any one manner of painting that shall be right
for all men and all subjects. To say "do thus and so" will not teach
any one to paint. But there are certain principles which underlie all
painting, and all schools of painting; and to state clearly the most
important of these will surely be helpful, and may accomplish
something.

It is the purpose of this book to deal practically with the problems
which are the study of the painter, and to make clear, as far as may
be, the principles which are involved in them. I believe that this is
the only way in which written instruction on painting can be of any
use.

It is impossible to understand principles without some statement of
theory; and a book in order to be practical must therefore be to some
extent theoretical. I have been as concise and brief in the
theoretical parts as clearness would permit of, and I trust they are
not out of proportion to the practical parts. Either to paint well, or
to judge well of a painting, requires an understanding of the same
things: namely, the theoretical standpoint of the painter; the
technical problems of color, composition, etc.; and the practical
means, processes, and materials through which and with which these are
worked out.

It is obvious that one cannot become a good painter without the
ability to know what is good painting, and to prefer it to bad
painting. Therefore, I have taken space to cover, in some sort, the
whole ground, as the best way to help the student towards becoming a
good painter. If, also, the student of pictures should find in this
book what will help him to appreciate more truly and more critically,
I shall be gratified.

D. B. P.

_December 4, 1897_

CONTENTS

PART I.--MATERIALS
CHAPTER PAGE
I. Observations 3
II. Canvases and Panels 6
III. Easels 15
IV. Brushes 20
V. Paints 33
VI. Vehicles and Varnishes 61
VII. Palettes 65
VIII. Other Tools 69
IX.