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HAND-BOOK 
 
 POE THE 
 
 PRESERVATION OE PICTURES; 
 
 CONTAINING PEACTICAL INSTEUCTIONS 
 
 POE 
 
 CLEANING, LINING, EEPAIRING, AND RESTOEING 
 
 OIL PAINTINGS, 
 
 WITH EEMAEKS 
 
 ON THE DISTRIBUTION OF WORKS OF ART IN HOUSES AND GALLERIES, 
 THEIR CARE AND PRESERVATION. 
 
 BY HENEY MOGFOED. 
 
 THIRD RDITIOIV, WITH ADDITIOIVS. 
 
 ^rs proljat artificem* 
 
 LONDON : 
 
 WINSOE AND NEWTON, 38, EATHBONE PLACE, 
 
 Artists’ Colour fHaferrs, 6g Special Stppointiurnt, to JHajrstp, 
 anij 'to prince ^Ifiert. 
 
 1851. 
 
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HAND-BOOK 
 
 FOR THE 
 
 PRESERVATION OP PICTURES. 
 
 PART I. 
 
 THE DISTRIBUTION AND CARE OF WORKS OF ART. 
 
 Within the last half century the Fine Arts have 
 become universally recognised among us, as a source of 
 intellectual gratification and instruction. In all the 
 habitations of educated persons, some of its productions 
 are certain to be found, and are usually prized as the 
 type of taste in the possessor. With somewhat of this 
 feeling, modestly repressed, and the desire of embellishing 
 the walls of apartments beyond their former blankness 
 of mere pannelling, or poorly-designed paper-hangings, 
 the acquisition of oil paintings, water-colour drawings 
 and engravings, has largely ensued for the purpose. A 
 few remarks upon their adaptation for enjoyment, or 
 
4 
 
 THE DISTRIBUTION 
 
 decoration, may not be unworthy the attention of many 
 persons; and perhaps still more so, some instruction 
 relative to the best means of preserving these prized 
 objects from deterioration or decay. 
 
 Pictures, drawings, and prints, unquestionably enjoy 
 their brightest lustre and highest perfection at the first 
 moment of production. Every artist, either of the 
 greatest talent or of lesser ability, endeavours to com- 
 plete his work with all the resources of his skill, seeking 
 for present approbation, and certainly not trusting to 
 organic changes, in the lapse of years, to establish his 
 reputation. The very nature of the materials which form 
 the elements of works of art, are, more or less, subject 
 to a gradual decay, particularly in our northern clime. 
 Nearly all the pigments known and employed by artists 
 are liable to lose their primitive hues, and become either 
 less lustrous, dark, or changed. The wood and canvas 
 upon which pictures are painted, suffer decay; desic- 
 cation and insect ravages lead to the remote destruction 
 of panel, the fibres of the threads of canvas lose all 
 tenacity ; and paper from a snowy whiteness becomes an 
 unpleasant drab colour, besides being frequently reduced 
 to a perfect rottenness by the insidious agency of damp. 
 
 A recent official inquiry has taken place on the subject 
 of the pictures in the National Gallery — their altered 
 condition during a few past years, and upon their removal 
 to a less-destroying locality. The result of this inquiry 
 
AND CARE OF WORKS OF ART. 
 
 5 
 
 makes it evident that in London and large towns^ some 
 precautions are of absolute necessity ; nor are coun- 
 try abodes without the continuous agency of mischief^ 
 although of another and of a slower kind. The Parlia' 
 mentary Committee have, however, not arrived at any 
 further conclusion, than that some means are indispensable 
 for future protection of the great works of art belonging 
 to the nation. 
 
 Now all persons have the same desire to preserve their 
 own works of art, even those who are indifferent to the 
 charms of art, for the sake of its pecuniary worth as 
 property ; and almost every person has some ideas about 
 the means of preserving their works, generally derivable 
 from common sense or practical notions, referable to the 
 usual care taken of other household objects, but not 
 always applicable to pictures. 
 
 In offering the succeeding observations on this subject, 
 the Writer had the wish to bring together the result of 
 some experience on his part, aided by judicious remarks 
 made by others, with which he has been favoured in 
 furtherance of this Essay ; in the confident hope it may 
 be acceptable and useful to many readers, by at least 
 stimulating attention to the best means of prolonging the 
 preservation of pictorial art, for our own enjoyment and 
 instruction, as well as for our posterity. 
 
 The changes of temperature in our climate j smoke 
 from coal fires, lamps, and candles ; heated rooms by 
 
6 
 
 THE DISTRIBUTION 
 
 crowds of company; dust actively stirred thereby; vapours 
 from the dinner and tea-table ; the presence of damp 
 either internal or externally ; mephitic odours ; and many 
 other things are all active agencies upon the durability of 
 oil pictures, or framed prints and drawings. That some 
 of these causes tend to the certain diminution of the 
 primitive lustre of all classes of works of art created by 
 colour, is fully evidenced by the present condition of the 
 productions of the old masters. In their oil pictures, the 
 most fugitive colours, the greens for example, have lost 
 the freshness of nature ; the verdant hues have become 
 sickly grey, or brownish-dark. Scarcely a single land- 
 scape painted by the great masters retains the original 
 tints in which the vegetation was painted. The two large 
 landscapes by Caspar Poussin, in the National Gallery, 
 prove to what an extent changes have taken place. It 
 were absurd to imagine that such a mass of darkness, 
 scarcely making any details discoverable, was ever origin- 
 ally so produced by this great painter, living in the bright 
 sunny land of Italy. The skies in ancient landscapes are 
 lowered in tone, and the foregrounds, where it is earth or 
 rock, are in the same condition ; the colours of the figures 
 have become blackened in the shades, and water, if tranquil 
 water, has changed into pools of ink where it has received 
 shadows; or if it be a falling torrent, excepting where 
 the foam retains its whitish hue, it resembles rather a 
 cascade of brown stout. In such a state do we now find 
 
AND CARE OF WORKS OF ART. 
 
 7 
 
 a great number of tbe finest pictures of Kuysdael ; the 
 forms are there, the composition is there, but the truth 
 and freshness of nature have departed. In the historical 
 pictures of the ancient Italian School, it would be a gross 
 absurdity to imagine that these great artists ever painted 
 the shades of the flesh of the intense brown and black in 
 which we now find them. Some pictures even have lost 
 all colour; those by Van Goyen, for instance, of which 
 nothing remains on the canvas but a kind of sepia sketch 
 of the subject, and a London fog for the sky. All water- 
 colour pictures being on paper, are subject to the dete- 
 rioration of tints, by the change of hue which paper 
 acquires by age. Old books and prints testify to this 
 loss of freshness, as well as to the change in the colour of 
 the printing-ink from having a rich cold bluish bloom to 
 a dry fading brown. 
 
 Although it is true that many ancient pictures have 
 descended to us with wonderful comparative lustre, par- 
 ticularly those of the very earliest that were painted in oil, 
 it may be accounted for, either by the greater care which 
 has been taken of them by their different possessors, or 
 by the superior intelligence of the artists in the use of 
 their colours and vehicles. Sir Joshua Reynolds^ fatal 
 experimental practice has already destroyed a great number 
 of his finest works. The picture, by Hilton, of Sir 
 Calepine rescuing Serena,^^ exhibited first in 1831, and 
 probably painted about that time, is now in so ruinous a. 
 
8 
 
 THE DISTRIBUTION 
 
 state that it has been withdrawn from the walls of the 
 National Gallery. It is undoubted that in many instances 
 the duration of oil paintings is dependent as much on 
 the mode of execution, as on the care of preservation, or 
 the advantages of climate. * 
 
 There can be no question, however, that proper care, 
 when taken by the possessors of pictures, drawings, and 
 prints, will for a much longer period perpetuate their 
 primary excellence, and continue the enjoyment of their 
 fascinating qualities. What constitutes this proper care 
 must have been heretofore greatly misunderstood, from 
 the wreck and ruin in which at the present time many 
 ancient pictures exist, particularly those of small value, 
 as well as some by our modern painters. 
 
 The greater number of pictures in England are placed 
 in the apartments of our houses which are used for social 
 intercourse ; and with the universal feeling for decoration 
 of our houses, these apartments are become a great object 
 of solicitude. The effect of a room having the four 
 sides of it without anything ornamental, can hardly be 
 imagined; perhaps such a room does not exist in any 
 house above the merest hovel. The blankness and appa- 
 rent confinement upon the nerves would be harassing, 
 the mind seeks expanse ; and in our small-sized apart- 
 ments, it was first obtained by our ancestors with the aid 
 of looking-glasses and mirrors. But since art has become 
 a necessity, whether it be imaginative or decorative art. 
 
AND CARE OF WORKS OF ART. 
 
 there appears to have been very little attempt to apply it 
 consonant to natural ideas^ or upon principles of taste. 
 Expanse is gained by landscape pictures especially. 
 Interiors have a similar influence. On the contrary^ place 
 a picture containing life-size figures_, or animals of similar 
 dimensions in a room^ the idea of contraction ensues j 
 besides the incongruity in an apartment, making it, in 
 truth, with other pictures of small proportioned objects, 
 an admixture of giants and pigmies. Symmetry and 
 expanse are among the greatest delights of the human 
 eye. 
 
 While on the subject of the adaptability of pictures to 
 increase the delights of our dwelling-houses, a few words 
 may be said about some other adjuncts to our comfort, 
 which have reference to the general harmony. Where 
 pictures are hung, the carpets should be of a small pattern, 
 and of a dark colour ; the contrast will give an apparent 
 augmented light to pictures. But if the room is covered 
 with carpets of gay colours—scarlet, orange, yellow, light 
 blue, &c., in huge scrolls and forms, with roses large as 
 red cabbages, and tulips huge as quart pots, the vision 
 becomes distracted, and the delightful gradations of tint 
 the talented artist has so intensely studied, are totally 
 annihilated by this vulgar tawdriness and want of repose. 
 The carpet on the floor of the new House of Lords is a 
 ready reference for one suitable to give value to pictures. 
 The predominant ground colour of the paper on the walls 
 
10 
 
 THE DISTRIBUTION 
 
 is a difficult problem which has puzzled many learned 
 heads ; it should however be observed that a light ground 
 gives space, while the dark crimson so commonly employed 
 contracts the apartment. Above all, the paper on which 
 pictures are hung, should neither contain flowers, nor 
 birds, nor any natural objects; solely the combination of 
 geometrical forms and lines. Fancy a flower-piece by 
 Van Huysum, or one of Bartholom.ew^s elegant groups 
 placed in juxta-position with the paper-stainer’s convol- 
 voluses, and perhaps the carpet-weaver’s roses and tulips 
 under your feet. Where there is pictorial art, there can 
 be no imitations of it by mechanical means. 
 
 If it were possible to have pictures of regular sizes, and 
 to place them symmetrically on the walls, the arrange- 
 ment would be agreeably harmonious to the eye. This 
 would be easily effected if the pictures were painted 
 expressly for situation — a practice greatly in vogue on the 
 continent by those who patronize the living artists. This 
 effect is greatly augmented by the picture-frames having 
 mouldings and ornaments assimilating with the archi- 
 tectural features of the apartment, such as the doors, 
 cornices, and chimney-pieces. The ensemble of a room 
 thus studied and completed for the unity of all objects 
 bearing reference to a single style, displays a triumph of 
 taste, placing the owner on the same intellectual scale as 
 the artist. The poverty of invention, and rococo design 
 of most of the picture-frames now made, form a humi- 
 
AND CARE OF WORKS OF ART, 
 
 11 
 
 Jiating contrast with the chaste statuettes, bronzes, 
 elegant porcelain vases, and other ornamental adjuncts 
 so profusely gathered in the drawing-rooms of genteel or 
 exalted society. Excessively deep mouldings to oil pic- 
 tures of small merit, are more indicative of purse-proud 
 parvenuship than of a refined intelligence ; it is exhibiting 
 the weight of money instead of mental expansion. Some 
 frames are made with such a depth of moulding, that the 
 pictures thus enclosed appear to be fixed in the bottom of 
 a packing case, forming a kind of grotto or cavity to 
 gather dust, and retain all the injurious fumes which are 
 thus stored up to operate on the surface of the picture. 
 The general circulation of the air passing over these 
 cavernous deposits, leaves the foul contents undisturbed. 
 Besides, in the small-sized rooms we inhabit, every pro- 
 jection into the cubical space has the effect of making 
 the room look still smaller. 
 
 There is abundant occasion to display a cultivated 
 knowledge in the choice of picture-frames, the majority of 
 patterns hitherto in use having but little to recommend 
 them. Latterly an improvement has been manifested by 
 the introduction of open-worked Florentine frames in 
 papier-m.ache. The designs of these frames are very 
 appropriate, as the idea of great weight is obviated by 
 their lightness of appearance. The suspension, real or 
 apparent, of heavy weights, is always uncomfortable to the 
 eye ; and there is besides a danger impending, as the 
 
12 - THE DISTRIBUTION 
 
 cords oil which pictures in weighty frames are suspended; 
 have sometimes broken^ to the injury of the picture and 
 the destruction of valuable articles of vertu placed below 
 it. A remarkably fine Etruscan vase of great rarity was 
 thus shivered into fragments, in the mansion of a distin- 
 guished connoisseur. The usual method of hanging 
 pictures is by coloured strings suspended from a brass 
 rod, which is placed round the room immediately below 
 the cornice. The strings usually employed are hempen 
 cords, covered with coloured worsted, being by no means 
 so strong as their size would imply. The influence of the 
 air leads speedily to the decomposition of their tenacity, 
 and numerous accidents have occurred by their breaking. 
 Where it has been the practice to place the lower edge 
 of a picture-frame upon a rest, so that it may hang 
 slantingly over, as is sometimes done with the notion that 
 a picture is better seen by an oblique position, the cord is 
 more exposed to decay. Many heavy-looking glasses 
 and mirrors, over chimney-pieces, have formerly been 
 ignorantly so suspended ; and after the lapse of some few 
 years their owners have paid the full penalty, by the 
 disintegration of the strings, and the glasses being 
 shivered into fragments in falling down. 
 
 In picture galleries, the upper ranges of pictures are 
 sometimes so slanted over, with the lower edges of the 
 frames resting on a continuous ledge. If the upper edges of 
 the frames are held to the wall by metal chains, no danger 
 
AND CARE OF WORKS ART. 
 
 13 
 
 can ensue. The advantages of viewing pictures placed thus 
 obliquely, are only gained in galleries or exhibition-rooms 
 where the light is from skylights, or from lantern-lights in 
 the ceiling. These advantages are wholly lost in apartments 
 receiving light from windows on the side. Besides being 
 contrary to architectural propriety, when pictures are so 
 placed in habitable rooms, the eye is disturbed instead of 
 receiving the quiet repose incident on the harmony of 
 objects. It is like living under tottering crags, or over- 
 hanging cliffs — an uncomfortable insecurity oppresses 
 every one, instead of the cheerful tranquillity being 
 imparted which is the sweetest delight of home. 
 
 The most desirable way of placing pictures would be to 
 fasten them to the walls, without any visible appearance 
 of the machinery of their suspension. Looking-glasses are 
 now usually fixed in this manner, and if pictures were so 
 attached they would appear as if they formed an integral 
 part of the house, becoming an ornamental pannelling of 
 the architect, filled in by the painter^s skill. In some houses 
 where very fine pictures belong to gentlemen desirous of 
 their beauties being fully appreciated, which, from the 
 depth of rooms or curtain draperies, the side light from 
 the windows scarcely permits — the frames are fastened to 
 folding cranes with hinges formed of flat iron bars of suit- 
 able width and nearly as thin as iron hoop. This contri- 
 vance allows the pictures to be swung forward into the 
 room in a position with the window to receive the fullest 
 
14 
 
 THE DISTRIBUTION 
 
 light, equally distributed. Sometimes the pictures are 
 fastened to the walls by hinges on the sides of the frames, 
 nearest the windows — being capable of being brought to 
 the light by merely bringing forw'ard the farthest end of 
 the frames — moving exactly as a door upon its hinges. 
 The view of pictures arranged in these manners becomes 
 very satisfactory. In the house of Samuel Rogers, Esq., some 
 of the exquisite works of art this distinguished gentleman 
 possesses are so arranged. There is another objection to 
 the use of strings for suspending pictures from a brass rod 
 running round the upper part of the room. Sometimes, 
 from the great number of pictures, they require to be 
 placed in two or three tiers; — there are consequently a 
 number of opposing diagonal lines formed by these strings 
 crossing the vacant surface above the tiers of pictures 
 with great irregularity, occasioned by their different widths. 
 All diagonal lines distress the eye when intermingled with 
 vertical lines. This is especially evident in the grand 
 drawing-room of the late Sir Robert Peeks mansion at 
 Whitehall which contains the deceased Baronet^s extensive 
 cabinet of Dutch pictures, where the multitude of strings 
 that are seen above them, create a deformity and beget an 
 eye-sore incompatible with the natural laws of decoration 
 and harmony. Most pictures placed in this mode are hung 
 on a couple of strings; sometimes one of them, from some 
 inherent defect, stretches unequally with the other and then 
 this picture loses its horizontal and perpendicular position. 
 
AND CARE OF WORKS OF ART. 
 
 15 
 
 Nothing appears more slovenly and neglectful than a 
 number of pictures apparently rolling about thus, left and 
 right, which would be obviated by a permanent attachment 
 to the walls. Besides all weights suspended on strings 
 cause the extension of them to the utmost stretch ; and 
 although when pictures are first placed their position may 
 be judiciously determined, they are sure to descend ma- 
 terially from this, by the elongation of hempen cords. 
 The use of the newly-invented patent wire cordage appears 
 to offer a rational security against many of the preceding 
 inconveniences and accidents. The danger of strings being 
 obvious, many persons for the sake of security have 
 employed small brass chains, from the rods under the 
 cornices, to hang pictures with, and where other pictures 
 are placed beneath, the lower ones are attached by brass 
 chains to hooks fastened on the under side of the frames 
 of the upper row of pictures. 
 
 In the distribution of the productions of pictorial art 
 throughout a mansion or a house, there are a few points 
 deserving of consideration. The separation of oil and 
 water-colour pictures, and engravings from each other ; the 
 choice of subject adapted to the designation of the apart- 
 ment ; the difference of light required for dark toned pic- 
 tures, dimmed by age and discoloured by dirty varnish, from 
 modern ones; the selection of the central places for works 
 of the highest comparative quality; all these considerations 
 belong to the domain of the man of taste. The huddling 
 
16 
 
 THE DISTRIBUTION 
 
 together of all the classes of fine art and completely co- 
 vering up the walls, without order, or disposition of lines, 
 prove the possessor deficient in any innate perception of 
 the beautiful, and only emulative of quantity, as in a broker’s 
 shop. The heterogeneous admixture of paintings in oil, of 
 water-colour drawings, and of engravings in the same 
 apartment exhibits a confusion of objects injurious to 
 each other. The oil pictures look dark ^nd heavy, 
 with somewhat of a greasy effect, by the side of water- 
 colour drawings, while they in their turn become feeble 
 and washy against the deep solidity of oil. Engravings 
 fare still worse and assume a total platitude and coldness 
 from the absence of the glowing and varied tints which 
 colour gives. Each of these three great divisions of 
 pictorial art can only be duly estimated by being kept 
 separate. Pictures embrace all kinds of subjects ; in 
 figures, the sacred and historical ; landscape ; animals ; 
 still-life; interiors; marines; peasant and domestic life; 
 in short every variation of subject from the sublime to 
 the most prosaic and vulgar. Large hunting subjects, 
 fruit pieces and groups of dead game are appropriately 
 decorative for entrance halls and corridors. Whole-length 
 portraits of ancestors are also not misplaced here, and 
 perhaps any large representation of a battle or conflict. 
 In dining-rooms, subjects of a cheerful, festive or 
 Bacchanalian character become animating accessories ; 
 the portraits of eminent or exalted persons, famous for 
 
AND CARE OF WORKS OF ART. 
 
