I 
 
THE 
 
 ART of PAINTING 
 
 I N 
 
 MINIATURE: 
 
 Teaching 
 
 The fpeedy and perfeft Acquifition of that Art 
 
 without a Maftcr. 
 By Rules fo eafy, and in a Method fo natural as to render 
 this charming Accomplifliment univerfally attainable. 
 
 COMTAINING 
 
 I. The DifiTerence between 
 Painting; in Miniature, and 
 .other Kinds of Painting. 
 
 II. The Management of Co- 
 lours in Draperies, Lin- 
 ncn, Lace, Fiirrs, <J^r. 
 
 III. The Method of mixing 
 Colours for Carnra ions'; 
 for painting of Architec- 
 ture, or any Building of 
 
 Stone or Wood; for Land- 
 skips, TerrafTes, Water, 
 Ruins, Recks, (ff?<r. 
 
 IV. The Art of Painting all 
 Sorts of Flowers, with tlip 
 proper Colours required 
 to rcprefent Nature to the 
 hic;lieft Perfe^lion. 
 
 V. The various Methods of 
 Faint in?:. 
 
 TranJ!ated from the Ori ginal FREiJClh 
 The FOURTH E D I T I O N. 
 
 . Certain Secrets of one of 
 the greateft ItaUan Pain- 
 ters for making the fin-jft 
 Colours, BurniOied Gold, 
 Shell Gold, (3c, 
 
 To which are now added. 
 
 II. Some general inftruS^Tye 
 LefTons for the Art 'of 
 Drawing. And 
 
 III. The Ufefalnefs and Be- 
 nefii of Prints. 
 
 L O N D O N: 
 Printed for J. H OD G ES, at the Looking-^glafs on London^ 
 Bridge, J. J AM R S at Horace's Head, unrler the RoyaU 
 Exchange, and T. COOPER, at ths Globe ivi ^atcr^ 
 mfier Roiv, 
 
 Mdccxxxix. 
 
To His Grace 
 
 THE 
 
 Duke of Montagu, 
 
 Master of the Great Wardr'^be,' 
 Great Master of the Moft Ho- 
 nourable Order of the Bath, and 
 Knight of the Moft Noble Order 
 of the Garter. 
 
 May it pleafe Tour Grace; 
 I^MlNE of the nobleft 
 
 lUuftrious Perfons to Pot 
 
 teritv. 
 
 ^LJI Purpofes of the Art 
 of Painting being 
 to preferve the Images of 
 
DEDICATION. 
 
 terity, this Treatife is na- 
 turally infcrib'd to One of 
 the moft illuftrious Perfo- 
 nages of this Time, 
 
 But your celebrated Fa- 
 vour for the Charming Art, 
 leads me alfo naturally to 
 addrefs YourGr ace on 
 this Occafion, to whom we 
 are fo highly indebted for 
 the Advancement of Paint- 
 ing and all the Politer Arts 
 in Great-Britain, 
 
 The noble and generous 
 Ufe you have conftantly 
 made of your Princely 
 
 Rank 
 
DEDICATION, 
 
 (Rank and illuftrious Qiiali- 
 ' ties, for the Protedlion and 
 jEncouragement of Arts, 
 and the Cultivation and 
 Embellifliment of Human 
 Life, has diftinguifli'd your 
 Grace as one of the Glo- 
 ries of the Age, and en- 
 dear'd you as an invalua- 
 ble Blefling to your Coun- 
 try. 
 
 I I could not therefore pub^^ 
 lifli a Treatife on the Art 
 of Painting, without pay- 
 ing Homage to your Grace 
 at the fame Time, and put- 
 ting 
 
DEDICATION. V 
 
 tine: it under the Protec- 
 tion of a Name that has 
 the higheft Authority with 
 all the polite and ingenious 
 Part of Mankind. 
 
 My Lord, 
 Your Grace's 
 
 mofi obedient, 
 andmojl devoted, 
 
 bumhle Servant, . 
 
 THE 
 
Ij THE 
 
 PREFACE. 
 
 H E Art of Painting 
 wants no Man's Eloquence 
 to recommend it. It ra- 
 viflies wherever it appears ; 
 and lays the whole World 
 1 S'- bjedlion to its Charms. I lhall not 
 herefore, with the Generality of Wri- 
 2rs on this Subje£l, enter into a Detail 
 f Beauties and Perfedlions, which are 
 miverfally^known and admir'd; and give 
 L recommendatory Charader of what 
 las every where the higheft Reputation. 
 VTy Bufinefs here, by way of Preface, is 
 ^nly to give fome Account of the fol- 
 owing Treatife : And this I fhall do by 
 ivay of Extradt from the Original Pre- 
 face s which being written in the Romijh 
 
 CommU" 
 
The Preface. 
 
 Communion^ with a pecuhar and ve 
 filiai Regard to the Religious ^ the whc 
 of it would not, perhaps, appear ^^ve^ 
 gracefully in the Language of a Prote 
 tant Country. 
 
 To guard againft any Offence whic 
 fkilfol Painters might be led to take ; 
 the Publication of this little Affembla^' 
 of Inftrudions, it is declar'd, that it w; 
 not intended for them, but for the Tyro 
 only and Novices in the Art, and fud 
 as cannot eafily be provided with a Ma; 
 ter to qualify them for tliis cliarnriin 
 Employment : And it is certain, ther 
 are Thoufands of Ferfons in Great Bn 
 tian^ as well as in other Nations, win 
 have a greater Paffion for this Ar 
 than they have Opportunity to cultivate 
 it The Country affords but few Pain- 
 ters, whofe Inftrad:ions are of any Va 
 lue 5 and good Pieces of this kind an 
 very rare among us; while great Num- 
 bers of both Sexes,, of Fortune and Lei- 
 fure, who with a Genius for Painting 
 are devoted to a Country- Life, langiiifl] 
 away many a heavy Hour for want oi 
 £bme Intelligence in this Art, which 
 they might pafs very agreeably with a 
 
The Pr E F AGE. 
 
 :le Skill in it: And, perhaps, a rura 
 fe, or a Recefs in the Country, can-\ 
 t be fweeten'd by a more elegant 
 nufement. 
 
 ,The Author of the following Treatife 
 s conceaVd his Name, but infinuated 
 Dugh in his Preface to let us know He 
 ;.s a Man of Fortune, who painted 
 ly for the Entertainment of his Friends 
 i his private Diverfion. This I men- 
 n to fhew the Reader, that he need 
 t be apprehenfive of that Falfhood and 
 :ferve we too often meet with in Books 
 , this Subjedl written by profefs'd Pain- 
 s. He drew up his Papers, ( of which 
 3 following are a Tranflation) for the 
 ftruftion of fome Perfons of Quality at 
 'liftance from him ; who fucceeded fo 
 ippily in their Purfuit of this Art by the 
 ^Ip of them only, that on their Inllan- 
 I he refolv'd to make them publick j 
 [ping that every one, with the leaft 
 ^nius for the Art of Painting, would 
 id his Method as plain and intelligible, 
 d reap as much Benefit from his In- 
 udlions, as his Pupils of Quality; fmce 
 has begun at the very Eletnents^ or 
 B, C of Miniature^ and omitted not 
 ' the 
 
The Preface* 
 
 lie leaft Matter or Circumftance that 
 requifite to a full and perfect Elucidati 
 of the Art. 
 
 I fhall only add, that the French w 
 charm'd with the Work, as foonas 
 was publifh'd j and made fuch a Dema 
 for it, that it quickly ran through 
 veral Editions ^ and Ipreading amo 
 dieir Neighbours on the Continent, | 
 been tranflated with great Succefs ii 
 their refpedtive Tongues. 
 
 T H 
 
THE 
 
 Art of Painting 
 
 IN 
 
 MINIATURE, &c. 
 
 Undertake not here to celebrate 
 the Praifes Painting: Many 
 learned Men, who have fo 
 happily treated of the Dignity 
 and Excellence of this charming 
 Arr^ have laved me the Labour j fince vvhac 
 they have faid of Painting in General^ is 
 alfo true of Miniature in Particular. I will 
 only add in a few Words, the Peculiarities 
 which diftinguifli it from every other Spe- 
 cies of Painting. 
 
 It is more delicate. 
 It requires a nearer View. 
 It is not eafily done but in Little. 
 It is wrought only upon Velum or Paper. 
 And the Colours are diluted only with 
 Gum- water. 
 
 B To 
 
To fucceed in this Arc, a Man fhould be 
 perfcdly skilled in the Art of Deftgning or 
 Drawing : But as moft People who atfe(3: 
 the one^, know little or nothing of the 
 other, and would have the Pleafure of 
 Paintings without giving themfelves the 
 Trouble of learning to deftgn^ (which is 
 indeed^ an Art that is not acquired without 
 a great deal of Time, and continual Appli- 
 cation,) Inventions have been found out to 
 fupply the Place of it; by means of which 
 a Man deftgns or draws^ without knowing 
 hov/ to dejtgn. 
 
 II. The firft is Calking : That is, if you 
 have a Mind to do a Print or Beftgn^ in 
 Miniature, the Back-fide of it, or another 
 Paper, muft be blackened with Small-coal, 
 and then rubb'd very hard Vv^ith the Finger 
 wrapt in a linnen Cloth: Afterwards the 
 cloth muft be lightly drawn over the Side fb 
 blacken'd, that no black Grains may remain 
 upon it to foil the Velom you would paint 
 upon; and the Print or Draught muft be 
 feftened upon the Velom with four Pins^ 
 to keep it from flfifcing. And if it be ano- 
 ther Paper that is blackened, it muft be put 
 between the Velom and the Prifity or 
 Draughty with the blacken'd Side upon the 
 Velom. Then with a blunted Pin or Nee- 
 dle, you muft pafs over the principal Lines 
 or Strokes of the Pririt^ or Draughty the 
 Contours, the Plaits of the Drapery, and 
 
 ever 
 
4 [3 ] 
 
 [')ver every thing elle that muft be diftln- 
 j;uiflied,- prelling fo hard, that the Strokes 
 iiay be Kurly marked upon the Velom un- 
 
 Jerneath. 
 
 jf III. Copying by Squares is another con- 
 u^enient Method tor liich as are but little 
 skilled in the Art of Dejigning^ and would 
 copy Pidturcs, or other Things^ that cannot 
 be calked. The Method is this: The Piece 
 muft be divided into many equal Parts by 
 little Squares^ marked out with Charcoal, if 
 the Piece be clear and whitifli, and the Black 
 can be lairly feen upon it or with white 
 Chalk, if it be too brown and dusky. 
 After which^ as many Squares of equal Di- 
 menfions muft be made on white Paper, 
 upon which the Piece muft be dejigned; 
 becaufe if this be done immediately upon 
 Veloni, (as one is apt to mifcarry in the 
 firtt Attempt) the Velom may be foiled with 
 falfe Touches. But when it is neatly done 
 upon Paperj, it muft be calked upon the 
 Velom in the Manner before defcribed. 
 When the Original and the Paper are thus 
 order'dj, obicrve what is in each Square of 
 the Piece to be dcfigned:, as a Head, an Arm, 
 a Hand, and lb forth; and place it in the 
 correfponding Part of the Paper. And thus 
 finding where to place all the Parts of the 
 Picc^r, you have nothing to do but to form 
 them well, and to join them together. By 
 this Method you may reduce or enlarge 
 B 2 ^ 
 
[4] 
 
 a Piece to vvhatCompafs j'oupleafe:, makin.; 
 the Squares of your Paper greater or lelfe; 
 than thofe of the Original ^ but they mui 
 always be of an equal Number. 1 
 
 IV. To copy a Picture, or other Thing 
 in the fame Size and Proportion^ anoth^ 
 Method is^ to make ufe of varnifh'd Papel 
 or of the Skin of a Hog's Bladder^ verj 
 tranfparent ; fuch as is to be had at the Gold- 
 beaters. Talc or Ifinglafs will likewife dc 
 as well. Lay any one of thofe Thingi 
 upon )Our Piece , and^ thro' it you will fee 
 all the Strokes and Touches; which are tobe 
 drawn upon it with a Crayon or a Pencil 
 Then take it cif; and faflening it under 
 Paper or Velom^ fet up both againft the 
 Lights in the manner of a Window; and 
 with a Crayon;, or afilver Needle^ mark out 
 upon the Paper or Velom you have put up- 
 permoft^ all the Lines and Touches you fhall 
 fee drawn upon the varniftied Paper^ Blad- 
 der;, Talc, or Ifinglafs you have made ufe of^ 
 and which will plainly appear thro' this 
 Window. 
 
 After this Manner, making ufe of the 
 Window^ or of Glafs expoled co the Light, 
 you may copy all Sorts of Prints^, Defigns, 
 and other Pieces, on Paper or Velom lay- 
 ing and taftening them under the Paper or 
 Velom, upon which you would draw them. 
 And 'tis a very good and a very eafy Con- 
 trivance fcr doing Pieces of the fame Size 
 and Proportion. If 
 
isl 
 
 P If you have a Mind to make Pieces look 
 Inother Way, there is nothing to be done 
 [)ut to turn them ; laying the printed or 
 Hra'uon Side upon the Glafs, and faftening 
 :he Paper or Velom upon the Back of it : 
 'emembring to let your Lights fall on the 
 
 idc. 
 
 A good Method likewife to take a tru^^ 
 Copy of a Pifture in Oil, is to give a 
 Touch of the Pencil upon all the principal 
 Strokes, with Lake tempered with Oil ^ and 
 :o clap upon the Whole a Paper of the lanie 
 Size: Then paffing the Hand over it, the 
 Touches of the Lake will flick, and leave 
 :he Dcjrgfi of your Piece expreifed upon the 
 Paper, which may be calked like other 
 Things. But you maft remember to take 
 Dff, with the Criim of Bread, what remains 
 Df the Lake upon the Picture, before it be 
 3ry. 
 
 You may likewife make ufe of Pounce^, 
 mde of powderVl Charcoal put in a linnen 
 Hag,- with which the Piece you would 
 :opy muft be rubb'd, after you have prick'd 
 ill the principal Strokes or Touches, and 
 faftened white Paper, or Velom, underneath. 
 
 V. But a farer and eafier Help than all 
 :hefe, for ^ne who knows nothing of De- 
 igning, is a Mathematical Compafs. It is 
 generally made of ten Pieces of Wood, in 
 form of Rulers, half a quarter of an Inch 
 thick, half an Inch broad, and a Foot long, 
 B 2 cr 
 
[6] 
 
 er morc^ according as you have a Mind tc 
 draw Pieces of a greater or lefler Size. To 
 facilitate theConftruclion of thislnftrumentj 
 I here exhibit a Figure of it/ with an Exi 
 pianacion of the Manner in which it is td 
 be ufcd. 
 
 This Httle Beard A Is to be of Fir:, and 
 cover'd with iinnen^^ or any other Cloth; 
 becaufe the Piece you copy^ and the Velom 
 or Paper you copy upon^ muft be fixed 
 upon it. Upon this Board muft the Com- 
 pafs alfo be fixed, with a large Pin^, by the 
 End of the firft Foot B^ deep enough to 
 keep it clofe^ but not fo deep as to hinder 
 it from turning eafily. When you have a 
 Mind to reduce Things^ place your Origi- 
 nal on the Side of the Foot C^, and the Ve- 
 lom or Paper you would draw upon^ on the 
 Side of the Foot B; removing the Velom 
 cr drawing it nearer^ according as you in- 
 tend to reduce or e^/lar^e. 
 
 In 
 
[7] 
 
 In order to enlarge a Piece, you have 
 othing to do but to change the Places of 
 your Orighial and your CopV:, placing the 
 •Lift towards and the other on the 
 Side of B. 
 
 And In both one and the other Method, 
 a Crayon or leaden Needle niuft be put in 
 the Fcot^ under which the Velcm lies • and 
 a Pin, a little blunted. In that over the Ori- 
 ginal ; with which all the Traces are to be 
 followed ; conducing the Pin with one 
 Hand, and with the other preffing gently 
 upon the Cra) on or Needle, that marks the 
 Velom. When the Crayon, or Needle, 
 bears fafficlently upon the Velom, you have 
 no Occafion to touch it. 
 
 By this Inftrument you may alfo draw in 
 equal DImenfions : But In order to this, the 
 Compafs muft be fixed In another Manner 
 upon the Board ; for If It Is to be fattened 
 upon It by the Middle at and your Ori- 
 ginal and your Copy muft be fix'd on each 
 Side of this middle Foot, at equal Diflan - 
 ces, or from Corner to Corner j that is, 
 from C to E, when the Pieces are large. 
 One may llkewlfe draw feveral Copies at 
 once of equal and different DImenfions. 
 
 VI. These are all the Helps I can give 
 to fuch as are not Mafters of Beftgn: For 
 thofe that are, they have nothing to do 
 with them. 
 
 B 4 When 
 
[ 8 ] 
 
 When^ therefore^ your Piece is markedi 
 out upon the Velom, you muft pafs with at 
 Pencil of very clear Carmine^ ever all thei 
 Traces^ to the end they may not be efFacedi 
 as you work ; Then clean your Velom with 
 the Crum of Bread; that no Black may re-- 
 main upon it. 
 
 VII. Your Velom muft be parted upon 
 a little Plate of Brafs or Wood^, of the Size 
 you would make your Piece, to keep it 
 firm and tight , but this pafting muft be on 
 the Edges of your Velom only^ and behind 
 the Plate : For which Purpoie your Velom 
 muft exceed your Plate above* an Inch on 
 every Side. For the Part you paint upon, 
 muft never be pafted , becaufe it would not 
 cn!y give it an ill Look, but you could not 
 take it off if you would. Cut off the little 
 Shags and Locks of the Velom and wet- 
 ting the fair Side v/ith a linnen Cloth, dipt 
 in Water, clap the other upon the Plate 
 Vv^ith a clean Paper between them: So 
 much as hangs ov^er, muft be pafted upon 
 the Back of the Plate, drawing it equally 
 on all Sides, and hard enough to ftretch it 
 well. 
 
 VIII. The chief Colours made ufe of 
 for Painting in Miniature, are 
 
 Carmine 
 
[9] 
 
 Carmine 
 
 Venice and Florence Lake 
 
 Role Pink 
 
 Vermillion 
 
 Red Lead 
 
 Brown Red 
 
 Red Orpiment 
 
 Ultramarine 
 
 Verditer 
 
 Indigo 
 
 Gall-ftone 
 
 Yellow Oker 
 
 Dutch Pink 
 
 Gamboge 
 
 Naples Yellow 
 
 Pale Mafticot 
 
 Deep Yellow Mafticot 
 
 Ivory-Black 
 
 Lamp-Black. 
 
 True Indian Ink 
 
 Biftre, or Wood-foot 
 
 Raw Umber 
 
 Burnt Umber 
 
 B 5 Sap- 
 
[ 10 1 
 
 Sap-Green 
 
 Verdegreafe 
 
 Flake-White 
 CrayoFls of all Colours 
 Gold and Silver-fliells 
 Leaf-Gold or Silver 
 Pallets of Ivory, andPencil-fticks 
 Ivory Boxes, containing Ivory 
 Shells ; in which are put the 
 Colours for Miniatur 
 
 re. 
 
 N. B, ^11 the Colours ahove-fpecified, uoith every 
 Implement and Utenjll, necejjary in the 'Prac- 
 tice of Tainting in Miniature., are prepared 
 and J old at mofi Trim -Shops in London and 
 ■Wcftminfter. 
 
 'the Seven trmfparent Colours, which are 
 ufed where Writing is feen thrd the Colour. 
 
 Lake 
 Blue 
 Yellow 
 Liquid <! Grafs-Green 
 ' Dark-Green 
 Purple Colour 
 Brown 
 
 IX. As 
 
IX. As all Colours taken from Earth and 
 )ther heavy Matter^ are always too coarle, 
 )e they never fo well ground, efpecially for 
 Jelicare Work^ becaule of a certain Sand 
 remaining in them ; the fineft Parts may be 
 drawn out by diluting them with the Finger 
 in a Cup of Water. When they are well 
 fteepedj let them fettle a while : Then pour 
 out the cleareft, which will be at Top, into 
 another Veflel. This will be the fineft^ and 
 muft be let dry j and when 'tis ufed, muft 
 be diluted with Gum- water, as I fhall fhew 
 hereafter. This is a very good Contrivance, 
 elpecially for Flake-white^ in which there is 
 a chalkv Matter,' which, like the coarfe and 
 heavy Parts in other Colours, finks to the 
 Bottom of the Cup it is fteep'd in. 
 
 X. If you mix a little of the Gall of an 
 Ox, a Carp, or an E.1, particularly of the 
 laft, in green, black, gray, yellow and 
 brown Colours, it will not only take away 
 their grealy Nature, but alfo give them a 
 Luftre and Brightnefs they have not of 
 themfelves. The Gall of Eels muft be taken 
 out when they are skinn'd, and hung upon 
 a Nail to dry j and when you would ufe it, 
 it muft be diluted with Brandy, and a little 
 of it mix'd with the Colour you have dilu- 
 ted already. This likewife makes the Colour 
 ftick better to the Velom, which it hardly 
 
 B 6 does 
 
[ 12 ] 
 
 docs when 5t is grealy : Moreover:, this Gall 
 hinders ic from Icaling. I 
 
 XI. Some Colours are made clearer by 
 Fire^ as TeJlow Oaker^ Brown Red^ Ultra- 
 marine^ and Umher: All others are darkened 
 by it. But if you heat the faid Colours 
 with afharp Fire^ they change^- for the Brown 
 Red becom es yellow J Tellow Oaker becomes 
 red ; Umher reddens alfo. Cerafe by Fire 
 takes the Colour of Citron^, and is often 
 called Majiicot. Obferve, that Tellow Oker 
 heated becomes more tender than it was, 
 and fofter than Brown Red, Likewife Brown 
 Red heated becomes fofter than fine rellow 
 Oaker. Both are very proper. The finelt 
 and trueft Ultramarine heated upon a red-hot 
 Iron^becomes more glittering; but it waftes, 
 and is coarfer and harder to work with in 
 Miniature, when 'tis purged after this 
 Manner. 
 
 XII. All thefe Colours are diluted in 
 little Cups of Ivory, made on purpofe, or 
 in Sea- {hells., with Water, in which Gum- 
 Arabic and Sugar Candy are put. For In- 
 ftance, in a Glafs of Water put a Piece of 
 Gum as big as a ^alnut^ and half that 
 Quantity of Sugar Candy. This laft hinders 
 the Colours from fcaling when thy are laid 
 on, which they generally do when they want 
 it^ or the Velom is greafy- 
 
 This 
 
f 13 3 
 
 This Gum-water muft be kept m a neat 
 3ottle corked and never rauft you take any 
 )uc of ic^ with a Pencil that has Colour 
 ipon it, but with a Quill, or fome fuch 
 Thing. 
 
 I Some of this Water is put in the Shell 
 with the Colour you would temper, and 
 diluted with the Finger till it be very fine. 
 If it be too hard, you muft let it foften in 
 :he Shell with the faid Water, before you 
 dilute it. Afterwards let it dry : And do 
 thus with every Colour, except Lilly-Green^ 
 Sap-GreeUy and Gamboge^ which muft be 
 temperM with fair Water only. But UUra- 
 inarifie^ Lake^ and Bijlre are to be more 
 gummed than other Colours. 
 
 If you make ufe of Sea-fhells, you muft 
 let them fteep two or three Days beforehand 
 in Water: Thencleanfe them in boiling hot 
 Water, mix'd with Vinegar, in order to 
 carry off a certain Salt, which otherwife 
 fticks to them^ and fpoils the Colours that 
 are put to thejii. 
 
 XIII. To know whether Colours are 
 fufficiently gummed;, you have nothing to 
 do but to give a Stroke of the Pencil upon 
 your Hand, when they are diluted,, which 
 dries immediately : If they chap and fcale, 
 there is too much Gum , if they i-ub out by 
 {?affing the Finger over them, there is too 
 little. It may be feen likewife when the 
 Colours are laid on the Velom, by paffing 
 
[ 14] 
 
 £he Finger over them. If they ftick to it 
 like a Powder, it is a Sign there is not Gum 
 enough^ and more muft be put in the Waterjl 
 with which you temper them. Take Care^j 
 though^ you do not put too much ; for thaci 
 makes the Colour extreamly hard and dry. ^ 
 It may be known likewife by their Glewinefe 
 and Brightnefs: So^ the more they are gum- 
 med^ the darker they paint : And when you 
 have a Mind to give a greater Strength to a 
 Colour^ than it has of itfelf, you have nothing 
 to do but to give it a great deal of Gum. 
 
 XIV. Provide yourfelf with an Ivory 
 Pallet, very fmooth, as big as your Hand ; 
 on one Side of which the Colours for the 
 Carnation^ or naked Parts of a Pidture^ are 
 to be ranged in the following Manner. In ^ 
 the Middle put a great deal of White^ pretty ^ 
 largely fpread,- becaufe it is the Colour moft 
 made ufe of: And upon the Edge, from the 
 Left to the Rights, place the following Co- 
 lours, at a little Diftance from the White. 
 
 Mafticot 
 
 Dutch Pink 
 
 Orpiment 
 
 Yellow Oker 
 
 Green, compofed o/Verditer, Dutch' 
 Pink, and White, in equal j^uan- 
 titles. 
 
 Blew, made of Ultramarine, Indigo 
 White, to a great Degree of 
 Palenefs, 
 
[ 'Si 
 
 Vermillion 
 Carmine 
 Biftre^ and 
 Black. 
 
 On the other Side of the Pallet^ Ipread 
 ome JVhite in the fame manner as for the 
 Carnation. And when you have a Mind to 
 paint Draperies^ or other Things^ place near 
 :he fFhite the Colour you would make 'em 
 of, in order to work as I (hall fliew hereafter. 
 
 XV. The Ufe of good Pencils is a great 
 Matter. In order to make a good Choice^^ 
 wet them a little and if the Hairs keep 
 dole together^ as you turn them upon the 
 Finger^, and make but one Pointy, they are 
 good: But if they clofe not together^, but 
 make feveral Points, and fome are longer 
 than others^, they are good for nothing ; not 
 for dotting in particular^ and leaft of all for 
 Carnation. When they are too fharp point- 
 ed, with only four or five Hairs longer than 
 the reft, yet elofing all together, they are^ 
 notwithftanding, good^ but they muft be 
 blunted with a Pair of Scizzars, taking care 
 ac the fame time you do not clip away toO' 
 much. 'Tis proper to have two or three 
 forts of them ^ the largeft for laying the 
 Grounds^ and Bead-colouring; andthefmall- 
 eft for finijhing. 
 
 To bring the Hairs of your Pencil to join 
 clofe together and make a good Point, you 
 muft often put the Pencil juft between your 
 
 Lips 
 
[ i6 ] 
 
 Lips when you are at Work^ moiftening 
 and preffing it clofe with the Tongue^, ever 
 when there is Colour upon it; for if there 
 be too much^ fome of it is taken off by thu 
 means, and enough. left forgiving fine and 
 equal Touches. You need not apprehend 
 this will do you any Harm. None of the 
 Colours ^ for Miniature^ except Orpimeni 
 ( which is Poifon) when they are prepared^ 
 have either ill Tafte or ill Quality. This 
 Expedient muftefpeciallybeufed for dottingy 
 and for finijhing^ particularly the naked Parts 
 of a Pidure^ that the Touches may be neat 
 and fair> and not too much charged with 
 Colour.^ As for Draperies and other Things, 
 as well in dead-coJoming as in fini/hingy 'tis 
 fufficient, in order to make the Hairs of your 
 Pencil join well, and to unload it when it 
 has too much Colour, to draw it upon the 
 Edge of the Shell, or upon the Paper you 
 muft put upon your Work to reft your Hand 
 on, giving fome Strokes upon it before you 
 work upon your Piece. 
 
 XVI. To v/ork well in Miniature^ you 
 muft do it in a Room that has but one Win- 
 dow, and fix your felf very near it, with a 
 Table and a Desk almoft as high as the Win- 
 dow,- placing your felf in fuch a Manner, 
 that the Light may always come in on the 
 left Side, and never forward, or on the 
 Right, 
 
 xvn. 
 
