A Treatise On Portrait Painting From Life

PRICE
ONE SHILLING.
A TREATISE ON
PORTRAIT PAINTING
FROM
LIFE.
ALSO, INSTRUCTIONS FOR
PAINTING UPON PHOTOGRAPHS

AND
PAINTING FROM PHOTOGRAPHS.
By
F.
HAVNES.
SUPPLEMENTED WITH A DISCOURSE ON ART

BY THE SAME.
SECOND EDITION.
GEORGE.ROWNEY
&
CO.,
MANUFACTURING ARTISTS' COLOURMEN,

64,
OXFORD STREET, AND PRINCES HALL, PICCADILLY,

LONDON.
/sold by\
/dimmock\
I
London
St.
j
V NORWICH/
Digitized by the Internet Archive

in
Research
2010 with funding from
Library,
The Getty Research
Institute
http://www.archive.org/details/treatiseonportraOOhayn
A TKEATISE ON
PORTRAIT PAINTING
FROM
LIFE.
ALSO, INSTRUCTIONS FOR
PHOTOGRAPHS
PAINTING UPON
AND
PAINTING
FROM PHOTOGRAPHS.
BY
HAYNES.
F.
SUPPLEMENTED WITH A DISCOURSE ON ART

BY THE SAME.
SECOND
EDITION.
GEORGE ROWNEY
MANUFACTURING
64,
OXFORD
ST.,
ARTISTS'
&
CO.,
COLOUEMEX,
and PRINCES HALL, PICCADILLY, LONDON.
MDCCCLXXXVH.
LONDON
HENDERSON, RAIT, AND SPALDING, GENERAL PRINTERS,

3
&
5,
MARYLEBONE LANE, W,
CONTENTS.
PAGE
5
Introduction
Materials
Posing and Lighting
Suitability
of
Coloui'
Accessories
...
in
Draperies,
...
...
Painting the Portrait from Life:

First Stage, or in
Backgrounds,
Second Stage, or First Colouring
...
...
...
...
...
...
16
...
...
...
...
IS
...
23
13
Third Stage, or the Second Colouring of the Head

of the
Head
2b'
Finish
27
Handling
29
Seeing Tints in Flesh

Complexions
11
...
Monochrome
Fourth Stage, or Re-touching
and
...
...
...
...
...
29
30
...
...
...
...
...
...
Temperaments
Dress of Hair, &c.
32
Characteristics
32
First Colouring of Draperies, Backgrounds, and Accessories
33
Relief
35
Draperies and Backgrounds further considered

Force and Point
36
Texture and Loading with Colour
...
...
40
...
...
Perspective
Luminous Colour and Glazing

Painting Photographs in Oil
Painting from Photographs in Oil
Defects in Photographs, and How to Correct in Painting
Painting in Water Colour from a Photograph
Painting on Photographs in Water Colour
Discourse on Art
41
42
43
44
46
48
49
56
60
INTBODUCTION.
Th e writer hereof claims that all is free from plagiarism

and
is
from
his
Technical
own
difficulties
and processes often obstruct the
advancement of persons of talent

carefully made, to
treat
practice of over 30 years.
an endeavour
is
here
render the required assistance, to
the subject in a philosophical manner, and to
show a reason for what is said.

Although it is the proper province
from Nature
and
that
siderable time before
of
Art
must be practised
to paint
for a con-
any one can become conversant
with colour and expression
nevertheless, since
now-a-
days advanced Photography has become an Art
and moreover,
as the necessity of earning a
also,
competency
has directed many to the pursuit of painting photographs,
and painting from photographs, together with the

fact that
rate kind
much of the portrait

is now done with its
in the infallibility of such
numbers of
who
copies required
are gone
it
painting even of a
aid
first-
and many believe
added
to
which there are
from photographs of those
would seem'
like only
performing half
the work to omit some instructions upon this department

of the subject, so a brief addition will be
found of the
application of the practice of general portrait painting
to
" painting
photographs."
photographs,"
and
" painting
from
INTRODUCTION.
VI
The work
is
supplemented with a discourse upon Art
which the Author hopes

Artists,
may
be interesting not only to
Art students, and patrons of Art, but
also to
the general reader.
The
high
position of fine Portraiture in Art should rank
the most celebrated painters have
practised
it,
but the individuality and precision, which in the best

are
its characteristics
possibility of there
and
being
The contemplation
requisites,
many
have precluded the
very successful.
of great Characters of History in
their " Counterfeit Presentment," as of those of families
whose images are endeared to the

this
Art an
essential in the
Such books
World's
as the writer has
social circle,
make
interest.
met with, have appeared
either too desultory, too vague, or rudimentar}r
some
modern handbooks being almost mere confused

so that a fair practical work on
of materials, &c.
of the
lists
Portraiture, the result of
thinking and working, ap-
peared to be a desirable addition to
an Art student.
the
library of
TREATISE ON PORTRAIT PAINTING BY AN
OLD HAND.
MATEEIALS.
OILS.
Paint as much
first
stages,
when "pale drying
and no more
make
as possible with the solid paint
of that
than
is
Hog
best to use, almost throughout.

in
early
The
stages.
especially
should be used
absolutely necessary to
the colours work freely.
Medium
oil,"
hair brushes are
Never use Megilp or

picture would crack
with such hard materials for foundations.
Use
named
above.
simply thinned a
In the
little
with the
and
finish of flesh
all
oil
paint,
light draperies, bleached
poppy o//must be used, with Megilp added
linseed or
Pale drying
glazing.
therefore,
would
oil will
the
spoil
for
turn yellowish, and,
colouring of any fair or
delicate complexion.
M C GILP.
This, as just stated,
delicate
objects;
bleached linseed
is
suitable for glazing
being made from

oil, it is
not afterwards discolour.
pure and,
gum
it is
on light
mastic and
expected, will
A TREATISE ON
BRUSHES.
Hog
tools,
all
as before observed, do well for general
The
painting.
finest quality of
both round and
sizes,
flat,
them
are soft
and as
are obtainable, almost
every part of a picture (approaching
life-size especially),
can be worked with them, excepting delicate matters,

such as eyes,
may
lips,
&c, and minute
objects,
when
sables
be used.
In either
case, use as large a
brush as can be managed
so as to obtain all possible freedom.
BADGERS.
Large masses
of colour sometimes are blended together,
after laying on, as
on backgrounds, draperies, &c, and
occasionally flesh tints require blending one into another
But
for this purpose badgers are used of different sizes.
are placed properly side
if tints
be a constant
call for this
and
be sparingly used, especially

heads, as
it
by
side, there will
in front objects
it
not
should
when roughly painted,
or in
often weakens the handling and muddles
the brilliancy of the colouring.
There should
also
be
small occasion for the use of the badger in any flesh or

front
object,
though a
softer feeling
is
advisable in
remote parts, as smoothness recedes whilst boldness

of paint
The
and touch
will, as
a matter of course, project.
colours requisite for general purposes are given
further on.
PORTRAIT PAINTING FROM LIFE.
POSING AND LIGHTING.

This
is
a most important part of the study requisite
to the production of successful portraits
inasmuch as
the characteristic arrangement of the figure, and the
turning of the head upon the shoulders, together with
and shade
suitability of light
temperament, as well
to
as the expression of the face,
and the surroundings
of
means by which an artist essays to

in an immovable, inanimate image upon a flat
the semblance of living, embodied beings,
colour, are the chief
convey
surface
endowed with
feeling,
Practically, then,
and
some
to give
shade.
character.
illustrations,
we may
Arrangement of
the head. 3rd. Light and
consider the following points

the figure.
and
expression,
2nd. Turning of
4th. Colour of draperies
1st.
and
accessories.
Arrangement of figure. It may be thought there

should be no difficulty for a perceptive person to know
1.
that an elegant, graceful figure
is
best delineated
a waving line of posture, and standing,
than
sitting
a swelling bend of the front
so
of
the body,
and an
Thoughtfulness and modesty
an almost reverse outline

straight
by
and dignity should have
that grandeur
elevation of the chest.
much more
firmness
and strength a
and more square arrangement.
out these suggestions better,
it
But, to carry
appears advisable to
couple this with the next section.

2.
Turning
figure,
the
head upon the shoulders.
bending forward, with a strong top
sitting-
light, the
A TREATISE ON
10
upper part of the head

thoughtful
match,
to
and
projecting
will
expression
strong
indicate
mental
These, again, with the eyes turned upwards,
reflection.
and head backwards, suggest
reverie
and
inspiration.
The head turned quickly round and looking away

towards one
on shoulders placed squarely gives
side,
energy and quickness.

wisely inserted here,
and the
i.e.,
matter
curious
may
be
position be used,
if this last
eyes, instead of looking away, be turned to the
spectator, the result will be a sinister expression, as of a
detective on the alert.
Stout, phlegmatic, easy-going
may
be well reclining, three-quarter
people,
if
figure,
face
sitting,
much
the same, with the eyes directed
before them, or the head slightly turned, yet keeping

Or,
the eyes directed easily in front.

figure
may
on the hip
object
if
standing, the
be on a swelling curve, with a hand resting

a gentleman), or on a table, or other
(if
the head being easily posed in about the same
position,
gently turned a
or
looking
little,
at
the
spectator.
3.
The
and shade.
light
Light
and shade has a
material part in the conveying of a suitable impression

to the
whole character, of both the subject and the
picture
thus, for a child,
general gaiety of feeling.
more severe
contrasts,
much
For
light
is
suitable,
and
military subject,
and more depth and energy.
If
a thinker, or philosopher, repose, and Rembrandtesqueness of
effect.
In
the appearance
pose.
all,
consistent unity of feeling to suit
and expression
of the subject, as in
young
Attitudes in motion suit

those of mature ages.
11
people, sitting ones
Attitudes are, as
it
were, the
language of Portraiture, and unison of expression thereConsequently,
with should aid in giving character.
before beginning, the painter should see and remark to
himself what are the peculiarities of a subject, both as a
whole and in
detail, before painting.
lighter picture
suits
young
people, with
softer
shadows than those of middle age.
Old people generally
make
effects
with strong
pictures
fine
Compactness
shade.
of grapes
is
is
of light
desirable in grouping.
and
A bunch
considered a good model for grouping several
figures, so is the cone.
Colour
4.
may
Herein
display
backgrounds, and accessories.
be found fully as
of propriety,
the other divisions
to
it
occasion for the
the
and
subject
characteristics as
salient
because
much
suitability
developing the
in
skill
in draperies,
in
behoves the painter to
use his best judgment in using appropriate colours for

dressing the subject.
This relates more particularly to
The
gentlemen do not present much
ladies.
variety.
may
lady
dresses of
Suitable
colours for a fair or golden-haired
be found amongst light blues, azure, pea-
green, pink, lavender, primrose, scarlet, black and white,

or
cream
whilst
colour.
White, with more blue, heightens,,
more red reduces the rosy
tint in cheeks.
Purple, red and black develop and harmonize with
strong complexions wherein

tint
is
much
whilst brown, green, drab,
of the rubicund
and black
sallow and parchment coloured faces.
suit
the
Swarthy com-
A TREATISE ON
12
plexions are subdued
crimson velvet.
and
white suit
when black
it
by warm brown,
olive green, or
But it may be here remarked that black

and give tone to any picture. And
all,
(especially black velvet)
comes near a
subdues the strength of the red
face,
whereas white,
occurring in the like position, has the effect of height-
euing colour in the palest complexion, giving value

to
every tint therein, by comparison.
together,
have a
fine
effect,
Black
and
white occurring in juxtaposition,
and
softly shaded
but require
rather
generally powerful style of light and shade throughout
the whole picture, to support them

of the
best
work
will appear
amongst black
weak and
as a rule
otherwise, the rest
unfinished.
for red
is
Red does
the light of
shade.
Accessories
and backgrounds.
All the colours of
objects in, as well as the contrasts of,
and shades appertaining
lights
and strengths
to accessories
of
must be
secondary to those upon the chief object, the figure, or

it
will not
surface,
means
come forth
and
relieved.
We
work upon a
therefore, have to use Art,
i.e.,
for producing the appearance of relief,
parting
flat
artificial
and im-
effect to the chief point.
To cany
the spectator's eye through a picture, the
principal colours of the front object or objects are to be
repeated in the background, but in a minor degree.
deep
figure,
warm brown
the
tone of shade pervading the
near accessories,
and
the
background
shadows, will give breadth of tone throughout
whilst
the general tint of the lights and half tints of the
background should
13
be a contrast and
at once
comparatively speaking, to the complexion
relief,
and
coni-
plimentaiy to any marked colours of drapery on the
A greyish background,
subject or foreground accessories.
with warmish
lights, relieves a fair face
bluer for red
ones, or a greenish olive for dark complexions.
brown
or buff surrounding draperies benefit
Yellow
faces,
by
reducing their tone through the opposition of warmth,

as white gives force to lively bright ones.
PAINTING THE PORTRAIT FROM LIFE.

Having considered the
characteristics of the subject,
and decided consequently upon an appropriate

general outline
may
pose, a
be made of the whole figure,
beginning with large lines indicating general contour.
grey canvas
for the eyes,
Sticks
readily
preferable to white
is
and affording a half tone

charcoal
of
are
The whole being
divided
outlined,
is
by
into halves
corner of the eyes
work upon.
marks are
its
it
may
be remarked that
eight eyes from top to chin
line
drawn through the
an eye averaging one inch or a
little
so that a head will measure generally about eight
and a half
and
easier
removed by dusting with a rag.
the proportion of a head
over
to
when
good,
being
so,
inches.
There
is
an eye between the eyes,
on the average, three, to three and a half from
outer angles of eyes

five-eighths
eyes to tip of nose, one and
eyes to centre of
lips,
two and a half
eyes to chin, from three and five-eighths to four and a
A TREATISE ON
14
These are the general proportions of faces as a
quarter.
rule,
to
and
of course
will be apparent that
it
it is
necessary
have a standard or rule of proportions, because
from
deviating
peculiarity
of
an
it is
standard that individuality,
this
individual
obtained
is
in
in
or
other
words, their correct resemblance. For instance, some will
have a head higher from the eyes upwards, than the

face
downwards
is
from
Some have
Others the reverse.
than an inch
across,
and
eyes
the
less
to
the
chin.
eyes considerably less
than an eye between.
Noses vary likewise both in length and form, mouths

in widtli
and
projection, also in approximation to or
deviation from the shape
commonly
called a Cupid's
bow.
Such heads
females,
as
as that of
the
Venus de Medicis
and the Apollo Belvidere
for
for
men, are taken
models of standard beauty.

If therefore a student in portraiture will use those in
comparison with his subject

part
it
observing where
so
mark the work, the distinctive
to
convey strong resemblance will be obtained.