 17 
 
 their achievements in arms or their distinction in the 
 arts, sciences, or literature, looking, as it were, out of 
 their frames upon the company, may impart something 
 agreeably reminiscent of their great acquirements and 
 good actions. Perhaps it would not be a great stretch 
 of imagination to fancy they are our companions in 
 participating of the hospitality of the table. Affectionate 
 feelings will always determine where the portraits of 
 dear relatives should be placed, most consonant to our 
 reverence and esteem. Where the mind is free from the 
 trammels of ordinary life and its coarse realities ; where 
 reflection is undisturbed, and where the most pure and 
 exalted sentiments of human nature can be indulged, 
 seem to point out the study and the library as the fitting 
 shrine to contain these portraits. 
 
 In the drawing-room all works of art should bear 
 the impress of its highest conceptions in elegance, purity 
 and cheerfulness. Pictures displaying human corpses, 
 or bodily afflictions, martyrdoms, dying and suffering 
 saints, anything lacerating the feelings and occasioning 
 painful emotions are ill-judged subjects here. They are 
 only adapted for public galleries, as elucidating the triumph 
 of the artist either in mental expression, composition, Oy 
 any of the theoretical acquirements of high art. All 
 impure nudities are equally improper for the drawing- 
 room ; and in the same category are some of the finest 
 Dutch pictures extant, from their repulsive vulgarity or 
 
18 
 
 THE DISTRIBUTION 
 
 indecency. No work of art can be called an ornament 
 to the drawing-room, which a parent cannot contemplate 
 in company with his daughter. Classical and rural land- 
 scape, marine scenes, highly-finished fruit and flower 
 groups, interiors of ecclesiastical edifices, town views, 
 conversations, historical incidents subject to the preceding 
 reservations, are all applicable to the drawing-room. If 
 the pictures contain life-size figures, they ought to occupy 
 the upper range. A landscape with a bird^s-eye view 
 may also be placed high ; but if the perspective, meaning 
 the horizontal line, is taken low, the best and suitable 
 place is opposite the eye, or (as the artistic phrase goes) 
 upon the line. This is also the suitable range for all 
 small figure compositions in interiors; if hung above the 
 eye, the perspective lines in these pictures become de- 
 ranged. Of equal consequence in hanging pictures in 
 rooms, is the care that should be taken to place them 
 so that the light they receive from the windows may 
 fall in accordance with the arrangement of light and 
 shade of the subject painted. Nothing can be more 
 awkward than to view the human countenance having 
 the side of the face that is in shade, with the shade 
 of the eyelids, and the shade and shadow down the side 
 of the nose, all next to the daylight the picture receives; 
 and the bright tints of the palette pourtraying light, 
 turned to the dark part of the room from whence no 
 natural light can possibly come. This egregious error 
 
AND CARE OF WORKS OF ART. 
 
 19 
 
 is visible in more than one example of those hung, close 
 to the windows of Marlborough House, Pall Mall, com- 
 posing the Vernon Gallery. Similar remarks apply to 
 pictures of every kind, they are all painted with reference 
 to receiving light from the one side or the other. A 
 pictm’e with figures in it, if so placed, has the absurdity 
 of finding the shadows cast, contrary to truth, out of the 
 window, while every natural object in the room has 
 its shadow cast inwards from the window. Many excel- 
 lent works have unquestionably failed of their attraction 
 from this incongruity, and lost the estimation they de- 
 served, without the cause being reflected on, or even 
 suspected. 
 
 Water-colour drawings may be reserved for the boudoir or 
 an inner drawing-room, and also framed prints for sleeping 
 apartments. However, as a great number of persons have 
 not the variety of rooms to admit of such classification, it 
 is always possible to arrange even a few without being 
 injuriously intermingled. The excessive variation of the 
 sizes, shapes and forms of pictures and their frames 
 generally prevent, if they are numerous, any other arrange- 
 nent than the filling up of intervals by pieces that fit into 
 the intermediate spaces. But it is always possible to 
 adopt a base line for the lower edge of all the frames 
 of the under row of pictures; and if they are few in an 
 apartment, a similar unity of the height of the frames at 
 top is something gained. The filling up of intervals by 
 
 B 2 
 
20 
 
 THE DISTRIBUTION 
 
 pieces that fit into the spaces without regard to perspective, 
 proportions, subject or scale of colour may be seen fully 
 practised in the public annual exhibitions of modern 
 pictures, where this irregularity flourishes in the highest 
 degree, and all artists are cognizant of the injury inflicted 
 on their works by unsuitable companionship. 
 
 Having concluded the observations on the placing of 
 pictures for the due effect of propriety of decoration, and 
 the estimation of their various excellencies, the next solici- 
 tude is the care and preservation of them from the ordinary 
 agencies with which we are daily surrounded, that these 
 excellencies may be perpetuated to the utmost duration of 
 time possible. The greater number of pictures altogether, 
 are placed in the apartments of our dwellings which are 
 allotted for social and family intercourse, and they are in 
 some respeets more exposed to deterioration than pictures 
 kept in galleries. The number of picture galleries, truly, 
 is very limited indeed; and the few remarks required for 
 them may by confined to, first, the keeping of a moderately 
 warm temperature by means of fires or flues heated by hot 
 water during the winter and taking the precaution of not 
 opening any windows either lateral or otherwise during 
 the many murky, damp, fog-penetrating days of this part of 
 the year. The effects of this damp atmosphere is eminently 
 injurious to fugitive colours; an example is unfortunately 
 illustrative of it in one of the finest collections of Dutch 
 pictures existing in England. The gallery was built ex- 
 
AND CARE OF WORKS OF ART. 
 
 21 
 
 pressly for their reception ; and on one of those comfortless 
 ^dntry days^ the servant in charge opened a window and 
 left it remaining so for some hours. Opposite the window 
 was hung an almost matchless little picture by W. Mieris^ 
 retaining the original freshness of its green tints, with which 
 a spreading vine was painted in the upper part. The effect 
 of these few hours of damp air has obliterated its pristine 
 beauty : and it now presents a cold^ sickly appearance, out 
 of harmony with the more solid and durable pigments 
 employed in the lower part of the picture. 
 
 There is another practice in frequent use with pictures, 
 both in apartments and galleries, which is to cover them 
 during the absence of the family with linen coverings 
 over the entire surface. Those who have town and coun- 
 try residences frequently leave them thus covered during 
 six months of the year. It would be well if they were 
 so protected when servants are sweeping the carpets or 
 cleaning the floors ; hut this is commonly not thought of 
 even, although the chairs, tables, and nick-nacks, are all 
 covered during this frequently-recurring process. Ex- 
 cluding the light is the certain course to dim all bright 
 colours, and render them more or less obscure. Light is 
 the very life of colour : without light it perishes. If we 
 notice the discoloration of paint in our houses, where the 
 window-shutters fold over, or where pictures and looking- 
 gl-asses have been for any time suspended against walls 
 painted with oil-colour, there is no further evidence 
 
22 
 
 THE DISTRIBUTION 
 
 wanted to convince ns^ that light and air are essential to 
 perpetuating the brilliancy of colours. Paint generally 
 keeps its colour better on the outside of houses than in the 
 inside, where the atmosphere is pure and dry. In London 
 especially, Birmingham, and some other towns, there is 
 an exception arising from the deposit of smoke from 
 coal fires. These observations on light are equally 
 applicable to inhabited rooms as well as to galleries, 
 independently of the difficulty of justly appreciating any 
 production of pictorial art placed in obscure corners, or 
 between windows. 
 
 Having ended the observations on the arranging of 
 pictures for due effect, it may be stated as a general and 
 undeviating rule, never to place pictures where there is 
 the smallest presence of damp — it is the great and prin- 
 cipal agent of ruin. Before proceeding with the care of 
 pictures from mischief, a few remarks may be permitted 
 on the subject of the gilt frames in which they are 
 enclosed. How frequently in apartments, where everything 
 is of the most scrupulous cleanliness, may dirty picture- 
 frames be seen. In this climate, gilding soon loses its 
 lustre, particularly in London, where the great amount 
 of carburetted hydrogen in the air tarnishes everything 
 metallic ; but there is no occasion to permit the dust of 
 weeks and months to lie undisturbed upon picture-frames. 
 Dust is thrown up by sweeping carpets, tread of company, 
 cleaning the furniture, and the removal of coal-ashes from 
 
AND CARE OF WORKS OF ART. 
 
 23 
 
 the fire-grate. Yet in most houses servants are forbidden 
 to touch the picture-frames^ although as a general rule of 
 cleanliness, they should be dusted regularly, which may 
 safely be done with a hand-brush made of the hackle 
 feathers of the male domestic fowl ; the delicate fibres of 
 which can do no injury. The common house-fly is the 
 destroyer of gilding, the lustre particularly inviting its 
 presence. The ordinary means of reducing the swarms 
 may he resorted to in summer-time ; or the frames may 
 perhaps be better protected from their deposits by a slight 
 and careful covering of open leno, or lace-muslin. On 
 the continent the little projecting parts on the outer 
 edge of picture-frames are protected from injuries occa- 
 sioned by removal, or any collision which would damage 
 these outer parts, by a very thin border of deal (as if in a 
 case), painted black and varnished. Besides protecting 
 the frames from accident, the juxta-position of a thin 
 black edge gives additional brilliancy to the gilding, and 
 is not without a good effect upon many pictures. The 
 expense of regilding occasionally a number of frames is 
 certainly a matter for consideration ; but if they are 
 allowed to remain untouched for years, they no longer 
 adorn an apartment; and when any new acquisition is 
 placed among them in its fresh and glittering frame, the 
 harmony is totally destroyed, and an unfavourable com- 
 parison provoked. 
 
 That pictures should have proper care taken of them is 
 
24 
 
 THE DISTRIBUTION 
 
 undeniable, and their possessors are, without exception, 
 fully desirous of so doing, although very little rule 
 appears to direct such wishes, and in default of it, pictures 
 remain for long periods of years accumulating on the 
 surface successive adhesions of obscuring matter. The 
 longer they remain thus, the greater becomes the diffi- 
 culty of any operation on the surface to remove the veil 
 which deteriorates and obscures to the eye the true colours. 
 With a few and simple precautions, their enjoyment in all 
 their beauties may be greatly prolonged, for centuries 
 even. The climate of England, with its variations and 
 our domestic habits, exact a certain amount of regulated 
 attention to ensure success. The surface should be 
 lightly cleaned once a-year to remove the stains made by 
 house-flies. In doing this, the deposits of smoke or other 
 vapours will be cleaned ofi* at the same time. The picture 
 to be thus purified should be laid flat, and carefully wiped 
 with a very fine sponge free from grit, wetted with clean 
 cold water. This should be done gently until all fly- 
 stains are taken off. When these stains disappear, all 
 other of the usual adhesions on the surface will disappear. 
 A piece of soft leather wetted, and the water wrung out, 
 will serve equally well as a sponge. In no case must water 
 be allowed to float over the surface, nor is the addition of 
 soap, soda, or indeed anything of this nature added to 
 the water, otherwise than dangerous in inexperienced 
 ffiands. If this process is undertaken on a dry and warm 
 
AND CARE OF WORKS OF ART. 
 
 25 
 
 day, the face of the picture will almost immediately after 
 the operation be in a fit condition to have a gentle friction 
 bestowed on it by a dry silk handkerchief. A silk hand- 
 kerchief that has been frequently washed is better for this 
 purpose than a new one, as it becomes softer in the fibre. 
 This is the practice pursued in the National Gallery every 
 year during the vacation, under the advice and direction 
 of the most competent persons. 
 
 Dampness has already been remarked upon, to be one 
 of the most powerful and insidious enemies of every class of 
 pictorial representation. If a picture is on panel, the wood 
 gradually rots and decays; the same influence is exercised 
 upon the unprotected canvas forming the back of a picture 
 painted on this substance : thence arises the necessity for 
 lining, and after a period re-lining — is a somewhat delicate 
 undertaking with a rotten cloth. Mr. Mulready, D. A., in his 
 evidence before a Select Committee on the National Gallery, 
 says, on this subject: “In my own case I have seldom painted 
 a picture on canvas without providing against the accidents 
 w^hich the exposed back of a picture is subject to; I place 
 two canvases together back to back j and I paint upon 
 one side; the canvases are not fastened together throughout, 
 they are placed together thus (describing the position); 
 this has a painted side, and I believe in that way they 
 afford considerable security against both damp and dust; 
 it is a simple and obvious thing, and the easiest thing on 
 earth to do. They are placed so together that the air would 
 
26 
 
 THE DISTRIBUTION 
 
 get through the very small apertures; they are placed 
 together and nailed upon a flat edge, and the air will find 
 its way, probably as it does into your watch/^ The efifects 
 of damp penetrating between the interstices of the frame 
 and backboard behind on water-colour drawings or en- 
 gravings displays itself by the gradual advance of a brown 
 stain, so frequently exemplified in old books and prints 
 as to be familiar to every one. The dust which gathers 
 behind all framed pictures should be occasionally removed, 
 as it has a mischievous efifect, for the greater the quantity 
 of loose dust, the longer it would hold the damp; it may 
 not attract it, but it will hold it when it gets it. Perhaps 
 it is unnecessary to caution against hanging pictures upon 
 newly erected, or recently plastered walls: common ex- 
 perience has taught us the danger to be avoided. But it 
 has yet hardly entered into consideration that conservatories 
 opening into rooms are so many depots of damp. It is now 
 so growing a practice, and certainly a source of such very 
 inviting pleasure, that the insidious enemy is not perceived. 
 Yet the watering of the plants and the constant exhalations 
 from the damp earth in the garden pots and from the 
 plants themselves, are diffused over the adjoining room to 
 the great injury of all textile fabrics, and the certain 
 mischievous action on the materials forming the ground 
 of pictures whether panel, canvas, or paper. Por small, 
 highly-finished, and valuable pictures an external covering 
 of plate glass is an expense not to be grudged, which should 
 
AND CARE OF WORKS OF ART. 
 
 27 
 
 be as firmly glazed in the frame as the glass in our win- 
 dow sashes, to exclude the penetrating of the atmosphere, 
 or of vapours engendered in the apartment by meals, lights 
 or any other causes. There is a slight objection to glazing 
 of oil pictures, that it becomes a little difficult to view 
 them without the glass reflecting other objects; but it is 
 more than balanced by the advantages of keeping the sur- 
 faces from any deposit of flies, or other injurious matter; 
 and preserves the varnish in perfect lustre without ever 
 chilling. Some of the pictures in the National Gallery 
 which have had a covering of plate glass for some years, 
 can be referred to in proof of their continuing in excellent 
 condition. The surface of the picture should not be allowed 
 to touch the glass which covers it ; there is sometimes a 
 decomposition of the salts used in the manufacture of glass 
 which is ruinous to colours, where it comes in contact, and 
 should be avoided by fixing the picture at least one-eighth 
 of an inch distant. The manner in which water-colour draw- 
 ings and fine prints are framed by squeezing their surfaces 
 on the glass to make them look smooth is pregnant with 
 danger and destruction from the above cause. Our con- 
 tinental connoisseurs are fully cognizant of this mischief, 
 and frame all their water-colour drawings and prints by 
 straining them on the back-board and placing them fully 
 a quarter of an inch distant from the glass that covers them. 
 The contact of glass, often of bad quality, is very injurious 
 to paper, acting with a kind of capillary attraction to any 
 
28 
 
 THE DISTRIBUTION 
 
 wet or damp that may enter at the edges^ as well as by the 
 before-mentioned decomposition. But protecting the front 
 of pictures becomes of very little service, if we leave the 
 back to the ravages of damaging or destroying agencies. 
 Their effectual preservation from damp (the great enemy), 
 the gathering of dust, admission of foul vapours, the 
 ravages of insects and other evil influences, would be 
 guaranteed by covering the entire back, including the 
 frames with tin-foil carefully glued down on its edges. 
 This could only be applied to small oil pictures, water- 
 colour drawings, and engravings. Those which are of a larger 
 size maybe similarly covered behind with oil-skin strained 
 entirely over and fastened round at the edges in a similar 
 manner. The largest pictures would receive entire pro- 
 tection by a similar application of our common oil-cloth, 
 such as we find in constant use in entrance halls and cor- 
 ridors. Pictures of the latter class in churches and public 
 buildings require especially this kind of protection, as 
 they are more exposed by the absence of any heating appa- 
 ratus — to the cold damp atmosphere of our long wintry 
 months. 
 
 A few words may be permitted in conclusion on the 
 choice of pictures as a prudent outlay. We are essen- 
 tially a calculating people on the money value of our 
 purchases, by way of investment. The few remarks in 
 our former pages have been entirely relative to the deco- 
 rative or instructive arrangement of pictures. The question 
 
AND CARE OF WORKS OF ART. 
 
 29 
 
 of durability comes now to be considered, and a moment^s 
 attention to tbe subjeet is convineing that new pietures will 
 endure mueh longer than those of three or four centuries 
 old. The pecuniary value of some of the works of ancient 
 masters is almost fabulous, but this applies to works 
 so rarely attainable, that during a human life the oppor- 
 tunity may never occur to obtain a genuine work of 
 E-affaelle, Leonardo da Vinci, or Correggio, even by the 
 sacrifice of a sum amounting in itself to a small fortune. 
 The whole mass of inferior old pictures are hastening 
 to decay, already faded in colour, darkened and perhaps 
 covered with ugly patches by unskilful restorers. Their 
 value goes on decreasing rapidly, and will so continue, 
 until they become valueless. Independently of this, they 
 afford no true enjoyment by their presence in our homes; 
 they only hang there to typify the total absence of taste 
 and learning in art of the possessor. All these decayed 
 and decaying fragments of mediocre execution can only 
 harmonise with dirty walls and hangings, broken china, 
 and threadbare earpets. They besides too frequently 
 indicate the blinded belief of an imaginary property; 
 proofs alike of avarice, ignorance and delusion. Similar 
 amounts expended in modern pictures warrant a eon- 
 tinuation of value for generations yet unborn, with a 
 probable and almost certain increase, if well chosen ; 
 thus adding interest to the prineipal sum invested. Oil 
 pictures, soundly painted, have been estimated, if pre- 
 
30 
 
 THE DISTRIBUTION OF WORKS OF ART. 
 
 served with ordinary precautions, to possess the elements 
 of endurance for five hundred years. Some have already 
 reached four hundred years. Besides, the purchaser of 
 the works of living artists will always rank as a real 
 lover of fine art, and add his mite by his individual 
 expenditure to the support and advancement of the 
 national school of painting. 
 
31 
 
 PART II. 
 
 REPAIRING, RESTORING, AND LINING OF PICTURES. 
 
 Upwards of four centuries have elapsed since the 
 discovery of painting in an oil medium^ or rather of its 
 first application to pictorial representations. Painting in 
 oil was certainly known earlier, as modern researches have 
 estabhshed; hut the first use of it in any authenticated 
 picture bears the date of 1420. 
 
