£'.

* %
**-*
 TREATISE
ON THE

ART OF PAINTING.
AND THE

COMPOSITION of COLOURS,
CONTAINING

INSTRUCTIONS
FOR ALL THE

VARIOUS PROCESSES OF PAINTING.

TOGETHER WITH OBSERVATIONS UPON THE dUALI-
TIES AND INGREDIENTS OF COLOURS.
'nwttmttwr

TRANSLATED FROM THE FRENCH

OF

M. CONSTANT DE MASSOUL.

LONDON:

Published and Sold by the Author of the Original, at his

Manufactory, No. 136, New Bond-street.
Where Ladies and Gentlemen may be furnished with
every Article necessary for Painting and Drawing.

PRINTED BY T. BAYLIS, NO. 15, GREVILLBSTREET.

1/97.
 ERRATA.

Page 48, line 3 — puod read pond.

Page 64, line 3 — of a stucco read of stucco.
Page 65, line Q — Athens read Acbaia.
Pagr 75, line 15 — nons read non.
Page 89, line 9 — makes read »w£<?.
Page 112, line 1— fruits read fruit.
Page 1 14, line 16 — party read person.
Page 115, line 16 — these read /iw*.
Page 141, line 2 — Japan read Japan.
Page 149, line 7 — &z/« read Calces.
Page 164, line 11 — reen read green.
Page 168, line 17 — bining read shining.
Page 178, Une 22 — who read which.
Page 196, line 3 — */>£ European read Europa.
Page 196, line 14 — Curuse read Ceruse.
Page 210, line 18 — (/read or.
 INTItO DUCTIO N.

JL HE Arts arose from a natural desire

of adding to Our enjoyments. Man felt
at an early period, that he was not born
to grovel upon the earth like other ani-
mals ! His faculties tended of themselves
progressively to develop — he became
roused— he studied Nature ! A thou-
sand secret springs, a thousand happy
combinations presented themselves to his
view, and prodigies without number burst
forth at every step. He soon discovered
that he could attain to a higher degree of
perfection : experience was consulted—
enlightened by her, he gradually advanced
to the desired point ; it unfolded and gave
more action to his movement, more ease
and dignity to his port, more energy and
b light-
 ( a )
lightness to his carriage, more delicacy tco
his form, more regularity to his features,,
more sprightliness to his natural graces ;
more sentiment and fire sparkled in hi$s
eyes, in his manners more charms ancd
vivacity.
Music and Poetry became the interpre-
ters of his sentiments — sometimes thew
softly sighed forth his lamentations anal
desires ; sometimes vented his anger irn
rude menaces and dreadful sounds, im
measures brisk and interrupted. His joyy
and gratitude shone forth in rapid, ancd
at the same time, graceful accents.
At the sound of his voice, Nature ap-
peared to reproduce, and acquire a neuv
fecundity. His chisel gave, as it were.,
animation to marble ; the canvass be-
came animated under his pencil — all ap-
peared tobreathe, to move, to adl. Dis-
tance of time and place, nay, even deathi
itselif
 ( i'i )
itself can no longer separate friends — the
hand of the Painter will be able to reunite
them. Striking resemblances will be of-
fered to the deceived eye, and make nearly
the same impression upon the mind with
the objects themselves ; all will be imitated
and embellished ! Here a chearful and en-
chanting country excites pleasing and joy-
ful emotions — there a deep shade inviting
a soft melancholy — here Mars appears in
all his fury, inundating the plain with
blood and carnage — there Pomona and
Bacchus are granting the wishes of man-
kind, and filling their baskets with luxu-
riant fruits.
History itself becomes tributary to Paint-
ing ;Hercules, Theseus, Alexander, Cae-
sar, &c. re-appear upon the scene ; at the
representation of their exploits, the emu-
lation ofgreat minds is inflamed; the fire,
which forms and sustains the Hero, is re-
kindled and nourished.
b 1 Thus
 ( IV )

Thus the fine Arts are not only the

delight of polished Nations, but ai tie
which approaches and unites therm. —
Kappy and flourishing in proportiom to
their taste, they make their luxury ;and
riches serve to multiply their enjoy mtemts,
and to augment the brightness of ttheir
splendor. England is distinguished atrnong
those that are civilized, for the honorrable
reception she has given to celebrated Ar-
tists. The high prices she fixes uipon
their performances stimulates their cumula-
tion ; the generosity, the flattering dis-
tinctions lavished upon them, will recc<ord
to all ages, her liberality and the grreat-
ness of her views.
The taste shewn by the English Naition
for Painting, makes us flatter oursellves,
that this Treatise will be received with
pleasure. We have the more reason* to
hope for this, as we have delayed ofFeirimg
it to the public, till we had made repeat-
ed
 ( v )
ed experiments on the several subjects on
which we mean to treat.

this work contains;

1st — Reflexions upon the utility and
pleasures of Painting.
2dly — The proceedings necessary to
practise with success, all the different
styles of Painting.
3dly — Remarks upon the distinguished
performances of the first Painters of
Landscapes.
4thly — Details upon the nature, quali-
ties, and composition of the colours, pro-
per for the different methods of painting ;
upon the chymical operations they must
undergo ; and, lastly, upon the method
of usino;V them.

b 3 A TREATISE
 TREATISE
O N

PAINTING AND COLOURS.

iwvyww"*

On POINTING.

PAINTING is the Art of imitating all

objects in Nature : it places them in a fic-
titious horizon, whose imitation upon a
plane, is no less surprising than that of the
subjects it represents. To produce any
desired effect, lines are delineated with
the most exact proportion ; they express
the contours of all bodies, and this part
belongs more particularly to Drawing —
b 4 the
 ^Hi

( 8 )
the Painter afterwards covers the lines, and
embellishes them with colours combined
with judgment and ingenuity.
Researches after the origin, progress.,
and revolutions of Painting, would only
tend to embarrass, and present to us
innumerable difficulties; if the Ancients
have treated this subject, their writings
are lest — all that we can learn concern-
ing it, is, that Egypt, which has not
produced any chef-d'oeuvre in this way,
gave birth to Painting; from Egypt it
passed into Greece, where it attained to the
highest point of perfection ; from thence
it passed to the Romans, without however
producing any Artists of the first order.
It declined with the Roman Empire, and
again appeared with splendor under the
pontificates of Julius II. and Leo X. It
is from this epoch, that a distinction has*
been made between ancient and modern
Painting.
Nature,
 ( 9 )
Nature, who by the means of light and
shade, brings forward, or makes her objects
recede, was probably the first mistress that
taught men to gratify their taste by imi-
tation, and must have been, without
doubt, the true origin of Painting.
It was so highly esteemed by the Greeks,
as to hold the first rank among the fine
Arts. It does not even yield to Poetry,
which is styled, Painting hi words, as we
may also style Painting, mute Poetry. In,
l|ke manner as Poetry, so does Painting
express borh the facts of history and the
inventions of imagination ; it imitates al}
objects in nature — it displays to our de-
luded eyes, the splendor of light, and all
the various gradations of shade. Through
its medium we distinguish eminences and
depths, and it seems to place obje<5ls even
within our reach, or at a considerable dis-
tance, according as the subject may re-
quire. Like optics, it makes use of all
that
 ( io )
that can deceive the eye, and, varying its
sites, it pleases itself in representing the
same object under a thousand various
forms. It even produces effects to which
Sculpture can never attain : it represents
water, air, and fire — the rays of the sun —
the soft light of the moon, and stars —
thunder, lightning — the rising and set-
ting sun — clouds, twilight, and night !
It paints the different movements of our
soul, the conceptions of our mind, and
almost speaks itself. By help of certain
dimensions and measures, we are made to
see objects that rival even Nature, and by
embellishing, sometimes surpass it ! Birds
so deceived as to rush upon the grapes
drawn by the pencil of Zeuxis ; the hand
of this one endeavouring to raise the cur-
tain painted by Paressasius ; -the ingeni-
ous miracles from the pencil of Apelles,
and so many celebrated men who have
3 excelled
 ( 11 )
excelled in this art, are they not sufficient
proofs ?
Painting, by the pleasure it conveys to
our mind, through the medium of sight,
strikes the soul by the help of the senses,
and is perhaps the surest means to attach
it. It makes us leap the intervals of time
and place, to present to our sight those
objects, from which we are separated either
by distance or death. It affects us by the
novelty, the variety and the choice of its
subjects : its charms strike and arrest
the attention of all — Artists and Ama-
teurs cannot pass with indifference a fine
picture : the emotion which it excites,
fixes them to the spot, in order to prolong
their admiration.
Painting has advantages which the ob-
jects it imitates, are far from being able to
procure us. We would not dare look, we
should only see with horror, monsters, mas-
sacres, men dead or dying — here we con-
template
 ( 12 )
template them with security ; we even
survey them with pleasure, when imitated
jn the works of Painters : the more perfect
the production, the more eagerly we exa-
mine— we are only affected according as
we wish, and our grief disappears with the
Picture ; instead of which, had we wit-
nessed the real objects, we could neither
have commanded our vivacity or our feel-*
ings.
The Painter in his works, leaves more
for the understanding, judgment, and feel-
ing, than for the sight, and one may
almost say, his genius surpasses the Art
itself.
Jkit, if Painting has so many attractions
for those who simply confine themselves
to the admiration of it, how infinitely su-
perior must be the satisfaction of those,
who cultivate this fascinating art ? How
great must be the pleasure of a Lady who
pbserves from the touches of her pencil,
the
 ( 13 )
the faithful likeness of a much esteemed
friend ? With what delight will she
not behold a flower blooming from her
hand : What relaxation more innocent
and pleasing, than to form around one, art
horizon composed of all that can charm
the heart and eyes ; to create, one may
almost say, objects that the imagination
has been picturing to itself; to be able,
in short, to imitate nature in her most
pleasing forms.
From hence arises the pleasure that
Painting has given to all men — hence the
commendable custom, among all nations,
of making Drawing and Painting constitute
a part of education — from hence the par-
ticular patronage given by Sovereigns to
Painters, and all those who may have made
discoveries relative to the progress of tub
Art.
The different manners of Painting, now
ifi use. are : Fainting in 0/7, in Enamel
T? /, /
 ( 14 )
Elndoric, and Mosaic ; Painting in Fresco >
a la Gouache, in Miniature, in Water Co~
lours, and in Crayons. We shall treat of
all these kinds of Painting, and dweil
longer on those in general use.
Our intention is not to give a minute
detail of the various means, that may-
guide Amateurs to that perfection, to which
few Artists arrive, and which can only be
attained by long and laborious study. We
flatter ourselves, notwithstanding, that in
the details we shall offer, will be found all
the principles and proceedings necessary
to develop natural genius, and enable
Amateurs to acquire a pleasing manner of
Painting. We have the more reason to
expect it, as it is not to our own particular
knowledge only, that we have referred :
we have consulted, for each peculiar style
of Paintings Artists of the first abilities,
and equally animated with ourselves in
die desire of being useful to the public.
M. Danloux
 ( 13 )

M. Danloux has given us his observa-

tions on Oil Painting: this Artist is well
known by his performances, and among
others, by his portrait of the Bishop of St.
Pol de Leon, the Print of which is now
offered to the public, and in which he
has expressed, in a manner as natural as
energetic, the generosity of the English
Nation, the charity of the Prelate, and the
gratitude of the French Clergy.
Mr. Arlaud, well verse-! in Painting
Eludoric, Enamel, and Miniature, which he
has practised for several years, with as much
success as celebrity, has also given us very
considerable information upon these three
different processes of Painting.
For painting Landscapes in Oil and
Drawings a la Gouache, we have particu-
larly consulted Mr. Belanger, Painter
to his Koyal Highness Monsieur, bro-
ther to Louis XVIII. King oi France.many
The talents of this Artist are known by
 ( 16 )
many beautiful Landscapes that adorn the
Cabinets of their Royal Highnesses the
Prince of Wales, and the Duchess of
York ; by the Views in the island of Ja-
maica, those of Richmond and Windsor
Castle, which are placed in our Gallery,
and by many other works much esteemed
by Connoisseurs.

GENERAL
 ( 17 )

GENERAL IDEAS

Upon ihe Manner of

Painting in Oil.

PAINTING in Oil is of all styles of

Painting the most ancient, and with great
reason, has been the most cultivated.
It has the peculiar advantage of resisting
the injuries of time, and of preserving
itself many ages, in all its primitive vigour
and harmony.
Drawing is so essentially necessary for a
Painter, that it is unnecessary to attempt
proving its utility. We shall content our-
selves with observing, that those persons
who wish to apply to Painting, should not
only copy Drawings of good Masters, but
also the antique figures. They should
also draw from recollection ; in doing this,
they will find great advantage.
c They
 ( 18 )

They should always have with them a

book, to contain slight sketches of the pre-
sent ideas, and to seize those happy effects
so often seen in observing Nature. It is
likewise advisable to make slight sketches
of Pictures and Prints, that may have im-
pressed them. It is thus the mind is fur-
nished, and the hand accustomed to prac-r
tice, without which, the most perfect
theory would be reduced to the most in-
significant inability.
The most easy method of proceeding,
either in Drawing or Painting, is to begin
with the great forms and masses, and to
imagine one's self in haste, in order to ex-
press with few strokes, the general idea of
the subject we wish to represent. It is
easy to conceive, that being employed at
the beginning with the detail, you will
naturally fall into the minutiae-, and pei>
haps never attain your end. It would be
like an Architect:, who should distribute the

apartments
 ( 19 )
apartments of an Edifice, before he had
traced the general plan.
When the largest and principal masses
are drawn, which can only be done from
having well examined the object you are
representing, then follow the more incon-
siderable parts, and so on insensibly to
the smallest details, which will then give
but little trouble. These principles may
be applied to every species of Painting,
and indeed, one may say, to the Arts in
general.
Having proceeded so far as to begin to
colour, you should make choice of those
materials that are the most perfect, and the
best prepared, if you wish to preserve, for
any considerable time, your performance.
Those most generally used in Oil Painting,
are the following:
White Lead Blue Black
Yellow Ochre Red Ochre
Burnt Sienna Red Lake
Raw
C2
 ( 20 )
Raw Sienna Deep Red Lake
Prussian Blue Chinese Vermilion
Indian Red Naples Yellow
Brown Pink Vandyke Brown
Yellow Lake Ultramarine
Ivory Black
This last colour ought to be used with
precaution, not only on account of its
bearing a high price, but, without instruc-
tion, being difficult to use.
The colours ought to be ground with
fine nut or linseed oil_, or very transpa-
rent poppy oil.
If you wish your Picture to dry quick,
make use of drying oil. If you have no
drying oil, mix with the point of your
knife a little Saccharum Saturni with
either of the foregoing oils.
Drying oil is seldom used, but with
Browns and Lakes, these colours being
long in drying.
There
 ( 21 )

There is a distinction between transpa-

rent and opake colours ; the former are
these :
Red Lake Vandyke Brown
Yellow Lake Prussian Blue
Ultramarine Siennas

The colours should never be laid on the

canvass, till the outline is drawn perfectly-
correct : otherwise, there would be at once
two difficulties to conquer, one of Draw-
ing, and the other of Painting.
When the Pallet is prepared, and the
subject traced, compound your tints ; this
is done by taking with the point of your
pallet-knife, from among the principal
colours, those which are necessary for the
object you mean to represent.
For example, a little White, Brown, Red
and Vermilion, mixed together, will com-
pose aflesh-colour.
c 3 Blue
 ( 22 )
Blue Black, Vermilion and White will
make a middle tint for flesh.
Ivory Black, Indian Red and Naples
Yellow, will do for the shadows.
As it would be impossible to give exact
directions for the composing every tint,
it must be understood by the three above-
mentioned examples, that they may be
made lighter or darker, more or less vivid,
in proportion as you add lighter, darker,
or warmer colours; that is to say, if Yel-
low and Blue form a Green, it can with
ease be made more or less Green, partaking
of the Blue or Yellow, as more or less of
these colours are mixed with it : and it
will be lighter or darker, by mixing with
it White or Black, &c. in like manner with
other colours.
Having covered the canvass with proper
colours, and disposed the principal tints
near each other, in order that they may
insensibly accord, a soft pencil should
be
 ( 23 )
be used, the hairs of which must be
separated so, as not to form a point ; it
should then be lightly passed, without
colour, over the Painting, and care be
taken to use it in the same direction with
the forms of the objects previously paint-
ed, in order to blend the tints one with
the other, and to make the hard outlines
disappear ; for, in Nature none are dis-
cerned.
When the whole is softened, then the
strong touches should be given, either
light or dark, in those parts that are to
project or recede. These touches should
not, however, be given, till the forms
that may have been obliterated or mis-
placed in softening with the dry Pencil,
are retouched ; which frequently happens
to persons unaccustomed to use one.
You should, as much as possible, finish
the Lights, so as to have little to retouch.
In general the shadows may be left lighter
C4
as
 ( 24 )

as it is very possible they may be rendered

more vigorous by glazing*.
Many Painters, both in Glazing and in
Painting, make use of varnish mixed with
fal oil, because then the Picture appears
brilliant, and not hnblbed\.

* Glazing, a term in Painting, is the using tran-

sparent colours mixed with a little drying oil, which
with a firm pencil, is passed over those parts that
are to be warmer and more forcible.
Draperies are likewise glazed, and in general all
objc&s that require a more brilliant tone. For ex-
ample, would you paint a bright Red, you must
begin by painting a very brilliant and light Yellow ;
after it is dry, glaze it with fine Lake. This indi-
cation issufficient to give a general idea of glazhig,
and the advantage an intelligent person may derive
from it.

-J- Imbibed, is a term in Painting : it is the eft'eft

that oil produces upon a canvass, that has not been
long painted. It soaks into those colours that are
underneath, and causes the upper ones to appear
sunk. But white of egg, or varnish, makes them
come out, and appear as when first painted.
This
 ( 23 )

This method, so pleasing, and there-

fore so seducing in practice, may, without
doubt, be useful ; but then it ought to'bc
used with precaution. To this may be at-
tributed the change that the Pictures of
the celebrated Sir Joshua Reynolds have
undergone. Spirits of turpentine, the basis
of varnish, corrodes the colours, particu-
larly those drawn from Vegetables — such
as Lakes. You have the more to dread,
as Pictures being varnished only in some
particular places, they may crack in all
those parrs, where there is an union of
colours with varnish, and those simply
with oil.
It would be prudent to wait a consider-
able time, until the Picture is perfectly
dry. It should then be laid flat, and one
or two coats of varnish passed over it,
quickly and lightly.
When the Picture is thoroughly dry,
instead of varnish, white of egg well beaten
with
 ... ■■
1 ( 26 )
with a little sugar-candy, a little garlic,
and a tea-spoonful of brandy, may be
used. Then, with a sponge well washed,
take the lightest froth of the egg, and pass
it lightly once over the Picture. By
means of the sugar-candy, the cracks are
prevented ; and the garlic prevents the
Hies from soiling the Picture.

PARTICULAR INDICATIONS
For the Method of Painting
Landscapes in Oil.

IN order to paint Landscapes in Oil, you

must begin by drawing your subject with
white chalk, upon a canvass, well pre-
pared and very dry. When the outline is
finished, retrace it with drvinsr oil and
burnt Terra de Sienna. Afterwards sketch
... ., ,
it in the most transparent manner possible,
and avoid a thickness of colour.
The
 ( V )
The Sky, in general, is begun with
White and Prussian Blue.
The gilded clouds, with Naples Yellow,
White, and a very little Yellow Ochre.
The colour of the Mountains, partici-
pating with that of the Sky, the tint of the
latter should be repeated ; but make Prus-
sian Blue predominate, adding to it a little
Lake.
To express the reflection of the sun upon
the Mountains, take of the tint prepared
for the gilded clouds, adding to it a little
Naples Yellow ; in order to make it a little
greener, mix with it a little Yellow Ochre.
For the parts that approach the ho-
rizon, Naples Yellow only must be used.
The fore-grounds should be painted with-
out White; it is unnecessary in the sha-
dows.

Grey tints are composed of Naples Yel-

low, Lake, and Blue Black. With these
three
 ( 28 )

three colours, the most beautiful greys arc

produced.
The trees are sketched in, with tints
made of Brown Pink, Umber, and Prus-
sian Blue.
Rocks should, in general, be treated in
the same manner, suppressing only the
Prussian Blue.
The foliage is done with Blue, Yellow,
and Red Ochre, mixed according as you
would give them a more or less brilliant
tone.
To make the Greens more luminous,
you may use Dutch Pink, and sometimes
Orpiments ; make them dry by means of
Saccharum Saturni.
The colours most generally used for
Landscapes in Oil, are the following :
White Lead Indigo
Naples Yellow Dutch Pink
Crocus Martis Yellow Orpiment
Brown
 29 )
(
Brown Pink Cologn Earth
Prussian Blue Blue Black
Yellow Ochre Brown Red
Brown Ochre Indian Red
Burnt Sienna Lake
Raw Sienna Red Orpiment
Green Earth Ivory Black

In Landscapes, as in every other Style of

Painting, there are innumerable difficulties
to surmount ; and to imitate Nature with,
correctness, requires infinite study, labour,
and pains. A Landscape-Painter must not
only unite taste, drawing, and colouring,
but must also attend to the general dispo-
sition of his Picture. It is not enough that
in a Landscape, each object, taken sepa-
rately, be painted with force, and like
Nature; there ought to be proportion and
harmony throughout the whole, and each
separate part set off by the other.

