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PAINTING IN PASTEL OR WITH CRAYONS.-By cray. ons in general, we understand all coloured stones, earths, or minerals, whether these substances be used in their original state, and only cut into long narrow slips, or pounded and brought to a paste with gum water, and then formed into pastels,

In painting with crayons, the student is to be provided with strong blue paper, the thicker the better, if the grain be not very knotty or rough: this paper is pasted down on a linen cloth previously strained on a wooden frame. When the paper has been dead-coloured, it is laid on its face on a smooth board or table, and the back brushed over with paste; the cloth on the frame is then applied to the pasted side which adheres to it, and being turned up, the paper is gently pressed down to make every part unite with the cloth after the pasting the crayons will adhere better to the paper, and consequently give the picture a firmer and brighter body of colour.

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In painting with crayons from the life, it is best to make a correct drawing of the outlines on a separate paper in the proper size of the intended picture, to be afterwards traced on the framed paper, because false strokes of the crayon, which without great expertness are unavoidable, will pres vent after-strokes from readily remaining on the picture.

The success of this kind of painting depends greatly on the quality of the crayons, which ought to be of a brilliant tint. When the paper, cloth, or vellum, are sufficiently prepared, the artist begins the sketch with a dark crayon, correcting the outline with one of a reddish brown. When any part is to be effaced, the colour is rubbed off with a bit of linen, and then a little good pounce (pumice) firmly ground and sifted through a piece of silk, is rubbed on the erasure with the finger: the pounce is then blown away, and the crayons employed as on clean paper.. :

In painting with oil colours, the requisite tints are arranged

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on the palette before the artist begins to apply them to the canvas: but with crayons it often happens that several tints must be laid one upon another, to produce by the blending of their lines the colour and tints required.

The common fault of beginners is, that they use too little colour; it is true that in all objects great skill is necessary in selecting the proper tints; but when by their combination the student finds he can produce the desired colour or shade, the crayons should be applied with freedom and boldness, without sparing the pastels, for fear of laying on too much colour.

When the whole piece is sketched in so as to produce a proper effect at a distance, showing that the lights, shades, and reflections are duly arranged, the artist then examines whether a sufficient body of colours be laid on, to allow of their being blended and sweetened into one another with the finger. In blending the colours care is requisite for preserving the ease, freedom, and spirit of the first draught or outline, otherwise there is a risk of losing what most contributes to the resemblance of the original object.

. When all is done, the colours must be fixed by the application of a gum, composed of isinglass, spirits of wine and water, gently sprinkled over the picture from the end of the hair of a brush: by this process the particles of the crayons will be connected to each other and to the paper, sufficiently to prevent their being rubbed off by any slight pressure or friction.

PAINTING IN ENAMEL. Enamelling is the art of applying colours on gold, silver, and other metals by means of fire or the lamp. The enamel is usually composed of vitrified substances, interspersed with others not vitrified, so that it possesses the properties of glass, only it is not transparent. The basis of enamel is a pure glass, ground up with a calx of lead or tin prepared for the purpose, and commonly with the addition of white salt of tartar: these ingredients

ingredients baked together, with powders of different colours, furnish enamels of all sorts.

Enamelling is not more solid and durable than difficult to execute. The painting is performed on metal plates, covered with a coat of white enamel : gold is often used for this purpose; but copper when well managed is almost as good. These plates are made concave on one side, and consequently convex on the other, and they are usually circular or oval: if they were flat there would be a risk that the enamel might fly off, in undergoing the action of the fire or lamp. The convexity of the plates, however, must not be considerable for this would injure the effect of the painting, as the sight could not rest on the whole of the subject at once; the light necessarily falling on the prominent parts would give them a brilliancy injurious to the effect of the other parts on which it did not fall in the

same manner.

The colours used in enamelling are all calxes of metals, mixed and melted with certain proportions of vitreous sub stances which, at the instant of their fusion, discover their several tints and fix them on the metallic plate. This melted glass or enamel produces the same effect that oils, gums, or glues produce in other processes of painting; it unites the different particles of the colouring materials, makes them adhere to the surface of the enamel, and incorporates them with itself: when properly managed it gives the colours a brilliancy and polish not to be obtained in any other way.

Without attempting to enter in this place into the manner of procuring the various colours used in enamelling, it will be sufficient just to mention, that from gold are formed the scarlets, purples, pinks, and violets; from silver and antimony the yellows; from copper the greens; from cobalt the blues; from iron the deep reds, browns and blacks; from tin the whites.

In working, the outline is faintly drawn on the ground with a blacklead pencil, and the colours are applied in the same way as those in miniatures on ivory; observing that on the application of each coat the plate must be exposed to the furnace or lamp. The artist must endeavour to unite and harmonize all the touches of his pencil, which will be very difficult, not to say impossible, if after beginning the work he should lay it aside for any considerable time; as he would no longer remember the way in which he had formed his tints, and would be liable to place upon or near to each other, such colours as have no proper relation. Hence may be conceived the difficulty of properly uniting all the parts of a large enamel painting. The merit of the picture may be acknowledged by the generality of spectators: but the real merit of the artist can be appreciated by those alone who, acquainted with the art itself, can understand what difficulties he must have overcome to bring his work to such a state.

Other modes of painting have been practised, such as that to which the term encaustic has been improperly confined, for all enamelling, or other methods in which the action of heat or fire is employed, is in fact encaustic; but what is commonly so named, is a way of employing wax and certain guns to give a gloss to the colours.

Elydoric painting is a method of executing miniatures in oil colours, while the picture and the masses of colours are both constantly covered with water, from which circumstances this method has its name, bydor being the Greek term for water, as the former word encaustic is derived from the greek kaustos, what has undergone the action of fire.

PAINTING ON GLASS.-Under this title various modes of operation are comprehended. The most antient was very simple, being in fact only a sort of inlaid work or mosaic, executed with pieces of glass stained with various colours: then larger pieces of stained glass were used, and

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the features and shades applied to them by means of other coloured substances: lastly, the colours were incorporated in the materials of the glass itself, by the operation of fire. This idea is said to have been first suggested by a French artist at Rome, but Albert Durer, and Lucas of Leyden, produced the earliest specimens of the art approaching to perfection.

The colours used in staining or painting glass, are very different from those employed in working with oil or water colours. Of the former the following are examples; blacks are obtained from scales of iron, scales of copper and jet, all in equal quantities. For blues, take of powdered blue one pound, and salt of nitre half a pound, well mixed. For carnation colour, red chalk eight ounces, iron scales and litharge of silver, each two ounces, gum arabic half an ounce, mingle these ingredients in water and grind them together, leaving them to settle for a fortnight in the vessel. For green, take red lead one pound, copper scales one pound, flint five pounds, put them with some nitre in a crucible, in a very strong fire, and after they are melted and cold, grind the mass to a fine powder. For gold colours, take silver one ounce, antimony half an ounce, melt them down, and grind the mass, adding to the powder fifteen ounces of yellow ochre, and then reducing the whole to a fine powder by grinding them in water. For purple, take red lead one pound, white lead one pound, white flint five pounds, brown ochre one pound and one third of a pound of nitre, calcinė and melt them down together and reduce them to powder. For red, take of jet four ounces, litharge of silver two ounces, red chalk one ounce, powder and mix them. For white, take jet two parts, and white flint ground fine one part, and mix them together. For yellow, Spanish brown ten parts, silver leaf one part, antimony half a part,' and calcine then together in a crucible.

In the windows of antient churches, are frequently seen.

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