Lighting the Face.
light almost
wrong
any
and
individuality requisite
By judicious management of
face
may
be rendered agreeable.
direction of light almost
Let a painter for
any may be
illustration place, say, a
lady close under a gas chandelier,

the cavities of the face will be
whilst lines will be
that
in each
resembles or deviates from the like parts
made
all
i.e.,
the
By
spoiled.
middle aged
a vertical light,
thrown into shadow,
apparent, hard and severe,
were scarcely perceived in other
lights.
This
is

equally objectionable,
Now
light.
let
the strong light be a close side
if
the same face be lighted in front, and
from a greater distance
to get a
appearance presented will be

infinitely
15
more agreeable.
more diffused
many
The
light.
years younger and
Usually speaking, the light
which develops most heads well
may come
at
an angle
of forty-five degrees.
Having now
perceiving
of
indicated the preliminaries of pose

characteristics
how
we
next
Before painting we should
approach the painting.

understand
and lighting
to best see nature,
and
so
commence the
imitation thereof.
The suggestion for perceiving and securing a likeness,

by comparing a head, both as a whole, and in each
feature, with a standard model, will readily appear as
sure a guide as
may
be
which
contour of the figure.
The
comparison, will
more
see
characteristics of his model,
judge the pose suitable

full fat face,
strikingly,
and
the
whole
by
peculiar
also will the
for example, a front
better
view for a
a three-quarter or nearer profile for thinner
or aquiline countenances, &o.
much guide
also applies to the
painter having observed
These
settled, will pretty
as to the turning of the figure.
comparing of a
sitter
And
this
with a given standard model,
enabling a painter to catch the peculiar characteristics,

will
be found convenient and useful
because any one
can have the statues of Venus and Apollo in a studio.
Not
it is, after all, only a handy way of

mankind (most perhaps unawares) do
and must i.e., work by comparison, from
to be prolix,
doing what
constantly,
all
16
A TREATISE ON
objects present or in the
memory,
in imitating any-
thing.
picture should be
should come into
it
the head
masses,
indistinctly,
begun
To
must be
by the painter
looked
with
the broad masses,
see
To put
detail.
this
then the secondary

three-quarter
in
were,
it
and looking
being
troubled
on canvas, we should comstarts first to
ception on looking at the model
shades,
as
by which means he
without
mence by placing that which

lights,
Nature
see
at,
closing one eye
short of his object with the other,

will
masses, the details
in
gradually.
lights,
shades,
our per-
namely, the highest
and
half
so
lights,
on
half
broad
in
sweeping strokes, down to the deepest shadows, the

darkest of
all
being that shadow cast by the nose.
being on, they
may
All
be slightly blended together with
a clean, soft brush.
FIRST STAGE, OR MONOCHROME.

been the practice in former times, as now, by
It has
many good
masters to lay on the
first
stage in a
mono-
chrome, black and white, or brown and white, as a
Some
basis.
have, and some of the present time do,
But the shadows must evidently be

hot and flaring if begun in warm, thin, transparent
add to which, if the
colours on a very light canvas
begin
in colours.
painter
be a beginner, he
difficulty,
light
having to get in
and shade and
colour.
at
will
find
it
complex
once the image, likeness,
;;
As
the shadows,
when
the picture
is
17
completed, should
be glazed with transparent colour, to give solidity and

relief
solid,
best
by
body opaque
their opposition to
evident that not only should the
it is
first
lights,
&c,
time over be
but cool for glazing, because rich finish shows
when warm
tones are passed over cool ones.
Whilst on the subject of the head being commenced
monochrome,
in
it
may
be to the purpose here to
remark upon a few points

The Eyes.
showing the top of the

especially
when
as to expression.
"WTien the upper
lid is raised in the centre,
iris, it
the bright speck shows over the pupil
if
the lid
is
Eyes are made
lowered instead, a soft repose

to
by
smile
especially at the outer angle,

lid
down
suggests keen energy,
at the outer angle.
raising the
increased
Eyebrows
raised at the
lowered and
a studious or thoughtful one,
by giving depth
of
which
is
shade between them
Shade in the centre
this in extreme, gives anger.
lid,
and drawing the upper
inner angle give a melancholy expression

contracted,
results.
lower
of a
forehead, helps to suggest thought.
The Mouth.
Lips
turned up at the corners suggest
smiling and agreeableness

projecting lower
Lights
expression
them.
and
:
For
lip,
turned down, moroseness
firmness.
shades
materially aid
light, raising
muscles
instance, a bright light
in
producing
shadow, depressing
on the upper part of
the cheeks, and under the eyes, and
by the curve
mouth, gives cheerfulness by raising the
of the
flesh in appear-
ance, whilst shade in those parts has the opposite effect.
A TREATISE ON
18
The student
much
will learn
by observing how
own face, by assuming
of this
the lights and shades form on his
various expressions before a looking-glass.
Having, as before
of the head,
it
said,
now
got in the
will be necessary to let
days to dry before repainting in colour.
first
it
painting
stand some
Meantime, the
drapery, background, and accessories should be laid in

the same
monochrome being
Breadth and
used.
ness being preserved throughout,
shadows, nor severe white lights
i.e.,
soft-
no spotty black
care being also taken
that the objects are not stronger in contrasts,
&c, than
the head.
SECOND STAGE, OE FIEST COLOURINa.
We will here remark upon

as simple a
as will
method
as
may
do the work well
being quite unnecessary,

will paint almost
is
anything
the advantage of adopting
suffice,
using as few colours
because multiplicity, besides

confusing.
The following
Flake "White
Antwerp Blue
Yellow Ochre
Ivory Black
Raw
Bitumen
Sienna
Sugar of Lead
Burnt Sienna
Crimson Lake
Linseed Oil
Vermilion
Pale drying Oil
Indian
Red
Let the palette be
Megilp.
set
commencing with white,
in the order printed above,
j'ellows,
&c, on the right
the

others going to the
On
left,
19
gradually to the shadow colours.
the extreme right, instead of actual white
flesh lights,
mixed
made of
white, yellow ochre,
we have
and a little lake

on a face,
to a tint resembling the brightest point
to be varied with other colours to suit the complexion
under treatment; for instance, add raw sienna
By
sallow one.
the side of this
of secondary high lights,
On
stronger in degree.
"
the left
" this
common brown
burnt sienna, made
;
may
made from
cool with
the same colours,
hand
we make
if
be another patch
of the palette is
of ivory black
more
and
warmer
black, or
with more burnt sienna, as required.
The
use of this
common brown
means
of getting tints
affording a
invaluable, as
is
down
in
degree
without their being crude, to any depth, in modelling.
and three-quarter
It will be found mostly in the half
tones that a complexion
is
The following may be

where to place the various
is
conveyed.
set
down
tints,
aided by using the above-named
tints,
Next
and high
lights, use white,
as a
common brown)
little
lake
flesh
yellow ochre, and red.
Next, the same,
to this the same, rather orange.
with a
general rule
(observing that depth
and common brown
made pinky.
or, if
very
fail',
a very
little
blue.
Going into the shadow, use common brown,
Antwerp
blue
blue,
and
flesh
lights
Next, the
for the
yellowish brown, or reddish brown.
more
for the forehead
and
chin.
These
The
last,
with
shadows,
tints are
cheeks, are to
partake more of tints with the lake and raw sienna.
Always bear
in
mind
that in the centre of a face the
b 2
20
A TREATISE ON
colours are warmest, whilst cooler tints are to be at the
The first time over in colour, flesh should be

throughout cooler than required when finished, lighter
sides.
and
softer
in
the
markings
shades,
pearly and blue greys) and the

are ultimately to be rich.
the
(especially
deep shadows, which
The mellow yellow brown,
on shadow side of forehead, under chin, &c, the redish tone
imder nose,
tlnown by locks of
and
cool in this stage
shadows
let
&c, should be made purplish

and whilst on the subject of
us note that the edges of shadows are of a
purplish grey.
The orange and red
kept comparatively cool this
hence this stage
The
flesh
shadows
cavities of ears, nostrils,

hair,
is called,
first
tints are to
about cheek-bones
all
" dead colour."

is
usually rather more of
a yellow tint than the middle of the cheeks
warm complexion has
be
time over in colour,
little of
but in a
the orange in
rich strong complexion burnt sienna
it
in a
and crimson lake
The
are to be used in the red of the cheek.
chin
is
paler
generally.
The
eyes are to be softly coloured, the
parent shows the tint
by
refraction
iris
being trans-
on the side of the
pupil opposite to that from which the light comes.

outline round the
iris
The
should not be marked hard, but
blended into the white of the eye, which must be pearly
and subdued.
The
pupil should be put in softly,
its
intensity will be increased as the other deep passages
advance, such as the depth of hah', to be finished with

glazing.
The mouth may be modelled
in colour, greyish lake

upper
tints for the
one
lip, greyish,
21
vermilion for the lower
brightest in colour, of course, where lightest.
Do
not mark the division between the lips too strongly, nor
make
the edges of the lips rigid, but
Hair may be
The
laid
lighter than intended afterwards,
ment
that
of lights
if
is
to say, not
all soft.
on in colour now, rather
any
and broad in
but masses
lines of detail,
Where,
and shadows, giving the general form.
any, shadows are cast
by
treat-
hair on the forehead &c.,let
these be of a purplish Indian red tint, edged with a
purplish grey, like other shadows.
A shadow
is
the light, and
denly
strong in proportion to
whereas a shade
from light
proximity to
is
merely the gradual declining
dark on a bone, muscle, or feature.
to
may
Eyebrows
actual colour
be
laid
in
also
with their
&c, whilst the dark parts should be a
deep reddish grey or

is
softly
grey being used to edge them into the
light forehead,
The Ear
its
caused by an intervening object sud-
is
warm
purple.
be painted in this stage of a general
to
lakey grey, the laps only moderately marked, and lobe

rather warmer, but
having plenty of grey half
all
tint,
the darks of the recess a reddish Indian red purplish

grey, as also the
shadow thrown by the
lobe,
edged with
cool purplish grey.

Reflections.
It
will be observed in nature that the
edge of the side of the face in shade has a

light
upon
it.
This
is
soft half
caused by reflection from the
surrounding objects, and to a degree enters into
all
the
dark shadows of the whole face and figure, sufficiently
22
to
A TREATISE ON
make
By
out the form and modelling of each part.
reflected lights the edges of objects are relieved against
shadows and dark
where
will be observed that the
it
(wing of the
cast
by
edge and bottom
relieved against the shadows
reflections.
The
faces,
edge of the nose,
nostril), lobe of ear, lips,
&c, are
of chin,
This prevails also in
parts.
which they
colour of reflected lights should
be usually made warmish and luminous, but will be
by any near
influenced
object imparting
brightness. Locks, ringlets,
or whiskers, have these reliefs on the
may be
by
seen
any object
is
colour
its
shadow side, which
The nearer
carefully observing Nature.
to the spectator's eye, the
more marked
Study of
should these reflections be in the picture.
Nature
is
ever advisable
and
and curls of hair, moustaches,
but
all
eyes and intellects are
not equally capable of perceiving
hence the require-
ments of instruction from those of experience, and the

consequent saving of
much time
to the student.
One more remark, and then we may

that the
is
first
fairly consider
colouring will have been laid down.
with respect to shadows and markings.
the dark lines of eyelids, eyebrows, nose,
where
be
soft,
both
in
definition
strength in this stage would be in the
way
and transparent
The
corrections
must come gradually,

looking at
as
it
richness.
all
every-
lips,
and
That
Let
colour,
as
of future
full effect
does upon the eye
when
life.
In fresh coloured or ruddy complexions,
it
may
be
found serviceable to use light red instead of lake in the

high lights and general pinky tints of the light parts of
23
a face, as affording more solid basis to work the necessary

transparent colours for finishing.
And
it
may
be well also to mention a composition for
the deep shades, to be used the

over,
which
affords a
This tint
colours upon.
first
and second times
good ground for glazing rich
made
is
of
black,
white,
Indian red, and lake, mixed to a murrey of a middling

This colour will be found to work well
and depth.
tint
in the early stage of a head, as
other tints.
be used in
down
set
At
all
it
the same time the
blends well into the
common brown should
other parts of the flesh, for the reasons
before.
It will be apparent
that neither light red nor the
above shadow tint can be admissible in the very
fair,
pale, or sallow complexions.
THIRD STAGE, OR THE SECOND SOLID

COLOURING OF THE HEAD.
Warm
the canvas slightly before a
part to be repainted,
the head
Megilp and bleached linseed

rub
all off
oil
fire,
at present
little
mixed, using the fingers;
again with cambric or other clean rag free of
The warming
make the surface
any damp, and the oiling
flue.
dispels
to
receive paint freely.
colouring or repainting
of light
rub over the
with a
is
to give
is
The second
more general strength
and shade, together with more accuracy of
outline to the features, rectify

subject's expression
and
and produce more
of the
character, also a decision in the
colouring of the complexion, hair, eyes,
&c,
so as to
24
A TREATISE ON
make out
the temperament.
This
is
the place to
note that a Portrait-painter must become conversant
with the sciences of Phrenology, Physiognomy, and to
some degree of Physiology,

colour,
&c,
Indeed,
he shall comprehend
points of expression,
to emphasize.
it
should be pre-supposed that a painter
with these, also
familiar
so that
know what
the subject, and so
perspective,
is
drawing, and
modelling, before he poses the figure or starts an outline

at the
beginning of a picture.
The second
colouring
is
begun by laying on the
to be
high lights in their several degrees

they are always brightest
most prominent and
observing
where they
reflective objects,
fall
that
on the
such as the bony
forehead and the bridge and tip of the nose
a project-
ing cheek bone will have them in the second degree,

the chin lower, &c,
all
lower as they
recede from
the light.
As
orange, or reddish, and
to colour, yellowish, or
lakey
tints,
with
greys
partaking
of
these
in
varied degrees, will be found to prevail most in the

centre of the face, as in the middle of the forehead,
cheeks, nose, chin
whilst, as
we approach the sides,

we reach the mellow
the flesh becomes greyer, until
shadows; and on looking at Nature, which should be a

constant practice,
blue tint
shadow
to the
we
shall observe that the greys
have more of the lakey, lavender,
light side
;
on the
lilacy,
and
they resolve more into the neutral on the
side,
and
dark shade.
ajipear comparatively greenish next
This
is
varied, as a matter of course,
25
according to complexion; and these greys are

result of comparison, one tint
than actual positive tints

especially in
the
more
with another
so
there being on an average,
complexions, but
fair
much
actual
little
or
positive colour, the purest being in the vicinity of the
and half
light
tones, the nose
and
This
cheeks.
is
generally speaking, for peculiarities are to be seen in
many
In
individuals.
but these purest
all
Brown " before referred to
"
Common
made warm
or
reducing tints
according
cool
and
it
to be
is
the
to
tints,
the
employed,
subject,
for
invaluable as a means for
is
working the modelling down into deep shadow without

the colours becoming crude.
In
this second stage of the colouring, the lines of
features,
cavity
eyelids,
of
ear,
are to be
&o.,
under eyebrows,
shadows
worked deeper;
this time semi-trans-
parent, but the full richness left for glazing,
be spoken of in the chapter on

transparent tints
for
may
vermilion
which
will
These semi-
finish.
the shadows
common brown and
the
nostrils,
the dark passages of the hair,
also
or
be made of
Indian red,
purple and raw sienna, or vermilion and bitumen with

the
common brown, and
little flesh
degree of depth required,
heavy
is
it
being too
applicable to the hands.
this second colouring, or,
of the head,
in masses;
cast
prevent
to receive the ultimate finish.
The same treatment

In
i.e.,
light to give the
by
we have
and paint
softly
locks of hair,
more properly repainting,
to lay in all shades of the hair,
if
on the forehead any shadows
there be
any
such, but not
26
A TREATISE ON
any
locks of hair in detail
those will come afterwards
in due course with the finish.
made
a purplish red grey,
Antwerp blue
vermilion
with
little
common brown and

added, will give a
neutral reddish purple, which will receive the
warm transparent
may be required.
glaze
of
depth
We
and
after
colour well, of whatever
should next repaint the background draperies
accessories
getting
may
strength as
body-colour can
of
be
and
flesh lights
and a
(purple),
these,
may
These shadows
of a little crimson lake
them down
additional
shadow having
to as near the right
and completing them,
be,
as
so far
strength and transparency
to be imparted
when dry by
glazing.
FOUETH STAGE, OE EE-TOUCHING OF

THE HEAD.
Having got about
the required depth and strength on
the background, draperies, and accessories
any very bright high

flesh is finished)
strength
is
we
lights
(still
leaving
on white linen, &c, until the
are enabled to see
what additional
required to the shadows and general model-
ling of the head.
Warm
the canvas,
proceed as before,
re-touchings.
colours
raw
sienna
cheeks
for
(to
By
damp with Megilp and
and
enriching tints with semi-opaque
semi-opaque
which the
and
oil,
is
meant transparent
flesh lights are added),
lake,
or vermilion for
to
lips.
enrich
the
such as
carnation
on
Semi-opaque re-touching
deep shadows might be made
of
for
shadow
under
nose
the
bitumen
which
and common brown
shadow on the edge
for
vermilion
of a yellowish brown, of
is
27
of the
or
forehead,
bitumen and yellow
sienna, or these with white,
ochre, or
raw
lightish
for the side of cheek, redder, with perhaps
Use Megilp and
vermilion and bitumen.
pale or
if
oil
mixed
to thin this colour.
The lights and pearly greys may require heightening

we do by scumbling, as it is called, which consists
;
this
of passing thin
require
opaque
The
it.
may
tints over such passages as
effect of
scumbling materially aids in
obtaining the various beautiful pearly tints to be seen in

fine complexions,
It
ness.
is
and can be used
available in
shadows, by adding the

tone.
laid
of
As
any mute-
to soften
any part, down

common brown
to the deepest
to reduce the
a matter of course, scumbles are thin, and are
on with Megilp and
oil
The
mixed.
last glazings
shadows will be best done in Megilp alone.
FINISH.
First
warm and Megilp
consists in glazing
warm
passages.
other brown.
as
Finishing
before.
with transparent colours
The shadows
The shadows of
all
deep
of hair, with bitumen or

flesh
with the same, and
sometimes Indian red or vermilion added.
The
nostril,
with lake, or lake and vermilion, or lake and burnt

sienna.
Cavity of ear, with vermilion and Indian red,
or bitumen.
nations with
All shadows of flesh similarly.
raw sienna and
The
car-
lake, or lake alone, or lake
28
A TREATISE ON
and burnt sienna, according
Lips, with
to complexion.
lake or lake and vermilion for the lower one, lake and
Indian red for the upper one.

eyelids,
Rich deep touches about
shadows under eyebrows, &c, made of bitumen
and Indian red, or with raw sienna added. Shadows

from locks of hair, &c, with the same. All the shadows
of draperies that are dark
or
may
be glazed with bitumen
some other transparent brown.

should here be noted that the circumstance of
It
having rubbed over the part (head, drapery, or background) requiring to be worked upon with Megilp,
the painter to begin or leave
enables
anywhere
off
without being obliged to re-paint the whole.

