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     id="a.6p-1867texms"
     metatype="web.manuscript, web.prose"
     type="ms.draft.corrected.copy"
     workcode="6p-1867">
    
    
    
    
    <ramheader>
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            <titlestmt>
                <title level="doc">Paint Mixing Instructions(1) (Texas MS)</title>
                <author>Dante Gabriel Rossetti</author>
                
                
            </titlestmt>
            <editionstmt>
                <edition>1</edition>
                <copyright>© Harry Ransom Humanities Research Center, the University of
                    Texas at Austin</copyright>
            </editionstmt>
            <extent/>
            
            
            <notesstmt/>
            <sourcedesc>
                <citnstruct>
                    <title>[Stiff White]</title>
                    <author>DGR</author>
                    <msprod>
                        <date compdate="1867 1862">1867? 1862?</date>
                        <type>corrected copy</type>
                        <assign/>
                        <collation>2 leaves</collation>
                        <note/>
                    </msprod>
                    <provenance>
                        <location>Harry Ransom Research Center, U. of Texas</location>
                        <recnum>Ms File (Rossetti, DG) Works "Stiff White"</recnum>
                        <archivehist/>
                    </provenance>
                    <physicaldesc>
                        <paper>
                            <lineation/>
                            <stock>smooth white unlined</stock>
                        </paper>
                        <size>
                            <actual>7 1/16 x 4 7/16 in.</actual>
                            <original/>
                        </size>
                    </physicaldesc>
                </citnstruct>
            </sourcedesc>
        </filedesc>
        <encodingdesc/>
        <profiledesc>
            <addressee/>
            <source>
                <listcitn>
                    <citnliterary>
                        <bibl/>
                        <note/>
                    </citnliterary>
                </listcitn>
            </source>
            <commentaries>
                <head>Commentary</head>
                <section type="intro">
                    <head>Introduction</head>
                    <p>This is a set of instructions for a studio assistant, probably set out in
                        1867 for his new assistant Treffrey Dunn, though it may date from late 1862
                        or early 1863 as instructions for his first assistant, William Knewstub. It
                        describes a &#8220;palette for flesh&#8221;.</p>
                </section>
            </commentaries>
        </profiledesc>
    </ramheader>
    <text>
        <body>
            <page n="[1r]" image="a.6p-1867texms.1.tif"/>
            <div0 anchor="0.1" n="1" type="art notes">
                <div1 anchor="0.1.1" n="1" type="note" id="a.6p-1867.texms"
                  title="Paint Mixing Instructions(1)"
                  workcode="6p-1867">
                    <divheader>
                        <title level="wrk">Stiff White.</title>
                    </divheader>
                    <p>Take a largest sized tube of<lb/> White and squeeze it out<lb/> all over a
                        good sized piece of<lb/> blotting-paper, <del>then leave<lb/> it <hi rend="u">one day and night</hi>,</del>
                        <lb/> put another piece of blotting<lb/> paper pressed on the top of<lb/> it
                        and leave it in a<lb/> drawer <hi rend="u">one day &amp; night.</hi>
                        <lb/> Then take it off the blotting<lb/> paper with a palette knife,<lb/>
                        and <del>grind</del>
                        <add>mix</add> it up on a slab<lb/> with a <hi rend="u">little</hi> copal.
                        It is<lb/> then best for use if left for<lb/> a day or two to skin
                        over.<lb/> Then take out a piece from<lb/> under the skin with the<lb/>
                        palette knife as you<lb/> want it for use &amp; close<lb/> the skin
                        up again.<ornlb>--------</ornlb>
                    </p>
                    <p indent="4">Turn over</p>
                    <epage/>
                    <page n="[1v]" image="a.6p-1867texms.2.tif"/>
                    <pageheader>
                        <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
                            &#8220;PS&#8221; sections appear each written vertically in
                            the top margin above each column.</note>
                    </pageheader>
                    <p>P.S.<lb/> you<lb/> had<lb/> better<lb/> paint<lb/> the<lb/> flesh<lb/>
