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 https://archive.org/details/miniaturepainterOOwhit 
 
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MANUAL, 
 
 PROGRESSIVE LESSONS ON THE ART 
 
 op 
 
 Dratotng ana fainting 
 
 LIKENESSES FROM LIFE 
 
 ON 
 
 CARD-BOARD, VELLUM, AND IVORY ; 
 
 WITH 
 
 CONCISE REMARKS 
 
 ON 
 
 THE DELINEATION OF CHARACTER 
 AND CARICATURE. 
 
 BY N. WHITTOCK. 
 
 LONDON : 
 SHERWOOD, GILBERT, AND PIPER, 
 
 PATERNOSTER-ROW. 
 1844. 
 
TO SBTY CENTER 
 UBRA8V 
 
LIST OF PLATES. 
 
 PLATE I. 
 
 Sketching on paper — No. 1, Profile of Clergyman- 
 No. 2, Three-quarter Face. 
 
 PLATE II. 
 Miniature of the Queen. 
 
 PLATE III. 
 Examples of Stippling for Background. 
 
 PLATE IV. 
 Flesh Tints for Infants — Infant Bacchus. 
 
 PLATE V. 
 Half-length Figure — Lady with Guitar. 
 
 PLATE VI. 
 Examples of Character — No. 1, Captain Cook — 
 No. 2, William Penn — No. '3, Rev. Laurence Sterne. 
 
 PLATE VII. 
 
 Caricatures. 
 
TABLE OF CONTENTS. 
 
 PAGE 
 
 CHAPTER T. 
 
 Materials required for painting from life 1 
 
 CHAPTER II. 
 
 Drawing and painting the profile of the face, 
 from life, on paper or card-board 7 
 
 CHAPTER ILL 
 
 Drawing and colouring three-quarter and front 
 faces ; character, position, &c 21 
 
 CHAPTER IV. 
 
 Miniature painting on ivory. — Preparation of 
 ivory, and first sitting 30 
 
 CHAPTER V. 
 
 Drapery, jewelry, back-ground, &c 42 
 
 CHAPTER VI. 
 
 Miniature painting on ivory. — Second and third 
 sittings. — Finishing 50 
 
 CHAPTER VII. 
 
 Flesh-tinting. — Painting on vellum. — Creta 
 levis. — Design and character 58 
 
 CHAPTER VIII. 
 
 Caricature. . , . 68 
 
the 
 
 MINIATURE PAINTER'S 
 
 jWattuaL 
 
 CHAPTER L 
 
 MATERIALS REQUIRED FOR PAINTING 
 FROM LIFE. 
 
 To those who have attained sufficient practice 
 in the art of drawing to be able to copy 
 heads from large chalk drawings or plaster 
 casts with freedom and accuracy, and have 
 acquired some knowledge of light and shade 
 and of the proportions of the human figure, 
 the remarks in the following pages, it is 
 
 B 
 
2 
 
 hoped, will prove most beneficial. It is 
 presumed that few students would venture 
 to draw from life until they had acquired 
 considerable experience in the delineation of 
 inanimate objects. 
 
 Many of the authors on the art of drawing 
 and painting commence by describing the 
 pigments used in the production of colours, 
 and detail the process of preparing them. 
 This information may be of advantage to 
 those who have attained proficiency in the 
 art of miniature painting, as by a knowledge 
 of the chemical properties of those materials 
 from which colours are obtained, and the 
 modes of preparing them, they will be 
 enabled to produce more brilliant colours for 
 particular purposes than can be procured from 
 the artist's colourman. These directions, 
 however, would tend rather to confuse than 
 assist the amateur or even the professed 
 miniature painter who is not much advanced 
 
3 
 
 in the art, and has time and money at 
 command. The colours that are generally 
 and readily to be had at any respectable 
 fancy stationer's will be found amply suffi- 
 cient for executing any subject described 
 in the following lessons. 
 
 The ensuing list contains the names of 
 all the colours required by the student: — 
 
 Blue: Indigo, Prussian blue, cobalt, 
 ultramarine. 
 
 Red: Indian red, vermilion, lake, carmine. 
 
 Yellow: Ochre, gamboge, raw sienna, 
 chrome. 
 
 Brown : Burnt sienna, umber, sepia. 
 Black : Indian ink, lamp-black. 
 Permanent White: 
 
 From these colours any tint required for 
 flesh or drapery may be formed. There are 
 only two amongst them that are expensive, 
 viz. ultramarine and carmine ; but these are 
 so little required that a very small cake 
 
 b2 
 
4 
 
 of each will last a long time. The expense, 
 therefore, need not deter the amateur from 
 pursuing this most interesting branch of the 
 art of drawing. 
 
 There are a number of compound tints 
 prepared by the artist's colourmen according 
 to the fancy of different professors of the 
 art; but these w 7 ould be worse than useless 
 to a beginner, as he would be induced to 
 rely upon them for producing certain effects 
 instead of forming them himself upon the 
 palette, which is the best method to insure 
 an imitation of the various tints to be found 
 in nature. 
 
 The brushes or pencils required for mi- 
 niature painting are made of camel's hair 
 or sable's. Those made of the latter, though 
 more expensive, will be found the most 
 useful ; they are more springy, and the 
 hairs do not separate as in the common 
 camel's -hair brushes. In choosing either 
 
5 
 
 kind, the purchaser should try the brush 
 by wetting it, and after pressing out the 
 water by passing it between the lips, should 
 touch the thumb-nail with the point : if, on 
 taking it away, it spring back without the 
 hairs separating, it is fit for the purpose. 
 The hairs should not project far from the 
 quill. A well-made brush should appear 
 Fig. 1. as in the annexed figures. But 
 if, when the pencil is wet, the 
 hairs separate, and are with diffi- 
 culty brought to this shape, it is 
 unfit for use. Some painters use 
 very small pencils, according to 
 their style of finishing. The brushes most 
 useful for stippling on the face are about the 
 Fig. 2. size of those in fig. 2. The 
 
 larger brushes are used 
 in back-grounds or dra- 
 pery. 
 
 The palette that usually 
 
6 
 
 accompanies a box of colours will be found 
 too small for mixing the numerous tints 
 required in painting from life. An earthern 
 palette is better than one of ivory ; the 
 latter is too transparent to reflect the tints 
 correctly, and it absorbs the colour. 
 
 In drawing from nature, the desk or 
 drawing-board should be a little more 
 elevated than is required in writing. A 
 plain deal board, about two feet long, 
 eighteen inches wide, and an inch in thick- 
 ness, and covered with green cloth, will 
 form an excellent desk. The drawing may 
 be fastened to it with pins, and can be 
 raised or lowered according to the position 
 of the sitter. 
 
7 
 
 CHAPTER II. 
 
 DRAWING AND PAINTING THE PROFILE 
 OF THE FACE, FROM LIFE, ON PAPER OR 
 CARD-BOARD. 
 
 In commencing the study of drawing from 
 life, the learner will find it advisable to 
 draw the profile of the face, selecting a 
 sitter with a strongly-marked angular coun- 
 tenance, something of the character of the 
 Fig. 3. annexed engraving. El- 
 
 derly persons are much 
 more easily painted than 
 young ones ; their features 
 are more prominent, and 
 the lines more defined. 
 
8 
 
 If the student attempts to portray flat inex- 
 pressive features, it is probable he will find 
 great difficulty in obtaining a likeness, and 
 may therefore become dissatisfied with the 
 pursuit. 
 
 Previously to placing the sitter in position, 
 all the necessary materials should be prepared, 
 so that the attention of the artist may not be 
 withdrawn by having to seek for any thing. 
 If the room where the likeness is to be taken 
 has two windows, one should be entirely 
 darkened, the other about half way up, 
 that the light may come from one direction 
 and fall immediately upon the sitter, whose 
 head will thus be in strong light and shade. 
 By this means the picture will not only be 
 more bold and animated, but much easier 
 of execution than if the outline was less 
 defined in consequence of the diffusion of 
 the light. The sitter being properly placed, 
 observe the height of the head. If he is 
 
9 
 
 tall, the head must be considerably above 
 the centre of the card-board ; if short, it 
 must be near the centre. 
 
 Before entering on the directions for draw- 
 ing the face, it is necessary to remark that if 
 the student intends to adopt miniature paint- 
 ing as a profession, he should study the 
 anatomy of the human head, or at least 
 make himself acquainted with the names, 
 shape, and use, of the bones and muscles 
 of the face. Students of this class would of 
 course seek for more extended information 
 on this subject than could be afforded in a 
 work like the present ; but those who have 
 not time or inclination for the 
 study of anatomy, will be ena- 
 bled to place the features of 
 the face in their true position 
 by studying the annexed dia- 
 gram. 
 
 The outline of the above figure is in the form 
 
10 
 
 of an egg. The broad or upper end repre- 
 sents the general form of the head ; the small 
 end the shape of the lower part of the face. 
 The oval is divided by drawing a perpendi- 
 cular line through the centre. This line is^ 
 intersected by an horizontal line, also drawn 
 through the centre of the oval. Divide the 
 space between the centre and the lower end 
 of the oval into two equal parts, and draw r a 
 line across the oval parallel to the line in 
 the centre. Divide the space from the centre 
 to the upper part of the oval in the same 
 way. The upper division will shew the 
 space from the crown of the head to the top 
 of the forehead ; the second division the 
 forehead to the eyes; the third the length of 
 the nose and ears ; and the lower division 
 the space occupied by the mouth and chin. 
 In the diagram the lower division is subdi- 
 vided into three equal parts. On the first 
 is placed the space between the lips ; the 
 
1] 
 
 second is occupied by the hollow between 
 the lower lip and the chin ; and the third 
 division by the chin. The third division of 
 this diagram is subdivided by dotted per- 
 pendicular lines into five equal parts. The 
 centre division contains the nose, and the 
 divisions on either side the eyes. 
 Fig. 5 is the same diagram in 
 profile. In this it will be seen 
 that the eye is on the centre 
 line, and that the lower end of 
 the nose, the tip of the ear, and 
 that part of the skull joining the neck, are all 
 placed on the line beneath the centre. By 
 attentively studying these diagrams, the 
 learner will know where to place the several 
 features of the face. This of course is to be 
 taken as a general rule, which does not apply 
 to all faces ; but the deviations are seldom 
 observable ; where they occur, they are ex- 
 ceptions to the rule ; and the true marking 
 
12 
 
 of this irregularity will tend greatly to pro- 
 duce the perfect likeness. 
 
