FIRST STONE—LIGHT YELLOW. THIRD STONE—LIGHTEST BLUE.
There are very few artists who can say exactly how their colour-effects were produced, or precisely what pigments were employed to attain certain tones. They work away, slowly painting and repainting until the end desired is reached.
SECOND STONE—DARK YELLOW. FOURTH STONE—LIGHT FLESH TINT.
"We have master-lithographers in our employ," said Mr. Adolphe Tuck to the writer, "who can tell almost at a glance how many colours and shades go to the making of any given picture, no matter how complex."
FIFTH STONE—DARK BROWN.
Take the case of one of the most successful reproductions of one of the old masters, "The Madonna Ansidei," which hangs in the National Gallery. The colour-master of whom we have spoken quickly resolved this picture into eighteen colours, involving the use of eighteen lithographic stones, each printing a separate tint and being of itself almost a separate picture, until by repeated printings the whole masterpiece was gradually built up. This is the example of which we present illustrations in this article, and is the work of Mr. Adolphe Tuck.
