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J.F. Cropsey
Nov 27, [[1859 ?]]

dry upon our canvas in our painting room, let alone the rapidity out of doors. It would be no unfair or impossible conclusion to arrive at, that a quantity of colour the size of a tube (such as we use) should in a few months at least acquire its first drying properties to such an extent as to render it "fat". Colours which have stood over night on our pallette will acquire the [[strikethrough]] first drying [[/strikethrough]] same gummy properties which we know to be caused by the drying process.
   When I was in Italy I experienced the same difficulty, and I can think of no other cause than that that ^[[of]] the hot and dry atmosphere bringing on in an incredibly short time the first drying process.
   At home I used very little English oil - or rather I seldom bought at the colour stores, but prefered to buy at the painters. Enquiring always for the best quality of fresh raw Linseed oil, which I generally found to be unexceptional. I always bought
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[[right-hand page]]
2 Kensington Gate
Hyde Park, London
Nov 27th, [[1859 ?4]]

My dear Mr Durand
   In a letter which I have received from Mr Falconer, and another from Mr Thorndike, I learn that you, as well as others have experienced great annoyance from bad or "fat" colours.-- hence I take the liberty of dropping you a line directly rather than indirectly through them.
   At home I was often annoyed in the same manner. The colours that I most generally used were Winsor & Newton's, but often found occasion to condemn them for their "fatness". I was at loss to know what cause to attribute it to. In some instances I was disposed to think they were reground colours and may have been so, although
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