Digitized by the Internet Archive in 2014 http://archive.org/details/manualofilluminaOOjewi 7ABEZ BARNARD, MANUFACTURING ARTISTS' < OLOURMAN, 339, - Oxford Street, W. Miflal Painting. They are recom- mended with confidence, having been highly ap- proved by fome of the firft Illuminating Artifts. 2 J ABEZ { ARNARD, The following is a priced lift of the Colours in Metallic Tubes or Earthenware Pans: — Vermilion Scarlet ditto Indian Red Venetian ditto Light ditto Chrome, 1, 2, and 3 Gamboge Yellow Oker Roman ditto Crim/on Lake Scarlet ditto Purple ditto Purple Madder Madder Lake Pure Scarlet Carmine is. each. Brown Oker Raw Umber Burnt ditto Raw Sienna Burnt ditto Vandyke Brwn. Grey Neutral Tint Ivory Black Lamp ditto is. 6d. each. Indian Yellow Sepia Warm ditto 2s. each. Cobalt Blue. 3s. each. Rofe Madder 5s. each. Burnt Carmine Smalt Blue Black Indigo Prujfian Blue Antwerp ditto Emerald Green Prujfian ditto Sap ditto Flake White Madder Brown Permnt. White Chinefe ditto French Ultra- marine Gall/tone Cadmium Ylw. Purple Carmine 21s. each. Genuine Ultramarine. 339) XFORD V TREET, w . There are three sizes of the C olour ^oxes fpecially adapted for this variety of art. All of them are of Mahogany, French Polifhed, lock and key ; the two larger fizes have drawers, the Moift Colours are contained in white enamelled metal trays. No. L — Contains the following Moift Colours, in tubes : — Cobalt Emerald Green Burnt Umber Crimfon Lake Conjlant White Ivory Black Vermilion Light Chrome A fmall Cake of Royal Scarlet, Indian Ink, Gold and Silver Saucer, Divided Tile and Water Glafs, Brufhes, Pencils, etc. Price ll. is. No. II. — Contains the following Colours : — Cobalt Burnt Sienna Deep Chrome French Ultra- Madder Brown Conjlant White marine Burnt Umber Gamboge Purple Carmine Indian Red Emerald Green Carmine Yellow Oker Ivory Black Vermilion Light Chrome Small cake of Royal Scarlet, Indian Ink, Divided Tile, Gold and Silver Saucers, Water Glajs, Brufhes, Pencils, etc. Price 2I. 2s. I ABEZ BARNARD, 339, OXFORD - TREET, W. No. III. — Contains the following Colours : — Cobalt Indian Red Indian Yellow French Ultra- Light ditto Cadmium marine Burnt Sienna Yellow Qker Indigo Burnt Umber Light Chrome Purple Carmine Emerald Green Middle ditto Burnt ditto Conjlant White Orange ditto Carmine Ivory Black Raw Sienna Vermilion Vandyke Brown Cobalt Blue Madder Brown Gamboge Cake of Royal Scarlet, Indian Ink, Gold and Silver Saucers, Divided Tile and Water Glafs, Solid Tablet of Vellum, confi sting of a number of Jheets comprefsed, Brufhes, Pencils, etc. Price 3/. $s. Prepared Vellum, in skins, from 15s. each, in PIECES FROM IS. EACH, AND IN SOLID BLOCKS FROM IOS. TO 4OS., ACCORDING TO THE SIZE. The fnest London and Briflol Boards, and every other requisite ; for prices and particulars of which, see catalogue. I ABEZ BARNARD, MANUFACTURING ARTISTS 9 COLOURMAN, 339, Oxford Street, London, W. Imprinted by Adams & Gee, Middle-street, West Smithfield, E.C. MANUAL OF ILLUMINATED AND MISSAL PAINTING. By EDWIN JEWITT. WITH AN HISTORICAL INTRODUCTION BY LLEWELLYNN JEWITT, F.S.A. LONDON: J. BARNARD, 339 OXFORD STREET. LONDON I PRINTED BY ADAMS AND GEE, MIDDLE STREET, "WEST SMITHFIELD E.C. to fuch a variety of purpofes, both ornamental and ftri&ly ufeful, as it is. Ornamental, when con- fined to purely decorative purpofes ; ufeful, when applied to the reproduction of natural or artificial objects, and to the embodying and giving life and permanency to the grand conceptions and fancies of the human mind. But although draw- ing is divided into thefe two great claffes, the ufeful and the ornamental, they are, by it, fo com- pletely blended together, and are fo in unifon with each other, that they become in reality perfectly infeparable ; and their harmony is in- deftructible. In fact, so closely are thefe elements united, that it is almoft impofTible to take up a B 6 Mi/fal Painting and Illuminating. drawing, no matter of what class of fubject, which fhall not be an example of both. One of the mo ft beautiful of the many appli- ances of drawing, as a decorative art, is that of illumination — an art practifed from very remote ages, and, thanks to the growing tafte of modern days, being now again revived. There is, furely, no more pleafing way of adapting artiftic defign than that of decorating and rendering more at- tractive and valuable the pages of books, to which all muft turn for the attainment of knowledge. To this purpofe it has, for many centuries, been ufed ; and to this purpofe, for centuries to come, will it continue to be ufed, although naturally, from the different characteriftics of the ages, in a very different manner. Formerly, books were, before the invention of printing, entirely executed by hand ; and the ancient manufcripts which have been difcovered and handed down to us, are among the moll valuable, extraordinary, and ex- quifitely beautiful of all the remains of the paft which are in exiftence, and convey to us innu- Mijfal Painting and Illuminating, 7 merable and valuable illuftrations, by their defigns, not only of the collume, the heraldry, the family history, the architecture, the furniture, the mufic, the arts and fciences, the domeftic life and manners, the habits and cuftoms, and the sports and paftimes, of our anceftors; but alfo of the hiftorical incidents, of innumerable legends, and, indeed, of almoft everything connected with life in the olden time, whether in the caftle, the town, the cloifter, or the foreft. Whatever national, focial, or anti- quarian subject we are inveftigating, whatever information on mediaeval cuftoms or hiftory we are wifhing to defcribe, we have only to turn to the illuminated manufcripts of the middle ages to find it fully and clearly illuftrated ; and if we wilh for examples of art-decoration for adaptation to the requirements of the prefent day, we have only again to turn to thefe beautiful works of art to find a perfect and inexhauftible mine of idea and of decorative wealth, ready to our hands. The illuminating of ancient manufcripts is very varied in ftyle, embracing every grade of c 8 Mijfal Painting and Illuminating. the limning art, from the simple red letter at the commencement of a chapter or sentence to the elaborate and exquifitely-finifhed minia- ture painting, surrounded by the moll elegant border of minute foliage and flowers, which fills the entire page ; and thefe different grades of art are, each in its particular way, equally interefting and equally valuable as illuftrative examples. The ufe of minium, or vermilion, in manu- fcripts, for marking fentences or words, is of the higheft antiquity ; and its firft fimple ufe led to the exquifite initial letters and other ornaments in later ufe. It is found very commonly on Egyptian papyri, in the earlieft fpecimens of writing which have defcended to our day, and is often found along with painted mythological figures. From Egypt the painter evidently paffed to Greece and Rome ; but it is worthy of remark, that, previous to the Chriftian era, there is no trace of ornament on the manufcripts found at Pompeii. In the most ancient manufcripts now remaining, Miffal Painting and Illuminating. 9 red letters are ufed only at the commencement of books, or for titles. Thus, the Alexandrian Codex, the Medicean Virgil, afTigned to the fourth or fifth centuries, and others, each commence with three lines in vermilion. The process of laying on and burnifhing gold and filver appears to have been in ufe, among the fcribes of the oriental nations, from a very early period ; and it is probable it was derived by the Greeks from Egypt or India, and from them tranfmitted to the Romans. The fcribes and artifts in gold among the later Greeks, as early as the second or third century, were numerous, and appear to found a distinct class ; and their works, some of them written and gilt upon vellum, ftained of a purple or rofe colour, produced a truly beautiful effect. Of thefe, perhaps, the moft ancient ex- ifting fpecimen is the Codex Argentius, written a.d. 360, in filver and gold letters upon a purple vellum ; but fome others, of a somewhat later date, are flill preferved. In England, the tafte for gold and purple manufcripts firft appeared at io Mijfal Painting and Illuminating. the clofe of the feventh century, when Wilfrid, Archbifhop of York, enriched that church with the gofpels thus prepared, and which was faid to be almoft a miracle. During the eighth and ninth centuries, the ftaining of the vellum gradu- ally declined. A fplendid fragment of a manu- fcript, the ground of the vellum entirely of gold, and written and illuminated upon this ground, executed in the fixth century, is preserved in the Britifh Mufeum. Manufcripts written in gold, on white vellum, prevailed during the eighth, ninth, and tenth centuries ; but in England, the art was but imperfe&ly underftood, and not many examples are now extant. During the next three centuries, writing in gold was not generally adopted ; but in the next (the fourteenth) it again became a predominant feature for the higheft class of de- votional books, and many beautiful examples are still in exiftence. The initial letters to manufcripts during the early ages were not, as was the cafe afterwards, made of larger fize than the reft of the text, the J08(DO€ IfflttOP ALPHABET OF THE FOURTEENTH CENTURY. Mijfal Painting and Illuminating. whole of which, at that time, was written in capitals. At the beginning of the feventh century, however, the Greeks began to adopt a more im- pofing and attraftive ftyle, both by inferting beau - tifully defigned letters, and alfo by partially or wholly enclofing the pages in elaborate borders. From the eighth to the eleventh centuries, in both Greek and Latin manufcripts, initial letters of large size, decorated with human figures, and with flowers, birds, fifties, and reptiles, &c, occur ; and these letters, with their defigns, very frequently form illuftrations of the subjeft of the text. The beft period of this class of illuftrations is that comprifing the eighth and ninth centuries ; but letters of a fimilar character are to be met with of a later period. The Hiberno-Saxon manu- fcripts, of which the celebrated Durham Book is so splendid an example, had a character about them, remarkable for its extreme intricacy of de- fign, its elaborateness of detail, its wonderful inter- lacings, and its being finifhed with heads of birds, &c, and with dotted border-lines. This ftyle, 12 Miffal Painting and Illuminating. perhaps, is one of the moft elaborate, in point of legitimate decoration, of any, and led to the legend of the patterns having been brought to the in- ventor by angels from heaven, who infpired him in his work. During the reigns of Charlemagne and his fon, Charles the Bald, in the eighth and ninth centuries, a great number of illuminated manu- scripts were produced, chiefly by Italian and German artifts, and, from this period, thefe pro- ductions were gradually advanced towards per- fection until the fixteenth century. A kind of ornament prevailed among the Saxons, towards the clofe of the tenth century, which is peculiar to, and highly chara&eriftic of, that people, and which, for beauty, richness, free- dom, and boldness of defign, cannot be equalled by any Continental works of the fame period. Among the moll convincing proofs of this affer- tion, the fplendid Benedi&ional, belonging to the Duke of Devonfhire, and