Diciionarium Polygraphicum : 
 
 Or, The Whole 
 
 BODY of ARTS 
 
 Regularly Digefted. 
 
 CONTAINING, 
 
 I. The ARTS of Defigning, Drawing, Painting, Wafliing 
 
 Prints, Limning, Japanning, Gilding in all their various Kinds. Alio 
 
 Perfpcftive, the Laws of Shadows, Dialling, &c. 
 n. Carving, Cutting in Wood, Stone ; Moulding and Calling Figures 
 
 in Plaifter, Wax, Metal ; Engraving, Etching, and Mezzotinto. 
 in. An hiflorical Account of the mofl confiderable Painters, Sculptors, 
 
 Statuaries, and Engravers ; with thofe Cyphers or Marks by which 
 
 their Works are dillinguilhed. 
 
 IV. An Explanation of the Emblematical and Hieroglyphical Repre- 
 fentations of the Heathen Deities, Powers, Human Paffions, Virtues, 
 Vices, &c. of great Ufe in Hill:or)'-Painting. 
 
 V. The Produftion, Nature, Refining, Compounding, Tranfmutation 
 and Tinging all Sorts of Metals and Minerals of various Colours. 
 
 VL The Arts of Making, Working, Painting or Staining all Sorts 
 of Glafs and Marble ; Enamelling, and the Methods imitating all 
 Sorts of Precious Stones, Pearls, itc. according to the Pradice both 
 of the Ancients and Moderns. 
 
 Vn. Dying all Sorts of Materials, Linen, V/oollen, Silk, Leather, 
 Wood, Ivory, Horns, Bones ; alfo Bleaching and Whitening Linen, 
 Hair, kz. 
 
 VIIL The Art of Tapeflry- Weaving, as now performed in Eng- 
 land, Flanders, and France, either of the high or low Warp ; and 
 many other curious Manufadlurcs. 
 
 IX. A Defcription of Colours, Natural and Artificial; their Produftions, 
 Natures or Qualities, various Preparations, Compofitions, and Ufes. 
 
 X. The whole Art of Pyrotechny, or Fire- Works ; and the Chinefe 
 Method of making Porcelain : Together with a great Variety of" 
 other curious Particulars not here enumerated. 
 
 Illuftrated with Sixty-nine Copper-Plates. 
 
 The Second Edition, Correcled and Improved 
 By J. B A R R O W. 
 
 VOL. IL 
 
 LONDON: 
 
 Printed for C. Hitch, in Pater- nofter- Row ; J. Hinton, in 
 
 Nev/gate-Street ; and L. Davis and C. Rhymers, againlt 
 
 Gray's-Inn, Holbora. M.DCC.LVIIL 
 
T H E 
 
 POLYGRAPHIC DICTIONARY. 
 
 T 
 
 J' ACiNTH, 7 is a precious flcne, (o called from the re- 
 HYACINTH, 5 (emblance it bears in colour to the purple 
 flower called a hyacinth. 
 
 There are four foits of Jacintlis : viz. Thofe intermixed with: 
 a vermilion colour ^ thofe of a faffVon colour ; thofe of an am- 
 ber colour ; and, lailly, thofe of a white, intermixed with a 
 pale red. 
 
 Jacinths, again, are diftinguifhed into oriental and occidental ; 
 the oriental Jacinths come from Calicut and Cambaya, and are 
 equal in hardnefs to the oriental amethyft ; the occidental are 
 found in Bohemia and Portugal, which are a degree fofter. 
 
 The Jacinth graves or cuts fine, and would be more ufed for 
 feals, Szc. but that the graving oftentimes coHs more than the 
 flone. 
 
 The ancients ufed it for amulets and talifmans 5 and wore it 
 about their neck, or fct it in rings, Sic. and fuppofed it to have 
 the virtue of prefcrving them from the plague, &c. 
 
 To make a fair Jacinth. It is fcarce poflible to make 
 Jacinth without lead, in its compofition j wherefore you muft 
 put in an ounce of powder of cryflal, two ounces and an half of 
 minium, with twenty-four grains of verdigreafe, two drachms of 
 •fublimate, and five or fix leaves of filvcr ; the whole reduced to 
 fine powder in a brafs mortar, and fearced through a fine fieve ; 
 mix them v/ell together, and put them in a crucible, covered 
 with another, and well luted ; then bake and purify it in a glafs- 
 houfe furnace for twelve hours. Then take it oft the fire, and 
 pound it again in a brafs mortar to a fine powder, fifclng it through 
 a fine ficve ; then put it in a new crucible, which cover and lute 
 v.'cll, and fet it again in the glafs-houie furnage for twenty-four 
 hours, and twelve more in the annealing furnace : The crucible 
 being cold, take out the matter, which will be of a fine Jacinth 
 colour, which cut and polifli. 
 
 An orimtal "^KCAXiVA cghitr. This polouf. will be of a very 
 fuie redJiih-ycllow, fuch as is the true oriental facintb. 
 
 Vol. il. B * . To 
 
2 JAP 
 
 To make It, take one ounce of cryflal in powder, three otinces 
 of minium, one ounce, of arfcnic, prepared as for the topaz, and 
 one ounce ot vitriol calcined ad rubcdinem, the whole reduced 
 to a fine powder in a brafs mortar, proceeding moreover as in 
 the preceding. 
 
 JADE, a greenifh ftone, bordering on the colour of olive, 
 much efteemed for its hardnefs, which exceeds that of porphyry, 
 agate, and jafper, and is only to be cut with the powder of dia- 
 monds. 
 
 It is mightily efleemed by the Turks and Poles, who all adorn 
 their fine works with it, and efpecially the handles of their fabres. 
 Mr. Bernier tells us, that the caravans of Thibet carry it to 
 Cachemirc, and that the Galibis prize it as highly as a dia- 
 mond. 
 
 JANUARY, is reprefented, in painting, &c. all in white, 
 like fnow or hoar froft, blowing his fingers ; under his left arm 
 a billet, and Aquarius landing by his fide. 
 
 JANUS, is reprefented, in painting, &c. with two faces ; 
 holding in one hand a long rod or v/and ; and in the other 
 a key. 
 
 The two faces of Janus fignify time ; the one, being withered 
 and hoary, fhews time paft ; the other, youthful and bearded, 
 hme to come. 
 
 Pliny tells us, that Numa Pompilius, king of the Romans, 
 caufed the ftatue of Janus to be hewed out in fuch fort, that the 
 fingers of his hands appeared to be 365, to reprefent the number 
 of the days in the year, and that he was god of it ; whereupon, 
 the firft month in the year was called Januarius, from their god 
 Janus. 
 
 Under the feet of Janus are oftentimes placed twelve altars, 
 referring to the twelve months of the vear, or figns of the zo- 
 diac, through which Sol makes his revolution. 
 
 I'he PhcEuicians, as is reported by Cicero and Macrobius, re- 
 prefented Janus by the form of a ferpent, holding its tail in its 
 mouth, and continually turning round. 
 
 Some reprefented Janus with four faces, as were thofe fta- 
 tucs which were found in divers places in Tufcany. 
 
 By the four faces are fignified the four feafons of the year; 
 fprins;, fummer, autumn, and winter : Which fome think to be 
 thofeof Venus, Ceres, Bacchus, and Vulcan ; and fometimes 
 the winds with /Eolus, their commander. 
 
 JAPANNING. The rnethod of preparing woods for ]a¥AK- 
 TciKG. I. Take plaifterer's fize, difiolve it over the fire, ma- 
 king it pretty warm ; and mix with it whiting finely powdered, 
 until it is of a good body, but not too thick. 
 
 2. Take a orufh of hog'b hair, and wiih it lay your work 
 
 over 
 
ind 
 re- 
 hly 
 
 the 
 oth 
 
 and 
 
 tof 
 t is 
 AC 
 
 ick, 
 n it 
 
 ed ; 
 
 lefe 
 It a 
 
 &c. 
 )ak. 
 
 Iter, 
 un- 
 
 idea 
 mtii 
 
 net- 
 
 lake 
 ifore 
 
 ork, 
 
 ned, 
 IS in 
 
 und, 
 ■aw- 
 , ei- 
 
 whi- 
 hich 
 
 rint, 
 
 lited 
 
 fide 
 

 7-.;. /..</■■ 
 
JAP 3 
 
 over with the former mixture ; letting it dry very well ; And 
 repeat this fo often until you have hid all the hollownefles, cre- 
 vices, pores, and grain of the wood, letting it be thoroughly 
 dried between every laying. 
 
 3. When it has at laft grown thoroughly dry, rub all the 
 Work over with a wet rag, until you have rendered it as fmooth 
 as is poffible. N. B. This is called water-planing. 
 
 4. When it is grown thoroughly dry again, rufli it even and 
 fmooth, and as clofe to the grain as poiTibly may be. 
 
 5. After this, wafli over the work twice with the thickeft of 
 feed-lac varniflh, letting it ftand to dry each time ; and, if it is 
 not fmooth, rufli it again, to make it fo. See SEED-LAC 
 VARNISH. 
 
 6. In a day or two's time, you may varnifh it over with black, 
 or what other colour you defign, as is direcfted ; and, when it 
 is dry, finifh it by polifhing it. 
 
 7. After the fame manner carved figures are to be primed ; 
 alfo frames, cabinets, flands, tea-tables, &c. only that thefe 
 are not to be polifhed, and therefore do not require fo great a 
 body of varnifli. 
 
 8. But for the tops of tables, boxes, fides of cabinets, &c. 
 "when the wood is ordinary and rough- grained ; as deal, oak, 
 &c. you may wh common or joiner's glue, diflblved in water, 
 until it is fine and thin ; into which put the fineft faw-dufi, un- 
 til it is indifi'erently thick. 
 
 9. Then, with a brufh fit for that purpofe, lay your wooden 
 work over with it ; and, when it is dry, repeat it fo often until 
 all the roughnefs and grain of the wood is fufficiently hidden. 
 
 10. After two or three days let it be fcraped with a cabinet- 
 maker's fcraper, as pear-tree and olive wood are done, to make 
 it as fmooth and even as poflibly may be j then varnifh it as before 
 diredied. 
 
 This, if well done, might not come behind any other work, 
 either for beauty or durablenefs. 
 
 1 1. But however thofe woods that are firm and clofe-grained, 
 are chiefly and only to be chofen ; of all which, pear-tree is in 
 the higheflefleem. 
 
 Of taking (?^ Japan patterns, i. Having laid on your ground, 
 whether black or any other colour, and rendered it fit for draw- 
 ing ; and having your draught or defign before you in paper, ei- 
 ther drawn or printed ; do as follows : 
 
 2. Rub this draught or print all over the back fide with whi- 
 ting or fine chalk, wiping ofF all that whiting or chalk which 
 lies loofe and like dufl up^Mi the paper. 
 
 3. Then lav this paper, whether it be a drawing or a print* 
 upon the table, or piece of varnifhcd WDrk, with the whited 
 
 B 2 fide 
 
4 J A P 
 
 fide next to it; and upon the very place where yon would have 
 that figure made, and with a needle, not fliarp- pointed, fixed 
 intoafmall wooden handle, called a tracing pencil, go over and 
 trace as much of the drawing or print, as you think fit. 
 
 4. Take the moft material and outward ftrokes, and all that 
 you think will be hard and difficult to draw without a pattern. 
 
 5. Thus, by means of the whiting or chalk, you will have 
 the grofs form of the draught or print, and fuch other lines, as 
 will be a diredicn to you how to perform what you would have 
 done. 
 
 6. Having done this, if you draw in gold fize, ufe fine cin- 
 nabar miixed with gum water; and, with a fmall pencil dipped 
 into it, go over all the lines made by the chalk or whiting ; this 
 V'-ill hold it on fo as not to comeofr'; but you may woik upon it 
 with your gold fize at pleafure. 
 
 7. If you work upon metals or colours in gum water, ther> 
 trace or draw over your defign with gum water, mixed with 
 gold or brafs dull ; by either of thefe ways, when it is dry and 
 finifhed, viz. either in gum water or gold fize, you may com- 
 pleat and finifh your work. Plates I. and II. annexed, are de- 
 signed in the Chinefe tafte, as fpecimens for prints of this kind. 
 
 The jfiethocl of Jatakk IK G zcccd with black, i. The wood 
 being clofe- grained, v. ell- wrought, and fmooth, rufh it as much 
 fmoother as you can, and keep it in fome warm place, or not 
 far from a fire ; but you muft; be Aire, while you are varnifliing, 
 not to let your work be fo ner-r the fire as to burn, fcorch, or 
 blifler it ; for which flav/s, if they happen, there is no other re- 
 mecy but fcrapingofFand varnifliing the piece anew: Therefore 
 it is belt to work in a flove, if it can be, becaufe it gives an even 
 and moderate heat to all parts of the room. 
 
 2. Then take the follovv-ing varnifh ; 
 
 Take of the thickefi: feed-lac varnifli, fix ounces ; lamp-black, 
 enough to colour it, mixed in a gallipot ; and, with it, firfi: wafh 
 over -or varnifli your piece three times, letting it dry thoroughly 
 between each time : Again, with the fame varnifh wafh it over 
 three other feveral times, letting it thoroughly dry between each 
 time ; and rufh it fmooth between each of them. 
 
 3. Take the following varnifh : Of the thickeft feed-lad var- 
 nifh, fix ounces ; Venice turpentine, one ounce ; and wafh over 
 your work with it fix times, letting itfland tweive^hours between 
 the three firfland the three laft varnifhcs, 
 
 4. Your work being thus far done, take the follov/ing Japan 
 varnifh : 
 
 Take of the finefl feed-lac varnifn, fix ounces ; of lamp-black, 
 a fufRcient quantity ; mix^them, and with that let your wc:k be 
 
 var- 
 
JAP 5 
 
 varniflied twelve times, ftanding twelve hours between the firft 
 fix and the lalt fix waftiings. 
 
 Then let it ftand to dry for fix .or feven days ; after which, 
 polilh it with tripoli, and a rag as direfted. 
 
 5. But in poUfhing you nnift work at it till it is almoft 
 fmooth, and then let it ftand by for two days ; then pcihfh it 
 again almoft enough, and again let it be fix days, and then finifh 
 the polifhing of it ; and then clear it up with oil and lamp-black, 
 and fo will you have a good black Japan, icarce at all inferior 
 to the true Japan. 
 
 It is to be noted, that, in this and all other Japan works, you 
 mufl: never ftiike your pencil twice over the fame place, bccaufe 
 it will make your colours or varniih lie rough and ugly ; but 
 every ftroke wafh a new place, carrying a fleady, quick, and 
 even hand, beginning at tlie middle of the table, and fo draw- 
 ing your brufii to either end, till the whole piece has been pafi^ed 
 over. 
 
 White Japan, i. In doing this, great care muft be taken 
 that nothing may come near that will foul or foil it. 
 
 In the firft place, lay the ground with ifing-glafs fize, mixed 
 with as much whiting fcraped into it as will make it of a reafon- 
 able thicknefs, or fo long, till that by a ftroke, your pencil, be- 
 ing dipped into it, will whiten the plait of your work ; but let it 
 be neither too thick nor too thin ; let the whiting be well mixed 
 with your fize, by means of your hogs hair brufli. 
 
 2. Whiten your work once over with it, and when it is tho- 
 roughly dry do it over again j and when dry repeat it the third 
 time, after which let it ftand to dry for twelve or twenty-four 
 hours, covering it from duft. 
 
 3. Then, with fome Dutch rufties, let it be rufhed as near the 
 grain of the wood as you fee fitting. 
 
 4. Take frefh ifing-glafs fize, what quantity you pleafe ; and 
 flake-v/hite, fo much as will make the iize be of a fair body ; 
 mix them well together, and with this go over your work three 
 feveral times, letting it be thoroughly dry between each time, 
 and afterwards rufh it very fmooth. 
 
 5. Then take white ftarch boiled in fair v/ater till it is fome- 
 what thick, and with it, slmoft blood-warm, wafti over the 
 whole work twice, letting it dry between each time, and fo let it 
 Hand for a day or two. 
 
 6. It being firft waftied with rectified fpirit of wine, to clear 
 it from the duft, dip a pure clean pencil into the fineft white Var- 
 nifh, and do over the work fix or ievcn times ; and two days 
 after varnifh it over again the fame number of times ; it this be 
 well done, it will give a finer glofs than if it were puliflied ; but, 
 ii it be not ciciinlily and nicely done, polifning w:il then be ne- 
 
 B 3 collary. 
 
6 JAP 
 
 cefTary, for which reafon you muft give it five or fix varnifhings 
 more. 
 
 7. If this lafi: is well done, it will not ftand in need ofpolifh- 
 ing, and then two waflies more will do : But, if it requires po- 
 liftiing, you muft then give it three, and allow it a week's time 
 to dry in, before you begin to polifti. 
 
 8. In polifliing you muft make ufe of the fineft tripoli and 
 rags, not too wet nor too dry, with a light and gentle hand ; 
 and, in clearing, initead of lamp-black and oil, you muft ufe 
 putty and oil, and conclude with white ftarch mixed with oil, to 
 iinifh it. 
 
 9. But there are fome perfons who wholly rejedl this work 
 with fize, liking that only which is performed with varnifh ; and, 
 therefore, fuch may, if they pleafe, ufe the white Japan var- 
 nifhcs exactly according to the method laid down for the black ; 
 and this will not be fo ready to crack or peel off. 
 
 Cojumon red ^AVAU. j. Take i fin g-glafs fize, or rather the 
 thickeft feed-lac varnifti, as fome advife, becaufe it will not then 
 break off" in polifhing, as that mixed with fize commonly does ; 
 befides it better helps to bear the body of varnifh, which muft 
 afterwards be laid over it ; as much as you pleafe, fine pure ver- 
 milion a fufficient quantity, as difcretion fhall direct. 
 
 2. Warm your work by the fire, and, with abrufh, varnifli 
 it with the former mixture, doing it over four times, and letting 
 it dry between every time ; after which, rufh it fmooth. 
 
 3. This being done, wafh it over eight times with ordinary 
 feed-lac varnifli, and fet it by for twehe hours j then rufli it; 
 again but (lightly, to make it look fmcoth. 
 
 4. And, laftly, for an exquifite outward covering, wafii it ten 
 times with the beft feed-lac varnifh ; let it lie feven days to dry, 
 and then polifh it with tripoli, and clear it up with oil and lamp- 
 black. 
 
 Deeper or dark rr^ Japan. Firft lay on your common red, 
 as before directed ; then take thick feed-lac varnifti, what quan- 
 tity you pleafe j and fine fan^uis draconis in fine powder, a fuffi- 
 cient quantity ; mix it by little and little with the varnifh, and a 
 very fmall matter of it will extremely heighten your colour, and. 
 every wafti will render it deeper. 
 
 When the colour is almoft as you defign, forbear the ufing 
 any more of the fanguis draconis, becaufe the after-layings of the 
 feed- lac varnifti will heighten it. 
 
 Then confider how many varnifties are ftill to be laid on, and 
 accordingly ufe your fanguis draconis, finiftiing the work, as is 
 direifled in the former common red Japan. 
 
 J pale red Japan. Ufe the following pale red Japan varnifli : 
 
 Take verniilionj what quantity you pleafe j mix it with fo 
 
 much 
 
JAP 7 
 
 much white lead as to make it of the degree of palenefs yt)u would 
 have it, or rather paler, becaufe the varnifh will heighten it ; mix 
 this with feed-lac varnifli, and wafli your work over with it fe- 
 veral times, letting it dry between every time; and proceed as 
 you did before as to the common red varnifh. 
 
 Where take notice, that, in making this mixture, you muft 
 confider how many times you are to varnifh after your red is laid 
 on ; for, if there be many, then know that they will increafe and 
 heighten the colour, for which reafon you muft make your colour 
 of a degree of palenefs accordingly. 
 
 Blue Japan, i. Take gum water what quantity you pleafe, 
 and of white lead a fufficient quantity ; grind them well upon a 
 marble; take ifmg-glafs fize what quantity you pleafe, and of the 
 fineft and beft fmalt a i'ufficient quantity j mix them well together; 
 then add to them of the white lead ground, as before, fo much as 
 will give it a fufficient body ; mix all together to the confiftence. 
 of a paint. 
 
 2. Do your work over with this mixture three or four times, 
 till you perceive the blue to lie with a good and fair body, letting 
 it dry thoroughly between each time ; if your blue is too pale, put 
 more fmalt amon^ your fize, without any white lead. 
 
 3. Then rufh it over fmooth, and go over it again with a 
 ftronger blue ; and, when it is thoroughly dry, wafh it three times 
 over with the cleareft ifmg-glafs fize alone ; and let it ftand for 
 two days to dry, covering it. 
 
 4. Then warm your work gently at the fire, and with a pen- 
 cil varnifh }OJr work over with the fineft white varnifh, repeat- 
 ing it feven or eight times, letting it ftand to dry two days, as be- 
 fore; after which, repeat again, the third time, the wafhes (Q^cn 
 or eight times in like manner. 
 
 5. Let it now ftand to dry for a week, and then polifh it as be- 
 fore direfled ; and clear it up with lamp-black and oil, to give it a 
 polite and glofly appearance. 
 
 6. As to the colour, you muft be guided by your reafon and fan- 
 cy, whether you will have it light or deep; for a fmall proportion 
 of the lead makes it deep ; a greater, light. 
 
 Alfo the fize for laying whites, blues, or anv other colour ought 
 not to be too ftrong, rather weaker, and juft fufficient to bind the 
 colours, and make them ftick on the work ; for, if it be too ftifF, 
 it will be apt to crack and fly off". 
 
 And the reafon of wafhing twice with clear fize is to keep 
 the varnifti from finking into, or tarniihing the colours; and in 
 this cafe it ought to be of a ftrong and full body. 
 
 Lapis lazuli Japan, i. Take ifing-glafe fize, or thick feed- 
 lac varnifh, and mix it with fporlium, or white lead ; and with tH^s 
 
 B 4 varnifh 
 
8 JAP 
 
 varnilh your work three or four times over, laying it for a ground- 
 work, letting it dry between each time. 
 
 2. Let it fland two or three days to hs thoroughly dry, and then 
 rufh it till it is very fmooth, fetting it by two or three days more 
 after the rufhin^:. 
 
 3. Then take thick feed-lac varnifh at pleafure, mix it with 
 fine pure blue fmalt, with which varnifb over your work five or 
 fix times, letting it dry between each time; then let it ftand by 
 for two days, and rufti it again. 
 
 4. When it has been rufhed fmooth, varnifh it tv.'ice over, once 
 with thebeft white varnifh, and fet it by to dry for two days more; 
 then mix pure ultramarine, or fine blue fmalt, with the beft white 
 varnifh, with which varniflu it fix or feven times, till it comes to 
 a full body and a perfe6t likenefs, letting it Itand to dry between 
 each varnifhing. 
 
 5. At the laft time of varnifhing with the blue varnifli, run all 
 your work over flragglingly in wild irregular llreaks, in refem- 
 blance of nature, with liquid or fhell gold, filling the blue as you 
 fte occafion, and adding very fmall fpecks up and down, and 
 fuch other various colours as are ufual to be feen upon the ftone. 
 
 6. When this has been done, and the work is grown tho- 
 roughly dry, varnifh it three or four times over with the beft 
 white varnifh, letting it ftand to dry between each time; after- 
 wards let it ftand tv/o or three days, and then polifli it with 
 tripoli, and clear it v/ith lamp-black and oil. 
 
 7. You are to take notice of this, that by thefe methods you 
 may make and ufe any colour you fancy, or which reafon and 
 experience fhall direct you to ; but, withal, that all colours that 
 are light, and apt to tarniCi and lofe their beauty or glofs, with 
 feed-lac varnifh, muft be covered and finiftied with the beft white 
 varnifh, that of feed-lac being prejudicial. 
 
 Chefnut-coloured Japan, i. Take Indian red, or brown- 
 red oker, which you pleafe; grind them with ifing-glafs, or 
 parchment fize, upon a porphyry ftone, till they are as foft and 
 as fine as butter; then mixalittlewhite lead, which grind ftron^ly; 
 and, laflly, lamp-black in a due prc>portion, ftirring and mixing 
 them well together. 
 
 2. If the mixture is too bright, darken it with lamp-black j 
 if too dark, heighten it v\-ith white lead, varying the proportion 
 till you have brought it to the colour you would have it ; for, 
 what the colour is while it is wet, it will be exac^tly the fame 
 when it is vamiflicd ; though, drying without varnifh, it would 
 look otherwife. 
 
 3. Take thick feed-lac varnifli fix ounces, of the former pre- 
 pared colour what quantity you pleafe ; mix them in a gallipot 
 Q^%\ a gentle fire for ui'c. 
 
 ^"•■■'•" Olive- 
 
JAP 5 
 
 Ollm- coloured Japan. Take ifing-glafs or parchment fize 
 what quantity you pleafe, Englifh pink in fine powder a fuffi- 
 cient quantity j grind them together till they are of the confift- 
 ence of butter; then mix them with himp-biack and white lead 
 in a due proportion, which you may find by making feveral tri- 
 als ; adding white lead if it be too dark, and lamp-black if it be 
 too light. 
 
 If it be too green, help it with a little raw umber ground very 
 fine, for this will take away the greennefs. 
 
 Marble Japan. Your wood being prepared in all refpetSis 
 as for white Japan, then lay it over with flake-white or white 
 lead J and, if you defign your work to be a white with fome veins, 
 ufe vine-black, made of the cuttings of vines, burnt and ground ; 
 mix it with a very weak ifing-glafs fize made warm, the faid vine- 
 black and white lead making two or three degrees of it, till you 
 have produced the intended colours for the clouds and veins of 
 marble. 
 
 2. Then with a large clean brufh wet the work over with water, 
 and, before it is dry, dip a camels hair pencil in the palefl thin 
 mixture, and fo lay the fainteft large clouds and veins, which, be- 
 ing laid on while the work is wet, will lie foft and fv/eet, like 
 that which is natural. 
 
 4. And, before it is too dry, gently touch all the lefler veins, 
 and variety of the marble, with a fmaller pencil, and one degree 
 darker ; endeavouring, as much as may be, to imitate nature in 
 all its footfteps. 
 
 4. Then, with a fmall-pointed feather, touch and break all 
 your fmaller veins with the deepeft colour, and make them irre- 
 gular, wild, and confufed, as they appear in the real fione ; then 
 fet it by to dry for a day or two, and wafli it over with ifing-glafs 
 lize or parchment fize. 
 
 5. After it has flood for two or three days to dry, varnifh it 
 over five or fix times with the beft white varnifli, letting it fi:and 
 to be thoroughly dry between each time ; then fet it by again for a 
 week, and afterwards polifh it and clear it up, according as you 
 are directed in varnifiiing other works. 
 
 6. If you would have it reprefent either white or grey marble, 
 you mult ufe the beft white varnifii ; but, if yellovvifh, or of a 
 parchment colour, you muft ufe the beft feed-lac varnifh, either 
 alone or mixed with the white varnifh, as you pleafe. 
 
 Tortoife-fliell ] AV At^ . i. That which is here endeavoured to 
 be imitated, is tortoife-fhell, laid upon filver foil, which sives it 
 life and beauty ; now, to imitate this well, the wood muft be 
 clofe grained, fmooth, and well wrought, as box, pear-tree, wal- 
 nut-tree, &c. 
 
 2. But, if the wood be coarfe-grained, as deal, oak, kc. it muft 
 
 be 
 
lo JAP 
 
 be fiifl primed with fize and whiting, letting It dry between each 
 lime, and at laft r<i(h it fmooth. 
 
 3. Then ftrikc over the breadth of a leaf of filver with a fit 
 varnifiiing pencil, and the thickelt feed-lac varnifh j then take up 
 the filver leaf with a cotton, and lay it on your work while it is 
 moift, dabbing it down clofe to the work, as is direded in 
 gilding. 
 
 4. Then, in the like manner, varnlfli another place, and lay 
 on another leaf as befr re, doing this till the whole work is co- 
 vered over with leaf filver ; then let it ftand to be thoroughly dry, 
 and fweep off all the loofe filver with a hne hair brulh. 
 
 5. After this, take lamp-black, or rather Cologn earth, which 
 comes neareft to the colour of the fliell, as much as you pleafe ; 
 and grind it with parchment fize, or gum water, till it becomes 
 very fine and impalpable ; and, when it has been ground very 
 fine, mix it with more parchment fize and gum water, agreeing 
 with what you firft ground withal. 
 
 6. Spot the darkeft part of your fhcll-work with this mixture, 
 after a carelefs cloudy manner, imitating nature as much as can 
 be, letting a piece of true tortoife-fhell lie by you for your imi- 
 tation. 
 
 7. Grind fine fanguis draconis in gum water very foft ; but 
 feme grind it dry till it is very fine, and then mix it with fine 
 feed-lac varnifh, which is moft proper and agreeable for this work, 
 and not fo apt to be polifhed off as fize or gum water. 
 
 8. Now whereas there are feveral reds, lighter and darker, to 
 be found on the edges of the blacker part, which fometimes lie 
 in ftreaks and clouds on the tranfparent part of the fhell ; thefe 
 are to be imitated with one of the two former mixtures of dragons 
 blood. 
 
 9. With a fmall pencil, dipped in one of thofe mixtures, dafli 
 the faid red flreaks, &c. flufhing them in and about the dark pla- 
 ces, both thicker and thinner, fainter and lighter, and with lefs 
 colour towards the lighter part ; and afterwards fweeten it by 
 degrees, that it may fo lofe its rtrength and rednefs, as to be quite 
 loll in the iilver, or more tranfparent parts of the work. 
 
 10. When you have done this, give it fix or feven wafhes of 
 fine feed-lac varnifh ; and, letting it ftand to dry for a day or 
 two, rulh it gently and very fmooth, to render it fit for the next 
 operation. 
 
 11. Take fine fiinguis draconis and gamboge of each a fuffi- 
 clent quantity, reduce them to a fine powder ; mix thefe with as 
 much fine feed-lac varniili as will varnifli the piece fix or {^\'ti\ 
 times over, and fet it by to drv tor fix or {c\t\\ hours or more. 
 
 12. Then give it another, or third varnifhing, with the lafi: 
 
 mixture. 
 
JAP It 
 
 mixture, going over it fo often till the filver feems to be changed 
 to a gold -like colour. 
 
 13. And, laftly, take care that your varnifli be not too thick 
 and high-coloured with the fanguis and gamboge ; but rather 
 heighten it by degrees, left the filver be too high-coloured before 
 it has had a fufficient body of varnifli : Let it ftand to dry fix or 
 feven days ; then polifh and clear it up as before diredted. 
 
 Japanning with gold fize. i. When your work is wrought, 
 and you would decypher on it, draw the gold fize all over that 
 part, and that part only, which you intend to gild or adorn with 
 gold, omitting thofe places where you intend to lay your metals 
 and other colours, as filver, copper, brafs, &c. 
 
 2. The fize being thus wrought for the gold, let it remain till 
 it is fo dry, that, when you put your finger upon it, it muf]: be 
 glutinous and clammy, and flick a little ; but not fo moift that 
 the leaft particle of it fhould come off with your fingers, but 
 that it may be much like to thick glue when it is half dry. 
 
 3. When it is in this temper, it is the very nick of time when 
 the gold is to be applied ; then take a piece of foft wafli-leather, 
 or the like, and wrap about your fore finger ; dip it in your 2;old 
 duft, and rub it where your gold fize is laid, for it will Itick 
 on the fize and no where elfe, 
 
 4. If any gold duft lie fcattered about your work, brufh it all 
 away into your paper, in which your gold is, with a fine varnifli- 
 ing brufh which has not been ufed. 
 
 5. Then with your pencil draw that part with gold fize alfo 
 ■which is defigned for your copper, and let it dry, as has been 
 dire£fed for the former j and then cover it with copper duft, af- 
 ter the fame manner as you did with the gold duft. 
 
 6. Having done this, lay on your filver fize ; and when it is 
 dry, as before, lay on your filver duft, as you did the two former. 
 
 7. But this is always to be obferved, that the metalline co- 
 lours are to be laid fucceflively one after another, letting each be 
 covered and thoroughly dry before you enter upon a diftindl 
 colour. 
 
 8. After all thefe, the other colours, which are not metal- 
 line, are to be laid on with gum water, referving the rocks, &c," 
 for the laft part of the work. 
 
 9. If you have mixed more gold fize than you have occafion 
 for at one time, or if you are hindered from finifhing it in one 
 day, you will obferve that your fize, in five or fix hours time, 
 will have a fkin upon it j in order to this, put the pencils into 
 a gallipot of water, and pour fair water over your pot of gold 
 fize ; and, if your fize fhould grow too thick, you may thin it 
 with Venice turpentine ; but you are to take notice, that doing 
 Shis oftener than once will fpoil the fize. 
 
 2 10. Let 
 
12 JAP 
 
 10. Let your fize be of a due confiftence, neither too thick 
 nor too thin, that it may run fmooth and dear, and that your 
 flrokes may be fine and even, fo that you may be able to draw 
 the moft fine hair flroices. 
 
 11. If you would imitate Japan work exadly, avoid filling 
 and thronging your black with draughts. In the true Indian work 
 the ground is never crouded up with many figures, houfes, or 
 trees, but a great fpace is allowed to a little work ; for the black 
 adds luftre to the gold, and the gold adds an excellency to the 
 black. 
 
 13. In thefe works you may ufe fome variety of metals, but 
 in a very flender proportion to that of gold, which is the gene- 
 ral ornament and charaderiftic of the genuine or true Japan 
 work. 
 
 13. Be very exacft in tracing or drawing out your defign in 
 vermilion or gold, to do it with an even hand ; then, your gold 
 fize being ready prepared, make with a fmali pencil the outward 
 lines, the boundaries of the rocks, and thofe things that feem 
 to lie beyond the buildings. 
 
 14. Begin thofe parts of the work that are mofl diftant from 
 you, becaufe then you will not be liable to rub or deface any 
 thing while it is v/et. 
 
 15. When you have done the farthefl: parts, work juft ac- 
 cording to your pattern, if you have any, and draw the gold 
 fize on the places anfwering to the black lines of your print or 
 pattern, and no where elfe, leaving the white for the black Ja- 
 pan, or ground of the work. 
 
 16. And, in all refpe(5ts, ufe your fize as if you were to copy 
 the print or pattern on white paper with ink or black lead ; only 
 you muft take care that, while you are working on one part, you 
 do not fufler that which is already done with fize to grow fo 
 dry that it will not hold the metals ; and for that reafon you 
 muft often try what cafe thofe parts of your work that are al- 
 leady fized are in. 
 
 17. And therefore you mufl fometimcs be drawing, fomc- 
 times gilding ; and then go to drawing again, and then to gild- 
 ing, continuing this alternately till your v.'hole work is quite 
 finifhed. 
 
 18. If you find it troublefome to draw the white and over- 
 pafs the black, or, on the contrary, to draw the black and omit 
 the white, on the tops of houfes, foidage of figures, faces, or the 
 like ; then for your eafe overlay all thofe parts of buildings, fold- 
 ages, faces, Sec. with gold fize, and lay the metals on them ; 
 and, when they are well dried, wafh over thofe places only which 
 you defign to fet off with black, with your fecuring varnifh. 
 
 19. Thou2,hj in fome Japan woik, filver is fometimes made 
 
 ule 
 
«» 
 
r^/. ii. jp/g/^ 11 
 
 y iimj^ /iu//u. 
 
JAP- ,3 
 
 ufe of, yet It Is but very fcldom, except in fome ralfcd works, 
 becaufe the beft and brighteft filver is too fplendid a metal for 
 black Japan ; and therefore we chufe, inftead of that, a kind of 
 dull or dirty filver, which is tin powder. 
 
 20. And, laftly, you may fet off your plain metals, when rub- 
 bed on gold fize, cither with metals mixed with gum water or 
 gold fize, viz. when the plain metals are laid, and thoroucrhly 
 dry, hatch or work in the fize for fetting off, as you would do 
 with metals mixed with gum water; and it is not to be doubted 
 you would find the gold to be the beft. 
 
 Japakning wit/j gold and cohurs. i. Draw or trace out 
 your defign, and nil moft part of your fmall works with gold, 
 paffing by, neverthelefs, fome few of them, which are to be rc- 
 ierved for bright copper, green, gold, &c. to be fo added to the 
 pieces that they may grace and enliven the work. 
 
 It is ufual with japanners to fill frequently with dead metals, 
 and to bind them in with geld. 
 
 2. Suppofe you have great flowers, you may fill the feeded 
 part thereof with filver, the leaves with vermilion j and, in fet- 
 ting off, work it with black diamond-wile; and the little fpots 
 of black, which lie in the white, work with bright red copper ; 
 then the part which is filled with red bind in with filver,' and 
 vein it with the fame. 
 
 3. The feed of another large flower may be filled with bright 
 copper, the leaves with filver; and, in fetting off, border the icd 
 with black, the infide with filver ; and compafs in the leaves 
 with gold, hatching them with black. 
 
 4. If any large flower is partly hid with a large leaf or leaves 
 of the plant, let the feed of this be green gold ; fome parts bri'^ht 
 gold ; and, if any fpots are in thofe parts, let them be done with 
 pure cinnabar ; the flower with orange tawney, and fet off witii 
 filver; and the leaves of the plant with yellowifh green. 
 
 5. If there be a third flov/er, that may be done with green 
 gold, the feed of it with bright gold, fquared with black; other 
 flowers may be laid with filver, the feeds with bright copper, 
 and hatched and fquared with black ; other flowers with cinna- 
 bar, the feeds with tranfparent green, inclofed with vermilion, 
 and the leaves hatched in v/ith filver. 
 
 6. Another large flov/er may have its feed red, chequered 
 with filver, the leaves covered with blue, hatched and furrounded 
 with gold ; leffer flov/crs red, feeded with blue, and fet off with 
 filver. 
 
 7. Another large flower may be laid with tranfparcrt blue, 
 bounded and wrought with gold ; the leaves covered with filver, 
 hatched with fine cinnabar. If there be another flov.'er like the 
 former, lay it with blue, feed it with dirty copper, fet off and 
 
 Z inclofed 
 
14 JAP 
 
 inclofed with filvcr, its leaves with bright red copper, hatched 
 with black. 
 
 8. Lay the feed of other flowers in tranfparent red, fet them 
 ofF with filvcr, border with black; make the leaves filver, and 
 hatch with black ; or make the feed bright copper, compafled and 
 fet ofF with black ; the leaves red copper, which may be hatched 
 and inclofed with white. 
 
 g. Though, in what has been faid, filling and fetting off has 
 been fpokcn of together, for the more eafy apprehending of the 
 matter ; yet the plain colours muft always be laid before you 
 think of fetting them off; becaufe you are more ready to fet ofF 
 with one colour before you undertake another, and your fancy 
 is more ready to adorn and burnifh, or fill every fingle flower 
 and leaf. 
 
 10. But, when you have filled the flowers, you are next to 
 confider what is to be the covering of the large leaves ; let them 
 be adorned with metalline colours, generally fuch as green ful- 
 lied gold, pale dull copper ; but here and there intermixing 
 tranfparent blue and green : Bound and vein them with fuch co- 
 lours as give the greateil life, fuch as may be chearful and de- 
 lightful. 
 
 11. Sometimes you may double the borders of the leaves with 
 the ground black of your piece left between, and make the 
 veins, finifhing lines, and the flrokes you fet ofF with, fine, clean, 
 even, and fmooth. 
 
 The zv^y of ]apa^ K 11^ G zvood or paper. The people of Ja- 
 pan have a method of making plates, bowls, and other vefTels 
 of brown paper, and fometimes of fine faw-duft. 
 
 Thefe vefiels are very light and flrong, after they have been 
 varnifhed. 
 
 The method of making them is as follows : 
 
 Boil a good quantity of flips or pieces of brown paper in com- 
 mon water ; mafhing them with a flick, while it is boiling, till 
 it is almofl become a pafle ; then take it out of the water, and 
 pound it well in a mortar, till it is come to a pumice, like rags 
 pounded in the trough of a paper-mill. 
 
 Then take gum arabic, and make a very ftrong gum water 
 with common water, a quantity fufficient to cover the paper 
 pafte an inch thick : Put thcfe together into a large glazed pipkin 
 and let them boil, ftirring them very well together, until you 
 think the paper pafte is impregnated with the gum; then, hav- 
 ing a mould ready to give the pafte the form or fhape you de- 
 fign it, put it into it. 
 
 The mould is made as follows : 
 
 As for example, fuppofe you defign to make a thing in the 
 fprm of a pewter or earthen plate, you muft procure a hard 
 
 piece 
 
JAP 15 
 
 piece of wood to be turned by a turner, on one fiJe of fuch a 
 form, i. e. like the back of a plate, and a hole or two made in 
 the middle quite through the wood. 
 
 And, befides this, another hard piece of wood muft be turned 
 much of the fame figuie, about the eighth part of an inch hCs 
 than the former; and, if you pleafe, you may have fome little 
 ornament carved or engraven on the wood. Oil thefe mouJds 
 very well on the fides that are turned, continuing to oil them, 
 until they arc well foaked with oil ; then they will be fit for ufe. 
 
 When you are about to make a plate of the paper pafte, take 
 that mould that has the hole in it, and, having oiled it again, fee 
 it even upon a ftrong table, and fpread over it lome of your pafte, 
 as equally as poflible, fo as to be every-where a quarter of an 
 inch thick ; then oil the other upper mould very well, and fet 
 it as exa(5tly as may be on your parte, and prels it hard down j 
 then fet a great weight upon it, and let it fland for 24 hours. 
 
 N. B. The hole at the bottom is for the water to pais through, 
 that is prefied or fqueefed out of the pafte ; and the oiling of the 
 moulds is to prevent the gummed pafte from flicking to th« 
 wood. 
 
 When the parte is dry, it will be as hard as a board, and be 
 fit to lay a ground upon, made with ffrong fize and lamp-black ; 
 then let it ftand to dry leifurely, and, when it is thoroughly dryy 
 then mix ivory-black finely ground with the following varnifh. 
 
 To make thejlrong Japan varmj}). Take an ounce of colo- 
 phony, and having melted it in a glazed pipkin, and having 
 ready three ounces of amber, reduced to a fine powder, fpriiikle 
 by little and little into it, adding now and then fome fpirit of 
 turpentine; when this is melted, fprinkle in three ounces of far- 
 cocolla finely powdered, ftirring it all the while, and putting in 
 frequently more fpirit of turpentine, until all is melted ; then 
 pour it through a coarfe hair-bag, placed between two hot 
 boards, and prefs it gently until the clear is received into a warni 
 glazed veflel. Mix ground ivory-black with this varnifh, and, 
 having firft warmed your paper plate, paint it in a warm room 
 before the fire, as equally as you can, and fet it into a gentle 
 oven, and the next day put it into a hotter oven, and on the 
 third day into one very hot, and let it ftand in it until the oven 
 is quite cold, and then it will be fit for any ufe, either for con- 
 taining liquors cold or hot, and will never change j nor can 
 this fort of veflels be broke without great difficulty. 
 
 It is highly probable, that, if the moulds v/ere cart: of any 
 hard metal, they might do better than if turned in wood. 
 
 The 7nethod of making them of the colour of gold. Having pre- 
 pared plates, bowls, or any other vertels, according to the me- 
 thod before directed, or according to this that follows : 
 
 Take 
 
i6 JAP 
 
 Take fine faw-duft, and, having dried it well, pour on it feme 
 turpentine, mixed with an equal quantity of rofin, and half as 
 much bees wax : Mix ihem well, and put them to your dry faw- 
 duft, ftirrins; all together, until the mixture becomes as thick 
 as a pafte ; then take it off the fire, and, having warmed the 
 moulds, fpread fome of your mixture on that which has a hole 
 in the middle, as equally as poffibly can be, and prefs down the 
 upper mould upon it; then fet it by, let it ftand until it is cold, 
 and the veflel will be fit for painting. 
 
 You may, Vv'hen the turpentine is melted, put in fomc far- 
 cocolla finely powdered, to the quantity of half the turpentine, 
 ftirriny; it well, and this will harden it. This compofirion ought 
 to be made in the open air ; becaufe, being apt to ^ke fire, it 
 will endanger the houfe. 
 
 But which ever of the mixtures you make ufe of, if you 
 would have them look like gold, do them over with fize ; and 
 •when that begins to flick a little to the finger lay on leaf gold, 
 either pure or the German fort, as is dired^ed for GILDING, 
 &c. which fee. 
 
 But the German gold indeed is apt to turn green, as mjofl: of 
 the preparations of brafs will do ; fuch as thofe of Bath metal, 
 and others of the like fort, which look like gold when they are 
 frefh polifhed, or cleaned every day. 
 
 But as they, being expofed to the air, will change or alter to 
 an uglv colour, gold is rather to be chofen ; and is durable, 
 never changing, and of a much finer colour than any of the 
 former for a continuance. 
 
 And although the leaf gold is tender, and may be fubjecl to 
 rub off; yet the varnifli, with which it is covered, will keep it 
 bright and intire. 
 
 After the gold has been laid on, and the gold fize is dry, and 
 the loofe flying pieces brufhed off, then lay on the following 
 varnifii to brighten the gold, and preferve it from rubbing. 
 
 Varn'ij}-) for geld and fuch leaf cf metals as imitates gold. Melt 
 fome colophonv, and then put in two ounces of amber well pul- 
 verifed, with fome turpentine, as the amber thickens, flirring 
 it well ; then add on ounce of gum elemi well powdered, and 
 fome more fpirit of turpentine ; flill keeping the liquor ftirring, 
 until it is all well mixed : But take care to ufe as little fpii it of 
 turpentine as you can ; becaufe, the thicker the varnifh is, the 
 harder will it be. 
 
 Let this operation be performed over a fand-heat in an open 
 glafs, and flrain it as directed for the former varnifh. 
 
 Ufe this varnifh alone, firfi: warming your vefiels, made of 
 the paper pafte, and lay it on with a painting brufh before the 
 fire J and afterwards harden it by degrees at three feveral times 
 
 in 
 
JAP 17 
 
 m ovens ; the firft being a flow heat, the next a warftier oven, 
 and the third a very hot one : And thefe vefTels vi^ill look Uke 
 poiifhed gold. 
 
 You muft obferve that thofe vefTels that are made with faw- 
 duft and the gums, you may for them ufe a varnifli, made of the 
 fame ingredients as above, excepting only the gum elemi ; and 
 this will dry in the fun, or in a very gentle warmth. 
 
 To tnake thefe paper ^ ifc. 'veJJ'eh of a red colour with gilded figures 
 t» them. The velTels being prepared as before dire<5ted, with 
 brown paper pafte, and after they are dried; &c. as direcSled for 
 the firft, mix fome vermilion with the varnilh firft directed, and 
 ufe it warm ; then ftove it, or harden it by degrees in an oven, 
 and it will be extremely bright ; or elfe lay on the firfl: ground 
 with fize and vermilion, and with gum arabic water ftick on in 
 proper places fome figures, cut out of prints, as little fprigs of 
 flowers, or fuch- like ; and when they are dry do them over with 
 gold fize, and let them remain until it is a little flicking to the 
 touch. Then lay on the gold, and let that be well clofed to the 
 gold fize, and dried ; then, if you have a mind to fhade any part 
 of the flower, trace over the fhady parts on the leaf gold with a 
 fine camel's hair pencil, and fome ox-gall, and then paint upoa 
 that with deep Dutch pink ; and when that is dry ufe the var- 
 nifh in a warm place, i. e. that varnifh directed for the covering 
 of gold ; and when you have done fet it to harden by degrees 
 in an oven. This varnilh will fecure the leaf gold, or German 
 metal from changing, by keeping the air from it. 
 
 The method of fdvcring thefe Japan vejfels. After the veflels 
 have been made, and are thoroughly dried, do them over with 
 fize^ and with ground chalk or whiting ; let them fland by till 
 they are very dry, and then paint them over again with the 
 brightefl gold fize you can get, for there is a great deal of dif- 
 ference in the colour of it ; fome of it is almoft white, and 
 other yellow ; the latter is- proper for gold, and the former for 
 filver. When this fize is almofl dry, lay on the leaf filver, and 
 clofe it well to the fize, brufhing off the loofe parts, when it is 
 dry, with fome cotton. 
 
 When you lay on your leaf filver or leaf gold, keep it free 
 from the air ; for the leaft motion of the air will rumple the 
 leaves, and they will not lie fmooth ; then ufe the following var- 
 nifh to cover the filver. 
 
 To make the varnifh to ccrocr the fihtr. Melt fome fine turpen- 
 tine in a well glazed pipkin ; then take an ounce and an half of 
 vvhite amber well pulverifcd, put it by degrees into the turpentine, 
 flirring it well, till the amber is all difTolved ; then put to it half 
 an ounce of farcocoUa pov.'dered, and half an ounce of gum elemi 
 well levigated j pourins; in at times more of the turpentine fpirit, 
 
 Vol.11. " C till 
 
i8 J A P 
 
 till all is diffolved. Let it be done over a gentle fire, and iceen -Rir- 
 ring the mixture continually while it is oji the fire. 
 
 This varnifh will be as white ar.d ftrong as the former, antf 
 muft be ufed warm, and is as ftrong as that which is laid upon 
 gold ; and is to be afterwards hardened by degrees in an oven, 
 as the gold varnifli, and the veflel will look like polifhed filver. 
 
 Direciions in colouring dr might i or prints of birds^ fiouiers^ ^c. 
 in Jap A N n'ing thefe vejfih. If the prints or drawings of flowers 
 be in black and white, if the center of the flower is rifmg, you 
 muft touch the edges of the lights with a thin tinclure of gam- 
 boge, and lay on fome Dutch pink or gall-flone over the fhades^ 
 fo as to run into the lights a very little. 
 
 This is to be done, bccaufe the thrums in the middle of flow- 
 ers arc generally yellow ; but if of any other colour, as fome- 
 times blue, &c. fometimes lighter, and ff)metimes darker; thea 
 touch the verges of the ligiits with a little ultramarine blue, and 
 over the fhades either fome fanders blue, to run a little into the 
 ultramarine, or elfc fhade with indigo; and fome of the white 
 of the print, being left void of colour, will then give life and fpirit 
 to the colours fo difpofed. 
 
 AH flowers fhould be ternierly touched in the light, juft to give 
 a little glare into the light parts of the colour you would give ta 
 the flower leaves ; and, if you paint by a natural flower, you wili 
 prefently fee that on the fhadv fide you mufi: lay on the moft fha- 
 dy part fuch a colour as will force the reft to appear forward : 
 But do not daub over thcSiades with too heavy a colour ; let it 
 be fuch as may he tranfparent, if poflible, and fcumble it into 
 the light colour that was laid on before. On this occafion the 
 pencil muft be ufed but lightly, with a- very little gum water in 
 it ; and it muft be ufed before the colours are quite dr)\ 
 
 In painting the leaves of plants and herbs, regard muft be had 
 fo the colours of the greens ; that fometimes being the chief dil- 
 tinguiftiing charader. 
 
 Of greens, verdigreafe is the lighteft ; therefore that colour 
 fhould be touched into the light parts of the leaf, from the place 
 where the lighter parts of the ihades end : And then on the ftia- 
 dy pans lay on fome fap green, fo as to unite with the verdigreafe 
 green ; and, if the natural leaffliould beof adarkilh colour, touch 
 the lighter fides of the leaves with a little verdigrcale green, and 
 Dutch yellow pink, mixed together, or with a tindture of French 
 berries ; but fo as to let the verdigreafe fliine more than the pink. 
 The leaving the lights in cok>aring a print has two advan- 
 tage=, viz. 
 
 If the lights be left on this occafion, the whitenefs of the pa- 
 per ferves inftead of the ufe of white paint, which is an heavy 
 rolow, and would rather confound thofe that have been pre- 
 z feribsd 
 
TAR 19 
 
 fcrlbed to be laid on, than do them any fervice ; but the colours 
 before directed, where there is no white laid on, will fhine agree- 
 ably into the white of the paper, 
 
 I am the more particular in this, becaufe fome perfons will lay 
 a blue flower all over with one colour, though it be thick enough 
 to hide both the lights and fliades ; and then it will look like a 
 penny picture, where there is nothing but a jumble of reds, bluesj 
 and greens. 
 
 In fuch pieces of work be fure to fcumble the lights into the 
 fhades of every colour, and leave the middle of the lights open 
 on the papers ; for, as the paper is white of itfelf, it makes a light. 
 
 To Japan brafs^ fiuh as is ufed to gild Irafs buttons .^ or make 
 them look like gold. This may be ufed upon leaf gold, or upon 
 what is called the German leaf gold, or upon brafs, or upon 
 Bath metal, which are defigned to imitate gold. 
 
 Take a pint of fpirit of wine, and put it into a retort-glafsj 
 then add a quarter of an ounce of gamboge ; half an ounce of 
 lake, and half an ounce of gum maftic ; fet this in a fand-heat 
 for fix days, or near the fire, or put the body of the retort fre- 
 quently in warm water, fhaking it twice or thrice a day ; then 
 fet it over a pan of warm fmall-coal duft ; and, having firfl well 
 cleaned the metal, do it over thinly with this varnifh, and it will 
 appear of the colour of gold ; it may be dried in a declining oven, 
 and it will not rub off. 
 
 N. B. This is a good varnifh to mix with any colours that 
 incline to red ; and the white varnifh to mix with thofe colours 
 that are pale, or of any other fort. 
 
 JARGONS of Avernioy to viakt thofe red thai are of a gridelin 
 colour. Thefe jargons are little flones commonly found in that 
 countrVs and feveral other places in France* 
 
 They are red and fliining like the jacinth, which has gained 
 them the name of falfe jacinths, becaufe they much imitate that 
 precious flone. 
 
 But there are many of thefe fmall f^ones found, which are not 
 of a red colour, but a kind of gridelin. 
 
 To thefe vou may give a red tin(5iurc with as much eafe as you 
 can take it away from the other, to convert them into diamonds. 
 
 To give a red colour to jargons, that are of a gridelin, you 
 muft take equal parts of purified fal armoniac, and of tartar cal- 
 cined to whitenefs, as is fliewn elfewhere; which miz well in 
 fine powder ; then flratify the Jargons in a crucible, layer upon 
 layer, beginning and ending with the powders. 
 
 "J'hen put the crucible in a good coal fire, but not hot enough 
 for the ftones to melt; but only to grow red-hot, that they may 
 be the better penetrated by the tincture the materials will give 
 it. Then let it cool j and by this method they will take as fine 
 
 C 2 and 
 
20 J A S 
 
 and fhining a red tinclurc, as the true and fincft natural JargonS 
 of this colour have. 
 
 The way cf extraning a tin^iure o/" Jargon dt Auvergne, and 
 to make very fair and hard diamonds of them. Thefc ftones may 
 be made white and hard, like true diamonds, by taking away their 
 tindure, which is no dcipicable fecret ; there have been rofe dia- 
 monds made of them fo fine that the beff goldfmiths have been 
 miftaken in them, and thought them true diamonds. 
 
 Thefe Jargons muft be boiled in a balneum of mutton fuet, 
 wherein they will lofe all their red colour, and become white. 
 
 Then take equal parts of emery of Spain, rock cryftal, pu- 
 mice flone, and fulphureous tripoU, the whole reduced into fine 
 powder, and fearced through a fine fie\ e ; make a pafte of it 
 with aqua-vitrr, and with this cement your Jargons in a large 
 crucible, layer upon layer; then cover with another, and lute 
 them well ; then fct it in a furnace over a gentle fire for half an 
 hour ; then augment your fire till it be hot enou2;h for fufion, 
 in which leave the whole for fourteen hours : Then let the fire go 
 out, and the crucible cool of itfelf, wherein, after you have broke 
 It, you will find your flones of a very fine diamond colour, hard, 
 fnining, and fparkling, like the true ones, which you may have 
 polifhed and worked up. 
 
 This fulphureous tripoli, which enters into the compofition of 
 this pafte, being not commonly known, I fhall fbew the way of 
 making it as follows : 
 
 Take equal parts of tripoli, crude antimony, and common 
 fulphur, and grind them to a fine powder on a porphyry ftone, 
 and make them into a pafte with vinegar \ which, v»'hen it is dry, 
 will eafily crumble. 
 
 This is the fulphureous tripoli, made ufe offer this purpofe. 
 
 Some perfons, in taking away the colour from Jargons, and 
 giving them the hardnefs and whitcnefs of diamonds, have made 
 ufe of barley meal ; making a pafte with it, and diftilled vinegar, 
 impregnated with lead, with which thcv ftratify the ftones or 
 Jargons in a crucible, covered with another, and well luted j- 
 which they afterwards put in a gradual, round, or wheel fire for 
 fix hours. But this way they could not gi\ e them the true dia- 
 mond colour. 
 
 Some alfo ftratify their ftones with pounded coal, which they 
 ptt in a crucible, covered and luted, which they fet on the fire 
 for fix hours, fo that the crucible be always red-hot. 
 
 But this way is not to be approved, becaufe the coals may dry 
 the humours of the ftone, and calcine it. 
 
 JASPER, is a precious Itone, that does not differ much from 
 the agate, excepting that it is folter, and does not take fo good 
 a polifh. 
 
I D O 2! 
 
 In fome Jafpcrs nature has amufed herfelf, in reprefentlng ri- 
 vers, trees, animals, landfcapes, &:c. as if they were painted. 
 
 The florid Jafper, found in the Pyreneans, is ufually ftained 
 with various colours j though there are fome which have but one 
 colour, as red or green ; but thefe are the leaft valuable. 
 
 The moft beautiful is that bordering on the colour of laque 
 or purple ; next to that, the carnation : But what is now ufual- 
 ly taken, is green fpotted with red. 
 
 JASSEMIN, in miniature, cover it with a lay of white, (haded 
 with black and white. Fortheoutfideofthe leaves add a littlebiftrc, 
 giving the half of each on that fide a faint reddifh calt of carmine. 
 
 J. B. fignifies James Binchius. 
 
 J. B. and a bird, is another different mark of a different au- 
 thor in a David, who fets his foot on Goliath's head, after Al- 
 bert Durer's manner. 
 
 J. BONASO F. 1544.1 
 
 J. B. F. P" flands for Julio Bonafoni fecit. 
 
 JULIO B. 3 
 
 J. B. M. fignifies John Baptifla of Mantua, who was fcholar 
 to Julio Romano ; he engraved the burning of Troy, and other 
 pieces of his own invention. 
 
 J. B. F. ftand for James Belli, a Frenchman, fecit, or Belli fecit. 
 
 J. C. itiv. fignifies Julius Caefar Procaccinus inventor. 
 
 ICONOGRAPHY, dcfcription of images, or of ancient 
 ftatues of marbles and copper, of bufls and femi-bufts, of paint- 
 ings in frefco, mofaic works, and ancient pieces of miniature. 
 
 ICTHYOCOLLA, ifing-glafs : Schroder tells us, it is made 
 from a fifh, which is common in the Danube ; the fifh having 
 no bones but about the head. 
 
 After it is cut in fmall pieces, they boil it in water to a thick 
 jelly, which is fpread abroad and dried, then rolled up, and 
 brought to us in the form we fee it in the fhops. 
 
 IDEA, is reprefented, in painting, &:c. by a beautiful lady, 
 rapped into the air, covering her nakednefs only with a fine white 
 veil ; a flame on her head, her forehead furrounded with a cir- 
 cle of gold, fet with jewels ; fhe has the image of nature in her 
 arms, to which fhe gives fuck, and points at a very fine coun- 
 try underneath. — She is in the air, becaufe immaterial, and con- 
 fequently immutable ; naked, exempt from corporeal paffions ; 
 the white veil denotes the purity of ideas, differing from corpo- 
 real things ; the golden circle denotes the perfection of Ideas, 
 being the model of all things ; the country pointed at, the infe- 
 rior fenfible world. 
 
 IDOLATRY, is reprefented, in painting, &c. by a woman 
 blind, upon her knees offering incenfe to the flatue of a brazen 
 bull. Blind, becaufe fhe does not rightly perceive whom fhe 
 
 C 3 « ought 
 
22 I M I 
 
 ought principally to adore and worfliip ; It needs no farther ex- 
 planation, for all thofe ai5^s of adoration fhe blindly renders to 
 creatures, whereas fhe ought to adore her Creator only. 
 
 JEALOUSY. This paffion wrinkles the forehead, the eye- 
 brows are funk down and knit, and the eye-ball is half hid under 
 the eye-brows, which turn towards the object ; it {hould ap- 
 pear full of fire, as well as the white of the eye, and the eye-lid ; 
 the noftrils are pale, more open, and more marked than ordi- 
 nary, and drawn backwards, fo as to make wrinkles in the 
 cheeks. The mouth is fo fhut, as to fhew that the teeth are clofed ; 
 the corners of the mouth are drawn back, and very much funk 
 down ; the mufcles or the jaws appear funk ; the colour of the 
 face is partly inflamed, and partly yelh;wiih ; the lips pale or livid. 
 And thus it muft be defcribed in drawing, &c. Plate XXVIII. 
 of Vol. I. 
 
 JET, fometimes called black amber, is a mineral, or a fof- 
 file ftone, extremely black, formed of a lapidific, or bituminous 
 juice in the earth, in the manner of coal : It works like amber, 
 and has mofi: of its qualities. 
 
 It abounds in Dauphine ; but the bcfl in the world is faid to 
 be produced in fome of the northern parts of England. 
 
 There is alfo a factitious Jet made of glafs, in imitation of 
 the mineral Jet. 
 
 This is drawn out into long hollow firings, which are cut, and 
 formed at pleafure. It is much ufed in embroideries, and in the 
 trimmings of mourning, and may be made of any colour, tho' 
 they are ufually black and white. 
 
 J. G. Van Uiiet, is the fame as James Grandehomme. 
 
 IQNOBLENESS, is reprefented, in painting. Sec. by a wo- 
 man in a fhort garment, becaufe it was permitted to none, but 
 noble women, to wear long robes. Her hair uncombed de- 
 notes low plebeian thoughts, that never rile to any thing confi- 
 derable ; her afles ears, that fhe is indocile ; an owl on her head, 
 which diflers from the ordinary birds, and their fpecies, in not 
 being known ; as the plebeian has no pedigree : Her fweeping 
 with a broom fhews, that the vulgar are emplo\ed in fervile 
 things, not capable of divine, moral, or natural ones. 
 
 J. H. ftands for Jerom Hopfer. 
 
 J. K. ftands for James Kewer. 
 
 J. L. fee. fignifies Johannes Livius fecit. He engraved after 
 Rembrant's manner. 
 
 I. M. ftands for Ifrael Meek in certain fubjedts of the paflion, 
 and other plates, fee I. V^. M. The fame mark was alfo ufed by 
 Ifrael Martino, fuppofed to be the fame with Bon Martino, who 
 lived in 149c. 
 
 IMITATION, is reprefented, in painting, &c. by a woman 
 
 holding 
 
I N D 23 
 
 'holding pencils in her right hand, a mafk in her left, anJ an ape 
 at her feet. — The pencils are the inftruments of the art that imi- 
 tates colours ; and the figure produced by nature, or by art it- 
 felf; the mafk and ape demonftrate the imitation of human ac- 
 tions ; the ape imitates men, and the other the deportment of 
 men upon the ftage. 
 
 IMPERIAL ////)', in miniature ; this flower is of two colours, 
 viz. yellow and red, or orange colour. 
 
 Colour the firft v^ith orpiment, and fliade with gall- (lone and 
 a little vermilion. — Cover the fecond with orpiment and vermi- 
 lion, and fhade with gall-ftone and vermilion, doing tiie begin- 
 ning of the leaves, next to the ftalk, with lake and biftre very 
 deep, and ail veins of this mixture along the leaf. — Do the ^reen 
 .with verditer and mafticote, fhaded with iris and gamboge. 
 
 INCONSTANCY, is reprefented, in painting, &c. by a 
 woman all in blue, fetting her foot upon a great crab ; like the 
 cancer in the zodiac ; with the moon in her hand. The crab 
 denotes irrefolution, it going fometimes forward, and fometimes 
 backwards ; fo do fickle men; the moon, changeablenefs, ne- 
 ver remaining for one hour the fame; the blue refembles the 
 colour of the waves of the fea, which are extremely inconftant. 
 
 INDIAN ink. fee Indian INK. How to drazv with INDIAN 
 ■ink. This is to be done after the manner of waftiing, or, inftead 
 of Indian, you m.ay temper lamp-black or burnt bread. 
 
 Temper either of thefe in fair water, in a fliell, or upon your 
 hand ; and, the outlines having been firft drawn with a coal or 
 black lead, dip the point of an indifferent fliarp pencil into fair 
 water, and then into the Indian ink, and draw all the outlines of 
 your picture very fainlly. 
 
 2. Take notice, that all the temperature of Indian ink muft' 
 bevervthin, waterifli, and not too black. 
 
 3. When it. is dry, rub out the outlines which you drew with 
 the coal, with a bit of ftale white bread ; if too black, then dafh 
 on your Ihadows very faintly, and deepen by degrees at plea- 
 fure; and finifh it with flipples, it being moft advantageous to 
 any one who Ihall prailife limning. 
 
 4. Be fure.notio take too much ink in your pencil, which 
 you may prevent by drawing it through your lips. 
 
 5. Never lay your {hadows on too deep, but ^'deepen them 
 down by degrees ; for, if they are too deep, they cannot be 
 heightened again. 
 
 INDIAN red^ is a colour of a body ; yet is ufeful for a back- 
 ground for flowers, at a diftance, being ufed v/ith gum water. 
 
 T^here is alfo an earth brought from the Ifle of Wight, which 
 has been found to mix extremely vi^ell with gum v/aier ; though, 
 it being of a vilcous nature, it requires lefi, gum than molt otiier 
 
 C 4 colou.'s. 
 
24 I N D 
 
 colours, and as it is naturally fit for ufe without grinding, and Is 
 vifcous, fo it will, without doubt, mix with oil, as well as witl> 
 water. 
 
 There is one thing very extraordinary in this earth, i. e. that, 
 if you rub a deal-board with it, it makes it exadly of the colour of 
 mohogany wood, and flains it fo deep, and with fo much ftrength, 
 that it is hard to get it out with wafhing. 
 
 And, though the earth is very dry, yet it has not been able to 
 be got out of papers, in which it has been carried in a pocket. 
 
 INDIAN bean^ to paint, in miniature, fhade the middle leaves 
 with lake only; and add to it a little ultramarine for the reft, 
 as for the green, verditer, and fhade with iris. 
 
 INDIAN wood, called alio Jamaica and Campeche wood, is 
 taken out of the heart of a large tree, growing plentifully in the 
 ifles of Jamaica, Campeche, &c. It is ufed in dying ; its decoc- 
 tion is very red j and it has been obferved, that putting fome of 
 this deco6tion into two bottles, and mixing a little powder of 
 alum with the one, it will become of a very beautiful red, which 
 will hold ; the other in a day's time becoming yellow, though 
 both bottles were {topped from the air alike ; and, if a little of 
 the fame decoction were expofed to the air, it would become as 
 black as ink, in the iame fpace of time. 
 
 INDIGO, a drug of a deep blue colour, brought hither from 
 the Weft-Indies. 
 
 It is made of the leaves of a plant, called by the Spaniards 
 anil, and by us Indigo. 
 
 The method of preparing it is as follows : 
 
 When the plant has grown to a certain height, and its leaves 
 are in a good condition, they cut down, and throw it into a kind 
 of vat, putting to them as much water as will cover them. 
 
 Thefe are boiled together for the fpace of twenty-four hours ; 
 and at the top fwims a fcum, with all the different colours of the 
 rainbow. 
 
 Then the water is let off into another vcfTel, where they agi- 
 tate it, and ftir it about laboriouHy, with five or fix poles fitted 
 for that purpofe. This thev do till the water becomes of a deep 
 green, and till the grain, as they call it, forms itfelf ; which they 
 difcover, by taking a little of it out into another vefTel, and fpit- 
 ting in it ; tor, if then they perceive a bluifh dreg fubfiding, they 
 ceafe beating it. The matter then precipitates of itfelf, to the bot- 
 tom of the vefTel j and when it is well fettled they pour off the 
 water. 
 
 After this, they take off the Indigo, and put it into little linen 
 bags, and let it drain ; this done, they put it into fhallow wood- 
 en boxes, and when it begins to d.'-y they cut it into flices, and 
 fet them to dry and harden in the fun. 
 
 There 
 
I N D 25 
 
 There are feveral forts of Indigo ; the beft is that called Ser- 
 quilTe, after the name of a village where it is prepared. 
 
 We chufe it in flat pieces of a moderate thicknefs, pretty hard, 
 clean, light enough to fwim in the water, inflammable, of a fine 
 blue colour, marked a little on the infide with filver ftreaks, and 
 appearing reddifh when rubbed on the nail. 
 
 Indigo is ufed by painters, who grind it and mix it with white, 
 to make a blue colour j for, without that mixture, it would paint 
 blackifh. 
 
 It is alfo mixed with yellow, to make a green colour. It is 
 alfo ufed by dyers. 
 
 To prepare for the INDIGO chje. You muft firfl: have the 
 ground of a dye, which is to be put into the kettle, and made as 
 warm as you can bear it ; and afterwards prepare a ley of pot- 
 afhes. 
 
 The kettle muft be firft filled with water and made to boll, 
 then the pot-aflies are to be put in ; boil them, and then put in 
 a bowl-full of bran, and three handfuls of madder j boil them all 
 for a quarter of an hour ; then remove the fire, and pound the 
 Indigo in a mortar to an impalpable powder, and pour fomc of 
 the ley upon it. Let it ftand to fettle, and then pour feme of the 
 Indigo dye into the blue dye copper, and proceed thus, till the 
 proper quantity of Indigo is turned into the dye ; then beat what 
 remains a fecond time, and let it ftand to fettle, and pour the 
 ley into the blue copper, repeating this till you have turned a pro- 
 per quantity of Indigo to ley, which muft all be poured into the 
 copper ; then you muft proceed to dye your fluffs, &c. 
 
 77;^ Indigo dye. Allow to every quarter of a pound of Indigo 
 a pound and a half of pot-afhes, a quarter of a pound of mad- 
 der, and three handfuls of wheaten bran ; boil thefe for {^vnn or 
 eight minutes, and then let it ftand to fettle ; pour off the clear 
 part of the fuds or liquor, and pound the Indigo very fine, and 
 mix it with a fufiicient quantity of frefli woad, or ftale Indigo ; 
 and then pour the fuds upon it, and let it boil for twenty-four 
 hours, and it will be ready to dye withal. 
 
 To prepare the dye copper. Firft throw in a pint of wheaten 
 bran, next to that the woad, and after that two pounds of mad- 
 der ; then fill the copper with water, and make it boil for three 
 hours; then pour it off into the vat, and let it ftand till it is of a 
 due connftence ; then boil the copper full of water, and pour it 
 into the dye fuds, and cover it up warm ; let it ftand two hours 
 to fettle, and look upon it every hour, till it becomes blue. 
 
 Then, according to the quantity of ftuffs to be dyed, put in 
 three or four pounds of Indigo, and three pound of pot afhes ; let 
 it ftand to fettle and dye with this liquor, taking care always to 
 ftir it 3 cover it clofe, and let it ftand two hours after every time 
 
 vou 
 
26 I N J 
 
 you have dyed with it ; after which time you may dye with it 
 again, adding a fufficient quantity of lime, if you ufe it often, al- 
 ways letting it ftand two hours, and then adding lime and ftir- 
 iing it. 
 
 How to prepare il}€ IndIGO dye for the ley, in conjurMion with 
 the Provence blue, and make it lajling for fluff's, filks, woollen, and 
 linen. If the ware is to have a deep dye, you mufl: firft pre- 
 pare it in tartar and vitriol j but, if of a light dye, in alum and 
 tartar. 
 
 Boil three pounds of brown wood in a bag, in a kettle of water, 
 for half an hour ; then take it out and dry it, and let the dye grow 
 cool enough for you to bear your hand in it ; then make ufe of 
 vour Indigo and a(hes, as in the diredion for the blue dye, with 
 all the reft of the ufeful and remedying drugs, from beginning to 
 the end, as there direded. 
 
 When the blue dye has flood twenty-four hours, and the In- 
 <ligo has come to its perfect ftrength, and begins to be blue, firft 
 dve what you would have of a deep blue, and the Jighteft iaft ; 
 and, having worked the dye half an hour, let it reft for an hour, 
 and fo on as long as you work it. 
 
 If the lev be too weak, you may ftrengthen it at pleafure. 
 
 INDOCIBILITY, is reprefented, in painting, &c. by a wo- 
 man of a ruddy complexion, lying all along, holding an afs by 
 the bridle, the bit in his mouth, in one hand, and leans her el- 
 bow of the right arm upon an hog on the ground, a black hood 
 en her head. — On the ground fignifies her Indocility, not being 
 able to rife higher, but ftands ftill j her ignorance is imitated by 
 the afs. The hog denotes infenfibility and ftupidity, never be- 
 ing good till dead. The hood intimates, that black never takes 
 any other colour. 
 
 INGENUITY, is reprefented, in painting, he. by a young 
 fpark of a vehement daring afpeft; with a helmet, whofe creft 
 is an eagle's wings of divers colours on his fhoulders, with a 
 bow and arrow, as if he would let fly. — This youth Ihews that 
 the intellect never grows old ; his afpecl, ftrength and vigour ; 
 the eagle, generofity and loftinefs ; the bow and arrow, inquifi- 
 tivenefs and acutenefs. 
 
 INJUSTICE, is reprefented, in painting, &c. by a man in 
 a white garment full of fpots ; a fword in one hand, and a globe 
 in the other ; the tables of the law all broken to pieces on the 
 ground ; blind of the right eye ; trampling on the balance. The 
 garment denotes Injuftice to be the corruption and ftain of the 
 mind ; the laws broken, the non-obfervance of them, being dc- 
 fpifed by malefactors ; and due weighing of matters neglected 
 is intimated by the balance. The blind eye fliews that he fees 
 onlv wi:h the left, that is, what is for his own intercft. 
 
 INK, 
 
INK 27 
 
 INK, a very good black for writing. Take rain water two quarts, 
 nut-galls bruifed half a pound, copperas four ounces, alum four 
 ounces ; infufe all in a gentle heat for a month, add gum arable 
 four ounces, which diflblve in it, and keep the mixture for ufe. 
 
 Another very good Ink for writing. Take ponderous galls, 
 three ounces ; reJuce them to powder, infufe thtm in three pints 
 of rain water, fetting it in the fun or a gentle heat for two days; 
 then take common vitriol three ounces, powder it, put it in, and 
 fet it in the fun for two days more, fl:iake it well, and add an 
 ounce of good gum arable. 
 
 To make the London powder Ink. Take ten ounces of the clear- 
 eft nut-galls, bruife them and fift the powder very fine ; then add 
 two ounces of white copperas, four ounces of Roman vitriol, gum 
 arable or fandarach an ounce ; pound and lift them very fine, fo 
 that though they appear white, a little of it being put into water, 
 it will in a little time turn black ; and an ounce of powder will 
 make a pint of very black Ink. 
 
 To make Japan., or flnning Ink. Take gum arable and 
 Roman vitriol of each an ounce, galls well bruilcd a pound, put 
 them into rape vinegar, or vinegar made of clear fmali beer ; fet 
 them in a warm place; ftlr them often till the liquor becomes 
 black ; then add to a gallon an ounce of ivory black, and a quar- 
 ter of a pint of feed-lac varnifh, and it will be a curious black 
 fhining Ink. 
 
 To make a powder Ink, to rub on paper. Take about twenty 
 nut-galls, reduce them to a very fine powder ; half an ounce of 
 Roman vitriol, and as much gum arable and gum fandarach ; 
 powder and fift them very fine, then mingle them together, and 
 rub the paper hard with a piece of cotton, and polifli it with a 
 piece of ivory ; write with water, and in a little time the letters 
 you write will appear a fine black, as if written with the bell: 
 Ink. 
 
 To make Chi?ia Ink. Take lamp-black purified eight ounces, 
 indigo two ounces, ivory black one ounce, peach-ftone black 
 half an ounce j beat all together, and make a mafs ; make it into 
 a pafte with water in which a very little gum arable has been 
 diflblved ; and fo form them into long fquare tablets. 
 
 A fiining Japan or China Ink, Take an ounce of lamp-black, 
 and clarify it in an earthen pipkin to take out the drofs; two 
 drachms of indigo, half a drachm of peach black, one drachm of 
 black endive burnt ; reduce them to a very fine powder, and then 
 with a moiety of fig-leaf water, and another part of milk, and a 
 very little gum arable, when they are well mixed, make them up 
 for \x{e. 
 
 To make Indian Ink. Take horfe-beans, burn them till the/ 
 are perfectly black, grind them to a fine powder, and with a 
 
 weak 
 
2S INS 
 
 weak gum arable water make it into a parte, which form intft 
 long Iqiiare cakes. 
 
 To make red wr/tinglsK. Take rafpings of brafil one ounce, 
 white lead and alum of each two drachms ; grind and mingle 
 them, infufe them in urine one pound, with two fcruples of gum 
 arabic, or a drachm at moft. 
 
 AnoJjcr red Ink. Take wine vinegar a pint, rafpings of bra- 
 fil one ounce, alum half an ounce; infufe all for ten days ; then 
 boil it gently, and add to it five drachms of gum arabic; dilTolve 
 the gum, ftrain and keep it for ufe. 
 
 Note, that two drachms of gum in fomc cafes may be enough. 
 
 To make red ivriting Ink luith vermilion. Grind vermilion 
 well upon a porphyry Itone with common water ; dry it arid put 
 it into a glafs veflel, to which put urine ; fhake it, let it fettle, 
 then pour off the urine, and put on more urine ; repeat this 
 changing the urine eight or ten times ; fo will the vermilion be 
 well cleanfed ; to which put glair of eggs to fwim on it above a 
 finger's breadth ; ftir them together, and when well fettled ab- 
 ftradl the glair; then put on more glair of eggs, repeating the 
 fame operation eight or ten times alfo, to take away the fcentof 
 the urine ; laftly, mix it with frefh glair, and keep it in a glafs 
 veflel clofe ftoppe<i for ufe ; and when you ufe it mix it with 
 water or vinegar. 
 
 To make red printing l^iz. Grind vermilion very well with 
 liquid varnifii or linfeed oil. 
 
 To make a blue Ink. Grintl indigo with honey mixed with 
 glair of eggs, or glue water made of ifing-glafs, diltolved in water 
 and ftraincd. 
 
 To make green Ink to write zvith. Boil vcrdigreafe with argol 
 in fair wnter, and then diflblve in it a little gum arabic. 
 
 j^ green printing Ink. Grind Spanifli green with liquid var- 
 nifh, or linfeed oil ; and after the fame manner you may make 
 a printer's blue, by grinding azure with linfeed o'\l. 
 
 To take Ink out of printed books or pielures. Wet it with the 
 luice of lemon, and the Ink will difappear. Spirit of vitriol will 
 do the fame. 
 
 INSPIRATION, is reprefented, in painting, &c. by a glitter- 
 ing ray in a frar-light night, darting at the bread of a young man 
 in yellow ; his hair knotted, mixed with ferpents ; looking up 
 to heaven, holding in one hand a naked fword, the point to the 
 ground, and a fun-flower in the other. The ftarry (ky fignifies 
 the grace of God infpiring the mind ; the hair, &c. that a finner 
 can have only brutifn and horrid thoughts ; looking upwards, 
 that without grace and infpiration the mind cannot be elevated 
 above earthly things. The heliotrope denotes that, as it always 
 
 tuins 
 
all 
 
 'O* 
 
 t; 
 :he 
 cs, 
 re- 
 nd 
 
 ' in 
 :cd 
 
 :tle 
 
 his 
 jt- 
 
 afs 
 to 
 
 fes, 
 
 ich 
 or- 
 
 dle 
 ouC 
 nto 
 
 /ith 
 and 
 ake 
 fter 
 
 are 
 rnd, 
 ittle 
 oals 
 
 the 
 
 lod ; 
 
 firfl 
 
 s. 
 
 leof 
 
 car- 
 
INS 2^ 
 
 turns towards the fun, fo a finner, once infphedj turns with all 
 afFedion towards God . 
 
 INSTITUTION, is reprefented, in painting, Sec. hv a wo* 
 man, holding in her hand a Httle bafket with fwallows in it ; 
 which, they fay, is the hieroglyphic of Inftitution among the 
 Egyptians, from tlie benefit given to mortals by Ofyris and Ceres, 
 from whom they received the laws of living well, and the pre- 
 cepts of tilling the ground ; Ofyris was taken for Jupiter, and 
 Ceres the goddefs of coin. 
 
 77^^ names of the principal INSTRUMENTS that are iifed in 
 the art of making glafs . See plate III. The hollow pipe, marked 
 A, ferves to blow the glafs ; it ought to be of iron, with a little 
 wooden handle on the top. 
 
 The rod, marked B, ought to be of iron, but not hollow ; this 
 ferves to take up the glafs after it is blown, and cut off the for- 
 mer, fo that there remains nothing to do to it, but to perfect it. 
 
 The fciflbrs, marked C, are thofc which Icrve to cut the glafs 
 when it comes off from the firft hollow iron, when it is given to 
 the mafter-workman. 
 
 The {heers, marked D, ferve to cut and fhape the great glafles, 
 as alfo the leffer, to open them and make them more capacious. 
 
 The Inftruments, marked E, ferve to finiih the work, which 
 the Italians call ponteglo, paffago, procello, fpiei, and alfo bor- 
 fello, whereof we want the figure. 
 
 The great ladle, marked F, is of iron, the end of the handle 
 being only done over with wood ; it is with this you take out 
 the metal of the great pot, when it is refined, and put it into 
 the little ones for the workmen. 
 
 The little ladle, marked G, is alfo of iron, and covered with 
 wood at the handle ; this ferves for flcimming the metal, and 
 taking off the alcalic fait which fwims on the top, as alfo to take 
 the metal out of the pots, and caft it into water to refine it, after 
 a method to be hereafter treated of in its place. 
 
 The great and little fhovels, or peels, marked H, and which are 
 hollow, having the edges turned up all round except at the end, 
 ferve only to take up the great glaffes : The lefs is called the little 
 f hovel ; and they make ufe of one like this to draw cut the coals 
 and afhes of the furnace where the fire is made. 
 
 The hooked fork, marked I, ferves to ftir the matter in the 
 pots ; it ought to be all of iron except the handle. 
 
 The rake, marked K, is alfo of iron, and the handle of wood ; 
 it ferves to ftir the matter, as alfo to move about the frit in the firfl 
 oven. 
 
 The Inflrument, marked L, is for making chamber-pots. 
 
 The fork, marked M, is made alfo of iron, and the handle of 
 wood i there are of them of feveral bignelTcs i they ferve to car- 
 ry 
 
30 I N V 
 
 rvthe glafs-works into the upper oven to cool them : They make 
 ufe alfo oi forks, in glafs-houfes, when they change the pots In the 
 furnace. 
 
 The great ladle, marked N, Is of brafs, hollow, and full of 
 holes about the bignefs of a pea j its handle towards the bottom 
 is of iron, and the top of wood : This ladle ferves to take off the 
 alcali fait from the kettles, as fafl as the ley evaporates. 
 
 There are alfo feveral moulds, both of marble and brafs, and 
 alfo of copper, which ferve to make their forks of feveral figures, 
 accordingly as the workman defigns them in blowing, which would 
 be too tedious here to defcribe. 
 
 INTAGLIO's, are precious ftones, having the heads of great 
 men, infcriptions, and the like engraven on themj fuch as we 
 frequently fee fet in rings, feals, &c. 
 
 INTELLKiENCE, is rcprefented, in painting, &c. by a 
 woman, in a golden crape gown, crowned with a garland, hold- 
 ing a fphcre in one hand ar^d a fer(5ent in the other. — The gown 
 flievvs that (he fliould be always fplendid and precious like gold^ 
 averfe from abjccl notions ; the fphere and ferpent, her creeping 
 along Into the principles of natural things, that are more imperfeft 
 than fupernatural, and more fuitable to the fphere of our adlivity. 
 INVENTION, in painting, &c. is the choice which the 
 painter makes of the obje<Sts that are to enter the compofition of 
 the piece. 
 
 Du Pile obPjrves, that Invention differs from difpofition, and 
 that it is thefe two things together that form compofition. 
 
 For, after having made a good choice of objefis proper for the 
 fubjecl, they may be ill difpofed, and then, though the Invention 
 be never io good, the difpofition or ordonnance will be faulty, 
 and the piece will difplcafe. 
 
 Of all the parts of painting. Invention is that which gives the 
 painter the faireft occafions of fhewing his genius, his imagi- 
 nation, and good fenfe. 
 
 M. Felibien gi^'es the name Invention to every thing that de- 
 pends on the genius of the painter, as the ordonnance, the difpo- 
 fition of the fubjecl, and even the fubjecl itfelf when it is new. 
 
 But the term Invention, taken in this fenfe, is no term peculiar 
 to painting, but agrees alfo to other arts. 
 
 In another place M. Felibien diftinguifhes Invention into two 
 kinds, to wit, that which arifes immediately from the mind of the 
 painter, and that which he bsrrows from fome other. 
 
 Invention, is reprefented, in painting, &c. by a woman: 
 This miftrefs of arts appears in a white robe, whereon is written 
 Non aliunde ; having alfo two little wings on her head ; in one 
 hand holding an image of nature, a cuff on the other, with the 
 motto Ad operam. — Youth denotes many fnirits in the brain, 
 
 where 
 
I R I 31 
 
 where Invention is formed ; the white robe, the ptircnefs of it«, 
 not making ufe of other men's labour, as the motto fhev/s ; the 
 wings, elevation of intelledt; naked arms, her being ever in ac- 
 tion, the life of Invention ; the image of r>ature fliews her In- 
 vention. 
 
 JO. GUILL. BAURN, fignifies John-William Baurn. 
 
 JO. AN. BX. fignifies John-Antonius Brixianus, 1538. 
 
 JOHN ab Eyk, commonly called John of Bruges^ the happy 
 inventor of the art of painting in oil, anno 1410, difciplc of his 
 brother Hubert ; excelled in hiftory-painting; died in 1441, ac^eJ 
 71 years. 
 
 Cfiirw/Zw^ JOHNSON, alias Janfens^ was an excellent painter, 
 both in great and little ; but, above all, his portraits were admi- 
 rably well done. He was born in, and refided at Amflerdam, 
 from whence he came over into England in the reign of kinc' 
 James I, and drew feveral fine pi«5lures after that king, and moii: 
 of the court; He alfo lived in the time of king Charles I, and 
 was contemporary with Van Dyke, but the great fame of that 
 mafter foon eclipfed his merits ; though it muft be owned his 
 pictures had more of neat finifhing, fmooth painting, and labour 
 in drapery throughout the whole, yet he wanted the true notion 
 of Englifh beauty, and that freedom of draught which the other 
 was mafter of. He died in London. 
 
 Martin JOHNSON, the famous feal-engraver, was alfo an 
 extraordinary landfcape-painter after nature, ; he was bred, it is 
 true, to engraving feals, but painted in his way equal to nay 
 body ; he arrived at a great excellency in landfcape views, which 
 he ftudied with application, making a good choice of the delight- 
 ful profpecls of our country for his fubjefls, which he performed 
 with much judgment, freenefs, and warmth of colouring : Seve- 
 ral of his landfcapes are now in the hands of the curious in Eng- 
 land, though they are very fcarce ; he died in London about 
 the beginning of king James the Second's reign. 
 
 JONQUIL, to paint in miniature, lay on mafticote and gall- 
 ftone, and finifli it with gamboge and gall-ftones : For the leaves 
 and ftalks ufe fea green, {haded with iris green. 
 
 JOY, is a pleafant emotion of the foul, in which confifts the 
 enjoyment of a good, which the impreiTions of the brain reprefent 
 as her's. 
 
 If the foul be pofTefTed with Joy, the forehead Is ferene, and 
 the eye-brow v/ithout motion, and raifed in the middle; the eye 
 moderately open and fmiling ; the eye-ball brifk and fliining ; 
 the noftrils a little open ; the corners of the mouth are a little 
 raifed ; the complexion lively ; and the cheeks and lips ruddy. 
 See plate XXVIII. of Vol. I'. 
 
 IRIS, is reprefented, in painting, &:c. as a nymph with large 
 
 wings. 
 
32 I R O 
 
 vings, extended like to a femicircle, the plumes fet in rows o^ 
 divers colours, as yellow, green, red, blue, or purple ; her hair 
 hanging before her eyes, her breafts like clouds, drops of water 
 falling from her body, and in her hand Iris, or the flower-de-lis. 
 
 Iris, in painting and miniature, is done as follows : 
 
 The Perfian or Indian Iris is done by covering the innermoft 
 leaves with white, and fliading them with indigo and green mixed 
 together, leaving a fmall white feparation in the middle of each 
 leaf. 
 
 As to the outward leaves, you muft in the fame part lay on a 
 lay of mafticote, and fhade it with gall-ftone and orpiment, mak- 
 ing fmall, deep, and longifli dots or fpots at fome imall diftance 
 from each other; upon the upper fide of all the leaf, and at the end 
 of each leaf make large fpots of biftre and lake for fome, and of 
 indigo alone for others, but very deep. 
 
 The reft, and the outfidc of the leaves, muft be of the fea fort 
 and mafticote, very pale, and fhaded with bladder green. 
 
 Another fort of Iris is laid on with purple and white, mixed up 
 with a little more carmine than ultramarine; and, for the fhades, 
 but efpccially for the middle leaves, diminifh the quantity of the 
 white; and, on the contrary, let the ultramarine overpower the 
 carmine; and, with this colour, exprefs veins, leaving a fmall yel- 
 low nervure on the infide, in the middle of the leaves. 
 
 Other Iris's again have this nervure on the firft leaves, whofe 
 end only is bluer than the reft. 
 
 Others again are fhaded and finifhed with a redder purple, and 
 have alfo a nervure in the middle of the leaves without, which is 
 to he white, and fhaded with indigo. 
 
 Some of them again are yellow, and are done with a lay of or- 
 piment and mafticote, fhaded with gall-ftones, with veins of bif- 
 trc on the upper fide of the leaf. 
 
 The greens of them all muft be of the fea colour, mixed with 
 a little mafticote for the ftems and ftalks, and (haded with blad- 
 der green. 
 
 IRON, is a hard, fufible, and malleable metal, confifting of 
 an earth, fait, and fulphur, but all impure, ill-mixed, and digefted, 
 which render it very liable to ruft. 
 
 It is the hardeft, drieft, and moft difficult to melt of all metals. 
 
 It may be foftened by heating it often in the fire, hammering 
 it, and letting it cool of itfclf: And extinguifhing it in water 
 hardens it. 
 
 It may be rendered white by cooling it in fal armoniac and 
 cjuick-lime. 
 
 The ftrongeft temper of Iron is faid to be that which takes 
 in the juice of ftrained worms. 
 
 A red-hot Iron, applied to a roll of fulphur, will difTolve and 
 
 faU 
 
I R O 33 
 
 fall into a fine duft; or, dropped into water, will compofe grains, 
 which is called granulating it. 
 
 There are feveral kinds of Iron, which have properties very 
 different from one another. 
 
 1. Englifh Iron, which is coarfe, hard, and brittle, fit for fire- 
 bars and (uch ufes. 
 
 2. Svvedifh Iron, which of all others is the bed ufed in Eng- 
 land : It is fine and tough, and will belt endure the hammer, is 
 fofteft to file, and in all other refpedls the belt to work upon. 
 
 3. SpaniHi Iron, which would be as good as the Svvedifh, were 
 it not fubjcct to red-fear, i. e. crack betwixt hot and cold. 
 
 4. German Iron ; this fort is called Dort-fquare, becaufe it is 
 wrouglit into bars of three quarters of an incli fquare, and is 
 brought to us from Dort. This is a coarfe Iron, and only fit for 
 ordinary ufes. 
 
 There is another fort ufed for making of wire, which is the 
 fofteft and tougheft of all. 
 
 This laft is not peculiar to any country ; but is indifferently 
 made wherever Iron is made, though of the worfl fort ; for it is 
 the firft Iron that runs from the mine-ftone when it is melting, 
 and is referved purely for making v/ire. 
 
 Generally fpeaking, the belt Iron is the fofteft and tougheft, 
 and that which, when it breaks, is of an even greyifti colour, with- 
 out any of thofe glittering fpecks, or any flaws or divifions, like 
 thofe (een in broken antimony. 
 
 To give Iron « l^Iuc colour. With a grinding-ftone rub off the 
 black fcurf, then heat it in the fire, and, as it grows hot, it will 
 change colour by degrees ; become firft of a gold colour, and 
 then of a beautiful blue. 
 
 Sometimes the workmen rub a mixture of indigo and fallad-oll 
 on it while it is heating, and let it cool of itfelf. 
 
 Iron ores \ Of thefe we have a great number in moft parts 
 
 Iron works 3 of England ; but thofe in the forelt of Dean in 
 Gloucefterfliire are in the greateft repute; the ore is there found in 
 great abundance, differing much in colour, weight, and goodnefs. 
 
 The beft, which is called brufti ore, is of a biuifti colour, very 
 ponderous, and full of little Ihining fpecks like grains of filver ; 
 this yields the greateft quantity of Iron, but, being melted alone, 
 produces an Iron very fhort and brittle, and therefore not fo fit 
 for common ufe. 
 
 For the remedying of which, the workmen make ufe of another 
 fort of material, which they call cinder ; which is nothing but the 
 refufe of the ore, after the metal has been extracted, and which, 
 being mingled with the other in a due quantity, gives it the excel- 
 lent temper of toughnefs, which is the caufe that this Iron is pre- 
 ferred before any other that comes from foreign parts. 
 
 Vol. II. D After 
 
54 I R O 
 
 After they have procured a fufficient quantity of ore, the firfi: 
 operation is the calcining of it; this is performed in kilns, much 
 after the fafhion of our ordinary lime-kilns ; thefe kilns are filled 
 up to the top with the coal and ore, layer upon layer, and, fire 
 being lighted at the bottom, they let it burn till the coal is wafted ; 
 and then renew the kilns with frefh ore and coals, after the fame 
 manner as before. 
 
 This is done without fufing, i. e. melting of the metal, and 
 ferves to confume the more drofly part of the ore, and to make it 
 malleable, fupplying the place of the beatings and wafhings ufed 
 in oiher metals. 
 
 From hence it is carried to the furnaces, which are built either 
 of brick or ftone, about 24 feet fquare on the outfide, and near 
 30 feet in height within, but not above eight or ten feet over at 
 the widell: part, which is at the middle ; the top and bottom hav- 
 ing a narrow compafs much of an oval form. 
 
 Behind the furnace 2re fixed two huge pair of bellows, thenofes 
 of which meet at a iitt!e hole near the bottom ; thefe are com- 
 prefTed together by certain buttons, placed on the axis of a very 
 large wheel, which is turned by water, in the manner of an over- 
 fliot mill. 
 
 At firft thefe furnaces are filled wnth ore and cinder, intermixed 
 with the fuel, which is charcoal, laid hollow at the bottom, that 
 it may more eafily take fire ; but, after it has once kindled, the 
 materials run together in a hard cake or lump, which is borne by 
 the form of the furnace ; and through this the metal, as it melts, 
 trickles down into the receivers, which are placed at the bottom, 
 where there is a pafFage open, by which the men take away the 
 fcum and drofs, and let ojt the metal as they fee occafion. 
 
 A large bed of fand lies before the mouth of the furnace, in 
 which are made furrows, of the fhapes into which they would 
 have the Iron caft. 
 
 As fnon as the receivers are full, they let in the metal, which 
 is made fo very fluid, that it not only runs to a confiderable dif- 
 tance, but ftands afterwards boiling for a good while. 
 
 V/hen the furnaces are once at work, they are keptconftantly 
 employed for many months together, never fufi^ering the fire to 
 fiacken night or day ; but ftill fupplying the wafting of the fuel 
 and other materials, with frefh, poured in at top : They ufe char- 
 coal altogether in this work, for fea-coal will not do. 
 
 From thefe furnaces the workmen bring their fows and pigs 
 of Iron to the forges, where they are wrought into bars. 
 
 To gi/d Iron or J} eel. Take tartar two ounces, vermilion fix 
 
 ounces, bole armoniac and aqua-vitjc, of each four ounces ; grind 
 
 them together with linfeed oil, and put to them the quantity of 
 
 two hazle-nuts of lapis cilaminaris, and grind therewith in the 
 
 3 end 
 
IR O 35 
 
 end a few drops of varnifh ; take it off the (lone, ftrnin It through 
 a linen cloth, for it muft be as thick as honey ; then ftrike it over 
 Iron or fteel, and let it dry ; fo lay on your filvcr or gold, and 
 burnifh it. 
 
 51? gild Iron tvith water. Take fpring water three pounds, as 
 many ounces of roch alum, Roman vitriol and orpiment, of each 
 one ounce ; verdigreafe 24 grains, f,il gemma three ounces ; boil 
 all together, and, when it begins to boil, put in tartar and bay« 
 fait, of each halt an ounce j continue the boiling a good while ; 
 then take it from the fire, and ftrike the Iron over with it 3 dry 
 it againft the fire, and burnifh it. 
 
 To lay gdd on Iron or other metals. Take of liquid varnifh 
 two pounds, linfeed oil and turpentine, of each two ounces ; mix 
 them well together, and ffrike them over Iron or any other metal ; 
 and afterwards lay on leaf gold or filver, and when it is dry po- 
 liih it. 
 
 To gild Iron. Grind roch alum with the urine of a boy, till 
 it is well diffolved ; heat the Iron red-hot in a fire of wood-coals, 
 and anoint the Iron with the liquor, and it will look like gold. 
 
 To make Iron of the colour of gold. Take linfeed oil fix ounces^ 
 tartar tour ounces, yolks of eggs boiled hard and beaten iour 
 ounces, aloes one ounce, faffron ten grains, turmeric four grains; 
 boil all together in an earthen veflel, and anoint the Iron with the 
 oil, and it will look like gold. 
 
 To j oft en Iron. Put alum, fa! armoniac, and tartar, of each 
 a like quantity, into good vinegar ; fct them on the fire ; heat 
 the Iron, and quench it in this liquor, or quench it four or five 
 times in oil, in u hich melted lead hath been put fix or feven times. 
 
 To harden Iron or Jleel. Que.xh it fix or {zv^vk times in hogs 
 blood, mixed with goofe-greafe at each time, drying it at the fire 
 before you dip it in again ; and it will become very hard, and 
 not brittle. 
 
 To jolder Iron. Put the joints of Iron together as clofe as 
 you can, lay them in a glowitig fire, and take of V^enice glafs 
 in powder; and, the Iron being red-hot, cait the powder upon 
 it, and it will folder itfelf. 
 
 To keep Iron from rujiing. Rub the Ir-n over with vinegar 
 mixed with cerufs, or with the marrow of a heart ; if it be rufty, 
 oil of tartar per <ie!iquium, and it will prefently take the ruft 
 away and cleanfe it. 
 
 To prejerve Irov ivork from rufl^ and '■fher i>miries of a cor- 
 roding air by an oily varnifh. Take good V ■ netian, or, "for want 
 of that, the bell: and cleareft turpentine ; diiTolve it in oil of tur- 
 pentine, and add to it fome linfeed oil, made clear by Ions; ftand- 
 ing in the hot fun j for fome ufes common drj'ing linfeed oil may 
 
 D 2 fervej 
 
36 J UD 
 
 ferve ; mix them well together, and with this mixture varniih 
 ever any fort of bright Iron work whatfoever. 
 
 It is a certain prelerver of all fuch Iron work from rufl:, let it 
 be what it will, provided it be fuch as is not brought into common 
 ufe ; for much handling will wear it ofF, and heat will difTolve 
 it ; but for all fuch bright Iron work that is ufed about either 
 carpenters or joiners Vt^ork, that require not much handling; as 
 alfo arms, &c. that hang up for ftate rather than prefent ufe j it 
 is an infallible prefervative. 
 
 When you ufe this oily varnifh, it is beft to warm it, and then 
 with a brufh lay it on as thin as poflible ; this is beft for arms ; 
 but for other Iron work it may be laid on cold ; in four or five 
 davs after it has been laid on it will be thoroughly dry. 
 
 Note, That fuch arms as have been done over with it may, 
 when they come into ufe, be cleanfed from it again, by being 
 warmed hot before a fire ; for heat will difTolve it, but water 
 will do it no hurt. 
 
 IRRESOLUTION, is reprefented, in painting, &:c. by an 
 old woman fitting ; a black cloth wrapped about her head ; in 
 each hand a crow fccming to croak. — Sitting, becaufe, knowing 
 the difficukv of things, fhe does not deliberate which is befl; in 
 old age, becaufe long experience makes men unrefolved ; the 
 crov/, feeming to croak out Cras, Cras, intimates mens put- 
 ting ofFfrOxTi day to day, when they fliould difpatch affairs in the 
 prefent time ; the black cloth denotes obfcurity in her intelledl, 
 making her to be in a quandary. 
 
 J. S. fic;nifies Juftin Sadeler. John Saenreden ufed the like 
 mark, joining the J. to the S. 
 
 J. S. B. fignified John Sebald Beham. 
 
 J. V. M. fignified Ifrael Van Mechelin or Mechelini, or Van 
 Meek ; and of Lomazzo, furnamed of Mentz. He lived before 
 Albert Durer, and fometimes marked his plates with the name 
 Ifrael only. 
 
 JUDGMENT, is reprefented, in painting. Sec. by a naked 
 man attempting to fit on a rainbow, holding a fquare, a^rule, 
 compafi'es, and a pendulum in his hand. — The inftruments de- 
 note difcourfe, and the choice ingenuity (hould make of methods 
 to underftand and judge of any thing; for he judges not aright, 
 who would meafure every thing by one and the fame manner : 
 The rainbow indicates, that much experience teaches judgment, 
 as the rainbow refults from the appearance of divers colours, 
 brought near one another by virtue of the fun-beams. 
 
 yri/i Judgment, is reprefented, in painting, &c. by a man 
 in a Jong grave robe, with a human heart for a jewel, engraved 
 with the image of truth : He flands with his head inclined, and 
 his eyes fixed on open law-books at his feet, which denotes inte- 
 grity 
 
I V O 37 
 
 grlty in a Judge, who never ought to take his eyes ofF the juftice 
 of the laws, and contemplation of naked truth. 
 
 JULY, is reprefented, in painting, &c. in a garment of a light 
 yellow colour, eating cherries, with his face and bofom fun-burnt j 
 on his head a garland of centaury and thyme ; on his flioulder a 
 fcythe ; with a bottle at his girdle ; and carrying a lion. 
 
 JUNE, is reprefented in a mantle of dark grafs green ; upon 
 his head a coronet of bents, king-cups, and maiden-hair; hold- 
 ing in his left hand an angle, in his right Cancer, and upon his 
 arm a bafket of fummer fruits. 
 
 JUNO, was reprefented, in painting. Sec. by the ancients, by 
 z. woman of a middle age, holding a filver veflel in one hand, and 
 a fharp fpear in the other. 
 
 Homer reprefents her drawn in a chariot glittering with pre- 
 cious ftones, the wheels of which were ebony, and the nails fine 
 jTiIver, mounted upon a feat of filver, and drawn with horfes, 
 which were faftened with chains of gold. 
 
 She is frequently painted with a fcepter in her hand, to (hew 
 that fhe hath the bellowing of governments, authorities, and 
 kingdoms. 
 
 Martianus reprefents her fitting in a chair under Jupiter, with 
 a thin veil over her head, crowned with a coronet inchafed and 
 adorned with many precious jewels ; her inward veftment fine 
 and glittering, over which hung down a mantle of a darki(h co- 
 Jour, yet with a fecret fhining beauty ; her fhoes of an obfcure 
 and fable colour ; in her right hand holding a thunder-bolt, and 
 in her other a loud noify cymbal. 
 
 Paufanias tells us, that, in a temple in Corinth, her ftatue, 
 made of gold and ivory, was adorned with a glorious crown, on 
 which were engraven the pictures of the graces -, flie holding in 
 one hand a pomegranate, and in the other a fcenter, on the top 
 of which was a cuckow ; becaufe Jupiter, when he became firft 
 enamoured with Juno, transformed himfelf into that bird. 
 
 Some have reprefented her like a woman of a middle age, 
 holding in one hand a poppy-flower or head 3 and a yoke, or 
 pair of fetters, lying at her feet. 
 
 By the yoke is lignified the band of matrimony, and by the 
 poppy fruitfulnefs j and hence fhe is fuppofed to be the goddefs 
 of marriage. 
 
 She is alfo depicted with black hair and eyes, adorned with a 
 fky-coloured mantle, wrought with gold and peacocks eyes, like 
 the orient circles in the peacock's train. 
 
 IVORY, is the tufk of an elephant, which grows on each fide 
 of his trunk, in form of an horn. 
 
 Ivory is much cfteemed for its colourj its polifh, and the fine- 
 nefs of its grain when wrought. 
 
 D 3 . To 
 
38 J UP 
 
 To [often Ivory. Boil a good handful of fage-leaves in thrica 
 diftilled vinegar, put in a little quick-lime, and boil the Ivor}' in 
 jr, and it will grow foft and tough, and will not break without 
 difficulty, when it is worked in the fineft comb-teeth, or other 
 fine works. 
 
 To whiten IvoRY that is turned yellciu. Beat a pound of quick- 
 lime fmall, and cover the Ivory with it ; then gently, and by 
 decrees, pour vinegar upon it, and fufFer it to lie for the fpace of 
 24 hours ; then take it out, and rub it with alum powder, and 
 it will reftore its firit whi:enefs : In the like manner you may 
 Older bones. 
 
 JUPITER, is painted with long curled black hair, clad in ^ 
 pu:ple robe trimmed with gold, and fitting on a goldeii throne, 
 with bright yellow clouds difperfed about him. 
 
 Orpheus has defcribed Jupiter With golden locks, with two 
 golden horns peeping out <;f his temples, with bright fhining eyes, 
 with a large and fair breafl, ^nd wings on his ihoulders. 
 
 Paufanias fays, That in the temple of Minerva, among the Ar- 
 gives, the ftatue of Jupiter was made with three eyes, two of them 
 in their right places, and the other in the middle ot the forehead. 
 
 Plutarch relates. That, in Crete, he was reprefented wholly 
 in bun. in fhape and proportion, but without ears. 
 
 Porphyrius and Suiuas reprefented the image of Jupiter, fitting 
 Vpcn a firm and immoveable feat ; liis upper parts naked and xxn' 
 cloathed, and his lower parts covered and invefted ; holding in 
 his right hand a great eagle, joined with the figure of ViC'ioria, 
 and in his left hand a fcenter. 
 
 This imrge was erecled in Piraeus, a ftately and rqagnificent 
 gate of Athens. 
 
 JVLirtianus reprefents him with a regal crown, adorned with 
 the moft precious and glittering: ftones, having over his fhoulders 
 a thin white veil, made by Pallas's own hands, in which were 
 inferred divers fmall pieces of glafs, reprefenting the moft refplenr 
 *dent ftars : In his right hand he holds two balls ; the one all gold, 
 the other half g<^jd, lialf filver ; in the other hand an ivory harp 
 with nine firings ; fitting on a foot-cloth, wrought with ftrange 
 works and peacocks feathers ; and near his fide lies a trident all 
 gold imboffed mafs. 
 
 With the Eleans, a people of Greece, the ftatue of Jove was 
 compacted of gold and ivory, impaled with a coronet of olive 
 leaves ; holding in his right hand the image of Vidloria ; in his 
 left a fcepter, on the top of which was the portraiture of an eagle 
 upon a feat of gold, inchafed with the forms of many unknown 
 bii'ds and iifhes, upheld and fupported by four images of Vid^oria. 
 
 In Cp.ria, a place 01 Jae leiier Afia, the ftatue of Jupiter was 
 made, holding in one of his hands a pole-axe. 
 
 ' ' Plutarch 
 
'K A O 39 
 
 Plutarch fays, the reafon of this was on account of Hercules, 
 who, overcoming Hippolyta the Amazonian queen, took it from 
 her, ?nd gave it to Omphale, his wife, a Lydian. 
 
 JUSTICE, is reprefented, in painting, &c. by a fiir young 
 virgin, drawing after her, with her left hand, a black hard ill- 
 favoured woman, haling her by main force, and linking her over 
 the face in a fcvere manner. 
 
 The young virgin is Jufticc, the other Injuria, i. e. wrong or 
 injuftice ; fhe is drawn youpg and a virgin, to fhcw that jurlges 
 and adminiftrators of law ought to be incorrupt, and free from 
 bribes, partiality, or flattery ; butjufl, conflri.t, and fiacere. 
 
 Justice, is alfo reprefented, in painting, ^'c. by a virgin, 
 cloathed all in white, blinded ; in her right hand fhe holds the 
 Roman fafces, with an axe in it; in her left hand a flame; and 
 an oftrich by her fide. — The \\hite fhews that fhe fhould be 
 fpotlefs, void of pafHon, without refpe>5l to perfons, as being hood- 
 winked declares ; the fafces denote whipping for fmall off^ences, 
 and the axe cutting off the head for heinous ones ; the ollrich fig- 
 nifies that things fhould be ruminated upon, how hard foever 
 they be, for that digefts hard iron. 
 
 Divine Justice, is reprefented, in painting, &c. by a hand- 
 fome woman, with a golden crown on her head, with rays above, 
 her hair loofe about her, a naked fword in her right hand, in the 
 left the balance, the globe of the world at her feet. — The crown 
 and globe fhew their power over the world ; the balance fhews 
 Juftice i the fword, the punifhment of malefadfors. 
 
 K. 
 
 Xyj -^ Ham KALDUNG ufed this mark ; as alfo did Luke 
 gT^g^^ van Cranogio. 
 
 KALI, a plant, alfo called glafs-wort; it grows 
 in the fands on the fea-fhore, where it is fov»-n by the neighbour- 
 ing inhabitants, in order to burn it green ; which done, they ex- 
 tract a fait from its afhes, ufed in making glafs. See the arti- 
 cles GLASS and P.JLVERINE. 
 
 KAOLIN, the name of one of the two fubdances which are 
 the ingredients of China ware; the other, which is called petuntfe, 
 is eafijy vitrifiable, and this Kaolin is fcarce at all fo ; whence 
 the fire compofes, from a mixf-ure of them both, a femi'>'itrihca- 
 tion, which is China ware. ?v/Ir. Reaumur had an opportunity 
 of examining this fubUance, not in its native flate, but only in 
 form of fmall bricks, made out of a pafte of the powder of the 
 native Kaolin and water ; he found it of a white colour, and 
 fprinlded all over with fine glittering particles j but thefe he did 
 
 D 4. not 
 
40 K A O 
 
 rot judge to be fragments of a different fubftance mixed among 
 the mafs, as are the fmall flakes of talc in our clays and fands, 
 but that the whole mafs was compofed of fome ftone reduced to 
 powder, and made into a pafte with water ; and that thefe lar- 
 ger fpangles were only coarfer particles of the powder, the exa- 
 mination of which, he promifed himfelf, would difcover what the 
 ftone was of which they were formed ; and this was the more 
 worthy of a diligent inquiry, fince the petuntfe may eafily be 
 fupplied by many of our own earths and fands, nothing being re- 
 quired of that, but a fubftance eafily running into a white glafs ; 
 but the difficulty of vitrifying this other ingredient renders it a 
 thing much more difficult to be fupplied by one of the fame na- 
 ture amonr^ ourfelves. The comparifon ot thefe with other mi- 
 neral fybftances foon proved that they were of the nature of 
 talc, or, in other words, that Kaolin was talc powdered and made 
 i:p into a pafte with water ; and, to be afTured whether the whole 
 Hial's was talc powdered, or any thing elfe, with a mixture of 
 talc, he feparated the particles of the Kaolin by water, and found 
 the fmall ones wholly the fame as the larger ; and that the lar- 
 ger, when reduced to powder alone, made, with water, a pafie 
 wholly the fame with the Kaolin. It is well known, that the 
 fragments of talc have a great refemblance to the pearly part of 
 fome fbeli-fiflies -, and hence, unqueftionably, has arifen the opi- 
 nion of porcelain ; but it is eafy to fee, from many unanfvverable 
 reafons, that, fince China porcelain is made of a mixture of vitri- 
 fiable and unyitrifiable matter, nothing is fo likely to fucceed with 
 us, in the place of the laft of thefe, as talc. 
 
 We know no fubftance in the foffil world fo difficult to re- 
 duce to glafs as talc ; aud, if put into the ftrongeft of our fires 
 in a crucible, is not to be vitrified, nor even calcined. 
 
 2- We knew no fubftance which keeps fo much brightnefs, after 
 having pafTed the fire, as talc, or is of fo pure a white ; vi'hence 
 Vy'e may alfo learn, that it is not to the pentuntfe alone that the 
 China ware owes its whitenefs, but that the Kaolin is inftrumen- 
 tal to the giving it that colour. 
 
 3. Talc is tranfparent, nay, and in fome degree keeps its 
 tranfparency after the aciion of the moft violent fire. If we are 
 to make porcelain of a vitrifiable and an unvitrifiable matter mixed 
 tfigether, yet it is neceflary that the unvitrifiable one fhould re- 
 tain its tranfparency, otherwife it would obfcure the mafs ; and 
 talc is therefore the only known fubftance qualified for this pur- 
 pofe. Perfons who have been at the China works fay, that the 
 porcelain is made of equal quantities of Kaolin and petuntfe, and 
 jg therefore a iuft and exatft femivitrification. 
 
 4. Talc is well known to have a great flexibility or toughnefs ; 
 and, 35 ijL is ffiupd to prefgrve this even after it has paflcd the fire^ 
 
K E R 41 
 
 it Is very probable, that it is owing to this property of the 
 Kaolin that the China ware is lb much lefs brittle than glafs. 
 
 KEEPING, in painting, a term ufcd to fignify the fubordi- 
 nation of all the other parts of a pitSture to the one principal fi-. 
 gure, from whence the examination of the parts mull: be begun, 
 and to which it muft be returned in the determination of the 
 whole picture. 
 
 II iiliam de KEISAR, was a very neat landfcape-painter, after 
 the maimer of Elfheimer ; he was perfeftly of the Dutch gout, 
 minding little particulars more than the whole together. He 
 wrought fometimes with Mr. Loten the landfcape-painter ; he 
 imitaed various manners, and drew fome forts of cattle and birds 
 very well ; he alfo painted tombs and various forts of flone work, 
 in imitation of Vergofoon. He was not unfkilful in painting, ar- 
 chitecture, and flowers ; he died in London about 67 years ago. 
 
 KERMES, a kind of little animal, found on an evergreen of 
 the oak kind, of confiderable ufe both in phyfic and dying. 
 
 Kermes, as brought to us for ufe, is a fmall roundifh body of 
 the bignefs of a pea, and of a brownifh-red colour, covered, 
 when moft perfe£l, with a bUiifh or purplilh grey duft, like the 
 fine bloom on a ripe plum, which is eafily rubbed ofF by touch- 
 ing : It is, when cut, found to be a mere membraneous bag or cafe, 
 containing a multitude of little diftin6t granules, which are foft 
 and juicy, and, when crufhed between the fingers, aflx>rd a fear- 
 let juice. The Kermes has an agreeable fmell, and is of a fome- 
 what acid and bitterifh, but far trom difagreeable tafte. 
 
 It is in this ftate found, adhering to the leaves and young 
 fhoots of a kind of ilex or holm-oak, in the warmer countries, 
 and always pofl'efles fome fixed place, without any appearance of 
 life or motion ; this is the flate in which we have been ufed to 
 receive this valuable drug, and this is all we have been inform- 
 ed, for a long time, as to its hiftory ; it is therefore no wonder 
 that, till very lately, the world in general has underflood it to 
 be a vegetable excrefccnce, growing on this kind of oak as the 
 common galls do on the common oak. : It has been long fuf- 
 pe6led by fome to belong fo far to the animal tribe as to be the 
 effedl of fume wound or puncture, made in the bark and leaves 
 of this tree by an animal ; but we are at length arrived at its full 
 hiftory, which is very lingular but too long to be here related. We 
 now know it to be the extended body of an animal parent, no way 
 altered but by fuch extenfion, and filled with a numerous ofF- 
 fpring, which are the little red granules we find in it, and which 
 it has given life to at the expence of its own. 
 
 To extrn("l fear let colour from the Kermes, for making a fine 
 lake. Take fpirit of wine, and put it into a long-necked glafs 
 pody; difloive in it a pound of roch alunj, adding an ounce or 
 
 Kermes 
 
42 LAC 
 
 Kermes finely powdered and fearced ; let it digeft well, fhaking 
 the matrafs from time to time, and the fpirit will extrad all the 
 tindlure of the Kermes, and be very finely coloured ; then let 
 all fettle for four days, and afterwards pour it gently into a gla- 
 zed earthen velTel. 
 
 Difiblve four ounces of roch alum in running water, and pour 
 this into the tindture of Kermes, to caufe a feparation ; filtre it 
 through a linca cloth, and the fpirit wil fall through white, leav- 
 ino; the tinclure behind. If it be any thing coloured, flrain it a- 
 gam and again, till it is clear; take up the lake or colour with 
 a vvcoden fpoon, and make it into troches. See LAKE. 
 ^r Luke KILIAN put this mark on a nativity copied from 
 
 '-^ Parmegiano. 
 
 To dye filk a KING's colour. Put a fufncient quantity 
 of water into a clean kettle or copper, and to every pound of filk 
 take twelve ounces of madder, and the fame quantity of galls ; 
 boil the filk with them for an hour, then take them out, let them 
 be a little browned, and then dried. 
 
 Anne KILLIGREW, was a young gentlewoman, daughter 
 of Dr. Killigrew, maf^er of the Savoy, one of vhe prebendaries 
 of Weftminiier. She painted feveral hiliories, alfo portraits, for 
 her diveriicn, exceedingly well, as likewife fome pieces of ftill 
 life. Mr. Becket did )ier picture in metzo-tinto after her own 
 painting. She was alfo a poetefs, and wrote a book of poems 
 which were printed : She lived unmarried, and died young, 
 about the year 1688. 
 
 JJyn-Zachcry KNELLEP., was born at Lubec, and brother 
 to Sir Godfi ey Kneller. He travelled to Italy, and when he came 
 to England painted feveral portraits in fmall, very neat ; he did 
 alfo feveral pieces in iliil lite. At lad he took to water colours, 
 aiid copied divers of his brother's portraits in miniature with good 
 Aiccefs. He died in Covent-Garden about 17C4, and lies bu« 
 ried in that church. 
 
 Sir Godfrey KNELLER, born in the year 1646, lived at Lon- 
 don, excelled in portraits j died in the year 1723, aged 77 years. 
 
 L. 
 
 LACCA, or gum Lac, a vegetable product, ufually diftin-* 
 guiflied by the name of algum ; but that is as improper as 
 the elcmi, it being, like that, inflammable, and not foluble in 
 V/ater. We diflinguiih three kinds of Lacca in the fhops, which 
 Ere all the produce of the fame tree, and only differ in form ; they 
 are, firfl-, the llick Lac; fecondly, the feed Lac ; and, thirdly, the 
 iDic]! Lack : The flick is a hard, refuicus;, and friable matter, of 
 
LAC 43 
 
 an uneven and granulated furface, and of a reddifli, but fome- 
 what duflcy colour. It is of an auftere and fubaftringcnt tafte, 
 and is fixed round certain fticks, and round branches of a woody 
 fubftance. 
 
 The feed Lac is brought to us in loofe grains, or little maf- 
 fes of a roundifh irregular figure, and of a reddifh colour. They 
 feem no way different from the (lick Lac. 
 
 The third kind, or fhell J ac, is met within thin and tranf- 
 parent cakes, which are made bv mrlting the former granules 
 of the other matter, taken from the fticks into a mafs. 
 
 We are not at all perfect in the hlftory of this drug : What 
 has been advanced by authors about it leaving us uncertain 
 whether it properly belongs lo the vegetable, or the animal 
 kingdoms. 
 
 7(7 clean fihcr or g^ld LACE. Lay the Lace fmooth on a fine 
 woollen carpet, and brufh it Iree from duft ; tl^en burn roch 
 alum, and powder it very fine, and afterwards fitt it through a 
 lawn fieve, then rub it over the Lace with a fine brufh, and in 
 doing it will take off the tarnifh, and reflore it tc its brightnefs, 
 if it be not too much worn on the threads. 
 
 LACES, to paint, in miniature, &c. Lay on firfl: a mixture 
 of blue, black, and white, as for linens ; then heighten the pat- 
 tern, fiowers or flourifnes, with white only; then fliade and finifh 
 with the firft colour. 
 
 When they are upon fiefh, or any thing elfe which you would 
 have to be fcen througl; them ; finifh what is under them, as if 
 you intended to lay nothing on them, and lay on the Lace or 
 point with pure white, and fitiifii with the other mixture. 
 
 To make the common LACKER varnijl). Take re6fified fpirits of 
 wine 2 pounds, (hell-lac in powder half a pound, put them into 
 a tv/o-quart bottle, and let them ftand till the lac is quite diffol- 
 ved ; then (train it, and acM a little common fanguis draconis in 
 fine powder, and a little turmeric in fine powder, both tied up 
 in a rag ; digeft them for a day or two, (baking it often, and it 
 is dene. You may heighten or diminifh the colour by increafing 
 or diminilhing the quantity of the colouring ingredients. 
 
 Another Lacker. Take re£lified fpirits of wine 2 pounds, 
 ihell-lac half a poimd : Let it be diffolved, and then (train it ; 
 then, in(tead of common fanguis draconis, take a very little 
 drop of fine fanguis draconis in fine powder, and Englifh faffron 
 dried, which tie up in a fine linen rag, and put into the varnifh, 
 as before. 
 
 If you would have the colour deeper, or more like copper, add 
 more fanguis draconis ; but, if lighter, the more faffron. 
 
 To make the beji fort of Lacker varnijh now ujed by gilders. 
 T'^ke fine feed-lac varnifh, which fee under the article VAR- 
 
 NISPI, 
 
4-4- LAC 
 
 NISH, 6 ounces, with which mix arnotto in fine powder, a fuf- 
 iicient quantity ; fet it over the fire in a gally-pot, and let it 
 diiTolve, and keep it in a bottle cMfe flopped. 
 
 2. Take fine feed-lac varnifh 6 ounce?, as much gamboge in 
 powder as it will diffolve in a gentle fand-heat ; keep this alfo in 
 a glafs clofe flopped for ufe. 
 
 3. Take feed-lac varnifh one pound, and add to it 2 fpoon- 
 fuls and a half, or 3 fpoonfuls of the firft referved tincture ; and 
 5 or 6 fpoonfuls of the fecond referved varnifli tindlure ; and 
 add to this 15 grains of fafFron tied up in a rag: Digeft them 
 for 24 hours, having firft fhaken them well. 
 
 4. Then make a trial of this varnifh upon a bit of filver ; if 
 you find it too yellow, put in more of the arnotto, or hrft rcl-^r- 
 ved varnifh tincture : Thus increafing or diminifhing the pre- 
 paration, till you have brought it to the exadl golden colour, 
 which is the ultimate, or only thing aimed at. 
 
 To Lacker oil-paintings fi%ed works^ or bur nifl^ed filver. Warm 
 your piclure-frame or piece of work before the fire ; then ha- 
 ving put out fome Lacker into alarge gallv-pot, with a line large 
 and Jaft brufh of hog's-hair, or camel's-hair, nimbly pafs your 
 work over, and be fure that you do not mifs any part of it, 
 nor yet wafh the fame part twice ; but take fpecial care to 
 lay it thin, and even, and prefently warm it by the fire while it 
 looks bright ; for by fo doing you may Lacker it again in a quar- 
 ter of an hour, warming it before and after the operation. 
 
 Repeat it twice or thrice, and, if you find the colour not deep 
 enough, do it again the fourth time j but take care of making it 
 ^oo deep ; for it is a fault that cannot he mended. 
 
 To 7nake Lackering look like burnijhed gold. If you have be- 
 fore-hand burnifhed your filver very well, and your Lacker is 
 tinged of a true gold colour, and you lay it on carefully with 
 an even hand, not thicker in one place than another, matting it 
 2S vou do burnifhed gold, it will be fb exadfly like gold foil, or 
 gilding, that it will be able to deceive the mofl curious eye, that 
 Ihall not be beforehand acquainted with the fallacy. 
 
 Here you are to objerve^ That, in Lackering carved works, you 
 Oiuft be quick, or flrike and job your brufh againfl the hollow 
 parts of it, to cover them alfo, matting and varnifhing them 
 deeper, and more dull than other parts of the frame or pieces ; 
 and this deepening is done with the Lacker varnifh, or with ar- 
 notto itfelf, which being well mixed with the fame, all the deep 
 and hollow places and veins of the work are to be touched and 
 deepened with it ; by which means the colour is accomplifheJ, 
 and th.e reflection of a pcrfe6l glory. 
 
 T"^ Lacker in oil fitch things as are expo fed to the weather » 
 I. The fame method is to be obfcrved here, as in the former,* 
 
 except- 
 
L AK 45 
 
 excepting In this, that your priming ought to be whiter than the 
 Jaft, which is cffeded by mixing a httic white lead, which has 
 been ground a long time, with the former gold lize. 
 
 2, Alfo your filver fi7.e ought not to be (o dry as that of gold, 
 when the leaves are laid on. 
 
 To gild carved work in oil, which is not to be expofcd to the 
 open air. Melt fome fize, and put in juft fo much whiting as 
 will make it of a white colour 5 do the frame over once with 
 
 1 this fize. 
 
 I 3. Then add more whiting to the fize, till it is of a proper 
 
 I thicknefs ; ard do it over three or four times, or more, with 
 this, according as vou find the work does require, Jetting it dry 
 
 ! thoroughly between each time. 
 
 4. When this is thoroughly dry, rub and fmooth the work all 
 over with a piece of fifii-fkin or Dutch ruflies, and afterwards 
 
 ' water-plane it, with a fine rag, dipped in water ; rubbing it gent- 
 I ly till it is very fmooth, and then fet by to dry, and then fize it 
 ; with ftrong fize. 
 
 5. Let it ftand till it is dry, then Lacker over the work twice 
 
 ■ by a gentle heat, and lay on your gold fize, and perform every 
 thino; as before directed for laying on leaf gold. 
 
 ^w\ Jean LADESPELDRICKT ifivcnit, is the mark of 
 ^^SJl t^2t artirt on a dead Chri/i ; and the fame mark is 
 
 I found on other pieces. 
 
 ! Peter V AN LAERy czlkd Bamboccioy born in 1584, ftudied 
 in France and at Rome, lived at Haerlem and Amfterdam, ex- 
 
 ■ celled in hiftory, landfcapes, and grotto's j died in the year 1644, 
 ' aged 60 years. 
 
 LAKE, comes next after crimfon, and is good for fhading 
 
 and heightening carmine. But, in laying carmine upon a print, 
 
 you muft touch your lights only with a very thin teint of it, 
 
 that can fcarcely be difcerned ; and lay it on flrong, iuft upon 
 
 ' that part of the light which enters upon the fhade, and after- 
 
 ' wards lay fome Lake on the ftronger part of the fhade. 
 
 To make a fine Lake. Take half a pound of good brafi], 
 boil it in three pints of ley, made of theafhes of vine-fprigs, till 
 it be half evaporated ; then let it fettle, and ftrain it off. 
 : Then boil it again with frefh brafil a quarter of a pound, 
 |of cochineal two pounds, and terra merita half an ounce; add- 
 ing to it a pint of fair water ; let it boil till it be half evaporated, 
 as beore ; then fet it by to fettle, and ftrain it. But, when you 
 take it off the fire, put in half an ounce of burnt alum reduced 
 to an impalpable powder ; let it diffolve, ftirring it with a flick, 
 and add to it a quarter of a drachm of arfenic. 
 
 In order to give it a body, reduce two cuttle-fifh bones to a 
 fine powder, and put in the powder, and leave it to dry up at 
 
 leifure. 
 
46 LAM 
 
 leifure, and then grind it with a good quantity of fair water, in 
 which leave it to fteep j and afterwards ftrain it through a cloth, ■ 
 and make it up into fmall tablets or cakes, and fet it to dry on a 
 card or pafle- board. 
 
 If you would have this T.ake redder, add to it lemon-juice ; 
 and, if you would have it deeper, add to it oil of tartar. 
 
 Another Lake. Boil fhavings or /hearings of fcarlet cloth in 
 a ley of the afhes of burnt tartar, or oil of tartar ; this ley hav- 
 ing the quality of (eparating the fcark c ; when it has bcjiled e- 
 nough, take it off, and add to it cochineal mefticin powder, and 
 a little roch alum ; then boil them again all together, and) 
 while it is hot, flrain it two or three times through a jelly-bag j 
 the firft time fquecfing the bacr ^^rom top to bottom with twd 
 flicks, then take out what remains behind in the bacr, snd wafli it 
 well ; then pafs the liquor you exprefled with the fticks rhrough 
 the bag again, and you will find the Lake flicking to the fides of 
 the bag, which vou may either fpread out upon o. paHe-board, or 
 divide into fmall parcels upon paper, and fet it by to dry. 
 
 To make columbine Lake. Steep half a pound of the f neft 
 brafil wood of Fernambouc, rafped in three pints of the moftfub- 
 tilly diftilled vinegar, for at leaft a month ; and, if it be for fix 
 weeks, it will be the better. After which, boil all about four mi- 
 nutes in balneo mariae, and leave it for a day or two ; after 
 which, put a quarterpartof alum powder into a very clean earthen 
 pan, and Ifrain the liquor upon it through a cloth, and (o let it 
 remain for a day; then heat the whole till it fimmers, and, leav- 
 ing it again for twenty-four hours, reduce two cuttle-fifli bones 
 into powder, and, having warmed the liquor, pour it in upon 
 them ; then keep flirting the whole with a ft ick till it is cool, 
 and leave it again for twenty-four hours before you drain it. 
 Remember that it mud be firft ftrained upon the alum, before 
 it is poured upon the cuttle-fifli bone. 
 
 The marc or dregs cf columbine Lake. To make a fine purple 
 colour, befides the carmine for oil and diftemper, take the marc 
 or dregs of the columbine Lake, which fubfidcs v.'ith the cuttle- 
 fiftibone, and dry it and grind it, and there wdl be no fine Lake 
 fo fplendid ; and, if it be mixed with Lake, there will be an ad- 
 dition made to its body. 
 
 jM7/(5r-G^«frf7/ LAMBERT, was a great encourager of paint- 
 ing, and a good performer himfelf in Howers, as was, or is yet 
 to be feen in the Duke of Leeds's houfe at VVi;nbleton. It is pro- 
 bable he might have learned this art, or, at lea.!:, have been fur- 
 thered in it by Eaptift Gafpars, whom he received into his fer- 
 vi -e at his coming into England in the time of the civil wars. 
 HiS eldeft fon, John Lambert, Efq; alfo painted faces for his di- 
 veifion very well, many of whofe pi(5tures are ftill to be ken ; 
 
 this 
 

 To,,.^ /CU/.- '' 
 
LAN 47 
 
 tTiis laft gentleman died about 52 years ago, at his efiate in York- 
 ihire. 
 
 Profper Henricus LANCRINCK, was a German, born in ths 
 year 1628, is fuppoled to havele rned his art at Antwerp, was 
 a landfcape painter j copied after Titian and Salvator Rofa. He 
 came into England, and Sir Edward Sprag, that noble fea com- 
 mander, became his patron ; was employed by Sir Peter Lely 
 in painting the grounds, landfcapes, flowers, ornaments, ;ind 
 fometimes the draperies of thofe pictures he intended to gain ef- 
 teem by. He alfo pra6fifed drawing by the life, and fucceeded well 
 in fmall figures. He died at a middle age in the year 1692. 
 Landscape, l The view or prorpe(£x of a country, ex- 
 LANDSCH APE, > tended as far as the eye will reach. Land- 
 LANDSKIP, J fcapes, in painting, are pieces rcprefent- 
 ing fome campaign or rural fubie6t, as hills, valleys, rivers, 
 country- houfes, &c. where human figures are only introduced 
 as accidents and circumftances. 
 
 Ofl'unning Landscape, moye particularly to make the tablet ftr- 
 Landfcape. Take a piece of vellum, and fnave it thin upon a 
 frame : Faflen it with parte or glew, parte it upon a board j thefe 
 fort of tablets are altogether uied in Italy for Landfcape and 
 hiffory. 
 
 2. If you take your Landfcape from the life, take your ftation 
 on a rifiiig ground on the top of an hill, where you will have a 
 large horizon, and mark your tablet into 3 civifions downwards 
 from the top to the bottom. 
 
 3. Place your face direcily oppofite to the midfl of the finitor, 
 keeping your body fixed, and draw what is diredtly before vour 
 eyes, upon the middle divifion of the tablet; then turn your 
 head, but not your body, to the right hand, and delineate v/hat 
 you view there, adding this to the former ; alfo do the like by 
 what is to be feen on your left hand, and your Landfcape will 
 be completed. 
 
 4. Lay down every thing exa£l, not only in refpeil to diftance, 
 proportion, and colour; but in form too : As, if there be hills, 
 dales, rocks, mount:;ins, ruins, cataracts, aquedufts, cities, 
 towns, caftles, fortifications, or whatever elfe may prefent itfelf 
 to view, always making a fairfky to be feen afar off, and letting 
 the light always defcend from the left to the right. 
 
 5. When you firft begin your work, begin with a large (ky ; 
 and, if there be any reflection or fiiining of the fun, be fure that 
 you do not mix anv red -lead in the purple of the fky or the 
 clouds, but only with lake and white ; work the yellow and whi- 
 tilh beams of the fun with mafticote and white. 
 
 6. Then finifh the bluifh fky and clouds with a clean pen- 
 cil and fmalt only at the firft operation ; dead all the work over 
 
 with 
 
4S LAN 
 
 with colours fultable to the air, green meadows, trees, and 
 ground ; layinjrthem fomcvvhat fmooth, but not over curiouflv, 
 but flicrhtly and haftily. 
 
 7. Make a fair, large fky, and work it down to the horizon 
 faintly, but very fair ; and, drawing nearer to the eaith, let the 
 far diftant mountains appear fweet and mifty, almoft undiftin- 
 guifhable, joining with the clouds, and, as it were, loft in the 
 air. 
 
 8. The next ground colour, downwards, muft increafe in 
 magnitude of reafon as nearer the eyes, fomewhat bluiih, or of 
 a fea-green : But, drawing towards the firft ground, let them de- 
 cline into a reddifh or popinjay-green. 
 
 9. The laft ground colour muft be neareft to the colour of 
 the earth, viz. a dark yellow, brown, and green, with which, or 
 fome other colour near it, you muft make your firft trees. 
 
 10. Making them to increafe proportionably in colour and 
 magnitude, as they come near in diftance, and that with good 
 judgment; the leaves flowing, and falling in one with another ; 
 fome apparent, and others loft in the fhadow. 
 
 11. Let the Landfcape lie low, and, as it were, under the eye, 
 ■which is the moft graceful and natural, with a large and full 
 fky, not rifmg high, and lifting itfelf up into the top of the 
 piece. 
 
 12. Take care to make your fhadows to fall all one way, 
 viz. to make light againft darknefs, and daiknefs againft light ; 
 by that means extending the profpect, and making it feem as 
 though it were a great way off, by lofing its force-and vigour, by 
 its remotenefs iVoni the eye. 
 
 13. In touching the trees, boughs, and branches, put all the 
 dark fhadows firft, raifing the lighter leaves above the darker, 
 by adding mafticote to the dark green, which may be made with 
 bice, pink, and indigo. 
 
 14. The uppermoft of all, which are exprefled laft of all, by 
 lightly touching the outmoft edges of fome of the former leaves, 
 with a little green, mafticote, and white j the darkeft fhadows 
 may be fet off with fap green and indigo. 
 
 15. You muft endeavour to expreis trees and their leaves, 
 rivers and mountains, far diftant, with a certain real foftnefs and 
 dclicatenefs. 
 
 16. To reprefent cataracts, great water-falls, and rocks, there 
 muft firft a full ground be laid near the colour, and then a 
 ftronger in dark places, and a flight heightening in the light. 
 
 17. Take notice of all difproportions, cracks, rupture^, and 
 various reprcfentations of infinitely differing matters ; the man- 
 ner of which is abundantly expreffed in almoft every Landfcape, 
 See two Landfcapes on plate IV. 
 
 -3 Cavalier '; 
 
49 
 fcho- 
 )rreg- 
 ftory, 
 
 .ands. 
 chafe 
 er. 
 
 from 
 E. 
 
 iped ; 
 1 may 
 
 fame 
 
 parts 
 dov.'n 
 , and 
 
 s of it 
 , and 
 
 nouth 
 :h be- 
 leeks, 
 ; the 
 I wet, 
 .f for- 
 n ex- 
 
 lague 
 m ve- 
 I imi- 
 3th in 
 hiefly 
 mpo- 
 mon- 
 Rich- 
 
 "obes, 
 with 
 
 )ke of 
 
 .Flo- 
 
 Frnn- 
 ed. 
 L. C. 
 
Zai/£^A/g,r J'^^^^f^ t^^.if 
 
 "^■4,9- 
 
 # 
 
LAW 49 
 
 Cavalier Gio LANFRANCO, born in the year 1581, fcho- 
 lar to the Carraches, and a zealous imitator of Raphael Correg- 
 gio, lived at Rome, Parma, and Naples ; excelled in hiftory, 
 and died in the year 1647, aged 66 years. 
 
 Mr. LANIER, was a painter well fkillol in the Italian hands. 
 He was employed by King Charles I. beyond Tea, to purchafe 
 that collection made by him, to whom he was clolet-keeper. 
 
 LAPIS LAZULI, a mineral ftone of a blue colour, from 
 whence ultramarine is extracted. See ULTRAMARINE. 
 
 LARK-SPUR, or Heel., is of feveral colours, and ftriped ; 
 the moft common are purple, gridelin, and red, which you may 
 know how to do by the diredions for other flowers of the fame 
 colour. 
 
