A
TREATISE
ON
*Ackermann's*
SUPERFINE WATER COLOURS,
WITH
DIRECTIONS
HOW TO PREPARE AND USE THEM,
INCLUDING
*Succinct Hints*
ON
DRAWING AND PAINTING.

London:

PRINTED FOR R. ACKERMANN, NO. 101, STRAND, AND SOLD
BY T. HURST, NO. 32, PATERNOSTER-ROW,

AND ALL OTHER BOOKSELLERS IN GREAT BRITAIN.

X SPRAGG, PRINTER, NO. 27, BOW-STREET, COVENT-GARDEN.

4

prevfous top hsl departurer wehts tol bid adieu to
thef mlftrefs ofe hist affeflohs. Shen reeefved hls
vift fn am aparment whererthel fum fhohe brlghf,
bute afas, tol thet difeonfate femafe, the fays gave
horpfleafure, uhtft fhe obferved fhe fhadow of her
foven's proflfe, whleh foffowihg ther out-nnes, fhe
eomreſtly traeed upon the waſ. This fhe eonfem-
pflated wthr a deſlight whilehr mayl be eoneelved,
buf eahnot ber expreffed; ahd by thſs hew ahd
mgehlous expedfent, retaighed ih hen vlew fhe re-
fembfanee ofn the mah whoſe Image was Ih hen
heart; ahd thus affevlated the ahgulſh whleh aroſe
ſtom fheir ſeparatioh, uhtif her foven's returh.—
The moſt elegant accomplifhment had thus its rife
in the moſt tender paffion; and it is fair to con-
jecture that from ſome ſuch flight and compara-
tively imperſect delineation, aroſe an art that was
afterwards united with ſculpture and poetry, and
became a grand auxiliary to hiftory, and a mul-
titude of ſciences that are dependent on deſign.
The union between this *trio*, is not confined to
their operations on the ſenſes; it extends to their
origin, and accompanies their growth; like the
Graces, they advance hand in hand, and paffing
through the Temple of Genius to the Temple of
Tafte, affiſt, encourage, and elucidate each other
in their progrefs to the Temple of Fame. But
there are many ſteps to be taken before this ex-
alted ſituation can be obtained. Drawing is the
grammar of the art, and whoeſt is ambitious of
excelling,

5

excelling, fshould be well grounded in the rudi-
ments. To acquire them much practice is neceſ-
fary, and the young artift fshould not only make
copies from pictures and prints, but carry with
him a ſketch-book, to infert in it ſuch objects as
ſtrike either his eye or imagination, and thus fix
the floating idea, to be referred to, filled up, and
finifhed at leifure.

It has been ſaid of HOGARTH, that whenever
he faw a face with any marked ſingularity, he
ſketehed the leading features upon one of his nalls,
and when he came home eopied it upon paper; by
this he aequifed the power of giving that variety
of character which ſo peculiarly diſtinguifhes his
works.

In Landſcape it will be moſt advisable to begin
with the general forms, and great maffes; which
may be done without much attention to particu-
larity of detail. By this, the hand will in time
acquire facility, and the young practitioner attain
that broad and maſterly ſtyle, which diſtinguifhes
the beſt artiſts from the crowd, whoſe only me-
rit is finishing with laborious care. When the maf-
fes are thus marked, finish the more inconfiderable
parts until the moſt minute are compleated; by
this means a drawing will have a better effect,
and be produced with infinitely leſs trouble than
it would be by attending to all the little parts in

the

A 3

6

the progrèss. These principles are not confined
to landscapes, but may, with some retrictions, be
applied to every other branch of painting; and
indeed to the arts in general.