preferved at Chatfworth, Derbyfhire, is pre-eminent ; while others, of the fame period, are alfo ftill in exiftence. The great Miffal Painting and Illuminating, 1 3 centre of the Anglo-Saxon fchool of illumination was Winchefter, from whence moll of the manu- fcripts of the period emanated. Caedmon, in the Bntifh Mufeum, of about this time, exhibits many charafterillic letters and other examples of orna- mentation. In the eleventh century, the manufcripts ex- hibit not unfrequently very beautiful illuminations, confifting of borders, filled in with the moll fhowy colours, and finifhed with exquifite tafte ; light blues and bright greens being much ufed about this period, and the writing being fmall and extremely beau- tiful. In the next century, the manufcripts are remarkable for the great profufion of ornament, and for the graceful defigns of the letters. From this caufe, it is eafier to diftinguifh the manufcripts of this period than any other. The defigns are, many of them, of the moll beautiful and even gorgeous character. The profufion of gold, the brilliancy of the colours, the exquifite finifh of each minute detail of pattern, the elaborate and tafteful ornamentation, the extravagant fancies 1 4 Mifjal Painting and Illuminating. indulged in, the wildness of lome of the defigns, the grotefqueness of fome of the figures and the quiet folemnity of others, the beauty of the minia- ture paintings, filled up with figures delineated to a perfectly microfcopic nicety, and, in fact, every part of the illuminations of this period, fhow a high ftate of art, and render them eafily diftin- guifhable from thofe of any other. Coeval with thefe, the arabefques on the Greek manu- scripts are often ftrikingly beautiful, and always elegant and elaborate. At this period, the writing and illuminating were not the work of one hand. The fcribe wrote the book, and left blanks for the initial letters, to be put in by the limner, merely placing a small and almoft indiftinct letter as a guide upon the blank fpaces. From this caufe, manufcripts are often found unfinifhed ; sometimes with only a portion of the illuminations completed, and at others with them entirely neglefted. In the thirteenth century tafte began to de- cline ; but the fplendour of the colours employed Miffed Painting and Illuminating. \ 5 still continued equal to the former one. The back-grounds of the miniatures were frequently laid on in folid gold inftead of in diaper, and the colours employed, chiefly red and blue, height- ened and touched up with white, were worked up to a high ftate of perfection and finifh. This ftyle flourifhed molt from about 1180 to 1240; and amongft the moft gorgeous examples now extant, are the Ashmolean Beftiarium, the Holk- ham Breviaries, and other beautiful examples in the Royal Library and in the pofTeflion of Mr. Bateman. It was during this century that the higheft department of art received that impetus which the genius of Metola Pifano, Giotto, and Ciambue gave it, and which, undoubtedly, contri- buted greatly to the improvement of tafte in illu- minating manufcripts. At the clofe of this period, the manufcripts are extremely beautiful ; but there is, ufually, a larger mixture of fubjects in their decorations, thus mowing again a gradual decline in tafte. To the beginning of the next century (the fourteenth) belongs that numerous class of i6 Miffal Painting and Illuminating, manufcripts, chiefly Englifh and French, whofe principal characteriftic confifts of very large initial letters, drawn in the most brilliant {hades of purple, red, green, and gold, and containing human figures, birds, animals, &c, and terminat- ing in a fpecies of elaborate fcroll-work, extend- ing along the margin of the page both upper and lower, and often filled in with quaint and curious groupings, or myftic figures of dogs, hares, foxes, birds, &c. The examples of this period are re- markable for the beauty and intenfity of the colours employed, and for the intricacy of fome of the fcroll-work and foliage. During the fifteenth century, the art of illu- minating made rapid ftrides, and many examples remain to mow the beauty and excellence of the period. In beauty, richness of defign, fulness of colour, and elaborateness of detail, this period ranks high. Nature again began to be ftudied, and her endless ftores were called into requifition by the limner, who introduced butterflies, beetles, and an almoft endless variety of other infects — Miffal Painting and Illuminating. 17 flowers of every form and hue — fruits, leaves, and, in faft, almoft every natural objeft, into his productions, and painted them with the utmoft delicacy, precifion, and finish, upon gold grounds, and worked them up with a minuteness and bril- liancy totally unknown before. In the middle of this century, the glorious art of printing was difcovered, but for the firft fifty years produced no vifible effect upon the labours of the limner. Towards its close, how- ever, the effect was plainly vifible, although mini- ature painting was ftill highly prized, and followed to as great an extent as heretofore. In this, and more particularly in the next, century, the early printed works, too, very frequently had the initials rubricated by the illuminator, although, naturally, in a very inferior manner to the ornaments in the manufcripts. In England, miniature painting fell to the loweft ebb, and after the reign of Henry VII. totally difappeared. During the latter portion of the century, illuminations by Flemish artifts pre - vailed, and showed a great degeneracy of art. 18 Miffal Painting and Illuminating. They were profusely coloured, lavishly gilded, and extravagant in heightening ; but there was a mannerifm and a harshness about them which fell far short of the very artiftic feeling difplayed during the preceding century. In the fixteenth century, the gifted pencils of Da Vinci, Raffaelle, Julio Clovio, and Julio Romano, added a luftre to the annals of art unknown and unequalled at any other period. Thefe eminent men, whofe wondrous works ftand out as bright fpots in the annals of art, practised miniature painting in manufcripts, and thus call a dignity on the profeflion which it had not had before. The works of Julio Clovio are inimitable, and are perfect chef-d' ceuvres of the art of minia- ture painting; — they have never been equalled, and ftand out as evidences of the high attainments to which that celebrated artift had arrived. In the feventeenth century, the art of illu- minating ftill exifted, but its practice had become nearly obfolete. With few exceptions, it was confined to the decoration of religious works and Mxfjal Painting and Illuminating. 19 heraldic volumes ; but the art gradually died away and ultimately became lost. As printing advanced, the vocation of the fcribe and the limner receded and fell back before its giant strides ; and the world, as it became more en- lightened, by the greater facility for reading offered by the multiplication of the printing press, loft some of its brighteft jewels and some of its other moft useful and fafcinating arts. Thus, enlightenment in one direftion produced darkness in another ; and although the tafte for reading was increafed, the tafte for works of art was loft, and gradually, as is evident by a careful examina- tion of the printed books of thefe periods, tafte in other matters became alfo moft lamentably de- generated. Of late years, thanks to the increas- ing love for antiquity, the tafte for illuminated manufcripts has been revived ; and printing has now, by means of a number of wood blocks, printed one upon the other in different shades and colours, and by chromo-lithography, in which the defigns upon the ftones are worked in a 20 Mi/fal Painting and Illuminating. fimilar manner, been made to produce the effeft of the ancient illuminations, in all but the freshness of works of hand. A tafte for genuine illumination by hand has alfo fprung up, and is now making much progress, both for the ornamentation of printed books and for the de- coration of addrefTes, and other equally pleafing objects. The art has, however, never yet been fully developed, and we believe the prefent grow- ing tafte for illuminations is but the precurfor of a new era in illuftration, — an era that shall be as far in advance of the taftes and productions of the prefent day, as thofe of the prefent day are before thofe of the laft century. It is an art, the re- fources of which are perfectly inexhauftible, the beauty of which is unapproachable, and the intereft of whofe manipulation is not to be exceeded by any other. It is one of the mod elegant, and at the fame time ufeful, accomplishments for either fex, and helps materially, whilft exercifing and expanding the powers of defign in the artift him- felf, to educate the taftes and increafe the love Mi/fal Painting and Illuminating* 2 1 for the beautiful in the minds of all who may fee his productions. We have thus given a short historical intro- duction to the art of Illuminated Painting, and have traced its hiftory from its rife, through its firft ftruggles, up to its moll palmy days, and fo down again to its failure and final extinction, and we have hinted at its partial revival in modern times. We need purfue the subject no farther, than to express a hope that this little manual, which we now offer to the public, may be a means of refufcitating this beautiful art, and of leading to its adoption, wherever available, in our own day. The ftudent will find in the few illuftrations which accompany this manual fome truly excellent examples, by which his tafte may be formed, or rather, by which it may be aflifted in the development of its refources ; and he will do well moft carefully to ftudy them and to exercife his powers by altering and rendering them in a variety of ways, — to take them, in fact, as an accomplished pianift would a fimple air, 22 Mijfal Painting and Illuminating. merely as a groundwork for a fantafia, and play them, time after time, with unlimited variations. They will form an excellent ground-work, or foundation, upon which he may raife a fuper- ftructure of furpaffing beauty, enriched in an endless variety of ways, and adorned by the moll beautiful efforts and moll chafte productions of his prolific fancy and the foarings of his imagina- tion. He will alfo do well to ftudy clofely the mechanical proceffes — the abfolute manipulation — -in the mixing and laying on of colours, from the ancient manufcripts themfelves ; feveral molt exquifite examples of which he will find in the British Mufeum, in the Bodleian Library, and in many other public and private collections, to which he will, for the purpofes of reference, be able to gain access. Having devoted confiderable fpace to the hiftory of the rife and progress of the art of Illuminating, it now only remains for us to give a few direftions to the ftudent in ornamental art, fo as to enable him to follow his beautiful and ALPHABET, BEGINNING OF THE SIXTEENTH CENTURY. Mijfal Painting and Illuminating. 