 Commence by drawing an outline of the 
 form of the head and face the profile of the 
 clergyman, fig. \, plate!., very lightly. Divide 
 this rough outline according to the preceding 
 diagram, taking care that the eye is on the 
 centre line. Observe that the lower end of 
 the ear and nose and the back of the head 
 are on the same line. Being satisfied that 
 the divisions of the face and the markings 
 for the features are all correctly placed, pro- 
 ceed to draw the true form of the features 
 in the various divisions. Commence at the 
 forehead. Observe whether the outline pro- 
 jects or recedes, and how far the eye-brow is 
 from the centre line. Draw the curve cor- 
 rectly between the eye-brow r and the tip of 
 the nose. The whole of the nose will be 
 placed in the next division. Observe the 
 form of the outline ; draw it very lightly, so 
 
13 
 
 that you may alter and amend it at pleasure. 
 Then proceed with the lower division; ob- 
 serve how far the upper lip projects beyond 
 the lower, and the true form of the chin and 
 the lower jaw-bone. The attention must be 
 directed to the features in the separate divi- 
 sions, as if each were to form a simple draw- 
 ing. If they are not thus divided, the curved 
 line forming the outline of the face will be too 
 long and complicated for the learner to deli- 
 neate it correctly. By practice, these divi- 
 sions of the head will become familiar, and 
 there will then be no necessity for forming 
 them on the drawing. In the early attempts 
 they will be found particularly useful, but 
 they should be drawn so faintly as not to ap- 
 pear in the advanced stage of the picture. 
 
 Having drawn the outline of the face, next 
 draw the large masses of hair. Observe 
 that the hair all comes from one point at the 
 back of the head. Do not think of forming 
 
[4 
 
 hair, but only a free outline of the various 
 masses presented to the eye. Then proceed 
 with the forehead, marking lightly all the 
 shadows formed by the projecting bones. 
 Next proceed with the eyes; do not draw 
 them with a hard outline, but with loose 
 sketchy lines. Be careful in observing how 
 far from the eyelid the pupil of the eye ap- 
 pears. Much of a likeness taken in profile 
 depends upon attention to this point. All 
 persons are aware that it is the eye which 
 gives character and animation to the face. 
 A full convex eye will appear as in Fig. 6 ; 
 a flat eye as in Fig. 7. Mark lightly with 
 
 Fig. 6. Fig. 7. 
 
 the pencil the shadows under the eyes and 
 nose. Draw the outline of the lips with a 
 light flowing line. Mark the form of the 
 
15 
 
 opening between the lips : the likeness will 
 greatly depend on the shape of the mouth ; it 
 must therefore be particularly attended to. 
 Observe the shadow under the cheek-bone, 
 and draw the ear distinctly, but not too dark. 
 
 All the parts in shade must be slightly 
 shaded with the pencil. At this early stage 
 the artist should be quite satisfied that he 
 has obtained a correct drawing of the outline, 
 and the light and shade of the face; as it will 
 be useless to proceed until he has done so. 
 Observe carefully the form of the head, and 
 that it does not terminate lower than the 
 ear. Let each mass of hair be drawn from 
 the crown of the head, and flow freely over 
 the forehead. Mark the dark broad shadows 
 strongly with the pencil. Next sketch the 
 drapery as lightly and as freely as possible ; 
 copying all the folds and indentations. Take 
 care to get the distance correctly between 
 the ears and the shoulders. Let the whole 
 
16 
 
 terminate in loose sketchy touches, without 
 any defined outline. 
 
 It is not advisable for the beginner to 
 carry his drawing much below the shoulders, 
 as great skill and considerable practice are 
 required to draw the arms and hands. The 
 observations in this lesson, therefore, apply 
 to the face only. 
 
 Before showing how to colour the drawing, ( 
 it may be necessary to make the reader ac- 
 quainted with the technical terms used in 
 colouring, and to endeavour to explain their 
 meaning. A simple tint means a strong 
 or light application of one colour without 
 mixture with any other. Thus, we say, a 
 tint of lake, a tint of indigo, or of any other 
 colour. A half tint is the tint previously 
 used, lowered to half the strength by water. 
 Colours are said to be cold or warm: all 
 colours inclining to grey or blue are cold ; 
 all inclining to yellow or bright orange are 
 
17 
 
 warm. Thus, if in a purple shade we re- 
 quire a cold tint of lake, this colour is mixed 
 with indigo to the proper strength. On the 
 contrary, if a bright warm tint is required, 
 the lake is mixed with gamboge. Neutral 
 tints are composed of colours that so oppose 
 and subdue each other w 7 hen mixed together, 
 as to form a shadow for any colour that is 
 washed over them. Thus, a little Indian 
 red and indigo, being mixed together, form 
 a greyish red, which makes a fine neutral 
 tint for trees, and may be used as shade for 
 the brighter tints of green or burnt sienna. 
 Indian ink and lake, in proper proportions, 
 form a fine purple neutral tint for flesh. 
 
 To return to the drawing. Rub on the 
 palette a small quantity of Indian ink and 
 lake at a distance from each other ; then 
 dipping a middling sized brush in water, 
 take up with it a little of the lake and work 
 it out of the brush upon the palette. Take 
 
 c 
 
18 
 
 a little of the Indian ink and mix with it. 
 When this is done, try it upon paper and 
 lower it with water till the proper strength 
 of the tint is obtained. With this tint wash 
 over all the parts in shade ; then observe the 
 parts that more strongly project, and make 
 touches upon the tint previously laid on with 
 the same tint. These touches must not be a 
 wash, but are to be applied quickly in lines 
 or hatches till the shadow in every part is as 
 dark as required. When, this is done, ob- 
 serve the colour under the eyes ; if the face 
 is young, there is generally a little grey un- 
 der the lower eyelid ; if that of a man, a wash 
 of grey may be taken over the upper lip and 
 the chin. A light tint of yellow ochre is 
 washed over the side of the nose, with the 
 exception of a white spot left on the most 
 projecting part of it. The eye is next co- 
 loured : if blue, with a light tint of Prussian 
 blue ; the darkest part with Indian ink. If 
 
19 
 
 the hair is brown, observe its colour where 
 the light sparkles upon it ; mix a tint with 
 sepia, yellow ochre, and a little blue ; try it 
 upon waste paper till you think you have ob- 
 tained the tint ; with this wash the hair all 
 over. The tints before applied to the face 
 being now quite dry, a very light tint of 
 vermilion may be washed over them to blend 
 them together. A stronger tint of vermilion 
 may be applied to the lips. The colour on 
 the cheeks, if very bright, may be applied with 
 a few touches of carmine. The dark touches 
 on the eyelids are lake and Indian ink, and 
 the same on the nostrils and the dark touches 
 between the lips. The dark shadows on the 
 hair may now be applied, taking care not to 
 go over the strong lights. When the shadow 
 upon the hair is dry, it may be heightened 
 in the darkest parts by applying a little 
 diluted gum arabic. Unless the face is 
 coloured very strongly, it will not be advisa- 
 
 c2 
 
20 
 
 ble to colour the dress ; it will appear best 
 as a pencil sketch, as the dark opaque colour 
 used for drapery would overpower the colour- 
 ing on the face. 
 
 It is impossible to convey by words an ade- 
 quate idea of the variety of colours or tints 
 required in painting the human face ; a de- 
 scription, therefore, of the process in colour- 
 ing the profile of a person of fair complexion 
 with light brown hair will suffice to shew the 
 method of applying the colours. 
 
 The finishing touches are given by apply- 
 ing a strong varnish of gum on the darkest 
 shades of the hair, the pupil of the eye, the 
 darkest part of the nostril, and between the 
 lips. By this method the whole will appear 
 bright and spirited. 
 
21 
 
 CHAPTER III. 
 
 DRAWING AND COLOURING THREE QUAR- 
 TER AND FRONT FACES; CHARACTER, 
 POSITION, &C. 
 
