of the Body yield or turn something away from the Eye then you must decline that part which turneth according to proportion and likewise if any part of the Body do appear to the Eye to foreshorten as when it doth hinder the sight of the full Latitude of that part of the Body Therefore I say upon such occasions the Body or part of the Body must be made to decline and foreshorten according to that proportion that the Eye doth guess of it therefore be sure to observe your exact distances one from another how farre the one is distant from the other you must observe also how much one part of the Body sticks out beyond the other be carefull when you draw a naked Figure to draw nothing hard but to shadow it fine and soft as possible you can and not to draw the out-Circumferences sharp or stiff but as loose as possible A way to take the perfect out-Lines or Circumferences of any Painting or Print whatsoever Take a sheet of Venice Paper and dip it in Oyl or take a Feather and wet the Paper all over with Oyl of Turpentine then take a clean linnen Rag and after the Oyl is soaked into the Paper a while rub the Oyl clean off from the Paper as clean as you can for if the Paper be Oyly it will spoil any Print because that the Oyl will soak through Then having prepared the Oyl-Paper take it and lay it upon the Painting or Print which you intend to draw after and you shall perceive all the Painting very clearly through the Oyl-Paper Then you take a black lead Pensil and draw upon the Oyl-Paper all the out-Lines and Circumferences thereof then take a piece of Charcole or a piece of black Lead and scrape it upon the backside of the Oyl-Paper then take a Feather and rub it all over and shake off the rest this being done take a sheet of clean Paper and lay under the Oyl-Paper then take a Stift and draw all the same stroaks which you drew before upon the Oyl-Paper over again then take the Oyl-Paper off from the other and all the same out-Lines will be upon the clean Paper then if you think good you may finish it up according to the Painting or Print you draw it after A way to decline or bring any Painting or Print into a lesser compass If it be a Painting that you intend to decline then you take a pair of Compasses and divide the length of it into so many equall parts as you think convenient and the breadth also with the very same distances then you must take a piece of Packthread and chalk it then take that Line and strike upon all the parts which you divided with your Compasses so many strait Lines as there are parts in the length then strike them Lines that go in the breadth quite across them in the length so that it may be all uniformed so the like with that as you would have smaller or greater according to your intention and by the distances in the Chequers you guess to draw it smaller accordingly A further direction for Drawing Be sure to place all the Muscles in their right and proper places By the Muscles I mean the shadows that are caused by some dents or swellings in the face or body therefore labour to find out the reason of every Muscle that so you may proceed to work with the more judgement you shall perceive the most Muscles in old and withered faces First you must draw the principle of them and then place the features exactly in their right places observe to shadow them rightly and be sure not to make them too dark where they should be faint for if you should you can never recover it to make them light again the shadowes are generally fainter and lighter in a fair face then in a swarthy complexion And when you have finished your draught you must give it here and there a hard touch where it is darkest shadowed which will adde a great life and grace to it Certain choice Observations concerning Miniture or Limning ERe you begin to paint you must be exact at Design or Draught so as to be able to Copy any Picture in black and white with Cole-black Chalk Black Lead or the like The Colours to be painted with are thus termed White Cereus White Lead Red India lake Red Lead Mynne Yellow Masticot Yellow Ocur English Ocur Green Sap green Pink Blew Verdure Green Bice Terra Vert. Blew Indico Vltra marine Blew Bice Smalt Brown Spanish Brown Collins earth or Terra de Coloma Vmber Black Cherri-stone Ivory black Lamblack As for Vermillion Verdigrease Orpiment c. they are too course and gritty to paint in Water-colours Turnsoil Litmus blew Rosset Brasill Logwood Saffron are more fit for washing Prints then curious Limning Grisatrice Faint shade for the Face Mingle together white English Ocur Indico a little Masticot Deep shade White English Ocur Umber Dark shades in mens Faces India-Lake and Pink mixt Ruddy Compl. Mine Vermilion Lake Cereus Ana q. s. Mingle white Lead with all the shades Bise To Wash Bise Grinde the Bise first very purely then fill a shell with