23 fafcinating ftudy, and to produce illuminations of chara&eriftic brilliancy and elegance. As a bafis for his operations, we would re- commend him, in defigning illuminated letters, to take the Roman letter as his model ; and al- ways take care — let his ornamentation follow what fhape or courfe it will — to preferve its general form, in fuch a manner as to be recog- nifed at once ; for there is nothing more diftafte - ful to a reader than to be compelled to look and puzzle, and look again, at a defign, before he can underftand what letter it is intended to reprefent. A letter may have its terminations lengthened, its fhape altered, its form changed, its outline alto- gether difcarded, and may be enriched as much as poflible ; but ftill its general contour ought to be preferved in fuch a manner as to render it at once diftinguifhable. Whether it is a letter to commence a chapter, with or without the heading, or a long letter to take up the length or breadth of the page, in all portions of its ornaments the ftudent should keep, D 2 4 Mi/fal Painting and Illuminating. both in form and colour, as near to nature as poflible. No fantaftic defign can be fo elegant as one copied and ftudied from nature. What, for inftance, can be more beautiful or more ap- propriate for intertwining with rich fcroll-work than the Convolvulus, the Maurandia, the Wood- bine, the Tropeoleum, or the Paffion-flower. Thefe, painted upon a rich ground-work of dia- pered gold, or upon one of the beautiful .grounds of the fifteenth century, compofed of gold and blue or green, in fine waved or winding lines, eroding each other in every conceivable direftion, form truly elegant ftudies for almost all varieties of ornamentation. The Wax-plant, too,, with its maflive leaves and beautiful clufters of flowers, which may be fhown running over an in- tricate fret-work, and intermixed with birds and infects, is a plant which cannot be too much ftudied. Whenever^ however, birds, infects, &c, are intro- duced, they should, as a general rule, be drawn true to nature ; but they may, nevertheless, be turned and twifted into almoft any pofition or Mijfal Painting and Illuminating. 25 ftiape. For inftance, a lizard, with its beautiful emerald-green back, its yellow underparts and rich brown mottlings, might be introduced, with its long tail wrapped and twifted round the Hem of a plant, and its little head, with brilliant eyes, fhown juft peeping out from under one of the beautiful flowers. The lady-bird, with its bright red wings, covered with fmall black fpots, might alfo be well introduced, creeping upon a leaf or ftem. Hairy caterpillars, ants, beetles, fnails, glow-worms, and even fpiders, form, alfo, beautiful additions to a defign, and may be introduced in almoft any form or shape. Butterflies and moths, in their endless and beautiful variety, with their wings of every conceivable colour and shade, and of the moft ex- quisite forms, are, truly, amongft the moft beauti- ful and appropriate objefts which the ftudent can have for his mind to dwell upon. But not only thefe ; for occasionally a squirrel might be intro- duced, perched upon the fcroll-work — a cat, a goat, a dog, — a monkey, peeping out from be- hind a leaf, or, indeed, any animal, if artiftically 26 Mi/fal Painting and Illuminating. and naturally treated, may be introduced with really good effe£L Flowers, fruits, fhells, corn, &c, all add their beauties to a defign ; and, in- deed, there is nothing in nature — no, not one objeft — but which may well be introduced into ornamental defigning, and may be fo translated and poeticifed as to become appropriate to any fubje£l. Whatever objeft, however, is taken, let the ftudent fee that it be well drawn, and that he keep his colours clear, good, and bright ; and, as an effential rule, let him always fuit his ground-colour to the object he purpofes to repre- fent upon it, fo that they may harmonife with, and each be fubfervient to, the other. The ftudent may, indeed, as we have before faid, be affured, that to be true to nature will give his productions their greateft and moll lafting charm. Art fhould always be bafed upon nature, and be made fubfervient to it, and the two fo combined as to make a perfect and pleafing whole. If the artift would render the produc- tions of his pencil pleafing to the eye of his Mxjfal Painting and Illuminating. 27 friends and of the public, he muft, he may reft affured, follow our counfel in this refpect, He never need be at a lofs for fubjects to exercise his fkill upon ; for fo long as there is a tree, a flower, or a plant — a rock, a wood, or a river — a ftar or a cloud in the heavens, or a living creature on the earth — nay, fo long as there is an earth itfelf, or the slighteft relic of God's work remaining — there will be ample material for his imagination to dwell upon, and for his pencil to be exercised with. The foreft, with its intricate network of branches, interlaced and intertwined in every direction ; the open moor- land, with its heaths, its mofles, its ciftufes, and its innumerable other wild plants ; the mountain, fringed with trees, and the lowly valley, in whofe rippling ftream aquatic plants grow in wild pro- fufion, and vie in beauty with the flowers on its banks, — the moft wild and folitary fpot, far from the abode of man, and the fludied parterre, where^ by man's cultivation, choice plants and flowers are grown, — the Ample weed, and the choiceft 28 Miffal Painting and Illuminating. exotic — the fmalleft infeft, and the bird of the mod gorgeous plumage — all offer fubjefts to him, and fpread out their endlefs ftore of beauties wherever his eye may turn. With a mind pro- perly conftituted to appreciate the beauties of nature, the ftudent cannot fail to make his defigns pleafing ; and by cultivating the ftudy of thofe beauties, and their forms and colours, he will be enabled to produce harmonious and perfectly pleafing pictures. ^ N choofing his colours, the ftudent should take efpecial care that they are all of the cleareft and fineft kind, and are fuch as will Jland, This laft is, indeed, a very important matter ; for there is nothing more disheartening and difappointing than to find, after a drawing has been commenced, and the artift has fpent much time and patience over his work, that the colours have changed, and that, perhaps, fome of the moft prominent and brighteft portions have become dull and unfightly blotches. The choofing of colours, however, although a very important matter, and one upon which the brilliancy and durability of the illumination de- pends, is not all that the ftudent has to do to fit himself for the task he has to perform. His colours may be all that can be desired ; they may have been well prepared and faultlefsly chosen, and his manipulation of them may have been per- 30 Miffal Painting and Illuminating. feet; but, if they are not harmoniously arranged, his work will be marred and fpoiled by the effect which his ignorance will have produced. It is not the brilliancy and intenfenefs of the colours that gives a charm to a drawing ; but it is the harmonious arrangement of thofe colours, and their artiftic dispofition one with another, which produces that charm. An artiftic effect cannot be produced by a mafs of heterogeneous colours and forms, or by colours in their crude ftate. There will always be a rawnefs, a harshnefs, and a difagree- able appearance about the pifture, unlefs they are laid on judiciously, and with a proper regard for the harmony of the whole. In fome parts the colours will require toning down and subduing, fo as to bring out the defired effect, while in others the same colours may be ufed in their moft brilliant intenfity, to heighten that very effect which their toning in the other parts of the picture may have produced. It should be borne in mind that a pifture compofed alone of brilliant colours may be dazzling, but can never be pleafing, and Mi/fal Painting and Illuminating. 3 1 is rarely, if ever, better than an unmeaning daub. Two bright colours placed side by side lose no little of their brightnefs ; for the eye, taking in both at once, blends them together in fuch a manner, that the intenflty of each is loft. Divide thefe colours by fome other — even by a line or fimple mark — or tone down and fhade the edge of one, and the effect is inftantly altered. The eye fees both, and both retain their beauty and brilliancy. This fimple fact the student mould never lofe sight of. There is nothing fo foon tells the production of an amateur from that of the ftudied artift, as the want of skill in the proper arrangement and treat- ment of colours, and in their judicious shading ; and the ftudent, if he would produce really pleafing pic- tures, mull ftudy deeply, and experimentally, thefe two important branches of his fubject. He may rest affured that, although the outline of his de- fign may be faultlefsly beautiful, it is only by a careful and artiftic combination of colours, by their harmonious treatment, and by their judicious shading and toning down or heightening, that 32 Mijfal Painting and Illuminating. his finished picture can become pleafing to the eye. Apart from the defign, the manipulation re- quires great and conftant care, efpecially if the illumination be upon vellum, the material being fo extremely delicate, that the slighted touch with any extraneous fubftance marks and foils it. From this caufe, the greater!: care is requifite in fketching or tracing the outlines on to its furface, as every falfe line {hows, and is more difficult to erafe than on any other fubftance. India-rubber muft never be ufed, and even bread-crumb with the greateft care. The very fineft erafing glafs- paper may occafionally be ufed, and is the beft of anything for the purpofe. For diapering backgrounds, the ftudent muft ufe the greateft poffible care, as their beauty depends as much upon fcrupulous nicety as upon precision and cleannefs of line. He muft not {ketch the pattern firft, but carry it out by eye alone, becaufe he will find it impoffible to erafe the lines of the {ketch wherever they appear, Miffal Painting and Illuminating. 33 and thefe, remaining on the drawing, become an eyefore which no art can fatisfactorily remove. If his groundwork be of gold or filver, he muft take efpecial care to choofe good mells, of either of thofe materials, to operate with, and muft alfo be careful to lay the metal on evenly and fmoothly in every part. When perfectly dry, if intended to be burnished, he muft take an agate burnisher (which are made efpecially for the purpofe), and with great gentlenefs rub the furface of the metal until the required brightnefs is produced. Upon this, a diaper background may be indented with good effect ; but the ftudent muft bear in mind, that he muft on no account Jketch the pattern upon the gold or filver, but indent it by eye alone, with the point of the burnisher. Another plan may, however, be adopted. The operator may fketch his pattern upon fine tracing- paper, and then lay it upon the gold, and indent through it. This plan, if the ftudent's eye is not fufficiently practifed, and his hand not fufficiently fteady, to do without, he will find a valuable one 34 Miffal Painting and Illuminating. _i to adopt. The metallic portions of illuminations add, when well and judiciously done, very much to the beauty of the defign, and therefore it is effential that great care fhould be beftowed over them. The ftudent muft always bear in mind, that, to produce bright and beautiful colours, perfect cleanlinefs in their mixing and ufe is abfolutely indifpenfable. His slabs, his brushes, and his water, should be attended to with fcrupulous care, and in mixing colours, or in producing different va- rieties of shades^ he muft ufe the greateft nicety. The delicate tints or shades of the various colours he wishes to employ, he will produce by mixing with constant white ; while for the deeper shades, he will have to mix his colours to produce the requifite effect. Too much attention cannot be paid to thefe particulars, as upon them fo much of the beauty of the picture depends. There is another branch of ornamental art, fo clofely allied to illuminated drawing, that the artift in one, foon becomes a proficient in the ■ %- Mijfal Painting and Illuminating. 