bouch_ is rough or smooth, just how much of it will be body or solid
color and how much transparent, just what degree of finish this
painting will have,--these depend on the man who does it. No two men
work precisely the same way.

Some men make what is practically a large and very complete sketch.
Some paint quite smoothly or frankly, with more or less of an effect
of being finished as they go, working from one side of the picture
gradually across the whole canvas. Others work a bit here and a bit
there, and fill in between as they feel inclined. Another way is to
patch in little spots of rather pure color, so that the _ebouch_ looks
like a sort of mosaic of paint.

In the matter of color, too, there is great difference of method. Some
men lay in the picture with stronger color than they intend the
finished picture to have, and gray it and bring it together with
after-painting. Others go to the other extreme, and paint grayer and
lighter, depending on glazings and full touches of color later on to
richen and deepen the color. All the way between these two are
modifications of method. The main difference between these extremes is
that when stronger color is used in the first painting, the process is
to paint with solid color all through; while if glazings are to be
much used, the _ebouch_ must be lighter and quieter in color, to allow
for the results of after-painting. For you cannot glaze _up_. You
always glaze _down_. The glaze being a transparent color, used without
white, will naturally make the color under it more brilliant in color,
but darker in value, just as it would if you laid a piece of colored
glass over it. And this result must be calculated on beforehand.

[Illustration: =Ebouch of Portrait.= _Th. Robinson._
One sitting of one hour and a half.]

Which of all these methods is best to use depends altogether on which
best suits the man and his purpose in the picture or his temperament.
A rough _ebouch_ will not make a smooth picture. A mosaic gives a
pure, clear basis of color to gray down and work over, and may be
scraped for a good surface. It is a deliberate method, and will be
successful only with a thoughtful, deliberate painter. If a man is a
timid colorist, a strong, even crude, under-painting will help to
strengthen his color. A good colorist will get color any way. For a
student, the more directly he puts down what he sees, the less he
calculates on the effect of future after-painting, the bette