, in permanent cakes, ready at once for use, and all
the necessary purposes of landscape or other painting, and for sketching
from nature without inconvenience or difficulty.

As water-colour painting has experienced so much revolution of late,
arising from its extensive capabilities,--the best drawings, or rather
water-colour paintings, being produced by the balance of opaque and
transparent colours,--those tints and mixtures that are found most
useful in oil-painting, and most wanting in water, has engaged his
particular attention.

He has confided the making them solely to Mr. Charles Smith, of
Marylebone-street, Piccadilly. The tints are expressed on the cakes in
numbers, which have reference to the coloured plates. In addition to
which the following colours are those mostly used:--

Indigo; to which may be added cobalt and French blue. Indian red.
Venetian red. Purple lake. Madder lake. Vermilion. Burnt sienna. Raw
sienna. Yellow ochre. Gamboge, Brown pink. Raw umber. Vandyke brown.
Ivory black.

REFERENCE TO THE PLATES ON COLOUR.

_Plate 7._--The sky is laid with tint No. 10;--the walls and foreground
are covered down with No. 1, varied here and there with burnt
sienna;--the tiles and roof with No. 4;--tints 6, 7 and 8 are mixed
together, varied and floated over for the cool greys;--the figure,
Indigo and No. 10; vermilion, ochre and burnt sienna. The greens are
composed of indigo, gamboge and burnt sienna, with brown pink. The
gallery is tint No. 6, floated over Vandyke brown. Cobalt and Vandyke
brown in the hollows.

_Plate 8._--The sky is done with No. 9, and thin cobalt floated over:
the horizon with No. 4, varied with Venetian red: the orange brought
down into the trees, and worked together with gamboge; the shadowed
parts of which are put in with No. 7--repeated in the bases of the
clouds. No. 9 is worked into the cool greys of the middle space. The
greens are varied with indigo, burnt sienna, gamboge and brown
pink;--the brightest lights with yellow ochre: foreground with No. 5.

_Plate 9._--The sky French blue and madder-lake;--distance with No. 1,
heightened here and there with ochre;--middle space worked in with 9 and
8--the greys with No. 7. Cobalt in the hollows; warmed, in parts, with
No. 4. Boats done with No. 9, strengthened with Vandyke brown;--the
water slightly washed with No. 5, varied with the same and
indigo;--steps and railing with Nos. 1 and 5.

_Plate 10._--The sky is washed wit