 In the earlier ages of this beautiful art, no experience 
 could foresee the various causes which would lead to the 
 loss and decay of works executed in oil-colours ; and as a 
 natural course, but little study was given to the proper 
 means of ensuring their lengthened preservation. Al- 
 though the cleaning of pictures has been considered to 
 have originated in the present epoch, and not to have 
 received the sanction of any distinguished artists, yet the 
 fact is not so, for it was recommended by Buonaroti and the 
 Carracci, as regards the pictures in the church of the 
 
32 
 
 REPAIRING, RESTORING, 
 
 Madonna di Mezzaratta, which were passing into decay. 
 This is related by Lanzi. The Raffaelles in the Palace of 
 the Farnesina, belonging to Agostino Chigi, and also those 
 in the Vatican, were restored by Carlo Maratti, as de- 
 scribed by Bellori. The Cavalier Pecci, in his Guide,^^ 
 mentions the skill of one Nicolo Franchini in restoring 
 injured specimens to their original beauty without applying 
 to them a fresh pencil,^’ &c. The Government of Venice, 
 in 1778, very judiciously appointed a committee to watch 
 over the preservation of the paintings which were inclined 
 to decay, where a studio for the purpose was opened. 
 
 At the present day, however, the consequences of the 
 absence of previous experience are becoming apparent, and 
 many of the finest examples of the old masters have either 
 entirely perished, or are hastening to decay. This has been 
 particularly the case with the frescoes painted by the early 
 Italian masters on the walls of churches and palaces. To 
 perpetuate as far as possible the duration of the fine 
 works which still exist, has become an object of solicitude, 
 for which many means have been devised and applied, and 
 not unfrequently by totally incompetent persons. A 
 good deal of quackery has also crept in, and a constant 
 advertising in the daily journals, announces a variety of 
 infallible nostrums. It may indeed be relied on as a 
 type of incompetency, that a secret should be made of a 
 process, in itself of great simplicity, but only requiring an 
 adequate amount of judgment and practice. In the 
 
AND LINING OF PICTURES. 
 
 33 
 
 desire that the best means should be fully understood by 
 the possessors of pictures, and that the object may be 
 better attained, the author makes public, he believes for 
 the first time in any separate form, the modes of operation 
 pursued by the most skilful artists now practising this 
 useful art for the preservation and restoration of paintings 
 in oil. 
 
 The due preservation of pictures depends chiefly on dry 
 atmosphere, exposure to light, and the absence of noxious 
 exhalations. Among the many causes of injury, exclusive 
 of accidents from violence, paintings are liable to obscura- 
 tion from accumulated dirt and dust, the discoloration of 
 vehicles and varnishes, the changes of colours by chemical 
 action, the cracking of the body and surface of the work, 
 the decay of grounds, damp, mildew, foul air, smoke of 
 lamps, injudicious attempts at cleaning, and a variety of 
 other causes. 
 
 Pictures by the old masters are painted on canvas or 
 wood, some few on sheets of copper, and even on slabs of 
 marble. The earliest oil pictures were on panel. These 
 panels, composed of several boards, were so excellently 
 put together, that in some of the early Plemish pictures it 
 is at the present time, after a lapse of four centuries, 
 impossible to discover the seams on the surface. The 
 grounds or preparations to receive colour applied to these 
 substances have been various. The pictures of the Italian 
 school of the time of Paffaelle had the grounds composed 
 
34 
 
 REPAIRING, RESTORING, 
 
 of pipe-clay, Higlily burned and finely pounded, mixed 
 with a proportion of chalk, and formed into a substance 
 with boiled parchment, or the skins of fish. Velasquez 
 and Murillo painted their pictures upon the red earthy 
 preparations with which the Spanish canvas has almost 
 uniformly been charged. The ground of the pictures 
 painted by Claude has frequently been prepared with an 
 impression of chalk or pipe-clay, as was used by the old 
 masters ; the consequence is that the skies, distances and 
 delicate passages remain as clear as the day they were 
 painted. The ground of many of the pictures painted by 
 Nicolo Poussin is, on the contrary, a dark brown, or red, 
 prepared of a red earth, which in some instances has 
 made the shadows opaque, and has even caused them 
 to perish, an evil which is to be met with in several 
 of the most beautiful and classical compositions of that 
 master. William Vandevelde also painted on these kind 
 of preparations. Some remarks on the dangers to be 
 avoided in treating pictures of this description will be 
 found in their proper places. It is unnecessary to discuss 
 further the merits of these difierent preparations, the 
 very excellent manner in which they are now got up for 
 the artist renders this unnecessary ; our object being only 
 to point out the course to be pursued in repairing the 
 dilapidated state in which so many pictures of value have 
 fallen. 
 
 Having, however, availed myself of opportunities of 
 
AND LINING OF PICTURES. 
 
 35 
 
 becoming acquainted with tbe operative details of the 
 modern system of manufacturing artists’ canvas, I have 
 been enabled to observe that canvas grounds are produced 
 of such tenacity, durability and general excellence, as were 
 never before attainable for the purposes of art, and which 
 must materially aid the preservation of modern works 
 executed upon them ; they have the most important merit 
 of not being liable to crack, or to peal or tear away from 
 the cloth they are worked on, and, beyond all, damp has 
 but little or no influence upon them. 
 
 TRANSFERRI^^G PICTURES FROM PANEL TO CANVAS. 
 
 If the picture is painted on wood which has much 
 perished from the ravages of worms, it may be strength- 
 ened by being cross-barred on the back with either oak or 
 mahogany ; and the same treatment may be pursued with 
 a small picture or panel that has merely warped ; but if, 
 from being composed of difierent panels, some have started 
 from the necessary evenness of surface, it is generally 
 desirable to transfer the painting to canvas ; this is how- 
 ever a very troublesome and expensive proceeding, and 
 only worth undertaking with valuable works. 
 
 The transfer is effected by pasting smooth sheets of 
 paper all over the face of the picture, and afterwards upon 
 this a sheet of fine muslin, it is then to be placed face 
 downwards upon a very even table, and there fixed evenly : 
 
 c 2 
 
36 
 
 TRANSFERRING PICTURES 
 
 tlie wood must then be planed off with the greatest care 
 until it has become as thin as the plane can safely go, and 
 the remainder must be scraped off with a sharp instrument 
 like a razor. After that, the ground upon which the 
 paint lies must be taken away by solvents, gently scraping, 
 or such other means as the skill of the operator may 
 suggest, until nothing remains but the thin skin of colour 
 composing the picture now left pasted on the paper, and 
 held together by the muslin. A prepared canvas must 
 then be applied to the paint in the same way as that 
 employed in lining pictures, hereafter described; and 
 when it is firmly glued on, the muslin and paper on the 
 surface must be tenderly removed by damping, and the 
 picture will appear as if it had been originally painted on 
 canvas. It is a very delicate and tedious operation, 
 requiring extreme caution in removing the remaining 
 portion of wood left after planing, as also the ground, 
 both lying so near the paint. 
 
 In transferring from panel to canvas, blisters are the 
 most frequent difficulty. If they are open, japanners^ 
 size should be passed under and then flattened by a 
 moderately warm iron ; should there be no opening, the 
 picture ought to be relined, although some persons in 
 such cases cut the blisters on the surface, and then insert 
 some adhesive medium. 
 
 This method of transferring pictures originally painted 
 on wood, to canvas, was first practised by Monsieur 
 
FROM PANEL TO CANVAS. 
 
 37 
 
 Hacquin, in Paris. On tlie removal by tbe French, 
 during the invasion of Italy, of many of the greatest 
 works of Italian art, it was found, on inspection, that the 
 painting in many of them was beginning to separate from 
 the impression, or ground of the picture, and that it 
 became absolutely necessary to have the same secured to 
 prevent the total ruin of these magnificent works. Among 
 others which Monsieur Hacquin successfully transferred 
 from wood to canvas, were the St. Peter Martyr, by 
 Titian; Lo Spasimo, the Madonna de Pesche, the St, 
 Cecilia, the Madonna di Foligno, by RafFaelle, and several 
 other capital works. The Raising of Lazarus, by Sebastian 
 del Piombo, in the National Gallery, was originally on 
 wood, and has been transferred to canvas. This important 
 specimen at once elucidates all the advantages and disad- 
 vantages of the procedure. The picture is so far preserved, 
 that the paint lays smoothly enough on a canvas base, and 
 will probably (that is the canvas) last for a great number 
 of years. The evil has become apparent, for the picture 
 is irremediably dyed throughout with a dark tone, arising 
 from the penetration into the colours of the great mass of 
 paste and glue which was consumed in attaching it to the 
 new canvas. Another evil ensued : this thick mass of 
 farinaceous and glutinous matter called into existence 
 myriads of worms, which for a time threatened to devour 
 the entire picture, until they were poisoned by the 
 application of the corrosive sublimate of mercury. A few 
 
38 
 
 TRANSFERRING PICTURES 
 
 pictures have been similarly transferred in London, but 
 only of small dimensions. From its tediousness the 
 expense is great, and only worth expending on pictures of 
 consequence, always bearing in view the ultimate darken- 
 ing of the entire work, which is quite as visible in those 
 which were done by Monsieur Hacquin, now at Paris 
 and Madrid, as by the picture of S. del Piombo in our 
 National Gallery. 
 
 Pictures painted on copper are generally small ; they 
 usually preserve well, but are liable to receive indentations 
 from blows. When such an accident has occurred, the 
 only remedy is to submit the injured part to powerful 
 pressure, by placing it between a number of mill-boards 
 in a bookseller^s screw-press, although this may occasion 
 the displacement of the colour in the space which the 
 indentation occupies. The greatest inconvenience with 
 respect to pictures on copper arises from the nature of 
 the surface preventing the ground from adhering; the 
 paint and ground consequently scale off very readily even 
 by the shaking to which a thin plate of metal may be 
 subjected, and on this account when the copper has 
 bulged, generally from its even flatness, it is dangerous 
 to submit the picture altogether to pressure, to reduce 
 it to the even and flat surface so desirable in all pictures. 
 
 In the early period of art, wood was very generally 
 employed for painting on ; but as canvas possessed capa- 
 bility of tension, lightness, and an even surface, it soon 
 
FROM PANEL TO CANVAS. 
 
 39 
 
 obtained tbe preference over every other material. Canvas 
 appears to have been first made use of extensively by the 
 founders of the Venetian School. 
 
 Pictures painted on canvas are liable to be pierced in 
 holes, or to have rents from accidents ; and when placed 
 against walls where damp is readily imbibed, or confined 
 air allowed to act, the textile fabrics so exposed for a 
 series of years, must, from their very nature, progress 
 slowly and certainly to decay. The ravages of myriads 
 of minute insects engendered by the action of damp upon 
 the vegetable base of the canvas aid in the ultimate 
 destruction of the web ; the picture then hangs loosely on 
 its frame, and as it cannot be wedged up flat, from the 
 danger of coming to pieces, if strained in this rotten 
 condition, the remedy is to line it with a new canvas. 
 
 This is one of the most important proceedings to secure 
 a picture from farther injury. It is performed with great 
 ability by many persons in London, and at very moderate 
 charges. 
 
 LINING OF PAINTINGS. 
 
 Preliminary to commencing the operation of lining, the 
 picture should be carefully cut from the old frame on 
 which it has been fastened, and the edges perfectly 
 squared : it should then be entirely covered on the face 
 by having smooth clean paper pasted over it. If the 
 canvas is very rotten two or three sheets over each other 
 
40 
 
 LINING OF PAINTINGS. 
 
 may with propriety he used, or if it should be merely 
 fragments in parts the safest way is to paste over the 
 paper a fine muslin. The intention of this is to preserve 
 the paint from scratches or injury during the subsequent 
 processes, as well as to hold together in their proper places 
 any parts that may have become detached or loosened by 
 the decay of the original canvas. In most cases it is 
 better to paste the paper on the painting before it is 
 taken off the old frame, otherwise the contraction of the 
 paper in drying will draw up the painting in such a 
 manner as to endanger the success of the subsequent 
 operation. The picture is now to be placed on a very 
 level table, made of wood, quite free from the grain which 
 deal possesses, as the slightest grain or indentations of 
 the lining table will be imprinted on the painting, by the 
 final operation of facing or ironing ; or if the picture is 
 small, it may be placed on a marble slab of very smooth 
 surface. The back is then to be cleared of any rags, 
 patches or adhesions, by using lightly a knife or pumice- 
 stone and by means of a brush the whole is covered with a 
 mixture of glue and paste in equal proportions : a piece 
 of new linen or fine canvas, an inch and a half every 
 way larger, is now to be laid evenly on the picture, and 
 pressed on it by the hand over every part until it com- 
 pletely adheres. 
 
 The fixing of the picture upon the new canvas is usually 
 effected by an equal mixture of glue with paste : it is in 
 
LINING OF PAINTINGS. 
 
 41 
 
 the progress of the decomposition of this mixture, through 
 the influence of damp, that the insect race is engendered, 
 and unless checked will, in the end, not merely destroy 
 the canvas, hut penetrate completely through the surface 
 of the picture, producing a perfect dimness of appearance 
 in colours, which were otherwise brilliant. To counteract 
 this species of dissolution, if the adhesive medium of 
 paste and glue is mixed with creosote, it will not only 
 totally destroy the germ of mischief, and prevent the 
 generation of animal matter, but it has a very beneficial 
 influence in resisting the effects of damp ; the creosote 
 being, as is well known, the oil of tar, will completely 
 prevent the accidents which sometimes occur to newly 
 lined pictures of becoming detached from the lining, by 
 being hung in large halls or apartments where a fire 
 is never kept. Bookbinders use the decoction of colocynth, 
 or ox-gall, in mixing their paste, which preserves the 
 binding of books from the ravages of worms ; but that 
 is insufiicient against damp, and less permanent than 
 creosote. Corrosive sublimate also affords protection 
 against insect ravages. 
 
 When the new canvas or lining has been placed on the 
 picture by the adhesive medium, and pressed closely 
 together by the hand, it must be left until it is nearly dry 
 when a heated iron of considerable weight, such as a 
 hatter^s or a tailor^s iron, is to be passed over the new 
 canvas until it is perfectly flat: it must be used only by 
 
42 
 
 LINING OF PAINTINGS. 
 
 gliding over every part, and not by strokes or a succession 
 of heavy pressures, or blows. The iron used should be 
 four or five inches broad, and weigh from 151b. to 201bs. 
 
 In using the iron the degree of heat is a consideration 
 of the highest consequence, the just medium is only ac- 
 quired by experience; if it is too cold, the effect of rendering 
 the whole evenly flat, is not obtained: while, on the con- 
 trary, a degree of heat at the burning point would destroy 
 the fibres of the new canvas, and at somewhat less than 
 this the total discoloration of the paint ensues. A careless 
 person has sometimes thus converted a portrait into the 
 complexion of a mulatto; whites become tawny, and all 
 other colours suffer a radical change. 
 
 The picture may now be placed on a new stretching or 
 wedged frame, carefully and evenly made, and cross-barred 
 for the smallest picture as well as the largest. The cross- 
 barring is of great consequence to keep the picture firm 
 and steady, and the bars should be doubled or tripled if 
 the picture be of large dimensions. The frame must be 
 made a little wider each way than the picture, and the 
 part of the new canvas beyond the picture must be care- 
 fully glued to the stretching frame. Small tacks may also 
 be used on the edges in the same manner as when prepared 
 cloths are fastened to the frames used by artists for 
 painting on. When the whole of this process has been 
 completed, and a sufficient time allowed for the cement to 
 harden perfectly, the paper pasted on the surface may be 
 
LINING OF PAINTINGS. 
 
 43 
 
 carefully and gently removed by a sponge merely damped^ 
 and the wedges being driven close, tbe operation of lining 
 is ended. 
 
 Professional liners use large stretching frames adapted 
 to tbe width of a large canvas, and place two or more 
 pictures together, according to their size, when the space 
 admits, on this temporary stretching frame. This has the 
 great advantage of preparing the picture for the new 
 wedged frames, without requiring much driving of the 
 wedges, to obtain the perfect flatness which a newly lined 
 picture should always possess. 
 
 Many pictures before lining are little more than a mass 
 of fragments easily displaced from their proper position, 
 or perhaps altogether lost. Some French liners, where 
 the surface is very much broken up, secure the whole in 
 its place by pasting a fine muslin over instead of paper: 
 each mode has its advantages ; but we have before said the 
 safest way is to put paper next to the picture. As this 
 comes ofiF in small fragments by damping, it is less liable 
 to disturb the surface of a dilapidated picture which has 
 been lined, than by wetting the muslin and skinning it ofi*. 
 
 Should there be a hole in the picture of any size, a piece 
 of any old worthless painting may be cut to the shape of 
 the damage, and inserted with great accuracy before the 
 new canvas is laid on: care, however, must be taken that 
 it be a canvas of similar texture and thread to that of the 
 picture, and that the threads of the inserted piece be 
 
44 
 
 LINING OF PAINTINGS. 
 
 placed exactly parallel witli those of the canvas of the 
 picture. This is to be done by placing a piece of old canvas 
 behind the part intended to be cut out^ and by then cut- 
 ting through both at the same time with a sharp knife; 
 thus making sure that the piece to be inserted exactly fits 
 the space cut out. This mode is every way preferable to 
 filling the holes with large stoppings, as they are termed, 
 inasmuch as it continues the grain equally on the surface, 
 and assists materially to conceal the restoration of the 
 damage. 
 
 During all operations of lining, and generally of eleaning 
 pictures, saturation by water is highly dangerous: its 
 utmost use should be limited to application by means of a 
 squeezed piece of sponge, or, what is better, a piece of 
 buff leather soaked, and wrung out. Water is a most 
 dangerous enemy to pictures: it penetrates to the priming 
 or grounds, loosening them by causing a decomposition of 
 the size they are worked with, and thus laying the founda- 
 tion for their entire breaking up and decay; imbibed 
 damp will eventually destroy every woven stuff, and our 
 daily experience shows its lamentable effects on the walls 
 of our dwellings. It must be equally destructive to the 
 canvas of our pictures, and to the materials which form 
 its priming. 
 
 All the pictures of the early masters of the Italian 
 School, with those by Claude and William Vandevelde, 
 painted on the chalk and absorbent grounds, are in the 
 
LINING OF PAINTINGS. 
 
 45 
 
 greatest danger if washed with water. It penetrates 
 through the small crevices which may be in the paint, and 
 often totally destroys the picture. If the picture be upon 
 canvas, like those of the two latter named masters, it 
 breaks into a thousand small lines or cracks. If upon 
 panel, like the pictures of Raffaelle, Andrea del Sarto or 
 Fra Bartolomeo, it breaks up the paint by scaling it off 
 in small points of the size of a pin’s head. In either case 
 it is equally destructive. If the picture, again, is of the 
 Spanish School, and is painted upon the red absorbent 
 grounds, upon a rough canvas, water not only breaks 
 the unity of its surface, but from the canvas being of a 
 coarser texture than the pictures of Claude or William 
 Vandevelde, it penetrates in a greater proportion, and 
 scales it off frequently the breadth of a sixpence, especially 
 in the dark shadovfs, or where the ground has not been 
 sufficiently protected by a thick impasto of colour. At all 
 times, and to all pictures, it is more or less dangerous, 
 unless used with the greatest precaution, and then it 
 ought only to be applied by the means of a piece of thick 
 buckskin leather well wrung out, and left just wet enough 
 to slip lightly over the surface of the picture. In the 
 case of some masters, as those above particularly named, 
 the free use of water may be regarded as next door 
 to absolute destruction; and the w^armer and drier the 
 weather, the operation becomes more active and ruinous. 
 Instances have occurred in which an Andrea del Sarto, 
 
46 
 
 LINING OF PAINTINGS. 
 
 a Claude and a William Vandevelde were destroyed in a 
 few minutes by tbe injudicious use of simple water. 
 