Passages of light, locks of hair, or details of drapery,
may
require brightening, or scumbling up
indicating, &c.
If
any
done with transparent touches
may be
Greys
colour.
eyelashes
may
of these are dark, they

if light,
be
on in body-
laid
improved, corrected, or enriched,
pupils deepened, the point of light added to the eye, and
any
fine finish
added.
If the general breadth of light
and shade, expression, form of

have been
previously
touches of bright lights.

picture then
is
There
is
add the
it,
much in knowing when to do
a tolerably good work

to do too
is
it is
the wise course
spoiled
in the
is
crisp
full
Review the whole, and
as near the original as
of the painter to give
and likeness
features,
obtained,
if
the
power
to leave off.
that, as frequently
by trying
too anxiously
much.
If the student looks at his
progresses, or at finish, the
work
in a mirror as he
image being reversed,
will

be a
and
29
new picture, comparatively to him, as to a stranger

him to see errors, if there are such,
this will enable
which before had escaped him.
HANDLING.
This
is
in fact in
ance
a department in the treatment of heads, as
every part of a picture, of
much
import-
much
though not necessarily in the early stage so
as after
and in the
last.
It
means the mechanical
working of the brush, together with the sweeping,

loading of colour, &o., light into dark, and dark into
light
will
it
be
shades give most
evident
of roughness or otherwise
subject
that
strong
lights
must ever be adapted
rough and thick on aged, rough
smooth for young ones, &c.
Strokes
speaking of painting faces.

flesh.
Hair
and
be curved,
This
is
will be usually less
Perhaps a good general
guide for the amount of paint to lay on
by saying
to the
subjects,
may
broken, &c, according to form of feature, &c.
loaded with paint than
and
The amount
facilities for its display.
may
be given
that all the parts of a figure should be about
equally loaded, the most prominent the thickest.
A perceptive person will be aware of the
necessity of
managing the brushwork differently on different textures

to give their impressions in paint.
SEEING TINTS IN FLESH.

Sometimes students experience
the tints in nature, that
is
difficulty in discerning
to say, the delicate pearly
A TREATISE ON
30
greys
by com-
for in all complexions there are greys
parison,
may
however ruddy or brown the subject
To such
students
it
may
be.
be a help to hold a piece of
white paper or linen by the side of any part where the
appearance in respect of colour

comparison, will
and a help
is
this, by
more decided,
in question
the colour seem
to some.
Complexions.
lights,"
make
The
two leading
made, as before
tints,
called
" flesh
raw sienna and
said, of white,
light red, or white, yellow ochre and crimson lake, and

the " common brown," being understood as the basis
for light
to be
and shade, into which
other colours are
all
mixed; the addition of "lights"
for heightening,
is
brown for reducing shades

and getting down parts into shade, so as
whilst the addition of the

in modelling,
to produce breadth without crudeness
may
a painter
readily give a representation of the living complexion
by adding
to these plentifully, in all
a rich, ruddy face, there
the
directions,
Supposing
leading or characteristic tint thereof.
it
to be
may be used raw sienna and lake,
vermilion and raw sienna, or crimson lake and burnt

sienna, in
which complexions some might suppose greys
were nowhere to be seen or required

depict flesh without greys,
it
but
if
a painter
would resemble
A trained eye will discover all the
leather.
greys in their usual
places, only modified in accordance with complexion.
On
the shadow side of a face the lights are to be
slightly
subdued in any
common brown may

sienna, to keep
it
case.
For
this a little of the
be used, with a touch
from being cold or
dirty,
more
of
raw
and Indian

red, in
31
a very slight degree added instead of lake,
more subdued, and therefore more suitable

for carnations and purplish greys, where also the cool
greys should be less pronounced, i.e., more common
brown used and less blue than in the greys in
as being
light.
Lines and wrinkles must be given with
and rounded with grey, but warm in

on a light passage
lines
may
be
warm
colour,
effect, especially
as forehead, light cheek, &c.
made
of
raw sienna and lake
Indian red, or burnt sienna, according as
Such
or vermilion,
may
appear
and the complexion.
suitable for place
Whilst young people have the bloom of the peach, or

the freshness of the rose, and middle-aged have richness, mellowness, or tan
old people have usually
much
yellow in the lights, and purplish three-quarter tints

of
many
purplish shades; their individual complexions
being conveyed in
the
half
tints,
treme shadows must be mellow,
though the ex-
rich,
and warm,
to
preserve luminousness.
In a
fair
much
lady
tender pinky grey
is
observable
in the centre of the face, about the eyelids,
under eye-
brows, &c, whilst the cool greys on the temples are

bluish, as also
round outer edge of chin and the half
shade of neck,
greenish grey as
The
best time
colour in a face
as first
&c, resolving
it
it
as
blends into the

to
is,
usual into a cool
warm shadow.
judge of the exact amount of
say, half-an-hour after sitting,
will be perhaps too
on too pale from fatigue.
much
flushed,
and
as
later
A TREATISE ON
32
TEMPERAMENTS.
The Nervous are
rich
brown
cheeks
usually blue or blue grey eyes,
delicate pearly greys in the flesh.
refined
fair,
moderate amount of lakey pink on
hair, a
and
They
are
poetic.
The Sanguine are of a
fair,
vermilion tint throughout,
sandy, auburn, or chestnut hair, hazel or blue eyes,

vermilion tinted cheeks, quick and earnest in action,
enthusiastic.
The Bilious are dark, brunette, or swarthy, brown or

black eyes, deep
warm tint on cheeks,
of the kind
lake and burnt sienna, or sometimes the face
dark
The
opal.
hair
is
made
of
is
entirely
black, strong, intense,
and de-
termined, enduring.
The Lymphatic, pale grey and puffy, coarse, lightish brown hair, pale eyes of a grey colour, mostly stout
in person, they are slow
and
lethargic, indolent often.
These are general types of the Europeans, most

people are mixtures of two or more, some compoimded
of all four,
seldom any purely one.
Characteristics, Hair, 8fe.
The
hair or head dresses
should be arranged for a portrait as usually worn,
In nature they are
any particular
so conducive to individuality that
alteration causes doubt
at first sight in
recognizing a person.
We
such,
should also depict any peculiarity of manner,

as
to pose
and
trait in
if
painting a subject of
notoriety.
Painting Hair.
The treatment of
hair
is
considered
one of the most important matters about a portrait, and
It should
softness.
first
always be drawn with freedom, and
i.e.,
Any
stages.
and
Its characteristics are thinness
tests a painter's skill.
painted broadly,
33
without
lines, or
even detail in the
detail or suggestions of lines should
be given in transparent colour at the
last finishing glaze
on the shadows, and only coming partly towards the

lights,
The
tones.
which must be preserved broad.

local tints of hair usually
The
bright, glossy light
clining to lilac
bluish grey
grey half
show most in the half

on auburn hair
is
in-
on ordinary brown, lakey grey on black,
on flaxen and golden
tints as in gold,
hair, it is
yellow with
which has the colour strongest
in the light.
In the early stages

indefinite, the
the edges should be soft and
shadows broad and
and
richness,
all
general
detail
cool,
their
added as the
depth,
picture
advances.
FIRST COLOURING OF DRAPERIES, BACK-
GROUNDS AND ACCESSORIES.

The head and
first
hair having been put on in colour the
time over, or dead-colour,' we proceed next to the
background, accessories and draperies, and lay in the
background
the
first,
complexion
with
its
contrasts of colour to
but
in
any
case
always
suit
grey in
general effect as compared with the colours of front

objects,
and
slightly deeper in the lightest passages

c
34
A TREATISE ON
than the half tints of the

of backgrounds
The
lights.
broadly,
lights
objects in backgrounds should be treated
and
and
As a rule the shadows

much warmer than the
flesh.
should he
not
invested
with
or
detail,
The deepest shades
shades.
strong
are not at this
warm or brown, but generally grey,

common brown " and white will make,
stage to be very
such as the "
softened into purplish half and three-quarter tints.
Draperies and
accessories
should
be put on
also
broadly, and strong contrasts left for an after repainting,
when corrections in drawing and chiaroscuro should

be made with any required alterations so that severe
decision in this early stage
and
would be only
in the way,
detail a waste of time.
In
this place it is essential to note that
white objects,
such as linen, &c, are not to be painted up with the

whitest parts laid on, but a broad general sort of half
tint laid in
all
with subdued half and three-quarter shades
comparatively
white make.
warm
Also note
in tone
that,
like cool
by
white,
brown and
we mean
white with a tinge of yellow added, to take
off
the
crude cold asperity of the white, which should never be
used by
How
itself.
to
manage
contrasts of light
and shade, com-
binations of colour, relief of near objects, and general

construction of the picture, have been
former chapters.
We
treated of in
have here in addition to what
has been just said, only to add that the outlines and
definitions of forms are to be kept soft, that the lights
on draperies and
accessories
are
to
be broad, their
35
PORTRAIT PAINTING PROM LIFE.
brighter points left for the after stage, that the deepest
shadows are only to be moderately strong, their intense

parts having to be given in another stage
when
all is
on and seen to be accurate in form and place.
There
is
a defective quality about some pictures
called spottiness
making the
the result of
lights in
different parts of a picture of equal brightness,
whereas
there should be only one brightest part, and all other
subdued in degree from
it.
BELIEF.
Foreshortening and
helped much by having
relief are
a light intervening between the

object,
and that object
shadows from
an
also by having retiring
itself;
surfaces indefinite,
and rendered transparent by glazing.
For
background
instance,
is
made
to
recede
by
glazing, whilst foreground objects are brought forward
by bold body
Perspective
colour.
aids
relief
where the objects
duced render such admissible
of retiring colours to those that
intro-
so does the opposition
come forward (which
has been already explained), together with the softness of

receding lights and shades contrasted with the forcible
oppositions in prominent objects.
aids in creating the illusion,
These are the
which in
artist's
many works
annihilates all appearance of a flat canvas.
c 2
so
36
A TREATISE ON
DRAPERIES AND BACKGROUND FURTHER

CONSIDERED.
In cases where the
of draperies
and
artist is free to
may
accessories, it
choose the colour
be well to state as a
leading principle in the disposition of colours that
all
such as appertain to light, as white, yellow, red, and

their
compounds, come forward
browns, and blacks,
whilst greys, greens,
Consequently by having
retire.
the former in the front on the figure and accessories,
helped with strong opposition of lights and shades, and

the latter in the background, where the contrasts of
light
and dark are modified, the appearance
must be the
aided
result, especially if
of reliej
by good drawing,
perspective, &c.
CLOTH AND SILK.

Cloths have broad masses of lights, even the finest
have but few breaks.

Silks are full of angles
throughout
reflected lights
more numerous than in

half-tones broader
in effect.
It
is
the pictures of
and
and sparkling breaks, with

;
the folds are smaller and
which are heavier, the
satins,
larger,
and consequently richer
always observable in Nature, as in
Rubens and Velasquez,
that the ex-
tremely rich draperies have large unbroken masses of
gorgeous colour.
VELVETS.
peculiarity in velvets, necessary to be understood
for its representation, is that
from the circumstance
6(
of the pile absorbing the light, the highest lights are
seen on the edges of folds, whilst their prominences

are
darkest.
They should be painted
transparently
throughout.
EL IE DRAPERIES.
The highest
lights should not be cold blue
but blue broken with flesh lights instead
richness.
any
inclination to greenness,
The deep shadows
to
blue for the
and some lake added
half-tones, with black for shade,
to prevent
and white,
and
to give
have lake added, and
glazed with lake and bitumen.
GREEN.
The foundation
coat for green should have plenty
of yellow in the lights
and
the shadows, over which,
bitumen and much

be made warm.
lake.
The high
half-tints, with brown in

when finished, glaze with
The reflected lights should
lights
may
be broken with
keep up the
warmth which shoidd pervade the light
flesh lights, as in the painting of blue, to
breath of
throughout the whole picture.
YELLOW AND BROWN.

Whatever the
lights in
tint,
them instead
let
the high lights have flesh
of cold white, the individual
tint residing in the half-tones.
In yellows the three-
quarter tints have grey, which sweetens them, and

increases the brightness of the colour of the half -tint
iu
browns they are purple.
The
reflections of yellow
have vermilion in them or orange, whilst browns have
38
A TREATISE ON
These
crimson.
be modified according to circum-
to
stances.
CRIMSON.
Let the high lights be golden. Burnt sienna, lake,

raw sienna, vermilion, &c, varied to suit the colour for
the lights, mixed with flesh lights, the local colour to be
in the half -tints.
Crimson is to be much enriched by
using some purple in the three-quarter tijtf s, the deep
shadows yellow brown, glazed with bitumen. The first
si
ages of
in
brown
other
this, as of
colour
than
in shading
warm
down
parts
^f
the deep shadows partake

as a solid basis to
Reflections
draperies, should be softer
and masses
this,
and
let
with body-colour,
work upon.
warm,
of course,
Yandyke and
surroundings.
Use common
required in finish.
is
and varied according to

others
managed
their
backgrounds so as to repeat in a subdued degree the

chief
colours of
breadth of
the
front
objects,
and
so
preserve
effect.
WHITE LINEN.
Use a
little
yellow (either raw sienna or yellow ochre)
with flake white for the

black with a touch of
tints,
lights
to this
Antwerp blue and
more black and blue
add ivory
lake for half
for three-quarter tints,
and
common brown, deep into the darkest

warm with the sienna and bitumen,
proximity to a warm drapery, burnt umber.
this reduce
with
shadow, which make

or
If
if
in
near red drapery,
it
may
be found necessary to
glaze the deep shadows with lake, burnt sienna,
and
39
Lines, folds, or creases, in the mass of light
bitumen.
made
should be warm, their half-tones
brown and
of
white, the shadows to have yellow in them, to prevent
which would break up the
iciness,
of
some consequence
studiously,
it
The
picture.
effect.
mass
to treat a
being a key to the
of white drapery
whole
warm and
in front of blue or grey drapery, as
if
the shadows of those too should be

contrast to their lights
In
a subject
effect of the
shadows should be
their character cool, the
be heavy.
is
and greys on white being in
half-tints
luminous, even
It
and
warm and
rich, in
half-tints, or the effect will
fact, to preserve
brown shadows should pervade
tone in a picture, rich
all
the objects, especially
in the foreground.
BLACK CLOTH.
Use
lake in all the tints of black cloth, excepting the
deep shadows, which must be rich transparent brown
when finished, with reflections according to surroundings.

High lights, white, black, and lake half -tints, the same
;
deeper
shadows on the shadow
towards the
gradually infuse
purplish black
common brown,
a good deal as
Sometimes vermilion
even raw sienna to
striking) to
ultimately
all
(as
as
to
lose
the
lights, or
the cold hue, according to the
surrounding colours of objects.
shadows are
so
goes into shadow.
added in the high
is
kill
it
side,
much
In any case the deep
as can
be without being
have plenty of bitumen and lake glazed on

so the half -tints alone
the local colour, and thus
we
remain pure to give
get rid of the heaviness.
40
A TREATISE ON
FORCE AND POINT.
may
telling portrait
background
times a mannerism
of the
be made by opposing a dark
used of having the shadow side
is
head and figure to
on the edge
is
the different parts of
front,
and
the
if it
be not hard
and shade on
light
must
those
be
dictated
from the
parts
Thus, on a hand and arm actually
the light
may
be
shadows
deepest
black, whilst
of
a subject
distances of
relative
spectator's eye.
in
good
and requires qualifying by circumstances.
The comparative strength

by the
strongly against light
tell
This in moderation
behind.
Some-
to light draperies, or the reverse.
bright
as
on
as possible,
nearly
same,
the
on parts more remote, as on the reced-
hand and arm, they should be softer. Distinct

contrasts of light and shade come on the eye suggesting and producing the appearance of nearness,
ing
from a cause similar in
by
know
enabled to
are
clearness
and
effect to
that
the distance of
by which we
sound, namely
distinctness giving proximity, while
softness tells us that those sounds are farther away.
Point,
part
or
in
parts
picture,
means laying
most consequence.
of
sition the chief light is usually
principal object, whilst,

to
speak,
and
to the darkest
is
made
stress
In
to fall
perhaps, that light
on
the
compoon the
is
made
brightened by being opposed close
bit
in
the
picture.
also Rembrandt's " Nativity" for
this.)
(See Lawrence,
41

Point, in a head
is
meant, and is advantageously intro-
duced where there
is
a peculiar beauty of expression or
feature, or both,
beautiful eyes,
touch a
little
and depth
to
Same with
which we wish to be
we
give
it
to
them by making
pupils
the eyelids, &c.
lines of
&c,
respect to the mouth,
Texture and Loading with Colour.
&c.
Much diversity
opinion prevails with respect to whether
Now,
that there are the finest works on earth
we know
painted by the same
becomes
c|uestion
of
hands
in
matter of
As much knowledge,
taste.
truthfulness of effect to Nature,
both manners, the

will
and
difference
genius and feeling,
and
every way, are obtained by one as by
successful result
the other, perhaps
moderation as to the quantity of the pigment used

the most consistent generally.
to
do,
to
is
properly told,
pathos
of
picture
should be thickly loaded with paint or smooth.

as
if
the bright
with transparency
sharp and strong,

the
So,
striking.
convey,
if
is
"What the painter has
a historical work, the story
with suitable sentiment, feeling
and
a portrait, the individual, and good imitation
if
of the textures of his or her draperies, &c.
never paint.
No method
thick
not
paint,
or thin should ever
suggest the material used, but the things represented,
whether
paint,
flesh or fabric.
or
a fashion
So
it
cannot be a question of
prevailing in saiy age or clique
but truthfulness to Nature.

