Viewing page 136 of 146

This transcription has been completed. Contact us with corrections.

[[image drawn]] (Prussiate of Copper. Field says that "being very liable to change in colour by the action of light, & by other pigments, has been very little used by Artists.) In the Portraits in which I have used it for many years I have not observed [[strikethrough]] after many years [[/strikethrough]], any disadvantageous change of its colour; but I have found by long exposure to the Sun, that its tints with white have become more gray. In case of doubt in the used of this pigment, the imitation of it by black Lake & Mars Yellow or raw Siena may be employed.
This pigment is best ground with Poppy or Nut oil, as drying less rapidly than with Linseed oil.

[[image drawn]] Vermillion in Flesh.
Northcote's Anecdote of Sir Joshua Reynolds being recommended to use Vermillion, instead of fugitive Lake, in painting flesh, when he said, looking at his hand - "I see no Vermillion in it" - Yet in all his latter pictures he employed Vermillion - shows [[strikethrough]] ing [[/strikethrough]] how even a great Colourist may be prejudiced by his own peculiar practice - And the importance of testing by actual experiment & comparison the nature & value of every pigment and mode of employment. No method can be more sure and satisfactory that to paint a head in each distinct manner, which the Artist may conceive to be advantageous, whether in relation to the pigments employed, or the manner of proceeding; and keeping these examples in view to test their comparative merits & efficacy in the course of time & with the utmost impartiality.