Rose pink. Vermilion. Red-lead. Brown red. Red orpiment. Ultramarine. Verditer. Indigo. Gallstone. Yellow-ochre. Dutch pink. Gamboge. Naples yellow. Pale masticot. Deep yellow masticot. Ivory-black. Lamp black. True Indian ink. Bittre, or wood-fox. Raw umber. Burnt umber. Sap-green. Verdigrife. Flake-white. Crayons of all colours. Gold and silver flels. Leaf gold and leaf-silver.

The seven transparent colours, which are used where writing is seen through the colour.

Lake. Blue. Yellow. Grafs-green. Dark green. Purple colour. Brown.

Liquid

Most of these colours necessary for miniature painting may easily be prepared by attending to the directions given under the article Colour-Making.

As colours taken from earth and other heavy matter are always too coarse be they never so well ground, especially for delicate work, because of a certain sand remaining in them; the finest parts may be drawn out by diluting them with the finger in a cup of water. When they are well steeped, let them settle a while: then pour out the clearest, which will be at top, into another vessel. This will be the finest, and must be let dry; and when it is used, must be diluted with gum-water.

If you mix a little of the gall of an ox, a carp, or an eel, particularly of the last, in green, black, grey, yellow, and brown, colours, it will not only take away their greasy nature, but also give them a lustre and brightness they have not of themselves. The gall of eels must be taken out when they are skinned, and hung upon a nail to dry; and when you would use it, it must be diluted with brandy; add a little of it mixed with the colour you have diluted already. This likewise makes the colour stick better to the vellum, which it hardly does when it is greasy: moreover, this gall hinders it from scaling.

Some colours are made clearer by fire; as yellow ochre, brown red, ultramarine, and umber: all others are darkened by it. But if you heat the said colours with a sharp fire, they change; for the brown-red becomes yellow; yellow ochre becomes red; umber reddens also. Cerus by fire takes the colour of citron, and is often called majicot. Observe, that yellow ochre heated, becomes more tender than it was, and softer than brown red. Likewise brown red heated becomes softer than fine yellow ochre. Both are very proper. The finest and truest ultramarine, heated upon a red-hot iron, becomes more glittering; but it wastes, and is coarser and harder to work with in miniature.

All these colours are diluted in little cups of ivory, made on purpose, or in sea-shells, with water in which gum arabic and sugar-candy are put. For instance, in a glass of water put a piece of gum as big as a walnut, and half that quantity of sugar-candy. This last hinders the colours from scaling when they are laid on, which they generally do when they want it, or the vellum is greasy.

This gum-water must be kept in a neat bottle corked; and you never must take any out of it with a pencil that has colour upon it, but with a quill or some such thing.

Some of this water is put in the shell with the colour you would temper, and diluted with the finger till it be very fine. If it be too hard, you must let it soften in the shell with the said water before you dilute it. Afterwards let it dry: and do thus with every colour, except lily-green, lap-green, and gamboge, which must be tempered with fair water only. But ultramarine, lake, and bittre, are to be more gummed than other colours.

If you make use of sea-shells, you must let them steep two or three days beforehand in water: then cleanse them in boiling-hot water, mixed with vinegar, in order to carry off a certain salt, which otherwise sticks to them, and spoils the colours that are put to them.

To know whether colours are sufficiently gummed, you have nothing to do but to give a stroke of the pencil upon your hand when they are diluted, which dries immediately: if they chap and scale, there is too much gum; if they rub out by passing the finger over them, there is too little. It may be seen likewise when the colours are laid on the vellum, by passing the finger over them. If they stick to it like a powder, it is a sign there is not gum enough, and more must be put to the water with which you temper them; but take care you do not put too much; for that makes the colour extremely hard and dry. It may be known likewise by their glueiness and brightness: so the more they are gummed, the darker they paint; and when you have a mind to give a greater strength to a colour than it has of itself, you have nothing to do but to give it a great deal of gum.

Provide yourself with an ivory pallet, very smooth, as big as your hand; on one side of which the colours for the carnation, or naked parts of a picture, are to be ranged in the following manner. In the middle put a great deal of white, pretty largely spread; because it is the colour most made use of; and upon the edge, from the left to the right, place the following colours at a little distance from the white.

Masticot. Dutch-pink. Orpiment.

Yellow Yellow ochre. Green; composed of verditer, Dutch pink, and white, in equal quantities. Blue; made of ultramarine, indigo, and white, to a great degree of paleness. Vermilion. Carmine. Bilfre, and Black.

On the other side of the pallet, spread some white in the same manner as for the carnation. And when you have a mind to paint draperies, or other things, place near the white the colour you would make them of, in order to work, as shall be shown hereafter.

The use of good pencils is a great matter. In order to make a good choice, wet them a little; and if the hairs keep close together as you turn them upon the finger, and make but one point, they are good; but if they close not together, but make several points, and some are longer than others, they are good for nothing. When they are too sharp-pointed, with only four or five hairs longer than the rest, yet closing all together, they are, notwithstanding, good; but they must be blunted with a pair of scissors, taking care at the same time you do not clip away too much. It is proper to have two or three sorts of them; the largest for laying the grounds and dead colouring, and the smallest for finishing.

To bring the hairs of your pencil to join close together and make a good point, you must often put the pencil just between your lips when you are at work; moistening and pressing it close with the tongue, even when there is colour upon it; for if there be too much, some of it is taken off by this means, and enough left for giving fine and equal touches. You need not apprehend this will do you any harm. None of the colours for miniature, except orpiment, when they are prepared, have either ill taste or ill quality. This expedient must especially be used for dotting, and for finishing, particularly the naked parts of a picture, that the touches may be neat and fair, and not too much charged with colour. As for draperies and other things, as well in dead colouring as in finishing, it is sufficient, in order to make the hairs of your pencil join well, and to unload it when it has too much colour, to draw it upon the edge of the shell, or upon the paper you must put upon your work to rest your hand on, giving some strokes upon it before you work upon your piece.

To work well in miniature, you must do it in a room that has but one window, and fix yourself very near it, with a table and desk almost as high as the window; placing yourself in such a manner, that the light may always come in on the left side, and never forward or on the right.

When you would lay a colour on all parts equally strong, as for a ground, you must make your mixtures in shells, and put in enough for the thing you design to paint; for if there be not enough, it is a great chance but the colour you mix afterwards is too dark or too light.

Sect. III. Of Working.

After having spoke of vellum, pencils, and colours, let us now show how they are to be employed. In the first place, then, when you would paint a piece, be it carnation, drapery, or anything else, you must begin by dead-colouring; that is to say, by laying your colours on with liberal strokes of the pencil, in the smoothest manner you can, as the painters do in oil; not giving it all the force it is to have for a finishing; that is, make the lights a little brighter, and the shades less dark, than they ought to be; because in dotting upon them, as you must do after dead-colouring, the colour is always fortified, and would at last be too dark.

There are several ways of dotting; and every painter has his own. Some make their dots perfectly round; others make them a little longish; others hatch by little strokes that cross each other every way, till the work appears as if it had been wrought with dots. This last method is the best, the boldest, and the soonest done; wherefore such as would paint in miniature ought to use it, and to insure themselves from the first to dot in the plump and the soft way; that is to say, where the dots are lost, in a manner, in the ground upon which you work, and only so much appears as is sufficient to make the work seem dotted. The hard and the dry way is quite the reverse, and always to be avoided. This is done by dotting with a colour much darker than your ground, and when the pencil is not moistened enough with the colour, which makes the work seem rough and uneven.