clean water put the Bise therein stir it and let it settle an hour then reserve the bottome and blow oft the top To deepen this use Litmus Water Deepest shade Umber Cullins earth Pink Lake Ana q. s. Observation in Grindeing Leave not your Colour too moist but thick and clammy if after your Colour be dry you rubbing your finger thereon finde any to come off it must be better bound with Gum Black Cherystone burnt good for Drapery Cereus White To make your Cereus or white Lead that it shall neither rust nor shine both which are no small inconveniences go this way to work before you begin to grinde either of them lay them in the Sun to dry two or three dayes which will exhale those greasie and salt humors that poyson and starve the Colours besides you must scrape away the superficies of the white Lead and only reserve the middle of it grinde it with fair water or Rosemary water with a Pebble on a Porphir When 't is ground have in readiness a Chalk stone with Furrows in it into which put the Colour while 't is wet and it will be exceedingly cleansed thereby After it is through dry reserve it in clean papers and when you would use it put it in a Muscle shell with Gum water made of the whitest Gum Arabick Colours to be ground are these Cereus white Lead India Lake English Ocur Pink Indico Umber Spanish Brown Cullins Earth Cheristone Ivory Colours to be washt are these Red Lead Minne Masticot green Bise Cedar green Ultra Marine blew Bise Smalt Verdure Sap green India Lake Purple Grinde this with Gum water when 't is ground fine before you put it in a shell mix a little powder of white Sugar Candy with it which will make it not crack after this Temperature you may
spread it with your finger thinly about the shell English Ocur Yellow This Colour lies even in the shell of it self and is of great use especially if well ground Pink Green The fairest Pink is best wherewith well ground and tempered with blew Bise makes an excellent green to deepen this Colour in Landskip or Drapery use Indico very finely ground Vmber Brown This Colour is somewhat greasie to cleanse which burn it in a Crucible afterwards grinde it and it will be good Spanish Brown Dark Red Because this Colour is very course you may use Umber and a little Lake tempered instead thereof which is as good Black Black Cherristone and Ivory are both to be burnt in a Crucible and so ground Cherristone is good for Drapery for a black Sattin temper with it a little white India Lake and Indico heighten it with a lighter mixture deepen it with Ivory black This was Hilliards way Ivory Ivory Grinde Ivory with Sugarcandy Colours to be washt and how Red Lead One Instance may serve for all and that shall be of red Lead whereof take as much as you will an Ounce or two put it into a Bason or earthen Dish full of fair water stir it a while together till the water be all coloured let it stand and you will soon perceive a greasie scum to arise which with all the water cast away put fresh water to it and do as before a second time but before the water be half setled pour all the water into a clean Dish to this water in your second Bason you must adde more clean water and mingle both together then let it settle afterwards pour out the water and that small pittance at the bottome is only good which after 't is dry must be taken off with a Feather and put up in papers for use To use it spread a little of it about the sides of a shell and with your finger temper it with Gum water Pencils Choose such Pencils as are clear sharp-pointed not dividing into parts of these you must have in readiness a several Pencil for every several Colour To prepare a Tablet to work on with Miniature for Pictures by the life Take an ordinary playing Card pollish it with a Dogs tooth and make as smooth as you can the white side of it cleansing it from all spots and extuberances then choose of the best abortive Parchment a piece proportionable to your Card which piece with fine and clean Starch paste fast on the Card temper the Starch before you paste it on in the Palm of your hand that it may be free from knots let the Card thus pasted dry then making your Grindeing stone as clean as may be lay the Card thereon with the Parchment side downward then with a tooth burnish or pollish the backside as hard as you can Note that the outside of the skin is best to paint upon and must therefore be outmost To Prime for a Face Your Card thus prepared you are to lay a Ground or Primer of flesh Colour before you begin your work and that must be tempered according to the Complexion of the Face to be drawn if the Complexion be fair temper white red Lead and Lake if an hard swarthy Complexion mingle with your white and red a little fine Masticot or English Ocur but note that your Ground ought alwayes to be fairer then the Face you take for it is