 LATTEN, plates of iron covered with tin. 
 
 LAUGHTER^ in painting, &c. In this pafTion all the parts 
 of the face go one way ; for the eye-brows, being drawn dov.'n 
 towards the middle of the forehead, caufe the mouth, nofe, and 
 eyes to follow them in the fame motion. See plate V. 
 
 This paffion of Laughter fucceeds joy, and the motions of it 
 are expreffed by the eye-brows raifed about the middle, and 
 drawn down next the noie ; the eyes almoft fhut ; the mouth 
 appears open, and fliews the teeth ; the corners of the mouth be- 
 ing drawn back, and raifed up, will make a wrinkle in the cheeks, 
 which will appear puffed up, and almoft hiding the eyes ; the 
 face will be red, the noftrils open, and the eyes may feem wet, 
 or drop with tears, which, being very different from thofe of for- 
 row, make no alteration in the face; but very much when ex- 
 cited by grief. 
 
 Marcellm LAURON, or LAROON, was born at the Hague 
 in 1653, ^^^ brought up under his father, who brought him \^- 
 ry young into England. He was a general painter, and imi- 
 tated other mafters hands very well. He painted well both in 
 great and little, and was an exa£t draughtfman, but was chiefly 
 famous for draper}'', wherein he excelled moft of his contempo- 
 raries. He was likewife famous for pictures in little, common- 
 ly called converfation pieces. He died, and was buried at Rich- 
 mond in Surry, aged 52 years. 
 
 LAW, is reprefented in painting, &c. cloathcd in purple robes, 
 feeded with golden ftars, and a mantle of carnation, fringed with 
 gold, purple, and yellow bufkins. 
 
 L. C. Ciu. F. with the firft C in the perpendicular ftroke of 
 the L, is the mark of Ludovico Cardi, firnamed Civoli, a Flo- 
 rentine painter, in a plate of the fupper of the Pharifee. 
 
 L. C. F. B. I flgnihes Lewis Caracci inventor. Fran- 
 
 LOD.C.I, Fr. Bri. J cefcoBriccio intaglio, or engraved. 
 
 Vol. IL E L. C, 
 
50 LEA 
 
 L. C. 1 fignifies Luke Van Cranoglo, or Luke Van Craen, 
 
 L.V.C. ) painter, in Savcy, anno 1509. 
 
 L. C. ? fignifies Lewis Caracci, in his three plates, engra- 
 
 L.O.C. J ved with his own hands. 
 
 L. D. in a facrifice, and Alexander the Great, by Abbot Pri- 
 maticcio. 
 
 LEAD, is a coarfe, heavy, impure metal, of all others the 
 fofteft and moft fufible, when it has been purified. 
 
 By making an analyfis of it, it is found to contain a little mer- 
 cury, fome fulphur, and a great deal of bituminous earth. 
 
 Lead is found in various countries, but abounds particularly 
 in England. 
 
 It is melted on a furnace, provided for that purpofe, vi'ith a 
 ftrong coal fire upon it ; as it melts, it runs through a canal on 
 one fide of it, leaving the earth, ftone, and fcoria, with the 
 afhes of the coals. 
 
 It is purified by fkimming it before it is cold, and by throw- 
 ing fuet, and other fat bodies, into it. 
 
 When the Lead ore is dug out of the mi.ie, it is beaten fmaE, 
 and wafned clean in a running ftream, and hfted in iron rudders. 
 
 The hearth or furnace, whereon it is melted, is made of clay, 
 or fire-flone ; this is fet into the ground, and the fire is built on 
 it, and is lighted with charcoal, continued with oaken gads, 
 blown with bellows by mens treading on them. 
 
 After the fire being kindled, and the fire-hearih Is jrrown hot, 
 the Lead ore is thrown on the wood, which melts down into the 
 furnace, and then with an iron ladle they take it out, and upon 
 fand cafi; it into what form they pleafe. 
 
 The ore runs fometimes in a vein, fometimes difperfed in 
 banks ; it lies many times between rocks ; fome of it is harder, 
 others fofter ; fometimes they have branched ore in the fpar j 
 about the ore is fpar and chalk, and another fubftance, which 
 the miners call crootes. 
 
 It has been obferved by Mr. Glanvil, that the fmoke of the 
 Lead works, in Somerfetfhire is a great annoyance, and afFetta 
 both the workmen, and the cattle that graze near them with a 
 difeafe, that often proves mortal. 
 
 That the trees that grow near them have their tops burnt, 
 and their leaves and outfides difcoloured and fcorched. 
 
 There are various preparations of Lead, ferving for various 
 ufes ; as, 
 
 Lead-duft is a preparation ufed by potters, made by throwing 
 charcoal dull on melted Lead, and flirring them a long time to- 
 gether ; to feparate the coal again, they only wafh it in water, 
 and dry it afrefh j the ufe of it is to give a varnilh and glofs to 
 their works. 
 
 mifff 
 
LEA 51 
 
 iVI/iie Lead ufeJ by painters is only thin plates of Lead, dif- 
 folved by the iumes of boiling vinegar, 
 
 Mafticotes of feveral colours, and the fandix, are alfo prepa- 
 rations of Lead. 
 
 Red Lead is a preparation of mineral Lead calcined, ufed by 
 painters, potters, &c. 
 
 Litharge of gold or filver is only the Lead that has been ufed in 
 purifying copper. 
 
 Black Lkad is a kind of mineral (lone, of a black colour, but 
 filvered and fhining, found in Lead mines, and appears to be 
 nothing elfe but Lead, not yet arrived at maturity, much ufed as 
 cravons or pencils for defigning. 
 
 This is melted like the common Lead. 
 
 To purge Lead. Aielt it in the fire, then quench it in the 
 fharpeft vinegar ; melt it again, and quench it in the juice of 
 cela)dine; melt it anain, and quench it in fait water; then in 
 vinegar mixed with fal armoni.x ; and, laftly, melt it, and put 
 it into afhes, and it will be well cleanfed. 
 
 To make Lead of a golden colour. Put an ounce of quick- fil- 
 ver into a crucible, fet it over the fire till it is hot, then add to it 
 of the beft leaf gold one ounce, and take it from the fire, and 
 mingle it with purified Lead melted one pound; mingle all well 
 together with an iron rod, to which put of the filtrated folutioii 
 of vitriol in fair water one ounce, then let it cool, and it will be 
 of a gold colour ; difiblve the vitriol in its equal weight of water. 
 
 How to print the LEAF of any tree or plant. Tlub the veins on 
 the back fide of the leaf of any plant you defire, with a dog's 
 tooth, or piece of ivory, to bruife them a little ; then rub it over 
 gently with a piece of woollen, dipped (lightly in linfeed oil ; then 
 lay the oiled fide of the Leaf on a piece of white paper, and prefs 
 it equally on every part, and a perfect imprefiion of it will re- 
 main on the paper ; which, if you pleafe, you may afterwards co- 
 lour of its natural colour. 
 
 Another way of taking a natural imprejfion of the LEAVES of 
 plants., fo that it Jhall appear as black as if done in a printing-prefs. 
 
 Take any leai, let it be thoroughly dry, and with a printer's 
 ball, fuch as they u^e. for laying on the ink upon letters, it being 
 equally co\ered with printers's ink ; and flrike it gently four or 
 five times over the back of the Leaf, till all the veins have been 
 blacked with the ink ; then lay your Leaf on a trencher or fmall 
 board with the backfide upv/ards ; then lay over the Leaf a piece 
 of while paper, wetted a little, <b as to be but a fmall matter more 
 than moift ; and upon this paper lay a fmooth trencher, and prefs 
 it hard d<.>wn, but not fo hard as to break the fine fibres of the 
 I/eaf ; and this will give you a fine imprefiion. 
 
 But this would be done the more eafily, if you had a wooden 
 
 L 2 roller 
 
52 LEA 
 
 roller made like a cylinder, of about a foot in length, and an Inch 
 and an half diameter, the middle part of which is covered to the 
 length of feven or eight inches with woollen cloth, rolled hard 
 and even two or three times about it. 
 
 The white paper that covers the Leaf, being rolled four or five 
 times backwards and forwards with this roller, will give you a 
 very curious impreflion. 
 
 Eut if you cannot conveniently procure printer's ink, which 
 is not eafily to be had in the country, then you may ufe the fol- 
 lowing method : 
 
 Rub the back of the Leaf with linfeed oil burnt, and then 
 ftrew fomc powder of black lead, or, if you have not that, char- 
 coal or fmall-coal duft, very finely ground and fearced, or the 
 powder of burnt cork, very equally, upon a fmooth board, that 
 will juft cover it j then ftroke it over fmoothly with the blade of 
 a knife, and clap it upon the board, the back of the Leaf having 
 been oiled ; and then lay your white paper on the blacked fide of 
 the Leaf, and either prefs it, or roll it as before. 
 
 But, if you have not the conveniency of any of thefe ingredi- 
 ents, you may ufe vermilion, and, mixing this to the confiflence 
 of printer's ink, cover your printing-balls with that, and dab 
 them on the back of the Leaf, and fo take off your impreflion as 
 before directed. 
 
 A method of taking off the impreffmiofthe LEAVES of plants in 
 flaijler of Paris, y^ that they may be afterwards caji in any metal, 
 Thofe perfons who pradlife cafting in metal have frequent occa- 
 fion to ufe the Leaves of plants for the embellifhment of their 
 works, w^hich are generally made models done by the hand ; 
 which require much time, and, after all, are fometimes very de- 
 ficient as to perfection ; but the following is much eafier. 
 
 Lay the Leaf you would have the imprefTion of between the 
 Leaves of a book, till it will lie flat ; then fix the fore-fide or 
 front of the Leaf to a fmooth board with flrong gum arable wa- 
 ter ; after this has been done, raife a little wall of coarfe pafte 
 about it, to the height of about half an inch ; ox you may fur- 
 round your board with pafte-board, or card-paper, fo clofe, that 
 it will contain a liquid for fome time. Then oil the back of the 
 Leaf, and pour on water, and plaifter of Paris, which, when dry, 
 will have taken an exadt impreflion of every vein of the Leaf, 
 and from which you may eafily make a mould to caft in, as you 
 pleafe. 
 
 To preferve the Leaves of tulips. Make up fome card-paper 
 •into the form of dripping-pans, and fix the tulip Leaves to the 
 cards with ftror>g gum arabic water; then pour on 2ently fome 
 of the ifing-glafs, prepared in fpirits, warm, till the Leaf is quite 
 covered i and in the fpace of an hour or tv.'o the liquor wiH be- 
 3 come 
 
LEA 53 
 
 come hard, and all the colours will be preferved in beauty for fc- 
 veral years, if the flower be preferved from the air, by a glafs, 
 &c. — You may do the fame by the Leaves of auricula's. 
 
 LiKAGUE, is reprefented, in painting, Sec. by two women 
 with helmets embracing one another, holding fpears in their 
 hands, on which arc a heron and a crow. 
 
 Their being armed and embracing denote their conducSl to 
 help one another with their arms ; the birds, enemies to the fox, 
 at their feet, which they unanimoufly aflault, as being enemies 
 to them both. 
 
 LEARNING, is reprefented. In painting, &c. by a mature 
 lady fitting with her arms open, as if (he would embrace another, 
 having a fceptre in one hand, on which is a fun, a book open in 
 her lap, and from a ferene fky falls abundance of dew. 
 
 Her age fhews, that Learning is not acquired but by long 
 fludy. The open book and extended arms, that Learning is ve- 
 ry communicative ; the fceptre and fun, the dominion it has over 
 the darknefs of ignorance ; the dew, that Learning makes ten- 
 der youth fruitful. 
 
 LEATHER, a matter too well known to need any defcrip- 
 tion. 
 
 7i colour white Leather the lejl zvay. Hang the fkins in 
 chalk or lime water, till they are grown fupple, that the hair or 
 wool maybe ftripped off; ftretch them on tenters, or by the 
 means of lines, and fmooth them over ; then brufli them over 
 with alum water very warm, and colour them v.ith the colour 
 you would have them, and Ary them in the fun, or in fome warm 
 houfe ; and they will be ufeful on fundry occafions, without any 
 farther trouble. 
 
 To colour Leather black the German ivay. Take of the bark 
 of elder two pounds, of the filings or ruft of iron the fame quan- 
 tity ; put them into two gallons of rain water, and flop them up 
 clofe in a cafk or vefiel, and let them ftand for the fpace of two 
 months; then put to the liquid part a pound of nut-galls beat- 
 en to powder, and a quarter of a pound of copperas, heating 
 them over the fire, and fuftering them to ftand twenty-four hours 
 after, and then ufe the liquor with a brufli till the fkin has taken 
 a fine black. 
 
 To colour Le ather a fair red. Firft rub the Leather well in 
 alum water or alum it ; boil ftale urine, fcum it, till half of it 
 is wafted ; then put in an ounce of the fineft lake, the like quan- 
 tity of brafil in powder, one ounce of alum, and half an ounce 
 of fal armoniac ; mix them well, and keep them ftirring over a 
 gentle fire about two hours, and fo ufe the liquid part to colour 
 or tinge the fkin. 
 
 To colour Leather of a curious French yellow. Take one 
 
 E 3 part 
 
54 LEA 
 
 part of chalk, and another of wood-afhcs, and make of them a 
 good ley ; then ftrain out the fine liquor, and fet it in a vefl'el 
 over the fire, and put into it turmeric in powder, and a little faf- 
 fron ; and let it fiinmer till it becomes pretty thick; then fet it 
 a coolinrr, to be ufed as occafion requires. 
 
 To make zvkhe Leather bhu. Take a quart of elder-berries, 
 ftrain out the juice, and boil it with an ounce of powder of alum, 
 and half an ounce of indigo, or fmalt-blue ; and brufh over the 
 Leather with a fine bruih dipped in it three times, fufFering it to 
 dry between whiles, and the bufinefs will be efFeiSted. 
 Z)y/«^ Leather. 
 To dye Leather of a reddijh colour. Firft wafh the fkins in 
 water, wring ti.em well out, and afterwards wet them vviih a fo- 
 lution of tartar and bay-falt in fair water, and wring them out 
 again ; then to the former diflblution add afhes of crab-fhells, 
 and rub the fkins very well with this ; after this, wafh them in 
 common water, and wring them out ; then wafh them with tinc- 
 ture of madder in the folution of tartar and alum and the crab- 
 Ihell afhes ; and, if they prove not red enough after all, wafh them 
 with the tincture - f brafil. 
 
 To dye Leather of a pure yclloiu. Take of fine aloes two 
 eunces, of linfeed oil four pounds ; difTolve or melt them, then 
 ftrain the liquor, and befmear the fkins with it, and, being dry, 
 varnifh them over. Or infufe woad in vinegar, in which boil a 
 Itttle alum ; or thus, having dyed them green, as directed, then 
 dye them in a decocStion of privet-berries, fafFron, and alum water. 
 To dye Leather blue. Boil elder-berries or dwarf-elder in 
 water, then fmear or wafh the fkins with it; wring them out ; 
 then boil the berries as before in a diflblution of alum water, and 
 wet the ficins in the fame water once or twice, dry them, and 
 they will be very blue. Or take the befl indigo, and fteep it in 
 urine a day; then boil it with alum, and it will be good. Or 
 temper the indigo with red wine, and wafh the fkins with it. 
 
 To dye Leather of a pure Jky colour. For each ikin take in- 
 digo one ounce, put it into boiling water, let it (land one night, 
 then warm it a little, and with a brufh pencil befmear the fkin 
 twice over. 
 
 To dye Leather purple. DifToK-e roch alum in warm water, 
 vet the ficins with it, dry them ; then boil rafped brafil well in 
 water ; let it ftand to cool ; do this three times, and afterwards 
 lub the dye over the fkins v/ith your hand, and when they are 
 dry polifh them. 
 
 To dye Leather green. Take fap green and alum water, of 
 each a fufficient quantity ; mix and boil them a little; if you 
 would have the colour darker, add a little indigo. 
 
 I 
 
55 
 , or gum 
 either of 
 dry, and 
 
 ^'ake that 
 «^n a mul- 
 
 -jillolveJ, 
 
 >k a httle 
 — they are 
 ^hat there 
 
 ave vveli 
 
 nd hard- 
 j ivory, or 
 
 Jit. 
 
 fcription. 
 
 I. 
 
 ^ny in the 
 
 ^ame into 
 
 ^ ipe with 
 
 iiing, in 
 He ac- 
 
 s correct 
 
 y in the 
 his pof- 
 
 nt of his 
 
 ^ilmoft in 
 
 ,:!y A'eetnefs, 
 
 rift, and 
 
 i/plexion ; 
 
 : painter, 
 
 id equal- 
 
 , ^ draughts 
 t ^luable of 
 
 'v^ larles 11, 
 
 and 63d 
 |i{t, railed 
 I 
 
 Antwerp, 
 iis draw- 
 1 the year 
 
 mous co- 
 pier. 
 

 %^ 
 
L E M 55 
 
 To gild "Leaxher. Take glair of the whites of cgas, or gum 
 water, and with a brufh rub over the Leather with either of 
 them, and then lay on the gold or filver ; let them be dry, and 
 burnifh them. 
 
 To drefs or cover Leather Tvith fdver or gold. Take that 
 which is called brown red, and grind it on a (tone with a mul- 
 let, adi'ing water and chalk; and, when the latter is didblved, 
 rub, or lightly dawb the Hcins over with it, till they look a little 
 whitifli ; and then lay on the leaf filver or gold, before they arc 
 quite dry ; laying the leaves a little over each other, that there 
 inay not be the leaft part omitted ; and when they have well ' 
 cloicd with the Leather, and are fufficiently dried on and hard- 
 ened, rub them over with a polifher made of fmooth ivory, or 
 of the fore- tooth of a horfe, and it will appear vcrv bri'jht. 
 
 LEG, a part of the body too well known to need defcnpuon. 
 For the manner of drawing Legs, feet, &c. See Plate VI. 
 
 Sir Peter LELY, was born in Wcftphalia in Germany in the 
 year 1617, fcholar of De Grcbber of Haerlem, and came into 
 England in the year 1 641. He at firft painted landfcape with 
 fmall figures ; but at length betook himfclf to face-painiing, in 
 which he exceeded all his contemporaries in Europe. He ac- 
 quired a wonderful ftyle in painting, both as to his correct 
 draught and beautiful colouring; but more efpecially in the 
 graceful airs of his heads, and the pleafing varieties of his pof- 
 tures, together with the genteel and loofe management of his 
 draperies, he excelled moft of his predeceflbrs. 
 
 And, notwithftanding the critics fay he preferred almoft in 
 all his faces a languifhing air, long eye, and a drowfy fweetnefs, 
 peculiar to himfelt, for which they reckon him a mannerift, and 
 that he retained a little of the greeniih caft in his complexion ; 
 whatever of this kind may be obje6ted againft this great painter, 
 his works are highly efteemed both here and abroad, and equal- 
 ly valued and envied. 
 
 He was likewife a good hiftory-painter ; his crayon draughts 
 are alfo admirable, and thofe are reckoned the moft valuable of 
 his pieces, which were all done intirely by his own hand. 
 
 T he earl of Pembroke recommended him to king Charles II, 
 who made hjm his principal painter, and knighted him. 
 
 He died of an apoplexy in London in the year 1680, and 63d 
 of his age. There is a marble monument, with his buft, railed 
 for him in Covent-garden church. 
 
 Balthazar Van LEMENS, a hiftory-painter, born at Antwerp. 
 His manner was very free, and often very graceful. His draw- 
 ings and (ketches are excellent. He died in London in the year 
 J 704. 
 
 JUmJpus Van LEMPUT, alias REMEE, was a famous co- 
 
 E 4 pier. 
 
56 L ^ ^ 
 
 pier, in the reign ofking Charles II, of the neat mafters, as Stone 
 was of the great Italians. He was a native of Antwerp, and a 
 great copier of Van Dyke, by whom he was much encouraged. 
 His pieces fometimes, through the advantage of time upon 
 them, pafs for that great mafter's, now a2;e has a little imbrown- 
 cd the tint, foftened the colouring, and perhaps concealed fome 
 part of the ftiffncfb whereof he flands accufed by the critics. 
 
 He had 150 1. for copying Henry VII. and Henry VIII. in 
 one piece, after Holbein ; being the famous picture that was on 
 the wall at Whitehall, which was afterwards burnt. 
 
 He was very famous for the beft collection of drawings and 
 prints of any of his time. It was he that bought the celebrated 
 piece of king Charles I. on horfeback, by Van Dvke, now at 
 Hampton-Court, for a fmall matter, in the time of the troubles, 
 which carrying over to Antwerp, he was there offered 1000 gui- 
 neas for it, and flood for 1500 ; but, thinking that not enough, 
 he brought it over to England again ; where, the times being 
 turned, and he ftill infifting on the fame fum, the pi£fure was 
 taken from him by a due courfe of law, after it had coft him a 
 great deal of money to defend it. He died in London tbout fixty 
 years of age. 
 
 T" Lucas Van LEYDEN, a celebrated painter and 
 or ^-J-^ engraver, ufed thofe two marks in fome of his 
 plates. 
 
 L. H. ftands for Lambert Hopfer. 
 
 LIBERALITY, is reprefented, in painting, &c. by a woman 
 with a fquare forehead, in a white veil, an eagle over her head, 
 holding a cornucopia turned upfide down in one hand, whence 
 are fcattered jewels and other precious things, and in the other 
 hand fruits and flowers. 
 
 The eyes and front refemble the lion, the moft liberal of all 
 irrational creatures. The eagle denotes the habit of Liberality, 
 for {he always lea\es fome of h.er prey to other birds. The cor- 
 nucopia fhews that a generous fpirit (hould do good, but not out of 
 vain-glory. The white veil, that fhehas no finifter defign nor 
 project of intereft. 
 
 MHans LIENFRINCH thus marked certain plates, re- 
 prelenting birds and hunting-pieces with ornaments. 
 Long LIFE, is reprefented, in painting, &c. by an ancient lady 
 in an antique habit, laying her right hand upon the head of a flag 
 with large horns, and many branches; holding a crow in her 
 left hand. — The ancient drefs denotes the revolution of many 
 years ; the old flag alluding to that which was found three hun- 
 dred years after Julius Caefar, with a gold collar infcribed HOC 
 CiESAR DONAviT. The crow outlives the Hag, as it is faid. 
 ^bort LIFE, is reprefented, in painting, &c, by a lady of 
 
 juvenile 
 
jiu'cnile afpecEl, with a garland of various flowers, on her bread 
 the figure ot hemerobion, a little infcfl ; in her right hand a rofe- 
 branch, round which is written, Una dies apent, conficit una 
 dies, i. e. it is difcloled, or buds and dies in one day ; and in her 
 left the fifli feche. The garland fliews the frailty of man that 
 lofes his ftrength, as flowers fade, in a moment ; the infect the 
 fhortnefs of life, which i; but the fpace of one lingle day j the 
 feche is a fifh that lives not long. 
 Of the imitation i7/"LIFE. 
 
 1. Firft chufe a good maftcr, with whom you may fpend at 
 leafl: two days in a week ; it might be better, if there weie a fo- 
 ciety of about ten or twelve young men, who mighi be of ufe in 
 a/Tifting one the other. 
 
 2. Then chufe a well (haped man, one with large fhoulders, a 
 fair breaft, havino; ftrong mufcles, full thighs, long legs, and of a 
 proportional height, neither too tall nor too fhort, neither too 
 thick nor too flender, but one of a very regular and exa£t propor- 
 tion and ihapc. 
 
 3. Let this exemplar ftand in a good pofture, reprefenting 
 fome noble aition ot life, letting the head turn itfelf to the right 
 fide, if the left be {hadowed ; and on the contrary making the 
 parts of the apparent fhoulder fomething higher than that which 
 is obfcured ; and the head, if it looks upwards, leaning no far- 
 ther backwards than fo that the eyes may be fcen ; and, in the 
 turning of it, let it move no farther than fo that the chin may 
 only approach the flioulder ; making alfo the hip on that fide on 
 which the fhoulder is loweft a little to ffick out, and that arm 
 foremofi: where the leg is behind. 
 
 4. The fame things are to be obferved in relation to all four- 
 footed beads ; and this generally to make the limbs crofs-wife 
 to cohere together, and in the turning of it forward, backward, 
 upward, downward, fidevvays, always to counterbalance it by 
 the oppofition of the other parts, the right knowledge of which 
 is a confiderable advance towards the imitation of the life. 
 
 5. Thefe things being fo prepared, let the perfon, who is to 
 begin, firft fketch on the paper his own ideas, being fixed in a 
 convenient place and light, wherein he muft endeavour to make 
 every part agree with the whole ; firft in form ; fecondly in pro- 
 portion ; thirdly in action. After this beginning again, run over 
 the draught, and bring it to a conclufion, as Ihall be ftiewn here- 
 after. 
 
 6. Obferving always, that, after you have fketched your whole 
 figure, that you chufe a part, which you have moft mind to fi- 
 nifti, to perfect it, in regard that with the reit ftands in a good 
 pofture. The reafon for this is, bccaufe time will not always 
 ipafily permit to compleat or fjnifh a whole figure, unlefs to fuch 
 
5* . . . ^ ' ^ 
 
 as are expert artlfts ; it being much better to bring one part to 
 perfection, than to leave the whole imperfect. 
 
 7. It is ahb to be confidered, after what manner you would 
 have your figure to be feen, whether upon even ground, or from 
 above; for the pofition of the exemplar muft be accordingly. 
 
 8. A young artift may alfo at his conveniency fometimes view 
 the country, and pra6tife drawing of Undfcapes, reprefenting the 
 objcLls of nature as much as is poffible ; firft m their diffance fe- 
 condly in their mutual pofition ; and thirdly in vifible alpecl. 
 Bv this means he will obtain a general and complete underftand- 
 ing in the univetfal meafures of i-ll things. 
 
 9. A graceful poflure is a principal thing to be obferved in 
 cverv picture ; all things are to be exprefled with proper acftions ; 
 to wit, in their true and natural motions, according to the life 
 and fpirit of them. 
 
 Majefty is to be exprcfTed in a king, by delineating him in 
 fuch a graceful pofture, as may caufe the fpettators to behold him 
 ■with reverence. 
 
 A foldier (hould be exprefTed in fuch a pofture, as indicates 
 the greatefl boldnefs and courage. 
 
 A clown fhould be drawn in a fordid and clownifh pofture. 
 
 A fervant or page (hould be exprefTed in a waiting and diligent 
 pofture. 
 
 In all manner of draughts after the life, the inward afFecxions 
 of the mind fhould be livelily exprefTed by the outward actions, 
 motions, and geftures of the body. 
 
 10. But, ia order to attain an exquifite knowledge of thefe 
 things, it will be necefTary to obferve the works of the moft fa- 
 mous mafters, and to ftrive to imitate the examples of thofe, who 
 for a long time had accuftomed themfelves to draw all varieties 
 of geftures and pofturcs; as the actions of combatants fighting 
 atcuft's, wreftlcrs, ftagc-pl avers, fencers, the enticing allurement 
 of courtezans, riding the great horfe, tournaments, &c. wherein 
 the motion of the eyes and the hands, and the carriage of the 
 whole body, are exactly to be taken notice of, if you would in 
 drawing exprefs any thing to the life. 
 
 11. And, in order that it may appear the more natural and 
 not forced, you muft ufe a kind of carelefthefs and loofenefs in 
 j-our draught, that the body mav not be made ftifr in any part j 
 but that every joint may have its proper benciings, that the inten- 
 tion of the figure may not be lame, and the joints as it were ftif- 
 fened, that every limb mav have its proper freenefs and loofe- 
 nefs, agreeable to the natural lite of the picture. 
 
 12. In order to be able to make every thing thus naturally 
 accord, the life muft be diligently obferved. No action muft be 
 forced beyond mature ; if a perfon be reprcfented turning his 
 
 head 
 
L I G 55 
 
 head over his fhoulder, you muft not turn It more than nature 
 will admit. Nor fhould it come Ihoit of what bounds nature 
 has allowed ir, but rather be quickened to the higheft pitch. 
 
 As if \'ou were to draw a man hghting, either in endeavour- 
 ing to ftrike, or avoid the itroke of his enemy, in runnino-, 
 wreftluig, leaping, &c. you mud be fure not fo much to over- 
 do nature, as to exprefs a pofture which cannot be imitated with 
 his natural body, 
 
 LIGHTS, in painting, &cc. are thofe parts of a piece which 
 are illumined, or which lie open to the luminary by which the 
 piece is fupi^ ofed to be enlightened ; and which, for this reafon, 
 are painted with bright vivid colours ; and m this fenfe Lights 
 arc oppofed to fhadows. 
 
 h'vzht is alfo ufed for the luminous body that emits it; there 
 are various kinds of Lights ; general Lights, as the air; particu- 
 lar Lights, as a candle, the fun, a fire. 
 
 Different Lights have different efPeits on a piece of palntino^, 
 and occafion a difference in the management of every part. 
 
 Therefore much depends upon the painter's chufing a proper 
 Light for his piece to be illummed by, and a great deal more in 
 the condudl of the Lights and fhadows, after he has pitched up- 
 on the luminary. 
 
 The ftrength and relievo of a figure, as well as its graceful- 
 nefs, depends intircly <.ii the management of the Lights, and the 
 joining of thefe lo the fhadows. 
 
 The Lighr that figures in a piece of painting receive, are eithef 
 diredl or infleded ; to each of which fpecial regard mufl be had. 
 
 The doctrine of Lights and colours makes that part of paints 
 ins:, called the clair obfcure. 
 
 Of Lie KT, ficiiiotv^ and colour. The drawer, engraver, and 
 painter, ought all to purfue one and the fame intention, and to be 
 under one and the fame conduct. 
 
 What the drawer or engraver makes round with the crayon, 
 or (tet-l inftrument, the painter performs with his pencil, catling 
 behind what is to be made lefs vifihle bv diminution, and brcak.- 
 ing of his colours; and drawing forvvards by the mofi: lively co^ 
 lours an(; ffrongeft fhadows tnat which is directly oppofite to th? 
 fight, as being neareft and moft to be diftinguifhed. 
 
 2. If folid and dark bodies are placed on Light and tranfparent 
 grounds, as fky, clouds, waters, &c. thofe dark bodies, &c, 
 ought to be more rough, and more to be diftinguifhed than thofe 
 with which they are encomoalfed ; that being ftrengthened by 
 the Lights and fhadows, or c()lours, they may fubfilland preferve 
 their folidity upon thofe tranf;;arent grounds. 
 
 ^. In the mean feafon thofe Light grounds, as fky, clouds, 
 
 waters. 
 
6o L I G 
 
 waters, being cl-earcr and more united, are to be cafl off from the 
 fio-ht to a farther diftance. 
 
 4. Two equal Lights mufl never be made in one and the fame 
 picture, but a bigger and a leiler ; the bigger to ftrike forcibly 
 on the middle, extending its greateft clearnefs on thofe places of 
 the defign, where the principal figures of it are, and where the 
 ftrength of the action feems to be; diminifliing it gradually, as 
 it comes nearer and nearer to the bordeis. 
 
 5. This is evident in flatues, fet up on high in public places, 
 their upper parts being more enlightened than the lower, which 
 ought to be imitated in the diftribution of Light. 
 
 6. You muil avoid ftrong fhadows on the middle of the limbs, 
 left the abundance of black, which compofes thofe fliadows, 
 fhould feem to enter into them, and feem to cut them ; rather 
 let thofe fliadovvings be placed round about them, thereby to 
 heighten the parts i making great Lights to fucceed great fha- 
 dows. 
 
 7. On this account Titian faid, he knew no better rule for dif- 
 tribution of Lights and (hadows, than his obfervations drawn 
 from a bunch of grapes. 
 
 8. Pure white either draws an objecl nearer, or fets it off to 
 a farther diflance; it draws it nearer with black, and throws it 
 backwards without it ; but pure b'ack, above all other ccJlours, 
 bnn<TS the object nearer to the fight. 
 
 9. The Light, being altered by fome colour, never fails to 
 communicate fomething of that colour to the bodies on which it 
 ftrikes; and the medium of air, through which it pafles, has the 
 fame effect, 
 
 10. Bodies which are clofe together receive from each other 
 by reflection that colour, which is oppofite to them, viz. they re- 
 ject on each other their own proper colour. 
 
 11. If a defign is filled with many figures, you muft always 
 endeavour an union of colours, for fear that, being too different, 
 they fhould embarrafs the fight by their confufion with the great 
 numbers of their members, feparated by certain folds. 
 
 *'i2. And for this reafon the V^enetians paint their draperies 
 with colours that are nearly related to each, and fcarcely diftin- 
 guifh them any other way, but by the diminution of Lights and 
 (hadows. 
 
 13. Thofe parts of a picture, which are placed foremoft or 
 nearelt to the view, fhould always be more finifhed than thofe 
 which are caft behind ; and ought to be more manifeft than 
 thofe things that are tranfient and confufed. 
 
 14. Things fituated at a diftance, though they be many, yet 
 ought to be made but one mafs. As the leaves on the trees, a 
 fliglit o; birds, billows in the fca, kc. 
 
 J 5. Let 
 
L I G 6i 
 
 15. Let thofe objei^s, which ought to be feparated, be ma- 
 nifeltly (o, and that by a iVnall and pleafing difierence ; but, on 
 the contrary, let not thofe things be feparated that fhould be con- 
 tiguous ; and, where there are two contrary extremities, let them 
 never touch each other either in colour or Light. 
 
 16. Various bodies are every-where to be of different airs and 
 colours ; that thofe which are placed behind may be united to- 
 gether, and thofe which aie placed foremoft may be ftrong and 
 lively. 
 
 17. In painting either a half figure or a whole one, which is 
 to be placed before other figures, it ought to be placed nearer 
 the eye, and next to the Light : And if it is to be painted in a 
 large place, and at a diftance from the eye, then you ought nor 
 to be fparing of great Lights J the Itrongeft fhadows, andthemoii 
 lively colours. 
 
 18. But a meridian Light mufl: not be put in a pitf^ure, be- 
 caufe there are no colours that can fufficiently exprefs it ; but 
 rather a weaker Light ; as that of the morning or evening, whofe 
 whitenefs is allayed, and the fields are, as it were, gilded by the 
 fun-beams ; or fuch as appears after a fhower of rain, which the 
 fun gives through the breaking of a cloud. 
 
 19. Thofe parts which are iieareftto us, and moftraifed, muft 
 be coloured ftrongly, as it were fparkiing : But thofe parts, on 
 the contrar)', more remote from the fight towards the borders, 
 muft be touched more faintly. 
 
 20. The field or ground ought to be a free tranfient light, and 
 well united with colours, which have a friendly agreement with 
 each other ; and of fuch a mixture, that there may be fomething 
 in it of every colour of vvhich the work is compofed, and let the 
 bodies mutually partake of the colour of their ground. 
 
 21. The whole pi£lure ought to be made of one piece; in 
 doing which, you muft avoid, as much as pofiibly you can, to 
 paint drily. 
 
 22. Let your colours be lively; but not look as if they had 
 been rubbed or fprinkled with meal> viz. you muft take care 
 not to let them look pale. 
 
 23. \Vhen a picture is drawn by the life, nature m.uft he ex- 
 actly followed, working at the fame time on thofe parts which 
 refemble one another, e. gr. the eyes, the checks, the noftrils, 
 and lips, fo that you Ihould touch the one as foon as you have 
 given a ftroke of the pencil to the other ; left, by interruption 
 or diftanceof time, you fhnuM lofe the idea of thofe parts which 
 nature has made to refem.ble each other. 
 
 24. Thus you will, by imitating nature, feature by feature, 
 with juft and harmonious Lights and fhadows, and proper co- 
 lours. 
 
62 L I L 
 
 lours, give to your pi(?lure that livelinefs, that it will feem, 35 
 if it were performed by the living hand of nature. 
 
 25. Smooth bodies, fuch as cryftal, dafs, gems, polifhed me- 
 tals, ftones, bones, woods, japans, things covered with hair, 
 as fkins, the beard, head ; alfo ieathers, filks, and eyes, which 
 are of a watery nature ; and thofc things which are liquid, as wa- 
 ter, and fuch corporeal fpecics as are reflected by them ; and all 
 that either touches or is near them ; ought to be painted and 
 united on their lower parts, but fhould be touched above boldly 
 by their proper Lights and fhadows. 
 
 26. Let the parts of the picture fo much harmonife, that all 
 the fliadows may appear as if tliey were but one ; embrace what- 
 foever may be afliftant to you in your defign, and fhun whatfo- 
 cver may be difagreeable to it. 
 
 27. Do not make any touches either with pencil, crayon, or 
 graver, before you have well confidered and fixed upon your 
 defign, efpecially as to the outlines ; nor till you have prefentin 
 your mind a perfe(fl idea of v/hat you would do. 
 
 28. You may be affiiled in many beauties, by means of a 
 looking-glafs, which you may obferve from nature ; as alfo by 
 thofe objects you may fee in an evening, where you have an 
 ample field and a large profpeit. 
 
 29. Thofe things that are painted, to be feen in little or fmall 
 places, muft be touched very tenderly, and be well united by 
 gradual approach and colours; the degrees of which ought to be 
 more different, more unequal, more flrong, and vigorous, as 
 the work is more diftant. 
 
 30. If the picture is to be placed where there is but little Light, 
 the colours ought to be very clear ; but if it is ftronglv enlight- 
 ened, or in the open air, the colours ought to be very brown. 
 
 31. Large Lights are to be painted as nicely as pofiibly can be, 
 and you moft endeavour to lofe them infenfibly, in the fiiadow3 
 which fucceed them, and encompafsthem about. 
 
 Mr. JViUiam LIGHTF001\ was a good Englifli painter 
 in peripe6tive, architecture, and landfcape. He began in diitem- 
 per, but afterwards took to oil-painting; he was concerned in 
 contriving and adorning feme part of the Royal Exchange. He 
 died in London about ninety years aco. 
 
 Pirro LIGORIO, was fcholar of Giulio Romano, lived at 
 Naples and Rome, excelled in hiftory and architecture, and died 
 in the year 1573. 
 
 LILY, to paint in miniature, cover it with white, and {hade 
 v.'ith black and white ; do the feeds with orpiment and gall- 
 Itone ; and the green of the leaves and flalks with verditer, 
 fliaded with iris crecn. 
 
 ^hc vianyf.ovocred LiLY, in miniature, for the firfl colour 
 
L I M 6^ 
 
 ufe mine de plomb, then vermilion, and in the ftron2:eft of the 
 fhades carmine, and finifii with the fame in ftrolces, which ccr- 
 refpond with the turn of the leaf. 
 
 Heighten the lights with mine de plomb and white, and imi- 
 tate the feed with vermilion and carmine. Let the green be done 
 with vcrditer, and (haded with iris green. 
 
 The day Lily. There are three forts of this flower. 
 
 I. Gridelin, a little reddifli. 2. The gridelin, very pale, 
 3. The white. 
 
 For the firft, lay on lake and white, and fhade and finifb 
 with a deeper mixture of the fame, with a little black added to 
 it; to H'ciden it, efpccially for the deepeft places. 
 
 For the fecond, lay on white, mixed with a very little lake 
 and vermilion, fo thatthefe two laft do hardly appear ; then lliade 
 with black and a little lake, taking care to make the heart of the 
 leases next the ftalk redder, which, as well as the feed, mull 
 be o the fame colour, efpecially towards the top ; and, lower, 
 a little greener. 
 
 Let the ftalk of the feed be done with mafticote, fhaded with 
 bladder green. 
 
 The other flowers of this fort are done with white alone, and 
 (haded and finiflied with black and white. 
 
 The ftalk of thefe laft, and the green of them all, muft be of. 
 the fea fort, ftiaded with iris green. 
 
 LIME, calcined ftone, marble, free-ftone, chalk, or other 
 matter, burnt by a large fire, in a kiln or furnace built for that 
 purpofe; for the moft part to be ufed afterwards in a compofi- 
 tion of mortar for building; ; the fire taking away all its humidi- 
 ty and opening its pores, fo that it becomes eafily reducible to 
 powder. 
 
 ^lick Lime, 7 Is that which is as it comes out of the 
 
 XJnJlacked LiME, ) furnace, and flacked Lime, is that waflied 
 or fteeped in water. 
 
 ro dycJluffalA^slO'H, or LEMON colour. Boil the ftuff 
 an hour and a half with three pounds of alum, three ounces of 
 cerufs, and three ounces of arfenic ; pour ofFfhe water, thea 
 put in frefli, and in the fame kettle make a liquor of fixteen 
 pounds of green dyer's weed, three ounces of pot-afhes, two 
 ounces of turmeric ; let them fettle and boil ; then pafs the ftufF 
 quick through it, and it will be of a good Lemon colour. 
 
 To dye filk a Lemon colour. This dye muft firft of all be 
 tenderly handled, and done in weak fuds, and may be regulated 
 by comparing the colour with a Lemon j which, when done, 
 rinfe and drv it. 
 
 LIMNING, is the art of painting in water colours, in con- 
 
 tfa- 
 
4 L I iM 
 
 tradiftin^lton to painting, properly fo called, which is done in 
 oil colours. 
 
 Limning is by far the more ancient kind of painting : The art 
 of painting in oil is far more modern, it not being known till 
 the year 1410, when it was found out by one John Van Eyck, 
 a Flemifh painter, better known bv the >s^ame of John of Bru- 
 ges. Before his time all the painters painted in water and frefco 
 alone, both on wooden boards, walls, and elfewhere. 
 
 When they made ufe of boards for painting, they ufually 
 glewed a fine linen cloth over them, to prevent their opening, 
 and then laid on a ground of white; they alfo mixed up their 
 colours with water and fize, or with water and yolks of esgs, 
 well beaten with the branches of a fig-tree ; the juice of which, 
 being thHs mixed with the eggs, was the mixture with which 
 they painted their pieces. 
 
 In Limning, all colours are proper enough, excepting the 
 white made of lime, which is only ufed in frefco. 
 
 But the azure and ultramarine muft always be mixed up with 
 fize or with gum ; becaufe the yolks of eggs give yellow colours 
 a grecnifh tincture. 
 
 But before thefe colours, though mixed with fize, are laid on, 
 there are always applied two la)'s of hot fize; the compofition 
 made with eggs and the juice of fig-tree being only ufed for 
 touching up and finifhing, and to prevent the necefllty of ha* 
 ving a fire always at hand to keep the fize hot ; yet it is cer- 
 tain, that the fize colours hold 'he hefi-, and are accordingly al- 
 ways uled in cartoons, &c. This fize is made of fhreds of thin 
 leather or parchment : To Limn on linen they chufe that which 
 is old, half worn and clofe ; this thev do over with white lead, 
 or with a fine plaHler beaten up with fize ; which when dry, 
 they go over it again with a lay of the fame fize. 
 
 The colours are all ground in v/ater, each by itfelf; and, ifi 
 proportion as they are wanted in working, are diluted with fized 
 water. 
 
 If yolks of ecgs are to be ufed, they are diluted with a water 
 made of an equal quantity of common water and vinegar, with 
 the volks, white, and fhell of an egg ; and the ends of the little 
 branches of a fig-tree cut fmall, all well beaten together in an 
 earthen pan. 
 
 If thev would have the piece varnifhed, when finifned, they 
 go over it with the white of an egg well beaten, and then with 
 varnifii. 
 
 But this, however, is only to preferve it from wet ; for the 
 great advantage of Limning confifts in its being free from any 
 luftre, in regard that all its colours, thus void of luftre, may be 
 
 feen 
 
L I M 6s 
 
 feen in all kinds of lights ; which colours in oil, or covered with 
 varnifh, cannot. 
 
 Of preparations for LiMNlNG. I. Be provided with two 
 fhells, or fmall glafles, to hold clean water ; the one for tem- 
 pering the colours with, and the other for wafhing your pencils 
 in when they are foul. 
 
 2. Befides thofe pencils you limn with, have a large clean 
 dry pencil, to cleanfe your work from any kind of duft that may 
 fall upon it : Thefe pencils are called fitch pencils. 
 
 3. A (harp penknife, for taking hold of any loofe or ftraggling 
 hairs that may come out of your pencil, either upon the woric 
 or among the colours ; or to take out fpecks of any thing that 
 may fall upon your card or table. 
 
 4. A paper with a hole cut in it to lay over your card, to 
 keep it from dufl: and filth to reft your hand upon, and to keep 
 the parchment from being fullicd by the foil and fweat of your 
 hand ; as alfo for trying your pencils on before you ufc them. 
 
 5. Be provided with a quantity of light carnation or flefh co- 
 lour, tempered up in a fhell by itfelf, with a weak gum water, 
 made of white and red lead, if it be for a fair complexion; to 
 which add a little mafticote or Englifh oker, or both, if it be 
 for a brown complexion. 
 
 6. But you muft be fure to t?k<? care, that the flefli colour be 
 always lighter than the complexion you would reprefent; for 
 that it may be brought to its true colour. 
 
 7. Place your feveral fliadows, for the flefh colour, in a large 
 horfe mufcle-fhell in little places diflindt from one another. 
 
 8. Lay a good quantity of white by itfelf, that it may be 
 ready in all ihadowings, befides what the fhadowings are firft 
 mixed with. 
 
 9. For red for the cheeks and lips, temper lake and red lead 
 together ; and indigo, or ultramarine, and white for blue fha- 
 dows, as thofe under the eyes and veins. 
 
 10. For grey, faint fhadows, white, Englifh oker, and fome- 
 times mafticote ; for deep fhadows, white, Englifn oker, 
 umber; for dark fhadows, lake and pink, which make a good 
 flefhy fhadow. 
 
 1 1. In making choice of a light, let it be fair and large, one 
 northerly and not foutherlv, and free from fhadows of houfes or 
 trees ; and all clear fky-lights coming in direct from above, and 
 not tranfverfe. As to the room, let it be clo!"e and clean, and 
 free from the fun-beams. 
 
 12. As to the manner of fitting, let the def^L on which vou 
 •work be fo lituate, that, fitting before it, your left arm may be' 
 towards the light, that the light may f^rike fideling upon your 
 work . 
 
 Vol. II F Let 
 
66 L I M 
 
 Let the perfon you are to limn be pofited in the fame pofture 
 that he himfelt'fliall chufe, level with you, and not more than 
 fix yards from you at molh 
 
 13. Obferve the pcrfon's motion, if never fo fmall ; for the 
 leaft motion amifs, if not recalled, will infenfibly lead you into 
 many errors. 
 
 14. When you have finiflied the face, let the perfon ftand, 
 not fit, at a farther diftance than four or five yards off, for your 
 drawing the pofition of the cloafhs. 
 
 15. If you are to limn upon fattin, deep ifing-glafs for twenty- 
 four hours in fair water, and then boil it in fpirits of wine, until 
 it (^row very clammy, which may be known by dipping your 
 finger in it : And, alter you have drawn your outlines upon 
 fattin, wafli it thin over with an indifferent large pencil, as far 
 as your outlines are, which will prevent the colours from fink- 
 ing or flowing. 
 
 16. The better to prevent your colours from finking into 
 your card, paper, or parchment, you defign to limn on ; boil 
 fonie roch alum in fpriiig water ; then take a bit of a fpunge, 
 and with it wet the buck fide of the paper that you are to draw 
 on very thin : While the water is hot, be as quick in wetting it 
 as you can ; and this will hinder the colours from finking. 
 
 T/je practice ij/" LiMNiNG, or drawing a face in colours. 
 I. As to the beginnino; of the work : Havins; all your materials 
 in readinefs, lay the prepared colour Oii the card, anfwerable to 
 the complexion prefented, even and thin, free from hairs and 
 fpots over the place where the picture is to be. 
 
 2. The ground having been thus laid, and the party placed 
 in a due pofition, begin the work, which is to be done at three 
 fittings ; at the firft fitting you are only to dead-colour the face, 
 which will require about tv,'o hours time. 
 
 3. At the fecond fitting, go over the work more curioufly, 
 adding its particular graces or deformities, couching the colours 
 fweetly, which will take up about five hours time. 
 
 4. At the third fitting, you muft finifti the face, perfecting 
 all that has been left imperfedt and rough ; putting the deep flia- 
 dows in the face, as in the eyes, brows, and ears, which are the 
 laft of the work, and are not to be done till the hair, curtain, or 
 back fide of the picture, and the drapery, be whollv finilhed. 
 
 5. The operation, or ivork at frji fitting. Having laid the 
 ground or complexion, in the next place draw the outlines of 
 the face, which do with lake and white mingled : Draw rhefe 
 but very faintly, that, if you happen to mifs, either in proportion 
 
 -or colour, you may alter it. 
 
 6. When you have done this, add red lead to the former co- 
 lour for cheeks and lips j but let it be but faint, for you cannot 
 
 2 lighten 
 
L I M Gy 
 
 lighten a deep colour, taking care to make the Shadows in their 
 due places, as in the cheeks, lips, tip o) the chin, and ears, the 
 eyes, and roots of the hair: Do not fliadow with a fiat pencil, 
 but by fmall touches, and To go over the face. 
 
 7. Strive, as near as poffibly you can, in this dead-colouring, 
 to imitate nature rather than to be curious. 
 
 8. Having put the red (hadows into their due places, ftiadow 
 about the colours, borders, and balls of the eyes with a faint 
 blue, and under the eyes and about the temples with a greyifh 
 blue ; heightening the (hadows as the light falls ; alfo the harder 
 Ihadows in the dark fide of the face, under the eye-brows, chin, 
 and neck. 
 
 9. Bring all the work to an equality, but add perfe(5lion to no 
 particular part at that time ; but imitate the life in likenefs, 
 roundnefs, boldnefs, pofture, colour, and the like. 
 
 10. Laftly, touch at the hair with a fuitable colour, in fuch 
 curls, folds, and form, as may either agree with the life, or grace 
 the pidturc : Fdl the empty places with colour, and deepen it 
 more ftrongly than in the deepeft fhaJowed brfore. 
 
 11. The operation at the fecond fitting. As it has been before 
 laid but rudely, fo you mult fwceten thofc varieties which na- 
 ture affords, with the fame colours, and in the lame place, dri- 
 ving them one into another; yet fo as that no lump or fpot of 
 colour or rough edge may appear in the whole of the work ; and 
 tills is to be done with a (liarper pencil than that you ufed before. 
 
 12. Having done this, go to thv, back fide of the picture, 
 which, if it be a landfcape, or a blue or red faitin curtain; if it 
 be blue, temper up as much bice as will cover a card, which, 
 mix very well with gum ; and draw the outlines of the curtaia 
 with a pencil, as alfo the whole pifture: Then, on the whole 
 ground on which you intend to lay the blue, lay with a large 
 pencil thinly, or airily, over the whole ground ; and afterwards 
 lay over the fame a fubltantial body of colour, which ought to 
 be done nimbly, keeping; the colour moiff, and not fufFeringany 
 part to be dry till you have covered the whole. 
 
 13. If the colour of the curtain is to be of a crimfon colour, 
 lay the ground of a thin colour, and lay the light with a thin 
 "waterifh colour where they fall; and, while the ground is yet 
 wet, lay the ftrong and hard (hadows clofe by the other lights, 
 with a ftrong dark colour, tempered fomething thickifh. 
 
 14. Then lay the linen with a faint white, and the drapery 
 flat, of fuch a colour as you would have it be. 
 
 15. Obferve what fliadows in the face are too light or too 
 deep for the curtain behind, and the drapery, and reduce each 
 to their due degree of height j draw the lines of the eye-lids, 
 
 F 2 and 
 
68 L I M 
 
 and fl:iac]ow the entrance into the ear, deepnefs of the eyes, and 
 any eminent mark in the face, with a very (harp pencil. 
 
 1 6. In the laft place, go over the hair, giving it the colour 
 that it appears to have in the life, cafting feme loofe locks of 
 hair over the ground ; which will caufe the picture toftand as it 
 were at a diftancc from the curtain. 
 
 17. Let the linen befhadowed with white, black, and a little 
 yellow and blue; the black being deepened with ivory-black, 
 mixed with a little lake and indigo. 
 
 18. The operatic}! at the third fitting. This third operation is 
 taken up v/holly in giving ftrong touches where you perceive 
 occafion, in rounding, fmoothing, and colouring the face ;• 
 which, to do, will be the better perceived after the curtain and 
 drapery has been done. 
 
 ig. In the next place, confider whatfoever may conduce to 
 render the work as pcrfedl as you poflibly can, either as to cafts 
 of the eyes, moles, fears, windings of the mouth, geftures, or 
 the like ; and take care never to make your deepeft ihadows fo 
 deep as they appear in the life. 
 
 20. How to heighten and deepen the p-ound colour for hair. If 
 it be in miniature that you paint, the colour of the hair mufi: noS 
 be fo light as the lightcft, nor fo deep as the deepeft fhadow 5 
 but in a middle proportion between both, on which you may ei- 
 ther heighten or deepen at pleafure. 
 
 21. If it be laid on with the lighted: colour, it will require 3 
 long time to work it down ; and, if it be as dark as the deepeft, 
 it cannot be deepened lower with the fame colour. 
 
 22. And, befides, this ground colour muft be laid exceedingly 
 even and fmooth ; and the quicker it is done the better it will be. 
 
 23. A goofe-quill pencil is the moft proper to be ufed in doing 
 this, and the temper of it ought not to be too thin ; becaufe, if 
 {o, the parchment will appear through the ground, which ought 
 to be covered ; and you fliould rather go over it again with the 
 fame colour, than to let it appear fo. 
 
 Of Liu^iiiQ drapery. See DRAPERY. 
 
 O/" Limning lamlfcape. All the various expreffions of land- 
 fcape are innumerable, there being as many as there are painters 
 and fancies, and therefore not to be comprifed within rules. Buty 
 for the general, obfcrve thefe which follow. 
 
 1. Alv/ays begin with the fky, fun-beams, or lighteft parts 
 firfi: ; next, thofe beams that are yellowilh, which make of ma- 
 flicote and white ; next, the bluenefs of the flcy, which make 
 with ultramarine or fait alone, and mix lake and white for pur- 
 ple clouds. 
 
 2. At the firft working lay the piece all over with dead co- 
 
 lour, 
 
L I M 69 
 
 lour, leaving no part of the ground uncolourcd j but take care 
 to lay the colours fmooth and even. 
 
 3. Work your fky downwards towards the horizon fainter 
 and fainter, as it draws nearer and nearer the earth, except in 
 tempclluous Ikies ; work the tops of mountains far remote, (o 
 fainithat they may appear loft in the air. 
 
 4. Make low places, and fuch as are near the ground, of the 
 colour of the earth, of a dark yellowifli or brown, or green ; the 
 next to them of a lighter green ; and fo fuccefTively as they lofe 
 indiftancc, fo make them abate in colour. 
 
 5. Do not make any thing that appears at adiftance perfect, 
 by exprelling any particular iigns or tokens that it has j butex- 
 prefs it as weakly and faintly as it appears to the eye. 
 
 6. Always place light againlt dark, and dark againft light ; by 
 which means you may extend the [irofpeit as though very far off. 
 
 7. Let all the fhadows lotc their force as they remove from 
 the eye ; always making the ftrongeft fhadows the nearelt at 
 hand. 
 
 8. Laftly, boil an ounce of ifing-glafs in fmall pieces in four 
 <juarts of conduit water, till the iling-glafs is difiolved, and ftt 
 it by for ufe: With this, mix fpirit, or oil of cloves, rofes, cin- 
 namon, or ambergreafe, and lay it on and about the pidure 
 where it is not coloured, left it fhould change the colours ; but 
 upon the colours ufe it without the perfumes ; fo it wjl varnifli 
 your pi6lures and give them a glofs, and caufe them to retaia 
 the beauty and luftre of their colours ; and alfo take away any ill 
 ibent which they may otherwife have. 
 
 9. For trees, you muft have a dark green, which you may 
 make by mixing verditer with pink and indigo ; the deepeft fha- 
 dows of all in green are made with fap green and indigo. 
 
 To preferve colours in LiMNiNG. Temper a fhell of white 
 with a few drops of pure fpirit of rofemary ; and, however dead 
 and faded the picture was before, it will inftantly become perfetft 
 bright. 
 
 This water or fi:!irit alfo prevents the bubbles in white and 
 umber, which are troublefome in grinding. 
 
 The dead- colouring of a whole figure dcjigned for hijlorical Limn- 
 ing. This is performed two ways : i. By tempering a flefh 
 colour fomewhat lighter than you defign it (hall be, after it is 
 wrought down by the variety of fliadowing mixtures j which flefh 
 colour you muft temper in a large fhell, becaufe ic requires a 
 quantity ; and the mixture muft be good, neither too thick nor 
 too thin. 
 
 2. Then, having taken a good goofe-quill pencil full of the 
 colour, lay it on the place where you defign the figure, quick, 
 
 F 3 even. 
 
«^o L I M 
 
 even, and fmooth ; if you be not very brifk in laying It on, it 
 will not lie even. 
 
 3. T'hc other method is this ; you may ufe the beft flake 
 white well p;t|)ared, itiltead of flefh colour, and lay it on with the 
 fame-fized pencil asbe.'ore-mentioned, and fo your dead colour 
 is as the o l-jjaintcrs do, which mufl de done free, rough, and 
 boK'er of Jl. 
 
 4. But take notice, that all the outlines of your figure are firft 
 drawn witii a temperature of flake and white, before the ground 
 colour for the fleih is laid on : Alfo, in dead-colouring, the fha- 
 dows which are next to the light muft not be left too dark, harfh, 
 or hard ; but faint, even, and mifiy. 
 
 5. When you have done this, mix flake white and a little red 
 lead, and, with that, touch up all the deep places both in face 
 and body, as your judgment (hall dirc<St. 
 
 6. Let this be done exceeding faintly, becaufe, if it be laid 
 too deep, it cannot be heightened up again without running the 
 hazard of fpoiling it ; whereas, if it be too light, it may be deep- 
 ened gradually as you pleafe. 
 
 7. Make, in the face, a delicate falntnefs, or faint red, in- 
 clining to a purple under the eyes ; then, with the aforefaid mix- 
 ture, touch the tips of the ears, as alfo the cheeks, lips, and bot- 
 tom of the chin ; and fo proceed to the A-le of the foot, touching 
 with the glowing colour in all the follov.'ing mufcles and places. 
 
 8. Then for the general yeilowifh glowing fhadows mix gall- 
 flone and pink, and add in feme places a little lake to the for- 
 mer mixture or temperature. 
 
 9. And, v/hereas you will perceive in tome parts of the body 
 in the life a faint bluifh, this may be exprelled v/ith a tempera- 
 ture or mixture of indigo and white ; and thus you are to proceed 
 according to the fubjedf you paint after, whether the life, or co- 
 pying after paintJns;. 
 
 10. All thefe ftrokes are to be exprefl'ed after the manner of 
 hatching with a pen, wadiing it along with gentle vand faint 
 flrokes. 
 
 11. But be fure to take care in this dead-colouring to cover 
 Tour ground colour, with the aforefaid red and other fhadows. 
 
 12. You need not be over curious in the hrft working; but 
 rather aim at a good, Ute^ and bold imitation of nature, than 
 an extreme neat, fet, orfiifFway. 
 
 1 3. Be not difcouraged at the roughnefs of your colour ; for 
 vou may work that down, and touch it by degrees with the other 
 ihadows. though vou do not do it at the firft. 
 
 14. After this, fweeten and heighten your fhadovi's by degrees, 
 accordiiig as the light falls. 
 
 15. Then touch it in fome places with ftrong touches, and 
 
LIN 71 
 
 britig your work up together in thefe places to an equal round- 
 nefs and flrcngth ; not finiftiing any part of" the figure before the 
 other, but viewing and working all .the parts curioufly alike, 
 but yet in a manner as it were a: random. 
 
 16. Then take notice of the rounding, colouring, and fhadow- 
 ing, or whatever elfe is requifite to the perfedlion of the work. 
 
 17. The fainter fhadows being done, fweeten and work them 
 into the red ftill. 
 
 18. View over attentively all the variety of colouring, and 
 nicely delineate with your pencil thofe feveral varieties of nature 
 which were but rudely traced out bctore. 
 
 19. In doing this, ufe the fame colour in the fame places you 
 had ufcd before, working, driving, and fweetening the fame co- 
 lours one into another, that nothing be left in the piece with a 
 harfh edge, uneven, or in a lump ; but make all appear fweet, 
 or driven one into another with the point of fomewhat a fliarper 
 pencil than that which you ufed at firft, fothat the fliadows may 
 lie difperfed, foft, fweet, fmooth, and gentiy extended one into 
 another like air. 
 
 20. In the laft place, take notice thatfkies, water-trees, plants, 
 flowers, and ground, are all to be dead-coloured before the fi- 
 gures. 
 
 LINEAMENT, is a fine flroke or lineobferv-ed in a human 
 face, and that forms the delicacy thereof, being that which pre- 
 ferves the refemblance thereof, and occafionsthe relation of lilce- 
 uefs or unlikenefs to any other face. 
 
 It is by thefe, that phyfiognorai'fis pretend to judge of the 
 temper znd mannerc of peopie. 
 
 Painters ufe the word Lineament for the outlines of a face. 
 
 LINENS, in miniature, are painted thus -, having drawn your 
 folds, as when you do drapery, lay on white all over, and then 
 proceed and finifli with a mixture of ultramarine, black, and 
 white, taking more or lefs of this laft according to the degrees 
 you v/ant of light and fliade ; and, for the deepeft folds, take 
 biftre and a Jittie wbite, ufing it fparingly, and with artful 
 touches; and you m&y even take the former pure for the deepefl 
 {hades, where you muft exprefs tlie folds, and lofet-hem among 
 the reft. 
 
 I'hcy may be made after a different manner, by laying on all 
 over a very pale mixture of ultramarine, black, and v/hite, and 
 then proceeding in the manner above-dire^fted with the fame 
 mixture, but a little deeper: And, when the fliades are ftriped 
 and finifhed, you muft heighten the lights with pure whice, 
 blending them with the firft colour or ground, hut of what fort 
 foever vou make them, when you fi.')ilh them, prepare fume 
 yellowifh tints for certain places, laying them on fo lightly, as 
 
 F 4 U 
 
72 LIN 
 
 it were a wafh, To as to be tranfparent, and neither to hide the 
 ftriping nor the (hades. 
 
 Yellow Linens are made of white, mixed with a lijtle oker ; 
 then proceed and finifli with biftie, mixed with white and oker, 
 and for the deepeff fliades with biftre alone. Before you finifh, 
 jay en tints of oker and white here and there, and others of 
 white and ultramaiine, as well upon the fhadcs as lights, but 
 very thin ; and then ftipple and fcumble the whole together, and 
 it will have a hne efFed : As you finifh, touch up the extremities 
 of the lights with mafficote and white. Thefe Linens and the 
 former you may Itripe like Egyptian fcarves, with blue, red, ul- 
 tramarint, and carmine ; a red between two blue ones, very 
 bright on the lights, and ftronger in the fhades. The heads of 
 virgins are generally drefled with veils of this fort ; and of the 
 fame are made a iort of handkerchiefs for an open brcafl, becaufe 
 they are very becoming to the flefli. 
 
 When you v/ould have either the one or the other of them 
 to be irar.fpaient, and ihew whatever, whether llufl^'or flefh, is 
 underneath, lay them tm at fivii very thin, and mingle with your 
 Ihacling colour a little of that which is under them, particularly 
 at the extremities of the f^iades j and touch only the extremities 
 of the li2;hts, only for the yellows, with maltlcote and white, and 
 of the whites with white alone. 
 
 They are alfo to be made another way, efpccially when you 
 would have them quite tranfparent, as muflin, lawn, or gaufe; 
 for this purpofe, you mull begin and finifh what is beneath, as 
 if nothing was to be over it ; then heighten the brighteft folds 
 with white or mafticote, and fliade with biffre, and white or 
 black, or blue and white, according to the colour you aim at ; 
 and taking away from the livelinefs of the reff by foiling it over, 
 though that be not altogether neceflary but for the darkeft parts. 
 
 To take iron moulds or Jiains out of LiNEN. '^Lake the juice 
 of a lemon, warm it with a lictle powder of alum difTolved in it; 
 wet it, and, as it is wet, dry it with a fpoon, wherein is a live 
 coal ; continue to do fo for the fpace of two hours, and the fpot 
 or iron mould will in a wafhing or two difappear. This will 
 take out fpots of ink, &c. 
 
 An excellent nxjay to take fpots or Jiains out ofLi^tH. Take 
 powder of burnt hone finely fifted, and place it between two 
 boards, preffing it hard, with fome of the powder on either fide 
 the fpot, and in two days it will be quite vanifhed. 
 
 Another excellent way to take [pots or Jiains out oJhit^EVi. Dif- 
 folve bay fait in fair water, and llcep the Linen in it ; then take 
 juice of forrel and (harp vinegar, and rub the fpot with them, 
 fufFcringsit likewife to foak in j and in fo doing often it will 
 difapDcar. 
 
 3 ^« 
 
LIN 7j 
 
 To take away ink Jla'tm^ Jiaim with fruit, &c. Take powder 
 of alum half an ounce, juice of houflr ek or fen-green two ounces, 
 and apply them, after the alum has been diirolved, very hot, and 
 the bufinefs will be done. 
 
 Ho.L to keep Linen, laid up zvithout ufmg^ fro?n damage many 
 ^ars. The Linen having been well waihed and well dried ia 
 the fun, fold it up, and fcatter in the folding the powder of ce- 
 dar wood, or cedar fmall giound, having firlt perfumed the cheft 
 with ftorax, by which means not only dampnefs is prevented, 
 but worms and moths. 
 
 Another way. Take of fpike flowers one pound, coftmary 
 half a pound, palm a fmall handful, penny-roval the fame quan- 
 tity, mace an ounce, orrace powder half an ounce; foak thefe 
 i;i white wine, and dillil them, and fprinkle your deaths in a 
 feir day; let them he thoroughly dry, and then lay them up. 
 
 To remove Jiaim occafioncd by wine or vinegar. Steep the thing 
 ftained in new milk for a night; then apply rennet to the ftain, 
 robbing it in, and by fo doing twice or thrice you will find it as 
 fair as it was at firft. 
 
 To make LlNEN that is turned yellow very white. Heat milk 
 over the fire, and add to a gallon a pound of cake foap fcraped 
 in, fo that it may diflblve ; and, when the cloaths have boiled 
 therein, take them out, and clap them into a lather of hot water, 
 and wafh them out fpeedily. 
 
 To whiten LiNEN cloth the heji way. Buck your cloth well, 
 
 and fpread it upon the grafs, and fprinkle it with alum water, 
 
 ['letting lie abroad for two or three davs and nights ; then buck 
 
 it again with foap and fullers -earth, and ul'e it as before, and it 
 
 will be both thick and white. 
 
 To make any Li N E N <J^ the firjl appearance look like diaper. When 
 it has been new wafhed, fpread it upon a table, fomewhat damp, 
 and fprinkle it over with a brufh dipped in alum and rofe water, 
 in form and manner as fhall beft fuit your fancy. 
 
 To dye Linen thread or cloth a good red. Soak a pound of 
 famfleur 24 hours in two gallons of water, heating it over a gen- 
 tle fire ; then add half a pound of rafped brafil, two ounces of 
 vermilion, and an ounce of alum diflolved in fair water ; dip 
 the linen, and order it as other things. 
 
 Hozv to thicken hiNEK cloth for Jkreens, iffc. Grind whiting 
 A'ith fize, and, to prevent its crackino;, add a little honey to it; 
 hen lay it upon the cloth with a foft and fmooth brufh, two or 
 nrce times, fufFering it to dry betwixt each time ; and, for the 
 nil laying, fmooth it over with Spanifh white, laid with linfeed 
 >il, the oil being firft heated and mixed with a fmall quantity of 
 itharge of gold, to prepare it for the better enduring the wea- 
 her j and by thus doing it will be lafting. 
 
74 L I V 
 
 How to make SpanlJJj white. Grind white chalk, with a tenth ' 
 part of alum, with fair water, till it is very foft, and afterwards' 
 bring them to a thicknefs, and make them into balls ; lay them 
 fo that they may dry leifurcly ; then, when you ufe them, heat 
 them well in the fire. 
 
 LINSEED, a grain that has feveral ufeful properties, and 
 yields Hy expreflion an oil that has moft of the qualities of nut 
 oil, and is accordingly often ufed inflead of it in painting. 
 
 LITHARGE, a metalhne fubftance, formed of the fpume of * 
 lead. 
 
 This preparation, or, as it may more properly be called, re- 
 crement of leiyJ, is of two kinds, differing in colour, though in 
 no other quality: The ancients, as well as ourfelves, obferved 
 this difference, and called the one, as we do. Litharge of gold, 
 and the other Litharge of filver. This recrement of lead is not 
 prepared by a formal procefs on purpofe ; it is collecSled from the 
 furnaces where filver is feparated from lead, or from thofe where 
 gold and filver are purified by means of that metal ; but, in the 
 furnaces ufed for either of thofe purpofes, it is generally run into 
 lead again, to ferve for the fame or other ufes. The Litharge 
 fold in the fhops is produced in the copper works where lead 
 has been ufed to purify that metal, or to feparate filver from it.' 
 Of all the various metalline and mineral fubftances which are' 
 feparated from gold or filver by means of lead, there is none but- 
 copper that remains imbodied in, and intimately joined with 
 that metal after fcorification ; or, finally, if they remain mixed 
 with it longer, they fplit and dcftroy the vcflels. The recrement 
 produced from this combination of lead with copper is our com-' 
 mon Litharge ; it is of a yellowifh, or redder colour, as the fire' 
 has been more or lefs ftrong, and is always compofed of a mul- 
 titude of thin flakes, refembling the fpangles of talc, in thofe: 
 foffils called micas, or glimmers. : 
 
 The greatefl quantities of Litharge are brought from Sweden,: 
 Germany, and Denmark ; Poland furniflies fome, as does alfo 
 our own country, but the Dantzic kind is efleemed the moft 
 valuable : The beli Litharge is that which is moft calcined, and 
 of the liveliefl colour. Litharge, on the whole, is properly lead 
 vitrified, either alone or with a mixture of copper. 
 
 LIVERWORT : This plant is fometimes red and fometimes 
 blue ; as for the latter, let it be covered all over with ultrama-' 
 rine, white, and a little carmine, or lake ; fhade the infide of the' 
 leaves with this mixture, but let it be deeper, except for the out- 
 ermoft, for which, and the outfide of all, add fome indigo andu 
 white, to deaden the colour. ^ 
 
 For the red, do that over with columbine, lake, and white,! 
 verv pale ; and finifli with lefs white. 
 
 As 
 
LOO 75 
 
 A§ for the green, ufe verditer, mafticote, and a little biftre ; 
 fliade with iris and a little biftre, but chiefly for the outfide of the 
 leaves. 
 
 LIXIVIUM, is a liquor, made by the infufion of wood-afhes, 
 or any burnt fubftances, which is more or lefs penetratino;, as 
 it is more or lefs impregnated with falts and fiery particles abound- 
 ing therein ; that which is left after the evaporation of fuch a li- 
 quor, is called a lixivial, or lixiviate fait, fuch as thofe are that 
 are made by incineration. 
 
 Lixi\ iums are of notable ufe in extra6ling tinflures of vege- 
 tables for dying, ftaining, or painting colours. 
 
 L. K. A. fignifies Luke Kilian of Augufta, who engraved 
 Tiiitorct's and Spranger's works. 
 
 T*T L fie"''^^s Lambert, Lombard, Sufterman, or Suavius, 
 J ' n * C all which fignify the fame perfon. 
 
 J-' ,,■' ^ ftands for Lorenzi Lolli, Guido Reni's fcholar. 
 
 rjr Rene or Renato LOCHON made this mark under feve- 
 j X J ral portraits and works of Polydore, in the year 1651. 
 
 P Peter LOMBARDI, who engraved the works of Mon- 
 fieur Sampagna, ufed this mark. 
 
 LOOKING-^/*?/}. The method of making plate or LooKlNG- 
 giofs. The matter of which Looking-glafles are made is much 
 the fame as that of other glafs works, viz. an alcali fait and fand. 
 
 But this fait ought not to be extrailed from poiverine, or the 
 afhes of the Syrian kali; butthatof barillia, or the afhes of a plant 
 of that nature, of the genus or fame kind of kali's, as that which 
 grows about Alicant in Spain. 
 
 It is indeed very rare for us to procure the barill'a pure, the 
 (Spaniards commonly mixing another herb with it in burning it, 
 ^hich alters the quality of it; or elfe they add fand to it, to 
 augment its weight. 
 
 This may be eafily difcovered, if the addition be not made 
 after the boiling of the afhes ; but, if it be done in the boil- 
 ing of them, it is impoffible to difcover it. 
 
 This adulteration of the matter is the caufe of thofe threads 
 and other liefefts that appear in plate glafs. 
 
 The manner of preparing this fait is the cleanfing it well fVom 
 
 til foreign matters ; pounding or grinding it with a kind of mill, 
 nd fifting it pretty fine. 
 The fand muft be fifted and waftied fo often, till the water 
 that comes from it is very clear ; then it is to be dried again, 
 and mixed with the fait, and the mixture pafTed through another 
 ileve. 
 
 When 
 
 ^11 
 
76 LOO 
 
 When this has been done, the mixture is put into the anneal- 
 ing furnace for about two hours, in which time it becomes very 
 light and white ; and, being in this flate, it is called frit, or 
 fritta, which muft be laid up in a clean dry place, for a year at 
 Icaft, or more, to give the materials fufficient time to incorporate. 
 
 When this frit is to be ufed, it is laid fome hours in the fur- 
 jiflcc, and the fragments or fhards of old and ill-made glafles are 
 to be added to Jome of it ; thefe fiiards having been firft calcined, 
 by being heated red-hot in the furnace, and afterwards caft into 
 cold water. MANGANESE, which fee, muft alfo be added if 
 to this mixture, to promote the fuhon and purification of it. 
 
 The method of blowing hooKi^ G-glafs plates. The woric- 
 houfe, furnaces, and utenfils, you will find under the articles 
 FURNACE, GLASS, and INSTRUMENTS. 
 
 The melting-pots, in which the forementioned materials or j 
 rriixture is fufed, are in height about 35 inches, and in diameter \ 
 
 3^' ..... 
 
 Thefe materials being vitrified or melted into glafs by the heat 
 
 of the fire, and fufficiently refined, the operation is performed 
 
 in the following manner : 
 
 The mafter workman dips his blowing iron into it, once or 
 oftener, till he has gotten matter upon it fuilicient for the fize of 
 the plate he is to make. 
 
 Then he ftcps up on a kind of block or flool, about five feet 
 high, that he may have the more liberty or room to balance it, , 
 as it lengthens in the blowing. 
 
 If the matter on the iron be too heavy for the workman to 
 fuflain on his blowing iron, he is affifted by two or more atten- 
 dants, who hold pieces of wood under the glafs, to prevent it 
 from falling oflF the iron, by reafon of its own weight. 
 
 The glafs has thus feveral repeated heatings and blowings given t 
 it, till it be at length brought to the compafs proper for its thick- 
 nefs, and the quantity of metal taken out ; after Vv'hich it is cut 
 oft' with the forceps, at the end oppofite to the iron, in order to 
 point it with the pointil. 
 
 The pointil is a long firm piece of iron, having a piece going 
 acrofs one of its ends, in the form of a T ; in order to point the 
 glafs, the head of the T is plunged into the melting pot, and, 
 with the liquid glafs that comes out flicking to it, they faften it 
 to the end of the glafs before cut oft". 
 
 Having faftened it fufficiently, they feparate the other end of 
 the glafs from the blowing iron, and, inftead of that, make ufe 
 of the pointil to carry it to the furnaces fitted for that purpofe, 
 where they continue to enlarge it, by feveral repeated heatings, 
 till it is of an equal thicknefs in every purt. 
 
 Having done this, they cut it open with the forceps, not only 
 
 on 
 
'■• 
 
 r,K 
 
 LOO 77 
 
 on the fide by which it ftuck to the blowing iron, but alfo the 
 whole length of the cylinder ; and, when they give it a fufficient 
 heating, it is in a condition to be intirely opened, extended, and 
 flattened. 
 
 The manner of doing which is the fame as for table glafs. 
 See the article GLASS. 
 
 The glafs, having been fufficiently flatted, is fet into the an- 
 nealing furnace for ten or fifteen days, according to its fize and 
 thicknefs. 
 (!:( i Looking-glafles, thus blown, ought never to be more than 45, 
 or at moft 50 inches in length, and proportionable in breadth. 
 Thofe which exceed thefc dimenfions, as has been frequently 
 experienced in thofe of the Venetian make, cannot have a thick- 
 nefs fufficient to bear the grinding, and, bcfides, are fubjecl to 
 warp, which caufes them to be falfe, hindering them from re- 
 gularly refleiiling the obje£ts. 
 
 The method of cajling or running large IjOOKING -glafs plates. 
 Vv hen the matter has been fufHcicntly vitrified, fee the arti- 
 ticle FURNACES, refined, and fettled, which is commonly in 
 aboLji: 24 hours ; they fill the cifterns, which are in the fame 
 furnace. a::d which is left there about fix hours more, till fuch 
 time a? it appears all white, by means of the excefiive heat. 
 
 To get the ciflerns with the metal out of the furnace, they 
 life a large iron chain, whicli opens and fhuts with hooks and 
 eyes ; from the middle of which, on each fide, arife two maflive 
 iron pins, by which, v/ith the help of pullies, the cifterns are 
 raifed on a kind of carriage, of a proper height, and are thus 
 brought to the table, where the glafs is to be run. 
 ,tii Then, /linping off the bottom of the ciftern, a torrent of fiery 
 matter rufht < foith, and prefently covers the table prepared for 
 that purpofe. 
 
 This table, on which the glafs is to be run, is made of pot 
 en metal, in length about nine feet, and proportionable in breadth. 
 It is fupported en a wooden frame, with truckles, for the con- 
 veniency of removing from one carquafie, or annealing furnace, 
 to another, in proportion as they are filled. 
 
 For forming the thicknefs of a glaf>", there are two iron rulers 
 or rims placed around the edge of the table, and on thefe reft 
 the two ends of a fort of roller, which is ufed to drive the liquid 
 matter before it to the end of the table or mould. - 
 
 Thefe iron rulers are moveable, fo that they may be fet cloier 
 or further apart at pleafure, ?nd fo determine the breadth of the 
 IglafTes, and alio keep in the liquid glafs Irom running off at the 
 edges. The glaf^, being taken out of the annealing furnace, needs 
 only to be ground, polifhed, and foliated, for which fee GRIND- 
 ING, POLISHING, and FOLIA TING. 
 
 LOQUACITY, 
 
 ad 
 
78 L O V 
 
 LOQUACITY, is reprefented, in painting, &c. by a young 
 woman gaping, in a habit of changeable tafFety, with crickets 
 and tongues, a fwallow on the crown of her head, going to chirp, 
 and a magpye and a duck at her feet. 
 
 Themagpyedenotes prating, that offends the ears ; the tongues 
 alfo too much talkativenefs ; the fwallow, on her head, that pra- 
 ting difturbs the head of a quiet fludious perfon ; the duck, at 
 her feet, denotes much talkativenefs. 
 
 'John LOTEN, was a Hollander, and a landfcape-painter. 
 He lived and painted many years here in a manner very fylvan, 
 like the glades and ridings of our parks in England 
 
 He delighted particularly in open trees. His landfcapes are ge- 
 nerally very large He did many florms at land, accompanied 
 with ihowers of rain, tearing up trees, dafhings of water, and 
 water-falls, cattle running to fhelter ; which pieces were admi- 
 rably good. 
 
 Fie painted alfo many views of the Alps in Switzerland, where 
 he lived many years. 
 
 His works abound among us. He died in London about 73 
 years ago. 
 
 LOVE. When any thing is reprefented as good to us, that 
 makes us to conceive a Love for it ; and, when it is reprefented 
 as ill or hurtful to us, that excites our hatred 
 
 Love, then, is an emotion of the foul, caufed by motions 
 which excite it voluntarily to joinitfelf tofuch objedls as appear 
 agreeable to it. 
 
 The motions of this paflion, when it is fimple, are very foft' 
 and fimple ; for the forehead will befmooth, the eye-brows will 
 be a little elevated over the place where the eye-balls ihall be 
 turned. 
 
 The head inclined towards the objecl of the paflion, the eyes 
 may be moderately open, the white very lively and fhining, and 
 the eye-ball, being gently turned towards the obje£l:, will appear 
 a little fparklins; and elevated. 
 
 The nofe receives no alteration, nor any of the parts of the 
 face ; which being only filled with fpirits, that warm and enli- 
 ven it, render the complexion more frefh and lively, and particu- 
 larly the cheeks and lips ; the mouth muft be a little open, the 
 corners a little turned up ; the lips will appear moift, and this 
 moiftnefs may be caufed by vapours arifmg from the heart. Sec 
 plate V. 
 
 Love reconciled^ is reprefented, in painting, &c. by a maid 
 wearing a curious fapphire about her neck ; holding in one 
 hand a cup, and two little Cupids in the other. 
 
 The fapphire is of a celcilial colour, has a virtue to reconcile, 
 and precious ftones commonly do fo j the two Cupids, that the 
 
 falling 
 
LUX 79 
 
 falling out of lovers is the renewing oi Love ; they flrlving which 
 fhould outdo each other, fo that l,ove becomes redoubled. 
 
 LOYALTY, is reprefented, in painting, &c by a woman 
 in a thin garment; in one hand holding a lighted lanthorn, on 
 which {he gazes ; in the other a mafic, with many patches ; 
 ftanding as if fhe would fling it againu the wall. — The thin lai- 
 mentfhews that the words of a loyal perfon fhould be accc mpani- 
 ed with fmcerity; the lanthorn, that a man fhould be of t!ic fame 
 quality within and without, as the lanthorn fends out the fame 
 
 t light as is within ; the malk, her defpifing all feig;.ing, double 
 meaning and equivocation. 
 LUCAS P R. fjgnifies Luke Renni, the Roman, Raphael's 
 fcholar. 
 
 LUCAS Fati Leyden^ born in I494> fcholar of his father 
 and Corn. Englebeit, lived in Holland and the Low Countries, 
 excelled in hiltory and engraving j died in the year 1533, aged 
 40 veais. 
 
 W^rS^'X. J '^^'^ mark is feen in fome plates of Lucas 
 y/ J^\ JTjL ^ "^^ Leyden, and the former part of this 
 mark is under a St. V^eronica, holding the 
 holy fhrovvd. 
 
 TW-^>rT^ i^://V/;'<7<'/ of LUCCA ufed this mark under a St. Se- 
 (\/ f 1 ^ baftian, engraven after the manner of Michelagno- 
 lefco, 1550 ; and we find the fame mark in a Madona of Ra- 
 phael, and after it Erry Exc. 
 
 LUST is reprefented, in painting, &c. by a pretty handfome 
 lady, with coarfe black hair, plaited about her temples, fpark- 
 ling wanton eyes, her nofe turning upward, leaning upon her 
 elbow ; a fcorpion in her hand, an he-goat by her iide, and a 
 vine with grapes.— The fcorpion is an emblem of Lufl:, as is the 
 he-goat J her poflure denotes idlenefs, which foments Luft ; the 
 vine is a token of I uft ; for fme Cerere & Baccho frig;et Venus. 
 T-J Ha)n LUTENSACH ufcd this mark. He" engraved 
 \ ^\ 4 in a book, for the nuptials of the emperor Ferdinand, 
 tilts, tournaments, and rejoicings in Callot's manner. 
 LV. V. fignifies Lucas Van Ufter, in fome of Titian's land- 
 fcapes 
 
 LUXURY, is reprefented, in painting, he. by a young dam- 
 fcl with hair finely curled, in a manner naked ; fits upon a cro- 
 codile, and makes much of a partridge. — Naked, becaufe Luxu- 
 ry fquanders away the goods of fortune, and deflroys thofe of 
 the foul ; the crocodile, for her foscunditv, denotes Luxury. 
 
 
 
 M A D- 
 
to MAN _, 
 
 4 
 
 M. 
 
 MADDER, a root of a plant, much ufed by dyers, to 
 make the moll folid and rich red colour. 
 
 It is common enough, but generally comes from Holland ; 
 and, if it is good, it is red ; it is hner than brafil, and, before 
 you ufe it, it muft be finely powdered, to give the better co- 
 lour. 
 
 To extras a t'wSIure u^MADDERyir kike. 
 
 This is done by the fame method as is done for extrafling a 
 lake from brafil, and will produce a fine colour, which make 
 into troches, drying them, and it will be a perfect lake, and ve- 
 ry fine for ufe. See LAKE. 
 
 MAP. SeeRAlMONDI. 
 
 Thomas MANBY, was a good Engllfh landfcape painter, 
 who had been feveral times in Italy, and confequently painted 
 much after the Italian manner. 
 
 He was famous for bringing over a good collection of pic- 
 tures, which were fold at the banqueting-houfe, about the lat- 
 ter end of king Charles IPs reign. He died in London about the 
 year 1692. 
 
 IVIANGANESE, a very poor kind of iron ore. 
 
 It is a denfe, ponderous, and heavy fubftance, in its fineft and 
 pureft pieces, approaching f!:rcatly to the texture of the lapis he- 
 matites, being compofed of regular parallel ftrix, diverging from 
 a center to a circumference. This kind, however, is rare ; be- 
 fides which, there is another a fomewhat lefs pure kind, of an 
 iron grey colour, and irregularly ftreaked like the fteel-grained 
 lead ores. But the common Mariganefe is of a perfectly irregular 
 ftruclure. It is very heavy, moderately hard, and of a deep 
 dufky grey, approaching to black, though fometimes of a fer- 
 rugineous brown. It is found in large malFes of no determinate 
 fhape, and of a rude, rugged, and unequal furface. 
 
 Manganefe gives fire but difficultly with fteel, and makes 
 no effervcfcence v^ith aqua-fortts. It is found in many parts of 
 England and Germany. 
 
 This fubftance is of vad: ufe in the glafs trade ; but neither 
 the induftrious Neri, nor any others who have written of the art, 
 can ever deliver the true proportions in which it is to be mixed 
 with the glafs metal on the feveral occafions. The fame thing 
 is alfo to be obferved, in regard to zafter, another fubllance ia 
 continual ufe with them : And the reafon of this is, that there 
 is vaft difference in the quality of thefe bodies ; fome of which 
 are fold, being very pure and rich ; others are good for almoft 
 
 nothing. 
 
MAR 8i 
 
 nothing, and much of middle degrees of purity between thefe. 
 For this reafon there is no determining how much of each is 
 to be added to the giafs, but the conciacor adds them at feveral 
 times, and in fmall quantities, and takes frequent proofs by his 
 eye, till he knows that they are properly proportioned. 
 
 MANNEQUIN, in painting, is ufed to fignify a little ftatue 
 or model, ordinarily made of wax, and fometimes of wood ; 
 the junctures of which are fo contrived, as that it may be put 
 into any attitude one pleafes, and its draperies and their folds be 
 difpofed, as one would have them. 
 
 MANNER, in painting, is a habitude that a man acquires 
 in the three principal parts of painting in the management of 
 colours, lights, and fliadows, which is either good or bad, ac- 
 cording as the painter has pradifed more or lefs after the truth, 
 with judgment and ftudy. But the beft painter is he, who has 
 no Manner at all ; the good or bad choice he makes, is called 
 a good or bad gour. 
 
 Andrea MANTEGNA ; in his time the art of engraving was 
 found out by Mafo Finiquerra, a goldfmith of Florence, and 
 firft pra<5lifed by Andrea ; he was born in the year 1431 j was 
 fcholar tojacopo Squarcione; lived at Mantua and Rome; ex- 
 celled in hiftory and portraits; died in the year 151 7, aged 86 
 years. 
 "jVTT^ [+, 1^ Andrew MANTEGNA, of Mantua, 
 
 or Padua, painter and engraver, ufed 
 
 thefe marks ; the fecond mark is found in the ten plates of the 
 triumph of Julius Csfar, engraven by himfelf, and afterwards 
 cut in wood in 1599, by Andrew Andreani of Mantua. 
 
 Carlo MARATTI, born in 1625 ; fcholar to Andrea Sac* 
 chi ; lived at Rome; excelled in hiftory and portraits, and died 
 in the year 1713. 
 
 Colouring ^y/" MARBLE. The colouring of Marble is a nice 
 art ; and, in order to fucceed in it, the pieces of Marble on 
 which the experiments are tried, muft be well polifhed, and clear 
 from the leaft fpot or vein. The harder the Marble is, the bet- 
 ter it will bear the heat necefTary in the operation ; therefore 
 alabafter, and the common foft white Marble, are very impro- 
 per to perform thefe operations upon. 
 
 Heat is always necefTary for the opening the pores of the Mar- 
 ble, fo as to render it fit to receive the colours ; but the Marble 
 muft never be made red-hot, for then the texture of the Marble 
 itfelf is injured, and the colours are burnt, and lofe their beauty. 
 Too fmall a degree of heat is as bad as too great ; for, in this 
 cafe, tho' the Marble receives the colour, it will not be fixed in 
 it, nor ftrike deep enough. Some colours will ftrike, even cold ; 
 but they are never ^o well funk in, as when a good degree of heat 
 
 Vol. IL . G is 
 
S2 MAR 
 
 is ufed. The proper degree is that, which, without making the 
 Marble red, will make the liquor boil upon its furface. The 
 menftruums, ufed to flrikc in the colours, muft be varied ac- 
 cording to the nature of the colour to be ufed. A lixivium made 
 with horfes or dogs urine, with four parts quick-lime, and one 
 part pot-afl".es, is excellent for fome colours} common ley of 
 wood-afhes does very well for others : For fome fpirit of wine is 
 befl ; and finally, for others, oily liquors, or common white 
 wine. 
 
 The colours which have been found to fucceed befl: with the 
 peculiar menftruums, are thefe : Stone blue diflblved in fix 
 times the quantity of fpirits of wine, or of the urinous lixivium, 
 and that colour v/hich the painters call litmofe, diflblved in com- 
 mon ley of wood-aflics. An extracSl of fafFron, and that colour 
 made of buckthorn-berries, and called by the painters fap green, 
 both fuccced well diflblved in urine and quiek-lime, and toiera- 
 bly well in fpirits of wine. V^ermilion, and a fine powder of cochi- 
 neal, fucceed alfo very well in the fame liquors. Dragons blood' 
 fucceeds very well in fpirits of wine ; as does alfo a tinfture of 
 logwood in the fame fpirits. Alkanetroot gives a fine colour j 
 but the only menflruum to be ufed for this is oil of ttarpentinej 
 for neither fpirits of wine, nor any lixivium, will do with it. 
 There Is another kind of fanguis draconis, called dragons blood 
 in tears, which, mixed' with urine alone, gives a very elegant 
 colour. Phil. Tranf. N". 26?, Befides thefe mixtures of colours 
 and menfl:ruums, there are fome colours which are to be laid on 
 dry and unmixed. Thefe are dragons blood, of the purefl; kind, 
 for a red ; gamboge, for a yellow y green wax, for a green j 
 common brimflone, pitch, and turpentine, for a brown colour. 
 The Marble, for thefe experiments, muft be mada confiderably 
 hot, and then the coloiirs are to be rubbed on dry in the lump ; 
 fome of thefe colours, when once given, remain immutable j 
 others are eafily changed or deftroyed. Thus the red colour 
 given by dragons blood, or by a decoiStion of logwood, will be 
 wholly taken away by oil of tartar,^ and the polifh of the Mar- 
 ble not hurt by It. A fine gold colour is given In the following 
 manner: Take crude armoniac, vitriol, and vcrdlgreafe, of each 
 equal quantities ; white \itrbl facceeds beft, and all mufl be 
 £horou';Z;hly mixed In fine powder. 
 
 The ftalning of Marble to all the degrees of red, or yellow, 
 by folutions of dragons blood, or gamboge, may be done by re- 
 ducing thefe gums to pov/der, and grinding them with the fpirits 
 of wine In a glafs mortar; but for fmaller attempts no method 
 is fo good as the mixing a little of cither of thefe powders with 
 fpirits of wine In a filver fpoon, and holding It over burning 
 €harcoal, By this means a fine tinciurs v/iil be extraded, and, 
 
 with 
 
MAR 8^ 
 
 with a pencil dipped in this, the finefl: traces may be made on 
 the Marble, while cold ; which, on the heating it, either on fand 
 or in a baker's oven, will all fink very deep, and remain per- 
 fectly diftinil in the flone. It is very eafy to make the ground 
 colour of the Marble red or yellow, by this means, and leave 
 white veins in it. This is to be done by covering the places 
 where the whitenefs is to remain, with fome white paint, or even 
 with two or three doubles only of paper 5 either of which will 
 prevent the colour from penetrating in that part. All the degrees 
 of red are to be given to Marble by means of this gum alone. A 
 flight tindure of it, without the afliftance of heat to the Marble, 
 gives only a pale flefh colour, but the Wronger tincSlure gives it yet 
 deeper ; to this the affiftance of heat adds yet greatly ; and, final- 
 ly, the addition of a little pitch to the tin6ture gives it a tenden- 
 cy to blacknefs, or any degree of deep red that is defired. 
 
 A blue colour may be given alfo to Marble, by diiTolvint^ 
 turnfole in a lixivium of lime and urine, or in the volatile fpirit 
 of urine ; but this has always a tendency to purple, whether made 
 by the one or the other of thefe ways, A better blue, and ufed in 
 an eafler manner, is i'urnifhed by the Canary turnfole ; a fub- 
 ftance well known among the dyers : This needs only to be 
 difTolved in water, and drawn on the place with a pencil ; this 
 penetrates very deep into the Marble, and the colour may be in- 
 creafed by drawing the pencil wetted afrefh feveral times over 
 the fame lines. This colour is fubjed to fpread and difFufe itfelf 
 irregularly; but it may be kept in regular bounds by circum- 
 fcribing its lines with beds of wax, or any oth&r fach fubftance. 
 It is to be obferved that this colour fhould always be laid on cold, 
 and no heat given even afterwards to the Marble. And one great 
 advantage of this colour is, that it is therefore eafily added to 
 Marbles already ftained with any other colours, and it is a very 
 beautiful tinge, and lafts a long time. 
 
 To Marble hooks or paper, DifTolve four ounces of gum 
 arabic in two quarts of fair water ; then provide feveral colours 
 mixed with water in pots or fliells, and with pencils peculiar to 
 ^very colour fprinkle them by way of intermixture upon the 
 gum water, which mufl be put into a trough, or fome broad 
 veffel ; then v/ith a ftick curl them, or draw them out in flreaks, 
 to as much variety as may be done. 
 
 Having done this, hold your book or books clofe together, 
 and only dip the edges in on the top of the water, and colours, 
 very lightly ; which done, take them off, and the plain impref- 
 fion of the colours in mixture will be upon the leaves ; doing as 
 well the ends as the front of the book in the like manner. 
 
 And after the fame manner you may make marbled paper, 
 '• i by dipping it on the flat, as alfo linen cfoth, &c. 
 *l G 2 MAR- 
 
S4 M A R 
 
 MARBLED China tcare, a name given by many to a TpccieS 
 of pofce?ain, or China ware, which Teems to be full of cemented 
 flaws. It was called by the Chinefe, who were very fond of it, 
 tfoutchi. 
 
 It is generally plain white, fometimes blue, and has exactly 
 the appearance of a piece of China, which had been firft broken, 
 and then all the pieces cemented in their places again, and co- 
 vered with the original varnifh. The manner of preparing it is 
 cafy, and might be imitated with us. Inftead of the common 
 varnifh of the China ware, which is nrrade of what they call the 
 oil of f^one, and oil of fern, mixed together, they cover this 
 with a fimple thing made only of a fort of coarfe agates, cal- 
 cined to a white powd'er, and fcparated from the grofTer parts 
 by nfreans of wa:er, after long grinding in mortars. When the 
 powder has been thijs prepared, it is left moift, or fn form of a 
 fort of cream, with thelalt water that is fuffered to remain in it ; 
 and this is ufed as the varnifh. Our cryftal would ferve fully as 
 well as thofe coarfe agates, and the method of preparation is 
 perfectly eafy. 
 
 MARBLING of hooks, is performed by bookbinders, by 
 fprinkling over the covers of books with black, by means of a 
 black pencil, ftruck gently againft the finger, or on a flick held 
 for that purpofe. After the Marbling is finifhed, the covers are 
 glaired over with the whites of eggs well beaten, and afterwards 
 glazed over with a polifhing iron. 
 
 MARCASITE, a name ufed in a very vague fenfe by many 
 writers upon folTil?, but retrained by Dr. Hill to the name of 
 a peculiar genus of (offAs. The charafters of which are, that 
 they are compound, inflammable, metallic bodies, naturally con- 
 ftituting whole flrata ; of a folid and firm fubfiance ; of an ob- 
 fcurely and irregularly foliaceous ftrudiure, and of a bright glit- 
 tering appearance ;* very freely and readily giving fire with fleel ; 
 rot fermenting with acid menftruums; and, when put into the 
 fire, yielding a deep blue flame; and, finally, calcining into a 
 purple powder. 
 
 Though the natural difpofitlon of thefe bodies be to form 
 whole ftrata, and that they are moft ufiially found in this ftate ; 
 yet they are at times found in looftf mafics as many, even of the 
 ftones offlrata, at times are. They are fubject alfo, by their 
 frequent admixture with ad\ entitious matter, the ores of metals, 
 and other foflil bodies, to fuch various external appearances, that 
 their varieties are almoft innumerable, and moft of them are 
 very beautiful : But, though their accidental differences are (o 
 Very numerous, the genuine fpecies are very few, the natura- 
 lifti allowing only three ; there are, ill, the bright filver-co- 
 loured Marcafite ; 2d, the bright gold-coloured Marcafitej 3d, 
 2 the 
 
M A R 85 
 
 the pale heavy dead white Marcafite. The fiift fpecies ufually 
 conftitutes ftrata of great extent, and of about a foot in thiclc- 
 nefs ; very often much lefs, but fcarcc e\er much more. 
 
 It is compofed of a number of foliaceous flakes, not regularly 
 iUfpofed, but odiy contorted and v/aved, and often folding round 
 one another ; though fomctimes this ftru6ture is lefs diftindt, and 
 ihe whole feems run into one folid niafs. Its colour is extreme- 
 ly bright, very like filver, but more glittering. This is its com- 
 mon, and its more pure flate ; but it is liable to a vaft num- 
 hev of varieties. Someumes it contains a large quantity of the 
 ore of lead or tin ; and very often a dufky brown ferrugineous 
 matter is intermixed with it 4 at other times many of the angu- 
 lar and regularly figured phlogoniae are immerfed in it, and feem 
 to make a part of its very fl:ru6lure ; and, fometimes where is has 
 room, its conftituent flakes rife on its ilirface in feveral conjunct 
 feries, and form a very elegant foliaceous top to it. Nor is this 
 all the difference of appearance it puts on ; for, very often, 
 where -there has not been a fufficient quantity of it to form itfelf 
 into anyfigur-e alone, it is found depofited in Ipecks, or flat cakes, 
 of a more or lefs complex, but always of a flaky ftrudlure, on 
 ftones or ores of various kinds ; and frequently, bcfides its na- 
 tive filver, which it has, all the rainbow colours on its different 
 parts as differently turned to the light. 
 
 The golden Marcafite is .a more beautiful fubftance than the 
 former- It isof aJefs firm or compact ftruclure than the ot'p.ers, 
 and is ufually found in very long, but very thin ftrata, and is 
 of an extremely bright and glittering appearance^ and is fome- 
 times found in large and mifliapen nodules, or loofc maffes. It 
 is liable to all the accidental varieties that the farmer is, and 
 ifi many of them makes a very fine appearance. The third, or 
 dead white kind, is the hardeft and heaviefl of =all. It is in its 
 more ufual and natural appearance of much lefs beauty than the 
 former kinds ; but is like them fubjedl to varioijs .accidents, un- 
 der fome of which it makes a very gay and fplendid appearance. 
 It, like the reft, fometimes forms complete ftrata, fometimes 
 detached nodules ; but its moft ufual appearance is in the hori- 
 zontal caV-i ties of other ftrata; in thefe it often forms a fort of 
 baftard ftratum of many yards conti-mxance, and frequently of 
 very confiderable thicknefs ; for it almoft always fills up the 
 vacuity, and that fo clofely, as feldom to leave room for any fo- 
 liaceous fhoots at its furface, or protuberances at its edges ; but 
 forms a plain mafs, like that of a metal, melted and poured in- 
 to the place. It is of the fmooirheft furface of all the Marcautes, 
 and is fomewhat foft to the touch, and in colour refembles tar- 
 uiftied pewter. 
 
 This is its common appearance ; but it fometimes fliews itfelf 
 
 G 3 like 
 
86 MAR 
 
 like the reft in fmall patches on the furface of rtoncs, and Is there 
 often vety beautifully foliated j it is liable alfo to all the accidents 
 of the other kinds. 
 
 The Marcafitcs are all found in great plenty in the Englifh 
 and German mines. Devonfliire and Cornwall afford vaft quan^ 
 titles of them ; and very beautiful ones are found in Derbyfhire. 
 They often contain the feveral metals ; but the quantity of ful- 
 phur has yet bafHed all the attempts, that have been made, to 
 work them to advantage. 
 
 MARCH, is reprelented, in painting, &c, of a tawny com- 
 plexion, and a fierce look ; wearing upon his head a helmet, and 
 leaning upon a fpade ; holding in his right hand Aries, and in 
 his left almond blofToms and cions ; and upon his arm a bafket 
 of earden feeds. 
 
 TTfO \/f7°^" MARIA da Brejcia^ a Carmelite friar, ufed 
 JUjX/ VjL this mark. He, in the year 1502, engraved a virgin 
 litting in the clouds, and underneath three faints of the order of 
 the Carmelites. He had a brother called John Antonio da Bref- 
 cia, who marked his plates with the letters JO. AN BX. 1538. 
 
 77-^ MARIGOLD /'« m/w/zV.'p-; firft lay on mafticote, upon 
 that gamboge, and fliade with gamboge mingled with fome ver- 
 milion. To finifh, add gall-ftone and a little carmine. 
 
 Let the green be verditer, Ihaded with iris. 
 
 The French }Aakigo'LV> to paint or cohur. Firft lay on maf- 
 ticote, and letthe fecond lay be gamboge; then gall-ftone, mix- 
 ed with gamboge, and finifli with the laft colour, a little biftre 
 being added to it, and a very little carmine, for the deepeft 
 ihades. 
 
 The African Marigold topai-nt, &c. Firft lay on gamboge, 
 and {hade with the fame, mixing with it a good deal of carmine, 
 and a little gall-ftone ; but make an edging of gamboge about the 
 leaves, very bright in the lights, and darker in the (hades j fhade 
 the feed with biftre. 
 
 Let the green both of the French and African be verditer, 
 fhaded with iris. 
 
 MARS, his pictures, fays Macrobius, were adorned and beau- 
 tified with fun-beams, in as lively a manner as could be devifed, 
 ■with a fierce afpect, terrible and wrathful ; his eyes hollow and 
 quick in their motion, his face all hairy, with long curled locks on 
 his head, hanging down to his fhoulders, of acoal-black colour j 
 ftanding and holding a fpcar in one hand, and a whip in the other. 
 
 2. Statius fays, he was rcprefented wearing on his head a 
 bright ftiining helmet, fo fiery, that it feemed as though it fent 
 forth flafhes of lightning; armed with a golden breaft-plate, on 
 which were engraxcn fierce and ugly monfters ; and his fhield 
 ilained all over with blood, and enchafed with deformed beafts, 
 
 drawn 
 
 I 
 
MAT 87 
 
 'orawnin a chariot by two horfes, Fury and Violence, driven by 
 two furly charioteers. Wrath and Dcrtrut^^ion ; and he himfelf 
 holding a fpear in one hand, and a whip in the otlier. 
 
 3. He is alfo fomctimcs rcprefented on horfeback, and fome- 
 ^times in a chariot drawn with horfes called Fear and Horror, and 
 feme fay with the figures of men called Fear and Violence. 
 
 Ifidorus relates, that the pidiure of Mars was painted with a 
 naked breaft. 
 
 Ey which is intimated, th^.t men ongfcr not to betimorous in 
 war, but valiantly and boldly expoie themfelves to hazards and 
 ■dangers. 
 
 Statius relates, thet thehoufe of Mars was built in an obfcure 
 •corner of Thracia, made of rufty black iron ; that the porters, 
 which kept the gates, were Horror and Madncfs.; that within the 
 iioufe dwelt Fury, Wrath, Impiety, Fear, Treafon, and Violence ; 
 ■and the governefs of the houie was Difcord, who fat on a royal 
 throne, holding in one h^nd a bright fv.'ord, and in the other a 
 •bafon full of human blood. 
 
 Ariofto defcribes the court of Mars, as a place of horror and 
 confufion, faying, that in every part and corner of it were heard 
 ftrange echoes, fearful fhrieks, threatenings, and difmal cries ; in 
 the middle of this place was the image of V^irtue, looking fad and 
 ^penfive, full of forrow, difcontent, zirl melancholy, leaning her 
 head on her arm ; hard by her in a chair was fcated Fury in tri- 
 umph ; and not far from her fat Death with a bloody ftern coun- 
 'tenance, offering mens fkulls in human blood upon an altar, 
 confecrated with coals of fire, fetched from many cities and 
 ftowns, burnt and ruined by the tyranny of war. 
 
 MASSES, in painting, are large parts of a piflure, contain- 
 ^ing the great lights and fhadows : And thus, when it is almofl 
 idark, we fee only the MafTes of a pidur^, i. e. the places of the 
 lights and fhadows. 
 
 MATRASS, is a glafsvefTel, ufedin chymicai operations, call- 
 ed alfo a boh-head. It is made in the form of a bottle, with a 
 "very long narrow neck. The Matrafs is luted with earth, when 
 it is to be placed on a very hot fire; v^hen it is required, it fhould 
 -be flopped very clofe ; it is fealed hermetically. 
 
 MATRICE, with dyers, is a term applied to the five fimple 
 ^colours, whence all the refl are derived or compofed. 
 
 Thefe are the black, white, blu^, red, and fallow or root 
 colour 
 
 MATRICES, with letter-founBers, are thofe fmall pieces of 
 copper or brafs, at one end of which arc engraven dent-wife, or 
 •en creux, the feveral charaftera, or letters, ufed in the compof- 
 ing for the printing of books. 
 
 Each letter 01 chariKfter., and each virgula or point in a com- 
 
 G 4 pofition 
 
8« M E A 
 
 pofition of fentences, has its feveral Matrice, and of confequencc 
 its feveral puncheon to ftrike it. 
 
 Thefe Matrices are cut by the engravers on metal. 
 
 When any types are to be caft, the Matrice is faftened to the 
 end of a mould, fo difpofed, that when the metal is poured on it 
 it may fall into the creux, or cavity of the Matrice, and take the 
 figure and impreflion of it. 
 
 MATRICES, with coiners, are pieces of fteel, in form of 
 dyes; on which the feveral figures,, arms, chara6lers, legends, 
 &c. wherewith the fpecies are to be Itamped, are engraven. 
 
 The engraving is performed with feveral puncheons, which 
 being formed in relievo, or prominent, when fi:ruck on the metal, 
 5Tiake an indented impreflion, which the French call en creux. 
 
 M ATTURINO, a fcholar of Raphael, lived at Rome, excell- 
 ed in hiflory-painting, and died in the year 1527. 
 
 Franc MAZZUOLI called Parmegiam^ was the firft who 
 pra6lifed the art of etching ; born in the year 1504, fcholar to his 
 two uncles, lived at Rome and Parma, excelled in hiftoxy and 
 portraits ; died in 1540, aged thirty-fix years. 
 
 MAY, is reprefented, in painting, 5cC. with a fweet and love- 
 ly afpcft, clad in a garment of white and green, embroidered with 
 daffodils, hawthorn, and blue bottles; on his head a garland of 
 ■white and red damafk rofes, holding in one hand a lute, and a 
 nightingale fitting on the fore-finger of the other. 
 
 M. C. fignifies Martin de Clif, or Clivenfis Auguftanus. 
 
 M, D. VOS is put for Martin de Vos, a celebrated inventor 
 for engravers. 
 
 The MEASURES of a human body that are equal between them- 
 f elves. 
 
 1. The fpace between the chin and the throat-pit is equal to 
 the diameter of the neck. 
 
 2. The circumference of the neck is equal to the diftance of 
 the throat- pit to the navel. 
 
 3. The diameter of the waift is equal to the diflance between 
 the knob of the throat and the top of the head, and that is equal 
 to the length of the foot. 
 
 4. The fpace between the eye-lids and the noflrils is equal 
 to that between the chin and the throat-bone. 
 
 5. The fpace from the nofe to the chin is equal to that of 
 the throat-bone to the throat-pit. 
 
 6. The diflance from the hollow of the eye-brow to the cen- 
 ter of the eye is equal to the prominency of the noftrils, and the 
 fpace between the noftrils, and the end of the upper lip. 
 
 7. The diftance between the top of the nail of the fore-finger, 
 and the joint next the palm or thumb, is equal to the diftance 
 between the faid joint and the wrift. 
 
 8. The 
 
M E A 89 
 
 8. The greater joint of the fore-finger Is the height of the 
 forehead. 
 
 9. The fpace between that joint and the top of the nail is 
 equal to the length of the nofe ; from the tip to the arch above 
 the eyes, where the forehead and the nofe is divided, to the two 
 firft joints of the middle finger, are equal to the fpace between 
 the nofe and the chin. 
 
 10. The firfl joint of the middle finger, whereon the nail 
 grows, is the diftance between the nofe and the mouth. 
 
 11. Thefecond joint anfwers to the firfl, which is equal to 
 the chin. 
 
 12. The bigger joint of the thumb is equal to the length of 
 the mouth. 
 
 13. The fpace between the top of the chin, and the dint un- 
 der the lower lip, is equal to the lefler joint of the thumb. 
 
 14. The leaft joint of each finger is double the length of the 
 nail. 
 
 15. The fpaces between the middle of the eye-brows, and the 
 outward corner of the eyes, is equal to the fpaces between the 
 faid corners and the ears. 
 
 1 6. The height of the forehead, the length of the nofe, and 
 diflance of the nofe from the chin, are equal. 
 
 17. The breadth of the hand is equal to the breadth of the 
 foot. 
 
 1 8. The length of the foot is equal to the meafure round a- 
 bout the inflep. 
 
 19. Twice the breadth of the hand is equal to th • length of it. 
 
 20. The arches of the eye-brows are equal to the arch of the 
 upper lip, at the divifion of the mouth. 
 
 21. The breadth on the nofe is the length of the eye, and are 
 cither of them equal to half the length of the nofe. 
 
 22. The navel is in the middle between the nofe and the knee. 
 
 23. The fpace from the top of the fhoulder to the elbow is 
 equal to two faces, and from that to the wrifl one and a half. 
 
 24. The breadth of the body, at the broadeft part of the 
 fhoulders, is two faces and a half, which is alfo equal to the dif- 
 tance between the elbow and the middle finger. 
 
 25. The breadth of the body, at the privities, is equal to two 
 faces. 
 
 26. The thighs, at the thickefl part near the privities, are 
 the dift^ince of two faces broad. 
 
 27. The thickeft part of the leg is equal to the fpace between 
 the top of the forehead and the end of the nofe. 
 
 28. The breadth of the back, at the arm-pits, is equal to two 
 faces, and fo are the hips at the buttocks. 
 
 29. The 
 
r)0 iM E D 
 
 29. The length of the middle finger is equal to the fpace be* 
 tvveen its laft joint and the wrift. 
 
 To take off iynprejjion 0/" MEDALS. A very eafy and elegant 
 way of taking impreffions of Medals and coins, not generally 
 •known, is this : Melt a little ifing-glafs glue, made with brandy, 
 and pour it thinly over the Medal, fo as to cover its whole fur- 
 face ; let it remain on for a day or two, till it be thoroughly dry 
 and hardened ; and then, taking it off, it will be fine, clear, and 
 hard, as a piece of Mufcovy glafs, and will have a very elegant 
 impreffion of the coin. 
 
 Sulphur is fometimes ufed to take off impreflions of Medals, 
 coins, &c. the method is this ; Having made a ledge of clay a- 
 bout the work, whofe impreflion is defired, and carefully oiled the 
 whole, gently pour brimftone melted in a covered vefTel, to pre- 
 vent its firing ; upon the metal, about the edge of this mould, 
 make a border of clay, as before, and lightly oil the internal fur- 
 face of both ; then gradually put into it, to the*thicknefs of about 
 a quarter of an inch, a mixture made up of calcined alabafter 
 and water, to the confiftence of ftiff" honey ; this, foon growing 
 hard, may be taken out of the mould, and gives figures of the 
 coin or Medal. 
 
 We have another eafy method of procuring a fine impreffion 
 or figure of IVIcdals and coins : Take a perfe<51: and (harp im- 
 prelTionin the fineft black fealing wax of the coin or Medal you 
 defire, but cut away the wax round the edges of the impreffion ; 
 then with a preparation of gum water, of the colour you would 
 have the picture, fpread the paint upon the wax impreffion, with 
 a fine hair pencil, obferving to work it into all the finking or 
 hollow places, thefe being the rifing parts of the Medal ; and 
 the colour mufl: be carefully taken from the other parts with a 
 wet finger ; then take a piece of very thin poft paper, a little 
 longer than the Medal, and moiften it quite through ; place it on 
 'the wax impreffion, and on the back of the paper lay three or 
 four piecesof thin woollen cloth, or flannel, of about the fame fize. 
 The impreffion, with its coverings, fhould be placed between two 
 fmooth iron plates, about two inches fquare, and one tenth of an 
 inch thick ; thefe muft be carefully put into a fmall prefs made 
 of two plates of iron, about five inches and an half long, one 
 inch and a half wide, and half an inch in thicknefs, having a 
 couple of long male fcrews running through them, with a turn- 
 ing female fcrew on each, to force the plates together; thefe, 
 being brought evenlv together by means of the fcrews, will take 
 ^m a true and fair picture of the Medal, which, if any deficiency 
 fnould appear, may eafily be repaired with a hair pencil or pen, 
 clipped in the colour made ufe of. 
 
 If a relievo only be defired, nothing is necelTary. but to take a 
 
 picc« 
 
M E R 91 
 
 piece of white card or paiftboard well foaiced in water ; theri 
 placing it on the wax mould without any colouring, and letting it 
 remain in the prefs for a few minutes, a good figiire will be ob- 
 tained. 
 
 This method of taking ofF Medals, Sec. is convenient, and 
 fecms much more fo, than the feveral inventions ufually practifed 
 in fulphur, plaifter of Paris, paper, &c. wherein a mould muft be 
 formed either of clay, horn, plaifler, or other materials, which re- 
 quire a good deal of time and trouble. 
 
 Some take impreflions on paper from the Medals themfelves, 
 by paffing them through the rolling prefs, and colouring them 
 afterwards ; but this is not only more difficult, but docs great 
 injury to the Medals, by impairing the (harpnefs of their moft 
 delicate and expreffive ftrokes 5 whereas wax does not hurt the 
 fineft Medal in the leaft degree ; and, though a brittle fubftance, 
 it efFeclualy refifts the force of a downright prelTure. 
 
 Red feems the beft colouring, and therefore black wax is di- 
 L re£l;ed to be ufed ; but if the pidures are chofen in black and 
 white, to refemble copper-plates, the wax fhould be red ; for 
 the wax and paint ought to be of different colours, in order to 
 diftinguifh when the colour is laid on properly, or rightly cleared 
 away. 
 
 M Peter MERCAUD ufed this mark. 
 MERCURY, is a fluid mineral matter, which per- 
 fe<5tly refembles filver in fufion. It is popularly called quickfilver. 
 
 Authors are divided as to what clafs of foflils to range Mercury 
 under; fome hold it to be a metal ; others, a femi-metali and 
 others, an imperfe6l metal. 
 
 Boerhaave obferves, that it is very improperly called a metal, 
 inafmuch as it has not all the characters of fuch a body ; nor 
 fcarce any thing in common with other metals, except weight 
 and fimilarity of parts j as, for example, it is neither diflbluble 
 by fire, malleable, nor fixed. 
 
 In efFedt it feems to conftitute a peculiar clafs of foffils ; and 
 is rather the mother or bafis of all metals, than a metal itfelf. 
 
 The characters or properties of Mercury are, 
 
 1. That of all bodies it is the heavieft next to gold, and {till, 
 by how much the purer it is, by fo much it is the heavier; the 
 ordinary proportion of Mercury to gold is that of 14 to 19 ; and, 
 if any Mercury be found to be more than according to this ratio, 
 it may fafely be concluded that it has gold in it. 
 
 2. The fecond character is, that it is the mofl fluid of all bo- 
 dies ; that is, its parts feparate and recede from each other by 
 the fmalleft force ; and of confequence it is that of all bodies, 
 whofe parts cohere leaft, and are the leaft tenacious, and there- 
 fore of all others thekaftdudile and malleable. 
 
 The 
 
52 M E R 
 
 The parts of water do not divide fo readily as thofe of quick* 
 fclver ; and the parts of oil much lefs. 
 
 3. The third property of Mercury is, that of all bodies it is di- 
 vifible into the minuteft or fmalleft parts ; thus, being expofed to 
 the fire, it refolves into a fume, fcarce perceivable to the eye. 
 
 4. The fourth character is, that it is extremely volatile, being 
 convertible into fume, even by a fand-hcat. 
 
 The gilders are but too well acquainted with the vaporous qua- 
 lity of IVIercury, which frequently renders them epileptic or pa- 
 ralytic, and fometimes falivates them. 
 
 5. The fifth property is, that it eafily enters, and intimately 
 adheres to gold ; but not fo eafily to other metals, with difficulty 
 to copper, and not at all to iron. 
 
 6. The fixth charader is, that of all fluids it is the coldeft and 
 hotteft, fuppofing the circumftances the fame ; this property de- 
 pends on the great weight of Mercury ; for the heat and cold of 
 all bodies are, casteris paribus, as their weights. 
 
 Now Mercury being four times heavier than water, if both of 
 them be expofed in a winter s night to the fame cold, the Mercu- 
 ry muft be fo much colder than water, as it is heavier. 
 
 So alfo, if they be both applied to the fame degree of heat, 
 while the water becomes warm, the Mercury will be hot enough 
 to burn the hands. 
 
 7. The feventh property of Mercury Is, that it is difToluble by 
 almoft all acids, and unites itfclf with them, at Icaft all foflil acids. 
 
 Only vinegar does not difTolve it ; and hence we are furniih- 
 cd with a method of detecting the frauds of the druggifts, &c. 
 who make a practice of fophifticating quicklilver with lead. 
 
 Pound a little Alercury with vinegar in a mortar, and, if the 
 vinegar grow fweetifh, it is a proof there is a mixture of lead in it. 
 
 If copper has been mixed with it, the Mercury will turn green- 
 ifh or bluifh ; and, if there be no adulteration, the Mercury and 
 vinegar will both remain as before. 
 
 8. The eighth property of Mercury Is, that it is the moft fim- 
 ple of all bodies, next after gold ; and accordingly it is found the 
 fame in all its parts, as far as obfervation goes. 
 
 9. The ninth property of Mercury is, that it is not in any 
 mcafure fnarp, for it fliews no acrimony in the tafte, nor does it 
 corrode any body ; and, if a carcafs were to be buried in quick- 
 filver, it would there remain without being any way hurt. 
 
 Mercury, is defcribed by the ancients, as a beardlefs young 
 man, having two fmali wings fixed behind his fhouldcrs and ears, 
 his body almoft all naked, excepting that a thin veil hangs down 
 from his fhoulders, which is wrapped round his body ; he held a 
 golden j)urre in his right hand, and in his left a caduceus, or 
 ihaky ihff, viz. a ?,Qivi€i wand, about which two fnakes annodated 
 
 i. e. 
 
M E R 93 
 
 i. e. twined in certain knots, their heads meeting together ju(t 
 at the top, as their tails do at the bottom. 
 
 Some, however, reprcfented Mercury in thelikenefs of a very 
 aged man, with his head almoft bald, excepting that fomc few 
 hairs remained on the fides, fhort and curled j of a grim, fevere, 
 and four afpedl ; of a tawny complexion, an ancient hue ; clad 
 with a lion's fkin, for an upper garment ; holding in his right 
 hand a large pole-ax, and, in his left hand, an iron bow, and a 
 quiver of fteel-headed arrows hanging at his back ; to the end of 
 his tongue were faftened many fmull chains of gold, at the end of 
 which were tied multitudes of all forts of men, which he feemed 
 to draw to him ; looking continually backward, to behold the 
 innumerable troops of people following him. 
 
 By this defcription is fignified the all-powerful and at(ra<5tive 
 virtue of eloquence ; which, by his age, is underftood to be found 
 only in old, wife, and experienced men, as being more matuie 
 and perfect in them, than in thofe of younger years. 
 
 Apuleius writes, that Mercury was a very youth, having very 
 ftiort hair on his head, of an amber colour, and curled j clad on- 
 ly with a very thin veil of purple filk. 
 
 He is alfo drawn with long, curled, yellow hair, in a coat of 
 flame colour, and with a pure white mantle trimmed with gold 
 and filver ; with a white beaver or hat, with white feathers ; 
 golden ihoes, and a filver rod in his hand. 
 
 Martianus Capella, alfo, defcribes him young, but of a ftrong 
 and well compofed body, with certain young hairs of a yellowifti 
 colour, fprouting out of his chin. 
 
 Among fome of the Egyptians, he was depicted with a head 
 like a dog, holding in his right hand a caduceus, and (baking a 
 green bough of palm with his left hand. 
 
 By the dog's head was fignified fubtlety and craftinefs, no beafi: 
 being accounted fo fubtle as a dog ; by the fnaky wand, the power 
 of wifdom and eloquence in producing peace, which is fignified 
 by the green palm branch. 
 
 Paufanias relates, that Mercury was reprefented, in a certain 
 province of Corinth, as a young man carrying a ram upon his 
 ihoulders : And that a ftatue was brought from Arcadia to Rome, 
 and erecTted in the temple of Jupiter Olympus, which had on its 
 head a helmet of engraven fteel, and a coat over his fhoulder, 
 holding under his arm the image of a ram. 
 
 MERCY, is reprefented, in painting, &c. as a lady fitting 
 upon a lion, holding in one hand a fpear, and in the other an ar- 
 row, which Ihe feems to throw away. 
 
 Michael Angela MERIGI da Caravaggio, born in the year 
 1669, fcholar of Cavalier Giofcppino, lived at Venice, Rome, 
 
 an4 
 
94 MET 
 
 and Malta ; excelled in hiftory and half figures : He died in the 
 year i6og, aged 40 years. 
 
 MERMAN, i Are fea creatures, frequently talked of, as be- 
 
 MERMAID, i ing fuppofed half human, and half a fifli ; 
 and are reprefented by painters, &c. in the form of a man or wo- 
 man from the navel upwards, and with the tail of a fifh from 
 thence downwards. 
 
 METALS, are fimple foflil bodies, which fufe and become 
 fluid by fire, and coagulate by cold, and harden into a folid mafs, 
 capable of diftending under the hammer. 
 
 A Metal is faid to be fimple, as it may be affirmed of every 
 the minuteft particle of a Metal, e. gr. a grain of gold, that it 
 is gold, or has all the properties of gold. 
 
 A Metal is fufible by fire ; that is, when expofed to a great 
 fire, it diffolves into parts, which are eafily moveable among 
 themfelves, or are a£lually in motion. 
 
 A Metal is fixed, i. e. it bears the fire without flying off in va- 
 pours. Though Metals are fixed only to a certain degree ; for, by 
 the large burning-glaffes of M. Tfchernhaufen and Villette, all 
 Metals will readily evaporate. 
 
 Such are the proper charaderiftics of Metals, which are no 
 ways applicable to any other bodies in nature ; for a diamond, 
 or other ftone, though it be a fimple body, yet is not fufible in 
 the fire, nor capable of being extended under the hammer ; and 
 the fait, being diflx)luble by fire, is not malleable, but will break 
 under the hammer. 
 
 There are, indeed, certain woods, which yield, in fome mea- 
 fure, to the hammer ; but then they fall to duft in the fire, and 
 fo of the reft. 
 
 There are but fix Metals found in all nature, viz. gold, filver, 
 copper, tin, lead, and iron. 
 
 To thefe is ufually added a feventh Metal, viz. mercury, or 
 quickfilver, but improperly, as it has not all the characters of a 
 Metal, norfcarce any thing in common with the other Metals, 
 except weight and fimilarity of parts. 
 
 Thus, for example, it is neither difl^oluble by fire, malleable, 
 nor fixed : And, in reality, it feems to conftitute a peculiar clafs 
 of foflils, and is rather the mother or bafis of all Metals, than a 
 Metal itfelf. 
 
 The common radical charadler of Metals is, that of all known 
 bodies they are the heavieft. 
 
 By the experiments made by Dr. Halley, the weight of gold 
 to that of glafs is determined to be as 7 to i ; and the weight 
 of tin, the lighteft of all Metals, to that of gold, as 7 to 19 ; 
 which confidcrably furpaffes the weight of all ftones, marbles, 
 
 gems. 
 
M E T g. 
 
 gems, and other the moft folid bodies, as appears from the tables 
 of fpecific gravities. 
 
 Nor is there any body in nature, but a Metal, that is one third 
 of the weight of gold. 
 
 The Roval Society furnish us with various experiments of this 
 kind. 
 
 The weights of the feveral Metals and other folids they have 
 examined hydroftarically, by weighing them in air and water ; 
 and the weight by the fluids, by weighing an equal portion of 
 each. 
 
 By fuch experiments they find, that, taking the fame weights 
 of water and gold, the bulk or magnitude of the water is to that 
 of gold, as 19636 to 1000 ; confequently that the weight of gold 
 is to water nearly as 1 9 to i. 
 
 Thefpecijic weight of the feveral Metals ^ hy this nteam determined^ 
 fiands thus : 
 
 Gold 
 
 I 
 
 963s 
 
 
 Qiiickfilver 
 
 14019 
 
 
 Lead 
 
 1134' 
 
 
 Silver 
 
 105135 
 
 
 Copper 
 
 8843 
 
 
 ^e Cubic Inch 
 
 of Ov 
 
 ma 
 
 Gold 
 
 1 
 
 11 
 
 Quickfilver j 
 
 8 
 
 Lead 
 
 !S 
 
 7 
 
 Silver 
 
 
 6 
 
 Copper 
 
 
 ^ 
 
 5 
 
 Iron 
 
 1 
 
 
 5 
 
 Tin 
 
 J 
 
 
 4 
 
 Iron , 
 
 Tin 
 
 Stone 
 
 Water 
 
 Air 
 
 Drachms. 
 
 2 
 
 6 
 
 3 
 5 
 
 6 
 
 I 
 6 
 
 7852 
 7321 
 
 2000 
 1000 
 
 Grains^ 
 
 'I 
 
 30 
 28 
 
 3^ 
 24 
 
 17 
 
 To tah away the hrittlenefs of any Metal. 
 
 Firft calcine the Metal, and put it under dung ; and after- 
 wards heat it red-hot at the fire, or melt it, and quench it often 
 in aqua-vitae often diftilled ; or ufe rofm or turpentine, or the 
 oil of it ; or wax, fuet, euphorbium, mvrrh, or artificial borax : 
 For, if Metals be not malleable, undiuous bodies will oftentimes 
 make them fofter. 
 
 If either all thefe, or fome of thefe, be made up with fome 
 moifture into little cakes, and when the Metal yields to the fire, 
 by blowing with the bellows, and fome of them be caft in, and 
 be made thick like mud, or clear ; then fet the Metal to the fire, 
 that it may be red-hot in burriing coals ; take it out, and quench 
 it in them, and fo let it remain for half an hour to drink in. 
 
 2 ♦Or 
 
96 
 
 M E 2 
 
 Or daub the Metal with dog's greafc, and^melt it with it ; for 
 that will take away much of the brittlenefs of it, and maice it 
 k» that it may be hammered and wrought. 
 
 To colour Metal like gold. — Take fal armoniac, white vitriol, 
 rock fair, and verdigreafe, of each a hke quantity in fine pow- 
 der ; lay it upon the Metal ; then put it into the fire for an hour, 
 take it out, and quench it in urine, and the Metal will have the 
 colour of gold. 
 
 Ta melt Met ALs quickly. Put in a layer or courfe of the pow- 
 der of any Metal into a crucible ; then lay upon it a layer of 
 fulphur, falt-petre, and faw-duft, of each a like quantity, mixed 
 tf)gether ; put a coal of fire to it, and the Metal will immedi- ' 
 ately be in a mafs. 
 
 C Jof^pf^ Maria METELLI, of Bologna, a famous and 
 w\ ^^"taftical engraver of all kinds of fubje<5ts, ufed this 
 mark. 
 
 MEZZO-TINTO, a particular kind of graving, done in 
 the following manner : 
 
 1. Take a well-polifhed copper-plate, and make it all over 
 rough one way, with a fort of engine particularly defigned for 
 this purpofe : Then crofs it over with the engine again ; and, 
 if you feeoccafion, crofs it over it the third time, till it be made 
 rough alike, viz. fo as, if it were to be printed, it would print 
 black all over. 
 
 2. The fhape or form of this engine, or inftrument, is vari- 
 ous, according to the fancy of the artift ; thofe that defire them, 
 may have them of feveral perfons in London, who profefs and 
 pi a(5tire the arts of drawing, engraving, and etching. 
 
 3. When you have thus roughed the plate, take charcoal, 
 black chalk, or black lead, to rub over the plate, and draw the 
 defign with white chalk upon the fame ; then take a fharp flift, 
 and trace out the outlines of the dcfign, which you have drawn 
 with white chalk. 
 
 4. Where you would have the light ftrike the ftrongefl, take 
 a burnifher, and burnifh that part of the plate as clean and 
 fmooth, as it was when it was firft polifhed. 
 
 5. Where you would have the light fainter, there you muft 
 polifh it fo much, and after this manner you muft either increafe 
 the light in your defign, making it either fainter or ftronger, as 
 the neceflity of the work requires. 
 
 Mezzo-tinto prints are, for back-painting upon glafs, to 
 \i& preferred to thofe that are engraven ; becaufe that the for- 
 mer, if done with a neat and careful hand, and on a good and 
 fine- grounded print, can fcarcely be diftinguiflied from limning ; 
 whereas, in thofe that are engraven, all the ftrokes of the graver 
 ^tz plainly vifible. 
 
 " 2. In 
 
M E Z S7 
 
 2. In chufing your prints to work upon, obferve the paper 
 they are printed on ; if it be too thick, or too much gummed, 
 that may be difcovered by wetting a corner of it with water, or 
 your tongue; where, ifitpafles not througli the paper prefently, 
 it is not fit for the purpofe ; but a thin, fpungy paper, is what 
 you fliould chufe. 
 
 3. The glafs you paint it on, ought not to be common win- 
 dow-glafs, for that will fpoil your work ; but either true and 
 thin ground, and well-pohfhed looking-glafs, or a fort of fine 
 white glafs, called Cock-hill glafs. 
 
 Of laying MEZZO-TiNTOprin'stipon the glafs. 
 
 1. Having provided fuch a glafs of the fame fize as your pic- 
 ture, fleep the print flat-ways in warm water for four hours, 
 more or lefs, according to the thicknefs, thinnefs, or hardnefs of 
 the paper; and then, with a thin knife or brufh, the hairs of 
 which will not come out, fpread Venice turpentine very thin and 
 even all over the glafs : And, if the weather be cold, warm the 
 glafs at the fire, and dab it all over with your fingers, that there 
 may not be the leaft fpeck of the glafs uncovered with turpentine. 
 
 2. Then take the print out of the water, and lay it on a table 
 fmooth, upon a clean napkin or fheet of paper, or between two 
 papers, to dry out all the fuperfluous water. 
 
 3. When you have done this, lay the print upon the glafs by 
 degrees, beginning at one end, and flroking outwards that part 
 which is juft faftened to the glafs, that no wind or water may 
 lie betwixt that and the glafs, which v/ill caufe blifters, and 
 which you mufl always be very careful to llroke out. 
 
 4. If you perceive you have not laid the print on the glafs 
 exadlly even, then, by warming the fore fide of the glafs before 
 the fire, it will fo foften and thin the turpentine, that you may, 
 with care and gentlenefs, take it off again, and lay it on again 
 immediately, not fuffering the print to dry. 
 
 5. Your print being laid on the glafs exa6tly, you muft pro- 
 ceed to rubbing it with your finger, to rub off all the thicknefs 
 of the paper, which will roll off in little rolls, till nothing of it is 
 left upon the glafs but a thin film like a cobweb, that is faff ftuck 
 to the glafs by the turpentine; but great care is to be taken in 
 rubbing, that you do not rub any holes in the print, efpecially 
 in the lights, which are the moil tender parts. 
 
 6. If your picture be large, fo that fome part of the paper 
 Ihould grow dry, while you are rubbing the other, youfhould, 
 with a little water on your finger, wet them now and then, as 
 you fee occafion, to keep them moift, for the paper will not 
 rub when grown dry. 
 
 7. When you have rubbed or peeled it all over, fo long as 
 till you perceive the print appear tranfparent on the backfide ; 
 
 Vol. IL H then 
 
98 M E Z 
 
 then fet it by to dry for two hours ; after which, varniHi It over 
 with maflich varnifh, or turpentine varnifh, four or five times, or 
 fo often, till you can fee clearly through it ; and, after twenty- 
 four hours, v<'U may proceed to painting it. 
 
 To paint M E z z o - T 1 N y o prints. 
 
 Whether in landfcape, or other prints, the firft thing you have 
 to do, is to glaze all thofe places which require it. 
 
 But the beft v/ay is to work fitting, not Handing, becaufe you 
 will he able to move your hand and the pencil with the more 
 fleadinefs. 
 
 And it will be proper to have a table-eafel to fet your glafT 
 upon, almofl: like a reading-dcfk, excepting that there is a pannei 
 or back-board for a book. The painting-defk mufi: be all open, 
 only with three or four vi'ires to keep the pi6lure from falling 
 through, and a narrow ledge at the bottom for it to fland upor., 
 and little holes made equally diftant on both fides of it, as in 
 painters eafcls, that by pegs or pins, and a ledge laid upon them, 
 you may raife the picture higher or lower, as beft agrees with 
 your convenicncy. 
 
 It will alfo be beft to lay a fheet of white paper behind the pic- 
 ture on the table, and you will find it better to your purpofe than 
 if placed againft the window. 
 
 If you would have your glazing to lie thin, and to dry quickly, 
 niix varnifh when you lay it on the picture, and in three or four 
 Ror.rs time they will be fit for receiving other colours. 
 
 And, in landfcapes, you ftiould firft glaze the neareft and great ■ 
 trees, grounding them well with brown pink ; but, if you would 
 have them greener, add diftilled verdigreafe. 
 
 Thofe trees that you would have of a lively and beautiful, as 
 alfo leaves and \Voods, muft be glazed with Dutch pink and dif-' 
 tilled verdigreafe ; but the trees farther off^ with verdigreafe alone.; 
 
 Hills, mountains, and trees, at the greateft diftance of all, are.' 
 to be glazed with fine fmalt, a little lake, and verdigreafe, all] 
 thinly mixed with varnifii. j 
 
 For the fky, ufe ultramarine, or, for want of that, fine fmalt ;i 
 mix it thin with varnifh, and glaze it over two or three times with 
 a clean large pencil, and a very quick ftroke ; for, if you are te- 
 dious, it will dry fo faft that you cannot poflibly lay it ev&n. 
 
 If your landfcapes are furniftied with figures, buildings, rocks, 
 ruins, &c. they require to be ftnifhed before any thing elfe is 
 done. 
 
 The mixtures of colours for thefethingsconnilchieflyof blacks,^ 
 whites, and yellows, with fometimes a little red; but the mixture.i 
 Compofition, and proportions of them, muft always be left to the : ii* 
 judgment and experience of the artift, with this confidcration, thai 
 all the colours for this kind of painting otight to be very light. 
 
 2 "^C 
 
M I ]Sf go 
 
 To finifh the ground, trees, and fliv, with the reft of the pic- 
 ture, begin, as before, with the neareftor laree'r trees ; and, with 
 yellow, pink, and white, paint over the lighteft leaves ; but, of 
 the darker colour of pink, and a litile fmalt, go finely over the 
 darkeft and outward leaves, with a fmall pencil dipped in varnifli. 
 
 Thofe trees that you would have beautiful, paint with a mix- 
 ture of yellow mafticote, white, and verdigreafe ; the darker 
 parts with pink, verdigreafe, and white ; as alfo thofe trees, 
 which you glazed with verdigreafe only, they being mixed very 
 light with white. 
 
 But, to finifli the fky and forefight, if any clouds appear, touch 
 them with varnifti and light colours, made of white, yellow oker, 
 and lake ; and with thefe likewife touch the lightefl part of hills 
 and towns at the remoteft diflances : Alfo mix fmalt and white, 
 as light as you can, to paint over the fky ; and to thefe add a 
 tindture of lake, to fhadow over the darkeft clouds, making all 
 your colours to He thin and even. 
 
 If you would have the picture look more lively, fet it againft 
 the light, or on the eafel ; and, though it is painted all over, yet 
 you may perceive the lights and fl:iadows through it ; but, if not, 
 what was before painted will direct you ; your fky and forefio;ht 
 then are to be limned v.'ith the fame ; but lighter colours than 
 the former, and every part befides refpectively. 
 
 To varnifb thefe prints. Take the beft white varnifh, fee VAR- 
 NISH, and maflich varnifli, of each alike ; mix them together, 
 and, with a fifie camels-hair brufh, varnifh the picture over four 
 Or five times carefully before the fire, that the varnifh may not be 
 chilled, and you will find it to have a very good and firm glofs. 
 