 After practising upon heads in profile for 
 some time, and attaining a facility in blend- 
 ing the various tints, the student may pro- 
 ceed to draw the whole of the face. This 
 will be found to require greater attention 
 than the profile to obtain an accurate and 
 what is usually called a striking likeness. 
 Before the student commences the drawing, 
 he should well study the character of the 
 face which he is to depict, that he may place 
 the sitter in that position which will best 
 display the features. For instance, should 
 
22 
 
 the head be of an angular character, like 
 that of George the Third, it will be advisa- 
 ble to turn it so that the peculiar outlines of 
 the nose and forehead may be distinctly 
 marked. This observation will be better 
 exemplified by observing the portraits of the 
 Fiy t % m Duke of Wellington. Among the 
 ^j^*^^ great number of portraits of this 
 
 ^ Si t ^ s ^ n § u ^ sne d Parsonage, all those 
 " in which he is depicted looking 
 ^Jjr directly forward are unpleasing; 
 though they may be correctly 
 drawn and coloured, they look tame and 
 spiritless. Those, however, which are drawn 
 with the face a little turned towards the 
 shoulder have a pleasing appearance and 
 are recognized at a glance. The reason 
 of this is obvious. The individuality in 
 the Duke of Wellington's countenance 
 consists in the receding forehead and the 
 curve of the nose, points which are in some 
 
23 
 
 degree lost when he is portrayed looking 
 directly forward, or with what is called a full 
 face, but which are distinctly marked when 
 they form part of the outline of the picture. 
 In heads possessing the Grecian contour,— 
 that is, where the nose is straight, the fore- 
 head upright, and in which the whole of the 
 features are regular and range nearly in a 
 straight line, as in fig. 9,— it gene- Fig. 9. 
 
 yrally 
 
 happens that the face is oval \ 
 or shaped like an egg ; a counte- w \ 
 nance like this, exhibiting nothing ^ 
 striking in the outline, is best dis- 
 played by a front view. In some cases, 
 where a feature is too large or too small, the 
 artist should consider how this defect may 
 be softened without detracting from the like- 
 ness. It is an old and true observation that 
 no one ever yet sat for his portrait that did 
 not desire a pleasing resemblance. Many 
 
24 
 
 persons have a short thick nose terminating 
 in a knob, as infy- 10, and as this jq 
 unpleasing feature would be dis- ^ 
 played more strongly if the head 
 approached the profile, so it would 
 be less observable if the face was 
 drawn looking directly forward. All the 
 best portraits of George the Fourth were 
 drawn full-faced for this reason. 
 
 Obliquity of vision and particular marks in 
 the face must be attended to before the 
 sketch is made, and heightened or softened 
 according to the judgment of the painter. 
 History tells us that Cardinal Wolsey had 
 lost an eye, a fact which we should not have 
 learnt from his portraits painted from life, as 
 Holbein and other artists took care to throw 
 this defect in shade by drawing the head 
 nearly in profile. Enough, however, has 
 been said to direct the attention of the stu- 
 
dent to the position of the sitter, and we 
 will therefore proceed to the drawing of the 
 three-quarter face. Fig. 2, plate I. 
 
 In drawing portraits upon finely pressed 
 Bristol board, it will be advisable not to ex- 
 tend the size of the head beyond that of ahalf- 
 crown piece ; if it be larger, it will require 
 much stronger light and shade to produce 
 effect than can be easily imparted by a be- 
 ginner in water-colours upon paper : if it is 
 much smaller, it will be better to paint it 
 upon vellum or ivory. 
 
 Commence the portrait, fig. 2, plate I , 
 by drawing a faint outline of the head. 
 Refer to the diagram at page 9, and draw 
 a very slight line across the part where the 
 eyes are to come. Proceed in the same way 
 with the nose, mouth, and ears. When you 
 have made a very slight sketch of the posi- 
 tion of the features, and are satisfied that 
 the proportions are correct, mark the place 
 
26 
 
 to which the hair extends. You will now 
 have a very light sketch of the head. Do not 
 make any hard determined lines, but let the 
 pencil fall on the paper as lightly and as 
 loosely as possible. The lines should be so 
 faint as not to require being erased by the 
 Indian rubber. If they appear when the 
 colour is applied, they will be of so faint a 
 grey as to give the appearance of stippling 
 with the brush, and make the work look more 
 elaborately finished. Any attempt to erase 
 the pencil marks from the paper will spoil 
 the surface and render it unfit to paint upon. 
 When the sketch is so far satisfactory, and 
 the outlines of the features are sufficiently 
 defined, proceed to wash in the large masses 
 of shade with a light neutral tint formed of 
 lake and Indian ink. Heighten the shadows 
 in the darker parts by going over them again 
 with the same tint. Then make the light 
 tint for the hair, which take all over the 
 
27 
 
 head. The colour of the eyes should then 
 be applied. Light tints must now be applied 
 to various parts of the face as they present 
 themselves in nature ; these should not be 
 washed in, but laid on with small hatches 
 or short lines with delicacy and rapidity. 
 When the first tints are applied all over the 
 face, proceed to strengthen the more promi- 
 nent features, commencing with the eyes. 
 The touches must be made with a neutral 
 tint of Indian ink and lake, but the lake 
 should preponderate. Observe the shape of 
 the eyelids ; which are in no case to be 
 formed by hard curved lines, Fig. 1 1 . 
 as in the annexed cut, where 
 the whole of the pupil of the 
 eye seems to glare between two pieces of 
 iron wire. 
 
 The thickness must be shewn by a suc- 
 cession of lines according to the shape of 
 the eye. Due notice must be taken of the 
 
28 
 
 shadow of the upper eyelid on the pupil, 
 and also of the bright light which always 
 gives life to the eye. The pi g 12> 
 annexed cut will shew what 
 is meant by the thickness of 
 the eyelids, and also the 
 liirht upon the eye. Attention must be paid 
 to the shadow on the end of the nose, the 
 nostrils, and the ears. The lips are tinged 
 with light touches of vermillion and shaded 
 with neutral tint. The broad shadow on 
 the hair should now be washed in, and the 
 darkest shade touched upon it, taking care 
 to leave the bright lights sparkling and 
 clear. 
 
 This is the usual process of drawing and 
 colouring a miniature on Bristol board. If 
 the student can obtain the likeness and keep 
 the colouring clear, this is all that is required. 
 The more sketchy and free the picture ap- 
 pears, the better it will be. If he attempts 
 
29 
 
 to make the drawing appear more finished 
 by stippling upon it, he will run great risk 
 of destroying the likeness. The dress should 
 be kept as light and as sketchy as possible. 
 If any colour is applied to the coat, let it be 
 a very light neutral tint ; but in early draw- 
 ings for practice, the dress, ornaments, &c. 
 had better be left in the pencil lines only, as 
 it is very difficult for a beginner to apply co- 
 lour to such articles without overpowering 
 the colouring on the face. 
 
30 
 
 CHAPTER IV. 
 
 MINIATURE PAINTING ON IVORY. — PREPA- 
 RATION OF IVORY, AND FIRST SITTING. 
 
 As the clearness and brilliancy of a minia- 
 ture painting on ivory depends in a great 
 degree upon the quality of that article, it is 
 necessary to be particular in its choice and 
 preparation. Leaves of ivory can be pro- 
 cured either of the artist's colourman or 
 the ivory-turner. They should be thin and 
 transparent where the grain runs evenly. If 
 the picture is to be of a large size, it will be 
 difficult to select a sheet of ivory with an 
 equal grain throughout ; but it must be clear 
 and transparent in the part where the face 
 is to appear. Leaves that look thick and 
 
31 
 
 cloudy when held up to the light, and in 
 part nearly opaque, are unfit for use. The 
 preparation of the ivory after it is cut into 
 leaves is simple. The scratches and marks 
 left by the saw must be scraped off either 
 with a sharp knife or a piece of broken 
 glass ; the latter is best for the purpose. 
 When the ivory is scraped pretty smooth, it 
 should be placed on a flat clean board, and, 
 some clean water being dropped upon it, 
 rubbed with pumice-stone on both sides 
 until all the marks of the saw or the knife 
 disappear. It should then be placed for a 
 few minutes in the sun to bleach. If there 
 is no sunshine, it can be bleached by putting 
 it in white paper beneath a warm flat-iron ; 
 but the iron must not be too hot, or else the 
 transparency of the ivory will be destroyed. 
 The warmth of the iron, it is true, will make 
 the ivory appear whiter than by bleaching it 
 in the sun ; but the pale warm tint obtained 
 
32 
 
 by the latter method is an advantage to the 
 painter; and a great deal of bleaching is 
 not required. When the ivory, after being 
 bleached by the warm iron, is cold and flat, 
 it will be quite smooth ; but it will shine in 
 parts, and in this state would resist the co- 
 lour. A beautiful grain or tooth may be 
 given to it by rubbing it with the shell of the 
 cuttle-fish quite dry ; all traces of scratches 
 will thus be removed. It should then be 
 placed between the leaves of a book, and 
 under a considerable weight to prevent it 
 from warping. It will then at any time be 
 ready for use. 
 
 Before commencing a miniature, the ivory 
 must be mounted on a piece of card-board 
 with slits cut at the angles to admit it, as seen 
 in the annexed engraving. The mounted 
 ivory should then be placed on any part of 
 the desk or drawing board most convenient, 
 and fastened down with drawing pins. 
 
33 
 
 In the following directions detailing the 
 process of painting a miniature on ivory, let 
 us suppose that the student has the high 
 honour of having her Majesty for a sitter, 
 and that the picture is to be the size of the 
 engraving, plate II. 
 
 Having placed the sitter in a proper posi- 
 tion, with the light falling directly upon the 
 head, commence drawing a pencil outline 
 upon writing paper. Any risk of making 
 the drawing too large for the ivory will be 
 
 D 
 
34 
 
 prevented by placing the leaf upon the paper, 
 and passing the pencil on each side of it. 
 Within this square, mark very lightly the 
 place where the head is to appear ; take 
 care that it is not placed too high, or else 
 the sitter will appear too tall. Proceed with 
 the outline in pencil, as directed in the pre- 
 ceding chapter. Do not rub out any of the 
 lines, but when you have so far corrected 
 them as to be satisfied with the general ap- 
 pearance, make the outline which you most 
 approve stronger than the others. You need 
 not be particular about drawing the form of 
 the features; all that is required in this 
 sketch upon paper is to get a rough outline 
 of their position. When the sketch is suffi- 
 ciently finished, pass it between the ivory 
 and the card-board upon which it is mounted ; 
 and the ivory, if properly chosen and pre- 
 pared, will be found sufficiently transparent 
 to allow the sketch upon the paper to be 
 
seen through it. The first outline is thus 
 obtained without soiling the ivory. Make a 
 light neutral tint upon the palette with In- 
 dian ink and lake. Use one of the finest 
 sable pencils to form the outline on the 
 ivory. Before applying the neutral tint, try 
 it on the mount to ascertain whether it is of 
 the proper strength, and also to get rid of 
 any superfluous colour, if too much has been 
 taken up. The outline is not to be formed 
 by drawing the brush in hard continued lines 
 over the pencil lines seen through the ivory, 
 but by short hatches or dots, thus. ^ — -J 
 No hard thick line can be admitted in 
 paintings of this kind ; it would be im- 
 possible to make the features blend into 
 each other if any hard line interposed be- 
 tween them. 
 
