17

ESSAY ON TRANSPARENCIES.

You should begin by finishing the front side first; and, if the face of the print be greasy, which is sometimes the case, wash over the part with a hair pencil, dipped into spirit of wine, gin, or hartshorn; or mix either of these liquids with your colours, which will answer the same purpose. Hartshorn, at all times, mixed with carmine, gives this colour more brilliancy.

After you have coloured the front, trace the outline upon the back of the print, and proceed to finish in the same manner as directed for a drawing.

If a drawing of a chimney-board be made as large as a fire-place, it will be necessary to use, for all the strong shadows, the body black and body brown, or what is called opaque colours, which are made by grinding dry colours with isinglass size, or size made from the cuttings of white leather.

The whole of the chimney-board need not be transparent, unless you paint it upon cloth, as hereafter directed, as it would be difficult to procure paper the size of a modern fire-place.

The dark part of the grate, the tongs, poker, &c., might be painted upon any fire-board; cutting out the principal part, and straining over the part cut out a sheet of paper damped and pasted at the edges only, which might be painted upon according to the transparent system. The other parts, that are not transparent, being painted brighter, that is, the lights made very strong, the candles or lamps in the room might catch upon, and relieve them sufficiently. The chimney-board thus made would not have a dull effect in the day-time, when there was no light behind it.

By way of a second example or lesson, it is hoped it will not be considered tedious to explain plate No. 3, letters C. D. which will also be an example both for drawing and prints. It is a view through a cave into a philosopher's study, in which is endeavoured to be introduced a strong contrast of light and shade, and an opposition of effect. The silver light of the moon is contrasted with the glowing