DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18957#0180
89
they always sink a great deal in drying, independent of its being part
of the third process to reduce any defect of this sort by glazing. Let
the veinings of the leaves, and every part, be got up bold and strong,
taking care to keep the colour of the ssower in shade thin, and to load
those in the strong lights with colours. Every part of the picture must
be finished up with great boldness and esfect, and then placed to dry,
where no dust can hurt it. After it has stood a day or two, and it will
generally require that time for the whole of the colours to get hard,
the third and last process may take place. The painter will now
carefully examine if any of the colours on the lights are too glaring;
for instance, if the yellow in a tulip approaches to the orange, when it
ought to have the delicate green yellow of the primrose. If this fault
could only be remedied by applying an opaque yellow, the whole
ssower would have to be painted again, as that would, of course, cover
all the light and shade, and whatever marking there may be upon it;
but if a very thin tint of prussian blue, so thin that the blue is scarcely
apparent, is glazed or scumbled over the offensive yellow, it will
immediately reduce it to the proper tone of colour, without at all
injuring the work. Again, if a red is too violent, it may be taken down
with a glaze of lake. If a yellow is too cold, it may be heightened
with a glaze of raw sienna. If the veinings of the leaves are too
strong, they may be brought down by the same means. Every part
of the picture must be advanced, or made to recede by heightening
or glazing down till the whole is in harmony, and each part nicely
balanced, or, as a painter would say, the breadth every where pre-
served.
23 2 A
they always sink a great deal in drying, independent of its being part
of the third process to reduce any defect of this sort by glazing. Let
the veinings of the leaves, and every part, be got up bold and strong,
taking care to keep the colour of the ssower in shade thin, and to load
those in the strong lights with colours. Every part of the picture must
be finished up with great boldness and esfect, and then placed to dry,
where no dust can hurt it. After it has stood a day or two, and it will
generally require that time for the whole of the colours to get hard,
the third and last process may take place. The painter will now
carefully examine if any of the colours on the lights are too glaring;
for instance, if the yellow in a tulip approaches to the orange, when it
ought to have the delicate green yellow of the primrose. If this fault
could only be remedied by applying an opaque yellow, the whole
ssower would have to be painted again, as that would, of course, cover
all the light and shade, and whatever marking there may be upon it;
but if a very thin tint of prussian blue, so thin that the blue is scarcely
apparent, is glazed or scumbled over the offensive yellow, it will
immediately reduce it to the proper tone of colour, without at all
injuring the work. Again, if a red is too violent, it may be taken down
with a glaze of lake. If a yellow is too cold, it may be heightened
with a glaze of raw sienna. If the veinings of the leaves are too
strong, they may be brought down by the same means. Every part
of the picture must be advanced, or made to recede by heightening
or glazing down till the whole is in harmony, and each part nicely
balanced, or, as a painter would say, the breadth every where pre-
served.
23 2 A