a facile matter to darken a light Colour but a difficult to lighten a deep one for in Limning you must never heighten but work them down to their just Colour Your Ground thus prepared you must lay it on the Card ordered as before with a Pencil bigger then ordinary lay it on as smooth even and free from hairs of your Pencil as 't is possible which that you may do fill your Pencil full of Colour rather thin or watrish then thick and gross and with two or three daubes of your great Pencil lay it on in an instant the nimbler it is laid on the evener the Colour will lie Note Note that you ought to cover rather too much then too little with this Prime cover 〈◊〉 what more of the Card with the Ground Colour then you shall use for the Face This done take a pretty large shell of Mother-pearl or another shell and before you 〈◊〉 work temper certain little heaps of several Shadowes for the Face which you may dispose about the edges of the shell The Order of Shadowes for the Face Shadows In all your Shadows remember to mix some white exempli gratiâ for the red in the Cheeks Lips c. temper Lake red Lead and a little white for the blew as the Veines c. a little Indico and white for blew Bise is never used in a Face for the faintest and weakest Colour or Shades Lake-white a little Ocur and a little Indico adding thereto if you will a small pittance of Pink or Masticot for the deeper Shadows white English Ocur Umber for the darkest and hardest Shadows use Lake and Pink mixt with Umber Note that black must not by any means be used in a Face for other Shadows your own observation must direct you for it is impossible to give a general Rule for the Shadows in all Faces unless we could force Nature to observe the same method in Composeing and Modelling them so that one in every Punctilio should resemble the other Light For your Light to draw by a Northern is accounted best which if it fall sloping down from an high window is best of all Position Place your self so to your Desk that the Light may strike in sidelong from the left hand to the right and observe that in all your work it will shew to the best advantage when 't is turned and seen by the same Light it was drawn by Necessaries in Painting Let a Saucer or clean shell of fair water be ever on your right hand wherewith you may temper your Colours and wash your Pencils which you must have on your right hand too together with a brush-Pencil dry to brush and cleanse your work from dust also a sharp Pen-knife wherewith to take away such spots or hairs as may casually mix with your Colours or fall into your Card you may also conveniently cover your Picture with a piece of paper whereon to try your Pencils before you begin to work To begin a Face The first Draught Having these accommodations draw the Lines of Porphile i. e. the outmost stroaks of a Face with Lake and white mingled very faint by this you may conveniently mend the Draught if false with a deeper mixture of the same Colour the Lines being exactly drawn and true proportion observed which is the chiefest thing of concernment next observe the deeper and more remarkable Shadows and with the same faint Crimson Colour of Lake and white give some slight touches and marks somewhat roughly of these Shadows which afterwards you 'l finish The Order to be observed in drawing by
a Card for a Picture Wet a Card all over with a great Pencill so soon as the water is sunk in burnish it smooth on the backside having beaten some Starch with a Knife in your hands palme spread it over instantly lay on a piece of abortive Parchment let it be prest in a book till it be almost dry then smooth it on the backside To preserve Colours fresh some grind them with the Gall of a Neate To prepare White excellently White Take some Cereus which being grosly bruised and put into a fine earthen Basen put to it a good quantity of running Water distilled wherein wash the Cereus till it be throughly clean and purged which you shall know by the taste of the Water which is drained from thence Vernish Vernish is made thus Take of Oyl of Turpentine one pound Sandrake one pound Oyl of Spike one pound mix the Oyles together and let all stand over the fire till the Sandrake be â—esolved if the fire should chance to catch hold of this clap a Pewter Dish over it Concerning Wax work or Moulding To make the Moulds The Mould Take a good big lump of Plaister of Paris and burne it in a Crucible till it be red hot let it coole then beat it very fine and searse it through a Tiffany Sieve be very cautious that the Wind come not at it for that will hinder its hardening after it be tempred keep it wrapt up in a cleane brown Paper Use it thus Take any Earthen or Pewter Vessel that is shallow and put ten or twelve spoonfulls of fair Water in it then prepare your fruit and bind a Ragg round it like a Cord