 Great precaution and tenderness must be observed not 
 to weaken or injure tbe threads, which are often, from the 
 effects of age, very rotten. In using the mixture of glue 
 and paste, it is not necessary to soak it in, or lay it on in 
 (pantity, but only to use enough to induce complete 
 adhesion; and it ought to be here remarked, that before 
 the business of lining any picture is undertaken, the dirt 
 and varnish on the face of the picture should be cleaned off, 
 as much as may be judged convenient, by the means here- 
 after described. 
 
 The difficult part of the proceeding is now to take place 
 — using the hot iron. This has been previously adverted to, 
 but cannot be too strongly impressed. The effect of heated 
 iron brought into contact with paint, is known to every 
 one, and a moment^s reflection will bring to mind the 
 consequences of an incautious or improper application. 
 Tailors, hatters, and workers in other trades, by repeated 
 practice, can tell the precise degree of heat which will 
 answer their intended purpose : in such hands the heated 
 iron is applied with the greatest safety. In lining pictures 
 the least excess of heat beyond the degree required may 
 occasion irreparable injuries. Pictures have been so burnt, 
 that either a total and irremediable discoloration has 
 ensued, or they have become so dried and perished, that 
 the particles have only been kept together by being abun- 
 
LINING OF PAINTINGS. 
 
 47 
 
 dantly imbued witb stiff varnisb. In the latter case the 
 picture can never again be cleaned ; in attempting to 
 do so, the whole would come away from the canvas. 
 
 In using the heated iron the picture ought to be per- 
 fectly flattened by the weight alone : it is not to be rubbed 
 over with manual force as linen is ironed by laundresses: 
 nor ought it to be stamped down. By doing so every 
 fragment on the surface, that had any projection from the 
 ground, would be crushed, and all those small prominences 
 of colour left by the artist for pictorial effect destroyed. 
 What would become of a fine Rembrandt in his buttery 
 manner of laying on colour, or a brilliant picture by Turner, 
 if subjected to violent blows on the reverse side from a 
 weighty mass of iron ? If the picture has been painted in 
 the fat manner with points or ridges of colour left by the 
 brush standing up on the face of it, it is necessary when 
 using the iron to place on the table a piece of close-woven 
 woollen cloth, and let it interpose between the table and 
 the face of the painting in the same manner as laundresses 
 use an ironing cloth. If, on the contrary, the face of the 
 picture is very smooth, it has most likely been painted 
 with the colour much diluted with oil, or some similar 
 vehicle, and in this case the iron must not be used so 
 highly heated. 
 
 One inconvenience arising from lining paintings not 
 always foreseen is, that if the picture is cracked over, or 
 has any apertures in the paint, they sometimes become 
 
48 
 
 LINING OF PAINTINGS. 
 
 larger, and so mucli more apparent, tliat after this 
 operation, it becomes necessary to repair the cracks, or 
 the painting- looks much worse than it did before it was 
 lined. This happens from the increased strain given to 
 the threads of the canvas when on the stretching frame to 
 dry; and from the expansion that takes place in driving 
 home the keys of the new wedged frames. 
 
 As it sometimes happens that a hole is pierced in a 
 picture which is otherwise quite sound, and still on a firm 
 stretching-frame, it need not in such case undergo the 
 lining operation ; the damage may be made good by 
 laying the picture down on a flat surface, and fastening a 
 small piece of new canvas on the damaged part alone. 
 Neither glue, gum, or paste, will cause it to adhere with- 
 out leaving the form of the new patch visible on the face of 
 the picture, but if powdered gum mastic is placed between 
 them, and a hot iron squeezed over the place, the adhesion 
 will be effectual, and be invisible on the surface. 
 
 CLEANING OF PAINTINGS. 
 
 The decayed, damaged, and faded conditions of pictures 
 arise from so many and such varying circumstances, that 
 they may be considered analogous to the diseases of 
 human beings, and are occasioned also by innumerable 
 accidental causes. The following very sensible remarks on 
 this subject are quoted from ^^Field^s Chromatography:^^ — 
 
CLEANING OF PAINTINGS. 49 
 
 Picture cleaning has become a mystery in which all the 
 quackery of art has long been practised and profitably 
 employed, and in which every practitioner has his 
 favourite nostrum for doctoring, which too often denotes 
 destroying, under the pretence of restoring and pre- 
 serving. The restoration of disfigured and decayed 
 works of art is, nevertheless, next in importance to their 
 production. 
 
 This medication of pictures is, then, no mean art, but 
 is, when divested of quackery and fraud, as honourable in 
 its bearing, as any other form of healing art; and to 
 be well qualified for its practice, requires a thorough 
 education and knowledge in everything that relates to 
 the practice of painting, or the production of a picture, 
 but more particularly to its chemical constitution and 
 colouring. As, however, a picture has no natural, and 
 little of a regular constitution, it will be difficult to give 
 general rules, and utterly impossible to prescribe universal 
 remedies for cleaning and restoring pictures injured by 
 time and ill-usage. 
 
 Having seen what is to be encountered in cleaning 
 pictures, the next consideration is the means to be 
 employed : these may be divided into two parts, first, 
 .removing varnish; and, second, removing dirt or dis- 
 coloration. Por the latter purpose, ox-gall, applied with 
 a soft brush, is an excellent detergent, and may be freely 
 applied without fear ; it must, however, be well washed 
 
 D 
 
50 
 
 CLEANING OF PAINTINGS. 
 
 off with pure water^ or it will leave a clamminess on the 
 surface that may prevent the varnish afterwards applied 
 from drying. 
 
 Before attempting to clean any picture which has been 
 lined^ the face of it should he carefully wiped with a damp 
 rag, to take off the glue and paste which may have been 
 left on the surface during this process, and afterwards 
 slightly cleaned over with diluted ox-gall. The neglect of 
 this, causes the attempt to clean the varnish off abortive ; 
 as the spirit has its action impeded by the interposition of 
 the remains of this adhesive medium. 
 
 Various kinds of varnish having been in use, it is 
 desirable to be acquainted with the nature of that which 
 has been applied to the picture about to be cleaned, and 
 the period when it was varnished. If the varnish is 
 recent, it is more easily removed ; but in proportion to its 
 age, it becomes difficult. In the latter case, it is fre- 
 quently useful, before attempting the removal, to give the 
 work a new coating of varnish, always previously wiping- 
 off all dust or dirt by a soft cloth, or a damp- sponge: 
 indeed this clearing off should be the very first operation 
 in all cases. When the new varnish is dry, it will, on 
 applying a solvent, be found to have attached itself to the 
 old, and both may be removed without difficulty ; whereas, 
 without this preliminary coat, much friction may become 
 necessary, and consequently injury ensue. 
 
 The solvents employed to remove varnishes are liquor 
 
CLEANING OP PAINTINGS. 
 
 51 
 
 potass8e_, oil of tartar, spirits of wine, pure alcohol, liquor 
 ammoniae fortis, naphtha, ether, soda, and oil of spike 
 lavender. The very nomenclature of these powerful 
 agents will at once show the great risk of their being 
 injudiciously or carelessly employed. 
 
 All pictures to be cleansed should be laid flat; for if 
 placed either obliquely or upright, considerable danger is 
 incurred by the solvent running down the surface of the 
 picture. For instance, a slight stream of ammonia, or 
 other strong solvent, may partially or entirely dissolve 
 and carry away all the colour it meets with in its track of 
 descent. 
 
 It must be observed, that in attempting to clean a 
 picture, nothing short of good practice, and a knowledge 
 of the chemical habitudes of the materials employed on 
 the picture, can make the undertaking a safe one ; so that 
 an operator may be able, in case of accident, to fall back 
 upon his judgment, and be prepared with an antidote 
 instantly to arrest mischief. 
 
 For tender varnishes, such as mastic, spirits of wine 
 may be employed with considerable safety ; to make 
 assurance doubly certain, it is desirable that the spirit, 
 which is usually sold at 58 degrees of strength, should be 
 diluted by a fourth part of water, or by the same pro- 
 portion of rectified spirits of turpentine, or it may be used 
 with the addition of a sixth part of linseed oil, added to 
 the diluted, or to the pure spirit. In every instance, the 
 
 D 2 
 
52 
 
 CLEANING OF PAINTINGS. 
 
 •mixtures must be well shaken together every time of 
 using. 
 
 The addition of turpentine to the spirit diminishes its 
 action to a safer ratio, and has the beneficial effect of 
 guarding, in some measure, against any consequences of 
 friction. By the addition of linseed oil, the operator is 
 enabled to see the full action of the spirit, without its 
 being concealed by the bloom produced in its rapid 
 evaporation. 
 
 The principal objection to the mixture of oil with spirit 
 in cleaning, is, that the oil by affinity to the same medium 
 with which the picture was painted, is certain to attack or 
 soften the colours, and if the rubbing is continued from 
 necessity, for any time, a portion of the paint may be 
 brought away with the varnish, to the great damage of 
 the picture. 
 
 If the picture be a figure subject, it is safest to begin 
 with the flesh ; if a landscape, with the sky, and in any 
 subject with the brightest part. On a light colour, the 
 action of the solvents is most readily and surely ascertained, 
 and the necessary degree of dilution determined upon; 
 the effect produced is more readily observed, and as all 
 flesh tints, skies, and other bright parts, are painted with 
 colours, of which flake white forms a considerable propor- 
 tion, these parts are always the hardest, and may there- 
 fore be more safely commenced upon than the thin 
 shadows or glazes. 
 
CLEANING OF PAINTINGS. 
 
 53 
 
 Ha^ong made a preliminary observation on the part 
 which it is proposed to commence npon^ a small tuft of 
 raw cotton wool must be slightly wetted with the prepared 
 spirit, before described : hold this in the right hand ; 
 saturate another piece of wool with rectified spirits of 
 turpentine, and hold this in the left hand. 
 
 The picture being laid flat, commence wiping off the 
 varnish from the already determined place on the surface 
 of the picture with the wool that has imbibed the spirit. 
 If it is the soft or mastic varnish so generally used it will 
 come up with a slight friction, rubbing gently a very small 
 portion of the surface of the picture in a circular direction- 
 After two or three evolutions, examine the tuft of cotton 
 wool, and you wfill find it discoloured, by its having taken 
 up some portion of the varnish ; turn the wool round to 
 get a clean part, and use it till it is similarly discoloured ; 
 immediately wipe the place cleaned with the other piece 
 of wool which is saturated with the turpentine. 
 
 The oftener clean wool is taken the better, as it is more 
 readily seen when the paint is touched. The least devia- 
 tion from the tone of the varnish on the cotton wool should 
 be immediately attended to, as it is a sure sign of 
 approaching danger, and the action should be stopped by 
 applying the turpentine. 
 
 Turpentine is a counteracting medium, which instantly 
 arrests the action of the solvent spirit. The wool must be 
 changed as fast as it receives the dislodged varnish ; for 
 
54 
 
 CLEANING OF PAINTINGS. 
 
 the varnish once taken on the tiift_, impedes the due action 
 of the spirit by its interposition. 
 
 By following this process with the greatest attention to 
 the appearance of the surface, the whole of the varnish on 
 it may be entirely removed ; and when this is completed, 
 it should be wiped all over with spirits of turpentine ; after 
 the evaporation of which it may be immediately re-var- 
 nished ; that is presuming the surface will be found in a 
 perfect condition, and not require either retouches in 
 slight damages, or restoration. 
 
 To re-varnish the picture, take two-thirds of mastic 
 varnish, as sold by the colourmen who supply artists, and 
 add one third of spirits of turpentine; mix them well 
 together : this ought to be done with the application of 
 heat, but, as it is very dangerous to do so over a fire, 
 it may be done by placing the varnish pot in a bowl of 
 boiling water, until a vapour arises from the combined 
 varnish and turpentine. Varnish the picture then with 
 this preparation as thinly as possible, brushing briskly 
 over every part with the varnish brush. This may be 
 repeated two or three times, until it gives complete satis- 
 faction. The only way to get it on smooth, is to repeat 
 several of these thin layers. If the picture need restora- 
 tion of colours, one coat of varnish is sutficient to bear 
 out the colours for the purpose of repairing. 
 
 From the published Report of the Select Committee of 
 -the House of Commons, it appears in evidence, that very 
 
CLEANING OF PAINTINGS. 
 
 55 
 
 many pictures have had a small proportion of oil mixed 
 with the mastic varnish. This has been done with the 
 idea of preventing the bloom or chilliness sometimes 
 observed on newly varnished pictures. The practice is 
 however much to be deprecated, as it can hardly ever be 
 totally removed, becomes discoloured and will never after- 
 wards admit but of its continuance, for varnish subse- 
 quently applied without the addition of the oil, would 
 cause the pictures to crack all over. 
 
 There is another mode practised of rubbing off the 
 varnish with the cuticle of the fingers ; but this dry 
 rubbing exacts considerable force, which is very injurious 
 to fine pictures, often depriving them of their crispness 
 of touch, and making the whole painting look woolly, 
 w'hile, by the prudent use of a solvent, in presence of a 
 counteracting medium, no damage, with due care, will be 
 inflicted. 
 
 In pictures representing marine vessels, the delicate 
 lines of the rigging are certain of being rubbed out by 
 friction, and it requires great attention to avoid disturbing 
 them even by the use of the spirit. 
 
 When there is no varnish on a picture, and the dis- 
 coloration arises from smoke of fire-places, or is caused 
 by the oil in which the colours are ground rising to the 
 surface as the paint hardens, it can only be remedied by 
 the use of a very fine grit, either of powdered pumice- 
 stone, or Flanders’ brick, separate, or united with some 
 
56 
 
 CLEANING OF PAINTINGS. 
 
 powdered whiting, according to the circumstances of the 
 case ; but this is more dangerous than any other mode in 
 inexperienced hands. 
 
 For hard varnish, such as copal, a fine-edged knife or 
 razor is sometimes employed, but it is both tedious and 
 unsatisfactory, therefore the stronger solvents, such as 
 liquor potassse, or liquor ammonise fortis, are usually 
 brought into action ; but in proportion to the strength of 
 the solvent, must the progress of the work be carefully 
 watched, or the least neglect may soon occasion a fatal 
 accident. 
 
 It is hardly possible to give decided rules how to dis- 
 tinguish the difierent varnishes on a picture, so much 
 depends on experience ; but copal may mostly be known 
 by its resistance to the use of the ordinary solvents. It 
 is equally impossible to prescribe the exact quantities of 
 the solvents to be employed on pictures generally, without 
 a knowledge of the principles upon which they were 
 individually executed, whether with solid colour, or with 
 glazings in oil, varnish, or megilp ; and what restoratives 
 or repaints have been at various times added. Some 
 acquaintance with the methods of the different schools 
 and masters is necessary to account for the alterations, 
 changes of tone, or state of decay, in which the pictures 
 happen to be. 
 
 Any attempt to soften the varnish, by moistening, or 
 allowing the solvent to float over the surface for a time. 
 
CLEANING OF PAINTINGS. 
 
 57 
 
 before using the cotton to wipe up, is a most dangerous 
 experiment; the necessity has already been shown of 
 being prepared with the counteracting medium on the 
 slightest appearance of mischief : therefore a powerful 
 solvent allowed to remain acting chemically to decompose 
 the varnish, may suddenly penetrate to the paint, and 
 succeed in dislodging it in a mass from the ground. 
 
 When a picture has never received any varnish, it is 
 not proper to apply a solvent at all to clean it. Solvents 
 are only necessary to remove varnish. The course then 
 to be adopted, is to wipe off as much dirt as possible, 
 by a piece of buff leather that has been damped and 
 wrung nearly dry ; and it will much assist the clearing 
 off, if some powdered whiting is made use of, as soap 
 usually is. 
 
 The common method of removing varnish by friction, 
 is by rubbing the surface with the ends of the fingers, 
 previously dipped in a little finely-powdered resin. By 
 continuing this rubbing for some time, the varnish gives 
 way, and may be completely removed. It will come up 
 like an impalpable white powder, and should be con- 
 stantly wiped off to allow the picture being seen, to 
 ascertain when all the varnish is taken up, that the paint 
 may receive no damage. The dust ought to be frequently 
 wiped off, to ascertain that the picture is not receiving 
 damage. 
 
 The objection to the use of friction by the fingers to 
 
58 
 
 CLEANING OF PAINTINGS. 
 
 remove varnish, is the injury inflicted, more or less, on 
 the paint. That continued friction, even of the softest 
 bodies, will make impression on the hardest surface, is 
 well known. 
 
 In canvas, where the threads cross each other in the 
 weaving, they form a continuous grain of fine points. 
 When paint is laid on this granulated surface, it sinks 
 into the numerous depressions, and lies thinner on the 
 raised parts forming the grain. Triction, therefore, rubs 
 down the paint from these small eminences, particularly if 
 a coarse canvas has been employed, so that, frequently, in 
 cleaning a picture by friction, the colour at last remains 
 only in the interstices of the threads, and presents an 
 appearance of minute tracery, or reticulation, very similar 
 to the web of bobbin net. 
 
 If the picture is painted on a panel, the fibres of the 
 wood become more prominent with age, by desiccation, 
 and the application of friction here will leave the painting 
 with every minute grain marked by a fine line, showing 
 the bare surface. The restoring of this kind of damage 
 by colour, is a work of great tediousness and uncertainty. 
 
 The greatest ditficulty met with in cleaning, is to take 
 off those repaints which may at various times have been 
 added. If they are of the true tints, and have been judi- 
 ciously done, they should certainly be left undisturbed ; 
 but if any change of tone, destructive of the harmony of 
 the work, is visible, they must be removed. 
 
RESTORATION. 
 
 59 
 
 Caustic, soap-makers^ ley, liquor potassse, pure alcohol, 
 and the scraper, are the ordinary means to take off re- 
 paints : all of them dangerous, if not closely watched and 
 used without violence. 
 
 RESTORATION. 
 
 Having been sufficiently diffuse on the manner of 
 cleaning the dirt and varnish from the surface of paint- 
 ings, I now offer a few remarks on the restoration or 
 reparation of damages or decay in pictures. 
 
 As there may be holes or fissures from accident or 
 other causes, on the surface of either the panel or canvas 
 on which the pictures have been painted, before pro- 
 ceeding to any rectification of colour, it will be necessary 
 to fill up, or in the language of the craft, to stop up all 
 such damages. This is usually done by working in 
 firmly, with a palette knife, a paste made of whiting and 
 parchment size, of about the same consistence as putty ; 
 or, instead of parchment size, good stiff glue may be 
 used with the whiting. If the picture has been painted 
 on an oil ground, it may be very carefully filled in with 
 white lead made into a thick consistence with linseed 
 oil. In the first case, when the paste is quite hard and 
 diy, the superfluous portion must be rubbed off by the 
 gentle use of a piece of fine-grained cork, damped with 
 a little water; and in the latter, a small piece of soft- 
 
60 
 
 RESTORATION. 
 
 grained pumice-stone, with water. The picture should 
 then he thoroughly cleansed on its surface by a rag 
 dipped in turpentine, to take off all greasy matter ; or it 
 may be wiped over by a rag not wetted, but merely 
 damped with ox-gall. 
 
 Should the picture have become very much obscured, 
 through having been kept for a length of time in a very 
 feeble light, it would be much benefitted by being placed 
 opposite to a window, where it could receive a strong- 
 sunlight on it for two or three months. I have seen 
 many pictures, which were nearly obscured from the pre- 
 ceding cause, restored to a greater lustre and brilliancy 
 by such exposure alone. This is particularly the case 
 with the early pictures of our English school, which may 
 have been constantly placed in dark portions of apart- 
 ments, or in ill-lighted halls and staircases. 
 
