£ t*<A^ 4--(_ 
 
 
 

MttBM 
 
CAWSE 
 
 ON 
 
 OIL PAINTING. 
 
I 
 
/ 
 
face Tag & 26. 
 
 
 / 
 
 w/. 
 
 1. White. 
 
 2. light ochre & its. two tints. 
 
 3. light red X- its two tints. 
 
 -4. Vermilion audits tints. 
 
 5. A tint made of Lake.,VenniHcm 1 & \ 
 
 6 . lio a c ti .nt. 
 
 7. B] ixe tin l . 
 
 8. Lead, 'tint . 
 
 9. G-reeil tint . 
 
 LO. E£al£ slta.de tint, made of 
 Indian red and White . 
 11. Shade tint. 
 12. Rose shade . 
 13. "Warm shade 
 
 : .,■■■,■:■.>',:.■■■ .,; ■ / , lipse. Spprtu\ . '« ■' ■ ' 
 
THE 
 
 ART OF PAINTING 
 
 PORTRAITS, LANDSCAPES, ANIMALS, DRAPERIES 
 
 SATINS, &c. 
 
 IN OIL COLOURS: 
 
 ^ractkallB lExplaiiuti 6b ©olourcti palettes : 
 
 WITH AN APPENDIX ON CLEANING AND RESTORING ANCIENT PAINTINGS ON 
 
 PANEL OR CANVAS. 
 
 By JOHN CAWSE. 
 
 LONDON: PUBLISHED BY RUDOLPH ACKERMANN, 
 
 AT HIS ECLIPSE SPORTING GALLERY AND REPOSITORY OF ARTS, 
 
 191, REGENT STREET. 
 
 1840. 
 
WHITEHEAD AND CO. PRINl'EHS, 
 76, FLEET STREET, TON PON. 
 
 1 
 
INDEX 
 
 Page 
 
 Introduction 7 
 
 Materials requisite for Painting in Oil 9 
 
 Colours used in Painting 10 
 
 Oils and Varnishes, Megelps, &c, and Varnish for valuable Paintings 16 
 
 On Grounds 20 
 
 Portrait Painting 22 
 
 Method of painting a Portrait by Tints mixed and matched to Nature 
 
 and the complexion of the Sitter 24 
 
 First Sitting 26 
 
 Second ditto 27 
 
 Third ditto 27 
 
 Back-grounds 28 
 
 Draperies 30 
 
 White Satin 31 
 
 Blue Satin 32 
 
 Velvet 32 
 
 Scarlet or Crimson Satin 33 
 
 Yellow Satin 33 
 
 Green Satin 34 
 
 Black Satin ... 35 
 
 Linen 35 
 
 Landscapes 36 
 
 General Directions for drawing Animals, Horses, Birds, &c, and the 
 
 Colours used for painting Black, White, Chestnut, and Bay Horses 39 
 
 Rule how to copy a Miniature the size of life with its true proportions 41 
 
 Picture Cleaning 42 
 
INTRODUCTION. 
 
 The great want of an easy rudi mental work on 
 Painting in Oil Colours, adapted to the use of the 
 student in painting, induced the Author to publish, 
 some years ago, a small work, to assist the young 
 artist in his studies. The numerous editions that 
 have been sold of this work testify to its usefulness, 
 and tempt the author to add, in the present volume, 
 the result of further practice and experience. Find- 
 ing, in the course of teaching, that the method of 
 explanation by coloured palettes best conveyed to the 
 mind of the student the use and application of colours 
 and tints, a series of such palettes is here given. 
 The work now before the reader is exactly, and as 
 near as the Author could write it, the kind of Artist's 
 Assistant that he wanted, and in vain looked for, when 
 he was so advanced in his studies, at the Royal 
 Academy, as to wish to proceed to the use of Oil 
 Colours. All theoretical and critical observations 
 are, as much as possible, avoided, and the explana- 
 tions are as practical as, in a treatise of this nature, 
 he was able to make them. The quotations from 
 
8 
 
 INTRODUCTION. 
 
 other works are only those that bear upon, or serve 
 to make clearer to the student, the principles of 
 colouring, and are from the best authors, pictorial and 
 chemical. 
 
 The following matters of useful information are 
 included, viz. — 
 
 A list of the principal colours in use by artists, 
 their qualities, &c, oils and varnishes, and particularly 
 those used in glazing ; the formation of gumtions, 
 and what oils, &c. are best to make them with. 
 
 The method of making grounds for painting on 
 either canvas or panels. 
 
 Rules for drawing horses, &c. 
 
 The colours used in painting animals, and palettes 
 of colours for painting either black, white, chestnut, 
 or bay-coloured horses. 
 
 The application of lines by squares, in the copying 
 either a miniature or print, to the size of life, by a 
 measure which never fails in being of a true natural 
 proportion. 
 
-. 
 
 THE 
 
 ART OF PAINTING. 
 
 MATERIALS NECESSARY FOR PAINTING IN OIL. 
 
 An easel; and those termed rack easels, of a 
 square shape, are the best. A rest, or mall stick, 
 to rest and steady the right hand on, in painting. 
 
 Colours : for which see the list on the palette, 
 plate 1. 
 
 Brushes, of various sizes. 
 
 Hog-hair. 
 
 Fitches. 
 
 Sables. 
 
 A small cup, to hold oil, and a tin vessel, made 
 like a soap-dish, to hold turpentine, for washing the 
 brushes in while painting ; the colour, being washed 
 in the turpentine, filters through into the receiver, 
 and leaves the turpentine clear, or nearly so, at top. 
 
 A palette-knife. 
 
 c 
 
10 
 
 ART OF PAINTING. 
 
 Canvases, or panels; .those prepared with ab- 
 sorbent grounds are the best. 
 
 Palettes are made of various sizes and shapes ; 
 those are the best the sizes and shapes of which enable 
 the artist to arrange the colours and tints necessary, 
 without confusion ; and the wood to be preferred, in 
 making them, is either walnut-tree or rosewood. 
 
 A small grindstone and muller, of either glass or 
 porphyry, for the finer colours, ultramarine, lake, &c. 
 
 THE COLOURS USED IN PAINTING. 
 
 White lead is a calx, made by the action of vine- 
 gar corroding plates of lead. There are various sorts ; 
 the best is that sold under the name of flake or fine 
 white ; that called Nottingham white is used for 
 the first preparation or dead colouring ; it should be 
 ground with poppy or fine clear nut oil, and on a por- 
 phyry stone, perfectly cleaned from all other sub- 
 stances, for it sometimes contains an acid which will 
 mix with any material left from former grindings. 
 
 Black, made by calcining ivory, is deep and trans- 
 parent. That made from peach-stones, nut-shells, 
 and vine twigs, is cooler, and verges towards blue ; 
 both should be well ground on a clean stone, as from 
 them almost all the grey and retiring tints are made. 
 
ART OF PAINTING. 
 
 11 
 
 Blues. Ultramarine is the finest and most pure 
 in colour ; it is made from the stone lapis lazuli, 
 and sold at prices varying from two to six pounds an 
 ounce. It is often adulterated, and, to test it, a small 
 quantity must be put in a crucible, and it is pure if, 
 when brought to a red heat, it keeps its colour ; if 
 adulterated it is black and pale. 
 
 Prussian blue is the combination of iron with 
 prussic acid. £ Vide " Tingrey's Painter's and Var- 
 nisher's Guide."]] 
 
 Indian red ; * an earth brought from India : it 
 should never be used till it has been purified by re- 
 peated washings, and then it must be most carefully 
 and finely ground with poppy or nut oil ; for without 
 such a preparation, it will not be fit to use in painting 
 white satins, where it is indispensable. 
 
 Naples yellow, a preparation of antimony and 
 oxide of lead ; it should be ground with the purest 
 nut and poppy oil, and be spread upon the grindstone 
 previously to grinding, and taken off with an ivory 
 knife. 
 
 Terra vert is an earth of a pure green tint; hence 
 its name : it was a favourite glazing colour with the 
 
 * To ascertain its purity, put some in a crucible, and if, when 
 hot, it changes its colour, it is not good. 
 
12 
 
 ART OF PAINTING. 
 
 ancient artists ; but it becomes darker by age, and re- 
 quires great care in its use. 
 
 Carmine is made from the brightest part of cochi- 
 neal, by boiling a pound of cochineal in a gallon of 
 river or soft water, to which is added three drachms 
 of subcarbonate of potass ; after well boiling, a few 
 grains of alum, in powder, are thrown into the vessel, 
 and, being well stirred with a rod of twigs, the colour 
 becomes of deep red ; in a short time the carmine is 
 sunk to the bottom of the vessel, it is then poured 
 into a similarly sized vessel, put on the fire, and a few 
 grains of dissolved isinglass are then stirred with the 
 rod till boiling commences ; it is then taken from 
 the fire, and, in about forty minutes, the carmine is 
 deposited at the bottom of the vessel ; it must be now 
 filtered through fine linen, and left to dry. 
 
 Lake. Various colours are prepared under this 
 name ; such as purple lake, scarlet lake, crimson 
 lake, madder lake. The lake most useful in the car- 
 nation tints of flesh, is scarlet lake. That called 
 madder lake is the most lasting ; it is made by ex- 
 tracting, with the assistance of alum, the colouring 
 parts of the madder, precipitating, with subcarbonate 
 of potass, and washing with boiling water. 
 
 Vermilion. That which is called cinnabar is the 
 
ART OF PAINTING. 
 
 13 
 
 best ; and that which is generally used in painting, is a 
 preparation of sulphur and mercury, by the process of 
 sublimation. The sort called Chinese vermilion was 
 supposed to be the brightest and best, till some 
 chemists in Germany lately improved upon the methods 
 used in its preparation, and have given to the arts a 
 vermilion of purity and brightness. 
 
 Brown pink. A colour made by a precipitation of 
 French berries by alum. 
 
 King's yellow. Yellow sulphuretted oxide of ar- 
 senic. Orpiment is the result of combining nine parts 
 of arsenic and one of sulphur ; hence the name of yel- 
 low sulphuretted oxide of arsenic, given to it in the new 
 nomenclature. There are two kinds, one composed 
 of a bright brilliant lamina, of a beautiful yellow 
 colour, the other in small facets, the yellow colour of 
 which has a greenish tint ; the first is the best for the 
 purposes it is wanted for in drapery, and then it should 
 be carefully kept apart from all metallic bodies, and 
 applied at the last, and in the high lights, &c. 
 
 Umber. The Turkey umber is the best. 
 
 Burnt umber, the same colour calcined. 
 
 Vandyke brown, or Cassel earth, a rich toned bitu- 
 minous brown earth, but a slow dryer, should be well 
 and finely ground with good, clear, drying oil. 
 
14 
 
 ART OF PAINTING. 
 
 Light red is obtained by calcining, in a clean cru- 
 cible, finely powdered light ochre, first washed from 
 all impurities, and then well ground in poppy or nut 
 oil. 
 
 Light ochre and brown ochre. * All ochres are 
 calxes of iron, and become red by calcination. Terra 
 sienna, a brown yellow ochre, changes to a red by 
 calcining, and terra vert to a brown. They may be 
 made chemically, but are best in a natural state, and 
 are the most lasting and durable of colours ; witness 
 the pictures of the old masters, which, after the 
 injuries of time and accident, retain their brilliancy of 
 tone. Ochre was with them a very important mate- 
 rial in the art of colouring, even to the priming of 
 their panels and canvases. Burnt ochre and paste are 
 very often found, in damaged pictures of the Vene- 
 tian school, to be the first coating of the panel, 
 preparatory to the drawing, and after painting ; but 
 
 * Ochres are mixtures of argillaceous and calcareous earths 
 and oxide of iron, to which last substance their colour is generally 
 owing. Brown, yellow, and red ochres, result from the more or less 
 extensive, and more or less accelerated, oxidation of iron. Water 
 seems to be the principal promoter of this oxidation. The hydro- 
 gen, which is one of its constituent principles, escapes under the 
 form of inflammable gas ; while the oxygen, another principle of 
 water, unites to the metal, and converts it into an oxide. 
 
