f} take care to carry your hand fledfaji
with an equal Jlrength., placing the fore-finger firmly upon the op^
pofite fide of the graver.
Then turn the next fide of the graver., and whet that in the
like manner., that you may have a very Jharp edge for an inch or
more.
Then turn that edge that you have whetted uppermoft., and fet-^
ting the end of the graver obliquely upon the Jlone, whet it very
fat and f oping in the form of a lozenge (with an exa£i and even
hand) making a Jharp-point to the edge of it.
If the graver be not very good, and very exaSily and carefully
whetted., it will be impoffible to perform the Graving with nicenefs
and curiofity.
5. The Graving cujlmn is a roundifli, butflattifli leather bag
filled with fand to lay the plate upon, on which it may be
turn'd eafily any way at pleafure.
The plate mufi be tunid with the left hand, according as the
Jirokes which you are engraving turn ; this is to be attained by
practice and diligent care.
5. The burnifher which is an iron tool is us'd in rubbing out
fcratches, fpecks or other things, which maycaufe faults in your
work on the plate ; and alfo if any ftrokes fhall happen to be
cut too deep or grofs, to make them appear lefs and fainter by
rubbing them with it.
Of the making o/' Gravers.
I. Tou muji be provided with fome crofs-bow fleet, and procure
it to be beatm out into fmall rodSf andfoftmed^ and this biing done y
you
E N G
you may zvith a good file Jhape them as you pleafe ; this being done,
heat them red hot, and immediately dip them into foap, which will
render them very hard.
2. In doing this obferve, that in dipping them into the foap,
if you turn your hand never fo little awry, the Graver will be
crooked.
3. If the Gtzver prove too hard, lay the end of it upon a red-
hot charcoal, till it begins to grow yellowijh, and afterwards dip it
in tallow (or as fome fay in tuater) and it will toughen it.
4. Then having fliarpened the Graver, ftrike the point of it
into a piece of hard box wood, to take off all the roughnefs
about the points, which was caus'd by whetting it upon the oil-
ftone.
5. In the laft place, touch the edge of the Graver with a file;
if the file cuts it, it is too foft, and will not work ; but if it will
not touch it, it is fit for the work.
If the Graver breaks on the point, it is afign that it is tempered
too hard; but will oftentimes, after a little ife by whetting come
to he well conditioned.
Of POLISHING the COPPER plate.
1 . Take a copper plate about the fize of your work, that is
to be Engraven on it, and that is free from fire flaws.
2. Hammer it very even and fmooth on a fmooth anvil; then
take a pumice ftone, free from gravel (left it fcratch it, and
thereby caufe a great deal of labour to get out the fcratches) with
a little water.
3. Then drop a few drops of olive oil upon the plate, and
burnifli it with your burnifhing iron, and afterwards rub it well
with the end of a piece of charcoal (made of beech-wood and
quench'd in urine) dipt in water.
4. With a roller made with black felt, caftor or bever hat
dipt in olive oil, rub it well for an hour or more, and your
plate will be fufficiently polifh'd.
Of the manner of holding the Graver.
1. It will be proper to cut off that part of the knob of the
handle of the Graver, which is upon the fame line with the edge
of the Graver ; by this means, making the lower fide that is
held next to the plate flat, that it may not be any interruption
in the Graving. See the plate.
2. For if you work upon a large plate, if that part of the han-
dle of the Graver be not cut away, it will fo reft upon the copper^
that it will interrupt the fmooth and even tnotion of your hand in
making the Jlrokes ; and zvill caufe the Graver to run into the cop-
per deeper than it ought to do,
3. Place the knob at the end of the handle of your Graver
in the hollow of ypur hand, afld having extended your fore-
a finger
p/oA'.m.
7. 2.
v-2^.
■^^3
i
ii
1
II i| IMI'IIP
llllllli'ti
I
1
i
i
1 i^'ir
1 , .liii
1
i
V^ and you will
at length arrive at a certainty by many trials and pradlice,
14. Or you may make a trial upon a wafte piece of copper
rudely hatch'd, pouring the aqua forth both upon the plate,
and that at one and the fame time ; and after a fufEcient feafon,
take off a little piece of the ground with a knife, from the
wafte piece of copper, where it is hatch'd ; and if it be not deep
enough, cover it again with the prepared oil, and make a new
trial, and after this manner proceed till you find the aqua forth
has eaten deep enough.
15. Wafh the plate with a little fair water before you warm
it, for otherwife the aqua forth will ftain the place.
1 6. If the ground has been broken up in any place, pour the
aqua fortis off the plate, wafti it with fair water, and cover it
with prepar'd oil, and then pour on the aqua fortis again, and
it will preferve the plate from injury.
• 7. That you may make the aqua fortis work harder or >
fofter, you muft cover thofe places of the plate which you would
have to be faint (after the aqua fortis has been once pour'd off
the plate) with the prepar'd oil, which oil muft be us'd by de-
grees, as you would have the work fainter.
This will be found neceffary in Etching landfcapes, becaufe
they muft gradually lofe and ftand at a diftance.
ETERNITY is reprefented in painting in the form of a fair
lady, having three heads, fignifying the time paft, prefent, and
to come ; fhe holds in her left hand a circle, pointing with the
fore-finger of her right hand up to heaven. The circle fhews,
that Eternity hath neither beginning nor end.
EUR
In the medals of Trajan^ Eternity was figured red, fifting
upon a fphere, with the fun in one hand, and the moon in the
other. By her fitting pofture is fignified perpetual confiancy.
In the medals of Faujiinay flie was drawn with a veil, and
in her right hand the globe of the world.
Claudius defcribes Eternity by a ferpent, encompafling round
with his body the cave or den wjicrein it lieth ; fo that making
a circle, it holds in its mouth the end of its tail, which with
the Egyptians was the emblem of the year.
ETHICKS is reprefented in painting by a lady of a fober,
grave afpe
refpedl to the fubjeSi in general, or to the pojjlons peculiar
thereto.
I. With refpeil to the fubjcSl, it is to be obferv'd.
1. That all the parts of the comporition are to be transform'd
or reduced to the character of the fubjedt, fo as they may con-
fpire to imprefs the fame fentiment, paflion or idea : thus e gr.
in a reprefentation of joy and peace, every thing fhould appear
calm and agreeable; of war, tu'bulent, and full of terror, ijc.
2. In order to this, if any circumflance occurs in hiftory or
defcription, that would invert or take fiom the idea, it mull be
fuppreft, unlefs eflential to the fubjedl.
3. To this end, the hiftory or fable is to be well ftudied in the
authors who defcribe it, in order to conceive its nature and cha-
racter truly, and imprefs it llrongly on the imagination, that
it may be difFus'd and carried through all the parts of the fub-
jea.
4. A liberty may be taken to chufe favourable incidents in
order to diverfify the Exprejjion^ provided they are not con-
trary to the principal image of the fubjecl, or the truth of hi-
ftory.
5. The harmony of the tout enfemhle ought to be particularly
regarded, both with regard to the actions, and the light and co-
lour. See CLAIR OBSCURO.
6. The modes and cultoms are to be obferv'd, and every
thing made conformable to time, place and quality.
7. The three unities of time, place and adtion ought to be
obferv'd, that is, nothing fhould be reprefented in the fame pic-
ture, but what is tranfa6ted, or paffes at the fame time, and
may be feen at the fame view.
II. With refpedt to the particular pajftons and affeSlions of
the fubjeit, the rules are,
1. That the paffions of brutes be few and fimple, and have
almoft all an immediate refpe6t, either of felf-prefervation or
the propagation of the kind ; but in human kind there is a
greater variety. Hence a man can move his eye brows, which
are immoveable in brutes ; and alfo can move the pupil of his
eye every way, which brutes cannot.
2. Children^ who not having the ufe of reafon, aift much af-
ter the fame manner as brutes, and exprefs the motions ot their
pajftons directly, and without fear or difguife.
3 . Tho' the pajfions of the foul may be exprejfed by the ac-
tions of the body, 'tis in the face they are principally {hewn, and
particularly in the turn of the eye and motions of the eye-
brows.
4. There are two ways of lifting up the eye-brows, the one
at the middle, which like wife draws up the corners of the mouth,
C c 4 and
EXP
and argues pleafant motions; the other at the point next the
rofe, which draws up the middle of the mouth, and is the ef-
fe6l of grief and fadnefs.
5. The paflions are a!l reducible to joy and fadnefs, either of
which is cither fimple, or mixt, and paffionate.
6. Joy caufes a dilatation of all the parts ; the eye-brows rife
in the middle, the eyes half open and fmiling, the pupil fpark-
Jing and moiil, the noftrils a little open, the cheeks full, the
corners of the mouth drawn a little upwards, the lips red, the
complexion lively, the forehead ferene.
7. Paffionate joy proceeding from love, fhews the forehead
fmooth and even, the eye-brows a little elevated on the fide the
pupil ii turn'd to, the eyes fparkling and open, the head inclined
towards the objedt, the air of the face fmiling, and the com-
plexion ruddy.
That proceeding from defire fliews it felf by the body, the
arms extendirg towards the objedt in uncertain and unquiet mo-
tions.
8. Simple fadnefs is exprefs'd by the body being caft down,
the head carelelly hanging afide, the forehead wrinkled, the
eye-brows rais'd to the midft of the forehead, the tycs half ftiu'-,
the mouth a little open, the corners downwards, the under-lip
pointing and drawn back, the noftrils fweli'd and drawn down-
wards.
That mixt with fear caufes the parts to contrail and palpitate,
the members to tremble and fold up, the vifage to be pale and
livid, the point of the noftrils elevated, the pupil in the middle
of the eye, the mouth opened at the fides, and the under lip
drawn back.
In that mixt with anger, the motions are more violent, the
parts all agitated, the mufcles fweli'd, the pup;l wild and fpark-
ling, the point of the eye-brows fixt towards the nofe, the
noftrils open, the lips big and prcfb'd down, the corners of the
mouth a little open and foaming, the veins fweli'd, and the hair
erect.
That with defpair refembles the laft, only more excefliveand
diTordei'd.
9. The hand has a great (hare in the Exprejfion of the fen-
timents and paflions; the raifing of .the hands conjoln'd towards
heaven exprejjes devotion; wringing the hands, grief; throw-
ing them towards heaven, admiration ; fainting, and dejedted
hands, amazement and defpair ; folding the hands, idlenefs ;
holding the fingers indented, mufing; holding forth the hands
together, yielding and fubmiflion ; lifting up the hand and eye
to heaven, calling God to witnefs ; waving the hand from us,
prohibition ; extending the right hand to any one, pity, peace,
z and
EXP
and fafety ; fcratching the head, thoughtfulnefs ; laying the hand
on the heart, folemn affirmation ; holding up the thumb, appro-
bation; laying the fore-finger on the mouth, bidding filence;
giving with the finger and thumb, a giving fparingly ; and the
fore-finger put forth, and the reft contrafted, to fhew and point
at, as much as to fay. This is he.
10. The fex of the figure is to be regarded ; and man, as he
is of a more vigorous and refolute nature, ought to be exprefsd
in all his aflions freer and bolder than women, who are to be
more referv'd and tender.
1 1. So alfo as to the age^ the different ftages whereof incline
to different motions both of body and mind.
12. The condition, or honours a perform is irxvefled with,
renders their actions more referv'd, and their motions more
grave, contrary to the populace, who obferve little conduit or
reftraint, givir^g themfelves for the mofl part up to their paf-
fions, whence their external motions become rude and difor-
derly.
Laflly, in fpirits^ all thofe corruptible things mufl be re-
trench'd, which ferve only for the prefervation of life, as veins,
arteries, &c. only retaining what may ferve for the form a.nd
beauty of the body.
In angels,, particularly as fy mbolical figures, their offices and
virtues are to be mark'd out, without any draught of fenfual
paffions ; only appropriating their charadlers to their functions of
powers, adlivity, and contemplation.
EXPRESSION. Whatever the general charaaer of the ftory
is, the picture muft difcover it throughout, whether it be joyous,
melancholy, grave, terrible, &c. The nativity, refurredtion
and afcenfion, ought to have the general colouring, the orna-
ments, back-ground, and every thing in them riant, and joyous,
and in a cruclfixon, interment, or z pieta [The Blefled Virgin
with a dead Chnft.] the contrary.
Butadiftinclion muft be made between grave and melancholy,
as in a holy family (of Rafaelle's defign at leaft) where the co-
louring is brown, and folemn, but yet altogether the picture has
not a difmal air, but quite the contrary ; befides another holy
family of Rubens,, painted as his manner was, as if the figures
were in a funny room ; if RafacUe% colouring had been the fame
with Reubensh on this occafion, doubilefs it would have been the
worfe for it. There are certain fentiments of awe, and devo-
tion, which ought to be rais'd by the fight of pidures of that
fubje(5t, which that folemn colouring contributes very much to.
There is a fine inftance of a colouring proper for melancholy
fubje£ts, in z picta of Fan Dyck : that alone would make one
not only grave, but fdd at firfl fight 3 and another inftance of a
coloured
EXP
coloured drawing of the fall of Phaeton after GiuUo Romano,
which fhews how much this contributes to the Exprejfion. 'Tis
different from all other colourings, and admirably adapted to the
fubjedt ; there is a reddifh purple tin£t fpread throughout, as if
the world was all invellop'd in fmouldring fire.
There are certain little circumftances that contribute to the
ExpreJJlcn. Such an effect have the burning-lamps that are in
the carcoon of healing at the beautiful ^aie of the temple j one
ftes the place is holy, as well as magnificent.
The large fowl that are feen on the fore-ground in the cartoon
of the draught of fifties have a good effcft. There is a certain
fea-wildnefcj in them, and as their food was fifti, they contri'
bute mightily to exprefs the affair in hand, which was fiftiing.
They are a fine part of the fcene.
The robes, and other habits of the figures ; their attendants,
and eufigns of authorty, or dignity, as crowns, maces, i^c.
help to exprefs their diftind: characters ; and commonly even
their place in the compofition. The principal perfons and
actors muff not be put in a corner, or towards the extremities
of the pifture, unlefs the neceffiiy of the fubjedt requires it. A
Chi iff, or an apoflle muft not be drefs'd like an artificer, or a
fifherman; a man of quality muft be diftinguilh'd from one of
the lower orders of men, as a well-bred man always is in life
from a peafant. And fo of the reft.
Every body knows the common or ordinary diftin£tions by
drefs; but there is one inftanceof a particular kind which I will
mention, as being likely to give ufeful hints to this purpofe, and
moreover very curious. In the cat toon of giving the keys to St.
Peter, our Saviour is wrapt only in one large piece of whi'.e dra-
pery, his left arm, and breaft, and part of his legs naked ;
which undoubtedly was done to denote him now to appear in his
refurre£tion-body, and not as before his crucifixion, when this
drefs would have been altogether improper. And this is the
more remarkable, as having been done upon fecond thoughts,
and after the pidture was perhaps finifli'd, which may be proved
by a dialing of this caitoon, very old, and probably made in Ra-
f Gene's time, though not of his hand, where the Chrift is fully
clad ; he has the very fame large drapery, but one under it that
covers his breaft, arm, and legs down to the feet. Every thing
elfe is pretty rear the fame with the cartoon.
That the face, and air, as well as our adions, indicate the
mind, is indifputable. 'Tis feen by every body in the extreams
on both fides. For example ; let two men, the one a wife man,
and the other a fool, be feen together drefs'd, or difguis'd as you
pleafe, one will not be miitaken for the other, but diftinguifh'd
with the fiift glance of the eye j and thefe chaiaders are ftamp'd
upon
EXP
upon the face, fo as to be read by every one when in the utmoft
extremes, they are fo proportionably when more, or lefs remov'd
from them ; and legible accordingly, and in proportion to the
skill of the reader.
The like may bcobferv'd by good, and ill-nature, gentilenefs,
rufticity, ^c.
Every figure and animal muft be affected in the piflure as one
fhould fuppofe they would, or ought to be. And ail the expref-
fions of the feveral paffions, and fentiments muft be made with
regard to the charadlers of the perfons moved by them. At the
raifing of Lazarus, fome may be allow'd to be made to hold
fomething before their nofes, and this would be very juft, to de-
note that circumftance in the ftory, the time he had been
dead J but this is exceedingly improper in the laying our Lord in
the fepulchre, although he had been dead much longer than he
was ; however Pordenone has done it.
When Apollo fleas Marfyas, he may exprefs all the anguifli,
and impatience the painter can give him, but not fo in the cafe
of St. Barthok?new.
That the Blefled Mary fhould fwoon away through the ex-
cefs of her grief is very proper to fuppofe, but to throw her ia
fuch a pofture as Daniel da Volterra has done in that famous pic-
ture of the defcent from the crofs, is by no means juftifiable.
Polydore, in a drawing of the fame fubjeft, has finely exprefs'd
the excefTive grief of the Virgin, by intimating 'twas otherwife
inexprefTible : her attendants difcover abundance of pafTion, and
forrow in their faces, but hers is hid by drapery held up by both
her hands: the whole figure is very compos'd, and quiet; no
noife, no outrage, but great dignity appears in her fuitable to
her eharadler.
In that admirable cartoon of St. Paul preaching, the expref-
fions are very juft and delicate throughout ; even the back-
ground is not without its meaning ; 'tis expreflive of the fupcr-
ftition St. Paul was preaching againft. But no hiftorian, or
orator can poflibly give fo great an idea of that eloquent, and
zealous Apoftle as that figure of his does ; all the fine things re-
lated as faid, or wrote by him cannot ; for there I fee a perfon,
face, air, and a6lion, which no words can fufficiently defcribe,
but which aftiire me as much as thofe can ; that that man muft
fpeak good fenfe, and to the purpofe. And the different fenti-
ments of his auditors are as finely exprefs'd ; fome appear to be
angry, and malicious, others to be attentive, and reafoning upon
the matter within themfelves, or with one another ; and one
efpecially is apparently convinc'd. Some before the Apoftle ; the
others are behind him, not only as caring lefs for the preacher,
Qx thedcClrine, but to raife the apoftolick charader, which would
z lofe
EXP
lofe fomething of Us dignity, if his maligners were fuppofed to
be able to look him in the face.
Elymas the forcerer is blind from head to foot, but how ad-
mirably is terror and aftonifhmentexprefs'd in the people prefent,
and how varioufly, according to the feveral characters ! The
Proconful has thefe fentiments but as a Roman, and a gentle-
man ; the reft in feveral degrees and manners.
The fame fentiments appear alfo in the cartoon of the death
of Ananias^ together with thofe of joy and triumph which na-
turally arifes in good minds upon the fight of the efFedts of di-
vine juftice, and the vi<5lory of truth.
Nor is the expreflion in another drawing of the defcent of the
Holy Ghoft lefs excellent than the other parts of it. The Blef-
fcd Virgin is feated in the principal part of the picture, and fo
diftinguifh'd as that none of the company feems to pretend to be
in competition with her; and the devotion and modefty with
which fhe receives the ineffable gift is worthy of her character.
St. Peter is on her right hand, and St. yohn on her left ; the
former has his arms crofs'd on his breafl, his head reclin'd, as if
afham'd of having deny'd fuch a mafler, and receives the in-
fpiration with great compofure ; but ?>t. John with a holy bold-
nefs raifes his head, and hands, and is in a mofl becoming atti-
tude j the women behind St, Mary are plainly of an inferior cha-
radter. Throughout there is great variety of expreflions of joy
and devotion, extremely well adapted to the occafion.
I will add one example more of a fine expreflion, becaufe
though 'tis very juft, and natural, it has been done by Tintoret^
in a drawing of his. The flory is our Saviour's declaration to the
Apoflles at fupper with him, that one of them fhould betray
him : fome are moved one way, and fome another, as is ufual, but
one of them hides his face, dropp'd down betwixt both his hands,
as burfl into tears from an excefs of forrow that his Lord fhould
be betray'd, and by one of them.
In portraits it muft be {t.tw whether the perfon is grave, gay,
a man of bufinefs, or wit, plain, gentile, ^c. each charafter muft
have an attitude, and drefs ; the ornaments and back-ground
proper to it ; every part of the portrait, and all about it muft be
cxprefTive of the man, and have a refemblance as well as the
featujes of the face.
If the perfon has any particularities as to the fet or motion of
tht head, eyes, or mouth, (fuppofing it be not unbecoming)
thefe muft be taken notice of, and ftrongly exprefs'd. They
are a fort of moving features, and are as much a part of the
man as the fix'd ones ; fome raife a low fubje6t, and contri-
bute more to a furpriling likenefs than any thing elfe. Van Dyck
in a picture has given a brisk touch upon the under-lip, which
makes
EXP
makes the form and fet of the mouth very particular, and
doubtlefs was an air which Don Diego de Gufmauy whofe por-
trait it is, was accuftom'd to give himfelf, which an inferior
painter would not have obferv'd, or not have dar'd to have pro-
nounc'd, at leaft fo ftrongly j but this, as it gives a marvellous
fpirit, and fmartnefs, undoubtedly gave a proportionable refem-
blance.