in a wreath long wayes on the fruite then take some Linseed Oyl or which is the more cleanly Oyl of sweet Almonds with which in a Pencill besmeare the Lemmon or what other fruit it be on one side which lay upermost your Lemmon thus prepared take up some of your sifted Plaister of Paris and temper it in the forementioned Water to a pretty thickness then as speedily as may be with the help of your Spoon cast it on the Oyled Lemmon lay it on very thick least the thinness of the Mould spoile the work when 't is hardned which will be in a small time take away your Ragg leaving the Linnen still fast in its half Mould Which done turne the hardned side downward then Oyl the other half of the Lemmon together with the edges of the Mould which the Ragg did cover then wash your Poringer or Vessel where the former Plaister was clean and prepared and cast on more Plaister of Paris as before observe it must not be too thick when you cast it on and after 't is hardned you must put no more water to it for then it will crumble when you have done the Moulds so and made a notch that one may fall fitly into the other tye them close together having before well Oyled them and keep them for use To Cast in these Moulds To Cast Use the whitest and purest Virgins Wax To colour the Wax answerable to the things you Mould To colour For a Raddish your Ground is Cereus which must be afterwards Painted over with Lake the top of the Raddish Painted with Verdigrease all other such Colours must be tempered with Gum-Water Gum-Water is thus made Disolve a lump of clear Gum Arabick about the bigness of a Wallnut in two spoonfuls of fair Water herewith temper your Colours Note that every thing Mouldable is either all of one and the same colour as a Lemmon or striped and particoloured with different colours as a Pare Paremaine c. Now such as are of one colour may be easily cast all of the same colour but such as are variegated must be kept out afterwards by colours tempered with Gum-Water as above you colour your Wax by putting into it whilst it is hot and melted in a Gallypot a little Linnen Bag of that colour you use provided that the colour be before bruised very fine As to particulars for the Lemmons or Apricocks take only Turmerick in a Bag for Oranges Turmerick and red Lead well tempered Apples Peares or Grapes Turmerick and a little Verdigrease mixt Wallnuts and Figs Turmerick and English Ocre and Umber all in a bag together Cucumbers or Hartichoakes Peasecods or Filbirds Turmerick Verdigrease Eggs and Cereus all put in severall Bagges and steept in the Virgin Wax when 't is melting as before mentioned for Damsons bruise Charchoale Indico and blew Starch in a Bag together for flesh colour White Lead and Vermilion mixt c. To counterfit Rochcand'd Sweetmeates Rochcandy Disolve the quantity of a Wallnut of Gum Arabick in two spoonfuls of clear Water let it be very thick then take any piece of broken Venice Glass the thicker the better beat it in a Mortar so small as you please that it may serve your occasion daub over some cast Sweetmeats with the forementioned gum-Gum-Water strew this Pouder on them and 't will with much delight satisfie the expectation Additionall Observations out of a Manuscript of Mr. Hilliards touching Miniature When you begin to Paint temper all your colours a fresh with your finger in your shell or on your pallat Pearle Your Pearl must be laid with a White mixture with a little black a little Indico and Mastick but very little in comparison of the White not to the hundredth part that dry give the light of the Pearle with a little Silver somewhat more to the light then the shadowed side then take a White allaid with Masticot and underneath the shadowed side give it a compassing stroake which shews a reflection then without that a small shadow of Sea Cole undermost of all But Note your Silver must be laid round and full The Grounds and Rules of Etching BEfore that you begin to Etch upon Copper it is very necessary to practise the Art of Drawing till you be able if need require to Draw any Head after the Life or to Draw a designe Therefore if you intend to practise the Art of Etching you will find it very profitable to Draw after good Prints which are well designed and Graved and when you have practised so long that you are able to Coppy any Print or Drawing very exactly then Draw after good Heads of Plaister or Figures according to your own fancy which will learn you to shadow according to Art if well observed therefore be sure when you Draw after Plaister to observe very exactly to take the true out-lines or circumferences and then take notice how the shadow falls then shadow it very faint and soft where need requires accordingly The Prints which I recommend unto you as absolutely the best to learne to Etch after be the Prints of Henry Goldshis and Hermon Muller Therefore it is very convenient to learn to hatch with the Pen exactly after either of the aforesaid Prints of Goldshis or Muller and when you have brought it to that perfection and can Draw very
