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Digitized by the Internet Archive 
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 https://archive.org/details/artofminiaturepaOOpars 
 


THE 
 
 ART 
 
 OP 
 
 MINIATURE PAINTING 
 
 IVORY. 
 
 BY ARTHUR PARSEY, 
 
 PROFESSOR OF MINIATURE PAINTING AND PERSPECTIVE, 
 
 LOND ON: 
 
 PRINTED FOR 
 
 LONGMAN, REES, ORME, BROWN, AND GREEN, 
 
 PATERNOSTER ROW. 
 
 1831 . 
 
1£nl«riir at Stationers’ l^all 
 
 PRlNTi:!) B\ W. COX, 55, oaKAT (iUEF.N STKEIOT, MNCOI.N's INN VIKEDS. 
 
PREFACE. 
 
 Miniature Painting is a branch of Art much 
 sought on account of its apparent simplicity, but 
 to acquire it thoroughly requires more application 
 and research than is usually imagined. The pro- 
 per foundation (Drawing) is in most cases passed 
 over, and a difficulty arises, which proves fatal to 
 the most anxious exertions. 
 
 In this treatise I have endeavoured (shortly) to 
 inculcate the necessity of first acquiring the pre- 
 liminaries, and then going hand in hand witli th.e 
 successful votaries of the art. I have been brief, 
 lest prolixity might deter and confuse, trusting 
 that those who take this treatise for a guide, will 
 successively practice each maxim, fully under- 
 standing one before proceeding on the next; the 
 result, by such means, will elucidate more, and 
 open the understanding better, than extended 
 
IV 
 
 PREFACE. 
 
 theory, which is ever unintelligible, till practice 
 has given the means of comprehension. Having 
 passed the difficulties, I am aware of the steady 
 perseverance that must be adopted by each fol- 
 lower, who must rely on the master’s dictates, or 
 he will, by over-anxiety, defeat his own object. 
 
 - Freedom of hand is so obviously necessary, that 
 I need not recommend the adoption of the system 
 laid down for handling the pencil ; trying it will 
 be the best proof of its practical utility. The 
 benefit to be derived from the geometrical pro- 
 blems can only be felt by those who may have 
 the industry to work them by scale. 
 
 The articles on Colour, and compounding Tints, 
 will guide the student, who, while using them, 
 will elucidate many points which might be des- 
 cribed at great length without effect ; indeed, from 
 experience, I find it true, that every one must gain 
 more by self-exertion than from others; for this 
 reason, I consider a too elaborate description ob- 
 viates its purpose, so long as sufficient is stated to 
 assist the practitioner. 
 
PREFACE. 
 
 V 
 
 The ‘‘considerations” are the result of experi- 
 ence ; and I have offered them, that the attention 
 may be directed aright, forewarned of difficulties, 
 which time and practice only can teach. 
 
 The Sittings for a Miniature I have endeavoured 
 to render as intelligible as possible. 
 
 The use I make of the Scraper is new, and while 
 it adds a lustre to miniature painting, I trust the 
 connecting idea on oil painting may give a repu- 
 tation to British works, which the talent of this 
 country is fully competent to merit. 
 
 Being actively engaged in the profession, my 
 leisure is not sufficient to enable me to be studious 
 of literary perfection ; contenting myself with the 
 endeavour to be useful, I am compelled to sacrifice 
 the ornamental. 
 
 Burlington Arcade^ 
 
 January^ 1831. 
 
DIRECTIONS TO THE BINDER. 
 
 Plate 1, opposite Title. 
 
 Plates 2, 3, 4, 5, G, 7> 8, at the end of the Treatise. 
 
CONTENTS. 
 
 Page. 
 
 Drawing 1 
 
 Colours - - - - 51 
 
 Tints - - - - - • - - o7 
 
 Opaque Tints - . - . _ (13 
 
 Camel Hair Pencils - - - - . (>7 
 
 Ivories - - - - - - - 7- 
 
 Necessary Considerations for the Study and Practice of 
 Miniature Painting - - - - 
 
 Sittings for a Miniature — First Sitting - - 113 
 
 Second Part of Ditto - - - - - 142 
 
 Second Sitting - - - - - .I47 
 
 Second Part of Ditto - - - - - 158 
 
 Third Sitting - - - - - -1()2 
 
 Finish - - - - - - 184 
 
 Remarks - - - - - - IGG 
 
 Scraper - - - - - -178 
 
 Draperies in Body Colour - - . . I73 
 
 Ditto in Transparent Ditto - - - - 182 
 
THE 
 
 ART OF MINIATURE PAINTING. 
 
 The first consideration for the juvenile Artist and 
 the Amateur is drawing, which it is indispensable 
 to acquire with some proficiency, before they in- 
 dulge in the pleasing part of colouring. The 
 fascination of colour is so universal, that the 
 eagerness to commence upon it hinders many 
 from giving drawing its proper attention. Stu- 
 dents fancy much practice with the pencil quite 
 unnecessary, but, however great the desire may be 
 to learn this art, they are rarely so fond of the 
 practice of the pencil, as to continue long enough 
 at it to find their powers in drawing adequate to 
 their practice in colour. Colour is pleasing and im- 
 
 B 
 
2 THE ART OF MINIATURE PAINTING. 
 
 presses the mind — drawing is intense, and considered 
 laborious — without system, to make* it inviting and 
 genial. Masters yield to the importunities of pupils, 
 which are too often seconded by their friends, who 
 are as anxious as the young folks to see something 
 more showy than mere pencil or chalk drawings. 
 The generality of masters and mistresses of semi- 
 naries, and drawing-masters, • both at school and 
 iu private teaching, can scarcely venture to con- 
 tinue their pupils any length of time, upon the 
 fundamental principles of the art; it being so 
 necessary, under the influence of general expect- 
 ation, for them to produce something which shall 
 court the flattery of visitors and connexions, little 
 being thought of such productions as only exhibit 
 those rudiments of form, which alone give propriety 
 to the earliest and the maturest efforts of genius — 
 outline. It is to be regretted that teachers (of 
 reputation) are not left uninfluenced by these con- 
 siderations, and might advance their pupils only, at 
 those periods, when their information rendered 
 them truly fit to proceed to the next step in the 
 art. Talent in this country is equal to any other 
 nation or climate. It has been thought we are too 
 
THE ART OF MINIATURE PAINTING. 
 
 3 
 
 near the North Pole for the arts to flourish equal to 
 the warmer climates : I cannot see -that the climate 
 has any reference to pictural production. The 
 mind, being superior to nature, reflects on her 
 works with equal activity in the frigid or the torrid 
 zone. There would be more pre-eminent talent, 
 if the imitative faculties were early directed to a 
 proper consideration- of what is truly essential to 
 the pursuit, by understanding the nature of the 
 mind, and bringing it into that order and arrange- 
 ment, that the fullest scope may be given to its 
 powers. In foreign countries, there is a greater 
 facility in getting at works of established repu- 
 tation by the young amateur and artist ; this 
 easy approach, and number of works, induces to 
 better and greater practice. The use of chalk, the 
 consequent larger scale of drawings, and excellent 
 archetypes, are reserved in this country for those 
 only, who, at a maturer age, have the chance or the 
 means to get at them. It is difficult for the early 
 British amateur to go further than drawing from 
 cheap-printed drawing books, or a medley of 
 drawings, till he has advanced to an age to be 
 placed under an established master, or is doomed 
 
 B 2 
 
4 
 
 THE ART OF MINIATURE PAINTING. 
 
 to an incongruous pursuit, and frequently, I have 
 no doubt, the poverty of the productions which 
 have fallen in his way to copy (with no system to 
 proceed on) has cramped genius which, if properly 
 tutored, might have been of the most eminent cast. 
 Extensive practice, easy access, multiplicity of 
 good copies, confluence of students, and the con- 
 sequent collision of ideas, give a comprehension and 
 clearness to the imitative mind, which the secluded 
 genius of this country can only derive from for- 
 tuitous circumstances, and an unextinguishable 
 perseverance. 
 
 Difficulties certainly stimulate genius — often to 
 extreme exertion — but if, unhappily, it be isolated, 
 unaided by the influence of kindred genius, shut 
 out from the museum of talent, it dies unknown in 
 its own element. Fostered genius, fed by the hand 
 of nature, warned of the crudities, taught the 
 beauties, mixing with the arduous, competing with 
 the judicious, owns no bounds, save those of 
 nature. 
 
 The easy access to artists, galleries of pictures, 
 statues, busts, &c., by the general population 
 abroad, who can daily witness the process of works 
 
THE ART OF MINIATURE PAINTING. 
 
 5 
 
 of art, much is thrown into the scale in favour of 
 popular judgment. The public thus derive a 
 tlieoretical taste; they see the copy and the original, 
 the comparison pointing out the excellence of the 
 one or both — they see the progressive practice 
 necessary to excellence, and are not surprised at its 
 tardiness — and they justly estimate the talent which 
 wins the prize of superiority. Persons thus ac- 
 customed to the daily operations of the art, are not 
 so likely to be anxious to push the pupil on too 
 fast, but would rather wait till the ideas and in- 
 formation may assist in the progress. 
 
 Every master who teaches drawing, and every 
 person who attempts it without a master, should 
 make it a mental study. The mind should be 
 fully conscious of its capabilities ; objects to be re- 
 presented, with every circumstance connected with 
 them, should be reviewed, and the representations 
 made with mechanical feeling. 
 
 The very touch must be so sensibly distinguished, 
 that the sight may be considered only to direct the 
 hand to the proper part of the surface on which 
 the pencil or chalk has to act. The strength, 
 delicacy, ease, continuance, and character of eacli 
 
G 
 
 THE ART OF MINIATURE PAINTING. 
 
 part should be the language of feeling — not a 
 mere thicker or thinner line. It may appear 
 ostentatious or fastidious, but the peculiar cha- 
 racter of the various parts of a drawing in pencil 
 or chalk, should be read as so many hieroglypJiics 
 of the artisfs mind, or that soul which gave form 
 and character to the representation. 
 
 The merit of a good drawing consists in its 
 communicating to the inspector, what words do in 
 conveying sentiment — the mind of the author, and 
 the object he has in view. This, properly speak- 
 ing, is the spirit of drawing, and is a perception 
 resulting from the whole, rather than any par- 
 ticularized section. The goodness of the marks or 
 lines, judged of merely as such, may properly be 
 termed manual production. There should appear 
 an equal readiness of touch, whether thin or thick, 
 without a- falling off in parts, which exhibits 
 fatigue, want of interest, or want of perception. 
 Aptness in the quality of touch to different forms 
 should be gerierally manifested, or the forms and 
 properties of them would be jumbled together in a 
 mass of feeble chalk or pencil. 
 
 The following observations are intended to give 
 
THE ART OF MINIATURE PAINTING. 
 
 7 
 
 the juvenile artist some idea of outline, &c. The 
 visible productions of nature by this art are de- 
 picted on superficial substances by lines, and have 
 reference merely to form ; colour, in the forms, and 
 light operating on them, are distinct considerations. 
 There are no lines in solid or aereal forms but 
 for the purpose of representation by colour, light, 
 and shade ; the boundary or termination of objects 
 is by the art made by lines — termed outlines ; — 
 these should ■ describe the visual boundary of 
 curves, or, we may say, the chord of every curve, 
 all ridges, or boundaries of squares, angles, and 
 irregular forms. In irregular forms, superficies 
 which deviate but little from the direct vision, that 
 is, very much fore-shortened, may be outlined. 
 Every form, which has a boundary, is fitted for 
 outline, whether square, angular, irregular, cir- 
 cular, or compounded; the two first, having decided 
 ridges or boundaries of superficies, are readily per- 
 ceived and imitated in outline ; circular superficies 
 require more consideration, as they require the 
 knowledge of light and shade, not outline, to 
 depict. The outline of a sphere is but a hoop till 
 assisted by shade. The sections of curves have 
 
8 
 
 THE ART OF MINIATURE PAINTING. 
 
 ridges and half-circularity — as, half a sphere has 
 the flat surface and the half globe, drawn by a 
 straight line and a semicircle, unless viewed at an 
 angle from the line of its base. Part of a sphere, 
 produced from the centre by two parallel cuts, is 
 drawn by two parallel lines and two short sections 
 of a circle at each extremity, till held in an in- 
 direct line of vision. Anything possessing form, 
 neither angular, square, nor circular, but rather 
 having each in some degree, are less readily com- 
 prehended. It is necessary to distinguish what 
 is fitted for outline, and what to leave to be 
 effected by shadow. For instance — looking full at 
 a bust of a young female, the circular boundary of 
 the head and face — the curves of the parted hair- — 
 the circular ridges of the eyelids, &c. — the termi- 
 nation of the lower part of the nose, and the sur- 
 pentine or bow-like edges of the lips, are distinct 
 objects for outline. Turning the bust to a three- 
 (juarter view, only one side of the nose is seen, and 
 the top surface becoming a circular ridge must be 
 outlined. Draperies are to be considered in a 
 similar way ; the boundary of the whole, the 
 sudden ridges or collapsing of folds, decided ter- 
 
THE ART OF MINIATURE PAINTING. 
 
 9 
 
 minations of parts, but none of those breadths which 
 have only the inflections of shade are to be outlined. 
 It may not be superfluous again to remark, that it 
 is indispensably necessary to give form, colour, and 
 light, a distinct and attentive consideration, without 
 confounding the one with the other, both for the 
 purpose of having a just idea of objects, and not to 
 be devoting time and attention, or rather mis- 
 directed application, to parts of objects which pro- 
 perly belong to another class of imitation. With- 
 out being clear on these points it is apt to perplex 
 those who include boundaries of shade, &c. with 
 colours and ridges — increasing their labour, and 
 dwindling into useless minutiae — sacrificing freedom 
 and breath. 
 
 Outline is one of the most valuable qualities of 
 an artist, the basis of his knowledge, and the vehicle 
 for the imitative faculties. Persons who cannot 
 draw, have never imagined the contour and outline 
 of parts, and many who attempt drawing are 
 mortified and perplexed at first, because they can- 
 not proceed rapidly, and if drawing without a 
 copy, are absolutely self-angry, because they do not 
 know the form, combination of objects, or in other 
 
 B 5 
 
10 
 
 THE ART OF MINIATURE PAINTING. 
 
 words they have not bent tlieir attention to the 
 particulars or nature of outline, which truly is 
 to understand natural and mechanical construction 
 in inanimate objects, anatomy, philosophy, phy- 
 siology, Sic. in the human figure — natural history 
 in quadrupeds, &c., or as a summary — the know- 
 ledge of nature. 
 
 As this learning is too extensive for one mind, 
 we see some more excellent than others, accord- 
 ing to their forte or selection of objects for repre- 
 sentation. 
 
 When a true conception of outline, or the con- 
 struction of objects is formed, light, and its at- 
 tendant shade, will claim a pausing consideration ; 
 light is divisible into many kinds, and each kind 
 into infinite and imperceptible gradations of 
 strength : there are sunny lights, still lights, 
 
 candle or artificial lights, reflected lights, &c., 
 dwindling each from its utmost power, by millions 
 of inflections — to darkness. Every class of light, 
 darted on an object, casts from the object a shade 
 partaking of its diverging form, which is, properly, 
 shadow — cast on other superflcies. The object 
 itself, which casts the shadow, is influenced by 
 
THE ART OF xMIXIATURE PAINTING. 
 
 11 
 
 sliade, as its parts stand less opposed to the direct 
 rays of light, which produces a variety of tones, 
 equal to the angles of the rays, and are separately 
 to be considered from shadow. The direction from 
 whence the light is received, all the points to which 
 it can be shifted, or (which is the same) the objects 
 transposed, or interfered with, by the intrusion of 
 other light ; the distance from the light, and each 
 gradation, are not the concern of people in general, 
 and are only to be understood by the closest ob- 
 servation and reflection. To understand the in- 
 fluence of light, it is advisable to place some object 
 in a variety of directions and carefully examine 
 every change ; to place the same object under the 
 influence of artificial light ; to lessen the power of 
 the light in both cases, by introducing a light from 
 an opposite or lateral direction ; or to place a white 
 sheet near the object to witness the effect of reflected 
 light. One examination may lead to a simultaneous 
 consideration on the current diversity of light. 
 
 After the study of form, the due examination of 
 light (which necessarily introduces shade), colour 
 naturally follows. Blue, red, and yellow, are the 
 primitive colours, to which may be added black 
 
12 THE ART OF MINIATURE PAINTING.' 
 
 and white : green, brown, orange, purple, &c., are 
 compounds of the primitive colours ; objects simply 
 then, are blue, red, yellow, black, white, or their 
 compounds. As form is perfected to the vision by 
 light and shade, it is dignified by colour and 
 diversified by reflection. It is pleasing to study 
 form, light, and colour disjunctively, under all 
 the considerations of adventitious circumstances 
 attendant on nature or art, and indispensable to 
 every artist, who endeavours to reflect nature 
 with truth. 
 
 The foregoing observations having been duly 
 weighed, and the mind prepared for representation, 
 I consider it essential to give a system for the 
 manual operation of drawing. A particular mode 
 of action has not, to my knowledge, been laid down 
 or even thought necessary, while, I have every 
 reason to believe, many may attribute their non- 
 success in a great measure to the want of system in 
 handling. It is nothing new to hear of persons 
 whose theory far exceeds their practice, nor is it 
 disputed that it is necessary for musical professors, 
 8cc. to have rules for action, handling, fingering, &c. 
 If the hand is not rendered as free as the mind it 
 
THE ART OF MINIATURE PAINTING. 13- 
 
 serves, genius must labour under restraint. The 
 hand having to guide an instrument, particular 
 attention should be paid to the first introduction, 
 which is usually the pen — which I find necessary to 
 describe. The mode of holding the pen has hithertof 
 been dependant on the caprice or particular genius 
 of the master, rather than on demonstrative rule. 
 Accident only has produced the free penmen, most 
 of whom are unconscious of the cause of their ex- 
 cellence, which, in fact, has resulted from their 
 inadvertently adopting a good method of holding 
 the pen. The late Mr. Langford, whose writing 
 was pre-eminent, laid down in his Beauties of 
 Penmanship,” that the true slope of writing ^vas 
 54 deg., but assigned no reason. Having noticed- 
 the angle of other eminent penmen to differ, I was 
 induced to endeavour to demonstrate it, and after 
 considerable patience, I discovered, that if the in- 
 dividual sits directly before the paper — rests half 
 the arm, from the wrist to the elbow, on the table — 
 rests on the points of the third and little finger, the 
 middle finger straight, the thumb embracing the 
 pen near the nail — the pen passing through the 
 middle of the first joint of the fore-finger, and the 
 
14 
 
 THE ART OF MINIATURE PAINTING. 
 
 wrist kept an inch off the table — on extending the 
 pen and drawing it to the point of radius, the down 
 stroke produced an angle of 54 deg. ; the angle of 
 the pen, before extended from the point of radius, 
 65 deg. ; this demonstrated that 54 deg. is the 
 true slope of writing, possessing many advantages 
 (Plate 7, fig. 1). The palm of the hand resting on 
 the table impedes, the fore arm has to be moved, 
 the third and little finger obstruct the other fingers 
 and thumb, which should work as the extended leg 
 of the compasses ; the pen passing otherwise than 
 through the middle joint of the finger, produces 
 acuteness or perpendicularity, and an unequal 
 action on the flexible nibs, both of which ought to 
 act alike. By not keeping up the wrist, the hand 
 often falls off laterally, inclines the pen on the 
 right nib, produces an acute slope and monotonous 
 angularity ; nibs which are cut unequal to ac- 
 commodate this position cannot be governed. The 
 middle finger if bent, or laid under the pen, and 
 many other defects, which a little observation will 
 point out, plainly prove that agreeable and elegant 
 penmanship depends on position of hand, and that 
 that which is capable of demonstration will hold 
 
THE ART OF MINIATURE PAINTING. 
 
 15 
 
 good. Popular phraseology properly designates 
 the cause of bad writing by the constantly used 
 epithets — crainpt, stiff, awkward, heavy, scratchy, 
 feeble, &c. &c. 
 
 Epithets on this, as well as every other art or 
 science, have a reference to physical action, spring 
 spontaneously in society, and their universal and 
 critical application confirms them. 
 
 Setting in front of the paper saves the painful 
 and injurious twist, which setting with the left hip 
 towards the table produces, and by this new me- 
 thod the writing will be horizontally straight, and 
 supercedes the necessity of lines. A moderately 
 soft pen should be introduced, that early the hand 
 may be made susceptible of lightness of touch, 
 giving tenderness to the fine strokes, grace in the 
 turns, and firmness in the down strokes. 
 
 These suggestions on holding the pen may be 
 considered extraneous in a treatise on drawing, till 
 
 it is remembered that the pen is first employed to 
 decipher those symbols which are to be the medium 
 of other manual acquirements, that on proper 
 tuition depends the free use, and that at an early 
 age the sphere of the mind is ready for the first 
 
16 THE ATIT OF MINIATURE PAINTING.' 
 
 impression, around' which every future contrast 
 must be placed, and that the more exact, elegant, 
 and systematic the first section is stamped, the more 
 perfect must be the whole. The first employment 
 of the hand should lay the foundation for auto- 
 graphic taste. Youth, taught by demonstrative 
 rule to be precise, to form parallel letters to a 
 given angle, founded on the construction of the 
 hand, equidistance, beautiful ovality in the curved 
 letters, the graceful serpentine in uniting them, 
 delicacy in the fine and firmness in the thicker 
 strokes, have then reason and rule on which to form 
 their first and generative judgment. 
 
 The liberty which is given to the fingers, and 
 the ease with which the pen may be handled, is 
 sufficient to invite the adoption, saying nothing of 
 its mathematical precision, but as most persons 
 apply the wrist, some difficulty may be experienced 
 in adopting a method so opposite to their practice. 
 By way of obviating this inconvenience, a soft 
 cushion, tied round the wrist, will keep the hand 
 right, and remove any inconvenience, till habit no 
 longer requires it; it is well to adopt this course 
 with youth. 
 
THE ART OF MINIATURE PAINTING. 17 
 
 The only objection I ever had made to this 
 system was, that every one writing well, the pos- 
 sibility of detecting forgery would be done away ; 
 to which may fairly be answered, that although 
 most persons would write better, there would still 
 be distinctions, from difference of capacity ; if 
 there should arise a prevailing similarity, the auto- 
 graphs of individuals would have a peculiarity 
 which would render forgery equally ready to detect 
 as at present. 
 
 The pencil being the second instrument the hand 
 has to guide, pupils find but little difficulty in 
 using it if accustomed to the proper use of the pen. 
 The sensibility, from proper initiation, soon pro- 
 vides for the difference between the flexibility of 
 the pen and the resistance of the pencil ; the 
 master has but little to do to gain the description of 
 touch required, is spared the mortification of futile 
 endeavours, and rapidly leads the delighted genius 
 to the necessary mental study. As in writing, the 
 pupil should sit before his drawing, the pencil 
 should be held as the pen, the paper should not 
 be turned to accommodate the hand, which is not 
 required if the pencil be systematically handled. 
 
18 
 
 THE ART OF MINIATURE PAINTING. 
 
 As a precise and intuitive method, I lay down 
 as a rule for the practice of pencil drawing, which 
 is the ordinary instrument commenced, with in 
 this country, that sitting as I have described, the 
 dexter sloping lines be made with the pencil ac- 
 cording to the mode of holding the pen ; sinister 
 sloping lines, to carry the arm farther from the 
 body, the wrist elevated, resting on the third and 
 little finger, to draw towards the body ; for per- 
 pendicular lines, to raise the pencil till it is nearly 
 perpendicular, and passes the second joint of the 
 fore-finger ; in making curves, to use the same 
 action ; for horizontals, to rest on the knuckle of 
 the little finger, which flattens the hand, and draws 
 the point of the pencil after the hand from left to 
 right. My reason for adopting this principle, will 
 be seen by the following explanation : — Holding 
 the pencil perpendicular for perpendicular and 
 curved forms, and horizontal or sloping for hori- 
 zontal, is serviceable in itself, merely in refer- 
 ence to making a pencil drawing, according to 
 the aptitude of the hand, and making the hand 
 familiar to the natural method of using the brush, 
 to which the practice of the pencil leads. Using 
 
THE ART OF MINIATURE PAINTING. 19 
 
 the camel-hair pencil in the various modifications of 
 lines (to make them agreeably to the will) it must 
 be held perpendicular for perpendicular lines, so 
 also for curves, and the point must be drawn after 
 the hand in horizontals, &c. Consistency in the 
 methods, I trust, is at once seen, and perhaps will 
 explain a surprise often expressed, that some cannot 
 communicate, although they can perform, such 
 persons never having perceived, that their skill 
 depended on a lucky, though unconscious adoption 
 of method ; in my practice, when I have found 
 pupils inattentive to my method of holding the 
 pencil, to make the rule familiar, and give the hand 
 freedom, I have made them draw with the camel- 
 hair pencil in seppia, which has invariably been 
 attended with success, and improved their drawing. 
 This resort, besides establishing the principle, has 
 done much to fix the attention ; not having the 
 power to rub out, they examine carefully the form 
 or copy before they attempt the imitation, and 
 are therefore the better acquainted with the pe- 
 culiarities, which is decidedly advantageous to the 
 student. To perceive the method and process of 
 the archetype is the direct road to improvement. 
 
20 
 
 -THE ART OF MINIATURE PAINTING'. 
 
