FINISHING OFF.
A picture treated as described above, but without so much of the stippling recom mended, is in the tinted stage, but much more remains to be done to produce the best effect. When the background and draperies are put in, the colouring of the face will probably seem too faint and weak by contrast, and further colour will have to be stippled in. The extreme shadows may, if necessary, be further deepened and blended into the lighter tints by judicious stippling. A little green may be stippled into the eye socket. The reflected lights may be stippled with the faintest tinge of carmine. The edge of the upper eyelid may sometimes he touched with light red, and the corner of the eye near the nose may be given a minute speck of carmine or rose madder, which imparts a bright sparkle to the eye. The deepest shadows may be put in with sepia mixed with a little gum. The edges of the chief washes should he gone over with a clean brush, and nicely softened. A little grey may at times be worked in with advantage.
The hands may be given a little extra work also, by touching the joints with a little rose madder. This, if effectively hatched into the flesh tint in fine lines running across the modelling, gives a very pleasing effect. Gold ornaments may be painted with burnt umber in the shadows, and Naples yellow mixed with Chinese white in the lights. Where the photographic impression is darker than it should be, as, for example, in the case of a soldier's red essential. A specially designed colour box for miniature painting is illustrated by Fig. 478. The clotted lines show a white wood panel-desk, which slopes at a con venient angle for working. Miniatures of any size are firmly retained in position by means of two bars adjustable by spring screws. When not in use, desk and miniature slide into grooves in the lid.
coat, opaque colours must be used to bury the detail, which is then sketched in again from the guide.