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 I ^ r SH&t~i^!f*^i&t i 
 
A PRACTICAL 
 
 ESSAY 
 
 ON THE 
 
 ^RT OF COLOURING 
 
 AND 
 
 Painting landscapes 
 
 IN 
 
 WATER COLOURS. 
 
 Accompanied with Ten Engravings, 
 
 By JOHN HEAVISIDE CLARK, 
 
 18 07. 
 
 LONDON, PRINTED FOR AND SOLD BY 
 
 EDWARD ORME, BOND-STREET, the Corner of BROOK-STREETf 
 
 WHERE ARE ALSO SOLD 
 Books of Instructions in every Branch of Drawing, Colours, Drawing Books and every Requisite used in Drawing. 
 
 Printed by J. Hayes, Dartmouth Street, Westminster. 
 
X^^-aa" 
 
mm 
 
 PLATES. 
 
 
 1 
 
 2 
 3 
 4 
 5 
 
 Pencils, Diagrams, Tints, <§-c. 
 Outline to Landscape 
 First Tints, in Preparation 
 Preparation - 
 
 Coloured Landscape 
 
 6 Preparation for Sunset - 
 
 7 Sunset Subject 
 
 8 Moonlight ditto - 
 
 9 Snow ditto 
 10 Fire ditto - 
 
 PAGE 
 
 15 
 17 
 17 
 18 
 
 19 
 
 20 
 
 20 
 
 21 
 
 22 
 
 23 
 
 *''. 
 
Introduction. 
 
 »®©©@->3M§fc®®*" 
 
 THE cultivation of the arts unquestionably 
 holds a very distinguished place among our enjoyments; and, as it tends 
 to enlarge and exalt the mind, is justly considered an essential part of 
 education. 
 
 Drawing, the head under which are comprehended the produc- 
 tions of the pencil, is not the least to furnish those pleasures, that leave 
 neither langour nor regret behind them; while it guides the cultivated 
 mind to contemplate nature in a manner, that eminently tends to refine 
 taste and improve the heart. The advantages arising from it therefore 
 deserve highly to be prized, independently of it's ranking among the 
 most fashionable accomplishments. 
 
 With a view to facilitate it's study, and render it more easy of 
 acquisition, the following hints have been thrown together for the use of 
 those, who make drawing an amusement. In the subjects illustrating 
 this essay, the chief consideration has been the simplest method of pro- 
 ducing the particular effects: consequently they are slight, and to be 
 imitated only as a lesson, or illustration of the respective instructions in 
 regard to colouring. No particular manner is insisted on, the observati- 
 ons being common to all. Indeed it is absurd to attach the idea of cor- 
 rectness 
 
p:<* 
 
 2 Introduction 
 
 rectness to any particular style: for manner, or style, is good or bad, in 
 proportion to it's aproximation to nature; and the very appellation of a 
 mannerist always implies defect. Similar effects may be produced by a 
 variety of methods: but doubtless that is most to be approved, which 
 most resembles the grand original, nature itself. This is the ordeal, 
 which every production of the pencil should pass. Hence we may just- 
 ly establish it as a maxim, that to obtain the effect is the object to be 
 desired, while the manner in which it is obtained is of no importance. 
 
 Every artist indeed has a style peculiar to himself, which is no- 
 thing more than a mode of finishing insensibly fallen into, without de- 
 sign in the first instance, and improved as he advances in his art. But 
 every one, who chooses to exercise his judgment, may examine nature 
 with his own eyes; and though he may retain a deference for the taste 
 of others, yet with perseverance the lover of the art will improve far 
 more by observing nature, than by imitating the style of any drawing. 
 However bold the attempt may appear, however arduous at the com- 
 mencement, it should be encouraged, were it only that what is so gained 
 is lasting. And in fact the difficulties the student has to encounter are 
 not greater in the one case, than in the other; while the advanta- 
 ges that ultimately result from copying nature are the possession of 
 views or effects, as they were seen in reality; but by copying drawings 
 alone he has them only as seen through the spectacles of the artist, 
 whose manner he imitates. By this observation it is by no means in- 
 tended to insinuate, that the drawing master is unnecessary to the stu- 
 dent; it's object is to guard him against an attempt to acquire or imitate 
 any particular style, and point out to him the only mode of rising to 
 something more than a servile copyist 
 
 The 
 
Introduction 
 
 The first thing to which the student should attend is Perspec- 
 tive. The author of a recent publication observes, Perspective is to 
 Landscape, what grammar is to language; and never was simile more 
 correctly applied, as it is the true basis of the art : for however taste- 
 fully the various objects may be disposed, nothing can atone for defici- 
 encies in perspective. The study of this indispensable requisite is too often 
 found dry; but this defect is considerably lessened by Noble, whose Ele- 
 ments of linear Perspective are more pleasingly instructive, than any 
 other work on the subject with which I am acquainted. 
 
