[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.
DESCRIPTION OF THE PLATES.
After what has been said already, a lengthened description of the plates would be unnecessary.
[Plate 1].—Has been described in reference to the article on Composition; as [Plates 2] and [3] have, in the one on Light and Shade.
[Plate 4.]—The Porch of Chartres Cathedral, has been referred to under the inquiry into accidental Shadows.
[Plate 5.]—The Temple of Jupiter Tonans, and the Forum of Nerva, have been noticed in like manner: as has likewise [Plate 6], an ancient Wine-store in the Rhætian Alps.
[Plate 7.]—Here are the extremes of hot and cold. The strongest colours are placed in the darks, from which they derive all the power of the palette, while the point is preserved by the figure in red. A warm light, surrounded by warm tints, has the greatest brilliancy when ably supported by the intervention of a cold one. The cool grey centre is repeated in the hollow of the door, the lower part of the figure, and carried out by the blue of the sky; while the warm colours are dispersed and diffused on the wooden gallery, the walls, the ground, and gathered up by the rich red of the woman's gown and the warm brown of the figure behind; the dark colour of which, being laid on the dark background, helps the woman into her forward position;—the warm colour, projected by the red gown, is again carried up by the cap and brown of the figure behind into the balcony, tiles, &c., until, after mingling in every possible way with the cool greys, it escapes by the walls; spreading its influence every where, and investing the greens of the vine and the foreground with its character. The high light on the wall is repeated on the linen, carried across by the figure in the gallery, and brought down by the figure and flowers in the foreground. The general tone of the work is warm;—the blues, greys and greens are used as a foil to give value to the warm colours, the shadows and middle tints: the greys are glazed warm, to preserve the richness of the general effect throughout. The reds and blues are combined of colours possessing the properties of each. The quantity of warm and cold colours are to be principally observed—the union of one part with another—preservation of the breadth, and the general harmony.