Smith, Thomas [Hrsg.]: The Art Of Drawing In Its Various Branches: Exemplified In A Course Of Twenty-Eight progressive Lessons, Calculated To Afford Those Who Are Unacquainted With The Art, The Means Of Acquiring A Competent Knowledge Without The Aid Of A Master ; Being The Only Work Of The Kind In Which The Principles Of Effect Are Explained In A Clear, Methodical, And At The Same Time Familiar Style. Illustrated With Coloured Designs And Numerous Wood Engravings (London, 1827)

86

ON FIGURE PAINTING

purpose of introducing it in landscape, the best work is
Pyne’s Rustic Figures, published by Ackermann in
the Strand: in this the student will find all that he
can possibly require in landscape painting.

LESSON XXI.

On Historical or Figure Pcdnting in Water-Colours.

Although we have but few historical painters in
water-colours, no one who has ever seen the works of
Christall, Richter, and some others, can ever doubt
the fitness of this style for such subjects : in point of
delicacy it is even superior to oil colours ; whilst, as far
as regards depth and force, it is no way inferior.

The only subject we shall offer is the same as that of
the last lesson coloured, in copying which the student
ought to provide himself with a piece of smooth Bristol
board, on which he must draw a faint but correct out-
line : this being done, let him mix up a faint tint of Ve-
netian red, and with it go all over the flesh, carrying it
well into the hair, and also over the white drapery
that covers the neck, which being transparent, shows in
some measure the colour of the skin through it: when
this is dry, a second wash of the same tint must be
laid over the flesh, but not over the white drapery.
By this time the general tone will be approaching some-
what near that of the original, and the flat washes must