There
is
one danger, however, about loading and
working a head too boldly, which

accuracy of likeness
is
is,
that seldom
much
obtained that way, especially
42
if
A TREATISE ON
a refined or delicate face.
Besides there
wide difference between bold painting well
and impudent painting which
is
such a
qualified,
results in vulgar failure.
PERSPECTIVE.
Perhaps
it
may
suffice for portraiture to
remind the
student that lines which recede from the front converge
say
for instance,
head
the
we
are
drawing a three-quarter
horizontal lines tend to
from the near
to the off cheek
practical words, suppose a line
or,
common
point
in more simple and
were drawn through the
angles of the eyes, and another through the corners of

the mouth, these two lines converge on the retiring or
off side of the face,
and
extended on the canvas some
if
it
is
with
objects
all
The vanishing
therewith, as
at a point.
So
architecture,
&c.
would meet
distance bej'ond the head,
furniture,
scale will decide all matters

it
connected
does the height of figures and other
objects placed in groups.

It is not the province of this treatise to describe the
rules of perspective.
to have been learnt
These and drawing are supposed

by any who would desire to become
painters.
What
is
said above
is
merely as a reminder, and so
far necessary as directing attention to certain appear-
ances in nature requisite to be understood to ensure

propriety of delineation and
relief.
43
LUMINOUS COLOUR AND GLAZING.

Much
charm
of the
being luminous
of a picture
and shade are concerned),

shadows,
warm
full of
full
reflections,
depends upon
and
far as colour
(so
of
rich
transparent
and luminous bright
both on the flesh and wherever attainable.
tints
transparent colours over opaque
its
effect of light
Glazing
ones will give this
raw sienna over the carnations of a

cheek, previously painted with
blooming young
lake, vermilion, raw sienna, and white in the solid
glaze
lake and
body colour
or
if
burnt sienna and lake.

colour to glaze with
or with
other
rich
richer complexion, glaze
On
cool greys, lake
is
with
a good
on deep shadows, bitumen alone,

colour
added
but whatever be
added, transparency must be preserved.
Sometimes
these glazes shoidd be repeated, especially in obtaining
In glazing, use Megilp, and warm the
deep shadows.
picture both before
To keep
tints
and
after, to preserve
the brightness.
the colour of flesh clean let the order of the
be observed as laid down, minding that the yellow,
orange, and pinky tints pervade the lights, with blues,

greys, greens,
and purples outside
be mellow and
rich,
the shadows should

and never allow cold greys to get
into the lights, as that
would instantly make
These things observed, the result
and
satisfactory.
is
it
dirty.
certain to be clean
44
A TREATISE ON
PAINTING PHOTOGKAP1IS IN
If
menized
the
prints are carbon they
tlie
at once
oil
may
be worked upon
without any sizing or preparing
paper
they require
and paint sinking
Megilp does very
well,
OIL.
if
something
to
but will
prevent
the paper.
into
on albu-
little
two days
require
become firmly dry for painting upon. The method

most handy is to varnish the print with a thin coat of
to
" Soehnee's " negative varnish (obtainble from dealers

in photographic materials)
This on being floated over,
or spread on the print, with a brush,
and dried quickly
by being held before a fire, presents a bright surface,

with sufficient body to prevent the paper absorbing too
much, and at the same time is not thick as are many
other varnishes, which bury the fibre or grain of the
and present such a slippery surface that there

much difficulty in manipulating upon it.
Photographs upon opal (which is white glass with one
paper,
is
side
ground) require no preparing for either oil or water-
colour.
In working upon photographs in
oil
we must suppose
the print to be either a good or defective one.
former
is
meant
a print in
which the image
is
By
soft
the
and
round, the light and shade well gradated, expression

satisfactory,
with the distortion of features reduced to a
minimum by being
taken
with
wherein the spherical aberration
is
a long focus
lens,
not ruinous to truth
of proportion, as in the case of photographs taken with
45
The photograph, then, being so

we commence by first damping whatever
short focus lenses.
good,
far
part
going to be worked upon with a
is
or Megilp and
with the
must not be wet,
it
an old
or
finger,
Megilp,
off again, either
silk
or
cambric
This will cause the colour to work freely,
handkerchief.
but
mixed, which take
oil
clean
little
as that
on the smooth surface
underneath would prevent any possibility of giving

a body to the colour, or meaning to the touch.
The
print, then, to
be worked upon being a good one,
of a fair average light tone, with good bright lights, the

briefest
and most simple direction from
be to use the colours set
down
this point will
for painting the first
stage of " colouring " a head on canvas from life
work
and
carefully,
minding that each shade throughout,

solid colour, does not deviate from, hut
as that of the photograph

is
worked upon.
the likeness
safely preserve
to
by
laid
on in
exactly the
same
as
is
it is
underneath in every part that
Painting with a guide print by
the side, of the same depth, or a slight degree deeper,

to
show each shade a
go on
from
takes
life,
directions
still
place
from what
more decided, the work should
In succeeding
well.
follow the
little
in
is
laid
stages,
down
and the
carefully watching that

outline,
finish,
for finishing a
modelling,
head
no alteration
or
expression,
considered satisfactory in the " Guide."
Treat the picture throughout likewise as directed when
working from
in relation
any
life,
always bearing in mind one thing
especially
sensible degree
to
the face, that deviation in
from the exact
lights
and shades will
46
A TREATISE ON
entail loss of resemblance
graph
is
nature,
neither
for a fine
to the end, touch
up
of lights
and shades.
lights, correct shades of
down shadows,
modelling, glaze
life,
untouched photo-
more nor less than a transmitted image of
made out by gradations
So go on
from
as directed in
working
giving points of strength in sharp, deep
touches where required, until the painting presents a

faithful transcript of the plain guide, with the addition
of colour
and the
difference
that
it
would have in
life.
PAINTING FROM PHOTOGRAPHS IN

By
OIL.
meant making a painting from a photograph upon the bare canvas or any similar surface. To
secure the drawing we trace the outline in this way
this is
a transparency
is
placed so that the light of a magic
lantern condenser
is
transmitted through
it,
and a
photographic lens thence disperses the image on to the

canvas, where
we run
over the outline with a pencil.
This must, of course, be done in a dark room.
In arranging, care must be taken

transparency
and
canvas
quite
to
have both the
perpendicular,
perfectly parallel with each other, as
and
any deviation from
the square on the part of the transparency, would get
magnified by the lens on reaching the canvas, and any

inclination of the canvas sideways
image, whilst
elongate
it
down an
being
tipped
being, in that
inclined
plane.
over
would broaden the

or
case, like a
under
would
shadow thrown
nice thin transparency,

with the head about an inch long
47
best
is
then the
light from, the condenser will cover the face at once
but with an ordinary magic latern,
removed
have to be
will
it
to different parts of the transparency as each
drawn, care being taken not to touch the
is
or
slide
camera box containing the transparency or the canvas,

as a touch
would disarrange
It will be
all.
for a life-size or other large picture,
it
found that
will require the
transparency to be nearer the lens (say six inches,
working from an inch head, and
life-size
and the lens farther from the canvas
The nearer the canvas
to the lens,
if
be required),
for smaller sizes.
and the farther the
transparency from the lens, the smaller will be the image
on
the
canvas.
distances
of
alternately
the
To
get
three
sharpness,
moving each
the
adjusted
are
respective
together
until the required size
by
and
sharpness of outline are at the same time obtained.
The
traced outline, or, in other words, the drawing,
being so obtained upon canvas, then with a print, for

guide in the painting, proceed just the same as
down
solid
it is
pre-supposed that the painter
photograph, as in last chapter.

to be
made
a picture of
original, then deviations
to
is
laid
work when describing the painting of a

picture upon canvas from life.
But in so doing,
in this
is
If,
is
copying a good
however, what has
a bad copy or defective
therefrom and corrections are
be made, as they are also when working upon a bad
photograph.
made
These defects and corrections will be best
a chapter of
being able to
by themselves,
know what
as
much depends on
are probable,
if
not certainly
48
A TREATISE ON
ascertained, errors in the print,
guide, and, of course,
which
used as the
is
the same in a transparency,
is
which has to furnish the image
to be outlined.
DEFECTS IN SOME PHOTO GBAPHS,

AND TIOW TO CORRECT
UPON OR COPYING
IN PAINTING
FROM THEM.
Mockiness
is
a term used
by photographers
harshness of light and shade
and
to signify
the result of want
is
of half-tones, or that delicate gradation of shades
which
constitutes the chief excellence of a well-exposed photo-
In such
graph.
lightened,
shades,
up
the black shadows must be
cases
and worked with intermediate degrees

to the lights
also harsh patches
reduced where they are not the actual bright

Distortion.
This
short in focus,
bad
occurs from using
&c, in which
cases all
of light
lights.
lenses, too
prominent features
are represented too large in proportion to those
recede
is
noses, too large
of
eyes, too small
which
hand which
placed in front, too large for one placed further back;
perpendicular lines falling
all
ways
divergence from
truth, in fact, from the same cause that one's face and
figure looks so grotesque in the bull's-eye of a lantern,
or a very convex mirror, seen in old fashioned dining-
rooms, &c.
Expression.
racteristic,
sitter
The
though
than the
expression
is
seldom right, or cha-
this oftener results
photographer. The
from fault of the
sitter either
assumes

a look, or one
is
directed to look pleasant
who
cannot";
or some scared gaze creeps in through nervousness
other inconsistent appearance
What
sider
is
upon the guide,
right,
so as to
can be done, and
and
is to
con-
and improve
so alter
make an agreeable picture which

;
still
retain
the proper form and
characteristics everywhere, thereby

trait,
or
there.
the painter has to do in such cases
what would be
not departing from
improving the por-
it.
These remarks are intended to aid the painter when

endeavouring to make a good picture from an inferior
photograph
but
if
the latter be good, as so
now-a-days, every care
is
many
are
to be taken not to alter whilst
endeavouring to convert the image into a painting, nor

interfere with their balance of lights
and shades, or
other beauties.
PAINTING FROM PHOTOGRAPHS IN WATER

COLOUR.
It
is
supposed that the reader hereof has read the
instructions on painting photographs in oil so that there

will be
no occasion
to repeat the principles of
painting, but only to apply
them to the
photograph
different processes
required for manipulating in water colour.
A sheet of crayon paper may be chosen of a tint suitable

to the
complexion
that
one, or a salmon grey
is
to say, cool
grey for a
fair
bluer for florid faces, or where
red drapery has to be introduced
olive, if
a dark, or
brown, or sallow person has to be painted.

i)
A TREATISE ON
50
The
better
way
is
to
draw the
satisfactory
Then mount
first.
its
being
with flour-starch
upon
stoutish cardboard or Bristol board.
Should
it
will then
curl
it
brown
in drying, paste a piece, the full size, of
strongish paper at the back
mount-
picture before
ing the paper on board, so as to make sure of
up
or other
keep
flat.
Ordinary crayon paper might be too coarse for small

heads; in which case other tinted paper suitable for
may
painting upon in water colour
The
picture
is
to
be obtained.
be traced in the same way as was
directed to be done on canvas for oil-painting, using a
transparency, magic-lantern and lens, and going over

the outline with an II
minding that the hands
pencil,
Perhaps
are clean, so as not to soil the paper.
is
If the drawing be made,
advisable to use a mahl-stick.

as directed,
it
upon paper before
it is
mounted,
tacked on a canvas or board, so as to lay
it
may
be
flat.
The drawing being made and moimted, proceed with

as follows
the painting,
Take
a large
camel-hair
brush and go over the whole with a plentiful wash of

This
water.
to saturate the paper,
is
so that
may
it
not absorb the colour too quickly and to allow of the
first
stage of painting being given with freedom.
Lay
on in broad washes.
Some papers absorb
great
deal.
Make
candle
a black
when
by smoking
a plate over an ordinary
well covered with the black smoke, rub
thinnish gum-water into
it.
be only just strong enough to

to the plate.
The rubbing
is
The gum-water should

make the smoke adhere
to be
done with very

clean fingers,
rubbed,
it
and whilst the plate
more
in
This
freely.
from which a
addition
lot of
be taken
black,
which,
to
black on the plate
little is to
If well
hot.
is
any ivory
will be quite as fine as
more transparent
51
off
it
is
the stock,
as required
put upon the china palette to work with.
and
washes
and
This being
done, and the drawing wetted as before directed, pro-
ceed as follows
With
a brush as large as can well
be used, according to the
size
of the features,
make a
shade just dark enough to be pretty distinct, and rather

free
With
with water.
make out
that will
this
go over the dark parts
the features and the general head,
under
such, for instance, as the shades of hair, shade
eyebrows, eyelids, nose,

the dark
of
Next lay
hah the high

-
i.e., if
irises,
lights
This means
&c.
in freely the large dark masses
shadows throughout, next a
the
bits.
lips, chin, ear,
and
soft
all,
broad wash
according to
very dark hair, rather deep
leaving out the bright speck
all
its
the same
over
depth
by the
next, with a fainter
shade, softly lay in the light shades all over the face,
using the faintest possible towards the high lights,
where
it
must, of course, be pure.
This treatment will have
image of the head

photograph
and,
end in that
important
namely,
faint
soft,
to a lightish
besides being a stage towards the
respect, answers, also, the following
purpose
it is
made out
something equivalent
in
connection with
the same in effect as the
frequently mentioned in
without crudeness.
oil
very
colouring
common brown
painting for obtaining shades
Being carbon,
it
is
imperishable.
n 2
A TREATISE ON
52
Now commence
As
colouring.
paper
the
probably be a tint some degrees below white,

be requisite to use a
with body
them, for
in
higher lights up,
high lights
to lay the
on rather more
head with Naples yellow, a
Wash
2nd.
red.
again,
stronger
The
3rd.
above, with a
This
the lower part of the head, that
all
with more lake, for
warm
yellow
to
is
go
to say,
is
parts of cheeks.
lay in the greys
lake for the pinky ones
ones
over
Next, give another of the same
below the eyes.
Now
light
all
more
little
and a touch of crimson lake added.
all
and
leaving out the brightest point in the fore-
head.
over
over the
all
white,
little
little,
where
solidly,
"Wash
1st.
little
the same a
get the
advancing a
after
the very bright points strike:
To
courses.
first
also,
as,
will
and colours
body-white,
little
will
it
using
little
Antwerp blue
Antwerp blue and lake
and
cobalt
for the bluer
for the purpler ones
and Antwerp blue and raw sienna, or Antwerp blue

and raw umber for the greener ones. Eich shadows
lay on
last,
forehead
may
perhaps
warm.
as follows
The
shadow down
be raw umber with a

little
This
burnt
shadow-tint
sienna
is
little
also
also
side of
raw sienna
if
required
suitable
for
the
bottom of the chin, and, with the addition of ivory

black to deepen
it,
for the throat.
for the side of the cheek
under the nose,

ear.
have Indian red
eyelids, cavity of ear,
The dark by
under chin, &c,
may
The shadow-colour
are,
also
shadow from the
the side of the forehead, cheek,
properly speaking, shades
being

the result of the rounding
down
53
in modelling of those
and consequently the deepish greys which blend
parts,
them are to be greenish

whereas the darks
named above as being under the nose, under the lobe
into
of the ear, are cast shadows, as are also
and
locks of hair,
The greys on
purple grey.
bluish grey
As
shadows from
shadows should be edged with
cast
a lady's neck,
&c, are
on men's, more neutral.
a general rule, and to guide the student,
it
may
be observed that to produce bright, clean flesh there

should be, in whatever complexion, a prevalence of the
arrangement
following
lights, pale
next,
of
tints
Yellowish
orange next, pinky grey next, bluey grey
and greenish grey by the
side of the
dark shade
whilst the deep shades should be quite rich.

rich shade
may
in Nature,
its
be
made warmer, mellower than appears

its side will, by
it,
prevent
its
being rich will give
ousness to the head.
appearing
life,
The same
vigour,
effect is
and pink//
Though
in
these
half-tints
several
strong,
too
and luminthe result of
the strong red shadows edged with purple

greys,
This very
and the greenish-grey by
blending into
whilst
white
greenislt-
make any complexion
tints
may
some complexions, experience
clean.
not be so palpable
will
teach
anyone
that they are there, in different modifications.
To return to the washing-on of colours. We supnow that the general tints are on. Next proceed
as follows
With the same set of tints in their several
places, hatch upon any unequal parts to make the
pose
washes level or uniform, that
is
to
say,
work with
54
A TREATISE ON
shortish broad strokes, like small touches, where
large washes have not
This
made
done
hatching,
it
the
uniform.
smaller,
he repeated
to
is
and
at
which are
to
throughout to strengthen and correct the
tints,
the same time improve the likeness.
The
last
stage
working in
is
lines,
curve according to the form of the bone, muscle, or

feature.
All the hatching
is
be done so softly as not to
to
show, any further than simply to level the washes laid
on previously
of the
and afterwards, when the strengthening

and modelling
tints
is
being advanced, the
hatches are to be gone over and over two or three

times gradually, so as not to show palpably; otherwise,
if
would
too strong, they
interfere with the fine effect
of the succeeding lining of the finish,
which comes
guide for which
is
to
up the
and the
stippling,
good
be found in some large
steel
last of all to
fill
interstices
engravings, especially fine old ones.