 The appearances of pencil under different actions 
 are very manifest. If a free pencil (b) is used, 
 when it is held as inclined to the paper as possible 
 it is pale or mealy ; on every increase of the angle 
 towards the perpendicular, it increases in colour, 
 and loses its granulated cast till it appears crisp, 
 sharp, and black ; these appearances, depending on 
 position, are valuable to know in imitation, to effect 
 our design, and to save useless labour. Those who 
 may commence on these ideas, or those who have 
 not adequately practised drawing, would do well to 
 habit themselves to make perpendiculars, curves, 
 serpentine forms, and horizontals with facility, 
 under every modification of strength, till, without 
 looking at the paper, they may be perfectly sensible 
 of the strength of touch. 
 
 To the draftsman geometry is indispensable, to 
 give a just idea of the diversity of form, and a true 
 conception of combined intricacy interwoven in 
 structures ; but as the study may occupy more 
 time than most persons can devote, I have here 
 thought it necessary to adapt so much of it to this 
 M^ork as will serve to assist the student in forming a 
 strict judgment on every form that may be pre- 
 
THE ART OF MINIATURE PAINTING. 
 
 21 
 
 sented to him. Those whom energy shall crown 
 with success on this course, will readily go further 
 into geometry, perspective, &c,, whether profes- 
 sional or actuated by the love of the art. 
 
 It is considered, I believe, universally, that the 
 art of taking a likeness is not to be taught, and that 
 therefore it is intuitive ; let any one who has not 
 apparently such a genius, pursue indefatigably the 
 study of dimensions, their comparative exactity or 
 difference, the mathematical contents of every form, 
 the knowledge of superficies, assisted by a de- 
 monstrative manual practice, and I have not the 
 least doubt, such person would find he had gained, 
 by restrictive method, and much practice, the 
 ability of a genius. Thus a mind held to one pur- 
 suit gains a full knowledge ; a genius is a voluntary 
 selector of one particular pursuit, and as the full 
 acquirement of any one thing requires so much 
 strictness and time, an universal genius is not to be 
 found. 
 
 The following definitions and problems will as- 
 sist those that select the art as a pursuit, without 
 consulting geometrical works, and if copied, till 
 
22 
 
 THE ART OF MINIATURE PAINTING. 
 
 thoroughly understood, will promote the proper 
 ideas for imitation : — 
 
 A point is that which has position, but no mag- 
 nitude. (Plate 3, fig. 1.) 
 
 A line, is length without thickness. (Plate 3, 
 fig. 2 .) 
 
 Straight lines are geometrically called right lines. 
 
 Lines are either parallel, oblique, perpendicular, 
 or tangential. Lines are either right or curved, 
 or mixed of the two. (Plate 3, figs. 5, 6, 7.) 
 
 Parallel lines are always the same distance 
 apart at each extreme, whether straight or curved. 
 (Plate 3, fig. 8.) 
 
 Oblique lines, if continued till they meet on the 
 side of the least distance, produce an angle. (Plate 
 3, fig. 9.) 
 
 A perpendicular line inclines not more on one 
 side than on the other, the angles on each side 
 being equal, and are called right angles. (Plate 3, 
 fig. 10.) 
 
 A right line, or curve, is tangential, or a tangent 
 to a circle when it touches, without cutting it. 
 (Plate 3, fig. 11.) 
 
THE ART OF MINIATURE PAINTING. 
 
 S3 
 
 Angles. An acute angle is less than a right 
 angle. (Plate 3, fig. IS.) 
 
 An obtuse angle is greater than a right angle. 
 (Plate 3, fig. 13.) 
 
 An oblique angle is greater or less than a right 
 angle. 
 
 A right angle contains 90 deg. 
 
 A diagonal line is a right line joining two opposite 
 angles. (Plate 3 , fig. 14.) 
 
 Superficies are either plane or curved, vulgarly 
 called flat or round. 
 
 Plane figures are bounded either by right lines 
 or curves. 
 
 Plane figures that are bounded by right lines, 
 have names according to the number of their sides, 
 or of their angles, for they have as many sides as 
 angles, the least number being three, and is called 
 a triangle. 
 
 A square has four sides and four angles. (Plate 
 3, fig. 15.) 
 
 A pentagon is a polygon of five sides ; a hexa- 
 gon hath six sides ; a heptagon seven ; an octagon 
 eight ; a nonagon nine ; a decagon ten, &c. &c. 
 These various superficies are called regular when 
 
24 
 
 THE ART OF MINIATURE PAINTING. 
 
 all the sides are equal, and irregular figures when 
 the sides differ in length. 
 
 A circle is a plane figure bounded by a curve 
 line, called the circumference, which is every where 
 equidistant from a certain point within, called the 
 centre. 
 
 The circumference of every circle is supposed to 
 be divided into three hundred and sixty equal 
 parts called degrees, and each degree into 60 
 minutes, &c. Hence a semi-circle contains 180 
 deg., and a quadrant, or quarter of a circle, 90 
 degrees. 
 
 The radius of a circle is a right line drawn from 
 the centre to the circumference, (a b, plate 8.) 
 
 The diameter is a right line drawn through 
 the centre, and terminating in the circumference on 
 both sides. 
 
 An arc of a circle is any part of the circum- 
 ference. (Plate 3, fig. 16.) 
 
 A chord is a right line joining the extremities of 
 an arc. (Plate 3, fig. 16.) 
 
 A segment is any part of a circle bounded by an 
 arc and its chord. (Plate 3, fig. 16.) 
 
 The height, or altitude of a figure, is a per- 
 
THE ART OF MINIATURE PAINTINGo 
 
 25 
 
 pendicular let fall from an angle, or its vertex 
 to the opposite side, called the base. (Plate 3 , 
 
 fig. 17 .) 
 
 When an angle is denoted by three letters, that 
 which stands at the angular point is read in the 
 middle. (Plate 3, fig. 18.) 
 
 The measure of a right-lined angle is the arc of 
 any circle contained between the two lines which 
 form the angle, the angular point being the centre, 
 and it is estimated by the number of degrees in that 
 arc. (Plate 3, fig. 19.) 
 
 A right-lined figure is inscribed in a circle when 
 all the angular points of the figure are in the cir- 
 cumference of the circle. (Plate 3, fig. 20.) 
 
 A right-lined figure circumscribes a circle, or the 
 circle is inscribed in it, when all the sides touch the 
 circumference. (Plate 3, fig. 21.) 
 
 Similar figures are those that have all the angles, 
 or all the diameters, equal the one to the other. 
 
 A regular solid figure has equal length, breadth, 
 and thickness. (Plate 3, fig. 4.) 
 
 Circular solids, or superficies, which are not 
 strictly round, partake of ovality, and are sometimes 
 called elliptical. 
 
 c 
 
2G THE ART OF MINIATURE PAINTING. 
 
 To render the study of these preliminary 
 definitions practically serviceable to the art, it will 
 be necessary for those, who are not already ac- 
 quainted with the scale, to j^ractice the scale of 
 chords ; viz . — take a pair of compasses, with the 
 pencil substituted for one of the legs, set the steel 
 point of the other leg on the commencement of the 
 scale of chords, and extend the pencil point exactly 
 to where you see 60 marked on it ; with this length 
 as a radius, describe a circle ; rule a right or 
 straight line through tlie centre, then extend the 
 compasses to 90, as marked on the scale ; set the 
 steel point on the circumference, where the line, as a 
 diameter, cuts it, and mark with the pencil point 
 the precise length of the 90 deg. on the circle ; 
 then draw a line from this spot through the centre 
 (perpendicular to the diameter) to the opposite side 
 of the circumference, and it will divide the circle 
 into four equal parts, each part containing 90 deg. 
 
 It must be remarked, that the size of the circle 
 makes no difference to the number of degrees 
 (Plate 8, fig. 1), three hundred and sixty being 
 the division fixed to calculate on, and the radii 
 equally dividing small or large circles ; which also 
 
THE ART OF MINIATURE PAINTING. 
 
 21 
 
 will explain, that a right angle contains 90 deg. — 
 as two diameters, or right lines, drawn the one 
 perpendicular to the other, cut the circumference, 
 or 360 deg., into four equal parts of 90 deg. each. 
 
 On scales, contained in cases of mathematical 
 instruments, there is set down a scale of chords 
 (Plate 8, fig. 2 ), marked Cho. or c, from 1 to 90 
 deg., by divisions of 10 deg., each decreasing in 
 length, which are formed by dividing the quarter 
 of any circumference into nine equal parts, and 
 drawing a straight line from the beginning to each 
 of the nine divisions ; the measure of each of those 
 lines are set down, which forms the scale of chords 
 (Plate 8, fig. 3) ; 60 deg. being taken as a radius to 
 describe the circle, and the 90 deg. on the scale will 
 be the quarter of it. The larger or smaller the 
 quarter circle, the larger or smaller will be the 
 scale of chords, and in setting them out for practical 
 use, it is necessary to be very exact. 
 
 Having proceeded thus far, it will be necessary 
 to practise the following problems, describing the 
 circles by the radius 60, from the scale where a 
 circumference, or an arc, is required. 
 
 c 2 
 
28 
 
 THE ART OF MINIATURE PAINTING. 
 
 Problem I. Plate IV. 
 
 To bisect, or divide, a given line a b into two 
 equal parts. 
 
 From the two extremes (as centres) a and b, with 
 the radius sixty, describe arcs of circles, intersecting 
 each other in c and n ; draw the line c n, which 
 will bisect the given line a b in the point e. 
 
 Problem II. Plate IV. 
 
 To bisect a given angle bag. 
 
 From the centre a, with the radius, describe an 
 arc, cutting off the equal lines a d, a e ; and from 
 the two centres n e, with the same radius, describe 
 arcs, intersecting in f, then draw a f, which wil. 
 bisect the angle a as required. 
 
 Problem III. Plate IV. 
 
 At a given point c, in a given line a b, to erect a 
 perpendicular. 
 
 From the given point c, cut off any equal parts, 
 c D, c e, and from those points n and e, as centres, 
 with any one radius, describe arcs, intersecting in r. 
 
THE ART OF MINIATURE PAINTING. 29 
 
 then join c f, which will be the perpendicular re- 
 quired. 
 
 Problem III.^ Plate IV. 
 
 Or, when the given point c is near the end of the 
 line. 
 
 From a point d, assumed above the line, as 
 a centre, through the given point c, describe a 
 circle, cutting the given line at e, and through e 
 and the centre n, draw the diameter e d f, then 
 join c F, which will be the perpendicular. 
 
 Problem IV. Plate IV. 
 
 From a given point a, to let Jail a perpendicular 
 on a given line b c. 
 
 From the point a as a centre, with any con- 
 venient radius describe an arc, cutting the given 
 line at the two points n and e ; and from the two 
 centres d and e, with any radius, describe two arcs, 
 intersecting at f, then draw a g f, which will be 
 perpendicular to b c, as required. 
 
30 THE x\RT OF MINIATURE PAINTING. 
 
 Problem IV.* Plate IV. 
 
 Otherwise, when the given point is near at the end 
 of the line. 
 
 From any point n, in the given line b c, describe 
 the arc of a circle, through the given point a, 
 cutting B c in E, and from the centre e, with the 
 radius e a, describe another arc, cutting the former 
 in F, then draw a g f, which will be perpendicular 
 to B c, as required. 
 
 Problem V. Plate IV. 
 
 At a point a, in a given line a b, to make an angle, 
 equal to a given angle c. 
 
 From the centres a and c, with any one radius, 
 describe the arcs n e, f g, then, with the centre r, 
 and radius d e, describe an arc, cutting g r in g ; 
 through G, draw the line a g, and it will form the 
 angle required. 
 
 Problem VI. Plate IV. 
 
 Through a given point a, to draw a line parallel 
 to a given line b c. 
 
 F rom the point a, draw the line a n to any point 
 
THE ART OF MINIATURE PAINTING. 
 
 31 
 
 in the line b c ; then draw the line e a r, making 
 the angle at a equal to the angle at d (as Pro- 
 blem V.), so shall E r be parallel to b c as re- 
 quired. 
 
 Problem VII. Plate IV. 
 
 To divide any line a b, into any proposed number 
 of equal parts. 
 
 Draw any other line, a c, forming an angle with 
 the line a b, on which set off as many equal parts 
 A o, D E, E F, F c, as the line a b is to be divided 
 into, join b c, parallel to which, draw the other 
 lines, F G, E H, D I, which will divide a b in the 
 manner required. ' 
 
 Problem VIII. Plate IV. 
 
 To find a third proportional to two given lines 
 A B, A c. 
 
 Place the two lines a b and a c, forming any 
 angle at a, and in a b, take also a d, equal to a c, 
 join B c, and draw n e parallel to it, so will a e be 
 the third proportional sought. 
 
32 
 
 THE ART OF MINIATURE PAINTING. 
 
 Problem IX. Plate IV. 
 
 To find a fourth proportional to three given lines 
 
 A B, A Cf A D. 
 
 Place the lines a b, a c, making any angle at a ; 
 also place a n on a b, join b c, and parallel to it, 
 draw D E, so shall a e be the fourth proportional as 
 required. 
 
 Problem X. Plate IV. 
 
 To find a mean proportional between two given 
 lines A B, B c. 
 
 Place A B, B c, joined in one straight line, which 
 liisect in the point o ; then, with the centre o, and 
 radius o a or o c, describe the semicircle a n c, to 
 meet which, erect the perpendicular b d, and it wil 
 be the proportional sought between a b and b c. 
 
 Problem XI. Plate IV. 
 
 To find the centre of a circle. 
 
 Draw any chord a b, bisect it perpendicular!)- 
 with the line c d, which will be a diameter, there- 
 fore, c D bisected in o, will give the centre re- 
 niiired. 
 
THE ART OF MINIATURE PAINTING. 33 
 
 Problem XII. Plate IV. 
 
 To describe the cir currier ence a circle through 
 
 three given points a b c. 
 
 From the middle point b, draw chords b a, b (’, 
 to the two other points, and bisect these chords 
 perpendicularly by lines meeting in o, which will 
 be the centre ; then from the centre o, at the dis- 
 tance of any one of the points, as o a, describe a 
 circle, and it will pass through the two other points 
 B c as required. 
 
 Problem XIII. Plate IV. 
 
 To draw a tangent to a given circle through a 
 given point a. 
 
 When the given point a is in the circumference 
 of the circle, join a and the centre o, perpendicular 
 to which draw bag, and it will be the tangent. 
 
 But, when the given point a is out of the circle, 
 ■draw A o to the centre o, on which, as a diameter, 
 describe a semicircle, cutting the circumference in 
 D, through which draw b a n c, which will be the 
 tangent required, (Problem XIII.^, Plate 5.) 
 
 c 5 
 
54; THE ART OF MINIATURE PAINTING. 
 
 Problem XIV. Plate V. 
 
 Ujoon a given line a b to describe a segment of a 
 circle^ that may contain a given angle c. 
 
 At the ends of the given line make angles n a b, 
 DBA, each equal to the given angle c, then draw 
 A E, B E, perpendicular to a d, b d, and with the 
 centre e, and radius e a or e b, describe a circle, 
 so shall A F B be the segment required, as any 
 angle F made in it, will be equal to the given 
 angle c. 
 
 Problem XV. Plate V. 
 
 To cut off a segment from a given circle^ that shall 
 contain a given angle c. 
 
 Draw any tangent a b to the given circle, and a 
 chord A D, to make the angle dab equal to the 
 given angle c, then d e a will be the segment re- 
 quired, any angle e made in it being equal to the 
 given angle c. 
 
THE ART OF MINIATURE PAINTING. 
 
 35 
 
 Problem XVI. Plate V. 
 
 To make an equilateral triangle on a given line a e. 
 
 From the centres a and b, with the distance a b, 
 describe arcs, intersecting in c, draw a c, e c, and 
 ABC will be the equilateral triangle. 
 
 Problem XVII. Plate V. 
 
 To make a triangle with three given lines 
 
 A B, A c, B c. 
 
 With the centre a, and distance a c, describe 
 an arc. With the centre b, and distance b c, describe 
 another arc, cutting the former in c, draw a c, b c, 
 and ABC will be the triangle required. 
 
 Problem XVIII. Plate V. 
 
 To make a square on a given line a b. 
 
 Raise ad, b c,each perpendicular, and equal to a b, 
 and join d c, so shall a b c d be the square sought. 
 
 Problem XIX. Plate V. 
 
 To make a rectangle or parallelogram of a given 
 length and breadth^ a b, b c. 
 
 Erect AD, B c, perpendicular to a b, and each 
 equal to b c, then join d c. 
 
36 
 
 THE ART OF MINIATURE RAINTINO. 
 
 Problem XX. Plate V. 
 
 To inscribe a circle in a given triangle A b c. 
 
 Bisect the angles at a and b (as Problem II.), with 
 the lines a r, b g, where they intersect at d with 
 tlie radius d e, describe the circle required. 
 
 Problem XXI. Plate V. 
 
 To circumscribe a circle about a triangle a b c. 
 
 Bisect any two sides with two perpendiculars, 
 D e, d f, d g, and where they intersect at n 
 will be the centre, then with d b describe the 
 circle. 
 
 Problem XXII. Plate V. 
 
 To inscribe an equilateral triangle in a given 
 circle. 
 
 Through the centre c, draw any diameter a b ; 
 from the point b as a centre, with the radius b c, of 
 the given circle, describe an arc d c e ; join a u, 
 A E, and A D E is the equilateral triangle sought. 
 
 Problem XXIII. Plate V. 
 
 To inscribe a square in a given circle. 
 
 Draw two diameters a c, b d, crossing at right 
 
THE AET OF MINIATURE PAINTING. 
 
 37 
 
 angles in the centre e (that is, perpendicularly the 
 one to the other), then join the four extremities 
 A B c D with right lines, and these will form the in- 
 scribed square, a b c d. 
 
 Problem XXIV. Plate V. 
 
 To circumscribe a square about a circle. 
 
 Draw two diameters a c, b d, crossing at right 
 angles in the centre e, then, through the four ex- 
 tremities of them, draw’ f g, i h, parallel to a c 
 and FI, G H, parallel to b d, and they will form the 
 square f g h i. 
 
 Problem XXV. Plate V. 
 
 Or, to inscribe a circle in a given square. 
 
 Bisect the tw’o sides f g, f i, in the points a and b, 
 then, through these two points, draw^ a c parallel to 
 f G or I H, and b d parallel to f i or g h, then the 
 intersection e w ill be the centre, and e a the radius 
 of the inscribed circle. 
 
 Problem XXVI. Plate V. 
 
 To circumscribe a circle about a given square. 
 
 Draw the diagonals a c, b d, and their inter- 
 section E w’ill be the centre. 
 
38 
 
 THE ART OF MINIATURE PAINTING. 
 
 Problem XXVII. Plate V. 
 
 To cut a line in extreme omd mean proportion. 
 Let A B be the given line to be divided in extreme 
 and mean ratio, that is, so as that the whole line 
 may be to the greater part, as the greater part is to 
 the lesser part. 
 
 Draw B c perpendicular to a b and equal to half 
 A B, join A c, and with the centre c, and distance 
 c B, describe the circle c b n, then with the centre a, 
 and distance a n, describe the arc d e ; so shall a b 
 be divided in e in extreme and mean ratio, that is, 
 a B is to A E as A E is to E B. 
 
 Problem XXVIII. Plate V. 
 
 To inscribe an isosceles triangle in a given circle^ 
 that shall have each of the angles at the base 
 double the angle at the vertex. 
 
 Draw any diameter a b of the given circle, and 
 divide the radius c b in the point n in extreme and 
 mean ratio by the last problem ; from the point b 
 apply the chords b e, b f, each equal to c n, then 
 join A e, A F, e F, and a e f will be the triangle re- 
 quired. For through the three points c n f, de- 
 scribe the circle c d f, and draw the lines c f, d f. 
 
THE ART OF MINIATURE PAINTING. 39 
 
 Problem XXIX. Plate VI. 
 
 To inscribe a regular pentagon in a given circle. 
 
 Inscribe the isosceles triangles a b c, having each 
 of the angles a b c, a c b, double the angle b a c. 
 
 Then bisect the arcs a n b, a e c, in the points 
 D e, and draw the chords ad, d b, a e, eg. So 
 shall A D B c E be the inscribed equilateral pentagon 
 required. 
 
 Problem XXX. Plate VI. 
 
 To inscribe a regular hexagon in a given circle. 
 
 Apply the radius (60 deg.) of the given circle 
 A o. As chords a b, b c, c d, d e, e f, f a, 
 which will describe the regular hexagon. 
 
 Problem XXXI. Plate VI. 
 
 To describe a regular pentagon or hexagon about 
 a given circle. 
 
 In the circle, inscribe a regular polygon of the 
 same name or number of sides, as a b c d e, by one 
 of the foregoing problems. Then to all the angu- 
 lar points of it draw tangents (by Problem 
 XIII. Plate 4.) and these will form the circum- 
 scribing polygon required. 
 
40 
 
 THE ART OF MINIATURE PAINTING. 
 
 Problem XXXII. Plate VI. 
 
 To inscribe a circle in a regular polygon. 
 
 Bisect any two sides of the polygon, by the per- 
 pendicular G o, F o, and their intersection o will be 
 the centre of the inscribed circle, and o g, or o f, 
 will be the radius. 
 
 Problem XXXIII. Plate VI. 
 
 Bisect any two of the angles c and n with the 
 lines c o, n o, then their intersection o will be the 
 centre of the circumscribing circle, and o c, or on, 
 the radius. 
 
 Problem XXXIV. Plate VI. 
 
 To make a square equal to the sum of two given 
 squares. 
 
 Let A B and a c be the sides of the two given 
 squares. Draw two indefinite lines a p, a a, at 
 right angles to each other, in which, place a b, a c, 
 of the given squares, join b c ; then a square de- 
 scribed on B c will be equal to the sum of the two 
 squares described on a b, a c. 
 
THE ART OF MINIATURE PAINTING. 
 
 41 
 
 Problem XXXV. Plate VI. 
 
 T 0 make a square equal to the difference of two 
 given squares. 
 
 Let A B and a c, taken in the same straight line, 
 be equal to the sides of the two given squares. 
 From the centre a, with the distance a b, describe 
 a circle, and make c d perpendicular to a b, meet- 
 ing the circumference in d. So shall a square de- 
 scribed on c D be equal to a d^, a c^, or a b^ a c^, 
 as required. 
 
 Problem XXXVI. Plate VI. 
 
 To make a triangle equal to a given quadrilateral 
 A B c D. 
 
 Draw the diagonal a c, and parallel to it be 
 meeting b a, produced at e, and join c e ; then will 
 the triangle ceb be equal to the given quadrilateral 
 A B c D. For the two triangles, a c e, a c n, being 
 on the same base a c, and between the same paral- 
 lels AC, D E, are equal; therefore if a b c be added 
 to each, b c e will be equal to a b c d. 
 
42 THE ART OF MINIATURE PAINTING. 
 
 Problem XXXVII. Plate VI. 
 
 To make a triangle equal to a given pentagon^ 
 abode. 
 
 Draw D A and d b, and also e f, c g, parallel to 
 them, meeting a b, produced at f and g ; then 
 draw D F and d g ; so shall the triangle d f g be 
 equal to the given pentagon abode. 
 
 Problem XXXVIII. Plate VI. 
 
 To make a rectangle equal to a given triangle, 
 
 ABO. 
 
 Bisect the base a b in d ; then raise d e and 
 B F perpendicular to a b, and meeting o f, parallel 
 to A B at E and F. So shall d f be the rectangle 
 equal to the given triangle a B o. 
 
 Problem XXXIX. Plate VI. 
 
 To make a square equal to a given rectangle, 
 
 A B 0 D. 
 
 Produce one side, a b, till b e be equal to the 
 other side, bo. On a e, as a diameter, describe a 
 circle, meeting b o, produced at F ; then will B f 
 
THE ART OF MINIATURE PAINTING. 
 
 43 
 
 be the side of the square b f g h, equal to the given 
 rectangle b d, as required. 
 
 Having studied the definitions and problems as 
 here laid down, to give them practical utility in the 
 art, the measurement of angles and circumferences 
 must be acquired. 
 
 If a right line stands upon another right line, 
 and makes an angle with it, the two angles taken 
 together, will be two right angles. 
 
 Let the line c n meet a b in n ; — on d erect the 
 perpendicular n e. With the chord of 60 deg. in 
 your compasses, with one foot in d describe the arc 
 AEB which will be a semicircle or 180 deg., of 
 which A B is the diameter, and the angles a n e and 
 B D E are quadrants, each 90 deg., because e n is 
 perpendicular to a b ; — now the angle b n c is less 
 than 90 deg., (say 50 deg.), and if subtracted from 
 AEB (180 deg.) will leave 130 deg.; that is, the 
 angle a i) c. Or if the angle b n c (50 deg.) be 
 subtracted from the right angle b n e (90 deg.) it 
 will leave cue (40 deg.) (Plate 3, fig. 22 .) 
 
 If two right lines cross each other, the angles 
 
44 THE ART OF MINIATURE PAINTING. 
 
 which are opposite are equal one to the other. 
 (Plate 3, fig. 23.) 
 
 If a riglit line e f cross two parallel lines a b, 
 c D, the outward angles will be each equal to the 
 inward and opposite ones. (Plate 3, fig. 24.) 
 
