1867 Six Hundred Receipts by John Marquart

600 MISCELLANEOUS VALUABLE RECEIPTS.

110

black, and a littll& blue, mixed

by various mixtures :

3'ellow pink, with a little verdigris and ; or ochre and a small quantity of white,

with yellow ;

lampblack

will also produce a kind of olive colour. For dis- temper, indigo and j-ellow pink, mixed with white lead or Spanish white, must be used. If veined, it should be done with umber. Lead colour. — Indigo and white. Chestnut colour. — Red ochre and black for a dark chestnut. To make it lighter, employ a mixture of yellow ochre. Light timber colour. — Spruce ochre, white, and a little umber. JFlesh colour. — Lake, white lead, and a little vermilion. Light Willow-green. — "White, mixed with verdigris Grass-green. — Yellow pink mixed with verdigris. An endless variety of greens can be obtained by the mixture of blue and yellow in different proportions, with the occasional addition of white lead. Stone colour. — White, with a little spruce ochre. Lark Lead colour. — Black and white, with a little indigo. Fawn colour. — White lead, stone ochre, and a little vermilion. Chocolate colour. — Lampblack and Span- ish brown. On account of the fatness of the lamp- black, mix some litharge and red lead. Portland Stone colour. — Umber, yellow ochre, and white lead. The varieties of shades of brown that may be ob- tained are nearly as numerous as those of green. To imitate 3Iahogany. — Let the first coat of painting be white lead, the second orange, and the last burned umber or sienna; imitating the veins according to your taste and practice. To imitate Wainscot. — Let the first coat be white, the second half white and half yellow ochre, and the third yellow ochre only. Shadow with umber of sienna. To imitate Satin-icood, —Take white for your first coating, light blue for