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GEORGE R. 
 
 E O R G E the Second, by the Grace of God, King of Great Britain* 
 France, and Ireland, Defender of the Faith, &c. To all to whom thefe 
 Prefents (hall come, Greeting : 
 
 Whereas our trufty and well-beloved Thomas Bar dwell, of the Parifh of St. 
 George Hanover-Square, in our County of Middle/ex, hath, by his Petition, humbly 
 reprefented to Us, That he hath, after a great many Years Application, Care, 
 Study, Induftry, and Expence, compofed a Book, in Quarto, which is now ready 
 for the Prefs, intituled, The Practice of Painting and Perspec- 
 tive made easy, with Copper- Plates ; which he apprehends will be of the 
 greateft Ufe in inftructing Our Subjects in the Art of Painting : And being de- 
 firous of reaping the Fruits of his great Expence and Labour, moft humbly prays 
 Us to grant him Our Royal Licence and Protection, for the fole Printing, Publifh- 
 ing, and Vending, the faid Work, in the fame manner as has been done in Cafes of 
 the like Nature : We being willing to give all due Encouragement to this Under- 
 taking, are gracioufly pleufed to condescend to his Requeft ; and We do by thefe 
 Prefents, fo far as may be agreeable with the Statute in that Behalf made and pro- 
 vided, grant unto him the faid Thomas Bar dwell, his Executors, Aciminiftrators, 
 and Affigns, Our Licence for the fole Printing, Publishing, and Vending, of the 
 laid Work, for the Term of Fourteen Years, to be computed from the Date 
 hereof ftrictly forbidding all Our Subjects within Our Kingdoms or Dominions 
 to reprint or abridge the fame, either in the like, or in any other Size or Manner 
 whatsoever •, or to import, buy, vend, utter, or diftribute, any Copies thereof 
 reprinted beyond the Seas, during the aforefaid Term of Fourteen Years ; without 
 the Confent and Approbation of the laid Thomas Bardwell, his Executors, Admini- 
 strators, and Affigns, under his or their Hands and Seals, firft had and obtained, 
 as they will anfwer the contrary at their Peril ; whereof the Commiflioners, and 
 other Officers of Our Cuftoms, the Mafter, Warden, and Company of Stationers, 
 are to take Notice, that due Obedience may be rendered to Our Pleafure herein 
 declared. Given at Our Court at St. James's the 29th Day of January 1756, in 
 the Twenty -ninth Year of Our Reign. 
 
 By His Majesty's Command. 
 
 H. FOX. 
 
 / 
 
Death op Sm John E. Milbanke Hcskisson, 
 
 Baet. — Information of the death of the above diplo- 
 matic servant of the Crown has been received at the 
 Foreign-office. Sir John Ralph Milbanke Huskisson died 
 on the 30th ult, at Ertham House, Sussex, aftor a short 
 illness. The deceased was the only son of Sir John 
 Peniston, seventh baronet, by his wife, Eleanor, youngest 
 daughter of Mr. Julines Henng, and was born 1\ ovember 
 5, 1800. He married, July 13, 1843, Emily, third daughter 
 of the late Mi-. John Mansfield, of Digswell House, Herts, 
 
 i by whom he leaves several children. The late Sir John 
 entered the diplomatic service in the autumn of 1823, 
 and, after probationary service at the Foreign-office, was 
 appointed secretary of legation at Frankfort, in Septem- 
 
 i ber, 1826, and during his residence there had occasion to 
 fill the post of charge d'affaires. He was transferred to 
 the embassy at St. Petersburg in 1835, where he was 
 minister ad interim from June, 1837, till October, 1838, 
 when he was transferred to Vienna, where he remained 
 but a short time, and was then appointed envoy extraor- 
 dinary and minister plenipotentiary to the King of Bavaria 
 inNov., 1843. In Oct., 1862, he was appointed envoy extra- 
 ordinary and minister plenipotentiary at the Hague. Sir 
 John succeeded to the baronetcy on the death of his father, 
 the seventh baronet, in July, 18-50, and in March, 18C6, 
 in compliance with the will of Eliza Emily Huskisson, 
 late of Ertham, widow of the Eight Hon. William Hus- 
 kisson, he obtained permission to take the name of 
 "Huskisson" after Milbanke, and to bear the arms of 
 Huskisson quarterly with his own. He is succeeded as 
 ninth baronet by liis son, John Peniston, born at Munich 
 in 1847. The sixth baronet of this family, Sir Ralph, on 
 marrying the Hon. Judith NoeL daughter of Sir Edward 
 Noel, Bart., Viscount Wentworth, assumed the name of 
 Noel, and was the father of Anna Isabella, wife of thej 
 poet, Lord Byron. • 
 
THE 
 
 Practice of Painting 
 
 AND 
 
 PERSPECTIVE 
 
 MADE EASY: 
 
 In which' is contained, 
 
 The ART of PAINTING in O I L, 
 
 WITH THE 
 
 Method of Colouring, 
 
 Under the Heads of 
 
 First Pa inting, or Dead- Painting Back - Grounds ; 
 
 colouring; on c o p y i n g ; 
 
 Second Painting; Drapery-Painting; 
 
 Third or Last Painting; Landschape-Painting; 
 
 AND 
 
 A new, fhort, and familiar Account of the Art of Perspective, 
 illuftrated with Copper-Plates, engraved by Mr. Vivares. 
 
 By THOMAS BARDWELL, Painter. 
 
 LONDON: 
 
 Printed by S. Richardfon ; 
 
 For the Author; And Sold by Him, at the Golden Lamp, in Lower 
 Brook-Street, Grofvenor-Square ; 
 
 And by A. Millar, in the Strand, R. and J. Dodslev, in Pall-mall; and 
 J. and J. Riving ton, in St. Paul's Cburch-yard. 
 
 M.DCC.LVI. 
 
 Price, ftitched in Blue Paper, Half a Guinea. 
 
N. B. No Copy of this Work is genuine that has not my Name, 
 in my own Hand-writings affixed to it> on the Bach of the 
 Title y 
 
T O 
 
 The Right Honourable 
 THE 
 
 EARL of ROCHFORD; 
 
 Groom of the Stole to His Majesty, 
 
 AND 
 
 One of his Majesty's Mofl: Honourable Privy - Council. 
 My Lord, 
 
 H E fine Arts feeni to have a natural Claim to 
 the Patronage of thofe, whom Taffce and Genius 
 infpire with the Love of them, and whofe Rank 
 and Fortunes may a fiord that Support and En- 
 couragement, without which, they would languifh and droop, 
 in Shade and Obfcurity. 
 
 The 
 
iv 
 
 DEDICATION. 
 
 The W ant of this Encouragement, is, poflibly, one Reafon 
 why thefe Arts have never flourifhed among uncivilized uncul- 
 tivated Nations who, confined by too exact an Equality to 
 the fole View of procuring the NecefTaries of Life, have nei- 
 ther Inclination nor Leifure to purfue and cultivate Ornaments 
 and Elegancies that diftinguifli the polite Parts of the World. 
 An eafy Situation, and Freedom from the DiftrefTes of Necef- 
 hty, deprefled with which, the ftrongeft natural Genius flrug- 
 gles in vain to exert itfelf, are only to be found in the Favour 
 and Protection of the Noble, the Wealthy, and the Powerful. 
 
 To this Caufe, perhaps, Europe owes its Superiority over 
 Climates equally bleft with that happy Temperature, which 
 might naturally infpire the noblefl Inventions, and excite and 
 animate the Ambition of excelling. 
 
 Let this Reafon, my Lord, excufe the Prefumption of beg- 
 ging Leave to fhelter this Work under your Lordfhip's 
 Patronage. Your Love for the Arc of Painting will, I hope, 
 difpofe you to favour an Attempt to reftore that effential 
 Branch of it which is the Subject of the enfuing Treatife ; the 
 Decline of which has been univerfally acknowleged and 
 lamented ; and at the fame time, your Judgment, formed on 
 a Knowlege of its Principles, and Converfation with the heft 
 Works of the greateft Matters, mud prove a fufficient Pro- 
 tection and Recommendation to the World. 
 
 Here, my Lord, might I indulge the Warmth of my Heart, 
 I could be tempted to expatiate on a Character, that would 
 
 employ 
 
DEDICATION. 
 
 v 
 
 employ the utmoft of the Painter's Skill, without incurring 
 the Imputation of, what we are fo often acculed of, Flattery. 
 But I drop the Pencil, though I pretend to fome Skill in 
 Colours: Mine are all too faint for the Subject; and I 
 will not daub what I cannot adorn. 
 
 The many Favours and Benefits your Lordfhip has heaped 
 upon me, make thisbut an Offering of Gratitude moft ftridlly 
 due ; and upon this Topic I can never fay enough ; nor no- 
 thing fhould induce me to be inclined, but as I am fore it 
 would be difagreeable to your Lordfhip to hear a Repetition 
 of thofe Favours, your Generofity made it a Pleafure to 
 confer. 
 
 May you be long happy, in the pleafing Power of making 
 others fo; and may every Object of your Beneficence retain the 
 fame grateful Senfe of it, and make the fame Return, in a 
 fincere Devotion to your Service, with. 
 
 My Lord, 
 
 Tour Lord/hip's 
 Moft obliged, 
 
 Moft humble^ 
 
 and Moft obedient Servant^ 
 
 T. BARD WELL. 
 
THE 
 
 PRACTICE 
 
 O F 
 
 PAINTING. 
 
 INTRODUCTION. 
 
 T is an Obfervation of Pliny s, that the Ancients painted 
 with four Colours only, and out of them made all their 
 Teints. Monlieur De Piles is of Opinion, that it was 
 out of thefe they made their Grounds, or what we call 
 the Dead-colouring. 
 
 How it really was, Time has put it out of our Power to determine : 
 But if we fuppofe thofe four principal Colours in Perfection, then, I think, 
 it can be no longer doubted, but that from them might be made all the 
 various Colours in Nature. For my part, I cannot believe, that the four 
 capital Colours of the Antients would mix to that furprifing Perfection 
 we fee in the Works of Titian and Rubens. And if we have no certain 
 Knowlege of their Method of Colouring who lived In the laft Century, 
 how mould we underftand theirs who lived near Two thoufand Years 
 ago ? And why the Method and Practice of Colouring, which was fo 
 
 B well 
 
2 INTRODUCTION. 
 
 well known to Rubens and Van Dyck, Ihould not be continued down to 
 the prefent Matters, is to me furprifing. 
 
 I muft confers, I have often thought, and ttill believe, that thofe Painters, 
 who had acquired fo fine a Manner of Colouring, might, if they pleafed, 
 have communicated it to Pofterity in Writing : But I never heard, that 
 any Attempt was made towards it ; tho' 'tis probable there might be fome. 
 It is aftonifhing, neverthelefs, all Europe mould fuffer alike at the fame 
 time, for w ant of that noble Franknefs and generous Spirit, which might 
 have been expected from thofe Matters ; and which would have done the 
 World more Service than their Pictures. 
 
 It is plain, from the Works of their Pupils, that they knew it, becaufc 
 in their Pictures we fee the fame Sort of Colours and Colouring : And 
 from the little Variety of capital Colours, and Samenefs of Method ufed 
 by them, it is not to be doubted but the Whole was contained in a few 
 Principles, neither difficult nor tedious. 
 
 If we trace the Art through its feveral Declenfions, we mall find 
 Rembrandt, who was Matter of all the Parts of Colouring in the higheft 
 Degree, lived to the Year 1668. Next to him was Zouji, who died in 
 England about eight Years after. Lely lived to the Year 1680. Reily y 
 who was Zoujt s Difciple, furvived them, and was left the bett Colourift 
 we had. Mr. Richardfon y who died about the Year 1745, was his Pupil $ 
 but, in my Opinion, in point of Merit much his Inferior. Reily, I think, 
 declined in the fame Proportion to ZouJi y that Zouji did to Rembrandt. 
 
 As all thefe Matters, from Rembrandt : , funk gradually below each other 
 in the Art of Colouring, we may with Certainty date the Declenlion of 
 that Art from him. 
 
 I cannot attribute this gradual Degeneracy in the Knowlege of fo charm- 
 ing an Art to any thing but Inability, or want of that Generofity I have 
 before mentioned, or both. Tho' thefe Gentlemen were not able to give 
 us fo perfect an Account, as the Great Matters, yet they might have com- 
 municated what they learned from them ; and if it was againft their own 
 private Intereft to have publifhed it whilft they pradtifed, they ihould, out 
 of a general Regard to Men of Tafte, and to the Art itfelf, have left it 
 
 behind 
 
INTRODUCTION. 3 
 
 behind them, to have given to Pofterity an Opportunity of reaping the 
 Benefit of their Studies, 
 
 I flatter myfelf that the following Sheets, compiled originally for my 
 own Ufe, contain ibmething that may be of Confequence in ffcudying this 
 Art; and hope the practicable Method of Colouring here laid down, 
 which has been the Refult of much Study, and long Experience, and 
 which I now ufe, will be found both ufeful and agreeable. 
 
 In the Courfe of ftudying this Part of my Art, as I could have no 
 Afliftance from the Living, I found myfelf obliged to make my Court 
 to the Dead j I mean their Works. And tho' I have had very little Op- 
 portunity to ftudy even them ; yet from the few I have copied, I have, 
 after a tedious Courfe of Miftakes, at Iaft, by mere Dint of Labour, and 
 the Afliftance of Genius, fuch as it is, found the following Method of 
 Colouring very eafy and expeditious. 
 
 Painters, fays De Piles, fpend many Tears in the Search of Knowlege, 
 which they might have attained in a little time, had they hit at Jirjl upon the 
 right Path. This Truth I have experienced ; and confefs, that the Works 
 of Van Dyck and Rembrandt are the furefl: Guides to Nature. It is out of 
 thefe moft excellent Mafters, that I have eftablifhed my Method : It is 
 from their Pictures I have found the firfl: Lay of Colours ; and from them 
 I have learned the Virgin Teints, and finifhing Secrets j tho' I have always 
 applied them to Practice from Nature. 
 
 In the Method of my Work, I begin with a fhort and plain Account 
 of the principal Colours ufed in the Flesh : Next I follow with the 
 principal Teints. 
 
 First Painting, or Dead-Colouring. 
 
 Second Painting. 
 
 Third, or Last Painting. 
 
 Of Painting Back-Grounds. 
 
 Some Remarks on Copying. 
 
 Of Drapery-Painting. 
 
 Of Landscape-Painting. 
 
 A new, fhort, and familiar Account of the Art of Perspective, 
 
 B 2 All 
 
4 INTRODUCTION. 
 
 All thefe Particulars I have endeavoured to make familiar, dear, and 
 inttructive, without Defign to flatter or offend ; and thro' the whole 
 Courfe of the Work I have had the utmoft Regard to Truth. 
 
 The Motive of my Publifhing is folely the Benefit of the Art. Such 
 as are born with a happy Genius, tho' deftitute of a Matter or Guide, 
 may, from thefe Inftruclions, acquire a competent Knowlege of Colour- 
 ing, almott without ftudying. Here the Lovers of Painting, who ftudy 
 for their Pleafure and Amufement, may be conducted eafily, ttep by ttep, 
 to the Secrets of that Art, which, of all the defigning ones, affords per- 
 haps the greatett Pleafure to the Mind. 
 
 It may be objected to me by fome, That my own Works do not mew 
 I have either acquired or revived that Art, which, according to my own 
 Confefiion, has a long time lain dormant. I am not the proper Perfon 
 to anfwer this Objection : Neverthelefs, I have fome Copies by me, that 2 
 will leave to Judges to compare, in this Point, with any Painting that has 
 been done for the latt fixty or feventy Years. And I believe I could con- 
 vince any Artift, even at twice painting a Head from the great Matters, 
 that my Method will certainly anfwer to all their Variety of Colouring. 
 And fure every fenfible Painter will grant, that that Method which comes 
 neareft to Van Dyck and Rembrandt, will certainly be the nearett Way to 
 Nature. 
 
 Since I have ettablifhed myfelf in thefe Principles, I mutt inform the 
 Reader, that I find no Difference in the Method of the Working between 
 Copying, and painting from Nature. Had I known, at my firft fetting out, 
 ax much as I have fince learned, I mould have approached much nearer to 
 thole great Matters. Others, who have the Advantage of Youth, may, I 
 am periuaded, attain the End I propofe. It is for them that I write; and 
 moil iincerely witti the Rules I lay down may contribute to rettore fo 
 divine an Art. 
 
 Monfieur De Piles fays, Titian and Rembrandt prepared their Jirji Lay, 
 or Grounds, very near alike ; and with Colours that kindly united, and were 
 as near to the Life as poj/ible ; on which they laid their Virgin Teints with 
 light Strokes of the Pencil ; and thus they imitated the Force and Frejhnefs of 
 
 Nature. 
 
INTRODUCTION. 5 
 
 Nature. They were convinced that there were certahi Colours ', which 
 
 dejlroyed each other ; if they were mixed to Excefs j and that they Jhou/d be 
 as little fiaken as pojjible by the Motion oj the Pencil. 
 
 It would be Folly in any Man, at this prefent Time, to afliime fo much 
 Knowlege in the Art of Painting, as MonHeur De Piles really had 5 who 
 was a Man of Genius and Learning, that made Painting his principal 
 Study, and travelled on purpofe to complete his Knowlege in that delight- 
 ful Art ; was intimately acquainted with the Painters in his time, who 
 affifted him in ftudying the W orks of the Great Matters, which he care- 
 fully examined} and from which he made his Reflections, and judicious 
 Remarks. This was when the Works of Van Dyck and Rembrandt were 
 more in Perfection, and in an Age when Painting was better underttood. 
 