ART OF PAINTING. 
 
 15 
 
 the lighter ochres, in their natural state, were always 
 used ; as the darker, umber, red ochre, &c. came through 
 the lights of the picture. I cleaned and restored, in 
 the summers of the years 1827, 1828, and 1829, a 
 great number of Italian and Flemish pictures, col- 
 lected by Mr, John Webb, during his tour in Italy and 
 Flanders, &c. ; and, as many of them had been much 
 injured, I had an opportunity of examining the grounds 
 upon which they were painted. Those of the older 
 Italian and Flemish artists were invariably painted upon 
 a white, or nearly so, absorbent ground ; and of the 
 whole number, the oil ground did not seem to be the 
 one much in use. In the collection at Kensington 
 Palace, is a portrait of Dr. Linacre, the founder of 
 the College of Physicians, painted by Holbein. The 
 late Mr. Miller was engaged to make a copy of it, for 
 the college, some years ago : it was painted, he found 
 upon inspection, on a white absorbent ground ; and by 
 following the system of that school, in transparent 
 glazings and retouchings, the result was a close and 
 almost deceptive imitation of the portrait. 
 
J6 
 
 ART OF PAINTING. 
 
 OILS AND VARNISHES. 
 
 The oils are, drying oil and linseed, nut and poppy 
 oils. The varnishes are copal and mastic varnish ; 
 and from these are made the various gumtions, 
 megelps, and glazings, used in painting, from the first 
 painting, or dead colouring, to the finished picture. 
 
 Drying oil ; also called boiled oil, from the pro- 
 cesses employed in making it {vide " Tingrey's 
 Painter's and Varnisher's Guide"). For the use of 
 artists this should be obtained very clear and old, as 
 time allows all the impurities to settle, and the colour 
 of it changes from a dark brown to a fawn or citron 
 
 tint. 
 
 Linseed oil should always be chosen very clear, 
 and that termed cold-drawn is the best. 
 
 Nut oil, when pure and of a good quality, is the 
 best, and is preferable to either linseed or poppy oil, 
 for all the purposes of the artist ; for poppy oil, though 
 more colourless, has a great tendency to fatness. 
 
 Poppy oil is extracted from the seeds of the white 
 poppy, and is the least drying of the light oils. 
 
 Oil copal varnish, prepared by melting gum copal 
 in linseed, nut, or poppy oil, has been, from the 
 first discovery of oil painting, used as a vehicle to 
 
ART OF PAINTING. 
 
 17 
 
 paint with ; the pictures of the older Italian masters 
 may be said to owe all their brilliancy to the use of it. 
 Mastic varnish. Clear gum mastic, dissolved by 
 heat, in spirit of turpentine. To increase the drying 
 quality, which it sometimes wants, about the quantity 
 of one ounce of white resin to a pound of gum mastic 
 should be added in the melting. 
 
 Mastic varnish for Valuable Paintings. 
 
 Take mastic, cleaned and purified, twelve ounces. 
 
 Pure turpentine, one ounce and a half. 
 
 Camphor, half ounce. 
 
 White glass, pounded, five ounces. 
 
 Oil of turpentine, thirty-six ounces. 
 
 To be melted together slowly, and, while melting, 
 to be often stirred. The pounded glass is used to 
 divide the materials, and help the action of the spirit, 
 and, being heavier than the resins, it prevents them 
 from adhering to the bottom of the vessel. 
 
 Megelps, &c, are compounds of varnish and oil, for 
 the purposes of glazing, and giving a transparent bril- 
 liancy to the colouring. They are sometimes made 
 with the addition of water and sugar of lead, to give 
 them a drying quality ; the sugar of lead, previously to 
 its being used, should always be calcined, as it is less 
 
 D 
 
18 
 
 ART OF PAINTING. 
 
 ■ 
 
 liable to turn black. I here give a few recipes for 
 their preparation, as I have seen them both made and 
 used by some of the first of our artists. 
 
 Megelp. To two parts of drying oil put one part 
 of mastic varnish ; shake it together, set it in a cool 
 place and it will coagulate, and may be put on the 
 palette, being of a sizy stiffness. 
 
 Another, with water. To as much sugar of lead as 
 will cover a sixpence, add clean water ; when melted 
 put to it the same quantity of linseed, nut, or poppy 
 oil ; then shake them well together ; then add mastic 
 varnish, the whole well shaken together. Put it in 
 a cool place, and you will have a most useful megelp 
 to sketch and lay in the first preparation of a picture. 
 
 Another. To nut oil, or cold drawn linseed oil, 
 one pint, add as much sugar of lead as will lie 
 upon a shilling, and gum mastic half an ounce, 
 finely pounded. Put the gum and lead into a mortar, 
 on which pour the oil slowly, boiling hot, and, at the 
 same time, cold spring water ; keep stirring it up with 
 a small bunch of willow twigs till it becomes a cream ; 
 when completely united, pour it into bottles, and keep 
 them close corked. 
 
 Another ; for the dead colouring of pictures, either 
 portraits, compositions, or landscapes, on an absorbent 
 
ART OF PAINTING. 
 
 19 
 
 white ground. To one-third part of oil, nut or poppy, 
 add two-thirds of starch, diluted; with this mixture 
 and transparent colours (all opaque colours and white 
 left out) the design may be painted in, and all correc- 
 tions made, with a sponge or rag, but without dis- 
 turbing the ground. This mode of dead colouring 
 has many advantages : it shortens the time employed, it 
 renders the colouring brilliant, and, by the absorbency 
 of the ground, gets rid of the oil, which, in the non- 
 absorbent oil grounds, hinders the colours from dry- 
 ing; whereas, in this method, it is drawn into the 
 panel, if the ground is laid upon one, or the back part 
 of the canvas. 
 

 20 
 
 ART OF PAINTING. 
 
 r --j : , 
 
 GROUNDS, 
 
 For the purpose of painting on, may be divided 
 into two classes, — those that are absorbent (which are 
 the best, as, from their dryness and porosity, they ab- 
 sorb the oil), and those which are not absorbent, and 
 are known as oil grounds ; — either may be laid on 
 wood or canvas. The most ancient works of art, in 
 easel pictures, are painted upon wood. Those of the 
 old Italian masters are upon poplar wood ; the 
 Flemish and Dutch artists used oak ; and, in modern 
 times, mahogany has been used for the purpose ; but 
 both schools preferred the absorbent ground. The 
 absorbent ground is made with whitening, finely 
 ground and sifted, and size, made of parchment clip- 
 pings. Should a tint of colour be wanted, it should 
 be added at the time the ingredients are being melted 
 and mixed together over the fire ; when nearly cool 
 it is spread over the board, or canvas, with a trowel 
 or large palette-knife ; when dry, the inequalities are 
 rubbed smooth by a large and well-surfaced pumice- 
 stone, or square block of wood ; — this is the first 
 preparation. The second, to finish the surface of the 
 ground, is effected by laying on another coat of paste, 
 and smoothing it off with the hand, dipped occasionally 
 
ART OF PAINTING. 
 
 21 
 
 in water, which will leave the surface even and smooth 
 as plate glass. Plaster of Paris may be used, or incor- 
 porated with the size and whitening ; it is the same 
 coating now used by the gilders of frames. Should it 
 be desirable to remove the absorbency, a coat of light 
 coloured drying oil may be laid over the ground; 
 and, if left to dry before it is used, the ground will 
 become an oil ground, like the canvases which are 
 prepared at the artists' colour shops. 
 
 The oil grounds are made by mixing tobacco-pipe 
 clay and Spanish white with water, to the consistency 
 of a thick paste ; then free it from sand and other im- 
 purities ; mix it afterwards with drying oil, and any tint 
 you may choose, by the addition of colour, and spread 
 it over the cloth with a trowel or palette-knife, and it 
 will not go through the cloth ; the closer the texture 
 of the cloth, the better for the purpose. Panels of 
 either oak or mahogany are prepared in the same way ; 
 the inequalities are rubbed down with pumice-stone, 
 as directed for the absorbent grounds ; or, upon a 
 well planed panel, lay on common white lead, with 
 a palette-knife or trowel ; when dry, rub it over, till 
 smooth, with pumice-stone and linseed oil. 
 

 22 
 
 _-ih- 
 
 PORTRAIT PAINTING. 
 
 err 
 
 d&cui toUfiwtl 
 
 
 Having arrived at that period when it becomes 
 necessary to teach the Student in drawing how to 
 fill up an outline with light, shade, and colour, I 
 shall proceed to explain the different processes em- 
 ployed for this purpose by artists ; first seeing that the 
 drawing, or outline, is free from error. As painting a 
 portrait is the general commencement with most 
 young artists, I shall shew the two ways in which it 
 is performed. 
 
 I begin with the method by chiaro scuro, or paint- 
 ing the portrait with the tints made from two colours, 
 by mixture with white. Several palettes or dead co- 
 lourings are made in this way, but some are preferable 
 to others ; those usually made use of are, black, India 
 red, and white ; or, Prussian blue, vermilion, and white ; 
 or, ultramarine, vermilion, and white ; or, Prussian 
 blue, light red, and white :— these are the palettes of 
 colours used for painting flesh. The others, for back 
 grounds, &c, are Prussian blue, vandyke brown, and 
 white ; or, black, brown ochre, and white ; or, black, raw 
 
ART OF PAINTING. 
 
 23 
 
 umber, and white ; or, ivory-black, light ochre, and 
 white. 
 
 The other method is by mixing up the tints on the 
 palette, and matching them to the complexion of the 
 sitter; in other words, painting the portrait without a 
 previous dead colouring, or chiaro scuro, at once from 
 nature. This was the practice of the old portrait 
 painters, from Vandyke to Lely, Kneller, &c, till the 
 appearance of Sir Joshua Reynolds, who adopted, and 
 always used, the chiaro scuro method of dead colour- 
 ing, in preparing the portrait ; and this has been in 
 general use ever since, for either portrait or compo- 
 sition. " With the palette laid with the above three 
 colours, Sir Joshua painted his portraits up to the last 
 sitting," said the late Mr. Northcote, his pupil, to me, 
 " and in the last or finishing sittings he merely tinted 
 or decorated this finished chiaro scuro with tints of 
 yellow, light red, and white ; the siennas raw and burnt 
 lake, ultramarine, and white ; terra vert and white, 
 &c." That this was his* practice, is evident from 
 
 
 * It was used by his scholars, also ; for, in 1802, Mr. Hoppner, 
 R. A., employed me to dead colour a large historical picture of 
 Medea, &c. ; and the palettes he gave me to use were, for the 
 flesh, Prussian blue, vermilion, and white ; for the draperies, 
 black, brown ochre, and white ; and for the back grounds, sky, &c, 
 black, raw umber, and white, with a little Prussian blue. This 
 
24 
 
 ART OF PAINTING. 
 
 an inspection of his works, especially where, by un- 
 skilful cleaning, the last glazing work of tinting has 
 been swept away, leaving exposed the finished dead 
 colouring. See the Flight into Egypt, in the National 
 Gallery, the heels of St. John, and other parts of that 
 picture. 
 
 The Method of Painting a Portrait, by Tints mixed and 
 matched to Nature, and the Complexion of the Sitter. 
 
 The colours used are as follow : — 
 
 Flake white Vermilion 
 
 Ivory black Lake 
 
 Ultramarine India red 
 
 Prussian blue Brown pink 
 
 Light red Burnt umber. 
 Light ochre 
 
 preparation covered the canvas well in, and left the picture in a 
 
 state for finishing. 
 