 In the triangle (Plate 3, fig. 25,) a g b, draw c i) 
 parallel to a b through the point g, on which point, 
 with the chord of 60 deg., describe a circle ; and 
 with the same radius on a and b describe arcs ; now 
 by the last proposition the angle a g b will be equal 
 to F G E, and the angle dbg will be equal to c g e, 
 and the angle G c a is equal to the angle d g f. 
 Now since the opposite angles are equal, the angles 
 D G F, F G E, and E G c, together make a semicircle, 
 or 180 deg. ; therefore it is plain, that the three 
 angles of a plane triangle, whether right, acute, 
 or obtuse, together are ec^ual to two right angles, 
 or 180 deg. : hence it follows, that as the right an- 
 gle (fig. 26.) B A G is 90 deg., the two acute angles 
 A B g and A G B taken together can be no more than 
 90 deg. ; therefore if one of the acute angles in a 
 right angled triangle be given (k e. known) the other 
 is found by subtracting the given angle from 90 deg. 
 as every right angled triangle contains 90 deg. 
 
THE ART OF MINIATURE PAINTING. 
 
 45 
 
 And in any oblique angled triangle, if one of 
 the angles be given, the sum of the other two is 
 found by subtracting the known angle from 180 
 deg. ; or if two of the angles are given, the third 
 is found by subtracting them from 180 deg. 
 
 In every plane triangle if one of the sides be pro- 
 duced, the outward angle will be equal to the two 
 inward opposite angles. (Prob. XXVII. Plate 3.) 
 
 Let A B c be the triangle, and c u the side pro- 
 duced ; with the chord of 60 deg. describe arcs on 
 A B and c, draw c e parallel to ab, then, by the 
 i third proposition, the angle ace must be equal to 
 I the angle b a c, and the angle d c e equal to c b a, 
 — therefore the outward angle d c a is equal to the 
 two iuAvard opposite angles a c b and b a c, which 
 may be easily proved by measuring the angles by 
 the line of chords on the plane scale. 
 
 In plane and oblique trigonometry these preli- 
 minaries are followed by axioms and cases, which 
 treat of sines, secants, tangents, the measurements 
 of lines, Sic., and may be consulted by those who 
 are desirous of further mathematical knowledge, 
 but the limits of this treatise will not allow the 
 whole to be introduced. 
 
40 THE ART OF MINIATURE PAINTING. 
 
 In plane triangles the sides are in direct pro- 
 portion to the sines of their opposite angles. 
 Example . — In an equilateral triangle, each of the 
 three angles will contain 60 deg., and the sides 
 will he of equal length. In oblique triangles the 
 sines of the angles are in direct proportion to the 
 sides. As angles are measured by arcs of circles, 
 it may be well to recommend the study of the 
 circle, as relates to the measurement of the con- 
 tents of its area, the radius, circumference, &c. 
 by which are found the contents of irregular 
 figures, &c. These portions may be studied from 
 mathematical works, and require only a little appli- 
 cation to become master of. They may not be 
 directly applicable to the arts, but the artist must 
 be able the better to dispose his lines and curves, 
 who has this relative knowledge of the invariable 
 principles which govern forms. 
 
 Those who make drawing a study will in the 
 foregoing problems, &c. find the rudiments of the 
 art, and the means of comprehending the intricacies 
 of design. In the course of tuition, if we speak of 
 angles, curves, degrees, &c. &c. and are not com- 
 prehended, so much time is not only lost, but the 
 
THE ART OF MINIATURE PAINTING. 
 
 47 
 
 misconception may mislead or confuse the ideas. 
 It is, therefore, to give a just idea of the basis of 
 mathematics and the art, that I have introduced 
 it by which alone we can have a right notion of 
 every thing that possesses form — Geometry has an 
 immediate relation to form, motion, &c. ; for it is 
 by the fiction of lines, objects and the course of 
 them are understood and communicated to others ; 
 for instance : — the orbit of the earth is imagined in 
 space and defined by a circle, objects at a distance 
 are received into the vision, and the direction of 
 those objects are pointed out by lines, to represent 
 the visual rays. We imagine the centre of a solid 
 square, or sphere, which is defined by lines. It is 
 to give justness and precision to our ideas, that the 
 definitions and problems are here laid down and 
 enjoined, that by them we may give idea — figure, 
 the forms of nature — accuracy and demonstration. 
 Without this, too much rests on opinion, which it 
 is so natural for every one to hold to, but which 
 dissipates when science is called in as arbiter. 
 
 The human figure has always been the desidera- 
 tum of drawing ; the delineation of it has always 
 
48 THE ART OF MINIATURE PAINTING. 
 
 been prized, and the attainment, in an eminent de- 
 gree, the lot of but few. 
 
 It is usual to direct the student to imagine (par- 
 ticularly on the face) the angle that one feature 
 makes with the other, to impart accuracy to the re- 
 presentation. But as the various parts are not 
 composed of right lines, it is long before the con- 
 ception can be gained. 
 
 As the lines which compose the outline of the fea- 
 tures and figure have a subtile variety of curvature, 
 it is my design first to give a definition of the arcs 
 of circles which compose that variety, and then a few 
 diagrams of the eye, nose, and mouth, and in combi- 
 nation, on the head of the Niobe. (Frontispiece.) 
 
 The principle manifesting itself, it may not be 
 necessary to produce more examples. The arduous 
 pupil will readily adapt it to subjects suited to his 
 genius, and be rewarded by the exercise of the 
 imagination. 
 
 The convolution of circles, I apprehend, may 
 facilitate and lead to a nicer discrimination of sub- 
 tile inflections which are in every figure, and differ 
 in each, which, with the assistance of angles only 
 
THE AET OF MINIATURE PAINTING. 49 
 
 the pupil is apt to neglect, and for the want of 
 some demonstrative guide, never sees them, nor 
 knows the necessity of searching for them. 
 
 Plate 7, fig. 2. — Exhibits a waving line formed 
 by the arcs of convolving circles, by which it will 
 be readily conceived, that the slightest deviation 
 from a right line forms the arc of a circle of a con- 
 siderable radius, and on a ratio of increase of cur- 
 vature there is a proportioned diminution of radius. 
 
 As on the quantity and variety of curvature de- 
 pends the beauty of human perfection, it is of the 
 utmost importance the mind should be acquainted 
 with the radical construction of those lines which 
 are employed to represent it. 
 
 Plate 7, fig. 3. — Represents the diagonal curva- 
 ture of a well-formed eye, the lids of which govern 
 the peculiarities of the collapsing of the upper lid, 
 and the muscular fulness or scantiness of the lower 
 one. 
 
 Plate 7, fig. 4. — Calls the attention to the arcs 
 which compose the intricate curves of the nose. 
 
 Plates 7 and 8, fig. 5. — Describes the closed 
 mouth. This feature having the greatest motion 
 of any of the features, and giving animation to the 
 
 D 
 
50 THE ART OF MINIATURE PAINTING. 
 
 whole countenance, should be examined and re- 
 duced to diagrams, till its infinite changes can be 
 understood. 
 
 Plate 2. — Exhibits the facial line and facial 
 contour of the Niobe by curves. 
 
 Frontispiece. — The full face, by which it will be 
 seen the inner mutual semicircles give the facial 
 contour, which being divided by two horizontal 
 lines into three parts, and perpendicularly into five 
 equal parts, sets the place of the features — on the 
 upper line which divides the third and lowest divi- 
 sion of the face, with the same radius describe the 
 lower circle which passes through the extremities 
 of the eyes, and the pit of the throat ; and at the 
 same distance from the intersecting facial circles on 
 the forehead describe a circle, which gives the con- 
 tour of the cranium. Above the head is the five 
 divisions of the face, the division of the length of 
 the eye into three equal parts for the iris, and the 
 equal third division of the iris to form the pupil, 
 &c. 
 
THE ART OF MINIATURE PAINTING. 5^ 
 
 COLOURS. 
 
 The proper colours to be used in miniature paint- 
 ing are always difficult to be ascertained by be- 
 ginners. There are so many colours made, that 
 the selection often leads to many difficulties. Being 
 unacquainted with the opaque, demi-opaque, semi- 
 transparent, or transparent quality of each, and 
 working them indiscriminately together ; early pro- 
 ductions generally want brilliancy and clearness. 
 
 It will, therefore, be necessary to learn the 
 quality of each colour, that the proper use and 
 compounding of them may be done by calculation, 
 and not by chance. Artists do not confine them- 
 selves to the use of any given colours, but deviate 
 at pleasure, which skill and experience enables 
 them to do. The beginner must be satisfied with 
 using them by rule, till practice has given him 
 a complete command, when he may speculate, 
 agreeably to his genius and style. Many persons 
 
 D 2 
 
52 THE ART OF MINIATURE PAINTING* 
 
 boast they only use three colours, blue, red, and 
 yellow. I consider it pedantic, there being pro- 
 perties in various colours, which cannot be pro- 
 duced by one sort of blue, red, and yellow. Taking 
 every sort of blue, red, and yellow, absorptions and 
 combinations can be produced by them, which can- 
 not be effected by colours compounded of only 
 one of each sort. 
 
 An exclusive and limited selection of colours is 
 like enthusiasm, a sure mark of an illiberal and 
 confined j udgment. 
 
 Indigo. — Is a fine opaque colour. It dilutes 
 and washes freely, compounds agreeably, either 
 with opaque or transparent colours, and is con- 
 sidered durable. When worked over unfriendly 
 colours, it sometimes turns black, but it is not the 
 fault of the colour, if unadulterated, but its un- 
 friendly union ; when this change is perceived, the 
 cause should be ascertained, and avoided on another 
 occasion. 
 
 Prussian Blue. — Is a transparent colour ; jx)s- 
 sesses but little body, and is seldom used in minia- 
 ture painting. Opaque, or demi-opaque, colours 
 overpower it in combination. Gamboge, or equally 
 
THE ART OF MINIATURE PAINTING. 
 
 53 
 
 transparent colours mixed with it, make transparent 
 tints only fit for flower-painting. It is considered 
 to fade. 
 
 Cobalt. — Is a fine opaque colour. It is mealy 
 or chalky, and does not spread freely. Repetitions 
 without caution will disturb the first colour. If 
 used in the flesh it has a bad effect, if the picture 
 be inspected by candle-light, causing a purple 
 muddiness, especially if used in the finishing. It 
 does not mix well with opaque colours ; semi- 
 transparent colours compound best with it. 
 
 Ultramarine. — A very fine opaque blue. 
 When good, it is durable, and, like Cobalt, is 
 mealy, and requires care, as it does not wash well. 
 Compounding it with other colours destroys its 
 brilliancy. It is best worked by itself, and is very 
 useful to reduce redness, by working over that part 
 without gum. If used in compound, it must be 
 with semi-transparent colours, such as Vandyke 
 brown, &c. In fair complexions, and females, it is 
 a preferable colour. 
 
 Verditer. — Is more chalky than Ultramarine, 
 or Cobalt ; may be used to reduce redness, and in 
 draperies. 
 
54 
 
 THE ART OF MINIATURE PAINTING. 
 
 When forming part of a tint, and is floated, it 
 separates, especially from opaque colours like 
 Indian red, &c. These three last-mentioned co- 
 lours require more gum than other colours, on 
 account of their mealy, or chalky property. 
 
 Indian Red. — Is a very fine opaque colour; 
 it compounds with the flesh-tints, works clean, and 
 associates well. It is friendly with blues, reds, or 
 yellows, and may be used to great advantage, both 
 in the flesh and opaque colours. 
 
 Venetian Red. — A fine local flesh tint; it is 
 semi-transparent, partially yellow and red. It 
 washes freely, and compounds with most colours. 
 This colour nearly obviates the use of yellow in the 
 flesh, and forms a part of the commencement, or 
 finish, of the miniature, or both. It is preferable 
 to light-red, on account of its yellowness and 
 general friendly association. 
 
 Madder Lake. — Rather mealy, and a demi- 
 opaque colour ; requires some care in washing, 
 with rather more gum than semi-transparent co- 
 lours. It unites with blues, reds, and yellows, and 
 is a very useful colour in the flesh. It is consi- 
 dered durable. 
 
THE ART OF MINIATURE PAINTING. 
 
 55 
 
 Carmine. — Is a fine bright colour, but little 
 used in the flesh. It works freely, compounds 
 well, but is not considered durable. It is used 
 mostly in back-grounds and draperies. 
 
 Vermillion. — Is an opaque colour, but with 
 gum works freely, uniting with lakes and yellows 
 kindly, but forms a disagreeable tint with blues. 
 It is a colour to be used with caution, and sparingly 
 by beginners, lest it over-power and spoil their 
 work. It is, however, a good colour, used with 
 skill, both for the flesh and for draperies. 
 
 Lakes. — Are chiefly used on draperies. 
 
 Red Lead.— Seldom used, or then only on 
 draperies. 
 
 Indian Yellow. — A fine demi-opaque colour; 
 is very agreeable to use, and compounds with 
 opaque or transparent colours ; is but little used in 
 the flesh, except in tints. It is used for draperies, 
 ornaments, &c. 
 
 Gamboge. — Is seldom, and then sparingly, used 
 in the flesh. Gamboge dissolved in water, the 
 water poured off, and repeated till the gum is per- 
 fectly extracted, leaves a fine opaque yellow for 
 body colours. 
 
56 
 
 THE ART OF MINIATURE PATNTINO. 
 
 Crome and King’s Yellow. — Are used for 
 draperies, &c. only, being opaque. 
 
 Roman Ochre. — An opaque colour, useful iri 
 body colour. 
 
 Madder Brown. — A very fine colour for minia- 
 tures, either for working alone, or in tints. It com- 
 bines with yellows, blues, and reds ; it is semi- 
 transparent, and durable. 
 
 Burnt Sienna. — A fine transparent colour; 
 useful in combinations, hair, or back-grounds, but 
 seldom used in the flesh. 
 
 Seppia. — A semi-transparent free colour for hair, 
 eye-brows, draperies, and compounding a variety 
 of brown tints. Gamboge, Vandyke brown, or 
 burnt sienna, worked with it, or over it, in con- 
 siderable strength, convert it to a jet black, and 
 glazed. 
 
 Intense Brown. — A colour of great body, 
 demi-opaque, and clogs without care; it compounds 
 with the flesh-tints, and draperies. Used alone, 
 it has great richness for powerful strengths of 
 shadow. 
 
 Vandyke Brown. — A clean semi-transparent 
 colour for flesh-tints, and in compounding tints. 
 
THE AllT OF MINIATURE PAINTING. 
 
 57 
 
 It produces a beautiful green tone when worked 
 over parts manifestly too blue. 
 
 Lamp Black. — An opaque colour. When 
 united with other colours, they should not be 
 opaque, unless it be to be used as body-colour ; its 
 looseness requires to be held together by the more 
 gummy or transparent colours. 
 
 Constant White. — Is used only in draperies, 
 body-colour, and visual ray, or spot of light on the 
 eye-balls. It is sometimes introduced on the tip of 
 the nose, but I consider it defective taste ; its 
 opacity ill-according with the transparent colour on 
 the face, the ivory being sufficiently white. 
 
 There are a great number of greens, browns, and 
 other compound colours sold. All that are neces- 
 sary I have enumerated, and will compound the 
 tone of many of those not mentioned. 
 
 tints 
 
 Composed from the above-mentioned colours used 
 in the Fleshy Dr aperies ^ Background^ ^c. 
 
 Indigo, with Indian Red. — Forms a fine 
 opaque pearly colour. With more or less of either 
 
 D 5 
 
58 
 
 THE ART OF MINIATURE PAINTING. 
 
 a variety of tints for the features, back-ground, 
 drapery, &c. When composed with but little wateP, 
 they work as body-colour, and lie remarkably flat. 
 With indigo it does not separate in wash, but it 
 does with the other blues, on account of their 
 transparent and less opaque or heavy quality. 
 
 Indigo with Venetian Red. — A fine grey 
 demi-opaque tint, partially green ; it meets the 
 carnations, yellows, &c. without dirtying them, 
 and forms a useful tint, to combine opposing co- 
 lours, and to finish with. 
 
 Indigo, Venetian Red, and Indian Red. — 
 A fine warm tint, which harmonizes with the two 
 compounds above-mentioned. 
 
 Indigo, Venetian Red, Indian Red, and 
 Madder Lake. — A still warmer tint carries on 
 the gradations of the above shadow-colours, all of 
 which harmonize and form an infinite diversity of 
 tones, clean and agreeable in themselves, and cal- 
 culated to support the other processes - in the 
 painting. 
 
 Indigo, with Madder Lake. — A fine purple, 
 useful by itself, and to restore pearliness where 
 parts have inadvertently sunk in effect. 
 
THE ART OF :^JINIATURE PAINTING. 59 
 
 Indigo, with Madder Brown. — As pearly a 
 tone as can be desired ; useful in all complexions, 
 linen, draperies, and as a neutral-colour to lower 
 the whiteness of the ivory, before the colour of the 
 back-ground is entered. It is a tint which seldom 
 deceives an artist by contrasts altering its hue, in 
 which case a trifling increase of the one or the 
 other of its component parts restores the original 
 intention. 
 
 Cobalt, or Ultramarine — Used with these 
 colours, instead of indigo, produce a paler tint, 
 more of them must be used than indigo, as they 
 are not so strong, neither do they work so agree- 
 ably. They are colours that lose by mixing, and 
 are best worked alone, to change a tint. 
 
 Ultramarine, with Vandyke Brown. — 
 Preserves most of its quality, forming a beautiful 
 green in the shadows of the face ; it is, however, 
 best to work tints rather blue, and work the Ultra- 
 marine over, when we design to produce this tone ; 
 indeed, it is best to gain such a knowledge of co- 
 lour, that colours may be worked separately over 
 each other to produce tints, as if mixed and 
 applied in compound. The combination of colour 
 
GO 
 
 THE ART OF MINIATURE PATNTINCx. 
 
 over colour produces one tint, which, on close in- 
 spection, discovers an infinite variety. It is true to 
 nature, whether we consider the flesh, drapery, or 
 accessories. 
 
 Carmine and Lamp Black. — Make a variety 
 of fine tints. Some artists use them for outline and 
 first shadows. If skilfully supported by the finish- 
 ing, they are a very fine mixture for the shadows 
 of flesh, and shadow-colour for red draperies. 
 
 Madder Lake and Indian Yellow, or Gam- 
 boge. — Make a vermillion tint, where the opacity 
 of vermillion is not required. 
 
 Madder Lake and Venetian Bed. — Make 
 a less brilliant tint ; a good graduating colour to- 
 wards the shades. 
 
 Madder Lake and Vandyke Brown. — A still 
 less brilliant colour, carried still lower with madder 
 brown, and that lowered by intense brown. Keep- 
 ing up in the ideas a gradual decrease of brilliancy, 
 still using a portion of the original tint, which, 
 finding its own quality associates, might be lost 
 by changing the base of the compound. This 
 system should regulate our ideas, generally, on our. 
 painting ; and if compelled to change the tint, the 
 
THE ART OF MINIATURE PAINTING. 61 
 
 colour, that we are about to add, should be fully 
 ascertained will agree with it. 
 
 Madder Lake and Seppia. — Compounded 
 with a gradual increase of seppia, form a variety of 
 tints v/hich work freely. 
 
 Seppia, Indian Yellow, and Lake. — A su- 
 perior mixture for back-grounds, hair, and drapery. 
 By varying the quantities of each, every shade of 
 brown may be composed from the palest drab to 
 the richest brown. They will produce the colour 
 for light hair, which neither partakes of yellowness 
 nor redness. The seppia and yellow produce a 
 green tint ; the introduction of lake takes off‘ the 
 greenness, and changes it to a brown. Indian yel- 
 low and lake, with a small portion of seppia — a 
 burnt sienna tint, and in some instances, more 
 agreeable to use. The gumminess of burnt sienna 
 being apt to combine with tints previously down, 
 particularly with seppia, and instead of producing 
 the tone required, converts it into a jet glazed 
 black. 
 
 Lamp Black, Gamboge, and Lake. — Produce 
 similar tints to the above Burnt sienna may be 
 introduced, which, with the gamboge, counteracts 
 the looseness of the lamp black. It works remark- 
 
62 THE ART OF MINIATURE PAINTING. 
 
 ably flat and solid, and in some instances, is supe- 
 rior to the other mixture. A little blue worked 
 over produces an agreeable tint. It may be used 
 for all the purposes of seppia, Indian yellow, and 
 lake. 
 
 Lamp Black and Vandyke Brown. — Form a 
 cool brown seppia. Indigo and lake, a still colder 
 brown, approaching a black. 
 
 Indigo and Intense Brown. — A black, if 
 slightly diluted ; if further diluted, it can be re- 
 duced to the last tint. 
 
 Indigo and Burnt Sienna. — Compose a fine 
 rich green. Is better than sap-green, not being so 
 gummy and transparent, and can be varied between 
 the blue and sienna. 
 
 If floated too heavily on a back-ground, the 
 colour settles in the more fluid parts, dries very 
 dense, and when worked upon, goes black. Van- 
 dyke brown, gamboge, or any glazing colour, 
 worked on the surfaces, which have dense settled 
 portions of colour, will have the same effect. The 
 only way to obviate it, is to work over demi-opaque 
 or semi-transparent colours, after levelling the 
 lesser dense portions. 
 
 Indigo and Indian Yellow, or Gamboge. — 
 
THE ART OF MINIATURE PAINTING. 63 
 
 Produce demi-opaque, or semi-transparent green, 
 which, with the introduction of lake, a variety of 
 olive tints. 
 
 Tints for white drapery cannot be described 
 under a general mixture, as they require consider- 
 able skill and delicacy to adapt them so as to har- 
 monize with the rest of the picture, on which the 
 treatment entirely depends. As local tints, it may 
 be generally specified, where the linen is opposed to 
 black or pearl, a tint of indigo and madder brown 
 may be used, when the accessories are light or grey ; 
 Indigo and Venetian red, or ultramarine and Van- 
 dyke brown, or greys, which will associate and look 
 clean. The reflection and effects produced by the 
 flesh, or drapery under it, studied and skilfully 
 performed, give it all its value; which must be the 
 result of practice. 
 
 OPAQUE TINTS 
 
 Require good management, neatness, boldness in 
 applying the colour, the proper portion of gum, 
 and care in not taking up the colour, by repeating 
 upon it before the first application is fixed. Tlie 
 introduction of opaque colours where transparent 
 
THE ART OF MINIATURE PAINTING. 
 
 will effect the purpose, is always to be reprobated. 
 In copies from the old masters, and deeply coloured 
 pictures, opaque grounds are desirable, as they 
 closely resemble oil, provided the rest of the sub- 
 ject be equally rich and solidly painted. Some 
 draperies, particularly woollen, are best in opaque 
 colour, though I have seen good pictures without 
 the use of it. White should only be introduced in 
 those opaque tints which cannot be produced with- 
 out it, as it does not unite so agreeably as the 
 colours. 
 
 Indigo and Indian red form a fine opaque rich 
 ground, and, with a considerable quantity of Roman 
 ochre, fine olives. 
 
 Indian red and Roman ochre form rich burnt 
 sienna tints ; adding lamp black, brown tints. 
 
 Indigo, with Roman ochre, crome yellow, king’s 
 yellow, or Indian yellow, form greens ; changed by 
 Indian red or lamp black. 
 
 Vermillion is a body-colour, deepened with lake, 
 or Indian red, and further lowered with lamp black. 
 These colours are lightened by the further intro- 
 ducing of white, but in most instances is intrusive 
 and ungenial. 
 
THE ART or MINIATURE PAINTING. 
 
 65 
 
 Lamp black must be mixed with white to pro- 
 duce lightness without losing its tone. Indigo the 
 same, and any colour not compounded. 
 
 Cobalt, ultramarine, and verditer, work opaque. 
 
 Crome yellow, king’s yellow, Naples yellow, 
 Indian yellow, and Roman ochre, work opaque. 
 
 It requires some observation not to take opaque 
 colour too dry, nor too wet, or it will drag and not 
 lay even, or it will pull up the colour, or cause the 
 white to rise on the surface. If too gummy, it will 
 give great trouble, and if not sufficiently gummed, 
 it will look dry, which, if repeated on with gummy 
 colour, will peal off. 
 
 It would be advisable for persons unacquainted 
 with colour, to try every colour with different 
 strengths on a good-sized ivory pallet, then go 
 through all the tints, and lastly the body-colours. 
 By this means they would become practically ac- 
 quainted with the compound parts of each tint, and 
 save the trouble of frequent reference. It may be 
 taken as a general rule, that the transparent colours 
 require little or no gum ; the semi-transparent 
 more ; the demi-opaque still more ; and the opaque 
 
G6 THE ART OF MINIATURE PAINTING. 
 
 colours most. Some few artists use no gum except 
 in body-colour; but the different quality of the 
 colours, in my opinion, renders a due proportion 
 necessary, which is to be acquired by practice, and 
 not by rule. 
 
THE ART OF MINIATURE PAINTING. 
 
 67 
 
 CAMEL HAIR PENCILS 
 
 FOR 
 
 PAINTING ON IVORY. 
 
 Colouring on ivory has greatly improved of late 
 years. The eminent masters having adopted a 
 more solid manner, instead of the watery colouring 
 and scratchy finish of many former miniature- 
 painters. Water-colour is capable of much body 
 and combination with great brilliancy. The im- 
 proved quality and manufacture of water-colours 
 has, in some measure, tended to improve the art. 
 
