Rossetti Archive Textual Transcription

Document Title: Paint Mixing Instructions(1) (Texas MS)
Author: Dante Gabriel Rossetti
Date of Composition: 1867? 1862?
Type of Manuscript: corrected copy

The full Rossetti Archive record for this transcribed document is available.

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Stiff White.
Take a largest sized tube of

White and squeeze it out

all over a good sized piece of

blotting-paper, then leave

it one day and night,

put another piece of blotting

paper pressed on the top of

it and leave it in a

drawer one day & night.

Then take it off the blotting

paper with a palette knife,

and grind mix it up on a slab

with a little copal. It is

then best for use if left for

a day or two to skin over.

Then take out a piece from

under the skin with the

palette knife as you

want it for use & close

the skin up again.
Turn over
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Note: This page was folded in half to make two pages, and the text appears in two columns, one on each side of the fold. The two “PS” sections appear each written vertically in the top margin above each column.










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same time

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Trace the copy on to the canvas

with ordinary red chalk.

Then go over the tracing

with red wax-chalk

strongly. Then spread the

stiff white over the [illegible] day's portion

with the palette knife so as to show the outline through, and

lay in the modelling lightly

with Real Ultramarine

little common unstiffened white.

Then do the day's painting

with chiefly with longish

flat hoghairs but with

flat sables also if needed, and

using only the ordinary

unstiffened white after

the first coat of stiff white.

If you find you have

covered with the stiff

white more surface

than you can paint over

in the day, it is best to

remove the unpainted

portion of the white with

the palette knife at close

of the day & lay it again

when you begin next morning.

Be careful in mixing the

stiff white in the first

instance not to use too

much copal, and to turn

it well over and over

with the palette knife till

thoroughly mixed.

It is best to use throughout the

painting as little vehicle

as possible. When necessary,

use Roberson's Medium

mixed with a little of Parris's

Marble Medium to lessen the shine.

Image of page [2r] page: [2r]
Note: This landscape-oriented page has a palette drawn on it, with the first three color names written in the middle of the palette and the rest written clockwise around the palette's edge starting at the bottom right. There is a note below the palette, and a title written to the right of the palette. Two vertical fold marks divide the paper into thirds.

for flesh
Stiff White
Real Ultramarine
Ultramarine Ash
Emerald Green
Terre Verte
Raw Umber
Burnt Umber
Cologne Earth
Deep Yellow Madder
Violet Carmine
Indian Red
Purple Madder
Madder Carmine
Orange Vermilion mixed with a little Strontium Yellow
Scarlet Madder mixed with a little Gamboge
Yellow Ochre
Strontium Yellow
For half-tints.—Mix Violet Carmine, Deep Yel. Mad. & White

Mix Purple madder and Malachite & White
Electronic Archive Edition: 1
Source File: 6p-1867texms.rad.xml
Copyright: © Harry Ransom Humanities Research Center, the University of Texas at Austin