e highest light
of the window intersects the deepest dark, which is repeated in the
hollow of the porch, cutting the arch at the side.

[Illustration: Plate 7]

[Illustration: PL. VIII]

[Illustration: Plate 9]

[Illustration: Pl. X.]

[Illustration: Pl XI]

HARRY WILLSON'S

GENERAL LANDSCAPE TINTS.

No. 1.--For foregrounds, and many parts of
landscape; architecture; sands; roads, banks,
lights of buildings (distant or near),
shoal-water, corn-fields:--generally useful from
its low brownish hue.

No. 2.--For many of the above purposes; and, being
deeper in tone, adapted for shadows to No. 1.

No. 3.--Darker parts of foregrounds, banks, broken
earth, waves, bark, timber, rocks, coasts, &c.,
useful in buildings and architecture. May be
beautifully and usefully varied with white.

No. 4.--Lights of mountains, rocks, trees, distant
masses of foliage, figures and animals in light,
autumnal tints in warm skies and
sunsets;--applicable to most purposes of warm
light, and to vary greens with.

No. 5.--For almost every part of landscape or
buildings; rich lights of earth in sunshine;
interiors, drapery;--applicable to numerous
purposes, near or distant, and to mix with and
vary other colours.

No. 6.--For skies in cloudy weather, and shadows
of clouds;--various pearly greys are produced by
its mixture with blues and lake. Mixed with burnt
sienna, it produces different degrees of warm
browns.

No. 7.--For shadows to mountains, distant clumps
of foliage, drapery, &c., for mixing with general
shadows: renders many beautiful tints by blending
it with lakes blues and browns, especially with
burnt sienna.

No. 8.--Used alone, in rocks, bark of trees, and
many useful purposes; assumes a variety of browns
when mixed with burnt sienna; and different greys,
when added to the blues.

No. 9.--Useful in clouds, warm shadows, earth,
mould;--mixed with cobalt, makes a good tint to
vary other greys.

No. 10.--For skies in fine weather, and to vary
shadows of distant hills, and otherwise useful in
subduing