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Regulation of Attitude.

Few persons sitting for a Portrait sit in a proper manner, generally holding themselves too upright, or sloping backward. One of the methods of correcting this is to let the Sitter lean forward and clasp his kneepans with his bent fingers - then retaining this position of fingers, let him raise his head.  It will exhibit the chest more at ease and detach the Chin from the Neck in a Natural  manner: Or let him lean on a Table in front of him.

Grinding of Paint.

Colours are often too coarsely ground. This sometimes arises from imperfect levigation, and as often from too little attention and time in the act of grinding.  This operation, in some cases where the pigment is of an intractable nature, may be promoted by the addition of a little Alumine or Magnesia; and sometimes by a drop or two of varnish, or Megelp.  The more perfectly the pigments are ground, the greater freedom, delicacy and beauty of pencilling and shading may be accomplished.

Economy of Labour.

Everything which can economise the time and labour of the Artist is worthy of his attention, when both may be employed to more advantage. In copying a Picture it is doubtless the best procedure to make an accurate outline by tracing it, where it can be done - if not, to make the drawing with extreme care and attention, thus to guard against the necessity of alterations.  Hence in Portraiture, the advantage of preliminary study from the life, either in chalks or with colour, which may be transferred and even corrected. The entire outline [[strikethrough]] may [[/strikethrough]] should then be neatly and correctly drawn on the Canvass with a pen [strikethrough]] with [[/strikethrough]] and dilute Indian Ink or Red Ink (on some Canvasses, especially if new, lead pencil or even charcoal may answer, if oiling or thinly painting over it may not obliterate it) - Or, [[strikethrough]] when time permits [[/strikethrough]] after the charcoal sketch, the outline may be made with oil paints diluted with Spirits of Turpentine & drying oil - Any tints may be used, which must be suffered to dry.  Before painting over these outlines, the whole surface may be moistened by a bit of sponge with good drying oil, over which the brush will pass freely & rapidly, either to tinge

Transcription Notes:
Megelp/megilp = oil painting medium