All
 ( 30 )

All who wish to make a progress in

this Style of Painting, cannot devote too
much time to Drawing — it is the soul of
the Art. Most young people are apt not
to feel sufficiently this truth, and would
always begin where they should end. It
is advisable to begin by studying and
copying the Drawings of the ancient Mas-
ters. We will point out some of those
they may consult, of which they cannot
too much admire the correctness, preci-
sion, and harmony.
Claude Lorrain, for the beauty and
harmony of his colouring, may be consi-
dered as a Pupil of Nature.
Le Vinance is not less admired for
the truth that reigns in all his works —
Even the most simple and barren ob-
jects please the eye of the observer ; the
trunks of trees, the fore-grounds, every
thing in his Pictures breathe fire and
genius. The
 ( 31 )
The taste and delicate touch of Mou-
cheron's trees, the perfect harmony in all
his Landscapes, entitle him to rank among
the first Masters.
The incomparable Kuisdale may be re-
garded as a Model for Artists, on account
of his manner of painting clouds, the ef-
fects of sunshine, the depth of the forests,
cottages, windmills, transparent and lim-
pid waters. The drops that fall from his
water-mills, appear as so many crystals,
and form the most pleasing contrast.
We admire, not without reason, in the
works of the celebrated Berghem, the set-
ting sun, the groups of cattle, quenching
their thirst in the clear stream, &c. In
his Pictures all Nature appears animated ;
the harmony and disposition of the whole
leave you nothing more to desire.
We should never end, were we to men-
tion all the celebrated Artists who may be
looked up to as Models. We will, however,
3 name
 ( )

name Gouaspe, Poussin, Waterloo, Du-

jardin, Paul Potter, and Salvator, who for
their method of painting animals, the
beauty of their Etchings, and the truth of
their Drawings, deserve particular atten-
tion. The boldness with which the latter
draws the branches of his trees; the variety
of his points of view, and the grandeur
that reigns throughout the whole, cannot
fail of heating the imagination and of
displaying genius. His Engravings of
figures may be considered as excellent
models.
We do not see in the works of the
above-mentioned Artists, as in those of
some moderns (who have been too much
led away with a false taste for composi-
tion), that stiffness, one may say, that
false taste, sufficient to destroy the beau-
tics that may be found in their Pictures. only
It is because the former were always study-
ing Nature, whom they took for their
 ( 33 )
only guide, and of which they imitated
the proportion, order and simplicity.
It is not, however, advisable entirely
to neglect composition : after having co-
pied for some time the Drawings of great
Masters, and made a serious and careful
study of every object which Nature and
Art present to us, you may then attempt
composition. The mind being thus well
stored with a variety of objects, you will be
enabled to represent them with force, and
produce both beautiful and interesting
subjects.
However necessary it may be to consult
the best Masters, as from them in a short
time you reap the labour of many years,
they should not be copied too long, for
fear of not acquiring a manner of your
own. Having well understood and stu-
died their beauties, then let Nature be
your only guide.

D ELUDORIC
 ( 34 )

ELUDORIG PAINTING,
Or, The Method of Painting in
Miniature with Oil Colours.

With starch paste, as even as possible,

fine cloth or taffety upon small glasses of
about two inches square: the angles of
them must be smooth, so that the cloth
may turn over, and not oblige you to cut
the overplus.
When the cloth is perfectly dry, with
a knife lay on a coat of White Lead, and
the whitest Poppy Oil that can be found.
This first coat being sufficiently dry to
allow you to scrape it smooth, you must
then lay on a second, and afterwards a
third priming.
It is very important in this manner of
Painting, that the above-mentioned com-
position be as free from oil as possible, in
order that it may imbibe that of the
colours,
 ( 35 )
colours, that are afterwards applied ; its sur-
face must be very even, very dry, and very
hard. You afterwards take a circle of
copper of about twenty lines * in diame-
ter, two or three lines in height, and one
line thick, turned upon a right angle,
and painted black on the inside. This
circle serves to contain upon the surface
of the Picture, distilled water, or, if you
have it not, rain or snow water.
The colours must be ground between
two Agates, with the most scrupulous atten-
tion. You must take the greatest care to
guard them from the dust, or any thing
that might injure them. They are after-
wards mixed with Oil of Poppy, or any
other drying grain, extracted without fire,
and as white as water, if possible.
These colours being ground, they are put
in lumps upon a small square glass, kept

* Twelve lines make one inch English.

p 2 under
 ( 36 )
under distilled water, and enclosed in a
tin box fastened with a screw. You must
observe never to touch these colours, but
with an ivory-knife, either in grinding or
mixing them. Avoid also touching them
with metal, except some certain colours
that are very fat, and cannot undergo
much change, such as the Lakes, the
Blacks, &c.
The Pallet, which in the whole should
not exceed two or three inches, must be
made of the wood of the sorb tree well
prepared. There should likewise be a glass,
fastened to it by hinges, to cover the
colours, and preserve them from dust.
Having prepared all the materials, to
begin to paint upon one of these can-
vasses, you must first trace in the middle,
tjie size of the subject, whether bracelet
or ring ; then, draw the outline very faint-
ly, with black lead pencil. Take from
among the cplours, that have been placed
under
 ( 37 )
under water, those necessary to form your
tints. Afterwards^ let down the glass —
therij hold the canvas between your thumb
and fore-finger, support it with the mid-
dle one, and hold your pencils with the
fourth and little finger ; rest it against the
back of a chair, and in this position you
must work. You will by that means, be
able to have your Drawing as near, or as
far from you, as you may find it conve-
nient, and also to turn it in any direction*
Dust being so great an enemy to Paint-
ing, either in large or small, you must
avoid the smallest motion that may collect
any : the smallest speck that might fix in
the corner of an eye in a Portrait, would
be sufficient to stop, for a considerable
time, an Artist tenacious of the delicate
finishing of his pencil. He must there-
fore use every possible precaution, how-
ever minute it may appear, to prevent
those atoms of dust from collecting, that
are sometimes imperceptible.
D 3 When
 ( 38 )

When you paint, it is necessary to throw

over your thumb a piece of white leather,
the outside of which must be very smooth,
as it must serve to wipe the pencils and
form their points.
To clean the pencils, you must soak
them in rectified spirits of turpentine ;
afterwards, turn them upon the Pallet, and
wipe them upon the skin. You should
always have at hand, a small phial tilled
with rectified spirits of turpentine : The
common spirits of turpentine is worth
nothing, for it contains turpentine that
would cause the colours to become yellow.
After having drawn, in the neatest
manner possible, your outline, while the
colours are yet moist, place horizontally
upon the surface of the whole, the copper
circle, without however letting it exceed
the edge ; having fixed the circle, you
pour upon the Drawing, about a line of
distilled water ; you bend forwards a little,
in
 ( 39 )

in order that the sight may fall perpendi-

cularly upon the canvas. You must rest the
fourth finger of the right hand, upon the
internal angle of the Picture; then go over
the sketch with a firm and fine pencil, ta
strengthen the parts that appear too faint,
soften those that are too strong, and thicken
the colours.
As soon as the oil floats upon the top,
pour off the water, and cover the Picture
with a bell glass ; put it in a box that is
gently heated ; when it is sufficiently dry
to bear scraping till it is perfectly flat,
repeat the above-mentioned operation, till
you have compleated your Painting. You
will have the advantage of finding, when
you have well executed your Picture, that
three or four colours suffice, and that
there only remain the last touches. It is
in the last finishing, that you will find the
advantage of this new method, for the high
finishing. The colours of the Painting
d 4 being
 ( ^o )
being mostly dull and imbibed, they are
generally brought out by varnish. You
must absolutely avoid this, and supply its
place by limpid water, which you must
pass lightly over the Picture; it gives it all
its original effect, discovers the faults ot
the pencil, and enables you to examine
the greatest depth of shade ; instead of
which, in the usual method, it is always
misty and undecided, and after the oil is
dry, leaves the Picture hard and rough.
It is thus, that in this style of Painting,
water is of the greatest utility ; by means
of its transparency, you see the effect of
the crystal, and you produce the desired
effect, by always working through this
element. Without the advantage of water,
by continually retouching the work, it
would be thick and shining, and it would
happen that, after having taken great pains
and put it under a glass, the effect would
be very different to what you before ima-
gined. However
 ( *l )
However capable the Artist may be of
drawing his Picture finely, it never will be
so much admired, if he does not make
choice of colours adapted for this manner
of Painting. He must avoid using those,
that will dissolve and weaken with mois-
ture, such as the Dutch Pink, &c. He
must prefer the Earths, Ochres, &c. and
never use any substance till he has first
analysed it.
After all these precautions, the Painter
may retouch his Picture as freely, and as
often as he will ; because the water leaves
with the colours, only what oil is sufficient
to make them adhere to the canvas, and
makes the remainder float upon the sur-
face. This Painting not having too much
oil, and not admitting of any varnish, you
need not apprehend the degradation of
the tints.
When the Painting is finished, to inter-
cept the air, it must be immediatelyvered
co-
 ( **> )

■vercd with a glass. To close it exactly,

make use of some corrosive uncoloured
susbtance, and do it with a gentle heat*
This substance must be composed of sim-
ple mucilages, that have no analogy with
the materials of the Painting, and contaia
no salt capable of changing the colours.

TAINTING
 ( 43 )

PAINTING- in ENAMEL*
OF all the various mediums of Painting,
none is more solid or durable, than that of
Enamel, since time, which destroys all
things, alters neither its beauty nor its
brilliancy ; one may also say, that there
is no method of Painting, that unites in
itself so manv difficulties in execution.
The process is performed upon metal
plates, covered with a coat of White Ena-
mel ; gold is frequently used for the plates,
but in its stead you may use copper — it
succeeds almost as well. These plates
should be concave on one side, and
convex on the other. They are usually
round, or of oval form ; if they were flat,
there would be great danger, in passing
them through the fire, of the Enamel fly-
ing. The convexity of these plates must
not
 ( 44 )
Hot however be too sudden, as it would
spoil the effect of the Painting : The
sight could not rest upon the whole subject
at once; the light necessarily striking upon
the most elevated parts, would interrupt
the effect by its brilliancy, in whatever
light it might be placed.
The White Enamel should not border
too much on the Yellow, as the fire con-
tributes, each time, to give it a more
Yellow cast ; neither should it be of a
Blue White, since in painting the Flesh,
it would be attended with great incon-
venience.
The colours used in Enamel, are all
metallic calces, mixed and melted with
certain proportions of a vitreous sub-
stance, which, in the instant of fusion,
discovers the colours and fixes them to the
Enamelled Plate. This melted glass in
Enamel, produces the same effect, that
oils, gums, or glues produce in the otheF

processes
 ( 45 )

processes of Painting. It unites the little

particles of matter, makes them adhere to
the surface of the Enamel, and vitrifies
them with itself. When well managed,
it gives the colours a polish and brilliancy,
that could not be produced without it.
It would be useless here, to enter into a
detail of the methods of preparing the
colours, as you may procure them very
good from the Enamellers, who will pre-
pare the plates, and likewise pass them
through the fire, after each Painting.
Some Artists have thought it necessary,
to do this themselves ; but if they have
recourse to an intelligent man, they will
find that there is no occasion for it.
Many colours are not necessary for
Enamel Painting. With those we shall
mention, all possible tints may be pro-
duced. Itwas formerly thought indispen-
sably necessary to procure colours, the one
harder than the other : The hardest were
2 used
 ( 46 )
used at the beginning, those more tender
at the finishing, so that a more moderate
heat of the furnace was sufficient; whereas
had they frequently been exposed to a
great heat, the colours would have disap-
peared. We think, however, these pre-
cautions useless.
Without entering into any detail of the
composition of colours, we will mention
the metals from which they are extracted:
From Gold you have the Scarlets, Pur-
ples, Pinks, and Violets.
From Silver and Antimony, the yel-
lows.
From Copper, the Greens.
From Cobalt, the Blues.
From Iron, the Deep Reds, Blacks, and
Browns.
From Tin, the Whites.
These colours are the basis, or rather
the materials of which all those usedDeeinp
Enamel Painting, are composed. The
following arc what are necessary :
 47 )
(

Deep Purple Straw-col.Yellow

Rose Purple Blue
Violet Purple Green
Deep and warm Black
Yellow Dark Brown
Brilliant and light White, to give the
Yellow last touches.
We have mentioned three different Pur-
ples, because the deepest is used for the
strong touches, and consequently with a
thick body of colour, and produces a
warm tone. If, on the contrary, it is
used faint and thin of colour, the tint is
too Violet, and not bordering sufficiently
on Pink.
The second, which is called a Rose
Purple, has a contrary effect ; that is to
say, if used thick, loses its force, and, if
laid on very faintly, gives a most brilliant
Rose colour.
It is therefore advisable, after you have
purchased these cokmrs, to try the Deep
3 Purple,
 ( 48 )
Purple, by strong touches; and the second,
by a light wash, to see whether they corres-
puod with those tones you wish to produce.
The Violet Purple is more brilliant,
when you buy it ready prepared, than
when you make it with Blue and Purple.
It is the same with Yellows, which,
when used faint, do not produce a twie
equally strong and brilliant, as when used
thick; at least, this is rarely the case.
The Blue is a very cold colour, and
becomes deeper every time it is passed
through the fire. It must therefore be
used with precaution, and only for the
flesh. To make the tint warmer, mix
with it a little Yellow,
The Greens, most of which are ex-
tracted from copper, are extremely bril-
liant, but do not stand ; they must only be
used in the Draperies, Back-grounds, &c.
and only when you pass the Picture the
last time through the fire. For the flesh,

you
 ( 49 )

you must make Greens with Blue and

Yellow.
As it is difficult to procure Blacks that
will stand, you had better sketch those
parts that require it, with mixtures of
Dark Yellow, Blue, Deep, or Violet Pur-
ple. In the last touches, you may use
Black.
If you cannot procure Browns that will
stand, compose them with the same co-
lours used for the Black, adding more
Deep Yellow and Deep Purple.
In order to ascertain the quality of your
colours, you must have an enamelled
plate, which is called an Inventory ; on
this try your colours, and, after having
numbered each stroke, pass it several times
through the fire. If you have taken care
to lay these more or less strong, and of
different thickness, these inequalities will
determine on the Inventory, when taken
out of the furnace, the faintness or force,
the shades and solidity of the colours.
s It
 ( 50 )
It is thus the Painter in Enamel will ar-
range his Pallet, which must be a conti-
nuation of numbered strokes more or less
considerable, upon Inventories, to which
he must have recourse, as occasion may
require, It is evident, that the more he
has of these trials, the more complete
will be his Pallet. These essa}rs are com-
posed either of pure and primitive colours,
or of those formed by the combination of
many others. These last are composed
for Enamel, the same as for every other
style of Painting ; with this difference, that
in other methods of Painting, the tints
remain the same as when painted ; instead
of which, in Enamel, the fire changes
them in a thousand different effects, and
sometimes adds much to their brilliancy.
It is therefore necessary that the Artist
should have all these different effects
present to his memory ; without this, he
would frequently make one tint for an-
] other,
 I 51 )
other, and often be unable to regain the
one he previously made.
An Enamel- Painter should have, as it
were, two Pallets — one near him, the other
in his mind. He must endeavour to unite
and harmonize all the touches of his pen-
cil ; which would be very difficult, and
perhaps impossible, if after having begun
a Painting, he should for any length of
time neglect it : he would no longer re-
member the manner in which he had
formed his different tints, and would,
every instant, be liable to place either
upon, or near each other, colours that do
not accord together.
It is easy by this to judge, when an
Enamel Painting is rather large, how dif-
ficult itis to make it harmonize. The
merit of the Picture may be generally
acknowledged ; but it is only those initi-
tiated in the Art, who can really value the
merit of the Artist.
E 2 The
 ( 52 )
The colours should be reduced to the
finest powder, and be afterwards ground
with water, with all possible care, each
upon separate glasses. They should only
be ground in small quantities at a time,
because the extreme separation of their
particles cause them to change in melting;
they will not acquire so brilliant a tone,
and frequently will not take any polish.
They must be left to dry upon a glass
covered with a sheet of paper; after which,
the same as for Miniature, they must be
inclosed in small phials well corked.
The colours being thus ground with
water, procure some Essential Oil of La-
vender, which must be fattened, in order
that it may not evaporate too quick. For
this purpose, pour into a plate a quantity
of oil, about a quarter of an inch deep ;
cover it with a piece uf gauze, and expose
it to the heat of the sun, until you per-
ceive it flows, and that it only has the
fluidity
 ( 53 )
fluidity of Olive Oil. It takes more or
less time to fatten, according to the season.
This Oil must be put into a phial per-
fectly clean, and the operation repeated,
till you have a sufficient quantity. If, by
keeping it too long, it should fatten too
much, mix with it a little Oil that has not
been fattened.
You may also employ Oil of Lillies,
which you may use as you buy it from the
shops. This Oil has this advantage, it
does not evaporate, and leaves the Artist
the power of judging of the harmony of
his work, and the force of his tints ; but
before you put your Painting into the fur-
nace, expose it to the heat of a charcoal
fire, augmenting the heat by degrees, un-
til the Oil is entirely evaporated. If it
was put into the furnace immediately after
it is painted, the colours would bubble
and spread in every direction, by which
means the Picture would be totally spoiled.
e 3 The
r ( 54 )
The Oil of Lavender is not attended
with the same inconvenience ; it evapo-
rates byitself, aud tolerably quick ; but it
sometimes happens, that after having fi-
nished the upper part of your Painting, and
continuing your work next morning, you
will find the colours previously painted,
dried and imbibed, and you cannot, without
having had great practice in this method
of Painting, regain the same strength of
tones to continue your work. It is only
when the plate has been past through the
fire, that you can form any judgment of
it. You may therefore, at the beginning,
use Oil of Lavender; and if you wish to
harmonize, darken, or destroy any of the
lights, then use Oil of Lillies.
You mix your colour with oil upon a
glass, or upon a piece of agate, until you
feel it as soft as oil under the muller.
You must then arrange them by little
heaps, upon another glass that is very even,
and
 ( 55 )

and place it in a box that you only hair

open, so that the dust may not enter.
Under the glass put a piece of white
paper, that you may the better judge of
the colour of your tints. In order that
the tints may not be soiled, and that one
colour may not mix with another, be care-
ful, after every tint you make, to wipe the
glass with a fine piece of linen, dipped in
spirits of wine.
The simple colours must be arranged
on the upper part of the Pallet; the lower
part must be reserved for the mixed ones.
You must not forget to renew your Pallet
every morning : the colours are never
so good, when the oil has evaporated and
lost its fluidity.
When you have thus arranged your
Pallet, you must, with an ivory-knife,
take from among the principal colours,
those necessary to form your tints in the
manner we shall direct. To paint the
E4 flesh,
 ( 56 )
flesh, pursue the same plan as will be
mentioned in the article of Miniature.
We will mention those colours, which in
Enamel Painting will produce the same
effect.
After having wiped with a fine linen
and spirits of wine, the Enamelled Plate on
which you mean to paint, you must draw,
very faintly, the outline of your Subject,
with a Black lead pencil. When the out-
line isdone, pass a white linen upon the
whole, to prevent any of the powder of
the pencil remaining. Without this, when
it is put in the furnace, the little particles
of the pencil that have not been taken off,
would arise in bubbles, and remain of the
tone
on. of those colours you afterwards lay