If,
during the working of a head as directed, any
stage of the hatching gets to look hard or dry

too strong, the softness
by again washing over

used at
itself
first,
may
it
throughout
with the semi-opaque colours

if
required, or
same may be done
last, after finishing,
and stippling
appears hard and wiry.
if it
head, to lay in the

rather
any part by
with the tint suitable for that part.
It is advisable in
by being
be in a measure restored
Also the
with the lining
commencing the colouring
first
wash
of yellow, red,
of the
and white,
warmer than might appear warrantable by com-
"

parison with the complexion iu Nature.
of this
is
warmth
that the
will, as it
55
The advantage
were, shine through
the greys, which are laid over afterwards, and which,
making them
by
cool (and even, in proper places, blueish),
made to reduce it to the palest complexion.

medium is frequently used by some painters
can be
in
water colour, called "water colour medium,"* which
may
be made of the following ingredients
Gum
Arabic, half an ounce.
Lump
Sugar, one drachm.
Alum, three
scruples.
Alcohol, one teaspoonful.
Water, eight ounces.
gum
The lump sugar
is
alum preserves
from decomposition, alcohol
uniting,
it
dissolving,
quantity of
to prevent the
and
rendering
all
cracking, the
assists in
fluid.
The
water named will of course make the
solution weak, but quite strong
general flesh.
enough
to
work the
stronger mixture for enriching the
&c, may be made of the same

Each to be kept in a
"
labelled
separate bottle,
weak " and " strong
medium. A little of the weak may be added to the
first and all the other washes, and can be used throughout both in the hatches and finishing.
The use of this prevents colours sinking, and enables
a painter to produce an effective picture more quickly
dark shadows at
with
than
finish,
only half the water.
if
working without
it.
Supposing the picture to be a vignette (bust or other*
Excellent water colour Megilp
is
sold
by
artists' colour
makers.
56
A TREATISE ON
wise),
it
is
evidently better upon tinted paper than
white, from the circumstance that the paper,
if
tinted,
being deeper than the lights and half-tints of the
flesh,
relief of the latter will result.
The
and
its
haii-
must have a
lake, or other
glossy lights
and
first
wash throughout
grey according to
next
lastly the rich
its local
its tint,
of cobalt
to represent
colour in the half-tints
brown shadows with
lake
always beginning with broad masses, and, at
may
imparting what details of lines there
in
it,
finish,
be in the
shadom, and thence up into the half shades, but never

breaking up into the lights with
lines.
PAINTING UPON A PHOTOGRAPH

IN
WATER COLOUR.
The treatment
in
water colour
depends materially upon whether

one, or the reverse.
a photograph
of
it
is
a very good
But, in either case, the colours to
be employed require to be generally of a warmer class
than
if
a picture
is
the fact that there
being made upon plain paper, from

is
the grey colour of the print
to begin with, which, especially in the shadows, requires

to be converted into a rich
Also,
it
mellow
must be apparent that
tone.
if
exceedingly fine photograph, wherein

bright and well balanced,
and
true,
all
all
working upon an
all
the lights are
the gradations of tone soft
the shadows clear, so that they can be
seen into, and expression and likeness altogether satis-
;;
57
much opaque
factory, in such a case the use of
colour iu
washes or any part of the process of painting would be
A certain amount of slightly semi-
certain destruction.
opaque
wash
may
colour
be used once,
of the flesh, to impart
and such
good
is
first
an appearance of solidity
work
to
the
in
i.e.,
But the general
on.
character of the colours used throughout should be of
a transparent character
such
raw
as
sienna, burnt
Indian yellow, crimson lake, Antwerp blue,
sienna,
Vandyke brown, madder brown, &c.

The painter should work upon
a print very
little
than an average plain print, and should be
lighter
furnished with a duplicate, one or two degrees deeper,
wherein the various shades of modelling are of a more
The
decided character.
print which
light
to be
is
painted will therefore require those same shades of
modelling imparted, of a consistent strength

opportunity
affords
management,
of
into
converting
painting,
or
with
it,
the
and
this
skilful
semblance
thereof.
Generally speaking, upon such a good photograph,

the
wash may be made
first
yellow, Indian yellow
and
a very
of
little
Naples
lake, for a fair person,
with
the addition of light red for the second wash, and for
the rest of the
and lake
blue
with
These
warm washes
using more Indian yellow
and Antwerp
Antwerp blue alone
for the silvery greys a little lake
for the cooler greys the
Indian
over
yellow
the
general impression
added
semi-opaque
of flesh.
for
the
green
greys.
wash will impart a

The hatching to level
A TREATISE OX
and the lining
it,
to finish,
colours of a like character,
must
i.e.,
be worked with
all
almost transparent, and
rather strong and bright, as, Indian yellow and lake.
The
cool
should be painted in
flesh
the early stage
at
comparatively
all
and the warmth imparted
gradually, up to the required complexion.

It will be found,
when painting with
warm
colours over cold ones (where
quired), thus:
if
if
a purple,
wash
a green, yellow over blue.
of a tint
time
like
is
compounds
or hatch, lake over blue;
And
so the heightening
by giving the strong touches
painted and modelled
grey, and the red
Vermilion, although comparatively opaque,
may
be
parts, as lips, cheeks, cavity of ear,
nostril, to other red, as lake, to
and burnt
last
with plenty of
first
last.
added in the redder
and
are re-
obtained with more force, and at the same
softness,
lips
transparent
produced by working
colours, that brighter effects are
heighten
it.
Lake
sienna, with a touch of vermilion, give a fine
tint for enriching a
the weak Megilp
ruddy cheek
may
A little of
at finish.
be used throughout, and the
stronger in the shadows at the finish.
Painting Copies or Defective Photographs in
Water
Colour.
If
rocky in the
worked upon with a colour made

graph.
do
this,
to
match the photo-
Indian red, ivory black, and blue will sometimes

if
the print
is
sienna, instead of blue,
ivory black.
shades,
they must be
lights,
With
this,
warm, burnt
the Indian red and
cool in tone
added
any
must be reduced by
to
if
lights that should be half

soft, small,
broad washes
;;
59
PORTRAIT PAINTING FROM LIVE.
and
strokes,
also
where
and any white

are any
added
of the foregoing,
for the part
black
must be covered by a
patches, they
dark
or
spots,
light shade,
made
to white in the degree required
may
yellow and lake
little
touched out
"blemishes
there
be advan-
tageously added to the white, as otherwise the least

addition to
make
the shade colour mentioned would
of
it
Any
a cold grey.
patches too black in appear-
ance in the shadows are also to be rectified by com-
pounds
of
two,
the
i.e.,
the
and the shade
light
colour, so that, in fact, the picture is to
monochrome before proceeding
be corrected in
Avith the colouring.
This being done, the washing and ultimate process
may
be carried forward, as directed, for painting good
photographs.
The quantity
of colour
and boldness
manipulation to be proportioned to the
To prevent
picture.
what has been

photographs in
prolixity,
it is
of
the
advisable to peruse
said respecting painting

oil,
of
size
good and bad
together with the other remarks
about photographs.
Opals.
upon
Opals
in
much like ivory

The tints do not
are very
water-colour.
on paper, therefore they require

neither
tion,
is
and
much water
it
of the film
to
softer
be used, as there
must be borne in mind

on which the image
is
is
to
paint
sink,
treatment
no absorp-
that, in consequence
printed being tender,
great care must be used to do all correct, because
if
by taking paint off, the film

come up from the opal in such places, and with it
parts have to be fretted,

will
as
a part of the image.
A TREATISE ON
0(J
A DISCOURSE ON
AKT.
In attempting a discourse on Art, I propose,

briefly to review its history,
outline of
much
not so
first,
to give a general
and
to offer a
few
to artists, as to those
who
its essential characteristics,
words of advice
may
and then
be thinking of becoming such
on the one hand,
endeavouring to avoid the grandiose style of diction

with which the subject
mystery
and on the
is
often enveloped in a cloud of
other, the tedious pedantry of a
preceptor; presuming that
any who have
to hear or read about painting
taste sufficient
and sculpture are too
sensible to be satisfied with the former,
and
will not
expect the latter here.
The
" Fine Arts "
the term specially applied as
is
distinguishing painting and sculpture from

called arts, because
now-a-days so
adorned
title
with
"science"
or
that
"skill"
many
would
many
where
more
be
Sculpture and painting are our subjects.
adapted for subjects wherein form

istic,
and
is
many
so-
things are
the
term
applicable.
Sculpture
is
the chief character-
is
necessarily limited in its field to objects
decided and tangible.
But though
it
cannot have the
advantage of varied distance, perspective, suggestiveness, the introduction of great
numbers
of objects, or
the magic mystery and charm of light and shade or

colour, yet sculpture possesses
in painting
and
front,
an advantage not possible
each object can be seen on
above and below.
all
sides,
back
With
this advantage,
difficulty of
the complex
evident what genius and
is
it
must have been employed

of the ancient Greeks
few
is
rendering the subject true from every point
Hence
of view.
however, there
61
also of
skill
in the most perfect statues
Michael Angelo and a
others.
Painting has a wider scope
is
more capable
of con-
veying sentiment, pathos, feeling, the magic of light
and shade, mysterious shadow,

its
wonderful charm and
aerial perspective,
with
illusive deceptions of distance

}
apparently annihilating
the canvas
all
idea of the
flat
surface of
introducing hosts of figures in any variety
of condition at the will of the designer.
The
arts
of
painting and sculpture reveal to the
sense of vision tangibly the inward mental conception,
and thereby reproduce

producer
to other
minds the feeling
of the
wonderful proof of the invisible soul of
man.
High art, the lofty and grand, can only be produced

By such, the
by those capable of deep feeling.
impressive scenes of celebrated historic events and the
conceptions
more
of
fully than
the poet are represented in paintings
by any other medium
music, or sculpture
works wherein
feeling,
whether
and the 'magic
the
it
master
conveys
fusion, or the realisation of

its
shown
sentiment
in
and
be the tranquil poetry of a moonlight
landscape, the tumult of battle with
with
either language,
of art is
its
horrors and con-
an exalted sacred subject,
teachings of piety, peace, and goodness.
To descend from
the consideration
of
the
higher
A TREATISE OX
62
attributes,
it
is
also art to
produce
by apparently inadequate means;
effects of deception
for instance, giving
the appearance of rotundity and relief on the

face of a picture
or the appearance of
flat sur-
by
distance
perspective.
Anatomy and
texture to objects
and the
expression
giving
require the painter's
painter's
"combination"
of
and
character
eye to perceive
tact
invent
to
by mechanical
means
of
skill of
handling, together with accuracy of colour and
form.
The
giving these
appearances,
painter must possess
a mastery over
all
these.
Invention and feeling are leading essentials of a

" Invention,"
picture.
says
Homer,
"
the highest
is
power in man," and comes nearest of any other in

a
human being
his
to resembling the creative
There are various degrees of invention

the subject
inventing incidents
convey the meaning

to
power
of
Maker.
these
in
invention of
composition
originality of conception.
to
Add
an invention of manner observable in the
grandeur of Michael Angelo's compositions (and which

small
critics
have
termed
" extravagant
mysterious chiaroscuro of Rembrandt.
descend lower, there

call for
is,
"),
In
or
the
truth, to
to speak practically, constant
invention from the painter, in detail, in mani-
pulation, in devising
execution,
and
means
to
bring about results in
to give feeling.
This brings us to consider feeling, which means

imparting the
required
sentiment and character to

the scenes and figures of
up,
and the impression
textures of parts
and
which the work
subject
for in great
Da
it,
according to the
and imaginative works ordinary
are to be omitted, as
Italians,
made
whole to even the
the
of
is
herein judgment and taste are
required to put in detail or omit
trifles
63
by the Greeks and by
Vinci, Michael Angelo, Raffael
the
whereas
in
more
to
making out the impression as in the pictures

Duow, Teniers, Wilkie, Faed, Frith, &c.
realistic pictures, details are essentially requisite
of
Grerard
The
origin
of
sculpture
and
paintiug
the
in
beginning was probably due to the imitative element

inherent
in
mankind,
and
being
found
capable
of communicating ideas and thoughts, of recording

history, making visible objects
mind to dwell upon and worship, as poetry
became a means of employing the utmost powers of
the mind wherein, during the brief space of a life,
one man's intellect has achieved what the rest of the
world could but marvel at for ever. Witness Homer,
events,
perpetuating
for the
Shakespeare, Phidias, Raffael.
The remotest history of art places its origin in

in Egypt
the earliest civilized nation
East
antiquity.
Those
and progress was
first
slow, keeping pace with the develop-
for art
to be too exalted to be devoted to others
Egypt it was
of
attempts were crude and strange,
ment of the human mind.