 Miniatures may truly be said to be painted which 
 formerly were only coloured; their durability is 
 therefore materially increased, and I have no doubt 
 if solidity and richness of colouring were generally 
 studied, the art would be in the highest admiration ; 
 their smallness and keeping, protecting them from 
 the injuries of damp, &c., which oil productions are 
 
68 TJIE ART OF MINIATURE PAINTING. 
 
 less injured by. To apply the necessary fulness 
 of colour to the ivory, a proper pencil must be 
 used. Inferior artists and amateurs have long la- 
 boured under a mistake with respect to the pro- 
 per brushes, they generally purchasing small 
 fine-pointed brushes, supposing a fine pencil must 
 produce fine work, which is the reverse of the fact. 
 If the works of eminent painters are examined, no- 
 thing like the touch of a fine-pointed small pencil 
 can be seen, the colour is solid, and the texture 
 produced by finishing, is round, broad, and firm. 
 
 Few amateurs, or students, get sufficient colour 
 down, by washing, to work upon. The deeper 
 parts of the unequal colour contrasting with the 
 lighter, they conceive it to be sufficiently dark, and 
 do not consider levelling the colour does away with 
 the contrast ; the illusion as to its strength is re- 
 moved, and it assumes a much lighter tone than 
 they calculated on. The amateur generally com- 
 mences this levelling with the fine-pointed brush, 
 with the twofold purpose, of adding colour, and 
 finishing — hoping to obtain some effect, but always 
 under the mortification of finding the scratchy 
 touches multiply, without producing any thing like 
 
THE ART OF MINIATURE PAINTING. G9 
 
 colour or harmony. The amateur and inexperi- 
 enced person work colour on the picture from the 
 point of his brush ; the artist never attempts to 
 finish till he has got the necessary body of co- 
 lour to finish on. The tone of colour on a slight 
 washed-in picture, worked upon with a fine pointed 
 brush, can never be relied on, as the multifarious 
 small touches must give the tone, instead of the 
 body of colour, which is only regulated in finishing. 
 Every one must make a distinction between colour- 
 ing and finishing a picture. A full-sized pencil 
 should be used with a good, but not one hair, 
 point. The larger brush the artist can command 
 the better. If a small brush is necessary to be 
 used in outline, or minute parts of the portrait, the 
 point should be round or square. I generally ap- 
 ply a sharp penknife to the hair of the smaller 
 pencil next the quill, turning the pencil round till 
 I cut through one-third. I then carefully square 
 the point, rvdiich, after a few days’ work, becomes 
 in good order for use. This sort of pencil enables 
 me to make a firm outline, the breadth of which 
 converts to many good purposes, as the picture 
 proceeds, and can be strengthened, altered, and 
 
70 THE ART OF MINIATURE PAINTING. 
 
 improved at will. The fine-pointed pencil makes a 
 scratchy line ; any alteration would require it to be 
 washed out, and if correct as to form, every repeti- 
 tion would render it the more glaring. After the 
 outline, the washing-in colour on the picture, with 
 the full-pointed pencil, the painter is enabled to get 
 clean breadths of colour, and to repeat upon his 
 first tints without drawing up the colour, which 
 cannot be done with the fine point. Numbers who 
 have attempted miniature-painting, complain of 
 their fruitless endeavours to prevent their disturb- 
 ing the colour, notwithstanding they have avoided 
 taking too much water — this difficulty, then, is 
 mainly to be attributed to using a fine pointed 
 brush. The full-sized pencil passing over a given 
 space on its breadth, leaves the colour with an equal 
 pressure. The fine point stabs at one part, and re- 
 quires a lateral action to cover the part assigned, 
 which lateral action disturbs the equality of the 
 colour; imperfect colour is the natural consequence, 
 and any attempt to take out or ease these imper- 
 fections, leads the parties into difficulties which 
 their experience cannot extricate them from. 
 
 The full-sized brush deposits the colour at once. 
 
THE ART OF MINIATURE PAINTING. 
 
 71 
 
 leaves it brilliant, may be repeated upon with faci- 
 lity, the picture assumes a solid appearance, tint 
 meets tint harmoniously, the work proceeds with 
 proper rapidity, and the finished picture may be 
 fairly anticipated at every stage. If a picture be 
 well and sufficiently washed in, the use of a small 
 fine-pointed brush cannot effect the finish. To 
 finish a miniature it is necessary to go over the 
 whole surface. The proper breadth of pencil 
 readily accomplishes it, but the fine point makes it 
 an endless operation, besides producing a laboured 
 surface, without texture. It is impossible to dis- 
 cover the tone of a hair stroke ; every finishing 
 touch should be of sufficient breadth to exhibit its 
 colour and tone, or we cannot calculate to any 
 certainty what our picture may be. Sufficient, I 
 trust, has been said, to induce amateurs and stu- 
 dents to use large and full-pointed pencils. The 
 usual sable pencils are too hard and stubborn ; I 
 always introduce a fine manufactured hair pencil, 
 of great elasticity but soft. 
 
72 
 
 THE AUT OF MINIATUllE PAINTING. 
 
 IVORIES. 
 
 The best ivories are those which have least grain, 
 or condensed ridges, on the outer layers of the 
 tooth. Those which are very transparent, or 
 pearly, with a number of small condensed par- 
 ticles, are not good, nor those which are streaky 
 and coarse. The colour always looks ridgy over 
 those parts, the solidest painting not being able 
 perfectly to efface them, especially if the picture be 
 inspected, with the light striking on it in an op- 
 posite direction to that in which it was painted. 
 Small ivories, being cut from the thinner end of the 
 tooth, will run clear and good throughout, but 
 those which are cut from the thicker part, have 
 more grain as they increase in size ; those with a 
 clear centre, and as little grain as possible on the 
 sides, are to be preferred. 
 
 To prepare them for painting, it is necessary to 
 scrape out all the marks of the saw used in cut- 
 ting them ; they should then be rubbed down, with 
 pulverised pummice-stone and v/ater, with a muller, 
 by a circular action, taking care there are no glassy 
 or woody particles in the pummice, which cause 
 
THE ART OF MINIATURE PAINTING. 
 
 scratches. The pummice should not be too finely 
 pulverised, or it will cause the surface to be slightly 
 polished — the colour will not float freely, nor 
 fix to the ivory. The surface should be finely gra- 
 nulated, with not the least shine, but having a 
 dead level face. Just before finishing the wet 
 pummicing, if the mu Her be passed a few times 
 from top to bottom, and vice versa, the colour will 
 then float on freely, and dry even. After the saw- 
 cuts are removed, I consider it best to pummice the 
 ivory wet, as the dampness raises the more con- 
 densed parts, and they get fairly rubbed down. 
 When the leaf gets perfectly dry, those parts offer 
 an imperceptible hollowness, the colour which is 
 washed on, is retained in them, and the colour dries 
 level, which, if the leaf is prepared dry, those poi*- 
 tions swell on the application of fluid, which 
 running off‘, overcharges the lesser condensed parts, 
 and on turning the picture, those condensed ribs 
 are visible, by light streaks passing through the 
 work, which is light on the elevations ; they are 
 not visible as the work proceeds, being generally 
 performed under a left-hand light, but when viewed 
 with a right-hand light, the rays strike on the re- 
 
 E 
 
74 
 
 THE ART OF MINIATURE PAINTING. 
 
 versed side of these slight elevations, which, while 
 painting, were in shadow, when the elevated side 
 next to the light, were lowered to the strength of 
 the shadow on the reverse, and the whole looked 
 perfectly level. I beg to remark to my inexpe- 
 rienced readers, that the brilliancy of a miniature 
 depends on the colour being laid on so uniformly, 
 that the surface may receive the rays of light with- 
 out any impediment. The early part of a minia- 
 ture painting cannot look brilliant, because the 
 portions of colour do not present a surface suf- 
 ficiently equalised to return or reflect the rays of 
 light unshadowed or neutralised. Finishing a pic- 
 ture is nothing more or less than giving this super- 
 ficial equality — it is not to get on colour, but to 
 regulate it* 
 
 After the ivory has been levelled with wet 
 pummice, it should be washed through clean soft 
 water, and all the fluidity sopped up, by placing 
 the leaf between clean blotting paper ; while still 
 damp, finish it with dry pulverised pummice, rub- 
 bing it in a circular direction with the finger : after 
 dusting off* the loose particles with a soft brush, it 
 will be fit to commence painting on. 
 
THE ART OF MINIATURE PAINTING. 
 
 75 
 
 I Some persons use ox-gall and other preparations, 
 I to counteract any effects from the animal oil, con- 
 S tained in the tooth, but all those processes are use- 
 I less, and may be attended with some secret injury 
 [ to the colour. It used to be a practice formerly, 
 !' to place the prepared leaf between a sheet of paper 
 ! and pass a hot iron over it, to draw out the animal 
 oil and whiten it, but it destroys the fleshy appear- 
 ance, and converts the ivory into a dry opaque 
 bone. Another way was, to place the leaf between 
 ■ two pieces of glass, and expose each side, alternately, 
 
 I I to the sun, till it had effected gradually what the 
 I hot iron did more speedily. 
 
 ^ The natural fair leaf requires only a simple pre- 
 I paration, and all endeavours to convert bad coloured 
 X or faulty pieces are fruitless. 
 
 j The leaf should not be touched on the prepared 
 ^ side, as the most delicate hand would prevent 
 j the colour adhering or laying level. It is neces- 
 I sary to attach the ivory to a piece of white card, 
 
 * for the convenience of painting on: it should be 
 touched at the four corners, and intermediately 
 ; with gum-water, put on a card, and placed under a 
 I, weight till fixed ; by no means to pass any pre- 
 
76 THE ART OF MINIATURE PAINTING. 
 
 paration over the whole of the back of the ivory, 
 to attach it, as it destroys the useful transparency : 
 being attached by the edges only, the picture is 
 more brilliant, and there is no risk from the de- 
 composition of the gum, or other glutinous sub- 
 stances, reflecting through, to the injury of the 
 painting. Fixing the ivory all over has often per- 
 plexed amateurs and others, by the ivory warping 
 the paper; the ivory expands while damp, which, 
 when dry, contracts, and offers an inverted curve. 
 If the paper be damped it contracts on drying 
 more than the ivory, and an obverted surface is 
 presented, unless, by chance, an apportionate damp- 
 ness be hit upon. 
 
 These trifling circumstances are mentioned, that 
 the inexperienced may avoid them, which otherwise 
 would only be gained by perplexing experiments. 
 Some continental artists cover the back of the ivory 
 mth corresponding tints to those on the obverse ; 
 some silver or gild the reverse of the ivory under 
 the face, to add lustre to the colours, but it is a 
 poor substitute for the want of work. The artist 
 who cannot depend on the solid principles of paint- 
 ing, will never effect his purpose by trickery. The 
 
THE ART OF MINIATURE PAINTING. 
 
 77 
 
 effect of light upon the picture is what we want, and 
 not a reflected light below the colours, which comes 
 off the silver or gold. I have cleared off those various 
 practices, and if the subjects have been respectable, 
 they have looked as well again. On whatever we 
 paint, we should bear in mind, that it is the colour 
 we have to trust to, and not to the substance on 
 which it is laid ; the colour remains on the surface 
 of ivory, as oil colour on canvass. On paper, a great 
 proportion is imbibed, and when the work is 
 finished, still the surface is paper although co- 
 loured. 
 
 The ivory is a medium between paper and 
 canvas, the transparency of the ivory always 
 having an influence on the colour, however solidly 
 painted, unless it be in opaque colour. If an 
 ivory is of a bad colour, and the parties have not 
 an opportunity of obtaining a good one, a little 
 whitening may be used wet on both sides, which 
 will draw out or reduce the stains with less injury 
 than an iron or the heat of the sun, but it is apt to 
 polish, which must be got rid of entirely before it 
 is painted on, by pummicing it again. If the 
 ivory should work greasy, or have been prepared 
 
78 
 
 THE ART OF MINIATURE PAINTING. 
 
 with gall, the prepared ox-gall must, when once 
 introduced, be continued throughout the painting, 
 or the colour, not having gall in it, on meeting with 
 it on the ivory, or first • colour, will spread and 
 settle beyond control. Prepared ox-gall is used 
 by some few on miniatures, but it is not absolutely 
 necessary. 
 
THE ART OF MINIATURE PAINTING. 79 
 
 NECESSARY CONSIDERATIONS 
 FOR THE STUDY AND PRACTICE 
 
 OF 
 
 MINIATURE PAINTING. 
 
 Having laid down some precise rules respecting 
 the materials — which may be deemed the me- 
 chanical part — the art next claims our attention. 
 
 The term art, alone implies that it cannot be 
 subject to absolute rule. Although the practice of 
 artists may be recounted, every fresh disciple can 
 only adopt them on principle, still following his 
 own genius. 
 
 The mental talent, both as respects its power and 
 activity, entirely depends on the individual — from 
 its independent nature arises the numerous shades 
 of proficiency in the art. The contemplating and 
 reflecting artist may lay down modes for guiding 
 
80 
 
 THE ART OF MINIATURE PAINTING. 
 
 other minds to the same end, but unless the same 
 cheerfulness, activity, and perseverance are resorted 
 to, the same progress cannot be made. Genius is 
 only an active imagination. 
 
 Genius, it may be seen, without any master, or 
 led by the experience of others, will, although 
 wading through many difficulties and much time, 
 attain the higher eminences. This, I would 
 awaken my readers to consider only as the con- 
 sequences of a perpetual exertion of the mind. 
 When voluntarily adopted, this exertion is not at- 
 tended with labour, every stride is promoted and 
 rewarded by pleasure. There are numbers who 
 desire to gain improvement in art, yet live a whole 
 life without it ; others who set out, and after years 
 of drudgery make but little progress, fancying that 
 they want genius, the difficulties insurmountable, 
 or that they cannot get on without every thing 
 being shown them. They should study their own 
 powers, and bring them into action. The genius, 
 like the traveller in unknown regions, trusts to 
 his own resources and perseverance. 
 
 Those who have a desire to succeed in the arts, 
 and fail, can only attribute it to themselves. There 
 
tthe art of miniature painting. 
 
 81 
 
 must be a radical defect in the activity of the 
 imagination, or their perseverance. The ima- 
 gination, being exerted and directed to an ex- 
 amination of the form, nature, or construction of 
 every visible object that comes under notice, or is 
 requisite to bring to immediate study, gives the 
 general theory of mechanical and physiological 
 knowledge. An artist must go further than mere 
 examination, and by imitation exhibit a stricter 
 inquiry. 
 
 To give a true idea of the necessary research, 
 attempt the representation of a wheel, which is an 
 article familiar to the sight from our birth. Unless 
 we know the form of the nave, the shape and fixing 
 of the spokes, the construction and application of 
 the felloes, and the appropriate tire, the pro- 
 duction would be puerile. Every other visible ob- 
 ject demands a similar inquiry and theoretical 
 knowledge, or, as we deviate from nature, or are 
 deficient on mechanical construction, we retrograde 
 from the true merits of an artist. This example 
 may serve to give a true notion of the necessary 
 and elaborate course to be pursued. 
 
 Those who start, alarmed at the profundity of 
 
 E 5 
 
82 
 
 THE ART OF HTNIATURE PAINTING. 
 
 the art, will never rank as eminent artists. Genius 
 will brighten at the prospect, and delight (not la- 
 bour) to run the rewarding and boundless maze. 
 
 It is a mistaken idea, that we can be too strict to 
 nature, and that we can, without following every 
 particular, improve upon her — it is only an 
 evasion, or an endeavour to lighten the opera- 
 tions of an active imagination. 
 
 It is certainly a coup d' esprit in the art, to 
 deviate from nature without offending, but it is 
 only a pleasing delusion, liable to call forth a variety 
 of conflicting and capricious opinions. Deviations 
 can only be defended by Taste, which should be 
 founded in Nature. A splendid imagination may 
 choose the phenomena, with which general capa- 
 cities, or unexerted imaginations are unacquainted, 
 but still they must be the phenomena of nature, 
 for that is the true and legitimate source of all 
 rational ideas. I am favourable to the strictest at- 
 tention to nature, and whether we paint it or not, 
 that it is well to know the minutiae. Suppose a 
 picture painted in the best manner, and that it 
 contain a vase, or some other accessory, and that it 
 were possible, by optical illusion, to give a perfect 
 
THE ART OF MINIATURE PAINTING. 
 
 83 
 
 reflection of it, on the part assigned, without paint- 
 ing it, every spectator, I have no doubt, would 
 instantly notice that object, in disparity to the 
 other parts of the picture. 
 
 Persons who only know general forms, would 
 look at it as they would at the real object ; the 
 connoisseur and artist 'would dwell on every par- 
 ticular. 
 
 Although the miniature painter’s primary object 
 is portraiture, accessories must be thoroughly un- 
 derstood, for things apparently foreign to the art 
 turn unexpectedly to advantage. 
 
 It must not be expected, that heedlessly hurry^ 
 ing through a number of performances, skill and 
 genius will crown us. Begin with caution, draw 
 with reason, and proceed with judgment. 
 
 There is a species of inactive imagination, which 
 is a bar to improvement — the delusion as to the 
 precise ratio of attainment. If self-satisfaction 
 gives them too high an opinion of their works, they 
 are blind to the superiority of others, and seldom 
 improve. This misconception every one must 
 guard against without fear, should compare their 
 
84 
 
 THE ART OF MINIATURE PAINTING. 
 
 works, and by every exertion of the mind find out 
 wherein consists the superiority, and by what 
 means it is effected ; there being the attendant 
 satisfaction and encouragement to proceed, that 
 they have accomplished all that is reasonable for 
 their experience and practice. Proceeding by 
 knowledge and a free mind, we are guarded 
 against the inexperienced applause and flattery of 
 friends, which is then taken purely as a com- 
 pliment, and not allowed to flatter our vanity, at 
 the expense of our judgment. 
 
 A young artist must be accustomed to see some 
 one object in every angle of a circumference, around 
 which the vision can receive it, or the object itself 
 be turned to accommodate the vision. The manifold 
 changes must be seen and thoroughly understood 
 as to form, and combined with it, the multifarious 
 shades of light and direction of rays. Every thing 
 in nature should thus pass our vision, or the vision 
 of the imagination. It is the knowledge and pride 
 of artists thus to see nature — it is this that enables 
 them to imitate, and distinguishes them from the 
 general crowd, and it is for want of this activity 
 
THE ART OF MINIATURE PAINTING. 
 
 85 
 
 of the imagination, that people generally cannot 
 judge, and commonly give such contrary opinions 
 on the same subject. 
 
 To familiarize this idea, place a square box, 
 equal in length, breadth, and depth, on a table 
 which turns on a pivot; describe a circle on the 
 floor, and place the table in the centre, traverse the 
 circle, or have the table, with the cube on it, turned 
 slowly round, having the eye on a level with the 
 plane of the table. When the vision is opposite to 
 the middle of a side, only that side can be seen ; as 
 it turns (or we traverse), we gradually see the 
 second side increase upon us ; at 45 deg. from 
 whence we set out, we see equally the two sides in 
 perspective, the side we first stood opposite to, on 
 traversing 45 deg. more, recedes from our vision, 
 as the second w^e are now before gains upon us, and 
 so of the other sides. 
 
 Standing up and traversing this circumference, 
 we then see the top and side ; at 45 deg. the top 
 and two sides, and so of the rest. 
 
 The point of vision, on standing up, should be 
 called to mind, is only one out of three hundred 
 and sixty times ninety, or thirty-two thousand 
 
86 THE ART OF MINIATURE PAINTING. 
 
 four hundred points of view, from which this cube 
 may be inspected, that is, from each degree of the 
 circumference, and from each degree of the counter 
 semi-circles, projected from each degree of the 
 circumference. Strictly speaking, from thirty-two 
 thousand four hundred points of view, should be 
 deducted three hundred and fifty-nine, for the re- 
 peated or duplicate views at 90 deg., or each radius 
 or centre of the counter semi-circles, which leave 
 thirty-two thousand and forty-one distinct points of 
 view, from which the cube may be inspected. 
 
 Every person and object in nature are subject to 
 the like changes from position, saying nothing of 
 the influences of light, &c., which, if not fairly 
 understood, leave the artist, and inspector of his 
 work, equally unfit to pronounce an opinion, as far 
 as position is concerned. These remarks are in- 
 tended to lead to the comprehension of vision, or 
 the cause why the same object differs on deli- 
 neation, by being inspected under varying in- 
 fluences and stations. 
 
 Few persons give it a thought, and if brought 
 under their inspection, can comprehend the cause of 
 the deviation unless explained. Taking the multi- 
 
THE ART OF MINIATURE PAINTING. 
 
 87 
 
 tude, few persons understand plans or buildings in 
 perspective. Although the vision sees every thing 
 daily in perspective, and as the person moves, the 
 eye unconsciously goes through all the definitions 
 of perspective, which is often erroneously supposed 
 to be an art palmed upon nature ; it is taken from 
 nature, and is only understanding that according as 
 the eye is placed to view its object or objects, it re- 
 ceives the forms accordingly. 
 
 The knowledge how to examine the objects 
 we wish to depict, clears the way to the most im- 
 portant endeavours ; truly to understand our own 
 eye-sight, is at once the key to the art, the basis of 
 perspective, and the only standard for criticism or 
 delineation. 
 
 Looking up to an object, on a level, or down 
 upon it, are deviations of position readily under- 
 stood, because the changes are violent ; the gradual 
 alterations are little considered, and often lead to 
 false impressions, and consequent erroneous charge 
 of errors in the artist. The front face, the profile, 
 or the back of a head, are readily acknowledged, 
 but every deviation from the full face to the pro- 
 file can only be comprehended by frequently draw- 
 
88 
 
 THE ART OF MINIATURE PAINTlNU. 
 
 ing from the person, or causing them gradually to 
 turn, while we examine the changes, and study the 
 cause of deviations from ordinary impressions. To 
 do any good we must acquire this knowledge from 
 practice, but it would save much labour to con- 
 sider these points well to assist our endeavours. 
 Pointing out the strictness of research necessary for 
 an artist, and consequently showing the difficulty 
 of attainment, should stimulate, not deter. 
 
 I expect to raise the art in estimation, giving 
 those who wish to attain it emulation to delight in 
 its infinite intricacies — to those who only inspect 
 works of art the key to pleasure, or means of fol- 
 lowing the painter through all the operations of the 
 imagination, instead of only liking or disliking 
 without knowing why. 
 
 It is too generally considered that the exertion 
 of the imagination is sedentary and laborious, but 
 it is as little considered how perseveringly the 
 pleaders of this excuse will apply to games or 
 favourite hobbies. There is a greater pleasure to 
 be derived from the imagination, than from what 
 indolent minds term pleasure. 
 
 The amateur who has succeeded in any branch 
 
THE ART OF MINIATURE PAINTING. 89 
 
 of the art, holds a higher place in the circle of 
 admiring friends, than the leader of fashion and 
 folly. 
 
 The student in miniature painting must look at- 
 tentively at every countenance, observe the various 
 structures, the peculiarities, length, breadth, &c. 
 The tout ensemble should be impressed on the 
 mind, and the particulars noticed ; observe the 
 various ways the eye-lids collapse, while the 
 features are in a state of rest, or moved by the 
 passions ; continue the same observations on the 
 mouth and nostrils, and other parts of the face. 
 It is necessary to form a good idea of the bony 
 structure generally — to gain, by every means, ac- 
 quaintance with the manner it is covered with 
 muscles, flesh, and skin. We must court, by the 
 most active intercourse, a general knowledge of dis- 
 position, character and talent — to arrive at the true 
 and various ways they have an influence on the ex- 
 pressions. In drawing the features, the first efforts 
 of most persons are marked by distortion. As a 
 guide to correctness, I shall endeavour to describe 
 the facial line, and give a method to understand it. 
 The Facial line is that which, in a full face, passes 
 
90 THE ART OF MINIATURE PAINTING. 
 
 perpendicularly through the centre and base of the 
 chin, lips, nose, and forehead ; but as the head is 
 turned, degree by degree, till the hit is in profile, 
 the facial line assumes an increasing curve at each 
 movement. Those that have not acquired an 
 adequate knowledge of curves, I would recommend 
 to take an egg (Plate 7, hg. 9), draw a line from 
 the centre of the larger end to the centre of the 
 smaller, and transversely at a right angle, or half 
 the egg, down both sides ; the centre line (holding 
 the egg, the larger side upwards) to be considered 
 the facial line. 
 
 The head being of an egg-like form, pass a line 
 half-way round the centre of the egg, crossing the 
 middle line, and again divide the top and bottom 
 halves by two parallel lines, which will leave it 
 divided into four equal horizontal parts ; divide the 
 lower quarter into three equal horizontal parts, by 
 two circular lines, parallel with the three lines of 
 the larger divisions, draw the eyes on the egg, 
 placing the upper eye-lids on the centre line, the 
 length of the eye to be one-hfth of the diameter 
 or width of the egg, with the length of the eye 
 between them. The bottom of the nose should 
 
THE ART OF MINIATURE PAINTING. Ql 
 
 touch the next curve, or facial curved line. The 
 division of the lips is described by the upper line of 
 the two, which divide the lowest quarter of the 
 face. The upper lip being above and the lower 
 one below, the width being generally one-third 
 wider than the nostrils, this drawing and lines on 
 the egg describe the general proportion of faces, 
 viz,, from the top of the head to the forehead 
 one-fourth, from the hair to the eyes one-fourth, 
 the nose one-fourth, and from the nose to the chin 
 one-fourth ; from the hair to the chin is termed the 
 face, embracing the hair, or fourth quarter — the 
 head. The upper lip one-third, and the lower lip 
 and chin the remaining two-thirds, from the nose. 
 The ear is the length of the nose, but as its position 
 approaches the eye on some, or is placed more 
 backward in others, the placing must be the result 
 of observation. The iris of the eye is one-third the 
 length of the eye, and the pupil one-third the 
 diameter of the iris. By holding the egg thus 
 drawn, and looking full upon the features, the 
 facial line appears a straight one, turning it slowly 
 round it becomes a curve, the lessening of the off* 
 side of the face will be perceived, and the dipping 
 
92 THE ART OF MINIATURE PAINTING. 
 
 of the extreme ends of the curved cross lines will 
 explain the position of the features, or perspective 
 of them, if viewed in three quarters, &c. This 
 experiment will give the idea of the facial line. 
 
