r.

But whichever way a man works as to these various beginnings, the
chief thing is, that he understand beforehand what are the peculiar
advantages and qualities of each, and that he consider before he
begins what he expects to do, and how he purposes to do it.

=Further Painting.=--The first painting may be put in from nature with
the help of the several models in succession. More probably it will
be put in from the color sketch which furnishes the general scheme,
and from a number of studies and _ebouches_ which will give the
principal material for each part of the canvas. With the next painting
comes the more exact study from models and accessories themselves. The
under-painting is in, the color relations and the contrasts of masses,
but all is more or less crude and undeveloped. Every one thing in the
picture must be gradually brought to a further stage of completion.
The background is not as yet to be carried farther as a whole. If the
canvas is all covered, so that the background effect is there, it is
all that is needed as yet. The most important figures are to be
painted, beginning with the heads and hands, and at the same time
painting the parts next to them, the background and drapery close
around them, so that the immediate values shall all be true as far as
it has gone.

No small details are painted yet. The whole canvas is carried forward
by painting all over it, no one thing being entirely finished; for the
same degree of progress should be kept up for the whole picture. To
finish any one part long before the rest is done, would be to run the
risk of over-painting that part.

After the heads and other flesh parts, the draperies should be brought
up, and the background and all objects in it painted, to bring the
whole picture to the same degree of completion. This finishes the
second painting. It is all done from nature direct, and is painted
solidly as a rule. Even if the first painting has been a _frottee_
this one will have been solidly painted into that _frottee_, although
the transparent rubbing may have been left showing, whenever it was
true in effect; most probably in the shadows and broader dark masses
of the backgrounds. In this second painting no glazings or scumblings
come in. The canvas is brought forward as far as possible with direct
frank brush-work with body color before these other processes can be
used. Glazes and such manipulations require a solid under-painting,
and a comparative