The earliest subjects were sacred
early
the
a sacred calling,
trained to the service of religion.
and
its
was thought
in
fact, in
professors
men
They were bound by
64
A TREATISE ON
not allowed to swerve from
them so that they

became mechanical, conforming and adhering to certain
forms, established for many centuries, prohibiting any
rules
advance towards beauty.
in
The unthinking, monotonous adherence to fixed forms

modern Chinese painting and sculpture has its pro-
totype in the productions of the ancient Egyptian?,
whose singular representations of the human

of animals,
and other
objects,
figure,
were not permitted by
the priesthood to be departed from, as those fixed forms,
with
all their
common
lest
were held sacred
absurdities,
or illiterate person
was allowed
and no
to practise art,
they shovdd introduce anything at variance with the
laws established of the figures of the

ventionalities
Their con-
deities.
became characteristics, perhaps from policy
in the priesthood to inspire
awe and wonder, by making
the representations of their deities, &c, different from
No
ordinary humanity.
beauty
approach was made towards
hence, they never advanced beyond the
postures, absurd violation of all consistency in
and perspective
profile
stiff
drawing
such as putting a front view eye in a
head, the feet and hands twisted aside, in
They
only way
figure standing full front, dislocated necks, &c.
knew nothing
of dignity or grandeur,
and the
they had of producing either was by
enormous
apparently
intended
to
size
frequently
arouse
reverence
and admiration.
The monuments
of
Babylon
those of Egypt, but rather
freedom.
are
much
the same as
more resembling nature and
From
this condition art advanced,
and attained
At
highest perfection in ancient Greece.
500
In
had much
B.C., it
golden age, 400
its
65
first
its
there,
Egyptain character.
of the old
the perfection of later Greek
B.C.,
art is to be attributed to their public spirited enthusiasm.
With them,
An
was a glory, and
art
its
practice sacred.
ancient Greece was looked up to as a
in
artist
superior being, honoured as the bearer of a divine gift,
devoted to the gods and the community.
The
as
them
were the breath of
life
observes, nothing
could have compensated
arts
Cicero
for the loss of such
have been
felt as
with the Greeks, and,
works as the Venus
it
would
Art was with them
a public calamity.
the highest aim of public thought, and the universal

interest,
made
it rise
From
to its perfection.
absence of
that national interest, high art has never since been
equal to what the Greeks
made
Phidias, Appelles,
it.
have not reappeared.
Art
fell
Roman
when Greece
fell,
and Rome
ancient Greeks, they only used
though they employed Greeks,

the class of
work achieved
and commemorations
During ages
away from
The
it
of old
for a luxury,
and
was no longer upon
it
;
but for adornments,
of their victorious achievements.
of conquest
and barbarism
it
had passed
Greece, and had died out, or almost sunk to
the low level of
Upon
rose.
conquerors had no such love for art as the
its
primeval condition in Egypt.
the establishment of Christianity, however, and
under the influence of the Church,
Leo X. and Julius
II.
it
revived in Italy.
were chief patrons, when Leonardo

E
A TREATISE ON
66
da Vinci, Michael Angelo, and Raffael flourished,
to
attempt to impart but an idea of whose marvellous works,

their learning,
power
of invention, intuitive perception,
and knowledge, would he

since
their
in vain
day can do by a
them but partly
to
comprehend
With
and admire.
for all that the ablest
life-long
study enables
their works, to
these greatest of
masters in Italy, art rose again.
all,
wonder
and other
There, and in other
European nations, as Holland, Germany, Spain, Flanders,

appeared several most extraordinary geniuses,
we
whom
the old masters;
most of the greatest being
nearly contemporary, and
achieving works not since
call
approached.
The world does not possess painting* by the great

we only know of their merit from contem-
Greeks
porary historians and other writers.
Their paintings
have perished, but some of their unequalled statuary
and sculpture remain
to be marvelled at, such as the
Laocoon, Venus de Medici, Apollo 13elvidere, Hercules,

the Elgin Marbles, and
But
many
others.
the world happily possesses the greater part of
whom we are accustomed to term

by which is meant those from about
Ballad up to Rubens.
The variety of
the works of those

the old masters,
the time of
subject
treated,
the
power, feeling,
skill,
may
be
at
least
extent of
in
said,
them
is
is
knowledge, thoughtalmost
infinite, or,
it
amazingly comprehensive.
Yet, excepting the above and a few others, most were
produced
b}^
like llaffael
devoted enthusiasts in poverty.
and Rubens, princely
rich.
Few were
67
Thus we find that the first development of art in

Egypt was under the sanction of the priesthood, made
exclusive,
and even limited
to
men
trained in religion,
Also we find that
supported as a national institution.
where
in Greece,
it
was most perfected,
community
to the entire
unlimited
it
was
rewards were given the great masters.
Church and State
Italy, with the
genius,
devotion,
history of ancient
Agaiu, in
for its support, the
supreme Pontiff, his cardinals, the
and most opulent, we
all in all
honour, unlimited
great, the learned,
see the result of combination,
The
and patronage.
enthusiasm,
Egypt and
ancient Greece
is
too
remote for us to have details of individual instances

but of the great masters of Italy, 400 years ago, we
know more and we know that there were many great

men who were also of that country and of nearly the
same period whose works are immortal, but who had
;
not the patronage of the wealthy, as had Raffael and
Michael Angelo, but who achieved works second only to

theirs,
by long devotion
of
poverty
some
want
was
in absolute
irresistibly strong
worked
its
palaces,
in
happened
spirit
did
way,
if
lives
;
to
hard work, in
for the spirit of art
within them
and where
not amidst luxury and wealth in
contented poverty under any roof
to
its
so, it
be apportioned to their hard
lot.
that
The
work, whether under the advantages of
fortune or despite all adverse circumstances.

It
woidd seem that there are periods wherein certain
conspicuous conditions tend to remarkable results. There
have been ages, marked as periods, wherein vast revolu-
e 2
68
tions
TREATISE ON
Lave occurred from time to time
the world ad-
vancing in parts, then declining there to develop and
advance further elsewhere.

politics,
and arms
so
in
So
it is
in arts, literature,
so in the mental,
religion
moral, and social condition of mankind.
Now-a-days,
both
is
and
patronage
On
generally speaking, wrong.
practice
no patronage for histrionic greatness in
upon
as a settled prospect
requisition
by the Church,
community educated
all
art to
depend
precarious, because not in
as of old
or bred
are,
the one hand, there
up
nor
is
moneyed
the
to a feeling or capacity
equal to earing sufficiently to employ high talent upon
long and costly undertakings in their
mansions
nor
is
any public
Mipport and encouragement of

is
not the universal interest
art as
it.
felt in
palaces
and
taken for the
action
Consequently, there
or
honour paid
to
was in the middle ages all which conditions
developed and fostered
it.
Thus, on the one hand, we
have want of patronage.
On the other,
there
is,
on the part of so-called students,
no object of greatness pursued.
If the pictures
statues that are now-a-days being done

served, in
name
were
to
and
be pre-
most instances, posterity would be puzzled
the school from which they emanated.
to
Simple
appearances of things, frivolous subjects, without senti-
ment
or purpose,
is
too much, with rare exceptions, the
character of the medley exhibitions which
we
see yearly.
Comparing the present condition of art, the patrons,

and their productions, with the celebrated
professors
periods of art-greatness in bygone periods, the contrast

is
striking
and instructive
works of
the
some
for although
classical
taste
and requirement,
and mastery
beautiful treatment, with excellent colour
remarkable
detail,
historical
Moderns evince consummate learning
and knowledge, high

of
69
skill
in
handling, imitation of
textures, together with realistic portrayal of
Nature in
her ordinary appearances to a degree often surprising,

does
there
be
to
not
appear
characterized
as
any
a
originality
particular
not
school,
the
sublime
grandeur which distinguished some of the great old

masters; and in instances where Moderns have
sacrifices in
made
endeavours to produce historical works, the
lack of encouragement or reward has been very different
from what the more fortunate of former ages received.
And
though, as just observed, some truly accomplished
sculptors
lately appeared, and do now

number of mediocre and inferior ones is
Of any rank and condition, many of the best
and painters have
the
exist,
legion.
are deprived of the opportunity of ever achieving fame,

for their abilities are necessarily prostituted to earning
a livelihood at
common
work.
As
to being learned or
philosophic in their art, this class ignore such matters
Too many arrive at, or start with, a notion

they can manage the palette, and produce a
altogether.
that
if
specious something, they have
made
a picture, and are
enrolled painters for ever.
As
to
who should
or can
become
depends upon the enthusiasm, the

of
any one
advantages.
painters,
ability,
much
and energy
coupled with early opportunities and other
A TREATISE ON
70
Reynolds said " there

painting,"
meaning
there
tions,
much
is
none
Let
required.
that,
no royal road
is
to success in
whatever the natural
to
much
and
learn
who
begin
qualifica-
are
thoroughly, so as willingly to sacrifice
industry
devoted
not
all for it,
night
and day.
In the words of Michael Angelo, " Art
who
mistress,
will
admit of no
It is difficult to rise or
who have
to
work
is
a jealous
rival."
make
name
in art for those
for a living, as the time taken in
getting this position should be spent in learning and
advancing in the higher walks of
The struggling
lead to fame.
name
get a
yet until this
From
for patronage.
pictures
bought
are
is
it
difficult to
achieved he cannot hope
this cause,
at
art that eventually
artist finds
though a number of
exhibitions,
and
elsewhere,
every year, purchasers do not always buy from

feeling, or
knowledge.
by
This
class
taste,
only " invest " in
whose works have got up in the

market, so as to be safe of " realizing " at a profit when
paintings
artists
wishful.
Though
there
is
support to foster
to,
it
is
present
neither the Church nor

art, as
nevertheless
time,
by our
Government
in the former ages referred
probable
efforts,
that
we
are
at
by the growing
the
taste
evinced by connoisseurs, and the gradual diffusion of interest in the

shall at
works of genius, laying a foundation which
no distant period develop conditions and results
akin to those of the periods which produced Phidias
and
Raffael.

In conclusion, as the issue of
a
life of
all this
71
discourse,
from
thought, some reading, study, and experience,
I would wish to offer a few words of advice to the
young
desire to
no
First to be sure of a strong
aspirant after art.
become
difficulty,
will be
excellent, so strong that
no opposition,
can subdue or daunt him, for that there
much
of each
certain
is
second,
he
if
is
with-
out resources, no purse or friends to supply the re-
on the road,
qusite, whilst
him beware how the
let
enthusiasm of youth or ambition betray him into a path
which leads on, on, on
For the bright

illusive
life,
in
and poverty.
most things,
to die whilst he lives, to live after he
for fame, or
cannot
to perhaps old age
vision of early
make
hope of fame, when even whilst
is
is
dead,
living,
he
a blast of the trumpet heard amidst the
general din.
He
must not look
port whilst working
his
to patronage for sup-
toilsome
way up
the
hill.
Before he can get rewarded by recognition and remuneration he
must work on year
after year amidst, perhaps,
hard privation, into notoriety, by producing and sending

his
works to exhibitions, where the best are not always
admitted, where the
unknown
are frequently " skied "
and passed by, living in the hope that they

admired and bought.
become known,
it
There,
will be
if
may
be
his efforts are ever to
through notices of praise or
perhaps condemnation in the critiques of reviewers.
Unlike poetry, which
may
be dashed
off at
once
by
one naturally endowed, painting requires a good part of

a man's
life to
abilities
may
acquire the practice of
be
But
if
the
it,
whatever his
student
have
the
72 A TREATISE ON PORTRAIT PAINTING FROM LIFE.

conscious sense of genius, with fair means, whereby
can
life,
live
lie
with his mind free from the ordinary cares of
which are a hindrance
to,
and
so clash
with higher
no nobler pursuit than the higher
thoughts, there
is
achievements of
art,
and no doubt there
will arise
some
here worthy the honour which has been gained by

those of other lands.
catch
inspiration
Let the student endeavour
to
from the writings of Homer, the
Bible, Shakespeare, Dante, Milton.
Then
let
him study
the works remaining of ancient
Greece (we have the Elgin Marbles, and copies of most
own Flaxman,
of the antique), the great Italians, our
Barry,
Haydon
practice
such a
life,
well spent in industrious
and study, with well directed
attain great results
energies,
may
and the time may come when,
perhaps at no far distant date, posterity shall wonder and
admire on beholding preserved monuments of genius

in sculpture
and painting by the hand
of
an English-
man.
HENDERSON, RAIT, & SPALDING, PRINTERS, MARYI.EBONE LANE, LONDON, W.
MATERIALS
PAINTING
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fine, at the
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Messrs. G.
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ground.
Rowney & Co.
feel
ground by their improved process
assured the Oil

will be
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Colours
to he finer,
any
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Messrs.
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Co.
ROWNEY
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GENTLEMEN, I am much
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Couleurs que vous avez eu la bonte de
Je vous en remercie, et je les trouve tres belles et j'aurai l'honneur
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mes
ROSA BON H KUR.
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Royal Acaue my.

have yet had the opportunity of trying the Colours
Gentlemen, As far as
you have done me the favour of sending, I am of opinion that they afford a very
I
proof of the advantage of your new system of Grinding Colours by
satisfactory
All painters must agree that the qualities of depth and brilliancy
Colours are greatly enhanced by good and sufficient grinding.
Machinery.
am, Gentlemen, your most obedient Servant,
Rownev &
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CHARLES LANDSEER,
111
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praise, for the fact
all
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which you so kindly sent me on Friday
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have
The
tried
them, and can con-
excellence of the grinding
certain that, without extreme grinding, the beauty
not brought out, to say nothing of the impossibility of
is
painting anything requiring finish with ill-ground Colours.
am, Gentlemen, truly yours.
Messrs. G.
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Mi. E. M.
Ward, R.A
a.
H.
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bj
Messrs.
them
in
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has tried the colours ground by machinery sent to him
Rowney, and has much
the quality of
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Red and other ( olours, generally
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as
Box
C, with the addition of a
recess underneath for Millboards.

as
Fittings
BoxC, and two Prepared Millboards
by 8 inches.
same
12 inches
-
-099 158
GEORGE ROWNEY
12
&
OIL SKETCHING BOX,
CO.
G,
Kitted.
E.
Improved Flat
Sketching
Box size, 13^4
inches by 8> inches, i%& inch deep containing
two Double Tubes, Flake While and McGuilp ;
Twenty Single Tubes, Chrome
and 4, Naples
Yellow, Yellow Ochre, Vermilion, Burnt Sienna,
Light Red, Indian Red, Rose Madder, Crimson
Lake, Cobalt, Permanent Blue, Prussian Blue,
Brown
Pink, .Manganese Brown,

Bitumen, Emerald Green, Terra
one eaeh 1, 2, 3, and 6 Flat Sables in tin,
Ivory Black,
Raw Umber,
Vert
one each
Softener,
to 6 Flat
two
Turpentine, Capped
Knife, and
French Tools, No. 2 Badger
bottles,
13 inch
Light
Dipper,
Mahogany
Drying Oil and
$%
inch
Palette.
Palette
J.
s.
d.
COLOUR BOXES.
OIL
13
Empty.
t-
s.
d.
Kitled
d.
The same as Box F, with the additionof a recess

underneath for Millboards. Fittings same as Box
E, and two Prepared Millboards 3 inches by 8
-01361150
inches.
G.
size, 12 '4 inches by

Oil Sketching Box
containing the following
inches, 2 inches deep
nineteen colours, viz., Flake White, Naples
4%
Yellow, Yellow Ochre, Raw Sienna, Cadmium

Yellow, Light Red. Indian Red, Scarlet Vermilion, Crimson Lake, Madder Brown, Cobalt,
Cceruleum, Prussian Clue, Veronese Green, Terra
Vert, Ivory Black, Bitumen, Raw Umber, and
McGuilp, one each 1 to 6 flat Sables in Tin one
each 1, 4, and 6 flat French Tools, No. 6 Badger
Softener, 3J2 inch Palette Knife, Chalk, 6 inch
Portcrayon, Japanned Tin Bottles of Linseed Oil
and Turpentine, Double Dipper, and Folding
.Mahogany Palette. The Box contains a contrivance to hold a canvas, as shown in illustration,
the strap, passing under the feet, holds the Box
firmly on the knees.
( See cut, page 11) ;
o 13
16
H.
9 inches by 7
containing twelve Single
Small Oil Colour Box
2^inchesdeep
inches,
size,
viz., Chrome No. 1, Naples Yellow,

Yellow Ochre, Raw Sienna, Burnt Sienna, Vermilion, Crimson Lake, Cobalt, Prussian Blue,
Ivory Black, Vandyke Brown, Terra Vert; Double
Tubes, Flake White and Medium 4 bottles,
Mastic, Light Drying Oil, Linseed Oil, and Turpentine one each 1 to 6 flat Sables in Tin, one
each 1 to 6 flat French Tools, No. 3 Badger
Softener, Chalk, 6 inch Portcrayon, 3^ inch
Colours,
Palette Rnife,and
Mahogany
Palette. {Seecttt,pi^)
072
I.
10 inches by
containing three Double7
Small Oil Colour Box
inches, 2 l z inches deep
Flake
Tubes,
Ochre
White,
size,
Medium,
and
Yellow
16 single Tubes, Chrome No. 1, 'Naples

Yellow No. 2, Raw Sienna, Brown Pink, Crimson
Lake, Light Red, Indian Red, Vermilion, Cobalt,
Permanent Blue, Prussian Blue, Ivory Black,
Vandyke Brown, Raw Umber, Terra Vert, Emerald Green ; four bottles, Mastic Varnish, Light
;
Drying Oil, Poppy

O to 6 Flat Sables
French Tools, No.
and Turpentine, one each

Tin, one each o to 6 Flat
Badger Softener, Chalk, \ z
Oil,
in
/
l
inch Portcrayon, 3)^ inch Palette Knife, 10 inch

Mahogany Palette.
(See cut, page 14. J
-
11
GEORGE ROWNEY &
14
CO.
SMALL OIL COLOUR BOXES,
Box
& K.
I,
Kmptv.
K.
The same
H,
s.
d.
Fitted.
s.
with the addition of a recess

I, and three Prepared Millboards, 10 inches
by
7 inches.
as
I,
----.__.
L.
Small Oil Colour Box size 10^' inches by