 An ardent hope that the few observations here suggested, being 
 the result of long and assiduous practice, will prove instrumental in pro- 
 moting and improving the Art of Colouring, induces the author to flatter 
 himself, that they will not be found unworthy the patronage of those, 
 for whom they are more particularly intended. 
 
 As it would be scarcely practicable to avoid using various tech- 
 nical terms, the import of which may not be readily understood by eve- 
 ry reader; neither indeed in a work like the present is it desirable to 
 avoid them; it has been thought advisable, to subjoin here an explana- 
 tion of such as occur, that the reader may be acquainted with their sig- 
 nification, before he proceeds to the essay itself. 
 
 & 
 
 An 
 
***■■•■ 
 
 
 4 
 
 Technical Terms and 
 
 An EXPLANATION of TECHNICAL TERMS, and 
 
 ELEMENTARY INSTRUCTIONS. 
 
 with brief elucidations, that their import may be more fully and clearly 
 
 understood. 
 
 A Tint 
 
 signifies a colour reduced to a fluid by mixing it with 
 water in the following manner. Dip the cake into 
 a little water, and rub it in a saucer, till you have got 
 off as much of the colour as you think proper. Then 
 -with a pencil mix it well, adding water as you find it 
 necessary. Tint is likewise used occasionally in it's ordi- 
 nary signification, implying difference of colour or hue. 
 
 A Tint passed over, or laid in, implies, that it is spread evenly with a pencil 
 
 thus. Dip the pencil into the tint, pass it gently on 
 the edge of the saucer, and then spread it over your 
 drawing by slow movements, keeping a regular supply 
 of colour in the pencil, till the space is covered. To 
 keep the pencil equally charged is highly essential, 
 and may be thus ascertained. If too much be taken, 
 it will flow loosely, and prevent your describing any 
 shape with correctness: if too little be taken, the pen- 
 cil will pass over the part without yielding it's proper 
 force of tint. 
 
 / 
 
 A Tint 
 
 
Elementary Instructions. 
 
 A Tint floated, or washed, is applied chiefly to broad spaces, and requires 
 
 to be done with expedition thus. With the pencil 
 nearly full commence at a part where the suddenness 
 of the application is of least consequence, and spread 
 the wash, observing to keep it full at the edge till the 
 space is covered. 
 
 5 
 
 Softening off* 
 
 is applied to the edge of a wash reduced gradually, while 
 in it's floating state, till no appearance of it remain. 
 It is effected by continuing the floating edge with a 
 pencil just sufficiently wet with fair water to make the 
 hair retain it's true shape, occasionally touching the 
 water with the Pencil, as the facility of using it is impeded 
 by it's becoming too dry. 
 
 Blending, 
 
 is where Tints gradually unite with each other. It is 
 produced by softening off one tint to the right, over 
 one previously softened off to the left. 
 
 Touching, 
 
 is the application of heavier Tints, to produce force, 
 spirit, &c. 
 
 Cutting in, 
 
 is the filling a space with exactness. 
 
 Hatching, 
 
 is the passing of a number of touches or marks side by 
 side of each other. 
 
 Marking 
 

 
 
 Marking, 
 
 Technical Terms and 
 is the giving of shape, &c. 
 
 Kept quiet, Repose, Stillness, these different terms are applied to a part 
 
 undisturbed by useless light or violent colouring. 
 
 The Principal is that object, or part of a Landscape by which the eye is 
 
 first attracted. 
 
 Warm 
 
 Cool Tints 
 
 Hot tints are those that approach to yellowness or to red- 
 ness 
 
 are those approaching to blueness. 
 
 Neutral Tints are those which do not from their force, or colour des- 
 troy the effect or harmony of the adjoining tints. 
 
 Lights 
 
 are those parts of objects which are so placed as to receive 
 the greatest degree of brilliancy. 
 
 
 HalfTint 
 
 is applied to denote that part of an object which is 
 situate obliquely with respect to the light, or more ge- 
 nerally the intermediate between the light and the 
 shade. 
 
 Shade, 
 
 is that part of an object which is directly opposite to 
 the part receiving the light. 
 
 i 
 
 Keeping 
 
 mmm 
 
 "C— <I- 
 
Keeping. 
 
 Elementary Instructions. 
 
 is the so ordering of the Colours, with respect to 
 force, and tint, that every thing shall appear in it's proper 
 place, and at it's due distance, in the Landscape. Thus 
 if any colour be too glaring, the object on which it is, 
 will be brought too forward, and he out of Keeping. 
 
 ESSLflT 
 

 gig Sg^3B^IgBiB®8 
 
 c ■ r *ea» - - - 
 
 HPB 
 
 
JESS^T 
 
 ON THE ART OF COLOURING, &c. 
 
