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66 Dark Shade. Van: Red & Raw Umber; and a tint intermediate by mixing this Dark-shade with the Mezzo-tint. Green tints, Naples yellow and Black _ & N.Y. and Blue. The tints with white should be light or dark according to the complexion -- And if necessity should require the head, painted with these Colours, to be finished at once, tints with Vermillion & Lake may be mingled with the Carnations. [[strikethrough]] In mixing [[/strikethrough]] Vandycke Red, or Violet de Mars, with Naples Yellow, [[strikethrough]] care must be taken that neither the Red nor the yellow shall predominate, This [[/strikethrough]] so as a Mezzo-tint, produces the most universal warm shadow Colour for flesh that perhaps can any otherwise with equal certainty be made - the Vandyke Red possessing in its nature as much Blue as is necessary to neutralize the Yellow; for whilst the darkest tint is sufficiently warm, the lighter tints, made by the addition of white, are cool & delicate. After a sufficient body of Paint has been employed in moulding out the features - and the Picture is dry enough to be retouched, it may be moistened with Poppy oil on a soft piece of sponge, wiping off [[strikethrough]] what [[/strikethrough]] with shamoy leather what may be superfluous on the lights. After which, glaze all the shadowy parts with Prussiate of Copper or with a composition tint resembling it commencing with the darkest parts, and, as the Brush becomes less charged, pass it over those places which require to be but little darkened. This prepares every part of retouching, either to heighten or darken it; or to change the hue with any of the former tints, or with the greens made with Naples Yellow & blue and Naples Yellow & black, or Naples Yellow & raw umber The darkest shade may be enriched with a tint composed of Lake & Burnt Umber, Lake & Raw Siena, & Lake & Burnt Siena. Mezzo-tints. The Palette of Titian or Rubens will not insure excellent Colouring to the Artist who does not study, with a discriminating eye, the exquisite hues and shades of Nature, under every modification of light; yet to one who is desirous of studying them, it is of great importance.
Transcription Notes:
[Dark shade is underlined]
[intermediate is underlined]
[Mezzo-tint is underlined]
[Blue underlinned)
[lights is underlined]