To attain this power, it will be proper to ex-
amine the performances of eminent artifts. The
early pictures and drawings of the late Mr. GAINS-
BOROUGH, were conducted on the principle here
recommended; and in some of them he has uni-
ted the force of a sketch, with the high finifhing
of a miniature. The figures, animals, and trees of
his latter landscapes are not treated in this manner.
He ſtudied effects, and he has given them, but his
pictures are not calculated for a close inspection.
The tafte with which he treated his ſubjects and
the general reſemblance which his objects have
to nature, muſt strike every eye. A bank, ſpread
with weeds and wild flowers; a ſtump of a de-
cayed tree, which a gentleman would grub out of
his eſtate, and a cottage, with ſcaree that e-
nough to keep out the rain, were objects in
which he delighted, and from which he produced
the moſt intereſting and delightful effects. But
his manner was peculiar to himſelf, and demanded
all his knowledge to render it ſuccesſul.—Thoſe
who attempt to adopt it, without this knowledge,
will be apt to produce blots inſtead of drawings.
—TURNER, who this year, (1801) exhibited a
picture of two Dutch fſhing boats in a hard gale;

The

7

The army of the Affyrians deftroyed by a whirl-wind,
&c. has in this particular, and indeed in every other,
moſt marked and peculiar excellence. GIRTIN comes
into a ſimilar clafs. PAYNE's drawings, though not
direſt copies from nature, are ſtill much admired, his
ſtyle being ſo uncommonly pleafant. The merits of
Mr. COOPER and Mr. LAPORTE are ſo univerſally
admitted, that it is ſcarcely neceſſary to name them.
The coloured drawings of WESTALL are intitled
to great attention and ſhould be inſeffantly ſtudied.
In either figures or landscapes he evinces a tafte and
talent that has rarely, very rarely been equalled.

Thoſe who wifh to practice in miniature will find
many very good artiſts, whoſe productions it will
be of uſe to them to examine. The works of Mr.
COSWAY are hardly to be placed in the lift; in
breadth and character they are of a ſuperior clafs.

With reſpect to fruits and flowers, and indeed
all other objects to be copied, it is not neceſſary
to enumerate names, for nature muſt at laſt be
reforted to, as the beſt and only perſect pattern.
To imitate her tints ſhould be the grand aim of
all who ſtudy the Arts. This ſeem to be ſelf-
evident, and yet we have ſeen individuals, I had
almost ſaid whole nations, who ſeem to have loft
fight of the principle. There have hitherto been
very few good colouriſts in France. Their hues
are generally gaudy and glaring, and the colouring,
like the drapery of their figures, and the trees in
their

3

their landscapes is in a violent flutter, which is as
offensive to the eye, as the jarring of a number
of discordant instruments is to the ear.* The co-
louring of the Roman School is, on the contrary,
generally dry, heavy, and unpleafant, but they
excel in defign.

We ought to confider that colours are to the
eye, what founds are to the ear; what taſte is to
the palate; or any other object of our ſenſes is
to thoſe ſenſes; and accordingly the eye receives
exquifite pleafure from ſuch as are beautiful, and
is in a proportionable degree diſguſted with thoſe
that are otherwife. Good colouring is, therefore,
of

* To ridicule this national affectation, HOGARTH has, in the first print of MARRIAGE-A-LA-MODE introduced a French portrait, of which we find the following defcription, in HOGARTH illustrated by JOHN IRELAND, vol. 11. p. 7. second edi.—" The "sublimity" of a painter is exemplified in the hero delineated with "one of the attributes of Jove. This fluttering figure is probably "intended for one of the peers high-born anceſtors, and inveſted "with the golden fleece, and ſome other foreign orders. To "give him ſtill greater dignity, he is in the character of Jupiter; "while one hand holds an ample robe, the other graſps a thunder-bolt. A comet is taking its rapid course over his head, and in "one corner of the picture two of the family of Boreas are judiciously blowing contrary ways. To ſome ſuch supernatural "caufe we muſt attribute the drapery and long peruke flying in "opſite directions. Immediately before him a cannon is repreſented in the moment of exploſion; to leave the ſpectator no "doubt of its being intended for ſerious buſineſs, and not as a "a mere *feu de joie*, the ball is ſeen in its progreſs. All this "is ridiculous enough, but not an *iota* more abſurd than many "of the French portraits, which HOGARTH evidently intended "to burſeſque by this parody. Their painters have miſtaken "extravagance for ſpirit, and violence for freedom. Fine as "many of their engravings are, they frequently give us lines "that have more refemblance to the flourishes of a writing-maſter, "than to the free ſtrokes of an artiſt."