 Before any repair of the painting takes place, a very 
 thin coat of mastic varnish, diluted and prepared as I have 
 before described, must be laid on ; this is necessary, to 
 enable us to view the colours in their proper tone. 
 
 To obtain purity of colour, and durability of tint, it is 
 absolutely necessary, firstly, to make use of those pigments 
 only that are permanent. Secondly, that in mixing the 
 tints to match the parts to be repainted, none but very 
 clear and pure tints be used : by this I mean tints formed 
 of as few colours as possible. It is allowed, that a tint 
 compounded of two colours or pigments only, is more 
 
RESTORATION. 
 
 61 
 
 permanent than one compounded of three ; and equally so 
 is a tint compounded of three colours, in preference to one 
 compounded of four. Therefore, all tints used in repairing 
 should be mixed as simply as possible, and not made up, 
 as modern painters too frequently do, from a scumbling 
 together of all the contents of the palette. Fuseli, in his 
 lectures, remarks on the combination of tint, ^^two colours 
 make a fine tint, three colours are less satisfactory, but 
 four colours make mudJ^ The next precaution is to 
 mix all colours thoroughly, to work them well together 
 with the palette knife. The importance of this is not at 
 first striking, but is of primary consequence ; the neglect 
 of doing so, will cause an unexpected change of tint. 
 This ensues from the difibrent density of the various 
 pigments composing the tints, which, if not well worked 
 together, the weighty colour sinks, and the less weighty one 
 rises to the surface. With all colours prepared from lead 
 and mercury, a horn or ivory palette knife, should be used 
 instead of the steel one; the abrasion of the latter in 
 working together the tints required becomes an active 
 cause of foul discoloration. 
 
 The colour should be worked as thick and pasty as is 
 possible to use it, and not in the oily and sloppy con- 
 dition of modern practice. Reference to the works of the 
 old, and particularly to the earlier, masters, which have 
 stood the test of centuries, and come down to the present 
 time in their primitive brightness, will convince us that 
 
62 
 
 RESTORATION. 
 
 it was their method to use pure tints, in the least fluid 
 condition. 
 
 The tints used should always be a degree or shade 
 brighter than the part they are matched to, otherwise as 
 they sink or acquire a darker tone in drying, the repairing 
 touches will appear visible and detached; the neglect of 
 this precaution will be apparent on hundreds of pictures, 
 if connoisseurs carefully examine them. 
 
 The artistic part of the restoration of damage or decay 
 requires little comment ; it is evident that the possession of 
 ability must be desirable, almost necessary in the restorer, 
 in the same degree as in the original artist. Whoever 
 presumes to add colour to a work of art should have a 
 thorough understanding and a just appreciation of the 
 fine qualities of the master, to be enabled to do so without 
 deterioration of his excellencies. Who will question that 
 a picture of Rafiaelle may have an injury safely restored 
 by the hand of an Eastlake, or a fine Claude by the 
 magical pencil of a Danby, if they would so employ their 
 great abilities ? 
 
 When all the parts of a damaged picture are restored 
 by the pencil of the artist, to ensure complete success, 
 the work should be laid aside for some considerable time, 
 perhaps three, or even six, months. If kept in a tolerably 
 dry atmosphere, and not varnished, the paint hardens, 
 and the oil of the renewed paint will, by the process of 
 desiccation, rise to the surface; it should then be carefully 
 
RESTORATION. 
 
 63 
 
 wiped off with turpentine^ when the body of the colour 
 will be left in the purest state possible : every damage or 
 repair, if judiciously executed, being unobservable by the 
 most scrutinizing eye. The same process would give the 
 greatest light, purity of tone, and dazzling brilliancy to 
 a modern picture, if this practice were pursued of getting 
 off all superfluous oil which is thrown out by the drying 
 of the colour, always using the colour in the most pasty 
 condition possible to work with, and allowing some 
 months to elapse before varnishing. But modern practice 
 must oil out, as it is termed, to saturate the picture 
 in process of painting; besides the employment of a 
 multitude of nostrums rather than solid painting, after 
 which an immediate varnish completes the heterogeneous 
 combination. 
 
 Previous to varnishing a repaired picture, it may receive 
 over its surface a slight layer of weak isinglass size. 
 This is perfectly transparent, and has the advantage of 
 offering an interposing medium between the varnish and 
 the new paint, which prevents their combination, and 
 consequently, breaking up or cracking, should the new 
 paint not have become sufficiently hard to resist the 
 varnish. 
 
 It has been suggested that the use of body colours 
 with a water medium would be the safest to prevent the 
 change of colours in the repairs. It might perhaps 
 answer in the bright painted skies in landscape, water, &c.. 
 
64 
 
 RESTORATION. 
 
 but it requires great artistic skill to manage its exact 
 tone : there is no question of its being unchangeable^ and 
 this seems its only advantage. 
 
 There is another method adopted in the restoration of 
 damages, which consists in the use of powder colours 
 with copal varnish, or varnish megilp. 
 
 It cannot be denied that all pictures suffer some dete- 
 rioration by being touched at all ; the less that can be 
 done to them the better : it should be just sufficient to 
 bring them back as near to their original state as possible; 
 and in every ease works of value should be trusted to 
 efficient hands only, if we would retain our property 
 and have their excellencies perpetuated for the instruc- 
 tion and admiration of future ages. 
 
 THE END. 
 
 LONDON 
 
 Printed by Schulze and Go., 13, Poland Street. 
 
LOiT 
 
 J^lnterials fnr ^r. 
 
 MANUFACTURED BY 
 
 GEO. ROWNEY & Co., 
 
 51, EATHBONE PLACE, LONDON. 
 
54 
 
 GEORGE ROWNEY & CO. 
 
 OIL COLOURS, 
 
 nr PATENT METALIC TUBES, GROUND EXTRA FINE. 
 
 ■WTQT'PX'e f^New White tPermanent White 
 WHlliS ^*Make White 
 
 )5SIA 
 
 
 )WN 
 
 YELLOWS^ 
 
 BROWNS 
 
 'i-Naples, 1, 3, 3 *Transpt. GoldOker 
 tPatent Yellow *p,aw Sienna 
 tKing’s Yellow *Roman Oker 
 *Chrome, 1, 2 §Italian Pink 
 tChrome, 3, 4 §Yellow Lake 
 ^Yellow Oker *Orpunent 
 .^Italian Oker tGamhoge 
 
 '*Brown Oker 
 *Burnt Umber 
 *Raw Umber 
 *Mummy 
 *Bone Brown 
 *Brown Red 
 *Indian Brown 
 
 *Bitumen 
 *Verona Brown 
 ^Asphaltnm 
 *Cappah Brown 
 *Vandyke Brown 
 tBrown Pink 
 *Cassel Earth 
 
 f*^Ivory Black *Blue Black 
 
 JiiiAOJkS \»Lamp Black »Black Lead 
 
 BLUES 
 
 BEDS 
 
 GREENS 
 
 ( tindigo lAntwerp Blue 
 
 ^Prussian Blue §Permanent Blue 
 
 (.^Chinese Blue 
 
 ^§Crimson Lake ^Indian Red 
 I § Purple Lake *Brown Red 
 
 J §Scarlet Lake *Burnt Sienna 
 
 I §Indian Lake *Bt. Brown Oker 
 
 *Light Red *Bt. Roman Oker 
 
 * Venetian Red 
 
 
 r tVerdegris 
 |*Terra Vert 
 
 *Emerald Green 
 tOlive Tint 
 
 MEDIUMS 
 
 Glp 
 
 EXTRA COLOURS IN TWO-INCH TUBES 
 
 Each Tube. 
 
 ('§CohaJt . . 1 
 
 BLUES < §French Ultra . 1 
 C§Ultramar. Ash 3 
 nindian Yellow 1 
 j § Lemon Yellow 1 
 YELLOWS{§CadmiumYell. 1 
 §Platina Yellow 1 
 L§Mars YeUow . 1 
 ORANGE §Mars Orange . 1 
 f §PaJladium Red 0 
 
 s. d. 
 
 s. a. 
 
 0 -pxiTkQ ('§Madder Lake 1 6 
 
 2 cSli. \ t 
 
 0 ('§Madder Brn. 1 0 
 
 6 BROWNS ■? §Ruhen’s Mad. 1 0 
 6 C§MadderineBr 0 6 
 
 beds 
 
 ° r§MadderPur. 2 
 
 ^ PURPLES i §Madderine L. 0 
 
 0 (. Violet Carm. 1 
 
 , . . 6 r§Green Oxide 
 
 §Ditto Scarlet . 0 6 GREENS •? of Chromium 1 
 
 §yermiliqn . 0 6 C§Malachite Gn 1 
 
 § GREY 
 
 I §Orange Ditto . 0 
 k§Ext. of Vennil. 1 
 
 §Mineral Grey 1 ( 
 
 Colours marked with * are put in the large-size Tube. Those marked 
 ^th t are put in the middle-size Tube. And those marked with § are put 
 in the BmaU-size Tube. All the Colours may be had in larger sized Tuoes 
 at a corresponding advance in price. 
 
51, RATHBONE PLACE. 
 
 55 
 
 POWDEE COLOUES, 
 
 FINELY GROUND IN SPIRITS. 
 
 Ultramarine . . . from £3 Os. to £7 Os. per oz. 
 
 Ditto Ashes . . . . „ 7s. 6d. to 21s „ 
 
 Colours ground in Water, 9d. per ounce extra. 
 
 
 per oz. 
 s. d. 
 
 
 per 
 
 S. 
 
 0*. 
 
 d. 
 
 Deep Rose .... 
 
 24 
 
 0 
 
 Lemon Yellow 
 
 6 
 
 0 
 
 Burnt Carmine 
 
 27 
 
 0 
 
 Madder Brown 
 
 6 
 
 0 
 
 Cad Yellow .... 
 
 12 
 
 0 
 
 ,, Lake or Pink Madder 
 
 7 
 
 6 
 
 Carmine, Finest 
 
 18 
 
 0 
 
 Madder Purple 
 
 22 
 
 0 
 
 ,, 2nd quality . 
 
 9 
 
 0 
 
 Mars Orange . . . 
 
 15 
 
 0 
 
 „ 3rd quality 
 
 6 
 
 0 
 
 „ Yellow . 
 
 10 
 
 6 
 
 ,, Vermilion 
 
 1 
 
 0 
 
 Permanent Blue . 
 
 3 
 
 0 
 
 Chinese White 
 
 0 
 
 9 
 
 Pure Scarlet . 
 
 9 
 
 0 
 
 Cobalt Blue 
 
 7 
 
 6 
 
 Purple Lake 
 
 6 
 
 0 
 
 Cremnitz White 
 
 0 
 
 4 
 
 Platina Yellow 
 
 6 
 
 0 
 
 Crimson Lake, best 
 
 7 
 
 6 
 
 Rose Madder Carmine . 
 
 12 
 
 0 
 
 Dahlia Carmine . . 
 
 27 
 
 0 
 
 Scarlet Lake . 
 
 7 
 
 6 
 
 Ext. Mad. Carmine 
 
 22 
 
 0 
 
 ,, Vermilion. 
 
 0 
 
 9 
 
 Flake White . 
 
 0 
 
 3 
 
 Smalt (Dumont’s) . 
 
 27 
 
 •0 
 
 French Ultramarine 
 
 6 
 
 0 
 
 ,, Common . 
 
 6 
 
 0 
 
 Green Oxide of Chromium 
 
 6 
 
 0 
 
 Vermilion 
 
 0 
 
 9 
 
 Indian Lake 
 
 3 
 
 0 
 
 Violet Carmine . 
 
 7 
 
 6 
 
 „ Yellow . 
 
 Intense Blue 
 
 7 
 
 6 
 
 6 
 
 0 
 
 Yellow Carmine or GaUstone 
 
 15 
 
 0 
 
 One Shilling and Sixpence per Ounce. 
 
 Antwerp Blue 
 Brown Pink 
 Indian Red 
 
 Indigo 
 
 Italian Pink 
 Mummy 
 
 Ext. Vemulion. 
 
 Prussian Blue 
 Verdigris 
 Yellow Lake 
 
 
 One Shilling per Ounce. 
 
 
 Blue Black 
 
 Bone Brown 
 Brown Oker 
 Burnt Sienna 
 Burnt Umber 
 Cologne Earth 
 Chromes, 1, 2, 3, 
 Emerald Green 
 
 Italian Oker 
 
 Ivory Black 
 
 King’s Yellow 
 
 Lamp Black 
 
 Light Red 
 
 Naples Yellow, 1, 2, 3 
 
 4 Orpiment 
 
 Patent Yellow 
 
 Raw Sienna 
 
 Raw Umber 
 Roman Oker 
 
 Terra Vert 
 Vandyke Brown 
 Venetian Red 
 Yellow Oker 
 
 Packets of Powder Colours at 6d. each. 
 Ditto ditto Is. „ 
 
56 
 
 GEORGE EOWNEY & CO.^ 
 
 OILS, VAENISHES, &c. 
 
 Mastic Varnish, double 
 
 Glass bottles 
 containing 
 Half-a-Gill. 
 each, 
 s. d. 
 
 strength 
 
 Nut Oil . 
 
 Glass bottles 
 containing 
 Half-a-GiU. 
 each. 
 s. d. 
 
 . 0 6 
 
 Crystal Ditto. 
 
 . 0 
 
 9 
 
 Poppy Oil . 
 
 0 6 
 
 Picture Copal . 
 
 1 
 
 0 
 
 Purified Linseed Oil 
 
 . 0 6 
 
 Oil Copal Ditto 
 
 . 1 
 
 0 
 
 Pale Drying Oil 
 
 0 6 
 
 White Spirit Ditto . 
 
 1 
 
 0 
 
 Dark Drying Oil . 
 
 . 0 6 
 
 Brown Spirit Ditto 
 
 . 1 
 
 0 
 
 Fat Oil 
 
 0 6 
 
 Japan Gold Size. 
 
 White Lac Varnish 
 
 0 
 
 . 1 
 
 (? 
 
 0 
 
 Spirits of Turpentine 
 
 . 0 6 
 
 Asphaltum, pots . 
 
 Me Guelp . . 
 
 . 0 
 
 1 
 
 Copal Me Guelp, pots 
 Gumption . 
 
 . 0 9 
 1 6 
 
 PEEPAEED CANVASSES ON FEAMES. 
 
 Inches, 
 
 ALL THE SIZES NAMED CONSTANTLY KEPT IN STOCK. 
 
 PORTEAIT SIZES 
 
 8 by 6 
 
 . 0 
 
 10 each. 
 
 10 „ 8 
 
 1 
 
 0 
 
 99 
 
 12 „ 10 
 
 . 1 
 
 3 
 
 99 
 
 14 „ 12 
 
 1 
 
 6 
 
 99 
 
 18 „ 14 
 
 . 2 
 
 0 
 
 99 
 
 20 „ 16 
 
 2 
 
 3 
 
 99 
 
 21 „ 17 
 
 . 2 
 
 6 
 
 99 
 
 24 ,, 20 or head size .... 
 
 3 
 
 0 
 
 99 
 
 30 ,, 25 or 1 size .... 
 
 . 3 
 
 9 
 
 99 
 
 36 „ 28 or Edtcat size .... 
 
 5 
 
 0 
 
 
 44 ,,34 small half-length 
 
 . 7 
 
 6 
 
 99 
 
 50 ,,40 half-length .... 
 
 12 
 
 0 
 
 99 
 
 56 ,, 44 Bishop’s half-length 
 
 . 18 
 
 0 
 
 99 
 
 *7 ft. 10 in. by 4 ft. 10 in. whole-length . 
 
 40 
 
 0 
 
 99 
 
 *8 ft. 10 in. by 5 ft. 10 in.. Bishop’s whole-length 
 
 . 60 
 
 0 
 
 99 
 
 *Hinged Frames to fold in half . 
 
 3 
 
 0 
 
 extra 
 
 Inches 
 
 Wedged Frames. 
 
 9by 6 . 
 
 s. 
 
 1 
 
 d. 
 
 0 each. 
 
 18 by 12 . 
 
 s. 
 
 2 
 
 d. 
 
 3 each. 
 
 10 » 7 . 
 
 . 1 
 
 2 
 
 99 
 
 19 „ 
 
 13 
 
 . 2 
 
 4 „ 
 
 12 „ 8 . 
 
 1 
 
 3 
 
 99 
 
 21 „ 
 
 14 . 
 
 2 
 
 6 „ 
 
 12 „ 9 . 
 
 . 1 
 
 3 
 
 99 
 
 22 „ 
 
 16 
 
 . 2 
 
 8 „ 
 
 13 „ 9 . 
 
 1 
 
 6 
 
 99 
 
 24 „ 
 
 18 . 
 
 3 
 
 0 „ 
 
 14 „ 10 . 
 
 . 1 
 
 8 
 
 99 
 
 27 „ 
 
 20 .. 
 
 . 3 
 
 6 ,, 
 
 15 „ 11 . 
 
 1 
 
 9 
 
 99 
 
 30 „ 
 
 20 . 
 
 3 
 
 8 „ 
 
 16 „ 12 . 
 
 . 1 
 
 10 
 
 99 
 
 36 „ 
 
 24 
 
 . 5 
 
 0 „ 
 
 17 „ 13 , 
 
 2 
 
 0 
 
 99 
 
 
 
 
 
 Inches 
 
 Wedged Frames, 
 s. d. 
 
 LANDSCAPE SIZES, 
 
 Wedged Frames. 
 
 STRETCHERS COVERED WITH TICKEN AND ROMAN CLOTHS AT PROPORTIONATE PRICES. 
 
 Irregular and Large Sizes Made to Order on the Shortest Notice. 
 
 Artists' Canvass prepared in a variety of ways, including Pure White, Single-primed, and 
 Absorbent Gt'ounds. 
 
51, RATHBONE PLACE. 
 
 57 
 
 PREPAEED MILL’D BOARDS. 
 
 FOE OIL PAINTING. 
 
 
 No. 1, OF 
 
 ORDINARY THICKNESS. 
 
 
 
 
 
 s. d. 
 
 
 s. 
 
 d. 
 
 7 in. by 5i . 
 
 
 0 6 
 
 12 in. by 9 
 
 . 1 
 
 0 
 
 8 „ 6' 
 
 
 0 71 
 
 12 „ 10 
 
 1 
 
 1 
 
 9 „ 7 . 
 
 . 
 
 0 84 
 
 13 „ 9 . . 
 
 , 1 
 
 1 
 
 10 „ 7 
 
 
 0 9 
 
 13 „ 10 
 
 1 
 
 2 
 
 10 „ 8 . 
 
 • 
 
 0 9 
 
 14 „ 9 . 
 
 . 1 
 
 2 
 
 11 „ 9 
 
 
 0 11 
 
 14 „ 10 
 
 1 
 
 3 
 
 12 „ 8 . 
 
 . 
 
 1 0 
 
 14 „ 11 . . 
 
 . 1 
 
 4 
 
 
 No. 2, OF EXTRA THICKNESS. 
 
 
 
 14 in. by 12 . 
 
 . 
 
 1 9 
 
 17 in. by 12 . 
 
 . . 2 
 
 1 
 
 15 „ 11 
 
 , * 
 
 1 11 
 
 17 „ 14 . 
 
 2 
 
 4 
 
 16 „ 11 . 
 