Study likewise carefully to lose and drown your colours one in another, so that it may not appear where they disjoin; and to this end, soften or allay your touches with colours that partake of both, in such sort that it may not appear to be your touches which cut and disjoin them. By the word cut, we are to understand what manifestly separates and divides, and does not run in and blend itself with the neighbouring colours; which is rarely practised but upon the borders of drapery.

When your pieces are finished, to heighten them a little, give them a fine air; that is to say, give, upon the extremity of the lights, small touches with a colour yet lighter, which must be lost and drowned with the rest.

When the colours are dry upon your pallet or in your shells, in order to use them, they must be diluted with water. And when you perceive they want gum, which is seen when they easily rub off the hand or the vellum if you give a touch with them upon either, they must be tempered with gum water instead of pure water, till they are in condition.

There are several sorts of grounds for pictures and portraitures. Some are wholly dark, composed of bilfre, umbre, and Coogn earth, with a little black and white; others more yellow, in which is mixed a great deal of ochre; others greyer, which partake of indigo. In order to paint a ground, make a wash of the colour or mixture you would have it, or according to that of the picture or portraiture you would copy; that is to say, a very light lay, in which there is hardly anything but water, in order to soak the vellum. Then pass another lay over that, somewhat thicker, and strike it on very smoothly with large strokes as quick as you can, not touching twice in the same place before it be dry; because the second stroke carries off

Sect. IV.

When there are clouds in the sky, you may spare the places where they are to be; that is to say, you need not lay on any blue there, but form them, if they are reddish, with vermilion, gall-stone, and white, with a little indigo; and if they are more upon the black, put in a good deal of the last; painting the lights of one and the other with mastic, vermilion, and white, more or less of any of these colours, according to the strength you would give them, or according to that of the original you copy; rounding the whole as you dot; for it is a difficult matter to lay them very smooth at the first painting; and if the sky is not even enough, you must dot it also.

It is at your pleasure to exempt the places of the clouds, for you may lay them upon the ground of the sky; heightening the bright parts by putting a good deal of white, and fortifying the shadows by using less. This is the shortest way.

A night or stormy sky is done with indigo, black, and white, mixed together; which is laid as for a day-sky. To this mixture must be added ochre, vermilion, or brown-red, for the clouds; the lights of which are to be of mastic, or red-lead, and a little white; now redder, now yellower, at discretion. And when it is a tempestuous sky, and lightning appears in some places, be it blue or red, it is to be done as in a day-sky, drowning and losing the whole together at the first forming or dead-colouring, and at the halting.

Sect. IV. Of Draperies.

To paint a blue drapery, put ultramarine near the white upon your pallet; and mix a part of the one with the other, till it makes a fine pale, and has a body. With this mixture you must form the brightest parts; and then adding more ultramarine, form such as are darker; and go on after this manner till you come to the deepest plaits and the thickest shades, where you must lay pure ultramarine; and all this must be done as for a first-forming or dead-colouring; that is to say, laying the colour on with free strokes of the pencil, yet as smooth as you can; losing the lights in the shades with a colour neither so pale as the light nor so dark as the shades. Then dot with the same colour as in the first-forming, but a small matter deeper; that the dots may be fairly seen. All the parts must be drowned one in another, and the plaits appear without interfection. When the ultramarine is not dark enough to make the deeper shadows, how well forever it be gummed, mix a little indigo with it to finish them. And when the extremities of the lights are not bright enough, heighten them with white and a very little ultramarine.

A drapery of carmine is done in the same manner as the blue; except that in the darkest places there is to be a lay of pure vermilion, before you dead-colour with carmine, which must be applied at top; and in the strongest shades, it must be gummed very much. To deepen it the more, mix a little bitre with it.

There is likewise made another red drapery, which is first drawn with vermilion, mixing white with it to dead-colour the bright places, laying it pure and unmixed for those that are darker, and adding carmine. Of mine for the grand shades. It is finished afterwards, like other draperies, with the same colours. And when the carmine with the vermilion do not darken enough, work with the first alone, but only in the deepest of the shades.

A drapery of lake is made in the same manner with that of carmine; mixing a good deal of white with it for the bright places, and very little for those that are dark. It is finished likewise with dotting; but you have nothing to do with vermilion in it.

Violet draperies are likewise done after this manner; after making a mixture of carmine and ultramarine, putting always white for the bright parts. If you would have your violet be columbine or dove-colour, there must be more carmine than ultramarine; but if you would have it bluer and deeper, put more ultramarine than carmine.

A drapery is made of a flesh-colour, beginning with a lay made of white, vermilion, and very pale lake; and making the shades with the same colours, using less white in them. This drapery must be very pale and tender, because the stuff of this colour is thin and light; and even the shades of it ought not to be deep.

To make a yellow drapery, put a lay of masticot over all; then one of gamboge upon that, excepting the brightest places, where the masticot must be left entire; the dead-colour with ochre, mixed with a little gamboge and masticot, putting more or less of the last according to the strength of the shades. And when these colours do not darken enough, add gall-stone. And gall-stone pure and unmixed is used for the thickest shades; mixing a little bitre with it, if there be occasion to make them still darker. You finish by dotting with the same colours you dead-coloured with, and losing the lights and the shades in one another.

If you put Naples-yellow, or Dutch-pink, in lieu of masticot and gamboge, you will make another sort of yellow.

The green drapery is made by a general lay of verditer; with which, if you find it too blue, mix masticot for the lights, and gamboge for the shades. Afterwards add to this mixture lily-green or sap-green, to shadow with; and as the shades are thicker, put more of these last greens, and even work with them pure and unmixed where they are to be extremely dark. You finish with the same colours, a little darker.

By putting more yellow, or more blue, in these colours, you may make different sorts of greens as you please.

To make a black drapery, you dead-colour with black and white, and finish with the same colour, putting more black as the shades are thicker; and for the darkest, mix indigo with it, especially when you would have the drapery appear like velvet. You may always give some touches with a brighter colour, to heighten the lights of any drapery whatsoever.

A white woollen drapery is made by a lay of white, in which there must be a very small matter of ochre, erpiment, or gall-stone, that it may look a little yellowish. Then dead-colour, and finish the shades with blue, a little black, white, and bitre; putting a great deal of the last in the darkest.

The light-grey is begun with black and white, and finished with the same colour deeper.

For a brown drapery, make a lay of bitre, white, and a little brown-red; and shadow with this mixture, made a little darker.

There are other draperies, called variable, because the lights are of a different colour from the shades. These are mostly used for the vestments of angels, for young and gay people, for scarfs and other airy attire, admitting of a great many folds, and flowing at the pleasure of the wind. The most common are the violets; of which they make two sorts; one, where the lights are blue; and the other, where they are yellow.

For the first, put a lay of ultramarine and very pale white upon the lights; and shadow with carmine, ultramarine, and white, as for a drapery wholly violet; so that only the grand lights appear blue. Yet they must be dotted with violet, in which there is a great deal of white, and lost insensibly in the shades.

The other is done by putting upon the lights only, instead of blue, a lay of masticot; working the rest as in the drapery all violet, excepting that it must be dotted, and the light parts blended with the shadowy, that is, the yellow with the violet, with a little gamboge.

The carmine-red is done like the last; that is, let the lights be done with masticot, and the shades with carmine; and to lose the one in the other, make use of gamboge.

The lake-red is done like that of carmine.

The green is done as the lake; always mixing verditer with lily or sap green, to make the shades; which are not very dark.

Several other sorts of draperies may be made at discretion, always taking care to preserve the union of the colours, not only in one sort of cloth or so, but also in a group of several figures; avoiding, as much as the subject will allow, the putting of blue near the colour of fire, of green against black; and so of other colours which cut and disjoin, and whose union is not kind enough.

