DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0275
FLOWERS,
according to the darkness of the shades. This is performed by large strokes of the pencil at
first, and finished by finer strokes of the same colour, all, as was said, lying precisely in the same
direction and inclination with the leaves of the rose you copy, or with the strokes of the engraving
if you follow a print; taking care to blend the dark and light parts, heightening the brightest
parts of the leaves, and illuminating them with white and a little carmine. The hearts of the
roses are made darker than the rest; and a little indigo must be mixed with the other colours,
for shading the first leaves, when the flowers are full blown, to give them an air of being somewhat
decayed. The best dead-colouring for the seed is gamboge, mixed with a little sap-green for
the shadows.
Variegated roses, or those streaked with different colours, ought to have the ground paler than
others of one colour, that the streaks or variegations may be the more apparent. These are laid,
on with carmine, darker or lighter, according to the point of light falling on or reflected from the
leaves of the flowers.
White roses are laid with white, and formed and finished in the same way with the red ;
making use of black, white, and a little bistre : the seed is shown more yellow than that of the
red rose. Yellow roses are painted by applying a lay of masticot, and shading them with
gamboge, gall-stone, and bistre ; the brightest parts heightened with masticot and white.
The stalks, leaves, and buds of roses, of all kinds, are formed with verditer, in which is mixed
a small proportion of gamboge and masticot: and for the shades sap-green is added, diminishing
the other colours as the shades grow deeper. The leaves have more of a blue tinge on the outside
than on the inside, and therefore must be dead-coloured with sea-green or sap-green, mixed with,
the shade-green ; and the fibres on the outside must be made brighter than the ground, but
those on the inside darker. The prickles upon the buds of roses are painted with gentle
touches of carmine laid in different directions ; and those on the stalks are formed with verditer
and carmine? and shaded with carmine and bistre ; the lower part of the stalks being made
redder than the top.
Tulips.---Of these flowers the variety is infinite ; no precise rules can therefore be laid down
for painting all of them : it will be enough to shew how one kind or variety is executed, viz.—
the streaked. The streaks are dead-coloured with carmine, very clear in some parts, and darker
in others, to suit the various tints; and the whole finished by fine strokes of the same colour, all
lying the same way with the larger strokes. In other streaks the first lay is vermilion, and the
finishing is with carmine. Others require lake to be laid over the vermilion, instead of carmine.
Some are done with lake and carmine mixed together, with lake alone, and with white and Jake
for the first part of the work. The purple streaks are done with ultramarine, carmine, or lake,
according as the blue or the red predominate: the manner of doing all these varieties is the
same; the difference consisting only in the colours. In some cases it is necessary to introduce
a blue, made of ultramarine and white, between the streaks of vermilion, carmine, or lake; in
others a very bright purple is required, finishing with strokes like the other parts, and blending
in the streaks. Some tulips present pale sallow tints, formed with bistre, ochre, and lake. These
tints however are found only in the rarer sort of flowers. For the bottoms of tulips indigo and
white are used for such as have carmine streaks, and black and white for streaks of lake : others
are done with gamboge and umbre ; always observing that the colour must be laid on with long
•strokes, following the natural position and bend of the leaves. There are other tulips bordered,
3 x or
according to the darkness of the shades. This is performed by large strokes of the pencil at
first, and finished by finer strokes of the same colour, all, as was said, lying precisely in the same
direction and inclination with the leaves of the rose you copy, or with the strokes of the engraving
if you follow a print; taking care to blend the dark and light parts, heightening the brightest
parts of the leaves, and illuminating them with white and a little carmine. The hearts of the
roses are made darker than the rest; and a little indigo must be mixed with the other colours,
for shading the first leaves, when the flowers are full blown, to give them an air of being somewhat
decayed. The best dead-colouring for the seed is gamboge, mixed with a little sap-green for
the shadows.
Variegated roses, or those streaked with different colours, ought to have the ground paler than
others of one colour, that the streaks or variegations may be the more apparent. These are laid,
on with carmine, darker or lighter, according to the point of light falling on or reflected from the
leaves of the flowers.
White roses are laid with white, and formed and finished in the same way with the red ;
making use of black, white, and a little bistre : the seed is shown more yellow than that of the
red rose. Yellow roses are painted by applying a lay of masticot, and shading them with
gamboge, gall-stone, and bistre ; the brightest parts heightened with masticot and white.
The stalks, leaves, and buds of roses, of all kinds, are formed with verditer, in which is mixed
a small proportion of gamboge and masticot: and for the shades sap-green is added, diminishing
the other colours as the shades grow deeper. The leaves have more of a blue tinge on the outside
than on the inside, and therefore must be dead-coloured with sea-green or sap-green, mixed with,
the shade-green ; and the fibres on the outside must be made brighter than the ground, but
those on the inside darker. The prickles upon the buds of roses are painted with gentle
touches of carmine laid in different directions ; and those on the stalks are formed with verditer
and carmine? and shaded with carmine and bistre ; the lower part of the stalks being made
redder than the top.
Tulips.---Of these flowers the variety is infinite ; no precise rules can therefore be laid down
for painting all of them : it will be enough to shew how one kind or variety is executed, viz.—
the streaked. The streaks are dead-coloured with carmine, very clear in some parts, and darker
in others, to suit the various tints; and the whole finished by fine strokes of the same colour, all
lying the same way with the larger strokes. In other streaks the first lay is vermilion, and the
finishing is with carmine. Others require lake to be laid over the vermilion, instead of carmine.
Some are done with lake and carmine mixed together, with lake alone, and with white and Jake
for the first part of the work. The purple streaks are done with ultramarine, carmine, or lake,
according as the blue or the red predominate: the manner of doing all these varieties is the
same; the difference consisting only in the colours. In some cases it is necessary to introduce
a blue, made of ultramarine and white, between the streaks of vermilion, carmine, or lake; in
others a very bright purple is required, finishing with strokes like the other parts, and blending
in the streaks. Some tulips present pale sallow tints, formed with bistre, ochre, and lake. These
tints however are found only in the rarer sort of flowers. For the bottoms of tulips indigo and
white are used for such as have carmine streaks, and black and white for streaks of lake : others
are done with gamboge and umbre ; always observing that the colour must be laid on with long
•strokes, following the natural position and bend of the leaves. There are other tulips bordered,
3 x or