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1 
 
 J)/t.in'jAy;-J*/^t2’j'j , Viuv i‘! 
 
THE 
 
 ARTIST’S ASSISTANT 
 
 IX 
 
 PERSPECTIVE, ETCHING IN COPPER 
 AND STEEL, ENGRAVING, 
 
 METZOTINTO SCRAPING, 
 
 PAINTING ON GLASS, IN CRAYONS, IN WATER 
 COLOURS, AND ON SILKS AND SATINS. 
 
 CONTAINING THE 
 
 EASIEST AND MOST COMPREHENSIVE RULES FOR THE ATTAIN 
 MENT OF THOSE TRULY USEFUL AND POLITE ARTS. 
 
 METHODICALLY DIGESTED, 
 
 And adapted to the Capacities of 
 
 vouNG- 
 
 ILLUSTRATED WITH 
 
 SUITABLE EXAMPLES, ENGRAVED ON COPPER. 
 
 THE THIRTEENTH EDITION, IMPROVED. 
 
 HonUOtt : 
 
 PRINTED FOR R. H. LAURIE, 
 MAP, CHART, AND PRINT, SELLER, 
 
 NO. 53 , FLEET STREET. 
 
 1825 . 
 
Printed by J. Rider, Little Britain, London. 
 
PREFACE 
 
 
 It has ever been the misfortune of those who have 
 professed to lay down rules for the attainment of any 
 art or science, to leave them enveloped with difficulties, 
 which, if not utterly insuperable, at least discourage the 
 learner from proceeding in a study which he can have 
 little hopes will ever reward his pursuit. 
 
 From hence we may reasonably infer, that the said 
 professors were totally unacquainted,' if not with the 
 theory, at least with the practical part, of what they un- 
 dertook to teach others, and that the instructions they 
 have given were founded rather upon a bare supposition 
 of their efficacy, than upon the surer basis of long and 
 repeated experience, which alone could have ensured 
 their success, and from which, with all due deference 
 to the judicious, (whose sanction we shall at all times 
 be ambitious to deserve,) we may venture to answer for 
 the practicability of our own. 
 
 To obviate every objection, and to remove all those 
 difficulties which had so long blocked up the path of 
 science, and retarded, if not wholly impeded, the pupil 
 in his progress to the Temple of Fame, was the chief 
 view in compiling the subsequent little Treatise. 
 
IV 
 
 PREFACE. 
 
 Over and above the improvements made in illustrat- 
 ing the several arts hitherto so imperfectly and unintel- 
 ligibly explained, we have introduced Directions for 
 Scraping in MetzotintOj which, in this edition, are still 
 I’urther enlarged, and which, as they have never been 
 before attempted in any books of this kind, we flatter 
 ourselves Vi^ill he more acceptable ; especially when it 
 shall appear from the rules laid down for the perform- 
 ance of this art, that it is so easy to be obtained, that a 
 tolerable proficiency in Drawing will enable any one to 
 undertake it with all imaginary prospect of success. 
 
 The reader will also find, in this impression, the ad- 
 dition of a very useful problem, in the article of Per- 
 spective, illustrated by a new plate. 
 
 As this book is intended chiefly for the use of young 
 practitioners, we have purposely avoided all abstruse 
 expressions and obsolete terms, contenting ourselves 
 with such a familiar style as we judged most likely to in- 
 form those minds which we would wish to improve : yet, 
 as the ideas of an artist are not wholly to be conveyed 
 without some necessary terms peculiar to each branch, 
 we have taken care to explain such as could not be 
 omitted without a manifest injury to the work, by fami- 
 liar words of a synonimous tendency, wherever they 
 occur ; so that we apprehend we have not left the least 
 stumbling-block for the reader to encounter. 
 
CONTENTS. 
 
 CHAP. I. 
 
 PAGE 
 
 Of Drawing 7 
 
 General Rules for Drawing 8 
 
 Of Copying of Draughts 9 
 
 Of Enlarging and Contracting 10 
 
 Of Imitation of Life 10 
 
 Of Drapery '..... 11 
 
 Of Landscape 12 
 
 Of Light and Shade 13 
 
 Of History 14 
 
 CHAP. II. 
 
 Of Perspective 15 
 
 Explanation of the Terms used in Perspective .... 15 
 
 To raise a Perpendicular 17 
 
 Another Way 17 
 
 To draw a Parallel Line 18 
 
 To divide a given Line into two equal Parts 18 
 
 To raise a Perpendicular at the End of a Line .... 18 
 
 To turn a Circle through three given Points 18 
 
 To draw ah Oval 19 
 
 Another Method for an Oval 19 
 
 To draw a square Pavement 19 
 
 To find the Proportion of Objects above the Horizon 20 
 The same exemplified in Objects below the Horizon 21 
 
 To draw a direct View 21 
 
 To draw an oblique View 23 
 
 To draw a View with accidental Points .' 23 
 
 To find the Centre for the Roof of a House 24 
 
 CHAP. III. 
 
 Of Etching on Copper and Steel 24 
 
 Directions for laying the Ground 25 
 
 Directions for Tracing 25 
 
 Directions for Etching 26/ 
 
 Of Biting, or eating-in the .Work 26 
 
 Mr. Turrell’s Menstruum, for Etching Steel Plates 28 
 
VI 
 
 CONTENTS. 
 
 CHAP. ly. 
 
 PAGE 
 
 Of Engraving 29 
 
 Of whetting and tempering the Graver 29 
 
 Of holding the Graver c . . . . 30 
 
 Directions for Engraving 30 
 
 . , , CHAP. V. 
 
 Of Metzotinto Scraping 32 
 
 Directions for laying the Metzotinto Ground 32 
 
 Directions for whetting the Grounding-Tool 33 
 
 Directions for scraping the Plate 33 
 
 CHAP. VI. 
 
 Of Painting upon Glass 34 
 
 Colours proper for painting upon Glass 35 
 
 Method of using the Colours ' 37 
 
 CHAP. VII. 
 
 Of Painting in Crayons 38 
 
 Directions for using them 38 
 
 CHAP. VIII. 
 
 Of Painting in Water-Colours S9 
 
 Names of the simple Colours 39 
 
 Directions for mixing Colours 40 
 
 Directions for using them 42 
 
 To make Gum- Water 44 
 
 Another Way 44 
 
 To keep the Flies from your Work 45 
 
 To make Liquid Gold 45 
 
 To make Liquid Silver 45 
 
 To make the Glare of Eggs 45 
 
 To recover Liquid Silver from Rust 45 
 
 To keep the Colours from sinking 45 
 
 To make Size for Candle-Light Pieces 46 
 
 To recover Colours when decayed 46 
 
 Pink 46 
 
 CHAP. IX. 
 
 Of Painting on Silks, Satins, &c 47 
 
 ?dethod of discharging Stains from Engravings ... 48 
 
THE 
 
 ARTIST S ASSISTANT, 
 
 CHAPTER I. 
 
 OP DRAWING. 
 
 Drawing is the art of representing by outlines and sha- 
 dows the various productions of nature and art, and of 
 enlarging and contracting objects in the most exact pro- 
 portion. 
 
 This art recalls to our memory things long since past, 
 and rescues from oblivion the deeds of our illustrious 
 ancestors, at the same time that it revives their image 
 in our mind, by preserving their features for many ge- 
 nerations. In a word, it may be said to be the silent, 
 but most expressive, language of nature, which speaks 
 to the eye, is understood by all nations, and conveys 
 an idea where even words themselves would prove 
 deficient. 
 
 After giving some general directions for the attain- 
 ment of this truly polite and rational amusement, which 
 is the basis on which all the rest of the arts depend, we 
 shall consider it more particularly under the following 
 heads, and lay down the most copious and intelligible 
 rules for each respectively, viz. 
 
 Copying of Draughts^ Landscape ^ 
 
 Enlarging and Contractings Light and Shadow^ 
 
 Imitation of Life^ ^ History. 
 
 D r apery s 
 
 The implements necessary for drawing are— a ruler, 
 compasses, charcoal, a black-lead pencil, penknife, porte- 
 
8 
 
 THE artist’s assistant. 
 
 crayons, black, white, and red, chalk, crayons, Indian 
 ink, crow-quill pens, camel’s-hair pencils, fitches, paper 
 of several' sorts, and porte-folios. 
 
 , GENERAL RULES FOR DRAWING. 
 
 The first thing to be observed is the choice of proper 
 originals: and here we would recommend Le Clerc's 
 principles of drawing as the easiest and best calculated 
 for the instruction of beginners. This may be had, price 
 2s, Qd, at the publisher’s of this work. 
 
 Having provided this, begin with the outlines of the 
 several features, as the eyes, nose, mouth, ears, &c. 
 as they occur in the book. Practise these often over, 
 till you are quite master of them ; then proceed to a pro- 
 file or side-face, after that to an oval or full face ; al- 
 ways remembering that each of these must be perfectly 
 attained before you venture to proceed farther. 
 
 When you can copy a face correctly, the next thing 
 is, to draw the several limbs or parts of the body, as 
 the hands, arms, feet, legs, &c., then go on to the body 
 itself; which having done, you will be able to under- 
 take a whole figure, observing carefully the exact pro- 
 portions and bearings of one part with respect to the 
 other. 
 
 The learner ought to be particularly cautious that he 
 does not attempt a whole figure before he has made 
 himself master of the several parts : for this is begin- 
 ning the work at the wrong end, and is, indeed, the same 
 thing as if a man should attempt to climb to the top of 
 a house without the help of the stairs. 
 
 As for beasts, birds, fruit, plants, &c., we deem it 
 useless to give directions for drawing them, as it is well 
 known, that he who has so far improved his ideas as to 
 be able to draw a human figure correctly, will find it no 
 difficulty to perform every other branch of this art. 
 
 Sketch or draw all your outlines faintly, with a piece 
 of soft charcoal (which may be known by the pith in the 
 middle) cut to a point like a pencil ; and when you see 
 
THE artist’s assistant. 
 