 "The dead colouring of his pictures, at this period (Sir 
 Joshua's early time), was little else than flake white, Prussian blue, 
 and lake. All the laying in consisted of these three colours. 
 When the picture was quite dry, he gave it a warm glaze, which 
 supplied all that was originally wanting, and produced a harmony 
 in the whole."— ride The Character of Sir Joshua Reynolds, in 
 Essays on various Subjects, by Jackson, of Exeter, p. 164. 
 
 "Vandyke's pictures are evidently painted at once, with, some- 
 times, a little retouching ; and they are not less remarkable for the 
 truth, beauty, and freshness of the tints, than for the masterly man- 
 ner of their handling or execution."— Barry's Works. 
 
ART OF PAINTING. 
 
 25 
 
 K 
 
 The tints that are used, are — 
 
 1. Light red and white 
 
 2. Vermilion and white, mixed to a middle degree. 
 
 3. Carmine tint, mixed to a middle tint, and only 
 used in the finishing sitting. 
 
 4. Rose tint, made with lake white and a very 
 little India red. 
 
 5. Yellow tint is made with light ochre and white. 
 
 6. Blue tint is made with ultramarine and white. 
 
 7. Lead tint is made with ivory black and fine 
 white. 
 
 8. Green tint is made with Prussian blue, light 
 ochre, and white. 
 
 9. Shade tint is made with black, lake, India red, 
 and white. 
 
 10. Lake and India red: — a tint made with these 
 colours forms a good ground for the dark shadows. 
 
 11. Warm shade is made with lake and brown 
 pink. 
 
 12. Dark shade is made with ivory black and a 
 small quantity of India red. 
 
 
 \ 
 
26 
 
 ART OF PAINTING. 
 
 First Sitting for a Portrait. 
 
 The drawing of the head and features being com- 
 pleted, the first dead colouring is, the making out the 
 shadows; this must be done with the shade tint, and 
 laid on very thin ; with this tint all the forms within 
 the outline must be carefully and correctly marked. 
 The lights, with the light red tint, must now be laid 
 in, shaping and matching them to nature ; then soften 
 them together, with a badger-hair tool, and close the 
 first sitting by improving the shadows with the warm 
 shade tint. This tint must not be used before the shade 
 tint, but only at the last ; if used first, it has an obscure 
 and dirty effect. The other tints employed in this 
 sitting are clean, if ever so much broken into each 
 
 other. 
 
 The student is left to his own choice of canvases ; 
 those are to be preferred that are smooth and ab- 
 sorbent, as the sooner the oil that is used in grinding 
 the colours, with that used in painting, is got rid of, 
 the better ; and absorbent grounds leave the colours 
 dry, or nearly so. 
 
 The brushes are hog-hair, and should be of a 
 moderate size; with fitches and sables, of different 
 sizes, for finishing and penciling the minuter parts. 
 
■ 
 
A" 
 
 y , 
 
 
 ?//<■ 
 
 ictes 
 
 . ^ZccAe- ', -A, J '/ awn/ /is/nAy, ^y/zn^i. 
 
 
 ■^■ta-c/C', f/'?Ut ■ Yi {( /.,rs/y? /■■/>', 
 
 z-C6cy. 
 
 '1.1 aire and its tint. 
 
 "2. Biown pink and its tint. 
 
 * 3 . Ivory "blaclc and it? tin t . 
 "4 .Prussian "blue audita tint 
 
 'i-yHAckerma 
 
ART OF PAINTING. 
 
 27 
 
 The oils are, boiled, or drying oil., and poppy, or 
 nut oil. The first, mixed with spirits of turpentine, in a 
 proportion of one-third spirits to two-thirds drying oil, 
 I have found, in practice, to be the best. All prepara- 
 tions of wax should be avoided, as wax prevents free- 
 dom of handling, and ultimately injures the picture, by 
 its tendency to crack and separate. 
 
 
 Second Sitting for a Portrait. 
 
 Match the red and yellow tints to the complexion, 
 and then the blues ; proceed to the shadows, leaving 
 them clear and not dark, as glazing will make them 
 too much so ; and remember, that the shadows in the 
 dead colouring must be lighter than the finishing 
 colours ; for the finishing of shadows is by glazing, and 
 they must always be painted thin, that they may 
 have the quality of shade — transparency. 
 
 The light of the complexion should be painted with 
 a full body of colour, because all whites have a ten- 
 dency to sink into the ground they are painted on. 
 
 JyUKcLcw^ 
 
 
 Third Sitting for a Portrait. 
 
 Lay a small quantity of clear poppy oil over the 
 face of the portrait, and wipe it off with a piece 
 
28 
 
 ART OF PAINTING. 
 
 of old silk handkerchief, — this prepares the sur- 
 face of the portrait for finishing; then glaze the 
 shadows to nature, and proceed to scumble in the 
 lights with the light red and other tints. Be careful, 
 in uniting the lights with the shades, that they do not 
 mix too much, as it will destroy their transparency. 
 
 When this is done, the portrait is ready to receive 
 the finishing touches, which are accomplished by going 
 over the shadows and lights with the red, yellow, and 
 blue tints, leaving them distinct and without softening, 
 with free, light touches of the brush. The operation, 
 in succeeding sittings, consists in going over all the 
 portrait, correcting and improving the lights and 
 shades, — the shades by glazing, and the lights by any 
 of the tints that match the complexion. Remember, 
 that lights always increase likeness ; and that the 
 shadows of all dark complexions incline to purple, 
 and the shadows of fair complexions to grey. There 
 must be no oiling in this part of the process. 
 
 BACK-GROUNDS. 
 
 The colours used in painting back-grounds are, 
 white, black, India red, light and brown ochre, burnt 
 umber and Prussian blue ; and from them, mixed with 
 white, the accompanying palette of tints is made. 
 
' JfPM. 
 
 ■ 
 
 fam/ma ,yDa^/b ^rtmz 
 
 
 1 . Black:, White , said a little Indian red . 
 
 2. Black & White, mixed, to a dark lead colour. 
 
 3. Brown Ochre andWT 
 
 4. Lijfht Ochre, Prussian "blue and White . 
 
 5. Indian red andWhiLe. 
 
 6. Indian red, Black, and White. mixed to a Purple . 
 
 7. White, Saw-umber, Blaclc, fe Indian reel. 
 
 o. Black and India:"! reel. 
 
 -R-Acfor/7ui7m,J?tf ipse Spirting (xallery.JSlJieaentSt. 2840. 
 
ART OF PAINTING. 
 
 29 
 
 The brushes used are, hog-hair tools, for the first 
 laying in, and fitches for the finishing. 
 
 The oils are, boiled oil, and poppy, or nut oil. 
 
 Begin, on the shadowed side of the head, with the 
 dark shade tint, then paint in the lights, leaving the 
 whole in a kind of half tint, which prepares it for the 
 finishing tints. If the back-ground has drapery, it 
 should be dead coloured at the same time. Then, 
 before the picture is dry, proceed with the tints, and 
 finish as much as possible at once, painting the walls, &c. 
 When dry, improve, by glazing the shades,, &c. ; paint 
 in the landscape (if any) with a faint find retiring 
 effect, and, with a large softener, blend and join the 
 whole together. 
 
 " Let the field or ground of the picture be plea- 
 sant, free, transient, light, and well united with colours 
 which are of a friendly nature to each other, and of 
 such a mixture as that there may be something in it 
 of every colour that composes your work, as it were 
 the contents of your palette." Du Fresnoy. 
 
 " Variety of tints, very near of the same tone, 
 employed in the same figure, and often upon the same 
 part, with moderation, contribute much to harmony." 
 
 De Piles. 
 
 

 30 
 
 ART OF PAINTING. 
 
 DRAPERIES. 
 
 To paint draperies and satins you must commence 
 with three colours only, — the shade tint,, middle tint, 
 and white. The shade tint must be mixed strongly 
 enough for the general hue of all the shadows. 
 
 The middle tint should be mixed to a degree 
 between the shade tint and the lights. 
 
 The lights should be of the colour of the drapery 
 or satin, and inclined to a warm hue ; and the whole 
 of the drapery must be made out in a finished chiaro 
 scuro (for on that depends all the success of the work) 
 before the reflects and finishing tints are added. 
 
 All white satins and drapery should be painted on 
 a white ground — for white sinks more into the ground 
 it is laid on than any other colour ; therefore the high 
 lights should always be laid with a good body of 
 colour, and drawn and shaped into close imitation of 
 the object with the middle tint : next, shape out the 
 shadows with the shade tint, painted thin ; then, with 
 the middle tint, fill up with care, without disturbing 
 the high lights; and this finishes the first preparation. 
 The reflects must be painted with great delicacy and 
 care, as they will, without it, dirty and ruin the colours 
 they are laid on. 
 
IK ! 
 face, paje-jh 
 
 -7PT V?/ZMU7y?Ul' 
 
 ///;?/ diaJg^ 
 
 1. Pine "wTnLe.. 
 
 2- Hue white, and a tittle Jvory "bla-ch 
 
 3.Ene white, ana 1 a liitle Indian red . 
 
 4. line -white , Black, and Indian, red. 
 
 5. The Middle tint, made of 'White, 
 BlacJc.and a little Indian red. 
 
 PuZtistied, ~by Rjdckermamv.Ilclzpst Sporting Gt £1840. 
 
I 
 
fact 
 
 '/ut ;. '■> , trfm// // 
 
 5. Brown ochre. and iis 
 
 6. Ultram arin e , audits tints. 
 
 Jhblished, by Jt-Ackerma Sporting ffaU> reet,J440. 
 
ART OF PAINTING. 
 
 31 
 
 WHITE SATIN. 
 
 White satin requires four degrees, or tints. The 
 first is fine white, for the highest lights ; the second 
 is fine white and a little ivory-black, mixed to an exact 
 degree between the white and middle tint. With this 
 tint shape the lights to the drapery before you use any 
 other ; and this first tint must lie distinct between 
 the white and middle tint, or the brilliancy and clear- 
 ness of the satin will be lost. To make the middle 
 tint lighter, if necessary, use a portion of the first tint, 
 made with fine white and a little ivory-black. The 
 shade tint should be of the same colour as the middle 
 tint, and with this all the shadows should be drawn 
 and made out. " Brown ochre, mixed with the colour 
 of the lights, is the most useful colour for all reflects 
 in draperies that are produced from their own colours." 
 All other reflexes are made with the colour of the part 
 where they are produced. Of the two reflecting tints 
 wanted in draperies, for any one particular colour, 
 " one should be lighter than the middle tint, the other 
 darker." 
 
32 
 
 ART OF PAINTING. 
 
 BLUE SATIN 
 
 Is dead coloured with Prussian blue and fine 
 white, and black and white for the shadows. It is 
 divided into three tints : first, mix the middle tints 
 to a match with the satin you are going to paint ; then 
 mix the tint for the lights a degree between that and 
 the highest light, and make the shade tint dark enough 
 for the shadows in general ; mix the colours as little 
 as possible, for the less they are mixed the better they 
 will stand ; for the lights of all the coloured satins 
 should be as carefully painted as those of white satin. 
 
 The reflects are the same as those of white satin, 
 with ochre, and some of the tints used in the lights. 
 
 VELVET 
 
 May be painted up at once, by making out the 
 forms with the middle and shade tint ; then lay on 
 the lights with light and clear touches, and finish the 
 shadows as is directed for satin. Shadows of dra- 
 peries must never be painted with glaring colours, for 
 these destroy the natural character of shade, which 
 is repose and quietness. 
 
fa/x page 3Z. 
 
 
 u 
 
 '/////// 
 
 '///' 
 
 ////// 
 
 1 A tint made of Prussian "blue and "White . 
 
 3 . A Shade tint, made wxth Ivory- "black , . 
 Prussian "blue , arid, a small quantity of "White . 
 2. Mix: one naif of the first tint with "White. 4 Brown ochre. 
 
