Selected quad for the lemma: water_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
water_n	pound_n	put_v	sugar_n	7,593	5	10.9184	5	true

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A29815	Ars pictoria, or, An academy treating of drawing, painting, limning, and etching to which are added thirty copper plates expressing the choicest, nearest and most exact grounds and rules of symetry / collected out of the most eminent Italian, German, and Netherland authors by Alexander Browne ...	Browne, Alexander, fl. 1660-1677.	1669 (1669)	Wing B5097; ESTC R19752	72,506	182

Earth as well observed that Country Fellow in Greece of a Painter whether it were Aristides or Pamphilus I do not well remember who had painted a Bird upon an Ear of Corn without making the stalk bend a jot In like sort the motions of other unsensible things as quivering of Feathers of wings and plumes the wreathing of ropes the knots of hands flying of straws dust c. must be expressed according to the violence done unto them to the end there may no occasion be given unto the meanest to tax and carp at Painters otherwise most excellent as not long since fell out in the work of a good carver vvho in the vvrong side vvhere he had carved Michael Angelo made a blind Beggar led by a Dog tyed with a string about his Neck which seemed to be so stretched that it was as stiff as a staff without any bowing which gave occasion to a waggish Boy to scoff at it saying that if the Dog had straitned the string so harde he had either been strangled or not able to go any farther which caused certain Painters which were there to break into an extreame laughter Many such blame worthy motions may be found in Pictures which would not so easily escape the hands of Painters if in every thing they Paint they did consider that it is their own disgrace be it never so small as the most diligent Leonard and Caesar Sestius did out of whose hands there never came any unperfect piece of work for in the smallest herbs you shall find their most true Proportion and Natural Motion Albertus Durerus was no less careful in this behalf as may sufficiently appear by his prints and coloured pieces in which you shall find the legitimate motions even unto the smallest hairs of the beard as in that of the Duke of Saxony which was also drawn again by Titianus and afterwards in the hairs of St. Sebastians dog in the print of the horses of sense and death and in the great leaves of Adam and Eve The motions of the Sea must be otherwise expressed by representing the divers agitations of the waters as likewise in rivers the flashing of the waters upon Boats and Ships floating up and down on the waters through the uncertainty of the surges and the Ships resistance We must also represent the motions of waters falling down from an high place but especially when they fall upon some Rock or stones where you shall see them spirting up into the Air and sprinkling all about Clouds also in the Air require to have their motions judiciously expressed now gathered together with the winds now violently condensated into Hail Thunderbolts Lightning Rain and such like Meteors Finally you can make nothing which requireth not his proper motions according unto which it ought to be represented but having hitherto sufficiently as I suppose discoursed of these kind of motions I will here shut up all with the most hot and vehement motions of the flaming Fire hastening towards an end as that doth naturally although it be diversly stirred and blown with the wind whereby notwithstanding gathering more force it is augmented and increased THE Art of Miniture OR LIMNING I Hope that no Ingenuous person will be so bold to attempt this Art before he can design that is to say further than Copying any Picture in black and white as Cole black Chalk black Lead or the like It is necessary to draw much after good Heads of plaister of Paris because the difference is much more difficult to draw after a round then a flat and after you have practised much by the Heads of plaister you must endeavour to draw much after the life in black and white before you undertake the Art of Limning The Colours to be used in Limning are termed thus Whites Flake white Serus Red Carmine Indian Lake Red Lead Indian Red Burnt Ocur c. Yellow Masticot Yellow ocur Eng. ocur Pinck Greens Sap Green Pinck and Bice Green Bice Terra Vert. Blews Vltra Marine Dutch Bice Smalt Indigo Browns Gall Stone Mumme Cullins Earth Vmber Rust Blacks Ivory black Sea-cole Lamp black Cherry Stone As for Vermillion Verdigrease Orpiment c. they are too course and gritty to use in water colours Turnsoile Litmus blew Rosset Brasil Logwood Saffron are more fit for washing prints then curious Limning The way and manner of preparing colours White Lead To make your white lead that it shall neither rust nor shine both which are no small inconveniencies in the Art of Limning therefore before you grind either of them lay them in the Sun two or three dayes which will exhale those greasy and salt humours that poyson and starve the colours besides you must scrape away the superficies of the white lead and only reserve the middle of it then grind it with fair water or rosemary water upon a Pebble or Porphire when it is ground have in readiness a chalk-stone with furrows in it into which furrows put the colour while it is wet and so let it dry in the Sun and it will be exceedingly cleansed thereby after it is through dry it must be washed in spring water as for example Let one Instance serve for all Colours to be washed and how TAke a Pound of white lead finely ground put it into a bason of spring water stirr it a while together till the water be all coloured then let it stand and you will soon perceive a greasy scum to arise which scum blow off and powre the coloured water into a clean bason leaving the grosser Body at the bottome of the bason behind it being good for nothing but grosser uses let the purer part stand One howre or Two untill it is quite setled then powre off the water from the colour and put it in fresh water and stirr it as before mentioned then let it settle half the time that it did at first and then powre off the water into a clean bason leaving the courser part behind and when it is dry put it up into papers for your use then let the other water which you powred off settle and then powre off the water from it and take the colour when it is dry and paper it as before for your use colours thus refined five or six times over are the purest and most fit for the best use and when you use it spread a little of it about a shell with your finger and temper it with gum water Colours to be vvashed are these follovving Red Lead or Mene Masticot green Bice blew Bice Smalt Vltamarine Sap green Colours to be ground are these White Lead Serus Indian Lake Brown Oker Yellow Oker Pinck Indigo Vmber Cullins earth Cherry stone Ivory Lamp black Indian red Of the Nature of Colours in general English Ocur Yellow This colour lies even in the shell of it self and is of great use especially if well ground Pinck mixed with Bice a good green Green The Fairest Pinck is best well ground and tempered with blew

