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-TIST'S
ASSISTANT.
to
of
of tSIonmto
YOUNG
ARTIST'S ASSISTANT,
OR
ELEMENTS
OF
THE PRINCIPLES
DRAWING,
MINIATURE PAINTIN:
,i
DESIGNING,
COLOURING,
ENGRAVING,
PAINTING IN GENERAL,
CRAYON PAINTING,
OIL PAINTING,
PORTRAIT PAINTING,
#c. 4c.
BY WILLIAM ENFIELD,
Author of the
New
7,1.
A.
of
FIFTH EDITION,
WITH ENGRAVINGS.
Eonlron
A. K.
NEWMAN'
K
7*425
644107
22-16.56
CONTENTS.
Page
DRAWING
in
Drawing
General Instructions
13
SI
23
MECHANICAL DRAWING
31
Tracing Paper
Tracing against the Light
Another method of using Transparent Paper
Copying drawings, &c. with fixed Materials
To transfer any Impression with Vermilion
To obtain the true shape and fibres of a Leaf
32
*6
ib
ib.
<
.......
34
35
Stenciling
ib.'
86
PAINTING
OF THE SCHOOLS OF PAINTING
37
39
School of Florence
Roman School
Venetian School
Lombard School
French School
The German School
The Flemish School
The Dutch School
The English School
j&
43
**
46
5*
56
58
61
Of Invention
Of Composition
Of Design
The Apollo Belvidere
The Groupe of Laocoon
.
70
73
<
76
79
85
87
89
9*
101
107
110
98
PORTRAIT PAINTING
The method
COLOURS.
used in Painting
49"
OF
OF
OF
OF
33
138
CONTENTS.
Of Red colours
Of Blue colours
Of Yellow colours
Of Green colours
Of Purple colours
Of Brown colours
Of White colours
Of Black colours
Method of preparing Blackmail's
144
154
164
171
17*
175
1"
Oil-colour Cakes
180
183
184
OIL PAINTING
185
Of painting Flesh.
tints
of the
187
painting
Principal tints composed from the foregoing principal
J89
colours, and necessary for painting flesh
192
First stage, or dead-colouring of Flesh
Second painting, or second stage
195
Third painting, or finishing
196
Of painting draperies
Of painting back grounds
Of painting Landscapes
197
211
215
dead colouring
Second painting
Third and last painting
First painting or
216
217
820
CRAYON PAINTING
Of the Materials used in Crayon Painting
Of rolling the Crayons and disposing them
221
236
for painting
MINIATURE PAINTING
Colours used in Miniature Painting
Grinding the colours and preparing them for the palletOf hair pencils. Manner of choosing them, &c
241
J43
244
245
246
ENCAUSTIC PAINTING
,
OF PAINTING ON GLASS OR BACK PAINTING
258
ego
261
204
the substances used for forming Fluxes
269
substances used for forming the body of enamel, or fluxes 271
the substances used for producing a white colour in enamel for forming the grounds
.'.... 072
PAINTING TRANSPARENCIES
PERSPECTIVE
ETCHING COPPER-PLATES
OF MEZZOTINTO SCRAPING
OF ENGRAVING'
ENGRAVING IN AQUATINTA
278
280
oyj
305
307
316
Fig 11.
Fig-
iv:
'
VSig
THE
YOUNG
ARTIST'S ASSISTANT.
DRAWING.
DRAWING
amusement
forms so
of general utility,
polished mind.
and
an
to all ages
it
It is
;
and whether
it
be employed in em-
be a source of amusement.
It
is
it
never
fails to
ing, Designing,
To
enable those
the assistance of
accomplishment, we shall give plain and concise diand point out such a mode of study as we
rections,
it
pleasant,
and
remove many impediments, which, without such assistance, would retard their improvement
In the formation of a painter, genius is the first and
most indispensible
YOUNG
ARTIST'S ASSISTANT.
most indefatigable
attention,
were
fire
which he
its
is
unless
lifeless,
they
made
nature
examples
close
and
we would wish
servile imitation,
to
recommend
however,
a
is
man may
not what
find his
To proceed
first
we
shall
DRAWING.
DRAAVING-BOARDS
that
it
may
not
shift,
and
when
it,
to pre-
it
may be
strained with
tered
down upon
to dry
by
all
side,
little
good
and press
blis-
and
tight,
and
will
be much better
for
flat
drawing upon
is
where
back.
readily
they are
made
drawing parallel
lines very
B 2
YOUNG
ARTIST'S ASSISTANT.
makers.
Tee-squares are rulers
made
in the
form of the
letter
draw
when a drawing-board
is
to
lines,
ful
and protractors
may be had
for laying
down
angles.
All these
at the instrument-makers.
made
of a mineral substance
called
iron,
They
out any
grit,
breaking.
not too
An
soft,
The best
made by mixing up
inferior kind,
gum
is fitted
the
same
DRAWING.
manner
as the best
cheaper, they
are
in
rica,
it is
therefore
much used
for
brought chiefly from South Amethe form of small bottles, which are cut up
this purpose.
It is
into slips.
It
is
a tree that
is
clay with water, which does not dissolve the Indianrubber, and
wash
it
out.
whence
it is
imported
in various forms,
more conve-
China, where
used for
common
writing,
which
solid substance, of a
composition
is
is
It is
B 3
is
conjectured to be the
When
ground up with
YOUNG
ARTIST'S ASSISTANT.
it
more or
less water.
is
Hair-pencils are
goose or swan's
little,
quill.
made
if
for
fit
drawing with.
being
much
to ours
They
is
used
with.
is
The best
it
may
char-
it is
cut
easily
be
which
is
fossil
cut into slips for drawing. It is generally used in an instrument called a port-crayon,
coal,
which
for
is
is
made
drawing
of steel or brass.
figures,
and
is
It is
much employed
for-
DRAWING.
mer.
mer
It is
is soft,
the for-
shamoy
and cut
being
much
Red-chalk
is
pieces of soft
up quite
tight,
is
This
lights.
harder.
well instead of
which
rolled
to a point.
White-chalk
on the
They are
is
Tobacco-pipe clay
will
do very
it.
fossil
sometimes used
now
some purposes.
Drawing-paper,
do
will
mon
for
purpose.
It is
made
is
generally used
of various sizes
and
thickness.
Middle tint-paper,
is
paper of a brownish or of a
and
it
that
is
necessary to be done,
lights.
is
to lay in the
dark
YOUNG
ARTIST'S ASSISTANT.
GENERAL INSTRUCTIONS.
THUS
his ideas,
culty, of discrimination
will
wander over
it is
absolutely necessary to advance pregressively, commencing with the geometrical figures of arches, circles,
ovals, cones, cylinders,
many
of
'
most remote
the
first
is
tention, a
will
be
DRAWING.
errors as
the
such
he
is
when
perfect,
The copying
directions,
may be
attempted.
is
far otherwise in
animals or man, for which reason an accurate knowledge of the true shape of the bones, the disposition
of the muscles, and the exact relative proportions of
the different parts of the body must absolutely be acquired
nor
is
motion con-
the
Jt having
to
sudden and unexpected changes, we may safely assert the artist has a most difficult task in his attempts
to delineate
them
would be well
for
in order to
him
to
do so
successfully,
it
in parallel lines cf
B 4
YOUNG
10
be expressed
ARTIST'S ASSISTANT.
those to be intersected by others forming lozenge intervals ; this mechanical part of the art
of shading will be better explained by the drawing
;
if
a glance,
will see, at
how
light
impossible, he
downward on
must remember
whether
the object,
to
arid
man
as nothing
is
if
it
proceeds
limbs,
throw one
body and
to see
length
The whole
figure
ten faces in
is
is
twice the
the groin one, to the upper part of the knee two, the
knee is half a face in length, from the lower part of
of which to the ancle
is
two
faces,
and hence
to the
Measuring from the extremes of the breast, the breadth will be found to
contain two faces, and the bone of the arm from the
sole of the foot
is
one
half.
shoulder to the elbow, the same number; thence including part of the hand, two faces
DRAWING.
one
The thumb
face.
is
arm
toral
is five
muscle
to the
same place is
to the
middle of
four.
is
is
the hands
when extended
whenever moved.
The
to
the groin, and thence to the sole of the foot two, one
the breadth of
perhaps impossible to draw a perfectly beautifrom any one person The most skilful sta-
ful figure
tuaries
and
posed their
common
works from
different subjects,
comas
it
very
for the
To draw a
mark-
the preceding admeasurements strictly adhered to, beginning the sketch on the left hand, with
ed,
and
all
is
YOUNG
12
ARTIST'S ASSISTANT.
he
and should
To
tion
must be paid
on the
prominent
fi-
ertion:
it
might afford many useful hints of manly exshould be recollected, that the most violent
men
it
proper to shew them as prominently ; in addition, persons in the lower ranks of life ought to be represented
ed with the
the
first
minutiae.
art of drawing,
rudiments,
we
shall
descend to
still
further
DRAWING.
Drawing
The study
of the
13
the Figure.
human figure
to general improve-
But
human
figure well,
this, it is well
many
artists
To draw any
The study of
thing well, requires a particular study.
the figure, however, includes all the finest principles
of the art
accustomed to copy faithfully all the minute circumstances which constitute the character of a figure, and
to attend to the innumerable beauties
which
it
faint traces
of the
first
and, in rubbing
sketch.
Sketch in the
it
out, leave
By proceeding in this
On
YOUNG
14
these
ARTIST'S ASSISTANT.
all
forehead
brows
nose
two from the top of the forehead to the eyethree from the eye-brows to the bottom of the
;
The diameter
breadth
When
proportion to
its
Most
turning.
artists
begin
the drawing with the nose, that being the centre; and
mouth should be on
the
In
a line
in
tre
made
two equal
:
in the
shape and
size of
an egg
as before directed
draw
divide this
DRAWING.
15
in
A perfect
of the oval.
it;
but after
drawings or pictures be
studied that can be procured ; previous to which
those passions, in
imi-
tation.
The
positions
and actions of
the
hands and
feet are
method
is
its
it till it is
so
it
much ease,
made perfect.
with
The
after the
principal difficulty
is
best
when
outline
The
procured
after
is
is
Let them be
first
little
details
which
fall
at-
under a
the mass of
YOUNG
16
ARTIST'S ASSISTANT.
to,
The
faint in
such parts
muscle may, by
its
appearance, prove deceiving, and seem darker
than it really is but by casting the eye to the other
as receive the light.
rising of a
its tint
effect.
comparing
it
this rule
may
may be
as-
catch on the
tenderly, or
This
may
also be regulated
lights.
is
by
Observing
human
figure for
him
to
For
and of these a
view, &c.
The best
the former
may be used
upon middle
tint-paper;
is
all
black-chalk, or black-lead;
either
and
may be used
black-lead
may be removed by
The
false
lines of the
DRAWING.
we recommend
is
17
thing
and not
trust to the
being
laid
on by drawing
parallel
more
delicate lines,
them
in
with
where necessary.
human
figure are
composed of
much freedom
in
drawing.
each
much
as possible.
fine effect;
it is
is
but
in, or their
edges
a very expeditious
it
should be used
shadows
much
is
by copying
hard manner.
But we
particularly caution
him
to avoid copying
YOUNG
18
with a pen
all
ARTIST'S ASSISTANT.
to
in
it is;
and
make drawings
or
paintings excellent, yet this labour should be disguised as much a possible, and the whole should ap-
only.
diocrity.
The bad
strike
a dangerous
facility.
It is for this
when
it is
without number.
But
let
Raphael be copied by
DRAWING.
become
19
The way
art
what
from them;
for so
we may
Let
sipid substances,
advance firmly
tinually totter,
he will conhis
own
weakness.
By
some
fa-
but before he can proceed to the study of the whole figure with advantage,
cility in
support and
of the pencil.
It is
YOUNG
20
faithfully
ARTIST'S ASSISTANT.
it.
the attempt,
great mistakes
just as
must happen
to a
man who
these, he should
liar
and come
For
into action.
this purpose^
and
if
consult treatises
he have opportunity,
lectures
draw
he
will
will
be enabled
But
by persevering
human
zeal
ac-
figure in every
still
and
to do, before
he can be considered an
historians
his constant
compa-
DRAWING.
21
Drawing of Drapery.
In this particular
we
may
as
com-
however
through mo-
shapes
Roman
ill
of garments,
Grecian, or
Many
nations.
figures as
if
must be obvious
most
to the
its
it
will
official
to determine this
and compare the descriptions with anthe ornaments and insigtique statues and paintings
nia of the rich and powerful may be known by the
cient times,
same means,
YOUNG
22
ARTIST'S ASSISTANT.
body, \vhere
k is
on the
and
are multiplied
made
in lines,
the reflected
and
made
on the
it
rich,
dye
is
dark.
Silks fall
clothing,
it
will
reflections
drawing of them.
in run-
DRAWING.
23
U'
Drawing of Landscapes.
The
in this
science of perspective
branch of the
art,
is
that
so absolutely necessary
it
is
eye
if
besides,
a building
intervenes, the
want of
we
he should prefer those only that give a clear and distinct idea of the outline, as he cannot possibly comprehend the forms of objects which are mixed and lost in
others, merely to bring the light into a focus for brilli-
ant effect
it
draw detached
objects,
correctly obtained
groupes
will
till
at the
same time
to
and
recommend him
ing
to confine himself to
it
till
a good
judge of
his merit
skilful artist
YOUNG
24
gaudy
ARTIST'S ASSISTANT.
branch of the
art,
difficult
When the
and arduous
ing
how
on the horizon,
form,
when condensed and raised in clouds, which partints from the same cause, their tran-
in others.
artist, sensible
He will perceive
that the
objects, has
Isaac Newton's opinion, that the rays of the sun contained seven primitive colours, more modern philosophers insist there are but three, blue, red, and yellow;
those must therefore serve as the grand basis in colouring, but as nature never glares in fierce tints, they
should be tempered according to her dictates, and for
No one colour should
the causes mentioned above.
prevail in a
DRAWING.
25
on the contrary, the stones, or bricks,
of which the first is composed, always differ from each
one uniform tint
other in colour; besides, the tricklmg^>f dews, the vegetation of different species of moss, the corroding
effects of time and the weather, produce characteristic
effects
numerous
tints in the
trees,
sand, clay,
is
equally observable
damp
situations,
and
trees, are
come useless to
still
further observable as
the possessor.
as-
they be-
more
rough coat,
is
if
YOUNG
26
ing
errors
little
ARTIST'S ASSISTANT.
committed by nature;
stream of water
may
for instance,
it
hills
of similar outlines
outlines of the
is far
The best
in
an equal number; by
may be
transferred to the
same imaginary squares on the paper. A more mechanical method to copy in the same size as the original, or to
respond
them throughout so as
to cor-
DRAWING.
must be
lines
less injurious to
it,
27
and ought
to
be pre-
ferred.
The pentegraph
for enlarging or
is
drawings, prints, or plans, or copying them of the oriIn drawing from nature, much circumginal size.
spection should be used in chusing the spot whence
the view
is
makes an
ing an equal
line
objects
and mark-
to
be represented
method of copying by
of the landscape must be
Every peculiarity
caught with avidity, the declination of
squares.
lines, the
appa-
Raging
offer
charging rain,
servation,
billows, waterfalls,
many
tract of country.
In
making the
lights
and shades of
all
c 2
YOUNG
28
ARTIST'S ASSISTANT.
extreme of
at.
morn-
who thought
and the
he succeeded
it is
the landscape.
principles, the
As
young
this
method
artist
may
is
safely
adopt
it,
though
breaking
animated by human figures or cattle. When a buildwhether a modern or ancient edifice, is the prin-
ing,
thrown decidedly on
because,
DRAWING.
on the globules of moisture
29
in
it
then the shading gradually deepens about three quarters through, after which the extremity catches a re-
flected light,
hind
the
same manner
tint
be-
foliage, the
edges of
hills, &c. should combine with the light or shade behind them. In representing the angles of houses, the
it;
in
strongest shades
decline and
become
lighter
light,
in this case,
whence they
and in every
per
finally
from
reality, as
it is
shaded, as
if
if
the
same
placed obliquely,
it
its
from
depth
assumes solidity;
if
derived by reflection from some neighbouring substance, is thrown upon the most distant, it will detach
itself,
hence
it
opposed
YOUNG
30
ARTIST'S ASSISTANT,
let it
near, they become perfectly distinct, and must be represented with the strongest colours suited to the
substance.
ticular,
to lay
manner
in which they
In
are disposed by the Great Author of all things.
colouring those fascinating objects, infinite skill is re-
and
proceed to the
tail in five
ranges.
In this instance,
and
in
characteristics.
MECHANICAL DRAWING.
Having completed the necessary
instructions for
and
utterly
unknown
to the
DRAWING.
majority of mankind,
we
31
what may be
is
all
less profitably
employed.
To
Tracing Paper
Is readily
made by taking a
it
Lay
this
transparent mate-
c4
YOUNG
32
ARTIST'S ASSISTANT.
be necessary to make
it
is
used
in this
in the
former
instance.
Take a
maybe corrected
soil
Copying Drawings,
Rub
by the crumbs of
Sf-c.
withjixed materials.
DRAWING.
cover
33
it
When
will
To
Mix
oil in
a state sufficiently
fluid to flow
every line
the back of
it,
may be conveyed
Mix
actly
ex-
fine vermillion
it
making
same
gum
they
um
lines
will
is
become
and paper,
by wax on
inseparable.
is
and
withdrawn
it is
dried
used by engravers,
their copperplates.
c 5
is
after
who
secure the
YOUNG
34
ARTIST'S ASSISTANT.
useful
and
it is
in the skeletons or
at least a pleasing-,
if
not an
employment
rieties,
follows;
To
Rub
the back of
of a Leaf.
it,
a perfectly cor-
is
effected
one of those
printers,
fibres
with
used by
This is done
balls
paper and
leaf.
it
as before,
and pressing
it
on paper.
Other colours
it,
may be used,
best, as
from nature.
The back
of the leaf
must be exclu-
Sttnciliag
working
in muslin, &c.:
when a
print or
DRAWING.
drawing
is
to
be copied
in this
way,
35
it
must be placed
outline pricked
a pin or needle ; the pierced sheet
then be laid on a second clean one, and a muslin
may
the most pleasing representation of nature hitherto discovered,by which theexternal objects
chamber
in
animal appear in motion; but unfortunately in areversed position. The constructing of a camera obscura
is a
very simple operation: close all the windows of an
apartment, and leave a single circular aperture suited
for the reception of a convex or plane convex lens in the
which
is
to be determined
it,
upon
and
from
it,
and
to
YOUNG
36
ARTIST'S ASSISTANT.
yond
this aperture,
may
this
beau-
picture
is
artist
may obtain
hints from
reality.
The
literally
darkened
niently,
tion will
become
the
camera obscura,
its
proper state
hand
it
making
affords a
to rest on.
conveniently.
37
PAINTING.
PAINTING
is
that
is
and by the
and
in
senses.
their animation
and
lively colours,
sentiments,
Such
is
effects of painting.
By an
admirable effort of
human
genius, painting
offers to
and country.