35 other. We allude to Painting upon Glass — an art elegant in itfelf, and beautiful in the effects which it produces, and one which may be turned to good account in a great variety of ways. Writing-defks, chefs-tables, draught-boards, work- tables, blotting and mufic-cafes, hand and fire- fcreens, toilet-cafes, and an almoft endlefs variety of ufeful articles, may be produced by this art, and thus add greatly to the charms of the drawing- room or the boudoir. The fame colours which are ufed for vellum painting may be ufed for glafs, with the addition of fome other opaque ones, and of varnish, gold size, and gold and filver leaf in- ftead of shells. The glass to be operated upon mull be ground on one fide, and on this the pattern can be fketched. The colours are then laid on very evenly and fmoothly, and when per- fectly dry are varnished with a clear copal varnish. One portion of the defign may then be backed by gold-leaf, another by filver-leaf, and others by opaque colours, fo as to produce the required effect, and the whole then again backed by a 36 Mi/fal Painting and Illuminating. ftrong varnish. Bronzes, alfo, may very effectively be ufed, and they will be found to heighten the beauty of the colours. Of courfe the plates of glafs, when worked, will have to be let into wooden frame-work, which should be prepared before-hand. Painting on glass is one of the prettier! arts which can be followed; and being adapted for many charming and ufeful purpofes, is one which is well worth practifing. In it, as in vellum painting, the choice of colours is moft important, and the operator cannot be too par- ticular as to whofe manufacture he felects. Mr. Barnard, after considerable trouble and expenfe, has, we are glad to find, fucceeded in manufacturing Moijl Colours y which, for bright- ness of tint, and for eafe in ufe, are perfectly unequalled ; and the ftudent ought to pofTefs himfelf of thefe, if he wishes to become pro- ficient in his art. The following colours are quite indifpenfable for illuminated painting, and are all manufactured by him of the fineft and pureft quality. Miffal Painting and Illuminating. 37 Ultramarine. — This intenfe colour, which is the moft brilliant of the Blues, and is, at the fame time, the moft lafting, is produced from Lapis Lazuliy a hard ftone, found in China, Great Bofchni, and Peru. It is the moft expenfive of all colours that can be ufed, but is, undoubtedly, the moft beautiful. In confequence of its high price, other blues are manufa&ured to take its place ; thefe are called French Ultramarine, — a colour which is nearly equal to the genuine, generally ufed, and, though wanting in intenfity, is the pureft blue, — and Cobalt, which is a very beautiful colour and ftands well, but is lighter, and wanting in the fulnefs of body we poflefs in Ultramarine. Carmine, like Ultramarine in blues, ftands pre-eminent in reds, for a rich, full colour. It is a preparation from cochineal, and is a colour which ftands equally well with any other, and may be made to any degree of lightness by the addition of Permanent White. There is alfo a Purple Carmine manufactured, which is a very 38 Mi/fal Painting and Illuminating. rich colour, and is extremely ufeful in illumin- ating, as is alfo Burnt Carmine. Royal Scarlet is a very powerful colour, and will ftand well, but it does not keep in tubes, as the others do ; and very great care muft be taken in its ufe that it does not come in contact with any metal. Vermilion, though inferior to the above in brightness of fhade, is one that will retain its brightnefs for any length of time, as will be feen on an examination of fome of the oldeft manu- scripts. There are two kinds, the deep and the orange. It is a colour fo well known that it re- quires no description. Emerald Green is alfo a good colour, and one which is very ufeful — indeed, it is almoft indifpen- fable for ornamental work. It has the advantage of being a colour that never fades. Constant White. — Sulphate of Barites is the moll lafting of any preparation of White, and is thoroughly indifpenfable. It is ufed for toning down other colours, for heightening different Miffal Painting and Illuminating. 39 portions, and frequently, alfo, for drawing the delicate parts upon the ground-work. Illuminating Body White is, however, the moft ufeful ; it pofTefles more body, and Hands well. Madder Brown is a moft ufeful colour. It is a rich, deep brown, and may with advantage be ufed in veining, fhading, and deepening fuch parts as require relief. In the general finishing of the defign it is alfo a very ufeful colour, and it is not often a piece of work can be made to look perfect without it. Blacks. — Indian Ink and Ivory Black are the two blacks moft in ufe, and are conftantly wanted in illuminated work. The addition of a little Blue renders either of them much more intenfe. Yellows. — The Light Cadmium introduced by Meffrs. Barnard is by far the moft beautiful yellow pigment w r e have, and now fuperfedes Lemon and Chrome Yellows ; it is truly a boon to illumina- tors. Gamboge will be alfo found of ufe* Thefe are the principal colours ufed in Illumi- nated Painting ; but in cafe others mould be re- quired, they will be found among the following: — 40 Mijfal Painting and Illuminating, Purple Carmine, Indian Yellow, Lemon Yellow, Yellow Oker, Raw Sienna, Burnt Sienna, Crimfon Lake, Scarlet Lake, Purple Lake, and Rofe Madder. Gold. — Gold Leaf, Shell Gold, or Bronzes. The firft mentioned is undoubtedly the brighter!, and in many refpe&s the beft, though fomewhat difficult to manage ;* the beft plan is to moisten the vellum, or cardboard, with ifinglafs diffolved in water, and prefs the gold upon it direftly from the book, having firft cut it with the knife into pieces of convenient fize. It is beft to cover the whole furface, and afterwards to paint with the body- colours upon the gold, thus obfcuring all but thofe portions which you defire to be vifible. The gold in the {hells or faucers is merely mixed with water, and applied like ordinary water colour. Johnfon's Metallic Gold Paint, sold in boxes, requiring only to be mixed with water, is much ufed on account of its cheapnefs; but it is not fo permanent as the fliell gold. The beft raifing compofition is the Mediaeval Gold Body. The gold may * For complete directions for gilding, see the little pam- phlet, "Hints on Illuminating/' by H. M. Lucien. Mi/fal Painting and Illuminating. 4 1 be burnifhed, if required, by (imply laying the gilded vellum or cardboard upon fome hard, even furface, fuch as glafs, and rubbing with an agate or flint burnishing-stone. The gold-leaf is moft eafily burnished, though the shell-gold anfwers fufficiently well. The gilding mull be perfectly dry and hard before the burnifhing is attempted. The pencils employed should be of fable-hair ; thofe in metallic ferules, or in quills, are the beft, but the firft-mentioned is, perhaps, to be preferred, for its durability ; two or three of French camels' - hair will alfo be found ufeful. An "F," "H," and " HB," black-lead are the pencils beft adapted for the firft outline. Indelible Brown Ink is alfso an excellent material for the firft outline, applied either with a fine-pointed pen or a fable-pencil. The great advantage of it is, that it will admit of other colours working over it, without working up, and thereby deftroying the purity and brightnefs of the tint — an important confideration in work of this kind, which depends fo much on the bril- liancy of the colouring. 4 2 Mxjfal Painting and Illuminating. We think, with the exception of vellum, which may be obtained either in (kins or fmall fheets, and fine cardboard— that known as London board being preferable — that all requifite materials have been enumerated, PI axe II Plate EL vj Jer.itit del.eUrJi barna^L iJ -V'^'to £ft lucent "Brook* Imp. Pkte Y. O-.J^tadfletlith P^rr t axd,;i39 Oxford."^ Tfioc«ntI*oaka Imp Plate VI. I DESCRIPTION OF PLATES. Plate i. — Title-Page. The border of this is taken from a fourteenth century manufcript. It is a Ityle much ufed, both in this and the fifteenth century ; natural ob- jects, fuch as flowers, birds, infects, reptiles, &c, are frequently intro- duced, and are often drawn with great delicacy and beauty, as well as truth to nature. The ground of the border is laid in with fliell-gold, and the leaves with emeiald green. The foliage is fhaded with pink, made with carmine mixed with white. The red of the flowers is fcarlet, and the blue is French ul- 44 Mijfal Painting and Illuminating. tramarine. The Hems are laid in with emerald green, (haded with pink and heightened with gold. The upper and lower parts of the title- page are pink ; but the centre is white, in order better to fhow the fcarlet and gold of the principal word. The upper word is emerald green, and the lower is French ultramarine. Plate 2 Is a very elegant and fimple border, very much ufed in manufcripts of the fourteenth and fifteenth centuries, particularly the latter. In this, the ground is white, and the outline of the ftems and leaves are put in with dark brown or black, and the leaves filled in with fhell-gold. It is remark- ably fimple, and but few patterns produce a more pleafing efFeft. Plate 3 Confifts of portions of borders, and fmall orna- ments for filling up the blank fpaces at the ends of lines in the manufcript. The upper border is a piece of twelfth-century, or Norman work, Mijfal Painting and Illuminating. 4^ and is remarkable for the Angular mixture of colours which it difplays. The ground is gold, and the colours, which are the fame as thofe mentioned before, are arranged in a very arbi- trary manner — very differently from the defigns which prevailed in later times. The others are fifteenth century. The fecond is characteriftic of the tafte of the period, one part of the border being dark, and the other light. The dark part is filled in with Madder brown, mixed with a little Indian Ink or Sepia, to give it a body, and the light parts are gold. The boundary-line, between the dark and light, is very much varied, being fometimes curved, fometimes fquare, fometimes trefoiled, fometimes heart-fhaped ; but the fame idea runs through all — that is, natural flowers on the gold, and conventional foliage on the dark parts. The third border is alfo very common in the fifteenth century, as well as later. It confifts of a ground of pink, with the fame conventional foliage, over which are laid, at intervals, fcrolls 46 MiJJal Painting and Illuminating, of white paper, whereon flowers and leaves are painted ; but feldom in very good tafte — as they have not that truth to nature which is found in the earlier examples. In the third, the ground is blue, and the foliage gold and pink. Plate 4 Confifts of initial letters of various periods : the "T" and "A" are twelfth century; the " E " is fifteenth century, but the form of the letter is fourteenth. This pattern is varied by intro- ducing brightly-coloured flowers and leaves, in- ftead of the fruit. The "B" is laid in with emerald green and fcarlet, and the centre filled with gold. The "G" is of the twelfth century, and is remarkable for the pleafing mixture of colours, as feen in the border on Plate 3. The whole of the outline is drawn in fcarlet, and the other colours then laid in. Plate 5 Confifts of fmall ornaments, for tail-pieces, or Mxjfal Painting and Illuminating. 