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22

of Corregio, of Guido, of Rubens, or of Reynolds, could they be given into the hands of the Young Painter, would enable him to paint Flesh as those Masters did unless, like them, he sedulously and with equal discrimination should study from Nature, the effects of Colour, light, shade transition, shadow, & reflection. [[strikethrough]] and transitions [[/strikethrough]] But the knowledge of the principles of Colouring, which they devised from the study of Nature, will greatly facilitate a similar Study. Their process can only be discovered by a close in inspection of their Pictures, or especially by Copying them — the Copy constitutes the Analysis, and is an attempt to demonstrate the process or System by which the Original was produced.

34 Sponge.

Fine Sponge, moist but not wet, is not only the best material with which to oil a picture for repainting, [[strikethrough]] or [[/strikethrough]] using a clean piece, or shamoy leather, to remove what oil may be superfluous, especially in the light parts; but is also a most convenient Instrument for scumbling or spreading portions of Colour thinly over parts already painted. It spreads the Colour rapidly, delicately, and in any proportion that may be desired, either as a finish, or preparatory to the finishing touches of the brush. It is best to apply the Colour with the Brush before the sponge is employed for spreading it. A little Soap scraped under the finger nails will prevent the paint getting there, [[strikethrough]] and [[/strikethrough]] so that they can be easily cleansed. 

35 Background.

When some background is painted in around the head, and there is not time or a disposition to extend the ground over the entire Canvass, it is adviseable to diffuse or soften the edges of it with a sponge or rag — otherwise, on afterwards continuing the ground, it will be difficult to hide the edges of the first painting.

36 Use of the finger.

The finger may often be employed to blend a touch which is too strong or harsh, with much more certainty & delicacy than with a brush; or in producing the texture of cloth, or, of indefineteness in a background. In the hair, the finger moved in the direction of the hairs or curls, softens the effect & blends the lights & shadows, with less of the appearance of brush & paint.