 9 
 
 any thing amiss, whisk it out with a handkerchief or 
 feather; correct your errors with a black-lead pencil, 
 and compare your work with the original, till every part 
 of them perfectly correspond. This done, finish your 
 outlines with black-lead or Indian ink. This advice, 
 properly attended to, will save you an infinite deal of 
 trouble, in drawing over and over again, to your no 
 small discouragement. 
 
 If you prefer Indian ink, rub it with water upon a 
 marble, and with a crow-quill pen perfect your outlines ; 
 then rub out the marks of the pencils with bread, or 
 Indian rubber. Keep three or four different shades of 
 ink in the hollows of your stone, to distinguish your dis- 
 tances, reserving one of the holes for water. 
 
 When you are thoroughly versed in the outlines, your 
 next business will be to learn to shadow : but of this 
 hereafter, under the articles of light and shade. 
 
 Be not too hasty at first setting out, which will but 
 impede your progress, and hinder your improvement ; 
 whereas, by bestowing a little more time, you will at- 
 tain perfection sooner than you can well imagine, and 
 expedition will come of itself as you become more expe- 
 rienced. 
 
 OF COPYING DRAUGHTS. 
 
 When you would copy a print or drawing exactly of 
 the same size, rub the back of it with the dust of red 
 chalk or black lead ; lay this upon your paper, and pin 
 it down at the four corners; then with a blunt point 
 trace the outlines and breadths of the shadows ; which 
 done, having carefully examined it, to see that nothing 
 be omitted, take it off, and finish it with a pencil or 
 pen. 
 
 Another way to make an exact copy, and at the same 
 time to preserve the original, is to lay a piece of trans- 
 parent paper upon it, and draw the outlines thereon 
 with a black-lead pencil; tlien, between that and the 
 paper you intend to draw upon, place a piece of thin 
 
10 
 
 THE artist’s assistant. 
 
 post paper, reddened or blackened at the back; after 
 which, ^ proceed to trace and finish it according to the 
 foregoing rule. 
 
 If you would reverse your original, you need only 
 turn the transparent paper, with the drawing you have 
 made upon it, downwards, upon the post-paper, and 
 trace it as above directed. 
 
 OF ENLARGING AND CONTRACTING. 
 
 Divide your original with a pair of compasses into 
 any number of squares, and rule them across with a 
 black-lead pencil from side to side, and from top to 
 bottom. 
 
 Then, having your paper of the size you intend, di- 
 vide it into the same number of squares, either bigger 
 or less, as you would enlarge or contract it. 
 
 Place your original before you, and draw, square by 
 square, the several parts ; observing to make the part 
 you are drawing fail into the same part of the square 
 as it does in your original. To prevent mistakes, 
 number the squares both of the original and copy, 
 as in Fig. I. and II. of the Drawing-plate, at the end 
 of this work. 
 
 Then outline it with Indian ink, rub out the marks 
 of the pencil with bread, or Indian rubber, and shade 
 it at pleasure. 
 
 OF IMITATION OF LIFE. 
 
 Let the person you draw after be of a propor- 
 tionable size, and well shaped; place him in the 
 easiest and most natural attitude, and sketch faintly 
 with your charcoal the head, or any of the limbs, se- 
 parately ; which having carefully done, proceed to finish 
 with your pencil. 
 
 When you have sufficiently practised the several parts 
 or limbs, you may draw the whole figure, in whatever at- 
 titude you think proper to place it ; beginning with the 
 
1 * 1 ^ 11 : . Fatt 2*^ 
 
 P 
 
 t 
 
 r 
 
 i 
 
THE artist’s assistant. 
 
 11 
 
 easiest, and proceeding by degrees to the more difficult 
 postures, as time and experience shall enable you. 
 
 Be sure to finish your outlines so correctly, (marking 
 all the muscles as they occur,) that, even before you 
 give it any shadow, it may have some resemblance of 
 the person. 
 
 The true proportion which one part of a human figure 
 bears to another, may be seen in Fig III. which will 
 serve as a standard to examine your drawing by; except 
 where the figure is to be fare-shortened, in which case, 
 nature will be the best guide. 
 
 In drawing a likeness, care must be taken to ex- 
 press the passions in the most lively manner ; which is 
 to be done by observing the peculiar cast and disposi- 
 tion of every feature with the exactest nicety : and as 
 this is, of all ffie parts of drawing, by far the most diffi- 
 cult, it will require a more than ordinary attention, and 
 should be last attempted. 
 
 OF DRAPERY. 
 
 Drapery is the art of clothing your figures with ele- 
 gance and propriety. 
 
 When your naked figure is outlined, first draw the 
 outlines of the drapery lightly, then the greater folds, 
 and afterwards the lesser, observing never to let them 
 cross each other. 
 
 Particular regard is to be had to the quality of the 
 drapery ; as the folds of stuff or woollen cloth are more 
 abrupt and harsh, and those of silk more flowing and 
 easy. Linen, cambrick, gauze, &c., as their substance 
 is lighter than either, require a still greater delicacy in 
 expressing the waving of the folds, by the faintness of 
 their shadows. 
 
 The drapery should not stick too close to the body, 
 but must seem to flow round, as it were ; yet in such a 
 manner, that the motion of the figure may be free and 
 easy. A great lightness and motion of the drapery 
 should only be used when the figures are supposed to 
 
12 
 
 THE artist’s assistant. 
 
 be in much agitation, or exposed to the wind ; but, in 
 a calm place, and free from violent action, their drapery 
 should be large and flowing, in order to give them a 
 more graceful appearance. 
 
 Let the loose parts of the drapery, blown by the'wind, 
 all flow one way ; and draw that part which lies closest 
 to the body, before you draw those which fly off. 
 
 Suit your garments to the body, and make them bend 
 with it; the closer the garment sticks to the body, the 
 narrower and smaller must be the folds ; and if it sits 
 quite close, there will be no folds at all, but must only 
 have a faint shadow, to represent the part of the body 
 which lies under it. 
 
 By observing diligently in what manner the drapery 
 flows upon any person standing or sitting before you for 
 that purpose, you will see in what manner to dispose 
 your folds and shadows, according to the unerring rule 
 of nature. 
 
 OF LANDSCAPE. 
 
 Landscape represents the face of the country as it 
 appears to our view, with all the various objects analo- 
 gous thereto; as towns, castles, churches, houses, trees, 
 hills, cattle, rivers, rocks, ruins, &c. 
 
 Be careful to augment or lessen every object ac- 
 cording to its distance, making the most remote 
 objects fainter and less distinct, as they appear to 
 the eye, and enlarging them proportionably as they 
 advance nearer. 
 
 Shew the sky cloudy, or clear, as occasion requires ; 
 and if you introduce the sun, let it be rising or setting; 
 either of which representations will give an additional 
 grace to your picture, as they represent nature in its 
 liveliest and most agreeable appearance. 
 
 Adapt every part of your landscape to the season of 
 the year, and the time of the day, you intend it to re- 
 present; and dispose your lights and shades with con- 
 sistent propriety. 
 
THE artist’s assistant. 
 
 13 
 
 Lastly, we would recommend it to practitioners in 
 this noble art, to rise early in a fine morning, that they 
 may have a better idea of the harmony and beauty of 
 the works of the great Creator; which would wonder- 
 fully replenish their minds as to colour and effect, 
 
 OF LIGHT AND SHADE. 
 
 The true distribution of light and shade in a picture 
 is absolutely necessary to be known ; as it not only de- 
 termines the proper distance of one object from another, 
 without which the whole would be an undistinguishable 
 mass of confusion; but it gives likewise to each respec- 
 tive object its substance, roundness, and effect. 
 
 Shadowing is performed with the pen or pencil ; in 
 either of which great judgment is required. 
 
 Having made your outlines correct, the first thing is 
 to observe from which side of the original the light comes 
 in; which, if natural, is either from the right hand or 
 left ; for, whenever the light appears in the middle of a 
 picture, and seems to glare more than ordinary, it is 
 caused by a candle, a lamp, or some other luminous 
 body, and is called an artificial light. 
 
 Lay on your little tints first, disposing them as you 
 see they are done in the original : and then proceed to 
 the deeper ones, till you come to the darkest parts of 
 all: for you may at any time darken your shadows, 
 when you cannot lighten them. 
 
 Let all your shadows in the same piece fall on the 
 same side : that is, if the right side of a man’s face be 
 dark, so must be the right side of his body, arm, leg, 
 thigh, &c. But if the light side be darkened by the 
 opposition of some other body intercepting the light, it 
 must receive a contrary shadow. 
 
 Make your shadows fainter as they grow towards the 
 light, breaking them ‘gradually, that they may not ap- 
 pear too sudden or harsh. 
 
 If you shade with black lead or with crayons, you 
 may blend your shadows, and soften them one into 
 
 B 
 
14 
 
 THE artist’s assistant. 
 
 another as you require, with a stump made of paper or 
 glove leather, rolled and tied hard, and cut almost to a 
 point, with which you may also weaken your shades 
 where they are too strong. 
 
 When one part of the body projects over or before 
 another, the part projecting must receive a stronger light ; 
 those parts that bend inward must be made so much the 
 darker, and shadowed deeper next the light. 
 
 Two equal lights must never be made in the same 
 picture ; the strongest light should fall upon the middle 
 of the piece, (where the principal figure ought to stand,) 
 diminishing gradually towards the extremities. 
 
 By frequently examining into nature, you will have 
 an opportunity of improving your ideas of light and 
 shade, and will be able to form a proper judgment of 
 the effect which the different rays or degrees of light 
 will produce in a picture ; for which reason you should 
 never let slip an opportunity of remarking the various 
 appearances you meet with. 
 
 OF HISTORY. 
 
 This branch of drawing presents to our view things 
 past, present, and future. 
 
 An historical picture must describe the transaction 
 represented, in a manner so clear and conspicuous, as 
 to convey an idea of it to our minds, as fully as could 
 be done bjr a verbal description : and care must be ta- 
 ken to preserve such an analogy or connection between 
 the figures, thk not one may seem to he introduced but 
 for some end or purpose, And as, in dramatic writing, 
 it is essential to make every person sjieah consistently 
 with the part he represents, so here it will be equally 
 necessary to observe the same propriety of character, 
 and make every figure look the sentiment it is intended 
 to express. 
 
