DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19934#0012
VI11
Anger and petulance arc produced by too much liquor, and sometimes from a want of health.—
Scolding soon ripens into downright passion, and anger: the eyes start-, and become inflamed; the
eye-balls stare; the eye-brows contract, and sometimes elevate; the nostrils open, the hps closely
press each other, the lower one projecting.
HATRED, or JEALOUSY,
Is of a'l other passions the most to be dreaded ; no time, tmr space, can cure the jealous mind ;
it is a *' monster that makes the food it feeds upon :" where it has once rooted, persuasion "has
no effect; it deals in revenge and death. In those countries where the lower orderb are deprived
of laws, that form a social compact between man and man, where the higher class offend the hum-
bler societv with impunitv,—revenge is the onlv level—assassination the consequence : but here,
in England, where trie laws redress the grievance, we have seldom an instance ot any other appeal.
Jealousy wrinkles the forehead ; the eve-brows sink and knit; the eve-ball is half hid under the
eye-brows; the nose swells, and the nostrils distend ; the teeth close fast, and the lips, wfetch
barely cover them, turn pale, the eyes are red, and the face inflamed: all the muscles are re-
markably strong.
DESPAIR.
Industry for a series ofvears, frustrated and unavailing, brings on despair. Addison observes,
in his Cato—" It is not in the power of.mortals to command, success ; but I H do more, Sempro-
" nius—I'll deserve it." Yet, with all this inclination to a laudable and virtuous point, now
many thousands fail of success! It is now the mind becomes broken and dejected: Misfortune,
like a foul, ugly demon, blasting everv rav of hope, leads us to the fatal brink of ail human
wretchedness-Despair! In a moral view, we ought never to despair ; but where shall we look
for that perseverance, that, blighted in all it attempts, can overcome this passion ?
All the motions of despair are extreme: the forehead wrinkles all over; the eye-brows close,
and bend o\er the balls of the eyes; the eyes appear indignantly on fire; the teeth shew them-
selves as if gnashing against each other: the veins and muscles swell, the cheeks contract, and the
hair stands on end : in short, no spectacle can present more disgust than the passion of Despair.
COLOURING
Is a secondary instruction, and though not of the consequence of a correct outline, still, to com-
plete a good picture, it must be naturally coloured.
Our essay on this branch of the art, from what is treated upon, relates solely to the colouring
of flesh; and as the hue of the human body is truest when it matches the living objects that are
opposed to it, so ought the pupil to study from the tints of a person in full health: livid and ca-
daverous objects ou;jht particularly to be avoided ; thev are death-like in appearance, or else chalkv.
The colours used in painting flesh, are, flake white, ivory black, ultramarine or Prussian
blue, indigo, light ochre, light red, vermillion, carmine, lake, Indian red, brown pink, and burnt*
umber. Light red and white "make a tint to resemble flesh: let them be mixed on your pallet
until they are exactly of the same hue as your hand when put opposite the tint: the lighter parts
of the flesh are made with a tint of vermilion and white; it is the heightening of the flesh co-
lour, and, when made warm with light ochre, gives the glowing appearance of health. This
last colour must be used very sparingly: it takes oft'the rawness of both the red and the white,
and harmonizes all parts.
Carmine and white make a tint for the lips and cheeks.
Ultramarine and white make a clear soft tint for parts that appear in a middle blue tint, as is
the case, about the eyes; also in the neck and ears, and where the veins have a greater strength
than common.
Middle tint, of the colour of lead, is made of ivory black and white, and blends the flesh gra-
dually into shadow parts. A deeper middle tint, to soften into deep shadows, is made of lake,
Indian red, black and white, and is usually denominated the general ground of the shadow s.
A warm shade tint is composed of lake and brown pink, and used over the former tint, to give
it a glow.
The last strength for the shadows is composed of Ivory black and a little Indian red : it is a ge-
neral good glaze and finishing colour.
These instructions in the using of colours apply equally to water colours, miniature, or oil
painting. Practice will, of course, succeed to theory ; a due attention to which, with a mode-
rate share of industry, will soon enable the young artist to prosecute his studies to the more ele-
vated branches of the art, by combining the different parts of the figure into one, and from thence
to groups of personages, until he arrives at the] distinguished appellation of being considered a
Painter.