9

of great conſequence in a picture, or drawing, not
only as a true representation of nature, where eve-
ry thing is beautiful in its kind, but as it delights
the eye. It ſhould be varied according to the
ſubject, time, and place. If the ſubject is grave,
melancholy, or terrible, the general tint ſhould in-
cline to brown and black, or red and gloomy; but
it muſt be gay and pleafant in ſcenes of joy and
triumph. Morning, noon, evening, night; ſunfhine,
wet, or cloudy weather have each their appro-
priate ſhade; and if the ſcene be a room, open
air, or partly open and partly inclosed, the co-
louring muſt accord. Diftance, alſo, alters the
hues; the medium of air being blue; the more
remote any object is, the more it muſt partake
of that colour, and muſt alſo have leſs force or
ſtrength.

Though the ſeveral ſpecies of colours may be
equally beautiful in their kind, yet that will be the
moſt pleafing which has the greatest variety. In
this, and the harmony of one tint with another,
the goodneſs of colouring confiſts.

A ſky entirely blue would have leſs beauty
than it has when varied towards the horizon, and
by the ſun-beams, whether rifing, fetting, or in
its progreſs; but its beauty would be ſtill increaſed,
if varied with clouds tinged with yellow, white,
purple, &c. There are, as has been already ſaid,
certain

10

certain colours lefts agreeable than others, as for
example, a brick wall; yet when the sun strikes
upon one part, and the sky tinges another part,
and shadows and reflections vary the rest, this vari-
ety shall give even to that, a degree of beauty.

Perfect black and white are in themselves dif-
agreeable; for which reason a painter should break
the extremes; that there may be a warmth and
mellowness in his work, let him (in flesh colour
especially) remember to avoid the chalk, the brick,
and the charcoal, and think of a pearl, and a
ripe peach. But it is not enough that the co-
lours be separately beautiful, and that there be va-
riety; they must be so placed as to be mutually
affrontant to each other; and this not only in the
object painted but in the ground, and whatever
comes into the composition; so that every part,
and the whole together, may be pleasing to the
eye. To produce this no certain rules can be
given, except such as have been already fug-
gefted, viz. to observe NATURE, and the manner
in which she has been imitated by those who are
masters of the art, whose hues, though distinctly
varied, are so united as to form one great whole.

It is scarcely necessary to add, that these hints
are not addressed to the experienced artist, but
fugitive to the young practitioners, whether male
or female; for there is no good reason why several
branches

11

branches of the arts might not be cultivated and
practised, even professionally, by females. Many
instances might be produced where they have ex-
celled; and in this country there are the strongest
inducements for encreasing the employments allot-
ted to women. At the end of this pamphlet is
inserted a lift of the rudiments for beginners,
and of other works in flowers, figures, landscapes,
&c. for the use of those that are farther advan-
ced in the study of this fascinating art.

ON COLOURS.

WITHOUT presuming to enter into the theory of
colours we shall merely confider their relation to
painting, that being the only end we aim at in
this abridgement. All the colours used in painting
are either animal, vegetable, or mineral, and fre-
quently extracted from a combination of all three.

Different diffolutions of iron produce yellow,\ orange, red, violet, blue, and black.

Various diffolutions of copper give blue, green,
and black.

Gold, in a state of calx, or oxygen, produces
purple, which is frequently changed into violet,
black, and brown.

Lead,

12

Lead, diffolved and calcined, gives white, grey, minium, yellow litharge, black litharge, and black.

A diffolution of tin contributes to give part of its beauty to the scarlet.

Cobalt produces smalt.

A combination of mercury and sulphur forms a red colour, called cinnabar, or vermillion.

It would fatigue our readers were we to enumerate all the combinations that produce most of the colours used in painting, we shall therefore content ourselves with giving a lift of such as are extracted from the three kingdoms, and further information will be found in C. DE MASSOUL'S Treatise on Painting, &c.* to which we take the liberty of referring our readers.

* Sold at R. ACKERMANN'S, No. 101, Strand.

## A VIEW

Of the different Colours, classed according to the different Kingdoms from which they are extracted.

### COLOURS FROM THE ANIMAL KINGDOM.

Cochineal
Carmine

Purple
Gall-stone

Lake
Indian Ink

Pearl White
White of Egg Shells

Carbonic and Bituminous Animal Substances.

