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8 Bardwell and other writers, recommend in the dead Colouring of Portraits and Landscapes, that the colours should be "drove with drying oil" and they say that this must have been the practice of the Old Masters. This is not probable, for it is an awkward and uncertain process on a dry harsh Canvas. It is better after a good outline is obtained to oil the Canvas, on which the paint the paint will then move pleasantly, without being driven. It is advisable in painting a head to employ only one System of set of Colours, in the successive Coats and retouches, until the last glazings and finishing; because tints made with [[strikeout]] different [[/strikeout]] various parent colours, in drying become more or less dark in comparison with each other, and, therefore, whatever Reds or Yellows are employed should be continued to carry out the performance with as little deviation as possible, till the last. For instance, if Light Red be employed, let it be used as far as it will serve; if Vermillion and Yellow Oker, confine yourself as much as possible to them-- and so on. Example Pictures Every Artist, especially the Portrait Painter, will find it an advantage to retain in his possession from time to time, a specimen of some particular manner of operating, or of Colour, which he may have made, in order as time elapses, to judge of the effect, in comparison with each other, or of the permancy of the tints employed. Painting al primo. The Italian Painters pride themselves much on their skill in painting al primo, or, as the French [[strikeout]] call [[/strikeout]] term it, au premier coup. Their practice, as I have seen it, [[strikeout]] therefore [[/strikeout]] in copying a Picture, after a careful drawing, is to begin painting at the upper left hand corner, finishing as they advance downward. Scraping. It is also the practice of the Italian Painters, after having painted
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