 Tu&lished, by Jt \jic/cerrruzjvv, Eclipse. Sporting Gallery. ISZJteyent. StreeCj^O. 
 
; ////v;'v TprAam/zMO'* 'rf/rav rr ( '/'/'/// JM/dyajm/. 
 
 jvpm. 
 
 fa/z pape S3. 
 
 
 1. light ochre , Light reel anal White. 2 . Lake . 
 
 3 . Inch an re & . 4 . Ivory "black . 5 . Vermilion . 
 
 Tid/Iuhed by 2lulcfcermann '■. Eclipse- Sporting Gallery, 197, He0 era Street. \ 
 
ART OF PAINTING. 
 
 33 
 
 SCARLET OR CRIMSON SATINS. 
 
 Light ochre, light red and white are the first tints 
 for scarlet ; the shadows are Indian red, and, in the 
 darkest part, mixed with black. 
 
 The lights are vermilion and white for satin and 
 velvet, and pure vermilion for cloth ; the shade tint, 
 vermilion, lake, and Indian red. 
 
 The reflects are light red and vermilion. 
 
 
 YELLOW SATIN. 
 
 The tints used in painting yellow satin are the 
 same in number as those used for white satin, and the 
 method of using them is the same ; the lights are 
 king's yellow ; the first tint is light ochre, changed 
 with a little of the pearl tint, made with the dark 
 shade and white, which must be used and managed as. 
 the first tint in white satin. The middle tint is light 
 and brown ochre, softened with the pearl tint ; the 
 shade tint is brown pink and brown ochre. 
 
 The reflects are light ochre, and, in the warmer 
 parts, light red. The shadows are strengthened with 
 brown pink and burnt umber. 
 
34 
 
 ART OF PAINTING. 
 
 GREEN SATIN. 
 
 The lights are Prussian blue, king's yellow, and 
 brown pink, mixed to the colour of the satin. 
 
 For the middle tint a little more Prussian blue is 
 added, which must be increased in the shade tint ; and, 
 for the darkest shades, mix brown pink and Prussian 
 blue. 
 
 The management of the lights and middle tints, in 
 painting all satins, is the same ; and in this be careful 
 to keep the shade tint from the lights, as the brown 
 pink that is used, will, by mixing with them, become 
 dirty. 
 
jYfJW. 
 fac&page. . H. 
 
 / 
 
 ,f ■ / 
 
 ' 
 
 // iJTvm ; ^//s// '//a/L^s 
 
 1 . King's yellow. 
 
 2 . Brown pink. 
 
 3 . Prussian brae. 
 
 4. A "tint of Kings yellow, and a little Prussian blue. 
 
 5. A tint of Kings yellow, anal most Prussian "blue. 
 
 6 . A 'Jut for (he dark sna-dows , 'of Brown pink feFrassian 1 . 
 
 , vse Sporting ..',,-..:, /; Str /. 2&40. 
 
WPJX. 
 
 face papa * 
 
 fe /// ■ /iai/{///i& ^'^yr/icA- c^fa&ri f///i4/'/y 
 
 
 J tight red. 2. Tn&iaji red-. 3 . Lake. 
 
 4. Ivory black. 5. B.:own pink. 
 
 .■■■'.. ](-./!,:Arrt/ui/iU; /'.'<:///'sc S/a <rting <S-allery, J&lltegent ■ ScreeO.lS'W. 
 
ART OF PAINTING. 
 
 BLACK SATIN. 
 
 35 
 
 The dead colouring for black satin is light red for 
 the lights, and Indian red and a small quantity of 
 black for the shadows. 
 
 The finishing colours are white, black, and a little 
 lake ; the middle tint has less white and more lake 
 than black ; the shade tint is an equal quantity of 
 brown, pink, and lake, with a little black. 
 
 Painting black satin is very different from painting 
 other satins, for in the latter the greatest difficulty is 
 to keep the lights clean and brilliant. In black, to 
 keep the shadows clear and transparent, first begin 
 with the shade tint, and glaze over all the shadows 
 with it ; then lay in the darkest shadows with black 
 and a little of the shade tint, keeping the drawing cor- 
 rect ; then the whole of the lights, with the middle tint 
 only, to the character of the satin, and finish with the 
 high lights. 
 
 The reflects are made with burnt umber, or brown 
 ochre, mixed with a little of the shade tint. 
 
 LINEN. 
 
 The colours used are the same as in white satin ; 
 the reflects are light ochre and white. 
 
36 
 
 ART OF PAINTING. 
 
 LANDSCAPES. 
 
 
 The brushes used are hog-hair tools, of various 
 sizes, with fitch and sable pencils for finishing. 
 
 The oils are, boiled oil, poppy, and nut oil. 
 
 In dead colouring the following colours are used : — 
 Nottingham white, light ochre, brown ochre, burnt 
 umber, Indian red, ivory-black, and Prussian blue. 
 
 The colours from which tints are made, by mixture 
 with white, for the sky, are, fine white, ultramarine, 
 Prussian blue, light ochre, vermilion, lake, and 
 Indian red. 
 
 The tints made from these colours are ultramarine 
 and white, mixed to a fine azure, a lighter azure made 
 by mixing more fine white with the azure tint, light 
 ochre and white, vermilion and white, and a tint made 
 by mixing ultramarine, vermilion, and white, to the 
 tint wanted. 
 
 Drawing and sketching in the forms of trees, rocks, 
 fore-grounds, &c. is the first work of the picture ; this 
 may be done with burnt umber and drying oil, faint, 
 slight, but correct, in the manner of an Indian ink or 
 Sepia drawing, leaving the colour of the cloth or can- 
 vas as the paper is left for the lights. 
 
face page Si?- 
 
 *Ui&Z& amfa//?////.// ffl& Jrfm^zAaJ/ j!m£ ytugd/ 
 
 y{/7i/ '^la4i&te%A& 'Az&a/ww . 
 
 '■' / 
 
 
 1 . litfht ochre, and White . 
 
 2 . Light o chr e ^Rru s sian "blue , andlAChite . 
 
 3. Light ochre, and Erassiflii"bihue. 
 
 4. Iaght ochre , and. Brass" blue, much. HsrrVnr _ 
 
 5 . Terra verte. and Russian "blue . 
 
 6 . Biowii'^pmlc.and Prussian "blue . 
 
 7. Brown pirils:, and Brown ochre . 
 
 S . Brown jrhik, Blown ochre, and Bros sian blu.e . 
 
 9. Indian red, and. "White . 
 
 10. Ivory "black:, Indian red.,andXake . 
 
 Tu/'Zis/u-ji rvj'-' <7i,£cl&seSporting Gtdlery.l&lJtegenZ Street, 16'40. 
 

I 
 
 z ■ , . 
 
 r^AdZMO^, ..ydz&t , (' 
 
 
 6 
 
 S/K/ '^^Z^^uzJ€€ZA^^A^zyyrcZyn^/. 
 
 1 . White. 
 
 2 . "Ultramarine. 
 3. Prussian "blue. 
 
 ! Lij51.t oc:iij-o. 
 
 5 . Vermilion. 
 
 6 L alee . 
 
 7. Indian red.. 
 
 8. A tint made of White, Vermilion., 
 an d U.1 tram arm e . 
 
 Tu2>Us7ie<t by R^ckerman/i^Sclipse-Sperc&ig Gallery, 7£LJ&&?cnt; Strea;,lS40. 
 
ART OF PAINTING. 
 
 37 
 
 In dead colouring, the colours must be left in a 
 state to receive the finishing tints and colours. 
 
 The sky should be first painted in, then the ex- 
 treme distances, and so on downward to the middle 
 distance, and thence to the fore- ground ; the diffi- 
 culty in dead colouring is to find the colours that 
 lay in the shadows ; the dark shade used with a little 
 lake is one, and the other is burnt umber ; and these 
 should be used thin, like glazing. The whole should 
 be painted in, chiaro-scuro-wise, and then softened 
 with a long badger-hair tool, which will leave the 
 colours in a condition for finishing, which is com- 
 menced by painting all the colours and various tints of 
 the azure and the horizon ; the clouds and the highest 
 lights are then laid in. The extreme distances are 
 painted with the tints and colours used in the sky. As 
 they come nearer, the colour to be used very thin ; 
 and on this ground add the finishing tints. 
 
 Some artists paint the whole of the sky with 
 poppy oil, which is the slowest oil in drying, by which 
 they are enabled to retouch for days after, and so add 
 to the forms of clouds, &c. It seems, from an in- 
 spection of their works, to have been the practice of 
 Hobbima, Decker, and Ruysdael. , 
 
 The four colours used in glazing, are, lake, terra 
 
38 
 
 ART OF PAINTING. 
 
 
 vert, and brown pink; and they should be always 
 used in a transparent and thin state. To these may 
 be added burnt umber and the siennas, burnt and 
 raw ; and a tint made of ivory-black, Indian red, and 
 lake, for the darkest shadows. 
 
 The last part of the work is the addition of all the 
 lights and finishing colours. Oil the surface as lightly 
 as possible, and wipe it off with a piece of old silk ; by 
 this means the surface is just moistened ; then improve 
 and finish the middle tints, and shadows of the trees, 
 and foreground, &c. The figures are the last part of 
 the work ; those in the front parts of the picture first, 
 and those in the farthest next, which will give the 
 exact hue or tone of those in the middle ground. 
 
 IN-SHORE PICTURES. 
 
 I have seen very effective sketches made from 
 nature, on the sea shore, by artists, with a palette 
 laid with the following colours : — black, brown ochre, 
 raw umber, white ; and a little ultramarine and white. 
 For the finish, the same process was employed as is 
 directed for landscapes ; the raw umber was used for 
 the fore-ground, in a pure state ; and a tint made with a 
 very little of the colour, and a good mass of white laid 
 in the brightest lights of the clouds ; and this, being 
 carefully painted, gave a close imitation of nature. 
 
ART OF PAINTING. 
 
 39 
 
 Directions for drawing Animals, Horses, Birds, fyc, 
 and the Colours used for painting Black, White, 
 Chestnut, or Bay Horses. 
 
 The first requisite for drawing the horse, or any 
 animal, is to acquire a knowledge of the skeleton, as 
 on that depends the power of making a good outline. 
 The first sketch of a horse should always determine 
 the exact situation of the bones, in regard to their 
 length and proportion ; " for the extent of the action 
 of any part is the produce of its length and direction." 
 
 The first lines, therefore, should determine the 
 length of the vertebrae a, the others the length and 
 obliquity of the shoulder and hind legs, remembering 
 that a well-proportioned horse is generally three 
 lengths of his own head high, from the withers to the 
 
I 
 
 40 
 
 ART OF PAINTING. 
 
 ground, and three from the chest to the rump. The 
 rule of sketching at first, with the leading lines of the 
 skeleton, applies to all quadrupeds, birds, &c. 
 
 Some years after I had finished my studies, under 
 the late Mr. Stubbs, in animal painting, I was em- 
 ployed in painting the racing-stud of Mr. Kellerman, 
 at Lilly, near Luton, in Bedfordshire (the pictures 
 I painted for him were exhibited in the years 1814-15, 
 at Somerset House) : the palette I used for the painting 
 a bay mare (Erictho), were, for the dead colouring, 
 black, Cologne earth, Indian red, and white ; I 
 finished and glazed with the same colours, with the 
 addition of brown pink, and Vandyke brown in the 
 dark shadows, as glazes. 
 