well after Plaister you may practise to Draw after the Life but before you Draw after the Life you must be very exact and true in your out-lines or circumferences The Instruments with their particular names which are used to Etch withall A Copper plate polished a piece of Ground bound up in a piece of Silk or Taffety and preserved from any dust or grease and about twenty Needles of all sizes the best are made at Cleafe then take the Needles and set them indifferent deep into some round slender sticks about a span long with a Needle at one of the Sticks and a Pencill at the other a scraper a polisher and two or three good French Gravers well ground and whetted and a pair of Compasses a Ruler some green Wax a Bottle which holdeth some halfe a pound of single Aqua fortis stopped close with soft Wax some white Lead a Stift a hand Vice to hold the Plate over the fire an Oyl-stone The use and property of every particular Instrument The Copper Plate is the only Object to Etch upon the Ground is to lay upon the Copper Plate when they are both warmed your Needles are to Hatch withall upon the Ground the Pencill is to wipe away the bits of Ground which rise when you Hatch upon the Ground with your Needles the Scraper is to scrape out any thing that is amiss the Polisher is to make smooth any place that is rough so that you can mend any place that is amiss according to your own mind the Gravers are to mend here and there a stroake where need requires But Note That your Gravers must be ground and whet very sharp and smooth upon an Oyl stone before you use them Your Compasses are of very little use in Etching except it be to measure a distance or strike a Circle The Ruler is used to Hatch all the straight Hatches or Lines upon the Plate The green Wax is used to make a Wall round about the edges of your Plate to keep the Aqua fortis from runing off from the Plate The Aqua fortis is the finisher of the work when you have Hatched the designe upon the Plate with your Needles The white Lead is used to scrape upon the backside of the Drawing or Print that you Etch after The Stift is used to Draw thorow all the outmost Lines or circumferences of the Print or Drawing which you Etch after The Oyl stone is to whet your Gravers upon Having these things in readiness Note that if it be a black Ground that lies upon the Plate then you must take white Lead and rub it upon the backside of the Print or Drawing which you intend to Etch after but if it be a white Ground then you must take black Lead or a piece of Charchoale and rub on the back of your Print as aforesaid The manner and way to make the Ground Take a quarter of a pound of Virgins Wax and half a quarter of a pound of Expoltum burnt of Amber one ounce of Mastick one ounce Having all these Materials in readiness you must take the Mastick and the Expoltum and beat them very fine in a Mortar this being done take a new earthen Pot and put the Wax into it and set it upon the fire till it be just melted then take the Mastick and the Expoltum and shake them in by degrees stirring the Wax about till they be throughly mingled with the Wax but let it not stand too long over the fire nor let the fire be too hot which if you do it will burn the Ground therefore when they are throughly melted take it off from the fire and poure the Ground out into a Pot of fair Water and make it up into a Ball and preserve it from dust and when you will use it take a quantity of it and bind it up in a piece of Taffity or Silk and use it as hereafter Etching A red Ground Grind red Lead very well tempered with Vernix A white Ground Take of Wax one ounce Rosin two ounces melt them together add thereto a quarter of an ounce of Venice Cereus finely ground A black Ground Spaltum Asphaltum two parts Bees Wax one part melt them together being warme lay it thinly on with a Lawne ragg Another Ground Grind red Lead with Linseed Oyl Note your Ground must be laid very thin The manner and way to lay the Ground upon the Plate Take some Charcole and kindle them this being done take the hand and screw it fast to one of the corners of the Plate as near to the edge as you can because you must lay the Ground all over the Plate then take the Plate and hold it over the fire till it be so warme to melt the Ground then take the Ground which is bound up and rub it to and fro upon the Plate till it be covered all over alike then take one of the stiffest Feathers out of a Ducks Wing that is not ruffled and spread the Ground very thin and smooth every where alike upon the Plate but have a speciall care you heate not the Plate too hot least you burne the