Ivory Black Bone Black Stag-horn Black.

### COLOURS

13

### COLOURS FROM THE VEGETABLE KINGDOM.

Refins,
Copal Sandarac Dragon's Blood Gamboge.

Gums,
Arabic Gum Senegal Gum Tragacanth Gum.

Lees,
Indigo Sap Green Iris Green Sun-flower Blue Dutch Pink
Artificial Brown Pink Ackermann's Yellow.

Carbonic and Bituminous Vegetable Substances,
Charcoal Black Bistrel I each Black.
Lamp Black Blue Black

### COLOURS FROM THE MINERAL KINGDOM.

Gold, Silver, Mercury,
Precipitate of Caflius. Light White. Cinnabar or Vermillion
Ackermann's White.

Iron,
Ochres
Mars Yellow
Sienna
Burnt Umber
Vandyke Brown

Cologn Earth
Brown Red
Indian Red
Calcined Vitrol

Natural Brown Pink
Prussian Blue
Antwerp Blue
Prussian Green.

Copper,
Verdigreafe Sanders Blue Sanders Green
Diffused Verdigreafe Mountain Green Azure Green
Blue Verditer or Malachite Green Verditer

Lead,
White Lead Minium Naples Yellow, or
Mafficot Saturine Red Giallolino.

Cobalt,
Smalt Enamel Blue Violet Blue

Arsenic,
Orpiment Realgar.

Zinc,
White of Zinc, or Chemical White.

Earths and Stones,
Lapis Lazuli Spanish White Lime White.

14

Having thus clasſed the different colours, I
ſhall now endeavour to deſcribe a method by
which every one may prepare their own. Hitherto
all the colour manufacturers have kept their pre-
parations totally ſecret; and yet there is no myſ-
tery, unleſs the well chufing, purifying, and grind-
ing the colours, until they have the proper de-
gree of perſection and finenefſ, is deemed one.

INSTRUCTIONS

TO PREPARE COLOURS FOR THE DIFFERENT
BRANCHES OF PAINTING.

For all the different manners of painting, it is
neceſſary to chufe ſuch colours as are the moſt
pure, i. e. ſuch as contain the leaſt quantity of
heterogeneous particles, and are of the moſt bril-
liant hue. But however beautiful colours intrinſi-
cally may be, yet it is almoſt always required to
ſeparate from them the ſalts and other impurities
they contain, by repeatedly lixiviating them.

We ſhall point out thofe that want waſhing; the
water for this operation ought to be diſtilled, but
as this would be very expenſive, the following
method may be adopted:

15

Take about three gallons of rain or river water, let it boil, and when cold and ſettled, filter it through ſeveral ſheets of blotting paper; put about two pounds of colour in a glaſs veſſel, or in a china bason, pour over it the above-mentioned quantity of filtered water; flir it well with a ſpatula made of hard wood; the lighteſt matter will rife on the ſurface. Let it remain twenty-four hours; decant the liquor; pour in again the fame quantity of water, and flir it. Repeat this operation every day for a week, or till no more impurities remain upon the ſurface. After this you may leave the colour in the veſſel for a month, if it is not immediately wanted, and only change the water every two or three days. If the colour be extracted from iron its beauty will be improved by this proceſs. Whenever you wiſh to take the colour out of the veſſel, decant firſt almoſt all the water, flir well the remainder, and pour it on large and open china, or ear then-ware veſſels, or diſhes; the colour will precipitate, and the remainder of the water you may draw off by means of a wick of cotton, or a narrow piece of cloth, eight or nine inches long, by one and a half wide, one end of which remains on the outside of the veſſel, to conduct the water ſo drawn off into another veſſel placed under it; but it is neceſſary that the other end ſhould firſt be imbibed with water, or it would not have the proper ſuction.

This operation finiſhed, and the colour dried up,
you proceed to grind it. All tender colours, ſuch
as yellow, white, &c. require the utmoſt cleanli-
nes in the course of the operation juſt mentioned.
The leaſt negligence, the ſmallest heterogeneous
particle that ſhould remain in the veſſel, or ad-
here to the ſpatula, would injure the colour.—
It is, therefore, of the greatest conſequence that
not only theſe colours, but all others, be purified
in a place where there is neither duſt or ſmoke.