 Is it poffrble for any thing to be more plain and intelligible, than thefe 
 two moll excellent Remarks of Monfieur De Piles; which contain the 
 principal Matter and Foundation of Colouring ? This is vattly different from 
 theirs, whofe Colouring is, as they pretend, to change and wear to the 
 Complexion : Tho' this may anfwer their Purpofes, yet none that ttudy 
 the Art of Colouring will, I hope, believe it. It is certainly true, that 
 the Great Matters imitated Nature in their Firft Painting or Dead-colour- 
 ing, fo far as they could without dirtying the Colours, omitting only the 
 finiihing Touches and Colours, that fhould come laft ; which I defign to 
 (hew in the Courfe of this Work, in the mott intelligible manner I can, 
 and exactly to the Rules and Method of my prefent Practice, 
 
 Some Painters imagine the Great Matters had Colours, which we have 
 no Knowlege of ; and it is probable they might : Yet I confefs, I fee none 
 in the Pictures of Van Dyck and Rembrandt, but what are common to 
 Painters ; only fome of them are better than ours, which would be reme- 
 died, if that Art was more encouraged by the Painters. Thofe we havej 
 I am convinced, would appear much finer, if they were laid on proper 
 Grounds. 
 
 A Painter mould have as great a Regard to his Firtt Lay, as he has to 
 the fucceeding Parts of his Work. Sir Godfrey Kfieller, in Lely's time-, 
 ttudied his Manner, and prepared his Grounds, and Firtt Lay of Colour s- 3 
 
 on 
 
6 INTRODUCTION. 
 
 on fuch Cloths as Lcly ufed ,: But after his Death he foon fell into a (lighter 
 manner, which was more agreeable to his Genius and Inclination, and 
 invented the cold grey-coloured Cloths, on which he eftablifhed his flight 
 expeditious manner. Then was the Time, when the Painters expofed 
 .their Underftanding, in neglecting the charming Stile of Van Dyck, to 
 follow Kneihr. But tho* Colouring was not his Talent, yet he was in his 
 lime the beft Face-painter in Europe : Nor has there been an Artift fince 
 him, whole Heads can ftand any Comparifon with his. After him, Co- 
 louring hung here for fome time between the Manners of Mr. Richardfon 
 and Rofalbay the Followers of the latter failing in Oil, eftablilhed her 
 Method, 
 
 Having traced the Art of Painting thro' its feveral Declenfions, I will 
 venture to give my Opinion on it, as it ftands at this prefent time, in 
 regard to Portraiture ; and hope to do it in fuch a Manner, as to offend 
 no-body that may differ from me. If I may be allowed to judge from 
 the Pictures brought home by Gentlemen from abroad, as the Works of 
 .the moll: eminent living Mafters, I may, without Partiality, affirm, that 
 Face-painting is no-where fo well performed as in England, notwithstand- 
 ing the Prejudices of fome in favour of Foreigners : Nor is it at all fur- 
 prifing it mould be fo, fince, where there is the greater! Encouragement 
 to an Art, thither the moft eminent Matters in that Art will refort, and 
 there it will be improved to its greater! Height. It is well known, that 
 no Nation in the World delights fo much in Face-painting, or gives fo 
 generous Encouragement to it, as our own s and it is equally known, that 
 no Country affords fuch Helps in regard to beautiful Nature. We have 
 alfo the greateft Number of Van Dyck's Pictures, and the reft of the beft 
 Face-painters (Rembrandt excepted), of any People : And it feems rea- 
 fonable, from thefe Obfervations, which are founded on Matter of Fact, 
 to infer, that England is preferable to all other Nations whatfoever in this 
 refpect, and the beft Place for ftudying the Art of Face-painting. 
 
 I cannot but indulge a fort of Compaflion for thofe Artifts, as I do for 
 other miftaken Men, who conceive it abfoluteiy neceffary to traverfe Italy 
 and other Countries, wafting that Time abroad, which, in my humble Opi- 
 nion, may be employed at leaft as well at home, in ftudying the Works of 
 Van Dyc^ and the inimitable Beauties of the Englijh Ladies, which I 
 
 think 
 
COLOURS. 7 
 
 think as much preferable to the Antiques, as the animated Beauties of 
 Nature are to the cold Imitations of her in Stone. 
 
 I am informed there is a Scheme on Foot to eftablifh an Academy for 
 Painting and Sculpture : I wifh it may fucceed, as it muft probably in 
 time improve thofe Arts to the higheft Perfection, and will of courfe do 
 Honour to the Nation, and to the Nobility, who will, from frequenting 
 it for their Amufement, learn the Principles of thofe Arts, and fo become 
 real Judges. • 
 
 Of the principal Colours ufed in the Flefh, from which all 
 
 the Teints are made. 
 
 i.T^Lake-White, or Fine White, is the very beft White we 
 X7 have. This Colour mould be ground with the fineft Poppy Oil 
 than can be made. At prefent our White is bad, on account of the Oil, 
 which is not really Poppy. White is a friendly working Colour, and 
 comes forward with Yellows and Reds, but retires with Blues and Greens. 
 It is the Nature of all Whites to fink into whatever Ground they are laid 
 on ; therefore they mould be laid on white Grounds. 
 
 2. Ivory-Black is the beft Black we have : It is a Colour which 
 fympathizes and mixes kindly with all the other. It is a true Shade for 
 Blue. Ivory-Black and a little Indian Red make the beft general Shadow- 
 colour that can be. It is ground with Linfeed Oil, and ufed with drying 
 Oil. Black is a cold retiring Colour. 
 
 3. Ultramarine is the fineft Blue m the World. It is a tender 
 retiring Colour, and never glares and is a beautiful glazing Colour : It is 
 ufed with Poppy Oil. 
 
 4. Prussian is a very fine Blue, and a kind working Colour. It is 
 ground with Linfeed Oil, tho' I think Nut Oil is more proper. It mould- 
 never be ufed in the Fleih, but in the green Teint, and the Eyes. 
 
 5, Light 
 
f COLOURS. 
 
 •5. Light Oker is a friendly mixing Colour, and of great Ufe in 
 the Flem : It is ufually ground with Linfeed Oil, but Nut Oil is better. 
 All Yellows are ftrengthened with Reds, and weakened with Blues and 
 Greens. 
 
 6. LightRed is nothing but fine light Oker burnt : This and White 
 in mixing produce the moft perfect Flefti-coiour that can be made. It is 
 a beautiful, clean, kind, -working Colour ; but too ftrong for the White ; 
 and therefore will grow darker. It mould be ground and ufed with Nut 
 Oil. 
 
 -7. No Vermillion, but what is made of the true native Cinnabar, 
 mould ever be ufed. It will not glaze ; but is a fine Colour when it is 
 glazed. It is ground with Linfeed Oil, and mould be ufed with drying 
 Oil. 
 
 8. Carmine is the moil: beautiful Crimfon that can be : It is a middle 
 Colour between Lake and Vermillion j is a fine working Colour ; and 
 glazes delightfully. It fhould be ground with Nut Oil, and ufed with 
 drying Oil. 
 
 p. Lake is a tender, fympathizing, deep Red j but of no ftrong Body ; 
 therefore it mould be ftrengthened with Indian Red. It is the beft 
 glazing Colour that can be ufed. It is ground with Linfeed Oil, and ufed 
 with drying Oil. 
 
 10. Indian -Red is a ftrong, pleafant, working Colour; but will not 
 glaze well ; and when mixed with White, falls a little into the Lead. It 
 is ground and ufed as the Lake. 
 
 11. Brown Pink is a jine glazing Colour j .but of no ftrong Body : 
 J.n the Flefh it mould never join, or mix with the Lights ; becaufe this 
 Colour and White antipathize, and mix of a warm dirty Hae ; for which 
 Reafon their Joinings fhould be blended with a cold middle Teint. In 
 glazing of Shadows, it fhould be laid before the other Colours, that are to 
 enrich it : It is one of the finifhing Colours, and therefore fhould never be 
 ufed alone in the Firft Painting. It is ftrengthened with burnt Umber, 
 
 and 
 
TEINTS. 9 
 
 and weakened with Terraverte ; ground with Linfeed Oil, and ufed with 
 drying Oil. 
 
 12. BurntUmber is a fine warm Brown, and a good working ftrong 
 Colour : It is of great Ufe in the Hair, and mixes finely with the warm 
 Shade. 
 
 Of the Principal Teints that are abfolutely neceffary for 
 painting Flefh \ all which are made from the principal 
 Colours. 
 
 i.T" Ight Red Teint is made of Light Red and White: It is the 
 I j moft kind and beft conditioned of all Colours, for the general 
 Ground of the Flefh. With this Colour, and the Shade-Teint, we 
 mould make out all the Flefh, like Claro Obfcuro, or Mezzontinto. We 
 mould alfo remember, that this Colour will grow darker ; becaufe it is in 
 its Nature too ftrong for the White ; therefore we mould improve it ; 
 that is, mix fome Vermillion and White with it, in proportion to the Fair- 
 nefs of the Complexion : And tho' it is thus mixed, yet I mail call it the 
 Light-red Teint in all the Courfe of the Work ; becaufe I would not have 
 the Vermillion Teint confounded with it, as if there was no Difference. 
 
 2. Vermillion Teint is only Vermillion and White, mixed to a 
 middle Teint : It is the moft brilliant Light-red that can be : It agrees 
 befl with the White, Light-red, and Yellow Teints. 
 
 3. Carmine Teint is Carmine and White only, mixed to a middle 
 Teint : It is of all Colours the moft beautiful Red that can be for the 
 Cheeks and Lips : It is one of the finifhing Colours, and mould never 
 be ufed in the firft Painting, but laid upon the finifhing Colours, without 
 mixing. 
 
 4. RoseTeint is made of the Red Shade and White, mixed to a 
 middle Degree, or lighter: It is one of the cleaneft and moft delicate Teints 
 
 C that 
 
io T E I N T S. 
 
 that can be tiled i& the Flem, for clearing up the heavy dirty Colours ; 
 and therefore, in changing, will fympathize and mix kindly. 
 
 5. Yellow 'Te int is often made of Naples Yellow and White; 
 but I make it of light Oker and White, which is a good working Colour. 
 Remember the Oker is too ftrong for the White ; therefore we mould 
 make a little Allowance in ufing it. It follows the Light-red Teints, and 
 mould always be laid before the Blues. If we lay too much of it, we 
 may recover the Ground it was laid on with the Light-red Teints. 
 
 6- Blue Teint is made of Ultramarine and White, mixed to a- 
 lightifh Azure : It is a pleafant working Colour :. With it we mould blend 
 the Gradations. It follows the Yellows j and with them it makes the 
 Greens ; and with the Red it produces the Purples. No Colour is fo 
 proper for blending down, or foftening the Lights into keeping. 
 
 7. Lead Teint is made of Ivory-Black and fine White, mixed to a 
 middle Degree : It is a fine retiring Colour ; and therefore is of great Ufe 
 in the Gradations, and in the Eyes-. 
 
 8. Green Teint is made of Pruffian, light Oker, and White : This 
 Colour will dirty the Lights, and mould be laid fparingly in the middle 
 Teints. It is moll ufed in the Red Shadows, where they are too ftrong; 
 It is of a dirty antipathizing Nature. 
 
 9. Shade-Teint is made of Lake, Indian Red, Black, and White, 
 mixed to a beautiful Murrey Colour of a middle Teint : This is the berf. 
 Colour for the general Ground of Shadows ; for which Reafon I call it the 
 Shade-Teint : It mixes with the Lights delightfully, and produces a 
 pleafant clean Colour, a little inclined to the redifh Pearl. As all the four 
 Colours of its Compolition are of a friendly fympathizing Nature, fo confe- 
 quently this will be the fame j and therefore may be eafily changed, by 
 the Addition of any other Colours. 
 
 10. Red Shade is nothing but Lake and a very little Indian Red: 
 It is a charming working Colour, and a good Glazer : It ftrengthens the 
 Shadows on the Shade-Teint j and receives, when it is wet, the Green and 
 Blue Teints agreeably. It is a good Ground for all dark Shadows. 
 
 11. Warm 
 
FIRST PAINTING. n 
 
 ii. Warm Shade is made of Lake and Brown Pink, mixed to a 
 middle Degree : It is a fine Colour for ftrengthening the Shadows on the 
 Shade-Teint, when they are wet or dry. We muft take care that it does 
 not touch the Lights, becaufe they will mix of a dirty Snuff-Colour ; and 
 therefore mould be foftened with a tender cold Teint. 
 
 12. Dark Shade is made of Ivory-Black and a little Indian Red 
 only. This Colour mixes very kindly with the F.ed Shade, and fympa- 
 thizes agreeably with the middle Teints in the Dead-colouring. It is a 
 charming glazing Colour for the Eye-brows and darkeft Shadows. It is 
 of all the moft excellent Shadow-Colour, and one of the finert. working 
 Colours we have. 
 
 l£t t>tr ■jXf- t*t tJEt -t^r -tlr tJt -tifcr t*r t*r ^fcc ^fr tfrr <*tr jfe ;tffi gft jtife *flfr gMp qBp jig tjtr t^Er j8g -rfc; c,pM qBg 
 
 First Painting. 
 
 Tfo Colours #W Teints /to necejfary for the Firft Painting 
 
 «f Flefli. 
 
 i.T^INE White. 
 X/ 2. Light Oker and its two Teints. ( * 
 
 3 . Light Red and its two Teints. 
 
 4. Vermillion and its Teint. 
 
 5. A Teint made of Lake, Vermillion, and White. 
 
 6. Rofe Teint. 
 9. Blue Teint. 
 8. Lead Teint. 
 g. Green Teint, 
 
 10. Half-made Teint — is made of Indian Red, and White, 
 it. Shade-Teint. 
 
 12. Red Shade. 
 
 13. Warm Shade. 
 
 The finifhing Pallet for a fine Complexion requires fix more j viz, 
 Carmine and its Teint, Lake, Brown Pink, Ivory-Black, and Pruflian 
 Blue, 
 
 C 2 The 
 
12 FIRST PAINTING. 
 
 The Firft Painting, or Dead-colouring, I divide into Two Parts : The 
 Firft, I call the Firft Lay, or Ground ; the Second, the Laying on the 
 Virgin Teints. . 
 
 The firft Lay of Colours confifts of Two Parts : The one is the Work 
 of the Shadows only, and the other that of the Lights. 
 
 The Work of the Shadows is to make out all the Drawing, very cor- 
 rectly, with the Shade-Teint, in the fame manner as if it was to be done 
 with this Colour only; and remember to drive or lay the Colour fparingly. 
 The Lights fhould be all laid in with the Light-red Teint, in different De- 
 grees, as we fee them in Nature : Thefe two Colours united produce a 
 clean tender Middle Teint ; for, mixing with the Shade-Teint, they turn 
 to a pearly Hue ; and by ftrengthening them with the Light-red, we may 
 work to a very good Refemblance. In uniting the Lights and Shades, 
 we fhould ufe a long Softener, about the Size of a large Swan's-quill ; 
 which will help to bring the Work into Character, and leave the Colour- 
 ing more delicate ; then go over the darkeft Shadows with the Red or 
 Warm Shade, which will finifh the firft Lay. 
 
 The Warm Shade being laid on the Shade-Teint, improves it to a 
 warmer Hue j but if laid inftead of the Shade-Teint, it will dirty and 
 fpoil the Colours it mixes with ; and if the Red Shade be laid firft, inftead. 
 of the Shade-Teint, the Shadows would then appear too red and bloody 
 therefore, notwithftanding thefe two Colours are the beft that can be for 
 the Shadows, yet they are too ftrong to be laid alone ; which is a Proof of 
 the great Ufe and Merit of the Shade-Teint. Here we may obferve, that 
 the Shade and Light-red Teints are fo friendly and delicate in their Natures,, 
 that they will not dirty tho' we are continually changing them : How 
 proper then, and agreeable to our Purpofe, are they, for making the moft- 
 principal Part of the Likenefs, when in altering and changing they always 
 produce a clean Colour of the inviting pearly Hue ? 
 
 The Second Part of the Firft Painting. 
 
 In order to finifh the Firft Painting, improve the Reds and Yellows to 
 the Complexion, and after them the Blues ; obferving, that the Blues on 
 the Reds make the Purple, and on the Yellows produce the Green. The 
 
 fame 
 
FIRST FAINTING. 13 
 
 fame Method is to be underftood of the Shadows j but be fare to leave 
 them clean, and not too dark : Therefore Allowance mould be made in 
 their Grounds with the Light-red j becaufe glazing them will make them 
 darker. When the Cloth is of a dark or bad Colour, there muft be a 
 ftrong Body of Colour laid ail over the Shadows, fuch as will not fink into 
 the Ground, but appear warm, and a little lighter than the Life, fo that 
 it may be of the fame Eorwardnefs to finifh, as if it had been a light Ground. 
 Therefore the Bufinefs of Dead-colouring is, ; that we leave it always in 
 the fame Order for finifhing, tho' the Colour of the Cloth be quite the 
 Reverfe.. 
 
 I am convinced by Experience, that the Grounds of Shadows, in what 
 we call the Dead-colouring, mould be fuch as will fupport the Character 
 of the finiming Colours ; which Ground muft be clean, and a little lighter 
 than the finiming Colours > I fay, a little lighter, becaufe the Finifhing of 
 Shadows is glazing ; and no other Method but glazing can leave fuch 
 Brilliancy and Beauty as they ought to have : For I find, that glazing the 
 Shadows in the Firft Painting is not fo proper as laying a Body of Shadow- 
 colours, that are very near to the Life, tho' a little lighter : Thefe may be 
 glazed and touched upon, when dry, with a great deal of Eafe : But if we 
 begin the Firft Painting with glazing, we mall find it will flare, and be of 
 no Ufe j and the folid Colours which are. laid on it, will look heavy and 
 dull j therefore all Shadows and Colours, that are to be glazed, mould be 
 done with Colours of a clean folid Body; becaufe the Glazing is more 
 lafting, and has the beft Effect, on fuch Colours. Remember to leave no 
 Roughnefs ; I mean fuch as will appear rough, and interrupt or hurt the 
 Character of the finiming Colours ; which, by examining the Work whilft 
 it is wet, with a foft Tool, or when it is dry, with a Knife, may be avoided 3 
 as it will eafily take, off the Knots and rougheft Parts; 
 
 The.Light-red and White improved is fuperior to all other Colours for 
 the firft Lay or Ground j which mould be always done with a full Pencil 
 of ftirT Colour, made brighter than the Life, becaufe it will fink a little 
 in drying. The greater the Body and Quantity of Colour, and the ftiffer 
 it is laid, the lefs it will fink : Every Colour in drying will fink, and 
 partake, in proportion to its Body, of the Colour it is laid on : Therefore 
 all the Lights of the Flefh, if not laid on a light Ground, muft confe- 
 
 quently 
 
i 4 S E C O N B$riMr(I N T I N G. 
 
 quently change a little from the Life, if there is no Allowance made. The 
 6hade-Teint for the-Shadows mould fall into the Rofe Teint, as the Com- 
 plexion grows delicate ; all which mould be lightly united, with a foft long 
 pointed <EIog-tocl,.to the.Lights, making out the Whole like Mezzotinto. 
 