 When the outline of the whole is drawn 
 with neutral tint, remove the pencil sketch, 
 and the light faint outline will be seen upon 
 
 d 2 
 
36 
 
 the ivory. Proceed to put colour on the 
 pupils of the eyes ; then with a number of 
 faint lines of neutral tint draw the thickness 
 of the upper eyelid, the shadow on the nose, 
 and the upper lip. Observe the shadow be- 
 neath the chin and also upon the neck; 
 these may all be drawn with the neutral tint. 
 The touches need not be particularly small, 
 but they must be light, and allowed to cross 
 each other freely. Do not attempt to make 
 the shadows as dark as in nature at once, 
 but keep them light and clear. The whole 
 face must be worked up together by degrees ; 
 the darkest touches are those that finish the 
 picture. Having drawn the form of the 
 upper and under eyelids by a number of 
 short hatches or lines, wash the brush, and 
 with a light tint of indigo draw the pupil of 
 the eye, not by one round spot, but by a 
 series of touches, taking care to observe its 
 shape, and likewise what portion of the pupil 
 
37 
 
 is covered by the eyelids. You must have 
 frequently observed, in the productions of 
 amateur miniature painters, that they shew 
 the whole of the iris or coloured part of 
 the eye, giving this most expressive feature 
 a rigid staring appearance, never seen in 
 nature. You will observe that the iris of 
 the eye in your sitter is covered both at 
 the top and bottom, and that the thickness 
 of the lower eyelid is distinctly seen. 
 
 It is by observing what portion of the 
 iris is covered by the eyelid that the 
 character of the eye is obtained. The eye 
 and the iris may be coloured with a light 
 tint of light red and indigo. The pupil of 
 the eye may likewise be formed with a 
 darker tint of the same colour. Do not 
 attempt to make even the pupil of the eye 
 dark at this sitting, but keep it merely a 
 touch, so that it may easily be heightened at 
 
38 
 
 any time. The touch at the corner of tbe eye 
 ►near the nose is a light tint of vermillion. 
 
 When the eyes are drawn, proceed with 
 the nose. Draw the outline on the light side 
 with a very light tint of Indian ink and lake. 
 Do not try to get the outline by a slow hard 
 touch, but by several light touches that may 
 afterwards be blended with the flesh tints 
 upon the face. Strengthen the tint a little 
 for the dark side of the nose, the lower end, 
 and the shadow beneath it. 
 
 You will now proceed with the mouth, 
 which is the most important feature in pro- 
 ducing a likeness, and that which will re- 
 quire the greatest care and attention. It 
 cannot be too often repeated that there are 
 no positive lines in the human face ; yet how 
 frequently do we observe paintings and en- 
 gravings in which the lips seem bound round 
 as by a cord. Where this is the case it is 
 
39 
 
 impossible the likeness can be good. Com- 
 mence drawing the partition between the 
 lips ; observe its form and thickness ; talk 
 to the sitter, and notice the form of the 
 aperture while she is attending to your re- 
 marks ; she will forget for the moment that 
 she is sitting for her picture, and will allow 
 the lips their natural play, which, from a 
 desire to alter the position of the features as 
 little as possible, most sitters unconsciously 
 do all in their power to prevent. This, I 
 presume, may be the reason why artists of 
 undoubted talent differ so much in their por- 
 traits of the illustrious lady who is now 
 ideally sitting for her portrait, no doubt 
 deeming it etiquette not to address her 
 Majesty. Take care that the centre of 
 the aperture is immediately beneath the 
 partition between the nostrils ; if not, it will 
 be out of drawing. You will observe that 
 the lips are a little apart and shew the teeth. 
 
40 
 
 The aperture and the upper and under lips 
 may in the first instance be drawn with the 
 neutral tint of Indian ink and lake, not with 
 hard touches, but with loose sketchy stippling. 
 When the form is obtained 7 observe the sha- 
 dows and mark them with the same tint ; then 
 stipple over both lips a tint of vermilion. 
 
 Having proceeded thus far, you will now 
 find the advantage of having drawn the 
 large masses of shade in the first instance, 
 as the first sketch of the face upon the ivory 
 is now complete, and you have only to at- 
 tend to the colouring. The forehead is a 
 light pearly flesh tint of vermilion and in- 
 digo, stippled very lightly and carried over 
 both the light and shade. A very light tint 
 of blue is required beneath the lower eyelids 
 and on the temple. A tint of vermilion 
 stippled as lightly and as freely as possible 
 over the cheeks and lower part of the face 
 will give life to the masses of shade. A light 
 
41 
 
 tint of yellow ochre may be applied to repre- 
 sent the reflected light upon the side of the 
 face in shade. The pearl tint of vermilion and 
 blue may be stippled over the neck ; and 
 now, if you have paid proper attention, you 
 ought to have a rough likeness of the sitter 
 on the ivory, — not a likeness fit for exhibi- 
 tion, but sufficiently satisfactory to the 
 painter as the ground-work or dead colour- 
 ing for the next sitting. No person ought 
 to be detained more than an hour at one 
 sitting. When the sitter becomes fatigued, 
 the muscles relax, and the features become 
 dull and languid. The painter will also find 
 that an hour of intense application, in which 
 not a moment can be lost, while the mind is 
 continually employed, every feature being a 
 complete study, is sufficiently fatiguing, and 
 that the relaxation will afford as much plea- 
 sure to him as to the sitter. 
 
42 
 
 CHAPTER V. 
 
 DRAPERY, JEWELRY, BACK-GROUND, ETC. 
 
 Previously to the second sitting the artist 
 may work upon the drapery and back- 
 ground ; but it will be hazardous to stipple 
 upon the face in the absence of the sitter. 
 The dress having been previously sketched 
 in the pencil drawing, it will only be neces- 
 sary to pass the sketch under the ivory and 
 obtain a light outline of the drapery with the 
 neutral tint upon the ivory. You may now 
 stipple with the large brush the purple of 
 the opera cloak. It will be advisable to 
 proceed differently from the mode pointed 
 out in the face, in which the shadows were 
 first drawn and the colour taken over them. 
 
43 
 
 On the cloak I should stipple the colour first 
 with large free touches, and form the sha- 
 dows afterwards with darker tints of the 
 same colour. The tint is formed with Prus- 
 sian blue and lake. You must not attempt 
 to float the colour over this mass, but lay it 
 on in broad free stipples, like the back- 
 ground in fig. 1, plate III. The shadows 
 must be applied over it in the same way. 
 Do not be at all anxious about getting the 
 colour solid ; if you get it brilliant and the 
 shadows upon it without making it muddy, 
 you will find it very easy to stipple as fine as 
 you please afterwards. The lining of the 
 cloak is shadowed with a warm tint of indigo, 
 light red, and yellow ochre, stippled on freely, 
 leaving untouched the parts that are quite 
 white. The shadows on the lining and also 
 the tufts of fur are formed with the same 
 tint. The dress is a pale primrose, and is 
 tinted with a light tint of gamboge with a 
 
44 
 
 very little blue ; this should be stippled very 
 lightly, so that the tint may just alter the 
 colour of the ivory. It will not be advisable 
 to shade this part of the picture in the 
 absence of the sitter. 
 
 You have now to study what kind of back- 
 ground will best suit the subject ; and as the 
 back-ground adds greatly to the beauty of the 
 picture, it will in all cases require the attention 
 of the painter. In the remarks upon painting 
 on paper the meaning of cool and warm tints 
 is fully explained. The tints of the back- 
 ground must always harmonize with the 
 colour of the flesh and the drapery. In the 
 portrait of her Majesty the robe is a pale 
 primrose colour ; the opera cloak is a crim- 
 son purple lined with fur ; the complexion 
 is fair, with little colour. If the back- 
 ground were a warm tint, it would over- 
 power the face and make it look ghastly, nor 
 would it accord with the colour of the dress. 
 
A light cool grey tint, supposed to be the 
 colour of the walls of the apartment in 
 which she is sitting, is therefore chosen. 
 Clouding would be quite out of place when 
 the sitter has no bonnet or other covering 
 for the head. There is no part of the picture 
 which a beginner finds more troublesome to 
 execute neatly than the back-ground. Some 
 good miniature painters, whose pictures ob- 
 tain high prices, never acquire the power of 
 producing an evenly tinted back-ground. 
 The artist will find the difficulty vanish if he 
 proceeds regularly, according to the follow- 
 ing directions. 
 
