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6 at which he would arrive. In a course of moral conduct, in the study of excellence, it is incumbent on us "to know the wrong, and yet the right pursue," so to the artist his failures are of salutary use-to know their causes, and to avoid the recurrence of them. The experience which I claim, besides offering many facilities in the various processes of painting, includes several discoveries both in regard to new materials and improved modes of employing the old, by which much of the embarrassment incident to the practice of the art is obviated: and further, the notes of this experience are not the obscure recollections of past conception or doubtful methods, but the fresh and bona fide memoranda of the painting room, founded on the observations of a long life. These results of my practice were not fully recorded, when a second marriage gave me a companion and pupil, whose love of painting and zeal for improvement constantly drew from the store-house of my memory for instant use, much matter which might else have been forever lost. I mention this circumstance for the purpose of showing that no other occasion could occur, so well calculated to elicit appropriate information; recall the results of past experience; and prescribe the requisite exact details necessary for immediate use. It is scarcely possible for an artist, after years of practice, even the most successful, to recollect all the means by which he learned gradually to accomplish the best results of his pencil, unless he has, constantly at his side, a pupil in whose progress he is much interested, and whose difficulties, similar to those he had himself experienced, should thus serve to revive his memory; explaining by practice the doctrines in which they are both equally interested. 7 Instead of endeavouring to reduce these NOTES into a regular scheme or system of painting, it was thought best to let them remain nearly in the manner they were produced, as distinct axioms; because the occupation of an artist is not in carrying on a system, but in performing some particular act, according to ever-varying circumstances-and the information he wants is to know how best to do the thing he is about, which he can seek, by an index, under its distinctive head. It is to be presumed that he possesses a general knowledge of painting, such as may be found in the best treatises on painting; if he is not himself an able Professor. These NOTES are to assist his judgement, and especially to facilitate his operations by the promulgation of several original discoveries of great importance, which must be known to be duly appreciated. To these are added some quotations from other authors, preferring to give their sentiments in their own words, as corroborative evidences, rather than otherwise to appropriate them, except for the credit of judgement in their selection; thus evincing a due veneration and regard for the truth wherever it may be discovered. R. P. ---------------------------- (PROTEM.) PROSPECTUS. ----------- "NOTES OF THE PAINTING ROOM" Whereas Rembrandt Peale, the oldest artist in the United States, having for more than half a century been engaged in the study of his art, in Europe and America; and having from an early period sought, by experiments and variations of practice, to ascertain the best modes by which facility of execution and durability of colour could be attained; and having from time to time embodied the results of this course of study, discoveries and improvements, into a manuscript volume-"Notes of the Painting Room"-and being now desirous of communicating to his fellow artists the results of his long experience, by the publication of this work,- It is therefore proposed that a few gentlemen should purchase the Manuscript and Copyright of the "Notes of the Painting Room," for their immediate publication, so that the work may be