After this operation, make a second and

more detailed outline than the first, with
Deep Purple. This second outline should
be as correct as possible; because when it
has
 ( 57 )
has once passed through the fire, it is very
difficult to efface the most trifling stroke.
You may use with advantage, a piece of
hard wood pointed like a pencil, with
which you may correct your outline, by
moving the colour more to the right, or
to the left, as you may find it necessary.
When you are satisfied with your outline,
and have drawn every thing in its proper
place, pass it, for the first time, through
the fire.
If, after every melting, you perceive
that any air- bubbles have arisen, or that
any part of the colour remains rough, take
a small piece of oil-stone, or a steel point,
well steeped ; rub on the place (without
however going too deep>, till you perceive
the white of the ground. After this, be-
fore you again begin to paint, pass it
through the fire, to re-polish the part that
has been rubbed.
This second outline being finished, and
the
 ( 58 )

the plate again wiped with a cloth mois-

tened with spirits of wine, begin to paint
the strongest shadows with a mixture of
Dark Purple, Dark Yellow, and a little
Blue : by the means of these three colours,
you produce the same warm tone, that is
given by the mixture of Burnt Sienna and
Indigo. The method of applying the
colours, is the same as for Miniature upon
Ivory, with this difference, that as oil takes
a more considerable time to dry than
water, the Artist who paints Enamel has
more time to work his colour, after he has
lain it on the plate. When you have
placed and softened one touch, you must
leave it, and wait till it is again passed
through the fire; otherwise, the too great
quantity of oil that is confined under this
second coat of colour, will, in the instant
of fusion, make the upper ones bubble,
and prevent them from polishing. All
the colours, when they come out of the
fire.
 ( 59 )
fire, ought to have nearly the same degree
of polish.
To finish painting the middle tints, you
must mix Light Red, Purple, and Yellow
that is not very dark ; add more or less
Yellow, as occasion may require. If it is
a woman's head you paint, use Rose Pur-
ple and Light Yellow. You may with
these Red tints, and without any other
mixture, work upon the flesh, and pass it
through two fires. You must observe,
after every fire, to advance the hair, dra-
pery, and back-ground, and cover the
whole of the plate.
The back-grounds are painted the same
as in Miniature, either in Water or Body
Colours. In general, the dark grounds
should not be done in hatching : it would
be too long and tedious : they should be
done with a large pencil, and at once, the
same as in Oil Painting. You must not
use White in the back grounds — Pale
Yellow
 ( 60 )
Yellow will answer the same purpose, and
has sufficient body to cover. The lightest
side of the ground is done with Blue,
Deep Purple, and Pale Yellow. For the
dark side, make use of the same colours,
substituting Dark Yellow for the Pale
Yellow.
It must be understood, that with these
colours you may arrange several degrees of
tints upon your Pallet, and paint back
grounds of different colours, by adding
more or less of those previously men-
tioned.
The sky back grounds are painted with-
out White, and in a wash, with a mixture
of Blue, Yellow, and Purple ; at the same
time varying the tints, as you may have
occasion.
If you wish to represent a brilliant Scar-
iet Drapery, it is necessary, first to paint
it with a very brilliant Yellow ; you then
pass it through the fire, and repaint it
with Rose or Deep Purple.
When
 ( 61 )
When the whole of the plate is covered,
you begin to paint a second time on the
flesh, always observing to begin first with
the shadows. For this, make use of Blue
and dark Yellow mixed. For the middle
tints, use light Yellow mixed with Blue,
particularly for the Blue tints in the lights.
We again repeat that the Blue must be
used with the utmost precaution, as it ac-
quires a deeper tone, every time it is
passed through the fire. The Purples be-
ing liable to become more Violet in being
passed through the fire, it is advisable to
use a good deal of Yellow in the carna-
tions.
If you have used too much Green in
the dark Shadows of the flesh, you may
glaze them with a little Violet. If, on the
contrary, they should be too Violet, work
a little Green over them. It is in deaden-
ing the tones that are too brilliant, with a
little Green and Blue, and heightening
3 those
 ( 02 )

I
those that are too cold, you produce har-
mony, one of the greatest difficulties in
Enamel Painting. To produce this union,
it is necessary that the colours, though
distinct in the lights, should be little
varied in the shadows, and have the effect
of being done nearly with the same colour.
Linens and Muslins may be painted
with White, the same as in Miniature;
but it should not be laid on too thick.
As in Oil Painting you may retouch
your Picture, as often as you like, so in
like manner you may in Enamel, observ-
ing to pass it, each time through the fire.
The last time of passing it through the
fire, is to give it general union and har-
mony, and to give the touches of strength,
that should remain firm. It therefore fol-
lows, that the heat must not be excessive.
If Hip colon1"* are ""ood. vou need not
spare the fire; the Painting will bear being
passed through, nine or ten times; but,
Duri
if repeated oftener, it may change them. ng
 ( 63 )

During the time of painting, the Pic-

ture should be placed in a Box, the bottom
of which must be covered with soft wax,
so that the plate may remain fixed. If
for a moment you quit your work, do not
neglect to close the Box.

PAINTING
 ( 64 )

PAINTING IN MOSAIC.

PAINTING in Mosaic is the art of ar-

ranging, upon a ground of a Stucco pre-
pared for this purpose, small pieces of dif-
ferent coloured marbles, so as to imitate
Painting.
It appears that Persia gave birth to this
art ; from thence it passed to the Assyrians,
who transmitted it to the Greeks. These
last were not long initiated in the art of
Mosaic Painting, before the genius of their
Artists brought it to great perfection. This
style of Painting was then held in great es-
timation, and composed a part of the fine
Arts in which that Nation was so much
distinguished.
Hieron, tyrant of Syracuse, ordered a
ship to be constructed of an extraordinary
size: the decorations were of Mosaic, re-
presenting the story of the Iliad.

The
 ( 65 )
The Romans learnt the Art of Mosaic
from the Greeks. Having conquered
Greece, they sensibly imbibed a taste for
the Arts which were there cultivated, and
took a pride in the Statues and Pictures
which they found there. After the tak-
ing of Corinth, a great number were trans-
ported toRome, by the order of the Con-
sul L. Mummius; the war of Athens
being ended, he presented to Philopoemen,
as a reward for the services he had render-
ed to the Romans, the two pieces of Mo-
saic, by Sosus, an Artist of Pergamo, cele-
brated asbeing the first in this line; one
represented the remains of a repast care-
lessly scattered upon the floor ; the other,
four doves resting on the edge of a bason
filled with water.
Pliny fixes the epoch, when the Romans
acquired the taste and knowledge of Mo-
saic, as immediately following the third
Punic war. It was then, for the first
p time,
 ( 66 )
time, that a monument of this kind was
ere "led at Rome, in the temple of Jupiter
Capitolinus.
At first, they contented themselves by
collecting together large pieces of marble,
which, by cutting in various forms, com-
posed figures and rude Drawings. In the
course of time, luxury and industry taught
them to cut the marble in very small frag-
ments, so as to enable them to compose
Pictures, which, from the truth of the
Drawing, and the gradation and harmony
of the colouring, appeared to possess all
the advantages and brilliancy of a real
Painting.
Among the works of Mosaic, that called
Venniculalum, without doubt on account
of its being composed of very small pieces,
comes very near the perfection of Paint-
ing, when combined with judgment and
ingenuity.
Mosaic may likewise be done with
1 glasses
 ( 67 )

glasses coloured by fire, this species of

Mosaic was invented and much esteemed
in Greece. Although both one and the
other require the same ability in the
Artist, and they both produce the same
cffecl:, namely, that of imitating the vari-
ous objects in nature, nevertheless it is cer-
tain, that which is done with small pieces
of marble, is the most difficult, as well as
the most durable.
The Greeks did not long make use of
coloured glasses; they soon returned to
marble, not so much from a spirit of
luxury and magnificence, but rather that
their works might prove more solid and
subsist to future ages. The great quantity
of variegated marble found in Phrygia
and Egypt, was, perhaps, another reason
that induced them to lay aside coloured
glasses.
Mosaic, in the beginning, was made
use of only to ornament temples ; but the
p 2 Art
 ( 68 )
Art having made great progress under the
Emperor Augustus and his successors, it
afterwards served to decorate the cham-
bers or halls of State, of which it often
only occupied the centre. The taste for
Mosaic, and the decorations of those works
depending on it, began sensibly to de-
cline under the Emperor Septimus Se-
verus.
As soon as the Christian Religion had
triumphed over Paganism, and when, by
the order of the Emperor Constantine,
many temples were erected to the honour of
the true God, the Mosaic Art contributed
to adorn them ; the walls, the cieling, and

I
the pavement of the Basilique of St.
Peter, at Rome, were covered with pictures
in Mosaic, representing the history of
the Old and New Testament. In course
of time, the Sovereign Pontiffs vied with
each other, in decorating their Churches
with Mosaic.
The
 ( 69 )
The Arts having sensibly degenerated
in Italy, and their decline being more sen-
sibly felt in the tenth century, at which
time the productions were of a very infe-
rior nature, M. l'Abbe Didier, who was
afterwards Pope, under the title of Victor
the third, caused a great number of
Artists to be sent from Constantinople*,
and by that means contributed to revive
in Italy a taste for Mosaic. From that
time, this Art has insensibly arrived to
the degree of perfection, which, at this
present time, is so much admired.
In the Church of St. Peter at Rome,
may be seen some very fine pieces of Mo-
saic, copied from the pictures of Raphael.
There are likewise many fine pieces wor-
thy of admiration, in the Church of the
Carthusians at Rome ; in the Cathedrals
of Pisa and Florence ; in the Church of
St. Mark at Venice, and in many other
Churches in Italy. In the Church of St.
f 3 Mark
HB

( 70 )
Mark is to be seen the finest remaining

pavement of" Mosaic.

Among the great number of Artists,
who, in the seventeenth century, excelled
in this style of Painting, Cavalier Peter-
Paul de Christophoris was one of the most
celebrated. He carried this Art to so
great a degree of perfection, that his works
have the appearance of a high finished
Picture.
The school of Mosaic which exists at.
this day at Rome, has produced many
works worthy of admiration; for example,
the Portrait of the Queen, the wife of the
Pretender, in the Basilique of St. John de
Latran; that of Cardinal Rene Imperiali
at the Augustines ; and the pavement of
the magnificent CJ pel of Lisbon, made
for king John the fifth.

PAINTING
 ( 71 >

PAINTING IN FRESCO.

PAINTING in Fresco is the using co-

lours prepared with water, upon plaster
which must be wet, in order that the co
lours may penetrate.
As Paintings in Fresco will last no
longer than the walls or cielings, upon
which they are painted, remain in a good
condition, the greatest attention should be
paid to have these as solid as possible, and
guard against the inconveniences that
cracks and crevices might occasion.
These precautions being taken, you
must begin as soon as the place on which
you are to paint, is covered with fresh
plaster. All the parts you intend to do,
should be begun and finished the same
day. This circumstance, peculiar to
Fresco, by taking away from the Painter
f 4 all
 ( 72 )
all resources of retouching, or making
any alteration in his work, renders it abso-
lutely necessarv to have, before his eves,
a finished outline, with all the necessary
measures and proportions of his subject:.
It would, otherwise, be very difficult for
him to attain that union of composition,
which so greatly conduces to the perfec-
tion of his work.
This, so advantageous for all styles of
Painting, is indispensable in Fresco, as it
is not possible to sketch, at once, all the
different parts of the Picture: the Painter
must not only have finished, in the day,
his given part, but this must be so exe-
cuted, as to render it impossible to disco -
ver, after the work is entirely performed,
that it has been painted by pieces.
The colours most generally used for
Painting in Fresco, are:
All the coloured* Ochres
Earths Mountain Green

Lime-
 ( 73 )
Lime White Blue Black
Marble White Cinnabar
White of Egg-shells Enamel Blue
Burnt Vitriol Ultramarine,

PAINTING
 ( 74 )

PAINTING in GOUACHE,

Or, BODY COLOURS.

THIS Process of Painting may be con-

sidered as having preceded all others ; at
least it is the most ancient we know of.
It is probable the first colours made use
of, for this manner of Painting, were no-
thing more than various stones and earths,
ground and made liquid by means of water.
Afterwards, by making use of different
gums, they gave them a proper consis-
tency :but as gums are found in drying
to blacken and change the brilliancy of
the colour, experience has substituted
another method. The most celebrated
Artists of the present day make use of
double size, a preparation obtained from
parchment, or fine glove leather : This pre-
paration isnot, like gum, liable to change
or crack the colour.

A piece
 ( 75 )
A piece of this, about the size of a
small apple, in a glass of witer, will be
found to be the necessary proportion.
The difficulties attending this style of
Painting have discouraged many: it is
seldom managed with success, even by
those most accustomed to it. They have
all the defect of making their tints unde-
cided, thick, and grey, which to the eye
of an Amateur, makes this style of Paint-
ing appear pale and mealy.
Among the number of Artists who have
practised Gouache with success, may be
reckoned Clairisseau, Macbi, and Perig-
nons. However, in their works may be
discovered the same fault we mentioned ;
that is, their tints are grey and want tran-
sparency, owing to their using too much.
White and Black, which ought only to
be done in ornamental Painting. These
Artists have likewise a very heavy touch,
which materially injures the beauty of
their works.
Those
 ( 76 )
Those who have most excelled in this
style of Painting, are Vaguer, Moreau,
Nivar and Belanger — their Pictures are
painted with infinite lightness — their mid-
dle tints are transparent, and their spirited
foliage frequently approaches to the su-
blime touch of Moucheron. The works
of each of these Painters prove, that the
best manner of Painting in Gouache, is to
follow the same method as in Oil Paint-
ing, making use of White only for your
lights, and then but thinly, in order that
through it, you may discover the address,
lightness, and genius, that the Artist may
have introduced in his first sketch.
To paint in Gouache, you must first
paste your paper upon a board made either
of walnut-wood or mahogany, taking care
that its surface be smooth, so that your
paper may lay quite flat : then, upon the
other side of your board, paste another
sheet of Drawing-paper, the same kind as
that
 ( 77 )

that you mean to paint upon. This will

prevent the board from warping, and nei-
ther time nor the injuries of the air will
cause it to split.
In order to paste your paper upon the
board, make use of a paste made of starch
or very fine flour ; add to this, double
size, or Flanders Glue, purified by vine-
gar. To prevent the paper and the wood
from becoming worm-eaten, mix with
your paste a little garlic.
Your board thus prepared, draw your
outline with Black Lead Pencil, taking
care to make your lines sufficiently strong,
as the first tint might efface them.
This done, begin the sky of your Land-
scape with a tint composed of White,
Prussian Blue, and (to prevent your tint
being too cold) a very little Lake ; extend
this tint very lightly, and without thick-
ness, to the part nearest to the horizon,
mixing White by degrees, so that the
strength
 ( 78 )
strength of colour gradually decrease, as
you approach the mountains, or other parts
that appear to blend with the atmosphere.
For the mountains make use of your
first tint, in which add a little more Blue
and Lake, so as to render your tone more
decided, and that it may relieve from the
sky. For the lights of the mountains use
a paler tint than for the horizon,
For the trees nearest the horizon, use
the first deep tint of the mountains, and
in order to make the tint warmer, mix
with it a little Brown Pink and Naples Yel-
low. If, in the composition of the Pic-
ture there happens to be many plains,
take care to make the Prussian Blue, or
Brown Pink, predominate, according as
the objects may be more or less distant.
In general, for the rocks and trees of
the first and second plain, make use of
Brown Pink, Sap Green, and Lake mixed
together. For the trees, use less of the
Prussian
 ( ft )
Prussian Blue and Sap Green, than of the
Brown Pink. For the rocks, use the same
tint as for the trees: it will be necessary to
use anorher colour, as they terminate, but
of that hereafter.
Be careful to use but little Sap Green in
the tints of your trees ; for, this colour
being glutinous in its nature, will, if suf-
fered to predominate, grease the paper,
and prevent the second tints from spread-
ing with facility.
If, in the spot you represent, there
chance to be a Lake or a River, be careful
in washing this part of the Picture, to re-
flect the same tints upon the trees, hills,
or the objects that may be placed close,
taking care to reflect the contour of these
several objects in the water.
For those parts of the water that reflect
the sun's rays, make use of the tints em-
ployed for the most brilliant clouds. This
shews the necessity of preserving all your
tints of reflection.
With
eBIbb n

( 80 )
With regard to the middle tints and
shadows, add to your tints of reflection,
partly Brown Pink, partly Prussian Blue,
and partly Lake. With this mixture wash
your middle tints. For the dull parts,
use only these three last colours, adding a
little Sap Green.
The first wash of your Picture being
finished in the manner indicated, delineate
the different foliage, and, by degrees, de-
termine those parts more, or less in
shadow.
For your dullest tint, use Brown Pink,
Indigo and Yellow Orpiment, or Yellow
Ochre, as the subject may require.
As you advance upon the light masses
of the trees, keep them more brilliant.
This is done with Yellow Orpiment.
The Rocks are painted of various tints,
as Greys, Violets, Ferruginous, Greenish,
and Yellow-Greenish.
- The Grey tints are made with Yellow,
Naples
 ( 81 )
Yellow, Blue Black, and a little Lake,
These three colours mixed together, com-
pose aGrey both brilliant and transparent.
Avoid White Lead as much as possible;
it is poison to Painting and always helps
to destroy the vigour of the colours.
The Grey tints are used in the shadows,
as likewise the Ferruginous tints, which
are composed of Brown Ochre, Burnt
Sienna, and a little Sap Green. You may
give them still more force by adding Ivory
Black.
Violet tints are in general made with
Naples Yellow, Lake, and Blue Black.
Green tints are composed of Blues and
Yellows ; but take care never to mix the
Orpiments with Sanders Blue, Green Ver-
diter, and Water Green (this last is known
in England by the name of French Green,
or Grass Green). From the mixture of
these colours, you must not hope to pro-
duce any true or natural tones.
g Yellow
 ( 82 )

Yellow-greenish tints are composed of

Yellow Ochre, Brown Pink, and Indigo.
Glazing is a light and transparent tint,
passed over different parts of the Picture,
in order to give it the necessary harmony.
It belongs to the Artist to multiply these
tints more or less, according as the parts
are more or less in shadow.
These tints are in general composed of
Prussian Blue, Lake, and a very little
Sap Green. It is impossible to give any
precise directions for their composition,
as they must be combined according to
the tones, for which you would wish to
apply them.
You must take the greatest care in finish-
ing your Picture, to preserve the lightness
and spirit of the first sketch. For this
purpose avoid making the tints you pass
partially over the first colour, too thick,
even in the fore-grounds : for these, you
must absolutely follow the same process
as for the other parts of the Picture.
It
 ( 83 )

It is only in following the rules we have

indicated, that you will succeed in giving
to Gouache the vigour and perfection of
Oil Painting. Gouache requires a long
and assiduous application; but the study
is agreeable, and is not accompanied with
those inconveniences, that are inseparably
attendant upon Oil Painting.
Gouache requires great neatness ; it is
likewise necessary that the colours be
ground and purified as much as possible,
so that the particles may perfectly com-
bine, and the different tints preserve their
brilliancy.
It is essential to know the nature and
mixture of the different colours you make
use of, if you would guard against the
inconveniences, which the air and suh*
phurous vapours occasion. Be particu-
larly careful with respect to the Orpiments;
uce them with precaution, and in general,
reserve them for the most brilliant touches
of light.
g2 The
 ( 84 )
The colours most necessary for Gouache
are
White Lead Sienna
Naples Yellow Lake
Red Orpiment Green Verditer
Yellow Orpiment Sanders Blue
Yellow Ochre
Vandyke Brown
Brown Ochre
Cologne Earth
Brown Red
Sap Green
Burnt Sienna
We think it not unnecessary to repeat
to the Amateurs of this Style of Painting,
that the general fault of Pictures in
Gouache, is their being pale and mealy.
To guard against this inconvenience, use
for your first tints, colours both solid and
transparent, so that the colour passed over
in finishing, may the more readily partake
of this transparency, and produce a vigor-
ous and determined effect.

PAINTING
 ( 85 )

PAINTING in MINIATURE.

