
 per quire. 
 
 The hand-made papers are most suitable for Water Colours. 
 The machine ditto, being of a softer material, are best 
 adapted for Pencil, Chalk, &c. They are sometimes, however, 
 used in Sketching in Water Colours. 
 
 Pattern books of the various Tints kept in stock, may be 
 had on application. 
 
 ROWNEY’S PREPARED TINTS, 
 
 FOR PENCILLING. 
 
 These Tints are prepared on Stout Drawing Paper for the 
 modern style of Pencil Drawing in Black and White. The 
 White being obtained by scraping the surface off the paper 
 with a knife. 
 
 Sold in Packets of 1 dozen, Ato. Imperial size, 4s .; Soo. Imperial 
 size, 2s. 
 
 ROWNEY’S GRADUATED TINTS, 
 
 FOR PENCIL, CHALK, OR WATER COLOUR DRAWING. 
 
 The Tints are used similarly to the Pencilling Tints, and 
 differ from them in the Colour being graduated from a Blue 
 Tint for the Sky to a Brown for the Earth. The Graduated 
 Tints are made of various Colours to suit different effects. 
 
 Sold in Packets of 1 dozen, 4 to. Imperial Size, 5s., or 6 d. each, 
 singly. In 8 vo. Imperial size, 2s. 6d., or 3d. each, singly. 
 
36 
 
 Turnbull’s London Boards, Sc c. 
 
 These Boards are manufactured of Whatman's picked Drawing 
 Taper, and are suitable for highly finished Drawings. 
 
 Foolscap 
 Demy . 
 
 Medium . 
 
 Royal . 
 
 Super Royal 
 Imperial 
 
 Royal Crayon Boards 
 Imperial ditto 
 
 Bristol Boards, a second quality Board, about one-fourth less than 
 the London Board. 
 
 Boards for mounting Drawings, &c., about haF the above 
 
 prices. 
 
 SKETCH BOOKS. 
 
 Octavo Demy, 7 by If in. each 
 Ditto Medium, 8 by 5 ,, 
 
 Ditto Royal, 9 by 5| „ 
 
 Ditto Imperial, 10 by 7 „ 
 
 Quarto Demy, 9£ by 7 ,, 
 
 Ditto Mediuta, 10| by 8 ,, 
 
 Ditto Royal, Ilf by 9 „ 
 
 Ditto Super Royal, 13 by 9 ,, 
 Ditto Imperial, 14 by 10 „ 
 
 Half bnd. 
 cloth sides 
 button & 
 
 Common 
 
 Stitched, 
 
 strings, 
 40 leaves. 
 
 half bnd. 
 22 leaves. 
 
 22 lea\es. 
 
 2s. 0d. 
 
 Is. 2d. 
 
 Os. 6d. 
 
 2 6 
 
 1 4 
 
 0 9 
 
 3 0 
 
 1 8 
 
 1 0 
 
 4 6 
 
 2 3 
 
 1 6 
 
 3 6 
 
 2 0 
 
 1 3 
 
 4 9 
 
 2 3 
 
 1 6 
 
 6 0 
 
 3 0 
 
 2 0 
 
 7 3 
 
 3 6 
 
 2 6 
 
 8 9 
 
 4 6 
 
 3 6 
 
 With 
 
 tissue 
 
 paper, 
 
 extra. 
 
 3d. 
 | 4d. 
 6d. 
 
 The above half bound books may be had with clasps, 6d. extra. 
 
37 
 
 SOLID SKETCH BOOKS, 
 
 OF WHITE OR TINTED TAPER. 
 
 These Books consist of a number of sheets of paper, com¬ 
 pressed so as to form a solid block, each sheet of which is to 
 be separated by inserting a knife underneath the uppermost 
 6heet, and passing it round the edge. 
 
 SOLID SKETCH BOOK, with Desk Improvement. 
 