 'I believe the. great Mailers very feldom fweetened or foftened the Co- 
 lours, but in uniting the firft Lay, they were very careful in preferring 
 the Brightnefs of their Colours, and therefore did not work them below 
 •the Complexion, For to force or keep up a Brilliancy in the Grounds, can 
 only be done with the Whites, Reds, and Yellows j which Method will 
 make up for the Deficiency of the White Grounds : Therefore, the Firft 
 jPakting mould be left bright and bold, and the lefs the Colours are broken 
 the better. We mould forbear tiling any Colours that will prejudice them, 
 .and be contented to add what is wanted the next Painting ; where if we 
 fail, a clean Rag will reftore the firft Ground. 
 
 Second Painti n g* 
 
 THE Second Painting begins with laying on the leaft Quantity that 
 can be of Poppy Oil j then wipe it almoft all off, with a dry .Piece 
 .of a SilkHandkerchie£ 
 
 The Second-Painting is alfo divided into Two Parts : One I call the firft 
 Lay of the Second Painting ; which is fcumbling the Lights, and glazing 
 the Shadows : The other, finiming the Complexion with the Virgin Teints, 
 and improving the Likenefs, as far as we can, without daubing. 
 
 Scumbling, is going over the Lights, where they are to be changed, 
 with, the Light-red Teints, or forne other of their own Colours, fuch as 
 will always clear and improve the Complexion, with fhort ftiff Pencils ; 
 but fuch Parts only as require it ; otherwife the Beauty of the firft: Painting 
 will be fpoiled, and we make ourfelves double Work. 
 
 The Light-red Teint improved, is the very beft Colour that can be for 
 Scumbling, and improving the Complexion in general. Where the Shadows 
 
 and 
 
T H I R D P A I N T I N G. ? j 
 
 and Drawing are to be corrected, we fhould do it with the Shade-Teint, by 
 driving the Colour very ftiff and bare, that we may the eafier retouch and 
 change it with the finishing Teints. Some Parts of the Shadows fhould be 
 glazed with fomeof the tranfparent Shadow-Colours, fuch as will improve, 
 and come very near to the Life; but be fure not to lay on too much of it^for 
 fear of lofing the Hue of the firft Painting, the Ground of which fhould 
 always appear through the Glazing. Be very careful, in uniting the 
 Lights and Shades, that they do not mix dead and meally ; for the more 
 the Lights mix with the Shades, the more meally thofe Shades will appear. 
 Thus far the Complexion is prepared and improved, in. order to receive 
 the Virgin Teints and finiming Touches. 
 
 The Second Part of the Second Painting, 
 
 Is to go over the Complexion with the Virgin Teints : Thefe are the 
 Colours which improve the Colouring to the greateft Perfection, both in 
 the Lights and Shadows. This fhould be done in the fame manner as we 
 laid them in the fecond Part of the firfr. Painting j that is, with the Reds,- 
 Yellows, and Blues ; blending them with delicate light Touches of the 
 tender middle Teints, without foftening. We mould leave the Temts and 
 their Grounds clean and diftinct, and be content to leave off whilft the 
 Work is fafe and unfullied, leaving what is farther required for the next 
 Sitting j for, in attempting the finifhing Touches before the other is dry, 
 we lofe the Spirit and Drawing, and dirty where-ever we touch. 
 
 The Third Painting or y Finishing. 
 
 IT is to be fuppofed the Complexion now wants very little more than a 
 few light Touches ; therefore there will be no Occafion for oiling. 
 
 Begin with correcting all the Glazing ; firft, where the Glazing ferves 
 as a Ground or under Part ; then we fhould determine what fhould be done 
 next, before we do it, fo that we may be able to make the Alteration on 
 the Part with one Stroke of the Pencil. By this Method, we preferve 
 
 both- 
 
16 B A C K-G ROUNDS. 
 
 both the Glazing and the . Teints j but if it happens that we cannot lay 
 fuch Variety of Teints and finifhing Colours as we intended, it is much 
 better to leave off while the Work is fafe and in good Order ; becaufe 
 thofe few Touches, which would endanger the Beauty of the Colouring, 
 mayeafily be done, if we have Patience to ftay till the Colours are dry ; 
 and then, without oiling, „and thofe Finiihings with free light Strokes of 
 the Pencil. 
 
 I believe that Rembrandt touched upon his beft Pictures a great many 
 Times, letting them dry between : It was this Method, moft certainly, 
 which gave them that furprifing Force and Spirit, which is fo inimitable. 
 I find it much eaiier to foften the over-ftrong Teints when they are dry, 
 than when they are wet ; becaufe we may add the very Colours that are 
 wanting, without endangering the dry Work. If any of the Colours of 
 the Pallet want to be a little changed to the Life, when we are painting, 
 it is much better to do it with the Knife on the Pallet, than with the 
 Pencil j becaufe the Knife will mix, and leave it in good Order for the 
 Pencil. 
 
 Of B A C K-G ROUNDS. 
 
 JVAN Dyck made out the Keeping in his Back-grounds more from the 
 ' different Oppofition and Harmony of the Colours, than from his 
 Knowledge of the Claro Obfcuro. I confefs I cannot find in his Pictures 
 that Intelligence of Light and Shade, which is fo finking and beautiful in 
 Rembrandt's : Van Dyck\ general Method was to be very ftill and mellow, 
 and to break the Colours of the Ground with thofe of the Drapery. This 
 will certainly produce Harmony, the Principles of which Method belong 
 only to the Art of Colouring : But it is the Knowlege of Light and Shade 
 .which gives that furprifing Force and Strength, which, at firff Sight, we 
 find in Rembrandt's Works. I have feen a Picture of a Lady, where he has 
 made the Ground juft light enough to fhew her Complexion and Hair, 
 which was a dark Brown, in the greatefl: Perfection : The Ground was a 
 Wall, which, near to the Face, was lighter than the Shadows of the Flefh, 
 
 and 
 
- 
 
 BACK-GROUNDS. 1 7 
 
 and the Light diminifhed fo artfully in the Gradations, that though the 
 Part round the Head was much darker, yet it appeared~to be of the fame 
 Colour with that near the Flefh. I muft own, I like this Method of 
 relieving the Head from die Ground, better than Van Dyck's Method, where 
 he has made the Ground almoft of the fame Colour with the Hair ; and 
 though I admire his Way of breaking the Colours of the Ground with 
 thole of the Draperies, yet I am not lb much pleafed, where there appears 
 too near a Samenefs, as J have fcen in fome of his Pictures, where he has 
 carried this Principle fo near, that it is almoft. imperceptible. In Rembrandt 's 
 Pictures at Yarmouth, the Lights and Shades are as vifible as thofe in his 
 Prints, and are remarkably broad, clear, and Hill ; die Shadows are very 
 warm and thin, and look as if they were painted all at once, with a 
 Plenty of Colour, which appears transparent : Which Transparency was 
 done by Glazing the dead Colouring. 
 
 The principal Colours that are necelfary for painting of Back-grounds in 
 Portraiture, as Walls, Buildings, or the like, are White, Black, Indian 
 vRed, Light and Brown Oker, Pruflian, and burnt Umber, from which 
 the eight principal Teints are made, as follows : 
 
 I. 'Pearl is made of Black, White, and a little Indian Red. 
 i. Lead, of Black and White, mixt to a dark Lead Colour. 
 
 3 . Ye l l o w, of Brown Oker and White. 
 
 4. Olive, of Light Oker, Pruflian, and White. 
 
 5. Flesh, of Indian Red and White, mixt to a Middle Teint. 
 
 6. Murrey, of Indian Red, White, and a little Black, mixt to a kind 
 of Purple, of a Middle Teint. 
 
 7. Stone, of White, Umber, Black, and Indian Red. 
 '8. Dark-Shade, of Black and Indian Red only. 
 
 Here the Lead Teint ferves for the Blues ; the Flelh Teint mixes agree- 
 ably with the Lead ; and the Murrey is a very good blending Colour, and 
 of great Ufe where the Olive is too ftrong. The Umber, White, and 
 Dark Shade, will produce a fine Variety of Stone Colours : The Dark 
 Shade and Umber, ufed plentifully with drying Oil, make a charming 
 warm Shadow-Colour. All the Colours ihould be laid with drying Oil 
 only, becaufe they mix and fet the better with the Softener. 
 
 D Where 
 
16 B A C K-G ROUNDS. 
 
 Where the Marks of the Trowel are fo ftrong in the Priming of the 
 Cloth, that one Body of Colours will not be fufficient to conceal it, we 
 fhould lay a Colour to prevent it ; which mould be dry, before we begin 
 with thofe Parts that we expect to finim at once Painting. 
 
 The Method of Painting Back-grounds, I divide into two Parts. 
 
 The Firft Part is the Work of the Firft Lay : The Second is to follow 
 on that with theFinifhing Teints. 
 
 Of the Firft Lay.. 
 
 We mould always begin from the fhadowed Side of the Head, and paint 
 the Lights firft ; from them go into the Gradations and Shadows, which 
 mould be done with a large ftiffifh Tool, very fparingly, with the dark 
 Shade and White, a little changed with the Colours that will give it more 
 of the required Hue, but very near in regard to Tone and Strength} leaving 
 them like Mezzotinto. 
 
 The dark and warm Shadows mould be laid before the Colours that 
 ]oin them : This we mould do with the dark Shade and Umber, drove 
 with drying Oil : I fay, before the Colours that join them, becaufe, if 
 thofe Colours were laid on firft, they would interrupt and fpoil the Tranf- 
 parency, which is their greateft Beauty. The more the Firft Lay is drove, 
 the eafier and better we may change it with the finiihing Teints 5 there- 
 fore we may lay them with the greater Body. 
 
 The Second Part is to follow directly, whilft the Firft Lay is wet, 
 with thofe Teints that we think are moft proper to harmonize and finiih 
 with. 
 
 Begin with the Lights firft ; and remember, as we heighten and finifti 
 them, we do it with warmer Colours ; and let thofe be accompanied with 
 fine tender cold Teints. The lighteft Part of the Ground is always neareft 
 to the fhadowed Side of the Head : This is the Part which governs all the 
 reft ; and fhould be painted with a Variety of light, warm, clear Colours, 
 • which vanifh, and lofe their Strength imperceptibly, in the Gradations. 
 
 Thefe 
 
B A C K-G ROUNDS 19 
 
 Thefe mould be laid with a kind of cloudy Touch, rather than fpotted , 
 ^nd we muft take care that we do not cover too much of the Firft Lay, 
 but conikler it as the principal Colour. 
 
 From the Lights we go to the Gradations and Shadows j for when the 
 Lights are well adapted to produce and fupport the Head, it is eafy, I think, 
 to fall from them into whatever kind of Shadows we (hall find moft pro- 
 per for our Work : Then foften and blend the Whole with a long large 
 Hog-tool ; which, with the Strength and Body of the drying Oil, will melt 
 and fweeten all together, in fuch a flattering Manner, as will feem furprife- 
 ingly finiihed. Remember the Teints will fink, and lofe a little of their 
 Strength and Beauty in drying. All the Grounds, as Walls, &c. mould be 
 rinimed at once Painting ; but if they want to be changed, we may glaze 
 them with a little of the dark Shade and drying Oil, drove very bare ; on 
 which, with a few light Touches of the Colour that is wanting, we may 
 improve their Hue. The dark Shadows may alfo be ftrengthened and im- 
 proved by Glazing, which mould be done after the Figures are near 
 finimed, for fear of making them too ftrong. 
 
 I fee Rembrandt's Grounds are rather brighter in the Lights, and have 
 more Variety of Teints, than any other Painter's : And to be fure he had 
 obferved, and juftly too, that thofe Teints diminim in Proportion with the 
 Lights : Therefore his Shadows have but a faint Appearance of Teints. He 
 underftood the Gradations in Perfection, by mixing and breaking the Firil 
 Lay of Colours, fo artfully, that they flatter us in regard to their real 
 Strength. 
 
 Frefnoy fays, Let the Field or Ground of the Picture be pleafant, free, 
 tranfient, light \ and well united with Colours which are of a friendly Nature 
 to each other , and of fuch a Mixture, as thai there may be Jbmething in it of 
 every Colour that compofes your Work, as it were the Contents of your Pallet. 
 
 De Piles fays, Variety of Teints, very near of the fame Tone, employed 
 in the fame Figure, and often upon the fame Part, with Moderation, contri- 
 bute much to Harmony. 
 
 All the Curtains mould be dead-coloured when we paint die Ground ; 
 and mould be done with clean Colours, of a near Hue to the intended 
 
 D 2 Curtain j 
 
2© COPYING. 
 
 Curtain ; fuch as will fupport the nnifliing Colours. Do it with a tender 
 fort of Keeping, and near in regard to their Tone in the Lights, but 
 much fofter in the Shadows. All which mould be mixed and broken with 
 the Colours of the Ground ; and, as Frefnoy fays, Bodies that are back in 
 the Ground, Jliould be painted with Colours allied to thofe of the Ground ttfelf. 
 It will often happen, for want of the Life, or fome Dengn, that we 
 cannot make the Folds the firft Painting j we mould then leave the Maffes 
 of Light and Shadow, in regard to the Keeping of the Pi&Ure, broad 
 and well united together, fuch as may feem eafy to finifli on. The 
 Colours of the Landfkip, in Back-grounds,, fliould be broke and foftened 
 alfo with thofe of the Parts which join them. This Method brings them 
 into Keeping, which will make all the Parts of the Ground as it were 
 of one Piece, fo that the different Parts do not flare, nor cut at their Extre- 
 mities. 
 
 The Sky fliould be broke with the Lead and the Flefti Teints : The 
 Murrey Teint is of great Ufe in the Grounds of diftant Objects ; and the 
 Umber and Dark Shade in the near Grounds: The Greens fliould be more 
 beautiful than we intend them, becaufe they will fade and grow darker. 
 After all is painted, we fliould go over the Whole very lightly with the 
 Softener, as we did the Grounds, which will make it look agreeably finiflied. 
 
 On Copying. 
 
 r ""l~~"' H E Author of the Analyjis of Beauty has given his Opinion of 
 JL Copying in his true Spirit and Genius ; treating with Ridicule one 
 of the moft ufeful Parts of Painting. This I impute to his Want of 
 Skill in this Branch of the Art, or to a moft ill-grounded Prejudice : For 
 is it reafonable to believe, that a Painter, who underftands the true Merit 
 of Copying, would treat that Part of the Art with Contempt, which the 
 greateft Mafters have always practifed and efteemed ? Men of common 
 Senfe know, that the Artifts in all Ages have copied and ftudied each 
 other, in whatever they found moft for their Purpofe, and for the Advance- 
 ment 
 
[ COPYING. 21 
 
 ment of their Art : Was it not for this, the Art itfelf would foon dwindle 
 and decay ; and Twifh this has not been the Cafe with us. 
 
 Rubens ftudied principally the Works of Titian, Paul Veronefe, and 
 Tintoret ; that is, he copied fuch of their Pictures as he thought mod 
 worthy his Imitation, and kept them for his own Ufe. 
 
 Van Dyc£ Copied Titian, and all the Venetian School ; or, in De Piles's 
 Phrafe, Jkimmed their Cream. Teniers is celebrated for transforming him- 
 felf into as many Mailers as he copied ; which he did fo exactly, that it is 
 hard to diftinguifh the Copies from the Originals. Hannemans Copies of 
 Van Dyck are taken for the Originals of that great Matter. I' have feen 
 Copies by Stojie, fold at great Prices for undoubted Originals, notwith- 
 ftanding they were diverted of that free Pencilling, and charming Variety 
 of Teints, which are fo apparent in Van Dyck. Buckpoorn was one of the 
 laft good Copiers we have had in England ; the reft that followed him and 
 his Mafter Lely, foon dwindled to Half-Artifts. There is a Copy of Buck- 
 JJ:orns Painting after Van Dyck, which I like much better than any of 
 Stone's : I mean the Picture of the Earl of Strafford and his Secretary, in 
 the Marquis of Rockingham's Collection, which is well painted, and de- • 
 fervedly efteemed. 
 
 I believe every one, that has heard of Andrea del Sartos Copy of Leo 
 the Tenth, painted by Raphael and "Julio Romano, will be convinced of 
 the great Ufe and Merit of an Art, to which is owing that great Number 
 of Originals now abounding in every Country. By Originals, I mean 
 Pictures impofed as fuch, by our ingenious and honeft Dealers, to adorn 
 the Cabinets of the Virtuoli and ConnoifTeurs, 
 
 It is furprifing, that fince the Age of thefe great Mailers, we have not 
 had a Man able to make a fine Copy from any one of their Pictures : And 
 I believe, if fuch a Genius mould hereafter arife, it is to be feared the De- 
 ftroyers of the Art, if they are fuffered to go on, will fcour off the Remains 
 off their Beauties, fo that very little will be left for him to ftudy \ and by. 
 the End of this Century there will be none fit for Copying. 
 
