THE THEOKY OF COLOURING. Pll DIAGRAM OP COLOUR. cy MH LONO.MTH;. THE THEORY OF COLOURING : BEING AN ANALYSIS OF THE IJrintipIes of Contrast anb Jiannonj IN THE ABBANGEMENT OF COLOURS, WITH THEIR APPLICATION TO THE STUDY OF NATURE, AND HINTS ON THE COMPOSITION OF PICTURES, ETC. BY J. BACON, PROFESSOR Or DRAWING AND PAINTING. LONDON : GEORGE EOWNEY & Co., MANUFACTURING ARTISTS' COLOURMEN, 29, OXFORD STREET; AMD 52, RATHBONE PLACE, W. 1866. CONTENTS. Plates Preface vii Description of the Diagram of Colours ..... 1 CHAPTER I. DEFINITIONS '3 SECTION 1. Definitions and Principles ... 3 2. Remarks on Colour .... 4 3. Remarks on Pigments. ... 6 CHAPTER II. ON HARMONY ...... 8 SECTION 1. Simple Harmony .... 8 2. Compound Harmony . . 8 3. Exercises . . . . . . 9 4. Remarks 12 CHAPTER HI. ON STUDYING WORKS OF ART . . 15 SECTION I. Analysis of the Composition . . 15 2. Copying 16 3. Recapitulation 17 CHAPTER IV. ON STUDYING FROM NATURE - . . 18 SECTION 1. Grey Tints in Nature ... 18 2. Palpitating Effect of Colours, with TUBNER'S Method of observing it . 20 3. Varying Beauty of Sunset and Sunrise 21 4. Effect of Light on the Eye . . 23 ,, 5. Making a Study from Nature . . 24 6. REMABKS 25 On rigid Drawing .... 26 On different styles ... 26 On Mannerism .... 27 On Methods . . . . . 27 CHAPTER V. COMPOSITION OF A PICTURE . 29 CHAPTER VI. HISTORICAL PAINTING . ..-., . 33 APPENDIX . . 35 Analysis of Pictures ...... 35 Table of mixed Tints . . . ; . . 49 Remarks ... 50 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 pic- ture. Without entering into abstract and abstruse discussions on the nature of colour, a few of its more practically important 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 brilliancy, as may be required in his picture. The various rules which these principles involve, will be found exemplified in the pictures of the best artists. The student is thus led to discover Vlll PREFACE. an important secret in their success. After master- ing 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 com- position 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 principles are not necessarily intuitive, but are to be learned by long, and often bitter ex- perience. 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 judge- ment, he may reap the fruit of their labours, and share with them the glory of success. THE THEORY OF COLOURING. of % giagram of The black spot in the centre represents the effect produced by the combination of all the pigments, and the encircling white represents the effect produced by the combination of all the colours. Next are placed the PKIMARY colours, Red, Yellow, and Blue, occupying each one third part of the circle. Beyond these are the SECONDARY colours, Orange, Gf-reen, and Purple. Beyond these again are the three TERTIARY* colours, Brown, Broken-green, and G-ray. The primary colours red and * The terms citron, russet, and olive, employed by recent writers on colour to express the tertiaries, are arbitrary and somewhat vague. The first, citron, is not generally used by artists ; 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 well-known terms broken-green, brown and gray. Art nomenclature offers no simple term 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-black 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 ? 2 THE THEORY OF COLOURING. blue have for their complementary * colour yellow, on the other side of the central spot. Red and blue form purple, which is also opposite to yellow in the inner, and to broken-green in the outer, circles. Hence yellow and broken-green are comple- mentary to, and contrast with, red and blue or purple. Yellow and blue are opposite to red. Their compound green is opposite 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 colouring. 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 compendium of the laws of colour relationship and of harmonious contrast. RELATED COLOURS are adjacent.^ HARMONIOUS CONTRASTS are opposite. * 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 three primaries, without which no composition can please for its colour. ^ f The term adjacent applies to those compartments in the diagram hy which any colour is surrounded; and those opposite are those lying on the other side of the centre. THE THEORY OF COLOURING. 3 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 rainbow. PAINT or PIGMENT is the material basis which decomposes 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. HARMONY 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 colours being adjacent to one another, as red beside blue or yellow, &c. The terms " Contrast " and " Harmony " are not the reverse of each other, although as sometimes carelessly used they seem to imply opposite things. Harmony may THE THEORY OF COLOURING. exist with or without contrast. The result of contrast is force, not necessarily a want of harmony. The primaries may be arranged to produce the greatest contrast or force without sacrificing harmony, as in PL 2, fig. 1. The same colours may be used and be blended or united together by intervening secondaries, which, being com- pounded of the same primaries, enable the eye to glide easily from one to the other, as in PL 2, fig. 2. This arrangement has greater variety, and is, therefore, more pleasing to the eye, but 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 works in sepia f is seen' how well he understood the different powers of the materials used. To the uneducated eye contrast in delicate colours is almost unintelligible. it Colours anfc figments. SECTION 2. A Primary colour is simple, pure, unmixed. A Secondary colour is the combination of two primaries in any proportions. A Tertiary is the combination of two secondaries in any proportions, or a primary and a secondary in any proportions. Each secondary in the diagram is adjacent to the two primaries of which it is compounded, thus : Yellow + Blue = Green. Blue + Red = Purple. Ked -f Yellow = Orange. * See " Rivers of France," South Kensington Museum. f See " Liber Studiorum " at the same place. THE THEORY OF COLOURING. Each tertiary is in like manner adjacent to the two secondaries of which it is composed, thus : Orange -f 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 existence. The primaries and secondaries are positive. The tertiaries are negative and exist when some proportions of the three primaries in light have been destroyed, absorbed, or diverted (rendered negative in their effect) by the action of matter. On decomposing light by means of prisms, the yellow rays may be made to mingle with the blue ones, green being the resulting colour ; but if the green and orange rays be thrown together, yellow, the primary in excess in broken-green, will result. Resolving the tertiary colours into their simple elements, it will be seen that each contains the three primaries, with one of them predominating over the rest, thus : Green -f- Purple Yellow + Blue + Blue + Red Purple + Orange Blue + Red + Red + Yellow Orange +- Green - *^^A^ <, - .^A^.^ , _ Broken -green Red + Yellow + Blue + Yellow Hence it appears that In Gray there is an excess of Blue. In Brown ,, ,, 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 6 THE THEORY OF COLOURING. 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 tertiaries. 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 neutrality 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 predominate over the other. Green may approxi- mate to yellow or blue, but the presence of the two primaries and the absence of the third will preclude its being 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. SECTION 3. Pigments are formed of various substances and possess different qualities. Some are formed from minerals, as Yermillion, Emerald Green, Cadmium Yellow, &c. ; others from vegetables, as Indigo, Madder Lakes, Brown Pink, &c. ; others from insects, &c., 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 THEORY OF COLOURING. 