 But, if you would polifh it after varnifhing, then you mufl ufe 
 only the befl: white varnifh, without any maifich varnifh mixed 
 with it ; and wafh the print or pidlure over with it five or fix 
 times, after the manner that is done in japanning ; and fet the 
 pidure by for four or five days to dry, and then polifh it with 
 water and tripoli, and at lafi: clear it up as you do white japan. 
 
 M. G. flands for Aiatthew Greuter, engraver ; born in Ar- 
 gentina, anno 1566. 
 
 j\T> MICARINO, an engraver in the Gothic manner^ 
 jfe VLS ufed this mark. 
 
 M. 2?IV. -> 
 
 M.p. y fc, ( Are all different marks of Claudius 
 
 Mellan. -. f Mellan of Paris. 
 
 Mel.fc. Roma, 1633. J 
 
 MI. AG. FLO. lignifies Michael Angelo of Florence, i. e« 
 Buonoroti. 
 
 MINES, are places under ground, where metals, minerals^ 
 or precious ftones are found. 
 
 H 7. Therefore^ 
 
Therefore, as ttie matter dug out of Mines is various, the Mine* 
 themrelves acquire various denominations ; as gold Mines, filvet 
 Mines, copper Mines, iron Mines, diamond Mines, fait Mines, 
 Mines of antimony, of alum, &c. As for Mines of gold and fil- 
 ver, the richeft and moft celebrated are thofe of Peru and Ch'iYi 
 in America ; iron Mines are more abundant in France than 
 elfewhere ; copper Mines are found chiefly m Sweden and Den- 
 mark ; tin Mines abound moft in England ; quickfilver Mines 
 in Hungary and Spain ; diamond Mines in Gokonda j fait 
 Mine.-^ in Poland. 
 
 Metallic Mines are chiefly found in mountains, though the 
 reafon thereof does not appear. 
 
 They difcover that there is a Mine in a mountain by the mar- 
 cafitc or mineral flones falling from it ; by the mineral tafte of 
 the waters J by the quality of the exhalations raifed from it; 
 and bv the difference between the earth over the Mines, and 
 that of the neighbouring parts, in the cold time of fpring and 
 autumn ; the froft lying on the adjacent places when it thaws 
 about the Mines. 
 
 To which may be added, that the ground's producing but lit- 
 tle grafs, and that fmall, pale, and colourlefs, is an indication of 
 a Mine. 
 
 MINIATURE. ? The firft namecomesfrom theLatinword 
 
 MIGNATURE. j minium, red lead, that being a colour 
 much ufed in that kind of painting : The fecond is French, and 
 is fo called from niignon, fine, pretty, on account of its fmallnefs 
 and delicacy. 
 
 Miniature is a delicate kind of painting, confifting of little 
 points or dots inftead of line-^ ; ufually done on vellum with very 
 thin fimple water colours. It is diftinguiflied from other kinds 
 of painting by the fmallnefs and delicacy of its figures, the 
 weaknefs of the colours, the faintnefs of the colouring, and in 
 that it requires to be viewed very near. 
 
 Thofe colours that have the leaft bodv, are the beft and moft 
 commodious for painting in miniature; as carmine, ultramarine, 
 fine lakes, and greens made of the juices of feveral kinds of herbs 
 and flowers, 
 
 Painting in Miniature is the niccfl and moll tedious of all 
 others, being performed wholly with the point of the pencil. 
 
 There are fome painters, which never ufe any white colour 
 in Miniature, but make the ground of the vellum ferve to raife 
 their figures ; in which cafe the lights appear bright in propor- 
 tion to the depth and ftrength of the colours of the figures. 
 
 Others, before they go to work, give the vellum a light wafh 
 with white lead well prepared and purified. 
 
 When the colours are hid on flat without dotting, though the 
 2 fitiures 
 
M I N 101 
 
 iigures be fmajl, and the ground either vellum or paper, it is not 
 called Miniature, but wafhing. 
 
 The colours for Miniature may be mixed up with water of 
 gum arabic, or gum tragacanth, 
 
 Though, in treating of other methods of painting, in divers 
 places of thefe volumes, much has been faid that may be appli- 
 cable to this method of painting in Miniature .; yet 1 Ihall never- 
 thelefs fpecify the charaderiitics of this kmd of pamting u) par- 
 ticular. 
 
 1. It is in its nature more delicate than arjy of the other forts, 
 
 2. It requires to be [een near at hand. 
 
 3. It canBot well be executed but in fiaall. 
 
 4. It is performed on vellum or ivory. 
 
 5. The colours are moiftened with gum water only. 
 
 To fucceed well in your attempts this way, you ihould know 
 how to draw very well ; but, as molt who concern themfelves in 
 this art are but feldom fkilled in drawing, yet would have the plea- 
 sure of painting without the trouble of learning to draw, in which 
 Jittle progrefs can be made, without time and much pradice, fome 
 contrivances have been found to fupnly the defe(St in this point, by 
 which a perfon is enabled to draw without knowing how to do it 
 without them. 
 
 The firft is called calking. To do which, you mufl: blacken 
 the backfide of the print or drawing you dehgn to copy ; and, 
 having lightly brufhed off the dufty particles, to prevent their 
 adhering to, and fouJing the clean vellum you defign to ufe. 
 Jay your originaj on the vellum, and fallen it thereto with pins ; 
 or if, inflead of the backfide of the print or drawing itfeif, you 
 blacken only one fide of a fair piece of paper, and put this paper 
 between the print or drawing and your clean vellum ; then with 
 a blunted pin or needle trace out the principal ftrok^s of the print 
 or drawing, the outlines and folds of the draperies, and whatever 
 elfe need to be diftinguiflied ; bearing upon the pin or needle hard 
 enough to leave the traces thereof on the vellum beneath. 
 
 Reduction is another way, proper for thofe who are not (kil- 
 led in drawing, yet notwithflandmg would copy a pidture, or 
 other piece that cannot be calked. It is done thus,: You muft di- 
 vide the whole piece into many fmall and equal fquares, which 
 you are to make with fmall-coal if the piece be light, and with 
 chalk if the piece be dark, that, in either cafe, your fquares may 
 be the more confpicuous ; then you rauft make the fame number 
 of fquares, and of the fame bignefs, upon paper to draw upon; 
 for, if you undertook to do it at once upon vellum, as you might 
 fail in the firfl attempt, you would run the hazard of fpoilino; 
 your vellum by falfe firokes ; but, the whole being duly adjufli d 
 upon paper, we calk it upon vc'il(i:n, as is (aid abuve. The ori- 
 
 H 3 gmal 
 
102 M I N 
 
 ginal and the paper being thus marked out, obferve what is con- 
 tained within each fquarc of the piece you would copy, as an head, 
 an arm, a hand, and fo on, and where each is placed ; all which 
 you mufl: punctually follow on your paper ; and, having thus ob- 
 tained the fituation of each part, join the whole together. After 
 this manner you may enlarge, as well as diminifh any piece you 
 pleafc, only by making the fquares on the paper larger than thofe 
 en the original, or fmalier, obfetving always that they are the 
 fame in number. 
 
 To copy a piflure, or any thing elfe of the fame fize, take 
 oiled paper dried, or eold-beaters Ikin j either of thefe we lay 
 upon the piece, through which you may fee the ftrokes, which 
 trace out with a crayon' or pencil : Then talce it ofF, and make 
 it fad to vellum or paper, and, holding it up to the light, trace 
 out what has been copied upon the oiled paper or fkin, either 
 with a crayon or a fiiver pin. 
 
 By the help of a window, or .1 glafs held up to the light, are 
 copied all forts of prints, dei'igns, and other pieces, upon paper 
 or vellum, by fixing them to the paper or vellum you intend to 
 draw upon. This is an eafy and good contrivance for copying of 
 the fame fize. 
 
 If you would make the piece look a contrary way, turn the 
 printed or drawn fiJe of the original towards the glafs, and faften 
 the paper or vellum to the backfide of it. 
 
 There is alfo a <*ood wav to take an cxa6l copy of a piflure 
 which is in oil colours : Which is, with a pencil and fome lake 
 mixed up with oil, to trace cut all the principal ftrokes of the 
 picture, and applying thereto a paper of the fame fize ; then pafs 
 your hand over it, and the ftrokes of the lake will take the pa- 
 per, and appear thereon, which you may calk as before. Be 
 mindful to clean the pidture with the crumb of bread before the 
 lake dries. 
 
 Aifo, to the fame end, ufe coal-duft, contained in a piece of 
 fine linen, wherewith pounce the piece you would copy, having 
 firft pricked the principal ftrokes of it, and fattened a piece of 
 vellum or paper to the wrong fide of it. 
 
 Bur, for one who has no hand at drawing, there is a more 
 fare and eafy way than any before-mentioned, by the help of a 
 mathematical inftrument, or compafs, as it is fometimes called, 
 which is commonly compofed of ten pieces of wr>od like rulers, 
 about the fixth of an inch thick, and half an inch broad ; as for 
 their length, it may be a foot, niDre or K fs, according to the fize 
 of the piece you would copy. But, that you may not miftake, 
 here follows a reprefentation of it. See plate VII, fig. I. 
 
 The board A muft b^ deal, covered with a cloth of fome 
 fort or other, for the moie convenient faftening of the piece 
 
C.B^ A 
 
 F^,8. 
 
 l^}-10. 
 
 a5 
 
M I N 103 
 
 y<3n would draw, and what you would draw upon : Then plant 
 the compafs with a large pin run through the foot B. If you 
 would draw in fmall, you mu't place the original at the Hrft 
 ^oot C, and the paper or vellum you would draw upon, near 
 to the foot B, removing it to a greater or Icfs diitance, according 
 as you would have your piece greater or fmaller. 
 ^ To draw in great from fmall, you need only fliift your copy 
 to the place of your original, putting the former at C, and the 
 Jatter at B ^ and in each cafe you muft put a crayon or a filver 
 pin into the foot over your vellum, and a pin fomewhat blunted 
 into the foot over your original, with which you are to ft'llow all 
 the lines, while you bear with your other hand gently upon the 
 pin or crayon on your vellum. If one or the other be well fitted 
 an the foot, you n^ed not bear thereon at all. 
 
 You may draw alfo of equal fize, but to do that vou muft plant 
 your compafs in a different manner ; it mufl be fixed vvith a pin 
 or axis, run through the center D ; and the orij.inal and the 
 copy mufl: be at an equal diitance from the center. In a word, 
 you may draw fevera^ copies at a time, and each of a different 
 %.ze, or equal to each other, juft as you pleafe. 
 
 Thefe are ail the helps needful to be known by thofe who 
 !are unfKilled in drawing. When your piece is fketched out upon 
 the vellum, you muft-, with a pencil oi thin carmine, run over all 
 rthe flrolces, that thev may not be defaced in working. This 
 -done, clean your vellum with crumb of brcad. 
 
 Your velJum muft be glued to a copper plate, or to a piece of 
 *hin board exadly of the fame fize with your intended piece, 
 to flretch it upon ; but your vellum muit be a finger's breadth 
 Jarger every way than what you glue it to, for the way is to lap 
 it round behind, and there glue it, not offering to lay any glue 
 under your paint, not only for fear of Tome deformity, but alfo be- 
 •caufe of the impoffibility of taking it off aiiain. But, iirft of all, 
 you muft moiften the fair fide of the vellum v/ith a piece of fine wet 
 iinen, and put a piece of white paper to the backfide of it, and 
 /o apply it to the plate or piece of board, and, ftretching it thereon 
 equally in all direcfions, glue it as juft now directed. 
 
 The colours ufed /« Miniature painting are, carmine, ul- 
 .tramarine, lake of all forts, vermilion, black lead, brown red, 
 mafticote pale, mafticote yellow, indigo, i\'ory-black, lamp- 
 black, Spanifh brown, umber, gall-ftone, brov/n oker, French 
 pink, orpiment, gamboge, Naples yellow, bladder green, ver- 
 diter, fea green, German afnes, flake white, and white lead. 
 
 As all terrene colours, and other grofs fubftances, are too coarfe 
 for fine works, how well foevcr they may be ground, by reafon 
 of a kind of fand which ftill remains ; the fineft particles may be 
 feparated, by tempering y; ur colour in a cup of fair water. Hav- 
 
 H 4 ing 
 
104 M I N 
 
 ingftirred it well with your finger, and the whole being thorough- 
 ly foakcd, let it fuhfide for a while, and then pour it ofF, by incli- 
 nation, into another vefTel, and what you pour off will be the 
 finefl particles, which you mufl: afterwards fet to dry : The co- 
 lour, thus prepared, mufl, when you ufe it, be tempered with gum 
 water, as fhall hereafter be directed. This is a good contrivance, 
 and perfectly calculated for the delicacy of fmall works. 
 
 Greens, blacks, greys, and yellows; thefe colours being mix- 
 ed with a little of the gall of ox, carp, or eel, efpecially of this 
 laft, it will give them a luflre and vivacity not natural to them. 
 You mufl: take the gall of eels, when they are fkinned, and hang 
 them by a nail to dry; and, when you ufe any, you mufl: fteep 
 it in brandy, and mingle Tome of it with the colour already tem- 
 pered. It will caufc the colour to take the vellum more flrongly, 
 which it will not eafily do when the vellum is greafy ; befides, 
 the gall prevents its peeling. 
 
 Yellow oke,'', brown red, umber, and ultramarine ; thefe are 
 colours which purify by fire, all others blacken thereby; but, if 
 you burn the abovenamed colours with a flrongfire, they change, 
 for the brown red turns yellow, the yellow oker turns red, the 
 umber reddens alfo, and white lead becomes of a lemon colour, 
 and i"- called maflicote. Obferve, that the yellow oker, being 
 burnt, becomes fofte: and kinder by far than before, and more fo 
 than the pure brown red ; and, reciprocally, the brown red, be- 
 ing burnt, becomes more foft and agreeable than the pure yellow 
 oker ; they are both very good. The fineft and moft pure ul- 
 tramarine, burnt in a red-liot fliovel, becomes much more bril- 
 liant than before ; but, refined after this manner, it diminifhes, 
 and becomes coarfer, and harder to work with in Miniature. 
 
 Thefe colours are tempered, in fea-fhells, or in fmall ivory 
 cups made on purpofe, with water, in which hath been before 
 diffolved gum arable and fugar-candy ; for example, in a good 
 glafs of water put the quantity of your thumb of gum arabic, and 
 half that quantity of fugar-candy. This lafl prevents the colours 
 from fcaling when applied, w'.ich they commonly do without 
 it, or when the vellum is greafy. 
 
 This gum water mufl: be kept in a bottle, always flopped clofe; 
 and never dip a coloured pencil into it, but take it out with a 
 quill, or fome fuch thing. 
 
 Some of this water you mufl pour into a fliell, together with 
 the colour }ou ufe, and temper them v>'ith your finger, till the 
 whole be very fine. If you find your colour too hard, leave it to 
 foften in the fhell before you temper it ; then fet it to dry, and 
 fo do by all, except the iris green, and bladder green, and gam- 
 boge, which mufl be tempered with water only ; but ultrama- 
 rine, lake, and Spaniih brown? niuft be mere gummed than other 
 colours. If 
 
F 
 
 M I N 105 
 
 If you ufe fea-fhclls, you muft firft foak them for two or 
 three days in water, then f'cower them well in hot water, to clear 
 them of a certain ialt, which fpoils the colours, if not waihed 
 away. 
 
 To underfland when your colours are fufficiently gummed, 
 you need only make a ftroke with your tempered colours upon 
 your hand, which will immediately dry ; if they break and fcale, 
 they are too much gummed ; and, if they rub out by pafling 
 your finger acrofs them, they are not gummed enough. Again, 
 if you lay your colours upon vellum, and upon trial find that the 
 colours come off upon your finger like duft, it fliews they are 
 not enough gummed, and therefore you muft put more gum into 
 the water you ufe ; take care alfo, that you put not in too much, 
 for that will have a hard and a dry efFe6t, your colours will be 
 glutinous and fhining ; thus, the more they are gummed, the 
 darker they will be; and, if you would have a greater body to 
 a colour than it naturally has, you need only gum it well. 
 
 You muft have a fmooth ivory pallet, of the fize uf your hand, 
 upon which you muft diftribute your colours. 
 
 Good pencils are of great importance to the work ; to chufe 
 which, wet them a little, and twirl them on your finger ; if they 
 keep their point, they are good, but, if they break into many- 
 points of different lengths, they are good for nothing, particu- 
 larly for ftippling ; this is a term in Miniature for making fmall 
 points or dots, but above all for carnations ; when they are too 
 (harp-pointed, with only four or five hairs fticking out beyond 
 the reft, you muft blunt them carefully with a pair of fciflors. 
 It will be proper to have them of two or three fizes; the largeft 
 may ferve for your grounds, the middling for drawing and colour- 
 ing, and the leaft for finifhing. 
 
 To keep your pencil to a good point, you muft often put it 
 between your lips, and prcfs it, and moiften it with your tongue, 
 though you have juft taken up colour with it ; for, if you have 
 taken up too much, you bv this means diminifh it, and correal 
 your error. You need not fear any harm from fo doing ; all the 
 Miniature colours, except orpiment, which is a poifon, have no- 
 thing difpleafing to the tafte, or noxious in themfelves, when pre- 
 pared for ufe. You muft be careful to repeat this very often when 
 you are ftippling or finifliing, particularly carnations, that your 
 ftrokes may be neat and clear. As for draperies and other things, 
 whether in the drawing, colouring, or finifhing of them, you 
 need not be fo nice ; in this cafe, it will be fufficient if you make 
 your point upon the edge or rim of your fhell, or upon the pa- 
 per you reft on when you are at work. 
 
 To work as you ought, you fhould be in a room that has but 
 one window, which you muft place ygurfelf very near to, v/ith a 
 
 table 
 
io6 M I N 
 
 table and a deflc almoft as high as the window, and Co fix yourfeif 
 that the Hght may always ftrike in on the left hand of you. 
 
 When you would lay on a colour equally flrong every-where, 
 as a ground, for example; you muft make your mixtures m (hells, 
 and take care that you have enough for that purpoie ; for, if they 
 fall fhort, you will be put to it to prepare them of exactly the 
 fame degrees of light or fliade. 
 
 Having fpoke of vellum, pencils, and colours, I Ihall next 
 flievv how they are to be ufed. Firft of all, if you would paint 
 fleih, or drapery, or aught elfe, you muft begin by fketching or 
 drawing with large, bold, yet clear ftrokcs, like thofe who paint 
 in oil : Your lights muft, at firfi:, be fomething brighter, and 
 your fhades not quite fo dark as is required tor finifhing ; becaufc 
 in ftippling thereon you ftrengthen the colour, which, if too dark 
 at firft, would in the finifhing become too deep. 
 
 There are feveral ways of Ifippling, or {hading, as It may 
 be alfo called; every painter has his manner; fome do it with 
 round points, others make them longifh, others again hatch with 
 fine ftrokes croffing each other in all diredticns, till the whole 
 appears as if fiippled or v/rought with points ; this laft method 
 is the beft, boldcft, and foonell perfeded, wherefore I advife all 
 painters in Miniature to practife it, and to accuflom themfelves 
 betimes to be rich, mellow, and foft in their v/ork ; that is, that 
 the points may be loft in the ground they are wrought upon, 
 and appear but juft enough to evince that the piece is ftippled. 
 Hard and drv is the reverfe of this manner of working, which 
 proceeds from ftippling with a colour too dark for the ground, 
 and too dry a pencil, which gives the work a rude caft or favour. 
 
 Endeavour alfo to drown your colours into each other, that 
 no line of reparation may be feen between them ; and foften 
 your ftrokes with the colours on each hand of them, fo as to be 
 equally blended with and confounded into each. 
 
 When your pieces are finifhed, heightening them a little has 
 a fine eWe€i ; that is, ftrengthening the lights with touches of a 
 paler colour than at nrft, which muft be foftened away into the 
 reft. 
 
 For the method of painting different objccls in Miniature, fee 
 the proper articles of each. 
 
 MINIUM, or red lead, is as heavy and ftrong a colour as 
 moft we have; but, when prepared, is the moft delightful one; 
 that is, when it is well vvaftied and cleanfed of its more weighty 
 parts, which caufe it to turn black. 
 
 ?»Ir. Boyle directs the preparing or cleaning it as follov.-s : 
 Put four ounces of it in a quart of rain water ; then ftir it and 
 pour off the water immediately, and let it fettle to the bottom 
 of every cup or glafs you pour it into j then pour oif that water, 
 
 and 
 
M I R lo; 
 
 jind in a day's time you will have the colour dry, and as fine 
 as you can defire ; then put a little gum arable into each glafs or 
 cup, and as much water as will moiften each otthem. 
 
 Any of thefe may be afterwards ufed with gum water ; but, if 
 the gum you put in at firft makes it ilrong enough to glaze it, 
 then vou need add to it only common water ; and, according as 
 your colour is lefs or more gummed, ufe lefs or more gum wa- 
 ter ; for of itfelf it is a dead colour. 
 
 When ycu ufe this colour, touch it gently on the yellow men- 
 tioned, made of yellow berries, into the light fide, and, if it 
 wants a fhade, you may put a little vermilion upon it ; but ver- 
 milion is too heavy to paint with, when you would illuminate 
 prints, becaufe it hides the fhades of the engraving; though fome- 
 times they had better be hidden than appear. 
 
 Some generally fliade this minium or red lead with carmine, 
 which gives it a fine efFecl, and renders it equal to the brighteft 
 red flower that is to be feen, leaving ftill the lights uncoloured, 
 only dafhing a little way into the lights with the A-linium. 
 
 XVhen the carmine has fhaded the Minium or red lead, it may 
 be fhaded again with lake in the ftrongeft part, to bring it to a 
 deeper red. 
 
 MIRROIRS, 1 in catoptrics, is a name given to all polifhcd 
 
 MIRROURS, 1 bodies, which are impervious to the rays of 
 Jight, and which confequently refledl it equally ; but, in the more 
 confined fenfe of the word, it is peculiarly ufed to fii2;tnfy plain 
 or fmooth (urfaces of glafs, filvered on the backfide, which ex- 
 hibit the images of obje6ts oppofed lo them. 
 
 The doff rhie of MiRROURS. i. Light, reflcftedfrom any Mir- 
 rour or looking-glafs, makes the angle of incidence equal to that 
 pf reflection. 
 
 Hence a ray of light, falling perpendicularly on the furface of 
 a Mirrour or looking-glafs, will be reflected back upon itfelf, as 
 is found by experience it acElually does. 
 
 Therefore, from the fame point of a Mirrour, there cannot 
 be feveral rays reflected to the fame point, nor can the ray be 
 j'efledled into two or more points. 
 
 2. From every point of a Mirrour are reflected rays thrown on 
 it from every point of a radiant objeil:. Since then rays, com- 
 J?ig from different parts of the fame obje(5t, and flriking on the 
 fame point of the objecft, cannot be reflected back to the fame 
 point ; the ravs which flow from different points of the fame ra- 
 diating ohjedt are again feparatcd after reflection, fo that each 
 >point fhews whence it came. 
 
 Hence it is, that the rays refiefied from Mirrours exhibit the 
 objedts to view. 
 
 Hence alfo it appears^ that rough uneven bodies muft re.lect 
 
 the 
 
|o8 MIR 
 
 the liglit in fuch manner, as that rays, coming from different 
 points, will be blended or thrown confufedly together. 
 
 Mirroiirs are either plain, concave, convex, &c. 
 
 Plain Mirrours are fuch as have flat furfaces, as looking-glafles. 
 
 The laws and phaenomena of plain Mirrours. 
 
 I. In a plain Mirrour every point of an obje6l is feen in the 
 interfe6lioii of the cathetus of incidence with the refledled ray. 
 Hence, 
 
 1 . As all the reflecSled rays meet with the cathetus of inci- 
 pience, by whatever reflcdtcd rays the radiating point be (cen, 
 it will dill appear in the fame place : And, confequently, any 
 jiurfiber of peribns, viewing the fame object, in the fame Mir- 
 rour or looking-lafs, will all fee it in the fame place behind the 
 Mirrour. And hence it is, that the fame obje£t has only one 
 image ; and that we do not fee it double with both eyes. 
 
 2. The diftance of the image from the eye is compounded of 
 the ray of incidence and the reflected ray ; and the obje^l ra- 
 diates refledledly in the fame manner, as it would do dire6tly, 
 were it removed into the place of the image. 
 
 II. The image of a radiant point appears jufl fo far behind a 
 plain Mirrour as the radiant point is before it. Hence, i. If a 
 Mirrour be placed horizontal, the radiating point will feem fo 
 much below the horizon as it is really elevated above it : And, 
 confequently, eredl: objcdls will appear as if inverted ; and, there- 
 fore, men, (landing on their feet, will appear as if ftanding on 
 their heads. 
 
 Or if the Mirrour be fattened to the cieling of a room, paral- 
 lel to the horizon, obje6ls on the floor will appear above the ciel- 
 ing, as much as they are really below it ; and that upfide down. 
 
 III. In a plain Mirrour, the images are perfe<5tly fimilar and 
 equal to the objed^s ; and hence their ufe, as looking-glafles. 
 
 IV. In a plain Mirrour, things on the right-hand appear as on 
 the left, and thofe on the left as on the riglu. 
 
 Hence alfo is produced a method of meafuring any height that 
 is inacceffible by means of a plain Mirrour. 
 
 Thus, a Mirrour being placed horizontally on the ground, re- 
 tire from it, till fuch time as the top of a Iteeple, tree, or any 
 other high objed:, may be feen in it, and then meai'ure the height 
 of the eye, the diftance of the ftation from the point of refle6tion, 
 :ind the diftance of the foot of the fteeple, &c. from the fame, 
 ■and then find a fourth proportional to thefe three, and it will be 
 the height fought. 
 
 V. If a plain Mirrour be inclined to the horizon in an angle 
 of forty-five degrees, an objc£l:, which is perpendicular to it, 
 will appear«paralle), and an horizontal object perpendicular. 
 
 And hence, the eye b.ing placed beneath the Mirrour, the 
 
 earth 
 
MIR 109 
 
 C&rth will appear perpendicularly over it ; or, if it be placed over 
 it, the earth will appear perpendicularly under it. 
 
 Hence alfo a globe, defcending down a plane a little inclined, 
 may, by meansof aMirrour, be exhibited or fhewn, as if mount- 
 ing up a vertical phne, to the great furprifc of fuch as are unac- 
 quainted with catoptrics. 
 
 And hence is a method, by which a perfon may reprefent him- 
 felfas if flying. 
 
 For a Mirrour or looking-glafs inclined to the horizon, under 
 an angle of forty- five degrees, it will reprefent vertical objetfi's 
 as if horizontal. Confequently, a large looking-glafs bein^ fo 
 pofited, as you advance toward it, you will feem to move hori- 
 zontally ; and nothing v/ill be wanting to the appearance of fly- 
 ing but to ftrike out the arms and legs. 
 
 But this is to be obferved, that, as the floor is elevated a]on<»' 
 with you, your feet will ftill be feen to walk, as along a verticrd 
 plane ; therefore, to deceive the eye intirely, it muft be kept from 
 the feet. 
 
 VI. If the object be parallel to the looking-glafs, and be e- 
 <]ually diftant from it, with the eye, the refledting line will be 
 half the length of the objedl. 
 
 And hence, to be able to fee the whole body in a looking- 
 glafs, its height and breadth muft be half your height and 
 breadth; and, confequently, the height and breadth of any ob- 
 je<S to be feen in a looking-glafs or Mirrour being given, the 
 height and breadth of the Mirrour, in which the whole objetfl 
 will appear, at the fi^me diftance with the eye, is alfo given. 
 
 Hence alfo, as the length and breadth of the reflecting part of 
 the looking-glafs are fub-duple of thofe of the object to be re- 
 fle£led ; the refleding part of the looking-glafs is to the furface 
 refledled in a Tub-quadruple ratio. 
 
 Confequently, the refiefling portion being a conftant quan- 
 tity, if in any place you fee the whole body in a looking-glafs, 
 you will fee it in every other place, whether you approach nearer, 
 or recede farther from it. 
 
 VIL If feveral looking-glades, or feveral fragments, or pieces 
 of a looking-glafs, be all difpofed in the fame plane, they will 
 only exhibit an object once. 
 
 Vni. If two looking-glafles be joined at an angle, the eye 
 placed within that angle will fee the image of an objecft, placed 
 within the fame, as often repeated as there may be catheti, or 
 fides, drawn, determming the places of the images, and termi- 
 nated u'ithout the angle. 
 
 Hence as the more catheti, terminated without the angle, may 
 be drawn, as the angle is more acute ; the acuter the angle, the 
 more numerous the images. 
 
 Further 
 
jio MIR 
 
 Further, ifthelooking-glafles be placed upright, and Co con- 
 tracted ; or if you retire from them, or approach to them, till 
 the images reflected by them coalefce or run into one j they v/ili 
 appear monltrouHy diftorted. 
 
 Thus, if they be at an angle fomething greater than a right 
 
 one, yuu will fee it with only one eye ; if the angle be lefs than 
 
 z right one, you will fee three eyes, two nofes, two mouths, &c. 
 
 At an angle ftill lefs, the body will have two heads. 
 
 At an angle fomething greater than a right one, at the diftance 
 
 t)f four feet, the body will be headlefs, &c. 
 
 And if the glafies be placed the one parallel to the horizon^ 
 and the other inclined to it or declined from it, it is eafy to per- 
 ceive that the image will be ftill more romantic. 
 
 Thus, one being declined from the horizon to an angle of 144 
 degrees, and the other inclined to it ; a man fees himfelf ftand- 
 ing with his head to another's feet. 
 
 Hence it appears how Mirroursor looking-glafles may be ma- 
 nao^ed in wardens, &:c. fo as to convert the images of thofe near 
 them into monfters of various kinds : And, fmce glafs Mirrours 
 will refled the image of a lucid object twice or thrice, if a can- 
 dle, kc. be placed between the Mirrours, it will be multiplied 
 an infinite number of times. 
 
 Wolfius relates, that an artifi: of Drefden in Saxony made 
 burning Mirrours of wood, larger than thofe of either M. Schirn- 
 haus or Villette, which had efFeds at leaft equal to any of them. 
 
 And we are inftruded by Traberus how to make burning Mir- 
 rours of leaf gold, viz. by turning a concave, and laying the in- 
 fide over equally with pitch, and covering that with fquare pieces^ 
 two or three fingers broad, faftening them on, if need be, by 
 the fire. 
 
 He tells us, that very large Mirrours may be made of thirty^ 
 ► forty, or more concave pieces, artfully joined in a turned wooden 
 difh or fkuttle, the efFeds of which will not be much lefs than 
 if the furface was continuous. 
 
 Zahnius informs us, that one Newm.an, an engineer at Vi- 
 enna, in the year 1699, made a Mirrour of pafle-board covered 
 on the infide with flraw glued to it, by which all kinds of me- 
 tals, &c. were melted. 
 
 How to inake fphcrical co;:caves end convex glajes, commonly calkd 
 burning MiRRouRS. 
 
 Thp ufe of thefe glafles is to unite the fun-beams, and to kin- 
 dle a flambeaux, wood, or any combuftible matter. By thcirt 
 metals alfo may be diffolved in a little time, as eafily as in a cru-' 
 ciblc in a furnace. 
 
 The whole myftery of making them is to have the mouliis of 
 a round fhape, otherwife they have but a very weak cfiect on 
 
 the 
 
M I It III 
 
 the fun-beams ; the moulds muft be (o exadlly made, that nei- 
 ther fide ftall differ from the other. 
 
 To make the convex glafs, your mould muft be convex, and 
 the convexity of it muft be made by the fpbere, according as you 
 would have it greater or lefier ; and it is from this fphere the 
 convexity of the Mirrourmuft betaken : As, for inftance, take 
 a fphere of what bignefs you pleafe, divide it equally, and alfo 
 one of the hemifpheres in three equ?l parts, by planes parallel to 
 the great circle ; the convex fegment fhall then be the lixth part 
 of the whole fphere, and the meafure of your Mirrour. 
 
 If you would make the Mirrour a convex glafs, you muft have 
 concave moulds, and thefe you may do two ways. 
 
 Take the two concave fides of the mould, and clofing them to- 
 gether equally, as the founders do their frames ; pouringthrouah 
 the mouth of the mould your cryftal metal, letting it fill the 
 mould, and afterwards cool. 
 
 Another way is to take two concave Mirrours, and, joinins: 
 their faces, folder them well all about, only leaving a fmall ori- 
 fice, through which you may fill it with fome aqua-vitne, and 
 then ftop the whole, and frame them with wood or metal. 
 
 This fort of Mirrour has a more ready influence on the fun- 
 ?ieams than any other : Thefe glaffes muft be very well poliflied. 
 Thefe burning-glafles may be made parabolic or fpheroidal, 
 and fuch have ftill a better effect than the fpheric ; you m.uft pro- 
 ceed, as to the moulding them, as you do in the former ; you 
 muft obferve a juft proportion in doing them ; for when they arc 
 too much raifed, they are hindered by their depth from having a 
 good effe(R:, and upon this depends the whole nicety of the art. 
 
 To make metal M1RROUR.S, concave fpherics or parabolics, ufually 
 called Jieel burning ATirrcurs. The moulds for them are prepared 
 as the former, whether concave or convex ; and, as for fuch as 
 are flat, they may be caft in fand. 
 
 The metal of thefe Mirrours is called fteel, becaufe it is of a 
 very hard and bright compofure and temper ; and the harder the 
 metal the better the Mirrour, and the eafier to polifli. The 
 whitenefs of it is very convenient for giving the quality of burn- 
 ing, and not only for that, but feveral other ufes ; if it be too 
 red or black, it alters the true diftance and colour of its oppofite 
 objects J they may therefore make them of the following compo- 
 fition : 
 
 Take three pounds of copper, one pound of fine tin, half an 
 ounce of vi'hite arfenic, and an ounce of tartar ; firft melt the cop- 
 per, then put the tin in, immerged in the copper, or elfe it will 
 fume away in the melting, and leave the copper behind ; thefe 
 tyfo being well melted together, then caft in the arfenic and tar- 
 tar j 
 
irz MIR 
 
 tar ; after this, let all melt for two or three hours, and then 
 mould it. 
 
 Some perfons dofe, with the former weight of copper and tin, 
 half a pound of white arfenic ; others, inftead of white arfenic, 
 put in a quarter of a pound of antimony. 
 
 Another. Take a pound of well-refined copper, melt it, then 
 add three pounds of fine tin ; as foon as thefe are melted, add 
 fix ounces of red tartar calcined, one ounce of falt-petre, two 
 drachms of alum, and three ounces of arfenic j let thefe melt for 
 three or four hours, that the falts may evaporate, and the fluff 
 will be fit for moulding. This flufFis more folid and hard than 
 the other 
 
 The following compofition., given by Wolfius, is by fome re- 
 commended as the beft that is known for making Mirrours. 
 
 Melt one part of tin and another of marcafite together, and to 
 the melted matter add two pounds of mercury : As foon as the 
 mercury begins to evaporate into fmoke, which it prefently does, 
 the whole compofition is to be thrown into cold water, and, 
 when cold, the water decanted off. 
 
 The mixture is then to be flrained through a linen cloth, two 
 or three double ; and what is thus fecerned, poured into the ca- 
 vity of a glafs fphere : This fphere is to be turned gently round 
 its axis, until the whole furface is covered i the remainder being 
 referved for future ufe. 
 
 If the fphere were of coloured glafs, the Mirrour will be fo too. 
 
 The phenomena of concave MiRROURS. I. Since the image 
 of an objedl, included between two lines, at a diflance lefs than 
 one fourth of the diameter, may exceed the jufl height and 
 breadth of the object ; nay, may be made of any magnitude, how 
 big foever ; Objeds placed between the focus and Mirrour muft 
 appear of enormous magnitudes in concave Mirrours ; the image 
 being fo much the greater in the concave Mirrour as it is lefs in 
 the convex. 
 
 2. In a convex Mirrour, the Image of a remote obje£l appears 
 nearer the center than that of a nearer objedl : Therefore, in a 
 concave Mirrour, the image of an objedt remote from the Mir- 
 rour appears at a greater diflance than that of a nearer objedf, 
 provided the diftance of the objedf from that of the center be lefs 
 than a fourth part of the diameter. 
 
 3. In a convex fpeculum, the image of a remote objefl is lefs 
 than that of a near one ; therefore, in a concave one, the image 
 of an objetSl placed between the focus and the JMinour is nearer 
 the focus than the fpeculum. 
 
 4. The image therefore of an obje£l receding continually from 
 a concave fpeculum becomes continually greater, provided it do 
 
 not 
 
MIR 113 
 
 ftot recede beyond the focus, where it becomes confufed, and, 
 as it approaches, it grows continually lefs. 
 
 5. Ifanobjed be placed between a concave Mirrour and its 
 focus, its image will appear behind the Mirrour in an eredted 
 but inverted fituation. 
 
 The phanomena of convex Mirrours. I. In a fpherical con- 
 vex Mirrour the image is lefs than the obje6l. 
 
 And hence fuch Mirrours are of ufe m the art of paintino-, 
 where ohjeds are to be reprefentcd lefs than the life. ° 
 
 2. In a convex Mirrour, the more remote the objea is, th* 
 Jefs the image is 5 and, again, the fmalJer the Mirrour, the lefs 
 the image. 
 
 3. In a convex Alirrour, the right is turned to the left, and 
 the left to the right ; and magnitudes perpendicularly to the 
 Mirrour are turned topfy-turvv. 
 
 4. The image of a right line perpendicular to the Mirrour is 
 a right line J but that of a right line, either oblique to the Mir- 
 rour, or parallel to it, is con^vex. 
 
 5. Rays reflected from a convex Mirrour diverge more than if 
 reflected from a plane Mirrour. 
 
 6. Rays reflecfled from a convex iMirrour, of a fmaller fphere, 
 diverge more than if refle^ed from a larger. 
 
 To poli/h the fed .Mirrours. Whatfoever exactnefs you ufe 
 in moulding thefe, they do never receive their true fliape and 
 perfeftion, until they are poliQied and burnifhed ; in doing which, 
 left you fliould fpoil or endamage them, you muft work away 
 the outfide at the wheel with the fand-ftone, which the pewte- 
 rers and brafiers ufe, and then apply the handle, and polifh them 
 fufficiently, by rubbing with water. 
 
 When this is done, take it off this wheel and put it on the 
 fecond, and rub ii: with emery prepared, that it may be finely 
 poiifhed, fo that the fears may be fcarce perceptible. Do this 
 in an oblique line. 
 
 Then take it off this, and fet it on fuch another, and rub it 
 with blood-ftone prepared, and afterv/ards ufe calx of tin, work- 
 ing It for a long time until it have its due burnifh and perfedlion, 
 ilill doing it in the fame obliquity. 
 
 Thefe iVIirrours may be alfo polifned with lead artificially 
 melted, with emery and water for the hrft procefs ; and very 
 fine emery and lead for the fecond, and in the lafl with blood- 
 ftone and tin-drofs : Thefe make a finer burnifh than the for- 
 Aier ; for the A4irrour is highly polifhed by the tin-drofs. 
 
 MIRTH, is reprefented, in painting, ' kc. by a youth with 
 jolly plump cheeks, doathed in white^ raiment, painted with 
 green branches ; flowers red and yellow, with a garland of fe-. 
 veral flowers, holding a cryftal glafs full of claret in one hand. 
 
n4 M O S 
 
 and in the otbcr a golocn cup, and in a dancing poflurc In » 
 fiowcry meadow. 
 
 M. L. fignifii-s ivlclchior T.orichlu?. 
 
 M. MerJcv^ riLjr.ifirs M.itthcw IMcrlan. 
 
 ^^—^1^0"^ /I* ^^'•'^'■^'O"''^-^ MOCETUS ; he pubVifhed 
 j^ J^ 1 VJ. tr:e I cfi rredion of our Saviour, and fe- 
 vera] b.ti.tici>, ^11'- uied this mark. 
 
 Pcllegrino da MODENA, fcholar of Raphael, lived at Rome 
 and M"dena, excelled in hiiloi y painting. 
 
 MODESTY, is rcprefentcd, in painting, &c. by a young girly 
 holdins; a fcepter in her right hand, having an eye on the top, 
 cloathcd all in white, girded with a golden girdle, with her head- 
 inclined to the left, and in a plain head-ore's.— Her plain head- 
 drcfs intimates, that {he is content-with a little, obferving a due 
 decorum ; the girdle denotes the fuhduing of the unruly paflions j 
 her down and fedate look (hew her modcfly ; the fcepter and eye 
 fignify that (he has an eye to danger, and regards the fubdaing. 
 of her paffions, to make tkem fuhmit to reafon. 
 
 Pisr Francefco MOLA, born i6c9, a fcholar of Albani, livsd 
 in Rome, excelled in hiftory ; died in the year 1665, aged fifty- 
 fix years. 
 
 Sir Anthony MORE of Utrccnt, oorn in the year 1519, icho- 
 lar of Schoorel ; lived in Italy, Spain, Flanders, and England > 
 excelled in hiftory and portraits ; died in the year 1575, aged fif- 
 ty- iix years. 
 
 MORISCO, ? is a kind of painting, carving, &c. done afteP 
 
 MORISK, \ the manner of the Moors ; confiding of fe- 
 iJtizX grotefque pieces and compartm.ent?, promifcuoufiy blended, 
 not containing any perfecl figure of a man, or other ammal ; but5 
 a wild refemblance ot birds, hearts, trees, kc. 
 
 MOSAIC, \ is an afiemblage of lir.tle pieces of giafs, 
 
 MOSAIC ^vorI:, J marble, precious ftofies, &c. of various 
 colours, cut fquare and ccmen':ed on a gior.nd of ftuc, &c. imi- 
 tating; the natural colour and degradation of painting. 
 
 In"^pcrforming this v.'ork, ihey provide little pieces of glafs, of 
 as many difrercnt colours as ihey poiTibly can. 
 
 For this purpofe a giafs-m.aker's furnace being prepared, and 
 the pots or crucibles, full of the ma;tcr of which glafs is made ; 
 thev put into each crucible wliat colour or dye they think fit, al- 
 ways beginning with the weakcft, and augmenting the firength 
 of the colour from crucible to crucible, until they come to the 
 deepeft tin^lure. 
 
 When the <Tlafs has been thoroughly conco£^ed, and the co- 
 lours are in th'cir perfe£iion, they take out the glafs hot as it is, 
 and pour it on a fmooth marble,' Ratting it down wkh another 
 
 
M O S 115 
 
 like marble, and then cut it into flices of equal bignefs, and 
 about the thiclcnefs of an inch and a half. 
 
 Then with an inflrumer.t, which the Italians call bocca di 
 cane, they make foms pieces fq'-iare, and others of different 
 forms and fizes, as occaGon requires: Thefe pieces are orderly 
 difpofcd in cafes, as in painting in frefco ; it is ufual to range all 
 the different tcints in fhclls, and according to their colour. 
 
 If it be defired to have gold, either in the ground of the paint- 
 ing, or in the ornaments or draperies, they take fome of the pieces 
 of glafs, formed and cut in the mariner beforementioned. Thefe 
 they moiften on one fide with gum water, and afterwards lay 
 them over with leaf .gold ; then they put this piece, or feveral 
 pieces at a time, on a fire-fhovel, and place it in the mouth of 
 the furnace, after they have firft covered them with another hol- 
 low piece of glafs. Thefe are let to ftand until they are juft 
 red-hot, then the (hovel is drawn out all at once, and the gold 
 becomes fo firmly attached to the g'afs, that it will never after- 
 wards come off. 
 
 Now in order to apply thefe feveral pieces, and out of them 
 to form a pi6ture, they in the firfi: place procure a cartoon or de- 
 fign to be drawn ; this is transferred to the ground or plaifter by 
 calking, as in painting in frefco. See FRESCO. 
 
 As this plaifter is to he laid thick on the wall, and therefore 
 will continue fre{h and (oh a ccnfiderable time, fo that there 
 *r)ay be enough prepared at once, to ferve for as much work as 
 will take up three or four davs. 
 
 This plaifter is compofed of lime, made of hard ftone, with 
 brick-duft very fine, gum tragacanth, and whites of eggs ; when 
 ihis plaifter has been thus prepared and laid on the wall, and 
 made the defign of what is to be reprefented ; they take out the 
 iittle pieces of glafs with a pair of pliers, and range them one 
 after another, ftill keeping ftriclly to the light ftiadow, different 
 teints and colours reprefented in the defign before them ; pref- 
 ^ing orflatting them down with a luler, -which ferves both to 
 iink them within the ground, and to render the furface even. 
 
 Thus in a long time, and a tedious deal of labour, they finifh 
 ihe work, which is ftill the more beautiful, as the pieces of 
 ■glafs are more uniform, and ranged at an even height. 
 
 Some of thefe pieces of Mofaic work are performed with that 
 cxactnefs, that they appear as fmooth as a table of marble, and 
 as finifhed and mafterly as a painting in frefco ; with this advan- 
 tage, that they have a fine luftre, and will laft ages. 
 
 The fineft works of this kind, that have remained until our 
 time, and thofe by whom the moderns have retrieved the art, 
 .which was in a manner loft, are thofe in the church of St. Ag- 
 
 J 2 ne«. 
 
ii6 M O S 
 
 nes, formerly the tcm[)le of Bacchus at Rome j at Pifa, Florenc^y 
 and other cities of Italy. 
 
 The mod eliecmed among the works of the moderns are 
 thofe of Jorc[)h Pine, and the chevalier Lanfranc in the church 
 of St. Peter at Rnme : There are alfo very good ones at Venice. 
 
 Mosaic wori of marble and predousjiones. Thefe two kinds 
 of Mofaic bear fo near a lefemblance to each other, as to the 
 manner of working, that, to avoid repetition, we fhall give them 
 both under one ; taking notice by the way, wherein the one dif- 
 fers from the other, either in the fawing, or the ranging of the 
 flones. 
 
 i^/Iofaic work of marble is ufed in large works, as in pave- 
 fnents of churches, bafilics, and palaces ; and in the incruflation 
 and \''aneering of the walls of the fame edifices. 
 
 As for that of precious ftones, it is only ufed in fmall works, 
 as ornaments for altar-pieces, tables for rich cabinets, precious 
 ftones being fo very dear. 
 
 Though out of thefe mufl be excepted that fumptuous chapel 
 of the dukes of Tufcany, which has been fo long in hand, and 
 which, if ever it be finiflied, will be a noble monument of the 
 magnificence of thofe princes, and alfo of the patience and ad*- 
 drefs of the workmen employed therein. 
 
 The ground of Mofaic works, wholly marble, is ufually a 
 mafiive marble, either white or black. 
 
 On this groL;nd the defign is cut with a chiflel, after it h:;S 
 been firft calked. 
 
 After it has been cut of a confiderable depth, i. e. an inch or 
 more, the cavities are filled up with marble of a proper colour, 
 firlt tafhioned according to the defign, and reduced to the thick- 
 iiefs ot the indentures with various inftruments. 
 
 To make the pieces thus inferted into the indentures cleave 
 faft, whofe feveral colours are to imitate thofe of the defign, 
 they ufe a flue, compofed of lime and marble duft ; or a kind 
 of maftic, which is prepared by each workman, after a different 
 manner peculiar to himfelf. 
 
 The figures being marked out, the painter or fculptor him- 
 felf draws M'ith a pencil the colours of the figures, not deter- 
 mined by the ground ; and in the fame manner makes ftrokes or 
 hatchings in the place, where fhadov/s are to be ; and, after he 
 has engraven with the chificl all the ftrokes thus drawn, he fills 
 them up with a black maftic, compofed partly of Burgundy pitch 
 poured on hot ; taking off afterwards what is fuperfluous, with 
 a piece of foft flone or brick, which, together with water and 
 beaten cement, takes away the rnaftic, poliflies the mxarble, and 
 renders the vv'hole fo even, that one would imagine it only con- 
 lifled of one piece. 
 
 2 This 
 
M O S 117 
 
 "This is the kind of Mofaic work, that is ffcn in the pompon^ 
 church of the invaUds in Paris, and the hne chapel at Vcrfailles, 
 with which fome intire apartments of that palace are incruflated. 
 As none but the richeft marbles and Hones enter this work, 
 to make them go the further, they are fawn into the thinneft 
 leaves imaginable, fcarce excceciing half a line in thicknefs ; the 
 block to be fawn is faflened firmly with cords on the bench, and 
 only raifed a little on a piece of wood, one or two inches high. 
 Tv/o iron pins, which are on one fide the block, and which 
 ferve to faften it, are put into a vice contrived for the purpofe, 
 and with a kind of faw or bow, made of fine brafs wire, bent 
 on a piece of fpongy wood, together with emery ft^icped in wa- 
 ter ; the leaf is gradually faflaioned by following the flroke of the 
 defign, made on paper, and glued on the piece. 
 
 When there are pieces enough faftened to form an intire 
 fiower, or fome other part of the defign, they are applied to the 
 ground. 
 
 The ground which fupports this Mofaic work is ufually of 
 free- ft one. 
 
 The matter, with which the floncs are joined together, is a 
 maftic, or kind of Ituc, laid very thin on the leaves, as they are 
 fafliioned j and, this being done, the leaves are applied with 
 pliers. 
 
 The manner of performing Mosaic zuork of gypfum. Gypfum 
 
 is a kind of coarfe talc, or a fhining tranfparent flone, found in 
 
 the quarries of A'lont-Martre near Paris : It is different from the 
 
 'plaifler of Paris, but retains the name which the Ro.Tians gave 
 
 to the plainer, viz. gypfum. 
 
 Of this gypfum, or flone calcined in a kiln, and beaten in a 
 mortar, and fifted, the French workmen make a fort of artifi- 
 cial marbles, imitating precious f^ones ; .and of thefe they com- 
 pofe a kind of Mofaic work, which does not come far fhort, 
 either of the durablenefs or the vivacity of the natural ffones ; 
 and which befides has this advantage, that it admits of continued 
 pieces or paintings of intire compartments without any vifible 
 joining. 
 
 Some make the ground of plaifer of Paris, others of free- 
 ftone. If it be ef plaifter of Paris, they fpread it in a wooden 
 frame, of the length and breadth of the work intended, and in 
 thicknefs about an inch and a half. 
 
 This frame is fo contri\ed, that, the tenons being only joined 
 to the mortifies by fingle pins, they may be taken afunder, and 
 the frame be difmounted, when the piaifler is dry. 
 
 This frame is covered on one fide with a ftrcng linen cloth, 
 nailed all round, which, being placed horir-ontally with the linen 
 at the bottom, is filled with pUifter paffed through a wide fieve. 
 
 1 3 Whea 
 
iig M O S 
 
 When the plaifler Is half dry, the frame is fet up perpendi- 
 cular)}', and left until it is quite dry ; then it is taken out, by 
 taking the frame to pieces. 
 
 In this Mofaic the ground is the mofl; important part. 
 
 Now in order to the preparation of this fifted gypfum, which 
 is to he applied on tliis ground, it is diflblved and boiled in the 
 beft Englifli glue, and mixed with the colour that it is to be of; 
 then the whole is worked up together in the ufual confiflcnce of 
 plaiikr ; and then is taken and fpread on the ground five or fix 
 inches thick. 
 
 This muft be obferved, that if the work be fuch, as that 
 mouldings are required, they are formed with gouges and other 
 inftruments. 
 
 It is on this plaifler thus coloured like marble or precious 
 ftone, and whicli is to ferve as a ground to a work, either of 
 lapis, agate, alabafter, or tlie like, that the defign to be repre- 
 fented is drawn ; having firfi- been pounced or calked. 
 
 To hollow or imprefs the defign, they ufe the fame inffru- 
 ments that fculptors do ; the giound whereon they are to work 
 rot being much lefs hard than the marble it/elf. 
 
 Tire cavities, being thus made in the ground, are filled up with 
 the fiime gypfum boiled in glue, only differently coloured; and 
 thus are the different colours of the original reprefented. 
 
 In order that the necefTary colours and teints may be ready at 
 hand, the quantit.es of the gypfum are tempered with the fe- 
 veral colours in pots. 
 
 After the defign has been thus filled and rendered vifihle, by 
 half polin:ing it with bri^k and foft ftone, they go over it again, 
 cutting fuch plates as are either to be weaker, or more fiiadowed, 
 and filling them vv'ith gypfum ; which work they repeat, until 
 all the colours, being added one after the other, reprefent the ori- 
 ginal to the life. 
 
 When the work is finifhcd, they fcour it with foft flone, fand, 
 and water; after that, with a pumice-ftone ; and in the lafl place 
 polifiied with a wooden mullet and emery. 
 
 Then, laflly, they give it a luflre, by fmearing it over with 
 oil, and rubbing it a long time with the palm of the hand, which 
 gives it a luflre, no ways inferior to that of natural marble. 
 
 If you would only make a variegated table, or other work, of 
 ieveral colours, without Mofaic figures, the procefs is fomewhaf 
 difi-erent. 
 
 Then ycu are to prepare colours fcparately in bowb, as many 
 as nature fliews in the marble to be imitated ; and, after you have 
 incorporated them with gypfum and glue v/ater, take a trowel 
 full of each, and difpofc them in a trough, without any order; i 
 then without mingling them, and only by cutting or croffing the | 
 
 gyi lum 
 
 
MOU 119 
 
 r«^prum of each trowel, once with each of the reft, they give 
 them that beautiful confufion, which renders natural marble va- 
 luable. Of thefe you may make tables, or lay them in a Mould 
 according to the work to be done. 
 
 To MOULD off figures in pajle. Take the crumb of a new- 
 ^rawn white loaf, mould it until it becomes as clofe as wax, 
 and very pliable ; then beat it and roll it with a roll ng-pin, as 
 fine and as far as it will go ; then print it on the Moulds, and, 
 when it has taken the fui table figure voh defire, dry it in a ftove, 
 •and it will be very hard ; and, to preferve it from vermin, you 
 may mix a little powder of aloes v^;th it. 
 
 To Mould [mall figures of jnft>er colv.r. — Oil your Moulds 
 with a fine pencil, and diverfify them with fuch colours as you 
 .pleafe with gum tragacanth ; if they fpvead or run, put a little of 
 the gall of an ox, for the thicker it is the harder it will be ; then 
 Mould your paPce of the colour of jafper, or the like, put it in 
 •to fill the Mould, tie it with a wire, and take it out ; repair and 
 'Varnilli it, and fet it to harden. 
 
 The maimer of preparing cr makhig concane Moulds. — Take 
 •clay, dry.it well, reduce it to powder, and fift it; mix it up 
 with water, then {train and filtre it ; then work it up \\\i\\ horfc- 
 <lung and hair ftircd fmall, till the mnfs is fufficiently tough ; 
 to which, if you pleafe, may be added charcoal duff, or brick- 
 duft well fitted ; then piepare two coarfe Moulds of a gritty flone, 
 the one concave, and the other convex; grind them one on ano- 
 •ther with wet fand between, till fuch times as the one perfectly 
 fits the other. By this mcaus, a perfect fpherical figure is ac- 
 quired. 
 
 This being dene, extend the mafs prepared before on a table, 
 •by means of a wooden rcller, till it be of a thicknefs proper for 
 the mirrour; then ftrew it Vvith brick-duit, to prevent its (tick- 
 ling, and lay it over the convex Mould, and fo you will obtaia 
 the form of the mirrour. 
 
 When this is dry, cover it v/ith another lay of the fame mafs ^ 
 and when it is dry take off each cover or iegment of the hol- 
 low fphere made of clay, and lay aiide the innermofl of the two, 
 and anoint the ftone Alould with greafe prepared from chalk and 
 milk, and put the outward cover over it again. 
 
 Laftly, cover the joining with the fame clay of which the co- 
 •ver is formed, and bind the whole Mould together with iron 
 wire, having cut two holes through the cover ; the one for 
 ■pouring in the m.elted matter of the mirrour, and the other for 
 the air to efcape out at, to prevent the mirrour from being 
 ■ipoiled with bubbles. 
 
 To Mould cff nahed perfons with plaiJJer, in what form you 
 iflcafe. If the perfon whom you chufe to take a Mould from, be 
 
 I 4 ihairy 
 
120 M O U 
 
 hairy on the thighs or bread, fiiave ofF the hair j but let that 
 under the arm holes be well greafed with hog's greafe, or cut 
 it : Let not the body of the perfon be conftrained tp any unna- 
 tural pofiure ; 2nd greafe him well over. 
 
 H..viiig placed him in the midft of a table or large board, 
 laid on the ground and greafed, then make a counter Mould of 
 brick or clay round him, which you mult plaifter on the mfide. 
 To that it be about three lingers breadth from the figure. 
 
 If the legs are a little open, put a little clay before you make 
 the counter Mould, or a thin board greafed, between the legs, 
 fo that it neither touch them nor the thighs ; then take other lit- 
 tle pieces of thin board, in form of a kiiite, or thin wedge, fharp 
 on one fide, but thicker than the other ; 2:reafe them, Li. en view 
 the place where you intend the Mould Ihall feparate, be it in two, 
 three, or four pieces ; ftick thefe pieces of board upon the clay, 
 on the infide the counter IMould, the fharp edge to the fide of 
 the perfon that is to he moulded ; but if you place thefe boards 
 from the foles of the feet to the calf of the leg, gartering- place, 
 knees, or higher; do it according as the leg, thigh, or other 
 part of the body is fituated, more or lefs inward or outward. 
 The figure being caft, and thefe pieces taken away, you have 
 the place where to open the Mould. 
 
 Having raifed the counter Mould as high as the fhoulcers, 
 make a little trough, about two or three feet long, which muft 
 refl on the top of your Mould, one end joming to the neck of 
 your figure, at the other end place a wooden tunnel, as big as 
 a large pail ; then take fix or ieven large Ifaves, or ribs of a 
 large Chik or barrel, bind them faft about w,th a cord, for fear 
 it fhould buifl; then take plaifter well burnt, and throw it into 
 a large tub of water, or into feveral large brafs pails or kettles, 
 with which, being neither too thick nor too thin, fill your coun- 
 4pr Mould through the tunnel, that it may run down the trough; 
 pour it in with all the expedition pofiible, for which ycu muft 
 have feveral hands to affift you. After it has been filled, the 
 plaifter will be fet in a little time ; which being done, pull down 
 the counter Mould : Then with a large knife, or fuch-like in- 
 flrument, drefs the outfide of the Mould, while the plaifter con-i 
 tinues ea y to be cut ; then rake out the thin pieces of wood, and 
 have other pieces of about a foot and a ha!f long, more or lefs, 
 in form of a wei^ge, and fharp as a knife, about a finger in thick- 
 nefs on the back, and abrut half a foot broad ; place thefe iji the 
 clefts made by the fmall boards, and open the Mould, which 
 Ihould be done in as i'ew pieces as can be. 
 
 Thus will you have an upright figure in two pieces, except 
 the arms. 
 
 But, in figures lying all along, the Mould muft be in more 
 
 pieces j 
 
'f 
 
 M O U 121 
 
 pieces ; but if the figure hath one, or both arms extended, draw 
 a circle hlce a bracelet with red ink, round about the arm or 
 arms, about half a foot from the fhoulder; which mark being 
 imprinted in the Mould, the figure taken off^ will alfo have the 
 fame, which will eafily dired where to cut it, and fit the length 
 of the arm to the body of the figure. 
 
 If you defire a copy of the figure, drefs the Mould, tie the 
 pieces ftrongly together, and calt plaifter into it. 
 
 But if you would caft a figure of bronze, or brafs, feparate the 
 Mould where you put the fmall pieces of wood ; or elfe with an 
 iron wire law the Mould as near the hollow as pofiibly you can, 
 fo that, puttino; a bisiifr wedge into the cleft, you may open your 
 Mould. Being divided fo as that you may caft your wax figure, 
 make thick pieces of earth, dry it, greafe it, and make a kernel, 
 or inward Mould ; put in the iron points or broches to fupport 
 it ; take out the thicknefs oi' earth, pour in the wax, then meic 
 it out, and bake the mould. 
 
 In like manner you may take ofFall forts of figures and pofturesr 
 according to the life ; be fure to caft all your plaifter at the fame 
 inftant ; for many and flow runnings make faulty Moulds : Alfo 
 the perfon being up to the neck in plaifter, the coldnefs of the 
 water will fo opprefs his ftomach, that he will be apt to flirink, 
 or lift up his fhoulders, and fo deform the Mould. 
 
 But, to prevent this, let the water be made lukewarm. If you 
 mix a third of fine brick with the plaifter, and fome plume alum, 
 you may caft brafs in it, only making a thicknefs of earth to 
 make the kernel ; but, before you bake it, give a laying or two 
 offal armoniac water in all the hollow places of the mould, ty- 
 ing it with ftrong wire, or iron hoops, and putting in the broches. 
 
 Thus you ma)' caft very fine figures either of lead or tin. The 
 chief thing is to find out well-fliaped perfons, and hard labou- 
 rers, who have always their mufcles more ftrong and better 
 ftiaped than fuch as live a more foft and eafy life, who often have 
 their bodies formed by their cloaths ; nor thofe whofe toes grow 
 over one another ; the perfon muft be fet right, that the pofture 
 may not lecm awkward, efpecially in upright figures. 
 
 How to Mould the face ivithout 7nuch trouble to a perfon. — Take 
 a little brufti or pencil, lay fome warm pafte upon the hairs of 
 the eye-brows, the forehead, all along the roots of the hair and 
 upon the beard ; lay the perfon on his back, and with a napkin 
 rolled up compafs the face about to hinder the plaifter from 
 lulling into the neck, or upon the hair. 
 
 The plaifter being well tempered, neither too thick nor too 
 |l thin ; and, that the bufinefs may be done the fooner, let there be 
 two to lay on the plaifter with their hands, beginning at the fore- 
 head, and fo all along the face, except at the noftrils, which 
 
 muft 
 
122 M U S 
 
 rfiirfl: not be flopped ; but your Mould muft be charged with as 
 much thicknefs as it will bear, not flopping the nolc. If the 
 plaiiler be good, it will fet prefently, then take it gently off^, aiKj 
 you have the Mould of the face to thejife^ 
 
 To Mould off the hands to the life. — Place the hands in what 
 pofture you think fit, greafe them, and proceed as before; put- 
 ting little boards grcafed, to divide the feveral pieces ; after the 
 fame manner may feet and legs, in all poftures, be done. 
 
 You fhould always put a cloth under the Mould when yoa 
 open it, that, if any fmall pieces happen to break off", they maj 
 be gathered and joined with ftrong glue. 
 
 ' To Mould off the face of o perfcn in wax. — Take a pound of 
 new wix, a third of colophony, melt them at a flow fire, let 
 them cool fo long as that you may endure fome of it on your 
 hand without burning it ; then having oiled the face all over with 
 fallad oil, cover the hair of the eye-lids and eve-brows with parte, 
 ss aifo the beard ; then with a brufli nimbly cover the face, about 
 tlie thicknefs of half a crown, being careful not to flop the nof- 
 trils, and that the perl'on fqueefe not his eyes togedier, becaufc 
 that will render the face deformed. 
 
 Thus having the face of wax, take it gently off^; then ftrengthen 
 it with clay on the backfide, that, in pouring in the plaifter, it 
 may not give way. 
 
 After this manner you may caft all forts of faces ; laughing, 
 weeping, grimaces, or wry faces ; alfo hands, feet, fruit, fifh, 
 or any thmg elfe, dividing the Mould into two pieces with a 
 /Xvariii knife ; then join them, and fortify them witii potters earth. 
 
 'J here is no way of cafling neater than this : The eyes being 
 op?ncd a":erwards with a fmall gouge, and thefe may be coloured 
 to the liic, and is a way of cafling very fit for painters, carvers, 
 and engravers to caft patterns. 
 
 MOUTH, to paint in miniature. Do it with vermilion mixed 
 with white, and finifli with carmine, which is to be fofrened like 
 the otlv.r parts of the face, kc. and, if the carmine does not prove 
 dark enough for the purpofe, mix biflre with it : This is to be 
 iinderi'tood of the corners between the lips, and particularly for 
 fom.e dark open mouths. 
 
 M. R. fignifies Mark Ravennate, or Ravignano, i. e. Mark 
 of Ravenna, fcholar to Mark Anthony Raimondi. 
 
 M-}-S, fignifies Martin de Secu, or Schonio, called by fomC 
 Bonmartine, and Alvert Durcr's mafter. 
 
 MUSES; they are icckoned nine in number, viz. Calliope, 
 Clio, Erato, Thalia, Euterpe, Melponjiene, Terpfichore, Pcly- 
 hvmnia, and Urania. 
 
 They are called Mufes, &i Eufebius writes, of ^ap' tk /i4::n, 
 
 i. e. 
 
M U S 12^ 
 
 i. e. to inftrucl, becaufe they teach the mofc honed and laudable 
 Jifciplines. 
 
 Calliope, of ^a^.i?, good, and i^, voice, is rcprefcnted, in 
 painting, as a beautiful goddefs, crowned with a coronet of gold ; 
 upon her left hand, garlands of bays in ffore for the reward of 
 poets ; and in her right hand three books, upon which are writ- 
 ten Homerus, Virgilius, Ovidius. 
 
 Clio, of xAs^fc', Gr. to celebrate, one of the nine Alufes, taken 
 for heroic poetry, is reprefented as a graceful matron, crowned 
 Vv'ith a coronet of bays, holding in her right hand a trumpet, and 
 in her left a book, upon which may be written Hifforia. 
 
 Erato, from ff'^?, love, or hdu, Gr. to love, one of the nine 
 Mufcs, fabled to be the prefident of lovers and amorous perfons j 
 flie is reprefented as a woman of a fweet and comely vifagc, her 
 temples adorned with myrtles and rofes, bearing an heart with 
 an ivory loey, Cupid {landing by her fide winged, his bow and 
 quiver at his back, and holding a lighted torch. 
 
 Thalia, of -ra G;t>.si-, Gr. to be green, or flourifli, one of the 
 ■ nine Mufes, fuppofed to be the inventrefs of geometry and huf- 
 bandry, is reprefented as a lady of a fmiling countenance, and 
 upon her temples a coronet of ivy, clad in a mantle of carna- 
 tion, embroidered with filvcr twift, and golden fpangles, hold- 
 ing in her left hand a vifard j the ivy indicates, that ihe is mif- 
 trcfs of comic poetry. 
 
 Euterpe, is fo called of iv, well, and T^riu, to give delight, 
 fuppofed to be the inventrefs and prefident of the mathematical 
 fciences, &c. is reprefented as a damfel of a chearful counte- 
 nance, crowned with a garland of flowers, holding in each hand 
 fundiy wind inftruments. 
 
 Melpomene, of jxA-oj^cai, Gr. to fin g, one of the nine Mufes, 
 to whom the poets afcribe the invention of tragedy, is repre- 
 fented like a virago, with a grave and majeftic countenance, 
 her head adorned with pearls, diamonds, and rubies; holding in 
 her left hand fcepters with crowns upon them ; other crowns 
 and fcepters lying at her feet, and in her right hand a naked 
 poniard ; clad in a mantle of changeable crimfon. 
 
 Terpfichore, of 7£f4-'?' delectation, and %pEi«, Gr. a dance, 
 one of the nine Mufes, to whom is attributed the invention of 
 c'ancing and balls, is reprefented as a beautiful woman of a 
 ' chearful countenance, playing upon fome inftrument, having 
 upon her head a coronet of feathers of various colours ; but 
 chiefly green ; in token of the viiftory which the Mufes obtained 
 over the fyrens, &c. by fmging. 
 
 Polyhymnia, of TriXt;'? and ^'f/.'/;?, a hymn, one of the nine Mufes, 
 fuppofed to be the prehdeTit of hymns, fongs, and munc ; is 
 reprefented as a beautiful woman cloathed in white, her hair 
 
 dlfliC- 
 
124 N A R 
 
 diftievelled, of an orient yellow, upon her head a garland of th« 
 choiceft jewels, intermixed with flowers, and in her left hand 
 a book, upon which may be written Suadere. 
 
 Urania, of cv;x)nc, Gr. heaven, one of the nine Mufes, to 
 whom is attributed the invention of aftronomy, is reprefented 
 as a beautiful lady, cloathed in a robe of azure, crowned with 
 a coronet of bright flars, holding in her right hand a celellial 
 globe, and in her left a terreftrial one. 
 
 Girolamo MUTIANO da Brefcia, born in the year 1528, 
 fchoiar of Romanini, ftudied Titian, and Tad Zucchero, lived 
 at Rome, excelled in hiflory and landfcape ; died in the year 
 1590, aged fixty-two years. 
 
 Z><3.'zjV7I\1YTENS, was a Dutch portrait-painter, in the time 
 of king James and king Charies I j he painted the pidtures of 
 thofe two kings. 
 
 5ome of his piftures have been taken for Van Dyke's, whofe 
 manner he imitated. His head is alfo to be feen among thofe 
 of that great mafter, who painted his picture. 
 
 He had a penfion from king Charles I, being his majefly's 
 principal painter ; and upon Van Dyke's arrival in England, 
 tho' he loft his place, yet his penfion was continued to his death. 
 
 M. Z. fignifies Martin Zinhius, i. e. Zaringeri, 1500. 
 
 N. 
 
 'ADAT, has marked his plates with a mole or a want- 
 trap. 
 
 NAIADE^, fo called of >■;'-, Gr. to flow, are the nymphs of 
 the floods, and are reprefented as beautiful damfels, with hair 
 tranfparent as cryftal, their arms and legs naked, crowned with 
 garlands of v/ater-crefTes, with red leaves ; their actions are 
 pouring water out of urns, &c. 
 
 NAPiEiE, are nymphs of the mountains, fo called of i-aVo?, 
 the top of an hill, or woody valley ; they are reprefented as dam- 
 fels with a fweet and gracious afpedt, clad in green mantles, 
 girded about the waift, their heads adorned with garlands of 
 honey -fuckles, wild rofes, thyme, and the like, either dancing 
 in a ring, making garlands, or gathering flowers. 
 
 To paint the NARCISSUS ; for all thefe flowers of the yel- 
 low fort, fmgie or double, firft lay on mafticot, then gamboge, 
 and finifnit by adding a little umber and b^ftre ; but the cup or 
 bell in the middle are to be excepted, which are to be done with 
 orpiment and gall-ftone, and edged with vermilion and carmine. 
 
 As for the white NarcifTus, cover them with white, and fliade 
 
 with 
 
NIG 125 
 
 with black and white ; except the cup or bell, which do with 
 mafticotand gamboge. 
 
 Let the green be fap green, fhaded with iris. 
 N, B. ftands for Nicholas de Bruyn. 
 
 N.B.L. F. ftands for Nicholas Beatrici Lotharlngius fccif. 
 
 N.C.F. ftands for Nicholas Chapron fecit ; anno 1649, he 
 engraved Raphael's galleries, painted in the Vatican. 
 
 NEALING, is a term ufcd for the preparing feveral matters, 
 bv heating or baking them in an oven, or the like. See AN- 
 NEALING. 
 
 "Kflm-C^ x-> ^^^^^ ^^" NELPE, an engraver of all fubjeds, 
 JTV eXV " iJ^ed this mark. 
 
 NEMESIS, according to Paufanias and Ammianus Marcel- 
 linus, was held to be the goddefs of punifliments, who chaftifes 
 the offences and crimes of malefacflors with pains and torments, 
 according to their demerits and fins ; and rewards the virtuous 
 with honours and dignities : She is faid to be the daughter of 
 Juftitia, who dwells and inhabits very fecretly within the houfe 
 of eternity, recording the offences of the wicked, and a moft fe- 
 vere and cruel punifher of arrogancy and vain-glory. 
 
 NEPTUNE, was depiited, by the ancients, naked, with fe- 
 veral countenances, fometimes mild and pleafant, at other times 
 lowering and fad, and, at other times, with a mad and furious 
 afpect ; (landing upright in the hollownefs of a great fea fliell, 
 holding in his hand a filver trident or forked mace ; drawn by 
 two monftrous horfes, which, from the middle downwards, have 
 the fhape offifhes. 
 
 The variety of afpec^^s is given him from the fea, becaufe that, 
 at certain times, fneweth itfelf fo ; and the trident reprefcnts the 
 three gulphs of the Mediterranean fea. 
 
 Sometimes he is reprefented with a thin veil, hanging over one 
 of his fhoulders, of a cerulean or bluiili colour. 
 
 Lucian defcribes him with very long hair, hanging over his 
 ihoulders, of a verv dark colour. 
 
 Martianus defcribes him of a greenifh complexion, wearing 
 a white crown : Alluding thereby to the fpjme and froth of the 
 fea. 
 
 He is alfo painted with long hoary hair, clad in a mantle of 
 blue, or fea-green, trimmed with filver, riding in a chariot of a 
 blue colour, or on a dolphin of a brown black colour, holding 
 in his hand a filver trident. 
 
 Plato defcribes him in a fumptuous chariot, drawn by fea 
 horfes galloping;, holding in one hand the reins of a bridle, in 
 the other a whip. 
 
 NIGHT, the mother of Sleep and Death, is reprefented by 
 
 the ancients in the form of an old woman, of a fad countenance, 
 
 ^ having 
 
126 OAR 
 
 having two large wings on her fl:iouIders, coal black, ind fprea<} 
 abroad, as if Ihe Teemed to offer at a flight ; and drawn in a cha- 
 riot with wheels of ebony, andc!oathed in an upper garment of a 
 deep hlaclc, fpotted all over withfilver fpots, like ftars. 
 
 NITRE, is a fort of fait, thus called by the ancients ; but by 
 the moderns more ufually falt-petre. See SALT-PETRE. 
 
 N. M. B. fienifics Nicholas Manuel de Berna, 15 18. 
 
 NOV^EMBER, is defcribed, in painting. Sic. in a robe of 
 changeable green and black ; wearing on his head a garland of ;; 
 olives, together with the fruit on, holding in his right hand Sa- 
 gittarius, and in his left bunches of parfaips and turnips. 
 
 NCDITIE-l, in painting and fculpture, are thofe parts of a 
 human figure which are not covered with any drapery ; or thofc 
 parts where the carnation appears. 
 
 To die cloth or Jluff a NUTMEG cchur. Put two or three 
 <]uarts of walnut-ftiells, or walnut-roots, into a copper, make it ; 
 boil, and then put in the ftufFs and rollers; and, after a convenient 
 time, take them out and cool them, and make the ingredients 
 boil asain ; then put in the cloth again, and let it boil for half 
 an hour ; then take it out and cool it, and add to the liquor three 
 pounds of madder, and one pound of galls, putting them in to- 
 gether with the fluffs ; let them boil for an hour, then take out 
 the cloth and cool it ; then put into the kettle two pounds of 
 copperas, ftir it well about, and put the cloth into the copper 
 again ; look '.veil after the fire, and keep flirring the fluff about, 
 till the colour is deep enough ; then rinfe it out, &c. 
 
 Mario NUZZT di Fiori., born in the year 1599, fcholar to 
 his uncle Tomafo Salmi, lived at Rome, excelled in flowers ; 
 died in the year 1672, aged 73 years. 
 
 NYMPHS, {o called of rju.'pr,^ Gr. a bride, are feigned to 
 be the daughters of Oceanus, i. e. the Ocean, the mother of the 
 floods, the nurfes of Bacchus, and goddeffes of the fields, who 
 have the protection and charge of the mountains, herbs, woods, 
 meadows, rivers, trees, and, generally, of the whole life of man. ' 
 
 NYMPHi^i)/W«^, Diana's nymphs, are reprefented cloah- 
 ed in white linen, to denote their virginity, and their garments 
 girt about them fo as to exprefs their hability and readinefs fori' 
 hunting; their arm.s and fhoulders naked, holding in their hands, 
 fcows, and quiviers on their backs. 
 
 o. 
 
 GAR, or ORE, is the mineral glebe, or earth dug out of 
 mines to be purified, and tlie metalline parts procured, 
 and feparutcd uora the fame. 
 
 2 QBE- 
 
O C U 12;^ 
 
 OBEDIENCE, Is rcprefented, in painting, &c. hj a pious, 
 modeft virgin, fubmitting to a yoke, with the infcription Suav« 
 on it. — The yoke andcrol'ii import the difficulties that accompany 
 this virtue, as fuave does the pleafures refulting from the prac- 
 tice when it is fpontaneous. 
 
 OBLIGATION, is reprefented, in painting, &c. by an arm- 
 ed man with two heads and four hands, to dcmonftrate, that a 
 man obliged afts two parts, viz. to take care of himfelf, and to 
 futisfy another j the hands and heads fignify the dividino- the 
 thoughts and operations. 
 
 OBSCURA Ca?fiera. See CAMERA. 
 OBSCURA C/aro. See CLARA. 
 
 OBSTINACY, is reprefented, in painting, czc. as a woman 
 dad all in black, her head furrounded with a cloud, holdiniJ aa 
 afs's head with both her hands. — Black denotes ObihnacV, 
 becaufe it will take no other colour; fo an opinionative man will 
 pever be beat out of his error ; the clouds denote the fhort fight 
 of the obftinate, that makes them fo ftifr that they will look 
 no farther ; the afs iliews that grofs ignorance is the mother 
 of it. 
 
 OCEANUS, the father of all the fea-gods, was reprefente*! 
 vv'ith the face of an old man, and a long white beard, drawn 
 on a glorious chariot, accompanied and attended with a great 
 company of nymphs. 
 
 OCULUS 5t'//, the name of one of the femi-pellucid gems. 
 It is a very elegant and beautiful gem. Its balls, or ground, 
 I is a whitifh grey, variegated with yellow, and fometimes with 
 red, and a little black, but that more rarely ; and is found iri 
 fmall mafles, from half an inch to an inch in diameter, of a 
 . rounded figure, and thickelt in the middle, tapering away gra- 
 dually to the fides. The cuter part of the ftone, or that toward 
 i the edges all around, is ever of a whitifh grey, more or iefs 
 : variegated with yellow. Sec. and its central nucleus is always 
 . of a deep and fine black, furrounded by a broad circle of a pale 
 yellow, and reprefentiog very beautifully the pupil and iris of 
 the eye : Thefe are inclofed in the matter of the ifone, and arc 
 I often furrounded by other very fine concentric circles of ;i pale 
 : flame colour ; but, more frequently, there is only the black pu- 
 pil furrounded by the yellow iris, and that placed in the body 
 of the ftone, which reprefents the white of the eye : The ffiape 
 of the ftone alfo favours its refemblancc of the eye, and the 
 whole is very elegant. It is of the hardnefs of the agate, and 
 takes a tolerable poJifli ; when thrown into water, it has, in a 
 : great meafure, the property of theoculus mundi, the whole ftone 
 becom.es greatly more bright and lucid, and the grey part becomes 
 cf a plainly yellowifli call. 
 
 There 
 
12S OIL 
 
 There nre many things improperly called Oculus Beli by 
 our jeweiicrs, but the genuine ipecies is very rare. Nothing is 
 more common than to find in the agates little circular veins of 
 different colours round a central fpot ; thefe the lapidaries fre- 
 quently cut out with a proper quantity of the ftone about them. 
 
 OCTOBER, is reprefented, in painting, in a garment of the 
 colour of decaying flowers and leaves, and upon his head a gar- 
 land of oak-leaves with the acorns; holding in his right hand 
 a fcorpion, in his left a bafket of fervices, medlars, and chefnuts. 
 
 \&.ii,/~^A^£iiiroODT)li an engraver and painter, ofPar- 
 u. '^rVv^ f^^' ^^^^ ^^'^ mark. 
 
 OECONOMY, is reprefented, in painting and fculpture, by 
 a venerable dame, crowned with olive, a pair of compafTes in 
 her left hand, and a fmall wand in her right, and a rudder of a 
 fhip by her fide. — The (lick denotes the rule a man has over his 
 houfe ; the rudder, the care a father ought to have over his chil- 
 dren ; the olive garland, the pains he ought to take in mam- 
 taining peace in his family ; the compaffes, prudence and mo- 
 deration. 
 
 OFFENCE, is reprefented, in painting, Sec. by a brutifli 
 woman, her cloaths ruft-coloured, with tongues, prefenting a 
 piece at two dogs going to worry a hedgehog. — The ruft fliews 
 Offence ; the tongues, that fhe offends in words and deeds ; the 
 dogs and hedgehog, that thofe that do hurt to others, are hurt 
 themfelves. 
 
 OILS; the beft that can beufed in painting are Oil of nuts, 
 and linfced Oil. 
 
 Oil of fpike, which is made of lavender flowers, ferves to 
 make the colours run better, and renders the touching the pic- 
 ture over again the more eafy ; it alfo takes off the glittering of 
 a pi(5lure, and is proper to do the fame by the filth, and clean it : 
 but the painter mud have a care it does not take off the colour 
 too. 
 
 Oil of turpentine, which is drawn from rofin, is good to touch 
 ft picture over again with ; but efpecially to mix with ultrama- 
 rine and enamels ; becaufe it helps to fpread them, and evapo- 
 rates immediately. When the artift would makeufe of if, it is 
 not neceffary he (hould make ufe much of other Oil, which 
 will only turn the colour yellow. 
 
 Oil of nuts, is ufed by painters, boiled up with the fcum of 
 lead, in which filver has been melted by a quick and great fire. 
 To this is added an onion whole and peleed, which is taken out 
 after it has boiled. This takes away from the Oil its greafy 
 quality. 
 
 Oil of nuts, is alfo boiled with powder of azure and enamel, 
 which, being boiled, is let to ftand a little, and then the top ta- 
 ken 
 
O I L 129 
 
 Jcen off. This is ufed to temper white, and the other colours, 
 which the painters would have be kept clean. 
 
 Oil of turpentine is ufcd to diflolve the co!t>urs, and make 
 them fpread the better, and to make the work dry the fooner. 
 
 Fai Oil ; put linfeed Oil into leaden veflcLs, made in the 
 form of dripping-pans, fo much as to be an inch deep ; expole 
 them to the fun for fix months, till it becomes as thick as tur- 
 pentine ; the longer it ftands, the fatter it will be, and give to 
 gold a greater glofs. If it is almofl: as thick as butter, fo as you 
 may, in a manner, cut it with a knife, it is excellent, and ought 
 to be carefully kept for ufe. 
 
 To make drying Oil. Mix a quart of linfeed Oil with three 
 ounces of litharge of gold, and boil them for a quarter of anf 
 hour ; but, if you would have it more drying, boil it a little longer. 
 But beware of boiling it too thick, fo as not to be fit for ufe. 
 
 2. Or thus : Take red lead and umber, in fine powder, half 
 an ounce; linfeed Oil, two pounds ; boil all as before j let it 
 Hand for two days, and it will have a fi;in over it; then it is fit 
 for ufe. 
 
 To make OiL-Jk'in miv ufed for hat-ccfeu Take of drying Oil, 
 fet it on the fire, and diffolve it in fome good rofin, or, which 
 is better, but dearer, gum lac ; and let the quantity be fuch as 
 may make the Oil as thick as a balfam, for it muft be fo thin as 
 to run about if fpread upon a cloth. 
 
 When the rofin or gums are difTolved, you may either wor^ 
 It of itfelf, or add to it fome colour, as verdigreafe for a green, or 
 umber for a hair colour, or indig-o and white for a lijrlit blue. 
 
 This varnifli, if fpread on canvas, or any other linen cloth, 
 fothat the cloth be fully drenched, and intirelv glazed over with 
 it, and fuffered to dry thoroughly, is impenetrable for all manne.c 
 of wet. 
 
 In the working of it there is no great fkill required, if you can 
 but ufe a painter's brufh ; only lee the matter you lay it on be 
 thoroughly drenched, that the outfide may be glazed with it : If 
 you defire a colour on the outfide, you need only grind a colour 
 with the laft varnifh you lay on. 
 
 Painting in Oil. The ancients, as is faid elfewhere, knew no- 
 thing of the art of painting in Oil ; hut it was found out and 
 pra6tifed by a Flemifh painter in the fourteenth century. 
 
 It may be truly faid, that painting then received a very great 
 improvement, and a wonderful conveniency ; for, by this means, 
 the colours of a pidlure keep a long while ; and a luftre and uni- 
 on are added to them, of whi.h the ancients were ignorant, 
 whatever varnifh they made ufe of to fpread over their painting ; 
 and yet all this feciet, that lay hid fo long, confifts i/i nothing 
 but in grinding the coloujrs with Oil of nuts, pr linfeed Oil. 
 Vol. it. K \% 
 
ijo OIL 
 
 It is true, tTiIs fort of work is very different from frefco airf 
 diftemper ; for, the Oil nti drying fo foon, the work muft be 
 touched over feveral times. But then, on the other hand, the 
 painter has the advantage of more time to finilh his pi6\ure, and 
 touch over again all the parts of the figures, which he that works 
 in diftempcr and frefco has not. 
 
 The Oil alfo gives the v/ork a greater force, becaufe the black 
 becomes more black, vi'hen it is tempered with Oil, than when 
 it is tempered with water. 
 
 All the colours run better together, are m.orefoft, more deli- 
 cate, and more agreeable, there being .an union and tendernefs 
 in this manner, which is not in any other. 
 
 One may paint in Oil againft walls, on wood, on cloth, on 
 ilpncs, and all forts of metal. 
 
 The thing on which the painter intends to paint, muft, in the 
 firft place, be prepared by a primer, as the artifts call it ; which 
 feems to make the ground, and renders the field very equal and 
 finooth. 
 
 If he is to paint againft a wall, when it is very dry, he muft 
 fay on two or three layers of boiling hot Oil, and that as often 
 as he thinks requifite, even till he perceives the plaifter to be 
 greafy, and will imbibe no more Oil. 
 
 He then takes white chalk, red oker, and other earths, and 
 grinds them to a confidence, of which he lays a layer on the wall ; 
 when that is dry, he defigns his fubiedl, and afterwards paints 
 ijpon it, mixing a little varniih among his colours, that he may 
 not be obliged to varnifh them when painted. 
 
 Some prepare the wall after another manner to dry it the more^ 
 that the moifture may not make the colours fcale off, as it often 
 happens by the Oil's oppofing it, and liiudering its coming out ; 
 to prevent this, they make a plaifter of lime and marble duft, or 
 a cement of pounded tiles, which they beat with a trowel to fine 
 it, and then lay on the linfeed Oil with a great brufb. 
 
 After this, they prepare a compofition of Greek pitch, maftich, 
 and varnifh, which thev boil together in an earthen pot, and'therr 
 fpread it over the wall with a brufh, r.nd chafe it in v/ich a hot 
 trowel, to extend and fmooth it the better j afterwards they lay 
 on chalk, red oker, &c. as above-mentioned, before they dsfign 
 any thing. 
 
 Some have flill another way ; they make a plaifter of lime- 
 mortar, with a cement of tile and fand ; and, when that is dry, 
 they m.ake another of lime and cement well fifted, and drofs of 
 iron, as much of the one as of the other ; all which being well 
 pounded and incorporated together with whites of eggs and lin- 
 leed Oil, they make the fineft plaifters in the world. 
 
 But you muft not fail to take care, not to leave the plaifter 
 3 while 
 
O I L 131 
 
 %hlle it Is frefh laid on, nor till well fprcad all over with the 
 trowel, and fmooth every-wherc ] for otherwife it will cleave in 
 feveral places. 
 
 When it is dry, they lay on the colours as be fore-mentioned. 
 When the painter v/ouid paint upon wood, he firft brufl:ics it 
 Very well with a brufh, and then lays on a layer of white, tem- 
 pered with paftc,«!)cfore he covers it with Oil : But now cloth 
 is moft made uk of, efpccially for large pictures, by rcafon of 
 their more eafy carriage from one place to another than wood, 
 which is heavy, and befides apt to crack. 
 
 i^ainters generally chufe ticking or the fmootheft cloth they 
 can get j and, when it is well flretched upon a frame, they lay 
 on a layer of paftc-water, and then rub it over with a pumice 
 ftone to take ofF the knots. 
 
 The pafte-water fcrves to fmcoth down all the little threads 
 in the cloth, and fill the little holes, that the colours may not 
 pafs over them. 
 
 When the cloth is dry, they lay on a colour that will not kill 
 the other colours, as red oker, which is a natural earth of fubflance, 
 and with which they fometimes mix a little white lead, that it 
 may dry the fooner. 
 
 This colour is firfl ground with nut or linfecd Oil ; and, to 
 lay it on of what thicknefs they pleafe, they have a great knife 
 for that purpofe. 
 
 When it is dry, they rub it over again with a pumice-flone, to 
 fmooth it 5 then, if they pleafe, they lay on another layer, com- 
 pounded of white lead, and a little of the black of coal, to make 
 the ground greyifh ; and in both ways they put on as little co- 
 lour as they can, that the cloth may not break, and the colours;, 
 that are to be laid on upon it, may keep the better. 
 
 If the primed cloth is not thus at firft oiled, but the painter 
 falls to painting at once, the colours will look better, and re-f 
 .main more beautiful. 
 
 In fome pieces of Titian and Paulo Veronefe, it is obferved 
 that their firft lay was of diftemper, on which they afterwards 
 painted with Oil colours j by this means their works looked the 
 more lively and fiefli, for the diftemper attracted and imbibed 
 the Oil that was in the colours, and was the caufe that they re- 
 mained the more beautiful, the Oil taking off a great deal of their 
 vivacity. 
 
 For which reafon, thofe who would have their pieces keep 
 frefli, make ufe of as little Oil as they can, and keep their co- 
 lours the firmer, by mixing with them a little Oil of fpike, which 
 foon evaporates, but ferves to make them run the better, and 
 renders them more pliable in working. 
 
 Another caufe of colours lofing their beauty is when the pain- 
 
 K 2 tw 
 
132 OIL 
 
 ter works them too much in mixing them ; for, being jumblecf 
 together, they change and corrupt one another, and take away 
 their vivacity ; wherefore he muft be careful to ufe them properly^; 
 and lay the colours each in its place, without mingling them too 
 much with the pencil or brufti ; alfo not to temper adverfe co- 
 lours together, as blacks with others, particularly fmoke-blacks 5 
 but to ufe them npart as much as poflible. 
 
 And, when he would give the more force to his work, he 
 fhould ftay till it is dry, to touch it over again with colours thaC 
 will not damnify the others. 
 
 It is a confiderable thing towards the prefervation of the beauty 
 of their pidlures ; for there have been fome which have been' 
 much upon the eafel, and yet the colours have not been lalting 5 
 becaufe thofe who ufed them, worked and jumbled them too 
 much together with the brufh and pencil, through too much fire. 
 Thofe who paint with judgment lay them on with lefs pre- 
 cipitation, put them thicker, cover and recover their carnations 
 feveral times, which the painters call well-kneading. 
 
 As for painting the cloth at firft with a lay of diltcmper, it is 
 true that is not often done, becaufe it may then fcale, and will 
 not roll up but with difficulty ; for which reafon painters have 
 been contented to put on a lay of colours in Oil ; but, when the 
 cloth is good and very fine, the lefs colour that is put on it in 
 priming, it is the better ; and the painter muft always be careful 
 that his Oil and colours be good. 
 
 When a painter is to work on metal, marble, or any other 
 ftone, he need only lay on a thin layer of colours before he de- 
 igns any thing, and not at all on the Rones where he would have 
 the ground appear, as on marble when it is of an extraordinary 
 colour. 
 
 Materials for painting in Oil. Painting in Oil is the fame 
 as that of limning before-mentioned, performed with colours 
 niade up or tempered with Oil. 
 
 The materials ufed in this art are chiefly feven: i. the eafel ; 
 2. the pallet ; 3. the ftraining frame ; 4. the primed cloth ; 
 5. pencils; 6. the ftay ; 7. colours. 
 
 The eafel is a frame made of v/ood, m/uch refembling a lad- 
 der, with fiat fides and full of holes, to put in two pins to fet 
 the ftraining frame and cloth upon, either higher or lower aC 
 pleafure, being fomething broader at the bottom than at the top ; 
 on the backfide of which is a ftay, by which the eafel may be 
 fct either the more Hoping or more upright. 
 
 The pallet is a thin piece of wood, either of pear or of walnut 
 
 tree, about a foot in length, and ten inches in breadth, in almoft 
 
 an oval form, at the narroweft end of v.'hich is an hole to put 
 
 m the thumb gf the left hand, near which there ii a notch cut^ 
 
 :i thaC 
 
t) I L 133 
 
 1fha> the pallet may be held in the hand : The ufe of this is to 
 liold and temper the colours upon. 
 
 The {training frame is made of wood, on which the primed 
 cloth, that is to be painted upon, is faftcned with nails. Thefe 
 frames ought to be of feveral fizes, according to the fize of the 
 cloth. 
 
 The primed cloth is that which is to be painted upon, and is 
 to be prepared as follows : 
 
 Take good canvas, and firft fmooth it over with a fleek-flone^ 
 Cze it over with good fize and a little honey, and let it ftand to 
 ■dry J then lay it over once with whiting and fize, mixed with a 
 iittle honey, and the cloth is prepared : On this you may firft 
 draw the pi(flure with a coal, and afterwards lay in the colours. 
 Where, by the way, you may take notice, that the ufe of honey 
 is to prevent it from cracking, peeling, or breaking out. 
 
 Pencils of all fizes, from a pin to the bicknefs of a finger, 
 which are called by feveral names; as Dutch quill fitched and 
 pointed, goofe quill fitched and pointed, fwan quill fitched and 
 pointed, jewelling pencils, and briftle pencils, fome in quills, 
 fome in tin cafes, and fome in fticks. 
 
 The flay, or molftic, is a Hick, generally of brafil wood, in 
 length about a yard, having a fmall ball of cotton at one end of 
 it, fixed hard in a piece of leather, about the fize of a chefnut, 
 which is to be held in the left hand while you are working ; and, 
 laying the end which hath the leather ball upon the cloth or 
 frame, you may reft your right arm upon it. 
 
 The colours are in number feven, as has been faid elfewherc, 
 viz. white, black, red, green, yellow, blue, and brown. 
 
 Of which, fome may be tempered upon the pallet at firft ; 
 fome muft be ground and then tempered i and others muft be 
 burnt, ground, and laftly tempered. 
 
 As for the fize for fizing the primed cloth : Boil glue well 
 in fair water till it be difTolved, and it is made. 
 
 To make the zohiting fcr the ground of the doth. Mix ground 
 whiting with the fize, and with it white the cloth or board, it 
 being firft made very fmooth ; and, after dying them, do them 
 over again a fecond or third time; afterwards fcrape them fmooth, 
 And lay it over with white lead tempeted with Oil. 
 
 To keep the colours from Jk'inning over. Oil colours, if they 
 ftand but a little time before they are ufed, will have a fkin grow 
 over them ; which may be prevented by being put into a glafs, 
 and putting the glafs three or four inches under water, and then 
 they will never thin nor dry. 
 
 To deanfe the gr'inding-jUr.e and pencils. Grind curriers ftiav- 
 ings upon the grinding-ftone, if it be foul, and afterwards crumbs 
 of bread ; and they will fetch off all the filth, 
 
 K 3 And, 
 
1^4 O P A 
 
 And, as for your pencils, dip them in Oil of turpentine, and 
 fqueefe them between your fingers, and they will come very clean. 
 
 The fitting the colours for paintins: ; fee the names of the fe- 
 veral objects, and the article COLOUR. 
 
 To d\e fluffs Ifjc. of an OLIVE colour. This muft be ordered 
 as the brimftone yellow, after which prepare fuds of galls and 
 copperas, but not flirong ; through which pafs the ftufl^s two or 
 three times, according as you would have the dye lighter or deep- 
 er, and it will produce an Olive colour. 
 
 Ifaac OLIVER, v/as a famous limner, who flourifhed about 
 the latter end of the reign of queen Elifabcth : He was eminent 
 both for hiftory and face painting, many pieces of which were 
 in the pofTeflion of the late duke of Norfolk ; and, being a very 
 good dcfigner, his drawings were finilhed to a mighty perfedtion ; 
 fome of them being admirable copies after Parmegiano, &c. He 
 received fome light in that art from Frederico Zucchero, who 
 came into England in that rei^n. He was very neat and cu- 
 rious in his limnings, as may be feen by feveral hifrory pieces of 
 his in the queen's clofet. He was likewife a very good oil-pain- 
 ter in little. 
 
 He died, between fifty and fixty, in king Charles the Firfi's 
 time, and was buried in Black-friars, where there was a monu- 
 ment fet up for him, with his bufl j all which has been deftroy- 
 cd by hre. 
 
 Feter OLIVER, was the fon of the before-mentioned, who 
 had inftrufhed him in his art; he became exceeding eminent in 
 miniature, infomuch that he outdid his father in portraits. He 
 drew king James J, prince Henry, prince Charles, and moft of 
 the court at that time. He lived to near fixty ; and was bu- 
 ried in the fame place with his father, about the year 1664. 
 
 ONYX, a precious fione, accounted a fpecies of opal. 
 
 Its colours are ufually white and black, which appear as dif- 
 tincSt as if laid on by art. 
 
 There are fome brought from Arabia, mixed with a greyifh 
 hue, which, after taking oflF one lay or row, fliew another un- 
 derneath of a different colour. 
 
 OPAL, is a precious flone of various colours : In it are {&cx\ 
 the red of the ruby, the pwple of the amethyft, the green of 
 the emerald, befides yellow, and fome black and white. 
 
 When this ftone is broke, moft of thefe colours difappear ; 
 which is a fign that they only arife, by refleclion, from one or 
 -two of the principal ones. 
 
 Its form is always either round or oval ; its prevailing colour 
 •white. The diverfity of its colours makes it almoft of equal 
 value with the fapphire or ruby. 
 
 To aunt cr felt an Opal. At Hacrlem, they make ccuntcrfeit 
 
 Opal 
 
OR A 135 
 
 'i}^^ g^afs, which Is very lively, and whofe feveral colours are 
 fuppofed to be produced by different degrees of heat: When the 
 compofition is thoroughly melted, fome of it is taken out on the 
 point of an iron rod, which, bcinp; cooled either in the air or 
 vater, is colourlefs and pellucid ; but, being put again into the 
 mouth of the furnace upon the fame rod, and turned round for 
 ft little time, its particles acquire fuch various pofitions, as that 
 the light failing on them, being varioufly modified, reprefents 
 the feveral colours obfervable in the true Opal : And it is re- 
 markable, that thefe colours may be dcftroycd and rcftored again 
 by different degrees of heat. 
 
 OPINION, is reprefented, in painting, &c. by a woman in 
 a genteel garb, neither handf:jme nor disfigured, but feems daring 
 and bold, ready to fly in one's tace, upon every thing file fancies 
 is mifreprefented ; and therefore has wings on her hands and 
 Ihoulders. — Her face (hews that there is no Opinion but may 
 •be maintained and embraced, nor any fo well grounded but may 
 bediflikcd. 
 
 OPS, or TELLUS, the wife of Saturn, is reprefented as an 
 old woman of a large body, and continually bringing forth chil- 
 dren, with v^hich ihe is encompaffed or befet around, clad in a 
 green veftment, with a veil over all her body, fpotted with di- 
 vers colours, wrought with a vaft number of knots, and fet with 
 all forts of gems and metals. 
 
 She was alfo reprefented in the form of an ancient woman, 
 having her head encompaffed with ears of corn ; holding in her 
 hand a poppy-head ; drawn in a chariot by two fierce and un- 
 tamed dragons. 
 
 ORANGE colour. An Orange colour for wafhing prints is 
 made by laying on a tint of gamboge, and, over that^ fome mi- 
 nium or red lead wafhcd. 
 
 This colour may be mixed with gamboge, upon a white Dutch 
 tile, to render it of the tint you v/ould have it, either fofter or 
 ilronger; or the gamboge may be glazed over, and ftrengthened 
 with the tindure of faffron, which will make it glare irito a flrong 
 Orange. See MINIUM. 
 
 To dye ftlk an Orange cohur. Firft, lay the white filk in 
 alum water, in the fame manner as the yellow; then take the 
 eighth part of a pound of Orleans, diffolve it in water tor the fpace 
 of one night, add to it one ounce of pot-afhes ; boil it for half 
 an hour, then add an ounce of beaten turmeric ; ftir it very well, 
 let it ftand a little while, and then put in the alumed filk, and 
 let it remain there, one, two, or three hours, according as you 
 would have the colour light or dark ; rinfe it in fine foap fuds, 
 till it i-s perfectly clean j then beat and dry it. 
 
 K 4 ORDON- 
 
136 
 
 O R D 
 
 ORDONNANCE, 7 in painting, is ufed for the dirporitlort 
 
 ORDINANCE, 3 ofthe parts of a painting, either with 
 refpecl to the whole piece, or to the feveral parts j as the groups, 
 mafl'es, contrafts, afpeds, &c. 
 
 The dodrine of Ordonnance is comprifed in the following 
 rules : 
 
 In the Ordonnance there are three things to be regarded, viz. 
 the place or fcene where ; the diftribution how ; and the contraft. 
 
 As to the firft, regard is to be had as to the difpofition of things, 
 to fervG as a ground- work ; and to the plan and pofition of bodies: 
 Under the former of which comes firfl landfcape, whether an 
 uninhabited place, where there is a full liberty of reprefenting 
 all the extrava2;ancies of nature ; or inhabited, where the figns 
 of cultivation, &c. muft be exhibited. See LANDSCAPE. 
 
 2. The building, whether ruftic, wherein the painter's fancy 
 is at liberty ; or regular, wherein the orders are to be nicely at- 
 tended to. 
 
 3. The mixture of both, in which it is a maxim tocompofein 
 great pieces, and to make the ground-plot big enough ; to negleil 
 fome little places, in order to beftow more on the whole mafs ; 
 and to exhibit a view of the more confiderable places with the 
 more advantage ; and to reprefent fome agitation in all things 
 that move. 
 
 As to the plan of bodies, thcv are either folid, which again 
 are either fo by nature, and muft be proportioned to their places ; 
 or artificial, where regard muft be had to the rules of geometry, 
 perfpefiive, architedure, &c. 
 
 Or the bodies move ; and this they do, either by a voluntary 
 motion, wherein great regard muft be had to proportion them 
 to their fituation, and to ftrengthen them by the regarding equi- 
 librium ; or by fome extraordinary power, as machines, 6cg. 
 where the caufes of their motions muft appear. 
 
 Or they are things at a diftance, in all which an even plane 
 muft ftill be propofed, to find their precife fituation, and fettle 
 their place by fudden breaks and diftances, agreeable to per- 
 fpective. 
 
 In placing the figures, regard is to be had, 
 
 1. To the group, which conneds the fubjecl and ftays th« 
 fic^hr. In this the knot or nodus which binds the group is to be 
 confidered, and alfo the nearnefs of figures, which may be cal- 
 led the chain, inafmuch as it holds them together; that the group 
 be fuftained by fomething loofe and diftinct from it, and by the 
 fame joined and continued to the other groups ; and that the 
 lights' and (liadows be fo difpofed, as that the effeds of all the 
 parts of the compofition may be feeoi at once, 
 
 2. As to the aclionsj forced attitudes 3re to be avoided ; and 
 
 - )}5 
 
P A I 137 
 
 fimple nature fhould be feen in her moft advantageous poftures. 
 
 The nudities ought not to be fhewn in weak and lean figures, 
 but rather vou ought to feek for occafions to cover them. A 
 fpecial care ought to be taken, that, in all human figures, the 
 Jiead be placed in the middle between the fhoulders, the trunk 
 on the haunches, and the whole on the feet. 
 
 As to the drapery, this muft be fo adjufled, that it may ap* 
 pear real garments, and not fluffs thrown loofely o^i. 
 
 P. 
 
 HEmyVAERTy was firfl difciple of Barlow, and afterwards 
 of Stone, the famous copier. He was brought up a fcholar, 
 and fpent fome of his time at one of our univeriities. He painted 
 under Mr Stone for feveral years, but afterwards fell to portrait 
 painting, yet his talent feemed to be for copying. He copied, 
 with great affiuuity, the greateft part of the hiflory- pieces of the 
 royal collection in England, in feveral of which he had good 
 iiiccefs ; what he feemed to want, was a warmth and beauty of 
 colouring. He died in London, about the year 1697 or 1698. 
 
 Simple bodily PAIN : This affection or pahion produces pro- 
 portionally the fame motions as that which is acute or extreme, 
 but not fo ffrong. 
 
 The eye-brows do not approach and rife fo much ; the eye-^ 
 balls appear fixed on fome object ; the noftrils rife, but the wrin- 
 kles in the cheeks arc lefs perceivable; the lips are further afunder 
 towards the middle, and the mouth is hair open. 
 
 Extreme Pain is an afFcffion of the body, makes the eye-brows 
 approach one another, and rife towards the middle ; the eye-balls 
 are hid under the eye-brows ; the noffiils rife and make a wrin- 
 kle in the cheeks ; the mouth is half open and draws back : All 
 the parts of the face are agitated in proportion to the violence of 
 the Pain ; and all the motions of the vifage will appear fharp. 
 See plate V . 
 
 PAINTING, is the art of reprefenting natural bodies, and 
 giving them a kind of life by the turn of lines, and the degrees 
 of colours. 
 
 • Painting is faid to have had its rife among the Egyptians, in 
 reprefenting divers animals, &c. as hieroglyphics : But the Greeks, 
 who learned the firfl rudiments of them, carried it to a great dcs- 
 gree of perfedtion. 
 
 The Romans had alfo confiderable maflers in this art, in the 
 htter times of their commonwealth, and thofe of their firft em^ 
 j>erorSi but the inundation of the Barbarians, who ravaged and 
 
 dgftroyed 
 
l^S P A I 
 
 deftroyed Italy, reduced Painting again pretty near to its infant 
 itate. 
 
 But in Italy it returned again to its ancient honour; and Ci- 
 mabue, betaking himfelf to the pencil in the fifteenth century, 
 tranilated the poor remains of the declining art, from a Greek, 
 painter or two, into his own country Italy. 
 
 Some painters of Florence feconded him, the firft of which 
 Vvas Ghirlandaio, mafter to Michael Angelo ; Pietro Perugino, 
 mafler to Raphael Urbin j and Andrea Verocchio, mafter to 
 Leonardo da \'inci. 
 
 But thefe fcholars far furpafled their mafters, and carried 
 painting to a pitch, from which it has ever fince been declining. 
 
 Thcfe advanced painting not only by their own noble woika, 
 but alfo by the number of fcholars they trained up, and thefchools 
 which they formed. 
 
 IV'Iichael Angelo, in particular, foimCed the Florentine fchool ; 
 Kaphael Uibin the Roman j and Leonardo da Vinci that of 
 Milan. 
 
 To thcfe mufl be added the fchool of Lombardy, which be- 
 came very confiuerable, much about the fame time, under Gre- 
 gory and Titian. 
 
 Befides thefe Italian matters, there were on this fide the Alps 
 others who had no communication with thofe of Italy; as Al- 
 bert Durer in Germany, Hans Holbein in Sv/itz^rland, and'Lu- 
 cas in Holland. But Italy, and efpecially Rome, was the place 
 where the art v.'as praftifed with the created: fuccefs, and which 
 from time to time produced the greateft mailers. 
 
 Caraches fucceeded to the fchool of Raphael, which has con- 
 tinued in its fcholars almoft to the prefent time. 
 
 M. Frefnoy divides the art of painting into three principal 
 parts, invention, defign, and colouring ; to which a fourth is 
 added by fome, viz. difpofition. 
 
 M. Teftling, painter to Louis XIV, divides it, fomethingi 
 more accurately, into the defign or draught, the proportion, the . 
 cxprefHon, the clair obfcure, the ordonnance, and the colouring. 
 See thcfe articles. 
 
 Painting is of various kinds, according to the materials ufedj; 
 the matter upon which they are applied ; and the manner of ap- 
 plying them. See painting in OIL, LIA4NING. and FRESCO, i 
 
 To cleanfe cid Painting. Make a ley of the afnes of vine-; 
 branches, mixed with frcfli urine ; dip a fpunge in it and wipe it; 
 over, and it will much reftore the fading, 6cc. or. 
 
 Take good wood-afhes, fearce them, or elfe fmalt or powder- 
 blue, and with a fpunge and fair water gently wafh the pictures 
 you would cleanfe, taking great care of the fhadows; when you? 
 luve (o done, crv them \yell with a clean cloth, 
 
 Thea' 
 
 i 
 
 I 
 
PAL 1^9 
 
 Then vamtlh It over again with fome good varnifli, but fuch 
 as may be wafhed off again, if there be occafion. 
 
 As for the varnifh, ufe cither common varnifli, made with 
 gum fandrach diflblved in linfeed oil, by boiling, or glair of eggs ; 
 and with your pencil go over the picture once, twice, or more 
 with it, according as there fhall be occafion. 
 
 If your painting be on wainfcot, or any other joinery work, 
 you may ufe wood-afhes, and, mixing them indifferent thick with 
 the water, rub over the painting with a fliff briftle brufh, as a 
 fhoe-brufli, and fcour, wafli, and dry it, and afterwards varnifli 
 it with common varnifh. 
 
 But if your paintings are more curious, as figures of men, 
 ,beafts, landfcapes, flowers, fruits, &c. then take fmak only, and 
 with a fpunge dipped in water cleanfe it gently, and afterwards 
 wafh it in fair water, and, having dried it well, varnifh it, and it 
 will very confiderably recover the luflre of the pictures. 
 
 But this cleanfing of paintings ought not to be done too often, 
 viz. not except they are very much foiled, bccaufe too frequent 
 cleanfjngs of this kind will by degrees wear off part of the co- 
 lours J therefore you fliould endeavour to preferve their beauty by 
 keeping them from fmoke, duff, flies, &:c. 
 
 I . All pidiues, but chiefly fuch in which mixtures of white lead 
 iare ufed, will be apt to grow tav/ny, to tarnifh or grow rufty, 
 jas may be fcen in all old pidlures. 
 
 In order to prevent this, expofe them to the hot fun three or 
 four days in May or June ; and by that means the ill colour will 
 be much drawn off, and the painting appear more frefh and beau- 
 tiful J if this be done annually, it will preferve them wonderful-* 
 
 PALLAS. See MINERVA. 
 
 PALLET, M'ith painters, is a little oval table of wood or 
 ivory, very thin and fmooth , on and around which the painters 
 place the feveral colours they have occafion for, ready for the 
 pencil. 
 
 The middle ferves to mix the colours on, and to make the 
 teints required in the worlc. It has no handle, but, inftead there- 
 of, a hole at one end to put the thumb through to hold it by. 
 
 Pallet, alfo implies the end of a fouirrel's tail, fpread a- 
 
 • broad, and fafrcned to a flat pencil flick, which is broad at one end 
 
 and fplit, much like to an houfe-painter's graining tool, but much 
 
 ■ lefs. — It ferves for taking up and laying on whole leaves of gold 
 or filver at a time, and ferves for all the fame ufes that cotton 
 
 •does with gilders. 
 
 ■ Pallet, with potters, is a wooden inflrument, almoft the on- 
 
 ■ ly one they ufe for forming, beating, and roun ling their works. 
 
 They have feveral kinds ) the largeft are oval with ^ handle ; 
 '■ othc^e 
 
,«4!) P A Si 
 
 ;others are round or hollowed triangularly ; others In manner o1| 
 large knives, Icrving to cut ofF what is fuperfluous on the mouldlj 
 of iheir works. ! ^', 
 
 Giacc?no PALMA, called Palma Vecchio^ born in 1 508, fludi- 
 «d at Rome, and after inftrucfted by Titian, lived at Rome and 1^ 
 Venice, excelled in hiftory and portraits; died in 1556, aged J 
 forty-eight years. ' ■,'?! 
 
 Giacotm PALMA, jun. x^alled G.lov&ne Palma^ born in thd uji 
 'year 1544, fcliolar of his father Antonio, nephew of old Palma ; '2k 
 .and ftudied Titian and Tintoret, lived at Rome and Venice; u^Im 
 excelled in hiftory; died in the year 1628, aged eighty-four. ; Xj, 
 
 PAN, was accounted by the ancients the god ot the flocks oj 
 efheep and (hepherds ; and was reprefented in the proportions o< 
 a man from the middle upwards, of a ruddy and fanguine coun- 
 tenance, and very hairy body ; his brcait covered with the (kin 
 of a fpotted doe or leopard, holding in one hand a fliepherd'f. ;J 
 hook, and in the other a pipe ; but, from the middle downwards, iq\ 
 having the perfect fhape of a goat, in thighs, legs, and feet. ,ii 
 
 PARC-'^, or the Dejiimes, called the three fatal hfters, named f; 
 Clotho, Lachcfis, and Atropos. '•, 
 
 Clotho is feigned, by poets, &c. to take the charge of the birthi ;''" 
 and nativities of mortals ; Lachefis of all the reft of their lifej.' "2 
 and Atropos cf their death or departure out of this world. ' 'A 
 
 They are all three painted fitting on a row, very bufily em- ;' , 
 ployed in their feveral offices ; the youngcft fiiter drawing out 0; (»;, 
 a diftaff a reafonably large thread ; the fecond winding it about r'" 
 a wheel, and turning the fame, till it becomes little and flenderj *' 
 the eldcft, which is aged and decrepit, Handing ready with hei "'^ 
 'knife, when it is fpun, to cut it ofF. "f 
 
 And they are dcfciibed inverted with white veils and little co- •"' 
 roncts on their heads, wreathed about with garlands, made of '■! 
 /lowers of Narcifllis. '"' 
 
 PARSIMONY, is reprefented, in painting, &c. by a virago 
 modeftly drefTed, v/Ith a pair of compalTcs, and a purfe full oil 
 money clofe fhut in ber hand, with a label with this mottoj 
 iServat in melius. 
 
 Her virile age declares her capable of reafon and difcretion, 
 to join ufcfuhiefs with honefty; her plain drcfs, hatred of fuper- 
 fluous expence ; the compaffes, order and meafure of all affairs : 
 the purfe with the motto, that it is a greater honour to kee 
 what one has, than to acquire or purchafe what one has not. 
 ^ £~\^ y^^£/?/w PARISINO, who engraved the eighty-one 
 j^Psl. images defigned by F"lorio Macchi, found in a boo! 
 jntitled the emblem of Paul Maujii, ufcd to mark Lis works with 
 %\\e preceding mark. 
 
 Qiofeppi PASSAKIj Ijorn in the year 1654, lived at Rome, 
 
 excelleii 
 
I PAS t4t 
 
 '^ceTTed in hiflory ; oied in the year 1 7 1 4, aged fixty years. 
 YT) Bernard PASSERO, an engraver of all fubjeds, ufeu thlB 
 CL m'ark. 
 
 Bartolameo PASSEROTTO, fcholar to Jacobo Vignuola, 
 ~, Tad. Zucchero, &c. lived at Rome, excelled in hiftory and por- 
 ■ fraits. 
 
 PASSIONS, fays Monf. le Brun, are motions of the (buF, 
 
 , refiding in the fenfitive part thereof, which makes it purfue thaC 
 
 which the foul thinks- for its good, or avoid that v,diich it thinks 
 
 . iiurtful to it ; and for the moft part vvhadbever caufes Paffioniir 
 
 ihe foul, makes fome action in the body. 
 
 It then being allowed that the greateft part of the Paflions of 
 
 :he foul produce bodily adlions, it is necelTary we fhould know 
 
 i/rhat thofe afHons of the body are, which exprefs the Paflion, 
 
 . and what action is. See the manner of exprefllng the feveral 
 
 "' PaTHons under their proper names. 
 
 PASTE, a compofition for imitating precious ftones. 
 
 Method of inaking very hard Pastes with fulphur of fatarrr^ 
 mdto give them all the colours of precious Jlones. Take ten pounds 
 5f natural cryftal prepared, with fix pounds of fih extrailed from 
 ")olverineof Rochetii purified, pounded, and well fearced; tothefc 
 idd two pounds of fulphur faturni chymically prepared, (fee SUL- 
 PHUR Saturni) mix thefe well together, put them into ?.n earth- 
 :n glazed pan, and caft on them a little common fair \Nater, toi 
 ■educe them into a lumpj divid-e it into feveral parcels, about: 
 hree ounces each, making a hole in the middle of each, the bet- 
 er to dry them in the fun. Being well dried, put chem into am 
 earthen pot well luted ; calcine them and fearce through a fin* 
 leve ; put this powder into a glafs furnace to melt and purify for 
 bree days ; then caft the matter into the water ; and, after you 
 lave dried it, put it again into the fame oven, there to melt and 
 lurify for fifteen days, that it may be v/lthout l^ot, and acquire 
 he colour of precious ftones. 
 
 The cryftaTline matter may be tinged of feveral colours, vizr, 
 merald by means of copper thrice calcined ; topaz bv means of 
 'repared zafFer ; and fo of others, as the reader will find under 
 heir proper articles. 
 
 The parte will have finer colours than the true rratural flones, 
 nd approach near to their hardnefs, particularly that of the 
 merald. 
 
 PASTIL, with painters, &c. a fort of pafte made of feveral 
 olours, ground up with gum water, either together or feparate- 
 •', in order to make crayons to paint with, either on paper or 
 archment; alfo the crayons themfelves are c:iUed pafHls. See 
 X4YONS. 
 
 P.^TLME, 
 
k( 
 
 142 PEA ™ 
 
 PASTIME, is rcprcfented, in painting, in purple trinlhiec ^^'^ 
 with gold. 
 
 PATIENCE, is reprcfented, in painting, kc. by a woma 
 of mature age, fitting on a ftone wringing her hands, her nake 
 feet upon thorn?, a heavy yoke upon her flioulders. 
 
 The yoke and thorns declare this invincible virtue to endur 
 the pains of the body, and a wounded fpirit exprefled by he 
 ■wringing her hands ; Patience fufFers adverfity with a conftan 
 and quiet mind, which is nothing but an invincible virtue, de 
 clared in fi.ippojting the troubles of body and mind, reprefente 
 by the thorns. 
 
 PRE) 
 
 ■R 'r' \ ^'£"^^^5 Paulus Blancus fecit & incidit, 
 
 P. C. fignifics Paul Caliari, i. e. Paul Veroncfe painter an k; 
 inventor. 
 
 PEACE, is reprcfented, in painting, like a lady, holding in h 
 right hand a wand or rod, downwards towards the earth, over 
 hideous ferpent of fundry colours; and with her other hand 
 vering her face with a veil, as loth to behold flrife or war. 
 
 PEARL, a hard white fliining body, ufually of a roundi{ 
 figure. 
 
 PearCs, though efteemed of the number of gems by oi 
 Jewellers, and highly valued, not only at this time, but in a 
 ages, are but a diltemper iii the creature that produces them anz dfk 
 logous to the bezoars, and other fiony concretions in the fever 
 animals of other kinds. 
 
 The f;in, in which Pearls arc ufually produced, is the Eal 
 Indian Pearl oyftcr, as it is commonly, though not very pre Kofi 
 perly called. It is a very large rfnd broad fliell, of the bivaJ 
 kind, fometimes meafuring twelve or fourteen inches over, bi 
 thofe of two inches are more frequent ; it is not very deep ; i 
 colour on the outfide is a dufky brown, with fomc faint admij 
 ture of greenlfh within ; it is of a beautiful white, with fliadc 
 of feveral other colours as expofed in different dirc(5lions to tt K'lto 
 light ; it is defcribed by authors under the name of concha mai 
 garitifera, and concha mater unionum. Lifter has figured it ur 
 der the name of concha margaritifcra plerifque antiquis Indi 
 Befides this fhcll there are many others found to produce Pearls 
 the common oyfler often has them, and the mufcle, the pinr 
 marina, and feveral other of the bivalves, as well as the nautili 
 GrEcorum, and feveral other fhells of other genera. The Pear 
 of all thefe fiiells are often very good, but thofe of the true Ir 
 dian berberi, or Pearl, are in general fuperior to all. 
 
 We have Scotch Pearls frequently as big as a tare, fome as bi 
 as a large pea, and fome few of the fizc of a horfe bean ; bi 
 
 tbCi 
 
 ifflly 
 
 irijtii 
 
 ^l 
 
PEA 14^ 
 
 I ,fhefe are ufually of a bad fliape, and of little value In proportiori 
 to their v/cight. 
 
 The fineit, and what is called the true fiiape of the Pearl, is 
 
 I a perfect round ; but if Pearls of a confidcrable fize are of the 
 (hape of a pear, as is not unfrequently the cafe, they are not of 
 
 I lefs value, as they ferve very luckily for ear-rings and other orna- 
 ments. Their colour ought to be a pure v/hite, and this not ai 
 dead and lifelefs but a clear and brilliant one ; they muft be per- 
 fedlly free from any foulncfs, fpot, or ftain, and their furfaces muft 
 
 I be naturally fmooth and glofly ; for they bring their natural polifU 
 
 I with them, art being unable to do any thing like it. 
 
 Pearls of whatever fize, when they are rough on the furface, 
 or of irregular figures, as hollow, flat, or undulated, are of little 
 
 1 value ; and they are liable alfo to be greatly debafed by a tinge 
 of yellow or blue ; fometimes they are found greenidi, reddifh, or 
 
 [ brownifli ; the two laH: ftains wholly dcflroy their value ; as ta 
 
 \ thofe that are a little yellowilh, the Orientals who value Pearls full 
 
 )8s much as we do, and v/ill pay as dear for them, do not like 
 
 j them the worfe for a flight tinge of that colour, provided they are 
 perfcjSly bright, and of a fine natural polifh. 
 
 Jrtijicial F EARLS. Making of falfe Pearls is now much ufed 
 in France, and is the curious invention of the Sieur, that inge- 
 
 ; nious artift having obferved, that the fcales of the bleak, a fifh 
 found plentifully in the river Marne, had not only all the luftr? 
 
 , of the real Pearl, but that after beating them to powder in water, 
 or ifing-glafs, they returned to their former brilliancy when dri- 
 
 ;ed; he bethought himfelf of fetting a little mafs thereof in ths 
 cavity of a bead, which is a kind of opal or gUifs, bordering much 
 on the colour of Pearl. With a little glafs tube Hx or feven inches 
 long, and a line and a half ^n diameter, but very (harp at one 
 end, and a little crooked, h^ introduced the matter by blowing 
 it, after having taken up a drop with the pointed extremity ; and, 
 to fpread it throughout the inner circumference, he contented 
 himfelf to /hake it gently for fome time in a little ofier bafket lin- 
 ed v.'ith paper. 
 
 The pulverifed fcales refume their luftrc as they dry, and, to 
 increafe this luflre in winter, they lay the beads in a hair fieve, or 
 5ohing cloth, which they fufpcnd to thecieling, and underneath, 
 at fix feet diflance, lay heaps of hot afhes. In fummer they are 
 ■ufpended in the fame manruer, but without any fire. 
 
 And now nothing remains, but to flop up the aperture, which 
 5 done with melted wax, conveyed into it with a tube, like thaC 
 iled in introducing the difTolved fcales. 
 
 After cleaning off the fupeifluous wax, the Pearls are perforat- 
 >d with a needle, and then flrung ; and thus they become neck- 
 
 lacesj 
 
 I 
 
*44 PEA 
 
 laces, which the ladies now generally wear, in defe£l of true PearJ^ 
 
 Another tuay of making Pearls. Take Pearl three ounces^, 
 prepared fait one ounce, filtrated juice of lemons, fo much as will 
 t;over them four fingers breadth ; let it (land fo long till it be a 
 parte; the glafs being very clofe flopped, fhake all together five 
 or fix times a day, and when it comes to pafle put it into a glafs 
 ti'ith ftrong fpirit of vinegar ; and lute another glafs over it ; di- 
 'geft it three weeks in a cool place, under the earth fo long, till all 
 te diffolved ; then mix it with a little oil of eggs or fnail water, 
 till it be like Pearl in colour j then put this pafle into filver 
 moulds, and clofe them up for eight days ; after which, take 
 them out and bore them, and put them again into the mould for 
 right days. This done, boil them in a filver porringer with 
 Tnilk ; laiily, dry them upon a plate in a warm, place, where nei- 
 ther wind nor dufl may come, and they will be much fairer than 
 any oriental Pearl. 
 
 The defcription of the furnace for making Pearls. See plate VIII. 
 
 A is the afh-hole ; you may add to it an hovel for fucking in 
 the air, which muft be luted to it very firmly. 
 
 B is the infide where the afhes fall into ; this ought to be lof- 
 t)', for drawing in the air. 
 
 C is the grate, which muft be very ftrong iron bars. 
 
 D is the opening, through v.hich the crucibles and fuel are put 
 in ; this ought to be well tempered iron, and luted with a very 
 good lute, at leafl three inches thick. 
 
 E is the chamber where the vvoiks are baked. 
 
 F is the coverlid of the furnace, which is to be vaulted firm, 
 and made of the i'ame earth. 
 
 G is the cliimney, over which you may fet feveral iron platei 
 cne above the other for drawing the air. 
 
 H is the hovel or flielving-place of iron for the afh-hole. 
 
 I are funnels for the chimney-plates and the hovel. 
 
 K is a crucible. 
 
 If this furnace be made five or fix inches thick, it will bear all 
 degrees of heat, and ferve very conveniently for private pcrfons, 
 by makine it of a fuitable largenefs infiead of the glafs-houfe fur- 
 nace ; when you make your fire of wood, there will be no oc- 
 cafion for the hovel of the afh-hole. 
 
 Another method of making Pearls. Take two pounds of thrice 
 ^iftilled vinegar, one pound of Venice turpentine, mix them to- 
 gether, and put the mafs into a glafs cucurbit; fit to it the head and 
 receiver, luting the joints ; let them dry, and fet it on a fand fur- 
 nace to diftil the vinegar ; keeping a gentle heat, left the ftuff 
 {hould fwell up. 
 
 Afterwards put the vinegar into another glafs cucurbit, where- 
 in hang a quantity, at difcretion, of feed Pearl, ftrung on a thread 
 
ih/. ir PLit^. vni 
 
*44 
 
 lace: 
 A 
 prep 
 t:ovt 
 pafli 
 or fi 
 witb 
 'geft 
 ^ecl 
 tilli 
 moil 
 then 
 «igh 
 milk 
 thcr 
 any 
 5" 
 h 
 the: 
 B 
 
 E 
 
 in; 
 
 gOO( 
 
 E 
 F 
 
 and 
 
 G 
 
 one 
 
 H 
 
 I 
 
 K 
 
 If 
 
 dcgr 
 
 by n 
 
 nace 
 
 cafic 
 
 A 
 
 Jiftil 
 
 geth 
 
 recei 
 
 nace 
 
 {hou 
 
 A 
 
 in h> 
 
PEA 14^ 
 
 cf filver or gold done about with a piece of very thin filk ; they 
 mult be put in the middle oi the body, (o as not to touch the vine- 
 gar. This done, head your cucurbit with a blind head, and lute 
 it very well ; fet it in a balneum marine well clofed, there to re- 
 main for a fortnight ; the heat of the B. will elevate the fumes of 
 your vinegar, and they will continually circulate about the Pearl, 
 and Co foften and bring them to the coiififlencc of a pafte j which 
 being once performed, take them off, and mould them in what 
 form you pleafe, long, round and pear like, and as big as you 
 think fit ; do this with moulds of fine plate gilded ; you mufl not 
 touch the pafte at all with your hands, but altogether work it 
 with a plate fpatula, which will fill the moulds ; then bore therri 
 through with a porker's briftle or gold wire, and fo let them dry 
 a little ; then thread them again with gold wire, and fet them in 
 a clofed glafs, which lay in the fun to dry them to a hardnefs; fet 
 them afterwards in a glafs matrafs in a ftream of running water, 
 leaving it there for twenty davs, and about that time they aiFume 
 their firft folidity and hardnefs. 
 
 To give them tranfparency and fplendor, you muft prepare 
 fome mercury water after the manner we fhall prefcribe hereafter. 
 When you have taken them out of the laft matrafs wherein 
 they were for tv/enty days as the running water, hang them in 
 a vefTel of glafs where the mercury water is, and fo they will moif- 
 ten and fwell, and aflume their oriental beauty ; this done, fhift 
 them out of this water into a matrafs clofed hermetically, for fear 
 that any water fhould be admitted into it ; and fo down v/ith it 
 into a well, leaving it there for eieht whole days ; then draw it 
 up, open the matrafs, and you will have them as fine and good 
 as any oriental Pearls whatever. 
 
 To make mercury zuater for giving tranfparency and fplendor to 
 Pearls. You muft take plate tin of Cornwall calcined, let the 
 calx be very fine and pure, amalgamate one ounce thereof, with . 
 12 ounces of prepared mercury well purified ; wafh the amalgama 
 with water, until the water remains clear and infipid ; then, dry- 
 ing the amalgama thoroughly, put it into a matrafs over a fur- 
 nace, keeping fuch a dcg'ee of heat as is required for fublimation. 
 When the matter is well fuhlimatcd, take off the matrafs and let 
 it cool, and fo take out the fublimate ; to which add one ounce 
 of Venice fublimate, and grind them well together on a marble* 
 fo put them into another matrafs, clofe it very well and fet it 
 topfy-turvy in a pail of water, and the whole m.afs will in a little 
 time refolve itfelf into mercury water : This done, filtre it into 
 a glafs receiver, and fet it on a gentle afli-fire to coagulate, and 
 it Will be brought to a cryftalline mafo. Take it off, and with 
 a glafs peftle and mortar pound it very well to a very fine pow- 
 der, which fearce through a very fine fieve, and put it into a well, 
 Vol. IT. ' L topped 
 
1^6 PEA 
 
 flopped matrafs in B. marise, letting It remain till it refblve 
 again in water ; and this lalt fliall be the mercury water, which 
 you muft prefcrve to employ on your Pearl. 
 
 Another way to make thcje Pearls. This is an eafier way than 
 the former; for by baking them, as we fhall fhew, you very 
 much fhorten the time which the preparation would elfe take 
 up : However, you muft not expedt them fo delicate and natural- 
 as the firft, the caufe whereof ia eafily enough conceived ; for, 
 thefe Pearls having enlarged themrdves in the water, as we al- 
 ready noted, it is reafonabje to believe the hardening them after- 
 Wards in the cold will be of a much mors natural efFedt than if 
 done with heat. 
 
 Take very fair oriental Pearl-feed for this purpofe, and re- 
 duce it to an impalpable powder on a marble, to diflolve after- 
 wards in mercury water, or clarified juice of lemons : If this be' 
 not efFedted quick enough, (et it in a cucurbit over warm aflies,. 
 and be careful to take the cream, which in a little time will ap- 
 pear at the top, immediately ofF; fo withdraw the diffolutior%- 
 from the fire and let it fettle a little. This done, pour it gent- 
 ly into another glafs body and keep it apart, and you will have- 
 the Pearl in a parte at bottom, wirh v.'hich fill your gjWed plate 
 moulds, made to what bignefs or form you think fit, prefling- 
 the parte with the rtlver fpatula, and io ftiut them up. Twenty- 
 four hours after you murt take n.^d bore them through with a- 
 porker's briftle, clofe up the moulds and leave them in the oveiii 
 in a parte of barley dough, which being half baked, draw out 
 and open, taking away all the Pearl, and rtcip them in the dif- 
 fblution juft before directed, to be kept apart, putting them iai 
 and out feveral times ; fo clofe them in their moulds, and bake' 
 them again with the like parte as before \ only let this laft be 
 almoft burnt up before you draw it out ; thus you will have the. 
 Pearl well baked and hardened. 
 
 This done, draw it out, open all the moulds, take away the" 
 Pearls and ftring tHcm on one or more gold or filver threads^ 
 fteep them in mercury water for about a fortnight, after this dry 
 them in the fun in a well-clbfsd glafs body, fo you will have a 
 very fine and fplendid Pearl. 
 
 Another way. Though this be a more common way than the 
 precedent, we will not omit it, becaule everv one may have his. 
 choice to take that method v^hich beft fuits with his apprehenfion 
 or conveniency. 
 
 You muff, as in the former, take very fair oriental feed Pear^ 
 ground to an impalpable powder and difToIve it in alum water, 
 then rack olF that water and wafli oft' the parte of Pearl which| 
 remains at bottom, firft with fomediftilled waters, then in beaiil 
 water, and fet it in B. mariae, or horfe-dung, to digeft for a forc-| 
 z night J. 
 
 ■ 
 
PEA 147 
 
 right; afterwards take out your vefTel, and, your matter being 
 come to the confiftency of a pallc, mould up your pafte in the 
 gilt filver moulds as before directed, bore them with a briftle, 
 ftfing them on gold or filver thread, and hang them in a very 
 well clofcd limbec of glafs, to prevent the air from coming in to 
 Ipoil them. 
 
 Thus dried, lap them one by one in leaves of filver, and fplit 
 open a barbel as if you were to fry him, and fo clofe ihem all 
 up in his body ; make a pafte of barlev meal, and bake him as 
 you would do a batch of bread and no more, afterwards draw it 
 out and let them dry. 
 
 To give a tranfparency and fplendor to thefe Pearls, if you 
 do not care to ui'e the mercury water, inftcad thereof, take the 
 herb gratuli fqueefed in water, put into this water fix ounces of 
 feed Pearl, one ounce of fait-petre, an ounce of roch alum, an 
 ounce of litharge of filver, the whole being difTolved ; take your 
 dried Pearls, heat them firft, then cool them in this diffolution ; 
 thus do for about fix times at leafl, heating and cooling them at 
 this rate therein. 
 
 If your Pearl fhould happen to fail of coming to a fufficient 
 hardnefs, you may correct and make them exceeding hard, by . 
 baking them a fecond time after this manner : 
 
 Take two ounces of calamine, or lapis calaminarls, in Impal- 
 pable powder, add to this two ounces of oil of vitriol, and two 
 ounces of water ofwhiteof eggs ; put all thefe into a retort, lute 
 thereto a receiver, and let them diftil, and you will have from 
 it a very fair water, with which and fome fine barley meal make 
 11 I a pafte ; coffin your Pearls in this, and bake them in an oven as 
 before, they will thus become exceeding hard and recover theif 
 natural tranfparency. 
 
 Haw to blaj7ch fijie Pearl, The beauty of Pearl confifts in- 
 I tirely in the brightnefs of their white colour, fuch as are fpotted 
 h ' or of a dark yellow being the leaft eftimable : You may however 
 'M ' reftore thefe laft to a true luftre and whitenefs, by letting them 
 foak and cleanfe firft with bran water, then in milk-warm wa- 
 ter; and laftly fteep them twenty-four hours in mercury water j 
 this done, ftring and hang them in a wellclofed glafs body to 
 atk >dry in the fun as before. 
 
 The bran water is made by boiling two good handfuls of 
 :dW ^wheaten bran in a quart of water, until the water has drawn all 
 tfhe ftrength thereof to it ; and thus you are to ufe it afterwards 
 P(! klbr cleanfing the Pearl. You muft ftring and lay them all to- 
 gether in a glazed earthen pan, and pour thereon one third of 
 ■this water ; when they have foaked until the water be tolerably 
 jiliei Pooled that you may endure the heat, rub them with your hands 
 ate "gently to cleanfe them the better ; continue fo until the water 
 ^ L 2 be 
 
r-vS PEA 
 
 be colJ, pour out this water, and pour on another third part or 
 the bran water, dill boiling ; and lb ule as the former, throwing 
 it away when cold, then pouring on the rernainder of the water, 
 proceeding flill after the former manner; after this, juft heat 
 fome fair water, and pour it on them to refrefli and take away 
 the remains of bran ; fhift this water, pouring on more frefh warm 
 water ; do thus thrice without handling them ; then lay them on 
 a (heet of very clean white p^per to dry in a Ihade, and lafl of 
 all fteep them in yoar mercury water, to bring them to per- 
 fedtion. 
 
 To f/iole coimterftit Pf arl very like the natural. This receipt 
 for making counteiicit Pearl has a much more fine and folid ef- 
 i<:€t than any now-a-davs in ufe. 
 
 Take chalk well purified and feparatcd from its groflhefs and 
 fand, make pafte thereof, and fo mould it up like Pearl in a 
 mould for that purpofe ; pierce thefe through with a briftle, and 
 let them afterwards dry before the fun, or, for more difpatch, in 
 an oven till they receive a juft hardncfs ; then firing them on a 
 very fine thread of filver, C( lour them lightly over with bole ar- 
 moniac, diluted in water of white of eggs ; then drench theni 
 with a pencil and fair water, and fo apply leaf filver all over and 
 let them dry ; this done, burniili them with a wolf's tooth till 
 they (hine very finely. 
 
 To give them a true colour of Fearl, make a glue of parch- 
 ment or rather vellum fliavin'gs, thus : 
 
 Wafh the {havings in warni water very well, and boil them 
 after in z ne^r pot to a thicknefs, and Pirain this. 
 
 vVh'en you ufe this glue, you muft warm it on a flr?t veflef, 
 then dip the firing of Pearls therein, fo as not to fill the interval 
 inches between each Pearl, but that every one may be done all 
 Over equally ; after this let them dry. If vou obferve any baulk 
 or defeft on them, you may dip them in a fccond time, and they 
 will afTume a finer and more tranfparent whitenefs, and will have 
 a certain darknefs within and luftre on the outfide, which com- 
 pleats and brings them to the beauty of fine real Pearls. But, frt 
 this laft cafe, if, inilead of this gUie, you dip or varnifh the Pearls 
 ^fter th?v are filvered, with a white varnifh, and fo polilh them, 
 thev will not only be fairer but more durable, like true Pearl. 
 
 Pearls are imitated, in painting in miniature, bv laying on ^ 
 fixture of white and a little blue, and fhading them and fwelling 
 them with the fame, but a little fironger. 
 
 Lay on a finall white /pot, jufl in the middle of the light fid&^ 
 ah'l on the other, between the fhadeand the border of the Pearl, 
 give a touch of maflicote, to make a rcfieclion ; and underneath- 
 give them a cafl of the colour thev are upon. 
 
 To (lyt vjooUen ^7 Pearl cokur. For one pound of fluff, taker 
 z one 
 
 taifi 
 
PER ■ -i^p 
 
 roj'rcounceof blue lac, half an ounce ofblue wood, and half an 
 ounce of burnt alum. 
 
 Firft boil the blue wood for a quarter of an hour in a bag, then 
 -take it out, and, having powdered and fifted the lac through a 
 hair fieve, fkim the liquor, and ilir it very well for a quarter gf 
 an hour, and help it vi'ith a quarter of an ounce of pot-afhes. 
 