[ 17] 
 
 vVIl. When you would lay a Colour 
 all Parts equally ftrong^ as for a Ground^ 
 tlii'Li muft make your Adixcures in Shelisj and 
 II t in enough tor the Thing you defign to 
 ;ii(i:jint; lor if there be not enough, 'tis a 
 %;:ac Chance but the Colour you mix after- 
 fttirds^ is too dark or too light. 
 
 i\ 
 
 iiXVIlI. After having fpoken of Velom, 
 jf,ncils and Colours, let us now fhew how 
 firtey are to be employed. In the firft Piace^ 
 iren, when- you would [)aint a Piece, be it 
 iiirnat'wn^ Drapery^ or any Thing elfe, you 
 5j,uft begin by Dead-colourings that is to fay^ 
 t laying your Colours on with liberal 
 Irokes of the Pencil:, in the fmootheft man- 
 rr you can, as the Painters do in Oil not 
 I ving it all the Force it is to have for a ^f- 
 :/hir7g: I mean, make the Ligbl^ a little 
 'ighter, and the Shades lefs dark than they 
 ight to be ; becaufe in doling upon them, 
 ; you muft do after dead-colouring, the 
 iolour is always fortified^ and would at laft 
 e too darkr 
 
 XIX. There are feveral Ways of Doi- 
 ng ; and every Painter has his own. Some 
 lake their Dots perfectly round. Others 
 .lake them a little longifh. Others halch 
 >y little Strokes, that crofs each other every 
 ^ay, till the Work appears as if it had been 
 vrought with Dots. This laft Method is 
 
[ i8 J 
 
 the beft^ the boldeft, and the focneft dc;. i 
 Wherefore I advife fuchas would paiaia^\ 
 Miniature^ to ufe it^ and to inure the- 
 felves from the firft to dot in the flump d 
 ihcfoft way^ that is to fay^ where the 
 are^ lofi^ in a manner, in the Ground up 
 which you work:) ^nd only fo much appes 
 as is fufficienc to make the Work feem a- 
 ted. The hard and the dry Way is qui 
 thereverfe^ and always to be avoided. TI5 
 is done by dotting with a Colour much d- 
 ker than your Ground^ and when the Pe- 
 cil is not moiften'd enough with the Coloi^ 
 which makes the Work (eem rough and u.. 
 even* 
 
 XX. SxuBYb'kewIfe carefully to lofi ari 
 drown your Colours one in another, fo thl 
 it may not appear where they disjoin ^ ar 
 to this end^ foften or allay your Toucb | 
 with Colours that partake of both, in fuc 
 fort that it may not appear to be yoi | 
 Touches which cut and disjoin them. B 
 the Word Cuty I conceive what manifeftl 
 feparates and divides^ and does not run i 
 and blend it feif with the neighbouring Cc \ 
 lours, which is rarely pradis'd but upon th 
 Borders of Drapery. 
 
 XXL When your Pieces are finifli'd, t( 
 heighten them a little, gives them a fine Air 
 That is to fay, to give, upon the Extremit) 
 of the Lights, fmali Touches with a Coloui 
 
 yei 
 
[ 19 ] 
 
 t lighter y which muft be lofi and drowned 
 %.th the reft. 
 
 i;XXII. When the Colours are dry upon 
 I;.)ur Pallet^ or in your Shells^, in order to 
 \%z thenij they muft be diluted with Water, 
 t/id when you perceive they want Gumj 
 ivliich is feen when they eafily rub off the 
 land or the Velom, if you give a Touch 
 \ith them upon either (as I have faid alrca- 
 (3^ ) they muft be tempered with Gum-water^ 
 I ftead of pure Water, till they are in a good 
 tondition. 
 
 XXIIL There are feveral forts o^Grounds 
 r Pictures and Portraitures. Some are 
 E holly dark:, compofed of Bijlre^ Umher^ 
 ;id Colcgn-Eartby with a little Black and 
 7hite : Others more yeilow3 in which is 
 iiixed a great deal of Oker: Others grayer j 
 ,'hich partake of Indigo. In order to paint 
 Groundy make a Wafti of the Colour or 
 fixture you would have it, or according to 
 lat of the Picture or Portraiture you would 
 opvj- that is to fav, a very light La'j^ in 
 /hich there is hardly any Thing but Water, 
 1 order to foak the Velom. Then pafs 
 nother La-j over that, fomewhat thicker, 
 nd ftrike it on very fmoothly with large 
 trokes, as quick as you can, not touching 
 ivice in the fame Place before it be dry ;^ be- 
 aufe the fecond Stroke carries oft what has 
 
 been 
 
[20] ! 
 
 been laid on at the firft, efpecially w hen yi 
 lean a little too hard upon the Pencil. i 
 
 i" 
 
 XXIV. Other darli Grounds are li!» 
 wife made of a Colour a little greenilh^ a} 
 thofe are moft in Ufe, and the propereft '% 
 lay under all forts ofFigures and PorcraiturB 
 becaufe they make the Carnation', or nakB 
 Parts of a Picture, appear very fine^ arelsB 
 on very eafily, and there is no cccafion ■ 
 dot them^ as one is cfcen obliged to do t m 
 others^ vv^hich are rarely made fmooth a» 
 even at the firft^* whereas in theie one ftl 
 dom fails of Succefs at the firft Bout, li' 
 make them, you muft mix Black, Dui 
 Pink and fFhite all together, more or lefs • 
 each Colour, according as you would ha^ 
 them darker or lighter. You are to mal 
 one Lay very light, and then a thicker, ; 
 
 I faid of the firft Grounds. You may al; 
 make them of other Colours, if you pleafe 
 but thefe are the moft common. ' 
 
 XXV. When you paint a Holy Perfo 
 upon one of thefe Grounds, and would pair 
 afmall Glory round the Head of yourPigun 
 you muft not lay the Colour tco thick i 
 that Part, or you may even lay none at al 
 efpecially where this Glory is to be ver 
 bright ; but lay for the firft Time with PFhit 
 
 ^ and^a little Oker mix'd together, of a ful 
 ficient Thicknefs,' and in proportion as yoi 
 
b from the Place of the Head^ put a little 
 toreOker^ and to make it lole it felf^ and 
 we azvay, with the Colour of the Groundy 
 mub with a free Stroke of the Pencil, fol- 
 ivving the Round of the Gloryj fometimes 
 ith the Colour of which it is made, and 
 .imetimes with that of the Groundy mixing 
 little JVhite or Oker with the lall, when 
 paints too dark to work with: And do 
 (lis till one be infenfibly loft in another, and 
 nothing can be feen to disjoin them. 
 
 XXVI. To fill an entire Ground with a 
 ^'lor-jy the brighteft Part is laid on with a 
 ttle 0/(vr and White y adding more of the 
 rll, in proportion as you come nearer the 
 idges of the Picture; And when the Oker 
 ; not ftrong enough (for you muft always 
 jaint darker and darker) add Gall-Jlone ; af- 
 ;rwards a little Carmine-^ and, laftly, Bijire. 
 This firft Laying^ or dead-eolouringy is to be 
 nade as foft as poffible ; that is to fay, let 
 aefe ftiadowings lofe themfelves in one ano- 
 her without Gap or Interledion. Then 
 he Way is to dot upon them with the fame 
 Colours, in order to drown the Whole to- 
 ;echer, which is pretty tedious, and a little 
 ilitficuit, efpecially when there are Clouds 
 ,>f Glory on the Ground. Their Lights muft 
 ,)e fortified in proportion as you remove 
 TOm the Figure, and finifhed, as the reft, 
 i>y dottingy and rounding the Clouds,* the 
 
 bright 
 
[ 22 ] 
 
 bright and obfcure Parts of which mufi: : n 
 inlenfibly into one another. 
 
 XXVII. For a Day-sky ^ take Ultrmnart^ 
 and a good deal of IVhitCy and mix thii 
 together. With this make a Lay^ as fmo< h 
 as you can, with a large Pencil and libdl 
 Strokes, as for Grounds-^ applying it p^:r 
 and paler as you defcend towards the Hc> 
 2on y which muft be done with Vermillion r 
 Red Lead^ and with fVbite of the fa e 
 Strength with that where the Sky ends^ r 
 fomething lels, making this Blew lofe it I f 
 in the Red^ which you bring down to te 
 Skirts of the Earth, or Tops of Houfe; 
 mixing towards the End^ Gall-Jione^ ami 
 good deal of fVbzle^ in fuch a manner tic 
 the Mixture be ftill paler than the form y 
 without any vilible Interfedion or Partijj- 
 between all thefe Colours of the Sky- | 
 
 XXVIII. When there are Clouds in tl 
 Sky^ ycu may fpare the Places where th ^ 
 are to be ; that is to fay, you need not 1/ 
 cn any Blew there, but form them, if the 
 are reddlfli, with Vermillion^ Gall-ftone ail 
 IVhite^ with a little Indigo and if they a 
 more upon a Blacky put in a good deal : 
 the laft j painting the Lights of one and i\ 
 ther with Mafiicot:, Vermillion and Whii 
 niore or lefs of any of thefe Colours, accorc 
 ing to the Strength you would give then 
 or according to that of the Original yc 
 
 copy 
 
[^3 ] 
 
 l^y ; rounding the Whole as you dot ; for 
 i a difficult Matter to lay them very Imooth 
 he firft painting : And if the Sky is noc 
 
 •dj^n enough, you maft dot it alio. 
 
 tIjC is at yuur Pleafure to exempt the Places 
 
 let he Clouds; for you may lay them upoa 
 Ground of the Sky ; heightening che 
 
 p^|;ht Parts by putting a good deal of fFhite^ 
 fortifying the Shadows by ufing lef^. 
 
 ji'.is is the fliorteft Way. 
 
 ; CXIX. A Night or ftormy Sky is done 
 IndigOy Black and White^ mixed toge- 
 r ; which is laid as for a Day-Sky. To 
 ; mixture muft be added Oker^ VermiiU'- 
 it,or Brown-Red for the Clouds ; the Lights 
 \'hich are to be of Majlicot^ or Red Leady 
 . 1 a little IVbite ^ now redder^ now yel- 
 c er^ at Difcretion. And when it is a tern- 
 .^^uousSky, ami Lightening appears infome 
 rices, be it blue or red^ it is to be done 
 im a Day-Sky. drowning and lo^ng the 
 ^,iole together at the firft-forming or dead- 
 iouring, and at the finifhing. 
 
 Of 
 
[24] 
 
 Of Draperies* i 
 
 XXX. 'Tp O paint a blew Drapery^ m 
 
 M Ultramarine near the 
 upon your Pallet 5- and mix a Part of k 
 with the cther^ till it makes a fine P^^ 
 and has a Body. With this Mixture ' u 
 muft form the brighteft Parts^ and tf 
 adding more Ultramarine^ form fuch as e 
 darker,- and go on after this manner II 
 you come to the deepeft Plaits^ and e 
 thickeft Shades^ where you muft lay pe 
 Ultramarine : And all this muft be done s 
 for a Firft-forming or Dead-colouring 3- tt 
 is to fay:, laying the Colour on withf; 
 Strokes of the Pencil, yet as fmcoth as y 1 
 can J- Iq/ing the Lights of the Shadows with 
 Colour neither fopale as the Lights^ nor) 
 dark as the Shades. Then dot with t; 
 fame Colour as in the firft-forming, bun 
 fmall matter deeper,- that the Dots- may ! 
 fairly feen. All the parts muft be drowr/, 
 one in another, and the Plaits appear wit 
 out Interledion. Wh^n the Ultra/narine 
 not dark enough to make the deeper Sh 
 dows, how well foever it be gummed, m 
 a little Indigo with it to finifti them. Ar 
 when the Extremities of the Lights are n' 
 bright enough, heighten them with fFhi 
 and a very little Ultramarine. XXX 
 
Ij XXXI. A Drapery cf Car??ilne Is done 
 n the fame manner as the blue ; except, 
 lat in the darkeft Places there is to be a 
 suy of pure VennilHon^ before you dead-co- 
 )ur with Carmine J which muft be applied 
 I: topi and in the ftrongeft Shades, it muft 
 e gumm'd very much. To deepen it the 
 lore, mix a little Btjlre with it. 
 
 XXXII. There Is likewife made another 
 .cd Drapery, which is firfl: drawn with 
 't'rniiHton^ mixing fVhite with it to dead-co- 
 3ur the bright Places laying it pure and 
 fnmixed for fuch as are darker,* and adding 
 ^'armine for the grand Shades. 'Tis finifh'd 
 Afterwards, like other Draperies, with the 
 'ime Colours. And when the Carmine with 
 ^.le Vermillion don't darken enough, w^ork 
 vlth the firft alone, but only in the deepeft 
 ■f the Shades. 
 
 ^ XXXIII. A Drapery of Lake Is made m 
 he fame Manner with that of Carmine ^ 
 nixing a good deal of White with it for the 
 )right Places, and very little for thofe that 
 re dark. 'Tis finifhcd likewile with dotting 
 )ut you have nothing to do with Vermillion 
 n it. 
 
 XXXIV. r//9/(?f-Draperies are likewlfe 
 3one after this Manner^ after making a Mix- 
 are of Carmine and Ultraviariiie^ putting 
 C always 
 
[ 26 ] 
 
 always JVhite for the bright Parts. If 
 would have your Violet be Columbine I 
 Dove-Colour, there muft be more Carmil 
 than Ultramarine : But if you would ha^ 
 it blewer and deeper, put more Ultramari, 
 than Carmine. 
 
 XXXV. A Drapery is made of a Fkji 
 Colour:^ beginning with a Lay made of PFhit 
 Vermillion^ and very pale Lake; and makin 
 the Shades v/ith the lame Colours, ufingle 
 IVhite in them. This Drapery muft be ver 
 pale and tender^ becaufe the Stuff of th 
 Colour is thin and light ^ and even the Shade 
 of it ought net to be deep. 
 
 XXXVI. To make a j^ellov^ Draper} 
 put a Laj of Majlicot over all; then onec 
 Gamboge upon that, excepting the brightei 
 Places, where the Majticot muft be left en 
 tire. Then dead-colour with Oker^ mix'i 
 with a little Gamloge and Majlicot^ puttini 
 more or lefs of the laft^ according to th 
 Strength of the Shades. And when thef 
 Colours don't darken ^noM^^ add GalUftont 
 And Gall-Jlcne pure and unmix'd is ufed fo 
 the thickeft Shides^ mixing a little Bijlr^ 
 with it^ if there be occafion to make then' 
 ftill darker. You finifti by dotting with th( 
 fame Colours you dead-colour'd with^ anc 
 loftjig the Lights and the Shades in one an- 
 oih.r. 
 
 xxxvir 
 
I XXXVII. If you put NapJes-Tellow, or 
 %4tch Finky in lieu of Majiicoi and Ga??ihcge 
 i)U will make another fore oiTellow. 
 
 XXXVIII. The Green Drapery is made 
 r a general Lay uf Ferd/^er ; with which 
 ycu find it too blue, mix Mafticot for the 
 
 'ights^ and Gamboge for the Shades. Afcer- 
 ards add to this mixture Lilly-Green or 
 7/)-Gr^(f;Kofliadow with; and as the Shades 
 e thicker^ put more of tliefe laft Greens ; 
 id even work with them pure and unmix'd^ 
 here they are to be extreamly dark. You 
 .lifii with the fame Colour?, ^ little darker. 
 By putting more Tellow^ or more Blue 
 
 .1 thefe Colours, you may make different 
 
 f)rts oi Greens^ as you pleafe. 
 
 I ■ 
 
 \ XXXIX. To make a hhck Drapery:, yon 
 ead-colour with Black and White ^ and fi- 
 •ifli with the fame Colour, putting more 
 Uack^ as the Shades are thicker ^ ar^d for 
 le darkejf^ mix Indigo with it, efpecially 
 '/hen you would have the Drapery appear like 
 ^elvet. You may always give fome Touchtrs 
 /ith a brighter Colour^, to heighten the 
 ights of any Drapery whatfoever. 
 
 XL. A white woolen Drapery Is made 
 )y a Lay of White:, in which there mufl be 
 : very fmall matter of Oker^ Orpiment or 
 j^//-^^?;;^^ that it may look a little yellowiflj. 
 
 C 2 Taca 
 
[ 28 ] 1: 
 
 Then dead-colcur:, and finifli the Shac Ji 
 with Blue^ a little Blacky White and 1/ 
 putting a great deal of the laflin the ^'^^^^slj^ 
 
 XLI. The Lighj-Gray is begun wi 
 Black and White;, and finifti'd with the Ian 
 Colcur deeper. 
 
 XLII. For a brown Drapery^, make a L 
 of Biftrc;, White and a little Brown-Re; 
 and (hadow with this mixture, made a litt 
 darker. 
 
 XLIIL There are other Draperies, ca 
 led variable^ becaufe the Lights are of a di 
 fcrent Colour from the Shades. Thefe ai 
 moftly ufed for the Veftments of Angels^ fi 
 young and gay People^ for Scarfs and oth( 
 airy Attire^ admitting of a great many Fold' 
 and flowing at the Pleafure of the Wine 
 The mcfl common are the Violet}, of whic 
 they make two Sorts ^ one^ where the Lighi 
 are blue; and the other^ where they are ye, 
 low. 
 
 XLIV. For the fir ft, put a Laj of Ultra 
 marine ?.nd very pale White upon the Z/gM 
 ?.nd fhadow with Carmine^ Ultramarine m ^ 
 White;, as for a Drapery wholly Violet ; f ' 
 that only the gr^nd Lights appear blue. Ye 
 they muft be dotted with Violet^ in whicl 
 there is a great deal of White ^ and loft in 
 fenfibly in the Shades. 
 
 XLV 
 
[29 ] 
 
 LV. The other isdone by putting upon 
 Lights only^ inftead of Blue^ a Lay of 
 ajiicot y working the reft as in the Drapery 
 a Violet^ excepting, that it muft be dotted^^ 
 a d the Parts blended with the Jhadow^y 
 t it isj the l^ellozv with the Fiolety with a 
 l:le Gamboge^ 
 
 'XLVI. The Carmine-Red is done like 
 t c laft J- that is, let the Lights be done with 
 Ucot^ and the Shades with Canmne • and 
 I ^oje the one in the other, make Ufe of 
 
 i vnboge, 
 
 XLVII. The Lake-Red is done like that 
 1 / Carmine, 
 
 XLVIII. The Green is done as the Lake; 
 ways mixing Verditer with Lilly or Sa^- 
 reen:^ to make the i which are not 
 
 |Ty dark. 
 
 \ XLIX. Several other Sorts of Draperies 
 lay be made at Difcretion, always taking 
 ire to preferve the Union of the Colours, 
 !ot only in one fort of Cloth or fo, but alfo 
 ji a Group of feveral Figures; avoiding as 
 luch as the Subje5i will allow, the putting 
 f Blue near the Colour of Fire^ of Green 
 gainft Black; and fo of other Colours which 
 ,ut and disjoin, and whofe Union is not 
 yind enough. 
 
 C 5 L. Se- 
 
[ 30] 
 
 L. Several other Draperies are ma; 
 of foul ColcurS:, as Brown-Redy Eijlrey J. 
 digOy &c. And all in the fame manni. 
 Likewifeof other Colours^ fimple and com 
 pound 3 the Agreement between which^l 
 always to be minded^ that the Mixture m| 
 produce nothing harfh and difagreeable 1 
 the Eye. No certain Rule can be laid dov\ 
 for this. The Force and Eifed of your C 
 lours are oniy to be known from U(e ar 
 Experience^ and you muft work accordir 
 to that Knowledge. 
 
 LI. Linen Cloaths are done thus : AfD 
 drawing the Plaits or Fotds^, as is done in 
 Drapery^, put a Lay of IVhite over all : The 
 dead-colour, and finifh the Shades with 
 Mixture of Ultramarine^ Black and IVhiti 
 ufing more or lefs of the laft^ according t 
 their Strength or Tendernefs; and in th 
 greateft Deepnings put Bijlre^ mix'd with 
 little Mobile ; giving only fome Touches c 
 this Mixture^ and even of pure Bijire upo 
 the Extremities of the greateft Shadowf 
 where the Folds muft be drawn, and loj 
 with the reft. 
 
 LIE They may be done in another man 
 ner^ by making a general Lay of this Mix 
 ture of Ultramarine^ Black and very pal( 
 White ; and dead-colour^ as I laid before; 
 w^Ith the fame Colour, but a little deeper 
 
 Anci 
 
[ 31 3 
 
 .nd when the Shades are dotted and finilliM^ 
 Hiieighten the Lights with pure and 
 :vfe them with the Deepnings of the Linnen. 
 I :ut of whatever fort you make them, whcfi 
 :y are finifli'd, you muft give a yellowllh 
 . L cint of Orpiment and IVhite to certain Pla- 
 \ esj laying it lightly on^ and as it were in 
 : rVater ; fo that what is underneath may^, 
 li lotwithftanding;, plainly appear^ as well the 
 ; "hadozvs as the DcUing, 
 
 ;| LIII. Tellow Linnen Cloaths are done by 
 mtting a Lay of White ^ mix'd v^lch a little 
 Iker. Then form and finifli the Shades vAxh 
 ■ re^ mixed with White and Oker ; and in 
 ..J thickell Shades ufe pure Biflre : And be- 
 rbre you ftnifli^ give fome Teints her'" and 
 here of Oker and White^ and others oi IVhite 
 ■md Ultramarine^i as well upon the Shades as 
 ;he Lights ^ but let them be very bright 
 iand drovjn the whole together in dotting^ 
 and 'twill look finely. As you (inifn^ heigh- 
 ten the Extremities of the Lights with Maf- 
 ;//V^/and White, You may add to this Sort 
 =of Linnen^, as well as to the White, certain 
 ■ Ears from Space to Space^, as in T urke'^-M^n- 
 tuas \ that is^ fmall Stripes blue and red with 
 Ultramarine and Carmine ; One of Red be- 
 tween two of Blue^ very bright and clear 
 upon the Lights^ and deeper upon the Shades. 
 Virgins are pretty often drefs'd with Vails 
 of this fort [ by Bofi/h Painters ], and Scarfs 
 of this kind are put about Necks that are 
 C 4 bare 
 
[33] 
 
 bare ; becaufe they become the Teint mightl 
 well. 
 
 LIV. If you would have both thefe Sor. 
 of Linnen tranfparent, and the Stuff o 
 other thing that is beneath^, appear througi 
 them, make the firft Lay for them ver 
 light and clear, and mix in the Colour t< 
 fiiadow with;, a little of that which is under 
 neath;, efpecially towards the End of th 
 Shades , and only do the Extremities of tin 
 Lights, for the TelloWy y^kh Mafticot anc 
 White I and for the White^ with pure WhtU 
 
 They may be done in another Manner 
 efpecially when you w^ou'd have them allto 
 gether as clear as Mujlin, Lawn^ or Gawze 
 To this End form and finift what is to be 
 beneath, as if nothing was to be put over it I 
 Then mark out the Itght and clear Folds 
 with White or Mafticot j and a Shadowy 
 with Biftre and White, or with Black, Blue, 
 and White, according to the Colour yoiii 
 would make them of ; making the reft fome- 
 what fainter : Yet this is not neceflary but 
 lor the Parts that are not to be fo clear. 
 
 LV. Crape is done the fame Way ; ex- 
 cepting, that the Folds of the Shades and the! 
 Lights, and the Borders too, are to be mark'd ' 
 out with little Filaments of Black upon what 
 is underneath; which is likewife to bei 
 finiftied beforehand. 
 
(33 3 
 
 LVI. When you would make a Stuff like 
 a watered Tabby make the Waves upon it 
 with a Colour a little lighter^ or a little dar- 
 ;ker, in the Lights and the Shades. 
 
 LVII. There is a Manner of touching 
 Draperies^ which diftinguifhes the Silke;^ 
 from the IFoolen, The laft are more ter-- 
 reftrial and fenfihle ; the others more light 
 and fading. But it muft be obferved^ that 
 this is an Effect^ which depends partly upon 
 the Stuff, and partly upon the Colour ; and 
 for employing thefe in a Manner fiiitable to 
 the Suhje^s and the Deepnings of Paintings 
 I will here touch upon their different Qua- 
 lities. 
 
 LVIII. We have no Colour, which par- 
 takes more of Lights nor Vv^hich comes 
 nearer the Air^ than Whiter which fiiews it 
 to be fickle and fleeting. It may, never- 
 thelefs, be held and brought to by fbme 
 neighbouring Colour^ more heavy and fen- 
 fihle 5 or by mxing them together. 
 
 LIX. Blue is a mod fleeting Colour: And 
 fo we fee^ that the Sky and the remoteft 
 Views of a Pifture are of this Colour ; but 
 it will become lighter and fickler^ in Propor- 
 tion as it is mix'd with White. 
 
 C y LX* 
 
[ 34] 
 
 LX. Pure Black is the heavieft and moft j 
 terreftrial of all Colours j and the more of I 
 it you mix with others^ the nearer youbring 
 them to the Eye. 
 
 Neverthelefs, the different Difpofitions 
 of Black and White make alfo their Effeds 
 different : For IVhite often makes Black dif- 
 appearj and Black brings White more into 
 View J as in the Refieftion of Globes^ or 
 ether Figures to be made round, where 
 there are always Parts that fl'jy as it were 
 from the Eye^ and deceive it by the Craft 
 cf Art: And under the JVhiie are here 
 comprehended all the light Colours j as un- 
 der the Black:, all the heavy Colours. 
 
 Ultramarine is, then^, foft and light. 
 
 Oker is not fo much fo. 
 
 Majiicot is very light ^ and fo hFerditer, 
 
 Vermillion and Carmine come near this 
 Q^uality. 
 
 Orpment and Gamboge not fo near. 
 
 Lake holds a certain Mean^ rather fofc 
 than rough. 
 
 Dutch-Pink is an indifferent Colour^ eafily 
 taking the Quality of others. So it is made 
 terreftrial by mixing it with Colours that 
 are fo, and on the contrary^ the moft light 
 and fleeting by joining it with /F/?//^ ov Blue, 
 
 Brown~Rcd^ U?nher^ Dark-Greens^ and 
 Bijlre, are the heavieft and moft terreftrial, 
 next to Black, 
 
 LXI. 
 
f 35 ] 
 
 LXI. Skilful Painters^ who under- 
 .ftand Perfpe^iive^ and the Harmony of 
 'Colours^ always obferve to place the dark 
 and fenftble Colours on the Fore-Parts of 
 their Piduresj and the moft light and fleet- 
 ing they ufe for the Diftances and remote 
 Views. And as for the Union of Colours, 
 the different Mixtures that may be made of 
 them, will learn you the Friendfliip or 
 Antipathy they have to one another. And 
 upon this you muft take your Mealiires for 
 placing them with fuch Agreement as (hall 
 pleafe the Eye. 
 
 LXII. For the doing of Lace^ French- 
 Points^ or other Things of that Nature^ put 
 over all a La^j of Blue^ Black and White^ as 
 for Linen: Then heighten the Flower- work 
 with pure White: Afterwards make the 
 Shades above with the firft Colour, and ii- 
 nifli them with the fame. When they rae 
 upon the Carnation^ or naked Parts of a 
 Pidurc;, or upon any thing elfe that you 
 would fhew through another;, finifh what is 
 beneath as if nothing was to be put over it: 
 and at Top^, make the Points or Lace with 
 pure White, fhadowing and finifliing them 
 with the other Mixture. 
 
 LXIII. If you would pamt a Fur^ you 
 muft begin with a kind of Drapery, done, 
 if it be dark, with i^i/^r^'and Whue^ making 
 C 6 the 
 
f 36 3 
 
 the Shadowlngs of the fame Colour^, with 
 iefs White. If the Fur be Whke^ do it with I 
 Blue^ White and a little Bifire. And when i 
 this Beginning^ or Firft-form ing is done, 
 inftead of dotting, draw fmall Strokes, turn- 
 ing, now in one Manner^ now in another^- 1 
 according to the Courfe and Flatting of the 
 Hair. Heighten the Lights of dark Furs 
 with Ohr and White; and of the other with 
 White and a little Blue. 
 