7 the most part transparent ; those from minerals and earths are opaque. The opacity or transparency of the pigments may be readily determined by their depth in the prepared state. Rose madder in the cake or tube is far more intense than vermillion 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 cerulium, cobalt, and ultramarine. Again, transparent colours offer some difficulty in producing depth on a light ground. The effect as it appears in the cake is scarcely attainable. On the other hand, opaque colours yield easily on paper or canvas the appearance 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 will 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 component 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.' 35 ' This practice cannot o/ten 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 OP COLOURING. CHAPTER II. ON HARMONY. SECTION 1. The primary colours, or their compounds, must be present in a picture to produce Harmony. The following are the simplest harmonius combina- tions : 1. The three primary colours, Red, Yellow, and Blue. 2. secondary ,, Orange, Green, and Purple. 3. tertiary Brown, Broken-green and Gray. 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. Purple, ,, ,, Yellow, ,, ,, Broken-green. SECTION 2. The effect of the diagram of colour, containing the primaries, secondaries, and tertiaries, is most harmonious, every variety of colour being repre- sented. In contradistinction to simple harmonies above enumerated, it may 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 THE THEORY OF COLOURING. 9 object. This can be proved by closing the eyes after contemplating a colour for some minutes, when a spectrum is seen so coloured as to introduce what is needed to make up the complement of red, yellow, and blue. The following experiment will further exemplify this fact. Take a piece of cardboard about one foot square, having a 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 in shape to the opening in the card-board If the observer's perception of colour be very acute, the spectrum 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 insensible on the retina. x 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 interposition 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 versa. 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 will be observed that blue is among the primary colours, and on the opposite side, among the secondaries, orange is seen. Blue is complementary to 10 THE THEORY OF COLOURING. orange, which is a compound of red and yellow. Green and purple are related to blue and orange, and are seen in the diagram adjacent to these colours. Green is related to blue by containing blue, and . to orange by containing yellow. Purple is related to blue by contain- ing blue, and to orange by containing red. Both or either of these colours may be placed with advantage between or near the portions of blue and orange, subduing the contrast. Let the colours be arranged in the following order of position. Their effect may be seen in Plate 3. 1. Blue Green Orange . . . Fig. 1, PL 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 readily 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. PI 5 S. 4 PI. 4. 1O WV& UTH. THE THEORY OF COLOURING. 11 The diagram of colour will assist in correcting this excess. There purple is seen to be the complementary colour of yellow. The addition of purple to the colours in fig. 1 will fulfil the requirements of hannony. Green being the complementary colour of re.d, its addition to the colours in fig. 2 will make the effect more pleasing ; but since gray is the complementary colour of brown and and broken-green, it may be used in both arrangements instead of purple or green. It should be observed that the order of progression is from the primaries to the secondaries, thence to the tertiaries, 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. Figure 3, Plate 4, is constructed to show orange and blue 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 can- not become too familiar with it. It should be varied in every way. And, after producing a number of exer- cises differing in the form, strength, and position of the masses, it would be well, in a second series, to intro- duce within the boundary of the composition a second arrangement of primary, secondary, and accompanying tertiaries, keeping it, however, subservient to the first. Diagrams in which red and green and yellow and purple play the principal parts should be constructed. Arrange the colours in strong contrast, then in subdued contrast, and, lastly, in completely subdued contrast, as exemplified with blue and orange. 12 THE THEORY OF COLOURING. Figures 1, 2, and 3, Plate 5, are roughly arranged as simple subjects. The colouring is conventional, yet the effect bears evidence in favour of the theory expounded in these pages. In each of the examples a primary is made very prominent by full contrast with its comple- mentary secondary. The subdued contrast of the two complementary 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 secondary, hence the importance in 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 complementary colours, as suggested by these diagrams, will make any object important by its colour alone ? The construction of numerous diagrams will make the student thoroughly acquainted with the relationship of colours, and educate the eye to perceive their delicate shades of difference. 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 representatives of all the colours that exist, or can exist, in nature ; and the principles for grouping them har- moniously hold good in nature's utmost diversity. PI 5. WT.H TjOf O LITE ; THE THEORY OF COLOURING. 13 Yellow, red, and blue, &c., offer a variety of shades in nature ; but immediately they differ from the pure colour they cease to be strictly primaries, and become secondaries 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 5 same colours as in 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 harmonious. If the orange, however, had an excess of red the harmony would be unimpaired. 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 arrangement should be as follows : ( Greenish- | blue. C Greenish- l blue. ( Greenish- 1 blue. ( Greenish- ( blue. ( Greenish- l blue. Reddish- Yellowish-) , purple. orange. 3 Bluish- Yellowish- ) indifferently green. orange, j good. Bluish- , Reddish- Yellowish- | , green. purple. orange, j Bluish- Reddish- Yellowish- ) purple, broken-green, orange. \ Bluish- Reddish- Yellowish- ) , green. brown. orange, j' ^ ' 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. 14 THE THEORY OF COLOURING. These exercises 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. Each exercise should be critically examined a few days after execution, and then repeated, seeking to reproduce the good points, and avoiding what may appear un- pleasing. In the foregoing system of harmonious colouring quantities are ot referred to, as such a method of treatment would cause it to be a hindrance to the student, rather than a help. Harmony can be obtained in any number of subjects in which the general laws 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. The practical application of the principles of harmony by eminent artists will be the best guide to a knowledge of the quantities of colours to be used to produce a pleasing picture. THE THEORY OF COLOURING. 15 CHAPTER HI. ON THE STUDY OF WORKS OF ART. SECTION 1. When the theory of colour is fully under- stood, works of art of acknowledged merit should be thoughtfully copied, not merely matching 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 chiaroscuro, 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 arrange- ment 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. The way in which light traverses, or is dispersed, through a dark picture, or shadow traverses a light one, being understood and noted, it may serve as a precedent 16 THE THEORY OF COLOURING. 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 outlines because the objects are in the picture will not lead to the discovery of the artistic purpose of their presence and direction, which is entirely arbitrary. This is overlooked by the majority of students, who regard the accessories as indispensable. Accessories are introduced in the positions they occupy, and are coloured, to form part of the general effect. To understand that part should be the earnest aim of the student. Vide Appendix. The outline being correctly drawn, the colouring may be commenced, the principal masses of colour being care- fully noted and the arrangement of the colours which connect those masses thoroughly analyzed. Where the most striking colours are repeated through the picture should be observed. 