I 
 
THE artist’s assistant. 
 
 15 
 
 CHAP. 11. 
 
 OF PERSPECTIVE. 
 
 P ERSPECTivE is the art of delineating objects (as they 
 appear in nature upon a plain surface) according to their 
 distance and height, perpendicular to the horizon be- 
 tween the object and the eye. 
 
 This art is of great consequence to those who would 
 fxcel in drawing, etching, engraving, carving, in bas- 
 i-elief, or painting ; for being well-understood, the artist 
 will be enabled to know when to adhere to the strict 
 irules, and when to depart from them with propriety. 
 
 EXPLANATION OF THE TERMS USED IN PERSPECTIVE. 
 
 ' 1. The Base or Fundamental Line^ is the bottom line 
 of the drawing, on which the person is supposed to stand, 
 with his face towards the point of sight. 
 
 2. A Perpendicular is a line drawn upright with res- 
 pect to any part of the base. 
 
 3. Parallel Lines are lines equidistant from each 
 other, as the horizon to the base. 
 
 4. The Horizonis the most distant partof aplain, where 
 the clouds, seeming to touch the earth, limit the sight. 
 The horizontal line gives the height of the eye ; for we 
 cannot see any thing above the horizon which does not 
 exceed this height: yet the summit of a mountain may 
 be above the horizon, though its foot be far beneath it. 
 
 5. The Point of Sight is that part of the horizontal 
 line where all the visual rays centre in a point. 
 
 6. Visual Rays are beams of light, conveying the 
 likeness of any object to the eye or sight, and the know- 
 ledge thereof to the mind or understanding. 
 
 7. The Points of Distance are supposed points set off 
 on the horizontal line, at equal distances on each side 
 of the point of sight. 
 
16 
 
 THE ARTISTES ASSISTANT. 
 
 8. Diagonal Lines are those drawn from the pointiS 
 of distance to the extremities of the base lines. 
 
 9. Abridgment of the Square is the line where the 
 diagonals intersect or cross the visual rays, and must 
 always run parallel to the base. It is made only where 
 the sight is limited by a perpendicular, as the farther 
 end of a church, hall, room, &c. And supposing a 
 person to stand thereon, a parallel line drawn through 
 the point of sight will seem to pass through the eyes, 
 and will consequently shew what height that person 
 ought to be. 
 
 The nine foregoing definitions are illustrated in Fig. 
 I. of the perspective plate, at the end of this work. 
 
 1 0. Point of direct View* This is nothing more than 
 the front view of a house, church, &c., or, in other 
 words, a geometrical elevation raised from a plan or 
 ground-plot, and comprehending an equal space on both 
 sides of the point of sight. See Fig. XIV. at the end. 
 
 11. Point of oblique View is when we see the object 
 sideways or aslant. Example : Suppose a person was 
 to draw a view of a canal, with some remarkable build- 
 ing he is desirous to shew more distinct, he must place 
 himself (for the base or fundamental line) opposite to 
 that building, that the ray of light may be more oblique ; 
 by which means the admired building will be less fore- 
 shortened, and appear to greater advantage, the point 
 of sight being still before him, though not in the middle 
 of the picture. See Fig. XV. 
 
 12. Accidental Points are those where objects end in 
 the horizontal line, but neither in the points of sight or 
 distance, and serve for streets, houses, chairs, roads, &c., 
 which take different directions. As for example : Sup- 
 pose a street leading to the point of sight, and from it 
 two others branch, the one on the right hand, the other 
 on the left, and take a different direction ; these two 
 last streets make what we call accidental points^ termi- 
 nating in some part of the horizontal line, on each side 
 of the point of sight. See Fig. XVI. The same is to 
 be observed in a grove, park, &c., where the walk you 
 
THE artist’s assistant. 
 
 17 
 
 are in directs immediately to the point of sight, and the 
 avenues branching out on either side, terminate also in 
 different parts of the horizon. 
 
 Ichnography is the plan or ground-plot of any object 
 that is to be raised in perspective. 
 
 Scenogmphy is the art of bringing any thing raised 
 in perspective from an ichnographic plan to its due pro- 
 portion, according to the distance in which it is placed: 
 that all objects may be diminished according to their 
 distance in a picture, in the same degree as they are 
 diminished by distance in a natural prospect. A sceno- 
 graphic view may be either direct, as in Fig. XIV, or 
 oblique, as in Fig. XV. 
 
 As the art of perspective is constructed upon geome- 
 trical principles, it will be necessary, previous to the 
 rules themselves, to learn the following introductory 
 operations. 
 
 1. From a Point in a given Line A B, raise a Per^ 
 pendicular. See Fig. II. 
 
 Draw with the ruler the given line A B, then set one 
 foot of your compasses in B, and extending them to 
 rather more than half the length of the line A B, sweep 
 the arch c d; and, with the same extent of compasses, set 
 one point in c, and sweep the arch e f ; then, without 
 altering the compasses, set one foot in g, and describe 
 the arch hi; next rule through the points e gf to inter- 
 sect the arch h i and A:, and draw the line from k to B, 
 which is the perpendicular required. 
 
 2. Another Way. See Fig. III. 
 
 From the point A take the equal distances A B and 
 A C on each side of it ; then stretch the compasses to 
 any distance greater than A B or A C, and with one 
 foot of them in B sweep the arch de; then, with the 
 same extent of the compasses, set one point in C, sweep 
 the arch/g; and these two arches will intersect each 
 other in the point A, from which a line drawn to the 
 point A is the perpendicular required. 
 
 B 3 
 
18 
 
 • THE artist’s assistant. 
 
 3. To draw one Line parallel, or equidistant, to an-' 
 
 other given Line, A B. See Fig. IV. 
 
 Extend your compasses to the distance of the paral- 
 lel you require ; then, with one foot in any point of the 
 given line, as in c, describe the arch d e. Again, without 
 altering the compasses, fix one foot in any other point, 
 as in J, and sweep the arch gh; then rule the line I K, 
 touching the outward parts of the two arches, and that 
 will be the parallel to the given line, 
 
 4. To bisect or divide a given Line, A B, into two equal 
 
 Parts, See Fig. V. 
 
 Take with your compasses any distance greater than 
 half the given line ; then, with one foot of them in B, 
 sweep the arch c c; and, with the same distance, setting 
 one foot in A, sweep the arch d d; and these arches will 
 intersect each other in the points g h; which, joined by 
 a perpendicular, will intersect A B in the middle point i, 
 
 5. Upon the End A of a given Line, A B, to raise a 
 
 Perpendicular, See Fig. VI. 
 
 Place one foot of the compasses in A, and extend 
 them t6 any point c without the given line ; then set one 
 foot of them in c, and turn the circle de and A, and 
 through d c draw the diameter dee, meeting the circle 
 in e; join A e, and that right line is the perpendicular 
 required. 
 
 6. To turn the Circle through any three given Points 
 
 not in a right Line. See Fig. Vll. 
 
 Fix three points to any distance you think proper, as 
 at A B and C, and join them by the right lines A B 
 and B C ; then, by Fig. V., bisect the line A B with the 
 line de; which done, bisect the line B C with the line 
 f e; and from the centre e, where these lines meet, 
 extend your compasses to A, and describe the circle 
 AB C G. 
 
THE artist’s assistant. 
 
 19 
 
 7. To draw an Oval, See Fig. VIII. 
 
 Draw a given line A B, which divide into four equal 
 parts ; set one foot of the compasses at C, and from that 
 centre describe a circle ee; with the same extent of 
 compasses place one foot in the centre D, and turn the 
 circle f f; then, with one foot still in D, extend your 
 compasses, and turn the arch g g; and with the same 
 extent, placing one foot in C, describe the arch hh ; 
 join the intersections with a perpendicular from iio k; 
 next, place one foot of the compasses in i, sweep the 
 arch L L, and, without altering them, set one foot in 
 ky and describe the arch M M. 
 
 8. Another Method for an Oval, See Fig. IX. 
 
 Draw a given line A D, and with the compasses ex- 
 tended, placing one foot in B, with the other turn the 
 circle ee; then, without altering your compasses, on 
 the line A D, in the supposed point C, sweep the circle 
 f fy and through the points g g, where the two circles 
 intersect, draw the pei'pendicular hi; then fix your 
 compasses with one foot in hy and extend them so as to 
 describe the arch kk to the lower extremities of the cir- 
 cles : then, with the same extent, with one foot in i, sweep 
 the arch I /, to join the upper extremities. 
 
 By these examples it will appear, that an oval of any 
 form or size may be constructed at pleasure, only taking 
 care always to fix the compasses equidistant from the 
 given line A D in the perpendicular h i, 
 
 PRACTICAL EXAMPLES IN PERSPECTIVE. 
 
 1. To draw a square Pavement in Perspective, 
 
 See Figs. X. and XI. 
 
 Suppose your piece of pavement to consist of 64 
 pieces of marble, each a foot square. Your first busi- 
 ness is, to draw an ichnographical plan or ground-plot 
 of it, which is thus performed. Having made an epcact 
 
20 
 
 THE artist’s assistant. 
 
 square of the size you intend your plan, divide the base 
 and horizon into eight equal parts, and from every di- 
 vision in the base to its opposite point in the horizon, 
 rule perpendicular lines ; then divide the sides into the 
 same number, ruling parallel lines across from point to 
 point; so will your pavement be divided into 64 square 
 feet ; because the eight feet in length, multiplied by the 
 same in breadth, give the number of square feet or 
 pieces of marble contained in the whole ; then rule dia- 
 gonals from corner to corner ; and thus will your ground- 
 plot appear as in Fig. X. 
 
 Now, to lay this in perspective, draw another square 
 to your intended size, and divide the base line A B into 
 eight equal parts, as before : then fix your point of sight 
 C, in the middle of the horizon D E, and from the same 
 point rule lines in every division in the base A B ; after 
 which, rule diagonal lines from D to B, and from E to 
 A, answerable to those in the ground-plot, and your 
 square will be reduced to the triangle ABC; then from 
 the point F, where the diagonal D B intersects the line 
 A C, to the opposite intersection G, where the diagonal 
 E A crosses the line C B, rule a parallel line, which is 
 the abridgment of the square. 
 