 LXIV. Fordoing a Building, if it be of 
 Stone, take Indigo^ Bijtre and White^ with 
 which make the Beginning or firft Form of 
 it; and for fiiadowing it, put lefs of this 
 lait; and more Bifire than Indigo^ according 
 to the Colour of the Stone you would paint. 
 To thefe you may likewife add a little Oker^ 
 both for the forming and the finifliing. But 
 to make it finer, you muft give^, here and 
 there, efpeciaily for old Fabricks, blue and 
 yellow Teints, fome with Oker^ others with 
 Uhramarine^ mixing always White with 
 them;, whether before the Firft-forming, 
 provided they appear through the Draught, 
 or whether upon it^ loofmg and drowning 
 them wich the Reft when you finifli. 
 
 LXV. When the Building is of Wood, 
 £s there are many Sorts, it is done atDif- 
 cretion; but the moft ordinary Way is to 
 begin or firft-form with Gker^ Bifire and 
 White, and finifli without F/hite^ or with 
 
 very 
 
e Bijlre. In the other they add fome- 
 I nes Vert?nllion^ fomethnes Green or Black y 
 a Wordj juft according to the Colour 
 ley would give it^- and they finifh with 
 httingy as in Draperies and every thing 
 
 )f Carnations, or the A^^- 
 ked Tarts of Painting. 
 
 Thing to give general Rules upon fo varia- 
 ble a Subjed:. Nor are they minded, when 
 one has got, by Cuftom and Pracftice^ fome 
 Habit of working eafily ; And fuch as are 
 arrived to this Degree;, employ themfelves 
 in copying their Origlnalsj, or elfe they 
 work upon their Ideas, without knowing 
 how : Infomuch that the moft Skilful, who 
 do it with lefs Refledion and Pains than 
 cthcrS;, would likewile be more put to it to 
 give an Account of their Maxims and 
 Knowledge in the Matter of Painting, if 
 they were to be asked what Colours they 
 made ufe of for making fuch and fuch a Co- 
 louring, a Teint here, and another there. 
 
 fe. 
 
 .XVL 
 
 T 
 
 HERE are in Carnation fo 
 many different Colourings, 
 that it would be a difficult 
 
 Never- 
 
[38] 
 
 Neverthelefs^ as Beginners, for whom 
 defign this little Work, want fome Inftruc 
 lion at the firft, I will fhew, in general 
 after what Manner feveral Carnations are 
 be done. 
 
 LXVII. In the firfi Place, after havin 
 drawn your Figure with Carmine^ and or 
 dered your Piece, apply, for Women auc 
 Children, and generally for all tendej 
 Colourings, a Lay of JVhite^ mixed witt 
 never fo little of the Blue^ made for Faces, 
 of which I have told the Compofition ; But 
 let it hardly be feen. 
 
 LXVIII. And for Men, inftead of Blue, 
 they put in this firft Lay a little Vermillionv 
 and when they are old, a little Okeris mix'd 
 with it. 
 
 LXIX. Afterwards follow all the Tra- 
 ces with Vermillion^ Carmine and White^ 
 mixed together ; and begin all the Shades 
 with this Mixture, adding White in Propor- 
 tion as they are weaker^ and putting but i 
 little in the darkeft, and none, in a manner, 
 in certain Places, where ftrong Touches 
 are to be given; for Inftance, in the Corner 
 of the Eye; under the Nofe; at the Ears; 
 lander the Chin; in the Separations cf the 
 Fingers; in all the Joints; at the Corners of 
 the Nails; and generally in every Part, 
 where you would mark out Separations in 
 
 Shades 
 
[39] 
 
 ades that are obfcure. Neither need you 
 to give to thofe Places all the Force and 
 ,rength they ought to have as foon as you 
 jigin or firft-form them^ becaufein working 
 : top with Greeny the Red you have put 
 lere is always weakned. 
 
 LXX. After having begun^ or firft- 
 3rmed, or dead-coloured, with Red^ make 
 lue Teints with Ultramarine and a great 
 eal of White^ upon the Parts which fl-j 
 •cm the Eye^ that is to fay, upon the Tern- 
 les 5* under and in the Corners of the Eyes ; 
 n both Sides the Mouth, above and below ; 
 little upon the Middle of the Forehead j 
 between the Nofe and the Eyes^ on the Side 
 ,)f the Cheeks,* on the Neck, and other Pla- 
 ;';es where the Flefli has I know not what 
 )liie Caft with it. 
 
 Yellowifh Teints are likewife ma;de with 
 Oker^ or Orpiment^ and a little Vermillion 
 luixt with White^ under the Eye-brows^ on 
 :he Sides of the Noie towards the Bottom; 
 a little underneath the Cheeks, and upon the 
 other Parts which rife and come nearer the 
 Eye. 
 
 'Tis, efpecially, for thefe Teints^ that th^ 
 natural Complexion is to be obferved, in. 
 order to catch it ; for Painting being an 
 Imitation of Nature, the Perfection of the 
 Art confifts in the Juftnefs and Simplicity 
 of the Reprefentation, efpecially in Face- 
 Painting* 
 
 LXXI. 
 
[40] I 
 
 LXXI. When, therefore, you have doMis 
 your firft Lay^ your Dead-colouring, zmL 
 your Teints, you muft work upon the Sha^m 
 dotting with Green for the Carnationsy mk 
 naked Parts mixings according to the Rub 
 I have given for the "TeintSy a little Blue mk 
 the Parts which fly from the Eye ; and qB 
 the other Hand, making it a little yellow(^ 
 for thofe that are more fenflble ^ that is t I 
 fey, which rife, and come nearer the Eyi 1 
 And at the End of the Shades^ on the Sic I 
 of the Lights you muft blend and lofe yoi 
 Colour inlenfibly in the Ground of the Cat 
 nation with Blue^ and then with Red^ accorc : 
 ing to the Places where you paint. If thi 
 Mixture of Green dees not work dark enougl : 
 at firft, pafs over the Shades feveral times 
 now with Red^ and now with Green ^ alway 
 dotting: And this do till they are as the] 
 fhouid be. 
 
 LXXII. And if you cannot, with thefc 
 Colours, give the Shades all the Force they 
 ought to have, finifli, in the darkeft, witt 
 Eijlre mixt with Or pimento Oker^ or VerA 
 milHony and fometimes with pure Bijlre^ 
 according to the Colouring you would 
 make^ but lightly, laying on your Colour 
 very clear. 
 
 LXXIII. You muft dot upon the clear 
 and hright Places with a little Vermillion or 
 
 Car- 
 
[ 41 ] 
 
 mixt With much JFhile^ and a very 
 all Matter of Oker, in order to lofe thera 
 ■ith the padowy^ and to make the feints 
 ie away inlenfibly into one another j taking 
 
 • -ire^ as ycu doly or halch, to make your 
 rokes follow the Turnings and Windings 
 
 the fiefliy Parts. For tho' the Rule be 
 
 • crofs always^ this Dotting or Hatching 
 jght to appear a little more here^ becaule 
 J rounds the Parts. 
 
 I And as this Mixture might make a Co- 
 3)uring too red^ if it was always to be ufed, 
 hey work like wife in every Part^ to blend 
 ^le Teints and the Shades, with Blue ^nd a 
 'ttle Green y and much JVhite^ fo mixed as to 
 every pale; excepting^, nevertheleft^ that 
 ais Colour muft not be put upon the 
 Cheeks, nor upon the Extremities of the 
 lear Part?^ no more than the other Mix- 
 ure upon thefe laft^ which muft be left 
 vith ail their Light ^ as certain Places of 
 he Chin^ of the Nofe, and of the Fore- 
 lead^ and upon the Cheeks which^ and 
 he Cheeks^, ought^ neverthelefs, to be red- 
 der than the reft^ as well as the Feet, the 
 Hollows of the Hands^ and the Fingers of 
 
 30th. 
 
 Obferve^, that thefe two laft Mixtures 
 3Ught to be fo pale:, that the Work fhall 
 lardly be vifible ; for they ferve only to fof- 
 :en it; to unite the Teints with one another, 
 and the Shades with the LightSy and to 
 drown the Traces. Care muft likewife be 
 
 taken^ 
 
[42 ] 
 
 taken, that you work not too much witi 
 the Red Mixture upon the blue Teints, no 
 with the Blue upon the others ; but chang 
 the Colour from Time to Time^ when yo 
 perceive it works too blue or too red, ti] 
 the Work be finifhed. 
 
 LXXIV. The Wkite of the Eyes muft 
 fhadowed with this lame Biue^ and a littl( 
 Flcfti-Colour ; and the Corners^ on the Side 
 of the Nofe, with Vermillion and White 
 giving them a little Touch of Carmine: 
 The Whole is foftened with this Mixture ol 
 Vermlilion^ Carmine^ White;, and a very fmall 
 Matter of Ohr. 
 
 The Apples or Balls of the Eyes are done 
 with the Mixture of Ultramarine zn(^ White -y 
 the iaft prevailing a little 5 adding a little 
 Biflre^ \i they are yellowifh ^ or a little 
 Blacky if they are gray. Make the litde 
 black Circle in the Middle, called thtChryf 
 tal of the Eye ; and (hadow the Balis with 
 Indigo Bijlre, or Black, according to the 
 Colour they are of,- giving to each a fmall 
 Touch of pure Vermillion round the Chr'jf^ 
 ial',^ Mjhich muft be loft with the reft at the 
 Finidiing. This gives Vivacity to the Eye. 
 
 The Round or Circumference of the Eye 
 is done with Biftre and Carmine ; that is to 
 fay, the Slits or Partings and the Eye-lids, 
 when they are large and bold; efpecially 
 the upper ones; which muft after Awards be 
 
 lot- 
 
[43 ] 
 
 ften'd with the Red or Blue Mixtures I 
 lave mentioned before, to the End they 
 nay be loft in one another, and nothing 
 t eeni interleded. 
 
 When this is done, give a little Touch of 
 3ure White upon the Chryftal^ on the Side 
 3f the Lights. This makes the Eye ftiine, 
 . and gives Life to it. 
 
 LXXV. The Mouth is dead-coloured 
 vvich Vermillion^ mix'd with White ; and fi- 
 nifh'd with Carmine^ which is foftened as 
 the reft. And when the Carmine does not 
 work dark enough, mix a little Bijire with 
 it. This is to be underftood of the Corners 
 in the Separation of the Lips; and particu- 
 larly, of certain Mouths half open. 
 
 LXXVL The Hands, and all the other 
 Parts of Carnation^ are done in the fame 
 manner as the Faces ; obferving^ that the 
 Ends of the Fingers be a little redder than 
 the reft. When your whole Work is form'd 
 and dotted^ mark the Separations of all the 
 Parts with litde Touches of Carmine and 
 Orpiment mix'd together, as well in the 
 Jhadowy as the light Places but a little 
 deeper and ftronger in the Firft ; and lofe 
 them in the reft of the Carnation, 
 
 LXXVIL The Eye-brows and the 
 Beard are dead-colour d^, as are the Shades 
 of Carnations^ and finiftied with Biftre^ Oker^ 
 
 or 
 
r 44 ] 
 
 or Blacky according to the Colour they are 
 of^ drawing them by little Strokes the Way 
 they ought to go^ that is to fay^ give them 
 all the Nature of Hair. The Lights of them 
 muftbe heightened with Oker and Biftre^ a 
 little Vermillion^ and much White. 
 
 LXXVIII. For the Hair of the Head, 
 make a Lay of Biftre^ Oker and V/hite^ and 
 a little Vermillion, When it is very dark 
 colour'd, ufe Black inftead of Oker. After 
 wards form the Jhadowy Parts with the fam 
 Colours, putting lefs White in them an 
 tinifti with pure Bijlre^ or mix'd with Oakef^ 
 or Blacky by Imall Strokes very fine, and 
 clofe to each other, waving and buckling 
 them according to the Curling of the Hatr. 
 The light Parts muft alfo be heightened by 
 little Strokes with Oker or Orpment^ W^hite 
 and a little Vermillion. After which, lofi 
 the Lights and tne Shades in each other, by 
 working fometim.es with a dark, and fome- 
 times with a paie Colour. 
 
 And for the Hair about the Forehead, 
 thro' which the Skin is feen, it muft be firft 
 formed with the Colour thereof^ and that 
 of the Carnation^ working and fliadowing 
 with one and the other, as if you defigned 
 to^ paint none. Then form it, and finifli 
 with Biftre. The Lights are to be heigh- 
 ten'd as the other. 
 
 Gray 
 
t 45 ] 
 
 Gmy Hair Is dead-colour'd with White ^ 
 J.B/j^^and Bifiie^ and finifhed with the fame 
 , Colour, but deeper 5 heightening the bright 
 I and clear Parrs of the Hair, as well asthofe 
 ' Dfthe Eye-brows and the Beard, with Wh'iU 
 ind very pale Elue^ after having form'd 
 them, as the others, with the Colour of the 
 Flefli^ or Skin ^ and finifli with Bifire. 
 
 LXXIX. But the moft important Thing 
 is to foften one's Work, to blend the Teints 
 in one another, as well as the Beard and the 
 Hair about the Forehead, with the other 
 Hair and the Carnation^ taking efpecial 
 Care not to work rongh and Jr); ; anel that 
 the Traces, Turnings and Windings of the 
 Carnation^ or naked Parts^ be not inter- 
 fered. 
 
 You mull likewife accuftom yourfelf to 
 put White in your Colours only in Propor- 
 tion as you work lighter or darker : For the 
 Colour you ufe the fecond time muft be 
 always a little ftronger and deeper than the 
 firft, unlefs it be {or fofiening. 
 
 LXXX. Different Colourings are ea- 
 fily made, by putting more or lefs of Red^ 
 or ^fod*, or TelloWy or Bifire^ whether for 
 the Dead-colouring, or for the Tinilhing. 
 That for Women ought to be blueifli: That 
 for Children a little red ; and both frefli and 
 tiorid. That for Men ought tobeyellowerj 
 efpecially when they are old. 
 
 LXXXL 
 
^^^^ I 
 
 LXXXL To make aCcIourlng ofD^^/A 
 there muft be a firfl: Lay of White and Ot^ 
 fimenty or very pale Oker : Dead-colour wit 
 Vermi lion^ and Lake^ inftead of Carmim 
 and a good deal of White; and afterward ' 
 work over it wkh a green Mixture^ in whicl 
 there is more Blue than any other Colour 
 to the end the Flefti may be livid and of ; 
 Purple Colour. The feints are done th( i 
 fame Way as in another Colouring bu' 
 there mult be a great many more blue thar' i 
 yellow cnes^ efpecially upon the Parts whict i 
 fly frcm the Sights and about the Eyes^ anc 
 the laft ar: only to be upon the Parts which I 
 rife, and com.^ nearer the Eye. They are 
 made to Me awny one in another, according I 
 to the ordinary Manner ; fometimes with i 
 very pale Blue^ and fometimes with Oker \ 
 and White ^ and a little Vermillion ; foftning ' 
 the Whole together. The Parts and Con- ] 
 tours muft be rounded with the fame Co- J 
 lours. ' 
 
 The Mouth is to be, in a Manner, of a 
 quite Violet. 'Tis dead-coloured, however, i 
 with a little Vermillion^ Oker and White ; ■ 
 but finlftied with Lake and Blue: And to 
 give it the deep Strokes, they take Bijlre and ' i 
 Lake; with which they likewife do the fame ;i 
 to the Eyes, the Nofe, and the Ears. ' ; 
 
 If it is a Crucifx^ or fome Martyr^ upon i 
 whom Blood is to be feen,- after the finifli- j 
 
 h 
 
[47] 
 
 tig the Carnation, form it with Vermillion^ 
 (j;nd finifli it with Carmine^ making in the 
 props of Blood a little bright^ reflecting 
 [ iJpark, to rcund xhtm. 
 r For the Crown of Thorns make a Layoi 
 
 "ea-GreeUy and Majlicot *^ fhadow it with 
 ■3tjlre d.n(\ Green and heighten the clear 
 : md light Parts with Mafticot. 
 
 , LXXXIL Iron is formed^ or firft laid, 
 vith Indigo^ a little Black and White ; and 
 iniflied with pure Indigo^ heightening it 
 ivith IVhite. 
 
 LXXXIII. For painting Fire and Flames^ 
 .;he Lights are done with Mafticot and Or- 
 dment'^ and for the Shades^ they mix Ver- 
 'nil/ ion and Carmine, 
 
 , LXXXIV. A Smoke is done with Black, 
 Indigo and JVhite^ and fomecimes with 
 Bijire : One may llkewife add Vermillion 
 Dr Oker-^ according to the Colour it is to be 
 of. 
 
 LXXXV. Pearls are painted by putting 
 a Lay of White ^ and a little Blue : They 
 are Jhadowed and rounded with the fame 
 Colour deeper; A fmall white Dot is made 
 almofl in the Middle^ on the Side of the 
 Light y arid cn the other Side, between the 
 Shadow ar.d the Edge of the Pearly, they 
 
 give 
 
[4S ] 
 
 give a Touch with Mafiicot:^ to make tl 
 Reflexion and under the Pearls is made 
 little Shadow of the Colour of the Grou 
 they are upon- 
 
 LXXXVI. Diamonds are done wi 
 
 f)ure Black\ Then they heighten them wii 
 ittle Touches of White on the Side of tl' j 
 Light . f 
 It is the fame Thing for any oth(n 
 . Jewels you have a Mind to paint; Then 
 is nothing to be done but to change th 
 Colour. 
 
 LXXXVII. For making a Figure cf 
 Gold, put ^ Lay of Shdl-Gold^ andftiadovi 
 it with Gall'Jione. 
 
 Silver is done the fame Way^ exceptinj 
 that it muft be ftiadcw'd with indigo. I 
 
 UCXXVIIL Thus have I particularl;i^ 
 fet down feveral little Matters to help Be - 
 ginners ; for the Method of doing thefe 
 and the Colours that are ufed in them^, wil 
 llkewife help for fuch Things as I have no^ 
 mentioned^ waiting for the Skill and Faci ; 
 lity which Time and Experience are ufed tc: 
 give to fuch as apply themfeives to this Art 
 
 One great A4eansto acquire a Perfedior; 
 in it^ is to copy excellent Originals. W(j' 
 enjoy with Pleafure and Tranquility the: 
 Labour and Pains of others. But a Man 
 
 mufli 
 
[49 ] 
 
 , nuft copy a great dumber before lie Is 
 V. ible to produce as f.ne hrtcds; and ic is 
 
 ^Detter to be a G;ocd Copier than a bad An- 
 4:hor. 
 
 The Infl:ru(5llons I have given for the 
 , Vlixtures and different Tindiires for the 
 ; ':olouring of Carnations and other Things^, 
 l^'may particularly lerve for working alter 
 •'^Prints y where nothing is feen but Black 
 and fVhite-^ though they are not unprofica- 
 'Die when one begins to copy after PicftureS:, 
 without Skill in the Management of Co- 
 lours^ and without knowing their Force 
 and Effed. For there is this Difference 
 between Miniature and Painting in 0/7, 
 that in the lafl:^ the Colours are taken upon 
 the Pallet, juft as they appear in the Pic- 
 ture, where they are laid on at once; 
 infomuch that nothing is to be done but 
 to confider a little, what will make fuch a 
 Light y and what fuch a Shade. Bur ic is 
 not thus in Miniature^ where pretty often 
 the laft Lay that is applied, does not keep 
 its Colour, but takes another from the 
 Firft that has been wrought underneath; 
 or rather, one and the other compofe a 
 Third, which has the defired EffecS. And 
 though, for Example, it be White, GreeUy 
 Carmine^ Blue^ Orpime??ty Bijire^ &c. oc 
 yvhich this Colouring is compofed, thefe 
 Colours, neverthelels, do not produce it, 
 f you mix them together; for it is not 
 ''D onlv 
 
[50] 
 
 only by workings, firft with one, then wkh j 
 another, that the Thing is done. Andj 
 when a Man fees this Efkdy without hav-| 
 ing feen how it is produced, he muft, at l 
 leaft^ be a Conjurer to difcover the Orderji 
 and Manner of it^ fuppofing that he hath' 
 neither Book nor Mafter. For this Reafon 
 1 applied myfelf to particularize fo many 
 little Inftrudions in this Matter and I at 
 lure myfelf, that Experience will fhew to; 
 fuch as are in a Capacity to make ufe of> 
 them^ that tho' they are fmall^ they are not ; 
 left ufeful. 
 
 Of 
 
[51 ] 
 
 j. Of La ndskips. 
 
 IlXXXIX. 'np is particularly for Land^ 
 W /kip chat the 58th Arti- 
 
 Ifcie Is efteemea, and the following, on the 
 Nature and different Qualities of Colours j 
 becaufe the Order andDiftribution that are 
 made of them, will do much towards 
 (hewing the remote and th: near Views, 
 which deceive the Eye. And the greateft 
 Painters of Landjkip have always obferved 
 to place the moft terreftrial and fenfibic 
 Colours upon the firft Lines of their Land- 
 (kip^ referving the lighteft for the Dif* 
 tances. 
 
 But that I may not wander from my De- 
 fign, inftead of general Precepts, I will 
 ftop to give Beginners fome particular In- 
 ^ftrudions for Practice. 
 
 i XC. In the firft Place, after having or- 
 dered the QSconomy of ) our Land/kip as of 
 your other Pieces, you mw^.form the near- 
 eft Grounds or Lands, when they are to ap- 
 pear dark, with Sap >or Lilly-Green^ Bijlre 
 and a little Verditcr^ to give a Body to your 
 ( D 2 Co- 
 
[52] 
 
 Colour; Then dot wiih this Mixture^ bu 
 a little darker^ adding lometimes a little 
 Black to it. 
 
 For iuch Pieces of Ground as the Light 
 falls upon^ and which are therefore clear 
 and bright^ make a Lay of Oker and White: • 
 Then fnadow and finifh with Bijire. In 
 fome they mix a litti, Green^ particularly 
 for fliadowing and finifting. ' 
 
 There are fometimes upon the Fore- 
 part certain reddifti Lands; which are dead- 
 coloured with Brown Redy fVhite and a 
 little Green ; and finiflied with the fame, 
 putting a little more Green in them. 
 
 For the making of Grafs and Leaves 
 upon the Fore-ground^ you muft, when that 
 is finiflied, form with Sea-Green ov Verditer 
 and a little White; and for thole that are y el- 
 lowifh, mix Majltcot. Afterwards ftiadow 
 them with Lilly-Green^ or BiJlre and Gall^ 
 fioncy ifyou would have them appear withered. 
 
 The Grounds or Lands at a little Dif- 
 tance, are formed with Verditer^ and fha- 
 dowed and finiflied with Sap-Green^, adding 
 Bifire for fome Touches here and there. 
 
 Such as are at a greater Difl-ance, are i 
 done with Sea-Green and a little Blue; and 
 fhadow'd with Verditer. 
 
 In a Word, the farther they go, the more j 
 llue'ijh they are to be made,- and the fartheft I 
 Difl:ances ought to be of Ultramarine and ' 
 V/hite; mixing in fome Places fmall Touches 
 of Vermillion. 
 
 XCI. 
 
[ 53 J 
 
 XCI. Water is painted with Lidigo and 
 White^ and fhadcw'd with the fame Colour, 
 but deeper: And to finifli it, inftead o{ dot- 
 ting^ they do nothing but make Scrokes and 
 Traces without crolling,- giving them the 
 fame Turn with the Waves, when there are 
 any. Sometimes a little Green muft be 
 mixed in certain Places, and the light and 
 clear Parts heightened with pure White^ par- 
 ticularly where the Water foams. 
 
 Rocks are dead-coloured like Buildings of 
 Stone J excepting, that a little Green is 
 m.ix'd for forming and fhadowing them. 
 Blue and yellow Teints are made upon 
 them, and lofi with the reft in finlfhing. 
 And when there are fmall Branches, with 
 Leaves, Mofs, or Grafs, when all is finlfh'd, 
 they are to be raifed at Top with Green 
 
 green, and reddifli, for appearing dry, in 
 the fame Manner as on the Ground. Rocks 
 are dotted as the reft,- and the farther they 
 are off, the more grayifli they are made. 
 
 Caftles, old Houfes, and other Buildings 
 of Stone and Wood, are done in the Man- 
 ner I have mentioned before, fpeaking of 
 thofe Things, when they are upon the firft 
 Lines. But when you would have them 
 appear at a Diftance, you muft mix Brown- 
 Red and Vermillion^ with much White-^ and 
 fhadow very tenderly with this Mixture; 
 and the farther they are off, the weaker arc 
 
 They may be made yellow. 
 
 the 
 
[54] 
 
 the Strokes to be for the Separations. If 
 they are covered with Slate^ it is to be made 
 bluer than the reft. 
 
 XCII. Trees are not done till the Sky 
 be finiftied : One may, neverthelefs, [pare 
 the Places of them when they contain a 
 good Kuinber: And however it be, fuchas 
 come near the Eye, are to be dead-colour'd 
 with Verditer^ mixing fometimes Oker^ and 
 fnadow'd with the fame Colours, adding, 
 Lilly-Green. Afterwards ycu muft work 
 Leaves upon them by dotting without 
 croffing: For this muft be done with fmall 
 IcngiHi DotSy of a darker Colour, and pret- 
 ty full of it • which muft be conduded on 
 the Side the Branches go, by little Tufts of 
 a little darker Colour. Then heighten the 
 Lights with Verditer or Sea-Green, and Maf-, 
 ticot, making Leaves in the fame Manner : 
 And when there are dry Branches or Leaves, 
 they are dead-coloured with Brown-Red or 
 Gall'Jione^ with White \ and finiftied with 
 GalUjione^ without White^ or with Bijire. 
 
 The Trunks of Trees are to be dead-co- 
 lour'd with Oy^^r, White y and a little Green 
 for the light and clear Parts ; and for the 
 dark, they mix Black-^ adding Bijire and 
 Green for fiiadowing one and the other. 
 Blue and yellow Teints are likewife made 
 upon them, and little Touches given here and 
 there with White and Majlicct^ fuch as you 
 ordinarily fee upon the Bark of Trees. 
 
 The 
 
iss] 
 
 The Branches, which appear among the 
 Leaves, are done with Oker^ Verditer and 
 White or with Bijt remind White ^ according 
 to the Light they are placed in They mult 
 be fhadow'd with Bif re and Lilly-Green. 
 
 Trees, which are at a little 'iJiltance, are 
 dead-coloured with Verditer and Sea-Green 
 and are fhadow'd and finifhed with the fame 
 Colours^, mix'd with Lilly-Green. When there 
 are fome, which appear yellowifh, lay with 
 Oker and VThite^ and finifli with Gall-Jtone. 
 
 For fuch as are in the Diftancesand re- 
 mote Views, you muft dead-colour with 
 Sea-Green ; with which, for finifliing, you 
 »muft mix Ultramarine. Heighten the Ligiits 
 of one and the other with Majiicot ^hy imall 
 <Jisjoined Leaves. 
 
 'Tis the moft difficult Part of Landjkip ; 
 and, in manner, of Miniature^ to leafd. Tree 
 well. To learn, and break one*s Hand uo 
 it a lictle, the Way is to copy good ones,- 
 for the manner of touching them is fingular^ 
 and cannot be acquired but by working 
 upon Trees themfelves about which you 
 muft obferve to make little Boughs^ which 
 muft be leafed:^ efpecially fuch as are below 
 ^nd towards the Sky. * 
 
 And generally, let your Landjkips be co- 
 loured in a handfom Manner, and full of 
 Nature and Truth ^ for 'tis that which gives 
 them all their Beauty, 
 
 Of 
 
G£ FLawERs, I 
 
 XCIII. TTT is an agreeable Thing to paint 
 J[ Flowersy not only on account 
 of the Splendor of their different Colours^ 
 but aifo by Reafon of the little Time andi 
 Pains chat are beftowed in trimming them, i 
 There is nothing but Delight in it ; and^ in 
 a manner^ no Application. You maim anu | 
 bungle a Face^ if you make one Eye higher: I 
 or lower than another a fmall Nofe with a i 
 large Mouth ; and lb of other Parts. But \ 
 the Fears of thefe Dif proportions conftrain 
 not the Mind at all^ in Flower-Painting j 
 for unlefs they be very remarkable, 
 they fpoil nothing. For this Reafon 
 moft Perfons of Quality who divert them- 
 felves with Painting, keep to Flowers.' 
 Neverthelefs you muft apply yourfelf to 
 copy juftly : And for this Part of Mini- 
 ature/ as for the reft:, I r^^i* you to 
 Nature, for (he is your beft Model Work, 
 then, after natural Flowers ^ and look for 
 the Teints and different Colours of them 
 upon your Pallet : A little ufe will make 
 you find them eadly: And to facilitate this 
 to you at the firft, I (hall, in the Continu- 
 ance 
 
[57] 
 
 ance of my Defign^ fhew the Manner of 
 Painting feme; for natural Flowers are not 
 always to be had and one is often obliged 
 to work after Prints^ where nothing is fecn 
 but Graving. 
 