 ! It 
 
22 COPYING. 
 
 It is in vain for a Man to think of making a fine Imitation of any 
 of the Great Mafters, without being thoroughly acquainted with the 
 Nature of Colours and of Colouring ; and without being clearly con- 
 v inced, at Sight of the Picture he is going to copy, of the Method and 
 Principles on which it was painted. It is the Want of this Knowlege and 
 Conviction which leads us into fo many Errors. and Miftakes. 
 
 A Painter, that has acquired any Sort of Manner, will always tincture 
 his Copying with the fame. Now-a-days we are too apt to fall into a 
 Manner, before we underftand the Nature of Colours ; which is the Cafe, 
 where fome predominant Colour - or Hue appears in all the Complexions 
 alike. For this Reafon a Painter, whofe Carnations are too red, will cer- 
 tainly make his Copies blum : Or if his Colouring and Shadows be heavy, 
 they will of courfe fall into the Obfcuro. By the fame Rule, whatever 
 Teints infect his Colouring, the fame will unavoidably taint his Copying ; 
 for which there is no Cure, becaufe he himfelf is infected. 
 
 Monfieur De Piles fays, It is 'very rare to change a bad Marnier in Colour- 
 ing for a better : That Raphael, Michael Angelo, Leonardo da Vinci, Julio 
 Romano, and other great Ma/iers, fpent their whole Lives without truly 
 underjlanding good Colouring. And tho' Colouring is the principal Excel- 
 lence in Copying, yet it is neceffary that every Artift mould avoid a 
 •particular Manner with his Pencil, otherwife it will certainly be feen in 
 his Work. 
 
 From what has been faid on this Subject, I apprehend, it appears, that 
 the Art of Copying, which was practifed by the Great Mafters, in order 
 to catch each other's Excellencies and Perfections, and by which their 
 noble Works have been fo often repeated, and as it were renewed, is fo 
 fo far from deferving Contempt, that it ought to be encouraged, as a thing 
 highly ufeful, and worthy of Efteem. 
 
 Of 
 
DRAPERIES. 
 
 23. 
 
 Of Painting Draperies. 
 
 IN order to underftand the Nature, and different Degrees, . of Colours 
 or Teints ufed in painting Draparies, I firft determine how many Di- 
 vifions are abfolutely neceffary to make the Firft Lay of Colours, and, after 
 that, the Reflects and Finifhing Teints. 
 
 The right Method of painting Draperies or Sattins in general, is, to 
 make out the Whole, or what I call the Firft Lay, with three Colours 
 only ; viz. the Lights, Middle Teint, and Shade-Teint. 
 
 For the Lights, I mean the Colour of all the High Lights. The 
 Middle Teint mould be very near to the general Hue of the Sattin, &c. 
 and of an exact, middle Degree between the High Lights and the Shade- 
 Teint. The Shade-Teint I would have dark enough for the general Hue . 
 of all the Shadows j for which reafon I call it the Shade-Teint. 
 
 We fhould obferve, that the Lights mould rather incline to a warmifh 
 Hue ; and the Middle Teint mould be made of friendly working Colours, 
 fuch as will always mix of a clean tender coldifh Hue. The Shade-Teint 
 fhould be made of the fame Colours as the Middle Teint, only with lefs 
 Light ; therefore this Teint will alfo mix of a tender clean Colour. It is 
 with thefe three Colours we mould make out the Whole like Mezzotinto ; 
 and we mould underftand, that all the Beauty and Character of the Folds, 
 the Shape, Attitude, and principal Lights and Shades, are all to be coh- 
 fidered, and made with thefe three Colours only ; which mould be done 
 to our Satisfaction, before we add any of the Reflects or finifhing Teints. . 
 
 The Reflects of Drapery and Sattins are generally Productions of their 
 own, and are always lighter than the Shadows on whiclrthey are found $ 
 and being produced by Light, will confequently have a light warm Colour, 
 mixed with the local Colour that receives thcrru Here it v/ill be neceflary 
 5 to 
 
24 D R A F E R I E S. 
 
 to obferve the general Method and Secret in managing the Colours of the 
 Jirft Lay, and thofe of the Reflects and finifhing Teints. 
 
 In the Firfl: Lay, the High Lights mould be laid with a Plenty of ftiff 
 Colour, and then map'd and lbften'd into Character with the Middle Teint, 
 very correctly. Where the Gradations of the Lights are flow, as in the 
 large Parts, it will be proper to lay the Middle Teint firfl: at their Extre- 
 mities, with a Tool that wiil drive the Colour, and leave it fparingly ; be- 
 caufe the Lights will mix and lie the better upon it Next is, to make 
 out all the Parts of the Shadows with the Shade-Teint drove bare. After 
 this comes the Middle Teint, which fills up, and ferves as the fecond Lights 
 and Gradations, and mould be managed together very nicely, to character 
 without touching any of the High Lights which finilh the Firfl Lay. 
 
 The Reflects and Finifhing Teints are in general the Antipathies of the 
 Firfl: Lay : They will, without great Care, poifon and dirty the Colours on 
 which they are laid ; and therefore fhould be laid with a delicate light 
 Touch without foftening. If it is over-done, we mull remember to 
 recover it with the Colour of the Part on which it was laid : This may 
 be done directly, or when it is dry. We mould alfo obferve, whether the 
 Reflects proceed from the fame Colour, or any other, that the Method 
 of ufmg them is the fame. 
 
 Before I proceed to the particular Colours, it will be proper to make 
 fome Obfervations on their Grounds. 
 
 It often hapens, that the Colour of the Cloth is very improper for the 
 Ground of the Drapery ; and when it is fo, we mould change it with 
 thofe Colours which we think are moft proper to improve and fupport the 
 finiihing Colours. This Method of Dead-colouring mult confequently 
 preferve them in their greatefl: Luftre. In Dead-colouring we mould lay 
 the Lights and Shades in a Manner, fo as only to Ihew a faint Idea of them, 
 with regard to the Shape and Roundings of the Figure. If we have a 
 Defign to work from, then it will be proper to make all the large and 
 principal Parts in their Places ; which mould always be done with a 
 Colour that is clean, and lighter than the intended Drapery, tho' in gene- 
 ral of the fame Hue : And let the Shadows be no darker than a Middle 
 
 Teint : 
 
White Sattin. DRAPERIES. 25 
 
 Teint : Thefe fhould be mix'd and broke in a tender manner, and then 
 foften'd with a large Tool, fo that nothing rough or uneven be left to 
 terrupt or hurt the Character of the fmifhing Colours. 
 
 WHITE SATTIN. 
 
 All Whites fhould be painted on white Grounds, laid with a good 
 Body of Colour, by reafon this Colour finks more into the Ground than 
 any other. 
 
 There are Four Degrees of Colours in the Firft Lay to White Sattin : 
 The Firfl is the Fine White for the Lights ; the Second is the Firil Teint, 
 which is made of fine White and a very little Ivory-Black, mixed to an 
 exact middle Degree between the White and Middle Teint. This Co- 
 lour follows the White ; and it is with this we mould fhape the Lights 
 into Character, before we lay on any other : And take care that this Firft 
 Teint appear diftinctly between the White and the Middle Teint, other- 
 wife the Beauty and Character of the Sattin will be fpoiled. 
 
 The Middle Teint mould be made of White, Black, and a little Indian 
 Red : Thefe three Colours are very friendly, and mix to a beautiful clear 
 Colour of a pearly Hue, which has the true Brightnefs and Warmth of 
 the general Hue of the Sattin. Remember to allow for the Red Hue 
 changing a little to the Lead. If there is Occafion to make any Part in 
 the Middle Teint lighter, we fhould do it with the Firft Teint only. This 
 Colour fhould alfo be laid fparingly before the White, in all the little 
 Lights that happen in the Middle Teints and Shadows ; on which we 
 mould lay the White with one light Touch ; and be fure not to cover all 
 the Part that was made with the Firft Teint : If we do, it will fpoil the 
 Character, and look like a Spot, for want of the foftening Edge or Bor- 
 der, which muft be between the White and the Middle Teint. The 
 Shade-Teint fhould be made of the fame Colour as the Middle Teint ; 
 but with Iefs White, fo that it be dark enough for the Shadows in gene- 
 ral ; with which we mould make out all the Parts of the Shadows nicely 
 to Character : Which is the Work of the Firft Lay. 
 
 E 
 
 Next 
 
26 
 
 DRAPERIES. White Sattin. 
 
 Next come the Reflects and Finifhing Teints. 
 
 Brown Oker, mixed with the Colour of the Lights, is the moft ufeful 
 Colour in general for all Reflects in Draperies that are produced from their 
 own Colours. All accidental Reflexes are made with the Colour of the 
 Parts from which they are produced, and the local Colours that receive 
 them. There are but two Reflecting Teints wanted for Draperies in 
 general ; I mean to any one particular Colour : One mould be lighter 
 than the Middle Teint, the other darker. Thefe Colours may be a little 
 changed on the Pallet with the Firft and Middle Teints, as Occafion 
 requires, or lightly broken on the Part that receives them : But this laft 
 Method is not lb fafe as the other. The Teint fufficient for blending the 
 dark Shadows to the mellow tender Hue, is made with the Shade-Teint 
 and a little Brown Oker ; which fhould be laid on very lparingly, with 
 fcft light Touches, for fear of making them dull and heavy. If it mould 
 be over-done, we may recover it with the Colour it was laid upon. 
 
 We often fee a little Blue ufed in the Firft Teint of White Sattin. Van 
 Haecken, who was the beft Drapery-painter we ever had in England, did 
 fo and fometimes, inftead of the Blue, he ufed Blue-black, till he found 
 it to be a pernicious Colour, and was therefore obliged to ufe Blue ; be- 
 caufe his Middle Teint, which was made only of Black and White, was 
 fo very cold, that no other Colour but Blue would make a colder Teint : 
 Yet he managed thefe cold Colours, in all the Lights and Middle Teints, 
 fo agreeably, and fo light and eafy was his Touch, that we cannot help 
 admiring, and may learn fomething from him. Tho' he was not fo lucky 
 in his Shadows, which were generally of a heavy dirty Hue, this was 
 owing to the Colours he ufed, and the Method of uling them ; which 
 will always have fuch an Effect, when a warm or dirty Colour is mixed 
 with a clean light one ; for, being mixed together, they will form a dirty 
 Colour, that murt confequently appear fo in the Work : But if his Lead 
 or Shade-Teint had been mixed with Indian Red inftead of the Oker, and 
 then followed with a few light blending Touches of the Oker-Teint, it 
 would have left them clean and mellow .It is the Want of the Red Hue 
 which makes the White Sattins appear fo often like Pewter. 
 
 Blue 
 
Blue Sattin, 
 
 DRAPERIES 
 
 27 
 
 BLUE SATTIN. 
 
 Blue Sattin is made of PrufTian Blue and Fine White. 
 
 The beft Ground for Blue is White for the Lights, and Black and 
 White for the Shadows. 
 
 1 
 
 The Firft Lay of Colours for Blue is divided into three Degrees or 
 Teints. 
 
 We mould firft make the Middle Teint of a beautiful Azure ; then 
 mix the Colour for the Lights about a middle Degree between that and 
 White. Make the Shade-Teint dark enough for the Shadows in gene- 
 ral. All the broad Lights mould be laid with a Plenty of Colour, and 
 fliap'd to Character with tft*tMiddle Teint, before we lay on any other 
 Colours. Remember, the lefs the Colours are mixed, the better they 
 will appear and ftand j for the Lights of Blue mould be managed with 
 as much Care as thofe of White Sattin. Next is to follow with the reft 
 of the Middle Teint, and then make out all the Shadows. The more 
 we drive the Shade-Teint, the better it will receive the Reflects and 
 Finifhing Teints. The Shadows mould be ftrengthened and blended 
 with Ivory-Black and fome of their own Colour, which will mix with 
 them into a tender mellow Hue. 
 
 The Reflects are made as thofe of White Sattin j that is, with Oker 
 and fome of the Lights ; which mould be perfectly done, as we intend it, 
 at once Painting. The Shadows, when dry, may be a little improved, 
 if there is Occafion to alter them, with the Colours they were made with. 
 The PrufTian proper to be ufed, is that which looks of the moft beautiful 
 Azure before it is ground ; and the lboner it is ufed after it is ground, 
 the better it will work and appear. 
 
 Velvet may be painted at once. The Method is, to make out the Firft 
 Lay with the Middle Teint and Shade-Teint ; on which we mould lay 
 the High Lights with light Touches, and finim the Shadows as we did 
 thofe of the Sattin : But the neareft Imitation of Velvet we can make, 
 is ddne by glazing ; which is to prepare a Ground or Dead-colouring 
 
 E 2 with 
 
28 DRAPERIES. Blue. 
 
 with fuch Colours as will, when dry, bear out and fupport the Glazing 
 Colour in its hio-heft Perfection. The Nature of the Glazing Colour is, 
 to be of a fine tranfparent Quality, and ufed fimply with Oil only ; fo 
 that whatever Ground it is laid on, the Whole may appear diftinc~cly thro' 
 it. The beft Ground for Blue is made with White and Ivory-Black : 
 The White is for the High Lights, which, with the Middle Teint and 
 Shade-Teint, makes out the Firit ^ay, like Mezzotinto. Remember to 
 make the Middle Teint lighter in Proportion to the Glazing, becaufe 
 that will make it the darker. It is often necefiary to cover all but the 
 High Lights with a thin Glazing : I do not mean with a Plenty of Oil in 
 the Colour, but laid with lefs Quantity than if it was to be done once 
 only. If any of it touch the Lights, we mould wipe it off with a clean 
 Rag. The very high Lights mould be improved, and made of a fine 
 White, and left to dry. The Glazing Colour is Pruffian, ground very 
 fine with Nut Oil ; and mould be laid with a large ftiffim Tool, that 
 will drive the Colour, as Occafion requires. It is on the lafr. Glazing, 
 we mould ftrengthen and finifh the Shadows. 
 
 The greateft Fault in the Colouring of Draperies, is, the painting the 
 Shadows with ftrong glaring Colours, which deftroy the Beauty of the 
 Lights. This is not only the Reverfe of Art, but of Nature, whofe 
 Beauty always diminifhes in Proportion with the Lights : For this Rea- 
 fon we mould take care to blend and foften the Shadows with fuch 
 friendly Colours as will agree with their local Character and Obfcurity. 
 Here we may obferve, that glazing the Middle Teint, which is made of 
 Black and W'hite, will not produce a Colour fo Blue, as if it had been 
 prepared with Pruffian and White ; yet this Colour will preferve the 
 Beauty of the Lights in the higher! Perfection, by reafon of its tender 
 oblbure Hue, when the Biuenefs of the other would only diminiih them. 
 This Method of glazing the Blue is the general Rule for all Glazing. 
 
 When we are glazing Blue, the Lights may be glazed with Ultra- 
 marine, tho' all the other Parts are done with Pruffian. This Method 
 faves a great Quantity of that valuable Colour, and anfwers our Purpofe 
 as well as if it had all been done with Ultramarine. 
 
 Though 
 
Scarlet. DRAPERIES. 29 
 
 Though this general Method of Painting Sattins, is to make the firft 
 Lay of Colours with three Degrees or Teints ; yet we mould underftand, 
 in uiing them, that they produce two more : For the mixing of two dif- 
 ferent Colours together on the Cloth, will make another of a middle 
 Teint between them: So it is with the Lights and Middle Teint; and with 
 the Middle and Shade-Teint ; The firft anlwers to the firft Teint in White 
 Sattin ; and the laft will confequently be a fort of Gradating, or Half-Shade. 
 
 If the Lights and Middle Teint mix to a beautiful clean Colour, of a 
 middle Hue between both, there will be no Occafton for a Colour to go 
 between them, as in the Blue Sattin : But if in mixing, they produce a Teint 
 inclining to a dirty warm Hue, then there mull be another found of a 
 fympathizing Nature, which mould be laid between them, in order to 
 preferve the Beauty of the Lights, as the firft Teint in the White Sattin ; 
 for if it was not fo, the Red, in the Middle Teint, would certainly dirty 
 and fpoil the White. 
 
 It is highly neceflary to underftand thefe Principles of the firft Lay of 
 Colours, in order to have a perfect Knowlege of the general Rule of Co- 
 louring, on which the Principles of Colouring depend. 
 
 SCARLET and CRIMSON". 
 
 A light Yellow-red, made of light Oker, Light-red, and White, is the 
 proper Ground for Scarlet ; the Shadows are Indian Red, and, in the 
 darkeft Parts, mixed with a very little Black. 
 
 The fecond Painting mould be a little lighter than we intend the Finilh- 
 ing Colour. I mean in proportion to the Glazing, which will make it 
 darker. 
 
 The High Lights, are Vermillion and White for Sattin and Velvet, and 
 Vermillion for Cloth : The Middle Teint is Vermillion, with a very little 
 Lake or Indian Red : The Shade-Teint is made with Indian Red and Lake, 
 with the Addition of a little Black in the darkeft Shadows. The Difference 
 between Scarlet and Crimfon is, that the High Lights of Crimfon are whiter, 
 and the Middle Teint is made darker. Their Reflects are made with 
 
 Light ; 
 
4 
 
 3 o DRAPERIES. Pink. Yellow. 
 
 Light-red and Vermillion. The High Lights mould be laid and managed 
 in the fame Manner as thofe of the Blue, for fear of dirtying them ; and 
 fometimes they require to be touched over the fecond Time, before we 
 glaze them. The more the Colours of the fecond Painting are drove, the 
 eafier and better they may be managed to Character: But the High Lights 
 mould have a good Body of Colour, and be left with a delicate light 
 Touch. After it is well dry, we mould finim with Glazing the Whole 
 with fine Lake, and improve the Reflects and Shadows. Remember that 
 the Scarlet requires but a very thin Glazing j and it is better to glaze the 
 Crimfon twice over, then lay too much at once Painting. 
 
 PINK-COLOUR. 
 
