1280 1 
 B12 i 
 1872 1 
 
 if 
 
 ^ 
 
 ■ 
 
 ■^ 
 
 ^^^H 
 
CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
Cornell University Library 
 ND 1280.B12 1872 
 
 The theory of colouring:being an analysi 
 
 3 1924 008 664 223 
 
Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924008664223 
 
THE 
 
 THEORY OF COLOURING. 
 
DIA&RAM or COLOUR 
 
 ^Y.OffiN CrB£EM 
 
 ^. 
 
 ^. 
 
 '# 
 
THE 
 
 THEORY OF COLOURING: 
 
 BEING 
 
 AN ANALYSIS OF THE 
 
 PEINCIPLES OP CONTRAST AND HARMONY 
 
 IN THE AEEANGEMENT OF COLOTJES, 
 
 WITH 
 
 THBIE APPLICATION TO THE STUDY OP NATURE, 
 
 AND 
 
 HINTS ON THE COMPOSITION OP PICTURES, ETC., 
 
 BY 
 
 J. BACON, 
 
 PKOPESSOB or DEAWING AND PAINTING. 
 
 THIED EDITION, EETESED AND ENLARGED. 
 
 LONDON : 
 
 GEO. ROWNEY & CO., 
 
 MANUPACTUEING AETISTS' OOLOUEMEN, 
 
 52, RATHBONE PLACE, & 29, OXPORD STREET, W. 
 
 1872. 
 
^ , S o/i'<^ 
 
 
 
 .^ 
 
CONTENTS 
 
 Plates 
 
 Preface . . .... . vii 
 
 On light 1 
 
 Description of the diagram of CoIonrB .... 8 
 
 CHAPTER I.— Definitions 10 
 
 Section 1. Definitions and principles ... 10 
 
 „ 2. Eemarks on colour ... 11 
 
 „ 3. Bemarks on pigments ... 13 
 
 CHAPTER n.— On Haumont 15 
 
 Section 1. Simple harmony .... 15 
 
 2. Compound harmony .... 15 
 
 „ 3. Exercises 16 
 
 „ 4. Remarks ... .19 
 
 CHAPTER III.— On Studting Wobks op Ajrt . . 22 
 
 Section 1. Analysis of the composition . 22 
 
 „ 2. Copying . . . 23 
 
 „ 3. Recapitulation . ... 24 
 
 CHAPTER IV.— On Stuiiting ieom Natuke ... 25 
 
 ■^ Section 1. Grey tints in nature . . 25 
 „ 2. Palpitating effect of colours, ■with 
 
 TuENEE's method of observing it . 27 
 
 „ 3. Varying beauty of sunset and simrise 28 
 
 „ 4. Efeect of light on the eye . . 30 
 
 ■i „ 5. Making a study from nature . . 31 
 
 6. Bemaeks — 32 
 
 On rigid drawing . . 33 
 
 On different styles . 33 
 
 On mannerism ... 34 
 
 On methods . . 34 
 
 CHAPTER V. — Composition oe a Pictueb 36 
 
 CHAPTER VI. — Histoeical Painting . . 40 
 
 APPENDIX . . 42 
 
 Analysis of pictures . . 42 
 
 Table of mixed tints . 56 
 Bemarks . . . • .57 
 
PREFACE. 
 
 The object of the present handbook is to 
 place before the student, in a short and simple 
 form, the theory of artistic colouring. There 
 are few who have not felt, in the earlier period 
 of study, the want of general rules to guide 
 them in the composition and arrangement of 
 colour in a picture. "Without entering into 
 abstract and abstruse discussions on the nature 
 of colour, a few of its more practically-impor- 
 tant properties are pointed out, and general 
 rules founded upon them. These are made so 
 "simple as to be easily understood, and so few 
 as to be readily remembered." 
 
 A Diagram has been devised, for the purpose 
 of exhibiting, at a glance, and of compressing, 
 in a single figure, all the theoretical principles 
 of combination, harmony, and contrast. By it the 
 student is enabled to modify tints at pleasure, 
 as well as to subdue crudeness, or impart bril- 
 liancy, as may be required in his picture. 
 
 The various rules which these principles 
 involve, will be found exemplified in the pic- 
 
VIII. 
 
 tures of the best artists. The student is thus 
 led to discover an important secret in their 
 success. After mastering the principles thus 
 applied, he is directed to study nature, and, by 
 the study of nature, is prepared for the highest 
 exercise of art, the composition of pictures. 
 
 Many are averse to use theoretical principles 
 in the study of art : science, it is said, may be 
 learned by theories, but art only by practice. 
 Truly, mere "theoretical principles" will never 
 make an artist without practice, which they are 
 intended to direct, not to supplant. They are 
 to guide the student in his work, not to do his 
 work for him. The principles of colour stand 
 in the same relationship to painting as the rules 
 of perspective with regard to drawing, neither 
 can be neglected with impunity. These princi- 
 ples are not necessarily intuitive, but are to be 
 learned by long, and often bitter experience. 
 If the student will be guided by the experience 
 of others, and adopt the rules set forth, so far 
 as they commend themselves to his judgement, 
 he may reap the fruit of their labours, and 
 share with them the glory of success. 
 
PREFACE TO THE THIRD EDITION. 
 
 Some attention has been attracted to a new 
 theory of colour, advocated by men of high 
 scientij&c attainments ; and the terms, in which 
 those, who hold with " Kewton's " opinions on 
 the subject are assailed, render- it necessary to 
 lay before the Student some of the reasons 
 which induce the greater number of English 
 Artists to cHng to the old fashioned notions of 
 .colour. This is done in a short essay on Kght, 
 in which is demonstrated the fallacy of the new 
 theory, and the truth of that which is set forth 
 in these pages. 
 
 The farourable reception accorded to this 
 Httle book encourages the hope that the in- 
 troduction of fresh matter wiU secure to this 
 edition a still wider field of usefulness. 
 
THE 
 
 THEORY OF COLOURING. 
 
 ON LIGHT. 
 
 What we call Ught is an effect produced in the mind or 
 spirit of an animated being, by the action of a subtle matter 
 on the sensitive expansion of the optic nerve, which is 
 spread over the interior of the eye, and which is called the 
 retina. 
 
 The action of this subtle matter, by some called ether, 
 I prefer to call it the ligM medium, has been supposed to be 
 exerted in straight lines, but the hypothesis that it is of a 
 wavy or vibratory character has gained so much support, 
 that the relative lengths of the waves producing the colours 
 of the solar spectrum are now given in most treatises on 
 light. 
 
 The theory of the propagation of light by waves of the 
 light medium is analogous to the universally accepted one 
 of the propagation of sound through the sound medium, 
 i.e., the air an^ grosser matter. 
 
 The movement of the atoms of light medium is trans- 
 mitted from one to another, the intensity diminishing as 
 the distance from the exciting cause increases ; and besides 
 the movement between atom and atom, there is also one of 
 a symmetrical character, embracing a smaller or larger 
 
 A 
 
2 THE THEOET OF COLOUEING. 
 
 miinber of atoms, it is this symmetrical moTOment which is 
 called a wave. Modern discoveries teach us that the length 
 of the wave determines the character of the mental effect 
 which we call colour. 
 
 White light consists of a number of sets of waves 
 existing in the light medium simultaneously, the length of 
 the waves of each set being equal, but differing from that 
 of every other set. It follows that each of the colours of 
 the spectrum, obtained by decomposing white light by 
 means of a prism, might be designated by the length of the 
 waves that produce it, those of red being longest, and 
 those of violet shortest ; orange, yellow, green, and blue 
 decrease in length, in the order in which they are named, 
 as they leave the red and approach the violet. Since each 
 colour has its individual wave length, each is a simple colour. 
 
 The orange, green, and purple, of the spectrum, are not 
 secondary or compound colours ; they have their proper 
 wave measure, and are therefore as much entitled to the 
 term primary, as red or blue. We are naturally led from 
 the decomposition of white light to its recomposition. 
 "Maxwell" and Hehnholz offer elaboiute and exhaustive 
 experiments ; only a few of the facts established by them 
 will be needed for our purpose. The principal of those put 
 forward by Hehnliolz are that red and bluish green produce 
 yellow, and the following gi-oups produce white Ught ; — 
 red + bluish-green + indigo, red + greenish-blue, yellow -H 
 indigo, and orange -|- blue. He considers red, yellow, 
 green, blue, and violet to be primaries ; as with them, 
 in varying proportions of two or three together, he 
 obtains all the other colours of the spectrum almost 
 pure. In choosing three coloui-s to be called primaries 
 
THE THEORY OP COLODBIITG. 3 
 
 lie would prefer red, green, and violet, these enabling 
 him, by combinations, to produce the greatest number 
 of colours. "Maxwell's" experiments led him to choose 
 red, green, and blue for his primaries. He calls the 
 following couples complementaries; red to sea green; green 
 to pink ; and blue to yeUow : these couples producing white 
 light. It must be observed that the foregoing results are 
 obtained only from, coloured lights, not from pigments. 
 Admittiag the accuracy of " Maxwell's " observations, and 
 the justness of his conclusions, it would appear to the 
 unreflecting m.ind that we are bound, in reason, to put 
 aside all our notions of colouring, based on the theory 
 which takes red, yellow, and blue as primaries, and orange, 
 green, and violet as secondaries, and accept or invent one 
 based on Maxwell's choice. The charm of novelty is very 
 great, and it often misleads men whose general attainments 
 should . make them superior to its influence ; but, before 
 adopting the new theory, it would be well to enquire into 
 the grounds of the old one. 
 
 We will begin with a short statement of " Newton's" 
 opinions, ls they have been reproduced in almost all works 
 on colour applied to the arts. He held that in white light 
 there are three pure colours called primaries ; the others 
 result from the mingling of couples of these three, and are 
 called secondaries: thus the orange results from the 
 tning ling of the red and yellow rays, the green from those 
 of yellow and blue, and the purple from those of blue and 
 red. Maxwell and Helmholz have proved that the mingling 
 of yellow and blue lights produces white light, not green ; 
 that yellow may be produced by the mingHng of red and 
 green, and is therefore a compound or secondary colour, 
 
4 THE THEOET OF OOLOTJEING. 
 
 (as it is when so compounded, yet they agree that the 
 yellow of the solar tpectrum is a simple coloxir, giving rise 
 to the paradox that yellow is both simple and compound). 
 Newton's opinions were, therefore, mere assumptions, and 
 afford the old theory no assistance. On experimenting with 
 pigments we learn that with reds, yellows, and bines, by 
 judicious mixing in couples, orange, green, and purple can 
 be produced, so completing the set of spectrum colours. 
 Here, the evidence in favour of the old theory is marked, 
 whUe its bearing on the new one is not in any way con- 
 firmatory of its teachings ; for instance, it is found impos- 
 sible to get a yellow colour by mixing red and green 
 pigments, while green can be obtained in all its shades by 
 mixing yellow and blue. It is difficult in the face of this 
 evidence to call yellow a secondary colour, and green a 
 primary. 
 
 By appealiag to the human mind we shall arrive at con- 
 clusive evidence of that relationship of colours to each 
 other which is usually meant by the term complementary. 
 
 The colours that are complementary in an art aspect may 
 be discovered by the following experiments : — 
 
 I suppose the observer to be capable of seeing all the 
 colours of the solar spectrum. Obtain some of the follow- 
 ing pigments in powder ; rose madder, pale cadmium or No. 
 2 chrome, ceruleum and cobalt, orange orpiment, emerald 
 green, and mauve; if this latter cannot be obtained, a 
 mixture of rose madder and cobalt must do duty for purple. 
 I have chosen the above colours because they (with the 
 exception of mauve, which is chosen on account of its 
 power) reflect a great deal of light to the retina^ and so 
 
THE THEOKT OF COtOUErfTQ. 
 
 awaken the complementary image m^ore rapidly. I shall 
 now speak of them as red, yellow, bine, orange, green, and 
 pnrple. 
 
 Cut an opening, three quarters of an inch long, in a piece 
 of pwre white or strictly neutral grey paper, not less than 
 six inches square. At the distance of a quarter j 
 of an inch from the edge of the hole draw a liae 
 parallel with it, and in the middle of the line 
 put a dot thus : — 
 
 * 
 
 Place some of the red on a piece of paper so that it shall 
 eoTer rather more than a space equal to that enclosed in the 
 diagram between the figures 1 and 2, being careful to leave 
 a clean straight edge on one side ; to this straight' edge 
 adjust some orange to occupy a space equal to that between 
 the %ures 2 and 3 ; the space 3 and 4 wUl be covered with 
 some yellow. Lay the paper with the aperture in it over 
 this group of colours so that each wUl be seen to occupy 
 one third of the opening. Let the eye rest. Now look 
 fixedly at the centre of the orange for a minute or two, the 
 longer the better, then regard the dot in the middle of the 
 black line, and the space between the line and the edge of 
 the opening wOl be seen tinted with very delicate colours ; 
 green appears beside the red, blue beside the orange, and 
 purple beside the yellow. 
 
 Treat the following triplets in the same way: yellow, green, 
 and blue ; green, blue, and purple ; the complementary 
 colours in these groups come as follows : — beside the yellow 
 appears purple, beside the green a rosy red, beside the 
 blue, orange. Purple has yellow, if it be made as nearly 
 neutral as possible, but if it incline to red, then the yellow 
 win be greenish ; if to blue, then the yellow wiU tend to 
 
6 THE THEOET OF COLOURING. 
 
 orange. The above blue must be compounded of ceruleum 
 and a very little cobalt intimately mixed. Powder colours, 
 from their opacity, are far more luminous than those whicb 
 are ground up in a vehicle, so are preferable in these experi- 
 ments. The above results will be very generally obtained, 
 the exceptions will be due to some peculiarities of the eyes 
 of the observer. I have called in the aid of young eyes, 
 and those of adults, of cultivated and uncultivated ones, 
 and am forced to accept their corroboration of my pwn 
 experience as conclusive. 
 
 From these experiments I deduce the following data : — 
 red has green for its complementary colour, and blue and 
 yellow have orange and purple respectively. 
 
 How can we reconcile the proposition, purple is the 
 complementary colour of yellow with that which afiSnos 
 that blue is its complementary colour ? both are true, though 
 inconsistent ; the inconsistency ceases as soon as we regard 
 things rather than words. I submit that the new theory of 
 colour owes its existence to the misunderstanding or mis- 
 application of the word complementary. 
 
 The colours yellow and blue, and red, green, and blue, 
 may be complementary in the production of white light ; 
 but it does not follow that there is any c^mexion between tlie 
 prodiu^tion of white light and the production of harmom/ in 
 colour ; that there is any is pure assumption, which evidently 
 arose from the apparent analogy between the order in which 
 the colours exist in the solar spectrum, and the experience 
 derived from the mixing of pigments ; the orange seeming 
 to be produced by the apparent mingling of the red and 
 yellow rays ; the green, whei-o the yellow and blue came to- 
 gether, iind the purple might be supposed to awe its 
 
THE THEORY OF COLOURING. 7 
 
 existence to tlie mingling of the blue with the red rays of 
 another and fainter series of colours. The assumption, 
 however, did not affect the results, since it was made to 
 accord with truth, as shown by man's mental perceptions of 
 colour and experience in pigments. When closer observa- 
 tions showed that the colours of the spectrum bear a rela- 
 tionship to each other very different from that ascribed to 
 them ; it was time to lay aside the assumption, instead of 
 falling into absurd errors by ignoring the true basis for the 
 theory of colouring and taking the false one, which they 
 have done who reasoned from the now recognized phenomena 
 of the composition of white light. 
 
 THE TRUE THEORY OF HARMONIOUS COLOUR- 
 INQ MUST BE BASED ON THE MENTAL PER- 
 CEPTIONS OF MAN. 
 
 Convinced that the matter in the following pages is 
 founded on truth, the author has much pleasure in offering 
 . the second edition to the attention of aU earnest students. 
 
THE THEOET OF OOLOUEING. 
 
 DESCRIPTION OF THE DIAGRAM OF COLOUR. 
 
 The black spot in the centre represents the effect pro- 
 duced by the combination of all the pigmemls, and the 
 encircling white represents the effect produced by the com- 
 bination of all the colours. Next are placed the Peimart 
 colours, Itei, Yellow, and Blue, occnpying each one third 
 part of the circle. Beyond these are the Secondaet colour^ 
 Orange, Green, and Purple. Beyond these again are the 
 three Tbetiabt* colours, Brown, Brohen-green and Gray. 
 The primary colours red and blue have for their comple- 
 mentaryt colour yellow, on the other side of the central 
 spot. 
 
