Fig. 45.
[Fig. 45].—This is from a design by Gustave Doré. It is an odd but still pretty design. Lay in the whole of the pattern in gold; shade the details with verdigris darkened with asphaltum; put in the high lights with pink, composed of light red and white. The escutcheon may be coloured with light brown, carmine, and dark brown. The edges of the diagonal bar to be dotted minutely with vermilion.
Fig. 46.
[Fig. 46].—Outline the garter with gold; the buckle and slide to be gold also. Fill in the garter with light and dark tints of blue, and put in the high lights with canary colour. Paint the floral gorgons in brown shades, and light with orange and clear yellow. A small portion of lake added to these browns will cause them to bear out richly when varnished. Let the medium lights and shades predominate, and the high lights added, first carefully considering their true positions, and then touching them in with sharp strokes of the pencil, which will give life and “go” to the details. The pendent stems with leaves and berries may be coloured olive green, and shaded with russet. When the painting of this ornament is dry it will be considerably improved by glazing.
Fig. 47.
[Fig. 47].—The central pattern is Caduceus, a Roman emblem. On the rod or centre staff the wings are represented “displayed,” and the two serpents turning round it signify power, the wings fleetness, and the serpents wisdom.
This pattern would look well in gold, with the dark parts shaded with black to the depths shown on the sketch; the lighter tones being greys, warm in tone. The serpents may be put in with carmine, as also the wings and head, and the rod carmine deepened with black.
Various treatments of colouring may be applied to this pattern, and thinking out some of these will be very good exercise for the ingenuity of the painter.