Selected quad for the lemma: end_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
end_n	draw_v	let_v	line_n	2,686	5	9.4422	5	true

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A94194	Graphice. The use of the pen and pensil. Or, the most excellent art of painting : in two parts. / By William Sanderson, Esq;	Sanderson, William, Sir, 1586?-1676.	1658 (1658)	Wing S648; Thomason E1077_2; ESTC R208648	74,435	105

ounces of Lint-seed oyle six ounces of yellow Wax two ounces of white Mastick four ounces of Colophonia four ounces of Rosin-Depino Greaseo one ounce of Turpentine Melt all these together in a fair earthen pot or pan well leaded put not all in together but one quantity after another as they melt cut the waxe in pieces it will melt the sooner stamp the Rosin and Caliphonia this done let it be luke-warme in any wise not hot mingle there with as best you may with your hand the Lapis Loculi ground and work it up in a lumpe and so let it rest a day or two then take a faire earthen pan or a dry smooth Bason almost full of water so warme as you may well indure your hand in it Then take the massy Lumpe and work it between your hands so long as you can see it sweate out a cleer water of a blew Colour and the longer it is before the drops come forth the better When the water is well blewed set it away and take another Bason or Panne of clean water and worke it as before then take another Panne a fourth and a fift till no more drops will sweat out letting the ground remain and dry throughly then with a feather wipe it off the panne upon a paper and so put it up the first blew that sweateth is best and so the rest in degrees You may put the worser sort into the like new Pastill again and work it over as before It will be the fairer but less in quantity There are other wayes pretended Note also that the Pastill can never serve but once and afterwards to make Lincks and Torches You may get some of the broken pieces of Lapis Loculi of the Marchants of ALEPPO the deepest colour the best To work in Croyons or Pastills I observe three manners of wayes The first and worst is that of Monsieur de Mousters of Paris whose custome is to ●ub-in several Colours being first reduced into powder and set in severall small boxes upon the paper which commonly is the whitest and this he doth with severall stubbed Pensils the ends fitted with Cotton or Bumbaste His work is reasonable neate but not lasting there being nothing to bind on the Colours which commonly fall off and the work lost or defective The second is with Pastills the length of a finger or thereabout composed of severall Colours mixt and ground together of a good consistence and stiffnesse and so rouled up and laid to dry They have used to make them up with Milk Beer or Ale or new Wort others with old rotten size to bind the Colours together The last and best as I conceive is to Colour the pa●er whereon you intend to draw the Picture with Carnation or flesh Colour neer the Person's Complexion you mean to draw Cover the whole paper for some complexion with Ceruse Mene and a little yellow-Oaker ground with Gum When you prepare one paper do so with many other papers to save labour and those with different complexions untill you have use of them Lay the Complexion with a sponge wet but let it be so bound as it may not come off with rubbing this done dry draw your outward lines with red-Chalke faintly Then with your several Pastills rubbe in the Colours with your fingers-fingers-end sweeten and mixe them together driving them one within another after the manner of the Oyl-Painters and because you cannot sharpen your Pastills as shall be needful you must remember to close up all the worke with Red-Chalke and black-Chalke which with your Pen-knife sharpen at your pleasure I have seen a book of Pictures in this last manner of Croyon done by the hand of that incomparable Artist Hans Holben who was servant in Ordinary to KING Henry the Eighth They were Paintings of the most ENGLISH LORDS and LADIES then living and the patternes whereby he drew their Pictures in Oyle Many of those Pieces in the book were spoyled by the injury of time and the ignorance of such as had it in custody Yet there appear'd in those ruines and remaines an admirable hand and a rare manner of working in few lines with much diligence and labour in expressing the Life and Likenesse Many of them equalling his own Oyl-Pictures and alwayes excelling any other Artizan After a long time of Peregrination this Book fell into the hands of the late Earle of Arundell Earle Marshall of ENGLAND an eminent Patron to all PAINTERS and who understood the ART and therefore preserved this BOOK with his Life till both were lost together The Ordinary working in Croyon is upon blew-paper the Colour rubbed-in first with the Pensill and afterwards either with a stubbe-Pensill with your finger or with a little piece of paper or with a sponge or otherwise You may also work in Croyon upon Parchment exceeding neat and curious in that manner as these small Pieces to the Life done upon Velome Parchment and white Paper also by the admirable Artist and Gra●er in Brass Henricus Jessius at Harlem in Holland The faces no bigger than a Jacobus in Gold coine His Pastills of the shape and bigness of a tackpoynt but longer they might compare with Limning and seemed so to the suddain view They were rubbed-in with small Cotten-pensills and were finished with sharp poynted Red-chalke and Black-chalk The true way of making the Pastill is the secret of the Art and so you may remember that I said some make them of Ale-wort and such trash to tell you the difference not to teach you those wayes for either they bind so hard that they will not mark nor score at all or else so loose and brittle that you cannot bring them to finenesse For tempering so many Pastills for change of Colours in the Face I Shall onely direct you in one COLOUR for example of all the other For a Brown Complexion Grind upon the stone Ceruse Red-leade or Vermillion for this is a more useful colour in this kind of work then in Limning English Oaker and a little Pinke you need not grind them very fine but onely to bruise and mixe them well together To these adde a reasonable quantity of Plaister of Paris burnt and finely sifted mixe and incorporate this with the other Colours thick and stiff like moyst clay then take it off the stone and roule it betwixt the palmes of your hand as long or as little as you list then lay it to dry in the Sun or Wind but not by the Fire In this manner and with mixture of Playster of Paris temper all the other shadows and Colours whatsoever the quality of this plaister of Paris is to binde the Colours together and to make them durable which otherwise would be loose and brittle With your Pen-knife scrape them being dry to a fine poynt so sharpe that you may with it draw a haires breadth and this Plaister makes the Colour so hard and drye that you may draw

