plates in this series are,—the first of an aged man, with a white beard sweeping the ground, and writing in a book with each hand, naked; a human figure pressing out his brain through his ears; and the great sea-serpent; but perhaps the best is a figure sinking in a stormy sea at sun-set, the splendid light of which, and the foam upon the black waves, are almost magical effects of colouring. Beneath the first design is engraven 'Lambeth, printed by W, Blake, 1794.'
Blake's modes of preparing his ground, and laying them over his panels for painting, mixing his colours, and manner of working, were those which he considered to have been practised by the earliest fresco-painters, whose productions still remain, in numerous instances, vivid and permanently fresh. His ground was a mixture of whiting and carpenter's glue which he passed over several times in thin coatings: his colours he ground himself, and also united them with the same sort of glue, but in a much weaker state. He would, in the course of painting a picture, pass a very thin transparent wash of glue-water over the whole of the parts he had worked upon, and then proceed with his finishing.[1]
- ↑ Loutherbourgh was also, in his way, very ingenious in his contrivances. To oblige his friend Garrick, he enriched a Drama, entitled 'The Christmas Tale,' with scenery painted by himself, and introduced such novelty and brilliancy of effect, as formed a new era in that species of art. This he accomplished by means of differently coloured silks placed before the lamps at the front of the stage, and by the lights behind the side scenes. The same effects were used for distance and atmosphere. As for instance, Harlequin in a fog, was produced by tiffany hung between the audience and himself. Mr. Seguire, the father of