 • 
 
 1 11 
 
 18 „ 12 . . 
 
 . 2 
 
 4 
 
 16 „ 12 . 
 
 
 2 0 
 
 18 „ 14 . 
 
 2 
 
 9 
 
 
 No. 3, OF 
 
 DODBLE THICKNESS. 
 
 
 
 19 in. by 15 . 
 
 . 
 
 3 6 
 
 22 in. by 18 . 
 
 . 4 
 
 6 
 
 20 „ 16 
 
 
 3 9 
 
 24 „ 18 
 
 5 
 
 3 
 
 21 „ 15 . 
 
 • • • 
 
 3 9 
 
 24 „ 20 . 
 
 . 6 
 
 0 
 
 21 „ 17 
 
 . 
 
 4 3 
 
 30 „ 25 
 
 9 
 
 0 
 
 SKETCHING BOARDS, 
 
 FOR OIL PAINTING. 
 
 8 in. by 6 
 
 . 0 34 
 
 13 in. by 9 
 
 0 
 
 64 
 
 9 „ 
 
 7 
 
 0 4 
 
 13 „ 10 . 
 
 . 0 
 
 7 
 
 10 „ 
 
 7 . 
 
 . 0 4 
 
 14 „ 9 
 
 0 
 
 7 
 
 10 „ 
 
 8 
 
 0 44 
 
 14 „ 10 . . . 
 
 . 0 
 
 7 
 
 11 » 
 
 9 . 
 
 . 0 5 
 
 14 „ 12 . . . 
 
 0 
 
 74 
 
 12 „ 
 
 8 
 
 0 54 
 
 15 „ 10 . 
 
 . 0 
 
 74 
 
 12 „ 
 
 9 . 
 
 . 0 6 
 
 15 „ 11 . . . 
 
 0 
 
 8 
 
 12 „ 
 
 10 
 
 0 6 
 
 16 „ 12 . . . 
 
 . 0 
 
 9 
 
 
 
 ACADEMY 
 
 BOARDS. 
 
 
 
 16 in. by 12 . 
 
 . . . 0 74 
 
 1 20 in. by 15 . 
 
 . 0 
 
 10 
 
 18 „ 
 
 14 
 
 0 9 
 
 1 24 „ 19 
 
 1 
 
 0 
 
 24 in. by 19, Stout Boards, 10s. 
 
 OIL SKETCHING PAPER. 
 
 Royal Size, 24 in. by 19, 7s. 6d. per doz. sheets 
 Imperial, 30 in. by 21, 9s. per doz. sheets. 
 
58 
 
 GEORGE ROWNEY & CO. 
 
 PREPARED MAHOGANY PANELS. 
 
 OIL OR ABSORBENT GROUNDS. 
 
 
 s. 
 
 d. 
 
 
 
 
 s. 
 
 d. 
 
 9 in. by 7 . 
 
 . 1 
 
 6 
 
 18 in 
 
 .by 14 . 
 
 . 6 
 
 6 
 
 10 „ 8 ... 
 
 2 
 
 0 
 
 19 
 
 ^9 
 
 16 
 
 8 
 
 3 
 
 11 „ 9 . 
 
 . 2 
 
 6 
 
 20 
 
 99 
 
 16 . 
 
 . 8 
 
 6 
 
 12 „ 9 ... 
 
 2 
 
 9 
 
 21 
 
 99 
 
 17 
 
 . 10 
 
 6 
 
 12 „ 10 . 
 
 , 3 
 
 2 
 
 24 
 
 99 
 
 18 . 
 
 . 12 
 
 0 
 
 14 „ 10 
 
 3 
 
 9 
 
 24 
 
 99 
 
 20 
 
 . 13 
 
 6 
 
 14 „ 13 . 
 
 . 4 
 
 6 
 
 30 
 
 99 
 
 25 . 
 
 . 21 
 
 0 
 
 16 „ 12 . . . 
 
 4 
 
 9 
 
 36 
 
 99 
 
 28 
 
 . 36 
 
 0 
 
 TABLETS FOR SKETCHING IN OIL, 
 
 Made on the principle of the Solid Sketch Books, being composed of a 
 number of sheets of prepared paper, fastened at the edges, forming a solid 
 block of paper, from which each sheet may be separated by passing a knife 
 round the edge. ^ 
 
 Each Tablet contains 24 Sheets of Oil Sketching Paper. 
 
 s. d, 
 
 8vo Imperial, 10 in. by 7 . 6 0 
 6to „ 15 „ 7| . 8 3 
 
 3mo Imperial, 18 in. by 10 
 h » 21 „ 14 
 
 s. d. 
 
 13 6 
 20 0 
 
51, RATHBONE PLACE. 
 
 59 
 
 JAPANNED TIN OIL COLOUR BOXES, 
 
 FOR CONTAmiNG TUBE COLOURS, BRUSHES, OILS, ETC. 
 
 Fitted 
 
 Empty complete 
 
 No. 1. Japanned Tin Boxes to hold 12 tubes, palette, 
 brushes, oils, &c. Small sise, 9 in. by 7 in., and 2| 
 
 ^ deep . . . . . .099186 
 
 No. 2. Ditto to hold 16 tubes, &c. Size 10 in. by 7 
 in., and 24 in. deep . . . . . 0 11 0 1 11 6 
 
60 
 
 GEORGE ROWNEY & CO. 
 
 OIL COLOUR BOXES — continued. 
 
 No. 3. Ditto ditto, with double bottom and grooves, 
 for containing mill-boards and wet sketches. Size 
 10 in. by 7 in., and 3| in. deep. . . . 0 15 0 
 
 No. 4. Ditto to hold 20 tubes, &c. Size 12 1 in. by 9 
 in., and 2| in. deep . . . . . 0 16 6 
 
 No. 5. Ditto ditto, wdth a double bottom and groves 
 for containing millboards and wet sketches, 12 in. by 
 8 in. . Size of box 12| in. by 9 in., and 34 in. deep .12 0 
 
 Fitted 
 complete 
 £. d. 
 
 1 16 6 
 2 15 0 
 
 3 6 0 
 
5], RATHBONE PLACE. 
 
 61 
 
 OIL COLOUR BOXES— co»imwe(Z. 
 
 Empty 
 
 £. s. d. 
 
 No. 6. Large size tube box, to hold 26 tubes, &c., 
 double bottom for containing millboards, 14 in. by 10 
 in. Two divisions for brushes, &c.. Size of box, 14^ 
 in. by 1 1 in. , and 4 in. deep . . . .17 6 
 
 No. 7. Flat tube box, to hold 20 tubes, brushes, oils, 
 
 &c. Size 12| in. by 8| in. and If in. deep. A very 
 convenient and portable box . . . . 0 10 0 
 
 No. 8. Ditto with double bottom, for containing mill- 
 boards, 12 in. by 8 in. Size of the box, 12| in. by 
 8| in., and If in. deep . . . . 0 13 0 
 
 No. 9. Oil Sketching Box, to hold a folding palette 
 and' 12 tubes, very portable. Size 13 in. by 4^ in., 
 and 1|: in. deep . . . . . 0 11 6 
 
 No. 10. Pocket on Sketching Box, very portable, to 
 hold small tubes, portable brushes, folding palette, 
 
 &c. Size 74 in. by 5 1 in. . . . .0116 
 
 No. 11. Ditto ditto, with double bottom for holding 
 
 small millboards . . . . . 0 16 6 
 
 No. 12. Large size Tube Box, to hold 26 tubes in 
 separate cases, 4 screw bottles for oil and varnish, 
 smutch-pan, brush-washer, palette and brushes. Size 
 144 in. by 9| in., and 24 in. deep . . . 1 13 0 
 
 No. 13. Ditto ditto, -with double bottom, to contain 
 wet sketches. Size, 14| in. by 9| in., and 34 deep . 1 17 6 
 
 Fitted 
 complete 
 £. 6. d. 
 
 4 8 0 
 
 18 6 
 
 1 13 6 
 
 1 11 6 
 
 12 0 
 1 11 6 
 
 4 15 0 
 
 5 4 0 
 
 JAPANNED ARTICLES 
 
 FOE OIL PAINTING. 
 
 s. d. 
 
 Plain Tin Dippers for the Palette 
 
 . 0 
 
 44 
 
 Double ditto .... 
 
 0 
 
 9 
 
 Ditto Japanned 
 
 . 0 
 
 9 
 
 Ditto ditto. Double 
 
 1 
 
 6 
 
 Brush Washers, single Japanned , . 
 
 . 2 
 
 3 
 
 Ditto Double ditto 
 
 4 
 
 6 
 
 Plain Tin Oil Slants . 
 
 . 2 
 
 6 
 
 Brush Pans, 12 inches 
 
 3 
 
 6 
 
 Brush Cases, Pocket Sketching Boxes, &c. 
 
62 
 
 GEOEGE EOWNEY & CO., 
 
 PALETTE KNIVES. 
 
 THE ARTIST’S POCKET KNIFE. 
 
 Messrs. E. and Co. have had manufactured expressly for them, 
 by one of the best Sheffield Makers, a EInife of the finest quality, 
 especially adapted for the use of Artists. It is not larger than an 
 ordinary Pocket Knife, and contains 
 A Palette Knife, 
 
 A Fine Blade, 
 
 A File for sharpening Pencil or Chalk, 
 
 An Erasing or Scraping Blade, 
 
 Price 4s. 6d. 
 
 Or with the addition of a Screw for drawing the Corks of Varnish 
 
 Bottles. 
 
 Price 6s. 6d. 
 
No. 0 & 1, Round or Flat 4 6 per doz. No. 4, Round or Flat . 7 6 per doz. 
 
 51, RATHBONE PLACE. 
 
 BRUSHES FOR OIL COLOURS. 
 
 63 
 
64 
 
 GEORGE ROWNEY & CO. 
 
 BRUSHES FOR OIL continued. 
 
 RED SABLE HAIR IN TIN. 
 
51, RATHBONE PLACE. 65 
 
 BRUSHES FOR OIL COLOURS— cow imwerf. 
 
 FLAT FRENCH TOOLS, OF THE FINEST HOG HAIR. 
 
 WITH POLISHED CEDAR HANDLES. 
 
66 
 
 GEOPvGE EOWNEY & CO., 
 
 BRUSHES FOR OIL COLOURS— 
 
 FLAT FEENCH TOOLS, 
 
 OF THE FINEST HOG HAIR, WITH POLISHED CEDAR HANDIJiS, 10 TO 14. 
 
 11 
 
 12 
 
 13 
 
 14 
 
 s d. 
 
 0 10 
 1 0 
 1 0 
 1 6 
 1 9 
 
05 W to H 
 
 5], RATHBONE PLACE. 
 
 67 
 
 BRUSHES FOR OIL continued. 
 
 BOUND FEENCH TOOLS, 
 
 OF THE FINEST HOG HAIR, mXH POLISHED CEDAR HANDLES, 
 NOS. 1 TO 7. 
 
68 
 
 GEORGE ROWNEY & CO., 
 
 BRUSHES FOR OIL COLOURS— 
 
 ROUND FRENCH TOOLS, 
 
 CONTINUED. 
 
 NOS. 8 TO 12. 
 
 {For the List of Prices, see the preceding page.) 
 
 French Tools are also kept with Hair shorter or thinner, to suit various 
 styles of Oil Painting. 
 
ROUND BADGERS IN QUILL, TIED WITH WIRE. 
 
 51, RATHBONE PLACE. 
 
 69 
 
 BRUSHES FOR OIL COLOURS — continued. 
 
 BADGER HAIR SOFTENERS. 
 
70 
 
 GEORGE ROWNEY & CO., 
 BRUSHES FOR OIL COLOURS — continued. 
 
 FLAT BADGERS IN TIN. 
 
inch wide ...... each 
 
 71 
 
 51, EATHBONE PLACE. 
 
 BRUSHES FOR OIL continued. 
 
 FLAT HOG Hc^AIR 
 
 VAKNISHING BRUSHES. 
 
 WARRANTED. 
 
72 GEOUGE ROWNEY & CO. 
 
 GLASS SLABS AND MULLEKS. 
 
 FOR GRINDING COLOURS. 
 
 Glass Slabs set in Mahogany Frames . 
 
 6 in. by 6 in. 
 
 s. 
 
 . 3 
 
 d. 
 
 9 
 
 Ditto ciitto 
 
 . 8 „ 
 
 8 . 
 
 4 
 
 6 
 
 Ditto ditto 
 
 10 „ 
 
 10 
 
 . 6 
 
 9 
 
 Glass Slabs only 
 
 . 6 „ 
 
 6 . 
 
 2 
 
 0 
 
 Ditto .... 
 
 8 „ 
 
 8 
 
 . 2 
 
 6 
 
 Ditto .... 
 
 . 10 „ 
 
 10 . 
 
 3 
 
 9 
 
 Glass MnUers, 1 in. diameter . 
 
 
 • • 
 
 . 0 
 
 9 
 
 Ditto li „ . 
 
 
 , * 
 
 1 
 
 0 
 
 Ditto 14 ,, . . 
 
 
 
 . 1 
 
 6 
 
 Ditto 2 „ . 
 
 
 • 
 
 1 
 
 9 
 
 PALETTES. 
 
 s. d. 
 
 Mahogany Palettes, oval 
 
 or 
 
 oblong, up to 12 inches long 
 
 0 
 
 24 per 
 
 Ditto 
 
 99 
 
 13 inches and upwards 
 
 0 
 
 3 
 
 99 
 
 Spanish Mahogany 
 
 99 
 
 up to 12 inches long 
 
 0 
 
 3 
 
 99 
 
 Ditto 
 
 99 
 
 13 inches and upwards 
 
 0 
 
 4 
 
 99 
 
 White Wood 
 
 99 
 
 • • • • 
 
 0 
 
 3 
 
 99 
 
 Ditto, pohshed 
 
 99 
 
 • • • 
 
 0 
 
 4 
 
 99 
 
 Satin Wood 
 
 99 
 
 8, 9, 10, 11, and 12 inches 0 
 
 4 
 
 99 
 
 Ditto 
 
 99 
 
 13 inches to 15 inches . 
 
 0 
 
 
 99 
 
 Ditto 
 
 99 
 
 16 inches and upwards 
 
 0 
 
 5 
 
 99 
 
 * Folding Mahogany Palettes, 4s. 6d. and 6s. each. 
 
5), RATHBONE PLACE. 
 
 TABLE EASELS 
 
 73 
 
 Deal Table Easels, 18 in high 
 
 Best 
 s. d, 
 6 0 
 
 Ditto ditto 21 
 
 5 J 
 
 7 
 
 6 
 
 Ditto ditto 24 
 
 >> 
 
 9 
 
 0 
 
 Mahogany ditto 18 
 
 
 9 
 
 0 
 
 Ditto ditto 21 
 
 99 
 
 10 
 
 6 
 
 Ditto ditto 24 
 
 99 
 
 12 
 
 0 
 
 Deal ditto with rack to shift up 
 and down 18 in. high 
 
 8 
 
 0 
 
 Ditto with ditto 21 
 
 99 
 
 9 
 
 0 
 
 Ditto ditto 24 
 
 99 
 
 10 
 
 6 
 
 Mahogany ditto 18 
 
 99 
 
 12 
 
 0 
 
 Ditto ditto 21 
 
 99 
 
 14 
 
 0 
 
 Ditto ditto 24 
 
 99 
 
 16 
 
 0 
 
 EASELS. 
 
 FOLDING EASEL, closed. 
 
74 
 
 GEORGE ROWNEY & CO. 
 
 RACK LASEL. 
 
 Mahogany Rack Easels 
 
 Ditto ditto .... 
 
 Ditto ditto 
 
 Ditto ditto .... 
 
 Deal ditto 
 
 FRAMED EASEL. 
 
 s. d. 
 
 Deal Framed Easels ... . • • . 12 6 
 
 Mahogany ditto . . . • , 20 0 
 
 s. d. 
 . 32 0 
 42 0 
 . 55 0 
 
 60 0 
 . 36 0 
 
51, RATHBONE PLACE 
 
 75 
 
 FRENCH SKETCHING EASEL. 
 
 Tills Easel, from its extreme portability, is admirably adapted for sketch- 
 ing- in the open air. The Canvass when in use being held securely by the. 
 Easel, is not liable to be thrown down or disturbed. Price 10s. 
 
 Bamboo Rest Sticks . . . . .1 
 
 Lancewood ditto . . . . . v From Is. upwards. 
 
 Ebony ditto . . . . . . ) 
 
 Portable Jointed ditto . . . . . .40 
 
 Ditto ditto, Telescope . . . . . . .46 
 
 MILLBOARD SKETCHING FRAMES. 
 
 A new, very simple, and ingenious contrivanee for 
 sketehing from nature in oils, and afterwards for 
 carrying two wet sketches without injury. 
 
 This Frame is made with a rdbate on each side, a 
 raQlboard being placed into each of them. On revers- 
 ing the boards after painting, the wet sketches are 
 brought face to face, without touching each other, 
 and at the same time are perfectly protected, the 
 backs of the millboards being outside. 
 
 PRICES OF FRAMES. 
 
 14 inches by 10 . 
 
 s. 
 
 . 2 
 
 d. 
 
 6 
 
 15 „ 11 
 
 3 
 
 0 
 
 16 „ 12 . 
 
 . 3 
 
 6 
 
 18 inches 
 
 12 . 
 
 g. 
 
 . 4 
 
 d. 
 
 0 
 
 17 » 
 
 13 
 
 4 
 
 0 
 
 20 „ 
 
 14 . 
 
 . 4 
 
 0 
 
 ANY SIZE MADE TO ORDER ON THE SHORTEST NOTICE. 
 
76 
 
 GEORGE ROWNEY & CO. 
 
 SKETCHING STOOLS, &c. 
 
 s. 
 
 Sketching Stools, with loose 
 seat, 18 in. long . 4 
 
 Ditto 21 ,, . 5 
 
 Ditto 24 . .6 
 
 Ditto with seat enclosed, 
 
 18 in. long . . 8 
 
 Ditto with ditto 21 ,, 9 
 
 Ditto with ditto 24 ,, 10 
 
 Ditto with ditto, bound 
 extra strong . .11 
 
 Extra 
 quality 
 s. d. 
 
 6 6 
 7 0 
 7 6 
 
 SKETCHING STOOL, open. 
 
 DITTO, closed. 
 
 SKETCHING UMBRELLA 
 
 273. 
 
51, RATHBONE PLACE. 
 
 77 
 
 SKETCHING STOOLS, kc.— continued. 
 
 THE GERMAN SKETCHING SEAT AND EASEL 
 
 COMBINED, 
 
 ADAPTED POE, EITHER OIL OR WATER COLOUR SKETCHING. 
 
 Price 21s. 
 
 THE EASEL OPENED. DITTO CLOSED. 
 
 The same principle has been adapted for the use of Ladies, and is equally 
 serviceable and portable. Price 30s. 
 
 WOBKS CONNECTED WITH THE FINE ARTS SUPPLIED WITH 
 THE USUAL TRADE ALLOWANCE. 
 
 Works in Lithography, for Artists and Pupils, in great variety. 
 
 AND VARIOUS OTHER WORKS OF ART CONNECTED WITH DRAWING, 
 PAINTING, ETC. 
 
78 
 
 GEORGE ROWNEY & CO. 
 
 HARVEY’S SKETCHING EASEL, 
 
 FOR THE USE OF ARTISTS SKETCHING OUT OF DOORS IN OIL OR WATER COLOUR. 
 
 It was exhibited at the Royal Polytecnic Institution, Falmouth, 1852, 
 and obtained the Society’s First Prize Bronze Medal. 
 