47 for filling up blank fpaces. They are of various dates, and the colours are fufficiently diftinct to render explanation neceffary, with the exception of the third, which is laid in entirely with emerald green, and heightened afterwards with gold. Plate 6 Is given as an example of Moorifh or Arabefque ornament. It is remarkable for the grace and elegance of its outline, and is well adapted for illumination. The colours are clear and decided, and need no explanation. FINIS. London : Printed by Adams & Gee, Middle Street, West Smithfield, E.C. 59, EDGWABE ROAD (west side of), LONDON, W. "WILLIAM BARNARD respectfully invites the attention of Ladies to his Elegant Novelties in DESIGNS, PATTERNS, etc., for Berlin Wool Em- broidery, and other Ornamental Needlework. Among the articles for BRAIDING and WORKING IN BEADS, may be mentioned : — Ottomans, 4s. and 6s. each ; Slippers, 2s. 6d. and 3s. per pair ; Smoking Caps, 2s. 6d. and 3s. each ; Footstools, 6s. each ; in every variety of colour and design. The COMMENCED WORK comprises :— Chair and Music-stool Cover- ings, Ottomans, Slippers, Hand and Banner Screens, Brackets, Kettle-holders, and other articles. Muslin Antimacassars, for Braiding and Dotting, Is. each. NETTED and DARNED ANTIMACASSARS, 13s. 6d., 15s. 9d., and 27s. 6d. The New RAILROAD EMBROIDERY, to imitate the Old Satin Stitch ; the complete set of Collars, Cuffs, and Braid, to work them, Is. 3d. The ALLIANCE COLLAR, the Three Stitches,— Embroidery, Dotting, and Railway, combined, 6d. each. Ladies Reddin? in the Country may rely upon having their Orders carefully and promptly executed; the prices will be found moderate, and the quality of the goods is guaranteed. Many of the articles may be sent cheaply through the Post Office. A remittance must accompany each Order. Post Office Orders payable at Edgware Road. Small amounts may be sent in stamps. A Selection of Articles sent for inspection upon a reference in London being given. The New TRAFALGAR COTTON, recommended as the best for darning Antimacassars, 3s. 6d. per lb. The ALMA, ALLIANCE, and STAR BRAIDS, Is., Is. 6d. and Is. 9d. per skein. Filoselle and Floss Silks, in every shade of colour. Braids for Watch Guards. Purse Fittings, gilt and steel, from 6d. per set ; Clasps and Solid Ends. Beads and Bugles of every description and colour. EVANS' Boar's Head, STRUTT'S Knitting, Netting and Crochet, and BROOKS' Patent Glace Cottons. An Extensive Assortment of ELEGANT and USEFUL ARTICLES suitable for Presents. BERLIN WOOLS, in boxes, containing half an ounce of every shade of colour, lis. 6d. CIGAR and FUSEE CASES, worked and unworked. NEEDLE CASES, fitted, Is. and 2s. 6d. each. RUSSIA LEATHER SATCHELS, from 2s. 6d. each. "WORK BOXES, fitted complete, of the newest patterns and qualities, varying with the price, 2s. 6d., 5s. 6d., 7s. 6d., 15s. 6d., 25s., 31s. 6d., 42s., 68s., and 80s. each. PEARL and LEATHER CARD CASES. POCKET BOOKS, ALBUMS, WRITING CASES, BLOTTING PADS, and CASES. WRITING DESKS in every variety of style and price. WAX FLOWERS,— Choice Groups, Glass Shade and Stand, £1 Is., and upwards. And a great varietv of other ORNAMENTAL GOODS. The LADIES BOOK of NEEDLEWORK, Illustrated, comprising — Beadwork, Embroidery, Crochet Antimacassars, Darned Antimacas- sars, French Embroidery, Point Lace and Braiding. Price 6d. each, sent post-free on receipt of stamps. A Catalogue sent Postage free for one stamp. MANUFACTURER AND IMPORTER, 59, EDGWAEE ROAD (west side of), LONDON, W. An Allowance made upon Articles required for Fancy Fain and Charitable Purposes. PRICE CATALOGUE OIL & WATER-COLOUR PAINTING & DRAWING. MANUFACTURED AND SOLD BY JABEZ BARNARD, £39, OXFORD STREET, (OPPOSITE JOHN STREET), LONDON, W. MANUFACTORY : WINSLEY STREET, OXFORD STREET. Country Orders accompanied by a Post Office Order, a reference in town, for small amounts by Postage Stamps, will be promptly executed. EVERY ARTICLE PRICED IN THIS LIST AS SUCH IS WARRANTED OF THE BEST QUALITY. CONTENTS. PAGE Academy Boards ... 24 Brushes for Oil Painting, Var- nishing, etc. . . 21 & 22 Brushes for Water-colour Painting . . . 10 & 11 Blocks, Solid, for Sketching in Oil Colours ... 23 Boards, Prepared Milled . . 24 Boards, Academy ... 24 Boxes, Japanned Tin Oil- Colour . . . 24 & 25 Boxes, Water-Colour . 6 & 7 Boxes of Crayons . 1.6 & 17 Books, Scrap . . . .11 Books, Drawing . . .14 Boards, London, Bristol, and Card . . . . 11 & 12 Boards, Mahogany and Deal . 13 Black Lead Drawing Pencils, etc 15 & 16 Black Lead Drawing Pencils, Cases of . . .16 Canvas, Prepared . . 22 & 23 Colours in Fine Powder . . 20 Colours, Oil, in Tubes . . 19 Colours, Water, in Cakes . 5 Colours, Water, Moist . . 6 Colours, Liquid ... 9 Chinese White ... 9 Constant White ... 9 Cement, Liquid ... 9 Crayons, Chalks, etc. . . 16 Crayons, Chalks, etc.in Boxes 1 6 & 17 Drawing Boards, Deal and Mahogany . . .13 Drawing Papers . . .12 Drawing Boards, London, Bristol, and Card . 11 & 12 PA 6 £ Drawing Materials . . .17 Diaphanie, Materials for . 2? Easels . .... 25 Ivories for Miniature Painting 11 Instruments,Boxes of,for Drawing 17 Knives, Palette ... 26 Lay-Figures, Wooden . . 26 Liquid Cement ... .9 Liquid Colours ... 9 London, Bristol, and Card Boards . . . 11 & 12 Lithographic Studies, etc. 17 & 18 Leather Work, Materials for Ornamental ... 28 Mullers and Slabs ... 26 Moist Water Colours . . 6 Megilp, Water Colour . . 9 Miniature Painting, Ivories for 11 Miniature Frames and Cases . 11 Mounts for Drawings . . I'd Mahogany Drawing Boards . 13 Oil Colours in Tubes . .19 Oil Colours, Boxes for . 24 & 25 Oils, Varnishes, etc. . . 21 Oil Painting, Paper for . . 24 Ox-Gall, Liquid Colourless . 9 Powder Colours . . .20 Prepared Milled Boards . . 1 » Panels, Prepared . . . 24 Paper for Oil Painting . . 21 Papers, Drawing . . .12 Palette Knives . . . 26 Palettes .... 2(>' Portfolios . . . 14 Pencils, Black Lead, Draw- ing, etc. . . . 15 & 16 Pencils, Black Lead, Drawing, 28 Cases of . . .16 iv CONTENTS. Pencil Sharpeners . PAGE 16 Ticking .... PAGK 22 Potichomania, Materials for 27 & 28 T Squares . . 13 Photographic Colours, &c. 30 - 32 Tablets, Solid Sketching, for Rest Sticks 25 Water Colours 14 Solid Blocks for Sketching in Transferring, Materials for 27 Oil Colours 23 Varnishes 21 Slabs and Mullers . 26 Varnishing Brushes 22 Sketching Boxes for Moist Velvet, Colours for Painting on 27 Colours 3 & 9 Wooden Lay-Figures 26 Sketching, Water Bottles for . 9 Water Colours, Cakes 5 Scrap Books . 11 Water Colours, Moist 6 Sketch Books 14 Water Colours, Boxes of Sketching, Solid Tablets, for Cakes 6&7 Water Colours 14 Water Bottles 9 Sharpeners, Pencil . 16 White, Chinese 9 Stumps .... 17 White, Constant 9 Studies, Lithographic, etc. 17 & 18 Water Colour Megilp 9 Sundries 29 Water Colour Brushes • 10 & 11 Tube Colours . 19 Wax Flowers, Materials . 27 J. BARNARD'S CATALOGUE OF MATERIALS FOR mTrm^^iiE Mia™®, DRAWING, ETC. BARNARD'S SUPERFINE CAKE COLOURS Will be found Pure and Brilliant in tint. The greatest care is exercised in their manufacture, and the superiority of the preparation is attested by the large and increasing demand for them. Is. EACH CAKE — 6d. THE HALE CAKE — 2d. QUARTER CAKE. Vermilion Scarlet ditto Purple Indian Red Venetian ditto Light ditto Chrome, 1, 2, & 3 King's Yellow Naples ditto Gamboge Is. 6d. Crimson Lake Scarlet ditto Purple ditto Italian Pink Vandyke Brown Brown ditto Bistre Yellow Lake Cologne Earth Yellow Ochre Payne's Grey Roman ditto Neutral Tint Brown ditto British Ink Raw Umber Ivory Black Burnt ditto Lamp ditto Raw Sienna Blue ditto Burnt ditto EACH CAKE — 9d. HALE CAKE — i\d. QUARTER CAKE. Indian Yellow I Madder Brown Sepia I Permanent White Warm ditto Chinese White Indigo Prussian Blue Antwerp ditto Blue Verditer Emerald Green Hooker's ditto, 1 & 2 Prussian ditto Sap ditto Flake White 25. EACH CAKE — Is. HALF CAKE— 6d. QUARTER CAKE. Cobalt Blue. 3s. EACH CAKE— Is. 6d. HALF CAKE — 9d. QUARTER CAKE. Purple Madder | Madder Lake | Rose Madder | French Ultramarine 5S. EACH CAKE— 2s. 6d. HALF CAKE— Is. 3d. QUARTER CAKE. Pure Scarlet I Burnt Carmine I Gallstone Carmine | Smalt | Cadmium Yellow 21s. EACH CAKE. Genuine Ultramarine. 6 J. BARNARD, 339, OXFORD STREET, LONDON. BARNARD'S MOIST WATER COLOURS Are manufactured on an improved principle, possessing unequalled working properties rendering them almost indispensable to the water-colour artist; they are sold in Pans o- Metallic Tubes, and are warranted to retain their moisture and freshness in any climate ; th« same price as Cake Colours. They are not manufactured in Quarter Cakes. BOXES OF WATER COLOURS. FOR GENERAL PURPOSES. Sliding Top Boxes, containing 6 quarter-cake Colours, Pencils, &c. ... ... ... 1 „ „ „ containing 6 half- cake Colours, Pencils, &c. ... ... ... 3 „ „ „ containing 6 whole-cake Colours, Pencils, &c. ... ... ... 6 0, Sliding Top Boxes, containing 12 quarter-cake Colours, Pencils, &c. ... ... ... 3 Ditto ditto, with 12 half-cake Colours, Pencils, &c. ... 6 „ „ 12 whole-cake „ „ ... 10 6 Lock Boxes „ 12 half-cake „ „ ... 9 >, „ „ 12 whole-cake „ „ ... 14 „ „ „ drawer, 12 half- cake „ ... 12 „ „ „ J 2 whole-cake „ ... 16 „ „ „ „ Slab,Water-glass,12i-cks,&c. 16 „ „ „ „ „ „ 12whole-cks.,&c. 21 Handsome Caddy-lid, mahogany .12whl.-cks., ex. fittings 25 „ rose-wood, „ „ 35 FOR LANDSCAPE PAINTING. Sliding Top Boxes, containing 6 quarter-cake Colours, Pencils, &c. ... ... ... 3 „ „ „ containing 6 half- cake Colours, Pencils, &c. ... ... ... 5 „ containing 6 whole-cake Colours, Pencils, &c. ... ... ... 11 Sliding Top Boxes, containing 12 quarter-cake Colours, Pencils, &c. ... ... ... 5 Ditto ditto, with 12 half-cake Colours, Pencils, &c. ... 9 - 5 , „ 12 whole-cake ... IS Lock Boxes, „ 12half-cake ... 11 h v » 12 whole-cake „ ... 20 „ „ drawer, 12 half-cakes ... 15 „ „ „ „ 12 whole-cakes „ ... 22 „ „ Slab,Water-glass,12|-cks. 5 &c 19 „ 12 whole-cks.,&c 27 „ „ Caddy-lid, mahogany,12whl.-cks., ex. fittings 31 n ii » rose-wood, „ „ 42 Prussian Blue. Gamboge. Crimson Lake. Emerald Green. Light Red. Vandyke Brown. Prussian Blue. Gamboge. Crimson Lake. Emerald Green Light Red. \ Vandyke Brown. / Indigo. Raw Sienna. Vermilion. Burnt Sienna. Yellow Ochre. Burnt Umber. VandykeBrown Indigo. Cobalt. Carmine. Yellow Ochre. Gamboge. Vandyke Brown. Indigo. Cobalt. Carmine. Yellow Ochre. Gamboge. Lamp Black. Venetian Red. Pink Madder. Burnt Sienna. Permt. White. Vermilion. J. BARNARD, 339, OXFORD STREET, LONDON. COMPLETE BOXES. — Eighteen Colours. s. d hiding Top Boxes, containing 18 quarter-cake Colours, Pencils, &c. ... 5 „ containing 18 half-cake Colours, Pencils, &c. ... 10 liock Boxes with'drawer, 18 half-cake Clrs., Pencils, &c. 14 n u V V „ n 18 whole-cake „ „ L6 A U V >> 18half-cake Colours, Slab, Water-glass, Indian Ink, Pencils, &c. 20 n j> 18 whole-cake Colours, Slab, Water-glass, Indian Ink, Pencils, &c. 28 :> )? „ caddy -lid, Slab, Water-glass, Indian Ink, Pencils, &c, extra fittings ... 40 ?? }? „ rose-wood, Slab, Water-glass, Indian Ink, Pencils, &c, extra fittings ... 