 Then through the points where the diagonals cross 
 the rest of the lines, which go from the base to the 
 point of sight, rule parallel lines, and your square pave- 
 ment will be laid in perspective, as in Fig. XI. 
 
 2 To find the Height and Proportion of any Objects, 
 
 as they appear above the Horizon, on a supposed 
 Plane. See Fig. XII. 
 
 First, Rule your horizontal line N O, and fix your 
 point of sight, as at M ; then mark the place of your 
 nearest pillar, by making a dot for the base or bottom, 
 as at A ; and another for the summit or top, as at B : 
 rule a line from A to the point of sight M, and another 
 from B to M, and these two lines will give the height 
 of any number of pillars. As for example: Suppose 
 
THE artist’s assistant, 
 
 you would have a pillar at C, fix your dot for the base, 
 and rule from thence a parallel line to meet the diagonal 
 AM at D ; then rule the perpendicular D E to the 
 diagonal B M: which perpendicular is the height of 
 your figure required at C. Or, if you would place 
 pillars at F and I, observe the same method, ruling the 
 parallels F G and I K, and the perpendiculars G H and 
 K L will give their heights at the distances required. 
 
 To find the diameter or thickness of pillars at any 
 particular distances, you are also to be guided by that 
 nearest the base. For instance : suppose your nearest 
 pillar A B to be ten feet high, and one foot in diameter ; 
 divide it from top to bottom into ten equal parts, and 
 set off one of them upon the base of the pillar : then 
 rule a line from the point of sight M to the diameter P, 
 and you will have the thickness of all your pillars on 
 their respective parallels or bases. 
 
 3. The same Rule exemplified in Objects below the 
 Horizon, See Fig. XIII. 
 
 If you would know the heights of a number of figures 
 below the horizon, rule your horizontal line Q R, and 
 fix your point of sight, as at P : then place your nearest 
 figure, or mark the dots for the head and feet, by the 
 points A and B, which answers the same purpose; and 
 rule from these dots to the point of sight the lines A P 
 and B P : and if you would find the height of a figure 
 to be drawn at c, rule from thence the parallel c 5 to 
 the diagonal B P, and the perpendicular d e will give 
 the height required. The same directions will shew the 
 height of a figure at any other distance you have a mind 
 to place it, as at /, i, and m, by ruling the parallels f 
 g, i, kf and m n ; and from each of these their respective 
 perpendiculars g k, k I, and no; which perpendiculars 
 will shew the height of the figures at fi t, and m, 
 
 4. To draw a direct View, See Fig. XIV. 
 
 To illustrate this example, suppose you were to draw 
 the inside of a church, as represented in this figure; 
 
22 THE artist’s assistant. 
 
 first, take your station at the point A, in the centre of 
 the base line B C ; from which you have a front view of 
 the whole body of the church, with all the pillars, &c. 
 on each side; then fix your horizon at any height you 
 think proper, as at D E ; bisect it by the perpendicular 
 E A ; and where these two lines intersect, is the point 
 of sight F. (This perpendicular will pass through the 
 centres of all the arches in the dome or cupola; which 
 centres may be found by any three given points, as in 
 Fig. VII.) Next divide your base line into any given 
 number of feet ; and the visual lines ruled from these 
 divisions to the point of sight, will reduce all your ob- 
 jects to their just proportion, by setting off their height 
 upon a perpendicular raised at their respective distances. 
 The base, in the example here given, is divided into 
 twelve equal parts, of five feet each ; from which (sup- 
 posing your front column be 35 feet high) take seven 
 divisions from the base line of your drawing, and set 
 them off upon the perpendicular G H ; then (supposing 
 this column to be five feet thick at the base) set off one 
 of those divisions upon the parallel I K, which is the 
 breadth required. So that, by proportioning this scale 
 to any distance by the foregoing directions, you may 
 not only find the dimensions of all your columns, but 
 also of every distinct part of them, as well as of all the 
 doors, windows, and other objects that occur. For 
 instance: — Having found the height and breadth of 
 your first or nearest column G, draw from the top and 
 bottom of the said column, to the point of sight, the lines 
 H F and K F ; after which, rule the line I F from the 
 base of the column to the point of sight, and you have 
 the height and breadth of all the rest of the columns, as 
 has been already shewn in Fig. XII. 
 
 By ruling lines from the points a, 5, c, d, &c. to the 
 point of sight, you will see that the summits and bases 
 of your columns, doors, windows, &c. must tend im- 
 mediately to that point ; and by lines drawn from the 
 points 1, 2 , 3, 4, &c. on each side, to the correspondent 
 points on the opposite side, may be seen all the parts of 
 your building lying upon the same parallel. 
 
THE artist’s assistant. 
 
 SI3 
 
 5. To draw an Oblique View. See Fig. XV. 
 
 First, draw your horizontal line A B ; then, if your 
 favourite object be on the right hand, as at C, place 
 yourself on the left hand upon the base line, as at D ; 
 then, from that station, erect a perpendicular D E, which' 
 will pass through the horizon at the point of sight F : 
 to which rule the diagonals G F and H F, which will 
 shew the roof and base of your principal building C, and 
 will also, as before directed, serve as a standard for all 
 the rest. 
 
 Observe, also, either in direct or oblique views, whe- 
 ther the prospect before you make a curve or not ; for, if 
 it does, you must be careful to make the same curve in 
 your drawing. 
 
 6. To draw a Perspective View^ wherein are accident 
 tal Points. See Fig. XVI. 
 
 Rule your horizontal line a b, and on one part of it 
 fix your point of sight, as at c; from which rule the 
 diagonals c d and c e on the one side, and ef and c q on 
 the other, which will shew the roofs and bases of all the 
 houses in the street directly facing you ; supposing your- 
 self placed at A, in the centre of the base line : Then fix 
 your accidental points g and /^ upon the horizontal line, 
 and rule from them to the angles i k and I wi, (where 
 the streets on each side take a different direction towards 
 the accidental points g and h,') and the lines g i and g k 
 give the roofs and bases of all the buildings on one side, 
 as I h and A do on the other. 
 
 Accidental points seldom intervene where the distance 
 is small, as in noblemen’s seats, groves, canals, &c , 
 which may be drawn by the strict rules of perspective: 
 but w'here the prospect is extensive and varied, including 
 mountains, bridges, castles, rivers, precipices, w^oods, 
 cities, &c., it will require such an infinite number of 
 accidental points, that it will be better to do them as 
 nature shall dictate, and your ripened judgment 
 approve. 
 
24 
 
 THE artist’s assistant. 
 
 7. To find the Centre for the Roof of a House, in an 
 oblique View, See Plate IV. 
 
 Suppose from the point of sight A, the visual lines 
 B A and A C be drawn, B C being one perpendicular 
 given, and D E the other ; rule the diagonals from D 
 to C, and from E to B; and the perpendicular F G, 
 raised through the point of their intersection, will shew 
 the true centre of the roof, as will appear by ruling the 
 lines G E and G C. 
 
 From want of being acquainted withthis necessary rule, 
 many, who have been well versed in other parts of per- 
 spective, have spoiled the look of their picture, by 
 drawing the roofs of their houses out of their true per- 
 pendicular. 
 
 CHAPTER III. 
 
 OF ETCHING. 
 
 Etching is a method of working on copper, wherein 
 the lines or strokes, instead of being cut with a graver, 
 are eaten in, or bitten, with aqua-fortis: likewise of 
 working on steel, w'herein similar lines or strokes are 
 eaten in or bitten with the menstruum described hereafter. 
 
 This art, being executed with greater ease and free- 
 dom, than engraving, represents curious subjects better, 
 and more agreeably to nature, as landscapes, ruins, and 
 small, faint, or remote, objects, buildings, &:c. 
 
 The principal materials for this art are, the copper- 
 plate, hard and soft ground, (the first for summer, and 
 the other for winter,) a dabber, turpentine-varnish, 
 lamp-black, soft wax, and aqua-fortis. 
 
 The tools are, an oil-rubber, a burnisher, a scraper, 
 a hand-vice, etching boards, etching needles, an oil- 
 stone, and a parallel ruler. 
 
THE artist’s assistant. 
 
 ^5 
 
 The plate may be had of any size, and well polished, 
 fit for use, of the coppersmiths in London. • 
 
 DIRECTIONS FOR LAYING THE GROUND. 
 
 Having provided yourself with a plate of the size of 
 the print or drawing you intend to copy, rub it well 
 with an oil-rubber, made of swanskin flannel, till all the 
 marks of the charcoal used in polishing it entirely disap- 
 pear ; then, wiping off the dirty oil with a linen rag, dip 
 your finger in some clean oil, and touch it over every 
 part of the plate; after which, with the burnisher, polish 
 your plate till you can see your face in it; and in case 
 any sand-holes or flaws appear, the scraper will assist 
 you in taking them out. The marks left by the scraper 
 are to be taken out by the burnisher till nothing appear. 
 Having fixed your hand-vice at one end of the plate, w'ith 
 a rag and whiting clean the plate carefully from guease ; 
 then heat it over a charcoal fire, or lighted paper, till it 
 will melt the ground, which is to be laid on thinly, and 
 dabbed all over with the dabber, till it is perfectly smooth 
 and even ; then warm the plate again, and, holding it up 
 with the ground downwards, smoke it all over with a 
 wax candle, taking care that the snuff of it do not touch 
 the ground, and waving the candle continually over every 
 part, so that the ground may not be burnt by heating it 
 more in one place than another. If the plate be large, 
 you may bind four wax-tapers together. 
 
 DIRECTIONS FOR TRACING. 
 
 The first thing to be done (while the plate is cooling, 
 after the ground is laid) is to rub the back part of your 
 print or drawing all over with a bit of rag or cotton, dipt 
 in the scrapings of red chalk, and shake off the loose 
 dust, or wipe it off gently wdth a clean rag. Place tfle 
 red side upon the plate, making it fast at each corner 
 with a little bit of soft wax.- Lay your etching-board 
 under your hand, to prevent bruising the ground; then 
 with a blunt etching-needle trace lightly the outlines 
 C 
 
26 
 
 THE artist’s assistant. 
 
 and breadths of the shadows till the marks of them ap- 
 pear upon the ground, which you must take care not to 
 penetrate by tracing too hard. 
 