Ground which if it be the Ground will break up when you put on the Aqua fortis and spoile the Plate you may discover when it is burnt by its rising sandy which if you perceive you must take a clean Linnen ragg and warming the Plate wipe the Ground cleane off and lay a new as aforesaid But if you perceive the Ground to be smooth and not sandy take it off from the fire and when it is cold take a piece of Link and hold under the Ground till you have smoaked it very black but let not the flame touch the Ground least you burn it this being done if the Plate be cold hold it over the fire again till it be just warme to let the smoake melt into the Ground that it may not rub off under your hand then hold it off from the fire with the Ground-side of the Plate downwards for to preserve it from the dust otherwise when the Ground is warme dust will flye therein and spoile it therefore you must hold it with the Ground-side downwards untill the Ground is cold The way to Draw the outmost Lines of any Print or Drawing upon the Ground of the Plate First take the Drawing or Print which you intend to Etch after and scrape a little white Lead upon the backside of it then take a Feather and rub it over every where alike and shake off that which remaines then take the Print and lay it upon the Plate on that side the Ground is then fasten the four corners of the Print to the Plate with a little soft Wax this being done take the Stift and Draw upon the Print all the outmost circumferences and Lines exactly and when you have so done take off the Print from the Plate and all the same out-lines and circumferences which you Drew upon the Print with the Stift will be exactly and
and try as before and if you see it to be enough pour the Aqua fortis from the great Plate and wash it with a little fair water before you warm it or else the Aqua fortis will stain the Plate A way to lay a white Ground upon a black First you must understand that most grounds are black and when you lay a white ground upon a black you must not smoak the black with a Link and you must lay the undermost ground the thinner when you lay a white ground upon it and if you would lay a white ground upon a black take a quantity of Surice as much as you think will cover the Plate and grinde it very fine with Gum water and temper it very thinne then take a Pencil and wash the Plate all over very thinne and even The way to lay a red Ground upon a black Ground Take red Chalk and grinde it very fine with Gum water then take a pretty big Pencil and wash the Plate all over with the red ground very thinne and smooth as before is mentioned A Receipt for a Ground taken out of a Manuscript of Collots Take a quarter of a pound of Virgins wax and half a quarter of a pound of the best Expoltum burnt of Amber and half a quarter of a pound of Mastick if it be warm weather because it doth harden the ground and preserve it from injury when you lean with your hand hard upon it if it be cold weather then take but an ounce of Mastick this being observed then take an ounce of Rosin and an ounce of Shoomakers Pitch and half an ounce of other Pitch half an ounce of Vernish having all these materials in readiness take a new earthen Pot and put the Virgins wax into it and when it is melted stir it about and put in the other materials by degrees as before-mentioned and when they are throughy mingled and melted take the Pot off from the fire and pour it out in a clean Pot of fair water and work it into a Ball and preserve it from dust and grease and when you have occasion to make use of it take a quantity thereof and binde it up in a piece of Silk and make use of it as before-mentioned The Ground of Rinebrant of Rine Take half an ounce of Expoltum burnt of Amber one ounce of Virgins Wax half an ounce of Mastick then take the Mastick and Expoltum and beat them severally very fine in a Mortar this being done take a new earthen Pot and set it upon a Charcolefire then put the Virgins Wax into it and melt it then shake into it the Mastick and Expoltum by degrees stirring the Wax about till they be throughly mingled then pour it forth into fair water and make a Ball of it and use it as before-mentioned but be sure you do not heat the Plate too hot when you lay the ground on it and lay your black ground very thin and the white ground upon it This is the only way of Rinebrant The way to preserve any Ground which is laid upon a Plate in frosty weather Take the Plate and wrap it very warm in a woollen Cloth and lay it in the warmest place you can convenient for if the Frost is got into the ground it will break up when you pour the Aqua fortis upon it A way to preserve the Plate from injury of the Aqua fortis where the Ground breaks up If you perceive the ground to break up in any place pour off the Aqua fortis from the plate and wash it