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24

Glazing and Scumbling.

Merimée, and other writers, speak of tones - (they should include hues) - that may be produced by glazing, not otherwise to be imitated. They might have added, that it also produces a softness and finish not otherwise to be effected. But they confound scumbling with glazing, when they remark that Opake Colours may be employed to glaze. Glazing with transparent Colours operated by the Colour of the ground upon which they are spread, shining through, and being tinged by, the transparent [[strikethrough]] glazing [[/strikethrough]] medium. Colours glazed on white exhibit their purest hues - [[strikethrough]] without [[/strikethrough]] over other colours they form compounds - as blue over yellow produced green; Red over yellow produces Orange, etc. Opake Colours, on the contrary hide in some degree the colours that are beneath them and produce their effects in a subdued and less brilliant, but more solid manner; this is rightly termed scumbling. 

Darkening of Colours. 

Some colours, when they become dry, are of a darker hue than when fresh laid on. This is generally owing to the particles of Colour being separated by the oil, which thus dilutes them. When they again contract, as the oil dries, the particles, by approximating, resume their original hue. Merimée recommends to tough a portion of the dry or unground [[strikethrough]] paint [[/strikethrough]] pigment with a drop of oil to ascertain what allowance should be made in the use of each pigment for such an effect of darkening. This in some cases, may assist the judgement but is not sufficient; as few colours ground with oil could ever become as light as they originally were. Some pigments, such as Naples Yellow, Vermillion, Indian Red, etc. require but little oil to grind them, and therefore change less by contraction. This is rendered very evident, after having painted a background with pure Raw Umber; when it is perfectly dry, after some weeks, by painting on it, with some of the same Raw Umber, the fresh paint appears a degree lighter, but will dry to the same tone. The high lights of the [[flesh ?]], therefore