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)

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is intended to appear when finished. Give broad decided touches of
the same tint, made still brighter with white, on the most projecting
part of the muscles. The light and shade should be carefully blended
together with a dry brush, and where they are joined they will pro-
duce a sine middle tint. Care should be taken to keep the drawing of
the muscles and limbs very correct in the sirst process; as, however
they may be heightened by the second or third process, the outline
cannot well be altered without endangering the whole. In the second
process the shadows are strengthened with vandyke brown, and the
touches on the middle tint heightened with a glaze of burnt sienna.
If the strong lights are not sussiciently mellowed, a thin glaze of the
same colour may be taken over them with advantage. The mane and
tail of a chestnut horse are generally dark. Vandyke brown is a colour
that may be used of any strength, from a light thin glaze of delicate
brown to a dark opaque brown, approaching to black.
A black horse will require to be treated nearly in the same way as
the chestnut. The shadows are thinly scumbled with black. The
middle tint is formed with black, prussian blue, Jake, and a little
white ; these should be mixed on the palette till they form a grey
tint, and then applied to all the projecting parts of the horse : a touch
of a still lighter grey, formed with black and white, upon the extreme
projections of the muscles, will give the beautiful gloss which is seen
in all well-conditioned horses. If the drawing is properly attended
to, a black horse may be nearly finished in the sirst process; the only
part that remains to be done is to strengthen the darkest shadows