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, THE THEORY OF COLOURING. 17 grey. The grey means here a neutral basis which 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 acquain- tance 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 "Paint- ing 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 fruit- less 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 : - First, 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 the subtle tints and gradations that are so common in nature and so difficult to render in art. With a practical knowledge of colours and 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 lie done ivith colours ; from nature how to do that well and with originality. Nature alone inspires that poetic feeling which ever distinguishes the works of genius. C 18 THE THEORY OF COLOURING. CHAPTER IV. ON STUDY FROM NATURE. SECTION 1. In landscapes there is much tinted grey* or such colours as are perceived in the sky and on the earth at twilight, when they are most distinguishable. These tints are so delicately pure in quality that the student is sure 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, Avhich 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 lightness and transparency of rose madder, it would remove half the difficulty. It may yet be produced by the enterprising colounnan.t * A wash of lamp-black on white paper will produce grey which may be tinted by passing over it a wash of colour. t Since writing the above, the author has tried a lamp-black recently manufactured by Messrs. ROWNEY & 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 small quantities, works into it without -becoming sullied, if a trifling portion of Chinese white 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 wet. THE THEORY OP COLOURING. 19 The following notes 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. Greenish-grey. Yellowish -grey. Orange. Neutral-red-grey. ^' e t* Purplish-grey. ^ horizon. Blue-grey. Purplish-grey. Olive-grey. Broken -green and brown. These notes convey to the writer the following infor- mation, 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 began. This tint changed upwards into purplish-grey, then gradually assumed a redder tinge, till it became a neu- tral (i.e., pure red-grey), which passed into orange, this latter crowning the bank of thin clouds and stand- ing 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 20 THE THEORY OF COLOURING. particular spot, as the colours are palpitating in the grey medium, which increases in depth of tone with the distiimv 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 delicate perception enabled him to introduce it throughout the whole picture. It gives to his works that ineffable charm of endless variety, and almost defies the naming the pig- ments he has used in any particular part. His manner of producing it ^eerns 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 arid 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 faith- fully 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, Gains- borough, 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, colours are conspicuous in the outlines of various objects. THE THEORY OP COLOURING. 21 The representation of this grey 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 pallette 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 Temeraire " 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 well to give a philosophical explanation of the beautiful effects of a low light. Light passing from one medium of different density to 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 separate from each other. 22 . THE THEORY OF COLOURING. more refracting, and the rays of the sun at the horizon pass obliquely through 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, AB, represents a portion of the earth's surface ; C, the position of the spectator ; and D E, the upper strata of air. The sun- light, 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 in 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 admirably rendered this effect in his picture called " Breaking Stones," exhibited at the Royal Academy a few years ago. THE THEORY OF COLOURING. 23 An excellent practice for developing the power of perceiving colour (which may be carried out either in town or country, from a point commanding the western horizon) is to sketch in colour the sky and earth, immedi- ately after the sun has set. The colours must be mixed on the paper, which must be kept wet till the sketch is completed. Three sketches have been made thus, in the three quarters of an hour following sunset. Notwithstanding the increasing darkness, the general truthfulness of the last sketch was very striking.* SECTION 4. It should be borne in mind when studying colour in nature that the effect 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 lid 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 harmo- nizing tints. It is possible that thfl crudeness seen in the works of some artists, and the vagueness in those of others, arises in some measure from 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 wide open, and * The paper best adapted for this exercise is middling stout " Royal " cartridge. The usual drawing paper permits the colour to spread unevenly. 24 THE THEORY OF COLOURING. under the effect observed with the eyes nearly closed, but as a rule the medium effect, as seen when the eyes 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 parts and how they are connected together. As a general rule, browns and broken-greens predominate in 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 distinctly 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 in loose delicate lines, 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 THE THEOKY OF COLOURING. 25 propitious, resume the colouring at the same hour as on the previous occasion ; afterwards the outline may be completed. Thus, continuing to devote the same two hours 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 effects 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 in 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 studying in colours from nature great difficulty is experienced at first in retaining the character which the outline of the object gives to the representation. SECTION 6. Where practicable two studies should be made, one with a pen in outline, to familiarise 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 26 THE THEORY OF COLOURING. unsuitable for colour study. Both combined perfect the student's knowledge and handling. The vague direction to go and study nature is often heard in the studio, raising vague ideas in the mind of the tyro ; some simple conventional modes of representing her are abso- lutely necessary ; otherwise, much valuable time is lost in perplexity 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 brings the student's hand under the control of his will. Those who affect a loose style in their studies can never attain eminence. All great painters have three distinct styles, which may b o thus characterised : Early , Precise, and Free, or loose. The early style has the remains of the student's rigidity, and is commonly called the " dry manner." The precise period is that in Avhich the knowledge shewn is accom- panied by a careful manner. The free style is the result of ripe knowledge and power of expressing it combined 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 best works of an artist are produced about the latter end of the precise period, when the mind is ripe and the hand well under control, THE THEORY OF COLOURING. 