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69 off the shadows & demi tints, it is necessary to [[strikethrough]] soften [[/strikethrough]] moisten the surface to be painted on with Poppy oil. By this means the most [[underline]] delicate [[underline]] changes may be made, with the almost exhausted Brush. - which should be carefully done in every part, before employing any other colours. [[image drawn]] Comparison of Tints. In order to acquire Accuracy in the comparison of tints, as they mutually affect each other, mix a sett of each colour & tints, to correspond with each other in tone as nearly as possible. Put each sett on a separate strip of Canvas, which may at any time afterwards be placed along side of each other to be compared. For instance, Lake, Vermillion, Venetian Red, Light Red, Spanish Brown, Roman Red, Indian Red, Vandyke Red, Violet de Mars, Brown Red, & Burnt Siena — each 2 or 3 tints with white. Another sett composed of Naples Yellow or Yellow Oker with each of the former Colours, and their tints with white. And others in the same manner with Yellow Oker, Roman yellow,[[strikethrough]] and [[/strikethrough]] Raw Siena,&c. [[image drawn]] Gray Tints. Very useful gray tints may be made with white & Burnt Umber, producing warmer and cleaner tints than those made with Raw Umber. They may be rendered pearly by being combined or scumbled in with the purplish gray tints made of Vandyke Red or Violet de Mars — and when too purple, counteracted by green tints of Naples Yellow & Ultramarine, or by greenish gray tints made by the addition of Naples Yellow with the grays made with Black, Vandyke Red & white. Young Painters are apt to paint the shadowy parts among the lights too dark. To obviate this they should [[underline]] generalize [[underline]] the whole, rather inclining to the middle hue — when the lights are touched on these middle tones the shadows are already made. Grinding & using White Lead. Nothing injurious to the Artist arises from the little white Lead which he