If there be any thing particular in the hiftory of the perfon,
which is proper to be exprefs'd, as it is ftill a farther defcription
of him, it is a great improvement to the portrait, to them that
know that circumftance. There is one inftance of this in a pic-
ture of Fan Dyck made of "John Lyvens^ who is drawn as if he
was liftening at fomething ; which refers to a remarkable ftory
in that man's life. The print is in the book of Van Dyck's
heads : which book, and the heads of the artifts in the lives of
Giorgio Vafariy are worth confidering, with regard to the va-
riety of attitudes fuited to the feveral charaders, as well as upon
other accounts.
Robes or other marks of dignity, or of a profefllon, employ-
mentor amufement, a book, afhip, a favorite dog, or the like,
are hiftorical expreilions common in portraits, which muft be
mention'd on this occafion ; and to fay more of them is not ne-
ceflary.
There are feveral kinds of artificial expreilions indulg'd to
painters, and praiSlis'd by them, becaufe of the difad vantage of
iheir art in that particular, in comparifon of words.
To exprefs the fenfe of the wrath of God with which our
Bleffed Lord's mind was filled when in his agony, and the ap-
prehenfion he was then in of his own approaching crucifixion,
Frederico Baroeci has drawn him in a proper attitude, and not
only with the angel holding the cup to him, (that is common)
but in the back-ground you fee the crofs and flames of fire.
This is very particular, and curious.
In the cartoon where the people of Lycaonia are going to fa-
orifice to St. Paul and Barnabasy the occafion of all that is finely
told.
The man who was heaKd of his lamenefs is one of the for-
wardeft to exprefs his fenfe of the divine power which appear'd
in thofe Apoftles; and to fhew it to be him, not only a crutch
is under his feet on the ground, but an old man takes up the
lappet of his garment, and looks upon the limb which he re-
membred to have been crippled, and exprefles great devotion and
admiration ; which fentiments are alfo feen in the other with a
mixture of joy.
When our Saviour committed the care of his church to St.
Pitsr, the words he us'd on that occafion are related by Rafaelhy
who
EXP
who has made him pointing to a flock of flieep, and St. Petef
to have juft receiv'd two keys. When the ftory of JofepV^ inter-
pretation oi Pharaohh dream was to be related, Rafaelle has paint-
ed thofe dreams in two circles over the figures ; which he has
alfo done when y^/)Z» relates his own to his brethren. His man-
ner of cxpreffing God's dividing the light from darknefs, and
the creation of the fun, and moon, is altogether fublime. The
prints of thofe laft mention'd pidlures are not hard to be found,
they are in what they call Rafaelle's bible, but the paintings
are in the Vatican ; the beft treafury of the works of that di-
vine painter, except Hampton- Court.
The hyperbolical artifice of Timanthes to exprefs the vaftnefs
of the Cyclops is well known, and was mightily admired by the
ancients ; he made feveral fatyrs about him as he was afleep,
fome were running away as frightned, others gazing at a di-
ftance, and one was meafuring his thumb with his Thyrfus, but
feeming to do it with great caution left he ftiould awake.
This expreffion was copied by Gtulio Romano with a very
little variation. Correggio, in his pidlure of Dana'e, has finely
exprefs'd the fenfe of that ftory, for upon falling of the golden
fhower, Cupid draws off" her linen covering, and two loves are
trying upon a touch-ftone a dart tipp'd with gold.
I will add but one example more of this kind, and that is of
Nicholas Poujftn to exprefs a voice, which he has done in the
baptifm of our Saviour by making the people look up, and about,
as 'tis natural for men to do when they hear any fuch, and
know not whence it comes, efpecially if it be otherwife extra-
ordinary, as the cafe was in this hiftory.
Another way pra£tis'd by painters to exprefs their fenfe,
which could not otherwife be done in painting, is by figures re-
prefentative of certain things. This they learn'd from the an-
cients, of which there are abundance of examples, as in the Jn-
tonine pillar, where to exprefs the rain that fell when the Roman
army was preferv'd by the prayers of the Thehan legion, the fi-
gure oi Jupiter Pluvius is introduc'd. Rafaelle in the paflage of
"Jtrdany has reprefented that river by an old man dividing the
waters, which arc roll'd and tumbled very notably.
I will add but one way of expreffion more, and that is plain
writing.
Polygnotus^ in the paintings made by him in the temple of
Delphos^ wrote the names of thofe whom he reprefented.
The old Italian and German mafters improv'd upon this ; the
figures they made were fpeaking figures, they had labels com-
ing out of their mouths with that written in them which they
■were intended to be made to fay ; but even Rafaelle and Annibale
Carraccif have cgndefcended rather to write than leave any am-
biguity.
EXP
biguity, or obfcurlty in their work : thus the name of Sappho is
written to fliew 'twas fte, and not one of the mufes, intended in
the Parnaffits : and in the gallery of Farne/e; that Anchifes might
not be miftaken for Adonis^ Genus unde Latinum was written.
In the cartoon of Elymas the forcerer, it does not appear that
the pro-conful was converted, otherwlfe than by the writing ;
nor do I conceive how it was poflible to have exprefs'd that im-
portant circumftance fo properly, any other way.
In the peji of the fame mafter, grav'd by Marc Antonio, there
is a line out of Virgil, which, as 'tis very proper (the plague be-
ing that defcrib'd by that poet, as will be feen prefently) admi-
rably heightens the ExpreJJion, though without it 'tis one of the
moft wonderful inftances of this part of the art that perhaps is
in the world in black, and white, and the utmoft that human
wit can contrive ; there is not the moft minute circumftance
throughout the whole defign, which does not help to exprefs the
mifery there intended to be (hewn ; but the print being not hard
to be feen, need not be defcrib'd.
Writing is again ufed in this defign j in one part of it you fee
a perfon on his bed, and two figures by him ; this is /Eneas,
who (as Firgil relates) was advifed by his father to apply him-
felf to the Phrygian Gods to know what he fhould do to remove
the plague, and being refov'd to go, the deicies appear to him,
the moon fhining very bright, (which the print reprefents;) here
effigies facres divom Phrygia is written, becaufe otherwife, this
incident would not probably have been thought on, but the group
would have been taken to be only a fick man, and his atten-
dant?.
You muft not expedl to find the true airs of the heads of that
great mafter Rafaelle in prints, not even in thofe of Marc An-
tonio himfelf. Thofe are to be found only in what his own in-
imitable hand has done, of which there are many unqueftiona-
ably right in feveral collections here in England; particularly in
thofe very admirable and copious ones of the Duke of Devon-
fliire, and the Y.2,\\q>{ q{ Pembroke \ hut Hampton- Court \^ the
great fchool of Rafaelle !
Befides him, I know of none of the old matters that are rt-
T[\7ixk2b\Q ioi Exprelfion, unlefs for particular fubjefls; z% Michael
Angela for infernal, or terrible airs ; and amongft others, the
drawing he made for the cartoon in the famous picture of his laft
judgment, which is admirable in this kind ; others of later times
have fucceeded well in this part of the art, as Domenichin, and
R£mbrandt; but thefe are the principal; only for portraits, and
herein, next to Rafaelle, perhaps, no man has a better title to
the preference than Van Dyd j no not Titian himfelf, much lefs
Rubens.
But
EXP
But there is no better fchool than nature for Exprejjion. A
painter therefore fhould on all occafions obferve, how men look,
and a£l, when pleas'd, griev'd, angry, ^c.
Of EXPRESSING the PASSIONS in the COUNTE-
NANCE.
Love is exprefs'd by a clear, fair and pleafant countenance, with-
out clouds, wrinkles or unpleafant bend ings; giving the forehead
an ample height and breadth, with a majeftick grace; a full eye
with a fine fliadow at the bottom of the eye-lid, and a little at
the corner; a proportionable nofe ; noftrils not too wide; a clear
cheek made by fliadowing it on one fide, and a fmiling mouth,
made by a thin upper-lip, and fhadowing the mouth-line at the
corners.
Fear is exprefs'd by making the eyes look hollow, heavy and
downwards, thin fallen cheeks, clofe mouth and carelefs ftaring
hair about the ears.
Envy is befi: decyphered by only the hanging of the cheeks,
and a pale countenance; and fometimes by grinding of the
teeth.
Let every paffion be reprefented according to its outward ap-
pearance, as it is in thofe perfons in whom it reigns, obferving
the rules laid down in the article IMITATION of Draughts.
If you would aim at an exquifitencfs in this art, you muft
endeavour to chufe out the belt aiSlions for every purpofe, in re-
ftraining the luxurious fancy of nature by a deliberate difcretion,
which you ought to have in the idea; by the benefit of which
you will finifh your defign with delight and contentment; al-
ways exprefling in each member a certain hidden refemblance of
the principal motions which affe£l the eye, and foul of the fpec-
tators, and merit the chiefeft commendation.
To exprefs a paffion truly, you ought to give every thing
and part its proper motion, or that which beft befits your in-
tention ; which is nothing clfe but the agreement of proportion
and form to the nature and matter of the a6lion or pailion in-
tended, wherein confifts the whole fpirit and life of the art,
which by artifts is fometimes call'd ihcfury^ fometimes the
grace, and fometimes the excellency of the art. For hereby an
evident difference is made between the livrng and the dead; the
fierce and the gentle; the wife znd the Jimp/e; the fad znd the
merry ; and in a word difcover all the feveral paffions and geltures,
which the body of a man is able to perform.
But thefe things are impoflible ever to be exaftly done in a
pi^Sture, till you have firft intenfly v'ewed and confidered the life,
that by this means you may come as near the life as poflibly
may be ; to which adding art withal, you will meet with no
motions fo potent, which you will not be able artificially to
imitate. Thefe
EYE
Thefe things will be the more exa<5t!y accomplifli'd, if yon
are viewing and continually pradlifing what you have Teen.
By this means you will unawares attain an exacft habit of do-
ing well, and lively exprefs all geftures, actions and pafTions fub-
je6l to natural bodies.
The pajjions of the mind are certain motions proceeding from
the apprehenfion of fome moving or powerful objedt^, now this
apprehenfion is threefold, viz. jenfitive^ rational zndi inielleSJual.
From thefe three there arife three principal paflions of the
mind, viz. pleafures of the fenfes^ moral virtues or vicesi and a
pious religious life., or irreligious and wicked.
To EXTEND or CONTRACT a PICTURE.
1. Encompafs the piiflure with one great fquare, which divide
into as many little ones as you pleafej having done this accord-
ing as you would have your picture, either greater or jefs, make
another fquare greater or lefs, which divide into the fame num-
ber of equal fquares, which let be drawn with a black-lead plum-
met.
2. Take your black-lead pen, and draw the pivy. See the PLATE.
EYES, [to paint in miniature] (hade the white of the Eyes.,
with a faint blue and lighc flefh colour, and do the corners on
the fides of the nofe with vermilion and whiter with a fmall ftroke
oi carmine. All this is foftened with a mixture of vermilion^
carmine^ and white, and a very little oker.
The iris of the Eye nvait be a mixture of ultrama/nie and
white., this little more in quantity than the other, adding thereto
a little bifire, if it be of a kind of a light hazel or a little black,
if It is too grey.
The pupil or fight of the Eye muft be done with black , and
the iris Ihaded with indigo^ hijire or black., according to the co-
lour it is of i but of what colour foever it is, it will be proper
to draw a fine circle oi vermilion round the fight, which blend-
ed with the reft in finifhmg gives life to the Eye.
The circumference of the Eyes., that is the fight and laflies,
are to be done with bijlre and carmine., when they are ftrong,
Vol. I. D d particularly
F A C
particularly the upper part, which muft be afterwards foftened
with reJ or blue mixtures mentioned at the latter end of the ar-
ticJe of CARNATION, that the whole may appear of a piece
and continued.
Having done this, give a fmall touch of pure white, upon the
fio ht of the Eye next to the light, which makes it fhine and
alire.
You may al fo heighten the white of the Eye next the light.
The EYE-BROWS and the BEARD are colour'd like the
fhades of the flefh, (See CARNATION) and are finifh'd with
h'tjlrc^ oaker or blacky according to the colour they are of,
drawing them with fine ftrokes as they ought to lie, in exa£t
imitation of nature; and heighten the lights with oaker^ ^[ft^^j ^
little ver?niUo7i and a good deal of white.
JOHANNES «^ EYK, commonly call'd J O H N of
BRUGES, born at Majfeyk on the river Maez^ in the Low-
Countries zv\x\o 1370, was a difciple of his brother Hubert znA.
a confiderable painter; but above all things famous for having
been the happy inventor of the art of painting in oil anno 1440,
(thirty years before printing was found out by John Guttemberg
of Strasburg) he died anno 1441, having fome years before his
deceafe communicated his invention to hi^ fifter Margaret.
F.
FB. {lands fox Francis Briccio of Bologna, painter j he en-
• grav'd the pieces of Leivis Carracci.
F. B. B. Father Bonavoitura Bifi of Bologna , call'd il Padro
Piteorino or the painting friar.
F. B. V. I. fignifies Frederic Barocci of Urbino, inv. he
fometiines inflead of the I put F, /. e. fecit.
The PROx^ORTION of a man of ten FACES.
From the tup of the head to the fole of the foot is divided
into ten equal parts.
1 . The firft diflance begins at the top of the head, and reaches
to the root of the chin.
2. The fecond from thence to the throat pit.
3. The third from tJ^ence to the parting of the breafts.
4. The fourth from thence to the privities, which is jufi; the
middle of the length of the body.
From thence to the fole of the foot are five parts more ; two
of which are b'etween the privities and the mid-knees ; and
three more to the fole of the foot.
The firft of the ten parts, wjiich is for the face is to be divided
into three equal parts ; the firll: beginning at the upper-part of
the
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F A C
the forehead, and ending upon the upper crofs line of the eye^
brows.
The fecond diftance reaches from thence to the bottom of the
nofe.
The third reaches to the bottom of the chin, which is the
firft and uppermoft divifion.
Now in a fore-right, be fure to place the eyes the length of
one eye diftance from another ; and the length of one eye the
bottom of the nofe is to be.
The breadth of this body alfo confifts of ten Faces, viz. be-
tween the extremities of both the middle fingers, when the arms
are extended or fpread abroad ; and it is thus divided,
1 . The hand from the end of the middle-finger to the wrijl^
is the length of a Face (or one of the tenth parts.)
2. From the wri/i to the elbow a Face and a half.
3. From the elbow to the Jhoulder joint two Faces.
4. From thence to the throat pit one Face.
The hands have the proportion of one Face.
The nipples muft be plac'd at the diftance of a Face and a half
from each other, equal to the diftance between the wrijl and the
elbow.
The compafs of the head from the eye-brows to the neck be-
hind, is double to the length of the whole head.
The compafs of the luajle is the diftance of three Faces to the
diameter of it, and is all one with the trunk of the body.
The circumference of the body under the armpits, and the
fpace between them and the w^rifts, anfwer in a double propor-
tion, and is agreeable to half of the body.
'The proportions of a young man of nine FACES.
A flender young body of nine heads is equal to nine times the
fpace between the top of the head, and the end of the chin, that
being a ninth part of the length of the whole body, and thence
back again to the root of the hair a tenth or eleventh part. By
which way foever you draw it, this fpace is alfo divided into
three equal parts, the firft of which makes the forehead, the fe-
cond the nofe, the thiid the chin.
However in a Face for the eleventh part is a tuft of hair which
is ufually expreft, fo that the forehead becomes lower by a third
part; which rule the ancient Grecians always obferv'd.
1 he proportions of a man of eight FACES.
Firft draw a ftrait perpendicular line of the length you defign
the figure ; divide this line into eight equal parts, the uppermoft
part of which is the length of the heaJ, in which you muft take
care to be very exadt, becaufe the whole body muft anfwer in
proportion to it.
D d 3 Make
F A C
Make that eighth part into an oval, dividing the oval into
four equal fpaces ; the firft is to be for the hair.
To drazu a fore- right FACE. In doing this it will be necef-
fary to form a perfect oval, which divide in the midft with a
line, the longeft way or perpendicular line, this line divide into
three equal parts, allowing a fourth of one of the three parts for
the hair on the forehead ; the firft for the forehead, the fecond
for the nofe, the third for the chin.
In the midft of thefe form the mouth, always being fure to
make the eyes in one line, the crofs-line of the nofe and mouth
muft always correfpond with the crofs-line, where the eyes are
plac'd, and the eyes muft be the length of thediftance from one
eye to another ; and their inward corners muft be exaftly per-
pendicular over the outfide of the noftrils ; but to make the ears
in a fore-right Face proportionable, they muft be much fore-
fhortened by fore-ftiortening ; that is the eye does not fee the
full latitude of it. The proportion of the length of the ear is to be
from the eye- brows to the bottom of the noftrils ; and then join
the neck with the hair, in fuch a manner as may be moft plea-
fant to the eye. See the plates for FACES and HEADS.
If you would draw a Face afier the life, that it may refemble
the party you draw it after, take notice in the firft place, of the
phyfiognomy or circumference of the Face^ whether it be round
or long, fat or lean, big or little, fo that in the firft place, you
muft be fure to take the right phyfiognomy and bignefs of the
Face ; and in cafe it be a fat Face^ you will perceive the cheeks
to make the fide of the Face to fvvell out, and fo make the Face
look as if it were fquare ; and if it be neither too fat nor too
lean, it will be round for the moft part; but if it be a lean Face^
the jaw-bones will ftick out, and the cheeks fall in, and the
Face will be long and flender.
But remember when you draw the outmoft circumference of
a Face^ that you muft take the head and all with it, or other-
wife you may be deceiv'd in drawing the true bignefs of a Face.
You muft likewife take a diligent obfervation of all the ma-
ftcr touches, which give the fpirit and life to a Face^ and dif-
covers the grace or difpofition of the mind^ wherein lieth the
whole gntce of the work.
You may eafily difcern a fmiling countenance in the corners
cfthemoiitb, when they turn up a little: a ftay'd and fober
countenance may be difcern'd in the eyes, when the upper eye-
lids come fomewhat over the balls of the eyes.
A frowning countenance is eafily difcern'd on the fore-head,
by the bending of tiie eye-brows, and fome kw wrinkles about
the top 0; the nofe.
A laugh-
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F A C
A laughing countenance is eafily difcerncd all over the Face ;
and an angry countenance is difccrn'd by extraordinary frown-
ing ; there are alfo fome touches about tlie eyes and mouth,
which muft be diligently oblerv'd, which give life and fpirit to
a Face, See the plates of the various pajjions in their proper
places.
The painting of a FACE.
The cloth tablet, l^c. being prepared you muft lay a ground
or primer of flefti colour, before you begin your work, and that
muft be tempered according to the complexion of the Face to
be drawn ; if the complexion be fair temper white^ red-lead and
lake\ if an hard fwarthy complexion, mingle with xhQ white znd
red a little fine majiicote or EngUJh oaker.
But you muft take notice of this, that your ground ought al-
ways to be fairer than the Face you take, for it is cafy to
darken a light colour, but difficult to lighten a deep one; for
in limning you muft never heighten, but work them down to
their juft colour.
Having prepar'd your ground colour, lay it on with a large
pencil, as fmooth, even and free from hairs as pollible, with a
pencil full of colour, rather thin or waterifti than thick and
grofs, and with two or three dawbs of your great pencil lay it
on in an inftant i the nimbler it is laid on the evener the coloar
will lie.
You ought to cover rather too much than too little of your
ground with this primes than you ftiall ufe for the Face.
Having done this, take a pretty large pallet of ivsry or other
matter, and before you begin to work, temper certain little heaps
of the fliadows for the Face^ on the pallet with your finger.
The order of ftmdows for the FACE.
In all your ftiadows mix fome white \ for the red in \\\q. cheeks,
lips, &c. temper lake^ red-lead and a little wl>ite ; for the blue
as the veins.i he. a little indigo and white ; for the fainteft and
weakeft colour or fhades, lake and white, a little oker and a little
indigo ; and if you pleafe a very fmall quantity of pink or tnajii-
cote ; for the deeper ftiadows white Englijh oker and umber ;
for the darkeft and hardeft fliadows ufe lake and pink, mix'd with
U7nber.
Remember this, that you muft by no means ufe black in a
Face.
Thefe colours for fhadows being thus prepar'd on your pallet,
draw the lines of profile [i. e. the outmoft ftroke) oi AFacewkh
lake and white mingled very faint ; by this you may convenient-
ly mend the draught (if falfe) with a deeper mixture of the fame
colour; having drawn the lines exactly and in true proportion
(which is the chieieft thing of all) in the next place obferve the
D d 3 deeper
F A C
deeper and more remarkable fhadows, and with the fame faint
crimfon colour of lake and white, give fome flight touches and
marks fomewhat roughly of thefe ftiadows, which you are to
linifh afterward.
The order of drawing at the Jirjl fitting.
Firft, you muft only dead colour the Face as the oil painters
do, and not meddle with the reft, and this firft fitting com-
monly takes up two hours.
