and "spotty." The shadows differ in shape
and in colour on all faces, and to render these accurately is by no
means an unimportant part of taking a likeness; the expression depends
greatly upon the shadows, and we need to study nature closely if we
would represent all the delicate gradations faithfully. As a shadow
colour, cobalt, Venetian red, carmine or pink madder, and a suspicion of
yellow, will make a good foundation; but the tint must be varied as
occasion demands. Under the eyes, the shadows are blueish, whilst those
under the eyebrows and nostrils are warm in tint; Indian red serves well
for warming shadows. Beginners will very probably fear to lay in the
shadows too strongly, but when they see the effect produced, they are
likely to go to the opposite extreme and smear in the shadows heavily
for the sake of giving character to the likeness. The happy medium is
what we must strive to secure; we do not want our paintings to be weak,
but neither do we want them "dirty" in tone. The shadows on the throat
should be rather grey, but not so much so as to appear livid and
unnatural; here light red and cobalt will predominate. On the neck they
will be of a soft blue tone. They must all be clearly washed in without
reaching too far into the lights, as lights and shadows must
subsequently be softened into each other with the lovely demi-tints that
afford the pearl-like appearance of the natural clear complexion. These
half tints are formed of cobalt and light red, or of French ultra and
carmine; pink madder may take the place of carmine if preferred, for
though not so brilliant it is more lasting. A fair child's complexion
will require more vermilion and less carmine than that of an adult. To
keep the form of the lips true to nature is another point that demands
our strictest attention. Blue eyes are put in with cobalt, toned with
shadow colour; grey, with a mixture of blue and red. There are many
varieties of shade in brown eyes, and you must find out by experiment
what is best to use for them, as you may have, at one time or another,
to depict hazel, chestnut, and deep brown eyes that are called black.
You will find burnt terra sienna and shadow colour useful, and in the
case of the darkest brown shade, the employment of lake and sepia will
be necessary. The pupil is put in with sepia.

On no account must black be used in painting the eyes. Now we come to
the eyebrows and eyelashes. These are of the same colour as the ha