 Make a neutral tint with indigo and Indian 
 red ; mix them well together on the palette ; 
 take a large brush and make free broad 
 touches all over the back ground, like those 
 seen in fig, 1, plate III. When these are 
 dry, go over the whole again with the same 
 colour, crossing the tint first laid on diago- 
 
4G 
 
 nally. The back-ground will now be of the 
 proper colour ; but one part will be lighter 
 than the other, and the spaces between the 
 touches will look uneven. This can be 
 easily altered by stippling upon the light 
 part only with a fine brush with the same 
 tint until the whole becomes solid. The 
 error that beginners generally commit is, 
 stippling finely at first, and, in order to get 
 colour, using the tint so dry that it becomes 
 muddy. Thus great labour and patience are 
 entirely lost, as the picture can never be 
 made to look bright and clear. A person 
 unaccustomed to stippling back-grounds sup- 
 poses they are produced by an infinite num- 
 ber of dots, when in fact the only parts that 
 require to be worked upon particularly are 
 the spaces between the large touches. This 
 will be seen by referring to fig. 1, plate III. 
 This is a dark grey tint that will harmonize 
 with almost any subject. At the lower end 
 
47 
 
 of the tint the broad hatches are seen, pur- 
 posely drawn at some distance from each 
 other. The spaces are filled up by stippling 
 in the upper part ; they can be made light 
 or dark at pleasure according to the colour 
 required. Fig. 2 is a warm grey tint. In this 
 subject the first hatches are a grey tint formed 
 with Indian red and indigo ; in the second 
 (fig. 3 ) a little raw sienna is added to the 
 tint ; and it is with this tint, made warmer 
 by the addition of a little more raw sienna, 
 that the fine stippling is executed. Fig, 4 
 and 5 shew how clouds are painted upon 
 ivory. They are first laid on in broad 
 masses, and the edges are softened into each 
 other by stippling. Fig. 6 shews the method 
 of stippling upon drapery. In this figure 
 the bright tints are laid on in large touches 
 all over the curtains. The broad masses of 
 shade, or what painters term the middle 
 tint, are formed with lake and Indian ink; 
 
48 
 
 very little of the latter will suffice. These 
 touches are likewise broad and free, but the 
 brush must not be too full, or the colour 
 will float, and of course wash off the bright 
 tint first applied. The strong shade is formed 
 with the same colours used much darker. 
 The whole is stippled with lake, and with 
 this colour it will be easy to form the water- 
 ing of the damask or any other figure that 
 may be required. To give brilliancy to the 
 whole, use a little gum-water with the 
 stipple and colours. 
 
 The student will observe, from the fore- 
 going examples, that in all back-grounds or 
 draperies the light and shade and middle 
 tint are in all cases laid on in broad free 
 touches rather lighter in colour than the 
 painter may wish them to appear when 
 finished : if attention is not paid to this, the 
 colour of the tint used in stippling will cause 
 the back-ground to become darker than it 
 
49 
 
 was intended to appear, and the general 
 tone of the picture will be altered. The 
 slight sketch a.tfig.7 shews how the touches 
 on the face are blended into the back- 
 ground. The outline of the face being formed 
 with small dots or hatchings, these blend 
 and soften with the touches on the back- 
 ground : this could not be the case if a line 
 were between them. The shadows on the 
 face blend into each other in the same 
 manner. 
 
 E 
 
60 
 
 CHAPTER VI. 
 
 MINIATURE PAINTING ON IVORY. 
 SECOND AND THIRD SITTINGS, FINISHING, 
 
 The back-ground having been painted in 
 the absence of the sitter, the picture is 
 ready for the second sitting. Her Majesty 
 having placed herself in the same position, 
 the painter will now examine every part of 
 his work in detail, commencing at the fore- 
 head, which, even in so young and beautiful 
 a sitter, will be found to require careful 
 drawing. Nothing can be done by washing 
 tints now ; all colours must be applied by 
 stippling. The strong shadow at the temple 
 must be softened at the edges by a light grey 
 
51 
 
 tint, which may also be applied to the edges 
 of the shadow between the eyes and the flat 
 part of the forehead. The light parts are 
 stippled with a very light flesh tint formed 
 with yellow ochre and vermilion. The 
 strongest light on the forehead is left the 
 colour of the ivory. Do not quit this part 
 of the face until the whole of the forehead 
 is accurately drawn. Then proceed to the 
 eyes ; here the student will find that the 
 dark shadows will require strengthening with 
 a tint of lake and Indian ink. If the 
 shadows are getting too red, do not try to 
 reduce them by adding grey to the tint, but 
 go over them with a few touches of sap 
 green, which will subdue a ruddy effect im- 
 mediately. Stipple with a light tint of blue 
 over the pupil of the eye. Observe the 
 light spot that strikes on the most prominent 
 part; leave it as light as you can. Heighten 
 the touches at the enc* of the eyes nearest 
 
 e 2 
 
52 
 
 the nose with a little vermilion, and blend 
 the lightest part of the flesh between the 
 eyes and the eye-brows into the shadows 
 with a flesh tint of vermilion mixed with 
 sap green : with this tint the markings under 
 the eye may be strengthened. The shadow 
 on the dark side of the nose may be stip- 
 pled at the edges toward the light flesh with 
 a light grey tint, formed with indigo and 
 vermilion. The dark tint may be stip- 
 pled with a tint of lake and Indian ink. It 
 is impossible to point out by words every tint 
 required on the shadowed side of the face ; 
 suffice it that the stippling must become 
 more grey as it approaches the back-ground : 
 the face will by this mode of handling ap- 
 pear to project in the light part. The lips 
 may now be heightened with carmine on the 
 dark part. Stipple the shade at the corner 
 of the lips with the tint formed with vermi- 
 lion and sap green. It is dangerous to use 
 
53 
 
 grey tint in the lower part of a female face, 
 as it gives it a masculine appearance. The 
 shadows under the chin may be stippled 
 with lake and Indian ink. The light flesh tint 
 is formed with vermilion and yellow ochre. 
 The shadows on the ear may be stippled with 
 a light tint of Indian red, and in the darkest 
 part with lake. Every part of the face will 
 by this time be finely stippled over with the 
 proper colour, and the likeness secured. 
 
 It will now be necessary to proceed with 
 the drapery, so that every part of the picture 
 may be advanced to the same state prepara- 
 tory to the third and last sitting. The sitter 
 need not be detained while the drapery is 
 being painted ; but be particular in drawing 
 the folds of the crimson robe. Mark where 
 the strong lights fall upon the white satin 
 dress; also where the shadows of the jewelry 
 appear on the neck. The sitter may now be 
 
54 
 
 released, as sufficient advance has been made 
 to proceed without her till the next sitting. 
 
 The principal objection made by persons 
 to sit for their portraits is the tediousness of 
 the sittings. Artists have, therefore, wisely 
 abridged the time of sitting by painting 
 drapery, &c. from a dressed lay figure during 
 the intervals between the sittings. The 
 figure being dressed, dispose the drapery as 
 nearly as possible as it appeared upon the 
 sitter. The crimson robe is first tinted all 
 over with a bright wash of lake ; when this 
 is dry, the broad folds are stippled with 
 broad touches of lake and Indian ink ; the 
 dark touches within the folds are indigo and 
 lake. The whole is then stippled with a 
 bright tint of lake, and the dark parts are 
 heightened with a varnish of gum arabic. 
 The fur is ermine ; this is stippled with lines 
 or hatches ; the dark touches are made with 
 
55 
 
 a tint of sepia and ochre, as the shadows of 
 white are always warm. The light parts are 
 the colour of the ivory heightened by a few 
 touches of white. The dark spots are stip- 
 pled with Indian ink. Great nicety and ob- 
 servation are required in painting satin; it 
 has a glazed surface, which reflects the co- 
 lour of objects placed around it. The large 
 masses of shade are first washed in with a 
 tint of Indian red and indigo. This must 
 be very light, as it is only to form the middle 
 tint. The darker shadows are washed upon 
 this with the same colour. Almost every 
 fold in satin will produce reflected lights ; 
 these must be left the colour of the ivory. 
 The brightest part may be heightened with 
 touches of white, and the whole blended 
 and softened with fine stippling with a warm 
 neutral tint ; but this of course must not be 
 carried over the white. 
 
 The jewelry will require great care. The 
 
56 
 
 principal art consists in making it sparkle 
 by producing great contrast of light and 
 shade and very strong reflected lights. The 
 middle tint of the diamonds may be formed 
 with a neutral tint of Indian red and indigo. 
 The dark touches are Indian ink and lake. 
 On the sparkling light touches of white are 
 given, and in various parts slight hatches of 
 the colour of the back-ground and drapery. 
 
 The ivory is now covered, and the whole 
 is prepared for the third and last sitting, 
 when every part of the picture has to be 
 minutely examined. Commence with the 
 hair; give the darkest touches with sepia, 
 heightened with gum arabic. Heighten the 
 light by making very fine touches on the 
 centre of them with the point of a needle ; 
 this is called by some persons a trick, and 
 not painting ; but you have a right to use 
 every means in your power to produce effect. 
 At the second sitting having gone over every 
 
57 
 
 part separately, at this you have to balance 
 the whole by strengthening or softening the 
 shadows, and by adding the touches of white 
 upon the eyes, touching the darkest part of 
 the eyelids, and also the nostrils, with lake. 
 Round the lips with carmine, and with the 
 same beautiful colour finely stipple the 
 cheeks in those parts where colour is re- 
 quired. Add the delicate flesh tint to the 
 neck, and blend it with the dress. Heighten 
 and improve the drapery from the sitter, and 
 do not leave the picture until every part 
 forms a whole, nor until you have a thorough 
 confidence that you have produced an ani- 
 mated likeness. Even in this state it ought 
 not to be exhibited. Let the sitter receive 
 your thanks and her release, but do not shew 
 the picture until it is in the frame or the 
 case, as glass acts like varnish on the paint- 
 ing, and greatly improves its appearance. 
 Nor does a splendid frame detract from the 
 beauty of the work. 
 
58 
 
 CHAPTER VIII. 
 