Several other draperies are made of foul colours, as brown-red, bitre, indigo, &c., and all in the same manner. Likewise of other colours, simple and compound; the agreement between which is always to be minded, that the mixture may produce nothing harsh and disagreeable to the eye. No certain rule can be laid down for this. The force and effect of your colours are only to be known from use and experience, and you must work according to that knowledge.

Linen-cloths are done thus: After drawing the plaits or folds, as is done in a drapery, put a lay of white over all; then dead-colour, and finish the shades with a mixture of ultramarine, black, and white, using more or less of the last, according to their strength or tenderness; and in the greatest deepenings put bitre, mixed with a little white; giving only some touches of this mixture, and even of pure bitre, upon the extremities of the greatest shadows, where the folds must be drawn, and lost with the rest.

They may be done in another manner, by making a general lay of this mixture of ultramarine, black- and very pale white; and dead-colour (as has been said before) with the same colour, but a little deeper. And when the shades are dotted and finished, heighten the lights with pure white, and lose them with the deepenings of the linen. But of whatever sort you make them, when they are finished, you must give a yellowish tinct of orpiment and white to certain places; laying it lightly on, and as it were in water; so that what is underneath may, notwithstanding, plainly appear, as well the shadows as the dotting.

Yellow linen-cloth is done by putting a lay of white, mixed with a little ochre. Then form and finish the shades with bistre, mixed with white and ochre; and in the thickest shades use pure bistre; and before you finish, give some points here and there of ochre and white, and others of white and ultramarine, as well upon the shades as the lights; but let them be very bright; and drown the whole together in dotting, and it will look finely. As you finish, heighten the extremities of the lights with masticot and white. You may add to this sort of linen, as well as to the white, certain bars from space to space, as in Turkey-mantua; that is, small stripes blue and red with ultramarine and carmine; one of red between two of blue, very bright and clear upon the lights, and deeper upon the shades. Virgins are pretty often dressed with veils of this sort (by Popish painters), and scarfs of this kind are put about necks that are bare; because they become the tinct mighty well.

If you would have both these sorts of linen transparent, and the stuff or other thing that is beneath appear through them, make the first lay for them very light and clear, and mix in the colour to shadow with, a little of that which is underneath, especially towards the end of the shades; and only do the extremities of the lights, for the yellow, with masticot and white; and for the white, with pure white.

They may be done in another manner, especially when you would have them altogether as c'car as muslin, lawn, or gauze. To this end form and finish what is to be beneath, as if nothing was to be put over it. Then mark out the light and clear folds with white or masticot; and a shadowy with bistre and white, or with black, blue, and white, according to the colour you would make them of; making the rest somewhat fainter: yet this is not necessary but for the parts that are not to be so clear.

Crape is done the same way; excepting that the folds of the shades and the lights, and the borders too, are to be marked out with little filaments of black upon what is underneath; which is likewise to be finished beforehand.

When you would make a stuff like a watered tabby, make the waves upon it with a colour a little lighter, or a little darker, in the lights and the shades.

There is a manner of touching draperies which distinguishes the filken from the woollen. The last are more terrestrial and sensible; the others more light and fading. But it must be observed, that this is an effect which depends partly upon the stuff and partly upon the colour; and for the employing these in a manner suitable to the subjects and the deepenings of painting, we shall here touch upon their different qualities.

We have no colour which partakes more of light, nor which comes nearer the air, than white; which shows it to be fickle and fleeting. It may, nevertheless, be held and brought to by some neighbouring colour, more heavy and sensible, or by mixing them together.

Blue is a most fleeting colour: and so we see, that the sky and the remotest views of a picture are of this colour; but it will become lighter and flicker in proportion as it is mixed with white.

Pure black is the heaviest and most terrestrial of all colours; and the more of it you mix with others, the nearer you bring them to the eye.

Nevertheless, the different dispositions of black and white make also their effects different; for white often makes black disappear, and black brings white more into view; as in the reflection of globes, or other figures to be made round, where there are always parts that fly as it were from the eye, and deceive it by the craft of art; and under the white are here comprehended all the light colours; as under the black, all the heavy colours.

Ultramarine is, then, soft and light.

Ochre is not so much so.

Masticot is very light; and so is verditer.

Vermilion and carmine come near this quality.

Orpiment and gamboge not so near.

Lake holds a certain mean, rather soft than rough.

Dutch pink is an indifferent colour, easily taking the quality of others. So it is made terrestrial by mixing it with colours that are so; and, on the contrary, the most light and fleeting by joining it with white or blue.

Brown-red, umber, dark greens, and bistre, are the heaviest and most terrestrial, next to black.

Skilful painters, who understand perspective, and the harmony of colours, always observe to place the dark and sensible colours on the fore-parts of their pictures; and the most light and fleeting they use for the distances and remote views. And as for the union of colours, the different mixtures that may be made of them will learn you the friendship or antipathy they have to one another. And upon this you must take your measures for placing them with such agreement as shall please the eye.

For the doing of lace, French-points, or other things of that nature, put over all a lay of blue, black, and white, as for linen; then heighten the flower-work with pure white; afterwards make the shades above with the first colour, and finish them with the same. When they are upon the carnation or naked parts of a picture, or upon any thing else that you would show through another, finish what is beneath, as if nothing was to be put over it; and at top, make the points or lace with pure white, shadowing and finishing them with the other mixture.

If you would paint a fur, you must begin with a kind of drapery, done, if it be dark, with bistre and white, making the shadowings of the same colour, with less white. If the fur be white, do it with blue, white, and a little bistre. And when this beginning, or first-forming, is done, instead of dotting, draw small strokes, turning now in one manner, now in another, according to the course and flatting of the hair. Heighten the lights of dark furs with ochre and white, and of the other with white and a little blue. For doing a building, if it be of stone, take indigo, biftre, and white, with which make the beginning or first form of it; and for shadowing it, put lefs of this laft; and more biftre than indigo, according to the colour of the stone you would paint. To these you may likewise add a little ochre, both for the forming and the finishing. But to make it finer, you must give, here and there, especially for old fabrics, blue and yellow teints, fome with ochre, others with ultramarine, mixing always white with them, whether before the first-forming, provided they appear through the draught, or whether upon it, lofing or drowning them with the reft when you finifh.

When the building is of wood, as there are many forts, it is done at discretion; but the moft ordinary way is to begin or first-form with ochre, biftre, and white, and finifh without white, or with very little; and if the shades are deep, with pure biftre. In the other they add fometimes vermilion, fometimes green or black; in a word, juft according to the colour they would give it; and they finifh with dotting, as in draperies and every thing elfe.

Sect. V. Of Carnations, or the naked parts of Painting.

There are in carnation fo many different colourings, that it would be a difficult thing to give general rules upon fo variable a subject. Nor are they minded, when one has got, by cuftom and practice, fome habit of working eafily: and fuch as are arrived to this degree, employ themfelves in copying their originals, or elfe they work upon their ideas, without knowing how: infomuch, that the moft skilful, who do it with lefs reflection and pains than others, would likewife be more put to it to give an account of their maxims and knowledge in the matter of painting, if they were to be asked what colours they made ufe of for fuch and fuch a colouring, a teint here, and another there.

Nevertheless, as beginners want fome instruction at the firft, we will show in general after what manner feveral carnations are to be done.

In the firft place, after having drawn your figure with carmine, and ordered your piece, apply, for women and children, and generally for all tender colourings, a lay of white, mixed with a very little of the blue made for faces, of which we have told the compofition; but let it hardly be feen.

And for men, inftead of blue, they put in this firft lay a little vermilion; and when they are old, a little ochre is mixed with it.