38 
 
 Solid Sketch Book, continued. 
 
 o ^ 
 a> 
 
 *n o. 
 
 f 32mo 
 16mo 
 
 O c5 
 
 lGmo 
 
 ‘Jf a> 
 
 8vo, 
 
 m -G *S 
 « > 
 
 o 
 
 > 
 
 GO 
 
 aJ 
 
 4to, 
 
 0 
 
 4to, 
 
 *-* 
 
 CQ ® 
 
 1 
 
 L 2 
 
 Imperial size 5 in. 
 Royal 
 Imperial 
 Royal 
 Imperial 
 Royal 
 Imperial 
 Ditto 
 
 7 
 
 9 
 
 10 
 
 11| 
 
 14 
 
 20 
 
 hy 3| 
 
 H 
 
 5 
 
 H 
 7~ 
 9 
 10 
 14 
 
 S*~t 
 
 O 
 
 O 
 
 -S 
 
 m 
 
 i jd 
 
 per, without 
 Portfolio. 
 
 Ditto, with 
 tfolio, Pocket 
 Pencil case. 
 
 a c3 
 
 co ft< 
 
 2 0 
 
 O G 
 ft, a 
 
 3 3 
 
 2 
 
 0 
 
 3 
 
 3 
 
 2 
 
 9 
 
 4 
 
 0 
 
 3 
 
 0 
 
 4 
 
 G 
 
 4 
 
 0 
 
 6 
 
 0 
 
 5 
 
 0 
 
 7 
 
 6 
 
 6 
 
 6 
 
 10 
 
 0 
 
 15 
 
 0 
 
 22 
 
 0 
 
 •c rt) 
 
 S u a 
 a 
 
 to o.o 
 •e CQ 85 
 
 § « x* 
 
 o 0 , b3 
 £ c 
 
 E." — « 
 
 fT.* ■" be 
 
 a co •£ a7 
 
 4 0 
 4 0 
 4 6 
 6 0 
 7 6 
 10 0 
 15 0 
 27 0 
 
 SKETCHING PORTFOLIOS, 
 
 With Japanned Tin Frame for securing the Paper in use , and with 
 Pocket to contain the Sketches and a supply of Paper % 
 
 Octavo Imperial, 
 Quarto Royal, 
 Ditto Imperial, 
 Half Royal, 
 Ditto Imperial, 
 
 size, 11 by 7f 
 do. 12 — 9| 
 do. 15 — ll 
 do. 19 — 12 
 do. 22 — 15 
 
 s. d. 
 each 4 6 
 „ 5 0 
 
 6 G 
 „ 10 0 
 „ 12 0 
 
 
39 
 
 PORTFOLIOS. 
 
 Cloth sides, leather hacks and corners, silk strings, neatly and 
 substantially made. 
 
 Half Demy, 
 
 15 by 10 in. . 
 
 . each 
 
 s. 
 
 2 
 
 wit 
 
 d. 
 
 8 
 
 h Flaps, 
 s. d. 
 4 8 
 
 Quarto Imperial, 
 
 15 — 
 
 11 
 
 • 9 9 
 
 3 
 
 0 
 
 5 
 
 0 
 
 Music size, 
 
 Ditto, with bars, 
 
 16 — 
 
 11 
 
 • ff 
 
 3 
 
 0 
 
 5 
 
 0 
 
 16 — 
 
 11 
 
 * 9 9 
 
 4 
 
 6 
 
 6 
 
 6 
 
 Half Medium, 
 
 17 — 
 
 11| . 
 