27 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. Mannerism is the inevitable result of orderly method in pursuing studies. Want of mannerism indicates a vacil- lation of character which augurs ill for the ultimate success of the painter. Mannerism 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 him to adopt a characteristic 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 origin, but he is here urged to cling pertinaceously to those qualities which produce it, namely, order 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 cor- rect, 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 next, and lastly, the brightest light and deepest shade should be placed in close proximity, to concentrate the attention on 28 THE THEORY OF COLOURING. the point of interest, and give repose to the other parts of the picture. A great authority on art has recommended the finish- ing studies in small portions ; such a method has a tendency to cramp the mind of the student, and produce littleness of tyle 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 detail seen in the productions of Turner. THE THEORY OF COLOURING. 29 CHAPTER V. COMPOSITION OF A PICTURE. THE design or sketch from nature should be conspicu- ously placed, and a rough copy should be made of the leading lines, having the character they are intended to retain in the finished picture. Fill in with sepia the arrangement of light and shade, to assist in developing the ideas which you wish to convey. If the first arrange- ment is not satisfactory, carefully examine it to find out where the defect lies, and proceed to make another sketch, avoiding 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 lights. The sepia sketch being complete, make another outline and put in the colours of the principal objects. Accord- ing to nature, if they be such as have distinguishing- colours, or to taste., as developed by the preceding studies, if dependant on the will of the artist. When all the colours which must 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 complement. If the young artist has carefully followed the directions for analysing works of art, and by practice, become familiar 30 THE THEORY OF COLOURING. with the qualities of pigments, little difficulty will be experienced in arranging these two sketches, which are to serve in the working out of the picture. The following hints may, 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 into the sky by foreground 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 prevailing 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 will lead the eye. For examples of the effect of this treatment, see the following pictures in the National Gallery. " A Frosty Morning," Turner. In this picture cool grey tints predominate. They are rendered comparatively THE THEORY OF COLOURING. 31 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 Wilkie," 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 afforded by their con- trast with the prevailing colour, gray, would be most unpleasantly monotonous. " Landscape and Figures, Evening," Cuyp. This picture is decidedly warm. The artist, however, was not Content with regulating the warmth by the introduc- tion 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 of 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 32 THE THEORY OF COLOURING. 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 mind 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 originality such a proceeding would be plagiary. THE THEORY OF COLOURING 33 CHAPTER VI. ON HISTORICAL PAINTING. The rules of study in the preceding chapters are equally applicable 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 simplicity of treatment, should be first studied ; the written analysis carried so far as to be an enumeration of their tints and shades. Rtibens, Paul Veronese, Vandyke, and Coreggio, are examples of most brilliant colouring; but Titian, by the extreme delicacy of his perception and rendering of nature, com- bined with richness and brilliancy, will serve to correct the extravagance into which the study of Rubens and Paul Veronese is likely to lead a student. A careful study of these masters, in the order indicated, will do more for the cultivation of the student's taste thai? volumes of dissertations on that singularly debatable quality. The remarks on manner must be borne in mind. Tenier's manner, 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's 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 copied. By 34 THE THEORY OF COLOURING. following this method, loss of time will be avoided and the cultivation of a good taste ensured. The rendering of the tints should be as broad 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 BO warm as the shadows. This is invariable under the effect of white light and blue not being reflected into the shadows. Every good picture should be examined to discover this. In Guido it will be seen palpably. In Titian it is as delicately shown as in nature. This remark is made with especial reference to flesh-painting. SPECIMENS OF ANALYSIS OF WORKS OF ART. THE following works are to be seen at the National Gallery of Paintings, London. TURNER COLLECTION. No. 140. " A Beach in Devonshire." 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. Foreground. John Dory ; red mullet; dog-fish; nets; chains; spars; breaking waves; buoy ; beacon ; and rainbow. Principal colour contrasts. Green and red, and blue and orange. DISTRIBUTION OF COLOURS. Crreen. 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. 36 APPENDIX. Blue. Principal mass in the water, on the dories, rlmins, &c. Orange. Principal mass the beacon, then the rainbow. Principal connecting Colours. Purple-grey of the chains between red and green ; purplish-brown-grey between blue 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 pur- plish-blue-grey. This subject is chosen on account of its beautiful simplicity. The light and shade is easily understood. The principal masses of contrasting colours are sepa- rated by related colours subdued into greys. These offer spaces of repose, which relieve the contrasting masses, while their tints 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 ma^s of light; and shade is APPENDIX. 37 carried into the light by the dark blue-grey openings in the clouds, &c. OBJECTS AND INCIDENTS INTRODUCED. A Grecian galley, crowded with figures in the full excitement of setting sail, occupies a prominent position in the picture. The graceful vessel heels gently over as the wind swells her loosened canvas, while the ripple at her bow shows her to be already in motion. Numerous figures are seen clinging to the fore-sweep, busy with letting out the sail. The spectators' 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 subject, 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 appearance of a calm sea) , the graceful lines and brilliant colouring of the flags are purely accessories dependent on the taste of the artist. In order to simplify the analysis of this picture, it is thought advisable to divide it into three parts. In the first part, the sunrise on the right, with its surrounding colours, will be considered. The second part will present 38 APPENDIX. the galley with its surrounding colours. The third part will deal with the broad masses of the whole picture or general effect. PART 1. PRINCIPAL COLOUR CONTRASTS. No. 1. Orange and blue. At the horizon, reddish and yellowish orange is in full contrast with deep blue-grey. No. 2. Yellow- grey and purple-grey. DISTRIBUTION OF COLOURS. 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 surface 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 over 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. APPENDIX. 39 MINOR CONTRASTS. No. 1. Blue and Broken-green and Brown. No. 2. Orange and Gray. Blue, as described in preceding page. Broken-green and Brown, on the arched rocks, where they serve to subdue the contrast between the blue of the water and the orange, presenting a very rich passage of colour from the yellow-grey of the sky to the almost pure blue of the water on the left of the arched rocks. " Broken- green is repeated on the borders of the reflection of the sun-light in the water, where it produces 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. Gray. 