 For a chestnut mare (Occyroe), the same palette 
 of colours, with the addition of lake, and burnt and 
 raw terra sienna in the glazings. 
 
 For a black horse ; blue black and ivory black, 
 Indian red and white ; and, in finishing, the same 
 colours, with brown pink and raw umber. 
 
 For a white horse ; black and white, raw umber, 
 Indian red, light ochre, and raw sienna. 
 
 The dead colouring, for either coloured horse, was 
 conducted entirely on the principles of chiaro scuro, 
 to be afterwards tinted up to the colour of the animal. 
 
ART OF PAINTING. 
 
 41 
 
 The landscape back grounds, being painted from 
 nature, were dead coloured, and finished with the 
 palettes I have given for that purpose. 
 
 The same method of dead colouring, by chiaro 
 scuro, applies to fowls, game, still life, &c. The local 
 colours are added by glazing. 
 
 To copy a Miniature, or Print of a Portrait, into a 
 Portrait the Size of Life, of natural and true 
 Proportions. 
 
 First draw a line, or fasten a thread, across the eyes 
 of the miniature or print, and another across the 
 mouth; then, with the compasses, make that width 
 the diameter of a square, ruled, or laid across the rest 
 of the work ; then, if a male portrait, take the exact 
 length from nature of the distance (seldom exceeding 
 three inches) from the corner of the eye to the corner 
 of the mouth ; and, upon your canvas or panel, rule 
 (having made that measure the diameter of your 
 square) the lines to form the rest of the square. If a 
 female portrait, the same measure must be taken from 
 life ; and this will give to the portrait, when drawn, a 
 natural distance between those features, which never 
 lessens unless the head is fore-shortened. 
 
 G 
 
42 
 
 PICTURE CLEANING AND RESTORING. 
 
 Pictures are subject to damage by neglect, 
 accident, lapse of time, bad varnishes, the scourings 
 of ignorant cleaners, and their worse attempts at 
 restoration, by painting on and toning down, and 
 other injuries arising from damp and the cracking 
 of grounds, &c. 
 
 The first process is, to restore the picture, if upon 
 board, to an even surface, by bracing the back with 
 bars of wood, technically called cradleing ; and if on 
 canvas, by lining, which is done by fastening a new 
 canvas to the back of the old picture, — care being 
 taken that the ironing of the back of the picture is 
 not done with too much heat, as it is apt to hurt 
 the glazings : this a skilful liner will be careful 
 to avoid. Lining a picture will often go a great 
 way toward the cleaning it, if only covered with 
 a mere atmospheric dirt tarnish, which will come 
 away by the application of water only. After the 
 picture is lined, the next consideration is, whether 
 the varnish it is covered with is oil, — such as copal, 
 
PICTURE CLEANING. 
 
 43 
 
 amber, &c, — or a turpentine varnish ; mastic for in- 
 stance. If copal or oil, spirit of wine, &c. is used ; 
 if mastic varnish, it may be removed by friction of the 
 finger; this is effected by applying finely pounded 
 resin to the surface of the picture, and gently rubbing ; 
 the old varnish will come away in a fine powder. This 
 is a general view of the subject of picture cleaning; 
 for all pictures are not alike in their injuries, and the 
 process of cleaning some will not succeed with others : 
 but, in cleaning pictures, it must be always remem- 
 bered, that whatever are the means employed to re- 
 move a discoloured varnish, the same will also destroy 
 the paint under it. The finger, by too much rubbing, 
 will become a file ; and spirit of wine, sal volatile, &c. 
 will scour away the glazings first, and the solid painted 
 parts afterward. Patience and watchful attention are 
 great requisites in picture cleaning. 
 
 The picture being lined, and the surface laid even, 
 you commence by slightly washing it over with weak 
 soap and water, which must remain upon it about three 
 or four minutes ; this removes the fly specks, which, 
 when spirit is applied to them, turn black, and are almost 
 immoveable ; it also removes the remains of the liner's 
 paste, corrodes slightly the surface of the varnish, 
 and prepares it for the after work of cleaning that and 
 
PICTURE CLEANING. 
 
 the dirt away. Wipe the picture dry with a soft cloth, 
 and then mix together the following : — spirits of wine 
 one half, and oil of spike lavender an equal propor- 
 tion ; then, well shaking them together, holding the 
 bottle in the left hand, with your right hand take, on 
 some carded cotton, a small portion of the mixture, 
 and apply it to the darkest part of the picture. If the 
 old varnish and dirt come away easily, proceed with 
 the same strength of mixture ; if not, add more spirit 
 of wine. If the mixture be too strong, add more oil of 
 spike; but at all times have ready a sponge and water, 
 to destroy the effect of the spirit, should it appear, by 
 the colour of the cotton, to be attacking the glazings 
 and colours : by this method any picture may be 
 cleaned of old varnish, dirt, and oil. With care, and 
 great attention to the action of the spirit, practice, and 
 its result, experience, will always ensure success. I 
 have tried the whole list of alkalies and corrosives, — 
 soap lees, aquafortis, soda, potash, ether, sal volatile, 
 spirit of salt, fuller's earth, &c. — but, for almost all 
 purposes, the above mixture I have found always 
 succeed. There are extreme cases, in ancestral por- 
 traits for instance, where they have ignorantly been 
 brushed over with linseed or drying oil, which, in 
 course of time, has become incorporated with the 
 
i - itiimiii 
 
 
 mmmmmm 
 
 ^iflillffliiMTOtli^iBiBMiflii hii ■ VifebSMfea 
 
 PICTURE CLEANING. 
 
 45 
 
 colours. When this occurs, no solvent in use will act; 
 for, in removing the oily coating, the colours are 
 almost sure to come away with it. The next process 
 is the stopping holes, rents, &c. in the picture. This 
 is done with size and whiting, and a small portion 
 of white lead, in powder, added as it is melting. It 
 should be applied with a palette-knife to the parts re- 
 quired, in the state of consistence of putty (glazier's). 
 When dry, take a flat, well-surfaced cork, and, with a 
 little water, rub the surface even with the picture ; 
 then wipe off the superfluous whiting, and you will 
 find the hole thus stopped out even with the surface 
 of the old paint. 
 
 Restoration commences with first seeing that all 
 dust and whiting are cleaned away ; then apply a very 
 thin coat of mastic varnish, which will enable you to 
 see the state of the picture, and the repairs required to 
 be done. The colours for repairing must all be ground 
 in mastic varnish, as that will not change, and it is the 
 only vehicle by which the tint required can be made. 
 Oil of any kind is excluded, as colours in repairing, used 
 with it, in a short time turn black. This part of restoring 
 old paintings, much damaged, requires an artist ; as may 
 be often seen in the bungling attempts at repairing, 
 by mere picture cleaners. The colours should all be 
 
 
 
 ~"?BHBH^^^^^H 
 
 H^^^^^^^^^^HIHS^^^E^Hi 
 
 i^HHB 
 

 
 46 
 
 PICTURE CLEANING. 
 
 very finely ground ; and, in the grinding, a small 
 quantity of spirit of turpentine may be added, to 
 facilitate the operation. In repairing, mastic var- 
 nish and turpentine are used to apply the colouring. 
 Naples yellow, which almost supplies the place of 
 white, must be very finely ground, and taken from 
 the grindstone with an ivory or horn knife. Care 
 must be taken, also, in repairing, not to add more than 
 is necessary, remembering that old paint is always 
 more transparent than new, and that the picture is 
 esteemed and valued for being the work of some 
 old master, and not yours ; and if, in repairing a 
 damaged part, you can, on recurring to it after some 
 hours' absence, be unable to separate your work from 
 the old, you may be able to say you can repair. 
 
 Old Pictures. Repeated trials and failures will do 
 more in acquiring the art of picture cleaning, &c. than 
 the instructions of the best masters ; but, where injuries 
 have happened to the surface of the picture, and it 
 has been damaged by accident, the process of restora- 
 tion can only be effected by an artist, experienced in 
 this part of the art. Excepting accidents, the 
 greatest injuries to pictures are occasioned by their 
 being exposed to damp on walls, &c, or being coated 
 with oils of a drying quality, linseed oil, &c. Damp 
 
■ 
 
 NfeSfi 
 
 ■■HH 
 
 mmm 
 
 PICTURE CLEANING. 
 
 47 
 
 acts upon the grounds of pictures on panels, and on 
 those upon canvas, and on such as have been lined, 
 by softening the paste which is between the new 
 canvas and the old ; and upon the varnish, by tarnish- 
 ing and chilling it ; and oiling, instead of varnishing 
 a picture, eventually consigns it to oblivion. 
 
 
ADVERTISEMENT. 
 
 The Author's long experience as an artist (together 
 with the success of those who have been taught by 
 him, on a system which includes precept and example 
 on a portrait or composition, landscape, &c. painted 
 in the presence of the pupil), enables him to undertake, 
 with confidence, the instruction of amateurs in the 
 art. His terms are Half-a-Guinea for a lesson of two 
 hours, at the residence of the pupil. 
 
 It is needless to point out, to connoisseurs, the 
 great importance of confiding a damaged painting to 
 the care and superintendence of an artist, instead of 
 entrusting it to the experimental efforts of a mere 
 mechanic. 
 
 
BBBHBHHElinilifllHlBBII^HHHHflnHnBi 
 
 A CATALOGUE 
 
 OF 
 
 SPORTING AND FINE PRINTS, 
 
 PUBLISHED BY 
 
 RUDOLPH ACKERMANN, 
 
 &t tit ?£tlip$t Sporting ^allerg, 
 
 AND 
 
 NEW SPORTING MAGAZINE OFFICE, 
 191, REGENT STREET, LONDON. 
 
 N.B. The Measurement given is the size of each Print, exclusive of either Blank Margin 
 
 or Inscription. 
 
 PORTRAITS OF THE WINNING HORSES OF THE 
 
 GREAT ST. LECER STAKES AT DONCASTER, 
 
 AND THE DERBY STAKES AT EPSOM, 
 
 From Paintings by Mr. J. Ferneley, of Melton Mowbray, and Mr. Charles Hancock, at 
 
 Messrs. Tattersall's. 
 Price 15s. each, coloured, or 21s. mounted and varnished; size, 17 inches by 12^, viz. — 
 Rowton Cadland Chorister Dangerous Queen of Trumps Elis 
 
 Priam Spaniel St. Giles Glencoe Bay Middleton Mango 
 
 Velocipede Riddlesworth Sultan Mundig Phosphorus Amato 
 
 Charles the Twelfth Bloomsbury Deception Harkaway Little Wonder 
 
 Don John Launcelot Coronation Satirist Attila 
 
 Lately Published, a beautiful Coloured Print, 
 THE RETURN FROM! ASCOT HEATH 
 
 RACES, 
 
 FROM A PAINTING BY C. HENDERSON. 
 
 Price 30s. Size, 32 inches by 14§. 
 
 R. ACKERM ANN'S COSTUMES OF THE BRITISH ARMY, 
 FROM PAINTINGS BY H. DE DAUBRAWA, ESQ., AND THE LATE MR. HEATH, 
 
 THE WHOLE REPRESENTED IN THE MARCH OR REVIEW ORDER. 
 
 Price 5s. highly coloured; or 9s. mounted and varnished for the Barrack Room. 
 The following Regiments are now published, viz. — 
 The 2nd Life Guards Trumpeter — the Blues 11th Hussars 
 
 Royal Artillery Rifle Brigade Royal Horse Artillery 
 
 Royal Horse Guards, Blue, Officer 42nd Highlanders 15th Hussars 
 
 Ditto ditto Private 2nd North British Dragoons 12th Lancers 
 
 and Corporal 4th Royal Irish Dragoons 1st Life Guards 
 
 The 9th Lancers will be shortly ready. — Size, 14 inches by 9|. — To be continued. 
 