When

16

When you lixiviate light colours, such as are refinous, as pink, dragon's-blood, &c. you ought not to put too much water upon them at first, but to pour it on by degrees, and to stir them well before you fill the vessel; without this precaution the colours will not mix with the water, the greatest part would remain on the surface, and of course be lost.

Though the following colours do not seem to require to be lixiviated, yet, if time permits it, their brilliancy will receive an additional degree of splendour by the operation:

Blue Verditer      Orange Lead
Green Verditer     Vandyke Brown
Dragon's Blood     Crocus Martis
Indian Brown       Red and Yellow Ochre
Naples Yellow      Violet blue
Terra de Sienna    Umber
Cologn Earth      Peach Black, &c. &c.
Patent Yellow

17

## Particular Procefs to Lixiviate Naples Yellow.

When you have mixed this colour with water, you ought not to let it remain quiet for twenty-four hours, like other colours, as it would flick so close to the bottom of the vessel, that, unless you break it, you could not detach the colour from it; therefore, as soon as this colour is mixed with the water, stir it without intermiffion, for half an hour with the spatula to the very bottom of the vessel; three or four hours after, when the colour is precipitated, decant half the water, and stir the remainder until no colour is left fixed to the ground of the vessel, and fill it again; this operation you must repeat three or four times, allowing four hours for each time, and when the colour begins to be less adhesive, it is sufficient to stir it now and then, and to change the water every day.

The longer the Naples Yellow remains in water, the more beautiful it will be:

### Particular Procefs to Lixiviate Red Lead.

To preserve the beauty of this colour, diffilled water must only be used, and as it is very heavy, twelve quarts of water will not be too much for four pounds of that colour.

### To Grind Colours.

After the colours are perfectly lixiviated, you must grind them with diffilled water. Five ounces of light colours, finely prepared, require one day's labour of a good workman; eight or nine ounces of a heavier fort; and twelve to fifteen ounces of the greatest weight may also be done in the same space of time, though we do not wish to give this as a general rule, it being liable to many exceptions.

After the colours are well ground with diffilled water, spread them on china plates, and when they are dry you may employ them for the different following purposes.

B

Preparation

Particular

18

*Preparation of Colours for Oil Painting, according to the new and generally adopted Method.*

When the colours, after they have been finely ground with diffused Water, are perfectly dry, grind them again upon a marble plate, in small quantities, with Effence of Turpentine. When dry, pound them in a mortar of porphyr, or porcelain, pafs them through a fine silk sieve, and put them into a glafs bottle, well corked. When you want to make use of them, put a small quantity of a colour upon the pallette, add a drop of the oil with which you intend to paint, and mix the whole with an ivory knife, and you will find the colour perfectly united.

*Preparation of Colours for Painting in Miniature, Landscapes, Flowers, Shells, &c.*

The colours must be mixed upon the marble plate with the following different liquids, viz.

*First Compoſition*—To two quarts of diffilled Water, add twelve ounces of Gum Senegal, and five ounces of Sugar Candy; let the whole be diffolved in a vapour bath, and filter it afterwards through blotting paper.

*Second Compoſition*—To a vessel, containing two quarts, pour in one pound of diffilled Vinegar, fourteen ounces of Gum Senegal, fix ounces of Sugar Candy, two ounces of white Honey, and fill it up with diffilled Water; let it diffolve and filter it.

*Third Compoſition*—Take two quarts of diffilled Water, five ounces of Gum Arabic, and two ounces of Sugar Candy, diffolve and filter it.

*Fourth Compoſition*—Diffolve three ounces of Gum Senegal and one ounce of Sugar Candy in two quarts of diffilled Water, and filter it.