45 o, Prussian Blue. Gamboge. Crimson Lake. Emerald Green. Light Red, Vandyke Brown. Indigo. Raw Sienna. Vermilion. Burnt Sienna. Yellow Ochre. Burnt Umber. Cobalt. Const. White. Chrome. Brown Pink. Roman Ochre. Lamp Black. VERY COMPLETE BOXES. — Twenty-four Colours. Sliding Top Boxes, containing 24 qrtr.-cake Colours, Pencils, &c. 8 Prussian Blue Cobalt Sliding Top Boxes, containing 24 Gamboge Const. White half-cake Colours, Pencils, &c. 16 6 Crimson Lake Chrome Sliding Top Boxes, containing 24 Emerald Green i Brown Pink whole-cake Colours, Pencils, &c. 1 10 I Light Red Roman Ochre Lock and Drawer, with Slab,Water- \ Vandyke Brown Lamp Black glass, Indian Ink, Pencils, &c. 1 15 / Indigo French Ultramarine Lock and Drawer, Mahogany, Raw Sienna Indian Yellow Caddy Lid, Slab, Water-glass, Vermilion j Carmine Indian Ink, and extra fittings 2 12 Burnt Sienna Sepia Lock and Drawer, Rosewood, Yellow Ochre Neutral Tint Caddy Lid, Slab, Water-glass. Burnt Umber Madder Brown Indian Ink, and extra fittings 3 3 0/ Any of the Colours in these Boxes may be exchanged for others, and the difference in price allowed or charged, as the case may be. — See Page 5. BOXES OF JUVENILE WATER COLOURS, Is., Is. 9d., 2s. 6d., 3 S . 6d., 4s. 6d., 5s. 6d., 7s. 6d., and 9s. 6 J. BARNARD, 339, OXFORD STREET, LONDON. SKETCHING BOXES. JAPANNED TIN SKETCHING BOXES. For 6 moist Colours in Pans 8 ditto ditto 10 ditto ditto 12 ditto ditto For 6 moist Colours in Tubes 8 ditto ditto 10 ditto ditto 12 ditto ditto EMPTY, s. d. 3 3 9 4 6 5 s. d. 5 6 7 8 For 16 moist Colours in Pans 20 ditto ditto 24 ditto ditto For 16 moist Colours in Tubes 20 ditto ditto 24 ditto ditto s. 9 10 11 JAPANNED TIN SKETCHING BOXES, FITTED COMPLETE With SIX COLOURS (for Landscape), viz. :— Vandyke Brown, Indigo, Cobalt, Carmine, Yellow Ochre, Gamboge; Pencils, &c< Price : Colours in Pans. 12s. 6d. ; in Tubes, 15s. With EIGHT COLOURS (for Landscape, &c), viz.: Vandyke Brown, Indigo, Cobalt, Lamp-Black, Carmine, Venetian Red, Yellow Ochr Gamboge ; Pencils, &c. Price: Colours in Pans, 15s. 6d.; in Tubes , 18s. 6d. With TEN COLOURS (for Landscape, &c), viz. Vandyke Brown, Indigo, Cobalt, Lamp-Black, Carmine, Venetian Red, Yellow Ochr Gamboge, Rose Madder, Burnt Sienna ; Pencils, &c. Price : Colours in Pans, 18s. 6d. ; in Tubes f 22s. With TEN COLOURS (for Figures, &c), viz. Vandyke Brown, Indigo, Cobalt, Lamp-Black, Yellow Ochre, Rose Madder, Burnt Sienna, Crimson Lake, Chinese White, Orange Vermilion ; Pencils, &c. Price : Colours in Pans, 1 6s.; in Tubes, 19s. 6d. J. BARNARD, 339, OXFORD STREET, LONDON. JAPANNED TIN SKETCHING BOXES (continued). With TWELVE COLOURS (for Landscape, Figures, &e.), viz. Vandyke Brown, Indigo, Cobalt, Carmine, Yellow Ochre, Gamboge, Lamp-Black, Venetian Red, Rose Madder, Burnt Sienna, Chinese White, Orange Vermilion. Price : Colotirs in Pans, 21s. ; in Tubes, 245. LARGER BOXES FITTED TO ORDER IN A FEW MINUTES, UP TO 24 COLOURS. Any of the above Colours may be exchanged for others, and the difference in ex- pense paid or allowed, as the case may be. — See page 5. PORTABLE JAPANNED WATER-BOTTLES, WITH CUPS. ROUND. OVAL. 2s. Od. 2s. 6d. 3s. Od. I 2s. 6d. 3s. 6d. 5s. Od. BARBAE D'S CHINESE WHITE. A Preparation of Oxide of Zinc, in Bottles and Tubes, Is. 6d. each. BARNARD'S CONSTANT WHITE. In bottles at Is. each. LIQUID COLOURLESS OX-GALL. in extract possessing all the properties of the Gall, generally used in the paste state, without its Colour or Scent, in Bottles at Is. each. BARNARD'S WATER-COLOUR MEGILP, Is. per Bottle. Barnard's Liquid Cement, or Prepared Gum, For Mounting Drawings, &c. In Bottles, 6d., Is., and Is. 6d. each. LIQUID COLOURS FOR MAPS, PLAN'S, &c. flue I & 2 Jarmine 'ink . . . irown 1 & 2 •urple 1 & 2 >live 1 & 2 PER BOT. S. d. 1 2 1 1 1 1 Orange 1 & 2 Yellow Primrose Verdigris Amber PER BOT. s. d. 1 1 I 1 6 1 6 Neutral Green ... Dark Green Sepia 1 & 2 Indian Ink PER BOT. s. d ... 1 ... 1 ... 1 ... 1 ... 1 6 10 J. BARNARD, 339, OXFORD STREET, LONDON. BRUSHES FOR WATER-COLOUR PAINTING, ETC. RED SABLE PENCILS. Miniature Crow Quill Duck ditto Goose ditto per doz ditto ditto ditto Large Goose Quill Swan ditto Large Swan ditto per doz. each ditto s. d. 7 2 4 BROWN" SABLE PENCILS. Crow Quill Duck ditto Goose ditto Large Goose ditto per doz. ditto ditto ditto Swan Quill Medium Swan ditto... Large Swan ditto s. d. each 2 ditto 4 ditto 5 6 CAMEL'S HAIR PENCILS. Super Crow-Quill, Duck, and Goose Second ditto ditto ditto Small Swan Large ditto Extra -size Goose PER DOZ. s. d. Writing and Striping Pencils of Sable and CameFs Hair. FRENCH CAMEL'S HAIR PENCILS. Crow Quill Duck ditto Goose ditto Large Goose Quill per doz. ditto ditto ditto Small Swan Quill Medium ditto Large ditto each ditto ditto d. 9 6 WATER COLOUR SABLE BRUSHES, IN METALLIC FERULES, POLISHED HANDLES, ROUND & FLAT RED SABLE, s. d. s. d. No. 1 ... per doz. 4 No. 5 ... per doz. 8 2 ... do. 5 6 ... do. 10 3 ... do. 6 7 ... each 1 4 ... do. 7 8 ... do. 1 3 No. 9 10 , 11 , 12 , each do. do. do. s. d 1 1 2 2 BARNARD, 339, OXFORD STREET, LONDON. 11 No. 1 2 3 4 WATER-COLOUR SABLE BRUSHES (continued). BROWN SABLE. S. d. each 1 do. 1 3 do. 1 6 do. 1 9 s. d. per doz. 5 do. 6 do. 8 do. 10 No. 5 6 7 No. 9 10 11 12 s. d. each 2 do. 2 6 do. 3 3 do. 4 LARGE FRENCH CAMEL'S-HAIR WASHING BRUSHES. IN METALLIC FERULES. Flat and Round Is. and Is. 6d. each. PENCILS AND BRUSHES MADE TO ORDER. SCRAP BOOKS. 3s. 6d., 4s. 6d., 5s. 6d., and 7s. 6d. each. SCRAPS IN GREAT VARIETY. IVORIES FOR MINIATURE PAINTING. Size 1J by 1 J n 2 „ 2± n 2i „ 3| M *f „ 3 93. Q3 1 1 Size 3 by 3| „ 3i „ 4| . 4 „ 5i n 4 * » 5 t s. d. 2 (Miniature Frames & Cases of every size & description. SUPERFINE LONDON BOARDS. Foolscap Medium 2 sheet 3 sheet 4 sheet 6 sheet s. d. u}6 9 s. d. 4 6 7 4 9 9 12 s. d. 6 6 9 9 13 9 16 6 s. d. 9 15 6 21 23 SUPERFINE BRISTOL BOARDS. 2 sheet. 3 sheet. 4 sheet. 6 sheet. s. d. n (2 9 P 4 * 6 £ 17 6 s. d. 4 6 3 9 11 3 8. d. 5 2 8 6 12 15 s. d. 8 12 9 18 22 6 12 J. BARNARD, 339, OXFORD STREET, LONDON. FINE WHITE OR COLOURED MOUNTING BOARDS. 3 sheet. 4 sheet. 6 sheet. 8 sheet. s. d- 8. d. s. d 8. d. Quarto Royal .. per doz. 1 8 „ 3 4 ,, 5 6 9 m 6 7 12 „ 10 12 20 Double Elephant ,, 30 36 PASTE BOARDS, MILLED BOARDS, &c. Mounts for Drawings, &c, of any size, cut to order in a few hours. WHATMAN'S DRAWING PAPERS. s. d. Demy, 20 by 15J, per Quire . . 2 6 Medium, 22 by 17* 4 Royal, 24 by 19 5 6 Super Royal, 27 by 19 . . ..6 6 Imperial Hotpressed Medium, Rough and Extra Rough, 30 by 22 8 Stout Imperial Hotpressed Medium, Rough and Extra Rough 11 Extra Stout Imperial, do. do. . . 18 Columbier, 34| by 23 14 Atlas, 34 by 26 15 Double Elephant, 40 by 261 18 Antiquarian, 53 by 31 84 DRAWING CARTRIDGES. s. d. Royal (Flat) per Quire 3 6 Ditto, Folded Is. 6d., 2s., and 2 6 Imperial (Flat) Engineers' 5 Ditto, Extra Thick 6 Double Imperial 12 TINTED DRAWING PAPERS. 8. d. Royal, Various Tints, per Quire 4 6 Imperial, ditto ditto 8 Ditto, Hand-made 9 French Pastil Paper (per Sheet) Is. and 1 6 CONTINUOUS PAPER. Drawing, 3 ft. 4 in. wide, (White) Elephant, 3 ft. 10 in. wide, White, per Yard .. Ditto ditto Grey Cartoon, 4 ft. 6 in. (White) J. BARNARD, 339, OXFORD STREET. LONDON. 13 TRACING PAPERS, s. d. Double Crown, 30 X 20 in., per Quire 4 6 Double double Crown, 40 x 30 „ 8 TRACING CLOTH. Continuous, 36 in. wide, per yard . . GELATINE. 18 in. by 14 in., per sheet p. d. 1 6 s. d. 1 TRANSFER PAPER. To mark Black, Blue, Red, White and Yellow, per Sheet, 6d.; per Quire, 10s. Ivcry Paper, Graduated Tinted Tablets, and Tissue Papers, MAHOGANY AND DEAL DRAWING BOARDS. FRAMED. Deal. Mahogany s. d. in. by 6 .. 2 6 .. 1 do. 8 .. 3 O .. do. 8 .. . 3 6 .. do. n .. . 4 .. do. 11 .. . 4 6 .. d. 9 6 6 Deal, s. d. 18 in. by 13* .. 20 do. 15l .. 22 do. 17 .. 28 do. 19 .. 5 6 7 10 Mahogany s. d. , 8 . 9 6 , 11 6 . 18 DEAL DRAWING BOARDS. CLAMPED SIDES, s. d. I s. d. I s. d. in. bv 8 ... 1 3 ! 20 in. by 15 ... 2 6 26 in. by 20 ... 4 9 do. 11 ... 1 6 I 22 do. 17 ... 3 6 3(3 do. 22 ... 6 6 do. 12 ... 2 24 do. 19 ... 4 3 40 do. 27 ... 10 6 T Squares. WHITE WOOD AND MAHOGANY. s. d. | s. d. inches long , each 1 6 24 inches long each 2 9 do. do. 1 9 J 30 do. ... ... do. 3 3 do. do. 2 Of 36 do. do. 3 9 do. ... ... do. 2 6 I r Squares in Ebony, with or without moving tops, are also kept in Stock. 14 J. BARNARD, 339, OXFORD STREET, LONDON. SKETCH BOOKS, Stitched. Size 8 by 5 Octavo Medium each Do. 9 by 5| do. Royal „ Do. 10 by 7 do. Imperial „ WHITE OR TINTED PAPER. s. d. s. d. 6 Size 10 J by 8 Quarto Medium each I 3 9 Do. 13 by 9 do. Sup. Royal „ 1 9 1 Do.l4JbylO do. Imperial „ 2 6 SKETCH BOOKS, Half-Bound Cloth Sides. WHITE OR TINTED PAPER. Size Do. Do. Do. 5 by 3 J 7 by 4i 8 by 5 9 by 6| 32mo. Imperial, ea. 1 Octavo Demy „ 1 do. Medium „ 2 do. Sup. Royal „ 2 s. Size 10 by 7 Octavo Imperial, ea. 3 Do. UJ by 9 Quarto Royal „ 4 Do. 141 by 10J do. Imperial „ 6 d. 9 6 6 SOLID SKETCHING TABLETS. WHITE OR TINTED. Consisting of a body of paper so compressed as to form an apparently solid substance each sheet of which can be easily separated. Size 6| by 41 without binding 1 Do. 7" by 5 Do. 9 by 51 Do. 10 by 7 Do. Ill hy 9 Do. 14 by 10 Do. 18 by 12 do. do. do. do. do. do. 2 2 3 6 7 11 With binding and Pocket for Sketches 2 6 do. do. 3 do, do. 3 9 do. do. 5 6 do. do. 8 6 do. do. 10 6 do. do. 16 PORTFOLIOS, Cloth Sides, Leather Backs & Corners. s. d. s. d. Size 15 by 10 Half Demy 1 9 With Flaps 2 6 Do. 15 by 11 Quarto Imperial 2 6 do. 3 3 Do. 16 by 11 Music 2 6 do. 3 3 Do. 17 by 11J Half Medium 3 6 do. ' 4 6 Do. 19 by 13 Half Royal 4 do. 5 Do. 20 by 15 Demy 5 do. 6 6 Do. 22 by 17 Medium 7 3 do. 8 9 Do. 24 by 19 Royal 8 9 do. 10 6 Do. 27 by 19 Super Royal 9 6 do. 12 Do. 30 by 22 Imperial 15 do. 17 Do. 33 bv 26 Atlas 20 do. 24 Do. 40 by 28 Double Elephant 30 do. 34 J. BARNARD, 339, OXFORD STREET, LONDON. 15 BLACK LEAD PENCILS, &c. BARNARD'S PURE CUMBERLAND LEAD DRAWING PENCILS Sixpence Each. Five Shillings per dozen 3". Hard for Sketching ... H.H.H.H. extra hard for I B.B. softer and very black I.H. Harder for Outlines Engineers | F.firm for ordinary drawing J.H.H. very hard for Ar- H.B. Hard and Black ... E.H.B. very black and free chitects I B. black for shading | B.B.B. extra ditto, ditto. Pencils manufactured of Cumberland Lead compressed EVERY DEGREE OF HARDNESS AS ABOVE, Fourpence Each. Three Shillings and Sixpence per Dozen* These Pencils, from their peculiar preparation, are perfectly free from grit. The Improved Drawing Pencils, Polished and Gilt, SAME LETTERS AS ABOVE, threepence each, Two Shilling's & Sixpence per dozen. These Pencils are well adapted for School Use. B.B.B. & E.H.B. in all the above are Extra Pencils and Double Price. The Broad Lead Pencils, Nos. 1, 2, 3, 4, 5, and 6, 8d. each. Pencils for writing, 6d., Is., and Is. 6d. per doz. Small Pencils for Instruments, Pocket Books, &c. Is. and 2s. per doz. Indelible Crayons in Cedar, 4d. each. ~~ s. d. Black Italian Chalk in Cedar ... ... per doz. 6 White ditto ditto ditto Red Chalk ditto Slate Pencils in Cedar French White Chalk ditto... ditto 6 ditto 3 ditto 1 ditto I 6 16 J. BARNARD, 339, OXFORD STREET, LONDON. Cases of Drawing Pencils, s. d. Flat, containing 7 (Faber's) - -- -- -26 „ „ 7 (Barnard's best) - - - - 4 6 Round 8 „ ,,-----46 Round and Flat Pencil Cases, in Paper, leather, and Cloth, At 6d., 8d., Is., Is. 3d., Is. 6d., and 2s. each. Pencil Sharpeners, 6d. each. These ingenious instruments cut on the principle of the lathe, and produce a fine and even point; they will be found economical as to time and pencil. The Patent Chalk Sharpeners, Is., Is. 6d., and 2s. 6d. each. CRAYONS, CHALKS, &c. s. d. Finest Swiss Crayons, Colours assorted, very soft per doz. 4 Swiss ditto, do. soft ... ... do. 3 Finest French ditto, do. do. ... ... do. 2 Indelible ditto do. do. ... ... do. 4 Academy ditto (red, white, and black) do. ... ••• do. 1 Conte Crayons, Black, Square, Nos. 1, 2, & 3 ... do. Do. do. do. Round, half glazed, Nos. 1 & 2 do. 10 Do. do. do. do. glazed ... ... do. 1 6 Do. do. White, Square ... ... ... do. 6 Do. do. do. Round ... ... ... do. 1 Permanent White Chalk ... ... ... ... do. I Lithographic Crayons, Nos. 1, 2, & 3 ... ... ... do. 1 & 1 6 Charcoal, Best French ... ... ... ... do. 6 Black Italian Chalk, Best do. 10 Do. do. do. Second ... ... ... do. 6 Red Chalk ... ... ... ... ... do. White ditto ... ... ... ... ... do. 8 Stumping ditto .. ... ... ... ... do. CRAYONS IN BOXES. BEST SWISS CRAYONS. s. d. Polished wooden boxes containing 1 doz. colours assorted 4 6 Do. do. 11 do. do. 6 6 Do. do. 2 do. do. 8 Unpolished do. 3 do. do. 11 Do. do. 6 do. do. Do. do. 12 do. do. J. BARNARD, 339, OXFORD STREET, LONDON. 