Afterwards follow all the traccs with vermilion, carmine, and white, mixed together; and begin all the shades with this mixture, adding white in proportion as they are weaker; and putting but little in the darkeft, and none, in a manner, in certain places where strong touches are to be given: for inftance, in the corner of the eye; under the nofe; at the ears; under the chin; in the feparations of the fingers; in all joints; at the corners of the nails; and generally in every part where you would mark out feparations in shades that are obfcurc. Neither need you fear to give to thofe places all the force and strength they ought to have as soon as you begin or first-form them, becaufe in working at top with green, the red you have put there is always weakened.

After having begun, or first-formed, or dead-coloured, with red, make blue teints with ultramarine and a great deal of white, upon the parts which fly from the eye; that is to fay, upon the temples; under and in the corners of the eyes; on both fides the mouth, above and below; a little upon the middle of the forehead; between the nofe and the eyes; on the fide of the cheeks; on the neck and other places where the flefh affumes a bluish caft. Yellowish teints are likewife made with ochre or orpiment, and a little vermilion mixed with white, under the eye-brows, on the fides of the nofe towards the bottom, a little underneath the cheeks, and upon the other parts which rife and come nearer the eye. It is efpecially from thofe teints that the natural complextion is to be obferved, in order to catch it; for painting being an imitation of nature, the perfection of the art confifts in the juftnefs and simplicity of the reprefentation, efpecially in face-painting.

When, therefore, you have done your firft lay, your dead colouring, and your teints, you muft work upon the shades, dotting with green for the carnations or naked parts, mixing, according to the rule we have given for the teints, a little blue for the parts which fly from the eye; and, on the other hand, making it a little yellower for thofe that are more fenfible; that is to fay, which rife, and come nearer the eye: and at the end of the shades, on the fide of the light, you muft blend and lofe your colour infenfibly in the ground of the carnation with blue, and then with red, according to the places where you paint. If this mixture of green does not work dark enough at firft, pafs over the shades feveral times, now with red, and now with green; always dotting: and this do till they are as they fhould be.

And if you cannot with thofe colours give the shades all the force they ought to have, finifh, in the darkeft, with biftre mixed with orpiment, ochre, or vermilion, and fometimes with pure biftre, according to the colouring you would make, but lightly, laying on your colour very clear.

You muft dot upon the clear and bright places with a little vermilion or carmine, mixed with much white, and a very fmall matter of ochre, in order to lofe them with the shadowy, and to make the teints die away infenfibly into one another; taking care, as you dot, or hatch, to make your frokes follow the turnings and windings of the flefhly parts. For though the rule be to crofs always, this dotting or hatching ought to appear a little more here, becaufe it rounds the parts. And as this mixture might make a colouring too red, if it was always to be ufed, they work likewife in every part, to blend the teints and the shades, with blue and a little green, and much white, fo mixed as to be very pale; excepting, nevertheless, that this colour muft not be put upon the cheeks, nor upon the extremities of the clear parts, no more than the other mixture upon thofe laft, which muft be left with all their light; as certain places of the chin, of the nofe, and of the forehead, and upon the cheeks; which, and the cheeks, ought nevertheless to be redder than the reft, as well as the feet, the holows of the hands, and the fingers of both.

Vol. XII. Part I. Observe, that these two last mixtures ought to be so pale, that the work shall hardly be visible; for they serve only to soften it; to unite the teints with one another, and the shades with the lights, and to drown the traces. Care must likewise be taken that you work not too much with the red mixture upon the blue teints, nor with the blue upon the others; but change the colour from time to time, when you perceive it works too blue or too red, till the work be finished.

The white of the eyes must be shadowed with this same blue, and a little flesh-colour; and the corners, on the side of the nose, with vermilion and white; giving them a little touch of carmine. The whole is softened with this mixture of vermilion, carmine, white, and a very small matter of ochre.

The apples or balls of the eyes are done with the mixture of ultramarine and white; the last prevailing a little; adding a little bistre, if they are yellowish; or a little black, if they are grey. Make the little black circle in the middle, called the crystal of the eye; and shadow the balls with indigo, bistre, or black, according to the colour they are of; giving to each a small touch of pure vermilion round the crystal; which must be lost with the rest at the finishing. This gives vivacity to the eye.

The round or circumference of the eye is done with bistre and carmine; that is to say, the slits or partings, and the eye lids, when they are large and bold; especially the upper ones; which must afterwards be softened with the red or blue mixtures we have mentioned before, to the end they may be lost in one another, and nothing seem interjected. When this is done, give a little touch of pure white upon the crystal, on the side of the lights. This makes the eye shine, and gives life to it.

The mouth is dead-coloured with vermilion, mixed with white; and finished with carmine, which is softened as the rest. And when the carmine does not work dark enough, mix a little bistre with it. This is to be understood of the corners in the separation in the lips; and particularly, of certain mouths half open.

The hands, and all the other parts of carnation, are done in the same manner as the faces; observing, that the ends of the fingers be a little redder than the rest. When your whole work is formed and dotted, mark the separations of all the parts with little touches of carmine and orpiment mixed together, as well in the shadowy as the light places; but a little deeper and stronger in the first, and lose them in the rest of the carnation.

The eye-brows and the beard are dead-coloured, as are the shades of carnations; and finished with bistre, ochre, or black, according to the colour they are of, drawing them by little strokes the way they ought to go; that is to say, give them all the nature of hair. The lights of them must be heightened with ochre and bistre, a little vermilion, and much white.

For the hair of the head, make a lay of bistre, ochre, and white, and a little vermilion. When it is very dark-coloured, use black instead of ochre. Afterwards form the shadowy parts with the same colours, putting less white in them; and finish with pure bistre, or mixed with ochre or black, by small strokes very fine, and close to each other, waving and buckling them according to the curling of the hair. The light parts must also be heightened by little strokes with ochre or orpiment, white, and a little vermilion. After which, lose the lights and the shades in each other, by working sometimes with a dark and sometimes with a light colour.

And for the hair about the forehead, through which the skin is seen, it must be first formed with the colour thereof, and that of the carnation, working and shadowing with one and the other, as if you designed to paint none. Then form it, and finish with bistre. The lights are to be heightened as the other. Grey hair is dead-coloured with white, black, and bistre, and finished with the same colour, but deeper; heightening the bright and clear parts of the hair, as well as those of the eye brows and the beard, with white and very pale blue, after having formed them as the others, with the colour of the flesh or skin; and finish with bistre.

But the most important thing is to soften one's work; to blend the teints in one another, as well as the beard and the hair about the forehead, with the other hair and the carnation; taking especial care not to work rough and dry; and that the traces, turnings, and windings of the carnation, or naked parts, be not intersected. You must likewise accustom yourself to put white in your colours only in proportion as you work lighter or darker; for the colour you use the second time must be always a little stronger and deeper than the first, unless it be for softening.

Different colourings are easily made, by putting more or less of red, or blue, or yellow, or bistre, whether for the dead-colouring, or for the finishing.—That for women ought to be bluish; that for children a little red; and both fresh and florid. That for men ought to be yellower; especially when they are old.

To make a colouring of death, there must be a first lay of white and orpiment, or a very pale ochre; dead-colour with vermilion, and lake, instead of carmine, and a good deal of white; and afterwards work over it with a green mixture, in which there is more blue than any other colour, to the end the flesh may be vivid and of a purple colour. The teints are done the same way as in another colouring; but there must be a great many more blue than yellow ones, especially upon the parts which fly from the sight, and about the eyes; and the last are only to be upon the parts which rise and come nearer the eye. They are made to die away in one another, according to the ordinary manner; sometimes with very pale blue, and sometimes with ochre and white, and a little vermilion; softening the whole together. The parts and contours must be rounded with the same colours. The mouth is to be, in a manner, of a quite violet. It is dead-coloured, however, with a little vermilion, ochre, and white; but finished with lake and blue; and to give it the deep strokes, they take bistre and lake; with which they likewise do the same to the eyes, the nose, and the ears. If it is a crucifix, or some martyr, upon whom blood is to be seen, after the finishing the carnation, form it with vermilion, and finish it with carmine, making in the drops of blood a little bright reflecting spark, to round them. For the crown of thorns, make a lay of sea-green and mastic; shadow... Shadow it with bitre and green; and heighten the clear and light parts with masticot.