with a little fair water then take a quantity of Candle-tallow and melt it in a Spoon and while it is warm take a Pencil and cover the place which is broken up with the said Tallow and so far as the Tallow is spread the Aqua fortis will not eat some make use of Vernish in stead of Tallow and when you have covered the place that is broken pour on the Aqua fortis again and let it lie upon the Plate till you guess it hath eaten enough then pour the Aqua fortis from the Plate and preserve it then take the Wax-wall and preserve it also and wash the Plate with a little fair water then rub off your ground as aforesaid and for the places which the ground broke up in it must be helped with a Graver therefore it will be necessary for one that desireth to learn this Art to practise Graveing a little so much as to help a stroak where you think convenient A way to make the Aqua fortis eat soft or hard according to nature or Art First take Candle-tallow and melt it in a Spoon then with a Pencil cover that place so far as you will have it to be faint but note it to be after the Aqua fortis hath lain upon your Plate an indifferent while and so by degrees you must use the Tallow as you would have it fainter this is very necessary when you Etch Landskips which must lose and stand at a distance by degrees therefore when you Etch Landskips observe to stop off that place first which must be faintest and so by degrees stop it off and make it lose equally and note the nearer you come to the Eye it must be strongest and darkest shaded but not on that side from whence the light cometh for that side must be preserved as faint as may be but according to Art Observations in Etching Prospective Prospective is a thing that is one of the difficultest Arts to be rightly understood that is practised because it is not rightly understood but by a good Arithmetick otherwise you can never understand Prospective because you can never guess rightly how much a Pillar or a Figure or the like must decline or lose at their several distances according to Art and proportion therefore when you Etch a piece of Prospective after a Drawing or a Print observe these Rules beware of perfection at a distance and be sure to shadow that which is nearest to the Eye perfectest and strongest and the further from the Eye it must decline in length and breadth and heighth according to Art and proportion observe also to let it lose and be fainter by equall degrees A way to grave any Hand or Letter upon a Copper Plate Take some Charcole and kindle them then take a Hand-vice and screw it to the corner of the Plate and hold it over the fire till it be warm then take a piece of Virgins Wax and rub it all over the Plate untill it is covered every where alike this being done take a stiff Feather of a Ducks wing that is not ruffled and drive it even and smooth every where alike and let it cool then write the Hand or Letter which you intend to grave upon the Plate on a piece of Paper with ungum'd Ink then take the Paper which you have written and lay that side which is written downwards next to the Wax and fasten the four corners with a
black must be deepned with Ivory-black with which mix a little Lake and Indico or Litmus-blew Thus much for the second Sitting The Manner of Finishing at the third Sitting Third Sitting The third will be wholly spent in giving the strong Touches and Observations necessary for the rounding of a Face which you will now better see to do the Apparel Hair and Ground being already finished In this Sitting curiously observe whatever may conduce to similitude which is the chiefest thing as Scars Moles c. glances of the Eyes descending and circumflexions of the Mouth never make your deepest Shadows so deep as they appear in the life Thus much of the Face and three Sittings For Ornaments thus Ornament Armour-Silver For Colouring Armour first lay liquid Silver flat and even which dryed and burnisht with a Tooth temper the Shadows with Silver Indico Litmus and a little Umber work these Shadows on the Silver as directed by the life Gold Armour For the Gold Armour lay Gold as you did Silver for the Shadow Lake English Ocur tempered with a little Gold Pearls To express the roundness and lustre of Pearls your ground must be white and Indico your Shadow black and Pink Diamonds Diamonds are exprest with a ground of flat liquid Silver the deepening is Cherristone black and Ivory the deeper the Shadow the fairer the Diamond Rubies Lay a ground of Silver burnish it to the bigness of the Rubie then take Turpentine of the best and purest and temper with it very neat a little India-Lake then taking a Needle or some small iron Instrument heated in a Candle lay or drop a little of the Composition upon the Silver fashioning the Stone in a round or square or what fashion you please with the point