these contrasting tones in alternate masses, large or small, as desired, and then blend them with a large soft brush. This will give a mottled olive-blue effect. A spray of pink and white chrysanthemums would look well on this ground.
For the third or last painting, when perfectly dry, oil as before, and touch up where it is needed, putting in the last delicate touches which often serve to emphasize and bring out the picture.
The "glazing" is put on at this stage. This process is the laying some transparent color, mixed only with megilp, over any part to enrich and give it depth; thus burnt sienna put on over red has a very good effect. It must be put on sparingly, so as to see the former paintings through it, and even taken off entirely with a rag or the finger, in some places, as in the highest light.
In painting, endeavor to lay on your colors steadily and boldly, with as few strokes of the brush as possible. Keep your tints pure and distinct, each in the place you mean it to be. Do not, by going over and over them with the brush muddle and mix the tints, for some tints destroy each other, and the transparency and beauty of the painting will be lost. In softening or uniting the tints, it is best either to use an intermediate shade, or else, with a clean brush and no color, to melt them together. Much depends on the first painting. It should be lighter in color than the picture is intended to be, as all colors sink, more or less, into the ground as they dry, and it can easily be glazed and toned down to the proper color. The shadows should be put on thin in color, the lights with a greater body of paint, with a sharp and firm touch. The brightest lights may be painted quite white, and glazed to the required hue; beautiful effects are produced by glazing, but it is dangerous for the student to be too free in the use of it.
"Scumbling" is the reverse of glazing, and is done by