 * The terms citron, russet, and olive, employed by recent writers 
 on colour to express the tertiaries, are arbitrary and somewhat vagae. 
 The first, citron, is not generally used by artists j the others are 
 applied by them to other colours than those in the diagram. It is 
 thought more conducive to clearness here to apply to those combina- 
 tions the weU-knowu terms broken-green, brown, and gray. Art 
 nomenclature offers no simple tenn expressive of the first-named 
 colour. Throughout this work the term GRAY will mean the tertiary 
 shown in the diagram, while GREY will be used to signify what may 
 be called diluted black. To make this perfectly clear, let the student 
 take lamp-blaok and apply a light wash of it on white paper ; the 
 result will be a grey tint. Any tint of black, which is not perfectly 
 black, is grey. Compare this tint with the gray of the diagram. Is 
 it necessary to add that the above distinction is entirely arbitrary 
 and is adopted here solely for the sake of clearness ? 
 
 t The term complementary is used to express that the colour 
 which it qualifies is needed to make up the complement or complete 
 the set of tliroe prmm-ies, without which no composition can pie 
 for its colour. 
 
THE THEOET OP COLOUEINO. * . 9 
 
 Red and blue form pnrple, wMcli is also opposite to 
 yellow in the inner, and to broken-green in the onter, circles. 
 Hence yellow and broken-green are complementary to, 
 and contrast with, red and blue, or purple'. Yellow and 
 blue are opposite to red; their compound, green, is opposite 
 to red and brown. Red and brown are complementary to, 
 and contrast with, yellow and blue, or green. In like 
 manner blue and gray will be seen to be complementary to 
 red and yellow, or orange. As the tertiary colours are not 
 so familiarly known as the primaries and secondaries, 
 their names are inserted against them in the diagram. 
 They do not form a part of the true gamut of colour, but 
 are necessary in the formation of a scale to aid the painter 
 in colovaing. 
 
 This diagram serves to display the relative composition 
 of the various colours, and embraces necessarily every, 
 possible variety that can be found in nature or in art. It 
 serves, however, a far more useful purpose still, as a com- 
 pendium of the laws of colour relationship and of har- 
 monious contrast. 
 
 Rblatbb coiiOUES are adjaeent* 
 Haemoniotis C0HTBAST3 are opposite. , 
 
 * The term adjacent applies to those compartments in the diagram 
 by which any colour is surrounded; and those opposite are those 
 lying on the other side of the centre. 
 
10 THE IHEOET OP COLODEING. 
 
 CHAPTER I. 
 
 DEFINITIONS. 
 
 Section 1. — Colour is the immaterial result of the 
 decomposition of light. A ray of light, in passing through 
 a triangular prism of glass, is decomposed into a series of 
 colours, the same as those in the rainhow. 
 
 Paint or Pigment is the material basis ■which decom- 
 poses light so as to reflect or transmit only some of its 
 constituent colours. 
 
 , Shade refers to the chromatic composition of a colour. 
 Cobalt and ceruleum offer us different shades of blue. 
 
 Tint is the condition of a shade of colour which arises 
 from its admixture with water or white. It becomes 
 thereby more or less intense without any change in its 
 chromatic composition. 
 
 Tone is the condition of a colour in which it appears 
 other than it is. A light blue under the effect of a bright 
 or a dull light will appear a light blue; yet, in the repre- 
 sentation of these different conditions, different shades 
 must be used ; different tints would fail to convey a just 
 idea of the colour. 
 
 Haemont is the effect of a proper arrangement of colours 
 in a picture. Vide page 8, Chapter on Harmony. 
 
 Contrast is the effect arising from different coloni-s 
 being adjacent to one another, as red beside blue or 
 yellow, &c. 
 
Pis 
 
 •f. 
 
 T ^^*^m 
 
 »•!«•" 
 
 Pig 2 
 
THE THEORY OF COI^DUEING. . 11 
 
 The terms " Contrast " and " Harmony " are not the 
 reverse of each other, although as sometimes carelessly 
 nsed they seem to imply opposite things. Harmony may 
 exist with or without contrast. The result of contrast i» 
 jorce, not necessarily a want of harmony. The primaries 
 may he arranged to produce the greatest contrast or force 
 without sacrificing harmony, as in PI. 2, fig. 1. The same 
 colours may be used and he blended or united together by 
 intervening secondaries, which, being compounded of the 
 same primaries, enable the eye to glide easily from one to 
 the other, as in PI. 2, fig. 2. This arrangement has greater 
 variety, and is, therefore, more pleasing to the eye, bnt it 
 has less force. 
 
 Light and shade form a contrast independent of colour, 
 as in sepia drawings, engravings, &c. Many of Turner's 
 works appear to some deficient in contrast.* In his worts 
 in eepiat is seen how well he understood the different 
 powers of the materials used. To the uneducated eye 
 contrast in delicate colours is almost unintelligible. 
 
 ON COLOURS AJID PIGMENTS'. 
 Section 2. — A Primary colour is simple, pure, unmixed. 
 
 A Secondary colonr is the combination of two primaries 
 in any proportions, 
 
 A Tertiary is the combination of ^ two secondaries in any 
 proportions, or a primary and its complementary secondary 
 in any proportions. 
 
 * See "Eivers of France," South Kensington Museum, 
 t See " Liber Studdornm," at the same place. 
 
12 THE THEORY OP COLOUEINa. 
 
 Bach secondary in. the diagram is adjacent to the two 
 
 primaries of which it is componnded, thns : — 
 
 Yellow + Blue = Green. 
 Blue + Red = Purple. 
 Red + Yellow = Orange. 
 
 Each tertiary is, in like manner, adjacent to the two 
 
 secondaries of which it is composed, thus : — 
 
 Orange + Green ^ Broken-green or Citron. 
 Green -|- Purple = Gray or Olive. 
 Purple + Orange = Brown or Russet. 
 
 The primaries exist in light. The secondaries arise from 
 the mingling of the primaries. The tertiaries depend 
 entirely on matter for their existance. The primaries and 
 secondaries are positive. The tertiaries are negative, and 
 exist when some proportions of the three primaries in 
 light have been destroyed, absorhed, or diverted (rendered 
 negative in their effect) by the action of matter. 
 
 Resolving the tertiary colours into their simple elements, 
 it wUl be seen that each contains the three primaries, with 
 one of them predominating over the rest, thus : — 
 Green -|- Purple 
 
 f * N I ' N = Gray. 
 
 Yellow + Blue + Blue + Red 
 
 Purple + Orange 
 f ' ^ f * ^ = Brown. 
 
 Blue + Red + Red + Yellow 
 Orange + Green 
 
 Red + Yellow + Yellow + Blue 
 
 = Broken-Green 
 
 Henoe it appears that 
 
 In Gray there is an excess of Blue. 
 In Bi'own „ „ Red. 
 
 In Broken-green „ Yellow. 
 
 It will be well here to direct attention to the strange 
 
 anomaly that in nature the combination of all the colours 
 
THE THEORY Or COLOUEING. 13 
 
 produces light, but in art the combination of the pigments 
 which reflect those colours produces neutral grey or black. 
 
 This grey or black may be compounded of the three 
 primaries, of the three secondaries, or of the three ter- 
 tiaries. This identity of result will be most readily seen 
 by applying successive washes of the primary colours to 
 form their several compounds. It is important to observe 
 that perfect purity in the primaries is essential to perfect 
 neutrahty in the grey produced. If they be not pure, the 
 result will be a tertiary colour. So long as a colour has 
 only two primaries in its composition, it is a secondary 
 colour, however much one of its constituents may pre- 
 dominate over the other. Green may approximate to 
 yellow or blue, but the presence of the two primaries and 
 the absence of the third will preclude its beiag classed 
 with either the primaries or tertiaries. 
 
 Since mathematical accuracy is not attainable nor 
 desirable in the application of colour to art purposes, 
 enough has been said on the abstract theory, yet in the 
 foregoing remarks materials will be found for interesting 
 occupation of the mind. 
 
 Sectios 3. — Pigments are formed of various substances 
 and possess different qualities. 
 
 Some are formed from minerals, as vermilion, emerald 
 green, cadmium yellow, &o.; others from vegetables, as 
 indigo, madder lakes, brown pink, &c. ; others from 
 insects, &o., as lake, sepia, &c. ; others from earths, as 
 terra verte, ochres, sienna, umber, &c. 
 
 Some of the pigments are more durable than others; 
 some are transparent, or at least partially so; others opaque. 
 Those made from vegetable substances are for the most 
 
14 THE THEOEY OP COLOUEING. 
 
 part transparent; those from minerals and earths are 
 opaque. 
 
 The opacity or transparency of the pigments may he 
 readily determined by their depth in the prepared state. 
 Eose madder in the cake or tube is far more intense than 
 vermilion in the same state. Compare yellow lake, 
 gamboge, raw sienna, and Indian yellow with lemon yellow, 
 yellow ochre, and cadmium yellow ; Prussian blue and 
 indigo with cemlenm, cobalt, and ultramarine. 
 
 Again, transparent colours offer some difiB.culty in pro- 
 ducing depth on a light ground. The efBect as it appears 
 in the cake is scarcely attainable. On the other hand, 
 opaque colours yield easily on paper or canvas the appear- 
 ance which they have in the cake or tube. 
 
 The opaque colours, attenuated with water, become 
 debased in quality; the transparent ones retain their 
 brilliancy in the lightest tints. 
 
 In mixtures it wiU be found that the opaque colours do 
 not work well together. Brilliancy of mixed tints or 
 shades is best obtained by successive washes of the com- 
 ponent colours, commencing with the opaque and finishing 
 with the transparent ones. Care must be taken that each 
 wash be dry before the application of the succeeding one.* 
 
 This practice cannot often be carried out by the student, 
 as it requires a knowledge of colours possessed only by the 
 master. 
 
 * It may be as well to explain that as a general rule the paper 
 should be damped, after it becomes dry, shortly before the application 
 of each wash of colour, to produce evenness of tint. 
 
THE THEORY OF COLOUEING. 15 
 
 CHAPTER 11. 
 
 ON HAEMONT. 
 
 Section 1. — The primary colours, or their compounds, 
 must be present in a picture to produce Harmony. 
 
 The following are the simplest hannonious combina- 
 tions : — 
 
 1. The three primary colours, Red, Yellow, and Blue. 
 
 2. „ secondary „ Orange, Green, and Purple. 
 
 3. „ tertiary „ Brown, Broken-green, & Grray. 
 
 There is harmony in each of these triplets, the three 
 primaries being present. The contrast is greatest in No. 1 
 and least in No. 3. 
 
 The secondaries harmonize in full contrast with the 
 primaries, and in subdued contrast with the tertiaries, as — - 
 
 Orange, full contrast with Blue, subdued contrast with Gray. 
 Green, „ „ Red, „ „ Brown. 
 
 Purjole, „ „ Tellow, „ „ Brofeen-green. 
 
 Section 2. — The effect of the diagram of colour, con- 
 taining the primaries, secondaries, and tertiaries, is most 
 harmonious, every variety of colour being represented. 
 In contradistinction to simple harmonies above enumer- 
 ated, it ifiay be considered as an example of compound 
 harmony. 
 
 It is impossible to contemplate a colour without its 
 complementary colour springing into existence on the 
 retina, mingling with the coloured rays from the external 
 
IG THE THEORY OF COLOURING. 
 
 object. This can be proved by closing the eyes after 
 contemplating a colonr for some minutes, when a spectrum 
 is seen so coloured as to introduce what is needed to Tnake 
 up the corrvplement of red, yellow, and blue. 
 
 The following experiment will further exemplify this 
 fact. Take a piece of cardboard about one foot square, 
 having one hole in the centre about one inch square. Hold 
 it before a window or strong light, with a piece of red 
 stained glass covering the aperture, and look intently at it 
 for some minutes (two or three), then close the eyes, 
 placing the hand over them to exclude all light. In the 
 darkness a bright green spectrum will be seen, similar ia 
 shape to the opening in the cardboard. If the observer's 
 perception of colour be very acute, the spectmm will be 
 observed to undergo a change, passing from green through 
 blue, violet, purple, red, yellow, to green again. This 
 change is repeated, the colours becoming fainter and 
 fainter each time, until they become imperceptible on the 
 retina. 
 
 Section 3. — Place some blue colour at a little distance 
 from, some orange, of the same shades as those in the 
 diagram, when they will be in strong contrast ; the inter- 
 position of certain colours will subdue this contrast and 
 produce another effect by offering to the eye a step in 
 passing from the blue to the orange and vice versd. The 
 colours interposed must partake of the characters of, or be 
 related to, both blue and orange. On reference to the 
 diagram of colour, it wiU be observed that blue is among 
 the primary colours, and on the opposite side, among the 
 secondaries, orange is seen. Blue is complementary to 
 orange, which is a compound of red and yellow. Green 
 
PI. a 
 
F.^l 
 
 iti^ 6 . 
 
THE THEOBT OP COLOUEING. 17 
 
 and purple are related to blue and orange, and are seen in 
 tte diagram adjacent to these colours. Green is related to 
 blue by containing blue, and to orange by containing 
 yeUow. Purple is related to blue by containuig blue, and 
 to orange by contaiaing red. Both or either of these 
 colours may be placed with advantage between or near the 
 portions of blue or orange, subduing the contrast. 
 
 Let the colours be arranged in the following order of 
 position. p?heir effect may be seen in Plate 3. 
 
 1. Blue— Green--Orange' . . ^ Fig. 1, PI. 3. 
 
 2. Blue — Purple— Orange ... „ 2, „ 
 
 3. Blue — Purple — Green — Orange „ 3, „ 
 
 4. Purple — Blue — -Green — Orange „ 4, „ 
 
 * The intermediate colours in each of these series are 
 closely related. 
 
 More distant relations interposed would subdue the 
 contrast still more, though not without very slightly 
 impairing the harmony. Having shown that green and 
 purple are related to blue and orange, it will be readUy 
 seen, on reference to the diagram of colour, that compounds 
 of orange and green, or orange and purple, must also be 
 related, though distantly, to those colours. 
 
 The compound of the two former colours is broken- 
 green ; of the two latter, brown. Arranging the colours 
 in the following order : — 
 
 1. Blue — Green — ^Broken-green — Orange . Fig. 1, PL 4. 
 ■ 2. Blue — Purple — ^Brown — Orange . . . „ 2, „ 
 
 yellow is seen to be in excess in fig. 1, and red prepon- 
 derates in fig. 2. 
 
 The diagram of colour will assist in correcting this 
 excess. There purple is seen to be the complementary 
 
 B 
 
18 THE THEORY OF COLOUEING. 
 
 colour of yellow. The addition of pnrple to the colours 
 in fig. 1 will fulfil the requirements of harmony. Grreen / 
 being the complementary colour of red, its addition to the y 
 colours in fig. 2 will make the effect more pleasing ; but 
 since gray is the complementary colour of brown and r 
 broken-green, it may be used in both arrangements instead 
 of purple or green. 
 ~r It should be observed that the order of progression is 
 from the primaries to the secondaries, thence ip the ter- 
 tiaries, then, again to the secondaries. Separate diagrams 
 of each of the above arrangements should be made in order 
 to study the different effects produced and the principles 
 by which they are governed. 
 ^5- Figure 3, Plate 4, is constructed to show orange and 
 ^' blup with the three tertiaries intervening. This arrange- 
 ment is most interesting, as it is so frequently used by 
 Turner and other landscape-painters. The student cannot 
 become too fam ili ar with it. It should be varied in every 
 way. Aid, after producing a number of exercises differing 
 in the form, strength, and position of the masses, it would 
 be well, in a second series, to introduce within the boundary 
 of the composition, a second arrangement of primary, 
 secondary, and accompanying tertiaries, keeping it, how- 
 ever, subservient to the first. 
 
 Diagrams in which red and green, and yellow and purple 
 play the principal parts should be constructed. Arrange 
 the coloui-s in strong contrast, then in subdued contrast, 
 and, lastly, in completely subdued contrast, as exemplified 
 with blue and orange. 
 
 Figures 1, 2, and 3, Plato 5, are roughly aiTanged as 
 simple subjects. The colouring is ponventional, yet tlie 
 
\ 1 
 
 T16.2 
 
PI 6 
 
 ,# 
 
 R^.3. 
 
THE THEOllT OF COLODEING. 19 
 
 effect bears evidence in favour of the theory expounded in 
 these pages. In each of the examples a priniary is made 
 very prominent by full contrast -with, its complementary 
 secondary. The subdued contrast of the two comple- 
 mentary tertiaries aids the effect and enriches the subject. 
 
