Part 8

_Plate 11._--MILLS ON A SEA COAST.--The large and varied portion of shadow, principally thrown into the wild uproar of the scudding clouds, is gathered together, and focussed by the strong and positive colour in the mill on the left, the stranded vessel, the horizon, the figures and dark markings in the foreground; and brought gradually down by the half shade into the cliff, the cottage, and the principal mill; and again carried up, by the agency of its primitive cause, to the highest parts of the clouds. The highest light is gathered up on the wall of the cottage, repeated in the accidental light on the retiring mill, the horizon, the figures on the sands, the birds in the air, &c., until it comes down to the chalky rocks and stones, mingling with the weedy greens of the foreground; the blues are carried down by the figures, and on which the reds are centred, and repeated in the unities of the tiles, collecting its force in the retiring mill, and insinuating itself into the distant figures, the sail and flag of the vessel, until lost in the warm colours of the clouds. The middle tints are kept much of the same strength to sustain the breadth, while the dark line of the horizon is graduated upwards and downwards for the same purpose. The shadow on the steps in the cliff is brought up against the light on the cottage to give it point; and the quantity of half shade that pervades the work is gathered up by the depths of the darks. This effect was observed at Cayeux, in Normandy.

_Plate 12._--THE CHANCEL OF A FLEMISH CHURCH.--In this instance a number of positive, harmonizing and opposing colours, are thrown together and collected in the middle space; diffused, and carried out, by the intimacy of the union of their attributes, in the figures, the altar, the banners, &c., forming a cone of colour surrounded and reposed by warm grey. The greys are lost and found among the browns, insinuating themselves into the recesses and tracery on the walls, and every where influencing the warm colours. The figures, in red and blue, are placed in the gallery to disturb the form of the cone: while the highest light of the window intersects the deepest dark, which is repeated in the hollow of the porch, cutting the arch at the side.

HARRY WILLSON'S

GENERAL LANDSCAPE TINTS.

No. 1.--For foregrounds, and many parts of landscape; architecture; sands; roads, banks, lights of buildings (distant or near), shoal-water, corn-fields:--generally useful from its low brownish hue.

No. 2.--For many of the above purposes; and, being deeper in tone, adapted for shadows to No. 1.

No. 3.--Darker parts of foregrounds, banks, broken earth, waves, bark, timber, rocks, coasts, &c., useful in buildings and architecture. May be beautifully and usefully varied with white.

No. 4.--Lights of mountains, rocks, trees, distant masses of foliage, figures and animals in light, autumnal tints in warm skies and sunsets;--applicable to most purposes of warm light, and to vary greens with.

No. 5.--For almost every part of landscape or buildings; rich lights of earth in sunshine; interiors, drapery;--applicable to numerous purposes, near or distant, and to mix with and vary other colours.

No. 6.--For skies in cloudy weather, and shadows of clouds;--various pearly greys are produced by its mixture with blues and lake. Mixed with burnt sienna, it produces different degrees of warm browns.

No. 7.--For shadows to mountains, distant clumps of foliage, drapery, &c., for mixing with general shadows: renders many beautiful tints by blending it with lakes blues and browns, especially with burnt sienna.

No. 8.--Used alone, in rocks, bark of trees, and many useful purposes; assumes a variety of browns when mixed with burnt sienna; and different greys, when added to the blues.

No. 9.--Useful in clouds, warm shadows, earth, mould;--mixed with cobalt, makes a good tint to vary other greys.

No. 10.--For skies in fine weather, and to vary shadows of distant hills, and otherwise useful in subduing retiring parts of drawings.

CHARLES SMITH'S, LATE SMITH & WARNER'S,

=SUPERIOR IMPROVED MOIST WATER COLOURS,=

Suitable for sketching from Nature, which retain their moisture for a length of time, freely and readily give their full force without the usual delay attending the Cake Colours; they dry instantly on paper, and are free from mildew or cracking.

=C. SMITH'S WATER COLOURS, FINELY PREPARED IN CAKES.=

£. _s._ _d._

Ultramarine 1 1 0 Burnt Carmine 7 0 Carmine 5 0 Gall Stone 5 0 Smalt 5 0 Purple Madder 5 0 Pink Madder 3 0 Intense Blue 3 0 Intense Brown 3 0 French Blue 3 0 Lemon Yellow 3 0 Cobalt 2 0 Sepia 1 6 ---- Warm 1 6 Scarlet Lake 1 6 Crimson Lake 1 6 Purple Lake 1 6 Brown Madder 1 6 Indian Yellow 1 6 White, warranted permanent 1 6

=C. SMITH'S PERMANENT MOIST WHITE,=

So celebrated for its permanency and harmless nature, being quite free from lead; useful as lights upon Tinted Paper, without ever losing its brilliancy of Colour.