Bice allowing one quantity of Pinck to three of blew Bice to deepen this colour in Landskip or Drapery mix with it a little Indigo finely ground Vmber Brown This colour is somewhat greasy to cleanse it burn it in a Cruciple afterwards grind it and it will be good Indian Red. Dark Red Because this colour is very course you may use Vmber and a little lake tempered which is as good Black Black Ivory and Cherry-stone are both to be burnt in a Cruciple and so ground Cherrystone is good for Drapery for a black Sattin temper with it a little white Indian Lake and Indigo heighten it with a lighter mixture deepen it with Ivory black this was Hilliards way Ivory Black Black Grind Ivory with a pittance of white Sugar Candy which will preserve it from crackling out of your shel Indian Lake Purple Grind this with a little gum water and when it is ground fine before you put it into the shell mix a little powder of white Sugar Candy vvith it vvhich vvill preserve it from crackling after this temperature you may spread it thinly vvith your finger about the shell Observations in Grinding Leave not your colour too moist but thick and clammy if after your colour be dry in your shell you rubbing your fingers thereon shall find any to come off it must be better bound vvith gum and if too much gum it will shine and be apt to crackle off after it is used To wash Bice Blew Grind your Bice first very purely then fill a large shell with clean water put the Bice therein and stirr it then let it settle One hower take off the scum and powre off the water then reserve the bottome vvhen it is dry for use To deepen this use Litmus water How to choose your Pencils Choose such Pencils as are clear and 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 Miniture for Pictures by the life Take an ordinary playing Card polish 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 past fast on the card temper the starch before you past it on in the palme of your hand that it may be free from Knots let the card thus pasted dry then making your grinding-stone as clean as may be lay the card thereon with the parchment side downwards then with a Tooth burnish or polish the backside as hard as you can Note that the outside of the skin is best to Limne upon and must therefore be outmost The Ground colour 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 dawbes of your great Pencil lay it on in an instant the nimbler it is laid on the evener the colour will ly Note that you ought to cover rather too much then too little with this prime cover somewhat more of the card with the ground colour then you shall use for the Face This done take a pretty large Pallet of Ivory and before you begin to work temper certain little heaps of several shadowes for the Face which you must temper with your finger about the Pallet The Order of Shadowes for the Face In all your Shadowes remember to mix Shadows some white exempli gratia for the red in the Cheeks Lips c. temper Lake red Lead and a little white for the blew as the Veins c. a little Indigo and white for blew Bice is never used in a Face for the faintest and weakest colour or shades Lake and white a little Ocur and a little Indigo adding thereto if you will a small pittance of Pinck or Masticot for the deeper shadowes white English Ocur Vmber for the darkest and hardest shadowes use Lake and Pink mixt with Vmber Note that black must not by any means be used in a Face for other shadowes your own observation must direct you for it is impossible to give a general Rule for the shadowes in all Faces unless we could force nature to observe the same method in composing and modelling them so that one in every punctilio should resemble the other For your Light to draw by a Northern is accounted Light best which if it fall slooping down from an high window is best Place your self to your Desk that the Position light may strike in sidelong from the left-hand to the right and observe that in all your works it will shew to the best advantage when it is turned and seen by the same light it was drawn by Let a Saucer or clean Shell of fair Water be Necessaries in Limning ever on your right hand wherewith you may temper your colours and wash your pencils together with a brush pencil dry to cleanse your work from dust also a sharp penknife wherewith to take away such specks 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 Having these accommodations draw the The first draught lines of porphile i. e. the outmost stroak 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 shadowes and with the same faint Crimson colour of lake and white give some slight touches and marks somewhat roughly of these shadowes which afterward you 'l finish The Order to be observed in drawing by the life First you must only dead colour the Face The Order of drawing first sitting as the Oyl-painters do and not meddle with the rest and this first sitting commonly takes up two hours The