, 1875-08-22

ono OF the Sch1egels: "What conception Of
art must those theorists have who exclude por.
traits from the proper province OF the tine arts
IT. Is exactly as II ne deuied that TO be poetry IN
which the post celebrates the woman he really
loves Portfaiture il the bae;s and tho touch
stone Of historic painting"
Tho different modes OF painting are water-col-
or cfayou oil. frcsco, encaustlc. enamel. elydor-
&c, musalo or mosaic, aud miniature.
Eacanstic ls performed by n11xiug the colors
WIN wax and varnish or water, beat being used
to apply the colors which become very clear.
me process !s very old and WAS most employed
1or mural painting. In elydoE,o painting, both
co2lors. which thus combine the fresh
ness Of Water-colox with the mellow
ness Of oil. Miniature painting is water
color on ivory or veltum. The softness OF tho
graduation OF the tints is due 10 the process OF
ing consists OF miuute pieces OF glass, wood,
pebbles, ETC., fixed with cement 80 a. to give tbs
effects OF drawing and color. The process is
!ety old. but is nov practiced chiefly IN Italy.
4 persistent effort ia n1ahing to establish it at
the South kensington Museum.
F1esco-Itallan for fresh-s applied to paint
ing upon wet or fresh plaste: The ground
painted on is tue last coating Of plaster. The
artist frat transfers tho exact outlines OF The
design with sharp instrument through transfer
paper. The cniors are then laid On with rapiditY
and decision, % no amendments can be- made
after tbs plaster dries. Thus ia called fresco
6uono, to distinguish it from fre:co secco, 10
which water-colors are laid upon dry plaster.
Tie latter ia the fresco which VIC see most Of,
aud it giyes but faint idea OF the 1uninousuesa
OF tue true fresoo.
Oil painting was not in general use until the
fifteenth century, when the tr1e method Of ulix-
ing the co!ors Was discovered oy the Van Eyck
blothe1e, the Flemish painters. The materials
previously in use we're known as distempbr or
temper co!ors,-earths or oxides mixed with size
or glue, instead OF oil. White OF egg Was used
instead Of slze just before the discovery Of the
procese Of mixing With oil. Wood or panel was
employed Until the sixteenth century, when it
WAS supplanted by canvas.
The painter IN oils first sketches the outline Of
his design On the CANVAS with charcoal or graph
lte peacA thea the entire effect OF light and
shadow ID produced in = sinRe co1oE,-mono-
chroms,-and, after that, the final colors afolald
monochrome. The artis: in water-colors either
washes in his sketch first with India ink
and then colors it, or hs may color it without the
intermediate step.
Tho processes Of enamel. painting on porce-
lain and on elssa, are vary similar. The colors
are ground to an e1quisitely-tine dust, mixed
wltl spike-oil, laid on with hair-bruahes on the
glazed ciav or metal, and are made permanent by
heat.
Harmony of color is the preservation Of the
Bame character OF coloring in the whole Of
picture. The tone ie the pervadng quality OF
color, OF shadow. OF OF light. It "hleh" Or
"low" accordinxlY as these qualities arc forcible
or subdued. Gh1nr-oscuro il italian for light
and shade, and it is applied IN picture to the
expression of light in shadow and OF shadow in
Light. 1ts gkilful treatment is absolutely neces-
sary to succees, and it alone gives warmth and
clearness to objects in shadow, and eottness aud
grace to thoss exposed. One can appreciate the
e1. RENE difficulty 7bicn artists must experience
in itr management BY observing studiousy the
Eubtlo manner in which light and shade are COM
mingled in any spot OF Nature whether on sky,
land, or water IL. F. s.