 XCIV. "'TIS a general Rule^ that Flowers 
 are defigned and laid like other Figures 
 but the manner of forming and finiftiing them 
 is different : For they are firft formed only 
 by large Strokes and Traces which you 
 muft turn at the firft the way the Small ones 
 are to go^ with which you finifli ; this Turn- 
 ing aiding much thereto. And for fiuifh- 
 ing them^ inftead of hatching or dotting, 
 you draw fmall Strokes very fine, and very 
 clofe to one another, without crcffing j re- 
 pafEng feveral Times, 'till your dark and 
 your clear Parts have all the Force you 
 would give them. 
 
 Of ROSES. 
 
 XCV. A FTER making your firft Sketch, 
 drsLW with CarminethQ Red-Rofe; 
 and apply a very pale Lay of Carmine and 
 White. Then form the Shades with the 
 fame Colour, putting lets White in it : And 
 laftly, with pure Carmine:, but very briglit: 
 and clear at the firft ^ fortifying it more and 
 more, as you proceed in your Work, and 
 according to the Darknefs of the Shades, 
 This is done by large Strokes^ Then finifti^ 
 D y work^ 
 
f 58 ] 
 
 working upon it wich the fime Colour by 
 little Strokes, which you muft make go the 
 fame Way with thofe of the Graving, if it 
 be a Print you copy 3 or the Way the 
 Leaves of the Rofe turn, if you copy after 
 a Paintings or after Nature lofing the dark 
 in the clear Parts, and heightening the 
 greateft Lighis^ and the brighteft or mcft 
 lightfome Leaves, with White and a little 
 Cartnine. You muft always make the Hearts 
 of Rofes, and the Side of the Shadow, 
 darker than the Reft, and mix a little Indigo 
 for ftiadovving the firft Leaves particularly, 
 when the Roles are blown, to make them 
 feem faded. 
 
 The Seed is dead-coloured with Gamloge ; 
 with which a little Sap-Green is mixed for 
 Ciadowing. 
 
 Rcfes ftreaked with feveral Colours^ 
 ought to be paler than others, that the 
 Mixture of Colours may be better feen ; 
 which are done with Carmine-^ a little dar- 
 ker in the Shades^ and very clear in the 
 Lights ; always hatching by Strokes. 
 
 For White Rofes you muft put a Lay of 
 White; and form and finifti them as the 
 Red 5* but vv^ith Blacky White and a little 
 Bifre\ and make the Seed a little yellower. 
 
 Yellow Rofes are done by putting in 
 every Part a Lay of Mafticot;^n{\ fiiadowing 
 them with Gamboge^ Gall-ftone^ and Bijire\ 
 heightening the clear and light Places with 
 Mafiicot and White. 
 
 The 
 
r 59 ] 
 
 ' The Styles, the Leaves, and the Buds of 
 : all forts of Rofes, are formed with Ferditer, 
 with which is mixed a little Mafticot and 
 Gamboge ; and for fliadowing them, they add 
 Sap-Green^ putting iefs of the other Colours, 
 when the Shades are deep. The Out-fide 
 of the Leaves ought to be blewer than the 
 Infide: Wherefore it muft be dead-colour d 
 with Sea-Green^ and Sap-Green mix'd with 
 that for ftiadowing, making the Veins or 
 Fibres on this Side clearer than the Ground ; 
 and thofe on the other Side darker. 
 
 The Prickles, which are upon the Stiles 
 and Buds of Rofes, are done with little 
 Touches of Carmine y which are made to go 
 every way ; and for thofe that are upon the 
 Stalks, they are formed with Verditer and 
 Carmine^ and fhadow'd with Carmine and 
 Bifire \ making the Bottom of the Stalks 
 more reddifli than the Top, that is to fay, 
 you muft mix with the Green, Carmine and 
 pure Biftre. 
 
 Of TULIPS. 
 
 XCVI. A S there are an Infinity of Tulips, 
 different from one another, one 
 cannot pretend to mention the Colours vv^th 
 which they are all done, I will only .touch 
 upon the handfomeftj called ftreaked : And 
 thefe Streaks are dead-coloured with very 
 clear Carmine in fome Places, and with dar- 
 ker in others fiaifhing with the fame Co- 
 D 6 lour 
 
[ 6o ] I 
 
 lour by little Strokes, which muft be carriedl!i 
 the fame Way with the Streaks. And inll 
 others is put a firft Lay of Vermillion, Thenll 
 they form them by mixing Carmine^ and* 
 finim them with pure Carmine. 1 
 
 In feme they put Florence-Lake over the! 
 Vermillion^ inftead of Carmine. > I 
 
 Some are done with Lake and Carminem 
 mixed together, and with Lake alone, or 1 
 with iVhite and Lake for the firft forming j 1 
 whether it be Rofe-Pink^ or Florence-Lake. | 
 
 There are feme of a Purple Colour, ' 
 \vhich are formed with Ultramarine, Car- 
 mine or Lake^ fcmecimes blewer and fome- 
 times redder. The Manner of doing both 
 one and the other, is the fame : There is no 
 Difference but in the Colours. 
 
 You muft in certain Places, as between 
 the Screaks of Vermillion^ Carmine^ or Lake^ 
 fomctimes put BliiCy made of Ultramarine 
 and TVhite^ and fometimes a very bright 
 Purple^ which is finifhed by Strokes as the 
 reft, and with the Streaks. There are 
 feme likewife which have fallow Teints^ that 
 are mnde with Lake^ Bijlre^ and Oaker^ 
 according as they are. But this is only in 
 fine and rare tulips ^ and not in the common 
 ones. 
 
 For fliadowing the Bottom of them, they 
 ordinarily take Indigo and White for fuch 
 vvhofe Screaks are of Car7nine. 
 
 For fuch as are of Lake^ they take Black 
 and White with which, in fom-e Bijire is 
 
 mix'd I 
 
F mix'd ; and In others^ Green. Seme arc 
 ; like wife to be fhadovv d with Gamboge and 
 t Umber^ and always by Strokes and Iraces, 
 that turn as the Leaves turn. 
 
 Other 'Tulips are likewile done^ callM bor- 
 der d; that is to fay^ the Tulip isnotftreaked 
 but on the Edges of the Leaves^ where 
 there is a Border. 
 
 It is White in the Purple. 
 Red in the Tellow. 
 Yellow in the Red. 
 And Red in the fVhite. 
 The Purple is laid with Ultramdrine^ 
 Carmine and fhado wing and finifhing 
 
 it with this Mixture. The Border is fpard; 
 that is to fay, let only a light Lay of PFhite 
 be put there ; and let it be fliadowed with 
 very bright Indigo. 
 
 The fellow is forin'd with Gamboge^ and 
 fliadowed with the fame Colour, mixing 
 Oker^ and Umber or Biftre with it. The 
 Border is laid with Vermillion^ and finifhed 
 with a very fmall Matter of Carmine. 
 
 The Red is fbrm'd with Vermillion^ and 
 finlflied with the fame Colour, mixing Car- 
 mine or Lake with it. The Bottom and the 
 Border are done with Gamboge; and for fi- 
 nifliing, they add Gall-Jlone and Umber or 
 Biftre. 
 
 The White is fliadowed with Black, Blue^ 
 and White. Indian Ink is very proper for 
 this. The Shadow ings of it are very tender. 
 It produces alone the Effc(5l of Blue and 
 
 White:, 
 
[ 62 ] 
 
 WhitCy mixed with other Blach The 
 Border of this white T ulip is done with] 
 Carmine. 
 
 In all thefe Sorts of ^uUps^ they leave a' 
 Nerve or Sinew in the Middle of the LeaveSj 
 that are brighter than the reft : And thej 
 Borders are drowned with the Bottom by 
 fraall Traces, turning crofswife ; for they 
 muft not appear cut and feparated^ as the 
 ftreaked or party-coloured. 
 
 They make them likewife of feveral other 
 Colours. When they happen to be fuch 
 whofe Bottoms on thelnfide are black, as it 
 were, they form and finifti them with 
 Indigo as alfo the Seed about the Nozzle or 
 Stalk. And if the Bottom is yellow, it is 
 fbrmM with Gamboge \ and finifhed by add- 
 ing Umher or Bijire. 
 
 The Leaves and the Stalks of Tulips are 
 ordinarily formed with Sea-Green ; and ftia- 
 dowed and finifhed with Lilly-Green^ by 
 large Traces all along the Leaves. Some 
 may likewife be done with Verditery mixing 
 Majliiot^ \N\t\i it; and fliadowed with Sap- 
 Green^ that the Green of the Shades may 
 be yellower. 
 
 The EMONY, or WIND-FLOWER. 
 
 XCVn.npHERE are feveral Sorts of 
 A them as well double as fingle. 
 Thelaftare ordinarily without Streaks. Some 
 are made of a Purple Colour, with Purple 
 
 and 
 
f [ 63 ] 
 
 ind White^ fhadowing them with the fame 
 i^olour, fome redder, others blewer; fome- 
 1 imes very pale, and fometimes very dark. 
 
 Others are form'd with Lake and White^ 
 ind finiftied with the lame, putting le(s 
 White J fome without any IFhite at all. 
 
 Others are form'd with Vermillion^ and 
 [hadow'd with the fame Colour, adding 
 Carmine. 
 
 We fee likewife white ones, and fome of 
 a Citron Colour. The laft are laid w^ith 
 Majlicot ^ and one and the other fhadow'd 
 and finilh'd fometimes with Vermillion^ and 
 fometimes with very brown Lake^^ efpecial- 
 ly near the Seed^ at the Bottom which is 
 often likewife ofablackifh Colour, that is 
 done with Indigo-^ or Black and Blue:, mix- 
 ing for fome, a little Bifire and always 
 working by very fine Strokes and Traces, 
 and loftng the Lights in the Shades. 
 
 There are others that are brighter and 
 clearer at the Bottom, than any where elfe^ 
 and fometimes they areperfedly white there, 
 thou![^h the rert of the Flower be dark. 
 
 The Seed of all thefe Emonies is done 
 with Indigo and Blacky with a very little 
 White; and fhadowed with hdigo and in 
 fome, 'tis raifed with Majlicot. 
 
 The double Emonies are of feveral Co- 
 lours. The handfomeft have their large 
 Leaves ftreaked. Some are done, that is, 
 the Jfreaked or party-coloured^ with Vermil- 
 lion.^ to which Carmine is added for the finifh- 
 
[64] 
 
 Ing; ftiadovvingthe reft of the Leaves wit 
 IndigOy and fcr the (rnall Leaves withini 
 z Lay is put of Vermillion and White-, ani' 
 they are fliadowed with Vermillion^ mix'«{ 
 with Carmine^ mixing here and there fom| 
 ftronger Touches^ efpecially in the Hear 
 of the Flower^ next the great Leaves on thi 
 Side of the Shadow. They finifh with C^r ' 
 miney by little Strokes and Traces, turninj^ 
 the fame way with the mixt^ or Party-Co- 
 lours^ and the Leaves. 
 
 They form and finifh the Streaks or Party- 
 Colours of fome others, as well as the 
 fmall Leaves, with pure Carmine ; leaving 
 neverthelefs^ in the Middle of the laft a 
 little Circle^ in which is laid dark Purple^ 
 which is loft with the Reft. And when 
 all is finlfh'dj, they give fome Touches 
 with this fame Colour round about the 
 fmall Leaves, efpecially on the Side of the 
 Shadow I drowning them with the large 
 ones, the Remainder of which is fliadow'd 
 either with Indigo or Blach 
 
 In fome, the fmall Leaves are done with 
 Lake or Purple^ tho' the Party-Colours 
 of the large ones be done with Ca- mine. 
 
 There are others, whofe mixt Colours 
 are done with Car^nine^ in the Middle 
 of moft of the large Leaves,- puciing in 
 fome Places Vermillion underneath^ and 
 loftfig thcfe Colours with the Shadows of 
 the Bottom- which are done with Indigo 
 and White. The fmall Leaves are laid , 
 
[65 ] 
 
 Ith Mafticot'i and fhadow'd with very 
 ark Carmine on the Side of the Shadcy 
 d with very clear on the Side of the 
 ight f leaving there^ in a Manner, }3ure 
 'aft i cot ana giving only fome little 
 ouches with Orpment and Carmine^ to 
 arate the Leaves ^ which may be ftiadowM 
 metimes with a little very pale Green. 
 There are Double Emonies painted all 
 led, and all Purple. The firft are form'd 
 ^vich Fermi Hi cn^ and Carmine y in a Man- 
 ler, without IFbite ; and fliadow'd with 
 .-^ure Carmine^ wdl gumm'd, that they 
 may be very dark. 
 
 . Purple Emonies are laid with Purple 
 ind White^ and finiflied with White. 
 
 In a Word, there are double Emonies^ 
 as there are (ingle ones, of all Colours j 
 and they are done in the lame Manner. 
 
 The Green of one and the other is 
 Verditer ; with which Maflicot is mix'd 
 for forming. 'Tis ftiadow'd and finifh*d 
 with Sap-Green. The Styles of them 
 are a little reddifli; wherefore they are 
 (hadow'd with Carmine^ mixM with Bif- 
 tre ; and fometimes with Green^ after hav- 
 ing laid them with Majlicot* 
 
 The C/^RN/VTION and the PINK. 
 
 XCVIII. npiS with Pinks and Carna- 
 JL tions as v/ith Emonies and 
 Tulips; that is, there are fome mixt~co- 
 lour'd, and others of one fingle Colour. 
 
 The 
 
[ 66 ] J 
 
 The firfl ^ire ftreaked and dlverfifi( 
 fomecimes with Vermtllion and Carmim 
 fomecimes with pure Lakey or with JVhiti 
 Ibme Streaks very dark, and others vci 
 pale ; fometimes by little Streaks and D 
 Terfifications ; and fometimes by large one 
 
 Their Bottoms are ordinarily fhadow' 
 with Indigo and JVhite. 
 
 There are Pinks of a very pale Fleft 
 Colour^ and ftreaked and diverlifted wiei 
 another, a little deeper, made with VermH 
 lion and Lake. i 
 
 Ochers, which are of Lake and Whitl 
 areftadow^d and ftreaked without White. 
 
 Others all red ; which are done with Vcr 
 milli n and Carmine^ as dark as pcffible. ' ! 
 
 Others all oi Lake. ' 
 
 And iaftly, there are others, whereiri 
 Nature or Fancy is the Rule. 
 
 The Green of one and the other is Sea^ 
 Greeny fliadow'd with Lilly-Greeny or Sa^- 
 Green. 
 
 The RED -LILLY. 
 
 XCIX. T T is laid with Red-Lead \ fbrnVdl 
 with VermillioHy and in the deep- 
 eft of the Shades, with Carmine ; and fi- 
 nifti'd with the lame Colour by Strokes and 
 Traces, turning as the Leaves turn. The 
 clear and light Parts are heightened with 
 Red-Lead and White. The Seed is done 
 with Vermtllion and Carmine. 
 
 The 
 
* f 67 ] 
 
 j The Green Parrs are done with Verditer^ 
 ladow'd wich Lilly or Sap-Green. 
 
 I The DAY-LILLY. 
 
 np H E R E are three Sorts of them 
 J' The Gridelin, a little red. 
 The Gride. in^ very pale. 
 And the Whice. 
 
 For the Firft they put a Lay of Lake 
 nd TVhite and fliadow and finifh wich the 
 line Colour deeper , mixing a Xittlo, Black 
 0 deaden ^f, efpecially in the darkeft Places. 
 
 The ft:cond are laid with White^ mixc 
 vich a very lictle Lake and Vermillio^iy in 
 iich manner; that thefe two laft Colours 
 tre hardly feen. Afterwards they fhadow 
 vich Black and a little Lake ; working red- 
 der in the Middle of the Leaves, next the 
 Stalks j which ought to be^ as alfo che Seed^ 
 jf the fame Colour^ particularly towards the 
 Top ; and at che Bottom a little greener. 
 
 The Scyle of the Seed is laid with Maf- 
 Ucoty and ftiadow'd with Sap-Green. 
 
 The other Day-Lillies are done by put- 
 :ing a Lay of pure Whitej and fhadowing 
 md finiftiing with Black and White. 
 
 The Stalks of thefe laft^ and the Greens 
 Df them all, are done with Sea-Green^ and 
 [hadow'd wich Sap-Green. 
 
 The 
 
[68] 
 
 The HYA.CINTH, or PURPLE- 
 FLOWER. 
 
 CL HP H E R E are four Sorts of theiii 
 
 X The Blue a little dark. 
 Others paler. 
 The Grideiin. 
 And the White. 
 The firft are laid with Ultramarine ^ 
 Whiter and ftiadow'd and finifh'd with 1 
 White. 
 
 Others are laid and ftiadowed with pa 
 Blue. 
 
 The Gridelines are form'd with Lai 
 and WhitCi and a very fmali Matter of 
 tramarine and finlfli'd with the fame Cc 
 lour a little deeper. 
 
 For the laft^ they put a Lay of Whitt ^ 
 then they fhadcw them wich Black:^ with 'I 
 little White^ and finifli them all by Stroke ( 
 and Traces^ following the Turnings anc? 
 Windings of the Leaves. 
 
 The Green and the Stalks of fuch as ara 
 blue^ are done with Sea and Lilly-GreeiL 
 very dark : And in the Stalks of the Firft' 
 may be mixed a little Carmine^ to makei 
 them reddifh. 
 
 The Stalks of the two others, as alfo thei 
 Green^ are fbrm'd with Verditer and Majii-'i 
 coty and ftiadow'd with Sap-Green. \ 
 
 The 
 
[69 ] 
 
 The PIONY. 
 
 ill. \ Lay of Venice-Lake and White 
 muft be put on all Parts, pretty 
 •ong: Then ftiadovv wich lefs White^ and 
 ith none at all in the darkeft Places : After 
 hich finilh with the fame Colour by Traces, 
 rning them as for the Roje ; gumming it 
 ?ry much in the deepeft of the Shades j 
 jid raifing the Lights and the Edges of the 
 lOft iightfome Leaves wich White and a 
 ctle Lake. Little Veins are likewife made, 
 j'hich go like the Strokes in hatching, but 
 •e more vifible. 
 
 I The Green of this Flower is done with 
 m-GreeUy and fhadowed wich Sap-Green. 
 
 JII. TTHEY are of four or five Co- 
 
 
 
 A lours, 
 j There are fome of a very pale Purple.. 
 The Gridelin. 
 
 The White and the Yellow. 
 The Purple is done with Ultramarincy 
 larraine and White ; putting lels JVhite for 
 hade wing. 
 
 ' The Gridelin is laid with Venice Lake^ 
 md a very fmall Matter of Ultramarine, 
 vith much White ^ and fhadow'd wich the 
 .ame Colour deeper. 
 
 For the WhltC:, a La^j of White muft be 
 put 3 and they muft be fliadow'd with Black 
 
 COW-SLIPS. 
 
 and 
 
and TVhite^ and finifh'd, as the others^ tl 
 Traces^ or Scrokes. ^ l 
 
 The Heart of chefe Ccw-Jlips is done witlij 
 Mafttcot in the fhape of a Scar, which I 
 fliadow'd ^ixh Gamboge J making a littil 
 Circle in the middle with Sap'Green. I 
 
 The Tellow are laid with Mafttcot^ aa 
 fliadow'd with Gamboge and Umber> \ 
 
 The Styles^ the Leaves^, and the Budj 
 are formed with Verditery mixc with a littl 
 Majlicot ; and finifti'd with Sap'Green \ 
 making the Fibres or Veins, which appeaij 
 upon the Leaves, with this fame Colour j 
 and heightening the Lights of the largefj 
 with Majlicot. ; 
 
 The RENUNCULUS, or CROW-FOOX 
 
 CIV. np HERE are feveral Sorts (A 
 A them : The fineftare the Orangc^i 
 colour d. For the firft, they put a Lay of 
 Vermillion^ with a very fmall Matter of 
 Gamboge ; and add Carmine for (hadcwing; 
 finifhing it with this lail Colour, and a lit- 
 tle Gall-Stone. In the others may be put 
 Venice Lake^ inftead of Carmine^ eipecially 1 
 in the Heart of the Flower. 
 
 The Orange-colour'd are laid with Gam- 
 and finifh'd with Gall-Stone^ Vermillion, 
 and a little Carmine i leaving fome little 
 yellow Streaks. 
 
 The 
 
^ [ 71 ] 
 
 ,The Green of the Stalks is done W\\X\Ver^ 
 'f^r and very pale Majlicot ; mixing X/7/j- 
 .^een to fhadow them. 
 IThat of the Leaves is a little darker. 
 
 ' The CROCUS. 
 
 H ER E are of two Colours. 
 Yellow. 
 
 And Purple. 
 The rdlcw are form'd with Majlicot and 
 til-Stone^ and fhadovved with Gamboge and 
 nll-ftone: After which, upon each Leaf, 
 .1 the Gutfide, are made three Streaks, fe- 
 ] rate from one another, with Biftre and 
 lire Lake ; which are lojt^ by little Traces, 
 the Bottom. The infide of the Leaves 
 left all Yellow. 
 
 The Purple arc laid with Carmine^ mixt 
 ith a little Ultramarine^ and very pale 
 'hite. They are form'd and finifli a with 
 White making likewife, in (bme, pur- 
 
 e Stripes or Streaks, very dark, as in the 
 .'Mow'^ and in others, only fmall Veins. 
 
 he Seed of both is Yellow • and is done 
 'Ith Orpment and Gall-Stone, For the 
 .yles, they put a Lay of White and flia- 
 ')w with Blacky mixt with a little Green. 
 
 The Green of this Flower is form'd with 
 l^ry pale Verditer^ and fliadow'd with Sa^- 
 reen. 
 
 The 
 
17"] 
 
 The IRIS. i 
 
 , i 
 CVL np H E PerJ^an Iris is done by putj 
 A ting^ for the infide Leaves^ 
 Lay of ffhite ; and fliadowing them witj 
 Indigo and Green together j leaving a litt^ 
 white Separation in the middle ofeachLeai 
 And for thofe on the outfide^, they put i 
 the fame Place a Lay of Majiicot \ whic 
 is fhadow'd with Gall-Stone and Orpimeni 
 making little, dark and longifh Dots^ ov€ 
 all the Leaf, at a little Diftance from onj 
 another* And at the End of each are mad 
 large Strains^, with Bijlre and Lake in fbme 
 and in others with pure IndtgOy but ver^ 
 black. The Reft, and the outfide of th( 
 Leaves^ are fhadow'd with Black. 
 
 The Green is formed with Sea-green^ and 
 very pale Majlkot^ and ftiadow'd with Sof 
 green. 
 
 The Snftan Iris is laid with Purple and! 
 White ; putting a little more Carmine than 
 Ultramarine : And for the Shades, efpeci-| 
 ally in the middle Leaves, they put lefsi 
 PFhite ; and, on the contrary, more Ultra- 
 marine than Carmine; making the Veins of 
 this very Cclour;; and leaving in the mid- 
 dle of the infide Leaves a little yellow 
 Sinew. 
 
 There are others, which have this very 
 Sinew in the firft Leaves j the End of which 
 only is bluer than the Reft. Others are 
 
f [ 73 ] 
 
 liadow'd and finlfli d wich the f^^me Purple^ 
 •edder: They have alio the middle : iuevv 
 )n che Gutlide Leaves ^ buc white, and 
 IhadovvM wich hdigo. 
 
 There are Hkevvife yellow ones • which 
 ire^ dene by pucthig a Lay iji Majltcot and 
 Urpiment j ffiadovving th m wich <^-all fioney 
 \vi^ making the Veins upon the Leaves with 
 Bipe. 
 
 The Green of one and the other Is done 
 with Sea-vreen, mixing a little Mafitcot for 
 the Styles. They are fliadow'd with Sa^- 
 ireen. 
 
 j ^ The JASMIN. 
 
 iCVHTT is done with a La^ (d{ White ^ 
 ^ and fhado wed with BlackmdPFhite; 
 and for the outfide cf the Leaves they mix 
 .a little Bijire making the half of each, on 
 this fide, a little reddifli with Carmine. 
 
 The TUBEROSE. 
 
 CVIIL"C*OR the doing of this, they make 
 -L a Layoi fVhite^ andfliadow with 
 Blacky wich a little Btjtre in fome Places ; 
 and for the Outfide of the Leaves, they mix 
 a little Carmine^ to give them a reddifti 
 Teint, particularly upon the Extremities. 
 
 The Seed is done with Majlicot^ and flia- 
 dow'd with Sap-green, 
 
 The Green of it is laid with Verditer^ 
 and fhadowcd with Sap-green. 
 
 E And 
 
[74] 
 
 The HELLEBORE. 
 
 CIX. npHE Flower of Hellebore ii 
 done almoft in the fame Manner ^ 
 that is, let it be laid with White^ and ftia-' 
 dovved with Black and Eifirey making the 
 outfide of the Leaves a little reddifti hert! 
 and there. 
 
 The Seed is laid with dark Greetty anc 
 rais'd with Majlicct, \ 
 
 The Green of it is foul and rufty, and^ 
 is formed with Verdtter^ Majlicot and 
 Bijlre J and finiflied with Sa^-Green^ and 
 
 The WHITE LILLY. 
 
 CX/npiS laid ^ith White, 2LnA fhadow'dj 
 JL with Black and White. ^ 
 
 The Seed is done with Orpiment and GqlU 
 Jlone. 1 
 
 And the Green is done as in the ^uherofe. 
 
 The SNOW^DROP. ' 
 
 CXL'HP I S formed and finittied as the 
 A White Lilly: The Seed is laid 
 with Majlicot y and lhadow'd with Gall^ \ 
 
 jlone. \ 
 And the Green is done with Sea andi 
 Sa^'Green. 
 
 The 
 
I 75 1 
 
 The JONQUIL. 
 
 pXII.'T^IS laid with Majiho^ and 
 . J- Gall-Jfojie^ and finifned with 
 
 jomboge and Gall-fone. 
 
 The Gree7i is formed ^iih Sea-Green^ and 
 hadowed with Sap-Green. 
 
 j The DAFFODIL. 
 
 :XIIL ALL Daffodils, the yellow, the 
 double, and the fingle, are done 
 :)y putting a La^ of Mafticot : They are 
 'wm'd with Gamboge^ and finilhed by add- 
 ing Umber and Bijre ; excepting the 
 Bell in the Middle, which is done with 
 Orpiment and Gall-ftone^ and bordered, or 
 edged with yerimllion or Carmine. 
 
 The White are laid with White^ and 
 ihadowed with Black and White excepting 
 the Cup or Bell, wliich is done with Mafti- 
 cot and Gamboge. 
 
 The Green is Sea-green^ (hadowed with 
 Sap 'green. 
 
 The MARIGOLD. 
 
 CXIV. ¥T is done by putting a La'j of 
 •■^ Majlicot \ and then one of G^;^- 
 boge \ fhadowing it with this very Colour, 
 after Vermillion is mixed with it : And |br 
 finiihing, they add Gall-Jlcne and a little Car^ 
 mine. 
 
 E z The 
 
[76] 
 
 The Green is done with VerdiUr^ flia 
 dowed with Sap-green. 
 
 The Auftrian ROSE. : 
 
 • j 
 
 CXV. T7OR making the Indian Rofe, the^ 
 put a Lay of Majiicot^ and and 
 ther of Gamboge. Then they form it, mix 
 ing Galhjione 5 and finifli it with the lal 
 Colour, adding Bijire and a very fmall Mat'j 
 ter of Carmine in the deepeft Shades. 
 
 The Indian PINK or French MARIGOLD 
 
 CXVI. f T is done by putting a ol| 
 Gamboge:^ fhadowing it with thii 
 Colour, atter you have mixed a good dea^ 
 of Carmine and GalUfione with it ^ and 
 leaving about the Leaves a little yellowj 
 Border Gamboge^ very clear in theZ/g^/j,| 
 and darker in the Shades. \ 
 
 The Seed is ftiadowed with Bifire. 
 