 Figures 1, 2, and 3, Plate 6, exhibit the same subjects. 
 The primary and secondary colours are identically the 
 same as in PI, 5. The tertiary is complementary to the 
 seconda/ry, hence the importance ia these examples of the 
 green rushes in fig. 1, of "the orange drapery in fig. 2, and 
 of the purple grapes in fig. 3. 
 
 Is it necessary to add that the judicious use of the com- v 
 plementary colours,' as suggested by these diagrams, will 
 make any object important by its colour alone ? 
 
 The construction of numerous diagrams wiU make the 
 student thoroughly acquainted with the relationship of 
 colours, and educate the eye to perceive their delicate 
 shades of difBerence. 
 
 Section 4. — It may be objected that the abstract colours 
 — pure red, yellow, or blue ; orange, green, or purple ; 
 brown, broken-green, or gray ; — are seldom seen in nature, 
 so that an exposition of their relationships can be of little 
 practical utility to the painter. 
 
 The colours seen in the diagram are the standard repre- 
 sentatives of all the colours that exist, or can exist, in 
 nature ; and the principles for grouping them harmoniously 
 hold good in nature's utmost diversity. 
 
 Yellow, red, and blue, &c., ofEer a variety of shades in 
 nature ; but immediately they differ from the pure colour 
 they cease to be strictly primiries, and become secondaries 
 
20 THE THEORY OF COLOUEING. 
 
 or tertiaries, compounded with one or both of the remain- 
 ing primaries; and this compound character must be taken 
 into account in selecting their related colours. To illustrate 
 this more clearly it may be -well to use the same colours 
 as ia a previous demonstration, viz., blue and orange. 
 If the blue have just sufficient yellow to make it a greenish 
 blue, and the orange have too much yellow to be strictly 
 neutral, the colours thus composed are not strictly har- 
 monious. If the orange, however, had an excess of red 
 the harmony would be unimpared. 
 
 In their altered and less harmonious and contrasting 
 states let the diagram, be consulted for the required 
 relationships. The colours as pure, are given at page 10. 
 
 Taking into account the excess of yellow in both the 
 colours, the arrangements should be as follows ; — 
 
 f Greenis- Reddish- TeUowish- 
 ( blue. purple. orange. 
 
 correct. 
 
 2 f Greenish- Bluish- Yellowish- 7 indifferently 
 
 \ blue. green. orange. } good, 
 
 o f Greenish- Bluish- Beddish- Yellowish- ") , 
 
 ( blue. green. purple. orange. ) ^°° " 
 
 ^ C Greenish- Bluish- B.eddish- Yellowish- } 
 
 \ blue. purple, broken-green, orange, j *'°"'^*'*- 
 
 g f Greenish- Bluish- Reddish- Yellowish- ") -, 
 
 \ blue. gi-een. brown. orange. ] good. 
 
 In No. 1 the requisite modification could be made by 
 increasing the quantity and force of the purple. There 
 being four colours used in 3, 4, and 5, it could have been 
 made in either of the intermediate ones. 
 
 These exorcises may be most advantageously extended 
 to placing masses of colour on a neutral grey paper, 
 commencing with a primary, and adding in succession 
 secondaries and tertiaries as taste may suggest. 
 
THE THBOET OF COLOTJEnfG. 21 
 
 Each exercise should be critically examined a few days 
 after exeention, and tten repeated, seeking to reproduce 
 the good points, and avoiding what may appear nn- 
 pleasing. 
 
 In the foregoing system of harmonious colouring quanti- 
 ties are not referred to, as such a method of treatment 
 would cause it to he a hindrance to the student, rather 
 than a help. Harmony can he obtained in any number of 
 subjects in which the general lairs are observed. However 
 interesting demonstrations, formed by the aid of weight 
 and measure, may be to mathematicians, they serve only 
 to perplex the mind of the art student. A colour com- 
 position is the means of exciting the mental faculties, 
 and, therefore, should raise a special emotion in the mind. 
 Would not sfyriot harmony be tame ? I think that the 
 peculiar expression of a work is usually due to a discord. 
 The practical application of the principles of harmony by 
 eminent artists yfill be the best guide to a knowledge of 
 the quantities of colours to be used to produce a pleasing 
 picture. 
 
22 THE THEOKT OF COLOUEING. 
 
 CHAPTER III. 
 
 ON THE ST0DT OF WOBKS OP AET. 
 
 Section 1. — When the theory of colour is fnUy TUider- 
 stood, works of art of acknowledged merit should be 
 thoughtfully copied ; not merely matcHng the tints of the 
 original, as many students are content to do : the copy 
 made may be a good one, but nothing more is gained, 
 nothing is learned. To reap benefit by copying, the mind 
 must analyze the composition and methodically define the 
 colours used, and trace out their relationships as rendered 
 by the artist. 
 
 The student should endeavour to understand what is 
 due to light and dark tints and what is due to contrast of 
 colour. 
 
 Before commencing to copy a picture, the arrangement 
 of light and shade, termed chiaro'sniro, should be sketched 
 in a small book kept for the purpose. Some difficulty will 
 be felt at first in doing this, especially with the finest 
 works of art. In some of Turner's paintings the 
 arrangement is so subtle that the tyro would feel at 
 a loss to analyze it. To assist the student over this 
 difficulty, specimens of the analysis of pictures, accessible 
 to all residing in or visiting London, are given in the 
 appendix. 
 
 Tlio way in which light traverses, or is dispersed, 
 through a dark picture, or shadow traverses a light one, 
 
THE THEOET OF COLOUEING. 23 
 
 being iinderstood and noted, it may serve as a precedent 
 for future reference when the student ventures on original 
 composition. This remark applies equally to whatever 
 principles may be learned from the careful study of any 
 work of art. 
 
 Section 2. — Commence the copy by drawing outlines of 
 the forms, observing their relations to each other, and how 
 their continuity is broken by the outlines of other objects 
 rising before them. Merely drawing the outUnes because 
 the objects are in the picture will not lead to the discovery 
 of the artistic purpose of their presence and direction, 
 which are entirely arhitrary. This is overlooked by the 
 majority of students, who regard the accessories as indis- 
 pensible. Accessories are introduced in the positions they 
 occupy, and are coloured, to form part of the general efEect. 
 To understand that part should be the earnest aim of the 
 student. — Vide Appendm. 
 
 The outline being correctly dra*n, the colouring may 
 be commenced, the principal masses of colour being 
 carefully noted and the arrangement of the colours which 
 connect those masses thoroughly analyzed. Observe 
 how the most striking colours are repeated through 
 the picture. The best way to recognise subtle half- 
 tints, is to acquire a habit of calling the colours by 
 the names used in describing the diagram of colour. 
 Green has a great variety of shades, but they all resolve 
 themselves into bluish or yellowish-greens, brown or grey- 
 greens, in light or dark tints. The various browns are 
 qualified by yellow or orange, red or purple, as either 
 predominates. A dark complexion may be called an 
 orange, brown, grey ; a fair one, a pale purple, brown. 
 
24 THE THEOET OF COlOUErNG. 
 
 grey. The grey means here a neutral basis wMoli lowers 
 the tone of delicate colours without otherwise altering 
 their character. When copying pictures, the power of the 
 pigments should be studied; of course, an acquaintance 
 with some of their qualities is necessary before attempting 
 to make a copy. This may be perhaps best effected by the 
 construction of tables of mixed tints, as recommended by 
 T. H. Fielding, in his work on "Painting in Oil and Water 
 Colours," an example of which is given in the appendix, 
 page 49. 
 
 In copying for study much time may be lost in 
 fruitless attempts to imitate the manner of the artist, 
 which should only be done when copying early works of 
 great masters. 
 
 Section 3. — The following is a brief recapitulation of 
 the objects to be attained by copying works of art : — 
 
 Fi/rst, the harmonious composition of lines. 
 Second, the arrangement of light and shade. 
 Third, the knowledge of the laws of harmonious con- 
 trast in colour. * 
 
 Fourth, the cultivation of the perception of colour, and 
 of subtle tints and gradations, that are so common in 
 nature, and so difficult to render in art. 
 
 With a practical knowledge of colours, and of their 
 modes of arrangement by great artists, their more subtle 
 and intricate combinations in nature must be carefully 
 studied. From Pictures is learnt what may he done with 
 colours; from Nature how to do that ivell and with oriijin- 
 alify. Nature alone inspires that poetic feeling which 
 ever distinguishes the works of genius. 
 
THE THEORY OF COLOURrNG. 25 
 
 CHAPTER IV. 
 
 ON STITDT FROM NATURE. 
 
 Section 1. — In landscapes there is much tinted grey,* 
 or such colours as are perceired in the sky and on the 
 earth at twihght, when they are most distinguishable. 
 
 These tints are so delicately pure in quality that the 
 student is siire to make them too light in sketching ; yet 
 a deeper tint of the same colour would produce coarseness, 
 and be absolutely wrong. 
 
 The depth of tone on which the most delicate tints float 
 in nature can only be approached by the master. Turner 
 excels in rendering- this effect. In his water-colour 
 drawings he used fine lamp or blue black, which of all 
 pigments seems best fitted to give tone to colours, but 
 long study and close practice are required to use them 
 well. 
 
 If a neutral grey pigment could be supplied, possessing 
 the Kghfcness and transparency of rose madder, it would 
 remoYB half the difficulty. It may yet be produced by the 
 enterprising colourman.f 
 
 * A wasli of lamp-black oli white paper will produce grey, which 
 may he tinted by passing over it a wash of colour. 
 
 f Since writing the above, the author has tried a lamp-black 
 recently manufactured by Messrs. Eowney & Co. This pigment is 
 most carefully prepared, and is so light in quality as to leave 
 nothing to be desired for rendering grey tints. Even yellow, in 
 
26 THE THEORY OF OOLOUEING. 
 
 The following noteb will show the use made of the term 
 
 grey in cultivating the perception of colour. The subject, 
 
 " a sun-set sky," the sun having set behind thin clouds. 
 
 Purplish-blue-grey. 
 
 Rose-purplish-grey. 
 
 Grreenish-grey. 
 
 Yellowish-grey. 
 
 Orange. 
 Neutral-red-grey. -bVae-g^^' 
 
 Purplish-grey. SQ'®^' 
 
 Blue-grey. Sorizon. 
 
 Purplish-grey. 
 OKve-grey. 
 Broken-green and brown. 
 These notes convey to the writer the following informa- 
 tion, that at the horizon a bluish-grey was seen, into which 
 the distance softened so imperceptibly that the eye could 
 not detect where earth ended and sky begaji. This tint 
 changed upwards into purplish-grey, then gradually 
 assumed a redder tinge, till it became a neutral (i.e., pure 
 red-grey), which passed into orange, this latter crowning 
 the bank of thin clouds and standing out forcibly against 
 the yellowish-grey tint above it. Greenish-grey, rose- 
 purplish-grey, and deep purplish-blue-grey, then succeed 
 each other to the zenith. 
 
 The eye plunges into the tints above the orange quite 
 uncertain as to distance, and incapable of fixing on any 
 
 email quantities, works into it without becoming sullied, if a trifling 
 portion of Chineso wliite be added. It may be used in mixtures or 
 as a pure grey wash, into which delicate colours may be rapidly 
 touched while it is wot. 
 
THE THEOET OF COLOTJKING. 27 
 
 particular spot, as the colours are paVpUaUng in the grey 
 medium, which increases in depth of tone with the distance 
 upwards from the horizon. 
 
 Section 2. — The effect of palpitation or alternate 
 appearance and disappearance of colours in the depth of 
 space is beautifully rendered by Turner. His dehcate 
 perception enabled him to introduce it throughout the 
 whole picture. It gives to his works that ineffable oharm 
 of endless variety, and almost defies the naming the 
 pigments he has used in any particular part. His manner 
 of producing it seems to have been to place the colours 
 together in a wet state, permitting them to mingle, so 
 forming an almost -imperceptible mottling on the coloured 
 space. This can only be done when the hand, by long 
 practice, has become perfectly obedient to the will (or 
 works apparently without its direction), and when the 
 character and power of the pigments are fully known. 
 
 The colours — named in the notes in the preceding 
 section — below the horizon are those of the masses in the 
 extreme and middle distance, and in the foreground. 
 
 The all-pervading grey is the air modified by light in 
 varying intensity. Those who observe and succeed in 
 faithfully rendering it, hold the post of honour among 
 artists. Turner, Copley Fielding, and David Cox, take the 
 lead in water-colours. In oil-painting, Turner, Crome, 
 Gfainsborough, and a few others, afford examples of the per- 
 ception and successful rendering of this phenomenon. 
 
 In their works the objects are seen variously coloured ; 
 in the works of many who have attained a fashionable 
 eminence, oolowrs are conspicuous in the outlines of various 
 objects. 
 
28 THE THEORY OF COLOUEING. 
 
 The representatdon of this gray should be the aim of the 
 student, even in his first attempts to study from nature, 
 and should never be disregarded. 
 
 It is sufficient to observe and make notes of the effects 
 of motion at first, as they are refinements to be learned 
 only when mechanical difficulties are overcome. 
 
 Section 3. — Colours are most distinct in nature when 
 the sun is not far above or below the horizon. This effect 
 arises from a partial decomposition of the light falling 
 obliquely on the earth's atmosphere. 
 
 The varying beauty of sunset and sunrise is entirely due 
 to refraction. Then the palette is too poor to render more 
 than a faint idea of the gorgeousness of nature. 
 
 I remember the time when I attributed to the imagina- 
 tion of the artist such magnificent colouring as we see in 
 Turner's pictures, " The Old Tem^raire " and " Ulysses," 
 but, after witnessing some of nature's effects, I can under- 
 stand the feelings which prompted that painter's constant 
 remark, " I aimed " at such and such " an effect.'' 
 
 It may be weU to give a philosophical explanation of 
 the beautihil effects of a low light. Light passing into 
 a medium of different density from that which it has 
 already traversed, is refracted or bent from its original 
 direction. The refraction is in proportion to the difference 
 of density and the extent of the refracting medium.* 
 
 When the sun is near the horizon, its rays fall obliquely 
 on the denser atmosphere surrounding the earth. The air, 
 by being charged with a quantity of moisture, becomes 
 
 * The different colours forming white light are differently bent 
 and so sepa/rate from each other. 
 
THE THEOET OP COLOnELNG. 
 
 29 
 
 more refracting, and the rays of tlie sun at the horizon 
 pass obliquely throngli the much denser stratum of air 
 and moisture lying near the earth's surface. The rays of 
 light become so divergent, that the resulting colours affect 
 individually the objects on which they fall. Thus in the 
 following diagram, the dark line, A B, represents a portion 
 of the earth's surface ; C, the position of the spectator ; 
 and D E, the upper strata of air. The sunlight, on 
 reaching the atmosphere, is refracted, as at A a'. On 
 turning the back to the sun, the colours will be found in 
 the order at B b — as the sun sinks, the lower ones pass 
 over the landscape and sky, imparting their colours to the 
 objects in succession, till the only light left comes latterly 
 from the side of the sky where the sun disappeared. The 
 colours at B succeed ia their upward order, when orange 
 and red being least, like the local colours of the landscape, 
 effect the greatest change in the aspect of the scene. 
 
 When the sun is on the meridian the rays of light are 
 less dispersed, and consequently local colours are less 
 affected, though more strongly illuminated.* 
 
 * J. Brett has admiraWy rendered this effect in Ms picture called 
 " Breaking Stones," exhibited at the Eoyal Academy a few years 
 ago. 
 
30 THE THEORY OF COLOURING. 
 
 An excellent practice for developing the power of 
 perceiving colour (which may be carried ont either in 
 town or country, from a point conmmnding the western 
 horizon) is to sketch, in colour, the sky and earth, imme- 
 diately after the sun has set. The colours must be mixed 
 on the paper, which must be kept wet till ihe sketch is 
 completed. 
 
 Three sketches have been made thus, in the three 
 quarters of an hour following sunset. Notwithstanding 
 the increasing darkness, the general trnthfulness of the 
 last sketch was very striking.* 
 
 Section 4. — When studying colour in nature, it should 
 be borne in mind that the efEect on the retina is influenced 
 by the amount of light on the pupil of the eye. When 
 the eye is wide open the objects stand out crudely, but as 
 the Ud is dropped slowly over the eye that crudeness 
 disappears ; colours become more and more softened as 
 the eyes close, until the greyness of the air is spread over 
 everything, like a veil, softening outlines and harmonizing 
 tints. 
 