 The projection of the forehead and brows, the 
 elevation of the nose, form of the lips, &c., must be 
 allowed for, as though the parties trying this ex- 
 periment were to add on the egg, thus lined, clay 
 or other substance, to form the exact structure of 
 the face. We imagine on the real head, these lines 
 to pass through the base of the features, or egg-like 
 form. 
 
 As a general rule, to keep the extremities pro- 
 portioned to the face — the hand from the wrist, or 
 root of the palm, to the point of the middle finger, 
 is the length of the face, the thumb the length of 
 the nose, the middle finger one-third longer than 
 the thumb, &c. 
 
 It will be necessary to caution students, in draw- 
 ing the human figure, not to make the fullest part 
 of curves opposite to the fullest part of the trans- 
 verse curves. The eye, for instance, if so drawn, 
 assumes the shape of a sole. The fullest part of 
 the curve in the upper eye-lid is near the nose. 
 
THE ART OF MINIATURE PAINTING. 
 
 93 
 
 that extending towards the ear being less curved ; 
 the under eye-lid is fullest opposite the lesser 
 i curved part of the upper lid, that is, the fullest 
 part of curves are diagonal, the one to the other ; 
 which rule also applies to the limbs. Vide Plate 7. 
 
 To give an idea of the nature and operation of 
 the muscles of the face, which should be known 
 ' thoroughly to depict expression, I give a compressed 
 : extract from the works of an eminent surgeon and 
 
 i artist on the muscles of the Face, Eye, and Ear. 
 
 OF THE MUSCLES OF THE FACE, EYE, AND EAR. 
 
 I; 
 
 “ The Occipito Frontalis is a broad and thin mus- 
 cular expansion which covers all the upper part of 
 I the cranium. It consists of two bellies, with an inter- 
 mediate sheet of flat tendon. One belly covers the 
 
 I 
 
 ! occiput, the other the forehead, and the tendinous 
 |i expansion covers all the upper part of the head. 
 
 It lies upon the true pericranium, and slides upon 
 ! it. The muscle is therefore named, with strict 
 ji propriety, Occipito Frontalis ; sometimes Epicra- 
 I nius, sometimes Biventer, or Digastricus Capitis. 
 
 Origin . — The occipital portion is the fixed 
 
94 THE ART OF MINIATURE PAINTING. 
 
 point of this muscle, arising from the upper ridge 
 of the occipital bone, and covering the back part 
 of the head from the mastoid process of one side, 
 round to the opposite side of the head. 
 
 Insertion . — The fore-belly of this muscle, 
 which covers the forehead, is fixed more into the 
 skin and eye-brows than into the bone ; it is slightly 
 attached to the bone, near the inner end of the 
 orbitary ridge, and especially about the inner cor- 
 ner of the eye, and root of the nose, by a smaller 
 and acute pointed process, but still its chief attach- 
 ment is to the eye-lids and skin. 
 
 Tendon . — Which joins the two bellies, is exceed- 
 ingly thin. The occipital belly has a firm hold of 
 the ridge of the bone, its frontal belly has the loose 
 end attached, not to the os-frontis, but to the brow 
 and skin ; and it is to raise the eye-brows, wrinkle 
 the forehead,* and corrugate the whole hairy scalp. 
 It is a muscle chiefly employed in expressing pas- 
 sions, &c. There is a small pointed slip of the 
 occipito frontalis which goes down with a peak to- 
 wards the nose, and is inserted in the small nasal 
 bone. This process being much below the eye- 
 brow, must pull it downwards, and as an opponent 
 
THE ART OF MINIATURE PAINTING. 
 
 95 
 
 to the great occipital and frontal bellies, and might 
 be described almost as a distinct muscle. 
 
 The Corrugator Supercilii, the lower end of the 
 nasal slip of the occipito frontalis, is fixed in the 
 nasal bone. The lower end of this little slip is 
 fixed into the internal angular process, and from the 
 inner corner of the eye, the fibres sweep round the 
 edge of the orbit, and going obliquely upwards 'and 
 outwards, are so mixed with the fibres of the frontal 
 muscle, and of the orbicularis oculi, where these 
 two touch each other, that it is doubtful to which 
 of them this little muscle belongs. So this slip of 
 oblique fibres, rising from the inner angle of the 
 eye, and being fixed into the eye-brow, also anta- 
 gonizes the occipito frontalis, drawing the eye- 
 brows together, and ^Tinkling the space between 
 them, is very rightly named Corrugator Supercilii. 
 
 Orbicularis Oculi, or Palpebrarum, is a neat and 
 regular muscle, surrounding the eyes and covering 
 the eye-hds in a circular form. It is exceedingly 
 flat and thin, is about an inch in breadth, lies under 
 the skin of the eye-lids, and is immediately attached 
 to them, and but little connected with the bone. It 
 has one small tendon in the inner corner of the eye, 
 
96 THE ART OF MINIATURE PAINTING. 
 
 which is both its origin and insertion. It is easily- 
 felt in the corner of the eye. They pass over the 
 eye-lid to the inner corner of the eye, where they 
 cross a little, and having just covered the edge of 
 the temple, with their thin expanded fibres they re- 
 turn in a circular form, round by the lower eye-lid, 
 to the point from whence they set out. It serves 
 as a sphincter for closing the eye. It squeezes with 
 spasmodic violence when the eye is injured, as by 
 dust, and by drawing down the eye-lids so firmly 
 it presses up the ball of the eye hard into the socket, 
 and forces the lachrymal gland that is within the 
 socket, so as to produce a flow of tears. 
 
 Levator Palpebrae Superioris. — This small mus- 
 cle arises deep within the socket, from the margin 
 of that hole which gives passage to the optic nerve. 
 It begins with a small flat tendon in the bottom of 
 the optic cavity, becomes gradually broader, as it 
 goes over the eye-ball ; it ends in the eye-lid by a 
 broad expansion of muscular fibres which terminate 
 in a short flat tendon. It lies under the orbicularis 
 palpebrae, is inserted into the whole length of the 
 cartilage of the tarsus, and raises and opens the 
 upper eye-lid. 
 
THE ART OF MINIATURE PAINTING. 
 
 91 
 
 “ The Occipito Frontalis, but especially its occipi- 
 tal belly, raises the eye-brows, the pointed slip of the 
 same muscle pulls them downward, the corrugator 
 pulls them directly inwards, and knits the brows, 
 the Levator Palpebrae opens the eye-lid, and the 
 orbicularis oculi closes the eye. Whether certain 
 fibres from the platisma myoides (a thin flat muscle 
 which mounts from the neck over the cheek) may 
 not pull down the lower eye-lid, or whether some 
 straggling fibres, arising from the zygomaticus, may 
 not have the appearance of a depressor of the lower 
 eye-lid, it is not necessary to determine, since there 
 is no regularly appointed muscle, and the lower 
 eye-lid is almost immoveable, 
 
 “ MUSCLES OF THE NOSF: AND MOUTH. 
 
 ‘‘ Levator Labii Superioris et Alae Nasi. — It is 
 a neat and delicate muscle (the I>evator Labii 
 Superioris) which arises by a small double tendon 
 from the nasal process of the upper jaw-bone, close 
 by the tendon of the orbicularis oculi. It is one 
 little fasciculus of muscular fibres above, but as 
 it approaches the nose it spreads out broader, di- 
 
 V 
 
98 THE ART OF MINIATURE PAINTING. 
 
 viding into two small fasciculi, one of which enters 
 the cartilage of the nose, and the other passing the 
 angle of the nose goes to the upper lip, thus it is 
 pyramidal, with its base downwards, and named 
 Pyramidalis by Casserius ; it is called by Cowper 
 Dilator Alae Nasi ; it raises the upper lip and spreads 
 the nostrils wide, as is observed in a paroxysm of 
 rage, and in asthmatics. 
 
 “ The Levator Labii Superioris Proprius is distin- 
 guished by the name of liovator Proprius, because 
 there are two others, one belonging to the angle of 
 the mouth, and consequently to both lips, and one 
 common to the lip and nostrils. 
 
 The Levator Proprius is often named Musculus 
 incivus, because it arises from the upper jaw, just 
 above the incisores, or cutting teeth, and conse- 
 quently just under the edge of the orbit ; it is 
 broad at its origin ; it lies flat, and runs downwards, 
 and obliquely inwards, to the corner of the lip, till 
 it meets its fellow just in the flltrum. (The filtrum 
 is the superficial gutter along the upper lip from 
 the partition of the nose to the tip of the lip.) It 
 pulls the upper lip and the septum of the nose 
 directly upwards. 
 
THE ART OF MINIATURE PAINTING. 
 
 99 
 
 ‘‘ The Levator Anguli Oris is also called Levator 
 Communis Labiorum, because it operates equally on 
 both lips ; it is named Caninus, for as the last-named 
 muscle rises from the upper jaw-bone above the 
 incisores, this rises above the canini, or dog-teeth, or 
 the first grinder, by a very short double tendon. 
 The exact place of its origin is half-way betwixt 
 the first grinder and the infra orbitary hole ; it is 
 mixed with the orbicularis oris at the corner of 
 the mouth, so that it raises the angle of the mouth 
 upwards. 
 
 ‘‘ The ZygomaticusMajorhas nearly the same use 
 and direction with this one, for it arises from the 
 cheek-bone near the zygomatic suture, runs down- 
 wards, and inwards to the corner of the mouth ; is 
 a long and slender muscle which ends by mixing 
 its fibres with the orbicularis oris, and the depressor 
 of the lip. 
 
 ‘‘ The Zygomaticus Minor arises a little higher 
 upon the cheek-bone, but nearer the nose ; it is 
 much slenderer than the last, and is often wanting. 
 It is the Zygomaticus Muscle that marks the face 
 with that line which extends from the cheek-bone 
 
100 THE ART OF MINIATURE PAINTING. 
 
 to the corner of the mouth, and is so strong in 
 many. 
 
 The Zygomaticus Muscles pull the angles of 
 the mouth upwards, as in laughter ; or one of them 
 distorts the mouth, whence the Zygomaticus Muscle 
 has gotten the name of Distortor Oris; the strong 
 action of the muscle is particularly seen in laughter, 
 rage, and grinning. 
 
 Buccinator. — This was long thought to be a 
 muscle of the lower jaw, arising from the upper 
 alveoli, and inserted into the alveoli, to pull the jaw 
 upwards ; but its origin and insertion, and the di- 
 rection of its fibres, are quite the reverse of this. 
 For this large flat muscle, which forms, in a man- 
 ner, the walls of the cheek, arises chiefly from the 
 coronoid process of the lower jaw-bone, and partly 
 also from the end of the alveoli or socket process of 
 the upper jaw, close by the pteregoid process of the 
 sphenoid-bone ; it arises also from the upper jaw ; 
 it goes forwards with direct fibres to be implanted 
 into the corner of the mouth ; it is thin and flat, 
 and forms the walls of the cheek ; it is perforated in 
 the middle of the cheek by the duct of the parotid 
 
THE ART OF MINIATURE PAINTING. 101 
 
 I gland. Its principal uses are flattening the cheek, 
 to assist in swallowing ; in blowing wind instru- 
 i ments, it receives and expels the wind, and from 
 
 I bio wing the trumpet is named the buccinator. 
 
 “ Depressor Anguli Oris is a neat small triangu- 
 lar muscle, and is very commonly named Musculus 
 Triangularis Labiorum from its shape. The base 
 . of the triangle is at the line of the lower jaw, where 
 the muscles rise with a flat fleshy head, about an inch 
 in breadth. It grows smaller, gradually, as it rises 
 to tlie corner of the mouth, where it is implanted 
 small, almost to a point, and directly opposite to the 
 zygomatic and levator muscles, and as the zygomatic 
 muscles make a line in the cheek to the angle of the 
 mouth, this makes a line from the chin to the corner 
 of the mouth. It is cliiefly active in expressing the 
 passions, and gives form to the chin and mouth. 
 In cheerful motions, as laughter, &c., the zygoma- 
 tic and levator muscles pull the angles of the mouth 
 upwards. In fear, hatred, revenge, contempt, and 
 the angry passions, the Triangularis pull the corners 
 of the mouth downwards, and at the place where 
 these meet, there is formed a sort of rising at the 
 angle of the mouth, for a great many tendons are 
 
102 THE ART OF MINIATURE PAINTING. 
 
 crowded into this point ; the zygomaticus, levator, 
 depressor, and orbicularis oris muscles, meeting and 
 crossing each other at this place. 
 
 The Depressor Labii Inferioris is a small mus- 
 cle on each side of the chin, which, with its fellow, 
 resembles very much the levators of the upper lip. 
 It arises on each side of the chin from the lower 
 jaw-bone, under the line of the triangular muscle. 
 It goes obliquely upwards and inwards, till it 
 meets its fellow in the middle of the lip ; and where 
 the opposite muscles meet, there is a little filtrum, 
 or furrow, on the lower lip, as on the upper one. 
 It mixes its fibres with the orbicularis, and its use 
 is to pull the lip downwards ; each muscle is of a 
 square form, and thence have been named Quadra- 
 tus Genas, the square muscles of the chin. 
 
 The Orbicularis Oris, or muscle round the 
 mouth, is often named Constrictor Oris, Sphincter, or 
 Osculator. It is very regular; it is an inch in breadth, 
 and constitutes the thickness of the lips ; it lies in 
 the red part of the lips, and is of a circular form, 
 surrounding the mouth the same as the orbicularis 
 oculi encircles the eye. Its fixed points are the 
 two angles of the mouth at that swelling, which is 
 
THE ART OF MINIATURE PAINTING. 103 
 
 formed by the union of the zygomaticus, triangular, 
 and other muscles ; part of it takes origin from the 
 alveolar process of the canine teeth. Often a small 
 slip runs up from the middle of the upper lip to the 
 tip of the nose ; it is the Nasalis Labh Superioris of 
 Albinus, it lies exactly in the furrow of the filtrum, 
 and is occasionally a levator of the upper lip, and a 
 depressor of the tip of the nose. 
 
 These muscles of the nose and lips are not useful 
 merely in expressing the passions ; that is but a 
 secondary and accidental use, while their great 
 office is to act in breathing, speaking, chewing, 
 swallowing, &c. There are muscles for opening 
 the mouth in various directions, which are all an- 
 tagonized by this one. 
 
 The levator labii superioris and the depressor 
 labii inferioris separate the lips and open the mouth. 
 The levator anguli oris, with the zygomaticus mus- 
 cle, raises the cheek and dilates the corners of the 
 mouth directly backwards, opening the mouth. 
 The angularis oris dilates the mouth downwards, 
 pulls the angles of the mouth downwards and back- 
 wards, and forms it into a circle, if others act at the 
 same time ; but the orbicularis oris is the largest and 
 
104 THE ART OF MINIATURE PAINTING. 
 
 strongest (and formed as it were by the fibres of 
 these taking a new direction, and turning round the 
 lips), shuts the mouth, and antagonizes them all. 
 
 ‘‘ There are some smaller muscles which, lying 
 under these, could not be described without danger 
 of confusion, as 
 
 ‘‘ The Depressor Labii Superioris and alae nasi, 
 which is very small and lies under the other mus- 
 cles. It rises from the gum, or socket, of the fore- 
 teeth, and thence is named, by Winslow, Ir.cisivus 
 IVIedius. It goes into the root of the nostril, and 
 pulls it up and, of course, the upper lip down, and 
 is named by Albinus and Cowper, Constrictor Vel 
 Compressor Alse Nasi. 
 
 “ The Constrictor Nasi, or compressor of the nose, 
 is a small scattered bundle of muscular fibres, 
 which crosses the wings, and goes to the very point 
 of the nose, and meets its fellow in the middle ridge, 
 where both are fixed to the middle cartilage, or 
 into the lower point of the nasal bones, meeting 
 with the peak of the frontal muscle, or its scattered 
 fibres 
 
 The Levator Menti, which arises from the lower 
 aw, at the root of the cutting-tooth, has been named 
 
THE ART OF MINIATURE PAINTING. 105 
 
 Incisivus Inferior. It is inserted into the skin on 
 the very centre of the chin, which by its contraction 
 forms a dimple, and from its moving the under lip 
 at the same time, it is named Levator Labii In- 
 ferior is. 
 
 MUSCLES OF THE EAR. 
 
 ‘‘ Snperioi: Anris isnamedAttolens, because it lifts 
 the ear upwards; it is a very thin, flat expansion 
 which can hardly be distinguished from tlie fascia 
 of the temporal muscle upon which it lies, and 
 arises broad and circular from the expanded tendon 
 of the occipito frontalis, and is inserted narrow 
 into the root of the cartilaginous tube of the ear. 
 
 “ Anterior Auris is a very delicate, thin, and 
 narrow expansion arising about the zygoma, or ra- 
 ther from the fascia with which the zygomaticus is 
 covered, it is implanted round the cartilaginous 
 tube of its root. 
 
 “ The Posterior Auris is also a small muscle, very 
 delicate and thin, but the anterior rises in one small 
 and narrow slip only, while this rises commonly 
 in three narrow and distinct slips from about the 
 place of the mastoid process, whence it is often 
 
 F 5 
 
106 THE ART OF MINIATURE TAINTING. 
 
 named Triceps Anris. It goes directly forwards, 
 to be implanted into the concha. It is named 
 Retrahens Anris from its office. 
 
 The ring and other bendings of the ontward ear 
 are called Helix and Antihelix, Tragns and Anti- 
 tragns, and this determines the names of those 
 ambignons fibres, which are sometimes fonnd lying 
 upon these circles of the ontward cartilage jnst 
 under the skin. 
 
 The Mnscnlar Helicis Major lies npon the up- 
 per or sharp point of the helix or outer ring. 
 
 The Helicis Minor rises lower than the former 
 npon the fore-part of the helix. 
 
 ‘‘ TheTrajicus lies npon theconcha, and stretches 
 to the trao'us. 
 
 O 
 
 The Antitrajicus lies on the antitragus ; and, 
 lastly, there is the Transversns Anris of Albinns. 
 
 ‘‘ MUSCLES OF THE EYE -BALL. 
 
 The eye-ball is entirely surrounded by muscles, 
 which turn it in all directions. There is one mus- 
 cle, one either side, one above, and one below, 
 called Recti. The truest description of the Recti 
 
THE AllT OF MINIATURE PAINTING. 107 
 
 is as of one muscle, since but from position they 
 are expressed by the same name. They all agree 
 in their chief circumstances — that they rise by flat 
 but small tendons round the margin of the optic 
 hole from the Periosteum there, and there being 
 one above, one below, and one on each side, they 
 completely surround the optic nerve, and adhere 
 to it. They are delicate muscles, which gradually 
 expand each into a fleshy belly, which covers the 
 middle ball of the eye. They still go on expand- 
 ing, till they at last terminate each in a broad, flat, 
 and very white tendon, which covers all the fore- 
 part of the eye up to the circle of the Lucid Cornea, 
 or Window ; and their white and shining tendons 
 form that enamelled-like part which lies without 
 the coloured circle, and which is named the white 
 of the eye, or the Tunica Albuginea, as if it were 
 absolutely a distinct coat. 
 
 “ The only difference in these straight muscles is 
 their length, for the optic nerve enters the eye, not 
 regularly in the centre, but a little towards the 
 inner side, so that the Rectus Internus, or muscle 
 nearest the nose, is a little shorter. 
 
 The Rectus Externus, or nearest the temple, is 
 
108 THK ART OF MINIATURE PAINTING. 
 
 a little longer, but the Rectus Superior and the 
 Inferior are of equal length. 
 
 “ The Rectus Superior, lifting the eye directly 
 upwards, is named the Musculus Attolens, the 
 Levator Oculi, or Superbus, as expressive of haugh- 
 tiness and pride. 
 
 “ The Rectus Inferior, which is directly opposite 
 to it, is named Deprimens Oculi, or Humilis, as 
 expressing modesty and submission. 
 
 The Rectus Internus is called Adducens, as 
 carrying the eye towards the nose, or Bibitorius, 
 because it directs the eye to the cup. 
 
 The Rectus Externus, the outer straight mus- 
 cle; it turns the eye away, is named Abductor Oculi, 
 or Indignabundus, expressing anger or scorn ; Avhen 
 all these muscles balance, the eye is immoveably 
 fixed, &c. 
 
 The Obliquus Superior arises along with the 
 recti in the bottom of the eye, above and to- 
 wards the inner side, and there it passes its tendon 
 through the pully, whose hollow is marked on 
 the os frontis, under the superciliary ridge, and 
 near to the inner corner of the eye, often named 
 Longissimus Oculi, the longest muscle of the eye. 
 
THE ART OF MINIATURE TAINTING. 109 
 
 ‘‘ The Obliquus Inferior is with equal propriety 
 named Musculus Brevissimus Oculi. It is directly 
 opposite the Obliquus Superioris, in form, place, 
 office, &c. ; it arises from the nasal process of the 
 jaw-bone in the lower edge of the orbit at the inner 
 corner of the eye ; it is short, flat, and broad, with 
 a strong fleshy belly ; it goes obliquely backwards, 
 laying under the ball of the eye. 
 
 “ These two muscles roll the eye, whence they are 
 named Musculi Circumagentes, or Amatorii. But 
 they have still another important office, sup- 
 porting the eye-ball for the operation of its straight 
 muscles — for when the oblique act, they pull the 
 eye forwards, the straight muscles resist, and the 
 insertion of the oblique muscles at the middle of 
 the eye-ball becomes, as it were, a fixed point, a 
 centre, or axis, round which the eye-ball turns 
 under the operation of the recti muscles. 
 
 “ The conjoined effect of the oblique muscles is to 
 biing the eye-ball firm and from the socket, as in 
 straining the eye to see at some distant point. The 
 particular effect of the upper oblique muscle is not 
 to bring the eye forwards, but to roll the eye so as 
 to turn the pupil downwards, and towards the 
 
110 THE ART OF MINIATURE PAINTING. 
 
 nose. And the particular effect of the lower ob- 
 lique muscle is to reserve this action, to turn the 
 eye again upon its axis, and to direct the pupil 
 upwards and downwards ; but the successive actions 
 of all these muscles move the eye in circles, with 
 gradations so exquisitely small, and with such 
 curious combinations, as cannot be explained by 
 w'ords. 
 
 MUSCLES OF THE LOWER JAW, THROAT, AND 
 TONGUE. 
 
 “ The muscles of the lower jaw require great 
 power to grind the food, and, accordingly, it is 
 pulled upwards by the strong temporal Masseter 
 and Pteregoid muscles. 
 
 “The Temporal Muscle is the great muscle of the 
 jaw. It arises from all the flat side of the parietal 
 bone, and from the sphenoid, temporal, and frontal 
 bones, in that hollow behind the eye, when they 
 meet to form the squamous suture. It arises also 
 from the inner surface of that strong tendinous 
 membrane, which is extended from the jugum to 
 the semicircular ridge of the parietal bone. Its 
 
THE ART OF MINIATURE PAINTING. Ill’ 
 
 insertion is in the horn of the lower jaw, not merely 
 into the top of the horn, but embracing it all round, 
 and down the whole length of the process, so as to 
 take the firmest hold. 
 
 ‘‘ The Masseter is a short, thick, and fleshy mus- 
 cle, which gives the rounding of the cheek at its 
 back part. It arises from the upper jaw-bone at 
 the back of the Antrum, and under the cheek-bone, 
 and from the lower edge of the zygomaticus. It 
 lies upon the outside of the coronoid process, having 
 the branch of the lower jaw quite down to its angle. 
 The parioted gland lies on its upper part, and the 
 duct of the gland (as it crosses the cheek) lies over 
 this muscle. The jaw is firmly pulled up by these 
 two, which are its most powerful muscles, and when 
 we bite we feel the temporal muscles swelling on 
 the flat part of the temple, and this upon the Lack 
 part of the cheek. 
 
 The two Pteregoid Muscles (four — two on each 
 side) are named for their origin on the Pteregoid 
 processes of the sphenoid bone. The Pteregoid In- 
 ternus is that one which rises from the internal and 
 flatter Pteregoid process, and which goes down- 
 wards and outwards to the angle of the jaw on its 
 
112 THE ART OF MIx\IATURE PxVINTING. 
 
 inside. The Pteregoid Externus arises from the 
 exterior pteregoid process, and goes not downwards, 
 but almost directly outwards, and is implanted high 
 on the jaw-bone, just under its neck, and connected 
 with the capsular ligament. The Internus is named 
 Pteregoideus Major ; the Externus, Pteregoideus 
 Minor.’’ 
 
 This clear description of the muscles of the face, 
 eye, and ear, must be serviceable to those wdio have 
 not already given the subject attention. When we 
 have before us a peculiar expression, the muscles 
 will be peculiarly actuated, and the artist will best 
 describe them, who has the fullest knowledge of 
 the situation, immediate action of the governing 
 muscle, and the auxiliary action of the surrounding 
 ones. 
 