 The Green as well of the Rofe as thel 
 Tink^ is form'd with Verditer^ and finiftied 
 with Saf -green. 
 
 I 
 
 The SUN-FLOWER. 
 
 CXVII. 'npiS formed with Majlicot andl 
 X Gamboge., and finifhed with | 
 GalUJrone and Biftre. ^ j 
 ^he Green is laid with Verditer and 1 4 
 Mafncct \ and ftiadowed with Sap-green. { 
 
 The i 
 
i [77 ] 
 
 The PASSION-FLOWER. 
 
 :XVIIL 'npiS done as the Rofe ; and 
 I X the Green of the Leaves 
 
 like wife : But the Veins are done with a 
 ^larker Green. 
 
 POETIC/VL PINKS and SWEET- 
 I WILLIAMS. 
 
 :XIX. H E Y are done by putting a 
 -I Lay of Lake and fVhiie\ fta- 
 3owing them with pure Lake^ with a little 
 "Carmine for th^ laft,- which are afterwards 
 'iotted on all Parts wich little round Dots, 
 Teparate from one another: And the 
 Tiireads in the Middle are railed wich 
 mite. 
 
 The Green of them is Sea-green^ which 
 is finifhed with Sap-green. 
 
 The SCABIOUS. 
 
 CXX. 'T^HERE are two forts of Scabious^ 
 A the Red and the Fur pie. The 
 Leaves of the firfl: are laid with Florence- 
 Lake, in which there is a littie White :^ and 
 fliadowed without White: And for the Mid- 
 dle, which is a great Bofs or Husk^, in 
 which the Seed lies, 'tis formed and finifh'd 
 with pure Lake^ with a little Ultramarine or 
 Indigo^ to make it darker. Then they make 
 little white longifti Dots over it, at a pretty 
 E 5 Dif^ 
 
1 
 
 [7»] 
 
 DIftance from one another, clearer in th 
 Light than in the Shade, making them gr 
 every Way. 
 
 The other is dene by putting a La*^ d 
 very pale Purple^ as well upon the Leaves 
 as the Bols in the Middle ; fliadowing botlii 
 with the lame Colour, a lictle deeper: And 
 inftead of little fFhiu Touches for the See^i! 
 they make them Purple: And about eacl^ 
 Grain they make out a little Circle^, and thij 
 over the v/hoie Ecis or Husk in the Middle ■ 
 
 The Green is formed with Ferd/^er and 
 Majilcot^ and fhadowed with Sap-Green. 
 
 The SWORD or DAY-LILLY. 
 
 CXXI. "T^IS laid with Florence-Lake and 
 very pale White; formed and 
 finifhed with pure Lake^ very clear and 
 bright in Ibme Places^ and very dark in 
 others; mixing even ^f/^r^? in the thickelt j 
 of the Shades. \ 
 The Green is Verditer^ fhadowed with 
 Sap' Green. 
 
 HEPATICA or LIVER-WORT. I 
 
 CXXII. npHERE is Red and Blue. The 
 laft is done by putting on all 
 Parts a Z^y of Ultramarine^ VThite^ and a 
 little Carmine or Lake; fhadowing theinfide 
 of the Leaves with this Mixture, but deep- 
 er; excepting thcfe in the firft Rank^ for 
 which, and for the outfide of every one of 
 
 them. 
 
[ 79 ] 
 
 em, they add Indigo and TVhtte^ that the 
 olour may be paler, and not fo fine. 
 The Red is laid with Lake Columbine^ 
 «nd very pale White and finiftiM with lefs 
 IVhite, 
 
 The Green is done with Verditery Majlicot 
 and a little Eiflre j and ftiadowcd wich Sap- 
 green^ and a little Bijire^ efpecially on the 
 outfide of the Leaves. 
 
 The POMEGRANATE. 
 
 CXXIII. T^HE Flower of the Pcmegra- 
 A fiate is laid with Red-lead; 
 fhadowed with Vermillion and Carmine:^ and 
 finifhed with this laft Colour. 
 
 The Green xslaid with Verditer and Maf- 
 :ticoti and ftiadowed with Sap-green. 
 
 The Flower of the Indian BEAN* 
 
 CXXIV.^npI S dene with a La^ of L^- 
 A vant-lake and W /6/7v , flia- 
 dowingthe middle Leaves with pure Lake • 
 and adding a little Ultramarine for the 
 others. 
 
 The Gr^^« Is Verditer^ fiiadowed with 
 Sap-Green. 
 
 The COLUMBINE. 
 
 CXXV. T^HERE are Columhines of feve- 
 A ral Colours: The moft com- 
 mon are the Purple^ the Gridelin^ and the 
 E 4 -K^^. 
 
[8o] 
 
 Red. For the Purple, they lay with Ultra i , 
 marine^ Carminey and White and ftiadov| 
 with this Mixture, deeper. i 
 
 The Gridelin are done the fame wayl 
 putting a great deal lefs Ultramarine tharM 
 Carmine, I 
 
 The Red are done with Lake and fFbifrM 
 finilhing with lefs JVhite.*^ M 
 
 There are fome mixt Flowers of thiM 
 kind, of feveral Colours j which rnuft be 
 form'd and finifh'd as the others, but paler, 
 making the Mixtures of a little darker Co- 
 lour. 
 
 The LARK'S HEEL. 
 
 CXXVI. qPHERE are of different Co- 
 J lours, and of mixt Colours: 
 The moft common are the Purple ^ the Gri- 
 delin^ and the Red-^ which are done as the ' 
 
 Cclumbi7us. 
 
 VIOLETS and PANSIES. 
 
 CXXYll.T/^IO LET'S and Pan/tes 
 
 ^ are done the lame way ; ex- | 
 cepting, that in the laft, the two middle 1 
 Leaves are blewer than the others that is 
 the Borders or Edges; for the Infide of 
 them is yellowy and there little black Veins 
 are made, which take their Beginning from | 
 the Heart of the Flower, and dp away to- ' 
 wards the Middle. 
 
 The 
 
[ 8i ] 
 
 J The MUSSIPULA, or C/VTCH-FLY. 
 
 CXXVIII. T^HERE are two Sorts of it; 
 
 X the IVhite and the Red: 
 The laft is laid with Lake and White^ with 
 a little Vermillion ; and finifhed with pure 
 Lake. As for the Knot or Nozzle ot the 
 Leaves^ it is formed with White and a very 
 fniall Matter of Vermillion^ mixing Bijlre^ 
 or Gall'ftone^ to finifh it. 
 
 The Leaves of the White are laid wich 
 White; adding Bijlre and Mafiicot upon the 
 Knots 5 which are ftiadowed with pure Bijlre^ 
 and the Leaves with Black and White. 
 
 The Green of all thefe Flowers is done 
 with Verditer and Mafiicot, and fliadowed 
 with Sap-green. 
 
 The CROWN LMPERIAL. 
 
 CXXIX. T^HERE are of two Colours ; 
 
 ■L the Tellow and the Red. 
 The Firft is done by puccing a L^j; ofOrpi- 
 ment, and fhadowing it wich Gall-Jlone and 
 Orrimentj wich a iicde Vermillion. 
 
 The other is iaid with Orpiment and F<fr- 
 million-^ and (ha^Jowed v/ith Gall-jione and 
 Vermillion ; makin.^ che Beginning of the 
 Leaves nexc the Style, wich Lake and Bijlre^ 
 very dark , and Veins wich this Mixcure, 
 boch in one and the other^ all along the 
 Leaves. 
 
 The 
 
[ 82 ] I 
 
 The Green is done with Ver4iter andl 
 Majlicot • and fhadowed with Sap-green andl 
 Gamboge. ,1 
 
 The SICLAMEN or SOW-BREAD. | 
 
 CXXX.'J^HE Red is laid with Carminei 
 a little Ultramarine^ and mucM 
 5 and finiftied with the fame Colour J 
 deeper j putting, in a manner^ only Carmine! 
 in the Middle of the Leaves, next the 
 Heart ; and in the reft add a little more 
 Ultramarine, - j 
 
 The other Is laid with JVhite;, and fhadow'd 
 with Black. 
 
 The Stalks of one and the other ought to 
 be a little reddifh. 
 
 And the Green^ Verditer and Sap-Green. 
 
 The GILLI FLOWER. 
 
 CXXXL ^HERE are feveral Sor:s of 
 GilUflowers y the TVhite^ the 
 Tellow^ the 'Purple^ the Red^ and the Mi>:t^ 
 various Colours. 
 
 The White are laid with Wbit^, and fha- 
 dowed with jB/^^/^^ and with a little /;^J/g(? in 
 the Heart of the Leaves. 
 
 The Tellow^ with Majlicot^ Gamhoge and 
 Gall-fione, 
 
 The P//r/)/^ are formed with Purple ^ind 
 ?f7^i/^ \ and finifhed with lefs White ^ mak- 
 ing the Colour brighter in the Heartland 
 even a little yellovviCh. 
 
 The Red witli L^i^^ and White \ finifhing 
 ihem with White. The 
 
f 83 1 
 
 The mixt'cohured are laid with White ; 
 and the Mixtures are lometimes made with 
 Purple in which there is much Ultramarine: 
 Others again, in which there is more Car- 
 mine. Sometimes they are of Lake}, and 
 fomctimes o{ Carmine. Some are done with 
 JVbite ; and others without White ; fhadow- 
 ing the reft of the Leaves with Indigo. 
 
 The Seed of all is formed with Verditer 
 ^nd Mafiicot ^ and finifhed with Sap-green. 
 
 The Leaves and Styles are laid with the 
 fame Green^ mixing Sap-green to finifli 
 them. 
 
 I fhould never have done, were I to fet 
 down here all the Flowers chat may be pain- 
 ted. But I have mentioned enough^ and 
 too many to give an Idea of others ^ and a 
 Dozen would have been futficient, were one 
 always to work after Nature \ for then there 
 would be nothing to be done^, but to paint 
 what one fees. But I thought;, that as 
 Prints are moll frequently copied^, it would 
 be pleafing to find here the Colours:, with 
 which different Flowers are done. How- 
 ever;, to finifli as I have begun^ every one 
 is St Liberty to take and to leave what he 
 thinks proper. 
 
 CXXXII. I fliall not add here any par- 
 ticular Inftruftioii upon other Subje6ts. Ic 
 is not ncccflary : And this Htcle Treatife is 
 already larger than I defigned it. I will 
 only fay in eeneial, that FiuitS; Fifties, 
 E 6 Sci- 
 
[ 84 ] 
 
 Serpents, and all Sorts of Reptiles, are to 
 be touehed in the fame Manner as the Fi- 
 gures of Men are,- that is, hatched or dot- 
 ted. 
 
 Birds and all other Animals are done, like 
 Flowers, by Strokes, or Traces. 
 
 CXXXIII Never make ufe for any of thefe 
 Things, of White-lead. 'Tis only proper 
 in Oil. It blackens like Ink, when only 
 tempered with Gumi efpecially if you fet 
 your Work in a moift Place, or where Per- 
 fumes are. Cerufe of Venice is as fine, and 
 cf as pure a White. Be not fparing in the 
 ufe ot this, efpecially in forming or dead- 
 colouring ; and let it enter into all your Mix- 
 tures, in order to give them a certain Body, 
 which will render your work glewiili, and 
 make it apjxar fofc, plump, and ftrong. 
 
 The Tafte of Painters is, neverthelefs, 
 different in this Point. Some ufe a little of 
 it ; and ethers ncne at all. But the Manner 
 cf the laft is meagre and Jry. Others ufe a 
 great deah and, doubtiefs it is the beft 
 Method, and moft followed among skilful 
 Perfons : For befides that it is fpeedy, dhe 
 may by the ufe cf it, copy all Sorts of Pic- 
 tures 5 which wculd be almoft impoffible 
 orherwife^ notvvithftanding the contrary 
 Opinion cf Icme, who fay, that in Mini- 
 ature we cannot give the Force and all the 
 different Teints we fee in Pieces in Oil. 
 l:ut this is not true ; at leaft of good Pain- 
 ters- 
 
f?>:- 
 
 ^ers; and Effefts prove it pretty plainly ! 
 [ "or we fee Figures, Landskips, Pictures, 
 ind every thing elfe in Miniaturey touched 
 n as grand, as true, and as noble a Manner 
 though more tender and delicate,) as they 
 ire in Oil. 
 
 However, I know, thdX Painting in Oil 
 las its Advantages were they only thefe, 
 hat it exhibits more Work, and takes up lefs 
 rime. 'Tis better defended likewife againft 
 :he Injuries of Time and the Right of 
 Birth muft be granted it, and the Glory of 
 Antiquity. 
 
 But Miniature likewifehasits Advantages,- 
 md without repeating fuch as I have men- 
 rioned ah^eady, 'tis neater and more com- 
 modious. You may eafily carry all your 
 Implements in your Pockets, and work 
 when and wherever you pleafe, without 
 fuch a Number of Preparations. You may 
 quit it and refume it when and as often as 
 you will 5- which is not done in the other 
 in which one is rarely, to work dry. 
 
 But obierve, that it is in one, and the 0- 
 tlier, as in a Play j in which the greateft or 
 leaft Perfection of the Ailors does not 
 confift in playing high or low Parts , but 
 in playing extremely well the Parts they 
 undertake: For if He, who has the loweft 
 Character, acquits himfelf better than ano- 
 ther who afts the Hero, doubtlefs he merits 
 greater Applaufc. 
 
 ^Tis 
 
[86] 
 
 *Tis the fame Thbg in the Art of Painty 
 ing. Its Excellence does not depend upoi 
 the Greatnefe of the Subjeiij but upon thn 
 Manner in which it is handled. Have yo^ 
 a Talent for one Things don't throw you 
 felf inconfiderately upon another; And i 
 you have received from Heaven fome Spar! 
 of this delicate Fire, know wherefore it h 
 given y OU;, and cherifti and improve it. Soni( 
 catch the Airs of a Face well: Others fuc 
 ceed better in Landskips : Some work u 
 little^ who cannot do it in large : Some an 
 skill'd in Colour Sy who know little oHDeJigm 
 Others^ laftl^ ^ have only a Genius for F/w 
 ers : And even the Bajfans got themfelvej 
 a Fame for Animals,- which they touched 
 in a very fine Manner^ and better than any 
 thing elie. 
 
 Wherefore let every one be content with 
 his own Genius, without afTeding the Ta-I 
 lent of another^ and taking a Flight beyond; 
 his Strength , for it is very idle to force Na- 
 ture to give us what (he has refufed us: And 
 it concerns our Prudence^ as well as A4oi 
 defty, not to take it in our Heads to fhew^ 
 jin Excellence we have not^ for this were to! 
 difcover our Imperfections, and to labour- 
 to our Shame. On the contrary:, it is no • 
 Difgrace to you^, that you don't poflcfs alone \ 
 all the Pares, which have given Reputation 
 to great Painters. Every one of them had 
 his Perfe6iion and his Weaknefs \ and every 
 one of us ought to be content with his Por- 
 tion : 
 
 'I 
 
I [87] 
 
 f Ion : The main Point is to cultivate it with 
 fCare. 
 
 And though this little Book will certainly 
 [ contribute thereto ^ yet I prefent it you only 
 IS a Supplement to better Means. With- 
 out doubt, one may learn more advanta- 
 geoufly under an excellent Mafter, from 
 whom one might receive all the proper 
 Rules and fine Maxims of the Art, and by 
 whom one might fee them put in Pradice. 
 And though the Contrivances for Drawings 
 which I have fet down at the Beginning, 
 are infaillble;, yet 'tis much better to get a 
 Faculty in the true and genuine Art of it : 
 For if you have not^, to fupply this Defed:, 
 a very peculiar Genius^, and an extraordi- 
 nary Juftnefs of Eye and Hand, draw your 
 Pieces as correctly as you may, 'twill be a 
 Hazard but they are fpoifd in the End, and 
 have neither Proportion nor Beauty be- 
 caufe in the Application of the Colour, you 
 very eafily lofe the Srrokes and Traces , and 
 not without great Difficulty can ycu reco- 
 ver them, ifyou underftand not fomething 
 of Drawini, I earneftly exhort, therefore, 
 all Lovers of Painting, to learn to draw cor- 
 re(5Hy, to copy indefatigably, and with the 
 greaceft Exadnefs, good Orighmls ; in a 
 word to rife by eafy and ordinary Steps to 
 the Perfcfticn of this charming Art j the 
 Rules of which, like all others, are foon 
 learnt,- but that is not enough : They muft 
 be put in Execution. The l!heory is ufelefs, 
 
 with- 
 
[ 88 ] 
 
 without the Pra^ice ; and the Pra^ic 
 without the theory ^ is a blind Guide, whicl 
 leads us out of the Way, inftead of con 
 ducting us whether we would go. But t( 
 underjfand well what one would do^ and tc 
 do well what one underftands, is the tru' 
 Way to do and underftand a great deal ii. 
 Time,- and of a good Scholar to become an 
 e:!ccellent Mafter. 
 
 For what remains, I fet not up for fu™ 
 a One. And yet I can affure fuch Perfonl 
 as will take the Trouble to enter into this 
 little School, with fome Inclination and 
 Aptnefs to learn, that they will have no 
 Caufe to repent it. For though they fliould 
 flay in it with no Pleafure, I believe, at leaft, 
 they would not go out of it without fome 
 confiderable Advantage. 
 
 CHOICE 
 
I 
 
 CHOICE 
 
 EC EI P TS 
 
 AND 
 
 STRUCTIONS 
 
 FOR 
 
 The making and preparing of feveral 
 jl Fine Colours, and other Things, 
 requifite for Painting in Mini- 
 ature. 
 
 The Secret of an Italian for the making of 
 CARMINE and LLTRAMARINE. 
 
 Oching can excell the Colours 
 made after the following Me- 
 thods, nor is any Thing made 
 with greater Eafe. They have 
 an inexpreflible Brightnefs and 
 Vivacity i never change,- and are made at 
 a very little Coft. But the Proof will do 
 them more Credit than all I can fay of 'em. 
 'Tis fufficient that I lay down the Methods; 
 I begin then with 
 
 CAR- 
 
[90] 
 
 CARMINE. 
 
 ST E E P a Pound o^Braftl Wood o^Fe\ 
 namhucay of the Colour of Gold, f<j 
 three or four Days, in an earthen VelTel d 
 Pot of white Wine- Vinegar. After havid 
 broken it well in a Mortar, boil it half a 
 Hour. Then pafs or ftrain it through a ver j 
 coarfe Linnen Cloth, and fee it again upo 
 the Fire. Take another little Pot of Whid 
 Wine-Vinegar, and in it fteep or tempe 
 eight Ounces of Allum. Put this Allum, f 
 lemper'd, in the other Liquor , and ftir i 
 about well with a Spatde. The Scum o: 
 Froth that rifes, is your Carmine* Take ii 
 off, as It rifes, and let it dry. The fami^ 
 may be done with Cochineal inftead o 
 Brafth 
 
 ULTRAMARINE. 
 
 A K E ten Ounces of Linfeed-OiJ : Pull 
 ^ it in an earthen Pot or Platter, witl 
 feven or eight Drops of common Water ; 
 and then fet and keep it on the Fire till it be- 
 gins to boil. To this put a Pound of white 
 Virgin^s-fFax^ broken in finall Pieces. When 
 the Wax is melted, put in a Pound of Greek- 
 Pitch : mixing with it four Ounces of pow- 
 der'd Majiicky which muft be melted before 
 in a Pot by it felf^ with two Ounces of Tur- 
 fentine. Let the Whole boll for an Hour^ 
 
 and 
 
f f 9r ] 
 
 I nd then let the Compoiitlon drop into cold 
 Vater ; and when it is of the Confiftence of 
 Gutter, it is done enough. But if you find 
 .ny hard callous Bits in it^ 'tis a Sign 
 ihe Majiick is not melted enough ; and 
 fhen you muft put the Compoficion again 
 [jpon the Fire. 
 
 I The whole being done enough, put La-^ 
 fis Lazuli in a Crucible upon the Fire till 
 fcbe as red as the Fire it felf Then throw 
 lit into white Wine- Vinegar. 'Twill drink 
 up the Vinegar till it burft and reduce ic felf 
 to lictle Pieces ; which muft be beat to 
 powder. Then incorporate this Powder 
 with a little of the tbre-mention'd Compo- 
 fition;, the fmalleft Matter pcffible; and 
 keep it thus for about fifteen Days : After 
 which^ fix a Boards bending a little down- 
 wards, upon the Edge of a Table. It will 
 be proper to have a Channel or Furrow cut in 
 this Board. Under the Board place a Glafs 
 Receiver^ and put your blue Pafte on the 
 top of the Channel j and over the Pafte fix 
 a VeflTel of Water, to diftil Drop by Drop 
 upon the Pafte , and with the fmall End of 
 a fine polifti'd Stick, affift the Water to di- 
 lute the Pafte, by ftirring and moving it a 
 little to and fro very gently. The firft A- 
 zurh which comes off Drop by Drop, is 
 the blue ft. When it comes off not fo fine 
 afterwards, you muft change your Veffel to 
 receive the fecond Blue : After which, there 
 comes off a Third • which is likewife of 
 
[gz] IS 
 
 Ufe and muft be kept. Let thefe three Sort 
 of Ultramarine dry. Then take and pu 
 them feparately in little Bags of white Lea^ 
 
 ther. \ 
 
 I 
 
 ■ 
 
 OTHER 
 
 SECRETS 
 
 For the making of Carmine and 
 tramarine^ after different Ways ; like-;^ 
 wife fine hakes ^ Columbines^ Greens^ 
 and other Colours, after feveral Me- 
 thods : All proper for Miniature. 
 
 CARMINE. 
 
 TAKE three Pints of Spring- Water, 
 which has not pafs'd through Lead- 
 Pipes: Pour it into a glaz'd earthen Pot, 
 and fet it on the Fire. When it is ready 
 to boil, put in half or a quarter of an Ounce 
 of the Grain of Cohan or Dyers Red^ which 
 the Feather Dyers ufe, reduc'd to a fine 
 Powder. Then let it boil about three quar- 
 ters 
 
f [ 93 ] 
 
 ITS of an Hour or till tne fourth Part of 
 ae Water be conlum d. But take Care ic 
 ,e a Coal-Fir^'. After which;, ftrain this 
 Vater through a Linncn Cloth into another 
 ;iaz'd VeiTel ; and heat it till it begins to 
 oil. Then add to it an Ounce ox Cochiriealy 
 nd a quarter of an Ounce oi ArnattOj both 
 educ'd to Powder leparately and let this 
 fixture boil away to hait^ or, in better 
 better Terms, till it raifes a black Scum, 
 md be very red ; for by means of Boiling it 
 akes a Colour. Take it off the Fire,- and 
 trew in it half an Ounce or three Pinches 
 )f pulverized Roach-kWxxm^ or of Roman 
 .\llum, which is reddilh and better ; and 
 |.iaif a quarter of an Hour after, ftrain it 
 :hrough a Linnen-Cloth into a glaz'd Vef- 
 fel ; or elle divide it in ieveral little Dutch 
 or glaz'd Porringers,- where let it fettle for 
 ■twelve or fifteen Days, and you will fee on 
 the Surface a mouldy Skin, which muft be 
 .taken off with a Sponge, and the Matter 
 underneath expos'd to the Air. When the 
 Water at the Too is evaporated, dry the 
 Matter which refts at the Bottom ^ and 
 grind it upon a very hard and very fmooth 
 Piece of Marble or Porphyry j and then 
 fift it through a very fine Scarce. 
 
 Oblerve that the Quantity of thefe Ingre- 
 dients is not fo fixed to the Proportion I 
 have laid do .vn, but that you may put in 
 more or lefs of them at Difcretion, accord- 
 ing to the Depth or Degree of the Colour 
 
 you 
 
[ 94 3 
 
 you defire. If the Carmine is to be reddei, 
 they put more Arnatto ; if more of a Criiri, 
 fon, they ufe more Cochineal. But all c 
 them are to be pulveriz'd (eparately ; an! 
 the Grain of Coban or Dyers Red is firft tj 
 boil alone, and the others all together a| ^ 
 above. 
 
 ULTRAMARINE. j 
 
 TAKE half a Pound of Lapis -Lazuli 
 and put it upon red hot Coals; an< 
 there let it ftay till it be all over as red as th* 
 Coals themlelves. Then quench it in ver# 
 ftrong Vinegar, and grind it upon a Poi"! 
 phyry, or any other Stone that's very h^vm 
 with rectified Brandy. The more you grincl 
 it, the finer will be your Ultramarine. Leil 
 it lie upon the Porphry-, or in any VelTel 
 till you have made the Paftel with which thij 
 Lapis is to be incorporated. 
 
 For the making of this, take a quarter oi 
 a Pound of Bee-wax, a quarter of a Pound 
 of Turpentine, the fame Quantity of Rofiny 
 and the fame of Linfeed-Oil. Melt the 
 whole together over a flow Fire, and when, 
 it begins to boil, pcur it into a glaz'dl 
 Pot. This is the Pafte of Ultramarine • of- 
 which take a Quantity equal to that of the 
 LapiSy and knead it together upon the Por- 
 phyry or Marble. When they are well in- 
 corporated, leave them for one Night. Andi 
 afterwards, to bring out the Ultramarine^. 
 
 which 
 
I [ 95 ] 
 
 hicii is in this Paile, pour clear Water 
 )on ir^ and knead ic with your Hands, as 
 ifte is kntaded, and the Ultramarine will 
 tme out i lor the receiving ofwhich, place 
 Porringer, or ocher proper Vcff:!, under 
 bur Hands. Let it lectle in this Wat. r, 
 1 you fee the Vltraraarine at the Lotctm of 
 
 ANOTHER. 
 
 rA K E four Ounces of Linfeed-Oll • four 
 Ounces of new Bee-lVaxy tone Ounces 
 fthe Litharge Silver ^ one Ounce oiRo- 
 ny one Ounce of Majiic in Drops^ four 
 'Ounces of Burgundy-Pitchy two Drams of 
 rankincen^ey and one Dram of Dragon's 
 hod. Beat fmall each of the dry Ingre- 
 ients in a Mortar, feparately : Then heat 
 \t Linfeed'Oil in an earthen Pan till ic 
 mm^^rs, then put in your other Ingredi- 
 nts one after another, letting the Dragon's 
 Hood be the laft, and ftirring the Whole 
 bout continually with a Stick. This your 
 ^afte will be done enough when it flicks to 
 our Fingers 1 ke Gl w ; at which time put 
 1 your LapiS'Lazuliy having before-hand 
 nade it red hot in a Coal-Fire, quench'd 
 t in White Wine-Vinegar, ground it upon 
 he Marble after drying it, and fifted ic 
 hrough one of the fineft Searces, as I faid 
 lefore. When they are well incorporated, 
 nd have been let alone for Twenty four 
 
 Hours^ 
 
[ 96 ] 
 
 Hours, take Spring-Water and no otherj 
 and with this Water kneading your Paf 
 well, you will fee the firft blue TincStu] 
 come out, which is the fineftand beft. L 
 thus three times, always kneading wiij 
 Spring Water. Finally, ft r the iaft Operatioi| 
 take Sp ing- Water, r nd make it luke-waim. 
 With this knead the Remainder ot the Con, 
 pofition, taking out the Afhes. Then pm 
 ting both intu an Alembick, and diftilliq 
 them, you wiii find at the Bottom the Gol 
 which was in the Lapis. 
 
 Some knead their Pafte all at once in 
 Veffel full of Water luke-warm, into whic 
 goes the Ultramarine; which they dry ij 
 the Sun. They iikewife leave the Lapt^ 
 for the Space of a Month, incorporated wit 
 the Pafte, betore they draw any Ultramarir^ 
 from it,- and pur in the Pafte, inftead c 
 Linfeed'Oil and Turpentine^ Oil of Turpen 
 tine only , and black Pitchy inftead of Buf\ 
 gundy 'Pitch. For the Lapis y they heat ii 
 quench it and grind it, in the Manner bq 
 fore ftiewn. 
 