CUSTOM seems to have derived the

name Miniature from that of Mignard sig-
nifying delicate or flattering. In effect,
Miniature, from the small ness of its ob-
jects, and its extreme high finishing, in
imitating Nature, seems to flatter and
embellish it ; an effect generally arising
from reducing large objects to small ones.
Miniature is the Style of Painting most
generally adopted by Amateurs of the
Arts. It is by this in general, that persons
who have not drawn a great deal, begin.
We therefore thought it would be an en-
couragement toyoung beginners, to give
them the instructions necessary to accele*.
rate their progress, and sure and circum-
stantial directions to enable them to paint
well,
g 3 Miniature
 ( 86 )

Miniature is painted either upon Paper,

Vellum or Ivory, and the colours are pre-
pared with various gums, according to the
nature of each.
The greatest majority of Artists and
Amateurs paint Miniature upon Ivory,
which is, upon every account, preferable,
when well prepared, either to Paper or
Vellum.
Ivory requires a long and tedious pre-
paration, without which the colours will
hot attach. It would likewise be too Yel
low, if used immediately from the turners.
It must be whitened, and the grease ex-
tracted, in order that it may the better
receive the colours.
It is whitened by being exposed to th&
heat of the sun, between two thick glasses,
or at a moderate distance from the fire,
The glasses must be turned every half n our,
so that the two surfaces of the Ivory may
receive equal heat, and not be liable to
.3 split ;
 ( 87 )

split ; it must not be taken from betweea

the glasses, till perfectly cold.
When the Ivory is sufficiently whitened,
place it upon an even surface, and scrape it
in every direction, with a tool called a scra-
per, in order to make it perfectly smooth.
This done, the Ivory is rubbed with pow-
dered Pumice stone rather coarse, and
moistened with distilled vinegar. With
this, any scratches that may have been
made with the scraper, are done away. The
vinegar, by its acidity, opens the pores of
the Ivory, and makes it receive the colour
better ; the Ivory is then wiped with a linen
cloth, and is again rubbed with finer
Pumice, either used with paper or cotton.
This operation is continued till the Ivory
is perfectly smooth and polished.
The Ivory being thus prepared, lay it
upon a card, and with thick gum arabick,
fasten down the four corners to prevent
it warping. Artists, who paint in this
g 4 way>
 ( 88 )

way, should have several Ivory Pallets,

one of which should be wholly reserved for
the colours used for the flesh. These are,
for the most part, transparent, as it is ne-
cessary that the white of the Ivory be seen
through them ; which gives an infinitely
more brilliant effect, than if painted with
opaque colours. They are used in the
same manner, as glazing-colours are in oil.
The colours for the flesh, and of which
the first pallet should be composed, are
the following:
Chinese Vermilion Vandyke Brown
Carmine Saturnine Red
Burnt Carmine Ivory Black
Crocus Martis Indian Ink
Mars Yellow Indigo
Gall Stone Ultramarine first
Precipitate of Cassius lity.
and second qua*-
Burnt Sienna

The principal colours for Draperies

and back-grounds are these :
Light
 ( *9 )
Brown Red
Light White
Prussian Blue
Naples Yellow
Yellow Ochre Antwerp Blue
Red Ochre Blue Ashes
Brown Pink Lake
Burnt Umber Red Orpiment
Dutch Pink Yellow Orpiment.
Chinese Vermillion, or Saturnine Red,
glazed with Carmine, makes a most beau-
tiful Scarlet.
When the colours are arranged on the
Pallets, it is indispensably necessary to
place them where they cannot be injured
by any dust ; it being destructive to Paint-
ing.
All the above mentioned colours should
be purified with spirits of wine, and pre-
pared according to their different quali-
ties. Ifthose that are of a dry nature, as
the Lakes, Prussian Blue, &c. &c. were
prepared in the same manner as those
that are unctuous, it is evident, that the
2 result
 ( 90 )
result would be injurious to the work, and
would present many difficulties to the Ar-
tist. Itis therefore very important, that
those who employ themselves in the pre-
paration of colours, neglect nothing to
discover their qualities, in order to prepare
each, according as its nature requires.
It it necessary for the preservation of co-
lours, that they be enclosed in glass bottles
so stopped, as to prevent any dirt from en-
tering, and to guard against the inconve-
niences that the influence of the air, and
phlogistic vapours, have, more or less,
upon colours, notwithstanding they may
be pure and well prepared.
Choice should be made of Pencils of va-
rious sizes ; those for sketching and wash-
ing should be thick; those for finishing
the flesh, more pointed.
The apartment in which you paint
should be lighted only from one window,
and that from the left, beginning about
five
 ( 91 )
five feet from the floor, in order that the
light come only from above. You should
also have a desk on a table, so raised as to
prevent you from stooping, and be particu-
larly careful that your fingers never touch
the Ivory, as it will effectually prevent the
colours from adhering. Your hand should
rest upon some fine linen three or four
double, which will also serve to cleanse
your pencil, when too full of water, before
you take your colour from the pallet. By
this means, you are not obliged to put
the pencil in your mouth ; which is as
hurtful to your health, as it is destructive
to the Painting.
These preliminary details may perhaps
Appear too minute to those Artists, who
may have formed a manner of their own,
and who by different means may have at-
tained the same end, that of imitating na-
ture with force and truth. It is not for
those wc have written; our intention is to
be
 ( & )
be useful to Amateurs, who have it not in
their power to have masters, and yet
would be glad of directions clear, simple,
precise, and, one may also say, mechanical.
For if, in Miniature, you work in the
dark, and are obliged to teaze your pic-
ture by continually effacing, it must be at
the expence of the clearness of the tints;
by which means the labour of the Painter
will always be discerned.
The position of the sitter being deter-
mined, and the Ivory well prepared, you
must begin by painting the carnations.
We will give for examples, two heads of
different colours : that of a man, dark and
forcible; the other of a •woman, fair and
transparent; leaving to the Artist or Ama-
teur the choice of varying, according to
his inclination, the different degrees of
colour he may wish to express, by taking,
as he may have occasion, the intermediate
tones of the two examples we shall offer.
TO
 ( ^ y

TO PAINT A MAN's HEAD IN

MINIATURE.

You must have a silver point, inclosed

in a wooden handle, of the size of a com-
mon pencil, and pointed in the same man-
ner. It is with this the first sketch is
drawn, and it must be done very faint.
The attitude and features drawn, which,
in this first sketch, should be seized as
quick as possible, trace it with burnt
Carmine. Your pencil must be rather
fine. Take care to give stronger touches
to the eye-lids, the nostrils, the corners of
the mouth, &c. It is necessary in this
outline, to have every thing in its place,
so as not to be under the necessity of
effacing any. If, however, this should be
unavoidable, take a paper stump, and,
with a little powdered pumice, rub it on
the place. Having
 ( 94 )
Having proceeded thus far with your
outline, you must take a pencil that is not
too pointed* and in one corner of your
pallet, compose a tint of burnt Sienna and
a very little Indigo, with which you cover
the strongest shadows. The touch must
be firm, and the pencil so used as not to
draw with the point. Particular care must
also be taken, not to repeat the touch,
till the first is perfectly dry, as you would
by that means take off the preceding co-
lour. Avoid taking too much Water in
your pencil ; it prevents the touches from
being firm, and also prevents your laying
the colour on equally.
When you have covered the strongest
shadows, such as the eye-brows, and the
eye-balls, unless they are of a light blue,
begin the middle tints approaching nearer
to the lights. This is done with Crocus
Martis, if the complexion is very red; if
not, use Vermillion mixed with a little
burnt Carmine.
The
 ( 95 )
The lips are begun with Vermillion,
and finished with a little burnt Carmine.
All the flesh is first done with red: be
careful, however, to keep it very faint at
first. As you approach the lights, use
Saturnine Red, always keeping the most
brilliant colours for the lights, reserving
the Ivory for the high lights.
You must now carefully examine if
every thing is in its place. Then, with a
faint tint, correct, blend, and soften the
lights and shadows together; by keeping
the colours faint at first, you will have the
resource of strengthening your Drawing,
rather than be under the necessity of tak-
ing off any colour.
Having thus far advanced the flesh, you
must cover the hair, the Drapery and the
back ground, in order that none of the
Ivory may be seen.
If you wish to represent powdered
hair, mix a very little Light White with
more
 f 90 )
more or less Black, Indigo and Red, in
proportion as yon would have it appear
more or less powdered.
If they are Grey, put less Red.
If Red, make this colour predominate,
by adding to it a little Yellow.
If the hair is Light, mix Light White,
Black, Red, and Yellow. This last co-
lour must predominate.
Should the hair be Dark, make a tint
of Burnt Umber and Black, without mix-
ing any White.
You must, with a large Pencil laid flat,
pass a light wash of these tints over the
hair. Through it, the shadows and the
forms of the curls that have been previ-
ously drawn, will be seen. Over this,
determine the parts, softening in the same
manner as mentioned for the flesh.
The body-coloured back-grounds are done
with opaque colours ; the others, with
those that are transparent. These last are
not
 ( 97 )
Hot so heavy, and are infinitely more
easy to execute ; they require a longer
time, but are always likely to succeed.
It consists of washing with a large Pencil,
with the colours that have no body, such
as Indian Ink, Mars Yellow, and Indigo.
Use more or less of these colours, accord-
ing as you wish your back- ground to be
warmer, or more aerial. These grounds
are finished by hatching or stippling.
The back-grounds in Gouache (or body
colours) are far more difficult to execute,
and require great practice ; if you do not
succeed the first time, the whole of the
colour must be taken off, and begun
again.
The light grounds are done with Ivory
Black, Naples Yellow, or Dutch Pink,
and Indigo,
For the dark grounds, you must use
Ivory Black, Indigo, and lied Ochre —
you may also add a little Red Orpiment.
h The
 ( 98 )
The sky grounds in body colours are
done in the manner mentioned in the
article Gouache, which instructions must
be strictly followed, if you wish to paint
Landscapes in Miniature.
As much as possible, avoid the use of
White in the back grounds.
Before you begin your grounds, you
prepare your different tints ; then, with a
large pencil, lay them on quick, and never
retouch one part, without covering the
whole.
Linens and muslins are done the same
as hair, by drawing first the shadows and
folds, with Indian Ink or Blue Black. The
reflections are done with Yellow Ochre, or
a little Naples Yellow with Black. If you
wish your linen to have a Blue cast, use
Indigo. The lights are afterwards touch-
ed with White. These must be very
firm, and not retouched, as the colour
would be too thick, and the linen appear
heavy.
When
 ( 99 )
When the lights are too strong, they
may be kept down with a faint tint of one
of the above-mentioned colours ; it contri-
butes greatly to the harmony of a Por-
trait.
Dresses are done as the back-grounds,
either with transparent, or opaque colours.
It would be useless to enter into a detail of
each tint necessary for the various colours
of Draperies. It will be sufficient to add,
that the same as in back-grounds, there
must be three tints, a light, middle tint,
and a dark one. Begin with the largest
masses, and use a large Pencil, reserving
the strong lights and dark touches till the
last. If you wish the colour to be more
forcible, you may add a little Gum.
Having covered the Ivory, and lain in
the largest masses, without attending to
the details, you may again work on the
flesh. Wash a little tint of Indigo near
the lights of the face, where there is a
h 2 blueish
 f 100 )
blueish hue, as the temples, the middle
of the forehead, the contour of the mouth,
and the lower part of the face, to distin-
guish the beard, particularly if it is dark,
and round off the parts.
You must afterwards go over the sha-
dows with faint washes of Indigo, and, if
necessary, use Indigo mixed with a little
Mars Yellow, in order to make the tint a
little Greenish, observing always to blend
the colours. These Blue and Green tints
serve to diminish the redness of the sha-
dows, and to give them more transparen-
cy ;which would not be the case, were the
Blue and Green mixed with the tints used
in the sketch. The Blue must be used to
blend the middle tints with the shadows.
It is in this part more particularly, that the
Grey tints must be attended to — they must
not, however, be exaggerated by making
them too hard, which frequently happens,
if the Blues and Greens are not used with

great
 ( 101 )
great delicacy. It would be well, from
time to time, to place your Miniature at a
certain distance, in order to judge of the
effect of the whole together ; otherwise,
after much pains, you may find your in-
tention defeated.
It is in this part the greatest attention
ought to be paid to the blending and sof-
tening the tints together, in order that
they shall the better imitate Nature. —
Form no hard and determined lines, par-
ticularly inthose parts that should turn ;
for that reason, avoid using brilliant co-
lours, but only light and vaponrous ones.
The warm and brilliant tints should be
next to the great lights. Never phce
them near the strong shadows, but always
let the colours blend one into the other,
and finish with the lights. Under the
eyes, and in those places you may find it
necessary, lay on a tint of Purple, either
with Precipitate of Cassius, or Burnt Car-
H 3 mine ;
 ( 102 )
mine ; the same with Red and Yellow
tints, always doing it so faint, as rather to
be obliged to add, than take off any co-
lour. In the lights you must soften as
much as possible, with Vermilion, Blue
and Violet ; with Burnt Terra de Sienna,
and Blue in the shadows. These colours
must be so blended, as to prevent distin-
guishing those you may have used.
The strongest touches must be left till
the last, such as the pupil of the eye,
(which is done with Ivory Black more
gummed than the other colours) ; the eye-
lashes, the shadowed side of the eye-brow,
if they are black. For the last strong
touches of a face, use Bister or Burnt
Umber, mixed with a little Burnt Car-
mine. The visual ray is done after the
face is finished.
It is sometimes necessary to put strong
touches of light upon the nose and the
with
corner of the eyes : This must be done
 ( 103 )
with White and Naples Yelloto — touch
it with the utmost delicacy, and very thin
of colour.
The flesh being finished, you must en-
tirely* finish the back-ground, before the
drapery and hair. It is more particularly
necessary in grounds a la Gouache; for, as
they require to be done very quick, you
might involuntarily cover part of the hair
and drapery.
The Miniature must be finished by the
dress, in order to give all the force neces^
sary.

How to Paint a Woman's Head in

Miniature.

To paint the carnation of a woman's or

a child's head, the preceding measures
may be adopted, with this difference, that
the shadows must be begun with Vermi-
lion and Precipitate of Cassius, or Burnt
h 4 Carmine,
 ( 304 )

Carmine, in order to give the tints a more

Violet hue. Near the shadows, you must
use Vermilion, but very faint, if the com-
plexion isvery fair. The Ivory must be
reserved for the great lights.
The Violet tints are done with Precipi-
tate of Cassius or Burnt Carmine. For
the reflections under the chin, use Mars
Yellow, and for the shadows, pure Ultrama-
rine, but very lightly. If the complexion is
very dark, use for the shadows, the same
colours as mentioned for a Man's Head.
The lips should be begun with Vermi-
lion, and finished with very fine Carmine.
In all those parts where, for a Man's
Head, you would use Indigo, in a Woman's
use Ultramarine of the first and second
quality.
It is particularly necessary in a Woman's
Head that you should attend to the blend-
ing and softening of the colours, till you
have produced that general union harmonand
y.
 ( 105 )
harmony, by which the Pallet of the
Painter may be said to be concealed.
This rule should be observed in every
Style of Painting, but more particularly
in Miniature; for, as it requires minute
inspection, the Artist must endeavour, by
every method, to conceal the appearance
of labour.
We would likewise recommend to those
Amateurs, who apply to this Style of Paint-
ing, to pay great attention to neatness —
to be careful that the dust does not collect
upon their work. For which reason, they
should have near them a large Camel flair
Pencil, and pass it frequently over the
Miniature and Pallets.

PAINTING
 ( 106 )

PAINTING in AQUAREL,
Or, WATER COLOURS.

THIS Style of Painting can be consi-

dered in no other light, than Coloured
Drawing, in which the White Paper serves
for the lights.
All the middle tints are done with tran-
sparent colours, and of course without
thickness.
The shadows are first prepared with
Indian Ink, and are afterwards glazed ac-
cording to the different tones of the object
you wish to represent.
The tints are composed in the same
manner, as for Painting in Gouache, or
Body Colours ; with this difference, that
you must never make use of White, and
that your colours must be laid on very
thin.
Be
 ( 107 )

Be careful to paint the "various objects

you represent, a little more brilliant, than
they appear in Nature ; because the Indian
Ink used in the first wash, always weakens
the brilliancy of the colours.
Prussian Blue, having a tendency to
turn Black, must be used as little as pos-
sible.
The expeditious manner in which you
represent in Water Colours, the different
effects of Nature, renders this Style of
Painting very valuable.
It is in Aquarel, or Water Colours,
that the greatest number of Amateurs
begin to study the effect of Colours, and
this Style of Painting is an introduction to
gll the others,

PAINTING
 ( 108 )

PAINTING in PASTELS,

Or, CRAYON S.

THIS is a modern Style of Painting.

It is done with Crayons instead of Colours.
The word Pastel is derived from the differ-
ent coloured pastes, of which the Crayons
are made. Of all methods of Painting,
this is the most easy and convenient.
You may paint in this way, either upon
Paper, Vellum, or Cloth. La Rosalba
and de la Tour, who have excelled in
this manner of Painting, painted upon a
blue Dutch Paper. The Blue and Grey
Papers made in England, are also well
adapted to this purpose, and require no
preparation ; be careful not to choose that
which is glossy. There is a Blue Paper
made in Holland, thicker and larger than
that generally used; it requires a similar

preparation
 ( lop )

preparation to cloth, of which we shall

speak hereafter — otherwise, it would be
woolly, and the Picture have the appearance
of being painted on Ratteen.
Prepare the Paper as follows :— Take a
stretched canvas, that is not too fine, and
without knots ; on this paste a sheet of
Paper, that is smooth and not glossy, and
upon this paste another Paper, upon which
you intend to draw.
If you wish to paint upon Vellum, you
must procure a sheet, that has had the
grease well extracted, and, as much as pos-
sible, of an equal thickness ; otherwise,
the colours will not adhere but fall off in
the course of operation. After having
damped the glossy side of the Vellum,
stretch it on a frame with flat nails, and
paint upon the surface that is roughest. —
The celebrated Liotard always painted
upon Vellum.
If you paint upon Cloth, you must
nail
■

( no )
nail sortie very fine upon the frame. It
must be free from knots, and yet suffici-1-
ently strong to bear stretching. There
must be wedges upon the angles of the
frame, to allow the cloth to be stretched,
when it has loosened.
Before you paint upon cloth, you must
lay on a preparation of the best Flanders'
Glue, and Pumice-stone sifted through
tiffany. Boil this mixture, and immedi-
ately spread it upon your canvass, with a
very large brush, such as is used in Water
Colours. Half a stick of this Glue, with
two spoonfuls of Powdered Pumice, in a
pint of water, will be the proper proportion.
When this paste is quite dry, before you
begin to paint, rub the surface with a
smooth Pumice-stone, in order to make it
perfectly smooth and even. This must
be done very lightly; for, in rubbing too
hard, you would take off the Glue, and the
preparation would be of no use.
In
 ( 111 )
In preparing cither canvass or paper, it
is better to put too little, than too much
Glue ; otherwise, the preparation will be
too smeary, and make it difficult to work
the colours. The same preparation will
not do for a second Picture, even should
you boil it over again.
The celebrated Pillement and Viviens^
who have left so many fine Pictures in this
way, always painted upon cloth — the Por-
traits of the latter are as large as life*
No great success in this mode of Paint-
ing can be expected, unless you have pro-
cured Crayons of brilliant tints, that are
tender, corresponding with those in Nature,
or to the Picture you mean to copy. They
are made very good at Lausanne, Vevai,
Nuremberg, and Paris. Those from Nu-
remberg are fine and made of a firm tex-
ture, and are more suited to small objects;
their tints are sufficiently brilliant for
flowers. Those of Switzerland are excel- lent,
 ( 112 )
lent, and will serve equally well for figures*
flowers, and fruits. The celebrated de la
Tour and la Rosalba painted with those
from Paris ; which sufficiently proves their
excellence*
When the paper, vellum, or cloth is
prepared in the manner before mentioned*
begin the sketch of your Picture with a
dark Crayon, and correct your outline with
a reddish brown Crayon; and, if the whole
is not sufficiently exact, correct it again
with a deeper colour.
If you wish to efface any part* whether
finished or only sketched, first rub off the
colour with a linen cloth ; then, with your
finger, take a little pumiee, that has been
sifted through a silk, and rub it on the
place : afterwards, blow off the pumice and
resume the operation as before.
There is this difference between Oil and
Crayon Painting, that, for the first, you ar-
range the necessary tints upon the pallet,
before
 ( 113 )
before you lay them on the canvass ; but
in Crayons, you frequently lay several tints
one upon the other3 in order to produce,
by blending them together, the necessary
tint.
The general fault of those who begin
this method of Painting, is that of using
too little colour. It is true, that in Paint-
ing any object whatever, a head for exam-
ple, you must be prudent in the choice of
your tints ; but when you find they pro-
duce the desired effect, you must lay them
on with firmness, without fear of hying
on too much. The first tint must be
warm, in proportion to the subject you
represent.
When the whole is sketched in, so as to
produce an effect, when placed at a dis-
tance, and which can only take place,
when the lights, shadows, and reflections
are properly arranged, you must examine
whether there is sufficient body of colours
i to
 ( 114 )
to allow blending them with the fingers:
you then begin to blend them together,
always remembering to have before you
the model from which you are Painting.
After having mixed the colours, compare
the tints with your model, and, if more are
necessary, apply them to the parts re-
quired.
In blending the colours, you must take
care to preserve the spirit of the sketch;
otherwise, you will be liable to lose what
most contributes to the likeness, more par-
ticularly ifthe person has great vivacity
in his countenance ; for, by the fatigue of
sitting, the muscles will become relaxed ;
but, if the party from whom you paint has
little character, there is less to fear, as the
muscles have less movement from the be-
ginning.
When the whole of the head is blended,
begin to finish your Picture. After having
examined each part separately, then give
touches
 ( 113 J
touches in different places, in order to
produce general harmony ; finish by the
strongest and most spirited touches, to give
expression relief and truth to your subject;
but these touches must not be blended.
In all we have said relative to this me-
thod of Painting, we have supposed the
person acquainted with Drawing, and that
he has also studied from plaster and from
nature. In this case, his progress will be
rapid, provided he has a taste for co-
louring.
In Crayons, as in all other methods of
Painting, it will be of great importance
to see an Artist paint, and to hear his ad-
vice respecting these colours, that are apt
to fly or change by mixing. By that
means, an Amateur would soon be enabled
to paint well.
Having had little practice ourselves in
Craycn Painting, we have had recourse to
a Mr. Longastre, who is well versed in this
i 2 manner
 ( H6 )
manner of Painting. He has kindly com-
municated to us his knowledge of the sub-
ject, and it is from his principles that we
have inserted the present details.

A METHOD FOR FIXING

CRAYONS or OTHER COLOURS.