Iron is formed, or first laid, with indigo, a little black and white; and finished with pure indigo, heightening it with white.

For painting fire and flames, the lights are done with masticot and orpiment; and for the shades, they mix vermilion and carmine.

A smoke is done with black, indigo, and white, and sometimes with bitre; one may likewise add vermilion or ochre, according to the colour it is to be of.

Pearls are painted by putting a lay of white, and a little blue; they are shadowed and rounded with the same colour, deeper; a small white dot is made almost in the middle, on the side of the light; and on the other side, between the shadow and the edge of the pearl, they give a touch with masticot, to make the reflection; and under the pearls is made a little shadow of the colour of the ground they are upon.

Diamonds are made with pure black; then they heighten them with little touches of white on the side of the light. It is the same thing for any other jewels you have a mind to paint: there is nothing to be done but to change the colour.

For making a figure of gold, put a lay of shell-gold, and shadow it with gall-stone. Silver is done the same way; excepting that it must be shadowed with indigo.

One great means to acquire a perfection in the art, is to copy excellent originals. We enjoy with pleasure and tranquillity the labour and pains of others. But a man must copy a great number before he is able to produce as fine effects; and it is better to be a good copier than a bad author.

**Sect. VI. Of Landscapes.**

In the first place, after having ordered the economy of your landscape as of your other pieces, you must form the nearest grounds or lands, when they are to appear dark, with lap or lily-green, bitre, and a little verditer, to give a body to your colour; then dot with this mixture, but a little darker, adding sometimes a little black to it.

For such pieces of ground as the light falls upon, and which are therefore clear and bright, make a lay of ochre and white; then shadow and finish with bitre. In some they mix a little green, particularly for shadowing and finishing.

There are sometimes upon the fore-part certain reddish lands; which are dead-coloured with brown-red, white, and a little green; and finished with the same, putting a little more green in them.

For the making of grasses and leaves upon the foreground, you must, when that is finished, form with sea-green, or verditer, and a little white; and for those that are yellowish, mix masticot. Afterwards shadow them with lily-green, or bitre and gall-stone, if you would have them appear withered.

The grounds or lands at a little distance are formed with verditer, and shadowed and finished with sap-green, adding bitre for some of the touches here and there.

Such as are at a greater distance, are done with sea-green and a little blue; and shadowed with verditer.

In a word, the farther they go, the more bluish they are to be made; and the farthest distances ought to be of ultramarine and white; mixing in some places small touches of vermilion.

Water is painted with indigo and white, and shadowed with the same colour, but deeper; and to finish it, instead of dotting, they do nothing but make strokes and traces without crossing; giving them the same turn with the waves, when there are any. Sometimes a little green must be mixed in certain places, and the light and clear parts heightened with pure white, particularly where the water foams.

Rocks are dead-coloured like buildings of stone; excepting that a little green is mixed for forming and shadowing them. Blue and yellow tints are made upon them, and left with the rest in finishing. And when there are small branches, with leaves, moss, or grass, when all is finished, they are to be raised at top with green and masticot. They may be made yellow, green, and reddish, for appearing dry, in the same manner as on the ground. Rocks are dotted as the rest; and the farther they are off, the more greyish they are made.

Cattles, old houses, and other buildings of stone and wood, are done in the manner abovementioned; speaking of those things, when they are upon the first lines. But when you would have them appear at a distance, you must mix brown-red and vermilion, with much white; and shadow very tenderly with this mixture; and the farther they are off, the weaker are the strokes to be for the separations. If they are covered with slate, it is to be made bluer than the rest.

Trees are not done till the sky be finished; one may, nevertheless, spare the places of them when they contain a good number; and however it be, such as come near the eye, are to be dead-coloured with verditer, mixing sometimes ochre; and shadowed with the same colours, adding lily-green. Afterwards you must work leaves upon them by dotting without crossing: for this must be done with small length dots, of a darker colour, and pretty full of it, which must be conducted on the side the branches go, by little tufts of a little darker colour. Then heighten the lights with verditer or sea-green, and masticot, making leaves in the same manner; and when there are dry branches or leaves, they are dead-coloured with brown-red or gall-stone, with white; and finished with gall-stone, without white, or with bitre.

The trunks of trees are to be dead-coloured with ochre, white, and a little green, for the light and clear parts; and for the dark, they mix black, adding bitre and green for shadowing one and the other. Blue and yellow tints are likewise made upon them, and little touches given here and there with white and masticot; such as you ordinarily see upon the bark of trees.

The branches which appear among the leaves are done with ochre, verditer, and white; or with bitre and white, according to the light they are placed in. They must be shadowed with bitre and lily-green.

Trees, which are at a little distance, are dead-coloured with verditer and sea-green; and are shadowed and finished with the same colours, mixed with lily-green. When there are some which appear yellowish, lay with ochre and white, and finish with gall-stone.

For such as are in the distances and remote views, you must dead-colour with sea-green; with which, for finishing, you must mix ultramarine. Heighten the lights of one and the other with masticot, by small disjointed leaves.

It is the most difficult part of landscape, in manner of miniature, to leaf a tree well. To learn, and break one's hand to it a little, the way is to copy good ones; for the manner of touching them is singular, and cannot be acquired but by working upon trees themselves; about which you must observe to make little boughs, which must be leafed, especially such as are below and toward the sky.

And generally, let your landscapes be coloured in a handsome manner, and full of nature and truth; for it is that which gives them all their beauty.

Sect. VII. Of Flowers.

It is an agreeable thing to paint flowers, not only on account of the splendour of their different colours, but also by reason of the little time and pains that are bestowed in trimming them. There is nothing but delight in it; and, in a manner, no application. You maim and bungle a face, if you make one eye higher than another; a small nose with a large mouth; and so of other parts. But the fears of these disproportions constrain not the mind at all in flower-painting; for unless they be very remarkable, they spoil nothing. For this reason most persons of quality, who divert themselves with painting, keep to flowers. Nevertheless, you must apply yourself to copy justly; and for this part of miniature, as for the rest, we refer you to nature, for she is your best model. Work, then, after natural flowers; and look for the tints and different colours of them upon your pallet: a little use will make you find them easily; and to facilitate this to you at the first, we shall, in the continuance of our design, show the manner of painting some; for natural flowers are not always to be had; and one is often obliged to work after prints, where nothing is seen but graving.

It is a general rule, that flowers are designed and laid like other figures; but the manner of forming and finishing them is different; for they are first formed only by large strokes and traces, which you must turn at the first the way the small ones are to go, with which you finish; this turning aiding much thereto. And for finishing them, instead of hatching or dotting, you draw small strokes very fine, and very close to one another, without crossing; repeating several times, till your dark and your clear parts have all the force you would give them.