 - w *m m<5is&$m*<*'* 
 
 Before we enter upon the particular instructions for colouring Land- 
 scapes, it will be necessary for the student to be made acquainted with the materials 
 he is to employ, the manner in which they are to be prepared and used, and the 
 effects they are intended to produce, either separately, or in various combinations. 
 
 Accordingly with these we shall begin. 
 
 The preparation of Colours for drawing consists first in their being ground ex- 
 tremely fine, then carefully levigated, and lastly incorporated with a due propor- 
 tion of gum arable and white sugar candy. The greatest degree of cleanliness is 
 requisite in preparing them, in order to preserve their purity. 
 
 In London there are many who prepare such colours for sale; and good 
 and bad may occasionally be found at any of the shops. It is necessary to remark, 
 what is here said relates to such as are made into cakes for transparent drawing. 
 
 Gamboge is a gum resin, that yields it's colour without requiring any prepa- 
 ration, a lump indiscriminately purchased at a druggist's, possessing all the qualities 
 
 required. 
 
■H 
 
 ■■■■■■■IH 
 
 10 
 
 ESSAY ON THE 
 
 
 
 
 
 required. It should be chosen however as clear and free of resinous or foul lumps 
 as possible. 
 
 Burnt Ochre, or as it is called by the colourmen Light Red, is an earth tinged 
 with calx of iron. It is a chaste and permanent colour. It's goodness may be as- 
 certained by mixing a tint, which after standing a few minutes should be bright, 
 
 without separating, neither depositing a sediment, nor assuming a curdled appear- 
 ance. 
 
 •» » 
 
 Lake was originally prepared from lac, but now commonly from cochineal, 
 and possesses all the tenderness of tint, that is so much admired in good Indian ink. 
 It's goodness may be known by the depth of it's tone, clearness of tint, and it's not 
 having the least affinity to a purple when used. 
 
 Indigo is of vegetable extraction, perfectly smooth, durable, and susceptible 
 of being softened with the greatest facility. It may be known to be good, if, when 
 mixed with water, the tint be smooth, without sediment; and if the cake, where it 
 was rubbed, assume a purple hue. 
 
 The tints on the annexed Plate are all produced from the four colours al- 
 ready described ; Gamboge, Burnt Ochre, Lake, and Indigo. It will be easily per- 
 ceived, that by varying the degrees of force, the number could be increased to al- 
 most any extent ; yet, as some may prefer a single application to the mode of pro- 
 ducing the effect by tint upon tint, a comparative list of colours in regular gra- 
 dation, all of which may be had ready prepared in cakes, is subjoined. 
 
 GALLSTONE. 
 
 — — - 
 
 
GALL-STONE, 
 
 RED LEAD, 
 
 CARMINE, 
 
 ULTRAMARINE, 
 
 ART OP COLOURING, &C. 
 
 GAMBOGE, 
 BURNT OCHRE, 
 LAKE, 
 INDIGO, 
 
 YELLOW OCHRE/ 
 VERMILION, 
 INDIAN RED, 
 PRUSSIAN BLUE, 
 
 The first column consists of those that are most brilliant, and more particu- 
 larly useful for flowers, Sec. 
 
 The second of those used in this work, and such as will be found to answer 
 all the purposes of Landscape colouring. These are inferior in brilliancy to those in 
 the first column. 
 
 The third contains a series inferior in brilliancy to the second, with the except 
 tion of Prussian blue, which is brighter than Indigo, but inferior, from it's liability 
 to change. 
 
 Red lead, or Orange red, is a mineral extremely liable to change. The 
 brightest is to be preferred. 
 
 Burnt Sienna, or Burnt terra de Sienna, is an earth rich in colour, and of a 
 glutinous quality, therefore not well calculated to produce evenness of tint. It should 
 be without sediment or separation when mixed. 
 
 Sap Green is a vegetable colour, producing a fine mellow tint; but liable to 
 change, and so glutinous, that no' tint can be passed on it without it's rising. 
 
 Distilled Verdegris, as it is called, but more properly crystallized Verde- 
 gris, is a chemical preparation of copper. It is very brilliant and transparent, and 
 requires to be used in some acid. 
 
 Of 
 
 
 . - -. r. '.:'• 
 
-° T— —— ^ 1^^— I 
 
 ESSAY ON THE 
 
 
 
 Of Browns there are a variety: viz. Umber, Burnt Umber, Vandyck Brown, 
 Cologne earth, and Bistre. The last is a preparation from wood soot, very mellow 
 and smooth, and extremely useful in touching, &c. as will be mentioned hereafter. 
 
 Indian Ink is valuable for it's transparency, and for the facility with which it 
 works. The smell is no indication of it's goodness; the better sort is free from grit, and 
 the part which has been rubbed will retain a warm hue and a gloss. 
 