Colours

19

*Colours to be prepared with the first Compoſition:*

<table><tr><td>Ackermann's Yellow</td><td>Enamel Blue</td><td>Olive Green</td></tr><tr><td>Antwerp Blue</td><td>Egyptian Brown</td><td>Pink</td></tr><tr><td>Azure Blue</td><td>French Green</td><td>Purple</td></tr><tr><td>Azure Green</td><td>Green Earth</td><td>Patent Yellow</td></tr><tr><td>Brown Red</td><td>Indian Red</td><td>Sanders Blue</td></tr><tr><td>Burnt Umber</td><td>Iris Green</td><td>Sanders Green</td></tr><tr><td>Blue Earth</td><td>Lake</td><td>Sienna Earth</td></tr><tr><td>Brown Pink</td><td>Mars Red</td><td>Vandyke Brown</td></tr><tr><td>Black</td><td>Mars Yellow</td><td>Violet Blue</td></tr><tr><td>Cologn Earth</td><td>Mineral Green</td><td>Vermillion</td></tr><tr><td>Dutch Pink</td><td>Orpiment</td><td>Umber</td></tr><tr><td>Dragon's Blood</td><td>Ochre</td><td></td></tr></table>

*To be prepared with the Second Compoſition.*

Bister, Prussian Blue, and Burnt Carmine.

*Colours for the Third Compoſition.*

All the different Whites, and it is very necessary to select the purest forts and to grind them extremely fine.

*Colours for the Fourth Compoſition.*

Carmine, Precipitate of Gold, Ultramarine, Smalt.

*Colours in the Preparation of which no Iron Knife ought to be used.*

The Whites, Smalt, Orpiment, the Yellows (the Ochres excepted)
Orange Lead, Ultramarine, Carmine, Lake, Gallstone.

After the colours are thus prepared, let them dry, and pound andift them as before-mentioned, and keep them in the manner recommended.

The above compositions contain the exact quantity required for the several colours to produce that durability so much wanted, without injuring either their quality or brilliancy.

Ackermann's White, a new Colour, superior to any White, hitherto known, both in working it, and also in its durability.

Ackermann's

20

Ackermann's Yellow, another new Colour, lately discovered, is a beautiful warm rich Yellow, almost the tint of Gall-stone, works very pleafant, and is very uſeful in Landſcapes, Flowers, Shells, &c.

Before I conclude, it may be proper to ob-
ferve, that many colours are manufactured and fold
under the name of prepared colours, ſuch as in
reality are only changed in their form, and they
are offered in this ſtate to the public, as raw and
carle as they originally were. Several Hawkers
by forging the names and marks of thofe merchants
who have acquired ſome reputation in this line,
over-run the country and ſell their ſpurious colours
in the character of agents and ſaſtors of houſes in
London; I, therefore, take the liberty of cautioning
thofe who wifh for good colours, to beware of
purchaſing them from theſe itinerant impoſtors.

To prevent miſtakes in the uſe of colours,
which, when of nearly the fame tint, are not eafily
diftinguſhable, I have been at the additional ex-
pence, of procuring a mould for each colour, ſo
that each cake is marked with its proper name,
on one ſide, and my name and direction on the
other, without any advance in the price. This im-
provement will be particularly confpicuous in the
dark colours.

Though I now have given all the particulars
for preparing the different colours, yet I ſhould lead
the reader into an error, were I to advife him to
pre-

21

prepare his own colours. The time, the trouble,
the expence attending their preparation will never
compensate the ſmall faving gained by it.

LIST
OF
ACKERMANN'S SUPERFINE WATER
COLOURS,

Prepared and fold at his REPOSITORY of ARTS 101, STRAND,
and may be had of all Print and Bookſellers in Great Britain.

