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draw or copy it by his eye alone-- and his ability need not be doubted, yet he will save much precious time, and obtain certainty, by tracing it on a varnished or oiled paper, (English tissue paper), which he can do without any effort of mind, unless to make some correction or variation.
It is not unfrequently said by young Artists, that they can paint from nature, but cannot copy; and as the connoiseurs undervalue all copies, such Artists may imagine themselves degraded, or at least losing time by this mechanical or rather scientific mode of proceeding. No Artist, however, can be sure that he can make a good original picture if he is unable to make a good copy, at least from his own work. In the case of copying his own painting, especially a bold study from the life, he is only preparing his canvass + picture in the manner of the old Masters, for his most effective performance afterwards. In his preparatory study he has not regarded the coarseness of his pencilling, not even  noticed if the paper or canvass be all covered, provided the effect pleases him; but when he transfers it to his canvass, it is incumbent on him to lay his colours with more skill and care, as for a more permanent + finished work of art. Instead of losing time, it will often be found that time & composure have been gained for himself, needless trouble saved to the seller, + disappointments avoided--and, finally, this mode of proceeding will afford the best opportunities for trying any experiment, as to materials or process. This the art of the sculptor, with ductile clay for his material, imitates the transient form [[strikethrough]] s [[/strikethrough]] before him, which is [[strikethrough]] had [[/strikethrough]] afterwards copied & refined in the marble.  Sculpture is now more perfectly understood than it has been at any former period, and owes its chief excellence to the fact that the artist bestows his full powers on his clay study, or model, [[strikethrough]] which is then correctly copied by [[/strikethrough]] leaving it to well educated workmen in marble, to be faithfully copied.

Palettes for Flesh

One palette or sett of tints cannot be made to represent the great variety of complexions, which are found in nature. In some the Vermillion tints predominate, even with the addition of Lake; Some are