PORTRAIT. 239
Pink.

Pink colour is executed in two different ways, either by laying a body of colours at once, or
by glazing the first lay : both are done on the same ground, which is usually a yellowish white
for the lights, and a mixture of white, lake, and Indian red for the shadows. The second
painting, preparatory to the glazing, is done with the same colours, and a little vermilion for the
reflected lights. The high lights are done with vermilion and white. The glazing is performed
when dry, with fine lake, breaking and softening the shadows.

Another method is to make the high lights with a mixture of carmine and white ; the middle
tints with a little carmine, lake and white ; the shadows with Indian red and lake, and some
vermilion in the reflects; observing to use some tender obscure tint for breaking the shadows in
a proper manner.

Jellow.

The best ground for this colour is a yellowish white for the lights and a compound of different
ochres for the shadows. Yellow satin has the same number of tints as white, and they are used
exactly in the same way. For the lights king's yellow is used, ground with good drying oil; and
for the first tint light ochre, mixed with a small proportion of the pearly tint, produced from
white and the dark-shade; to be laid on and employed like the first tint of white satin. The
middle tint is composed of light and brown ochres, changed with the pearl tint: brown-pink.and.
brown-ochre from the shade-tint. These all belong to the first lay.

The reflected lights are done with light ochre, mixed in the warmest parts with a little light
red : burnt umbre and brown-pink are used to strengthen the shadows.

Greens.

For this colour the best ground is a light yellowish green,, composed of light ochre, Prussian
blue, and some white, for the lights; and for the shadows the same ochre^, with Prussian blue
and brown-pink. The best green used for drapery consists of Prussian blue, king's yellow, and
brown-pink. For the high lights king's yellow is employed with a small proportion of Prussian
blue, of which a larger quantity mixed with this yellow makes the middle tint. The shade-tints
consist of this middle tint, with brown-pink and a still greater quantity of Prussian blue; and
the darkest shadows are done with brown-pink and some Prussian blue. The lights and middle
tints of green are executed in the same way with those of blue; and the shade-tint must never
join the lights, otherwise the brown-pink in the composition will, in mixing, give them a dirty
hue; producing a similar effect to that of black with blues. The king's yellow ought to be
ground with the best drying oil, as the longer it is in drying the darker it will become ; and the
sooner it is used the better it stands.

Changeable Colours*

These consist of four principal tints—the high lights, the middle tint, shade tint, and reflecting
tint. In this branch of painting the difficulty is to ascertain the exact colour of the middle tint,

which