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)

88

ON PORTRAIT AND

with carmine ; a light shade is thrown in behind the
figure with a double B pencil cut to a broad point, and
a tint of sepia washed over it, when the drawing will be
finished.

From the above example, the student will find that
the mere colouring the human figure is not attended with

o O

greater difficulties than any other kind of drawing; lor
indeed, the colouring of every object in nature considered
without any relation to effect, is very nearly the same.

LESSON XXII.

On Portrait and Miniature Painting.

Portraits are seldom if ever painted in water co-
lours, although I can assign no other reason than cus-
tom, which must also be pleaded as an excuse why
artists seldom paint miniatures in oil: many indeed will
say, that oil colours are more durable than water colours,
which is however incorrect : a picture painted in oil will
change, and grow more yellow, even within a few years after
it is finished, whilst illuminated manuscripts five hundred
years old are still in existence, in which the colours are

with the colours, it readers them darker than they otherwise

7 *)

would be, by operating like a varnish in making them shine. If
the gum-water be wanted to wash over pencil drawing, in order
to prevent the lead from rubbing out, the proportion of gum ought
to be one ounce, or even less, to a quart of water.