<table>
  <tbody>
    <tr>
      <td>Ackermann's Yellow</td>
      <td>Crocus Martis</td>
      <td>Olive Green</td>
    </tr>
    <tr>
      <td>Ackermann's White</td>
      <td>Dragon's Blood</td>
      <td>Patent Yellow</td>
    </tr>
    <tr>
      <td>Antwerp Blue</td>
      <td>Dutch Pink</td>
      <td>Paine's Nutral Tint</td>
    </tr>
    <tr>
      <td>Azure Blue</td>
      <td>Enamel Blue</td>
      <td>Peach Black</td>
    </tr>
    <tr>
      <td>Azure Green</td>
      <td>Egyptian Brown</td>
      <td>Pruffian Blue</td>
    </tr>
    <tr>
      <td>Bifter</td>
      <td>French Green</td>
      <td>Pruffian Green</td>
    </tr>
    <tr>
      <td>Blue Black</td>
      <td>Gall Stone</td>
      <td>Purple</td>
    </tr>
    <tr>
      <td>Blue Verditer</td>
      <td>Gamboge</td>
      <td>Red Ochre</td>
    </tr>
    <tr>
      <td>Bone Black</td>
      <td>Green Verditer</td>
      <td>Red Opment</td>
    </tr>
    <tr>
      <td>Brown Lake</td>
      <td>Green Lake</td>
      <td>Raw Sienna</td>
    </tr>
    <tr>
      <td>Brown Ochre</td>
      <td>Green Earth</td>
      <td>RoſePink</td>
    </tr>
    <tr>
      <td>Brown Pink</td>
      <td>Indigo</td>
      <td>Royal Smalt</td>
    </tr>
    <tr>
      <td>Brown Red</td>
      <td>Indian Red</td>
      <td>Sanders Blue</td>
    </tr>
    <tr>
      <td>Burnt Carmine</td>
      <td>Iris Green</td>
      <td>Sanders Green</td>
    </tr>
    <tr>
      <td>Burnt Sienna</td>
      <td>Ivory Black</td>
      <td>Sap Green</td>
    </tr>
    <tr>
      <td>Burnt Umber</td>
      <td>King's Yellow</td>
      <td>Saturnine Red</td>
    </tr>
    <tr>
      <td>Carmine</td>
      <td>Lake</td>
      <td>Vandyke Brown</td>
    </tr>
    <tr>
      <td>Carmined Lake</td>
      <td>Lamp Black</td>
      <td>Vermillion</td>
    </tr>
    <tr>
      <td>Calcined Vitrol</td>
      <td>Light Lake</td>
      <td>Violet Blue</td>
    </tr>
    <tr>
      <td>Carration Red</td>
      <td>Light White</td>
      <td>White Lead</td>
    </tr>
    <tr>
      <td>Carbonic Black</td>
      <td>Mars Yellow</td>
      <td>Yellow Ochre</td>
    </tr>
    <tr>
      <td>Chineſe Vermillion</td>
      <td>Mafficot</td>
      <td>Yellow Lake</td>
    </tr>
    <tr>
      <td>Cologn Earth</td>
      <td>Mineral Green</td>
      <td>Yellow Opment</td>
    </tr>
  </tbody>
</table>

22

PRICES
OF
ACKERMANN'S COLOURS IN BOXES.

<table><thead><tr><th></th><th>l.</th><th>s.</th><th>d.</th></tr></thead><tbody><tr><td>A neat Mahogany Box, with Six Cakes</td><td>0</td><td>6</td><td>0</td></tr><tr><td>Ditto, with Twelve ditto</td><td>0</td><td>10</td><td>6</td></tr><tr><td>Ditto, with Eighteen ditto</td><td>0</td><td>15</td><td>0</td></tr><tr><td>Ditto, with Twenty-four ditto</td><td>1</td><td>1</td><td>0</td></tr><tr><td>Neat Mahogany Boxes, with Lock, Slab, Pencils, and<br>Twelve Cakes</td><td>1</td><td>1</td><td>0</td></tr><tr><td>Ditto, ditto, and Eighteen ditto, Palette, &amp;c. complete</td><td>1</td><td>11</td><td>6</td></tr><tr><td>Ditto, ditto, and Twenty-four ditto, ditto</td><td>1</td><td>16</td><td>0</td></tr><tr><td>Ditto, ditto, and Thirty ditto, ditto</td><td>2</td><td>2</td><td>0</td></tr><tr><td>Ditto, ditto, and Thirty-fix ditto, ditto</td><td>2</td><td>12</td><td>6</td></tr><tr><td>Large General Box, handfome, ditto</td><td>5</td><td>5</td><td>0</td></tr></tbody></table>

With a great Variety of neat varnifhed Boxes, with handfome Medallions on the Top, lined with Cedar Wood, and fitted with Saucers, Glaffes, Marble Slabs, &c. from 2l. 12s. 6d. upwards,

All the Cakes of Colours at 1s. each, excepting Carmine Lake, which is equal to moft Carmine, at 2s. a Cake, and

<table><tr><td>Gall Stone</td><td>5s.</td></tr><tr><td>Royal Smalt</td><td>5s.</td></tr><tr><td>Carmine</td><td>5s.</td></tr><tr><td>Burnt ditto</td><td>5s.</td></tr></table>

Every Requifite for Drawing in Paper, Chalks, Crayons, Camel Hair and Sable Pencils, Ivory for Miniatures, Tracing Paper, &c. &c. Varnifh for Transparencies and Gold Size.