 To dye filk a Pearl colour. To every pound of fillc take one 
 ounce of Orleans, difiolve it in water, and wave the dry filk in 
 it till \x. lathers j but it muft not boil : Then rinfe and beat the 
 filk clean, and take for every pound of filk four pounds of wild 
 fafFron very well prefled, and four ounces of pot-afhes, with half 
 a pint of lime-juiGC. The Italian carnation or flefli colour is 
 .prepared the fame way. 
 
 Thomas PEMBROKE-, was both a hiftory and face painter, 
 and difciple of Laroon, v.hofe manner he imitated ; he painted 
 feveral pidures for the Earl of Bath, in conjun6tion with one 
 Mr. Woodfield, a difciple of Fuller, and lately living. He died 
 at London, in the year 1685, in the 28th year of his age. 
 
 'Jacffh PEN, was a Dutch hiflory-painter in thexeign of King 
 Charles II. He was excellent both in drawing, colouring, and 
 -compofition, and died in London about 50 years ago. 
 
 PENITENCE, is rcprefented, in painting, by a woman in 
 a vile, Tagged, and bafe attire, infinitely deploring her being ; 
 and bemoaning; herfelf in paffionate fits above all meafure, con- 
 tinually weeping. 
 
 'JJ Luca PENNI Romano^ or Lu:a P. P.. was Raphael Ur- 
 '='CV3 bin's fcholar, and brother to Fattorino ; he invented very 
 .beautiful fubje£ts, which were engraven by George Ghifiii, of 
 Mantua, in 1566. He ufed this mark. 
 
 JQ George PENS, painter and engraver at Norimberg, toge- 
 Cl ther with Mark-Anthony Raimondi, engraved the works 
 of Raphael, in Rome. He engraved after Aldograft's manner j 
 his mark was fometimes G. P. 1554. 
 
 PENSIVENESS, is reprefented, in painting, &:c, by an old 
 ivoman full of grief, in pitiful cloaths without ornament, fitting 
 upon a ftone ; her elbow upon her knees, and both hands undej 
 her chin ; a tree by her without leaves. 
 
 Old, becaufe youth is jovial ; fhe is poorly clad, which fults 
 with the tree without leaves ; the ftone fliews that {}:ie ii bar- 
 ren in words and deeds : But, though fhe feems liftlefs in the win- 
 ter in politic adions, yet, in the fpring, when there is need of 
 ^ife men, then penfive men are found by experience to be judi- 
 cious. 
 
 PERFECTION, is reprefented, in painting, &c. .by a fair 
 iadyin a veft of gold gaufc, her bofom utiveiled, her body is in 
 
 L 3 th? 
 
I 
 
 ^SO PER ^ 
 
 the zodiac, hff flecvcs turned up to her elbows, making a per- 
 fect circle with the left. 
 
 The golden robe denotes perfe(£lion ; the naked breafls, the 
 chiefeft part thereof to nourifh others ; the circle, the moft per- ; 
 feift fi<2ure in the mathematics. 
 
 PERIDORE, is a precious ftc^ie, a fort of a clear topaz, of 
 « gold-colour light, but which is notwithftanding beautiful. 
 
 To imitate it well, take two ounces of natural cryftalin pow- 
 der, fix ounces of minium, an ounce of fine fait of tartar, and 
 eight grains of verdigreafe J reduce the whole to an impalpable 
 powder by pounding in a mortar, fearce it through a fine fieve. 
 The fame circumftances are to be obferved in baking this ftone 
 as in the jacinth, which fee, by reafon of the minium that enters 
 into the compofition of the one and the other, and you will have;, 
 a very fine Peridore. 
 
 F Francis PERKIER, painter and engraver, publiflied fe- 
 veral Roman antiquities in 1635, with this mark, as in 
 the index of RoiTi's plates. 
 
 PERSECUTION, is reprefented, in painting, &c. by 
 woman clad in verdigreafe and ruft colours, wings upon her 
 {houlders, in a pofture as if flie would let fly an arrow ; with a 
 crocodile at her feet 
 
 The wing (hew its being evermore ready and quick in doing 
 mifchief ; the bow, her fending out bitter words ; the crocodile 
 becaufe it annoys only the fifh that flee from it ; fo Perfecution 
 defires nothing more than to find thofe who do not refift it by their 
 own flrength 
 
 PERSPECTIVE, confifts of two parts, fpeculative and prac-l 
 tical. The fpeculative part, or theory, makes a confiderable 
 branch of dire6l optics in regarding the appearances of all vifible 
 objedls as they exhibit themfelvcs to the naked eye, and redu- 
 cing thofe appearances to mathematical rules and theorems. The 
 pradiical part is an application of thele rules to the a6iual defcrip 
 tion of thofe appearances ; the d(;ing of which, in a moft eafy 
 and uniform manner, for all different cafes, is all that can be 
 expected from it. 
 
 Without the knowledge of Perfpe£live a pi£f ure is drawn as i( 
 were by guefs, without any certain determinate points or lines, 
 or any other rules than the painter's eye to guide him ; here the 
 fhape and fituation of his obje6ts are not previoufly determined, 
 but left at large to be modelled, as they may happen in the pro- 
 grefs of his work to appear to ftand belt ; this indeed is the too 
 common way in painters work, as it allows them all kind of la- 
 titude in their defigns, or rather permits them to paint without 
 any fettled defuin at all, but as it fhall happen. If a figure, on| 
 examination, appears too large for its diftance, it is by the ftrokei 
 
 oil 
 
/^/.Z^ y/^z/VlX 
 
PER i^t 
 
 cf a pencil brought to ftand on nearer ground ; mountains are re- 
 moved from place to place by raifing or lowering their founda- 
 tions, till, at lalt, the painter fixes them as fuits beft with their 
 bulk and ftrength of colour which he firlt gave them. As he has 
 no fixed defign to work by, all he can do is to make his eye the 
 judge, and to correal what, on view, appears to him amifs ; 
 but often, not knowing how to do it, he makes it worfe, and is 
 obliged, after many unfuccefsful trials, to hide that part under a 
 veil, or blot it quite out, and put fomething elfe in its place that 
 may look better. As he is not fure of v/hat he really intends, he 
 is obliged to keep others as much in the dark as himfelf, by in- 
 duftrioufly avoiding all regular figures and ftraight lines, and 
 leaving the boundaries of this objetft as uncertain as may be ; 
 and thus at length the piece is finifhed, and the painter almoft 
 as ignorant of the true original or model of his performances as 
 thegreateft ftranger ; and, if in this manner it can be compleated 
 without any obvious and grofs faults in it, he is much more be- 
 holden to chance and good fortune than to the rules of the art he 
 profefles. 
 
 On the otherhand, a pifturedrawn by the rules may beeafily 
 reduced to its model ; nothino; is ambiguous or uncertain in it 
 Ijut what is fo in nature. The true diftance, height, and breadth 
 of every objedt may be meafured by a line ; the grounds and 
 buildings may be reduced to theiv original plan, and from thence 
 anew pii£lure may be drawn of the fame things in any other view. 
 A painter working by thefe rules knows what he is about, and 
 lets the fpeftator know it too ; he is in no danger of falling into 
 abfurdities, nor does he ftand in need of blinds and (hift to co- 
 ver his ignorance ; if any part of his work hath not a good efFe*ft-, 
 lie knows the fault lies in the model or defign, and how, and 
 where, to corredt it ; and has the pleafure of v/orking with cer- 
 tainty without the flavery of being obliged to grope out every fiep 
 of his way, not knowing in the end whether he is right or 
 wrong. 
 
 The general prariice <?/ Perspective, t. Let every line, 
 which, in the object or geometrical figure, is ftraight, perpendi- 
 cular, or parallel to its bafe, be fo alCo in its fcenographic deli- 
 neation. 
 
 2. Let the lines, which in the objefl, return at right angles 
 from the foreright fide, be drawn fcenographically from the vi- 
 fual point. 
 
 3. Let all ftraight lines, which in the objefl return from the 
 foreright fide, run in a fcenographic figure into the horizontal 
 line. 
 
 4. Let the objed you intend to deli icate, ftanding on your 
 right hand, be placed alfo on the right hand of the vifual point , 
 
 L 4 a'i^ 
 
152 PER 
 
 and that on the left hand, on the left hand on the fame point; 
 and that which is juft before, in the middle of it. 
 
 5. Let thofe lines which are, in the objeft, equidiftant to the 
 returning line, be drawn in the fcenograghic figure, from that 
 point found in the horizon. 
 
 6. In fetting off the altitude of columns, pedeftals, and the 
 like, meafurethe height from the bafe line upward, in the front 
 or toreright fide ; and a vifual ray down that point in the front 
 fhall limit the altitude of the column or pillar, al! the way behind 
 the toreright fide, or orthographic appearance, even to the vifual 
 point. 
 
 This rule vou muft obfcrve in all figures, as well where there 
 is a front or foreright iide, as wheie there is none. 
 
 7. In delineating ovals, circles, arches, croffes, fpirals, and 
 crofs arches, or any other figure in the roof of any room, firft 
 draw ichnographically, and fo, with perpendiculars from the moft 
 eminent points thereof, carry it up into the cieling ; from which 
 feveral points carry on the figure. 
 
 8. The center, in any fcenogtaphic regular figure, is found 
 by drawing crofs lines from oppofitc angles ; for the point where 
 the diagonals crofs is the center. 
 
 9. A ground plane of fquares is alike, both above and below 
 the horizontal line; only the more it is diflant above or beneath 
 the horizon, the fquares will be fo much the larger or wider. 
 
 10. In drawing a Perfpective figure, where many lines come 
 together, you m.^y, for the diredling of your eye, draw the dia- 
 gonals in red, the vil'ual lines in black, the perpendiculars in 
 green, or other different colour, from that v/hich you intend the 
 figure fhall be of. 
 
 IT. Having confidered the height, diftance, and pofition of 
 the figure, and drawn it accordinglv, with fide or angle againfl 
 the bafe : raife perpendiculars from the feveral angles or defigned 
 points from the figure to the bafe, and transfer the length of each 
 perpendicular, from ths place where it touches the bafe, to the 
 bafe on the fide oppofitc to the point of diftance ; fo will the dia- 
 metra's drawn to the perpendiculars in the bafe, by intcrfeclion 
 with the diagonals, drawn to the feveral transferred diflances, 
 give the angles of the figures ; and fo lines drawn from point to 
 point will circumfcribe the fcenographic figure. 
 
 12. If in a landfcape there be any flandmg waters, as rivers, 
 ponds, and the like; place the horizontal line level with the far^- 
 t'left fight or appearance of it. 
 
 13. If there be any houfesorthe like in the pi<flure, confider 
 their pofition, that you may find from what point in the horizon- 
 tal line> to draw the front and fides thereof. 
 
 J4. In defcribiiig things at a great diflance, obferve the pror 
 
 portion, 
 
PER 153 
 
 portion, both in magnitude and diftance, in draught, which ap- 
 pears from the object to the eye. 
 
 15. In colouring and Ihadowing of every thing, youmuflda 
 the fame in your pidture, which you obferve with your eye, ef- 
 peciaily in objects lying near ; but, according as the diftance 
 grows greater and greater, fo the colours mult be fainter and 
 fainter, till at laft they lofe themfelves in a darlcifh fky colour. 
 
 16. The catoptrics are bed (een in a common looking-glafs, 
 or other polifhed matter; where, if the glafs be exactly fiat, the 
 objedt is exactly like its original ; but if the glafs be not flat, the 
 refemblance alters from the original ; and that, more or lefs, ac- 
 cording as the glafs differs from an exact plane. 
 
 17. In drawing catoptric figures, the furface of the glafs is to 
 be confidered, upon which you mean to have the reflection: 
 For which you mufl make a particular ichnographical draught 
 or projection ; which on the glafs muft appear to be a plain full 
 of fquares, on which projection transfer what ihall be drawn on 
 a plane, divided into the fame number of like fquares ; where, 
 though the draught may appear very confufed, yet the refle(5tion 
 of it on the glafs will be very regular, proportional, and regularly 
 compofed. 
 
 18. The dioptric or broTcen beam may be feen in a tube thro' 
 a cryftal or glafs, which hath its furface cut into many others, 
 whereby the rays of the object are broken. 
 
 For to the flat of the cryftal or water the rays run ftraight ; 
 but then they break and make an angle, the which alfo by the re- 
 fra£ted beams is made and continued on the other fide of the 
 fame flat. 
 
 19. When thefe faces on a cryftal are returned towards a plane 
 placed diredtly before it, they feparate themfelves at a good dif- 
 tance on the plane ; becaufe they are ail dire(Sled to various far 
 difl;ant places of the fame, 
 
 20. But, for the afligning to each of them a place on the fame 
 plane, no geometric rule is yet invented. 
 
 Of the z^^5 c/' Perspective, i. Perfpedtive then is a fcience 
 or rather an art abfolutely neceflary to one who would draw well, 
 engrave, etch, carve, or paint; and which men of thofe pro- 
 fcflions ought not to want : Yet they are not to be fo wholly fub- 
 je6t to its precepts, as to enfiave thefe arts to its rules. 
 
 2. It is to be ufed when it leads you pleafinszlv into the beau- 
 ties of your work, and can be helpful to you in your defign j 
 but, when it will not beufeful to thefe purpofes, you are to pals 
 it by, left it fhould mifguide you, by leading you to fomething 
 that is repugnant to your peculiar art. 
 
 3. PerfpeCtive cannot of itfelf be called a certain rule, but it 
 js to be ufed with judgment, prudence, and difcretion; for if it 
 
 be 
 
154 PER 
 
 he perfectly underflood by you, and yet you ufe it too regularly, 
 though you may eft'eft fuch things as are within the rules of art, 
 yet the work will not always be pleafing to the fight. 
 
 4. Thegreateft painters who have made ufe of it, if they had 
 rigoroufly obferved it in their defigns, they had much diminifhed 
 the glory to which they attained, and to which time will give a 
 kind of immortality. 
 
 5. Such as follow its precepts too clofely, may indeed make 
 things regularly true ; but will be very deficient in that harmo- 
 nious excellency, that exquifite beauty and that charming fweet- 
 riefs, which would otherwifc have been found in them. 
 
 6. The architects and ftatuaries of ancient times did not always 
 find it to their purpofe ; it was not their prudence to trace the 
 geometrical part fo exaflly as the rules of Perfpeftive do require. 
 
 7. If you would imitate the frontifpiece of the Rotunda, ac- 
 cording to the rules of Perfpeftive, you would err very much; 
 for the columns which are at the extremities have more in dia- 
 meter than thofe that are in the middle. 
 
 8. The cornifli of the palazzo Farnefe, which looks fo beau- 
 tifully, if beheld from below, yet, being more nearly viewed, is 
 Cound to want very much of itsjurt proportion. 
 
 9. In the pillar of Trajan, the highefl figures are much greater 
 than thofe which are below ; which, by the rules of Perfpeitive, 
 fhould be quite contrary : Here they increafe according to the 
 meafure of their diftance. 
 
 10. There is a rule which teaches the making figures after 
 that manner ; but it is no rule in Perfpeftive, though it is found 
 in fome books of that art ; and it is never to be made ufe of, but 
 when it is for your purpofe, viz. when it may eafe the fight and 
 render the objedl more agreeable. 
 
 11. The Farnefian Hercules, its bafe is not on the level, but 
 on an eafy declivity on the advanced part ; the reafon of which is, 
 that the feet of the figure may not be hidden from the light, but 
 appear more pleafing to the eye. 
 
 12. And this is the true reafon, that thefe great men have 
 fometimes ftepped afide from the geometrical rules of Perfpe(5live, 
 not in flight or contempt of the art, but for the abfolute pleafing 
 of the fenfe of fight. 
 
 Methods of defcribing geometrically fgurts necejjary in Perspec- 
 tive. I. A line, as A B, plate IX. fig. i, being given to 
 form a fquare on ; fet one foot of the compafles in the point A, 
 and, extending the other the length A B, defcribe the arch B C ; 
 then, from the point B, defcribe another arch A D, interfering 
 the former in E ; and from E fet off half the arch E A, or E B, 
 outwardly, to D and C, to which points, drawing lines from 
 A B, ^'c. the fquare is formed. 
 
 OA 
 
PER ,55 
 
 Or thus : Upon the given line A B, ere£l a perpendicular A C 
 equal to A B ; then, taking the length A B in the compaiTes, 
 fet one foot in B, and with the other defcribe an arch : Having 
 done the like from the point C, the interfedion of the two 
 arches will be the point D, which gives the fquare A B C D. 
 
 2. To defcribe a parallelogram or long fquare. On the term 
 E, fig. 2, of the given line E F, ereit a perpendicular, either 
 greater or lefs than the fame as E G : Then, taking E G in the 
 compafles, fet one foot in F, and with the other defcribe an arch ; 
 alfo take E F in the compafles, and, fetting one foot in G, de- 
 fcribe a fecond arch, cutting the former in H : This will pro- 
 duce the parallelogram required. 
 
 Of circular polygons^ which are figures cf fcvcral angles infer i bed 
 in circles. 
 
 3. To defcribe an equilateral triangle ; open the compafTes to 
 the radius of the circle, fet one foot in the point A, fig. 3, and 
 defcribe the arch DE, and draw a right line D E, which will 
 be the fide of the triangle DE F. 
 
 4. For a fquare ; draw two diameters at right angles, and 
 join their extremities : Thus you will have the Iquare A BCD, 
 fig. 4. 
 
 5. For a pentagon or five-angle ; draw two diameters, and 
 take D G, fig. 5, half the femi-diameter D I, and from the point 
 G with the interval G A, defcribe the arch A H : The chord of 
 which is the fide of the pentagon. 
 
 6. For the hexagon or fix-angle ; the femi-diameter is the 
 fide of the hexagon, fig. 6. 
 
 7. For the heptagon or feven- angle ; take half a fide of the 
 equilateral triangle, fig. 7. 
 
 S. For the o6togon or eight-angle ; take half a quadrant of 
 the circle, fig. 8. 
 
 9. For the enneagon or nine-angle ; take two thirds of the 
 femi-diameter for the fide, as E B, fig. 9. 
 
 10. For the decagon or ten-angle; divide the femi-diameter 
 into two in the point G, fig. 10 ; and, from G with the interval 
 
 'G A, defcribe an arch A B ; the part of the diameter B C will 
 be the fide of the decagon. 
 
 11. For the un-decagon or eleven-angle ; draw two diame- 
 ters or right angles, and from the point A, fig. 11, with the 
 interval of a femi-diameter, defcribe an arch BC ; then, from 
 the point of interfeclion C, draw a line to E, and the portion 
 C D will be the fide of the un-decagon. 
 
 12. For the do-decagon or twelve^angle ; divide the arch cf 
 a hexagon A B, fig. 12, into two equal parts; and the chord 
 of the moiety will be the fide. 
 
 13. An oval is formed divers ways, in all v,'h'ch the figure is 
 
 either 
 
I 
 
 6 PER 
 
 either a compound of fcveral portions of circles^ or it is one line 
 tlrawn from two centers. The moft u(ual methods are thefe : 
 Firfl, defcribe a circle and draw two diameters in it as A B, CD, 
 fig, 13; then, from the points A B, draw two other circles equal 
 with the firft; then, from the point D, draw a line through the 
 center of the laft circle to the circumference E. When you have 
 done this, fet one foot of the compafTes in D, and with the other 
 take the interval E, and defcribe the arch E F, and, doing the 
 like on the other fide, the oval ;ill be formed. 
 
 14. For a rounder oval ; draw a fingle line, and from A, 
 fig. 14, as a center, defcribe a circle, tiie interfection of which, 
 with the right line in the point B, will be the center of another 
 circle. Then, to form the oval, take in the compafles the 
 whole diameter of one of the circles, as from A to F ; and in one 
 cftl'ic interfeftions of the circles, as D, fetting one foot of the 
 x:ompaflcs, with the other draw the arch G H ; Do the like from 
 the point £. 
 
 15. There is alfo an eafier and more ufeful manner of de- 
 fcribing ovals than any of the preceding ones: The fame rule 
 ferving for all form.s, long, narrow, broad, and fhort, &c. 
 
 Thus, fet two nails or pins in a right line, A B, fig. 15, to 
 fervc as a center ; and about thefe tie a thread of the length and 
 width of the oval required, as A B C ; hold the thread tight with 
 a. pen or pencil, and turn it about till you arrive where you be- 
 gan. If you would have it a long one, fet the center farther 
 apart ; and, if a fhort one, do the contrary : For, if the nails 
 ftand clofe together, the figure will be a circle. 
 
 i6. For a fpiral, or volute ; take two points in a line, A B," 
 fig. 16. the points to ferve one after another as centers. As, for 
 infl:ance, having drawn the femicircle A B, fet one foot of the 
 compafies in B, and open the other to the length A B, and de- 
 fcribe a femicircle A C ; then, fet one foot in A, take the inter- 
 val A C, and draw the femicircle C D ; and this continue as 
 long as you plcafc, fi:ill fhifting centers. 
 
 0/ lines and points i?i ?erspective. The terreftrial line, 
 bafe line, or line of the plan, is the line an obje6l is placed or 
 ftandsupon, of which each obje<?t has its particular one, and the 
 whole draught a general one. 
 
 This is always parallel to the horizon, as is feen in A B of 
 the firft figure of plate X, F G of the fecond, and D A of the 
 third ; and fometimes ferves to determine the lengths and 
 breadths ; particularly that at the bottom of the piece, whereto 
 all the meafuresare to be accommodated, as will be fliewn here- 
 after. 
 
 77"/! point (f fight, poijjt of the eye, principal point, or point of 
 
I£(yr%^crn/a/ - 
 
 
 P(,^//j^ ^t/^ i//jt(Z/ice, Pcunt^^St^Z/t. Pei/it ^ i//j'tnni:e^ 
 
 H 
 
 ..■■- I 
 
 2. N 
 
 
 
 f7 .z^."' 
 
 2%^" BaJe 
 
 HtT/t-x: jcn 
 
PER rj7 
 
 Perspective, is a point in tiie axis of the eye, or in the cen- 
 tral ray, where the fame is interfefled by the horizon. 
 
 Thus the point E in the firfl: figure, plate X, is the point of 
 fight in the horizon C D, wherein all the vifual rays meet. 
 
 It is called the point of the eye, or ocular point, bccaufe tli- 
 red^ly oppofed to the eye of the perfon who is to view the piece. 
 
 Of the point or points of cU fiance. — Thefe are a point or points, 
 for there are fometimes two of them, placed at equal diftance 
 from the point of fight. 
 
 They are thus denominated, by reafon the fpedator ou^-ht to 
 be fofar removed from the figure or painting, and the terrcflrial 
 line, as thefe points are from the point of the eye, and are al- 
 ways to be in the horizontal line. 
 
 Thus, HI, fee plate X. fig, 2, being the horizon, and K 
 the point of frght, L and l\\ are points of diflance, ferving to 
 give all the fhortenings. 
 
 Thus, ex. gr. if from the extremes of the line F G you draw 
 two lines to the point K, and from the fame points draw two 
 lines to the points of diftance M and L, where thefe two lines 
 G L and F M cut the lines F K and G K in the points X and 
 Y will be the line of depth, and the fhortening of the fquare, of 
 which F G is the fcale and bafe. The lines drawn to the points 
 of fight are all vifual rays, and thefe drawn to the points of dif- 
 tance all diagonals. 
 
 Of the point of front. — The point of direct view, or of the 
 front, is when we have the object dire(?tly before us, and not 
 more on one fide than the other ; in which cafe it only fhews th« 
 forefide, and, if it be below the horizon, a little of the top too; 
 but nothing of the fides, except the object be polygonous. 
 
 Thus, the plan A B C D, plate X. fig. 3, is all in front, and, 
 if it were railed, we fiiould not fee any thing of the fides AB or 
 C D, but only the front A D : The reafon is, that the point of 
 view E, being directly oppofite thereto, caufes a diminution on 
 each fide ; which, however, is onlv to be underftood where an 
 elevation is the object ; for, if it be a plan, it {hews the whole, 
 as A B C D. 
 
 Of the fide point . — The point of oblique view, or of the fide, 
 is when we fee the objedt alidc of us, and only as it were aflant, 
 or with a corner of the eye ; the eye however being all the while 
 oppofite to the point of fight : In which cafe we view the object 
 laterally, and it prefents us two faces or fides. 
 
 For inftance, if the point of fight be in F, plate X. fig. 4, 
 the objeift GH IK will appear athwart, and (hew two faces 
 G K and G H, in which cafe it will be a fide point. 
 
 1'he pradtice is the {^\"^^ in the fide points as in the front 
 
 points; 
 
158 PER 
 
 points ; a point of fight, points of diftance, &c. being laid down 
 in the one as well as the other. 
 
 Definitions in Perspective. Ichnography, is the figure of 
 the platform in Perfpedive, or the plan any thing is to be raifed 
 upon : Thus, A B C D is the ichnography or plan of a fquare 
 body. See plate XI. fig. i. 
 
 Orthography in Perspective, is the figure of the front or 
 forefide of an object, as an houfe, &:c. Or it is the figure of 
 an ohjefl, as an houfe, &c. directly oppofite to the eye. Thus 
 E F G H is the orthography or fore-part of a cube or houfe. As 
 the ichnography reprefents the plane, the orthography reprefents 
 the fide oppofite to the eye. See plate XI. fig. 2. 
 
 Scenography, is what exhibits the objedl quite raifed and per- 
 fect, with all its diminutions and fhadows ; both in front, the 
 fides which may be feen, and top : Thus IKLMNOP is a 
 fcenography, or perfe6t cube. This is the whole, and compre- 
 hends all the o;her parts. See plate XI. fig. 3. 
 
 Why objeds appear the fmaller as they are at a greater diftance. 
 
 Thiiigs appear according to the angle of the eye wherein they 
 are feen, and this angle is taken at the eye, where the lines ter- 
 minating the objects meet. 
 
 The eye A, plate XII. fig. i, for inftance, viewing the ob- 
 je6l B C, will draw the rays A B and A C, which give the angle 
 B A C ; fo that an obicdt viewed under a greater angle will ap- 
 pear large, and another under a lefler angle, little. 
 
 Nov/, it is certain, that, among equal objects, thofe at the 
 greateft diftance will appear under thefmalleft angle ; and, con- 
 lequentlv, in all Perfpedives, the remoteft objects muft be made 
 the fmalleft : As, for example, if the eye be in A, the obje6lBC 
 v;hich is the neareft, will appear the biggeft, becaufe feen under 
 the greateft angle ; and the fecond, third, fourth, and fifth ob- 
 je6ts, will all appear fmaller and fmaller, though really all equal ; 
 inafmuch as the angles diminifli in proportion as the objeds 
 recede. 
 
 If the eye were removed into M, K L would appear the 
 largeft, and BC, in this latter cafe, no bigger than N O. 
 
 The fecond figure of plate XII. is a fequel of what we have 
 advanced ; for, fuppofing the objects to appear fuch as is the an- 
 gle they are feen in, it follows, that, if feveral lines be drawn 
 between the fides of the fame triangle, they will all appear equal : 
 Thus all the lines comprifed between the fides ON, OP, of 
 the triangle N O P, will appear equal to each other, and, as 
 objecfts comprehended under the fame angle feem equal, fo all 
 comprehended under a greater angle feem greater, and all under 
 a fmaller, fmaller. 
 
 Thus 
 
y^/ Jr. /%w xt 
 
 J'^.-fd^- y'/ 
 
 ^^y-^ 
 
 T^lf. 2. . 
 
 fie 3 
 
PER ,5, 
 
 Thus much being fuppofed ; if there be a number of columns 
 or pilafters to be ranged in Perfpedive on each fide of a hall or 
 church, they muft of necefTity be all made under the fame an- 
 gle, and all tend towards one common point in the horizon O, 
 %• 3 ; as, for inftance, the eye being placed in A, viewing the 
 firft object D E ; if, from the points D E, you draw the vifual 
 rays D O, E O, they will make the triangle D O E, which will 
 include the columns D E, F G, H I, K L, M N, fo as they will 
 all appear equal. 
 
 What has been faid of the fides, is likewife to be underftood 
 of the cielings and pavements ; the diminutions of the angles of 
 remote objeds, placed either above or below, following the 
 fame rule as thofe placed laterally. 
 
 There is therefore no need of adding any thing farther, unlefs 
 this, that you take care that there be as many fquares or divi- 
 fions between the remoteft objeds, as between the neareft ; 
 for, in that cafe, though diftant objecls be theclofer, as they are 
 farther from us, they vi-ill appear in fome meafure to prefervc 
 their diftance. Thus, in E C D E, fig. 4, the interval betwecr^ 
 the four neareft columns, there are fixteen fquares, and no fewer 
 than fixteen between the four rernoteft K L, M N. 
 
 It follows from what has been faid, that if you join two trian- 
 gles as in the laft figure but one for the fides, and two others of 
 the laft for the tops and bottoms of an objecl, all four will ter- 
 minate in one fingle point A, which is the point of fight wherein 
 all the vifual rays meet. 
 
 And this will give a proof of what we have advanced, viz, 
 thatobjedsdiminifh as they remove, the lower rifing, the upper 
 falling, and the lateral clofing or approaching : An example of 
 all which is given in plate XIII. fig. i, which exhibits, as it 
 were, depths and diftances, falling back and receding from us, 
 though all equally near the eye. 
 
 The trees, being ranged by the fame law, have the fame ef- 
 fect as the columns, &c. for being all comprehended in the fame 
 angle, and the two rows having each its own angle, and the an- 
 gles all meeting in a point A, fig. 2, they form a third, which 
 is the earth ; and a fourth, which if you pleafe, is the air ; and 
 thus afford an elegant profpect. 
 
 I . Of the nuafures upon the lafe ;'« Pe R s P E c T I v E . By the bafe 
 line alone, any depth may be gi^en, and in any place at pleafurc, 
 without the ufe of fquares ; which is a very expeditious way, 
 though fomewhat difficult to learn. 
 
 I Ihall however endeavour to make k underftood, by reafon 
 that I (hall frequently make ufe of it. 
 
 As, for example, fuppofe the bafe line B S, the point of view 
 Aj andthe points of diftance D E, plate XIV, fig. i j if now 
 
 yovj 
 
i6o PER 
 
 you would make a plan of a cube B C, draw two occult or dotted 
 lines from the extremes B C to the point of fight ; then, to give 
 the breadth, take the fame meafure B C, and fet it off on the tcr- 
 reftrial line CF ; and from F draw a line to the point of diftance 
 D, and where this iine interfedts the firft ray C, in the point G, 
 will be the diminution of the plan of the cube B H G C. 
 
 If you would have an objetl farther towards the middle, take 
 the breadth and the diftance of the bafe line, as I K j and, to 
 have the depth, fet it as you would have it on the fame bafe as 
 L M, and its width both on L M : Then, from L and M, draw 
 occult lines to the point of diftance D ; and, from the points 
 N O, where thofe lines interfc^t the ray K, draw parallels to the 
 terreft al line, and you will have the fquare QJP O N. 
 
 After the fame manner you may fet off the other fide of the 
 fquare which fliould be on the bafe, as B H G C is here tranf- 
 ferred to V. The points M and T, which are only two feet 
 from the point S, afford a very narrow figure in X, as being very 
 near. 
 
 2. Of the bafe Hue and a firigle po'wt of dijlance. Since the 
 depths and widths may be had by the means of this bafe line, 
 there is no need of any further trouble in making of fquares, as 
 jfhall be fhewn in this example : 
 
 Suppofe a row of trees or columns is to be made on each fide 
 on the bafe line lay down the place and the diftance between 
 them, with their breadth or diam.eters, as A B C D E F G, fi?. 2 ; j 
 then, laying a ruler from the point of diftance O, to each of the i 
 points A B C D E F G, the interfe6tions it makes on the vifual '. 
 ray A H will be the bounds of the obje(5i:s defired. 
 
 To fet them off on the other fide, upon the ray G H, fet one 1 
 foot of the compaffes upon the point of the eye H, and with the 
 other ftrike an arch ; the point wherein this cuts the ray G H, 
 will be the corrcfponding bound. 
 
 Thus M will be the fame v/ith N, and fo of the reft j through 
 which drawing parallels, you will have the breadths. 
 
 And, as for the length, you may make it at pleafure, fetting it | 
 off from A, as for inftance, to P, and then from P, drawing a \ 
 line to H ; and, where this cuts the other parallels, will be form- ' 
 ed the plan required, which vou may make either round or fquare. i 
 
 3. Kot to deceive one's f elf in the meafures. Never put any ob- \ 
 jedts that are intended to be within the plan on the fide of the 1 
 point of diftance, where you are to draw lines for the manage- ! 
 ment of the depth. 
 
 Thus, fuppofe A B, fig. 3, the vifual rav, whereon the mea- 1 
 fures are to be marked ; if you would produce the points C and | 
 D through the fame, do not draw the lines from the point of dif- 
 tance E, but from that oppofite thereto, F ; or, if C and D were 
 
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PER i6t 
 
 on the infide, as G and H are, you {hould not draw from the 
 point F, but from E ; by reafon that the line of interfecftion is 
 found between the two ; confequently the two will cut each other 
 in the fame points I K. See hg. 3. 
 
 Of plana viewed dire^ly^ or in front. From the third and 
 fourth articles preceding, and the elevations that follow^ it will 
 appear that my intention is not to ufe geometrical plans, in order 
 to the drawing of Perfpe£tives ; that being a double labour, and 
 there being very few painters who would give themfelves the 
 trouble, fince I teach them to do the fame thing by the ufe of 
 the terreftrial line. 
 
 But, as there is no rule (o general but has its exceptions, (o 
 there are certain figures that cannot be put in Perfpe£tive with- 
 out the ufe of fuch plans ; befides the confufion a man would be 
 under, fhould a plane be given him to put in Perfpective, if he 
 had not been inftructed how to proceed. 
 
 On thefe confiderations I have been induced to give the fol- 
 lowing rules, which may fuffice to fhew how any plane that can 
 ^e required, or even imagined, may be put in Peripective. 
 
 1. To Jhorten or diminijh a fqiiare, «; A B C D, plate XV, fig. i. 
 From A andB, to the point of fight E, draw the fines, A E, BE; 
 and from the fame angles, A and B, draw two diagonals, F B, 
 A G ; and the points H and I, where they interfedl the rays A E 
 and B E, will give the fquare A B C D, diminilhed in A H I B. 
 
 To do it without the geometrical plan, draw a line from B to 
 F, or from A to G ; or fet off the line A B on the terreftrial line, 
 as in B K ; and from K drav/ another line to F, which will 
 give the interfedlion I, on the ray B E. 
 
 2. To dirnimfh a fquare viewed by the angle D. Having defcri- 
 bed the plane A B C D, fig. 2, draw a line to touch or rafe the 
 angle B, and falling perpendicularly on B D. 
 
 This being continued as a bafe line, lay your ruler on the fide 
 of the fquare A D and D C, and, where the ruler cuts the ter- 
 reftrial line, make the points H, I. 
 
 Then, from H and B, draw lines to the point of diftance P; 
 and from I draw a line to the other point of diftance G ; and, 
 in the interfe6lion of thofe lines, make points, which will give 
 you the fquare K L Al B. 
 
 To do without the plan ; fet off the diameter each way from 
 the middle point B, as to H and I, But in either cafe no line is 
 to be drawn to the point of fi2;ht O. 
 
 3. To diminijh a circle. Drav/ a fquare, A B C D, fig. 3, 
 about it, and, from the angles A D and C B, draw diagonals, 
 dividing the circle into eii^lu parts ; and, through the points 
 where they cut it, O O, draw lines from the bafe line perpendi- 
 cular to D E F. 
 
 Vol. II. M Thea 
 
tei PER* 
 
 Then draw two diagonals, Q_R, S P, interfetling each other 
 at riL^ht angles in the center G. 
 
 Having thus difpofed the plan, draw lines from all the perpen- 
 diculars to the point of fight H ; and, where they are interfe(5ted 
 by the diagonals A K and B I, make points ; the two laft of 
 which M, N, give the fquare, which is to be divided into four 
 by diagonals, interfecRing each other in the point P. 
 
 In the lall place, from the extremes of this crofs, draw curve 
 lines through the faid points, which will give the form of the 
 circle in Perfpediive. 
 
 This method may ferve for fmall circles ; but for large ones 
 there is another method' more exadt. 
 
 4. Figure the fourth is compounded of the two firft, which is* 
 all that nteds to be faid about it. 
 
 5. Thi^ fifth figure alfo depends on the two firft, only here 
 is a lift or border going round, which the others have not. 
 
 To put the lift in Peifpes^ive ; from the four rays A B C D, 
 fig. 5, draw lines from the point of fight G ; and, where the in- 
 ner rays B C interfed the diagonals D F and D E, draw paral- 
 lels to the bafe line; and you will have your defire. 
 
 6. The fixth figure is the fame as the fecond, except that it li 
 flirrounded with two borders. 
 
 ReduSiion cf Perspective draughts out of fmall into greaty 
 and out cf great ir.to ftnall. As defigns are made with more eafe 
 in little than in great, it is But reafonable that they fhould be fo- 
 made. This has put me upon giving ?, method of inlarging fmali' 
 defigns on the canvas. 
 
 The method commonly ufed bv painter?, is to divide their lit- 
 tle defigns, and the canvas they intend the large ones to bff •. 
 on, into an equal number of little fquares, and to transfer what 
 is in the fquares of the defign into the correfpondent fquares of . 
 the canvas. 
 
 But that which follows is approved bv fome as eafier and furer. 
 
 Provide a fcale proportionate to the little defign, and another 
 proportionate to the canvas. 
 
 To make a defign, the firft thing to be determined is the fcale,- 
 which is to fix the meafures of all the parts of the work. 
 
 Thus, in the little defign A, plate XXIV, the fcale B C of 
 five parrs, which may be called feet, is the firft thing to be made. 
 From this fcale are taken the horizon, the height and diftance of 
 the trees, the breadth of the walks, &c. 
 
 To inlarge this defign. The method is this ; confider whether 
 or 110 the draught is to have its natural hoiizon, i. e. whether^ 
 when the bottom of the painting is on the ground, the horizon- 
 tal line be the height of the eye, which is about five feet. 
 
 Then, of the five divifions between B and C, make a fcale of 
 
PER 163 
 
 five feet F G ; anJ thus, having taken all the meafures and pro- 
 portions in the (m^li one, you may transfer them to the great 
 one, after the following manner : 
 
 The two fcales being thus fixed, the firfr thing to be done is 
 to take into your compalTes the difbnce between the bafe line D, 
 and the horizon E, and to apply the compafies thus opened to 
 the little fcale B C, noting what number of parts it includes, as 
 here it docs five. 
 
 Therefore take five divifions on the larse fcale F G in your 
 compafTes, and fet them on each f de tlic painting, or large defignj 
 beginning at the bottom of the cloth H H, and ending in 1 1. 
 
 From the point I I, ftrike or fcore a line with a chalked or 
 blackened packthread. 
 
 This line 1 1 will mark the horizon in the large draught. 
 ^ Then take the diftance or depth K L of the little defign, which 
 gives the foot of the houfe, and fet it on the little (cale ; not« 
 how many divifions it includes, and take the fame number from 
 the large fcale, and fet them on the edges of the canvas H M, 
 H M, which you muft flrike with a packthread for the depth 0^ 
 the fecond tree. 
 
 Proceed to take in the little defign the depth N O, and fet it 
 on the little fcale ; then take as many in the large one. 
 
 Again, N O includes two parts of the little fcale • accordingly 
 two parts are to be taken on the. great one, and fet ofF from H 
 to P, which muft be ftruck as before. 
 
 Do the fame for all the parallels to the bafe line, as the other 
 trees, windows, roofs, &c. 
 
 As to the perpendicular to the bafe line, the method is the fame 
 as for parallels, only they are to be ftruck or fcored, not from 
 the fide, but from top to bottom. 
 
 Thus for the two corners of the houfe, the interval between 
 them, being taken in the compafTes, muft be fet on the little fcale^ 
 and, being there found equivalent to feven divifions and an half, 
 as many divifions muft be taken from the great fcale, by which 
 you will have H S T S to be ftruck as before. 
 
 And the like muft be repeated for all the other perpendiculars, 
 as buildings, trees, palifadoes, &:c. 
 
 To find the vifual ra)S, which are the lines proceeding to the 
 point of fight V, faftcn a packthread to this point V of the length 
 of the painting, and with this ftrike or fcore all the rays very 
 exactly. 
 
 Thus, for the two ravs D X, which give the breadth of the 
 trees in the little defign, rake the diftance D X ; fet it on the lit- 
 tle fcale B C, and take an equal number of divifions from off the 
 great fcale ; this will give you H Y : To which points, H and Y, 
 lines are to be ftruck with the packthread from the point V. 
 
 M 2 " For 
 
1^4 PET 
 
 For the ray of the palifadoes, take the diftance D Z, and kt 
 it on the little fcale ; and take as many divifions from the large 
 fcale : By this means you will have H -{-, which are to be flruck 
 from the point V as before. 
 
 Every thing in a Perfpeclive ordinarily comes under one or 
 other of thefe three forts of lines, viz. parallels, perpendiculars, 
 and vifual rays ; and, having fhewn how to defcribe thefe with 
 a good deal of eafe on the canvas, there remains nothing difficult 
 in the reducing fmall defigns into great. 
 
 As to the reducing great into little, you have only to invert the 
 procefs ; that is, take meafures firft on the large fcale, and dimi- 
 nifh them proportionably on the fmaltone. 
 
 Thus, if the horizon of the large defign were five divifions of 
 the large fcale, five divifions of the fmall'were to be taken for the 
 height of the horizon of the fmall defign, and fo of the reft. 
 
 Perspective, in painting, is ufed for a kind of piciure, or 
 paifiting, frequently feen in gardens, and at the ends of galleries ; 
 defigned exprefsly to deceive the fight, by reprefenting the con- 
 tinuation of an alley, a building, a landfcape, or the like. 
 
 Of gardens in Perfpe£iive, fee GARDEN. 
 
 Of rows of trees in Perfpedtive, fee ROWS. 
 
 Shadov/s in Perfpedive, fee SHADOW. 
 
 Streets in Perfpedlive, fee STREET. 
 
 Walks in Perfpe£tive, fee W^ALK. 
 
 PERSUASION, is reprefent'sd^ in painting. Sec by a fantaf- 
 tical woman ; a tongue faftened to her head attire, with an eye 
 over it ; fhe feems whimfical, and is tied round with cords ; witb 
 an animal with three heads. — The tongue denotes its being the 
 inftrument ot Perfuafion ; the eye, exercife and art, contributing. 
 to Perfuafion ; the cords force of eloquence, binding up the will j 
 the animals figntfy three things ; by the fawning dog, docility ; 
 by the ape, attention ; and, by the cat, diligence. 
 
 PETUNTSE, or, as it is ufually called, Petunfe, one of the 
 two earths, or foflil fubftances, of which the porcelain ware, or 
 China, is made : The other is named kaolin. The Petuntfe is 
 fprinkled all over with bright glittering particles; it is beaten to 
 powder, and afterwards made up into a fort of bricks, and in 
 that form it is fent to the place where it is to be wrought. It is 
 of a hard texture, and of a fomewhat greenifli colour. Mr. Reau- 
 mur, of the Academv of Sciences at Paris, who was extremely 
 induftrious in fearching into the nature of porcelain, obtained 
 fomc fpecimens of the Petuntfe> both ui its native ifate, and in 
 the form of a brick, which form is given it after it is powdered 
 and reduced to a pafte. 
 
 Mr. Reaumur found, that the Petuntfe was \o far from being 
 
 an earth, as is ufually fuppofcd, that it was truly of the nature 
 
 z c4 
 
 i 
 
P H I 165 
 
 oTthe European flint or pebble, as he eftabliflics the characfter of 
 that body j but, to underfland this rightly, it is to bs cbfervcd, 
 that this author makes the flints and pebbles a very large clafs 
 of bodies, fome of which are more, and fome lefs tranfparent ; 
 and that this Petuntfe is of the coarier, or lefs tranfparent kind, 
 and the furfa^e of which, when broken, is not fo fmooth and 
 polifhed as that of the ordinary flint : The great character of 
 thefe ftones for the porcelain manufadiurc is, however, that they 
 are very eafily vitrified, without the afliftiince of any fait, and 
 without the immediate contact of the fire, the operation fuccecd- 
 ing in a crucible ; Which is not at all the cafe in regard to the Eu- 
 ropean flints, they very differently melting alone in a crucible, 
 and then only into a whitifh opaque glafs. 
 
 It being certain from hence, that one of the two ingredients 
 of the China ware is eafily vitrifiable, it follows, from the experi- 
 ment of the whole mixture, or China ware not being reducible 
 into glafs in a large fire, that it is a compofition of a vitrifiable 
 and a not vitrifiable, or, at Icaft, not eafily vitrifiable fubftance ; 
 and, confequently, that the kaolin is a fcarce vitrifiable body, and 
 that the refult of the action of fire, on a mixture of thefc two, 13 
 a femivitrification, which is what we call the China v/are. 
 
 If we therefore could in Europe provide the materials of China, 
 or fuch as were like them, v/e might reafonably hope to fucceed ; 
 and this appears far from improbable : The Petuntfe is eafily 
 fupplied by many of our own earths, ftones, and fands, as no- 
 thing is required in it more than a property of running eafily 
 into a white glafs. 
 
 Pietro PERUGINO, born in the year 1496, fcholar of An- 
 drea Verocchio ; he lived at Florence and Siena, excelled in 
 hifl:ory-painting ; died in 1574, aged 78 years. 
 
 Ba/daJ/hr PERU ZZl da Siena., born in the year 1500; he 
 lived at Rome, excelled in hillory and architeilurc; died m 1530, 
 aged 36 years. 
 
 \&f ^^fi^^ PEUN, an engraver of Nuremberg, called Hif- 
 -■- -*^ bin\ he ufed this mark from the year 1513 to 1549- 
 Hans, or John, Sebald Beham alfo ufed this mark. 
 
 PEWTER, is a mixture of lead and tin, and has fometimes 
 in it, for the better hardening of it and keeping of it together, ?. 
 fmall quantity of brafs or copper. 
 
 P. F. (lands for Paul Farinati, of Verona, painter and inventor. 
 
 P. H. fignifies Peter Flys, in certain pieces of devotion. 
 
 Phil. Th. 1589, ftands for Philip Thommafini. 
 
 P. John Sebald Beham, fee letter B, and the letters V. P. 
 
 Pi. Ss. Bart, ftands for Peter Santi Bartoli, engraver of Peus- 
 gini in Rome. 
 
 PHILOSOPHY, is rcprefented, in paintiiv-, Sfc. by a -vvn- 
 
 M ? * " ' n::i:(. 
 
j66 P H CE 
 
 man ; her eyes fparkling and vivid j rofy cheeks ; a vigorous 
 conftitution, though pretty old ; and in a grave habit. — Her ve- 
 nerable afpe<5l denotes refpedt, due to her as the mother of liberal 
 arts ; her books and fcepter, that perfons of quality ought not to 
 defpife this queen ; the upon her breafc fignifies theory, and 
 the letter n, on the bottom of her garment, pradlice. 
 
 PHLEGM is reprefented by a grofs man, fitting in a fur gown, 
 clapping both hands into his bofom ; his head, one fide bound 
 up with a black cloth, almoft covering his eyes ; a tortoife by 
 him. — His groffncfs proceeds from coldnefs and moifture ; the 
 fur of the otter, it being a phlegmatic animal ; his head inclined, 
 his dulnefs, like the tortoife by his fide, becaufe it is a flow 
 creature. 
 
 PHCEEUS, or SOL, i. e. the fun, was reprefented by the 
 ftatue of a m.:n, with his head halff! avcn. 
 
 By the head half ihavcn is intimated, that, though his beauty 
 or fhining may be clouded for a time, yet that he will return, and 
 beautify the fame with his priftine brightnefs, as the growing of 
 the hairs, which fignify his beams, to their full extei t and per- 
 fection again, may denote. 
 
 Laftantius relates, that Phcsbus, or Apollo, was the chlefeft 
 god of the Perfians, who defcribed him as follows : In the (hape 
 of a man, drcfled in tlie Perfian habit, and with the head of a 
 lion, wearing on it fuch ornaments as the Perfian women ufed, 
 holding by force a white cow ]T/ the horns. 
 
 By the head of the lion was fignified the dominion of the fun 
 in the fign Leo ; the cow reprefents the moon, whofe exaltation 
 is in Taurus ; and his forcibly holding her by the horns, the eclipfe 
 of the moon, which fhe cannot avoid. 
 
 Macrobius fays, that there was found in AfTyria the flatue of 
 Phcebus, Apollo, &c. the father of iEfculapius, of poliflicd gold, 
 in the form of a young man, and beardleiis, who, flretching out 
 his arms, held in his right hand a coachman's whip, and in his 
 left a thunderbolt, with fome ears of corn. 
 
 Martianus defcrihcs the image of the fun in the form of a man, 
 wearing on his head a royal and gorgeous crown, inchafed with- 
 many precious gems, three of which adorn his forehead, fix his 
 temples, and thiee other the hindermofl: part of the crown ; his, 
 hair hanging down in trefles, a;-pear!n£ like refined gold ; and his, 
 countenance wholly like a flame ; his garment thin, and wrought 
 with line purple and gold ; h>)lding in his right hand a fhicld, 
 and in his left hand a (laming firebrand j and two wings on his 
 feer, befet with fiery carbuncles. 
 
 Apollo is alfo drawn as a young man crowned with laurel, 
 having long curled golden hair, clad in a purple robe, holding a 
 filver bow in his hand, and fitting on a throne of emeralds j and 
 
 at ! 
 
P I C 167 
 
 at other times {landing on the fcrpent Python, with this motto, 
 Opifer per orbem dicor. 
 
 PHYSIC, is reprefented, in painting, Sec. by a woman of full 
 age, with a garland of laurel ; a cock in one hand, and a knotty 
 ftaff, round which a ferpent is twifted. — Ker age fliews that then 
 a man is either a fool or a phyfician ; the laurel denotes its srcat 
 ufe in Phyfic j the cock, vigilance, for a phyfician that admi- 
 nifters ought to be up at all hours ; the ferpent, becaufe, by caft- 
 zng her fkin fhe is renewed j fo do men, being cured, renew their 
 ftrength. 
 
 PHYSIOGNOMY [<t>va-ioyvi}(A,la. of !pic-i<; nature, and yvJ|«,73 opi- 
 nion] is a Greek word, fignifying the rule or law of nature, by 
 which the afFe£lions of the foul have relation to the form of the 
 body ; fo that there are fixed and permanent figns which difco- 
 ver the paffions of the foul. 
 
 PICTURE : There are always four principal things to be 
 confidered in every Picture, viz. i. the invention i 2. the pro- 
 portion ; 3. the colour ; and 4. the life. 
 
 1. Invention ; this ought to be free, and flow from a general 
 4cnowledge of antiquity, hiftory, poetical fidions, geometrical 
 conclufions, and optical confiderations, according to its iitua- 
 tion or afpedl, either near or far off. 
 
 2. And this invention muft exprefs proper and fit things, agree- 
 ing with the circumftances of place^ time, matter, and perfon ; 
 and alfo having refpedl to the modes of habits peculiar to the 
 country or people, whether ancient or modern. 
 
 3. As to proportion, analogy, or fymmetry, that is what li- 
 mits each part to its proper fize in refpe6l to the whole. 
 
 Whatfoever is different from this, is defe£live as to beauty, 
 and may not improperly be called deformity. 
 
 4. Proportion is called by artifts the defigning lines, which 
 are firft drawn, before the whole is painted. 
 
 5. Thefe proportions, or lineal defigns, draughts, and (Tcetches 
 may be called Picture; which, being well done, fliew not only 
 the fliape, but alfo the intent. 
 
 6. The proportion of a blackmoor may be drawn in lines only, 
 and fuch as fhall be like him ; now this fkill proceeds from the 
 Very higheft principles of art. 
 
 7. Colour is that which m:ikes the Picture refemble what we 
 defign to imitate, by mixing of various colours together. 
 
 The difpofttion o/'PiCTURES. I. Antique works, as grotefque, 
 may become a wall, the borders and friezes of other works ; 
 but, if there be any draughts in figures to the life upon the wall, 
 they will be befl of black and white, or of one colour heighten- 
 ed J if they be naked, let them be as large as the place wiil allow; 
 
 M 4 if 
 
i68 PIC 
 
 if of columns, aqueducts, nrches, ruins, or cataradls, let them be 
 
 bold, high, and large of proportion. 
 
 2. Let the bert pieces be placed to be feen with fingle lights, 
 for fo the fhadows fall naturally, being always fitted to anfwer one 
 light ; and the more under or below the light, the better, efpeci- 
 ally in mens faces and larger pieces. 
 
 3. Let the porch, or entrance into the houfe, be fet out with 
 ruftic figures and rural objedfs. 
 
 4. Let the hall be adorned with (hepherds, peafants, milk- 
 maids, neat-herds, flocks of (beep, and the like, in their refpec- 
 tive places, and proper attendants j as alfo fowls, fi(h, and the 
 like. 
 
 5. Let the flair-cafe be fet off with fome admirable monument 
 or building, either new or ruinous, to be feen and obferved in 
 pafling up; as let the cicling over the ftair-cafe be painted with 
 figures forefhortened, looking downwards out of clouds, with 
 garlands and cornucopia's. 
 
 6. Let landfcapes, hunting, fifhing, and fowling pieces, hiflo- 
 ries, and antiquities be placed in the great chamber. 
 
 7. Place the pi(5lures of the king and queen, or their coats of 
 arms, in the dining-room, forbearing to place there any other 
 pictures of the life as not worthy to be their companions, unlefs 
 at the lower end two or three of the chief nobility, as attendants 
 on their roya' perfons j for want of which you may put in their 
 places fome of the neareft blood. 
 
 8. In the inward, or withdrawing chambers, place the draughts 
 of the life of perfons of honour, intimates, or fpecial friends and 
 acquaintance, or of artifls only. 
 
 9. In banqueting rooms place chearful and merry paintings, 
 as of Bacchus, centaurs, fatyrs, fyrens, and the like j but not 
 any obfcence pictures. 
 
 10. Hiftories, and the beft works, become galleries, where 
 every one may walk, and exercife their fenfes, in viewing, exa- 
 mining, delighting, judging, and cenfuring. 
 
 1 1. In fummcr-houfes and {tone walks, place caftles, churches, 
 or fome fair buildings. 
 
 J 2. In terraces place bofcage and wild works. 
 
 13. Over chimney-pieces place only landfcapes, for they chiefly 
 adorn. 
 
 14. And in the bed-chamber place your own, your wife's, and 
 the pi6fures of your family. 
 
 If your pictures hang high, let them incline a little forward 
 at the top, becaufe otherwife the vifual beams of the eye, extend- 
 ing to the top of the pidure, appear farther off than thofe at the 
 foot. 
 
 Knowledge 
 
PIC 169 
 
 Knowledge <?/ Pictures. There are three different fpecies of 
 knowledge relative to Pictures. 
 
 The firft confiits in difcovering what is good and what is bad in 
 the fame Picture. 
 
 The fecond has refpe^l to the name of the author. 
 
 The third, to know whether it be an original or a copy. 
 
 The firft of thefe is certainly the moft difficult to be acquired ; 
 it fuppofing a penetration and finenefs of wit, with a good ac- 
 quaintance with the principles of painting ; and on the meafure 
 of thefe things the knowledge of the art depends. 
 
 Penetration and finenefs of wit are neceflary in making a judg- 
 ment of the invention, of the expreffion of the fubjedt in general, 
 of the pafEons of the foul in particular, of allegories,^ and what 
 depends on the cuftom or manners, and poefy. 
 
 The knowledge of principles allifts a perfon in finding out 
 times and places, the caufes of the efFedb which we admire; 
 whether they proceed from the correftnefs or elegance of the 
 defign, or whether the obje£ls appear advantageoufly difpofed, 
 or the colouring, lights, and fhadows be happilv managed. 
 
 Thofe whofe minds have not been cultivated by the knowledge 
 of principles, or, at leaft, have fome fpeculationof them, may in- 
 deed be fenfible of the efFedts of a fine Pidlure, but can never 
 be able to give a reafon for the judgment they make. 
 
 To know the author of a Picture. The knowledge of the 
 names of authors muft be acquired by long pra6tice and the fight 
 of a great many Pi<?fures of all the fchools, and of the principal 
 mafters that compofe them. 
 
 Of thefe fchools there may be reckoned fix, viz. the Grecian, 
 the Roman, the Venetian, the Lombard, the German, and the 
 French. 
 
 After a perfon has, by much application, acquired a diftincl 
 idea of each of thefe fchools, if he would difcover to which of 
 them a Picture belongs, he muft compare it with that to which 
 he thinks it bears the neareft affinity ; and, having found out the 
 fchool, he muft apply the Pifture to that painter whofe manner 
 agrees moft with that work ; but perhaps it is the greateft part of 
 the difficulty to attain a knowledge of this particular manner. 
 
 There are fome curious perfons who form an idea of a mafier 
 by a fight of three or four of his Pictures, and who, after this, 
 think they have fufficient authority to determine as to his manner, 
 without confidering what care the painter took about them, and 
 what age he was of when he drew them. 
 
 We are not to judge of the merit of a painter from fome parti- 
 cular Pidlures of his, but from his works in general ; for there is 
 no painter but what has made fome bad, as well as fome good, ac- 
 cording to his care, or the motion of his genius. 
 
 iNor 
 
lyo P I C 
 
 Nor is there any painter who has not had thr^e manners, vir, 
 Jiis beginning, his progrefs, and his end. 
 
 The firil he took from his mafter j the fecond he formed by 
 +iis gout, in which are to be found his capacity and genius ; and 
 the third commonly degenerates into what is called manner; for 
 a painter who has a long time fludied after nature, is willing, 
 without any more trouble, to make ufe only of the experience 
 he has acquired. 
 
 When a curious perfon has well cowfidered the different Pic- 
 tures of a mafter, and has formed a perfe6t idea of his ftik, he 
 may then make a judgment who is tlie malter of a Pidure, with- 
 out incurring the cenfure of rafhnefs; though a critic who has a 
 talent, and has ftudied and pradifed the art, may fometimes be 
 deceived in the name of an author, yet he will, at leafV, never be 
 <leceivcd in the juflnefs and folidity of his fentiments. 
 
 There are Pictures which have been made by fcholars, who 
 have copied their mafters very exactly in their judgment and their 
 manner. 
 
 Some painters ha\'e followed the gout of another country, and 
 riot tbtir own ; and fome again have left one manner for another, 
 and have by this means made fome Pictures, which will puzzle 
 ithe befl judges to guefs the name of their author. 
 
 But, neverthelefs, this inconvenience is not left without a re- 
 medy ; for fuch as do not fatisfy themfelves in knowing a mailer's 
 hand, have penetration enough to difcover the character of his 
 mind. 
 
 A fkilful man may eafily communicate the manner in which 
 he executes his defign, but not the delicacy of his thoughts. 
 
 It is not fufficient to know the motion of a pencil of a Picture, 
 •m order to find out the author, if he cannot penetrate into that 
 of his mind too ; snd, though it is a very great attainment to have 
 a juit idea of a painter's gout in his defign, yet it is neceflary alfo 
 to enter into the character of his genius too, and the turn which 
 he is capable of givins; his conceptions. 
 
 Ti) kr.Qw ivhether a Picture he an original or a copy. It is here 
 fuppofed that a copy is made by a good mafter, which deferves a 
 ferious reflection, and will make a perfon doubt, at leaft for fome 
 time, whether it is an original or a copy. 
 
 There are of fuch copies three forts. 
 
 I'-he firft done faithfully, but fervilely. 
 
 The -fecond done lightly and eafily, but not faithfully. 
 
 The third is done both faithfully and eafily. 
 
 The fipft, which i-s faithfully but fervilely done, includes thf 
 idefmn, the colouring, and the touches of the original ; but the 
 fear of pafiinfi; beyond the bounds of this exactncfa, and oF er- 
 Tmg againH: liiihiulnefs, has rendered t"ic hand of the copier Oiff, 
 
 and. 
 
PIC 171 
 
 snd, if it be never fo little examined, fhews it to be what it is. 
 
 The fecond, which is done lightly and eafily, but not faithful- 
 ly, is more likely to impofe upon the fpc<5tator, becaufe of the 
 lightncfs and eafmefs of the pencil j but the unfaithfulncfs of the 
 contours, or outlines, v/ill undeceive good judges. 
 
 As to the third, which are both faithful and eafily performed 
 by an artful and light hand, and, above all, in the time of the 
 original, they will puzzle the greateft critics, and often hazard their 
 pronouncing againft truth, though it may be agreeable to veri- 
 limility. 
 
 As there are fome things that favour the opinion of the piece's 
 being an original, fo again there are others that feem to deftroy 
 it ; as, firft, the repetition of the fame Picture ; fecondly, its hav- 
 ing been forgotten a long time ; thirdly, the cheapnefs of it. 
 
 But, though thefe confiderations may have weight, yet they ar» 
 fometimes very trivial, for want of a thorough examination. 
 
 That a Pi£lure is forgot, proceeds often from the hands into 
 which it falls, the place where it is put, the perfons which fee it, 
 or the little value that the owner has for painting. 
 
 The cheapnefs of it often proceeds from the necefiity or igno- 
 rance of the feller. 
 
 The repetition of a Picture, which is a more fpecious caufe, 
 is not always a fubftantial reafon. 
 
 Thereisfcarcea painterbut has repeated fomeoneof his works, 
 either becaufe he was pleafed with it, or becaufe he was defired. 
 to draw another like it ; and fometimes the greateft artifts have 
 been deceived. 
 
 There are, befides, a fort of Pictures which are neither originals 
 nor copies, which the Italians call paftici, from pafte ; becaufe, as 
 the feveral things that feafon a party are reduced to one tafte, fo 
 counterfeits that compofe a paflici tend only to effecSl one truth. 
 
 A painter that would deceive in this way, ought to have in his 
 mind the manner and principles of the matter, of whom he would 
 give an idea, whether he takes any part of a Picture which that 
 mafter has made, and puts it in his own work; or whether the 
 invention is his own, and he imitates lightly, not only his touches, 
 but even his gout of defign and colouring. 
 
 It often happens that thefe painters, who intend to counterfeit 
 the manner of another, aiming to imitate fuch as are more fkilful 
 than themfelvcs, make better Pidures of this kind than if they 
 were to do fomething of their own. 
 
 Among thofe who took delight in counterfeiting the manner 
 of other painters, we may mention one David Tcniers, who has 
 deceived, and ever will deceive the curious, who are not before 
 acquainted with his dexterity in counterfeiting Baflano and Paolo 
 V^eronefe, There are fome of his paftici performed with fo much 
 
 cunning, 
 
572 PIE 
 
 ■cunning, that they have furprifed the eyes of the moft judicious; 
 fcut, after they have examined them the nearer, they have fooa 
 <Jiftingui{hed the one's colouring and the other's pencil. 
 
 Teiiiers had a particular talent in imitating BafTano ; but the 
 light and eafy pencil which he ufcd in this artifice, is the very 
 proof of his deceit : For his pencil, though eafy and light, is not 
 fo lively nor fo proper to charaderife objecSts, as that of BafTano, 
 <<peci-Ally as to animals. 
 
 I'-enicrs indeed underflood the \mion of colours, but there 
 was a certain grey predominant in his, and his colouring had not 
 the vigour and fweetnefs of Giacomo BafTano. It is the fame 
 with all paftici j and, if we would not be deceived by them, wc 
 mud examine their gout of defign, their colouring, and the cha- 
 racter of their pencils, with the originals from whence they were 
 taken. 
 
 Edvoard PIERCE, was a good hiftory and landfcape painter 
 in the reigns of king Charles I. and II. He alfo drew architec- 
 ture, perr[>e6live, Hz. and was much efteemed in his time ; little 
 of his woik now remains, the far greater part having been de- 
 flroyed by the dreadful fire in 1666, it chiefly confifting in altar- 
 pieces, cielings of churches and the like ; of which lafl fort there 
 ie one yet remaining, done by him in Covent-garden church ; ia 
 which are to be found many admirable parts of a good penciL 
 He worked fome time for Van Dyke, and feveral pieces of his 
 performance are to be fecn at Belvoir caftle in Leicefterfhire, the 
 iKjble feat of the duke of Rutland. He died in London about 
 fixty years ago, leaving behind two fons, who both became fa- 
 mous in their different ways ; one was a moft excellent carver 
 in ftone, as appears by a noble marble vafe of his doing at Hamp- 
 ton-court. 
 
 PIETY, is reprefented, in painting, &:c, by a woman of a 
 \"ery pale complexion, a Roman nofe, flame inftead of locks; Ihe 
 is winged, with her left hand towards her heart, in her right 
 a cornucopia pouring out things neceffary for life. 
 
 The wings declare her celerity ; the flames the fpirit inflam- 
 ■ed with the love of God ; the left hand that a pious man gives 
 proois of it without oftentation ; the horn of plenty, the under- 
 v^jhnng of worldly riches, and a liberal afTiftance to the poor. 
 
 'PiETTY, is alfo reprefented, in painting, in the form of a. lady 
 of a fober countenance ; holding in her right hand flretched out 
 a fword over an altar; and in her left hand a ftork; and by her 
 ■TkIc an elephant and a child. 
 
 The ftork is fo called of ro'pT"), the reciprocal or mutual love 
 of parents, of whom this bird was ever an emblem, for the love 
 7^x\^ care fhe hath of her parents being old ; the elephant is faid 
 fo vvGr(hip towards the riling fun. 
 
F I P .7j 
 
 To make French PINK. This is ufually made with Spanifh 
 white and Avignon berries ; but it is apt to change colour; (b 
 that it will be better to make it of white lead or cerufs, ground 
 very fine on a marble. When it is ground, take it up with a 
 wooden fpatula, and fet it to dry in the fhady part of a room ; 
 then bruife French berries in a marble nwrtar with a woodeit 
 peftle, and boil them in a clofe earthen pot, till the diird par6 
 or more be evaporated. 
 
 Strain this deco6tion through a linen cloth, and put into it the^ 
 quantity of two or three fmall nuts of alum, to hinder it from: 
 changing colour ; when it is difTolved, dilute the white with this 
 decoflion, to the confifteiice of a pretty thick pap, or rather 
 pafte, which you are to work well between your hands, and 
 make up into troches, and lay them to dry in an airy room : 
 When they are dry, dilute them again two or three times with 
 the fame decoftion, according as you would have vour Pink 
 bright or deep, and fet it to dry each time. 
 
 The liquor or deco£fion mult be warm, when the pnfte is di- 
 Kited with it, and you muft make it a-frefh, when the firft is 
 tainted ; taking care never to touch it with iron or fteel, but al- 
 ways ufmg a wooden fpatula. 
 
 Sebafliano del PIOMBO, born in the year 14&5, fcholar of 
 Gio Bellini, and ftudied under Giorgione, lived at Venice and 
 Rome, excelled in hillory and portraits; died in 1547, a^^ed fix- 
 ty-two years. 
 
 PIONY, in jn'miature, to psint. Let the firft lay be of In- 
 dian lake and white of a prett)- good body j and then fhade with 
 a lefTer quantity of white, which however muft be quite difufed 
 in the deepeft places. When this has been done, finifh with 
 ftrokes of the fame colour ; charging it ftrongly with gum in the 
 darkeft ftiade, and heightening the lights and the edges of the 
 brighteft leaves, with white and a little lake : You muft alfo ex- 
 prefs fmall veins like tlie ftrokes of hatching ; but they muft ap- 
 pear more. 
 
 The green of this flower muft be of the fea kind, and ftiaded 
 with iris. 
 
 Francis Le PIPER, was the fbn of a Kentifh gentleman, de- 
 fcended from a Walloon family ; being of a gay and facetioua 
 humour, his manner was humorous or comical. He delighted 
 in drawing ugly faces, and had a talent particular for it, that he 
 would, by a tranficnt view of any remarkable face of man or wo- 
 man that he met in the ftreet, retain the likenefs fo exac^ in hi-i 
 memory, that, when he expreiTed it in the draught, the fpe«fla- 
 tor, who knew the original, would have thought the perfon had 
 fat feveral times ibr it. 
 
 It is faid of him he would ftsal a face ; and a man that was 
 
174 ? I P 
 
 no: handfome enough to dcfire to fee his pl£lure, fat in danger 
 in his company. 
 
 The ereateft curlofities that he fought after, were the works 
 of the painters, which he examined every-where with pleafure 
 and iudgmcnt, and formed to himfelf a manner of defign which 
 no man in that kind ever excelled, and perhaps never equalled. 
 Having a good eftate of his own, and being generous, as moft 
 men oT genius are, he would never take any thing for his work ; 
 he drew them commonly over a bottle, which he loved fo well, 
 that he fpent great part of his hours of pleafure in a tavern. 
 
 This was the occafion fome of his beft pieces, efpecially 
 fuch as are as large as the life, were in thofe houfes. He fel- 
 dom defigncd after the life, and negle<fted the part of colouring 1 
 But yet he fometimes, though very rarely, coloured fome of his 
 pieces, and, as we are informed, v/as not very unfuccefsful in it. 
 
 He drew the pictures of feveral of his friends in black and 
 white, and maintained a charafter of truth, which fhewed that, 
 if he had thou(;ht fit to beftow fo much time as was neceflary to 
 perfe(5l himfelf in colouring, he would have rivalled the bell of 
 our portrait painters in their reputations. 
 
 He drew ibme defigns for Ifaac Becket, who performed them 
 in mezzotinto. Thofe draughts were generally done at a ta- 
 vern ; and, whenever he pleafed, he would draw enough in half 
 an hour to furnifh Becket a whole week's work. 
 
 His invention was fruitful, and his drawing bold and true. 
 
 He underftood landfcape painting, and performed in it to per- 
 fejStion. He was particularly a great mafter in perfpedtive ; in 
 defigning of his landfcapes, he had a manner peculiar to him* 
 felf : He always carried a long book about him like a mufic- 
 book, which when he had a mind to draw, he opened, and, look- 
 ing through it, made the lower corner of the middle of the book 
 his point of fight, by which, when he had formed his view, he 
 directed his perfpeftive, and finiflied his pidlure. 
 
 His hand was ready, his ftrokes bold, and his etching fhorti, 
 
 He drew feveral of the grand figniors heads for Sir Paul Ry- 
 caut's hiflory of the Turks, which were engraven by Mr. Elder* 
 
 In the latter part of his life, he applied himfelf to the ftudy 
 and praiftice of modelling in wax, in baffo relievo, in which 
 manner he did abundance of things with very good fuccefs. 
 
 Being one time at a tavern, with Mr. Faithorn, Mr. Sturt, 
 the engraver, and others, he fketched a head with a coal, and 
 gave it to Mr. Faithorn, who touched upon it : In the meart 
 time Mr. Le Piper drew another upon another trencher, and ex* 
 changed with Mr. Faithorn for that which he had touched. 
 
 They did thus ten times, and between them wrought up the 
 
 heads 
 
P O E , ,75 
 
 heads to fuch a height of force, that nothing could be better done 
 of the kind. 
 
 Thefe trenchers are ftill extant, but v/e could not hear in 
 whofe hands they are at prefent. 
 
 He died in Akleimanbury about fixty years ago, with the 
 charadler of an accomplifhed gentleman, and a great mafter in 
 his art. 
 
 His corpfc was carried from Chrift's-church hofpital, to the 
 church of St. Mary Magdalen Bermondfey in Southwark, where 
 it was buried in a vault belonging to his family. 
 
 To make a PLANT groiv in tvjo or three hours. Tiike com- 
 mon mould, and moiften with the water that foaks from an oM 
 dunghil ; put this mixture into an earthen vcfTel, and in it feC 
 feeds of lettice, purflain, or parfley, previoufly foaked in water, 
 that end of the feed upwards which fprouts. 
 
 Set the vefTcl in a gentle heat, and, when it begins to dry, 
 moiften it with the faid water of dung ; thus you have a fallad 
 while fupper is making ready. 
 
 PLEASURE, is reprefented, in painting, &c. by a youth 
 crowned with a myrtle garland, half cloathed, winged, a harp 
 in his hand, and bufkins on his legs. — The myrtle denotes the 
 fame being dedicated to V^enus, wherewith Paris was crowned 
 when he part judgment in favour of her ; his wings, that nothing 
 vanifhes fooner than Pleafure ; the harp the tickling of his fcnfe* 
 with mufic } his buf]':ins inconftancy, and his undervaluing gold 
 to fatiate his appetite. 
 
 PLENTY, is reprefented, in painting, &c. by a beautiful 
 lady crowned with a garland, in a green gown embroidered, 
 with a cornucopia in ber hand ; fhe is no lefs amiable for haf 
 beauty, than her contrary, Want, is deformed and odious. — The 
 garland denotes chearfulnefs, and the mirth that does infeparably 
 accompany her ; the cornucopia is an emblem of the affluence 
 of all things neceflary for human life. 
 
 PLUTO, is painted with long curled hair; clad in a robe of 
 cloth of gold. 
 
 He is alfo by the ancients painted riding in a chariot, drawn 
 by four furious black horfes, from whofe fiery noftrils proceeds 
 thick and ill-favoured fmoke. 
 
 Some reprefent him, with his head incircled whh a garland of 
 C)'prefs leaves, others with thofe of narciflus. 
 
 The firft fliews fadnefs and horror, and arc ufed at burials, 
 and about the dead : But the others are more grateful, and are 
 ufed in memory of the untimely death of the youth Narcifilis, 
 killed by a wild boar. 
 
 Cornelius POtLENBURGH, born in the year 1590, fcholar 
 of Abraham Blctmart, and f^udied at Rome and Florence ; lived 
 
 at 
 
176 POL 
 
 at Utrecht, and in England ; excelled in naked boys, landfcapes, 
 ruins, and fmall figures; died in 1667, aged 77 years. 
 
 POETICAL Fury^ is reprefented, in painting, &c. by a briHc 
 young; beau of a ruddy complexion, winged, crowned with laurel 
 bound about with ivy, in a writing pofture, but turning his head 
 back toward heaven. — The wings declare the quicknefs of his 
 fancy, v.hich foars aloft and carries an encomium with it, which 
 ftill remain frefh and green as the laurel and ivy intimate ; look- 
 ing upwards, the ideas of fupernatural things, which he writes 
 down. 
 
 POETRY, is reprefented, in painting, &c. by a lady in a 
 fky-coloured garment, with ftars and wings on her head, a harp 
 in her right hand, crowned with a laurel, and a fwan at her 
 feet. — The fky colours fignify that none can excel in this art, if 
 he be not endowed with extraordinary talents from heaven ; the 
 harp, becaufe thev ufcd to make Poetry and mufic to be in a 
 harmonious concert ; the crown ihews that the poet's defign is 
 to be renowned ; the fwan is the emblem of mufic j the ftarry 
 robe divinity, as having its original from heaven. 
 
 POLISHER, an inltrument called alfo a burniftier, ufed for 
 poliftiing and burnifliing gold, filver, and other metals, when 
 gilt or filvered, and matters of other kinds proper to take polifli. 
 
 Gilders ufe an iron Polifher to prepare their metals before 
 gilding, and the blood-ftone to give them the bright polifh after 
 gilding. 
 
 The Poliflier ufed by the fpur and bit makers, &c. is part 
 iron, part fteel, and part wood. This inftrument confifts of an 
 iron bar, with a wooden handle at one end, and a hook at the 
 other, to faften it to another piece of wood, held in the vice, 
 while the workman is working. 
 
 In the middle of the bow within fide, is what they properly 
 call the Polifher, which is a triangular piece of fleel, with a tail, 
 by which it is riveted to the bow. 
 
 A cutler's Polifher, is a kind of wooden wheel or grinder, 
 made of walnut-tree, about an inch in thicknefs, and of what 
 diameter or largenefs you pleafe j this is turned by the grea 
 wheel ; and it is with this they polifh and fmooth their works 
 vvith emery and putty. 
 
 The Polifhers ufed by fpe£lacle-makers, are pieces of wood 
 foot long, feven or eight inches broad, and an inch and a hal 
 thick, covered with old caftor hat, whereon they polifli the fhell 
 and horn frames their fpectacle glafles are to be fet in. 
 
 POLISHING locking-glajfes. After looking-glafles have been 
 ground, they are to be polilhed, they ftill looking but fomething; 
 like a flate. The polifhing is performed in the following man 
 ner : The plate is laid down on a ftone placed horizontally, and 
 
 i 
 
 :sr ' 
 
 aK 
 
POL 177 
 
 in a bed of plaifter of Paris calcined and pulverifed very fine and 
 fifted ; which, being made into a fort of parte by water, and 
 plaiftcred up the edges of the plate, dries and hardens, and fo 
 keeps it immoveable ; then the workman, fixing a flrong bow of 
 yew, or fome other tough wood, to a board fixed up to the ciel- 
 ing of the room, fixes alfo the other end into an hole made in 
 a wooden parallelopepid of about four inches long, covered with 
 a fort of coarfe woollen clotli well drenched with tripoly, tem- 
 pered with water f and works it with this block and bow all 
 over, till the plate has ijot a perfecft politure. 
 
 POLVERINE, and ROCHRTTA, come from Syria; they 
 are the afhes of a certain herb which grows there in great plen- 
 ty, called kali. 
 
 The difference between the Polverine and rochetta confifts 
 only in the methods of preparation, they being both produced 
 from the fame plant : All afhes which come from the i£aft for 
 making glafs are called Polverine, becaufe the afhes are truly 
 pulverifed or in powder ; And, on the contrary, the other is 
 called rochetta, becaufe brought in hard lumps like ftone. The 
 glafs-men prefer the latter to the former, for thofe lumps yield 
 a whiter and fliarper fait than the povi'der. 
 
 To extratSl a very fharp and poignant fait from rochetta, a 
 great deal of care is necefiary in its preparation : In the Levant, 
 a lixivium of the afhes is firft made, with which the herbs they 
 are to burn are fprinkled ; then they are dried and again fprin- 
 kled with new ley ; by this means the plant produces very fharp 
 afhes, which congeal into lumps as hard as flints, by reafon of 
 the abundance of fait, wherewith the herb is impregnated by the 
 lixiviums ; and it is hence that there is more fait extraiSted out 
 of the rochetta. 
 
 Polverine, on the contrary, has no fuch preparation ; the 
 herbs are only burnt on iron hurdles or bars ; afterwards, whea 
 cooled, they are gathered up, and laid by, vi'hence they have lefs 
 fait than the rochetta ; but this fait has no lefs virtue or good- 
 nefs. Thcfe two matters are now no longer ufed in France ; 
 but they ufe them flill at Muran, where Venice glafs is made. 
 
 To cxtrafi the fait (j/'PolverINE, rochetta^ and Joda, for mak' 
 ing glafs. Thofe who make glafs, muft begin by providing 
 good rochetta or foda, fee SODA, to extract the alcali fait of 
 it, which is the bafis or foundation of their work : The bef^, 
 which contains mofl fait, may be tried by touching it with the 
 tongue ; but the furefl method is to effay them in a melting-pot. 
 
 To extraiSl: the fait of" rochetta or j'oda, which is commonly 
 in lumps, reduce it firfl into a fine powder ; fill your copper 
 with fair water, and make a fire with dry wood ; when the wa- 
 ter begins to boilj put in ten pounds of tartar, c;ilcjned to a white- 
 
 Vdl. IL N ziefsj 
 
lyS P O N 
 
 nefs, to every hui^drcd pounds of focla; ftir it with a long WOodeJT 
 ladle, and put in the rochetta or loda ; continue the fire, ftir- 
 ring with the wooden ladle in the copper, till all the Polverine 
 is incorporated with the water, and the fait extracted. Th« 
 water being one third part bolkd away, fill your coppers again' 
 with frefli water, and continue the boiling till half be confumed, 
 when the ley wili be made. 
 
 Your ley thus being made, flacken your fire, and empty youF 
 ley into earthen pans very well glazed ; let it fland fo fix days, 
 that the afhes may fettle to the bottom, and the ley become clear;- 
 pour that ley into other earthen pots, leaving the afhes behind, 
 and let it fl^and two days longer, and the ley will become very 
 limpid and clear, all the earthy faeces precipitating and fet- 
 tling at the bottom ; continue this three times, and you will 
 have a clear and limpid ley, which will yield a very fine and 
 perfed fait. 
 
 Fill the copper with the refined and clarified leys in the pans ; 
 gently boil it to evaporate the water, till it begins to thicken 
 and (hoot its fait, which it commonly does in about twenty-four 
 hours trime, fo that the fait begins to appear on the furface of 
 the copper. 
 
 Let the fire be gentle and eafy as foon as the fait begins ta- 
 flioot, for fear the fait fliould ftick to the copper, which a great 
 lire will caufe it to do, and fo burn it ; which often happens to- 1 
 thofe that do not take fuch precaution. 
 
 This reafon ought to oblige thofe who work in this art tcj^j 
 procure vefTels well lined with lead, fuch as they ufe to boil alun* 
 in ;■ befides, thefe leys, being fharp and corroding, deftroy and 
 confume the brafs by degrees, or the moifturc cankers it, and] 
 fo it fpoils the colour and beauty of the Atlt. 
 
 The fait, being well drained, muft be put into little woode*! 
 tubs or fats, the better to dry out all the moifture, according ta"! 
 the feafon wherein it was made ; then beat it groily, and put itfl 
 into a furnace moderately heated, there gently to dry. It being! 
 thus, take it out of the furnace and pound it in a ftone mortaf/| 
 or grind it in a mill, and afterwards fift it through a fine fieve^j 
 the holes whereof are not bigger than grains of wheat : This faltyl 
 being thus prepared, ought to be kept in a dry and convenient! 
 place, where there is no duft. 
 
 POMEGRANATE Uofom ; to colour this, lay on miniunry 
 vermilion, and carmine, and finifn v.-ith carmine. 
 
 J^et the green be verditer and mafticote, and (hade with iriswj 
 
 Giacomo PONTE da Bojfano il VecJno, was fcholar to his far- 
 ther Bonifacio, fludied Titian and Parmegiano ; born in th« 
 year 1510, lived at BaiTano and \'cnlce, excelled in hiftory^j 
 anin»ls, landfcapes, and portraits ,- died in 1592, aged 82 years-.f 
 2 ' POR-I 
 
P O R 179 
 
 PORCELAIN; the moft jufl and regular idea we can form 
 j of the Porcelain, or China ware, is, that it is an half vitrified fub- 
 i fl-ance, or manufadture, in a middle ilate between the common 
 baked earthen ware of our vulgar manufa6iures and true glafs ; 
 j this is theelFential and diflinguilliing character of Porcelain, and 
 j it is only by confidering it in this light, that we are to hope to ar- 
 j rive at the pei ledl art of imitating it in Europe. 
 ! This attempt is to be made, on thcfe principles, in two dif- 
 ij ferent manners: The one, by finding fome appropriated matter, 
 1} on which fire z6\s with more than ordinary flrength, in the time 
 ll of its pafling from the common baked flate of earthen ware into 
 that of glafs ; the other is to compofe a pafte of two fubftances 
 reduced to powder, the one of which fhall be of force to refift a 
 very violent fire, fo as not to become vitrified in it ; and the other 
 i a matter eafily vitrifiable ; in the firfl cafe the matter is to be tak- 
 1 €n out of the fire, at the time when it is imperfeclly vitrified ; 
 I and in the other the compound mafs is to remain in the furnace 
 till the one fubftancc, which is the more eafily vitrifiable, is tru- 
 ly vitrified, and, being then taken out, the whole will be what 
 Porcelain is, a fubftance in part vitrified, but not wholly fo. 
 
 The firft method is that by which the European Porcelain 
 has generally been made, and, though that of St. Cloude and 
 fome other places has been very beautiful, yet it is always eafy 
 to diftinguifli even the fineft of it from China ware, and the na- 
 ture of the two fubftances appears evidently different ; thefe, ow- 
 ing all their beauty to their near approach to vitrification, are 
 made to endure a long and violent fire, and are taken from it at 
 a time when a very little longer continuance would have made 
 them perfedl glafs; on the contrary, the China ware being made 
 of a pafte, part of which is made of a fubftance in itfelf fcarce 
 poflible to be vitrified, bears the fire in a yet much more intenfe 
 degree of heat than ours, and is in no danger of running wholly 
 ■'' I into glafs from it. 
 
 The two fubftances, ufed by the Chinefe, are well known by 
 the names of petuntfe and kaolin ; and, on examining thefe, it 
 ='• appears very evident, that we have in Europe the very fame fub- 
 !'■' Iftances, or, at leaft, fubftances of the very fame nature, and capa- 
 3 :^ble of being wrought into a Porcelain equally beautiful and fine. 
 Thefe are the tvi'o different femivitrifications, on one or other 
 \of which all the European manufactures have hitherto been 
 founded ; and it is eafy, from the knowledge of thefe two princi- 
 '■■■> [pies, to determine, on breaking a piece of the China of our manu- 
 facture, by which of the two procefles it is made. It is done by 
 cf iffizing the half vitrified mafs of a fubftance which would foon 
 > after have been wholly vitrified ; then the putting it in a crucible, 
 ei'^ ;; nto an equal degree of fire, will foon turn it v/holly into glafs ; 
 M' K 2 ' ths 
 
J So 
 
 r o R 
 
 this is the cafe of moll of our European Porcelain. But, if it 15 
 made of two ingredients, the one of which is not vitrifiable, or at 
 Icaft not by fuch fires, then the matter will melt, but will not vi- 
 trify ; this is the cafe with the Chinefe Porcelain, which is kept 
 in fufion a long time, yet, when cold, is China ware ftill, fo that 
 this is evidently made of two fuch ingredients. 
 
 Befides thefe methods, there is yet another of late invention, 
 which makes a very beautiful China, and which, if it does not zi~. 
 ford veflels equal to thofc of China, yet will afford them nearly 
 approching to thofe, and at a confidcrably fmaller price: This 
 method confifts in reducing glafs to China. 
 
 The fine deep blue of the old Porcelain ware of China is 
 much valued by the curious, and it is much lamented that the 
 fame colour is not ufed at this time. The art feems at prefent 
 to be loft, but perhaps it might be recovered by trials ; it is cer- 
 tain, that the Chinefe have cobalt among them, and very pro- 
 bably they ufed a blue colour prepared from this, before they 
 had any commerce with us ; notwithftanding all the conjeflures 
 about their materials for colouring, this feems the moft probable 
 fubftance ; and there is a way of preparing a colour from this 
 mlich fuperior to that now in ufe, which we call fmalt. 
 
 Cobalt is a mineral containing arfenic and a blue vitrifiablcj 
 earth. The common way oi preparing fmalt is by roafting thisi 
 cobalt in a reverberatory fire. This difpofes it to vitrify, andl 
 drives off the arfenic it contains in fumes, which, colledting at 
 the top, forms true fiowers of arfenic. It is very certain however 
 from experiments, that, if this arfenic could be prefented in thef 
 cobalt, the fmalt would be of a much finer colour; for there arc] 
 fome kinds of cobalt, which yield fmalt without previous roaft- 
 ing, and, as the arfenic is in a great meafure contained in thefe, 
 the fnialts are much finer-coloured. Arfenic, added to fmalt whili 
 in fufion, greatly exalts in colour al(b, and there is a way of pro- 
 curing fmalt from cobalt without fire, only by diffolving it in ai 
 acid, and precipitating that folution with oil of tartar ; the fmalt, 
 thus precipitated to the bottom, is of a much finer colour thai 
 any prepared by fire, but it is much more expenfive, and prepar- 
 ed in lefs quantity. It is very poflihle that the Chinefe mighl 
 have the art of making this kind of fmalt before they knew us.j 
 and that to this was owing the fine blue of their Porcelain ware j 
 but when we trafficked with them, and they purchafed fmalt fc 
 much cheaper of us, than they could make it themfelves, the] 
 naturally difcontinued the manufacture of their own finer kind.] 
 v/ithout confiuering how greatly inferior the colour was, whici 
 the other yielded. If this be the cafe, it will be eafy to revive! 
 this other art ; and the adding the true old China blue to qui 
 
 Europeai 
 
P O R i8t 
 
 European manufa^lure?, in imiration of Porcelain, rriay give 
 them a vakie which they have not at prcfent. 
 
 The Chinefe had once a method of painting the figures of 
 fifhes and other things on the infidc of their vefiels, in fuch a 
 manner, that they did not appear till the vefTel was filled with 
 water, or fome other clear liquor ; they called this fort of China 
 ware kialfim, that is to fay, the concealed blue China. The 
 art is now in a great meafure lofl, but there may be fome guefs 
 made at the manner in which it might be done at this time. 
 The vefTels that are made in this manner, mufi be \ ery thin ; tlie 
 colour muft be laid on in form of the fifh, or other animals, or 
 figures on the infide, after the vefTel has been once baked ; after 
 this colour has had time to dry, the infide of the veflel muft have 
 a fecond coat of the fame earth, or flone, of which the veflel is 
 made, and over this a varnilli of the common kind; the con- 
 fequence of this will be, that the figures of the fifh in a very flrong 
 colour will be buried between two coats of the ware, which to- 
 gether form a complete veflel ; the outfide is then to be ground 
 down'almoft to the figures, and, when they begin to appear, a 
 new coet of varnifh may be laid over this ; the figures will then 
 be obfcure, and fcarce if at all perceivable; but, on filling the vef- 
 ifel with water, the tranfparence of the "fides will be taken off, 
 and the liquor will make a fort of foil behind, which will throw 
 lOutthe figures of the fifh ; this might be done in any ware clear 
 and tranfparent ; the Porcelain of China would befl fucceed 
 [jj iWith it, but the pains and nicety required are too great. 
 
 The Chinefe make a great variety of figures on the furfaces 
 
 of the vafes of white China ware, and there is one kind of this 
 
 ' greatly in efleem among them, in which there are flowers and 
 
 ..other figures, yet the furface is quite fmooth, and the fuhflance 
 
 extremely thin ; the manner of making it is this : They firft form 
 
 the veffel of the fineft: materials as thin as they can ; then, when 
 
 they have polifhed it infide and out at the wheel, they put it 
 
 into a flump of its own fhape, but cut with all thefe figures ; they 
 
 prefs this down fo firmly on this yet moift vefTel, that the im- 
 
 . iprefliion is received in a very perfect: manner; and, if the fhape of 
 
 the veflel be at all loft, they take it to the wheel again to reflore 
 
 t ; they then finifh it with the knife and fcifiars, and, when they 
 
 have made it as perfedl as can be, they cover it with a fine white 
 
 I'arnifh, within and without; this fills up all the cavities of the 
 
 I mpreflion, and gives a pcrfedly fmooth and even fuiface ; 
 
 |,'etthe thicknefs of this varnifh in the traces of the figures gives 
 
 t a diff"erent white, and the whole figures are as finely and ac- 
 
 :urate!y {een as if painted on tlv^ outfide ; this is an artifice that 
 
 night eafily be brought to bear among us, and feveralof our finer 
 
 Ivares would make a pretty figure with it. 
 N ? There 
 
 ati 
 

 i82 FOR 
 
 There is a current opinion among the Chlnefe themfelves, 
 that the Porcelain ware of former times was greatly fuperior to j^ ) 
 that which they make at prefent, and that the burying China in 
 the earth for a long time adds to its beauty ; but all this is found- 
 ed on error. The truth is, that our merchants beat down the 
 price of their ware, and thereby compel them to make a worfe 
 kind in general ; but they are able to do as fine things now as 
 ever. What gave birth to the opinion, that burying Porcelain 
 made it good, was, that finer pieces than ordinary are fometimes 
 found buried ; ihcfe are all precious vafcs which the poffeflbrs |i 
 buried by way of fccurity, in the times of civil war ; and it is no 
 wonder that there are none but the fineft kind found buried on 
 thefe occafions. 
 
 Staining or colouring Porcelain. The Chinefe, for a great 
 many ages, ufed only white Porcelain ; the firfl: colour they era- 
 ployed was blue, and, after that, made ufe of many more ; the an- 
 cient blues were prepared by themfelves from a kind of lapis | 
 lazuli, but we now fupply them with the fmaltfo much cheaper, 
 that it is no longer worth their while to make it themfelves ; they 
 \ifed to prepare this only by giving a gentle calcination to the 
 flone, and then beating it to powder, and grinding it to the ut- Hra 
 moft finenefs in mortars of unglazed Porcelain ware with peftles lefs, 
 of the fame. The red, which the Chinefe ufc, is made of our 
 green vitriol, or common copperas ; they put about a pound of 
 this into a crucible, and lute on this another crucible inverted} 
 this laft has a hole cut in the top, which they keep covered or 
 open at pleafure ; they fet this crucible in a furnace of bricks fo 
 contrived, as tothrov.- al! the flames upon the lower veflcl, in the 
 way of our chemifls revcrberatory furnaces ; they make a large 
 fire of charcoal all round it, and obferve the hole at the top j for, 
 {o long as there afccnd thick black fumes through that, the mat- 
 ter is not fufficient'iy calcined, they watch the going off of this 
 fume, and, when there appears in the place a fine and thin cloud, don 
 they take away the crucible ; the matter being then fufficiently 
 burnt, they try this however b/ taking a little out, and examin-» 
 ing the colour ; if it be not fufficiently red, they let it remain lon- 
 ger in the fire ; when they find that it is of a good colour, they 
 take away the fire, and leave the vefiel to cool ; this done, they 
 find a cake of red matter at the bottom of the crucible, and 4 
 quantity of a finer powder about its fides ; they keep thefe fepa^ 
 rate, the latter being the purefi, the fineft, and the brighteft co- 
 lour ; one pound of copperas affords about four ounces of this co- 
 Jour, and this is the red, which they manage in different (hades, 
 and vary fo much. 
 
 The Chinefe have alfo a white colour, which they ufe in their 
 figures painted on the China ; the ware itfelf is naturally white, 
 
 and 
 
FOR 1S3 
 
 and the varnlfh, or oil of ftone, is a great addition to its whitenefs 
 all over. But they have yet another way of makino; a much 
 finer and brighter than thefe, as may be feen in moft of the fine 
 China ware, where there is any white in the figures ; this white 
 is made in the following manner: They collecl on thefhores of 
 their rivers a fort of agate, which is of a whitifli hue, without 
 veins, and tolerably tranfparent ; it approaches very much to the 
 nature of cryflal, and probably cryftal may be found to fupply its 
 place with us; they calcine this ilone to white powder, and to 
 every ounce of this, when ground in their Porcelain mortars to 
 an impalpable finenefs, they add two ounces of cerufs in fine pow- 
 der; this they mix with the varnifh, and lay on in the common 
 way of other colours. 
 
 This white mixture fcrves not only for the colouring white, 
 but it is the bafis of feveral other of thofe beautiful colours which 
 we fee on the China ware, and which our manufadfurers have 
 been often perplexed what to make of; their green colour is 
 made of copper rufted with acid ; and the fine deep violet co- 
 lour is made of this green, by adding to it a due proportion of 
 this white ; it is not to be fuppcfec., that this efteii is produced 
 according to the common laws of mixing colours among paint- 
 ers, for then the white and the green would only make a paler 
 green. But, copper being a metal, that as well gives a fine blue, 
 as a fine green, according to the nature of the fubflances it is 
 mixed v/Ith, the white in this cafe alters the very nature of the 
 green, and converts it into that fine and deep violet blue which 
 we may draw from copper, by means of any of thofe volatile al- 
 calies, fuch as fpirit of fal armoniac, fpirit of hartshorn, fpirit of 
 urine, or any the like liquor. The workmen know how to 
 bring this blue to any degree, by putting in different proportions 
 of each colour ; there is not any admixture of them that will not 
 produce a blue of fome kind, but always, the more of the green 
 colour is ufed, the deeper the blue will be, and the lefs the pa- 
 ler ; the yellow is made by an admixture of feven drachms of this 
 white, and three drachms of copperas, or more, if they defire the 
 colour to be deeper. 
 
 Thefe colours are laid on upon the vefTel, when they have 
 been once baked ; but they do not appear, till the fecond baking 
 is over, in their proper fhades and tinges, and fomctimes fcarce 
 at all. 
 
 The black China is much eftecmed in the Eafl, and particu- 
 larly when it is ornamented with gold, this colour looking better 
 with that ornament than any other ; the black is always laid on 
 when the Poicelain is firft dried, and is prepared by mixing of a 
 fine deep blue with feven ounces of that fine varnifla, which they 
 call oil of ftones. This admixture gives a deep black, when the 
 
 N 4 colout 
 
lS4 
 
 FOR 
 
 colour Is thoroughly dry, the vefTcIs are baked, and, when this i» 
 done, the gold is laid on, and the whole is baked again in a par- 
 ticular furnace made for that purpofe ; if they would have the 
 black degenerate into blue, they need only add the lefs of the 
 blue, and a little of the cerufs, or agate white before defcribed. 
 Xhey have two peculiar ways of applying the red befides the 
 common one, both which require a nice workman, and make 
 the ware come very dear ; they call one of thefe oils red, and the 
 other blown red. 
 
 There are many things praclifed by the Chinefe, in their co- 
 louring and forming the feveral kinds of Porcelain, which may 
 be well brought into ufe among us, and give a new value to our 
 own wares, even though we fhould never arrive at their art of 
 making the thing itfelf One kind of colouring, eafdy introduced 
 among us, would be what they call hoan ton hoan ; this produces 
 veffels of great beauty and price, and is done in this manner: 
 The matter of which veffels are made for this purpofe, need not 
 be very fine ; they ufually take any of the common veiTels baked, 
 V^ithout having been varnifhed, and confequently fimply white, 
 and without luftre ; when thefe are intended to beofonefimple 
 colour, they need only be plunged into a liquid varnifh or oil, as 
 the workmen there call it, coloured with fuch ingredients as will 
 ftrike the moft livelv tinges ; but, if it is to be coloured in com- 
 partments, as is ufually thecuftom with this fort of China, it is to 
 be done by the pencil ; the ufual way is to paint thefe in pannels, 
 one green, anotlier blue, and fo on ; and they make a very a- 
 greeable appearance. There requires no more to this, than the 
 laying on the colours tolerably thick, with a large pencil ; but, if 
 the pictures of animals and pla-ts are to be given, they are to be 
 done with the mofl permanent colours, and the vefTel, being again 
 well baked, becomes very beautiful. 
 
 The Chinefe, who are deceivers in every thing, find the way 
 of cheatinfr very much, in regard to this fort of China ware; they 
 paint the flowers of plants, and feme parts of the birds, &c. in 
 very bright colours, a'ter the velTel has been baked. Vermilion 
 is a fine colour, which they often add on this occafion; but they 
 cannot ufe this before the baking, becaufe it would be deftroyed 
 by the fire ; thefe colours, which are laid on afterwards, cannot 
 laft, but foon rub off in the wiping, or ufing the things ; the o- 
 thers laft forever, for they are laid on with the greatefl heat of 
 all, the vefL^ls being put into the fame furnaces to lav on thefe 
 as the other things are baked in, for the firft time. Saltpetre and 
 powder of flints are generally the things added to the colours 
 thus laid on, to make them penetrate and run properly. Thus 
 for the fine deep violet coloiir, which makes the greatefl figure 
 of all others ; on this ware they mix togethcrequal quantities of 
 2 ' the 
 
P O S 185 
 
 the fine azure, the powder of flints, and faltpetre, all firfl powder- 
 ed feparately, till perfe(fHy fine ; this is tempered with water, and 
 then laid on with the pencil ; and, though it looks rough at firft, 
 it comes out of the furnace of as beautiful a glofTy hue, as any 
 thing that can be conceived. The yellow is made by mixing to- 
 gether three ounces of cerufs, and three ounces of powdered 
 flints, and adding three, four, or more drachms of the red cop- 
 peras, till the whole is of the proper degree ot' colour. The white 
 is compofed only of powder of flints and cerufs, with a fmall 
 admixture of the faltpetre, or it will fucceed tolerably well with- 
 out; thefe are all the particulars necefl'ary to be obferved, for 
 the making a fort of Porcelain of great beauty, in which the 
 nature of the ware itfelf is not concerned ; fo that it feems eafy 
 to imitate it with any of our own wares. 
 
 In the baking of this, or any other kind of coloured China, the 
 fecond time, there is however fome caution to be ufed in the 
 placing of the pieces ; the Chinefe are very curious in their dif- 
 pofition of thefe, arranging them in the moft compadt manner, 
 and putting the little ones within the great ones; but great care 
 is alfo neceflary, that the vefTels do not touch one another in the 
 parts where they are painted, for the confequence of that would 
 be the fpoiling of both vefTels, as the colours would run together ; 
 the bottom of oneveflel may generally be placed, on the bottom 
 of ano ther, though both are painted ; becaufe the rims are not 
 painted, and they keep the painted parts from touching one 
 another. High and narrow velTels, fuch as chocolate cup., Sec, 
 are very troublefome on this occafion ; the method the Chinefe 
 workmen take with them is this : They place a range of them 
 fo as to cover the whole bottom of the furnace, and they cover 
 this with a thin bed of broad China ware, over which they place 
 another row of the cups, and fo on to the top, where they lay on 
 no covering ; they never bake any thing elfe with thofe cups, 
 when they are of this kind of twice baked Porcelain. 
 
 PORTRAIT, 1 is the reprefentation of a perfon, and 
 
 PORTRAITURE, iefpecially a face, done from the life. 
 
 And in this fenfe we ufe the term Portrait-painting, in con- 
 tradiftinclion to hiftory-painting, where all refemblance of per- 
 fon is difregarded. 
 
 POSTURE, in painting and fculpture, &c. is the fituation 
 of a figure, with regard to the eye ; and of the feveral principal 
 members thereof, with regard to one another, whereby its ad^ion 
 is expreffed. 
 
 A confiderable part of the art of a painter confifts in adjull- 
 ing the Poftures, in giving the moft agreeable Pofture to his fi- 
 gures ; and in accommodating them to the characters of the 
 
 refpec^ive 
 
sS6 POT 
 
 refpedlive figures, and the part each has in the adiion, and itl 
 concluding and purfuing them thioughout. 
 
 Pollurcs are either natural or artificial. 
 
 Natural PofUires are fiich as nature feems to have had a view 
 to, in the mechanifin of the body ; or rather fiich as the ordi- 
 nary actions and occafions of life lead us to exhibit, while young, 
 and the joints, mufcles, ligaments, $ic. are pliable. 
 
 Artifical Pofturcs are thofe which fome extraordinary views 
 or occafions lead us to exhibit: Such, e. gr. are thofe of ourPof- 
 ture-maftcrs. 
 
 PvjTTERY, is the art of making earthen pots and veflels, 
 or the manufa£tory of earthen ware. 
 
 The v/heel and lathe are the chief, and almoft the only inftru- 
 ments ufed in Pottery : The firft for large works, and the fe- 
 cond for fmall ; although, in truth, they are much the fame, as to 
 the manner of uiing them. 
 
 The potter's wheel confifts principally in the nut, which is a 
 beam or axis, whofe foot or pivot plays perpendicularly on a 
 frce-rtone fole or bottom. 
 
 From the four comers on the top of this beam, which does 
 not exceed two feet in height, arife four iron bars, called the 
 fpokes of the wheel) which, forming diagonal lines with the 
 beam, defcend, and are faftencd at the bottom to the edges of a 
 ftrong wooden ciVcle, four feet in diameter, perfectly like the fel- 
 loes of a coach-wheel, except that it has neither axis nor radii ; 
 and is only joined to the beam, which ferves it as an axis by the 
 iron bars. 
 
 The top of the nut is flat, of a circular figure, and a foot in 
 diameter. On this is laid a piece of glazed earth to be turned 
 and fafhioned. 
 
 The wheel, thus difpofed, is encompafled with four fides of 
 four different pieces of wood, fufliained on a wooden frame ; the I 
 hind piece, which is that whereon the workman fits, is made a 
 little inclining towards the wheel ; on the fore-piece are placed 
 the pieces of prepared earth. Laftly, the fide- pieces ferve the 
 workman to reft his feet againft, and are made inclining, to give 
 him more or lefs room, according to the fize of the vefi'el to bC 
 turned. 
 
 By the fide of the workman is placed a trough of water, where- 
 with, from time to time, he wets his hands, to prevent the earth's 
 flicking to them. 
 
 In ufmg the wheel ; the earth being prepared, and a piece of 
 it, fuitable to the work intended, laid on the top of the beam ; 
 the workman fits down, his thighs and legs being much ex- 
 panded, and refting his feet on the fide-pieces, as is mofl: con»» 
 venient. 
 
 Ifl 
 
P O U 187 
 
 In this fituation the wheel is turned rounJ, till it has got the 
 proper velocity ; when, wetting his hands in the water, he hopes 
 the cavity of the veflel, continuing to widen it from the middle ; 
 and thus turns it into form, the wheel turning afrefli, and he 
 wetting his hands from time to time. 
 
 When the velTel is too thick, he ufes a flat piece of iron, with 
 a hole in the middle, and fomewhat (harp on the edge, to pare 
 off what is redundant. 
 
 Laftly, when the veflel is finiflied, it is taken off from the cir- 
 cular head, by a wire paffed underneath the veflel. 
 
 The potter's lathe is alfo a kind of wheel, but more fimple 
 and flight than the former ; its three chief members are an iron 
 beam or axis, three feet and a half high, and two inches in dia- 
 meter ; a little wooden wheel, all of one piece, an inch thick, 
 and feven or eight in diameter, placed horizontally at the top of 
 the beam, and ferving to form the veffel on ; and another larger 
 wooden wheel, all of a piece, three inches thick, and two or 
 three feet broad, fafliened to the fame beam at the bottom, paral- 
 lel to the horizon. 
 
 The beam or axis turns by a pivot at the bottom in an ircn 
 fland. 
 
 The workman gives the motion to the lathe with his feet, by 
 pufhing the great wheel alternately with each foot, ffill giving 
 it a greater or leffer degree of motion, as his work requires. 
 
 They work with the lathe v/ith the fame inftruments, ajid 
 after the fame manner as the wheel. 
 
 But neither the one nor the other ferve for any more than the 
 forming the body of the veflel. Sec. 
 
 The feet, handles, and ornaments, if there be any befides 
 the mouldings, being to be made, and fet on by hand ; if there 
 be any fculpture in the work, it is ufually done in earthen or 
 wooden moulds, prepared by a fculptor, unlcls the potter is artift 
 enough to do it himfelf, which is very rare. 
 
 As to the glazing or varnifhing of the work, this is ufually 
 done with mineral lead, i. e. lead pulverifed, by throwing char- 
 coal-dufl into the melted lead, and the aflies of lead, which, in 
 effedl, are only its fcum and fcoria. 
 
 POVERTY, is reprefented, in painting. Sec. by a woman in 
 a forry habit, has her right hand fafi:ened to a heavy flone, and 
 expanded wings on her left, as if fhe was ready to fly up, — • 
 The wings fignify the dehre to afcend to the higheft pitch of 
 knowledge, but the fl^one hinders the foaring, and they are ob- 
 liged to ftay in their abj eel flate, and become a laughing- flock 
 to the world. 
 
 Nicholas POUSSIN, was born of noble defcent in 1594, flu- 
 died at Paris and Rome, praciifed after Domiinchino, and the 
 
 antique 
 
iSS P R I 
 
 antique after Flammingo ; lived at Rome, excelled in hiflory 
 and fmall figures j died in 1665, aged 71 years. 
 
 /~C^ Francis du POYLLI, an engraver, who wrought for 
 
 V_r feveral matters, ufed this mark. 
 
 PRACTICE, is reprei'ented, in painting, &c. by an old wo- 
 man, her head inclined, a pair of compafles in one hand, and a 
 lulc in the other ; (he is dreffed in a fervile manner. — Her down 
 looks denote her regarding only that part we tread on, and ab- 
 je«fl things, as appears by her robe ; theory does not doat on cuf- 
 tom, but relies on the true knowledge of things ; the compafTes 
 denote reafon r.eceflary for the due condud: of affairs 5 the rule, 
 the meafure of things, eftabliflied by common confent. 
 
 PRAISE, is reprefented, in painting, Sec. by a fair lady all in 
 whice, wearing a jewel of jafper at her breaft, crowned with a 
 garland of rofes; holds a trumpet in her right hand, out of which 
 iffues great fplendor ; her left arm extended, and feems to point 
 atfome particular perfon. — Handfome, becaufe our ears are de- 
 lighted with nothing more than Praife; the jafper and rofes de- 
 note Fraife, for thofe who wear them, get all mens favour and 
 applaufe ; the trumpet, reputation of thofe who deferve Praife ; 
 Ihe points at fomebody Praife-worthy. 
 
 PRAYER, is reprefented, in painting, he. by an old woman 
 in a white mantle, looking up to heaven, kneeling ; in one hand 
 a fuming cenfer, a heart in the other, a cock on the ground. — • 
 Kneeling denotes her being confcious of her failings ; her man- 
 tle, that Prayer ought to be in fecret ; the heart fhews, that, if it 
 pray not, lip-labour is in vain ; the incenfe-pot is a fymbol of 
 Prayer ; the cock denotes vigilance. 
 
 PRECEDENCE, is reprefented, in painting, &c. by a ma- 
 jefiic woman, having a wren on the crown of her head, and op- 
 pofes an eagle with her right hand, to prevent its foaring aloft to 
 difpatch its rival. — The wren, among the Romans, was called 
 king of birds ; and Ariftotle fays, the eagle often contends with 
 It,, as not enduring fhe fhould have the pre-eminence, which 
 caufes the antipathy between them. 
 
 Francifco PRIAIATICCIO Fjo'lognefe., born in the year 1490, 
 fchohr of Gio Romano, lived in Bologna, Mantua, and in 
 France; excelled in hiflory-painting and architedlurci died in 
 the year 15 7c, aged 8c years. 
 
 d\ yTair' Jk^ Thefe two marks are in 12 pieces, copied 
 
 ^c ▼ j.*^.Z^9c from the paintings of the chapel of Fontain- 
 bleau ; on one fide is the iirft mark, fignifying St. Martin of Bo- 
 logna, who was Francifco Primaticcio, called abbot of St. Mar- 
 tin's ; on the other fide is the fecond mark, which ftands for An- 
 thony Gucrnier, the engraver. 
 
 PRINT- 
 
P R I 1S9 
 
 PRINTING, is reprefented, in painting, Sec. by a woman 
 in a white chequered habit, with the letters of the alphabet on 
 it; holds a trumpet in one hand, round which is a fcroll, in{cri- 
 bed ubique ; and, in the other, the fempervive, or houfe-leck, 
 with the word femper ; a printing-prefs by her, with fome im- 
 plements. — White fhews the impreflion fhould be pure and cor- 
 rect ; chequered, to fignify the little boxes for the letter • ubi- 
 que fignifies its being famous every-where. 
 
 PRINTS, are of great ufe for drawing, painting, Sec. they are 
 one of the happieft productions of latter a2;es. 
 
 And they are, in our age, arrived to To high a degree of per- 
 fection, and good gravers have furnifiied us with fo many on all 
 forts of fubjedts, that it may truly be faid, they are the dcpofi- 
 taries of all that is fine and curious in the world. 
 
 The origin of Prints was in the yea^• 1460, and arofe from one 
 Mafo Finiguerra, a goldfniith of Florence, who having grav(?d 
 a plate, and cafting fome of it in melted fulphur, he perceived 
 what came out of the mould was marked with the fame Prints 
 as his plate, by the black which the fulphur had taken from his 
 •graving ; he tried to do as much on filver plates with wet pa- 
 per, by rolling itfmoothlv with a roller, which alfo fuccccdcd. 
 
 This novelty tempted Baccio Baldini, a goldfmith of the fame 
 city, to try whether he could do the fame ; and his fuccefs en- 
 couraged him to engrave feveral plates of the invention and de- 
 lign of Sandro Boticello ; and, upon this, Andrea Mantegna, 
 who was at that time at Rome, fet about engraving fome of his 
 own pieces. 
 
 The knowledge of this Invention getting Into Flanders, Mar- 
 tin of Antwerp, then a famous painter, engraved abundance of 
 plates of his own invention, and fent feveral prints into Itaf, 
 which were marked thus, M. C. 
 
 After Martin of Antwerp, Albert Durer began to appear, and 
 gave the world an infinite number of fine Prints, both in copper 
 and wood, all which he fent to Venice to be fold. 
 
 Marco Antonio, who happened at that time to be there, was 
 fo charmed with the beauty of thefe Prints, that he copied thir- 
 ty-fix of them, which reprefented our Saviour's pafnon ; and thefe 
 copies were received at Rome with fo much the more admira- 
 tion, by how much the more they were finer than the originals. 
 
 At the fame time Ugo da Carpi, an Italian painter of a mean 
 capacity, but of a wit apt for invention, found out, by means of 
 feveral plates of wood, the way how to make Prints refemble 
 defigns in claro obfcuro ; and fome years after the invention of 
 etching was difcovered, which Parmegiano foon made ufe of. 
 
 Thefe firft Prints drew the admiration of all that faw them, 
 for their novelty ; and the fkilful painters, who wrought for 
 
 glory, 
 
I90 P R I 
 
 glory, were willing to ufe them, to fpread their works all over 
 the world. 
 
 Raphael^ among others, employed the famous Marco Anto- 
 nio to engrave feveral of his pictures and defigns ; and thofe ad- 
 mirable Prints were ib renowned, that they carried the name of 
 Raphael through all the countries of Europe. 
 
 A vaft number of gravers have, fince Marco Antonio, made 
 themfelvcs famous in Germany, Italy, France, and the Low- 
 Countries, and have published, as well by graving as etching, 
 an infinite number of Prints on all forts of fubjedts, as well hi- 
 llories, fables, emblems, devices, medals, animals, landfcapes, 
 flowers, fruits, as, in general, all the vifible productions of art 
 and nature. 
 
 From thcfe, painters may draw every thing that may aflift 
 them in the feveral parts of their art ; as the antique pieces, and 
 thofe of Raphael and Caracci, for the good goiit, corredtnefs of 
 defign, the dignity of manner, for the choice of the airs of the 
 head, the paffions of the mind, and the attitudes. 
 
 Thofe of Correggio, for grace and delicacy of expreflion. 
 
 Thofe of Titian, Baflano, and the Lombards, for the charac- 
 ter of truth, for the fimple expreflions of nature, and, above all, 
 for the gout of landfcapes. 
 
 Thofe of Reubens for the grandeur and magnificence of his 
 invention, and the artifice of claro obfcuro. 
 
 In fhort thofe, though they may be defeflive in fome particu- 
 lar part of them, may yet have fomething in them fingular and 
 extraordinary ; for the painters may draw a confiderable advan- 
 tage from all the different manners of thofe that have gone be- 
 fore them. 
 
 For fculptors, ftatues, baflb-relievo's, medals, and other an- 
 tique works, thofe of Raphael, Polydoro, and the whole Ro- 
 man School. 
 
 For architefSis, the books that concern their profefTion, and 
 that are full of demonftrative figures of the invention of their' 
 authors, or copied from the antique. 
 
 For engravers, a colleclion of pieces of different manners, 
 cither engraved or etched. 
 
 This colIc(5tion will alfo ferve to fliew them the progrefs of 
 engraving from Albert Durer to the engravers of our own times, 
 which will include the works of Marco Antonio, Cornelius 
 Corte, the Caracci, Sadelers, Pontius, Bolfvert, Goltzius, Mu- 
 ler, Vofterman, Vifchcr, and a great many more, who had a. 
 particular charaeSler, and who, by different ways, all of them 
 iirove to imitate nature, when they did fomething of their own 
 invention ; or pictures of dirTerent manners, when they only aim- 
 ed at the fiiithfulnels of imitation. 
 
 In 
 
P R I 2^1 
 
 In comparing thus the works of all thefe mafiers, they may 
 form a judgment, which of them underftood beft the mana2;e- 
 mcnt of their tools, of hght, and the ufefulnefs of tones, as it 
 relates to the claro obfcuro ; which of them, in their works, re- 
 conciled delicacy and force beft, and, in their produ£lioiis, were 
 moft fenfible and exaft; that, making a good ufe of thefe lights, 
 they may have the laudable ambition to equal, if not to furpaf^ 
 fhefe fkilful mafters. 
 
 For the curious in hiftory and antiquity, every thing th.at has 
 been engraved, belonging to facred or profane hiftory,"the fable, 
 the antique baflb-relievo, the Trajan and Antonine pillars, the 
 books of medals and ftones engraved, and feveral Prints that 
 jnay be helps to them in the knowledge of thofe thii-;c;s thcv 
 would know, or to keep thofe things that they do know already 
 in their minds. 
 
 In fhort, for thofe that would form their gout, and have a 
 reafonable tindure of the fine arts, nothing is more neceflary 
 I than good Prints. 
 
 Among all the good efFe(Slsthat may arlfe from the ufe of good 
 Prints, I fliall only name fix, by which we may eafily make a 
 judgment of the reft. 
 
 The firft is to divert the imagination, in reprefentin? vifible 
 : things to us by imitation. 
 
 The fecond is to inftru»5t by a more forcible and ready man- 
 ner than by fpeech. 
 
 The third is to fhorten the time we employ in recolleding, 
 thofe things that have efcapcd our memory, and to refrefli it 
 with a glance of the eye. 
 
 The fourth is to reprefent abfent and diftant things, as if they 
 were before our eyes, which otherwife we could not fee with- 
 out troublefome voyages and great expence. 
 
 The fifth is to afford us, by thefe means, an eafy way of com- 
 paring feveral things together. Prints taking up fo little room ; 
 and we may make ufe of fo great a number, and fo difi^erent. 
 
 The fixth is to give one a tafte of good things, and a tinc- 
 ture of the fine arts, which no gentleman (hould be ignorant of. 
 
 If the ancients had had the fame advantage of Prints as we 
 have; and if they had, by the means of Prints, tranfmitted what 
 they had done, that was fine and curious, to pofterity ; we fhould 
 have diftinctly known abundance of things, of which we have 
 but confufed ideas in hiftorv ; we might then fee the ftately m.o- 
 numcnts of Memphis and Babylon, and the temple of Jerufalcm 
 built by Solomon with fo much magnificence ; we might make 
 ^judgment of the building of Athens, Corinth, and old Rome, 
 
 itb more certainty than we can now, by the poor remains that 
 ire left of them. 
 
 It 
 
 t 
 
192 PRO 
 
 It is for want of the invention of Prints, that the machines of 
 Archimedes and the elder Hiero are loft ; and the knowledge of 
 Diofcorides in plants, and alfo of feveral animals, and a great 
 many of the curious productions of nature, which the ftudies of 
 the ancients difcovered. 
 
 PRODIGALITY, is reprefented, in painting, &c. by a 
 woman hoodwinked, of a fmiling countenance, holding a cor- 
 nucopia with both her hands, out of which fhe fcatters gold and 
 other precious things. — Blind, to (hew they are fo who fpend 
 and fquander away their fubftance, without reafon, to thofe who 
 are unworthy of it, for the moft part obferving neither rule nor 
 nieafure. 
 
 PROPORTIONS of a hwnan body. i. The length of an up- 
 right body is equal to eight times the length of the face or head : 
 The arm, hanging llraight down, reacheth within a fpan of the 
 knee : The length of the hand muft be the length of the face : 
 The arms extended muft be the juft length of the body. 
 
 2. Thofe parts which are near the eye muft be made larger 
 and longer than thofe that are farther ofl\, becaufe the eye judgcth 
 fo of them ; and, according to the diftance from the eye, fo muft 
 you vary from that which is otherwife the real true Proportion of 
 thofe. 
 
 It is fcarce poflible to do any thing in the art of Proportion 
 commendably, without the knowledge of arithmetic and geome- 
 try ; wherefore, the knowledge of thefe fciences is required, as 
 •what is abfoiutely necefTary : For how otherwife fhould any one 
 undcrftand the exa6l meafure and Proportion of a body ? 
 
 PerfpeiJzve Proportion, is to be judged according to the 
 diftance of the eye from the thing viewed, as if one part of the 
 body comes nearer to the eye than another, it is to be reprefented 
 in drawing, he. fo much bigger than the other part of the body, 
 which trends away from the eye : As if one leg ftands behind 
 another, the foremoft, coming hrft to the eye, muft be made 
 fomewhat bigger and longer than the other, becaufe the eye judg- 
 eth fo of it. 
 
 And, in like manner, you are toobferve the fame rule in any 
 other part of the body, that the Proportions muft be leflened ac- 
 cording to the diftance that it is from the eye ; which, notwith- 
 ftanding, cannot be much in a principal figure. 
 
 But this rule is more nicely to be obferved in ftately palaces, 
 cathedral churches, or fuch-like edifices, v/herc there is a great 
 variety by reafon of their greater diftances. 
 
 As alfo, many times, many figures ftand far remote from the 
 eye, and fome nearer^ which you are to take fpecial notice of, 
 that you exprefs thofe that are far off at a diftance, not too big 
 aor plain. Sec the feveral articles in PERSPECTIVE. 
 
 PROS 
 
PUR 19s 
 
 PROSPERITYj is reprefented, in painting, &c. by a wo- 
 , man richly clad, in one hand a cornucopia heaped up with mo- 
 ney, in the other an oak-branch, with acorns and violets upon 
 her head, — The horn of plenty filled denotes money necefiary 
 to lead a profperous life ; the oak, long life abfolutely neceflary 
 to it, as do the purple violets that always produce flowers. 
 
 Marcello PROVENZALE da Cento, the fcholar of Paulo 
 Rofi'eti, Jived at Rome, excelled in hiftory, and in mofaic 
 works fuperior to any; died in the year 1639, aged fixty-four 
 years. 
 
 PRUDENCE, is reprefented, in painting. Sic. by a woman 
 with two faces, a gilded helmet on her head, a ftag by her, a 
 looking-glafs in her left hand, in her right an arrow, and a re- 
 mora fifti twifted about it. — The helmet fignifies the wifdom 
 of a prudent man, to be armed with wife counfel to defend him- 
 ielfj the ftag fhewing that we fhould ruminate before refolving 
 on a thing, the mirrour bids us examine our defeats by knowing 
 ourfelves ; the remora that ftops a (hip, not to delay doing good 
 when the time ferves. 
 
 . P. S. F. ftands for Peter Stcfanoni fecit ; this artift engraved 
 I Caracci's works. 
 
 PURPLE, is a red colour bordering on violet, made princi- 
 I pally with cochineal. 
 
 Purple was in high efteem among the ancients, efpecialiy the 
 ' Tyrian Purple, which pafTed through more dyes than the reft j 
 i and which colour was in a manner almoft peculiar to kings and 
 emperors. 
 
 Yet this Purple did not exxeed that now ip ufe ; the chief rea- 
 fons why the former has been dilufed^ are, that our modern 
 rurple is not only cheaper but finer. 
 
 The ancient or Tyrian Purple was tinged or dyed with the 
 blood of a teftaceous (hell-fifli, which the Latins call purpura. 
 
 There is now found about Nicoya in the Spanifti Weft-Indies 
 lafhell-fifti, which pcrfedly refembles tlie ancient purpura, and 
 : IS in all probability the very fame^ 
 
 Gage relates of this fifti, that it ufuilly lives feven years ; that 
 it hides itfelf upon the approach of the dog-days, and continues 
 I hid for 300 days running. 
 
 Theft* fiflies are gathered plentifully in the fpring, and, by 
 robbing oneagainft another, yield a kind of faliva or thick glair^ 
 refembling foft wax ; but the Purple dye is faid to be In the 
 throat of the fifti, and the fineft part in a little white vein ; the 
 • reft of the body is of no ufe. He adds, that the chief riches of 
 f J>ricoya confift in this fifti. > 
 
 Cloth of Segovia, dyed with this Purple Jicuor, is fold for 20 
 Vol, n. O aowii* 
 
194 P ^ R 
 
 crowns the ell, and is worn by none but tlie greateft Spaniffit 
 lords. 
 
 Befides the Weft-Indian Purple fifhes, we have others much 
 nearer home ; and Mr. "VV.Cole did, in the year 1686, difcover 
 Purple fifties on the coafts of Somerfetfliire, South-Wales, &c. 
 ■where they were found in great abundance, as we find in th© 
 Philofophical Tranfadions. 
 
 Mr. Reaumur obferves, that this fifti is a kind of buccinium, 
 by which name the ancients called all thofe Ihell-fifties^, that bear 
 any refemblance to a hunting-horn ; and, as Pliny relates, the 
 ancient Purple was taken from this kind of ftiell-fifti. 
 
 The author defcribes the method of obtaining the colour as- 
 follows : They break the fliell, which is very hard, holding the. 
 mouth of the fifti downwards, fo as not to crufli the body ^ and 
 pick ofF the broken pieces, and then there appears a white vein, 
 lying tranfverfeiy in a little furrow or cleft, next the head of the 
 fifti. 
 
 In this vein is the Purple liquor lodged ; fome of which, being' 
 laid on linen, appears at firft of a light green colour; but, if 
 cxpofed to the fun, foon changes into a deep green, and in a few 
 minutes more into a fea-green, and in a few more into a blue ; 
 thence it foon becomes of a purplifli red, and in an hour more 
 of a deep Purple red. 
 
 And here the a6\ion of the fun ends j but it becomes of a moft 
 bright beautiful crimfon, by being wafhed in fcalding w^er and 
 foap, which will bear wafhing admirably without any ftyptic. 
 
 Mr. Reaumur has difcovered another very different kind of 
 Purple. This, he fays, is produced in oval grains about a quar- 
 ter of an inch long, and one inch thick, full of a white liquor, 
 bordering on yellow, which cover certain ftones or fands, about 
 which, the fiih called buceina of Poiclou, in France, ufually af- 
 femble. 
 
 Thefe he fuppofes to be the egg? of fome unknown fifti. 
 
 Thefe grains being bruifed on a white linen cloth, at the firf?^^ 
 only tinge it yellow, and that infenfibly; but in three or fouf 
 minutes turn to a ver}'' beautiful Purple red, provided the lineir 
 be expofed to the open air ; for the air of a room, although thff 
 windows be open, will not producs^ this efFe6t. 
 
 This colour will fade a little by repeated wafhings. 
 
 There is likewife a Purple fi.fh about the Caribbee iflands ; thf» 
 fifti is called Burgan, being much about the fize of the end of* 
 finger, and in ftiape like our periwinkles : The ftiell of it is of 
 a brownifh azure, the flefti white, the inwards of a very bright 
 red, the colour of which appears through the body ; and it is thi> 
 that dyes the froth, which it cafts forth when taken, and which 
 M firft is of a violet hue, bordering on blue, 
 
 T» 
 
 : 
 
PUR 195 
 
 To caufe thefe fifli to yield the greater quantity of froth, they 
 lay them on a plate, fhalce and beat them one againft another; 
 upon which the plate is immeiliately covered with the froth, 
 which they receive on a linen cloth, and as it dries becomes 
 Purple. 
 
 P. Labat obferv'c?, that this colour is found to dwindle and 
 di/Tipate in proportion as the linen that is dyed with it is wafhed. 
 
 The fame author gives us alfo the defcription of another Pur- 
 ple dye, produced by a plant that grows in the Antilles iflands 1 
 The juice of this tree, when cut, he fays, is of a blood-red co- 
 lour, and communicates the fame colour to cloths j though, like 
 the former, it lofcs much in wafl^.ing. 
 
 A tranfparent Purple /cr ivajking pridts. This may be made 
 either redder or nearer the blue, as you would have it, by boiling 
 four ounces of rafped brafil wood in a pint of pale ftale beer, and 
 half an ounce of logwood or Campeachy wood, till the liquor is 
 heightened to the colour you defire, which may be known, by 
 dipping a piece of paper in it. 
 
 If you find it too red, add more logwood to the brafil wood, 
 and it will be nearer the Purple than the former ; and by this 
 method you may humour it to any degree of Purple, by putting 
 in either more or lefs logwood to the former compofition, and 
 fixing the colour with alum. 
 
 This will produce fuch clear Purple, as no mixture of foliJ 
 reds and blues will producej and the receipt has been for a long 
 time kept fecret. 
 
 Madam Mariana, of Amflerdam, famous for painting in mi- 
 niature, and her excellent manner of illuminating prints, fays^ 
 that the befl Purple that can be made, may be compofed between 
 the carmine and indigo ; to ftrengthen which, on the red fide, 
 you may add lake, between the lighter and darker part: And io 
 lake, when it is ufed in the fame way, on the foregoing Purple, 
 or the liquid crimfon, produces a very fine eiFedl, 
 
 The colour of the Purple may be varied, and made either red- 
 der, by putting more carmine ; or blueri, by ufing more indigo ; 
 which, being mixed on a white Dutch tilcj will (hew itfelf. 
 
 To dyejluff's^ (Jc. a PuRPLE. Allow a fufficient quantity of 
 fair water to every pound of ftufF, one pound of ta;tar, and two 
 ounces of alum ; in which boil the cloth for an l)our ; then take 
 it out, cool, and rinfe it ; after this, warm fome clean water, 
 into which put in three ounces of brafil wood; boil it half an 
 hour, and then work the (luffs in it, till it becomes as red as de- 
 fired : Upon which, take them out, and put into the dyt two 
 ounces of pot- afnes ; ftir it well about, and put in the red ftuft 
 ! >nce more ; roll it off and on the roller, that it do not fpr^t j then 
 cool, and rinfe it out. 
 
 O 2 I'o 
 
196 P t R 
 
 To dy^ fiik a jliglf fort o/Purple. Clap the filk into the 
 (lighter red dye ; but increafe the quantity of pot-afties, to turn 
 it to Purple ; then rinfe and dry it. 
 
 To dye threcd cf a Pvrple colour. Firft alum the thread with 
 three pounds ol' alum, half a pound of tartar, and two ounces of 
 brafil ; drv it, and draw it through the woad or indigo dye; then 
 rinfe it clean and dry it again ; then, to brown or deepen it, take 
 twelve ounces of brafil, being tirft boiled ; which liquor divide 
 into three parts, to benl'ed at three times. 
 
 To the iirft add half an ounce of Paris red, a {brtof fanda- 
 rach, one drachm of maitich, and a quarter of an ounce of cal- 
 cined tartar ; always drying the thread, after you have ufed every 
 one of the parts of the liquor. The feconil time add half an 
 ounce of turmeric, two drachms of cinnabar, and half an ounce 
 of gum arabic. The third time, when the thread becomes rcd- 
 tlifli, add a quart of iharp ley? and by this means the thread will 
 be dyed of a lading colour. 
 
 PYROTECHN Y, from irv,, fire, and nx";, art, the fciencc 
 which teaches the application of fire ; but, in a more particular 
 lenfe, it implies the dodlrine of artificial fireworks. 
 
 As rockets are the principal parts of every fireworks, we fhall 
 bco-in with adefcription of the moulds they are made in, which 
 are generally in the form of a c} lindcr, and generally made of clofe 
 2nd hard wood, as white plum-tree, box, h-c. Some are alfo 
 inade of ivorv, and, for rockets of extraordinary "Urge fizes, they 
 are caft in brafs or copper, and the infide nicely turned ; the foot 
 or bafis of which, with the cylinder, wart, or half bullet, may 
 be of folid wood. It is agreed, by the mofl famous artificers, 
 that the moulds of all rockets from half a pound to fix pounds 
 fhould be fix diameters of their orifices high 3 but the large fize, 
 of four, four and an half, or five diameters. Rocket moulds, 
 from fome ounces to three pounds, are ordinarily feven diameters 
 of their bore long; the foot, two or three diameters thick ; the 
 tvart, two thirds of the diameter ; and the piercer, one third ofthe 
 ]9ore ; th^ roller, two thirds, and alwavs one or two diameters 
 irom the handle longer than t!fe nionld ; the ram.mer, one dia- 
 ineter Ihorter than the mould, and lumcwhat thinner than the 
 roller to prevent the facking of thi- paper when the charge is 
 rarnnied in. For the better iliuitration, plate VII. fig. 2, repre- 
 ients the mould, with its bafi^ cylinder, bore, and piercer. 
 A B, the interior diameter of the mould ; C D, the height of 
 the mould levcn diameters ; from D to K is the height of the 
 breecf. .a botrom, which flops the mould when the rocket is 
 driving, s{\A thia is one and one tlnrd diameter. Upon this bot- 
 tom is a foiixi c;y!inder, whole height is one diameter ofthe ort- 
 f*gc A B ; ti;;s cylinder is crr.>wned Willi a wart or half bullet ly 
 z havinsL 
 
P Y R ^ 197 
 
 •having a hole in the center, in which is fixed the.iron or copper 
 piercer F. i. G, is an iron pin which keeps the bottom and 
 cylinder together. 2. The roller. 3. The rammer. 4. A 
 fhorter rammer, which may be ufed with more eafe, when the 
 fhell of the rocket is rammed half full. When moulds are made 
 nine diameters of their orifice long, the fliell, with the wart, 
 will be twelve <Jiameters. Thefe forts of rockets fly very high, 
 becaufe of their len2;th, and containincr a greater charge than the 
 ihort } yet the piercer needs be rio longer than feven diameters, 
 but fubltantial, fo as to keep in its proper attitude : At bottom 
 it will require the dimenfions of two thirds of the diameter, and 
 from thence tapering to half the diameter, 
 
 Hovj to prepare cafes for fivarmers or rockets. The cafes of 
 rockets are made of difterent forts of things, namely, paper, 
 wood, tin, .pafteboard, linen, leather, Sec. 
 
 In paper cafes, which are generally ufed, it is to be obferved, 
 1. That great care ought to be taken in winding or rolling them 
 tight and clofe upon the roller. 2. That the concave ftroke be 
 ftrucif: clean, fmooth, and without wrinkles ; and, 3. That each 
 fort of cafes be of an equal length and fize. The rocket-fhells 
 being very tirefome tor two perfons to make by hand, a machine 
 has been invented for the eafement thereof. It is made of an 
 oaken board, about two feet wide, and three or four inches 
 thick, planed fmooth and cut into channels or grooves of diffe- 
 rent fizes, for greater or fmaller rockets ; and this is commonly 
 called the faddle; To this fort of faddles are alfo made prefTers, 
 whereby the cafes on the roller arc prefTed down with a heavy 
 hand ; the handle of the roller having a hole in the middle, a 
 (mail iron bar is put in, and, as the man prefTes with one hand, 
 hfi turns the roller with the other ; and by this means the paper 
 is brought as tight as it ought to be : See fig. 3, 4. For four 
 and fix pound (hells it is to be obferved, that each fheet of pa- 
 per, except the.firft and laft, in the part where the neck is form- 
 ed, be a little moiftened. The necks of rockets may be formed 
 feveral ways: For thofe of three quarters of a pound a welJ- 
 twifled packthread will do, which having one end tied to a itick 
 and put between one's legs, and the otiier to a poft, will draw 
 it clofe with eafe. The large fhells require more flrength, one 
 end of a ftrongcord being fattened to apoft that is fixed upon a. 
 bench, and the cord conveyed over a pulley and through a hole in 
 the bench to a treddle, to which the other end of the cord is 
 made faft, and the other to a belt with a hook. The necks of 
 extraordinary large-fized rockets are drawn tight with ftrong 
 cords over fcrews and round-netked irons. The wooden, ti:-» 
 .and pafleboard rockets, are fupplied with necks tur.'jed oi wood, 
 «nd faftened through the fides of the flicU with wooienpecs. 
 
 O 3 \Hc^ 
 
3^8 
 
 P Y R 
 
 Hovj to prepare the changes for rockets^ and order ih: fires thereof 
 to be of various colours. Before you charge the fhell of the rocket, 
 fee that the powder is well worked and cleanfed, that the falt- 
 petre is thoroughly refined and made into an impalpable powder, 
 that the brimftone be well cleanfed, that the coals be of lime- 
 tree, or other foft wood well burnt, powdered, dried, and fift- 
 ed ; and all thefe ingredients well mixed together and fearced 
 through a fine neve. After this, weighing the proportionable 
 quantities of each, put the mixture into the work-board, and 
 grind it therein with the grinder for an hour together. Then try 
 your charge bv fii'ting a little on a table ; and if, when lighted, 
 it burns away In an even fire and does not fly up, it is a fign that 
 it is woiked enough. The charge being thus prepared, put it up 
 in a box or other dry vefTel, in a place not too hot, cold, or 
 <lamp: And when you charge your rocket fprinkle and mix the 
 charge with a little brandy. If a rocket mounts even and high, 
 and gives a report as foon as it turns, it is a fign of being made 
 to perfection ; but, if the rocket burft as foon as it is lighted, 
 then the charge is too fierce ; or, if it rifes a little and tails back, 
 then the charge is foil and weak ; the former is rectified by add- 
 ing more charcoal, and the latter by fome meal powder. For the 
 reft, it is to be obfcrved, that the larger the rockets are the weaker 
 mufl be the charge ; and, on the contrary, the fmaller they are, 
 the flronger mufl be their charge. 
 
 If you would reprefent afiery rain falling from the rocket, mix 
 among your charge a compolition of powdered glafs, filings of 
 iron, and faw-dufi: : This Ihower, on account of the varieties 
 of its colours, is commonly called the peacocks tail. 
 
 To exhibit variety of colours, mix among the charge a certain 
 quantity of camphire, which produces a white or pale fire ; rofin, 
 a red and copper colour; blood-ft-one, nealed and beaten to an 
 impalpable powder, will yield a blood-red ; fulphur, a blue; fal 
 armoniac, a green ; raw antimony, a reddifh or honey colour ; 
 r\'ory fhavings, a fhining filver ; filed agate-itone, an orange ; 
 and pitch, a dark and deep-coloured fire. The charges are com- 
 monly divided into three degrees, viz. white, grey, and black. 
 It is to be obferved, that to the grev charges are four ingredients, 
 viz. meal-powder, faltpetre, brimflone, and charcoal ; to the 
 white charges three, viz. faltpetre, brimftone, and charcoal j. 
 and to the black charges two, viz. meal-powdir and charcoal. 
 Charges for landfzuarmers or fmall rockets. Meal-powder, one 
 pound, and charcoal one ounce; or meal-powder fix ounces,, 
 faltpetre four ounces, brimftone one ounce, charcoal one ounce 
 and three quarters. This lafl may be ufed for the fufee of others. 
 Charges for ivater rockets. Saltpetre t\vo ounce?, brimflone 
 Z ' hajf 
 
P Y R 199 
 
 iialFan ounce, and charcoal one ounce and an half, or only half 
 ^n ounce. 
 
 yf general charge for rockets of tivo and three ounces. Meal 
 powder twelve ounces, faltpetre two ounces, brimllone half an 
 ounce, and charcoal one ounce and an half. 
 