 FLESH-TINTING.— PAINTING ON VELLUM.-=- 
 CRETA LEVIS. — DESIGN AND CHARACTER. 
 
 The directions given in the preceding lessons 
 will convey to the student an idea of the 
 progress of a picture on ivory, whatever the 
 subject may be that may come under his 
 notice, varying of course the form and co- 
 lour of the different sitters according to 
 nature. 
 
 The Infant Bacchus, plate IV*, is a pleas- 
 ing subject for practising delicate stippling. 
 The figure should be correctly drawn on 
 paper, care being taken to make the outline 
 strong enough, when placed beneath the 
 ivory, as directed in the preceding chapter, 
 
FL 4 
 
 LoMcm.Pabtish.ed.by SiiewoodL&C° JajZ JS44. 
 
59 
 
 to be seen through it. This outline should 
 be traced upon the prepared surface of the 
 ivory with a light neutral tint formed with 
 lake and Indian ink. The touches must be 
 made with a fur sable pencil, and should be 
 short hatches or dots, never a hard continued 
 line ; if the tint is kept light, it is not neces- 
 sary to make them particularly fine. The 
 shadows may be formed with the same tint. 
 The hair is tinted with a light wash of yellow 
 ochre, the back-ground with light touches 
 of indigo, and the outline of the vessel with 
 sepia ; the grapes with a light tint of Prus- 
 sian blue, the vine-leaves with a light tint of 
 gamboge and blue. The ground is a light 
 wash of burnt sienna. The whole subject 
 being drawn and thus slightly tinted, it is 
 said to be in dead colour. The tinting of 
 the figure should be commenced by delicately 
 stippling a light tint of vermilion over the 
 face, care being taken to leave the colour of the 
 
60 
 
 ivory for the light parts. As the stippling 
 approaches the outline, it should gradually 
 blend with the back-ground, that the form 
 may be preserved without discovering any 
 hard outline. The stippling with vermilion 
 may be taken over the whole of the figure. 
 The touches under the eyelids, the dark 
 parts of the ear, and the hands and feet are 
 a strong tint of lake and Indian ink. Deli- 
 cate stippling of a light tint of indigo will be 
 required under the eyes and on the neck. 
 The hair is shaded with sepia. The golden 
 vase is tinted with gamboge and lake. The 
 vine-leaves are strengthened with lake and 
 burnt sienna ; the grapes with dark touches 
 of lake. The back-ground must be stippled 
 quite even with a light tint of blue ; as also 
 the iris of the eyes of the figure. The pupil 
 of the eye is a dark touch of lake and indigo. 
 The cheeks and lips are stippled with car- 
 mine. The darkest parts of the picture are 
 
61 
 
 strengthened by touching them with gum 
 arabic. The picture will thus be completed. 
 
 Formerly painting on vellum was more 
 practised than at present. The great care 
 taken in the preparation of card-board, and 
 the finer cutting and large size of ivory 
 leaves, have nearly superseded the use of 
 vellum in miniature painting; it is now 
 chiefly used by herald painters. It may, 
 however, be used with advantage if a picture 
 of a large size is required. It should be free 
 from spots, of one colour throughout, and 
 sufficiently transparent for lines drawn on 
 paper with a pencil to be seen through it. 
 The directions already given for painting on 
 ivory will apply to painting on vellum. The 
 tints forming the shadows may be washed 
 more freely on the latter, and it will require 
 less stippling ; but paintings on it will never 
 look so highly finished as those on ivory. 
 Some old miniatures on vellum have been 
 
62 
 
 touched upon with wax crayons of various 
 colours; the tints are durable, have a soft 
 pleasing effect, and give an appearance of 
 high finish with little trouble. The great 
 difficulty at the time existed in the prepara- 
 tion of the crayons. That difficulty is now 
 obviated, and wax crayons under the name 
 of creta-leevis, or soft chalk, of every tint 
 required for miniature painting, are now 
 prepared, and may be purchased at the sta- 
 tioner's. Those who use them will find that 
 they work better over a drawing previously 
 tinted than on the white paper or vellum. 
 The dark touches with the crayons may be 
 heightened with a few touches of strong 
 gum-water. 
 
 In the directions for drawing on card- 
 board the student was advised to leave the 
 dress of the two figures in plate I. in outline 
 without colour, that the tinting on the faces 
 might not be overpowered by the dark co- 
 
63 
 
 lours of the coats. This advice will not 
 apply to more finished pictures. A black 
 coat is formed by floating on an opaque 
 colour made by mixing Indian ink with flake 
 white. When this colour is quite dry, the 
 dark touches forming the collar of the coat, 
 the lappels, and the buttons, are made with 
 touches of strong gum-water. A blue coat 
 is painted by floating an opaque wash of 
 indigo over the whole of the space required ; 
 the dark touches are formed with gum. If 
 the buttons are gilt, they are first formed 
 with a middle tint made with king's yellow 
 and Indian red ; the dark touches upon them 
 are made with burnt sienna, and the bright 
 light on the edge of the buttons with clear 
 king's yellow. 
 
 Scarlet coats are formed with a strong tint 
 of vermilion; the shadows with lake and 
 Indian ink, touched in the deepest parts with 
 gum, 
 
64 
 
 Gold lace, epaulets, &c. for regimentals 
 are painted in the same way as the gilt but- 
 tons. No precise directions can be given 
 for painting any shining metallic substance, 
 as the colours vary according to the hue of 
 surrounding objects ; but the learner who 
 can draw and colour the human face accord- 
 ing to the directions already given, will find 
 no difficulty in depicting glittering objects 
 either on ivory or vellum k 
 
 In the preceding lessons the mechanical 
 part of the art of miniature painting has 
 been amply detailed; but as the learner pro- 
 
 
 
 ceeds in the pursuit, he will discover that he 
 has more to learn than the drawing and co- 
 louring the human face with tolerable accu- 
 racy. To produce an animated and pleasing 
 likeness, he must endeavour to pourtray the 
 
PLV. 
 
65 
 
 mind and character of the sitter. It is this 
 superior pow er that distinguishes the talented 
 artist from the host of mediocre miniature 
 painters. Sir Joshua Reynolds, Sir Thomas 
 Lawrence, and other celebrated artists at- 
 tained eminence by their knowledge of this 
 important branch of the art of portrait 
 painting ; and the student will derive great 
 benefit and gratification from studying the 
 expression and position of the figures in the 
 splendid pictures of the best masters. When 
 he cannot get access to them, the prints 
 from the engravings will, with the exception 
 of colour, answer the same purpose. The 
 limits of this Manual will only allow a 
 glance at this subject. 
 
 The example given in plate V. will illus- 
 trate what is meant by studying the cha- 
 racter and profession of the sitter. If the 
 lady had been drawn looking directly for- 
 ward, the painter might have produced a 
 
66 
 
 formal inanimate likeness; but wishing to 
 portray the likeness of a lady famous for her 
 musical talent, he drew her looking at a 
 more attractive object than himself. Her 
 hand resting, as it does, on the guitar ready 
 to join the harmony at the precise moment, 
 we can easily imagine her delighted at the 
 performance of a beautiful air. Character 
 is here added to likeness, and the picture is 
 consequently greatly increased in value. 
 
 Plate VI. contains three outlines of heads 
 of eminent characters. No. 1 is the head of 
 Captain Cook, the celebrated circumnaviga- 
 tor. The spirit of discovery seems seated on 
 his brow, and we can fancy him anxiously 
 surveying the horizon to catch the first 
 glimpse of some unknown island. 
 
 No. 2 is an outline of the justly celebrated 
 William Penn, the founder of the State of 
 Pennsylvania in the United States of Ame- 
 rica. What artist would think of painting 
 
67 
 
 this just and pious man in a light frivolous 
 position ? 
 
 No. 3 is the head of the Rev. Laurence 
 Sterne. Who that looks on this arch wag- 
 gish face would think it was that of a reve- 
 rend divine? The painter, feeling that the 
 reverend gentleman was better known and 
 appreciated as a humorous writer than as a 
 clergyman, took no pains to represent the 
 dignity and solidity of the latter character, 
 but directed his attention to the delineation 
 of the witty author of Tristram Shandy and 
 the Sentimental Journey. 
 
 With these illustrations we close our re- 
 marks upon character, trusting that sufficient 
 has been said to direct the attention of the 
 student to this important part of the sub- 
 ject. 
 
68 
 
 CHAPTER VIII. 
 
 CARICATURE. 
 
 The introduction to a singular essay on the 
 art of drawing caricatures and comic paint- 
 ing, written by the famous antiquary Captain 
 Grose, and inserted in the first volume of 
 the Antiquarian Repertory, so exactly de- 
 scribes the proper object and aim of the 
 caricaturist, that we cannot do better than 
 transcribe a part of it, previous to our enter- 
 ing upon the rules for drawing caricatures. 
 
 " The art of drawing caricatures is gene- 
 rally considered as a dangerous acquisition, 
 tending rather to make the possessor feared 
 than esteemed ; but it is certainly an unfair 
 mode of reasoning to urge the abuse to 
 
69 
 
 which any art is liable as an argument 
 against the art itself. 
 
 " In order to do justice to the art in 
 question, it should be considered that it is 
 one of the elements of satirical painting, 
 which, like poetry of the same denomination, 
 may be most efficaciously employed in the 
 cause of virtue and decorum by holding up 
 to public notice many offenders against both 
 who are not amenable to any other tribunal, 
 and who, though they contemptuously defy 
 all serious reproof, tremble at the thought of 
 seeing their vices and follies attacked by the 
 keen shafts of ridicule." 
 