In this respect
it
may be
consi-
YOUNG
38
The
painter
who
ARTIST'S ASSISTANT.
invents, composes,
and colours
The
painter
who
is
lasting impression
and worthy
Homer.
poet,
It is in
his genius,
their
minds;
to share
and makes a
this artist is
But
if
illusions of colours,
and opposition of
or
it
is in
common
poetry.
poet
who
It is
clothes
clothes in
The
verse,
of ideas, of im-
due
to genius
men whom
they are
nature, sparing of
PAINTING.
her best
the
human
39
gifts,
they are agreeable only, they excite those sweet sensations necessary to our happirace
if
ness.
noble
art,
we
and of the
who have
ter, either
his
works
of
less of his
lowing schools
Rome,
Lombard
school, the
Dutch
school,
School of Florence.
excluded
to the gigantic.
The oroductions
of this school
may
YOUNG
40
ARTIST'S ASSISTANT.
human
vates
seem
satisfied
artists,
to
tion of
Italy
as
may
style,
all
propability have
and expression.
pupil
who
first
He was
gave
force, animation,
and
relievo to
his works.
oil.
the
first
Florentine
who
PAINTING.
Leonardo
in grandeur, in
41
knowledge of design
him in all the amiable parts of the art. Leonardo,
possessed of a fine imagination, and full of sensibility,
in
to
devoted himself
of the soul
in painting
and
if,
in this
at
made
a good choice
in nature
that
Well aco^iainted with anatomy, he knew more exactly than any other artist in what manner to express
the joining of the bones of the body, and the office
and
less visible in
women, and in young men, than in confirmed and vigorous manhood. " In his figures (says
children, in
too
large
You never
perceive
YOUNG
42
in his figures a
ARTIST'S ASSISTANT.
muscle at rest
"He
many
wax
all
paint.
exactly than
when they
are
manner
in
" Michael
Angelo (continues
Sir
Joshua Reynolds)
never
saying
it
fit
for
women and
children.
a right to look
down upon
the
slighted, or
PAINTING.
Roman
43
School.
or finished in
handed down
glory to which
it
its
had been
elevated.
remains of that
It
was by the
From
only which did affect the beauty of the figure.
them also they derived the principles of the art of
drapery; and they followed these principles even while
they made the drapery of modern paintings more large
sculptors.
to those
which
and was no
re-
farther
At
is
self to
more
It
was
at
Rome,
in the
YOUNG
44
ARTIST'S ASSISTANT.
is
he excelled
admirable
ideal
in represent-
him
of that kind.
but
in ideal figures,
and
beautiful.
The Greeks
Composition
two kinds
is in
Raphael's
is
superior to
if
Raphael walked
same author) of
the other
The
preference is given to the genius of Raphael, because reason presided over all his works, or at least
the greatest part of them. He never indulged himself
in common ideas, nor ever suffered his accessary fi-
conceptions to his
own
purpose.
Venetian School.
is
The
PAINTING.
45
means of forming a just idea of the beauty of forms
and of expression they copied, without choice, the
the
object;
produce
fix
the attention.
artist
who
painted in
oil,
whom
Giovanni, both of
contributed
much to
constantly in
and
oil
latter
Giorgione and
was instructed
in the
most
servile
The
truth of history
not to be expected
He
school.
paid
little
same
or,
finally,
to the
accommodation of parts
The
artists
Roman
schools
YOUNG
46
ARTIST'S ASSISTANT,
in water-colours, or in fresco;
Titian painted in
in nature
and
oil,
and finished
and draperies.
He was a
landscape painter
and here he
also took
little
figures
for if it
which
be true
it
is
when he represents
to produce,
if,
and Csesar,
Achilles, Hector,
vat ion.
Lombard
The
grace
School.
an agreeable
mixture of colours.
he began by imitat-
made his
figures elegant
his out-
PAINTING.
47
lines
him
were not
and
his
Harmony
sitions,
part,
which
in this
from
The
what
all
is
painters
and placed
profession.
Lombard
of
Bologna.
Lewis was the master of the other two; he had
studied the works of Titian and Paolo Veronese, of
Andrea
YOUNG
48
Titian.
ARTIST'S ASSISTANT.
Corregio.
in painting,
had
his
mind
cultivated
known by
the
name
of the
at Bologna, called
it
was afterwards
Academy
of the Carracci.
but
manner of using
Rome
to
blance of their manner, confounded together; nevertheless, each of them has a decided character distinct
Lewis had
less fire,
but more
Annibal
Lodovico Carracci (says Sir Joshua Reynolds) apme to approach nearest to perfection; his un-
pears to
its
draw
asicle
his
pictures,
appears to
me
to
PAINTING.
49
for
becoming
Rome
less a colourist at
for
than he was at
critics
beauty,
excites
and that
in
stile,
arriving at
which characterise
the ancients.
he acquired, have been pernicious to the art. His successors, deluded by these considerations, have made
him the
his imperfections.
French School.
This school has varied so
masters, that
of
its artists
it is difficult
much under
to characterise
different
it.
Some
Lombard manner;
others, on the
Roman jothers on
it
it
YOUNG ARTIST'S
50
its
by
it
ASSISTANT.
and
may be
it
the
art,
It is
painting in France.
on
French
artists.
elegance of design.
Titian, flourished
no pupils
about
this period
artist,
left
whom
His
much
stile.
In the latter
part of his
life
His favourite
PAINTING.
subjects were ancient fables
better qualified
51
who
Vouet had
Simon
man
of distinguished abilities;
if
his scholars
He had
Vouet
tion,
he
French school,
fruitful
edifice.
imagination
on no occasion was
compositions he undertook.
painters have united a greater number of essen-
Few
tial qualities
art
he drew well,
Roman
painter of Urbino.
He had
to the
principal traits
YOUNG
52
ARTIST'S ASSISTANT.
He was
is
so infinitely extended.
and he
tions are
but
Rome and
management
of the pencil.
le
most
artful
in general
his, it
general effect.
His intention
in
composing was
make
to ex-
shining contrasts or
beautiful groupes or figures, not to astonish and bewitch the spectator by the deceitful pomp of a theatrical scene,
PAINTING.
His tones are delicate, his
tints
53
harmonious, and his
distraction
superior to that
art,
of colouring.
If
if,
like
Le Brun, he
and
and the
pomp
more
would
The deceit-
or perhaps
lately introduced,
But as Le Brun, by an accidental concurrence of favourable circumstances, was the fashionable painter,to
be employed or rewarded,
manner
his
and as
it
was necessary
to imitate
deformed.
its princi-
ples; and,
if
bk
YOUNG
54
ARTIST'S ASSISTANT.
first
him.
In this manner
commenced
a revolution, so
much
tory of
all
nations,
it
They have begun in a manner which promises success, and the best consequence may be expected from the study of those masterpieces of ancient
course.
at Florence,
Rome,
Turin,
Naples,
and
The German
School.
manner from
and
There were some German painters of eminence, when the art, emerging from its barbarous state,
imitation.
first
began
to
be cultivated
in
Europe.
As they were
PAINTING.
totally
55
what of that
stiffness,
Bat
this is
manner discovered
in their
works.
to its
It is therefore
first
German who
corrected
and
was impossible
for
of his predecessors.
little taste or
aridity in his outlines, for
grandeur in his
and of gradation of colours but he had studied lineal perspective, architecture and fortification.
John Holbein, nearly contemporary with Albert Duspective,
rer,
painted in
oil
chiefly in history,
He
excelled
in portrait painting.
His co-
and water-colours.
and
and
his
works highly
not
in so
good
D 4
YOUNG
56
ARTIST'S ASSISTANT.
painting.
It
to the lovers
first
of
practice of
was
oil,
dered them
From
brilliant
is
that this
and
Van Eyck.
which
it
was
acquired,
all
It is
were the
who brought it
susceptible
their
own
paintings having
The attention of
ness and delicacy of their colours.
the Italian painters was soon excited ; and Antonio de
Massiny performed a journey
ex-
Eyck,
Flanders.
profession in
founder of the
art.
PAINTING.
57
in the
nent for
in this
He
equalled Titian.
will.
though
pomp and
is
the
first
majesty; the
first
Reubens (says
Sir
is
often
by
want of
is
remarkable
is
the great-
is
To
these
may be
on
grandeur,
whic
is
D5
YOUNG
58
nor from the
ARTIST'S ASSISTANT.
Roman or Lombard
is
schools
but which
capable of pleasing.
that of colouring.
in the
beauty
Their sub-
and
The expressions
are sufficiently
marked
but
it is
the
nobling
human
nature.
the
art.
If they
in the
most
most
striking,
obscuro, they,
moon
faithful representation of
a particular scene
but they
and whose
pictures,
instead of being
PAINTING.
59
The Dutch
imagination or in nature.
distinguish
and
; and
they
excel in miniature painting: in short,
every thing which
requires a faithful imitation, colour, and a nice
insects
pencil,
well executed
is
Holland has also produced history painters, as OctaVan Been, and Vander Hilst, the rival of Van-
vius
dycke
we
but
it is
Neither
Dutch school.
is
Dutch
may be^considered
school.
and on glass
tory, landscape,
and
portrait.
may be
re-
which
thing
is to
be added,
it is
and
want of correctness
if
any
in his
design.
be found
figures
the
more
is its
chief characte-
As
talents,
was a
miller, near
He
YOUNG
60
ARTIST'S ASSISTANT.
but
it
in vulgar
painting.
and shade
He
;
and
lie
seems
fo
occasionally
made
a hole, which
fell
be particularly at-
to the
it
with so
in its situation
that he needed
may be
called
Such
all
is
examined
his works,
among
who had atten-
painter,
common
Dutch
artist.
school.
deserves a
He
painted
He had
a correct design
lively colouring.
PAINTING
.
61
Dutch
the
school.
The
we have
few Italian
artists
of Reubens
is in
Dutch school
known
Italy alone
a*it
The school
to foreigners.
If the
still
exists,
precincts of Holland.
it is
not
Mengs, a
had
present a very
himself
known
da not form a
M.
Dietrich, another
to strangers
artists
school.
It is
con-
to
them by
the sovereigns of Europe, England has possessed portrait painters of ability ; and
perhaps it has been
owing only
for this
to the
branch of the
62
YOUNG
fame which
his
had gained
ARTIST'S ASSISTANT.
contempories Francis
I.
and Charles V.
whether the reward offered was thought adequate to his merit, or for some other cause, perhaps
painter
The
only, as
ty,
men are
much more characteristic than his ladies
Anna Bulleyne is deficient in loveliness, as he
therefore
even his
is
which is
ginal,
in Kent, js
in the possession of
below mediocrity.
jesty's collection,
They have
in miniature,
as in
oil
He made
colours.
is
in
England at that
PAINTING.
time, where
63
other portraits, he
painted that of
the unfortunate Mary, Queen of Scots.
Oliver drew
well,
among
masters.
James
About
trait painter,
came
to
and the
jealous,
civil
war breaking
out,
he
fled
from
England.
many
to which
may be
n the carnations
Daniel
My tens
and was
for
some time
life.
Vandycke had
from Vanbalen,
taste,
Under the
instruction*
64
was yet
his disciple, is
two admirable
pieces,
in the garden,
thorns.
and on
his return,
as one of the
first
life.
I.
the
title
He was
of the
in
1646
the father
and
wife,
and of
Sir
Trades-
and his friend Zythepsa, the Quaker, in the staircase of the Ashmolean Museum.
Dobson sometimes
cant,
among
his family, at
Blenheim, are
PAINTING:
65
professors
and
it is
sometimes
The languishing
sweetness peculiar to himself, and
larity of expression.
found in nearly
all
air,
the drowsy
painter.
portrait of Charles
Court.
Charles
II.
principal painter.
among an infinity
of portraits
excellence.
a great
style.
for the
for colouring
air of
nobility it possesses.
in
Kneller
is
said to have
is
very ap-
parent.
Thornhill's pencil has produced several great works;
dome
known to need
YOUNG
66
describing
are also
As a
ARTIST'S ASSISTANT.
The works of
known
to every
nor can
works
it
will ever
portrait painter of
eminence
to
his treatise
since his
was born
manner seems
entirely his
own.
Sir
Joshua
his relations
still
preserve
lives of Plutarch, as
eminent in
it.
some
1723
frontispieces to the
gkill,
An ingenious critic
PAINTING.
fessjonal character:
67
produced he possessed something original in his manner, which distinguished him from those painters who
:
preceded him.
and his
and shadow so generally judicious
most clearly showed that it was not
;
distribution of light
and
varied, that
it
made a
if
the
To his own
used
in it."
what he
Reubens: " They re-
" a well-chosen
semble," said he,
nosegay, in which,
first
he used preparations
it,
and
dis-
Joshua Reynolds as
its
in his
The
annual orations,
YOUNG
68
were exemplified
ARTIST'S ASSISTANT.
in his
own works:
most
his
favorite
paintings
1.
4.
The
triumph
Infant Hercules.
in the art.
3.
The
Nativity.
5.
Siddons.
9.
7.
Mrs. Billington.
Cimon and
Iphigene.
Rembrandt.
8.
6.
Mrs.
Robin Goodfellow.
10.
To speak
colouring
generally of the
is less
Venetian masters.
Examine
woman, painted by an
in
and you
a forced grin,
which indicates no
picture of an English
Examine the
of their
and you observe an elegant and simple expression, which makes you at once acquainted with the
painters,
person represented.
Perhaps it might be
difficult to
lows his
ticular
own
nearest to his
own
PAINTING.
69
from Milton,
all
by
his
own
and
Fuseli's,
Mr.
Fuseli's
with surprising effect, to embody several metaphysical ideas which occur in the Paradise Lost.
He has
gained a free and uncontrouled admission into the
richest regions of fancy; but appears not to be solicitous
him
there, or
The
how many
excellence of Mr.
West
in historical
and scrip-
The
institution
his
most able
flourished
Italy
It
would be
YOUNG
70
ARTIST'S ASSISTANT,
subject,
air
in the
freedom of
efforts
of Salvator Rosa.
Of living artists we
which
its
founder, Sir
modern schools
of
may be
defined to be a
&c.
mode of communi-
means of a representation
we adopt
this
mode
of
it
is
PAINTING.
71
it
were con-
it
this,
though
we must be understood
its
to
mean
it
interest.
communi-
tell
sion of countenance.
As
it
way
of narrative,
it
is
component
YOUNG
72
than
this
one
ARTIST'S ASSISTANT.
moment of
some
illus-
be led
to
given to our
might naturally
underrate the powers of communication
The
art.
truth
we
believe
is,
moment
that though
of time only,
of past moments,
may, upon
first sight,
established opinion, a
little
many
very
little
reflection will,
we
are
its truth,
argument
men do
to shew, that
indicate, and,
it
as to
its
meaning; and
its
se-
probable con*
PAINTING.
73
capable of being
expressed by objects in the picture; but when both
the cause or the end proposed, in the act represented,
is
to us in a picture,
comes
truly a
dumb
it
does,
those
drama
a beginning, a middle,
and an end.
When we
is
rendered appait :
the conse-
quence, which we are told was the invention of paintis not evident to one uninformed of the tradition.
ing,
Not so
in
and
guilty dalliance,
Of
INVENTION,
three things
Invention.
in painting, consists
first
principally
in
YOUNG
74
ARTIST'S ASSISTANT.
The cartoons
augment the
of Raphael, at
much
to
We
be omitted.
Mr. Webbe.
about to
"
Court,
and sagacity
in
to our present
shall describe
When
best tend
Hampton
may
interest of the
in
it
purpose
the words of
offer sacrifice to
it
was
and of course
to
now
His crutches,
open the
useless, are
accustomed
his limbs
he
solicits his
which
tined for them, point out his gratitude, and the occasion of it: during the time that he
is
thus busied, an
some consequence, by his appearance, draws near, and lifting up the corner of his
elderly citizen, of
stored
whilst a
man
means more
certain of the
chain of circumstances
is
end proposed
such a
The works
may be likewise
of the
first
re-
PAINTING.
profit,
75
expression.
to
clusively
Amongst
and
interest
less able
there-
mind of the
the
spectator.
a vision by
is
the saint,
miraculously healed
is
The
St. Francis.
who
is
laying his
Two
sister or
She
is
them
by
his gestures,
which the
covery.
were essential
to the perfect
expla-
the subject,
may be
it
YOUNG
76
ARTIST'S ASSISTANT,
was the
and
Such
imitated in
pain-
ters.
Of
THE judicious
Composition.
such a manner as
in
composition
The
is
termed
in painting.
may be
said to con-
arrangement, which wearing the appearance of mere chance, is, in fact, the most studied efsist in that
fect of art.
the dryness
of those ancients
painter, therefore,
many
squabble.
if
The
equally to avoid
together as
is
medium, and
is
attain
perfection.
Let the
and stand
may be
inferior figures of
out, as
it
were, from
among
the rest
by placing
it
this
in the
itself;
ther
for,
it
PAINTING.
is
77
it
itself,
and
number of figures
on these occasions
it
depends en-
tirely
on the
skill
be
of Alexander, by
can never be
sufficiently studied
composed,
it
much
better
there the
and other
composed
in
picture.
It were in vain, however, to prescribe any other
general rule for the distribution of the figures in a
as is dictated by the peculiar
picture, except such
circumstances and character of the story to be repre-
sented.
Much
upon doctrines
and
E 3
YOUNG
78
ARTIST'S ASSISTANT.
many
inordinate but
to satisfy the
at
pervades
all,
and
contrast
by opposition
all their
their
judgment
ill
is
is
an
the basis
succeeded by
but as
is
this prin-
no variety
which presents,
Each
sured
is
composed
the spectator
dom
in a
however
manner
may view
present,
to
itself,
subject,
to call
to
maxim,
it
was that
all
action,
form a group
although in the
This cartoon
is
finely contrasted
by
centre,
and are
all
PAINTING.
79
seen in front.
is
its
of the portico.
it is
true, into
is
at once novel
and beau-
tiful.
is,
into several
ject to another,
may
is
the better
They should be so
all
of the composition, possess probability, grace, costume, and the particular character of what is represented.
in colouring, drapery,
tha.t
and design
and
is,
as
it
as foreigners are,
readily distinguished
by pronoun-
YOUNG ARTIST'S
80
ASSISTANT.
the different languages
all
Of
Design.
for
although this
lines
were
now
naked
is
parts,
but even
degree of excellence
which
it
artists,
was, like
stiff
and motionless,
or they
in right lines
finished
was fashioned
art,
into grace,
These
and
life
PAINTING.
"character; beauty of
mere
imitation,
imitated; to
which always
make
necessary to give
81
fall
its effect, it
an advantage over
it
its
was
model; the
those scattered beauties into a more happy and complete union, rose from an imperfect imitation, to a
of Greece, pressed
breast of Thais
in
full
is
exertion of grace,
distinguished by an
There
is
E 5
YOUNG
82
of action:
if
ARTIST'S ASSISTANT.
we observe
the attitudes
we
shall
mark
and movements
that careless de-
motions of
men unconscious
of observation.
in
imitating
we no where meet
in
him
the affected
of Guido.
standing,
is
ection which
He
is
apostles,
little:
we
and the
like;
women
in seeking to avoid
we do
all
their
motion
PAINTING.
to the
83
instead of these, the
style;
may be
Would we
Borgo.
in old
Thus
in
his Galatea,
own
ideas,
which
of
all
One
call
is
grace.