TO succeed in fixing these colours, you

must first place your Picture vertically, or
rather a little inclining upon an Easel or
chair, placed against a wall. You must
have a pocket brush with the hairs rather
short, and a rod of iron of about six or
seven inches long, of a triangular form,
and one end bent ; the branch of a sculp-
tor's compass would answer the same
purpose.
This done, take a pint of very clear
water; put in it two large lumps of good
Isinglass cut in very small pieces, boil it in
Mulneo mare, until the Islinglass is quite

dis-
 ( "7 )
dissolved; afterwards, strain it through fine
linen, that there may be no sediment.
As you use it, pour a little in a saucer, and
always add to it a double quantity of the
best Spirits of wine.
While this mixture is lukewarm, dip
the hairs of the brush in the saucer, and
pass over it several times the bent end of
the iron rod, so as to squeeze the hairs,
drawing it always towards you. By this
means, the greatest part of the water falls,
and leaves the hairs only moistened ; then,
hold the hairy side of the brush towards
the Picture, at the distance of about eight
or ten inches, and press the hairs with the
bent end of the rod, always drawing it to-
wards you; begin with one of the corners.
This operation throws a kind of impercep-
tible shower upon the Picture, which pene-
trates through the Crayons and fixes them.
Observe to dip the brush in the saucer,
whenever it becomes dry, and repeat this
i 3 opera-
 ( 116 )
operation successively upon every part of
the Picture.
When the whole surface of the drawing
in impregnated with this dew, let it dry ;
repeat it a second and a third time : of-
tener would be unnecessary. The end
proposed is only to unite the different
particles of the Crayons, which are only
powders, and to endeavour by touching,
they may not come off. You can by no
means rub Pastel Drawings : it would
spoil and take off the velvet of the
Crayons. It is an error to suppose that
Crayon Drawings, even when fixed, will
bear varnishing ; it would only change the
colours.
Instead of water, you may dissolve the
Islinglass in Kirshwasser. This liquor is
preferable, as it has more spirit and dries
quicker. The proportions are two spoon-? In
fulls of Kirshwasser to one of spirits of
wine,
 ( ng )
In this manner you may fix all
kinds of Drawings, with this difference,
that instead of resting them against an
Easel, you may lay them flat. There are,
however, many works of great masters, that
cannot be fixed in this manner, owing to
the pumice, the glue, or other preparations
they may have used, or from their having
varnished the sketch. It hath been proved
by many experiments, that the mixture
will not only take off any mouldy spots,
but give fresh brilliancy to the colours.

I 4 COLOURS.
 ( 1^0 )

COLOURS.

ALTHOUGH from habit, acquired in

our earliest infancy, we suppose Colour to
exist in Bodies, nevertheless it is evident,
and generally acknowledged, that the word
Colour denotes no property of Bodies, but
simply a modification of our mind, and
only marks the particular sensation, which
is the consequence of the shock produced
in our sight, by such and such luminous
corpuscles.
Those Bodies we call coloured, are only
to be considered as Bodies, that reflect the
light with certain modifications ; the vari^
ety of colours proceeding from the dif-
ferent textures of Bodies, which render
them fit to give such or such modifications
to the light.
Colours in Bodies are only a disposition
% of
 ( 121 )
of these, to reflect such or such rays of
light, rather, or more abundantly than the
others : Colours, in the rays of light, are
only the disposition of these rays to pro-
duce such or such emotion in our organs:
finally, Colours in us are only the sensa-
tion of this emotion, under the idea of
Colours.
Colour exists no more in Bodies than
sound in a Bell, in a musical instrument or
any other sonorous body ; but sound is no
property of these bodies ; it is, in them, no-
thing more than the result of a vibrating
motion : it is, in the air, only a like mo-
tion communicated by that of the bodies :
finally, it is in oursehes, but a sentiment
of this emotion, under the idea of sowul.
The rays of light present to our view,
only seven principal or primitive colours,
which are: Red, Orange, Yellow, Green,
Blue, Indigo, and Violet. All the other
colours, from the White down to the
Black,
 ■

( 1^2 )
Black, are only mixtures of these principal
colours differently combined. The White
and Black cannot be ranked as colours ;
the first is only a composition of all the
various colours combined together ; the
second is a privation of all colour.
After having given a slight idea of the
theory of colours, we will consider their re-
lation to the Arts, but principally to
Painting, it being the end of this work.
All colours used in Painting are com-
posed of mineral, vegetable, or animal
substances, and sometimes of a combina-
tion of the three. We shall treat at length
of every colour, that is commonly used in
the different styles of Painting.
It appears that nature has constantly
made use of different modifications of
Iron, to colour mineral, vegetable, and
animal substances : the other metais are
never, or, at least, very rarely found to
colour natural Bodies.
The
 ( 123 )
The different dissolutions of Iron, pro-
duce Yellow, Orange, Red, Violet, Blue
and Black.
Various dissolutions of Copper give
Blue, Green, and Black. Gold, in a
state of calx, or oxigen, produces Purple,
which is frequently chnnged to a Violet,
Black, and Brown.
Lead dissolved and calcined, gives
White, Grey, Minium, Yellow Litharge,
Black Litharge, and Black.
A dissolution of Tin helps to give
Scarlet part of its beauty.
Cobalt gives to Enamel a blue colour.
A combination of Mercury and Sul-
phur makes a red colour called Cinnabar.
They call Local Co/our in Painting,
that which by the situation it occupies,
and by the help of some other colours,
represents a particular object, as flesh,
linen, a stuff, or any objeft distinguished
from the others. It is called Local, be-
cause
 ( 124 )

cause the place it occupies, requires it to

be such, in order that it nuy give a truer
character to those colours that are near.
Local Colour should agree with the truth
and the effect of this distances.
They call middle tints in Painting, a
combination of two or more colours, that
moderate the tone of the principal one.
Then, this is not so brilliant, but it makes
the Others appear more so; which recipro-
cally add to its effect : it corrects and
softens their rawness.
Colours acquire their brilliancy only in
proportion as they are deprived of all he-
terogeneous matter: nothing can be mix-
ed with them without injuring them.
This principle, demonstrated by experi-
ence, proves the necessity of only using
the purest oils, and the best distilled wa-
ter for Painting.
We are under the necessity in all
styles of Painting with water, to use a mix-
ture
 ( 125 )
ture in the preparation of the colours, to
make them fix the better upon the sub-
stance on which we are to paint. This
mixture ought to be combined according
to the quality of the various colours, which
almost all require different mixtures: and
all these injure the colours more or less,
because the heterogeneous particles with
which they are allied, change the texture
of the composition, and occasion them to
reflect differently the rays of light. From
hence it follows, that all colours that shall
have been mixed with too much of these
preparations (even though the preparation
should be proper for the colour), will take
a different tone, which, in course of time,
will become deeper and deeper, because
all incorporating bodies absorb, in drying,
the rays of light which they reflected
before.
It is therefore very important for the
preservation of Drawings in water-co-
lours,
 ( !26 )

lours, to mix with the colours, only what

quantity of preparation they absolutely
require, and only that which suits the
nature of the colours.

A V I E W

Op the different Colours, class-

ed ACCORDING TO THE DIFFERENT
KINGDOMS, FROM WHICH THEY ARE
EXTRACTED.

COLOURS FROM THE ANIMAL

KINGDOM.

Cochineal Lake
Carmine Indian Ink
Purple Pearl White
Gall-stone White of Egg Shells.

CAR-
 ( 127 )

CARBONIC «*I>lIvoryBkck
BITUMIK0UV Bone Black
ANIMAL SUB-
STANCES. Stag-horn Black,

COLOURSFROM THE VEGETABLE

KINGDOM.

Copal
Sandarac
resins <^ , tj, ,
Dragon s Blood
Gamboge.

Arabic Gum
gums^ Senegal Gum
Tragacanth Gum,
Indigo
Sap Green
LEES< Iris Green
Sun-flower Blue
Dutch Pink
Artificial Brown Pink.
CA-RBO-
 128 )
(
Charcoal Black
CARBONIC AND
BITUMINOUS Lamp Black
Bister
VEGETABLE
Blue Black
SUBSTANCES
Peach Black.
COLOURS FROM THE MINERAL
KINGDOM.
gold j Precipitate of Cassius
silver J Light-White.
MERCURY< {"Ochres
Cinnabar, or Vermi-
I lion.

Mars Yellow
Sienna
Burnt Umber
Vandyke Brown
Cologn Earth
IItON< Brown Red

Indian Red
Calcined Vitriol
Natural Brown Pink
Prussian Blue
Antwerp Blue
-Prussian Green.
 ( 129 )
. "Verdi grease
Distilled Verdigrease
Blue Verditer
Sanders Blue
copper<( Mountain Green, or
Malachite
Sanders Green
Azure Green
.Green Verditer.
"White Lead
Massicot
■ Minium
] Saturnine Red
Naples Yellow, or
L Giallolino,
r Smalt
COBALT< Enafhel Blue
(Violet Blue.

Kealgar
ent
SOrpim
zinc \White of Zinc.
K
Lapis
 ( 130 )

ths \ Lapis Lazuli

earand < Spanish White
stones Jjtfoe white,
We do not mean, in the course of our
work, to arrange the colours in the above
order ; they will be classed according to
their different tones : for example, we
shall begin with the Whites, afterwards
the Yellows, and so on ; and, in order to
give more facility to our Readers, we shall,
at the end of this Treatise, add an alphabe-
tical list of them.

WHITES.
 ( 131 )

WHITES.

WHITE being a colour essentially ne-

cessary in Painting, we shall treat of the
different varieties which are commonly
used, and point out those we beiieve most
adapted to the several styles of Painting.

SPANISH WHITE.
The most common White is that called
Spanish White, or White of Rouen, It is
nothing more than a species of White
Chalk, which separates very easily in water.
In order to purify it, put it in a clean ves-
sel, and dilute it with clear water. This
is easily done, and need not be fingered.
Being dissolved in a great deal of water, let
it be well stirred, and left a little time to
settle, in order that the gravel may sink to
the bottom; then, pour off all the water into
clean vessels, and let them remain till the
k % Whit*
 ( 132 )
White sinks,and the water be leftperfeclly
clear ; after which, decant the water with-
out disturbing the sediment. When the
White is almost dry, form it into cakes,
and leave it in the air to dry.
This White is much used for large
Drawings in water colours ; but it is not
proper either for Oil Painting, or Minia-
ture.

LIME WHITE.

This White, the best that can be used

for Painting in Fresco, unites very easily
with all the other colours. It is easy to
use, provided it be composed of excellent
Lime, burnt at least six months. Wash
this White with common water; then pour
it slowly into a vessel, and let it remain
for sometime to settle; after which de-
cant the water, and the White will be fit
to use.
Thee
 ( 133 )
There are Painters who make use of a
composition, half Lime, and half dust of
White Marble.

WHITE OF EGG SHELLS.

This White, which may be used in

Painting, is composed in the following
manner :
Take a quantity of Egg Shells ; bruise
them and clean them well, by boiling in
water with a piece of quick Lime ; then,
wash them in clean water, and bruise them
again, so as to compose a finer powder;
after this wash them several times, till the
water appears perfectly free from dirt-
Having proceeded so far, grind the shells
with the muller, and reduce them to the
finest powder. Leave them in the sun to
dry.
K 3 WHITE
 ( 134 )

WHITE LEAD.

White Lead, much used in Oil faint-

ing, isa Calx or Oxigen of Lead, of a very
line White, made by exposing the Lead
to the fumes of Vinegar. This matter is
the same as Ceruse. To render White
Lead perfectly fine, chuse the finest in
scales ; grind it well upon a marble with
vinegar : it will become Black : then take
an earthen pan full of water, and wash the
White ; let it settle, and then pour it off
by gently stooping the vessel; grind it
again with vinegar and wash it. By re-
peating this operation three or four times,
you will procure a White perfectly beauti-
ful, fit for colouring and Oil Painting.
All the White Leads prepared, will, in
time, turn Yellow or Black. This is oc-
casioned bythe phlogistic vapours, with
which the air is always, more or less, im-
2 pre^-
 ( 135 )
pregnated; or to speak in the language of
the Chymists of the present day, they be-
come oxigenated by their union with the
oxigen of the air. Mr. de Morveau first
conceived the idea of substituting Lime of
Zinc, instead of Ceruse, and, by that
means, has rendered a very essential service
to Painting,

WHITE OF ZINC.
White of Zinc has the property of not
changing its colour, by any of those means
that would immediately blacken any
Whites extracted from Lead, It unites
perfectly with all other colours ; but, as it
wants body, it is mixed with White ex-
tracted from silver, obtained by the foU
lowing method.

WHITE OF SILVER.
To make this White, take a sheet of
silver, which you beat as thin as paper ;
k 4 cut:
 ( 136 )

cut it in pieces about the size of a half-

penny; steep it in Aqua Fortis for twenty
four hours; being dissolved, pour off the
Aqua Fortis, and wash what is left at the
bottom of the vessel, five or six times in
distilled water, till there be no remains of
Aqua Fortis left in the dissolution ; which
may easily be known by touching it with
your tongue. It is afterwards dryed,

WHITE OF PEARL.

To obtain this White, take Oyster^

Shells bleached by the sun on the sea
shore ; or you may calcine them, till they
can be reduced to powder, without how-
ever burning them, as it would change
the colour; afterwards, separate the whitest
part, and levigate it with water? till it is
reduced to an impalpable powder.
This White may be used for Minia-
ture.
YELLOWS.
 ( i37 )

YELLOWS.

NAPLES-YELLOW, or GIALLOLINO.

NAPLES Yellow was long used,

before either its nature or origin was
known. It resembles a sandy, porous
stone ; its grains are of a fine Yellow. Till
the present time, the supply was drawn
from Naples: formerly one person fur-
nished the whole.
Mr. d'Arclais de Montamy, in his Trea-
tise upon colours for Enamel Painting,
says, that Naples Yellow is a stone of
a pale or deep Yellow ; that it appears com-
posed ofa species of a yellow sand, loosely
combined. He believes it to be the pro-
duction ofa Volcano. According to him,
Naples Yellow may be considered as Saf-
fron of Mars, first produced by a Volcano,
and then the colour brought to perfection
by remaining in the Earth ; or as a ferru-

ginous
 ( 138 )
ginous substance, whose imperfect vitrifi,
cation was afterwards decomposed.
It has been found that Naples Yellow is
produced by art, and is a metallic calx. It
is now brought to equal perfection with
that of Naples, by incorporating with
Spanish White, calcined Alum, Salt Am-
moniac and Diaphoretic Antimony, all
pure. Having well pounded this mixture,
put it in a flat earthen pan, which must
not be varnished; cover it, and let it re-
main upon a moderate fire, during seven
or eight hours. It would succeed better,
were it placed for twelve hours, at the top
of an oven, upon a reverberated potter's
fire.
In making Naples Yellow, by augment-
ing the quantity of Diaphoretic Antimony
and Salt Ammoniac, the colour comes
nearer to a golden Yellow.
Naples Yellow is produced by calcining
a mixture of quick Lime, Minium, and a
small quantity of white Pot Ash.
Mr.
 ( 139 )

Mr. Veber, who has made many expe-

riments upon Naples Yellow, thinks that
the degree of heat is what chiefly ought to
be attended to, as the success of the expe-
riment must depend upon it; and, that to
procure it very fine, the heat must not be
too moderate.
Naples Yellow is a softer and fatter co-
lour, than either the Orpiments, Massicots,
or Ochres. It unites with all the other
colours, may be used both for back-
grounds and fore-grounds, either with
gum or with oil, and does not change. As
it frequently contains an acid Salt, before
it is used, it must be edulcorated ; which
is done by steeping it in water, after it is
reduced to powder. In grinding it, you
must use an Ivory knife.

ORPIMENT and REALGAR.

NATURE sometimes mineralizes Arse-

nic to a calx by means of Sulphur. The

greater
 ( '40 )
greater or lesser abundance of Sulphur, that
enters into this new produced substance,
gives birth to Orpiment and Realgar.
This last contains more Sulphur than the
first. Orpiment is found in irregular
forms, sometimes solid, sometimes in
plates, of a fine citron Yellow, having a
Green or Red cast, in proportion to the
quantity of Sulphur it contains. Some-
times it is a deep Yellow, brilliant and
shining like gold: it is then found in

plates.
A greater quantity of Sulphur being
combined with the Arsenic, produces Re-
algar, called in Painting Red Orpiment. It
is frequently transparent, and of so fine a
lied, as to have been often compared to
rubies, and by some Authors has been
called Ruhy of Arsenic. Like Orpiment,
it is found in imperfect masses, and of a
great and lesser bulk ; but frequently in
crystals; which is rarely the case with Or-

piment. l These
 ( "1 )
These two substances are found in large
quantities in Guadeloupe, Japon, Sec. In
this last country and in China, they make
Vases of the Kealgar ; they let vinegar and
juice of lemon stand in them for a consi-
derable time, and then take it by way of
medicine.
A great deal of Orpiment comes to U3
by way of the Levant. It is likewise dis-
covered inthe mines of Hungary, Bohe-
mia, and Transilvania.
The natural Orpiment and Realgar are
far more beautiful, than those that are
factitious, and are preferable for Painting.
To make faclitious Orpiment, mix with,
great exactness powdered Arsenic with a
tenth part of Sulphur, and sublimate of
this mixture ; the result will be an opake
yellow mass ; but this combination is
never so perfedl as that which is found in
the natural state.
To make Realgar or Red Orpiment,
mix
 ( 142 )
mix with Arsenic, a fifth part of Sulphur,
and sublimate the mixture: if you wish
the Arsenic and Sulphur to combine more
intimately; melt again that which has been
sublimated ; then it becomes transparent,
and resembles a Ruby. If you wish it to
be more Orange, add more Arsenic.
The Orpiments are a very quick poison,
and you must not expose yourself, with-
out great precaution, to their volatility.
Painters are frequently incommoded by
them.
The Yellow Orpiment combined with
Indigo, makes a very good Green. It
will mix likewise with all other Blues, ex-
cept Sanders Blue. When united with
this last colour, it is liable to become
Black, and is difficult to use.

GALL STONE.

Gall Stone is found in the gall of

oxen. It is of different forms, sometimes
round.
 ( 143 )
round, at others, oval. Ground very fine
upon Porphyry; it produces a beautiful
golden Yellow. It can be used for Oil
Painting, though rarely: it is chiefly used
for Miniature and Drawings in Water-
colours.
To make an artificial Gall Stone, take
half a pint of Oxen's Gall, as fresh as pos-
sible put
; it in a tin vessel, and let it boil
in Balneo Mare with a quarter of an ounce
of clear Gum-Arabic; then, let it boil till
it is reduced to an eighth part ; after which
pour it into a China vessel, and let it again
evaporate over the fire, till, in drying, it
forms a thick mass.

MASSICOTT.

Massicott is a calx of Lead of a

Yellow colour. In melting Lead, a grey
powder rises to the surface, which is a real
calx of this metal. If after taking away
this
 ( 144 )

this grey powder, you expose it to a more

violent heat, it becomes Yellow, and i9
called Massicott.
It may likewise be made by taking
Ceruse, which is Lead dissolved in vi-
negar. Put it in an iron box weil closed;
let this box remain in the fire, during four
or five hours, at the end of which time>
the Massicott is formed.
You may distinguish three different
kinds of Massicott, White, Yellow, and
Orange. They are three different species
of calces of Lead, which have been ex-
posed to different degrees of heat.
Massicott is useful for all kinds of
Painting that require a body.

DUTCH PINK.

Dutch Pink is a yellow paste, made

with a species of White Chalk or Marl,
It is coloured by putting in the water, a

decoc-
 ( 145 )
decoction of Buckthorn berries mixed
with common Alum. From this mixture,
is formed a paste dry and twisted, which is
called Dutch Pink. It is manufactured
in Holland. Choose it tender and brit-
tle, and of a fine golden Yellow. It
is used for Oil Painting and Miniature.
Dutch Pink is generally composed of
White of Troyes, and Buckthorn berries;
but this species is bad, and will change,
it is better to make it of White Lead, or
Ceruse.
The Yellow produced by Dutch
Pink, is very susceptible of change from
the mixture of other colours. When
mixed with Brown Red, it produces an
earthy colour; but when mixed with
White or Blue, it gives a faded and va-
pourish one.
Dutch Pink is seldom used for Painting
in Gouache,
l GAM-
 -

( 146 )

GAMBOGE.

Gamboge is a resinous and gummy

juice of a pale saffron colour, found in
round masses and small cylindric sticks,
without smell, and almost without taste.
It is brought from the East-Indies, and
flows from two trees, the'one called Carca-
futti, a species of Malabar orange-tree; the
other Ghoraca Dulcis.
When Gamboge is placed near the fire,
it burns and emits a brilliant flame, ac-
companied with a good deal of smoke. It
will dissolve almost entirely in spirits of
wine, and appears, from the experiments
that have been made, to be a saline, resi-
nous and gummy composition.
The entire dissolution of Gamboge ac-
quires the colour of blood, by pouring in
it, Oil of Tartar, or Lime water.
The ancients were unacquainted with this
colour. Within this last century, it has
3 been
 ( "7 )
been much used by Painters, as it produces
a most beautiful Yellow, easy to use, and
generally employed for water colours. I
is not good for the other methods of
Painting, as it blackens by time.