                        first<lb/> (with<lb/> surround<lb/> ings if<lb/> needed<lb/> at the<lb/>
                        same time<lb/>
                        <del>before you<lb/> go on</del> &amp;<lb/> let me<lb/> see it<lb/>
                        before you<lb/> go on <lb/> to<lb/> drafting.<lb/>
                    </p>
                    <p>P.S.<lb/> Parris's<lb/> Medium<lb/> can<lb/> be got<lb/> at<lb/>
                        Robersons.<lb/> If you<lb/> like<lb/> order<lb/> anything<lb/> there<lb/> in
                        my<lb/> name<lb/>.</p>
                    <p>Trace the copy on to the canvas<lb/> with ordinary red chalk.<lb/> Then go
                        over the tracing<lb/> with red wax-chalk<lb/> strongly. Then spread the<lb/>
                        stiff white over the <del>[illegible]</del>
                        <add>day's portion</add>
                        <lb/> with the palette knife <add>so as to show the outline through</add>,
                        and<lb/> lay in the modelling lightly<lb/> with Real Ultramarine<lb/> little <del>common</del>
                        <add>unstiffened</add> white.<lb/> Then do the day's painting<lb/>
                        <del>with</del> chiefly with longish<lb/> flat hoghairs but with<lb/>
                        <add>flat</add> sables also if needed, and<lb/> using only the ordinary<lb/>
                        unstiffened white after<lb/> the first coat of stiff white.<lb/> If you find
                        you have<lb/> covered with the stiff<lb/> white more surface<lb/>
                    </p>
                    <p>than you can paint over<lb/> in the day, it is best to<lb/> remove the
                        unpainted<lb/> portion of the white with<lb/> the palette knife at
                        close<lb/> of the day &amp; lay it again<lb/> when you begin next
                        morning.<lb/> Be careful in <hi rend="u">mixing</hi> the<lb/> stiff white in
                        the first<lb/> instance not to use too<lb/> much copal, and to turn<lb/> it
                        well over and over<lb/> with the palette knife till<lb/> thoroughly
                        mixed.<lb/> It is best to use throughout the<lb/> painting as little
                        vehicle<lb/> as possible. When necessary,<lb/> use <hi rend="u">Roberson's Medium</hi>
                        <lb/> mixed with a little of <hi rend="u">Parris's</hi>
                        <lb/>
                        <hi rend="u">Marble Medium</hi> to lessen the shine.<lb/>
                    </p>
                </div1>
                <epage/>
                <page image="a.6p-1867texms.3.tif" n="[2r]"/>
                <div1 anchor="0.1.2" n="2" type="illustration">
                    <pageheader>
                        <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.</note>
                    </pageheader>
                    <div2 anchor="0.1.2.1" n="" type="title">
                        <p>Palette<lb/> for flesh</p>
                    </div2>
                    <div2 anchor="0.1.2.2" n="" type="section">
                        <div3 anchor="0.1.2.2.1" n="" type="section">
                            <p n="1">Stiff White</p>
                            <p n="2">White</p>
                            <p n="3">White</p>
                            <p n="4">Real Ultramarine</p>
                        </div3>
                        <div3 anchor="0.1.2.2.2" n="" type="section">
                            <p n="5">Ultramarine Ash</p>
                            <p n="6">Malachite</p>
                            <p n="7">Emerald Green</p>
                            <p n="8">Terre Verte</p>
                            <p n="9">Raw Umber</p>
                            <p n="10">Burnt Umber</p>
                            <p n="11">Cologne Earth</p>
                            <p n="12">Deep Yellow Madder </p>
                            <p n="13">Violet Carmine</p>
                            <p n="14">Indian Red</p>
                            <p n="15">Purple Madder</p>
                            <p n="16">Madder Carmine</p>
                            <p n="17">Vermilion</p>
                            <p n="18">Orange Vermilion mixed with a little Strontium Yellow</p>
                            <p n="19">Scarlet Madder mixed with a little Gamboge</p>
                            <p n="20">Yellow Ochre</p>
                            <p n="21">Strontium Yellow</p>
                        </div3>
                    </div2>
                    <div2 anchor="0.1.2.3" n="" type="note">
                        <p>For half-tints.&#8212;Mix Violet Carmine, Deep Yel. Mad.
                            &amp; White<lb/>Mix Purple madder and Malachite &amp; White</p>
                    </div2>
                </div1>
            </div0>
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