YOUNG
84
more
it is
it is
not sacrificed
often masterly,
and
sufficient to
be free from
The most
perfect
we term
nished space on the canvas, is rendered, in appearance, of its full length and magnitude, is an equally
indispensable object of the artist's attainment. The
sculptor,
when he has
its
rather the simple transscript than the imitation of the image previously form-
ed
in his
mind:
is
lusion:
it
The
is its
power
artificial
to give
mode
of repre-
An
and
shadows,
rectness:
is
an
art in
skill in
his frescoes in
PAINTING.
86
and in particular his two cupolas at Parma, may likewise be studied with advantage, and sufficiently prove
that even the boldest fore-shortenings may on many
occasions be resorted to without detriment to the
beauty, the grace, or expression of the figures.
In
Modenese
all
sculptor,
who mo-
to be represented,
is
amply repaid by
it
gives,
Moreover,
view them
m every direction,
same time
that he
rendered
is
or the
same
place
mode
We
action,
and
is
dreamed of
same view of a
taught to avoid a
figure^
common
of composition.
an account of the
to Paris dvi-
YOUNG
86
ring
ARTIST'S ASSISTANT.
its
by the
late
Abbe Winckleham
all
much
same
is this
degree
poets, in the
other statues of that deity.
man, and
Its stature is
above that of
An
its
eternal
manly charms of
his
body, and
mortal
cuous
figure.
beau ties;
is
nothing
a kind of celestial
spirit
first
bow
in his
more than
victory.
and
Disdain
is
seated on
affects his
eye-brows
but
is all full
still
his
of sweet-
PAINTING.
ness, as
if
87
caress him.
"Among
you
will
all
displays so
the other
manner
possess
we
Gods
peculiar beauties of
The forehead
same
is
the
Wisdom;
his eye-brows,
their wishes
eyes of the
is
by
their
movement, declare
Queen of
the
Goddesses
luptuousness.
about as
if
the Graces.
"On
I
placed myself in a more noble attitude to
contemplate it with dignity. From admiration I passed to extacy ; filled with respect, I felt my breast agi-
universe
who
prophecy. _
"I felt myself transported to Delas and the sacred
woods of Lycia, places which Apollo honoured with his
; for the beauty which was before my eyes
appeared to be animated, as formerly the beautiful statue
produced by the chizel of Pygmalion. How can I de-
presence
must
inspire
me and
guide
my
pen.
have traced
YOUNG
so those
ARTIST'S ASSISTANT,
to the
it is
agitated.
in,
and the
seem
who look up
loins,
by being drawn
him
as
if
his breath,
in,
Nevertheless, his
to affecthimless
to
and
to
restrains,
seems
own
suf-
Com-
all his
his unjust
Agony
punishment,
is
features.
resistance
is
display-
ed with greatest
skill; for
PAINTING.
is
89
The very
No
by the
part of the
figure
is in
artist,
repose.
flesh,
skill
of the
THAT
herself,
most exuqisite forms, and give them the most graceful attitudes; it is not enough to dress them out with
propriety,
and
in
it is
not
know how
he must,
in
some
sort, write
their faces,
Many have
mous
Lavater,
written, and,
fa-
to
fits
YOUNG
90
ARTIST'S ASSISTANT.
dens, the muscles of the lips puff up, the eyes sparkle;
ten for
will
be more
more
but
young student, the short work of Le Brun, writthe pupils of the French academy of painting,
intelligible
service to study
but
them
it
will
be of
infinitely
in nature itself,
from
to
ture in
According
to
same manner.
those
PAINTING.
Almost
91
Reubens attempted
the face of
Mary
of Medicis,
a Dauphin.
And in
it.
to express
still in
same time,
full
and character, and having nothing but nature constantly before their eyes,
they
effects
more
at
understanding.
The Venetians,
in
particular,
seemed
to
have placed
YOUNG
92
their
whole glory
ARTIST'S ASSISTANT,
was continually receiving by means of its excommerce, and which attracted so much the
capital
tensive
eyes of
all
those
all
who
visited
it.
It is doubtful,
is
to
if,
in
be found
a bold and judicious expression, or one of those attitudes, which, as Petrarch expresses it, speak without
words
unless, perhaps,
his Marriage-feast at
it
Cana
At one end of
of Galilee.
whose eyes
are fixed
upon
woman
in red, holding
is
company
betray not the least sign of wonder, at so extraordinary a miracle. They all, in a manner, appear intent
eating, drinking, and making merry.
Such, in general, is the style of the Venetian schoolThe Florentine, over which Michael Angelo presided,
above
all
On
this
heart,
Roman
school, nursed as
it
bosom of a
city
which had
PAINTING.
more particularly by the
St.
93
Jerome of the one, and
them
all.
There
is
not
who are curious in the point of expresmay not reap great benefit, particularly his Mar-
of which, those
sion,
tyrdom of St.
Felicitas
the Pharisee
his
Magdalen
house of
in the
Joseph explain-
Among
the
attitude,
who has
endeavouring to explain
it
to the fourth,
is
who, stand-
make any
"That
very groupe
it
closely,
that
drew the
behoves a painter
atti-
by barely
may
be able
YOUNG
94
to guess, both
ARTIST'S ASSISTANT.
It is in
in.
expression that
dumb
obscure, or Chiaro-scuro.
Of Clair
CLAIR
obscure, or chiaro-scuro,
is
We
because the word chairo-scuro, properly speaking, denotes not only light and shade, but
light and dark of what kind soever, and in this sense
darks
it is
in a picture,
ble from
the chairo-scuro
painter, as
this
if
A thorough conception
it.
it is
and knowledge of
branch of the
is
art, that
he
is
enabled to
make
the
various objects in his picture appear to project or recede, according to their relative situations or distances
and thus
far,
to the artist,
just or intelligible.
But
it is
required in works of
PAINTING.
possible advantage;
it
95
who
times
cally
first
artist
of modern
be attained by a contrary mode of conduct, that of relieving one shadow by another still darker, and of uniting several light objects into one great mass. The
figures, as well as the other objects in the pictures of
Corregio, are at
all
it is
most
wanted, and best suits the effect of the whole, and yet
this is done so skilfully, that neither propriety nor
grace of action seems in any respect to be sacrificed
in the astonishing combination. *
The
pictures,
skilful dis-
Y0UNG
96
ARTIST'S ASSISTANT.
Reubens
only
left
From
artist
considered
how
workings of genius
in
the
human mind.
From an
at-
qualified to seize
and
avail himself
Of
COLOURING
picture
its
true
is
Colouring.
it
appears under
all
the
ter
in design," says
PAINTING.
97
grape."
Colouring, though a subject greatly inferior to
others which the painter
must study,
is
many
yet of sufficient
importance to employ a considerable share of his attention; and, to excel in it, he must be well acquainted
with that part of optics which has the nature of light
and colours
Ligbt,
be ever so
fine, is
little
as the learned
colours.
De
Now,
it
compose
light,
to the eye.
than
number
and from
this
Man,
too, has
contrived to separate
sun's
YOUNG
98
ARTIST'S ASSISTANT.
glass prism
through
it,
other, like so
many
and
is
to express the
so requisite to represent
beauty of
them as what
and the
last in particular
has been
them with a
pencil as deli-
In his works
happy enough
we behold
to express
is
pro-
a word
all
When
all
would do
by studying the
principles
and practice of
by means of her
give a most enchanting
and transparency
to her colours.
PAINTING.
99
There are
inasmuch
as,
by giving testimony
to their antiquity,
it
allowed, that
as
it
if
really does,
picture,
ing,
is
all
and, (as
we may
things to the
them
perfectly,
But most of
own hands.
It is
100
YOUNG
ARTIST'S ASSISTANT.
and
truth,
to nature,
stantly retains
itself the
its
therefore, as a
As
soon,
he should turn
And
all
and nature.
as designing; that
is
muscles, they
may
members and
make
their
To
distinct in the
now
in the shade,
all
and
half-tints,
or less
artist
it
iu
some
places,
number of blood-vessels
and
imme-
in others a greater
or quantity of
fat.
An
fulness
so
and
much
floridness of colouring,
which
is
at present
PAINTING.
roses, as
What
pressed it
colouring;
vrhich
101
the fountain
in
artist,
every
is
consequence of
their
aukward
colours,
in designing.
good model
commonly
furnished by
is
obscura.
reflections
reflected
variety of combinations.
to receive
all
As
the white
must be
carnations
is
of a nature
may
careful
how
his
eye
is
harmony of
of a piece
may be
attained,
it
were
folly to
deny
this
mind
most
forcible
and beau-
tiful;
this
YOUNG
102
ARTIST'S ASSISTANT.
rent
modes which
adopt
in
all
the diffe-
in the
all
those
effects in painting
As
in
strike
the eye
and
for the
still
predominate;
is
obscure, an inequality of parts, a subordination of several small masses to one large one, never
fails
to pro-
duce richness and beauty of effect; and thus, hi coma similar richness and beauty are the result of
position,
large
rangement of several small masses of colour in the vithe latter seems enriched,
cinity of one large mass,
and
to acquire additional
of light, con-
PAINTING.
tion in a composition
mented by a
is in
103
many cases
powerfully aug-
its
similar sentiments
fails, if
similar out-
judiciously
back
to front figures,
force of expression
is
destructive of simplicity
and
fect: the
it
is
of
and
is
ness on the
full
it.
all
When
a boy
is
if
little
j-4
104
YOUNG
but without
this,
ARTIST'S ASSISTANT.
outlines of buildings,
by the
and which
He may
much more
Here
tist.
re-
learn to
will ever
is
an art not
much may be
depend upon
taught, yet
the mind of the ar-
it is
distinguishes one
man from
another,
is
so obvious.
all
correctly defined.
taste, soul,
relating to
which
rant,
it
I shall
and the
too often.
own
it,
Reynolds.
genius.
be opposed only by the vain, the ignoI am not afraid that I shall repeat
idle.
improve them ;
if
out
it.
Not
is
Nothing is denied to
be obtained with-
to
on
PAINTING.
unabated by
106
and a
difficulties,
produce
times,
can prepare
times and
"
young
itself
in all
by laying
in
proper materials, at
all
places.
is
to
him
fields.
a lesson.
Every object
He regards
all
men under
upon a discoloured
wall.
who has
his
mind thus
filled
with ideas,
and
his
that he
is
reality at a loss
how
to begin,
and
is
is
in
at last delivered
"
who
who
an habitual meditation?
Let the
F5
means
YOUNG
106
make no
and
to
sensible minds.
whom
the study of
artists
is
no reputation
for
him,
his ruling
it
whom
primary happiness; to
is
become
whom
his
There
passion; to
and
ARTIST'S ASSISTANT.
the society of
most pleasing;
to
him
not oc-
cupied with the ideas of his art; who in" the morning
\/"does not fly with fresh transport to his painting-room.
But, of all others, unhappy is he who descends to flatter the corrupt taste of the
age
in
lives, who
who does not
which he
trifles,
Never
will
be repeated;
their favorites,
who
and
PAINTING
all
by the
have
talents, his
taste, or inclination,
him.
may have
led
I.
History-painting : which represents the principal
events in history, sacred and profane, real or fabulous;
and
These
is an inferior class; and in which Teniers, BreugWatteau, &c. have great reputation, by rendering
at once pleasing and graceful.
This
hel,
it
dyke,
Rembrandt,
all
.
Regauds,
Van-
Pesne, Kneller, La
Tour, &c.
IV. Grotesque histories; as the nocturnal meetings
of witches; sorceries and incantations; the operations
of mountebanks, &c. a sort of painting in which the
i a
108
YOUNG
ARTIST'S ASSISTANT.
every nation.
VII. Landscapes diversified with waters, as rivers,
lakes, cataracts, &c.;
and at others
by
moon.
Schalck,
life,
&c.
all
sorts of
species
which nature never appears to advantage, and which requires only a servile
imitation of objects that are but little pleasing.
The
painting of fishes
is
rest, in
PAINTING.
109
XIV. Flower
where Art
rian,
pieces;
in the
XV.
their works.
which the
may be comprehended
sea-ports, streets,
Under
this class
in the
ta-
lents.
We
shall
detail of his
may be
YOUNG
110
ARTIST'S ASSISTANT,
general
principle
already laid
art.
OF LANDSCAPE PAINTING.
LANDSCAPE-painting includes every object that the
country presents and is distinguished into the heroic,
:
all
other
The
heroic style
in their kinds
thing that
is
is
art
and
surprising.
The
The
is
But
it.
if,
in the
course of this
stile,
danger of
in
The
rural style
is
is
often
manner.
we
without
artifice
but with
all
when constrained by
art.
and
when
left to
herself thai
PAINTING.
In this style, situations bear
all
sort of varieties
shepherds
to
con-
and a cover
for wild
beasts.
It rarely
sive
enough
happens that a painter has a genius extento embrace all the parts of painting there
:
whose
and we seldom
inclination leads
have done
all,
them
when
fail
to
to the he-
they
have in-
more
lively.
partizans.
Both these
styles
their imagination
no
in
what
it
heroic, supply by
wants of truth, and they look
farther.
As a counterbalance to
There
is
an
styles happily
was
Titian's custom.
infinity of pieces
meet
The
chief
YOUNG
in
ARTIST'S ASSISTANT.
of
all
which
and trees ;
in their places.
Of Openings or
country." It
is
The word
Situations.
"
site,
or situa-
and
it
to
be very expressive.
disengaged
in
their
and lonely
or, in fine,
variegated by a prudent
But
he must make
it
if
pleasing,
may
local colour-
to
It
But
in
PAINTING.
113
make
and even
form,
in
and vary
to multiply
it
it
valuable,
without altering
its
is
it.
Of
^cciWen^i.
An
accident in painting
an ob-
is
by the interposition of
such a manner, that some parts of the earth
clouds, in
shall be in light
and others
in shade,
which according
and
This
is
seem
effects
many new
And
to create so
situa-
as this
newness
it;
to use
them
For he
is
thinks
Of
is
the 6'Xy
in painters terms,
we
growing clearer as
colour
is
blue,
it
But we
light,
more or
de
less remote.
YOUNG
114
ARTIST'S ASSISTANT.
lour
is
tint
light
more or
is
more or
an
is
make upon
when occasion
offers
make one
and
it
less deep.
This observation
is
and gives
it,
it is
sin-
difficult
Who
can
tell, for
some clouds, a
fine red,
when
which plays upon them is a most lively and distinguishing yellow? Who can account for the different reds
seen in different clouds, at the very moment that these
reds receive the light but in one place ? for these cOidiifs &iiu
phenomenon
for
weather
or after
is
it,
remains of
The
no
which the
when
the
when
it
to
it is
draw our
property of clouds
left
some
attention.
is
to
be thin and
airy,
both
make
And
if
their
must be so managed,
as,
PAINTING.
ness, they
may seem
to
115
wind and
unite, if necessary
effect,
Little clouds
often discover a
altogether to
little
object.
light, it
to
it
in brightness. If,
however, there
is
But
it
and, to
make
trial object,
it
that
may
its
ihrk
little
high.
whose
And
the Sadelers
and
Of
Mountains.
Offskips have a near
Offskips and
with the sky ; it is the sky which determines
affinity
YOUNG
116
ARTIST'S ASSISTANT.
either
when
most
it is
clear.
of them.
They are
most loaded, and brightest
They sometimes intermix their
is
high and covered with snow, are very proper to produce extraordinary effects in the offskip, which are ad-
The
them
we would
represent.
and
They
is
that the
air,
if
cut with
at the feet of
But if
clouds deprive them of the light of the sun.
the main light to be very low, and to
we suppose
degree of
light.
PAINTING.
Though
117
colours lose their strength, in proportion as they recede from the first plan of the picture, to the most
practice
cidents.
to the wonderful in
Of
Verdure, or Turfng.
By
turfing
meant the
is
may choose
or unite, in the
By this
same
use them
because
variety, a painter
it
to
is
and participate of
all
sorts of shapes,
Some
nature.
pressed without having recourse to
in banks, and set off with beds of shrubs
huge blocks,
are
others in
back
others
and others,
in short, of
an enormous
size,
all in
one
YOUNG
J18
ARTIST'S ASSISTANT.
ever their form be, they are usually set out with clefts,
breaks, hollows, bushes, moss, and the stains of time
and these
paerticulars, well
idea of truth.
Rocks
for solitudes
an
infinite pleasure,
Of Grounds
or Lands.
ground or land,
in painters
too
is
neither
woody nor
hilly.
any thing, to
because they follow one another, either
in shape, or in
some
it
be often contrary
it;
it is
it
exhibits,
which
is,
is
suscepti-
There
for besides
effect.
in
grounds,
them
well, care
parent.
Of Terraces.
terrace, in painting,
is
a piece of
little
herbage,
PAINTING
119
they ought to be very spacious and open, and accompanied, if we think fit, with some accidental verdure,
if
of probability.
Of Buildings.
Painters
air
mean by
of a regular architecture, or at least are most conThus building is not so proper a name for
spicuous.
the houses of country people, or the cottages of shep.,
herds, which are introduced into the rural taste, as for
Buildings
scape, even
partly in
now
retreats for
spirit of landscape is
in
owing
it.
They appear
in diverse manners; sometimes impetuous, as when a
storm makes them overflow their banks at other times
;
other times so
ful
and standing, as to become a faithwhich doubles all the objects that are
still
looking glass,
YOUNG ARTIST'S
120
opposite to it;
than
in the
and in
most violent
ASSISTANT.
have more
who have
of those
spirit
life
Consult Bourdon's
agitation.
is
one
only
The
is
when
it is still
for if
it
be
in
any motion,
ei-
surface,
its
surges
Of the foreground
of a picture.
As
it is
the part of
care must be taken that the eye meet with good reception ; sometimes by the opening of a fine terrace,whose
at other times,
by
ground
first
fore-
make
PAINTING.
121
Of Plants. Plants are not always necessary in foregrounds, because, as we have observed, there are several ways of making those grounds agreeable.
But if
we
resolve to
them exactly
we
draw plants
there,
we ought
or at least,
to paint
among such as
be some more
dis-
and barks of
may be
What
has been
trees.
Of Figures. In composing
may have intended to give it a
He may
and
also,
his
it
commonly happens,
figures, after
finishing his
in the heroic,
probability
which several
have introduced, as
and grace.
And
in his style,
made
rural, with
to
manner.
be blamed
in figures;
robs them of
all
for in
ought to
which
this condition,
tlu\y
122
YOUNG
appear to
be pasted on.
ARTIST'S ASSISTANT.
in this respect,
painter's liberty
way
to
make
to
is,
make them
We
name
attention, or
of distinction
subject to
little
to give
among
else
awaken the
the picture a
the curious.
have the
air of
If they
manner; and
worth of them, and make the landscape look enormous. There is, however, a greater inconvenience in
all
touched with
attract,
union.
spirit,
and such
But
the rest.
must be
as will
life
to a landscape, they
must
Of
Trees.
The beauty of
trees
is
;
perhaps one of
on account of
Though
air, to
be always in motion.
beauty.
it
owes
its
greatest
their kinds
and
PAINTING.
