itiatory, I
shall conclude it by addressing a few words to the student in
water-colour painting;--the more especially as water colour embraces so
many advantages, and as there is no elevated rank in art that it does
not involve in its capabilities.

After soaking and laying the paper,--an operation that must be _seen_ to
be learned,--and assuming you have proceeded to the colouring, it will
be essential that you use two palettes, or tiles; set one with the
colours required separately, not allowing them to run together; then
take sufficient colour up in the brush from each, and mix the tints on
another, kept a little wet that they may mix well together;--cleaning
this tile, as occasion may require, to make fresh tints on.

In the management of the greys, allowing the colours to run into one
another, will produce many accidental and useful tints.

When too much colour has got on the paper, dip a thick short-haired
brush in clean water, and wash into the paper with it, with sufficient
force to blend them more, and remove the superfluous colour. If this
method be not found sufficient, take a sponge, with very little clean
water in it, and pass it lightly over, which will remove all hard edges,
and greatly assist the atmospheric effect:--if this too much generalizes
the colours, supply the sharp markings, as may be required, with a fine
pointed sable, in their positive colours.

This method is not only the quickest way of bringing a drawing into a
finished state, but adds materially to its transparency and solidity;
and may be done at any period of the work.

A good master of the sponge will make several drawings, while one may
be done with the brush alone. The colour will remove most easily when
the surface of the drawing is previously wetted; taking great care, by
keeping the sponge very clean, that none of the green tints float into
the sky.

One colour laid over another, to produce the required tint, is in most
cases better than mixing the tint at once, as it tends more to procure
that 'internal light' so desirable in water-colour painting--taking care
the under colour is dry before the other is floated over it; and always
allowing for the density of the colour beneath qualifying the hue of the
one laid over it. Thus, blue laid upon yellow, produces green; green
over red, grey; and so on.

The slightest quantity of prepared ox-gall will make the colours wash
free from grease; triflingly reducing the brilliancy, b