Whittock, Nathaniel: The Art Of Drawing And Colouring From Nature, Flowers, Fruit, And Shells: To Which Is Added, Correct Directions For Preparing The Most Brilliant Colours For Painting On Velvet, With The Mode Of Using Them, Also The New Method Of Oriental Tinting ; With Plain And Coloured Drawings (London, 1829)

85
The apparatus required for painting in oil is an easel, a rest, or as it
is commonly called a maul stick, an earthen palette, and a glass slab
and muller. Brushes os various kinds, hog's-hair brushes, camel-hair
pencils, and a badger-hair sostener.
The colours can be procured from any respectable colourman much
better and cheaper than a person who is making a first essay in the
art can prepare them himsels.
They are usually ground in nut oil and tied up in bladders sor use;
but the flower painter requires so little os each sort that it will be bet-
ter to purchase the following colours in powder, and keep them in sepa-
rate phials, as they soon get dry in the bladders, and are then os
no surther use. The colours in powder are in most cases ground either
in turpentine or water, and are susfered to get dry on the slab, and then
scraped oss and put into bottles for use. The colours required sor flower
painting are flake white, Indian red, vermilion, lake, carmine, yellow
ochre, king's yellow, raw umber, burnt umber, burnt and raw sienna,
smalt, prussian blue, ultramarine, vandyke brown, and black.
The vehicle used sor rendering the colours liquid, and laying tliem
on the canvass is turpentine and fine nut oil.
Among the colours enumerated above, there are some quite opaque,
and others transparent. The opaque colours are flake white, vermi-
lion, king's yellow, smalt and black. The rest are called transparent,
22 z