 For one pound and one and a half pound rockets. Meal-powder 
 three pounds, faltpetre four ounces, brimftone one ounce, and 
 charcoal four ounces and an half. Or, powder two pounds, falt- 
 petre one pound four ounces, brinnftone one ounce, and charcoal 
 «ight ounces and an half. 
 
 For ftx^ eighty or ziitie pound r-ockets. Meal-powder twelve 
 pounds three quarters, faltpetre fix pounds, brimftone two pounds 
 and an half, and charcoal five pounds and an half. Or, faltpetre 
 fiine pounds, brimftone one pound nine ounces, and charcoal 
 three pounds and an half. 
 
 For eighteeti cr twenty pounders. Powder twenty- two pounds, 
 faltpetre fixteen pounds, brimftone feven pounds, charcoal thir- 
 teen pounds and an half. Or, faltpetre twenty-four pounds, 
 .■brimftone twelve pounds, and charcoal twenty, fix pounds. 
 
 To bore tfis rsckets or ram them over the piercer. Since the borirg 
 of rockets is one of the principal things belonging to them, for 
 their performing well, the bores are to be made in proportion to 
 the fize of the rockets. For feme are bored tapering to a point, 
 others are hollowed fquare, running alfo to a point ; and others 
 Jire rammed over a round piercer, which is fixed in the wart of 
 <he rocket mould, fig. 2, and flands perpendicular, running ta- 
 pering to a point. The ftronger the charge of the rockets, the 
 narrower fhould be the bore ; and, the weaker the charge, the 
 deeper and wider. For, if a ftrong charge is bored too deep, it 
 will break in afcending ; and, -if it is bored too little, and the 
 charge too flow, it will fall to the ground without eff^e£l. In mid- 
 dling charges they are commonly bored two thirds of the tube 
 from the neck. The boring muft be performed ftraight and 
 ■even, and this had beft be done by a turner. Rockets ftiould be 
 ijored but a few days before ihey are to be ufed, and kept in dry 
 places. 
 
 The gami/hing of rockets. They may t)e furniftied both within 
 and without with crackers. On the outfide it is done in the fol- 
 lowing manner, viz. that end of the rocket which is folid is di- 
 vided into three equal parts, and then bored in the middle of 
 each, quite to the charge : At the bottom of thefe holes pafte 3 
 ring of thin paper, upon which fling fome meal powder; then 
 fix in the crackers, fluffing the fides with fome tow or flax, ana 
 over that paftc a covering of paper, to clofe the opening between 
 Xhe rocket and crackers. 
 
 The infide is furniihed thus : Put a fmall round board, in 
 
 O 4 vUic« 
 
200 P Y R 
 
 which you have bored feveral holes, upon the charge ; then 
 flrew meal powder in them, and fix your crackers ; cover it 
 with a cap, and parte it to the outfide of the rocket. 
 
 You may alfo furnifh rockets both within and without with 
 fparks, ftars, and fire-rain, when thofe materials are joined ei- 
 ther within or without. And you may alio fix fwarmers to the 
 large rockets, by boring a touch- hole in both, filling them with 
 meal powder ; and, after the touch-holes arc fixed exadilyon one 
 another, glue them together with a bandage of paper. Thus 
 you may mark a winding figure with a thread on a rocket, and 
 place your fwarmers accordingly. You may alfo, inftead of 
 fwarmers, place on the top of the rocket a globe charged with 
 the compofition of rockets, and filled with crackers. This globe 
 muft have a touch- hole, and be lighted before the rocket is let 
 off, and it will have a good effect. 
 
 Hiiu to proportion the rocket poles orjiicks. It is common to tie 
 but one rocket to a flick ; but fix or feven may be placed round 
 the thick end thereof, which muft be worked with hollows or 
 grooves. But, as no rockets would afcend high, if it were not 
 for the true balance obferved in the pole or ftick, you muft fur- 
 ther obferve, that thefe fticksare made of light, dry, and ftraight 
 wood, and muft, to one and two pound rockets, be feven times 
 as long as the rocket, which proportion muft alfo be obferved 
 in the larger fort. Thr.t end to which the rocket is tied, mufl 
 be two fifths, and below one fixth of the diameter thereof. Af- 
 ter the rocket is tied to the ftick, take it four inches from the 
 Tieck of that rocket not yet bored, and from the neck of the bored 
 one, about two or three fingers, fo as to ftand on the back of a 
 knife, or one's finger, in an equilibrium. In large rockets the 
 poles muft be eight or nine rockets long, and, to take their ba- 
 lance, you take their libration from the neck. 
 
 Rockets without jTicks. Fix to the fmall rockets, from four to 
 eight, nine, or ten ounces, after they are bored and rammed, 
 four wings, in the nature of the wings of an arrow, made either 
 of light wood or pafteboard, which are glued crofswife to the 
 rockets. Their length muft be two thirds, and breadth, below^ 
 one fixth of the length of the rocket ; the thicknefs may be one 
 eighth of the diameter of the mouth thereof. This fort of rockets 
 are fired on a board or ftand, placed between four fmall fticks. 
 Others faften one end of a wire, about a foot long, and twifted 
 like a fcrew, to the mouth of the rocket, and hang an iron ball 
 \o the other end, of an equal weight with the rocket. 
 
 Of the girandtl cheji^ hovj^ and ivhat rockets are fired therein. 
 The girandel chcft is made of wood, according to the number oi 
 |-ockets you defign to fire at once. The method of firing thofe 
 fockets 15 performed feveral ways, but the beil for lighting gi- 
 
 randelj 
 
P Y R 201 
 
 randel, or other fireworks, is a matcli prepared on purpofc in 
 the following manner : Cut fome flips of paper of the length of 
 half a {heet, and about one or two inches wide ; roll anj glue 
 each of them together over a little, round, and fmooth llick of a 
 quarter of an inch thick ; this done, take it off, and, when dry, 
 fill it with the compofition hereafter mentioned, rammine; it ia 
 by little and little with a lefs ftick than that upon which you 
 rolled the fhell. This fort of matches are put upon pointed pin- 
 cers, and, when they are lighted, cannot be extinguifhed either 
 by rain or wind. 
 
 ' The compofitiou. Meal powder three ounces and an half, falt- 
 petre feven ounces, and brimftone three ounces three quarters, 
 moiftened with linfeed oil. Or, meal powder twelve ounces, 
 faltpetre four ounces, brimftone three ounces and an hali, char- 
 coal an ounce and a quarter, turpentine one ounce, and tallow 
 three ounces and a quarter : Fir(t melt the turpentine and tallovi^ 
 together, then flir the other ingredients among it, and pour it 
 into the paper Ihells : When dry, they are fit tor ufc. 
 
 Of rockets that run upon lines or ropes from one place to miother. 
 To give thefe the more {how, fome garnifli them with figures of 
 various devices. 
 
 The firft fort is contrived by fixing two iron rings, or a wooden 
 tube, to a rocket, filled with a certain quantity of a fuitablc 
 compofition, and bored as ufual. Through thefe rings or tubes 
 is put a Jine on which the rocket is to run, as far as the duration 
 of its combuftible matter will allow it to reach, where it flops. 
 This fort is reprefented in fig. 5. 
 
 For the fecond fort, fill any rocket whofe orifice is equal to 
 that of the former, but much longer, to the height of four dia- 
 meters ; bore it to the depth of three and an half. Upon this 
 compofition put a cap or little wooden partition, without any 
 hole through it j glue this to the infide of the rocket, or fecure 
 it any other way to prevent the fire, when arrived to that place, 
 from catching hold of the compofition contained in the other part 
 of the cafe. This done, charge the remainder of the rocket to the 
 fame height as before, namely, to four diameters ; three and an 
 half muft be bored : After this, choke the rocket at top, and 
 make a little receptacle for the priming, as at the other end ; 
 or elfe fit a round piece of wood to it, with a hole througii the 
 middle, which you cover with a little cap. To this add on ore 
 fide a tube, made of a very thin iron plate, which fill with 
 meal powder ; then bore a hole through the fide of the rocket, 
 near the other fide of the partition that is in the middle ; fill it 
 with meal powder : This is done to convey the fire through the 
 tube to the receptacle, where it lights the other rocket, and, 
 confequently, obliges it to return back to the place whence it 
 
 cam?. 
 
loi P Y R 
 
 came. The upper part which holds the priming mufl be covered 
 with paper, as well as the fmall tube that conveys the fire from 
 that to the other end. This rocket alfo muft have two iron 
 rings, or a wooden tube, to run along the line. You may, for 
 the more diverfion, tie fmall paper crackers all round, as in 
 fig. 5, 6, and 7, where ^? is the rocket, b the tube, or, inftead 
 thereof, fome rings that flide upon the cord ; c the partition, d 
 the pipe for the communication of the fire from one rocket to 
 another. To thefc running rockets may be fixed flying dragons, 
 pigeons. Mercuries, Cupids, or any other fancies. 
 
 Charges for the line rockets. Meal powder three ounces, falt- 
 petre one ounce and an half, and charcoal three ounces, will be 
 a proper proportion for three, four, or fix ounce rockets. 
 
 The following charges may be ufed for fixteeu and twenty- 
 four pounders. 
 
 Meal powder one pound, faltpetre half a pound, brimflone 
 three ounces, and charcoal five ounces. This charge is proper 
 for line rockets of one ix)und and three quarters. 
 
 How to join iivo rockets to one smother, the one to burn in the wa* 
 ier, and the other fuddenly to fiy up into the air. Take two rocket- 
 fhells of equal dimenfions, fill one with a good charge quite full j 
 the other charge, bore and tie to a flick as ufual ; the former 
 glue upfide down to the middle of the latter, and towards thc5 
 end tie it round with a cord, which is fomewhat larger than the 
 rocket- flick ; To the end thereof faflen a ring, and in that a 
 a leaden ball, which is to keep both rockets in a due pofition on 
 the furface of the water ; through this ring put the end of the 
 /lick, which is provided with a crofs fomewhat wider than the 
 diameter of the ring, and keeps the cord, ring, and ball undef j 
 water. The communication of the fire muft be made below the | 
 rockets bv a fniall pipe filled with meal powder very fecure, fo 
 as to keep it from the water : For, as foon as the water rocket is , 
 burnt to the end, the fire will make its way through the pipe, and , 
 the land rocket will difengage itfelf by its force from the cafe of 
 the other ; and leave the cord, ring, and ball, behind, in the 
 water. See fig. 8, a the land rocket, b the water rocket, 1 
 £ one end of the cord tied to the water rocket, d the other end 
 of the cord fattened to a ring and leaden ball, e the wire that 
 keeps back the ring, f the little pipe for the communication of 
 the fire. 
 
 How to make water -rochets.^ water-brands^ water-cats^ water- 
 ilucks, csfc. that turn them/elves in the water. The cafes for the 
 water-brands, and alfo their flicks, muft be made fomething 
 longer than ordinar}', and filled with a compofition of coarfe 
 coal duft, tanners bark rubbed fmall, or faw-duft, but in the 
 fame method as fky-rockets. The whole cafe is to be nine or 
 
 ten 
 
:P Y R 203 
 
 ten diameters long, and muft be divided into five equal parts, 
 and charged two fifths full of the compofition ; upon this charfe 
 a report of a quarter high, and upon that fine iron flakes, in or- 
 der to fink it; then cover it with paper, and draw it together 
 with a cord : The charge is lifted up a little in the neck, and 
 fupplied with brandy dough, or meal powder moifiened with 
 brandy, then glued over with paper j and, having fixed a wooden 
 fwimmer below the neck, it is dipped in wax and pitch, and then 
 it is ready. 
 
 Water -crackers which turn in the water are thus prepared. The 
 cafe is made nine or ten diameters long, the neck is drawn quite 
 clofe, and charged with meal powder almoft half full ; upon this 
 a partition is made with a hole in it, then put corned powder 
 for a report ; upon that is placed another partition : The reft is 
 filled with meal powder, and the end tied clofe, and the paper 
 cut fhort at both ends. When thefe crackers are to be fired, 
 make a touch-hole at the end of both revcrfed, and having filled 
 them up with meal powder, and covered them well with brandy 
 dough, you may fire and fling them into the water, having be- 
 fore dipped them in melted wax or pitch. 
 
 It is to be obferved, that to the water-cat cafes one may pro- 
 ceed thus, from one ounce to half-pound crackers ; but, if lar- 
 ger, they are too heavy, and will not fo foon turn up again in 
 the water, till fome parts of them are confumed ; wherefore, to 
 remedy this, put in the cafe, firft, three meafures of charge ; 
 upon this put a little corn powder, then, again, two meafures of 
 charge and a little corn powder, and proceed tlujs as iar as the 
 report. Upon the charge is placed a partition of wood with a hole 
 in it, on that a report of good corn powder, then tie it clofe : 
 Further, open it a little, putting fome meal powder to it mixed 
 with brandy ; and, when you would ufe it, anoint it all over, 
 with either greafe or linfeed oil. The water-crackers, or divers, 
 ' are commonly rammed in one, one and an half, and two ounce 
 cafes, flratified in the manner iufl: mentioned, taking two mea- 
 fures for each lay of water-cat charge, and a little corn powder 
 
 ' between each. 
 
 Other forts of rockets may be reprefented fwimming in the 
 
 : water. Thefe are made in the fame manner as the one, or one 
 
 ' ounce and an half rockets, bored one third in the charge ; then 
 put into a paper cylinder, with two fmall wooden heads or bafes, 
 
 ^ having a hole bored to the center of each. The height of this 
 cylinder muft be equal to half of the rocket, and the hole thro' 
 the center of each head fitted exactly to the rocket. Whtn you 
 
 ■ have fixed every thing to a nicety, put it into melted wax or pitch, 
 [ ;»nd, when cold, you may fire and fling it into the water. 
 
 You rnav alfo put thefe forts cf rockets into 2 paper cone, and 
 
 faftei 
 
2<H P Y R 
 
 taften it to the neck of the rocket ; or elfe in a bJadder full of 
 wind ; which, inftead of dipping into melted wax, do over with 
 a mixture of four parts of linfeed oil, two parts of bole ammo-! 
 «iac, one part of white lead, and half a part of aflies. , 
 
 Along with the reports of the rockets may be mixed certain ! 
 /parks and ftars intermixed with meal and corned powderj to this 
 is fixed an iron or wooden tube B, fig. 9 ; from each end of this 
 goes another fmaller tube C D, all having communication with 
 one another, alfo with the compofition and the flars. Thefe arc; 
 iilled with meal powder, covered with paper dipped in wax ofj 
 f)itch; and, a counterpoife A being fixed below, it is fired. As: 
 Joon as the compofition is burnt down to the cap, it is conveyed 1 
 through the fnaall tubes to the Jower part, where, letting out th^j. 
 partition, it difpcifes the powder, ftars, $zc. into the air. ! 
 
 Charges for luater -rockets. Meal powder fix ounces, roiin one 
 ounce, charcoal three quarters of an ounce, faltpetre one ounce, 
 corn-powder one ounce. Or, meal powder two pounds, falt-J 
 petre four pounds, brimftone one pound, charcoal four ounces,; 
 coarfe coal three ounces, tanners duft two ounces and an halfJ 
 iaw-duft two ounces, glafs powders one ounce, finking lead one 
 ounce and three quarters for one-pound rockets. 
 
 Charge for ivatcr-crackers. Meal powder four ounces, falt^v 
 pctre five pounds, brimftone two pounds and three quarters, tan-j 
 ners duft one pound and an half, charcoal one pound, coarfe 
 coals two pounds and three quarters, glafs duft four ounces, lead 
 three quarters of an ounce. 
 
 Charge for Uimbling water-crackers. Meal powder three quar- 
 ters of a pound, charcoal four ounces, for one and an half oi| 
 two pound rockets. 
 
 ■Charge for luater-cats. Meal-powder two parts, faltpetre four 
 parts, brimftone one part, coarfe coals two parts, faw-duft two 
 parts, and antimony three parts, moiftened with linfeed oil. 
 
 Of rocket-fliers^ ajid the manner of charging them. Thefe arc 
 of two forts, namely, the fingle and double ones : The latter aw 
 made in the following manner : 
 
 Have a nave or button turned, the dimenfion of three incheSj, 
 together with two knots upon it, perpendicular one againft the, 
 other, of an inch and an half long, and fo thick that both rocket«| ii| 
 cafes may fit over them ; there muft alfo be a hole of the third oJj ^ 
 an inch in the center of the nave, for the iron pin to go through,^ 
 on which it is to fly. After this take two rocket-cafes of equal' ' 
 dimcnfions, which are choked quite clofe at the neck, and 
 glued J Ram in the charge fo far as to leave only room to fix 
 them on the two knobs upon the nave, l^his done, bore intc 
 both rockets, near the clofed up necks, fmall touch-holes j and 
 one more near the pin, in that which is to burn firft : From thi; 
 
 hoi 
 
 \ 
 
F Y R 2(^5 
 
 hole carry a litCle pipe to the hole near the neck of the other 
 ' rocket, having firlt lilled it with meal powder, that, when th^ 
 rocket is almoit burnt out, the fecond may be lighted by it. The 
 three touch-holes ftand in one row, and you may on the other 
 fide fix a couple of reports, which will caufe a fwifter motion. 
 1 The fingle fliers are made with more eafc ; the neck of thefc 
 •muft not be tied clofe as in the former, but they mufl be fired in 
 that place ; but thefe do not turn fo well as the double ones. 
 
 Of fre- wheels. Of thefe are three forts, viz. fingle, double, 
 and triple : Some of their fellies are of a circular form, others 
 hexagonal, o<5^agonal, or decagonal ; Tome like a ilar without 
 fellies. Moflof thefe are made to run perpendicular to the earth, 
 ethers parallel ; and all may be ordered fo as to fervs on land or 
 V7ater. 
 
 The fire- wheels that are to be ufed on land turn on an iron 
 pin or bolt, drawn or fcrewed into a poft. The nave is turned 
 jf clofe and firm wood in which the joiners glue the fpokes, ac- 
 rording to the number of the fellies, which mult be carefully 
 oined together. Then have a groove hollowed round, fo deep 
 'hat the rocket or cafe may be about half lodged therein. Fig. lo. 
 The double wheels muft have their fellies turned flronger and 
 vider, with a groove for the rockets, not only at top, but alfo 
 Jnone fide thereof, inclining the necks of the rockets at top to 
 'he right hand, and thofe of the fides to the left. Fig. 1 1. 
 
 A triple wheel has a groove at top, and one at each fide; the 
 
 ftatchcs are laid from one groove and rocket to another, with 
 
 mall pipes filled with meal powder. You may alfo make a 
 
 riple wheel on a long nave, and obferve the placing of the 
 
 Dckets on each, contrary one to the other; and the communi- 
 
 ation you are to make with fmall pipes, which, after they are 
 
 ■ xed, you are to cover and glue over with paper. 
 
 ' Your rockets being ready, and cut behind a little (helving, 
 
 ore them ; the firft, three diameters of its orifice; the fecond, 
 
 ' f/o and three quarters ; the third, two and a quarter ; the fourth, 
 
 ' >o diameters ; the fifth, one and three quarters ; the fixth, one 
 
 nd an half; the feventh, one and a quarter; the eighth, one 
 
 i ^ameter ; always the latter fomething fhorter than the preced- 
 
 ' "tg: After this they are primed with meal powder, worked up 
 
 ^ 'ith brandy ; and, when dry, glued in the abovc-defcribed 
 
 '■■ ''ooves. You muft bear the firft fired rocket's neck up above 
 
 'e reft, underlaying it with a tin plate, or any thing elfe : The 
 
 fne you muft obferve in the head of the laft fired one, wherein 
 
 J put the charge of a report. You may alfo glue, on every 
 
 d of the rockets, a report of paper, with fmall copper pipes or 
 
 ofe-quills, which are fixed one end in the fi.de of the rocket, 
 
 ^ the other in the report. When all is dry, then you may 
 
 cave: 
 
2o5 P Y R 
 
 cover your wheel, on one or both fides, with linen or paper, iit 
 what torm you would have it. 
 
 The horizontal, or parallel wheels, are made like the others 
 with fellies, or out of one intire piece : Their grooves are furnifh- 
 ed with rockets, and their pl.mes garnifhed with crackers. 
 
 A fire- wheel, which is to whirl horizontally in the water, muft 
 be ordered thus : 
 
 Take a pretty large wooden di/h, or bowl, that has a broad 
 flat rim j alfo a fmooth dry board, fomething larger than ihe difli, 
 and formod into an oflagon : In the middle of this board make 
 a round hole that will hold a water-ball, fo that one half be re- 
 ceived in the difh, and the other half rife above the furface of the 
 board : Nail this board upon the rim of the difh, and fix the 
 ball in the middle, tying it faft with wire j then glue your roc- | 
 kets in the grooves which are made round the edges of the board, I , 
 laying them clofe to one another, fo that, fuccefllvely taking fire .|»s 
 from one another, they may keep the wheel in an equal rotation. -' 
 You may add, on each fide of the wheel, a few boxes filled 
 with crackers or cartouches, ere6led perpendicular ; and alfo fix 
 double and fingle crackers, following in a range, one after ano- 
 ther, for two or three fires, or as many as the extent of the wheel gk 
 will admit. 1 2 
 
 For your private fufees, obferve that you condu£l: one from m 
 the rocket, which is to be fixed to the compofition of the ball ^ 3 
 in a channel. »(] 
 
 Fill thefe channels with meal powder, and cover them clofe, jrjf 
 with paper ; alfo lay a train of fufees of communication from the n j, 
 rockets to a cartouch, and from that to the refl. Fig. 12. 
 
 Laltly, when all is ready, and covered, dip the whole ma 
 chine into melted pitch, and fecure it from the injury of the wt- 
 tcr. The ball is fired firft, and, when lighted, you place- iS^' 
 gently on the furface of the water, and then fire the rocket. Hfii 
 
 To try a fire-wheel, firft weigh one of the rockets, tie it t( 
 a felly with cord, and, according to that weight, fill little Ion] 
 bags full of fand, tying them likewife on the reft of the fellies^Ji, [ 
 then hang the wheel on an iron pin, fire the rocket, and, if 
 turns the wheel, then you may afTure yourfelf it will be complet 
 ^vhen finiflicd. ! 
 
 Wheels formed like frars are to have their fpokes fixed upj 
 right in the nave, like other wheels, only with grooves on on 
 of the fitles of each, wherein you glue the rockets. At the bottoi 
 of each rocket is made a little hole, from whence the fire is coi 
 veyed through little pipes, filled with meal powder, up to th 
 next, and (o round ; then cover it with linen cloth, or paper, 
 the fhape of a liar, and place it on the iron axis. 
 
 Obferve that all the rockets ufed in fire- wheels have theirneci 
 
 tj<; 
 
 m 
 
 •'vt; 
 
P Y R 207 
 
 tied clofe, leaving only a fmall conveyance from one rocket to 
 another ; the laft of all muft be well fecured below, where you 
 may place a ftrong report of corned powder. Fig, 12, 
 
 Charges for fireji'iers^ and wheels of four, five^ and fix ounce 
 rockets. Meal powder three pounds, falt-petre two pounds, char- 
 coal five ounces, and fea-coal three ounces. Or, 
 
 Meal powder three pounds, brimftone eight ounces, and char- 
 coal ten ounces. 
 
 Thefe charges may be ufed for triple wheels, and muft be 
 bored one third with a bodkin. 
 
 For wheels of one pound rockets. Meal powder fix pounds, falt- 
 petre three pounds, brimftone one pound feven ounces, charcoal 
 two pounds nine ounces, and tanners duft one ounce. 
 I The bore muft be an inch and an half. 
 
 For wheels of three and four pound rockets. Meal powder nine 
 ! pounds, falt-petre one pound and an half, brimftone one pound 
 two ounces, and charcoal three pounds four ounces. 
 
 The firft rocket in thefe wheels is bored but one and an half of 
 i its diameter. 
 
 Seme general retnarks upon rockets. I. Rockets muft have a pro- 
 c portionable height, according to the diameters of their orifices. 
 
 2. Their necks muft he drawn or choked firm, and, to pre- 
 f vent the cord giving waj', they muft be glued over. 
 
 3. Prepare your compofition juft before you w^nt it ; let it 
 neither be too damp nor too dry, but fprinkle it over with a 
 little oily fubftance, or a little brandy. 
 
 t 4. When you drive your rockets, put always equal quantities 
 1 of compofition in your cafes at a time. 
 
 ! 5. Carry with your mallet an even and perpendicular ftroke, 
 ;when you charge your rockets. 
 
 6. The cavities muft be bored upright and perpendicular, ex- 
 aflly in the middle of the compofition. 
 
 7. Bore your rockets juft before you ufe them; then handle 
 • them carefully, left their form ftiould be fpoiled. 
 
 8. Let the flicks and rods be well-proportioned, ftraight, and 
 fmooth. 
 
 9. Put your rockets, when compleated, in a place that is nei- 
 ther very damp nor dry. 
 
 I 10. Let moft of your rockets have at top a conical figure ; bjr 
 'that means they will the more eafily fhoot through the air. 
 
 Defeftive rockets arc chiefly difcovered by the following ob- 
 fervations : 
 
 1. When they are fired, and In mounting two or three perdies 
 ■ they break and difperfe. 
 
 2. When they remain fufpendcd on the nail, and wafte away 
 ■'/ly without rifin^ at 4IL 
 
 3. WUen 
 
2o8 F Y R 
 
 3. When they form an arch or a femicircle In (heir afcent, and 
 return to the ground before their compcfition is burnt out. 
 
 4. "When they mount in a winding pofture, without an uni- 
 form mf>tion. 
 
 5. When they move on flowly and heavily. 
 
 6. When the cafes remain on the nails, and the compofition 
 rifes and difperfes in the air. 
 
 To make j'lnglc and double cartouches^ or boxes ^ tubes, Jiars, /parks ^ 
 13l. When boxes or cartouches are adjufted and fixed in ma- 
 chines of great firework?, they afford, among the towering rocr 
 kets, great delight among the fpectators : Thefe boxes are made« 
 either of wood, pafteboard, or copper, and charged in proportion 
 to their llrengtii j if made of wood, they muft fit exad^ly, and re- 
 ceive each other, fo as to feem but one continued piece ; and, 
 if paflcboard, you mull glue on a foot at bottom, of a hand high, 
 to each of them. The infide of thefe machines muft exadlly fit 
 and correfpond with the outfide of the cartouches themfelves, and 
 be fo contrived as to flip into one another* 
 
 Having formed them, put them to dry in a moderate heat} 
 too great a heat will (hrivel them up ; when dry, take one after 
 another ofF the cylinder, and immediately clap into them round 
 wooden bottoms, the edges being lirft done over with glue, and 
 fprig them on the outfide to make them faft. 
 
 The fingle boxes are to be charged in the following manner : 
 
 I. Put in fome corned powder. 2. Upon that charge fix a 
 round pafteboard, well fitted to the concave fide of the box, which 
 has five or fi-x fmall holes, and is on both fides laid over with 
 meal powder tempered with brandy. 3. Put upon the pafteboard 
 a little meal powder, and upon that well-pierced crackers, fo as 
 to (land with their necks downwards : The principal rocket is 
 put in the middle, with the neck downwards, open at both ends, 
 fo that, being lighted above and burning down, it may fire the 
 reft of the crackers, which are blown up in the air by the corn- 
 powder. 4. The empty fpaces between the large fire-cafe and 
 the crackers are carefully filled up ; and the cartouch is ftuffed 
 at top with tow, or faw-duft, boiled in faltpetre ley. 5. The 
 cartouch is covered with a cap, which is glued very clofely there- 
 on ; and, for the great cafe reaching out of the cartouch, make 
 in the middle of the cap a hole, through which it is put, and clofe 
 the opening by gluing fome flips of paper round it. The fire-cafe 
 is loofe, covered with a pafteboard cap. 
 
 Double boxes or cartouches. In double cafes it muft be obferved» 
 that the bottoms of the upper boxes ferve for the covers of the 
 lower, a hole being made, through which the compofition of the 
 lower box is fired, after the upper rocket has forced away the 
 empty box, which has already difcharged its load. The upper 
 
 box 
 
 I 
 
P Y R 109 
 
 box you cover as has been (liewn above. If there are more than 
 two cartouches uj)on one another, they are called burning tubes, 
 which, when fired, (horten by degrees ; the cartouches follow- 
 ing one another till all are fired. Some are intermixed with ar- 
 tificial globes, and feveral other fancies, which afford great plea- 
 fure to the fpedlators. 
 
 Thefe boxes, or cartouches, are placed in long cafes made for 
 that purpofe. The vacancies about the cartouches may be filled 
 up with fand. 
 
 Anothe7' fort of fire -tubes. Thefe are made of folid, hard, and 
 dry wood, of v/hat height and thicknefs you pleafe : Bore the 
 middle of the wood one third or a quarter of its diameter ; after 
 which, divide the whole height into equal parts, each exadlly cor- 
 refponding with the fky- rockets you defign to fix upon them, but 
 rather a fmall matter {horter. Ail thefe divifions are cut flopino- 
 downwards, except the uppeimod-, which muft run out in a cy- 
 linder. On the rims of each of thefe divifions make a groove 
 all round, of about a finger's breadth ; in thefe grooves bore 
 fmall holes, by which the fire may be conveyed through pipes 
 from the cavity of the tube to light the rockets that ftand be- 
 hind the paper cartouches, which muft be made faft to the wood, 
 left they fhould fly up along v/ith the rockets. 
 
 The conftru6lion of the hgllow tube is exprefled in fig. 45 ; 
 where A reprefents the fire flars and fparks, interfperfed with 
 corn powder ; B, a box filled with paper or crackers ; C, a fire- 
 ball, or water-globe ; D, another box filled with crackers. The 
 hollows between thefe fires aie filled up with corn powder, in 
 order to blow up the globes and boxes one after another. 
 
 The ftars and fparks made ufe of on this occafion are prepa- 
 red in the tollowing manner : 
 
 Take of beaten faltpetre five pounds and an half, meal pow- 
 der two pounds four ounces, and brimftone one pound twelve 
 ounces. Or, 
 
 Sulphur two ounces and an half, faltpetre fix ounces, fine meal 
 \ powder five ounces, frankincenfe in drops, maftic, and mercury 
 I fublimate, of each four ounces; white amber and camphire of 
 , I each one ounce, antimony and orpiment of each half an ounce. 
 . r Thefe ingredients, being well beaten and fearced through a 
 : fearcer, muft be fprinkled over with a little glue or gum water, 
 •[ and formed into little balls of the bignefs of a fmall nut; then 
 i[ dried in the fun, or near a fire, and laid up in a dry place to be 
 f'^ ready for playing oft" with fireworks. When you ufe them, wrap 
 \ \ them up in tow. 
 I \ Sparks are prepared thus : 
 , Take faltpetre one ounce, ditto melted half an ounce, meal 
 ■ \ powder half an ounce, and camohire two ounces : Having melted 
 Vol. IL ' P thcfs 
 
2IO P Y R 
 
 thcfe by thcmftlves, when you ufe them, put them together ifi- 
 an earthen pot; pour an them water in which gum tragacanth 
 has been difiolved, that the whole may have the confiftence of a 
 pretty thick liquid : 1 his done, take one ounce of lint, which 
 before has been boiled in brandy, vinegar, or faltpetre; when drj^, 
 throw it into the compofition ; mix and ftir it about till it has 
 foaked it up ; then roll them up in pills about the bignefs of great 
 pins heads, and fct them to dry, having firft fprinkled them with 
 meal powder. 
 
 Some of thefe pyramiJical tubes and faev/orks are now and 
 then fired in large rooms, upon grand entertainments, in minia- 
 ture, wherein are employed odoriferous pills, and other ingre- 
 dients that have a fragrant fmell : Thefe pills are commonly com- 
 pofed of ftorax calamita, benjamin, and gura juniper, of each- 
 two ounces ; oiihanum, maftic, frankincenfe, white amber, yel- 
 low amber, and camphire, of each one ounce ; faltpetre three 
 ounces, lime-tree coal four ounces ; beat thefe ingredients very 
 fine, and incorporate them together ; then moiften it with rofe- 
 water, wherein before you have difiblved gum arable, or gum tra- 
 gacanth ; you may farm them into pills, and dry them in the fua 
 or before a fire. 
 
 Single tubes or cafes are only filled with compofition, and to 
 the outfide are fafiened crackers, ferpents, or cartouches ; thefe 
 cafes being generally in the form of a cylinder, you are to trace 
 out a winding line from the top to the bottom, on which cue 
 holes to the depth of two or three inches : Into thefe holes con- 
 trive to fix paper cafes with wooden bottoms, wherein you may 
 put any fort of rockets you pleafe ; but take care you provide lit- 
 tle holes, to lead from the great tube to the corn powder under 
 your rockets. 
 
 A fire-tube may all be furrounded with cartouches, difpofed irr 
 a ferpentine order, glued and nailed as fecure as poffible, out of 
 which are difperfed great numbers of fquibs. 
 
 Aiiother fire-tube. The circumference of this cylinder is, by a 
 cord, divided into a certain number of equal parts; and, bein^ 
 brought into a polygonal figure, cutting away the convex part, 
 it is brought into angles. 
 
 Then bore the plain fides with a number of perpendicular 
 holes, fo as to penetrate obliquely to the great boring in the mid- 
 dle ; into thefe holes thruft crackers, fquibs, or ferpents. 
 
 The mortars muft be turned of wood : Bore the bottoms, and 
 add a chamber to them ; each chamber muft be one third or one 
 half of the depth of the fljting, and the breadth one fixth oniyr 
 Tliefe chambers are dehgned to hold corn powder. 
 
 Secure thofc mortars on the outfide with ftrong paper cafes, 
 ana rwll them fait in the hollow clvaivncls, whofe cavity they are 
 
 CO 
 
P Y R 211 
 
 to fit exactly : Their length may be double their breadth. Each 
 mortar muft contain a globe made of paper, with a wooden bot- 
 tom, and their chambers muft be charged with corn powder. 
 
 Thcfe mortars fix in a fpiral line, one only in each fluting, 
 with iron ftays, and bind the middle with an iron plate,faftencd on 
 each fide of the interftices ; but, before you fix the mortars, you 
 muft not forget to pierce little holes in the tube, and to fix the 
 touch-holes of your mortars exadly upon them, priming both 
 with meal powder. 
 
 Of faho's. Thefc in fireworks are a great number of ftrong 
 iron reports, fixed either in a pcft or plank, and fired off at once. 
 
 Charge for cartouches cr boxes. Meal powder fix oimces, falt- 
 petre one pound eight ounces, brimftone four ounces, and char- 
 coal four ounces and an half. 
 
 Charges for fire-tuhes. Meal powder fix pounds, faltpetre 
 four pounds, charcoal two pounds, rofin half a pound, tanners 
 bark five ounces, moiftened with a little linfeed oil. Or, 
 
 Meal powder five pounds, faltpetre three pounds, charcoal one 
 pound fix ounces, rofin three quarters of a pound, not moiftened. 
 
 A -prefer vative for wood againjl fre. Take brick-duft, afhes, 
 and iron -filings, of each an equal quantity; put them together 
 in a pot, pour glue water or fize upon it; then put it near the 
 fire, and when warm ftir it together. With this fize wafh over 
 your wood work, and when dry repeat it, and thus it will be proof 
 againft fire. 
 
 The manner of preparing and making letters and names in fire" 
 works. Order a joiner to cut capital letters of about two feet 
 long, and three or four inches wide, and an inch and an half 
 thick ; hollow a groove cut of the body of the letters, a quarter 
 of an inch deep, refcrving for the edges of the letters a quarter or 
 half an inch of wood. If you would have the letters burn of a 
 blue fire, then make wicks of cotton or flax, according to the big- 
 nefs or depth of the grooves in the letters, and draw them Ici- 
 furely through melted brimftone, and place them in the grooves ; 
 brufti them over with brandy, ftrew meal powder thereon, and 
 again with brandy and gum tragacanth thinly diffolved, and on 
 that fb"ew meal powder again ; when dry, drive fmall tacks all 
 round the edges of the grooves, and twift fmall wire to thofe 
 tacks, that it may crofs the letters, and keep the cotton or flax 
 clofe therein ; then lay over it brandy pafte ; ftrew over that meal 
 powder, and at laft glue over it a finale paper. 
 
 If you would have the letters burn white, ufe dry touchwood, 
 which cut into pieces of an inch thick ; put them in melted falt- 
 petre over a fire, let them lie therein till the faltpetre is quite 
 foaked through the wood ; after which mix powdered faltpetre 
 with good ftrong brandy ; take fome cotton, and with a fpatula 
 
 P 2 or 
 
212 P y R 
 
 or your hands work that, the faltpetre and brandy together ; theJl" 
 I'queefe it out, ftrew the cotton over with powdered faltpetre, 
 and thereof make wicks, having firfl placed the touchwood in the 
 grooves ; lay the wicks over that and the vacancies about it, and 
 then proceed to make it tight and fecure, as has been directed 
 above. 
 
 Another method for burning of letters is ufed wherr they are 
 formed by a fmith of coarfe v^irc, about a quarter of an inch thick ; 
 then get fomc cotton fpun into match thread, but not much 
 twifled ; to tvv^o yards of this take one pound of brimftone, fix 
 ounces of faltpetre, and two ounces of antimony j melt thefe ir> 
 gredients in a kettle, firfl^, the brimftone by itfelf, and then the 
 reft all together ; when melted, put in the match thread, and ftir 
 it about till it has drawn in all the matter -, then take it out, and 
 ftrew it over with meal powder ; let it dry, and wind it about 
 the white letters ; faften thefe upon a board that has been well 
 laid over with a prefervative to keep it from taking fire. Whea 
 you have lighted one letter, all the reft will take fire immediately. 
 
 Letters cut in a fmooth board, which is made to Aide in grooves 
 of a cheft, are ordered thus : The lid of the box is made full of 
 holes, for conveying away the fmoke of the lamps or wax tapers, 
 which are fet behind to illuminate the letters; behind the cut- 
 out letters is pafted oiled paper of various colours, which, when 
 the lamps are lighted, has a fine efftc^. By thefe means various 
 changes may be made in reprefenting devices, names, coats of 
 armsy &c. but this way is more praclifed on the ftage, in plays, 
 than in fireworks. 
 
 Charge for hurruKg letters zvkh cafes. Meal powder fix ounces, 
 faltpetre one pound, mixed with petroleum. 
 
 To order end prcfcrve leading-fira^ trains^ and quick matches, 
 Matchpipes, the moft preferable of which are either iron, lead, 
 or wood, fliouid be ftrcngthened, or clofely twifted round with 
 the finewsof beafts, fteeped in diffolved feather- white, and filled 
 with flow charges, which ought to be well tried, or elfe furnifti- 
 cd with match thread dry and well prepared ; and afterwards 
 either joined to the grooves made in the boards, or only laid free 
 from one work to another. The juinings of the pipes muft be 
 well clofed and luted with potters clay, fo as to prevent the fire 
 from breaking out: Theie pipes muft alfo have little vent-holes, 
 to give the fire air, or elfe it would be ftifled, or burft the pipes ; 
 but thefe holes muft be fo contrived that the flame may not vent 
 itfelf in the open air, and at fome diftance from the works, fo as 
 to prevent touching of iheni. 
 
 All burning matches are to be as diftant from the machin-es as 
 poffible, to prevent accidents. 
 
 Charges for f fees or kad'rng- matches. Meal powder three ounces 
 2 and 
 
P Y R 215 
 
 and an half, faltpetre four ounces, brimftone one ounce and three 
 quarters, and charcoal one ounce and three quarters. Or, 
 
 Meal powder four ounces, charcoal half an ounce, and coarfc 
 coal half an ounce. 
 
 Of water -balls. Balls In fireworks are of different forms ; fome 
 are globular, fome oval, fome conical, fome cylindrical, and others 
 in the fhape of a pendant or drop. 
 
 The water-balls are commonly made of knitted cord bags, or 
 of wood ; thofe made of bags are ftiaped like oftriches eggs, and 
 are i. filled with their proper charge; 2. the outfide is dipped in 
 glue, and wound about with hemp or flax, till it is a quarter of 
 an inch thick thereon ; 3. this ball is then coated over with cloth, 
 and, about the touch-hole, glued over v/ith a piece of leather ; 
 4. the touch-hole is bored with a gimlet, and flopped with a 
 wooden peg ; 5. at the bottom of the ball pierce a fmall hole 
 through to the compofttion, in which fallen a fmall copjjer pipe, 
 furnifhed with a paper report, together with a leaden balance ; 
 glue the report faft to the ball, then dip the ball in melted pitch, 
 open the touch-hole, and prime it v/ith a quick burning charge. 
 
 Thefe balls keep a long time imder water before they rife, 
 and, if a true balance is not obferved in the lead, or the ball be 
 overcharged, they will fink to the bottom and burn out ; there- 
 fore you mufl: well obferve that, when a water-ball, without the 
 balance, is two pounds weight, vou muft give it four, or four 
 ounces and an half of lead 5 but, if it weighs one pound and an 
 half, balance it with three, or three ounces and an half. 
 
 Water-balls made of wood, which fv/im and burn upon the 
 water without any further effeft, are of two forts, viz. fingle and 
 double : The fingle ones are made thus : Have a hollow ball 
 turned fomewhat oblong, with a vent-hole ; fill that with a good 
 and v/ell tried charge, but not too clofe \ prime the end with 
 fome meal powder, then glue a ftopple in the hole, which muft 
 be thrice as thick as the (hell of the ball, in which, beforehand, 
 the counterpoife of lead is caft ; wfien dry, make a hole at top, 
 large enough for a tv^'o ounce cracker to enter ; through this, ram 
 down the charge in the ball, and fill it quite full with the fame 
 compofition ; then glue it over with a pafteboard ; and, laftlv, 
 fix a fmall copper pipe through the (topple, having bored a hole 
 through it for that purpofe; to the pipe faften a paper report ; 
 when this is done, dip the whole in pitch. 
 
 Double water-balls are fuch which, after one is fired, difcharge 
 another : Thefe have chambers at bottom filled with gunpowder ; 
 on thefe put a cover of thick leather, which has feveral holes in 
 the middle, and goes clofe to the fitle ; on this drew meal pow- 
 der, and place thereon a fire-ball charged, 
 
 P 3 Both, 
 
214 P Y R 
 
 Both forts of balls arc tied round with feveral rows of flrong 
 
 packthread. Obfervc that, 
 
 1. The little chamber at bottom ought to be the fifth of the 
 breadth of the whole ball, and its height one and an half thereof. 
 
 2. That the water-ball fliould be encompaffed with a water- 
 ball compofition. 
 
 3. The partition is added for this purpofe, that, when the 
 powder in itlhall have the fire conveyed to it through the pipes, 
 it may with more force blow up the ball in the body of the firft ; 
 this, taking fire at the other hole, will burn upon the water for 
 fome time, and then, to the aftoni{hment of the fpe<5tators, on 
 a fudden it will blow up the ball that was in it. 
 
 How to prepare a zvater- mortar, or water -pump, with fever al 
 tubes. Take feven wooden tubes, wrap thein about with cloth 
 pitched, or dipped in glue, twifting them round very tight with 
 packthread : They may be of what height, thicknefs, and dia- 
 meter you pleafe, only the middlemoft mult be of a greater height 
 than the reil; bind them together in one cylindrical body; to 
 the bottom fix a round board with nails, and then with ftrong 
 glue flop up all the crevices, to prevent the air getting to the com- 
 pofition. Put into each tube a little corn powder, about half an 
 inch high ; upon that put a water-ball ; upon that a flow com- 
 pofition ; then again corn powder; upon which put a water-ball 
 filled with fquibs ; on that again a flow compofition ; then corn 
 pov/der, and then a light ball ; over this put a third time a flow 
 compofition on corn powder,which you muff cover with a wooden 
 cap; on this fix running rockets, not too clofe. The remain- 
 der of the tube fill with a flow charge, and clofe it up. Then get 
 a fquare or round piece of plank for a float-board, with a round 
 hole in the middle large enough to receive the ends of all the 
 tubes, which cover clofe. Thus prepared, dip it in tar or melted 
 pitch ; then put the rocket into the orifice of the middle tube j 
 the compofition of which ftiould be flower than the reff. 
 
 If you would have the tubes take fire all round at once, pierce 
 the fides of the great one with fmall holes, correfponding with 
 thofe in each of the other tubes. 
 
 In the fame manner a large v/ater-ball is charged with feveral 
 little ones, and with crackers. 
 
 How the tvater lyee-hive, or bee-fivarm, both fngle and double, 
 may be prepared. For the former, have an oblong globe turned, 
 "whofe length is two diameters of its breadth, or proportioned to 
 the height of your rounding rockets, which place round the wooden 
 tube; this mufl be filled with a compofition of three parts of pow- 
 der, two of faltpetre, and one of brimftone ; at the lower end of 
 the globe fix a paper cracker ; the letter is a counterpoife of lead j 
 at top fix a round board for a balance. 
 
 The 
 
P Y R 2 15 
 
 The globe is filled with the following compofitlon, viz. 
 
 Two pounds of faltpetre, eight ounces of brimftone, eight 
 -ounces of meal powder, and twelve ounces of faw-duft: Then 
 the top is clofed with a ftopple, which has a touch-hole in the 
 middle ; then put a good deal of meal powder in the fmalJ tubes 
 up to the touch-holes, and, after you have placed your rockets 
 upon that, fill the vacancy round with a little corn powder, 
 glcw over them paper caps, then dip the globe in pitch, but 
 not over the paper covering, and fxx a counterpoife at bottom ; 
 and, when the fire has burnt half way or further in the large tube, 
 it will communicate through the touch-hole, and difcharge all 
 the rockets at once. 
 
 Charges for fingle water-globes. Corn-powder half a pound, 
 
 Saltpetre fixteen pounds, brimftone four pounds, ivory {havings 
 
 •four ounces, faw-duft boiled in fahpetre-ley four pounds. Or, 
 
 meal powder one pound, faltpetre fix pounds, brimftone three 
 
 pounds, iron filings two pounds, and rofin half a pound. 
 
 Charge for double water-globes. Saltpetre four pounds fix ounces, 
 itrimftone one pound four ounces, faw-duft half a pound, and 
 coarfe coal-duft fix ounces, moiftened with a little vinegar or 
 linfeed oil. 
 
 Charge for hce-fwGrms. Meal powder thirteen ounces and a 
 'half, faltpetre fix ounces, brimftone two ounces and a half, fine 
 .charcoal three ounces, coarfe charcoal one ounce, and fine faw- 
 sduft three ounces. 
 
 Odoriferous cr perfwncd water-halh. Have thefe turned about 
 the fize of large walnuts, and fill them with the following com- 
 ^ofition, viz. meal powder three ounces, faltpetre twelve ounces, 
 ■frankincenfe one ounce, myrrh half an ounce, and charcoal three 
 •ounces m.ixed with oil of fpike. Then light and put them into 
 water : And this is generally done in a large room at grand en- 
 tertainments. 
 
 Method of mxiking the globes difcharged out of a mortar. Take 
 hollow canes or common reeds, cut fo as to take up the cavity 
 of the G;lobe, and fill them with a weak compofition made of 
 three parts meal powder, two of coal, and one of brimftone, 
 moiftened with a little linfeed oil, excepting the lower ends of 
 .them which reft upon the bottom of the globe, which muft have 
 meal powder only, moiftened likewife with the fame oil, or 
 fprinkled over with brandy and dried j the bottom of the globe 
 cover with meal powder mixed with an equal quantity of corn 
 powder ; then cover it well a-top, and wrap it up with a cloth 
 dipped in glue; the priming muft be of the fame compofition 
 with the reeds. 
 
 To form letters and all forts of figures which may be reprefentcd 
 in the open air in a dark night. Provide a wooden -ilobc as above, 
 >©nly the priming chamber muft be the hei^lu and brcudth of one 
 
 P 4 fixth 
 
2i6 P Y R 
 
 fixth of the diameter of the whole globe. Befides this chamber 
 there muft be another for corn powder; the height and breadth 
 muft be equal to one fixteenth of the diameter of the globe ; the 
 vent-hole muft be a quarter of the priming chamber. You muft 
 alfo have another globe in a cylindrical form, the bottom of 
 which mutt be rounded on the outfide j the cover muft be let a 
 little into the inner furface of the cover of the great globe, to 
 keep it firm, placing this lefTer globe perpendicularly over the 
 chamber which is filled with corn-powder. 
 
 Fill the cavity of the little globe with running rockets, ftars, 
 and fparks ; having furnifhed the vent-hole with meal powder, 
 and the chamber with corn powder, put about the fame globe 
 the fame compofition mixed promifcuoufly together, and on this 
 fit a flat wooden ring. Then take two long thin flips of whale- 
 bone, join them together parallel, fo as to have their bendings 
 oppofite to each other, and make a ftraight piece ; join two of 
 thefe long pieces by tw^o {horter pieces at both ends, fo as to 
 make a right-angled parallelogram ; within this frame form your 
 letters, either of wire or whalebone, and, having fixed them about 
 a hand's breadth from each other, wrap them neatly round in 
 quick tow; then fteep your letters in brandy, wherein fome 
 gum arabic has been diliblved, and in drying ftrew them over 
 with meal powder. To have your letters defcend perpendicu- 
 lar to the horizon, faften two fmall weights to your frame; but, 
 if parallel, have a weight at each corner. Thus bend it round 
 to go into the inr.er circumference of the great globe, and let it 
 reft perpendicular on the wooden ring, and fill the empty places 
 about the letters with meal powder; then cover it up, and pre- 
 pare the globe fit for the mortar, and it will have a delightful 
 cfFea. 
 
 To prepare the quick tow. Take fiax, hemp, or cotton, of two 
 or three ftrands, twift them flightly, and put them into a clean 
 glazed earthen pan ; pour on them good white wine vinegar four 
 parts, urine two parts, brandy one part, purified faltpetre one 
 part, m.eal p )wder one part ; boil it all together over a quick fire 
 till all the moifture is evaporated : Then ftrew meal powder on 
 an even board and roll your match therein, then let it dry in the 
 fun or fhade. This fort of match burns very quick, but, if you 
 would have it burn flower, make the liquor weaker, boiling the 
 match in faltpetre and vinegar only, and, ftrewing meal powder 
 jn it, let it dry. 
 
 To prepare the light halls proper to he ttjed at bonfires. Take 
 two pounds of crude antimony, four pounds of brimfione, four 
 pounds of rofin, four pounds of coal, and half a pound of 
 pitch; having powdered all thcfe ingredients, put them into a 
 kettle or glazed earthen pan, over a coal-fire, and let it melt; 
 
 then 
 
Q^U I 217 
 
 then throw as much hemp or flax into It as may be fufficient to 
 foak it up; then take it off the fire, and, vvhilft it is cooling, 
 form it into balls. You may wrap them up in tow, and put 
 them either in rockets or globes. 
 
 ; To prepare the pajle for Jlars and fparh. Take five ounces and 
 and a half of meal powder, one pound twelve ounces of brim- 
 ^oi\z. Or, faltpetre two pounds, brimftone fourteen pounds 
 and a half, and meal powder fix ounces. 
 
 OUARTATION, is a method of purifying gold, by melt- 
 ing three parts of filver with one of gold ; and then caft- 
 ng the mixture into aqua-fortis, which, dillolving the filver, 
 eaves the gold at the bottom in the form of a black powder j 
 his operation more commonly is called parting and depart. 
 (7^ wO ^^^^^ QUAST ufed thefe two marks, mak- 
 i/\j ^J<^ i"g ^ P ^"^ Q.5 ^^^ ^t other times his mark 
 vas P, Qj^'afl, as in certain grotefque pieces. 
 
 QUICKSILVER. See iMERCURY. 
 
 To order QUILLS, If a goofc Quill be too thick or hard, 
 crape it to a proper thicknefs with the back of your penknife ; 
 hen wet it with fpittle, and roll it in the fcrapings, and they 
 /ill ftick to it ; then rub it bright with a piece of woollen cloth, 
 T lappet of your coat. 
 
 If the Quill be foft, put the head of it into foft afhes, keep- 
 ig it ftirring until it is foft ; you may alfo prefs it almoft flat on 
 our knee while hot, with a back of a penknife, and afterwards 
 'ith your finger reduce it to a roundnefs, and it will harden it; 
 fid, when it is cold, you may make your pen. 
 
 If you have a number of Quills to harden, which makfsthem 
 it the better; fet water and alum over the fire, and while it is 
 oiling put a handful of Quills, the barrels only, in for a mi- 
 ute, and lay them by. 
 
 Or they may be put into a pot of hot fand, and taken out and 
 atted. Sec. as before, then the fkin rubbed ofF with a piece of 
 fli-(kin, which will not only harden, but render them clear and 
 olifhed. 
 
 To colour the barrels of Quills red. Take a pint of vinegar, 
 it into it half an ounce of alum powdered, vermilion, and the 
 le fcrapings of Brafil wood, of each one ounce ; boil them un- 
 
 the liquor begins to thicken; then ftrain it, and put the li- 
 jor into a narrow deep fkillet, and when it boils hold the bar- 
 Is of the Quills in the liquor, until they change their colour, 
 id this will harden them alfo. 
 
 T« 
 
2i8 RAP 
 
 To tinge them yellow, you may ufe a pennyworth of faffron, 
 and an ounce of turmeric alfo in powder. 
 
 R 
 
 R. |i 
 
 is the mark of Ravignano, and underneath R. V. I. i. c, 
 • • Raphael Urbino in. 
 
 RAGE, in drawing, &c. may be reprefented with the fame | 
 motions as defpair, but yet more violent ; for the face will be ^f" 
 almoft quite black, covered with a cold fvveat, the hair (landing I |r[ 
 up an end ; the eyes wandering, and in a contrary motion ; the | 
 €ye-balls fometimes rolling towards the nofe, and fometimes ^^ 
 backwards towards the ears ; all the parts of the face will be ex- 
 tremely marked and fwelled. See plate XXI. : 
 
 T- rc;A Mark Jnto?iio RAIMUNDI, of Bologna, ' >' 
 
 ^Ygj'^S^yy called of France Raphael Urbin, engraver, his 
 \/ marks ; which pieces he marked with the let- 
 ters R. S. M. F. intimating by the tv/o firft letters Raphael 
 Sancio, by the two laft Marco Francia fecit. 
 
 He likewife ufed other marks, i. e. B. S. iignifying Bono- 
 nienfis fculptor. 
 
 In his plates copied from Buonaroti, he put MI. AG. FLO. 
 i. e. Michael Angelus Florentinus ; and afterwards for his own' '■''' 
 mark he ufed that of Mantegna, which may alfo fignify Marcus • •*« 
 Antonius fecit. 
 
 In the life of Chrifl: engraven by him, and copied frem the 
 plates of Albert Durer of Venice, he marked the leaves with- Pi 
 Albert Durer's mark. I W,2 
 
 The RANUNCULUS. Of this flower there are many fortsj 'pki 
 the fineft of which are reddifh and orange-coloured : For the firft ' *£i 
 of thefe ufe vermilior., with a very fmall quantity of gamboge;' -,c 
 add carmine to fhade with, and finifh with this laft colour, and :: 
 a little gall-ftone. 
 
 For others ufe Indian lake inftead ef carmine, but efpeciall] 
 at the heart. 
 
 The orange colour may be imitated with gamboge, finifhi 
 with gall-ilone, vermilion, and a little carmine, leaving fomtf 
 yellow flripcs or fpots. 
 
 The green of the ftalks may be done with verditer and maf- 
 ticote ; to which muft be added iris green for {hading : Th« 
 leaves muft be of a deeper green. 
 
 RAPTURE. If admiration is caufed by an objecl above the 
 comprehenfion of the foul, as the power or greatnefs of the foul, 
 then the motions of Rapture will be different from that of veneris;, 
 ration. 
 
 2 F 
 
 u- 
 
RED 2ig 
 
 For the head will be bowed towards the heart, the eye-browi 
 raifed, and the eye- balls lifted up. 
 
 The head (o bowed feems to mark the humility of the foul. 
 
 For this reafon alfo, neither the eyes nor eye-brows arc drawn 
 towards the glands, but lifted up towards heaven, where they 
 feem fixed to difcover what the foul cannot underftand. 
 
 The mouth is open, having the corners a little raifed, which 
 intimates a kind of extafy. See plate V. 
 
 If, on the other hand, the object that caufes o'jr admiration 
 have nothing in it deferving our elteem, this want of eftcem will 
 produce fcorn. 
 
 This paflion or affedion may be alfo further expreffcd by the 
 :body thrown backwards, the arms lifted up, the hands open 
 and the whole a^Slion (hall fhew a tranfport of joy, 
 
 ^j^ Sihejiro da RAVENNA, fcholar and imitator of Mark 
 OS'C' Antonio, from 1535 to 1560. He employed himfelf 
 wholly in engraving the pieces of Raphael and Julio Romano. 
 
 R. B. T. A. flands for Robetta. 
 
 REALGAL, \ a mineral, a kind of red arfenic, difFerino- 
 
 RIS ALGAL, ) from the common arfenic, which is white j 
 and from orpiment, which is yellow. 
 
 REASON, is defcribed, in painting, Sec. armed like Pallas, 
 lupon her helmet a crown of gold, a drawn fword in her rir^ht 
 ihand, a lion bridled in her left, before her llomach a breall- 
 plate with the numeral cyphers. — The crown teaches that Rea- 
 fon alone can bring valiant men upon the flage, and into credit; 
 he fword intimates the extirpating vice that wars againft the 
 "oul ; the bridle, the command over wild paiTions ; the cyphers, 
 :h.it, as hy them real things are proved, (o by Reafon we acquire 
 :hofe that relate to the common welfare. 
 
 RED, is one of the fimple or primary colours of natural bo- 
 :^ies, or rather of the rays of light. See COLOURS. 
 I Some reckon fix kinds or cafts of Red ; viz. fcarlet Red, 
 rrimfon Red, madder Red, half-grain Red, lively orange Red, 
 |ind fcarlet of cochineal ; but they may all be reduced to thefe 
 hree, according to the three principal drugs which produce tha 
 olours, which are vermilion, cochineal, and madder. 
 
 The fine fcarlet, called fcarlet of the Gobelins, is mnde of aga- 
 ;c water prepared with bran, and turned a little fourilh, woad, 
 
 "id vermilion ; fome dyers add cochineal, and others fosnugreek, 
 
 -ishtening it with four water, agaric, tartar, and turmeric. 
 
 Crimfon Red is made with four water, tartar, and cochineal 
 neftic. 
 
 Madder Red is made with madder, to which fome add real- 
 
 al and arfenic ; others common fait, or other falts, with wheat 
 
 jwer i or agaric with fpirit of wine with galb or turmeric. 
 
 The 
 
120 RED 
 
 The half grain is made with agaric or four water, halfcochi« 
 neal, half madder, and fometimes turmeric. 
 
 As to the lively orange Red, the ftufF muft be firft laid in yel- 
 low, then in a liquor made of goats hair, v.'hich has been boiled 
 feveral times with madder, and now diflblved over the fire with 
 certain acids, tartar, &c. 
 
 The half crimfon is made of half madder, half cochineal. 
 
 The fcarlet of cochineal, or Dutch fcarlet, is made with ftarch, 
 tartar, and cochineal ; after it has been firft boiled with alum, 
 tartar, fal gemmae, and aqua-fortis, in which tin has been dif- 
 iblved. 
 
 Befides thefe feven Reds, which are good and allowed colours, 
 there is alfo a brafil Red, which is difcouraged, as fading eafily. 
 
 Of the feven good Reds, only four have particular cafts or 
 fliadcs ; the madder Red, the crimfon Red, the lively orange 
 Red, and the fcarlet of cochineal. 
 
 The cafts or fhades of crimfon are flefti colour, peach colour,- 
 carnation-rofe colour, and apple-tree flower colour. 
 
 Thofe of madder are flefh colour, onion-peel colour, and *! 
 fiame colour. 
 
 Thofe of the orange arc the fame with thofe of the crimfon. 
 
 Scarlet, befides the fliades of all the reft, has fome peculiar tQ 
 itfelf, as cherry colour, fire colour, &c. 
 
 Red ; in painting in oil colours, they ufe a Red called a cin- 
 nabar, or vermilion ; and another called lacca. 
 
 In limning and frefco, for a violet Red, inftead of lacca, thejr 
 ufe a natural earth found in England j for a brown Red they ufe 
 oker. 
 
 Obfervciions on Red colours. Red lead is the neareft to an 
 orange colour, and, mixed with yellow berries, it makes a per 
 hdi orange. It is ufed for buildings and highways in landfcapes, 
 being mixed with a little white. 
 
 It is the only bright colour to fhadow yellow garments with, 
 to make them appear like changeable taftety ; and to colour any 
 light ground in a picSlure, and feveral other ufes. 
 
 Cinnabar lake ; this is good for fliadowing yellow garments 
 with in the darkeft places ; as alfo vermilion mixed with white, 
 only It makes a fky colour, with white and Red lead a flefh co- 
 lour; and is an excellent colour of itfelf to colour garments 
 with. — This colour being dear, you may therefore, for ordinary 
 ufes, inftead of it ufe Red ink, thickened upon the fire ; which 
 U'ill ferve very well, and better than lake, unlefs it be very good 
 
 Red ink is made by boiling brafil rafpcd in vinegar, mixed 
 with beer, adding a little alum to heighten the colour; boil it 
 until it taftes ftrong on the tongue, then ftrain it out, and keep 
 
 \x 
 
 m 
 itos 
 
 (cli 
 
RED 221 
 
 it clofe flopped for ufe. — But if it be made a flefli colour, or a 
 iky colour, then it muft not be thickened. 
 
 Vermilion is a moft pcrfeft fcarlet colour ; it is fo fine, that 
 it needs no grinding, but may be tempered with your finger, 
 with glair or gum water ; and lb ufed, mixed with a little yellow 
 berries, it makes it the lighter and brighter colour, and is then 
 principally ufed for garments. 
 
 ^ glorious cohiiV of Eaji-Indta cakes. In ufing thefe cakes, 
 you may take one, or a part of one of them, and put it into a 
 horfe-mufcle fhell, adding a little fair water, jufl: enough to wet 
 it all over, letting it lie fo about a quarter of an hour ; then 
 fqueefe it hard againft the fhell, or wring it out between your 
 fingers, and there will come forth an admirable tranfparent co- 
 lour, which will ferve inftead of lake, if the Red cake be good. 
 Thefe cakes are commonly counterfeit, and good for little ; 
 but you will find by cutting a little way into them, if they be 
 good, they are as Red within, as they are without; if naught, 
 they look pale and whitifh within. 
 
 Of dying Red colours. 
 ■ To dye the befl Red colour. Take clear ftale wheat-bran li- 
 iquor, or four tapwort, a fufEcient quantity, alum bruifed three 
 pounds ; put all into your copper, enter your twenty yards of 
 'broad cloth, and handle it, boil it three hours, cool and wafh it 
 iWell ; take frefli wheat-bran liquor a fufficient quantity, madder 
 five pounds ; enter your cloth at a good heat, handle it to a boil- 
 ing heat, cool it and wafli it well ; take frefh wheat-bran liquor 
 a fufHcient quantity, let it boil, and put in urine a gallon, en- 
 ter your cloth, boil half an hour, cool it and wafh it, and it is 
 done. 
 
 Note, Urine is not much ufed now, and fome do not wafh 
 the cloth out of the alum. 
 
 ■ Another Red dye. Take clear fair water a fufKcient quanti- 
 ty, alum bruifed three pounds ; boil and enter twenty yards of 
 broad cloth, boil it two hours and an half; take it out, and 
 range it, and hang it up a little while to let the water drop from 
 t. Take clear flale bran liquor a fufHcient quantity, madder 
 our pounds, fleeped firfl an hour in fmall beer ; bring it almofl 
 a fcalding heat, and enter your cloth, and handle it fwiftly 
 or the fpace of half an hour ; take your cloth into urine, after 
 vhich wafh it well, and it is done. 
 
 Another excellent Red dye. Take lixivium of unflaked lime 
 ive gallons, brafil ground two pounds and a half; boil to the 
 lalf, then put to it alum twenty ounces ; keep it warm, but not 
 o boil : Then what you would dye in this liquor dip it into a 
 "V made of aflies of tartar, letting it drv; then dip it into the ley. 
 

 SB 
 ^1 
 
 222 RED 
 
 To colour larhyjiraw^ ^c. Red. Boil ground brafil In a Hxh 
 vium of pot-afhes, and in that boil your draw. 
 
 To dye a Red blujh colour. Take flale clear wheat-bran li- 
 quor fix clays old, a fufficient quantity ; alum three pounds and 
 an half. Red tartar half a pound ; melt thefc, and enter twenty' 
 yards of broad cloth ; handle and let it boil three hours, take it 
 out and wafti it well, but fome waih it not. Take frefh liquoc 
 a fufncient quantity, of the beft madder three pounds ; enter your 
 cloth, and handle it to a boiling heat, cool and wafh it again: 
 Laftly, take frefh bran liquor a fufficient quantity, let it boilj 
 enter your cloth, let it boil a quarter of an hour, cool and wafli 
 it well again. 
 
 vf Red Ijlufo colour in grain. Take flale four clear bran li- 
 quor a fufKcicnt quantity ; alum three pounds and a half, Red 
 tartar half a pound ; enter twenty yards of broad cloth, boil ifei 
 three hours, cool and wafh it, take frefh clear bran liquor a fuf- 
 ficient quantity, bcfl madder three pounds, enter and boil again* 
 Take frclh bran liquor a fufficient quantity, grains in fine pow- 
 der four ounces. Red tartar three ounces ; enter your cloth, boili 
 an hour or more, keeping your cloth well under the liquor, then 
 cool and wafli. 
 
 Of dying Red rofe^ or carnation colour. 
 
 To dye fl Red rofe a blood- red, or carnation colour. Take IF 
 quor of wheat bran a fufficient quantity, alum three poundsi 
 tartar two ounces ; boil and enter twenty yards of broad cloth 
 three hours, cool and wafh it ; take frefh clear bran liquor 
 fufncient quantity, madder four pounds, boil and fadden accord- 
 ing to art. 
 
 Another Red rofc, or carnation colour. Take wheat-bran 11 
 quor a fufficient quantity, alum two pounds, tartar two ounces 
 boil and enter twenty yards of camblet, and boil it three hoursj 
 after which take it out, and wafh it very well; then add mad 
 der a pound, enter and boil it again, cool and wafh it ; aftci 
 which take clear liquor a fufficient quantity, cochineal in fia 
 powder two ounces, tartar two ounces j enter your camblet, bw 
 and finifh it. 
 
 To dye « Red crimfon. See CRLMSON. 
 
 To dye filk Red. For every pound of filk put four handfuls ol 
 wheaten bran into the quantity of two pails of water ; boil then 
 together, and pour the liquor into a tub, and let it ftand >1 
 night, clarify it, and put into half the water half a pound o 
 alum, -and a quarter of a pound of tartar of R-ed wine, reduced tc 
 an impalpable powder ; add alfo half an ounce of turmeric, re 
 duced to a fine powder ; boil them together for a quarter of su 
 hour, flin ing them very well j then take the kettle ofF the fire 
 
 an 
 
 Wi 
 
RED 225 
 
 •and imnieJiately put In the filk, and cover the kettle very clofc, 
 that none of the fteam may evaporate. 
 
 Let it ftand thus for three hours, then take out the filk, and 
 rinfe it very well in cold water j then beat it very well upon a 
 iblock, and let it dry. 
 
 Then beat a quarter of a pound of galls fmall, put them into 
 a pail of running river or rain water ; boil them for a full hour, 
 fhen take the kettle oft the fire, and, when it is grown juftcool 
 jnough for you to endure your hand in it, put in the filk, and 
 et it lie and fteep in it for an hour, then take it out, and dry it. 
 
 For every pound of fdk allow one pound of bralil, boil it, and 
 train it ; then boil the wood again, adding cold water to it ; 
 vave or turn the lilk about in it, and take it out of that without 
 jvringing, when it has fufficiently imbibed the tincture j then 
 iidd a little pot-afhes, or put them into cold water, and turn the 
 ilk up and down in it, and, when it is Red enough, rinfe and 
 ry it. 
 
 To dye filk a madder Red. The preparatory liquor is made as 
 
 efore. Put half a pound of madder into the quantity of a pail 
 
 f river water, let it hoil for a full hour, but take an efpecial 
 
 are that it does not boil over ; then pour it off into a vat, ad- 
 
 ing half an ounce of turmeric, and ftir it about with a flick ; 
 
 nd when it is cold put in the filk ; and v»'hen you take it out 
 
 nfe it very well, and beat it on the block ; then boil half a 
 
 Dund of good brafil wood, in about a pailful of preparatory li- 
 
 jor, for full half an hour j then pour it off into a vat, into 
 
 hich put the filk, and afterwards cleanfe and fcour it as with 
 
 ap ; then rinfe it in river water, 5:c. according to art. 
 
 To dye woollen cbth, erjluff^ madder Red. Boil three pounds 
 
 alum, two pounds and a half of white tartar, a quarter of a 
 
 )und of foenugreek, and two quarts of wheat bran in the cop- 
 
 r ; then put in the fluff, and let it boil for two hours and an 
 
 ilf ; then take it out, and cool it very well, and hang it out 
 
 r one night ; then, in order to dye it, put into the copper feven 
 
 >unds of maddtr, an ounce and a half of aqua-fortis, a pint of 
 
 heat bran, and ftir them about very well, and rinfe the fluff 
 
 the dye, and then wind it very fwiftly upon the roller, and 
 
 mble it about the copper for an hour at leafl, taking care that 
 
 £ fire keep it boiling hot ; after which, take it out and rinfe it. 
 
 To dye a Genoa madder Red. Take three pounds of alum, 
 
 <e pound and a half of tartar; boil the fluff in it an hour and 
 
 :ialf; then pour off the water, and pour frefh water into the 
 
 htle ; then make a liquor of ten pounds of madder, a quarter 
 
 < a pound of pot-afhes, and fome urine, and, when it hath dif- 
 
 ived one nigrht, boil it off. 
 
 To die the E^gUlh madder Red. Take two pounds and a half 
 
 of 
 
224 R E F 
 
 of alum, one pound of pulverifed white-wine tartar ; boil thenl 
 in water, and when it is proper put in your wet cloth ; then put 
 into the fuds, for the quantity of twenty-fix pounds weight of j 
 cloth, half a pound of tempered aqua-fortis ; and afterwards put ! 
 in the cloth, fl^ir it about very well, and very fwiftly ; boil it for i 
 two hours, and let it remain in the fuds twelve hours, and then 
 linfe it out. 
 
 To finijh If. — Take four pounds of madder, an ounce and an;J( 
 half of gumm-gutta, an ounce and an half of purified pot-afhes, J j 
 one pound of wheat-bran ; mix them in water, and pour them 1 
 with the liquor into the fuds ; then ftir it, and work it as is pro- Jji 
 per, that it may not be fpotted, and you will find this an extra- f 
 ordinary dye. 
 
 To dye zvool or filk of the PoUJh Red. For every pound of 
 wool or filk take a pailful of water, warm it, and put in four 
 ounces of galls pulverifed ; and v/hen it begins to boil put in the 
 madder, which is to be proportioned according to the depth or u 
 litrhtnefs of the dye ; ftir them together, and dye the filk or v.'ool ■ 
 for a quarter of an hour ; and while it is boiling put in feme pot- 
 afties, and dye it a quarter of an hour more, then rinfe it out, 
 and vou have the true Polifh Red. 
 
 REFINING, is the art of purifying a thing, or of rendering j^jj 
 it finer, cleaner, and purer : It is chiefly underftood of metaisy^^try 
 fugar, and fa Its. \^^^ 
 
 Refin'ING of gold. This is performed three ways, viz. ei- : ^ 
 ther with antimony, fublimate, or aqua-fortis ; the laft of thefe isj,^ 
 the moftufual, and leaft dangerous of them all, and is called de- iij, 
 part or parting. .-^j 
 
 To Refine gold with antimony, they make ufe of a v/ind-fur- j, 
 nace, and a common crucible of a fize anfwerable to the quan- .vj 
 titv of gold to be refined ; always taking care that the gold and an- l« , 
 timony, both together, do not fill the crucible more than half full;. ! ' 
 
 After the gold is melted in the crucible, the antimony is thrown ul. 
 in in powder : The proportion of the antimony to the gold i " 
 eight ounces to a pound, if the gold be between fixtecn anc ~ 
 twenty-two carats fine ; if it be under fixteen carats, then thej ..1 
 ufe five quarters of a pound to eight ounces of gold ; and ftill th( :,.". 
 greater quantity of antimony is required, the coarfcr the gold is 
 
 Asfoon as they have put the antimony into the crucible, the; .... 
 cover it, and, after they have charged the furnace with charcoal r;' 
 they put on the capital, which is let to ftand till fuch time as th' .-[^ 
 crucible is left quite bare; then they take off" the capital, anc .'j, 
 leave the crucible to cool in the furface of itfelf, till fuch time a >. ■" 
 they can take it out by the hand ; then they break it, to get ou :...,, 
 the button or culot, which is a mafs of fine gold remaining at th ': ~ 
 
 bottor ."; 
 
 i 
 
R E F 225 
 
 bottom, with the faeces of the antimony, the filvcr and copper 
 alloy, and fometimes little particles of gold iifclfovcr it. 
 
 But, notwithftanding the gold thus prepared is very pure, yet 
 the antimony gives it fiich a harfh brittle quality, that it ceafes 
 to be duftile, and miift be foftened by the fire with faltpetre and 
 borax, to bring it to itfclf. 
 
 In order to this operation, they prepare what is called a dry 
 ooppel, which is a coppel made of crucible earth, which does not 
 imbibe like the coppels made of afhes. 
 
 When the coppel has been fufficiently heated in the Refining 
 furnace, they put the gold into it, and cover it up with charcoal. 
 
 As foon as the gold is diflblved, which is very foon, by reafon 
 of the remains of the antimony, they blow it with the bellows to 
 drive the mineral intirely away, which now goes ofFin fmolce; 
 and add to it, as foon as the fumes ceafe, a little of faltpetre and 
 borax in powder, which collei!^ the impurities, that remained 
 upon the diflblution, and fix the gold in the coppel in form of a 
 plate. 
 
 Then the gold is taken out of the coppel, and melted again in 
 a crucible, with an addition of two ounces of faltpetre and bo- 
 r::x in powder to each eighj: ounces of gold, as foon as it has 
 ccafed to fume ; and then it is caft into an ingot, which upon 
 'ial is found to be twenty-three carats twenty-fix or thirty fecoiids 
 ■:ner. 
 
 As to the particles of gold, which may have been left behind 
 with the alloy, in the faeces of the antimony ; they get them out 
 by a dry coppel, with the fame meltings and ingredients, as were 
 ufed in foftening the former. 
 
 And when they are certain by the efTay of the fhare of gold, 
 which that matter cctitains ; they Refine it to feparate the cop- 
 per, and afterwards make the depart. 
 
 As for the gold which may be left flicking to the dry coppels ; 
 they get that out by breaking and pulverifing the crucibles, and 
 by repeated wafhings of the powder of them in feveral waters. 
 
 TZv ?ncthod c/'Refi Ni n'G gold by means ofjuiilmate. They be- 
 gin the procefs like that with antimony, i. e. in the fame furnace, 
 with the fame coal, the fame fire, and the fame crucibles. 
 
 VVhen the gold is melted in the crucible, they c^ft in the fub^ 
 llmate ; not in powder, but only broke in pieces, 
 
 I'he proportion is, if the gold be of tv/enty-two carats, an 
 ounce or ounce and an half, or even two ounces to eight ounces 
 of gold to be refined ; if of twenty carats, three ounces; and, if 
 it be only from eighteen to twelve carats, five or fix ounces ; in 
 'which laft cafe, they part the fublimate into two, and put in one 
 half at a time, with the 2;old in a new ciucible; which, when 
 
 V^PlJI. " Q_ the 
 
226 R E F 
 
 the operation Is <»vef, leavev the gold of eighteen or twenty carats, 
 according as it wab in fineiicfs betore. 
 
 When they have done this, they raife it by fire, as follows : 
 Having put the broken fublimate into a crucible, with the 
 melted gold, they cover the crucible immediately to fmother the 
 mineral ; and then furnifh the furnace with charcoal, and put 
 on the capital. 
 
 Then a quarter of an hour after they take off the capital, lay- 
 ing the crucible bare, and give it the cool air, i. e. blow off all 
 the afhes and other impurities that may be floating on the li- 
 quid golJ, with a pair of bellows, the nozzle of which is crook- 
 ed. 
 
 This is repeated aga'n and again, till all the impurities of the 
 gold are carried tiff, by virtue of the fublimate ; and that they 
 find it of a bright glittering colour ; after which, it is taken out 
 of the crucible, and the gold is caft into an ingot 
 
 This method of Refining by fublimate is both cheaper and 
 inore complete than that by antimony; but they are both ex- 
 cecdinc;ly dangerous, by reafon of their fulphureous and arfenical 
 exhalations ; the only difference in their malignity confifts in 
 this, that the poilon of the antimony is flower than that of the 
 fublimate. 
 
 For the method of Refining gold by aqua-fortis, fee DE- 
 PART. 
 
 Gold may alfo be refined with lead arid aflies; but this me- 
 tliod is feldom ufed, -excepting in effays. 
 
 The methcd ^ R e f i m n c fihcr. There are two ways of do- 
 ing this ; the one is with lead, and the other is with faltpetre. 
 
 That performed with lead is both the beft and cheapeft ; al- 
 though that with faltpetre ftill obtains in many places, for want 
 of workmen who underftand the m.ethod of the operation of the 
 former. The method of Refining with faltpetre is as follows : 
 
 This operation is performed in a wind-furnace. They firft 
 reduce the filver, to be refined into grains, about the fize of a 
 fmall pea ; which is done bv firft melting it, and then throwing j 
 it into a tub of common water, and then heating it over again in i 
 a boiler. 
 
 This being done, they put it into a crucible j putting to every 
 eicrht ouni.es of filver two of faltpetre. 
 
 Then they cover the crucible with an earthen lid, in the form 
 of a dome, exadtly luted ; which lid muft have a fmall aperture 
 in the middle. 
 
 The crucible being fet into the furnace, and covered with 
 charcoal, wl ich Is only to be lighted by degrees ; at length they 
 give it tke full force of the fire, to put the metal int» a perfeA 
 
 fufioo. 
 
R E L 227 
 
 fufion. This is repeated three times fuccefllvely, at an interval 
 ofaquarter of an hour. 
 
 After the third fire they uncover the furnace, and let the cru- 
 cible cool ; and at length break it, to get out the filver, which 
 is found in a button or culut, the bottom of which is very fine 
 filver ; and the top mixed with the faeces of the faltpetre, and 
 the alloy of the fdver, and even lome particles of fine fdver. 
 
 Then they feparate the culot ^rom the impurities, and melt it 
 in a new crucible ; and throw charcoal-duft into the diflblution, 
 ;jnd work the whole briflily together. 
 
 Then they cover the crucible up again, and charge the furnace 
 with coal, and give it a fecond fire. 
 
 Having done this, they blow off the afhes and impurities with 
 bellows, from ofJ-'the top of the metal, till it appear as clear as a 
 looking- glafs ; and then they throw in an ounce of borax broken 
 to pieces. 
 
 Then, in the lafl: place, they cover the crucible up again, and 
 give it the lafl fire, and after this caft it into ingots, which are 
 found eleven penny- weights and fixteen grains fine. 
 
 To recover the filver that may be left in the fseces and fcoria, 
 they pound them, and give them repeated lotions in frefh water. 
 
 As for the method of Refining filver with lead, fee the article 
 SILVER. 
 
 REFORMATION, is reprefented, in painting, Sic. by an 
 ancient matron in a mean habit, a pruning-hookinher right hand, 
 and in her left a hook open infcribed, 
 
 Pereunt difcrimine nullo 
 
 Amiflae leges. 
 
 i!f e. The laws are always defended, and never perifn by any ac- 
 cident. — She is reprefented old, as mofl proper to reform and go- 
 vern ; the poor habit fhews her exempt from luxury ; the hook, 
 the intrenching all abufes, ill cuftoms and tranfgrefiTion. 
 
 Raphael da 'R.Y.GGIO di ii'jodena.,hom in 1 552, fcholar of Fed. 
 Zucchero, lived at Rcme, excelled in hiflory ; died in the year 
 1680, aged twenty-eight years. 
 
 Gio Antonio REGILLO ila Pordenone., born in the year 1484, 
 ftudied Giorgione, lived at Venice and Ferrara, excelled in hif- 
 tory-painting; died in the year 1540, aged fifiy-fix years. 
 
 RFLIEVO, I in painting, 5cc. is the degree of force or bold- 
 
 RELIEF, S nefs, wherewith the figures feem, at a due dif- 
 tance, to itand out from i.he ground of the painting, as if really 
 im bo fled. 
 
 The Relievo depends much upon the depth of the fliadov/, 
 and the flrength of the light ; or on the height cf the different 
 colours, bordering on one an ither; particularly on the difference 
 of the colour of the figure from tiiat of the ground. 
 
 O 2 When 
 
228 REP 
 
 When the light is well chofcn to make the nearefl parts or fi- 
 gures advance, and well difFufed on the mafles j ftill infenfibly 
 diminifliing, and terminating into a large fpacious fhadow, 
 brougtit off inTenfibly ; the Relievo is faid to be bold, and the 
 clair obfcure well underftood. 
 
 Relievo, 1 in fculpture, &c. Is applied to a figure, which 
 
 Relief, ) projects or flands out, prominent from the 
 ground or plan, whereon it is formed j whether that figure be 
 cut with the chiil'el, moulded, or caft. 
 
 There are three kinds ot degrees of Relievo, viz. alto, bafib, 
 and demi-relievo. 
 
 Alto-relievo, haut Relief, or high Relievo, is when the figure 
 is formed after nature, and projects as much as the life. 
 
 Baffo Relievo, b^f^. Relief, or low Relievo, is when the work is 
 raifcd but little from the ground, as in medals, and the frontif- 
 pieces of buildings; particularly the hiftories, feftoons, foliages, 
 and other ornaments of friezes. 
 
 Demi Relievo, is when one half of the figure rifes from the 
 plan, i. c. when the body of the figure feems cut in two ; and 
 one half of it is clapped upon the ground ; when in a bafIb Re- 
 lievo there are parts that Ifand clear out, detached from the reft, 
 the work is called a demi-bafTo. 
 
 RELIGION, is reprefented, in painting, &c. as a womar> 
 cloathed in a filver veil, with a garland or mantle of white, fire in 
 her left hand, in her right a book, and a crofs and elephant by 
 her. — Veiled, becaufe fhe has been always fecret; the crofs is 
 the vidlorious banner of true Religion ; the book is the fcripture ; 
 the elephant is an emblem of true Religion, he adoring the fun 
 and f^ars. 
 
 Rembrmit van RHEYN, born in the year i6c6, a fcho- 
 lar of Lafman of Amftcrdam, lived in Holland, excel- 
 led in hiftory and portraits ; died in the year 1668, aged fixty- 
 two. He ufed this mark. 
 
 GwWi? RENT, born in 1575, fcholar of Denis Calvert and 
 the Carraches, lived at Bologna and Rome, excelled in hiftory ; 
 tlied in the A'ear'1642, aged fixtv-feven years. 
 
 RENOWN, is reprefented, in painting, &c. as a man of a 
 pleafant afpe^!:!, well proportioned limbs, cloathed with a cloth of 
 gold, mixed with purple, adorned with a garland of red hyacinths, 
 and a gold chain, leaning upon Hercules's club with one hand, 
 and carries a lighted torch in the other. — His afpect imitates his 
 virtuous mind, the robe fliews him dignified, the hyacinth v.if- 
 dom and prudence, the chain honour, the club the ideas of <ill 
 virtues, the torch denotes fplendor acquired by his iliuftrious ex- 
 ploits, 
 
 REPOSE, in painting, is a tcrrn ufed for certain mafles of 
 
 Jartre 
 
R I L 229 
 
 targe fynems of afTemblages of light and fhadc, which, being well 
 conducted, prevent the confufion of objects and figures, by en- 
 gaging and taking up the eye, fo as it cannot attend to the other 
 parts of the painting for fome time; and thus leading it to coii- 
 fider the fcveral groups gradually, and as it were to proceed from 
 ftage to ftage. 
 
 ^ f^ Gafpar REVERDIN, or Raveti/iein^ his pieces 
 
 V^ r ^' vJ>3 2re lafcivious ; and two of them reprefent cour- 
 tezans fporting together ; he ufed this mark. 
 
 REWARD, is reprefented, in painting, &:c. by a man cloath- 
 ed in white with a golden girdle, a palm with an oak-branch in 
 his right hand, and a crown and garland in his left. 
 
 The oak and palm denote honour and profit, the principal 
 parts of recompence ; the garment and girdle truth, wiien re- 
 compcnce is accompanied with virtue j for good done to thofe 
 that dcferved it riot, is not Reward. 
 
 RHETORIC, is reprefented, in painting, he. by a fair lady 
 richly cloathed, with a noble head-drefs, very compKiifant, holds 
 up her right hand open, a fcepter in her left with a book ; on the 
 fkirtof her petticoat are thefe words, Ornatus perfuafio, of a rud- 
 dy complexion, with a chimxra at her ftct. — Fair and com- 
 plaifant, becaufe there is none fo ill bred that is not fenfible of 
 the charms of eloquence ; her open hand fhews Rhetoric dif- 
 courfes in a more open way than logic ; the fcepter, her fway 
 over mens minds; the book, lludy requifite ; the motto denotes 
 its bufinefs ; the chimaera the three precepts of it, judicial, de- 
 monftrative, and deliberative. 
 
 OS or JSU or *4^ 7'f'^^ RIBERA, called %^. 
 OSX' JTS^ *T noletto, ufed thefe three marks, 
 at different times^ 
 
 Giofippe RIBERA, known by the name of Spagnoletto, fcho- 
 Lar of Michael Angf^lo daCaravaggio, lived at Naples, excelled in 
 hiftory and half figures ; died in the year 1647, aged hxty years. 
 
 Daniele RICCIARELLE da Fclterra, born in 1509, fcholar 
 of BaldaiTar Peruzzi de Siena, lived at Rome and Florence, ex- 
 celled in hiftory and fculpture ; died in 1566, aged fifty-feven 
 years. 
 
 John RILEY, was born in London, in the year 1646 ; he was 
 an excellent Englifh portrait- painter, and a diiciple oi Mr. Zoufl, 
 an extraordinary Dutch mailer, whofe manner he retained, 
 though perhaps, with him, he wanted the choicefl notions of 
 beauty ^ but, for painting a face, few have exceeded him, in any 
 nation whatfoever. Had not the gout, an enemy to the feden- 
 tary and ifudious, carried him off, we might have oppofed a 
 Riley to a X'^enetian Bombelli, or to ill that tne French academy 
 has produced in that manner of piinting to this day. His fame 
 
 * Q^ 3 rofe 
 
1250 ROE 
 
 rofe upon the death of Sir Peter Lcly ; at which time, he was 
 recommended to the favour of king C-harles II. by iVIr. Chiffinch, 
 whofe picture he drew. He was afterwards cmploved in draw- 
 ing fome ot the king's children, and, at lall, his majefty fat tohim 
 himfelf. He ahb drew king James II. and his queen, and king 
 William and queen Mary, upon the revolution, when he was 
 fworn their majefties painter. He w.is very diligent in the imi- 
 tation of nature, and ftudyingthe life rather than any particular 
 manner, by which he attained a pleafant and moft agreeable ftile 
 of painting. His excellence was confined to a head, a great 
 number of which do him juftice, even in the beft collection of 
 our nation. He was modeft and courteous in his behaviour, aiid 
 of an engaging converfation ; he died anno 1 691, aged forty-live 
 j;ears, and lies buried in Bifhopfgate church. 
 
 RIVERS; in painting of them, you ought to confider the pro- 
 perties and adjunih of each; which ufually confift in fome no- 
 table adlion or accident, done or happened near them ; fome fa- 
 mous city, fruits, or reeds fituated upon or near their banks ; fome 
 fifh only proper to their ftreams ; or recourfe of fhipping from 
 all parts of the world. 
 
 Therefore it will be proper to place the city upon their heads ; 
 their fruits in a cornucopia ; reeds, flowers, and branches of trees 
 in their garlands and the like. 
 
 ROCAILLE, a fpecies of glafs in certain green and yellow 
 grains, whereof beads are made; great quantities of which are 
 exported to Africa and other foreign parts, and worn by the ne- 
 groes, &c. as necklaces, bracelets, Ezc. 
 
 To make the yellow grains, take a pound of fine white fand, 
 and three pounds of minium ; mix and pound them together very 
 well in a mortar, and put the whole into a flrong crucible, co- 
 vered and luted ; dry the lute, and fet it afterwards into a glafs- 
 houfe or wind-furnare, where the fire is violent, to reduce this 
 matter into glafs ; after which, make it up cither into grains, or 
 any other fhape you pleafc. 
 
 The method of makins: the jrrccn is different from that of the 
 yellow ; for this put three pounds of fine v/hite fand to every 
 pound of minium, and it will be very compact. — This will alter 
 its colour, and become a pale red in melting. 
 
 ROCHETTA, a name commonly given to all afhes or pol- 
 verine, that is ufed in making of elafs. See POLVERINE. 
 
 Pi?r^r ROESTRATEN, was born at Hactlem, and a difciple 
 of Hans Hals, whofe manner he at firft followed ; but at laft fall- 
 ing into flill life, and having performed an extraordinary piece, 
 that Sir Peter Lely ftiewed to king Charles, and which his ma- 
 jefty approved, he was encouraged to purfue that way, which he • 
 continued to his death. He was an excellent mafler in that kind 
 
 2 of 
 
R O S 231 
 
 ■of painting, viz. on gold and filver plate, gems, (hells, mufica' 
 inftruments, &c. to all which he gave an unulual luttre in co- 
 louring, and for which his pictures hear a good price. He c'ied a- 
 bout47 years ago, and lies bnricd in Covent-garden church. 
 
 Gio Francefco ROA-IANELLI, born in the year i6i>>., fcholar 
 of Peter de Cortona, lived at Rome, excelled in hiftory, land- 
 fcapes, and battles; died in the year 1673, aged fifty- nine years. 
 
 Giuli ROMANO, fcholar of Raphael, lived at Rome and 
 Mantua, excelled in hiflory and architecture ; died in 1546, aged 
 fifty-four years. 
 
 Sahator ROSA, born in the year 1614, fcholar of Danicle 
 Falconi, lived at Rome, excelled in hiflories, landfcapes, and 
 •battles ; died in the year 1673, aged fiity-nine years. He ufed 
 
 this mark ?^^ 
 
 Sufamiah P^'hlope ROSE, wife to Mr. Rofc, a jeweller, and 
 <3aughter to Mr. Richard Gibfon the dwarf, by whom (he was 
 -inftructcd in water colours, and wherein (lie performed to admi- 
 ration. She not only copied finely, but alfo drew exceeding 
 well after the life in miniature. She died abmt fifty years ago, 
 ^t forty-eight years of age, and lies lurlcd ii Covent- garden 
 church. 
 
 ROSES, to paint in miniature, having chalked and drawn the 
 •^red rofe in carmine, let your firft lay be a very pale mixture of 
 'Carmine and white j then lay in the (hades with the fame colour, 
 but with left white; and at iaft ufo carmine alone, but it muft be 
 •very thin at firft, adding however to the body of it more and 
 ■more as the piece advances, and that the fliadcs grow darkerand 
 <<larker ; and thie is to be done with broad bold ftrokes. To con- 
 clude, you finifh the fame colour with Rne ftrokes, wbich muft be 
 turned like thofe of the graving, if you copy after a print ; or like 
 •the turn of the leaves of the Rofe, if you copy after a painting or 
 •nature ; (cumbling the whole> and touching up the ftrongeft 
 lights and the edges of the brightefl leaves v/ith white and a 
 •little carmine. You muft always make the heart of the Rofe 
 and the fhady fide darker than the reft, and ufc a little indigo in 
 Aading the hrft leaves, efpecially when your Rofes are blown, 
 to make them appear a little fading ; the feed is done with gam- 
 'boge, mixed with a little bladder green for fliading. 
 
 Your ftreaked Rofes mull be paler than the other, that the 
 iftreaks may be more confpicuous; v/hich n^iilt be dot e uitb car- 
 mine, fomewhat deeper in the fliade?, and very bright in the 
 lights, hatching continually with fine ftrokes. 
 
 For white Rofes lay on white, and proceed and finifh as in the 
 example of red Rofes, but with black and white and a little bi- 
 •ftre, a.ad make the feed fomewhat yellower than before. 
 
 Q. 4 For 
 
fi32 R O U 
 
 For yellovy Rofes lay on mafticote, and fhade with gamboge, 
 gall-ftone, and biftre, heightening the lights with maftiGote and 
 white. 
 
 The ftalks, the leaves, and the buds of all forts of Rofes, muft 
 be laid in with verditer, mixed with a little mafticote and gam- 
 boge, and to fhade them ufe iris-green, with lefs of the other co- 
 lours when the ihades are deep ; the wrong fide of the leaves 
 muft be bluer than the other, therefore you muft lay on fea-green 
 and mix it with iris green to fhade with, making the veins or 
 ribs of that lide lighter than the ground, and thofe of the right 
 fide deeper. 
 
 The prickles upon the ftalks, and the buds of the Rofes, are 
 made with llisht touches of carmine in all dire61ions, and thofe 
 on the ftem of the tree ; and larger branches are ftruck in with 
 verditer and carmine, and fhaded with carmine and biflre, mak- 
 ino- alfo the bottom of the ftems and ftalks more reddifh than the 
 tops ; that is, you muft mix green with carmine and biftre to 
 fhade with. 
 
 The Pafs-KosE ; this is to be done the fame way as the 
 French marigold, and the green of the leaves the famej but the 
 veins muft be of a deeper green. 
 
 ROSIN, is a refinous matter, prepared from the juice of the 
 pine-tree, ordinarily uied for making wax, &c. 
 
 We have, in the Philofophical 'FranfacVions, the method of 
 preparing this drug in the fouthern parts of France. 
 
 Firft, they pare off the bark of the pine, to make the fap run 
 down into a hole made at bottom to receive it ; as the juice runs, 
 it leaves a cream or cruft a-top ; which, being tempered with wa- 
 ter, is fold fraudulently for Vt'hite bees-wax. 
 
 ' When thev have got a quantity of the juice, they ftrain it 
 through a bafket, and what runs through it is the common tur- 
 pentine. 
 
 What ftays behind they mix with water, and, diftilling it in 
 an alembic, the matter that rifes is the oil of turpentine, and 
 the cake that remains is the common Rofin. 
 
 ROSSO of Florence, born in the year 1496, ftudied with 
 Michael Angelo, lived at Florence, Rome, and France, excel- 
 led in hiftory and architedlure j died in the year 1541, aged forty- 
 hve years. 
 
 TV TO ^^f^^" ROTA Sabtnienfe fomctimes marked .with 
 JL v^ jrV_ thefe words, Sabenzanus fecit. 
 
 i^^?:iROTTENHA?v/LMER, born in the year 1564, ftudied 
 under Donavver and Tintoret, lived at Venice and Bavaria, ex- 
 celled in hi'Jory; died 1604, aged forty years. 
 
 Jamas ROUSSEAU, was a French landfcape-painter, born at 
 Paris J he had a great part of his inftruction from Herman van 
 
 Swane\e!c, 
 
RUB 23^ 
 
 Swancvek, who married a relation of his. He afterwards travel- 
 led to Italy, where he ftudied feveral years, and perfected himlelf 
 in architc<^lure, perfpedlive, and landfcape, by following the moll: 
 I eminent painters in that kind, and fludying the antiquities. Re- 
 turning to Paris, he was wholly employed fome years hy the 
 king at Marly, and elfewhere ; but, leaving that fervice upon the 
 periecution, he retired to Swiflerland, from whence he was in- 
 vited to return by M. Louvois, chief minifter of llatc, upon all 
 the promifes of indemnity imaginable, to finifti what he had be- 
 gun ; which refuftng to do, henotwithftandingmade a prefent to 
 the king of his draughts and defigns for that purpofe, and more- 
 over nominated a perfon to perform the work. After a little 
 flay in SwifTerland, he came to Holland, from whence he was 
 invited over to England by the duke of Montague, who employ- 
 ed him at his flately houfe at Bloomsbury. Upon his coming 
 over hither, he farther improved himfclf in thefludy of landfcape^ 
 and added his beautiful groups of trees to the many draughts he 
 made after nature in feveral parts of this kingdom ; his views are 
 commonly fylvan and folid, his water of all kinds well underftood 
 and tranfparent, his fore grounds great, and generally well 
 broke ; and in a word, the whole very agreeable and harmonious ^ 
 his fkill in architedlure made him often introduce buildings into 
 his landfcapes, as he did alfo fmall figures, after the manner of 
 Poufm. He died in London about fixty years ago. He execut- 
 ed with his own hand feveral prints in aqua-fortis after his owjt 
 landfcape. 
 R. S. fignifies Ravignanus fculpfit. 
 
 R I M f" } ^^^ RAIMONDI of Bologna. 
 
 R. S. M. R. Mark of Ravenna put this mark to Raphael San- 
 Bio Urbino's pieces. 
 
 R. V. A. Sig. Gaudenfis fculpfit, the mark of feveral pieces 
 ivented by Peter de Cortona. 
 
 Sir Peter PW RUBENS, born in 1577, fcholarof Adam vaa 
 Foort and Otho Vaenius, and ftudied in Italy ; lived at Antwerp, 
 
 ily, and England; excelled in hiftory and portraits ; died in 
 1640, aged fixty-three. 
 
 RUBY, a fparkling gem of the firft rank among precious 
 tones. There are but two places in the Eaft, where Rubies arc 
 jFound, the kingdom of Pegu, and the ifle of Ceylon. 
 
 The mine of Pegu, where it is found in greateft plenty, is in 
 Me mountain Capelan, twelve days journey from Siren, the re- 
 pdence of that prince ; the finefl Rubies brought from hence do 
 [hot exceed three or four carats, the king referving all the larger 
 It-O himfelf. 
 
 In the ifland Ceylon, the Rubies are found in a river, which 
 
 dcfceiids 
 
25^ RUB 
 
 defcends from the mountains towards the middle of the ifland : 
 Some few are alfo found in the ground. 
 
 The Rubies of Ceylon are ordinarily brighter, and more beau- 
 tiful than thofe of Pegu ; but they ^le rare, the king of Ceylon 
 prohibiting his people to gather them, or traffic with them. 
 
 There are Rubies alfo found in Europe, particularly in Bohe- 
 mia and Hungary, efpeciallyin the former, where there is amine 
 of flints of divers fizes, which upon breaking are fometimes found 
 to contain Rubies, as fine and hard as any of the Eaft. 
 
 The value of Rubies, from one carat or four grains, is rec- 
 koned in Diftionaire de Commerce as follows : 
 
 1, s. d. 
 A Ruby of one carat is worth i 15 o 
 
 two carats 900 
 
 • three carats 22 10 O 
 
 — — four carats 33 15 o 
 
 five carats ■ 45 o O 
 
 fix carats 67 10 O 
 
 {"even carats 84 o O 
 
 eight carats- 106 00 
 
 nine carats 150 00 
 
 — — ten carats ■ 216 o O 
 
 Rubies are ufually.diftinguifhed into two kinds, the balaiTe ani 
 fpinelle ; but there are fome authors who diftinguifh them into 
 four kinds, viz. the Ruby, rubicellc, balafle, and fpinelle. 
 
 It is iheir differejit degrees of colour that make their difFerent 
 value and beauty. 
 
 Tlie balafie Ruby is of a vermeil rofe-colour; the fpinelle of 
 a fiame colour. 
 
 It is faid that the inhabitants of Pegu have the art of heighten- 
 ing the rednefs and brilliant of Rubies, by laying them in the 
 iire, and giving them a certain degree of heat. 
 
 The Ruby rs formed in a flony fubftance, or marcafiteof a 
 Tofe-colour, called mother of Ruby ; it has not all its colour and I 
 luflre at once, but they come to it by degrees. At the firft it , 
 grows whitifh, and, as it approaches to maturity, becomes red. 
 Hence it comes to pafs, that we have white Rubies j others half 
 white, half red ; others blue and red, called fapphire Rubies. 
 
 When a Ruby exceeds twenty carats, it may be called a car- 
 buncle. I 
 
 There are fereral manners cfcounterfeiting Rubies ; and fome | 
 have carried the imitation fo far as to deceive the moft able lapi- 
 daries. 
 
 71s make orii-nialRvBiES. The Ruby, which is a precious 
 flone, diaphanous and very radiant, ought to have the colour of 
 
 blood 
 
SAL 235 
 
 blood and fcarlet, and clear lacca, and (hew about the edges of 
 its fire a little azure colour. 
 
 To imitate this fine colour, take four ounces of the matter, 
 prepared with natural cryftal and faturnus glorificatus ; two 
 ounces of crocus martis prepared, one ounce of verdigieafe, two 
 ounces of mercury calcined ad rubedinem, and two ounces of ial 
 gem ; reduce all to fine powder, mix them together, put them 
 into a crucible, cover it, lute it, and fet it in a glafs-houfe fur- 
 nace for three days ; then take it out, and fet it into the fur- 
 nace, where glafl'es are fet to anneal, there to colour by degrees 
 for twelve hours ; then break the crucible, and you will find the 
 matter tinged of a fine Ruby colour, which you may divide, cut, 
 and polifh. 
 
 To make the halajfe RuBY. This fpecies of Ruby is of a very 
 brio'ht colour, refembling a vermilion, rofe, and crimfon, being 
 mixed of a natural red and of a fky colour. To imitate it, 
 
 Take fix ounces of faturnus glorificatus mixed with natural 
 crvftal, half an ounce of crocus martis, half an ounce of mercu- 
 ry calcined ad rubedinem, two drachms offal gem ; the whole 
 reduced to an impalpable powder, and mixed well together. 
 Then put it in a crucible, covered clofe and luted, and fo into 
 I glafs-houfe furnace for three days, proceeding as in the pre- 
 rcding article, and you will have a very fine matter, the colour 
 3f a balafle Ruby. 
 
 ^TR) Y~y Guido RUGGERI fecit, is the mark of feveral 
 VXlVjT pieces, painted at Fontainbleau by abbot Primatic- 
 :io, and engraved by the above-mentioned, who accompanied 
 lim into France. 
 
 S. 
 
 A Ndrca SACCHI, born in i6or, fcholar of Giofeppini 
 Ix Albani, lived at Rome, excelled in hifiory and architec-» 
 1^ ; died in the year 1661, aged 60 years. 
 
 r^m^ Jujius SADELER ufed this mark : At other times he 
 ! ▼ added Sadeler I S exc. 
 
 SADNESS. See SORROW. 
 aWF ^^ q^ SAENREDAN, a Dutchman, ufed this 
 ■^ ^ ^ mark; he fometimes ufed the letter I, with 
 3n S intwined about it, his Chriftian name being Hans or John ; 
 le died in the year 1607. 
 , 'T^ Anthony SALAMANCA, or Ant. Sal, exc. 1543. 
 
 Andrea 
 
236 SAN 
 
 I 
 
 ^ 
 
 1^ Andrea SALMINCIO, of Bologna, an engraver and 
 Icholar of Valefio's, ufed this mark. 
 
 SALTPETRE, is a kind of fait, both natural and faftitious, ^ 
 of very great ufe in dying, the making of glafs, and ofaqua-for- 
 tis, for the diflblution of metals. 
 
 Of natural Saltpetre there are two kinds ; the firft formed by 
 a natural cryftallifation of faline fulphureous juices, diftilling in i'" 
 caverns, or along old walls, called Saltpetre of the rocks. 
 
 Thefecond kind of natural Saltpetre is produced from thewa^ 
 ter of a dead lake in the territory of Tcrrane in Egypt, called 
 the Nitrian waters, exalted and conco6led by the heat of the fuifc f*P 
 much after the manner of our bay-falt 
 
 
 .IN' 
 
 riie 
 
 EtI 
 
 \ii 
 
 Artificial or fadtitious Saltpetre is alfo principally of twc Bikf 
 kinds ; '^ 
 
 The firft is called by Tome mineral Saltpetre, and is found ir ^'> 
 feveral places of the kingdom of Peru, and about Agra in vil 
 lages, which were anciently populous, but now deferted j am 
 -A\o in fome places along the banks of the Wolga. 
 
 The fecond is that prepared from nitrous matters, collefted 
 <j,^ buildings, dove-houfes, the middle of ancitnt ruins, &c. b 
 means of lixiviums or leys made of wood-afhes, and fometimc^^i^ 
 of thofe of herbs 
 
 Of this there are great quantities made in France, particular! 
 in the arfenal at Paris, where there is a corporation of Saltpetre 
 makers appointed for the purpofe 
 
 The Saltpetre, gained thus, they refine by boiling it three 01 
 four times, and paffing it fucceflively through feveral leys. 
 
 Saltpetre fhould be well cleanfed, white, dry, and as free 
 fait as poflible : The beft refined Saltpetre is that whofe cryftal :co!o 
 are the longed, largeft, and fineft. 
 
 Saltpetre has a property of rarifying or expanding itfelf to 
 prodigious degree. It is hence that gunpowder derives its force iiprei 
 of which Saltpetre is the principal ingredient. It is comput 
 that, when inflamed, it takes up above io,OCO times the fpao 
 that it poffelVed before. 
 
 Francejca SALVIATI, or Francefco de Rojfe, born in theyeaB"^'3i)] 
 1510, fcholar ot Andrea del Sarto and Baccio Bandinelli, live n^-e^j 
 at Rome and Florence, excelled in hiftory and portraits ; diedii 
 the vear 1563, aged 53 years. 
 
 Raphael SAN CIO da Vrbinc, prince of the modern painters 
 boni in the vear 1483, fcholar of his father Giovanni and PietP 
 Ptrugino; but, for colouring, of Fra. Bartolomco. 
 
 To dye SAND cobur'.. Take water a fufficient quantity, nut tjis 
 galls in powder one pound, madder fix ounces, fuftic four ounces 
 i€t them bcil and enter your cloth, twenty yards of broad cloth 
 
 k 
 
 Ltr( 
 
 
 'it: 
 
 
SAP 237 
 
 et it boil two hours, and handle it, and Co cool it ; add copperas 
 bur ounces ; enter your cloth at a boiling- heat, let it boil 2 
 quarter of an hour, and handle it, and Co cool it again. If you 
 \m\\ have it fadder, put in more copperas ; enter your cloth 
 igain, and boil another quarter of an hour, cool and wafh, 
 
 SANDARACH, is a white gum, oozing out of the trunk and 
 hick branches of the great juniper-tree, by incifions, made ia 
 he heats of the fummer. 
 
 The befl is in fine white tears, free of duft ; fome wiH have 
 :, that the Sandarach of the juniper is not the right, but only 
 hat of the oxycedron. 
 
 SANDEVER, is the drofs of glafs, or the fcum that arifes 
 rem the afhes of the herb kali, ufed in the making of [rlafs. 
 
 SANDIX, a kind of minium, or rather red malticote, made 
 f cerufs calcined and rubefied, called alfo a factitious fandarach. 
 t is but little ufed in painting, the real minium or vermilion, to 
 'hich it is fubflituted, making a much better, brighter, and 
 lore durable colour. 
 
 SANGUIS dracoms. See DRAGONS h/ood. 
 
 SAPPHIRE, a precious (tone, very much efteemed for its 
 :auty, of a very clear and beautiful fky colour. There are fomc 
 hitifh, like diamonds ; others very blue, and fome a violet co- 
 ur ; the flone is foft, but eafy to harden. 
 
 To mah a pajle to imitate the Sapphire. Take two ounces 
 
 natural cryflal prepared, four ounces and an half of minium, 
 venty-fix grains of blue fmalt: The whole being well pulvc- 
 
 ed, put them in a crucible, and cover and lute it well ; then 
 It them in the furnace to bake, and you will have a fine blue 
 olct colour. 
 
 Another oriental Sapphire. The pafte for this Sapphire will 
 
 nearer oriental than the former ; take two ounces of natural 
 yftal prepared, fix ounces of minium ; to which add two fcru- 
 es of zafFer prepared, and fix grains of mangancfe alfo pre- 
 
 red ; the whole reduced to a fine powder : jVlix them well to- 
 
 ther, and put them in a crucible, cover and lute it well j then 
 
 t them in the furnace to bake, and you v."ill have an oriental 
 
 pphire, of a very fine violet colour. 
 
 To make a deeper orie7!taI S.XPPHIRE. Take two ounces of 
 < 'ftal prepared, five ounces of minium, forty-two grains of pre- 
 jred zafier, and eight grams of manganefe of Piedmont alfo 
 I'pared ; the whole reduced to an impalpable powder, and 
 I \ed well together. Proceed as before, and you wiji liave a 
 ->phire deeper than the preceding, fomewhat teiidii-g lu ;i viu- 
 1 colour, which vou may work, polifti, and fet. 
 
 ■Jiother very fine blue Sapphire. Take one ounce of cr) \xA. 
 • 'owder, add to it a drachm of the fait of vitao), three :'>a.ns 
 
I 
 
 238 S A S 
 
 of verdigreafe, one grain of azure ; an ounce, one drachm, and 
 four grains of fine fait of tartar ; the whole in fine powder : Put 
 it into a crucible, co\^ered and luted, to be baked and purified as 
 before, and you will have a very fine blue Sapphire, &c. 
 
 /Another fine Sapphire. Take two ounces of powder of cry^il* 
 fial, two ounces of fine fait of tartar, five drachms twenty-four ft 
 grains of verdigreafe, and thirty-two grains of azure ; the whole ,ilio 
 reduced to impalpable powder, which you muft fet to bake and (i 
 purify in a covered crucible in a glafs-houfe furnace, as we have^die 
 laid before, and you will have a very fine Sapphire. 
 
 The way to make a violet Sapphire. Take one ounce of 
 powder of cryftal, one drachm of fait of vitriol, and nine drachms 
 of fine fait of tartar, the whole in fine powder ; then proceed as 
 before, and you will have a Sapphire of a very fine violet colour, \ W 
 
 SARDOIN, or Sardomanjicne^ fo called of Sardinia, is a pre-! 
 cious ftone of a blood colour, half tranfparent ; the fame with 
 that which is otherwife called a cornelian. ; .vlk 
 
 The moft beautiful Sardoins are thofe brought from about Ba- jfoi 
 bylon ; thofe of Sardinia are of the fecond clafs. 1 jioui 
 
 There are other Sardoins, and not contemptible ones, foundgiiitg 
 near St. Mauro in Albania ; and other very fmallones about thir* 
 Rhine, in Bohemia, Silefia, Sec. Msitji 
 
 To give them the greater luftre, it is ufual, in fetting themBecle 
 to lay fiiver leaf uaderneath. This {lone is in moft ufe for fealsBej;;] 
 bccaufe it graves eafily, and takes a fine polifh. Ijlie 
 
 SARDONYX, a precious flone that partakes partly of thMmij], 
 onyx. It is reddifli, bordering on white, like the nail of thAM^j, 
 hand ; in feme, the red inclines to yellow. It is brought fro, 
 the Eaft-Indies, Arabia, and Bohemia. 
 
 Jtidrea del SARTO, born in the year 1478, fcholar of Pie 
 tro di Cufimo, lived at Florence, excelled in hiftory- painting 
 died in the year 1 520, ?.ged 42 years. 
 
 SASHES yjjr zuhidozus^ as clear asglafs. Take the finefl: vc 
 lum, or fiinic flcin, without knots or flaws, rub it with fine pow 
 der of pumice-ftone well fifttd, and, having ftretched the fkin 
 a frame a little wet, let it dry in the Ihade, that it may harde 
 the better; then take two parts of nut oil, and one of linfea 
 and a little glafs finely powdered, and two parts of fair wate 
 and boil them all together in a glafs on a tile, pretty near tl: 
 fire, until the water evaporate ; then, with this, brufh over tt 
 Safhes of vellums, and dry them moderately in the fun, and th 
 wil! be very clear and tranfparent, giving a more true and cert 
 light to do bunnefs by than glafs. 
 
 The 'manner of fainting cloth ^ cr farnet Sash wiiidcivs. Lettl 
 cloii) or Tarfnet be firll llrained tight to the frames, and the 
 
 'ill it, 
 one 
 an] 
 tli| 
 Twi 
 
 itiig 
 
 'knj 
 ijro 
 
 ^■^'5 foil 
 
 nijta 
 
 iKiil 
 
SAT 22Q 
 
 irade faft ; and, when they be thoroughly Jry, varnifh them over 
 with the following tranfparentvarnifh : 
 
 Take a pound of good clear nut oil, put it into an earthA 
 pipkin, and add to it half a pound of filver litharge in fine pow- 
 der ; fet it on a fmall fire, but not to boil ; and let it fland hot, 
 at leaft twelve hours, ftirring it often in that time. Pour it ofF 
 from the litharge by inclination ; and take a pound and an half 
 of the clcareft white rofin, beat it to powder, and mix it with 
 the oil on a flow fire, always ftirring it till the rofin bediflclved ; 
 then take it off\> and put into it a pound of good clear Venice 
 turpentine, and flir them all well together ; and, with a good 
 brufli, let your Safhcs be thoroughly varnifhcd over with this 
 mixture, lb that they may appear all over clear and tranfparent. 
 
 When this varnifh is dry, you may paint upon them what 
 ■fancy you plcafe with oil colours, but landfcape is moft common 
 and natural ; for which purpofe, the colours you mix oufht to 
 be fuch as are of a fine body, and apt to become tranfparent. 
 
 For thefe purpofes, lake makes an excellent tranfparent ruby 
 colour, and diftilled verdigreafe makes an incomparable tranfpa- 
 rent green ; orpiment makes an excellent tranfparent gold co- 
 lour"; umber and yellow oker will become indifferent tranfpa- 
 rent, if thinly mixed : IJut, for the red, there are none that will 
 lie clear in this work, but only according to tlvc very thinnefsof 
 their mixture with the oil. 
 
 The aforefaid varnifh, as it is clear of itfelf, is an excellent 
 i.'arnifh for paper windows, being much more tranfparent tbnn 
 any other compofition, and more larting; for the rolin and tur- 
 pentine being made tough, when dry, by means of the oil mixed 
 with it, more powerfully refift the injuries of the weather thaa 
 'sil alone. 
 
 If any are troubled with weak eyes, and cannot endure a 
 aright light, this varnifli mixed with diftilled verdigreafe, and 
 ")aper windows, or farfnet ones done over with it, will make an 
 ncomparable green light, very comfortable to the fight, and of 
 rreat benefit to fuch as love not too much brightnefs : An obfer- 
 ation of good ufe to all fludents, whofe fight is often much ioi- 
 ^ired and weakened by poring too much upon their books ; the 
 vhitcnefs of the paper being obfervcd to be often a great enemy 
 ' the fight, the inconveniencies of which fuch a green light 
 ■ ill infalliblv prevent. 
 
 Co'oun for paif tiny SATTINS. For a black S'/.tin ufe lamn 
 •lack, ground u'ith oil, and tempered with white lead ; and^ 
 jvhe.re you would have it ftiine moft, mix lake with the white 
 
 For whi-e Sattin, uk white lead, ground alor.c, and ivo'^ 
 [•lack ; which temper light or dark. 
 
 For 
 
I 
 
 240 SAT 
 
 For red Sattin, ufe Spanifh brown, ground alone ; temper it 
 up with vermilion ; and, where it (hould be brighteft, mix white 
 kad with the vermilion. 
 
 For green Sattin, ufe verdigreafe, ground alone; mix it up 
 with white lead j and, where ycu would have it brightefV, add a 
 little pink ; and, where deepeft, a little more verdigreafe. 
 
 P'or a yellow Sattin, ufe mafticote, yellow oker, and umber, 
 each ground by themfelves ; and, where it fhould be darkell, ufe 
 umber ; where brighteft, maflicote alone j and, where a light 
 Ihadov/, oker. 
 
 For an orange colour Sattin, ufe red lead and lake ; where fad* 
 defl, ufe lake ; and, where lighteft, red lead. 
 
 For blue Sattin, mix fmalt and white lead ; heighten for the 
 faddeft with fmalt, and lighten with white lead. 
 
 For purple Sattin, ufe fmalt alone ; and, where it fhould be 
 brighteft, white lead. 
 
 For hiiir colour Sattin, mix umber and white lead ; and, where 
 is the greateft fhadovv, ufe fea-coal black mixed with umber; 
 and, where brighteft, more white lead. 
 
 SATURN, was reprefented, by the Romans, in the form of 
 an old man, holding a fcythe or hook in his hand ; which fome 
 take to reprcfcnt Time, as is alfo intimated by his name xfotoi, 
 Chronos. 
 
 He was alfo reprefented as a very aged man, as one who be- 
 gan with the beginning of the world, holding in his hand a child^ 
 which he fecins greedily devouring. 
 
 By this is fignified the revenge he took for his being expelled 
 heaven by his own children, according to the mythology of the 
 poets. 'Fhofc who efcaped his fury were only four, Jupiter, 
 Juno, Pluto, and Neptune : By which are fhadowed forth the 
 four elements, fire, air, earth, and water ; which are not pe- 
 rifhing bv the all-cutting fickle of devouring Time. 
 
 He has alio been depicted as an old man, holding in his right cij 
 hand a ferpent, with the end of its tail in its mouth ; turning aen 
 round with a very flow pace : He had alfo his temples adorned 
 with a green wreath, and the hair of his head and beard milk 
 white. 
 
 The wreat!) on his temples fignifies the fpring of the year ; hii 
 milk-white or hoary head and beard, the approach of rigid win- 
 ter ; and the ITownefs of the ferpent's motion, the flow revolu- 
 tion of the planet Saturn. 
 
 He is alfo defcribed, by Macrobius, with the heads of a lion, 
 a dog, and a wolf. 
 
 By the lion's head is fignified the time prefent ; which is z] 
 vays the ftrongeft, for that which ij, muft needs be more pow 
 c-rful ihan that which is not ; By the dog's head, the time u 
 
 come 
 
 jiete 
 
 S.- 
 
 rie 
 
 T 
 
 \m 
 
 ukl 
 Ti 
 
 5 we. 
 i:otlii 
 
 ucll 
 
 I'tieii 
 sail 
 4:urli 
 
 in 
 
 tile; 
 
 H 
 
S B D 241 
 
 come; which always flatters and fawns upon us, and bywhofe 
 allurin;T delights we are drawn on to vain and uncertain hopes t 
 And, by the wolf's head, the time paft j which greedily devours 
 whatfoever it finds, leaving no memory thereof behind. 
 
 Tlie fame author tells us, that, among the reft of his defcrip. 
 tions, he is reprel'ented wiih his feet tied together, with threads 
 of woollen. 
 
 By which is fignified, that God does nothing in hafte, nor 
 chafiifes raftily the iniquities of mankind ; but proceeds flowly 
 and unwillingly, to give them time and leifure to amend. 
 
 Eufebius tells us, that Aftarte, the daughter of Caelum, wife 
 and fifler of Saturn, placed alfo upon his head two wings ; inti- 
 mating, by the one, the excellency and perfection of the mind ; 
 and, by the other, the force of fenfeand underftanding. 
 
 1 he Platonills underftand, by Saturn, the mind, and its in- 
 ward contemplation of ccleftial things ; and, therefore, they 
 called the time, in which he reigned, the golden age, it being rer 
 piete with quietnefs, concord, and true content. 
 
 SATURNUS glorificatus^ a very valuable preparation for 
 paftes for gems, made in thefollov^ing manner : 
 
 Take of litharge, or, rather, of good cerufe of Venice, what 
 quantity you pleafe ; grind it to a fubtile powder, put it in a 
 great glafs cucurbit, pouring on it good diftilled vinegar, till it 
 rife four inches above the top of the matter. 
 
 Then put this veirel on a foft afh fire, and, when the vinegar 
 is well coloured and impregnated with fait, decant it off into 
 another veflel ; continue to put new vinegar on your matter, 
 I which ftir well with a ftick, to facilitate the folution of the fait j 
 repeat this till your vinegar (hall have extradled all the fait. 
 Then take all your coloured vinegar, rectify it four times on tar- 
 tar calcined to whitenefs, filtrc it carefully, and put it in a glafs 
 cucurbit on fand or an afh fire, to evaporate it gently till it be 
 juft fkinned over. Tfien put the veflel Into a cold place, having 
 taken care to cover it, for fear of any foulnefs tumbling into it ; 
 and in a little time you will find in it little ftones, pure cryftalline 
 and fufible, which vou muft take out of your veflel ; then put your 
 ▼.efTel on the fame fire to evaporate the remaining vinegar, till it 
 it;i the juft ikinned over ; thsn fet it in a cocl place to cryltallife as 
 I before. 
 
 When you have taken out all the cryftals, dry them well, and 
 reduce them to a fubtile powder; and keep them in a vefTel well 
 fiopped. Thus you have Saturnus glorificatus. 
 
 S. B. fignifies Stephen della Bella of Florence. 
 I S. B. D. Piftor, is fet under an annunciation, defigned by 
 I Peter Candido. 
 
 For.. II, E g. a 
 
 111 
 ;p 
 
 m 
 'm 
 [nil 
 
 'ew 
 
242 S C A' 
 
 S. C. ftands lor Simon Cantaiino, called of Pefaro, painter 
 and engraver. 
 
 The SCABIOUS, to paint. There are two forts of this plant, 
 red and purple. 
 
 The leaves of the red are to be painted with Indian lake and 
 a little white, and coloured and finiflied with lake only, in the 
 middle, where there is a large pod or bud, which contains the 
 feed ; but with an addition of a little ultramarine or indigo, to 
 make it a little darker. 
 
 Then make little longifli fpots of white for the upper part, at 
 a pretty good diitance from each other ; but be fure to make 
 them flrongcr in the lights, and weaker in the fhades. 
 
 For the purple, cover them with a very pale purple; as well 
 on the leaves as on the pod in the middle, (hading both v/ith the 
 lame colour of a deeper teint ; and, inftead of ufing fmall white 
 ftrokes for the feed, make them purple, and make a round about 
 each, and that iill over the pod. 
 
 Let the green be verditer and mallicote, fl^aded with iris green, 
 
 I j'^y ^ Raphael SC AMINOSSI, painter and engraver, ufed 
 J|^_^/ \ this mark. 
 
 SCANDAL, is reprefented. In painting, &c. by an old man 
 with an open mouth, and grey beard, and his hair finely curled ; 
 a pack of cards in his right hand, and a lute in the left ; a haut- 
 boy and mulic book at his feet. — Old age denotes the more hei- 
 nous ofFence ; open-mouthed, that he occafions fcandal, not 
 only in deeds, but in words } the cards expofed to every one's 
 view, is a manifeft fcandal, in an old man efpecially, who fhould 
 not sive ill examples to youth. 
 
 SCARLET, may be reprefe/ited on a plane with minium, a 
 little mixed with vermilion ; but, if you have cccafion to paint a 
 flower of a fcarlet colour on a print, let your lights, as well as 
 Ihadcs, be covered thin w-ith minium, and the (haded parts glazed 
 with carmine, which v/ill produce an admirable Scarlet j fuch as 
 is feen in the flower Scarlet martagon. 
 
 To dye Scarlet, and the Boiu dye. 
 
 I. To dye a Scarlet colaur in grain. Take llale dear wheat 
 bran liquor, a fufHcient quantity ; alum, three pounds ; enter 
 twenty yards of broad cloth, and boil it three hours, cool and 
 wafh it; take fair water, a fufficlent quantity ; hedder or ftrawel, 
 a fit quantity ; let them boil well, cool them with a little water^ 
 enter your cloth and make a bright yellow, cool and wafh it 
 again ; take frefh wheat bran liquor, afufficient quantity ; mad- 
 der, four pounds ; enter your cloth at a good heat, handle it to 
 a boiling, cool and wafh it well ; take more frefh bran liquor, a 
 firticient quantity; cochineal m fiiie powder,^' tnc ounces; tar- 
 7 lar. 
 
S C A 245 
 
 tar, three ounces; enter your cloth, and boil an hour or more, 
 keeping it under the liquor, then cool and wafli it. 
 
 2. To ■perform a Boxv dye. Take double aqua-fortis, ten ounces, 
 fome fay fixteen ounces; filings of pewter, twenty ounces ; fi- 
 lings of filver or leaf filver, two ounces ; put the pewter into the 
 aqua-fortis to diflblve, and after that the filver, dilTolving them 
 over a gentle heat ; then take cochineal in fine powder, cream of 
 tartar in fine powder, of each five ounces; mix them w'ith the 
 former things, and add to them white ftarch, forty fpoonfuls, 
 diflblving and mixing. Now, take the liquor you intend to dye 
 with, and put in a proportionable quantity of the former mix- 
 lure, but in a brafs veflel lined with pewter or tin ; boil it a 
 quarter of an hour and it is done. 
 
 To dye cloth., fluff"., iffc. Scarlet. For every twenty pounds 
 weight of ftuft" take one pound and an half of madder, three 
 quarters of a pound of alum, an ounce and an half of white- wine 
 tartar, one ounce and an half of arfenic, and an ounce of cerufe; 
 boil the cloth in this mixture for an hour and a quarter; then 
 throw away the water, and put frefh water into the kettle, add- 
 ing a pint of wheaten bran ; then rinfe the fluff in river water, 
 and pafs it through the branny water ; then take it out and make 
 a liquor of a pound and an half of verdigrcafe, three quarters of 
 an ounce of white wood, called immic ; and rinfe the fluff in it 
 feveral times, having firft ftirred the immic (havings about. 
 Then put into the yellow liquor two pounds and an half of 
 madder, one ounce of florax ; let them lie one whole night to 
 diffolve, and after that keep ftirring the fluff well about for the 
 fpace of an hour, keeping conflantly a good fire under the cop- 
 per ; all which being done, you will have a very good Scarlet. 
 
 Jnother. For every two pounds of fluff to be dyed allow two 
 ounces of tartar, and one oujice of fal armoniac ; pulverife them, 
 and, when the water begins to boil, put them in, and put two 
 ounces of white ftarch, and half an ounce of gamboge, into the 
 water; and add alfo an ounce of cochineal ; make them boil, 
 and then put in an ounce and an half of aqua-fortis. When you 
 have done this, put in the fluff; boil them all together, rake it 
 out cool and rinfe it. 
 
 To dye a Scarlet or r.acaret^ i. e. a lively red. For twenty- 
 fevcn pounds of woollen ware, take two pounds of tartar, fix 
 ounces offal gcmmas, four ounces of fal armoniac, two pounds 
 of aqua-fortis tempered with tin, three ounces of cochineal ; and 
 having firft cleanfed the ware very well, when you put thefe drugs 
 into the kettle, put in the fluff, and let them boil together for 
 half an hour. 
 
 To fmijh it. Boil the ware gently with a pound and a quar- 
 ter of cochineal, oae once offal gemmoe, one o\x\\cq of tartar, 
 
 R 2 and 
 
244 SCO 
 
 and half a pound of tempered aqua-fortis ; and then rinfe it ont. 
 
 You may, if you pleafe, ufc more of the fal armoniac, and 
 lefs of the fal gemma; : And, alfo, if you take but one pound of 
 cochineal, and ftir the goods well, cool and rinfe them, the dye 
 will be very near as good as the other way. 
 
 Note, That all forts of wcjul and woollen wares muft be well 
 wetted before they are put into the fuds ; and this caution is the 
 more efpecially neccliary in the Scarlet dye. 
 
 To dye a deep Scarlet fiejh colour. For thirteen pounds of 
 woollen ware take two pounds of aqua-fortis, tempered with half 
 a pound of tin ; two pounds and an half of white-wine tartar, 
 half a pound of fal gcmmif , four ounces offal armoniac ; boil the 
 ware with all theie tor half an hour, then rinfe it out; and. 
 
 To finij}) it. — Add one pound and a quarter of cochineal, one 
 ounce offal armoniac ; boil the goods with thefc for a quarter of 
 an hour, and they will be of a very good colour. 
 
 A liquor to fcoiir Scarlet. — Boil a pound of wheaten bran in 
 as much liquor as is fullicicnt to work ten or twelve pounds of 
 ware; and afterwards add to it three ounces of alum, three 
 ounces of Florence orris root powdered ; boil all together, pour 
 them into a clean vat or cooler, and let them fettle till the liquor 
 is clear ; afterwards heat the clear liquor in a kettle, and fcour 
 the fcarlet with it, and it will have a very good effeil. 
 
 S, C. F. flands for Stephen Carteron fecit. 
 T^ £^-^' Hans SCHAUFLIG, that is, John Schauflig 
 X^pO/'Jf^^ of Norulingen in Germany. ^Fhis mark is found 
 in a folio book , in which the paffion, re- 
 furrcclion, and afcenfion of our Lord are engraven, with notes, 
 by Ulderic Finder, printed at Norimberg, in the year 1507. He 
 engraved in the manner of Albert Durer. 
 
 Andrea SCPIlAVONE, born in the year 1522, imitated Par- 
 megiano, Georgione, and Titian, lived at Venice, excelled in 
 hiftory ; died in the year 1682, at fixty years of age. 
 
 'John SCHORELS ufed this mark under the twelve 
 different labours of Hercules. 
 SCORN ; the motions of Scorn are lively and flrong, and are 
 reprefented by a wrinkled forehead ; the eye-brow knit or frown- 
 ing, the fide of it next the nofe is drawn or finks down, and 
 the other fide is very much raifed ; the eye is very open, and the 
 eye-ball in the middle ; the noflrils are drawn upwards towards 
 the eyes, and make wrinkles in the cheeks ; the mouth (huts its 
 fides finking down, and the under lip is pufhed out beyond the 
 upper one. See plate XVI. 
 
 l\\ Scorn and averfion, the body may be dr:r.vn retiring back- 
 wards ; the hands, as if they were puihing olV the objc£l which 
 3 caufes 
 
Jcr/vi ii/7{/ JtiT//rd^'^^-^^f^^ ^'V'i/J244 
 

 
S C U 245 
 
 caufes the averfion, or they may be drawn back, as alfo the feet 
 and legs. 
 
 SCOURGE of God, is reprcfented, in painting, &:c. by a 
 man in a red garment, holding a fcourge in one hand, and a 
 thunderbolt in the other ; the air being troubled, the earth full 
 of locufls. — His garment denotes wrath and vengeance ; the lo- 
 cufts, univerfal chaftifement, as in Egypt ; the thunderbolt, fig- 
 nifies the fall of fome who afcend to honour by indirect: and un- 
 juft ways ; for it is crooked. 
 
 SCRATCH-WORK, a method of painting in frcfco, by pre- 
 paring a black pround, on which is laid a white plaifl:cr, which 
 being taken off with an iron bodkin, the black appears through 
 the holes, and ferves for fhadows. 
 
 This kind of work is lafting ; but, being very rough, is un- 
 pleafant to the fight. 
 
 SCRUPULOUSNESS, is reprefented, in painting, &c. by 
 a lean old man very timorous and fliame-faced, looks up to hea- 
 ven, holds a fieve in both hands near a fiery furnace. — Lean, 
 becaufe continually tormented with rcmorfc; fhame-faced, be- 
 caufe guilty and timorous, as always fearing God's judgments, 
 confcience ftill flying in his face ; the fieve denotes feparating 
 good a£lions from bad, as the furnace tries metals. 
 
 SCULPTURE, is an art, by which, in taking away, or add- 
 ing to matter, all forts of figures are formed ; either in clay, 
 wax, wood, ffone, or metal. 
 
 This fort of work is done either by hollowing, as in metals, 
 agates, and other (tones ; or working in relievo, as in ftatues 
 and bafs-reliefs. 
 
 - The beginnings of Sculpture were with clay, not only to 
 make ftatues at firll ; but, when the fculptor undertook any thing 
 confiderable, to make models, which was, and is ftill always 
 done, in clay or wax. 
 
 How tc make figures of day cr wax. — There is no need of ma- 
 ny tools in this fort of work ; the clay is placed on an eafel, and 
 the fculptor begins and finifhes the work with his hands. 
 
 Thofe who are ufed to it, never make ufe of any thing but 
 their fingers, except three or four pieces of wood, which are 
 roundifh at one end, at the other flat, with a fort of claws and 
 teeth, called, by the French, ebauchoir, i. e. a fort of hatchet ; 
 they are about feven or eight inches in length ; thofe with claws 
 are to fmooth the ftuff; the others which have teeth are to fcratch 
 it, the workmen not affecting to let it appear fieek. 
 
 They are made of wax thus : Take a puund of wax, half a 
 pound of oker or fcammony, fome add turpentine, and melt it 
 together with oil of olives \ put more or lefs, according as you 
 
 R 3 would 
 
246 S C U ' 
 
 would have the matter harder or fofter ; a little vermilion alfo 
 {hould be mixed v;ith it, to give it a fofter colour. 
 
 When the compofition is made, the hgureis worked up with 
 the hand, and thole ebauchoirs, made ufe of by fmlptors in their 
 earthen figures. 
 
 Practice is the principal miftrefs in this fort of work, which, 
 atfirft, is not fo eafy as that in clay. 
 
 Sculpture in wood. — The firft thing that a fculptor of woo4 
 is to do, is to chufe the heft wood he can, and that which is the 
 moft proper for tiie work he undertakes. 
 
 If it is fomething great, requiring ftrength and folidity, he 
 ought to chufe the hardefl wood, and that which keeps beft ; 
 but, for things of moderate bignefs, pear or apple tree will do. 
 And, becaufe the latter are alfo very hard, when the artificers are 
 to make ornaments that (hould be delicate, they chufe tender 
 ■wood J but, however, firm and clofe, fuch as the linden-tree, 
 which is excellent for that purpofe, the chiflel cutting it more 
 neatly and eaiily than any other wood. 
 
 As to flatues, we find the ancients made them of all forts of 
 wood : There was one of Apollo, of box, at Sicyone i that of 
 Diana, at Ephefus, was of cedar. 
 
 As thefe two forts of wood are very hard and incorruptible, 
 and chiefly cedar, which, according to Pliny, feems to be de- 
 figned never to have an end, the ancients frequently made the 
 images of their gods of it. 
 
 In the temple built in honour of Mercury, on mount Cyllene, 
 there was an image of that god made of citron wood, which 
 was very much in efleem ; the image was eight feet high. 
 
 Cyprefs being a tree, which is nut apt to corrupt, nor be da- 
 maged by worms, ilatues were alfo made of it ; as alfo of the 
 palm-tree, olive-tree, and ebony, of which there was a figure 
 of Diana, at Ephefus ; as alfo of feveral other forts of wood. 
 
 In like manner there v/cre images of Jupiter, Juno, and Di- 
 ana, made of the vine-tree in other places. 
 
 When a figure or piece is well wrought, they fay it is well 
 cut. The beauty of it confifts in its being cut tenderly, and 
 when there appears neither dryncfs nor fiifFnefs in it. 
 
 If a fculptor would undertake any great work, though it be 
 but of one figure, he had better make ufe of feveral pieces 
 of wood than of one whole piece, which, as well in figures as 
 ornaments, is apt to crack and cleave ; for an intire piece of 
 wood may not, perhaps, be dry a: heart, though the outfide 
 may feem very dry. 
 
 It ought to have been cut ten years before the fculptor works 
 upon it in fuch performances. 
 
 A fculptor, in wood, ufes fome of the fame tools as a joiner. 
 
 Sculp- 
 
S C U 247 
 
 Sculpture in marUe and other Jlonc — Sculptors, who work 
 in marble or ftone, make ufe of good fteel tools, ftrong, and 
 well tempered, according to the hardnefs of the matter. 
 
 The firft thing to be done, is to faw out a great block of 
 marble of the bignefs of the work to be performed, which is 
 done with an ion faw very fmooth, and without teeth, and, 
 while the marble is fawing, water conllantly drips on free-ftone 
 duft into theclift. The free-flone duft fervcs to faw the mar- 
 ble, and the water makes xX. fall off, and alfo hinders the faw 
 from heating in the friction. 
 
 The block being fawed, the fculptor fmooths the marble he 
 intends to work upon, by taking away its fuperfluities by a bed 
 and point. When he has fmoothed it fit for his work, he goes 
 over it again with a finer point, called dog's-tooth, having two 
 points, but not fo (harp as the other. 
 
 After this he makes ufe of his gradine, which is a flat cutting 
 tool with three teeth, but not fo ftrong as the point ; with this 
 tool the artificer advances his work ; he then takes off, with a 
 fmooth chiffel, the fcratches the gradine left on the marble, and 
 ufes it with dexterity and delicacy, to give foftnefs and tender- 
 nefs to his figure ; till, at laft, taking a rafp, which is a fort of 
 iile, his work is in a condition to be polifhed. 
 
 There are feveral forts of rafps, fome ftraight, fome crooked, 
 ibme harder^ fome fofter, the one than the other. 
 
 When the fculptor has fo far finifhed his work, he ufes pu- 
 mlce-ftone and putty, to make all the parts fmooth and fleek : 
 Then he goes over it with tripoli ; and, when he would give it 
 more luftre, rubs it v;ith leather and rtraw-afhes. 
 
 Befides the tools beforementioncd, fculptors ufe the pick, 
 which is a fort of hammer, pointed and (harp at one end; at the 
 ■other are teeth made of good fteel and fquared, that they may be 
 the ftronger. This ferves to break the marble, and is ufed in 
 thofe cafes, where the workman cannot make ufe of both his 
 hands to manage his mallet and chiffel. 
 