 There are two different Methods of Painting a Pink-colour : One is by 
 Glazing ; the other is done with a Body of Colours at one Painting. The 
 fame Grounds do for both j which mould be a whitifh Colour, inclining to 
 a Yellow, for the Lights and Indian Red, Lake, and White, for the 
 Shadows. 
 
 The fecond Painting for the Glazing Method, is done with the fame 
 Colours and a little Vermillion, for the Reflects j and Vermillion and 
 White for the High Lights : When it is dry we mould glaze it with fine 
 Lake, and then break and foften the Shadows into Character and Har- 
 mony directly. 
 
 The other Method is, to make the High Lights with Carmine and 
 White j the Middle Teint with Lake, White, and a little Carmine ; and 
 the Shadows with Lake and Indian Red, with a little Vermillion for the 
 Reflects. But remember the Shadows will require to be broken with fome 
 tender obfcure Teint. 
 
 YELLOW. 
 
 The Ground for Yellow mould be a yellowifh White for the Lights, 
 and a Mixture of the Okers for the Shadows. 
 
 There 
 
 ■ 
 
Green. DRAPERIES. 31 
 
 There are the fame Number of Teints in the Yellow as there are in the 
 White Sattin ; the Method of ufing them is the very fame. The Lights are 
 made with King's Yellow, ground with clean good drying Oil. The firft 
 Teint is Light Oker, changed with a little of the Pearl Teint made with the 
 Dark Shade and White ; which mould be laid and managed as the firft 
 Teint in White Sattin. The Middle Teint is a Mixture of the Light and 
 Brown Oker, foftened with the Pearl Teint. The Shade-Teint is made with 
 Brown Pink and Brown Oker. Thefe belong to the firft Lay. 
 
 The Reflects are Light Oker ; and fometimes, in the warmeft Parts, 
 mixed with a little Light-red : The Shadows are ftrengthened with Brown 
 Pink and burnt Umber. 
 
 Thefe Colours, well managed, will produce a Yellow very like Van 
 Dyck's ; but if we leave out the King's Yellow, which is the high Lights 
 only, then it will be one of Lelys favourite Yellows. 
 
 GREEN. 
 
 The proper Ground for Green is a Light-yellow Green ; which is 
 made of Light Oker, a little White, and Pruflian, for the Lights j and 
 the Okers, Brown Pink, and Pruflian, for the Shadows. 
 
 The fineft Green we have, for Drapery, is made of King's Yellow, 
 Pruflian, and Brown Pink. The High Lights are King's Yellow and a 
 very little Pruflian ; the Middle Teint has more Pruflian ; and the Shade- 
 Teint is made with fome of the Middle Teint, Brown Pink, and more 
 Pruflian : But the darkeft Shadows are Brown Pink and a little Pruflian. 
 The Lights and Middle Teint fhould be managed in the fame manner 
 as thofe of the Blues. The Shade-Teint fhould be kept intirely from the 
 Lights, becaufe the Brown Pink that is in it, will, in mixing, dirty 
 them, as the Black does thofe of the Blues. Remember to allow for 
 their drying a little darker ; and that the King's Yellow fhould be ground 
 with good drying Oil ; for the longer it is drying, the more it will change 
 and grow darker : And the fooner it is ufed, the better it will ftand. It is 
 proper to have two Sorts of King's Yellow : I mean one to be very light, 
 which will do beft for the High Lights of Velvet. 
 
 5 
 
 Change 
 
3 2 
 
 DRAPERIES 
 
 Changeable. 
 
 CHANGEABLE. 
 
 Changeable Colours are made with four principal Teints, viz. the High 
 Lights, Middle Teint, Shade-Teint, and Reflecting Teint. 
 
 The greatcft Art lies in finding the exact Colour of the Middle Teint; 
 becaufe it ha? more of the general Hue of the Silk than any of the others. 
 The Shade-Teint is of the lame Hue with the Middle Teint, though it is 
 dark enough for the Shadows. The High Lights, though often very dif- 
 ferent from the Middle Teint, mould be of a clean, friendly, working 
 Colour, that will, in mixing with it, produce a Teint of a clean fympa- - 
 thizing Hue. 
 
 The Method of painting Silks is to make out the Folds with the Shade 
 Teint, and then fill them up in the Lights with the Middle Teint. This 
 is what I call the firft Lay, which mould be done to our Satisfaction before 
 we add any other Colours ; and the ftifFer the Middle Teint is ufed, the 
 better the High Lights may be laid upon it. The Reflecting Teint falls ge- 
 nerally upon the gradating Half-Shades, and mould be laid with tender 
 Touches, fparingly, for fear of fpoiling the firft Lay. 
 
 This Method of Painting anfwers to all the coloured Silks, as well as 
 Changeable, with this Differeuce only, that the plain Colours require not 
 fo much Art in matching the Teints, as the Changeable do. The laft 
 Part of the Work is the finiming, and ftrengthening the Shadows with an 
 obfcure Teint, a little inclining to a mellowim Hue ; fuch as will not catch 
 die Eye, and interrupt the Beauty of the Lights. 
 
 BLACK. 
 
 The bed Ground for Black is Light-red for the Lights ; and Indian Red 
 and a little Black for the Shadows. 
 
 The fmiihing Colours are, for the Lights, Black, White, and a little 
 Lake. The Middle Teint has lefs White, and more Lake and Black. 
 
 The 
 
Black. DRAPERIES. 33 
 
 The Shade-Teint is made of an equal Quantity of Lake and Brown Pink, 
 with a very little Black. 
 
 The Method of painting Black is very different from that of other 
 Colours ; for as the principal Thing in them, is to leave their Lights clean 
 and brilliant, fo in Black, it is to keep the Shadows clear and tranfparent. 
 Therefore we mould begin with the Shade-Teint, and glaze over all the 
 Shadows with it. Next, lay in the darker!: Shadows with Black, and a 
 little of the Shade-Teint, very correctly. After that, fill up the whole 
 Breadth of Lights with the Middle Teint only. All which mould be 
 done exactly to the Character of the Sattin, &c. and then finim with die 
 High Lights. 
 
 Here we may obferve, the Ground, being Red, will bear out and fup- 
 port the Reds, which are ufed in the finishing Colours : The Lake in die 
 Lights takes off the cold Hue, and gives it a more beautiful Colour. If 
 the Shade-Teint was of any other Colour than a tranfparent warm Hue, 
 the Shadows would confequently be black and heavy ; becaufe no other 
 Colours can preferve the warm Brilliancy, which is wanting in the Shadows 
 of the Black, like Lake and Brown Pink. Black is of a cold heavy Nature, 
 and always too ftrong for any other Colour ; therefore we mould make 
 an Allowance in ufing it. There will be a few Reflects in Sattin, which 
 mould be added as thofe of other Colours ; but they mould be made of 
 ftrong Colours, fuch as burnt Umber, or Brown Oker, mixt with a little 
 of the Shade-Teint. 
 
 Though the Grounds which I have mentioned for the Draperies, arc 
 abfolutely neceffary for the principal and neareft Figures in a Picture, fuch 
 as a fingle Portrait, or the like; yet I do not intend them fo for Figures, 
 which are placed more into the Picture. Such as are behind the principal 
 or front Figures, their Grounds mould always be fainter, in proportion 
 to their local finifhing Colours. 
 
 LINEN. 
 
 The Colours ufed in Linen are the fame as thofe in White Sattin, except 
 
 the firft Teint ; which is made of White and Ultramarine Ames, inftead 
 
 of the Black, and mixt to a very light blueifh Teint, 
 
 F In 
 
34- 
 
 DRAPERIES. 
 
 Linen. 
 
 In the Dead-colouring we fhould take particular Care, that the Grounds 
 be laid very White and broad in the Lights : The Shadows are made 
 with Black, White, and a little Indian Red, like the Middle Teint of 
 White Sattin. Thefe fhould be left very light and clean, in order to fup- 
 port the finifhing Colours. 
 
 The fecond Painting begins with Glazing all the Lights, with a ftifF Pen- 
 cil and line White only, drove bare, without ufing any Oil : The Shadows 
 may be fcumbled with Poppy Oil, and fome of the Colour they were made 
 of. This is the firft Lay, on which we are to follow with the finifhing 
 Colours directly. The Middle Teint of White Sattin is the beft Colour for 
 the general Hue of the Shadows. With this and White, in different 
 Degrees, we mould make out all the Parts to Character, with free light 
 Touches, without foftening. Then with a large long-pointed Pencil, and 
 fine White, lay the High Lights very nicely, with one Stroke. After 
 this comes the fine light blueifh Teint, which mould be mixed light, and 
 laid in the teader Gradations very fparingly and lightly, without filling 
 them up. 
 
 Remember the firft Lay fliould be left clear and diftinct ; the more it 
 appears, the better. It is the overmixing, and joining all the Colours toge- 
 ther, which fpoils the Beauty of the Character ; therefore it is better to let 
 it dry before we add the Reflects and finifhing Teints. 
 
 The Method of letting the beautiful clear Colours dry, before we add 
 the warm, reflex, and harmonizing Teints, prevents them from mixing, 
 and dirtying each other. 
 
 The principaL blending Colours ufed in the Reflects,, are the Yellow 
 Teint, Green Teint, and the Rofe Teint ; which laft is made of Lake, 
 Indian Red, and White. I find glazing the Pearl and Lead Colours with 
 White, though it feems to anfwer our Purpofe when it is done, will cer- 
 tainly fink, and be loft in the Grounds on which it is laid ; therefore we 
 mould make the Dead-colouring as white as we intend the Finifhing 
 Colours, by reafon they will fink a little, in proportion to the Colour of 
 the Cioth, which the Glazing with pure White only will recover. 
 
 LAND- 
 
LANDSCHAPES, 
 
 35 
 
 LANDSCHAPES. 
 
 THE principal Colours ufedin Landfchapes, are, 
 T. Fine White. 
 
 2. Common White. 
 
 3. Fine Light Oker. 
 
 4. Brown Oker. 
 
 5. Brown Pink, 
 
 6. Burnt Umber. 
 
 7. Ivory Black. 
 
 8. Pruflian Blue. 
 
 9. Ultramarine. 
 
 10. Terra-vert. 
 
 11. Lake. 
 
 12. Indian Red. 
 
 13. Vermillion. 
 14,. King's Yellow. 
 
 The Principal Teints ufed in Landfchapes, are, 
 
 1 . Light Oker and White. 
 
 2. Light Oker, Pruflian, and White. 
 
 3 . Light Oker and Pruflian. 
 
 4. The fame, darker. 
 
 5. Terra-vert and Pruflian. 
 
 6. Brown Pink and Pruflian, 
 
 7. Brown Pink and Brown Oker. 
 
 8. Brown Pink, Oker, and Pruflian. 
 
 9. Indian Red and White. 
 
 10. Ivory Black, Indian Red, and Lake. 
 
 The Colours neceflary for Dead-colouring, are Common White, Light 
 Oker, Brown Oker, Burnt Umber, Indian Red, Ivory Black, and 
 Pruflian. 
 
 F 2 
 
 The 
 
3 6 
 
 LANDSCHAPES. 
 
 The principal Colours and Teints for painting the Sky, are fine White, 
 Ultramarine, Pruflian, Light Oker, Vermillion, Lake, and Indian Red. 
 
 The Teints are a fine Azure, lighter Azure, Light Oker and White, 
 Vermillion and White, and a Teint made of White, a little Vermillion, 
 and fome of the Light Azure. 
 
 Landschapes mould be painted on a fort of tanned Leather Colour, 
 which is made of Brown Oker, White, and Light-red. This Colour 
 gives a Warmth to the Shadow Colours, and is very agreeable and proper 
 for Glazing. 
 
 Sketching, or rubbing in the Defign, is the firft Work of the 
 Picture. 
 
 This mould be done with burnt Umber, drove with drying Oil, and a 
 little Oil of Turpentine, in a faint, flight, fcumbling, free Manner, 
 as we made with Indian Ink and Water ; leaving the Colour of the Cloth 
 for the Lights, as we do that of the Paper. Remember, in doing it, we 
 leave no Part of the Shadows fo dark as we intend the Firft Lay, or Dead- 
 Colouring, which is to be lighter than the Finifhing Colours. And though 
 the Foliage of the Trees is only rubbed in, with a faint fort of Scumbling, 
 yet the Trunks and Bodies mould be in their proper Shapes, with their 
 Breadths of Light and Shadow. All kinds of Buildings mould be done in 
 the fame Manner, leaving the Colour of the Cloth for their Lights : The 
 Figures on the Fore-ground, if they are determined, mould alfo be 
 fketched in the fame Method, and then left to dry. 
 
 Of Dead- colouring. 
 
 Let the Firft Lay or Dead-colouring be without any bright, glaring, 
 or ftrong dark Colours; fo that the Effect is made more to receive and pre- 
 ferve the Finifhing Colours, than to fhew them in the Firft Painting. 
 
 The Sky fhould be done firft ; then all the Diftances j and fo work 
 downwards to the middle Group, and from that to the Fore-ground, and 
 
 -? neareft 
 
LANDSCHAPES. 37 
 
 nearefr. Parts. Remember all the Parts of each Group, as Trees, Buildings, 
 or the like, be all painted with the Group they belong to. 
 
 The greateft Secret in Dead-colouring, is to find the two Colours, 
 which ferve for the Ground of the Shadows in general, the Sky excepted, 
 and the Method of ufing them with the Lights : The find of which is the 
 Dark-Shade with a little Lake in it j the other Colour is only burnt Um- 
 ber. Thefe mould be a little changed to the natural Hue of the Objects, 
 and then laid and drove with drying Oil, in the fame Manner as we made 
 with Indian Ink, which is a fcumbling kind of Glazing ; and as fuch 
 they mould be left ; for otherwife they will be dark and heavy, and there- 
 fore would be intirely fpoiled for the finiming Glazing. Both thefe Colours 
 mix and fympathize agreeably with all the Lights, but mould be laid 
 before them. 
 
 When the Landfchape is defigned, begin with the Sky, which mould 
 be laid with a good Body of Colours, and left with a faint Refemblance of 
 the principal Clouds ; and this we mould do more in the Manner of Claro 
 Obfcuro, than with Finiming Colours : The whiter it is left, the better it 
 will bear out and fupport them. The Biftances mould be made out faint 
 and obfcurely with the Dark-Shade, and fome of their Lights in different 
 Degrees; and laid fo, as beft to find and mew their principal Parts. As. 
 we come more into the middle Group, we fall by Degrees into the burnt 
 Umber in the Shades : All the Grounds of the Trees mould be laid 
 or rubbed in, enough only to leave an Idea of their Shapes and Shadows 
 faintly. The Ground of their Shadows muft be clean, and lighter 
 than their Finiming Colours, fuch as will fupport their Character, 
 and feem eafy to finilh on. 
 
 In painting the Lights, it is better to incline more to the Middle Teint, 
 than to the very High Lights ; and obferve to leave them with a furficient 
 Body of clean Colours, which will receive and preferve the Finiming 
 Colours the better j all which may be done with a few Teints. After this, 
 go over the Whole with the Sweetener very lightly, which will foften and 
 mix the Colours agreeably for Finiming. 
 
 Second 
 
3* 
 
 LANDSCHAPES. 
 
 Second Painting. 
 
 Begin with the Sky, and lay in all the Azure and Colours of the Hori- 
 zon; then foften them : After that lay in the general Teint of the Clouds, 
 and fmifh on it with the High Lights, and the ether Teints that are want- 
 ing, with light tender Touches; then foften the Whole with the Sweetener 
 very lightly. Remember the Finishing of the Sky mould be done all at 
 once Painting, becaufe the tender Character of the Clouds will not do fb 
 well as when the Whole is wet. Obferve, that the ftiffer the Azure and 
 Colours of the Horizon are laid, the better the Clouds may be painted 
 upon them. 
 
 The greateft Distances are chiefly made with the Colour of the Sky ; 
 and as they grow nearer and darker, we mould glaze and fcumble the Parts 
 very thin, with fuch glazing Shadow-Colours as come nearer! to the 
 general Hue of the Group the Objects are in : This Glazing mould be 
 underftood of a darkiih Hue, and that the Fhit Painting or Dead-colour 
 Ihould be feen through it diftinctly. On this Lay or Ground we fhould 
 add the Finifhing Colours. 
 
 Now fuppofing this glazed Ground is properly adapted to the Object 
 and Place, 1 think then it will be eafy to find the other Colours which 
 are wanted for the Lights and Finifliings of the fame. But in laying them, 
 we muft take great Care that we do not fpoil the Glazing; therefore we 
 .mould be very exact in making thofe Colours on the Pallet, and then be 
 fure to lay them with light free Touches. 
 
 Before I proceed any farther, it will be proper to fay fomething of the 
 mofl ufeful glazing Colours. 
 
 Lake, Terra-vert, PrufTian, and Brown Pink, are the four principal. 
 The more we manage them like Indian Ink, and the more difrinctly we 
 leave them, the better their traniparent Beauty will Hand and appear, pro- 
 vided we do it with good drying Oil. After thefe four glazing Colours, 
 burnt Umber is a very good glazing warm Brown, and of great Ufe in 
 the broken Grounds and nearefl Parts ; but the molt agreeable Colour for 
 
 die 
 
L A N D S C H A P E S. 39 
 
 the darken: Shadows, is the dark Shade improved with Lake. It is a fine 
 warm Shade, when it is drove with drying Oil : No Colour in the World 
 is fo fweet and lympathizing ; it mixes harmonioully with all the Lights, 
 as well as the Shadows, and is a charming Colour in the Trunks and 
 Bodies of Trees, and in all kind of Buildings. 
 
