A practical treatise on coach-building historical and descriptive

by James W. Burgess

Fig. 48.

[Fig. 48].—Put the pattern in in gold, separating the parts where necessary with shadow lines, and produce the effect of interlacing by a judicious use of high light lines and deep black lines. The best pencil suited to this class of ornament is a “cutting-up” pencil an inch long. Having traced the pattern on the panel, commence by painting the crest, and next the main upper left-hand division of the scroll part, paying no attention to the leafing or minor details. It will be noticed that the centre line of the heavy leafing is a part of the scroll line, which passes from the wreath or ribbon at the top, and is completed at the base; so that to secure easy curves this line should be laid in through its whole length, and the leafing or any minor dividing lines be governed by it. Next lay in the other half of the pattern in the same manner, and having secured these main curves the subordinate details may be added.

Where two fine lines cross each other, the effect of one line passing underneath the other may be produced by simply lighting one of the lines across the intersection, which by contrast will make the gold or colour of the other line appear darker, and as though the lighted line passed over it and cast a shadow.

Paint the wreath blue and white, the crest to be merely lighted with the colour used for high lighting the other parts.

Fig. 49.

[Fig. 49].—This consists of a species of dragon, having the head, neck, and wings of a bird, and the body of a wild beast. He supports a Norman shield, the “fess” or centre part displaying a Maltese cross.

In painting this ornament, first get a correct outline of the whole; then mix up two or three tints of the colour you design painting it, having a pencil for each, and a clean pencil for blending the edges, so that no hard lines may appear at the junction of the different colours. Lay on the shaded portions first, then the half lights, keeping them subdued in tone, so as to allow for the finishing touches showing clear and distinct.

On a claret-colour panel the whole may be painted in different hues of purple and red. On a dark blue panel, varying shades of blue lighter than the groundwork, and so with other colours. The shaded portion must be distinct, and gradually connected with the lighter portions by light tints of the shading colour.