 Having thus enumerated all the colours that can be required for a Landscape, 
 and indeed the greater part of them may almost always be dispensed with, we shall 
 proceed to some general remarks on their application. 
 
 If the colours of a drawing be happily disposed s the general effects will be plea- 
 sing ; and the objects will project in proportion to the force of light and shade. 
 
 Upon the mass of light, or principal, the shapes and the shadows of ob- 
 jects should be marked considerably fainter than on other parts of the Landscape, 
 in order to preserve the mass, and prevent the effect from being broken or disturbed. 
 
 No marking, either to produce shape or shade, on a mass subservient to the 
 principal, should be stronger than the keeping will allow ; since it would disturb 
 such mass, render the part too conspicuous, and thereby destroy the effect. 
 
 The touchings &c. on a Mass in shadow should be kept quiet; i. e* they 
 should be of a strength just sufficient to determine for what they were introduced, 
 and no more; otherwise they will appear detached, and produce confusion. 
 
 Compound tints should never be used till the washes or simple tints are 
 all in; for the least friction occasioned by the pencil passing over a compound tint 
 
 would 
 
ART OF COLOURING, &C. 13 
 
 would cause it to float, or rise, and mk with the wash. 
 
 In making compound tints for giving a greater degree of force to masses, or 
 for touching, care must be taken, that they are not too crude or glaring. Thus sup- 
 pose one partaking of green were required, a mixture of indigo and gamboge 
 would be unnatural for any part of a landscape; it is necessary therefore to render 
 it mellow, which may be done by the addition of either burnt ochre or lake; but 
 if a still greater degree of force be wanted, bistre may be added, till the proper 
 depth of tone is obtained. 
 
 If it be required to introduce a variety of tint, a light, or half tint, &c. on 
 a mass thus laid in with a compound tint, this may be effected by passing over the 
 part a pencil wetted sufficiently with water to be used freely, and when nearly dry 
 the colour may be rubbed off with bread, or carefully dabbed up with a linen rag. 
 This must be repeated till the sufficient light is obtained. A small piece of wet sponge 
 properly applied, so as not to injure the surface of the paper, will prove a more ex* 
 peditious method; but the shapes will not be so determinate as by the other. 
 
 If the colours in their utmost strength do not produce sufficient force, to give 
 the due effect to foregrounds, in the management of moonlight, fire, &c. a small 
 proportion of size, made from the cuttings of white glove leather mixed with the co- 
 lour will best answer the purpose. The addition of gum arabic dissolved in water 
 will give increased force to the colours, but it is accompanied with an unpleasant 
 glare. 
 
 Reflections on water are invariably to be placed in a perpendicular direction 
 
 c to 
 
14 
 
 ESSAY ON THE 
 
 
 
 
 
 
 
 to the objects by which they are produced; and their degree of distinctness must be 
 proportionate to the smoothness of the water. 
 
 Light falling on objects should be in parallel lines, and not as if issuing 
 from a point. 
 
 It is usual to place the light, or suppose the Sun, by which the subject is il- 
 luminated, either on the right or left; because if it's situation were in the piece, the 
 shadows would produce an unpleasant effect by their projection outwards; and if it 
 
 were conceived to be behind the spectator, their projection inwards would be equally 
 
 unpleasant. 
 
 The length of shadow must necessarily be regulated by the time of day, sea- 
 son of the year, and situation of the country, which the subject is intended to repre- 
 sent. That most pleasing, where there is a necessity for it's being distinctly shown, 
 is about one third the height of the object. 
 
 For instance, if objects of equal height were raised perpendicularly at two 
 given points, say at London and at Richmond, the length of shadow these objects 
 would project on a plain at the same period of time would be equal; at least there 
 would be no perceptible difference between them; consequently in a landscape re- 
 presenting a space still less than this, no visible difference in the length of shadow 
 should appear. Here the light of the Sun is obviously intended; when it proceeds 
 from a fire the case is the reverse. 
 
 In every drawing there ought to be one particular part, which should attract 
 the eye immediately, as being the principal object. This perhaps can not be so well 
 
 effected 
 

 
 
 
 
 i-3 
 
 o 
 
 88 
 
 » 
 
 
 Vb 
 
 
 I 
 
 s 
 
 

 
 
 

ART OF COLOURING, &C. 
 
 15 
 
 is 
 
 H 
 
 effected in any other way, as by placing on it the strongest light, to which conse- 
 quently all the other parts must be subservient. 
 
 All the parts of a landscape that receive the light should have warmer tints, 
 than parts that are situate obliquely; consequently the cooler tints find their proper 
 situation in the shade. 
 