The dead- colouring of a Face is to be done the rougheft and
boldeft of all ; having drawn your Face with lake and vjhite (as
before) you muft take to the faid colour a little red- lead,
tempering it to the colour of the cheeks, lips. Sec. becaufe you
cannot lighten a deep colour, without danger of fpoiling the
pidure.
The firft colour to begin the Face with, is the red of the cheeks
and lips, fomewhat ftrongly the bottom of the chin, if the per-
fon be beardlefs ; over, under and about the eyes, you will per-
ceive a delicate and faint rednefs, and underneath the eyes in-
clining to a purple colour, which in 'air and beautiful Faces is
ufual, and muft be obferv'd ; the ::p of the ear and the roots of
th? hair, are commonly of the fame colour.
All this you muf^ ''o after the manner of hatching with faint
and gentle ftroke' , wafliing it all along.
In fhort, in your dead colouring you muft cover your ground
with the ikjiefaid red, nnd the fubfequent (hadows.
You iiced not be over curious in your firft working ; but re-
gard a good bold following of nature, rather than fmooth curio-
fiiy ; the roughnefs of the ci)Iour may be mended at the next fit-
7 he fecond fjiing.
This commonly requires four or five hours, in which you are
to go over the Face very ciirioufly, obferving whatever may con-
duce either to likenefs or judicious colouring ; alfo taking notice
of the feveral graces, beauties or deformities, as they appear in
nature ; or elie in fmoothnefs of (hadows or clofe and {wQtt
touching the colours.
Ha; ing done the red, the next are the faint-hlues about the
halls and corners of the eyes ; and the grey and hhiijh under the
eyes, the temples, iffc. which you muft work, from the upper-
moftpartofthe />?r^ almoft all over, but exceeding fweet and
faint; fweetening and heightening your (hadows by degrees] a,s
the light fall?.
And in going over the Face be fure to mark out the hard
ihadows in the dark fide of the Face, under the nofe, chin, eye-
brow, &c= as the lights fail, and fomewhat ftrong touches ; in
thofe
F A C
thofe bring up your work together in an equal roundnefs, not
giving perfettion to any particular part of the Face ; but vifiting
all the parts curiouHy, and in a kind of random manner \ by
which means you will better perceive the I'lkenefsy roundnefs,
pojiures^ colourings or whatever elfe is requifite to the perfection
of your work.
The party being fet juft in his former feat, you mull: moft
exaclly obferve, and curioufly delineate with your pencil thofe
feveral varieties of nature, which you did rudely trace out before,
workings drawing and fivcetenhig the fame colours into one an-
other, to the end, that nothing be left in your work with a
hard edge, uneven or a lump together ; but alfo fo fwept and dri-
ven one into another, with the point of fomewhat a fharper
pencil than that at firftus'd, that the {hadows may lie foft and
fmooth, being difpers'd and gently extended into all j and to-
wards the lighter parts of the Face \\Vs. air or a vapoury fmoak;
but before this, you muft carefully obferve all ih^Jhacloius and
colours.
In the next place go over the hair heightening and deepening
it, as you (hall fee by the ///>, drawing fome locks loofely over
the ground^ which would otherwife feem unpleafant.
To fhad ow //rz^n ufe black, tvbite, a \kt\e yelloiu znd lefs bluei
the black muft be deepened with ivory-blacky with which mix a
little lake and indigo or litmus-blue.
The third fitting.
The third fitting commonly takes up two or three hours, and
is fpent in clofing, what was before left imperfect and rough,
but principally in giving to every deep fhadow the llrong touches
and deepening?, as well in the dark fhadows in the Face as in
the eyes, eye-hroivs, hair and ears, and thefe touches are ever
the laft part of this bufinefs, and are never to be done, till all
the hair and drapery be finifh'd ; thefe touches if well done add
exceedingly to the life.
Having done the fainter or lighter Jhades, and fomewhat
fmooth'd and wrought them into red, you may go over the hair,
difpofing it into fuch forms, folds or tramels, as may beft become
the picture.
You muft at firft only draw them with colour, as near as you
can fuitable to the life, and after vi'afh them lightly at the firfl-,
and then once more perufe your work, carefully filling up the
void, empty and bare places which are uncovered with colour ;
and at laft deepen it fomewhat more ftrongly than before in
the deepeft fhady places; ftill carefully cbferving, the life, and
after this do your ground, l^c. See GROUND.
The third fitting, as has been faid, will be wholly taken up
iu giving the itrong touches, and making the obfervaiions ne-
D d 4 cellary
F A M
cefiary for rounding the Face, which will be better feen how to
do ; after the apparel, hair, and ground are finifh'd at the third
fitting, you mult curioufly obferve whatever may conduce to
likenefs, zs fears, moles., &c. glances of the eyes, defending and
circumfex'rns of the mouth ; but never make your deepeft (ha-
dows fo det: >! as they appear in the life.
After you have done your ground, lay your linen with 2Lf.at
white, and the drapery likewife fat. See DRAPERY; then
go over your Face again, endeavouring to reduce each fhadow
to its true perfedion ; then draw the lines of the eye-lids, ex-
prefling the red- dark noflril, the fhady entrance into the ears,
the deepnefs of the eye-brows, and thofe more perfpicuous notes
and marks in the Face with a pencil fomewhat more curious
and fharp than before ; you may darken your ground as you
fee will be mod advantageous for the fetting ofF the pifture.
FADINGNESS is reprefened in painting, by a lady clad
in green, her garment all embroidered with pearl and precious
jewels, with a golden crown in one hand, a lighted torch with
this motto, egrediens ut fulgur in the other, and a nofe-gay of
rofes, part of which fall to the ground, fading and difcolour'd.
The rofe in the morning buds, is fragrant and flourifhing;,
and in the evening languifhes and fades, a true emblem of the
frailty offublunary things.
FAITH is reprefeuted in painting, by a woman clothed in
white garments, holding in her hand a cup of gold.
V/ILLIAM FA [THORN, was a difciple to Mr. Peak
painter to Prince Rupert ; after the civil wars broke out, he
went into the army, and being taken prifoner in Bafng-hou(e, and
refufing to take the oaths to Oliver, was banifhed to France ;
where he fludied fcveral years under Campagne, a. famous pain-
ter of that time, and arriv'd to a very great perfection in cor-
re6lnefs of drawing. He was aifo a great proficient in graving,
as likewife in painting in miniature, of which there are many
inftances now in England ; he died in Black-Fryars about the
beginning of King PFilUamh Reign, and there was buried, near
feventy five years of age.
FAME is painted like a lady with great wings, and feem-
ing to proffer a flight, and to mount from the earth, and to
rove abroad, having her face full of eyes ; all over her garments
are an infinite number of ears and tongues.
She is alfo reprefented as a lady clad in a thin and light gar-
ment, open to the middle thigh, that iOie might run the fafter ;
two exceeding large wings ; garments embroidered with eyes and
ears, and blowing a trumpet.
Fame. It is alfo reprefented by a curious figure of a naked
Mercury^ wilh a cloth over his left arm, and his rod in his
hand
F E A
liand holding Pegafus by the bridle, capering as if he would fly
away.
Mercury denotes fame, for he was meflenger to Jupiter ; as
alfo the efficacy of fpeech and a good voice, that fpreads and is
difFufed ; Pegafus denotes that fame is carried by fpeech, that
founds the ametime principal painter to Qiieen
Elizabeth., afterwards to Qijieen Anne, royal confort to King
'James \. He was both a good hiftory and face painter ; he
died in London in the year it»3 5, in the feventy-fourth year of
his ,.ae. There are feveral of his prints extant among us,
HENRY GASCAR, a /?r776-/' face-painter, encouraged here
by the Duchefs of Portfmouth, whofe picture he came over to
draw. Many following her example, employed him alfo, fo
that he got a great deal of money in England in a fhort time,
nor could our wife nation fee the difference between him and
his cotemporary 'iax Peter Lely. What the former v/anted in the
graceful part, in draught and a good choice of nature, the talent
of but very few, he ufuilly made up v/ith embroidery, fine
cloaths, laced drapeiy, and a great variety of trumpery orna-
ments, which took, for a while, till at length Monfieur found
that his gay cap and feather would no longer fucceed here, which
made him leave England about fifty-one years ago, and by a
prevailing allijrance cuftomary with his nation, he has fince im-
pofed as much on the Italian nobleffe, as he did on thofe of
England; and was lately living in Rome, though we hear he is
now dead. He is reported to have carried above ten thoufand
pounds out of England.
GEMS. The defign of this work is to make art imitate
nature, which may in this be done to fuch a degree, as that the
artificial gems may feem to Jurpafs the natural oriental ones in
beauty and colour, and want nothing of their perfection but the
quality of hardnefs.
The bafis of artificial gems is natural or rock-cryftal, which
is a fubftratum ma le only of a congealed water, and a pure
fubtiie earth, as other piecious ftones are.
But precious Jiones differ from cryjlal in this, that they are
tinged with a pa. per fulphur or unctuous fubftance, whicii has
infinuated it feif into the pores of their compniition, which not
only tinges them, but alfo fixes them, and gives them that ad-
fniiabls beauty, and hardnefs which they poliefs,
G g 2 This
GEM
This fulphur Is fuppos'd to be an exhalation of metalline and
mineral fpirits, afcending up by the force of a terrene central
fire, containing a vaft number and variety of colours, undeter-
mined, till brought into a£t, and fix'd in their proper fubjedis.
Now the art of making thefe counterfeit G^wj is the imita-
tation of nature, by giving to a proper matter or body, fuch as
is that of rock-cryftal, fuch metalline and mineral tindlures, as
fhall be extrafted from metals or minerals, perfectly fine and
fubtile m themfelves, and able to refift the fire ; and thefe tinc-
tures, tho' volatile, are fix'd in cryttal without altering their
colour.
As for inftance, verdegreafe, when put on the fire, though it
changes its colour, yet being mixt with cryftal in fufion, it be-
comes fixt and unchangeable in its tin£ture ; for metalline and
mineral colours always return to their principle, and tho' they
be volatile, yet they are retain'd by the great quantity of the
fixed, which chains or over-powers them.
Therefore, for this purpofe, thofe unalterable colours are to
be chofen, which have a fixity in the midft of fire, being mixt
one with another, as for inftance. Hue and yellow make z greeny
therefore you muft take fuch a blue as cannot be altered by fire,
nor be totally overcome by the ycllonu, that you mix with it ;
as alfo a yellow^ that the fire cannot change, nor yet be totally
overcome by the blue.
Ifaac Hollandus is faid to be the firft that wrote on this fub-
jed, and firft difcovered this admirable art of making artificial
Gctnsy and who perform'd many other things almoft incredible.
And you will find difpers'd in this work, under their proper
articles, his preparations for this purpofe, as to paftes, tinctures
and methods of working them, in making artificial agates, be-
rilsy diamondsy emeralds ^ granates, rubies ., fapphires^ topazes,
&c.
To prepare the falls for counterfeit GEMS.
The falts us'd in making counterfeit Gems are chiefly two,
the firft is made of the herb kali, the fecond of tartar \ their
preparations are according to the ufual way (but in glafs vef-
fels,)
To prepare the matter of which GEMS are made.
The matter is either cryjlal ox flint that is clear and white ; put
them into a crucible in a leverberatory fire (the crucible being
covered) then take them out and caft them into cold water, fo
will they crack and be eafily reduced to powder ; to which powder
take an equal quantity of fait of tartar (or fal alkali) to' which
mixture add what colour you pleafe, which muft be either me-
talline or mineral ; put them into a very ftrong crucible (filling
it about half full) cover it clofe and melt it all in a ftrong fire,
JaJl It becomes like glafs. Tak$
GEN
^ake notice, that in melting you mnjl put an iron rod into it,
end take up fome of it ; and if it is free from bubbles, grains
or fpecks, it is fus'd enough j if not, you mujl fufe it till it is
fr£e.
GENEROSITY is reprefented in painting by a virgin fo
amiabie that (he attracts all eyes, cloth'tl in a mantle of gold
gauze, leaning her left hand upon a lion's head, holding in
her right (lifted up) chains of pearl and precious ftones, as if fhe
meant to make a prefent of thera.
Her youth denotes her extraordinary courage and generofity,
which never degenerates ; the naked arm, the property of this
virtue to diveft itfelf of all interefts, and to be kind without
hope of receiving any thing in exchange. The Hon declares
grandeur and courage.
GENIUS is reprefented in painting by a naked child of a
fmiling countenance, with a garland of poppy on his head,
ears of corn in one hand, and a bunch of grapes in the other.
It is taken to be the inclination to fomething, for the plea-
fure it affords, to fome in learning, to fome in mufick, and to
fome in war.
The Antients took it for the common prefervation of worldly
things, and amongft them not only human beings had their ge-
nius, but even infenfibie things alfo.
HORATIO GENTILESCHI was an eminent Italian hl-
ftory painter, bor.n at Pija a city in the Dukedom of Tufcany
in the year 1578, after having made himfelf famous zx. Flo-
rence, Rome, Genoa, and in moft parts of Italy, Savoy, and
France, at laft, he upon the invitation of King Charles I. came
over to England^ and was well received by him, who appointed
him lodgings in his court, gave him a ccnfiderable falary, and
employed him in his palace at Greenwich and other places ; his
moft remarkable performances in England were the cielings at
Greenwich and York-Houfe, the latter of which are now in the
coUeftion of the prefent Duke of Buckingham. He did alfo a Ma^
donna, a Magdalen, and Z-o/and his two daughters for King Charles ;
all which he performed admirably well. The piece of his which
was moft efteemed abroad, was the portico of Cardinal ^^w/Zw^AVs
palace at Rome; he made feveral attempts of face-painting while in
England with little fuccefs, his talent lying wholly towaras hiftory,
"with figures as large as the life, in which he excell'd. He was much
in favour with the Duke of Buckingham, and many of the no-
bility of that time ; but after twelve years continuance in Eng-
land, he died here in the year 1662, aged eighty-four, and lies
buried in the Queen-Dowager's chapel at Somerfet-Houfe. His
print is among the heads of Van Dycky he having been drawn by
that great mafter.
G g 3 ARTEMISIA
GEO
ARTEMISIA GENTILESCHI was but little inferior to
her father in hiftories, and even excell'd him in portraits, a
manner of painting whicii moft are inclined to attempt who
come to England^ where it is cliiefly in vogue. She lived the
greateft part of her time at Naples in much fplendor, and was
as famous all over Europe for her amours as for her painting.
She recommended herfeif to the efteem of the skiiful by many
hiftory pieces as big as the life, amongft which, the moft cele-
brated was that of David, with the head of Goliah in his hand.
She drew alfo the portraits of fome of the Royal Family, and
many of the nobility of England.
GEOGRAPHY is reprelented in painting, &c. by an old
dame in an earth-coloured garment, a terreltrial globe at her
foot, the compafTes in her right-hand, wherewith flie meafures
the faid globe, and a geometrical fquare in her left.
Her old age denotes the antiquity of this art ; the compafles
the meafuring and defcribing the earth, which i'; truly Geogra-
phy; the fquare, the taking feveral proportions, length, breadth,
tSc.
G. F. fignifies Giorgio of Mantua fecit. In a piece of Pri~
maticcio"'.. r^prefenting Vulcan\ forge.
^^ H 7i~~^ ^ \^ Thefe two marks were ufed by
H T linH /-i-»^A/^f Giorgio Ghifioi Mantua^ he fome-
VJLiV JL UrrrVi times put Ghif. Manrnmn fecit.
RICHARD GIBSON, commonly cali'd the Divarf was a
difciple of Francis de Cleyn, and an eminent mafter in the time
of Sir Peter Lely, to whofe manner he devoted himfelf, and
whofe pictures he copied to admiration. Being page to a lady
2XMortlack, fhe put him to deCleyn to learn to draw; which ftie
obferv'd he had a particular genius to. He had the honour to
inftru<5l in drawing the late Qiieen Mary, v.'hen Princefs of
Orange, and Queen Ann when Princefs ; he went over to Hol-
land to wait on the princefs Mary for that purpofe ; he painted
both in oil and water colours, but chiefly in the latter j he was
greatly in favour with King Charles I. (to whom he was page
of the back-Itairs) infomuch that the King gave his wife in mar-
riage, who was likewife a dwarf, and was not long fmce living
though of a great age.
He received conhderable favours from PhiUp Earl o^ Pembroke,
who was his patron ; he drew Oliver Cromivell feveral times,
and died in Covent -Garden foon after the revolution, at feventy
five years of age ; he lies buried in that church.
WILLIAM GIBSON was nephew to the foregoing, and in-
fcru6led both by him and Sir Peter Lely, his greateft excellencies
lay in his copies, after tlie laft of thofetwo mafters, whofe man-
ner he m?M it his chief endeavour to imitate, and herein he was
3 not
G I L
not altogether unfuccefsful ; he became an eminent h"mner, and
drew a great many portraits for many of the befi: rank. His
great induftry was much to be commended for purchafing not
only the greateft part of Sir Peter's collection after his death,
but likewife for procuring beyond fea, a great many valuable
things in their kind, that he may well be faid to have had the belt
colle6tion of drawings and prints, after ti^e greateft Italians and
other mafters, of any perfon of his time; he was a great encou-
rager of the art he profefs'd ; he died lethargick in London, and
was buried at Richmond in Surrey in the year 1702, at fifty
eight years of age. His kinfman Mr. Edward Gibfon was in-
ftrudled by him, and firft painted portraits in oil, but afterwards
finding more encouragement in crayons, his genius lying that
way, he made a confiderable progrefs therein, till death inter-
vening put a ftop to all his endeavours. He died young at thirty
three years of age, and lies likewife buried at Richmond.
GILDING is the art of fpreading or covering a thing over
with gold, eicher in leaf or liquid.
The art of Gilding v/as not unknown to the ancients ; though
it never arriv'd among them to the perfedlion to which the mo-
derns have brought it.
Pliny relates, that the firft Gilding that was feen at Rome was
not till after the deftruflion of the city, in the time of the
confulftiip of Lucius Mummius ; at which time they began to gild
the ceilings of their temples and palaces ; the capitol being the
firft ftrufture adorn'd with this inrichment.
He alfo adds, that luxury grew fo haftily upon them, that
in a little time you might fee all erven private and poor perfons
gild the very walls, vaults, if^c. of their houfes.
But we have this advantage of the ancients in the manner of
ufing and applying the gold, the fecret of painting in oil, lately
difcovered furnifties us vvith means of Gilding works, that will
endure all the violences of time and weather j which was im-
pra61:icable to the ancients.
They knew no way of laying the gold on bodies, that would
not endure the ^rs; but with whites of eggs or fize, neither of
which will endure the water ; fo that they could only gild thofe
things, which ftood in fuch places as were fheltered from wet,
and the humidity and moifture of the air.
The Greeks us'd a fort of compofition for Gilding on wood,
which they call'd leucopheum or leucophoru?n ; which is defcrib'd
as a fort of glutinous compound earth, which in all probability
ferv'd to make the gold ftick and bear poliftiing.
But as to the particulars of this earth, its colour, ingredients^
fSc. naturalifts and antiquaries are not agreed.
G g 4 Therg
G I L
There are feveral methods of Gilding in ufe among us, as
Gilding in water. Gilding in oil. Gilding hy fire, he.
The method of WATER GILDING.
Water Gilding requires more preparation than oil Gilding, and
is chiefly on wooden works, and thof'e made oijiuc, and thefe
too mult be fhelcered from the weather.
Afize is us'd for this way oi Gilding made of ftireads, Cffc. of
parchment, or gloves boil'd in water to the confiftence of a
gpliy.
If the thing to be gilt be of wood^ it is firft wafli'd v^ith this
ftize, boiling hotj and then fet to dry, and afterwards with white
paint, mix up with the fameyJzi?.
SDme ufe Spanijh white for this purpofe, and others plafier of
Paris, well beaten and fifted.
This fz'd paint mult be laid on with a ftifF-brufli ; which
is to be repeated feldomer or oftener, according to the nature of
the vvo;k, as ten or tvv^elve times in flat or fmooth works; but
feven or eight will be fufEcicnt in pieces of fculpture.
In the former cafe they are apply 'd by drawing the brufti
over the Work, in the latter by dabbing it.
When the whole is dry, they moiften it with fair water, and
rub it over with feveral pieces of coarfe linen, if it be on the flat ;
if not, they beat or fwitch it with feveral flips of the fame linen
tied to a little {tick, to make it follow and enter all the cavities
and depreflTures thereof.
Having thus fi.jifli'd the while, the next thing to be done is
to colour it with yellow oker ; but if it be a piece of fculpture in
relievo, they firft touch it up, and prepare the feveral parts which
may have happened to have been disfigured by the fmall iron
inftruments, as gouges, chifl'els, ^c.
The eker us'd for this purpofe, rauft be well ground and fift-
ed, and mix'd up with the JJze beforementioned.
This colour is to be laid on hot; and in works of fculpture
fupplies the place of gold, which fometimes cannot be carried
into all the depreflures and cavities of the foliages and other or-
naments.