Of Roses.—After making your first sketch, draw with carmine the red rose, and apply a very pale lay of carmine and white. Then form the shades with the same colour, putting less white in it; and lastly, with pure carmine, but very bright and clear at the first; fortifying it more and more as you proceed in your work, and according to the darkness of the shades. This is done by large strokes. Then finish; working upon it with the same colour by little strokes, which you must make go the same way with those of the graving, if it be a print you copy; or the way the leaves of the rose turn, if you copy after a painting, or after nature; losing the dark in the clear parts, and heightening the greatest lights, and the brightest or most lightsome leaves, with white and a little carmine. You must always make the hearts of roses, and the side of the shadow darker than the rest; and mix a little indigo for shadowing the first leaves, particularly when the roses are brown, to make them seem faded. The feed is dead-coloured with gamboge; with which a little sap-green is mixed for shadowing. Roses streaked with several colours, ought to be paler than others, that the mixture of colours may be better seen; which are done with carmine; a little darker in the shades, and very clear in the lights; always hatching by strokes. For white roses you must put a lay of white, and form and finish them as the red; but with black, white, and a little bistre; and make the feed a little yellower. Yellow roses are done by putting in every part a lay of masticot, and shadowing them with gamboge, gall-stone, and bistre; heightening the clear and light places with masticot and white.

The stiles, the leaves, and the buds of all sorts of roses are formed with verditer, with which is mixed a little masticot and gamboge; and for shadowing them, they add sap-green, putting less of the other colours when the shades are deep. The outside of the leaves ought to be bluer than the inside: wherefore it must be dead-coloured with sea-green, and sap-green mixed with that for shadowing, making the veins or fibres on this side clearer than the ground, and those on the other side darker. The prickles which are upon the stiles and buds of roses, are done with little touches of carmine, which are made to go every way; and for those that are upon the stalks, they are formed with verditer and carmine, and shadowed with carmine and bistre: making the bottom of the stalks more reddish than the top: i.e., you must mix with the green, carmine and pure bistre.

Of Tulips.—As there is an infinity of tulips, different from one another, one cannot pretend to mention the colours with which they are all done. We will only touch upon the handsomest, called fire-takes; and these streaks are dead-coloured with very clear carmine in some places, and with darker in others; finishing with the same colour by little strokes, which must be carried the same way with the streaks. And in others is put first a lay of vermilion. Then they form them by mixing carmine, and finish them with pure carmine. In some they put Florence-lake over the vermilion instead of carmine. Some are done with lake and carmine mixed together, and with lake alone, or with white and lake for the first forming; whether it be rose-pink or Florence-lake. There are some of a purple colour, which are formed with ultramarine, carmine, or lake, sometimes bluer and sometimes redder. The manner of doing both one and the other is the same: there is no difference but in the colours. You must, in certain places, as between the streaks of vermilion, carmine, or lake, sometimes put blue made of ultramarine and white, and sometimes a very bright purple, which is finished by strokes as the rest, and lost with the streaks. There are some likewise... Of likewife that have fallow teints, that are made with lake, bitre, and ochre according as they are; but this is only in fine and rare tulips, and not in the common ones. For shadowing the bottom of them, they ordinarily take indigo and white for such whose streaks are of carmine. For such as are of lake, they take back and white; with which, in some, bitre is mixed, and in others green. Some are likewife to be shadowed with gamboge and umber, and always by strokes and traces, that turn as the leaves turn. Other tulips are likewise done, called bordered; that is to say, the tulip is not streaked but on the edges of the leaves, where there is a border. It is white in the purple; red in the yellow; yellow in the red; and red in the white. The purple is laid with ultramarine, carmine, and white; shadowing and finishing it with this mixture. The border is spared; that is to say, le. only a light lay of white be put there, and let it be shadowed with very bright indigo. The yellow is formed with gamboge, and shadowed with the same colour, mixing ochre and umber or bitre with it. The border is laid with vermilion, and finished with a very small matter of carmine. The red is formed with vermilion, and finished with the same colour, mixing carmine or lake with it.—The bottom and the border are done with gamboge; and for finishing, they add gall-stone and umber, or bitre. The white is shadowed with black, blue, and white. Indian ink is very proper for this. The shadowings of it are very tender. It produces alone the effect of blue and white, mixed with the other black. The border of this white tulip is done with carmine. In all these sorts of tulips, they leave a nerve or finew in the middle of the leaves that are brighter than the rest; and the borders are drowned at the bottom by small traces, turning crosswise; for they must not appear cut and separated, as the streaked or party-coloured. They make them likewise of several other colours. When they happen to be such whose bottoms on the inside are black, as it were, they form and finish them with indigo, as also the feed about the nozzle or flak. And if the bottom is yellow, it is formed with gamboge, and finished by adding umbre or bitre. The leaves and the stalks of tulips are ordinarily formed with sea-green, and shadowed and finished with lily-green, by large traces all along the leaves. Some may likewife be done with verditer, mixing masticot with it, and shadowed with sap-green, that the green of the shades may be yellower.

The Anemony, or Wind-flower.—There are several sorts of them, as well double as single. The last are ordinarily without streaks. Some are made of a purple colour, with purple and white, shadowing them with the same colour; some redder, others bluer; sometimes very pale, and sometimes very dark. Others are formed with lake and white, and finished with the same, putting less white; some without any white at all. Others are formed with vermilion, and shadowed with the same colour, adding carmine. We see likewife white ones, and some of a citron colour. The last are laid with masticot; and one and the other shadowed and finished sometimes with vermilion, and sometimes with very brown lake, especially near the feed, at the bottom; which is often likewise of a blackish colour, that is done with indigo, or black and blue, mixing for some a little bitre; and always working by very fine strokes and traces, and losing the lights in the shades. There are others that are brighter and clearer at the bottom than anywhere else; and sometimes they are perfectly white there, though the rest of the flower be dark. The seed of all these anemonies is done with indigo and black, with a very little white, and shadowed with indigo; and in some it is raised with masticot. The double anemonies are of several colours. The handsomest have their large leaves streaked. Some are done, that is, the streaked or party-coloured, with vermilion, to which carmine is added for the finishing; shadowing the rest of the leaves with indigo; and for the small leaves within, a lay is put of vermilion and white, and they are shadowed with vermilion mixed with carmine, mixing here and there some stronger touches, especially in the heart of the flower, next the great leaves on the side of the shadow. They finish with carmine, by little strokes and traces, turning the same way with the mixed or party-colours, and the leaves. They form and finish the streaks or party-colours of some others, as well as the small leaves, with pure carmine; leaving, nevertheless, in the middle of the leaf, a little circle, in which is laid dark purple, which is lost with the rest. And when all is finished, they give some touches with this same colour round about the small leaves, especially on the side of the shadow; drowning them with the large ones, the remainder of which is shadowed either with indigo or black. In some, the small leaves are done with lake or purple, though the party-colours of the large ones be done with carmine. There are others, whose mixed colours are done with carmine, in the middle of most of the large leaves; putting in some places vermilion underneath, and losing these colours with the shadows of the bottom; which are done with indigo and white. The small leaves are laid with masticot, and shadowed with very dark carmine on the side of the shade, and with very clear on the side of the light, leaving there in a manner pure masticot, and giving only some little touches with orpiment and carmine, to separate the leaves, which may be shadowed sometimes with a very little pale-green. There are double anemonies painted all red, and all purple. The first are formed with vermilion and carmine, in a manner without white, and shadowed with pure carmine, well gummed, that they may be very dark. Purple anemonies are laid with purple and white, and finished with white. In a word, there are double anemonies as there are single ones, of all colours; and they are done in the same manner. The green of one and the other is verditer, with which masticot is mixed for forming. It is shadowed and finished with sap green. The stiles of them are a little reddish; therefore they are shadowed with carmine mixed with bitre, and sometimes with green, after having laid them with masticot.