Priwcd by J. D. Dewick,
£6, Barbic«B, London,
Anger and petulance arc produced by too much liquor, and sometimes from a want of health.—
Scolding soon ripens into downright passion, and anger: the eyes start-, and become inflamed; the
eye-balls stare; the eye-brows contract, and sometimes elevate; the nostrils open, the hps closely
press each other, the lower one projecting.
HATRED, or JEALOUSY,
Is of a'l other passions the most to be dreaded ; no time, tmr space, can cure the jealous mind ;
it is a *' monster that makes the food it feeds upon :" where it has once rooted, persuasion "has
no effect; it deals in revenge and death. In those countries where the lower orderb are deprived
of laws, that form a social compact between man and man, where the higher class offend the hum-
bler societv with impunitv,—revenge is the onlv level—assassination the consequence : but here,
in England, where trie laws redress the grievance, we have seldom an instance ot any other appeal.
Jealousy wrinkles the forehead ; the eve-brows sink and knit; the eve-ball is half hid under the
eye-brows; the nose swells, and the nostrils distend ; the teeth close fast, and the lips, wfetch
barely cover them, turn pale, the eyes are red, and the face inflamed: all the muscles are re-
markably strong.
DESPAIR.
Industry for a series ofvears, frustrated and unavailing, brings on despair. Addison observes,
in his Cato—" It is not in the power of.mortals to command, success ; but I H do more, Sempro-
" nius—I'll deserve it." Yet, with all this inclination to a laudable and virtuous point, now
many thousands fail of success! It is now the mind becomes broken and dejected: Misfortune,
like a foul, ugly demon, blasting everv rav of hope, leads us to the fatal brink of ail human
wretchedness-Despair! In a moral view, we ought never to despair ; but where shall we look
for that perseverance, that, blighted in all it attempts, can overcome this passion ?
All the motions of despair are extreme: the forehead wrinkles all over; the eye-brows close,
and bend o\er the balls of the eyes; the eyes appear indignantly on fire; the teeth shew them-
selves as if gnashing against each other: the veins and muscles swell, the cheeks contract, and the
hair stands on end : in short, no spectacle can present more disgust than the passion of Despair.
COLOURING
Is a secondary instruction, and though not of the consequence of a correct outline, still, to com-
plete a good picture, it must be naturally coloured.
Our essay on this branch of the art, from what is treated upon, relates solely to the colouring
of flesh; and as the hue of the human body is truest when it matches the living objects that are
opposed to it, so ought the pupil to study from the tints of a person in full health: livid and ca-
daverous objects ou;jht particularly to be avoided ; thev are death-like in appearance, or else chalkv.
The colours used in painting flesh, are, flake white, ivory black, ultramarine or Prussian
blue, indigo, light ochre, light red, vermillion, carmine, lake, Indian red, brown pink, and burnt*
umber. Light red and white "make a tint to resemble flesh: let them be mixed on your pallet
until they are exactly of the same hue as your hand when put opposite the tint: the lighter parts
of the flesh are made with a tint of vermilion and white; it is the heightening of the flesh co-
lour, and, when made warm with light ochre, gives the glowing appearance of health. This
last colour must be used very sparingly: it takes oft'the rawness of both the red and the white,
and harmonizes all parts.
Carmine and white make a tint for the lips and cheeks.
Ultramarine and white make a clear soft tint for parts that appear in a middle blue tint, as is
the case, about the eyes; also in the neck and ears, and where the veins have a greater strength
than common.
Middle tint, of the colour of lead, is made of ivory black and white, and blends the flesh gra-
dually into shadow parts. A deeper middle tint, to soften into deep shadows, is made of lake,
Indian red, black and white, and is usually denominated the general ground of the shadow s.
A warm shade tint is composed of lake and brown pink, and used over the former tint, to give
it a glow.
The last strength for the shadows is composed of Ivory black and a little Indian red : it is a ge-
neral good glaze and finishing colour.
These instructions in the using of colours apply equally to water colours, miniature, or oil
painting. Practice will, of course, succeed to theory ; a due attention to which, with a mode-
rate share of industry, will soon enable the young artist to prosecute his studies to the more ele-
vated branches of the art, by combining the different parts of the figure into one, and from thence
to groups of personages, until he arrives at the] distinguished appellation of being considered a
Painter.
Priwcd by J. D. Dewick,
£6, Barbic«B, London,