 FINE LAKE. \ 
 
 np A K E a Pound of good Braftl, whlcl' 
 A boil in three Pints of Lye^ made witl 
 the Afhes of Vine-Twigs, till half the L^i 
 be confumed. Let it fettle and ftrain it, 
 Then boil again what you have ftrained 
 with frefli Braftl^ with Cochineal, and Tern 
 
 7nerit(i 
 
[97] 
 
 m'iia^ there muft be only an Ounce. 
 Aindy when you take this Liquor olf the 
 ^ire agaiPj that you put in an Ounce of 
 ,alcin'd y^llum, beaten very finally and dif- 
 blve it by Itirring it about with a Stick, 
 .dding half a Dram of Arfenzc, Afccr- 
 vards^ to give it a Body, take two Ounces 
 )f the Sound or CuUle-Fi/h-BonQy reduce it 
 0 Powder^, and throw it in. Let this dry 
 cifurely. Then grind it with a great deal 
 )f Water ; in which let it foak : Then ftrain 
 j:t through a Linnen-Cloth : After which, 
 ^Tiake little Cakes of it ; which let dry upon 
 ?afte -board. If you would have the Lake 
 •edder^ put in Lemon-juiCQ ; and to mvike 
 t darker, add Oil of Tartar. 
 
 ANOTHER LAKE. 
 
 TA K E^ Shreds of Scarlet, and boll 
 them in Lye made with old Lees of 
 Wine, or with calcin'd Tartar. This Lye 
 has the Property of feparating the Dye 
 from the Scarlet-fhreds. When it has boird 
 long enough, take it off, and put in Coche- 
 72eal^ pcwder'd Majlic^ and a little Roach- 
 Allum. Boil the whole again. Then ftrain 
 it through a fine Bag twice or thrice quite hot. 
 The firft time the Bag muft belqueez'd with 
 twoSticks from top to bottom. Then take out 
 the grofs Matter remaining in the Bag, and 
 F vvafh 
 
[98 ] 
 
 wafh it well. Strain the liquid Matter 
 which you prefled cut with the Sticks! 
 again through the Eag^ and you will find or 
 tht Sides of the Bag a Pafte , which IpreacI 
 upon Pafte-board, or divide into little Peril 
 tions upon Paper, and let it dry. j 
 
 LAKE COLUMBINE. 
 
 TAKE three Pints of the fineft diftilFd 
 Vinegary and a Pound of the finei 
 Bra^l of Fernambuca; which cut in fmai 
 Pieces, and fteep in the Vinegar for abov<( 
 a Month at the ieaft: The longer the better. 
 Afterwards feeth thtWholc in Balneo Maria 
 till it boils up three or four Times. Then 
 let it fettle a Day or two. After which; 
 prepare a fourth Part of powder'd Allumi 
 ^nd putit in a very clean earthen Pan^ and 
 llrain the Liquor into the Pan upon the; 
 Allum. Then let it fettle for one Day: 
 Heat the whole again till the Liquor fimmers, 
 and let it fettle twenty four Hours. Then; 
 prepare two Bones of the Sound or Cuttle- 
 fijh^ upon which pour your Liquor, which 
 ought to be a little warm,- and ftir it about ^ 
 with a Stick till it be cold. Afterwards let 
 it fettle 24 Hours: Then ftrain it. Obfcrve, 
 you niuft ftrain it with the Allum^ before 
 you throw it upon the Bone of the Cuttle-^ 
 
[ 99 1 
 
 make a fine Purple -Colour ^ of the grofs 
 Party or Sediment of Lake-Columbine^ 
 heftdes that made with Carmine^ for Oil 
 and Water Colours. 
 
 TAKE the Sediment of Lake Columbine, 
 which falls to the Bottom of the Vial, 
 n which is the Bone of the Cuttle-fiJIj. Let 
 t dry J, and grind it. There is no fine Lake 
 To lively. If you mix it with Lakey you 
 iwill give the Lake more Strength and Vi- 
 gour. 
 
 I LILLY^GREEN. 
 
 TAKE the blewefl: Flowers of Lillies : 
 Separate the Tops of them, which 
 are filky, and fave only them, (for the reft 
 is of no Ufe) and pull out the yellow Fibres. 
 Bruife in a Stone Morcar the Flowers you 
 have pick'd ; and when you have done that 
 well, throw three or four Spoonfuls of 
 Water upon them, more or lefs according 
 to your Quantity of Flowers. But you 
 muft firft dilTolve a little Allum^ and a very 
 little Gum Arabic^ in the Water. After- 
 wards grind the whole together very well 
 Then ftrain ic through a coarfe Linnen- 
 cloth and putting this Juice in Shells^ dry 
 it in the Air. 
 
 ANO^ 
 
[ lOO ] 
 
 ANOTHER WAY. I 
 
 AFTER you have picked and cleanfet 
 the Flowers^ bruiled and put Jiuni 
 water to them^ as I juft now laid, throv' 
 upon them a little Quick-lime in Powder 
 in the manner they fugar a Sallet. It ha! 
 the Property to change their Colour^ ad 
 to purify them. A.fcerwards prefs out th( 
 Juice into Shells. 
 
 ANOTHER and a better WAY. 
 
 TD RUISE j^llum and Grain of Avignon. 
 ^ and mix them together with Water: 
 Then boil the whole upon the Fire^ or upori 
 hot Afties^ till the Water be yellow. Next 
 bruife the L/V/j;- Flowers in a Mortar, anc 
 pour upon them a little of this yellow 
 Water^ according as you would make the 
 Green lighter or ^darker. Afterwards ftraid 
 the Juice through a Bag or Cloth made of 
 Goat's Hair:, (for Linnen takes all the Co*- 
 lour) and pour it into large Shells which 
 fet full in the Sun ; for if they are placed in I 
 the Shade^ the Green becomes mouldy audi 
 glewy. 
 
 ANOTHER, 
 
 TAKE Leaves of Iris : Mince or chop 
 them very fmall^ and put them into i j 
 a Glafs or Delft Velfel ^ or;, which is better;, 
 
 into 
 
' [ 101 ] 
 
 ito a Brafs or Copper Pot^ with povvder*d 
 tUum and Qiiick-lime. Let the whole rot 
 pgether for ten or twelve Days, and then, 
 eing rotten, prefs it into Shells,- for. that 
 iie blue Colour may become green> it is 
 jetter that the Flowers putrify. The Greefi 
 3 darker and more lively, when only the 
 -.eaves are bruifed^ and prefTed immediately^ 
 vithouc letting them rot^, after iiaving 
 brewed pcw^dercd Allu77i upon them. 
 
 I Another with VIOLET-FLOWERS; 
 
 ■f'^ REEN, of the Leaves of March Vio- 
 lets is made in the fame Way : But you 
 muft have a greater Quantity of them: And 
 ,chis Green is darker than that of the Iris. 
 But obferve^ that inftead of Lime^ you may- 
 put the Grain of Avignon^ or D^ers I'elloW) 
 bruifed with Allum. 'Tis much better than 
 Lime for changing the Blue into a Green. 
 
 Green may likewife be made with the 
 Flowers of Panftes in the fame Manner. 
 
 SAP-GREEN. 
 
 TAKE fmall red Seeds of Amomum^ 
 and fill a Hog's Bladder with them^ 
 putting in a little Allum. Let it hang up 
 in a Room fome Timej and the Seed 
 corrupting, will change into this Sort of 
 Green. 
 
 Or 
 
[ ^02 ] 
 
 Or elfe take Buckthorn Berries : Beat thetu; 
 in a Mortar, and throw to them a little pow- 
 dered JIhm : Then (queeze out the Juice 
 and putting it in a Bladder, tie it clofeand: 
 hang it up. This Green will harden in thcj 
 Bladder- 
 
 DUTCH-PINK. 
 
 ^npIS generally made with Spanijh White 
 and the Grain of Avignon:, ox Dyer^s 
 Tsllow. But it changes when made of thofe 
 Things. 'Tis better therefore to make it of ^ 
 Whke-Leady or Cerufe^ which mufi: be - 
 ground very fine, and temper'd upon Por- 
 phyry ^ of which it muil be taken with a 
 wooden Spattle, and let dry in the ftiady . 
 part ofa Room. Afterwards take the Grain) 
 of Avignon or Dyers Tellow: Beat it to 
 Powder in a Marble Mortar with a wooden 
 Peftle, and boil it with Water in a leaded 
 earthen Pot, till about a third or more is 
 confumed. Strain this Decodion through a ' 
 Linnen-Clothj- and put in it the Quantity of 
 two or three Hazel-nuts oi Allum^ to keep 
 it from changing its Colour. When it is ! 
 diffolv'd^ temper the White with this De- 
 cccaicn 5- and bring it to the Form of a pretty 
 thick Pap ; of which^ kneading it well be- " 
 tween your Hands^ make little Balls or Cakes, 
 and put them to dry in a very airy Room. 
 When they are drj^^ dilute them again with 
 the fame Decodion, and put them again to 
 
 dry: 
 
[ m J 
 
 ry : And thus do three or four Timesj, ac- 
 ording as you would have the Pi^k light- 
 r or darker, letting ic dry very well each 
 ime. Obferve, that the Juice or Decoc- 
 ion muft be hot, when you temper the 
 afte with it j and that another Decodlion 
 muft be made^ when the firft is turn'd and 
 corrupted, taking Care not to touch it with 
 Iron or Steely but to ufe a wooden Spattle. 
 
 The right Ufecf ALLUM. 
 
 THE beft Way to ufe Jllum in Lillys 
 Green^ and other Compound-Colours^ 
 which change without this mineral Salt, is 
 to beat it pretty Imall, and put it in a little 
 Water upon the Fire ; for otherwife it will 
 never dilfolve well. This Water you fprin- 
 kle on your Flowers, or Juices of Colours. 
 But the lefs AUum the better, becaufe it 
 burns when there is too much. 
 
 To purify VERMILLION. 
 
 Innaher ov Vermillion y being made of 
 ^ Mercury and Sulphur, it muft be clean- 
 fed from the Impurities it has contraded 
 from thefe Minerals, which darken its Luf- 
 tre, and make it turn. Now this Purgation 
 is done in the following Manner. 
 
 Grind C'mnaher in Stone, with pure Water^ 
 upon Porphyry: Then put it in aGlafs or 
 D^^^-Veflfeli and let it dry. Afterwards put 
 E 4: Urine 
 
r 104 3 
 
 Urine to it; and mix them in fuch Manner, 
 ihat the Urine penetrate all the Qnnaber, 
 and cover it. Let the Whole (ettle, and^ 
 the Cinnaher being at the Bottom^, turn cut 
 the Urine^ and add frefh to it^ leaving it all 
 the Night i and continue to change the 
 Urine for four or five Days^> till the Cinna^\ 
 her be vi^ell piirg'd. After thar^ pour upon 
 the Cinnaher Whites of Eggs^ well beaten 
 with fair Water:, and fo that the Water co- 
 ver the Whites. Mix the Whole together 
 with a Hazel-Stick, and let it fettle, dhange 
 the Liquor twice or thrice^ as before j and 
 always keep the VefTel clofe ftopt^ to keep 
 out the Duft, which makes the Cinnaher 
 turn or change. And when you would make 
 Ufe of it, temper it with Gum- Watery for 
 that will not change it, 
 
 ANOTHER WAY. 
 
 GRIND the Cinnaher^ already in Pow- 
 der;, upon Porphyry, with Children's 
 Urine, or with Brandy^ and let it dry in 
 the Shade. 
 
 If you would take off its Darknefs, and 
 make it of a brighter Red, infufe in Brandy y 
 or in Urine, a little Saffron i and with this 
 Liquor grind the Cinnaher. 
 
 A Di^ 
 
A DIrecaion for the nuking a very fine 
 BURNISH'D GOLD. 
 
 THE Wood of the Frame^ or of any 
 other Piece^ which you would gild, 
 muft be extremely fmoothj and to give k 
 a farther Polifhing^ rub it over with the 
 Ear of a Sea-Dog. Then fmear it over twice 
 or thrice with Glew^made of the Clippings 
 of white Glove-Leather ; and put on nine 
 iOr ten Lays of White. When It is quite dryi 
 jpub it over with Shave-Grafs, to make it 
 • fmoother and finer. Next^ warm a little 
 Glcw over the Fire with Water, in which 
 dip a Piece of very fine Linnen^ firft made 
 very clean, and pafs it over the Wbite^^ 
 Then apply two or three Lays of Gold-Co- 
 lour i and more, if it has not Colour enough; 
 When 'tis perfedly dry, rub it ftoutly with 
 a dry Linnen-Cloth, till it glitters. Then 
 pafs a large Pencil, dipt in the ftrongeft 
 Brandy that is to be had, over the Gold-Co- 
 lour • and let your Leaf-Gold be ready cut- 
 upon the Leather-Cuftiion to lay on as foon 
 as you have palVd the Pencil over,- and- 
 when it is dry, polifli it with a Dog's 
 Tooth, 
 
 7b make Glove-Glew. 
 
 TAK E a Pound of Glover's Clippings: 
 Put them to fteep in Water fomc 
 F 5 Time^' 
 
C io6] 
 
 Time : Then boil them in a Kettle witH f 
 twelve Quarts of Water^ till the Water be ^ 
 confum'd to two Quarts. Then ftrain it 
 through a Linnen Cloth into a new earthen i 
 Pan. To know whether the Giew be ftrong 
 enough^ try, when it is quite cold, and has 
 got its Confiftence, if it be ftifF and firm un- 
 der the Hand. 
 
 To make White for the Ground. 
 
 THE Clew being made, take white 
 Chalk, and reduce it to Powder with 
 a Knife, or grind it upon a Marble. Melt 
 the Glew, and make it very hot. Then 
 take it off the Fire, and put a fufficient Quan- 
 tity of White in it to make it as thick as* Pap. \ 
 Leave it to fteep for half a Quarter of an 
 Hour and then ftir it about with a Briftk- 
 Brufti. 
 
 Take fome of this TFhite^ and put more 
 Glew to it, to make it brighter for the firft 
 and fecond Lay • which muft be applied by 
 beating with the End of the Brufh. 
 
 Mind, that you let each Lay dry well 
 before you put on another. If 'tis Wood 
 you work on, you muft put on a Dozen: 
 If It is thick Paper, fix or feven are fuffi- 
 cient. 
 
 This done, take Water : Dip a foft Brufh 
 in it i and draining it vs^ith your Fingers, 
 rab your Work with it, to make it fmoother. 
 When your Brufti is full oiWhite^ you muft 
 
 wafh 
 
[IC7] 
 
 wafh It again ; and change the Water too 
 when ic is too white. 
 
 You may likewife fometimes make Ufe of 
 a wet Linnen-Rag in lieu of the Brufli. 
 
 Your Work being very even, let ic dry ; 
 and when it is fo, rub it with Shave-Grafs, 
 or a Bit of new Linnen-Clotii^ to make ic 
 fofc and free. 
 
 To make a Ground on which to Gild and SiU: 
 ver in another Manner. 
 
 TA K E a Quarter of a Pound of very 
 choice and fine Bole Armoniac^ that 
 fticks upon the Tongue, and is greafy to 
 the Touch. Diffolve it in Water, and 
 then grind it adding the Bignefs of a Fil- 
 berd of Lead-Ore^ and the Bignefs of a Pea 
 of Candle-3lf7//i?^,- which prepare thus: 
 
 Melt it then throw it into cold Water ; 
 and finger it about in the Water, and it will 
 be fit tor Ufe. The Bignefs of a Pea is 
 enough for one Grinding. 
 
 As you grind, you may add a little Soap- 
 Sud to the Bole Armoniac. When this Com- 
 pofition is ground, put it in fair Water; 
 which change from time to time^ in order 
 to preferve it. 
 
 When you would ufe it, temper it with> 
 melted Glew, fomewhat warm , and if the ' 
 Glev/ be as ftrong as that you have whiten'd 
 with, add a third Part of Water^ and mix^ 
 F 6 is 
 
[ io8 ] 
 
 It with the Bole Jrmomac^ to the Confif- 
 tence of Cream. Then apply it with a 
 Pencil upon your Work^ putting three cr 
 four Lays, and letting each Lay dry very 
 well before you apply another. When 
 it is all dry, before you gild or filver it, rub 
 it a little with a foft Linnen-Rag, 
 
 ^0 Ja') on the Gold and Silver. 
 
 SE T the Piece, you would gild or filver 
 over, in a reclining Pofture, and wet 
 any one Place with a Pencil dipt in fair 
 Water : Then lay on your Gold ; having 
 cut it before upon a Leather-Cufliion. It 
 muft be taken up with Cotton, or a large 
 Pencil. When all is gilded, let it dry j but 
 not in the Sun, or in the Wind: And when 
 it is dry enough, polifti it with a Dog's 
 Tooth. 
 
 To know whether it be dry, pafs the 
 Tooth a little over fome Places. If it does 
 not Aide eafily, but tears the Work off, it is 
 a Sign it is not dry. 
 
 But on the other Hand, take Care it be 
 not too dry ,* for this makes it harder to po- 
 lish, and takes away from its Luftre. In 
 very hot Weather, three or four Hours are 
 fafficient to dry it. But fometimes it re- 
 quires a Day and a Night. 
 
 ^0 
 
[ 109 ] 
 
 L ^0 deaden Gold. 
 
 MAKE a fine lively Red with Red- 
 Leady a little Vermillion;^ and the 
 White of an Egg well beaten. Grind all 
 i.ogether upon a Marble , and put Ibmc of 
 It in the deep Places with a very fine 
 Pencil 
 
 To dedden Silver. 
 
 TAKE Ceriife^ and grind it with Wa- 
 ter : Then temper it with Fifh or 
 Glove-Glew. The firft is the beft. 'Tis 
 applied with a Pencil on the Places to be 
 deaden'd. 
 
 To make Shell-Gold and Shell-Silver. 
 
 ¥ AY Leaf-Gold, more or lefs^ accord- 
 ^ ing to the Quantity you would make^ 
 upon a very clean Marble. Grind it with 
 new or clear Honey till it be extremely fofc 
 under the grinding Stone. Then put it in 
 a Glafs of fair Water^ and ftir it about ^ and 
 change the Water till it remains clear. Get 
 a Penny-worth or fo of ftrong Water ; Put 
 your Gold in it^ and let it fteep there two 
 Days. Then take it out^- and the ftrong 
 Water may ferve again- The Method is 
 the fame for Silver. 
 
 \Yhea 
 
[iiaj 
 
 When you would lay either of them on,, 
 you muft temper them with Water, a litrlei 
 gummed ; and to fleek and fmooth them the 
 better;, let it be Soap-Sud. 'Tis proper alfo 
 to put under the Gold a Wafti of Gall-Stone^ 
 'Twill appear the finer for it. 
 
 You muft lay but the leaft Geld and SiUj 
 ver that can be upon Pieces in Miniature; 
 excepting for Fillets and Girdles becaufe- 
 this looks affeded, and gives them a gaudyj j 
 theatrical Air. 
 
 SOME 
 
[ "I ] 
 
 SOME 
 
 GENERAL INSTRUCTIVE 
 
 LESSONS 
 
 FOR THE 
 
 ART of DRAWING. 
 
 A HE ingenious Author of the 
 9 preceeding little but valuable 
 Treatife, has laid down feveral 
 I Rules for delineating or copying 
 Pictures or Prints^ by fuch as 
 could not draw, knowing very well that the 
 Performance of the former would be very 
 deficient without the Practice of the latter^ 
 and he recommends it as the fureft Way, to 
 excel in that charming Art of Painting in 
 Miniature, of which he has fo freely and in- 
 genuoufly given fuch full and plain Inftrudionsj 
 It is ro be admired that moftPerfons from 
 their Infancy, have a Fondnefs for Pidturesj 
 and Children love co bufy themfelves, with 
 
 draw- 
 
f J 
 
 Drawing, Colouring, and handling a Pencil ; 
 but this Fondnefs for the generality wears off 
 by Degrees^ and is by moft quite neglected : 
 The chief Reafon of which, as I prefume, 
 is the Trouble and Pains they apprehend 
 will attend the Acquifition thereof. 
 
 It is certain that every one is not endued, 
 with a Difpofitlon or natural Inclination, 
 to that ingenious Art^ nor can it be attained 
 by Labour and Pains without a Genius. 
 But fuch as find themselves dilj)ofed^ fhould 
 by all means come to a Refolution to attempt 
 the Pracftice thereof 
 
 Parents therefore would do well to watch 
 and obferve diligently the Inclination of 
 their Children, and finding that by Inftind 
 they ftiew a natural Genius, and Capacity 
 for Ingenuity, when of their own Accord 
 they will take Delight in drawing, fhadow- 
 ing and finifhing any Thing they attempt 
 to copy, and feem to take a Pride in their 
 Performances. They ftioald by all means 
 be encouraged, and be inftruded by a good 
 Mafter, in the beft Manner, in the funda- 
 mental Rules and Precepts requifite to be 
 known in the I^rcgrefs and Practice of 
 either Drawing, Defigning, or Painting. 
 
 It frequently happens that a bright 
 Genius, an Artift born, has no Opportu- 
 nity to receive the Inftru6iions of a Mafter, 
 or is by Diftance in the Country de- 
 prived of the Converfation with Artifts^ 
 
 and 
 
|, nd ingenious Pradicioners ^ his only Way 
 I 3 then to furnifli himlelf with fuch Books 
 hat may guide him in his Purfuic after that 
 ' Cnovvledge he fo fondly aims at', and for 
 he Benefit of fuch thele Leflbns are inten- 
 led^ not doubting they will meet with the 
 ame Encouragement and Reception by the 
 ngcniouSj, as the proceeding Work, viz. 
 The Art of Painting in Miniature^ has done^ 
 o which fourth Edition I have added thefe 
 nftrutlive Leilbn?, for the Art of Drawings 
 IS briefly, plain and eafy as poffible. 
 
 II. 
 
 C| U C H as intend to make themfelves 
 ^ compleat in the Arc of Drawings fhould 
 firft learn the Principles of Geometry and 
 Perfpecftive^ and thereby inform their Minds 
 of true Symetry and Proportion^ this being 
 a Subje(5l to be met with in Books wrote by 
 skilful Artifts for that Purpofe^ I (hall for 
 Brevity Sake omit enlarging upon it. 
 
 The common Rules for Beginners are 
 commonly to draw the particular Members 
 of the Bodies of Men ^ and firft of all : The 
 Face or Head is attempted by drawing 
 an Oval^ or the Shape of an Egg^ with the 
 fevera! Dimenfions of the Crofs, by which 
 a Learner may underftand the better to ex- 
 prefs the Turnings and Motions of the Face 
 in the different Attitudes, hereafter exem- 
 plifyed. 
 
 Ta 
 
[ "4 ] 
 
 To this Oval for the Head or Face belon;4r 
 the Eyes, Eye-brows, Nofe, Mouth, anii^ri 
 Ears : and to place them in their prope 
 Situations, the Crofs is drawn for tha 
 Purpofe. 
 
 After you have formed an Oval, draw ; ,f( 
 Perpendicular down the Middle, this crofj, 
 again in the Middle with a diamctricaj 
 Line, which you divide in five equai PartSj 
 each being the Breadth of one Eye : Thl 
 is called the ocular Line, on which youplac^ 
 the Eyes, and is with the Perpendiculani 
 which goes from the Top of the Forehead, 
 through the Middle cf the Nofe, Mouthy 
 and Chin, called the Crofs, upon which the 
 Eyes, Nofe, Mouth, and Ears, are to be 
 placed in their proper Situations, as ym 
 may obferve in Fig. 4. But for the bett-er 
 Apprehenfion of fuch as are unacquainted 
 with the ufe of the Crofs in the Oval, or 
 with the many Variations of the lame, as in 
 Turnings and Motions of the Head, an 
 Experiment has been found, to make the 
 life of the Crofs more plain and intelligible, 
 which is this: Have a Piece of Wood 
 turned in the Shape of an Egg, as in 
 Fig. I. Then draw a Line from Point to 
 Point lengthways, through theMidft of the 
 Egg:, as in Fig. 2. Divide this in two equal 
 Parts, by cutting a right Angle as you fee 
 Fig. 5. Then having drawn the Eyes, 
 Nofe, Mouth, ^c. in their proper Place , 
 you may by the Pofition of the Egg, fee the 
 
 Decli* 
 
Oeclinatlon or Inclination of Faces, and 
 ccording to the Pofition of Fig. 4. you will 
 it fronting. Turning the Egg or Oval 
 . little from the left to the rights the ftraight 
 perpendicular of the Crofs will change and 
 ^irefent itfelf in an Arch^ as in Fig. 5-. ac- 
 |':ording to which }^ou projeil the Nofe 
 ^jeyond the round of the Oval, and place 
 :he reft of the Members of the Face in their 
 proper Lines^ as in Fig. 6. The lame is 
 :o be obferved in turning the Figure of the 
 Oval the contrary Way^ as in Fig.*^ 7. Again, 
 the Oval inclining downward, the Crofs 
 will appear as in Fig. 8. And the Face 
 looking down as in Fig. 9. The Oval 
 being turned backwards, the Crofs will 
 change again, as in Fig. 10. And a Face 
 drawn according to thofe Lines will appear 
 like Fig. 11. After this manner you may 
 form a Variety of Faces, except thofe which 
 are fideways, which are commonly drawn 
 oy means of a Perpendicular, as you fee in 
 Fig. 12. upon which you place the Forehead, 
 Nofe, Mouth, and Chin ; let them be in 
 IV hat Difpofition they will. See Fig. 13. 
 
 Thefe are the neceffary Rules for defign- 
 ing or drawing a Face^ which if well ob- 
 ferved and praftifed^ will in a little Time 
 furnifli a Learner with lively Ideas to draw 
 Faces, with good Judgment^ and give them 
 mafterly Strokes and Touches^ of which 
 other wife, by meerly drawing or copying 
 after Prints* he would have been unacquaint- 
 ed with. III. 
 
[ ii6 ] 
 
 HAVING advanced and mounted thel 
 firft Step, and the young Praditioner 
 is well grounded in drawing the Oval and' 
 Face, he may then exercife himfelf^ to copy! 
 with great Care and Diligence, after good] 
 Draughts and Prints. The former being) 
 the mofl: proper for fuch as intend to exer- 
 cife the Art of Painting, and tiie latter for 
 fuch as propofe to praflice Etching or 
 Graving 5 beginning with fuch as are eafy,{i 
 and going forwards to fuch as are more ciif-' 
 ficult^ and having arrived to fome Perfedicrf 
 in this, he may adventure to copy afier ; 
 Paintings, and to contrait large Pictures ^ 
 into frnall, obferving a due Proportion ; and; 
 by diligent Practice he will accuftom him- 
 felf to guefs well, and acquire a free and 
 fure Hand in Defigning, 
 
 Next to this a young PracStltioner may 
 venture upon copying after Figures ofPlail- 
 ter of Paris, which is more difficult than 
 either drawing after Prints or Paintings, 
 and fliall be more fully treated of in its pro- 
 per Place. 
 
 The beft Patterns to draw or copy after, 
 is Life itfelf, or all natural Things : Here 
 an Artift has a large Field to range in, and 
 he need never be idle, but may always find 
 innumerable Subjects to improve his Talent,- 
 which can not be better done than by Dili- 
 gence and Application. 
 
 I¥. 
 
IV. 
 
 kNovv come to the Pracaice of the Art of 
 Drawing iticlf^ and firft of drawing after 
 Draughts, Prints, or Pictures: You muft 
 pirft c/X all oblerve to fix your Principal in a 
 Ibroper Light, lb as to fee ic diftinit and 
 bain, placing it at a proper Diftance accor- 
 Rng to the Largenefs of the Pidure or 
 ■Draught you defign to copy, putting ic 
 fftraight before you, and not flat, for then 
 you would fee it foreflior ten the Paper 
 you draw upon fix, five or fix double, on a 
 iiBoard, holding that on your Knees^ with 
 which you elevate it as high as you would 
 have it : Thus you will the better compare 
 your Draught with the Principal before you, 
 which ocherwife in cafe your Draught lay 
 flat, >ou could not do fo well. Thus being 
 fixed for to begin your Piece, guefe firft the 
 Middle of the Pidure^ or whatever you 
 intend to copy after, and make a Mark with 
 your Goal, in the Middle on your Paper : 
 From this Mark you will guels at the pro- 
 per Diftances of the Figures difperfed in the 
 Pieces, if there be more than one, and by 
 taking Heed of the capital Strokes with 
 free and flight Touches, you will foon fee 
 whether the Pofirion of your Figures be 
 juft, leaving the fmall Breakings or Partings 
 to the next Drawing; and thus by Patience 
 and Practice } cu will not only readily, hut 
 
[ 1I8 ] 
 
 alfo judicloufly attain with Delight to youi 
 Purpofe. 
 