 The bouchard is a piece of iron well ftceled at the bottom, 
 and pointed at both ends like a diamond ; it is ufed to make an 
 hole of equal bignefs, which cannot be done with cutting- tools. 
 
 The bouchard is ftruck with the beetle, and the points, break- 
 ing the marble, reduce it to powder. 
 
 Water is thrown from time to time into the holes, in pro- 
 portion to the depth, to wafh out the duft of tlic marble, and 
 prevent the iron from heating, which would fpoil the temper of 
 the tool. 
 
 The other tools neceffary in fculpture, are the roundel, which 
 is a fort of chiflcl made round j the houguet, which is a fort of 
 
 R 4 pointed 
 
i48 SEC 
 
 fointed fquare chifiel ; befides which, the fculptors muft havd 
 
 compaiTes to take all the meafures in their figures. 
 
 When the fculptors undertake any confiderable piece of work, 
 whether fratiies, bafs- reliefs, or the like, they always make a 
 model in clay of the fame bignefs they intend the figure fhould 
 be ; and becaufe earth or clay fhrinks as it grows dry, and is 
 apt to break, it ferves only for a mould of plaifter, in which are 
 made figures of plaifteralfo. 
 
 This they repair, and afterwards ufe foramodelj from which 
 they take all their meafures, and govern themfelves in cutting 
 the marble. 
 
 To guide them in their work, they put on the head of this 
 model an immoveable circle, divided into degrees, with a move- 
 able rule fixed in the middle of the center, and divided alfo into 
 parts : At the end of the rule hangs a line w ith a lead, by which 
 they take all the points, which are to he the fame on the block ; 
 a-top oi which hangs a line in like manner as in the model. 
 
 But there are excellent fculptors, who do not approve of this 
 method, faying, if the model ftirs never fo little, their meafures 
 vary, and therefore ufe the compafles in meafuring all the parts. 
 
 As to figures made of hard ftoncs, fuch as that of Leu, &c. 
 the artificers do the fame as in working in marble, excepting 
 (hat, the matter not being fo hard, their tools are not fo ftrong, 
 and fume of them are of a different form, as the rafp, the hand- 
 faw, the ripe, the itraight chifiel with three teeth, the roundel, 
 and the grater. 
 
 Sculptors have commonly a bowl-difh, in which they temper 
 plaifier with the fame ^one as their figures are made of, and 
 jiiake a powder of it, with which they fill the little holes, and 
 repair the defeiSs they meet with in the fiones. 
 
 If they work in free-flone, they liave tools on purpofci for 
 free- {f one is apt to fcale, and does not work like marble. 
 
 SEBENZANUS fecit, intends Martin Rota, of Sabina. 
 
 SECRECY, is reprefented, in painting, &:c. by a very grave 
 Jady all in black, carrying a ring in her mouth, as if fhe intend- 
 ed to feal it up. — Grave, becaufe there is no greater fign of 
 jightnefs than to divulge a friend's fecret ; in black, denotes 
 conftancy, never taking any other colour j the ring is the em- 
 blem of Secrecy and friendfliip. 
 
 SECURITY, is reprefented, in paintino;, &c. by a woman 
 in a {lumber, leaning one hand upon a ipear, and the elbow of 
 the other on a pillow. — The fpear denotes pre-eminence and 
 command ; the pillar, the confidence, rti^.Iutenefi, and firmncl-s 
 ofa man, when fee ure from danger; for iecurity is the {lren2;th 
 of the mmd, that no worldly ah".iir can ftagger j it is an immovc- 
 able i'jfce of mind in managing bufinefs ; for nothing is able to 
 
 divert 
 
S G R 249 
 
 divert a man from his defign, if grounded on reafon, who is en- 
 dued with that quality. 
 
 CmVSEDiriON, is reprefented, in painting, S:c. by a wo- 
 man with a halbert in one hand, and a branch of ever-green oak 
 in the other ; two dogs at her feet, fnarling one at another. — The 
 branch fignifies, that it being fo ftrong a plant, that it is not ea« 
 {y to be cut to pieces, yet, by ftriking one againft another, they 
 are foon broken ; fo the republic, being well guarded, difficultly 
 yields to an enemy, yet, clafliing one againft another, by Sedi- 
 tion, foon falls j the two dogs denote Sedition, that, being of the 
 fame fpecies, yet quarrel for meat or a fait bitch. 
 
 SEPTEMBER, is reprefented, in painting, 5cc. In a purple 
 rube, with a chearful countenance, having on his head a coro- 
 net of white and purple grapes, holding in his left hand a hand- 
 ful of Oats, with a cornucopia of pomegranates, and other fum- 
 mei fruits ; and in his right hand a balance. 
 
 Of limning SERPENTS. Draw the backs of ferpents with 
 bice, and downwards, towards the belly, with a pale black, the 
 back fpeckled with black fpccks. 
 
 The adder with red lead, vermilion, and fafFron, with blue 
 on the back ; and, on the belly below, yellov/ maificotc and 
 white, fpeckled all over with white fpots. 
 
 The crocodile with a dark thin green, from the back down- 
 wards towards the belly ; below the belly with maftlcote, fo that 
 the yellow and green may enter one into the other, and vanifh 
 away into one another ; Shadow him with indigo and fmalt, and 
 heighten the belly with mafticote and white : The mouth, he- 
 fore and within, reddifh, the fcales black, the claws of a blackifli 
 green, the nails wholly black. 
 
 SERVITUDE, is reprefented, in painting, &c. by a young 
 girl, her hair diflievelled, in a fhort white gown, a yoke on her 
 flioulders, a crane by her holding a ftone in her foot. — Young, 
 the better to fupport labour ; her hair fhews, that thofe who de- 
 pend on others, neglciSl themfelves ; the yoke, that flie ought to 
 bear it patiently ; the crane is a fymbol of vigilance \ the white 
 gown a fervant's faithfulnefs. 
 
 SEVERITY, is reprefented, in painting, &:c. by an old ma- 
 tron in a royal habit, with a crown of laurel in one hand ; a 
 club, on which is a naked ponyard fixed ; in the other a fceptre, 
 in the poflure of commanding ; a fierce tyger at her feet. — Her 
 habit fhews, that men in dignity are fevere ; the club, firmnefs ; 
 the ponyard, that Severity is inflexible, as to inflid:ing punifh- 
 ment, when reafon requires it. 
 
 S. F. ftands for Simon Frifius ; thefe are portraits engraved 
 by Henry Hondius. 
 
 SGRAFIT, in painting, a term derived, either from the Ita- 
 lian 
 
250 S H A 
 
 lian SgraflRciata, fcratch-work, or the Greek "/^a?-. It is ufed 
 to Itgnify a method oi^ painting with black and white only, not 
 in frefco ; yet luch as will bear the weather, Sgrafit is both 
 the defign and the painting all in one ; it is chiefly ufed to em- 
 beliifh the fronts of palaces, and other magnificent buildings. 
 See SCRATCH-WORK. 
 
 S. G. S. fignifies Simon Guillain, fculptor. This artift, who 
 was born in Paris, engraved eighty different figures of Hannibal 
 Caracci, anno 1646. 
 
 SHADOW is a plan, where the light is weakened by the 
 interpofition of fome opaque body before the luminary. 
 
 Shadow, in optics, is a privation of light by the interpofi- 
 tion cf an opaque body. 
 
 But, as nothing is ken but by a light, a mere Shadow is in- 
 vifible. 
 
 When, therefore, we fay, we fee a Shadow, it is partly that 
 we fee bodies placed in the Shadow, and illuminated by light 
 reHccted from collateral bodies, and partly that we fee the con- 
 fines of light. 
 
 If the opaque body, that projefls the Shadow, be perpendicular 
 to the horizon, and the place it is projeifted on be horizontal, 
 the Shadow is called a right Shadow : Such are the Shadows of 
 men, trees, buildings, mountains. Sec. 
 
 If the opaque body be placed parallel to the horizon, the Sha- 
 dow is called a verfed Shadow j as the arms of a man flretched 
 out, Skc. 
 
 Th^ laws cf the projeSi'im of Shadows frvm opaque bodies, 
 
 1. Every opaque body prcjjefts a Shadow in the fame diredlion 
 with its rays ; that is, towards the part oppofite to the light. 
 Hence, as either the luminary or the body changes place, the 
 Shadow likcvvife changes. 
 
 2. Every opaque body projefls as many Shadows, as there are 
 luminaries to enlighten it. 
 
 3. As the light of the luminary is more intenfe, the Shadow 
 is the deeper. Hence the intenfity of the Shadow is meafured 
 by the degrees of light, that fpace is deprived of. 
 
 4. If a luminous fphere be equal to an opaque ©ne it illumi- 
 nates, the Shadow, which this latter projects, will be a cylinder, 
 and confequently will be propagated ftill equal to itfelf, to what- 
 ever dillance the luminary is capable of a6ting; fo that, if it be 
 cut in any place, the plane of the fcdiion will be a circle, equal 
 to a great circle of the opaque fphere. 
 
 5. If the luminous fphere be greater than the opaque one, the 
 Shadow will be conical. If therefore the Shadow be cut by a 
 plane, parallel to the bafe, the plane of the re6tion will be a 
 
 circle ; 
 
S H A 251 
 
 circle; and that fo much the lefs, as it Is a greater diflance from 
 the bale. 
 
 6. If the luminous fphere be lefs than the opaque one, the Sha- 
 dow will be a truncated cone, and confequently grows flill wi- 
 der and wider ; and, therefore, if cut by a plane, parallel to the 
 feflion, that plane will be a circle, fo much the greater, as it is 
 further from the bafe. 
 
 The way and manner (t/" SHADOWING. I. If it be a furface 
 only, it is beft (hadowed by drawing lines, either ftraight or ob- 
 lique, according as the fuperficies is, through the better half of it. 
 
 2. If it be in a body, it is a double Shadow, and is ufed when 
 a fuperficies begins to forfake your fight, as in columns and pil- 
 lars, where it is doubly darkened ; and reprefents to the eye, as 
 it were, the backfide, leaving that un(hac!owed to the light. 
 
 3. The triple Shadow is made by crofling over again the dou- 
 ble Shadow, and is ufed for the inward parts of things, an in clefts 
 of the earth, wells, caves, the infides of pots, cups, and diflics. 
 
 4. In Shadowing, let the Shadow fall one way, that is, on the 
 fame fide of the body, leaving the other to the light. 
 
 Thus in a man, if you begin to Shadow his right cheek. Sha- 
 dow alfo the right part of his neck, arm, thigh, fide, leg, &c. 
 
 5. But, if the light fide of the body be darkened, by the op- 
 pofition of fome other body fi:anding between the light and it, it 
 muft receive a contrary Shadow, according as the light is obfuf- 
 cated, or rendered dim. 
 
 Thus, if three pillars fland together, that in the middle mud 
 receive a Shadow on both fides. 
 
 6. All circular bodies muft have a circular Shadow according 
 to the firft fedlion, according to their form or appearance, and 
 the orbicular Shadow of the objetft, which cafteth it. 
 
 7. The Shadow muft be made to grow fainter and fainter, 
 according to the greatnefs of the diftance from the opaque body 
 Shadowing. 
 
 And the reafon is, becaufe all Shadows are pyramidal ; in 
 which cafe, fpace of place prevails with the light againft the Sha- 
 dow. 
 
 8. Where contrary Shadows concur, let the meaneft and moft 
 folid body be firft ferved ; and, in double and triple Shadows, let 
 the firft lines be very dry, before you crofs them, for fear of 
 blotting. 
 
 9. All perfect lights receive no Shadow at all ; but, being ma- 
 nifeft, are only to be made apparent by that body that receives 
 them, whofe Shadow muft be according to the efflux of light ; 
 but the colour of the light ought to agree with the medium 
 which receives it ; whether it be air, cryftal, water, amber, 
 £lafs, tranfparent v/ine, or the like. 
 
 10. Some 
 
252 S H A 
 
 10. Some artifts have nfed a little too much white, yet with 
 a certain kind of grace, although their work has been much 
 lightei- than the pattern in the lighted part ot the body ; but then, 
 withal, they make tne (hadow as much too dark in the obfcure 
 parts, where the light fell by reflection, to fet forth the decay 
 of light in the fiimc part of the body; by this means the work 
 fcems to be much raifed, thereby deceiving the fight. 
 
 • II. For the light, which comes to the eye in a pyramidal 
 form, comes with a blunter and larger angle, and fo reprefents 
 the objeci the more evidently ; whence comes an admirable 
 eminence; the caufe of which is, for that there is much more 
 Shadow than is neceffary in that part, where the light decays 
 mof^. 
 
 1 2. So that, the vifual lines failing, that part comes to the eye 
 with a more acute angle, and therefore cannot be feen I'o per- 
 fe£Hy, but feenis to fly inwards, and fiand farther off. 
 
 Shadow, in painting, is an imitation of a real Shadow, ef- 
 fected by gradually heightening and darkening the colours of fuch 
 figures, as by their difpofitions cannot receive any diredl rays 
 from the lumina-ry, that is fuppofed to enlighten the piece. 
 
 The management of the Shadows and lights makes what the 
 painters call the clair obfcure. 
 
 0/"Shadowikg a naked body. i. The Shadows of the neck 
 in a child or young woman are very fine, rare, and hard to be 
 feen ; in a man the finews and veins are exprefled by Shadow- 
 ing of the reft of the neck, and leaving them white; the flioul- 
 der is fliadowed underneath; the brawn of the arm muft appear 
 full and white, fliadowed on one fide. 
 
 2. The veins of, the back of the hand or knuckles are made 
 with two or three hair ftrokes, with a fine touch of the pen. 
 
 3. The paps of a man are fhewn by two or three flrokes given 
 underneath ; in a woman, by an orbicular Ihade, fomewhat 
 deep ; the ribs retain no Shadow, except the figure be repre- 
 fented lean. 
 
 4. The belly is made imminent by Shadowing underneath the 
 trieafir-bone and the flank : The brawn ot the thigh is fhadowed 
 
 by drawing finall hair ftrokes from the hip to the knee, and 
 crofTed again overthwartly. 
 
 5. The knee is to be finely fhadowed underneath the joint; 
 the fhin-bone appears by Shadowing one half of the leg with a 
 fmgle Shadow. 
 
 6. The ancle-bore appears by Shadowing a little underneath, 
 as in the knees ; and the fmews of it muft feem to take begin- 
 
 'iring from the midft of the foot, and to grow bigger as they ap- 
 proach nearer to the toes. 
 
 7. The Shadows of the foot muft take place according as rea- 
 
 Ibn 
 
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 J^-^^3 
 
 r.m, /-a/.' . 
 
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 F/ty. z 
 
 Ja^ ■ 'XS3 ■ 
 
 B 
 
 
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 T.r,.., ,cu/p 
 
I^U^ J.!j3 it/.a./Va/i XiX 
 
 7".V/7/- /cu/^J. 
 
S H A 255 
 
 fbn and occafion require ; for which, as aifo in all the former 
 precepts, the having of good prints will be of no fmall advan- 
 tage. 
 
 Of the origin ©/"Shadows. — To define a natural Shadow, 
 we do not tall it an abfoliite privation of light ; for this would be 
 to form a perfect obfcurity, wherein objec'ts would be no more 
 feen than their Shadows : But we mean, by Shadow, a diminu- 
 tion of light, occafioned by the interpofition of fome opaque bo- 
 dy, which receiving and intercepting the light that fhould be cafi 
 on the plane, it is placed on, there gives a Shadow of its own 
 form. 
 
 For light, being of a communicative nature, diHufes itfeli ori 
 •very thini*;, not hid from it -, particularly on every thins; that is 
 plain and fmooth : But, where there happens the Icnft elevation, 
 ' a Shadow is produced, which exhibits the figure or' the illumined 
 .part on the plan. 
 
 The diverfitv of luminaries occafions a difference of Shadows; 
 for, if the body that illuminates be larger than the body Jjlumined, 
 the Shadow will be lefs than the body. If they be equal, the 
 Shadow will be equal ; and, if the luminary be Icfs than the ob- 
 je<fl, the Shadow will be continually enlarging, as it goes fur- 
 jther oft-'. 
 
 I Of the difference e/"SH A D o w s . — From what has been obferved 
 'before may be drawn this conclufion, that the fame ohjcift may 
 project Shadows of divers forms, thou2;h ftill illumined on the 
 fame fide ; the fun giving one form, the torch another, and the 
 .day-light no prccifc form at all. 
 
 The fun always makes its Shadow equal to the objccl, that is, 
 projedts it parallel-wife. 
 
 It is certainly of confequence to all painters, engravers, &c. 
 toobferve thefe rules precifely, and not to take the rules for can- 
 dles, lamps, and the like, in lieu thereof, as is too frequently 
 done. 
 
 The Shadow of a torch or flambeau is not projefled in pa- 
 rallels, but in rays proceeding from a center, whence the Sha- 
 dow is never equal to the body, but always bigger, and grows 
 bigger as it recedes farther. It appears therefore a grofs abufe 
 to reprefent the Shadow of a torch, like that of the fun ; and 
 the Shadow of the fun like that of a candle, when the difFerence 
 is fo confiderable. 
 
 There is a third kind of Shadow, neither produced by the .^un 
 nor a torch ; but only a fine funny day, which wanting ftrength 
 to finifh, and define its form, occafions a dimnefs near the cb- 
 jedt. Now, for this there is is no certain rule, but z'j^x^j body 
 conducls it at difcretion. 
 
 All th'^fe Shadows, both of the fun, of the torch, and of the 
 
 day- 
 
ilt 
 
 m 
 
 254 S H A 
 
 day-light, mud appear darker than the parts of obje(51s not illu-* 
 mined ; and that part of the Shadow that is moft remote from 
 the object, muft be ftill darker than that nearer it. 
 
 To find the form of the Shadows. Though perfpedlive is de« 
 fined to be che reprcfenting objects, which are on the ground, or 
 a horizohtal plane, upon a plane perpendicular to the horizon 3 
 yet in the bufinefs of Shadows it is quite the reverfe, fince w« 
 there conceive a bodyraifed over the plan, which, being illumined, 
 carts its own Shadows on the plan. 
 
 To find a Shadow, two things are propofed, viz. light and a 
 body. Light, though quite contrary to Shadow, is yet what gives 
 it its being ; as the body or object is what gives its form or figure. 
 To conceive the nature of Shadows more clearly, and rendet 
 the practice more cafy, it muft be obferved, that there are two 
 points to be made ufe of ; one of them the foot of the light, which 
 is always taken on the plan the object is placed upon ; the other 
 the luminous body ; the rule being common to the fun, torch, 
 &c. with this difference, that the fun's Shadow is projeded irt 
 parallels, and that of the torch in rays from the fame center. 
 
 Shadows from the fun. The fun, being vaftly larger thait 
 the whole globe of the earth, muft give all its Shadows pointed^ 
 by reafon it illumines more than half of them. 
 
 In confequence of this demonflration, we might conclude, 
 that all the fun's Shadows muft be lefs than the bodies that pro* 
 jeit them, and diminifhed more and more, as they recede fur- 
 ther and further. 
 
 Now this would be true, were there any relation between the I 
 body illuminated and the body illumining ; but, as all objecls on 
 the earth are fo fmall in comparifon of that luminary, the diminu- 
 tion of their Shadows is imperceptible to the eye which fees 
 them always equal, i. e. either broader or narrower than the 
 body that forms them ; on this account all the Shadows caufed by 
 the fun arc made in parallels. 1 »- 
 
 From the whole it appears, that, to find the Shadow of any [w 
 body whatever oppofed to the fun, a line muft be drawn from 
 the top of the luminary, perpendicular, to the place where the 
 foot of the luminary is to be taken-, and, through this place, an ' 
 occult line to be drawn through o;ie of the angles of the plan of 
 the objeft, and another from t!^-e fun to the fame angle ; and the 
 interfeclion of the two lines will (hew how far the Shadow is to 
 go: All the other lines muft be drawn parallel hereto. 
 
 The Shadows of the fun are equal in objects of the fame 
 height, though at a diftance from each other. See plate XVII, 
 
 % I- 
 
 Experience teaches that feveral ftiles or elevations of the fame 
 
 height, removed to a diftance from each other, project equal Sha- 
 dows 
 
 ] 
 
S H A 255 
 
 dows at the fame time ; I fay at the fame time, for they are 
 lengthening and Shortening, in proportion as the fun comes nearer, 
 or recedes further off; one or otlicr of which he is continually 
 doing. 
 
 For this rcafon, when the Shadow of an objedi is to be caft 
 any way, you muft determine the place of the km, and the point 
 underneath, to draw two occult lines from the fame, for the ex- 
 tremity of the Shadow ; as here, the pahfado A gi\ es the extreme 
 of its Shadow in B ; and if, from this point B, you draw a line 
 to the point of fight C, this line B C will be the Shadow of the 
 palifado D, as well as that of A, and of all the rclt in the fame 
 line to the very point of fight. 
 
 In effe(5t, it muft be held for a certain maxim, that Shadows 
 always retain the fame point of fight as the objects. 
 
 On the footing of this obfervation, that objects of the fame 
 height give equal Shadows ; if you would give the Shadow of 
 the palifado's E F, which are of the fame height as A D, take 
 in your compafil's the diftance A B, and fet it off from the foot 
 of the palifado E, by which you will have E Q ; then from G 
 draw a line to the point of light C ; aiid thus you are to proceed, 
 though the walks were infinite. 
 
 Though the Am is made to appear in the firft figure, it muft 
 not be imagined that he is fo near the objedls : My intention 
 was to fliew, that the rays proceed from him, wlien at fuch a 
 .height, though far without the limits of the piece. 
 
 As in this fccond figure, which yet has the line, for the foot 
 of the fun A B, and that of the rays of the fun C ; by reafoa 
 that thofe are always required for finding the extremities of the 
 Shadows. See fig. 2. 
 
 , The Shadow of the objecl O is found by continuing the line 
 :A B, and making it rife over the ffeps, and againfl the wall, till 
 cut by the ray in the point S, by the rays paffing over the corner 
 of the object, and from S drawing a line to the point of fight T. 
 
 To find the Shadow of the object P, it mufi: be remembered 
 ,that the foot of the light muft always be fuppofed on the plan 
 where the object is placed. Accordingly the ray C, cutting the 
 ■ little line A B, fhews how far the Shadow of the little objed P 
 Imuft go, to be thence drawn to the point of fight T. 
 ; The object V cafts its Shadow all along, though in its way 
 lit defcends into a ditch. 
 
 The Shadow of the wall R is found by the fam.e rule as the 
 ireft; as appears from the lines A B, and the ray C. 
 
 Shadows on fevcral parallel planes. The firft plane here is 
 the floor, whereon the chair A, plate XVIII, fig. 2, ftands ; the 
 ifecond plane is the upper part of the table, parallel to the firft, 
 and may be either above or below it. 
 
 There 
 
25^ 
 
 S H A 
 
 There might alfo be more of thefe planes, wherein to find 
 the foot of the illuminating body, in order to come at the Sha- 
 dow of the obieiSl. 
 
 Suppofe the foot of the illuminating body to be C, and the 
 flame B ; from thefe points C and B draw lines, through the up- 
 per and under part of the objedt D, which will give the Shadow 
 t upon the table. 
 
 To find the Shadow of the chair A, which is placed on the 
 ground, determine the foot of the luminary on the table in C 
 on the ground; this is cleared by the following inftru6tions. 
 
 From the point of diftance, which is here fuppofed to be with- 
 out the limits of the paper, draw a line through the foot of the 
 table F ; then from the angle G, upon the table, let fall a per- 
 pendicular, cutting the line F in the point H ; and from H draw 
 a parallel to the bafe H I, which is equal to the upper part of the 
 table, and will diret^t to the thing required. 
 
 For drawing a line from the point of fight K, through the foot 
 of the luminary C, to the extremity of the table L ; from the 
 fame point L let fall a perpendicular to H I, which will give 
 the point M. 
 
 Then from M draw a line to the point of fight K, in which 
 line M K will the foot of the luminary be found. 
 
 To determine the precife point, let fall a perpendicular front 
 the point C, which, cutting the line M K, will give the point 
 N for the foot of the luminary. 
 
 This point N being thus found, there will be no difficulty in 
 finding the Shadow of the chair A, the method being the fame 
 as for the other objects taught before ; that is, from the foot of 
 the luminary N, draw lines through all the angles of the plan of 
 the chair, and other lines through the upper part of the chair, 'I" 
 from the luminary B ; thefe latter, by interfecSling the former, 
 exprefs the bounds of the Shadow. For the reft, the figure gives 
 fufficient directions. 
 
 The Shadow of an ere£l and inverted pyramid by torch-light^ 
 -plate XVIII, fig. I. The Shadow of an eredl pyramid by torch- 
 light falls as it would by the light of the fun ; and in both cafes 
 there is but one line, whereon the vertical point of the pyramid 
 will be found. 
 
 Upon the planes B C D E draw the diagonals E B and D C ; 
 through the central point F raife the perpendicular F A ; and 
 from the four points B C D E draw lines to the point A, and 
 the pyramid will be eret^cd. 
 
 Then, to find its Shadow, draw an indefinite line from the bafis 
 G of the illuminating bodv, palling through F; and from the 
 central flaKie of the torch H draw another line over the vertex 
 
 of 
 
 ki 
 
 an 
 
 i 
 
S H A 257 
 
 of the pyramid in the line G F, till it cut the point I, which 
 point will limit the Shadow otthe pyramid. 
 
 Laftly, draw a line from C to I, and another from E to I, 
 and the triangle C I E will be the Shadow of the pyramid. 
 
 To gain the Shadow of an inverted pyramid K, draw perpen- 
 dicular lines from the angular points of its bafe, and form the 
 fubjacent plane, by means thereof, after the manner directed for 
 the fun. 
 
 And, from all the angles of this plane, draw lines to the bafe 
 of the torch G ; then from H, the central point of the flame, 
 draw other lines touching all the angles of the bafe of the inverted 
 pyramid, and dividing thofe of the plane, whereby the Shadow 
 will be defined. 
 
 The different dlfpofitions and heights o/* Shadows /^y torch-light. 
 
 Shadows from the fun are all calt the fame way, and have the 
 
 fame difpofition ; it being impofTible that the fun fhould occa- 
 
 iion one Shadow to tend towards the eafl and another towards 
 
 \ the weft at the fame time. 
 
 It is true, in different times of the day it makes this difference ; 
 but never in one and the fame hc'Ur. 
 
 But the torch, candle, and lamp have always this effetft; for, 
 
 in what place foevcr one of thcfe luminaries be found, provided 
 
 there be a number of objects about them, the Shadows will be 
 
 cafl various ways, fome to the eaft, fome to the weft, fome to 
 
 the north, and others to the fouth, according to ^c fituation of 
 
 the obieds around the luminary, the foot of which, here repre- 
 
 , fented by A, ferves as a common center, from which they all 
 
 '1 proceed ; and the flame, here reprcfented by B, Ihcws where they 
 
 i are to terminate, though at different diftances ; as the neareft 
 
 produce the (horteft Shadows and the remotefl the longeft. See 
 
 plate XIX, f^g. I. 
 
 The Shadow doubled. When two luminaries Ihine on the 
 fame object, two Shadows muff be produced, each of the lumi- 
 naries occafioning its refpc(5hve Shadow, and that in proportion 
 to the circumftances of the luminary. 
 
 If fuch luminaries, when at equal diftances, be equal, the Sha- 
 
 . dows themfelves muft be equal ; but if there be any difproportion, 
 
 that is, if one of them be a little bigger than the other, or one 
 
 of them a little nearer the obje6l than the other, the Shadows 
 
 , will be unequal. 
 
 Thus, the obje£t O being illuminated by two candles, the one 
 near at hand in P, the other farther ofF in Q, it is evident the 
 ; Shadow of the candle P will be dteper than that of the candle 
 Q, as is expreflTed in the figure. See plate XIX, fig. 2. 
 
 The rules for fuch Shadows are the fame with thofe already 
 given, both for the fun and the torch. 
 
 Vol. II. S "^ht 
 
2.-8 S H A 
 
 ■D 
 
 The rcafon why Shathows fall ail one way. Firft, becaufe tkc 
 light does not, with all its brightnefs, illuminate any more than 
 that part that is directly oppolite to it. 
 
 Secondly, it proceeds from the nature of the eye ; for the 
 firft part of the body, coming to the eye with a bigger angle, is 
 feen more diftinctly ; but the fecond part, being further ofr, is 
 feen by the eye in a lelTer angle. 
 
 And if you are to draw two or three men {landing together, one 
 behind another, though all of them receive equally the light, yet 
 the fecond, being further from the eve, muft be fhadowed darker, 
 and the third more dark than the fecond. 
 
 It is a general obfervation, that, if you draw many figures to- 
 gether in one room, they muft all be fhadowed on the contrary 
 fide from the light, whether it comes in at the middle, or end, 
 or any where elfe. 
 
 Again, that part of the body mufl: be made lighteft, which 
 hath the light mofl direcfly oppofite to it ; as, if the light be 
 placed above the head defcending, then the top of the head muft 
 be made the lighteft, the fliouldcr next lighted, and fo you muft 
 lofe by degrees. 
 
 That part of the body thrit {lands fartheft out muft be made 
 lighteft, becaufe it comes neareft to the light, and the light lofes 
 fo much of its brightnefs, by how much any part of the body 
 bends inward ; becaufe thofe parts that ftick out, do hinder the 
 luftre of the full brightnefs of the light from thofe parts that fall 
 any thing more inward ; therefore, by how much one part of the 
 body fticks out beyond the other, it mufl be made fo much lighter 
 than the other ; or, if it fall more inward, then it muft be made 
 more dark. 
 
 As for fattins and filksj and all other fhining fluffs, they have 
 certain bright reflections, exceeding bright, with fudden light 
 glances, efpecially where the light falls the brighteft ; and fo the 
 reflections are lefs bright, by how much the garment falls more 
 inward from the light. 
 
 The like is feen in armour, and brafs pots and kettles, or any 
 glittering metals ; you may fee a fudden brightnefs in the middle 
 or center of the light, which caufes the ihining nature of fuch 
 things. 
 
 SHAMMY or Chamois leather, popularly called Shammy}* 
 a kind of leather, either drelled m oil, or tunned, much efteemed 
 for its foftnefs, pliancy, &c. 
 
 It is prepared from the (kin of the chamois, a kind of wild 
 goat, called alfo ifard, inhabitnig the mountains of Dauphiny, 
 Savov, Piedmont, snd the Pyreneans. 
 
 Bsfides the fyftnefs and wannnos of the leather, it has the 
 
 facultv 
 
S H A 259 
 
 faculty of bearing foap without damage, which renders it very 
 ufeful on many accounts. 
 
 In France, &c. fome wear the (kin crude, without any prepa- 
 ration. It is alfo ufcd for the purifying mercury, which is done by 
 pafling it through the pores of this (kin, which are very clofe. 
 
 The true chamois leather is counterfeited with common goat, 
 kid, and even fheep fkin ; the practice of which makes a parti- 
 cular profeflion, called, by the French, chamoifeur. The laft is 
 the leaft eltcemed, yet fo popular, and fuch vafl: quantities pre- 
 pared, efpecially about Orleans, Marfeillcs, and Thouloufe, that 
 it may not be amifs to give the method of preparation. 
 
 The manner of charmifing^ or of preparing Jheep, goat, or kid 
 Jkins in oH, in imitation of charnois. The (kins, being wafhed, 
 drained, and fmeared over with quick-lime on the flefliy fide, 
 are folded into two lengthways, the wool outwards, and laid on 
 heaps, and fo left to ferment eight days ; or, if they had been left 
 to dry after fleaing, for fifteen days. 
 
 Then they are waflied out, drained, and half dried, laid on a 
 wooden leg or horfe, the wool ftripped ofFwith around ftafFfor 
 the purpofe, and laid in a weak pit, the lime whereof had been 
 ufed before, and had loft the greateft part of its force. 
 
 After twenty-four hours they are taken out, and left to drain 
 twenty-four more ; then put in another ftrong pit. This done, 
 they are taken out, drained, and put in again by turns, which 
 begins to difpofe them to take oil ; and this practice they con- 
 tinue for fix weeks in fummer, or three months in winter ; at 
 the end whereof they are wa(hed out, laid on the wooden leg, 
 and the furface of the (kin on the wool fide peeled off, to render 
 them the fofter; then, made into parcels, flieeped a night in the 
 river, in winter more ; ftretched, fix or feven over one another, 
 on the wooden leg, and the knife pafled ftrongly on the fiefh fide, 
 to take off any thing fuperfluous, and render the fkin fmooth. 
 
 Then they are ftretched, as before in the river, and the fame 
 operation repeated on the wool fide ; then thrown into a tub of 
 water v/ith bran in it, which is brewed among the (kins till the 
 greateft part ftick to them ; and then feparated into diftin^l tubs 
 till they fwell, and rife of themfclves above the water. 
 
 By this means, the remains of the lime are cleared out : They 
 arc then Vv'rung out, hung up to dry on ropes, and fent to the 
 mill, with the quantity of oil neccfTary to full them. The beft oil 
 is that of ftock-fi(h. 
 
 Here they arc flrft thrown in bundles into the river for twelve 
 
 hours, then laid in the mill-trough, and fulled without oil till 
 
 they are well foftened j then oiled with the band, one by one, and 
 
 '; .'s formed into parcels of four (kins each, which are milled, and 
 
 S 2 dried 
 
260 SIB 
 
 dried on cords a fecond time, then a third j then oiled again and 
 dried. 
 
 This procefs is repeated as often as neceflity requires ; when 
 done, if there be any moifture remaining, they are dried in a 
 flove, and made up into parcels, wrapped up in wool ; after fome 
 time they are opened to tlie air, but wrapped up again, as before, 
 till fuch time as the oil feems to have loft all its force, which is 
 ordinarily does in twenty-four hours. 
 
 The flcins are then returned from the mill to the chamoifeur 
 to be fcoured, which is done by putting them into a lixivium of 
 wood-afhcs, working and beating them in it with poles, and leav- 
 ing them to ftcep till the ley hath had its efleit ; then wrung out, 
 fleeped in another lixivium, wrung again, and this repeated till all 
 the sreafe and oil be purged out. They are then half dried, and 
 parted over a fliarp-cdged iron inftrument, placed perpendicular 
 in a block, which opens, foftens, and makes them gentle : Laft- 
 ly, they are thoroughly dried, and paffed over the fame inftru- 
 ment again, which finifhes the preparation, and leaves them in 
 form of chamois. 
 
 Kid and goat fkins are chamoifed in the fame manner as thofe 
 of (heep, excepting that the hair is taken off without the ufe of 
 any lime ; and that, when brought from the mill, they undergo 
 a particular preparation, called ramalling, the moft delicate and 
 difficult of all the others. 
 
 It confifts in this, that, as foon as brought from the mill, they 
 arc fteeped in a fit lixivium ; taken out, ftretched on a round 
 wooden leg, and the hair fcraped of with a knife j this makes 
 them fmooth, and, in working, caft a kind of fine nap. The 
 diiRculty is in fcraping them evenly. 
 
 SIBYLS, are, according to fome, in number twelve; but 
 Martiaiius will ha^■e but two, Pliny and Solinus but three, and 
 Salmafius but the nrft feven ; but Varro allows ten. 
 
 They are generally renrefented as young women ; yet fome 
 of them were old, as fhe wliich fold the books to Tarquin. 
 
 Thefe Sibyls were in high eftcem, by fome, on account of 
 their prophecies of Chrift. 
 
 SIBYLLA Jgrippifia, is reprcfented, in painting. Sec. as a 
 woman in years in a rofe-coloured garment : She is called by di- 
 vers authors ^^igyptica. Suidas relates, that flie prophefied in 
 Egypt in the days of Pharaoh. — Her prophecy imported, that 
 « Hands faould be laid on the invifible world ; his beauty fliall 
 ' not appear, his mother's womb fhall inclofe him, and he, who 
 « is eternal joy, fhall weep.' 
 
 Sibylla Lybica^ was born in Lybia, and was cotemporary 
 
 with Euripides. Laclantius allows her the fecond place amongj, 
 
 the Sybils for her admirable predictions, viz. ' The time is not 
 
 •3 "^ 'far 
 
SIB 261 
 
 * far off, when the God of light fhall be invironed with the ra- 
 
 * -diant beams of the fun.' She is rcprefented, in painting, &c. 
 as an elderly woman, in purple garments, crowned with a garland 
 of flowers. 
 
 Sibylla Delphica^ was fo called from her being born atDcI- 
 phos : She lived before the ficn;e of Troy, and foretold the man- 
 ner of that war; and prophcfied of Chrifl as follows : * Know 
 ' him for thy I^ord who is the Son of God : A prophet (hall be 
 
 * born of a pure virgin without the feed of man.' She is rcpre- 
 fented, in painting, &c. as a young woman, cloathed in a black 
 garment, holding in her hand a horn. 
 
 SinvLLA Phrygia^ is reprefcnted, in painting, &c. as having 
 an old, faturnine, hard-favoured face, clad in red garments ; 
 many fuppofe her to be Caffandra. She prophefied very divine- 
 ly of the day of judgment, as follows : * A trumpet from heaven 
 
 * fhall give a very terrible and dreadful found ; all kings fliall 
 
 * fland before the judgment-feat of God, who will at once judg« 
 
 * both the juft and unjuft.* 
 
 Sibylla Herophila^ is reprefcnted, in painting, &c. as a young 
 woman very fair, clad in a purple garment, and having her head 
 covered with a veil of lawn : She is alfo called Erythrea, and, as 
 Apollodorus Erythreus write?, was a citizen of Erythrea, in Ionia. 
 She prophcfied to the Greeks, that they fhoukl overcome IVoy ; 
 £nd alfo of Chrift as followcth : ' The earth (hall fwcat as a to- 
 
 * ken of judgment ; a king fhall come from heaven, whofc king- 
 ' dora fhall be everlaftins;.' 
 
 Sibylla European is faid to have been born in Jerufalem ; but 
 the place of her birth is not certainly known. She prophefied 
 thus : ' The Almighty fhall come, accompanied with his legions 
 ^ of angels ; he fhall walk over the hills and clouds, he fhall 
 
 * live poorly and in filence, he fliall bear rule.' She is repre- 
 fcnted, in painting, &c. as a comely young woman, having a 
 high red-coloured face, clad in a garment of cloth of gold, and 
 a fine veil on her head. 
 
 . Sibylla Perfica, lived in the hundred and twentieth Olym- 
 piad, and v/as born in a town called Noe, by the Red-fea. She 
 prophefied as follows : * O death, thou (halt be trodden under 
 ' feet ; the Son of God fliail be born into the world, and he fliall 
 
 * bring to men falvation ; the invifible world (hall be made vi- 
 
 * fible.' She is reprefented, in painting, &c. as a young woman, 
 in a white veil and golden garment. 
 
 Sibylla Samla, was born at Piuten, in the ifle of Samos, 
 in the yEgean fea. She is reprefented, in painting, &c. as a 
 woman of a middle age, cloathed in willow weeds, and hold- 
 ing a palm in her hand. She prophefied fix hundred and fi.xty- 
 ^ye ^'ears before the tlrth of Chriff, and yet prophefied as if fhc 
 
 S3' had 
 
262 S I G 
 
 had lived in his days, as follows : ' Q ill-advlfed and indifcrcct 
 
 * people of Judea, who did not turn to the Lord your God ; 
 
 * you have not truly known him, but have crowned him with 
 
 * thorns, and have given him gall to drink.' 
 
 Sibylla HellefpontLa, was born in the territories of Troy, 
 in a place called MarmifTa, near the town of Gergitha. She 
 is reprefented, in painting, &:c. as a young woman, of a round, 
 lovely, frefh- coloured face, cloathed in green garments, holding 
 in her right hand a pen, and in her left hand a book. Heraclitus 
 Ponticus fays, that fhe was cotemporary with Solon, in the reign 
 of Cyrus, about the fixtieth Olympiad. She prophefied as fol- 
 lows : ' Be comforted, O ye nations, call upon your God ; your 
 
 * iniquities fhall be forgiven, and you fliall find mercy at the 
 
 * hands of the Lord.' 
 
 Sibylla Tiburtlna^ was born in Italy, in a town near Rome, 
 upon the bank of the river Tibur, from whence fhe took her 
 name. She was reprefented, in painting, &c. as an old woman, 
 of a hard vifage, cloathed in a purple garment, and having in her 
 apron the books of the Sibyls. She prophefied as follows : * A 
 ' branch {hall bud from a fweet root, a flower fhall fpring from 
 
 * thence, and the fpirit of the Lord fhall reft upon it.' 
 
 Sibylla Epirotica^ called alfo Cimmeria ; fhe was faid to 
 he born near the Bofphorus; but others fay, in Cimmeria, a town 
 ill Campania in Italy. She is reprefented, in painting, &c. as 
 an old woman of a hard-favoured face, in a grotto, cloathed in 
 garments of purple and dark colours. She is faid to have pro- 
 phefied after tlie deftrudion of Troy as follows : ' A virgin fhall 
 
 * bring forth a fon, without the help of a man, and nourifh him 
 ' with the milk of her breafls.' 
 
 Sibylla Cummwy was born in Cuma, a tov/n of Campania, 
 in Italy. She lived in the fifty-fifth Oh-mpiad, in the times of 
 Numa Pompilius and Tarquinius Superbus. She was reprefented, 
 in painting, &c. like a grave matron, covered with a veil, and 
 cloathed in robes of a blue colour, hiding her feet. She pro- 
 phefied as follows : ' After three days he fhall triumph over death, 
 
 * return to the light, and be the firft who fhall give evidence to 
 
 * the refurredlion, thereby to ftrengthen the faithful in the hope 
 ' of eternal life.' 
 
 rJL—^ Tt* ^ Cornelim SICHEN ufed thefe two marks 
 VrT-^h ^^ \/ in one hundred and eight plates of the 
 Old Teftament, in 1569. 
 Luca SIGNORELLI da Cortona, born in the year 1439, 
 fcholar of Pietro del Borgo, lived at feveral places in Italy, ex- 
 celled in hiftory-painting ; died in the year 1521, aged eighty- 
 two years. 
 
 SILK, 
 
S I L 263 
 
 SILK, a very foft, fine, bright, delicate thread ; the work 
 ofaninfe£t, called a Silk-worm. 
 
 The ancients were but very little acquainted with the ufcand 
 manufacture of Silk. They took it for the work of a kind of 
 fpider, or beetle, who fpun it out of its entrails, and wound it 
 with its feet about the little branches of trees. This infed^ they 
 called Ser, from Seres a people in Scythia, who kept it; whence, 
 the Silk itfelf the Latins named Sericum. But the Ser has very 
 little affinity witii our Silk-worm, bombyx ; the former living 
 five years ; but the latter dying yearly, inveloped in a yellowifh 
 cover or ball, which, being wound out into little threads, makes 
 vvhat is called Silk. The art of manufa6turingSilk was firft in- 
 vented in the ifle of Cos ; Silk was brought to the Romans from 
 Seres, where the worm was a native. 
 
 This occafione^l Silk to be a very fcarce commodity among 
 them for feveral ages ; it wac even fold weight for weight with 
 gold ; infomuch that, as Vopifcus informs us, the emperor Au- 
 relian refufed the emprefs his confort a fuit of Silk, merely on 
 account of its dearnefs. At length two monks, coming from the 
 indies to Conftantinople in the year 555, brought with them 
 large quantities of Silk-worms, with inftrucfions for the hatch- 
 ing of their eggs ; alfo rearing and feeding of the worms, draw- 
 ing out the SiJk, and fpinning and working it. Upon which, 
 manufactures were fet up at Athens, Thebes, and Corinth. 
 
 About the year 11 30, a Silk manufadture at Palermo was cfta- 
 blifhed by Roger King of Sicily, as alfo another in Calabria, 
 managed by artificers, who were part of the plunder brought from 
 Athens, Corinth, &c. whereof that prince made a conqueft: in 
 his expedition to the Holy land. And, by degrees, the reft of 
 Italy and Spain learned from the Calabrians and Sicilians the 
 ordering of the Silk-worms, and working of the Silk : And af- 
 terwards the French, by right of neighbourhood, a little before 
 the reign of Francis I, fcegan to imitate them. The great ad- 
 vantage this new manufacture turned to, induced our king 
 James L to be very earneft for its being introduced into Eng- 
 land. Accordingly it was feveral times recommended from the 
 throne, in the moil earneft terms, to plant mulberry-trees, &c. 
 for the propagation of Sjlk-worms ; but, unhappily, without 
 eftecl : Though, from the various experiments found in the 
 Philofophical Tranfadtions, *nd other pieces, it appears, that 
 the Silk worm thrives, and works as well, in every refpc6t, in 
 England, as in any other part of Europe. 
 
 The Silk-worm is an infed remarkable, both for the precious 
 matter it furnifhes for divers fluffs, and alfo on account of the 
 various forms it afTumes, before as well as after its being inveloped 
 in the rich cod or ball it weaves itfelf. From a grain, or feed, 
 
 S 4 which 
 
254 S I L 
 
 which is its firft ftate, it becomes a pretty large worm, of a 
 vhitifti colour, inclining to a yellow. When a worm, it {huts 
 itfelf up in its cod, and alTumes the fhape ot a fort of greenifli 
 bean, without any figns of life or motion. At length it awakes 
 and becomes a butterfly, after making itfelf a paflage out of its 
 filken fepulchre : And at laft, dying indeed, it prepares itfelf by 
 a grain or feed it carts, for a new life, which the warmth of tho 
 fummer affifts it in refuming. 
 
 As foon as it is arrived at the fize and ftrength necefTarv for 
 the beginning its cod, it makes its web ; this is his firft day's, 
 employment : On the fecond he forms his cod, and covers bim- 
 felf almofk over with Silk : The third day he is quite hid ; and ' 
 the following davs employs himfelf in thickening and ftrength- ' 
 cnin? his cod ; always working from one fmgle end, which he 
 never breaks himfelf; and which is fo fine, and fo long, that 
 thofe who have nicely examined it, affirm, that each cod con- 
 tains Silk enough to reach the length of fix Englifh miles. la 
 ten days time the cod is in its perfeftion, and is now to be taken 
 down from the branches of the mulberry-tree, where the worms 
 have hung it. But this point requires a deal of care, for there 
 are feme worms more lazy than ethers ; and it is very dangerous 
 waitino; until they makethemfelves a paflage, which ufually hap-^ 
 pens aoout the fifteenth day of the month. 
 
 The fiift, fined:, and ftrongeft cods or balls, are kept for the 
 grain ; the reft are carefully wound : Or, if it is defired to keep 
 them all, or if there be more than can be well wound at once, 
 they lay them for fome time in an oven moderately hot, or elfe 
 expofe them for feveral days fucceflively to the greateft heats 
 of the fun, in order to kill the maggot ; which, without this 
 precaution, would not fail to open itfelf a way to go, and ufe 
 thofe new wings abroad it has acquired within. Ordinarily they- 
 o,nly wind the m.ore perfect cods. Thofe that are double, or' 
 too weak, or too coarfc, are laid afide ; not as altogether ufelcfs,* 
 but, being improper for winding, they are referved to be drawn' 
 out rnto (kains. The cods are of different colours ; the moft 
 common are yellow, orange colour, Ifabella, and flefh colour. 
 
 Xhcre are fome alfo of a fea-gieen, others of a fulphur co-- 
 Jour, and others white; but there is no neceffity of feparating 
 the colours and fliades, to wind them apart; as all the colours' 
 will be loft in the fcouring and preparing of the Silk. 
 
 To ivind the Sjlk from off the cods^ two machines are necefla-- 
 ry ; the one a furnace with its copper ; the other a reel, or frame,. 
 to draw the Silk. The winder, then feated near the furnace, 
 throw?, into the copper of water over the furnace, firft heated 
 and boiled to a certain degree, which cuftom can only teach, 
 a handful or two of cods, which have been firft well purged of 
 
S I L 265 
 
 z.\ their loofe furry fubftance. He then fiirs the whole very 
 brifkly about with birchen rods, bound and cut hkt bruflies ; and 
 when the heat and agitation have detached the ends of the Silks 
 , of the pods, which are apt to catch on the rods, he draws them 
 I forth, and joiniiij ten or twelve, or even fourteen of them toge- 
 ther, he forms them into threads, according to the bignefs re- 
 quired to the works they are dcfigned for ; eight ends fufficing 
 for ribbons ; and velvets, &c. rc(]uiring no Jefs than fourteen. 
 1'he ends, thus joined into two or three threads, arc hrft paflbd 
 into the holes of three iron rods in the fore-part of the reel ; then 
 ■ upon the bobbins, or pullies, and at lair are drawn out to the 
 reel itfelf, and there faflened, each to an end of an arm or branch 
 of the reel. Thus dupofed, the workman giving motion to the 
 reel, by turning the handle, guides his threads, fubftitutes new 
 ones, when any of them break, or any of the cods ?.re wound 
 out ; ftrengthens them where necefi'ary, by adding others -, and 
 takes away the cods wound our, or that, having been pierced, 
 are full of water. In this manner two workmen will fpin and 
 reel three pounds weight of Silk in a day, which is a greater dif- 
 parch than is made by the fpinning-wheel or diftafF. It is true, 
 all Silks cannot be fpun and reeled after this manner ; either by 
 rcafon the coids have been perforated by the Silk-worms them^ 
 fch C5, or becaufe they are double, or too weak to bear the wa- 
 ter ; or becaufe they are coarfe, Szc. of all thefe together they 
 make a particular fort of Silk, called Fleuret : Which, being 
 carded, or even fpun on the diftafF, or the wheel, in the condi- 
 tion it comes from the cod, makes a tolerable good Silk. 
 
 As to the cods, after opening them with fcilFars, and taking 
 cut the beans, which are of fome ufe for the feeding of fowl, 
 they are fteeped three or four days in troughs, the water whereof 
 is changed every day to prevent their (linking. When they are 
 well foftened by this fcouring, and cleared of that gummy mat- 
 ter the worm had lined the infide withal, and which renders it 
 impenetrable to the water, and even to air itfelf; they boil them 
 half an hour in a ley of afhes, very clear, and weU-ifrained ; and 
 after wafhing them out in the river, and drying them in the fun, 
 they card and fpin them on the wheel. Sic. and thus make ano- 
 ther kind of ficuret, fomewhat inferior to the former. 
 
 To recover the colour of black SiLK. — Boil the leaves of a for-? 
 ward fummer fig-tree in rain or river water, till a third part of 
 the water is confumed ; wajQi the Silk in this water, and then 
 rinfe it or brufh it over with a little alum water, and it will be 
 reffored to a curious fair black. 
 
 Tq gild Silk. — Lay parchment glue on the Silk gently that it 
 may not fink in ; then take cerufc, bole, and verdigreafe, of each 
 » like quantity; mix and grind them upon a ftone j then, having 
 
 mixed 
 
166 S I L 
 
 mixed a little Varnifti with it in a glazed earthen vefTel, let it" 
 fimmer over a gentle fire, and keep it for ufe. 
 
 How to f^'iffen caffa^ and the like for is of SiLK, and give them a 
 liQutifui I'ujhe. — Pound an ounce of gum arabic, and half an 
 ounce of gum tragacanth, very well in a mortar ; diflblve thetn 
 in water ; then boil two pounds of linfeed in water, fo long, till 
 it becomes glutinous \ then put in the gum water, make it hot 
 and llrain it through a cloth, and, with a fponge, fmear it on 
 the wrong i"ide of the Silk, taking care that the piece of Silk be 
 ftretchcd both in length and breadth, otherwife it will be apt to' 
 rumple. 
 
 To f cent sr perfwne Silks. — After the Silk has been dyed, for 
 every pound of Silk take an ounce of orris, dry it well. Lay the 
 Silks in rofe leaves in a thick fieve, and betwixt every rowftrew 
 powder of orris, and fhut it up clofe in a box or chefi, till the- 
 next day, and the Silk will emit an agreeable odour. » 
 
 Hoiv to keep '^iLKfromfiaining in tbewaftiifig. — Heat rain wa-' 
 ter very hot, then put into it Caltile foap, diflblve it well ; then 
 let it ftand till it is almoft cold, and then fprinkle in a fmall quan- 
 tity of fuller's earth ; then fcour out the Silks ; when you have 
 done, clap them between dry cloths, not fuffering them to lie 
 on heaps, and they will look frefh and fair. 
 
 To refiore Silks of any colour that have been foiled or greafed.—^' 
 Take an ounce of unflacked lime, and the like quantity of the 
 afties of vine-branches, and as much oak-bark ; mix them well 
 togetherin fair water, and make with them a kind of ley, over a* 
 gentle fire ; let this fettle, then take the clear part, and rub over 
 the faded part with a brufh or fponge, and it will in a fliorttime 
 reftore it. 
 
 Hoiu to make a foap to take grecife^ fpotSy orfiains out of Silks .— 
 Take roch-alum, burn it well and reduce it to a fine powder,' 
 and add to it the powder of the roots of Florentine orris, about' 
 half a pound ; and to thefe add a new-laid egg, and two pounds'" 
 and an half of cake-foap ; make them up with fair water into' 
 round balls ; and, when you would take out any fpot or ftain,- 
 firft wafh the place well with warm water, and then lay a laying 
 of this foap upon it for three or four hours, and then wafh it off 
 with other warm water, and, in often fo doing, they will dif— 
 appear. 
 
 To take fpot s and fl aim out of very thin SiLK. — Warm a pint' 
 of white-wine vinegar indifferent warm, then dip a black cloth 
 into it, and then rub over the ftains ; afterwards fcrape ful- 
 ler's earth over them, and clap dry woollen cloths under and 
 over, placing an iron indifferently hot on the upper, and it will 
 draw out the fpot, &c. 
 
 Tq take fpQti orjiains out of Silk. — Bruife an ounce of flax-' 
 
 feeds 
 
S I L 267 
 
 feeds in two or three fpoonfuls of the juice of lemon, and add a 
 quarter of an ounce of white lead, and the fame quantity of burnt 
 bone ; mix them over a gentle fire to a thickneJs, and lay them 
 on the ftrainer. 
 
 SILVER, is a white metal, and, of all others, except gold, 
 the fineft, pureft, moft dudile, and precious. 
 
 There are Silver mines in all the four quarters of the world. 
 Europe has itsfharej nor is Great-Britain quite dellituteof them, 
 though it has not any of great value. 
 
 The mines of Peru, and fome other parts of America, are 
 much the richeft and moft abundant ; they appear almoft inex- 
 hauftible : Particularly thofe of Potofi, which continue to be dug 
 with equal advantage, as when firft difcovered ; with this only- 
 difference, that the veins which were then almoft in the furface 
 of that mountain are now funk to prodigious depths ; the work- 
 men going to them by a painful defcent of four or five hundred 
 fteps. 
 
 It is accounted a great addition to the richncfs of a mine to be 
 near a river, for the advantage of the mills to grind the ore. 
 
 That which renders the working of the mines exceedingly 
 dangerous, is the exhalations arifing from them, which are felt 
 even on the outfide, and do affedt alfo animals grazing on the 
 outfide in their neighbourhood, but ftupify the miners in the in- 
 fide ; none of whom can bear fo poifonous an air a day together. 
 
 Sometimes it is fo fatal, that it kills upon the fpot ; and ob- 
 liges them to ftop up the veins again, whence it exhales. 
 
 The mines of Potofi are not fo fubje<ff to them by far, and, 
 yet, without the herb paraguay, the infufion of which is taken 
 by the miners, as we do that of tea, thofe mines muft be foon 
 abandoned. 
 
 Though the mines of Potofi and Lipes ftill keep up their re- 
 putation, yet there have been feveral difcovered within thefefew 
 years, which far exceed them in richnefs ; as the mines of Oru- 
 ro, eighty leagues from Arica 3 thofe of Ollachca, near Cufco, 
 opened in the year 17 12. 
 
 It is remarkable that moft of the mines in America are found 
 in cold and barren places. 
 
 The method of feparating Silver from the ore, in Europe, is 
 the fame as that of gold, that is, by means of quickfilver ; with 
 this difference, that, for Silver, to every fifty hundred weight 
 of ore is added one hundred weight of rock fait, or fome other 
 natural fait. See the articles GOLD and REFINING. 
 
 Upon this, the fulphu* quits the Silver, and joins itfelf to the 
 iron, and both are converted into fcoria, which fwims on the 
 Silver, and the metal itfelf is found pure at the bottom of the 
 ciuciUe. 
 
 The 
 
i6S S I L 
 
 The eflay of Silver is made by the coppcl ; if the Silver pre* 
 ferves its weight, it is ftandard ; if it lofes, the grains, or even 
 pennyweights of its diminution, are accounted. 
 
 Silver wire, is Silver drawn through the holes of a wirei 
 drawing iron,, and by this means reduced to the finencfs of a 
 thread or hair. Ag for the manner of drawing it, fee under the 
 article WIRE. 
 
 Silver leaf, is what the gold-beaters have reduced to fine 
 -thin leaves, to be ufed by gilders, &c. 
 
 ShiiH Silver, is made of the fhreds of Silver leaves, or the 
 leaves themfelves ; ufed in painting and filvcring certain v/orks: 
 Shell Silver is prepared after the fame manner as {hell gold. See 
 GOLD. 
 
 7o Jay en a ground to gild and SiLV ER upon. — Steep two ounces 
 o-f fine bole armoniac, well chofen, frelh, and greafy to the 
 touch ; put it in v/ater to diflblve, and afterwards grind it, adding 
 to it the quantity of a filbcrd of crayon, and of a pea of tallow, 
 which is enough for one grinding ; .which are to be prepared as 
 follows : 
 
 Melt them and pu*: them into frcfh water, and woik them 
 Vveil with your fingers ; 
 
 And, as you grind it, put a little foap-fuds among the bole. 
 
 When this compound has been ground, put it into fair water, 
 changing the water from time to time to preferve it. 
 
 When this is to be ufed, it is to be tempered with warm fize ; 
 and, if it prove as ftrong as wiiat you whitened with, put in a 
 third of water, and mix it with the bole, which muffc be made 
 of the thicknefs of a cream ; then lay it on the work with a pen- 
 f:il, and go over the whole with it three or four times ; letting it 
 lie to dry each time before you go over it again ; and, when it is 
 £nifhed and dry, rub it wiih a ioft cloth, before you proceed to 
 lay on the gold or Silver. 
 
 When this ground is ufed for gold, a little red lead muft be 
 ^dded to it. 
 
 To matt Silver. — Grind white cerufe with water, and then 
 temper it with ichthyocolla, or fifh glue, or elfe glove fize very 
 fine ; the firft is the moft beautiful. It muft be laid with a pen^ 
 cii on the places that vou matt. 
 
 To Silver copper or hrafs. i. Cleanfe the metal with aqua- 
 fortis, by wafiiing it lightly with it, and immediately throwing it 
 into fair water, or by heating it red-hot, and fcourmg it with fait 
 and tartar, and fair water with a fmall wire brufh. 
 ' 2. Diflblve fome fine Silver in aqua-fortis in a broad-bottomed 
 glafs vcffel, or of glazed earth ; then evaporate away the aqua- 
 fortis over a chafing-dilh of coals. 
 
 3. Piit five or fix times i:s (Quantity of v/ater^ or as much as 
 
 will 
 
S I L 259 
 
 wiH be necefTary f)€rfe6lly to dilTulve It, on the remaining <\Ty 
 «alx ; evaporate this water with the like heat ; then put more 
 frefh water, and evaporate again; and, if need be, the third time ; 
 making the fire towards the latter end (o ftrong, as to leave the 
 calx perfedly dry i which, if your Silver be good, will be of a 
 pure white. 
 
 4-. TaJce of this calx, common fait, cryftals of tartar, of each 
 a like quantity or bulk, but not in weight ; mix all well, then 
 put the metal into fair water, and take of the aforefaid powder 
 with your wet fingers, and rub it well on, till you find every little 
 cavity of the metal fufficiently filvered over. 
 
 5. If you would have it richly done, you muft rub on more of 
 the powder ; and in the laft place wafh the filvered metal in fair 
 water, and rub it hard with a dry cloth. 
 
 This, though done without quickfilver, may laft fome years ^ 
 and, when the Silver begins to wear ofi", may as eafily be renewed. 
 
 To counttyfeit Silver. Take cryftal arfenic eight ounces, tar- 
 tar fix ounces, faltpetre two ounces, glafs one ounce and an half, 
 and of fublimate half an ounce; reduce them feparately into a 
 fine powder, and mix them ; then take three pounds of copper 
 in thin plates, and put them into a crucible, with the former in- 
 gredients, layer upon layer, to calcine, covering it, and luting it 
 ftrongly ; fet it in the furnace, imd there let it ftand for eight or 
 ten hours ; then take it out, and when it is cold break the pot, 
 and take out all the matter, and melt it with a violent fire, calling 
 it into a mould. 
 
 Then take purged brafs two pounds, of the former metal one 
 pound ; melt them together, calting in now and then fome of the 
 aforefaid powder; after which, add as much of fine Silver, melt- 
 ing them together, and you have what you defired. 
 I Laftly, to make it as white as Silver, boil it in tartar. 
 r Another way to coimterftit Silver. Take of purified tin eight 
 Cunces, quickiilver half an ounce ; and, when it begins to rife in 
 the heat, cafi: into it pov/dcr of cantharides with a lock of hair, 
 that it may burn in it ; and, being melted, put into it the afore- 
 faid powder, then take it fuddenlv from the fire, and let it cool. 
 
 To whiten Silver. Silver veffels, or inftruments boiled with 
 fait, alum, and tartar, give them that whitenefs and clearnefs, 
 which they would fcarcely be brought to by brufhing, pumice- 
 ftone, or putty ; old fuUied pieces may be brought in a Srice to 
 the like fairnefs by warm aqua-fortis. 
 
 To prepare the Silver d^e. Allow half a pound of alum for 
 
 every fifteen yards of itui?, and three quarters of fcenugrcck ; let 
 
 them boil for half an hour, then add one pound of pot-allies, and 
 
 half a pound of brafil, in which boil the iiuffs for a quarter of aa 
 
 . . iiour. 
 
2-0 SIN 
 
 To /often Silver. Put as many wedges, as you have melted 
 one night, into a crucible, and fet it into a furnace, butfo as they 
 may not melt, and they will be foft and fair. 
 
 Or thus: Take honey and oil, of each alike quantity; quench 
 Silver or gold in it three or four times, and it will be fofter. 
 
 To tinge Silver of a gold colour. Take fine gold, fine Silver, 
 good brals, or brafs and copper calcined with fulphur vivum, of 
 each a like quantity ; melt them down together, and it fhall ap- 
 pear to be gold of eighteen carats fine. 
 
 Another luay to tinge Silver. Take of quickfilver an ounce 
 and a half, of leaf gold half an ounce ; mix them, and put them 
 into a glafs retort well luted ; fet it on the fire till it grow hot ; 
 then take it off, and add to it quickfilver purged one ounce, fal 
 armoniac half an ounce, fal ellebrot a quarter of an ounce, borax 
 one drachm ; then feal up the glafs hermetically, and fet it into a 
 continual fire for three days ; then take it out, and let it cool, 
 open the retort, take out the matter, and powder it very fine ; of 
 which powder mix one ounce with five ounces of Silver, and it 
 will tinge it into a good gold colour. 
 
 The fal ellebrot is made as follows : Take pure common 
 fait, fal gemmae, and fal alcali in powder, of each half an ounce ; 
 juice of mint two ounces, fpring water two pounds ; mingle them 
 and evaporate. 
 
 Qi_iickfilver is purged by wafliing it in fharp vinegar three or ; 
 four times, and {training it through afhammy leather, or by fub- : 
 liming it, which is better. 
 
 To bring Silver iyito a calx. This is done by making it Into 
 an amalgama with quickfilver, and then fubliming it ; or by dif- 
 folving it in aqua-fortis, and precipitating it with the folution of | 
 falts in fair water, and then wafhing it often with fair water to I 
 irec it from the faks ; or elfe by mingling the filings with fublim- 
 ed mercury, and afterwards caufing the mercury to afcend in a j 
 retort, which will leave at bottom the calx of Silver fit for jew- ( 
 els, &c. 
 
 To blanch Silver. Take fal armoniac, roch alum, alum 
 plumofum, fal gem, argol, Roman vitriol, of each a like quantity; 
 powder them, mix them, and dific)lve them in fair water ; in 
 this boil the Silver fo long, till you find it of an excellent white* 
 nefs. 
 
 To Silver any metal. DifTolve fine Silver in flrong aqua- 
 fortis ; put to it fo much tartar in fine powder, as will make it 
 into a pafte; rub the metal with it, and it will look like fine Sil- 
 ver. 
 
 SIN, is reprefentcd, in painting, he. by a youth blind, black 
 and ftark naked, who feems to walk through crooked ways, and 
 by precipices, girt round with a ferpent gnawing his heart. 
 
 f 
 
 ll 
 
 ^1 
 
S I Z 271 
 
 His youth denotes his imprudence and blindnefs, in commit- 
 ting Sin ; his wandering fhews his deviating from, and tranfirrer- 
 fing the law ; black and naked fhews, that Sin deprived men of 
 grace, and the whitenefs of virtue ; the ferpent is the devil con- 
 tinually feeking to delude with falfe appearances. 
 
 SINCERITY, is reprefented, in painting, ^'c. by a youn<>- 
 woman in a thin golden robe ; fhe holds a human heart in her 
 left hand, in her right a white dove ; both fignify, that true Sin- 
 cerity is incapable of hypocrify, her integrity makes her fear no- 
 thing, fhe makes her adions manifell by difclofing her heart to 
 all people. 
 
 To make ifing- glafs SIZE. Take fine ifing-glafs in fmall bits 
 one ounce, fair water a quart ; let it ftand for twelve hours only 
 warm, and afterwards boil it, but very gently, and continue the 
 fimmering till it is all difFolvcd ; the water alfo being wafted 
 away to a pint or lefs, let it cool and keep it for ufe. 
 
 It will be thick like a jelly, but will not keep above three or 
 four days, fo that you ought to make no more at once, than pre- 
 fent occafion requires. 
 
 To make gcid 'Size. Take gum animi, afphaltum, of each 
 one ounce; minium, litharge of gold, and umber, of each half an 
 ounce ; reduce all into a very fine powder, and add to them of 
 linfeed oil four ounces, of drying oil eight ounces ; digeft over a 
 gentle fire, that does not flame, fo as it may only fimmcr and 
 bubble up, but not boil, for fear it fhould run over and fet the 
 houfe on fire ; keep it conftantly ftirring with a flick, till all the 
 ingredients are difTolved and incorporated ; and do not leave ofF 
 ftirring it, till it becomes thick and ropy, and is boiled enough ; 
 let it ftand till it is almofl cold, and then ftrain it through a 
 coarfe linen cloth, and keep it for ufe. 
 
 To prepare it for working. Put according to the quantity you 
 fhall ufe in a horfc mufcle fhell, and fo much oil of turpentine to 
 it, as fhall difTolve it, making it as thin as the bottom of your 
 feed lac varnifh ; hold it over a candle to melt, and then flrain ii 
 ' through a linen rag into another fhell ; add to thefe fo much 
 vermilion as will make it of a darkifh red. 
 
 If now it is too thick for drawing, you mufl thin it with oil 
 of turpentine. The chief ufe of this Size is for laying on of me- 
 tals. 
 
 The beji gold Sn.E for brnnijhing. Take fine bole what quan- 
 tity you pleafe, grind it finely on a marble, then fcrape into it a 
 little fine beef fuet, grind all well together ; after which mix a 
 fmall proportion of parchment Size, with a double proportion of 
 'water, and it is done. 
 
 Td riake /iher Si7,E. Grind tobacco-pipe clay fine, fcrape 
 
 into 
 
27^ S I Z 
 
 into it a little deer's fuet, and grind them all extremely fine ; then 
 add a mixture of Stzeand water, as before directed. 
 
 yf SizE/iT either filver or gold. Take fine bole in fine pow- 
 der one pound, black, lead two ounces, grind them together ; then 
 add of oil olives two fcruplcs, and bees-wax one fcruple, melted 
 together ; grind all thefe very finely in a mafs ; and, in thelaft 
 place, grind them together with parchment Size and water. — 
 But remember never to grind more gold and filver Size at a time 
 than will ferve the prefent occafion. 
 
 To 7nake parchfiient ^1%'E.. Boil cuttings of clean parchment 
 one pound in two quarts of fair water to a jelly; llrain it hot, 
 then let it cool, and it will be a ftrong Size. — This may be ufed, 
 as well as for the former ufes, in white japan work, inftead of , i 
 ifing-glafs Size. 
 
 The way of nfing this Size. Melt fome of it over a gentle ! 1 1 
 fire, and fcrape into it as much whiting, as may only colour it ; 
 mix and incorporate them well together with a clean pencil ; 
 with this you may whiten frames, rubbing it well in with your 
 brufh, that it may enter into every hollow place of the carved 
 work, &c. letting it dry on. 
 
 Then melt the Size again, and put in more whiting, fo as to 
 make it fomewhat thick, and whiten the frames over again feven 
 or eight times, letting it be thoroughly dry between each time: 
 but after the lafl going over, before it is quite dry, you muft dip 
 a clean brufli pencil in fair water, to wet and fmooth it over ; 
 and, when it is thoroughly dry, brufli it over, as the neceflity of 
 the work fhall require. 
 
 After this, with a googe or chifiel, not half a quarter of an inch 
 broad, open the veins of the carved work, which the whiting has 
 choaked up ; then fmooth and water- plane it all over with a fine 
 rag wetted, and your finger ; let it be dry, and then it is fit to , 
 receive the former gold Sizt-. j 
 
 To make gold Size in oil. Take yellow oker in fine powder, 
 what quantity you pleafe ; mi.x it with an indifi'erent fat linfeed 
 «n a fiifHcient quantity, grind them well together, and put the 
 mafs into a gallipot, upon which put fome fat oil, to keep it from 
 iKiiining over ; cover it dole with a piece of bladder or paper, 
 and keep it for ufe. 
 
 it will keep good for ten or twelve years, and be the better, 
 and not the worfe. 
 
 If you would have your work extraordinary well done, prime 
 it over thinly twice, and let it ftand to drv for four or five days, i 
 
 To make glove-leather Size . Take half a pound of the cuttings , 
 of white glove«, and put them in water, letting them fteep for 
 Ibme time ; then boil them in a pot with fix quarts of water, till | 
 
 iCi 
 
I 
 
 S L E 223 
 
 it be confumed to one; then ftrain it through a cloth in a new 
 earthen pan. 
 
 To try whether the Size is ftrong enough, when it has flood 
 till it is cold, feel it with your finger, and, if it feels firm under 
 your hand, it is done. 
 
 To colour SKINS a light blue or turky colour. Take fmalt four 
 ounces, red wine half a pint, and alum four ounces, vinegar a 
 pint, and white flarch an ounce ; fet them over a gentle fire, but 
 do not fuffer them to be over thick ; foak the Skins in alum wa- 
 ter, and hang them up to dry ; add to this colouring a pint of gum 
 water, tolerably thick ; lay it on when dry, glaze it over, and po- 
 lifh It. 
 
 To dye Skins a crimfon colour. Take hard foap, fcrape three 
 ounces, and dillblve it in fair water, and add to it three ounces 
 of alum ; boil them over a gentle fire, till the water grow clam- 
 my, or a little inclining to thickifh ; then put in a few grains of 
 cochineal, half an ounce of lake, two ounces of red lead, and a 
 quarter of an ounce of vermilion, and a fmall piece of indigo ; 
 mix them well bv ftirring them together, and keep them upon a 
 gentle fire, till they are about the thicknefs of the white of an 
 egg ; then having firll rubbed the Skin over with alum water, 
 and hung it up to dry, apply this colour as is direcfted for others. 
 
 Another fair red for Skin's. Firft wet the Skins or pults in 
 alum water, in which a like quantity of fait, with half as much 
 lime, has been diflblved ; then ftretch them, and dry them, take 
 a quart of the lafl brev/er's drink, and put into it an ounce of 
 brafil powder or rafpings, a qi^arter of an ounce of vermilion, 
 and an ounce of alum powder ; thicken them over a gentle fire 
 by continual ftirring, and fo with a brufh or cloth rub over the 
 Skins evenly, not laying it thicker in one place than another ; 
 and this do three times fuccefTivelv, fufi^ering them only to dry 
 the mean while ; ai\d, being thus done, they will be according 
 to your expeiftation. 
 
 To colour Skins green. Take the leaves of nightfhade, bruife 
 them in a mortar, ftrain out the juice, and difTolve in each pint 
 two ounces of alum, to which add half an ounce of verdigreafc, 
 and heat them gently over the fire ; then let it ftand for twenty- 
 four hours, and Itrike over the Skins with a brufli with it warm ; 
 let them dry and go over them again, till they have taken a lively 
 colour. 
 
 To colour Skins a light green. Take the herb called horfe- 
 tail, bruife it, and add to the juice a fmall quantity of verdij;reale, 
 alum, and copperas ; make it into a colour over a gentle fire, and 
 it will prove a pleafant colour. 
 
 SLEEP, is called the brother of death, was painted of a mofb 
 four, lowring, and melancholy afpetl, aged, and holdins in her 
 
 Vol. II, T " runt 
 
474 S N U 
 
 right hand a young child very beautiful, and in her left another 
 child, of a moft fwarthy, black, and dull complexion, with legs 
 and arms very crooked. 
 
 Philoftratus, in a tablet he made for Amphiarus, reprefents her 
 as an aged woman, flothful and fluggifh, cloathed with feveral 
 garments, the undermofl: of which is black, and the upper one 
 white, holding in one of her hands a horn pouring forth feeds. — ■ 
 By the garment is fignified night and day j by the feed, reft, cafe, 
 and quiet. 
 
 Gafprns SMITZ, alias Magdaltn SMITH, was a Dutch 
 painter, who came over to England about feventy years ago. 
 He pradifed fome time in London, but, upon the encouragement 
 "^f a lady of quality, he went over to Ireland, where he gained 
 the greateft efteem, and had very large prices for his work; he 
 painted portraits in oil of a fmall fize ; but his inclination led 
 him moft to Magdalens, from whence he had his name. 
 
 Thcfe Magdalens were very gracefully difpofcd, beautifully 
 coloured, exprefting the charader of grief and penitence. He . 
 had alfo a particular talent for painting fruit and flowers, info- 
 much that one bunch of grapes of his performance was fold ia 
 Ireland for forty pounds. He feldom failed to introduce a thiftle 
 into the fore ground of his Magdalens, which he painted after 
 nature with wonderful neatnefs ; he died in Dublin. 
 
 SMOKE, in painting in miniature, is imitated with black 
 indigo and white, and fometimes with biftre. You may alfo 
 add vermilion or oker, according to what colour you would 
 have it. 
 
 The SNOW-DROP. Cover and finiih as for the lilly, do 
 the feed with mafticote, and fhade with gall-fione ; let the greer* 
 Be verditer and iris. 
 
 Dying of SNUFF colours. Take water a fufficient quantity, 
 nut-galls in powder one pound, madder four ounces and a half, 
 red wood ground one pound, fuftic four ounces; make therrv 
 boil, and enter twenty yards of broad cloth, handle it, and boil 
 two hours, and cool ; add copperas four ounces, enter your cloth, 
 and handle it, and boil it a quarter of an hour, and cool it j if 
 you would have it faddcr, ufe the more copperas. 
 
 In making a light Snuft' colour, you muft put in the lefs cop- 
 peras ; if you would have it to look greenifh, you muft ufe the 
 more fuftic ; but, if you would have it look more red, ufe the 
 more red wood. 
 
 Another Snuff colour. Take water q. f. fuftic two pounds, 
 madder one pound, red wood ground half a pound ; let them boil, 
 and then enter twenty yards of broad cloth ; handle it and let it 
 boil two hours, and cool itj add copperas four ounces, which is 
 
 enough 
 
I 
 
 S O A 275 
 
 enough for the lighter colour ; then enter your cloth, hatidle it, 
 boil half an hour, and then take it out and cool it, 
 
 Francis SNYDERS, born in 1579, Scholar of Henry van Ba- 
 Jcn, lived at Antwerp and in Italy, excelled in painting wild 
 beafls, hunting, fifh, fruit, &c. 
 
 SOAP, is a fort of parte fometimes hard and dry, and fome- 
 times foft and liquid, much ufed in wafliing and whitening li- 
 nens J and alfo by dyers, fullers, and many other workmen. 
 
 The principal Soaps of our Englifh manufafture are the foft, 
 the hard, and the ball Soap ; the foft Soap again is cither green 
 or white J the procefs of making each kind is as follows : 
 
 The green foft Soap ; the principal in2;redients ufed in making 
 green Soap, are leys drawn from pot-afhes, and lime boiled up 
 with tallow and oil. 
 
 Firft the ley and tallow are put into the copper together, and, 
 when melted, the oil is put to them, and the copper made to 
 boil ; then they damp or flop up the fire, while the ingredients 
 remain in the copper to knit or incorporate ; which being done, 
 they fet the copper a boiling again, feeding or filling it with leys 
 as it boils, till they have put in a fuificient quantity ; after which 
 they boil it off with all convenient fpeed, and put it into barrels. 
 
 White Soap ; of this one fort is made after the manner that 
 green foap is, excepting that they do not ufe any oil in this. 
 
 Another fort of white foft Soap is made from leys of aihes of 
 lime, boiled up at twice with tallow. 
 
 Firft they put a quantity of leys and tallow into the copper 
 together, which is kept boiling, being fed with leys as it boils, 
 till it is boiled enough, or that they find it grains ; then they fe- 
 parate or difcharge the leys from the tallowifli part, which they 
 put into a tub, throwing away the ley ; this they call the firft half- 
 boil. 
 
 Then they charge the copper again with frefti tallow and ley, 
 and put the firft half-boil out of the tube into the copper a fecond 
 time, and keep it boiling with frefii ley and tallow, till it is 
 brought to perfection, and afterwards filled out into Soap-cafks. 
 
 Hard Soap is made of afties and tallow, and commonly boiled 
 at twice ; the firft boiling they alfo call a half-boiling, which is 
 performed exacliy after the fame manner as the firft half-boil of 
 the foft white Soap. 
 
 Then they charge the copper again with frefh ley, and put into 
 it the firft half-boil again, feeding it with ley, as it boils, till it is 
 boiled enough, or till it grains ; then they difcharge the ley from 
 it, and put the Soap into a frame to boil and harden. 
 
 Ball Soap is made alfo of lev from afhes and tallow ; they put 
 the ley into the copper, and boil it till the watery part is quite 
 gone, and there is nothing left in the copper but a fort of nitrous 
 
 T 2 matter. 
 
I'jS SOL 
 
 matter, which is the very ftrength and efTence of the ley; tntn 
 they put tallow to it, and keep the copper boiling and ftirring for 
 hair an hour or more, in which time the Soap is compleated, 
 ■which they put into tubs or bafkets with fheets in them, and im- 
 mediateh', while Ibtt, make it into balls. 
 
 It takes up near twenty-four hours to boil away the watery 
 part of the ley. 
 
 SODA, which comes from Egypt and Spain, derives its name 
 from the abundance of fait it contains ; it is made of the fame 
 herb as the polverine and rochetta of the Levant, and is of the 
 fame fort and nature with that; and though this herb grows in 
 great quantities in many places, and comes naturally among wa- 
 ter, and commonly fiourilhes near lakes, yet it is planted on the 
 banks of the Mediterranean in France, Spain, and in Egypt, 
 where by reafon of the heat of the climate it grows in great quan- 
 tities, but it has the moft fliarpnefs and is ftrongeft in Egypt, 
 where there is never any rain. 
 
 It is green all the winter; but they commonly cut it in the 
 middle of the fummer, when it is in its full vigour ; after it has 
 been dried by the heat of the fun, they gather it on heaps, and 
 burn it on hurdles or grates made of iron ; the aflies falling 
 through into a pit, made underneath on purpofe, there they grow 
 into a hard mafs or {lone, and are gathered and laid up for ufe, 
 and are called Soda, and their fait alcali, and are ufed for mak- 
 ing slafs and cryftal. See ROCHETTA, POLVERINE, and 
 CRYSTAL. 
 
 SOFTENING, in painting, is the mixing and diluting of 
 colours with the brufh or pencil. 
 
 Painters often ufe the term, Soften defigrrs in black and white 
 made with the pen, &c. to weaken the teint. To Soften a pour- 
 trait, according toFeliblen, is to change fome of the ftrokes, and 
 give a greater degree of fweetnefs and foftnefs to the air thereof, 
 which before had fomething rough and harfli in it. 
 
 SOLDER, \ is a metallic or mineral compofition, ufed in fol- 
 
 SODDER, S dering or joining other metals. 
 
 Solders are made of gold, filver, copper, tin, glafs of tin, and 
 lead ; always obferving, that, in the compofitions, there be fome 
 of the metal that is to be foluered, mixed with fome finer and 
 higher metals. 
 
 (joidfmiths make four kinds of Solder, viz. Solder of eight ; 
 where to feven parts of filver there is one of brafs or copper. 
 Solder of fix, where only a fixth part is copper ; Solder of four, 
 and Solder of three. It is the mixture of copper in Solder that 
 makes raifed plate always come cheaper than flat. 
 
 The Solder ufcd by plumbers is made of two pounds of lead 
 
 to one of tin. Its goudnefs is tried by melting it, and pouring 
 
 3 the 
 
 Ik! 
 
S O O 2;7 
 
 the bignefs of a crown-piece upon a table ; for, if good, there will 
 arife little bright ftiining ftars in it. 
 
 The Solder for copper is made like that of the plumbers, only 
 with copper and tin ; for very nice works, inftead of tin, they 
 fometimes ufe a quantity of filver. 
 
 Solder for tin is made of two thirds of tin, and one of lead ; 
 but where the work is any thing delicate, as in organ-pipes, 
 where the juniSlure is fcarce difcernible, it is made of one part 
 of tin or glafs, and three parts of pewter. 
 
 To Solder upon filver^ Irafs^ or iron. Beat the Solder thin, 
 and lay it over the place to be foldered, which muft be hrft fit- 
 ted and bound together with wire, as occafion requires ; then take 
 borax in powder, and temper it like pap, and lay it upon the 
 Solder, letting it dry ; then cover it with quick coals and blow, 
 and it will run immediately j take it prefently out of the fire, and 
 it is done. 
 
 Note I. That if a thing is to be foldered in two places, which 
 cannot be well done at one time, you muft firft Solder with the 
 hard Solder, and then with the foft; for, if it be firft done with 
 the foft, it will unfolder again before the other is foldered. 
 
 2. That, if you would not have your Solder run about the 
 piece that is to be foldered, rub thofe places over with chalk. 
 
 SOLDERING, is the joining or faftening together of two 
 pieces of the fame metal, or of two different metals, by melting 
 and applying fome metallic compofition on the extremities of 
 the metals to be joined. 
 
 In the Soldering either of gold, filver, copper, &:c. there is ge- 
 nerally ufed borax in powder, and fometimes rofin. 
 
 ¥7^^/^ ^^^<?'^'^ SOLE, engraved a great many 
 j^ ^i^ pieces in copper and wood in Hibbin's 
 tafte. He engraved the New and Old Teftament in two hundred 
 plates, the Mctamorphofis of Ovid in one hundred and feventy 
 fmajl plates, hunting-pieces in great and fmall, &:c. He fome- 
 times made the letter V on one fide of the plate, and S on the 
 other. 
 
 "^SjSTN V'lrgilio SOLE of Bruffels, his mark under a dead 
 \f'^ Chrift, engraven on a large plate in 1542. 
 
 SOOT, is an earthy, volatile matter, arifing from wood, coal, 
 ?nd other fuel, along with the fmoke, by the adion of fire; or 
 it is rather the fmoke itfelf, fixed and gathered on the fides of the 
 chimney. 
 
 Dyers make confiderable ufe of Soot, for a kind of dun colour, 
 
 vhich it is true has no agreeable fmell ; but then, to anfwer to 
 
 I Ibat, has the property of faving clotlp and other fluffs from 
 
 y 3 moths. 
 
27^ S P E 
 
 moths. — The Soot found in the furnaces of glafs-houfes is ufcd 
 
 by painters. 
 
 Soot cffraniimenfey the fmalleft and fineft part of the in- 
 cenfe, called ohbanum or male incenfe ; burnt after the manner' 
 of rofin to make lamp-black. 
 
 SORRO^y, "J is an unpleafant faintnefs, by which the 
 
 SADNESS, ( foul receives the inconveniencies of the 
 
 GRIEF, ( eviJ, or of the defed reprefented to it by 
 
 DEJECTION, J the impreflions of the brain. 
 
 This paflion is reprefented, in drawing, painting, &c. by mo« 
 tions which fcem to indicate the inquietude of the brain, and the 
 dejedtion of the heart ; the eye-brows being more raifed in the 
 middle of the forehead than next the temples. 
 
 They who are troubled with this paflion have their eye-balls 
 dull, the white of their eye inclining to yellow, the eye-lids 
 hanging down, and fomething fwelled ; black and livid round 
 (he eyes, the noflri!s drawing downwards, the mouth open and 
 the corners thereof drawn down ; the head appears care'eny 
 hanging on one of the fhoulders, the complexion of a kind of 
 lead colour, and the lips pale and wan. See pbte XVI. 
 
 SOUTH, is reprefented, in painting, by a blackmoor boy, 
 ?i fun upon his head, furrounding him with its rays ; upon his 
 girdle are the figns Taurus, Virgo, and Capricornus ; arrows ia 
 his right hand, in his left a branch of the lotus. — The zone 
 wherewith he is girded denotes the meridional figns ; the ar- 
 rows, the fun's penetrating into the very bowels of the earth ; thcj 
 lotus, at the fun's beginning to appear, appears out of the water, 
 and, according as the fun afcends, fo does it ; at noon it flands 
 upright, and fo in the afternoon it follows the fun, till it enters 
 into the water again. 
 
 SPECTACLES, an optic machine, confifling of two lens's, 
 fet in horn or other matter, and applied on the nofe, to afTill in 
 defects of the organs of fight. See LENS. 
 
 Old people, and all prelbytse, ufe Spectacles of convex lens's, 
 to make amends for the f^atnefs of the eye, which does not make 
 the rays converge enough to have them meet in the retina. 
 
 Short-fighted people, or myopes, ufe concave lens's, to hinder 
 the rays from converging fo faft through the great roundnefs of 
 the eye, as to make them meet before they reach the retina. 
 
 Spediacles were certainly unknown to the ancients ; yet they 
 are net of fo late a date as the telefcope. Frnncifco Redi, in a 
 very learned treatife on Spectacles, will have them to have been 
 invented in the thirteenth century, between the years 1280 an4 
 
 5f ELTERj or Zink, a fort of imperfed metal, which fome 
 
 confound 
 
S P I 279 
 
 confound with bifmuth, and others with fpalt ; others again 
 snake it a female antimony. See ZINK. 
 
 Speher is a kind of mineral lead, very hard, white, and bril- 
 liant, which, though not perfectly malleable, yet ftretches a lit- 
 tle under the hammer. 
 
 It is found in greateft quantity in the mines of Goflebr in 
 Saxony, and is ufually fold in large, fquare, thick cakes, whence 
 one would judge it to have been melted as it came out of the 
 mines, and calt into that form. 
 
 It is ufed to clear and whiten tin, in making of pewter, much 
 as lead is ufed to purify gold and filver. 
 
 Thofe who imagine that the Spelter is put in to increafe the 
 weight, are much miftaken ; fince, in the melting five or fix 
 hundred weight of tin, they fcarce put in a pound of Spelter, and 
 that mixed with turmeric. It is alfo ufed in the making of fol- 
 der, and vi'ith curcuma in the melting of copper, to give that 
 metal a good colour, which however is not permanent. See 
 SOLDER. The belt is white, in fine fcales, difficult to break, 
 &c. 
 
 S. P. F. fignifies Stephen du Perach fecit. 
 
 SPIDER Ji/L In the year 17 10, Mr. Bon publiflied a dif- 
 fertation, in France, concerning the procuring and preparing filk 
 of the webs of Spiders, and ufing it in feveral manufa£tures, which 
 is to the following efFedl : 
 
 The filk Spiders make a filk every whit as beautiful, ftrong, 
 and fhining as that made by the filk worm ; it fpins it out of the 
 anus, around which are five papilla?, or fmall nipples ; and, be- 
 iiind thefe, two others, all mufculous, and furnifhed with 
 fphinclcrs. 
 
 Thefe nipples ferve as fo many wire-drawing irons, in form- 
 ing and moulding a liquor, which, when dried in the air, after 
 it has been drawn through them, is to be the filk. 
 
 Mr. Reaumur obferves, that each of thefe nipples confifis of 
 a number of lefler and infenfible ones, which a perfon may be 
 convinced of, by prefling a Spider's belly between his fingers, 
 to force the liquor to flow into the nipples ; for, by this means, 
 applying the finger againfl the anus, feveral di{i:ln<5t threads will 
 be drawn out through the feveral perforations of the nipples. 
 
 The threads indeed are too fine to be told with any certainty ; 
 but Mr. Reaumur fuppofes, that each larger nipple may fend forth 
 fix or feven ; hence it is, we find how the Spiders make threads 
 bigger or finaller ; for as, before they begin to fpin, they always 
 apply either more or fewer of thefe fix nipples againft the body, 
 ■whence the web is begun ; or, as they apply each more or lefs 
 ftrongly, fo as more or fewer of the infenfible nipples come to 
 
 T 4 takci 
 
28o S P I 
 
 take ; the thread thus fpun will be a compound of more or fewer 
 of the Tingle thre;i<ls. 
 
 Indeed, as the threads come from the anus all joined together, 
 they appear to be rmglc, and Mr. Bon has diftinguifhed one of the 
 fingle ones to confift of fifteen or twenty di{l;in6l threads. 
 
 The threads are of two kinds ; the firfl is v^eak, and only ferves 
 for that kind of web wherewith they catch flies. The fecond 
 js much iironger, and ferves fur wrapping up their eggs in, 
 which, by means of it, are not only fheltered from the cold, but 
 defended from infects, which might otherwife gnaw and fpoil 
 them. 
 
 Thefe threads they wind very loofely about the eggs, and bear 
 a refemblance to the cods and bags -of filkworms, that have been 
 prepared and loofened from the diftafl^. 
 
 Thefe Spiders bags, when frefh and new, are of a grey colour ; 
 but, having been long expofed to the air, turn blackifh. There 
 might indeed be found other Spiders bags, of other colours, and 
 ■which would afford a better filk ; but their fcarcity would ren- 
 der the ex[)eriment very difficult. 
 
 There are indeed Spiders of feveral colours, as black, brown, 
 yellow, white, &c. and they are again diftinguifhed as to the 
 number of their eyes, fome having fix, others eight, others ten : 
 But, as to the filk Spider itfelf, they are, by Mr. Bon, all re- 
 duced to two kinds ; thofe which have long legs, and thofe that 
 have fhort ; of which the fhort-Iegged are moffc common, and 
 thofe that furnifh the raw filk. 
 
 Thefe always find out fome place, fecure from the wind and 
 rain, in which to make their bags ; as hollow trees, the corners 
 of windows or vaults, or under the eaves of houfes. 
 
 By colledling a quantity of thefe bags, a new filk may be made 
 in nothing, he tells us, inferior to the common filk : It will take 
 all kinds of dyes, and may be wrought into any kinds of flufi's. 
 
 Mr. Bon had flockings and gloves made of it, which he pre- 
 fented to the Academy, and others of the Royal Society. 
 
 After he had gathered twelve or thirteen ounces of thefe bags, 
 he had them well beaten for fome time with the hand and a flick, 
 to get out all the duft ; he after this wafned them in lukewarm 
 water, till they, being taken out of the water, left it very clean ; 
 ^fter this they were laid to fteep in a large veflbl, with foap, lalt- 
 petre, and gum arabic. 
 
 This, with the b;igs in it, was fet over a gentle fire, and gently 
 boiled for three hours ; then taken out, and wafhed in warm wa- 
 ter to get out the foap, and afterwards laid by to dry for fome 
 days, to fit them for carding, which was done by the common 
 carders of filk, but with cards much finer than ordinary. 
 
 |iy ch.is management he procured a filk of a very particular 
 
 afli-colou^, 
 
S P I 2S1 
 
 a{h-colour, which was very eafily fpiin, and the thread fpun from 
 it both ftronger and finer than that of common filk; by which 
 it is evident, that all manner of work may be made of it ; nor 
 is there any reafon to fear, but that it will ftand any trials of the 
 loom, after having undergone, or pafled through, that of the 
 Hocicing-weavers. 
 
 The only difficulty is in procuring a quantity of Spiders bags, 
 in order to carry on a confiderable manufacture in it. 
 
 But this, iMr. Bon fays, would be no difficulty at all, if we 
 had but the art of breeding them as they do filkworms ; for 
 they multiply much more, every Spider laying fix or fevcn hun- 
 dred eggs, whereas the fdlcworm does not lay above an hundred ; 
 and yet thefe laft are fo tender, &c. that one half die without 
 making any bags, or are hindered by fome accident nr other from 
 making bags ; whereas the Spiders hatch of themfelve^, without 
 any care, in the months of Auguft and September, in fifteen or 
 fixteen days after they are laid 3 the old Spiders that lay them 
 dying foon after. 
 
 The young ones, thus bred, live ten or twelve months with- 
 out eating, and continue in the bags without growing, till the 
 hot weather, putting their vifcid juices in motion, forces them 
 to come forth, fpin, and run about to feek for food. 
 
 Were there therefore a way found for breeding young Spiders 
 in rooms, they would v/ithout doubt furnifh a much greater quan- 
 tity of bags than filkworms do. 
 
 For, of feven or eight hundred young Spiders which Mr. Bon 
 kept, fcarce one died in a year ; whereas, of one hundred fdk- 
 worms, not forty lived to make their bags. 
 
 Mr. Bon having ordered all the fhort-legged Spiders that could 
 be found, in the months of Auguft and September, to be brought 
 to him, he fhut them up in paper coffins and pots, covering the 
 pots with papers, which he pricked full of pin-holes, as well as 
 the coffins, to give them air. He fed them with flies, and found 
 fomc time after that the greateft part of them had made their 
 bags. 
 
 He alfo found, that Spiders bag?, in refpe<Sl to their weight, af- 
 forded much more filk than thofe of the filkworms. 
 
 As a proof of this, he fays, that thirteen ounces yield near 
 four ounces of clear filk, two ounces of which will mnke a pair 
 of ftockings; whereas ftockings of common filk weigh feven or 
 eight ounces ; nor is there any venom in the filk, nor even in 
 the Spider, as fome have imagined. 
 
 Mr. Reaumur, being appointed by the Royal Academy to 
 make a further examination into this new filk work, raifed fe- 
 deral objcdions, and ftarted feveral difficulties againft it, which 
 iftre to the purpofc following : 
 
 1. That 
 
2^1 S P O 
 
 I. That the natural fiercenefs of Spiders renders them unfit to 
 be bred and kept together ; four or five thoufand being diftribut- 
 cd into cells, fifty in fome, ona hundred or two hundred into 
 Others, the big ones killed and eat the lefs, fo that in a (hort time 
 there were fcarce one or two left in a ceil ; and Mr. Reaumur 
 afcribes the fcarcity of Spiders to this inclination of eating one 
 another, confidering the yaft number of eggs they lay. 
 
 He alfo affirms, that the Spiders bag is inferior to that of the 
 filkworm, both as to luftre and flrength, and that it produces lefs 
 matter to be manufa(5^ured. 
 
 That the thread of the Spiders web will bear no more than the 
 weight of two grains without breaking; that of the bag will bear 
 thirty-fix. Therefore the latter in all probability is eighteen 
 times thicker than the former ; yet it is weaker than that of the 
 filkworm, which will bear a weight of two drachms and a half. 
 
 So that five threads of the Spider's bag muft be put together, 
 to equal one thread of the filkworm's bag. 
 
 And befides, he adds, that it is impoffible thefe fhould be ap- 
 plied fo juftly over one another, as not to leave little vacant 
 Ipaces between them, whence the light will not be reflected j 
 and confequently a thread, thus compounded, muft fallfhortof 
 the luftre of a folid thread. 
 
 And to this he adds, that the Spider's thread cannot be wound 
 ofF, as that of the filkworm may, but muft of neceffit)' be card- 
 ed ; by which means being torn in pieces, its evennefs, which 
 contributes much to its luftre, will be deftroyed. 
 
 Again he obferves, that Spiders furnilh much lefs filk than 
 filkworms. The largeft bags of the latter weigh four grains ; 
 the fmaller three grains, fo that 2304 worms do produce a pound 
 of filk. 
 
 The Spiders bags do not weigh above one grain ; yet, when 
 cleared of their duft and filth, lofe two thirds of their weight. 
 Therefore the work of twelve Spiders does but equal that of one 
 filkworm. 
 
 And befides, as the bags are the works of the females only, 
 who fpin them to depofit their eggs in, there muft be kept 
 55,296 Spiders to yield a pound of filk. Yet this will only hold 
 uf the heft Spiders ; thofe large ones, commonly feen in gardens, 
 ^c. fcarce yielding a twelfth part of the filk of the others ; he 
 (hews, that 280 of thefe would not do more than one filkworm, 
 and 663,552 of them would fcarce yield a pound of filk. 
 
 To take out SPOTS of greafe. Rub them very weli two or 
 three times with oil of turpentine, and they will vanifh away in- 
 conceivably; and then wafh again with rectified fpirits of wine. 
 
 To take out Spots of oil or greafe out of white or red filk. Rub 
 ^he Spots well with diluted aqua-foitis, and afterwards with the 
 
 c'air 
 
S T A 283 
 
 glair of new laid eggs j hang it in the fun to ^ry, and afterwards 
 wafliitwith fair water, and prefs it well. 
 
 To take out Spots of pitch or tar. P'irfl: rub them well with 
 hog's lard, or old thick oil, and repeat this two or three times j 
 then foap them and walh them with fair water. — Spirit of wine 
 is alfo good in this cafe. 
 
 To take Spots of pitchy tar^ iffc. out of cloth. Rub either com- 
 mon oil, or hog's lard, well into the Spots, and let it lie for twen- 
 ty-four or forty-eight hours ; then rub it well with your hands, 
 and wring it, and lallly walh it clean with fbap and water. 
 
 A powder to takeout Spots. Take bone afhes of Iheeps legs 
 calcined white, reduce them to a fine powder ; lay this warm 
 upon Spots or rtains, till it begins to change colour ; then take 
 ofFthat, andlayonfre(h,and continue fo doing till the Spot is gone. 
 To take out Spots of ink. Wafli them three or four times 
 with juice of lemon, or with flrong white wine vinegar, and it 
 will take them out ; afterwards wafh them with Genoa foap, and 
 laftly with fair warm water. 
 
 To take Spots of ink out offilk. Take ftrong white wine vi- 
 negar and hot afhes, rub them well upon the Spots, and after- 
 wards wafh with foap and water, and the work will be done. 
 
 SPRING, is reprelented, in painting, Sec. by a young man of 
 an exadl flature, cloathed on one fide in white, on the other in 
 black J a pretty broad girdle, fet with liars, holds a ram under his 
 arm, and a garland of feveral flowers in his left hand, two wings 
 on his feet, one white and the other black. — Youth denotes the 
 Spring and beginning of the year j juft ftature, becaufe it is the 
 equator, equal day and night ; black and white, day and night ; 
 the girdle the equino£tial line j the ram, the fun's entrance into 
 that fign ; the wings, the fwiUnefs of time. 
 
 A SPY, is reprefented, in painting, &c. by a man in a noble 
 habit, hides moft ot his face with his hat, his clo;.ths woven with 
 eyes, ears, and tongues, a lanthorn in one hand, his feet winged, 
 a fpaniel by him on the ground, his nofe in full fcent after his 
 game. — His cloaths fhew, that he pracflifes amongft noblemen 
 as well as vulgar ; his face, that he ought to pafs incognito, ne- 
 ver difcovering their defigns ; the eyes, &c. are the inftruments 
 they ufe to pleafe the patrons -, the lanthorn, that they Spy night 
 and day ; the dog, their fmelling out mens actions, and their 
 inquifitivenefs. 
 
 STAINING liquors. 
 A light Staining green. Take a quart of malt wort, put inr 
 to it two fhells full of florey, and i^ir them well together; firfl 
 ilain v/ith this, then upon this Staining lay yellow, till it be- 
 comes green ; the more you lay on of your yellow Stauiing li- 
 quor, the better the ereen will b?. 
 
2S4 S T A 
 
 To make a fine Hue Staining water. Firft make a weak jio 
 lixivium of pot-afhes, or ufe lime-water ; put into it a fufHcient 
 quantity of florey, and a little alum ; let it difTolve over the fire, 
 keeping ftirring it, and put into it fome wood afhes, and fo you 
 will have a fine blue. 
 
 J weaker blue Staining water. DilTi^lve a good quantity of 
 florey blue, and a little alum, in a fufficient quantity of fair wa- 
 ter ; and this will make a fainter colour than the former. 
 
 J blue Staining water weaker than the la /I. l^o two quarts 
 of pure well-water put four fhells full of florey ; mix them well 
 together, and lay them on thin, and this will be the faintefl of 
 the three. 
 
 STARCH, is a dreg or fediment found at the bottom of vef- 
 fel<:, in which the waRe or refufe of wheat has been fteeped in 
 water ; of thefe dregs or fediment, after the bran has been fepa- 
 rated from it, a fort of loaves are formed, which, being dried in a 
 furnace or the fun, is broken into little pieces, and is the fubftance 
 called Starch. 
 
 The befl Starch is white, foft, and friable, eafily reduced into 
 powder. 
 
 But the finefl: Starch, made by thofe that are curious, is not 
 made, as the common Starch-makers do it^ of the refufe of wheat, 
 but with the beft and finefl of that grain, and is made as follows : 
 Having cleanfed the beft and fineft wheat well, they put it in- 
 to vefl'els of clear water to ferment, and expofe them to the fun 
 in its greateft heat j and change the water twice a day, for eight, 
 ten, or twelve days, according as the feafon is. 
 
 When they perceive that the grain will burft eafily by the 
 prefTure of the fingers, they account it fufficiently fermented ; 
 then they put it handful by handful into a canvafs bag, to fcpa- 
 ratc the flower from the hufk ; to efteil which, they rub it with 
 the hand, and beat it on planks laid crofs an empty vefTel, which 
 is to receive the flower. 
 
 As, the vedel being filled with this liquor, there fwims at the 
 top a reddifh water, which is to be carefully fcummed off from 
 time to time, and clear water put into the vefTel j this, being well 
 ftirred together, is ftrained through a fieve or cloth, and what 
 remains behind is put into another velTel with frefti water, and 
 cxpofed to the fun, as before, for fome time j and, as the fedi- 
 ment fettles and thickens at the bottom, the water is drained ofF 
 four or five times by inclination of the vellel j but v/ithout paf- 
 fmg it through the fieve. 
 
 That which remains at bottom is the Starch ; this is cut in 
 pieces to get it out of the vefTel ; which, being laid in the fun to 
 (Jrj?, is afterwards laid up for ufe. 
 
 Starch 
 
S T A 2S5 
 
 Starch Is not only for family ufes in ftifflnWig linen, Sec. but 
 alto in fevqral trades, as perfumers, dyers, &c. 
 
 STA'l'UARY, is a branch of fculpture employed in making 
 iftatues. 
 
 Statuary was at the firft but very rude. Dnsdalus is faid to be 
 the inventor of ftatues, who lived not only before the dcflrudion 
 of Troy, but even before the Argonauts ; but yet it is certain, 
 there were ftatuaries before him ; only he is alfo faid to have 
 been the firft who endeavoured to give them aiStion and motion, 
 and make them appear as if they were alive. 
 
 Before his time, ftatues were made with their feet joined to- 
 gether, they not aiming at exprefling motion or acltion. He 
 firft fet the feet of his ftatues at liberty, and gave them the atti- 
 tudes of people walking and acting. 
 
 The firft ftatues erected to their gods are faid to have been 
 made by the Phoenicians. 
 
 STATUES, are defined to be a piece of fculpture, repre- 
 fenting a human figure, in full relievo. 
 
 But Statue is yet more fcientifically defined by M. Daviler, to 
 be a reprefentation of fome perfon, diftinguiflied by his birth, 
 merit, or great adtions, in high relievo and infulate ; placed as 
 an ornament in fome fine building, or expofcd in a public place 
 to preferve the memory of him. 
 
 Statues are formed with the chiflcl, of feveral matters, as ftone, 
 marble, plaifter, &:c. 
 
 They are alfo caft of feveral metals, as lead, brafs, filver, and 
 gold. See the articles CASTING and FOUNDERY, 
 
 Statues are commonly diftinguiftied into four kinds : 
 
 1. Thofe which are lefs than the life. 
 ! 2. Thofe equal with the life. 
 
 3. Thofe that exceed the life ; among which, thofe amonir 
 the ancients, which did furpals the life once and an half, were 
 of kings and emperors ; and thofe double the life, of heroes. 
 
 4. Thofe that exceeded the life, two or three times or more, 
 and were called Colofilis's, as that of Rhodes. 
 
 Achillean Statues, is a name given to thofe of heroes, from 
 Achilles. 
 
 Jllegorical St ATVESy were fuch as, under hurrun figures or 
 other {ymbols, reprefented fomething of another kind 5 as ag€, 
 element, fame part of the earth, temperament, &c. 
 
 Curule Statues, thofe where the perfons are reprefented in 
 chariots, drawn by either two or four horfes. 
 
 Divine Statues, were fueh as were confecrated to the god?, 
 as Apollo, Jupiter, Mars, Mercury, &c. demi-gods or heroes, 
 as Hercules, &c. 
 
 Equejlriari St.-\tues, were fuch as reprefented fome illuftrlous 
 
 perfoa 
 
28^ S T A 
 
 perfon on horfeback, as that of king Charles I. at Charlng- 
 Crofs. 
 
 Greek Statues; To are called antique naked figures; the 
 Greeks reprefenting their deities, wreftlers, &:c. in the Olympic 
 games, which laft ufed to perform naked. 
 
 Hydraulic Statues, fuch as are placed as ornaments on 
 fountains, grottoes, &c. or that do the ofKce of a jet d'eau 
 pipe, &c. by any of its parts, or by any attribute it holds. 
 
 Pedejlrian Statues, are Statues ftanding on foot, as that of 
 king Charles II. en the Royal Exchange. 
 
 Roman Statues, fuch as are reprefented cloathed after the 
 Roman manner, and were difFerent. As, 
 
 PaliidatcE Statu^^, thofe of emperors with long gowns over 
 their armour. 
 
 Loricotce Statute, thofe of foldiers with cuirafles. 
 
 Thoracatcs Statute, thofe of captains and cavaliers with 
 coats of arms. 
 
 Togatcs Statu^^, thofe of magiftrates with long robes. 
 
 ^rabeata Statute, thofe of fenators and augurs. 
 
 Timkata: Statute, thofe of perfons cloathed with a plain 
 tunic. 
 
 Stolata Statute, thofe of women with long trains. 
 
 Cajl'ing of Statues. The firft thing to be done towards 
 cafting of a Statue, or any other piece of work in brafs, is to 
 make a model in clay, prepared by the potters, who mix fand 
 amongft it, to prevent the model's cleaving or breaking in drying. 
 
 When the model is finiflicd, a mould of plailter is put over 
 it, while it is frefti, becaule the parts are apt to fhrink with 
 drying. 
 
 The workman begins at tlie bottom of the figure, which is 
 made up of feveral pieces from the foot to the knee, according 
 to the bignefs of the model ; for, v.'hsn the pieces are too big, 
 the plaifler is apt to chap. 
 
 Upon the firlt piece another is placed, always proportionable 
 to the figure, and fo continued from one to another as high as 
 the fhoulders, on which the head is put. 
 
 It is to be obferved, that if it be a naked figure, whofe pieces, 
 which form the mould, being pretty big, may be peeled ofFea- 
 fily ; there is no need of covering them with a [chappe] Ihape : 
 But if the figure i> with drapery, or accompanied with orna- 
 rnents," which oblige the artificer to make abundance of little 
 pieces, to be the more eafily peeled off, he mufl then make great 
 fhapes ; that is, he muft cloath all thofe little pieces with other 
 plaifier in great bits, to inclofc the other; and oil the great, as 
 well as the little joints, that they may not ftick to one another. 
 
 Shapes are great pieces difpofed in fuch a manner, that each 
 3 0^ 
 
S T A 287 
 
 of them Inclofe feveral little ones, to which are fixed little ring* 
 of iron, to help to peel them off the more eafily ; and to make 
 
 ! them keep in the fhapes, by means of little cords tied to the 
 
 j rings, and put into the (hapcs, the great and little pieces are 
 
 : marked with cyphers, letters, and cuts, for the eafier knowing 
 them, and the better fetting of them together. 
 
 When the mould of plaifter is thus made, it^muft lie ; and as 
 foon as it is dry, and the fculptor is about to ufe it, if he is cu- 
 rious, he will not be contented with rubbing it with oil, but 
 will heat all the parts of his model, and then fill them with wax ; 
 which he docs, that the wax-work may be the more beautiful 
 and more pe[fe<£t : For, when they are only rubbed with oil, the 
 
 ; waxen figure will commonly look mealy, becaufe the wax always 
 fmks in fome part of the plaifter ; or rather the plaifter finks ia 
 part of the wax, which will ftill caufe a more vifible defet^t irj 
 the picture, and the cafl will never be fo fine. 
 
 The mould having been thus oiled, or rather waxed, whert 
 the workman is about to caft a figure In brafs, he gathers all the 
 little pieces that are in each great piece of the fhape, which he 
 prefently oils all over with a pencil; then with another pencil he 
 takes his compound wax, made iis follows : 
 
 To fix pounds of wax put half a pound of hog's greafe, and 
 one pound of Burgundy pitch, according to the feafon ; for in 
 fummer the wax may be worked up alone, the other drugs be- 
 ing only to render it the more pliant and manageable : Of this 
 fort of wax, either fimple or compounded, the workman lays 
 
 ■ on to about the thicknefs of a filver penny, on all the parts of 
 the mould ; after which, he takes the fame compofitlon, and 
 makes cakes of it of an equal thicknefs, according as be defires 
 the brafs fhould come, which is generally the fourth part of an 
 inch. 
 
 Thefe cakes he puts into the cavities of the moulds, and in- 
 corporates them with his fingers, with the wax that was laid 
 on with the pencil, in fuch fort that they fill them all equally. 
 
 He then takes an iron grate, which fhould be three or four 
 inches broader than the bafis of the figure that is to be made, irt 
 which grate he raifes once niore bars of iron, turned according to 
 the altitude of the figure ; and pierced in feveral places to put 
 rods through, of what length fhall be thought necefTary to bear 
 up the foul, or nucleus, as Vitruvius calls it, or cceur, i. e. heart, 
 
 ' as it is called by the French, of the piece to be caft. 
 
 The ancients made all their fouls, the firft rough figures made 
 by ftone- cutters fo called, of their figures of potters-earth, horfe- 
 dung, and chaff, v/ell beaten together ; of which they formed a 
 figure like to that of the model. 
 
 When they had wsll furnilhed tl.is foul with pieces of Iron 
 
 • alon2 
 
2S8 S T A 
 
 along and athwart, according to its altitude, they flead It j that 
 is, they took off as much of its thicknefs as they defigned for 
 the brafs. 
 
 After they had let this foul dry, they covered it all around witfi 
 pieces and bits of wax, which they took out of the mould, and 
 difpofed of them as will be fhewn hereafter. 
 
 This way of forming fouls of figures is praclifed by fome 
 founders, efpecially for great brafs figures, becaufe the earth en- 
 dures the force and violence of the fire better than plaifter, which 
 is commonly ufed in middling figures and fuch are caft in gold 
 and iilver. 
 
 However, fculptors have feldom occafion to make figures of 
 an exceffu e bignefs ; they ufe it alfo for thofe in brafs, but mix 
 brick-duft well pounded and fifted with it ; and, in working af- 
 ter this manner, they proceed thus : 
 
 They take the firft lays of the mould filled with wax, as has 
 been faid, which they fet from bottom to top on the grate; 
 about that, a bar of iron that is to fupport the foul, tying them 
 faft together with cords, for fear the pieces fhould feparate from 
 each other, when the foul is to be made. 
 
 In order to make which, as foon as the firft lay of the mould 
 is difpofed of, the reft are railed one after another ; the fculptor 
 pours fine plaifter, mixed with brick-duft fifted ; for the brick- 
 duft helps the plaifter to refift the fire, and hinders its fpreading. 
 
 When the fiift lay of the mould is filled, the fecond is done; 
 and fo the reft one after another, till they are all raifed ; and 
 the foul is made of brick-duft and plaifter, as high as the figure 
 is to be. 
 
 The parts are raifed up thus, piece by piece, that the foiU 
 rnay be the better managed ; and, to bear it up, iron rods are 
 from time to time put through the principal parts beforemen- 
 tioncd. 
 
 When all the parts of the mould are fet together, and all the 
 cavities filled, the fliapes and all the parts of the mould are 
 cleared ; beginning at the top, and ending at the bottom : And 
 then the figure appears intire, covering the foul which is within it. 
 
 The figure mud be adjufted, and made like the model after 
 which it was formed ; and, to make it the more perfect, the 
 workman may add to, or diminifh, as is convenient, in all the 
 parts, to give the more grace and expreffion to certain lines : 
 For, as to the attitudes and difpofitions of the members, he can- 
 j)ct alter any thing without «leftroying the work. 
 
 When it is in its perfe^ion, the calls and vents are laid ; thefe 
 cafts are pipes of wax, made about an inch thick, for figures as 
 big as the life, they being always to be propoitioned to the big- 
 nefs 
 
S T A 2S9 
 
 ' refs of the work, and even to the parts of the body, where they 
 are placed. 
 
 The vents are alfo waxen pipes, but a little lefs ; thcfe pipes 
 ■are made in moulds of plaifter, of what fize the artificer pleafes, 
 and then cut to about four or five inches in length. 
 
 Thofe that are to ferve for the cafts are placed one above ano- 
 ther at fix inches diflance in a right line, the length of the figure, 
 and fometimes nearer, when there are draperies, and there is oc- 
 cafion for a great deal of matter ; when thefe pipes are applied 
 to and foldered with the w^ax on the figure, fo that the end which 
 is not foldered is eredfed : There is a great pipe of equal bignefs, 
 faftened to the end of thefe little pipes from the top of the figure 
 to the bottom. All thefe pipes great and fmall ferve for the 
 carting of the matter, and thus three or four are made about a 
 iigure according to its bignefs and difpofition ; but, at the fame 
 time that thefe pipes are made to ferve for the cafts, the fculptor 
 muft apply, over-againft and at the fide that is on the fame line, 
 and at four inches diftance, lefs pipes to ferve for vents, which 
 are to be foldered to the figure, and a great pipe which pafles 
 from top to bottom, like thofe of the cafts. And becaufe all 
 the wax, as foon as it melts, runs out of the mould, as will be 
 ihewn hereafter, he is very careful to fupply all the extremities 
 ©f the parts j ftretching out from the body of the figure with 
 thefe pipes, as the arms, fingers, drapery, and other things, from 
 whence the wax muft run. 
 
 All thefe pipes are hollow for their lightnefs only ; otherwife 
 they might be filled, but then they would be too heavy : A fuf^ 
 ficient quantity of them muft be placed about the figure, and 
 the workman muft take all poftible care to put them in thofe 
 places which he would have moft fupplied with metal, and 
 which will be moft eafily filled up. Thofe that are to ferve for 
 the face, ftiould be much lefs than thofe that are to ferve for the 
 hands. 
 
 After having ranged all thefe different pipes the whole depth 
 of the figure, the great elevated pipes, defigned for the cafts, 
 meet at the top two together, five or fix inches above the figure, 
 at a bowl or cup of wax four inches deep, ^nd as many diameter, 
 to the bottom of which they are fixed. 
 
 This cup ferves to receive the metal, which communicates 
 itfelf at the fame time to the two pipes. 
 
 Thus, if there are four elevated pipes for cafts, there are two 
 forts of cups more or lefs, as the artificer pleafes, to carry the 
 metal to all parts of the figure. 
 
 As to the parts which ferve for vents, they run up to the 
 height of the figure, higher than the others ; for there is no need 
 <of their being joined together, nor having their cups, 
 
 Vol. II U ' The 
 
290 S T A 
 
 The waxen figure being thus prepared and furniftied with caff* 
 and vents, the fculptor takes a compofition made of putty and 
 cement of crucibles, well clcanfed and pounded ; which he tem- 
 pers in an earthen pot to the confiltcnce of a colour for paint- 
 ing, and a pretty bright one : Then with a pencil he carefully 
 covers all the Hgure with it,, as aUb the pipes, both thofe for the 
 cafts and thofe for the vents. 
 
 This muff be done feveral times, and the little cracks which 
 will happen in this compofition, muft from time to time be 
 iilled. 
 
 AVhen all the wax is well covered, he puts another fort of 
 eompofition upon it with a pencil that is thicker and has more 
 fubftance, though made of the fame ingredients before-mentioned, 
 min2;led with fome mould or horfe-dung. 
 
 After fix or feven of thefe lays, another thicker than any of 
 the reft is laid on with the pencil, made of mould and horfe- 
 dung : That being dry, another is put on, and then another till 
 feven or eight : At laft a thicker ftill is laid on with the handy 
 compofed alfo of mould and horfe-dung ; and this is followed by 
 another ; but the workman muft be fure that every lay is dry be- 
 fore another is laid on, and take care not to leave any part of 
 the naked and drapery, but what fhall be equally covered with 
 every lay. 
 
 After this he takes fcvcral fiat iron bars of the height of the 
 figure, which at bottom is faiiencd to hooks, that fhould be at 
 the fide of the grate, on which the whole figure is placed ; thefe 
 bars muft be at fix inches diameter each from the other, and 
 turned according to the attitude of the figure, in fuch fort that 
 they may join to the mould, and coming from the top may 
 meet in a kind of iron circle or bands of iron, which catch in 
 the hooks of each bar. 
 
 Then the figure is girded from fpace to fpace, with other 
 iron bands at the diftance of feven or eight inches ; thefe bars 
 ought to be turned according to the difpofition ot the figure, 
 and joined with iron threads or wire to the bars that mount at 
 top. 
 
 When they are all joined together, and in a condition to bear 
 up the mould, the artificer takes fome heavy mould mixed with 
 horfe-duno^ and chaft", and covers all the mould and bars with 
 it, infomuch that it appears to be only a mafs of earth of about 
 five inches thick : But it muft be oblerved, that when a naked 
 ii'^ure is to be caft, which is only to be placed on its two legs ; 
 the riiiht ^J the legs and thighs muft be better fupplied than that 
 of the bud\', with earth ; becaufe when the mould begins to be 
 ftethed, the l6wtr:noft part being fooner heated than the mid- 
 dle ot tiie UjJv J before the foul, which is to thej-ight of she 
 2 ' faellj 
 
S T A 29E 
 
 belly and fiioulders is fccthcd as it ought to to be, the legs and 
 thighs, which are not fo big, will be burnt and confumed with 
 the fire before the trunk is hot through. And this caution is 
 neccfTary in all the different pieces of work that can be made, 
 if the workman would perforin it with judgment, and prevent 
 fuch ill accidents as may happen upon the like occafions. 
 
 When the mould is Hnifned after the manner before direcfled, 
 the artificer orders a hole to be dug four-fquare, large enough 
 to contain the figure ; but it muft have a wide fpace of at leaft 
 a foot or a foot and an half about it, and be deeper than the 
 mould is high ; for, at the bottom, it fhould have a fort of an 
 oven, whofe mouth muft be on the outfide for the putting in of 
 the fire, and above that a ftrong iron grate, ftrongly fupported 
 by the arch and walls of the oven ; which fhould be made of 
 freeftone or brick, as well as the four fides of the hole from 
 bottom to top. 
 
 After the grate is placed on the oven at the bottom of the 
 hole, the mould is let down with engines, and the necefTary 
 provifion made for it ; pans are fet under the pipes, that ferve 
 for cafts and vents to receive the wax that runs out of them ; 
 then the hole is covered by planks, and, by lighting a moderate 
 fire under the figure, that, and all the place in which it is, is 
 heated with a moderate heat, till the wax melts and luns out of 
 the mould, none remaining behind ; for, if there was, it would 
 caufe a deformity in the figure, when the metal ran into it. 
 
 The mould muft not be fo hot as to make the wax boil, which 
 might hinder its running outintirely. 
 
 When it is thought all the wax is melted, which may be known 
 by the quantity which comes out, for it muft be weighed before 
 it is put in ; the pans are taken away, and the mouths of the 
 holes at which the wax ran out are covered with earth ; all the 
 void fpaces between the mould and the walls are filled with pieces 
 of bricks, which are thrown down foftly and without ranging in 
 order ; and, when that is done to the top, a good wood fire is 
 made under the furnace. The flame, being intermixed with 
 thefe pieces of brick, cannot afcend with violence or damnify the 
 mould ; but communicates a heat only in paffing through thofc 
 pieces of brick, whicli it heats, fo that it grows red, as does alfo 
 the mould. 
 
 After the fire has burnt about twenty-four hours, and it is 
 perceived that the bricks and moulds are h'ghted from bottom to 
 top, that fire is let out, and the moulds grow cold again ; all the 
 bricks being taken away that were about it. When the heat is 
 quite gone, earth is thrown into the hole to fill up the vacancy 
 left by the bricks, and, as the earth is thrown down, it is trod 
 upon andprcfled a^ainft the mould, which therefore fliould not 
 
 U 2 be 
 
292 S T A 
 
 be hot; for, if there remains any heat in it, it will imbibe the 
 moifture, which will caufc many inconveniences when the metal 
 comes to be caft. 
 
 For the melting of metal, a ftove muft be made by the fide 
 of the hole in which the mould is : The area of this ftove Ihould 
 be two or three inches higher than the top of the hole, that it 
 may be floping. 
 
 It ftiould be built in the form of a furnace with good tile- 
 fhards and mould, bound with good iron hoops, and big enough 
 for the intended v/oik. 
 
 The ftove being hnifhed deep enough to contain the metal, 
 two mouths are made above it, the one to throw the wood into, 
 and the other to htt and give it air. 
 
 When the ftove is very dry, a great wood fire is made, into 
 which the metal, with which the figure is to be caft, is thrown. 
 There ftiould be a iliird mouth at the fide of the hole, which 
 muft reach to the area of the ftove ; this mouth muft be well 
 ftopped with earth, while the metal is melting ; but fo that it 
 may be opened when the workman pleafes, and by a canal of 
 earth it has communication with a fort of great bafin made of 
 mould, and placed above the figure ; the middle ofwhich bafin 
 is to anfwer exadlly to the cups to which the cafts are fixed. 
 
 This bafin is called by French workmen efcheno; it muft be 
 
 firm, and made of good pounded earth, very dry ; for which 
 
 end it is put into a coal fire, well dried and afterwards pounded. 
 
 And to prevent the metal from running into the cups, as foon 
 
 as the oven is opened, there are men fet to cover them with a 
 
 long iron bar, thick at the end, and turned there like the cup : 
 
 There are as many ofthefc bars and thefe men, as there are 
 
 cups ; that is, one or two, according to the nature of the work. 
 
 VV^hen the metal is melted, the workmen open the iron door, 
 
 or rather unftop the hole, which is at the right of the canal ; 
 
 this is done with a piece of iron at the end of a long pole. The 
 
 metal, running out, falls into the efcheno, where, when it is 
 
 come, the cover is taken off" the cups, the metal enters into the 
 
 mould, and the figure is formed in an inltant. 
 
 When the matter has thus filled the mould, it is left three or 
 four days ; then the earth that was put about it is taken off", by 
 which means the mould grows quite cold ; and when the work- 
 man finds it has no more heat in it, he breaks it, and difcovers 
 the figure in nietal, with the lays and efvents or vents of the 
 fame metal with itfelf. 
 
 It ib fawed on the place, to clean and get the figure out the 
 more eafily : After that it is cleaned and fcoured with water, or 
 with pieces of fir and other foft iputiiiv wood, rubbing the ca- 
 ucies t»t the drapery and other paits of the figure. 
 
 a "If 
 
S T A 293 
 
 If it be a little figure, it is waflied with aqua-fortis, and when 
 that water has had its eftbiit, it is wafhed with common water ; 
 and after it has been very well cleanfed it is repaired, if it wants 
 It J but great figures are never repaired at all. 
 
 The tools ufed in repairing aie the burin, the round and flat 
 graver, a little chiflel, bodkin, and rciHoirs, which are a fort of 
 files. 
 
 When the figure is well cleanfed and repaired, the fculptor 
 colours it, if he pleafes : There are fome who do it with oil and 
 red oker, others make it turn green with vinegar ; but, in time, 
 the brafs takes a varnifh that bears upon the black. 
 
 Thofe who gild them do it two ways, either with leaf gold, 
 or tempered and mixed with quickfilver ; which is the firft and 
 moft excellent way, and made ufc of in little figures : For this 
 the workman takes one part of gold, and the other part of quick- 
 filver; heats the figure, and puts on this compofition, which 
 whitens it; and, re-heating it, the fire exhales the quickfilver, 
 and the figure remains gilt. 
 
 The other way is ufed in great figures, and where perfons 
 would not be at much expcnce ; the figure is fcraped all over 
 with little files and other tools to make it frefh and clear, then 
 it is heated, and leaf gold laid upon it, which is done four times. 
 
 Bafs-reliefs arecaft after the fame manner as Statues, that is, 
 the mould is firft filled with wax ; after it is laid on as thick 
 as is neceflary, it is tempered with plailier or earth, which is 
 put on the wax, to keep it in one piece at its coming out of the 
 mould, and to repair it the more eafily ; then it is covered as the 
 mould of Statues, with ftveral lays of compofition and earth; 
 but the pipes for the cafts and efvcnts or vents are put behind 
 and on the edge of bafs-reliefs, and fome on the figure. 
 
 The reft is done atter the fame manner as is mentioned for 
 Statues. 
 
 As to the metal which is ufed, that depends upon the foun- 
 der's choice ; only he muft obferve this, that for one pound of 
 wax there muft be ten pounds of metal, without allowance for 
 wafte, which may beconfiderable in large figures. 
 
 For fine Statues the allay of the metal is half red copper, and 
 the other half yellow. The Egyptians, who are faid to be the 
 inventors of diis art, put two thirds of brafs, and one third 
 of red. 
 
 If the fculptor would make little figures of brafs, he melts the 
 wax, which he puts into the mould of pliiiller : The waxen fi- 
 gure is taken out of the mould in one piece, and hollow ; which 
 cavity is filled with plaifter, and left to dry, that it may fcrvc 
 for the foul ; all the reft is done as for great figures. 
 
 Of c^iing figures J or making Statues injlu^k. Several Sta- 
 
 U ^ tues 
 
ig4- S T E 
 
 tues are made in ftuck. Thefe figures are for the ornament of 
 
 cielings, t'riezes, and cornifhes. 
 
 As to the making figures, the firfl thing is to form the foul of 
 plaifter or hme mortar, and a cement of tile-duft ; putting bars 
 of iron into thofe parts of the figure that flaad in need of being 
 borne up. 
 
 When the foul is formed, it is then covered with fluck to 
 H'ork out the figure, for w hich the workman has his proper tools. 
 
 In the compofition of lluck, one pound muft be marble duft, 
 and two thirds lime. 
 
 There is a fort of ftuck made of plaifler-ftone managed as 
 marble; inftead of which, fometimes, alabafter is made ufe of. 
 
 As for ornaments of bafs-taillc, moulds are ufcd, that they 
 mav be made more readily. 
 
 The artificer takes a mortar compofed of lime and fand, or 
 tile-duft for the firft allay ; and, before it is quite dry, the ftuck 
 is tempered to a compofition that is neither too hard nor too 
 foft : When it is laid on the place where the workman would 
 make an ornament, he applies the mould, called by French ar- 
 tifts moulette, made of plaifter, or a compofition of wax, rofin, 
 and brick-duft, more durable than plaifter. 
 
 The mould muft be firft powdered with marble powder, 
 vhich being put upon the ftuck, the artificer ftrikes it with a 
 mallet, and the figure of the mould remains on the ftuck; after 
 this the work is cleanfed, that it may appear the more fmooth. 
 
 STEEL, is a kind of iron refined and purified by fire, with 
 other Ingredients, which renders it whiter, and its grain clofer 
 and finer. 
 
 Steel of all other metals is that fufceptible of the greateft 
 degree of hardnefs, when well tempered ; whence proceeds its 
 great ufe in making tools and inftruments of all kinds. 
 
 The true method of making Steel has been greatly concealed, 
 and the public long abufed by counterfeit methods. 
 
 Agricola gives us the following method, and Kircher affirms 
 it is that praclifed in the ifiand of Ilva, a place famous in all ages 
 for the manufacture of good Steel, from the time of the Romans 
 to our own : 
 
 Heat a quantity of iron red-hot, cut it into fmall pieces, mix 
 it with a fort of ftone that eafily melts. This mixture put by 
 liule and little into a crucible, firft filled with charcoal-duft and 
 heated red-hot ; when it is melted off", three, four, or more 
 pieces of iron are to be put into the middle of it, and there boiled 
 for five or fix hours with a ftronsi; fire. 
 
 This melted matter muft be often ftirred by the workman, 
 that the pieces of iron mav loalc in the particles of the melted 
 iron ; which particles coufume, and thin the groiler ones of the 
 
 iron 
 
 J 
 
S T O 295 
 
 icon pieces, and are as it were a ferment to them, and make 
 them tender. 
 
 Then one of the pieces is to be taken out of the fire, and put 
 under the great hammer to be^drawn out into bars, and wrought ; 
 and hot as it is plunged into cold water. 
 
 Having been thus tempered, it is again worked upon the an- 
 vil ; then, breaking it, it is confidered, whether, in any part, it 
 looks Hkc iron, or whether it be wholly condcnfed and turned 
 into Steel. 
 
 To f of ten St B.'Els for engraving upon. — This is done with a lix- 
 ivium of oak afhes and unilacked lime, by carting the Steel into 
 it, and letting it remain for fourteen days. Or thus ; take the 
 gall of an ox, the urine ot a man, verjuice, and juice of net- 
 tles, of each alike ; mix them, then quench the Steel red-hot 
 therein, four of five times together, and it will become very foft. 
 
 Thortias S IE V EN SON, was bred up under Aggas, and be- 
 came a good painter, not only in landfcapc, but alfo in figures, 
 and architecture in diftemper. He was efpecially eminent for 
 fcene-painting, though his works are not lb much in efteem at 
 this day, as when he lived. 
 
 ASTOLZIUS. He -engraved in the Gothic tafte, and 
 ufed this mark. 
 
 John STONE, was an extraordinary copier in the reigns of 
 Charles I. and If. He was bred under Crofs, and, having the 
 foundation of an exquifitedraughtfman, performed feveral admi- 
 rable copies, after many good copies in England. He did a great 
 number of them, and they arc reckoned amonglf the fineft of any 
 Englifh copier. He did alfo forae imitations after fuch mafters, 
 as he more particularly fancied ; which jx?rformanccs of his are 
 flill in great repute, and received into the bell collections amongft 
 us. He fpent thirty-feven vcars abroad in the Itudy of his art, 
 where he improved himfelf in feveral languages, being befides a 
 man of fome learning. He died in London the 24th of Auguft 
 1653, and lies buried in St. Martin's. 
 
 STONES, are hard, folid, mineral bodies, neither fufible 
 t\or malleable, formed in the fucceflicn of time m the bowels or 
 body of the earth. 
 
 Peter STOOP, was a Dutch battle-painter, who came into 
 England from Portugal with the late queen-dowager ; his chief 
 fludy was battles, huntings, and havens, which he performed for 
 fome time with good fucceis ; but aficr the arrival of John Wyke 
 in England, v/ho painted the fame wav, his pictures were not 
 fo much \alued, by'realbn of the greater excellency of that maf- 
 *pr. This Stoop etched feveral prints of horfes, as alfo the queen- 
 dowager's public entry. He died about fv^venty years atio. 
 
 L 4 S1V..-\DA, 
 
^9^ 5 T R 
 
 STR ADA, means Vefpafian Strada of Rome* \ 
 
 To dyefilk a STRAW colour .— Y\x<^ alum and rinfe the fillc, 
 and for every pound of it boil one pound of broom flowers for a 
 quarter of an hour; then pour it into a tub, which muft be in 
 hze proportionable to the quantity of the filk; then put to it an 
 equal quantity of water, and, after you have ftirred the filk in it, 
 Wi the kettle again with water, and boil it a quarter of an hour. 
 i he iilk bemg wrung out of the firfl fuds, put them into the fe- 
 condj and, if you fee occafion, make a Wronger yet, and ftir 
 the filks m it, till the colour is fufficiently heightened ; then 
 rinfe it out, and hang it up to dry. 
 
 To dyejiuffa Straw colour.—Fxiii dye the goods yellow, and 
 throw half a pmt of urine into the dye ; put in the goods, and 
 work them about, as long as you think convenient. 
 
 Robirt STREAT'ER, was born in the year 1624, ^^ bred 
 up to pamting and defigning under Du Moulin. Being a perfon 
 of great indurtry, as well as capacitv, he arrived to a very emi- 
 nent degree in divers branches of his art, cfpecially in hiftory, 
 architecture, and perfpe6iive, wherein he excelled all of his time 
 in England, and Ihewcd himfelf a great mafter by the truth of 
 his outlines, and the learning of fore-lliortening of his figures, as 
 may be ktn by his works. He was alfo excellent in landfcape, 
 having a mighty freedom of pencilling with equal invention, and 
 was moreover remarkable for ftill life, infomuch that there are 
 iome o. his fruit ftill to be feen, which are of the higheft Italian 
 gulto, both for pencilling, judgment, and compofition. l^o do 
 him but juftice, he was the greatcft and moft univerfal painter 
 that ever England bred, which we owe in fome meafure to his 
 readmg, he bemg reputed a very good hiftorian, which no doubt 
 contributed not a little to his perfection in that way of paintin-^. 
 Upon the reftoration of king Charles II, he was made his mt 
 jelty s ferjeant-pamter. He died, after having been firft cut for 
 the ftone by a furgeon, whom' king Charles^II. fcnt for from 
 trance, for that purpofe, in the year i68o,j at fifty-fix years of 
 age, after he had lived in great reputation and efleem all'hislife. 
 His principal works were at the theatre at Oxford ; fome ciel- 
 ings at Whitehall, which are now burnt; the battles of the 
 giants with the gods at Sir Robert Clavtcn's ; the pidures of 
 Mofes and Aaron in St. Michael's church in Cornhill. 
 
 To put a STREET in perfpe£hve.—h bare fight of the fi^rure 
 may (uffice to (hew the method, which is exceeding eafy. "" 
 
 All you have to do is to make a plan of fimple fquares the 
 common way; and to take one, two, or three of the fquares 
 for the breadth or length of each houfe, and in fuch breadths, 
 &c. to fet of^ the meafurcs of the doors and windows, and to 
 get the dimmutions by drawing lines from the feveral nicafures 
 
 to 
 
/<■///. /•/<>/■( XX 
 
 I^w/.2c^6 
 
S T U 297 
 
 to the point of diftance ; as here from BCD E and F, plate XX. 
 fig. I. 
 
 The firft angle of each houfe may ferve for a line of elevation, 
 as the angle G in the firft houfe. 
 
 If you require any crofs ftreets, one, two, or three fquares 
 are to be left vacant, and nothing upon them, as here at H and I. 
 
 Pig. 2, is to fhew, that, where houfes are to be made to ad- 
 vance or fall back, you have only to put their elevations for- 
 warder or backwarder on the plan of their Ajuares. 
 
 Thus L advances a fquare farther than K, and M farther than 
 L> and fo of the reft. 
 
 STRENGTH, is reprefented, in painting, &c. by a womaa 
 In armour, her ftature upright, big-boned, plump breafts, harfti 
 hair, fparkling eyes, a fpear in her hand, with an oak-branch, a 
 (hield on her arm with a lion and a wild boar. — All thefe denote 
 Strength; the oak-branch and armour (hew Strength of body 
 and mind ; the fpear denotes fuperiority procured by Strength ; 
 the lion and boar the Strength of body and mind, the one afling 
 with moderation, the boar runs headlong with fury. 
 
 STRICTNESS, is reprefented, in painting, &c. by an old 
 woman, furrounded with many wreaths of ivy, holding in each 
 hand branches of the fame. — The power of conftraint is attri- 
 buted to the ivy, ftgnifying to bind and twift ; it was a fad omen 
 to the priefts amongft the Romans, even to touch it, or name 
 it, that they might not feem to be any way ftreight-laced, either 
 in thought or deed. 
 
 STUBBORNNESS, is reprefented, in painting, &c. by a 
 woman all in black, a great deal of ivy growing about her ha- 
 bit, and a leaden cap on her head. — The black denotes firmnefs 
 and ignorance, from whence proceeds Stubbornnefs ; the lead 
 denotes ignorance and unwieldinefs, the mother of the fame ; 
 the ivy denotes, that the opinionativenefs of obftinate men has 
 the fame effedt upon them, as the ivy has, which makes the wall 
 to decay and tumble down, where it takes root. 
 
 STUCK, marble pulverifed, mixed in a certain proportion 
 with plaifter; the whole wellfifted, and worked up with water, 
 and ufed like common plaifter. See STATUES. 
 
 STUDY, is reprefented, in painting, &c. by a pale youth in 
 a modeft garb, fitting down, his left hand on a book lying open, 
 on which he is very intent; a pen in his right, a lamp and a 
 cock on each fide. — Palenefs denotes his pining away, his fitting 
 his fedentary life, his being intent fhews ftudy to be a great ap- 
 plication of mind ; the pen, his defire to leave fomething behind 
 him to make him be remembered by others ; the lamp, that ftu- 
 dents fpend more in oil than wine ; the cock, vigilance. 
 