MARS YELLOW.

The experiments we have made upon

the nature, 'composition and use of Mars
Yellow, "have given us a perfect knowledge
of its different qualities. We will not
however enter into all the details of its
composition, which, till this present day,
has been known to few persons. It will
be sufficient to assure our Readers, that
this valuable colour, extracted from a dis-
solution ofiron, and afterwards precipitat-
ed, is of essential service in all the dif-
ferent styles of Painting. It is light,
solid, transparent, easy to use, and,
unites perfectly with all other colours.
t % TERRA
 ( 148 )

TERRA DE SIENNA.

The natural Terra de Sienna, such as

you buy at the shops, is a mineral earth, of
which we cannot doubt that the essential
and coloured part is of iron alone.
If, before it is ground, you calcine it in
an iron box, during half an hour, a
part of the iron will be regenerated, and ber
come sensible to the touch Of the Load-
stone.
This earth is liable to the same, and
even more inconveniences, than the natu-
ral Umber. It contracts and hardens so
much in drying, that it is necessary, every
time you use it, to grind it afresh. It be-
comes heavy, brittle, and turns black,
when used alone. To remedy, as much as
possible, this inconvenience, it is ground
with essence of Turpentine. The
 ( 149 )

The faSkious Sienna lias all the quali-

ties, without the inconveniences of the na-
tural one. Iron dissolved by Acids, and
precipitated by Alkalies, produces this
colour*

OCHRES.

Ochres are metallic Calcs combined,

more or less, with heterogeneous sub-
stances, and of a consistency sometimes
powdry, sometimes solid.
Martial Ochres which are frequently
required in Painting, all proceed either
from a decomposition of iron ores, or
from that of Martial Pyrites. This last
appears to have been their most common
origin. In this decomposition, the iron
is brought to the calciform stale, more or
less perfect ; it consequently passes succes-
sively from the black colour of the
L 3 Ethiops
 ( 150 )
Ethiops Martial, which is the nearest to
the Metallic, to that of a reddish Brown,
and afterwards to a Red, more or less deep,
in proportion as its calciforai state is dis-
persed from the metallic one: it finishes
afterwards by becoming Yellow, when the
calciform state is perfect. You may after-
wards, bythe means of h£at, make this
Yellow Ochre change to Red ; from
that to the Brown ; and this with an in-
tenseness that gradually decreases from the
heat first applied.
The natural Martial Ochres are fre-
quently changed by the mixture of extra-
neous substances; by which means there
is an infinite variety in their tones of co-
lour; that furnish abundant resources
to a Painter. From these changes, Ochres
take different names, according to the
different tones. When combined with a
quantity of clayey earth, they generally
take the name of Bole, which is afterwards

dis-
 ( m )
distinguished by an epithet denoting either
the colour, or some peculiar quality.
The principal Martial Ochres are : Yel-
low Ochre, Ochre de Rue, Brown Ochre and
Red Ochre.
Yellow Ochre is of a brittle consistency
and has the property of staining the hands.
Some Mines of it are found in Berry. It
is also called Yellow Earth, or Mountain
Yellow.
Brown Ochre is only a Yellow Ochre,
changed by the addition of an extraneous
colour; it is sometimes like Ochre de rue.
and sometimes like Moulard of Cutlers.
Ochre de rue is likewise called dark.
Yellow, and, when calcined, is a very fine
colour.
Red Ochre, or Mountain Red, is friable,
more or less deep, and acquires intense-
ness by fire.
They likewise give the name of Ochre
to Copper reduced by nature to a calci-
l 4 form
■i

( 152 )
form state. It is found in two different
states, of a Blue and Green colour. In
Mineralogy, when pure, the Blue takes the
name of Axur of Copper, the Green that
of Malachite, They are also named, es-
pecially inPainting, Blue Ochre of Copper,
and Green Ochre of Copper.
When this ore of calciform Copper is
mixed with extraneous substances, among
which the most general is argillaceous
earth, it takes the name of Mountain Blue
or Mountain Green, and is also known in
Painting by the name of Sanders Blue or
Green.
All these Ochres are of great use in
Painting; but cannot be used, until they
have been well purified.

BROWN PINK.

Among the different species of natural

Brown Pink, there are some that contain a
2 | great
 ( *S3 )

great deal of Asphalturn or Bitumen x>f

Judea, and are entirely combustible.
Others have their basis of Umber united
with a vegetable tincture, which, being
burnt, leaves only the aforesaid earth, a
little changed by the ashes of the vegeta-
ble substance.
The artificial Brown Pink may be com-
posed in different ways.
Boil with water, in a tin vessel, Buck-
thorn berries, chips of fustick wood and
Tartar ashes; filter this tincture whilst
it is boiling; and pour in to it, little
by little, while the liquor is fermenting.
a solution of Alum mixed with Cuttle
iish bones dissolved in Aqua Fortis ; wash
the sediment, and filter it through blot-
ting paper ; afterwards let it dry upon a
board.
Another manner. Boil a certain
quantity of Buckthorn berries in water;
filter the tincture through a bag; -then

grind
 ( 154 )

grind with water, and reduce to an im-«

palpable powder, upon Marble, the inte-
rior part of the Cuttle fish bones ; add to
this powder the tincture, and evaporate it
in Balneo mare, until it has acquired con-
sistency : then grind it again and dry it,

BROWNS

I
 ( 15 5 )

BROWNS.

UMBER, COLOGNE and CASSEL EARTHS.

THERE are three kinds of Umber,

one a dark brown with a reddish cast,
properly called burnt Umber; the second
of a very deep brown, called Cologn Earth,
and the third of a tone between the two,
but rather bordering on the darkest ; this
is Cassel Earth, most generally called
Vayidyke Brown,

UMBER.

This colour comes from the Levant,

but more particularly from Egypt. It
must be chosen soft and in large pieces ;
the smoke arising from it is very offensive
and
■

( 1*6 )
and hurtful. If calcined in an iron
box, it becomes redder and of a better
quality, and takes the name of Burnt
Umber.
The natural Umber is light and absorb-
ing ;it imbibes a good deal of water and
contracts in drying; a defect owing to its
union with an argillaceous earth. Colours
obtained by precipitation are free from
this defect.
Some Oil Painters do not make use of
this colour, because in drying it becomes
heavy, and sometimes so dark as frequently
to make a spot ; it often cracks, particu-
larly when used alone.
The artificial Umber is not subject to
these inconveniences. Its colour is the
same as that produced by nature; it under-
goes the same change by the fire, and is
in every respect: preferable.
It is obtained by iron dissolved in
Acids and precipitated by Alkalies,
COLOGN
 ( 157 )

COLOGN EARTH.

The species of Umber, called Cohgn

Earth, because procured from that place,
is an infinitely deeper colour than the pre-
ceding Brown. Its basis is notwithstand-
ing the same, and from the experiments
made by Mr. Ferriere, may be considered
A3 a species of Peat composed of the waste
of vegetables, and united with the forego-
ing earth. It must be chosen soft, fria-
ble, very clean and in large pieces ; it feels
greasy and diffuses a bituminous, foetid,
and unpleasant smell.

CASSEL EARTH, or VANDYKE

BROWN.

The Cassel Earth is of the same nature,

as that of Cologn and its basis the same.
The celebrated Vandyke held it in high
estim*a-
 ( 158 )
estimation, and from that circumstance it
takes his name.
All these earths are of the greatest use in
Painting.

BROWN RED.

Brown Red is an argillaceous iron ore,

known by the name of Bole, or Bolaire
earth. There is some naturally Red, as
the Bole Armeniac ; others are Yellow and
made Red by torrefaction. English Red,
or Bianty is of this number. The great-
est part comes from Berry, a province in
France, and is sold in Holland by the
name of English Red. This colour is of
great use either in Oil Painting, or in
Water Colours.

BISTER.

This colour is generally made with

soot; but the best materials for Bister, is
the
 ( 159 )

the bituminous part of soot, found

strongly attached to the wall of chimnies.
That produced by a hard wood, is to be
preferred.
This colour is prepared in different
ways ; the following are the two principal
ones.
1st. Take some soot and grind it with
child's urine, upon a shell, until it is per-
fectly refined; then put it into a glass
vessel, that has a large mouth, filled with
clear water; stir the mixture with a wooden
spatula, and let it settle for about half an
hour; the coarsest part will fall to the
bottom ; the liquor is then carefullypoured
into another vessel ; the sediment is the
most inferior Bister and is thrown away.
The same operation must be repeated with
that which remains in the second vessel ;
it is then emptied into a third, and after
letting it remain for three or four days,
you procure the finest Bister.
2nd. Take
 { jOo )
-2(1. Take some soot and boil it five or
six times, in a vessel exposed to a great
degree of heat, (use as much water as
you find necessary) ; stir it now and
then, with a small stick ; let it settle for
about half an hour, at the end of which
the coarsest part will sink : then pour off
the liquor, and continue to repeat the be-
fore mentioned operation.
Bister is generally used to produce
earthy tints. By mixing it with Carmine,
Gamboge, and Indian Ink, a very fine tint
js produced ; it loses by that means its
rawness, and becomes more easy to use.
Many of those who manufacture Co-
lours, add to their Bister the juice of Spa-
nish liquorice ; this mixture produces a
richer tone and dors not injure the colour ;
but it will not stand.

CALCINED VITRIOL.
Martial Vitriol calcined by fire^,
which then takes the name of Burnt triol,
Vi-
 ( Ifll )
iriol, succeeds extremely well for Painting
in Fresco, when it is well ground with
spirits of wine. It produces a Red little
inferior to Lake. This colour is particu-
larly adapted to prepare those parts you
wish to colour with Cinnabar. Draperies
painted upon plaster, with these two co-
lours, may vie with those painted in Oil
with fine Lake,

m GREENS.
 ( 162 )

GREENS.

MALACHITE, and MOUNTAIN GREEN.

In the article Ochre t an account has

been given of this colour. It varies in
shades, being sometimes light, sometimes
dark, and also differs in its consistency
and form.
It is said that Hungary furnishes the
finest. It is frequently found united
with calcareous earth, which, in acids, will
effervesce. Fire generally deprives it of
its colours.
Mountain Green is used in Painting.

SANDERS GREEN.

This name has been given to a sub-

stance, that is a real Copper Ore, of a
3 Green
 ( 163 )
Green more or less dark, and known, when
pure, by the name of Malachite, and of
Mountain Green, when earthy.

GREEN VERDITER.

To make this colour, take some chalk ;

wash it with great care until it is suffici-
ently fine ; then, throw it, little by little,
into a solution of copper, until it has
ceased to ferment, or till the liquor has
lost its colour. The lees being precipi-
tated, pour off the water gently, and con-
tinue to add the solution and to wash it,
until the water remains insipid and the se-
diment without acrimony ; afterwards filter
it through blotting paper covered with
linen, and then dry it in small pieces.
This colour, as may be seen, is only a
faclitious Mountain Green.
The solution of copper is made by put-
ting copper-shavings into Aqua Fortis.
M 2
PRUS-
 ( 164 )

PRUSSIAN GREEN.

To make Prussian Green, take three

parts of Prussian Blue newly made and
before it is formed into a hard cake,
and one part of Dutch Pink ; mix them
well together and grind them very fine ;
after which, separate it in small quantities,
and leave it upon paper to dry. This
makes an excellent Brown Green, very
Useful in the shadows.
To make another Prussian Green,
proceed exactly in the same manner as to
make Prussian Blue, till the solution of
Alum and Vitriol be mixed with that of
Tartar ashes, and Sulphur of Charcoal, and
till the green sediment be precipitated.
Then wash the sediment which is Prussian
Green, without adding any thing to it, and
let it dry in the same manner as the Blue.
Prussian
 ( 165 )
Prussian Green ought to be deep and
brilliant.

AZUR GREEN.

To make Azur Green, reduce Ar-

menus Lapis to a fine powder; put it in
Brandy or distilled vinegar; let it concodl
on hot ashes, or in Balneo mare, till the
liquor be entirely impregnated with the
colour of the Lapis ; pour off the water
gently. Should there still remain any co-
lour in the Laps, steep it in fresh vinegar
as at first. After this, throw away the
stone and let the vinegar, impregnated
with the colour, evaporate over ashes gen-
tly heated. The Green will be found at the
bottom of the vessel. It must be cleaned
and washed in cold water and then dried.
This colour produces a fine effect in
Painting and does not change.
Armenus Lapis is a Qiiartzoi{s stone, of
m 3 a deep
 ( 166 )

a deep or pale Blue, coloured by copper to

a calciform state. This stone has often been
taken for Lapis Lazuli, but is totally dif-
ferent. Generally some of its parts partake
of a Green tint. Whenever this is per-
ceived, itwill effectually prevent its be-
ing confounded with the true Laps Lazuli,
which is never found in this state. When
this stone is very much impregnated with
copper, by pulverizing it, you may extract
a blue powder ; but this is inferior to
Lapis Lazuli or Ultramarine. Calcination
destroys the colour.

VER - DE - GREASE.

By Verd-de-grease, is understood a
Green substance found upon copper ves-
sels, or such that are partly made of that
metal. It is a calx of copper, that almost
all aqueous, oily, acid, and saline dissol-
vents attack.

Ver-
 ( 1&7 )
Ver-de-grease that is used for dying and
painting, and which is chiefly procured
from Montpellier and its environs, is made
with very thin and light plates of copper,
well polished, and brought from Sweden.
You first bury them for three or four days in
Ver-de-grease ; then, range them in ear-
then pots, prepared for this purpose, with
wine or with grapes prepared also for the
same purpose ; leave them in this state four
or five days ; they will turn Green. When
you perceive little white specks, take them
out and leave them to dry ; then steep
them again in wine and let them dry; this
must be done several times. At last, this
dissolved substance will swell, spread, and
form a species of moss, even and green,
which you carefully scrape with a blunt
knife: this moss is called Ver-de-grease.
When the plates of copper are dipt in
water instead of wine, the Ver-de-
grease becomes more moist, heavier, less
coloured, and inferior to the other.
m 4 DISTILLED
 ( 168 )

DISTILLED VERDE-GREASE.

Chystals drawn from an impregnated

tincture of common Ver-de-grease, made
in spirits of vinegar, filtered, evaporated,
and crystalized, is what is commonly call-
ed distilled Ver-de-grease. This colour is
often used in Painting ; but it turns black.
Common Ver-de-grease is used equally
with distilled, for the purpose of colouring
prints, paper, he.
It is made by dissolving Ver-de-grease
in a solution of crystal of Tartar, made
with distilled, or rain water. This solu-
tion perfectly dissolves Ver-de-grease.
These two solutions, colour paper ex-
tremely well, and give it, when dry, a
shining appearance which adds to its bril-
liancy.

IRIS
 ( 169 )

IRIS GREEN.

Iris Green is a species of Green extracts

jed from the flower of the Blue Iris, and is
used for Miniature Painting. This deli-
cate colour may be made in the following
manner :
Gather before sun rise, some of the
finest flowers of the Iris ; separate and
only make use of the exterior part which
is green and satin like ; pound it in a glass
mortar, and pour upon it several spoonfuls
of water, in which a little gum and alum
has been steeped; grind it well together,
till you find it is of the proper colour, and
has the necessary consistency ; strain this
juice through thick linen ; put it in shells
and let it dry in the shade.
Iris Green may be made in many dif-
ferent ways ; but this will be sufficient to
give an idea of its composition.
SAP
 ( 170 )

SAP GREEN.

Sap Green is a hard paste made with

buck-thorn berries.
To make this paste, bruise the berries,
when black and perfectly ripe ; the juice
extracted is black and glutinous ; then let
it evaporate over a gentle tire, without its
having depurated, and add to it a little
Rock-alum dissolved in water, in order to
make it of a deeper and more brilliant co-
lour let
; it remain upon a gentle fire till it
has acquired the consistency of honey.
Then put it in Oxen's or Pig's bladders, and
suspend it in a chimney, or any other warm
place. Leave it to harden for keeping.
When you wantSap-Greemmakechoice
of that which is hard, compact, heavy, of a
Green colour, bordering on Brown or
Black, outwardly shining, and which when
broken
 ( m )
broken or pulverized, becomes entirely-
Green, and of a sweet taste.
This colour is used with success for
Painting in Gouache, and for other kinds
of Painting in water colours.
Buck-thorn is a bush very common in
the temperate countries of Europe. It
grows in hedges and bears a fruit, or soft
berry, about the bigness of a pea, filled
with a greenish black juice. The small
buckthorn berry, or grain d* Avignon, is the
fruit of a bush very common in Provence.
It is likewise used to make Dutch Pink, a
colour used in Oil Painting, and Water
Colours.

BLUES.
 ( 172 )

BLUES.

Smalt.

SMALT is a substance composed of

calcined Cobalt, pulverised and mixed
with a Fritl of Quartz, sand or flint, and
vitrified by a reverberating fire. Smalt
ground and washed makes what is called
Azur.
With the Ore of Cobalt you make
Zaffre, which is nothing more than the
calx of this metal, deprived of its mineral
qualities, and mixed with an equal quan-
tity of pulverized flint. With ZafTre you
make Smalt, by vitrifying it in the before
mentioned manner. This, when pulve-
rised and washed, becomes Cobalt Blue.

This
 ( 173 )
This colour is not used for Miniature.
Cobalt is a semi-metal, with which you
make Azur, or Enamel Blue.
Having purified the Ore of Cobalt of
its mineral qualities and reduced it to a
black powder, which is its pure calx, you
mix with it an equal quantity of Quartz,
sand, or vitrificable flint reduced to pow-
der ; sprinkle this mixture with water ; it
hardens and takes the name of Zajfre.
Take some of this Zaffre, to which add
a little fixed Alkali ; put it in a crucible?
and let it sustain the heat of a reverberat-
ing fire, for about the space of nine hours ;
it becomes vitrified, and is then called
Smalt.
Pass the same substance through a
Mill, standing in a large tub of water;
then wash the powder and pass it through
a sieve. It is this powder that takes the
name of fine Azur, or Enamel Blue.
balt.
There are many different species of Co-
 ( 174 )
bait. That which in Spirits of Nitre gives
a red solution, is that from which the
finest Blue is extracted. In proportion as
the solution is of a finer Red, the Blue ex-
tracted will be more brilliant.

VIOLET BLUE.

This colour is composed of Tartar,

Flint, and the pure calx of Cobalt, pulve-
rised and melted together, and quenched
in water. It is afterwards melted again,
and the same operation repeated several
times. It would be well to calcine this
mixture, day and night for forty-eight
hours, in a glass-house furnace. By this
means, you will be assured of the beauty
of the colour.
Violet Blue may be imitated by mixing
Lake, Prussian Blue, and Carmine.

ENAMEL
 ( 175 )

ENAMEL BLUE.

This colour of the greatest use to Ena-

mellers, cannot be used with success ia
Miniature. It is composed of the Fritt, or
substance of which Enamel is made, and of
Zaffre reduced to powder, which is no-
thing more than the pure calx of Cobalt.
The whole must be properly mixed, melt-
ed several times, and poured each time in
clean water to purify it.

AZUR op COPPER, or MOUNTAIN

BLUE.

We have already said in the article

Ochre, that calx of Copper, whether Blue
or Green, in a state more or less pure, is
a natural production. When the Blue is
pure, it is found either in small crystals, or
irregular
 ( w$ )
irregular masses of various sizes, and theri
takes the name of Azur of Copper ; it takes
that of Azur or Mountain £/«£, when united
with earthy substances. In proportion as
the earthy substance predominates over
the calx of Copper, the Blue is lighter.
Sometimes the calx of Copper, is united
with Quartz ; it then constitutes that sub-
stance called ArmefiUs Lapis, as men-
tioned in the article Azur Green. This
substance is lighter, more tender, and brit-
tle than the Lapis Lazuli, and its colour
will not stand fire.
In order to use Mountain Blue, you
must grind and wash it, and separate the
little stones that are sometimes mixed
with it.

SANDERS BLUE.

This name is given to an Ore of Cop-

per, known by the name of Azur of Cop-

fer,
 ( 177 )
fet when pure, and Mountain Blue, when
mixed with an earthy substance. If you
wish to have this colour very fine, you
must grind it with water — it will be found
of great use in Water Colours. This
beautiful and vivid colour is most gene-
rally used for painting the decorations of
theatres. It cannot be used for Oil,
because it blackens.
If you wish to compose a Green, do not
mix Sanders Blue with Yellow Orpiment ;
these two colours blacken when mixed
together.
This colour will sometimes be found
nearly as beautiful as Ultramarine ; but by
mixing it with Oil, you easily discover
the difference.

ULTRAMARINE.

The basis of this colour is Lapis Lazuli.