 In a work of great taste by Mr. Repton, from which much extremely useful 
 matter might be selected, there is a quotation from the Rev. Dr. Milner's Theory of 
 Colours, &c. a portion of which, relating more particularly to his design, the au- 
 thor will take the liberty of transcribing. Dr. Milner says, " A gentleman who con- 
 '" suited me on the subject of shadows, has been accustomed to assist his memory 
 while painting by the use of a simple diagram, viz. let R, Y, B, (plate 1) represent 
 three uncompounded colours, red, yellow, and blue; and let O, G, P, repre- 
 sent the compounds, orange, green and purple. It is evident, that, to make a 
 ■" deeper orange, we must add more red; to make a deeper green, more blue; to 
 " make a redder purple, more red; and vice versa. But beside this it reminds us, 
 " that G is the contrast to R, and that therefore these two colours cannot be mixed 
 " without approaching grayness or dullness. The same may be said of Y and P, and 
 " of B and O; these colours are also contrasts to each other, according as they are 
 " more or less perfect. But when kept distinct, they are found to make each other 
 " look more brilliant, by being brought close together." 
 
 For this purpose the opposite sides of the diagram may be covered with two 
 pieces of paper, by which means you will view only the tints above described as 
 harmonising. Thus effect may be produced by contrast alone; and from judicious se- 
 lection the most pleasing composition will receive additional beauty. 
 
 Drawings 
 
tWgHBBPgWB 
 
 16 
 
 ESSAY ON THE 
 
 J 
 
 
 
 . 
 
 -- 
 
 Drawings appear to advantage in the port-folio when the margin is lowered 
 by a neutral tint; but are lessened in their consequence when a number of lines are 
 drawn round them. They are preserved from injury considerably by being mounted, 
 or pasted on a stouter paper. 
 
 Difficulties sometimes arise from using pencils of improper size, or deficient 
 in goodness. 
 
 ■. 
 
 To obviate the. former inconvenience, and direct the student in his choice, in 
 plate 1 sketches are given of such as may be used for drawings about the size of those 
 accompanying this work. 
 
 With regard to the latter, the goodness must depend on the skill of the pur- 
 chaser; but he may adopt the following method of proving them with advantage. 
 A hair pencil, when well made, and of proper materials, on being dipped into wa- 
 ter, and passed gently on the edge of the vessel, will assume the shape exhibited in 
 the plate. It is by no means advisable to pass it two or three times between the 
 lips, as is very generally practised, to ascertain it's goodness, for this is the way to 
 make a good point to a bad pencil; the point should be made by the pencil maker, 
 not by the purchaser. It is to be observed likewise, that the hair should possess a 
 great degree of elasticity, so as when in use continually to spring into a line with the 
 quill. 
 
 It frequently happens, that the paper refuses the tint, so that it recedes un- 
 equally from the surface. This is occasioned by a greasiness in the paper, arising 
 from various causes; but may be obviated by dipping a pencil into gall, and incor- 
 porating a small quantity with the tint. Sheep's gall is preferable to any other; and 
 
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ART OP COLOURING, &C. 
 
 17 
 
 if it be boiled a little, it will keep much better, and it's smell be less offensive. In 
 lieu of gall common gin may be used, but will not answer the purpose so effectually. 
 
 A pencil nearly worn out is better adapted to express the character of 
 trees, than a new one, for from the loss of it's point it is rendered more free 
 and decided in touch. 
 
 « 
 
 A wet sponge will correct unevenness in a broad tint, such as a sky 
 before any of the landscape is tinted, by being passed over the whole in the 
 direction of the warmth, if there be any, or as the nature of the part to be cor- 
 rected may point out; but it is recommended to have the tints so laid, as not 
 to require any assistance from a sponge. 
 
 ■ 
 
 The sketching with a lead pencil, as represented in plate 2, should be no 
 stronger than barely to determine the shapes. If any part however be too heavy, 
 it should be reduced. The best method of doing this is (o crumble a piece of 
 bread on it, rub it gently, and wipe it off with a handkerchief; for the friction of 
 Indian rubber is liable to injure the surface of the hardest paper. In sketching, or 
 tinting, always proceed from the right side of the drawing, or that which lies nearest 
 your left hand, to the left side, that the hand may not injure any part in it's progress. 
 
 The annexed plate 3 shows the preparation of a landscape for colouring, 
 in which the light is introduced from the right. Begin with the tint No 1 
 (marked at the bottom) composed of Indian ink and indigo, agreeably to the 
 directions for laying in a tint. Pass over all the parts, except the lights, and 
 keep the shape of every interfering object perfect on the light edges also, till 
 the masses are finished. Thus every part of the subject having shadow will 
 be covered, and the degree of force necessary for the remote masses determined. 
 