 It is possible that the crudeness seen in the works of 
 some artists, and the vagueness in those of others, may 
 arise in some measure fi-om the construction of their eyes, 
 as most artists assert that they depict nature as they see 
 her. The great cause of crudeness, however, may be 
 want of management of the eye in observation. Nature 
 may be represented as seen when the eyes are -n-ide open, 
 and also under the effect observed with the eyes nearly 
 
 * The paper best adapted for this exercise is middling stout 
 "Royal" cartridge. The usual drawing paper permits the colonr 
 to spread unevenly. 
 
THE THEOKT OP COLODEING. 31 
 
 closed, but as a rule the medium effect, as seen when the 
 eye s are only half closed, should be sought. 
 
 Section 5. — In making a study of colour from nature 
 the following mode of procedure is recommended. A 
 pleasing subject having been chosen, consider the scene as 
 divided into three principal portions : Foreground, Middle 
 Distance, and Distance. Observe the prevailing colours of 
 those p^rts, and how ' they are connected together. As a 
 general rule, browns and broken-greens predominate ia the 
 foreground, greys and purples in the middle distance, and 
 purplish blue greys in the extreme distance. In the last 
 of these the tints are so delicate and so near the same tone 
 that the student can only use the comparative terms 
 warmer or cooler to distinguish them. A matter worthy 
 of very careful study is the increased softening of forms 
 in the distance, where they relieve nearer objects, an effect 
 perceptible with half-closed eyes throughout the whole 
 scene. It is increased when the air is charged with much 
 moisture, by the presence of which it is partially caused- 
 In a town it may be distiactly seen by standing so that a- 
 lamp-post interposes between the spectator and the lines of 
 a distant building. 
 
 First, draw the outlines of the masses ia loose delicate 
 Knes, and then, with a hard pencil, commence (about the 
 centre of the composition) to make rigidly correct outlines 
 of the objects. in detail. Then take up colours and work 
 at the colouring of the parts outlined for about two hours. 
 At the end of that time resume the pencil, and do as much 
 of the outline as convenient. On the following day, if 
 propitious, resume the colouring at the same hour as on 
 the previous occasion ; afterwards the outline may be 
 
32 THE THBOET OF COLOUEING. 
 
 completed. Thus, contmuiiig to devote the same two Twurs 
 of successive days to the colouring until the whole is 
 finished. A unity of feeling running through the study 
 will be the result, owing to the slight change of position 
 the light will have undergone during its execution. 
 
 While contemplating the scene, fugitive eftects will often 
 pass over the scene ; these should be rapidly noted in a 
 book ; contracted terms, expressing the colours, being used, 
 as rapidity is essential to unity of feeling. From these 
 notes the student may select a particular effect when he 
 desires to produce a composition on the basis of a carefully 
 made study. The student should never be without a 
 note-book iu which he can note, by lines and terms, a 
 description of remarkable effects which he may witness in. 
 nature, when colours may not be at hand or would occupy 
 too much time. Sketches in colour, by the aid of such 
 notes, are an excellent practice to exercise the memory and 
 to point out deficiencies yet to be overcome. 
 
 In studjdng in colours from nature, great difficulty is 
 experienced at first in retaining the character which the 
 outhne of the object gives to the representation. 
 
 Section 6. — Where practicable, two studies should be 
 made, one with the pen in outline, to familiarize the mind 
 with the characteristic forms and markings of objects 
 independent of colour ; the other to be executed in colour, 
 as directed above. This latter should be done when the 
 sun is getting low in the heavens, within three hours of 
 rising or setting ; the former when the light is strong and 
 unsuitable for colour stwhj. Both combined, perfect the 
 student's knowledge and handling. The indefinite direction 
 to go and study nature is often heard in the studio, 
 
THE THBOET OF COLOURING. S3 
 
 raising vague ideas in the mind of the tyro ; some simple 
 conventional modes of representing her are absolutely 
 necessary ; otherwise, much valuable time is lost in per- 
 plexity caused by contemplating the exquisite finish and 
 variety. 
 
 The directions given for making a coloured study from 
 nature insist on a rigidly correct outline. The word 
 rigidly is used advisedly. Rigid drawing hrings the 
 student's hand under the control of his will. Those who 
 affect a loose style in their studies can never attain emi- 
 nence. AH great painters have three distinct styles, which 
 may thus be characterised : Early, Precise, and Free, or 
 loose. The early style has the remains of the student's 
 rigidity, and is commonly called the " dry nianner." The 
 precise period is that in which the knowledge shown is 
 accompanied by a careful manner. The free style is the 
 result of ripe knowledge and power of expressing it com- 
 bined in an eminent degree.* Young students should not 
 be permitted to copy works of art (executed in the free 
 manner of the painter. If early works be not accessible, 
 those executed in the precise style may be used, but all 
 pictures may be studied, their composition of light and 
 shade, and arrangement of colour analysed, the knowledge 
 so obtained being stored up to enrich the mind. 
 
 The object of the preceding caution is to prevent 
 students wasting their time in endeavouring to acquire 
 what would be a stumbling block to their advancement. 
 
 * The best worka of an artist are produced about the latter end of 
 the precise period, when the mind is ripe and the hand well under 
 control. 
 
 
 
34 THE THEOET OP COLOTJBING. 
 
 MaTinerism is the inevitable result of orderly method in 
 pursuing studies: the absence of it indicates a vacil- 
 lation of character which augurs iU for the ultimate 
 success of the painter. It changes in the three periods 
 referred to. The early manner is the only one which 
 should be copied in the works of others, by those who 
 aspire to originality; the precise will follow the early 
 manner as the student developes into the artist, whose 
 knowledge and power, increasing to their climax, will 
 gradually lead bi-m to adopt a chai«,cteristic loose style, 
 which is often so foolishly envied by the student. Certain 
 portions of the early manner will cling to the artist 
 through life, though the changes which take place are 
 very striking. The student is often warned against 
 mannerism by those who do not know its origia, but he is 
 here urged to cling pertinaciously to those qualities which 
 produce it, — namely, ordefr and method. It has been 
 pithily remarked that " He who has no master for a 
 method, should adopt a method for a master." The 
 method most likely to conduce to success is the following. 
 Make all outlines well pronounced, and scrupulously 
 correct, then draw in the broad mass of shadow conveying 
 the general effect of light and shade. The half-tones, 
 which give transparency to the shadows and modify the 
 light into appropriate forms, should be introduced nest, 
 and lastly, the brightest light and deepest shade should be 
 placed in close proximity, to concentrate the attention on 
 the point of interest, and give repose to the other parts of 
 the picture. 
 
 A great authority on art has recommended the finishing 
 studies in small portions ; such a metliod has a tendency 
 
THE THEOET OP COLOHBINfi. 35 
 
 to cramp the mind of the student, and produce littleness 
 of style by continual observation of details. It is possible 
 that this advice was given under the impression produced 
 by comparing the too broad style seen in the- works of some 
 artists, with the exquisite rendering of details seen in the 
 productions of Turner. 
 
36 THB THEORY OP COLOURING. 
 
 CHAPTER V. 
 
 COMPOSITION OP A PICTUEE. 
 
 The design or sketch from, nature shoxild be eonspicn- 
 onsly placed, and a rough copy should be made of the 
 leading lines, having the character they are intended to 
 retain in the finished pietnre. Fill in with sepia the 
 arrangement of Hght and shade, to assist in developing the 
 ideas which you wish to convey. If the first arrangement 
 is not satisfactory, carefully examine it to find out where 
 the defect lies, and proceed to make another sketch, avoid- 
 ing the errors of the preceding one. 
 
 The light and shade is to give variety in the division of 
 the picture. Equal quantities should be avoided, and 
 disagreeable arrangements of lines may be hidden by the 
 disposition of the shadows, or mingling of Ughts. 
 
 The sepia sketch being complete, make another outline 
 and put in the colours of the principal objects. (According 
 to naUire, if they be such as have distinguishing colours, or to 
 taste, as developed by the preceding studies, if dependent on 
 the wiU of the aortist.) When all the colours which miist 
 be in the picture are in their places, with the assistance of 
 the diagram of colour, fill in the other portions with 
 such colours as may be wanting to make up the com- 
 plement. 
 
 If the young artist has carefully followed the directions 
 for analysing works of art, and by practice, has become fami- 
 
THE THEOKT OE COLOUBINa. 37 
 
 liar with the qualities of pigments, little difficulty ■wUl be 
 experienced in arranging these two sketches, which are to 
 serve in the working out of the picture. The following 
 hints niay, however, be found acceptable. The colours 
 must be repeated in varying shade and quantity, through 
 the picture, knitting the whole composition together. The 
 green, broken-green, and grey tints of the herbage may be 
 carried in the sky by foregroujid trees, which, if not 
 existing in the sketch, may be introduced where required, 
 or some other appropriate object may be made to rear up 
 between the spectator and the sky. The brown tints of 
 the foreground may be made to appear in subdued shades 
 in the distance, and in the clouds, while the colours of the 
 sky may be repeated pure in water, and modified on the 
 landscape, draperies, etc. When near completion, the 
 work should be carefully examined to discover the 
 prevailing colour, which, if desirable, may be modified in 
 one of two ways. 
 
 First, if the colours be nicely balanced, the prevaihng 
 tint may be made richer by the addition of its comple- 
 mentary colour. Second, when a colour pervades the 
 subject, and is unpleasantly obtrusive, the modification 
 may be made by placing, in a well-chosen spot, a small 
 mass of the same, but of a much brighter shade than is 
 to be found in any other part of the picture. This 
 mass will serve as a focus, to which the previously 
 obtrusive colour wiU lead the eye. For examples of the 
 efEect of this treatment, see the following pictures in the 
 National Gallery. 
 
 "A Frosty Morning," — Turner. In this picture cool 
 gray tiats predominate. They are rendered comparatively 
 
38 THE THEORY OF COLOURING. 
 
 warm by comparison with the two masses of deep blue : 
 upon these deep positive colours much of the delicate 
 beauty of the picture depends. 
 
 "Burial of WilHe," — Turner. The small patches of 
 orange-red seen on the group in the gangway of the 
 steamer, and, in a subdued tone, or in smaller portions, 
 on the funnel, the windows of the deck-house, the cordage 
 and the mast, occupy a very inconsiderable space in the 
 picture, which without the relief afBorded by their contrast 
 with the prevailing colour, gray, would be most unplea- 
 santly monotonous. 
 
 " Landscape and Figures, Evening," — Cuyp. This 
 picture is decidedly warm. The artist, however, was not 
 content with regulating the warmth by the introduction of 
 the orange-red coat of the horseman in the foreground : 
 he also desired to render it luminous, which he could do 
 by means of a mass of blue or of purple. He has chosen 
 blue, and placed it close to the mass of orange-red. By 
 this arrangement the spectator's faculty of mentally 
 contrasting colours is fully brought into play. The mass 
 or orange-red leads him to etherealise the less positively 
 warm colours, and the mass of blue, by contrast, imparts 
 to them in his perception a subtle delicacy. These two 
 chimerical effects make the contemplation of the picture 
 wonderfully charming. 
 
 "Landscape, with Chateau de Stein," — Rubens. The 
 red touches on the cravat of the hunter and on the 
 woman's dress are not powerful enough to correct the 
 unpleasant warmth of the foreground, yet increasing their 
 force would cause them to attract attention from the more 
 
THE THEOET OP COLOUBING. 39 
 
 important parts of the picture. This is offered as an 
 instance of the choice of the lesser of two evils. 
 
 It has been remarked, in the chapter on studying works 
 of art, that the analysis of composition in a picture should 
 form a " precedent " for future reference, not to bind the 
 student to a servile imitation of the master, but to enable 
 him to think for himself, fully understanding the train of 
 thought which occupied the miud of the painter during 
 the execution of the work. 
 
 Adapting the light and shade and colouring of a master's 
 work to a different subject is good exercise for developing 
 the understanding, but in a composition claiming origina- 
 lity such a proceeding would be plagiary. 
 
40 THE THEOET OF COLOTJEING. 
 
 CHAPTER VI. 
 
 ON HISTOEICiL PAINTING. 
 
 The rules of study in the preceding chapters are equally 
 apphcahle to Historical Painting : it will be sufficient, 
 therefore, to indicate the order. 
 
 Sir Joshua Reynolds said "painters should go to the 
 Dutch school to learn the art of painting, as they would 
 go to a grammar school to learn languages." 
 
 The " Teniers," with their great simpHcity of treatment, 
 should be first studied ; the written analysis carried so far 
 as to be an enumeration of their tints and shades. Rubens, 
 Paxd Veronese, Vandyke, and Correggio, are examples of 
 most brilliant colouring ; but Titian, by the extreme deli- 
 cacy of his perception and rendering of nature, combined 
 with richness and brilKancy, will serve to correct the 
 extravagance into which the study of Rubens and Paul 
 Veronese is likely to lead the student. A careful study of 
 these masters, in the order indicated, will do more for the 
 cultivation of the student's taste than volumes of disser- 
 tations on that singularly debatable quality. The remarks 
 on manner must be borne in mind, that of Tenier, 
 owing to its simplicity, may be adopted by the student as 
 the basis of his rigid manner. 
 
 After making three or four copies of Tenier'e works, 
 study from nature, either " still life " or " the living 
 model " should be commenced, the colours being arranged, 
 as much as possible, as in the simplest of the pictures 
 
THE THEOET OF COLOUEING. 41 
 
 copied. By following this method, loss of time wiU he 
 avoided, and the ctdtiTation of a good taste ensured. The 
 rendering of the tints should be as hroad as possible, the 
 first studies being confined to laying in the 'breadths of 
 light, half-tint, and shadow — accurately defined in form, 
 and as correct as possible in tint.* 
 
 The course of study laid down in the preceding pages, 
 if duly followed, may, it is hoped, help the student to attain 
 a high position in art. 
 
 * The half -tints are cooler than the lights, which are not so warm 
 as the shadows. This is inTariable under the efEect of white light 
 and blue not being reflected into the shadows. Every good picture 
 should be examined to discover this. In Guido it wiU be seen pal- 
 pably. In Titian it is as dehcately shown as in nature. This remark 
 is made with especial reference to flesh painting. 
 
APPENDIX. 
 
 SPECIMENS OF ASALTSIS OP WOEKS OP AET. 
 
 The following works are to be seen at the National 
 Gallery of Paintings, London. 
 
 TuENBB CoLLECTioif. No. 140. — "A Beach in Devon- 
 shire." 
 
 Light and Shade. — Light predominates. The shade 
 takes a serpentine path from the foreground over the 
 middle distance, and thence into the sky, being weakest 
 in the foreground and strongest in the middle distance. 
 
 Objects introduced. — Foregronnd. John doiy, red 
 mullet, dog-fish, nets, chains, spars, breaking waves, bnoy, 
 beacon, and rainbow. 
 
 Prmcipal colour contrasts. — Green and red, and bine and 
 orange. 
 
 Distribution op Colours. 
 
 Green. — Principal mass on the buoy, next on the dories, 
 then on the netting in the shade, to the left of the dog-fish 
 and under its tail. These masses are connected together 
 by touches on the ground and in the shallow water. 
 
 Red. — Principal mass on the group of mullet, carried 
 in touches over the chains, and used to mark some detail 
 on the green buoy, thence in delicate greys up to the 
 rainbow. 
 
 Blue. — Principal mass in the water, on -t,he dories, 
 chains, &c. 
 
APPENDIX. 43 
 
 Orange. — ^Principal mass, the beacon, then the rainbow. 
 
 Prmoipal eormeeting Oolcwrs. — Pnrple-grey of the chains 
 between red and green ; pnrplish-brown-grey between blae 
 and orange. 
 
 Observe the orange-brown-grey below the buoy, and the 
 pale tint of the same above it, and also on the right of the 
 dog-fish. In the latter place it is accompanied by blue 
 and greenish-greys. The shade in the sky is purplish- 
 blue-grey. 
 
 This subject is chosen on account of its beautiful sim- 
 plicity. The light and shade is easily understood. 
 
 The principal masses of contrasting colours are separated 
 by related colours subdued into greys. These offer spaces 
 of repose, which relieve the contrasting masses, while 
 their tiats serve to subdue the contrast. The distribution 
 of the colours in varying quantities gives richness, and 
 makes of the whole combination an exquisite example of 
 subdued harmony. 
 
 "ULYSSES DERIDING POLYPHEMUS." 
 
 Light and Shade. — Light preponderates; the shade enters 
 it on each side of the picture in the form of wedges, whose 
 apices meet in the horizon ; it is deepest about the point of 
 junction. 
 
 The highest light is the sun, from which rays proceed 
 upwards and downwards, forming two wedge-like masses. 
 Light is carried into the shade by the sails and hull of the 
 galley, forming a third mass of light; and shade is 
 carried into the light by the dark blue-grey openings in 
 the clouds, etc. 
 