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 delicately to the left of the weathered rocks. This' part of the picture presents an example of full contrast (orange and blue), supported by slightly subdued contrast (yellow-grey and purple-grey). The orange and yellow-grey are rendered delicate by the presence of striking masses of deep brown, which also imparts an etherial transparency to the blue. 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. 40 APPENDIX. 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 yellow-grey of the sky, through orange-grey (the steeds of Phoebus), rich orange-brown of the galleys into broken green and brown of the fore- ground. 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 points only.) DISTRIBUTION OF COLOURS. Red (pure by contrast with broken-green), on the mantle of Ulysses ; on the cap of sailor at lower part of the foreyard, markings on the prow, as a purplish (crimson) red on the banner on mizen mast ; on the flag bearing the name OATS SETS, 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 APPENDIX. 41 figures and hull. It is modified into yellowish broken- green in the half- tints of the galley, and into yellowish - brown in the shade. Blue. 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 shrouds, repeated as a blue-grey on portions of drapery on the foreyard, on the pennon, and on the sky left upper corner. Crreen. 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 (mingling 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 on to the flag commemorating the taking of Troy, on the orna- mental border of the sails, and on the face of perpendicular 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 grey swan). 42 APPENDIX. 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. Broken-green. In the half-tints of the galley, &c. Gray. On the swan, on the prow, and on the sea- nymphs in the water. This splendid assemblage of colours is surrounded by the tertiaries exquisitely modulated, and disposed in the form of 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) ; brownish-purple- 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 sails) ; greyish-broken-green (with orange-grey markings on the extreme left) ; deep brotvn (with blue markings) ; deep gray (with broken-green and blue markings) ; broken-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 rock 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 : Gray, broken-green, broivn (with orange mark- APPENDIX. 43 ings), 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 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 blue (grey) on the rocks, subservient to that about the prow of the galley red, blue, and yellowish broken-green. This is an example of full contrast, inasmuch as the con- trasting colours are placed side by side, yet by skilfully lowering their tone, or using them in smaller quantities, the effect is kept subservient to that of the sunrise. The. third part must necessarily recapitulate some of the matter already given. PRINCIPAL COLOUR CONTRASTS. Blue and Orange. Yellow (grey) and Purple (grey). DISTRIBUTION or COLOURS. Blue. Principal mass on the surface of the water (extending to the orange), repeated on the striped flag and in the left upper corner 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. 44 APPENDIX. Yellow (grey). Principal mass, the light over the sun, repeated in small quantities on the water and galley. Purple (grey). 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 in left upper corner; these masses are connected together by small masses and markings. MINOR CONTRASTS. Orange and Gray. Purple and Broken -grecii. Orange. As described above. G-ray. Principal mass on the water below the arched rocks, repeated as already given. Purple. As described above. Broken-green. Principal mass on the coast, repeated on the galley and water below it, on the arched rocks, and in the right lower corner. 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 irresis- tible 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 surround- ing broad masses of purple (on the sky and rocks), blue, and gray (on the water) , and brown (on the rocks and APPENDIX. 45 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 pourtrayed 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, strongly resembling those in the diagram of colour, PL 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 cToeuvre which those best acquainted with nature will ever recognise as the offspring of her inspiration. NATIONAL GALLERY. 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 foot 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 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 46 APPENDIX. 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. DISTRIBUTION OF THE COLOURS. Red. Principal mass on the cap of figure, behind the old woman's chair. It is repeated as greyish-red mark- ings on the flesh. Yellow (brownish-greyish'). Principal mass on the sleeves and hose of the boor 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 foreground, and deeper on the jacket of centre figure in the distant group. MINOR CONTRASTS. Red, -with broken green and gray. Blue, with broken green and brown. Yellow, with brown and gray. DISTRIBUTION OF THE COLOURS. Red. As already given. Broken-green. Principal mass, the jacket of the figure with the red cap, repeated on draperies in the distant APPENDIX. 47 group, on the background behind the principal figure, and mottled with brown and gray in the light parts of the ground and background. G-ray. 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 ACCESSORIES. The bottle in the foreground is placed there to intro- duce into that part of the picture a mass of light of a ' pleasing shape, which should contrast with the surrounding 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 surrounding 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 con- tinuity 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), con- trast with those curves. It also carries the light of the 48 APPENDIX. 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 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 contrast, 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 grotesque 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 contrast with prominent masses of brownish yellow (grey) , supported by brown and broken green, and the surrounding 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 instances of want of taste. The latter remark applies to the individuals of the party, 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 subservient. APPENDIX. 49 TABLE OF MIXED TINTS. EXTRACT FROM FIELDING'S "THEORY OF PAINTING. FOR SKIES, CLOUDS, AND DISTANCES. Lake and Indigo. Madder Lake, Cobalt, and Yellow Lake and Cobalt. Ochre Lake, Venetian Red, and Indigo. Indian Red and Cobalt. Venetian Red and Indigo. Gamboge, Lake, and Indigo. Indian Red and Indigo. Gamboge, Madder Lake, and Light Red and Indigo. Indigo. Lamp Black and Indian Red. Gamboge, Madder Lake, and Madder Brown and Indigo. Antwerp Blue. Lamp Black and Lake. Indian Red, Indigo, and Yellow Lamp Black, Lake, and Cobalt. Ochre. Lamp Black, Lake, and Indigo. Madder Lake and Cobalt. Madder Brown and Cobalt. Yellow Ochre, Lake, and Indigo. Vermilion and Cobalt. Yellow Ochre, 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., 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 E 50 APPENDIX. gamboge for a green, or varied greens, using Vandyke brown and indigo for the shadows of these greens, etc. Burnt Sienna, Lake, and Indigo. Gamboge, Venetian Red, and Vandyke Brown, Lake, and Indigo. Indigo. Gamboge, Burnt Sienna, and Indigo. Raw Sienna, Madder Lake, and Gamboge, Vandyke Brown, and Cobalt. Indigo. Raw Sienna, Lake, and Antwerp Gamboge, Burnt Sienna, and Cobalt. Blue. Gamboge, Burnt Sienna, and Ant- Raw Sienna, Lake, and Indigo. werp Blue. Try these mixtures above by changing all the blues for ultramarine, and also in the following mixtures make the same exchanges in the blues. Burnt Sienna, Indigo, and Italian Pink and Cobalt. Italian Pink. Gamboge and Antwerp Blue. Italian Pink and Lamp Black. Italian Pink and Antwerp Blue. Gamboge and Lamp Black. Gamboge and Indigo. Yellow Ochre and Indigo. Indian Yellow and Lamp Black. Raw Sienna and Cobalt. Indian Yellow and Antwerp Blue. Italian Pink and Indigo. Indian Yellow and Indigo. The last six mixtures make a cold and intense green. Burnt Sienna and Indigo. Yellow Ochre and Madder Lake. Vandyke Brown and Indigo. Venetian Red and Yellow Ochre. Brown Pink and Indigo. Gamboge and Lake. Brown Pink and Antwerp Blue. Gamboge and Venetian Red. Raw Umber, Lake, and one of Burnt Sienna and Lake. the various blues. Raw Sienna and Lake. Yellow Ochre and Lake. Raw*Sienna and Burnt Sienna. Indian Yellow, Lake, and a Vandyke Brown and Lake. little of one of the blues. Vandyke Brown and Burnt Sienna. The student may extend this list to an indefinite length by changing one of the colours for another not mentioned, and again, by changing the proportions of each ; but in APPENDIX. 