A lay is alfo apply'd over this yellow ; which ferves for the
ground on which the gold is to be laid ; this lay is ufually com-
pos'd of Arme7iian bole, blocd-Jione, hlack-lead, and a little fat j
to which fome add foap and oil of oUves ; others burnt-bread^
bijire, antimony, glafs of tin, butter and fugar-candy.
Thefe ingredients being all ground together with hot fize,
three lays of this compofition is apply'd upon the yellow, the one
after the other has been dry'd; being cautious not to put any
into the cavity of the work to hide the yellow.
The brufii us'd for this purpofe inuft be a foft one, and when
the
GIL
the matter is become very dry, they go over it again with a
ftronser brufh to rub it down, and take off the fmall grains that
ftick out ; in order to facilitate the burnifhing of the gold.
To be prepared for Gilding, you muft have three forts of
pencils; one to wet, another to touch up and amend, and a
third to Hatten ; alfo a Gilding cuftiion for fpreading the leaves
of gold on M'hen taken out of the book. See CUSHION, a
knife to cut them and a fquirrel's tail fitted with a handle; or
elfe a piece of fine foft ftuft" on a ftick, to take them up directly
and apply them.
You are tint to begin with wetting your pencils ; by which
the laft lay laid on with water is moHtened, that it may the
better receive and retain the gold. Then you are to lay tha
leaves of gold on the cufhion, and if whole, you mufi- take up
with the (quirrel's tail ; but if in pieces, with the other inftrument,
or the knife wherewith they are cut, and lay and fpread them
gently on the parts of the work you had moiftened beiore.
li the leaves (as they frequently do) happen to crack or break
in laying on, thefe breaches muft be made up with fmall bits of
leaf taken up upon the repairing pencil, and the whole work
is to be fmooth'd either with the fame pencil or another fumething
larger; the gold being prefied into the dents, into which it could
not be fo eaiily tanied by the fquirrel's tail.
The work having been thus far gilded, muft be fet by to dry
in order to be either burniflied or flatted.
Burniftiing is fmoothing and poliftiing it with a burnifliing
■ tool, which is ufualiy a dog's or woolf's tooth or a blood-ftonc
fitted into a handle for that purpofe. See BURNISHING.
Flatting it is giving it a lignt lick, in the phces not burnifh'd,
with a pencil dipt \v\ fize, in which a little vermilion fometimes
has been mixt. This ferves to preferve and prevent its flaw-
ing when handled.
The laft operation is the applying the vermeil in all the little
lines and cavities ; and to ftop and amend any little faults with
flieil gold.
The compofition call'd vermeil is made of gum. guttes, vir-
niilion, and a little of fome ruddy brown colour ground toge-
ther, witii Venetian varnijh and oil of turpentine. Some gilders
inftead of this, make ihilt with fine lucca or draggon's blood with
gum water.
Sometimes inftead of burnifliing the gold, they burnifti the
ground or compofition laid on the laft before it, and only after-
wards wafti the part over with xhcfize.
This method is chiefly pradis'd for the hands, face, and other
nudities in relievo; which by this means, don't appear fo very
brillant as the parts burniCied j though much more fo than the
parts perfe^Iy flat. To
G I L
To gild a piece of work, and yet preferve white grounds, they
apply a lay of Spanijh white, mix'd with a weak fifh glue on ail
the parts of the ground, whereon the yellow or the laft lay might
run.
The method of GILDING in oil.
This operation requires much lefs apparatus than that before-
mentioned.
The bafis or matter whereon the gold is laid, in this method
is the remains of colours found fettled to the bottom of the
pots in which painters wafli their pencils.
This matter which is very vifcid or fticky, is firll: ground,
and then pafs'd through a linen cloth ; and thus lay'd with a
pencil on the matter to be gilt, after it has been wafh'd once or
twice over Wiihjjze ; and if it be wood with fome white paint.
When this is almoft dry, but yet is ftill undtuous enough to
catch and retain the gold, the leaf gold is laid on; either whole,
if the work be large, or cut to pieces if fmaller ; the leaves of
gold are taken up and laid on with a piece of fine, foft, well card-
ed cotton ; or fometimes by a palat for the purpofe, or fometimes
with the knife with which the leaves were cut, according to the
parts of the work that are to be gilded, or the breadth of the
gold that is to be laid on.
As the gold is laid on, they pafs over it a coarfe ftiff pencil or
brufh to make it ftick, and as it were incorporate with the
ground ; and after this they mend any cracks that may have
happened in it, either with the fame pencil or one that is fmal-
ler; as has been fhewn before in water Gilding.
This kind of Gilding is chiefly us'd for domes and roofs of
churches, courts, banquetting-houfes, ^c. and for figures of
plajler of Paris, lead, &c.
The method of GILDING luith liquid gold.
This is perform'd by gold reduc'd to a calx and amalgamated
with Mercury, in the proportion of about an ounce of Mercury
to a dram of gold.
To perform this, they heat a crucible red hot, and then put
the gold and Mercury into it, ftirring them gently about till the
gold be found melted, and incorporated into a mafs with the
Mercury.
When this is done, they caft them into water to wafh and
purify them ; and out of that into other waters, where the
amalgama which is almoft as liquid, as if there were nothing but
quickfilver in ir, may be preferv'd a long time for ufe.
Before they proceed to lay this amalgamated gold on the me-
tal, they fitft render the metal rough, by wafliing it over with
aquafortis or aqua fecunda ; and afterwards rinfe the metal in
fair water, and fcour it a little with fine fand^ and then it is
ready for the gold. Then
G I L
Then they cover over the metal witli the mixture o^ gold and
Mercury, taking it up with a flip of copper or a brufh made of
brafs wire, fpreading it as even as pofTible, to do which they
wet the brufli from time to time in fair water.
Then they fet the metal to the fire upon a grate or in a fort
of cage, under which flands a pan of coals ; and in proportion
as the Mercury evaporating and flying off difcovers the places
where gold is wanting, they take care to fupply them by adding
i new parcels of amalgama.
Then the work is rubb'd over with the wire-brufh dipt in
beer or vinegar, which leaves it in a condition to be brought to
a colour, which is the laft: part of the procefs ; and which the
gilders keep to themfelves as a mighty fecret ; though it is cer-
tain, it cannot differ much from the manner of giving^^/(i fpe^ies
I their colour in coining.
The 7nethod of GILDING hy fire on metal.
There are two ways of performing this. The one with leaf
gold and the other with liquid gold.
To prepare the metal for the firfl:, they fcratch it well or rake
it; then pohfh it with a poliftier; and afterwards fet it to the
fire to blue, ;. e. to heat, till it appear of a blue colour.
When this has been done, they clap on the firft lay of leaf
gold, rubbing it lightly down with a polifher j and expofe it thus
to a gentle fire.
They ufually only give it three fuch lays or four at the mofi-,
each lay confifting of a fingle leaf for common works ; and of
two for extraordinary ones, after each lay it is fet frefh to the fire,
and after the lalt lav, the gold is in condition to be burnifh'd.
The way of GILDING and LACKERING In oil.
Of mixing and laying on the gold fixe.
1. Firft prime the piece with the priming. Take the beft
goldfize, fat oily of each according to the quantity of your work,
grind them well on a ftone, and put them into a gally-pot.
2. Pafs the piece all over with a clean bruftidipt into thhfize,
but do not lay it on thick, jobbing and ftriking the puint ot the
pencil into the hollow places of the carv'd work, fo that no part
may efcape ; for if any place be untouch'd with the gold fize^
the gold will not ftick upon it, and in thofe places the work will
be faulty.
Let it flrand by (perhaps twenty four hours or more) fo that
it may be but jufl; clammy enough to hold the metals, to know
if it be in a fit condition; breathe upon it, and if your breath
remains upon it like a mift, you may then lay on your leaf
gold; or if it is fo dry, that it does not difcolour, nor flick to
your finger, but is clammy, and not parting very readily with
your finger j it is then ia a fit temper,
3' If
G I L
3. If you fliould lay on your metal before ihiz fixe is dry
enough, it would as it were drown the leaf ^(?/?>.
Take chalk and red lead of each a like quantity, grind them
together and temper with linfeed-oil ; lay it on, and when it is
almoft dry, lay lezf gold on it; let it dry, and then polifh it.
To gild IRON with a water.
Take fpring water three pounds, roch allum three ounces, Ro-
man vitriol and orpiment of each one ounce, verdcgreafe twenty
four grains, fal gemma three ounces; boil thefe all together, and
when it begins to boil, put in tartar and hay-falt^ of each half
an ounce ; continue the boiling a good while, then take it from
the fire, ftnke the iron over with it, dry it againft the fire, and
burnifli if.
To GILD IRON or other metals with GOLD.
Take one pound of liquid varnijh^ linfeed-oil and turpentine^
of each one ounce; mix them well together, ftrike them over
any metal, and afterwards Isfy on leii gold ox filver, and when
it is dry, polii^i it.
Td
G I L
To GILD filver, brafs or copper with GOLD WATER.
Take two ounces of qu'tckfilver^ put it into a crucible, fet it
on the fire, and when it begins to fmoak, put in an angel of
^nt gold\ then take it off immediately, for the gold will be pre-
fently diflblv'd ; then, if it be too thin, ftrain a part of the quick-
filver from it through a piece of fuftian ; when you have done
this, rub the gold and quickfilvcr upon brafs or filver^ and it will
cleave to it ; then put the faid brafs or filver upon quick coals,
till it begins to fmoke, then take it from the fire, and fcratch
it with a hair brufli ; this do till all the Mercury is rubb'd as
clean off as may be, and tht gold appear of a faint yellow; then
heighten the colour with fal armoniack^ bole and verdegrcafe
ground together and tempered with water.
Where you muft take notice, that before you gild your me-
tal, you muft boil it in tartar or beer and water.
Another water for GILDING iron^ Jleel, knives, fwords^ &c.
Take fire-flone, reduce it to powder, put it into a ftrong red
wine vinegar in a glaz'd pot for twenty four hours, adding more
vinegar to it as it evaporates or boils away ; into this water dip
the iron, fteel, i^c. and it will be black ; dry it, and then polifh
it, and you will have a gold colour underneath.
Atiother way of GILDING IRON.
Tnkefalt-petre^ roch allum burnt, of each an our.ce, fal ar-
moniack two ounces, all reduc'd to fine powder ; boil them in
ftrong vinegar in a copper-veflel, with which wet the iron, ^c,
and then lay on leaf gold.
Another way.
Grind roch allum with the urine of a boy, till it is well dif-
folv'd, with which anoint the iron, heat it red hot in a fire of
wood coals, and it will be like gold
Another way.
Put two ounces of fl//«/«, three ounces o^ fal gemmay Reman
vitriol and orpimenty of each one ounce, of fos aris twenty four
grains into three pounds of water ; and boil them all in tartar
and water, as is dire(ited in Gilding iron with water.
To make iron of a golden colour.
Take Unfeed oil fix ounces, tartar four ounces, aloes an ounce,
faffron ten grains, turmerick four grains ; yolks of eggs boil'd hard
and beaten four ounces, boil them all in an earthen veffel, and
anoint the iron with the oil, and it will look like gold. If the
Unfeed-oil be not enough, you may put in mors.
Another way for iron, glafs or bones.
Take a new lay'd egg, make a hole at one end, and take out
the white and fill up the egg with quickfilver two parts, fal ar-
moniack reduc'd to a fine powder one part ; mix them all toge-
ther with a wire or little ftick, flop the hole with melted wax,
2 over
G I L
over which put an hz\f egg-/hell; digeft it in horfe dung for a
month, and it will be a fine golden coloured liquor.
To GILD on WOOD or STONE.
Take bole armonlack and oil of ben^ of each a fufficient quan-
tity ; bea-: and grind them together, and fmear the wood or
ftone, and when it is almoft dry, lay on leaf gold^ let it dry,
and polifh it.
To gild with leaf gold.
Grind leaves of gold in a few drops of honey, and add to it
a little gujn watery and it will be excellent to write or paint
with.
To gild ^Ik and linen.
Lay fome parchment glue on the filk or linen, gently that It
may not fink 3 then mix and grind cerufs and verdegreafe toge-
ther, of each a like quantity, mix them with varnifli in a glaz'd
velTel, let it fimper over a fmall fire, and keep it for ufe.
Another of a pure gold colour.
Take the juice of fx^ih faffr-on, or faffr on ground, the beft
clear orpiment, of each a like quantity ; grind them with goat's
gall or gall of a pike (which is better) digefl twenty eight days
in horfe-dung, and it is done.
To gild iron or Jleel.
Take of tartar one ounce, vermilion three ounces, bole ar-
moniack and aqua vita, of each two ounces, grind them toge-
ther with lin feed- oily and put to it the quantity of a hazle-nut of
lapis calaminarisy and in the end grind a few drops oi varni/h ;
then take it off the ftone and drain it through a linen cloth (for
it muft be as thick as honey) then ftrike it over iron or fteel,
let it dry j then lay on your filver or gold and burnifh it.
To colour tin or copper of a gold colour.
Set linfeed-oil on the fire, fcum it and put in amber, aloes,
hepatick, of each a like quantity, ftir them well together till it
grows thick j then take it off, cover it clofe, and fet it in the
earth for three days ; and when you ufe it ftrike the metal all
over with it, let it dry, and it will be of a golden colour.'
To filver any metal.
Dillblve ^nt filver in ftrong aqua for tis, and put in as much
tartar finely powdered as will make it into a pafte; with which
rub any metal, and it will look like ^ne filver.
To gildfo as it Jhall rot out with any water.
Take calcin'd oker and pumice-fione^ of each like quantities,
and a little tartar, beat them with linfeed-oil and five or fix
drops of varnijh; ftrain all through a linen cloth, and with this
liquor you may imitate Gildings
To
G I L
To gild paper.
Grind bole armonlack with rain water, and give one laying of
it when it is dry, take glair of eggs, and add to it a little y^^^i^r
candy and gu?n zvater, which lay over the former, and upon this,
when it is dry enough, lay \t2S fducr or leaf gold.
To gild the leaves of books.
Take bole armoniack eight penny weight, fngar candy two
penny weight, mix and grind them with glair of eggs, then on
a bound book (while it is in the, prefs, after it hath been fmear'd
with glair of eggs and is dry'd) fmear the faid compofition, let it
dry, then rub it well and polifti it; then with fair water wet
the edges of the book, and fuddenly lay on the gold, prefs it
down gently with cotton, let it dry, and then polifh it with a
tooth.
0/ GILDING zvood with burnijlot gold and filver.
1. Take parchmenty7z(?, for priming or whiting the piece, do
it over with this fcven or eight times, letting it dry between
every time.
2. If it is a carv'd frame, that is to be gilded, giind yellow
oker fine with water, adding to it a little weakyJst to bind it;
warm it and colour over the frame, and let it itand to dry.
3. Take either of the ^Y^G metals.
In order to prepare the ^d
then give it the fame heat again, and burnifli it all over.
This work of Gilding may be repeated fix, eight, or ten times,
ftill obferving to give it the fame hear, before you lay on the
gold zvA filver, and then burnifn it as before directed.
To GILD on WOOD or STONE.
Beat in a mortar and grind together bole-armoniac and oil of
hehn, of each a fufficient quantity, with this fmear the xvood or
Jlone, and when it is almoft dry, lay on the \t2S gold; let it dry
and polifh it.
To GILD with leaf GOLD.
Grind leaves oi gold Wwh a few drops of hone}', to which
add a little gum water, and it will be excellent to wiite or paint
with.
To GILD fo as it Jhall not rot out with any water.
Take calcin'd oker and pumice-Jlone of each alike quantity and
a little tartar, pound them with liifecd-oil zn6. five or fix drops
of varnifij, ftrain all through a linen cloth, and with this liquor
you may imitate Gilding.
To
G 1 t
To GILD PAPER.
Giind bole armomack with rainwater, and give one laying
of it ; being dry, take ^lair of eggSy and add to it a little fugar-
candy and gum-water^ which lay over the former, and upon
this (when it is in a fit drynefs) lay on either leaf Jiher or
gold.
CL AUDIO GILLE of Lorrain^ was born in the year 1 600,
fcholar of Augujlino Tajfo^ liv'd at Rome, excell'd in hiftory,
died in 1682, aged eighty -two.
The GILLIFLOWER. To PAINT there are many forts
of Gillifiowers.^ as wh'ite^ yelltiWy purple, ftrip'd, ftreak'd or varie-
gated with feveral colours.
For white ones cover with white and fhade with black, ' and a
little indigo, for the heart of the leaves.
For the yellow fort ufe majlicote, gambooge and gall-Jione.
For the purple fort uk purple and white^ finifh with \e(s white,
making them brighter in the heart, and alfo fomewhat yellow-
ifb.
For the red fort, ufe lake and white and finifh without white.
For the ftrip'd and variegated fort, lay on luhite and variegate
fometimes with a purple, in which ultramarine predominates, or
fometimes with a purple in which carmine prevails or lake ; fome-
times with white, and at other times without it, fliading the
reft of the leaves with indigo.
The feed of them all is to be done with vcrditer and majli-
cote, finifti'd with iris.
The leaves and the ftalks are to be done with the fame green,
mix'd with iris to ftiade with.
To make GILLIFLOWERS grow double of any feed.
Put the feed of a fingle Gilliflower into a bean, that the fprout
or fpire is taken from, fo that the bean may not grow ; ftop
the hole clofe with foft wax, and fet the bean into convenient
fat mould, and the Gillifiower feed, as the bean rots, fpringing
up, will produce double flowers, large and beautiful.
To make PINKS fl«i GILLIFLOWERS blue and purple.
SKt zfuccory root, andi place the root of your flower; then fet it
in a convenient bed, and cover it with light mould, and the
feed drawing a virtual nourifhment from that root, when the
pink, &c. grows up, it will produce a blue flower.
-|^ JACINTO GIMINIANI q( Pijioja, (cholat to Peter
fix da Cortona, us'd this mark.
GIOTTO, born in the year 1276, difciple of Cimabue,
liv'd at Florence, excell'd in hiftory, fculpture and architefture,
died in the year 1336, aged fixty years.
H h 2 GIO
G L A
GIO PORTO, afterwards call'd GIOSEPPE SALVIATI,
born in the year 1526 or 1533, fcholar o{ Franc efco Salviati,
liv'd at Venice^ excell'd in hiftory painting, and died aged fifty-
yea rs.
LUCA GIORDANO, call'd LUCAFA PRESTO, born
in the year 1626, fcholar o( Spffgnoht znd Peter de Cortona, liv'd
at Florence, Naples and Madrid, excell'd in liiftory, died in the
year 1694, aged fixty eight years.
GLADIOLA. To colour this flower lay on columbine lake
and wkite very pale ; then proceed and finifh w\*\\ lake only, very
bright in fome places and very deep in others, always adding
bijlre to it for the ftrongeft (hades ; let the gret7i be verditer and
(bade with iris.
GLASS. A tranfparent, brittle, factitious body, produc'd of
fait and fand by the a£lion cf fire ; of which fome learned au-
thors have given us the following charadters or properties.
1. That Glafs is an artificial concrete oi fait and fand or
Jlones.
2. Fufihle by a firong fire.
3. When it is fus'd it is tenacious and coherent.
4. It does not wajle or confume in the fire.
5. When it is melted it will cleave to iron.
6. When it is red hot it is duUile, and may be fafhioned into
any form ; but not malleable, and capable of being hlvwn into a
hollownefs, which no mineral is.
7. It \s frangible when thin without annealing.
8. When it is cold \s friable.
9. Diaphanous, whether hot or cold.
1 o. It \% flexible and elajiic.
11. It is diffoluble by cold and rnoijlure.
12. It is only capable of being cut with diamond or emery.
13. It will receive any colour or dye, both externally and in-
ternally.
14. It is not diffoluble by aqua for tis, aqua regia or Mercury.
15. N^kher acid Juices, nor any other matter extradl either
colour, tefie or any other quality from it.
16. Tt will admit o\' polifing.
17. It will neither lofe of weight or fubflance, by the longeft
or moft frequent ufe.
18. It will gwtfufion to metals, znAfoften them.
19. It is the moft pliable thing in the world, and will beft
retain the form that is given it.
20. It is not capable of being calcirid.
2 1. An open Glafs fill'd with water in the fummer time will
gather drops of water on the outfide, fo far as the water on the
infide reaches ; and the breath of a man blown upon it will ma-
nifeftlj moiften it. 22, Little
G L A
22, Little balls fill'd with water, iW^rrwry or any other liquor,
and thrown into the fire, as alfo drops of green Glafs being
broken, WAX jiy afunder with a great noife.
23. Neither wine, beer, cr any other Uquorvi')\\ make it mujiy^
or change its colour or ruji it.
2.f. A drinking Glafs partly fill'd with water, and rubb'd on
the brim with a wet ringer, ivill yield beautiful mtcs.^ higher or
lower as the Glafs is more or lefs iull, and will make the liquor
frisk and leap.
The materials us'd in the compofition of Glafs,^ as has been
obfervM, tlxq fait T^wd fand ox Jhne.
