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52  Surface of Canvass

It is of the greatest consequence to have the best possible Canvass prepared for each Picture, instead of taking up any kind that may be at hand. The Canvass should be well coated and of a uniform tint. It often happens in the preparation of Canvass, that the knotty parts of the linen being more pumiced than others, the paint & sizing are ground off, and though the surface may appear good, yet when the artist is carefully painting on it he is mortified to find his painting disfigured by spots and blotches, produced by the paint sinking in those parts, and which nothing can correct but the application of another Coat of paint -which would have been better before he began his Picture, expressly & carefully laid on with fine colour.

It is certainly desirable that when the Artist has arranged on his Palette all his Colours and tints, and selected his brushes, that every stroke and touch should perform the purpose he intends - This cannot be the case if the Canvass absorbs too much, or, by too great smoothness does not receive the full impression.

The unevenness occasioned by skins, or other extraneous matters, is best removed, especially in new Canvass, by the edge of the Palette knife, before the use of sand paper or pumice stone; which are most effectual when the surface is old and dry.

53  Mixing of Colours.

It is a common maxim, given by Professors & writers on the arts, not to mix the Colours too much with the brush - This they call torturing the colours. If the tints are suitably prepared with the knife, they require but little mixing with the brush; but if not prepared to the proper tints and tones, they must be mixed with the brush.  The maxim, rightly understood, is only to guard  the artist from blending his colours into a neutral monotony, instead of imitating the freshness and elasticity of flesh, by all that variety of tints which distinctly imitate the red and blue veins, and [[strikethrough]] all the [[/strikethrough]] every hue [[strikethrough]] s of flesh, [[/strikethrough]] under their different aspects in light, shade, reflection & demi-tint - and these tints should finally be put on, [[strikethrough]] when the surface is fresh [[/strikethrough]] in distinct touches on the moist surface already painted, with which they may mingle without harshness.