 As great nicety is required in this part of your work, 
 it will be necessary now and then to lift up one corner j 
 of your original, and examine whether every part be I 
 traced before you take it off, as it will be extremely 
 difficult to lay it down again in its former position. 
 
 DIRECTIONS FOR ETCHING. 
 
 Having carefully traced your original, take it off, and 
 lay a silk or linen handkerchief next the plate, and over 
 that your etching-board : then proceed to the etching ; 
 for which, observe the following directions, which are 
 adapted to every particular branch, as landscapes, ship- 
 ping, portraits, history, architecture, &c. 
 
 Distances in landscapes, or the faint parts of any 
 other picture, are the first to be done; and these 
 are to be worked closer, and with a sharper pointed 
 needle : The darker parts must be etched wider, and 
 with a blunter needle; but to prevent mistakes, the 
 needles may be marked according to their different de- 
 grees, and the uses for which they are intended. As 
 for the very faintest parts of all, they are to be left for 
 the graver, or dry needle : of which hereafter. i 
 
 In buildings, and all architecture in general, use i 
 a parallel ruler, till frequent practice enables you to do i 
 them well enough without. ! 
 
 The needles may, when necessary, be whetted upon i 
 your oil-stone, keeping them turning in your hand, so 1 
 as to whet them equally all round. The oil-stone will be j 
 further useful in whetting the scraper, which is to be 
 rubbed flat upon the stone, and with a steady hand, j 
 keeping oil constantly upon the stone. s 
 
 V 
 
 OF BITING, OR EATING-IN, THE WORK WITH AQUA- 5 
 FORTIS. g 
 
 First examine your work carefully, to see that no- c 
 thing be omitted ; and if any scratches appear upon the ^ 
 
THE artist’s assistant. 
 
 27 
 
 ground, or mistakes be committed in the etchings, they 
 are to be stopped out, which is done by covering them 
 with a mixture of lamp-black and varnish, laid on thinly 
 with a hair-pencil, which, when dry, will resist the 
 acpia-fortis. But it will be best to stop out these, as 
 they occur to you in the course of your work ; for by 
 this means they will be less liable to escape your notice ; 
 and when the varnish is dry, you may etch it over again 
 if required. 
 
 The next thing is, to inclose the work with a rim or 
 border of soft green or other coloured wax, about half 
 an inch high, bending the wax in the form of a spout, 
 at one corner, to pour off the aqua-fortis ; and that it 
 may not run out at any other part, take care to lay your 
 wax so close to the plate, that no vacancies be left. 
 
 Your aqua-fortis must be single; and if too strong, 
 as will be seen in the biting, take it off, and mix it with 
 a little water, shaking them together in a bottle ; and 
 when, by often using, it becomes too weak, it may be 
 strengthened by mixing it in a bottle with a little double 
 aqua-fbrtis. The bottle which contains the aqua-fortis 
 should have a large mouth and a glass stopper. 
 
 Let the aqua-fortis lie on the plate a short time, 
 wiping off the bubbles as they arise with a feather, which 
 may remain upon the plate while it is biting; after which 
 take it off, and wash the plate with water ; then let it 
 dry, and by scraping off part of the ground from the 
 faintest part of the work, try if it be bit enough ; and 
 if not, stop out the part you have tried with the lamp- 
 black and varnish, and, when that is dry, pour on the 
 aqua-fortis again. 
 
 When the faint parts of your work are bit enough, 
 stop them out, and proceed to bite the stronger parts, 
 stopping them out as occasion requires, till the whole 
 work is sufficiently bit; then warm the plate, and take 
 off the soft wax: after which, heat the plate till the 
 ground melts, pour on a little oil, and wipe the whole 
 off with a rag. When the ground is taken off, rub the 
 work well with the oil-rubber, and wipe the plate clean ; 
 
^8 
 
 THE artist’s assistant. 
 
 then proceed to finish it with the graver, according to 
 the directions given in Chapter IV, 
 
 Mr, Turrell’s Menstruum, for etching steel 
 PLATES, IS composed as follows: 
 
 Take four parts, by measure, of the strongest pyro- 
 ligneous acid, chymically called Acetic Acid, and one 
 part of alcohol or highly rectified spirits of wine ; mix 
 these together, and agitate them gently for about half a 
 minute ; and then add one part of pure nitric acid ; and, 
 when the whole is thoroughly mixed, it is fit to be pour- 
 ed upon the steel plate. When the mixture is compound- 
 ed in this proportion, very light tints will be sufficiently 
 corroded in about one minute, or one minute and a 
 half; and a considerable degree of colour will be pro- 
 duced in a about a quarter of an hour ; but the effect 
 may be produced much quicker, by the addition of more 
 nitric acid, or it may be made to proceed slower, by 
 omitting any convenient portion thereof. When the 
 mixture is poured off the plate, it should be instantly 
 washed with a compound, made by adding one part of 
 alcohol to four of water, and the stopping varnish laid 
 upon any part that is sufficiently corroded, should be 
 thoroughly dry before the biting is repeated. Care 
 should be taken to keep the mixture out of the reach of 
 the sun or any artificial heat, because its valuable pro- 
 perties, for this purpose, would thereby be clianged. 
 It wdll be necessary also to observe that no more of the 
 ingredients should be mixed than are wanted for pre- 
 sent use ; as the mixture will be greatly changed if kept 
 for many hours. The stopping varnish that answers 
 the purpose best, is made by dissolving the best Egyp- 
 tian Asphaltum in the essential oil of turpentine, w'hich 
 dries sufficiently quick for all desirable purposes, and 
 perfectly secures the part covered with it from the action 
 of the menstruum. — Tech, Rep. vi. 134. ^ 
 
TICE artist’s assistant. 
 
 
 CHAPTER IV. 
 
 OF ENGRAVING. 
 
 The tools necessary for* engraving are, the oil-rubber, 
 burnisher, scraper, oil-stone, needles, and ruler, already 
 mentioned, as used in etching; also gravers, compasses, 
 and a sand-bag. 
 
 Gravers are of two sorts, square and lozenge. Three 
 of each sort should be provided. The first is used in 
 cutting the broader strokes, the other for the fainter 
 and more ddicate. No graver should exceed the length 
 of five inches and a half, the handle included, excepting 
 for straight lines. 
 
 The sand-bag or cushion is used to lay the plate on, 
 for the convenience of turning it about. The oil-stone 
 must be of the Turkey sort. 
 
 OF whetting and tempering the graver. 
 
 As great pains are required to whet the graver nicely, 
 particularly the belly .of it, care must be taken to lay 
 the two angles of the graver, which are to be held next 
 the plate, fiat upon the stone, and rub them steadily till 
 they are polished like a mirror, and till the belly rises 
 gradually above the plate, so as that, when you lay the 
 graver fiat upon it, you may just perceive the light un- 
 der the point, otherwise it will dig into the copper, and 
 it will be impossible to keep a point, or execute the 
 work with Ireedom. In order to this, keep your right 
 arm close to your side, and place the fore-finger of your 
 left hand upon that part of the graver which lies upper- 
 most on the stone. When this is done, in order to whet 
 the face, place the fiat part of the handle in the hollow 
 of your hand, with the belly of the graver upwards, 
 upon a moderate slope, and rub the extremity or face 
 upon the stone, till it has an exceeding sliai;p point, which 
 c 3 
 
30 
 
 THE artist’s assistant. 
 
 you may try upon your thumb-nail. The oil-stone, while 
 in use, must never be kept without oil. 
 
 When the graver is too hard, as is usually the case 
 when first bought, and may be known by the frequent 
 breaking of the point, the method of tempering the 
 steel is as follows : — 
 
 Heat a poker red-hot, and hold the graver upon it 
 within half an inch of the point, waving it to and fro 
 till the steel changes to a light straw-colour; then put 
 the point into oil to cool ; or hold the graver close to 
 the flame of a candle till it be of the same colour, and 
 cool it in the tallow ; but be careful either way not to 
 hold it too long, for then it will be too soft; and in this 
 case the point, which will then turn blue, must be bro- 
 ken off, and whetted afresh, and tempered again, if 
 required. But be not too hasty in tempering, for some- 
 times a little whetting will bring it to a good condition. 
 
 OF HOLDING THE GRAVER. 
 
 Cut off that part of the handle wliich is upon the 
 same line with the belly or sharp edge of the graver, 
 making that side flat, that it may be no obstruction. ' 
 
 Hold the handle in the hollow of your hand, and ex- 
 tending your fore-finger down towards the point, let it 
 rest upon the back of the graver, that you may hold it 
 flat and parallel with the plate. 
 
 Take care that your fingers do not interpose between 
 the plate and the graver, for they will prevent you from 
 carrying the graver level with the plate, and from cut- 
 ing your strokes so clean as they ought to be. 
 
 DIRECTIONS FOR ENGRAVING. 
 
 Let the table or board you work at be firm and stea- 
 dy; upon which place your sand-bag, with the plate 
 upon it ; and holding the graver as above directed, pro- 
 ceed to business in the following manner : — 
 
 For straight^ strokes, hold your plate firm upon the 
 sand-bag with your left hand, moving your right hand 
 
THE artist’s assistant* SI 
 
 forwards, leaning lighter where the stroke should be 
 fine, and harder where you would have it broader. 
 
 For circular or crooked strokes, hold the graver sted- 
 fast, moving the hand or the plate as you see convenient. 
 
 Learn to carry your hand with such a sleight, that 
 you may end your stroke as finely as you began it; and, 
 if you have occasion to make one part deeper or blacker 
 than another, do it by degrees ; and that you may do it 
 with greater exactness, take care that your strokes be 
 not too close nor too wide. 
 
 In the course of your work, scrape off the bur or 
 roughness which arises, with the belly of your graver, 
 but be careful in doing this, not to scratch the plate ; 
 and that 'you may see your work properly as you go on, 
 rub it with the oil-rubber, and wipe the plate clean, 
 which will take off the glare of the copper, and shew 
 what you have done to the best advantage. 
 