1l he fait is of the fix'd kind, fuch as will not evaporate with
the moit intenfe heat ; the [and or Jione muit be fuch as will
melt eafily, this is what gives firmnefs and confiftence to the
Glaf.
I. l^h'isfalt is procured chiefly from a kind of ajhes, call'd
polvcrine or rochetta, brought from the Levant^ and particularly
from Alexandria and Tripoli.
The ajhes are made of a vegetable growing in great abun-
dance in the country, commonly call'd Kali^ and alfo Soda and
Saltwort^ from its faline tafte, znd z\(o glafs-wted, from the ufe
made of its aJhes in making Glafs.
To get the fait from this polverine, they pulverize and fift it
very fine ; then boil it in a brafs copper, with fair water and
tartar, till a third part of the water is confum'd, taking care to
ftir it from time to time.
Then filling up the copper with frefli water, they boll it a
fecond time till half be confum'd ; when this has been done,
there remains a lee impregnated with fait. To get the lees from,
the fait, they boil them, till the fait ftioots at the top, which
they fcum off as it rifes ; an hundred, pounds of a/hes this way
ufuaiiy vields eiahty or ninety of fait.
When the Jalt is dry they beat it grofly, and put it into a
furnace to dry it farther with a gentle heat. When it has been
fufficiently dried, they pound and fift it very fine, and lay it by
to make frit. See FRIT.
But you muft alfo take notice, that befides the aJhes of ^aliy
thofeoi' fern will alfo yield z falty which will make excellent
Glafs ^ in nothing inferior to that of polverine.
The method of preparing the aJhes oifern is the fame as that
of thofe of kali.
The aJhes alfo of the cods zndflalks of beans ; as alfo of colewortSy
bramble-bujl), millet-Jlalksy rujhes and many other plants may be
us'd for the fame purpofe.
2. As fory?cH£', which is the fecond ingredient in GA?/}, thebeft
of which is thai which will melt, is white and tranfparent. This
H h 3 fort
G L A
fort ofjlone is found chiefly in Italy and is caird iarfo, and rs a
kind of marble ; the nepct is quocoU or cuogele a fort of pebbles y
found at the bottoms of rivers.
Indeed nothing makes finer and clearer Glafs than flint ; but
the charge of preparing it deters glafs-rpakers from ufmg it ; th«
preparation neceffary ioxjione, is to calcine, powder and fearce
it.
j^nthony Neri oh(crves^ that all white tranfparenty?fl«^j, which
will not burn to lime, are fit to make Glafs ; and that zWjiones
which will ftrike fire with fteel, are fit for making Glafs. But
Dr. Merret objefts againfl: this laft rule as not holdmg univer-
fally.
Where glafs-makers cannot eafily have propery?5«^, they make
ufe oifand, the beft for the ufe is that which is white and fine ;
for green Glafs that which is harder, and more gritty.
The preparation that it needs is only wafhing it well.
Maidjione in Kent furnifhes our glafs-hoifes with white fand,
for their cryftal Glafs., and with the coarfer for green Glafs.
The inelhod of making white and CRYSTAL GLASS.
There are three forts of furnaces us'd in making Glafs^ the
one to prepaie they/zV, call'd the calcar; a fecond to work the
Glafs; and a third cali'd the her, to anneal it. See the article
FURNACE.
For the making cryjial Glafsy take of the whiteft tarfo pound-
ed fmal), and fearced as fine as flower, an hundred pounds to
polverine fixty five pounds.
Mix them well together, and put them into the furnace call'd
calcar., fir ft heating it. Keep a moderate fire for an hour con-
tinually l^irring the materials, that they may incorporate and
calcine together.
Afterwards increafe the fire for five hours ; after which take
out the matter, which being now fuificiently calcin'd is call'd
fait oi frit, wliich is aUo cali'd bollito.
Take the frit out of the calcar, lay it up in a dry place, keep
it cover'd from the duft; and let it lie for three or four months.
To make the 67//}, take of this cry/ial frit ; fet it in pots
into the furnace, adding to it a prcper quantity of manganefcy
(See MANGANEo}^) when they arc both fus'd or melted,
caft the fluor, (/. e. the mMted matter) i;ito fair water, to pu-
rify it from the fait call'd fandcvcr, which if not cleared from
it, would make the cryftal cbfcure and cloudy.
This lotion or v;afhing muft be repeated fevcral times, till the
cryftal is fully purged.
When this has been done, let 'it boil for four, five, or fix
days ; then try whether it has had mangcnefe enough, and if it
look fliii greeniili, add more manganefcy by little and little at ^
time
I
G L A
lime with difcretion ; but be fare to take care not to overdofe it,
becaufe the maugancfe inclines it to a blackifh hue.
Then let the metal clarify till it becomes of a clear and fliln-
ing colour ; which when it comes to, it is fit for blowing or to
be furm'd into veflels at pleafure.
There are three principal kinds oi glajjes^ diftinguiflied by the
form or manner of working them, viz^ i. Round G/^asthefe
of our veflels, phials, drinking ^/iJ^j, &c. 2. Table or tf/WfTif-
glafs^ of which there are various forts, viz. crawn-glafs^ jealous-
glafsy Sic. and plate-glafs or looking-glafs.
The method of working or bloiuing ROUND GLASS.
The working furnace being round has fix boccas or apertures;
at one of which call'd the great bocca the furnace is heated, and
tlie pots oi frit fet in the furnace; two other fmaller holes call'd
boccella'sy ferving to lade or take out the melted metal, at the
end of an iron to work the Glafs. At the other holes are put
in pots of other fufible ingredients to be prepar'd, and at laft
emptied into the lading pot.
There are to be fix pots in each furnace, all made of tobacco-
pipe clay, proper to fuftain not only the heat of the fire, but
alfo the violent efFc^ls of the polverine., which penetrates every
thing elfe.
But two of thefe pots are wrought at, the refl ferving to pre-
pare the matter for them.
The fire of the furnace is made and kept up with dry hard
wood, caft in without intermifRon at the fix apertures. This is
never omitted, even upon the moft folemn days.
When the matter contain'd in the two pots is fijfficlenly vi-
trified, then they are wrought, by taking out the metal, blow-
ing and fafhioning it.
The metal having been now fufficiently refin'd, the operator
or fervitor takes his blowing iron, which is a hollow tube about
two foot and a half long, or longer, and dipping it in the melting
pot, there turns it about ; and the metal flicks to the iron, like
fome glutinous or clammy juice, much like, but more firmly
than Venice treacle.
For each Glajs he dips four times, and at each dip rolls at the
end of his inflrument, with the Glafs upon If, on a piece of
iron, over which is a vefi'el of water j the coolnefs whereof help<5
to confolidate the Glafs more readily, and difpofes it the better
to bind with the next to be taken out of the pot; when the ope-
rator has dipt the fourth time, and there is now metal enough
upon the blowing iron, he blows gently through the iron, by
which he raifes or lengthens it nearly a foot, after the manner
as is done by blowing in a bladder or globe ; and to give it a
polifh, he rolls it to and fro on a (lone.
H h 4 Then
G L A
Then he blows again a fecond time, and thus fbrms the bunch
or belly of the Glafs. The matter by this fecond blaft afTumes
the figure of a gourd or callebafh eighteen or twenty inches in
cliameter.
As often as the operator blows into the iron (which muft be
very often) he removes it haftily from his mouth to his cheek,
left he fhould draw the flame into his mouth, when he applies
it again to the iron.
Then he whirls the iron many times round his head to lengthen
and cool the glafs ; fometimes the Glofs being thus blown round
is return'd to the fire, where it flattens a little of itfelf, when
flatted it is taken cut and cooled ; and if it be requir'd as to the
form intended, the workman flattens the bottom a little, by
prefling it on the marble, or he moulds it \nth&Jla?np-irons; and
thus delivers it to the mafter workman to break off the colcet.
The collet or neck is the narrow part which clove to the iron :
to fet the Glafs at libert7 they put a drop of cold water on the
collety which by its coldnefs cuts or cracks a quarter of an inchj
after which by giving it a flight knock, the fracture is commu-
nicated all round the collet it drops off; the wafte piece of Glafs
is knock'd off the iron and thrown by to make green Glafs.
This being done the iron-rod or ponteglo is dipt into the melt-
ing pot, and with the matter that (ticks thereto, they apply
and fafl:en it to the bottom of the veffel, oppofite to the collet.
The veffel thus fuftain'd by the iron-rod is carried to the great
hocca to be heated and fcalded, and vi^hile another perfon takes
care thereof the former operator rells, and prepares himfelf for
the hranching.
li^hthranching is making the bowl; to do this they thruft '\v\.
an iron inftrunient call'd pajfago, and augment and widen the
aperture opened thereby with the procello.
In turning this inflrument about to form the bov.'], the edge
becomes thickned, the glafs being as it weie doubled in that part ;
whence the hern obfcirv'd on the circumference of our glajjes.
What is fupeifljoiis they cut off with /hears.
The veffel being thus opened is return'd to the great bocca^
where it is fufficieiitly heated a fecond time; and then iht ope-
rator gives the bowl its finlfliing, by turning it about with a
circular motion; -which it increafes in proportion as the bowl
opens, and enlarges by means of the heat and agitation.
The Gh-^fs being thus fiaifli'd is carried from the bocca^ ftill
being turn'd round to a kind of earthen bench covered with
brands or coals extinguifh'd, heie they let it cool a little, and
come to its confiflfence ; having firfl feparated it from the iron-
rod by a flroke or two v.-ith the hand.
Thus
?
G L A
Thus by hlowing, pTcJJlng, fcalding^ amplifying and cutting
the Glafs is brought into the form that the workman had firft
defign'd in his mind.
When a number of them has been finifh'd by the matter,
and if the veflel requires it, he puts on a foot and handles, ^c,
and with the fpici puts on rigarines and marblings. Then a fer-
vitor takes them in an iron fork, and places them in the tower of
the leer to anneal and harden.
What has been here faid of white or cryfial Glafsy is the fame
as to the making of common or green Glafs, the working part
being the fame in ail, tiie difference being in the polverine or Jak
made ufe of.
So many mafters as there are, fo many pots, at the leaft,
and fo many boccas there muft be, each man having his pro-
per ftationj where, fays Dr. /^e are other characters, which tho' inferior to thefe, are
fo noble, that he muft be a happy man who can conceive them
juftly, but more fo if he can exprefs them : Such aie thofe of
JMofes^ Horner^ Xenophon^ Alcihiadcs^ Scipio, Cicero., Rafaelle.,
&CC. If we fee thefe pretended to be given in pitSlure, we expert
in them all that greatnefs and grace I have been recommending;
ali is necell'ary here in order to fatisfy us tLat the hiftory is truly
related ; as the pleafure we take in having our minds fili'd with fine
and extraordinary ideas is a fufncient reafon for raifing all the more
inferior charadlers. Life would be an inlipid thing indeed if we
never faw, or had ideas of any thing but what we commonly
fee; a company of aukward fiiiy-locking people, doing what is
of no confequence but to themfeives in their aifairs j arid to fee
fuch in pidure can give no great pleafure to any that have a true
and reiin'd tafte.
A hiftory painter muft defcribe all the various character?,
real or imaginary ; and that in all their fifuations, pleas'd, gtiev'd,
angry, hoping, fearing, &c. a face piinter has to do with all
the real characters, except only fome few of the meaneft, and
the moft fublime, but not with that variety of fentiments as the
other. The whole buiinefs of his life is to defcribe the golden
i.Paul
preaching, which has been already fpoken of, the drapery would
have had a greatnefs if that whole broad light had been kept,
and that part which is flung over his fhoulder, and hangs down
his back, had been omitted ; but that adds alfo a grace. Not
only the large folds and mafTes muft be obferv'd, but the (hapes
of them, or they may be great, but not beautiful.
Ti)e linen muJi be clean and fine\ the fJks and Jiiiffs new, and
the bejl of the kind.
Lace^ embroidery^ gold and jewels inujl de fpariyigly employ' d.
Nor are flowcr'd filks (o much us'd by the belt malters as plain,
nor thefe fo much as ftufts or fine cloth 3 and that not to fave
themfelves trouble, of which at the fame time they have been
profufe enough. In the cartoons, Rafaelle has fometimes niaae
filks, and fome of his draperies are fcoUop'd, fome a little ttrip'd,
fome edg'd with a kind of gold lace, but generally they are
plain, 'rho' he feems to h^ve tJiken jnoie pains than he needed
G R A
in the landfcapes, as he has alfo thofe badges of fpiritual dignity
on the heads of Chrift and the Apoftles. But thefe, as all other
enfigns of grandeur and diftincflion, as they have been wifely in-
vented to procure refpecl, awe and veueration, give a greatnefs
as well as beauty to a pi(5iire
'Tls^of mporta7ice to a painter to conftder well the lymnner of
clothing his people. Mankind have (hewn an infinite variety of
fancy in th s, and for the mofl part have difguis'd rather than
adorn'd h' man bodies. But the trueft tafte in this matter the
antient Greeks and Romons feem to have haJ ; at leaft the great
idea we have of thufe brave people, prejudices us in favour of
vhate\er is tjieirs, fo that it fhal! appear to us to be graceful
and nob'e. Upon either of which accounts, whether of a real
or imagin'd excellence, that ma?iner of cloaching is to be chofen
by a painter when the nature f.f his fubjedi^ will admit of it. Pof-
fibly improvements may be made, and fhould be endeavoui'd,
provided one keeps his antique tafte in viev/, fo as to preferve the
benefit of prejudice juit nov/ fpoken of. And this very thing
Rafaelle has done with great fuccefs, particularly in the car-
toons. Thofe that, in reprefenting antient ftories, have follow'd
the habit? of their own times, or gone ofl" from the antique,
have fuffer'd by it ; as Andrea del Sarto (who firft led the way)
and moft of thofe of the Venetian fchool have done.
But howfoever a figute is cl id, this general rule is to be ob-
fervtd, That neither the naked miift be lojl in the drapery^ nor too
confpicuous, as in many of the ftat;;es and has reliefs nf the an-
tients; ad which (by the way) they were forc'd to, becaufe to
have done otherwife, would not have had a good efFe(£l in ftone.
The naked, in a cloathed figure, is as the anatomy in a naked
figure; it fliould be fliewn, but not with affedlation.
Portrait painters feeing the difadvantage they were under in
following the drcfs c mm^nly worn, have invented one peculiar
to pidtures in their own way, which is a conipofition partly
that, and partly fomething purely arbitrary.
Such is the ordinary habit of the ladies, that how becoming
foever they may be fancied to be, as being worn by them, or
what we are accuftom'd to, or upon whatever other account, 'tis
ameed on all hands, that in a pfture they have but an ill air;
and accordingly a;e rtje(Si:td for what the painters have introduc'd
in lieu of it, which is indeed handfome, and perhaps may be
impicv'd.
In the gentlemcns pictures the cafe is very difiTerenti 'tis not
fo e?fy to dw'e.mine as to their drapery.
"W^hc-.t is to be faid for the common drefs is, That
It gives a gi eater refemb'ance; and
Is hiiluricii as to that arLicle,
The
G R A
The arguments for the ether are, That
They fuit better with the ladles pidures, which (as has been
obferv'd) are univerfally thus drefs'd :
They are not fo affedted with the change of the fafliion as
the common drefs; and
Are handfomer, that is, have more grace and greatnefs.
Let us fee how the cafe will ftand, this latter confideration of
handfomenefs being for the prefent fet afide.
The firft argument in favour of the arbitrary loofe drefs
feems to have no great weight ; nor is there fo much as is com-
monly thought in the fecond ; becaufe in thofe pictures which
have that kind of drapery, fo much the drefo of the time, is al-
ways, and mufl be retain'J, and that in the moft obvious and
material parts, that they are influenced by the change of fafhion
in a manner as much as thofe in the habits commonly worn.
For proof of this, I refer you to what was done when the great
wiggs and fpreading huge neck-cloths were in fafhion. So that
here does not feem to be weight enough to balance againft what
is on the other fide, even when the greatelt improvement as to
the colour, or materials of the common drefs is made, for ftill
there will be a fufficient advantage upon account of refemblance
and hiftory to keep down the fcale.
Let us nov/ take in the argument of grace and greatnefs, and
fee what effect that v/ill have.
The way to determine now is to fix upon the manner of fol-
lowing the common drefs, whether it fhall be with or without
improvement, and in what proportion: Tiiis being done, let that
you ha\e fix'd on be compar'd with the arbitrary, loufe dreib in
competition with it, and fee if the latter has fo much the ad-
vantage in grace and greatnefs, as to over-ballance what the o-
ther had when thefe were not taken in: If it has, this is to be
chcifen ; if not, the common dref?.
Thus I have put the matter into the beft method I was able
in order to afTift thcfe concern'd to determine for themfelves,
which they can beft do, fancy having fo great a part in the af-
fair. Ai.d fo much for this controverfy.
There is an artificial grace and greatnefs av:p,ng fro77i the oppO'
jition of their contraries. As in the tent ot Darius by le Bri'.n^
the wife and the daughiers of that {.rince owe fomething of their
beauty and majeily to the hideous figures that are about them.
But a greater man than le Brun feems to have conviefcended to
be beholden to this artifice in the banquet of the Gods at the
marriage of Cupid and Pfyche ; for Venus^ who comes in danc-
ing, is furrounded with uils, as the Hercules, the face of his
lion's skin, Vulcan, Pan, and the mask in the hand of the
mufe next to her. Some fubjedlsf carry this advantage along with
them.
G R A
them, as the flory o^ Andromeda and the monfter j Galatea with
the Tritons ; and in all fuch where the two contraries, the maf-"
culine and feminine beauties are oppos'd (as the figures o( Her-
cules and D.janira for inftance ) Thefe mutually raife and
ftrengthen each other's charaders. The Holy Family is alfo a
very advantageous fubjedt for the fame reaf-rn. I need not en-
large here; -the artifi e is well known, and of great extent; 'tis,
pradtis'd by poets, hiftorians, divine?, i^c. as well as painters.
What I have hitherto fa'd will be of little ufe to him who
does not fill and fuppiy his mind with noble images. A painter
fhculd thcrefcre read the beft books, fuch as Horner^ Milton^
Virgil, Spencer^ Thucydides^ Livy, Plutarch, &c. but chiefly the
Holy Scripture, where is to be found an inexhauftible fpiing,
and the grcateft variety of the moft fublime thoughts, cxprefs'd
in the nnblcft manner in the world. He ftiouid alfo frequent
the brighteft company, and avoid the reft. Rafaelle was per-
petually convcrfant with the fineft genius's, and the greateft men
zt-Rome; and fuch as thefe were his intimate friends. Giulio
Romano, Titian, Rubens, Van Dyck, he. to name no more,
knew well how to fet a value upon themfelves in this particular.
But the works of the belt m^fter in painting and fculpture
ftioulil be as a painter's daily bread, and will afford him delicious
nocrifhment.
If I had been fhewn a picture of Rafaelle's (faid Carlo Ma-
ratti to his friend) and not having ever heard of him, had been
told 'twas the work of an angel, I fhould have believed it. The
fame friend of Carlo Maratti faid he ha J feen an entire book
confifting of about two or three hundred drawings of heads
which the fame Carlo had made ai'ter that of the Ayitinoils, and
which he faid he had felecled out of about ten times the num-
ber he had drawn after that one head ; but confefs'd lie had
never been able to reach what he faw in his model. Such was
the excellency of the (culptor! and fuch the diligence, perfeve-
rance and mod.-fty of Carlo !
The antients poifefs'd both the excellent qualities I have been
treating of, among wh^^m Jpelles is diftinguiih'd for grace. Ra-
faelle "wzs the modern Apelles, however not without a prodigious
degree of greatnefs : His ftyle is not perfectly antique, but feems
to be the effcdt of a fine genius, accomplifh'd by ftudy in that
excellent fcho&l: 'Tis not antique, but (may I dare to fay it?)
'tis better, and that by choice and judgment. Giulio Romano
had grace and greatnefs, more upon the antique tafte, but not
without a great mixture of what is peculiaily his ov/n, and
admirably good, but never to be imitated. Polydore in his beft
things was altogether antique. The old Florentine fchool had a
kind of greatnefs that like Hercules in his cradle promis'd won-
ders
G R A
ders to come, and which was accomplifhed In a great meafura
by Leonardo da Find (who alfo had grace) but more fully and
perfectly by Michael AngeloBiionarota : His ft\le is Ijis own, not
antique, but he had a fort of greatnefs in the utmoft degree,
which fometimes ran into the extreme of teriible, though in
many inftances he has a line fcafoning of grace. When Par-
vieggiano copy'd him, and flung in his own fweetnefs, they to-
gether make a fine compofition : I don't fay however that they
are preferable to what is entirely of AUchael Angelo^ or even to
what is entirely of Parmcggiano^ efpecially his befl: ; but they
are as if they were of another hand, of a character between
both : For P armcggiano was infinitely fvveet ! Grace fhines in all
he touch'd, and a greatnefs fupports it, fo as one would not
wifh him other than he is; his Ifyle is entirely his own, not in
the leaft modern, nor very much up.-in the antique : what he did
feems to flow from na'ure, and are the ideas of one in the gol-
den age, or ftate of innocence. Baccio BandinelU had a great
fl:yle, and fometimes not without grace. Correggio had grace
not inferior to Parmeggiano^ and rather more gteatfcGj but
different in both from him, and from the antique: Wha: he
had was alfo his own, and was chiefly employ'd on religious fub-
jedts, or what had nothing terrible in them. Titian^ Tintoret^
Paolo Veronefe^ and others of the Venetian fchool have grea-nefs
and grace, but 'tis not antique, however 'tis Italian. Annibale
Carracci was rather great than gentile, tho' he was that too;
and Guido's character is grace. Rubens was great, but rais'd
upon a Flemijh idea. Nicholas PouJJin was truly great and grace-
ful, and jultly ftiled the French Rafaclle. Salvator Rofa's land-
fcapes aie great, as thofe of Claude Lorrain are delicate: Such
is the flyle of Filippo Laura ; that of the Borgognone is great.