All the following One Shilling per Cake.

Gamboge Yellow Ochre Roman Ochre Yellow Lake King's Yellow Italian Pink Pale Chrome Deep Chrome Orange Chrome Raw Sienna Burnt Sienna Brown Pink Red Lead Vermilion Light Red Venetian Red Indian Red Dragon's Blood Antwerp Blue Prussian Blue Indigo Verditer Raw Umber Indian Lake Cappah Brown Burnt Umber Vandyke Brown Bistre Cologne Earth Byrne's Brown Neutral Tint Payne's Grey British Ink Ivory Black Blue Black Lamp Black Sap Green Prussian Green Emerald Green Verdigris Olive Green Hooker's Greens Varley's Orange ---- Dark Green ---- Warm Green ---- Warm Grey ---- Purple Grey ---- Neutral Tint

*** The above Colours kept in Powder, Bladders, and Crude state.

=WILLSON'S PRACTICAL LANDSCAPE TINTS.=

C. Smith, being of opinion that a Set of Practical Landscape Tints were required, apart from the above positive Colours, engaged the services of the Author of this Work to assist in forming them, which is intended to accompany his instructions for their use, already printed. _See page 83._

They are now ready, and can be had by themselves, in a box, price 12_s._; or, with Sixteen other general Colours added, inclusive of French Blue, Pink Madder, Cobalt, &c., £1: 6_s._

34, Marylebone Street, Piccadilly, the end of the Quadrant, Regent Street, London.

=WATER COLOUR, FITTED UP IN BOXES, ETC.=

£. _s._ _d._ Mahogany Slide Box, with 6 Colours and Brushes 0 6 0 ---- 12 Ditto 0 12 0 ---- 18 Ditto 0 18 0 ---- 24 Ditto 1 4 0 Mahogany Lock Box, with 12 Colours, Brushes, &c. 0 16 0 ---- 12 Colours, Drawer, &c. 1 0 0 ---- 18 Ditto 1 7 0 ---- 24 Ditto 1 12 0 Mahogany Lock Box, with 12 Colours, Slab, Glass, &c. 1 1 0 ---- 12 Colours, Drawer, &c. 1 6 0 ---- 18 Ditto 1 15 0 ---- 24 Ditto 2 2 0 Mahogany Best Box, with 12 Colours, Glass Slab, &c. 1 12 0 ---- 18 Ditto 2 12 6 ---- 24 Ditto 3 3 0 Mahogany Best Box, with 12 Colours, Chalks, &c. 2 2 0 ---- 18 Ditto 3 3 0 ---- 24 Ditto 3 13 6 Rosewood Best Box, with 12 Colours, Brushes, &c. 2 12 6 ---- 12 Colours, Chalk, &c. 3 3 0 ---- 18 Ditto 4 14 6 ---- 24 Ditto 5 5 0 Inlaid Rose and Satin Wood Boxes, 12 Colours, &c. 4 10 0 ---- 18 Ditto 5 10 0 ---- 24 Ditto 6 6 0 Mahogany Miniature Desk, with 12 Colours, Brushes, &c. 2 2 0 Portable Ditto, Extra Colours 4 4 0 Boxes and Cabinets fitted up with every requisite for Painting in Oil and Water, from £6 6_s._ to 20 0 0 Mahogany Boxes, fitted up with Oil, Powder and Body Colours Mahogany Boxes of Liquid Colours, for Velvet and Poonah Painting Mahogany Boxes, with Slab and Indian Ink Mahogany and Tin Boxes, with Chalks &c., complete Tin Boxes fitted up with Moist Colours, &c.

=SUPERIOR HAIR PENCILS AND BRUSHES,=

Made of the Finest Sable Hair, Camel's Hair, &c., by the most perfect English and French artists. The largest possessing the Fine Elastic Points of the smallest, and with the advantage of containing a much greater quantity of Colour.

Red and Brown Sable Hair Pencils Camel Hair and Fitch ditto Sable and Camel Hair Pencils for Miniature Painting Sable and Camel Hair Writers French Hog and Goat Hair Tools, round and flat Sable, Fitch, and Camel Hair Tools, round and flat Badger Tools, for Blending, &c. Badger, Fitch, Hog, and Camel Hair Brushes, round and flat, for varnishing A variety of French Sable, Camel Hair, and other Brushes Water Colour Softeners Ivory Cases, to protect the points of Hair Pencils Large Hair Pencils, for washing in clouds, &c. Proutonian Sables, the largest ever made.