44 appendix. 
 
 Objects and Incidents Inxbodtjced. 
 
 A Grecian galley, crowded with fignres in tlie fall 
 excitement of setting sail, ocoupies a prominent position in 
 the picture. The graceful vessel heels gently over as the 
 wind sweUs her loosened canvas, while the ripple at her 
 bow shows her to be already in motion. Nnmerous figures 
 are seen cHnging to the fore-sweep, busy with letting out 
 the sail. The spectator's glance, influenced by the activity 
 of the scene, hurries over the clustering mass at the 
 bottom of the fore-shrouds, and past the crowded rowers, 
 to where, high on the poop, with arms outstretched, and 
 bearing in his hand the fatal torch, stands " Ulysses 
 deriding Polyphemus," whose massive proportions are 
 seen on the rocky coast writhing in enraged agony. The 
 fire kindled by the Greeks is seen at the base of the cliffs 
 on the left. 
 
 These things may be considered as essential to the sub- 
 ject, while the sun, with the glorious assemblage of clouds, 
 the receding galleys on the right, the sea-nymphs and 
 fishes (a poetic rendering of the phosphorescent appear- 
 ance of a cahn sea), the graceful lines and brilliant colour- 
 ing of the flags, are purely accessories dependent on the 
 taste of the artist. 
 
 In order to simphfy the analysis of this picture, it is 
 thought advisable to divide it into three parts. In the 
 first the sunrise on the right, with its surrounding 
 colours, wiU be considered. The second will present 
 the galley with its surroimding colours. The third 
 will deal with the broad masses of the whole picture or 
 general effect. 
 
APPENDIX. 45 
 
 Part 1.— PRINCIPAL COLOUR CONTRASTS. 
 
 No. 1. — Orange and blue. At the horizon, reddish and 
 yellowish orange is in full contrast with deep hlue-grey. 
 No. 2. — Tellow-grey and purple-grey. 
 
 DlSTEIBUTION OP COLOUES. 
 
 Yellow and Orange are repeated in a lower tone in the 
 water and upper part of the sky, also in markings on the 
 rocks on the left, and on the galleys on the right. 
 
 Blue. — Principal mass on the horizon, clouds, and sur- 
 face of distant water. It is of a fine wedge shape, changing 
 upwards into a grey. The brilliancy of this colour is 
 heightened by contrast with the broken-green and brown 
 rocks on one side, and by the brown mass of the galleys 
 on the other. It is repeated on the striped flag, and as a 
 deep blue-grey in the openings through the clouds. The 
 course of this colour presents a beautiful feather-like curve 
 about the sun. 
 
 Yellow-grey. — Principal mass oyer the sun. It is 
 repeated in mottlings on the upper part of the sky. 
 
 Purple-grey. — ^Principal mass, a broad arched band which 
 commences in strength on the face of the rocks and becomes 
 paler on the clouds. It is repeated on a small sail on the 
 right of the sun. 
 
 MurOE CONTEASTS. 
 
 No. 1. — ^Blue and Broken-green and Brown. 
 No. 2. — Orange and Gray. 
 Blue, as described in preceding page. 
 Brohen-green and Brown, on the arched rocks, where they 
 serve to subdue the contrast between the blue of the water 
 
46 APPENDIX. 
 
 and the orange, presenting a very rich passage of colonr 
 froin the yellow-grey of the sky to the almost pure bine of 
 the water on the left of the arched rocks. Broken-green 
 is repeated on the borders of the reflection of the snn-light 
 in the water, where it prodnces a natural modulation from 
 the orange-grey to the deep gray. 
 
 Brown is repeated in a great variety of shades in the 
 wedge-like mass on the right (the galleys). This mass is 
 connected with that of the rocks by the distant sails. 
 
 Grcuy. — Principal mass on the water below the rocks. 
 It is repeated on the stempost of the farthest galley, and 
 in its reflection in the water, on the sail on the extreme 
 right, and very deHcately to tHfe left of the weathered 
 rocks. 
 
 This part of the pictnre presents an example of full con- 
 hast (orange and blue), supported by sHghtly-snbdued 
 contrast (yeUow-grey and pnrple-grey). The orange and 
 yellow-grey are rendered delicate by the presence of 
 striking masses of deep brown, which also impEirts an 
 ethereal transparency to the bine. The deep gray of the 
 water below the weathered rocks, by its repose as well as 
 by its colour, assists the blue in giving brilliancy to the 
 orange* Thus far harmonious contrast prevails. On each 
 side of the sun are seen charming modulations of colour. 
 That on the left, beginning with the yellow-grey of the 
 sky, offers the following succession to the eye : — yellow- 
 grey, orange-brown, and broken-green, deep brown, deep 
 broken green, into deep gray of the water, or passing over 
 the rocks obliquely to the left into rich blue and pale gray. 
 On the opposite side, from yeUow-grey of the sky, through 
 orange-grey (the steeds of Phoebus), i-ich orange-brown of 
 
APPENDIX. 47 
 
 the galleys, into broken green and brown of the foreground. 
 The blue is kept well together about the horizon, and is 
 thence carried up in irregular masses, suggesting a 
 beautiful curve, the intervals being filled up by its kindred 
 colour purple subdued by grey. 
 
 Part 2.— PRINCIPAL COLOUR CONTRASTS. 
 
 Red, Yellow, and Blue. 
 Green, Purple, and Orange. 
 ^ Brown, Broken-green, and Gray. 
 
 (These colours are repeated so frequently on the galley that 
 the noting every touch would be as tiresome to the reader 
 as tedious to the writer, attention must therefore be given 
 to the most important poiats only.) 
 
 DlSTEIBUTION OF COLOTJES. 
 
 'Bed (pure by contrast with broken-green), on the mantle 
 of Ulysses ; on the cap of sailor at lower part of the fore- 
 yard, markings on the prow, as a purplish (crimson) red on 
 the banner on mizen mast ; on the flag bearing the name 
 OAYSSEYS, and on various other parts as a greyish-red. 
 It is also implied by an orange-brown in the fire, and its 
 reflection on the water. 
 
 Yellow. — Pure on the spars and in touches about the 
 figures and hull. It is modified into yellowish-broken- 
 green in. the half-tints of the galley, and into yellowish- 
 brown in the shade. 
 
 BVwe. — Pure on the striped flag, on the prow, on the 
 ripples made by the plashing oars, and as a delicate tint 
 (beside yellow) in the light at the bottom of the main 
 
48 APPENDIX. 
 
 shrouds, repeated as a blue-grey on portions of drapery on 
 the foreyard, on the pennon, and on the sky left upper 
 comer. 
 
 Green. — Principal mass on the flag. It is repeated on 
 the water on each side of the galley, forming the points of 
 an irregular triangle. (This colour seems to produce the 
 pyramidal form of the galley to the foreground.) 
 
 Purple. — On the anchor and on the markings of the ^ 
 spars and cordage, and as a delicate grey on the sails 
 (minghng with brown-grey). As a grey it is seen on the 
 form of Polyphemus, from whence it rises delicately over 
 the mountains to a distant height, dips downward again 
 to some rocks (relieved by the blue-grey of the sky), or 
 proceeding downwards from the body of Polyphemus to 
 the flag conmiemorating the taking of Troy, on the 
 ornamental border of the sails, and on the face of perpen- 
 dicular rocks ; from thence it passes into a delicate band 
 over the sunlight, and disappears on the small square sail 
 on the right of the most prominent sternpost of the 
 receding galleys. The course of this colour through the 
 picture is very interesting. 
 
 Orange. — On the spars and markings. It is brightest at 
 the base of the foremast (where it contrasts with the gray 
 swan). 
 
 Brown. — In deep markings of the figures and rigging, 
 and in the deep shades of the galley ; ' also as a tender- 
 brown-grey on the sails. 
 
 Brohen-grem. — In the half-tints of the galley, etc. 
 Gray- — On the swan, on the prow, and on the sea^ nymphs 
 in the water. 
 
APPENDIX. 49 
 
 This splendid assemblage of colours is surrounded by 
 the tertiaries exquisitely modulated, and disposed in tKe 
 form 6f an oval. The foci may be supposed to exist in 
 the .galley and in the orange part of the arched rocks. 
 Commencing at the latter point and proceeding to the left, 
 the colours are seen in the following order : — Bluish-grey 
 (shadow of the orange-grey rock) ; hrownish-jpurple-grey 
 (deepening downwards into a rich blue-grey till, meeting 
 the water, it is almost pure blue) ; purple-grey (on the 
 perpendicular face of the rocks) ; orange-brown-grey (of 
 the saUs) ; greyisJi-hrohen-green (with orange-grey markings 
 on the extreme left) ; deep brown (with blue markings) ; 
 deep gray (with broken-green and blue markings) ; 
 brohen-green (with blue and brown markings) ; brown 
 (under the bow of the galley) ; gray (with yellow and 
 orange markings) ; receding towards the arched rocks it 
 becomes a deep blue-grey, in which there are markings of 
 deep blue almost black ; the most effective of which 
 are between the base of the rook and the small" brown 
 sails. This deep blue extends to the left, becoming lighter 
 and purer till it meets the bow of the galley, to which it 
 gives great relief. Passing upwards over the arched rock, 
 the colours are seen to succeed each other as follows : 
 — Or ay, brohen-green, brown (with orange markings), 
 when rich orange-grey brings the eye back to the point of 
 departure. 
 
 In this part the whole gamut of colour is seen on the 
 galley and its appendages, the primaries and secondaries 
 being relieved by the tertiaries in the form of greys. The 
 varied colouring and form of the mass combined produce 
 an object of voluptuous beauty, which is relieved by 
 
 D 
 
60 APPENDIX. 
 
 tertiary colours, in their full depth and contrast, melting 
 into and succeeding each other with regularity. These 
 are disposed in a beautiful oval shape, having at the smaller 
 end a contrast of orange (grey) and hlue (grey) on the 
 rocks, subservient to that about the prow of the galley — 
 red, hlue, and yellowish broken-green. This is an example 
 of full contrast, inasmuch as the contrasting colours are 
 placed side by side, yet, by skilfnlly lowering their tone, or 
 using them in smaller quantities, the effect is kept subser- 
 vient to that of the sunrise. 
 
 The third part must necessarily recapitulate some of the 
 matter already given. 
 
 Paet 3.— principal COLOUH CONTRASTS. 
 
 Blue and Orange. 
 
 Yellow (grey) and Purple (grey). 
 
 DlSTEIBTJTlON OF COLOUES. 
 
 Blue. — Principal mass on the surface of the water 
 (extending to the orange), repeated on the striped flag 
 and in the left upper comer of the picture. 
 
 Orange. — Principal mass near the sun, repeated in the 
 water, on the rocks, on the galley, in the upper part of the 
 sky, and in the group of galleys on the right; the masses 
 are united by markings. 
 
 Yellow (grey). — Principal mass, the light over the sun, 
 repeated in small quantities on the water and galley. 
 
 Purple (grrey;.— Principal mass on the white rocks, 
 repeated as a broad band above the yellow-grey of the sky 
 on the body of Polyphemus, and on the rocks iu left upper 
 corner; these masses are connected together by small 
 masses and markings. 
 
APPENDIX. 51 
 
 MmOE OOKTBASTS, 
 Orange and Gray. 
 Purple and Broken-green. 
 
 Orange. — As described above. 
 
 Gra/y.- — Principal mass on tlie water below the arched 
 rocks, repeated as already given. 
 
 Purple.— Ks described above. 
 
 Brokeih-greem. — Principal mass on the coast, repeated on 
 the galley and water below it, on the arched rocks, and in 
 the right lower comer. 
 
 In this part broad masses of contrasting colours are 
 seen to be distributed through the picture in varying form 
 and quantity. The strongest contrast is that of orange 
 and blue, which, from the different shades of the orange, 
 might be called red, yellow, and blue. The part of the 
 picture where this contrast occurs offers a point of irresist- 
 ible attraction. About it curved lines are made to circle, 
 and to it the lines of perspective lead. 
 
 The contrast next in importance is that of purple with 
 yellow and broken-green. The mass of yellow (grey) over 
 the sun is made brilliantly luminous by the surrounding 
 broad masses of purple (on the sky and rocks), blue, and 
 gray (on the water), and brown (on the rocks and galleys), 
 while the masses of purple are made rich by broad masses 
 of broken-green, which assist to form the shade of the 
 picture. The principal objects in the incident portrayed are 
 rendered in this contrast; purple (grey) on the form of 
 Polyphemus and broken-green on the broad mass of the 
 galley. 
 
 The extreme richness of the colouring arises from the 
 preponderance of the colours in an almost neutral condition. 
 
52 APPENDIX. 
 
 strongly resembling those in the diagram of colour, Plate 1. 
 They have, therefore, nearly their full power of contrast. 
 
 It requires very great skill to prevent such a mode of 
 treatment resulting in anything better than a mere piece 
 of conventionalism ; but Turner's great power of drawing 
 and colouring overcame all difficulties, and produced a 
 chef d'ceuvre which those best acquainted with nature will 
 ever recognise as the offspring of her inspiration. 
 
 National Gtallert. No. 154, "A Music Party," by 
 
 Teniers. 
 
 Light and Shade. 
 
 Shade preponderates ; it has the shape of an ill-formed 
 V, the point being the foob of the principal figure : the 
 spread of the angle occupies two-thirds of the top of the 
 picture. Light traverses it irregularly on draperies, etc. 
 The highest light is on the old woman's cap. The darkest 
 point of shadow is under the right jaw of the boor tuning 
 the cittern. Objects introduced, foreground: a bottle, a 
 group of three boors, a table, on which are a bottle, a glass, 
 and some music books; a block of wood, a tub (for a seat), 
 a group of four figures about a fireplace, with a table, a 
 tub seat, and a three-legged stool ; a bunch of candles, a 
 print, a broken pipe, and a window, in which sits an owl 
 (of earthenware). 
 
 PRINCIPAL COLOUR CONTRASTS. 
 Red, Yellow, and Blue. 
 
 DlSTlUBUTION OF CoLOUKS. 
 
 E,>(?.— Principal mass on the cap of figure, behind the 
 old woman's chair. It is repeated as gi-eyish-red markings 
 on tlie flesh. 
 
APPENDIX. 53 
 
 Yellow (hrownish- greyish). — Principal mass on the 
 sleeves and hose of the hoor tuning the cittern. It is 
 repeated (modified still more by grey) on the cittern, the 
 music books, and neck of the bottle on the stool. 
 
 Blue (light greyish). — Principal mass on the jerkin of 
 the boor tuning the cittern, repeated on the highlights, in 
 distant groups, and carried upwards as smoke. 
 
 Blue (deep greenish). — Principal mass, the old woman's 
 gown, ' repeated on the cap of the principal figure, the 
 bottle in the foregroujid, and deeper on the jacket of 
 centre figure in the distant group. 
 
 MiNOE Contrasts. 
 
 Red, with broken-green and gray. 
 Blue, with broken-green and brown. 
 Yellow, with brown and gray. 
 
 DiSTErBUTION Ot COLOUES. 
 
 Bed. — ^As already given. 
 
 Broken-green.- — Principal mass, the jacket of the figure 
 with the red cap, repeated on draperies in the distant group, 
 on the background behind the principal figure, and mottled 
 with brown and gray in the light parts of the ground and 
 background. 
 
 Gray. — Principal mass on the distant wall, repeated with 
 broken-green and brown in the light parts of the ground 
 and foreground. 
 
 Blue. — As already given. 
 
 Apparent Intention in the Use of the Aocessoeies. 
 