J23
Their kinds require the painter's particular study and attention, in order to distinguish them
from each other ; for we must be able at first sight to
their forma.
firs,
sycamores, poplars,
This study
other kinds.
all
is
in all its extent ; and, indeed, few painters have attained such a competent exactness in it as their art
But
requires.
it is
that
evident,
nearest to perfection in
it,
will
who come
those
make
their
works
in-
finitely pleasing,
tree,
there
is
observed in the
different
manners
in
This
which
is
their
which
more red
in the
The excellence of
distinguish
the
sorts
thin
or yellow.
in
but
practice lies
makes and
landscape
is
as
if
to put
it
in practice
and downwards,
tapering and squat, bending upwards
in
the
:
and
short,
shooting
variety is rather
stooping
For instance, the
to be conceived than expressed.
G 2
YOUNG
124
ARTIST'S ASSISTANT,
character of young
few
trees
is,
branches,
in
and numerous
thick,
make
will
us
but a
observation and
little
perfectly
sensible
of
these
particulars.
tufts,
so
But whatever
manners of branching be, let it be remembered, that the handling must be lively and thin,
their natures or
Trees likewise vary in their barks, which are combut this grey, which in thick air, and
-monly grey
so that, to
may suppose
it
to
of a tree
be light upon
age chaps them, and thereby gives them a sort of embroidery; and that,
these chaps grow
barks
may
arise either
PAINTING.
The barks of white woods
matter
and
125
will also afford
much
be duly studied;
us to say something of
Oj
may be
Beginners
and
it is
not
But
greatest ornament.
it
is
them how
t<5
to express
them
well.
common
and to show
would be needless
It
effects of trees
and
plants,
there
require
air,
and some
same
which
wherefore, to give
their
is
principal
them
that air
character,
and thinness,
the
branches,
And
ded.
nature
larly
all this
without order
how
as
But
if
chance aided
to say particu-
o 3
YOUNG
126
ARTIST'S ASSISTANT.
on nature
can be said on
will
this
little reflec-
head.
By
great masters,
that
all
we mean
better ideas to
themselves.
Among
the
great masters of
many
wooden
all
schools,
where the
prints,
De
trees
great
masters,
and of considering
at the
same time
how they
appear, either
when
rising
and seen
in profile,
and, in a word,
when
them, without
crayon,
if
their
but
Fouquier,
touching
is
are
also
very good
their
spread
and
order,
their
PAINTING.
the
branches,
artist
127
must get a
lively idea of
them,
in
either
in the
manner,
it
will
rectify
it
for landscape,
above
it
well.
As
for those
in this
what they
call study;
whether they be
nd
the
truth,
sity of
for instruc-
them of the
is
64
in
new
discoveries,
YOUNG ARTIST'S
128
As
ASSISTANT.
met with
jects as are to be
recommend
in the country,
we would
to
be always at
he should copy after nature, on separate papers, the
different effects of trees in general, and the different
effects of
foliage,
each kind
and colours.
He
trunks,
He
a great ornament to terraces on fore-grounds.
ought likewise to study the effects of the sky in the
is
various dispositions of clouds, both in serene, thunderin the offskip, the several
ing, and stormy weather; and
sorts of rocks, waters,
objects.
late to
artist
wants.
Now,
if
and
this
which ought
ters,
how
to
be
made on
the
her character.
PAINTING.
129
the good and the bad, must needs find great instruction even from the most common things.
To improve themselves
in
this
kind of studies,
and
artists
ture,
in the
in oil colours, in
this
a middle
tint,
method convenient,
For this
colour, though different from each other.
purpose they took with them a flat box, which commodiously held their
and colours.
This method, which indeed requires several implements, is doubtless the best for drawing nature more
particularly,
if,
after the
to
slightly
ease of their
memory.
Others
have
attentively
faithful
account of them.
wash
Others have
together.
made draw-
Otliers, with
more
rectly
in observing
YOUNG
130
ARTIST'S ASSISTANT.
change of
Now
each
his
its
alterations through
light.
may be
temper
and
and
leisure.
Nature,
to imitate
what he admires.
to
make advantage
as
much
time as
is
necessary
of such
momentary occasions,
is
this:
The
and a black-lead
pencil, let
him
and, to remember
paper, as far as
them:
is
may be marked A,
E, and so on.
And
it
is
any other
he must go to
otherwise most of what
shorter abbreviation.
After
he has observed
memory.
will, in
This method
is
this,
little
the
more
useful, as
it
not
PAINTING.
If
it
studies
Which is
be asked,
?
the answer
131
is,
is to be
represented at all seabut autumn yields the most plentiful harvest for
her fine effects
the mildness of that season, the
at
all
sons
painter to
for
those
who have
honey from
which gather
different flowers.
YOUNG
132
ARTIST'S ASSISTANT.
OF PORTRAIT PAINTING.
IF painting be an imitation of nature,
it is doubly so
which not only represents a man in general, but such an one as may be distinguished from
in a portrait
all others.
And
trait is
since there are not in the world two persons quite like
one another.
perfect
The
Of Air.
The
draught,
spirit
and true
air,
temperament of the
sitter are to
be hit
off.
We
see
with the
Few
air
whilst others,
however, at
first
sight
sitter's character.
PAINTING.
133
cheerful,
smiling
air,
but in a melancholy
these
air,
but
Of all
most
if
and noble
to likeness is the
moment
and draw
to set
Though
it
well.
dress which
is
ing the air of the face; yet the head-attire which one
has been most accustomed to creates such a likeness,
that
we
scarce
know a
familiar acquaintance
on his
and make
if
head ornament,
As
face
to the stature,
we
that
it
very often
the face,
It is therefore
think
fit
remark, that,
less free
in sitting, the
Here
let
us
person appears to be of a
size, it is
his shoulders
proper to
make him
YOUNG
134
ARTIST'S ASSISTANT.
mine
" Whether
it is
we
shall
endeavour to exa-
means the
it
would
more com-
imitation will be
this position.
It is
this respect is
due
certain that
to
them
some complaisance
and there
is little
in
doubt
nature
when
is
portraits.
this
defects
for,
and
littleness of nature,
air to
we
by endea-
insensibly
But
we
all
fall
our por-
much
to the
are in danger of
distin-
PAINTING.
ful or not;
for portraits
135
after
for hitting
Of Colouring.
them
advantageous mo-
off.
Colouring, in portraiture,
is
an
effu-
many
painters have
outlines;
in colours the
Two points
tints,
and the
tempers of persons.
are necessary in colouring
art of setting
them
exactness of
The former
off.
is
imitate
it
and the
and
in
when
know-
set by another,
may
easal, to be
good
for
though his
to him,
it
may
a distance.
of one colour,
may
and be confounded
in the
YOUNG
136
and with
ARTIST'S ASSISTANT,
little
but learnedly,
loaded;
discretion.
The
The
tints
to
cond
is
which
third
down, when he
and colouring than ordinary and this
be noted in the first hour of his sitting. The se-
first is
has more
is
for
wonderful.
is
spirit
is
is
sitting in
one
rise,
On
which account,
usual
it is
little
improved.
about, the
sitter's
tint,
He may
also
room, to gain
In draperies,
of persons.
all
sorts of colours
do not
In men's portraits,
pear
in a fine light,
means or other be
and
their blemishes
softened.
must ap-
must by some
lively,
fine
for his
PAINTING.
137
down
the fresher
lively
manner
The colour
is
to
solid
the tone
in the
and
sam
jects
be considered
different
it is
it
We
must
a sky.
is
ground
is
is
it
ought
to
for,
besides
the
more grand.
its
Of Attitude,
or Posture.
will
look
men and women, they should be grave, majesand sometimes bold: and generally, in women,
In old
tic,
cheerfulness
women
other at rest.
Those
at rest
one
may
in
motion, the
YOUNG
138
ARTIST'S ASSISTANT.
by such
to
agitations.
The
attitudes at rest
must not
appear so much at rest as to seem to represent an inactive person, and one who sits for no other purpose
And though
but to be a copy.
presented be at
fit,
may
give
it
if
is
re-
he thinks
as
if
and
for this
in such
an action as
suits their
greatness of mind,
manner of
affectation
every thing there must appear
easy and natural, and discover more or less spirit,
;
and the
skilful painter
ought
But
tor to think that the sitter took a favourable opportunity of being seen to advantage,
tion.
There
is
and without
affecta-
as to give theirfacebut
little
we
care-
fully
in
accordingly.
Let us
now proceed
to the
next article.
PAINTING.
139
According to De Piles,
portraiture requires three different sittings and opera-
Of practice
tions
in Portraiture.
lour,
and
retouching or finishing.
will
this, it is
by comparing
ting,
when
the artist
for
when
the
other
may have
away
he draws.
But
if
fiery
an
is
it,
geniuses do
mark
air.
In dead-colouring, it is
proper to put in rather too
little than too much hair about the forehead
that in
;
finishing,
please,
we may be
and
to paint
at liberty to place
it
with
all
it
where we
possible softness
and
delicacy.
If,
in finish-
YOUNG
UO
ing
it,
and not
ARTIST'S ASSISTANT.
tion as
meant
for
men
have nature
same
But
it.
this
observation
posiis
not
of skill
in their
their ideas.
The business
ner that
is
and
is,
them
in a
man-
to the effect
we
propose
to give
when we
are assured
t>f it,
the
like-
work may
go on with great satisfaction. If the painter understands what he is about, and the portrait be justly designed, he ought as
much
as possible to
this
diness
for
is
spirit
and
life.
work quick;
work
But
will
by
this rea-
we may
is
easy,
travel in.
Before we retouch or finish, it is proper to terminate the hair, that, on finishing the carnations, we
be abler to judge of the effect of the whole head.
may
If,
we cannot do
all
we
in-
we would
we must load
very
much
as the
oil it
and
work advances,
if
we dip
this
PAINTING.
141
sight of
than
light into things
understanding and temper maybe disagreeand almost all painters have taken
able to another's
one
artist's
different ways,
same.
It is
to
keep
them
in
same
ting
to the parts,
and conveyed
we must join
to truth a probable
it off.
to
In
and advanta-
far
For
this end,
we ought
to
must observe,
if
We
it
placed
which makes
For
this reason,
at the
second
sitting,
the colours
YOUNG
142
The
and
it
to
surest
way
know
ARTIST'S ASSISTANT.
judge of colours
to
nothing
tint,
only to those
The
if
there
who have
portrait being
finished as
you are
some reasonable
and the
certainty,
it,
is
little
is
by comparison;
better than to
is
We
occasion.
say this
practised nature.
now supposed
able,
compare
to
be as much
sitter together,
whether there
in order
is
to determine with
any thing
still
wanting to
Having dwelt
now
at
some length on
this
head,
we
shall
143
OF COLOURS,
The method of preparing
the
kinds used in
"carious
Painting .
THE
various bodies
employed by
painters, for
numerous
to be in general use
most painters
It is
no
fession,
with
the ingredients
little
impediment
all
to their
fit
oil,
such
combined
effect of both.
This
is
called glazing;
and
YOUNG
144
ARTIST'S ASSISTANT.
As
oil,
to a
proper consistence or
is
sort of colour as
making every
intelligible to all
may be
and trades.
to different arts
Where
what
to perform
nical terms,
is
wanting,
it is
best to avoid
all
tech-
may be univer-.
sally intelligible.
OF RED COLOURS.
VERMILLION,
Is
painting
moderate
price,
may be prepared
ing process
as
in every kind of
in
its
in
it is
of a
any kind
colour extremelywell.
PAINTING.
"Take of
145
warmed
extinguish
fire,
it
several parts
cold,
well
duce
it,
by nicer levigation,
is
to
may be
not necessary to re
an impalpable
state.
by coating
it
whole
same, round
nace
in
it,
by which
it
posed to the
fire, fix it in
is
it,
let
the
so as to nearly
fill
Sublime
may be
When
mation
ment
is
over, which
may be
the subli-
it:
body
is
cold take
it
out
left at
the
YOUNG
146
when reduced
ARTIST'S ASSISTANT.
to fine
common, perhaps
But
to detect with
fact,
"Take a
common
fire,
shaken by striking
it
fire,
should be well
If the sus-
the proportion of the adulteration may be thence cerBut, if no lead be found in the crucible
tainly known.
it
may be
vermillion."
NATIVE CINNIBAR
found naturally formed in the earth, though seldom
so pure as to be fit for the uses of painting, at least
Is
The mistaken
PAINTING.
147
would stand better than vermillion, bewas a natural production, has made it to be
notion that
cause
it
it
coveted by painters
who
It is,
as
ness
it
and what
of red lead
may be
seen by
its
bright-
ness,
till it
exposing
it
It is
lead
fire.
SCARLET OKER
an ochrous, earthy, or ratherirony substance, and
the basis of green vitriol, separated from the acid of
Is
is
and
It is
rivals
ner of
its
preparation
"Take of green
is
vitriol
as follows
It
man-
do not
it
will
boil over,)
till
be greatly diminished
in quantity.
Fill
when
then
and replenishing
till
H 2
YOUNG
148
ARTIST'S ASSISTANT.
dry matter. Take it then from this fire, and put it into
a wind-furnace; or, if the quantity be small, it may be
continued in the same
round
it.
which must be
may
out of
it.
all
Let
then settle,
all
it off,
may
be melted
this treat-
ment with
purify the
Then
filter,
in
which the
it
to
dry on boards."
;
serving equally well for common
purposes, giving a tint verging to scarlet, (varying
from the true Indian red, which is greatly inclined to
the purple,) and on account of its warm, though not
PAINTING.
bright colour,
much
it is
coarser paintings in
be thus managed
oil.
149
may
left in
the
and
vitriol,
of oil
of
vitriol,
much water
stirring
and add a fresh quantity repeating the same treatment till all the salts be washed out and the water
:
come
"When this is
it
should
VENETIAN RED
Is useful to house-painters, in imitating
is
mahogany;
ground with
painting
oil,
when
unless
it
when
it
is
used
in miniature
utmost care.
YOUNG ARTIST'S
50
ASSISTANT.
SPANISH BROWN
Resembles the Venetian red very much in colour,
it is a native
is fouler
pigment, and is used much
but
in the
same
grinding
it
with
it
oil to
in
dug up
No
other preparation in
well from stones and filth, and
render
it fit
work.
DI
SIENNA
tuuii
state in
which
naturally found.
it is
of
putting lumps
er
LM-
It is a native oker,
it
It is
either in a crucible, or
continuing
it
there
till
calcined by
naked
in
the colour be
its
semi-transparency.
CARMINE
Is
tion ;
and the
method
is
wanting
in
shows
England
PAINTING.
151
LAKE.
The best of what
is
commonly
is
sold,
made from
in the follow-
more quarts
of water,
in a
pound o.
must be
them
in
a pewter boiler,
till
the
:
adding more of the bone
appear to produce any ebullition in the aquafortis
through flannel,
pour
it
H 4
till
no ebullition
YOUNG
152
appear to be
ARTIST'S ASSISTANT.
-raised
by
it
in the mixture.
If this
be
and
the shreds, together with the cuttle-fish-bone, will subthe bottom and form a crimson
side to
which
off,
is
the lake.
sediment;
to the lake,
stirred
off, after
This
gallons
When
salts, it
the lake
is
it
be
in a filter
then completed."
ROSE PINK.
The
is
principally chalk;
and
work of house
PAINTING.
flying with varnish,
" Take
when,
It is
if
good,
153
it
may be
prepared as follows
wood
substi-
six
pound of alum
dissolved.
as before
rate
them
till
Mix then
which
it
must be dried
tincture, as
air
can
it
RED OKER
Is a native earth,
ings in
oil,
for it
more
in large
It is
very
stands infallibly.
11
it)
YOUNG
54
ARTIST'S ASSISTANT.
OF BLUE COLOURS.
ULTRAMARINE
is
serviceable in
all,
rent effect in
oil,
even in enamel.
and
in
It
being equally
has a transpa-
some degree
in water,
and
stand without the least hazard of flying. By reason of its high price,Prussian blue has been much introwill
pictures,
from a
as the
warm
tint
those
continually varied
by
and cover
amongst
hour,
if
it
it.
powder put
;
it
into a crucible,
Calcine
it
fire,
for
an
proportion
quench
yinegar, stirring
it,
them well
for
together,
a day or two.
of the
and
fire,
suffer
Pour
it
in
to
off then
the vinegar, except what may be necessary for moistening the calcined lapis lazuli in grinding; which
operation
glass,
till
it must then
undergo, in a mortar of flint or
reduced to the greatest degree of fineness
PAINTING.
those means
may
effect.
155
But,
it
if it
put-
ting to
it
dean water;
when the lapis
lazuli
It
is
and half
and of linseed
of virgin
and
suffer
them
oil
to boil
they acquire so
till
stiff
it,
made
Of
pipkin
it
too fluid.
Then add
the calcined matter by very slow degrees ; stirring them together with an ivory spatula, till the
whole appear perfectly mixed. Being thus mixed,
to
it
When it has
ment, knead
it
H6
the part*
YOUNG ARTIST'S
156
ASSISTANT.
in
cold water,
or
on
it
oil
Let
it
and pour
stand a
it
parts, will be
and must be
suspended
in the water,
into lesser
The quantity
off with it into another vessel.
of water must be then renewed, and the same opera-
poured
appears slack
moved and
affording the
in
stirred, in the
colour,
manner
it
must be
of kneading, with
tracted, as to render
ex-
is
(which
is
The
now
it
mat-
first
washed
off,
mak-
is
cold.
it
PAINTING.
157
its
set to cool.
The
away.
and
washed
of
will
its
great price.
cipitation of copper,
This
is
made by
alkaline salt,
and is very
black.
fraud
may be
nitre
spirit of
blue solution.
ULTRAMARINE ASHES.
After the ultramarine has been extracted from the
lapis lazuli, the
ment.
And when
this pig-
is left
for
of
but
it
is
still
be tinged green.
if
it
may be
into a small
quantity
It is
prepared as follows
it,
it
four times
its
weight of linseed
and mix
it
with
oil.
be set
of which vessel the diameter must be small in proporBut care must be taken, that the
colour
colour
in
it,
must be put
much
six
treated in the
when
off,
as
in
colour.
it
off,
first:
oil
in its place.
This having
and afterwards
in
oil, first
some of the
much
observing
must be poured
also.
lixi-
As
after
off
by the means
the matter be
It
must
PAINTING.
159
insufficiently
may be reduced
calcined parts
der
in
an impalpable pow-
to
over,
fine.
bring th
PRUSSIAN BLUE
Is the earth of alum,
It
but
is
it is
generally
made
and sold
little
price of ultramarine
may be
it
truly
and
deemed a
YOUNG
160
ARTIST'S ASSISTANT.
be dissipated and
the
fire
When the
lost.
ciently calcinedjtake
and, as
it
it
suffi-
out of
into
it
two
may
remain.
Put
it
water through
thefilter
when it is
quite dry, to
wash out
ashes
may be then
filter
Add
this solution
it
must be poured
stirred well
in the
which
will
some
time,
add
a proper quanti-
PAINTING.
ty of water,
161
in the
washed, proceed
in the
same manner
and when
properly
same manner
to dry
it
in
lumps
of convenient size."