=C. SMITH'S INDELIBLE COLOURED INKS,=

REMBRANDT'S AND PROUT'S FAVOURITE TINTS FOR PEN SKETCHING, &c.

Sketches made in these Inks can be made Drawings, coloured over at any time without fear of disturbing the Original Sketch; particularly adapted for Prout's Architectural Subjects, such as the elaborate work of Churches, Cathedrals, and Buildings of Venice, &c.

=C. SMITH'S PURE CUMBERLAND LEAD PENCILS,=

EQUAL TO ANY MADE.

F For General Use FF Bold Sketching HB Middle Shade B Shading BB Black Shading BBB Extra Shading HHHH Finest Lines HHH Engineering HH Architecture H Fine Outline

Common Pencils for Schools, Pocket-Book Pencils, various. Also, Mordan's, Brookman and Langdon's, and Dobbs's Pencils.

34, Marylebone Street, Piccadilly, the end of the Quadrant, Regent Street, London.

=SOLID SKETCH BOOKS.=

With Compressed Leaves, made of thin and thick White, Drab, Yellow, and Grey Drawing Papers, forming a solid packet of thirty or forty leaves, each of which can be easily separated from the others by the introduction of a pen-knife underneath.

=WOVE AND CARTRIDGE DRAWING PAPERS.=

Demy 20 by 15 Medium 22 -- 17 Royal 24 -- 19 Super Royal 27 -- 19 Imperial 30 -- 21 Colombier 34 -- 23 Atlas 34 -- 26 Double Elephant 40 -- 26 Antiquarian 52 -- 31 Extra Antiquarian 56 -- 40

Emperor, the largest size paper, 68 inches by 48 inches. Rough, Extra-thick, Tinted, and Hot pressed Papers, Drawing Cartridge Papers, for Architects, &c., Crayon, Tinted, London and Bristol Boards, English and French Tracing Papers, to 60 in. by 40 in.

=HARDING'S NEW DRAWING PAPER,=

Made pure and perfectly free from any chemical agency that will tend to fade the Colours or alter their Tint. Recommended to those who paint with Body Colours, &c.

=C. SMITH'S MATERIALS FOR SKETCHING IN WATER COLOURS.=

Compressed Paper, in Packets Sketching Books of all kinds Sketching Folios and Portfolios Albums and Scrap Books Sketching Books, with Boxes attached Sketching Desks for the Neck Parlour's Patent Sketching Instrument and Camera Lucidas and Obscuras Desks, with Colours, &c., for ditto Stands and Tables for ditto Camp and other Seats for Sketching Japanned Tin Boxes, with Moist Colours, Cups, Bottles, &c., for Sketching Fixed Sketching Inks and Reed Pens Ditto, in Cases for Travelling, &c. Drawing and Sketching Boards Liquid Sepia, for Drawing Leather Cases, for Colours, Brushes, &c. Creta Lævis Crayons, or different Colours that work dry or with water Portable Cases, containing a Seat, Book, Box, &c. for Sketching Artists' Umbrellas, to shade the sun Seat and Table combined, for Sketching India Rubber Water Bottles India Ink of the finest quality, warranted genuine

=C. SMITH'S SUPERIOR NEW DRAWING BOARDS,=

For straining thick or thin Drawing Paper more efficiently, and much more easily, without pasting or cutting; also fitted up with Colours, Brushes, Saucers, &c.

=C. SMITH'S MATERIALS FOR SKETCHING AND PAINTING IN OIL COLOURS.=

Prepared Paper and Millboards, for Sketching from Nature, &c. Prepared Panels and Cloths, and Tickens on or off frames Tin Boxes for Oil Colours, &c. Portable ditto for Sketching Oil Colours in Cakes and Bottles (see Wilson's Letter) Tin Oil Cups, and Cups for Washing Brushes Steel, Ivory, and Horn Palette Knives Mahogany and Satin Wood Palettes Bladder Colours, Powder Colours, and Raw Colours Rack, Folding, and Upright Easels Desk and Table Easels Nut, Poppy, Linseed, and Drying Oils Mastic, Copal, and Spirit Varnishes Turpentine Gold Size, Asphaltum and M'Guelph Glass, Stone, and Earthen Slabs and Mullers Maul or Rest Sticks Charcoal and Pipe Clay Bladder Colour Nobs Oil Box and Easel combined C. Smith's new invented Telescope portable Cane Easels, extremely light, for Sketching Compressed Oil Papers for Sketches

34, Marylebone Street, Piccadilly, the end of the Quadrant, Regent Street, London.