The Carnation and the Pink.—It is with pinks and carnations as with anemonies and tulips; that is, there are some mixt-coloured, and others of one single colour. The first are streaked and diversified sometimes with vermilion and carmine; sometimes with pure lake, or with white; some streaks very dark, and others very pale; sometimes by little streaks and diversifications, and sometimes by large ones. Their bottom... bottoms are ordinarily shadowed with indigo and white. There are pinks of a very pale flesh colour, and streaked and diversified with another, a little deeper, made with vermilion and lake. Others, which are of lake and white, are shadowed and streaked without white. Others all red, which are done with vermilion and carmine as dark as possible. Others all of lake. And, lastly, there are others, wherein nature or fancy is the rule. The green of one and the other is sea-green, shadowed with lily-green or sap-green.

The Red-lily.—It is laid with red lead, formed with vermilion, and in the deepest of the shades with carmine; and finished with the same colour by strokes and traces, turning as the leaves turn. The clear and light parts are heightened with red lead and white. The feed is done with vermilion and carmine. The green parts are done with verditer, shadowed with lily or sap green.

The Day-lily.—There are three sorts of them: 1. The gridelin, a little red; 2. The gridelin, very pale; and, 3. The white.

For the first they put a lay of lake and white, and shadow and finish with the same colour deeper; mixing a little black to deaden it, especially in the darkest places.

The second are laid with white, mixed with a very little lake and vermilion, in such a manner that these two last colours are hardly seen. Afterwards they shadow with black and a little lake, working redder in the middle of the leaves, next the stalks; which ought to be, as also the feed, of the same colour, particularly towards the top; and at the bottom a little greener.

The tile of the feed is laid with masticot, and shadowed with sap-green.

The other day-lilies are done by putting a lay of pure white, and shadowing and finishing with black and white.

The stalks of these last, and the greens of them all, are done with sea-green, and shadowed with sap-green.

The Hyacinth, or Purpleflower.—There are four sorts of them: - The blue, a little dark; - Others paler; - The gridelin; - And the white.

The first are laid with ultramarine and white; and shadowed and finished with lsf white. Others are laid and shadowed with pale blue. The gridelines are formed with lake and white, and a very small matter of ultramarine; and finished with the same colour a little deeper. For the last they put a lay of white; then they shadow them with black, with a little white; and finish them all by strokes and traces, following the turnings and windings of the leaves. The green and the stalks of such as are blue, are done with sea and lily-green very dark; and in the stalks of the first may be mixed a little carmine, to make them reddish. The stalks of the two others, as also the green, are formed with verditer and masticot, and shadowed with sap-green.

The Piony.—A lay of Venice-lake and white must be put on all parts, pretty strong; then shadow with lsf white, and with none at all in the darkest places; after which finish with the same colour by traces, turning them as for the rose; gumming it very much in the deepest of the shades; and raising the lights and the edges of the most lightome leaves with white and a little lake. Little veins are likewise made, which go like the strokes in hatching, but are more visible. The green of this flower is done with sea-green, and shadowed with sap-green.

Cowslips.—They are of four or five colours. There are some of a very pale purple.

The gridelin. The white and the yellow.

The purple is done with ultramarine, carmine, and white; putting lsf white for shadowing. The gridelin is laid with Venice-lake, and a very small matter of ultramarine, with much white; and shadowed with the same colour deeper. For the white, a lay of white must be put; and they must be shadowed with black and white; and finished, as the others, by traces or strokes. The heart of these cowslips is done with masticot in the shape of a star, which is shadowed with gamboge, making a little circle in the middle with sap-green. The yellow are laid with masticot, and shadowed with gamboge and umber. The tiles, the leaves, and the buds, are formed with verditer, mixed with a little masticot, and finished with sap-green; making the fibres or veius, which appear upon the leaves, with this same colour; and heightening the lights of the largest with masticot.

The Ranunculus, or Crowfoot.—There are several sorts of them: the finest are the orange-coloured. For the first, they put a lay of vermilion, with a very small matter of gamboge; and add carmine for shadowing; finishing it with this last colour, and a little gall-tone. In the others may be put Venice-lake instead of carmine, especially in the heart of the flower. The orange-coloured are laid with gamboge, and finished with gall-tone, vermilion, and a little carmine; leaving some little yellow streaks. The green of the stalks is done with verditer and very pale masticot; mixing lily-green to shadow them. That of the leaves is a little darker.

The Crocus.—These are of two colours: - Yellow and purple. The yellow are formed with masticot and gall-tone, and shadowed with gamboge and gall-tone; after which, upon each leaf, on the outside, are made three streaks, separate from one another, with bitre and pure lake; which are lost by little traces, in the bottom. The outside of the leaves is left all yellow.—The purple is laid with carmine, mixed with a little ultramarine, and very pale white. They are formed and finished with lsf white; making likewise, in some, purple stripes or streaks, very dark, as in the yellow; and in others only small veins. The feed of both is yellow; and is done with orpiment and gall-tone. For the tiles, they put a lay of white, and shadow with black, mixed with a little green. The green of this flower is formed with very pale verditer, and shadowed with sap-green.

The Iris.—The Persian iris is done by putting, for the inside-leaves, a lay of white, and shadowing them with indigo and green together, leaving a little white separation in the middle of each leaf; and for

Of those on the outside, they put in the same place a lay of masticot, which is shadowed with gall-stone and orpiment; making little dark, and longish dots over all the leaf, at a small distance from one another. And at the end of each are made large strains, with bitre and lake in some, and in others with pure indigo, but very black. The rest, and the outside of the leaves, are shadowed with black. The green is formed with sea-green, and very pale masticot, and shadowed with sap-green. The Sufian iris is laid with purple and white, putting a little more carmine than ultramarine; and for the shades, especially in the middle leaves, they put less white; and, on the contrary, more ultramarine than carmine; making the veins of this very colour, and leaving in the middle of the inside leaves a little yellow fine. There are others which have this very fine in the first leaves; the end of which only is bluer than the rest. Others are shadowed and finished with the same purple, redder; They have also the middle fine on the outside leaves; but white and shadowed with indigo. There are likewise yellow ones; which are done by putting a lay of masticot and orpiment; shadowing them with gall-stone, and making the veins upon the leaves with bitre. The green of one and the other is done with sea-green, mixing a little masticot for the stiles. They are shadowed with sap-green.

The Jasmin.—It is done with a lay of white, and shadowed with black and white; and for the outside of the leaves, they mix a little bitre; making the half of each, on this side, a little reddish with carmine.

The Tuberose.—For the doing of this, they make a lay of white, and shadow with black, with a little bitre in some places; and for the outside of the leaves they mix a little carmine, to give them a reddish taint, particularly upon the extremities. The feed is done with masticot, and shadowed with sap-green. The green of it is laid with verditer, and shadowed with sap-green.

The Hellebore.—The flower of hellebore is done almost in the same manner; that is, let it be laid with white, and shadowed with black and bitre, making the outside of the leaves a little reddish here and there. The feed is laid with dark green, and raised with masticot. The green of it is foul and rusty, and is formed with verditer, masticot, and bitre; and finished with sap-green and bitre.

The White Lily.—It is laid with white, and shadowed with black and white. The feed is done with orpiment and gall-stone. And the green is done as in the tuberose.

The Snow-drop.—It is formed and finished as the white lily. The feed is laid with masticot, and shadowed with gall-stone. And the green is done with sea and sap-green.

The Jonquil.—It is laid with masticot and gall-stone, and finished with gamboge and gall-stone. The green is formed with sea-green, and shadowed with sap-green.

The Daffodil.—All daffodils, the yellow, the double, and the single, are done by putting a lay of masticot; they are formed with gamboge, and finished by adding umber and bitre; excepting the bell in the middle, which is done with orpiment and gall-stone, bordered or edged with vermilion and carmine. The white are laid with white, and shadowed with black and white; excepting the cup or bell, which is done with masticot and gamboge. The green is sea-green, shadowed with sap-green.