 Studies of the passions are usually placed before 
 the student for his imitation, he can readily trace 
 the extremes, but when he has occasion to de- 
 fine them under any modulation, his copy no longer 
 serves him, and he finds himself as much at a loss 
 as though he had not gone through them, and he 
 soon discovers he requires some key to assist him 
 in his endeavours — this can only be done by the 
 
THE AET OF MINIATURE PAINTING. 113 
 
 knowledge of anatomy. Assisted by this know- 
 ledge, he is prepared for every change of the fea- 
 tures in the living subject, and must more perfectly 
 understand the skilful archetype. Descriptions of 
 the various passions may therefore not be of much 
 use. The causes may be more essential, as the 
 display of the faculties must be the self-acting 
 operation of the artist, looking only on the studies 
 he has passed, as a principle, to guide the multi- 
 farious evolutions he will be called on to define. 
 
 Anatomical works in abundance are readily ob- 
 tained by those who wish to dip deep in the science, 
 and those do well who arm themselves at all points 
 to meet whatever may present itself, whereby 
 they are ever prepared, by science and nature, 
 to dispel mere opinion — not fallaciously trusting 
 to natural genius. 
 
 Perhaps the principle of the passions may be 
 gained better from the words of the late Mr. 
 John Bell, than by a series of delineations and 
 descriptions : — 
 
 ‘‘We see, in the dead body, those muscles which 
 give form and character to the human countenance 
 lying all dead and flaccid. The mouth open, the 
 
114 ? THE ART OF MINIATURE PAINTING. 
 
 lips loose and shrivelled, the angles of the mouth 
 drooping down, the cheek sunk, and the eye closed 
 and sunk down within its orbit. All the counte- 
 nance is deformed, and the traits of individual cha- 
 racter or beauty quite gone; but still enough remains 
 to explain to us what those muscles are upon which 
 chiefly the interesting variety of expression and 
 forms depends. 
 
 ‘‘ The Occipito Frontalis wrinkles the forehead, 
 the Corrugator Supercilii knits the brows, the Le- 
 vatores Labiorum lift up the lip, spread wide the 
 nostrils, and open the mouth. The Depressores 
 Labiorum depress the lip, the Triangular Muscles 
 draw down the corners of the mouth, the Zygoma- 
 tic Muscle distorts the cheek, and the Orbicularis 
 Oris antagonizes all these, and closes the mouth. 
 These muscles, while they are performing more 
 important offices, also express the passions, and 
 mark the countenance with traits never to be 
 effaced — the true study of those who would be 
 physiognomists, who talk but idly when they speak 
 of expression in those immoveable features, which 
 are formed by the contour of a bone. ‘ The saga- 
 cious forehead, or ecomical nose,’ are the rliapso- 
 
THE ART OF MINIATURE PAINTING. 115 
 
 dies of an enthusiast, not the serious observations 
 of a sedate man, studious of that subject which is 
 interesting above all others. 
 
 ‘‘The shape of the bones determine the genei’al 
 form of the face. ^ One great muscle, the Masseter, 
 gives the rounding of the cheek, the rest are all 
 delicate and moveable muscles, and the great cha- 
 racters of the face centre round the moutli and 
 nostrils where these muscles converge. The lean 
 and delicate face gains in expression where the 
 cheek is hollow, the angle of the mouth moveable, 
 the lines strong; but those who are bloated, the 
 cheek is fuller, the lines obliterated, the delicate 
 turnings of thought and feeling are lost — all but 
 the more violent strains of passion are buried in the 
 mass. The great lines of character are the line of 
 the Zygomatic Muscle coming from above, and of 
 the Triangular Muscle coming from the chin, and 
 the moving point towards which they attach is the 
 corner of the mouth. 
 
 “ In cheerful emotions the features rise all to- 
 wards the eye, which becomes full and turgid. 
 
 “ In the depressing passions the features sink, 
 
116 THE ART OF MINIATURE PAINTING. 
 
 the eye is languid, and the whole countenance gets 
 a thoughtful, serious cast. But it is still the cor- 
 ner of the mouth that is the central point of all 
 tliese changes. 
 
 “ The corners of the mouth are continually sup- 
 ported by the action of the Levator and the Zygo- 
 matic Muscles — they are raised high in smiling, so 
 as to form a dimple there — they are raised higher 
 in laughter so as to swell the cheek, wrinkle the 
 eye-lids, and compress the eye, till tears begin to 
 flow. And the corner of the mouth which is thus 
 raised in laughter, is distorted in pride, malice, 
 hatred ; is dilated and drawn backward in rage ; 
 drops lower in grief, and in palsy falls quite 
 down. 
 
 These movements round the angle of the 
 mouth are the chief indications in the face itself, 
 while all other indications of passion proceed rather 
 from the general system. 
 
 “ A healthy body and cheerful mind have the 
 face full, the eye humid, the limbs braced, the 
 whole body free and light moving. In languid 
 health, or under affliction and care, the face is pale. 
 
THE ART OF MINIATURE PAINTING. 117 
 
 the eye sunk, the whole body languid and relaxed; 
 and so it is in passion, for the medical arrangement 
 of the passions is nearly correct. 
 
 “ There are twp great classes of passions, as joy 
 or anger ; the heart beats high, the face is turgid, 
 the eye sparkling and prominent, the muscles are 
 tense, the limbs braced, the whole body is in a 
 moveable, active, and highly excited state. But 
 when the heart beats languid in grief, or palpitates 
 with fear, the face becomes pale, the features sink, 
 the limbs tremble, the whole frame is unbraced, 
 cold and unapt for motion ; and from these general 
 conditions of the system, result all those other 
 marks of passion which accompany the changes of 
 the face ; for in grief, fear, despair ; the blood ebbs, 
 the face is pale, and the features sink ; while in 
 anger, the face is red, the eye-brows corrugated, 
 and the eye turgid and strained ; but in rage, the 
 whole muscular frame is strained toward the most 
 violent action; the breath is retained, while the 
 pulse beats high, and so the face becomes turgid, 
 the eye is fiery and red, there is a grinding of the 
 teeth, the angles of the mouth are strained back- 
 wards, the nostrils are raised and dilated, the 
 
118 THE ART OF MINIATURE PAINTING. 
 
 Buccinator, Zygomatic, Masseter, and Temporal 
 muscles are in violent action, which gives an angu- 
 lar and linear hardness to all the features, and 
 saliva and foam proceed from the universal pressure 
 of the glands.’’ 
 
THE ART OF MIXIATURE FAINTING. 119 
 
 THE 
 
 SITTINGS FOR A MINIATURE. 
 
 FIRST SITTING. 
 
 The room, in which the sittings are taken, should 
 have but one light, looking northward, because the 
 light continues the same, and is not subject to the 
 changes caused by the passage of the sun in rooms 
 receiving the light from other quarters. An east 
 light is nearly as good, if the room has a win(k)w ; 
 but if a skylight, it is influenced by the oblique rays 
 of the sun, till it has passed the meridian. The 
 light should be so high as to fall upon the person 
 sitting; the distance they should be placed, and 
 the consequent angle of light, must be determined 
 by taste, and the length of the artisfs sight, 
 governed by the character of the party sitting. 
 Af a window, the light should be excluded from 
 the lower part, near which the artist sits, to give 
 
120 THE ART OF MINIATURE PAINTING. 
 
 the fullest and most perfect form to the shadows of 
 the face, which might otherwise be cut up by 
 under-reflections. Fine developments of the fore- 
 head, should be placed, so that all the occular 
 forms can be distinctly delineated, in combination 
 with the cast or deep shadows under the brows, 
 which, though richly and strongly marked, must 
 be transparent in painting, to produce an effect 
 which the reflected light from the upper part of 
 the cheek and surrounding bodies always intro- 
 duces. 
 
 Studying a favourable position for the eyes, and 
 producing a picturesque appearance in the brows, 
 the shadows from the nose and under lip are almost 
 sure to accord. Delicate features — women and 
 children — require a treatment as delicate, and great 
 attention should be paid to place them to preserve 
 it ; enough shadow must, however, be introduced 
 to preserve the roundness, and render expressive 
 every sweet and tender undulation. With good 
 sight, the person should sit three yards off, nearer 
 approach is generally discovered in the picture, by 
 the off-shoulder appearing too high, the features 
 drooping, &c. The artist, sitting higher than his 
 
THE ART OF MINIATURE PAINTING. 121 
 
 subject, introduces the same faults, unless he is 
 prepared against it — sitting the person too high 
 leads to the opposite errors. It is well to sit the 
 person, so that the face is a little higher than the 
 artist, and give as much distance as the eye 
 can fairly reach, and without much motion take in 
 the tout ensemble. In the eyes, great variety pre- 
 sents itself, and it is particularly desirable to observe 
 the iris of the eye, the whole circle being seen in 
 full eyes — in rage and fear. In eyes less full, 
 the iris passes up under the upper eye-lids, &c. 
 The person should never be set so much sideways 
 as to bring the eyes strained into the corners. 
 
 The nose is a feature admitting little motion, the 
 nostrils only moving by the action of the nasal 
 muscles in strong excitement of the passions. Not- 
 withstanding the stationary character of the nose, 
 it demands great consideration in adjusting the 
 sitter. From various causes, the cartilage of the 
 nose is seldom uniform or perpendicular on the 
 face. It must be inspected full-faced, right and 
 left three quarter, and in profile, to gather from 
 the variations the form which suits with the presiding 
 expression in the combined features ; an irregular 
 
 G 
 
122 THE ART OF MINIATURE PAINTING. 
 
 aqueline nose, inspected in a three-quarter view, 
 will appear hooked with the one cheek towards 
 you, and inverted on the other, arising from the 
 insertion of the cartilage to the nasal bone, pro- 
 jecting unequally on one side, and proceeding in 
 an angular direction towards the tip of the nose. 
 An inequality of size or form in the nostrils, 
 will also have an influence on the character. Hence 
 it is expedient, for those who are unacquainted 
 with these causes and effects, to examine extreme 
 cases, which, being very apparent, will give a 
 judgment where the case is only perceptible to 
 the practitioner, from its slight deviation from re- 
 gularity. 
 
 So great is the difference in many faces, when 
 inspected in opposite directions, that one of the two 
 views, however accurately drawn and painted, 
 would not communicate the likeness, it not being 
 the usually observed characteristic form. 
 
 The prints which are before the public of the 
 late Duke of York, from paintings by various 
 eminent men, will familiarly illustrate the foregoing 
 observations. Those describing the face with the 
 left cheek towards us, have the nose convex or 
 
THE ART OF MINIATURE PAINTING. 123 
 
 hooked (which was the character of the profile), on 
 the reverse the nose appears nearly straight, hoth 
 with the intermediate deviations being correct as to 
 peculiar selection, but not as to familiar and gene- 
 rally recognised character, which makes a general 
 impression. 
 
 The mouth is the most difficult feature to pour- 
 tray, and requires considerable taste to delineate, 
 as it is seldom at rest. It is the most flexible 
 muscle in the face, subject to an infinite variety of 
 form, the slightest operation of the mind changing 
 it, and alterations insensibly take place, as the 
 mind guides it by transition of sentiment. The 
 closed mouth, with the other features in a state of 
 rest, is not more difficult than the delineation of the 
 nose, but when put in motion, the selection of one 
 expression requires great care, for the picture can 
 pourtray but one of its many variations. Aged 
 persons are easier to paint than young ones — the 
 animation having ceased considerably — that is, the 
 variety and velocity of motion has ceased, the 
 muscles round the mouth have become inactive, 
 the lines prominent, and the mouth tranquil. 
 
 All the features in a state of rest would imply, 
 
 g2 
 
124 THE ART OF MINIATURE PAINTING. 
 
 in a painting, suspension of the mind. To give ani- 
 mation, the features must be put in motion, the quan- 
 tum can only be determined by experience. From 
 tranquillity to the smile, may be ranked as familiar 
 expressions, unexceptionable for portraits, and not 
 subject to capricious observation; excited and 
 laughing expressions occur less frequent, the in- 
 creased shadows are less comprehended, and the 
 pictures are considered pedantic. In composition, 
 where cause explains effect, every expression is 
 admissible, and may be employed with the happiest 
 result. It is better, in portraits, to give a generally 
 recognised character, than those only seen on par- 
 ticular occasions, which are transitory to the com- 
 mon observer. 
 
 The bow-like line, caused by the union of the 
 lips in a closed mouth, is perhaps the best to 
 describe first, in an expression we wish to represent 
 in the picture ; the upper boundary of the upper 
 lip is easily adjusted upon it, by causing the sitter 
 to renew the smile, and if not readily given, change 
 of conversation must be resorted to, till we again 
 see the expression we set out with ; the under lip 
 must be gained the same way. While the absolute 
 
THE ART OF MINIATURE PAINTING. 125 
 
 form of the mouth is under our consideration, the 
 shadows which surround it (caused by the action of 
 the muscles) must be impressed on the mind, lest a 
 change of light, health, or animation, at the next 
 sitting, cause effects which do not accord with the 
 outline previously obtained. The appearances we 
 begin with and draw from, should be those we 
 finish up to ; the future sittings should serve 
 rather to recall the first, than to alter the picture 
 to what we see at each time, or we may ask, what is 
 the use of accuracy of outline, on which every thing 
 depends, and so many cannot be made to see the 
 necessity of ? On these observations depend tlie 
 art of taking a good likeness, for no one must ex- , 
 pect the person, light, animation, &c., to remain fixed 
 even during one sitting, much less under the in- 
 fluence of future visits. Changing the picture to 
 present appearances, is often the means of spoiling 
 it, the first sketch being more striking, if the artist 
 draws well, and attends to his outline. 
 
 The artist, being aware of these provisions, and 
 anxiously studying them from nature, is often com- 
 pelled to see his picture compared with his subject, 
 under different light, dress, and expression, and 
 
126 THE ART OF MINIATURE PAINTING. 
 
 to hear disappointment expressed, that there is 
 not a correspondence, although resemblance is ad- 
 mitted. 
 
 No picture ever classed with the original, under 
 such circumstances, any more than the person ap- 
 peared to the eyes of the artist at the various 
 sittings. The resemblance of the character is 
 what we want, and is all that can be repre- 
 sented. We cannot mix or pluralise character 
 consistently. 
 
 Too strict attention to the outline cannot be 
 paid, it being a difficult matter to be literally cor- 
 rect. Rigid practice renders accuracy habitual and 
 a pleasure ; slovenly drawing generates labour and 
 difficulties. Many persons become slovenly by 
 imperfectly aiming at the masterly stroke, without 
 recollecting that it is necessary first to be accurate, 
 then masterly. Accuracy does not require the 
 drawing to be loaded with useless minutise, all the 
 features and contour should be spirited, which 
 leaves room to enter breadths of light and shade, 
 agreeably to the highest effect — the necessary mi- 
 nutiae being held in prospect. 
 
 A miniature meets with more general approba- 
 
THE ART OF MINIATURE PAINTING. 127 
 
 tion, with the features nearly in a state of rest, 
 merely actuated by some pleasing influence of the 
 mind, unless opening the mouth agrees with 
 the peculiarities of the original, or gives a requisite 
 animation. 
 
 In the combination of features, there is always a 
 predominating character, which, whether laughing, 
 crying, silent, &c., we perceive reigns over the 
 whole. It is that je ne sals quoi we want, and must 
 have, to give satisfaction. Every view of the head 
 will not give it ; the reason is, it is not so marked 
 in some as in others, the nose, as before stated, 
 being one leading cause. Many persons may re- 
 collect, at some period or other, having caught a 
 glance of a friend, but from the view of the face 
 giving a selected and not predominating character, 
 have been doubtful if it were their friend or not. 
 Thus, from an unfortunate choice of position, many 
 a likeness is well drawn and skilfully treated, which 
 is not considered good. 
 
 The person being seated to the best advantage, 
 and the pallet set, proceed to drawing : — 
 
 It is customary to draw on a piece of Bristol 
 paper, arranging the subject, then with some co- 
 lour, agreeably to the style of the artist, to 
 
128 THE ART OF MINIATURE TAINTING. 
 
 strengthen the outline, and lay broad masses, with- 
 out softening, over the place of the shadows — 
 madder brown is a very good colour for the pur- 
 pose. This sketch thus exhibits the masses of the 
 hair, the marked shadow under the eyes, nose, 
 mouth, side of face, if in shade, drapery, &c., over 
 which the ivory is then placed (having been pre- 
 viously gummed at the four corners and inter- 
 mediately), so that the head is brought to the pro- 
 per space on the ivory, a weight is placed upon it, 
 with a piece of clean paper between, and in five 
 minutes it will be attached, and fit to proceed on. 
 The coloured outline shows through the transparent 
 ivory, and serves as a guide for tracing — correcting 
 the drawing from the person, which may, with this 
 assistance, be done at once. I have seen de- 
 scriptions to outline on the ivory faintly, with 
 a silver point, &c., but any thing besides colour 
 is not good. 
 
 From long practice I have discontinued drawing 
 on the card, and design at once with colour on the 
 ivory, saving the time of making the first outline, 
 to my own ease, and the accommodation of the 
 sitter. It is desirable not to alter the outline, it 
 may, therefore, be perceived, that it will require 
 
THE ART OF MINIATURE PAINTING. 129 
 
 much practice to do without the card-sketch. I 
 cannot, from this reason, advise beginners, or those 
 who draw imperfectly, to commence on the ivory ; 
 but I would recommend the strictest attention to 
 form, first with the pencil, then make the attempt 
 on the card with the brush, and, as soon as con- 
 fidence will permit, to draw at once on the ivory ; 
 for the traced sketch seldom possesses the spirit of 
 the first drawing. 
 
 Set the Pallet as follows : — 
 
 Vandyke Brown. 
 
 Indian Red. 
 
 Madder Brown. 
 
 Indigo. 
 
 Venetian Red. 
 
 Intense Brown. 
 
 Madder Lake. 
 
 Vermillion. 
 
 Seppia, 
 
 G 5 
 
 Indian Yellow. 
 
130 THE ART OF MINIATURE PAINTING. 
 
 The patches of colours set in this order, the tints 
 described in this treatise are conveniently com- 
 pounded. Additional colours may be introduced 
 on the blank spaces, or on the other side. Take 
 only as much water as will grind the colour in small 
 patches — large patches waste colour, and do not leave 
 sufficient blank spaces to form the compounds. An 
 ivory pallet is best for miniature painting, the tints 
 appearing the same as when worked on the mi- 
 niature. 
 
 The eye nearest the artist, in a three-quarter 
 face, is placed in the middle of the breadth of the 
 ivory ; the chin, in a person of middle stature, in 
 the middle of the length, and higher according to 
 the proportional height of the person. As the 
 description of painting a face in a three-quarter 
 view supplies the most observations, it is first 
 necessary to consider the size of the ivory to be 
 painted on, and to form an idea of the proportion 
 the head should bear to it ; the upper lid of the 
 near eye should then be drawn, proportioned to the 
 space assigned for the head, and for a guide to the 
 relative proportion for the rest of the features. 
 Tlie mind must arrange these points before we 
 
THE ART OF MINIATURE PAINTING. 131 
 
 commence, or we shall find every thing too large or 
 too small for the happy proportion of our picture, 
 and the conveying a just notion of the stature. The 
 work will have to be washed out, and time sacri- 
 ficed, if this is not attended too. 
 
 The adjustment of the head to the size of the 
 ivory, and its equally diminished features, is not to 
 be taught; every one must bring themselves, by 
 scrutinizing practice to mathematical accuracy, to 
 adapt form to form, superior to mere rule, for 
 something will be discovered in drawing every 
 face, which can only be surmounted by experience, 
 originating from the variety of nature never pre- 
 senting a duplicate, and the influence of each mind, 
 multiplying it by exhaustless diversity. 
 
 The length and form of the near eye being 
 drawn, take the same breadth for the commence- 
 ment of the nose, next the inner corner of the 
 other eye, which being on the round or receding 
 curve of the head, take a degree shorter breadth 
 for the other eye-lid, the inner corner nearly meet- 
 ing the line of the nose, eyes closer than usual, the 
 distant eye will come nearly up to, and sometimes 
 within the line of the nose, particularly in hollow 
 
182 THE ART OF MINIATURE PAINTING. 
 
 orbits, with a large and prominent nasal bone ; the 
 under eye-lids may now be formed, or left till the 
 general proportions of the rest of the face are 
 satisfactory. Draw that part of the nose which 
 comes down from the eyebrow (the nasal bone), 
 with the off, or right eyebrow (supposing the sub- 
 ject to sit with the left cheek'towards us), taking 
 care that it be neither too high nor too near the 
 eye-lid ; describe the left eye-brow with equal care. 
 The attention must next be drawn to the line above 
 the upper eye-lid, caused by the collapsing of the 
 muscle on opening the eye ; it is very diversified, 
 folds but little in many, in others to such a degree 
 as to overhang, uniting in the middle with the line 
 of the lid, opening only towards the nose and the 
 outer corners. This line has as much influence on 
 the resemblance of the eye as the form of the lid 
 itself. In infants, these two lines unite at the white 
 tendon, in the inner corner of the eye, and gra- 
 dually break into two commencements as the or- 
 biculary muscle develops. By the quantity of 
 development the age of children may be judged. 
 Some eyes never distend, the collapsing line always 
 drawing from the tendon. It is rare to see both 
 
THE ART OF MINIATURE PAINTING. 133 
 
 eyes formed alike, and we may often trace the cause 
 to the unequal development of the orbiculary 
 muscles, or their action. 
 
 We may now proceed with the line of the nose — 
 (the cartilaginous part) ; to the point, judging of 
 the angle or prominence, by imagining a line 
 raised perpendicularly from the point of the nose, 
 observing where it would pass into the right eye, 
 the width of which, when compared, will enable us 
 to judge of the length of the nose. The outer 
 corner of the right eye, the inner corner or rise of 
 the nose, and the point of the nose, form a regular 
 or irregular angle, by position or prominence. The 
 septum, or form of the lower part of the nose — and 
 nostrils, are peculiar to each individual, but be- 
 ing nearly stationary features, are readily imi- 
 tated. 
 
 The width of the mouth, if compared with the 
 width of the nostrils, is rendered correspondent — 
 the width, in general, is one-third wider. The 
 eyes, nose, and mouth, being fixed, the contour of 
 the face may be accurately drawn, by observing 
 the breadth from the outer corner of the eye, the 
 top of the nose, and corner of the mouth. The 
 
134 THE ART OF MINIATURE PAINTING. 
 
 form of the head, from the different styles of dress- 
 ing the hair, cannot be described, and must be ob- 
 tained by comparing the forms, and proportioning 
 it to the features. 
 
 'As it will be apparent to every one, that ac- 
 curacy is necessary, and that being so depends on 
 a ready ideal measurement of infinitely various, 
 combined, and intricate form ; it may communicate 
 the principles for obtaining it, by stating, that an 
 idea of the space, for each distinct part of the 
 drawing, should impress the mind ; for instance — 
 draw a miniature on a card, cut out the piece that 
 contains the hair, the whole face, the cravat, the 
 neck and chest (if a lady’s picture), the coat or 
 pieces of drapery, leaving the background entire, 
 then lay them together as a whole, or as a puzzle 
 is put together. This will give an idea of the 
 masses, or totality of each section of the picture — the 
 minutiae of each section, well appropriated, unite 
 as consistently — the properties of each section, 
 united with the sections, form a totality, or just 
 idea of the plan of the picture. Describing the 
 portions of a picture, make less impression than 
 seeing them when separated. 
 
THE ART OF MINIATURE PAINTING. 135 
 
 Outline the eyes, with the broad-pointed small 
 pencil, with Madder Brown, taking the colour with 
 some strength, making the upper eye-lids with 
 firmness. It may appear thick and strong to per- 
 sons unaccustomed to it, but the breadth converts 
 to use in the shadows of the lids, which project 
 over the Tunica Albuginea, or white of the eye. 
 The apparent strength vanishes on the introduction 
 of surrounding colour. If made too faint at first, 
 it has repeatedly to be strengthened, and often the 
 spirit of the form is lost. It is better to appear too 
 strong than too weak, if the drawing is accurate — 
 taking off the white of the ivory on introducing the 
 background will reconcile it. With Madder Brown 
 form the nose — one broad mass should include the 
 shade on the lower part of the nostrils, and the 
 shadow cast from them on the upper lip ; leaving 
 the Septum, or cartilage between the nostrils, to be 
 made out afterwards on this mass. Lay the upper 
 lip with the same colour at once, and let it fall into 
 place ; define the under lip with Madder Lake 
 and a little Indian Yellow if bright, and with a 
 little Indigo and Madder Brown describe the 
 
136 THE ART OF MINIATURE PAINTING. 
 
 lower boundary of the upper lip, which will 
 secure the expression of the mouth, and the 
 finishing touches will not stand abruptly on the 
 work. 
 
 The contour of the face and the ear may next 
 be entered with Madder Brown. Change the pen- 
 cil for a larger one, and imitate the darker masses 
 of the hair as accurately as possible, firm in colour, 
 leaving the ivory only for the high lights. If a 
 gentleman’s picture, draw the line of the collar 
 with a little Indigo and Indian Red, or any other 
 neutral colour, which may suit the complexion and 
 surrounding colour. Form the cravat, and sketch 
 the figure as true as possible. I would not advise 
 any consideration, whether this orbless sketch bore 
 any resemblance, only that the forms were accurate 
 and proportioned in all particulars with the party, 
 general contour, and easy position. Touch in the 
 pupils of the eyes with Seppia, Intense Brown, or 
 Lamp Black and a little Lake, so that both are 
 directed towards you, or look equally away. Draw 
 the outer circle of the iris, with the colour of the 
 eye to be represented. When dry, add the colour 
 
THE ART OF MINIATURE PAINTING. 137 
 
 over the whole iris, leaving a small white spot for 
 the visual ray. You may now judge if your like- 
 ness will be good. At this time, take a small 
 looking glass, of excellent quality, and holding it 
 vertically to the side of the picture, look at the re- 
 flection in it — if the drawing is incorrect, the eyes 
 will not look at you, the mouth will appear dis- 
 torted, the forehead project away, or the off- 
 side of the face appear too large. Any error 
 must be corrected before more is done. When 
 the drawing bears examination you may proceed. 
 