 Having made a rough Sketch, examin 
 whether the Difpofition and Actions c 
 the Figures^ anfwer thofe in the Princi 
 pal before you ; corred and amend fuci 
 Parts as you fee amifs, by adding or taking 
 off, 'till you find it anfwer you Purpofe, an( 
 having made thus a rough Sketch, you ma; 
 proceed, and draw it neater and better, ob' 
 jTerving the various Turnings that reprefen 
 themfelves, either in the Actions or Drapery 
 taking Heed not to make the firft Sketcl 
 worfe or fpoil it, by being about to make ii 
 better, which may loon happen, if due Cari 
 is not taken in prefer ving that Difpofitiorj 
 you approved of before, and having thuil 
 the fecond time, drawn your Sketch ovei 
 with Charcoal, examine and corred it aftei 
 the Principal, and fuffer not a Fault to pafi 
 without Correction ; for it will be more foij 
 your Honour to make one good Draughty 
 than an Hundred without Obfervation or 
 Judgment. ; 
 
 In this cafe it is proper for an Artift td 
 divert himfelf between Whiles, by Reading^j 
 Mufick, or looking over of Prints 5- then! 
 taking a frefli View of his Performance and| 
 examining it, he may difcover a Fault hel 
 did not lee before. 1 
 
 V- IN 
 
V. 
 
 IN drawing after Figures of Plalfterof 
 Paris, you muft choofe a proper Light, 
 .The Room you draw in fliould be large and 
 lave a Light northwards, fo high^ that the 
 ihade which your Figure makes upon the 
 Ground, be equal, or little lels than the 
 Height of your Figure you are to draw 
 lifter. 
 
 ; You may alfo draw conveniently by the 
 Lamp, which fome Artifts prefer before 
 pay-light, becaufe the Shades appear more 
 Iftrong and ftiarp, for this Purpofe they hang 
 ;a Lamp at a convenient Height, well pro- 
 ivided with Oil and divers Wicks^ ana to 
 prevent the Light fpreading itfelf too much, 
 ibut remain more conftant, they put fome 
 iOil Paper, through which the Light can- 
 inot fhine, behind it, and thereby it fpreads 
 the ftronger upon the Model they copy. 
 I Set yourfell from the Figure you are to 
 draw, three Times as far as it is high, in 
 ;fuch a Manner, that your Eye may in a 
 ftraight Line, behold the Model, hanging a 
 Plumb-line before it ; and having drawn a 
 perpendicular Line on your Paper, you ob- 
 lerve what comes either on the one Side or 
 other, to your View, and then make a 
 . rough Sketch of the Pofition of the Figure 
 ; Jn the beft Manner you are able. What 1 
 have here faid of drawing after Plaifter of 
 I Paris, 
 
 Lj 
 
[ ] 
 
 Parls^ by the Lamp^ is not to be obfervd 
 in General, for as it cafts ftrong and hari 
 Shades^ they are judged not fo natural am 
 fweet as thofe caufed by the Light of Dajl 
 and are therefore not approved of by thi 
 Generality of experienced Artifts : And i; 
 cafe they do draw by the Lamp;, they pii 
 a Frame with Oil Paper, between the Mc; 
 del and the Light, and t her by break thi 
 Harfhnefs of the Shade : You muft fet alfi 
 a white or gray Paper behind the Model 
 that you may perceive the Reflexions tb 
 better. I 
 
 VL 
 
 SU C H as would make a further Progreli 
 and Improvement in Drawing, muft ne- 
 ceflariiy ftudy Anatomy, efpecially as far aj 
 it relates to the Mufcles. An Artift having 
 the fundamental Knowledge in this Study 
 will foon apprehend the regular Motion o: 
 the Members in the Human Body, when 
 ether wife he will be in the dark, and not 
 able to give any Reafon or Diftin(9:ion whj 
 this or that Mufcle, is in either this or thai 
 Pofition, Swelling, or Contraftion. Thd 
 Mufcles which are the principal Caufe oi 
 the changeable Motions or Pouures of rhd 
 whole Body are chiefly thefe : i. Thofe Be- 
 hind the Hips. 2. Thofe of the Loins. 5. 
 Thofe of the Back. 4. Thofe of the Throat. 
 J , The Mufcles of the Shoulder. 6. Thofe : 
 
 ot 
 
[ 121 ] 
 
 (of the Breaft, beginning at the Nipples, 
 md ending at the Small of the Belly ; all 
 ^ e Motions and Changes of which may be 
 jLuerved from the Life, to which I refer the 
 !Pra6i:itioner ; but before he attempts this, 
 ihe will do well to draw firft after anacomical 
 iFigurcs, many of which are extant in Cop- 
 per-plate Prints, and then after fuch as are 
 caft in Plaifter of Paris ; by which Means 
 .and the reading of anatomical Lectures upon 
 the Mufcles, he fooa will form a right 
 Judgment and Idea in drawing his Figuies 
 [to Perfecftion, and in their regular Pouures 
 and Motions. 
 
 all Things, and to imitate themeaneft 
 Produdion of Nature, r quires a mafterly 
 Hand. This may invite us to chufe her 
 for our Pattern and chief Obje(5t to draw 
 after. This cannot be better put in Execu- 
 tion, than for to chufe a Company of inge- 
 nious ycung Men, with whom a young 
 Beginner jointly may fpend one or two 
 Days in a Week, under the Inftrudion cf 
 an able Mafter^ to draw after Life; that is 
 to fay, after a naked, ftrcng, and robuft 
 Man, of broad Shoulders, a fair Breaft, 
 very well mufcled, thick Thighs, long 
 Legs, and cf a proportionable Size. And 
 having put this ycur Model in the Pofture 
 
 VIL 
 
 Is compleat in 
 
 G 
 
 you 
 
[ 122 ] 
 
 you have agreed on, and furniflied th< ci 
 Room with a proper Lights fach as ha{ 
 been defcribed under the hfth Article^ yoi 
 proceed to copying, every one to his befi 
 Skill, v^Ithout defpifing one another's Per- 
 formance, but rather inftrufting and encou- 
 raging each other with Modefty and good 
 Manners. 
 
 For Handing A(5lions, the Perfon drawn 
 by, is commonly placed on the Ground j 
 but vt'hen fitting or lying, it will be proper 
 to have him placed on a Table at a conve- 
 nient Height. I 
 
 VIII. ! 
 
 IT is cuftomary for Beginners as well as 
 able Mafters, to draw with Charcoal, it 
 being the eafieft rubbed out again, in cafe 
 of a Fault. Others make ufe of Black-lead* 
 with which they draw the Outlines andafter- 
 wards finifh their Pieces either with Crayons 
 or other Things they are ufed to draw with ; 
 but this is more fitter for experienced Mat- 
 ters than young Pradtiticners. 
 
 The feveral Ways made ufe of in finifh- 
 ing a Draught, depends upon the Choice of 
 the Artifts, fome ufe Red Chalk, others 
 Black Chalk,- others draw with a Perfcil, 
 which is called waftiing, and is done with 
 feveral Sap-colours, as Indian Inky Biftre^ or i 
 Chimney Soot^ oi Wood Smoke, ground In- \ 
 digo, ground Red Chalky and the lixke; ': 
 
 others I 
 
' others again finifh their Pieces with writmg 
 Pens^ which Way is the moft tedious^ and 
 ) not to be recommended, but to fuch as in- 
 'tend to pradice Graving on Copper-plates. 
 Some ule Pens made of Keeds;, and many 
 •great Matters have drawn Figures with chem 
 in bold Strokes; fome chufe Charcoal dippd 
 inLinfeed Oil^but this muil be ufed quickly 
 .and readily, and is only fit for large Things-, 
 others make ufe of Tobacco-pipe Clay, 
 .wherewith they draw on blue or ocher co- 
 loured Paperj, and heighten the Lights with 
 white Chalk : Of this Tobacco-pipe Clay 
 are alfo made Crayons or Paftils ct various 
 Colours, with their diiferenc Shades, and 
 they are thus done : Take Tobacco-pipe 
 Clay, and with a little Water temper it with 
 what Colour you pleafe; work it well toge- 
 ther, roll it into Paftils, and lay them on a 
 clean Paper to dry. Some will put Gum or 
 Size in the Water ; but then the Crayons 
 commonly prove hard and become ufelefs* 
 Thefe are the common Methods Pra6lici- 
 oners make ufe of in finiftilng their Draughts; 
 moft of them chufe Paper ; fome indeed 
 prefer Parchment and other Things, but 
 white Paper has been approved of by moft 
 Artifts for sketching, hatching, and wafliing, 
 with all Sorts of Water-colours Crayons 
 indeed are beft managed on blue or any 
 other coloured Paper. 
 
 G 2 IX. Lear- 
 
[ ] 
 
 IX. 
 
 I 
 
 T EARNERS ftiould, in drawing after 
 ^ Draughts^ follow the Manner of their 
 Principal:, that in fo doing they may bCnJ 
 accuftcmed to it all their Life-time. If you 
 hatch with a Pen, take Heed to avoid 
 Icratching ; endeavour to make the Strokes 
 free and held, beginning from the fine or 
 fharp End to the broad ; fome Hat and equal 
 Shades muft be drawn with equal Hatches, 
 let them be fine or coarfe. 
 ^ In drawing with Crayons hold your Paf- 
 tils ftraight forwards^ and they will not fo 
 foon become blunt^ for turning them be- 
 t .veen your Fingers^ they will wear and yet 
 keep their Point continually^ fo that you 
 may draw a whole Draught' without fcrape- 
 ing your Paftils. 
 
 Roufling is alfo pradifed by fome^ and 
 xJifFers not much from hatching only to 
 make it look clofe and blended one in ano- 
 ther^ it muft be defied with fome Cotton 
 fixed in a Goofe Quill. When in this man^ 
 ncr you begin to fbadow your Draught, do 
 it firft faint^ finooth, and even, fo aslit may 
 appear as if w^afhed with a Pencil; then you 
 (hade your Draught in the darkeft Places, 
 with Hatchings in a graceful and mafterly 
 Manner; thus by hatching and dofimg the 
 one upon the other, you will accuftom \^our- 
 
 felf 
 
[ ^^5 ] 
 
 clf to a mafterly Hand in Drawing. This 
 ore of dofling or hatching is done with 
 either red or black Chalk. Inftead of Cot- 
 on fome make ufe of a Hair Pencil^ that is 
 inged blunt at a Candle. 
 
 As much as this Manner of Drawing is 
 idmired by fome^ I cannot recommend ir^ 
 for it makes the Workmanfnip hard, ftifi^ 
 md cccafions a Breaking in the fiat Parts, 
 except it be in (iiiall and curious Pieces. 
 The Cuftom of great Mailers has been to 
 jfe but one Thing in their Hands at once, 
 by which they have complcated the'r 
 Draughts, without ufing Cotton or the like. 
 However if one defigns to make fomeching 
 'curious and nice^ the aforefaid mann?r of 
 dofling will not be amifs^ only I would not 
 have the Practitioner accuftom himfeif to k 
 altogether. If one draws Counterfeits, 
 efpecialiy upon coloured Paper, let hini 
 fmooch the Edges of the Fleightenings with 
 the like coloured Paper roll'd up to a fnarp 
 Point at one End, with this ) ou may fweecen 
 or foften the Edges, fo as to appear neither 
 too hard nor fharp. 
 
 There is a fingular Manner fome Arrlfts 
 ufe of Wafhing, performed with a Pencil 
 dipt in Ink, or any other Sap-colour, and 
 fo pencil' d on all Sorts of either white or. 
 coloured Paper, they wafli therewith in any 
 Draught the principal Shades, and afterwards 
 work over them fllghtly, with a Pen or 
 black Chalk. This is a gcod mafterly Man- 
 G 3 ner, 
 
I 126 ] 
 
 ncr, and looks exceedingly well. In wafhing 
 you niuft obferve to lay on firft, the fofc 
 and faint Shades^ fmoothingthe Edges with 
 a clean Pencil, moiftened a little with your 
 Tongue; when this is dry, go over the 
 darker Shades with a deeper Colour ; thus 
 you proceed with a third and fourth Shade, 
 till you fee your Draught perfect, always 
 raking Fleed not to make your Work too 
 hard at firft ; the faint Shades, efpecially on 
 coloured Paper, muft be imperceptibly loft, 
 fmce che Heightening with White will help 
 you. 
 
 X. 
 
 THEP.E are two Properties neceflary to 
 be underftood in the Art of Drawing, 
 the one is general, the other particular: All 
 Things compoied ccnfift of certain Parts, 
 which together carry on a Correfpcndence : 
 They make a general Mafs or Lump, and 
 are by our Sight diftinguiflied either in 
 general or particular. If then you draw 
 either after a Print, Picfture^ or Life^ ob- 
 ferve the general Form reprefented to you, 
 which confifts of feveral Parts^, examine 
 whether it be rounds fquare^, triangular, 
 lono; or ftiort; and this is beft cbfcrvabLe 
 witk an half fhut Eye^ without cbferving 
 the Parts as are contained in the GeneraL 
 For Example^ Suppofe a Head compleatly 
 finiftied, the circumferent Strokes confti- 
 
 tutes 
 
I [ 127 ] 
 
 :utes the general Mais, the Eyes^ Nofc, 
 Mouthy (ffc. are the Particulars contained 
 in the General the Queftion is^ whether 
 this Face may be known by the Parts in 
 Particular^, or all the Parts in the circumfe- 
 jent Strokes ? 
 
 I {hall anfvver this with the following 
 /Examples: Suppofe two Faces be drawn 
 with fomeching that may be eafily wip'd 0% 
 jVery like each other'j wipe the circuniterenc 
 Stroke of one Face clean away, fo that no- 
 thing remain but the fmall Parts^ as the 
 ' Eyes^ Nofe, Mouthy ^c. and you will pre- 
 lently find, that the Likenefs of the Fa:e is 
 gone )• or if about thofe particular Parts you 
 draw another circumferent Line, differing 
 from the former, you will behold another 
 Likenefs in the Face, much differing from 
 what it had before. By this ic appears 
 plainly that the Parts themfelves, do not 
 reprefent themfelves in their Being, before 
 they are joined to their general Out-ftrokes. 
 Asthefe particular Parts are obferved in the 
 General of the Head, the fame is to be taken 
 Notice of in the Arms, Hands^ Legs, and 
 Feet,- for although, ia reiped: to the whole 
 Body, they are but Parts, yet in themfelves 
 they are general to the Parts they contain : 
 As the Arm has its Mufcles, the Bending of 
 the Elbow. The Hands have their Fingers, 
 and Fingers again their Members, and fo 
 on. In the fame Manner is the Knowledge 
 of Things hidden in the Generality of all, 
 G 4 for 
 
[ 128 ] 
 
 for let a Man whom we know very well be, 
 at fome reafonable Diftance^ fo that we cam 
 not know him by fome fmall Parts^ as by 
 his EyeSj, whether brown or gray, neither 
 his great or fmall Nofe, his red or pale Face, 
 nor any other fmall Part of his Body, not- 
 wichftanding we fnall know this Man at this 
 Diftance : By what Means? By means of 
 the General, for the general Lump feen 
 by you, even when his Back is turned upon 
 ycu, will make you prefently know him. 
 
 XL 
 
 J New come to fay fcmething concerning 
 the Nature and Virtue of Lights and 
 Shades: There are no Things in Nature 
 which can be diftinguifhed by us, in a lefler 
 or further Diftance from us,- nor can it be 
 exprefled by the Art of Drawing, without 
 this Knowledge, for without Dark and. 
 Light, nothing refembles what it ought to 
 do, for it is that, which gives a Being and Re- 
 prefentation to all Things. To prove this> 
 draw a Counterfeit upon a white Paper, 
 with black Chalk, when finilhed it is like 
 the Perfon, and judged to be v/ell drawn; 
 here it may be asked. What Correfpondence 
 has black Chalk, wherewith you made your 
 Shades, and the white Paper, by which the 
 Light is reprefented with the Original, that 
 is Life? To which lanfwer. It is not the 
 
 black 
 
[ J 
 
 I black Chalky nor the white Paper, nor any 
 Tingle Sirokes drawn^ but it is the EtFcdl of 
 the Lights and Shades in their proper Places, 
 that reprefent Life icfelf tous, for it is im- 
 poffibk, that either a round Circle or Spot/ 
 of a flat Colour, fliould reprefent a Globe, 
 except the Roundnefs, is given it by Light 
 and Shadow. 
 
 XIL 
 
 YOUNG Pracfticioners or Learners, 
 , fliould by all Means ufe themfelves 
 to the beft Manner of Drawing; that is, to 
 finifli their Work^ plain, fmooth, neat, and 
 eafy, to blend the Shades and Lights, To as 
 to be loft the one in the other. This they 
 muft endeavour by indefatigable Pains, and 
 although in the Beginning it will feem dif- 
 ficult, and their Performance difpleafing ; yet 
 let not this difcourage them from purfuing 
 their Aim, for none are born Mafters^andhe 
 that never did do ill, cannot expe(5l ever tp^ 
 do well ; one Day brings on another, and 
 with it fome Amendment, till you arrive to' 
 Perfection, which will be a Reward for all 
 the Labour and Pains, you have taken 
 in the Acquifition of this charming Arta 
 
 XIIL 
 
 AViduvc or Drawing that wants Per- 
 fpedlvej is looked upon as irrational 
 and dead; wherelbre I fliall inform ^he 
 G 5 yoang 
 
[ ] 
 
 young Praditioner what it is^ and how to 
 attain the Knowledge of that Science, fo 
 neceflary in Defigning and Painting. 
 
 Perfpeftive is that which caufesali Things 
 contained in a Draught or Pidure, to come 
 forward, or fink backward, and caufes them 
 from the firft to the laft, to ftand in their 
 due and proper Places as alfo the Vacuum 
 or Emptinels between Body and Body, to 
 go from you, or ccme forward naturally to. 
 the Eye, as though it were acceffible. And- 
 as a real Perfpecftive Ihews the Diftance 
 which every Arch or Pillar has, the one 
 after the other, as alfo the ftanding of Peo- 
 ple in their proper and fingular Places; fo 
 likewife in a Draught or Pidure, by the' 
 Diminution of Light and Dark, the Diftance 
 mult be oWerved agreeable to the appro- 
 priated Declination; and every Draught or 
 Picture, whether after Nature or Plaifter of 
 Paris, you muft well obferve what appeareth 
 forwards or backwards; and how one 
 Thing follows another. This is one of the 
 moft difficult Studies belonging to the Art 
 of Drawing and Painting, wherefore a 
 Practitioner ought to inform himfelf in 
 Time, either by the Inftrudion of a Maf- 
 ter, or by reading of Books of Perfpec- 
 tive. 
 
 XIV 
 
XIV. 
 
 TLJf AVING gone through the principal 
 * •* Properties belonging to the Art of 
 Drawing, it will now be requifite to fum 
 up what has been faid^ for making your 
 Work compleat and perfed. 
 
 1. In your rough Sketch obferve to bring 
 in a good Spirit^ free and pleafing to the 
 firfl: View. 
 
 2. Correal the firft rough Draught in 
 the drawing it over again^, and accuftom 
 yourfelf in reprefenting the Shadows and 
 Touches with the Coal^ in order to be cer- 
 tain in the Pofition of your Figures. 
 
 3. Having compleated yourDefign as far 
 as relates to the ufeof Charcoal, then draw 
 with either your Pen or Pencil, with dili- 
 gent Care, the Out-lines, endeavouring to 
 keep or bring in, all the Beauties, Comeli- 
 neft, and Gentility of the Figures ; taking 
 
 and keep the Bendings and Motions of the 
 Body, and the eafy diff)laying of the Fold-« ' 
 ings of a Garment, in their Comelinefs 
 and genteel Difpofition,- for it often happens- 
 that by a fmall Bending, a whole Pare of a 
 Figure is entirely fpoil'd. This is a Fault 
 Youth are much addided to, by obferving 
 thofe fmall Bendings too much, which they 
 commonly make too big, and thereby de- 
 prive a Piece of that Beauty, which with a 
 
 particular Care and Dili 
 
 obferve 
 
 G 6 
 
 little 
 
[ ] 
 
 little Precaution they might have preferved ; 
 and this puts me in Mind to caution young 
 Pradicioners not to rely fo much on the 
 Particulars^ but the General, as I have 
 obferved already, in the Xth Article^ for in 
 being too attentive in finifhing, and obfer- 
 ving the little and infignificant Parts^ you 
 lofe that which ought to make the moft 
 Shew of amafterly Performance ^ therefore 
 let your chiefeft Care be to obferve and 
 finlfli the General Parts to Pe rfedion, for 
 the fmali or particular ones, may be put in 
 afterwards with more Eafe. This is an 
 Article highly neceflary for young Practiti- 
 oners to be inftruded in, but to the Shame 
 cf their Teachers, moft of them are kept 
 ignorant in this Particular. Thus fome 
 Painters will take Abundance of Pains to 
 draw a Face near at Hand with all its De- 
 formities^ if it has any;, as Pits of the Small 
 Pox, Scars, Spots, and the like, when 
 ctherwife, at a convenient Diftance, they 
 might have the General with the Particular^, 
 in a more agreeable Appearance than it then 
 reprefents itfeltj and that with lefs Pains 
 and Trouble,- hut this is the Cafe with many 
 Pretenders in the Arc of Painting,- that 
 they cannot draw a Portraiture to be any 
 thing like, except they bring in all the 
 Marks^ Wrinkles^,' &c. 
 
 When you draw with red or black Chalk, 
 take Heed your Strokes be not hard, or too 
 (harp, cfpecially in the light Parts, in the 
 
 ftrong 
 
4 [ »35 ] 
 
 "ftrong fludy Parts you may carry a bold 
 ftroke ; always obferve that in the fliadow- 
 ing of your Piece, the Strokes loie and va- 
 nifh away, fb that one might judge as if 
 you had finiftied yourPiece^ without draw- 
 ing the Circumference or out Lines , for 
 thus it will be agreeable to Nature, where 
 no Stroke can be feen ; this you may ob- 
 
 ' ferve in a PicSure as well as in good Prints 
 or Drawings. 
 
 It will happen that in Drawing between 
 White and White, and againft the Lights 
 a Stroke or Out-line muft be drawn, for to 
 exprefs the Draught, and diftinguifti it from , 
 the Ground, efpecially when drawn on 
 white Paper 5* but this you fliould endeavour 
 to ftiun as much as poflible, and not do it 
 except Neceffity compel you to it, and you 
 have no other Means left to avoid it; but 
 f;S I cannot here (peak of all the Caufes 
 incident to this Cafe, I will only exemplify 
 one for the better Apprehenfion of young 
 Practitioners, by the two Faces in the op- 
 pofite Print. 
 
 The Face A as you plainly perceive, is 
 drawn compleat with an Out-line Stroke, 
 and the Face B only reprefentsthe Shadows 
 that are underneath the Nofe, Mouth, 
 The Queftion is, whether an Error is com- 
 mitted in the Face B, which might by the 
 Out-line of the Face A be amended, I for 
 my Part fay no, but on the contrary I ob- 
 ferve in the Face B a fingular Curicfity and 
 
 Beauty ;» 
 
[ 136 ] 
 
 Beauty, where White againft White makes 
 a Termination without a circumferent 
 Stroke. 
 
 Apprehending well this Example, you 
 will improve it in your Drawings, and gain 
 thereby a fingular and accompliflied Man- 
 ner. 
 
 What I have faid on this Head, is to be 
 cbferved with due Caution, for as a rough 
 Sketch only confifts in circumferent Lines 
 or Strokes, neverthelefs Dexterity gives it a 
 fingular Beauty you may by this Rule ap- 
 prehend how to work on coloured Paper, 
 where by the Heigh tnings, you may do 
 much, and lave many Strokes, you are 
 obliged to exprefs on white Paper. 
 
 XV. 
 
 I Now come to the finifliing Part^ here 
 you muft not childiflily or apiflily imi- 
 tate' Stroke for Stroke, but obferve the In- 
 tent of the Mafter, in his Expreffions, Dif- 
 pofitions, Shades and Lights in his Figures. 
 
 If you draw a Face after a Pidure, or 
 after Life, obferve the Paffions and Phfi- 
 ggnomy thereof : Take Notice by what 
 Strokes, Touches, Turnings, Shades, or 
 otherwife, fuch a Face is made to look 
 forrovvful or merry, crying or laughing, 
 old or young, wild or modeft, foul or 
 clean, homely or beautiful and by obfer- 
 ving this, you will not only follow the fame 
 
 Strokes 
 
[ 137 ] 
 
 Strokes, Touches, and Shades, as near as 
 i potlibie, to exprels the lame Actions and 
 ' Pallions, but alfo )0u will retain the fame 
 in } our Mind, and underftand it with a 
 well grounded Knowledge. 
 
 When you begin to finifh your Draughty 
 take Heed you make not the Shades at firft 
 fo hard or deep as they muft be when fi- 
 nillied ; you may eafily bring them to be 
 darker, but net fo to make them lighter. 
 Acquire a good Judgment in difpofing your 
 Shades, fo tliar they may fling Things either 
 backwards or forwards. For whatever you 
 draw with, let it be Red Lead, hrlian Ink, 
 Black Chalk, You muft exprefs one 
 
 extream Dark or Light, and therefore accuf^ 
 torn yourfelf from your beginning to draw, 
 to (hadow very lighc and fweet, faint and 
 even, and bring in the Perfpedtive of Dark- 
 nefsas much aspoffible^ and by obfervin^ 
 this, you will find yourfelf feldom deceived 
 but gain Honour and Applaufe by your Per- 
 formance. 
 
 Be careful to keep your Draught In one 
 even and equal Condition, fo that it may 
 not appear as if compofed of dark and light 
 Spots,- but let the Lights and Shades cor- 
 refpond and agree together, the leffer dark 
 with the faint, and the faint with ftronger 
 Lights, otherwife your Work v/ill prefently 
 incline to hardnefs and ftifFnefs,- which, if 
 you examine Life, you will never meet with 
 there. 
 
 When 
 
[ ] 
 
 When you draw on coloured Paper, 
 after a Print or Draughty, obferve the even i\ 
 Likenefs of Dark and Lights keeping the 
 great Parts of Lights and Shadows, and the 
 Imall intermixt Parts in the fame Manner, 
 that the greater may always have the Pre- 
 dominancy over the lels* 
 
 1 ftiall conclude with advifing young 
 Practitioners to oWerve in all their Perfor- 
 mances a true Symetry and Proportion^ ef-- S 
 pecialfy in all the Parts of a human Figure, 
 Let them firft well be Mafter of every Par- 
 ticular, for it is the A B Q or Alphabet^ 
 which when well learned^ is eafily joined 
 together into Words,- and he who can de- 
 lineate weil^ the Eyes^ Nofe, Mouthy Eai-s, 
 £i?r. will readily form a well proportioned; 
 Face^ and after he has ufed himfelf to drav/ 
 Hands^ Arms, Legs^, ^c. he will eafily I 
 compile a whole Body. 
 
 There are indeed feveral eminent Pain- 
 terSj, who have in their Writings endea- 
 voured to teach young PraClitioners^ the 
 Art of true Proportion and Symetry^ by 
 Geometrical and Perfpedive Rules^, how to 
 form an Oval out of a Circle, a Perpendicular 
 into a Square, according as the one or 
 other Objed is reprefenting itfelf to ones 
 Eyes 5* but as this Way of proceeding is ve- 
 ry tedious, and likely to deter young Be- 
 ginners, a fertil Genius will, like many 
 other great Maftcrs, advance in his Perfor- 
 mances by more eafier Steps, and form a 
 
 true 
 
[ 139 ] 
 
 true Idea in his Conception of Nature 
 icfclt: 
 
 In relation to the true Symetry of the 
 Human Body, it is to be admired^ that 
 from the Dimenfion of a Toe or Finger, 
 the whole corporeal Subftance may be de- 
 monftrated; io tiiat three Sculptors in three 
 different Places^ having agreed on the true 
 Meafure of the Height^ may work on one 
 Statue^, and when the Limbs are brought 
 and fixed together^ will make a perfecft 
 Image according to Art. 
 