 STUPIDITY, is reprefented, in painting, &:c. by a woman, 
 
 lavin ' 
 
298 S U L 
 
 laying her hand upon the head of a goat, with an eringo-branch 
 in her mouih, a narcifl'us flower in her left hand, crowned with 
 the lame. — The goat denotes Stupidity ; the narciffus is derived 
 from the Greek, narche, ftupid ; and Narcifibs fo in love with 
 ^imfelf grew ftupid, and was drowned : The cringe is a ftupi- 
 fying plant. 
 
 SUiiLIMATE, is a chymical preparation, the bafis whereof 
 is mercurv or quickfilver. It is prepared of mercury, either crude 
 or revived from cinnabar, together with fpirit of nitre and vitriol, 
 lixiviated to a whitenefs, and fea-falt decrepitated, the whole re- 
 duced into a white brilliant mafs by fublimation. It is white, 
 and full of (hining cryftalline veins. It cannot acl, unlefs it find 
 fome humidity to act upon, and is then a violent poifon. 
 
 To prove the gocdnefs o/'Sublimate. — Caft it on the coals, 
 and if it is good, it will burn of a blue flame ; but if it make any 
 other colour, it is naught, and has arfenic in it. Or : Take the 
 Sublimate, and drop thereon a few drops of oleum tartari perde- 
 liquium ; if it turns the fubftance of a deep yellow, reddifti, or 
 orange tawney, it is good j but if not, or it be black, there is 
 arfenic in it. 
 
 SUCCOUR, is reprefented, in painting, &:c. by a man in 
 armour, with a drawn fword in one hand, and an oaken branch 
 and acorns in the other. — Armed, to help the weak and necef- 
 fitous ; the branch, to help in time of fcarcity and famine with 
 the acorns, for anciently men had recourfe to that fruit in time 
 of need, it being dedicated to Jupiter, who fuccours every one. 
 
 Eujiace le S\2)i\J^^ born in the year 161 7, a fcholarof Vouet's, 
 lived at Paris, excelled in hiftory, died in the year 1696, aged 
 eighty years. 
 
 SUFFERING, is reprefented, in painting, tec. by a woman 
 that looks to be prettv old, feeming to fupport a huge ftone with 
 this motio, Rebus me fervo fecundis. — To fuffer is, as it were, 
 to bear fome weight, not taking notice of its weight, aiming at 
 Ibme good ; and fo men ought to bear fatigues for the love of 
 virtue ; the motto denotes the end of Suffering, which is refl: and 
 quietnefs, becnufe the hope of probable benefits make us endure 
 all fatigues v.illingly. 
 
 SULPHl-R, a fat, iincluous, mineral fubftance, fufible and 
 iiifiammiiblc by fire, and notdiflulubleor capable of being mingled 
 with water. 
 
 Sulphur, properly fo called, or brimftone, is of three kinds j 
 viz. vivum, mineral, and common fulphur. 
 
 Sulphur ^'ivum is thus called, as being fuch as it is taken out 
 of the mine ; it is a kind of greyifh argillous clay, which eafily 
 t.ikes fire ; and in burning emits a ftrong fulphureous fmell, and, 
 by reafon of its colour, it is fometimes called grey Sulphur. It 
 
 is 
 
S U L 209 
 
 i? chiefly brought from Sicily, and is not much ufed, except in 
 fome Galenical compofitions ; and to fulphur wine, to :nake it 
 keep in carriage. The beft is foft, fmooth, friable, and fi:iinin -"^ 
 of a moufe colour, and not too full of fmell. 
 
 Mineral fulphur, called alfo yellow fulphur, is a kind of hard 
 earthy bitumen, of a fhining yellow colour, a flrong ftinkinor 
 Imell, cafily taking fire, and difiblving. It is found in great 
 quantities in the neighbourhood of vulcano's, or burning moim- 
 tains ; as iEtna, Vefuvius, &c, and it is likevvife found in its 
 particular mines ; and we have very good from feveral parts of 
 Italy and Switzerland, though the beft is thatof Quitto and Ni- 
 caragua in America. 
 
 It is from this Sulphur, that the common Sulphur ufed ii gun- 
 powder, and on divers other occafions, is drawn, by mcL'us of 
 fire and whale oil ; which difiolving it, it is poured into moulds, 
 and thus formed into thofe cylinders we find it in. This com- 
 mon Sulphur is either better or worfe, according to the refinery 
 it comes from. That of Holland has for a long time had the 
 vogue ; that of Venice is reckoned the fecond ; and that of Mar- 
 fellles is allowed the third. 
 
 Befides the ufe of Sulphur inphyfic or chymiftrv, and the com- 
 pofition of gunpowder ; it is ufed for white/iingfilks and woollen 
 ftufi^s, for which purpofe the vapour is contrived to be received by 
 them. 
 
 A4etals are fuppofed to confift of two efTential parts or princi- 
 ples, mercury as the bafis or metallic matter, and fulphur as the 
 binder or cement, which fixes the fluid mercury into a coherent 
 malleable mafs. 
 
 Sulphur faturni\ an ingredient in partes for all forts of arti- 
 ficial gems, and is made in the following manner : Takecerufs, 
 or white lead ground very fmall ; put it into a great glafs body, 
 and pour thereon as much diftilled vinegar as will rife a palm 
 above it ; and, as the vinegar will rife and fvvell very much at 
 firft: pouring on, you muft take care to pour it on gently, until 
 all the furv and noife be gone : Then fet this body on a hot fur- 
 nace in fand, there to evaporate the eighth part of it away ; then 
 let it cool, and decant oflFthe remainder of the vinegar, which 
 will be well coloured, and full of fait, which keep in another 
 glafs vefTel. Then pour frefh diftilled vinegar on the remainder 
 of the cerufs ; fet it again on the furnace to evaporate as before, 
 and decant off that vinegar as the former. Reiterate this proccfs 
 of putting frefh vinegar on your matter, and evaporating it, and 
 decanting it off till it have no further colour, nor fweetncfs ; 
 which commonly happens about the fixth time. Take all vour 
 coloured vinegars, and carefully filtre them off; then take one or 
 more glafs cucurbits, and evaporate all the vinegars over a gentle 
 
 fire. 
 
300 SUM 
 
 fire, and \tJu will find remaining at bottom a fait of faturn of lead 
 very white. 
 
 'Fhen take a giafs matrafs, lute it well down to the middle of 
 the body, and put your fait of lead in it, and put it on a fand 
 furnace o\ er a gentle fire for the fpace of twenty-four hours, 
 covering it with fand up to the neck. Then take out your fait, 
 which ought to be as red as cinnabar, and grind it fine on a mar- 
 ble : If it be yellow, you muit put it on the fire again for twen- 
 ty-four hours longer, and take care it do not melt, for then all 
 is fpoiled. 
 
 When your fait of lead is perfedl, as we have fhewn, you 
 murt: put it again into a glafs cucurbit, and pour diftilled vinegar 
 on it as before, and decant it off, when it is enough coloured ; 
 and put frefli vinegar on the remaining fait, and continue until 
 all the fait be diflblved, and the faeces and dregs all feparated. 
 After that, put all thefe coloured vinegars into glafs veflels, and 
 let them ftand fix days to fettle, then filtre them carefully, and 
 feparate all the faeces. Then put all thefe filtred vinegars into a 
 great glafs body to evaporate as before, and yuu will fijid at the 
 bottom a verv white fait of lead, as fweet as fugar. 
 
 This fait, being well dried, difiblve it afrefh in common wa- 
 ter, and let it ftand fix days, that all the faeces may precipitate 
 to the bottom. Then filtre that water, and evaporate it in a 
 glafs cucurbit over a gentle fire, as we have faid, and you will 
 have at bottom a fait more white than fnow, and as fweet as 
 fugar. Reiterate this method of diflblving in fair water, filtring 
 and evaporating until three times ; then take your faccharum fa- 
 turni, and put it in a glafs body over a fand furnace over a tem- 
 perate heat, where leave it for feveral days, without augmenting 
 the fire ; then it will become redder than cinnabar, and give a 
 calx finer than wheaten flower. 
 
 It is this calx thus purified from all Its terreftreity, which is 
 called Sulphur of faturn. Now, in making pafte for emerald, 
 fapphire, granate, topaz, chryfolite, blue, and other colours, you 
 inuft employ it inftead of minium in the fame dofes as we have 
 fhewn eifewhcre : Obferving all we have noted in the fubje£l of 
 baking, and proceeding; then you will have ftones of different 
 colours, far finrer than the natural ones, and which can fcarcely 
 be diftinguifhtd from them. 
 
 The pafle, made with this fulphur, will not have that greafe 
 and yellownefs, which others have ; and will not be fo apt to 
 fpot by the breath : Upon this account, the curious will have 
 no caufe to repent the trouble of making this Sulphur, though 
 the work he \ery laborious. 
 
 SUMACH, a drug ufed in dying green, as alfo in the prepa- 
 ration of black Morocco and other leather. 
 
 It 
 
S Y B 301 
 
 It confifts of the leaves and young branches of a Hirub, not 
 unlike the little fervice-tree ; the leaves are longifli, pointed, and 
 hairy : The Howers grow in clufters, and are red like our rofes. 
 Its fruit is a kind of grape, of a very aftringent quality ; and its 
 feed almoft oval, and inclofed within a capfula of the like fieure. 
 
 SUMMER fcljiue^ is reprefented, in painting, &c. by a 
 young man naked, wings on his feet, feems to retire backward ; 
 ears of corn on his head, with a circle, on which are nine ftars, 
 inthemidft of which is Cancer, a globe in one hand, the fourth 
 part of which is darkened, and the re^ illuminated ; a crab fifli 
 in the other, four wings party-coloured on his feet. 
 
 Twenty-five years denote the fourth part of man's life, as the 
 fun going from Aries to Cancer has finifhed the fourth part of 
 hiscourfej naked, fhews exceflive heat ; backward, tofhewthe 
 fun retires when at the equinoctial ; the ftars on his head, hecaufe 
 then the fun (lands perpendicular over us, and makes the foHlice ; 
 the wings (hew the continual circular motion ; the colours denote 
 the diiference of night and day at that time. 
 
 SUN-FLOWER to paint ; cover it with mafticote and gam- 
 boge, and fini(h with gall-ftone and biftre. 
 
 Lay the green on with verditer and mafticote, and (hade it 
 with bladder green. 
 
 SUPERSTniON, is reprefented, in painting, ^-c. by an 
 old woman with a nightingale on her head, an owl and a crow 
 on each fide below; in her left hand a lighted candle, in the 
 right an orb, with the planets on which (be gazes very timorous, 
 old, becaufe fuch perfons are moft fuper(fitious ; the nightin- 
 gale is taken for a bad omen, which by her finging in the night 
 threatens bad luck, as does the owi ; the candle denotes the ar- 
 dent zeal fuperftitious perfons think they have, they fear, but 
 do not love God ; the (tars, the vain fear of things above, and 
 conftellations, and doing things at one time, rather than at an- 
 other, from whence aftrology had its rife, and from whence Su- 
 perftition flows. 
 
 SUSTENANCE, is reprefented, in painting, &c. bv a lady 
 in a robe of cloth of gold ; in her right hand a gleaning of corn ; 
 in her left a bunch of grapes, with milk fpirting out of her tur- 
 gid brealts. Thefe allude to the bounty of nature, that, whea 
 we are infants, we are nouri(hed with milk ; when grown to 
 maturity, with bread and wine. 
 
 SWIFTNESS, is reprefented, in painting, ^c. by a young 
 woman in a loofe green habit, in a running pofture, an arrow in 
 one hand, wings on her (boulders, and on her heels, like thofc 
 %vith which mercury, the fwift melTenger of the gods, is painted ; 
 all thefe Ihcw great Swiftnefs. 
 
 Jokn S"! BRECHT was a landfcape-painter, born at Anwerp, 
 
 and 
 
302 S Y M 
 
 and brought up under his father. He was a clofe imitator of na- 
 ture in all his landfcapes ; and in his younger days went upon 
 the Rhine, a;id other adjacent places, where he drew feveral 
 pleafant views in water colours. 
 
 The Duke of Buck.in2;ham, in his way home from France, 
 pafling through the Netherlands, flaid fome time at Antwerp, 
 where meeting with feveral of this mafter's works in landfcape, 
 he was fo well pleafed with them, that he invited him over to 
 England, and made him his painter, and he did a great number 
 of thofe piiSures for him at Cliveden-houfe. 
 
 He alfo performed feveral pieces for the nobility and gentry of 
 England, amongft whom he was for fome time in vogue. 
 
 He alfo drew feveral forts of cattle with good fuccefs, which 
 he commonly placed in his landfcapes. 
 
 He died about fifty years ago in London, and lies buried in 
 St. Tamcs's church, being feventy-three years old. 
 
 SYMMETRY, is reprefented, in painting, &c. by a woman 
 at perfci^^ age, naked, of fingular beauty, and all her members 
 arc uniform, and correfpond with her beauty; a piece of cloth 
 goes acrofs her, all fpangled with flars ; a curious piece of ar- 
 chitcclure by her, in one hand is a plumb-line, and compafTes in 
 the other, going to meafure the ftature of Venus. — Her a^e 
 fhews her arrived at her juft proportion ; naked, tofliew that all 
 the parts ought to correfpond in true proportion j the inftruments 
 are to meafure the uniformity. 
 
 SYMPATHETIC inks are fuch as can be made to appear 
 and difappear very fuddenly, by the application of fomething that 
 feems to work by fympathy. 
 
 I. Take unflacked lime two or three parts, and one of yellow 
 crpiment; reduce them to powder, and mix them, adding to 
 them fifteen or fixteen times as much water, as you have orpi- 
 ment ; put them into a glafs bottle or phial, and ftop them with 
 a cork and bladder, and fet it in warm embers, fhaking the phial 
 now and then for five hours, and then warily decant the clear 
 part, or rather filtrate it. 
 
 In the mean time, burn a piece of cork thoroughly ; and, when 
 it is well inflamed, quench it in common water, or rather in 
 brandy. It being thus reduced to a friable coal, grind it in fair 
 water, in which gum has been difTolved, and it will make a li- 
 quor as black as common ink. 
 
 While this is preparing, difTolve a quantity of red lead in three 
 times as much diftilled or ftrong vinegar over warm embers, or 
 of faccharum faturni in three times the quantity of water for 
 three or four hours, or till the liquor has a fweet tafte. This 
 liquor will be as clear as common water. 
 
 H.iviiig prepared the inks as before directed, write what yon 
 
 v.'ould 
 
T A-C 302 
 
 would write on paper with this laft liquor, dry it, and nothing 
 will appear. 
 
 Over the place write what you pkafe with the fccodd liquor, 
 and it will appear as common ink. When it is dry, dip a piece 
 of rag or Ipunge in the firft liquor, rub it over the written place, 
 and the black writing will vanifh ; and that wrote with the in- 
 vifibleink will appear black and legible. 
 
 Again, take a book four or five inches thick, and on the firft 
 leaf write any thing with the laft liquor ; turn to the other end 
 of the book, and rub therewith a rag dipped in the firft liquor, oi\ 
 that part, as near as you can guefs, oppofite to the writing ; and 
 leave alfothe rag there, clapping a paper over it. Then, flat- 
 ting the book nimbly, ftrike four or five fmart ftrokes thereon 
 with your hand, and, turning the other fide uppermoft, clap it in- 
 to a prefs, or lay it under a good weight for a quarter of an hour, 
 or half that time ; then will the writing, done with the invifibl« 
 ink, be found legible. 
 
 2. Difiblve white or green vitriol in water, and, writing with 
 the folution, nothing will appear. 
 
 Boil galls in water, and dip a linen rag in the decoction, and 
 with it rub the place written before, and it will appear black and 
 legible. 
 
 Rub it over again with fpirit of vitriol, or its oil, and the 
 writing will difappear again ; rub it over again with oil of tar- 
 tar per deliquium, and the letters will appear again, but ol a 
 yellow colour. 
 
 T. 
 
 TABBYING, is the pafling a filk or ftufF under a calender, 
 the rolls of which are made of iron or copper, varioufly 
 engraven, which, bearing unequally on the ftufF, render the fiir- 
 face thereof unequal, fo as to refledl the rays of light indifferent- 
 ly, making the reprefentation of waves thereof, as on a tabby. — 
 It Ls performed without the addition of any water or dye ; and 
 furnifties the modern philofophers with a ftrong proof, that co- 
 lours are nothing but appearances. 
 
 TACAMACHA, / is a fort ofrefinous gum, which diftils, 
 
 TACAMAHACA, S from the trunk of a very large tree 
 grovving in new Spain, but moft plentifully in the ifland of Ma- 
 dagafcar. 
 
 There are of it three different forts ; Tacamacha in the pod, 
 Tacamacha in the mafs, and Tacamacha in tears. 
 
 The firft is the natural rcfin, as it falls of itfelf, without mak- 
 ing any incifion in the tree. To be good, itfhould be dry, red- 
 
 difti. 
 
504 T A N 
 
 difli, tranfparent, of a bitter tafte, and a ftrong fmell, refembllng 
 that of lavender. It is gathered by the iflanders in little gourds, 
 cut in two, and covered with a palm leaf. 
 
 The Tacamacha in tears and in the mafs, are thofe that flow 
 from the tree out of incifions ; it ought to be chofen dry and 
 clear, and the fmell muft be the fame with the firft fort. This 
 gum is ufed in fome varnifhes. 
 
 Colours for rAFFETY. TafFeties are painted much after 
 the fame manner as fattins are ; therefore take fuch as are fit for 
 the purpofe, and lay them one by another, and fhadow them 
 with others. 
 
 TALC, ) is a {hining, flaky, or fcaly, fiflile ftone, which 
 
 TALK, ) may be ealily feparated into tranfparent leaves or 
 fcales. 
 
 It was formerly found in mines in Cyprus, Cappadocia, Arabia, 
 and Africa ; but at prefent it is chiefly dug out of the Alps and 
 Apennines, fcveral mountains in Germany, and alfo in England, 
 particularly in Northamptonfhire. 
 
 It is ufually diftinguifhed into two kinds ; the white Talc of 
 Venice, and the red of Mufcovy. 
 
 That from Venice is accounted the beft ; it Is brought to us 
 injarge, green, fhiningftones ; but, when it is wrought, becomes 
 white and exceeding tranfparent. 
 
 It is ufed to be put before paintings in miniature, and cray- 
 ons, to preferve them, it being parted into thin laminae or flices. 
 
 The Talc brought from Mufcovy is found in quarries either 
 there or in Perfia ; is reddifh when in the ftone, though it feldom 
 comes to us otherwife than in leaves, which are hard, fmooth, 
 poliflied, and exceeding tranfparent ; and is ufed as the other to 
 put before paintings, and alfo for making lanthorns. 
 
 TAN, the bark of a young oak beaten fmall, and ufed by cur- 
 riers for the tanning or drefling of leather. 
 
 TANNER, one who drefles hides, &c. by tanning, fo as to 
 make leather of them ; he ufes much bark in the way of his em- 
 ployment, concerning which there are feveral terms. 
 
 1. Scutching the bark, which is the cleanfing it from mofs, 
 and the rough crufty outward rind, with an inftrument called a 
 kutching knife. 
 
 2. Hewing the bark, that is, chopping it into fmall pieces. 
 
 3. Grinding it, by putting it under the mill to grind it fmall. 
 
 4. Drying the bark, which is drying it, that it m^y grind. 
 
 5. Setting down. 6. Stretching. 7. Laying down. 
 Tanners w///, an engine made ufe of by Tanners for the 
 
 grinding and cruHiing their bark ; being a large, round, wooden 
 trough, with n pietty big flone fet on edge, or turning part, with 
 flwfp rtro/)g knives, Jeiidedjinto the ftoije j whi^ih itone, being; 
 
 turned 
 
TAN 305 
 
 tHrned in the trough, caufes the irons to cut the bark very fmall. 
 
 Tanning engine. A convenient inftrumcnt for this purpofe 
 may be made, of a long, fquare, wooden block, and fome pieces 
 of iron to be faftencd on, and ufed about it, viz. an anvil, aa 
 hammer, an iron holding the wood to be bruifed and cut, and a 
 knife to cut the fame. 
 
 Now oak or elm is accounted beft for the block ; the dimcn- 
 
 fions whereof may be as follows : The length of the block about 
 
 four feet, the breadth fifteen or fixteen inches, and the depth 
 
 eight or ten inches ; there are to be alfo iron pieces, and a fquare 
 
 hollow, to receive a plate of iron, fcrving for an anvil, for beating 
 
 , and bruifmg the Tanning ftuft' upon ; which anvil may be about 
 
 ' four inches deep, nine inches broad, and twelve inches long. 
 
 Then there is the iron for clafping and holding the materials to 
 
 be bruifed and cut; which iron mufl: lie crofs theen<?ine, about 
 
 the middle of the faid piece of timber, and may be about three 
 
 inches broad; it is to have two hooks at one end, which are 
 
 ' turned upwards, and muft be hooked into the loops of the two 
 
 i hinges, that are let in and faftencd to the fide of the engine, ia 
 
 fuch manner that this clafping piece may have liberty to be raifed 
 
 a little for putting the Tanning fluff under it. 
 
 At the other fide, there is to be a fingie hook, likewife turned 
 
 upwards to hang a weight upon, while the ftufF is bruifing upon 
 
 the anvil, or cutting by the knife. The bottom ferves to take up 
 
 this piece by, and all on the other fide of the block are the places 
 
 . for the four feet to fet this engine upon, which are of a convenient 
 
 I height to work upon it. 
 
 The next thing to be provided is a hammer, for beating and 
 , bruifing the ftufF, which may be the weight of fix pounds, and 
 have the head about three inches fcjuare to work with both 
 , hands ; but to work with one hand, or for a youth to ufe, let it 
 be about three pounds weight and two inches fquare. The fur- 
 face of one end of thefe hammers will be beft to be fmooth ; but 
 that of the other end, the better to enter into the ftufF, rough or 
 with an edge or point ; they muft be well fteeled at both ends ; 
 and their handles may be about a foot long. 
 I There muft be alfo a knife to cut the ftuff, which muft be 
 eight or nine inches broad, and near as much in length, made 
 like a tobacco knife with a handle to work ; this knife lliould be 
 • faftened to the block at the two oppofite fides, that are to be hol- 
 lowed with two grooves; and this fattening is to be performed by 
 two pieces of iron, to be fitted into the faid grooves, to hold and 
 I guide the knife in working. One piece is to be faftened to the 
 end of the knife by a pin paiTing through three holes, and this end 
 ,is tobcfcrcvvcd intothegroove by a pair of fcrew-pins ; then ano- 
 ihcrpiece, beingforkedjis to receive theother end of the knife, the 
 Vol. II. X fulid 
 
3o6 TAN 
 
 folid fquare part of which is to be fixed in the groove that is 
 Tinderneath, by two iron plates, under which it muft run in the 
 faid groove, fo as that it may be flipped out from under it, and 
 laid by when the engine is not ufed ; at which time alfothe piece 
 of the other end may be unfcrewed and laid up. 
 
 The two long fquares upon one end of the block are two iron 
 plates to be faftened, where the knife moving in a fit cavity is to 
 cut the bruifed fluff between them ; and, of thefe plates, that 
 which lies next the end is to be laid a little lower, the block be- 
 ing there pared accordingly, that fo theftuffmay fall off from the 
 end of the engine quicker, as the left hand furnifhes the knife 
 with the materials to be bruifed, while the right hand is cutting 
 them ; let the hollow place where the knife cuts, be as near as 
 may be (o big only, that the knife may cafily fall and rife j and 
 let the block be hollowed under the cutting hole, and floped off 
 at that end, for the fluff to fall off as the knife cuts it. 
 
 Tanning of leather. As for the beft: and cheapcft way of 
 managing this affair, it ought to be that every part of the oak tree, 
 ot what age or growth foever, and all oaken coppice wood of 
 any age or fize, being cut and procured in barking time, will taa 
 all forts of leather, as well at leafl as bark alone; this material 
 therefore being got in its proper feafon, it muft be very well dri- 
 ed in the fun, and more than bark j then houfed dry, and kept 
 dry for ufe. 
 
 When it is to be ufed, the greater wood may be fhaved fmall 
 or cleft fit for the engine, and the fmaller bruifed, and cut fmall 
 by the engine ; which being done, it muft be dried again very 
 well upon a kiln, and then ground, as tanners ufually do their 
 bark. 
 
 Such wood as is to be made ufe of prefently after it is got, will 
 require the better and more drying upon the kiln, otherwife it 
 will blacken and fpoil all the leather. 
 
 Where oak is fcarce, thorns may indifferently fupply that 
 fcarcity. 
 
 Now all thefe ingredients will tan better than bark alone, and 
 that with far lefs charge; and by this means the felling of tim- 
 ber, when the Tap is up, may be prevented ; which, when it is 
 done, caufes the outfides of the trees to rot and grow worm-eaten; 
 whcrea«, if the trees had been felled in winter, when the fap was 
 down, they would have been all heart, as it is called, and not 
 fubjecl: to worms. 
 
 Method ofTAiiKiNG the hides of oxtn^ cows, horfes, Sec. If 
 the fkins are intended to be kept, after they have been flead off the 
 carcafs they are falted with fea fait and alum, or with a kind of 
 faltpetre called natron. 
 
 But, if ihcy are not defigned for keeping, the falling is omitted, 
 - 3 "^ aj 
 
TAN 507 
 
 as being of no ufe, but to prevent the hide from corrupting, 
 before it can conveniently be carried to the tan houfc. 
 
 Whether the hides have been lalted or not, the firft thing the 
 tanner does, is to talce off the horns, cars, and tail ; which be- 
 ing done, he throws them into a running water for about thirty 
 hours to cleanle them from the blood, and other impurities that 
 adhere to the in fide. 
 
 After this, they are laid over night in a lime pit that has been 
 ufed ; out of which, they are taken and left to drain three or 
 four days on the edge of a pit. 
 
 This firft and flighteft preparation being over, it is returned 
 into a ftrong lime pit for two days, and then taken out four 
 more ; and thus, for fix w eeks alternately, taken out and put in 
 {wice a week. 
 
 At the end of fix weeks they are put into a frcfli pit, where 
 they continue eight days, and are taken out for fo many ; and 
 this is done alternately for twelve or eighteen months, according 
 to the ftrength of the Leather or the weather ; for in great heats 
 they put in frefh lime twice a week ; and in froft they feme- 
 times do not meddle with them for three months. Every frefh 
 lime pit they throw them into, is ftrongerand ftronger. 
 
 At four, five, or fix weeks end, the hair is fcraped oiT on a 
 woftden leg or horfe, with a kind of knife for that purpofe ; and, 
 after a year or eighteen months, the hair being perfectly got oft*, 
 they are waftied in a river, and the flefti is pared olf on the leg 
 with a kind of cutting knife, and the hides are rubbed brifkly 
 with a fort of whetftone, to take ofi^any remains of flefti or filth 
 on the hair fide. 
 
 This being done, they put the flcins into the tan, and cover it 
 over with tan, as it is ftretched in the pit, and water let in upon 
 it ; if the fkin be ftrong, five coverings of tan will be requifite ; 
 but three or four may fuffice for weaker. 
 
 When the fkin has not been kept long enough in lime or the 
 tan pit, upon cleaving it in the middle, a whitifti ftrcak is fecn, 
 .called the horn or crudity of the fkin ; and this is the reafon why 
 the foles of boots, fhoes, &c. ftretch fo eafily and take in water. 
 
 When the hides are fufficiently tanned, they arc taken out of 
 the pit to be dried, by hanging in the air ; then they clean the 
 tan off^of them, and put them into a place neither too dry nor 
 too moift ; ftretching them well over one another with a weight 
 at top, to keep them'tight and ftreight ; and then they are fit for 
 (ale, under the denomination of bend leather. 
 
 This is the method of Tanning the hides of oxen or bullocks ; 
 
 the hides of cows, or horles, and calves are tanned much after 
 
 I the fame manner as oxen ; excepting that the f«rmer are only 
 
 X 2 kept 
 
30$ TAN 
 
 kept four months in the hme pit, and that they muff have a pre- 
 paration before they are put into the tan pit as follows : 
 
 The fkins being put into a wooden vat or tub, cold water is 
 poured to them ; in which they are kept ftirrinw while fome 
 other water is warming in a kettle, which water, when it is a lit- 
 tle more than lukewarm, is poured gently into the vat, and a 
 bafketoftan is thrown upon it; during which time, the fkins 
 are ftill kept turning, that the water and tan may not burn 
 them. 
 
 After an hour they are taken out, and cafl for a day in cold 
 water ; then returned into the former vat, and the fame water 
 they were in before ; in which they are let lie for eight days ; 
 which being expired, they are put in the tan pit, and three co- 
 verings of tan given them ; the lirft of which lafts five weeks^ 
 the fecond fix, and the third two months. 
 
 The reft of the procefs is in all refpeds the fame as that a-* 
 bo ve delivered. 
 
 The operation of Tanning is performed on leather better in 
 the Weft-Indies than in England. They ufe three forts of bark, 
 the mangrave bark, the olive bark, and another ; and the whole 
 bufinefs is fo foon done, that a hide delivered to them is in fix 
 ■weeks ready to be worked into ftioes, though they beftow lefs 
 labour than we do. 
 
 Ever)' part of the oak tree, of whit a2;e or growth foever, is 
 fit for the tanners ufe ; and all oaken coppice wood, of any age 
 or fize, being cut and procured in barking time, will tan all forts 
 of leather at leaft as well as the bark alone. When this ma- 
 terial is got at the proper feafon, it muft be very well dried in 
 the fun, more than the bark alone ; thence it is to be cut up and 
 prefervcd in a covered place for ufe. 
 
 When it is to be ufed, the greater wood muft be firft cleft 
 fmall, to fit it for the beating and cutting engine ; and the fmal- 
 Jer muft be put into the engine as it is. Which done, it muft 
 be again dried upon a kiln, and after that ground in the fame 
 manner that the tanners grind their bark. Such wood as is to 
 be ufcil prcfcntly after it is gotten, will require the better and the 
 more vlrvingup-on the kiln ; and, if this is omitted, it will black- 
 en and fpoil all the leather it is ufed about. Where oak is fcarce, 
 black thorn will tolerably well fupply its place ; and, where 
 that is not to be had in fufficicnt plenty, the white thorn will 
 do. 
 
 Birch alfo, being ordered in the fam.e manner with oak, is fit 
 for fome ufes in Tanning ; particularly it does very well for 
 Tanning the Ihoe foal leather. All thefc ingredients will tan 
 much better than bark alone, and that with much le(s charge j-' 
 fq that U-)is difcovery may very- well favc the felling of trees, 
 'i when 
 
I 
 
 TAP 309 
 
 wfien the bark is wanted, at a feafon when thefapis up; which, 
 when it is done, caufes the outlldes of the trees to rot and *^row 
 v/orm-eaten ; whereas, if the trees had been felled in winter, 
 v;hcn the fap is down, they woiJd have been almolt a!l heart, as 
 the people exprefs it, and not fubjedt to worms. "I'his manner 
 of ufing the wood with the baric, in Tanning, will alfo increafe 
 the value of undcr-woods very confiderably. 
 
 The engine neceflary for cutting the wood confifts of a ion-r 
 fquare wooden block, and fome pieces of iron to be faftened on 
 and ufed upon it, viz. an hammer, an anvil, an iron, holdino^ the 
 wood to be brutfed and cut, and a knife to cut it. The whole 
 rs a very fimple and cheap machine, and is defcribed at large in 
 the Philofophical Tfanfadlions. 
 
 By Mr. De Buffon's experiments upon different Hcins, It was 
 found that a decodiion of young oak wood fucceeded pcrfedlly well 
 in Tanning fheep and calves fkins, but did not do equally welf 
 for ox and the other harder fkins. This, however, he ima^^ines 
 might be only for want of knowing the belt method of u(ln<y the 
 wood. And certainly thefe trials deferve to be farther profecut- 
 ed, fmce the fmall branches of the oak, which are of little value, 
 r?;ight be thus made to fupply the place of a much dearer com- 
 modity, the bark ; and, as in many trees the bark of the younor 
 branches is found to be oigreatlv more virtue than that of the 
 larger branches, or the trunk, the ufe of thefe fmall boughs, bark 
 end all, might very probably be found to anfwer all the eftc(fts of 
 the bark, of the larger kind alone. 
 
 TAPESTRY, is a curious kind of manufacture, ferving to 
 adorn a chamber or other apartment by hanging or covering the 
 walls thereof. 
 
 It is a kind of woven hangings ; of wool and filk frequently 
 raifed and inriched with iiold and fdver, reprefenting figures of 
 men, animals, landfcapes, hirtories, &c. 
 
 The invention of Tapcftr)' fecms to have come to us from the 
 Levant, and this feems the more probable, in that the workmen 
 concerned in it were called, at leaft in France, Sarrafins or Sar- 
 rafmois. 
 
 It is fuppofed that the Englifh and Flemifli, who were thefirft 
 that excelled in making Tapeftry, might bring the art with them 
 from fome of the croi fades or expeditions againft the Sarrafins. 
 
 Be this as it will, it is certain, thofe two nations, efpecially the 
 Englifh, were the firft who fet on foot this noble and rich maiuir 
 fac^ure in Europe, now one of the fined: ornaments of palaces, 
 churches, &c. 
 
 And therefore, if they may not be allowed to be the inventors, 
 they have at leaft the glory of being the reflorers of this fo curi- 
 ous and admirable art, as crives a kind of life to wools and 
 
 '^ X -i filks 
 
3IO TAP 
 
 filks in no refpe^ inferior to the paintings of the beft maflers. 
 
 It was late before the French applied themfelves toTapeftry. 
 The firft eftablifliment of that kind was under Henry IV. in tho 
 year 1607, '" ^^^ Fauxbourg of St. Michael : But this fell with 
 the death of that prince, l^his manufacture was revived in the 
 time of Louis XIV. by the care and addrefs of the great Mon- 
 fieur Colbert, to whom the eftablifhment of the Gobelins is 
 owing ; a royal Tapeflry manufacture, which has produced 
 exquifite works in this kind. 
 
 A manufacture of this kind was lately erected at Fulham, but 
 it is now removed to Exeter ; and, if it meets with proper en- 
 couragement, there is good reafon to hope, we fhall foon fee 
 pieces equal to any ever produced at the manufacture of the 
 Gobelins. 
 
 Tapeftry work is diflinguifhed by the workmen into two 
 kinds, viz. that of the high and that of the low warp ; though 
 the difference is rather in the manner of working than in the 
 work itfelf ; which is in effect the fame in both, only the looms 
 and confequently the warps are differently fituated. 
 
 Thofe of the low warp being placed flat and parallel to the 
 horizon, and thofe on the contrary of the high warp erected 
 perpendicularly. 
 
 The Engiifh anciently excelled all the world in the Tapeftry 
 of the high warp, and they ftill retain their former reputation, 
 though with fome little change; their low warps are ftill ad- 
 mired ; but, as for the high ones, they are quite laid afide by the 
 French. 
 
 The French have three confiderable Tapeftr}' manufactures 
 befides that of the Gobelins ; the firft at Aubuffon in Auvergne, 
 the fecond is at Felletin in the Upper Marche, and the third at 
 Beauvais. 
 
 They were all equally eftablifhed for the high and the low 
 wafp ; but they have all laid afide the high warp, excepting the 
 Gobelins. 
 
 There are admirable low warps in Flanders, generally exceed-* 
 ing thofe of France ; the chief and almoft only Flemifh manu* 
 faCtures are at Bruffels, Antwerp, Oudenard, Lifle, Tournay, 
 Bruges:, and Valenciennes. 
 
 At Bruffch and Antwerp they fucceed both in human figures, 
 in animals and landfcapes ; and that both with regard to the dc- 
 figns and the woikmanfhip. 
 
 At Oudenard, their landfcapes and animals are good, but their 
 human figures bad. Lifle and the other cities namrd come be* 
 hind Oudenard. 
 
 The French manufactories of Felletin do tolerably well ill 
 landfcapes; AubuiTon in figures; and Beauvais in both. 
 
 ^ 
 
TAP grr 
 
 The ufual widths of Tapeftrics are from two ells to three ells 
 Paris meafure. 
 
 The vianufa£iure o/" T A pe s TR y cf the high luarp. The loom, 
 whereon it is wrought, is placed perpendicularly : It confiils cf 
 four principal pieces ; two long planks or cheeks of wo(^d» and 
 two thick rollers or beams. 
 
 The planks are fet upright, and the beams acrofs them, one 
 at the top, and the other at the bottom, at about a foot diitancc 
 . from the ground. 
 
 They have each their trunnions, by which they are fufpendcd 
 on the planks, and are turned with bars. 
 
 In each roller is a groove from one end to the other, capable 
 of containing a long round piece of wood, faftened therein with 
 books. 
 
 The ufe of it is to tie the ends of the warp to. 
 
 The warp, which is a kind of worfted or twifted woollen 
 thread, is wound on the upper roller j and the work as fall as 
 wove is woimd on the lower. 
 
 Withinfide the planks, which are feven or eight ^t^t high, 
 fourteen or fifteen inches broad, and tlirce or four thick, are 
 holes pierced from top to bottom, in which arc put thick pieces 
 of iron, with hooks at one end, ferving to fuftain the coat-ftave : 
 Thefe pieces of iron have alfo holes pierced, by putting a pin in 
 which, the ftave is drawn nearer or fet further off; and thus 
 the coats or threads are flretched or loofened at pleafure. 
 
 The coat-flave is about three inches diameter, and runs all 
 the length of the loom ; on this are fixed the coats or threads, 
 which make the threads of the warp crofs each other. It has 
 much the fame effect hece, as the fpring-flavc, and treddles have 
 in the common looms. 
 
 The coats are little threads faftened to each thread of the warp 
 with a kind of fliding knot, which forms a fort of mafli or rinp-. 
 They ferve to keep the warp open for the paffage ot broaches 
 wound with filks, woollens, or other matter ufed in the piece 
 of Tapeftry. 
 
 In the laft place, there are a number of little flicks of diffe- 
 rent lengths ; but all about an inch diameter, which the work- 
 dan keeps by him in bafkets, to ferve to make the threads of 
 the warp crofs each other, by paffing them acrofs: And, that the 
 threads thus croffed may retain their proper fituation, a pack- 
 thread is run among the threads, above the (tick. 
 
 The loom being thus formed, and mounted with its warp, the 
 firfl: thing the workman does, is to draw, on the threads ot this 
 warp, the principal lines and ftrokes of the delign to be reprc- 
 fentcd on the piece ofTapeftry ; which Is done by applying car- 
 toons, made from the painting he intends to copv, to the fu'e 
 
 X 4 ' tl,at 
 
312 TAP 
 
 that is to be the wrong fide of the piece, and then with a black 
 lead pencil following and tracing out the contours thereof on 
 the thread of the right fide j fo that the ftrokes appear equally 
 both before and behind. 
 
 As for the origin?! delign the work is to be finiftied by, it is 
 hung up behind the workmen, and wound on a long ftafF 
 from which a piece is unrolled from time to time, as the 
 work proceeds. 
 
 Befides the loom, &c. here defcribed, there are three other 
 principal inftruments required for working the filk or the wool 
 of the woof within the threads of the warp ; thefe are a broach, 
 a reed, and iron needle. 
 
 7'he broach is made of a hard wood, feven or eight inches 
 long, and two thirds of an inch thick, ending in a point with 
 a little handle. This ferves as a fhuttle; the filks, woollens, 
 gold or filver to be ufed in the work, being wound on it. 
 
 The reed or comb is alfo of wood, eight or nine inches long, 
 and an inch thick on the back, whence it grows lefs and lefs 
 to the extremity of the teeth, which are more or lefs apart, ac- 
 cording to the greater or lefTer degree of finenefs of the intended 
 work. 
 
 Laftly, the needle is in form of the common needle, only 
 bigger and longer. Its ufe is to prefs clofe the wool and filks, 
 when there is any line or colour that does not fit well. 
 
 All things being prepared for the work, and the workman 
 ready to begin, he places himfelf on the wrong fide the piece, 
 with his back towards the defign ; fo that he works at it were 
 blindfold, feeing nothing of what he does, and being obliged to 
 quit his poft and go to the other fide the loom, whenever he 
 would view and examine the piece to correic it with his prefiing 
 needle. 
 
 To put any filk, &c. in the warp, he firfl: turns and looks at 
 the defign ; then, taking a broach full of the proper colour, he 
 places it among the threads of the warp, which he brings crofs 
 each other with his fingers, by means of the coats or threads, 
 faftened to the ftafFj this he repeats every time he is to change 
 his colour. 
 
 Having placed the filk or wool, he beats it with his reed or 
 comb ; arid, when he has thus wrought in feveral rows over each 
 pthe', he goes to fee the efFed^ they have, in order to reform the 
 contours wi:h his needle, if there l5e occafion. 
 
 As the work advances, it is rolled upon the lower beam ; and, 
 when he has thus wrought, they roll it upon the lower beam, 
 and unrol as much warp from the upper beam as fuffices them 
 \o continue the piece j the like they do of the defign behind 
 then;. 
 
 Wh?n 
 
TAP 
 
 o 
 
 ^3 
 
 When the pieces are wide, fcveral workmen may be cm- 
 ployed at once. 
 
 We have but two things to add ; the firft is, that this high- 
 warp Tapeltry goes on much more flowly than the low warp 
 and takes up almoft twice the time and trouble. 
 
 The fecond is, that all the difference that the eye can ob- 
 ferve betwen the two kinds confifts in this, that in the low warp 
 there is a red fillet about one twelth of an inch broad, runnint*- 
 on each fide from top to bottom ; which is wanting in the high 
 warp. 
 
 The manufa£iiire r/"TAPESTRV cf the low warp. The loom 
 or frame wherein the low warp is wrought, is much like that of 
 the weavers ; the principal parts thereof are two ftrong pieces of 
 wood, forming the fides of the loom, and beating a beam or 
 ' roller at each end : They are fuftai.ied at bottom with other long 
 pieces of wood, in manner of trefslcs ; and, to keep them the 
 firmer, are likewife faifened to the floor with a kind of buttref- 
 fcs, which prevent any (baking, though there are fometimes 
 four or five workmen leaning on the beam at once. 
 
 The rollers have each their trunnions, by which they are fuf- 
 tained ; they are turned by large iron pins three feer Ion:;. 
 
 Along each beam runs a groove, in which is placed Li ■; wich, 
 a piece of wood of above two inches diameter, and almoll the 
 length of the roller: This piece fills the grove intircly, and is 
 feflened therein from fpace to fpace by wooden pins. 
 
 To the two wiches are faftened the two extremities of the 
 Varp, which is wound on the further roller, and the work as it 
 advances on the nearer. 
 
 Acrofs the two fides, almoft in the middle of the loom, pafTes 
 a wooden bar, which fuftains little pieces of wood, not unlike 
 the beam of a balance : To thefe pieces are faflcncd ftrings, 
 which bear certain fpring-ftavcs, wherewith the workman, by 
 fneans of two treadles under the loom, on which he fets his feet, 
 gives a motion to the coats, and makes the threads of the warp 
 rife and fall alternately. 
 
 Each loom has more or fewer of thefe fpring-ftavcs, and each 
 ftave more or fewer coats, as the Tapeftry confifts of more or 
 fewer threads. 
 
 The defign or painting the Tapeftry- man is to follow, is 
 placed underneath the warp, where it is fuftaincd from fpace to 
 {pace with ftrings, by which the defign is brought nearer to the 
 warp. 
 
 The loom being mounted, there are two inftruments ufed in 
 working of it, viz. the reed and the flute. 
 
 The flute does the office of the wca\'er's ftiuttle : It is made 
 pf a hard polifhed wood three or four lines thick at the ends, 
 
 ajid 
 
314 TAR 
 
 and fomewhat more in the middle, and three or four inches long. 
 On it are wound the filks, or other matters to be ufed as the woof 
 of the Tapeftry. 
 
 The comb or reed is of wood or ivory ; It has ufually teeth 
 on both fides ; it is about an inch thick in the middle, but di- 
 miniflics each way to the extremity of the teeth ; this ferves to 
 beat the threads of the woof clofe to each other, as faft as the 
 workman has pafl'ed and placed them with his flute among the 
 threads of the v/arp. 
 
 The workman is featcd on a bench before the loom, with his 
 breafl againft the beam, only a cufhion or pillow between them; 
 und in this pofture feparating with his fingers the threads of the 
 warp, that he may fee the defign underneath ; and taking a flute, 
 wound with the proper colour, he pafTes it among the threads, 
 after having raifed or lowered them by means of the treadles, 
 moving the fpring-flaves and coats. 
 
 Lafily, to prefs and clofe the threads of the filk or yarn, &c. 
 this place he ftrikes each courfe, i. e. what the flute leaves in its 
 pafTmg and coming back again, with the reed. 
 
 That which is very remarkable in the manufadlure of the low 
 warp, and which is common to it with the high, is, that it is 
 all wrought on the wrong fide ; fo that the workman cannot fee 
 the right fide of his Tapeflry, until the piece is finifhed and taken 
 out of the loom. 
 
 TARSO, in the glafs trade, a fort of white fione, found in 
 many rivers of Italy, and other places, and ufed inflead of fand 
 for the fineft cryflal glafs, being fiifi: burnt and calcined with 
 the fait of the polverine into frit. Neri calls this flone a kind 
 of white marble ; and adds a general rule, that all ftones that 
 will firike fire with fteel, will never vitrify. 
 
 The Tarfo therefore, of this and other authors, could be no- 
 thing of the marble kind, but is truly a cryftalline matter, de- 
 bafed by an admixture of white earth, and found in form of 
 fmall pebbles, of a whitifh, yellowifli, or pale reddifh colour 
 and this is common in all the gravel-pits in England, and in 
 the beds of fome of our rivers ; and might be ufed with great 
 advantage by our glafs-makers, if they knew it was fo eafily to 
 be had. 
 
 On comparing thefe ftones of ours with the cuogola or Tarfo 
 of the foreign glafs-makers, there is no diftl-rcnce difiinguifhable 
 to the eye, nor will the niceft experiments by the fire of acid men- 
 ilrua (hew the leaft diftin6\ion between them. We are not to 
 wonder however that the glafs-makcrs did not hitherto diftin- 
 guiOi this to be true cuogola or Tarfo, fince the characters of 
 foflils have been hitherto fo little afcertaincd, that the heft and 
 jatefl author on thefc fubjeds, Dr, Weodward, fo far mifiook 
 
 the 
 
TAR 315 
 
 the flru<Slure of this {^one, as to call it a fparry pebble. It is 
 certain that fpar could never have any thing to do wiih glafs- 
 making ; hut this ftone has no fpar in its compofition. 
 
 TARTAR, a kind of fait, which is produced from fumous 
 wines, which flicks to the top and fides of cafks, and forms a 
 greyifh crufl, and hardens to the confirtence of a ftone. 
 
 The goodnefs of Tartar rather depends upon repeated fer- 
 mentations, which a fucceffion of new wines in the fame cafk 
 for feveral years makes, than on the foil or climate where the 
 wine is produced, 
 
 Tartar is either white or red, according to the colour of the 
 wine it is produced from. 
 
 That which comes from Germany is accounted the beft, as 
 being taken out of thofe monftrous tuns, fome of which hold 
 1000 pipes of wine ; fo that the fait has time to come to its con- 
 fidence, which is one of the chief qualities to be regarded in 
 Tartar. 
 
 That of Montpellier is the next in order 3 then that of Lyons, 
 Paris, Sic. 
 
 White Tartar is preferred, and for fome ufes is really better : 
 The marks of good Tartar, of either kind, are, its being thick, 
 brittle, brilliant, and very little earthy. 
 
 Tartar is of confidcrable ufe with dyers, as it ferves to difpofe 
 the fluffs to take the colours the better. 
 
 Salt ofT ART AK, is made of Tartar waflicd, ground, puri- 
 fied, and calcined in paper by a reverberatory fire ; or it is made 
 by pulverifmg what remains in the retort, after the diftillation 
 of Tartar. On the one or the other of thefe preparations, they 
 pour a great quantity of hot water to make a ley of it ; this they 
 nitrate, and evaporate the liquor by a fand-heat, until the fixed 
 fait be found at the bottom of the veffcl ; This is the alcali or 
 fixed fait of Tartar. 
 
 The way of making a very fine and pure fait of Tartar. 
 Keri makes ufe of no fait of Tartar in all his preparations of 
 irtifical gems ; notwithftanding, this fait being prepared after a 
 tertain way, we fhall here relate it for the fake of the curious. It 
 ferves in a great mcafure to work the cryftal, being a true vcr 
 hide for the better introducing the colours that are to be given, 
 and which is of ufe for the tincftures feveral ways. 
 
 Thofe, who in the operations of artificial gems have made no 
 life of fait of Tartar, have without doubt been ignorant of this fine 
 preparation of it; for, if you ufe ordinary fait of tartar, there is 
 a fulphur and foulnefs in it, which renders cr}'{lal obfcure, and 
 confequently would be hurtful in thefe operations. 
 
 To make this fait, you mud calcine your Tartar until it be- 
 ■ ponies grey, and not to perfeft wiuterjefs, and then diflblve it 
 
 in 
 
3i6 T A W 
 
 in warm water to extraifl the fait ; filtre that water, and then 
 evaporate it over the fire ; then you will have remaining at the 
 bottom of the veflcl a v/hite fait. 
 
 To take away all foulnefs from the fait, diflolve it attain in 
 warm water, then evaporate it again over a gentle fire, take it 
 oft' the fire, and caft it into cold water, and you will find it will 
 leave on the furface of the water a thick froth, which you muft 
 fkim off with a fkimmer, that has little holes no bigger than a 
 fmall pin's head ; put the velTel again on the fire, and evaporate 
 the water as before ; then take it off the fire, and caft upon it 
 frcfh cold water, and fkim it well as befor« ; reiterate this pro- 
 cefs until you find no more froth, then evaporate the whole over 
 a gentle fire until it be dry, and you will have a fait of Tartar 
 well purified, which 'is not fo fufible as the other, becaufe it is 
 free from all that un6luofity which caufes the fufion. 
 
 Keep this fait of Tartar in a veffel well ftopped, and ufe of it 
 in cryftal with your colours, when you fet them to melt. 
 
 Although this fait of Tartar be very fine and pure, yet it is 
 not that of the philofophefs, which has far more virtue, and 
 opens more powerfully the metals and minerals where it is em- 
 pW^d, though it be of the fame nature as this, and extradtcd 
 from the fame principal. 
 
 TAWING, is the art or manner of dreffing (kins in white, 
 to fit them for ufe in divers manufactures, particularly gloves, 
 &c. as chiefly thofe of lamb, fheep, kids, goats, &c. 
 
 Having cleared the fkins of wool or hair by the means of 
 lime, Sic. as is defcribed in the article SHAMMY, they are 
 jaid in a large vat of wood or ftone, fet on the ground full of 
 water, in which quick-lime has been flacked ; in this they are 
 to fie for a month or fix weeks, as the weather is more or lefs 
 hot, or as the fkins are required to be more or lefs foft and 
 pliant. 
 
 While they are in the vat, the water and lime is changed twice, 
 and the fkins are taken out and put in again every day. 
 
 When they are taken out for the laft time, they are laid all 
 right to foak in a running water, to get out the greateft part of 
 the lime; and in the morning are laid together by fixes one 
 upon another, upon the wooden leg, and are fcraped ftoutly one 
 after another, to get the fiefh off from the flefhv fide, with a 
 tiitting two-handed inftrument called a knife; and then they cut 
 off the legs, if they are not cut off before, and other fuperfluous 
 parts about the extremes. 
 
 Then they are laid in a vat or pit with a little water ; where 
 they are well fulled with wooden peftle? for the fpaceof a quar^ 
 ter of an hour, and then the ^^t is fil'ed up with water, and 
 they are riufcd in it, 
 
T A W 317 
 
 In the next place they a; s thrown on a clean pavement to drain ; 
 and alttrvvards calt into a frelh pit of water, out of which they 
 rinfe them well ; and are laid again on the wooden leg fix at a 
 time with the hair fide outernioil, over which they rub a kind 
 of whetfioiie very brilk; y to foftcn and fit ihcm to receive four 
 or five more preparations, given them on the leg, both on the 
 flefh fide and ilie hair fide, with the knife, after the manner 
 above-mentioned. 
 
 After th:s they are put into a pit of water and wheaten bran, 
 and ftirred about in it with wooden poles, till the bran is per- 
 ceived to ftick to them ; and then they are left : As they rife of 
 themfelves to the top of the water by a kind of fermentation, 
 they are plunged down again to the bottom ; and at the fame 
 time fire is fet to the liquor, which takes as cafily as if it were 
 brandy, but goes out the moment the flcins are all covered. 
 
 They repe;itthis operation as often as the fi<ins rife above the 
 water ; and, when they have done rifing, they take them out, lay 
 them on the wooden leg, the fiefhy fide outwards, and pafs the 
 knife over them to fcrape off the bran. 
 
 Having thus cleared them of the bran, they by the fkins in a 
 large bafket, and load them with huge ftones to promote their 
 draining; and, when they have drained Uifficieiuly, they give them 
 their feeding, which is performed after the manner following : 
 
 P'or one hundred of large Iheepfkins, and for fmaller in pro- 
 portion, they take eight pounds of alum, and three of fea-fait, 
 and melt the whole with water in a vefi'el over the fire, pouring 
 the diffolution out, while yet lukewarm, into a kind of trough, 
 in which are twenty pounds of the fineft wheat flower, \\ith the 
 yolks of eight dozen of eggs ; of all which is formed a kind of a 
 pafte, a little thicker than children's pap ; which, when done, 
 is put into another vefTel to be ufed in the following manner : 
 
 They pour a quantity of hot water into the trough, in which 
 the parte was prepared, mixing two fpoonfuls of the pafte with 
 it ; to do which they ufe a wooden fpoon, which contains jull 
 as much as is required for a dozen of fkins : And when the whole 
 is well diluted two dozen of the fkins are plunged into it; but 
 they take care that the water be not too hot, which would fpod 
 the pafte, and burn the fiiins. 
 
 After they have lain fome time in the trough, they take them 
 out one after another with the hand, and ftretch them out ; this 
 they do twice ; and, after they have given them all their pafte, 
 they put them into tubs, and there full them afrefti with wooden 
 peftles. 
 
 Then they put them into a vat, where they are fuffered to he 
 for five or fix days, or more ; then they take them out in fair 
 we:;ther, and hang them gut to dry on cords or rack^, and the 
 
 qiiciier 
 
3i8 T A W 
 
 quicker they are dried the better it is ; for, if they be too long 
 a drying, the fait and alum within them arc apt to make them 
 rife in a grain, which is an elFential fault in this kind of drefling. 
 
 When the fkins aie dry, they are made up into bundles, and 
 juft dipped in fair water, and taken out and drained, and being 
 thrown into an empty tub, and after having lain fome time, are 
 taken out, and trampled under foot. 
 
 Then thcv draw them over a flat iron inftrument, the top of 
 which is round like a battledore, and the bottom fixed into a 
 wooden block, to ftrctth and open them ; and, having been o- 
 pcned, they are hung in the air upon cords to dry ; and, being 
 dry, they are opened a fecond time, by pafling them again over 
 the fame inftrument. 
 
 In the lad place they are laid on a table, pulled out, and laid 
 fmooth, and are then fit for fale. 
 
 After the fame manner are drefied horfes, cows, calves, fkins, 
 6ic. for the faddlers, harnefs-makers, 6cc. as alfo thofeofdogs, 
 wolves, bears, 6:c. except that in thefe they omit ufingthe pafte, 
 fait and alum water being fufficient. 
 
 To dyejhiff a brozvn cr TAWNY. Put a handful of madder 
 into a kettle of hot water, ftir it very well about, and let it ftand 
 and fettle a while ; moiften the fluff with it, then roll it up, and 
 put it into the kettle upon the roll ; and, when you find that the 
 colour does no longer fall upon it, then add to it two handfuls 
 of madder, and let it cool ; and, when you perceive it to be 
 boiled to a half red colour, throw in a pailful of the black dye 
 into the madder fuds, flir them together, and make a wood fire 
 under the kettle : For, having its proper heat, it turns the better 
 to brown ; and, if it be not dark enough, throw in another pail 
 of the black dye, or more, until it becomes of the colour you 
 would have it ; then work the Ituff in it very well upon, or with, 
 the roller, to hinder it from fpotting. 
 
 A deep Tawky. Let the fluffs be firft dyed a madder red, 
 then take the dve off the fire, and put a quart of black dye into 
 it for every pound of iluff ; heat it, and put the fluffs into it, and 
 v/ork it folonsr until it hath taken the dye fuincientlyi then cool 
 it, and it will be a lafting dye. 
 
 To dye a crimfou Tawny luith cochnieal. Alum and prepare 
 the filk as for crimfon, then fill a clean kettle with fair water, 
 and fome blue wood fuds, of each a like quantity ; and then for 
 every pound of filk put in one ounce of galls and one ounce and 
 an half of cochineal; and, afterwards, having firft rinfed the 
 filks, put them in, ftir them about carefully to prevent their 
 being variegated or fpotted ; becaufe the Provence wood fuds are 
 apt to fpot, ifthey.be not violently ilirred ; let the filk lie one 
 whole night in the fud;, then rinfe it out and dry it. 
 
 To 
 
 I 
 
T E M 319 
 
 7* dye/ilk a crimfofi deep Tawny. FIrft prepare the fillcs, as 
 dire<5ted lor crimfon ; put a fufHcient quantity of liquor ijito a clean 
 kettle, and for every pound of filk put in one pound (»/"maddei, 
 one pound of galls, and half a pound of blue wood; and boil 
 them together with the filk for an hour, putting the wood into 3 
 bag to prevent its hanging in the filk. Let the filk lie a whole 
 night in the liquor, in the morning take it out, wring it, rinfe 
 it, and beat it well, then rinfe it again j and afterwards beat and 
 dry it. 
 
 TAX, is reprefented, in painting, &c. by a lufly youngmaa 
 with an oaken crown, in his right hand a pair of (hears, a fheep 
 at his feet; in his left hand ears of corn, an olive-branch, and 
 a bunch of grapes hanging dov.'n, without breeches, his arms 
 and legs bare, the foles of his feet callous. — He is robuft, be- 
 caufe Taxes are the nerves of the commonwealth ; the oaken 
 crown denotes his ftrength ; the fhcars allude to the faying. It 
 is the part of a good fhepherd to fl^.car the fheep, and not to flay 
 them ; the things in his hand fhew, that Taxes are laid upon 
 thofe that Taxes fhould be levied upon, not for mere covetoufnefs, 
 but for the public weal, without any other defign. 
 
 TEINTS, and Jl^ni-tants, in painting, are the feveral co- 
 lours ufed in a pifkure, confidered as more or lefs high, or bright 
 or deep, or thin or weakened, or diminished, &c. to give the 
 proper relievo or foftncfs, or diftance, &c. of the feveral objects. 
 
 TELLUS, the goddefs of the earth, is reprefented, in paint- 
 ing, cloathei in a green mantle. 
 
 TEMPERANCE, is reprefented, in painting, ^'c. by a gen- 
 tlewoman, holding a bridle in one hand, and the ftay of a clock 
 in the other, an elephant by her, — The bridle and flay denote 
 the bufinefs of Temperance to bridle and moderate the appetite 
 and inordinate pafTions, as time fervcs ; the elephant, bccaufe it 
 has once been accuifomed to a certain quantity of meat, it never 
 exceeds, but keeps f^rititly to that, and will eat no more. 
 
 TEA'IPERING fteel and iron, is a preparing them, in or- 
 der to render them either more con^iact, hard, and firm, or 
 more foft and pliant, according as the ufes of them fhall require : 
 Thefe metals are tempered by plunging them, while red-hot, in 
 fome liquor prepared for the purpofe ; fometimes, in pure water, 
 as lockfmiths, &c. which feldom ufe any other. 
 
 And fometimes a compofition of divers juices, liquors, &c. 
 is ufed; which is various according to the manner and experience 
 of the workman, as vinegar, moufe-ear water, the water oozing 
 from broken glafles, foot, fait, oil, &c. 
 
 To harden and temper Englifh, Fiemifh, and Sv.'edifh fleel, 
 they muft have a pretty high heat given them, and then be fud- 
 denly quenched in water to make them l»rd : But Spanifn and 
 
 Vene* 
 
320 T E R 
 
 Venetian ftccl will require no more than a blood-red heat before 
 it is quenched. 
 
 It' the Reel be too hard or brittle for an edged tool, &:c. take 
 it down by rubbing a piece of grind-flone or vvhet-ftone hard 
 \ipon the work, to take off the black fcurf; then brighten or 
 heat it in the fire, and as it grows hotter you will fee the colour 
 change by degrees, coming firft to a ftraw or light goldifli colour, 
 then to a darker goldifh colour, and at lafl: to a blue colour. 
 
 Chufe fuch of thefe colours as the work requires, then quench 
 it fuddenly in the water. 
 
 The light gold colour is tor files, cold chifTels, and punches to 
 punch iron and fteel : The dark goldifh colour for punches to ufe 
 on brafs, &c. the blue colour gives the temper for fprings. 
 
 The Tempering of files and needles is performed after a pecu- 
 liar manner. 
 
 The ancients appear to have had fome better method of Tem- 
 pering,' than any of the moderns are acquainted withal ; witnefs 
 their works in porphyry, a ftone fo hard that none of our tools 
 make an impreffion upon it. 
 
 Jntonio TEMPEST A, born in the year 1 555, fcholar of John 
 Strada, a Fleming, lived at Rome, excelled in battles and hunt- 
 ing-pieces ; died in the year 16 30, aged feventy-five years. 
 
 TERM, J is a kind of ftatue or column, adorned at the 
 
 TERMINUS, 3 top with the figure of a man's, woman's, or 
 fatyr's head as a capital, and the lower ending in a kind of fheath 
 or fcabbard. — Thefe are fuppofed to have taken their name from 
 the Roman deity Terminus, whom they efteemed as the pro- 
 tector of land-marks, whofe flatue, made without cither hands 
 or feet, that he m!a;ht not change his place, was wont to be fet 
 up at the bounds of lands to feparaie them. 
 
 Thefe are alfo by fome cnlittd Thcrmes, and derived from 
 Hermes, a name given by the Greeks to the god Mercury, who, 
 as they believed, prefided over the highways; whofe ftatue, 
 made in the form before- mentioned, was erected in fcveral crofs- 
 wavs in the city of Athens, &:c. 
 
 TERROR, when it is exceflivc, caufeth the eye-brow to be 
 very much rai'ed in the middle ; and the mufcles, which per- 
 form the motion of ihcfc parts, very much marked and fvvelled, 
 and prefled one againfi another, being drawn down over the 
 nofe, which will feem to be drawn up, as alfo the noftrils. 
 
 The eyes ought to appear intircly open, the upper eye-lid hid 
 under the brow; the white of the eye ought to be environed 
 with red; the eye-ball as it were wandering, and fituated nearer 
 to the lower part of the eye than the upper ; the lov/er paits of 
 the under eye-lids fvvelled and livid. 
 
 The mufcles of the noie and the hands alfo fwelled 3 the mut- 
 
 cles 
 
THE 321 
 
 cles of the cheeks extremely marked, and drawn into a point on 
 each fide of the noftrils. 
 
 The mouth ^muft be very open, and the corners very ap- 
 parent. 
 
 Every thing mufl be very much marked about the forehead 
 and eyes ; the mufcles and veins ef the neck muft be very much 
 raifed and apparent ; the hair flanding up an end, the complexion 
 pale and livid, and more efpecially the end of the nofe, the lips, 
 ears, and about the eyes. 
 
 It the eyes appear extremely open in this paflion, it is becaufe 
 the foul makes ufe of them to obferve the nature of the obje6^» 
 which caufts the fright. 
 
 The eye-brow drawn down at one end, and raifed at the other, 
 makes is appear, that the part raifed feems as if it would be 
 joined to the brain, to fecure it from the ill which the foul ap- 
 prehends ; and by the end which is drawn downwards, and ap- 
 pears fwelled, we find that in this condition the fpirits come 
 plentifully from the brain, as it were to cover the foul, and de- 
 fend it from the ill which it fears. 
 
 The opennefs of the mouth indicates, that the heart is op- 
 prefTed by the blood, which is retired towards it ; which obliges 
 him that is poflefTed with this paflion, when he would breathe, 
 to make an effort, which caufes the mouth to open wide ; and 
 which, in palling by the organs of the voice, makes a kind of 
 inarticulate found. 
 
 Terror hath a great many of the motions of horror, but they 
 ought to appear greater and more extended ; the arms ftretched 
 out ftraight forward, the legs in an aftion of flying with all 
 their force, and all the parts of the body in diforder. See 
 plate XVI. 
 A l>^ r Jji Peter TESTA, of Lucca, a painter and co- 
 
 -^ pious engraver, born in the year 161 1, fcho- 
 
 lar of Dominichino, and Perer Cortona, lived at Rome, excelled 
 in hiftory, died in the year 1650, aged thirty-nine, ufed thefe 
 two marks. 
 
 THEFT, reprefented, in painting, &:c. by a pale youth, 
 cloathed in a wolf's fkin, his arms and legs bare, with winged 
 feet at midnight ; in one hand a purfe, a knife in the other with 
 a picklock ; the ears of a hare, and feems to be in fear. — Youth 
 fhews imprudence, that will not take warning ; thepalenefs and 
 hare's ears, continual fufpicion and fear, and therefore it loves 
 darknefs ; the fkin, becaufe the wolf lives by rapine ; the bar- 
 rennefs fhews him in diftrefs i and the winged feet his %ing 
 from juftice. 
 
 THEOLOGY, is reprefented, in painting, &c. by a lady 
 with two faces unlike one another, looking with the youngefl: 
 
 Vol.. II. Y towards 
 
322 T 1 M 
 
 towards heaven, with the old face towards the earth ; fits upoil 
 a globe full of ftars, her right hand on her breaft, her left to- 
 wards the earth, holding up her train, a wheel by it. — The 
 wheel denotes divinity not touching the earth, but by its 
 circumference ; fo fhould a divine keep himfelf unfpotted from 
 the world ; fitting upon a globe Ihews, that divinity repofes in 
 no inferior thing ; her hands, gravity ; the fkirt of her garment 
 fhews, that fome part of divinity extends to low things, though 
 neccfTary. 
 
 THEORY, is reprefentcd, in painting, kc. by a young wo- 
 man looking upwards, her hands clafped together, a pair ofcom- 
 pafles on her head, nobly clad 'n purple, feeming to defcend the 
 itairs. — The colour of her garment fliews, that the fky termi- 
 nates our fight ; her face, that the intellect is taken up in ce- 
 leflial things ; thefl-airs, that things intelligible have order, pro- 
 ceeding by degrees from things near to things afar off; the 
 compaffes are the moll proper inflrument for meafuring, which 
 perpetuate the name of an author. 
 
 THETIS, a fea goddefs, is reprefented, in painting, Sec. as 
 a lady of a brown complexion, her hair difhevelled, adorned 
 with a coronet of periwinkle and efcallop fhells, clad in a mantle 
 of a fea-green colour, adorned with bracelets of amber about her 
 neck and arms, and holding in her hand a branch of coral. 
 
 Pellegrino TIFALDI, called otherwife Pcllegr'ino da Bologna^ 
 born in the year 1522, fcholar of Dan. da Volterra, lived at 
 Bologna, Rome, and Milan ; excelled in hiftory and architec- 
 ture ; died in the year 1592, aged feventy years. 
 
 Henry TILSON, was an Englifh face-painter of good note^ 
 born in London ; after he had been inftru6led for fome time by 
 Sir Peter Lely, in the nature of face-painting, he travelled into 
 Italy, where he flaid fix or feven years ; and, during that time, 
 he copied, with wonderful care and exaclnefs, a great number 
 of pi'ciures of the belt mafters ; by which means, at his return 
 Co England, he became not a little famous In the portrait way. 
 
 He had alfo a particular genius for crayons, in which he per- 
 formed admirably well, after the pi6lures of Corregio, Titian, 
 and the Caracci, while he was at Rome. He died at thirty-fix 
 years of age, and lies buried in St Clement's. 
 
 71MBER ivork. — The manner of colouring all manner of 
 Timber work, as wainfcot, doors, windows, ports, rails, pales, 
 gates, border- boards for gardens, &c. which require either 
 beauty or prefervation from the violence of rain, or injury of 
 weather, is as follows : 
 
 Suppofe there be a fet of palifadoes, or a pair of gates, or fome 
 pofts and rails to be painted in a ftone colour. 
 
 Firft, look ov?r the wuik, and take notice whether the joints 
 
t I M 32^ 
 
 be open in the gates, or whether there be any large clefts in thd 
 ports; for, if thefe are not fecurcd, the wet will infinuate itfelf 
 into thofe defe(5ts, and make the quicker difpatch in rotting the 
 whole work. 
 
 Therefore, the firft thing to be done, is to flop up thofe clefts^ 
 &c. fmooth and even, with a fubftance which painters call put- 
 ty, which is made of whiting and linfeed oil, well beaten together 
 on a grinding ftone, or with a wooden mailer, to the confirtencer 
 of a very thick dough ; and with this let all the crannies, clefts, 
 and other defcds, be well filled up, fo that it may be equal to 
 the furfaceor outfide of the things to be painted. 
 
 Then prime the work with Spanifa brown well ground, and 
 mixed very thin with linfeed oil -, with this do over the work, 
 giving it as much oil as it will drink up ; this, in about two daySj 
 will be indifferent dry. Then, if you would do the work fub- 
 ftantially, do it again with the fame priming colour; when it is 
 thorough dry, take white lead, well ground and tempered with 
 Jinfeed oil, but not too thin; for the ItifFer you work it, if it 
 be not too fl-iff, the better body will be laid on, and the longer 
 it will laft: Rub this colour on well with a large briftle brufli, 
 that the whole furface of the work be fo intirely covered, that 
 no crack nor corner may remain bare ; which may be eafily 
 done, by jobbing in the point of a briftle brufh. 
 
 Let this firfl colouring dry, and then go over it a fecond time j 
 and, if you pleafe, a third alfo ; the charge will be but little 
 more, but the advantage will be great in the duration. 
 
 This courfe is fufHcient for every kind of Timber work, which 
 Requires only a plain colour, whether you cover the work with 
 a ftone colour, or elfe with a Timber colour with umber and 
 white, or a lead colour with indigo and white. 
 
 Some lay over their work only a coat of Spanifh brown, by 
 tempering it up more ftifFthan was done for the two firfr pri- 
 Jnings ; which, in fome refpe£ls, is the cheapeft way of all, and 
 preferves the Timber perhaps as well as any. 
 
 Note, If, when you have made life of your colours, there be 
 occafion for a fmall ceflation, until the work be finiflied ; in this 
 tafe, you muft cov6r the colour that remains in the pot with wa- 
 ter, which will prevent its drying and fkinning over. 
 
 And the pencils alfo, or brufhes, fhould be wafhed out in 
 clear linfeed oil, and then in warm foap fuds ; for il either oil, 
 or colours, be once dried in the brufh or pencil, they are fpoiled 
 for ever. 
 
 It has been obferved, that Timber laid over wiih white, when 
 it has ftood fome time in the weather, the colour will crack and 
 ihrink up together, juft as pitch doe-^, if laid on any thing that 
 (lands in the fun. The caufe of this is^, that the colour was laid 
 
 Y 7. on 
 
324 T I M 
 
 on with too ftiff a body ; for, being wrought too thick once, 
 
 it will dry with a fkin on the outfide, which will keep the infidc 
 
 moift, and prevent its binding firm, from whence thofe cracks 
 
 proceed. 
 
 Of out-door fainting in general. Doors, fhop-windows, win- 
 dow-frames, pediments, architraves, friezes, cornichep, and all 
 other Timber works, that are expofed to the weather, ought at 
 firft fetting up to be primed with Spanifh brown, Spanifh white, 
 and red lead, about a fifth, to caufe the other two colours to dry. 
 Thefe, being well ground with linfeed oil, will make a very 
 good primer ; then afterwards with the fame colour, but whiter, 
 for a fecond primer ; and laftly, with a fair white made of white 
 lead, and about a fifth part in quantity, not in weight, of Spanifh 
 white. 
 
 Now he that is able to bring the work thus far on, has pro- 
 ceeded to the higheft pitch of that vulgar painting, that aims at 
 prefervatlon beyond beauty, though fomething of beauty is ne- 
 cefTarily included in this alio. But this is not all, for he that is 
 arrived thus far, is in a fair way to other perfedlions in the art of 
 painting ; but for the pannellingof wainfcot with its proper fha- 
 dows, and for imitating olive and walnut wood, marbles, and 
 fuch-lilce, thefe muft be attained to by ocular infpedlion, it being 
 impoflible to deliver the manner of the operation by precept, 
 without example : And I am bold to affirm, that a man ihall 
 gain more knowledge by one day's experience, than by an hun- 
 dred fpent to acquire it fome other way. 
 
 I advife therefore all thofe, that defire an infight into the bu- 
 finefs, to be a little curious, if opportunity offers, in obferving 
 the manner of a painter's working, not only in grinding his co- 
 lours, but alfo in laying them on, and working in them j in all 
 thefe obferving the motion of his hand in the manage of any 
 kind of tool : And by this means, with a little imitation, joined 
 to the diietStions here given, 1 doubt not, but in a (hort time, 
 you may arrive to great proficiency in the bufinefs of vulgar 
 painfit^. 
 
 Take notice, that if you fhall at any time have occafion to 
 ufe either brulhes th.^t are very fmall, or pencils, as in many 
 cafes there will be occafion ; you ought then to difpofe of the 
 colours you ufe upon a pallet, and then work and temper them 
 about with your pencil, that the pencil may carry away the more 
 colour : For you are to note, that, if a pencil be only dipped in 
 a pot of colour, it brings out no more with it than what hangs 
 on the outfide, and that will work but a little way ; v/hereas, 
 if you rub the pencil about in the colour, on the pallet, a good 
 quantity of colour v/ill be taken up in the body of the pencil ; 
 and, befides all this, you may work your pencils better to a point 
 
 on 
 
T I N 325 
 
 en a pallet, than you can do in a pot ; the point of a pencil 
 being of great ufe in divers cafes, efpecialiy in drawing of lines. 
 TIME, is drawn flanding upon an old ruin, winged, and with 
 iron teeth. Or thus ; as an old man cloathed in a garment of 
 ftars, having upon his head a garland ofrofes, ears of corn, and 
 dry fticks, (landing upon the zodiac, holding a looking-glafs in 
 one hand, and having two children at his feet, the one fat, and 
 the other lean, both writing in one book ; upon the head of one 
 is the fun, and upon the other the moon. 
 
 It is alfo reprefented by an old man, bald behind, winged, 
 with a fcythe and an hour-glafs, having a lock of hair on his fore- 
 head, but bald behind. 
 
 TIN, is a whitilh metal, fofter than filver, yet much harder 
 than lead. 
 
 Several, both chymifts and others, account Tin an imperfeil 
 metal, generated of two different feeds, viz. that of filver and 
 that of lead, which renders it a kind of compound of both ; and 
 accordingly it is frequently found in both lead and fdver mines. 
 But Tin has its proper mines, of which ourc )unties of Corn- 
 wal and Devonfliire are a fufficient proof; the greateft part of 
 the Tin confumed in Europe being got out of them. 
 
 The principal chara6lers, or properties of Tin, as they are 
 enumerated by M. Boerhaave, are, that it is the lightelt of all 
 metals, very little du>ftile or elaftic ; the moft fufible and vola- 
 tile of all metals, fcarcc diffolvable by acids, unlefs by thofe of 
 the weaker forts ; and eafily and intimately mifcible with other 
 metals, the dudtility of which becomes diminifhed by fuch a mix- 
 ture. 
 
 The fame author concludes, that fulphur is a prevailing in- 
 gredient in Tin, and deduces feveral of its properties therefrom. 
 He likewife adds, that, could the metal be purged of this hetero- 
 geneous fulphur, it it probable it would be found no other than 
 filver. 
 
 The method of getting^ preparing, il^c. Tihf, in the Cornljh 
 mines. — The working of the "I'in mines is very hard and diffi- 
 cult ; not only by reafon of the great depth, which the veins de- 
 fcend to, even as low as fifty fathom ; but alfo bccauie the rocks, 
 through which paflages are frequently to be cut, are often fo 
 hard, that the workman cannot dig a foot in a week. 
 
 Nor is the foft (haking earth found in Tin mines much lefs 
 inconvenient to the workmen, both by reafon of luetid, malig- 
 nant vapours it exhales, and of the currents of water often met 
 with therein : All thefe difadvantages together render it imprac- 
 ticable for the workmen to hold it above four hoius together. 
 
 The mineral ftones, or glebe, being dug and drawn out of 
 the mine, is there broke to pieces with large iron mallets; then 
 
 Y 3 brou^k: 
 
326 TIN 
 
 brought to a ftamping-mill, where it is pounded fmaller with 
 llampers, like thole of paper-mills ; and the water, paffing thro* 
 it, wafhes away the earthy parts, leaving the metallic ones be- 
 hind. This lotion, or wafhing, is repeated twice to make the 
 better reparation. 
 
 When this has been done, they dry it in a furnace on iron 
 places, and afterwards grind it very fine in a crafing mill; then 
 they walh it again, and then dry it : And in this ftate the metal- 
 lic matter is called block or black Tin. 
 
 To convert it into Tin, i. e. into white Tin, they carry it 
 to a furnace or blowing-houfe ; where, by means of a charcoal 
 fire, kept up with hu^e bellows, worked with water, it is melt- 
 ed. After it has pafied all thefe preparations, and is grown cold, 
 they forge it, which is the laft thing done to it in the works. 
 
 The drofs, or fcoria, being fcummed off, and the tin in fu- 
 fion,-and being melted down -with frefti ore, runs into metal, 
 end even the caiifalty, i. e. the matter wafhed and feparated from 
 the .metal in the mill, being thrown up in heaps, after refting 
 fix or feven years, they fetch it over again, and it yields as good 
 Tin :is any of that in Germanv. 
 
 The workmen diftinguifh feveral kinds of Tin, as moor Tin, 
 which is the befl: fort, a foot of which weighs eighty pounds ; 
 and mine Tin, which is the next, a foot of which weighs fifry- 
 two or fifty pnunds. The Tin got from the foft gravelly earth 
 they call prj'an Tin, to diftinguifh it from that got from the 
 ftones, wh'ch is better by almoft half. 
 
 Two pounds of black Tin, when melted, make about one of 
 white. 
 
 The ?nethGd of ajfaying Tin. — To find whether Tin be foft 
 and flucfiile, or harih and brittle, there are two kind of affays : 
 The fird is by putting the Tin into a hot brafs mould, and there 
 melting it. 
 
 If the metal be harfh, it will be heavier when it comes out 
 than when it went in, othcrwife it will be lighter. 
 
 The fccond is, by casing the melted Tin into a little mould 
 rrade of thunderflone. 
 
 This mould has a little canal of a moderate length, which 
 conducts the matter into a cavity, cap?-- 'e oF contain'ng half a 
 billiard ball ; if the Tin be harfh, it wiH appear whitifh towards 
 the entry of the mould, othervvife it is tinged fuperficially of a 
 very faint bluifh brown. 
 
 To colour Tin or copper of a gcli cchur. — Set linfeed oil on the 
 f re, (cum it well, and put in amber and hepatic aloes, of each 
 a like quantity ; flirthem well tocether till it grows thick; then 
 take it off, cover it clofc, and fct it in the earth for three days : 
 
 When 
 
TIN, ^lr 
 
 When you ufe it, ftrike the metal all over with it with a pencil- 
 brulh, let it dry, and it will be of a go^lden colour. 
 
 To take away the ringing andfoftnejs oflii^. — Melt the Tin, 
 and caft in Tome quickfilver, remove it from the fire, and put 
 it in aglafs retort, with a large round belly, and a very long 
 neck ; heat it red-hot in the tire, until the mercury fublimes, and 
 the Tin remains at the bottom : Do this throe or four times. 
 
 The fame may be done by calcining it three or four tinses, 
 by which means it will fooner be red-hot than melt. 
 
 To take away the Joftnefs ofTiK. You may efFect this by gra- 
 nulating it often, and then reducing it again, and quenchijig it 
 often in vinegar, and a lixivium of fait of tartar. 
 
 To take away the deadJoundof'Tiu. l^illblve it In aqua-fortis 
 over a gentle fire, until the water fly away ; doing thus fo long, 
 until it is all turned to a calx, which being mixed with calx of 
 filver, aiid reduced, performs the work. 
 
 To prevent '^Tm from cracymg. Take fait and honey, of each 
 a like quantity, and mix them, melt the Tin, ajid put it twelve 
 or more times into it, then ftrain out the Tin, and it will purge 
 and leave cracking ; put it into a crucible, lute it, and calcine 
 it twenty-four hours, and it will be like calx of gold. 
 
 To make a kind of counterfeit filver of^ViH, Mnigle filver v.'ith 
 Tin melted with quickfilver, keeping it a longtime in the fire ; 
 then being brittle it is made tough by keeping it in a gentle fire, 
 or under hot embers, in a crucible, for about twenty -four hours. 
 
 Tin glafsy a mineral matter, v/hite, fmooth, and as to ap- 
 pearance refembling Tin; but hard, fharp, brittle, and difpofed 
 into fhining fcales, as it were pieces of glafles, whence it took 
 its name. It is the fame that is called bifmuth. 
 
 TINNING, is the covering or lining any thing with melted 
 Tin, or with Tin reduced to a very fine leaf. 
 
 Sauce-pans, and other kitchen utenfils, are tinned with melted 
 tin ; and locks, bits, fpurs, 5:c. with leaf tin, by the help of fire. 
 
 Looking-glafies are foliated or tinned with thin flicets of beaten 
 tin ; the whole bigncfs of the glafs, applied and united to it by 
 means of quickfilver. 
 
 Plumbers ufe to tin or whiten their fheets of lead ; in order 
 to which, they have a Tinning furnace, filled with live coal, at 
 the two fides of which two men are placed, who hold up the 
 fheets over the fire to heat ; and the tin leaves being laid over 
 them, as fafi: as the fheets grow hot, and the tin melts, they fix 
 it on by rubbing and ilretchins; it with tow and rofin. 
 
 Giacomo Rohujli^ called TINTORET TO, born in the year 
 1512, fcholar of Titian, fiudicd Michael Angclo for defign, lived 
 at V^enice, excelled inhiftory and portraits j died in i594-» aged 
 cightv-two years, 
 
 y 4 TOPAZ, 
 
52S TOR 
 
 TOPAZ, a precious ftone, efteemed of the third order after 
 the diamond. It is of a beautiful yellow, or gold colour, tranf- 
 parent, very hard, and takes a fine polifti. 
 
 It is found in Bohemia, feveral parts of the Indies, Ethiopia, 
 Arabia, and Peru, and is the true chryfolite of the ancients. 
 
 Thofe of Bohemia are yellow and a little blackifh, the fofteft 
 of all, and their polifh the coarfeft. 
 
 Thofe of Peru are fofter than the oriental ones, but their co- 
 lour is much the fame ; the colour of the oriental ones border 
 upon the orange, and they are the moft efteemed ; thofe of Ma- 
 tlagafcar were formerly valued, but are now accounted good for 
 little. 
 
 The Topaz is eafily counterfeited, and there may be coun- 
 terfeit ones made, which to the eye will not come behind the na- 
 tural ones. 
 
 To make, an oriental ToPAZ. Take natural cryftal and fatur- 
 nus glorificatus ten ounces, of very good orpiment one ounce, 
 reduced to fine powder : After having mixed them well together, 
 put them into a crucible, covered with another, which lute and 
 <lry well ; then put it into a glafs-houfe furnace for three hours, 
 and then let it cool gently in the annealing furnace. Having 
 taken your matter out of your crucible, you may cut and polifh 
 it as vou pleafe, and you will have a very fine oriental Topaz. 
 
 TOREUMATOGRAPHY, a term of art derived from the 
 Greek, and ufed to fignify the knowledge, or rather the de- 
 fcription of ancient fculptures and bafTo- relievo's. 
 
 TOREUTICE, a Greek term, ufed to fignify that part of 
 fculpture, commonly called Turning. 
 
 TORTOISE yS^//, is the fpoils or cover of a teftaceous ani- 
 mal, ufed in inlaying, and various other ufes, as fnufF-boxes, 
 combs, and other utenfils. 
 
 There are two kind of Tortoifes, viz. land and fea. 
 
 The fea Tortoife again is of four kinds, viz. the frefli Tortoife, 
 the caret, the cahohanna, and the lager-hu : But it is the caret 
 alone, that furnifhes that beautiful fhell fo much admired in Eu- 
 rope. 
 
 The fhell of the caret is thick, and confifls of two parts ; the 
 upper, which covers the back; and the lower the belly : The 
 two are joined together at the fides by ftrong ligaments, but yet 
 allow of a little motion. 
 
 In the fore-part is an aperture for the head and legs, and be- 
 hind for the hind legs and tail. 
 
 It is the under fl:iell alone is ufed : To feparate it from the up- 
 per, they make a little fire beneath it, and as foon as ever it is 
 warm the under fhell becomes eafily feparable from the upper 
 vilh the point cf a knife, and is taken off in lamina?, or leaves, 
 
 without 
 
T R A 329 
 
 without killing the animal, which it is faid, being turned to fea 
 again, gets a new (hell. 
 
 The whole fpoiis of the caret confift in thirteen leaves, eight 
 of them flat, and five a little bent ; of the flat ones, there arc 
 four large ones, about a foot long, and {even, inches broad. 
 
 The bell (hell is thick, clear, tranfparent, of the colour of 
 antimony, fprinkled with brown and white. 
 
 When it is ufed in marquetry, or inlaid work, workmen give 
 it what colour they pleafe, by means of coloured leaves of metal, 
 which they put underneath them. 
 
 To counterfeit Tortoise jhell. In order to perform this well, 
 let the wood you intend to work on be very clofe-grained, clean, 
 and fmooth wrought ofF, as pear-tree or the like; bur, if it be 
 rough-grained, it muft have a ground of fize and whiting, as is 
 done in rough japanning for coarfe- grained woods ; rufli it 
 fmooth, and go over it with feed-lac varnifli, the breadth of a 
 filver leaf, which take up with cotton, and lay on it moift as 
 clofe as may be ; then wa{h again, and lay on another leaf of 
 filver, and fo continue to do, until you have laid the wood all 
 over with filver, and when it is dry fweep off all the loofe filver 
 with a hair brufh. Then grind Cologn earth very fine, and mix 
 it with gum water and common fize ; and with this having added 
 more fize or gum water than it was ground withal, fpot or cloud 
 the ground-work, having a fine true natural (hell by you to imi- 
 tate ; and, when this is done, you will perceive feveral reds, 
 lighter and darker, appear on the edges of the black, and many 
 times lie in ftreaks, on the tranfparent part of the fhell. To imi- 
 tate this finely, grind fanguis draconis with gum water, and with 
 a fine pencil draw thofe warm reds, flufhing it in about the dark 
 places more thick ; but fainter and thinner, and with lefs colour, 
 towards the lighter parts, fo fweetening it, that it may in a man- 
 ner lofe the red, being funk in the filver or more tranfparent 
 parts. 
 
 When it is done and dried, give it at leaft fix waflies of feed- 
 lac varnifh ; and, twenty-four hours after, rufli it gently ; and, 
 when it is fmooth and fit for the fecond operation, gruid gam- 
 boge very fine, and put it into as much feed-lac varnifh as will 
 wafli it fix times more, and let it ftand twelve hours, and give 
 it the third varnifhing ; and with the laft mixture wafh it fo of- 
 ten, that the filver is changed to a golden colour, and the work 
 is finifibed, 
 
 TRACING, is reprefented, in painting, &c, bv a woman, 
 her head winged, her garment fpread all over with ants, hold- 
 ing up her right arm ; and with her fore-finger, with which fhe 
 points at a crane ; and with her other fore-finger, a hound full 
 (cent after his game. — The wings denote elevation of intelled, 
 
 the 
 
S30 T R E 
 
 the ants always fearching out what is moft convenient for their 
 livelihood ; the crane, an inquifitive man, that would invefligate 
 fublime things at a diftance. 
 
 TRAGACANTH, 1 a kind of gunr, oozing out at incifions, 
 
 ADRA.CANTH, J made in the trunk and larger branches 
 of a plant, or little fhrub of the fame name. 
 
 Mr. Tournefort tells us, the naked hillocks of mount Ida in 
 Candia produce a deal of the plant Tragacantha, which gives 
 the gum fpontaneoufly towards the end of June, and in the fol- 
 lowing months ; when the nutritious juice of the plant, thicken- 
 ed by the heat, burfts molt of the veflels it is contained in. 
 
 This iuice coagulates in threads, which make their way into 
 the pores of the bark ; where being puihed forwards by new juice, 
 they get ihrough the bark, and are at length hardened in the air, 
 either into little lumps, or into twifted pieces, in form of little 
 worms, longer or ftiorter, according to the matter of which they 
 are formed. 
 
 This plant grows alfo in feveral places of the Levant, par- 
 ticularly about Aleppo. 
 
 The ?;um is of different colours and qualities; fome being 
 white, others greyifli ; fome red, and fome almoft black j but 
 t"he white is the beft. 
 
 It {hould be chofen clear, fmooth, and twifted, like little 
 worms. 
 
 TRAGEDY, is reprefented, in painting, &c. by a gentle- 
 woman all in mourning, a bloody dagger in her right hand, by 
 her on the ground a garment of cloth of gold, and divers precious 
 jewels, (he being fliod with cothurni. — The mourning fuits beft 
 with Tragedv, containing nothing but the ruin of princes by vi- 
 olent death, which is demonftrated by the bloody dagger ; the 
 cothurni, or focks, wer-e worn by princes, to diftinguifh them 
 from peafants ; they flaevv that Tragedy requires gravity and con- 
 ception, neither mean nor trivial. 
 
 TRANSPARENCY, is a quality in certain bodies, whereby 
 thev give paffage to the rays of light. 
 
 To 7mke the )]lver TREE of the phUofophers. Take aqua-for- 
 tis four ounces, fine filvcr one ounce, which diflolve in it; then 
 take aqua-fortis two ounces, in which diffolve quickfilver ; mix 
 thefe two liquors together in a clear glafs, with a pint of pure 
 water ; flop the glals clofe, and after a day you will perceive a 
 tree to grow by little and little, which is wonderful and pleafant 
 to behold. 
 
 To make the golden TREE of the phUofophers. Take oil of fand, 
 or flints, and oil of tartar per deliquium, of each a like quantity, 
 mix them well together; then dillolve gold in aqua-rcgia, and 
 evaporate the menltruum ; dry the calx by the fire, but make it 
 
 not 
 
T R I 331 
 
 fiot too hot, for then It will lofe its growing quality ; break it 
 into little bits, but not reduce it into powder; which bits put in- 
 to the aforefaid liquor, a finger's breadth one from another, in a 
 very clear glafs ; keep the liquor from the air, and let the calx 
 ftand ftill, and the bits of calx will prefently begin to grow ; firft 
 they will fwell, then put forth one or two Items, then divers 
 branches and twigs, fo exadtly, that you cannot but wonder to 
 fee. The author affirms, that this growing is not imaginary, 
 but real. 
 
 Tomake the JleellTKEi: of the philofophers. Diflblve fteel in 
 rc6tified fpirit, or oil of fait; fo {hall you have a green and {yf/ttt 
 folution, fmelling like brimftone ; filtre it, and abftraift all the 
 moifture with a gentle heat, and there will diftil over a liquor 
 as fweet as rain water, for fteel, by reafon of its drinefs, detains 
 the corrofivenefs of the fpirit of fait, which remains at the bottom, 
 like a blood red mafs, and it is as hot on the tongue as fire ; dif- 
 folve this blood red mafs, in oil of flints, or fand, and you will 
 fee it grow up in two or three hours like a Tree with ftem and 
 branches. 
 
 To make the oil of flints. Take of the moft pure fait of tartar 
 in fine powder, twenty ounces ; fmall fand, flints, pebbles, or 
 cryftals in fine powder, five ounces ; mix them ; put as much of 
 this as v.'ill fill an egg-fhell into a crucible ; fet it in a furnace, 
 and make it red-hot, and prefently there will come over a thick 
 and white fpirit. Take out the crucible while it is hot, and 
 that which is in it, like tranfparent glafs, keep from the air ; af- 
 terwards reduce it to powder, and lay it in a moift place, and it 
 will diflblve into a thick fat oil, which is the oil of flints, fand, 
 pebbles, or cryftal. 
 
 TRIPOLI, ? called alfo alana ; a kind of chalk, or white 
 
 TRIPOLY, J foftftone, bordering a little on red, ufed by 
 lapidaries, goldfm.iths, copper-fmiths, glafs-grinders, &c. in po- 
 lifhing their works. 
 
 Some imagine Tripoli to be a common ftone, burnt and cal- 
 cined by the fulphureous exhalations, which happen to be under 
 the mines where it is found. 
 
 Of thefe mines there are a number in divers parts of f'uropc, 
 particularly in Italy, where the Tripoli is very good. Others 
 take it to be a native earth. 
 
 TRITON, a poetical fea demi-god, held by the ancients to 
 be an oflicer or trumpeter to Neptune, attending on him, and 
 carrying his orders and commands from fea to fea. 
 
 The poets and painters reprefcnt him as half man, half fifli, 
 terminating in a dolphin's tail, and holding in one hand a fea- 
 ihell, which fcrves him for a trumpet. 
 
 But, though mythologies fpeak only of one Triton, yet the 
 
 pcets 
 
33^ T U L 
 
 poets have Imagined feveral ; giving fome of thetnfor trumpeter* 
 to all the fea-gods, particularly to Neptune and Venus. 
 
 TRUCE, is reprefented, in painting, Sec. by a woman in the 
 middle of an ifland in the calm fea, fitting upon a bundle of 
 arms ; flie has a breaft- plate like Eellona, a helmet on her right 
 Jcnee ; grafps a rod, about which is twifted a wolf-fifh and a 
 mullet united, holding in her left a dog and a cat in a cord, fit- 
 ting peaceably. — Her place denotes Truce is like the calm fea, 
 which does not laft ; always fitting upon arms tied together, that 
 in time of Truce hoftilities are laid afide ; the breaft-plate, that 
 in time of Truce the care of war is in the people's breafts ; the 
 £fh fliew, that, though they be mortal enemies, yet at a certain 
 time they ufually meet together j the dog and cat fhew the 
 fame. 
 
 TRUTH, faith Hippocrates, was framed in the fimilitude and 
 likenefs of a beautiful woman, attired with gravity and modefty. 
 
 Philoftratus tells us that {he remained in the cave of Amphi- 
 araus, of a beautiful countenance, cloathcd all in white garments, 
 
 Lucianus fays, that her flatue was made in the form of a young 
 woman, habited in rags, and bafe attire, with a fuperfcription 
 over her head, how flie was wronged and abufed by fortune. 
 
 The TUBEROSE to paint. Lay on white, and fhade with 
 black, and a little biftre in fome places, and mix a little carmine 
 for the outfide of the leaves, to give them a reddifti teint, particU' 
 larly towards the end. 
 
 Do the feed with maflicote, and fhade it with bladder green. 
 
 Colour the green of the leaves and ftalks with verditer, and 
 fhade them with iris green. 
 
 TUITION, is reprefented, in painting, &c. by a woman in 
 a red garment, a book of accompts under a balance in her right 
 hand, with the motto Computa ; in the left, the f^irt of her robe, 
 wherewith {he feems to cover the nakednefs of a child fleeping 
 at her feet, over which is a lizard ; acock on the other fide. — 
 The balance and book fhew, that a tutor is obliged to give a juft 
 account of his pupil's eftate ; the red denotes love and charity j 
 the cock, vigilance, requifite to the faithful difcharging of his du- 
 ty ; the covering, care ; and the lizard watches over men, when 
 they lie carelefly allecp. 
 r -f\ V~7T~1 Theodore Van TULDEN, an engraver of all kind 
 
 i >■' i of fabjeds, ufcd this mark. 
 
 TULIPS, to paint in miniature. There being a great number 
 efforts of Tulips, I fhall omit many of them, efnecially the plain 
 ones, which may be done by the direcStions elfewhere given, for 
 the making of particular colours, and only touch upon thofe call- 
 ed iV. 'ped or llrcaked Tvdips. 
 
 T:;eil- lir:pes, or flreaks, are I;ild in with carmine, very thin 
 
 in 
 

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o 
 
 k 
 
 V 
 
 tl 
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 ir 
 it 
 
 £i 
 tl 
 fa 
 
 lil 
 
 ar 
 
 o\ 
 
 'bl 
 fo 
 
 lai 
 
 fh 
 
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 ha 
 
 Tl. 
 
 aa 
 
 th( 
 
 th( 
 
 n 
 
 ofi 
 on( 
 
 the 
 
 ed 
 
T U L 33^ 
 
 lift fome places, and very deep in others ; and are to be finifhed 
 I with fine ftrokes of the fame colour, which muft all obferve the 
 turn of the ftripes. 
 
 As for others, you may begin with vermilion, and proceed by 
 mixing it with carmine, and finifh with carmine only. 
 
 For others, lay Indian ink upon vermilion inftcad of carmine. 
 
 Some again you may colour with lake and carmine mixed to-» 
 gether; and lake only, or with white, to begin with. 
 
 Thofe that are of a violet purple colour are to be done with ul- 
 tramarine and carmine, or lake, fometimes bluer, and fometimcs 
 redder. 
 
 The manner of doing both is jufl the fame, there is no dif- 
 ference, but in the colours. 
 
 A blue made of ultramarine ^nd white, and fometimes a 
 tranfparent purple, is to be put in certain places ; as, for example, 
 between the flripes of vermilion, carmine, or lake, which muft 
 be finifhed with fine hair flrokes like the reft, and fcumbled into 
 the ftripes. 
 
 Thofe Tulips, that have fallow teints, are made of lake, bif- 
 tre, and oker, according as they happen to be ; but thefe are 
 only for fine or uncommon Tulips. 
 
 Shade fuch, whofc ftripes are carmine, with indigo. 
 • As for thofe, whofe ftripes are coloured with lake, ufe black 
 and white, fometimes mixing biftre with it, at other times green. 
 
 Shade fome with gamboge and umber, and always with fine 
 liair ftrokes, which follow the turn of the leaf. 
 
 Thofe Tulips, which are called edged, are all ofone colour, ex- 
 cept the border, which is white and purple. 
 
 Lay the purple Tulip of this bordered fort with ultramarine, 
 carmine, and white, and (hade and finifh with the fame. 
 
 You muft not touch the border, that is, you muft only lay on 
 a thin white, and fhade it with a very thin indigo. 
 
 Colour yellow Tulips with gamboge, and fhade them with the 
 fame oker, umber, or biftre. Do the edging with vermilion, 
 and finifh with a very little carmine. 
 
 Red Tulips are laid with vermilion, and finifh with the fame 
 colour, with a little carmine or lake added to it. Do the bor- 
 der with gamboge, and finifli it ; add gall-ftone, umber, or bif- 
 tre to the fame. 
 
 White Tulips muft be fhaded with black, blue, and white; 
 Indian ink is very proper in this cafe, for it fhades foft, as it is of 
 itfelf equal to the efirdfs of blue and white, mixed with other 
 black. Edge thefe with carmine. 
 
 There is in all thefe f irts of Tulips a nerve in the middle of 
 the leaver, v/hich muft be made much brighter than the reft, and 
 
 the 
 
5^4 T U R 
 
 the edges muft be fcumbled into the grounds by fine ftrokes ; tot 
 thev muft not feem cut or feparated from the reft. 
 
 There are ftill others of different colours ; and fuch as are, as 
 it were, blacic on the infide, are to be coloured and finiftied with 
 indisio, as well as the feed. 
 
 If the Tulips have a yellow ground, ufe gamboge ; and, to fl- 
 nifti them, add a little umber or biftre. 
 
 The leaves and ftalks of Tulips are commonly painted with a 
 fea-green, and fhaded and finiflied with an iris green, with broad 
 ilrokes along the leaves. 
 
 Some again may be coloured with verditer, mixed with ma* 
 fticote ; thei'e you may {hade with bladder green, that they may 
 have a more yellowifli caft. 
 
 TURCOISE, > is a precious ftone of a blue colour, ordi- 
 
 TURQUOIS, 3 narily opaque, but fometimes a little tranf* 
 parent. 
 
 There are of thefe feveral kinds, oriental and occidental ; of 
 the new rock and of the old. 
 
 The oriental Turcoife partakes more of the blue tindture than 
 the green ; and the occidental more of the green than the blue. 
 
 Thofe of the old reck are of a deep blue, and thofe of the nevi^ 
 rock more whitifh, and do not keep their colour. 
 
 The oriental ones come from Perfia, the Indies, and fomc 
 parts of Turky ; and fome even fuppofe it is thence they take 
 the modern name of Turcoifes. 
 
 The occidental are found in various parts of Europe, particu- 
 larly Germany, Bohemia, Silefia, Spain, and France. 
 
 Turcoifes all irrow of a round or oval figure j they cut eafiljTj 
 and feals are frequently engraven on them. 
 
 The Turcoife is eafily counterfeited, and that fo perfe(£tly^ 
 that it is impofiible to difcover the deceit without taking it out of 
 the col'et. 
 
 In the memoirs of the Academy of Sciences, we have a very 
 curious account of the formation of the Turcois, the manner of 
 giving it the blue colour, $:c. by M. Reaumur. 
 
 He obferves, that the Turcoife is one of the fofteft of precious 
 ftones, its hardnefs fcarce exceeding that of a cryftal,or a tranf- 
 parent pebble ; though fome are much harder than others, and 
 flill the harder, caeteris paribus, the more valuable, by rcafon of 
 the vivacity of the polifh, which is always proportionable to the 
 hardnefs. 
 
 Rofnel, a jeweller, eftimating the feveral precious ftones, fet a 
 hard Turcoife, whofe blue is neither bright nor deep, on the 
 foot of the moft perfect emeralds, that is, on a level with a dia- 
 mond. Thofe that have any defect he only values at a French 
 crown a carat. 
 
 Taverni?r 
 
(T U R 335 
 
 Taveniier affirms, that there are but two mines of Turcoifes 
 known in ail the earth, and thofe both in Perfia ; the one called 
 the old rock, near a town called Neaburg, three days journey to 
 the north-eaft of Mechcd j the other, called the new rock, is five 
 ' days journey. 
 
 He fays the new rock is but little valued, and the king of Per- 
 fia has for manv years prohibited the digging in the old rock for 
 any but himfelf. And M. Reaumur fuppofcs the old rock to be 
 now exhaufted. 
 
 In reality, the common divifion of Turcoifes into thofe of the 
 old rock or oriental, and new rock or occidental, is very arbitrary 
 and precarious. 
 
 All the bcft and moft perfeft, wherever they grow, either in 
 India or Europe, are reckoned among the former, and the reft 
 among the latter. 
 
 There are feveral confiderable mines of Turcoifes near Si- 
 more in lower Languedoc; but that fine blue colour admired ia 
 . the Turcoifes is not natural to thefe rocks ; the prevailing co- 
 lour being fometimes white, and fometimes much like that of 
 Tripoli and Venice. 
 
 The other precious flones are dug out of the mine with all 
 their colour, to the force whereof nothing can be added, though 
 it may frequently be diminiflied ; as we fee fire bring down the 
 too deep colour of the fapphire, and take that of a pale fapphire 
 quite away. 
 
 Thefe Turcoifes, on the contrary, are naturally whitifh, or 
 yellowirti, of a colour as common as thatof a free- ff one; and, by 
 oppofing them for fome time to the a£iion of the fire, they af- 
 fume a blue colour. 
 
 Though it feems a paradox, yet M. Reaumur has made it ex- 
 ceeding probable, that Turcoifes are originally the bones of a- 
 nimals. 
 
 In the mines of France, pieces have feveral times been found 
 in the figure of teeth, bones of the arms, legs, kc. 
 
 And Turcoifes, which are yet imperfeft or ill formed, are 
 apparently compofed of laminae, or leaves, like thofe of bones, 
 between which fome petrifying juice infinuatingitfelf, binds them 
 clofe together ; and ftill the fotter and more imperfeifi the ftones 
 are, the more diftinguifhable are the different diredions of the 
 ■ fibres and lamina; with their intcrfections ; and the greater re-» 
 femblance they bear to fractured bones, and the lefs to any kind 
 of (tones known. 
 
 To give them the blue colour, they dry them a while in the 
 air, and afterwards heat them gradually in a furnace, made after 
 3. particular manner. 
 
 If they are heated too haftily, the humidity between the la- 
 2 mins 
 
■1 
 
 53^ 
 
 T U R 
 
 mince, wanting time to evaporate all, will feparate into fcalcs of 
 flaws. 
 
 Some of the ftones require a greater degree of heat to bring 
 them to their colour than others ; and, even in large pieces, fe- 
 veral parts ordinarily require feveral degrees of heat. 
 
 For this reafon, a great deal of care is to be taken in the heat- 
 ing them ; for the fire, which gives them their blue by degrees, 
 if they be expofed beyond a certain degree, takes it away again. 
 
 M. Reaumur docs very well account for their taking a blue 
 colour by heat ; it feems, that, when they are frefh cut out of 
 the rock, their fubftance is found fprinkled, and flreaked 
 all over with fpots, veins, little circles, &c. of a black-blue co- 
 lour. 
 
 Thefe he fuppofes to be remains of a deep bluifh matter, 
 which the fire (preads by rarefying them, and difFufes throughouf 
 the whole fuhflance of the ftone. 
 
 He alfo concludes, that this matter has been either originally 
 the juice contained in the bones, fince mixed and coagulated with 
 the petrifying juice, or fome other mineral matter infmuated into 
 the pores of the ftone. 
 
 The great defe£l of all Turcoifes is, that in time they lofe 
 their blue colour, and become green, and then ceafe to be of any 
 value. 
 
 The ancients attributed a kind of fympathetic virtue to the 
 Turcoifes. 
 
 It Is commonly fuppofed, that it changes colour, or breaks at 
 the death, ficknefs, or even misfortune of the perfon who wear* 
 it ; that it is difagreeable to married people, and even breaks on 
 their fingers ; that it marks all the changes and accidents that 
 happen in the body of the wearers, by anfwerable changes in its 
 colour ; and for this reafon the ladies have left ofF wearing it. 
 
 De Boot endeavours to account for all thefe efFedts from na- 
 tural, and even probable caufes. 
 
 The way to make TuRcoiSE. Take ten ounces of natural 
 cryffal prepared, and faturnus glorificatus j half an ounce of pu- 
 rified verdigreafe, and one ounce of our prepared zafFer, the 
 whole in fine powder ; which mix well together in a crucible co- 
 vered, with another well luted and dried, which afterwards put 
 into a glafs-houfe furnace, where leave it for three hours ; then 
 twelve hours in the annealing furnace, that it may cool gently ; 
 then takeout your crucible, and break it, and take out the mat- 
 ter, and cut and polifh it, and you will have Turcoife-coloured 
 Hones like thofe of the old rock. 
 
 The way of making TuRCOiSE bhe^ a particular colour in this 
 art. For this colour take a pot full of cryftal frit tinged vi'ith an 
 aqua-marine colour, or blue, whereof we have given feveral 
 
 piepa* 
 
\f 
 
 di 
 iit 
 li 
 
 s i 
 
 jr 
 
 1- 
 
 ><t 
 
 lis 
 
 Qf 
 n. 
 
 e, 
 
 le 
 
 h 
 r; 
 
 r. 
 .V 
 
^^S' 
 
 
f U R 337 
 
 pi-cparations, which colour mud be fair and full, for all depends 
 oh that; it being well melted, put into it, little by little, fea fait 
 dtxrepitated white, and reduced to powder, mixing it well ani 
 foftly, as we have noted in fpeaking of other metalline colours ; 
 and the blue, from clear and tranfparent, will become thick j 
 for the fait, penetrating the glafs, takes away its tranfparency, 
 and caufes a palenefs ; hence alone comes the Turcoife colour 
 ufed in glafs. When the colour is right to the workman's fan- 
 cy, it muft be prefentiy wrought, for the fait will evaporate, and 
 make the glafs tranfparent and difagreeable ; if in working this 
 metal the colour fades or goes off, you muft add a little rriore of 
 the fame decrepitated fait, as before, and the colour will return. 
 
 We will here advertife the workman, that he muft take care, 
 that this fait be well decrepitated, otherwifeit will alv^-ays crackle 
 and be apt to fly in his eyes, and endanger his fight ; you muft, 
 as I have faid, put in the fait in intervals, till the colour pleafei 
 you. 
 
 It will fufHce for this ufe, that the frit tinged aqua-marine, or 
 blue, be made of one half cryftal metal, and the other ofrochetta, 
 and the colour will be very fair and good. 
 
 TURMERIC, is a root ufed by dyers to giVe a yellow colour* 
 This root is yellow both within and without fide, very hard, as 
 if petrified, and not unlike either in figure or fize to ginger. 
 The leaves it produces are like thofe of black hellebore ; its flow- 
 ers rife in manner of fpica, or ear, and its fruit is rough like new 
 chefnuts. 
 
 It comes chiefly from the Eaft-Indies, though it grows alfo 
 in the ifland of Madagafcar. 
 
 It fhould be chofcn large, refinous, hard to break, and heavy. 
 
 Some perfons have miftakenly imagined there was a native 
 red Turmeric ; their error was owing to this, that the yellow 
 root, as it grows old, turns brown, and, when pulverifed, rcd- 
 difh. 
 
 It is much ufed by glovers, kc. to dye their gloves ; as alfb 
 by founders, &c. to give a gold colour to their medals. 
 
 The Indians ufe it to colour their rice and other foods yellow ; 
 for which reafon, it is bv fome called Englifh faffrori. 
 
 Our dyers do not find it gives fo fteady a vellow as the luteola 
 or greening weed ; but it is admirable for brightening and heigh- 
 tening the red colours dyed with cochineal, or vermilion, as fcar- 
 lets, &c. 
 
 TURNING, is a branch of fculpture, being the art of fafhion- 
 ing hard bodies, as wood, ix'ory, brafs, 6cc, into round or ov:l 
 forms in a lathe. 
 
 Turning is performed by putting the fubftance to be turned 
 
 uoon two poinf^ as an a.xis ; and movin? it round, or about on 
 
 * Vol . n. Z " that 
 
338 T U R 
 
 that axis ; while an edged tool, fet ready to the outfide of the 
 fubftance in a circumvolution of it, cuts ofFall the parts that lie 
 further off from the axis j and makes the outfide of that fub- 
 ftance concentric to the axis. 
 
 The principal inftruments ufed in Turning, befides the lathe, 
 arechiflels and mandrils of various forms. 
 
 The invention of Turning feems to be very ancient. Some 
 indeed, to do honour to the a'ge, will have it, that it has been 
 brought to perfedlon by the moderns ; but if what Pliny, and 
 fome other ancient authors relate, be true, that the ancients turn- 
 ed thofe precious vafes, enriched with figures and ornaments in 
 relievo, which are ftill to be feen in the cabinets of the curious ; 
 it muft be owned, that all which has been added in thefe ages, 
 makes but a poor amends for what we have loft of the manner of 
 Turning of the ancients. 
 
 TURPENTINE, is a tranfparent gum, which flows either 
 naturally or by incifion, from feveral fatty, refnious trees, fuch as 
 terebinthus, larch, pine, fir, &c. 
 
 There are feveral forts of Turpentine ; as thatof Chio, that 
 of Venice, that of Bourdeaux, that of Cyprus, Strafburg, &c. 
 
 The Turpentine of Chio, which is the only genuine kind, and 
 that which gives the name to all the relr, is a whitifli refin, bor- 
 dering a little on the green, very clear, and fomething odorife- 
 rous ; it is drawn by incifion from a tree called terebinthus, 
 which grows plentifully in that ifland, as alfo in Cyprus, and 
 fome parts of France iind Spain. 
 
 It (hould be chofen of a folid confiftence^ almoft without either 
 tafte or fmcll, and not at all tenacious, which diftinguifhes it 
 from the falfe Turpentine of Venice, which is commonly fubfti- 
 tuted in its place, having both a ftrong fmell and a bitter tafte, 
 and is very fticking or clammy. 
 
 ThisTu.'pentineof Chiois undoubtedly the beft for many ufesj 
 but the fcarcity of it is the caufe, that it is but little in ufe. 
 
 The Venice Turpentine is falfly fo called ; for, though there 
 was a Turpentine anciently brought from Venice, yet that^ 
 which is now fo called, comes from Dauphine in France. 
 
 It isliquid, of theconfiftenceof athickfyrup, and w^hitifti ; and" 
 flows either fpontaneoufly, or by incifion, from larches, firs, and 
 pines, chiefly in the wood de Pilatze. 
 
 That which flows naturally, is a kind of balm, not inferior in 
 virtue to that of Peru, and is frequently fubftituted for it. 
 
 That which is drawn by incifion, after the tree has left off 
 yielding fpontaneoufly, is of very confiderable ufe in feveral artSy 
 and is that of which varnifli is made. 
 
 This is to be chofen white and tranfparent, and great caution 
 
 is- 
 
VAN 33^ 
 
 is to be ufed that It has not been counterfeited with oil of Tur- 
 pentine. 
 
 The Turpentine of Bourdeaux is white and thick as honey. 
 It does not ooze from the tree in the form in which it is brought 
 to us ; but is properly a compofition, wherein, among other in- 
 gredients, is a white hard fort of refin, called c;alHpot. 
 
 The Turpentine of Strafburg, Dantzic, Sec. is what is mofl 
 commonly ufeJ among us, and preferred to that of Venice j front 
 which it is diftinguifhed by its green hue. 
 
 O/Vi'/'TuRPENTiNE. Theie are two forts of this oil drawri 
 from Turpentine by diltillatibn ; the firft is white, and the fe- 
 Cond red, both cftcemed as balfums j but tlicfeare both little uf- 
 ed by us, and fcarce to be had. 
 
 What is commonly fold under the name of oil of Turpentine, 
 is only a diftillation of the refin called gallipot, frefh from the 
 tree. This is ufed by painters, &c. 
 
 To be good, it (liould be clear and white as water, of a ftrong 
 penetrating fmell, and very inflammable. 
 
 TUTTY, is a kind of metallic foot, thrown ofFfrom brafs in 
 the furnace, and formed into concave flakes of different fizes and 
 thicknefies ; very hard, greyifh, and full of little protuberant 
 grains, about the bignefs of pins heads. 
 
 It is found adhering to rolls of earth, hung up for that purpofe. 
 over the furnaces of founders in brafs, to receive the fumes of 
 the melted metal. 
 
 V. 
 
 PErirto delVAGA^ born in 1500, ftudied Michael Angelo and 
 Raphael, lived at Genoa, Pifa, and Rome; excelled in hiftory 
 and archite<5ture ; died in 1547, aged forty-fcven years. 
 VAL. {lands for Valefio, John Lewis Valefio of Bologna. 
 
 VhO Lnuis VALV.SIO of Bologna, painter and engraver; 
 ^ His mark was alfo VAL. 
 VALOUR, is reprcfented, in painting, &c. by a man in his 
 prime, his garment of cloth of gold, a fcepter in his right hand, a 
 garland of laurel ; and with his lel't ftroking a lion on the head. 
 His virility, or man's eftate, denotes the fupport of valour and 
 bravery ; the fcepter, that pre-eminence is due to it ; the laurel,; 
 his ever being in the fame humour ; the lion, the property of 
 courageous men to get love of the molt barbarous by their cour- 
 tefy. 
 
 "P J. VAN FelJe ufed this mark; and near the mark wo 
 J^/|^ read Olyn on landfcapcs engraven by him. 
 
 JPllHam VANDER Vtlde, commonly called the old, vins an 
 
 ^ 2 extraf-* 
 
340 V A R 
 
 extraordinary fhip-painter of Amfterdam ; coming over to 
 England, he tt'as much employed by king Charles II, for whom 
 he painted feveral of the fca-fights between the Dutch and Eng- 
 lifti. He alfd underftood navigation extraordinary well, and is 
 faid to have conducfled the Englifh fleet to the burning of Schel- 
 ling. He was the father of a mafter, whom no age excelled in 
 Ihip-painting ;• and this we owe to the father's inftru6liorre, who 
 ■was an admirable draughtfman of all maritime objedts. He lived 
 at Greenwich to be more converfant in thefe things, which were 
 his continual ftudy ; and in which king Charles II. and king 
 Jan^s II. gave hrm all pofllble encouragement, making him 
 their painter with a confiderable falary, which afterwards was 
 continued to hisfon. The father in his latter days commonly 
 drew in black and white, on a ground prepared on canvafs j to 
 whiqh, like paper, he gave an eafy freedom to his fails and 
 tackle ; as alfo to every part of a {hip due proportion with infinite 
 neatnefs ; for his better information in this way of painting, he 
 had a model of the mads and tackle of a (hip always before him 
 to that nicety and exac^nefs, that nothing was wanting in it, nor 
 nothing unproportionable. This model was in the hands of his 
 fon Olo Vander Velde, who died in London about fixty years 
 ago. 
 
 V^ AN Rhin 171. ftands for Rembrant de Rein. 
 
 Jndreas VANDE Fe;me prnxit V. V. Delff, fc. 
 
 Willielmus Delft fculpfit. 
 
 Dirich VANDER Stara: lived in the year 150O. 
 
 D^^X J He marked his plates with the month and year in 
 / W which they were engraven j as in that of the flood, 
 and another where the Virgin is aloft, and St. Bernard at her 
 feet, marked 3d of Odober 1524, and the other marked 1544. 
 He likewife ufed the letter D, in which was V. 
 
 VANITY, is reprefented, in painting, &c. by a young girl, 
 fplendidly adorned, of a jovial countenance, painted, carries up- 
 on her head a difti with a heart in it. — Vanity is that which pro- 
 pofes no end to its actions, and therefore to be richly cloathed 
 and painted a? done to pleafe others, for no other end but to en- 
 ioy a fhort pleafure, is a fign of Vanity ; it likewife difcovers 
 its heart and thoughts, havirsg no end in its eye, and therefore 
 the heart is vifible over her head. 
 
 CavoUer Francefco V^ANNI, born fn the year 1563, fcholarof 
 his godfather Arcangelo Sallimbeni Fed. Zuccbero, and after- 
 wards imitated Barocci, lived at Siena, excelled in hillory and 
 religious fubje^ls ; died inthevear i&io, aged forty-feven years. 
 /^(f/77z:7« VARELST, was elder brother of the famous Simon 
 Varellt ; he painted hiflory, fruit, and flowers, after a manner 
 very picafant and well coloured. He educated feveral fons and 
 
 ens 
 
 ]V 
 
V A R 341 
 
 one daughter in the fame way of drawing. He fludied fome 
 time at Rome, and refided in the emperor's court at Vienna, 
 which city he left upon the Turks coming before it in 1683. 
 He died at London fixty years ago, and ftes buried in St. An- 
 drew's Holborn. 
 
 VARNISH, ? is a thick, vifcid, (hining liquor, ufed bypaint- 
 
 VERNISH, J ers, gilders, and various other artificers, to give 
 a glofs and luftre to their v/orksj as alio to defend them from 
 the weather, duft, &c. 
 
 There are feveral kinds of Varniftics in ufe ; as the ficcative 
 or drying Varnifh, made of oil of afpin, turpentine, and fanda- 
 rach melted together. 
 
 White Varnifh, called alfo Venetian Varnifli, made of oil of 
 turpentine, fine turpentine, and maftic. 
 
 Spirit of wine Varnifh, made of fandarach, white amber, gum 
 elemi, and maftic ; ferving to gild leather, picture frames, &c. 
 withal. 
 
 Gilt Varnifli, madeof linfeed oil, fandarach, aloes, gamboge, 
 and litharge of gold. 
 
 China Varnifh, made of gum lacca, colophony, maflic, and 
 fpirit of wine. 
 
 Common Varnifli, which is only common turpentine, difTolv- 
 cd in oil of turpentine. 
 
 fVMu VARNISH, 1 from a manufcript of Mr. Boyle- 
 
 yfmber VARNISH, ) Take white rofin four drachms, 
 melt it over the fire in a clean glazed pipkin, then put it inta 
 two ounces of the whiteft amber you can get, finely powdered. 
 This is to be put in by a little and a little, gradually, keeping it 
 ftirring all the while with a fmall flick, over a gentle fire, till it 
 difTolves, pouring in now and then a little oil of turpentine, as you 
 find it growing uifFi and continue fo to do till all your amber is 
 melted. 
 
 But great care mufl: be taken not to fet the houfe on fire, for the 
 very vapours of the oil of turpentine will take fire by heat only ; 
 but, if it fhall happen fo to do, immediately put a flat board or 
 wet blanket over the fiery pot, and, by keeping the air from it, 
 you will put it out, or fuffocate it. 
 
 Therefore it will be befl: to melt the rofin, in a glafs of a cy- 
 lindric figure, in a bed of hot fand, after the glafs has been well 
 annealed or warmed by degrees in the fand, under which you mult 
 keep a gentle fire. 
 
 When the Varnifli has been thus made, pour it into a coarfc 
 linen bag, and preis it between two hot boards of oak or flat 
 plates of iron ; after which it mav be ufed with any colours in 
 painting, and alfo for varnifliing them over when painted. 
 
 But, for covering gold, you mufl u[q the foUowInfj \'arnini : 
 
 Z 3 Tlii« 
 
•42 V A R 
 
 This is to be obferved, that, when you have varnirtied with whit« 
 Varnifh, vou may put the things varnifhed into a declining oven, 
 which will harden the Varnifh. 
 
 // hard Varnish, ivhich zvillbeor the muffie^from a mamifcript 
 cf A^jK. Boyle\'y for laying over any metal^ that appears like gold y to 
 present it /rem turning blqck^ which all but gold will be apt to do^ 
 when expofed to the air. Take of colophony, an ounce ; fet it 
 over the fire in a well glazed earthen vefTel, till it is melted ; then 
 by little and little ftrew in two ounces of powder of amber, 
 keeping flirring it all the while with a ftick ; and, when you per- 
 ceive it begin to harden or refift the ftick, then put in a little tur- 
 pentine oil, which will thin and foften it immediately ; then put 
 in tv.-o ounces of gum copal, finely powdered, fprinkling it in as 
 you did the amber, ever and anon pouring in a little oil of tur- 
 pentine; and, when it is done, ftrain it as before diredlcd. 
 
 l^his is proper to Varnifti over gold; the things done with it 
 iDuft be fet into a declining oven, three or four days fucceflively, 
 and then it will refift even the fire. 
 
 A Varnish for brafs, to make it look like gold. This is ufed 
 upon leaf gold, or upon that which is called Dutch or German 
 leaf gold, or upon brafs or bath-metal, which are defigned to 
 imitate gold. 
 
 Take two quarts of fplrit of wine, and put It into a retort glofs; 
 then add to it an ounce of gamboge, two ounces of lake, and 
 two ounces of gum maftic; fet this in a fand heat for fix days, 
 or elfe near a fire; or you may put the body of the retort fre- 
 quently into warm water, and fhake it two or three times a day, 
 then fet it over a pan of warm fmall-coal duft. Before you lay 
 this Varnifn over the metal, to be fure you fee that it has been 
 well cleaned, Varnifti it over thinly with this Varnifli, and it will 
 appear of the colour of gold. Set it in a declining oven to hard- 
 en, and it will not rub off. 
 
 N. B. This is a good Varnifti to mix with any colours that 
 incline to red, and the white Varnifti for mixing with thofe that 
 are pale. 
 
 To make thejlrcng 'Japan Varnish. See JAPAN. 
 Varni/hing prints^ &c. ivith zvhite V ARSlSH ^ fo as to bear wa- 
 ter and poli/lnng. The print (hould be firft parted either on board 
 or fhock cloth, ftrained on a frame ; in order to do this well, 
 prepare fome ftiff ftarch ; and with a fpongc dipped in water, or 
 thin ftarch, without any blue in it, wet the back of your print j 
 and, if you defign to lay it on a board, dip a large brufti in thick' 
 ftarch, and brufti it over the board as even as poftible, and let it 
 dry ; or you may lay a ground of whiting and fize on the board 
 firft, which will do very well ; then repeat it a fecond time, and 
 io continue till the veins cr grain of the wood are quite filled. 
 
 In 
 
V A R ^43 
 
 In the laft operation, when the ftarch is juft laid on, lay the 
 wet print upon it, as fmooth as poflible, that there may be no 
 wrinkles nor bubbles in it ; and prcfs it on clofe every- where, till 
 it lies'fmooth, and fo fct it by to dry ; which it will be, and fit to 
 Varnifla in twenty-four hours, with the following Varnifh : 
 
 Take ichthyocolla, or ifing-glafs, two ounces, and, after you 
 have pulled it into fmall pieces, boil it in a pint of brandy, or 
 ftrong fpirits, in a well glazed earthen vcfTel, till it comes to a 
 ilrong glue, which you may know by taking out a little, and ex- 
 pofirig it to the air ; it is then fit for your purpofe, but do not 
 fail to make it as ftrong as you can. 
 
 And, while it is hot, with a large brufh, brufh over the print 
 as quick as you can, and as fmooth and even as may be ; fet it 
 by for a day or two, and then do it over again with the fame 
 Varnifli or glue, and let it dry again very well ; then brufh it 
 over with white Varnifh at fuch a diflance from the fire, that it 
 may not blirter. Repeat this two or three times ; then let it 
 fland for a day or two, and then Varnifh it over again with the 
 white Varnifh the third time, with two or three pafTages of the 
 brufh ; then let it fland for three or four days, and it will be hard 
 enough to be poliflied ; which is to be done with afoft linen cloth 
 and fometripoli, rubbing it very gently, till it is as fmooth as 
 maybe; afterwards clear it with flour and oil, and then it will 
 appear as clear as glafs ; and, if at any time it is fullied with fly- 
 ihits, you may clean it, by wafhingit with a fponge and water. 
 
 The white VARmsH. Take gum fandarach, of the cleared 
 and whitefl fort, eight ounces ; gum maflic, of the clearefl fort, 
 half an ounce; of farcocolla, the whitefl, three quarters of an 
 ounce ; Venice turpentine, an ounce and a half; benzoin, the 
 clearefl, one quarter of an ounce ; white rofin, one quarter of an 
 ounce ; gum animce, three quarters of an ounce ; let all thefe 
 be difTolved, and mixed in the manner following : 
 
 Put the farcocolla and rofm into a little more fpirits than will 
 cover them to difTolve ; then add the benzoin, gum animre, atid 
 Venice turpentine, into either a glafs or glazed earthen vefTel, 
 and pour on as much fpirits as will cover them an inch ; then 
 put the gum maflic into a glafs or glazed vefl'el, and pour firong 
 fpirits upon it, covering it alfo about an inch thick, to difTolve it 
 rightly ; then put your gum elemi in a diflind veflel as before, 
 and cover it with fpirits to difTolve. 
 
 For this purpofe, you need only break the rofin a little, and 
 powder the gum animse, farcocolla, and benzoin. 
 
 Let all ftand three or four days to difTolve, fhaking the glafTes 
 &c. two or three times a day, and afterwards put them alto- 
 gether into a glazed vefTel, flirring them well ; ar.d ftrain the li-.. 
 
 Z 4 quor 
 
S44 V A R 
 
 quor and gums gently, beginning with the gums, through a lin- 
 en cloth. 
 
 Then put it into a bottle, and let it fland a week before you 
 ufe it, and pour off as much of the clear only, as you think fuf- 
 ficicnt for prefent ufe. 
 
 To paJJe prints upon doth for VaRNISHING. If the print be 
 put upon a (hock cloth, well {trained in a frame, brufli the cloth 
 over with llrong parte, made with flour and water; and im- 
 mediately .brufli over the back of the print with well prepared 
 ftarch, and then brufli the cloth over with the fame flarch, and 
 lay on the print as fmooth as poflible, without leaving any 
 wrinkles or bubbles in the paper. This you fhould take notice 
 of, that, when )ou have laid your paper upon the cloth, they 
 will both together appear flagging and unftrained ; but, as foon 
 as they are dry, all wil| he fmooth, as either of them was atfirft. 
 
 Let them fland fo in a dry warm place for a day or two, and 
 then you may Varnifh your print as before directed, with glue 
 made of ichthyocolla, and then with white Varnifh. 
 
 With this Varnifh you may mix up any colour, that has bcea 
 ground dry, with a marble, and paint it upon any figure you 
 have drawn, or upon any print you have parted upon your work j 
 but thevarniflied colours fhould be chiefly put upon the fhady. 
 
 Varn'ish made with feed lacca. Take a quart of ftrong fpirit 
 of wine, put into a glafs veflel ; and put to it fix ounces of feed 
 lacca, and let them ftand together for two days, fliaking them 
 pften ; then pafs it through a jelly-bag, or a flannel-bag, made 
 like what is called Hippccrates's flceve, letting the liquor drop 
 into a well-glazed vefl'el, and giving the gums a fqueefe every 
 now and then. When the Varnifli is almoft out of the bag, add 
 more, and prefs it gently till all is ftrained, and the dregs remain 
 dry. 
 
 Be fure you do not throw the dregs into the fire, for they will 
 endanger fetting the houfe on fire. 
 
 Put the Varnifh up in a bottle, and keep it clofe flopped, fet- 
 ting it by, till all the thick parts are fettled to the bottom, which 
 they will do in three or four days ; then pour ofFthe clear into a 
 frefli bottle, and it will be fit for ufe. 
 
 As for Varnirti made of fhell lacca, it is not of any great 
 fervice, though fo often recommended, for it will not bear the 
 poli/h. 
 
 When you lay on your Varnifiies, take the following method : 
 
 1. If you Varnifh wood, letvour wood be very fmooth, clofe- 
 grained, free from greafe, and rubbed with rufhes. 
 
 2. Lay on your colours as fmooth as poflible, and, if the Var- 
 nifh has anv blirters in it, take them offbv a polifh with rufhes. 
 
 '3. While 
 
V A R 345 
 
 3. While you are varniftiing, keep your work warm, but not 
 too hot. 
 
 4. In laying on your Varnlfh, begin in the middle, and ftroke 
 the brufh to the outfide, then to another extreme part, and (o 
 on until all be covered ; for, if you begin at the edges, the bru(h 
 will leave blots there, and make the work unequal. 
 
 5. In fine works ufe the fineft tripoli in polKhing : Do not 
 polifh it at one time only, but, after the firft time, let it dry for 
 two or three days, and polifh it again for the laft time. 
 
 6. In the firft polifliing you muft ufc a good deal of tripoli, 
 but in the next a very little will ferve ; when you have done, 
 wafli off your tripoli with a fponge and water; dry the varnifh 
 with a dry linen rag, and clear the work ; if a white ground, 
 with oil and whiting ; or, if black, with oil and lamp black. 
 
 Varnish, with potters, Sic. is a fort of fhining plaifler< with 
 which potters ware, Delft ware, China ware, &:c. are covered, 
 which gives them a fmoothnefs and luftre : Melted lead is thr 
 Varnifli ufed for the firft, and fmalt for the fecond. 
 
 Varnish, with medalifts, is alfo a name given to the co- 
 lours which antique medals have got in the earth. 
 
 The beauty, which nature alone is able to give to medals, 
 and art has never yet attained to counterfeit, enhances the value 
 of them ; that is the colour, which certain foils, in which they 
 have a long time lain, tinges the metals withal ; fomc of which 
 are blue, almoft as beautiful as the turquois ; others with an in- 
 imitable vermilion colour ; others with a certain fliining poliflied 
 brown, vaftly finer than brafil figures. 
 
 The moft ufual Varnifti is a beautiful green, which hangs to 
 the fineft ftrokes without effacing them, more accurately than 
 the fineft enamel does on metals. 
 
 No metal but brafs is fufceptible of this ; for the green ruft, 
 that gathers on filver, always fpoils it ; and it muft be got off 
 with vinegar or lemon juice. 
 
 Falfifiers of medals have a falfe or modern Varnifti, which 
 they ufe on their counterfeits, to give them the appearance, or 
 air, of being antique. But this may be difcovered by its foft- 
 nefs, it being fofter than the natural Varnifli, which is as hard 
 as the metal itfelf. 
 
 Some depofit their fpurious metals in the earth for a confi- 
 derable time ; by which means they contract a fort of Varnifh, 
 which may impofe upon the lefs knowing ; others ufe fal armo- 
 niac, and others burnt paper. 
 
 V AK^isH for glafs. Taice oil of turpentine fix ounces, Ve- 
 nice turpentine three ounces, gum of ivy, or rather maftic, one 
 pijiicei put them into a glafs bottle, ftop it well, and wax it, 
 
 that 
 
346 V A R 
 
 <tiat no vapours may come forth ; then diflblve it in balneo ma« 
 riae, which will be done in about two hours time. 
 
 An ufeful Varnish. Take drying linfeed oil, fet it on the 
 fire, and diflblve it in fome good rofin, or which is better, but 
 dearer, gum lacca ; let the quantity be fuch as may make the 
 oil thick as a balfam. When the rofin or gum is diflblved, you 
 may either work it of itfelf, or add to it fome colour, as verdi- 
 greafe, for a green j or amber, for an hair colour j or indigo 
 and white, for a light blue. 
 
 This will fecure timber work done over with it, equal to 
 painting with colours in oil, and is much more eafy to obtain; 
 for linfeed oil and rofin are more eafily melted together by boil- 
 ing, than colours can any ways be ground j and, being of the 
 confiftence of a balfam, works very readily with a brufli, and 
 of itfelf, without the addition of colours, bears a body fufficient 
 to fecure all manner of timber work, equal to moll oil colours. 
 
 In the working of it, there is no great flcill required, if you 
 can but ufe a painter's brufh ; only let the matter you lay it on 
 be thoroughly drenched, that the outfide may be glazed with it : 
 And, if you defire a colour on the outfide, you need only grind 
 a colour with the laft Varnifh you lay on. 
 
 General rides to be ohferved in V^ARNISHING. Let your wood 
 be clofe-grained, exempt from all knots and greafinefs, very 
 fmooth, and well ruflied. You mufl: work in a room with a 
 good fire, becaufe your work muft be always warm, but never 
 put it fo near the fire as to fcorch it, or make it quite hot ; for 
 that will bliftcr and crack it, which is a damage can never be 
 repaired. When you lay the grounds, warm your work before 
 T^very wafh, and keep it in a gentle heat always, while it is dry- 
 ing. When it is ready for the piflures, rub the v/rong fide of 
 the prints with ftarch, and fix them on as flat as pofTible, that 
 there may be no biifters, nor any part which is not fixed down 
 clcfc with the ftarch ;»othcrwife the edges will be apt to rife, 
 and will always lie rough. When they are dried on, pafs them 
 over with a fmall pencil dipped in common fize, which you muft 
 have ready melted, to fecure the colours from running ; when 
 that is dry, you may begin to varnifh. 
 
 When you begin the Varnifliing ftroke, fix your brufh in the 
 middle of the work, and, with a quick fleady hand, draw it to 
 the other end. Then fix it again on the place you begun at", 
 and draw it to the other end ; thus you mufl do until it is all 
 varniflied. The rcafon for this caution is, that if, you drew your 
 pencil from end to end, the brufli being overcharged at firff, 
 the V^arnifh would rim over the edges of your work. Never 
 pafi your bruOi t\iice over the fame place while it it wet, for 
 -ifhat will make it lie rough. 
 
 Stroke 
 
V A R 347 
 
 Stroke your brufti once or twice againft the fide of the pot, 
 every time you dip it to take varnilh, that it may not be too 
 full : For, the thinner you lay on the varnifh, each time, the 
 fmoother it will be, and not fo liable to fpcck and bubble. Con- 
 tinue Varnifliing until the ground and pictures lie even ; that is 
 to fay, that the ground be as high as the prints, and it all looks 
 fmooth and even. You muft not omit Varnifhing it once every 
 day until it is finifhed ; then let it lie three weeks, or a month, 
 before you polifli it. 
 
 71? polij}). There are three feveral ways to polifli, which I (hall 
 give you all. The firft is, a pumice-ftone fteeped and melted 
 in water; fmear your work with it, and rub it with felt, until 
 all the flrokes of the pencil difappear ; then wafh it off with cold 
 water, and wipe it off with a foft cloth or muflin. 
 
 The fecond is, the duft which comes from fawing of ftones, 
 finely fifted, and ufed like the pumice-ftone. 
 
 The third is with tripoli. Wrap a piece of very fine old linen 
 about your fore-finger. Dip it in water, then into the tripoli, 
 which muft be fcraped with a piece of glafs, or otherwife re- 
 duced to a very fine powder, without the leaft grittinefs, for that 
 would ruin all. Let your hand be moderately hard, and very 
 even in all your poliftiing ftrokes. Polifh and brighten one place, 
 as much as for that time you intend to do, before you pafs to 
 another. 
 
 Remember not to polifn your work, as fmooth as you i end 
 at one time : But let it reft two or three days, and then g vt jc 
 the finifhing ftroke. Take a large quantity of tripoli for the firfl; 
 polifhing, until it begins to become fmooth ; the fecond time a 
 fmall quantity will fuffice. Let your endeavours be chiefly to 
 polifh the ground ; for that, being plain, will fhew all faults the 
 more. 
 
 To clear it up, wafh ofF the tripoli with a fpongc and water, 
 and wipe it dry with a fine foft cloth : Mix oil and lamp black 
 together, and viith that anoint your work all over. Then take 
 another foft cloth, and with a nimble quick ftroke, and a hard 
 hand, take the oil intirely ofF, and you will find it anfvver the 
 pains you have been at. 
 
 This way of clearing ferves for all but the whites and yellows, 
 where inftead of lamp black you muft mix fine flouer with the 
 oil. And, in the polifhing, your hand muft not be fo heavy as 
 in polifhing other colours. 
 
