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64 are made sufficiently brilliant with Venetian Red; whilst others rife no higher than Light Red; and some complexions require nothing brighter than Brown Red - (brown oker, burnt). Spanish Brown, when carefully washed and levigated, affords [[strikethrough]] the most [[/strikethrough]] a soft and mellow Red for general dead colouring; and in some cafes for finishing, with the additional tinting of Vermillion, Lake or Indian Red. Its tints with white, especially with the addition of Naples Yellow or Yellow Oker, are more sunny than those made with light Red, and less leathers than burnt Siena. For the shadows, Vandycke Red, (of Violet de Mars), and Ivory Black, in such proportions that neither colour shall appear to predominate, when tints [[strikethrough]] are made [[/strikethrough]] with white are compounded from it, but that they shall have a pearly cleanness - the light tints being cool, whilst the dark ones are warmer, the red seeming to predominate. These pearly gray tints combine with the Spanish Brown into clean middle tints. White Drapery may be painted with these Pearl tints, using the other truly to warm the shadows, as if the flesh were partly seen through. These tins also serve for gray hairs. Painting of Flesh There is no substance in nature so difficult to imitate as Flesh; and very few artists in any age have been celebrated in that essential branch of the art. This is owing to its varied texture and complexion, the state of health, and the accidents of light, shadow and reflection. It is composed of hues more or less partaking of yellow, Red, and blue - Orange, green, and purple; + may be [[strikethrough]] initiated [[/strikethrough]] represented by means of a great variety of pigments, which admit of a most extensive and embarassing choice. A correct eye for colour sometimes [[strikethrough]] sometimes [[/strikethrough]] succeeds with the most common material s, in imitation of some particular complexions; but every artist finds it difficult to execute with equal certainty all the varieties, under every influence, which are presented to his view. Young Painters generally represent Flesh too red. Some make the shadows or gray tints too black, or too brown - the lights too monotonous, and