 A Man that is well proportioned is eight 
 times as high as his Head^ that is^, from the 
 Hair of his Forehead to his Chin; his Face 
 is three Nofcs long, and his Foot is one 
 Fifth of his Length. 
 
 ft would feem incredible to fbme People, 
 did their own Experience not convince and 
 fhtisfy their Curlofity^ without any Coft or 
 Charge, that a Thread which reaches three 
 times about the End of the middle Finger^ 
 fliouldbe juft fo long as to take in theCom- 
 pafs of ones Wrift and that fix times of 
 that Lengthy is the Meafure about ones 
 Wafte^, over the Navel j this may be eafily 
 tried by winding a Thread fix Times about 
 the Wrift:, and then meafuring the Wafte. 
 
 A Thread which goes round ones Fore- 
 head, will alfo reach from the Chin behind 
 the Neck and it is remarkable, that by ex- 
 tending ones Hands and Arms as far as one 
 can, the two Ends pf the middle Fingers 
 
 will 
 
[ MO ] 
 
 Vv^ill determine ones Height^ and a Man 
 placed in thac Pofture, will defcribe a Qaa^- 
 dranr^ whole Centre is the Privy ParcS. 
 
 Alfo if a Man excends his Hands and 
 Feet, in die Figure of a Sc. Andrew's Crofs^ 
 and fixes uue End of the Compafs to the V 
 Navel, and the other to the extrtam Parts, it i 
 will take che ucmoft Parts of the Hands and - 
 Feet in the fame Circle. The Length of 
 the Face and ones Haud are equal as are 
 the Hei|^hc of the Fcrehead^ the Length of 
 the Ncle, the Ears, the Thumb, and the j 
 Space from under the Nofe to the Chin. 
 It is cbfu'vabie, that all that is doubled, , 
 is in true Order on each Side, and all that 
 is iingle in the Middle of the Body. If a 
 Man refts on one Leg, a Plumb Line muft i 
 fall frcm over his Forehead, Nofe and 
 >javel, to hi3 Feet;; if he fits, he makes 
 with his Knees and Back a direct Angle. 
 
 Here i cannot omit a Queftion, viz* 
 What were the proportionable Joints and 
 Features of the great Coloj[fus at Rhodes^ the ' 
 whole Height whereof was 120 Foot ? 
 
 It does appear by this Height that the 
 Trunk was 20 Foot wide, the Face 12 
 Foot long, and his Nofe and Thumbs each 
 4 Foot long. From, fuch like Obfervations 
 we may inform ourfelves of many Things 
 in Antiquity, by comparing and calculating 
 the Dimenfions of one Part to the other, 
 and thus find out the true Proportion. 
 
 The 
 
[ i;i ] 
 
 The Vfefulnefs and Ufe of 
 PRINTS. 
 
 ||;\HAT which I now am about to 
 treat upon is concerning Prints^ 
 the Invention whereof is ail w'd, 
 by all Levers of Art and Inge- 
 nuity^ to be one of the happieft 
 Prod'jclions of latter Ages. 
 
 Prints are in our Age arriv'd to fo high 
 a Degree of Perfedicn^ and good Gravers 
 have given us fo many on all forts of Mat- 
 ters, that it may truly be faid, they are the 
 Depofitories of all that is fine and curious 
 in che World. 
 
 Their Origin was in the Year 1460, and 
 arofe from one Mafo Finiguerra^ a Gold- 
 fmith of Florence^ who gravd his Fiate^ 
 when calling fome off in melted Sulphur^ 
 he perceived that what came out of the 
 Mould was mark'd with the feme Prints as 
 his Plate, by the Black which the Sulphur 
 had taken from his Graving: He try'd to do 
 as much on Silver Plates with wet Paper, 
 by rouiing it fmoothly with a Rouler, which 
 alfo fucceeded. 
 
 This Novelty tempted Baccio Baldinij a 
 Goldfmith of the fame City, to try whether 
 
 he 
 
[ 142 ] 
 
 he could do the fame, and his Succels oc« oi 
 cafion'd him to engrave leveral Plates o fc 
 Sandra Bottcello's Invention aud Defign, anc ) 
 upon this Andrew Mantegna^ who was ai di 
 Rome at that time, fet about engraving (bmc oi 
 of his own Pieces. 
 
 The Knowledge of this Invention getting ol 
 into Flanders^ Martin of Antwerp^ then 2 tb 
 famous Painter^ engraved Abundance Ojw 
 Plates of his own Invention, and fent fe-\| 
 veral Prints into Italy, which were mark'd ot 
 thus^ M. C. Vafari in the Life of Mara to 
 Antonioy a Painter, gives an Account of the 
 greateft part of his SubjedS;, of which there re 
 was one amongft the reft^ (the Vifion of St, I 
 Antony ) that pleased Michael Angelo^ then \^ 
 very young, fo welU for the Invention oi fii 
 it, that he coloured it. After Martin oif 
 Antwerp y Albert Durer began to appear^pi 
 and gave the World an infinite Number oi in 
 fine Prints, as well in Wood as in Copper, je 
 all which he fent to Venice to be fold. D 
 
 Marco Antonio^ who happened at thatj] 
 time to be there, was fo ravifti'd with the p 
 Beauty of thefe Prints, that he copy'd Six' 
 and Thirty of them, which reprefented our oi 
 Saviour's Paffion, and thefe Copies were ni 
 received at Rome with fo much the more p 
 Admiration, by how much the more they j| 
 were finer than the Originals. At the fame G 
 time Hugo du Carpi, an Italian Painter of a ^ 
 mean Capacity, but of a Wit apt for Inven- | 
 tion, found out by means of leveral Plates 
 
 of 
 
 ^ i 
 
[ H3 ] 
 
 of Wood ^ the way how to make Prints rc- 
 femble Defigns of Claro Ofcuro^ and fome 
 Years after the Invention of Etching was 
 dicover'd^ which Pamegiano foon made ufe 
 of. 
 
 Thefe firft Prints drew the Admiration 
 of all that faw them for their Novelty, and 
 the skilful Painters who work'd for Glory, 
 were willing to ufe them to Ipread their 
 Works over the World. Raphael^ among 
 ethers, employed the famous Marco Antonio 
 to engrave feveral of his P inures and De- 
 figns^ and thofe admirable Prints were fo 
 renown'd;, that they carry'd the Name of 
 Raphael through the eWorld. A vaft num- 
 ber of Gravers have made themfelves famous, 
 Tince Marco Antonio y in German'^ ^ Italy^ 
 France^ and the Low Countries^ and have 
 publifli'd as well by Graving as Etchings an 
 infinite number of Prints on all forts of Sub- 
 jeds^ as well Hiftories^ Fables, Emblems, 
 Devifes^' Medals, Animals, Landskips^ Flow- 
 ers, Fruits, as in general all the vifible 
 Produdions of Art and Nature. 
 
 There is no body, of what Condition 
 or Profefhon foever, but may profit very 
 much by infpedting into Prints. Divines, 
 Philofophers, Soldiers, Travellers, Geo- 
 graphers, Painters, Sculptors, Architects, 
 [Gravers, Lovers of the Fine ArtSj all that 
 tare curious in Hiftory or Antiquity, and in 
 fhort, all who having no panicular Profef^ 
 
 fion^i 
 
[ 144 ] 
 
 (ion ; Men of Honour and Fortune, can 
 adorn their Minds with the Knowledge of 
 thofe Things, that may render them the 
 more worthy of Efteem. 
 
 It is not pretended that Perfons are ob- 
 lig'd to fee all the Prints that have been pub- 
 lifh'd, to know how to profit by them ; the 
 infinite Number of them prefencing at once 
 fo many different Ideas to a Man's View, 
 will rather contcund than inform him: 
 Thofe only, who are born with a great and ] 
 a clear Genius^ who have been us'd, for j 
 fome time, to the Sight of fo many different 
 Things, can make them profitable to them, 
 and fee them all without Ccnfufion. | 
 
 Every particular Man may chufe thofe 
 Subjeds that are mofl proper for him, that 
 may either refrefh his Memory or flrengthen 
 his Judgment, in which he fhould be di- 
 re6ted by the Inclination he has for Things 
 of his o wn Gout and Profeflion. 
 
 As for Example, nothing is more fuita- 
 ble to Divines than Prints which relate to 
 the Sacred Hiftory of the Old and New 
 Teftament, and every thing which difcovers 
 the Exercife, or the Perfecution of the pri- 
 mitive Chriflians : The j^ntique Bajfo Re- 
 lievo^ Sy which in ma: y Places inform us of 
 the Ceremony of the Heathen Worfhip : In 
 fhort, any thing that has relation to our 
 own, whether it be Sacred or Profane. 
 
 For 
 
[ 145 ] 
 
 ^ For Philofophers: AH the Demcnilra:tive 
 Figures^ which relate noc only to the Ek- 
 perimcnts of Phyiick;, but all that may en- 
 creafe their Knowledge in natural Things. 
 
 For thofe that are bred up to War : The 
 Plan and Elevation offortity'd Cities^ the 
 order of Battles^ and Books o{ Fortification, 
 of which the demonrtrative Figures are the 
 greateft Part. 
 
 For Travellers: The particular Views of 
 Palaces^ of Cities^ and confiderable Places^, 
 to prepare them for the Thing;s they are to 
 fee, or to preferve the Ideas of thofe they 
 havefeen. 
 
 For Geographers : Thie Maps and Plans 
 neceiTary in their Profeffion. 
 
 For Painters: Every Thing that may, 
 ftrengthen them in their Art^ as the Antique 
 Pieces, and thofe of Raphael and Caracci 
 for ^the good Gout, Correftnefs of Defign, 
 the Dignity of Manner for the choice of the 
 Hairs of the Head, the Paffions of the 
 Mindj, and the Attitudes : Thofe of Ccrreg- 
 gio for Grace and Delicacy of the Fxpref- 
 fions ^ tho(e of Titian, Bafjanj and the Lcm^ 
 bards tor tho Charader'of Truths for the 
 limpleExpreffions of Nature, and above al!^ 
 for the^ Gcut of Landjkips : Thofe of Ru- 
 bens, for the Grandeur and Magnificence 
 of his Invention^ and the Artifice of C/z^r^ 
 Ofluro. In (hort tho^e ihat^ tho' they may 
 
(146] 
 
 be defe^live in fome particular part of them^ 
 may yet have fcinething in them fingular 
 and extracrdinary, for the Painters may 
 draw a confiderable Advantage from all rhe 
 different .Manners of thofe that have gone 
 before them^ who are^ as fo many Flowers, 
 from whence^ like the Bees, they may fuck 
 a Juice, which incorporating with their 
 proper Subftance, will bring forth fuch 
 Works as are ufeful and agreeable. 
 
 For Sculptors : Statutes, Bajb Reliev6*Sy 
 Medals, and other Works, thofe of 
 Raphael y Polidoro^ and the whole Roman 
 School. 
 
 For Archite^s : The Books that concern 
 their Frofeffion, and that are full of demon- 
 ftrative Figures of the Invention of their 
 Authors, or copy'd from the Jniique. 
 
 For Gravers : A Colleftion of Pieces of . 
 different Manners^ as well graved as etch'd. * 
 This Collection fhould alio ferve to (hew 
 them the Progrefs ot' Graving, from Albert 
 Durer to the Gravers of our own Times, 
 which will include the Vforks of Marco 
 Antonio^ Cornelius Cort^ the Caracci^ Sade- 
 Jersy Pontius y Bolfvert^ Goltms^ Muler^ Vof- 
 termdn^ Vijcher^ and a great many more 
 that I have not named, who had a particular 
 Charader, and who by different Ways, 
 ftrove all of them to imitate either Nature, 
 when they did fomething of their own In- 
 vention, or Pidures of'different Manners, 
 
 when 
 
t H7] 
 
 when they only aimed at the Fakhfulnefs 
 of Imitation. In comparing thus the 
 Works of all thcfe Mafters, they may judge 
 which of them underftood beft the Manage- 
 ment of their Tools, of Light, and the 
 ufefulnefs of Harmony^ as it relates to C/aro 
 Ofcuro; which of them in their Operations 
 reconciled Delicacy and Force beft^ and in 
 their Productions were moft fenfible and 
 exaft^ that making a good Ufe of thefe 
 Lights^ they may have the laudable Ambi- 
 tion to equal or furpafs thefe skilful Maften?, 
 
 For the Curious in Hiftory and Antiqui- 
 ty: Every Thing that has been engraven 
 belonging to (acred or profane Hiftory, the 
 Fable; antique BaJ/o ReHevo^s^ the Trajan 
 and Antonine Pillars^ the Books of Medals 
 and Stones engraved^ and feveral Prints 
 that may help them in the Knowledge of 
 thcfe Things chcy would know, or to keep 
 thcfe they know already in their A/f.emory. 
 
 In fhort, for thol^ that to be more happ\% 
 and^more Gentleman-like, would form tlieir 
 Gouthy the Study of good Things^ and 
 have a reafonable Tinfture of xhtfine Jrts^ 
 nottiine; is more neceilary than good Prints: 
 Their Sights with a little Refiedtion;, will 
 rendily and agreeably inform thern of every ^ 
 Thing that may exercife their Reafon, and 
 ftrengthen their Judgment. They may fill 
 their Memory with the moft curious Things 
 of all Times, and all Countries^ and in 
 learning the different Hiftories, learn the 
 H 2 feve- 
 
[ 148 ] 
 
 fevenl Manners of Painting: They will 
 judge readily^ by the Facility with which 
 they may open a few Leaves, and fo com- 
 pare the Produccions of one Mafter with 
 thofe of another^ and by this meansj, in fpa- 
 ling their Time^ they will fpare their Ex- 
 pence alio • for it is almofi: impoffible to put 
 the Pictures of as many Mafters together in 
 a Room^ as will fiiffice to form a perfeit 
 Idea of the Work of each Mafter, and 
 when at a vaft Charge^ a Man has filled a 
 }arge Chamber with Pi^ures of different 
 Manners, he cannot have "above two or 
 three of each, which is not enough to ena- 
 ble him to make a nice Judgment of the 
 Charader of the Painter, or the Extent of 
 his Capacity,* whereas by means of Pr/;;/j^ 
 one may eafily fee the Works of-feveral 
 Mafters on a Table^ one may form an Idea 
 of them^ judge by comparing them one 
 with another:, know vyhich tochufe^ and by 
 pradifing it often, coHtracl: a Fiabit of a 
 good Tafte> and a good Manner^ efpecialiy 
 if we do it in the Company of any body, 
 that has Difcernment in thefe Things^, and 
 can diftinguifti what is good^ from what is 
 but indifferent. 
 
 Such as have any Paffion for tht fine Arts 
 take a regular Method in their Collections^' 
 they do it by the Painters and their Difci- 
 ples. In the Roman School they place 
 Raphael^ Michael Angelo, their Difcipies, 
 and their Contemporaries. In that of 
 
 Venice^ 
 
[ 149 ] 
 
 Venice^ Giorgione^ Titian^ the Bajfant^ PaoU 
 Veronefe^ ^mtGret:^ ^'c\i\QX.\\tx: Venetians. \\\ 
 that ot Tarvia^ Corregioy Parmegiano^ and 
 thole that followed their Gout, in that of 
 Bologna^ the Carracciy Gut do Dtminichino^ 
 A^hani-i Lanfranco and Gucrchlno. In that 
 of Germany^ Albert Durer^y Holhen^ the lit- 
 tle Matters, William Baur, and others. In 
 that of Flandersy Otho Venius^ Rubens^ 
 Vandike^ and thcfe that pradifed their 
 Rules. In the fame Manner they put the 
 Matters of the French School, and thofe of 
 other Countries in their feveral Clalles. 
 
 Others coileft their Prints by the Graver.9:, 
 without Relped to the Painters : Others^ by 
 other Fafliions^ and indeed it is realbnable 
 that every one fliould have Liberty to do in 
 this what feems to him to be iifeful and 
 agreeable. 
 
 Tho' one may at any Time, and in any 
 Age, benefit ones felf by the Sight oi Print 
 yet Youth is more proper for it, than any 
 other Part of Man's Life^ bccaufe Memory 
 is the Gift of Childhood, and while Perfons 
 are.young^ they ought to make Ufe of it as a 
 Magazine^ to lay up Things, that may 
 contribute towards forming their Judg- 
 ment. 
 
 If the Ancients had had the iam^ Adv^an- 
 tage in this as we have, and if they had^ 
 by means of the Prints, tranfmirted what 
 they had done, that was fine and curious, 
 to Poftcriry, we fliould have dittindly 
 
 known 
 
[ ISO ] 
 
 known Abundance of Things, of which we 
 have but confuled Ideas in Hiftory ,• we 
 fhould fee the ftately Monuments of OWwz- i 
 phis and Babylon, and the Temple oijem- 
 faUm which Solcmon built with fo much , 
 Magnificence ; we fliould make a Judgment I 
 of the Building of Athens, Corinth, and 
 old Rome, with more Grounds and with 
 more Certainty than we now can by the- 
 poor Remains that are left of them. Paw 
 janius, who .has madefuch an exacl- De- 
 fcription of Greece, would have accompa- 
 nied his Difcourles with demonflrative 
 Figures, which might have been handed 
 down to us, and we might have feen with 
 Pieafure, not only the Temples and Pala- 
 ces, as they were in their Perfection, but 
 we fliould alio have inherited from the anci- 
 ent Workmen the Art of good building. 
 'Tis for want of thefe Means that the Ma- 
 chines idi Archmedes and the elder Hiero are 
 loft, and the Knowledge of Diofcorides's 
 Plants, as alfc, of feverai Animals, and of 
 a great many of the curious Produdlons 
 ot Nature, which the Studies and Medita- 
 tions ot the Ancients difcovered : But not to 
 trouble ourfelves any longer in grievinp- for 
 the Lofs of Things which we can't recover, 
 let us profit ourfelves by thofe Brints that we 
 have amongft us. 
 
 FINIS. 
 
 A 
 
TABLE 
 
 O F T H E 
 
 Several Articles contained in this Book. 
 
 Article the First. 
 
 OF the Difference between Painting in Pvliniature, 
 and other Kinds of Painting. p. i 
 
 " II. The Method of Calking 2 
 
 III. How to copy by Squares ^ 
 
 IV. Of feveral other Adethods of Drawing: 4 
 
 V. Of the Mathematical CompafTes 6 
 
 VI. Of Delineating your Piece with Carmine 7 
 
 VII. How to ftretch your Vellum S 
 VIIL Of the Colours ufed for Painting in Mini- 
 ature g 
 
 IX. How to draw out the finefl Parts from Colours 
 
 partaking of Earth and other coarfe and heavy- 
 Matter 1 1 
 
 X. How Ox or Eel G'ul is to be uf;;d in Colours 11 
 
 XI. Of Purifying Colours by Fire 12 
 
 XII. How to temper them, and to make Ufe of 
 
 Sea Shells ]2 
 
 XIII. How to know if the Colours be well gumm'd 13 
 
 XIV. In what Manner the Colours are t) be placed 
 
 upon the Pallet 
 XV. Of Pencils. ,^ 
 XVL Of the Light proper to work in \6 
 
 XVIL 
 
The C O-N T E N T S, 
 
 XVII. Of mingling Colours - 17 
 
 XVIII. Of Dead Colouring 17 
 XiX. How to Dot . 17 
 
 XX. That the Colours mull be loft and drowned 
 
 ill one another, 1 8 
 
 XXI. How to heighten or fc t ofF your Work 18 . 
 XXII. How to manage your Colours when dry On the . 
 
 Pallet or in the Shells 19 
 
 XXIIL Of darkifh Grounds 19 
 
 XXIV. Of greenifh Grounds 2o 
 
 XXV. Of Fainting a Glory 20 
 
 XXVI. Of filling an entire Ground with a Glory 21 
 
 XXVII. Of a Day-Sky 2Z i 
 XXVIII. Of Clouds • 22 
 
 XXIX. Of a Night or tempeftuous Sky ^'^ 
 
 Of Draperies. - 
 
 XXX. Of the Blue H 
 
 XXXI. Of the Carmine Red 25 
 
 XXXII. Of the Vermillion Red 25 
 
 XXXIII. Of the Lake Red 25 
 
 XXXIV. Of the Violet 2? 
 
 XXXV. Of the Flefh- coloured 26 
 XXXVI, Of the Yellow * 26 
 
 XXXV 11. OF another Yellow 27 
 
 XXXVIII. OF the Green 27 
 
 XXXiX. Of the Black ^ 
 
 XL. Of the Woolen-White 27 
 
 XLL OF the Gray ' 28" ' 
 
 XLU. Of the Minim or brown coloured 28 
 
 XLIIL OF variable Draperies 28 
 
 XLIV. Of the Violet varying into Blue 28 
 
 XLV. Of the Violet varying inco Yellow 29 
 
 XLVI. Of the Carmine varying into Yellow 29 ; 
 
 XLVII. or the Lake Red varying into Yellow 29 
 
 XWUl. Of the Green varying into Yellow 29 
 XLiX. Of feverai other Colours, and the Union 
 
 to be obfervcd 29 
 
 L. Of I 
 
^ The CONTENT S. 
 
 L. Of Other Colours, foul or dirty, and their 
 
 Union or Agreement 30 
 LL Of White Linnen, without Heightening 33 
 IJI. Of the fame with Heightening 30 
 Lfll. Of Yellow Linnen 31 
 LIV. Of Linnen tranfparent 52 
 LV. Of Crape ' 32 
 
 LYI. To wave a StufF, or make it like a watered 
 
 Tabby 33 
 LVIL How to difllnguifh filken and woollen Dra- 
 peries ' 33 
 LVm. LIX. LX. LXI. Of the difTerent Qualities of 
 Colours 33) 34 35 
 LXH Ot Lace and Point 35 
 LXIf[. OfFurs ■ 35 
 LX V. O^ ;- i)i]d'n.(^5 of Stone - 36' 
 LXV", Of Buildings of Wood. • 36 
 
 Of Carnations. 
 
 T>XVL Of Carnations in Gencr?.! - 37 
 LXVir. Of thofe of Women and Children, and ' , 
 
 of all tender Colourings 3 3 
 
 LXVIIL Of that of Men 38 
 LXIX. Of the Firft Forming and Shadowing 
 
 with Red 38 
 LXX. Of the Teints * 39 
 LXXL Of the Dotting with Green 40 
 LXXIL How to give Strength Co the Shades and 
 
 to iini/h them 40 
 LXXIIL How to dot and finifli the Lights 40 
 LXXfV^ Of the Eyes " 42 
 
 LXX V. Of the Mouth 43 
 LXXVL Of the Hands and the whole Carnation 43 
 LXXVIL Of the Eye brows and the Beard 43 
 LXX VIIL Of the Hair of the Head. 44 
 LXXIX. How to foften your Work 45 
 LXXX. Of different Colourings 45 
 LXXXI. Of that of Death 46' 
 
 LXXXIL 
 
The CONTENTS. 
 
 LXXXir. Iron 47 
 
 LXXXIII. Fire and Flames 47 
 
 LXXXIV. Smoke 47 
 
 LXXXV. Pearls 47 
 
 LXXXVI. Diamonds and other Jewels 48 
 
 LXXXVII. Of Golden and Silver Figures 48 
 LXXXVIil. Of the Utility of ihe feveral Inftruc- 
 
 tions contained in this Book 48 
 
 LXXXIX. Of Landskips 51 
 
 XC. Of Terraffes 5 I 
 XCI. Of Waters, Ruins, Rocks, and other 
 
 Things happening in a Landskip. '^S 
 
 XCII. OF Trees - 54 
 
 XCIIL Of Flowers 56 
 
 XCIV. How to nrft-draw and finill^ them ^7 
 
 XCV. Of Rofes 57 
 
 XCVL Of Tulips 59 
 
 XCV.II, Of the Emonv or Wind Flower 62 
 
 XCVIIL Of the Carnadon aii'd the Pink - 65 
 
 XCIX, Of the Red Lilly 66 
 
 Or the Day Lilly 67 
 
 CL Of the Hy^xinih, or Purple Flower 68 
 
 Cn OfthePlony 69 
 
 CIIL OfCowflips 69! 
 
 CIV. Of the Renonculus, or Crow foot 70 
 
 ■ CV. O?- the Crocus • 71 
 
 CVL Of the Iris 72 
 
 •CVd. OrtheJcir:.min 72 
 
 - CVIIL Oi; the Tu erofs 73 
 
 ClX. Oi the Hellt'i^re 74; 
 
 ex. Of the White Lilly 74 
 
 CXL Of the Snow Drop . 74 
 
 CXli. Of the Jonquil 7I 
 
 GXIIL OF the Dailodil ^ yr 
 
 CXIV. Of the Marigold nr 
 
 CXV. Of the AullrianRofe 76: 
 
 CX VL Of the Indian P-nk or Fr. Marigojd 76' 
 
 CX VIL Ofthe Sun Flower 76 
 
 CXVIIL O the Paffion Flower 77 
 
 CXIX. Of Post. Pinks and Sweet Williams 77 
 
 cxx- 
 
The CONTENTS. 
 
 CXX. Of the Scabious 77 
 
 CXXI. OK the Sword or Dav Lilly 78 
 
 CXXir. Of the Hepatica, or Liver-wort 78 
 
 CXXIIL Of the Pomegranaie 79 
 
 C5fXIV. Of the Flower of the Indian Bean 79 
 
 CXXV, Of the Columbine 79 
 
 CXXVL Of the Lark's Foot 80 
 
 CXXVIL Of Violet and Pdnfies 80 
 
 CXXVJL Of theA'Iuffipuh orCatch Fly 81 
 
 CXXIX. Of the Crown Imperial 81 
 
 CXXX. Of the Sichm«n or Sow Bread 82 
 
 CXXXL Of the GiMiflower 82 
 
 CXXXII. Of Fruits and Animals in General 83 
 CXXXIII. What Sort of White is tote ufed, and of 
 various Methods of Palming in Mini- 
 
 atLiie, t^fc. 84 
 
 Receipts for the making and preparing 
 of feveral Colours^ requifite for Painting 
 "in Miniature, ^^c. 
 
 OF Carmine and Ultramarine 89, 90, 92, 94, 95 
 
 Fine Lake 96, 97 
 
 Lake Columbine 98 
 
 Purple Colour 99 
 
 Lilly Green 99, lOo 
 
 [ Another with Violet Flowers 101 
 
 f Sap Green lOi 
 
 ' Dutch Pink ic2 
 
 ■ The right ufe of Allum 103 
 
 ' To purify Vermillion 103 
 
 ' Another Way 104 
 
 A very fine burnifhed Gold 105 
 
 To make Glove Glew 105 
 
 To make White for the Ground 106 
 To make a Ground on which to gild and filver in 
 
 another Manner 107 
 
 To lay on Gold and Silver 108 
 
 To deaden G£>ld 109 
 
 T« 
 
The G O N T E N T S. 
 
 To deaden Silver 109 
 To make Shell Gold and Shell Silver 109 
 
 Some general Leffons for the Art of 
 Drawing. 
 
 L An Introdu61ion iii 
 11. Common Rules for Beghmers 1,13 
 
 III. What to copy by ii5 
 
 IV. Of the praflical Part in drawing after Prints 1 17 
 
 V. Drawing after Phifter of Paris 118 
 Vi. Of the Study of Anatomy, neceffary for De- 
 
 figners * izoj 
 
 YII. Drawing after Nature 121 
 Wll. The feveral Ways ufed in finifliing a Draught izz 
 IX. Lefibns for Choice in Copies to draw by 124 
 X. Of the general and particular Parts to be ob- 
 
 ferved in Drawing I2d: 
 XL Concerning the Light and Shadow i2g, 
 XII. Young Pradlitioners ought to accuftom them- 
 
 felves to the beft Manner of Drawing ' 129 
 XIIL Of Perfpeaive ^ 129 
 XIV. General Obfervations 13! 
 XV. Of Symetry and feveral other Properties in a 
 good Draught 
 XVI. The Ufefulnefsand Ufe of Prints 141 
 
GETTY CENTER I.IBPAPv