VII. BLACK. 1. Lamp-black is the only black that can be used with safety, as all others are subject to mildew; but as good lamp-black is very scarce, the student will, perhaps, find it most expedient to make it himself; the process of which is as follows: Provide a tin cone, fix it over a lamp at such a height that the flame may just reach the cone for the foot to gather within it. When a sufficient quantity is collected, take it out, and burn all the grease from it in a crucible. It must then be ground with spirits, and laid on the chalk to absorb the moisture. Various grey teints may be formed from this by a mixture with whiting, as mentioned in former instances. 2. Vermilion mixed with carmine: this is a composition of great use, and teints made from this with whiting will be found to be very serviceable. 3. Carmine and black is another good compound, of which five or six gradations should be made, some partaking more of the black, and others having the carmine most predominant, besides several teints by a mixture with whiting. 4. Vermilion and black is also a very useful compound, from which several different teints should be made. 5. Prussian blue and black is another good compound, and will be found of singular service in painting drawings.
It is impossible to lay down rules for the forming
VOL. V. PART II.
every teint necessary in composing a set of crayons, there being many accidental compositions, entirely dependent on fancy and opinion. The student should make it a rule to save the leavings of his colours: for of these he may form various teints, which will occasionally be useful.
Of rolling the crayons, and disposing them for painting. The different compositions of colours must be cut into a proper magnitude, after they are prepared, in order to be rolled into pastils, for the convenience of using them. Each crayon should be formed in the left hand with the ball of the right, first formed cylindrically, and then tapered at each end. If the composition is too dry, dip the finger in water; if too wet, the composition must be laid upon the chalk again to absorb more of the moisture. The crayons should be rolled as quick as possible; and when finished, must be laid upon the chalk again, to absorb all remaining moisture. After the gradation of teints from one colour are formed, the stone should be well scraped and cleaned with water before it is used for another colour.
When the set of crayons is completed according to the rules prescribed, they should be arranged in classes for the convenience of painting with them. Some thin drawers, divided into a number of partitions, is the most convenient method of disposing them properly. The crayons should be deposited according to the several gradations of light. The bottom of the partitions must be covered with bran, as a bed for the colours; because it not only preserves them clean, but prevents their breaking.
The box made use of when the student paints, should be about a foot square, with nine partitions. In the upper corner, on the left hand (supposing the box to be in the lap when he paints), let him place the black and grey crayons, those being the most seldom used; in the second partition, the blues; in the third, the greens and browns; in the first partition on the left hand of the second row, the carmines, lakes, vermilions, and all deep reds; the yellows and orange in the middle, and the pearly teints next; and as these last are of a very delicate nature, they must be kept very clean, that the gradations of colour may be easily distinguished: in the lowest row, let the first partition contain a piece of fine linen rag to wipe the crayons with while they are using; the second, all the pure lake and vermilion teints; and the other partition may contain those teints which, from their complex nature, cannot be classed with any of the former.