 • )) 
 
 3 
 
 3 
 
 5 
 
 3 
 
 Half Super Royal, 
 
 19 — 
 
 13 
 
 • 99 
 
 4 
 
 9 
 
 7 
 
 0 
 
 Demy, 
 
 20 — 
 
 15 
 
 • 99 
 
 5 
 
 6 
 
 8 
 
 0 
 
 Medium, 
 
 22 — 
 
 17 
 
 • 99 
 
 6 
 
 3 
 
 9 
 
 '3 
 
 Royal, 
 
 24 — 
 
 19 
 
 • 99 
 
 7 
 
 6 
 
 11 
 
 6 
 
 Super Royal, 
 
 27 - 
 
 19 
 
 • 99 
 
 12 
 
 0 
 
 17 
 
 0 
 
 Imperial, 
 
 29 — 
 
 21 
 
 
 16 
 
 6 
 
 21 
 
 0 
 
 Large Atlas, 
 
 33 — 
 
 26 
 
 
 18 
 
 6 
 
 24 
 
 6 
 
 Mahogany Drawing Boards, &c. 
 
 With shifting panel to secure the paper for use. 
 
 o* u. 
 
 Quarto Royal, lOf by 8 in. . . . each 5 0 
 
 Ditto Imperial, 13 — 9| . . . „ 6 6 
 
 Demy, 18 — 13f . . . 10 0 
 
 Half Royal, 17f — 10| ... „ 8 0 
 
 Ditto Imperial, 19J — 13f . . . „ 10 0 
 
 Medium, 20” — 15| . . . ,, 12 0 
 
 Royal, 22~ — 17± . . . „ 15 0 
 
 Imperial, 28 — 19 . . . 20 0 
 
 Deal Clamped Drawing Boards, from Octavo Imperial, 
 Is. each, to Antiquarian size, 21s. 
 
 ♦ 
 
40 
 
 ROWNEY’S DRAWING DESK. 
 
 A compact and light invention suitable for Students, 
 enabling them to place their copy before them, and draw from 
 it on the desk raised to a proper angle, and serves when 
 closed to carry a full supply of all the materials requisite, in¬ 
 cluding the drawings and paper. 
 
 Rowney’s Drawing Desk in Deal . . 4s. Od. 
 
 Ditto ditto, with extra compartment 
 
 for Chalks, Colours, &c. • . . .50 
 
 Ditto ditto, in Mahogany . .80 
 
 Ditto ditto, with extra compartment 
 
 for Chalks, Colours, &c. . . . 10 0 
 
 May be had through any Stationer or Artists’ Colourman, 
 and at 51, Rathbone Place, London. 
 
 T Squares. 
 
 Set Squares. 
 
 Rbony Parallel Rules. 
 
 COMPASSES, RULING PENS, and all kinds of Drawing 
 and Mathematical Instruments, in brass or German silver, 
 suitable for Engineers, Surveyors, and Students; warranted 
 town made, and of the finest description. 
 
 CHALKS AND CRAYONS, 
 
 SWISS CRAYONS. 
 
 These soft and delicate Crayons, of which such beautiful 
 drawings (both landscapes and portraits) are produced, are 
 manufactured and sold (by G. R. & Co. only) in glass tubes, 
 which serves to preserve them, besides answering as a port¬ 
 crayon in their use. 
 
 Sorted Tints, per dozen, 6s. 
 
 Extra Colours, such as Lake Cobalt, &c. 6d. each. 
 
 In boxes of 3 dozen, 18s. extra colours included. 
 
41 
 
 INDELIBLE CRAYONS. 
 
 These Crayons are occasionally used in sketching or drawing 
 where a small touch of colour is required, and as they do not 
 rub off from the paper, are a great acquisition for some pur¬ 
 poses. 
 
 In boxes of 1, 2, or 3 dozen; sorted colours, at 4s. per doz. 
 
 FRENCH PASTILE CRAYONS. 
 
 In boxes, containing 12 colours 
 
 
 Is. 
 
 Ditto, ditto, 24 „ 
 
 • 
 
 . 2s. 
 
 Ditto, ditto, 36 „ 
 
 • 
 
 . 3s. 
 
 CRETA LCEVIS, 
 
 OR 
 
 PERMANENT DRAWING CHALK PENCILS, 
 
 Similar in property to the indelible crayons, but may also 
 be softened or removed by water. 
 
 Price singly, 6d. each. 
 
 Extra colours, Is. ,, 
 
 In Leather Cases, 7s. per dozen. 
 