 We mould make out all the Ground of the Objects with ,mch glazing 
 Shadow-Colours, as feem nearer! to the natural Hue of the Object, in 
 that Situation : But as the principal glazing Colours themfeives are often 
 too ftrong and glaring, they mould therefore be a little changed, and 
 foftened with fuch Colours as are of a near Refemblance to themfeives 
 and the Objects : Thus, if it is in the Diftances, the Terra-vert and Azure, 
 which are their principal glazing Colours, may be improved and made 
 lighter with fome of the Sky Teints : And as the Distances come nearer, 
 with the Purple. As we get more into the middle Group, the Terra- 
 vert and Pruffian may be changed with fome of the Green Teints, fuch 
 as are made without White j for White is the Deftruction of all glazing 
 Colours. As we approach the firft Group, there is lefs Occafton for change- 
 ing them ; but the Fore-ground and its Objects require all the Strength 
 and Force of Glazing which the Colours are capable of producing. 
 
 After this glazing Ground, we mould follow with ftrengthening the 
 fame in the Shadows and darkeft Places, in fuch Manner as will feem 
 eafy to finifh ; which is the Firft Lay of the Second Painting. 
 
 The Colours that come next for Finifhing, are in the Degree of Middle 
 Teints: Thefe mould be carefully laid over the greateft Breadth of Lights, 
 in fuch Manner as not to fpoil and cover too much of the Glazing. Do it 
 with a good Body of the Colour, as ftiff as the Pencil can agreeably 
 manage to character. Remember, the Colours of the Middle Teint mould 
 be of a clean beautiful Hue. According to thefe Methods, I think it will 
 be eafy to finifh all the Second Painting as we work down, from the Sky; 
 through the middle Group. As we come to the firft. Group, where all the 
 Objects fhould appear perfectly finiihed, we fhould finifh their under or 
 moft diftant Parts, before we paint any of the other which appear nearer, 
 Obferve this Method down to the laft and neareft Objects of the Picture.; 
 and where it fo happens* that Painting one Tree over another does 
 
 not- 
 
4 o LANDS CHAPES. 
 
 not pleafe, forbear the fecond, until the firft is dry. Thin near Trees, of 
 different Colours, will do better, if we let the under Parts dry before we 
 add the Finifhing Colours. 
 
 The Third and Laft Painting. 
 
 If Oiling is neceffary, lay the leaft Quantity that can be ; which mould 
 be done with a Stump-tool, or Pencil, proportioned to the Place that is to be 
 oiled, fo that we may oil no more than is wanted : Then wipe the whole 
 Place that is oiled, with a Peice of Silk Handkerchief: By this Method, we 
 leave no more Oil than is proper for our Purpofe. 
 
 When we are going to fmiih any Objects, we fhould remember to ufe 
 a great Variety of Teints, very near of the fame Colour ; but moft of all, 
 when we are finifhing Trees: This gives a Richnefs to the Colouring, and 
 produces Harmony. I find by Experience the Greens will fade, and grow 
 darker ; therefore it is highly neceffary to improve and force them, by 
 exaggerating the Lights, and making an Allowance in ufing them fo much 
 the lighter : For the fame Reafon, we mould take great Care that we 
 not overcharge and fpoil the Beauty of the Glazing ; for if we do, it will 
 be dull and heavy, and therefore will confequently grow darker. 
 
 The Method for Painting near Trees, is to make the Firff Lay very 
 near to Nature, though not quite fo dark, but more in the Degree of a 
 Middle Teint, and follow it with ftrengthening the Shadows j then the 
 Middle Teints ; and laff of all, lay the High Lights and Finifhing Colours: 
 But all this cannot be done as it mould be at once Painting. Therefore, 
 the beft Way is to do no more than the Firft Lay with the faint Shadows, 
 and leave it to dry. 
 
 Then begin with improving the Middle Teints and Shadows, and let 
 them dry. 
 
 The Third and Laft Work is adding all the Lights and FinifhingColours, 
 in the beft manner we are able. This Method of leaving the firft 
 and fecond Part to dry feparately not only makes the whole much eafier, 
 and more agreeable, but leaves the Colours in the greateft Perfection ; 
 
 becaufe 
 
LANDSCHAPES. 4I 
 
 becaufe moft of the Work may be. done with Scumbling and Glazing, 
 and fome Parts without Oiling. The Lights alfo may be laid with a 
 better Body of Colour, which will not be mixed and fpoiied with the wet 
 Ground : What I have faid of Trees, anfwers the fame to all Kinds of 
 Shrubs and Bufhes. 
 
 The Figures in a Landfchape are the laft Work of the Picture ; thofe in 
 the Fore-ground mould be done firft, and thofe in the Distances next : For 
 after the Figures in the firft and fartheft Group are painted, I think it wiil 
 be much eafier to find the Proportions of thole in the middle Parti of the 
 Picture. And we mould obferve, that the Shadows of the Figures mould 
 be of the fame Hue or Colour with thofe of the Group, or Place they 
 are in. 
 
 G 
 
 !T H E 
 
[ 42 ] 
 
 THE 
 
 Principles of Perspective. 
 
 INTRODUCTION. 
 
 f^p^gjf&E are much obliged to the Learned in the Mathematicks, 
 who in the Beginning of this Century made fuch great Im- 
 provements in the Principles of Perfpedtive, and who have 
 done their utmofh to render them ufeful : But for want of 
 underftanding the Art of Painting, and the Practice of Delign- 
 ing, they are intelligible only to thofe Readers who have a fufficient Fund 
 of Geometry to comprehend all their Schemes and Examples. They 
 found that all Planes were alike in Geometry ; and followed their geo- 
 metrical Genius, which led them into fuch Conftructions as they thought 
 would explain their Properties in general, and, as they faid, give a new 
 Turn to Perfpedtive. Indeed, their Schemes are fo intricate, that none 
 but thofe, who are well acquainted with the Mathematicks, can under- 
 lland them. Dr. Taylor neglected the Horizontal Plane ; and in his 
 Book made no Difference between that Plane and any other whatfoever. 
 Here it is that I am quite of the reverfe Opinion to that learned Gentle- 
 man, and believe, that the Term of Horizontal Line mould confine our 
 Notions to the horizontal Plane : And I think, that That Plane, which 
 reprefents the Earth on which we live, enjoys fome particular Privileges, 
 which makes the Figures in it more eafy and more convenient to be 
 defcribed, notwithftanding all Planes are alike in Geometry : For which 
 r Reafon 
 
PERSPECTIVE. 43 
 
 Reafon I have followed Nature, and have united the old and new Prin- 
 ciples : And, believing that Objects are bed underftood from their natural 
 x^ppearance, I have given the Horizontal Plane to ail my Work, -with 
 the Vanishing Line, in its proper Potition. Here I found it abfolutely 
 necelTary to conlider the Subject in a Manner as yet unattempted, and 
 which mould require no mathematical Kr.owlege to underfland it. This 
 obliged me to find one general Method for the whole Work : And find- 
 ing the Principles few and fimple upon which the Art depends, and that 
 there are no more than three Planes, and fix different Lines, required to 
 be understood, in order to reprefent any Object whatfoever ; I ccmpofed 
 luch a Variety of Objects, as I conceived would draw on the Knowlege 
 of Perfpective ; and which, I think, cannot fail of rendering the ufeful 
 Principles of this Art general and intelligible. 
 
 Mori Gentlemen that have ftudied the Mathematicks, whom I have 
 talked with on Perfpe&ive, are for having a mathematical Demonstration 
 of all the lineal Parts of a Picture j and will not allow that any thing 
 can be right, but what is done according to the jlriffiefi Rules : And Dr. 
 Taylor fays, a Painter ought to govern himfelf intirely by the Rules of 
 Perfpective, and not to take any Liberties whatfoever. I confefs I am of 
 their Opinion, and believe they are moft certainly right, provided the 
 Picture was only the Projection of any of the five Solids. Were we 
 to follow the Rules, in projecting the Bafe and Capital of a Column, we 
 mould find thofe ufelefs Operations too tedious and difficult for human 
 Patience. And how we are to reprefent all Sorts of Objects according to . 
 the Rules of Perfpective, is to me as furprifing as impoffible. 
 
 A Painter is not to be confined strictly to the Rules of Perfpective ; but 
 to make them fubfervient to his Purpofes. Nothing mould tie up his 
 Hands : He mould not have his Genius irnprifoned ; but be at Liberty to 
 exprefs his Idea, like Gyotto, with one Stroke of his Pencil ; and, as 
 Frefnoy fays, let the Compaps be rather in his Eyes than his Hands : There 
 let him meafure distinctly every Object by Companion ; which is the 
 principal Talent of a Painter. If he is well acquainted with the Prin- 
 ciples of his Art, he will not ftop at the dry Rules of Geometry, whilst 
 his Fancy is fketching all the principal Parts of the Picture : He will 
 
 G 2 proceed 
 
44 PERSPECTIVE. 
 
 proceed with the Whole ; and then, after the Delign is fixed, correct fuch 
 Parts as are requifite with the Rules of Perfpective. 
 
 I defign not to trouble the Reader with a Multitude of Examples ; but 
 to explain the general Rules of Perfpective in fuch a manner as may be 
 intelligible to him. All my Schemes are limited to fix Plates only ; which 
 are the Subject of the fix different Sorts of Lines that reprefent all Objects 
 whatfoever j and which are adapted to fuch Objects as are eafy to be 
 flnderitood. And though I defign to take the Reader out of the common 
 Road, I will not lead him any round-about tedious Bye-ways, as is often 
 the Cafe. I mall conduct him directly into fome beautiful Garden, where 
 he may entertain himfelf with a pleafmg Variety of Objects, as Buildings, 
 Avenues, Walks, and Vifto's, terminated with agreeable Views of diflant 
 Profpects ; and, that he may enjoy them to his Willi, I have intermixed 
 no Figures that might interrupt or divide his Attention. 
 
 PLATE I. Figure i. 
 
 IN order to explain the general Rules of Perfpective, let us fuppofe 
 we fee the real Objects ; as Part of a Garden, with fome diftant 
 Profpects ; and, between them and the Spectator's Eye, let us imagine a 
 tranfparent Plane, as Glafs, to be placed perpendicularly on the Ground, 
 at the nearefr. Part of the Objects, on or thro' which Plane we fee their 
 Reprefentations : And it is with the Affiftance of this imaginary Plane 
 that we are to underftand the Principles, and are fuppofed to produce the 
 perfpective Projection or Reprefentation. 
 
 The Seat, or Line, on which this Plane ftands, is called the Bafe-Line, 
 ns ZY. 
 
 The Line HI, at the Horizon, is called the Horizontal Line. The 
 Height or Diftance this Line is from the Bafe-Line, is always equal to 
 the Height of the Eye of the Spectator, and is always drawn parallel to 
 •the Bafe-Line. 
 
 The 
 
PERSPECTIVE. 45 
 
 The Diftance which we are from the imaginary Plane, when at the 
 Station where we propofe to take the Perfpective View, is the Diftance 
 of the Picture, 
 
 The Point of Sight is the principal Point in a Picture. It is that Point, 
 where a Line from the Spectator's Eye cuts the imaginary Plane at right 
 Angles ; and which I always diftinguifh with the Letter S. 
 
 The Line SO, is equal to the Diftance of the Picture, and cuts the 
 Horizontal Line at right Angles, as the principal Ray does the imaginary 
 Plane : Therefore O is the Eye-point ; becaufe it reprefents the Eye 
 transferred from its firft Pofition, or Point of View, to the imaginary 
 Plane. 
 
 The next thing we are to confider is the Ground-Plane. 
 
 The Ground-Plane is that Part which is below' the Bafe-Line Z Y : It 
 is the Plane whereon the Plans of the geometrical or original Objects are 
 drawn. 
 
 Though we are obliged to have the Ground-Plane below the Bafe- 
 Line, yet the Parts which are in it will be produced by the Rules above 
 it, and, as it were, beyond it, at a Diftance in a Perfpective Proportion, 
 as thofe in the Ground-Plane are diftant from the Bafe-Line. 
 
 We mould remember, that, in order to reprefent any Objects in Per- 
 ipective, it is necefiary that we underftand their geometrical Plan, Eleva- 
 tion, Profile, and Section, before we attempt the Perfpective Projection. 
 
 In the Beginning of the Work, we mould firft draw the Bafe-Line : 
 Then affume a Point for the Point of Sight, and draw the Horizontal 
 Line through it. 
 
 Make SO equal to the Diftance of the Picture, and defign the geo- 
 metrical Plan of the Object in the Ground-Plane. 
 
 Here the geometrical or original Object is the Point A : The Repre- 
 fentation of which is required to be found in the imaginary Plane or 
 Picture. Firft, 
 
46 PERSPECTIVE. 
 
 Fkft, draw a Line from the given Point, to cut the Bafe-Line in any 
 Direction at Pleafure, as AB : Parallel to that draw a Line from theEve- 
 ] idint to cut the Horizontal Line, which gives the Vaniming Point for the 
 Reprefentation of the Line AB. Here the Line OS is parallel to the 
 Line AB ; therefore S will be the Vaniming Point. Draw the Lines BS 
 and AO, the Interferon of which is a, the Reprefentation fought. The 
 Line B a is alfo the Reprefentation of its Original BA. 
 
 We may find the Reprefentation of the Seat or Place where the Pine- 
 tree grows, without ufing the Original in the Ground-Plane, thus : 
 Bring down the Diftance SO to the Horizontal Line, as SD ; and bring 
 up BA to the Bafe-Line, as BC ; which makes BC and SD parallel: 
 then a Line drawn from C to D will cut the Line B S in a : Therefore, 
 if we fuppofe the imaginary Plane to be the Picture, and having affumed 
 the Line BS, in which we fuppofe the Pine-tree, make BC, on the 
 Bottom of the Picture, equal to the Diftance we fuppofe or know the Tree 
 is beyond the imaginary Plane (which Diftance is commonly called the 
 required Diftance), then the Line CD will interfect BS ; which gives the 
 Reprefentation fought. 
 
 S is the Vaniming Point of the original Line AB becaufe the Line AB 
 vaniihes in that Point. 
 
 The Reprefentation a, depends on the Parallelifm of the Lines OS and 
 AB: For were they parallel in any other Direction, they would then project 
 the Point a, in the very fame Place. 
 
 Now after this Explanation of the Firft Figure, we mould remember, 
 that the imaginary Plane is to be underftood and called the Picture. 
 
 Fig. 2. Let # , be five original Points given in the Ground- 
 
 Plane : To find their Reprefentations. 
 
 ZY is the Bafe-Line, DV the Horizontal Line, S the Point of Sight, 
 and SO the Diftance of the Picture. 
 
 Imtead of drawing the Lines from the Points in any Direction, we 
 may draw two parallel Lines thro' four of the Points to the Bafe-Line, as 
 
PERSPECTIVE. 47 
 
 eg, and ^/y, which will fhorten the Work: Then draw their Parallel 
 O V, from the Eye-point O, to cut the Horizontal Line, which will give 
 the Vaniming Point V : Draw g V, and fV, and interfect them with the 
 Rays bO, cO, and dO, which give the Reprefenta'dons i, 2, 3, 4. The 
 Points a, and e, are in a Line that is parallel to the Bafe-Line ; the 
 Reprefentation of which muft be parallel to the Bafe-Line alfo ; which 
 being interfered by the Ray e O, gives the Point 5. Then will the 
 Points 1,2,3,4, 5, be the Reprefentation of the original Points a, b, c, d, e, 
 the Projection fought. 
 
 We may find their Reprefentation, without ufing the Ground-Plane, 
 thus : Bring down the Diftance of the Vaniming Point V, to the Hori- 
 zontal Line, as v, and bring up the Lines c b g, and daf, to the Bafe- 
 Line ; then draw Lines from them to the Point v, which will interfect the 
 Lines g V, and f V, in the fame Points, as may be feen by the Line v h. 
 
 All Circles and curve-lined Figures are reprefented by finding feveral 
 Points in them, and then joining them neatly by Hand. Therefore we 
 mould affume in the original Lines only fo many Points as are abfolutely 
 neceffary, and in fuch manner as may be eafy for the Work of the Pro- 
 jection. 
 
 Fig. 3. Is the Method of dividing the Vifual Line ES, into any 
 Number of Parts, as the Trees, &c. 
 
 Let Z Y be the Bafe-Line, S the Point of Sight, SO the Diftance of the 
 Picture, and S D that Diftance brought to the Horizontal Line ; and let 
 the Line ES be required to be divided into a given Number of Parts 
 equal to FE. 
 
 Firft, bring up the given Space FE to the Bafe-Line, as iE, and draw 
 the Line 1 D, which interfects ES, in the Point 2, or the Seat of the firft 
 Tree. Inftead of continuing the Divilions on the Bafe-Line, we may 
 draw a Line from 1 , the firft Divilion, to the Point of Sight, and by making 
 the Line 2 3 , parallel to E 1 , we have a new Scale of the Space, at its 
 Place in the Picture j therefore all the reft are found by this Repetition. 
 
 PLATE 
 
4 8 
 
 PERSPECTIVE. 
 
 PLATE II. Fig. 4. 
 
 ALL Lines that interfect or cut the Picture at right Angles, are 
 JL jl called direct Lines ; which Lines will vanifh in the Point of Sight : 
 Therefore we fee Rows of Trees, or the like, which are in parallel Lines, 
 contract themfelves, and feem to grow more and more narrow, the far- 
 ther they are extended from the Eye. 
 
 The Reprefentations of direct Lines are called Vifual Lines or Rays. 
 
 Flere the Lines AB, and fg> are direct Lines, whofe Reprefentations 
 are the Vifuals BS andgS, which vanifh in the Point of Sight, as do alfo 
 both the green Walls, the Walk, and the Sides of the Buildings that are 
 parallel to them. The Side of the Building at I has its Parts, as the Bafe 
 and Frize, parallel to the Bafe-Line : But thofe in the Side where the 
 Windows are, and which are perpendicular to the firft, vanifh in the 
 Point of Sight. The fame holds with refpect to the Pavilion. 
 
 Fig. 5. ZY is the Bafe-Line, S the Point of Sight, DE the Horizon- 
 tal Line, and S O the Diftance of the Picture : a, b> c, d, e,f, g, are 
 direct Lines, the Reprefentations of which vanifh in S, the Point of Sight. 
 