=NEW CAMERA OBSCURAS.=

For Sketching, so contrived, that any person with a slight knowledge of Drawing can use them without difficulty, straining the sight, or previous practice. The images, being reflected on paper, require nothing more than tracing their outlines.

=MISCELLANEOUS MATERIALS.=

Mathematical Instruments Dividers and Compasses Tee Squares and Triangles Flat, Parallel and Stationer's Rulers Tracers, Erasing and Pen Knives Drawing Pins and Indian Glue Crow Quills and Pens Deal and Mahogany Clamped Boards Boxes of Juvenile Colours, &c. Conte's Black, White, and Red Chalks Vancouver's Cement for mending China Black Lead Powder, and Crayons for Stumping Best Italian Black, White, and Red Chalks, in Crayons and Pencils Lithographic and French Chalks Cabinet Saucers in Cases Indian Rubber and Sponge Black Lead, in Cakes, for Mezzotinting Indelible Marking Ink, for Linen Ox Gall, in Pots and Liquid Gold and Silver, in Shells, Saucers, and Leaves Gold, Silver, Copper, and Green Bronzes Ivories for Miniature Painting Gum Water for ditto, &c. Leather, Paper, and Cork Stamps Improved Holders and Portcrayons Harding's Silver Crayon Holders Oriental Tinting Paper White and Coloured Tissue Paper Sponge Pencils

=C. SMITH'S NEW INVENTED WATER-COLOUR CREAM.=

A M'Guelph, or Medium, for using with Water-Colours, either transparent or semi-opaque, for obtaining opaque masses of colour or glazing. Drying slower than water, and not so fluid, enables the touch to be preserved where required without hard ridges.

Soft Swiss and French Crayons Harding's Lithographic Drawing Books Sketches, Tinted Paper, &c. Fixing Liquid for Chalk Drawings, &c. Varley's and Hayter's Perspectives Cooper's Studies of Cattle Modelling Tools Leather and Paper Pencil Cases Finest Quality Indian Ink Best Clear Vellum Ink Stones and Saucers Slabs, Tiles, and Palettes in great variety Ivory and other Pencil Racks Glass Frames for Tracing Graining Combs Photogenic Materials Patterns for Irregular Lines Fixing Liquid for Chalk Drawings, &c. New Perspective Parallel Rulers Prout's Hints on Light, Shadow, &c. ---- Figures for Landscapes, &c. Merimeé's Oil Painting Cawse's ditto Howard's Sketcher's Manual ---- on Colour Laporte's Studies of Trees

A great variety of Juvenile Lithographic Drawing Books of Landscapes, Animals, and the Human Figure, and other Popular Works on Drawing and Painting.

=SHADE'S DRAWING AND PERSPECTIVE MODELS.=

For the practice of young students in obtaining a knowledge of the first rudiments of Perspective Drawing, Light and Shade, &c. with numerous illustrations explanatory of the infinite variety of useful Drawing Studies they are capable of forming together. To be had complete in boxes, price 10_s._ 6_d._ and £1 1_s._

A variety of Miniature Models of Churches, Cottages, Castles, &c. &c.; lent out for the use of early in-door Landscape Students, as a substitute for Nature.

Wholesale, Retail, and for Exportation.

_October, 1841._

34, Marylebone Street, Piccadilly, the end of the Quadrant, Regent Street, London.

J. D. HARDING'S WORKS,

PUBLISHED BY TILT AND BOGUE.

HARDING'S DRAWING BOOK, 1841. Sketches in Sepia and Chalk, partly original and partly selected. Six Nos. 3s. 6d. each; half morocco, 24s.

SKETCHES AT HOME AND ABROAD, containing more than Sixty Views, tinted in imitation of the Original Drawings. Imperial folio, half-bound morocco, £6. 6s.

*** This splendid work has been entirely drawn on Stone by Mr. HARDING _himself_, and printed under his immediate inspection. The resemblance to the Original Sketches is complete, and each Subject may be considered as a _bonâ fide_ and first-rate Drawing.

ELEMENTARY ART: THE USE OF THE LEAD-PENCIL ADVOCATED AND EXPLAINED. New Edition. Imperial 4to. cloth, price £2. 2s.