The
its
goodness
be depended upon in
standing well.
phistication, or any thing amiss in the process,
ties it
may
be seen by
its
So-
may
VERDITER
Is
solution of copper,
silver
ing.
finers,
who
are at no expence in
"Take any
it
is
as follows
sufficiently fine
it
may be
pour
its
is
fluid
the verditer,
by
must be
after-
through paper
covered with a cloth, and laid out in lumps of a
middling
size to dry."
filtering
YOUNG
162
Those who
ARTIST'S ASSISTANT.
is
above direct-
If enquiry is
nothing
is
to
verditer, or a species of
it
all
or aquafortis,
spirits of nitre
copper in
ing in
filings or
in the
or dis-
by throw-
effervescence cease,
Add to it of starch
finely
till
pow*
filter it;
of copper, as
much
copper; which
to the solution
may be known by
the fluids
becoming
green.
in the
Wash
manner
when
it is
so
INDIGO.
This was formerly almost the only blue colour used
in
painting.
It is
made
in the
PAINTING.
163
plants,
and a co-
in brightness, to that
formerly
it
;
it
being equal to
and there
in
is
no
painting, ex-
SMALT.
Smalt
made from
is
coloured
;l'u
iauc?
o? prepared
frcir.
and
fluxing to the
strewing
but, by
upon any ground of oil-paint while wet, it
;
and
in painting
on
it is
glass,
of great use.
BICE.
of indigo andverdi-
ter
powder by
is
now
colour
levigation.
From
greatly disused, or
;
it
it
ly in water-colours.
its
unsuitable texture,
makes a
in oil,
light
it
warm blue
YOUNG
164
ARTIST'S ASSISTANT.
LITMUS OR LATMUS.
Water painting
be used, and as
cheap
tion.
rate,
it
But
if
the process,
is
"
Add
urine, or spirit of
previously
bruised by grinding.
This mixture must be suffered
to stand till it acquires a very blue colour.
After
fluid must be suffered to
evaporate, and
the remaining mass, when it is of the consistence of
a paste, must be laid on boards to dry in square
which the
lumps."
If
it is
used
in
must be
ta-
it
in-
if
no
OF YELLOW COLOURS.
KING'S YELLOW when prepared well (which must be
done by mixing sulphur and arsenic by sublimation) is
an extremely bright colour, and a true yellow ; but
its
colour
flies
lead,
PAINTING.
165
ed by many.
Nevertheless,
it
may
it
to
be reject-
be used on
many
King's yellow
green.
is
prepared as follows
being
NAPLES YELLOW.
The neighbourhood
pigment naturally
but certain that it
of Naples
is
is
we
are dubious,
It is
a yel-
than other yellows at present in use, exbut if it touch iron along with
the least watery moisture, it will be changed by it, for
It is brighter
with
as
it
oil,
on,
YELLOW OKER.
The substance of
found in
There
is
YOUNG
166
ARTIST'S ASSISTANT.
its
texture suits
Notwithstanding
painting.
its
it
utility it
fly
kinds of
for all
ought to be
of low price.
DUTCH PINK.
As
oil,
ric
and then
boil
them
in
a gallon
alum
the
mean
over,
As
it
should be a
full
ENGLISH PINK.
Prepare
this in the
the
same
PAINTING
of chalk, to render
it
167
of an inferior quality,
it
beino-
and coarser.
LIGHT PINK.
The only kind
in the following
fit
manner
it
and
filtering
by
When
it,
and wash
it
filter
'
square pieces.
GAMBOGE.
No
yellow
is
which
Indies,
it
arrives.
It is
gum produced
in the
ing to prepare
it
is
East
want-
for use.
MASTICOT.
As
or
this is
it will
stand perfectly in
oil
it is little
or in water;
it
used
works
YOUNG
168
certainly
ARTIST'S ASSISTANT,
a strong
fire
and continuing
sufficiently yellow.
The
it
there
till
it is difficult
Grinding with
the using of
oil is
must be picked
For with the
to calcine the
whole equally.
it.
COMMON
OR.PIMENT.
It is generally disagreeable to
account of
the colour be
its
meddle with
this,
on
being a fossil
with a mixture frequently of lead, and sometimes other
metals. In its unrefined state it is only useful to colour
the matted bottoms of chairs,,or other coarse work; but
if
purified
by sublimation
it
GALL
The
found
STONES.
in the gall
bladder or like
and require nothing more than rubbing with water (as gamboge) to dissolve them to a
dark warm yellow. But as these are not always to be
ducts of beasts
" Take a
quart of the
ble.
Put
it
may be
having added
to
and
it
set
it
to
a quarter of
an ounce of clear
PAINTING.
collecting
it
into a
mass
as
it
169
becomes of a
stiff
con-
sistence."
TERRA
Mention has been
di
SIENNA
made
unburnt.
and
is
of a superior brightness.
TURPETH MINERAL.
This for use
is
as vermilion in red,
that.
It is
and
colour in yellow
will
together with
The preparation
" Take of
pure
in
oil,
and
quicksilver,
Put them
six pounds.
oil
of vitriol, each
urging
remove
it
it
When
the retort
will
is
again cold,
it
to a gross
in a glass mortar,
ately convert
it
af-
YOUNG
170
ARTIST'S ASSISTANT.
11
them an hour
boil
applicable to
TURMERIC WASH.
The gum made from the turmeric-root dissolved in
water, serves for the same purposes of the yellow berry-wash
it
must be
method
in
powder.
Shake them
TINCTURE
It
of
SAFFRON.
for
gamboge
or other light
PAINTING.
bright yellows
lish saffron,
in
by pouring hot water on the best Enga proper phial or other vessel; which
boil
and the
tincture should
ZEDOARY WASH.
Take an ounce of zedoary-root, and
boil it in a
quart
the water appears
sufficiently tinged to g,
yellow strain it through linen and it will be a stronge^
colour than can be made of turmeric without spirits of
of water
till
OF GREEN COLOURS.
VERDIGRISE.
LET
It is
its
corrosive action,
not stand in
oil.
of yellow to render
is
Italy hiwill
It
it
a true green.
CHRYSTALS
of VERDIGRISE; called
DISTILLED VERDIGRISE.
distilled vinegar
YOUNG
172
ARTIST'S ASSISTANT.
This circu-
off.
till the
vinegar has dissolved as
can of the verdigrise.
Remove the verdigrise and vinegar then into a proper glass for decant-
frequently shaken,
much
as
ing the
diment
it
when
it
shall
and when
it
fluid,
;
become
it
glass
body or
cucurbit, having
a wide mouth.
It
may be
its
neck cut
when
wide neck
"
off to
form
same
and
must be taken
added
to the
quantity
left
fluid
of the
process being repeated, a second quantity
chrystals
The
lour,
and
fine effect
well in
may be obtained."
made thus are
chrystals
if
;
oil,
SAP GREEN.
Is
made
is
PAINTING.
173
" Take
any quantity of buckthorn berries before
they are ripe, and press out juice in such a press as is
for making cyder or verjuice; or by any other
used
method.
it
stand to settle
and evaporate
it till it
remove
it
PRUSSIAN GREEN.
This colour
is
much
" Proceed
Prussian blue,
till
the solution of
alum and
vitriol
be
it,
in the
same manner
as
TERRA VERTE.
This
is
YOUNG
174
ARTIST'S ASSISTANT,
washed over
necessary previous to
its
It requires
to
be well
use.
OF PURPLE COLOURS.
it
kind,
may be no easy
matter to procure
this
for it is
compounded
as certainty of standing.
its
But the
fictitious
painters.
ARCHAL OR ORCHAL.
This
may
who cannot
be made
procure
in
it
of the manufacturers
fluid,
To prepare it,
" Take an ounce of
is
and
much
it
of sal
close,
into
an
the archal
disused at present.
weed or moss,
put
is
as
it
it
well,
spirit
ammoniacus
distilled
with lime.
to
infuse
a strong
PAINTING.
175
OF BROWN COLOURS.
BROWN PINK.
AMONG the variety of methods for preparing this
pigment, the following is one of the best
" Take of French berries one
pound ; of fustic wood
:
in chips half a
Boil
them
in
tin boiler,
and then
Having
an
it
and
BISTRE.
This colour
extremely serviceable in water, if
procured good, which may be done by the following
is
recipe
" Take
any quantity of soot of dry wood, but let
be of beech wherever that can be procured. Put
into water in the proportion of
and
boil
them
half an hour.
14
it
it
176
YOUNG
stood some
little
ARTIST'S ASSISTANT.
bottom
and
if,
on standing longer,
it
forms anothe r
will
BROWN OKER.
After procuring this subsistence of fossil earth from
may be done at a
washed over
colour,
when
it
may
it
for
standing well.
COLOGR EARTH.
Where
advantage.
It requires
full
brown colour
is
gummy
will
not
substance, by dissolving
it
oil.
vegetable, and
the clearness of
its
its
It is
goodness
may be
distinguished by
colour.
UMBRE
Has
the quality of the other ochrous earthy substances, joined to that of drying better, which occa-
PAINTING
sions
to
it
be
much used
in
177
making drying
purpose
it
it
oil lacker.
it
oils, japan-
In painting,
is fit for
that
over.
ASPHALTUM.
There is an additional advantage in this colour, when
in lieu of brown pink.
It is secure from
flying,
used
which fraud
is
liquorice root
is
extracted by a decoction in
used.
sure,
though
it is
but there
inferior;
nor process
procuring,
is
known
consis-
in
is
no trouble
in
OF WHITE COLOURS.
WHITE FLAKEIS brought here
for oil or varnish painting,
from Italy:
It is
used
is
YOUNG ARTISTS
178
required
and
is
ASSISTANT.
acid.
There
is
that
prepared
starch or
in a
But
it is
best to pro-
it,
and
if it
with.
WHITE LEAD,
Is a corrosion by acid from plates of lead, prepared
by those who are concerned in it at a low price. It is
much employed in common purposes of painting, and
may
be used in nicer
and then
it is little
standing
its
cheapness,
frequently adulterated by
But to prove
it
more exactly
it
give
salt,
;
them a strong
means be reduced
heat.
The
into a
lead will by
PAINTING.
179
in
any com-
some
Then having freed them carefilth, reduce them to gross powand put them upon a vessel made in form of a
are calcined to
degree of whiteness.
fully from any coal or
der
common
placed
water
and
carefully
This
is
it
will
washed over."
a pure white, nor
will
and
will
it is
will.
It is therefore
PEARL WHITE
Is
fire,
ing.
May
preparation
ounces of alum
is
dissolved.
and pour
off as
till it
much
be rendered per-
newed
is
filters,
poured
off,
to dry
lumps
it,
on a proper board.''
made
peeled
off,
and washed
over.
and preferred
It is
when
is
to flake white.
OF BLACK COLOURS.
LAMP BLACK.
There is no other preparation than procuring it good
oil in a confined place, and collecting
from burning
the soot.
is
It
of painting.
oil
or water, and
in all nicer
kinds
PAINTING.
181
IVORY BLACK
'Take
them
in
hot linseed
Put them
oil.
oil;
and soak
to be
more
may
which
into a vessel
will
bear the
fire,
be placed
fire.
it
washed over."
It is
not so
much used
as
oil,
cast
otherwise
it is,
if
it
of a blue
and extremely
serviceable.
INDIAN INK.
The
of a consistence,
when
is
is
much used in
minia-
There
is
fire in
double
its
size,
by
weight of water.
and dissolve
YOUNG
182
also in double
ARTIST'S ASSISTANT.
it
with
its
it
stir
till all
up
The preceding
will
be occasion to mention
their places.
to paint in oils,
generally purchase their colours ready prepared in bladders; a complete set of which, with a pallette,
quisites for painting
may be procured
and
re-
at the colour-
shops.
Complete
to render
this
We
give the
cakes.
VIl.
of the trancactions of the Society for the Encouragement of Arts, Manufactures, and Commerce.
PAINTING.
183
clearest
the mastick
is
in
gum
of
CAKES.
spirit
dissolved
if it is
wanted
in haste,
When
fineness possible.
is
the best) in
dry
when
fluid,
poppy
being
add
to
it
one third of
its
weight of pure
oil,
in
lours were
means of a charcoal
work
to a proper consistence
for the
it
into a
rubbed down
spirit
in
poppy or other
of turpentine and
oil,
as
oil,
may
artist.
or in a mixture of
YOUNG
184
ARTIST'S ASSISTANT.
THE
all materials,
except those of
Mosaic painting; in which an imitation of objects
ble of
is
the
monuments
if
of this art
the mortar
is
well prepared,
may descend
to the
most
Rome.
performed with colours deluted in water, and laid on a wall newly plaistered,
is
made
size.
performed on copper or
gold, with mineral colours, dried by fire. This method
is
is
PAINTING.
185
Wax, or encaustic painting ; performed by the mixture of wax with the varnish and colours.
Painting on glass
known
too well
to need descrip-
tion,
with
size,
stance,
linen,
silk,
board, or
wall.
ing:
it is
gum,
size, paste,
materials.
To
these
is
to be
added
we
shall
therefore
OIL PAINTING.
THE
other
principal advantage of oil-painting over
methods consists
that
it
in the colours
and precision.
The co-
secret of painting in
oil,
which
is
YOUNG
186
ARTIST'S ASSISTANT.
and
known
linseed-oil.
the
to
schools,
and
is
first
oil,
as poppy-oil, nut-
It
linen cloth.
of colour
is
it is
is
used
requisite that a
is
for
ground
ing
known
to all colourmen.
In some of the pictures of Titian and Paolo Verois reason to believe that
they laid their
nese, there
sent the student with the best rules drawn from a careful
different styles.
We
scapes.
and
lastly of land-
PAINTING.
187
OF PAINTING FLESH.
Principal colours from which all the tints of the flesh arc
Flake-white
is
known
This
to us.
of
and
the nature
all
Ivory-black
is
for blue
is
is
on white grounds.
a colour which
it is
It is the true
little
shade
Indian red,
it
It is
drying-oil.
Black
is
Ultramarine
is
glazing colour.
Prussian-blue
ing colour
oil
is
it is
It is
is
it is
a beau-
a very fine blue, and a kind workground with linseed-oil, though nut-
is
more proper.
It
but
in
188
YOUNG ARTIST'S
but nut-oil
is
ASSISTANT.
better.
and white,
in
It is a beautiful,
colour.
and therefore
will
grow darker.
It
No
when
it is
made
is
It will
glazed.
It
seed-oil,
Carmine
and vermilion
is
lin-
oil.
a mid-
it is
it is
a fine
Lake
is
therefore
It is
it
ground with
Indian red
linseed-oil,
it is
into lead
Brown pink
body.
lights,
is
mix of a warm
it
this colour
dirty
hue
for
which reason
glazing of shadows
it
their jointint.
it
it is
In
painting.
falls
In the flesh
because
It is
oil.
is
first
PAINTING.
weakened with
terraverte
Igg
ground with
linseed-oil,
mixes
Principal
tints,
colours,
Light red
is
it
tint,
shade.
made
tint is
ground of the
warm
With
flesh.
it is
all
this colour
all
mezzitinto.
Remember, that this colour
grow darker, because it is in its nature too strong
scuro, or
will
Vermilion
be.
tint is
a middle tint:
it is
It agrees best
yellow
Carmine
tint is
of
middle
tint, it is
for the
cheeks and
lours,
tints.
all
lips
it is
up
tints that
It is
can be used
in the flesh,
and
in
chang-
YOUNG
190
Yellow
white
but
ARTIST'S ASSISTANT.
tint is often
it is
made
and white,
which
tints
If
it
is
you lay too much of it, you may cover the ground
was laid on with light red tints.
Blue
tint is
made
a lightish azure
it is a
pleasant working colour ;
you should blend the gradations. It follows
the yellows, and with them it makes the greens ; and
to
with
it
it
down
No
colour
is
into keeping.
Lead
tint is
to a middle degree
it is
fore
is
white.
be
Shade
white,
tint is
mixed
This
tint.
is
made
to a beautiful
shadows.
pearl.
As
all
its
composition are
PAINTING.
Red shade
red.
It
glazer
and
191
little
Indian
is
It
is
receives,
when
It is
agreeably.
it is
dark shadows.
all
wet or dry.
it
because they mix of a dirty colour, and therefore should be softened off with a tender cold tint.
lights,
It is
Process.
The
two
tints
4. vermilion
and
its tint
first
3. light
;
and
se-
flake, or fine
5.
6.
red and
tint
com-
rose tint; 7.
The
more,
pink;
13.
warm
carmine and
4. ivory-black;
5.
shade.
a complexion requires
its tint
2.
lake
Prussian blue.
3.
five
brown
YOUNG
192
ARTIST'S ASSISTANT.
The
one
is
first
the
only,
the
to
is,
make
out
all
the
ringly.
red
and remember
The
lights should
tint, in different
be
all
degrees, as
we
see
them
in nature.
size
work
of a large
into cha-
The warm shade being laid on the shade tint, improves it to a warmer hue but if laid instead of the
;
shade
with
and
shade
tint,
if
and
is
it
mixes
best that can be for the shadows, yet they are too
strong to be laid alone, which
use and merit of the shade tint.
is
that the shade and light red tints are so friendly in their
nature, that even in continually altering and changing,
PAINTING.
193
be made
When
the cloth
is
in the
there-
warm, and a
little
so that
life,
finish as if
it
it
may
had been a
that you leave it always in the same order for finishcolour of the cloth is quite the reverse.
ing, though the
is,
in what
we
call the
dead-
is
glazing
and no other
brilliancy
and
and the
solid colours
which are
laid
on
it,
will
look
YOUNG
194
may be avoided, as
ARTIST'S ASSISTANT.
it
will easily
roughest parts.
The
light red
first
is
lay or ground
superior to
;
all
which should
The
drying.
and the
greater the
stiffer it is laid,
the less
it
Every co-
will sink.
should
fall
delicate; all
grows
which should be lightly united: with
but
in uni-
up a
up
grounds ; therefore)
the
first
and be contented
painting
the
first
where,
ground.
to
if
add what
you
fail,
is
wanting
in the
next
PAINTING.
195
the least
all off,
first
is
oil
scumbling the
lights,
two parts ;
which is
the
pencils
The
first
improved
Where
the
you should do
colour very stiff and bare, that you may the easier reSome
touch and change it with the finishing tints.
some
of the
be
with
the
shadows
should
of
glazed
parts
much
of
it,
hue of the
first
Be
lights
K2
Thus
far
YOUNG
196
ARTIST'S ASSISTANT.
Second.
tints.
and shadows.
This should be done in the same manner as you laid
in the second part of the first
painting that is,
them
is
safe
for in
is
attempting the
will lose
you
dry,
become
of a dirty hue.
It is to
little
will
be no occasion for
oiling.
all
the glazing;
first,
where
then de-
By
this
method you
but
if it
hap-
tints
and
finishing colours as
PAINTING.
197
many
spirit.
It is
much
when they are dry, than when they are wet because
you may add the very colours that are wanting, with;
when you
are painting,
it is
much
do
better to
it
with
Of painting
draperies.
how many divisions are absolutely nemake the first lay of colours, and after that
determine
cessary to
The
is
to
right
make out
the whole, or
first
lay,
in general,
with three
warmish hue
made
of
tint
should be
tint,
only
YOUNG
198
ARTIST'S ASSISTANT.
shades, are
all to
and principal
be considered, and
and
lights
made
with these
tisfaction,
finishing tints.
