REFERENCE TO THE PLATES ON COLOUR.
[Plate 7.]—The sky is laid with tint No. 10;—the walls and foreground are covered down with No. 1, varied here and there with burnt sienna;—the tiles and roof with No. 4;—tints 6, 7 and 8 are mixed together, varied and floated over for the cool greys;—the figure, Indigo and No. 10; vermilion, ochre and burnt sienna. The greens are composed of indigo, gamboge and burnt sienna, with brown pink. The gallery is tint No. 6, floated over Vandyke brown. Cobalt and Vandyke brown in the hollows.
[Plate 8.]—The sky is done with No. 9, and thin cobalt floated over: the horizon with No. 4, varied with Venetian red: the orange brought down into the trees, and worked together with gamboge; the shadowed parts of which are put in with No. 7—repeated in the bases of the clouds. No. 9 is worked into the cool greys of the middle space. The greens are varied with indigo, burnt sienna, gamboge and brown pink;—the brightest lights with yellow ochre: foreground with No. 5.
[Plate 9.]—The sky French blue and madder-lake;—distance with No. 1, heightened here and there with ochre;—middle space worked in with 9 and 8—the greys with No. 7. Cobalt in the hollows; warmed, in parts, with No. 4. Boats done with No. 9, strengthened with Vandyke brown;—the water slightly washed with No. 5, varied with the same and indigo;—steps and railing with Nos. 1 and 5.
[Plate 10.]—The sky is washed with indigo and madder-lake, kept grey towards the horizon;—the distant buildings with Nos. 7, 8;—No. 7 is mixed with burnt sienna for the greys of the trees: the greens are composed of indigo, burnt sienna, raw sienna, Venetian red, and gamboge;—the gravel with No. 5, a little burnt sienna, and white;—the shadows with No. 7;—figures with positive colours;—foreground slightly washed with No. 1, varied with No. 5;—the pedestal with No. 5, varied at the base with Nos. 6 and 9.
[Plate 11.]—The sky, indigo and madder lake: the clouds varied with Nos. 8 and 9, and floated over with cobalt: the warm lights with yellow ochre and burnt sienna;—horizon with cobalt and indigo;—the sands with No. 1, shaded with 2 and 6;—the mill with No. 1, lightly floated over with No. 6, and touched in parts with No. 3;—the foreground brought down with brown pink;—the mill, on the left, painted into with Vandyke brown, Indian-red, and No. 5; the lights with No. 4, and roof with No. 3; the sail, Indian red and Vandyke brown; figures, cobalt and vermilion, subdued with No. 6.
[Plate 12.]—The walls and pavement floated down with No. 1, and toned over with No. 6;—the architectural markings with No. 6 and cobalt, with a little No. 9 in the darkest parts, to give them point;—hollows of the arches with No. 9, and No. 7 worked in;—the window is all laid in with positive colours, brought down on the figures, which are subdued with No. 6;—the altar, banners, priests' robes, books, &c., with chrome and white: their shadows with No. 3;—the curtain with Vandyke brown, Venetian red, and burnt sienna.
And here I cannot but express how much the arts and the public are indebted to the highly inventive genius of Mr. Hullmandel, for his numerous inventions and improvements in lithography; having, in a few years, by the most determined perseverance, industry, and singleness of purpose, brought the first hard, dry, and uncertain drawing on stone, through all its various improvements, until the introduction of the now well-known printing of the tint with modified lights; to which we are indebted for the many beautiful productions that have appeared of late; and thence to the extraordinary invention, now dawning on us, of making a painting on stone, from which an impression is procured that may scarcely be articulated from a sepia drawing: enabling painters to multiply their sketches ad infinitum, instead of being confined, as before, to the merely practiced pencil draughtsman. The plates of this work are indebted to his invention.