To conclude, Van Dyck had fomethlng of both thefe good qua-
lities, but not much, nor ahvays ; he generally kept to nature,
chofen in its bell moments, and fomething rais'd and improv'd ;
for which reafon he is in that particular, and when he fell not
lower, the beft model for portrait-painting, unlefs we prefer a
chimera of the painter, to a true, or at moft a civil reprefenta-
tion of our felves or friends ; and would have a cheat put upon
polterity, and our own or friends refemblance loft and forgotten
for the fake of it.
The notions of mankind vary in relation to beauty, and in
fome particulars with refpedl to m^.gnanimity : It may be worth
a painter's while to obferve what were thofe the antients had in.
thefe matters, and then to confider whether they agree with the
prefent tafte ; and if they do not, whether they or we are in
the right, if it can be determined by reafon. If it depends up-
on fancy only, then let him confider whether the prejudices we
are
G K A
ate apt to have for the antients, will balance againft the opi-
nion of the prefent age. As to the draperies, the antients
iDult be Itudied with caution, as has been already obferv'd.
Inftcad of making caricaturaes of peoples faces (a foolifh cu-
ftom of burlefquing them, too much ufed) painters fhould take
a face, and make an antique medal, or bas-relief of it, by di-
vefting it of its modern difguifes, railing the air and the fea-
tures, and giving it the drefs of thofe times, and fuitabie to the
character intended. Our nation is allow'd on all hands to fur-
nifh as proper models as any other in the world, with refpeft
to external grace and beauty : Nor perhaps can antient Greece
or Rome boall of brighter charadlers than we.
Laftly, a painter's own mind fhould have grace and greatnefs,
that (hould be beautifully and nobly form'd.
GRACEFUL POSTURE and proper anions is the fecond
thing in a good pidture, that is, that the true and natural mo-
tion of every thing be exprefs'd in the life and fpirit of it, that
is to quicken the life by art ; as in a king to exprefs the greateft
majefty, by putting or defigning him in fuch a graceful pofture>
that may move fpectators with reverence in beholding him.
And to draw a foldicr in fuch a pofture, as may betoken the
greateft courage, boldnefs and valour; and to reprefent a clown
in the moft aukward and clownifh pofture ; a fervant or page
in the moft attentive and diligent pofture, &c.
And fo in all your draughts, the inward afFe(Sions and difpo-
fitions of the mind may be moft lively expreft in the outward
adion and gefture of the body.
Now to attain the knowledge of this, you ought moft dili-
gently to obferve the works of feveral famous mafters, and alfo
to follow their examples, who were us'd to delight themfelves
in beholding private perfons ; as the actions, poftures, and ge-
ftures of wreftlers, fv/ord -fighters, boxers at handy- cuffs, ftage-
players, the alluring glances and geftures of curtezans, and in
malefactors going to execution to obferve the contracting of their
brows, the motions of their eyes, and the motions of their whole
bodies, to the end that they might exprefs them to the life in
their drawings and works.
Take care likewife that you draw with a certain loofenefs
which is a great excellency in drawing, that is, that the body
be not made ftiff in any part ; but that every joint may have
its proper bending?, fo that it may with the greater life exprefs
the intention, that the figure may not feem lame and the joints
ftiff, as if they were not pliable or capable of bending ; but that
every joint and limb may have its proper freenefs and loofenefs,
according as it may beft fuit with and become tht pufture in
"which the figure is fet,
GRANATE,
G R A
GRANATE, a gem or precious ftone, of a high red colour;
thus call'd from the refemblance it bears to that of the feed or
kernel of a pomegranate.
Grauates are either oriental or occidental ; the oriental are
brought from divers parts of the Eaji-Indies j the occidental
from Spain, Bohemia^ and SiJefia,
The oriental are diftinguifhed by their colour into three kinds.
The firft is of a deep brownifli red, hke black clotted blood ;
of which kind there are fome as big as an hen's egg: the fecond
are very nearly of the colour of an hyacinth, with which it were
eafy to confound them, but for their fuperior rednefs : the third
fort has a mixture of violet wiih their red, and is call'd by the
Italians, rubina della rocha.
The occidental Granates are of a red colour, but of different
degrees, according to the country they come from. Thofc of
Spain imitate the colour of the ker.el of a pomegranate : thofe of
Bohemia have a golden cafl: with their red, glittering like a live
coal : thofe of Silejia are the darkeit of all, and are feldom
thoroughly trani^parent.
The Granates of Bohemia are the moft valued of the occi'
dental ones, and fome prefer them even to the oriental ones.
They are found near Prague, not in any particular mines, but
are pick'd up by the peafants in the fields from among the fands
and pebbles.
To make a GRANATE colour in glafs.
The beauty of this colour is to exprefs the ydlowifti red of
fire, when it is expos'd to the fun.
Take cryftal frit, and oi frit oi Rochctta each an equal quan-
tity, mix them well, and to fifty pounds of thefe materials add
half a pound of manganefe of Piedmont prepar'd, half an ounce
o{ zaffer preoar'd ; mix them well with t\\t fits ; then put
them by little and littJs into an earthen pot made red hot in \.\iz
furnace, becaufe the glafs is apt to rife and run over. ^'^
After four days, the glafs being well ting'd and purified, yoU
may work it ; you may increafe or diminifli the colour as much
as you pleafe, which depends en the difcretion of the operairA
who puts in the powders which ought to be put in orderly,
that the matter be not fpoiied.
Te -make a GRANATE colour in glafs of lead.
The vivacity of this colour appears no lefs in glafs of lead
than in cryftal, if it be carefully made.
Take ten pounds of cryftal frit, and eight pounds of calx of
lead, and after having ad Jed an ounce aid a half of mangar.fs
of Piedmont, and a quarter of an ounce of zcffer both prepar'd
(as is taught under the articles MANGANESli and ZAFFER)
put the whole into a pot, heated in the furnace i tvi'elve hours
after
G R A
after caft that melted matter into water, and take out the lead
that remains behind in the pot.
Then put the matter again into the fame pot, and let it ftand
ten hours to purify.
Then mix it well with the iron, and let xht faces precipi-
tate; then fee if the colour pieafes you ; then work it to what
ufes you pleafe, and you'll have a glafs of lead of a fine Gra~
tiate colour.
To make a pajle for an oriental GRAN ATE.
The Granate is very like the carbuncle^ for being both expos'd
to the fun, they exhibit the colour of live burning coals, be-
ing between red and yellow, v/liich is the true colour of fire.
There are feveral forts of Granates, both oriental and occiden-
tal, fome deeper, others paler ; but the jewellers know how to
make them appear, by fetting them on fiiver foils.
The way to imitate them is as follows :
Take two ounces of natural cryjlal prepared, and fix ounces
of minium^ with fixteen grains of manganefe of Piedmont^ and
two grains of "gaffer prcpar'd ; let the whole be pulveriz'd and
well mixt together, and being put into a crucible, fet them into
the furnace with its cover well luted ; there let them bake with
the fame precautions given as to the paftes for other gems, and
you will have a very fine Granate as refplendent as the orien-
ial
A deeper oriental GRANATE.
This colour will not only be deeper, but alfo far fairer than
the precedent.
To make it, take two ounces of natural cryjlal prepar'd, five
ounces and a half of minium^ to which add fifteen grains of
manganefe of Piedmont prepar'd ; and having pulveriz'd it, mix
the whole together, and proceed in baking this paile as diredl-
cd for other paftes, only take notice, you mufl here leave more
eft^pty fpace in the crucible, becaufe this matter rifes more than
tiat others, wherein care mufl be taken. Then will you have
a deeper oriental Granate than the former, which you may po-
lilb, ^c.
;'. Another fairer G^K^\1^Y..
This pafte will be yet much fairer than the precedent, if you
take to two ounces of natural cryjlal calcin'd and prepar'd, fix
ounces of vermilion or minium in fine powder, thirty -five grains
of mayiganefe of Piedmont prepar'd, and four grains of prepar'd
%ajffery which being well pulveriz'd, mix together in a crucible,
leaving a greater empty fpace than in the other, by reafon the
matter rifes more than in the others i then lute the cover well,
let it dry, and put it in the furnace to bake, as is directed as to
Other artificial gems, obferving the fame circumftances noted on
that
G R E
that fubje£l, and you will have a very fine Granate, fairer than
the reft.
GRAND GUSTO, a term us'd by painters, to exprefs, that
there is fomething in the picture very great and extraordinary,
calculated to furprize, pleafe, and inftrucl.
Where this is found, they fay the painter was a man of the
Grand Gujlo ; and they ufe the word fublime and marvellous^
when^ they fpeak of a pi£lure much in the fame fenfe.
JAMES GRAND HOMME engrav'd the portraits
of the Herejtarchs and others, after Rembrant^s manner ;
us'd this mark. At other times he maf k'd thus : J. C,
van Uliet.
GRANITE, a fort of marble extremely hard, rough and
uncapable of taking a thorough polifh ; thus call'd, becaufe
fprinkled over as it were with a great number of little ftains,
refembiing great grains of fand.
There are three forts of Granites ; that of Egypt, that of
Italy^ and that of Dauphiny.
That oi Egypt has browniflior greenifli fpots on a dirty white
ground. It is found in very large pieces, and is that chiefly us'd
by the Egyptians in their obelisks and pyramids, or the tombs
of their great men. There are columns of this ftone above
forty foot high.
The Grinate of Italy is fofter than that of Egypt y efpccially
in the quarry, where it cuts with much more eafe.
There is alfo a fort of green Granite, which is a fpecies of
Terpentine, fpotted with green and white fpots.
The Granite of Dauphiny, a quarry of which has been found,
is only a very hard fort of flint.
GRATEFUL REMEMBRANCE is reprefented in paint-
ing, by a young woman of a graceful countenance, crowned
with a branch of juniper with berries on it, holding a great nail,
and ftanding between a lion and an eagle.
The juniper never withers, neither does the memory of bene-
fits received; the juniper is faid to help the memory; the nail
denotes the tenacioufnefs of memory ; the lion and eagle the
remembrance of kindnefs received, the one is king of beafts,
the other of birds, and are both enemies to ingratitude.
G. R. ? ftands for Guido Rhcni of Bologna, a celebrated
G. R.F. J painter.
G. R. B. C. F. fignifies Guido Rbeni, in the overthrow of the
giants engrav'd by Bartholomew Coridano.
GREEN is one of the original colours of the rays of light.
If urine, citron juice, or fpirit of vitriol be caft on a gteen
ribbon, it becomes blue, by reafon that the yellow of the green-
VoL. I, LI ing
G R E
^ng weed is thereby exhaled and confumed, fo that nothing but
blue remains behind.
Grafs and herbs, and even all vegetables, in places exposM to
the open air are Green, and thofe in fubterraneous places, or
places inacceffible to the air, white and yellow. Thus when
wheat or the like germinates under ground, 'tis white or yel-
low ; and what is in the open air, green, tho* this too is yellow
before it be green.
Artificial Greens are rarely fimple colours, but produced by
the mixture of yellow and blue.
Two powders, the one blue and the other yellow, well mixt
appear perfe«-GREEN.
Take clear ftale bran -liquor or fowre tap- wort a fufficient
quantity, alum three ounces ; boil, and enter twenty yards of
broad-cloth, and boil three hours; cool your cloth, and wafh
it well. Take fair water a fufficient quantity, neddar (called
alfo linge') or heath Jlravel a good quantity ; boil it well, and
take it put ; then enter your cloth ; boil it well, making it a
bright yellow. Heat your blue fat, and put in indigo bruifed
fmall four ounces, madder three ounces, ground malt two quarts,
Tieix) yeajl a quart ; mix thefe things well together, keep them
as hot as you can, and let it ftand till it will ftrike blue; then
enter your cloth, and handle it well (to avoid fpotting) till it is
done, and fo wafti it.
VIII. To dye another French-GREEN.
Firft make your cloth a good blue, and take the fame clean
bran liquor you take for your greens a fufficient quantity, alu7n
three pounds, logwood ground four ounces; boil well, enter
twenty yards of broad cloth, boil two hours and a half; after
take it out, cool it, wafh it well. Take fair water a fufficient
quantity, good neddar or heath-Jlravel fo much as will make
your cloth a good green. Take fair water a fufficient quantity,
logwood ground a pound ; let them boil, add a little urine ; en-
ter your cloth, boil a quarter of an hour; handle it, and fo
cool it. If you would have it a fad-colour, enter it again, cooi,
and wafh it.
IX. To dye a Forejl-Giten.
Firft make your cloth a good blue. Take clear ftale bran
liquor a fufficient quantity, alum three pounds, logwood ground
five ounces ; let them boil, enter twenty yards of broad-cloth,
handle, and boil it two hours and a half j take it out, cool,
and
G R E
and wafli it. Take fair water a fufficient quantity, and good
hedder enough to make your cloth green ; boil it well, then
enter your cloth, and boil a fufficient time. Take fair water a
fufficient quantity, logwood ground twenty ounces ; boil them a
quarter of an hour, cool a little ; then enter your cloth, and
handle it well, letting it boil about a quarter of an hour longer;
after which, cool your cloth, and wafh it well.
X. To dye a Gr«/5- GREEN.
Firft, make your cloth a bright blue, then take clear ftale
bran- liquor ox fowre tap wort -s fufficient quantity, alum three
pounds; let them boil, and enter twenty yards of broad-cloth;
handle it, boil with a flrong hre for two hours, cool, wafh it
well. Take water a fufficient quantity, hedder or heath-Jiravel
what you think fit ; boil well for an hour ; take forth the hed-
der^ enter your cloth, handle it well, and let it boil a quarter
of an hour ; then cool, and put in a little urine ; enter your
doth again, boil a quarter of an hour, cool, and wafh it well.
Notey That the different and various colours of Greens arife
from the firfl blue being lighter or fadder, or from the yellow
being a deep or light colour.
XI. A very good GREEN colour.
Take fap-greetjy bruife it, put water to it; then add a little
alum, mix, and infufe for two or three days.
XII. To make a very good dye.
Firft-, dye the cloth or fluff yellow, as we dire£l in the fol-
lowing ; then put it into the blue dye defcribed foregoing.
XIII. To make a dark GREEN colour.
Firfl dye your wool, yarn, fluff, or cloth of a blue colour,
as we dire£l in the foregoing articles ; then put it into your yel-
low dye as in the following, and it will be a dark Green.
XIV. To dye a P oping j ay -G^Y.Y.'^.
Make a weak lixivium of pot-ajhcs, fuch as the country peo-
ple wafh their clothes with ; put into it Indigo a fufficient quan-
tity ; then put in your things to be dyed (being firfl dyed yel-
low) let it boil, the longer the better, fo will the colour be
good.
XV. J fair GREEN for ?niniature.
Grind verdegreafe with vijiegar and a little tartar, then add
a little quick-lime and fap-grcen ; grind all well together, and
keep it in a fliell, if it grows hard, with vinegar.
XVI. To make a very fair GREEN.
Take verdegreafe, tartar, and vinegar, of each a fufficient
quantity ; boil them all together, and it is done.
XVII. Jnother GREEN for running.
Take blackthorn-berries gathered at the latter end of Augufl
^hen ripe, beat them, boil them eight or ten hours 'very gently;
then
G R E
then add water to make it thinner ; ftrain through a cloth as
hard as you can, and add to the liquor alum in powder q. 5.
fome add vinegar, but then it is longer a drying, and will be
ruddy. You muft keep it in a bladder in the fhade, or in the
chimney-corner, and it will keep.
XVIII. To make 5/r^-GREEN.
Boil it In water with litmofe or logwood^ and then it will be
blue ; then boil them in a lixivium of pot-a/hes and yellow bar-
berry-bark, and they will be Green.
XIX. To make a beautiful liquid GREEN.
Take verdegreafe one pound, tartar in powder eight ounces,
wine vinegar a quart ; mix all, infufe for one night, and then
boil till half is confumed, and filter whilft hot. When you
ufe it, mix gum ammoniack and fafFron to ftifFen it ; it will glaze
over biukthornberry -greens. If you mix it with the juice of thofe
berries and azure, it will make feveral forts of Green.
XX. To make GREEN balls.
Take buckthorn-berries a pound, beat and boil them in ten
pints of water till half is confumed ; ftrain all through a cloth,
and put into the liquor as much cerufs in fine powder as will
make it into a pafte, which form into little balls, and dry upon
tiles; when dry, ftiffen them with diflblved gum. They will
be better if you mix with them fome gum ajnmoniack.
To dye woollen Jluffs GREEN.
Firft dye the iku^s yellow wixh broom or dye- weed, rinfe them
well out, and while they are yet wet, pafs them through the
blue dye, and work it, till it is the colour you would have it,
either light or dark ; fo that feveral fhades or forts of green may
be dyed the fame way (the fluffs having been always firft tinged
yellow).
Afea GREEN.
For every pound of ItufTs allow three ounces of verde-
greafe powdered, three pints and a half of zu/'wt vinegar, ftir the
verdegreafe in it ; pafs a pair of ftockings through the liquor,
and then hang them out without rinfing ; when they are dry,
wet them in the liquor again, and hang them up to dry again,
fo oft, till they are perfectly clear'd from all humidity.
A broivn or iron GREEN.
Having hung clear rain water over the fire, put in for every
pound of woollen powdei'd galls, gum, hrafil and copperas, of
each an ounce and half, and verdegreafe one ounce, boil them
well together, ftirring them very well ; then boil the ftuffs in it,
till it is to your mind, and when it is cold rinfe it out.
To dye a lajlirg broivn or iron GREEN.
For a piece of ftufF of fifteen ells, take three quarters of a
pound of a^unii half a pound of tartar^ two ounces of calcin'd
vliriol'i
G R E
vitriol; in thefe boil the fluff for half an hour, then rinfe it in
clean water, and when it is dryed for the tluey y ou may throw
away the allum fuds.
How to blue it.
The ware being b!ued with woad of a light oi • deep brown
according to your mind, then rinfe it again, dry it and prepare
it for the following ^'^//czt;. Boil eight pound of broom for half
an hour, keeping it down in the kettle with a ftick, fifr. that it
does not float on the top of the water, and when you ufe it,
add to it two quarts of (harp lie, half an ounce .of flower of
brimjione, and an ounce of verdegreafe \ then dye th» ^ goods but
only once, and it will be of a beautiful brown or iron Green.
If you pleafe you may dye the fluff Green from a lead colour,
and it will be deeper than the former, and lafl very well; but
when it is dyed with brown wood and blued, it will be lighter j
but not fo firm as the other.
To dye linen GREEN.
Lay the linen a whole night in flrong allum water dry it well,
then boil broom or dyers-weed^ for the fpace of an hour_; take it
out and put into the fuds either half or a whole ounce of ver-
degreafe^ according to the quantity of the ware you have to
^yt\ flir it well about with a flick, and then work the linen in
it, once, twice or thrice, as occafion requires, adding the fecond
and third time a quantity oi pot-ajhes equal to an hen's egg ; then
work your linen the tliird time, and you will find it of a yi^llow
colour; then dry it in the air, and afterwards throw it into
the blue-vat (See BLUE) and that will produce the Green you
defire.
To dye thread of a lajling GREEN.
Boil three quarters of a pound of Allum^ half a pound of tar-
tar^ in two quarts of fnarp lye for an hour, and in it foak ihe
thread for three hours ; keeping it hot all the while.
Then dye it yellow.
Put into the kettle eight pound of broom one pound of corn
marigold flowers, half a pound of crab-tree-bark^ that looks ye 1-
low and ripe; and fuperadd two quarts of fharp lye^ when thefe
have boil'd half an hour, then dye the thread in the liquor as
deep a yellow as pofTible ; but if you can procure Spanijh yellczc\
an addition of three quarters of a pound of it will heighten thz
dye, and render it more lailing ; for it is to be remembred,
that all yelloius that are dellga'd to be dyed Green^ mufl be as
deep as poffibly they can be.
After this turn it GREEN with BLUE dye.
There are in this as in the foregoing receipt, four operations
in dying a good Green, that you may make it cither a light or
a d^rk Gr^^n at pleafiiie ; for firll.
