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6

thus-- On a strong frame, morticed and glued at the corners, I  have pasted a  sheet of my strong packing paper-- and, having wetted both sides of the Fuller's Board, till it became soft  and pliant, I  coated it with paste and applied it to the surface of the paper, and turning over the edges, to be pasted and backed, as Canvass, to the Frame-- Then placed on the  floor, face downwards, that the edges may first dry.  When dry it is found to be perfectly level and  tight as a Drum, and may be painted as before directed.
   The Fuller's Board alone, without paper, may be used, being carefully moistened well pasted at the edges and back of the frame, and secured with numerous tacks, as with Canvass.
  
     Outlines.
   On Canvass which is not very old and dry,  outlines made with  Lead pencil should be preferred, if  they will bear being rubbed over with a rag or sponge moistened with drying oil.  Otherwise they may be made with pen and pale Indian [[strikeout]] red [[/strikeout]] ink, the Canvass being previously  rubbed over the Whiting.  In these Cases no line need be too strong for the most delicate indications; and on this moistened surface every line that requires it may be painted stronger and with its appropriate colour and with their various breadths-- and any Colouring added with the Brush that may not derange the outlines.  These must be suffered to dry before repainting.

      Alterations
   Although it is true that alterations may be readily made in Oil paining, by painting out, and painting over, erroneous parts, it is always desirable that  no such changes should be required; which is chiefly to be accomplished by making the dead colouring soft and shadowy, marking nothing too distinctly, especially in doubtful parts; for it should never be  forgotten that it often required several coats of paint to hide the part which is to be obliterated, and that at the expense of much of the spirit of the execution.