The
reflections of draperies
and
satins are
generally
colour,
Here
tints.
it
will
tint first at
and leave
and
lie
tint, for
After this
to
The
reflects
antipathies
and
of the
lays
they
will,
without great
laid
and
19
PAINTING.
If it is overdone, endeavour to
without softening.
recover it with the colour of the part on which it was
laid
this
may be done
directly, or
when
it
is
dry.
Whether the
reflects
are
colours.
per to
make
places
that
is
all
though in general of the same hue ; and let the shadows be no darker than a middle tint. These should
be mixed and broke
in
The
the second
is
first
the
is
in the first
lay
the fine white for the
first tint,
K 4
which
is
made
of
YOUNG
200
and a
fine white
ARTIST'S ASSISTANT,
little
ivory-black,
mixed
to
an exact
on any other ; and take care that this first tint appears
between the white and the middle tint,
distinctly
The middle
a
tint
should be
Indian red.
little
friendly,
do
be
hue changing a
it
little
to the lead.
If there
occasion to
with the
first tint
only.
in all the
alsolittle
lights that
made
with the
character,
first tint
and look
if
made
of the
same colour
it is
first lay.
Next
Brown
all reflects in
is
dra-
PAINTING.
201
wanted
tints
and the
local co-
reflecting
one should be
may be
colours
first
and middle
little
changed on the
tints, as
method
is
is
hue,
The
These
this last
tint sufficient
made with
little
brown
making them
We
often see a
white satin.
little
it
dull
and
first tint
it
of
blue
because
his
middle
tint,
all
and
Blue satin
is
made of Prussian
blue
fine while.
first
K 5
is
YOUNG
202
degrees or
beautiful azure
ARTIST'S ASSISTANT.
First
tints.
make
the
make out
shade
all
tint,
the shadows.
the better
it
drive the
and
finishing tints.
low hue.
The
is,
reflects are
made
which should
be perfectly done, as you intend them, at once paintThe shadows, when dry, may be a little iming.
proved,
if
there
is
it
is
it is
ground
it
will
it
is
used
work and
ap-
pear.
may be
make out the
Velvet
to
first
shade
as those of satin
PAINTING
is
done by glazing
the
203
method of which
is,
to prepare
will,
ground
for blue is
the white
tint
is
and shade
tinto.
ivory-black
Remember
make
first
middle
make
if
darker.
necessary to cover
all
!ig-hts,
to dry.
fine
with nut
fish tool.
en and
It is
on the
finish the
last glazing
we should
strength"
shadows.
tint,
which
is
made
if it
K6
YOUNG
204
ARTIST'S ASSISTANT.
the other
When
is
This method of
all
glazing.
may be
glazed with
ultramarine, though all the other parts are done with
Prussian. This method saves a great quantity of that
glazing blue, the lights
if
them
so
it is
of a mid-
and shade
tint: the
and the
answers
make another
tint
shade.
If the lights
and middle
tint
mix
to a beautiful clean
if in mixing
they produce a tint inclined to
a dirty warm hue, then another of a sympathizing nature should be laid between them, in order to preserve
if it
was not
would certainly
dirty
so,
and
first tint in
It is highly
of the
first
knowledge
the white
PAINTING.
205
and white,
made
of
is
for scarlet;
The high
and
is
velvet,
which
will
and vermilion
shade
tint is
addition of a
difference
make
made
in proportion
and white
for cloth.
little
is,
darker.
<
for satin
The middle
tint
black
little
it
in the
The
darkest shadows.
is,
darker.
milion.
The high
in the
same manner
and managed
prove the
reflects
and shadows.
Remember
that the
and it
is
bet-
much
at once painting.
Pink
colour.
same grounds do
for
both
YOUNG
206
ARTIST'S ASSISTANT.
red, lake,
and white,
for the
When
lake,
and Indian
shadows.
little
it is
method, is done
dry, glaze
mony
with fine
into har-
directly.
is
to
make
and a
little
little
to
be broken
them
is
king's yellow,
lights are
made with
oil.
The
tint,
The
in the yellow, as
method of using
made with
little
of the pearl
which
belong to the
The
first
lay.
and sometimes
in the
for
green
is
a light yel-
PAINTING.
low green, which
is
made
207
of light ochre, a
-little
white,
and Prussian blue, for the lights, and the ochre, brown
for the shadows.
pink, and Prussian,
The
brown pink.
middle
tint
shadow
tint
is
made
tint,
and middle
manner
tint
lights,
it
will stand.
It is
tint,
middle
tint,
because
it
enough
for the
shadows.
The shade
tint,
though
The high
produce a
tint of
a clean hue.
will, in
dark
though
should be of
lights,
tint is of
it is
mixing with
it,
YOUNG
208
The method
ARTIST'S ASSISTANT.
of painting silks
middle
is
to
and then
tint,
This
tint.
fill
them up
folds
in the
lay should be
first
done
to
may be
shades, and should be laid with tender touches sparingly, for fear of spoiling the first lay.
silks, as well as
matching the
much
the plain
.that
tints,
art in
The
last
mellowish hue
Black.
little
shadows.
The
and a
little
lake.
The middle
tint
made
is
of an
black.
The method
of painting black
it is
fore
is
and
brilliant
so in black,
keep the shadows clear and transparent. Therebegin with the shade tint, and glaze over all the
to
shadows with
it.
Next
little
of the shade
tint,
shadows
very correctly.
PAINTING.
After that,
middle
fill
209
tint only.
done exactly
to
The lake
and gives
it
If the
shade
tint
Black
is
of a cold heavy
There
will
added
made
ochre,
mixed with a
Though
little
shade
brown
tint.
Linen.
same as
and mixed
The shadows
are
made
little
YOUNG ARTISTS
210
should be
left
ASSISTANT.
These
of white satin.
tint
The second
lights,
with a
the
painting begins with glazing all
and fine white only, driven
stiff pencil
oil.
oil,
is
The
middle
tint
of white satin
is
With
this
and white,
in
then, with
a large long pointed pencil and fine white, lay the high
After this comes
lights very nicely with one stroke.
the fine light bluish
and
tint,
light,
lightly,
without
filling
Remember, the
the more
and
them up.
first
and
It is the
appears, the better.
overmixing and joining all the colours together, which
spoils the beauty of the character ; therefore it is
distinct;
better to let
it
it
dry before
we add
finishing tints.
made
tint,
green
tint,
and rose
tint
it is
which
Glazing
it
seems
done, will
PAINTING.
certainly sink
laid
and be
therefore
lost in the
211
grounds on which it
is
Of painting
back grounds.
The principal
tints are
1.
made, as follows
Pearl
is
made
little
Indian
red.
2.
colour.
3.
and white.
tint.
6.
mixed
7. Stone, of white,
tint
cellent
warm
shadow-colour.
YOUNG
212
ARTIST'S ASSISTANT.
oil
mix and
set
Where
you expect
Process.
The process
of painting back-ground
is di-
stiffish tool,
white, a
little
rency, which
firstlay
is
is
first,
it
The second
lay
is
is
part
monize and
finish with.
lights first,
PAINTING.
a variety of light
213
Take care
consider
lay, but
it
much
of the first
for
will
will sink,
in drying.
them with a
little
after
them
and improved by
glazing,
too strong.
therefore his
He understood
the grada-
first
YOUNG
214
ARTIST'S ASSISTANT.
This will
Fresnoy says,
be
may be something
it of
every colour that compose your work, as it
were the contents of your pallet.
Curtains should be dead-coloured when we paint the
in
ground
painting;
shadow,
we cannot make
It will
first
of light and
The sky should be broke with the lead and the fleshThe murrey tint is of great use in the grounds
of distant objects and the umber and dark shades in
the near grounds. The greens should be more beautiful
tints.
than you intend them, because they will fade and grow
darker. After all is painted, go over the whole very
lightly with
which
will
the softener, as
make
it
PAINTING.
215
Of painting Landscapes.
The principal colours used in landscapes are:
white;
2.
ochre; 4.
ber
common
white lead, or
brown ochre
7. ivory black
8.
white
1.
flake
2. fine
light
or native cinnaber
The
1.
Prussian blue,
light ochre,
4. the
and white;
light ochre
and white
3. light
same darker
2.
ochre
5. terreverte
7.
for
dead-colouring, are combrown ochre, burnt umber, Indian red, ivory black, and Prussian blue.
The principal colours and tints for painting the sky,
ochre,
The
tints are,
at your discretion.
first
lay or dead-
is
to
YOUNG
216
ARTIST'S ASSISTANT.
done
and shadow.
in the
same man-
The
figures
in the
left to
dry.
Let the
first lay,
shew them
Remember
The
for the
is,
to find the
ground of shadows
in
in
it
These should be a
burnt umber.
is
only
changed to the
and then laid on with
little
ink,
which
glazing.
is
agreeably with
them.
The
sky.
colours,
all
and
left
a good body of
PAINTING
cipal clouds
more
in the
217
manner of
the whiter
left
the better
will
shew
and
laid
All
in,
it is
better to incline
more
to
and
After
tints.
this,
Begin with the sky, ^nd lay in all the azure, and
colours of the horizon ; then soften them ; after that,
lay in the general tint of the clouds,
and
finish
on
it
with the highlights, and the other tints that are wanting, with the light tender touches; then soften the whole
The
finishing of the
when
the whole
is
all
wet.
at
stiffer
the
The
may
as they
made
with the
YOUNG
218
ARTIST'S ASSISTANT.
ing shadow-colours as
thin,
come nearest
in.
to the general
On
tinctly.
hue
dis-
it
this lay, or
colours.
Now
of the same
them with
Before
we proceed any
like
it
umber
is
oil.
After
a very good
is
It is a fine
har-
Make
out
all
glazing shadow-colours as
seem nearest to
in that situation
the natural
PAINTING.
218
if it is
in the dis-
tances,
tints
is
tints
such as are
made without
for
all
require
same
manner
in the
as will
seem easy
The
colours that
come next
painting
it
down from
As you come
will
be easy to
of the mid-
According
sepond
where
finish their
all
the objects
under or most
appear nearer.
Observe
this
L 2
last
YOUNG
220
and nearest
ARTIST'S ASSISTANT.
and where
so
it
if
you
let
Third and
If oiling
be
is
last painting.
tool or pencil
When
going to
finish
to
use
it is
The
highly
much
the lighter.
trees
is,
to
make
the
but more
done as
way
it
is,
and leave
it
to dry.
CRAYON PAINTING.
Then begin with improving
shadows, and let them dry.
The
and
work
221
and
last
is,
perfection
The
picture
and those
aftear
work of the
the. figures
and
in the first
first,
be done next ;
for
same hue or
they are
shadows of the
figures,
should be of the
in.
CRAYON PAINTING.
WHETHER the painter
works with
oil
colours, water
species has
its
peculiar rules
from painting
and methods.
many
Painting
respects, a treatment
in oil colours
because
L 3
is
But each
all
co-
much warmer
YOUNG
222
ARTIST'S ASSISTANT.
which
if any
ing eminent in his profession, was desired to lend a picture for the
made on
trial,
and giving
and though
in
the cold
great cause
success
CRAYON PAINTING.
to introduce
223
oils,
which
is
Another observation
On
made
its
heavy
effect.
of dry colours,are
difficult to
will find
will
dows
and
(in the
deep sha-
having
no opportunity of glazing or scumbling to give the effect, as the grey tints being mixtures with whiting unbrilliancy,
attempt abortive.
We shall now endeavour to give the student some directions towards the attainment of excellence in this art.
L 4
YOUNG
224
ARTIST'S ASSISTANT.
it is
most
of doing this
is
eligible
is first
is
to
be execut-
dead-coloured.
till
The method
the paper
after
it,
to pre-
When
the paste
is
may
method,
is
late
till
and
When painters
want
to
make
make
all
CRAYON PAINTING.
floor,
225
to
this
The crayon
when
painter
may
also
make use
of this
is in oils,
but
method
in
copy-
fol-
The
lines be
drawn on the
must
be done with great exactness; after this is accomplished, take a sheet of paper of the same size, and place it
on the
to
Great
care must be taken not to brush this off till the whole
is
sition
made
like crayons,
When
rt
he
is
may
chalk(whichare not to be avoided without great expertness) will 'prevent the crayons from adhereing to the
L 5
YOUNG ARTIST'S
226
ASSISTANT.
The student
lap,
with the
me-
The
for if
darkened at least
every advantage on the face avoiding too much shadow, which seldom has a good effect in portrait paint;
delicacy.
if
a child,
a young lady, express more vivacity than in the majestic beauty of a middle aged
woman, who also should not be expressed with the
let it
be childish
if
priety
The
and consistency.
features of the face being carefully
drawn with
nostril
upon
tint,
He
is
then to pro-
ceed gradually with the second tint, and the succeeding ones, till he arrives at the shadows, which must
CRAYON PAINTING.
be covered
mine a
enriched with
brilliantly,
broken with
little
257
much
lake, car-
brilliant green.
thod
This me-
from
its
the
first
colouring
fine
is
The
brilliant state.
Though
the face,
all
when
first
coloured, should be
to
tint; of
them
iris
A black
upper part, by the eye-lash.
is also to be avoided in the
eye-brows ;
thrown on
its
and heavy
tint
it is
shadow
them
ing
at
first,
L 6
YOUNG
223
ARTIST'S ASSISTANT.
on afterwards.
with
harsh
stiff,
He must beware
of executing
them
lines, gently
He must
broad, and enriched with brilliant crayons.
form the corner of the mouth with carmine, brown
oker,
much
carmine
tint therein
may be
this
tints,
If the hair is
overpowered
is
unknown
finished
on the contrary,
if
this
when
method
be discernable.
After the student has covered over, or, as artists
term
it,
it
is
to
sweeten
next
tint,
till
the whole
is
because
smooth or sweeten
solid painting,
CRAYON PAINTING.
229
student finds
it
crayon.
When
the head
wardness,
be treated
let the
is
brought to some degree of forback ground be laid in, which must
as possible,
by
its
this will
do great
service
and
solid appearance.
when he
the face,
far,
hair,
in
which
The above
produce
composed of
make
for
is
producing
The next
step
is
to complete the
YOUNG
230
ARTIST'S ASSISTANT.
completed
finishing
much
injure
it,
first.
downward,
till
was
that
if
to the forehead,
com-
is
pleted.
and
strike
could possibly do
was this circumstance of contrast not carefully atthe spectator
tended
it
to.
Young
when
it is
most
no consequence,
and
upon the
tints
depends
is still
greater when
must be
strictly
&c.
For instance, we
will
either
from
CRAYON PAINTING.
231
a driving cloud or some other interposing circumstance ; behind these stems of trees, and at a distance,
are seen trees
on a
rising
applied
effect,
effect,
and
rice versa.
most
vermilion
tint,
carmine was
first
faint
faint
work
great caution,
insensibly
may
Cooling crayons,
composed of
YOUNG ARTIST'S
232
ASSISTANT.
verditer
The
in painting,
strange at
first)
in order
to
it
may appear
break and correct the
other colours.
in the
dead colour,
is,
being compounded of both these colours, is of peculiar use in many cases where the transition is not to
be so
'
violent.
variety will be
still
this
shade; he will perceive one part inclining to the vermilion red, another to the carmine or lake, one to the
blue, this to the green,
and that
to the yellow,
&c. In
it is
often best to
compound
the
CRAYON PAINTING.
233
be
left to
though the student may be greatly assisted in the commencement of his studies, by an able master to direct
and point out the best method to treat circumstances
of this nature, as they occur in practice, which may
appear at
first
will
soon
require
many, as
to render
it
so various and so
every particular.
In finishing the cheeks, let the pure lake clear them
milion
as the beauty of
a crayon picture consists in one colour shewing itself
through, or rather between another; this the student
it
The eye
is
ut-
its
YOUNG
234
while he
is
this, it will
To accomplish
be a good general rule for the student to
in
as possible.
little
ARTIST'S ASSISTANT,
When
of his crayon
oker,
these he
hazel)
Red
tints of vermilion,
but
if
it
When
lost in shade.
till it is
and then
laid
be defective
on
firm
but as
in neatness,
it is
possible they
may
and yet no
examination
CRAYON PAINTING.
235
The shadow caused by the nose is generally the darkest in the whole face, partaking of
no
reflection
from
surrounding parts. Carmine and brown oker, carmine and black, and such brilliant crayons, will com-
its
pose
best.
it
colours,
finishing, introduce
correct
and,
when
This,
properly touched, will give the lips an appearif not superior to those executed in oils,
ance equal,
When
both have an unpleasing effect, denoting a violent agitation of the body, a circumstance seldom necessary to
express in portrait painting. The most necessary part
to be expressed, and which should ever be observed,
(even in the most delicate subjects) is a strong marking just above the place where Uie collar bones unite,
and
if
some
rises
the
head
is
much thrown
between the
ear,
collar bones.
and
is
As few necks
YOUNG
236
it
ARTIST'S ASSISTANT.
may be
pears,
Of the
in the
ways
is,
that they
it is
an injudicious use of the above-mentioned whites, which will stand only in oils. To obvientirely
ate the
to
owing
bad
effects arising
make
Take a large
and mix them
common
whiting pre-
it,
CRAYON PAINTING.
237
throw the
gritty
which
will
all dirt
and
whiting
When
grittiness.
this is done,
lei
the
settle,
which lay
it
may be
all
other tints
safely prepared.
and
large, flexible
flat
and vessels
till
REDS.
Carmine and
either
lake.
It is rather
lake.
difficult to
procure
Good carmine
is
manner
As
their texture
is
lay the
238
YOUNG
colour upon
it
laid
it is
on
ARTIST'S ASSISTANT.
in a proper
for painting.
shape
may be
clearly understood
by
cels.
quantities of carmine
of equal
ons
The
be made of whiting,
N. B.
be
Though these
tints
must be
Lake
left
is
carmine
will
till
not bear
it,
to prevent
parti-
the lake
with
lake,
The
but
perfectly dry.
is
it
for
it,
which
is
easily
done
if
spirits
and lay
it
CRAYON PAINTING.
239
tints.
carmine
To prepare
tint.
this colour,
mix
it
on
may
BLUES.
a colour very apt to bind, and is
rendered soft with more difficulty than carmine and
Prussian Blue
lake.
is
lowed with
this as is
is
to
be
fol-
Blue Verditer
therefore
it is
is
a colour naturally
necessary to wash
To accomplish
well.
this,
will
and
gritty,
Its particles
it
to unite
mix
compositions
will
them
after grinding it with spirits, mix it with the powder of Prussian blue then temper it with a knife, and
and
YOUNG ARTIST'S
240
ASSISTANT.
them
made
of these last
King's Yellow
is
may be
The crayons
blue.
'
rolled.
compose the
differ-
ed as
ground together with spirits, and the tints formin other cases; but no great quantity of them is
required.
Cuhri's Earth
is
After six or
compound
tints
it,
by a mixture
only
it is
Purples.
mixed with pulverized lake, will produce a good purCarmine thus mixed with Prussian blue will
ple.
produce a purple something different from the former.
Various tints may be made from either of these com-
CRAYON PAINTING.
is
Lamp-Black
with safety, as
all
241
This
a compo-
is
made from
this with
is
and
will
tints
is
compound,
should be made.
peries.