 The bottle in the foreground is placed there to introduce 
 into that part of the picture a mass of light of a pleasing 
 
54 APPENDIX. 
 
 shape, which should contrast with the STirrounding forms, 
 composed, as they are for the most part, of straight lines. 
 The space it occupies becomes much varied by its presence. 
 The mass of colour is closely related to the snrroTinding 
 tints, and is slightly relieved by a subdued contrast 
 produced by the blue (grey) markings. The artist might 
 have introduced a form of a pale green (grey) colour with 
 brown markings. It would have been as well suited for 
 the colouring in the immediate vicinity, producing a 
 subdued contrast and a space of light, but the advantage 
 of bringing blue into the foreground would have been lost. 
 The glass on the stool breaks the continuity of the line of 
 the wall, its curved lines contrasting with the straight ones. 
 The oblique shadow on the wall destroys the parallelism 
 of its lines with that of the side of the picture, etc. The 
 block of wood on which the foot of the principal figure 
 rests breaks the regular curves on the tub, and its straight 
 lines (nowhere parallel) contrast with those curves. It 
 also carries the hght of the foreground into the shadow of 
 the tub, and vice versa, so producing variety. The owl 
 converts the window into a loop. The bunch of candles, 
 the tail of the coat, and the leg of the stool, cause an 
 undulation in the line of the chimney. The print on the 
 chimney beam breaks its lines, and unites the wood with 
 the plaster. This picture offers an example of full con- 
 trast, the contrasting colours are supported by others 
 related to them. The colouring partakes of the grotesque, 
 and is, therefore, well adapted to the subject. The gro- 
 tesque in colour, as in drawing, consists of exaggeration, 
 combined with want of taste. The placing a large mass 
 of light blue (grey), supported by a mass of gray, in full 
 
APPENDIX. 55 
 
 contrast witb. prominent masses of brownisli yellow (grey), 
 supported by brown and broken green, and the surround- 
 ing the red cap with broken green, are exaggerations ; 
 while the latter, and the extreme shades of blue, in such 
 proximity, as they are seen on the woman's dress and 
 man's jerkin, are instajices of want of taste. The latter 
 remark applies to the individuals of the pai'ty, not to the 
 artist. 
 
 The parts are knitted together by the repetition of the 
 colours through the picture in varying depth and quan- 
 tities. The strongest points of light and shade are near 
 to each other, and to them all the other masses are sub- 
 servient. 
 
56 APPENDIX. 
 
 TABLE OF MIXED TINTS. 
 
 EXTRACT FROM FIELDING'S "THEORY OF PAINTING." 
 
 FOE SKIES, CLOUDS, AND DISTANCES. 
 
 Lake and indigo. Madder lake, cobalt, and yel- 
 
 Lake and cobalt. low octre. 
 
 Lake, Venetian red, & indigo. Indian red and cobalt. 
 Venetian red and indigo. Gramboge, lake, and indigo. 
 Indian red and indigo. Gramboge, madder lake, and 
 
 Light red and indigo. indigo. 
 
 Lamp black and Indian red. Gramboge, madder lake, and 
 Madder brown and indigo. Antwerp blae. 
 
 Lamp black and lake. Indian red, indigo, and yel- 
 
 Lamp black, lake, and cobalt. low ochre. 
 
 Lamp black, lake, and indigo. Madder lake and cobalt. 
 Madder brown and cobalt. Yellow ochre, lake, and indigo. 
 Vermillion and cobalt. Tenowochre,lake, and cobalt. 
 
 Venetian red and cobalt. 
 
 Try the above mixtures, substituting ultramarine for any 
 of the other blues. 
 
 The following series of mixtures for foregrounds, 
 middle distances, etc., are, many of them, also suitable 
 for local colour, and many of them, also will make the 
 shadows for colour, as burnt sienna, indigo, and gambofo 
 
APPENDIX. 57 
 
 for a green, or varied greens, using Vandyke brown and 
 indigo for the shadows of these greens, etc. . 
 
 Burnt sienna, lEike, and Gamboge, Venetian red and 
 
 indigo. indigo. 
 
 Vandyke brown, lake, and Gamboge, burnt sienna, and 
 
 indigo. indigo. 
 Raw sienna, madder lake. Gamboge, Vandyke brown, 
 
 and cobalt. and indigo. 
 
 Eaw sienna, lake, and An- Gamboge, burnt sienna, and 
 
 twerp blue. cobalt. 
 
 Eaw sienna, lake, and Gamboge, burnt sienna, and 
 
 indigo. Antwerp blue. 
 
 Try the mixtures above by changing all the blues for 
 ultramarine, and also ia the following mixtures make the 
 same exchanges in the blues. 
 
 Burnt sienna, indigo, and Gamboge dnd Antwerp blue. 
 
 Italian pink. Italiap pink and Antwerp 
 
 Italian pink and lamp black. blue. 
 
 Gamboge and lamp black. Gamboge and indigo. 
 
 Tellow ochre and indigo. Indian yellow and lamp black 
 
 Raw sienna and cobalt. Indian yellow and Antwerp 
 
 Italian pink and indigo. blue. 
 
 Itahan pink and cobalt. Indian yellow and indigo. 
 
 The last six mixtures make a cold and intense green. 
 
 Burnt sienna and iudigo. Tellow ochre and madder lake 
 Vandyke brown and indigo. Venetianredandyellow ochre 
 Brown pink and indigo. Gamboge and lake. 
 
 Brown pink and Antwerp Gamboge and Venetian red. 
 
 blue. Burnt sienna and lake. 
 
 Raw umber, lake, and one of Raw sienna and lake. 
 
 the various blues. Raw sienna and burnt sienna 
 
 Tellow ochre and lake. Vandyke brown and lake. 
 
 Indian yellow, lake, and a Vandyke brown and burnt 
 
 little of one of the blues. sienna. 
 
 The student may extend this list to an indefinite length 
 by changing one of the colours for another not mentioned 
 
58 APPENDIX. 
 
 and again, by changing the proportions of each ; but in 
 all the various mixtures, excepting for skies and distances, 
 the blues sKould constitute a small proportion of the whole 
 mixture, on account of their power, in the first trials ; this 
 will render the mixing of all the tints used in painting of 
 much easier acquirement, as a very small addition of blue 
 or black inunediately makes a vast alteration in the colour. 
 
 These mixtures will also answer in oil painting, when the 
 colours are not improper for this vehicle. 
 
 The student will observe, that, in the foregoing tables, 
 no mention is made of French blue. Fielding, at the time 
 of their publication, was not practically acquainted with 
 this most useful colour. It has great power in mixtures, 
 and, for general purposes, is preferable to ultramarine. 
 It will be well to give it a prominent place in tables of 
 mixed tints. 
 
 Within the last few years, another blue has been dis- 
 covered. It is the lightest of the permanent blues, and 
 approaches nearer to the blue of the spectrum than any 
 other pigment we have. It is remarkable that, although it 
 is obtained from cobalt, it is not aifected by artificial light 
 in the same manner. In cobalt, purple is very apparent ; 
 in cceruleum (the name given to the new colour), a slight 
 tint of yellow only is seen, which, in the presence of red 
 or purple, gives to the blue a greenish tinge. For deUcate 
 sky and air tints it is invaluable ; some skiU, however, is 
 required to lay a large wash of it. 
 
PRACTICAL LESSONS 
 
 IN 
 
 WATER-COLOUR DRAWING, 
 
 PUBLISHED BY 
 
 GEO. ROWNEY & CO., 
 
 52, EATHBONE PLACE, & 29, OXFOED STREET, LONDON, W. 
 
 NOBLE'S PROGBESSIYB LESSONS IN WATER - COLOtJR 
 DRAWING. g (^_ 
 
 Litroductory number, containing Letter-press ") „ „ 
 and twelve Ulnstrations ... ... ) 
 
 Parts I. and II., each containing Letter-press ") „ „ 
 and tliree plates, ... ... ... eacli ) 
 
 Part 3 — ^Advanced Sepia „ „ „ 3 6 
 
 Part 4 — Pinished Sepia „ „ „ 3 6 
 
 GREEN'S SEPIA DRAWING LESSONS. 
 
 Six nunibers ; each, containing one subject in three 
 stages. Size 9^ X 6|. Price Is. each. 
 
 GREEN'S ELEMENTARY LESSONS IN WATER - COLOTJR 
 DRAWING. 
 
 Six numbers; each cont^yning one subject in four 
 stages. Size 13 X 10. Price 6s. each. 
 
 GREEN'S ADVANCED LESSONS IN WATER-COLOUR 
 DRAWING. 
 
 Six numbers; each containing one subject in four 
 stages. Size 17| x 12j. Price 10s. 6d. each. 
 
WATER-COLOUR 
 
 LESSON DRAWINGS. 
 
 
 
 A series of Studies by varions eminent Artists, expressly adapted 
 for inBtruotion in drawing in Water-Colours. 
 
 No. Width. Height. Artist's Name. Price. 
 
 s. d. 
 
 1. 6 by 7i— GIPSET GIRL 0. Oaklet... 3 6 
 
 2. 6f „ 8 —STUDY OF MAN'S HEAD „ ... 3 6 
 
 3. 8i ,,10i— STUDY OF 6IPSEY GIRL'S'^ c: n 
 
 HEAD > " ■■; 
 
 4. 9 „lli— STUDYOP ASHEIMPBB(oval) „ ... 5 
 
 5. 8i ,, Hi— STUDY OF A GIRL AR- ") ^ n 
 
 RANGING FLOWERS (dome) j " ■•• " " 
 
 6. 8i „ lOi— THE SAVOYARD „ ...5 
 
 V. 8i „ lOi— COME PUSSY (dome) „ ...5 
 
 8. 9 „ Hi— LET MB TEJiL YOU YOUR") c „ 
 
 FORTUNE (oval) > " ■ 
 
 9. 9i „ HI— FETCHING WATER (ovul) / „ ... 5 
 10.11 „ 15i— SAUNTERING HOME , ...7 6 
 
 11. 11 „16i— THE MUSSEL GATHERER ... „ ... 7 6 
 
 12. lOi „ 16i— THE HARTESTMAN „ ...7 6 
 
 13. lOi „ 7f— HASTINGS FISHING BOATS S. Proot ... 4 
 
 14. Hi ,, 61— THE PRISON SHIP „ ...4 
 
 15. 10| „ 71— COTTAGE ON THE HEATH... W. CAiiOW... 3 
 
 16. lOf „ 7 —OFF THE COAST ."..... „ ... 3 
 
 17. lOf „ 7| — BRIDGE, Nokth Waies David Cox... 4 
 
 18. Hi „ 8 —RUINS, South Walks „ ... 4 
 
 19. lOi „ 71— ROADSIDE INN, North Wales „ ... 4 
 
 20. lOi „ 7i— ON THE BEACH, Hastings ... „ ... 4 
 
 21. lOf „ 7i— ON THE THAMES, Near 
 
 Woolwich 4 
 
 22. 9i „ 6i— IN THE HIGHLANDS J. D. Hardins 5 
 
 23. 8 „lli— KAVALET PEASANT GIRL r.GooDALL,R.A. 3 
 
 24. 10 „14 —ITALIAN PEASANT GIRL ...E. Lundgren 5 
 28. 10 „ 14 —ITALIAN PEASANT GIRL, ) 
 
 WITH FLOWER i „ ...5 
 
 26. lOi „ 7 —STUDY IN SEPIA David Cox ... 1 
 
 37. 18i „ 8i— OLD BRIDGE, Normandy P. Marnt ... 5 
 
 28. 13i „ 8i— RIVER-SIDE SNOW SCENE... „ ... 5 
 
 29. 13i „ 8i— WELSH BRIDGE T. L. Rowbotham 7 6 
 
"PRIZE MEDAL AWARDED." 
 
 INTERNATIONAL 
 EXHIBITION. 
 
 CLASS 2. 1862. 
 
 MESSRS. GEORGE ROWNEY & CO. 
 
 HAVE THE PLEASURE TO ANNOUNCE THAT BY THEIR 
 
 SYSTEM OF 
 GRINDING COLOURS BY MACHINERY, 
 
 Tliey are enabled to supply Artists colours in oil, water, or powder, perfectly 
 fine, at the same prices as hitherto charged for colours less finely ground. 
 
 Messrs. G. R. & Co. feel assured the OIL COLOURS ground by their 
 improved process will be found to bejifier, brighter^ less oily, and to dry quicker 
 than any others at present manufactured ; and that their WATER COLOURS 
 prepared by the same process, will prove to \>ejiner^ brighter, and to Jloat more 
 evenly ivithout granulation than any other colours hitherto produced. 
 
 They therefore solicit a trial in full confidence of giving satisfaction. 
 
 PARIS UNIVERSAL EXHIBITION. 
 
 1867. 
 
 TWO SILVER MEDALS. 
 
 Class 6. "For Chrcmo Lithographs." Class 7. "Colours for Painting.' 
 
 RETAIL DEPARTMENTS: 
 52, RATHBONE PLACE, and 29, bXFORD STREET, W. 
 
GEORGE ROWNEY & CO.'S 
 
 WATER COLOURS, 
 
 GROUND BY MACHINERY. 
 
 
 
 Whole 
 
 1 
 
 
 LIST OF WATER COLOURS. 
 
 Cakes. 
 
 Moist 
 Pans, or 
 
 Half 
 Cakes 
 or Half 
 
 Quarter 
 Cakes. 
 
 
 
 Tubes. 
 
 Pans. 
 
 
 
 
 Hach 
 
 Each 
 
 Each 
 
 Antwerp Blue 
 
 King's Yellow 
 
 s. d. 
 
 5. d. 
 
 s. d. 
 
 Bistre 
 
 Lamp Black 
 
 
 
 
 Blue Black 
 
 Light Red 
 
 
 
 
 Blue Verditer 
 
 Naples Yellow 
 
 
 
 
 Brown Ochre 
 
 Neutral Tint 
 
 
 
 
 Brown Pink 
 
 Olive Green 
 
 
 
 
 Burnt Sienna 
 
 Orange Orpiment 
 
 
 
 
 Burnt Umber 
 
 Payne's Grey 
 
 
 
 
 Chinese White 
 
 Permanent Blue 
 
 
 
 
 Chrome i, Lemon 
 
 Permanent White 
 
 
 
 
 Chrome 2, Middle 
 
 Prussian Blue 
 
 
 
 
 Chrome 3, Orange 
 
 Prussian Green 
 
 
 
 
 Chrome 4, Deep 
 
 Purple 
 
 ^ I 
 
 6 
 
 3 
 
 Cologne Earth 
 
 Raw Sienna 
 
 
 
 
 Dragon's Blood 
 
 Raw Umber 
 
 
 
 
 Emerald Green 
 
 Red Lead 
 
 
 
 
 Flake White 
 
 Roman Ochre 
 
 
 
 
 Gamboge 
 
 Sap Green 
 
 
 
 
 Hooker's Green, t 
 
 Terra \'ert 
 
 
 
 
 Hooker's Green, 2 
 
 Vandyke Brown 
 
 
 
 
 Indian Red 
 
 Venetian Red 
 
 
 
 
 Indigo 
 
 Verdiffris 
 
 
 
 
 Italian Ochre 
 
 Vermilion 
 
 
 
 
 Italian Pink 
 
 Y«llow Lake 
 
 
 
 
 Ivory Black 
 
 Yellow Ochre , 
 
 
 
 
 Black Lead 
 Brown Madder 
 Chinese Orange 
 Coeruleum 
 Crimson Lake 
 Indian Lake 
 Indian Yellow 
 Italian Ultra 
 Magenta 
 
 Azure Blue 
 
 Cobalt 
 
 French Ultramarine 
 
 Aureolin 
 Burnt Carmine 
 Carmine 
 Cadmium, Pale 
 Cadmium, Yellow 
 Cadmium, Orange 
 Cadmium, Orange Deep 
 Dahlia Carmine 
 Gallstone 
 
 Deep Rose 
 Extract Madder Car- 
 mine 
 Ultramarine 
 
 Mauve 
 Mars Yellow 
 Orange Vermilion 
 Purple Lake 
 Scarlet Vermilion 
 Scarlet Lake 
 Sepia 
 
 Roman Sepia 
 Warm Sepia 
 
 Lemon Yellow 
 Veronese Green 
 Violet Carmine 
 
 Green O.xide of 
 
 Chromium 
 Intense Blue 
 Madder Lake 
 Mars Orange 
 Pink Madder 
 Pure Scarlet 
 Rose Madder 
 
 Purple Madder 
 
 Smalt 
 
 Ultra Ash 
 
 5 3 
 
3 
 GEO. ROWNEY & CO.'S 
 
 JAPANNED TIN SKETCHING BOXES, 
 
 FILl^ED WITH MOIST COLOURS. 
 
 i-Cake Box 
 
 Sepia. 
 
 a-Cake Box 
 
 Sepia and Chinese White. 
 3-Cake Box 
 
 Raw Sienna, Indigo, and Sepia. 
 4-Cake Box 
 
 Raw Sienna, Sepia, Indfgo, and Chinese White. 
 
 LANDSCAPE. 
 6-Cake Box 
 
 Gamboge, Yellow Ochre, Light Red, Crimson Lake, Van- 
 dyke Brown, and Prussian Blue. 
 
 LANDSCAPE. 
 lo-Cake Box 
 
 Gamboge, Roman Ochre, (i) Lemon Yellow, (i) Chinese 
 Orange, (1) Indian Red, (i) Vermilion, Brown Pink, Sepia, 
 Cffiruleum, French Ultramarine, Prussian Blue, and Veronese 
 Green. 
 