 Just Published, 
 
 A HUMOROUS PAIR OF PRINTS, 
 
 AFTER DRAWINGS BY MR. R. SCANLAN, 
 COCKTAILS AND T H O R O U G H ■ B RE D S 
 
 RUNNING FOR THE GARRISON AND DERBY STAKES. 
 
 Price 3s. 6d. each, highly coloured. Size, 14§ inches by 6. 
 
 Also lately published, 
 
 THE MONKEY DUELLISTS ; 
 
 FROM PAINTINGS BY BRISTOW, 
 
 REPRESENTING HONOUR AND SATISFACTION. 
 
 Price 3s. Gd. each, coloured. Size, 9 inches by 6. 
 
 THE DERBY DAY; 
 
 Or, TITS AND TRAMPERS, A SCENE ON THE ROAD TO EPSOM. 
 Price 3s. 6d. coloured. Size, 11| inches by 8|. 
 
 I 
 
 1 
 
 M 
 
 

 
 
 2 
 
 THE LIFE OF A SPORTSMAN; 
 
 BY NIMROD. With Thirty-six Coloured Plates. 
 
 THE PACK IN FULL CRY, 
 
 BY W. HEATH. 
 
 A VERY HUMOROUS DRAWING OF A PACK OF CARDS AFTER A PURSE OF MONEY. 
 
 Price 7s. Gd. coloured. Size, 19 inches by 13. 
 
 MEMOIRS OF THE LIFE OF 
 THE LATE JOHN MYTTON, ESQ., 
 
 Of Halston, Shropshire ; 
 With Notices of his Hunting, Shooting, Driving, Racing, eccentric and extravagant exploits, 
 
 BY NIMROD; 
 
 WITH NUMEROUS ILLUSTRATIONS 
 
 BY H. ALKEN AND T. J. RAWLINS. 
 
 Second edition, reprinted, with considerable additions, from the " New Sporting Magazine." 
 Royal 8vo. Price 25s., handsomely bound in cloth. 
 
 GAM ONI A; 
 
 OR, THE ART OF PRESERVING GAME. 
 BY LAWRENCE RAWSTORNE, Esq. 
 
 A PANORAMIC VIEW OF A FOX-CHASE. 
 
 BY H. ALKEN. 
 Coloured, and fitted into a Roll-up Case. Price £1 : lis. Gd. Nine feet long. 
 
 THE QUORM HUNT, 
 
 IN A SERIES OF EIGHT PLATES, BEAUTIFULLY COLOURED. 
 
 FROM DRAWINGS BY HENRY ALKEN, ILLUSTRATING 
 
 NIMROD'S 
 
 Celebrated Article on English FOX-HUNTING, in the " Quarterly Review." 
 Size of Prints, 20± inches by 12J. Price £4 : 14s. Gd. 
 
 FOXHOUNDS RUNNING IN COVERT, 
 FROM A PAINTING BY R. B. DAVIS. 
 
 15| inches by llf. Price 15s. coloured, 12s. plain. 
 
 HUNTING QUALIFICATIONS^ 
 
 IN SIX PLATES, 
 
 BY HENRY ALKEN. 
 
 ACCOMPANIED WITH A HUMOROUS DESCRIPTION OF EACH PLATE. 
 
 10 inches by 6,§. Price £1 : 10s. the set, highly coloured. 
 HUNTING RECOLLECTIONS, 
 
 IN SIX PLATES, HIGHLY COLOURED, 
 
 BY HENRY ALKEN. 
 
 10| inches by 8§. Price £1 : Is. the set. 
 
 MY STUD, 
 
 IN SIX COLOURED PLATES. 
 
 BY HENRY ALKEN. 
 10J inches by 8|. Price £1: Is. the set. 
 
 THE GRAND LEICESTERSHIRE STEEPLE-CHASE, 
 
 IN A SERIES OF EIGHT PLATES, BEAUTIFULLY COLOURED, 
 
 FROM PAINTINGS BY HENRY ALKEN, ENGRAVED BY BENTLEY, 
 WITH PORTRAITS OF THE HORSES AND RIDERS, AND REMARKS 
 
 BY NIMROD. 
 18 inches by 14. Price £3 :3s. the set. 
 
 THE HUNTING EXPLOITS OF COUNT SANDOR, 
 
 IN TEN HIGHLY COLOURED PLATES, 
 
 FROM PAINTINGS BY J. FERNELEY, ENGRAVED BY E. DUNCAN. 
 
 13| inches by 10§. Price £3 :3s. the set. 
 
 THE RIGHT AND THE WRONG SORT, 
 
 A PAIR OF HUMOROUS SPORTING PRINTS, 
 
 FROM DRAWINGS BY H. ALKEN. 
 
 Price 25s. the pair. Size of Prints, 18J inches by 11§. 
 
^UHHHHB 
 
 M^M^h*Mki>m^ 
 
 
 MR. DELME RADCLIPPE AND HIS HARRIERS. 
 
 10§ inches by 8 J. Price 7s. 6d. coloured. 
 
 DEER STALKING, 
 
 IN TWO HIGHLY COLOURED PLATES, 
 
 FROM PAINTINGS BY J. FERNELEY, ENGRAVED BY E. DUNCAN. 
 
 24 inches by 18|. Price £1 : 5s. each plate. 
 
 The following HUMOROUS SPORTING ANECDOTES, from Drawings 
 by Mr. H. Aiken, price 3s. 6d. each, coloured. Size, 13 inches by 8£. 
 The Sporting Sweep— The Sporting Miller— The Coach— Jorrock's Hunt Breakfast— 
 The Swell and the Surrey, two plates— The Hunting Tailor, Hastings and Lord Segrave — 
 The Hunted Tailor, or the Double Fracture— The Sporting Parson's Hunting Lecture— The 
 Sporting Grazier ; or, Fox-hunting versus Politics — The Sporting Bishop— Fox-hunting in 
 Canada— The Hunting Sweep and the Duke ; or, Gallantry and Galloping. 
 
 Also just Published, 
 
 FOUR NEW SPORTING ANECDOTES, illustrating the Life of David Crockett. 
 
 David Crockett's Elk Hunt— David Crockett's Fight for Bear's Meat— How to get a Vote— 
 
 Don't forget that Vote. 
 
 SPORTS IN THE SCOTTISH ISLES. 
 
 GROUSE SHOOTING, OTTER HUNTING, SALMON FISHING, 
 
 AND DEER SHOOTING, 
 
 FROM DRAWINGS BY W. HEATH. 
 Price 20s. the Four Plates. Size, 12§ inches by 8|. 
 
 Lately published, Four Prints, SHOOTING. Price £2 : 2s. highly coloured, from Paintings 
 
 by Henry Aiken ; viz. — 
 
 THE MOOR— THE FIELD— THE WOOD— AND THE WATER. 
 
 PORTRAIT OP HIS GRACE THE LATE DUKE OP GORDON'S 
 
 BLACK TROTTING MARE, 
 
 WINNER OF THE NORTHAMPTON TROTTING SWEEPSTAKES, MARCH 1836, 
 
 DRAWN ON STONE BY T. FAIRLAND, FROM THE ORIGINAL PICTURE 
 
 BY W. BARRAUD. 
 
 Size of Print, 14 inches by 11§. Price 12s. coloured; 8s. plain. 
 
 BEAUTY, 
 
 A celebrated little Trotter, the property of R. Lacy, Esq. Price 15s. coloured. 
 
 TOM THUMB, 
 
 THE CELEBRATED AMERICAN TROTTER. 
 
 19§ inches by 15. Coloured, price £1. 
 
 A PORTRAIT OF 
 
 JOHN WARDE ON HIS FAVOURITE HUNTER, BLUE RUIN, 
 
 FROM THE ORIGINAL PICTURE BY BARRAUD. 
 Price 12s. plain ; 21s. coloured. Size, 18 J inches by 14§. 
 
 Also lately Published, 
 
 A fine mezzotint Portrait of that celebrated Sportsman, 
 
 GEORGE BAKER, ESQ., 
 
 OF DURHAM. 
 
 Price 15s. Print ; 21s. Proofs ; 31s. 6d. Proofs before Letters. 
 
 T. GOOSEY, 
 
 A large Lithographic Print, with a Portrait of the above famous Huntsman to Lord Forester ; 
 
 and part of the Belvoir Hounds. 
 Price 21s. Print; and 42s. coloured. Size of Print, 22 inches by 17. 
 
 THE PIRATE DEFEATED. 
 
 Representing a gallant Action, between Mr. R. B. Crawford, of H.M.S. Esk, in the 
 Bight of Benin, March 20, 1826, beating off the Spanish Pirate, Carolina, commanded by 
 Capt. Antonio Soumath. 
 
 Size of Print, 17| by 11|. Price 10s. Gd. beautifully coloured, from the original Picture by 
 
 W. Joy. 
 
 THE WATERFORD LINE SCHOONER. 
 
 A fine coloured Print representing the Schooners, " Alexander," Capt. Nicholls ; " Martha," 
 Capt. Dwyre; and " Rapid," Capt. Miller. 
 
 FROM A PAINTING BY JOHN LYNN, 
 Size of Print, 21 inches by 12. Price 21s. 
 
 ■ 
 
 
 I 
 
 
 ■ 
 
 
 
 
 m§ 
 
 Tm 
 
 
 
 "■ 
 
 
 
 ■ 
 
THE SOUTHERN WHALE FISHERY. 
 
 Two Prints representing the above Fishery in the South Seas. The mode of attacking the 
 Whale and boiling it down on board; in which, also, is displayed the hazardous mode 
 
 of pursuing the Whale. 
 
 Price 15s. each, highly coloured. Size of Prints, 20j inches by 13. 
 
 A beautiful coloured Print, 
 
 THE MAIL AT THE TURNPIKE GATE. 
 
 Price 15s. coloured. Size, 20J inches by 14§. 
 
 ALSO THE 
 
 TAGLIONI WINDSOR COACH. 
 
 Price 10s. 6d. coloured. Size, 18j inches by 12§. 
 
 HEADS OF SPORTING ANIMALS, 
 
 Viz., the Fox, Bloodhound, and Newfoundland Dog, 
 
 FROM PAINTINGS BY C. HANCOCK, ENGRAVED BY BECKWITH. 
 
 I 
 
 6| inches by 5J. 
 
 plain, 7s. 6d. the set. 
 
 24* 
 
 HEAD 
 
 A 
 
 Price, coloured, 12s. ; proofs, 10s. 6d. 
 SHOT, 
 
 A CELEBRATED POINTER, 
 
 FROM A PAINTING BY A. COOPER, R.A. 
 
 24J inches by 19|, highly coloured. Price ^1 : 4s. 
 
 DASH, 
 
 A CELEBRATED SETTER, 
 
 FROM A PAINTING BY AGASSE. 
 inches by 19§, highly coloured. Price £l : 4s. 
 
 A large Lithographic 
 
 OF A BLOODHOUND. 
 
 10s. 6d. coloured, 
 
 FROM A PAINTING BY AGASSE. 
 
 FOXES AND CUBS, 
 
 FROM A PAINTING BY BENNET, 
 20§ inches by I65, coloured. Price £1 : 4s. 
 
 PORTRAIT OF " CHANCE," THE FIREMEN'S DOG, 
 
 DRAWN AND LITHOGRAPHED BY WILLIAM HEATH. 
 
 9f inches by 7|. Price 4s. coloured ; 2s. 6d. proofs. 
 
 BADGERS, 
 
 AFTER A PAINTING BY BENNET. 
 18§ inches by 13f , coloured. Price £l : Is. 
 
 HARES 
 
 AFTER A PAINTING BY BENNET. 
 19f inches by 15. Price £1 : Is. coloured. 
 