51 all the various mixtures, excepting for skies and distances, the blues should 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 immediately 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 affected by artificial light in the same manner. In cobalt, purple is very apparent ; in ceruleum (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 delicate sky and air tints it is invaluable ; some skill, however, is required to lay a large wash of it. LONDON : HENDERSON, BAIT, AND FENTON, GENERAL PRINTERS, 23, BERNERS STREET, OXFORD STREET, W. IL PRIZE MEDAL AWARDED. 1 Class 2. 1862. MESSES. GEO. ROWNEY & CO, Have the pleasure to announce the completion of their NEW SYSTEM OF (Irmtrwg C0I0xtrs bg lifajcjjrhierjj, which enables them 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 be finer, 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 be finer, brighter, and to float more evenly without granulation than any other Colours hitherto produced. They therefore solicit a trial in full confidence of giving satisfaction. GEORGE ROWNEY & CO., MANUFACTURING ARTISTS' COLOURMEN. RETAIL DEPARTMENTS: OXFORD STREET, and 52, RATHBONE PLACE, W. WHOLESALE A, EXPORT DEPARTMENTS: 10 and 11, PERCY STREET, LONDON. GEORGE ROWNEY & CO. GEORGE ROWNEY & CO.'S GROUND BY MACHINERY. Whole Cakes Aloist, in Pan or Tuba Dragon's Blood Indian Bed Light Bed Venetian Bed Vermilion Purple Antwerp Bine Indigo Prussian Blue Permanent Blue Blue Verditer Emerald Green each *. d. 1 1 Hooker's Green, 1 Hooker's Green, 2 Olive Green Prussian Green Sap Green Terra Vert Verdigris Brown Ochre Brown Pink Chrome (Lemon) Chrome (Yellow) Gamboge Italian Ochre Half-Cakes or Half-Pans, each Quarter-Cakes .-. d. 6 3 Italian Pink King's Yellow Naples Yellow Baw Sienna Roman Ochre Yellow Ochre Yellow Lake Chrome (Orange) Chrome (deep do.) Orange Orpiment Bed Lead Bistre Cologne Earth Burnt Sienna Burnt Umber Baw Umber Vandyke Blue Black Ivory Black Lamp Black Neutral Tint Payne's Grey Chinese White Flake White Permanent White Whole Cakes Moist, in Pan or Tube Crimson Lake Indian Lake Magenta Purple Lake Scarlet Lake Scarlet Vtrmflion Whole Cakes Moist, in Pan or Tube Azure Blue, Cobalt, each 1 1 Cceruleum Italian Ultra Indian Yellow Mars Yellow Chinese Orange Orange Vermilion Half -Cakes or Half-Pans each 9 Quarter-Cakes ... 4J Madder Brown Sepia Roman Sepia Warm Sepia Black Lead each 2 2 Half -Cakes or Half -Pans, each Quarter-Cakes ... 1 6 French Ultra, Lemon Yellow, Veronese Green, Violet Carmine. Whole Cakes ... each 3 Half-Cakes Moist, in Pan or Tube 30 Quarter-Ca Carmine Pink Madder Burnt Carmine Pure Scarlet Dahlia Carmine Bose Madder Madder Lake Intense Blue Mars Orange, Green Oxide of Chromium Cadmium Yellow Deep Cadmium Gallstone Whole Cakes Moist, in Pan or Tube Ext. Madder Carmine, each Half-Cakes or Half-Pans, Quarter-Cakes each Purple Madder, Smalt, Ultra Ash, Deep Bose. Whole Cakes ... each 110 Moist, in Pan or Tube 110 Half-Cakes or Half -Pans, each 10 6 5 3 Ultramarine. 29, OXFORD STREET, AND 52, RATHBONE PLACE. TESTIMONIALS FROM THE PRESIDENT AND MEMBERS onetjj of SSafer Colour Craters. AND OTHER EMINENT ARTISTS. AUG. 19TH, 1864. GENTLEMEN, Some time since you sent me a large Box of Colours. I have had a good opportunity of trying them, and I have much pleasure in saying that they are as good as they can be. Believe me, yours very truly, BIBKET FOSTEB. JANUARY 18TH, 1863. MY DEAR Sras, I have tried your Colours carefully, and have much pleasure in sayiner that I find them pure, brilliant, and to work freely and pleasantly, and have little doubt of their being appreciated by all who may use them. I am, dear Sirs, yours truly, To Messrs. BOWNEY and Co. T. M. EICHABDSON. WALTON COTTAGE, 1, LEE TERRACE, BLACKHEATH, AUG. 6TH, 1863. DEAR SIRS, Many thanks for the box of Moist Colours. They arrived late last evening, and have been in use all the day, but not for landscapes. I, therefore, can only say that they have quite equalled anything I could desire for figure painting, and there can be but little doubt they will be as beautiful for landscape drawing. To-morrow I hope to use them for the latter, and when I have given them a fair trial, it will be a pleasing office to speak highly of their working qualities Yours very truly, To Messrs. G. EOWNKY and Co., Oxford Street. AAEON PENLEY. 8, UNION STREET, BTDE. GENTLEMEN, I return you many thanks for the box of Water Colours you so kindly sent me. I find them transparent, and yet possessing a rich body of colour. They work smoothly, and are more free from granulation than any I have used for some time. I remain, Gentlemen, yours truly, HENBY J. LEWJS. Messrs. G. BOWNBY & Co., 10 & 11, Percy Street, London. SCHOOL OP ART, BOYAL INSTITUTION, MANCHESTER, SEPT. 28TH, 1865. GKVTLEMEX, 1 have much pleasure in giving my testimony to the fact that your Water Colours are now brought to a very satisfactory condition, those in tubes having the valuable property of keeping moist for a long time in hot countries. Their brilliancy and purity in my opinion have never been surpassed, and the readiness with which they work in rapid sketching, enables one greatly to econo- mise time. I am, Gentlemen, your obedient servant, To Messrs. G. BOWNEY and Co. WILLIAM J. MUCBJLEY, Head Master. GEORGE ROWNEY & CO., KENSINGTON, JAN. 9m, 1866. GBNTLEKEN, After carefully testing your "Water Colours" In a yariety of ways and particularly as regards damp, which I (painting so much as I do out of doors) find to be the severest test for any colours I can conscientiously say that I find them more permanent than any I have used, and at the same tune particularly brilliant, well ground, and pleasant to use. I write thus confidently in their praise, since I have now used them constantly for a period extending over three years. Indeed, I like them so much, that I shall be glad to select some for my own use when I am next in Eathbone Place. I remain, Gentlemen, yours faithfully, Messrs. ROWNEY & Co. EDMUND G. WARREN. 11, TJPPEK PHILLIMOBB GARDENS, JCNB 15TH, 1863. GENTLEMEN, I have now given the Colours you were so good as to send me a fair trial, and can confidently speak of their very superior merits ; the method of grinding by machinery has not only affected the Indian Red (so justly praised), but has caused the Cobalt Blue and Ultramarine Ash (colours so apt to be gritty) to work with astonishing ease and fluency. The Scarlet Vermilion, too, and Extract of Madder Carmine, are brought to great perfection. Your obedient servant, FREDERICK TAYLER. 76, NEWMAN STREET, DEC. 23M>, 1863. GENTLEMEN, Ihave great pleasure in recommending your Colours to all my artist friends, as they are unquestionably the best I ever used. The Cobalt is especially good in flat washes, which I could never accomplish with any other make than yours. W. GOODALL. DEC. 29TH, 1862. GENTLEMEN, I have much pleasure in communicating to you the result of my experience with your Colours. For brilliancy and purity they certainly cannot be surpassed, and as far as my present experience goes, I may also add, permanency. To Messrs. ROWNEY ..... per doz. Crow ) Flat Camels in tin . . . per inch Gilder's Tips ..... . each t. d. 8 6 4 6 3 3 8 1 8 4 6 5 6 5 6 2 6 2 6 1 1 1 (> 4 3 1 2 6 2 6 1 6 4 6 5 1 1 *. d. 2 6 1 3 10 6 4 1 6 3 16 GEORGE ROWNEY & CO., SUNDRIES. Gilder's Cushion . . . ' . ' . . . each Gilder's Knife . ..'