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[[underlined with red pencil]] #15 20x14 [[/underlined]] best Engl Linen, primed grey, soap washed 3 months go, now cleaned w naphta, drawing in Tusche, oiled in w [[?-line]], underpainted w CrW, RM, CAD I, Cad II, Cad or, RM, Harr R, ul, cob vio, + some turps. not satisfactory
[[underlined]] Observation. [[/underlined]] After 2 days the undercolor is hard enough to scrape but, where thick not yet dried and stuck to canvas but flakes off. - The underply should be thin in order to dry fully & quick and allow, if "flat" with turps, to let the overoil color penetrate to canvas. It is best to get old primed white-oil canvas, [[underlined]] then prime it anew [[/underlined]] with thin flake white (best), no turps, so that this first coat sticks well (à la house painting Where priming requires much oil). Thus one gets a white ground, which, if 2 Wh is [[thinly]] painted over the Fl W, is permanent. Before quite dry underpaint in pure light color, instead of heavy mixing white with it which is not economical regarding expensive color, less permanent and slower in drying. [[underlined]] Hamerton [[/underlined]] reviews the evolution of Oil technic and prefers the final all-opaque underply in oil and over ply in oil instead of tempera, glazings. He affirms the good practice of varnish addition to color by the Flemish and Venetians and the slow and careful preparation by sketches, before final ply; so Titian, Rubens etc. The theory I have of white breaking up the colors is correct, since it can so be faintly tinted with any color at any place that each full final color will not come so much on a white as on a complem - color as other - color ground, which adds to its brilliancy; 
[[in pencil]] (136 [[/in pencil]]