 LANDSCAPE, 
 I2-Cake Box 
 
 Gamboge, Raw Sienna, (i) Lemon Yellow, (i) Pale Cad 
 "I""' (f) P-^^ng' Cadmium, (i) Mars Orange, (1) Indian Red 
 LV 7"^.T' S^""'.'°" Lake, Madder Brown, Sepia, Lamp 
 Black, Cobalt, Prussian Blue, and Olive Green ^ ' ^ 
 
 jC s d. 
 
 ° 4 9 
 
 ° 5 9 
 
 070 
 
 o 8 3 
 
 o 10 9 
 
 o 19 o 
 
LANDSCAPE AND FIQURE. •*■ '' 
 
 I2-Cake Box .... ■■ '5 
 
 Yellow Ochre, {{) Lemon Yellow, (i) Orange Cadmium, 
 Mars Yellow. Light Red, (i) Scarlet Vermilion, {{) Rose 
 Madder, (i) Carmine, (J) Purple Lake, Vandyke Brown, Madder 
 Brown, Ctcruleum, French Ultramarine, (i) Indigo, Q) Emerald 
 Green, and Veronese Green. 
 
 LANDSCAPE AND FIGURE. 
 
 i6-Cake Box .115 
 
 Raw Sienna, Indian Yellow, (1) Lemon Yellow, {{) Italian 
 Pink, (I) Cadmium Yellow, ({) Orange Cadmium, Brown 
 Ochre, Burnt Sienna, Scarlet Vermilion, Madder Lake, Indian 
 Lake, Raw Umber, Vandyke Brown, Cobalt, French Ultra- 
 marine, Indigo, (i) Ultramarine Ash, (i) Emerald Green, and 
 Green Oxide of Chromium. 
 
 LANDSCAPE AND FIGURE. 
 
 l8-Cake Box .... .... 1 1 5 
 
 Gamboge, Yellow Ochre, Roman Ochre, (^-) Aureolin, 
 (I) Italian Pink, Indian Yellow, (ij Cadmium Yellow, (i) 
 Orange Cadmium, Brown Ochre, Light Red, {\) Indian Red, 
 (i) Scarlet Vermilion, Rose Madder, (|) Indian Lake, [\) 
 Lamp Black, Raw Umber, Sepia, Cobalt, French Ultramarine, 
 Prussian Blue, (^) Emerald Green, (^) Olive Green, and Vero- 
 nese Green. 
 
 LANDSCAPE. FIGURE. &c. 
 
 sO'Cake Box 21 
 
 Gamboge, Yellow Ochre, Roman Ochre, (J) Lemon Yellow, 
 (i) Aureolin, Indian Yellow, (i) Cadmium Yellow, (J) 
 Orange Cadmium, Light Red, (i) Indian Red, (J) Vermilion, 
 (D Scarlet Vermilion, (i) Carmine, Rose Madder, Madder 
 Brown, Brown Ochre, Vandyke Brown, Sepia, Cobalt, French 
 Ultramarine, Indigo, {\) Emerald Green, (i) Olive Green, (i) 
 Creruleum, Ultramarine Ash, and Veronese Green. 
 
 LANDSCAPE, FIGURE, &c, 
 aa-Cake Box . . 2 ^ 
 
 Gamboge, Yellow Ochre, Rav Sienna, {\) Lemon Yellow, 
 (i) Aureolin, Indian Yellow, (i) Cadmium Yellow, {{) 
 Orange Cadmium, Light Red, (i) Indian Red, {{) Vermilion, 
 {{) Orange Vermilion, (i) Carmine, Rose Madder, Madder 
 Brown, Brown Ochre, Burnt Umber, Sepia, Cobalt, French 
 Ultramarine, Prussian Blue, {{] Emerald Green, (1) Lamp 
 Black, {{) Cceruleum, (i) Ultramaiine Ash, (A) Smalt, {{) 
 Purple Madder, Olive Green, and Veronese Green, 
 
WATER COLOUR PAINTER'S BOX, 
 
 i6 CAKES AND lo HALF CAKES. 
 
 E. DUNCAN'S ARRANGEMENT (Sea and Landscape). 
 
 WHOLE PANS. 
 
 Gamboge, Indian yellow, Yfllow Ochre, Roman Ochre, Raw Sienna, 
 Burnt Sienna, Venetian Red, Chinese Orange, Madder Brown, Vandyke 
 Brown, Creruleum, Cobalt, Prussian Blue, Indigo, Lamp Black, and Sepia. 
 
 HALF PANS. 
 
 Cadmium Yellow, Cadmium Deep, Scarlet Vermilion, Carmine, Rose 
 Madder, Purple Lake, Extract of Madder Carmine, Violet Carmine, 
 Ultramarine Ash, and Veronese Green. 
 
 Price per box, £^1. 55. 6d. 
 
 F. TAYLOR'S ARRANGEMENT (Figure, Animal, & Landscape). 
 
 WHOLE PANS. 
 
 Gamboge, Lemon Yellow, Indian Yellow, Raw Sienna, Brown Pink, 
 Veronese Green, Indigo, French Ultramarine, Cobalt, Cosruleum, Chinese 
 Orange, Burnt Sienna, Indian Red, Scarlet Vermilion, Madder Brown, and 
 Sepia. 
 
 HALF PANS. 
 
 Cadmium Yellow, Orange Cadmium, Yellow Ochre, Olive Green, Vandyke 
 Brown, Purple Madder, Purple Lake, Rose Madder, and Ultramarine Ash. 
 
 Price per box, ^2 6s. 6d. 
 
JAPANNED TIN SKETCH BOXES, 
 
 FILLED WITH HALF-PANS OF MOIST COLOURS. 
 
 i, =. Q. 
 
 3-Half-Cake Box 056 
 
 Gamboge, Light Red, and Cobalt. 
 8-Half-Cake Box ,. o 10 3 
 
 Gamboge, Yellow Ochre, Light Red, Rose Madder, Van- 
 dyke Brown, Cobalt, Prussian Blue, and Veronese Green. 
 
 i2-Half-Cake Box o '3 9 
 
 Gamboge, Roman Ochre, Lemon Yellow, Chinese Orange, 
 Indian Red, Vermilion, Brown Pink, Sepia, Csruleum, 
 French Ultramarine, Prussian Blue, and Veronese Green. 
 
 14-Half-Cake Box o 16 9 
 
 Gamboge, Raw Sienna, Lemon Yellow, Cadmium Yellow, 
 Mars Orange, Indian Red, Vermilion, Crimson Lake, Madder 
 Brown, Sepia, Lamp Black, Cobalt, Indigo, and Olive Green. 
 
 le-Half-Cake Box .... ...103 
 
 Yellow Ochre, Lemon Yellow, Orange Cadmium, Mars 
 Yellow, Light Red, Scarlet Vermilion, Rose Madder, 
 Carmine, Purple Lake, Vandyke Brown, Madder Brown, 
 Coeruleum, French Ultramarine, Prussian Blue, Emerald Green, 
 and Veronese Green. 
 
 l8-Half-Cake Box I I o 
 
 Gamboge, Yellow Ochre, Lemon Yellow, Cadmium Pale, 
 Orange Cadmium, Chinese Orange, Light Red, Vermilion, 
 Orange Vermilion, Crimson Lake, Rose Madder, Sepia, 
 Brown Pink, Cobalt, Indigo, Ctcruleum, Payne's Grey, and 
 Terra Vert. 
 
 so-Half-Cake Box I 4. o 
 
 Gamboge, Yellow Ochre, Lemon Yellow, Cadmium Pale, 
 Orange Cadmium, Chinese Orange, Light Red, Vermilion', 
 Orange Vermilion, Crimson Lake, Rose Madder, Violet 
 Carmine, Sepia, Brown Pink, Payne's Grey, Cobalt, Prussian 
 Blue, Ca;rulcum, Emerald Green, and Veronese Green. 
 
JAPANNED TIN BOXES OF MOIST WATER COLOURS, 
 
 IN COMPRESSIBLE TUBES, WITH FOLDING PALETTE. 
 
 l2-Moist Tube Box 150 
 
 Gamboge, Roman Ochre, Lemon Yellow, Chinese White, 
 Indian Red, Vermilion, Brown Pink, Sepia, Curuleum, French 
 Ultramarine, Prussian Blue, and Veronese Green. 
 
 15-Moist Tube Box I 14 3 
 
 Gamboge, Raw Sienna, Aureolin, Cadmiun Yellow, 
 Mars Orange, Indian Red, Vermilion, Crimson Lake, Madder 
 Brown, Sepia, Lamp Black, Cobalt, Prussian Blue, Olive 
 Green, and Chinese White. 
 
 20-Moist Tube Box ..253 
 
 Gamboge, Yellow Ochre, Aureolin, Cadmium Pale, 
 Orange Cadmium, Chinese Orange, Chinese White, Light Red, 
 Vermilion, Orange Vermilion, Crimson Lake, Rose Madder, 
 Violet Carmine, Sepia, Brown Pink, Cobalt, Prussian Blue, 
 Cosruleum, Emerald Green, and Veronese Green. 
 
 24-Moist Tube Box 2106 
 
 Gamboge, Yellow Ochre, Roman Ochre, Aureolin, 
 Indian Yellow-^ Orange Cadmium, Light Red, Indian Red, 
 Vermilion, Scarlet Vermilion, Carmine, Rose Madder, Madder 
 Brown, Brown Ochre, Vandyke Brown, Sepia, Cobalt, French 
 Ultramarine, Prussian Blue, Emerald Green, Olive Green, 
 Cceruleum, Veronese Green, and Chinese White. 
 
 30-Moist Tube Box , 378 
 
 Gamboge, Yellow Ochre, Naples Yellow, Roman Ochre, 
 Lemon Yellow, Indian Yellow, Orange Cadmium, Aureolin. 
 Light Red, Indian Red, Vermilion, Scarlet Vermilion, Carmine. 
 Rose Madder, Madder Brown, Brown Ochre, Vandyke Brown, 
 Warm Sepia, Brown Pink, Coljalt, French Ultramarine, Prussian 
 Blue, Neutral Tint, Ivory Black,£merald Green, Veronese Green, 
 Olive Green, Chinese White, Cosruleum, and IJltramarine Ash 
 
MINIATURE SIZE JAPANNED SKETCH BOXES, 
 
 FILLED WITH QUARTER-CAKES OF MOIST COLOURS. 
 
 This lilnstratwn sheivs the Box, with Twelve Colours, two-thirtls its size. 
 
 4-Quarter-Cake Box 
 
 Raw Sienna, Light Red, Sepia, and Cobak. 
 
 8-Quarter-Cake Box . . .6 
 
 Raw Sienna, Yellow Ochre, Light Red, Rose Madder, Vandyke 
 Brown, Cobalt, Prussian Blue, and Veronese Green. 
 
 I2-Quarter-Cake Box 8 
 
 Yellow Ochre, Roman Ochre, Aureolin, Chinese Orange, 
 Indian Red, Vermilion, Brown Pink, Sepia, Cccruleum, French 
 Ultramarine, Prussian Blue, and Veronese Green. 
 
 i6-Quarter-Cake Box ... ,. 12 
 
 Yellow Ochre, Aureolin, Orange Cadmium, Mars Yellow, 
 Light Red, Scarlet Vermilion, Rose Madder, Carmine, Purple 
 Lake, Vandyke Brown, Madder Brown, Cceruleunr., French Ultra- 
 marine, Prussian Blue, Emerald Green, and Veronese Green. 
 
 ». d. 
 + o 
 
 PALETTE BOXES. 
 
 For holding a small supply of Colour for a few days' use ; the wells 
 to be filled from the tubes 
 
 Ditto, ditto, with double row of wells 
 
 .'i 9 
 8 6 
 
SOLID SKETCH BLOCKS & TABLETS. 
 
 The Blocks consist of a number of sheets of paper, compressed so as to 
 form a solid mass, each sheet of which is to be separated by inserting a 
 knife underneath the''uppermosC one, and passing it round the edge. 
 
 The Tablet is ^ block fixed in a case, with a pocket for carrying the 
 sketches and place for pencil. 
 
 MADE OF WHATMAN'S THICK PAPERS. 
 
 32 SURFACES. 
 
 
 SIZE. 
 
 
 SOLID 
 BLOCKS. 
 
 SOLID 
 TABLETS 
 
 
 
 
 
 .1. 
 
 d. 
 
 S 
 
 d. 
 
 Imperiai, 32mo 
 
 5 
 
 inches 
 
 by 3^ 
 
 Each I 
 
 3 
 
 Each 2 
 
 6 
 
 RnvAL i6mo 
 
 sM 
 
 
 4'A 
 
 I 
 
 9 
 
 3 
 
 
 
 Jmpekial i6mo 
 
 7 
 
 
 5 
 
 2 
 
 6 
 
 • 3 
 
 9 
 
 ROVAL 8vo 
 
 9 
 
 
 5'A 
 
 3 
 
 
 
 4 
 
 3 
 
 iMFERIAt. 8vO 
 
 io 
 
 
 7 
 
 3 
 
 9 
 
 5 
 
 6 
 
 ,, 6mo 
 
 14 
 
 
 7 
 
 4 
 
 9 
 
 7 
 
 6 
 
 ROYAI. 4to 
 
 11% 
 
 
 9 
 
 4 
 
 9 
 
 7 
 
 6 
 
 Imperial 410 
 
 14 
 
 
 10 
 
 7 
 
 6 
 
 to 
 
 6 
 
 jmo 
 
 20 
 
 
 9'A 
 
 9 
 
 9 
 
 IS 
 
 3 
 
 Half Royal 
 
 18 
 
 
 11"/^ 
 
 10 
 
 3 
 
 16 
 
 3 
 
 ,/ Imperial .. 
 
 20 
 
 
 14 
 
 14 
 
 3 
 
 20 
 
 3 
 
lO 
 
 SOLID SKETCH BLOCKS AND TABLETS. 
 
 MADE OF WHATMAN'S EXTRA THICK PAPERS. 
 
 
 
 
 
 SOLtD 
 
 
 SOLID 
 
 32 SURFACES. 
 
 SIZE. 
 
 
 
 BLOCKS, 
 s. d. 
 
 
 TABLETS 
 
 s, d. 
 
 Imperial i6mo 
 
 7 inches by 
 
 5 
 
 Each 
 
 3 ° 
 
 Each 
 
 4 3 
 6 
 
 Double Elephant i6mo 
 
 9 
 
 6 
 
 
 4 6 
 
 
 Imperial 8vo 
 
 10 ,, 
 
 7 
 
 
 5 3 
 
 
 6 9 
 
 „ 6mo 
 
 14 
 
 7 
 
 
 7 
 
 
 9 9 
 
 Double Elephant 8vo 
 
 12 „ 
 
 9 
 
 
 8 3 
 
 
 11 3 
 
 -Imperial 410 
 
 14 
 
 xo 
 
 
 10 
 
 
 13 
 
 „ 3mo 
 
 20 
 
 9% 
 
 
 13 
 
 
 18 9 
 
 Double Elephant 410 
 
 t8 
 
 12 
 
 
 16 6 
 
 
 22 
 
 Half Imperial 
 
 20 „ 
 
 14 
 
 
 19 9 
 
 
 25 9 
 
 SOLID SKETCH BLOCKS AND TABLETS. 
 
 MADE OF THICK MACHINE MADE TINTED CRAYON PAPERS. 
 
 32 SURFACES. 
 
 
 SIZE. 
 
 
 SOLID 
 BLOCKS. 
 
 SOLID 
 TABLETS. 
 
 
 
 
 
 S 
 
 d. 
 
 b. 
 
 A. 
 
 Imperial i2mo 
 
 5 
 
 inches by 
 
 3H 
 
 Each I 
 
 
 
 Each 2 
 
 3 
 
 Royal i6ino 
 
 sM 
 
 „ 
 
 A% 
 
 I 
 
 3 
 
 2 
 
 6 
 
 Imperial i6mo 
 
 7 
 
 „ 
 
 5 
 
 I 
 
 6 
 
 2 
 
 9 
 
 Royal 8vo .. 
 
 9 
 
 „ 
 
 sH 
 
 2 
 
 3 
 
 3 
 
 6 
 
 Imperial 8vo 
 
 10 
 
 „ 
 
 7 
 
 2 
 
 6 
 
 4 
 
 3 
 
 „ 6mo 
 
 M 
 
 „ 
 
 7 
 
 3 
 
 6 
 
 6 
 
 
 
 Royal 4to . . 
 