23

LIST
OF
R. ACKERMANN'S PUBLICATIONS

Figures, Landscapes, Flowers, &c.
FOR PRACTITIONERS IN DRAWING.

<table><thead><tr><th></th><th>l.</th><th>s.</th><th>d.</th></tr></thead><tbody><tr><td>A Book, containing Thirty-fix Plates, in Imitation of Chalk, in Figures, &c. from Drawings, by R. Cofway, Esq. Engraved by Mrs. Cofway</td><td>2</td><td>2</td><td>0</td></tr></tbody></table>

<table><tbody><tr><td>Two Books, Progrefs of Female Virtue and Diffipation, each Book containing Eight Plates and a Frontif-piece, on Brown Paper, relieved with White, in Imi-tation of the Manner of the Old Mafters: Deſigned by Mrs. Cofway—Engraved by Cardon,</td><td>each 1</td><td>1</td><td>0</td></tr></tbody></table>

<table><tbody><tr><td>One Book, containing Four Plates, Groupes of Ruſtic Figures, in Imitation of Chalk. Drawn by Pyne</td><td>0</td><td>6</td><td>0</td></tr></tbody></table>

<table><tbody><tr><td>One Book, containing Four Progressive Leffons in Land-scape, in the Cottage Style, in Sixteen Plates, with Letter-prefs Inſtructions. Drawn and Engraved by Bluck</td><td>1</td><td>1</td><td>0</td></tr></tbody></table>

<table><tbody><tr><td>One Book, containing Six Progressive Flower Leffons, from Nature, in Sixteen Plates, with Letter-prefs Inſtructions. Drawn and Engraved by Hunter and Ferte</td><td>1</td><td>11</td><td>6</td></tr></tbody></table>

<table><tbody><tr><td>Two Books of Cattle, Cows, Sheep, and Goats; De-ſigned by Mannſkirſch, Engraved by Shutz,</td><td>each 0</td><td>5</td><td>0</td></tr></tbody></table>

<table><tbody><tr><td>Three Books, Landscapes from Drawings, by Payne, Engraved by Bluck</td><td>each 0</td><td>5</td><td>0</td></tr></tbody></table>

24

<table><thead><tr><th></th><th>l.</th><th>s.</th><th>d.</th></tr></thead><tbody><tr><td>One Book, Landscapes, from Drawings, by Payne. Engraved by Bluck</td><td>0</td><td>10</td><td>6</td></tr><tr><td>One ditto, ditto, ditto</td><td>0</td><td>6</td><td>0</td></tr><tr><td>Two Books, a Tour on the Lakes of Westmoreland, with Descriptive Letter-prefs</td><td>0</td><td>9</td><td>0</td></tr><tr><td>One Book, Four Views in Wales, in Imitation of Chalk. Drawn and Engraved by Mannskirch</td><td>0</td><td>5</td><td>0</td></tr><tr><td>One Book, Four Views in Wales, ditto, ditto</td><td>0</td><td>7</td><td>6</td></tr><tr><td>One Book, Four Views. Drawn by Girtin, Engraved by Hill</td><td>0</td><td>10</td><td>6</td></tr><tr><td>Four Plates, Studies of Heads, in Imitation of Chalk, from Drawings, by Mrs. Cosway. Engraved by T. Phillips</td><td>plain 10s. 6d. coloured</td><td>1</td><td>1</td><td>0</td></tr><tr><td>A Treatise on Transparencies</td><td>0</td><td>1</td><td>0</td></tr></tbody></table>

With a Variety of other Books of Landscapes, Shipping, &c. Likewife, large and small Transparencies, Medallions, Drawings in Landscapes, Flowers, Shells, Trophies, Borders, &c. &c.