By way of conclusion to this part of our work, we shall add some miscellaneous remarks, extracted from a small work by the later ingenious Mr. Robertson; which being only distributed among his private friends, and never published, is in few hands: and being the result of the experience of many artists, communicated to him , as well in Italy, as in England, and written down by him, will, we hope, be acceptable to our friends; as certainly many of the ideas and hints are very good., ,Grounds and priming.,Mr. Forrester communicated to me the following observations, which he had from Mr. Patoon and others.,The Venetian masters often worked upon jess (sic) ground thus prepared. Take a fine, and even canvas, or board, and give it one coat of jess made with size; when dry paint upon it. The first coloring will sink in as the jess drinks up the oil, but by that means leaves the greater brilliancy in the colors; the second painting will not sink so much, and also appear very clear, after which you may very safely re-touch, and glaze or scumble with the mastic varnish at pleasure, and your picture will retain by far more force and vigour, than if painted on any other ground. You may likewise paint with safety on this ground (or even on a white silk without any preparation) in water colors, prepared in the common way, any head, figure, landscape, &c. After being harmonized and finished in water-colors, the mastic varnish must be carefully laid on before you proceed to re-touch, glaze or scumble in the usual way with oil and varnish until the effect proves satisfactory; this will bear out and retain more force, delicacy, and clearness, than any oil-painting whatever, and will even last as long, and is also a method made use of by some of the finest colorists in their best works. ,It is of great importance in our first and second painting, whether of flesh, drapery, landscape, &c. to paint only with earths, reserving the most clear and brilliant colors for the last painting and glazings, by which means a greater truth and force will always be preserved in our works, and they will also last the longer for it. It may reasonably be supposed, that a proper foundation of strong holding colors is necessary (such as most earths are) under the more delicate, which will make them last and bear out the better: whilst on the contrary, if earths are used upon the clear and brilliant colors, the effect must be both dull and heavy. Besides, if in dead or second coloring the finest and brightest tints are used, what colors can be found to brighten or finish with?