 To make goldfize. Take of gum animae half an ounce, gum 
 afphaltum half an ounce, litharge of gold a quarter of an ounce, 
 j-ed lead and brown umber, of each a quarter of an ounce ; put 
 all thefe into a new earthen pipkin, that holds one third more 
 than you put in : Put in half a quarter of a pint of linfeed oil, 
 
 anci 
 
348 V A R 
 
 and a quarter of a pint of drying oil. Set the pipkin over a gen-- 
 tie fire, that does not flame out in the leaft ; let it but juft bub- 
 hie up, or almoft boil, for, fhould it run over, it would fire the 
 chimney. As foon as it begins to bubble or boil, keep ftirrin<y 
 h with a ftick until the gums are all melted thoroughly, and 
 tha^t it becomes thick and ropy like treacle; then it is boiled 
 enough. Take it off the fire, and, when the extremity of the 
 heat is over, then fl:rain it through a coarfe linen cloth into ano- 
 ther earthen pot, there to cool and lie ready for ufe. When you 
 life it, put fomc of it into a mufcle-fhell, with as much turpen- 
 tine as will difiblve the fize, and make it as thin as the muddy 
 part of the feed-lac varnifli : Hold it over a candle, and, when 
 melted, llrain it through a linen rag into another fhell; add to 
 It as much vermilion as will make it of a darkifli red. 
 
 Draw the figure or pattern, which you defign to gild, after 
 the cround of vour work is laid ; then with a pencil, propor- 
 tioned to the work, lay the fize neatly on thofe places you in- 
 •rend to gild, and no other. I/Ct it (land until it is fo dry, that, 
 when you touch it with your finger, it may be glutinous and 
 clammv, and ftick a little ; but not fo moift:, that the leaft fpot 
 or fpeck fhould come off^ with your fingers, not unlike to thick 
 glue when it is half dry. When it juft anfwers this defcription, 
 take 2 piece of wafti leather, wrap it round your fore finger, and 
 dip it ijuo vour gold duft, which you muft have ready in a pa- 
 per, and rub all over where the gold fize is laid. If any fhould 
 be fprinkled about your work, fweep it into the paper again with 
 a clean pencil that has been ufed. "When your gold is dry, fe- 
 cure it with the following varnifli : 
 
 The fccuring V'arnish to be ufed only In goMtvork, Take of 
 the IkII: V^enice turpentine, as much as you pleafe ; put it into a 
 pipkin that will hold double the quantity you put in ; fet it over 
 a clear gentle fire, and be cautious it does not boil over. WTien 
 i: boils, which muft be very gently, keep it always ftirring with 
 a ftick until it is boiled enough, which you may know by pour- 
 ing fome on the ground ; for when it is cold it will crumble into 
 powder between your fingers. When it is fufticiently boiled, 
 Jet it cool, and keep it for the following ufe. 
 
 Take a quarter of a pint of the cleareft feed-lac Varnifli, and 
 one ounce of the turpentine finely powdered ; put them into a 
 double glafs phial, large enough to contain twice as much ; ftop 
 itclofe, and fet it over a very gentle fire, that it heat leifurely, 
 to prevent the bottle's breaking. When it is very hot, the dan- 
 ger is paft : Let it iuft bubble up for a little time ; then take it 
 off, and unftop the bottle, fliaking it well : Stop it again, and 
 fi.'t it on the fire to bubble as before. Let it continue till the tur- 
 pentine be diflblved to the bignefs of a large pea, that, being the 
 
 drofs. 
 
V E N 349 
 
 drofe, will not incorporate with the reft ; take it off) and let it 
 ftand two days to fettle, pour it off clear, and keep it for iifr. 
 As this is only to fecure the gold, you muft be very careful in 
 laying it on, that it touch not the leaft part of your ground, nor 
 any thing but the gold. If there are colours mixed amonoil: it, 
 finifh it up with the white Varnifh. If the defign be all "-old, 
 finifh it with the following Varnifh. 
 
 N. B. The gold muft be paflcd over twice or thrice with the 
 fecuring Varnifh. 
 
 The JiniJh'ingY JK'R^isn for gold work. Take one pound of 
 Venice turpentine, three pints of water ; put them into an 
 earthen pipkin, big enough to hold twice the quantity; place 
 them over a gentle fire, and let it warm by degrees till it begins 
 to bubble up : Then keeping it always flirring with a ftick, thai 
 it may boil leifurcly for fome time, pour Tome of this liquor on 
 the ground ; and, when it is cold, if it crumbles to powder in 
 your fingers, it is boiled enough. Set it by till it is cool enough 
 to take into your hands, and fqueefe the water intirely out of it; 
 then make it into a ball, and after a day or two beat it into fine 
 powder for your ufe ; fet it in a very dry place, but not near the 
 fire, for that will melt it. Put one ounce of this powdered tur- 
 pentine to half a pint of the befl feed-lac Varnifli ; put it in a bot- 
 tle that will hold twice as much clofe flopped ; when it has ftood 
 fome time on a gentle fire, take it oft, unfiop, and fhake it. 
 Continue this till the turpentine be difTolved to the bignefs of a 
 large pea ; fet it by two days to cool and fettle, then pour off the 
 clearefl for your work. Six or eight times varniflimg will do, 
 but you mufl ufe your own judgment according to the colour 
 of the gold. Let it ftand three weeks or a month before you 
 polifh. 
 
 Giorgio VASARI, born in the year 15 14, fcholar of Mi- 
 chael Angelo and Andrea del Sarto, lived at Pifa, Bologna, Flo- 
 rence, Venice, Naples, Rome, Sec. excelled in hif^ory, por- 
 traits, and architecture ; died in the year 157S, aged fixty-four 
 years. 
 
 V. C. fignifies Vincenzio Cacclanemici, a nobleman of Bo- 
 logna, and painter, 
 
 V. C. V. a mark ufed by an ancient engraver in a St. Bar- 
 tholomew and a St. George. 
 
 Titiano VECELT.l da Cadore, born in the vear 1477, fcho- 
 lar of Gio Bellini and Giorgione, lived at Venice, excelled in 
 hiftory-painting, portraits, and landlcapes ; died in 1576, aged 
 ;iinety-nine years. 
 
 V£NEERING, ?is a kind of marquetry or inlaying; hy 
 VANEERING, ) which feversl thin llices ox leaves of fine 
 
 wooJ:> 
 
35" . . ^^.'^ 
 
 woods of different kinds are applied and faflencd on a ground of 
 fome common wood. 
 
 There are two kinds of inlaying ; the one, which is the molt 
 common and more ordinary, goes no farther than the making of 
 compartments of different woods ; the other requires much more 
 art, in reprefenting flowers, birds, and the like figures. 
 
 The firft kind is properly called Veneering ; the latter is more 
 properly called MARQUETRY, which fee. 
 
 The wood ufed in Veneering is firft fawed out into dices o#l. 
 leaves about aline in thicknefs, i. e. the twelfth part of an inch • 
 in order to faw them, the blocks or planks are placed upright, 
 in a kind of fawing-prefs. 
 
 Thcfe fliccs are afterwards cut into narrow flips, and fafhioned 
 divers ways, according to the defign propofed ; then the joints 
 having been exactly and nicely adjufted, and the pieces brought 
 down to their proper thicknefs, with feveral planes for the pur* 
 pofe, they are glued down on a ground or block with good ftrong 
 En2;lifli glue. 
 
 The pieces being thus jointed and glued, the work, if fmall, 
 is put in a prefs ; if latge, it is laid on a bench covered with a 
 board, and preiTed down with poles or pieces of wood, one end 
 of which reaches to the cieling of the room, and the other bears 
 on the board. 
 
 When the glue is thoroughly dry, it is taken out of the prefs 
 and finifhed ; firft with little planes, then with divers fcrapers, 
 fomc of which refemblerafps, which take off the dents, &c. left 
 by the planes. 
 
 After it has been fuflSciently fcraped, they polifh it with the 
 fkin of a fea-dog, wax, and a brufh, or poHfher of fliave-grafs j 
 which is the lafl: preparation. 
 
 /"^ *^ Julio Cefare VENENTT, an engraver of Bologna,- 
 ^^ >^ ufed this mark. 
 
 V ENERATION. Admiration begets cfteem, and efteem 
 Veneration, in which the eye- brows v/ill be dcpreffed in the fame 
 manner as in cfteem ; the face will be alfo bowed downwards,^ 
 but the eye-balls v;\\\ be more turned up under the brows. 
 
 The mouth will be open, and the corners drawn back but a 
 little lower than in that of cfteem. 
 
 This depreffion of the mouth and eye-brows indicates a fub- 
 mifiTion and refpecl of the foul to an object that flie believes to be 
 above her: The eye-ball turned upwards feems to intimate the 
 elevation of the objccl: confidercd, which it acknowledges to be 
 worthy of Veneration. 
 
 But, if the Veneration is caufed by an object that claims our 
 faith, in that cafe all the parts of tlie vifage will be lower de* 
 Brc.^ll'd than in the former ac^ionv 
 
 TTl* 
 
The eyes and mouth will be clofed ; fhewing, by this atSlion^ 
 that the exterior fenfes have no part therein. 
 
 As to the pofture of the body, it (hall be more bowed in Vene- 
 ration than in efteem, the arms and hands ahnnft joined, tho 
 knees on the ground, and all the parts of the body (hall indicate 
 SL profound refpecft. 
 
 But, in an adtion which fhews faith, the body mav be bowed 
 intirely down ; the arms folded, and joining to the body ; the 
 hands crofled the one over the other, and the whole podure oughfc 
 to fhew a profound humilitv. See plate XXI. 
 
 VKNUS. Horace and Virgil reprefent the chariot of Venus 
 as drawn by two white fwans, which Statius fays are attributed 
 to her, as being moft mild, innocent, and harmlefs. 
 
 Paufanias defcribes her as drawn in a coach throua;h the airy 
 pafTages by two white doves, which are called the birds oi 
 Venus. 
 
 The ancients reprefented her in the form of a moft beautiful, 
 and young woman, ftanding upright in the fliell of a large fifh, 
 drawn by two ftrange fiflies. 
 • She is alfo depicted with yellow hair, clad in a black, fcarlet^ 
 or dun-coloured robe. 
 
 Praxiteles, an excellent flatuarv of the idand of Gnidos, made 
 her image naked, without any cloaths ; and the fame was don& 
 by the Grecians. 
 
 By this was intimated, that all licentious and libidinous per- 
 f(ms, by reafon of their inordinate lull, were like beads, deprived- 
 of fenfe, and left as it were naked, and delpoiled of reafon and 
 underftanding; and oftentimesalfoftripped thereby of their riches, 
 goods, and eltates. 
 
 La6tantius tells us, that the Lacedajmonians made the irnag© 
 of Venus armed like a warrior, holding in one hand a fpear, and 
 in the other a fliicld or target. 
 
 This they did on account of a certain viclory, which the La- 
 cedremonian women obtained over their enemies, the people of 
 MefTenia ; which fuccefs, they imagined, proceeded from the 
 power and alTiftance of Venus, as infpiring the hearts of thefe 
 women with courage, ftoutnefs, and refolution. 
 
 VERDIGREASE, J is a kind of ruft of copper, of confide- 
 
 VERDIGivIS, i rable ufe in painting for a green colour.^ 
 
 It is a preparation made of plates of copper, and the hufks of 
 grapes well faturated with wine, put up in earthen pots, and dif- 
 poled layer unon laver, i. e. firll: hufks and then copper j and 
 this repeated till the vellel is moderately filled. 
 
 Thefe pots are afterwards fet in a cellar, where they are let 
 
 to Hand (ome time, and then tskcn out, to gather the Vcrdi- 
 
 ■X 2.reafe, 
 
352 V E R 
 
 greale, which is a green ruft, wiih which the plates are covefed 
 all over. 
 
 The greatpft: part of the Verdigreafe ufed in Europe comes 
 from Languedoc in France, being made of the hufks of the 
 grapes of that countr)', and is brought over in cakes of about 
 twenty-five pounds weight. 
 
 The cryflallifed Verdigreafe, cryftals of Verdigreafe, or di- 
 ftillcd Verdigreafe, is Verdigreafe difTolved in diftilled vinegar, 
 and afterwards filtred, evaporated, and cryftallifed in a cellar. 
 This is ufed by painters to make a green colour, efpecially in 
 miniature'; it makes a beautiful tranfparent green for japanning 
 on glafs, being ground with oil of turpentine, and mixed with 
 common vainifh, and leaf gold or filver laid on the backfide 
 of it. 
 
 This commonly comes from Holland, or Lyons in France, 
 and on fticks in form like our fugar-candy. To be good, thefe 
 cryftals muft be beautiful, clean, and tranfparent, very dry, and 
 as free from fticks as pofTible. 
 
 Cryftals of Verdigreafe are likewife made by diflblving cop- 
 per, granulated in fpirit of nitre, and afterwards evaporating t9 
 a fcum or pellicle, and fetting it in a cellar to cr}'ftallire. 
 
 Verdigreafe is the plague of all colours, and enough to fpoil 
 a whole pi6ture in oil-painting, if the leaft part of it enters inta 
 the priming of the cloth ; yet it is a beautiful and agreeable co- 
 lour ; fometimes it is calcinated to take'ofFits malignity, but it is 
 dangerous to calcinate, as well as red arfenic ; and, let it be ever 
 fo well purified, it muft be ufed alone, for it will fpoil all the 
 colours that are mixed with it. 
 
 It is made ufe of, becaufc it dries very much ; and only a little 
 of it is ufed, mixed in blacks, which never dry alone. 
 
 The pain'ter ought to take care that he does not ufe the pencil 
 with which he painted Verdigreafe in any other colours. 
 
 VERDETER, 1 is properly a native mineral fubftance, of 
 
 VERDITER, ?-a ftony confiftence, and of a blue colour^ 
 
 VERDITURE, ) but fpangled with little fliining points like 
 gems ; it is found in the mountains of Hungary and Moravia, 
 and is the fame that is alfo called lapis Armenius. 
 
 The green ufed by the painters, and called Verditer, fliould 
 be made of this ftone well-ground and cleanfed by wafliing. 
 
 But, this ftone being vcrv rare, the Verditer commonly ufed 
 is not a native, but a factitious fubftance ; which feme fay is 
 prepared by caftin-j; wine or water upon ne\T copper, as it comes 
 red-hot out of the furnace, and catching the fteams that rife 
 from it upon copper-plates : Others again fav, it is prepared by 
 dilTolvingcopper-platti iii v.Ine, much after the manner of Ver- 
 digreafe. 
 
 But 
 
V E R 3SS 
 
 But the method of making it in England is as follows : 
 
 The refiners pour a fufficient quantity of their copper water 
 on a hundred pounds weight of whiting, flirring them well to- 
 gether every day for fome hours, till the water grows pale ; then 
 they pour that off, and fet it by for further ufe, and pour on more 
 of the green water, repeating this till the Verditer is made ; which 
 they then take out, and lay on large pieces of chalk in the fun 
 to dry. 
 
 The water which is poured ofFfrom the Verditer, which re- 
 mains at the bottom of the tub, is put into a copper, and boiled 
 till it comes to the confiftence of water-grucl ; now confifting 
 principally of laltpetre reduced, moft of the fpiiit of vitriol being 
 gone with the copper into the Verditer : And a dlfh full of this, 
 being put into the other materials for aqua-fortis, is rediftilled, 
 and makes what they call a double water, which is near twice 
 as good as that made without it. 
 
 Ht^nry VERGAZOON, was a Dutch painter of lands and 
 ruins, but chiefly the latter, which he performed exceeding 
 neatly ; his colouring was very natural, but his landfcape part 
 commonly too dark and gloomy, appearing as if it had been 
 drawn for a night-piece : He painted fometimes fmall portraits, 
 which were very curious. He left England fevcral years ago, 
 and died in France. 
 
 VERITY, is reprefented, in painting, kc. by a naked beau- 
 ty, holding a fun in her right hand, in her left a book open with 
 a palm, and under one foot the globe of the world. — Naked, 
 becaufe downright fimplicity is natural to her ; the fun fhews 
 her great delight in clearnefs ; the book, that the truth of things 
 may be found in good authors; the palm, her rifing the more 
 (he is deprelTed ; the globe, that, being immortal, flie is the 
 flrongeft of all things in the world, therefore tramples on it. 
 
 VERMILION, is a very bright beautiful red colour, in great 
 cfteem among the ancients under the name of minium. 
 
 There are two kinds of it, the one natural, and the other fac- 
 titious. 
 
 The natural is found in fome filver mines in the form of a 
 ruddy fand, which is afterwards prepared and purified by feveral 
 lotions and coftions. 
 
 The artificial is made of mineral cinnabar, ground up with 
 aqua-vitae and urine, and afterwards dried. 
 
 It is alfo made of lead burnt and wafhed, or of cerufs pre- 
 pared by fire : But this is not properly called Vermilion, but red 
 lead. 
 
 Yet this laft, however, feems to be the real Vermilion of the 
 ancients, and both apothecaries and painters ftill give it the name 
 to enhance the price. 
 
 Vol. II. A a We 
 
354 V 16 
 
 Wcliave two kinds of Vermilion from Holland, the one of a 
 deep red, the other pale ; but it is the fame at the bottom : The 
 only dift'ereiice of colour, proceeding from the cinnabar's being 
 more or lefs ground : When the cinnabar is finely ground, the 
 Vermilion is pale ; and this is preferred before that which is 
 coarfer and redder. 
 
 Vermilion fome difapprove of, to be ufed in painting prints, 
 unlefs it be prepared by wafliing, as is directed for minium j 
 and then chiefly for dry painting, except it be by thofe perfons 
 who can ufc it moderately, and with judgment ; for all heavy 
 colours will drown the fhades or ftrokes of the engraver. 
 
 Andrea VEROCCHIO, was the firft who found out the 
 taking off and preferving the features of the face in plaifter of 
 Paris, born in the year J431, lived at Florence, excelled in hi- 
 flory, mufic, fculpture, and architedure; died in the year 1487, 
 aged fifty-fix years. 
 
 VES. S. (lands for Vefpafiano Strada of Rome. 
 
 VICTORY, is reprefented, in painting, Sec. by a young 
 lady cloathed in gold, having wings on her fhoulders, holding ia 
 her ri^ht hand a garland of laurel and olive, in her left hand a 
 palm-branch, fitting upon a multitude of trophies of arms and 
 ipoils of enemies of all forts. — The laurel, olive, and palm, are 
 figns of honour and Viitory amongft the ancients, as their me- 
 dals fhew. 
 f / % ^ "T ;t- /E'w^?; VIGHI, of Parma. His other marks 
 
 -TsLl V ^'^ ^' ^' ^' ^- ^' 
 
 VIGILANCE, is reprefented, in painting, &c. by the fame 
 defcription as Care, whither you are referred. Everybody knows 
 that the lamp, book, and crane, denote Vigilance. The cranes 
 flying together, when they would reft (ecurely j one of them 
 holds a ftone in its claw ; the others, fo long as the ftone does 
 not fall, are fecure and fafe by the Vigilance of their compa- 
 nion ; and it falls only, when the guards fall afleep, at the noife 
 of which they fly away. 
 
 Francis'VlLLAMENA, of Afllze, an exxellent 
 and expeditious engraver. He likevvife ufed the 
 following letters F. V. F. or F. Villam. F. 
 
 Llonardo da VINCI, of noble defcent, born in the year 1445, 
 fcholar of Andrea Verrocchio, lived at Florence, excelled in 
 painting hiftory, portraiture, architecture, and fculpture j died 
 in the year 1520, aged feventy-five years. 
 
 Gio Battijla VIOLA, born in the year 1576, fcholar of An- 
 nibal Caracci, lived at Rome, Sec. excelled at hiftory, and 
 chiefly atlandfcape; died in the year 1622, aged forty-fix years. 
 
 Of dying VIOLET colours. See PURPLE. 
 
 ^g make a \^ 1 L E T colqur in grain cut cf a fad blue. Take fair 
 3 water. 
 
V I O 355 
 
 Water, clear bran liquor, of each equal part?, a fu/Hcient quan- 
 tity ; alum nine pounds and an half, tartar five pounds and an 
 half; melt them, and enter thirty pounds weight of wool, yarn, 
 ftufF, cloth, &c. of a fad blue colour: Boil four hours, cool, 
 wafli it in cold water. Take frefh bran liquor a fufficient quan- 
 tity, cochineal and tartar both in fine powder, of each fifteen 
 ounces j mix, enter your cloth, handle it to a good heat, boil 
 it two hours, handle it well, taicc it out and walh it, and it will 
 be a pure Violet or purple colour. 
 
 j^n exLellcnt Violet colour. Take calcined tartar and turn- 
 fole, of each a pound ; beat them and tie them up in a linen 
 cloth, and fteep them twenty-four hours in water, and then put 
 in the matter which you would have to be of a Violet colour. 
 
 To dye finffs^ <jfc. of a beautiful Violet colour. Alum the 
 fluffs wi;h half a pound of alum, two ounces of tartar, and a 
 handful of madder in clear rain water made hot, for every pound 
 of fluff J let thefe ingredients be ftirred well together, and when 
 they are diffolved and begin to boil put in the fluffs to be dyed, 
 boil them for half an hour, take them out, let them cool, and 
 rinfe them out. 
 
 Put frefh water to the liquor, and put in a quarter of a pound 
 of brown wood in a clean bag, boil it for an hour and an half, 
 and then put in the goods again, and boil it for an hour and an 
 half; then take it out, and put into the hot fuds a quarter of a 
 pound of verdigreafe, it being firft diffolved in warm water. Stir 
 it well about, and then put in the ftuffs again, itirring it about 
 for a quarter of an hour, until it begins to boil ; then take it out, 
 cool and rinfe it, and it will be of the moft beautiful Violet co- 
 lour. 
 
 To dye thread of a laftlng Violet colour. Boil half a pound of 
 tartar, half a pound of alum, two ounces of brafil wood, and 
 half an ounce of falt-petre together ; then lay the thread four hours 
 in the liquor j then rinfe it out and dry it. Then brown it as 
 follows : 
 
 Boil a pound of brown wood, and half a pound of brafil, in a 
 large veffel ; and ufe the dye in the following manner : 
 
 Divide it into four equal parts ; remembering that each part 
 is to be ufed warm, and the thread dyed after each operation ; 
 and, when the firft part is ufed, let there be added to it half an 
 ounce of fumach, and one drachm of falt-petre. 
 
 The fecond lime, a quarter of an ounce of calcined tartar, and 
 one drachm of verdigreafe powdered. 
 
 The third time, a quarter of an ounce of fumacb, and ore 
 drachm of falt-petre. 
 
 The fourth and lail time, if the thread remains a little reddifh, 
 
 A a 2 pour 
 
356 VIR 
 
 povT in a quart of hot fharp ley, and you will find the thread cf 
 a beautiful Violet brown. 
 
 But if the thread be boiled in alum, and blued with woad, and 
 then browned with brafil, the colour will be more beautiful and 
 Jafting. 
 
 To dye a go:d crimfon Violet. Firft dye the ftufFa deep 
 blue-green, and boil it as for right crimfon ; rinfe it very clean 
 out of the fuds, and finifli it with three drachms of cochineal, in 
 proportion to one pound of ware, and you will have a right good 
 colour. 
 
 A brnvn Violet colour. For twenty-five yards of fuftian, 
 frize, or other goods, take three quarters of a pound of alum, 
 half a pound of tartar, half an ounce offal armoniac ; boil the 
 ftuff in this liquor for two hours, rinfe it out in clean water, and 
 dry it in order to blue it, and dip it in a deep lafting blue with 
 woad or indigo, then rinfe it clean and dry it. 
 
 To dyefilk ofaViQ-L-ET colour. For every pound of filk take 
 one pound of blue, or Provence wood ; boil and ftir the filk in 
 it, as in the red dye ; put into the laft fuds a few galls, then rinfe 
 the filk and dry it. 
 
 J good laftifig Violet, To every pound of filk take one 
 pound of galls and one pound of blue wood ; and put in the filk 
 when the fuds are cold, for, the colder the fuds, the bluer the 
 Violet colour will be, which muft always be bluer than thetaw- 
 neys : Let it lie a night in the fuds, then in the morning rinfe 
 and dry it. 
 
 From the following dye are compofed the beft tawneys, grey 
 and crimfon goat- colours. 
 
 To dye filk a Violet brown. Let the filks be alumed as for 
 tawny ; and to every pound of filk take two pounds of Provence 
 wood, boil it in a bag for a full hour; then take it out, put in 
 the filk, boil that for an hour, and then take it out, and put in 
 the bag again ; then rinfe it in a ley, as is directed to be made 
 for other colours, and without bole armoniac, and after that in 
 running water. 
 
 VIRGIN copper^ is that which never has been melted down. 
 
 Virgin ^i>/i, is gold as it is got out of the ore, without any 
 mixture or alloy ; in which ftate it is fo foft, that it will take 
 the imprefilon of a feal. 
 
 Virgin mercury., is that which is found perfe6lly formed and 
 fluid in the veins of mines ; or at leaft is got from the mineral 
 earth by mere lotion, without fire. 
 
 Virgin o;V, is that which oozes fpontaneoufly from the olive, 
 &c, witho\it prefling. 
 
 Virgin parchment., is properly that made of a kind of cap or 
 
 caul, which fome children bring into the world on their heads. 
 
 3 But 
 
V I T 357 
 
 But the term is alfo ufed for that made of the TkIh of an abortive 
 lamb or calf. 
 
 Virgin zvax^ is fuch as has never been wrought, but remains 
 as it came out of the hive. 
 
 VIRGINITY, is reprefented, in painting, &c. by a pretty 
 girl cloathed in white, and crowned with gold, her waili fur- 
 rounded witli a girdle, with an emerald, made of white wool, 
 which in old times maids wore, called zona virginxa, not to be 
 loofed, but by their hu(bands on their wedding-night. — The 
 white cloths and the emerald fhe has about her, and golden 
 crown, denote purity. 
 
 VIRGULA divimtoria, is a forked branch in form of a Y, 
 cut ofF a hazle-trec ; by means of which, fome pretend to dif- 
 cover mines, fprings, &c. under ground. 
 
 The method of ufing it is as follows : The perfon who carries 
 it walks very flowly over the places, where he imagines any 
 mines or fprings to be, and obferves the rod to dip or incline to 
 the ground ; fuppofing that the effluvia which exhale from the 
 metals or water impregnating the woed, caufe a dipping or in- 
 clination of it ; which is the fign of a difcovery. 
 
 Though fome difpute the matter of fa6l, and deny it to be 
 poflible ; yet others, feeming to be convinced by the great num- 
 ber of experiments alledged in its behalf, look out for the na- 
 tural caufes of it. 
 
 Thefe authors fay in behalf thereof, that the corpufcles rifing 
 from the minerals or fprings, penetrating the rod, determine ic 
 to incline or bow down, in order to render it parallel to the ver- 
 tical lines, which the effluvia defcribe in their rife. 
 
 VIRTUE, is reprefented, in painting, &c. by a comely vir- 
 gin, having wings behind, a fpear in her right hand, and in her 
 left a crown of laurel, and a fun in her bofom. — Young, becaufc 
 fhe never grows old, her actions commencing into habits ; the 
 wings fignify her foaring aloft, far above the vulgar ; the fun, 
 that his Virtue infpires Virtue to the whole body ; the laurel, 
 that fhe is ever green, being proof againft vice j the fpear, dig- 
 nity ruling over vice. 
 
 Timothco VITE de Urbino, born in the year 1470, imitated 
 Raphael, lived at Urbino and Rome, excelled in hiftory-painting; 
 died in the year 1524, aged fifty-four years. 
 
 VITRIFICATION, ) is the aft of converting a body Into 
 
 VITRIFACTION, Jglafs, by means of fire. 
 
 Of all bodies, the afhes of fern, fand, bricks, and pebbles vi- 
 trify the mofl: eafily : And, accordingly, of the aflies of fern prin- 
 cipally is glafs made. 
 
 All metal--, and even almofl all natural bodies, being tho- 
 roughly heated in the fire, vitrify or turn to glafs. And this 
 
 A a 3 Vitri- 
 
358 V I T 
 
 Vitrification is the laft effe£t of fire; after which the moft in- 
 tenfe heat of the largeft burning-glafs will make no further al- 
 teration. 
 
 VITRIOL, is a kind of foflil or mineral fait, chiefly found 
 in copper mines ; hut is more properly ranked among the clafs 
 of femi-metals, as having a metallic matter mixed or combined 
 with its fait. 
 
 Vitriol is defined by Boerhaave to he a faline, metallic, tranf- 
 parent glebe; diflbluble in water, and fufible and calcinable by 
 fire. 
 
 It is called by different names, according to the different places 
 where it is dug; and the Vitriols of thofe alfo differ from each 
 other in both name and colour ; fome being white, others blue, 
 and others green. 
 
 Roman Vitriol, for inflance, is white ; that of Cyprus blue, 
 and that of Pifa and Germany greenifh. 
 
 White Vitriol partakes but little of any metal ; blue partakes 
 of copper, and green of iron. 
 
 According to Boerhaave, Vitriols confift of a metallic part, 
 with a fiilphur adhering to a menftruous acid and water. 
 
 In blue Vitriol, the metal wherewith the acid. Sic. is joined 
 is copper. 
 
 In white Vitriol, commonly called white copperas, it is mixed 
 with lapis calaminaris, or fome ferrugineous earth intermixed 
 with lead or tin. 
 
 In green Vitriol the acid is joined with iron, 
 
 Thefe Vitriols are generally fa6l:itious, being only a kind of 
 cryfl^als, drawn by the macans of water from a fort of marcafite 
 ufually found in mines, and called by naturaliits pyrites. 
 
 Roman Vitriol is made by expofingthefe pyrites to the air, till 
 fuch time as they calcine, and change into a greenifh and vi- 
 triolic calx or dufl. 
 
 In this ffate they are thrown into the water, and are after- 
 wards reduced into that kind of cryftals, fent to us from Italy, 
 by boiling and evaporation. 
 
 All the other Vitriols are made after the fame manner ; that 
 is, much after the fame manner as alum is made in Engfand, or 
 falt-petrein P'rance. 
 
 For gr?en Vitriol they add a great number of pieces of iron to 
 the liquor in the boiling ; thefe raife a great ebullition. As foon 
 25 the iron is diffolved, they evaporate the diffolution to a certain 
 degree, and fo let it cryftallife. 
 
 The cryftals being formed, there remains a thick, reddifh, 
 uncjiuous ftyptic and aflringcnt liquor, 
 
 ~''^^ fo|iitiori of Vitriol, mixed with a tin^ure of gall?, becomes 
 
 inflantly 
 
V I T 359 
 
 rnftantly exceeding black, and it is this is the common vvriting-r 
 ink. 
 
 Vitriol enters into the compofition of aqua-fortis. 
 Some naturalifts hold Vitriol to be the root or matrix of cop- 
 per ; becaufe in the copper mines they never dig deeper than the 
 glebe, out of which the Vitriol is drawn. 
 
 Tartar of Vitriol, is had by mixing oil of Vitriol with oil of 
 tartar per deliquium, procured by the hrft calcining; then dif- 
 tilling it : A fait precipitating to the bottom, which, being fet to 
 exhale and cryftallife, is the tartar of Vitriol. 
 
 Metallic Vitriols. It is to be obferved, that all metals may 
 be converted into Vitriols, by diflblving them with acid fpiriti, 
 and letting them fland j though it is very difficult to obtain Vi- 
 triol of gold and filver, by reafon that thefe metals are not eafily 
 diflblved by the fpirit j but Vitriols of iron and copper are eafily 
 had. 
 
 The way cf purifying ViTRioL to make aqua- fortii fir onger and 
 more penetrative. We have promifed in the preceding pages to 
 fhew the way of purifying Vitriol ; which confifts of taking away 
 the yellownefs, which alone hinders the good efFed^s it is capa- 
 ble of producing. Take Roman Vitriol, the beft you can get, 
 difTolve it in common warm water ; then let it ftand three days j 
 then filtre it, and fling away the yellow faeces j then evaporate 
 in glafs bodies two thirds of the water, and put the remainder 
 into earthen glazed pans, and fet it in a cool place for the cryftal 
 of it to (hoot; which, in twelve hours time, they will do about 
 the brims of the pans in little tranfparent pieces, like natural 
 cryftal of an emerald colour : At the bottom there will remain 
 a fulphureous fediment, which muft be carefully feparated and 
 caft away. 
 
 Then you muft take all thofe little green cryftals and difTolve 
 them again in warm water as before, and then filtre and evapo- 
 rate them in the fame glafs bodies ; and fet them again to cry- 
 ftallife as before in a cool place, taking care to feparate all the 
 yellow faeces you find. Reiterate this procefs of didolving and 
 filtring, evaporating and cryftallifing the third time ; then you 
 will have a well-purified and refined cryftal. 
 
 We will here add, for the fake of the curious, that thofe who 
 make ufe of Vitriol inftead of roch alum to make aqua-fortis, 
 the preparation whereof we have ftiewn elfewhere, ought to take 
 a fpecial care in the diftillation, that, asfoon as the red fumes arc 
 paft, all the fpirits of nitre are raifed, and that then the fire muft 
 be extinguifhed : For that which follows after is only a fpirit (»f 
 Vitriol, which hinders the operation of the fpirit of nitre in the 
 folution of metal. 
 
 You may alfo draw a parting water in twelve hours time, as 
 
 A a it fomc 
 
3^o U L T 
 
 fome refiners do, during which time but little fpirlt of Vitriol 
 can arife with their fires. 
 
 ULTRAMARINE, is a rich and beautiful blue ufed by 
 painters. It is extracted from an azure ftone, commonly called 
 lapis lazuli, which is an opaque ftone of a fine fky colour or 
 Turkifh blue ; or like the blue flowers that grow in corn fields ; 
 it is embellifhed with fmall ftreaks and fparkles of a gold colour. 
 
 This ftone comes from Perfia and the Eaft-Indies, and, as 
 (bme fay, from Africa j but, if from the laft, it is in no great 
 quantities. 
 
 There is alfo a kind of lapis lazuli found in Germany and 
 Hungary; but not fixed, though as hard as that from Afia, 
 which they call lefurftein and its colour afurbleau ; but its co- 
 lour changes in fome time, and becomes greenifli : However, it 
 is ufed by painters. 
 
 The beft lapis lazuli is that which is fixed ; that is, can endure 
 the fire without altering colour. 
 
 Before you proceed to extract your Ultramarine, take fome ac- 
 count of the manner, to know whether the ftone be good ; for, 
 unlefs it is fingularly fo, you will k)fe your labour: Put pieces 
 thereof on live coals, and blow them continually for an hour; 
 if they retain their hrft hardnefs and colour afterwards, you may 
 conclude them good ; but, if they crumble between your fingers, 
 they are naught. It may be tried otherwife in an iron ladle put 
 into a furnace with fome of the ftone to heat, and fo quench it 
 in ftrong vinegar; if the colour remains ftill unchanged and 
 fplendid, you may afTure your felf it is good. 
 
 When you have made this trial, calcine it, which, to do the 
 cafier, break the ftone to pieces as fmall as hazle-nuts, wafh 
 them afterwards in warm water, and fet them in a crucible, on 
 a wind furnace, or into an iron ladle to re-unite ; then caft them 
 iiuo a glazed earthen veflel of diftilled vinegar to quench them 
 in ; do thus feven times, to prepare them by calcination for pow- 
 dering, and to prevent their fticking to the mortar. 
 
 Thus calcined, dry them well, and fo powder them in a ftone 
 mortar well covered, and accordingly fearce it with the fame 
 caution, as perfumers do their moft delicate and fineft powders, 
 left the beft ftiould go ofFanddifpel itfelf in the air: And thus 
 preferve this precious powder with all imaginable care. 
 
 Some derive its name Ultramarine of the Latin ultra, bcvond, 
 and marinus of or belonging to the fea ; q. d. beyond fea, be- 
 caufe firft brought into Europe from India and Perfia. 
 
 It is the common opinion, that the method of making it was 
 firft dirco\'ered in England by a member of the Eaft-India com- 
 panv ; who, having a quarrel with his afTociates, made the fecret 
 public tu be rcvcjujod of them. 
 
 r$ 
 
U L T 361 
 
 To make a V quid for moljiening and grinding the powder withaly 
 l^c. For moifteniiig and grindint; your aforclaid powder of the 
 ftone, take a pound and an half of running water, and put this 
 into a new earthen pot ; add to it an egg-ftiell full of raw honey, 
 boil il until it have no more fcum ; take the pot off, and keep 
 this hydromel, or liquid, in bottles for ufe. 
 
 This done, take four fcruples of the beft gum dragon, grind 
 it on your marble, with fome of the hydromel, and then put it 
 into a glafs ; add thereto as much hydromel as you find conve- 
 nient to bring it to a violet colour, fo cover it, and preferve it 
 for ufe. This liquid is good for your powder of lapis lazuli ; if 
 the colour be too violet, add the lefs hereof; if otherwife, the 
 more, as your judgment or experience fhall direct. 
 
 Put half a pound of powder at a time into a fmall porphyry 
 or marble veflel, the larger the mortar the worfe ; for you will 
 lofe more, and be longer a grinding ; pour leifurely by little and 
 little thereon fome of your violet liquid, grind theie together 
 for a full hour, ftill wetting it ; you may ufe three or four ounces 
 of liquid to the half pound of powder, and you will have it very 
 good ; you muft take care of grinding it too long, for then it will 
 lofe its colour. 
 
 When it is thus ground, dry it on a marble or flat ftone, 
 where the fun does not come at all ; cover it well to preferve it 
 from duft ; when it is dry, it will powder eafily between your 
 fingers, if it be rightly done ; if fo, let it alone on the marble, 
 but if it be clammy, or fticV, take it off, for it has ftill fome 
 unduofity of the honey in it, which muft be cleanfed away by 
 a cement. 
 
 Your lapis being thus dry, wafli it well before you put it to 
 the cement, for which you muft ufe a glazed e:iithen bafon, 
 round above like a barber's, and well glazed within ; put your 
 lapis therein, and pour thereon fomeoi the mild lixivium here- 
 after mentioned, as much as will rife abuve the furface four 
 inches ; wafh the lapis very well with your hands, and then let it 
 fettle, and it will precipitate. The liquid being cleared again, 
 decant it into a large copper or earthen veffcl, then let the lapis 
 dry in a fhade in the fame veilel it was walhed in, and fpread it 
 afterwards on the flat marble or porphyry, and there let it lie un- 
 til quite dry : Thus it is prepared for mixing with the cement, 
 of which we will give the preparation hereafter. 
 
 To prepare a mild andjlrong lixivium for lapis lazuli. To maka 
 thefe lixiviums, take ten handfulsof vine ftalk aflies well fcarced ; 
 put this into a large veffcl that will hold thiity pounds of water, 
 with a faucet at bottom ; prefs the afhes very well, and put to 
 them twenty pounds of warm water. When it is funk to the 
 bottom, open the faucet, {o as it may only drop into an earthen 
 
 veffcl; 
 
362 U L T 
 
 vefTel ; when it is all come out flop the hole, and ftrain this lix- 
 ivium through a felt drainer, and fo iceep it in a glafs, or glazed 
 pot well covered : This is the ftrongeft lixivium. 
 
 Again, pour in, on the fame aflies, the like quantity of warm 
 water, and do as before} fo you will have an indifferent ftrong 
 lixivium, which keep as the former. 
 
 Do this a third time, and you will have the mild lixivium 
 mentioned in the preceding page. 
 
 Thefe three are very ufeful both for moiftcning and to draw 
 the powder of lapis lazuli from the cement ; wherewith it muft 
 be mixed, as will be (hewn anon : Which Reparation being fome- 
 times hard to perform, we are obliged to have recourfe to thefe 
 varieties of lixiviums flronger, or weaker, as we find them con- 
 venient for the purpcfe. 
 
 You may yet make another lixivium to take away the grea- 
 fmefs of the cement thus ; boil calx of tartar, as much as you 
 pleafe, in clean water, for about a quarter of an hour, and keep 
 it for ufe as the former. This is excellent for wafhing the lapis 
 lazuli with ; it flrengthens and improves the colour thereof. 
 
 It muft be remembered that there always remains fome of your 
 colour in the waters, or lixiviums, wherein the lapis lazuli is 
 prepared throughout all the procefs ; you muft therefore have a 
 very large veflel of brafs, or earthen ware, glazed and polifhed 
 very well at bottom, wherein muft be three holes ; one in the 
 middle of the fide, the next a little lower, and the laft about two 
 inches from the bottom ; ftop the holes without-fide very clofe, 
 to prevent leakage. 
 
 Then pour all your waters into this ; though you then perceive 
 no colour at all, yet after ten days you will have it at bottom, 
 v^hither it will defcend gently ; and ro get it you muft go artifi- 
 cially to work, firft opening the firft cock or hole, and let out 
 the water above that, before you open the other two ; and thus 
 vou mav get the colour without muddying, or lofing any by the 
 Wttters, which mix with the reft. 
 
 'To make J^rong cement to mis ivith lapis lazi/li^ tofeparatc the finer 
 and better part from tit other. One cannot f ) eafily part the finer 
 }apis lazuli from its grofl'er parts, without making ufe of this ce- 
 ment : Take four ounces of very pure and clear Venice turpen- 
 tine» fix ounces of rofin of the pine, fix ounces of Grecian pitch, 
 three ounces of very good maftic, three ounces of frefh wax, an 
 ounce and an half of linfecd oil cleanfed, as fliall be direcfled. 
 
 Put the turpentine into a new glazed earthen pot, very clean, 
 to diflblve over a flow charcoal fire, and continue ftirring it with 
 a wooden fpatula ; throw into this, by degrees, the rofin of the 
 pine, in fmall piecc^, and ftir it ftill very well ; thus put in fuc- 
 ceftively the pitch, the mafti: in oowdcij and laft of all the wax 
 
 fliced 
 
U L T 363 
 
 fliced fmall, (lirrlng all continually about to mix and incorporate. 
 Take great care of your fire, ielt the cement iiiouKl blaze or 
 burn, all the ingredients being hot of themfclves, and combufti- 
 ble. Having well incorporated them, pour in the linfeed oil, 
 ftirring it as before, and fo let it boil gently for a quarter of an 
 hour. 
 
 To try whether the cement be enough, drop fomeof it ofFthe 
 fpatula into a veflel of cold water ; if it fpread, it is not enough ; 
 but, if it do not, it is fufficiently boiled ; fo take it off. Or you 
 may wet your fingers, and take a drop thereof, roll and draw it 
 out in length ; if it fnaps and breaks of itfelf, it is a flgn that it is 
 enough: Take it off, and pour it boiling hot into a filtrating bag 
 fteepcd before in hot water ; take care to let it go all through 
 into a veflel of cold water, and, for the better fecurity, fqueefe it 
 from top to bottom with two flat fl^icks, that none may remain in 
 your bag. Afterwards work it well with your hands, till all the 
 water is drained from it, and, becaufe being hot it may flick to 
 your fingers, you may anoint them with fome of the linfeed oil. 
 
 The cement being thus prepared, keep it in a vefFel of cold 
 water, fhifting your water every day, or every fecond day ; and 
 by this method you may keep it for ten years. 
 I'd make a weaker cement for feparat'ing the colours of lapis lazuli. 
 
 This fecond cement, which is the fotter and milder, ought 
 to be firfl employed on the p:>wder of lapis lazuli ; it draws the 
 colour much quicker and better than the llrong cement, which 
 ought not to be ufed till after the milder ; the whole fecret of 
 feparating the colours confiiting in ufing the cements j for, 
 without a due care hereof, it cannot be done perfeiStly. 
 
 To make this cement, you muft take four ounces of very pure 
 turpentine, four ounces of rofin of pine, fix ounces of Grecian 
 pitch, one ounce of frefh wax, fix drachms of linfeed oil purifi- 
 ed ; mix and incorporate them fuccelTively as before. Obferve 
 only, that this is fooner done than the former, becaufe it is weak- 
 er, and will give the colour fooneft ; therefore you mull manage 
 accordingly. 
 
 To purify linfeed oil. The ufe we have for linfeed oil in our 
 cement, obliges us to give this preparation, and way of purifying 
 it, whereby it is made more fit for our purpofe. 
 
 Take good and clear linfeed oil, of the colour of faffron, and 
 put it into a glafs, fhaded like an ox horn, with an hole at bot- 
 tom to let out the water, which you muft mix with the oil, let- 
 ting them fettle until the oil rifes to the furface ; then open the 
 hole, and let the water out, and the oil remain behind. Then 
 fhake the oil again, with more frefh water ; let it fettle, and the 
 water run out as before ; do thus eight or ten times, till the wa- 
 ter comes out as clear as it went in, and fo the oil will be pure 
 
 and 
 
364 U L T 
 
 and fit for your ufe ; keep it well flopped In a glafs bottle. If you 
 cannot get linfeed oil, you may ufe oil of bitter almonds, with- 
 out purifying, for it needs none ; but take notice, the linfeed oil 
 is belt of any, though cheaper than the other. 
 
 How to incorporate the powder of lapis luxuli with the Jl rang ^ or 
 tveakcr cement. We have already given the way to prepare the 
 powder for mixing with th€ cement, to extra6t the colours ; we 
 now come to fliew how to mix it with the cement, in order to 
 extract the Ultramarine from them for painting. 
 
 Take a pound of the powder, and the like quantity of cement, 
 obferving always to tnke the firft that was worked with the hands ; 
 cut the cement Imall, and, the pieces being a little wet, put them 
 into a glazed earthen put, over a fire of red hot afhes to melt, 
 and take care it does not boil ; if it fliould, you muft prevent the 
 damage which it might caufe, by putting in feme linfeed oil. 
 The cement being thus melted, anoint all your fpatula over, 
 from the handle downwards, with the fame oil, and fo put in the 
 powder by very little quantities, and taking a great deal of time, 
 that they may the better incorporate ; and be fure to ftir it all the 
 while very well with the fpatula, fo as to make it all alike, until 
 it become like an ointment or falve ; then take off the pot, and 
 throw the ftuff boiling hot into an earthen bafon of cold water, 
 and at that very inrtant take off all that flicks to the fides of the 
 pot. When it is cold enough to be handled, if it appears well 
 coloured, it is a fign you have worked it well ; this done, rub 
 your hand with linfeed oil, and work it as they do a pafte of 
 bread or dough, for one hour, that it may be thoroughly compact. 
 The longer vou work it, the better and cafier the colour may be 
 o'rawn ; afterwards make it up like a loaf or brick, and fet it in 
 an earthen difh to dry, pouring thereon fome frefh water; let it 
 fleep for fifteen days, the longer the better for extracting the Ul- 
 tramarine. 
 
 To extraol the Ultramarine. Take the loaf of cement 
 and powder, waftiing it in the fame water very well with vour 
 hands ; wei^h it to know the quantity of oil it requires, and put 
 it into an earthen bowl or difh, very fmoothly glazed, rubbing 
 firft the bottom with your linfeed oil; then pour in water fcarce 
 warmed, until it arife two inches above the matter; let it ftaiid 
 in this condition a full quarter of an hour, or leis in the fpring 
 time ; pour this water afterwards into the veffcl before mention- 
 ed, adding more warm water to your matter, and fo it will fof- 
 ten ; continue thus whilft there remains any tincture thereon; 
 by this means all the fubftancc that is good for any thing, will 
 be feparated from the cement, which cannot be done otherwjfe. 
 
 Whilft it is imbibed in the warm water, you muft move and 
 rol! it gently round with two fticks, or fpatula's of box, or any 
 
 other 
 
U L T 365 
 
 other well pollftiedl wood, rounded at the ends fmooth like a wal- 
 nut ; let them be about an ell long, and an inch thick. When- 
 ever you perceive the matter ftick to the bottom of your difh, 
 rub your hands with linfeed oil, and ftir it about leifurelv fo as 
 to colour the water, which you muft put along with the tormcr, 
 in the mean time holding up the matter with your ftaves, \i:i\ it 
 Ihould ftick to the vcflel. 
 
 Take notice that a little fteeping at firft will tinge the water 
 very much, and, when the cement is juft yielding its colour, it 
 will difcover certain bluiOi ftreaks on the water like the fun's 
 rays, and then you muft ftrain this water out among the other, 
 through a fearce, that the grofler part of the cement may remain ; 
 afterwards pour in by little and little the frefli warm water, ftir- 
 ring the cement eafily, that it may not dilate too much, and give 
 its colour all at once. After you have thus ftlrred it about five 
 or fix times, make it again into a mafs, by which means yon 
 will fee how much it is diminiftied, and what quantity of colour 
 it has given. 
 
 If the lapis be good, you will find the firft fteepings yield a- 
 bout four or five ounces of Ultramarine, which keep apart by its 
 felf as the beft and fineft colour, though it appear grofTer that! 
 the others of this fort, by reafon of the gold-coloured veins, which 
 are peculiarly therein. 
 
 For the fecond, whereof you will have three or fourcunccs, 
 you muft follow the procefies aforementioned ; this indeed will 
 be finer than the other, but not fo good a colour ; keep it alfo 
 by itfelf. 
 
 Draw off a third, and this will be ftill finer than the former, 
 but paler, and more bright coloured. You muft ftill purfue the 
 fame directions to extract it, letting your water be but half luke- 
 warm ; and take care to manage the cement dextroufly with the 
 fpatula's, and fo preferve the colour apart. 
 
 You may extrat^ a fourth colour after this rate, but the water 
 muft be hotter, and you muft prefs the cement very well with 
 the fpatula's to fqueeie out the colour; and, if mere water will 
 not do, make ufeof the mild lixivium. This laft colour will 
 be greyifti or afh-coloured, and of no great value, and therefore 
 not at all to be mixed with any of the reft. 
 
 Obferve here that you cannot take up lefs than eight hours 
 full to extradl the colours, nor lefs than ten or twelve to allow 
 the water for fettling ; and, if you perceive the colour does not 
 come out free enough with the warm water, add a third part of 
 our mild lixivium, and, if that does not do, ufe all lixivium, but 
 let it be cold ; and, when that fails too of effecting it fufficientlv, 
 you muft make a lixivium of wine-ftalk afties, and, this being 
 ftrained, let it boil for half a quarter of an hour, until it be ftiarp 
 
 enough 
 
366 
 
 U L T 
 
 enough to bite your tongue ; and then let it fettle and grow clear j 
 this is your laft fhift for extracting your colour, and, with this 
 heated, wafh your cement very well, and fet it a fide. The 
 whole defign of all this trouble is only to fervefor obtaining the 
 greater quantity of Ultramarine, and thisconfifts in thegoodnefs 
 of the lapis lazuli and the cement, which the circumfpedtion and 
 care taken in all their preparations muft advance. 
 
 The method ofcleanfwg the Ultramarine xvhcn it isfeparated 
 from the cement. After you have extradled all your colour out of 
 the cement, and the water quite fettled and feparated from it, 
 pour on fome of the mild lixivium before prefcribed, and wafh 
 it with your hands, but do not rub it between them ; thus you 
 will take away all the greafe of the cement ; afterwards walli it 
 three or four times in fair water, and let the v/aters fettle well 
 before you put them into their proper veflels. 
 
 Or you may purge the Ultramarine thus : Take the yolks of 
 pullets eggs, that have been fed only with corn, and not with 
 greens ; prick thefe with a pin, and fo moiften the colours, knead- 
 ing the mafs with your hands, and wafliing it afterwards with 
 your mild lixivium, until the lixivium falls off clear again. 
 This done, wafh them three or four times over with fair water, 
 letting the waters fettle well before you put them into their 
 veffels. 
 
 This laft way of purifying the Ultramarine is very effedlual ; 
 but here is another help to he ufed with it, which is a very great 
 fecret, and performed thus : After the colours are quite wafhed 
 according to former directions, as well as polTible, you muftcaft 
 therein, by little and little, a proper quantity of ox gall, rubbing 
 it by degrees with your hands ; wafli them often in clear water, 
 and you will have the Ultramarine in full perfe6tion. 
 
 Tojlraln off the Ultramarine ah-eady wafl^ed arid purified. 
 It is neceffary to drain off the Ultramarine, and the reit of the 
 colours, that if any greafe, or undtuofity of the cement, remain, 
 it may be taken quite away, for thefe colours require a perfe(Sl 
 and extraordinary purification. 
 
 For this purpofe take a fine fearce, and pour thereon the laft 
 waters, with which you wafhed the Ultramarine, and ftrain them 
 afterwards through another fine fearce, and a third time through 
 red quintain or crape ; but you muft obferve, when you ftrain 
 them, to let them ftand till you perceive them limpid and clear, 
 and fo foak off the water dcxtroufly with a fpongc, and be fure 
 not to ftrain them promifcuoufly all together. 
 
 This being done to all the waters, let your colours fettle in 
 their proper veffels, and dry in the fhade ; when dry, put them 
 into little leather bags ; tie thefe clofe, rubbing them and pref- 
 fjng them with your hands ; this vvJll make them very fubtile, 
 
 and 
 
U L T 2^7 
 
 and, when the bags are opened, they will fhew much fairer than 
 before. 
 
 TocorreB the colours before prepared. Few pcrfons, unlefs fuch 
 as are very curious of their works, make any ufe hereof, bccaufe 
 of the time it takes up, though it would turn very much to their 
 account; for one ounce of this colour correded will go farther 
 than three that are not. 
 
 If you would make your colours before prepared much finer 
 and efFe6lual than they are, mix them again with a ftrong ce- 
 ment, and let them remain therein for three days ; afterwards 
 proceed, according tothelafl: directions, to feparate them again ; 
 reiterate this over again, and you will have them exceeding 
 good J and, though they diminifh fomevvhat in weight, yet that 
 lofs will be repaid confidcrably in the beauty and value. 
 
 Another ivciy to make Ultramarine, ar.d draw off the co- 
 lours zvith more expedition. This method of making Ultramarine 
 is much more ready than the former ; and experience will (hew 
 whether the colour be a gainer or lofer thereby. 
 
 Take a pound of lapis lazuli, calcine it in a crucible, and 
 quench it afterwards In vinegar, fo let it dry, and then reduce it 
 to a very fine powder ; grind it on a porphyry with fair water, 
 and fet in a glazed earthen vcfTel in the (hade, until it be dry ; if 
 you find it coagulated all in a mafs, you mull powder it again. 
 
 This done, make a cement of three ounces of Grecian pitch, 
 four ounces of rofin of the pine, three ounces of maftic, three 
 ounces offrankincenfe, two ounces of oil olive; fet thefeovcr a 
 flow fire in a fmall earthen pot, into which pour firft the oil, and 
 when that is hot put in the rofin, then the pitch, then the incenfe, 
 and lafl: of all the maftic, flirring them continually with the 
 wooden fpatula, and let them boil a little. 
 
 Having made the cement, get another earthen veflel, and put 
 therein the lapis lazuli, and pour on it the cement hot, ftirring 
 the whole together with the fpatula very leifurely, until they per- 
 fedly incorporate ; let this ftand a whole day, and, when you 
 would draw off the colours, pour thereon boiling water, ftirring 
 it very fmartly. 
 
 When it begins to cool, pour it out, and fo put in more hot 
 water; do this till the water begins to draw off the colour, and 
 fo continue until it be quite extra6led ; you may diflinguifh the 
 waters, and fo fet them apart, and obtain the variety of colour as 
 in the former way. 
 
 If your colour feems to be clammy and nafty, you may corredl 
 it thus : Add thereto tartar diffolved in water, as much as will 
 cover it, and let it reft for one day at leaft; wafh it in warm wa- 
 ter, and you will by that m?ans have it very correct, and well 
 purified. 
 
 Jncthir 
 
363 U L T 
 
 Another way to make Ultramarine. Granting the two 
 former ways to be fufficient, we will however here give a third, 
 which we believe may as well be pleafing to thofe who are not 
 fatisfietl with the other, as to fuch perfons as have a curiofity for 
 thefe foits of work. 
 
 Break, the lapis into grofs pieces, as fmall as nuts ; fet thefe in 
 a crucible into a furnace, till they redden with heat, and caft 
 them into cold water ; do thus fix or feven times, and reduce 
 them to impalpable powder in a porphyry mortar well covered, 
 left the powder, which is very fubtile, fhould difperfe in the air ; 
 and then fearce it with a fine fearce alfo covered. 
 
 After this, take roHn of pines, ordinary black pitch, maftic, 
 frefti wax, and turpentine, of each three ounces ; of incenfc and 
 linfecd oil, each one ounce ; melt all together in an earthen vef- 
 fel, ftirring them very well, that they may mix ; this ftufF, being 
 well incorporated, cafl it into water, and keep it for ufe. 
 
 To each pound of Japis lazuli add ten ounces thereof, and fet 
 them to diflblve in a pot over a fmall fire, firfl melting the ce- 
 ment, and then cafting on the lapis lazuli by little and little,con- 
 tinually ftirring the mafs with a ftick, that they may mix infen- 
 fibly together. Afterwards caft the mafs into an earthen veflel 
 of cold water, and, anointing your hands with linfced oil, mould 
 it up into a number of cakes, or rolls, which leave in cold water 
 for five days, fhifting the water every other day. 
 
 This done, put them into a large and very clean glazed earth- 
 en vefTcl, pouring on them fome clean hot water ; when that 
 cools, pour in more hot, and do thus till the paftils foften with 
 the heat of the water ; this done, put them into hot water, and 
 let them be until it receive a bluilh colour. Strain this water to 
 receive the grofTer pieces, and fo put it into another glazed earthen 
 veffel very clean, adding more to the paftils, which ftrain through 
 a fine fearce afterwards among the former j continue this until 
 all the colour be extracted. 
 
 Your water muft be only warm, otherwife it will occafion a 
 blacknefs in the colour, which is to be taken great care of. 
 
 All the coloured waters being in the vefTel, you may cleanfe 
 them of any undtuofity, by letting them reft for twenty-four 
 hours, in which time the colour will ftick to the bottom ; then 
 you may pouroff'the water gently into another vefTel, and it will 
 carry ofF the greafc along with it; ftrain it afterwards into the 
 vefTel where the colour is through a fine fearce, and all the greafc 
 will be left behind. Do thus thrice, ftirring the colour very 
 well every time you return the water to it, that the filth and 
 greafc may afcend from it, and it will always ftay in ftraining on 
 the fearce behind the water. 
 
 This done, let the colour precipitate entirely, and pour off all 
 
 the 
 
U N Q, 3(^9 
 
 ihe water very leifurely, for fear of difturbing it ; dry this colour, 
 and you will have delicate Ultramarine. 
 
 This blue is one of the richeft and mofl: valuable colours ufed 
 in painting. 
 
 Thofe, who prepare it, make ufually four forts, which is pro- 
 cured by fo many different lotions or wafhings. 
 
 There is Ultramarine of the firfl: fort fold for ill. fterling aa 
 ounce, and of the laft for about twelve or liftcen fhillin2;s. 
 
 Ultramarine muft be chofen of an high colour, and well ground, 
 which may be known by putting it between the teeth^ and, if ic 
 feel gritty, it is a fign it has not been well ground. 
 
 To know whether it be pure and unmixed, put a little of it 
 into a crucible, and fo heat it red hot ; and, if the powder has not 
 changed its colour after this trial, it is certainly pure ; on the 
 contrary, if there be any change, or any black fpccks In it, thca 
 it has been adulterated. 
 
 Befides this, there is another fort called common, or Dutch 
 Ultramarine, which is only fmalt well ground and pulverifed ; 
 the colour of which, when ufed by the painters, is much like 
 that of true Ultramarine, though much lefs valued. 
 
 UNANIlMITY, is reprefented, in painting, cloathed in a blue 
 robe, mantle, and bufkins, with a chaplet of blue lilies. 
 
 UNDAUNTEDNESS, is reprefented, in painting, &c. by 
 a vigorous youth in white and red, fhewing his naked arms ; 
 feeming to ftay for and fuftain the fhock of a bull. — His arms 
 fhevv his confidence in his ovv'n valour, to fight the bull, which, 
 being provoked, becomes fierce, and requires a defperate force 
 to refift him ; for Undauntcdnefs is the excefs of bravery and 
 ftoutnefs ; and we call a man undaunted, when, for ends pro- 
 pofed to himfelf, he fears not what others ufually fear. 
 
 Civil UNION, is reprefented, in p?inting, &c. by a woman 
 of a chearful pleafant countenance, holding an olive branch ia 
 one hand, incircled with myrtle ; the fifh fcarus in the other.—. 
 The olive and myrtle fignify the pleafure taken in the amicable 
 conefpondence of citizens, for thofe trees are naturally and mu- 
 tually joined ; fo ought citizens to embrace each other. The 
 fifn, mutual love, for, if one of them fwallows the hook, the 
 others haften to bite the line afunder. 
 
 UNQUIET life, is reprefented, in painting, &c. by Sify- 
 phus rolling a huge ftone to the top of a mountain, which fliU 
 falls back again. — The mountain denotes the life of man ; the 
 top of it, the quietnefs and tranquillity to which we afpire ; the 
 Hone, the great pains every one takes to arrive at it. Sifyphus 
 fi^nifies the mind, which always breathes after reft, and fcarce 
 has obtained it, but dcfircs flill ; for fjme place it in riches. 
 Vol. IJ. B b fome 
 
570 V U A 
 
 fome in honours, fome In learning ; this In health, that In re* 
 putation ; fo that it is found only by accident. 
 
 VOLUPIA, the goddefs of pleafure, was depidled as a lady 
 of a pale and lean countenance, fitting in a pontifical and ma- 
 jeftic chair, embroidered an^ embofled with ftars of gold, tread- 
 ing and trampling upon virtue. 
 
 F. De VORSTERMAN, was a difciple of Harman Sacht- 
 leven, and an extraordinary curious and neat landfcape painter 
 in little, in which he may very reafonably be faid to have ex- 
 ceeded all the painters of his time. He performed his land- 
 fcapes with wonderful care and neatnefs after the Dutch gout. 
 He fpared no pains in his views, which commonly reprcfent 
 places on the Rhine ; where he had fludied and accuftomed 
 himfelf to take in a large extent of hills and diftance. The ex- 
 travagant prices he demanded for his piclures hindered him of- 
 ten from being employed by king Charles 11, who was pleafed 
 with his manner of painting ; efpecially that piece he made of 
 Windfor caflle, now extant in the royal colledion. He ac- 
 companied Sir William Soames, fent by king James II. on an 
 embafly to Conftantinople ; but upon that minifier's death he 
 returned to France, and died. His defign in going for Turky 
 was to draw all the remarkable views in that empire ; but he 
 was difappointed by his patron's death, without whofe protec- 
 tion he durft not attempt it, to the great regret of aJl lovers of 
 art. 
 
 "J /^ Luh \'ORSTERMAN, painter and engraver 
 
 .B ^ ^ ^jt of Antwerp, was advifed by Peter Paul Rubens 
 
 to apply himfelf to engraving j he engraved the works of the faid 
 Kubens, as alfo thofe of Raphael and Vandyke. 
 
 Martin De VOS, born in the year 15+0, fludied in Italy, 
 lived at Antwerp, excelled in hiflory j died in the year l6o4> 
 aged fixty-four, 
 
 Zhnoyi VOUET, born in the year 1582, learned of his father. 
 He lived at Venice, Rome, and Paris ; excelled in hiftory and 
 portraits; died in the year 1641, aged fifty- nine years. 
 
 T>' 'r» / were four marks ufed by John Sebald Beham, 
 
 JS. or r. or > , t t i t.- 
 
 T S P \ "^'^^^" "^ "^" "°' ^'^^^ ^^ P"^ '"'^^ °^^'" "2r"^' 
 
 URANIA, is reprefented, in painting, cloathed in a mantle 
 of azure, filled with lamps. 
 
 V^ S. 1622, ftands for Valentine Sezenlus; the fame mark was 
 alfo ufed by Virgilio Sole. 
 
 V. S. I. figaifies \''entura Salembinl of Sienna, painter and 
 i.nyentor. 
 
 A\T yfntlwiy Van VUATERL, i. e. Anthony Van 
 
 J_^f V Vuaterlj inventor, is found in certain landfcapes 
 
 I and 
 
tc 
 
 in 
 
J'a^. J yj. /^o^/.^. /^/,y^v XX 111 
 
 /Vr^j 
 
W A L 371 
 
 and folitudcs ; It Is fometlmes joined with the firfl of the three 
 marks that follow the next, i. e. H. S. P. made in one. 
 
 VULCAN, is reprcfentcd, in painting, &c. {landing by a 
 fmith's forge, and hammering on an anvil on mount -^tna, 
 making thunderbolts for Jupiter, and arrows for the god of love. 
 
 The opinions which the ancients had of Vulcan, were va- 
 rious; and accordingly he is varioufly reprefcnted, fometimes in 
 one manner, and fometimes in another. 
 
 Some reprefent him lame of one leg, and in a fcarlet robe, 
 of a very black and fwarthy complexion, as it were all fmoaky ; 
 of a general ill-fhaped proportion in all his lineaments; and, be- 
 caufe he is the hufband of Venus, fhe is fometimes painted with 
 him. 
 
 Antony VUORMACE, a painter of Cologne, lived 
 in the year 1529 ; he engraved the twelve apoftles ia 
 a ftanding poflure, and ufed this mark. 
 
 W. 
 
 TO mah fealing WAFERS, Take very fine flour, mix 
 it with glair of eggs, ifing-glafs, and a little yeaft ; min- 
 gle the materials, beat them well together, fpread the batter, 
 being made thin with gum water, on even tin plates, and dry 
 them in a ftove, then cut them out for ufe. 
 
 You may make them of what colours you pleafe, by tinging 
 the parte with brafil or vermilion for red ; indigo or verditer, &c. 
 for blue ; faffron, turmeric, or gamboge, &c. for yellow. 
 
 To put WALKS with rows of trees in perfpeSlhe. If only a 
 fmgle row of trees on each fide be required, there is no need for 
 making a plan of fquares or chequers. 
 
 But, where a number of Walks are to be fliewn, we think it 
 advifable to form a plan in occult lines with trees, and, from the 
 diagonals of the little fquares formed thereby, to eredl perpendi- 
 culars, as is fhewn in A. B. plate XXIII. fig. i. 
 
 If you defire to have the trees further or lefs apart, increafc 
 or diminifh their diftances of the fquares on the bafe line; when 
 you have given the ftem of the firll tree its proper height, as A 
 C, draw a line from G to the point of fight D, which ray C D 
 is to bound the ftems of all the other trees. 
 
 The firft tree A C (hews that you may give them what turn 
 or form you pleafe between the two right lines ; and that they 
 are not to be drawn with the ftraightnefs of a ruler. 
 
 The fecond figure is performed as that above ; all the diffe- 
 rence is, that the fquares of the upper are diredl or in front; and 
 thofe of the under viewed angle-wife : "Whence the meafures en 
 
 B b 2 the 
 
37i WAS 
 
 the bafe line m the latter cafe muft be all drav^TJ to the polntf 
 of diftance E and F perpendiculars to be raifed from the little 
 fquares, and the reft as above. 
 
 In the fame perfpe<5^ive where Walks are drawn to the point9 
 of diftance, one may add others drawn from the points of fight. 
 Thus the middle AValks tend to the point G, which is the 
 point of fight J and the others to the points E, F, which are thofc 
 of diftance. 
 
 To make a WALNUT grain on wood. Spread on it thin fe- 
 ven or eight lays of ftrong glue one after another, each being 
 firft dried, and it will become fliining ; then wet a brufh or pen- 
 cil in common water, and form the knots or other ftrokes in the 
 glue whilft warm, and fo ftrike hard on it with a wooden brufh, 
 iind Jay another laying of glue and polifh it. 
 
 To mah wood of the colour of WALNUT tree. Dry the peels 
 of Walnuts in the fun, boil them in nut oif, and rub the wood 
 over with it. 
 
 WARLIKEyZra/^^c-w;, are reprefenteJ, in painting, &c. by 
 a man in armour ; a rapier by his fide, a fhield on his left arm, 
 and a frog engraven on it, with a piece of reed againft his jaws, 
 over-againft a ferpent going to devour him, on one fide a leo- 
 pard ; over his helmet a dolphin. — Armed, becaufe he ought to 
 be upon his guard. The dolphin was the badge of UlyfTes, the 
 author of f^ratagems ; he bore it in memory of a dolphin's hav- 
 ing faved his fon. The frog denotes prudence, by holding a 
 reed crofs its mouth ; for, knowing herfelf inferior in ftrength, 
 the hydra cannot fwallow her, having the reed crofs-ways, 
 WASHING ofcoloLrs. See COLOURS. 
 To make WASH balls. Take a pound of white cake foap, 
 fcrape it, and pound it well in a mortar; take out the crumbles- 
 that are not well incorporated, and put in a pound of ftarch 
 well powdered, and an ounce of the efTence of orange, half a 
 pint of macanet water prepared ; ftir them gently with a peftle, 
 then pound them till they are all well mixed, make the pafte up 
 into balls, and let them drv. 
 
 Wash balls of neroU, Take four pounds of cake foap well 
 cleanfed, fcrape it and put to it as much of rofe or orange-flower 
 water as will temper it, ftirring it twice a day, that it may foak 
 the better ; then pound it v/ell and put in half a pound of lab- 
 danum in powder, and an ounce of neroli; mix them into a 
 pafte and fo make them up into balls. 
 
 Wash balh ofB'Aogna. Take three bundles or boxes of thefe 
 balls, pound them and dip them in as much angel water as will 
 wet them, then add half a pint of benjamin water, and of the 
 pafte make two equal cakes by pounding them well ; then beat 
 two drachms of mufk or civet very fmall, and two ounces of 
 
 bafm 
 
WAS 375 
 
 bzlni of Peru dropped in by degrees; add to thcfe the grofs of- 
 fence of amber, and fome eflence of cloves and cinnamon ; mix 
 thefe with the parte, make it into balls, and keep it for a very 
 curious perfume. 
 
 In this nature other Wafh balls or pafte may be made, and 
 perfumed with various fcents. 
 
 Washing, in painting, is when a defign drawn with a 
 pen or crayon has fome one colour laid over it with a pencil, a-s 
 Indian ink, biftre, or the like, to make it appear the more na- 
 tural, by adding the fiiadows of prominences, apertures, &c. 
 and by imitating the particular matters whereof the thing is fup- 
 pofed to confift. 
 
 Thus they wafli with a pale red, to imitate brick and tiles ; 
 with a pale Indian blue, to imitate water and flate ; with green, 
 for trees and meadows ; with faffron or French berries, for o-old 
 and brafs ; and with feveral colours for marbles. 
 
 Thefe wafhes are ufually given in equal teints or degrees 
 throughout, which are afterwards brought down and foftened 
 over the lights with a fair water, and ftrengthened with deeper 
 colours for the fhadows. 
 
 WASHINGS or WASHES, with goldfmiths, &c. are the 
 lotions, whereby they draw the particles of gold and filver out 
 of the afhes, earths, fwecpings. Sec. 
 
 This is either performed by fimple walhing them again, or 
 by putting them into the wafhing mill. 
 
 To make one of thefe Wafhes, thev not only gather together 
 the alhes of the furnaces, and the fweepings of the places where 
 the works are ; but they alfo break and pound the old earthert 
 crucibles, and the very bricks whereof the furnaces are built ; 
 little particles of gold, &c. being found to flick to them, by the 
 crackling natural to thofe metals, when in their lafl degree of 
 heat. 
 
 Thefe matters, being all well ground and mixed together, are 
 put into large wooden bowls, where they are wafhed feveral 
 times and in feveral waters, which run off by inclination into 
 feveral troughs underneath, carrying with them the earth and 
 the infenfible particles of the metals, and only leaving behind 
 them the larger and more confidcrable ones, which are vifible 
 to the eye, and taken out with the hand, without more trouble. 
 
 To get out the finer parts, which are gone out with the earth, 
 they ufe quickfilver and a wafhing mill. 
 
 This mill confifls of a large wooden trough, at the bottom 
 of which are two metalline parts, ferving as mill-f{-ones ; the 
 lower being convex, and the upper, which is in the form of a 
 Grofs, concave. 
 
 At the top is a winch placed horizontally, which turns the 
 
 B b 3 upper 
 
374- WAS 
 
 upper piece round ; and at the bottom a bung to let out the wa- 
 ter and earth, when fufficiently ground. 
 
 To have a wafli then, the trough is filled with common wa- 
 ter, into which they caft thirty or forty pounds of quickfdver, 
 and two or three gallons of matter remaining of the flrft lotion. 
 
 Then turning the winch, they give motion to the upper part 
 of the mill, which grinding the matter and the quickfilver vio- 
 lently together, the particles of the gold and filvcr become the 
 more eafily amalgamated therewith : This work they continue 
 for four hours ; when, opening the bung, the water and earths 
 run out, and a frefli quantity is put in. 
 
 The earths are ufually palled thus through the mill three times, 
 ^nd the fame quantity of mercury ufually ferves all the three 
 times. When there is nothing left in the mill but the mercury 
 united with the gold and filver which it has amalgamated, they 
 take it out, and, vvafhing it in divers waters, they put it into a 
 ticking bag, and put it in a prefs to fqueefe out the water, and 
 the loofe quickfilver ; the remaining quickfilver they evaporate 
 hy fire in a retort, &cc. 
 
 0/ WASHING jnaps, plSlures^ '&c. By Wafhing is meant 
 the illuminating maps or picStures with proper colours. 
 
 The inflruments and materials ufed in Wafliing are chiefly 
 thefe iew following : i. Alum water. 2. Size or gum water. 
 3. Liquid gold or filver. 4. Pencils. 5. Colours, See each 
 under its proper article. 
 
 Of the praSike ^Washing, i. Wet your pictures that you 
 are to colour over, with alum water, for that will prevent the 
 «;:olours from finking in, and will alfo add a luftre to them ; and 
 not only make them appear fairer, but alfo keep them from 
 lading. 
 
 2. Let the paper, thus wafhed with alum water, dry of itfelf, 
 before you lay the colours on, or before you wet it a fecond or 
 third time: For fome paper will require wetting four or five 
 times. 
 
 3. This Wafliing of the paper with the alum water is to be 
 done with a large pencil-brufh. 
 
 4. Bur, if the pictures are defigned to be varniflied after they 
 have been coloured, inflead of the alum water, it will be befl to 
 iize them with new fize, made of good white flarch ; do this 
 with a very fine brufh, and you muft be very exadl in doing it 
 all over, for, if there be any place left undone, the varnifh will 
 iink through. 
 
 5. The pictures, &c. being thus prepared, you may proceed 
 to the laying on the colours, according to direction, fuiting 
 them to the life of every thing, as nearly as you poflibly can. 
 
 6. Having painted the picture, you may fize it over as is before 
 
 direckd. 
 
WAT 37- 
 
 directed. Pafle maps or pictures upon cloth thus ; wet the 
 fheet of cloth in the fize, wring it out and ftrain it upon a frame, 
 ■or nail it to a wall, and fo pafte the maps or pictures upon it. 
 
 7. If you intend to varni/h your pictures. Sec. havinn- thus 
 fixed it in a proper frame, varnifh it with a proper varnifli. Sec 
 VARNISH. 
 
 Js for tempering the colours^ do as follows : I. As for fuch co- 
 lours as are ground in fair water, put a little of them into a horfc 
 mufcle-flicil, with fome gum water, and bruife it with your fin- 
 ger againft the fhell, to foften and temper it, till you find no 
 knobs undiflblved, and then ftroke down the colour to the bot- 
 tom of the fhell from the fides, with a fmall brufh, and then it 
 will be fit for ufe ; and, if it be too thick, you may add more oruna 
 water to it. 
 
 2. As for thofe colours that are waflied, they are to be tem- 
 pered after the fame manner as the former. 
 
 3. Such as are fleeped, the liquor only of them is to be ufed, 
 without any other preparation. 
 
 How to lay Of! the cclours. Provide yourfcif with pencils of fc- 
 veral fizcs, have by you a cup or gallipot of fair water to wafh 
 your pencils, and a clean cloth to wipe them, if you take thera 
 out of one colour to put into another. 
 
 In chufing pencils, take fuch as are fulleft next the quill, lef- 
 fening gradually to a fnarp point, which you (hould try by wet- 
 ting them in your mouth, and drawing them once or twice 
 through your lips. If you perceive in your pencils any Itrag- 
 gling loofe hairs, fingc them ofFwith a candle. 
 
 If you would lay any colour about the edges of your map, &c 
 or plan of a furveying oi any field, or piece of ground, with yel- 
 low : 
 
 Take a Iit:Ie yellow In your pencil, and draw the colour along 
 of an equal breadth, on the infide of the black lead line. 
 
 WATCHFULNESS, is reprefented, in painting, in a yellow 
 robe, a fable mantle fringed with filver, and feedcd with waking 
 eyes ^ and a chaplet of turnfole ; holding in her right hand a 
 lamp, and in her left a bell. 
 
 To limn WATERS. Do Water at a difiance with w^Itc 
 and indigo, fhaded with Indigo mixed with bice, and heighten- 
 ed with white ; if near the horizon, much like the fky. 
 
 Waters that are near are to be laid with flronger indigo, heigh- 
 tened and fhadowed with the fame, mixed with bice, and laftiy 
 heightened with pure white. 
 
 Waters nearer with itrongci indigo, fhaded and heightened 
 as before. 
 
 Waters and fields overflown, with pink and the like, always 
 ({aitating nature. 
 
 B b 4 WATERING 
 
376 W A X 
 
 WATERING 7?///}. Take a fufficient quantity oi' water, 
 and gum tragacanth an ounce } diflblve it in the water, making 
 a clear thin water ; then wet ten yards of fluff with the fame 
 water hot, all over, and put it into a prefs ; let it lie a pretty 
 while, and turn it twice ; after this, fciueefethe prefs pretty hard, 
 and fo let it ftand till it is cold. 
 
 This gum water ought to be pure, thin, and clear, otherwifc 
 the folds of the fluff will flick together ; it muft alfo be done ve- 
 ry hot, elfe it will not penetrate ; and the ftufl', &c. is to be tho- 
 roughly wet therewith, yet not too wet. 
 
 Ofchufmg Water to dye tvith. It is common to ufe running, 
 or river water, either of great rivers or rivulets, for th? lefs valua- 
 ble fluffs and dyes. 
 
 But it is very well worthy of obfervation, what difference 
 there is of rivers ; fome being very clear and bright, others very 
 thick and muddy; thofe that are clear, are the befl ; but if the 
 laft are drawn out, and let fland to fettle for twenty-four hours, 
 they are good, though not fo good as the other. 
 
 In the next place it ought to be confidercd, whether the wa- 
 ter be hard and rough, or fmooth and foft ; and the proof to dif- 
 tinguifli their quality is very enfily made in the boiling of vege- 
 tables ; particularly peafe, or lentils ; by fetting them over the 
 fire, one part in running, or river water, and one part in fpring 
 water; and boiling them for an hour, or an hour and an half; 
 and that pot where the peafe are foftefl, without doubt, had the 
 fofteft water. 
 
 But, above all, nitrous waters are to be avoided ; and, if one is 
 conflrained to ufs them, it will be very proper to correal them 
 as follows. 
 
 To foft en hard or harJhVJ at^k. If a Water is nitrous, or 
 fomething akin to the nature of lime, it is utterly unfit for dying; 
 but, if a perfon is conflrained to ufc it, the following procefs will 
 xid it of all its ill qualities : 
 
 Fill a large copper with the Water, and put into it two or 
 three handfuls of wheaten bran ; then having heated a brick, or 
 piece of plaifler very hot, throw it into the copper, cover it very 
 clofe, and let it ftand twenty- four hours, and then draw it ofl', 
 and it will be perfectly fit for ufe. 
 
 Or throw always a handful of wheaten bran into the firft fuds, 
 and let it boil, and you v/ill find that it has corrected the water, 
 and will render the fluffs more limber. 
 
 Water, with jewellers, is properly the colour or luflre of 
 diamonds and pearls ; thus called, by rcafon thefe were ancient- 
 ly fuppofcd to be formed or concreted of \V^ater. 
 
 WAX, is a fofr, yellowifli matter, whereof the bees form their 
 cells to receive their honey, 
 
 i Naturalifts 
 
WAX 377 
 
 Naturalifts have generally imagined, that Wax is gathered 
 from the flower, fome from the petala, and others from the 
 apices J but Boerhaave affirms, that it is a juice peculiar to the 
 leaves, and not afforded by the flovs^ers, which only yield honey. 
 
 The Wax is a hard fubftance, and gathered only with the 
 fore legs and chaps ; conveyed thence to the middle legs, and 
 thence to the middle joint of the hind legs, where there isafmall 
 cavity, like the bowl of a fpoon, to receive it, and where it is col- 
 leifted into heaps, of the fliape and fize of lentils. 
 
 When the bee is arrived at his hive with his load of Wax, it 
 finds fome difficulty in unburthening himfelf of fo tenacious a 
 matter ; and, frequently being unable to lay it down himfelf, he 
 calls for affiflance by a particular motion of his legs and wino-s ; 
 whereupon a number of his companions immediately run to his 
 help, and each with his jaws taking off a fmall quantity of the 
 Wax, others fucceeding in their place, till they have quite dif- 
 burthened their loaded fellow. 
 
 There are two kinds of Wax, white and yellow; the yellow 
 is the native Wax, juft as it comes out of the hive, after it has 
 been difcharged of the honey, &c. and the white is the fame 
 Wax, only purified, waflied, and expofcd to the air. 
 
 The prep oration of yellow Wax. To procure the AVax from 
 the combs for ufe, after the honey has been feparated from it, all 
 the matter that remains is put into a large kettle, with a fuificient 
 quantity of water ; and, being melted by a moderate fire, it is 
 ftrained through a linen cloth in a prefs ; and, before it is cold, 
 it is fcummed with a tile, or piece of t^ et wood ; and, while it is 
 yet warm, caft in wooden, earthen or metalline moulds, they 
 having been firft anointed with honey, oil, or water, to prevent 
 the Wax from flicking to them. 
 
 Some in purifying it make ufe of Roman vitriol, or copf)eras ; 
 but the true fecret is to melt, fcum it, Sec. properly without anj 
 ingredients at all. 
 
 The faeces, or dregs remaining in the bag, after the bag has 
 been prefled out, are ufcd by furgeons, farriers, &c. 
 
 The whitening of Wax. This whitening, or blanching of 
 Wax, is performed by reducing the yellow fort firil into little 
 bits or grains, which is done by melting it, and cafting it, while 
 hot, into cold water; or elfe by fpreading it into very thin leaves 
 or fkins. 
 
 This Wax, having been thus granulated or flatted, is expofcd 
 to the air on linen cloths; where it lies night and day, having 
 equally need of fun and dev/. 
 
 Then it is melted and jjranulated over a2;3in feveral times, 
 laying it out to the air in the intervals between the meltings. 
 
 V^t Isngthj the I'un and dew having perfcdlly blanched it, it is 
 
 melted 
 
375 WAX 
 
 melted for the laft time in a large kettle ; and laded out of th« 
 kettle with a ladle, upon a table covered over with little round 
 <3ents or cavities, of the form of the cakes of white Wax, ufually 
 fold in apothecaries fhops ; thofe moulds having been firft wet- 
 ted with cold water, that the Wax may be got off the eafier. 
 
 Laftly, they lay thefe cakes out into the air for two days and 
 two nights, to render it the more tranfparent and drier. 
 
 This Wax is ufed in making candles, tapers, flambeaux, 
 torches, and for various other purpofes. 
 
 Red Wax, is only the white melted with turpentine, and 
 made red with vermilion, or orcanette. 
 
 Burnt paper, or lamp black, makes it black, and verdigreafe 
 makes it green. 
 
 Virgin \V AX, cz\.]ed alfo propolis, is a fort of reddifh Wax 
 ufed by the bees to ftop up the clefts or holes of their hives. It 
 is applied, juft as it is taken out of the hive, without any art or 
 preparation of boiling, dec. it is the moft tenacious of any, and 
 is held good for the nerves. 
 
 Sealing Wax, ? is a compofition of gum lacca, melted and 
 
 Spanijh Wax, > prepared with rolin and chalk, and coloured 
 red with ground cinnabar. 
 
 Red Sealing Wax. Take one pound of bees Wax, three 
 ounces of fine turpentine, one ounce and an half of red lead or 
 vermilion finely ground, olive oil an ounce ; melt the Wax and 
 turpentine, and one ounce of rofin finely powdered ; when they 
 are well melted, and the drofs taken off, put in the red lead or 
 vermilion, and ffir them well together till they are well incorpo- 
 rated ; and you may, when it grows a little cool, make it up into 
 what form you pleafe. 
 
 To make an ordinary redfoftfeallng Wax. Take common bees 
 Wax two pounds, turpentine fix ounces, oil of olive two ounces ; 
 snelt all thefe together, then add fix ounces of red lead j boil them 
 a little, and ftir it till it is almoft cold j caft it into fair water, 
 and make it up into rolls or cakes. 
 
 To make fine red hard fealing Wax. Take pure fine fliell lac, 
 melt it in an earthen veffel, and put into it a fufficient quantity of 
 the colour you defign the Wax to be of; if red, to every half 
 pound of gum lac put an ounce and an half, or two ounces, of 
 purely fine ground vermilion ; mix them well over the fire, and, 
 when it is of a fit coolnefs, make it up into rolls or cakes. 
 
 You may fet a glofs upon it, by gently heating it over a na- 
 ked charcoal fire, and rubbing it with a cloth till it is cold. 
 
 To make the heji redfoft Wax. Take white Wax two pounds, 
 Chio turpentine fix ounces, oil of olive fix ounces j mix and melt 
 them together j then add pure vermilioji well ground two ounces, 
 
 mix 
 
WEE ^75 
 
 mix and boll them a little, ftir them till almoft cold, caft it into 
 cold water, and then make it up into rolls or cakes. 
 
 To make black foft Wax. Take bees wax one pound, tur- 
 pentine three ounces, oil olive one ounce, mix and melt them 
 together ; to which add lamp black, or ivory black finely ground, 
 one ounce j mix and melt, &c. as before. 
 
 To make coarfe hardfeallng Wax. Take (hell lac fix ounces, 
 rofin fix ounces, fine vermilion three ounces ; melt and mix thent 
 together, and, when in a due ftate as to heat and cold, make 
 them up into fi:icks or rolls, which you may fet a glofs upon 2S 
 before direfted. 
 
 Green fealingW AX ^ is made after the fame manner and in the 
 fiime proportions as fine hard red fealing Wax, by mixing with 
 the ingredients verdigreafe inftead of vermilion. 
 
 Blue fealing Wax, is alfo made after the fame manner, by 
 putting in fine blue fmalt or ultramarine. 
 
 Purple fealing Wax, is made by putting in vermilion mixed 
 with ivory black, or lamp black. 
 
 Black, bard, coarfe fealing "Wax, is made with ivory black. 
 
 Yellow fealing Wax, is done as the reft, with finely ground 
 auripigmentum, or yellow mafticote. 
 
 Green foft Wax. Take bees Wax one pound, turpentine 
 three ounces, oil olive one ounce ; mix and melt them, then 
 add fine verdigreafe one ounce ; mix, and make the Wax up, as 
 the others. 
 
 Yelloiv foft Wax. Take yellow bees Wax one pound, tur- 
 pentine three ounces, oil olive one ounce; mix and melt them> 
 then add gamboge in fine powder two ounces, auripigmentum 
 finely ground one ounce ; mix, and make the Wax, as before. 
 
 To ?nake perfnned JoftWAX. This is done by mixing with 
 ten ounces of any of the former compofitions oil of rhodium a 
 drachm, mufk in, powder a fcruple, civet half a fcruplc, mixing 
 them well. 
 
 After the fame manner you may make foft Wax of all colours, 
 having what fcent you pleafe, by mixing the perfume you would 
 have either with the oil of olive beforehand, or elfe by working 
 it into the compofition of the Wax after it is made. 
 
 To make golden or iranfpnrent Wax. Take four ounces of 
 clarified rofin, two ounces of turpentine, four ounces of bees 
 Wax, and two ounces of olive oil; melt them well together, and 
 fcatter in the melting difordered or {battered leaf gold, and fufier 
 it to mix or incorporate ; then polifli it over when made into 
 flicks, &c. and the gold will appear. 
 
 WEEPING, in drawing, is imitated in the following man- 
 ner: A perfon Weeping, has his eye-brows hanging down in 
 the middle of his forehead i the eyci almoft clofcd, very wet, 
 
 and 
 
'5So W H I 
 
 ■and caft down towards the cheeks ; the noftrils fwelled up, and 
 all the mufcles and veins of the forehead apparent. 
 
 The mouth is half open, the corners hanging down, and 
 making wrinkles in the cheeks ; the un oer lip appears turned 
 «Jown and pouting out ; the whole face appears drawn together 
 and wrinkled -, the colour very red, efnecially about the eye- 
 brows, eyes, nofe, and cheeks. See plate XXI. 
 
 WEST, is reprefented, in painting, &c. by an old man in a 
 ruffet garment, with a red girdle, in which are Gemini, Libra, 
 tind Aquarius, He is muzzled ; a ftar on the crown of his head ; 
 his right arm extended towards the earth, with his little finger he 
 ihews the Weft part, where the fun fets ; with his left he holds 
 'a bundle of poppies. The air dufkifh, and bats flying. — His gar- 
 ment denotes the fun's fettingand almoft deprived of light j the 
 (lar Hefperus, over his head, as appearing in the Weft in the 
 clofe of the evening j the poppy, fleep, being a foporiferous'plant. 
 
 WHITE, is one of the colours of natural bodies ; but it is 
 r.ot fo properly faid to be of any colour, as a compofition of all 
 colours. See COLOURS. 
 
 Whites for fainting in miniature. The beft White that is 
 pretended to be fold for painting in water colours, is flake 
 White, which is better than White lead ground ; and, if it be 
 pure, far exceeds it in beauty, becaufe White lead is apt to turn 
 blackifti, efpecially if it be ufed in a hard water. 
 
 But fome recommend a White made of pearl or the whiter 
 parts of oifter-fhells, reduced into an impalpable powder fo foft, 
 as to feel like grounds of ftarch or hair powder ; this is by fome 
 called pearl White, but it is not commonly fold. This White 
 will mix well with any colour. 
 
 But, if you ufe White lead, firft rectify it with White wine 
 vinegar ; this wi!l caufe a fermentation, and the White will foon 
 fettle ; then pour off the vinegar, and wafti it with common 
 water. The method of wafhing it is this : 
 
 Put the powder into a glafs of water, ftir it about, and pre- 
 fently po\ir off the water, while it is White, into fome other 
 clean glafs or vefl'el ; let it fettle, and then pour off the water 
 from it, and it will be excellently fine. 
 
 When this White is fettled, put to it as much gum water as 
 is necelTary to bind it or to give it a glaze. 
 
 It is obfervable, that White lead will turn black, if mixed with 
 water that comes from iron or clay ; that is, in the fpace of i\ 
 month or two, you may p>erceive thofe places where it lies thick- 
 eft tinged with black, and, if it be mixed with any other colour, 
 it will foon change or alter it. 
 
 Some recommend the powder of egg-fhells of the brighteft 
 colour and well cleaned and wafhed, as very good to be ground 
 
 with 
 
w n I j^i 
 
 with gum'water ; or you may put about a twentieth part of clear 
 white fugar-tandy to grind with it in water; grind it as fine as 
 poflible, that is, to the ftate of what is called an impalpable pow- 
 der, and then ufe it. 
 
 But it has been found by experience, that cgg-fhell powder 
 Is of very great fervice as a White in water colours, and that 
 itfelf and the powder of oifter-fhells, well rectified and mixed 
 with the White of an egg well beaten, will maice an extraor- 
 dinary mixture in other colours, and will correct them from 
 changing or altering their qualities. 
 
 But, as for White for illuminating of prints, the clear White 
 of the paper is proper to be left uncoloured ; and if it happens 
 that the paper is apt to fink, or to fprcad any water colour that 
 is laid upon it more than is ncceflary, then the way to corred if 
 is as follows : 
 
 Fix the paper In fiich a flation as may only receive the co- 
 lour you lay on to glaze, juft as far as you defigncd it ; then take 
 fome ftarch boiled and prepared in water of a middle flrength, 
 and with a large painting brufh flroke it over the back of the 
 print ; and, after it has been well dried in the air or fun, put the 
 print in a book with a weight upon it, to take out the crumpling?,, 
 which it may receive by wetting of it; and fo will any print be 
 rendered fit to receive water colours, and prevented from running 
 farther than we would have them. 
 
 There is a fort of earth that comes from China, that is of a 
 very foft nature, and very White ; which does better in water 
 colours than any of the reft, but it is very fcarce. 
 
 j^Jjne Whit E for water cchurs. Difiblve filings of fine filvcr, 
 or leaf-filver, iaa<j.ua-fortis or fpirit of nitre ; then evaporate thir 
 aqua-fortis till it looks like cryitals in the bottom of the glafs ;, 
 decant the other part of the aqua-fortis, and wafh the filvcr five 
 or fix times in common water, till it be freed from the aqua-for- 
 tis, which may be known by tafting it ; then dry it for ufe. It 
 niuftbeufed with gum water, with a little water of fu gar-candy. 
 
 An incomparable Jine White lead. Take choice White lead,, 
 grind it well upon a porphyry with vinegar, and it will turn 
 blackilh ; then take a pot full of water, and wafh the White lead 
 in it \xry well ; let it fettle, and pour off the water ; grind it 
 again with vinegar ; repeat this once or twice, and you will have 
 an excellent White, both for water colours and painting in oil. 
 
 To Whiten greenor grey fMx. Fiift make a ley of good afhes 
 and unflaked lime, and lieep the flax in it for twenty-four hours;, 
 and afterwards add fome fal armoniac put into the middle of 
 fome unflaked lime, and a few warm afhes ; pour off the water, 
 and make a fharp ley, and boil the flax in this ley for an hour oc 
 two, and you will find it b'icome very white and bright, and 
 
 that 
 
j82 
 
 W H I 
 
 that the fal armoniac Is fixed. When the flax has been fieeped 
 in the ley, boiled, and well dried, then it muft be rinfed very 
 well in running or river water, and blued and wrung out with the 
 hands. See BLEACHING. 
 
 To dif cover White iipn black with an iron pencil. Having 
 well covered your frame or other piece of work with a White 
 ground, well varnifhed, polifhed, and rufhed ; take lamp black, 
 and, having ground it with yolk of egg, make trial of it apart, to 
 fee whether the black, when fixed, will burnifh very bright. 
 You muft fize your black as much as it is neceffary to make it 
 ftick. 
 
 Colour your frame, &c. with this black, lay it on well, dry it, 
 and burnifh it with a touch ; then take an awl or bodkin of iron, 
 fliarpened and flatted at the end like a chifTel, of fuch breadth 
 you would have your fillet to be; and, with a ruler and this iron 
 thus fharpened, draw fillets, fcraping off the black, till you come 
 to the White. 
 
 You may alfo, if you pleafe, with a bodkin make morefk 
 works, which you may hatch into every leaf; as alfo other 
 branched works, the imboflment of which you may make by 
 fcraping off the back with an iron bodkin, till you can fee the 
 White, ftill keeping your iron tool fharp and fmooth. 
 
 By this means your work will be of a fine black, well bur- 
 nifhed or polifhed like marble, in which you will have branched 
 works that will feem like ivory inlaid in wood. 
 
 If your figures appear too much fhadowed, after you have 
 drawn out all your work with a bodkin, take one or more irons 
 like a folding Ifick or rather blunter, asyoufhall fee convenient j 
 let it be wellfmoothed and hardened, and with it rub the figure3 
 as evenly as is poflible, till no Llack appears any longer ; but 
 not fuffering the iron to enter any farther than the fuperficics of 
 the White ; that is, when the black fhail be rubbed off, and the 
 f.gure fball appear very "White and fmooth ; and afterwards with 
 a tooth brufh and White you have laid bare ; and laftly, with a 
 fmall pencil, you (hall drau* the lines and hatch the fliades, as if 
 it were horn engraved or carved. 
 
 Hoiu to 7nake upon an open White ground f.llets and branched 
 "joork. Firft lay your frame or other v/ork with boiling fize, as is 
 directed for laying upon White to gild with burnifhed gold ; and, 
 having fized it, take lamp black v/ell ground with water, then 
 fize it as the White, and go over your work with it five or fix 
 times, and afterwards rulh it; then grind fome of the fame 
 White, and grind it with as much yolk of egg as may make the 
 White polifli, and go over the work once or twice with this ; 
 and when it is dry burnifh the Wkite with a ;QOlh, then with' 
 
 y«ur 
 
W I R 3S3 
 
 your iron draw upon the White fillets branched works or por- 
 traits, according to your fancy, till the black appears. 
 
 The friezes of your frame will feem to be of ivory, and the 
 black will feem to be engraved, or pieces of ebony inlaid in 
 ivory. 
 
 But, to make It the better to refemble Ivory, you (hould have 
 by you a little piece of polifhed ivory, the better to reprefentit$ 
 colour, which is not fo "White as chalk, but a little inclinino- to 
 yellow J and this may be imitated by grinding with your chalk a 
 little yellow oker, or a little pale malticote, or the bones of 
 flieep's trotters burnt and ground to powder. 
 
 WHITENESS, is a quality which denominatesabodywhite. 
 But Sir Ifaac Newton Ihews that Whitcnefs confifts in a mix- 
 ture of all the colours ; and that the light of the fun is white, 
 becaufe confining of rays of all colours. Sec COLOURS. 
 
 The WILL, is reprefented, in painting, &c. by a maid pur- 
 blind, having wings on her back and feet ; a gown of changeable 
 taffata, and ailing like one groping out her way in the dark. — ■ 
 JBlind, becaufe, feeing nothing hcrfelf, flie walks after fenfe by 
 groping. Her changeable robe, her wavering between hope and 
 fear ; the wings denote her reftlefs condition ; having found no 
 reft on earth, flie makes a generous effort towards heaven, by 
 the wings on her feet. 
 
 Spirit I?/' WINE, is of very great ufe In varnifhing; but, if it 
 be not properly prepared, it will fpoil the varnifh ; not being ca- 
 pable, for want of fcrength, to diflblve the gums, or make them 
 fpread ; and fo of confequence lie uneven upon the work. 
 
 To know when this fpirit is fufficiently rectified : Put fome 
 of it into a fpoon, and put a little gun-powder into it, and if in 
 burns out, blows up the gun-powder, and leaves the fpoon dry, 
 then it is a good fpirit; but if it fails of doing this, and leaves the 
 fpoon moift when the flame goes out, it is not fit for ufe. 
 
 WIRE, apiece of ;netal drawn through the hole of an iron 
 into a thread of a finencfs anfwerable to the hole it pailed 
 through. 
 
 Wires are frequently drawn fo fine, as to be wrought along 
 with other threads of filk, wool, flax, &c. 
 
 The metals moft commonly drawn into Wire, are gold, filver, 
 copper, and iron. 
 
 Gold and filver Wire, Is made of cylindrical ingots of filver, 
 covered over with a fkin of gold, and thus drawn fuccelTively 
 through a vaft number of holes, each fmallerand fmaller ; till at 
 laft it is brought to a finenefs, exceeding that of a hair. 
 
 That admirable du(5lility which makes one of the diftmguifli- 
 ing chara(5lers of gold, is no where more confpicuous, than in 
 this gilt Wiie» 
 
 A cylin- 
 
3H4- W I s 
 
 A cylinder'of forty-eight ounces of filver, covered with a coat 
 of gold, only weighing one ounce, as Dr. Halley informs us, is 
 ufually drawn into a Wire, two yards of which weigh no more 
 than one grain ; whence, ninety-eight yards of the Wire weigh 
 no more than forty-nine grains, and one fingle grain of gold 
 covers the ninety-eight yards ; fo that the thoufandth part of a 
 grain is above one eighth of an inch long. 
 
 Healfo, computing the thicknefs of the fkin of gold, found it 
 to be , 1 + 500 part of an inch. Yet fo perfeiStly does it cover the 
 filver, that even a microfcope docs not difcover any appearance 
 of the filver underneath. 
 
 M. Rohault likewife obferves, that a like cylinder of filvcr, 
 covered with gold two feet eight inches long, and two inches 
 nine lines in circumference, is drawn into a Wire 307200 long, 
 I. c. into 1 15200 times its former length. 
 
 Mr. Boyle relates, that eight grains of gold, covering a cylin- 
 der of filver, are commonly drawn into a Wire 13000 feet long. 
 
 Silver Wire is the fame with gold Wire, except that the latter 
 is gilt, or covered with gold ; and the other is not. 
 
 There are alfo counterfeit gold and filver Wires ; the firft 
 made of a cylinder of copper, filvered over, and then covered 
 with gold ; and the fecond of a like cylinder of copper, filvered 
 ever, and drawn through the iron, after the fame manner as gold 
 and filver Wire. 
 
 Brafs Wire is drawn after the fame manner as the former. 
 Of this there are divers fizes, fuited to the different kinds of works. 
 The fineft is ufed for the lirings of mufical inftruments, as fpin- 
 nets, harpfichords, manichords, Szc. 
 
 The pin-makers likewife ufe vaft quantities of Wire, to make 
 their pins of. 
 
 Iron Wire is drawn of various fizes, from half an inch to one 
 tenth of an inch diameter. 
 
 The firil: iron that runs from the ftone when melting, being 
 the fofteft and tougheil, is preferved to make Wire of. 
 
 WISDOM, is reprefented, in painting, cloathed in a blue 
 mantle, fcedcd with ftars. 
 
 Human Wisdom, is reprefented, in painting, by a youth with 
 four hands and four ears, a quiver by his fide, a recorder in his 
 right hand, and a lyre in the other ; facred to Apollo. — The 
 hands denote ufe and prai^lice, neceflary to get Wifdom, bcfides 
 contemplation; the ears, that to hear others isrequifite; the 
 flute and quiver, that one (hould not be too much taken with 
 encomiums of one's felf, nor unprovided in cafe of offence. 
 
 If^illiam WISSINCr, was a face painter, bred up under Do- 
 daens, a hiflory painter at the Hague ; upon his coming over to 
 England, he worked fome time for Sir Ptter Lely, whofe man- 
 ner 
 

 (^ 'f 7 fc. J ] 
 
 Hi "'itit itidi ng'.T.'.i? 
 
 TT'/z/r /'"/" 
 
woo 385 
 
 ner he fuccefsfully imitated, and, after whofe death, he became 
 famous. He painted king Charles II. and his queen, king 
 James II. and his queen, the prince and princefs ot Denmark, 
 and was fent over to Holland by the late king James, to draw 
 the prince and princefs of Orange ; all which he performed with 
 applaufe. What recommended him to the efteem of king 
 Charles, was his picture of the duke of Monmouth, whom ho 
 drew feveral times, and in feveral pofturcs ; he drew alfo mofl: of 
 the court, and was competitor with Sir Godfrey Kneller, who 
 was at that time upon his rife. In drawing his portraits, efpecial- 
 ]y thofe of the fair fex, he always took the beautiful likenefs; 
 and when any lady came to fit to him, whofe complexion was 
 any ways pale, he would commonly take her by the hand and 
 dance her about the room till {he became warmer, by which 
 means he heightened her natural beauty, and made her fit to be 
 reprefentcd by his hand. He died much lamented, at the age of 
 thirty-one, at Burleigh-houfe in Northamptofifhire, and lies 
 buried in Stamford church. 
 
 WIT, is reprcfcnted, in painting, in a difcoloured mantle. 
 
 To inlay WOOD with figures. To do this with mother of 
 pearl, break the fhells, and cut them according to the forms of 
 the figures you defign ; and, after you have cut the Wood with 
 gouges, put them in. 
 
 Thus you may imitate all forts of fruits; for you will find 
 fome green, fome yellow, feme blue, fome purple ; fo that, if you 
 "Would imitate a black grape, the leaf of a tree, or other fruit, you 
 have a fuitabie colour. 
 
 Make a fmall hole through every piece, pinning it with a fmall 
 piece of filver wire, to make it (tick fail ; then take linfced oil 
 and orcanct; rub it well, and wipe off the oil clean ; when it 
 is dry, varnifh it with the drying varnifh. 
 
 You may make very fine compartment work, in fine threads 
 that will look like filver, thus ; make a fet of fmall gouges of all 
 forts, very fharp j and with thefe cut your defign. 
 
 Then melt tin, adding to it the fame quantity of quickfilver ; 
 f^ir it with a flick ; beino; cold, put it in the palm of yrjur hand ; 
 if it be too foft, add a ht.le more tin j grind this comjnfitioa 
 with water upon a marble ; put the compofition into a fheli, 
 and with it fill up the engravings and cuttings which you nave 
 made v/Ith your gouges ; then let your work ifand two or three 
 hours to dry, and then polifh it with your hand, and it will look 
 like filver. '• 
 
 By adding more quickfilver, you may make a thinner compo- 
 fition, which you may rub into the indentures you have cut, rill 
 it be as bright 2S filver ; or, inftead of tin, vou may mix leaf 
 
 Vol. II. C c ' iuver 
 
386 AV O O 
 
 filver with the quickfilver, which v/ill add to the beauty of the 
 work. 
 
 This is commonly pra^tifed upon black and coloured Wood, 
 polifhing them with a tooth. 
 
 If you would have the compofition more beautiful, grind tin 
 glafs and walh it till it leaves the water clear ; then mix it in a 
 Ihell with fome gum, and fill up the engravings with it, with a 
 pencil ; then let it lie for three or four hours todr\ , and quickea 
 it with the compofition of mercury and leaf filver. 
 
 To Jiain Wood red. Take half a pound of fernambouc, or 
 what other you think fit ; rain water, a handful of quick lime, 
 and two handfuls of aflies ; let them fteep for half an hour in the 
 water, and fettle to the bottom ; then take a new earthen pot, 
 and put in the fernambouc, with the ley made of lime and aihes ; 
 and, having fleeped half an hour, boil it. Then let it cool a lit- 
 tle, and pour it into another new pot, adding to it half an ounce 
 of gum arable; then put fome rain water and a piece of alum 
 into another pot or pan ; boil it, foak the Wood in this alumed 
 water, then take it out and dry it j then warm your red colour, 
 and with a brufh rub it as long as you think neceflary ; then 
 dry it and polifh it with a dog's tooth, and it will be of a fhining 
 fcarlet colour. 
 
 To Jiain Wood cf a yellow colour. This may be done either 
 with French berries and alum, or with turmeric or faffron, or 
 merita earth. 
 
 A ■polijhcd black for Wood. Cover the Wood with lamp 
 black, ground with gum water, with a pencil ; and when it is 
 dry polifh it with a tooth, and it will look very well. 
 
 Another black dye for Wood. Put little pieces of very rufty 
 iron into good black ink, and let it ftand for fome days ; after- 
 wards rub the wood with it, and it will penetrate it; then po- 
 lifh it with a tooth, and it will look very beautiful. 
 
 To counterfeit ebony Wood. The moil folid Wood, and freeft 
 from veins, isbeft; fuch as pear-tree, apple-tree, and fervicc- 
 tree ; take any of thefe Woods, and black it well, and when it 
 is dry rub it with a cloth ; then, having made a little brufh with 
 rufhes, tied near the ends, melt fome wax in a pot, mixing fome 
 lamp black with it ; then with the brufh throw on fome of the 
 wax, brufhing it till it fhine like ebony ; then rub it with a cloth, 
 and fome of the wax. 
 
 The Wood fhould be well poliihed and rubbed, before it is 
 blacked. 
 
 . Holley is the beft of Woods for counterfeltbg of ebony. This 
 is to be put into a hat- maker's copper, where he dyes his hats; 
 and when it has been tinged to the thicknefs of a fix-pence, which 
 vou may know by cutting it, take it out and dry it in the fhade, 
 
 that 
 
woo sSy 
 
 that it may the better imbibe the dye water ; then polifh it with 
 an iron, to take off the foulnefs of the dye ; and afterwards, with 
 rufli, powder of charcoal, and fallet oil ; as is done to ebony. 
 
 The Wood of Tunis poliflies ealily ; it alfo burnifhes well 
 with a tooth, and is better to cut than ebony, which is very brit- 
 tle. 
 
 /In excellent hlue colour fjv VVoOD. Boil a quarter of a pound 
 of turnfolc for an hour, in three pints of lime water, and colour 
 the Wood with it. 
 
 A vickt colour for Woo d . Temper Dutch turnfole with water, 
 and flrain it through a cloth ; bcfoie it is ufed on your work, try 
 it on a piece of white W^ood, to ke if it be not too deep. When 
 you have laid on the colour, put fonie of the fame colour to a 
 quantity of water, to render it very thin ; and wafh the W^ood 
 with this, till it become bright ; then dry it, burnilh, and varnifh 
 it ; and, if the Wood be white before, it will then be of an ex- 
 cellent blue. ■ 
 
 Another violit . Boil four ounces of braHl and eight ounces of 
 logwood together, in two quarts of water, with an ounce of com- 
 mon alum J and in thefe boil the Wood. 
 
 A purple colour for Wood. Steep turnfole as is dirc(5^cd for 
 the violet colour, and add to it the tinfture of brafil boiled in 
 lime water, and it will be an excellent purple j this ought to be 
 varnifhed, both to beautify, and to pref*;rve it. 
 
 A way ofjluhnng^ or Tnarbling Wood. Grind white lead and 
 chalk together on a marble \ put it into a pot, and temper it a- 
 gain with the yolk of an egg, beaten with water ; then lay on 
 this white wi:h a large pencil ; let it dry, and go over it again 
 with the fame ; let it dry again, and then take a point made of a 
 flag's horn j draw off the white, where and in what form you 
 will; then fprinkle the lime mixed with urine. The violet 
 Wood which dyers ufe, will become black as ebony ; by fprink- 
 ling it with lime and urine, plum-tree, and cherry-tree, turn of 
 a deep red ; the pear-tree and fervice-tree turn reddifh j wal- 
 nut-tiee grows black, by mingling fome galls in powder with 
 lime and urine. 
 
 A pencil made of mutton fuet, rubbed where you would draw 
 with yolks of eggs, will do the fame thing. 
 
 It will be excellent upon black cherry-tree, plum-tree, or any 
 Wood of a dark colour. 
 
 To make Wood of a filvcr colour. Reduce tin glafs in a mor- 
 tar to fine powder ; add to it water, and grind it to the finencfs 
 of paint ; put it into an earthen pan, and wafh it two or three 
 times till it is very clean ; and then mix clear glue with it, and, 
 having firffc warmed the Wood, lay the mixture on it with a 
 brufli i let it dry, and poliih it w.th a tooth. 
 
 C C 2 To 
 
388 \V O O 
 
 To make Wood cf the colour of gold, fJver, copper, cr hrap. 
 Pound rock ciyftal very fine in a mortar, then grind it on a mar- 
 ble with clean water ; then put it into an earthen vefTel with a lit- 
 tle glue, warm it and lay it on your work, as above ; rub it with 
 gold, filver, or copper, and it will be of the fame colour vou rub 
 it with; then polifh it. 
 
 To lay pencil gold or filver on Wood. Temper the gold or fil- 
 ver with weak gum tragacanth water, very clear; lay it on the 
 lights of your works with a pencil, without touching the fha- 
 dows, v/hich are to be done with indigo, ground with a weak gum 
 arabic water ; then varnifh it with the drying varnifli. 
 
 To coloitr ^VooD afta- the manner of marble. Yox a table, &c. 
 firft lay ^QVtw or eight layers of white, as though it were to be 
 gilded with burnifhed gold ; then having ready ground black, 
 rot over much fized, add thereto a little yolk of egg, and a little 
 dry fafFron ; lay it on, let it dry, and then burnifii it exactly. 
 
 By this means you may counterfeit to the life all forts of mar- 
 ble, having a little experience in colours ; and make alfo all forts 
 of works, as fretted work, flat work, ovals, Sec. 
 
 Let there be in the colours a little yolk of egg and fafFron ; 
 that is, in fuch as can bear it, colouring the marble with divers 
 colours ; the colours muft be laid on clear, like threads. You 
 may alfo on fuch a ground before direifted pour out a fliell of one 
 colour in one place; then, turning it {helving on one fide, caufe 
 the colours to run, which will make veins ; and then take an- 
 other fhell, full of another colour, and do the like ; fo continuing 
 with all your colours. 
 
 Or elfe with a grofs brufla lay all your colours very clear, 
 near one another. 
 
 After the colours are dry, you may make ufe of the pencil to 
 repair the defeiSs ; then burnifh your work, which will not be 
 fubiecR: to duft or fpoiling. 
 
 An exquifite tvay of inruhtng and Icaiitifying Wood EN ivorh. 
 
 Firft cover your XVooden work with hot glue, then with the 
 mixture of glue, and whiting upon this, lay the fize for burnifh- 
 ed gold, and lay on the gold and filver and burnifh it; then hav- 
 ing ground right indigo with the yolk of an egg, and that being 
 verv thin and clear, lay it on the filver, fo as that the filvermay ap- 
 pear through it. When it is dry, pounce vour paper pattern, 
 being whitened with chalk; then with the fame indigo draw 
 over the pounced ftrokes of your figure as neatly as you can, as 
 if you were to draw a figure with a pen upon paper; then with 
 the fame indigo made thinner fhadow it, and afterwards with 
 u"iber ; then heighten with a Wooden point, by hatching the 
 lights J then varoifli the works, and it will feem to be enamel- 
 led. 
 
 Jnsther 
 
woo sSg 
 
 Mother way, hut more beautiful. Inftead of indigo, fteep Dutch 
 turnfole for a day or two in water, then ftrain it through a cloth 
 from the dregs j grind and mix this water with the yiJk of an 
 ^gg> '^y t^'s on your filver, then with turnfole ground with turn- 
 fole water draw with a pencil what lincb or figures you think fit, 
 which you may fhadow and hatch in the proper places, which 
 heighten in difcovering the filvcr, as before dircded ; then var- 
 nifh the work. 
 
 To make tJie ground of a pitrple colour Boil bra fil in lime wa- 
 ter, and mix with turnfole water. This will not laft fo well as 
 that done with indigo, becaufe the turnlole in time is apt to turn 
 red, and will ftain the filver ; therefore, before you vamifh, lay 
 upon it the white of an egg beaten into glair, which will render 
 it much more durable, and admirably beautiful. 
 
 To inrich carved iiork, or any fort of Wooden work. The 
 Wooden work^ whether picture frames, or other things, cover 
 with burniflicd filver, as taught under the article GILDING, &c. 
 and ba\ing made fome vellum glue or parchment glue, boiled to 
 a thick jelly, ftrain it through a cloth ; let it ftand to fettle, and 
 then firain it again ; then with this gli^e give one laying upon 
 your work with a foft brufh ; if it be not enough, give afccond, 
 and then varnifh it. But before you varnifli, if you have a mind 
 fo to do, you may paint flowers, fruits, leaves, or birds, in water 
 colours, and in their proper colours ; and varnifli them, having 
 firfl laid them over with glue. 
 
 Note, you may mix, with your glue, either milk, or foap of 
 Alicant, 
 
 How to embellij]) a WooDEt^ frame with green leaves. Take 
 indigo, a little orpiment ground with water, inclining towards a 
 greenifh brown, mixing, with about half a pint of your colour, 
 the quantity of a mufcle-fhell of the yolk of eggs, and as much 
 fize as is requifite to make it. 
 
 Having firftlaid on your white in the fame manner, as if you 
 were to gild it with burnifhed gold j then paint the t'liezes of 
 your frame with this brown colour, leaving the mouldings un- 
 touched, which you are before to gild with burnifhed gold. 
 
 Having thus prepared your work, you muft either by pounc- 
 ing, or other ways, draw wliat figures you pleafe ; then with in- 
 digo alone, ground with water, a little fize, and a drop of the 
 yolk of an egg, draw your figures or leaves, and fhadow them; 
 and in fhadowing fweeten, heightening them with green, viz. 
 you muft take orpiment, well ground with the greenifh brown, 
 wherewith you laid the firft layer upon your frame ; then heigh- 
 ten it with orpiment alone, ground with water and fize, and a 
 little drop of the yolk of an egg among your colours, becaufe it 
 
 " C c 3 wowld 
 
^go W R I 
 
 would dry inburnifhing; for the yolk of an egg ferves only to make 
 it burnifh the eafier. 
 
 But, if you would paint your leaves in oil, you muft burjiifh 
 the firrt layer of oreenifli brown, and then paint your leaves with 
 drying oil, boiled with litharge of gold ; and inflead of orpirtient 
 you may, if vou pleafe, work with mafticote. 
 
 Francis WOUTERS, was born at Lyere in the year 1614, 
 and was brought up in the fchool of Rubens ; h& was a good 
 painter of figures in finall, chiefly naked, as alfo of Jandfcapes ; 
 his merits promoted him to be principal painter to the empctor 
 Ferdinand II, and, afterwards coming intoEngbnd with that em- 
 peror's ambalTadors, he was upon the death of that prince made 
 gentleman of the bed-chamber, and chief painter to king Charles 
 II, then prince of Wales. He lived a confiderable time in Lon- 
 don in great efteem, and at length retired to Antwerp, and there 
 died. 
 
 To WHITE xvith gold and fdver. Grind gum armoniacwith 
 a little juice of garlic, and put to it a few drops of weak water of 
 gum. arabic, and fo make it to thethicknefs of an ink, that you 
 may conveniently write with it ; then let it dry a little, but not 
 too much, left it fhould not take the leaf gold or filver ; nor too 
 little, left it drown them. Then lay the leaf gold or filver up- 
 on a gilding cufhion ; take it up with a piece of cotton, on 
 which you have breathed, and cover with it the part you intend- 
 ed, preiling it down hard ; and, where the gum water is, it will 
 take. Then brulh off" with a bit of other cotton what it has 
 not taken ; and when it is thoroughly dry burnifh it with a piece 
 of polifhed ivory, and it will appear ver}' bright, 
 
 j^noihcrvjay. Take fheli gold, which is made of the rugged 
 edges or cuttings of leaf gold \ and when you are going to ufe it 
 put in a little fair water, and temper it up with a clean pencil, 
 and lay it on either with pen or pencil, in what form you pleafe, 
 either by way of writing or gilding, and let it be thoroughly dry ; 
 rub it over with a dog's, calf's, or horfe's fore-tooth, and it will 
 be very fhining and luftrous. 
 
 Secret Writing. Put powder of alum into wstcr, and what 
 you write the letters will not appear ; but put the paper into v.'a- 
 tcr, and then you may read it; or juice of fpurfce will do. 
 
 T<7 Write letters that cannot 'v difcovcrsd. Take a fheet of 
 white paper, double in the middle of it ; then cut holes through 
 both the half-fnects, cut the holes likfe the panes of a glafs Win- 
 dow, or any other faihion you pleafe ; then with a pin prick two 
 little holes at each end, and cut your paper in tWo halves, and 
 give one half to your friend, to whom you defign to write, and 
 keep the other half vourfclf, 
 
 Whtn you Write, lay your cut paper on hslf a fheet c-^^wri- 
 
 tjjH^ 
 
W R I 391 
 
 ting paper, and flick two pins through the two holes, that it fllr 
 not ; then Write your mind to your friend through thcfe holes; 
 then take ofF the paper with the holes, and Write any thins;, 
 what you pkafe, to fill up the vacancy. And, when your friend 
 receives the letter, let him lay his cut paper on it, putting the 
 pins into the holes ; and then what you wrote not to the purpofe 
 is covered, and he difcovers your mind. 
 
 Another way. Write the letter with common ink on one 
 fide, then turn the paper, and Write on the other fide with milk 
 what you would have fecrct, with a clean pen, ;ind let it drv ; 
 then, when it is to be read, let the written fide be held next the 
 fire, and the milky letters will appear bluifli on the other fide, 
 and may be perfectly read. 
 
 j^n exquifitc method of inv'ifihU Writing. The firft ink. 
 Take a pennyworth of litharge of gold or filver unprepared, 
 pound it in a mortar ; then infufe it in a phial half full of ftrong 
 vinegar, fhake them well together, and let them fland to fettle; 
 and, being clear, write upon your paper with a new pen, and 
 it will not appear at all. 
 
 The fecond ink. Burn cork till it has done fmoking, extin- 
 guifh it in aqua-vita^, or fpirit of wine ; dry it, and mix it with 
 water, and a little gum arabic, to the confidence of thin pafle; 
 when you would write with it, make it thinner with common 
 water, and write upon what is written with the forementioned 
 ink. 
 
 The third ink. Take yellow orpiment and quicklime, of 
 each an ounce ; pound them in a mortar, and put them in four 
 ounces of common water, and ftir them well ; this water will 
 take away the fecond ink, and make what is written with the 
 firfl: appear, 
 
 Writintg not to he read hut in luater. Write with the juice 
 of fpurge or alum water, dry it, and it will not be legible without 
 wetting. 
 
 To make black Writing vanijhy and appear again. DifToIva 
 burnt tartar in common water, and filtrate it j ftrike it over the 
 Writing, and it will difappear. 
 
 To make the Writing appear again. DifTolve an ounce of 
 white vitriol in a pint of water, filtrate it, ftrike the paper over 
 with it, and the Writing will prefently appear as before. 
 
 To Write luith inky which will vanijh in five days, Infufe an 
 ounce of fal armoniac tour or five days in ftrong water ; make 
 of it ink with a piece of touchftone beaten fine, and what you 
 Write with it will be gone in five days. 
 
 To Write with an ink that /hall vanijh in twenty- four hours^ 
 Boil galls in ftrong water, put to it fome vitriol, a little fal armo- 
 uiac, and a little gum arabic, and it is done. 
 
 C c 4 TI?oma$ 
 
39^ Y E. L 
 
 TJ?omasVan WYKE, commonly called the older, was father 
 of John Van Wyke, and a famous painter, born at Haerlem ; he 
 painted landfcapes, efpecially havens and fea-port?, {hipping and 
 {m?\\ hgures ; but his particular excellency lav in reprefenting 
 ch\ nifts in their laboratories, and things of the like nature. He 
 followed the manner of Peter de Laer. He returned to England 
 atrer he had lived a confiderabletime abroad, and died here about 
 fevcnty years ago. 
 
 Y. 
 
 ^T'J^LLOW, is a bright colour, reflecting the moft light of 
 X any alter white. 
 
 There are divers Yellow fubdances that become white upon 
 wetting, and drying them again feveral times at the fun j as wax, 
 linen cloth, S-c. 
 
 I he lame bodies, if thev he already white, and continue a lon;j 
 time in the air, without wetting, turn Yellow. 
 
 Paper and ivory, applied near the fire, become fucceflively 
 Yellow, red, and black. Siik when turned Yellow is whitened 
 with the fumes of fulphur. 
 
 Yellow in dving is one of the five fimple and mother colours. 
 For the lineft Yellows they firil boil the cloth or fluff in alum 
 and pot-alhes, and give the colour with goud. 
 
 Likewife turmeric gives a good Yellow, though not the beft. 
 There is alfo an Indian wood that gives a Yellow colour, border- 
 ing on gold. There is another fort of Yellow made of favoury, 
 but this is inferior ttj them all. 
 
 With Yellow, red of madder, and that of goat's hair prepared 
 with madder, are made the gold Yellow; aurora, macarate, 
 ifabella, chamoife colour, which are all cafts or fhades of Yellow. 
 
 Yellows. There are fome objects, which have the, ap- 
 pearance of gold, fhining through the colours of green, red, or 
 blue ; fuch as fome fort of Hies and beetles, and the cantharides. 
 
 This golden tranfparency is very well imitated by laying on 
 the drawing fome leaf gold on the fhaded part, a little giving in 
 to the light fide of the print. 
 
 The way of laying on the leaf gold is to wafh the part, where 
 the gold is to be, with ftrong gum water, and, when it is grown 
 fomething dryifh, to lay on the gold as fmooth and even as pof- 
 fible, preiTing it down clofe wirh cotton. But in doing this 
 care mufl be taken, that in laying on the gum water you do not 
 exceed the limits you would have the gold appear to fnine. 
 
 In this cafe the gold is to fliine only through the tranfparcnt 
 colour, which is to be laid upon it. 
 
 You 
 
Y E L 393 
 
 You muft obferve this, that the leaf gold will not regularly re- 
 ceive water colours, and for that reafon it muft be ftrokcd over 
 with a little thin liquor of ox gall in a pencil of camel's hair, and 
 then it will receive any colour that we have a mind to paint up- 
 on it, and will hold it. 
 
 So you may have golden reds, golden greens, and golden blues, 
 golden Yellows, golden purples, and what you pleafe. 
 
 The greens may be firft the verdigreale green, or the fap 
 green ; the reds may be lake or carmine ; the purples, lake and 
 fine indigo, or carmine and indigo ; and for the blues indigo on 
 the dark fide, and on the light fide a little ftroke of ultramarine 
 blue, juft to (hine into the light, and it will have an admirable 
 cffea. 
 
 N. B. There is to be found upon rofc-trecs, in June and July, 
 a kind of beetle of a golden green colour, which will fcrve for a 
 direcf^ion in this kind of painting. 
 
 But, if gold Jtfelf be ufed, it will be beft to polifli it, which you 
 may do after the following manner : 
 
 There are to be feen in many manufcripts fine golden letters, 
 v/hich rife above the fuiface of the vellum or paper ; the com- 
 pofition that raifes them above the paper, is faid to be made of ' 
 vermilion and the white of an egg, whifked or beaten up to that 
 confiftence as is called an oil, worked together like a kind of 
 pafte, and with a ftamp fixed to the vellum or paper, with o-uni 
 arable ; on this figure of a letter wafh fome ftrong gum water 
 with a camel's hair pencil, taking care that the gum does not 
 reach more than the outlines ; then lay on the leaf gold clofc 
 with fome cotton, and as foon as it is dry rub it with fome dry 
 cotton, and then polilhit with a dog's tooth j this will make it 
 appear, as if it was really caft in gold. 
 
 There isbefides this another way of working in gold, and that 
 is performed by flicll gold ; but then it muft be pure gold, and 
 not that which is brought from Germany, which will turn green 
 in a few days time. 
 
 Before you ufe this gold, cover the fliady parts with vermili- 
 on ; and, after your gold has been well reclificd with fpirits of 
 wine, lay it on with gum water, which will readily mix with it ; 
 and when it is dry polifli it with a dog's tooth. 
 
 In hying on the gold it may be beft to leave the lights vacant 
 of it, and fo it will make a much brighter appearance thin if the 
 object was covered all over. 
 
 But, if one was to cover by accident the whole piece with gold, 
 there is no better way to fet it off", than by tracing over the Ihady 
 parts with gall ftone ; or, which is much preferable, the Yellow, 
 the compofitioii of which you will find below, made of Frcr; h 
 
 bciiies, 
 
39+ Y E L 
 
 \)erries, I mean that which is the deepcft in colour; a little 
 niinium brightens it very much. How the minium is to be rec- 
 tified you may fee among the reds, and polifh the gold before 
 you ufe the minium on it. 
 
 After gold I fhall treat of Yellows, as they fall gradually in 
 their courfe of flrength. 
 
 The firft Yellow is a kind of draw colour, and is made of 
 flower of brimftone, which of itfelf is fine enough to mix with 
 gum water. 
 
 A common way of illuminating prints is by giving the tinc- 
 ture of gamboge for a Yellow, and this may be of two or three 
 forts, either fainter or Wronger ; the laft to be a fhade to the 
 firft, and the laft to be fhaded with the preparation of French 
 berries. 
 
 Yellow oker will make another good pale Yellow ; but it is a 
 colour, rather of too much body for illuminating of prints ; but 
 yet, being well ground with gum water, it is of ufe after it has 
 been well wafhed. 
 
 The plant celandine will afford another good Yellow, by infu- 
 fma; it in water, and prefTing it gently, and then boiling the li- 
 quor with a little alum ; this Yellow will incline a little to green. 
 
 But a Yellow, which fome prefer to the reft, and may be ufed 
 in feveral capacities of lights, is one made of French berries, pre- 
 pared as follows : 
 
 Boil two ounces of French berries in a quart of lixivium made 
 of pearl- afties and water, till the liquor will give a fine tinge of 
 Yellow to a bit of paper dipped into it ; then pour it off from the 
 berries, let the liquor cool, and then put it into a bottle for ufe. 
 
 Then again put a pint of the fame lixivium to the berries, and 
 boil them till the liquor is as deep coloured as gall ftone ; and 
 this will befit for the fliade of any fort of Yellows you can ufe 
 
 This may be boiled till it produces a brown colour; and will, 
 with a little ox gall, ferve to fhade any leaf gold that has been 
 laid on paper, and is much preferable to gall ftone in imitating 
 any gold colour. It anfwers well upon a tincture of gamboge, 
 or any of the former Yellows. 
 
 Next to this may be reckoned the tincflure of fafFron, in com- 
 mon water only, which affords a bright reddifti Yellowr, fuch as 
 one would have, to cover the ftiadowed parts of a print, for an 
 crange colour ; and, when fafFron is infufed in red^ified fpirits of 
 wine, there is nothing higher ; but then, except the colour be 
 loaded with gum arabic, it will fly. 
 
 As for a deep Yellow with a body, Dutch pink comes tha 
 neareft of any to the beforementioned ftrong Yellow made of 
 French berries in point of colour ; and of a lighter Yellow is the 
 
Y E L 295 
 
 Englifh pink, which is ftill made of French berries, and in a 
 body likewife. 
 
 Alfo a good Yellow colour, for illuminating of prints, mny t^c 
 extraded from the French roots of ginger, and it makes a tine 
 green with tranfparent verdigreafe. 
 
 N. B. The Englifh and Dutch Yellow pinks arc made with 
 French berries ground to a fine powder, and boiled. 
 
 Yellow y?/^ dycsy and ^rjf Ir/oJ/om Yellow. Dye it after 
 the fame manner as gold colour, then heighten it with urano-e 
 dying fuds, after which rinfe and dry it. 
 
 To dyefilk Yellow. Procure a clean kettle, put in a fuincient 
 quantity of water, and for every pound oflilk put in two pounds 
 of Yellow wood, and fix ounces of galls ; let the Yellow wood boil 
 an hour before you put in the galls, and afterwards boil them to- 
 gether for half an hour, and then put in the filk, having firft a- 
 lumed and rinfed it, ftirring the dye ; then wring it out of the 
 kettle with a little pot-aflies ; and, after it has been wrunir out 
 put it into the dye again, and leave it there to foak for a whole 
 night, and in the morning rinfe, beat, and dry it. 
 
 To dye f. tiff's a brijnjione Y ELL0V7 . Boil the fluff in three 
 pounds of alum, one pound of tartar, and three ounces of fait for 
 an hour ; throw away the water, then make a liquor of Yellow 
 brown, laying it in the fam.e order as ftraw in brewhoufcs ; then 
 add ley afnes, and draw the fluff through the dye three or four 
 times very quick ; to do which dexteroufly, it will require the 
 afliftance of three or four men. 
 
 Amther. Let the fluffs be alumed as ufual for half an hour, 
 and then for every pound of ware take half a pound of Yellow 
 dye weed, and a handful of wood-afhes ; boil them a quarter of 
 an hour, then throw the rinfed ware into the liquor, work it a- 
 bout, till you perceive it to be well dyed \ then cool it and rinfe it 
 out. 
 
 Of dying YzLLov^^s and orange tavuney. I. To dye a Yel- 
 low colour. Take water a fufEcient quantity, alum one pound, 
 enter your yarn cloth, &c. boil two hours, and take it out, and 
 wafh it clean. Take frefh fair water a fufficient quantitv, fuf- 
 tic two pounds, let it boil, and enter your cloth ; boil an hour, 
 and take it out ; this will dye twenty pounds weight. 
 
 2. To dye an orange tawney. Lei your wool, yarn, flannel, 
 fluff, or cloth, &c. be firfl dyed into a red colour 3 and then, be- 
 ing red, let it be dyed into a Yellow colour. 
 
 3. Another way to dye an orange tawney. Take flalc wheat 
 bran liquor a fufficient quantity, alum three pounds ; enter twcn- 
 ty yards of broad cloth, handle and boil three hours ; take it otit, 
 coo! and wafli it well. Take fair water, and good iinge, or hcd- 
 
 dcr. 
 
SgG Z A F 
 
 der, which grows in moraffes, moors, or fwamps ; boil it a good 
 ■while, and take forth the hcdder, and cool with a little Yellow j 
 take it up and air it. Take frefli bran liquor a fufficient quan- 
 tity, madder two pounds ; enter your cloth, and boil it with a 
 quick fire, then take it out, cool it, and wafli it well. Obferve 
 you may make it a good Yellow with fuftic, and then after- 
 wards perfed it with madder. 
 
 To dye thread Yellow. Boil eight pounds of broom, one 
 pound of Spanifli Yellow, one pound of crab-tree rind, and one 
 pound of corn marigold in a kettle, with three quarts of (harp ley; 
 and work the thread in the liquor three times fucceflively, not fuf- 
 fering it to dry between whiles, and it will be of a beautiful and 
 lafling colour- 
 
 Z. 
 
 ZA. flands for Zazlngeri, or M. Z. for Martin Zin- 
 • kius. 
 ""^V/^ G) A^atthew ZAGEL, engraved feveral ornaments 
 mj \ \^q) ^"^ grotefque pieces per lo traverfo, or with crofs 
 itrokes ; he lived in the year 1500, and ufed this mark. 
 
 Theodore ZAGHEL, his mark is a woman with her back 
 towards you. 
 
 Domenico ZAMPIERI, called Domimchirw, fcholar of Denis 
 Calvert and the Carraches, born in 1581, lived at Bologna, 
 Rome, and Naples; excelled in hiftory ; died in the year 1641, 
 aged fixty years. 
 
 ZAFFER; this is called in Latin Zaffera, which Merret tells 
 us comes from Germany ; it is taken by fome for a preparation 
 of an earth for tinging glafs blue ; others take it for a ftone, and 
 he himfelf for a fecret, afferting that there are but few authors 
 who have made any mention of it, and no one that has told os 
 what it is. 
 
 The method of preparing Zaffer for tinging glafs. The only 
 preparation of Zaffer, according to Merret, is to grjiid it into a 
 very fmall powder, and fearce it through a fine fieve. 
 
 But Neri gives us one which makes the glafs much finer, 
 which is this : 
 
 Take Zaffer in the biggeft pieces you can get, put it into 
 earthen par?, and let it ffand one day in the furnace ; then put it 
 into an iron ladle to be heated red hot in the furnace ; take it 
 thence, and fprinkle it with flrong vinegar ; being cooled^ grind 
 it fine on a marble ffone, after which wafh it with warm water 
 in earthen pans, letting the Zaffer fettle to the bottom, and de- 
 
 cantins; 
 
Z O U 397 
 
 canting off the water gently ; this will fcparate the foulnefs and 
 impurity from the Zaffer, which will remain at the hottom pure 
 and clean ; which muft be dried and ground again, and then kept 
 in veflels clofe flopped for ufe. This will tinge glafs much bet- 
 ter than the firft. 
 
 ZEPHYRUS, the Weft- wind, isreprefentcd, in painting, &c. 
 by a youth with a merry countenance, holding in one hand a 
 fwan with wings diiplayed, as though about to fing; on his head 
 a garland of all forts of flowers. — It is called Zcpliyrus of ^i„^» 
 <pi(xv^ i. e. bringing life, becaufe it cherifheth and quickeneth. 
 
 ZINK, is a kind of mineral or femi-metal, which fome con- 
 found with bifmuth, and others with fpelter. 
 
 Zink is a kind of mineral lead-, very hard, white and brilliant, 
 and which, though not ductile enough to denominate it a metal, 
 yet will flretch a little under the hammer. 
 
 It is found plentifully in the mines of GofTelaer in Saxony ; 
 that which is commonly fold, is in large thick fquarc cakes, 
 which would make one fufpeiSl it were melted, when taken out 
 of the mine, and caft in moulds of that form. 
 
 Zink is ufed in purging and purifying tin, much after the fame 
 manner as lead is in purifying gold, filver, and copper. 
 
 Founders ufe it with turmeric to tinge copper, to which it gives 
 a fine gold colour. 
 
 Mr. Homberg conjcflures, with a great deal of probability, 
 that Zink is no other than a natural mixture of two real metals, 
 viz. tin and iron. 
 
 Francis Van ZOON, was an eminent Dutch painter of fruits, 
 flowers, and plants ; he was bred up at Antwerp under his fa- 
 ther old Van Zoon, a painter in the fame way. He married a 
 niece of ferjeant Streater's ; fhe brought him into the bufmefs of 
 feveral perfons of quality, which f.rftoccafioned his being known. 
 He painted loofe and free, yet kept clofe to nature, and all his 
 pictures feem drav/n by the life. He began fome large pieces, 
 wherein he propofed to draw all the phyfical plants in the apo- 
 thecaries garden at Chelfea ; but, that work proving tedious, he 
 defifted from it, having greater encouragement other ways. He 
 died here in London about fifty years ago, and lies buried ia St. 
 James's. 
 
 ZOUST, or SoeJ}, was an eminent Dutch face painter, who 
 came into Encland about the year 1680, and found here encou- 
 ragement fuitable to his merit. 1 he portraits he drew after men 
 are admirable, having in them a juft and bold draught, and good 
 colouring j but he did not always execute with a due regard to 
 grace, efpeciaily in women's faces, which is an habit can only be 
 acquiicd by drawine after the moll perfe(5\ beauties. 
 
 I " Mr. 
 
398 Z U C 
 
 Mr. Zouft painted fevcral perfons of very great quality ; his 
 colouring was very warm, and he v/as a great imitator of nature, 
 but for the moli part unfortunate in his choice. He died in 
 London about eighty years ago. 
 
 Fedcrico ZUCCHERO, born in 1543, fcholar to his brother 
 TaddeoZucchero, lived in Rome, France, Spain, and England ; 
 excelled in hiftory, portraits, fcuJpture, and architecture 5 died in 
 the year 1609, aged fixty-fix years. 
 
 Taddeo ZUCCHERC), born in the year 1529, fcholar to his 
 father 06lavianoGio. PetroCalabro, andftudied Raphael; lived 
 at Rome, Tivoli, Florence, Caprarolo, and Venice; excelled in 
 hiftory ; died in the year 1566, aged thirty-feven years. 
 
 F I N I 
 
sf[aAL 
 
 
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 ■r'.;TCD 1 IPS:! •'<:■' 
 
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