This, added to the long and tedious ope-
n ration
 ( 178 )
ration of extracting the Blue,, makes this
colour very dear.
In order to prove the goodness of Lapis
Lazuli, make it red hot upon a plate of
iron; and then throw it immediately into
strong white Vinegar. If it loses its co-
lour, itis of an inferior quality. You may
likewise form a judgment by its weight,
the real Ultramarine being much heavier
than the false.
Lapis Lazuli is a species of rocky stone,
hard, heavy, and of a brilliant Blue, more
or less deep ; it is very expensive — chuse
that which is most free from white streaks,
and of a Blue fixt and brilliant.
It is very probable the colour extracted
from this substance, is owing to a modi-
fication ofIron, which is yet unknown to
us, and is different from that which pro-
duces Prussian Blue. At least the onlv
Analysis which has yet been made, we owe
Iron,
to Kiaprotte, who gives three- 1 OOth s of
 ( 179 )
Iron, and no other substance can be con«
sidered as producing the same colour.
This stone comes from Asia ; it is found
on the frontiers of Tartary, China, and
America, and is brought to us in pieces of
various forms and sizes.
The tomb of Constantine, which is still
to be seen at Rome, is surrounded with
pillars of Lapis Lazuli, of which the base
and capitals are Bronze. The Blue extract-
ed from this stone is called Ultramarine.
It is of the most beautiful colour, and does
not change either by fire or air. It is of
the greatest use in Painting, and unites
perfectly with all the other colours — in
Miniature Painting its use is as indispen-
sable as it is agreeable,

n a ANTWERP
 ( 180 )

ANTWERP BLUE.

This colour is made with Green Cop-

peras, or Vitriol of Copper, pulverized
Kali, and Sulphurous Acid.
Dissolve some Green Copperas in cold
water, and at the same time throw some
pulverized Kali in water — stir it a great
deal and leave it to settle ; then, by degrees
pour the Kali water into the dissolved
Copperas, until the mixture becomes a
little thick ; afterwards filter and wash
the Precipitate, whose surface, when ex-
posed to the air, exhibits various changes
that are very singular. Then pour upon
it, little at a time, Sulphuric Acid that
has been steeped in water — in an instant
the Precipitate, which was a mixture of
Grey, Green, and Rust Colour, dissolves
and changes to a fine Blue, which is pre-
•ipitated at the end of a few hours, and
2 beins:
 ( 181 )
being well washed forms a Blue of great
in tenseness.

PRUSSIAN BLUE.

The Prussian Blue is a particular modi-

fication ofIron, the nature of which Chy-
mists have not yet ascertained. It is
usually obtained by a precipitation of this
metal, through the medium of a lixivi-
um of blood.
To make this Blue, first prepare a lixi-
vium of blood, which is done by burning
in a Crucible one part of Tartar Alkali to
two of dried blood ; preserve this mixture
in a state of incandescence for a quarter of
an hour — afterwards throw it into distilled
water, and filter the solution. This lixi-
vium being prepared, is of a Yellowish
Green. If you wish to make Prussian
Blue, dissolve in clean water one part of
n 3 Martial
 ( 182 )
Martial Vitriol to three of Alum, and
pour it into the lixivium. This mixture
becomes of a reddish Brown, and exhales
a vapour of Liver of Sulphur ; when fil-
tered, itleaves a sediment whose surface is
Blue, and the centre of a yellowish Green ;
but as soon as the surface comes in contact
with the air, it becomes Green, and then
changes to a fine Blue.
Some Artists dissolve the Alum and
Martial Vitriol in boiling water, and add
Spirit of Salt to enliven the colour.
This colour is of great use in Oil Paint-
ing and difficult to use in Water Colours,
because in drying all the particles reunite,
even after having been well ground upon
Porphyry ; to remedy this inconvenience
always keep it liquid with distilled vinegar.
The Iron in this colour always tends to
regenerate and turn black ; for this reason,
to paint Water Colours, Indian Blue
should be preferred for the Sky, Waters,
and distances,

From
 ( 183 )
From the same cause, Greens composed
with this colour, blacken by time.
Those who paint upon silk and ribbons
use Prussian Blue dissolved in Spirit of
Salt.

INDIAN BLUE and INDIGO.

Indian Blue is made of the leaves of the

Anil or Indigo, a plant which grows in the
East and West Indies, and which under
the administration of Mr. Poivre greatly
enriched the Island of Bourbon.
You steep the leaves in water for two
days ; then separate the water, which is of
a faint greenish Blue : beat this water for
about two hours with a battledore, and
leave off as soon as it begins to froth.
Then sprinkle it with a little Olive Oil ;
you will perceive the colour separate from
the water by little clots or lumps ; the
n 4 water
 ( 184 )

water having stood for some time, will

become clear, and a species of lees will be
found at the bottom of the vessel; pour
off the water, and let the colour dry in
the Sun.
Indigo is made in the same manner as
the Indian Blue, except for the latter you
make choice of the youngest and finest
leaves, and for the Indigo you use the re-
mainder ofthe plant.
Indian Blue may be used for Oil Paint-
ing— when mixed with White it acquires
body, but in drying it grows faint and
loses great part of its force. This is the
reason why Painters, when they use it for
Draperies, are obliged to glaze it with
Ultramarine.
You distinguish the good Indigo from
the bad by mixing it with pounded slate, or
sand. In this state, if put upon a red hot
shovel, the good will entirely burn away.
It is light, and in water floats upon the
surface :
 ( 185 )
surface ; when broken in pieces, the water
will appear of a fine deep Blue, bordering
upon Violet.
That called Guatlmalo is greatly esteem-
ed, and also Serquisse Indigo. In Water
Colours, the Indian Blue produces a fine
effect, and is absolutely necessary for die
Sky, Water, and distant parts of the Pic-
ture.
In general it is advisable to use it in
preference to Prussian Blue — the reason
has been given in the last Article.
Most Greens ought to be composed of
Indigo and more or less of different Yel-
lows. These Greens will be less liable to
change than those made with Prussian
Blue.

SUN-
 ( 186 )

SUN-FLOWER BLUE.

Sun-flower Blue is a paste made with

the fruit of a plant called Heliotrophwi
Tricoccon, that grows in gardens in France,
This paste being steeped in water takes a
beautiful blue tint. It will sometimes
appear of a Red colour ; but by adding a
little Lime Water, it will return to its Blue
colour.
This Blue may be used in Water Co-
lours, but flies very soon, as do all colours
extracted from vegetable substances.

A FINE BLUE.

A fine Blue may be extracted from the

flowers of the Blue-Bottle, which are
found in abundance in most corn fields.
The
 ( 187 )
The exterior petals of this flower are of a
light Blue, the inside of the flower
dark ; you may make use of both ; but
the latter produces the finest colour.
They must be separated from the leaves
the same day they are gathered, or at least
very soon after. Having a sufficient
quantity, extract from them as much juice
as you can, and add to it a little Alum.
This process will furnish a transparent
Blue of a brilliant colour, and little infe-
rior to Ultramarine.

PURPLES.
 ( 188 )

PURPLES.

Purple.

IN most parts of Europe the different

shades of Purple are made with Cochineal
and Woad. This Purple is the least ex-
pensive and the most brilliant.
Purple is extracted from a species of
shell-fish found in different seas, but prin-
cipally on the coasts of France ; this co-
lour consists of a liquor contained in a
reservoir found on the neck of the fish.
With Prussian Blue and Lake you may
compose a Purple generally used in Paint-
ing-

PRECIPITATE OF GOLD,
Or, OF CASSIUS.

The Precipitate of Gold, discovered by

Cassius; whose name it bears,, is composedof
 ( 189 )
of a solution of Tin and a solution of
Gold of twenty four carats.
The solution of Gold is made in Aqua
Regis, composed of three parts Spirit
of Nitre and one of Spirit of Salt. The
solution may be accelerated by the heat of
a sand bath.

The solution of Tin is made with Aqua"

Regis, composed of two parts Spirit of
Nitre and one of Spirit of Salt, diluted
with an equal weight of distilled water —
dissolve small pieces of Tin of Melac,
the whole without the assistance of heat:
pour off the Aqua Regis, as soon as it
has acquired a colour sufficiently Yellow,
and when it has ceased to acl: upon the
Tin.
Pour the solution of Tin in a great
quantity of distilled water : take a little of
this, and add to it about half the quantity
of solution of Gold — stir the mixture well,
and in a short time will be produced a
Red
 ( 190 )
Red of the colour of Port Wirie. In the
course of a little time a sediment is formed
of the same colour, and the surface of the
liquor becomes lighter: when it is very
pale, pour it off gently, and in order to
wash it well, add to it several times distill-
ed water. The residue is the Precipitate
of Cassius.
This valuable preparation is very deli-
cate, and in some measure capricious, and
requires to be made with great precaution;
it would be well to make several trials of
the solutions.
As it is the Gold, and not the Tin, that
gives the Purple colour, a Precipitate con-
taining the most Gold will give the finest
Purple. To procure a fine colour, the
best way would be to mix a solution
of Gold with a small quantity of so-
lution 0i Tin, cadi containing an excess
of Acid, that they may not be mutually
precipitated. Afterwards precipitate it
3 with
 ( 101 )
with fixed Akali; wash the sediment and
calcine it under the mouffle of a coppel
furnace, with an heat not sufficient to
melt Gold.
This colour is solid, and very useful to
Enamel Painters.
With Burnt Carmine you may imitate
this colour.
A solution of Tin in Aqua Regis,
mixed with a tincture of Cochineal, Gum,
Lake, and other Red tinctures, increases
so much the beauty of the colour, that
the tints, naturally Crimson or Purple, be-
come a most brilliant and vivid Scarlet:
it is only of use for Woollen, or other
animal substances.
The Tin tends to develop the Purple,
in the solution of Gold made with Aqua
Regis for Enamel Painters.

REDS.
m

( W )

REDS.

Carmine.

CARMINE, a sediment of a brilliant

and vivid Red, bordering upon Crimson,
may be composed in the following man-
ner :
Take five drachms of Cochineal, half a
drachm of Grains de Chouan, eighteen
grains of Haw-rind, eighteen grains of
Alum, and five pounds of Rain Water ;
boil the water, and throw in the Grain of
Chouan — let it boil five or six times, and
filter it ; then put it again on the fire ;
when ithas boiled put in Cochineal. Hav-
ing boiled five or six times more, add the
Haw-rind and Alum, and filter the liquor;
in a short time the Carmine will be preci-
pitated; pour off the liquor and dry the
colour
 ( 103 )
Colour in the Sun. The articles above-
mentioned will give about two scruples.
It may be prepared in many different
ways, but the one we have mentioned will
be sufficient to give an idea of its comr
position.
It is very much used for Miniature
Painting. This delicate colour, so friend-
ly to the eye, so calculated to express the
faint and imperceptible colours of Carna-
tion, is at the toilet more particularly
admired.
Cochineal is a substance brought from
Mexico in small grains, convex and fluted
on one side, and concave on the other.
It is nothing more than an inse6t resem-
bling abug, that settles in the leaves of
the Raquette, and is gathered and dried by
the Indians.
These grains when dried may be pre-
served for a hundred years, without losing
their colouring property.
o Cochineal
 ( 104 )
Cochineal is likewise used in dying
Scarlet and Crimson.

LADIES ROUGE.

It is not to be expected that in this

Article will be given the complete History
of Paints and other Cosmetics, that have
been and still are used; it will be sufficient
to make some few remarks upon this
subject.
The idea men have formed of beauty
not being every where alike, in order to
produce the same effect, it was found ne-
cessary to make use of various methods ;
hence has arisen the varied and fantastick
manner in which savage Nations have been
accustomed to paint not only their faces,
but frequently different parts of the body,
according to their different ideas of beauty.
The works of the learned traveller
and English Chymist Shaw, those of Ga-
briel
 ( JQ5 )
briel Sionita, and Mr. Marvieux, arc
filled with curious remarks upon the cus-
tom of Painting, that so universally pre-
vails in different nations.
The love of beauty has devised, from
time immemorial, all the different methods
most calculated to perpetuate its continu-
ance, to heighten its brilliancy, or to
repair the outrages of time. Cleopatra,
the famous Queen of Egypt, who capti-
vated by her beauty Pompey, Caesar, and
Antonine, in addition to her natural
charms, made use of all the assistance of
art to augment them. It will be unne-
cessary to mention the number of cele-
brated women whose charms have been
preserved by the use of Cosmetics; it will
be sufficient to remark that the Greek
and Roman Ladies derived the custom of
Painting from the Asiatics — that they
made considerable progress in this Art and
invented two Paints which have passed
o 2 down
 ( 196 )
down to us, namely the White and Red.
From thence the Poets have attributed the
whiteness of the European to some Paint
stolen from Juno by one of the daughters
of that Goddess, and presented to the
daughter of Agenor. In proportion to
the wealth, the luxury of Rome increased
by degrees — gallantry introduced the most
refined researches, and as this Art became
more general, it acquired greater per-
fection.
The Greek and Roman Ladies made use
of a White metallic preparation, which
was nothing more than Curuse, or White
Lead, still used for the toilet. This pre-
paration isas pernicious to the health, as
contrary to the end for which used. —
Their Red was a vegetable extracted from
a root called Rizion. Afterwards for their
White, they used a species of Argentine
Talc, and for their Red a species of Ver-
milion prepared and called Purpurissus, a
beautiful
 ( 197 )
beautiful colour of a Red Purple cast,
whose composition and appearance resem-
bled Carnation Red, or Rose Pink. It
was made with the finest species of White
Talc, pulverized and coloured with a strong
Purple Tincture, taken, when hot, from
the scum of a fish called Purpura or
Murex, a species of shell-fish caught in
the Mediterranean Sea on the French
coast. The liquor was the same as used by
the Ancients for dying their celebrated Pur-
ples, particularly those of Tyr and Sidon.
We will not take upon ourselves to
decide, whether the Paints made use of
at present, are more or less inconvenient
than those used by the Ancients ; we will
only observe, the Art consists in using
them with moderation.
Some Paints are dangerous, and far
from preserving beauty, spoil and wrin-
kle the skin, and destroy the natural
colour. Those Ladies, for example, who
o 3 make
 ( iQS )
make use of White Lead, or Oil of Talc,
supposing them innocent, are greatly mis-
taken— those who use sublimated prepara-
tions, do a still greater injury to their
health. Likewise the continual and exag-
gerated application of Vermilion, bought
and used without being examined, and
which turns every thing Yellow, must be
prejudicial. In short, Ladies cannot be
too careful to avoid all Paints extracted
from mineral, and particularly metallic
substances.
A fine Red is commonly made by cal-
cining a species of Talc, known by the
name of Chalk of Brianfon. When reduced
to an impalpable powder mix with it Car-
mine, in proportion to the tone of colour
you wish. But we cannot recommend
this Paint, Talc or anv mineral or metallic
substances, being, as we before mentioned,
always dangerous.
Fine Carmine, pulverized and prepared for
 ( 199 )
for this purpose, is without doubt the best
of all Paints, and which the Ladies ought
to adopt. In order to use it in an agree-
able and frugal manner, procure some
fine pomatum, without scent, made with
the fat of pork and white wax; take about
the bigness of a pea of this pomatum, and
lay it upon a piece of white paper ; then
with the end of a tooth-pick add to it about
the bigness of a pin's head of Carmine —
mix it gently with your finger, and when
you have produced the tone you wish,
rub in it a little compressed cotton, and
pass it on the face, till the Paint is quite
spread and it no longer feels greasy.
Ladies have nothing to fear from this
osconomical Rouge — it neither injures the
health or skin, and imitates perfectly the
natural colour.

04 CROCUS
 ( 200 )

CROCUS MARTIS.

This colour is obtained in different

ways, but always with a dissolution of
Iron that is afterwards precipitated.
This colour may be made by calcining
Mars Yellow, in the same manner as
burnt Terra de Sienna is obtained from the
Raw Sienna. It then becomes dearer than
that usually sold at the shops, but it is
lighter, more transparent, and more plea-
sant to use. This colour is easy to work
with, and unites perfectly with all others.
You may obtain from all Martial
Ochres, a Red more or less deep, by expos-
ing them to the fire ; but the quality is,
greatly inferior to that obtained from
Martial Vitriol.

MINIUM.
 ( 201 )

MINIUM.

MINIUM is a calx of Lead, of a very

brilliant Red, always bordering upon Yel-
low. It is likewise called Vermilion, and
is a colour very useful in Painting.
To make Minium, take Ceruse ; put it
in a reverberating furnace, and place it in
such a direction, that the name may just
touch it. The heat, at first, must be
moderate, and then be suddenly augment-
ed. When changed to a Grey Powder,
then let the degree of heat be sufficient
almost to melt it. When of a fine Red,
take it out.
As the calx of Lead is very fusible,
great care must be taken that the heat is
not too violent; it will otherwise vitrify
ting
and become Litharge. This operation
may be done with more certainty by let-
 ( 202 )

ting the degree of heat be regular, not

much exceeding 120 degrees of Reaumur's
Thermometer, and 270 of Farenheit's.
You must also take care that during the
time of calcination, it does not] come in
contact with the air; the Minium could
not then be formed. It suffices in this
case to put the Potsherd to calcine at the
bottom of the mouffle. In the same in-
stant the Massicott changes to Minium,
in the same manner as Minium returns
to the state of Massicott, if the Pots-
herd is taken out at the entrance of the
mouffle.
Minium may likewise be made by melt-
ing Lead into a calx, or Grey Powder,
which is perpetually forming on the sur-
face. When the Lead is entirely reduced
to a calx, grind it into a very fine powder
and put it into a reverberating furnace for
two or three days; stir it continually with
an iron rod, until it has acquired the pro-

per
 ( 203 )

per colour, and be very careful that the

heat is not too violent.

CINNABAR, or VERMILION.

Natural Cinnabar is a common Ore of

Mercury combined with Sulphur. It is
found in Hungary, Bohemia, and in great
abundance in Corinthia, and in the prin-
cipality ofDeux-Ponts. Cinnabar is com-
pact:, and generally of a brick-dust colour,
seldom very vivid. If reduced to powder,
it loses its brilliancy and appears like
Carmine ; it then takesi. the name of Ver-
milion.
You may prove whether the Cinnabar
is good, by observing the colour of its
flame ; when put upon red hot ashes, if
the colour is Blue, bordering upon Violet
and without smell, it is of a good quality.
By artificial Cinnabar is understood a
mixture of Mercury and Sulphur, subli-
mated
 ( 204 )

mated by fire. This substance ought to

be of a fine deep Red, disposed in long
shining strias. The factitious Cinnabar is
more pure and to be preferred, to that
which is natural. When reduced to pow-
der, it is of great use in Painting, and
known by the name of Vermilion.
Vermilion is therefore nothing more
than Cinnabar ground with water, on
Porphyry. By this means, it loses its
intensity of colour ; and, owing to the
extreme separation of its particles, becomes
a very brilliant Red. When thus ground,
dilute it in a great quantity of water, and
after letting the powder settle an instant,
pour off the water, while it is yet troubled.
By this means the fine Cinnabar is sepa-
rated from the coarser particles that may
have escaped the muller ; let the water
If
settle, pour it off and then dry the powder,
which is called Vermilion. The coarse
powder is afterwards ground, and the same
operation repeated.
 ( 205 )

If you wish to purify Cinnabar, grind

powdered Vermilion upon Porphyry with
child's Urine or Brandy, and let it dry
in the shade. To give it a lighter tone,
infuse in the mixture a little Saffron.
Vermilion may likewise be made by
mixing powdered Cochineal with Burnt
Alum ; then quench them in Plantain or
Rose Water. This is one of the finest
Vermilions that can be made.
Chinese Vermilion is superior to all
ether; but yet it is apt to blacken.

SATURNINE RED.

This colour is prepared nearly in the

same manner as Minium, but it requires
to be afterwards washed in large vessels
of distilled water. This water must be
changed every forty-four hours, till theter,
surface is quite free from extraneous mat-
 ( 206 )
ter, and the colour ceases to blacken at
the edge of the vessel. This operation is
tedious and expensive, owing to the great
quantity of distilled water.
When Saturnine Red is perfectly well
prepared and purified with Spirits of
Wine, it may be used for every manner
of Painting.

LAKE.

