s much the more ancient kind of painting. Till a Flemish painter, one John van Eyck, better known by the name of John of Bruges, found out the art of painting in oil, the painters all painted in water and in fresco, both on their walls, on wooden boards, and elsewhere. When they made use of boards, they usually glued a fine linen cloth over them, to prevent their opening; then laid on a ground of white; lastly, they mixed up their colours with water and size, or with water and yolks of eggs, well beaten with the branches of a fig tree, the juice whereof thus mixed with the eggs; and with this mixture they painted their pieces.

In limning, all colours are proper enough, except the white made of lime, which is only used in fresco. The azure and ultramarine must always be mixed with size or gum; but there are always applied two layers of hot size before the size colours are laid on: the colours are all ground in water each by itself; and, as they are required in working, are diluted with size water. When the piece is finished, they go over it with the white of an egg well beaten; and then with varnish, if required.

To limn, or draw a face in colours: Having all the materials in readiness, lay the prepared colour on the card even and thin, free from hairs and spots, over the place where the picture is to be. The ground being laid, and the party placed in a due position, begin the work, which is to be done at three sittings. At the first you are only to dead-colour the face, which will require about two hours. At the second sitting, go over the work more curiously, adding its particular graces or deformities. At the third sitting, finish the whole; carefully remarking whatever may conduce to render the piece perfect, as the cast of the eyes, moles, scars, gashes, and the like.