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The white underpainting fairly dry in 20 hours; still soft on the 3rd day. The drawing tried first on tracing paper, then transferred with wax-pigment-paper so strongly adhered to the white that I had to scrape off the superfluous with a knife and found it easy to [[underlined]] scrape off a good deal of [[/underlined]] the white without enfeebling at all [[underlined]] the solid white effect [[/underlined]] of the ground. I now tried to paint the sky with thin cerluleum [[?]], intending to lay in & finish the picture with thin colors, pure and transparent on the white ground as I had tried them on a white china tile but found at once it would not do, since addition of oil to the tube color and thin washing with the brush is impractical, would yellow, while pure color is far too strong; with white left between it is of no pale effect; that is: One cannot paint so with opaque, nonglazing colors, nor with bristle brushes. Hence I added [[underlined]] Z.white [[/underlined]] again, although it changes the [[strikethrough]] tone [[/strikethrough]] hue of the color. Sky Cerul WN, WN2W & RM & ul. thin. no white on the white. the mountain WN 2W.ul. Ly. & Devoe & Virid.--+rm+amber. [[underlined]] All oil colors rubbed thinly on a white china tile [[/underlined]] show purest, clear, brilliant tints. Especially aureolin, rose madder, permanent blue.-- use with sables?+popoma. [[underlined]] Oil put on the plastered wall [[/underlined]] is not absorbed, but water is.

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