Lake, of which the true origin was

for a long time unknown, is certainly a
species of Wax, either found in its natu-
ral state upon flowers or trees, Or wrought
by a sort of Flying Ant, common in many
provinces of the East Indies, as Pegu,
Siam, Bengal, and Malabar. The cells
of this Wax contain small bodies, more
or less swelled, which in all probability,
are the eggs of these Ants — they are of a
fine
 ( 2@7 )

fine Red, more or less deep. When

bruised, they are reduced to a powder as
beautiful as Cochineal. By putting these
small bodies in water, they will swell in
the same manner as Cochineal, will tint
it of a colour equally beautiful, and in ap-
pearance will be almost the same. These
small bodies are the colouring part of
Lake; for, if entirely divested, or in a
small proportion, the colour would be ex»
tremely faint.
The Lake is separated from the wax or
sticks by melting. Afterwards, it is washed
and then spread upon a marble, where it
will grow cold in drops. It then takes the
name oijlat Lake.
The Lake in grains is the remains, or
coarser parts, which are left, after having
drawn off the tincture. This Lake is used
for certain varnishes, and also for Sealing
Wax.
The name of Lake is likewise given to

Alum-
 ( 208 )

Alum-Earth, impregnated with a colouring

principle extracted from different plants*
or Lees of plants.
The general way of making it, is to bake
coloured vegetable substances with Alum,
and to precipitate the tincture with fixed
Alkali, or to colour Alum-Earth, newly
precipitated.
To produce the finest Lake, precipitate
the tincture by means of a solution of tin.
Florentine, or Chinese, and all Red Lakes
of a solid colour are extracted from Co-
chineal, Kermes, or Madder. For arti-
ficial Lakes they use Brazil and Fcrnam-
bouc Wood.
The Lake the least liable to change, is
that extracted from Madder.
To make this Lake take Roman Alum ;
when it boils, add some Madder coarsely
pulverized — then boil it several times, and
when cold, filter it through a cloth ; after-
wards heat it sufficiently to take off the
3 chill,
 ( 209 )

chill, and precipitate it with a solution of

vegetable fixed Alkali, after which it is
washed and dried.
To make Lake with Cochineal, take
five ounces of Alum, half an ounce of
Cochineal, and boil it with a sufficient
quantity of water ; filter the liquor, and
pour into it some drops of solution of
tin ; then mix with it fixed liquid Alkali ;
the Alkali discomposes the Alum and
precipitates the Earth — this Earth in pre-
cipitating, collects and unites with the
Red colour ; filter the liquor. When the
precipitate is formed, throw away the
Jiquor, and in order to extract the salt,
wash the precipitate, and then let it dry.
You may in like manner prepare all the
different species of Lake, and, if thought
necessary, omit the solution of Tin.

DRAGON'S
 ( 1\0 )

DRAGON'S BLOOD.

This colour is a dry, resinous, and in-

flammable substance ; it melts in fire, and
is of a deep Red — the colour of Blood.
Dragon's Blood is a juice that flows from
a tree that grows in the Canaries, Java,
and Batavia ; it is brought to us in Red
drops, enveloped in leaves, resembling
rush and palm leaves. There is also some
in masses, but this sort is not so pure,
being mixed with extraneous substances.
Dragon's Blood, like all other Rosins,
will not dissolve in water, and oily sub-
stances. Itis a necessary ingredient in
Red Varnish.
This colour is useful for all manner of
Painting. It is less subject than others to
be injured by the air of sulphurous va-
pours,
INDIAN
 ( 211 )

INDIAN RED.

The true Indian Red, which is also

called Persian Earth, is a species of Red
Martial Ochre, brought from the Isle of
Ormus, in the Gulph of Persia. It is
friable and of a high colour. When this
Ochre is well prepared, it makes a fine
Red, much used in Painting.
To prove whether Indian Red is pure,
heat it by the fire; if factitious, jt will
immediately change its colour.
Common Indian Red may be made
with the Caput Mortuum, or Ochre, found
in iron pots after the distillation of Nitre
and Vitriol, in the manufacture of Ni-
trous Acid, and with the Caput Mortuum,
or Colcothar, which remains in the Retort,
after the distillation of Martial Vitriol, in
p 2 the
 ( 212 )
the manufacture of Oil of Vitriol. Break
these pieces, and infuse them in a large
quantity of water ; leave it two days, and
shake it frequently; afterwards pour off
the water and add more — repeat the same
operation, until the salt is extracted, and
the water appears clear : wash, filter, and
dry the powder.
If you wish to use common Indian Red
in delicate Painting, you must wash it
thoroughly in distilled water.

BLACKS.
 ( 213 )

BLACKS.

Ivory Black.

This colour is made with pieces of Ivo-

ry put in a crucible, or pot, well luted
with potter's clay, and put in their oven
while they bake their ware. For the
Ivory to be perfectly Black, it must re-
main in the oven as long as the earthen
vessels. Take particular care that the
vessel is hermetically closed ; otherwise
the Ivory instead of blackening, will con-
sume and whiten.
This Black mixed with White, makes
a beautiful Grey, much used in Paint-
ing.

v 3 LAMP
 ( 214 )

LAMP BLACK

This name is given to a fine Black sub-

stance, produced by the smoke of burnt
rosins.
All resinous substances, such as Rosin
of Pines, Firs, Pitch, Bitumen, and Tur-
pentine, being burnt, are reduced to a
loose Carbonic substance, called Lamp
Black.
In Germany, where the forests of pine
and fir trees are very extensive, they make
this Black in large quantities. The smoke
attaches itself to cloths spread for this pur-
pose ;from thence it is shook off, and put
into barrels for sale.
This Black is useful in Oil Painting, as
it incorporates perfectly well with the oil.
In Water Colours it cannot be used, be-
cause itwill not unite with water.
BONE
 ( 315 )

BONE BLACK.

This is made with Mutton Bones, burnt

in the same manner as the Ivory, before
mentioned. It makes a Reddish Blacky
much used for Painting. It is a long
time drying, and when you grind it with
oil; it is necessary to use more force than
with any other colour, in order to put,
with more facility, the necessary quantity
of fat or drying oil.
It is seldom used in Water Colours.

BLUE BLACK.

Blue Black is very proper for Minia-

ture, or small Landscapes. It is particu-
larly used for Linen.
To make Blue Black, take the young
branches and shoots of vines, or any other
p 4 wood
 ( 216 )
wood of an acid taste and close texture ;
put it in a vessel that can bear fire, and
cover it with a mixture of fat earth and
sand, which you dry and make use of to
stop all the crevices. Then place it in a
potter's furnace, and let it remain there
till calcined ; after which, reduce it to an
impalpable powder^ and wash it several
times.

PEACH BLACK.

Peach Black is made with Peach

stones, burnt in the same manner as Ivory
Black, and ground upon Porphyry. It
is much used for Portraits, and, when
mixed with White, is of a blue cast. It
may likewise be used for Water Colours.

STAG-
 ( 217 )

STAG-HORN BLACK.

Stag-horn Black is what remains in

the Retort after having extracted from
Stag-horn Spirits, Sal Volatile and Oil.
The residue, ground with water, is almost
equal to Ivory Black, and may be used
for Painting.

CHARCOAL BLACK.

This Colour is made with small pieces

of Charcoal, well burnt, and pounded in
a mortar ; afterwards ground sufficiently
fine upon Porphyry, and then dried in
small pieces upon glossy paper.
This is a very good Black for Portraits,
in oil. and equally so for Water Colours.
INDIAN
 ( 218 )

INDIAN INK,

Indian Ink is commonly formed irt

small square sticks or cakes, upon which
are engraven Chinese characters. It is an
excellent Black for Water Colours. If
you dip the end of one of these cakes in
water and rub it against the bottom of a
Vessel, the water will dissolve part of the
substance, and render it fit to colour the
paper, either Brown, Grey, or of a deep
Black.
Although the composition of Indian
Ink has not been generally known, yet
from the many experiments which have
been made, it appears certain that it is
composed of Lamp Black, and of a glu-
tinous vegetable substance.
The good or bad quality of Indian Ink
is owing to the quality of the Black;
Lamp
 ( 2ig )
Black ; the best is that which the Chinese
extract from the Oil burnt in lamps for
that purpose.
The scent of Indian Ink is owing to a
little Musk that the Chinese add to the
Gum Water, and which does noteffecl:
the Colour.

RO-
 ( 220 )

ROSINS.

Copal.

THERE are two substances called

Copal, distinguished by the name of East
and West India Copal ; the last is impro-
perly called Gum Copal. It is brought
from New Spain and the Antille Islands.
It is a transparent and hard Rosin, which
flows naturally, or is procured by incision,
from a species of Sumack. It dissolves
but imperfectly in Spirits of Wine, but
will dissolve quickly by exposing it to a
gentle heat in Native Turpentine.
Copal is shining, not very heavy, though
heavier than water, commonly of a citron
or gold colour, sometimes White or Brown,
insipid, and without smell, except when
heated.
Copal is much used for Varnish.
SANDARACK.
 ( 221 )

SANDARACK.

Sandarack is a dry Rosin, of a pene-

trating and sweet smell. It flows from
the Juniper tree, and is brought from
the coast of Africa. Sandarack is used in
the composition of some Varnishes. It
gives consistency to paper, and prevents
it from imbibing, when the surface has
been erased or scraped.

GUMS.
 ( 111 )

G U M S.

Gum Arabick.

Gum Arabick comes from Egypt,

Arabia, and the coast of Africa. It is a
gummy juice which flows from the Acacia
Tree. The best is White, or of a Pale
Yellow, transparent, brilliant, and dry.
It has neither smell nor taste ; it will dis-
solve in water, but not in spirits of wine,
or oil : If put in the fire it will not flame.
It is this Gum which most Painters use
to unite their colours, when not suffici-
ently prepared. When used to excess, it
destroys their brilliancy, and is apt to peal
off. Nevertheless it is better than any
other for this purpose.

GUM
 ( 223 )

GUM SENEGAL.

Gum Senegal resembles Gum Ara-

bick ; it is brought from the province of
Negroeland, situated on the banks of the
River Senegal. It is not known from
what tree it flows, unless from a species of
the Acacia. It possesses the same proper-
ties as Gum Arabick, and though not so
White, is equally good for many colours.

GUM TRAGACANTH

Is a gummy juice, which flows from a

tree called Tragacantlia, that grows in the
island of Crete, in Asia, and in Greece.
It is sometimes found in long cylindric
threads, resembling worms ; sometimes in,
little White transparent lumps, of a Yel-
low or Black cast, dry and a little glutin-ous ;
 ( 224 )

ous ; the good one is in small threads,

like Isinglass, and without dirt.
When analysed, its composition is found
to be almost the same as Gum Arabick.
It contains a little more acid-salt, less oil,
and more earth. It neither dissolves in
oil nor in spirits of wine. It is used to
give body to powdry substances.
Miniature Painters make Vellum as
smooth as Ivory, by varnishing it with
this Gum. For this purpose, they put a
a mucilage of this Gum in a linen rag, tie
it up, and rub it upon the Vellum.
Gum Tragacanth is less supple than
Gum Arabick, and of course not so pro-
per to compose colours. It makes then*
more liable to peel, hardens, and renders
them more apt to change.

CUTTLE-FISH
^rvT

( 225 )

CUTTLE-FISH BONE

Is nothing more than a bone found upon

the back of a fish bearing this name.
It is used for the same purpose as Pu-
mice Stone, to polish and extract the
grease from Ivory.

SPIRITS
 ( 226 )

SPIRITS OF WINE.
Spirits of Wine is a fluid, extreme-
ly light, volatile, penetrating, perfectly
White, and limpid.
Spirits of Wine is free from carbonic,
as well as from saline and earthy sub-
stances. Itremains the same after being
very often distilled, and does not appear
sensibly to act either upon earths or me-
tallic substances. It dulcorates and unites
with all Acids, and is commonly looked
upon as a dissolvent of oils, and oily sub-
stances; but, strictly speaking, it dissolves
only balsams and rosins. Chymists do
not agree upon the nature of Spirits of
Wine; but whatever it may be, it is used
with the greatest success for the purpose
of purifying and preserving colours. It
attracts and attaches to itself all substances
extraneous to the colour, and preserves
them, in their purity.
DISTILLED
 ( 227 )

DISTILLED WATER.

To distill Water, you put it in a Cop-

per Still, perfectly well tinned, very clean,
and which is kept only for this purpose.
It is best to throw away the first portions
of water, and to cease the distillation as
soon as two-thirds of the water have pass-
ed. By this means, it will be free from
all extraneous matter. Distilled Water
ought to be put in bottles perfectly clean,
well rinsed with the same water, and cork-
ed with glass stoppers.
Distilled Water is found to possess the
necessary degree of purity for colours, as
much as it causes no change on Violets, and
preserves its fluidity, even though some
drops of Solution of Silver and Nitrous
Acid be thrown into it.
It is absolutely necessary to prepare all
q 2 colours
 ( '228 )
colours with Distilled Water ; common
water, however pure, is always more or
less impregnated with saline or earthy
particles, which must be injurious to
colours, whose brilliancy cannot exist
without the greatest purity, nor continues
but as long as the air and all extraneous
substances cease to act upon them.

THE
 ( 229 )

THE details here offered, will certainly

appear too short to those who might wish
to devote their time to the chymical ope-
rations necessary in the preparation of
Colours ; we, however, trust they will be
found sufficient to answer the end propos-
ed, that of giving to Students and Ama-
teurs an idea of their Nature, Qualities
and Composition — of the necessary prepa-
ration they require — the manner of using
them in the various Modes of Painting — >
and, finally, to give the necessary indica-
tions to enable them to Paint well, and to
reason upon their Works. We shall
esteem ourselves happy, should this little
Treatise be in the least useful to the Arts,
and to those who from taste alone cultivate
them — our wishes will be fulfilled, and
we shall have received the most flattering
recompence.
Knowing, from principle and experi-
ence, the many inconveniences arising
q 3 from
 ( 230 )
from the neglected or mistaken preparation
of Colours, in the manufacture of which
Private Interest has been more frequently
consulted than that of the Art, we have
endeavoured in our Manufactory to render
them as pure, as unchangeable, and as
solid as possible. Neither care nor ex-
pence has been spared to attain this end,
so necessary and desirable. We have
more particularly avoided using those pre-
parations foreign to their nature, which,
though they may require less care to use,
will, in the end, destroy the brilliancy of
their tints and cause them to crack and
blacken, by which means the talents of
the Painter are rendered fruitless. We
flatter ourselves that experience will prove
the truth of what we have advanced.

A LIST
 ( 231 )

L I
OF THE

PRINCIPAL COLOURS
Sold at the Manufa&ory of Messrs. MASSOUL
and Co. No. 136, New Bond-street.

Antwerp Blue Carmined Lake

Azur Blue Calcined Vitriol
Azur Green Carnation Red
Bister Carbonic Black
Blue Black Chinese Vermilion
Blue Verditer Cologn Earth
Bone Black Crocus Martis
Brown Lake
Dragon's Blood
Brown Ochre Dutch Pink
Brown Pink Enamel Blue
Brown Red French .Green
Burnt Carmint Gall Stone
Burnt Sienna Gamboge
Burnt Umber Gum Arabick
Carmine Green Verditer
a 4 Green
 ^. .

232 )
(
Green Lake Sanders Blue
Green Earth Sanders Green
Indigo
Sap Green
Indian Ink Saturnine Red
Indian Red Sienna
Iris Green Smalt
Ivory Black Stag-horn Black
Lake Sun-flower Blue
Lamp Black Vandyke Brown
Light Lake Ver-de-Grease
Light White Vermilion
Mars Yellow Violet Blue
Massicott Ultramarine (deep)
Mummy
Ultramarine (light)
Mineral Green Varnish, for Glasses
Olive Green to paint upon
Patent Yellow Water Green
Peach Black White Lead

Precipitate of Gold White of Egg Shells-

Prussian Blue White of Pearls
Prussian Green White of Silver
Purple White of Talc
Bed Ochre White of Zinc
Realgar, or Yellow Ochre
Red Orpiment Yellow Lake
Rose Pink Yellow Orpiment.

In
 ( 233 )

In this Manufactory all compounded

Colours are prepared.
Colours require to be preserved with the
greatest care, and to be sheltered from
sulphurous and phlogistic vapours, by
whose influence they are always liable to
be injured, however pure and well prepar-
ed ;this has induced us to enclose them in
glass bottles.
The Colours for Oil Painting are in
Powders, and prepared in such a manner
as to be preserved for any length of time.
When you wish to use them, put a little of
the Powder on your Pallet with an Ivory-
knife ; add a drop of the Oil with which
you mean to Paint — mix them with the
knife, and in the course of two seconds
your Colours will be properly prepared.
The Colours for Miniature are sold in
Powders and little Pastills ; put a little on
the Pallet, and with a drop of Limpid
Water, mix it in the before mentioned
manner.
Fot
 ( 234 )

For Gouache, and other modes of Paint*

ing in Water Colours, the same Colours
are used, with this difference, that Gum-
water is used instead of Oil.
For Miniature you may also use the
same Colours with Gum-water.
The glass bottles are enclosed in maho-
gany boxes, perfectly well made with
lock and key.
These boxes are sold from 11. Is. to
I2l. 12s. according to the number of
Colours, the beauty of the boxes and bot-
tles, and various other articles they may
contain.
Bottles of Colours are also sold sepa-
rately.
Orders are executed upon the most mo-
derate terms, either in town, country, or
foreign parts. The most scrupulous atten-
tion is paid to send none but the most
perfect articles, and well packed.
Besides the Colours that have been men-
3 tioneda
 ( 235 )

tioned, we have collected in our Manu-

factory every article relative to Painting
and Drawing : viz. Drawing Paper, Ivory
Sheets for Miniature, Hair Pencils, Brushes,
Chalks and Crayons of every kind, Indian
Ink of the first quality, Mouth Glue,
&c. &c.
In our Gallery may be seen a Collection
of Paintings of great Masters, valuable
Engravings, both Ancient and Modern,
and principally of English Masters,

WATER
 ( 236 )

WATER

TO PRESERVE AND WHITEN THE SKIN,

THIS Water having no relation to Co-

lours, we did not think proper to speak
of it in the course of our Work. Long
experience has proved its efficacy — it
repairs the injuries occasioned by the
air, the fire, and the sun ; it nourishes,
whitens, and preserves the Skin from
chapping, and in some measure renews
the natural colour, that is frequently des-
troyed inthe prime of youth by the vari-
ous Cosmeticks too often made use of by
the Ladies.
Nothing prejudicial is mixed with this
soft and unctuous Water ; its effe&s are
quick, and it is not expensive.
I Those
 ( 237 )
Those Ladies who make use of White
and Red must be particularly careful to
wash their faces with this Water, every
night after taking off the artificial
colour, and every morning before they
apply any.
This Water whitens and softens the
skin. Ladies may be supplied with it
from our Manufaclory, and also with di-
rections how to use it.

AN
 ( 238 )

A N

ALPHABETICAL INDEX.
Page

A Fine Blue . 186

A List of the Principal Colours, &c.
A Method for fixing Crayons, &c, .• *3X
116
Antwerp Blue . 180
A View of the different Colours, classed,
&c. . . . ♦ . 165
126
Azur Green 2I5
• 175
Azur of Copper, or, Mountain Blue .. 158
21 3
Bister ....
Blacks .... 172
Blues ....
1 5?
Blue Black .
ibid.
Bone Black . . .
Browns . . . •
Brown Pink . J5*
Brown Red . 158
160
Calcined Vitriol
irmine
C;
 *57
( 239 )
Page217
203
*5T
Carmine and Cochineal
192
Cassel Earth
Charcoal Black
Cinnabar <
Cologn Earth 120225
Colours
227
220
Copal
200
Crocus Martk
Cuttle- fish Bene
144
Distilled Water
Distilled Ver-de-Greaee 1 61 *7S
210

Dragon's Blood
Dutch Pink
Eludoric Painting
Enamel Blue 34 163
142
Gallstone
146
Gamboge 162
Greens 223
Green Verdker
222
Gums
Gum Arabick ibid. 183

Gum Senegal
Gum Tragacanth ibid.
Introduction • 1
Indian Blue and Indigo
Indian
 169
( 240 ) Page
218
Indian Ink . . .
Indian Red . . « 21 1
Iris Green , . . ,. 21321
194 4
Ivory Black
Ladies Rouge
Lake .... . 206
Lamp Black . . J43
Landscapes in Oil 26
Lime White 132
162 17
5
Malachite .
Mars Yellow H7
137
Massicott • 149
Minium . 201 J39
Mountain Blue
l62
Mountain Gtcen
Naples Yellow 85
Ochres . . 64
Orpiment and Realgar
Painting 7
106
Painting in Aquarel, or, Water Colours
Painting in Enamel
Painting in Fresco
Painting in Gouache, or, Body Colours
Painting in Miniature
74
Painting in Mosaic
Painting

42
 if

P*Z*

( 241 )

Painting in Oil 1 08
Painting in Pastels, or, Crayons . 164
Peach Black . 216
188
Precipitate of Gold, or, ofCassius
Prussian Blue . . 181
Prussian Green
188
Purples .
192
Reds ....
220
Rosins
Sandarack . 221
205
Sanders Blue , 176
l62
Sanders Green . . 170
Sap Green , . .
Saturnine Red .
Smalt and Cobalt I72
Spanish White
Spirits of Wine .■ JSi7
21
226

Stag- horn Black

Sun-flower Blue . 186
. 148
Terra de Sienna • 177
Ultramarine
• 155
Umber ,
• 157
Vandyke Brown .
.. 20
1663
Ver-de-grease . . •
Vermilion . . •
Violet
K
 *u

( 042 ) Page
*
J33
Violet Blue *
, 236
Water to preserve the Skin *
Whites . • 134i35
• 131
White Lead .
White of Egg Shells V

White of Pearl . 136

White of Silver .
. Ibid.
W'hiteofZinc
Yellows . m

FINIS
?</

frri w
 I

* ->

\
T1