 Any mistakes or scratches in the plate may be rubbed 
 out with the burnisher, and the part levelled with the 
 scraper, polishing it again afterwards lightly with the 
 burnisher. 
 
 Having thus attained the use of the graver, according 
 to the foregoing rules, you will be able to finish the piece 
 you had etched, by graving up the several parts to the 
 colour of the original, beginning, as in the etching, with 
 the fainter parts, and advancing gradually with the 
 stronger, till the whole is completed. 
 
 The dry needle (so called because not used till the 
 ground is taken off the plate) is principally employed in 
 the extreme light parts of water, sky, drapery, architec- 
 ture, &c. 
 
 For your first practice, copy such prints as are open- 
 ly shaded: the more finished ones being too difficult 
 till you have gained farther experience. 
 
 Great choice of prints of every kind, fit for young be- 
 ginners, may be had where this book is published. 
 
 N.B. To prevent any obstruction from too great a 
 degree of light, we would recommend the use of a sash, 
 made of transparent or fan-paper, pasted on a frame. 
 
S2 
 
 THE artist’s assistant^ 
 
 and placed sloping at a ‘convenient distance between 
 your work ‘and the light. This will not only preserve 
 the sight, but, when the sun shines, cannot possibly be 
 dispensed with. 
 
 CHAPTER V. 
 
 OF metzotinto scraping. 
 
 This art, which is of late date, is recommended to the 
 practice of the ingenious reader, for the amazing ease 
 with which it is executed, especially by those who have 
 any notion of drawing. 
 
 Metzotinto prints are those which have no hatching 
 or strokes of the graver, but whose lights and shades 
 are blended together, and appear like a drawing of In- 
 dian ink. 
 
 The tools used in this art, after you have procured a 
 well-polished copper-plate, are, oil-stone, grounding- 
 tools, scrapers, burnishers, and needles. 
 
 directions for laying the metzotinto ground. 
 
 Mark off upon the bottom of the plate the distance 
 j^ou intend to leave for the writing, coat of arms, &c. 
 then laying your plate, with a piece of swanskin flannel 
 under it, upon your table, hold the grounding-tool in 
 your hand perpendicularly ; lean upon it moderately hard, 
 continually rocking your hand in a right line from end 
 to end, till you have wholly covered the plate in one 
 direction: next ci'oss the strokes from side to side, af- 
 terwards from corner to corner, working the tool each 
 time all over the plate, in every direction, almost like 
 the points of a compass ; taking all possible care not to 
 let the tool cut (in one direction) twice in a place. This 
 
THE artist’s ASSISTANT. S3 
 
 done, the plate will be full, or, in other words, all rough 
 alike, and would, if it were printed, appear completely 
 black. 
 
 Having laid the ground, take the scrapings of black 
 chalk, and with a piece of rag rub it over the plate; or 
 you may, with two or three candles, smoke it, as before 
 directed for etching. 
 
 Now take your print or drawing, and having rubbed 
 the back with red-chaik-dnst, mixed with white lake, 
 proceed to trace it, as directed in page 25 . 
 
 DIRECTIONS FOR WHETTING THE GROUNDING-TOOL. 
 
 If a tooth of the tool should break, it may be per- 
 ceived in the working by the streak or gap, which will 
 appear in the ground in a straight line ; in which case 
 the tool must be whetted on the back, holding it sloping, 
 and in a circular manner, like the bottom of the tool, 
 
 ? DIRECTIONS FOR SCRAPING THE PICTURE. 
 
 1 
 
 Take a blunt needle, and mark the outlines only; 
 then with a scraper scrape off the lights in every part of 
 the plate, as clean and smooth as possible, in proportion 
 to the strength of the lights in your picture, taking care 
 not to hurt your outlines ; and that you may see the 
 better what you do, with the thumb and fore-finger of 
 the left-hand hold a piece of transparent paper, sloping, 
 just over your right-hand, and you will soon be a judge 
 of the difterent tints of the work you are doing; scraping 
 off more or less of the ground, as the different strengths 
 of lights and tints require. 
 
 The use of the burnisher is to soften and rub down 
 the extreme light parts after the scraper is done with ; such 
 as the tip of the nose, forehead, linen, &c. which might 
 otherwise, when proved, appear rather misty than clear. 
 
 Another method used by metzotinto scrapers is, to 
 etch the outlines of the original, as also of the folds in 
 drapery, marking the breadth of the shadow's by dots, 
 which having bit of a proper colour with aqua-fortis, ac- 
 
34 
 
 THE artist’s assistant* 
 
 cording to directions given in page 26, take off the 
 ground used in etching, and, having laid the metzotinto 
 ground as in page 32, proceed to scrape the plate as 
 above. 
 
 Four or five days before you think the plates will be 
 ready for proving, notice must be given to the rolling- 
 press printer to wet some French paper, if to be got, 
 otherwise a thick mellow paper in imitation of it, (but 
 must not be wove, as no hard paper will do for this 
 work,) as that time is necessary for it to lie in wet. 
 When the proof is dry, touch it with white chalk where 
 it should be lighter, and with black chalk where it 
 sliould be darker,: and when the print is re-touched, 
 proceed as before for the lights, and for the shades Use 
 a small grounding-tool, as much as you judge necessary 
 to bring it to the proper colour ; and when you have 
 done as much as you think expedient, prove it again, 
 and so proceed to prove and touch till it is entirely to 
 your mind. When the plate tarnishes in the part where 
 you are at work, a little vinegar and salt, kept by you 
 in a phial, will take it off, wiping it dry with a clean 
 rag. 
 
 Avoid as much as possible over-scraping any part 
 before the first proving, as, by this caution, the work 
 w'ill appear the more elegant. 
 
 CHAPTER VI. 
 
 OF PAINTING UPON GLASS. 
 
 Painting upon Glass is an art which has generally 
 appeared difficult ; yet there is no representation can be 
 more elegant than that of a metzotinto painted in this 
 manner, for it gives all the softness that can be desired 
 in a picture, and is easy to work, as there are no outlines 
 
THE artist’s assistant. 
 
 35 
 
 to draw, nor any shades to make, but the colours are 
 put on without the trouble of either. 
 
 The prints are those done in metzotinto : for their 
 shades being rubbed down on the glass, the several 
 lines which represent the shady part of any common 
 print are by this means blended together, and appear as 
 soft and united as in any drawing of Indian ink. 
 
 Provide such metzotintos as you like; cut off the 
 margin ; then get a piece of fine crown glass, the size 
 of your print, as flat and free from knots and scratches 
 as possible; clean the glass, and lay some Venice tur- 
 pentine, quite thin and smooth, on one side thereof, 
 with a brush of hog’s hair. Lay the print flat in water, 
 and let it remain on the surface till it sinks, it is then 
 enough : take it carefuUy out, and dab it between some 
 papers, that no water may be seen, yet so as to be 
 damp. 
 
 Next, lay the damp print with its face uppermost 
 upon a flat table : then holding the glass over it, without 
 touching the turpentine, till it is exactly even with the 
 print, let it fall gently on it. Press the glass down 
 carefully with your fingers in several parts, so that the 
 turpentine may stick to the print ; after which take it up ; 
 then holding the glass towards you, press the print 
 with your fingers, from the centre towards the edges, 
 till there are no blisters remaining. 
 
 When this is done, wet the back of your print with a 
 sponge, till the paper will rub off with your fingers ; 
 then rub it gently, and the white paper will roll off, 
 leaving the impression only upon the glass ; then let it 
 dry, and, with a camel’s hair pencil, dipped in oil of 
 turpentine, wet it all over, and it will be perfectly trans- 
 parent, and fit for painting. 
 
 COLOURS PROPER FOR PAINTING UPON GLA^S. 
 
 The several sorts of colours, ground in oil for this 
 purpose, and tied up in little bladders, may be had at 
 all the capital colour-shops in London, &c. 
 
36 
 
 THE artist’s assistant. 
 
 Whites. 
 Flake White 
 Podium 
 
 Blacks. 
 
 Lamp-Black 
 
 Ivory-Black 
 
 Browns. 
 Spanish Brown 
 Umber 
 Spruce Oker 
 Dutch Pink 
 Orpiment 
 
 Blues. 
 
 Blue' Bice 
 Prussian Blue 
 
 Reds. 
 Rose-Pink 
 Vermilion 
 Red-Lead 
 Indian Red 
 Lake Cinnabar 
 
 Yellows. 
 English Pink 
 jMasticot 
 English Oker 
 Saunders Blue 
 Smalt 
 
 Greens. 
 Verdigris 
 Terra Vert 
 Verditer 
 
 The ultramarine for blue, and the carmine for red, 
 are rather to be bought in powders, as in that case they 
 are less apt to dry or be lost. And as the least touch 
 of these will give the picture a cast, mix up wd)at you 
 ivant for present use with a drop or two of nut-oil upon 
 your pallet with your pallet-knife. 
 
 The pallets and knives may be had at most of the 
 colour-shops and ivory-turners. 
 
 To get the colour out of the bladders, prick a hole at 
 the bottom of each, and press it till you have enough 
 upon your pallet for present use, because the colours 
 are apt to dry and skin over. 
 
 Then lay a sheet of wdiite paper on the table, and 
 taking the picture in your left hand, with the turpentine 
 side next you, hold it sloping, (the bottom resting on 
 the white paper,) and ail the outlines and tints of the 
 prints w'ill be seen on the glass ; and nothing remains 
 but to lay on the colours proper for the different parts, 
 as follow: 
 
I'HE artist’s assistant. 
 
 37 
 
 THE METHOD OF USING THE COLOURS. 
 
 As the lights and shades, of your picture open, lay 
 the lighter colours first on the lighter parts of your print, 
 and the darker over the shaded parts ; and having once 
 laid on the brighter colours, it is not material if the 
 darker sorts are laid a little over them ; for the first 
 colour will hide those laid on afterwards. As for ex- 
 ample : — 
 
 Reds . — Lay on the first red-lead, and shade with lake 
 or carmine. 
 
 - Yellows . — The lightest yellow laid on first, may be 
 shaded with Dutch- pink. 
 