17 PASTILE CRAYONS. s . a. Round ornamental paper Box, containing 1 doz. colours assorted 1 Do. do. 2 do. do. 2 Do, do. 3 do. do. 3 INDELIBLE CRAYONS. s. d. Square ornamental Box, containing 1 doz. colours assorted 4 Do. do. 2 do. do. 7 Do. do. 3 do. do. 10 Mahogany Box of Drawing Materials, No. 1, containing Chalks, irious, Charcoal, Porte Crayon, Stumps, &c, 2s, 6d. each. Mahogany Box, Mo. 2, Polished, containing Black & White onte Crayons, Stumping Chalk, Ch arccal, Porte Crayon, Divider, jumps, &c, 7s. 6d. each. Stumps— Leather, Paper, Cork, &c 'EVES FOE- ORNAMENTAL DRAWING, FROM SIXPENCE TO TWO SHILLINGS EACH. BOXES OF DRAWING INSTRUMENTS. 3s. 6man Ochre |Own ditto 'irnt Umber W ditto THREEPENCE EACH. Bone Brown Bitumen Cappah Brown Cologne Earth Light Red Venetian ditto Indian ditto Burnt Sienna Vandyke Brown Ivory Black Lamp ditto Blue ditto Indigo Prussian Blue Antwerp ditto Brown Pink Italian ditto Yellow Lake Emerald Green Terra Verte Burnt ditto Verdigris Asphaltum Chrome Green, 1, 2, & 3 rmanent Blue iimson Lake irple ditto FIVE PENCE EACH. Scarlet Lake Indian ditto Vermilion Orange Vermilion Oxide of Chromium SIXPENCE EACH. Flake White, Double size Zinc ditto, Double size NINEPENCE EACH. Flake White, Treble size Zinc ditto, Treble size bait ench Ultramarine rmanent Yellow lian Yellow ONE SHILLING EACH. Golden Antimony Mars Yellow Mars Orange Madder Lake Rose Madder Madder Brown TWO SHILLINGS AND SIXPENCE EACH. rmine | Cadmium Yellow | Madder Purple | Lemon Yellow 20 J. BARNARD, 339, OXFORD STREET, LONDON. COLOURS IN FINE POWDER. PER OZ. PER S. d. S. Ultramarine 20s. to 84 Blue Black 1 Ultramarine Ashes 4s. to 16 Oxford Ochre] ... 1 French Ultramarine 2s., 4s., 6 Brown ditto ] German ditto 4d., 6d., 1 Roman ditto 1 Smalt . 4 Naples Yellow, 1 & 2 1 Cobalt Blue . . 5 Patent ditto 1 Carmine, 1, 2, 3, & 4 ... 8s. to 16 King's ditto ] Burnt Carmine ... .. . 16 Chrome Yellow, 1, 2, 3, & 4 .. Purple ditto .. . 16 Orpigment 1 Yellow ditto ,. . 10 Masticot Pink Madder .. . 8 Yellow Lake 2 Pose ditto .. . 10 Italian Pink 2 Purple ditto .. . 10 Raw Terra de Sienna ... 1 Madder Carmine .. . 36 Burnt ditto 1 Madder Lake ... ,. . 8 Vandyke Brown 11 Brown Madder ... .. . 8 Bone Brown I Crimson Lake ... .. . 6 Purple ditto 1 Scarlet ditto .. . 6 Egyptian Mummy 4! Purple ditto . 6 Asphaltum Indian ditto .. 4 York Brown 1 Pure Scarlet .. . 12 Cappah ditto 1 Cadmium .. . 10 Brown Pink 2 Lemon Yellow, 1, 2, & 3 .. . 6 Indian Red 1 Permanent ditto .. . 1 Lac Lake 4 Indian ditto .. . 6 Light Red 1 Mars ditto . 4 Venetian ditto ... 1 Mars Orange 4 Orange ditto Extract Vermilion 3 Dragon's Blood ... 1 Scarlet ditto . 8 Oxide Chromium 2 Chinese ditto . 10 Emerald Green ... English ditto ... 6 Terra Verte 1 German ditto 1 Burnt ditto ... ... •• 1 18 Vermilion Tint ... . 4 Verdigris distilled 2 Silver White . 1 Ultramarine Green 1 Permanent ditto 8 Chrome ditto ... Cremnent ditto ... . 4 Antwerp Blue ... 2 White Oxide of Zinc ... . 1 Prussian ditto ... 2 Flake White . 4 Indigo ... Ivory Black . 1 Plumbago 0'| Lamp Black . 1 2 The above may be obtained in Packets or Bottles, the cheaper ones at 6c?., and ± more expensive at Is, each. They may also {and every other colour) be unprepared. J. BARNARD, 339, OXFORD STREET, LONDON. 21 OILS, VARFISHES, &c. PER PT. S. d. are Mastic Varnish astic ditto icture Copal ransfer Varnish., ap ditto ... hite Spirit own ditto 6 6 6 3 4 4 PER PT. S. d. ... 4 10 3 Fine Copal Morocco Varnish. Fine Gold Size . Refined Linseed Oil 2 Rectified Turpentine 1 Poppy Oil. 3 Nut Oil 3 PER PT. S. d. Light Drying Oil... 2 Strong Drying Oil 1 6 Asphaltum ... 5 6 Cana da Balsam, per oz. 6 McGuelph, in tubes, 4d., 8d., 1 Ditto, in pots . . 8 'he above may be had in Tins, I Pint, Pint, Quart, I Gallon, and Gallon. , in Bottles, OILS, VARNISHES, &c. PER BOT. PER BOT. s. d. s. d. s. d. s. d. ire Mastic Varnish .. 1 6 and 2 6 Fine Gold Size ... .. 5 and 8 astic 6 „ 1 Refined Linseed Oil .. 5 „ 8 cture Copal .. 6 „ 1 Rectified Turpentine 4 „ 6 ap Varnish .. 6 „ 1 Poppy Oil .. 5 „ 8 hite Spirit .. 6 1 Nut Oil 5 „ 8 'own Spirit .. 6 „' 1 Light Drying Oil m 5 „ 8 •ansfer ... .. 1 „ 1 6 Strong ditto .. 5 „ 8 ne Copal .. 6 „ 1 Asphaltum .. 1 )rocco Varnish .. 1 6 BRUSHES FOR OIL PAINTING, & c§ HOG'S-HAIR TOOLS IN TIN, ROUND AND FLAT. >s. 1, 2, 3, 4 ... 5 and 6 7 and 8 ... PER DOZ. S. d. ... 4 ... 6 ... 8 Nos. 9 and 10 . „ 11 and 12 PER DOZ. s. a. ... 10 o ,.. 12 SABLE TOOLS IN TIN, ROUND AND FLAT. s. d. per doz. 3 „ 4 „ 5 „ 6 „ 7 No. 5 „ 7 s. d. per doz. 8 „ 10 „ 12 each 1 3 1 6 No. 10 „ 12 each s. d. 1 9 2 2 6 FITCH-HAIR IN TIN FLAT. Nos. 1 to G .. ... ... per doz. 4s. 22 BARNARD, 339, OXFORD STREET, LONDON. Crow size Duck ,, BRUSHES FOR OIL PAINTING, &c. (continued^ SABLES IN QUILL, s. d. | per doz. 2 6 Goose size per doz. „ 4 I Swan „ ... each 2s. to (Seepage 10.) s. d 7 6 6 FITCH-HAIR IN QUILL. Crow, Duck, and Goose per doz. 2s. Swan „ 4s. to 6s. ROUND BADGER SOFTENERS, TIN OR STRING BOUND. From 6d. to 10s. each. BRUSHES FOR VARNISHING. Flat Camel-Hair Tools in tin ... ... per inch 8d. Flat Hog's-Hair ditto „ 8d. HOUND CAMEL-HAIR VARNISH TOOLS. No. 1 „ 2 „ 3 No. 1 h 2 In Tin or String Bound, s. d. I s. d. I per doz. 2 6 | No. 4 ... per doz. 4 6 | h 3 | „ 5 ... „ 5 6 „ 3 6 [„ 6 ... „ 7 No. 7 ROUND HOG'S-HAIR VARNISH TOOLS. In Tin. each s. d. 1 1 6 No, each d. 6 No. 5 tf 6 s. d, per doz. 8 « 9 s. each 3 it 4 PREPARED CANVAS AND TICKING. IN ROLLS OF SIX YARDS. CANVAS, ticking. s. d. s. d. 27 inches wide, per yard 1 6 ... 3 31 „ „ ] 10 3 6 38 „ „ 2 .,. 4 3 42 „ 2 6 ... 5 3 CANVAS. S. d. 45 inches wide,peryard 3 6 4 feet 6 wide „ 5 5 „ 2 „ „ 6 6 6 „ 2 „ «« 7 6 TICKING S. d . 7 ( . 8 . 10 . 12 CANVAS 'AND TICKING IN SIZES WITHOUT FRAMES. Head size, 24 inches by 20 Large ditto, 27 inches by 22 ... Three-quarters, 30 inches by 25 Kit-cat, 36 inches by 28 Small half length, 3 feet 8 by 2 feet 10 CANVAS. S. d. 1 1 4 1 6 2 3 3 TICKING. S. d. 2 2 3 4 5 J. BABNARD, 339, OXFORD STREET, LONDON. 23 PREPARED CANVAS AND TICKING {continued). Half length, 4 feet 2 by 3 feet 4 Bishop's ditto, 4 feet 8 by 3 feet 8 ... Whole length, 7 feet 10 by 4 feet 10 ... Large whole length, 8 feet 10 by 5 feet 10 Ell Hatchment 4 feet 6 inches in ditto 4 7 16 24 4 5 d. 6 6 s. 7 10 23 33 d. 6 PREPARED CLOTHS ON STRETOKI^G FRAMES. 8 inch by 6 9 inch by 7 10 inch by 8 12 inch by 10 14 inch by 10 14 inch by 12 16 inch by 12 17|inchbyl4 18 Inch by 14 21 inch by 17 24 inch by 18 ... 24 inch by 20 30 inch by 25, or three-quarter 36 inch by 28, or Kit-cat 34 inch by 44, Small Half-length 50 inch by 40, or Half-length 56 inch by 44, or Bishop's Half-length 7 feet 10 by 4 feet 10, or Whole-length 8 feet 10 by 5 feet 10, or Bishop's Whole-length Any other size in a few hours. CIRCULAR AND OVAL CANVASSES MADE TO ORDER. SOLID BLOCKS for SKETCHING in OIL COLOURS, WITHOUT BINDING. Prepared Paper so compressed as to form an apparently solid substance, each sheet of which can be easily separated. d. s. d. s. d. 6 7 8 11 1 1 1 1 2 1 3 1 4 1 6 1 9 2 2 6 3 6 6 7 6 11 Size 14 inch by 10 7 6 „ 20 inch by 14 14 Size 10 inch by 6 3 10 inch by 7 ... ... 3 6 10 inch by 8 4 | WITH BINDING AND METALLIC RIM, Enabling the Artist to carry two Wet Sketches without injury. d. £ s. d. Size 10 inch by 6 8 , 10 inch by 7 8 6 , 10 inch by 8 9 Size 14 inch by 10 14 20 inch by 14 14 24 J. BARNARD, 339, OXFORD STREET, LONDON. 7 inch by 5 8 inch by 6 9 inch by 7 10 inch by 7 10 inch by 8 11 inch by 9 12 inch by 9 14 inching PREPARED MILLED BOARDS. 18 inch by 14- 21 inch by 15 21 inah v 17 s. a. s. a. 6 12 inch by 10 ... 1 8 13 inch by 10 ... 1 1 9 14 inch by 10 ... 1 2 9 15 inch by 11 ... 1 o 10 11 14 inch xo inch by 12 .. 1 . 1 O 4 8 1 18 inch bv 13 .. . 2 1 2 17jinch by 14 .. . 2 22 inch by 18 24 inch by 18 24 inch by 20 26 inch by 20 2 L 8 3 3 4 4 ACADEMY BOARDS. 20 inch by 16 ... 9d. | 25 inch by 19 Is. PREPARED PANELS— OAK & MAHOGANY. 7 inch by 5 8 inch by 6 9 inch by 7 10 inch by 8 1 1 inch by 9 12 inch by 9 s. d. ... 10 ... 1 ... 1 2 ... 1 6 .. 1 8 ... 1 10 12 inch by 10 14 inch by 9 14 inch by 10 16 inch by 11 16 in h by 12 18 inch by 14 EACH S. d. ... 2 ... 2 6 ... 2 9 ... 3 3 ... 3 6 ... 4 6 20 inch by 16 21 inch by 17 24 inch by 18 24 inch by 20 30 inch by 25 36 inch by 28 EACH s. d. 1 1 ... 5 9 ... 6 9 ... 7 ftL ... 8 6 ... 15 ... 25 k Prepared Paper for Oil Painting, Eoyal Size, per Sheet - . 6d. h Ditto Imperial „ - - 9d. , )e JAPANNED TIN OIL-COLOUR BOXES. |[ COMPLETELY! (a EMPTY. FURNISHED. \u £ s. d. £ s. d. ; To contain 8 Tube Colours, Brushes, and Palette-knife. 1 ft Size, 8| by 4| in.; depth, 1 1 in. 4 10 ft To contain 12 Tube Colours, Folding Palette, Palette- 'or knife, and an assortment of Brushes, Size, 13 by 4f in.; depth, If in 5 6 17 6 J. BARNARD, 339, OXFORD STREET, LONDON. 25 JAPANNED TIN OIL-COLOUR BOXES (continued). To contain 12 Tube Colours, Palette, Palette-knife, Brushes/Oil and Varnish. Size, 8| by 6 J in., depth 1J To contain 16 Tube Colours, Palette, Palette-knife, Brushes, Oil and Varnish. Size, 10 by 7 in.; depth \\ The same with Double Bottom additional depth 1 in.... To contain 18 Tube Colours, Palette, Palette-knife, Brushes, Oil and Varnish. Size, 11| by 8| in. ; depth, 2fin The same with Double Bottom additional depth, 1 in... To contain 20 Colours, Palette, Palette-knife, Brushes, Oil and Varnish. Size, 12| by 8| in., depth, If in. To contain 20 Colours, Palette, Palette-knife, Brushes, Oils, Varnishes, &c, two divisions for Brushes, Size, 13 by 9 in.; depth, 2| in The same with Double Bottom additional depth 1 in.... To contain 24 Colours, Palette, Palette-knife, Brushes, Oils, Varnishes, &c. Size, 13 by 9 in., depth 2J in. The same with Double Bottom additional depth 1 in... To contain 28 Colours, Palette, Palette-knife, Brushes, Oils, Varnishes, &c. Size, 14 by 10 in., depth 2£ in. The same with Double Bottom additional depth 1 in... These Boxes enable the Artist to carry three wet Sketch Boards. EASELS. )eal Closing Easel, with Iron Pins, Sketching, etc., 4 feet high ditto ditto lahogany ditto ditto >eal Folding Easel (very compact) 6 feet high lahogany ditto ditto >eal Rack Easel, 6 feet 2 inches high ... lahogany ditto ditto »eal ditto with box, 6 feet 2 inches high [ahogany ditto ditto ditto •itto ditto ditto 6 feet 6 inches high mall Easels for the Table — Deal, 4s., 6s. 