 ROWNEY’S 
 
 ROYAL ACADEMY BLACK CHALKS. 
 
 The best adapted for Studies in Chalk or Drawings, from, the 
 
 Antique. 
 
 3 Degrees, 6d. per dozen in boxes. 
 
 CONTE CRAYONS. 
 
 Black Square, No. 1, 2, and 3, per dozen 
 Ditto Round, No. 1 and 2. 
 
 Glazed ditto, very soft and black 
 Red or Brown . 
 
 Soft French Stumping Chalk, per oz. . 
 Best Italian Black Chalk ,, 
 
 Ditto, Red ditto „ 
 
 Charcoal in Sticks, per dozen 
 
 0 8 
 1 0 
 2 0 
 1 0 
 
 0 10 
 0 8 
 0 8 
 0 8 
 
42 
 
 Lithographic Chalk, per stick 
 
 White Chalk, per oz. 
 
 PERMANENT WHITE CHALK. 
 
 Hard, Middle, and Soft . . 8d. per oz. 
 
 PORTCRAYONS. 
 
 Common Brass Holders each . 0 4 
 
 Best ditto . „ l 2 10 
 
 Steel ditto ,, . l o 
 
 Common German Silver ditto ,, 0 8 
 
 Best ditto i c 
 
 PREPARED IVORIES, 
 
 FOR MINIATURE PAINTING, 
 
 Selected with the greatest regard for quality. 
 
 MINIATURE CASES, to suit Ivories. 
 
 
 Made for Prints or Drawings. 
 
 STUMPS, INDIAN RUBBER, INDIAN INK, GOLD & SILVER 
 SHELLS, EASELS, SKETCHING STOOLS, ETC. 
 
 and every other requisite for Water Colour Painting. 
 
43 
 
 MATERIALS FOR OIL PAINTING, 
 
 MANUFACTURED BY 
 
 GEORGE ROWNEY & CO. 
 
 SUPERIOR EXTRA GROUND OIL COLOURS, 
 
 in Metallic Tubes. 
 
 COLOURS PREPARED IN IMPALPABLE POWDER. 
 
 PREPARED CANVASS AND TIC KEN, 
 
 Strained on Frames ready for use, of various sizes, suitable for 
 Portraits or Landscapes. 
 
 PREPARED MILL’D BOARDS. 
 
 PREPARED MAHOGANY PANELS. 
 
 SABLE BRUSHES, 
 
 Of all sizes, round and flat. 
 
 BADGER HAIR SOFTENERS. 
 
 FRENCH TOOLS, 
 
 Of all sizes, round and flat. 
 
44 
 
 OILS, VARNISHES, AND MEDIUMS, 
 
 Of the purest and best description. 
 
 Palettes, of Mahogany, Satin Wood, and Sycamore. 
 REST STICKS, EASELS, 
 
 and all other requisites for Oil Painting. 
 
 MATERIALS FOR MAKING WAX FRUIT AND FLOWERS. 
 MATERIALS FOR PERSIAN AND POONAH PAINTING. 
 
 LITHOGRAPHIC STUDIES, 
 
 in every variety , suitable for Drawing Copies. 
 
 AS ALSO EVERY OTHER REQUISITE FOR THE FINE ARTS. 
 
 TO BE PUBLISHED ANNUALLY, 
 
 THE 
 
 GUIDE TO THE FINE ARTS, 
 
 OR ARTIST’S REMEMBRANCER, 
 
 Containing the most useful information relating to matters 
 interesting to Artists and Amateurs, respecting the various 
 Exhibitions, Schools of Design, Drawing Classes, Galleries 
 and Collections open to Students, Notices of Ancient and 
 Modern Painters and their works, &c. &c. 
 
 PRICE ONE SHILLING, 
 
 GEORGE ROWNEY AND CO., 51, RATHBONE PLACE, 
 
 LONDON. 
 
 BURTON, IPSWICH STEAM PRESS.