 MAMALUKES AND COSSACKS, 
 
 IN TWO PLATES. 
 
 Highly coloured. Price 10s. 6d. the pair. Plain, on tinted paper, 7s. 
 FANCY BALL COSTUMES, 
 
 IN SIX PLATES, 
 
 DRAWN AND ETCHED BY WILLIAM HEATH. 
 Price, coloured, 2s. 6d. each. 
 
 KNIGHTS IN ARMOUR, 
 
 IN A SERIES OF TWELVE PLATES, 
 
 BY H. ALKEN. 
 Price, coloured, 18s.; plain, 9s. 
 
 GAMECOCKS, 
 
 IN TWO SMALL PRINTS, 
 
 Neatly mounted and coloured. Price 5s. the pair. 
 
 FOUR SMALL HUNTING MEDALLIONS. 
 
 BY H. ALKEN, 
 
 Highly coloured. Price 6s. the four. 
 
 SIX SMALL HUNTING MEDALLIONS, 
 
 BY H. ALKEN, 
 
 Highly coloured. Price 8s. the six. 
 
 FOUR SMALL SHOOTING MEDALLIONS 
 
 BY H. ALKEN, 
 
 Highly coloured. Price 6s. the four. 
 
ii^iiif^f&fi-g.Tp^ff^r^Ti^^ 
 
 FOUR SMALL RACING MEDALLIONS^ 
 
 BY H. ALKEN, 
 Highly coloured. Price 6s. the four. 
 
 SIX SMALL MEDALLIONS OF MAMALUKES AND 
 
 COSSACKS, 
 
 BY H. ALKEN, 
 
 Highly coloured. Price 6s. the six. 
 
 THE FIRST STEEPLE-CHASE ON RECORD; 
 
 Viz.: THE NIGHT RIDERS OF NACTON, 
 
 Lately Published, 
 
 FOUR BEAUTIFUL COLOURED PLATES, 
 
 BY H. ALKEN. 
 
 Price £1 : 16s. Size, 14§ inches by 10§. 
 
 THE FOX AND PARTRIDGE, 
 
 A VERY SPIRITED COLOURED LITHOGRAPHIC PRINT, 
 
 FROM A PAINTING BY R. R. RENAGLE, R.A. 
 
 Dedicated by special permission to the Right Honourable the Earl of Kintore. 
 
 Price 7s. 6d. each, coloured. Size of Print, 14 inches by 11§. 
 
 TALLY-HO ! 
 
 FROM A PAINTING BY MR. CHARLES HANCOCK. 
 
 Price 7s. 6d. coloured. Size, 15 inches by lOf. 
 
 Two very Humorous Coloured Sporting Prints, dedicated to the Crack Riders and Craners 
 
 of England, viz : — 
 
 THE RIGHT AND WRONG SORT 
 
 From Drawings by H. Alken. Price 25s. the pair. Size, 17| inches by 11$. 
 
 PORTRAITS OF IBRAHIM AND DRAMA PACHA. 
 
 LITHOGRAPHED BY GAUCI. 
 Price, each, 3s. coloured ; Is. 6d. plain. 
 
 PORTRAITS OF GENERAL CHASSE AND MARSHAL 
 
 GERARD, 
 
 Price 5s. the pair, coloured; 2s. 6d. plain. 
 
 THE DESTRUCTION OF THE HOUSES OF PARLIAMENT 
 
 BY FIRE, 
 
 DRAWN AND LITHOGRAPHED BY WILLIAM HEATH. 
 
 14J inches by 10$, Price 7s. 6d. coloured; 5s. proofs. 
 
 THE DESTRUCTION OF THE ROYAL EXCHANGE BY FIRE. 
 
 Price 7s. 6d. coloured; 5s. plain. 
 
 Just published, price 12s., neatly bound in cloth, 
 
 THE ART OF PAINTING, IN OIL COLOURS, 
 
 PORTRAITS, LANDSCAPES, ANIMALS, DRAPERIES, SATINS, &c, 
 
 Practically explained by Coloured Palettes. 
 
 By J. Cawse. 
 
 G. HARLEY'S RUDIMENTS OF LANDSCAPE DRAWING 
 
 Complete. Price £1 : 13s. ; the coloured part alone, £1 ; the sepia part, half-bound, or 
 three Numbers, 10s. 6d. The pencil part, half-bound, 9s.; or six Numbers 
 
 at Is. each. 
 
 G. BARLEY'S JUVENILE DRAWING-BOOK, 
 
 In twelve Numbers at 8d. each. 
 
 G. BARLEY'S LESSONS ON DRAWING TREES. 
 
 Four Numbers at 2s. 6d. each. 
 
 G. DALMAINE'S DRAWING-BOOK OF CATTLE, 
 
 In six Numbers. Price Is. per Number; half-bound, complete, 7s. 6d. 
 
 ALKEN'S RUDIMENTS FOR DRAWING THE HORSE AND 
 
 OTHER ANIMALS, 
 
 In six Numbers at 2s. 6rf. each ; or the six Numbers, neatly half-bound, 20s. 
 
 
 

 
 
 The following very beautiful Works, by eminent Artists, have been 
 lately published, and will be found very entertaining and orna- 
 mental for the Drawing Room Table. 
 
 HAY'S ILLUSTRATIONS OF CAIRO, on stone, by Haghe and Bourne. Imperial 
 folio, half-bound, £4 : 4s. 
 
 NASH'S ARCHITECTURE OF THE MIDDLE AGES. In twenty-five Plates. 
 Imperial folio, half-bound, tinted, £4 :4s.; coloured, in portfolio, £10 : 10s. 
 
 NASH'S MANSIONS OF ENGLAND IN THE OLDEN TIME. Same as above. 
 
 NASH'S MANSIONS OF ENGLAND IN THE OLDEN TIME. Third series. 
 Same as the preceding. 
 
 BOY'S PICTURESQUE ARCHITECTURE IN PARIS, GHENT, ANTWERP, 
 AND ROUEN. Printed in Lithography with Oil Colours. Beautifully bound in morocco 
 and silk, £6 :6s.; or mounted in a folio, £8 : 8s. 
 
 SCENERY OF PORTUGAL AND SPAIN. By G. Vivian, Esq.; on stone, by L. 
 Haghe. Thirty-five Views. Imperial folio, half-bound, £4 : 4s. 
 
 SPANISH SCENERY. By G. Vivian, Esq.; on stone by L. Haghe. Twenty-nine 
 Views. Imperial folio, uniform with the above, £4 : 4s. 
 
 HARDING'S SKETCHES AT HOME AND ABROAD. In twelve Parts. Imperial 
 folio, 10s. Gd. each part ; or complete in fifty Plates, £6 : 6s. 
 
 STANFIELD'S SKETCHES ON THE MOSELLE, RHINE, AND MEUSE. In 
 thirty Plates. Imperial folio, half-bound, tinted, £4: 4s. ; coloured, in portfolio, £10: 10s. 
 
 HERRING'S SKETCHES ON THE DANUBE, IN HUNGARY, AND TRAN- 
 SYLVANIA. Twenty-six Plates. Imperial folio, half-bound, tinted, £4 :4s. ; coloured, in 
 portfolio, £10 : 10s. 
 
 RICHARDSON'S SKETCHES IN ITALY, SWITZERLAND, AND FRANCE. 
 In twenty-six Plates. Imperial folio, h.-b., tinted, £4 :4s.; coloured, in portfolio, £10: 10s. , 
 
 ROBERTS'S SPANISH SKETCHES. In twenty-six Plates. Imperial folio, tinted, 
 £4 : 4s. ; coloured, in portfolio, £10 : 10s. 
 
 LEWIS'S CONSTANTINOPLE. In twenty-six Plates. Imperial folio, tinted, 
 £4 : 4s. ; coloured, in portfolio, £10 : 10s. 
 
 LEWIS'S SPAIN AND THE SPANISH CHARACTER. In twenty-six Plates. 
 Imperial folio, tinted, £4 : 4s. ; coloured, in portfolio, £10 : 10s. 
 
 LEWIS'S ALHAMBRA. In twenty-six Plates. Imperial folio, tinted, £4 :4s.; 
 coloured, in portfolio, £10 : 10s. 
 
 HINTS ON LIGHT AND SHADOW, COMPOSITION, &c, as applicable to Land- 
 scape Painting. By Samuel Prout, Esq., F.S.A. Twenty Plates, containing Eighty-three 
 Examples, in the improved method of two tints. Imperial 4to: Cloth lettered, £2 :2s. 
 
 PROUT'S INTERIOR AND EXTERIOR BUILDINGS. Each Work complete in 
 four Numbers. Imp. 4to. Price per Number, each containing six Plates on India paper, 7s. Gd. 
 
 PROUT'S SKETCHES IN FRANCE, SWITZERLAND, AND ITALY. Contains 
 twenty- six Views, lithographed by himself. Imperial folio, handsomely half-bound, price, 
 tinted, £4 : 4s. ; coloured, in folio, £10 : 10s. 
 
 PROUT'S FAC-SIMILES OF FIFTY SKETCHES MADE IN FLANDERS AND 
 GERMANY. Folio, half-bound, price £6 : 6s. 
 
 T. S. COOPER'S NEW SERIES OF CATTLE GROUPS. Twenty-six Subjects 
 from Nature, on stone, by himself. Imperial folio, price, half-bound morocco, £4 : 4s. ; or 
 highly coloured, and mounted in a folio, £12 : 12s. 
 
 T. S. COOPER'S DESIGNS FOR CATTLE PICTURES. In thirty-four Plates. 
 Imperial folio, half-bound, tinted, £4 : 14s. : Gd. 
 
 HAGHE'S PICTURESQUE SKETCHES IN GERMANY AND BELGIUM, on 
 
 stone, by himself. Price, imperial folio, half-bound, £4 : 4s. 
 
 BOY'S PICTURESQUE VIEWS OF LONDON. Price £4 :4s. 
 
 Shortly will be published, by R. Ackermann, a New Edition of 
 
 JORROCKS'S JAUNTS AND JOLLITIES, 
 
 With numerous Coloured Illustrations by Alken. 
 
'"■ ■ : '- 
 
 mm 
 
 mm 
 
 R. ACKERMANN, 
 PRINTER, PUBLISHER, FANCY STATIONER, 
 
 MANUFACTURER OF SUPERFINE WATER-COLOURS, 
 TO HER MAJESTY AND THE ROYAL FAMILY, 
 
 Begs leave to recommend his Colours to the Nobility and Gentry, as being prepared with the 
 utmost care, and approved by the most eminent Artists of the United Kingdom. 
 
 SOLD IN CAKES OR 
 
 In Boxes of Yew-Tree, Rosewood, 
 &c, ornamented and highly var- 
 nished, from £2 : 2s. to . . . . 
 
 In Mahogany Boxes, 45 Cakes, Pa- 
 lettes, Marble Slab, Pencils, &c. . 
 
 Ditto, ditto, 36 Cakes, ditto . . . 
 
 Ditto, ditto, 32 ditto, ditto . . . 
 
 Ditto, ditto, 24 ditto, ditto . . . 
 
 Ditto, ditto, 18 ditto, ditto . . . 
 
 Ditto, ditto, 12 ditto, ditto . . . 
 