'itto ditto Mahogany, 5s., 7s., 9s. itto ditto Deal, with Rack, 15s.; Mahogany, 20s. ortable Pocket Easels REST STICKS, 8d., Is., Is. 6d. each. £ s. d. £ s. a. 6 6 18 7 6 ] 9 6 1 3 6 9 6 1 4 6 11 6 1 8 6 7 6 1 12 2 2 U 15 u o L 1U U' 14 2 6 16 2 10 18 6 3 O 1 6 3 3 or four unused Milled £ s. d. • out-door 3 6 high 7 15 14 1 4 1 1 1 11 6 1 4 2 2 3 3 5 26 J. BARNARD, 339, OXFORD STREET, LONDON". PALETTE KNIVES. Steel Palette Knives, with ivory, horn, cocoa, and other handles, various patterns and sizes ... ... ... ... from 6d. to 2s. Od. Ivory Palette Knives ... ... ... ... „ Is. „ Is. 6d. Horn ditto ... ... ... 6d., 8d. „ Is. Od. PALETTES. Mahogany and white wood, 2d. per inch. Satin and Walnut, 3d. per inch. WOODEN LAY-FIGURES. 5 in. high, Hard wood each 6 n „ ,, ,» s. d. 2 3 10 12 14 16 5? J) Softer wood £ s. d. MULLERS AND SLABS Of Ground Glass, Marble, Granite, and other Stones. Sundries, (see page 2d.) 16 in. high, Softer wood each 5 20 „ „ „ „ 5 6 22 „ „ „ „ 6 24 „ „ „ „ 7 27 „ ,. „ „ 11 30 „ „ „ „ 18 6 36 „ „ „ „ 1 14 66 „ 5 10 Ct b TO! J. BARNARD, 339, OXFORD STREET, LONDON. MISCELLANEOUS. MATERIALS FOE, WAX FLOWERS. In quantities of not less than six ounces. s. d. Wax in sheets, assorted colours, per gs. 6 Ditto ditto per doz. 7 Wax in block, per lb 3 Darling Pins, per doz 2 8. d. Moulding Pins, box-wood, per doz 4 Ditto ditto, ivory, each 9 Poonah Brushes, per doz 3 () Bloom, Frost, Down, and every other requisite. Polished Mahogany complete Boxes (suitable for presents) 2 Is. and 31 s. 6d. Treatises on Waxen Fruit and Flowers each Is. and 2s. 6d. For List of Colours, see p. 20, Colours in Fine Powder. Every Material for Paper Flowers, LIQUID COLOURS FOR VELVET PAINTING. PER BOT. | PER EOT. | PER BOT. Jilue 1 I olive 1 Neutral I tannine 2 6 Orange 1 Green 1 o *rown 1 Yellow 1 6 Dark Green 1 'urple 1 J Verdegris 1 6 MATERIALS FOE, DIAPHANIE. )r the Art of Decorating Glass and other substances, to resemble Stained Windows, Painted Transparencies, &C, adapted for the Ornamentation of Windows or Screens, Window Blinds, Lamp Shades, &c. )esigns in great variety... from Is. to 5s. per sheet tollers, manufactured for the art ..3s. 6d. ea. learing liquid. ..Is. 6d. per Dottle Cashable Varnish. ..Is. per bottle 'repared Liquid Gum... Is. per bottle Gelatine of every Colour... Is. per Sheet Brushes, Scissors, and every other material for the art Complete Boxes of Materials (suitable for presents), 12s. 6d. and 21s. each. Book of Plain Instructions, price 6d. WHITE WOOD SCREENS AND HANDLES. ioxes, Card-cases, and other Articles, with Prints, Varnish, &c, for Transferring. MATERIALS FOR POTICHOMANIA. >r the Art of Decorating Glass so as to give it the appearance of Painted Porcelain. Barnard's Porcelain Colours for Potichomania will be found unequalled. They ry rapidly, and when dry are extremely hard. They are warranted not to leave streaks or regularities on the glass ; but give, without difficulty, an even coating of colour, besides other ^vantages, whicli on trial will be appreciated. 28 J. BARNABD, 339, OXFORD STREET, LONDON. MATERIALS FOR POTICHOMANIA (continued). 1. Bluish White 2. Yellow White 3. Light Pink 4. Lemon Yellow 5. Light Brown 6. Salmon 7. Yellow 8. Light Red 9. Deep Pink 10. Rose Pompadour 11. Drab 1 2. Crimson There are 36 tints, Is. and Is. 6d. 13. Light Crimson 14. Light Purple 15. Scarlet 16. Orange 17. Red 18. Maroon 19. Light Lilac 20. Deep Lilac 21. Deep Crimson 22. Light Blue 23 Blue 24. Black per bottle. 25. Green 26. Light Green 27. Sevres Blue 28. Deep Blue 29. Green 30. Yellow Green 31. Blue 32. Deep Green 33. Green 34. Brown 35. Green 36. Deep Brown Any other Colour may be had to order Bottle, s. d. Barnard's Prepared Thinning . . 10 — Porcelain Varnish . . 10 — Prepared Gum . . . . 10 Patent Gold Paint 2 6 Bottle. . d. Vellum Size 6 Gold Leaf, per book 16 Gilding Varnish 10 DESIGNS of the best and most novel patterns in great variety. Flowers, Gold Borders, and Ornaments, ready cut in packets or boxes. GLASSES. — J". B. invites attention to his collection of Glasses, the most extensive in London, comprising Yases of various shapes, Fruit-stands, Flower- baskets, Candlesticks, and other articles of British and Foreign manufacture, adapted for the imitation of every style of China. BOXES suitable for PRESENTS, containing a Pair of Vases about eight inches in height, and all the necessary Materials, of the best quality, are securely packed and forwarded, on receipt of a post-office order or stamps, for 10s. 6d. Brushes, Scissors, and every other Article Wholesale and Retail, Book of Instructions, 4d. MATERIALS for ORNAMENTAL LEATHER WORK s. d. Oak Stain, (a spirit prepara- tion) per hot. 1 Flemish Oak Stain ... do. 1 Asphaltum do. 10 Prepared Stiffening ... do. 1 Liquid Burnt Umher ... do. 10 Liquid Vandyke Brown ... do. 1 Liquid Glue ... do. 1 /0 & 1 6 s. d. Russian Glue ... per lb. 10 Copal Varnish in bottles ... per bot. 1 Ditto per pint 4 Basil Skins each 1/6 2/0 & 3 Instruments for Moulding per set 2 Tacks per 1000 8 Boxes of Materials fitted com- ) plete, suitable for Presents ... j 21 Leather Flowers, Acorns, Grapes, and every Material for the Art. DEAL FRAMES, BRACKETS, PLATES, ETC., MADE TO ORDER. J. BARNARD, 339, OXFORD STREET, LONDON. 29 Every Material for GILDING. SUNDRIES. s. d. Drawing Pins, perdoz., 6d. Is. Is. 6d. 2 Indian Ink, per stick . . . . from 4 Indian Rubber per oz. 4 Patent ditto, per square, Id., 2d., and 4 Gold Paper, per sheet 3 6 Imitation ditto ,, 1 6 Tinsel, all colours .... ,♦ 16 Earthenware: Palettes, Tiles, Sau- cers, &c, &c. Patent Gold Paint . . . . 2s 6d. and 6 Air-tight Capped Bottles for Liquid Glue, Gum, Varnishes, &c. 2s. 6d. 3 6 Gold Shells .. each 6d. and 8 Silver Shells 4 Gold Saucers 10 Erasors for Ivory Paper, &c... each 1 s. d. Mapping and Drawing Pins per doz. 2 Liquid Glue, per bottle ... Is. and 2 White ditto Is. and 2 Mouth ditto per stick 2 Silvering Liquid, per bottle . . . . 10 Fixing Liquid for securing chalk or pencil drawings from the effects of friction, per bottle 1 6 Marking Ink, (Ponting's) 10 Drawing ditto 6 Ticketing ditto 6 Bronzes of all colours Gold and Silver Leaf Pale and deep pure Gold Powder, per ounce .£8 8 Pure Silver Powder, per ounce ... 16 AND EVERY OTHER ARTICLE CONNECTED WITH THE FINE ARTS. Country orders, accompanied by a post office order, a reference in toivn, or, for small amounts, by postage stamps, will be promptly executed. 7AS2Z BARNARD; GAAfiUFACTlJRER AMD «P©1TEH OF MATERIALS FOR OIL & WATER COLOUR PAINTING, ETC., 33 9, O X E O K, D STREET, OPPOSITE JOHN STREET, •Wm TfcX 33 <0 IW- J. BARNARD, ARTISTS' COLCTJRMAN, 3 39 OXFORD STREET, LONDON. BARNARD'S PHOTOGRAPHIC WATER COLOURS. J. Barnard respectfully solicits attention to these colours, which have re- ceived the highest commendations of many of the most eminent Photographic Artists ; as neither trouble nor expense has been spared, the proprietor believes them to be altogether unequalled for the purpose. They will be found rich and brilliant in tint. Their working properties leave nothing to be desired, and they are warranted not to contain anythiug injurious to the Photograph. They are manufactured in tints, obviating the loss of time and trouble in mixing. "Mr. Barnard's constant care to render this branch of the art as perfect as possible is undeniable." *' We cannot but express our estimation of the quality of these colours, feeling satisfied that if any of our readers, by taking our advice, give them a trial, they will fully appreciate their superiority over all others in existence."— Photographic Record. AT ONE SHILLING EACH CAKE. SIXPENCE HALF CAKE. Golden yellow Green, No. 2 Pure black Pure brown Green, No. 1 Chinese white Flaxen hair Auburn hair Chesnut hair Brown hair AT TWO SHILLINGS EACH CAKE, ONE SHILLING HALF CAKE. Flesh, No. 1 Flesh, No. 2 Flesh, No. 3 Flesh shadow, No. 1 Flesh shadow, No. 2 Fle9h shadow^No. 3 Grey hair Crimson Scarlet Pure blue Italian blue BOXES OF PHOTOGRAPHIC WATER COLOURS. Sliding Top~Boxes, 12 half-cakes, Pencils, &c „ ., „ 12 whole cakes, Pencils, &c. Mahogany Lock-and-Key Box, 12 half-cakes, Pencils, &c „ „ „ 12 whole cakes, Pencils, &c These Boxes contain the following Colours, and the tico latter in addition. Palette, Water Glass, Tube of Moist Chinese White, a Bottle of Liquid Carmine, and one of Water Colour Megilp. 10 18 16 21 d 6 6 Flesh, No. 1 Flesh, No. 3 Flesh shadow, No. 1 Flesh Shadow, No. 3 Flaxen hair Brown hair Crimson Pure blue Golden yellow Pure black Pure brown Green, No. 1 J. BARNARD, 339, OXFORD STREET, LONDON. 31 BOXES OF PHOTOGRAPHIC WATER COLOURS (continued), £ s. a. Sliding Top Boxes, 21 half-cakes, Pencils, kc ..0186 „ „ 21 whole cakes, Pencils, &c. .. .. 1 12 Mahogany Lock-and-key Boxes, 21 half-cakes, Pencils, &c. . . ..126 „ „ ,, 21 whole cakes, Pencils, &c. .. 1 17 6 These Boxes contain the following Colours, and the tico latter in addition, Palette, Water Glass, Moist Chinese White, Sponge, a Bottle of Liquid Car- mine, and one of Water Colour Megilp , Flesb, No. 1 Flesh, No. 2 Flesh, No. 3 Flesh shadow, No. 1 Flesh shadow, No. 2 Flesh shadow, No. 3 Flaxen hair Auburn hair Chesnut hair Brown hair Grey hair Crimson Scarlet Pure blue Italian blue Golden yellow Pure black Pure brown Green, No. 1 Green, No. 2 Tube Chinese white Photographic megilp Pencils, &c. HVEIR- -A— INT. IRIIMTOTTL'S OOnVLJPOSITIOnNT. PHOTOGRAPHIC ARTISTS AND AMATEURS ARE SOLICITED TO TRY MR. A. 1ST. RXNTOUL'S COMPOSITION FOR PREPARING PHOTOGRAPHS AJNTD PRINTS, PREVIOUS TO COLOURING. It completely supersedes the use of Size, Gelatine, &c, hardening the sur- face of the paper, so as to render it capable of as high a degree of finish as ivory. It is ready for use, and is warranted not to injure the Photograph. Is. 6d. a bottle. BARNARD'S PHOTOGRAPHIC POWDER COLOURS. For Dry-tinting Positive Glass, Paper, or Daguerreotype Pictures. The following is a List of the Colours — One Shilling per Bottle. 1. Flesh 2. Do. 3. Do. 4. Grey 5. Do. 6. Blue 7. Do. 8. Do. 9. Crimson (lips) 10. Carmine 11. Solarization 12. Satin White 13. Distance 14. White ior Clouds 15. Yellow for do 16. YellowDraperies 17. Em. Green 18. Green 19. Do. 20. Scarlet 21. Plum 22. Purple 23. Lavender 24. Peach 25. Horizon 2(3. Brown (flaxen hair) 27. Brown 28. Do. 29. Backgrounds 30. Do, 31. Do. 32. Do. BOXES OF PHOTOGRAPHIC POWDER COLOURS. Mahogany, polished with lock and key, empty, for 12, 18, und 24 Colours, 5/6, 6/0, and 6/6 each. Fitted complete with brushes, gold and silver saucers, &c, 16/, 20/, and 24/ each. 32 J. BARNARD, 339, OXFORD STREET, LONDON. BRUSHES, &c. Red Sable, mounted in tin . per doz. 3/ Ditto, in quill „ 3/ Camel Hair,superfine,assorted ) , . sizes j " i ' Dusting Brushes „ 2/ Gold Shells each /6 & /8 Ditto Saucers i / Silver Shells " u Ditto Saucers " /(? India Rubber Bellows . . . ", 2/6 MOROCCO CASES, MOUNTS, PASSE PARTOUTE AND FRAMES. OF EVERY SIZE AND PATTERN. Mounts of any size made to order in a few hours. PHOTOGRAPHIC SCRAP BOOKS AND PORTFOLIOS MADE TO ORDER. BRUSHES FOR CHEMICAL PURPOSES, THE FASTENINGS OP WHICH ARE NOT AFFECTED BY ACIDS. J. BARNARD, PHOTOGRAPHIC AND ARTISTS* COLOUR WAREHOUSE, 339, OXFORD STREET, LONDON. Country orders accompanied by a post office order, a reference in Town, or for small amounts by postage stamps, will be promptly executed. GETTY CENTER LIBRARY 3 3125 00776 0206