 Blues . — Blue bice, or ultramarine, used for the lights, 
 may be shaded with indigo. 
 
 Greens . — Lay on verdigris first, and then a mixture 
 of that and Dutch pink. This green may be lightened 
 by an addition of Dutch-pink. 
 
 When any of these colours are too strong, they may 
 be lightened to any degree, by mixing white with them 
 upon your pallet ; or you may darken them as much as 
 you please, by mixing them with a deeper shade of the 
 same colour. 
 
 The colours must not be laid on too thick ; but, if trou- 
 blesome, thin them before you use them with a little 
 turpentine oil. 
 
 Take care to have a pencil for each colour, and never 
 use that which you have used for green with any other 
 colour, without first washing it well with turpentine oil, 
 as that colour is apt to appear predominant when the 
 colours are dry. 
 
 Wash all the pencils, after using, in turpentine oil. 
 
 Your glass, when painted, must stand three or four 
 days, free from dust, before it is framed. 
 
 All sorts of metzotinto^and other prints proper for 
 paintings on glass, may be.Jiad at the place where this 
 ,book is published; 
 
 D 
 
38 
 
 THE Artist’s assistant. 
 
 CHAPTER VH. 
 
 OF PAINTING IN CRAYONS. 
 
 Crayons are to be had in boxes, every colour par- 
 titioned off separately, to prevent mixing. 
 
 The best formerly were those of Switzerland, but 
 may now be had in England, of equal quality, at the 
 shops of Mr. Scott, and Messrs. Reeve and Go. Strand ; 
 Mr. George Blackman, 362 , Oxford-Street; Mr. New- 
 man, Soho Square ; Messrs. Reeve and Co. Holborn- 
 bridge; and Mr. Jones, 103, Leadenhall-street, &c. &c. 
 
 The different colours are, white, black, yellow, orange, 
 red, purple, blue, green, and brown; and each of these 
 have their several shades, excepting the two first. 
 
 DIRECTIONS FOR USING THEM. 
 
 The best papers used for this purpose are, blue and 
 stone-colour, made for this purpose of silk rags, without 
 folds, and very stout; because upon these the colours 
 best distribute themselves. By this method, figures may 
 be drawn in their proper colours, as they appear to the 
 eye, because they may be matched with the crayons, 
 and these, being dry, will not alter their colour; but, 
 when wet, appear deeper than when dry, which is apt 
 to deceive a young beginner. 
 
 Another way to make the necessary preparations is, 
 to take some of the thickest and smoothest light blue or 
 other paper, and get a straining. frame from a frame- 
 maker’s or carpenter’s, on which strain some coarse 
 Scotch or Irish cloth, drawing and fastening it with 
 small tacks, round the edges, till it be quite smooth ; 
 after which, with a sponge and fair water, gently wet 
 the blue paper, and then with a brush or rag paste the 
 paper all over, and lay it carefully on the cloth, exactly 
 
THE artist’s assistant. 39 
 
 even with the straining-frame ; after which take it up, 
 and laying white paper on the table, place the blue pa- 
 per downwards, with one hand keep the straining-frame 
 steady, and with the other rub the cloth close to the 
 paper ; do this very carefully, and, taking it up, lay it 
 bn the table with the blue paper upwards, and a piece 
 of paper under your hand, and rub it close to the strain- 
 ing-frame, without touching any other part; then let it 
 stand to dry ; after which set it on an easel, which may 
 be had at the colour-shops, and proceed as follows : — 
 Make the first sketch, or rough draught, with char- 
 coal ; then with black, white, or red chalk, correct what 
 you see amiss. The outline being thus completed, rub 
 in your crayons according to their proper colours, and 
 then with your finger, or fitch, soften and blend them 
 together. 
 
 CHAPTER VIII. 
 
 OF PAINTING IN WATER-COLOURS. 
 
 The materials necessary for this art are, gum colours, 
 hair pencils, fitches, a pallet, and pen-knife. 
 
 The colours in general are, white, black, brown, red, 
 yellow, blue, and green. 
 
 The* various kinds are as follow: — 
 
 Whites, 
 
 Flake White 
 Spanish White 
 White Lead 
 
 Blacks, 
 
 Burnt Cherry-Stones 
 
 Ivory-Black 
 
 Lamp-Black 
 
 Yellows, 
 
 English Oker 
 
 Gall-Stone 
 
 Gamboge 
 
 Masticot, dark and light 
 Oker de Luce 
 Orpiment [fight 
 
 Pink- Yellow, dark and 
 Roman Oker 
 Saffron 
 
40 
 
 THE ARTISTES ASSISTANT. 
 
 Browns, 
 
 Spanish Brown 
 Spanish Liquorice 
 Umber 
 
 Reds. 
 
 Burnt Oker 
 Carmine 
 Cinnabar Lake 
 Indian Lake 
 Indian Red 
 Red Ink 
 Red Lead 
 Vermilion 
 
 Bines. 
 
 Blue Bice 
 Blue Verditer 
 Indigo 
 Smalt 
 
 Ultramarine 
 
 Greens. 
 Green Bice 
 Green Pink 
 Sap Green 
 Verdigris 
 Verditer 
 
 All the colours and hair-pencils may be had at the 
 shops before mentioned, either in cakes, shells, or pow- 
 ders. If you use the latter, provide a grindstone and 
 muller from any stone-cutter’s, to prepare them for use. 
 
 DIRECTIONS FOR MAKING THE FOLLOWING MIXEp 
 COLOURS, 
 
 Ash Colour. — White and lamp-black, or Indigo and 
 black; or cherry-stone and white, shaded wdth ivory- 
 black. ' 
 
 Bay Colour. — Vermilion, with a little Spanish brown 
 and black. 
 
 Bright Red. — Indian lake and native cinnabar. 
 
 Carnation. — Lake and White, shaded with lake. 
 
 Changeable Silk. — Red-lead and water of masticot, 
 shaded with sap-green. 
 
 Cloud Colour. — White ; light masticot ; or lake and 
 white, shaded with blue verditer ; or blue verditer alone. 
 
 Crimson. — Cinnabar-lake and white, shaded with 
 lake. 
 
 Flame Colour. — Vermilion and orpiment; or red- 
 lead and masticot, heightened with white. 
 
 Flesh Colour. — White with a little lake, and red-lead ; 
 and yellow oker for a swarthy complexion. 
 
THE artist’s assistant. 
 
 41 
 
 French Green, — Light pink and Dutch bice, shaded 
 with green pink. 
 
 Glass Grey, — Ceruse, with a little blue of any kind. 
 
 Hair Colour, — Masticot, umber, yellow oker, ceruse, 
 oker de luce, and cherry-stone black. 
 
 Lead Colour, — Indigo and white. 
 
 Light Blue, — Blue bice, heightened with ceruse or 
 spodium. 
 
 Light Green, — Pink and smalt, with white, if need 
 require. 
 
 Lion Tawney, — Red-lead and masticot, shaded with 
 umber. 
 
 Murry. — Cinnabar, lake, and white lead. 
 
 Orange, — Red-lead and a little fine masticot, shaded 
 with gall-stone and lake. 
 
 Orange Tawney. — Cinnabar, light pink, and a little 
 masticot, shaded with gall-stone and lake. 
 
 Pearl Colour, — Carmine, with a little white, shaded 
 with lake, 
 
 Po^iingay Green. — Green and masticot; or pink and 
 a little indigo, shaded with indigo. ‘ 
 
 Purple. — Indigo, Spanish brown, and white; or blue 
 bice, with red and white lead ; or blue bice and lake. 
 
 Russet. — Cherry-stone black, and white. 
 
 Scarlet. — Red-lead and lake, with or without ver- 
 milion; or carmine and Indian lake; or native cinnabar 
 and red-lead, shaded with Indian lake. 
 
 Sea. Green. — Bice, pink, and white, shaded with 
 green pink. 
 
 Sky Colour, — Light masticot and light, for the lowest 
 and lightest parts ; red ink and white for the next; blue 
 bice and white for a third degree ; and blue bice alone 
 for the highest part of all. These are to be all softened 
 into one another at the edges, so as not to appear harsh. 
 
 Sky Colour for Drapery. — Blue bice and Venice 
 ceruse ; or ultramarine and white, shaded wirii indigo. 
 
 Straw Colour, — Yellow masticot, and a very little 
 cinnabar, shaded with dark pink. 
 
 Violet Colour. — Indigo, white, and cinnabar lake; or 
 D 3 
 
4^2 
 
 THE artist’s assistant. 
 
 fine Dutch bice and lake, shaded with indigo; or lit- 
 mose, smalt, and blue bice ; the latter most predomi- 
 nant. 
 
 JV ater . — Blue and white shaded with blue, and 
 heightened with white. 
 
 DIRECTIONS FOR USING THE COLOURS. 
 
 Your pencils must be fast in their quills, and sharp- 
 pointed after you have drawn them through your mouth. 
 
 Before you begin, have all your colours ready before 
 you, and a pallet for the conveniency of mixing them ; 
 a paper to lay under your hand, and to keep your work 
 clean, as well as to dry your colours upon ; also a large 
 brush called a fitch, to wipe off the dust when your co- 
 lours are dry. 
 
 ' Lay your colours on but thinly at first, deepening 
 and mellowing them by degrees, as you see occasion. 
 The quicker ydu lay them on, the evener and cleaner 
 your drawing will appear. 
 
 Take care to preserve all your colours from dust; 
 and before you use them, wipe your shells and pallet 
 every time with a fitch. 
 
 For face-painting, mix up a little light carnation or 
 flesh-colour with gum- water, in a shell by itself. If it 
 be for a fair complexion, mix vermilion and flake-white 
 together ; and for a swarthy one, add to the former a 
 little masticot or English oker, or both. . . 
 
 Let your flesh-colour be always lighter than the com- 
 plexion you would paint, for by working on it you may 
 bring it to its true colour. 
 
 In a large shell, or upon your pallet, lay your diffe- 
 rent shades of flesh-colour, at a convenient distance from 
 each other, and always have ready a sufficient quantity 
 of white to lighten your shadows. 
 