excellent f●eshy shadow But to prescribe an absolute and generall Rule is impossible Nature is so infinite various in the Colours and shadows of the face differing one from the other that what e're can be said your own discretion and practice by the Life will be the best direction Yet this and what I say hereafter will be a great furtherance to your ingenious Indeavours To Order your Light AND now notwithstanding the former preparations very necessary yet take this Observation of your Light being of the greatest importance and therein I advise you to be curious Make your Light with a Curtain or windowshutters somewhat cleer with soft and gentle reflecting upon the Person to be drawn for a glaring bright light makes hard and unpleasant reflections and shadows And because the Sunne is an enemy to this work choose your Light Northwards towards the East one single Light only great and fair without any reflection of Trees or Walls let it be high and so your shadows will fall downward● rather then traverse-wise and the work will be the fa●rer and rounder Place your self to your Deske that your Light may strike inside-long from the left hand to the right your work will shew with more advantage being turned and viewed to the same light that it was wrought unto Have a clean Sawcer or Shell of Water to wash your Pensils and another of Water to temper your Colours Have a dry brush-Pensill to clean your work from dust A neat and large Penknife to take away such spots or haires that may mixe with your Colours or fall upon your Card Place all these on your Right hand You may likewise cover your Piece with a small paper whereon to try your Pensills and Colours before you begin to work Thus setled Draw your Lines purfle of the face with Lake and White mingled together very fine so that if haply you mistake your Draught at the first yet you may with a strong Stroke draw it true and the other Line be no hinderance to the Worke it being faint and not easily discernable The Lines thus truly drawn of the face somewhat sharp and neate wherein you are to be very exact ●bove any other directions observe the deep and most remarkable shadows for your better memory and help when you come to go over them more exactly And now you may if you please draw out also the fashion and portraicture and that part of the body which you will joyn to the face commonly not much beneath the Shoulders wherein observe the Life so much as possibly you can that part you may draw with a strong and darke Colour it being easie to change or deface in case you mistake in the just proportion The Generall manner of working in Limning IT is ano Art so curious and difficult to describe by my Pen that many Prac●it●one●s with much Industry and the help of Demonstra●ion have not easily proved Proficients as in these populous Nations of England France and others which draw but few famous Masters out of thousands Practitioners In England at this day are the most and best famous in Christendome Yet according to the Italian Proverb A buen Indentore poch● parola basta so I doubt not but your ingenious capacity and knowledge I● speak to a Gentleman having already rendred you Master in Studies very likely much above this either in Honour or Profit will by the same industry easily conceive me and with ordinary diligence and practice you may likewise attain to express the Life with the Pensil by what I shall deliver in this dead GODOUR Observations The order you are to follow to the Life is to observe somewhat the manner of Oyl Painters The first sitting to ●●ad-Colord●he face only ● not troubling your self at all with the 〈◊〉 of Hairs ●pparrell c. Which commonly takes up the time of two houres or if very exact three or foure houres The next s●●ting requires four or five hours for in that time you are to goe over the face very curiously observing whatsoever may conduce either to the Likeness which is the Principal● or to the judicious Colouring and observation of the severall graces ●eauties or deformities as they appear in Nature or else in close sharp neat workmanship and sweetnesse of the 〈◊〉 and smooth touching of the Colours The third sitting is commonly the work of two or three hours and is spent in cloathing what was before left imperfect and rough but principally in giving to every deep shadows their strong and deep●ing touches as well in dark shadows of the Eye and Face Eye-brow Haire Eares c. And these Observations and touches are ever the last part of the businesse and are never done till all the Haire Apparrell c. be finished for this being wrought with judgment and discretion adds exceedingly to the Life likenesse and roundnesse of the Picture It is like to a Consort of Mu●icke which is relished in the Close Colours to the Complexion AND first to speak of dead-Colours the manner of working is sutable to the Name to be done rough and boldest of all Having drawn the face with Lake and White as before said you may take to this Colour a little Red-lead tempering them to the Colour of the Cheeks Lipps c. but very faintly for you must remember that in this and all other Colours in Limning you may adde when you please to make your Colour deeper or stronger but be sure not to make it too deep or too strong for you can hardly help it without defacing or spoyling the Picture Because as I have told you before you can never heighthen in this Art except the two bright lights of the eyes and touches of the Haires Thus much in generall And now we come to the particular Working The first sitting to worke in particular THe comlinesse of the face consists in three abilities Beautifull Colour or Complexion true Proportion and Favour and Grace in the Countenance The curious Artist must watch and catch the lovely graces witty smilings short and suddain which pass like Lightning In smiling how the eye changeth and narroweth holding the sight between the Lidds as a Cen●er ●ow the Mouth extendeth little at both ends of the Line upwards the Cheeks raise themselves to the Eye wards The first Coloer to begin the face are the Redds of the Cheeks and Lipps somewhat strongly in the bottome of the Chin if the man be beardless as also over under and about the Eyes you will perceive a delicate and faint Redness and underneath the Eyes somewhat inclining to a Purple Colour which in fair and beautifull faces are very ordinary and must be diligently observed The 〈◊〉 commonly is Reddi●● and a little Crimson and sometimes the Roots of the ha●re also All these you must work after the manner of 〈◊〉 Ha●ching or Drawing your Pensill along and with faint and gentle stroakes rather washing then wipeing it with stroaks