... Agate Burnishers . . Ivory Tracing Points Drawing Pencils . Cumberland ditto . . . . . . Magnifying Glass in case . . . . Half Set of Instruments, consisting of compass with pen and) pencil shifting leg . .) Superior ditto . . . .... . Best Finish ditto . . . Ruling Pens from 9d. to T square, 12 in Ditto 12 in. Boxwood, divided with inches . Set Squares, Straight-edge Rules, and Curves Indian Ink, finest quality. Drawing Pins. Drawing Boards to suit all sizes of drawing paper. Portfolios ditto. . d. 2 6 1 6 2 1 2 3 2 1 6 3 6 4 1 2 6 VELLUM PREPARED FOR ILLUMINATING. May be had in pieces to sell at from from IB. 6d. upwards ; whole skins from 15s. upwards. The price of this article varying so much according to size and quality, it is not possible to fix a definite price to it. VELLUM DRAWING PAPERS. Of a delicate tint, stout, and very smooth surface, manufactured ex* pressly for Illuminating. Imperial, 30 in. by 21 in Is. per sheet. Royal, 24 in. by 19 in 8d. Transfer and Tracing Papers. 29, OXFORD STREET, AND 52, RATHBONE PLACE, 17 OEO1H.K KOWNEY & CO., 02 O !5 H - P, O w i 8 CQ -. cc O G > T3 o P3 3 1 29, OXFORD STREET, AND 52, RATHBONE PLACE. 19 GEORGE ROWNEY & CO.'S oured Cragotts, MANUFACTURED OF THE FINEST MATERIALS. POINTED CRAYONS. These are hard Crayons which work with great evenness and freedom. i. d. Boxes containing 12 .. . . . . .per Box 1 18 ........... ,,16 24 . ,,20 36 ... . . ,,30 Lake or Vermilion separately . . . per dozen Crayons 2 IMPROVED CRAYONS. These are similar to the Swiss, rather harder, but of medium quality and smaller. t. d. Boxes containing 12 per Box 1 6 ,,18 2 3 24 ,,30 36 ...... ,,46 72 ,,90 144 . . .^ 18 Vermilion, Lake, or Cobalt, separately . per dozen Crayons 4 6 20 I , GEORGE ROWNEY & Co., SWISS CRAYONS. These are very soft, and the material most in use for Crayon Drawing. They are sold in Glass Tubes, which prevent the colours mingling. . d. Boxes containing 12 ... i ... each 060 24 10 6 36 15 ,,72 1 10 ,,144 300 Carmine, separately 020 Vermilion. Lake, or Cobalt ,009 Ordinary Tiuta ,004 FRENCH COLOURED CRAYONS. i. d. Boxes containing 26 short .... each 8 42 46 66 60 25 semi-hard 43 50 ....... 76 100 .... 15 12 soft ,30 Ordinary Colours ... . per dozen 3 Lake, Vermilion, Cobalt, or Ultramarine . . 90 Carmine 24 COLOURED CRETA LEVIS IN CEDAR. .. d. Cases containing 12 well assorted tints .... each 3 6 18 ditto .... ,,50 24 ditto ....,,70 Vermilion . . . . . per dozen 3 9 Lake 60 Ordinary Tints . . ... . . 30 Boxes containing 12 assorted tints, 5 inches long . per box 1 , , ,, , CONTE CRAYONS. . d. Square Black Conte, Nos. 1, 2, and 3 . . . per dozen 6 Square Red 06 Bound Black, Nos. 1 and 2 10 Glazed 16 Brown . . . . . ... . 09 Black Conte Crayons in Polished Cedar, Nos. 1 and 2 20 BOXES OF DRAWING MATERIALS, Containing Black and White Chalks, Charcoal Stumps, Portcrayons, 4c. s. d. In Mahogany Boxes ... .... . . each 2 6 In Deal ao 10 29. OXFORD STREET, AND 52, RATHBONE PLACE. 21 GEOEGE RQWNEY & CO/S f0r SABLE HAIR PENCILS Dome-pointed, tied with gold wire. Miniature Sables Crow Quill . . Duck Quill Small Goose . Goose Large Goose . Extra Large Goose Extra Small Swan . Small Swan . Middle Swan . Large Swan Extra Large Swan . Small Eagle Large Eagle . each Red. Brown. . ./. s. d. 4 i 4 -1 6 6 9 9 10 1 1 1 3 1 6 1 8 2 6 2 9 2 9 3 3 9 4 6 4 6 6 6 7 G 15 18 G 22 GEORGE ROWNEY & CO., FRENCH CAMEL HAIR BRUSHES. t d. Small Crow ea :h 1 Crow , o 1 Duck u Large Duck 1* a Goose 2 Large Goose 3 Swan, No. 1 6 2 , 9 ,. 3 ........ , 1 4 , 1 ,,,, O. ....... | 2 CAMEL HAIR BRUSHES. Large Swan Quill Camels Small Swan Quill Camels . Extra Small Swan Quill Camels Full Goose Camels each DYED OR RED SABLE HAIR BRUSHES. IN METAL FERULES, POLISHED HANDLES. i. d. No. 1, Round or Flat each 6 2, 3. 4, ., 5, 6, *. d. No. 7, Round or Flat each 1 4 6 ,8, f i 1 9 , 9 "f i 2 3 , 9 , 10, 2 8 , 1 > Hi ' 3 3 , 1 , 12, 3 9 PHOTOGRAPHIC SABLES IN TIN, 6d. each. 29, OXFORD STREET, AND 52, RATHBOXE PLACE. 23 BROWN SABLE BRUSHES. IN GERMAN SILVER FERULES, AND POLISHED HAKDLES. VERY FINE QUALITY. t. d. No. 1 , round or flat . each 1 3 ., 2, ,,.,,16 3, ,,.,,19 t. A, No. 4, round or flat . each 2 5, ,,.,,23 ,6, 26 RED SABLE BRUSHES. IN GERMAN SILVER FERULES, AND POLISHED HANDLES. VERY FINE QUALITY. No. 1, Round or Flat each r' 2, ,, . ,, n **i it > No. 4, Round or Flat each M ^1 l> > l 6, . d. 1 y 2 o 2 3 24 GEORGE IIOWXKY A fil ft BRIDGE OF SIGHS, &c. (Canaletti J> W ' M ' TuBJlEB . K - A - Painting) j 80J 18J The WOODEN WALLS of OLD ENGLAND. C. STANFIELD, B.A. . 52 6 27 18| THE CANAL OF THE GUIDECCA AND) c STANPIEID K A 42 n CHUBCH OF THE JESUITS, VENICE f u< 26} 17| THE ANDALUSIAN LETTER-WRITER . F. W. TOPHAM . . 42 By the kindness oi HER MOST GRACIOUS MAJESTY, the Publishers have been enabled to add to their collection a subject of great interest, as well as of high quality as a work of art, viz. : " THE CAVE BENEATH THE HOLY BOCK, JERUSALEM." Size 20 by 14, price 31s. 6d. Painted by CAKL HAAG, at the express command of the Queen. The Chrorao-lithographed copy exhibited is as accurate as it is possible to be ; and independent of its merit as a work of art, must possess great interest to all classes from the strong evidence that exists that the spot depicted was probably the burial place of Christ. On this it is not necessary to dilate, beyond stating that the name given by Christian sects to the sur- rounding building, " The Mosque of Omar," is denied to it by the Moslems, who have held it in their possession many centuries, that the style of architecture is Christian of the time of Constantino, and exactly corresponds with a building erected by him over the tomb of his sister. History records that Constantino did build a church over the Holy Sepulchre ; but the church of Jerusalem which is at present shown as the place of entombment is not the architecture of Constantine's period, and does not in any way correspond with the description given of it by ancient writers. For further particulars on this interesting subject the reader is referred to Fergusson's works on the topography of Jerusalem, &c., &c^ The cave itself is held in especial veneration by all sects. The Mahometans, who retain possession of it, admit none but their co-religionists to enter on account of its sacred character ; and a special firman was required to enable Mr. Carl Haag to take a sketch of the spot. 36 GEORGE ROWNEY & CO., ,, Width. Height. Artist's Name Price. . d. 24 by 16 MOUNT ST. MICHAEL .... C. STANFIELD, R.A. 31 6 28J 19 LAKE OF COMO C. STASFIKLD, R. A. . 31 20 24 CROSSING THE FORD W. MULREADY, R.A. . 31 6 From the celebrated Picture in the Vernon Gallery. . 28 14 THE RHINE NEAR COLOGNE . T. M. RICHARDSON 31 6 28 14 LUGANO 11 31 6 27 14 FINDHORN RIVER, MORAYSHIRE . 11 31 6 30 15 ON THE MOORS i, 31 6 26 19 GLENCOE 11 31 6 2* 15} LAKE OF COMO it 31 6 25J,, 17} COMO . T. COLLINGWOOD SMITH 31 6 25 17 GIBRALTAR 11 31 6 17},, 25 ANTWERP CATHEDRAL .... E. T. DOLBT 31 6 17},, 25 CATHEDRAL, CHARTRES .... 11 31 6 18 24J INTERIOR OF ST. PAUL'S, ANTWERP S. READ 31 30 13 THE LIFE BOAT HERBERT . 31 - 17 13 WOODLAND GATHERINGS W. HUNT 31 6 - 26f 16f NEIDER LAHNSTE1N AND CASTLE OF) LAHNECK ; T. L. HOWBOTHAH 31 6 26| 16f OBERWESSEL ON THE RHINE 11 31 6 25J,, -17} MATTERHORN 11 31 6 25 17 RETURNING FROM MARKET . SIR. A. CALCOTT, R.A 31 6 26 17 BETTWS-Y-COED, NORTH WALES. J.*G. READ . '. 31 5 26 17 FALLS OF THE LLUGWY, NORTH WALES . 11 31 6 26 18 URI RODHSTOCK _(LAKE OF THE FOUR) BUTLER .... 31 6 26 18 GOESCHENEN (PASS OF THE ST. GOTHARD) . 31 6 23J,, 14 DIEPPE CASTLE 25 22i,, 14 MELROSE ABBEY J. BURRELL SMITH 25 22j 14 DRYBURGH ABBEY 25 23 15 GRAND CANAL, VENICE . . . . E. A. GOODALL . 25 21} 11} TAORMINI, SICILY T. M. HicHARDSOir 25 26 11 LAKE OF BRIENZ T. L. RowBOTHAir 25 22 15 PONT-Y-GARTH, CAPEL CUHIG . J. STER . . 25 21 15 SUMMER T. S. COOPEE 25 21 15 WINTER 11 25 21 15 AMALFI J B. PVNK . 25 17},, 20 A ROUGH CUSTOMER T. EARL 25 15J 22 PONT ABERGLASLYN .... T M. RICHARDSON 25 21} 16} THE POACHERS T. EARL 25 22 8} THE GULF OF TARENTA .... T. M. RICHARDSON 21 m ,, li} RICHMOND CASTLE, YORKSHIRE G. FRIPP 21 21*,, 14 ISOLA LECCHI LAGO DI GUARDA, ITALY W. L. LEITCH . . 