 The worthy Captain then enters upon the 
 directions for drawing caricatures, by stating 
 that the student should first learn to draw 
 the human head from plaster casts, and from 
 life ; that this is certainly very proper advice 
 will be obvious to all that attempt carica- 
 tures without the initiatory practice : none 
 
70 
 
 but an artist 'that can draw the human face 
 and figure with freedom and accuracy has 
 the slightest chance of success as a carica- 
 turist. 
 
 The merit of a caricature depends on pre- 
 serving the likeness of face and figure as 
 nearly as possible, giving the features the 
 serious or ludicrous character you wish them 
 to represent, and drawing the figure in the 
 performance of the most ridiculous actions ; 
 for instance, should one of the civic dignita- 
 ries, enveloped in his official costume, be re- 
 presented dancing a jig in the street, the 
 joke would not be heightened by destroying 
 the identity of the dancer by the distortion 
 of his features. 
 
 Hogarth has been called a caricaturist ; 
 but he was an accurate delineator of human 
 nature in every sphere of life. In the well- 
 known picture of the Enraged Musician, the 
 humour is displayed, not by distorting the 
 
71 
 
 features of the various characters in the 
 composition, but by contrasting them with 
 each other. The anger and vexation exhi- 
 bited in the countenance and gestures of the 
 musician, tell us at a glance what is the 
 purport of the scene which the artist in- 
 tended to delineate. It is in subjects like 
 this that Hogarth's extraordinary skill was 
 chiefly displayed ; for his great merit con- 
 sists in the power he possessed of shewing 
 the effect of the passions not only on the fea- 
 . tures of the face, but also on the whole form 
 and figure. Artists that desire to practise 
 the art of caricature, cannot do better than 
 study the productions of Gilray, the cele- 
 brated political caricaturist, whose animated 
 groups of public characters, that were the 
 principal actors in the political changes that 
 took place at the conclusion of the American 
 war and during the progress of the French 
 revolution, may be almost termed historical 
 
72 
 
 pictures, so admirably has he preserved the 
 likeness and manners of the individuals in- 
 troduced into those exquisite graphic satires. 
 
 There have been no political caricatures of 
 importance since the death of Gilray until 
 the appearance of the animated sketches 
 produced by an artist of the present time, who 
 pleases to communicate with the public under 
 the initial letters H. B. This artist is en- 
 dowed with the genuine spirit of caricature : 
 the resemblance of face and figure of the 
 individuals he presents to public notice are 
 perfect ; he uses no unnatural distortion of 
 features— no vulgar amplification of personal 
 deformity. It is the ludicrous situation 
 and employment of the various characters 
 that forms the barb of the polished shaft of 
 H. B., and produces the good-natured laugh 
 from the gratified spectator. 
 
 We frequently hear people, who know 
 nothing of the art, talk of" hitting off" the 
 
73 
 
 resemblance, as if the sketchy likenesses of 
 Gilray, H. B., and others, were not previ- 
 ously studied, and numerous outlines of the 
 head formed, altered, and amended, before 
 the one that is allowed to pass appears be- 
 fore the public. The amateur artist that 
 wishes to produce caricatures, must proceed 
 precisely as directed in the lessons given on 
 drawing in the preceding pages of the 
 Manual. The proportions of the head shewn 
 in plate 7, are the same as in the diagrams 
 at pp. 9 and ] 1. 
 
 No. 1 is a caricature profile of the Right 
 Hon. William Pitt. The head is divided 
 naturally, but as the sharp angular nose was 
 the most remarkable feature in the face of 
 this eminent statesman, it is slightly elon- 
 gated. 
 
 No. 2 is a good-natured caricature of the 
 Duke of Wellington. In this the nose is 
 the feature most amplified, while in No. 3, 
 
74 
 
 an ill-natured profile, the mouth and fore- 
 head are most marked; yet they are still 
 kept nearly in their proper places. The 
 same remark will apply to the blubber lips 
 of the Negro, No. 4, and to the thin lips of* 
 the Lawyer, No. 5. There are some persons 
 whose faces are so formed as not to admit of 
 a caricature likeness being produced in pro- 
 file ; their peculiarities are in the eyes or 
 mouth, as may be seen in the heads marked 
 Nos. 6, 7, 8, 9, and 10. 
 
 The same rule extends to the proportions 
 of the human figure. Whether the man or 
 woman be tall or short, stout or thin, the 
 limbs, however distorted, must be in their 
 proper places, otherwise the object will not 
 lodk like a human figure. This is the reason 
 why ill-drawn caricatures fail in their effect. 
 The Active Lad, and the Lady and Gentle- 
 man, taken from the 34th No. of that excel- 
 lent hebdomadal magazine of wit and carica- 
 
75 
 
 ture, called Punch, though in comic posi- 
 tions, are all properly proportioned. 
 
 Caricatures on general subjects, and un- 
 connected with individual likeness, depend 
 greatly on strong contrast or opposition. 
 Every person introduced should be employed 
 in that office or business for which he is 
 least adapted, either by age, size, or profes- 
 sion. Grose remarks truly, that contrast 
 alone will sometimes produce a ludicrous 
 effect, although none may exist separately 
 in either of the subjects. Suppose, for in- 
 stance, two men walking together, both 
 equally well made, but one very tall, the other 
 extremely short, — they would not escape the 
 jocular remarks of the passers-by, although 
 alone either of them might have passed un- 
 noticed. 
 
 In conclusion, if the student should feel 
 desirous of attempting this branch of the art, 
 it is incumbent upon him to avoid making it 
 
76 
 
 the vehicle of offensive ridicule. There is 
 ample scope for its exercise in the lighter 
 traits and peculiarities of human character, 
 without over-stepping the bounds of decorum 
 and good feeling ; and he should reflect that, 
 as in the sister arts of poetry, rhetoric, and 
 composition, so in this, 
 
 Satire should, like a polished razor keen, 
 Wound with a touch that's scarcely felt or seen. 
 
 THE END. 
 
 Marchant, Singer, and Smith, Printers, 
 Ingram-court, Fenchurch-gtreet. 
 
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 describes all the various discoveries that have been made up to the present moment, with the view of 
 further developing its almost infinite capabilities. The author of this work is Mr. Alderson, Civil 
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 GrRAMMAR of ASTROLOGY, containing all things necessary 
 
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 FhE CODE of AGRICULTURE; including Observations on 
 
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 I 4. The various Modes of occupying Land. 
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 Sir John Sinclair on Agriculture, 
 
Books printed for Sherwood and Co. Paternoster-Row. 13 
 
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 HOW TO BUY A HORSE; containing- Instructions for the choice 
 
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 ;\ TREATISE on the TEETH of the HORSE ; showing its Ae;e 
 
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 [THE GROOM'S ORACLE, and POCKET STABLE DIREC- 
 
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 lOuTLINES of the VETERINARY ART; or, a TREATISL 
 
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Books printed for Sherwood and Co. Paternoster -Roto. 15 
 
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 IFaMILY DYER and SCOURER; being a Complete Treatise 
 
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 IFAMTLY CYCLOPAEDIA; a Code of USEFUL and 
 
 I NECESSARY KNOWLEDGE in DOMESTIC ECONOMY, AGRICULTURE, CHE- 
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 ^DISEASES, ACCIDENTS, and CASUALTIES. By JAMES JENNINGS, Esq. Iu 
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 portance of the Saccharometer. The whole system of Ale, Table Beer, and 
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 5>y Porter Brewers (but prohibited by the Excise) made public. To which are 
 added, Directions for Family Brewing ; making Cider, Perry , Home-made Wines, 
 fee. &c. Price 3*.6d. 
 
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 Shaw's Domestic Lawyer. 
 EVERY MAN HIS OWN LAWYER ; a Practical and Popular 
 
 Exposition of the Laws of England: containing- the requisite Legal Information 
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 Real Property, Innkeepers, and Game Laws. 
 Including the important Acts of last Session. By JAMES SHAW, Esq. 
 Price 9s. bound in cloth. 
 
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 COTTAGER'S FRIENDLY GUIDE in Domestic Economy: 
 
 compiled for the use of the Industrious Poor. Price 6d. or &s. per dozen. 
 
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 British Farmer's Mgazine, Feb. 163*. 
 
 Universal, commercial, and polite letter- 
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 1st. Education.— Epistolary Rules ; Observations on Style, Grammar, &c. ; In- 
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 3rd. Miscellaneous.— Public Correspondence on various Topics, partly original 
 
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 Dr. Scott's Family Medical Adviser. 
 THE VILLAGE DOCTOR; or, Family Medical Adviser, 
 
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 which the Human Frame is subject, including the Diseases of Women and Children; 
 with a Method of Treatment; containing Four Hundred Prescriptions, arranged 
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18 Books printed for Sherwood <$f Co. Paternoster-Row. 
 
 A PLAIN and PRACTICAL EXPOSITION of the LAW of 
 
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 'PLAIN and PRACTICAL EXPOSITION of the LAW of WILLS; 
 
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 I «* I have often regretted that we have not such a Dictionary of the Chemical, Me- 
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Books 'printed for Sherwood ^ Co. Paternoster- Row. 1! 
 
 Letters to a Mother. 
 Eu PZEDIA, (the felicity of having healthy children,) being 
 
 LETTERS to a MOTHER, on 'the WATCHFUL CARE of her INFANT, ii 
 reference to the NURSE, COLD, DAMP, the OPEN AIR, and CLOTHING; o 
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 of the subject by the author. The duties of a mother and wet-nurse are succinctly and briefly lai< 
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 of women."— Educational Magazine, April 1836. 
 
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 Death Blow to Fraud and Adulteration. 
 