You
G R E
You may blue the thread with woad^ or elfe with indigo^ be-
ing firft thrown into the allum fuds, and afterwards into the
yelloiv, and you will have a lafting Green. So that Green is to
be dyed feveral ways.
Another green for thread.
Firft fill the kettle with fliarpe lye, and then throw in a bun-
dle oi broom; boil them very well, and then pour off the liquor
into a vat, and for every pound and half of thread, allow half
an ounce of verdegreaje, and half an ounce of alliim ; put thefe
into a quart of lye, in which brown brafil wood has been boil'd ;
ftir them together and pour them into the broom water ; and in
this mixt liquor, lay the thread in foak for one night, and you
will find it well dyed.
GREENS for SILKS.
For every pound oi filk take a quarter of a pound of Englijh
allum, two ounces of white wine tartar beaten fmall, diflblve
them together in hot water, then put in thtfilk, letting it lie a
whole night, then take it out and dry it ; having done this, take
a pound of broom, boil it in a pail and a half of water for an
hour or better, then take out the broom and throw it away, and
put in half an ounce of beaten verdegreafe ftirring it about with
a ftick ; then put in the filk for a quarter of an hour, take it out
and let it lie till it is cold ; then put in one ounce oi pot-ajhes,
ftir them about and put in the filk again, keep it there till
you think it is yellow enough, then rinfe it out and let it dry;
after which put it into the blue dye fat or copper, and let it re-
main there till it becomes Green and dark enough ; then take
it out and you will have a good Green, to be beaten and dry'd.
You may let it lie a longer or lefs while in the dye according
as you would have the Green lighter or darker ; for at firft you
will have but a faint Green.
Grafs GREEN.
Firft dye your filk a pretty deep ftraw colour, rinfe it clean
and wring it clofe together with flicks; and then put about
iifteen or twenty handfuls of skains into the blue dye copper;
though you muft take care that the ftrength of the dye be pro-
portioned to the quantity of filk; and that you do not put in too
many skains at once.
When it has boil'd enough take the kettle oft', and let it
ftand for an hour; after which time you may work it again,
and do the fame every hour, allowing the fame interval ; but
you muft be very careful that one handful does not lie longer in
than another, and when it is taken out of the copper, let it be
very well cool'd, rins'd and ftrongly wrung with flicks, and af-
terwards dry'd.
G R E
To dye parrot or par roquet GREEN.
This being fomething lighter than the other, mufl: be boirj
in weaker fuds than the other, and as foon as it is dyed, muft
be wrung and dry'd as the other.
To dye green finch or canary bird GREEN.
This muft be dyed as the Green ; but you ought to add a
little Provence wood to the laft fuds, according to the quantity
of the filic ; after which it muft be boil'd in the blue copper,
wrung out and rinfed.
To dye olive GREEN.
This alfo muft be dyed as the Green, only the laft fuds muft
be encourag'd with a little Provence wood fuds, till it is deep
enough J then wring it out, iffr. as above.
To dye a celadon or celandine GREEN.
This colour being very light and bright, muft be dyed as
the fea Green, and boil'd in weak fuds, and managed as the
Green, and dry'd.
To dye a fea GREEN.
This colour alfo being very light, muft be perform'd as the
lemon colour, and thrown into blue fuds, then wrung out and
dry'd.
Another fea GREEN.
For every pound of filk take three ounces of verde-
greafe pounded fmall, put it into good wine or (harp vinegar
to diflblve, let it lie a whole night in it, in the morning, fet
it over the fire and make it hot, ftirring it about with a ftick;
and then put in the filk, (but take care not to let it boil) and
let it remain two hours, or one, or half an hour according as
you would have the colour a deep, middling or light Green ;, then
put fome boiling hot water into a fat or tub, to which add half
an ounce or an ounce of foap, and make a lather ; w hen it
froths it is ready ; then hand the filks in it, let them drop after-
wards, and rinfe them in river water, beat them very well, and
dry them.
JOHN GREENHILL, was a gentleman defcended from a
good family in Salisbury where he was born, he was difciple to
Sir Peter Lely, whofe manner in a fhort time he fuccefsfully imi-
tated, and became a great proficient in crayon draught as he af-
terwards did in painting ; he failed very little of his maf ter's ex-
cellencies, who firft neglefted, and then became jealous of him
as a dangerous rival ; for he never let him fee him paint but once,
and that was by ftratagem. Mr. GreenhiU had long had a defire
to fee Sir Peter manage his pencil, but fo' ftiy was that great ar-
tift of revealing his myftery, that he would never lend him the
leaft afliftance all the while he was with iiim ; which made Mr.
Greenhill after he had left inim, have rei;ourfe to a wile to pro-
coie
G R E
cure that which he muft have otherwife defpaired of. He pro-
cured Sir Peter to paint his wife's pidlure, through which means
he had an opportunity to ftand behind and fee what he did j
which being greatly to his fatisfadlton on a double account, he
made his mafter a prefent of twelve broad pieces, and fo took
the picture away with him, having thus obtain'd his end ; he ia
a little time became exceeding famous for face painting ; info-
much, that had he not died young, England might have boafted
of a painter, who according to his beginnings, could not have
been much inferior to the very beft of foreigners.
GREY to dye.
1. Silver Grey colour. Take water a fufficient quantity, of
rmt-galh bruis'd fmall two ounces, tartar bruis'd three ounces,
bc>il them, enter twenty yards of ftufFor cloth, ^c. handle and
be il an hour and half, cool it; then put in copperas a fufficient
q«iantity, enter your cloth again at a boiling heat, handle it, boil
a quarter of an hour, and fo cool, if you would have it fadder,
pmt in more copperas.
2. To dye a light Grey colour. Take water a fufficient quan-
til y, nut-galls bruis'd fmall four ounces, white tartar bruis'd
{n lall four ounces, make them boil ; then enter twenty yards
of broad cloth, and handle it, boiling an hour and half, cool
yoi U" cloth, and put in copperas an ounce and half, enter your
clo til again and handle it, boil it a quarter of an hour, and cool
it ; if you would have it fadder, put in more copperas.
^.^ To dye lead colour. Take water 2. fufficient quantity, nut'
galls bruis'd fmall one pound, madder half a pound, make them
boil, enter twenty yards of broad cloth, boil an hour, take it
out r Bid cool it ; then add to the liquor copperas four ounces,
boil i uid put in your cloth again, handle it a quarter of an hour,
after, which take it forth and wafh it.
4. To dye another lead colour. Take luater a fufficient quan-
tity, nut-galls bruis'd fmall a pound, red-wood ground two
ounce S;, boil all together, enter twenty yards of broad cloth, and
handle^ it, and boil il; an hour and half, take up your cloth and
cool it: 5 after which put in copperas eight ounces, enter your
cloth 2 gain at a boiling heat, and handle it and let it boil half aa
hour, . md cool it, if you would ufe more copperas ; Note, that
the qua ntity that dyes twenty yards of broad cloth, will dye forty
yards f »f ftuft'.
5. I'o fnake a fair 1 ujjet colour. Take water a fufficient quan-
tity, B. "/T/il ground o ne ounce, boil it an hour, grains in pow-
der half an ounce, boi 1 and enter your wool, yarn, cloth, ^c,
boil an Jbour, cool and add copperas {qui ounces, enter your mat-
ter again^ boil and cooj ', ^(,
6, Another
G R I
6. Another rujfet colour. Take water a fufKcIent quantity
Bra/il in powder, red-wood^ of each half a pound, nut-galls two
ounces, copperas four ounces, mix and boil an hour, enter the
matter you would die ; let it lie twenty four hours.
7 To dye a dark GREY. P'or every pound of woollen ware
ufe a quarter of a pound of copperas, and a quarter of a pound of
brown wood, (or walnut-tree wood).
To fin'ijh it. Take two ounces of brown-wood^ and half an
ounce q{ copperas.
Afilver GREY.
Boil the goods with two ounces of allum, and two ounces of
pDt-aJhes, for every two pound of woollen j which let Jye in it
one whole night, and then boil it.
Then to finijh it. DifTolve two ounces of fa I armoniack, two
ounces of litharge of filver, two ounces of brighty^*?/, a dram of
cry/ial of tartar, together for one night ; boil them an hour, and
pais the woollen ftuffs through it.
To dye fluffs, hz. a LAVENDER GREY.
Heat a proper quantity of clean rain water in a kettle, and
for every pound of ftufF, take an ounce of blue lac beaten fmail,
and half an ounce of pounded ^a/A, and the fame quantity of -y/-
triol; boil them together, and put in the ftufFs, and boil them for
half an hour.
This dye is proper for flight ware, as ftockings and coarfe
fluffs ; but not for the better fort.
To dyef.lk a good GREY.
This you may prepare as the tawney dye, and after you
have wrung out, rinfed and beaten it, ii it be browned, it becomes
a good Grey.
To makefilk a brimfione WHITE.
Boil the filk as for pearl colour, with the addition of a little blue
lye, and for every pound of filk, add fix ounces of foap ; rinfe
the filk in it, wring it very well out of the dye, and hang it
upon very white poles, and after that in a clofe room, fetting a
Ihovel or pot of fire under it ; upon which ftrew hrimjlone, fhut
the room clofe, and the next morning dry it in the air.
GRIEF is reprefented in painting by a man naked, mana-
cles upon his hands, and fetters on his feet, encompafTed with
a ferpent gnawing his left fide, and he feeming to be very me-
lancholy.
The fetters denote the intellects that difcourfe and produce
irregular effects, being ftraitned by perplexity, and cannot attend
to their accuftomed operations; the ferpent fignifies misiortunts
and evils, which occafion deftru(ftion, which is the chief caule
©f Grief
GRINDING
G R O
GRINDING Glafs for looking glafles, t^e, is performed af-
ter the following manner.
In the new method of working large plates of Glafs for look-
ing glafles, b'i.-. by moulding, and as it were cafting them fome-
what after the manner of metals, that you will find under the
article GLASS. The furface being left rough, it remains to be
ground and polifh'd.
In order to this, the plate of Glafs is laid horizontally on a
large ftone in the manner of a table, and to fecure it the better
plaftered down with plajler of Paris, &c. that the effort of the
workman or of the machine us'd in grinding , may not difplace
or loofen it. This flone table is fuftain'd by a wooden frame^
the bottom or bafe of the Grinding machine is another rough
Glafsy about half the fize of the Glafs defign'd principally to be
ground ; on this upper Glafs is a plank of wood cemented to it,
and upon this are fet weights to promote the triture or wearing
off the furface of the rough caft Clafs,
This table or plank is fometimes faftened to a wheel, which
gives it a motion.
This wheel, which is at leafl: five or fix inches diameter, is
made of a very hard but light wood, and is wrought by two
■workmen plac'd againft each other, who pufli and pull it alter-
nately ; and fometimes when the work requires it, turn it round.
By fuch means, a conftant mutual attrition is produc'd between
the two glaffes j which is affifted by water and fands of feveral
kinds, which is caus'd to pafs between them; fand being ap-
ply'd flill finer and finer, as the Grinding advances, and at laft
em£7-y is us'd.
As the upper or incumbent Glafs polifhes and grows fmooth,
it is fhifted from time to time, and others put in its place.
But only the largeft fize glafl'es are thus wrought with a
wheel or machine, the middling and fmaller forts being wrought
by the hand.
CROSSNESS is reprefented in painting, by a grofs corpulent
woman, holding an olive branch in her right hand bearing fruit
without leaves, in her left a crab.
The olive branch denotes fatnefs ; the crab as much fubjeiSi:
to fatnefs, where the moon increafes cither from the particular
quality of tlie moon, or elfe becaufe when it is full moon ; the
crab has by the light a fairer opportunity to procure its food.
GROUNDS for a LIMNING or painting after the life.
The Ground behind a pidture in miniature, i^c. is com-
monly blue or crimfon, imitating a curtain of fattin or velvet i
if it be to be blue, you iriuft lay it on as follows; wafli bice
till it is very pure and clear, and temper a quantity in a fhell
fufiicicnt for your Ground, and let it be thoroughly moift and
well
G R O
V/eli bound with gum. Then with a fmall pencil go about with
the fame colour, the pourfihy that is the utmoft ftroke and am-
bient fuperficies of the picture ; having done this, take a larger
pencil, and therewith waih over fomething carefully the whole
Ground that you defign to cover with a blue^ fomewhat thin
and waterifh, and then with a pretty large pencil full of colour
and flowing lay over that place with a thick and fubftantial
body of colour, which you had only wafh'd over before ; in the
doing of this you muft be very quick, keeping the colour moift
that you have laid, not fuffering any part to dry till you have
covered the whole. See SATTIN and VELVET.
If you would have your Ground a crimfon like fattin, then
trace out where and in what places you will have thefe ftrong
and hard lights and refledions to fall, which are feen in fattin
or velvet, with Indian lake ; there lay your lights with a lake
that is thin and waterifh, and while it is yet wet, lay the deep-
ening and hard ftrong Ihadows with a ffronger and darker
colour of lake thick ground ; clofe by the other lights. The
beft way for imitation is to have a piece of fattin before you to
imitate.
GROUP, [in painting znd fculpture"] is anafTemblage or knot
of two or more figures of men, beafts, fruits or the like, which
have fome apparent relation to each other.
In a good painting it is neceflary, that all the figures be di-
vided into two or three Groups or feparate colledlions.
Thus they fay, fuch a thing makes a Group with fuch and
fuch others of different nature and kind.
A Group has fomewhat in it of the nature of a fymphony or
concert of voices ; as in the one the voices muft fuftain each
other, in order to fill the ear with an agreeable harmony from
the whole ; whence if any part were to ceafe, fomething would
neceflarily be mifs'd ; fo in Groups, if the parts or figures be
not well balanced, fomething will be found difagreeable.
There are two kinds of Groups, or two manners of Confidcr-
ing Groups, with refpedl to the dcfign and to the clair obfcure ;
The firft is common both to works of painting and thofe of fculp-
ture.
Groups with refpe£t to the defign are combinatiohs of divers
figures, which bear a relation to each other, either upon the ac-
count of the a£iion or of their proximity oi of the efFeit they have.
Thefe we conceive, in fome meafure, as reprefenting fo many
different fubjedts, or at leaft fo many diflin6t parts or members
of one greater fubjeft. See DESIGN.
Groups with refpeft to the clair obfcure, are bodies of figures,
Jhrherein the lights and (hadows are diffus'd in fuch manner.
Vol. I. M m that
GUM
thit they ftrike the eye together, and naturally lead it to confider
them in one view.
MATTHEW GRUNEWALD, firnam'd of Jf-
cho.ffemherg, painter and engraver, after the manner
of Albert Durer^ us'd this mark. He liv'd in the
year 1510.
M
LEONARD GUALTIER, us'd this mark,
G. S. F. ftands for Gio or (John) Slrani Fecit.
GUIL. Baurriy 164. ft and s for William Baur, painter to
the Emperor,
GUM, a vegetable juice, that exfudes through the pores of
certain plants, and there hardening into a tenacious tranfparent
mafs.
Gum is properly one of the juices of the bark, it is drawn
thence by the heat of the fun, in the form of a glutinous hu-
mour ; and is by the fame caufe afterwards infpilTated, concod-
ed and rend red tenacious.
The charadter by which Gums are diftinguifh'd from refin;
and other vegetable juices, is that they are diflbluble in water,
and at the fame time inflammable by fire.
In the general, they are more vifcid and lefs friable, and ge-
nerally difoluble in any aqueous menftruum ; whereas refins are
more fulphureous, and require a fpirituous diffolvent.
Gu7ns are different according to the different trees, roots, iffc,
out of which they ouze ; they are by feme authors diftinguifh'd
into aqueous and refinous Gums. The firft are fuch as are dif-
folvable in wine, water and the like fluids j the fecond are thofe
only difTolvable in oil.
There are various forts of Gums of which I fhall here mention
only the chief, as
Gum Jnima V.is a refinous juice, ouzing from a tree, which
Gum Animii\% by the Portuguefe call'd courhariy growing in
divers parts of Atnerica.
This Gum is very hard and tranfparent, of an agreeable fmell
not unlike amber ^ it neither diflx)lves in water nor oil, and confe-
quently is not properly accounted a Gum.
Inftead of this Gum copal is frequently fubflituted.
Gum Arabic^ is the juice of a little tree growing in Egypt.
It is very tranfparent and glutinous upon the tongue, almoft
infipid to the tafte, and twifled fomewhat in the form of a worm.
Gu7n Gutta 7 is a refinous Gum brought from the kingdom
Giitta Gamha (>of Siam, he. in large pieces fafliion'd not un-
Camboche J like faufages, hard, brittle and ysry yellow.
1$
Plate. JOai
^
GUM
It ouzes from incifions made In a prickly kind of flirub, cIimb-«
ing up the neighbouring trees.
It ferves to make a yelJow colour for painting in miniature.
Gum Senegal is the Giim ordinarily fold by druggifts for Gum
Arabicy which it refcmbles very nearly both as to form and vir-
tue.
It is either white bordering on the yellow, or of a deep am-
ber colom, tranfparent, ^c. it ouzes out of a prickly fhrub, com-
mon enough in Africa, and is brought to us from Senegal.
GUMMO RESIN ? is a hardened juice of a middle refini
GUM ROSIN i being both dlffoluble in aqueous men-
Jiruums like a Gum^ and in oily ones, like a refm.
Such are majlic, camphire^Jiorax, &:c.
GUMS. The chief of all is Gum Arabic, that which Is
white, clear and brittle; the Gu?n water of it is made thus.
Take Gu?n Arabick, bruife it, and tye it up in a fine clean
linen cloth ; then put it in a convenient quantity of pure fpring
water in a glafs or earthen veflel, letting the Gum remain there
till it is diiTolv'd ; which being done, if the water be not ftiff
enough, put more Gum into the cloth s but if too ftifF, add mora
water.
Of which Gum water have two forts by you, iho. one ftrong
and the other weak ; of which you may make a third at plea-
fur e.
But if Gum Arabick Is not to be had, ufe the following prepara-
tion of flieep's leather or parchment.
Take the fhreds of white fheep skins, (which are to be had
at the glovers) or elfe cuttings of parchment one pound, of con-
duit or running water two quarts ; boil it to a thin gelly,
then flrain it vvhilft hot through a fine flrainer, and fo ufe it.
Gum lake is made with whites of eggs^ beaten and flrain'J
a pint, hotiey. Gum Hedera, of each two drams, ftrong wort
four fpoonfuls, mix them and ftrain them with a piece of fponge,
till they run like a clear oil, which keep in a clean veflel, till it
grows hard.
This Gum will diflblve in water like Gum Arabic^, It is t
good ordinary varnifh for pidlures.
Gum Hedera ? it is gotten out of /ly, by cutting with an ax
Gum of Ivy i a great branch thereof climbing upon an oaken
tree, and bruifing the ends of it with the head of the ax ; at a
month's end or thereabouts, you may take from it a very clear,
and pure fine Gum, hke oil.
This is good to put into gold fizcy and other colours for
thefe three reafons.
1 . It abates the ill fcent of theyJz^.
2. it, will prevent bubbles in goldfize, and other colours.
i M m i 3« LalHy,
H A 1
3. Laftly, it takes away the fat and clamminefs of colours.'
Gum Ammomacum is a foreign Gum^ and ought to be bought
ftrain'd. Grind it very fine with juice ol garlic h^ and a Httic
Gu77i Arabick zvater, fo that it may not be too thick j but that
3'ou may write with it what you will.
When you ufe it, draw what you will with it, and lef it dry,
and when you gild upon it, cut your gold or filver to the
fafhion you have drawn with tht ftze or gum , then breathe upon
theyTzi', and lay t\\Q gold u^on it, gently taken up, which prefs
down hard with a piece of wool, and then let it be well dr y'd ;
*when it is dry'd, ftrike off" the loofe gold v/ith a fine cloth ; and fo
"what was drawn will be fairly gilded, if it were as fine as a hair.
It is call'd gold armmniack.
G. V. S. G. fignifies. Van Scheendcl Fecitj and V. V. Buy^
iuvech inv.
a.
'AM, [to paint in miniature] lay on iljln, oker, white and
a little vermilion, but when it is dark, you muft ufe Hack
inftead of ohr ; and then (hade v/ith the fame mixture, dimi-
nilhing from the zu/jite and finifh with the hi/Ire alone, or mix'd
with oker or hlack, by fine thin ftrokes, very near to each other,
waving and curling them, according to the turn of the Hair.
You muft alfo refrefl"! the lights with fine turns of oker or
erpiment, or white znA a Iktlever/niliofj j after which blend away
the lights into thefiiades, worlcing fometimes with broivn, fome-
finies with pale.
As for the Hairs upon and round the fore-head, through
which the flefli is feen, they mult be coloured with the colour
of flefli, (hading and working beneath, as if you defign'd there
fliould be none; then fhape them and finifh them with hijire^
and refrefh the hghts as you did the reft.
