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to the contingency of being more easily injured by the scourings of the Picture cleaner at some future period. Must an artist, however, sacrifice his own reputation, & diminish the enjoyment of his Patrons during their respective lifetimes, from the visionary desire to favour the ignorant Picture cleaner, or the more mercenary dealer, who has no fellow-feeling for any living artist? Yet it is quite reasonable that in the employment of Varnish in his colours, or any other process, he should be careful to insure [[strikethrough]] its [[/strikethrough]] their durability during his own lifetime & that of the owner of the Picture, with a reasonable probability of their lasting longer, by the employment of a stronger Varnish than that of the Mastic. If Apelles & Zeuxis had painted their pictures so substantially as to have lasted until now, it is probable that there would have been less beauty & delicacy in their works to have been commended by their contemporaries. The paintings recently discovered in Egyptian tombs, painted 3000 years ago, which are admired for the strength of their unchanged colours, were probably as coarse & unrefined then as they appear now.

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Central direction of lights & shadows.
 
As painting is essentially the art of drawing with colours, it is important always to attend to the direction of the centres of lights, colours and shadows, with due observance of their breadth, length and curves.

Drying Oil & spirits of Turpentine.

Drying Oil (prepared with Litharge in the Sun, or in a Sand bath, or water-bath), diluted with Spirits of Turpentine, is highly recommended as a diluent or Vehicle of Colours, from the beginning to the [[strikethrough]] end [[/strikethrough]] finish of a Painting; because it enables the Artist, when necessary, to thin his pigments and to make them dry. This mixture in a short time becomes colourless; and the drops which harden on the outside of the phial show that it continues so, drying with a remarkable toughness. It is said to have been a favorite vehicle with Willson, Reynolds and other Painters, after it had become thick by exposure to the air. This is not probable, as in that state it is sticky & clammy.
 
The drying oil, holding Sandarac in solution, diluted with a a little spirits of Turpentine, is to be preferred, as it dries with a greater gloss. This mixture not only promotes a free execution, but leaves a surface of an excellent texture to be covered by solid colouring.

Transcription Notes:
In the Late Medieval and Renaissance era, sandarac was used to make varnish. Apelles of Kos was a renowned painter of ancient Greece. Zeuxis was a Greek painter who flourished during the 5th century BCE.