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feel scarcely any dampness left; some, however, must remain, for the color would easily he removed by retouching, if it were in a puh crized state. The dessication can be hastened by heating, either at a lamp of spirits of wine, or in an oven; but you must wait until the work is quite cold again before resuming.

The first painting must be taken great care of, and kept very clean. While it is drying, it should be placed out of the reach of dust and damp; if it be a plaque, place it in a flat box with a proper lid to it, shutting hermetic-ally.

M. Lacroix's colors being perfectly well prepared, we will not dwell upon the disadvantages ollered by the former badly ground colors. The inexperienced beginner used to put too much 'fat,' or too much spirits ot lavender. In the former case the painting crazed in the firing; it was lost. With too much spirits of lavender the colors ran; fled in the firing. Therefore there must be 110 excess, but the three mediums must be used with management and discretion.

When you retouch your painting, before the first tiring, you must model by retouching w ith flat tints, and you must do it very soberly, very lightly, not to remove what is underneath; work almost dry, that is, without much soaking the brush in the spirits of turpentine. If the color does not spread easily, the brush is wetted with the least possible quantity of oil of turpentine, a drop of which has been poured on the palette. Spirits of lavender are of 110 use for this second performance.

To finish the monochrome completely, it is necessary to stipplo the shadows, using very little rectified spirits of tur[>entine. If the beginner will master thoroughly the shadows of the original, she will not find it more difficult to paint in monochrome than to reproduce a drawing either in black chalk or in stump; tho brush will take the place of the stump or chalk: tho only difficulty that can arise being in the use of the mediums, and in the lack of time for allowing the painting to dry.

I re]>eat it again, for it is of great importance, that- with the color? of M. Lacroix one can work almost ilry, once the palette has been set.

"When the work is finished, it is submitted to the firing, either at home, (by the Gabelle process), or at a decorators. According to the result obtained, the parts which lack vigor are retouched.

In general few raised lights or reliefs are employed. Yet in accessories, they heighten advantageously the brilliancy of the painting. The paint for raised lights is taken from the palette in a particular way; the brush must lift up a lump of color at the point, that it may be laid on the easier. Raised lights are placed on small flowers, on jewelry, pearl necklaces, etc. A light in the eye is often marked with permanent white, but it should be used in great moderation, and placed at the second firing.

Photographs from casts, medals, bas-reliefs, afford excellent models for copying in monochrome painting. Copies of photographs on oval plaques are done with red brown, heightened with bitumen. Raphael's female figures on plaques for sconces, are copied in light grey, retouched with brown grey, on a ground of very light carmine No. 1.

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