 Some artists outline with Lamp Black and Car- 
 mine, mixed to a middle tint, and arrange all the 
 gradations of shade with it, and by skilful treat- 
 ment finish highly on it. There are many other 
 processes agreeably to the variety of styles. I have 
 always found Madder Brown an agreeable colour ; 
 it works clear and freely, lays a warm ground, sup- 
 porting transparency in finishing the shadows ; it 
 converts to many agreeable . tints by working other 
 colours over it. 
 
 On the examined outline, lay evenly, with Mad- 
 der Brown, the mass of shadow under the eye- 
 brows, the deepest shades at the outer swell of each 
 
138 THE ART OF ]S1INIATURE PAINTING. 
 
 under eye-lid ; mark the nostrils, and separate the 
 lobes of the nose, by deepening the cast shadow, 
 the peculiarities of the shade under the under lip, 
 caused by the crossing of the Depressor Labii 
 . Inferioris Proprius muscle, the shade down the 
 face, round the bottom of the chin, and the ear. 
 This positive manner leaves every thing so decided, 
 that we have only to refer to the original to fill up 
 to them, the principal cause of likeness continually 
 refreshing the memory. 
 
 Instead of just touching the point of the brush 
 into the colour,' rub up the colour till it can be 
 taken equally fluid and clear. The maximum of 
 fluidity practice only can regulate — always have 
 enough, never work dry, it is as bad as having con- 
 siderably too much, which will float and settle un- 
 even and with edges. 
 
 A small portion of gum should be introduced in 
 the first outline and shades, to prevent its stirring 
 in the after-work, and it is necessary to remark, 
 not to work on the point of the pencil, but on 
 a moderate inclination, making the lines firm at 
 once, without leaving oft* or patching. 
 
 The features being in one colour only, we 
 
THE ART OF MINIATURE PAINTING. 139 
 
 must next introduce pearly tones and grey tints. 
 With Madder Brown and Indigo meet the shade 
 under the brows, at the corners of the eyes, the 
 swell of the under eye-lids, the temples, between the 
 eyes, upper lip, and chin, leaving the broad lights 
 clean and open, to receive the carnations, which 
 should now be laid on the cheeks, chin, &c., with 
 Madder Lake, spread with a breadth of pencil, 
 without regard to patches, in the manner oil-colour 
 is laid on. Without breadth the colour is too im- 
 perfect to form a basis or judgment of the intended 
 effect. Touching in the colour by patches, leaves 
 so many interstices to destroy its true effect, unless 
 they are very broad, equally handled, and we are 
 prepared by experience to anticipate it. 
 
 The tint of Madder Brown and Indigo, laid on 
 as a receding or delicate shade, may be passed 
 over the Madder Brown first laid down ; having 
 its own colour in the compound it will harmonise. 
 It may be taken as a standing rule in miniature 
 painting on ivory, that tints to be applied, having 
 the same colour in the compound as the colour it is 
 laid on, will always be to our satisfaction, if the 
 compound is clean and good. It is well to com- 
 
140 THE ART OF MINIATURE PAINTING. 
 
 pound tints with this idea, to subdue or heighten 
 the work. 
 
 If the picture in embryo reminds us of all the 
 anatomical forms, the masses of light and shade, 
 and the locality of colour, the first sitting may be 
 given up. 
 
 Drawing freely, this process takes an hour or an 
 hour and a half — a longer period for a lady’s pic- 
 ture, on account of the curls, ornaments, drapery, 
 &c. The time stated, is that of an artist who 
 draws with colour on the ivory, those who require 
 to draw on card, must allow at least half an hour 
 more, or take an extra sitting. 
 
 It is more favourable to the picture to work 
 rapidly, to spare the sitter fatigue, and to prevent 
 the mind of both parties flagging. 
 
 It is the practice of many artists to draw the face 
 on the first sitting, slightly indicating the hair and 
 figure, in miniatures which embrace only the head 
 and shoulders. I prefer fixing the hair and de- 
 fining the drapery, if well dressed and picturesque, 
 for reasons after assigned. If the head is badly 
 dressed, and the party has not on the dress to be 
 painted, I yield to necessity. 
 
THE ART OF MINIATURE PAINTING. 141 
 
 After painting a few miniatures, it will be ap- 
 parent how different any person in the same dress, 
 and the hair dressed, as nearly as possible, will ap- 
 pear to the critical eye of an artist, on taking the 
 second sitting. An intruding curl and its shadow, 
 on a lady’s face, will give another cast to the coun- 
 tenance ; the hair flatted by a hat, a different 
 collar, a black or coloured cravat substituted for a 
 white one, an officer in uniform, then in private 
 dress, and the like transformations ; for these rea- 
 sons, I consider it best to commence with the sit- 
 ter as they are to be painted, to form a true con- 
 ception of the tout ensemble^ positively to indicate 
 the countenance, style of hair, and outline of the 
 figure, letting the after-sittings and variations serve 
 only to remind me of that first impression I had 
 concluded on. We are liable, by following the 
 changes, to mistake the character, and lose the 
 strength of the likeness. Should, however, more 
 graceful forms of hair, &c., present themselves, and 
 they tend to improve the first drawing, it is de- 
 sirable to make amendments. 
 
 Persons generally are particular in their appear- 
 ance for the first sitting, have more animation than 
 
142 THE ART OF MI]S!IATURE PAINTING. 
 
 when they repeat the visit, anticipating the confine- 
 ment which no one considers agreeable ; if a grace- 
 ful negligence favours the picture, do not lose the 
 opportunity of displaying it. 
 
 Pictures of larger dimensions, embracing the 
 hands, and more than a plain back-ground, require 
 a different treatment ; the head must be drawn, 
 the figure sketched, and the back-ground studied, 
 they being too much under consideration for an 
 artist to decide a V instant. Pictures of this sort 
 are the work of experience, I shall, therefore, 
 confine myself to the usual small miniature in my 
 description. 
 
 SECOND PART OF THE FIRST SITTING. 
 
 Between the first and second sitting, if the re- 
 collection is retentive, regulate all the tints in the 
 face, leaving them as much as possible free from 
 irregularities or blotches, which must be done with 
 a moderate-sized hair pencil on the flatted side. 
 Small touches from the point would only increase 
 the number of irregularities of a smaller size, am’ 
 defeat that breadth of wash which will best contri- 
 
THE ART OF MINIATURE PAINTING. 
 
 143 
 
 
 $ 
 
 V 
 
 I 
 
 bate to a solid effect. According to the complexion, 
 go over the whole face with what may be termed 
 the flesh or local colour. If dark and healthy, with 
 Madder Brown ; if fair, with Venetian Red, Ver- 
 million, or Madder Lake and Indian Yellow, mixed 
 to a Vermillion tint. The choice of a local flesh 
 tint must be determined by the harmony it will 
 form with the shades and shadows. The passage 
 must be done with caution not to disturb the draw- 
 ing of the features, passed equally, and not too red. 
 It cannot be floated on, but must be applied with a 
 broad flat brush, with as much gum as shall shew 
 a trifling glaze when held in the direction of the 
 light. The strength of colour must be determined 
 by the complexion of the party and the state of the 
 picture. It is better to have to repeat the passage, 
 than to have it too strong. The face will now 
 stand for another sitting ; with the broad pencil flat 
 the hair, still leaving the ivory for the gloss or high 
 lights. Do what can be done safely to the drapery, 
 and determine on the colour and arrangement of 
 the back-ground, which pass on by turning the 
 ivory upside down, holding it on a slight incli- 
 nation. Use a large pencil to float on the ground. 
 
144 THE ART OF MINIATURE PAINTING. 
 
 and lay it level till it is dry. If the colour cannot 
 be determined, float on a tint of Indigo and Mad- 
 der Brown, which will be no detriment to whatever 
 colour may be superadded. The back-ground 
 thrown on in this stage, serves to suppress the 
 whole of the ivory round the head, lightens the ap- 
 parent strength of the first painting, and enables us 
 to treat the boundary of the head and face at the 
 next sitting. 
 
 BACK-GROUND TINTS. 
 
 From Seppia, Indian Yellow, and Lake, may be 
 formed many tints by altering the proportions, and 
 which will make a diversified ground without the 
 aid of any other colour. 
 
 Lamp Black, Gamboge, Lake, and Burnt Sienna, 
 or leaving out the Sienna, make excellent tints, 
 which work solid and free. A little Blue as a 
 finish works to good effect. 
 
 Lamp Black and Burnt Sienna form a warm 
 colour. 
 
 Lamp Black and Carmine floated, levelled with 
 Vandyke Brown, and finished with Ultramarine, 
 look well. 
 
THE ART OF MINIATURE PAINTING. 145 
 
 Lamp Black and Carmine is a good preparatory 
 ground when red drapery is introduced. 
 
 For Blue, or Sky-grounds, there should always 
 be a neutral tint passed over first, or the Blue will 
 overpower the picture, and look poor. 
 
 Indigo and Burnt Sienna, or Indigo and Van- 
 dyke Brown, make fine green-tints ; but if used 
 too copiously in floating, parts settle and dry 
 black. 
 
 Vandyke Brown, worked over a neutral ground, 
 loosened with a little Lake, and finished with Ul- 
 tramarine, or Indigo, has a fine effect. 
 
 Any floated ground that has Vandyke Brown, or 
 Gamboge in it, must not be worked upon with 
 Seppia without great care, or it will turn the more 
 solid parts black. 
 
 Ultramarine, Verditer, Cobalt, require rather 
 more gum than the other opaque colours, or the 
 w'ork will look dry on the surface, if placed on a 
 transparent ground. 
 
 Nature interposes so much air between the vision 
 and the back-ground, that no raw or monotonous 
 colour should be used without neutralizing and 
 
 H 
 
146 THE ART OF MINIATURE PAINTING. 
 
 tempering, which give the appearance of atmo- 
 sphere, and harmonizes it with the head. 
 
 Skies having a variety of colours — first pass over 
 the neutral ground, then put all the colours in order, 
 and a combining tone worked over the whole will 
 blend and finish. 
 
 The arrangement of the picture, and practice, 
 will suggest many other compounds. The colour 
 of the back-ground should never violently contrast 
 with the head or drapery, but should rather be 
 managed to support both. 
 
 Many float on nearly the full strength of the 
 back-ground at the first wash. This cannot be 
 done till the head is very forward, without many 
 hard edges settling round the head, and destroys 
 the combination which should subsist. The tone 
 is not easily altered, and variety seldom attained. 
 It is best to neutralize the ground according to the 
 proposed local colour; to patch on the tints to 
 suit the figure. A picture finishes easier, and 
 looks better, when brought forward in every part 
 progressively. 
 
 If in floating the back-ground, parts settle in 
 
THE ART OF MINIATURE PAINTING. 147 
 
 streaks or dark masses, reduce the lighter parts to 
 the same strength as the darker with broad patches. 
 This gains solidity, looks more satisfactory as it- 
 proceeds^ and the finish has an equal operation. 
 
 THE SECOND SITTING. 
 
 On taking the second sitting, dispose the pereon as 
 nearly as possible as at the first. If the first sitting 
 were taken on a bright sunny day, and the second 
 should prove a gloomy day, be prepared to see 
 every shadow less distinctly and spread ; the high 
 lights much lowered, and everything less spirited, 
 which, if painted down to, the brilliancy might be 
 difficult to recover at the next sitting. If time and 
 circumstances admit, it is best to choose similar 
 light, that the appearances may differ as little as 
 possible. Get the person to sit similarly to the 
 first sitting, without being fastidious, for if the atti- 
 tude be well chosen, and the first drawing accurate, a 
 little deviation will in no way impede our progress. 
 The cast we have chosen will still be manifest, and 
 from the contrast of this position, we may the more 
 readily perceive the cause. 
 
 H 2 
 
148 THE ART OF MINIATURE PAINTING. 
 
 The hair, both of ladies and gentlemen, will 
 be different in the masses, although the general 
 arrangement will be the same ; the first formation 
 should still prevail, and the only addition should 
 be such accidental forms as will add grace without 
 altering. 
 
 As in most cases, the artist only sees the parties 
 when sitting to him, he can only form a limited 
 opinion of the complexion, which may be much 
 higher, or lower, on those occasions than on the 
 aggregate. The temperature of the atmosphere 
 and constitution, from sitting to sitting, will exhibit 
 changes, and taking a medium for the carna- 
 tions, we are least likely to err, both as to the true 
 colour of the subject, and what is necessary for the 
 tone of the picture. Persons recently from the 
 country often present colour too high, and unusual 
 for their general complexion. The artist’s percep- 
 tion must guide him where there is excited colour 
 or paleness from indisposition. 
 
 If the form of the shadows in the first painting 
 differ from those at the second sitting, do not alter 
 them if they convey the true character, some mus- 
 cular action — slight change of position — some un- 
 
THE ART OF MINIATURE PAINTING. 149 
 
 discovered cause, works the change, and would 
 through a dozen sittings — which should ever deter- 
 mine the artist to adhere to the one impression 
 (and, perhaps, the first is the best), on which he 
 must be judged. 
 
 I am aware, that without due consideration, this 
 direct copy of the character (basis of its form) and 
 unalterable adherence to it, will appear to many 
 injudicious and impossible to attain; and sitting 
 down satisfied that they have not the ability to do 
 it, would rather get what is termed a fair sketch, 
 and be led to get a likeness together piece-meak 
 Till practice has matured the judgment, every one 
 must be satisfied to do their best, but in that prac- 
 tice every endeavour should be their best, done with 
 accuracy, not leaving forms to be got more correct, 
 which in themselves will have altered, when the 
 attempt is made to do so, which is the case with 
 the form of shadows in portraits painted from life. 
 It is only inanimate and stationary bodies that we 
 can refer to with certainty as to figure. Hence it 
 is better to leave trifling apparent inaccuracies in 
 the first painting, and work up the picture, than to 
 
150 THE ART OF MINIATURE PAINTING. 
 
 be ever altering and producing more, by following 
 fictitious and changing forms. 
 
 If friends are permitted to be present at the 
 sittings, set them in such a direction that the sub- 
 ject need not turn to address them, which would 
 perplex, by exciting so many expressions, or cause 
 the person to turn just as the artist is making 
 forms which require the greatest care. 
 
 If the party sitting is less or more animated than 
 we require for our first painting, the expression 
 must be lowered or heightened by the introduction 
 of suited topics, which the general knowledge of 
 the artist only can supply. Throughout the paint- 
 ing of the features, especially the eyes and mouth, 
 some favourite subject of the sitter should be 
 maintained. 
 
 Being prepared for every deviation of form, 
 light, and colour, which may occur at a second 
 sitting, give depth to the upper eye-lids, and the 
 collapsing line above, with Madder Brown and a 
 little Indigo, put in the stronger part of the eye- 
 brows, as well as that part of them which is 
 loosened by the light, with the colour of the hair 
 
THE ART OF MINIATURE PAINTING. 
 
 151 
 
 Improve the deep shade under the brows, and all 
 the peculiar forms of shade caused by the Orbicu- 
 larum Oculi muscle, commonly called the upper 
 and under eye-lids. Make out the nostrils, and 
 strengthen the cast shadow. Regulate the corners 
 of the mouth, upper and under-lip, and its shade — ■ 
 the chin, and the ear. This practice of going through 
 tlie features preserves our first drawing, and by the 
 strength assumed by this improving repetition, 
 working the rest of the face, can scarcely obliterate 
 a portion of the likeness. The portions of the face, 
 or breadths between the eyes, nose, and mouth, 
 when brought as forward, will unite with them ; 
 reduce the hardness of their outline, and bring out 
 the true likeness. The colour of each of the fea- 
 tures should be the same as at the first sitting, 
 unless we have worked too red, in which case we 
 may take the colour more grey, and vice versa if 
 we have worked too grey. Having regulated the 
 forms of the features, next take into consideration 
 the colours in the face as locally affected by light 
 and shade. With the pearly tint of Madder Brown 
 and Indigo, or Madder Brown and Lamp Black, 
 improve all the half shadows on the face, still leav- 
 
152 THE ART OF MINIATURE PAINTING. 
 
 ing the outline of the face open for the reflected 
 light, wliich comes off, surrounding solids, and 
 lightens the visual margin of all curved forms. 
 With the colour for the eye strengthen the iris, 
 leaving the lower part lighter, or the side, if a full 
 eye, and lightened by reflection. With Madder Lake, 
 and a little Indian Yellow, give the most brilliant 
 carnations their proper place. Healthy persons 
 have the lower part of the forehead warm, the 
 cheeks rich, and the chin fresh ; the inner corners 
 of the eyes red, and the ear warm. Take Madder 
 Lake, Venetian Red, and a little Blue for the side 
 of the nose, leaving the ivory white, for the light 
 which rests on the elevation of the cartilage, and on 
 the tip. With the same colour unite the carna- 
 tions with the shade down the sides of the face, 
 round the mouth and chin. In dark complexions, 
 the Madder Pink and Indian Yellow will be too 
 bright and delicate, unless we have previously laid 
 down a tint of Madder Brown ; indeed we should 
 be very cautious of colour working too bright, and 
 as we proceed with the first sitting, we should not 
 be alarmed at the want of brilliancy, but so unite 
 the greys with the colour, that improving the local 
 
THE ART OF MINIATURE PAINTING. 
 
 153 
 
 colouring, at the second sitting, with some portion 
 of the greys ; the finishing with brilliant and trans- 
 parent colour will unite the whole agreeably, and 
 produce as much brilliancy as nature will warrant. 
 
 The highest light will be found on the forehead. 
 The upper part of the cheeks, though apparently 
 as light, are not so in reality ; the angle of light 
 being more acute, and the part being surrounded 
 by strong shades about the eyes, nose, and side of 
 the face, the lower part of the face gradually in- 
 creases in shade down to the chin. The beard in 
 men’s faces deepens the strength of colour. Turn- 
 ing a well painted picture upside down will perfect 
 the idea of this precept, by the insensible loss of 
 light on the lower features. 
 
 The sides of the face should never be left with 
 pure colour, but should be so united with greys, or 
 neutral colour, as to represent the loss of the imme- 
 diate rays of light, give rotundity to the head, value 
 to the high lights and local flesh-tints, and to har- 
 monize with drapery or back-ground. 
 
 The lips should now be treated. Full mouths 
 require the upper lips to be painted darker than 
 thin lips, particularly if the upper lip projects. 
 
 H 5 
 
154 THE ART OF MINIATURE PAINTING. 
 
 Madder Brown is a good colour for the upper lip 
 where depth is required, finished with Lake. In 
 other cases, Madder Lake. The under lip. Mad- 
 der Lake ; Vermillion, &c. as circumstances may 
 demand. 
 
 Venetian Red and a little Indigo. 
 
 Venetian Red and a little Ultramarine. 
 
 Vandyke Brown. 
 
 Lamp Black and Madder Brown, &c. may be 
 used to advantage in subduing the tones on the 
 lower part of the face. Most complexions will 
 take the first ; very delicate ones, the second ; dark, 
 swarthy ones, the third ; healthy, ruddy com- 
 plexions, the last. It may be observed in some 
 complexions the reds predominate, in others blue, 
 in others yellow ; in either case the picture must 
 be commenced with such colours as will enable us 
 to finish to character ; and it is well to lower all the 
 shades, and the base of the local flesh-tints as much 
 as possible in the early part of the painting, to 
 avoid working heavy, and opaque colour over the 
 transparent to produce the shades which never has 
 the appearance of shade, but stand on the painting 
 like dirty etchings. 
 
THE ART OF MINIATURE PAINTING. 155 
 
 The whole of the face should present at this 
 sitting every variety of anatomical form, all the 
 peculiarities of the complexion, all the influence of 
 light and shade ; but, of course, the colour partially 
 irregular, which we must be satisfied with, till we 
 proceed to the finishing. 
 
 Pass colour over the high lights of the hair, 
 covering the ivory, but not destroying the lights. 
 
 Head-dresses in ladies’ pictures — cravats, &c., in 
 gentlemen’s, should be forwarded to the state of 
 the face. 
 
 The foreheads of men are more muscular and 
 strongly marked than women ; the eye-brows are ge- 
 nerally heavier, the nose more irregular, or muscu- 
 lar, and require more drawing. Men’s faces should 
 be painted boldly and fearlessly, representing every 
 muscular strength. Women’s faces require more 
 delicate treatment ; and from the absence of mus- 
 cular forms, have less drawing, but more delicacy 
 in the round, or subtilely -pleasing union of light and 
 shade, and consequently are more difiicult to paint 
 than men. 
 
 Rather take an extra sitting, than go on v/hen a 
 lady shows symptoms of fatigue. 
 
156 THE ART OF MINIATURE PAINTING. 
 
 Before giving up the second sitting, every colour 
 in the face should be tinted on the picture, and so 
 united, that decided blue, red, or yellow, cannot be 
 detected ; the shadows not opposed to, but sup- 
 porting the lights. 
 
 The early practitioner must not be deterred at 
 the want of brilliancy in this stage of the pic- 
 ture, nor attempt to finish till the shadows are 
 amply coloured, the local tints harmonized by 
 the happy interposing colour between them and the 
 stronger shades, and the high lights covered with 
 a light tint. The picture had better appear too 
 dark than too light throughout the two first sittings, 
 for proper finishing levels the unequal colour which 
 now appears darker than it really is, through the 
 contrast of the darker with the lighter parts of the 
 colour ; which lights, being brought up to the 
 strength of the darker touches, clears, levels, 
 lightens, and the true and desired brilliancy ap- 
 pears. A well washed-in picture takes less labour 
 to finish, and the texture is always better. 
 
 The colour being applied at this sitting with a 
 full-sized pencil, on the flatted side, the delicacy 
 and frequency of the passages leave the face re- 
 
THE ART OF MINIATURE PAINTING. 157 
 
 gularly hatched, or etched, from the lapping of 
 one touch partially on the adjoining one If those 
 passages are laid the course of the muscles, and 
 turns of the face, they will leave without study a 
 fine uniform hatching, which readily converts to a 
 pleasing stipple or texture. 
 
 Many miniatures, in the old style, have the 
 floated ground finished by a regular course of 
 diagonal hatches or lines, slanting from right to 
 left, without stippling. 
 
 Hatching and stippling are more pleasing to the 
 eye, and more consistent with good painting ; not 
 that a texture is formed for texture sake, but be- 
 cause the nature of ivory prevents us laying colour 
 over colour perfectly even, without regulating, to 
 which it is well to give the most pleasing appear- 
 ance. When experience enables the artist to pass 
 on the colour boldly, guided by a judicious ob- 
 servance of quality and quantity finished with taste, 
 the picture will have an appearance as flat and 
 solid as oil-colour. Subjects which admit of great 
 depth, and copies from the old masters, may be 
 treated with a solidity and finish equal to oil. 
 
158 THE ART OF MINIATURE PAINTING. 
 
 SECOND PART OF THE SECOND SIITING. 
 
 Between the second and third sitting, proceed on 
 the back-ground. Increase the depth as the sub- 
 ject requires, in the same way the colour w^as got 
 on the face, but with larger masses. Lessen them 
 as it gets level, and touch out the lighter parts of 
 the ground in the direction they may occur. Pro- 
 ceed again, and again, equally over the whole, 
 regulating the strength of the colour to the various 
 depths that may be determined on for the back- 
 ground. There is a necessity nearly to finish the 
 back-ground, to be enabled the better to judge of 
 the face, which, if finished first, may not be to our 
 wishes when the ground shall be finished. As the 
 face is the first consideration, it is better to have to 
 harmonize the ground to the face, than the face to 
 the ground. When the back-ground assumes a 
 level, solid appearance, produced by the repetition 
 of hatches or masses of colour, it should be stippled, 
 each touch being a semi-curve laid in every direc- 
 tion, the light interstices between the hatches 
 
THE ART OF MINIATURE PAINTING. 159 
 
 clearly pointing out where the stippling is re- 
 quired. The equal texture will shew when it is 
 finished. 
 
 Stipphng should not be done on the point of the 
 brush, but with a firm touch draAni across the 
 light, which fills it up without destroying the 
 hatches. Where these touches cross, the colour 
 doubles, which, in a Jinished miniature, leads the 
 inexperienced to suppose it is dotted. 
 
 A beautiful texture is produced both on the face 
 and back-ground, by first floating the colour, then 
 with broad hatches (instead of continuing the 
 smaller masses or patches), till the whole requires 
 stippling. Each hatch should be so broad that 
 three would cover the tenth of an inch, with their 
 two Interstices. For the face these hatches, both 
 as to colour and direction, must suit their locality. 
 For the back-ground (having the arrangement in 
 irregular colour), commence at the left hand lower 
 corner, making five or six hatches on an angle of 
 45 deg., little more than the eighth of an inch long, 
 set the same number beside them on an opposite 
 angle, and again diversify and continue them some 
 distance up the picture. Return to the bottom. 
 