 In order to underftand the Nature of the generating Lines and Angles, 
 and the Diftance of the Picture being placed above the Horizontal Line j 
 Suppofe they were turned or lifted upon their Axis, the Vanifhing Line 
 D E, till the Eye-point O is directly oppofite to the Point of Sight ; then 
 they would be in a vifual Plane, which paffes from the Spectator's Eye, 
 parallel to the Ground-Plane : The Interferon of which Plane with the 
 imaginary Plane or Picture is the Vanifhing Line of that Plane, or Hori- 
 zontal Line. 
 
 Lines which are drawn from the Eye-point to the Horizontal Line, 
 producing the Vanifhing Points, are called generating Lines. They are 
 alfo the Parallels of original Lines. In the nrft Figure, Plate!. OS k 
 
 the 
 
J 
 
PERSPECTIVE. 49 
 
 the Parallel of the Line AB. In the fecond, OV is the Parallel of the 
 Lines eg and df. In the third, the principal Ray is the Parallel of the 
 Line FE. And in the fourth Figure, Plate II. it is the fame to the Lines 
 AB, and fg. 
 
 The Generating Line OE, being parallel to the Diagonal eL, gives E 
 the vaniming Point of that Line : And D is the Vanishing Point of the other 
 Diagonal dK.. The Line OP, is alfo the Parallel of the original Line Ie. 
 Therefore P is the Vaniming Point of that Line. 
 
 The Lines that generate the Vaniming Points of two original Lines, 
 make the fame Angle at the Spectator's Eye, or Eye Point, as the original 
 Lines do with each other. 
 
 Here the Generating Angle SOE is equal to that of ^Le, and produces 
 that of SLE. And the Angle DOS is equal to that of dKe, and pro- 
 duces that of DKS. The Angle POS is alfo equal to that of elf, and pro- 
 duces the Angle PIS. 
 
 If we conlider the Plane of the Picture as a Ceiling, thefe Objects which 
 are laid on the Ground, will then appear perpendicular to the Plane of the 
 Ceiling. This fort of Peripective is eafy, becaufe the Reprefentation of 
 Objects which are parallel to the Plane of the Ceiling, are iimilar to their 
 Originals j and therefore will retain their geometrical Forms. 
 
 PLATE III. 
 
 ALL Reprefentations of Objects parallel to the Picture, are parallel 
 to its Original. Therefore thofe Lines that are parallel to the 
 Picture have no Vaniming Points ; becaufe the original Lines, which Ihould 
 produce the Parallel, are alio parallel to the Picture. 
 
 Lines that are parallel to the Picture, are called Tranfverfe Lines. 
 
 H 
 
 Fig. 
 
5 o PERSPECTIVE, 
 
 Fig. 6. ZY is the Bafe-Line, HI the Horizontal Line, S the Point 
 of Sight, and SD the Diftance of the Picture in the Horizontal Line, 
 which is a Point juft behind the Tree. 
 
 In this Picture all the Objects, but the approaching Walk, and the green 
 Wall, are parallel to the Picture. Here I have given the Plans of the four 
 Trees, and the Grafs-plot, and BZ, the Diftance the Wall is from the 
 Picture ; which Diftance is found by the Interferon of a Line from B 
 to the Point D, and the Vifual ZS, as A in the Bafe-Line of the Wall. 
 
 Make 726, equal to nm y and draw the Vifual nS. Interfect that with 
 the Line D6, which will give the Corner of the Grafs-plot. C3, is the 
 Diftance the Trees are from the Picture : The Interfection of the Line 
 5D and the Vifual 3S, will give the Reprefentation of the Seat of the 
 Tree, whole Plan is C j through which Point draw a Line parallel to the 
 Rttfcb&e, in which the Line will be the Seat of four Trees, and the End of 
 the green Wall. The reft of this Figure needs no Explication. 
 
 Fig. 7. MY is the Bafe-Line, S is the Point of Sight, SD the Hori- 
 zontal Line and Diftance of the Picture. » 
 
 Planes that are perpendicular to the Horizontal Plane, are called vertical 
 Planes. Therefore the imaginary Plane or Picture is a vertical Plane, 
 whofe Interfection with the Ground Plane is the Bafe-Line. The Objects, 
 whofe Sides are MNRD, are in the Plane of the Picture ; and thofe of A 
 and are in a Plane parallel to the Picture. The Line OG, is the Vanifh- 
 ing Line of a vertical Plane, which cuts the Picture in that Direction. 
 The Diftance of any Vanifhing Line, which paries through the Point of 
 .Sight is equal to the Diftance of the Picture j therefore GS, and OS, are 
 equal to SD. 
 
 In order to project the Object E, draw the Vifual f S for the urjper Side. 
 Then draw the two Diagonals NO, and f G, and the Sidejhl, which will 
 complete the whole Square, b in the Plane of the Picture, is the geome- 
 trical of a, the End of the Beam. 
 
 5 
 
 In 
 
PERSPECTIVE. 5! 
 
 In this feventh Figure it is obvious, after the Vanifhing Lines, their 
 Centers, and Diftances are fixed, that the Rules for drawing the Appear- 
 ance of Objects upon the vertical or perpendicular Plane, are the fame as 
 thofe for reprefenting them on the Horizontal Plane ; which Rules will 
 anfwer the fame to inclined Planes. 
 
 The Line which pafles through OL, is the Vanifhing Line of an inclined 
 Plane, which inclines to the Pidture in the Direction of the Line DO, and 
 OL is the Diflance of that Vanifhing Line, it being the Length of DO ; 
 which laft is the Parallel of the inclined Plane. More will be faid on this 
 Subject, when we come to the inclined Plane. 
 
 P L A T E IV. Fig. 8. 
 
 ZY is the Bafe-Line, HI the horizontal Line, S the Point of Sight, 
 and S O the principal Ray, or Diflance of the Picture. 
 
 The two direct Lines CA, and KL are Part of the Originals, vvhofe 
 vifual Lines AS and LS terminate this agreeable Walk. My Defign 
 in this Picture, is chiefly to fliew the Reprefentation of a Line, which is 
 perpendicular to the Ground Plane, whofe original Seat is C ; the Pro- 
 jection of which is the Interferon of the Vifual AS, and the Ray CO, 
 as a. 
 
 The Object which I have made choice of for the perpendicular Line, 
 is the Fuft of the Gothic Column ; the Axis of which is next to be 
 demonftrated. 
 
 Let AB, in the Plane of the Picture, be the given Height of the per- 
 pendicular Line, then will the Vifual BS determine the Top. And a 
 Line drawn from the Seat a, perpendicular to the Bafe-Line, gives the 
 Axis of the Column, the Reprefentation fought. 
 
 The Reprefentation is in a Vifual Plane, which paffes from the Line 
 AB, through the Column, the Face of the green Wall, and vanifhes in 
 
 H 2 S the 
 
5 2 PERSPECTIVE. 
 
 S the Vifual Point. This Vifual Plane is alio a vertical Plane, becaufe it 
 is in a perpendicular Direction. There is alfo a perpendicular Plane, which 
 paries through the Axes of the Yews, or Cone Trees, in which are found 
 their Heights.^ Their Seats may be found, as Fig. 3, in.theFirrr. Plate. 
 The Situation of the Buildings is parallel to the Picture, which may be 
 obferved by their parallel Parts correfponding with the Bafe-Line. 
 
 Fig. 9. ZY is the Bafe-Line, S the Point of Sight, DE the Hori- 
 zontal Line, SO the Diftance of the Picture, GO is the Vanifhing Line of 
 the vertical Plane, and SD is its Diftance, placed perpendicular to it. 
 
 All thefe Objects are in a perpendicular Polition to the Horizontal 
 Plane - y therefore all their Sides are in perpendicular or vertical. Planes. 
 
 The Figure A is the Reprefentation of a Cube, which has its nearer!: Side 
 in the Plane of the Picture ; the Perfpective of the upper Face, in the 
 Horizontal Plane, is fhewn by the Vifuals and the Diagonals from D and 
 E, in the Vanifhing Line of that Plane. 
 
 The Projection of the Side in the Vertical Plane, is alfo fhewn by the 
 Vifuals and Diagonals G 4, and O 5. Here I have made the double Pro- 
 jection to this Cube, only to fhew how exactly alike the Principles are to 
 both the Planes ; which will appear more, if we turn the Paper, fo that 
 the Vanifhing Line GO, be in the Horizontal Pofition; then the Horizontal 
 Scheme will be changed to die Vertical, and confequently appear fo. 
 
 The Pillar E, has that and its oppofite Side parallel to the Plane of the 
 Picture. But the other Sides are in vertical Planes, which vanifh in the 
 Vifual Point. The Plan is fhewn by the Diagonal to E. It is obvious 
 from this Figure, that all Objects, which are parallel to the Picture, can- 
 not alter nor change their Shapes j for if we fuppofe Lines continued from 
 all the Parts to the Vanifhing Point, and that they were cut by a Plane in 
 a vertical and-paraltel Direction to the Picture j yet then every Section 
 would retain the original Form of the Side E. 
 
 The Pillar B, placed obliquely with the Bafe-Line, has its nearer* Angle 
 in the Plane of the Picture > the Vanifhing Points are produced by the 
 
 Gene- 
 
I 
 
PERSPECTIVE. 53 
 
 Generating Lines, which make the right Angle at the Eye Point, as DOE, 
 the Repreientation of which is DhE, and DLE. The Side B, is in a 
 vertical Plane that paries through the Line Lh, and vanimes in the Point 
 E. The other Side e, is in the Plane hLD, and therefore vanimes in the 
 Point D. In order to project the Bottom, bring down the Diftance of the 
 Vaniming Point E to the Vaniming Line, as e. Make hf, equal to the 
 Side, and draw fe, which gives the Side h6 ; draw a Line from 6, paral- 
 lel to the Bafe-Line, to interfect h D, which gives the other Side : But if 
 the Vaniming Points were not at equal Diftance from the Point of Sight, 
 which is here the Vaniming Point of the Diagonal, then it would be 
 neceflary to draw Lines from 6 to D, and from E through 7, which 
 would give the other Side. 
 
 The triangular Pillar C, has its neareft Angle in the Plane of the Picture., 
 and its Plan in the Ground Plane ; the Projection of which is found by 
 bringing the Sides to the Bafe-Line, as 12 and 13. Draw 2D, which 
 gives the Side ^the Vifual Line ; d is the Diftance of D brought down 
 to the Horizontal Line ; draw 3 d which gives the other Side : Then raife 
 the Sides, and finifh the Top. The Side C is in a Vertical and Vifual 
 Plane, the Side I vanimes in the Point D. 
 
 The. neareft Parts of Objects will, in their Reprefentations, be farther! 
 from the Vaniming Line of the Horizontal Plane ; and if that Vaniming 
 Line was in the Middle, their Tops and Bottoms would then be exactly 
 fimilar, as may be underftood by thefe Objects. 
 
 T imagine, from the Principles which I have already laid down, the 
 Reader will be inclined to believe, that the Reprefentation of Objects 
 may be projected without the Ground Plane. For if we underftand the 
 Original, why mould we not ufe the fame Rules at the Part of the Object 
 in the Picture, where the Projection is required, as if it was below the 
 Bottom of the Picture ? Which Method would certainly fhorten the. 
 Work, and make it more eafy. 
 
 PLATE 
 
PERSPECTIVE. 
 
 P L A T E V. Fig. io. 
 
 ZY is the Bafe Line, PI the Horizontal Line, S the Point of Sight, 
 SO the Diilance of the Picture, and AB Part of an original 
 oblique Line. 
 
 All the Objects in this Picture are reprefented to the Eye obliquely ; 
 not one Vifual Line is to be found in the Work, except the principal Ray. 
 The Vanifhing Points vary in their Distances from the Point of Sight, 
 the Situation of the Wall is governed by the original Line AB, the Paral- 
 lel of which is OV, and PO is perpendicular to it. This makes the 
 Generating Angle POV 90 Degrees ; which determines the End of the 
 Wall to be fquare. 
 
 In order to find the Perfpective of the W all, we mould firft find the 
 Reprefentation of the Plan, from which we raife the Elevations : The 
 Whole being governed by two Vanifhing Points, with their Distances 
 brought to the Vanifhing Line, makes it very eafy. The Seat of the Trees 
 is found as that in Figure 3. Plate!, by making their Diftance or Space 
 from the fir/l Tree, parallel to the Bafe-Line ; and dividing the Line AP, 
 as E S, in that Figure ; but remember it mould be with the Diftance of the 
 Vanishing Point P. 
 
 The Obelifk at P, being placed with the Walks, has their Vanifhing 
 
 Points. 
 
 The Corner of the Building, at a, is fquare, though it appears an 
 obtufe Angle, which is owing to the little Diftance of the Picture. For 
 had the Point P been at a much greater Diftance, the Obliquity of the 
 Line PZ, would appear more to the Satisfaction of the Eye. 
 
 Fig. 11. Here AZ is the Bafe-Line, PV the Horizontal Line, S the 
 Point of Sight, and S O the Diftance of the Piclure. 
 
 I de- 
 
> 
 
PERSPECTIVE. 
 
 55 
 
 I defign to begin with the Projection of the Wall, and after that, of the 
 Floor, then the Object RT, and fo finifh with the Moulding above the 
 Wall. 
 
 The Generating Angle POV is a right Angle j therefore thofe of the 
 Wall will be fquare. 
 
 We fhould firfl make the Corner cl, then the Side E, and next that of 
 S. AfTume the Corner X Y, and draw Lines from it to P, to interfect thole 
 of cV and IV, which will give the Side M, and make the Side Y, which 
 finifhes the Wall. 
 
 The Line Oh, divides the Angle POV" equally, and ch is its Repre- 
 fentation. h is the Vanifhing Point of Lines that interfect the Wall, as 
 Diagonals do the Side of a Square. Let Ac be the Diagonal of the firff. 
 Square : Draw AV and AP, interfect them with Pc and Vc, which give 
 the Square Abed, the next Diagonal is be. By this Repitition it is eafy 
 to fee how the whole Floor is projected. 
 
 I defign the Corner f of the Object R T, to be exactly over the Point g, 
 and that its Side oppofite to T, fhould touch the Wall. 
 
 Let Ae in the Plane of the Picture, be the given Height of the Corner 
 f; therefore that Corner is the Interfection of eV, and a perpendicular 
 from g. 
 
 The Side next the Wall, and its oppofite T, are in a vertical Plane, 
 the Vanifhing Line of which is VH, becaufe it paffes through the Point 
 V in that Direction. And V is the Vanifhing Point of the common 
 Interfection of the vertical and Horizontal Planes. E is the Diflance of 
 the Vanifhing Point V, brought down to the Horizontal Line, the Place 
 where we fhould make the original Angle of Inclination, as VEH, which 
 is the Angle the Object is fuppofed to make with the Floor. And H is 
 the Vanifhing Point of the Inclination. 
 
 If from the Point E we draw a Line perpendicular to HE, to cut the 
 Vanifhing Line H V, then will that Point be the Vanifhing Point of Lines 
 
 perpendicular 
 
56 PERSPECTIV E. 
 
 perpendicular to die Side R. The Perpendicular at 3 gives the Length of 
 3 f. Draw all the Sides to their Vanifhing Points, which finifh the Repre- 
 fentation. 
 
 The moR exa6t and eafieft Method of projecting Mouldings in Archi- 
 tecture, is to make the geometrical Profile at its Place in the Picture, which 
 I defign to mew by the Projection of thefe three Mouldings, that reprefent 
 a fort of Cornice. 
 
 Let IKL be the geometrical Profile of the Mouldings, placed at the 
 Top of the Wall, to the Line cL. Draw a Line from the Vanifhing 
 Point of the Diagonal h, through L, cut that with a Line fromP, through 
 K, the Interfecfion of which is N, the Extremity of the Projection. By 
 repeating this Method at every Point of the Profile, down to the Bottom 
 I, we mall have the exact Reprefentation in a vertical Plane, which paffes 
 through the Angle or Mitre Joint. When this Projection of the Mitre 
 Joint is found, we has/e nothing more to do, but to continue the Lines 
 of the Sides, in their proper Direction. 
 
 PLATE VI. 
 
 THIS Picture is die Reprefentation of a large Block of Stone, 
 whofe Angles are fquare, like thofe'a Cube. It ftands on one of 
 its Edges on the Horizontal Plane, and is fupported by another Block. The 
 Line CP, is the Seat of the Edge it ftands on; and CV is the Seat of 
 the Side R. Its Angle of Inclination with the Horizontal Plane is equal to 
 the Angle VEH. Therefore H is the Vanifhing Point of its Inclination. 
 
 Fig. 12. Let ZY be the Bafe-Line, PE the Horizontal Line, S the 
 Point of Sight, SO the Diftance of the Picture, and P the Vanifhing 
 Point of the Edge the Block flands on. 
 
 Firft we mull find V, the Vanifhing Point of Lines that are perpendi- 
 , xular to the Point P 3 thus : Praw a Line from P to the Eye-point O, 
 
 and 
 
PERSPECTIVE. 57 
 
 and make OV perpendicular to the Line OP, which gives the Vanifhing 
 Point V : Then will V be the Vanifhing Point of the Seat of the Side R jj 
 which Side is in a vertical Plane, whofe Vanifhing Line paffes thro' V in 
 that Direction : Therefore V is the Vanifhing Point of the common Inter- 
 feron of the Vertical and Horizontal Planes. Draw the Vanifhing Line 
 GH; then will V be its Center, and VO its Diftance. Make VE per- 
 pendicular to the Vanifhing Line GH, and equal to its Diftance VO : 
 Then at the Point E make the geometrical Angle of Inclination, as VEH, 
 which gives H the Vanifhing Point of the Inclination. Draw EG per- 
 pendicular to EH, which makes G in that Vanifhing Line the Vanifhing 
 Point of Lines perpendicular to H. Next draw the Vanifhing Line PH, 
 and make S D parallel to it, and equal to the Diftance of the Picture 
 then, from the Point of Sight, draw a Line to cut the Vanifhing Line 
 PH at right Angles ; which gives I the Center, and ID the Diftance, 
 of that Vanifhing Line. 
 
