Barnard, George: The Theory and Practice of Landscape Painting in Water Colours (London, 1855)

BUILDINGS, RUINS, &c. 119

Even the red of tiles and bricks, though affording in reality as pleasing a contrast to
the green of vegetation as the red dress of a figure, is not easily introduced; red,
however, when broken in tone by time, or introduced in detached mosaic work, as
in some of the buildings in Venice, is very harmonious.

The tones of buildings in limestone and other light-coloured stones may be
imitated with yellow ochre, yelloio ochre and broivn madder, yellow ochre and sepia,
Payne's gray and black, according to the degree of coldness required. Kaw sienna
used instead of yellow ochre, produces more of a transparent tone, accompanied with
a slight inclination to greenness. (See Plate 11, Figs. 15 and 21.)

For stone of a deeper colour, such as granite, slate, &c, or other stone in shadow,
light red, Indian red, or brown madder, with sepia, Payne's gray, or black ; for cooler
tones, Vandyke brown or sepia, with indigo or French blue ; the same, with the addi-
tion of a little lake, ox purple madder, to give a slight increase of warmth. Bricks
and tiles are rarely painted of the colour they actually appear when new and close at
hand, but as seen when either mellowed by age, and the tones produced by various
mosses or lichens constantly growing on them, or deepened by smoke and patched
with different colours. In this state they become picturesque. Their colours in light
are chiefly founded on mixtures of burnt sienna, with yellow ochre or Indian yellow,
broivn madder, light red, sepia, &c. (See 16, 17, 22, and 23). In shadow, the
colours selected should partake of the rich warm grays, such as burnt sienna and
Vandyke brown, brown madder, purple madder, and indigo or French blue ; brown
madder, and Payne's gray and black.

It must be borne in mind that a similar firmness in the handling, and a propor-
tionate degree of purity in the tints, must be used on buildings in the middle distance.
The colours selected may not be so strong, and may partake more of the gray; but
the edges are to be equally defined, clear, and pure—not made with lines, but formed
by the edges of tints. Suppose the student is sketching the ruins of Kenilworth,
from the Tiltyard, about a quarter of a mile distant: part of the old walls being
built of a grayer stone, and placed at a different angle, requires cooler colours.
Take up Payne's gray and brown madder, changing the tint a little lower down by
dipping the point of the brush into sepia instead of gray: the edges of the tints
should show the form at once without re-touching. In the light parts of the ruins
yellow ochre and raw sienna are the principal pigments used, varied by burnt sienna
and brown madder. Sometimes, where the stone is of the deeper gray, use Payne's
gray or sepia ; the tints are not passed over each other, but have a firm, determined
edge, however delicate they may be.

The colour of the wood composing that of buildings when not painted, is much
inclined to gray ; but it should differ as much as possible from the grays of the air