 Deadly adulteration and slow poisoning un- 
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 the Necessaries and Luxuries of Life, particularly Wines, Spirits, Beer, Bread, 
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 fcr detecting the Fraudulent Adulterations, or the Good and Bad Qualities. New 
 Edition. By AN ENEMY OF FRAUD AND VILLANY. Price 5*. bound in cloth. 
 
 " The use and excellence of this admirable volume should be known to every person who values 
 health and life."— Monthly Gazette of Health. 
 
 " We have not lately met with a volume which contains more useful information and amusing 
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 Sir John Sinclair on Health and Long Life. 
 THE CODE of HEALTH and LONGEVITY; or, a General 
 
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 the Right Hon. Sir JOHN SINCLAIR, Bart. Fifth Edition, in one large volume, 
 Svo., illustrated with Seven Portraits of Celebrated Persons who attained Extra- 
 ordinary Ages. Price 20s. 
 
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 which all subsequent writers have extracted much valuable information. 
 
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 I have derived by perusing them.''— The Baron D" 1 Edelcrantz. 
 
 <k Many subjects are considered in a new point of view ; many new and remarkable facts are in* 
 troduced: on the whole (he states) the author has communicated the most important results 
 regarding the effects of external substances on health."— Dr. Sprcngle's Preface to his Translation 
 of this work into German. 
 
 "The subject is of the greatest importance. The work I have read with great satisfaction, and 
 ihe observations which it contains are very important."— Dr. Matthew Baillie. 
 
 Bre wing and Malting. 
 
 Practical treatise on brewing the various 
 
 SORTS of MALT LIQUOR, and the mode of using the Thermometer and Saccha- 
 rometer rendered easy to every capacity : forming a complete Guide in brewing 
 LONDON PORTER, BROWN STOUT, and every other description of Ale and 
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 [PUBLICAN'S JOURNAL and LEDGER, on an original 
 
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 /MANUFACTURING WINES, MALT LIQUORS, CIDER, PERRY, VINEGAR, 
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 TOy a PRACTICAL MAN. Fifth Edition, 12mo. Is. cloth. 
 I 
 
 III 
 
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 r Clarke's CompleteC ellarman, fyc, 
 
 ^Publican and innkeeper's practical guide, and 
 
 WINE and SPIRIT DEALER'S ASSISTANT; containing the most approved 
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 | Instructions for the advantageous Selection, Sale, and Purchase of Wines and 
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 . Improving the Quality of Wines, Spirits, &c. The Laws and Excise Regulations 
 ijaffecting Publicans and Wine and Spirit Dealers; the Statutes for Quartering 
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 ;fijary Instructions to Persons entering into the Public Line. By WILLIAM 
 
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 I 
 
 \ Dubrunfaut on Rectification and Distilling. 
 
 I Complete treatise on the whole art of distil- 
 
 W LATION, with Practical Instructions for preparing Spirituous LiquoRsfrom Corn, 
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 |j DISTILLER'S PRACTICAL GUIDE, with genuine Receipts for making RUM, 
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 H Illustrated with numerous Cuts of improved Apparatus used in Distillation. Price 
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 ;D0DSLEY'S ORIGINAL CELLAR-BOOK; or, the Butler's 
 
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 L at one view, the receipt of wine, the consumption, and the stock in hand. Price 
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 Rev. W. D. Conyheare^s Lectures. 
 
 Elementary course of theological lectures, 
 
 in Three Parts.— Part I. On the Evidences of Religion, natural and revealed.— 
 EE. On the Criticism and Interpretation of the Bible.— III. On the peculiar Doc- 
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 &c. &c. A New Edition, considerably improved, price 8s. cloth, lettered. 
 
 *« Wc are glad to see the waxing popularity of this volume : it speaks well for the pub! 
 work every man of any education should read, for every man may unJerstand, and almost 
 can afford to obtain it." — Gentleman's Magazine. 
 
 '* Mr. Conybeare ha> collecied much valuable information in a small compass, and his work will be 
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 for Theological Students, are beyond praise."— Monthly Review. 
 
 u It is a work of profound learning, in union with sound orthodoxy, unaffected candour and libe< 
 raiity, and a truly catholic spirit."— Eclectic Review. 
 
 ic, Such a 
 every man 
 
 Dr. Thornton'' s Botany for Youth. 
 
 Easy introduction to the science of botany, 
 
 through the medium of Conversation between a Father and his Son. By R. J. 
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 or with the plates coloured, 8s. 
 
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 order, distinction, and subordination."— Gent. Mag. 
 
 BakewelVs Introduction to Mineralogy. 
 AN INTRODUCTION to the STUDY of MINERALOGY; or, 
 
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 and refined Science. By J. R. BAKEWELL, Esq. F.G.S. C.E. &c. Illustrated 
 with Engraving-s of the longitudinal and transverse Section of a Tin and Copper 
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 study of nature, of science, and of the arts. Geology and Geography— Astronomy arid Natural History 
 —Botany and Mineralogy, are all discussed in a way that affords an interminable fund of amusement 
 and instruction."— Cambridge Quarterly Review. ' 
 
 " MT DAUGHTER'S BOOK." Containing a Selection of 
 
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 Character of Woman. By the Editor of" The Young Gentleman's Rook." Price IQs.edL 
 " * My Daughter's Book' contains a variety of notices on woman— her constitution, her relations 
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 flatter the vanity of the sex. In addition to these matters, it contains some 4 exquisite poetry ' by 
 * various hands and, what is no less valuable, some interesting facts regarding the phenomena of 
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 Educational Magazine, No. 7, 
 
$2 Books printed for Sherwood Sf Co. Paternoster-Row. 
 
 \ TO THE CLERGY, PAROCHIAL OFFICERS, AND RATE-PAYERS OF THE 
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 ijPAROCHIAL LAWYER; or, CHURCHWARDENS' and 
 
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 Jegal and efficient discharge ; and embodying all that is useful and practical in 
 TJean Prideaux's " Instructions to Churchwardens," By JAMES SHAW, Esq. of 
 fthe Honourable Society of the Middle Temple, Author of "Every Man his Own 
 ["Lawyer; or a Practical Exposition of the Laws of England.'* 
 
 f *** In the New Edition of this popular work are now first added— A S\'NoPsrs of 
 U^arochial Statistics; — Suggestions for the Amelioration of the Condition of the 
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 (JNEW ACT for the Amendment of the POOR LAWS, digested under distinct heads, 
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 fings of Open and Select Vestries, with some necessary information respecting the 
 ''|bffice of Vestry Clerk, Parish Clerk, Constables, Sextons, &c. 
 I 
 
 I GrERMAN POPULAR STORIES, collected by MM. GRIMM, 
 
 from Oral Tradition. Fourth Edition, illustrated with 22 Etchings by GEORGE 
 LCRUIRSHANK. 2 vols. 14*. bound. 
 
 I " This book ought to be in the possession of the man as a curiosity, and of the child as an amuse- 
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 M " What with the German varieties in these well-known tales, and the clever designs of George 
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 ti Morley on the King's Evil. 
 
 f AN ESSAY on the NATURE and CURE of SCROFULOUS 
 
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 tion and Practice. Forty-second Edition, revised, with Additions, and above 
 JrSixty Cases, the Remedies m them used, and occasional Remarks. To which is 
 ^prefixed, a Plate of the Herb Vrrva in, and its Root. Published for the good of 
 i Mankind, particularly the Common People. By the late JOHN MORLEY, Esq. 
 | of Halstead, in Essex. Price Is. 6d. stitched. 
 
 I 
 
 Si HINTS for the IMPROVEMENT of TRUSSES : intended to 
 
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 ('By the late JAMES PARKINSON. 9d. 
 
 | A PRACTICAL TREATISE on the EFFICACY and 
 
 I SAFETY of the DOLICHOS PRURIENS, or COWHAGE, internally exhibited in 
 I DISEASES occasioned by WORMS. By WM. CHAMBERLAINE. Tenth Edition. 4s. 
 
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 I particularly Raffles Bay, Melville Island, Swan River, and King George's Sound-- 
 I their Natural Productions, Climate, Commerce, Agriculture, and Government ; the 
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Books printed for Sherwood and Co. Paternoster- Row. 23 
 
 Freemasonry. 
 
 Sl^NS and SYMBOLS, Illustrated and Explained, in a course of 
 
 TWELVE LECTURES on FREEMASONRY. 1 volume, 8vo. Second Edition. By 
 the Rev. G. OLLIVER, D.D. Vicar of Scopwick, Deputy Prov. G. M. for Lincoln- 
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 price 9s. cloth. 
 
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 A beautiful-system of morality, veiled in allegory and illustrated by SYMBOLS." 
 
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 from all the Lodges in the World. 21 Numbers, continued Quarterly, price 3$. each. 
 
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 A PRACTICAL TREATISE on the ART of DRAWING in 
 
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 the usual Errors may be avoided. By JOHN VARLEY. Illustratated with numerous 
 Examples, price 7s. 
 
 VARLEY'S TREATISE on the PRINCIPLES of LANDSCAPE 
 
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 who are well advanced." 
 
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 ElGHT EASY LESSONS on the ART of DRAWING in PER- 
 
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 The Jesuits' Perspective. 
 
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 Figures: a Work highly necessary for Painters, Engravers, Architects, Em- 
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 One Volume, 4to. with 150 Copperplates, price 11. 11*. 6d. 
 
$24 Books printed for Sherwood and Co. Paternoster-Row . 
 
 Fenelon's Manual of Piety, translated by Mrs. Mant. 
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 ^ Young Persons, or as a Reward -Book in Schools, 
 
 ■MANUAL of PIETY ; containing PIOUS THOUGHTS con- 
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 >'* LIFE, and the ATTAINING CHRISTIAN PERFECTION; and PIOUS REFLEC- 
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