 Here it is obvious in this Projection, that the Lines PH, GH, and PG, 
 are the three Vanifhing Lines of the feveral Faces of a Figure, which con- 
 tain a folid right Angle. 
 
 It is alfo veiy plain, that the Line EH, according to thefe Rules, mufl 
 be the geometrical of the original inclined Piane : Therefore, if we make 
 E b equal to the End or Thicknefs of the Block, then will <z, be the 
 Seat of b, as on the Horizontal Plane. 
 
 To proceed with the Projection : Make AB in the Plane of the Picture 
 equal to a b j then will the Point B be the neareft Angle of the Block. 
 
 Next we mould make IK equal to ID, and draw the Lines PK, and 
 HK, that generate a fquare Angle, which is equally divided by the Line 
 K e. Make BL equal to the Length of the Block, and parallel to the 
 Vanifhing Line PH. Draw a Line from L to h, the Diftance of P; 
 which will give the Side B n. Draw nH, and the Diagonal B e, and 
 thro' their Interferons draw a Line from P, which gives the upper Side. 
 Next draw the Line BG, which gives BC, the neareft Edge ; and draw 
 the Lines BP, CP, and BH, CHj then the Line nG, and one from the 
 Angle above S to G, will finifh the whole Reprefentation, or Projection of 
 the Block. 
 
 I I have 
 
58 PERSPE'CTIV E. 
 
 I have endeavoured to fhew, in the Progrefs of all the Schemes, that 
 the Principles, on which the whole Art depends, are fo fimple, that it is 
 obvious the Method is general to all Planes alike. 
 
 Firft, of the Horizontal Plane. The Diftance of the Picture muft be 
 placed from the Center, or Point of Sight, perpendicular to its Vaniihing 
 Line, before we can make the generating Angles, which give the Vaniih- 
 ing Points : Then we may bring down their Diftances to the Horizontal 
 Line, provided the Dimensions of the Original are brought parallel to < 
 them j as I have fhewn in the Courfe of the W ork. 
 
 Secondly, of the Vertical Plane. The Diftance of the Vaniihing Lin»* 
 is placed perpendicular to it ; and from the Eye-point proceed the gene- 
 rating Lines that give the Vanishing Points : The Diftance of which are 
 ufed and brought to the Vaniihing Line in the fame manner as thofe of 
 the Horizontal Plane. 
 
 And the Inclined Plane has its Diftance placed perpendicular to the 
 Vaniihing Line j and from the Eye-point proceed the generating Lines 
 and Angles, which produce the Vaniihing Points, and which are alfo 
 brought to the Vaniihing Line, and ufed as thofe of the Horizontal. 
 
 The Method of finding the Center of a Vaniihing Line, is, only to draw 
 a Line from the Point of Sight, to cut or interfect the Vaniihing Line at 
 right Angles ; which Interferon will be the Center of that Vaniihing 
 Line. The general Rule for finding the Diftance of a Vaniihing Line, is, . 
 always to make the Diftance of the Picture from the Point of Sight parallel 
 to that Vaniihing Line, and to draw a Line from that, to the Center of the 
 Vaniihing Line, which will be the Diftance of that Vaniihing Line, as DI 
 is to the Vaniihing Line PH, or OV to that of GH. 
 
 To find the perspective Reprefentation of Circles, we are obliged to 
 make a Plan of the Circle, or Part of the Plan, by adding fuch Lines to 
 it, as may eafily be projected, and leave a clear Idea of the required 
 Circle. 
 
 Fig. 13. Let S be the Point of Sight, D and E the Points of Diftance, 
 and KLMN the Scheme of the Plan. 
 
 The 
 
PERSPECTIVE. 59 
 
 The moft exact and eafieft Method, is, to inclofe the Circle with a 
 Square, and then make the two Diameters and Diagonals, which give the 
 eight required Points. But inftead of drawing Lines thro' the Points of 
 the Diagonals parallel to the Sides of the Square, I make them parallel 
 to the Diagonals : This Method gives the fame Points, with the Lines 
 nearer to the Circle than can be drawn by any other Method vvhatfoever. 
 The reft of the Figure needs no Demonstration. 
 
 Fig. 14. Shews the Method of making the Plan of the Circles, in 
 order to find the perfpective Reprefentation of the Torus j which I have 
 done according to my Method, juft fhewn, of drawing Circles ; and 
 which may be underftood very eafily, at Sight of this Figure. 
 
 The Perspective of the Torus feems to be a Circle contained in four 
 Lines, which are nearer or farther diftant from each other, according to 
 the Situation of the Eye : Two of which are perpendicular to the Hori- 
 zontal Plane: Thefe give the greateft Breadth of the Torus j the other two 
 are parallel to that Plane, and give the Height and Depth : The one is 
 the upper and farther!: Part of the Circle, the other the neareft and bottom 
 Part of the Torus. The two perpendicular Lines proceed from the Ex- 
 tremity of the Circle in the Plan, which are found from the Projection of 
 the two eight oppofite Parts : Thofe that give the Height and Depth are 
 governed by the Perfpective Section of the Bafe, which is in the Vertical 
 Plane. 
 
 Fig. 15. Is the Diagonal Scale j which is of univerfal Ufe for trans- 
 ferring all .Sorts of Defigns to the greateft Exactness, and fo eafy to under- 
 Hand, that one Demonftration is fufficient for every Artift ; who will, I 
 imagine, find no manner of Difficulty in applying it to Practice. Suppofe 
 AB to reprefent one Foot in the Defign which we are to work from, and 
 AC to be the intended Length of one Foot in that which we are going 
 to make. 
 
 The Method is, firft to take the Dimensions of the Part we propofe to 
 •begin with j then to place the ComparTes to, the Bafe-Line of the Scale, 
 
 I 2 and 
 
60 PERSPECTIVE. 
 
 and find what it is in the Line DBj then open them to that in- the 
 Line DC, which will be the required Length. 
 
 Thus the Reprefentation is found by Feet and Inches ; becaufe the 
 Bafe-Line D A contains twelve Parts, which confequently divide the 
 Length AB, and AC, on the Lines DB, and DC, into that Number. 
 
 By this Method we may make the Scale to any Proportion : And as it 
 is the Bufinefs of every Artift to find a proper Scale for his Purpofe, there- • 
 fore Painters are not obliged to ufe always fuch Scales as the Work was- 
 wrought to. 
 
 Suppofe we draw the Pedeftal without ufing the Method of Feet 
 and Inches : Divide the whole Height into any convenient Number 
 of equal Parts, and let one of thofe be for the Scale: Then divide 
 the Height we intend to make the Pedeftal of, in the fame manner, and 
 apply them to the Method of the Scale ; which will anfwer our Purpofe 
 as well. It is fometimes neceffary, in copying, to divide the Original into 
 a Number of Squares, and then divide the Cloth for the Copy the fame. 
 If in one of the Squares at the Corner of the Cloth we make the Scale 
 according to this Method, we may ufe them as we did the Scale - of Feet 
 and Inches. 
 
 The Number in the Bafe of the Scale is at our Pleafure. Remember 
 to make the Squares very large y for none but Novices make them 
 otherwife. 
 
 Fig. 1 6. Is a Method which I have often found to be of great Ufe, , 
 and very eafy to pra&ife, when we are a little ufed to it. 
 
 Suppofe the Line Aa, to be the Height of any Defign we have to work 
 from y and the Line Bb,the intended Height of that which we are going 
 to make. Draw the Bafe CB, then place the Defign perpendicular to it as 
 A a, Bb, &r. and draw a Line from b through a, to cut the Bafe, which 
 will give the Center C. 
 
 If 
 
PER S P E C T I V E. 
 
 61 
 
 If the Line Aa, be divided into any Number of Parts, and we draw 
 Lines from the Center C through them, to cut the Line Bb, then will they 
 divide the Line Bb in the fame Manner exactly. 
 
 Therefore if the Line Aa, was the Axis of a Column and Entablature, 
 the fame may be transferred to the Height we would have it, by having 
 a fmall Nail in the Center, and a fine Thread, fuch as the Wig-makers 
 weave with, and only {train the fame over the Parts in Aa, to Bb, which 
 will give the required Dimenfions. 
 
 In the fame Manner we may have all the Breadths, by applying them' 
 to the Line Aa, and continuing them to the Line Bb ; or if it is only a 
 few of them, as the Diameters, they may be done feparately : But remem- 
 ber, that after the Places of the Lines Aa and Bb are fixed, they muft con- 
 tinue fo, till the Whole is fmifhed. 
 
 The antique Figure in the fixth Plate, marked with the Letter X, is an 
 Object I have ftudied with great Application and Care, in order to project' 
 it exactly, according to the Rules of Perfpective ; and as I improved in the 
 Knowlege of the new Principles, I flattered myfelf I mould fucceed , 
 believing if I arrived at fuch Perfection in the Art, I mould then be able in 
 time to reprefent all Objects whatfoever, as fome of the Learned in the 
 Mathematicks will have it, according to the JiriSfeft Rules ; who dogma- 
 tically affert that every Part of the Perfpective mould be mathematically truer 
 When we fancy this to be really the Cafe, it is reafoxiable to believe that 
 we fhould be anxious to learn an Art, which we think fo abfolutely necef- 
 fary. Now, gentle Reader, I muft, confefs my Weaknefs, and tell you, that 
 notwithftanding all my Care, and puzzling after this mathematical Truth, 
 I find the Undertaking, was too great for my Capacity ; and therefore, from 
 the Experience of my Folly, I determined to give up the Attempt, and 
 flatter myfelf no farther with fuch Expectations. But whenever the 
 Rules which I have fhewn, mould fail, and grow tedious, which I believe 
 will not happen in Matters of Confequence, I defign immediately to fettle 
 the Affair at Sight of the Object. 
 
 The 
 
PERSPECT IV E. 
 
 The Volutes in the Capitals of Columns, and the Twift in Stair-cafes, 
 are Objects of this Nature, and very probably were taken from this An- 
 tique. It has alfo a great Refemblance to Mr. Hogarth's precife Serpentine 
 Line; and therefore, without doubt, has fome Grace, though the Twift 
 is a little quicker. It is an Object of well-varied Contents, whofe Pro- 
 portions gradually leffen to its Extremities ; and its Dimenfions are governed 
 by Fitnefs, Variety, Uniformity, Simplicity, Intricacy, and Quantity. What 
 a Pity it is, this venerable Object of Antiquity mould not be reprefented by 
 the jlrittejl Rules of Perfpedtive ! I confefs this would afford Matter of 
 Triumph to any learned Critic, that is happy enough to fucceed in the 
 Attempt. 
 
 In purfuance of our prefent Inquiry, fuppofe, according to a certain 
 chimerical new Syftem, the Objed: under our Consideration be imagined 
 . to have all its inward Contents nicely fcooped out, and the Eye at once to 
 view the Whole from within, and mark the oppofite correfponding Part*, 
 and take Care to acquire a perfect Idea of the Distances and Bearings of 
 their feveral material Points and Lines in the Surfaces : Or, for the more 
 eafy Defcription of the Projection, fuppofe we were to gauge the Contents 
 .with Wires, in order to aflift and guide us to a readier Conception of all 
 the intervening Parts j I leave it to the Critics to judge of what Ufe thefe 
 Expedients are, towards raifing in the Imagination a true and perfect Idea 
 of the Antique in Queftion. 
 
 The Pamphlet intituled A critical Examination of the "Paintings on the 
 Ceiling of the Banquet ing-houfe at White-hall, mews that that celebrated 
 Ceiling has nine (eparate Points of Sight : And that no Painting can appear 
 perfectly true, unlefs feen from the Point intended by the Painter : And 
 though a Picture may be perfectly true from one certain Point of View, 
 it cannot from any other. Therefore the Author has taken great Care, to 
 ihew the Necefiity of regarding a Picture, as intended by the Painter. 
 
 The Picture he fays, being always confidered as a tranjparent Surface or 
 Medium, through which the Vifual Rays are fuppofed to pafs j if the Spec- 
 tator changes his Situation, thofe Rays (in Nature) will interfecl that Sur- 
 face 
 
F E RSPE CTI VE, 63 
 
 face in different Points ; and therefore ( in the Picture J being determined to 
 jtich certai?2 Points, the Station of the Spectator becomes necefarily fxed and 
 unalterable, and the Picture mujl appear Jalfe feen oth'erwife. 
 
 Suppofe we fee, through a Window or tranfparent Plane, a real Cube, 
 placed directly oppofite, tho' fomewhat below, the Eye. In this Situation 
 we fhall fee only two Faces, one in Front, and the other at Top ; and if 
 we move to the Right or Left, we muft fee one of the other Faces. This 
 ishis Propofition ; which is certainly true. 
 
 In order to underftand the Principles of Perfpedtive, we are obliged to 
 confider the Picture as a tranfparent Plane, thro' which the vifual Rays 
 pafs to the Spectator's Eye. But when the Defign is really a Picture, 
 whofe Reprefentation is fixed upon fome opaque Body, as a Board, Wall, 
 or painted Cloth, that cannot be tranfparent, but a flat fmooth Surface j 
 and the Object reprefented is a Cube that fhews only two Faces, one in 
 Front, and the other at Top ; tho' we move to the Right or Left from 
 the Point of Sight, we mail never fee more by changing the Place ; nei- 
 ther is it reafonable to believe we mould : For if we find the fame Appear- 
 ance, tho' moved from the Point intended by the Painter, the Cafe is not 
 altered; which fhews there is no Neceffity of having the Eye of the 
 Spectator exactly in that identical Point. 
 
 If the Spectator's Eye muft coincide with the Point of Sight, the Diftance 
 mould be confidered accordingly ; and it will then be a very difficult Mat- 
 ter to come at the proper Point of View to fee the Picture ; and the more 
 fo, as its Horizon, when hung up, is feldom fo low as the Eye. 
 
 I own the Sight of the Pamphlet excited my Curiofity to examine the 
 Ceiling; and I find the Centre of the Whole to be the- only Point of Sight 
 requifite in all that noble Defign, For, from the Middle of the Room, 
 I fawthe Intention of that great Painter, and was convinced of it from 
 the Order of the Whole, and by the natural Pofition of the Figures, which 
 appeared all finely forefhortened, and looked like fuch living Objects 
 viewed from the middle of the Room below, which was, in my Opinion a 
 the principal Point of View that Rubens intended for the whole Ceiling, 
 
 4 
 
 1 
 
 I 'am - 
 
64. PER S PEC T I V E. 
 
 I am alfo of Opinion, that all Ceilings, except thofe of Galleries or 
 ; long Rooms, mould have but one Point of Sight ; and, that there are 
 fome Subjects, which I believe require no Point of Sight, as living Objects 
 reprefented in the Clouds, .which have no Architecture, nor any terrestrial 
 Appearance; which is the Cafe with moll of the Work in this Ceiling. 
 And if there is no Point of Sight required in the Work of the Picture, 
 then I think there is none in regard to its being truly feen ; becaufe the 
 Eye cannot coincide with the Point that never was made or intended. 
 
 It was not material to take Notice of the most dry and Hfelefs Part of 
 the Performance j I expected Mr. Highmore would have given us fome 
 ingenious Remarks on the Forelhortenings of the Figures, and of the 
 'Excellence of the Colouring, which I prefume would have been more 
 agreeable to his Readers, than telling them, that Rubens was a little 
 deficient in an Art which was never understood, as he might have faid, till 
 this Century. But it is reafonable to believe, if his Leifure had permitted 
 him to examine the Whole, he would have found much to commend, 
 and very little to censure. 
 
 As it may be expected, that I mould fay fomething of the Perfpective of 
 -Shadows, I mail only obferve, that the Geometrical or Perfpective Know- 
 lege of Shadows is of very little Confequence to a Painter ; it is easily 
 understood, when we have learned that of the Objects. But in my Opinion 
 Painters may Spare themfelves the Trouble of learning the lineal Perfpec- 
 tive of Shadows, becaufe their Bulinefs is to lTiun eveiy thing of that 
 Nature in a Picture. All the Limits and Shapes of Shadows mould vaniihi 
 .every Part that is hard and edgy cuts and offends the Eye. 
 
 Having now given my Readers the belt Infight in my Power to the 
 Practice of Painting and Perfpective, I hope they will excufe the Size of 
 this Treatife, which it has been my Study, from its first Projection, to con- 
 fine to as narrow Limits as possible, being from Experience convinced, that 
 an Art (if properly) cannot be too concifely described: Therefore I am 
 Jforry I could not, from the .Nature .of the Subjects, reduce it to a fhorter 
 ,.or leffer Work. 
 
 FINIS, 
 
ERRATA. 
 
 Page 6, Line 14, after do it, read in. P. 8, 1. laft, after ttfed, r. a/W. P. 23, I. 13, for 
 • -which, r. wA/VA reafon. P. 27, 1. 11, for r. ?/>£\ P. 29, 1. 26, 27, for Sattitz 
 
 and Velvet, and Vermillion for Cloth : The Middle Teint is Vermillion, r. Sat tin, Velvet, 
 and Cloth : The Middle is Vermillion and White. P. 32, 1. 18, for all the coloured, r. all co* / 
 loured. P.40, I.21, for then the Middle Teint s, r. and improving the Middle Teint s. P. 43, 
 
 1. 2, for rfrom, x.from. P. 50, 1. 14, for PiElure in which the Line, r. Bafe-line, in which - 
 
 Line. Ibid. 1. 22, for and B, r. and a. Ibid. I. 28, for Side h I, r. Sides hi andNf. 
 
 ^P. 52, 1. 4, for /^/r Seats, r. the Center of their Seats. Ibid. 1. 28, for # vertical and 
 parallel Diretlion, r. a vertical Diretlion, but parallel to the P::lur?. P. 53, 1. 1 6, tor 
 Side of x. Side in, P. 56, 1. 19, for thofe a, r. thofe of a. 
 
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