7%. inches, 3 inches deep containing ihreedouble
Tubes, Flake White, Medium, and Yellow
Ochre; twenty single Tubes, Pale Cadmium,
Naples No. 2, Yellow Ochre, Raw Sienna, Yellow
Lake, Brown Pink. Crimson Lake, Light Red.
Indian Red, Vermilion. Rose Madder, Cceruleumj
Cobalt, Permanent Blue, Prussian Blue, Ivory
Black, Vandyke Brown, Raw Umber, Terra Vert,
Veronese Green
three bottles, Mastic Varnish,
Light Drying Oil, and Turpentine one eacho to
6 Round and Flat Sables in Tin, one eacho to
9
Flat French Tools, N0.6 Badger Softener, Chalk,
inch
Portcrayon,
4K
3 , inch Steel and 6 inch
;
Ivory Palette Knives,
Capped Dipper, Mahogany
Palette.
The Tray for the Colours lias
which opens out when the Box is in use.
cover
a
-
16
OIL
COLOUR BOXES.
MIDDLE OIL COLOUR BOX,
15
N.
&
O.
Empty.
M.
Fitted.
The same as Box L, with the addition of a recess

L, and three prepared Millboards, 10 inches
by
7 inches.
'
H
N.
Middle Oil Colour
Box size 12^
inches by
8X inches, 2% inches deepcontaining six double

Tubes, Flake White, Yellow Ochre, McGuilp,
Siccatif, Light Red, and Ivory Black
twentyone single Tubes, Zinc White, Chrome No.
1,
Naples Yellow No. 2, Raw Sienna, Brown
Ochre, Burnt Sienna, Indian Red, Crimson Lake,
Scarlet Lake, Rose Madder, Cceruleum,
Cobalt!
French Ultramarine, Prussian Blue, Raw Umber,
;
Vandyke Brown, Manganese Brown, Bitumen,

Terra Vert, Veronese Green, Emerald Green *
4 bottles, Mastic Varnish, Light Drying Oil,'
Poppy Oil, and Turpentine one each o to 6
Flat Sables in Tin, one each o to
9 Flat French
Tools, No. ? Badger Softener. 4 inch Steel
and
6 inch Ivory Palette Knives, and 12 inch
;
Mahogany
Palette.
'3
GEORGE ROWNEY &
16
CO.
IMPROVED LARGE OIL COLOUR BOX, P &
Empty.
O.
The same asBoxX, with

underneath
for Millboards.
Q.
Fitted.
s.
d.
the addition of a recess

Fittings
same
as
Box
X. and three Prepared Millboards, 12 inches by

S inches.
(See cut, page 15.)
OIL
COLOUR BOXES.
p
r
Empty.
'
s.
d.
Fitted.
t.
Improved Large Oil Colour Box size, 14^

containing
inches by clinches, 2^ inches deep
four double tubes, Flake White, Yellow Ochre,
thirty-four single
Medium, and Ivory Black
Tubes, Zinc White, Lemon Yellow, Naples Yellow
Nos. I and 2, Yellow Lake, Pale Cadmium,
;
Deep Cadmium, Raw Sienna, Brown Ochre,

Burnt Sienna, Chinese Orange, Light Red,
Indjan Red, Vermilion, Orange Vermilion, Rose
Madder, Crimson Lake, Scarlet Lake, Madder
Brown, Cceruleum, Cobalt, French Ultramarine,
Prussian Blue, Indigo, Brown Pink, Raw Umber,
Vandyke Brown, Manganese Brown, Bone Brown,
Bitumen, Veronese Green, Terra Vert, Emerald
Green, and Sacrum four bottles, Mastic Varnish,
Light Drying Oil, Poppy Oil, and Turpentine
Double Capped Dipper, one each o to 9 Round
;
and Flat Sables in Tin, one each o to 12 Plat

French Tools, No. 9 Badger Softener, 4 inch Steel
and 8 inch Ivory Palette Knives, Charcoal, Chalk,
6 inch Portcrayon, 14 inch Mahogany Palette.
(See cut, page 16.)
o 16
.9The same as Box P, with the addition of a recess

P, and three Prepared Millboards, 14 inches by
(See cut, page 16.)
9 inches.
-1004
10
3 10
R.
Complete Large Oil Colour Box size, \^%

inches by 10 inches, 2.% inches deep
with four
Screw-top Japanned Bottles for Oils and Varnishes,
Smutch
Pan.
Brush
Washer
and
The
Japanned
colours are held in a covered tray, containing
twenty-six colours, viz., Flake White, Lemon
Yellow, Naples Yellow No. 2, Pale Cadmium,
Yellow Ochre, Italian Pink, Raw Sienna, Burnt
Sienna, Light Red, Indian Red, Vermilion,
Crimson Lake, Madder Lake, Indian Lake,

Cceruleum, Cobalt, Permanent Blue, Prussian
Blue, Ivory Black, Bitumen, Vandyke Brown,
Raw Umber, Terra Vert, Mineral Green, Emerald
Green, McGuilp ; four bottles, Mastic Varnish,
Light Drying Oil, Linseed Oil, and Turpentine
one each o to 6 Round and Flat Sables in Tin,
one each o to 12 Flat French Tools, No. 9 Badger
Softener, 4 inch Steel and 8 inch Ivory Palette
Knives, Charcoal, Chalks, 6 inch Portciayon,
Three-jointed Common Mahl Stick, and 14 inch
White Wood Palette. (See cut, page 18.) -
149
GEORGE ROWNEY &
18
CO.
COMPLETE LARGE OIL COLOUR BOXES, R &
Empty.
c
b
The same
as
Box R, with
as
Fitted.
s.
d.
s.
d.
16
the addition of a
recess underneath for Millboards.
same
S.
Fittings also
Box R, and three Prepared Millboards,
14 inches by 10 inches.
COLOUR BOXES.
OIL
19
Empty.
Improved Extra Large Oil Colour
l6#
nji
inches by
inches,
4%
*.
d.
Fitted.
s.
d.
Box size,
inches
deep-
containing four double Tubes, Flake

White, Yellow Ochre, McGuilp, and Ivory
Black
;
single Tubes, Zinc White,
Lemon
forty-six
Yellow, Yellow
Lake, Indian Yellow,
Cadmium Pale, Cadmium

Cadmium Orange deep, Mars Yellow,
Orange,
Naples Yellow Nos.

Ochre, Brown
and
2,
Raw
Ochre, Burnt
Sienna, Italian
Sienna, Chinese
Orange, Light Red, Indian Red,

Orange Vermilion, Scarlet
Lake, Crimson
Vermilion,
Lake,
Vermilion,
Scarlet
Rose Madder, Madder
Lake, Brown Madder, Purple Madder,

Ultramarine Ash, Coeruleum, Cobalt,
French Ultramarine, Permanent Blue, Prussian
Blue, Mineral
Grey Nos.
Burnt
and
Umber,
2,
Brown
Vandyke
Pink,
Raw Umber,
Brown,
Manganese
Brown, Bitumen, Veronese Green,
Terra Vert,
Malachite Green, Mineral Green,
and Sacrum
Chrome Green,
6 bottles, Mastic Varnish, Siccatif,
Light Drying Oil, Poppy Oil, Linseed

Oil, and
Turpentine
Double Capped Dipper, Rimmed
Dipper, one each o to

9
in Tin,
Round and
Flat Sables
one each o to 12 Flat French

Tools, one
each o to 6
Round French
Tools, one each 00 to 6
Round and
Flat Extra Fine French

Tools,'
inch
Varnish Brush, one No.
Flat
Softener,
4% inch Steel and
1%
9 Badger
S inch Ivory Palette
Knives, Charcoal, Chalk, 6 inch

Portcrayon, best
Three-jointed Mahl Stick, 16 inch
Mahogany
Palette,
by
and three prepared Millboards, 16

inches
11 inches.
--_.._
12
GEORGE ROWNEY &
20
CO.
DIPPERS, BRUSH WASHERS, &c,

FOR OIL PAINTING.
Each.
Plain Tin.
No.
Single Tin Dipper for the Palette
Double
ditto
3 Single Conical
5 Single
04
.------03
o
Tin Dipper, with screw top
7 Single
ditto
ditto
Tin Dipper, with capped
8 Double
ditto
ditto
9 Single Conical, with capped

10 Double ditto
ditto
lid
Double
ditto
ditto
lid
o 10
12 Single Dipper, with removable rim

13
-02
4 Double ditto
6 Double
Japan'd.
s.
d.
DIPPERS,
Tin Brush Washer.

Square Bottom, Round Top.
BRUSH WASHERS,
Square Brush Washer.
&c.
21
Double TinBrush Washer.

Square Bottoms Round Tops.
Plain Tin. Japan'd.
Each.
*.
1 in Brush Washer, square bottom, round top
Double
ditto
ditto
Square Brush Washer
Round Brush Washer, small -
Oblong screw-top
Bottle, to
fit
2
I
6
IO
II
Oil Colour Boxes
OIL SLANT
12-inch Tin Oil Slant
14-inch
ditto
12-inch Smutch Pan
14-inch
ditto
Each.
d.
AND SMUTCH
PAN.
PI iin Tin
k. ach.
s.
I
I
d.
5
8
8
GEORGE ROWNEY &
22
CO.
BRUSH CASES.
OIL
Plain Tin. Japan'd.
Each.
No.
14 inches by \]/ inches

14 ditto by 2 ditto
14 ditto by 2Y2 ditto
i.
,,
2.
,,
3.
VARNISHES,
Glass
Quarter
half-a-gill.
bottles.
Each,
-
Amber Varnish
bottles.
Each.
Each.
d.
d.
d.
030 060
Paper Varnish
s.
s.
Gallon.
s.
(Can,
zs. yd.
d.
O 12
O 4
O 13
O 4
6
6
s.
16
10
Nut Oil
Poppy Oil
11
2
2
Purified Linseed Oil
Light Drying Oil
10
Dark Drying Oil
Fat Oil
Spirits of
Turpentine
*Also
in bottles
10
1
3
3
3
18
12
15
containing half the quantity at half the price.

1
d.
16
Copal Varnish
ex.)
4 10
Oil Copal Varnish
White Hard Varnish

Japan Gold Size White Lac Varnish
IO
Per
Pints
stone
in
bottles.
s.
Crystal Varnish
Light
Each.
&c.
Half-Pints
in stone
Pints in
stone
Bottles containing
Mastic Varnish
17
18
d.
s.
09
OILS,
Each,
d.
j.
13
17
PREPARED CANVAS,
SICCATIF,
SI
CCATI
23
&c.
F,
PREPARED BY
GEORGE ROWNEY &

This medium
CO.
intended to supersede the use of Oils or McGuilps
is
should be mixed with the colours on the palette, either pure or with the
The former makes it dry

Age renders
admixture of Oil, or Spirits of Turpentine.
more slowly
it
the latter
increases
nearly colourless, and causes
it
drying property.
its
to dry
more
Exposure
rapidly.
to the
atmosphere thickens, the addition of Spirits of Turpentine thins the
medium.
*.
d.
13
Bottles
04
Tubes
PREPARED CANVAS.
IN
ROLLS OF SIX YARDS.
Roman,
Quality A.
or Ticken.
Per yard.
j.
Ji
3 feet
,,
9
4 6
3
31
....--.-40
.......
---------72
2 inch.
d.
29
32
\i of a yard or 27 inches wide
,,
--
,,
6 2
,,
10
,,
12 9
>.
,,
Quality C, per yard,
Made 48
2s. Sd.
Large Canvases,
6s.
inches wide only.
per square yard.
GEORGE ROWNEY &
24
CO.
GEORGE ROWNEY & CO'S

LIST OF
PREPARED CANVAS AND WEDGED FRAMES.
Wedged
Wedged
Frames with Frames with
Size.
Proportion for
Inches.
by
9
9
>>
10
10
12
12
12
13
14
14
15
16
17
18
18
19
20
20
21
21
22
22
24
24
8 Landscape
9 Landscape
,,
..
>>
M
,,
,,
,,
,,
,,
,,
,,
27
SO
3
7 Portrait
7 Landscape
8 Portrait
24
24
29K
6 Portrait
6 Landscape
.,
>
--00
-00
-00
00
o
o
10 Portrait
9 Landscape
10
Landscape
12 Portrait
Landscape
12 Landscape
13 Landscape
12 Landscape
11
o
o
o
o
o
o
o
o
o
o
c
14
13
12
16
Portrait
Portrait
14
17
16
17
Landscape
Portrait
o
o
Landscape
Landscape
Frames
s.
only.
Each.
d.
6
7
7
8
8
8
9
9
9
11
Landscape
Landscape
12 Landscape
16 Landscape 18 Landscape 20 Portrait, Head-size
20 Landscape
2\]A Landscape20 Landscape -
25 Portrait, 3{- size
Wedged
Canvas.
Canvas.
Quality A. Quality C.
Roman or Ticken.
Each.
Each,
9
9
9
9
o
-
o
o
o
11
11
o
o
11
O
o
3
2
o
24 Landscape
8
28 Portrait, Kitcat
o
36
Portrait,
Small
half-length
o
44
,,
34
o
5
M 40 Portrait, half-length
Portrait,
Bishop's
half-length
o 15
56
44
94 >, 58 Portrait, whole length
106 ,,
70 Portrait, Bishop's whole length 2
C quality is not made larger than 36 by 28
The last two are 4.C extra with hinges.
Irregular and large sizes made to order on the shortest notice.
Artists' Canvas prepared in a variety of ways, including Pure White singleprimed, and absorbent Grounds,
Odd-sized Frames up to 30 by 25 are charged the same as Frames two sizes
a Frame 15 by 12 would be charged the same price as
larger, for instance
one 18 by 12.
36
-220
1^0
108
132
MILLBOARDS.
25
PREPARED MILLBOARDS FOR OIL PAINTING.

No.
of Ordinary Thickness.
Each.
Each.
6 inches by 5 inches
/
5)
7
5} z >>
33
33
,,
3 J
93
39
ii
6
8
o
o
o
o
o
33
39
99
d.
,,
7
S
39
,,
..
>
39
i.
10
io
o
o
33
"
s.
12 inches
12
>)
12
9
10
j 1
13
13
13
9
9
9
9
14
14
14
,,
9
10
|J
11
>>
33
9
10
,,
11
5?
d.
O
O
2
2
by 8 nches
,,
>
,,
59
,,
35
No. 2 OF Extra Thickness.

Each.
Each.
j.
^5
15
16
ID
,,
II
,,
12
,,
II
>>
12
>)
,,
33
33
d
6
8
17
17
9
9
IS
18
18
ii
nches by
33
33
5.
d.
12 inc les
14
12
2
2
2
2
4
8
13
14
J 3
33
No. 3 of Double Thickness.

Each.
Each.
19 inches
19
19
,3
19
10
,,
3 3
by 12 inches
s.
d.
13
33
2
2
33
6
6
8
15
,,
,,
,,
20
14
16
21
,,
15
3,
21 inch
22
22
22
24
24
3
,,
33
33
33
,,
33
;s
by
17 inches
15
16
18
iS
20
25
33
33
33
9
6
33
,,
33
SKETCHING OR ACADEMY BOARDS FOR OIL PAINTING.

]
Each.
5.
9
10
10
12
12
12
13
13
14
14
3 3
,,
7
7
8
8
,,
10
3.
3.
3,
39
9
10
9
10
,
,
,
O
O
O
15
33
11
16
33
12
iS
33
14
,,
33
12
,,
,,
15
,,
33
19
,,
19
20
24
19
33
12 Stout
O
O
24
3 3
19
33
d.
5
5
6
6
9
6
3 1
,
,
s.
14 inch S3 by 12 inches
10
.,
15
,,
O
O
Each.
d.
10
1
GEORGE ROWNEY &
26
CO.
CANVAS BOARDS.
These Boards present a surface of the best primed Canvas, and from
and portable form, are undoubtedly the very best kind of
Sketching Board ever introduced.
their neat
Each.
s.
7 inches
9
9
io
10
11
by
S%
inches
,,
6
6
,,
8
8
,,
11
o
o
o
o
o
o
O
Each.
d.
9
9
9
9
nches by g
12
8
12
IO
ii
13
13
14
inches
*.
a.
>>
j>
>
IO
IO
II
OIL SKETCI ING PAPER.
Per Sheet.
s.
Royal
24 inches by 19 inches, Canvas grain

Imperial,
21
30
Goodall's Sketching Paper, 21 inches by 15 inches
d.
Size,
PREPARED MAHOGANY PANELS.

