THE ANEMONE.
THIS Plate contains a group of sinle Anemones. The upper
purple one on the left has at least six different tints or degrees of
shade: to begin this, the very lightest tint must be put in first,
and that should be as near the shade of the pattern as possible,
for if you begin too light or too dark you will create a difficulty
throughout for your flower, when finished, will be altogether too
light or too dark, or else you will not be able to give the proper
tints and preserve the same gradation of light and shade ; after
you have put in all the tints of shade complete, you must get a
fine long hair pencil and draw all the fine fibres; these, you may
perceive, are to be done with clear lake worked pretty strong;
after they are done, then put in the seeds with Indian ink
and lake.
     In the tupper side flower and that on the left, and the back
flower, there are delicate tints of the shadow for white mentioned
in the tints in the Treatise; these must be put in first,
beginning with the lightest, as that in the inside of the flower on
the left. Shadows of white flowers are not always of exactly the
same tint; the shadows of a White Rose, White Martagon, and
these White Anemones, are all different from each other; there is
a degree of warmth in these which may be given with the least
tinge of lake or vermnillion added to Indian ink: the darker
touches must be the same, but a degree stronger; then begin to
put in the pink tints as soft as you can, at least the first and
second. This flower is generally marked in a stripy manner,
therefore when you have put in the first and second tints, put in
the darkest tints with a fine pointed pencil with quick touches
drawn downwards; by drawing these strokes downwards and
quick they lose themselves and appear soft, which will not be the