 D 
 
 Strengthen 
 
#:«* 
 
 18 
 
 ESSAY ON THE 
 
 
 i 
 
 
 
 Strengthen the tint to the force No. 2; lay in the detached masses on the 
 more advanced plans, attending to the lights as in the first; and thus the se- 
 cond degree of force will be obtained. Strengthen the tint as No. 3, and 
 lay in, or rather retouch, the parts yet nearer than in the second, till the third 
 degree of force is produced. 
 
 Plate 4 shows the subject with the marking, &c. on the masses represented by 
 Plate 3. Prepare a tint of indigo, retouch the parts not yet sufficiently detached, 
 till the distances or keeping appear decided. This should be done with the pen- 
 cil moderately charged with the tint, lest hardness be introduced : for a drawing may 
 easily be made sharper in the colouring, when it would be difficult to produce 
 softness. 
 
 With respect to colouring this subject, a view consisting of three plans, 
 upon a reference to nature for the arrangement of colours appropriate to it, 
 it will be found, that blue and purple are attached to the distance, or third 
 plan; because in the extent of vision the portion of air between the eye and 
 the object causes the assimilation of all tints with that of the air. Upon 
 examining what colours may be proper for a second plan, it will appear that 
 various tints, as reds, greens, &c. may be introduced; but having yet a con- 
 siderable portion of air intervening, they will not be perfectly clear of the aerial 
 tint. Examining farther with respect to the first plan, here we shall find the 
 yellows, browns, &c. may be placed; and all the colours appear in their brilli- 
 ancy, agreeable to nature, not being seen through any medium, that can be 
 supposed to affect them. Hence may be deduced, that yellow or clearness will 
 render an object prominent as far as relates to the colour, in proportion as blue or 
 
 mystiness 
 
4 
 

 sreei 
 
 

 
 
 

 l u 
 


 I 
 
 I) 
 
 i 
 
 
ART OF COLOURING, &C. 
 
 19 
 
 mistyness will cause it to recede. 
 
 The arrangement of all the intermediate colours must depend on nice discri- 
 mination, and just appropriation to the subject: however, the following is a method 
 of applying the tints to the landscape Plate 4, to produce the effect exhibited in 
 Plate 5. 
 
 For the sky use a tint of indigo, No. 1 softened off to the left. For the dis- 
 tant trees, a purple tint, composed of indigo and lake, No 2, passed over the whole 
 mass. The lights are afterward to be lightly stained with ochre and indigo, No. 3; 
 the shades with indigo, No. 4. For the trees on the second plan use a tint compo- 
 sed of indigo, ochre, and gamboge, No. 5, over the whole. The lights are to be 
 stained with ochre and gamboge, No. 6; the shades with indigo and lake, No, 7; 
 the stems with ochre and indigo No. 8. For the thatch use a tint of ochre, gamboge, 
 and indigo, No. 9, over the whole; afterward broken with gamboge and indio-o, 
 No. 10: for the stains on the cottage, ochre and gamboge, 11; for the chimney, 
 &c. ochre, No. 12; for the ground, ochre gamboge, and indigo No. 13, over the 
 whole. The grass &c. are to be stained with indigo and gamboge, No. 14 ; the 
 mass in the foreground, with ochre, lake, and gamboge, No. 15. A tint like No. 
 6, washed over the more advanced part of the road, will tend much to improve the 
 keeping. The touching is with bistre. 
 
 The degree of finish given to a drawing will depend on repetition of tint, and 
 attention to each particular part, by which it may be heightened to great force and 
 brilliancy. 
 
 It would not be possible to enlarge on this head without insisting on man- 
 ner 
 
ESSAY ON THE 
 
 I 
 
 II 
 
 ner, or style. The student should take from nature all ideas necessary to this parti- 
 cular. 
 
 Plate 6 shows the preparations of a landscape, or sunset. 
 
 In the effect Plate 7? the glow of warmth in the horizon is the leading fea- 
 ture, while the landscape is partially affected by the declining luminary. This 
 subject may be treated as the one already described ; observing where the principal 
 light is to introduce but little of the colder tints, since it is easy to lower the force 
 of light, but difficult to heighten it. In the management of the sky prepare a tint 
 of Indian ink, No. 1 ; lay in the clouds with all possible freedom ; soften their edges 
 as they approach the light, to prevent the hardness they would otherwise have; re- 
 peat, with the same tint, the parts requiring more force, without extending this repe- 
 tition to the extremity of the figure before made; with a black lead pencil faintly 
 sketch the boundary of light on the edges; and with a tint of indigo, No. 2, float in 
 the azure, with the flat pencils, approaching in a diagonal direction the part where 
 the Sun is imagined to be; and while the edge is wet, expeditiously turn the pencil 
 and soften off. Where interfering clouds, or other objects, preclude the use of flat 
 pencils, the same effect may be produced by making three tints of indigo, one 
 darker than the other; beginning with the deepest at the part most remote from the 
 light; at about a third of the space take the second degree of strength; and so on to 
 the third, till the softening is effected. Next with a tint of lake, No 3, and with 
 the flat pencil, pass over about three fourths of the sky, softening off obliquely as the 
 situation of the light will determine : then with a tint of gamboge, No. 4, pass over 
 about half the sky, softening off as before. A drawing made thus far, agreeably to 
 the foregoing hints, will yet be deficient in the general glow, but more particularly 
 
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 ART OF COLOURING, &C. 
 