Each-
Each.
j.
d.
8 inches by
6 inches
9
9
6
6
8
8
6
9
10
IO
II
9
8
12
12
12
13
13
13
13
14
14
14
15
15
16
9
,
10
2
3
3
3
3
3
10
11
10
12
11
12
12
>
17
17
17
iS
18
18
19
19
19
20
20
6
9
21
3
3
22
22
23
24
24
28
3
36
nches by 12 inches
>)
>>
,1
>
5>
'>
15
'>
>>
)>
!3
14
12
13
14
13
14
16
14
16
17
16
18
16
5>
iS
>>
|,
>!
>)
5>
?>
20
20
25
28
>>
j>
j>
>
5.
d-
6
6
6
6
!>
>
>
5)
5>
>>
9
8
11
11
5>
'3
5>
12
)>
J>
14
14
19
26
39
>
!>
6
3
6
9
3
6
6
6
3
3
9
9
6
6
BLOCKS WITH AND WITHOUT CASES.
27
BLOCKS WITH AND WITHOUT CASES FOR SKETCHES

IN OIL COLOURS.
Made on
the principle of the Solid Sketch Block, and are
composed of
a number of sheets of Prepared Paper, fastened at the edges, forming

a solid block of paper, from which each sheet
may be
separated by
passing a knife round the edge.
Each Block contains 24 Surfaces of Oil Sketching Paper.

These Sketching Blocks
in
cases are
also
made with Japanned Tin
Frame, which serves as a protection to the wet sketches.
Block
Block
with Case
with Case
and
and
Block
only.
Each.
Size.
j.
Imperial
i6mo
Ditto Svo
7 inches
-
Ditto 4to
Ditto half
by
d.
10
,,
14
>)
IO
SO
60
20
,,
14
12 O
Wooden
Japanned
Tin
Protector. Protector
Each.
s.
Each.
5.
d.
33
56
90
12
24
l8
GEORGE ROWNEY &
28
CO.
PALETTE KNIVES.
IS
j
Each.
No.
Shape.
Cocoa Handle
Ditto Balance
E
C
s.
540
inch.
19
12
Trowel
French shape
d.
on
I I
in
12
Scrapers, 34' inches
Artists'
Trowel Palette Knives,
Gilders' Knives, 6 inches
Ditto
Ebony Handles
ditto
Ivory Palette Knives, 6 inches

Ditto
inch.
s.
541
o 10
Cocoa Handle Trowel 554
Cocoa Long Shank
564
Artists' Diamond-shape Trowel Palette Knives
Artists'
3 inch.
d.
*.
ditto
3 inch
4% inch.
*.
d.
IO
1
each
inch
s.
d.
POCKET KNIVES AND PALETTES.
THE
29
ARTIST'S POCKET KNIVES.
Messrs. Ro.WNEY & Co. have had manufactured expressly for them
by one of the best Sheffield makers, a Knife of the finest quality,
It is not larger than an
especially adapted for the use of Artists.
A Fine
ordinary Pocket Knife, and contains : A Palette Knife
;
Blade; A File for Sharpening Pencil or Chalk An Erasing

Or, with the addition of a
or Scraping Blade. Price $s. 6d. each.
;
Screw
for
drawing the corks of varnish
bottles, price Js. 6d. each.
STUDENTS' POCKET KNIVES.

Each
Students' Pocket Knives
Ditto
ditto
Two
MAHOGANY PALETTES,
j.
d.
Blades
OVAL, OBLONG, &
HOOK SHAPE.
Spanish
Honduras
Mahogany. Mahogany.
Each.
Each
9 inches long
s.
d.
i.
d.
10
11
12
11
2
o
2
5
2 11
2
2
13
14
15
16
LIGHT WOOD PALETTES, OVAL, OBLONG, & HOOK SHAPE.

Satin
Sycamore.
Each.
s.
d.
Wood.
Each.
s.
9 inches long
10
d.
5
8
II
12
13
14
15
16
FOLDING PALETTES.
Each,
12 inch
Honduras Mahogany
12 inch Spanish
12 inch Sycamore
12 inch Satin Wood
ditto
i.
a.
GEORGE ROWNEY &
30
CO.
BRUSHES FOR OIL PAINTING.

RED SABLES IN
TIN.
ROUND.
*RED SABLES IN TIN.

WITH POLISHED CEDAR HANDLES.
ROUND OR FLAT.
Each.
J.
No. OO,
o&
I,
Round
o
o
">,
ditto
6,
ditto
ditto
3.
ditto
,,
.,
Round
2,
No. 7
Each.
d.
or Flat o
No.
4,
or Flat
*.
d.
II
Flat.
Round.
Flnt.
Round.
Each.
Each.
Each.
Each.
s.
*.
d.
2
O
o
3
The prices of Red
j.
d.
6
6
9
s.
No. ro
,,
>,
12
Sables aie fluctuating.
d.
BRUSHES.
FRENCH TOOLS, OR HOG~HAIR BRUSHES.

WITH PLAIN CEDAR HANDLES.
ROUND OR
Nos. oo, o,
7
9
io
ii
i,
2,
3,
4, 5,
and 6
FLAT.
31
GEORGE ROWNEY &
32
CO.
LYONS HAIR BRUSHES.

SAME
=^^^"?-Z'
"2
SIZE AS SA1
A-3MAAOii-
BsSfi|l^P
Each.
Each.
s.
No.
oo,
),
&
o
o
o
s.
a.
No.
5 J
))
(i.
o
o
EXTRA FINE FRENCH TOOLS.

POLISHED CEDAR HANDLES.
Nos. oo, o to
6,
Flat or
Round
8d. each.
of which these Brushes are made is dressed in such a manner

as to render it finer and softer than the ordinary hog hair, without in
The Hair
any way impairing
its elasticity.
FAN SHAPE BRUSHES.

FOR PAINTING HAIR, GRASS, OR LIGHT FEATHERY TOUCHES.
Hog Hair, Nos.

Sable Hair, No.
I
i
4
5
8d. each.
6d.
8d.
lid.
to 6
-
"
"
is.
id.
is.
is.
5d.
9d.
BRUSHES.
33
IRREGULAR SHAPED FRENCH TOOLS.
C, No. 6
D, No. 3
E.
Each.
The above shapes
are
....
....
....
made
in
Nos.
to
6.
A.
Short Hair, Thin Flat
C.
Extra Thin Hair, Flat (Landseer Brushes.)
D.
Short Hair,
E.
Lone; Hair,
Round
Round
FLAT BADGERS IN
TIN.
Each.
s.
d.
inch wide
Each.
d.
s.
inch wide
1%.
(See Cut, page 34.;
ROUND BADGERS
IN QUILL, TIED
Each,
No.
WITH WIRE
Each.
s.
d.
9
10
s.
No;
,,
,,
,,
12
(See Cut page 34.)
d.
No.
GEORGE ROWNEY
34
=-LAT
& CO
BRUSHES FOR OIL PAINTING.

ROUND BAD GER IN QUILL.
BADGER IN TIN.
WITH WIRE.
I
II 1.1)
No.
(
For prices see page
33.
11.
BRUSHES
&
EASELS.
35
FLAT HOG HAIR VARNISHING BRUSHES.

WARRANTED.
Each.
Each,
j.
d.
s.
inch wide
inch wide
3
2
i.'
4
2nd quality
,,
2^
BLACK FITCH HAIR,

Nos.
(Size,
to 6,
same
Round
or
flat,
IN TIN.
6d. each.
as Sables in Tin,
page
EASELS.
MADE BY MACHINERY,
TABLE EASELS.
Ea
Heigh
In.
IS
21
24
18
21
24
18
r.
tabic easels
Ditto
Ditto
Deal table easels, with
6
6
Mahogany
24
Ditto
Ditto
18
Mahogany
21
2+
Ditto
Ditto
4
5
sliding frame
21
:h.
O
O
O
O
Deal table easels
9
9
6
8
10
6
table easels,
with sliding frame

Ditto
Ditto
I
FOLDING EASEL, CLOSED.
....
....
....
Deal Forked Easel, 5 feet or 6

Ditto Portable Folding
Mahogany Forked Easel
Ditto, Portable Folding
feet
high
"
."
ditto, per inch
30.)
d.
o
6
9
GEORGE ROWNEY
36
& CO
fl
WITH SLIDING FRAME.
EASEL,
MAHOGANY
MADE
Easel, 6 feet
Ditto, sliding panel, 4 feet
Ditto
Mahogany
ditto, 5 feet 3 inches

ditto,
MADE
BY MACHINEKV.
Mahogany framed
Ditto
DEAL EASELS.
EASELS.
feet
16
Ditto, with sliding panel 4ft.
17
Ditto
ditto, 5ft. 3in.
10
16
10
19
ditto, 5ft. 6in.
18
Ditto
ditto,
Walnut
Ditto
feet
ditto, 4 feet
MACHINEKV.
d.
Deal framed Easels, 6
sliding frame, 4ft.
BY
$.
litto
ditto,
Deal sliding frame,
feet
12
feet
4ft. -
Ditto
ditto, 5ft. 6in.
Ditto
ditto,
feet
SKETCHING EASELS
37
FRENCH SKETCHING EASELS.
feet
high
This Easel, from
its
extreme portability,
sketching in the open
air.
securely by the Easel,
is
The
canvas,
is
os.
od. each.
admirably adapted
when
not liable to be thrown
in use,
down
for,
being held
or disturbed.
38
GEORGE ROWNEY &
CO.
FRENCH STUDIO EASEL
EASELS.
39
FRENCH STUDIO EASEL.

This Easel
picture
lias
may be
raised or lowered
to the slide at the
vents
picture
a Screw at the back worked by the handle
back which
is
To give
in front,
by which the
the forward inclination, a screw
worked by a wheel from under the
is
trav.
attached
This pre-
the possibility of the inclined part falling suddenly forward

is
when a heavy
The Stand hasan adjusting screw to accommodate any inequality
This is a m st serviceable Easel, and is made of Oak.
upon
in the floor.
it.
AS
5*.
each
CORBOULD'S EASEL.
Corbould's Easel
Corbould's Easel, with desk
each
s.
d.
12
14
GEORGE ROWNEY
40
& CO.
GEORGE ROWNEY & COS

PORTABLE SKETCHING EASELS.
Bach.
I.
Folding Ash,
5 or
Mahogany
Ditto
feet, in
or
case
Walnut-Wood,
ditto
Ash Sketching Forked Easel, 4
feet 3
d.
5 feet, in case
12
9
6
14
,,
inches
Student's Folding Sketching Easel 4 feet
ditto
-
SKETCHING EASELS.
41
THE GERMAN SKETCHING SEAT
AND EASEL COMBINED.

ADAPTED FOR EITHER
Oil.
OR WATER-COLOUR SKETCHING.
THE EASEL, OPEN.
Seat and Easel combined, similar to above illustration

Ditto
adapted
ditto
Square Seat, without the Easel
for the use of

-
Ladies
-
Improved Seat and Easel combined, with brass rack,

legs,
and box
With
for
holding colours and brushes
13
d.
sliding
extra strong leather seats 3s. 9d. additional.
S.
-156
GEORGE ROWNEY &
42
CO.
SKETCHING STOOLS.
$.
Four-legged Sketching Stools, 21 inches
common
ditto
24
ditto
21 inches best
ditto
24
ditto
21
ditto
24
web
each
rf
scat
,,
,,
canvas
,,
REST OR MAUI. STICKS.

Bamboo Rest
Lancewood
Sticks
ditto, 5 feet
each
long
Por able Jointed ditto
Telescope
Jointed, 2 joints
Mahogany Hand
Rests, polished
SKETCHING UMBRELLAS.
Each.
made of Brown Holland,

cane ribs with Fan Joint
Superior
Superior,
made
cane ribs
Brown Holland, length of ribs 32 inches

with Fan Joint
With Bamboo Sticks, 2s. 3*/., extra.
of
Made of Brown Holland, length

Fan Joint, bayonet joint
Ditto,
s.
length of ribs 28 V2 inches
ditto
of ribs 26
2QJ4 inches
inches,
ditto
with
18
&
ROWNEY &
GEO.'
CO.'S
TREATISES ON THE FINE ARTS.

Price each.
HINTS ON SKETCHING FROM NATURE.

HINTS ON SKETCHING PROM NATURE.
HINTS ON SKETCHING FROM NATURE.
Part
N. E. Gkbbn
I.
Part II.
N.E.Green
Part III.
N. E. Gkeen
GUIDE TO LANDSCAPE ANIMAL DRAWING. N. E. Green

..
GUIDE TO PORTRAIT PAINTING IN OIL COLOUR. F. Havnes
GUIDE TO FIGURE PAINTING IN WATER COLOURS. Sydney
...
...
..
..
T.
Wkjtkford
GUIDE TO SKETCHING
FkCL\T
NATURE.
Leonidas Clint Miles
PRINCIPLES OF PERSPECTIVE. Henry Lbwis. P..A

GUIDE TO WATER COLOUR PAINTING. R. P. Noble
HINTS FOR SKETCHING TREES FROM NATURE, IN WATER
COLOURS. Thomas Hatton
GUIDE TO OIL PAINTING. Part I. J. S. Temfleton
GUIDE TO OD^ PAINTING. Part II. (Landscape from Nature.) A.Clint
GUIDE
GUIDE
GUIDE
GUIDE
GUIDE
GUIDE
GUIDE
GUIDE
J. S.
TO
TO
TO
TO
TO
TO
TO
TO
LIGHT AND SHADE DRAWING. Mrs. M. Merrifif.i.d

PENCIL AND CHALK DRAWING. G. Harlev
PICTORIAL ART. H. O'Neil
...
PICTORIAL PERSPECTIVE. B. R. Green

FIGURE DRAWING. G. E. Hicks
FLOWER PAINTING in Water Colours. G. Rosenberg
PAINTING ON GLASS. H. Bielfibld
MINIATURE PAINTING AND COLOURING PHOTOGRAPHS.
...
Tbmpleton
ON THE MATERIALS USED
IN PAINTING, with Remarks on Varnishing and Cleaning Pictures, Charles Martbi
GUIDE TO ANIMAL DRAWING. C. H. Wbigall

GUIDE TO ILLUMINATING AND MISSAL PAINTING.
W. and
Ditto, with additional
Chromo-Lithograph
THEORY OF COLOURING.
J.
Illustrations, cloth, gilt
Bacon
ith additional Illustrations, cioth
Sydney T. Whiteford
and
...10
gilt
GUIDE TO MODELLING AND THE PRINCIPLES AND PRACTICE

OF SCULPTURE. With Illustrations. By George Halsb
PRACTICAL MANUAL OF HERALDIC ILLUMINATION. F. J. Baigf.nt
and C.
I.
Russell.
Demy 8vo,
cloth
and
gilt
PRACTICAL GUIDE TO SCENE PAINTING.

*
Three Part* bound
o
6
GUIDE TO PORCELAIN PAINTING.
o
o
G.
AUDSLEY
Ditto,
in
F.
Lloyds.
one, cloth and
Cloth and
gilt, 5s.
gilt

A Treatise On Portrait Painting From Life

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A Treatise On Portrait Painting From Life

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ALSO, INSTRUCTIONS FOR

PAINTING UPON PHOTOGRAPHS

PAINTING FROM PHOTOGRAPHS.

SUPPLEMENTED WITH A DISCOURSE ON ART

MANUFACTURING ARTISTS' COLOURMEN,

OXFORD STREET, AND PRINCES HALL, PICCADILLY,

Digitized by the Internet Archive

2010 with funding from

The Getty Research

ALSO, INSTRUCTIONS FOR

SUPPLEMENTED WITH A DISCOURSE ON ART

and PRINCES HALL, PICCADILLY, LONDON.

HENDERSON, RAIT, AND SPALDING, GENERAL PRINTERS,

Posing and Lighting

Painting the Portrait from Life:

Second Stage, or First Colouring

Third Stage, or the Second Colouring of the Head

Seeing Tints in Flesh

Fourth Stage, or Re-touching

First Colouring of Draperies, Backgrounds, and Accessories

Draperies and Backgrounds further considered

Texture and Loading with Colour

Luminous Colour and Glazing

Th e writer hereof claims that all is free from plagiarism

and processes often obstruct the

advancement of persons of talent

practice of over 30 years.

render the required assistance, to

the subject in a philosophical manner, and to

show a reason for what is said.

siderable time before

any one can become conversant

with colour and expression

days advanced Photography has become an Art

as the necessity of earning a

has directed many to the pursuit of painting photographs,

and painting from photographs, together with the

much of the portrait

in the infallibility of such

and many believe

which there are

from photographs of those

the work to omit some instructions upon this department

application of the practice of general portrait painting

supplemented with a discourse upon Art

which the Author hopes

be interesting not only to

Art students, and patrons of Art, but

the general reader.

position of fine Portraiture in Art should rank

the most celebrated painters have

but the individuality and precision, which in the best

have precluded the

of great Characters of History in

their " Counterfeit Presentment," as of those of families

whose images are endeared to the

as the writer has

met with, have appeared

either too desultory, too vague, or rudimentar}r

modern handbooks being almost mere confused

Portraiture, the result of

thinking and working, ap-