*** The object of this work is to teach the young Student and the Amateur, by the practical use of the simplest (but most valuable) instrument in art--_the Lead-pencil_--how they may study Nature and acquire Art with the certainty of eventual success, and also to furnish them with assistance to which they may continually refer in the absence of their Master. The work is illustrated by Twenty-eight Lithographic Drawings by Mr. HARDING, and he has followed as nearly as possible the course which his experience in actual instruction has suggested to him.

HARDING'S DRAWING BOOK, 1837. Each Number of this Work contains Four Studies, including in the whole a great variety of subjects. The whole are printed on India Paper, price 3s. each Part; or 21s. neatly half-bound.

HARDING'S DRAWING BOOK, 1838. A Series of advanced Studies, printed in Mr. HARDING'S new tinted style. Imperial 4to. Six Nos. 3s. each; or, neatly half-bound morocco, 21s.

HARDING'S PORTFOLIO. Twenty-four highly-finished Sketches, tinted in exact imitation of the Original Drawings. Half-morocco, price 21s.; or, coloured, 31s. 6d.

HARDING'S EARLY DRAWING BOOK, consisting entirely of Elementary Studies for Beginners. Six Nos. 1s. 6d. each; or, bound in cloth, 10s. 6d.

NEW AND POPULAR DRAWING-BOOKS,

PUBLISHED BY TILT AND BOGUE.

PROUT'S MICROCOSM; or Artist's Sketch-Book of Groups of Figures, Shipping, and other Picturesque Objects. By SAMUEL PROUT, F.S.A. Printed in tints. Imperial 4to. Six Nos. 4s. each, or, neatly bound, 24s.

PROUT'S ELEMENTARY DRAWING BOOK of Landscapes, Buildings, &c. Six Nos. 1s. 6d.; cloth, 10s. 6d.

SKETCH BOOK OF SHIPPING AND CRAFT. By W. M. GRUNDY. In Progressive Studies. Six Nos. 1s. 6d.; cloth, 10s. 6d.

ANDREW'S PROGRESSIVE DRAWING BOOK OF FLOWERS. Six Nos. coloured, 1s. 6d.; cloth, very neat, 9s.

BARRAUD'S STUDIES OF ANIMALS. Lithographed by FAIRLAND. Six Nos. large 4to. 3s.; or coloured, 5s.

JULIEN'S STUDIES OF HEADS. Selected or Drawn from Nature. Six Nos. 2s,; cloth, 14s.

WORSLEY'S LITTLE DRAWING BOOK. Easy Studies in Landscapes, Houses, &c. Fourteen Nos. 6d.; or two vols, cloth, 4s. each.

ZEITTER'S STUDIES OF ANIMALS AND RUSTIC GROUPS. Six. Nos. 1s.; cloth, 7s. 6d.

THE LITTLE SKETCH BOOK. Very easy Studies in Landscapes, Figures, &c. By G. CHILDS. New and improved Edition, Fourteen Nos. 6d.; or in 2 vols, cloth, 4s. each.

FAIRLAND'S JUVENILE ARTIST. Figures, Landscapes, and Shipping. Eight Nos. 1s.; or cloth, 8s.

COOPER'S STUDIES OF ANIMALS. Eight Nos. 2s.; or 16s. bound.

LESSONS IN FLOWER PAINTING. Drawn and coloured after Nature, by JAMES ANDREWS. Six Nos. 2s. 6d.; cloth gilt, 16s.

FAIRLAND'S DRAWING BOOK OF THE HUMAN FIGURE. In a Series of Progressive Studies. Twelve Nos. 2s.; or 2 vols, cloth, 12s. each.

CHILD'S ELEMENTARY DRAWING BOOK. Studies from Nature, in Progressive Lessons. Eight Nos. 9d.; cloth, 7s. 6d.

HARLEY'S LANDSCAPE DRAWING BOOK. Six Nos. 1s.; cloth, 7s. 6d.

PHILLIPS' FAMILIAR LIFE. Etchings of Figures, Groups, &c. Three Nos. 1s. 6d.

* * * * *

Transcriber's Notes:

Obvious punctuation errors repaired.

Text uses both "development" and "developement."

Contents, "71" changed to "70"

(OF BACKGROUNDS 70)

Page 13, "Park-corner" changed to "Park Corner" (park-gates at Hyde Park Corner)

Page 52, "invole" changed to "involve" (light and shade may involve)

Page 78, "Jupitor" changed to "Jupiter" (Temple of Jupiter Tonans)

End of Project Gutenberg's The Use of a Box of Colours, by Harry Willson