 This Easel surpasses all that have been offered to Artists or Amateurs, 
 combining lightness, portability, steadiness strength and completeness. It 
 contains a Seat, Brush, Pencil, and Colour Box, Two Strainers for Paper or 
 Canvass, with Box for Loose Sketches, and an Easel Frame capable of being 
 used as a Table when required. 
 
 From the principle of its construction, it is equally adapted for uneven or 
 level ground. 
 
 It is manufactured in Spanish Mahogany, and 
 fitted with a German silver Water Bottle, two 
 Strainers, 15 inches by 11 inches, covered with 
 calico, and a white enamelled copper Palette. 
 
 £. s. d. 
 
 The whole complete . . .220 
 
 Easels with Padded Seat . extra 0 2 6 
 Ditto, French polished . . ,, 0 4 0 
 
 Strainers to fit the Easel, mounted with 
 Rough or Smooth Drawing Paper on 
 calico . . . per doz. 0 10 0 
 
 Ditto ditto, with extra stout Drawing 
 
 Paper . . . per doz. 0 12 0 
 
 Size when closed, 22 inches by 12 inches. 
 
51, EATHBONE PLACE. 
 
 79 
 
 G. ROWNEY & CO.’S 
 
 PORTABLE SKETCHING EASEL. 
 
 Thi-s Easel presents a combination of utility, lightness, and portability not 
 to be found in any other. 
 
 WTiile in use the canvas is firmly held by the Easel, which is itself secured 
 in the ground by sharp iron points. 
 
 The Easel folds m half, with hinged joints, fastens and packs with elastic 
 bands, in a case, a little larger than an umbrella, and weighs under 21bs. 
 
 s d. 
 
 Deal Portable Sketching Easel in Case. . . . 10 0 
 
 Mahogany ditto ditto . . . 12 0 
 
 Ditto French polished best ditto . . . . 15 0 
 
80 
 
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 LITHOGEAPHIG DEAWING BOOKS. 
 
 GAVARNI’S RUSTIC STUDIES OF FIGURE. 
 
 Six plates at 2s. each. Size, 21 by 15. 
 
 RUSTIC FIGURES. By J. C. HICKS. 
 
 Parts 1, 2, and 3. Six Plates in each, at Is. Size 15 by 11. 
 
 CATTLE AND RUSTIC FIGURES. By H. B. WILLIS. 
 
 Six Nos. at 2s. 6<f. each, or 3s. Qd. on India paper. Size 15 by lU 
 
 STUDIES FROM THE PORTFOLIOS OF VARIOUS ARTISTS, 
 
 Part 1. Six Plates. By G. Barnard. Size, 21 by 15, 9s. 
 
 „ 2. „ By H. B. Willis. „ 9s. 
 
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51, KATHBONE PLACE. 
 
 81 
 
 GEO. EOWNET & CO.’S 
 
 (Dr, /ar-sirailr (Culnur Btttiuings. 
 
 These novel Works of Art are produced by a process of Engraving and 
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 blance to Water-Colour Drawings in Touch, Colour, and Effect. They are 
 adapted for Copying or Framing. 
 
 It is the intention of the Publishers to produce a series from the works 
 of the most eminent Artists, so as to present a complete collection of the 
 Modem School of Water-Colour Painting. 
 
 Several new subjects in hand after Leitch, Harding, Callow, Cattermole^ 
 Jackson, Bently, Noble, Gastineau, Hunt, Eichardson, &c. 
 
 NOW EEADY, MOUNTED LIKE THE ORIGINAL DRAWINGS. 
 
 Mounted on hoards^ 30 in. hy 21 in. 
 
 8. d. 
 
 PEEP OF DAY . . . After F. W. Topham . 21 0 
 
 MACBETH, THE MURDER OF DUNCAN . . . 21 0 
 
 After G. Cattermole. 
 
 MACBETH AND THE MURDERERS OF BANQUO . 21 0 
 
 After G. Cattermole. 
 
 ETON COLLEGE FROM THE THAMES . . . 21 0 
 
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 UNTERSEEN . . , After J. D. Harding. . 21 0 
 
 CITY OF FLORENCE . . After S. Palmer . . 21 0 
 
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 COLUMBUS IN THE MONASTRY . , . . 15 0 
 
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 LAKE OF LUCERNE . . After T. M. Richardson. 
 
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 15 
 
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 No. 2.— A.T EAST MALLING KENT . . . . 5 0 
 
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 No. 3.— CLAINES’ CHURCH, WITH THE MALVERN _ 
 
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 No. 4.— CHISWICK, BY MOONLIGHT. 
 
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 ‘ No. 6.— BROUGHAM CASTLE, WESTMORLAND . 
 
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 No. 7.— EOWEY CASTLE, CORNWALL . 
 
 After S. P. Jackson. 
 
 No. 8.— DONNE CASTLE . After- J. D. Harding 
 
 Mounted on Boards, 23 in. byl^in. 
 A SKETCH FROM LIFE. 
 
 After W. Hunt. 
 
 SLEEPING AND WAKING .... 
 
 After J. H. Mole. 
 
 THE LESSON 
 
 After J. H. Mole. 
 
 THE GLEANERS 
 
 After W. A. Robinson. 
 
 THE FRENCH FISHERMAN’S DAUGHTER . 
 
 After W. Lee. 
 
 THE STUDIO 
 
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 Mounted on Boards, 14 in. by 10 in. j 
 THE ORANGE GIRL 
 
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 THE FLOWER GIRL 
 
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 FOUNTAIN AT ROUEN .... 
 
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 o 
 
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 7 6 
 
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 . 5 0 
 
 5 0 
 5 0 
 5 0 
 
 f 6 
 
 aa.- 2 6 
 
 kiatg:uo 
 
 2 6 
 
 6 
 
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 ' 2 6 
 .J2 6 
 
 rl ' 2 6 
 
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 CHROMATIC PRINTING-continiied. 
 SMALL SERIES. ’A 
 
 
 Mounted on BoardSy size, 14 in. by 10 in. 
 
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 Nos 1 to 12.— RIVER VIEWS . 
 
 - - -- T . V - After R. P. Noble. 
 
 •REFLECTION.' ^ - 
 
 _ After G. Wells. - 
 
 COURTSHIP . . ■ • • 
 
 • After G. Wells. 
 
 THE MOTHER . • • . . • • 
 
 After G. Wells. 1151.1 
 
 THE ANGLERS . 
 
 After G. Wells. : ' , . -- 
 
 THE FRUIT-GATHERER . . • • • ' * 
 
 After G. Wells. 
 
 THE SPINNER . . • „ • 
 
 After G. Wells. 
 
 COTTAGE NEAR'HAYES . . . . . . 
 
 After R. P. Noble. 
 
 ST PAUL’S cathedral BY MOONLIGHT . 
 
 C : After E. A. Good ALL. ' - r v - ^ 
 
 DISTANT VIEW OF ROUEN 
 
 After E. A. Goodall. 
 
 crypt of canterbury cathedral . 
 
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 castle of FOUGERE, BRITTANY .... 
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 JklARKET PLACE, ANGERS 
 
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 ST. VALLEY SUR SOMME 
 
 After E. A. Goodall. 
 
 CATHEDRAL OF NOTRE DAME, PARIS . 
 
 After Ei A. Goodall. 
 
 TOMB OF EDWARD THE CONFESSOR, WESTMINSTER 
 ABBEY . After E. A. Goodall. • 
 
 FOUNTAIN OF ST. MAGLOU, ROUEN 
 
 After E. A. Goodall. 
 
 ABBEY OF ST. AMAND, ROUEN. . . . • 
 
 After E. A. Goodall. 
 
 TOV7ER AND BRIDGE AT ANGERS .... 
 
 After E. A. Goodall. 
 
 ON THE LOIRE 
 
 After E. A. Goodall. 
 
 GROUPS OF FLOWERS . 
 
 After G. Rosenberg. 
 
 RUSTIC FIGURES . . • ^ -a- 
 
 . After G. E. Hicks.- ' - 
 
 Six Plates at Is. each.— Forty-two Plates at 9d. each. 
 
 each 
 
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 I'io 
 
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 i 0 
 
 10 
 
 1 0 
 
 1 0 
 
 l 0 
 
 1 0 
 
 I 0 
 
 1 0 
 
 1 0 
 
 1 0 
 
 1 0 
 
 I 0 
 
 1 0 
 1 0 
 
 1 0 
 
 1 0 
 
 1 0 
 
 1 0 
 
 1 0 
 
GEORGE ROWNEY & CO. 
 
 84 
 
 GEORGE ROIV 
 
 NEATLY GOT U! 
 
 E?; ORDERS TO PREYENT THE LEAD DUST ADHERING ^ 
 
 1 "--.I": 
 
 H , Hard for Sketching . . 
 
 HH Harder for Outlines . . | 
 
 HHH Very Hard for Architects . ■ 
 
 HHHH Extra Hard for Engineers ii ^ 
 
 EXTBA 
 
 1 3d;; each, ‘ ^ 
 
 > ."or 
 
 1 2s. 6d. per doa 
 
 THICK LEAD. 
 
 EHB Extra Hard and Black . . ,g . . : ij 
 
 BEHB Ditto, ditto, Extra Thick Lead ’ ^ 'v ^ 
 
 BBBB- 
 
 I'T' / vOdi. each,:" 
 h or Ss. per doz." 
 -Softer and Thiel 
 
 
 
 
 BBBBBBB-Y ery Broad ai 
 Messrs. Rowney AND Co. have every confidence in recommendingi 5 
 moderate price, and their superior quality being sufficient to give thenr a de 
 Their good quality is sufficiently tested by their greatly increased demd 
 eminent Artists and Professors of Drawing : — 
 
 O 
 
 Geoege Baenaed, Esq., Head Drawing Master to Rugby School. 
 The late T. M. Rtchakdson, Sen., Esq., Newcastle-upon-Tyne. 
 
 T. M. Rtchaedson, Esq., Member of the Old Water Colour Society. 
 Eeedeeick Goodall, Esq., A.R.A. 
 
 Feedeetck Pickersgill, Esq., A.R.A. 
 
 David -CoX;, Jum, Esq., Member of the Old Water Colour Society. 
 
 J. H. Hammeesley, Esq., Head Drawing Master of the Government 
 School of Design, Manchester. 
 
 Wm. Gawin Hkedman, Esq., Secretary of the Society of Arts, 
 Livei-pool. 
 
 Geoege Haeley, Esq. 
 James E. Doyle, Esq. 
 
 — Runciman, Esq. 
 
 H. W. Hulme, Esq. 
 William Wall, Esq. Dubl 
 Claude- E,:NujtsEi;Ebq.;.i 
 of Design, Belfast. 
 William Brocas, Esq., Dn 
 George Hemans, Esij., Chi 
 Samuel Lines, Esq., Birmi 
 
 THE IMPROVED PENCILS MAY 
 
 7 Pencils in Roan Case . . . . . , , 2 
 
 7 Ditto in ditto divided and lettered . . . . 3 ( 
 
 7 Ditto in Embossed Gilt Morocco Case . . . , ,61 
 
 Cj 
 
 The Trade are respectfully requested to ohserve that the name of ‘ GEORGE ROt^^S^Ey & COMPY.’ 
 outward appearance, as the means of selhng an inferior article, to the injury of the character established by 
 
■T AND CO.’S 
 
 61, Rathboke place. 
 
 S5 
 
 POLISHED CEDAR, 
 
 PEJ?CIL, AKD CONSEQUENTLY SOILING THE FINGERS. 
 
 iB Hard and Black 
 
 5 Black for Shading 
 
 3B Softer and very Black 
 
 ^ Firm for Ordinary Drawing 
 
 fABEFULLY PEEPAEED. 
 
 3d. each, 
 or 
 
 2s. 6d. per. doz. 
 
 Very Firm and Double Thick Lead ) fid. each, 
 
 5BB Softer and very Black Double Thick Lead | or 5s. per doz. 
 9d. each 
 
 Lead. 
 
 . Is. each. 
 
 [PROVED DRAWING PENCILS to the notice of the Profession, their 
 eference with the public. 
 
 by the flattering testimonials which they have received from the following 
 
 sr (rfthe Government School 
 c to M. G. Eailwav. 
 
 H. Wonsi.ET, Esq. 
 
 J. Syep., Esq. 
 
 John Noblet, Esq., Cork. 
 
 John Bren an, Esq., Cork. 
 
 George R. Lewis, Esq. 
 
 G. Petrie, Esq., Vice-President of the Royal Hihemian Society. 
 M. O’Connor, Esq. 
 
 J. Howard Burgess, Esq., Belfast 
 R. T, Stopeord, Esq., Cork. 
 
 The ‘London Art Journal.’ 
 
 SAD IN SETS, as follows, 
 
 Pencils, a Full Set, comprising 4 extra Letters, in Roan Case, divided and 
 
 lettered . . . . . . . . .46 
 
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 on each Pencil ; as their unprecedented success has induced other manufacturers to imitate them in their 
 I & Co., for their Pencils. 
 
GEOSGS SOWNSY AND CO. 
 
 S6 
 
 WATEE COLOURS. 
 
 Water-coloue Painting has of late years attracted so much attention as to 
 become one of the most important branches of the Fine Arts in this country. 
 Such great advances of the British artists in this mode of painting has 
 necess.tatsd a corresponding activity on the part of the preparers of Water 
 Colours, 
 
 Messrs. Rowney and Co, have great pleasure in calling the public atten- 
 tion to their Water Colours in Cake, the brilliancy and permanency of which 
 are not to be surpassed by those of any other manufacturer. 
 
 MOIST WATER COLOURS. 
 
 For the sake of greater freedom and effect, this mode of preparing Water 
 Colours possesses many advantages, more especially for sketching from 
 nature, from their facility in washing upon a slight application of a wet 
 brush, and from the depth of tone which may be produced with them. 
 Those manufactured by Messrs, R. and Co. will be found free from the 
 objections made to the Moist Colours generally, as they are not liable to 
 harden in the pan, nor to ferment from the presence of saccharine matter 
 (none being employed in their preparation), and they will dry perfectly on 
 the pajjer, even wdien laid on with a thick body. A further improvement 
 has been made by Messrs. R. and Co. in preparing the 
 
 MOIST WATER COLOURS IN TUBE. 
 
 The mode of preparing these Colours renders them a most valuable im- 
 provement over all others. By this method the Colours are always fit for 
 use, and nfay be pressed out of the tube in a body, while they possess . greater 
 brilliancy and depth than any others. The troublesome process of rubbing 
 the Colour on the palette is avoided. No waste is incurred by breakilngi as 
 in the cake. They will keep any length of time without drying up or spoil- 
 ing, as do most preparations of Moist Colours ; and the very general -practiee 
 which prevails of mixing the tints with the brush on the Colours themselves, 
 and which so much deteriorates from their purity and brilliancy, is rendered 
 impossible by the Colours being kept separate, and only so much as is required 
 at the time being placed on the palette. . - - 
 
 QUARTER CAKE COLOURS. 
 
 Quarter cakes are of the same quality as the large cakes of Colour, and 
 manufactured only at their establishment. 
 
 The increased taste manifested in the Fine Arts, and the general adoption 
 of drawing as a branch of education, has induced Messrs, R. and Co. to 
 manufacture smaller cakes of Colour at a low price, but of the finest quality, 
 in order to bring them within the means of pupils and students who might 
 otherwise be compelled to make use of inferior materials. 
 
87 
 
 61, RATHBONE PLAGE. 
 
 WATER COLOURS— continued. 
 
 Water Colours, in cake, lialf cake, 
 and quarter cake. 
 
 Moist Water Colours 
 in tube. 
 
 is a list of the various Colours, with their prices attached 
 
 x. d 
 
 1 0 
 1 0 
 
 Half cakes . 
 Quarter cakes 
 
 s. d. 
 0 6 
 0 3 
 
 The following 
 for either : — 
 
 Whole cakes. 
 
 Moist in pan or tube 
 
 Purple 
 
 REDS. 
 
 Yermillion 
 Indian Red 
 Venetian Red 
 Light Peed 
 Purple Lake 
 
 ORANGES. 
 
 Red Lead 
 Orange Orpiment 
 Chrome, 3, 4 
 
 YELLOWS. 
 
 Chrome, 1, 2 
 King’s Yellow 
 
 Naples Yellow 
 Gamboge 
 Italian Pink 
 Raw Sienna 
 Brown Pink 
 Yellow Lake 
 Yellow Oker 
 Italian ditto 
 Roman ditto 
 
98 
 
 GEORGE 'ROWKEY AND CO. 
 
 I 
 
 WATER COLOURS— continued. 
 
 BROWI^S. 
 Brown Oker 
 Raw Umber 
 Burnt ditto 
 Burnt Sienna 
 Vandyke Brown 
 Bistre 
 
 Cologne Earth 
 
 GREYS. 
 
 Payne's Grey 
 
 Whole cakes. 
 
 Moist, in pan or tube 
 
 Crimson Lake 
 Scarlet ditto 
 Indian Yellow 
 Sepia 
 
 Neutral Tint 
 
 BLACKS. 
 Ivory Black 
 Lamp ditto 
 Blue ditto 
 
 BLU 
 
 Indigo 
 
 Prussian Blue 
 Antwerp Blue 
 
 Warm Sepia 
 Madder Brown 
 Permanent White 
 Mars Yellow 
 
 Blue Verditer 
 
 GREENS. 
 
 Emerald Green 
 Verdi,gris 
 Olive Green 
 Hooker's Green, 1, 2 
 Prussian Green 
 Sap Green 
 
 Scarlet Vermilion 
 Permanent Blue 
 Chinese White 
 Black Lead 
 
 Flake White 
 
 Half cakes . 
 Quarter cakes 
 
 t. d. 
 
 0 9 
 
 0 4 ^ 
 
 Whole cakes . . .201 Half cakes . . . .10 
 
 Moist, in pan or tube . 2 0 | Quarter cakes . . 0 6 
 
 Lemon Yellow 1 Violet Carmine I Azure Blue 
 
 Cobalt Blue | French Ultramarine j ‘ 
 
 Whole cakes . . .301 Half cakes . . . .16 
 
 Moist, in pan or tube . 3 0] Quarter cakes . . . 0 9 
 
 Madder Lake | Rose Madder 1 Intense Blue 
 
 Whole cakes 
 Moist, in pan or tube 
 
 Pure Scarlet 
 Carmine 
 Burnt ditto 
 Dahlia ditto 
 
 . 5 0 j Half cakes . . . .26 
 
 5 0 j Quarter cakes. . . 13 
 
 Ultramarine Ash 
 Mars Orange 
 Smalt 
 
 Purple Madder 
 
 Gallstone 
 Cadmium Yellow 
 Extract of Madder 
 Carmine 
 
 Whole cakes . . .701 Half cakes . , . .36 
 
 Moist, in pan or tube , 7 0 | Quarter cakes ... 19 
 
 Deep Rose. 
 
 Whole cakes . . .110 1 Half cakes . . . . 10 6 
 
 Moist, in pan or tube . 1 1 0 j Quarter cakes . . . 6 3 
 
 Ultramarine. 
 
12-CAKE 
 
 £2 128. 6d. 
 
 ROSEWOOD 
 CADDY LID BOX, 
 BRASS BOUND. 
 
 51, RATHBONE PLACE. 93 
 
 WATER COLOUR BOXES, FITTED. 
 
 For Particulars see Catalogue. 
 
 12-CAKE SLIDE BOX.— Price 12s. 
 
