h indigo and madder-lake, kept grey
towards the horizon;--the distant buildings with Nos. 7, 8;--No. 7 is
mixed with burnt sienna for the greys of the trees: the greens are
composed of indigo, burnt sienna, raw sienna, Venetian red, and
gamboge;--the gravel with No. 5, a little burnt sienna, and white;--the
shadows with No. 7;--figures with positive colours;--foreground slightly
washed with No. 1, varied with No. 5;--the pedestal with No. 5, varied
at the base with Nos. 6 and 9.

_Plate 11._--The sky, indigo and madder lake: the clouds varied with
Nos. 8 and 9, and floated over with cobalt: the warm lights with yellow
ochre and burnt sienna;--horizon with cobalt and indigo;--the sands with
No. 1, shaded with 2 and 6;--the mill with No. 1, lightly floated over
with No. 6, and touched in parts with No. 3;--the foreground brought
down with brown pink;--the mill, on the left, painted _into_ with
Vandyke brown, Indian-red, and No. 5; the lights with No. 4, and roof
with No. 3; the sail, Indian red and Vandyke brown; figures, cobalt and
vermilion, subdued with No. 6.

_Plate 12._--The walls and pavement floated down with No. 1, and toned
over with No. 6;--the architectural markings with No. 6 and cobalt, with
a little No. 9 in the darkest parts, to give them point;--hollows of the
arches with No. 9, and No. 7 worked in;--the window is all laid in with
positive colours, brought down on the figures, which are subdued with
No. 6;--the altar, banners, priests' robes, books, &c., with chrome and
white: their shadows with No. 3;--the curtain with Vandyke brown,
Venetian red, and burnt sienna.

And here I cannot but express how much the arts and the public are
indebted to the highly inventive genius of Mr. Hullmandel, for his
numerous inventions and improvements in lithography; having, in a few
years, by the most determined perseverance, industry, and singleness of
purpose, brought the first hard, dry, and uncertain drawing on stone,
through all its various improvements, until the introduction of the now
well-known printing of the tint with modified lights; to which we are
indebted for the many beautiful productions that have appeared of late;
and thence to the extraordinary invention, now dawning on us, of making
a _painting_ on stone, from which an impression is procured that may
scarcely be articulated from a sepia drawing: enabling _painters_ to
multiply their sketches _ad infinitum_, instead of being confined, as
before, to