 Ditto, 12 Cakes, Lock and Drawer 
 
 Neat Mahogany Boxes, with a slid- 
 ing Top, 40 Cakes 
 
 Ditto, ditto, 32 ditto ... 1 8 
 Ditto, ditto, 34 ditto . . 110- 
 Ditto, ditto, 18 ditto. . . 15 0- 
 Ditto, ditto, 12 ditto . . 10 6- 
 Ditto, ditto, G ditto. . .0 6 0- 
 
 BOXES AT 
 
 £ s.d 
 
 10 10 
 
 THE FOLLOWING PRICES: — 
 
 13 6 
 
 3 
 12 6 
 
 2 
 
 1 11 6 
 1 1 
 
 15 
 
 1 16 
 
 Small 
 Cakes. 
 -0 14 
 -0 10 6 
 -0 7 
 -0 4 6 
 
 £ s.d. £ s. d. 
 Highly-finished Mahogany 
 Brass-capp'd, &c, Irom 
 
 52s. 6d. to 7 7 
 
 Boxes of Velvet Colours 
 
 complete, with directions 2 
 Ditto, ditto, ditto .... 1 
 Boxes of Body Colours . 2 
 Ditto of Colours for paint- 
 ing on glass 2 
 
 Ditto of Chalks, complete, 
 
 5s., 25s., and .... 2 
 
 Handsome Rosewood, In- 
 laid Brass, ornamented, 
 12 Cakes, fitted up complete . . 2 
 Ditto, ditto, ditto, 18 Cakes, ditto . 3 
 Ditto, ditto, ditto, 24 ditto, ditto . 4 
 Ditto, ditto, ditto, 32 ditto, ditto . 5 
 Ditto, ditto, ditto, 30 ditto, larger 
 
 Box and Extras 5 15 6 
 
 Ditto, ditto, ditto, 40 ditto, ditto . 10 10 
 
 2 
 
 4 
 
 2 
 
 2 
 
 2 
 
 12 6 
 
 3 
 
 4 
 
 5 
 
 Ultramarine ... 
 Ultramarine, Imitative 
 Ultramarine, Ash . , 
 Guimet's Ultramarine 
 
 Scarlet 
 
 Burnt Carmine . . . 
 Imperial Permanent 
 Blue, equal to Ultra- 
 marine in tint . . . 
 Platena Yellow . . . 
 French Blue . . . . 
 
 Carmine 
 
 Victoria Blue . . . . 
 Permanent Crimson . 
 Purple Madder . . . 
 Orange Vermillion . 
 
 Gallstone 
 
 Lemon Yellow . . . 
 
 SUPERFINE WATER-COLOURS, 
 
 £ 
 
 1 Intense Brown 
 
 2 Dahlia Carmine 
 5 Smalt 
 
 5 Extra Madder Lake 
 
 6 Intense Blue 
 
 7 Pink Madder 
 Rose Madder 
 Burnt Lac Lake 
 Cobalt 
 
 Lake, Crimson 
 Lake, Scarlet 
 Lake, Purple 
 Brown Madder 
 Indian Yellow 
 Indian Black 
 Sepia 
 Roman Sepia 
 
 5 
 5 
 3 
 5 
 2 
 5 
 5 
 5 
 5 
 3 
 
 ALL AT ONE SHILLING PER CAKE 
 
 Ackermann's Yellow 
 
 Green 
 
 Antwerp Blue 
 Bistre 
 Blue Black 
 Blue Verditer 
 Brown Ochre 
 Brown Pink 
 Bronze 
 
 Burnt Italian Earth 
 Burnt Roman Ochre 
 Burnt Sienna 
 Burnt Umber 
 Chrome Yellow, Nos. 
 
 1, 2, and 3 
 Orange Chrome 
 Cologne Earth 
 Dragon's Blood 
 
 All fh 
 
 Dutch Pink 
 Emerald Green, 
 
 and 2 
 French Green 
 Full Red 
 Gamboge 
 Green Bice 
 Green Verditer 
 Hooker's Green, 
 
 and 2 
 Indigo 
 Indian Red 
 Italian Pink 
 Ivory Black 
 King's Yellow 
 Lac Lake 
 Lamp Black 
 Light Red 
 ese Colours may be 
 
 s. 
 3 
 5 
 
 5 
 5 
 3 
 3 
 
 3 
 2 
 
 2 
 
 1 
 1 
 1 
 
 1 
 1 
 1 
 1 
 1 
 
 PER CAKE. 
 d. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 6 
 
 6 
 
 6 
 
 6 
 
 6 
 
 6 
 
 6 
 
 Warm Sepia .... 
 
 Permanent White . . 
 
 Prout's Black .... 
 
 Prepared Black for In- 
 laying 
 
 Ultramarine in Saucers, 
 5s. and 2 
 
 Scarlet, in Saucers . 1 
 
 Fine Chinese Gold, in 
 Saucers, 10s. 6d. and 2 
 
 Ditto in Shells . . . 1 
 
 Gold, Silver, and Cop- 
 per Bronze in Packets 2 
 
 Carmine in Powder . 1 
 
 Permanent White Li- 
 quid, in Cups ... 2 
 
 Do. in Bottles, Is. 6d. & 2 
 
 d. 
 6 
 6 
 6 
 
 1 6 
 
 6 
 
 
 
 
 
 
 
 
 
 6 
 6 
 
 Mineral Blue 
 Naples Yellow 
 Neutral Tint 
 Olive Green 
 Payne's Neutral Tint 
 
 Grey 
 
 Prussian Blue 
 Prussian Green 
 Purple 
 Red Ochre 
 Red Orpiment 
 Raw Sienna 
 Raw Umber 
 Roman Ochre 
 Sap Green 
 Saturnine Red 
 Transparent Yellow 
 Ochre 
 had in Half Cakes, at Half Price. 
 
 Varley's Green 
 
 Warm Grey 
 
 Purple Grey 
 
 Dark Green 
 
 Warm Green 
 
 Orange 
 
 Neutral Tint 
 
 Vandyke Brown 
 Venetian Red 
 Vermilion. Chinese 
 Vermilion Crimson 
 White 
 
 Yellow Lake 
 Yellow Ochre 
 Yellow Orpiment 
 York Brown 
 
8 
 
 A CHOICE COLLECTION OF ENGLISH AND FOREIGN PRINTS, LIKEWISE 
 A GREAT VARIETY OF WATER-COLOUR DRAWINGS, &c, 
 FOR SCRAP-BOOKS. , 
 
 ALSO THE NUMEROUS REQUISITES FOR DRAWING, AS FOLLOW: — 
 
 DRAWING PAPER. 
 
 Demy 
 
 Medium 
 
 Royal 
 
 Super-royal 
 
 Imperial 
 
 Elephant 
 
 Columbier 
 
 Atlas 
 
 Double Elephant 
 
 Grand Emperor 
 
 Antiquarian 
 
 Antiquarian, extra large 
 
 20 inches by 15j 
 22| ditto 17§ 
 24 ditto 19 
 
 19£ 
 
 22 
 23 
 
 27J ditto 
 
 30 ditto 
 
 28 ditto 
 
 35 ditto 
 
 34 ditto 
 
 40 ditto 
 
 65J ditto 
 
 53 ditto 
 
 56 ditto 
 
 26 
 27 
 47 
 31 
 38 
 
 MAHOGANY DRAWING BOARDS. 
 
 Demy 4to, size, 8 inches by 6 
 Royal 4to 
 
 Imperial 4to 
 Half Medium 
 Demy 
 Medium 
 Royal 
 
 10§ ditto 
 
 13 
 
 15 
 18 
 20 
 22 
 
 ditto 
 ditto 
 ditto 
 ditto 
 ditto 
 
 n ■ 
 ii . 
 
 15|. 
 17 . 
 
 Folding Table Easels, Deal. 
 ditto ditto, Mahogany. 
 
 s. d. 
 4 
 
 10 6 
 12 
 14 6 
 
 Bristol Drawing Paper and Card Boards 
 
 Drawing Vellum 
 
 Wove Cartridge for Landscapes 
 
 Rough-grained Cartridge 
 
 Tinted Drawing Papers for Crayons 
 
 Fine White Velvet for Painting 
 
 Ivory for Miniatures 
 
 Writing Papers 
 
 Transparent Tracing Paper 
 
 Tissue Paper, Demy and Double Crown 
 
 Ditto ditto, Tinted 
 
 Marble and Earthenware Slabs 
 
 Ivory and Earthenware Pencil Racks 
 
 Ivory Pallettes 
 
 Earthenware ditto 
 
 Ditto Saucers 
 
 Ditto ditto in Cabinets 
 
 Indian Glue 
 
 Black, Italian, French, and German 
 
 Chalks 
 Conte a Paris, glazed 
 Conte a Paris, square 
 Leather and Paper Stumps 
 Steel and Brass Port Crayons 
 
 R. ACKERMAWN'S MOIST COLOURS FOR OUT-DOOR 
 
 SKETCHING, 
 
 Are more particularly recommended for their brilliancy and ready mixture, and supe- 
 riority to all others of this kind, as they do not rub up when washed over by other 
 Colours, which has been a great complaint by most Artists of those hitherto introduced. 
 Sold separate, or in tin japan Boxes, of different Prices, with Cups and Bottles. 
 
 ALSO HIS IMPROVED BLOCK SKETCH-BOOKS. 
 
 COLOURS FOR ORIENTAL AND POONAH TINTING, BRONZES, VARNISHED 
 PAPER, AND BRUSHES FOR DITTO. 
 
 MACPHERSON'S PERMANENT TINTS FOR MINIATURE PAINTING, 
 
 Price 31s. 6d. and 20s. per Box, containing Twelve Tints. 
 
 Or per Cake, Shade-Tint, Dark Complexion, Half-Tint, Flesh-Tint, Auburn, Yellow, 
 
 Blue, Maroon, Crimson, Deep Blue, Light Hair, and Intense Sepia, 2s. each ; 
 
 Carnation, 3s. — Half-Cakes at half-price. 
 
 Macpherson's Opaque Back Ground for ditto, ditto, 2s. 6rf. per Bottle. — Prout's 
 
 Brown at 2s. per Bottle. 
 
 Ackermann's Colours for Flower Painting, 24s. and 21s. per Box. 
 
 J. D. HARDING'S ELEMENTARY ART; or, the Use of the Lead Pencil. 
 Imperial 4to. Cloth lettered, price £2 : 2s. 
 
 NEW HINTS ON MINIATURE PAINTING. By an Old Professor. With 
 Illustrations. Cloth gilt, 5s. 
 
 BARRETT'S THEORY AND PRACTICE OF WATER-COLOUR PAINT- 
 ING. Price 10s. 6d. 
 
 With numerous Lithographic Drawing Books, Landscape, Flowers, and Figures. 
 
 Sketching Books, Plain, Various Sizes and Bindings. Portfolios of all Sizes. 
 
 Wright and Co., Printers, 76, Fleet Street, London. 
 
 

$20- of I 
 

 0808 CAWSE (J.) Introduction to the Art of Painting in Oil Colours, with plates explanatory of the 
 i different pallets used in the progress of painting a portrait or landscape, Ackermann, London, 1822, 7 etched 
 \ plates with colour samples added by hand, 22 pp., demy 8vo, roan backed bds., printed label laid down on 
 , upper cover, front free end-paper and a blank recto in the text have been neatly annotated in a contemporary hand 
 yy >j rr £25-00 
 
 309 — The Art of Painting portraits, landscapes, animals, draperies, satins, etc., in oil colours: 
 practically explained by colour palettes: with an appendix on cleaning and restoring ancient paint- 
 ings on panel or canvas, Ackermann, London, 1840, 11 hand coloured litho. plates, with colour samples, 
 roy. 8vo, red cloth, gilt design of 2 muses of painting and music on upper cover, gilt lettered on spine, faded and 
 slightly splitting at the joints. With an 8 pp. catalogue of sporting and other prints by Ackermann 
 dated 1837 bound in at the back £25-00 
 Abbey, Life: 106. 
 
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 -J 
 
 GETTY RESEARCH INSTITUTE 
 
 3 3125 01063 0297 
 
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 .VtWESTLEYSA d 
 FF FRIAR STREET. 
 LONDON.