 21 
 
 where the lake and indigo unite: therefore with a tint of lake and gamboge, No, 5, 
 pass over the whole subject; and afterward if the lake be found to predominate, 
 a tint of. gamboge will correct it; on the contraiy, if the gamboge predominate, cor- 
 rect it with a tint of lake. Where trees appear too cold on the parts receiving the 
 warmth from the horizon, pass a tint of ochre over them; if the parts in shade be 
 too warm, pass over them a tint of indigo; if they require force, add bistre; till the 
 due tones are introduced, which tend to harmonise the whole. 
 
 ■ 
 
 In this subject the point of sight, where all the lines would intersect were they 
 continued, is in the vessel on the horizontal line. 
 
 The preparation of a landscape for moonlight, plate 8, requires a stronger tint 
 to be used, and the subordinate lights to be more covered, than for any other effect. 
 
 After the situation of the light is determined, sketch in the clouds faintly with 
 Indian ink and indigo No. I; lay in their shadow sides; soften their edges as they 
 approach the moon; and retouch the parts most distant from the light, till they ob- 
 tain their due force. With the tint Indian ink and indigo, No. 2, lay in the part 
 representing the sky. The formation of the clouds while doing this should be at- 
 tended to, so that they exhibit no perfectly regular shape, such for instance as an ~ 
 angle, circle, &c. The clouds being laid in m an easy manner, and the sky smoothly, 
 take the tint No. 3, which is No. 2 reduced, and with the flat pencil float in the 
 whole space occupied by the sky and clouds on each side the moon, softening it off 
 in a circular direction round the orb as a centre. This may be repeated till the most 
 remote parts are of sufficient depth; remembering, that the softening off each time 
 is to be brought nearer and nearer' to the centre, so that the light will be impercep- 
 tibly diminishing toward the sides of the drawing. The shape of the orb is to be 
 kept perfectly clean during this process. If by the frequent washing of tint upon 
 
 E 
 
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 aaai _;. mm 
 
 
 
 
 
 
 
 
 22 
 
 ESSAY ON THE 
 
 tint, any unevenness or improper lights should be left, correct them with the small 
 pencil, by cutting in a tint to the shape of the part, but not so as to leave the 
 edge hard; or by making with the pencil nearly dry a number of lines parallel to each 
 other, termed hatching, till the part unites with the general tone. 
 
 The colour of objects by moonlight, should be faintly marked, a universal 
 grayness should prevail, and the deepest tone should only approach to blackness. 
 
 A tint composed of Indian ink and gamboge, No. 4, is extremely useful for 
 trees, &e. in various gradation of tone; and is susceptible of great force in touch for 
 
 ■L foregrounds, &c. 
 
 The effect of Snow on a Landscape, Plate 9, affords a pleasing variety, and is 
 expressed by great breadth of light, and the use of the cool tints. After the shapes 
 of the clouds are determined, and the azure put in, prepare a tender tint of Indian 
 ink and indigo, No. 1, lay in the shades of the objects covered with snow, and re- 
 peat with the same tint, agreeably to their natural shapes, all the parts receding from 
 the light, till the force required is produced. A tint of ochre and indigo, No. 2, 
 passed on parts partaking of rotundity, and a tint of indigo, No. 3, on parts thrown 
 into shade, will contribute much to the preservation of the principal, as well as to 
 give distance. Then with a tint of indigo, lake, and gamboge, No. 4, and with 
 the flat pencil, pass over the whole of the sky, clouds, and mass or masses of half 
 tint, in order to prevent their interference with the principal: which on the highest 
 light is to be clean paper. A few appropriate tints, such as the objects may require 
 touched on the perpendiculars not hidden beneath the snow, on a beaten road, on 
 the figures, &c. tend to enliven and give clearness to the whole. 
 
 The 
 
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 ART OF COLOURING, &C. 
 
 23 
 
 The Effect of Fire, Plate 10, is among the -variety that Landscape compre- 
 hends. It requires great depth of tint in the back ground, for relief; and great 
 clearness in the light, to produce the brilliancy the subject demands. 
 