160 THE ART OF MINIATURE PAINTING. 
 
 repeat the hatches at slight angles to each set of 
 first hatches, till by repetition, the colour has as- 
 sumed a level intersected lattice-work, the equally 
 handled and diversified direction of the hatches 
 forming at each insection a mellow spot. Then 
 stippling the lights in the intersections brings the 
 surface level, prepares it for an equal reception of 
 the rays of light which is the cause of true brilliancy 
 in a good miniature. Continue this process, space 
 by space, over the whole ground, apportioning the 
 strength of the hatches and stippling to the state of 
 each part. 
 
 A beautifully executed stipple engraving will 
 give an idea of its finished appearance. 
 
 I should advise the former method for beginners, 
 till they have ascertained how level and brilliant, 
 faulty or uneven colour will become by patching 
 with care all the lighter parts, and only repeat- 
 ing on the darker parts when a level colour is pro- 
 duced. It is only continuing the same process till 
 it requires a final regulation or stippling. Having 
 become masterly in regulating colour, they may 
 speculate or compare with the other method ; adopt 
 which they please, or adapt them to various sub- 
 
THE ART OF MINIATURE PAINTING. 161 
 
 jects, it being always better to have more than one 
 process to avoid mannerism. 
 
 Having nearly finished the back-ground, give 
 further finish to the hair or head-dress, which will 
 discover to you precisely what the face will want. 
 Repeat the local and flesh-tints, as far as colour is 
 concerned, leaving any thing doubtful till we see 
 the party again. 
 
 Get the coat of a gentleman’s, or the dress of a 
 lady’s, picture sufficiently forward to prevent the 
 unfinished appearance leading the ideas astray 
 as to the true force of the head. Woollen drapery 
 being best represented by body or opaque colour, 
 the back-ground should be finished near the figure 
 before it is applied, or the coat will cut upon it, 
 and have a disagreeable appearance. The space 
 the coat will cover may be coloured, with any 
 colour, to suppress the white of the ivory, previous 
 to passing on the body-colour. 
 
 Ladies’ dress requires great care, and unless as- 
 sisted by a lay-figure, to work the dress from, a 
 sitting on the dress alone will be requisite. 
 
162 
 
 THE ART OF MINIATURE PAINTING. 
 
 THIRD SITTING. 
 
 We must now look for those particular points 
 which shall stamp the resemblance with truth. 
 The previous general colouring must now be re- 
 duced to confirmed form. The picture at the first 
 sitting should resemble the party as seen at some 
 distance; at the second sitting, as on nearer ap- 
 proach — and at this, as when near; and we can 
 critically detect the nicest peculiarity. 
 
 It is highly necessary the party should be fami- 
 liar and cheerful. Enliven the eyes by giving full 
 strength to the pupils and iris. Full eyes have 
 more reflection on the iris than sunk or small eyes. 
 The eye-brows should be defined. If brilliant 
 lights fall on the projecting lids of eyes, prominence 
 of forehead, tip of the nose, grey hairs, &c. with a 
 wet brush take out the colour cleanly, and then 
 touch them over with gum. Lights thus effected 
 are better than introducing white, which is liable 
 to change, and does not harmonize with the 
 transparency of the face. 
 
 Give force to all the carnations, work Vandyke 
 
THE ART OF MINIATURE PAINTING. 163 
 
 Brown over parts too blue. Venetian Red and a 
 little Blue will finish, and lower Reds, which are 
 too glaring, or Madder Brown and a little Blue in 
 dark complexions. 
 
 All the breadths of shade should be increased or 
 decreased — the light colour of each compound, to 
 lighten — and the darker, to lower. Give a degree 
 of finish to the margin of these forcible shadows 
 which mark the peculiar form of the features ; that 
 under the brows, describes the brow itself, the 
 Orbicularum and the nasal structure ; that under 
 the nose, the lower form of the nose and the 
 upper lip ; that under the mouth, the lower lip — 
 which shadows (cast shadows) should partake of 
 the form which casts them agreeably to the angle 
 of light, and the form that receives such shadow. 
 The greater or lesser strength, by consequence, is 
 according to the greater or lesser prominence. 
 
 Be careful not to have the high lights in a face 
 too bright, or on working up the picture, its bril- 
 liancy and, perhaps warmth, will out-stare the 
 local tints and shadows, and cut the whole into 
 pieces of light and dark, instead of that gradual 
 harmony of shade with diversified colour in the 
 
164 THE ART OF MINIATURE PAINTING. 
 
 countenance, which nature so pleasingly invites us 
 to imitate. 
 
 Mark the eye-lids, nostrils, and their shade, 
 corners of the mouth, the under lip, chin, &c. Lines, 
 strongly marked from the collapsing of parts, should 
 have a tint of Indigo and Madder Brown, or tints 
 corresponding with the colouring, to meet such line, 
 to represent the rotundity which causes them, and 
 to reconcile them with the nearest light. 
 
 Every part of the face, hair, or head- dress, dra- 
 pery near the face, &c., should, at this sitting, be 
 in such a state of resemblance, that finishing the 
 surface of the colour will conclude the work. 
 
 FINISH. 
 
 Having taken the sittings, and so arranged the 
 picture that the resemblance, colour, light, and 
 shade, together with the back-ground and drapery, 
 have their full depth and keeping, we may proceed 
 to finish. A picture that is well washed-in, when 
 held at a short distance, will have a finished appear- 
 ance, the distance reconciling the unequal particles 
 of colour — finish admits the nearer inspection. The 
 
THE ART OF MINIATURE PAINTING. 165 
 
 picture now displaying every variety of form, co- 
 lour, &c., it will be manifest that the colour only 
 requires regulating; take, therefore, a colour, or 
 tint, consistent with the complexion of the party, 
 and stipple out the interstices. In most cases, 
 Venetian Red and a little Indigo will answer our 
 purpose. The little portion of Blue prevents the 
 Red from operating too powerfully on the high 
 lights, it is friendly to the local hues, and illuminates 
 the shadows. Venetian Red is partially yellow, 
 which, with the Blue, forms a tint, that associates 
 with the Blues, Reds, or Yellows, of the features. 
 
 If we, in finishing, work Red over Red, Blue 
 over Blue, &c., it is evident there can be no com- 
 bination, but each will be distinguishable, and often 
 the one or the other will intrude more powerfully 
 than is consistent with nature or agreeable to the 
 vision. As I said before, the finishing is to regu- 
 late, not to add colour. 
 
 In dark healthy complexions, more Blue may be 
 added, or Madder Brown used alone, or with a 
 trifling portion of Blue. 
 
 In swarthy complexions, the Vandyke Brown 
 tells beautifully on the shadows, especially if we 
 
166 THE ART OF MINIATURE PAINTING. 
 
 have demi-opaque colour to finish on. If not al- 
 ready blue enough, a delicate complexion, finished 
 with Ultramarine, has a fine effect. 
 
 'I’he Intense Brown works beautifully over the 
 Blues, about the chin, &c. in dark countenances. 
 
 The secret of finishing depends on taking a tint 
 that shall meet the state of the picture, with only 
 partial introduction of other finishing colours. 
 
 The back-ground should receive its final finish- 
 ing, making it to support the colouring in the face, 
 working Greys, if too warm, and Beds, if too cold. 
 
 Lastly, finish the drapery with strength and 
 spirit equal to the rest of the picture. 
 
 REMARKS. 
 
 Suppose the process of a picture to go on fairly, 
 the amateur, or the student, gains his object from 
 description ; but if, as is most likely to occur, his 
 work perplexes him, and difficulties, too powerful 
 to surmount, stare him in the face, it is then the 
 usual conclusion, that the genius is defective, or 
 the description faulty. The appearance of a pic- 
 ture in process is so different to what it bears in a 
 
THE ART OF MINIATURE PAINTING. 167 
 
 finished state, that few on commencement are satis- 
 fied, that proceeding and finishing will effect their 
 purpose — they desert their work, and begin again 
 and again. Not going on, they at last despair of 
 success. I should say, from description, go on, 
 and in the end (if not the whole) some part will 
 answer the expectation. On other attempts, pro- 
 gressive confidence will be gained, and where the 
 conception was imperfect, perfect ideas will take its 
 place. 
 
 For the more rapid accomplishment of this de- 
 sirable end, I shall suggest a servile observance of 
 the rules laid down ; and, regardless of all appear- 
 ances, to proceed (of course using the best endea- 
 vours), then, on conclusion, to criticise the work. 
 Without a finished attempt, the amateur has no 
 standard for comparison. It is more than likely 
 that the subject will be too red or too blue, some 
 parts much too light, or too dark — or lines and 
 edges destroying the harmony, &c. Begin the 
 same subject again ; if the reds have predominated 
 in the first attempt, introduce more greys in this 
 — even overdo it intentionally, for contrast sake, 
 
168 THE ART OF MINIATURE PAINTING. 
 
 for we learn the intermediate effects by violent 
 contrasts. 
 
 Lay down some colour, then work over it, with 
 associating but contrasting colour to change its hue, 
 to gain the method of converting it to the will. 
 In this experiment it is necessary to bear in mind, 
 that the passages, whether washed, hatched, or 
 stippled on, unless worked long enough, perfectly 
 to cover the part, do not discover the value of 
 the operation ; touching merely here and there will 
 not elucidate the principle. 
 
 Lines which look abrupt, though well placed, 
 require working above and below to take off the 
 crudeness of them. 
 
 On parts too red or too blue, introduce their 
 opposites with a little of each as a tint ; hatch care- 
 fully and sufficiently, and we effect our purpose. 
 
 In process, level uneven colour, by patching or 
 hatching, before you proceed, or the heavy parts 
 will destroy the effect, by contrast, for it cannot be 
 expected that the finishing colour will have equal 
 operation on unequal powers of colour ; likewise 
 by levelling we ascertain the power in itself, which, 
 
THE ART OF MINIATURE PAINTING. 169 
 
 till levelled, is deceiving, the lighter parts giving 
 the darker power by contrast. 
 
 It will be readily understood, that first putting 
 down Venetian Red, passing Blue over it, and then 
 Lake, is the same as mixing the three for application, 
 as every one knows that passing Yellow over Blue 
 turns it to Green. It will readily be seen how much 
 better it is to pass colour over colour, to effect our 
 purpose, than to compound and pass it on ; for if 
 compounded, the portions of each, the one to the 
 other, are unknown — are fluid on the pallet, which, 
 on application, alter ; the change it undergoes on 
 the pallet is also unknown, and not to be computed 
 or reduced to rule. 
 
 Colour passed over colour, altered by other pas- 
 sages, are judged of, on the first application, by 
 anticipation ; on the second and succeeding pas- 
 sages by knowledge of combination, contrast of 
 surrounding colour and quantity. 
 
 Quantity has great influence over the quality, 
 and as pictures gain quantity, the alteration of hues 
 therefrom are better and more certainly regulated 
 by passage over passage than by compounding. It 
 
 [ 
 
170 THE ART OF MINIATURE PAINTING. 
 
 is more simple in tlie operation to add the com- 
 ponent parts of a tint to our wishes than to com- 
 pound, and again compound, incongruous and un- 
 known quantities and mixtures, by compulsion of 
 circumstances. 
 
 Quantity must be regulated by the quality; as 
 we may take light transparent colour more copi- 
 ously than dark or opaque, and of course it takes 
 more to change a dark colour than a light one ; 
 that a transparent colour over an opaque has less 
 influence than mce versa. That opaque with opa- 
 que colour has less combination than opaque and 
 transparent, or two transparent colours. Trans- 
 parent colour with transparent colour of the same 
 quality, forms a perfect combination. Transparent 
 with semi-transparent, demi-opaque, or opaque, are 
 less perfect, agreeably to their greater or lesser 
 opacity. Some combinations are not perfect or 
 equal, the active properties of the one being greater 
 than the other, as Seppia and Gamboge, &c., the 
 Gamboge being absorbed by the property of the 
 Seppia. 
 
 Ultramarine does not mix well with other co- 
 
THE ART OF MINIATURE PAINTING. 171 
 
 lours, particularly transparent, for its chalky qua- 
 lity absorbs, and it is said, when mixed, to lose its 
 brilliancy. 
 
 Quantity must also be studied to effect true 
 colour^ for unless we have sufficient, we are deceived 
 as to true colour, for example: — Take a picture 
 which is tliinly but neatly coloured, and by patch- 
 ing, hatching, and stippling, finish any part, the 
 remainder will no longer be agreeable to the eyes ; 
 the reason is apparent, it wanted quantity to pro- 
 duce its true quality or colour. It is of the first 
 importance to an aspirant to miniature painting, to 
 be convinced of the truth of this observation ; with- 
 out proving it by trial, they are always insensible 
 to its real value, and their application of colour, 
 and handling, must remain deficient — the perfec- 
 tion of an artist being always on a ratio with his 
 knowledge. 
 
 In support of these precepts, I would refer the 
 connoisseur or the student to the works of eminent 
 miniature painters. 
 
 I shall conclude my description of the sittings, 
 &c., by remarking — that miniature painting is an 
 
172 THE ART OF MINIATURE PAINTING. 
 
 art; consequently, definite rules cannot be laid down 
 — the principles only can be explained — and that 
 those principles must be in a great measure unin- 
 telligible, till nature has been studied as to Jbrm, 
 lighty shade, and colour, and familiarized by 
 imitation. 
 
THE ART OF MINIATURE PAINTING. 173 
 
 THE SCRAPER. 
 
 During the process of painting a miniature, agree- 
 ably to the principles of this Treatise, a scraper is 
 indispensable. 
 
 It should be formed like a phlegm, or the point 
 of a lancet, of a triangular form, with two cutting 
 edges, nearly straight — too much curve on the edge 
 cutting in the centre while scraping, would destroy 
 the even surface. From the middle, or thicker 
 part of the edges, it should be ground hollow (like 
 a razor), or it soon wears thick ; the blunt instru- 
 ment answers no purpose. It should have a short 
 stem, or handle, about four inches long, like the 
 common eraser. 
 
 After the first sitting, and the subsequent pre- 
 paration for the second, use the scraper over the 
 whole picture, particularly the face, holding it 
 lightly between the thumb and two first fingers, 
 with the edge slanting towards the surface, which 
 
174 THE ART OF MINIATURE PAINTING- 
 
 will remove unnecessary excrescences in the colour. 
 This operation should be repeated after each sit- 
 ting, and if much depth is required, intermediately. 
 The instrument must be used with considerable 
 address and caution, lest the heal scrape down to 
 the ivory. The use of the lancet, or scraper, is 
 generally for the removal of defects in the colour 
 only ; by applying it to the colour of the picture, 
 considerable advantages are derived. The glossi- 
 ness of gummy colour receives repetitions on it 
 unfavourably. In a picture commenced boldly, 
 the outline and first shades rise above the level of 
 the ivory ; the colour next applied hangs against 
 them, or removes a portion on passing over them. 
 When scraped, the gloss is removed, and its finely 
 granulated surface absorbs the additional tints, and 
 condenses the colour. 
 
 This process, repeated at convenient periods, 
 brings the colour to such a texture and quality, 
 that (unless through carelessness) the liability of 
 disturbing the under colour is obviated, or forming 
 blotches, which destroy harmony, and are laborious 
 to rectify. 
 
 The removal of intruding particles, or errors, is 
 
THE ART OF MINIATURE PAINTING. 
 
 175 
 
 usually performed with a scraper ; but to scrape a 
 face, &c. repeatedly, is scarcely known ; and as far 
 as my information reaches, never has been adopted 
 for the avowed purpose of leaving the colour ex- 
 posed to the view, by the removal of the vehicle for 
 applying the colour (gum) — thereby having the 
 colour instead of the vehicle of application for a 
 surface. This porous, or absorbing surface, forms 
 a key to hold the next passage; the particles or 
 true colour unite closely, and by pursuing this pro- 
 cess, we are sure to have a solid and brilliant 
 colour. 
 
 The circumstance which first induced me to 
 adopt this process on principle will exhibit a suffi- 
 cient reason. Looking over a large coach manu- 
 factory, in the painter’s shop, I observed on the 
 rough boards, beside the grinding-slab, a large por- 
 tion of colour, which projected some inches ; this 
 I ascertained was produced by the men cleaning 
 their brushes on that part, after having gathered 
 the colour from the slab into pots. (It is here 
 necessary to remark, that the brush being scraped 
 over the pallet-knife, to leave as little in the brush 
 
176 Tilt: AllT OF MIFJIATURE PAl^^TING. 
 
 as possible (i. e. dry), but little oil works with the 
 colour in cleansing the brush on the wall.) 
 
 Various colours, used for the coach bodies, were 
 laid one over the other, till in time, the quantity in- 
 creased and became very hard. A similar pro- 
 duce, my friend informed me, he had adzed off and 
 had cut into various shapes, which stood a polish 
 equal to marble, with the most united and beauti- 
 ful interlineation of colours. This gave me an 
 idea, if oil-colour, cut through, received such 
 polish, that water-colour of sufficient substance, if 
 cut through, would have a different surface to the 
 ordinary one, which is gummy from the particles of 
 colour precipitating, and the gum remaining above. 
 This surface removed by scraping sufficiently, I 
 considered we should present colour, gum which 
 binds it remaining more between the particles than 
 on the surface, and by repeating this process, we 
 should give to water-colour on ivory, the beauty of 
 this polished oil-colour. 
 
 The finishing, which is not scraped, effects what 
 varnish does to an oil painting. 
 
 I have given it as my opinion, that something 
 
THE ART OF MINIATURE PAINTING. 177 
 
 like this was the process of the old masters, having 
 observed more colour on their pictures than on the 
 modern. The surfaces (not the finishing) being 
 similar to scraped, or cut colour, as if the various 
 lays had been reduced to a level surface, to receive 
 the finishing painting. 
 
 The painting (except the finishing), in genuine 
 old pictures, exhibits no marks of the brush (being 
 rubbed down, cut through, or pounced), but is 
 condensed and polished, which moderns affect to 
 imitate by glazing. The surfaces of oil in the 
 various lays of colour being removed before painted 
 on, contraction and consequent cracking does not 
 occur, but colour remains, and bids defiance to 
 modern imitation. The compactness of the colour 
 by incision, and the removal of the pernicious in- 
 fluence of the working medium, is a sufficient ex- 
 planation of the fresh, uncracked, solid, and bril- 
 liant appearance of the works of the old masters. 
 The less oil, the less sinking and lowering of colour, 
 it being the oil which destroys the tone as it 
 undergoes decomposition. On levelled colour, time 
 forms that beautiful platina which, perhaps, paint- 
 ings not so treated may never possess. The colour 
 
178 THE ART OF MINIATURE PAINTING. 
 
 on a miniature must always be dry when scraped, and 
 the loosened particles swept olF with a brush before 
 painted on again. The greatest care and equality 
 of action must be adopted, or it will do as much 
 harm as good. 
 
 Where the Greys are firmly painted and cut 
 through (using Ultramarine), the finished picture 
 would lead to the idea that AVhite had been intro- 
 duced. The lowered and combined hues defy copy 
 without scraping. 
 
 Copies from oil paintings are only apologies, un- 
 less depth, colour, and handling, remind us of the 
 originals. Original miniatures should be painted 
 with the same spirit. 
 
 Hitherto, it has been considered unsatisfactory 
 to copy in water colour, but by the knowledge of 
 the use of the scraper, we may make originals in 
 miniature. 
 
 The general adoption of the scraper would 
 rescue miniature painting from the obloquy of 
 being an inferior branch of the art, as an equally 
 solid appearance may be obtained by it. 
 
 The sam.e skill is necessary to draw the one as 
 the other; indeed, the equal_ diminution of a mi- 
 
THE ART OF MINIATURE PAINTING. 179 
 
 U niature requires greater. The same knowledge 
 p that makes a good portrait painter, is requisite for 
 f the miniature painter. The superiority of an oil 
 
 I production is only in its not being so liable to 
 
 damage, which relates to the materials, and has 
 nothing to do with the art of making a picture. 
 
 DRAPERIES, OR BACK GROUNDS, IN BODY 
 COLOUR. 
 
 The use of body, or opaque colour, is essential 
 to miniatures, woollen draperies, &c., being best 
 represented by it. White must be used with Blue 
 and Black, and to lighten other opaque colours; 
 Yellow and Red require no White ; Green, Brown, 
 Olive, &c., may be compounded of opaque 
 ; i colours without White ; opaque colour, without 
 White, is more agreeable to use than those which 
 require it. 
 
 Lamp Black and White, with a little Lake is 
 used for the local tint of black drapery, intro- 
 ducing more White for the high lights, and pure 
 Black, with an increase of gum, for the shadows. 
 
 Indigo, White, and a little Lake for Blue 
 
180 THE ART OF MINIATURE PAINTING. 
 
 drapery, witli more White for the high lights, 
 and Indigo and Lamp Black for the shadows. 
 Prussian Blue, Indigo, Ultramarine, Verditer, &c., 
 with White, make lighter Blues, 
 
 Green is composed of Indigo, with either Crome, 
 Indian, or any opaque Yellow — by introducing Red, 
 Olives, Browns, &c., are produced. 
 
 Lamp Black, and Indian Red, and White, or 
 Lamp Black, Indian Red, Roman Ochre, and 
 AVhite, for Greys. 
 
 Crome, Indian Yellow, or King’s Yellow, used 
 for yellow drapery, are shaded with a mixture of 
 Lake. 
 
 Vermillion, used as a local tint, is shaded with 
 Lake, or Madder Brown, and the deeper shadeswith 
 Seppia, or Lamp Black and Lake. 
 
 Body colour should be well mixed on the pallet, 
 or the compound will show on application. 
 
 The colour must not be worked too stiff, nor too 
 washy ; in the first case it drags, and destroys the 
 level surface ; in the latter it washes up the colour 
 from the ivory, or causes the White to rise with the 
 strokes of the brush. 
 
 The colour may be floated or worked on ; if 
 
THE ART OF MINIATURE PAINTING. 181 
 
 floated on, the picture must be laid horizontal, and, 
 with a full pencil, lay the local colour all over the 
 part assigned, which should be covered till dry, 
 when the high lights and shades may be added ; 
 if worked on, a broad flat-pointed brush must be 
 used, laying the patches side by side, till the ivory 
 is covered, and when dry, repeated, till an even 
 local tint enables us to proceed ; working on the 
 colour is less liable to peel off, and we can work to 
 a proposed hue more certainly than floating, which 
 may dry lighter or darker than we wish, in which 
 case we must patch. Floating warps ivory very 
 much, and as the colour dries faster than the ivory, 
 when it comes back to a level the colour is loosened 
 and peels. 
 
 The portion of gum, used with body colour, re- 
 quires practice to discriminate ; it is better rather 
 to decrease than increase the quantity, if the colour 
 is worked on. It is well to let a piece dry on the 
 pallet, from which we can ascertain if it has suf- 
 ficient glaze. 
 
 Where body colour is proposed to be introduced, 
 in proceeding on the other parts of the picture, we 
 shall find it necessary to cover the ivory with colour 
 
182 THE AIIT OF MINIATURE PAINTING. 
 
 (without White), and we must finish the transparent 
 part of the painting within those margins, to place 
 the body colour on. 
 
 The White used cannot be too finely ground. 
 
 DRAPERIES IN TRANSPARENT COLOUR. 
 
 Drapery should be outlined with accuracy from 
 the dress itself, the deeper shade of the folds in- 
 dicated, the intermediate shade produced, and the 
 high lights left. The local tint should be added, 
 without loosing the spirit of the forms of folds, &c. 
 It will be unnecessary to describe the treatment of 
 colour, which is governed by the knowledge of 
 light, shade, and reflection. White drapery, being 
 the most difficult for beginners to represent, I shall 
 shortly treat on that head. Muslin should be 
 painted transparent, which must be fully considered 
 on washing in the picture, by slightly indicating 
 the flesh, or faintly tinting the drapery over which 
 it will pass, leaving the ivory for the high lights 
 where the muslin folds ; it does not require the use 
 of White if the ivory is of good colour, provided 
 the shades and surrounding drapery are painted to 
 
THE ART OF MINATURE PAINTING. 183 
 
 nature. Figured muslin, and the pattern or gimp 
 of lace require White ; the texture of the plain 
 part of lace should not be attempted; without 
 deviating from my general desire to please the 
 ladies, on this point, although I have known paint- 
 ing the sexagon form of the plain lace give great 
 satisfaction, I should not feel disposed to court ap- 
 plause by attempting it. On so small a repre- 
 sentation, the diminished sexagons, and diminution 
 of the thickness of the thread, would be a month's 
 operation for a Chinese or Persian copyist. It is 
 sufficient to paint the dress, over which it passes, 
 less distinctly, and imitate the pattern with White. 
 
 The White, in this case, should be free from dust 
 or colour, and laid with a body, and, when dry, 
 gone over with the scraper, lightly handled, to leave 
 the surface pure White, and not too prominent. 
 The White must be lowered according to the gra- 
 dual decrease of light on the various parts. 
 
 White cravats and collars are best represented by 
 the ivory, if the shadows are painted as low as na- 
 ture gives them to the eye — the chance of White 
 changing is obviated. 
 
184 THE ART OF MINIATURE PAINTING. 
 
 Satin requires White, the lights being very 
 sudden. Silk requires little or none. 
 
 The best way to acquire skill in painting dra- 
 pery, is to practice from silk, satin, stuffs, &c., 
 using the tints laid down for regulating the colour. 
 
 Ornaments, jewellery, &c., must be .studied the 
 same way, referring to the opaque tints for the ne- 
 cessary compounds. 
 
 THE END 
 
 LONDON; 
 
 PRINTED BY W. COX, 55, GREAT QUEEN STREET, LINCOLN’S INN FIELDS, 
 
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