Whittock, Nathaniel: The Art Of Drawing And Colouring, From Nature, Birds, Beasts, Fishes, And Insects: With Plain And Coloured Drawings, From Original Paintings By Morland, Vernet, Howet, Le Cave, &c. (London, 1830)

87

lessons, particularly is the directions sor colouring them in water
/
colours has been studied.
Lesson XI[I. will require some remarks on the insects introduced in
this subject. They are seldom produced in oil with much esfect, as
however bright the colours os their wings, they still require to be kept
feathery and transparent; this it is very dissicult to essect with the ssake
white and other opaque colours. Some os the most eminent Flemish
and Italian painters os ssowers have introduced butterssies into their
pieces, and have given them all the lightness and brilliancy of those
produced in water colours, by painting in the same way, that is, by
laying a white smooth ground on that part os the canvass where the
butterssy is introduced, and painting over it with transparent colours,
leaving the white sor the lightest tints, as is painting on paper.
The horses, in Lesson XV., are good subjects sor studies in oil,
particularly the grey horse in the upper group. The shadows must be
kept grey in the sirst process, and glazed with a warm transparent
colour in the next. The dapple is given when the bright light or
projecting parts are wet, with a tint os white, black, and a little blue;
these are penciled on thinly, and blended among the colour pre-
viously laid on with the sostener.
•/
A bright bay or chestnut horse will require to have the shadows
scumbled in with Vandyke brown; the lights with white and indian
red, letting the colour be much brighter when it is sirst applied than it