 COMPLETE 
 12-CAKE BOX 
 Price £1 Is. 
 
 12-CAKE LOCK BOX.— Price 143. 
 

AAVARDEl) TO WINSOR AND NEWTON, 
 
 SECTION 11. (CHEMISTRY), No. 28, EOll “ARTISTS’ COLOURS, 
 
 BEING THE ONLY MEDAL AWARDED TO THE COMPETITORS ENGLISH AND FOREIGN FOR “ARTISTS’ COLOURS.’ 
 
Just Publislied, Price One Shilling. 
 
 HINTS FOR 
 
 SKETCHING IN WATEE-COLOHES 
 
 FEOM NATUEB. 
 
 BY THOMAS HATTOH. 
 
 This little Work is intended for the use of such Students 
 as are accustomed to copy Water-colour Drawings, and find 
 no difiiculty in sketching natural objects in Black-and-white ; 
 yet who feel, when trying to represent Nature in her proper 
 colours, that they require something more to guide them than 
 theii* own perception, which is probably not sufficiently de- 
 veloped to enable them to seize the effects that Nature 
 presents, and they are consequently disappointed at finding 
 their productions devoid of that brilliancy which they have 
 been able to attain in their copies of pictures. 
 
 The excellent manuals on Water-Colour Painting by 
 Messrs. Penley and Rowbotham, being devoted to more 
 finished productions, do not supersede the present attempt, 
 which endeavours to meet such difficulties in Sketching in 
 Colour as have been overlooked in works of greater preten- 
 sion. Just as Mr. Rowbotham’ s highly practical little trea- 
 tise, The Art of Sketching from Nature,” directs the 
 Student’s pre-supposed facility in the use of Black-and-white 
 to the production of Sketches in that medium, but leaves 
 Colour untouched, so does the present Work seek to extend 
 to Sketching out of doors the knowledge necessarily acquired 
 in copying pictures in Water-Colours; while, by avoiding 
 what is unnecessary to the Sketch, however essential to the 
 finished picture, it points out the shortest and most direct 
 course to the attainment of the desired object. 
 
 LONDON: 
 
 Wn^SOR AND NEWTON, 38, RATHBONE PLACE. 
 
WINSOE AND NEWTON’S 
 
 OIL P-AINTING. 
 
WINSOR AND NEWTON, 
 
 PREPAKED CANVAS ON FRAMES. 
 
 ALL THE SIZES NAMED ARE KEPT IN STOCK. 
 
 liaudscape Proportions. 
 
 Portrait Proportions. 
 
 EVCHES. 
 
 INCHES. 
 
 9 by 6 
 
 8 by 6 
 
 10 „ 7 . 
 
 10 „ 8 
 
 12 „ 8 .... 
 
 12 „ 10 
 
 12 „ 9 . . . 
 
 14 „ 12 
 
 13 „ 9 .... 
 
 18 „ 14 
 
 14 „ 10 . 
 
 20 „ 16 
 
 15 „ 11 .... 
 
 21 „ 17 
 
 16 „ 12 . 
 
 17 „ 13 
 
 18 „ 12 . 
 
 24 by 20, head size .... 
 
 19 „ 13 
 
 30 „ 25, f size 
 
 21 „ 14 . 
 
 36 „ 28, Kitcat .... 
 
 22 „ 16 .... 
 
 44 „ 34, small half length . 
 
 24 „ 18 . 
 
 50 „ 40, half length 
 
 56 „ 44, Bishop’s half length 
 
 27 „ 20 .... 
 
 30 „ 20 . 
 
 7 ft. 10 by 4 ft. 10, whole length 
 
 30 „ 24 .... 
 
 8 ft. 10 by 5 ft. 10, Bishop’s whole length. 
 
 cg'ulai* and liargc Sizes made to Order. 
 
 FINE EINEN CANVAS. 
 
 PREPARED IN A SUPERIOR MANNER FOR OIL PAINTING, 
 
 IN ROLLS OF SIX YARDS LONG. 
 
 Warranted to keep any length of time without cracking. 
 
 f or 27 inches wide 
 I or 30 
 
 36 and 38 „ 
 
 3 feet 6 inches wide 
 
 3 „ 9 
 
 ^ „ G „ 
 
 5 „ 2 
 
 6 „ 2 „ 
 
 7 2 
 
 per yard. 
 
 
 PLAIN 
 
 CANVAS. 
 
 EOMAN. 
 
 TICKEN, 
 
 
 ACADEMY BOARDS, for Studies or Sketching, 24^ in. by 18^ 
 
 Ditto, Stout 24 ^ „ 18^ 
 
 ETTY BOARDS, with absorbent grounds, as prepared by 
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 Large Size ditto ditto 26 in. by 20 
 
 PREPAUID PAPER FOE SKETCHING IN OIL. 
 
 Imperial Size, 30 in. by 21. 
 
RATHBONE PLACE 
 
 3 
 
 PHEPAKED MILLBOAKD'S. 
 
 PAINTED WITH OIL GROUNDS. 
 
 6 by 
 
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 15 
 
 bv 11 
 
 7 „ 
 
 5 . . . 
 
 
 15 
 
 12 
 
 8 „ 
 
 6 . 
 
 
 16 
 
 ,, 11 
 
 9 „ 
 
 6 . . . 
 
 
 16 
 
 „ 12 
 
 9 „ 
 
 7 • 
 
 
 17 
 
 „ 13 
 
 10 „ 
 
 7 . . . 
 
 
 17 
 
 „ 14 
 
 10 „ 
 
 8 . 
 
 
 18 
 
 „ 12 
 
 11 „ 
 
 8 . . . 
 
 
 18 
 
 „ 13 
 
 11 „ 
 
 9 . 
 
 
 18 
 
 „ 14 
 
 12 „ 
 
 8 . . . 
 
 
 19 
 
 „ 13 
 
 12 „ 
 
 9 . 
 
 
 19 
 
 „ 14 
 
 12 „ 
 
 10 . . . 
 
 
 20 
 
 „ 14 
 
 13 „ 
 
 8 . 
 
 
 20 
 
 „ 16 
 
 13 „ 
 
 9 . . . 
 
 
 21 
 
 17 
 
 13 „ 
 
 10 . 
 
 
 22 
 
 „ 18 
 
 13 „ 
 
 11 . . . 
 
 
 23 
 
 „ 16 
 
 14 „ 
 
 9 . 
 
 
 24 
 
 „ 18 
 
 14 „ 
 
 10 . . . 
 
 
 24 
 
 „ 20 
 
 14 ,, 
 
 12 . 
 
 
 30 
 
 „ 55 
 
 
 S ‘CT P E DEI 3C 0 B 
 
 MAHO&AMl 
 
 1 , 8 . 
 
 Prepared on tlie Finest well-seasoned Wood 
 PAINTED WITH OIL GROUNDS. 
 
 8 bv 6 . 
 
 16bvl2 
 
 9 „ 6 
 
 17 „ 12 
 
 9 „ 7 . 
 
 17 „ 13 
 
 10 „ 7 
 
 17 „ 14 
 
 10 „ 8 . 
 
 18 „ 12 
 
 11 „ 8 
 
 18 „ 13 
 
 11 „ 9 . 
 
 18 „ 14 
 
 12 „ 8 . . 
 
 19 „ 13 
 
 12 „ 9 . 
 
 19 „ 14 
 
 12 „ 10 
 
 20 „ 14 
 
 13 „ 8 . 
 
 20 „ 16 
 
 13 „ 9 . . . 
 
 21 „ 17 
 
 13 „ 10 . 
 
 22 „ 16 
 
 13 „ 11 
 
 22 „ 18 
 
 14 „ 9 . . 
 
 23 „ 16 
 
 14 „ 10 
 
 24 „ 18 
 
 14 „ 12 . 
 
 24 „ 20 
 
 15 „ 11 
 
 30 „ 25 
 
 15 „ 12 . 
 
 36 „ 28 
 
 16 „ 11 
 
 
4 
 
 WINSOR AND NEWTON 
 
 oiii coi^oxTaas m opatew coi.i,aesi»i.e tubes. 
 
 Brown Ochre . 
 
 Chrome Yellow 
 
 — Deep . 
 
 ■ Orange 
 
 Gamboge . 
 
 Italian Pink . 
 
 Kings’ Yellow . 
 
 Naples Yellow (Light) 
 
 (Deep) 
 
 Orpiment 
 Patent Yellow . 
 
 Roman Ochre 
 Raw Sienna 
 
 Transparent Gold Ochre 
 Yellow Lake 
 Yellow Ochre 
 Burnt Sienna . 
 
 Burnt Roman Ochre 
 Crimson Lake . 
 
 Indian Red . 
 
 Indian Lake 
 Light Red 
 Purple Lake 
 Scarlet Lake . 
 
 Venetian Red . 
 Antwerp Blue 
 Indigo 
 New Blue 
 Prussian Blue . 
 Permanent Blue 
 Asphaltum 
 Bone Brown . 
 
 Burnt Umber . 
 
 Brown Pink . 
 
 Bitumen . 
 
 Cappah Brown 
 Cologne Earth . 
 Mummy 
 Raw Umber 
 Verona Brown 
 Vandyke Brown 
 Emerald Green 
 Olive Lake 
 Terre Verte . 
 
 Verdigris 
 Blue Black . 
 
 Black Lead 
 Ivory Black . 
 
 Lamp Black 
 
 I 
 
 j 
 
 m 
 
 o 
 
 >* 
 
 cfi 
 
 O 
 
 B 
 
 A 
 
 \ 
 
 W 
 
 P 
 
 pa 
 
 % 
 
 o 
 
 m 
 
 % 
 
 B 
 
 B 
 
 A 
 
 O 
 
 w 
 
 A 
 
 -s; 
 
 B 
 
 « 
 
RATHBONE PLACE, 
 
 5 
 
 OIL COLOURS IN PATENT COLLAPSIBLE TUBES. 
 
 (continued.) 
 
 WHITES. 
 
 Flake White 
 Nottingham White 
 Blanc d’ Argent 
 Permanent White 
 
 EXTRA 
 
 Burnt Lake .... 
 Vermillion 
 
 Cobalt ..... 
 French Ultramarine . 
 
 Indian Yellow 
 Rose Madder 
 
 IREDIEMS. 
 
 Megilp .... 
 Copal Megilp 
 Pyne’s Megilp 
 Sugar of Lead . 
 
 COIiOlJRS. 
 
 Mars Orange 
 Oxide of Chromium . 
 Transparent Oxide of Chro- 
 mium . . . 
 
 Malachite Green . 
 
 Mineral Grey 
 
 Pink Madder 
 Rubens’ Madder 
 Brown Madder 
 Mars Brown 
 Mars Scarlet . 
 Mars Violet 
 Mars Yellow . 
 
 Lemon Yellow 
 Cadmium Yellow 
 Orange Vermillion 
 Ultramarine Ash 
 Carmine 
 
 Burnt Carmine . 
 Purple Madder 
 
 OILS, VARlSriSHE S, &c. 
 
 jForm of 
 
 CONTAINING- 
 SALP A GILL. 
 
 Mastic Varnish, double strength, \ 
 for making Megilp . 
 
 Mastic Varnish, for varnishing pic- 
 tures 
 
 Copal Varnish . 
 
 Crystal ditto 
 White Spirit ditto 
 Brown ditto ditto 
 Lac Varnish 
 Grecian ditto 
 Japan Gold Size 
 Nut Oil . . . 
 
 Poppy ditto 
 Linseed ditto 
 Pale Drying ditto 
 Strong ditto 
 Fat Oil . 
 
 Spirits of Turpentine . . ./ 
 
 Asphaltum . . per pot. 
 
 Megilp ... „ 
 
 Copal Megilp . . . „ 
 
 In Phials, or Earner Bottles. 
 
6 
 
 WINSOR AND NEWTON 
 
 JAPAi^NED TIN OIL COLOUR BOXES, 
 
 letEtatefBg 
 
 And tbe Materials required in Oil Painting. 
 
 s. d. 
 
 Japanned Tin Oil Colour Boxes, to hold 12 Tubes, Palette, 
 
 Brushes, Oils, &c. Small size, 9 inches by 7, and 2f deep . 6 0 
 
 Ditto, to hold 16 Tubes, &c. Size 10 inches by 7, and 2^ deep . 8 0 
 Ditto, ditto, with double bottom and grooves, for containing 
 
 Millboards and Wet Sketches. Size 10 inches by 7, and deep. 9 6 
 
 Ditto, to hold 20 Tubes, &c. Size 12^ inches by 9, and 2| deep. 11 6 
 
 Ditto, ditto, with double bottom and grooves, for containing 
 Millboards and Wet Sketches (12 inches by 8). Size of Box, 
 
 12^ inches by 9, and 3§ deep 14 0 
 
 Large Size Tube Box, to hold 26 Tubes, &c., double bottom for 
 containing Millboards (14 inches by 10). Two Divisions for 
 Brushes, &c. Size of Box, 14^ inches by 11, and 4 deep. 18 6 
 
 Flat Portable Tube Box, to hold 20 Tubes, Brushes, Oils, &c. 
 
 Size 12f inches by 8|, and H deep. A most convenient Box, 
 particularly desirable when sketching from Nature, or for 
 Travelling {See Engraving on next Page) . . . .70 
 
 Ditto the same Box, with double bottom, for containing Millboards 
 (12 inches by 8). Size of the Box, 12-| inches by 8|, and 2^ 
 
 deep 9 0 
 
 Pocket Oil Sketching Box, to hold 12 Tubes, very portable. Size 
 
 13 inches by , and 1| deep, with folding Mahogany Palette. 8 6 
 
 POCKET OIL SKETCHING BOX. 
 
RATHBOXE PLACE. 
 
 rm ©QL ©®[L®©[^ g®2^[lgy 
 
 FITTED WITH PAiafTIXG MATERIAES. 
 
 Coutainiug Sets of Oil Colours in Tuks, an Assortment of flog flair and Sable 
 Brushes, a Badger Softener, Oils, Varnish, Turpentine, Palette, Palette Knife, Port- 
 crayon, Charcoal, Tin flipper, k. k. 
 
 £ s. d. 
 
 Japanned Tin Oil Colonr Box, for 12 Tubes, fitted complete .110 
 
 Ditto, 16 Tubes, fitted complete 1 10 0 
 
 Ditto, 16 Tubes, with double bottom, containing Millboards . 1 14 0 
 
 Ditto, 20 Tubes, fitted complete 2 4 0 
 
 Ditto, 20 Tubes, ditto, with double bottom, containing 
 
 Millboards 2120 
 
 Ditto, 26 Tubes, Large Size, fitted with a full assortment of 
 Brushes and Extra Colours in Tubes, double bottom, con- 
 taining Millboards (14 inches by 10), very complete .400 
 
 Flat Portable Tube Box, for 20 Tubes, fitted complete. Size 
 
 of the Box, 12^ inches by 8^, and 1-| deep . . .17 0 
 
 Portable Tube Box. 
 
 £ s. d. 
 
 Ditto, the same Box, with double bottom, containing Millboards 111 
 Pocket Oil Sketching Box, with folding Palette, fitted complete. 
 
 A most convenient and portable Box when sketching from 
 Nature 100 
 
 See Engraving on previous Page. 
 
8 
 
 WINSOR AND NEWTON, 
 
 FLAT HOG HAIR BROSHES IN TIN. 
 
 POLISHED CEDAR HANDLES, 
 
 The Brushes are the same Sizes as the Eng'ravings. 
 
 For representations of Nos. 7 to 12, see next page. 
 
N9 II pjo 12 
 
 RATHBONE PLACE 
 
 9 
 
 FLAT HOG HAIR BRUSHES IN TIN. 
 
 (continued.) 
 
10 
 
 WINSOR AND NEWTON, 
 
 ROUND HOG HAIR BRUSHES IN TIN. 
 
 For Oil Painting. 
 
 POLISHED CEDAR HANDLES. 
 
 The Brushes are the same sizes as the £ii^’aving:s. 
 
 Engravings of Nos. 7 to 12 are given on the next page. 
 
RATHBONE PLACE. 
 
 11 
 
 ROUSvTD KO& HAia BRUSHES TPaJf. 
 
 JFor 0il fainting. 
 
 POLISHED CEDAR HANDLES. 
 
 Round Hog Hair Brushes are also hepf hound with string or wire. 
 
N? 6 N? 6 
 
 12 
 
 WINSOR AND NEWTON, 
 
 FLAT HOC HAIR BRUSHES IN TIN, 
 
 1F®1E ©HIL 
 
 POLISHED CEDAR HANDLES. 
 
 The first Engraving represents a Hog Tool, with long hair and thin, 
 particularly adapted for painting Fur and Hair, and is besides a generally 
 useful Brush. 
 
 The second Brush is shorter and thicker in the hair, and a suitable and 
 most useful Brush in Landscape Painting. 
 
 These Brushes are made to the same sizes as the Hog Tools, pages 8 and 9. 
 
 [^QT(g[M] rma 
 
 FOR Olli PAINTING. 
 
 POLISHED CEDAR HANDLES. 
 
 Flat or Round. 
 
 These Brushes are made the same sizes as the Sahles in Tin. See next page. 
 
ZloN lloN OloN 6 oN 
 
 RATHBONE PLACE, 
 
 13 
 
 FLAT SABLE BBUSHES IN TIN. 
 
 Jpot #11 
 
 POLISHED CEDAR HANDLES. 
 
14 
 
 AVINSOR AND NEWTON 
 
 WM TQlROu 
 
 FOR OIIj painting. 
 
 POLISHED CEDAR HANDLES. 
 
 N?9 
 
 Round Sables in Tin for Oil Painting are seldom required larger than A^o. 9. 
 They can, however, be had up to No. 12. 
 
RATHBONE PLACE. 
 
 15 
 
 BADGER SOFTENER: FLAT VARNISH BRUSHES. 
 
16 WINSOR AND NEWTON, RATHBONE PLACE. 
 
 GROUND GLASS SLABS, 
 
 FOR GRINDING AND MIXING FINE COLOURS IN OIL, &e. 
 
 Glass Slabs, set in Mahogany Frames . 6 inehes by 6 inches 
 
 Ditto ditto . . 8 „ 8 „ 
 
 Ditto ditto . 10 „ 10 
 
 Glass Slabs may be bad witbont tbe Frames. Glass Mullers in great Variety. 
 
 s tr ar D Da oc E s. 
 
 POWDER COLOURS, GROUND TO IMPAL- 
 PABLE POWDER. 
 
 MAHOGANY AND SATIN WOOD PALETTES, 
 OP ALL SIZES. 
 
 STEEL PALETTE KNIVES. 
 
 IVORY DITTO, EOR DELICATE COLOURS. 
 DIPPERS, OR PALETTE CUPS. 
 
 BRUSH WASHERS. 
 
 BRUSH, OR SMUDGE PANS. 
 
 SKETCHING CHARCOAL. 
 
 CHALKS OE ALL KINDS AND DESCRIP- 
 TIONS. 
 
 MAHL STICKS, VARIOUS. 
 
 EASELS OF EVERY DESCRIPTION. 
 
 SOLID BLOCKS FOR SKETCHING IN OIL. 
 TRACING PAPERS. 
 
 And every other Material required in Oil or Water-Colour Painting. 
 
 WINSOR AND NEWTON, 
 
 MANUFACTURING ARTISTS’ C O L O U R M E N , 
 
 38, RATHBONE PLACE, OXFORD STREET. 
 
 London : Printed by Schulze and Co., 13, Poland Street. 
 
H ' ' - ■: 
 
 m ..■ 
 
 
 
 ■ I