of your Instruments you must let it lye a day or two to dry if it be too long in drying adde to your other Composition a little powder of clarified Mastick this Receipt is not commonly known Emeraulds For any green Stone temper your Turpentine with Verdigrease and a little Turmerick root first scraped with Vinegar then let it dry then grinde it to fine powder and temper it Saphires Mix Turpentine with Ultra Marine c. Note that the ground to all must be liquid Silver polisht A true Receipt to make liquid Gold Liquid Gold Take of fine leaf Gold the value of 2s 6d grinde this Gold with a strong and thick Gum water upon a reasonable large stone which you must grinde very fine and painfully as you grinde it still adde more of your strong Gum water and though the Gold look never so black and dirty 't is never the worse having brought it to a competent fineness wash it in a great shell as you did Bise c. being very clean adde to it a little quantity of Mercury sublimate with the point of your Knife which you must temper with it and a very little Gum to binde it in the shell and as it settles and begins to dry in the shell shake it together and remove and spread the Gold about the sides of the shell that it may be altogether of one Colour and fineness use it with fair water as you do the other Colours Note So for liquid Silver only observe and 't is a Secret that when your Silver either with long keeping or moistness of the air becomes starvd and rusty you must to prevent this inconveniency before you lay the Silver Cover over the place with a little juice of Garlick which will preserve it Landskip Landskip In painting Landskip ever begin with the Skie and if there be any Sun-beams do them first Purple Clouds For the purple Clouds only mingle Lake and white Yellow The yellow Sun-beams Masticot and white Note 1. Work your blew Skie with Smalt only Note 2. At your first working dead-Colour all the Piece over leave nothing uncovered lay the Colour smooth and even Note 3. Work the Sky down in the Horizon fainter and fainter as you Draw near the Earth except in tempestuous Skies work your further Mountaines so that they should seem to be lost in the Aire Note 4. Your first Ground must be of the colour of the earth and dark yellowish brown green the next successively as they loose in their distance must also faint and abate in their colours Note 5. Beware of perfection at a distance Note 6. Ever place light against dark and dark against light that is that the only way to extend the Prospect far off is by opposing light to shadows yet so as ever they must loose their force and vigor in proportion as they remove from the eye and the strongest shadow ever nearest hand Dark green For a dark green for Trees mingle blew Verdure Pink and Indico the deepest shadowes of all in green are made with sap green and Indico A rare Secret to preserve colours Take Rosemary Water distilled and with a few drops of it temper your shell of White and you shall see it become instantly perfect White how ever dead and faded it was before Besides this Water allayes the bubbles in White and Umber which are usually very troublesome in the Grounding them Some generall Observations in Miniature 1. If your Colours peel or by reason of the greasiness of your Parchment will not lye on mix with them a very little Ear-Wax and 't will help them 2. Sit not above two yards from him you Draw by 3. Draw not any part in the Face of a Picture exactly at first neither finish a Mouth Eye or Nose till the rest of your work come up and be wrought together with it 4. When you have finished the Face make the Party stand up to Draw the Drapery by him 5. Let the Party you Draw be set in an higher Seat then your self that Draw To make Crayons or Pastils and Draw with them Pastils To instance one for all if you were to make a Pastill for a brown Complexion grind on your Stone Cereus red Lead or Virmilion English Ocre and a little Pink to this add a proportionable quantity of Plaister of Paris burnt and finely sifted mix this with the other Colours and you may role it up Note Mix white Cereus with all your other colours To use these Pastils Colour the Paper whereon you mean to Draw with a Carnation or flesh Colour with a wet Spunge Draw the out-lines faintly with red Chalk then rub in the Pastils finish and fill up all with black Chalk as you shall see occasion To make white Cereus Take two parts of ordinary Chalk and one part of Allum grind these together fine make them up in a lump burn them in a Crucible and use them To make white Lead White Lead Take a Gallypot whereinto put severall small plates of clean Lead cover them with white Wine Vinegar cover the Pot and dig an hole in a Cellar where let it abide for the space of six Weeks take it up and scrape off the White Lead from the plates To prepare