HAIR of women and children is coloured with fimple hrown
cker, and heightened with majlicote ; the fame in the Hair of
men, only making it fadJer or lighter as the life requires.
Hair which is black may be coloured withyic/, ox lamp blackf
but it will abide no heightening.
Children's Hair is fometimes laid with brown oker, and white^
and heightened with the fame ; and fometimes with allum.
Sometimes alfo it is done with light cker, and deepened with
hrown oker, and heightened with majlicote fimple.
Old women's Hair is coloured with brown oker and blacky
heightened with brorwn ohr and white,
GREY
i
h A I
GREY HAIRS are coloured with white, black and bljre'^
id finifli'd with the fame mixture, but ftronger, heightening
e lights with a very pale blue and white.
But the matter of the greateft importance Is to foften the
7ork, to run the tints into one another, as well as the Hair on
id about the face into the flefti, taking efpecial care that you
/ork not dry or hard, and that the out- lines of the flefti be
Dt cut.
You muft accuftom your felf to mix with white, but juft as
ou want more or lefs of it ; for the fecond colouring muft be
Iways a little deeper than your firft, except it be for foften-
The various colourings may be eafily produc'd by taking more
r lefs red^ blue, yellow or bijlre, whether for the firft colouring
f for finifhing.
The colouring for women fliould he bluifti, for children a lit-
e red, both frefh and gay ; and for the men it fliould incline
yellow.
Of elyifig Hair colours.
1. To dye Hair colours. Take water a fufficient quantity.
Hum three pounds, with which aihim twenty yards of broad
'oth ; and after which make it of a bright yellcw with fujlick,
■'"hen take water a fufEcient quantity, nut-galls in powder two
ounds, madder in powder four ounces, let it boil an hour ; thea
ke it out and cool it ; after v/hich put in copperas eight ounces
laking it boil, put in your cfoth, handle it well about a quarter
f an hour; take it out and cool it, if it is not fad enough ; put
in again, for the oftener you take it out and put it in, the
Ider it will be.
2. Another Hair colour. Take water a fufficient quantity,
lu7n three pounds, enter twenty yards of broad cloth, boil ic
ree hours ; take it out and wafh it well, and make it a bright
Vlc. Take nut-galls eight ounces, madder four ounces made
all, put them in your cauldron and let them boil ; enter your
)th and handle it well, boil one hour, then take it out and
ol it j add to the former things copperas eight ounces, let it
1, put in your cloth again, handle it well, and repeat this
rk till it is fad enough.
J. A Hair or cloth colour. Take water a fufficient quantity,
1 madder f nut-galls, fwnach, red-wood ground, of each a
nd, boil them, enter twenty yards of broad cloth, boil an
r, fadden with copperas fix ounces.
.. Another Hair colour. Take water a fufficient quantity,
galls eight Gonces, fujlick one pound, viaddcr four ounces,
wood two ounces, make them boil, enter twenty yards of
F, ''.. ...,
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H I L
a long while amongft us in moft of his converfation-pieces ; you
may fee all the pictures and read the manners of the men at the
fame time, a thing chiefly aim'd at. His drunken drc;]!s, his
wakes, his quakers meetings, and feme lewd pieces have been
in vogue amongft waggifh colleiilors, and the lower rank of
virtuofi. He often introduced his own pi6lure among his drolls
by means of a looking-glafs he had upon his pallet. He was a
man of wit, and therefore valued by the late Earl of RocheJiey\
for whom he painted feveral pieces. He died in London about
forty years ago, leaving behind him a fon, whom he had in-
ftru(5ted in his wav.
MARTIN HEMSKERK, born in the year 1498, fcholar
of yean Lucas and Schoorel, liv'd in Holland^ exceli'd in hiftory,
died in 1574, aged feventy-fix years.
HERESY is reprefented in painting by an old, lean hag of a
terrible afpeft, flames ifTuing out of her mouth, her hair hang-
ing diforderly about her breafts, and moft of her body bare; her
dugs flagging ; in her left hand a book ftiut up, ferpents coming
out of it, and with her right feems to fcatter them abroad.
Her oldnefs denotes her inveterate malice, becaufe deprived of
the light of faith ; the flame, denotes impious opinions \ her
breafts fhew that vigour is dried up, that flie cannot nourifh
good works ; and fcattering ferpents, the difperiing falfe doc-
trines.
CfflT CORNELIUS HEVISSEN us'd this mark.
JOHN VANDER-HEYDON was a good face-painter, and
a native of Bruffels, coming over to England, he worked for
Sir Peter Lely in his draperies, and copying feveral years, till
afterwards marrying, he went into Northatnpton/lnre , where he
was employed by moft of the noblemen and gentry of that
country. There arc feveral of his pictures to be feen in thofe
parts, efpecially at my Lord Sherrard's, and at the Earl of
Gainsborough's and at Behoir-cajile. He died about thirty years
ago at my Lord Sherrard's, and lies buried at Stapleford in Lei-
cejierjhire,
NICHOLAS HILLIARD was a celebrated EngUJh limner,
drew Queen Mary of Scots in water-colours when he was but
eighteen years of age, wherein he fucceeded to admiration, and
gained a general applaufe. He was both goldfmith-carver and
limner to Queen Elizabeth, whofe picture he drew feveral times;
particularly once, when he made a whole length of her fitting
on her throne, which piece was defervedly cftcemed. There
are moreover two wonderful pieces of his, now in polTeirion of
Simon Fanjhaw, Efqj and by him valued, not without reafon, as
N n 2 it's
H O L
it's the opinion of goo'l judges, at above fifty guineas each, tho'
not much bigger than a crown. One of thefe is the pidlure of
our aitift himfelf.
The other is the pidlure of his father, fomctime High Sheriff
of the city and county of Exeter.
Thefe two piflures in miniature are fo mafterly done, that
not only the faces are finely coloured, and naturally with a
good relievo ; but alfo the heads and beards are fo well per-
form'd, that almoft each fingle hair is expiefs'd.
HISTORY [in painting] is a pidlure compos'd of divers fi-
gures or perfons, reprefenting fome tranfadlion or piece of Hi-
Jlory^ either real or feigned.
Painters are diHinguifljed into portrait-painters, flower and
fiuit-punters, landfcape-painters, painters of beafts and Hijlory-
painter"; and the firft place or rank is univerfally allow'd to Hi-
y?or)-painters, as the moft difficult, mafterly, and fublime pro-
vince.
HISTORY-P(7/«/^r, A good Hijiory -Painter ought to un-
derftand all things, becaufe he is to reprefent ail things ; he
ought to be naturally a quick, free, good inventor and defigner,
as alfo to know well how to order and ftell his figures after that
manner (if there be many in one piece) that they may not
feem to be crov/ded ; but to order thein gracefully on the fore-
ground efpecially, and the reft of the figures to leilen and decline
proportionably, both in height and ftrength by degrees at their
ievetal diftances.
And a HijJory-Pa'.ntcr muft of necefiity underftand anatomy,
arithmctick, architecl:ure, geometry and perfpc6livc, tffc. and
not only the true fhape of man's body, but of all other crea-
tures whatfcever, and all the fhapes and fornis that are in the
world.
HISTORY is reprefented in painting by a woman refembling
an angel with grear wings, looking behind her, writing on an
oval table, on the. back oi Saturn.
The wings denote her publifhing all events with great expe-
dition ; her looking back, that fl:ie labours for pofterity ; her white
robe, truth and fincerity ; Saturn by her lide denotes time, and
the fririt of the a6^ions.
WENCESLAUS HOLLAR was a gentleman born at
Prague in Bche?nia in the year 1607. He was much inclined to
miniature and etching, in which laic art he became exceeding
famous. In the year 1627, he left Prague, and vinted many
cities of Gennany, when coming at laft to Cokn, he waited up-
on the Earl of Arundel^ that truly great and noble patron of
arts, who was there on his embafTy to the Emperor at Vienna^
and afterwards came over with him to Etiglan^, H^ Wved here
for
H o isr
fur fome time, and drew many churches, ruins, perforis, ina
views, which he afterwards etched, which will always be in good
elteem. His particular excellency was etching: there are a
great number of his prints in Engla?id. He at laflr got into the
icrvice of the Duke of Tork ; but upon the breaking out of the
civil wars, retired to Jnnverp, and there died.
HANS HOLBEN, His manner was extraordinary and un-»
ufual, differing both tVom the antients and moderns, fo that it
feems as if he had not been incited or inftrucSled by any exam-
ple, but rather that he followed purely the didlates of his genius.
There is nothing to be feen of his doing but what is painted to
the utmoft perfe£tion : this is manifcft by that piece of his of
death's dance in the town hall at Bajle^ the defign whereof he
firit cut neatly in wood, and afterwards painted, which appear'd
wonderful to the learned Erafmus. He requefted of him to draw
his picture, deli ring nothing fo much as to be reprefented by fo
judicious a hand.
This being perform'd, and Erafmus thinking that he deferved
a more plentiful fortune, he perfuaded him to come for England^
promifing him confiderable advantages from the bounty of King
Henry VHI. At his requeft, Holben fet out for this kingdom,
bringing along with him Erafmus'% pi£lure, and letters of re-
commendation from that great man, to the then Lord Chan-
cellor Sir Thomas Jlfcre, who received him with all joy imagin-
able, and kept him for three years at his own houfe; during
which time he drew his pidlure, and thofe of many of his friends
and relations, all which were hung up in the great hall of thai
houfe. The King coming one day to dine with Sir Thomas^
and at the entrance into the hall beholding fo many ravifhing ob-
jedls, the pi£lures feem,ing almoft as live as the perfons, who^
were all there prefent, his Majefty fo much admired the
excellency of the painter, that the next day he fent for him, and-
entertained him in his fervice upon very advantagious terms : the
King from time to time manifefted the great efleem and value
he had for him.
HANS HOLBEIN, born in 1498, fcholar to his father,
liv'd in Switzerland and Londoiiy excell'd in hiflory and portraits,,
died in 1554, aged fifty-fix years.
ABRAHAM" HONDIUS, born zt Rotterdam in the year
1638. He was a painter whofe manner was univerfal; hedrev^
hiftory, landfcapes, ceilings and fmall figures; among all the
reft, beafts and hunting pieces were all his ftudy. In all thefe
kinds his colouring was often extravagant, and his draught as
commonly uncorreft. He delighted much in fiery tinci, and a
harfli way of penciling ; fo that few of his pictures being with-
out this diitijiguilhed mark, his paintings are eafy to be known.
N n 3 His
H O R
His dogs and buntings are in good lequeft, though fome of his
latter were carelefs, he being for many years afflicted with the
gout fo feverely, that he had prodigious fwellings and chalk
ftones in moft of his joints ; the efFedls of a fedentary and irre-
gular life. This diftemper occafion'd his death in London about
the year 1691.
HOPE is a ftrong appearance or opinion of obtaining that
•which one defires.
Extreme Hope becomes fecurity ; and on the contrary, extreme
fear is turn'd into defpair.
But the motions of this paflion being not fo much external as
internal, we (hall fpeak but little of them, and only remark that
this paffion keeps all the parts of the body fufpended ; between
fear and afllirance, in fuch a manner, that if one part of the
eye (hews figns of fear, the other part intimates fecurity ; and
fo in all the parts of the face and body, the motions of thefe
two palfions are participated and intermix'd. See the plate.
HOPE is reprefented in painting by a beautiful young girl in
a long robe, hanging loofe, (landing upon tip-toes, and a trefoil
or three-leav'd grafs in her right hand, and an anchor in her
left.
The loofe veflment intimates^ that jhe never pinches or binds
truth; her pojhire^ Jianding on tip -toes ^ /hews jhe always Jlands
dangeroujly ; the branch of trefoil denotes knowledge (the ground
of faith) faith (the ground of hope) and hope itfelf
HOPE is alfo reprefented as a young woman, clad in green,
with a garland of flowers, holding a little Cupid in her arms,
to whom flie gives fuck.
The flowers denote Hope^ they never appearing without fome
hope of fruit ; the Cupid, that love without hope grows lan-
guid, and is not lafting, as on the contrary, 'tis defperate, and
. ^ooVi at an end.
LAMBRECKT HOPFER, a German, engrav'd all
kinds of fubjer dialling, and in her left hand a fun-dial ; the fun over her
:ad (hewing with its rays the fhadow of the gnomon direded to
e hour current.
Her youth denotes the hours continually renewing their courfc
xeflively; the curtail'd coat and wings, the rapidity of the
lurs ; the sky-colour, the ferenenefs not prevented by clouds ;
e hour-glafs fhews the time of night, as the other does that
the day.
HORROR, an objedl defpifed or fcorn'd fometlmes caufes
lorror, which, if inftead of fcorn it raifes Horror, the eye-
row will be ftill more frowning than in that oi fcorn ; the eye-
row will knit and fink a great deal more, and the eye-ball, in-
ead of being in the middle of the eye, will be drawn down
) the under-lid ; the mouth will be open, but clofer in the mid-
le than at the corners, which being drawn back, makes wrin-
les in the cheeks j (he colour of the vifage will be pale, and
the
H d Lf
the lips an3 e^es fomething livid. This adion has fome refem=
blance to terror. See the plate.
In Horror, the motions (hould be much more violent than in
fcorn or averfion, the body violently retiring from the objedt
which caufes the Horror. The hands Ihould be wide open, and
the fingers fpread ; the arms dravv^n in clofe to the body, and
the legs in an a6lion of running.
To dye or colour HORSE- HAIR, or any hair, &c.
Steep the hair in water, in which a fmall quantity of turpen-
tine has been boil'd for the fpace of two hours ; then the colours
being pr^par'd and made very hot, boil the hair therein, and
any colour will take, black excepted, and that will only take
dark red and dark blue, &c.
And after this manner with colours cold, or but luke-warm,
you may dye the feathers upon the backs of poultrey, wild-fowl,
hair on dogs, horfes or the like, and in as much variety as youf
fancy (hall lead you to.
JOHN HOSKINS was an eminent limner in the reign
of King Charles I, whom he diew with moft of the court. He
v/as bred a face painter in oil ; but afterwards taking to minia-
ture, he far exceeded what he did before. He died in Covent-
Garden about eighty years ago. He had two conliderable dif-
ciples, who were Alexander and Sajnucl Cooper.^ the latter of
which became the moft eminent limner.
HOSPITALITY is reprefented in painting, by a lovely wo-
man, her forehead furrounded with a crown fet with jewels,
with her arms open to relieve fomebody ; holding a cornucopia
full of all necefTaries, clad in white, and over ail a red mantle,
under which (he holds an infant naked, feeming to participate
(bme of the fruit with her, and a pilgrim lying on the ground.
Her handfomenefs intimates, that works of charity are ac-
ceptable to God J the golden ciicle denotes hci thinking of no-
thing but chanty. Her white raiment fhews, that Hofpitality
ou2;ht to be pure,
VUAER VAN HOSSANEN,engrav'd twelve
I.^H
round plates of the Paffmrt, and underneath
various fymbols of our Saviour. He likewife
engrav'd the life of Chrift in fixty plates. He us'd this mark.
HOUSES or BUIDINGS viavd by the angles in perjpeSiive.
Of thefe two buildings feen angle wife, the firft i;. performed
after the manner of fquares view'd the fame way, and elevations
of other things in fide views.
However, to fave the trouble of recurring to the one and the
other, I (hall here obferve, that to \)erform fuch buildings, the
meafures mud be iet gn Ui$ baf« lijTie, aitid from tach of them
lilies
JR/,TA'JOQC.
B
X
K
N
Tirmi /ctt^f
H O U
lines are to be drawn to the point of diftance ; and from the
points of interfedion, perpendiculars are to be raifedj the firft
angle ferving for a line of elevation.
Thus in the prefent building the breadth being A B, and the
length B C double its breadth j from A and B lines are to be
drawn to the point of diftance Dj and from B and C to the
point of diftance E.
Then obferving where B D or B E are interfe£led thereby ;
raife the pofts of the windows therein. The perpendicular of
the firft angle B ferving for a line of elevation, will give the
crofs pieces and the height of the windows, the reft is obvious.
As to the figure underneath, the method is the fame as for
chairs plac'd irregularly, ;'. e. having made the plan put it in
perfpeftive, as irregular objects are put j then laying a ruler along
each fide of the plan, obferve where it cuts the horizon, and
marking the points draw lines thereto from each part of that fide
of the building.
Every face or fide of a building has its particular point.
Thus the pJan being put in perfpeclive ; the fide H I gives the
point K on the horizon, to which all the rays on that fidemuft
be drawn.
The other fide I L, fliould likewife have its point; but for
•want of paper room it could not be here exprefs'd.
Having found thefe two points, lay a ruler upon it, and an
occult line over the other fide of the building parallel upon the
plan, parallel to that which gave the point in the horizon,
and continue it to the bafe line, as from R through L to M ;
and from the other point continue an occult line through H
toN.
Then fetting the number of windows on the fide H I, be-
tween N and I, and between I and M fetting the number of
the windows on the fide I L ; draw lines from ail thefe points
or meafures on the bafe line to the point in the horizon, and
proceed as in the figure above.
,.■■ JAMES HOUSMAN alias HUSYMAN was a hiftory and
face painter, who refided In England in the time of Sir Pefer
Lefy, and endeavoured to rival in the portrait way. He was
born at Antwerp, and bred up to painting under one Baker-
rely who was brought up with Van Dyck in the fchool of Ru-'
hens. This Bakerrel was not much inferior to Van Dyck^ as is
to be feen in feveial churches in Antwerp, efpecially of that of
the Auguftln monks, where Van Dyck and he have painted to out
do each other, and both had commendations in their different
ways; though the fuperiority was yielded to neither. But Ba-
itrrel being a poe^ as well as a painter, be wroiea fatyr upon the
jefuits
H Y A
jefuits on which account he nvas forced to leave the city of Ant-
werp^ fo that Houfman having by that means loft his mafter,
came for England \ fome of his hiftory pieces are well painted,
his colouring being bright and fanguine, and in the airs of his
faces he out did moft of his countrymen, who often know bet-
ter how to perform the painting part, than tb choofe the beft life
or execute agreeably any defign ; fome cupids of his were much
admired, but what he valued himfelf moft upon was the pidlure
of Catherine the Queen Dowager of England. This pifture did
him great fervice, fo that he was always boafting of that per-
formance, he call'd himfelf her A-Iajefty's painter. He carried
the compliment yet farther, for in all hiftorical pieces for a Ma-
donna^ a Venus^ or any fuitable figure, he always introduced
fomething of her refemblance, the moft famous piece of his per-
formance was over the altar of that Queen's chapel at St. y antes'!,
now a French church. He died in London about fifty years ago,
and lies buried at St. "J anus's.
H, S. 1558. ftands (ox Hercules Septimus Mutinenjis, in cer-
tain figures and ornaments of building. \
H. V. C. 15 1 7. fignifies Hans velCuUhac, who was fcholar
to Albert Durer.
HUMILITY is reprefented in painting, by a virgin all in
whife, her arms acrofs upon her breaft, her head inclined, a
golden crown at her feet.
The white robe fhews the purity of the mind, begets fub-
miffion, holding down her head, confeffion of her faults; tread-
ing on a crown (hews Humility^ difdaining the grandeur of the
world.
HYACINTH. The flower is of four forts :
1. A deep blue.
2. A paler blue.
3. A gridelin.
4. A white.
To paint them in miniature.
For the firft ufe ultramarine and v^)hite, fhaded and finifh'd
with lefs white.
For the fecond, make that of a paler blue.
For the third, ufe lake and white and a very little ultramarine,
and finifh it with the fame colours; but of a deeper degree.
The fourth muft be all white, and then fhaded with black and
a little white ; finifh with ftrokes of the fame turn, with the
out- line of the leaf.
The green and ftalk of the blue kind, muft be of the fea fort,
(haded with a very deep iris^ and in the ftalk of the firft, you ufe
a little carmine to give it a reddiih caft.
The
HYP
The ftalks of the two others, and their greens mufl be co«
oured with verditer and majikote^ Ihaded with bladder green,
HYDROGRAPHY is reprefented in painting, by an an-
ient matron in a cloth of filver garment, the ground of which
•cfembles the waves of the Tea ; ftars above, in one hand a chart
Df navigation and the compafTes ; in the other, a Ihip and the
mariners compafs on the ground before her.
Her garment flgnifies the water and motion thereof, which is
the fubjeft of Hydrography ; the compafs the regulating and de-
fcribing by the help of it j the chart fhews all the winds, and
the fureft way to fail.
HYPOCRISY is reprefented in painting by a meagre pale
woman in a linfy-wooify garment, her head inclining to the
left ; her veil covers moft of her forehead, with beads and a
inafs book ; (he puts forth her arm in the aflembly to give a
piece of money to fome poor body with legs and feet of a wolf,
Linfy-woolfy, the linen denotes malice, and the woollen
fimplicityj her head inclined, with the veil covering her, all
(hew Hypocrify j the offering money, vain glory ; her feet, that
outwardly fhe is a lamb, but inwardly a ravening wolf.
FINIS.
i
■^K(AL_ f:
"5
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