 The method used in acquiring the gradation in the moonlight may be resort- 
 ed to in this instance. After the shape of the fire is determined, sketch with a black 
 lead pencil that part of the fire, which is supposed to be the fiercest, givino- it such 
 shapes as observation shall have impressed on your imagination; with a tint of lake 
 and gamboge, No. 1, lay in the space without these shapes, extending it as far as 
 the reflection may catch on the surrounding objects, and soften off in a circular <H-. 
 rection, having the fire for the centre. Strengthen the tint with lake to No. 2, and 
 lay in the space again, without approaching close to the part left white before, but 
 extending it farther, and soften off. This must be repeated till sufficient force is 
 given, and the glow appears gradually to unite with the surrounding tint. Next 
 with a tint of gamboge, No. 3. pass over the fire, except the centre, extending this 
 tint to all the parts affected by the heat; within the space determined by the back- 
 ground, and soften off; retouch with this tint the raging part, with the curves and 
 spiral forms which fire assumes; then with the tint lake and gamboge, No. 4, con- 
 tinue to retouch the parts as before, observing to preserve the gradation from the 
 white left in the centre to where the cool tints affect the extremity. With a tint of 
 ochre, indigo, and lake, No. 5, lay in the masses smoke, &c. that obtrude between 
 the eye and the principal, keeping them soft on the edges. And lastly with red 
 lead, No. 6, heighten by sharp touches the consuming parts of the object, retouch- 
 ing as judgment shall direct. 
 
 Bistre is useful to give force to foregrounds or objects situate in shadow, to be 
 mixed with lake for those near the principal, and with indigo for those more remote. 
 
 
24 
 
 ESSAY ON THE 
 
 ■;u: 
 
 Of Varnishing Drawings. 
 
 It is presumed, that all drawings on their being varnished are intended to be 
 framed, therefore what is termed a straining frame must be provided. This is a 
 slight framework, made so as to be received into the rabbit of the outer or gilt frame. 
 On this small frame let a piece of canvas, linen, or even strong paper be stretched, 
 and secured with tinned tacks, or with glue if paper be used. Prepare jour paste with a 
 small portion of glue incorporated, and of such consistency, that it will spread with the 
 ibrush easily. Paste the drawing evenly, pass the brush over the canvas, doing little more 
 than damp it, and place it on the drawing. Use every precaution to exclude the air 
 from between the two, by pressing from the centre to the extremities, the edges require 
 particular attention, that they be firmly secured, lest they should rise in the prepa- 
 ration. When it is perfectly dry, prepare a wash from Isinglass, or cuttings of white 
 glove leather; it should be lukewarm when used, and of such strength that, when 
 spread with a flat pencil on a piece of coloured paper and dried by the fire, it 
 gives the paper the appearance of being faintly glazed. If it appear in shining 
 patches unequally distributed, it must be reduced to the state before mentioned, 
 by adding more water. With a flat pencil proportioned to the size of the 
 drawing, apply the wash, b}^ passing it m parallel lines, the pencil being mode- 
 rately' charged, so that it may not be laid fuller at the beginning than at the 
 end, till the surface is covered. No part should be retouched while wet, lest the co- 
 lours should rise and mix with the isinglass. This process may be repeated four or 
 five times, changing the direction in which the pencil is passed over the surface at 
 each application. No wash should be repeated till the preceding is thoroughly dry. 
 In this stale a drawing if required, may be retouched with oil colours: but it will be 
 
 necessarv. 
 
■*■ 
 
 - J^-fa 
 
 ART OF COLOURING, &C. 
 
 25 
 
 necessary, to rub a little oil on the parts previously, that the colours may work with 
 freedom. 
 
 The drawing thus prepared being thoroughly dry, and free from dust, may 
 be varnished with copal varnish, which is the most pure and colourless; or where a 
 faint yellow tinge would not be injurious, mastic varnish may be used with good 
 effect. The varnish should be free from dirt, and being poured into an open vessel 
 a hog's hair brush, which must be kept for this use alone, is to be taken moderately 
 full of it, r and passed briskly over the surface, till the whole is covered. Then 
 crossing the brush, without dipping it afresh into the varnish, from right to left, dia- 
 gonally, and from top to bottom, over the whole carefully, will cause the varnish to 
 be evenly spread. The drawing should remain about a quarter of an hour on a le- 
 vel, to prevent the varnish from running, which it will sometimes do, if put in an 
 upright or inclining position too soon. When the first coat of varnish is perfectly 
 hard, so that it will not adhere to the finger, another may be applied in the same 
 manner; and when this is perfectly hard, a third; and after that if necessary a fourth, 
 which will be found in general sufficient. 
 
 THE END, 
 
 printed by J. HAYES', 
 MerSjiioutfi -St! set, VV<s*n:ir.sKr 
 
 
 I 
 
 $. 
 
 
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r aa^^— m 
 
 THE FINE ARTS. 
 
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