Viewing page 50 of 146

This transcription has been completed. Contact us with corrections.

15

[[strikethrough]] many [[/strikethrough]] that number of days allowed him in front of the Original; but I ascertained when in Rome, that by means of the tracings made by Camucini, which he liberally lent to Artists, and with the additional aid of a small coloured Copy, Harlowe prepared his Picture at leisure, so that it was easy afterwards in eighteen days to retouch & finish his Copy from the Original.  This anecdote is illustrative of the vulgar love of Wonder.

It is as excellent practice to make quick studies form Nature, but naturally as well as boldly, with oil colours on prepared paper.  But when transferred to Canvas they should be carefully and deliberately finished in the Artist's best [[strikethrough]] manner [[/strikethrough]] styles of execution, with more than one coat of paint, profiting by every hint which the Study can afford.  This process of Study and Copy laid the foundation of the excellence of the Great Masters in Fresco painting.  It is certainly desireable to process a quick eye and a ready hand in correct execution; but this can only be acquired by careful study and much practice.

[[left margin]] 17 [[/left margin]]

Tracing paper.

The best quality of English Tissue paper (or fine Copying paper) varnished with diluted Copal Varnish, or Venice Turpentine - coated on both sides, and hung up to dry - furnishes the best paper for tracing from oil paintings, the dark shades of which can be seen only through the most transparent Medium.  Fine Tissue Paper oiled with Drying oils [[strikethrough]] Linseed or Nut oil [[/strikethrough]] is [[strikethrough]] not [[/strikethrough]] sufficiently clear for some purposes [[strikethrough]] some [[/strikethrough]] but French tracing paper is only proper for the black lines of Engravings.

To make use of it, the Canvass being pumiced & rubbed over with whiling and wiped off, arrange the tracing at will on the Canvass, hold it down at the lower corners with two weights, then having a thin sheet of paper tinged on one side with [[strikethrough]] powder of [[/strikethrough]] Vermillion or powder of Red [[strikethrough]] oker [[/strikethrough]] chalk, place this under the tracing, and go over every line with a lead pencil, the pressure of which will imprint the Red lines on the Canvass.  This tracing must be corrected from the original Picture and, if necessary, neatly confirmed with a pen with [[strikethrough]] Red [[/strikethrough]] pale Indian ink.  To prevent it moving, the Weight must be removed to the upper part of the tracing - and a thin Board be placed under the hand to prevent fouling the Canvass.