21 21},, 12J CITY OF FLORENCE S. PALMER . 21 211,, 14J CLIFTON J. B. PYNE . 21 21 13| CLUSES, ON THE ROAD TO CHAMOUNI J. D. HARDING . . 21 21 14 UNTERSEEN 11 21 20| 14i ETON COLLEGE FROM THE THAMES 11 21 20J 14} PEEP O' DAY . . . ." . F. W. TOPHAM . 21 20 12J BAY OF NAPLES E. A. GOODALL 21 16 20 THE STOLEN KISS J. ABSOLQM . . 21 19} bj ' 14 VENICE W. CALLOW . ?! 29, OXFORD STREET, AND 52, RATHBONE PLACE. Width, 19| 19*,, 19J,, 20 '23f 24 23f 20 18 16J,, 16*,, ll,, 1*4,, 14*,, 14 U*,, 15 12 15 21*,, 17 "I,, 21f 21i,, 15 20 12 13 16i,, 13* 21 20 204,, 20* ,, 20 19*,, 19 19 21*,, 19|,, 19*,, 18 17|,, 16f 16J,, 12f,, Hf ,, Hi,, , Height. 13$ WATER-MILL, DORKING .... 13j MILL NEAR RINGWOOD, HANTS . 13| HEIDELBERG Artist's Name. D. H. McKEWAN . G. FRIPP T. L. ROWBOTHAH Price. . d. 21 21 21 21 21 2t 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 15 15 15 15 15 15 15 15 15 15 15 15 15 15 e 15 15 15 13i THE LAGO MAGGIORE, with a VIEW) OP PALLANZA . / 8| NEAR CETAEA, GULP OF SALERNO . 9JWHYMPFEN, ON THE NECKAB . . ; 8| NEAR CASTEL A MARE, BAT OF NAPLES . 13i THE MARKET BOAT 114 A SKETCH OP ST. PAUL'S, from the) SHOT TOWER f llf MACBETH AND THE MURDERERS OF) BANQUO ... > llf MACBETH THE MURDERER OF DUNCAN . 11 ALMS GIVING . ... 18$ EGLISE ST JAQUES CAEN .... T. L. ROWBOTHAM J. JENKINS G. DODGSON G. CATTERMOLB 19f CATHEDRAL PORCH, EVREUX . 114 ROUEN CATHEDRAL, WEST FRONT 114 ROUEN CATHEDRAL, SOUTH TRANSEPT 20f THE VILLAGE ANGLERS .... 15 THE REAPER (oval) 19 PASS OF THE GHIMSEL (upright oval) . 15 GLEN TILT E. T. DOLBY . W. MULLER . W. A. ROBINSON . T. M. RICHARDSON 11J MILKING TIME ,...., S COOPER, R.A. . J. D. HARDING E. RIECK M. BACKHOUSE S. P. JACKSON S. PROUT BAXTER . . W. FISHER . . llj AUTUMN ON THE DOWNS . 14J VENICE 13 MOUNT ORGEUIL CASTLE, JEKSEY . 19J THE NEW BROOM THAT SWEEPS CLEAN 13f MAKING ALL TAUT, OFF SWANSEA . 17f THE FRAUENKIRCHE, NUREMBERG . 15i AUTUMN FRUITS ...... 19J THE FOUNDLING (oval) 18| FECAMP, NORMANDY A. MARNY ... 16f THE INTRUDING PUP . T. EARL T. F. WAINWRIGHT T. COLLINGWOOD SMITH G. STANFIELD WM. CALLOW . . T. L. ROWBOTHAH T. M. RICHARDSON G. CATTERMOLB P. DEWINT . . . J. W. M. TURNER, R.A. 10 MILL-END LOCK, WITH CATTLE 9|_BOWES CASTLE, YORKSHIRE 14$ ALKMAAR, NORTH HOLLAND CANAL . 11 COLOGNE . . ' 10| FRANKFORT 10J THE CALABRIAN COAST .... 10| THE BAY OF BAI.3I 9 THE GULF OF SPEZZIA .... 7 ORIA (LAKE OF LUGANO) .... ?i ANGEHA (LAGO MAGGIORE) .... lOf COCHEM, ON THE MOSELLE . 11 COMO H|_COLUMBUS IN THE MONASTERY . 12 THE MILL-STREAM 8f BRIDGE OF TOURS 15J STREET IN VERONA 16 THE MADONNA AND CHILD . VANDYKE . . . From the celebrated Picture in the Dulwich Gallery. 33 GEORGE ROWNEY & CO., Width. Height. Artist's Name. 20} 124 BABMOUTH . S. P. JACKSON 19 by 111 THE THAMES NEAR WINDSOR . . . E. BICHARDSON 19j .1 ?i CAPRI . T. L. EowBOTHAic. 19| M 7JQULF OF SALEKNO 11 9 MAY BLOSSOM W. HUNT H4 7|_ AUTUMN GATHEBINGS No. 1. . . ... U 4 M 7J AUTUMN GATHEBINGS No. 2. . 12 9 SPABBOW'S NEST AND APPLE BLOSSOM W. HUNT 11 13 BEFOBE THE ALTAB (oval) . . . It N. H. 19J 8 LLYN MWTNQIL E. PBNLEY . 19 8 LLYNBHYNOHYN, NEAB TBEFBIW,) NORTH WALKS j 18f 7| BUTTEEMEBE E. PENLEY . 18| n 7| ENNEBDALE 19 10 LOCH VENNACHEB (SmsRT) . . . AARON PBNLEY 19 10 LOCH LOMOND (MID-DAY) .... 17 74 BBECON BB1DGE (SOUTH WALES) . . T. L. BOWBOTHAM 171 n 7J_ THE OLD FOBD BBLDGE .... 21 9 LAKE OF LUCEBNE T. M. BICHARDSON 15j n 9 WINDSOB CASTLE J. B. PYNK . 13} 14S-JEALOUSY F. W. TOPHAM . 9J 11 QBAPES AND PEACHES (oval) . . . F. T. BAKES 9J 11 GBAPES (oval) 9 12i TOWEB OF THE CHUBCH AT QOBCUM. D. BOBF.RTS, B.A. 9j n 12J YOUTH AND AGE F. TAYLOR . 8i 114 DIFFIDENCE (oval) W. HOST 8f 15 PAGE ON DUTY 8 11 APPBOVING CBITIC 14 94 SWANSEA HABBOUB S. P. JACKSON 15i 9 ALESSIO, GULF OF GENOA . . . T. L. EOWBOTHAM. 18 6 A SEA FOG, LUCCOMBE CHINE, ISLE ) OF WIGHT / " 18 6 SUMMEE EVENING IN THE HIGHLANDS 14 9i IN THE BAY OF NAPLES .... Ig tf 84 LANGDALE PIKES 18 n 84DEBWENTWATEB 14 ,, 10 LOCH KATRINE T. M. BICHARDSON 14 ' 10 UEQUHAET CASTLE, LOCH NESS . . 14 , 10 LOCH-NA-GAE 14 10 DUNDEEAWE CASTLE .... 15 10 LOCH LOMOND 15 10 LOCH AWE (Completing the set of six Scotch Lakes,) 12J 16 THE VENETIAN BOATMAN . F. GOODALL, B.A. 12J 15f THE VENETIAN LAZZABONE ... 144 f) gjSTIFF BEEEZE S. P. JACKSON 18 8J GBASMEEE ANDREWS IT 7J-TINTERN ABBEY T L. ROWBOTHAM . 17 74 THE BEACH, BONCHURCH .... 17 74 ISOLA BELLA, LAGO MAGGIORE 17 74 ISOLA SAN JULIO, LAGO D'ORTA Price. & d. 15 15 15 15 15 15 15 12 12 12 12 12 12 12 12 12 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 10 6 29/OXFORD STREET, AND 52, RATHBONE PLACE. 89 Width. Height. Hi by 9 SCMMER TIME gf .. 13i F.N PASSANT . Artist's Name. G. DODGSON . W. LEITCH. . . Price. *. d. . 7 G . 7 6 . 7 6 7 6 10 9 CASTLE OF ISCHIA 7 LOCH AWE R. P. LEITCH 9* 12 READY FOR CHURCH (oval) . W. LEE . 7 6 M 9J IN THE FIELDS (oval) .... n . 7 G Uf 9f VIEW IN NORTH WALES. ... H. BRIGHT . 7 C, l-'I- 9J VIEW IN SOUTH WALES T. L. ROWBOTHAM . 7 G 1-,'J 8J IN THE GADMANTHAL, TYROL. 11 . 7 G 1-H 9 AMALFI R P. LEITCH . . 7 6 i-j 145 7J VIEW ON THE BRITTANY COAST . . 7 G 1 I- t| 8J THE COAST OF GENOA .... R P. LEITCH . . 7 6 111 7 FOWEY CASTLE, CORNWALL S P. JACKSON . 7 G ill 7 RUINS AT NEWTOWN, IRELAND GASTINEAU. . . 7 G 11 8J SCARBOROUGH CASTLE, YORKSHIRE C. BENTLEY . . 7 6 101 7 BROUGHAM CASTLE, WESTMORELAND COPLEY FIELDING. . 7 G 10 7 DOUNE CASTLE J. D. HARDING . 7 6 * llf BRIDGE AT PRAGUE SAMUEL PROUT . 7 G h 12f WATER GATE, ON THE RHINK 11 . 7 6 n , 11 UP EARLY . . ** G E. HICKS 7 G 8 10i ABERY D. ROBERTS, R.A. . 7 6 1*1 8 MEADOW SIDE T. S. COOPER . 7 6 'J 9 CONSOLATION (circtdar) .... J. E. BUCKLEY . 7 G 9 9 RECONCILIATION (ditto) .... i ' . . 7 G tOj 7 LOCH ETIVE COPLEY FIELDING . 7 G Id 7 LOCH TAY n . 7 G KI j 7i BEECHY HEAD n . 7 G tfli 7J PORTSMOUTH 7 6 * 8f CASTLE OF OSTEA (Papal States) . T. L. ROWBOTHAM . 7 6 11} f> 7| COTTAGES NEAR CONWAY, NORTH WALES. N. E. GREEN . 6 ni 7f COAST SCENE, NEAR WALMER . , . 6 l! i 7f MOUNTAIN STREAM, NEAR BEDDGELERT . , . 6 11| 7|-ST. MARY REDCLIFFE, BRISTOL , . 6 11 1 n 7| KILLARNEY . 6 o 11J 7| COASTGUARD'S SHED, NSAR HERNE BAY . . 6 11 7 AT EAST MALLING, KENT .... R. P. NOBLB. . 5 11 7 CLAINES CHURCH, with the MALVERN) HILLS IN THE DISTANCE . . f n . a 11 7 CHISWICK BY MOONLIGHT . 11 . 5 m 7 GIPSEY CAMP, CLAYGATE, SURREY 11 . 5 101 10J SLEEPING AND WAKING (circular) J. H. MOLK . . 5 lOj 10J THE LESSON (circular) .... . . 5 M 13 THE GLEANERS 5 W 4 1 13| FRENCH FISHERMAN'S DAUGHTER . W. LEE . 5 9 6J ON THE COAST J. H. MOLK . . 5 g 6J INLAND 5 IM 7J GREEN LANES T L. ROWBOTHAM 5 * V 4 111 , 54-^TANUARY T. S. COOPEB 5 40 GEORGE ROWNEY & CO., 29, OXFORD STREET, &c. Width. Height. Artist's Name. Price. t. d. 8 by 5f LITTLE WANDERER 80 i 9| WATER MILL, MAPLEDURHAM . . N.E. GEEKS . .30 6J 9| THIRLEMERE, NEAR CUMBERLAND . ... 3 6J 9| COTTAGES, NEAR BANTHY, Co. CORK . ..30 6J 9f WINDMILL AT SOUTHEND ... ... 3 6J 11 9f LAKE SCENE, NEAR LLANBERIS ... ... 3 6 8| THE ORANGE GIRL (oval) . . . G. E. HICKS . .26 6 8i THE FLOWER GIRL (oval) ... ..28 6 8J THE WATER-CHESS GIRL (oval) . . ..26 6 8J THE LASCAR (oval) ..26 6| 8 THE GIRL AT THE STREAM . t . ..26 6J 8i THE GIPSY GIRL ..26 *i 7| FOUNTAIN AT ROUEN . S. PROUT . .16 VIEWS IN LAKE DISTRICTS. Size, 10J by 7. GRASMERE . T. L. ROWBOTHAM . 5 BUTTERMERE .50 *AIREY FORCE .50 COL WITH FORCE .50 DUNGEON GILL . .60 DERWENTWATER. . .50 ENNERDALE .... .... .60 WAST WATER .50 SKELWTTH .50 *SCALE FORCE ......... .50 ULLESWATER . .60 KESWICK .50 WINDERMERE .50 THIRLESMERE .50 * These four are uprights. SMALL SERIES. NOB. 1 to 12. RIVER VTEWS R. P. NOBLE, each 1 COTTAGE NEAR HAYES ,,10 GROUPS OF FLOWERS, (Two) G. ROSENBERG 10 POOR DICK'. ,,10 RUSTIC FIGURES (Six Plates) . . . . . . G. E. HICKS 09 PHCEBE G. E. HICKS ,,06 Ditto ditto (Forty-two Plates) .... ,,06 REFLECTION G. WELLS 06 COURTSHIP ,,06 THE MOTHER ,,06 THE ANGLERS ,,06 THE FRUIT-GATHERERS ,,06 THE SPINNER ,,06 ST. PAUL'S CATHEDRAL BY MOONLIGHT . . . E. A. GOODALL 06 DISTANT VIEW OF ROUEN ,,06 CRYPT OF CANTERBURY CATHEDRAL ... ,,06 CASTLE OF FOUGERE, BRiTTAirr ..... ,,06 MARKET PLACE, ANGERS ,,06 ST. VALLERY-SUR-SOMME ,,06 CATHEDRAL OF NOTRE DAME, PARIS ... ,,06 TOWER AND BRIDGE AT ANGERS ,,06 ON THE LOIRE ,,06 HBNDBRS >N, RAIT,