 11^ 
 
 „ 
 
 9 
 
 3 
 
 9 
 
 6 
 
 3 
 
 Imperial 4to 
 
 14 
 
 
 10 
 
 4 
 
 6 
 
 7 
 
 9 
 
 „ 3010 
 
 20 
 
 ,, 
 
 9H 
 
 7 
 
 3 
 
 12 
 
 9 
 
 Half Royal 
 
 ■18 
 
 ,, 
 
 .t5^ 
 
 7 
 
 9 
 
 13 
 
 6 
 
 Imperial 
 
 20 
 
 " 
 
 14 
 
 9 
 
 
 
 15 
 
 
 
 SKETCHING PORTFOLIOS, 
 
 WITH JAPANNED TIN FRAME FOR SECURING THE PAPER IN USE, AND 
 WITH POCKET TO CONTAIN THE SKETCHES & A SUPPLY OF PAPER. 
 
 Imperial 8yo. 
 Royal 410 
 Imperial 410 
 Hai.i- Royal 
 Double Elephant 410 
 Half Imperial 
 
 11 
 
 inches 
 
 by 7 
 
 
 12 
 
 
 9 
 
 
 n 
 
 
 II 
 
 
 19 
 
 
 12 
 
 
 18 
 
 
 12, 
 
 ^ 
 
 22 
 
 
 >5 
 
 
 Each 
 
II 
 
 SKETCH BOOKS. 
 
 MADE OF WHATMAN'S HAND-MADE DRAWING PAPERS. 
 Half-bound, Cloth Sides, Roan Backs, Gilt. Forty Leaves. 
 
 TO FASTEN WITH ELASTIC BAND. 
 
 
 
 
 
 
 
 
 
 
 SIZE 
 
 
 
 Imperial 32mo . . 
 
 
 5 inches 
 
 bysK 
 
 „ i6mo 
 
 
 7 
 
 
 
 5 
 
 Demy 8vo 
 
 
 7 
 
 
 
 45^ 
 
 Medium 8vo 
 
 
 8 
 
 
 
 s 
 
 Royal 8vo 
 
 
 9 
 
 
 
 5% 
 
 Imperial 8vo 
 
 
 10 
 
 
 
 7 
 
 Demy 4to 
 
 
 9% 
 
 
 
 7 
 
 Medium 4to 
 
 
 ^0% 
 
 
 
 8 
 
 Royal 4to 
 
 
 ^1% 
 
 
 
 9 
 
 SUPER-KOYAL 4tO 
 
 
 13 
 
 
 
 9 
 
 Imperial 410 
 
 
 M% 
 
 
 
 TO 
 
 The above are made of 
 
 'Hot-pressed' 
 
 paper. 
 
 unless 
 
 "not 
 
 Each 
 
 POCKET SKETCH BOOKS. 
 
 MADE OF HOLLINGWORTH'S FJNE DRAWING PAPERS. 
 
 Quarter-bound, with " Sketches '' in gold mediaeval characters on the cover. 
 
 Cloth Sides, Roan Backs, and Elastic Band. Thirty-six Leaves. 
 
 RovAL i6ino 
 Royal 8vo 
 
 S% inches by 4^^ 
 9 „ 5}i 
 
I 2 
 
 BLACK LEAD PENCILS. 
 
 PRIZE MEDAL AWARDED INTERNATIONAL EXHIBITION, 1862. 
 
 GEORGE ROWNEY & CO.'S 
 
 IMPROVED DRAWING PENCILS. 
 
 Neatly got up in Polished Cedar, in order to prevent the lead dust adhering 
 to the Pencil, and consequently soiling the fingers. 
 
 HB Hard and Black 
 
 B Black fur Shading 
 
 BB Softer and very Black 
 
 F Firm for Ordinary Drawing 
 
 H Hard for Sketching 
 
 HH Harder for Outlines 
 
 HHH Very Hard for Architects 
 HHHH Extra Hard fur Engineers 
 
 2S. pet' Dozen. 
 
 EXTRA LETTERS, MOST CAREFULLY PREPARED. 
 EHB Extra Hard and Black j 
 
 DEHB Ditto, ditto, extra Thick Lead I , 
 
 FF Verv Firm and Double Thick Lead i' ^^- P" ''°""- 
 
 BBS Softer and Very Black, Double Thick Lead ' 
 
 BBBB Extra Soft and Black, 6d. each, or 5s. 6d per dozen. 
 BBBBBBB Very Broad and Black Lead, is. each, or los. per dozen. 
 
 THE IMPROVED PENCILS. 
 
 MAY BE HAD IN SETS, AS FOLLOV/S ; 
 
 4 Pencils in Roan Cases . . . . . . . . each i 3 
 
 7 Pencils in ditto . . . . . . . . ,,23 
 
 7 Ditto in ditto, divided and lettered . . . . ,,30 
 
 7 Ditto in Embossed Gilt Morocco Case . . . . „ 6 o 
 
 12 Pencils, a Full Set, comprising 4 extra letters, in Roan Case, 
 
 divided and lettered . . . . . . . . each 5 6 
 
 12 Ditto, a Full Set, in Embossed Gilt Morocco Case . . ,,110 
 
 I\Ies.YS. RoWNEV ."t Co. have every confidence in recommending their 
 IMPROVhp DRAW INt; PENCILS to the notice of the Profession, their 
 moderate price and superior quality being sufficient to give them a decided pre- 
 ference with the public. 
 
 ROWNEY'S EVER-POINTED DRAWING PENCILS. 
 
 H, HB, B & BB. 
 
 Each degree is polished in a different colour, is. each. 
 
 Leads only, 2s. per dozen. 
 
 Cases containing Four Pencils, 4s. per Case. 
 
 The fault of all Pencils of this description has been hitherto their inabilitv to 
 res^ist the pressure necessary in drawing. The above Pencils are free from 'this 
 defect, and are exceedingly light in the hand. 
 
 PENCIL MANUFACTURERS TO HER MAJESTYS STATIONERY OFFICES AND SCHOOLS 
 OF DESIGN. 
 
'3 
 GEO. ROWNEY <& CO.'S 
 
 PENNY DRAWING PENCILS. 
 
 With the view of enabling the working classes to avail themselves of the 
 advantages pvesented by the many Schools of Design and Classes recently 
 opened for the instruction of Drawing in its various branches, and to supply 
 themselves with good materials at a low price, Messrs. R. & Co. have devoted 
 their attention to the production of a Penny Drawing Pencil, of a quality 
 sufficiently good for general purposes. The Pencils are manufactured of Four 
 Degrees — Hard, Middle, Soft, and very Soft, in polished and coloured Cedar. 
 
 H Hard, in plain Cedar, polished . . . - ] 
 
 HB Middle, coloured red, ,, . . . . . . I , 
 
 B Soft, coloured dark red, „ - . . . . . ( ' " 
 
 BB Very Soft, coloured black „ .. .. .. ) 
 
 Each Pencil is stamped in Silver, thus— " GEORGE ROWNEY & 
 
 coMpy." 
 
 Cases, containing Three Pencils, 6d. each. 
 
 G. ROWNEY & CO.'S HALFPENNY PENCIL. 
 
 6d. per dozen. 
 
 In Polished and Stained Cedar, stamped in Silver 
 "G. ROWNEY & CO." 
 
 CUMBERLAND BLACK LEAD DRAWING PENCILS, 
 
 MANUFACTURED BY 
 
 GEORGE ROWNEY & COMPANY. 
 
 OF THE GENUINE PLUMBAGO, OR PATENT COMPRESSED LEAD, OF THE 
 FOLLOWING DEGREES: 
 
 H 
 
 Hard 
 
 HH 
 
 Harder 
 
 HHH 
 
 Very Hard 
 
 HHHH 
 
 Extra Hard . . 
 
 HB 
 
 Hard and Black 
 
 F 
 
 Middling Degree 
 
 B 
 
 Black for Shading . . 
 
 BB 
 
 Very Black for ditto 
 
 BBB 
 
 Soft Broad Lead 
 
 EHB 
 
 Extia Hard and Black 
 
 FF 
 
 Very Fine 
 
 DEHB 
 
 
 BBBB 
 
 
 > 3s. per doz. 
 
 6s. per doz. 
 
GEORGE ROWNEY & CO.'S 
 COLOURED CRAYONS, ETC., 
 
 MANUFACTURED OF THE FINEST MATERIALS. 
 
 POINTED CRAYONS. 
 
 These are hard Crayons which work with gt«at evenness and freedom. 
 
 s. d. 
 
 Boxes containing iz per Box i o 
 
 i8 „ I 6 
 
 » 24 ,,20 
 
 J6 -"^ .. 3 o 
 
 IMPROVED CRAYONS. 
 These are similar to the Swiss, rather harder, but of medium quality and smaller. 
 
 Boxes containing 36 - per Box 4 6 
 
 >. 72 ,,90 
 
 „ 144 - - „ 18 o 
 
 Vermilion, Lake, or Cobalt, separately per dozen Crayons 4 6 
 
 SWISS CRAYONS. 
 
 These are very soft, and the material most in use for Crayon Drawing, 
 They are sold in glass tubes, to prevent the colours mingling. 
 
 Boxes containing 12 
 >. z+ 
 
 .. 36 
 
 » 7» 
 
 ■> 144 
 
 each £0 
 
 6 
 
 
 
 .. 
 
 10 
 
 6 
 
 „ 
 
 15 
 
 
 
 „ I 
 
 10 
 
 
 
15 
 
 GEORGE ROWNEY & CO.'S 
 
 BRUSHES FOR WATER-COLOUR DRAWING. 
 
 SABLE HAIR PENCILS. 
 
 » MINIATURE. 
 
 I tARGE DUCK. 
 
 ; SMALL GOOSE. 
 
 DOME-POINTED, TIED WITH GOLD WIRE. 
 
 Large eagle 
 Small eagle 
 Extra large swan 
 Large swan 
 Middle swan 
 Small swan 
 Extra small swan 
 Extra large goose 
 Large goose 
 Goose 
 Small goose 
 Large duck 
 Duck 
 Crow 
 Miniature 
 
 each 
 
 RED. 
 
 BROWN. 
 
 s. 
 
 d. 
 
 5, 
 
 d. 
 
 
 
 i8 
 
 9 
 
 
 
 M 
 
 o 
 
 7 
 
 6 
 
 7 
 
 6 
 
 6 
 
 o 
 
 6 
 
 o 
 
 S 
 
 o 
 
 4 
 
 6 
 
 3 
 
 9 
 
 3 
 
 o 
 
 3 
 
 o 
 
 2 
 
 3 
 
 2 
 
 o 
 
 I 
 
 6 
 
 I 
 
 8 
 
 I 
 
 3 
 
 I 
 
 3 
 
 I 
 
 o 
 
 I 
 
 o 
 
 O 
 
 9 
 
 O 
 
 9 
 
 o 
 
 8 
 
 o 
 
 8 
 
 o 
 
 6 
 
 
 
 + 
 
 o 
 
 4 
 
 o 
 
 5 
 
 
 
 4 
 
i6 
 BROWN SABLE BRUSHES. 
 
 IN GERMAN SILVER FERULES. AND POLISHED HANDLES. 
 
 VERY FINE QUALITY. 
 
 No. 
 
 I Round or flat 
 
 each 
 
 o 9 
 
 o I I 
 
 No. 
 
 + Round or flat 
 
 5 
 
 s. d. 
 
 RED SABLE BRUSHES. 
 
 IN GERMAN SILVER FERULES, AND POLISHED HANDLES. 
 
 VERY FINE QUALITY. 
 
 No. 
 
 Round or flat 
 
 each 
 
 s. 
 o 
 
 d. 
 
 No 
 4 
 
 Round L 
 
 r fl..t 
 
 each 
 
 s. 
 
 I 
 
 d. 
 9 
 
 yy 
 
 
 I 
 
 I 
 
 I 
 
 4 
 
 5 
 6 
 
 )> 
 
 
 " 
 
 2 
 2 
 
 o 
 
I? 
 
 CAMEL HAIR BRUSHES. 
 
 Large Swan Quill Camels 
 
 4.d. each. 
 
 Small Swan Quill Camels 
 
 3d. each. 
 
 Extra Small Swan Quill Camels 
 
 2d. each. 
 
 Id«d&9gi 
 
 Full Goose Camels 
 
 2d. each. 
 
 No. 
 
 
 I 
 
 Small Crow 
 
 2 
 
 Crow 
 
 1 
 
 Duck 
 
 4- 
 
 Large Duck 
 
 S 
 
 Small Goose 
 
 6 
 
 Goose 
 
 7 
 
 Large Goose 
 
 a 
 
 Swan, No. i 
 
 9 
 
 z 
 
 10 
 
 3 
 
 II 
 
 » 4 
 
 12 
 
 5 
 
 FRENCH CAMEL HAIR BRUSHES. 
 
 each 
 
 H 
 
 3l 
 
 FRENCH CAMEL HAIR IN TIN. 
 
 From Nos. i to 6, flat or round 
 
 SKETCHING UMBRELLAS. 
 
 5 feet, when open, made of Brown Holland or Jeanette 
 „ ,, with Fan Joint 
 
 5 feet 6 inches „ 
 
 ,, „ with Fan Joint 
 
 6s. 
 
 per 
 
 dozen. 
 
 
 £ 
 
 s. 
 
 d. 
 
 each 
 
 I 
 
 "; 
 
 '^ 
 
 » 
 
 I 
 
 iS 
 
 3 
 
 ;» 
 
 I 
 
 17 
 
 6 
 
 
 2 
 
 
 
 6 
 
l8 
 
 PORTABLE SKETCHING EASEL IN 
 
 Ash, 5 feet or 6 feet 
 
 Mahogany, or Walnut- Wood, 5 feet 
 
 " ". , ^ " 
 
 „ French polished, 5 ,, 
 
 ,1 6 ,, 
 
 CASE. 
 
 
 
 
 s. 
 
 c* 
 
 each 
 
 9 
 
 9 
 
 >j 
 
 12 
 
 6 
 
 )> 
 
 • + 
 
 
 
 5» 
 
 •7 
 
 3 
 
 ii 
 
 19 
 
 
 
 THE GERMAN SKETCHING SEAT & EASEL COMBINED. 
 
 ADAPTED FOR EITHER OIL OR WATER-COLOUR SKETCHING. 
 Price /^t each. 
 
 THE EASEL. OPEN. 
 
 The same principle has been adapted for the use of Ladies, and is equally 
 serviceable and portable. Price ^^i 13s. od. each. 
 
 KNAPSACK EASEL. 
 
 Similar to the German Easel, with the addition of a waterproof case and 
 straps. The interior has sufficient space to contain the requisites of a walking 
 tour. Price £2 9s. 6d. each. 
 
 SQUARE SEAT, SIMILAR TO THE ABOVE ILLUSTRATION. 
 
 Without the Easel, Price lis. gd. each. 
 
JAPANNED WATER BOTTLES. 
 
 FOR CARRYING A SUPPLY OF WATER FOR SKETCHING, WITH CUPS TO FIT ON ' 
 PALETTE OR BOX. 
 
 Japanned Water Bottles and Cups 
 „ Middle size ditto 
 
 Large size ditto 
 „ Oval ditto, plated inside 
 
 „ Ditto, ditto, larger 
 
 Large new Water Bottle, with space for holdi 
 Brushes 
 
 ■ . each 2 
 
 » 3 
 
 » 3 
 
 .. 5 
 
 6 
 
 RIMMED 
 DIPPER, 
 
 To prevent the 
 
 Water spilling, 
 
 IS. gd. 
 
 FRENCH COLOURED CRAYONS. 
 
 box of 100 semi-hard french crayons. 
 
 Boxes containing 26 short 
 
 42 „ 
 
 56 „ 
 
 25 semi-hard ,; 
 
 50 ., 
 
 roo „ 
 
 12 SOFT 
 
 each 
 
GEORGE ROWNEY <& CO.'S 
 
 PORTABLE TENTS, 
 
 SKETCHING TOURS PIC-NIGS, OR SUMMER EXCURSIONS. 
 
 The advantages of these Tents, consisting of their portability and light weight when packed, 
 and their strength and spaciousness when pitched, are much appreciated by artists. 
 
 SizR OF Small Tent when set ur 4 fkkt square, 7 fret high. 
 
 „ ,, ,, PACKKD .. 4 INCHES BY 4 INCHES, 4 FEET 4 IN'CHKS LONG. 
 
 Weight, about la lbs. Price, including Case, £^ 3s. 
 
 Size of Large Tent when set up .. .. 7 feet by 4 feet 6, 7 fert high. 
 
 „ „ ,, packed . . 5 inches by 5 inches. 4 feet 6 tnches long. 
 
 Weight, about 20 lbs. Prick, including Cask, jC^ 18s.