 For the cheeks and lips use a mixture of lake and 
 red-lead, or carmine, as occasion requires; and for blue 
 tints, (as under the eyes, and in veins,) indigo, or uL 
 traraarine, and white. 
 
THE artist’s assistant. 4 S 
 
 • For grey faint shadows use white, English oker, 
 sometimes masticot ; for deep shadows, white English 
 oker, umber ; for darker shadows, lake and pink, which 
 make a good fleshy shadow. 
 
 In colouring landscapes, at first lay only dead colours 
 smooth all over the piece, leaving no part uncovered, 
 and be not over-curious in this part of the performance, 
 but rather use a masterly freedom; and the work, 
 though seemingly rough to the eye, will have a good 
 effect when placed at a distance. 
 
 Let not the roughness of the colour discourage you, 
 for it is easily to be softened by degrees with the other 
 shadows, observing only to sweeten and heighten them 
 according as the light falls. 
 
 In some places lay on strong touches, and in those 
 places bring your work up together to an equal round- 
 ness and strength ; tempering and sweetening your co- 
 lours with a sharper pencil than the first, that no lumps 
 or harsh edges be left, but that all your shadows may 
 lie dispersed, soft, and smooth, gliding gently, as it 
 were, one in another. 
 
 You are not to finish any part before the other, but 
 work up all the pr.rts gradually alike till you see no- 
 thing wanting to complete your picture. 
 
 Having laid your dead colours, begin first with the 
 lightest parts, as the sky, sun-beams, &c. then the 
 yellowish beams; (which are to be done with masticot 
 and white;) next the blueness of the sky, with ultrama- 
 rine or smalt alone. For purple clouds only mix lake 
 and white, making your colours deeper as they go up- 
 wards from the horizon, except in tempestuous skies. 
 The tops of distant mountains must be worked so faint, 
 that they may seem to lose themselves in air. 
 
 Bring your colours forward as your distance decreases ; 
 painting your first ground next the horizon down- 
 wards of a bluish sea-green, and as you advance for- 
 wards, of a reddish or darker green, till you come to 
 the fore-ground itself, which, as it is to be the darkest 
 part of all, do with dark green, shaded with a dark 
 
THE artist’s assistant. 
 
 brown or yellow ; which rule of shadow will also serve 
 for the trees on each respective ground. 
 
 All distant objects are to be made imperfect as they 
 appear to the eye, as has been already observed under 
 the article of Light and Shade, 
 
 In colouring trees, boughs, and branches, touch in 
 all the dark shades first, raising the lighter leaves above 
 the darker, by adding masticot to the dark green, which 
 may be made with bice, pink, and indigo ; for the up- 
 permost of all, which are to be done last, touch lightly 
 the extremities of the leaves with a little green, masticot, | 
 and white, and set off the darkest shadows with sap- 
 green and indigo. 
 
 These rules are adapted to general appearances ; but 
 the learner may deviate from them as nature shall dic- 
 tate. 
 
 With regard to drapery, fruit, flowers, and other 
 branches of painting, the best observations are to be 
 taken from the objects themselves, or the most curious 
 and exact representations of them, • 
 
 RECEIPTS FOR THOSE WHO PAINT IN WATER- 
 COLOURS. 
 
 To make Gum-Water, 
 
 Dissolve one ounce of pure white gum-arabic, and 
 half an ounce of double-refined sugar, in a quart of 
 spring water; strain it through a fine sieve, or a piece 
 of muslin, and bottle it off for use, keeping it free 
 from dust. 
 
 Anothei' Way. 
 
 Take some gum-arabic of the whitest sort, bruise it 
 and tie it up in a woollen cloth, and steep it in spring- 
 water in a glass or earthen vessel, till it be dissolved. 
 If it be too stiff, add more water ; and, if too thin, more 
 gum. 
 
THE artist’s assistant. 
 
 45 
 
 With this water you may temper most of your co- 
 lours ; using such a quantity that, being touched when 
 dry, the colour will not come off. If the colour shine, 
 there is too much gum in it. 
 
 To keep the Flies from your Work, 
 
 When you have made your gum-water according to 
 either of the foregoing directions, add thereto a little 
 coloquintida, which will preserve your work, when ex- 
 posed, from being spoiled by the flies. 
 
 To make Liquid Gold for Vellum- Painting, Fans, ^c. 
 
 Grind the finest leaf-gold with strong gum-water, very 
 fine, adding, as you grind it, more gum-water, as you 
 see necessary. When you have ground it as fine as you 
 can, wash it in a large shell; then temper it with a little 
 mercury sublimate, bind it in the shell with a little dis- 
 solved gum, shake and spread it equally all over the 
 shell, and use it with fair water only. 
 
 To make Liquid Silver for the same Purpose. 
 
 The process for this is the same with that of liquid 
 gold, only observing in the using it to temper it with 
 glare of eggs instead of water. 
 
 To prepare the Glare of Eggs. 
 
 Take the whites, and beat them with a spoon till they 
 rise all in a foam ; let them stand all night, and they 
 will be clarified into good glare. 
 
 To recover Liquid Silver that has contracted Rust, 
 
 If your silver, by length of time or damp weather, 
 become rusty, cover that part of your work with juice 
 of garlick, which will effectually recover it. 
 
4 ^ 
 
 THE artist’s assistant. 
 
 To keep the Colours from sinking. 
 
 Boil four ounces of roche-alum in a pint of spring- 
 water, till it is thoroughly dissolved; then filter it 
 through brown paper, and keep it for use. 
 
 Before you lay on your colours, take a sponge, and 
 wet the back of your paper with this water while it is 
 hot. This will not only prevent the colours from sink- 
 ing, but will likewise give them an additional beauty 
 and lustre, and preserve time from fading. If your 
 paper is not good, it must be washed three or four 
 times with this water, drying it every time. 
 
 If your prints are to be varnished, wash them all 
 over with white starch, before you begin to lay on your 
 colours. 
 
 To make Size for painting Scenes, and other Candle- 
 Light Pieces, 
 
 Steep a quarter of a pound of the cuttings of white 
 glove-leather in water for some time; then take them 
 out, and boil them in three quarts of water till it wastes 
 to a pint, strain it through a cloth into an earthen pan. 
 When the size is cold, if it feels firm under your hand, 
 it is strong enough. You may prepare any colours in 
 this size while it is warm, and it Will take off the glare 
 which would appear upon them by candle-light, if mixed 
 with gum-water. 
 
 To recover Colours when decayed. 
 
 Take rosemary-water, double-distilled, or pure spirit 
 of rosemary, and with a few drops of it temper your 
 colours, which, however dead and faded, will recover 
 their bloom and brilliance. 
 
 This water or spirit will prevent the bubbles in white 
 and umber, v/hich are troublesome in grinding. 
 
 PINK. 
 
 The single pink does not admit of so great a variety 
 as the carnation; but is, nevertheless, so variegated as 
 to make it an agreeable flower for satins, silks, &c. The 
 
THE artist’s assistant. 
 
 47 
 
 most common are either white or crimson ; others are 
 striped white and red ; others are white, spotted, with 
 red; others edged with red ; all of which may be worked 
 according to the rules for the other flowers so diversified 
 with the same colours. The leaves and stalk are bluish 
 green; only at the joints there is, for the most part, a 
 yellowish tinge, which is also at the bottom of the cup 
 and scales. 
 
 / CHAPTER IX. 
 
 N 
 
 I OF PAINTING ON SILKS, SATINS, &C. 
 
 W HEN the outline is made according to the artist's 
 fancy, a wash of isinglass should with care be laid on, 
 to take away the glare and sleekiness of the satin ; other- 
 wise the colours will not work freely. The isinglass to 
 be melted in very clear water, over the fire, so as not 
 to be very glutinous; otherwise it will discolour the 
 satin, and consequently spoil the colours. 
 
 In the foregoing rules we have recommended, for the 
 most part, the leaving the paper for the light parts of a 
 flower, and working with colours mostly transparent; 
 but here the lights are to be made by a small tincture 
 of the colour of the intended flower, mixed with the 
 flake white, so much as just to make a degree from the 
 colour of the satin ; if white, or of any other colour, to 
 be mixed proportionably to the colour of the flower. 
 For instance, if a blue flower, the bice or verditer, a 
 very small quantity of it with the white, using less of 
 it proportionally as the shades grow darker; and in the 
 most dark, indigo alone may be used, it being by that 
 time rendered opaque enough ; but great care must be 
 used not to lay the colours on too thick, otherwise they 
 will crack. A little white sugar-candy will be found 
 necessary, when mixed with the gum-water, as a pre- 
 
4 ^ 
 
 THE artist’s assistant. 
 
 ventative to that great inconveniency. If a flower hap- 
 pens to be of so deep a colour as not to admit of any 
 pure white in the lightest of the parts, a sort of priming 
 of white should be laid on *, after which, when dry, be- 
 gin with the ground-colour of the flower, proceeding 
 gradually with the shades, as in the above directions, 
 which, with the selected examples we have annexed, 
 peculiarly chosen from nature for that purpose, w^e hope , 
 will be sufficient for our ingenious students in this most 
 delightful amusement. I 
 
 A SIMPLE method OF DISCHARGING STAINS FROM I 
 ENGRAVINGS. 
 
 Put the Engraving on a smooth board, cover it thinly ! 
 wkh common salt finely pounded; pour, or squeeze i 
 lemon-juice upon the salt, so as to dissolve a consider- 
 able portion of it ; elevate one end of the board, so that | 
 it may form an angle of about forty-five or fifty degrees j 
 with the horizon. Pour on the engraving boiling w^ater ' 
 from a tea-kettle, until the salt and lemon juice be all 
 washed off; the engraving will then be perfectly clean, 
 and free from stains. It must be dried on the board, 
 or on some smooth surface gradually. If dried by the 
 fire or the sun, it will be tinged with a yellow colour. 
 Any one may satisfy himself of the perfect efficacy of | 
 this method, by trying it on an engraving of small ! 
 A^alue . — London Mechanic's Register j 18^24. 
 
 t 
 
 FINIS. 
 
 FfiDted by J. Rider, Little Brltaiu, Lx)ndop. 
 

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