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e and scarlet, in sky: in hundreds of such instances the most beautiful and truthful results may be obtained by laying one color into the other while wet; judging wisely how far it will spread, or blending it with the brush in somewhat thicker consistence of wet body-color; only observe, never mix in this way two _mixtures_; let the color you lay into the other be always a simple, not a compound tint. 171. B. Laying one color over another. If you lay on a solid touch of vermilion, and after it is quite dry, strike a little very wet carmine quickly over it, you will obtain a much more brilliant red than by mixing the carmine and vermilion. Similarly, if you lay a dark color first, and strike a little blue or white body-color lightly over it, you will get a more beautiful gray than by mixing the color and the blue or white. In very perfect painting, artifices of this kind are continually used; but I would not have you trust much to them: they are apt to make you think too much of quality of color. I should like you to depend on little more than the dead colors, simply laid on, only observe always this, that the _less_ color you do the work with, the better it will always be:[47] so that if you had laid a red color, and you want a purple one above, do not mix the purple on your palette and lay it on so thick as to overpower the red, but take a little thin blue from your palette, and lay it lightly over the red, so as to let the red be seen through, and thus produce the required purple; and if you want a green hue over a blue one, do not lay a quantity of green on the blue, but a _little_ yellow, and so on, always bringing the under color into service as far as you possibly can. If, however, the color beneath is wholly opposed to the one you have to lay on, as, suppose, if green is to be laid over scarlet, you must either remove the required parts of the under color daintily first with your knife, or with water; or else, lay solid white over it massively, and leave that to dry, and then glaze the white with the upper color. This is better, in general, than laying the upper color itself so thick as to conquer the ground, which, in fact, if it be a transparent color, you cannot do. Thus, if you have to strike warm boughs and leaves of trees over blue sky, and they are too intricate to have their places left for them in laying the blue, it is better to lay them first in solid white, and then glaze with sienna and ocher, tha
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