It is impossible to lay
tint
ing
in
down
necessary
accidental compositions entirely dependent
many
it
he
may form
useful.
Of rolling
THE
the Crayons
must be cut
into a proper
magnitude
after
YOUNG
242
left
lindrically,
position
is
ARTIST'S ASSISTANT.
first
If the
the composition
must be
if
com
too wet
laid
and when
formed cy-
finished,
all
must
remaining
After the gradation of tints from one c6formed, the chalk and the grinding-stone should
moisture.
lour
is
When
is
it is
completed according to
The bottom of
the par-
titions
when
of
first
partition
on the
hand of the second row, the carmines, lakes, verthe yellows and orange in
milions, and all deep reds
left
the middle
tints
MINIATURE PAINTING.
clean, that the gradations of colours
243
may be
easily
distinguished : in the lowest row, let the first partition contain a piece of fine linen rag to wipe the crayons with while they are using; the second, all the pure
lake
and vermilion
tints
partitions
may
MINIATURE PAINTING.
THE
date.
in painting
on vellum,
is
to glue
which
it
Then apply
equally in
all
it
to the plate or
When
and the
edges of your vellum are thus fastened, you may proceed with your work ; or you may (agreeable to the
ground.
M 2
YOUNG
244
But
ARTIST'S ASSISTANT,
we
sential point
towards excellence
branches of painting,
the
life
is
We
in
minia-
facility to the
hand
in the
Painting in miniature
cate and tedious in
its
is
of
It is
IN painting the
face,
Roman
Nottingham ochre,
the latter three of
The
The
and Antwerp.
The reds
are
Under the
class
its
MINIATURE PAINTING.
much that way, though more
colour inclining
orange.
are burnt
to be
used
in the
Gum water.
arabic,
245
to the
and
to the above
flake white.
which are
clean phial
and divested of
ter
thick that
made, the
better.
PROVIDE
yourself,
The
if
if
glass muller
an agate
possible, with
and
flag
must be
it
roughened,
a surface that
ground on
water on
it,
and grind
had
quite so well
lightly
of the colour to be
flag
it,
bruising
it
some
whilst
it
ground
it
from keeping
it
suffi-
in
YOUNG
246
ARTIST'S ASSISTANT.
little
to lay
and
thin:
if
you are
to scrape
it
is
gummed
and
pencil,
in the smallest
enough, then
transfer
to your
it
pallet.
gum
to
make them
suffir
shine, without
as smalt, ultramarine,
and
verditer blues.
Of
hair pencils.
fyc.
made of
tails,
and of
these there are two kinds, the dark brown, and yellowish red.
Pencils made of the latter kind are called
1
they,
from
events,
their
harshness,
become useless
common kind
of hair.
The
to one
error
made
at all
of the
too prevalent
amongst young miniature painters, is that of preferring a very small pencil for their work, vainly hoping
by the assistanc e of such a one, to execute their picture with more neatness and
but in this
;
accuracy
will,
MINIATURE PAINTING.
247
being not only sufficiently neat, but from its body containing a quantity of colour in fluid, enables the artist
to give that
is
so generally
touching
point keep
equally together of a
and non
length,
hair
quill
being
are sure of
guarded against, you
a very principal material for
in possession of
miniature painting.
IVOEY,
Method of
Of ivory
which
in
it.
and
full
whether
trary,
it is
coarse-grained or
fine,
perience,
is
familiarised to
it.
M 4
The
best
way to discover
YOUNG ARTIST'S
243
the quality of
ASSISTANT.
this
it;
you
will,
be thrown out
ivory will
iu the brilliant
to
be cautious
finest grain
and
close.
We shall
now
You
degree that you can hold your hand on the face of it,
so long as you can reckon three or four in moderate
time : then put your ivory between a clean
piece of
folded paper, on which place the hot iron,
turning
for
you are
it
becomes a transparent
an
opaque white not answering' for face-painting in miniature, as it would give a harshness and unpleasant
appearance to your picture.
When you
it
is
under some
weight until
it
Then proceed
for which purpose you must
pound some
to prepare it:
pumice-stone in a mortar, as clear and as
fine as
you
about midway,
tight,
MINIATURE PAINTING.
to sift
pumice-dust
249
Then get a
clean and dry, in
the
to use,
a piece of
fine
with
it,
not by passing your hand backwards and forin a circular manner, until
you have it
wards, but
pretty level
it
it
in a circular
which
manner
free
it
taking on
it
Then paste
and
it
in a
few hours
it
after this
will
be
fit
YOUNG
250
ARTIST'S ASSISTANT,
it
as
gum-
in the
drop lake.
and
is
brilliant of colours
of brightness to render
plish grey
shadows of the
as before-mentioned,
still
it
face.
still
tint as ultramarine,
grey tint
may be made by
it,
the
wanner
accord-
A warm
Sienna in
for.
and
the
more
terra
more Prussian
or
gum
it
re-
than ordinary to
keep together.
third grey
MINIATURE PAINTING.
tint,
which
an excellent one,
is
is
251
tints.
is
formed of
Of hair
tints.
gall
and
is
made
The manner
of carmine, lamp-black, and sap green.
of forming it is only to be acquired by practice : but
when once
the
That very
trial.
be met with
difficult tint
may be made
hair tints
make
is
often to
which
in children's hair,
all their
Some
excellent paint-
represented.
good
tint;
and forms a
it is
apt to pro-
duce.
Tints for Jine linen, gauze, #c.
Of
all
tints
in
of the present day, there are none more difficult to ascertain: for the delicacy not only of mixture, but the
We
M 6
YOUNG
252
will,
now
ARTIST'S ASSISTANT.
Of colours
We
shall,
under
observations; the
this
first
some
flake white
as
it
make some
head,
of which
general
cloth
that, in all
is,
it is
necessary to add
flesh tints
you are
to
its
body
that in grinding
is,
it
up your dra-
several degrees
to
be when dry,
a colour so very
is
it
finally
in
your draperies,
is
evenly spread
in
miniature
painting
would
pencil
MINIATURE PAINTING.
253
fill
colour,
equally, which,
readily do;
is
if
in
kept
then lay
a proper
fluid state,
some place
dust, when you
it
in
to dry,
will
it
will
where
have a
it
fine
Washing in is performed
on your desk, by filling your
pencil moderately with colour, and giving a very
broad stroke rather faintly, as the contrary would not
when your
answer
lesser
picture
this
is
manner
is
in
laying on the
It is
first
appearance so necessary
to
animated
constitute a fine
pic-
lure.
flake white;
manage
effect.
Blue drapery
or
Antwerp
much
may be made
blue,
Green drapery
is
well
YOUNG
254
ARTIST'S ASSISTANT.
gum
Drab colour
ture of
umber
is
in
it.
in its
raw
state,
and
flake white.
of Terra de Cassel, a
little
The
is
made
white.
Grey can be formed only of lamp black, flakewhite, and the smallest quantity of lake laid in very
thin.
Reddish brown
is
best
made
little
for
it
by
making, as
in sC>me pictures it is
down
rules
dangerous to make
if the
subject you are painting from life is
very pale, you run a very great risk by annexing a
quently,
We shall therefore
MINIATURE PAINTING.
out any flake and white
and
it is
if
dry,
255
you want
it still
ren-
fill
gum
it
nicely
but
if,
are
first
in Miniature.
mahogany
be a
lid
with a supporting
readily to adjust
rail at
it
lift
is
to
have a
occasionally
to any height.
observe,
it
is
between the
the choice of
left
to reach
it,
you
sit
towards the
sitter at
about a
at your
paint-
light.
YOUNG
2,56
ARTIST'S ASSISTANT.
depends on
it.
When you
warm
this in
ture,
agreeable.
grey
tints
faintly
such appears,
still
if
any
working in the handling manner
to
add warmth,
MINIATURE PAINTING.
257
may be
duce the
From the
variety of style
ture painters,
it is
which
to ascertain
necessary to pro-
of nature.
tint
is
them
clear
to attain,
and
free
frommuddiness, which
we recommend
if
is
difficult
to the
same time
making of his
letting nature
features
be his guide
and colouring of
his
picture.
is
that of
hand of harmonizing
the colours of the face, by artengaging the eye with somewhat of similitude in
the back ground to a tint in the face-, which otherwise,
fully
in course of
the person
up
and
if
is
very
tall, in
which case
it
must be higher
YOUNG
258
ARTIST'S ASSISTANT.
ENCAUSTIC PAINTING.
practised in
England.
The
first
method
is
in
this very
curious
1785.
" Mr.
Lewis, of Gottenbrun, has lately executed a
picture according to my manner it is done upon wood
:
is
ren.;*le
*e vivacity
you
by exposing
ed,
it is
varnish
picture,
enough
it
you
may dry
to the heat.
desire;
and
if
you
but
if
is
preferable to any
you choose a varnish only, warm the
will evaporate.
When
this is
ENCAUSTIC PAINTING.
done, you must wait
259
till
when you
it
by rubbing it over nicely with a cloth.
you wish to have it still brighter, you must melt
white wax on the fire, without suffering it to boil mix
must polish
If
little
naptha with
if
this,
by means of a
the picture
is
it
over the
which
brazier,
small, or before
it is
restore
wax
them
if,
when
it if
you
the layer of
it
is
is
make
white
wax
is to be done by boiling
which you have dissolved a
twentieth part of the weight of the wax of marine
in water,
in
mentioned
if
it is
it
dry, polish
as before-
either of these
me-
found preferable to
and superior to
There are many
that
this
method.
fine colours
is
is
likewise
the true
much
hope
part with
its
than
phlogiston."
oil,
in
as-
wax.
may be
method of painting
to
in
There
oil,
As
all
oil for
wax
is
much
less
easily
YOUNG
260
ARTIST'S ASSISTANT.
and
it
gives
easy to
is
work
is
all
;
nor shadows to insert, but your colours are put on without the trouble of either. The prints for this purpose
are done in mezzotinto, but many of those well finished, engraved in the manner of chalks, are very
proper; for their shadows blended together, when
rubbed on the glass, appear soft and united as draw-
cut
off;
clean,
thin
water;
it
carefully out,
and
lay
it
over
it,
it is
in several parts,
and turning
it,
fingers,
come
off with
your fingers
then rub
it
ENAMEL PAINTING.
261
wet
it all
over,
and
When
dry,
of turpentine,
oil
it
will
for painting on ;
behind, will contribute to
fit
its
transparency.
Lay the
it is
not material
if
the darker
sorts are laid a little over them, for the first colour
will
The
glass,
when
painted,
four
made
perfectly clean.
to be enamelled
then be laid on as even as possible by a brush or pencil, being first tempered with oil of spike ; and the
distance of time betwixt the laying on the ground, and
burning the piece, should not be too great ; because
the oil will exhale, and leave the matter of the ena-
is
is
oil
little
of spike saved.
YOUNG
262
The method
ARTIST'S ASSISTANT.
of performing this
is,
to
fall
on a pro-
taken
in this
move
make them go
oils
of spike
further,
and
same
for this
except that
them
it
for it is the
but, with
When
&c,
are
to
made convex on
all
For
ENAMEL PAINTING.
proper' to enamel the
wrong
work
all
over,
263
as well on the
from cal-
laid
when
lifted
on
to the false
is
to its
it.
bottom, andput
tom
into
this
till
it will
go; but it is better to defer
be perfectly in order, which may be
known by putting a bit of tile or china, with some
enamel on it, of the same tone with that used as a
it
the
as far as
fire
work
may be used
may be
;
which
in the furnace,
where enamel
is
if
common
white glass.
to
little
264
YOUNG
linsed or olive
oil,
ARTIST'S ASSISTANT,
and in
this state
they are to
but
it
to
be used
should be avoided
oils
than
be immediately used because they dry away extremely fast, and would not only be wasted, but give
will
less freely
when again
diluted with
oil.
The colours being thus laid on the pieces to be paintmust be in all respects the same as
nicety
much
or antimony,
tin
and not
arsenic.
Pit-coal, as
for
OF ENAMEL PAINTING.
ENAMEL
all
employed for the colours (to hold the parts toare laid
gether, and bind them to the ground they
which beupon); this is glass, or some vitreous body,
vehicle
or melted, by
ing mixed with the colours, and fused,
ENAMEL PAINTING.
means
of heal,
becomes
fluid
265
and, having incorporated with the colours in that state, forms together
with them, a hard mass when grown cold ; it answers,
therefore, the
same end
in this, as oil,
gum-water,
size,
is
called a flux;
less
in
degree of heat,
it is
enamel said to be
soft,
and when
when
melts with a
who work
reluctant to
it is
be
soft, or
for,
if
they
will
ne-
YOUNG
266
ARTIST'S ASSISTANT,
if
the painting
colours,
is
capable of incorporating
makes another
The ground,
there-
mel painting.
The
third substance
is
it,
in
a melted state
all
vegetable
analized,
The
is
what we
shall call
since, as they
office
ENAMEL TAINTING.
of the flux)
it is
necessary that
it
267
substance as will evaporate and dry away without leaving any part behind ; as it would otherwise be hete-
away on the
first
ap-
been in a great measure monopolized by the Veneexcept what were formerly prepared at Dresden ;
tians,
who make
variety necessary
some
for
parti-
means afforded
to the practisers of
it,
of learning the
could well
we
fall to
shall, therefore,
for the
fluxes,
be more minute
making the
and colours,
several
in our instructions
kinds of the
K2
who
grounds,
are cou-
YOUNG
268
cerned
in,
or
ARTIST'S ASSISTANT,
may be
is
now become
may
sary in
its
is
neces-
greatest perfection.
be painted, or enamelled
it is
called,
What is
art.
It
cannot be
success in the
first trials,
cau be given as
will ensure
ever will
be able
all
to correct their
who-
of the principles
along intimated,
own
little
errors.
experience,
is
ENAMEL PAINTING.
269
some
little
previous
trial
judging of them be gained by an experimental acquaintance with them ; but as the materials in general
the same
fire
would excel
all
Of
MINUM,
or red lead,
is
pounding fluxes
be pure, which
given
requires
is
only it
may be known by
as also in
it
proper
the
enamel
it
should
method before
soft
com-
no pre-
is
uses.
all
Fixed alkaline
salt of vegetables is
sometimes used
likewise in
it
makes a
as
is free
some purposes.
* 3
YOUNG
270
Borax
which,
is
is
ARTIST'S ASSISTANT.
of any glass
when vitrified in a
known
other substance
amongst
and the fusion
;
on which account
it is
of the
suffers
it
and
it
from the
must also
be finely powdered before it be mixed with other ingredients in fluxes. Its use is not much known in com-
mon
practice,
may be produced by
the aid of
it,
by the employing
it
than can be
maybe brought
in different
pro-
much
as not to be
Common
salt
may
ling, particularly
as
where there
is
it is
when
Other vitreous
for fluxes
for
and arsenic
difficult
and complex.
ENAMEL PAINTING.
271
Of
fluxes.
WHITE
sand
ingredients,
which not
purpose,
called
sand; and
it is
when
They
that cannot
require to be
calcined before they are applied to any purpose of viThis is to be done, by putting them into
trification.
any
fire,
and continuing them there till the whole subwhen they must be taken out ;
and while
will
for
some
immersed
be rendered of a very
in cold water,
By such treatment
time.
brittle
and calcareous
done
must be
above given.
Where small quantities of the matter of any kind of
enamel is to be prepared, calcined flints are preferable
to a perfect degree, for the reason
much more
easily
reduced to an
is
very
little.
most quarries.
N4
its
tenacity in
272
YOUNG
a moderate
fire
ARTIST'S ASSISTANT.
when
and,
calcined, runs
much sooner
when
it is
there-
dients,
it
make a much
softer flux
or, it
otherwise ad-
Of
an advantage.
enamel, for
PUTTY,
for the
for producing a
forming
or calcined tin,
is
enamel grounds. As
-white colour in
the grounds.
tin is
best
way
to procure
it
artists
who use
it
it
much
and
the
business to calcine
it is
who make
it
their proper
for they
fitly
constructed for
it
before
It
;
must be demanded of
it
The
or
it
is
ENAMEL PAINTING.
melt
sufficient to
quantities as
it
273
it,
burns away,
till
earth, if
body with which the putty or calx of tin may be adulterated, that will not discover itself by this method of
reduction of the tin
it is
from
it;
but
it
may be
put
it
is,
it,
by
to take the
and having
and in-
it
as a cover to give
it
putty,
it
If there
shew
will
in a
If no
yellow or brown colour.
such colour supervene, but the putty appear equally
white as before it was heated, a conclusion may be
safely
made
or that,
if
that
it
sophisticated at
may be made
tin in the
perceptible by the
manner before-mentioned.
of a lighter
is
used
tint are
in
we have
be-
YOUNG
274
ARTIST'S ASSISTANT.
where
and a
zaffer,
little
when
calcined
flint,
when used
in
enamel painting,
previously to
it
distinguishing
along with
its
its
Ultramarine ashes are used, where light semi-transparent blues are wanted; but they are frequently
adulterated with precipitations of copper, which, of
course, turn green on fluxing, that
to
it is
very necessary
be cautious in the use of any parcel not previously
tried.
and when
it is
to be
it is
had
in
who make it
with colours.
known but by an
the effect of
it
actual
trial
of
it ;
scarcely
be
and, comparing
known
to
be
ENAMEL PAINTING.
colour.
It is
275
for use, ex-
fit
It is useful
who
seUs
compositions
The goodness of
by the same means
Smalt
is,
flints,
is
in
most cases
prefer-
Saxony, which are of an extreme strong body of colour and will bear any proportion of flux necessary to render them as soft as
cobalt, brought from
ful
fine,
and kindly
on
may be judged
of by
and the
less
it
thick.
its
inclines
to the
colour;
YOUNG
276
ARTIST'S ASSISTANT.
In order to
judge of the strength of the colour, the
smalt should be reduced to a fine
powder ; for, in a
grosser state, every degree of fineness renders
so
it
different, that
of
it.
ous on inspection.
Gold is used in enamel to produce a crimson, or
ruby colour; which, by the mistaken sense of the
Latin word purpureous, has been called purple by all
the English and French writers. It must be previously
reduced to the state of a precipitated powder, by dissolving in aquae regia, and making a precipitation by
salt, or
or alkaline body.
Silver
enamel.
is
It
of a powder, which
from
tion
spirit
The
phur.
may be done
either
by precipita-
may be performed by
spirit of nitre,
and
precipita-
ting
powder by
let
and
precipitation.
Iron
is
other
compound
colours.
It is
and
ENAMEL PAINTING.
277
to the
same end.
is used for
producing a yellow colour in
enamel, as well as the white before-mentioned; and,
Antimony
indeed,
it is
It is
prepared
only by levigation; to which its texture notwithstanding its being a semi-metal, very well suits.
Glass of antimony
is
enamel
But as
it
wants body,
it
in
compositions.