The Marigold.—It is done by putting a lay of masticot, and then one of gamboge; shadowing it with this very colour, after vermilion is mixed with it; and for finishing, they add gall-stone and a little carmine. The green is done with verditer, shadowed with sap-green.

The Austrian Rose.—For making the Austrian rose, they put a lay of masticot, and another of gamboge. Then they form it, mixing gall-stone; and finish it with the last colour, adding bitre and a very small matter of carmine in the deepest shades.

The Indian Pink, or French Marigold.—It is done by putting a lay of gamboge; shadowing it with this colour, after you have mixed a good deal of carmine and gall-stone with it; and leaving about the leaves a little yellow border of gamboge, very clear in the lights, and darker in the shades. The feed is shadowed with bitre. The green, as well of the rose as the pink, is formed with verditer, and finished with sap-green.

The Sunflower.—It is formed with masticot and gamboge, and finished with gall-stone and bitre. The green is laid with verditer and masticot, and shadowed with sap-green.

The Passionflower.—It is done as the rose, and the green of the leaves likewise; but the veins are done with a darker green.

Poetical Pinks and Sweet William.—They are done by putting a lay of lake and white; shadowing them with pure lake, with a little carmine for the last; which are afterwards dotted on all parts with little round dots, separate from one another; and the threads in the middle are raised with white. The green of them is sea-green, which is finished with sap-green.

The Scabious.—There are two sorts of scabious, the red and the purple. The leaves of the first are laid with Florentine lake, in which there is a little white; and shadowed without white; and for the middle, which is a great bofs or husk in which the feed lies, it is formed and finished with pure lake, with a little ultramarine or indigo to make it darker. Then they make little white longish dots over it, at a pretty distance from one another, clearer in the light than in the shade, making them go every way. The other is done by putting a lay of very pale purple, as well upon the leaves as the bofs in the middle; shadowing both with the same colour, a little deeper; instead of little white touches for the feed, they make them purple; and about each grain they make out a little circle, and this over the whole bofs or husk in the middle. The green is formed with verditer and masticot, and shadowed with sap-green.

The Sword or Day-lily—It is laid with Florence lake and very pale white; formed and finished with pure lake, very clear and bright in some places, and very dark in others; mixing even bitre in the thickest of the shades. The green is verditer, shadowed with sap-green.

Hepatica, or Liverwort.—There is red and blue. The last is done by putting on all parts a lay of ultramarine, white, and a little carmine or lake; shadow- ing the inside of the leaves with this mixture, but deeper; excepting those of the first rank; for which, and for the outside of every one of them, they add indigo and white, that the colour may be paler, and not so fine. The red is laid with lake-columbine and very pale white; and finished with less white. The green is done with verditer, masticot, and a little bitre; and shadowed with sap-green, and a little bitre, especially on the outside of the leaves.

The Pomegranate.—The flower of the pomegranate is laid with red lead; shadowed with vermilion and carmine; and finished with this last colour. The green is laid with verditer and masticot, and shadowed with sap-green.

The Flower of the Indian Bean.—It is done with a lay of Levant-lake and white; shadowing the middle leaves with pure lake; and adding a little ultramarine for the others. The green is verditer, shadowed with sap-green.

The Columbine.—There are columbines of several colours: the most common are the purple, the gridelin, and the red. For the purple, they lay with ultramarine, carmine, and white; and shadow with this mixture, deeper. The gridelin are done the same way, putting a great deal less ultramarine than carmine. The red are done with lake and white, finishing with less white. There are some mixed flowers of this kind, of several colours; which must be formed and finished as the others, but paler, making the mixtures of a little darker colour.

The Lark's Heel.—These are of different colours, and of mixed colours: the most common are the purple, the gridelin, and the red; which are done as the columbines.

Violets and Pansies.—Violets and pansies are done the same way; excepting that in the last the two middle leaves are bluer than the others, that is, the borders or edges; for the inside of them is yellow; and there little black veins are made, which take their beginning from the heart of the flower, and die away towards the middle.

The Muscipula, or Catch-fly.—There are two sorts of it, the white and the red; the last is laid with lake and white, with a little vermilion, and finished with pure lake. As for the knot or nozzle of the leaves, it is formed with white and a very small matter of vermilion, mixing bitre or gall-stone to finish it. The leaves of the white are laid with white; adding bitre and masticot upon the knots, which are shadowed with pure bitre, and the leaves with black and white. The green of all these flowers is done with verditer and masticot, and shadowed with sap-green.

The Crown Imperial.—There are of two colours, the yellow and the red. The first is done by putting a lay of orpiment, and shadowing it with gall-stone and orpiment, with a little vermilion. The other is laid with orpiment and vermilion, and shadowed with gall-stone and vermilion; making the beginning of the leaves next the tile, with lake and bitre, very dark; and veins with this mixture, both in one and the other, all along the leaves. The green is done with verditer and masticot, shadowed with sap-green and gamboge.

The Cyclamen, or Sowbread.—The red is laid with carmine, a little ultramarine, and much white; and finished with the same colour, deeper; putting, in a manner, only carmine in the middle of the leaves, next the heart, and in the rest add a little more ultramarine. The other is laid with white, and shadowed with black. The stalks of one and the other ought to be a little reddish; and the green, verditer and sap-green.

The Gilliflower.—There are several sorts of gilliflowers; the white, the yellow, the purple, the red, and the mixed, of various colours. The white are laid with white, and shadowed with black, and with a little indigo in the heart of the leaves. The yellow, with masticot, gamboge, and gall-stone. The purple are formed with purple and white; and finished with less white; making the colour brighter in the heart, and even a little yellowish. The red with lake and white; finishing them with white. The mixed-coloured are laid with white, and the mixtures are sometimes made with purple, in which there is much ultramarine; others again, in which there is more carmine. Sometimes they are of lake, and sometimes of carmine. Some are done with white, and others without white; shadowing the rest of the leaves with indigo. The seed of all is formed with verditer and masticot, and finished with sap-green. The leaves and tiles are laid with the same green, mixing sap-green to finish them.

Fruits, fishes, serpents, and all sorts of reptiles, are to be touched in the same manner as the figures of men are; that is, hatched or dotted.

Birds and all other animals are done like flowers, by strokes or traces.

Never make use, for any of these things, of white-lead. It is only proper in oil. It blackens like ink, when only tempered with gum; especially if you set your work in a moist place, or where perfumes are. Ceruflis of Venice is as fine, and of as pure a white. Be not sparing in the use of this, especially in forming or dead colouring; and let it enter into all your mixtures, in order to give them a certain body, which will render your work gluish, and make it appear soft, plump, and strong.

The taste of painters is, nevertheless, different in this point. Some use a little of it, and others none at all. But the manner of the last is meagre and dry. Others use a great deal; and doubtless it is the best method, and most followed among skilful persons. Besides that it is speedy, one may by the use of it copy all sorts of pictures; which would be almost impossible otherwise; notwithstanding the contrary opinion of some, who say, that in miniature we cannot give the force and all the different tints we see in pieces in oil. But this is not true, at least of good painters; and effects prove it pretty plainly: for we see figures, landscapes, pictures, and every thing else in miniature, touched in as grand, as true, and as noble a manner (though more tender and delicate), as they are in oil.

However, painting in oil has its advantages; were they only thele, that it exhibits more work, and takes up less time. It is better defended likewise against the injuries of time; and the right of birth must be granted it, and the glory of antiquity.

But miniature likewise has its advantages; and without repeating such as have been mentioned already, it is neater and more commodious. You may easily carry all