Orpiment has been also used in enamel for producing a yellow colour ; but it is very tender with
regard to the fire, and requires so soft a flux, while,
the
at
will
same
time,
antimony,
properly
that
managed
it is
rarely
com-
it,
used.
in
enamel
The most
active flux
indeed possesses
hitherto
this
amongst
power
salts
is
borax; which
in the greatest
degree
The aext
is
lead,
which
of earth, but
and
vitrifies
all
it
requires to be fixed,
by
conjoin-
YOUNG
278
it
ing
wise
some
with
it
ARTIST'S ASSISTANT,
sublimes and
flies
The
vitrefactive heat.
away before
arrives at the
it
but they are not sufficiently strong themselves to form an enamel flux soft
enough to be used in painting; though, as they are
salt
colourless,
which
is
vitrified lead,
they
or used in
its
is
necessary in the
flux.
PAINTING TRANSPARENCIES.
THE
effect of this
brilliancy of light
desirable.
The very
it
it
secure from
in
ornament-
to paint
able to place
it
light,
must be
you may be
when you
After trac-
TRANSPARENCIES.
579
The
last
pared with
spirit
of turpentine.
varnish, as
it is
You must be
apt to spread.
When
the varnish
is
must not be
is
with ivy, or of a
fire
YOUNG
280
ARTIST'S ASSISTANT.
or others
whose haggard
faces
ing.
The
glare
would tend
shadow
is
effected.
PERSPECTIVE.
PERSPECTIVE
is
the foundation of
all
the polite or
drawing; though colouring, taken abstractedly, does not come within its
liberal arts
in
and
archi-
ceive
instructed
PERSPECTIVE
281
is
not required.
But
any single
it is
figure, (exact as
it
appears in nature) on a
it
be a
circle
The reasons
its
more
remote parts should be represented as being of less magnitude, than those more in front, that is, nearer to the
282
YOUNG
spectator.
Now, although it
perspective that
line, or
all
ARTIST'S ASSISTANT.
is
considered an axiom in
from the centre, or point of sight. But it will be obvious, that where the object is very remote, there must
be the less necessity for such scrupulous attention ;
therefore
by horizontal
ing
lines in the
so long as they
draw-
of 60 de-
view
it
as a panorama,
When
a building
is
so
same
effect,
and compel us
to
we seek
the termination
ing,
to
demand separate
consideration.
fully
that, as
it
would be impossible
to represent
more than
PERSPECTIVE.
283
be fixed
we cannot suppose
we
side; consequently
same
object to
its
Speaking of common
effects,
we
Moon, or one
we
perceive both
the necessity
more
the
or less dark,
same
picture,
there will be to every object under their mutual influence a half shade,
the former
off;
and
This
will
be
He
will
then see, on
dow
will increase
wall on which
it is
represented,
YOUNG
284
The
ARTIST'S ASSISTANT.
viz.
in piano,
When
points.
drawn from, or
their basis
but when
by right
lines parallel
among
on plane
joined by right
that object on
The
lines.
horizontal plane
is
the.
figure presented
on the
ground plane.
stand
how
By
this
enabled to judge
parts,
and
we
are to under-
of,
their areas.
a house,
we
give
it
When we thus
that term
is
If we suppose a house
displayed we call it the profile.
or other object to be divided by a plane passing perwith
pendicularly through it in a line at right angles
the point, we call it the lateral section ; but if the plane
PERSPECTIVE.
pass in a direction parallel with the front,
285
it is
termed
If the plane
a longitudinal section.
passes in neither
of the former directions (not however deviating from
the vertical)
it is
in
\rt,
of a
whence
all
sight.
this, or
Any
its
plane figure
parts, as a
is
the subject
the parent of the design.
broken
pillar,
tree
of
YOUNG
286
ARTIST'S ASSISTANT.
it
comparatively, but a very few
being obvious that
as the lines forming the angles become more distant,
:
the more
may be
surfaces
jects
or
drawn
it
stand.
Perspective plane is the picture itself, which is supposed to be a transparent plane, through which you we
upon
the,
picture,
by supposing
lines to
be drawn from
produced
until they
Ground plane
of the horizon,
is
is
supposed to
stand.
The ground
line is that
The
horizontal line
horizontal plane,
and
is
is
produced
in the
same manner
The
point of sight
is
down
in the picture,
by supposing
and produced
The
until they
lines to
marked
be drawn
centre of a picture
is
lines,
plane where a line, drawn from the eye perpendicular to the picture, would cut it ; consequently it is
tive
PERSPECTIVE.
that part of the picture which
the spectator.
The distance of the picture
287
is
is
If
more
The
is
the distance
come within
their direction
and
that
is
parrallel
to each other,
opposite
to,
and
exactly
appear to
converge towards some remote point, i. e. their vanishwhen retiring in such manner, are
ing point Circles,
represented by ellipses, proportioned to their distances:
their dimensions in perspective are ascertained by
enclosing them, or the nearest of them, where a regular succession is to
remote.
We
trust
it
is
spective.
288
as
them
Some
idea
may
by standing on any height, and observing how low those objects which are near thereto,
will appear when compared with those more distant,
be formed of
this
1.
I.
and
<See
II.
Suppose your piece of pavement to consist of sixtyfour pieces of marble, each a foot square.
Your
first
is
to
its
from point
into
to point
the
nnmber of square
then
divide
the
in length, multiplied
by the same
in breadth, give
feet, or pieces of
marble con-
PERSPECTIVE.
tained in the whole
and thus
to corner;
in
289
will
fig. I.
Now, to lay
this in
perspective,
sight
line
AB
same point
from
to B,
AB
and from
ABC;
the line
the diagonal
line,
which
EA
is
C B,
rule a parallel
Then through
pavement
2.
will
To find
be laid
the height
in
perspective, as in
square
fig. II.
objects, at
See Jig.
111.
point of sight, as at
as at
A: and another
from
of any
to
for the
summit or
M, and
number of
top, as at B;
M, and another
pillar at
As
C,
fix
for
example; suppose
your dot for the base,
YOUNG
290
and
diagonal
to the
ARTIST'S ASSISTANT.
rule
at
diagonal
B M;
which perpendicular
F and
GH
and
meet the
line to
I,
DE
the
you would
G and
K L will
if
Or,
is
tance required.
To
any
particular distances,
one foot
in
diameter
divide
it
rule a line
3.
The same
all
your
pillars
will
The same
figure at
any
PERSPECTIVE.
291
it,
as at
f, i,
4.
To draw a
f, i,
and m.
See Jig. V.
direct view.
to
draw
B C,
on each
side
then
think proper as at
EA
fix
DE;
bisect
of sight F.
number
all
by the perpendicular
line into
any given
divisions to the point of sight, will reduce all your objects to their just proportion, by setting off their height
upon a perpendicular raised at their respective distanThe base, in the example here given, is divided
ces.
GH
the
o2
YOUNG
292
as well as of
all
ARTIST'S ASSISTANT.
For nstance
the lines
HF
and
KF
you
&c.
d,
the summits
may be
seen
rallel.
5.
First,
To draw an
favourite object be
oblique view.
line
AB
then,
if
your
which
to
will
building
a standard
Observe
F and
F,
makes a curve
make
your drawing.
the
whe-
for if it
same curve
in
PERSPECTIVE.
To draw a
6.
293
points.
line
your point of sight, as at c ; from which rule the diagonals c d and c e on the one side, and c f and c q on
the other which will shew the roofs and bases of all
fix
yourself placed at
Then
in the centre
of the base
line).
your accidental points g and h upon the horizontal line, and rule from them to the angles i k and
1
fix
is
&c. which
tive
may be drawn by
is
to
woods,
cities,
&c.
it will
number of accidental
do them as nature
points, that
shall dictate,
it
will
be better
judgment approve.
What
of landscape painting
o3
YOUNG
294
PERSPECTIVE,
ARTIST'S ASSISTANT.
aerial, is
light,
shade, and colours of objects, according to their different distances, the quantity of light which
falls
on
their
by
apparent
size,
so
it is
same time
it
would appear to stand forward, and seem proportiondwarf situated nearer the
eye,
ed
it
By
colour which
to
it
in a full
it
open uniform
is
meant that
light, at
such a moderate
This co-
it
faint
body
From
PERSPECTIVE
295
what
it
has in the
from the
eye^,
light,
and so
in proportion to the
strength of
From
upon
whether
it
pounded of the
and the
it
From
the object
is
much more
open
Some
air.
posed
to the
their degra-
From
it
o4
YOUNG
296
ARTIST'S ASSISTANT,
cordingly
so, that in
may be
objects, he
its
or degradation according
to its place.
Now,
with respect to which, all the same colours, at different distances, must have a proportional degradation
in like circumstances.
its
proper
ought to be
known what the appearance of that colour would be,
were it close to the picture, regard being had to that
diminution in proportion to
its
distance,
it
seem
damp upon
express
rest.
it,
and throw a
flatness
and
kill
the
297
ETCHING
which the
is
much
fortis.
aqua
advantages over
it
for
it
many
cannot
almost
executed
all
in the stroke
and machinery,
begun by
Landscapes,
for
it
We
let
him planish
it
well
then take
YOUNG
298
made by
ARTIST'S ASSISTANT,
means
that
a piece of charcoal
is
next used
and removing
the deep scratches made by the pumicestone ; and it is
with water, for polishing
it still
farther,
steel,
wood, about
and of the
size of a
well tempered,
and very
They should be
goose-quill.
must be brought
They
by
is
parallel-ruler
brass, as
it is
dent.
what
is
acid), is
it is
A stopple made
stopple, for its fumes destroy corks.
of wax will serve as a substitute, or a cork well covered with wax.
of the
Bordering-wax, for surrounding the margin
when the aqua fortis is pouring on. This
copper-plate
prepared, but
it
may be made as
follows.
Take one-third
melt them
in
ETCHING COPPER-PLATES.
melted, into water lukewarm
299
then mould
with your
it
hand
till it is
thoroughly incorporated, and all the
water squeezed out. Form it into rolls of convenient
size.
is
Turpentine-tarnish
used
This
fortis to bite.
aqua
may be
diluted to a proper
may be
it
seen better
when
upon the
laid
plate.
It is
prepared
in the following
manner.
in a
new
earthen-
to
and
it
letting
water, that
cool a
little,
may work
it
must be observed,
simmering
will
asphaltum
is
first,
that the
fire
be not too
be sufficient
putting
in,
a slight
and even
after
it is
mixed with
this
composition
is
YOUNG
300
ARTIST'S ASSISTANT.
The
summer
will
it
become so
if it
be suffered
tum be used.
son
when
To lay
it is
used.
ing manner.
some
ing
fine
it
by when warm.
paper, and light one end ; then hold the back of the
plate over the burning paper, moving it about until
it is
equally heated, so as to melt the
etching-ground, which should be wrapped up in a bit
of taffety, to prevent any dirt that may happen to be
every part of
among
it,
plate.
If the plate
be large,
it
is
will
be best to heat
It
it
must be
it
is
dis-
could be
When
the plate
is
301
he varnish,
it
make a
large flame,
plate
still
its
made
till it is
surface,
must
room
etching; the
in
should be as
still
therefore in which
is
it
laid
is
and suffered
to cool, the
with
it,
to
make
same
size,
it;
mixed
also a piece of
next the ground, on the plate, put the tracing over it,
and fasten them both together, and to the plate, by a
little bit
of the bordering-wax.
is
the ground, and the lines of the tracing will be transferred to the ground
will
be seen distinctly.
on taking
off the
paper, they
YOUNG
302
The
lines
ARTIST'S ASSISTANT.
now prepared
plate
though commonly
in with the
aqua
by the biting-
this is effected
fortis.
ed on.
it
in
long
rolls,
and put
margin.
pour
off the
The
aqua
fortis
orue corner, to
by afterwards.
much
is
now to be diluted
filling all
it is
more or
from air-bubbles.
By
the
you
judge of the rapidity with which the acid acts upon the
copper. The biting'in of the plate, is the most uncertain part of the process,
tell
when
the plate
is bit
ETCHING COPPER-PLATES.
When
3Q3
on, and the rapidity of the biting, that those lines which
to be the faintest are as
you wish
you pour
or
off the
er,
mixed with a
and when
may be poured on
mistake
in
.stopping-out
wrong
lines.
also&ecessary to be particularly careful to stopout with the varnish, those parts from which the
It is
to
the acid, otherwise you will have parts bit that were
When
called foul-biting.
is
ration
in
is
the biting-in
for
is
till
to
To take
off the
known
exactly.
heated by a piece
wax in contact with the plate, and occasions
come
it
to
whitening.
YOUNG
304
The success
ARTIST'S ASSISTANT.
of the etching
it is
a proof.
same
the
lows
it.
Melt a
little
and
is
done as
fol-
ground on a spare
a little to get some on the
of the etching
and dab
piece of copper,
it
By
this,
it
very
posed
aqua fortis. This is a very deand must be performed with great care.
of the plate must now be varnished over, the
licate process,
The
rest
If
same manner
as at
first.
to recover
it,
or
make
it
it is
fainter; this
is
more
This will
make
with a
lines
have missed
al-
may be
it
to print so black.
difficult
generally done
and thus
to
work up a mbre
finished effect.
Dry-pointing, as it is called, is another method employed for softening the harsh effects usually apparent
in an etching.
This is done by cutting with the etch-
MEZZOTINTO SCRAPING.
305
ing-point upon the copper without any ground or varnish. This does not make a very deep line, and is used
for covering the light,
tints
and
soft
and
is
worked up
OF MEZZOTINTO SCRAPING.
THIS
art,
which
is
of late date,
it is
is
recommended by
executed, especially
torical subjects
and aqua
tinta is
used only
for land-
The
grounding-tool
in
YOUNG
306
ARTIST'S ASSISTANT,
strokes from side to side, after wards from corner tocorner, working the tool each time
all
taking
all
be
full, or, in
would,
if it
other words,
all
for etching.
it
To form
on the plate.
the lights and shadows, take a blunt needle,
only,
your outlines.
The use of the burnisher
is
to soften or rub
such as the
(
tip
is
down
done with;
might otherwise,
when
than clear.
is,
to
When
your plate
is
ENGRAVING.
presslon, send
it
307
to the
copper-plate printer,
and get
it
it
and
is rer
for the
it
till it is
again
and so proceed
to prove .and
touch
OF ENGRAVING.
coloured
it
capable,
fluid,
Gravers are
made
in several
oil-
YOUNG
308
ARTIST'S ASSISTANT.
they
there
some occasions,
It is
and
is
it
use
may happen
to the plates
and require
to be
cushion, as
taken down.
it is
it
may
it is
intended to bear.
They are
ENGRAVING.
must be applied
to the plate,
309
and moved
in the
proper
direction for producing the figures of the lines intended ;
observing, in forming strait lines, to hold the plate
steady on the cushion, and, where they are to be finer,
to press
more
where they
In making circular and
is
this
it is
engraved,
it
it is
visible, it
roll
of
felt
may be
dipped in
necessary to carry
it
after-
oil.
In
as level as
and deeper
tirely
will
be
will
become deeper
made
at
which en-
and larger
in the
mid-
for those
who would
endeavour, by frequent
trials, to
YOUNG
310
ARTIST'S ASSISTANT.
strait
and
curving-,
by
light-
ening or sinking the engraver with the hand, accordIf, after finishing the design, any
ing to the occasion.
scratches appear, or any part of the engraving be
falsely executed,
The
plate being
thus engraved,
it is
proper to round
it
a further polish.
soft
directions
may
who
is
ought
to
ENGRAVING.
will teach
him
to preserve the
31
due proportion
of its
lity
and union
undertakes to
in his
finish
them.
cause sharp angles produce the unpleasing effect of latticework, and take from the eye the repose which is
agreeable to
it
in all
we should except
where
this
be considered, and
it
should be observed
how
;
they
and the
risings or
cavities of the
the shades.
Thus
make
first
stroke
may
often serve
engraver.
by its return to
show the freedom of the
YOUNG
312
ARTIST'S ASSISTANT.
and middle
may be produced
tints,
by long pecks of
or by dots a
of
little
or, best
When
architecture or sculpture
is
to
be represented,
brown shades, as
in other substances.
in the
White
nor must
makes
strokes.
Woollen cloth
should be engraved wide, in proportion to the coarseness or fineness of the stuff, and with only two strokes ;
stuffs,
silk
or satin,
ENGRAVING.
brown
is
first
called interlining.
in
by
313
the
Velvet
interlining, or
by clear single
strokes.
much
as possible
a cross stroke
is
put,
it
by perpendicular strokes.
should be at right angles,
first
stroke.
In en-
with black.
and
slightly
still
charged
are best
upon
it,
first
may be
interlined,
ought
to
YOUNG
314
ARTIST'S ASSISTANT.
more
or less lozenge
to
nothing should be
left for
much
as pos-
engravings.
for the
dry
and
tints
CHALK DRAWINGS.
To
made more
or less soft, so as
Every stroke of the chalks on paper may be considered as an infinite number of adjoining points, which
ENGRAVING.
215
plate.
If this
cannot be conve-
may be
The
outlines of the
The
may be
needles of various
sizes,
of
it.
The
marked
lightly, or they
may
be
if
left
more strongly
the varnish
is
taken
thod of applying the arpia fortis in this kind of engraving; but it maybe observed, that it should not be left
so long as to corrode the lighter parts too
much
if
may be
and lamp-black
stopped out with turpentine varnish,
and the aqua fortis may be applied
;
mixed together
if
it
will
be no detriment
YOUNG
316
ARTIST'S ASSISTANT.
When
the
is
be avoided.
finished,
and the
more
of the graver.
ent colours
may be
if
a plate
ENGRAVING
A METHOD
IN AQUATINTA.
and by which a
ink.
Previous to the operation upon the plate, the
following powder must be prepared :
rosin,
Through a muslin
sieve, sift
sift
si-
sieve, so as to
ENGRAVING IN AQUATINTA.
mix them
The process
317
gum
a copper plate
being polished in the usual way, lay the
etching ground upon
it,
is
as follows
ground
in the
same
The
article Etching.
little
and
grease,
wiped
much
leaving, however, as
Next sift
it
pretty smartly
it
of loose pow-
der.
it
The
will
now be
mixed with ivory black, and with a hair pendipped in it, cover all the lights or places where
there is no work or shade.
A rim or border of beesvarnish,
cil
shade
after which,
pour
it
off;
and, having washed the plate with water, set it edgewise to dry. Then with varnish stop out all the light
shades; pour
and
let it
it
stand
same manner
on the aquafortis
minutes more
five
ed
in
any
part,
second
proceeding
tint,
in
the
for every
darkest shades.
for the
;
tint
till
YOUNG ARTIST'S
318
ASSISTANT.
by
small circles
self.
mon way
of etching
and neatly
as
laid in the
com-
finish as highly
which
is
more expeditious.
many
however, in particular subjects, that some of the colours are so distant from each other as to allow the
printer
room
to rub
them
in
without blending; in
different colours
may be
ENGRAVING IN AQUATINTO.
319
by which means each tint or colour
will be exactly received on its proper place.
This is
A landscape, or any
the method practised in France.
as not to shift;
similar subject,
may be
its dif-
in the
usual
way
after the
the tints.
FINIS.
Plummet
&
SCIENTIFIC AMUSEMENTS,
IN
Amusing
to
".
NATURAL THEOLOGY,
Or a DemonstratioK of
the
Works
of his Creation.
N
7^25
E56
1822
Enfield, William
Young artist's assistant
5th ed.
PLEASE
CARDS OR
DO NOT REMOVE
SLIPS
UNIVERSITY
FROM
THIS
OF TORONTO
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