anciently Colchis, a part of Western Georgia, in Asia; bounded on the east by Iberia, or Georgia properly so called; on the west, by the Euxine sea; on the south, by Armenia, and part Mingrelia of Pontus; and on the north, by Mount Caucasus.

Colchis, or Mingrelia, is watered by a great many rivers; as the Corax, the Hippus, the Cyaneus, the Charifus, the Phasis, where the Argonauts landed, the Abfarus, the Cifa, and the Ophis, all emptying themselves into the Euxine sea. The Phasis does not spring from the mountains in Armenia, near the sources of the Euphrates, the Araxes, and the Tigris, as Strabo, Pliny, Ptolemy, Dionysius, and after them Ariarathes, Calmet, and Sanfoni, have falsely asserted; but rises in Mount Caucasus; and flows not from south to north, but from north to south, as appears from the map of Colchis or Mingrelia in Thevenot's collection, and the account which Sir John Chardin gives of that country. This river forms in its course a small island called also Phasis: whence the pheasants, if Idforus is to be credited, were first brought to Europe, and thence called by the Greeks Phasiaci. The other rivers of Colchis are considerable.

The whole kingdom of Colchis was in ancient times very pleasant and fruitful, as it is still where duly cultivated; abounded in all necessaries of life; and was enriched with many mines of gold, which gave occasion to the fable of the Golden Fleece and the Argonautic expedition, so much celebrated by the ancients.

Sir John Chardin tells us, that this country extends above 100 miles in length and 60 in breadth; being not near so extensive as the ancient Colchis, which reached from the frontiers of Iberia or Georgia Proper, westward to the Palus Maeoticus: that it is beautifully diversified with hills, mountains, valleys, woods, and plains, but badly cultivated: that there are all the kinds of fruits which are found in England, growing wild, but tasteless and insipid for want of culture: that, if the natives understood the art of making wines, those of this country would be the finest in the world; that there are many rivers which have their source in Mount Caucasus, particularly the Phasis, now called the Rion: that the country abounds in beves, hogs, wild boars, flags, and other venison; and in partridges, pheasants, and quails: that falcons, eagles, pelicans, lions, leopards, tygers, wolves, and jackals, breed on Mount Caucasus, and sometimes greatly annoy the country: that the people are generally handsome, the men strong and well made, and the women very beautiful; but both sexes very vicious and debauched: that they marry their nieces, aunts, or other relations, indifferently; and take two or three wives. A DELICATE kind of painting, consisting of little points or dots; usually done on vellum, ivory, or paper, with very thin, simple, water colours.—The word comes from the Latin minimum, "red lead;" that being a colour much used in this kind of painting. The French frequently call it miniature, from mignon, "fine, pretty," on account of its smallness and delicacy; and it may be ultimately derived from μικρός, "small."

Miniature is distinguished from other kinds of painting by the smallness and delicacy of its figures and faintness of the colouring; on which account it requires to be viewed very near.

Sect. I. Of Drawing and Designing.

To succeed in this art, a man should be perfectly skilled in the art of designing or drawing; but as most people who affect the one, know little or nothing of the other, and would have the pleasure of painting without giving themselves the trouble of learning to design (which is indeed an art that is not acquired without a great deal of time, and continual application), inventions have been found out to supply the place of it; by means of which a man designs or draws without knowing how to design.

The first is chalking: that is, if you have a mind to do a print or design in miniature, the backside of it, on another paper, must be blackened with small coal, and then rubbed very hard with the finger wrapped in a linen cloth: afterwards the cloth must be lightly drawn over the side to blackened that no black grains may remain upon it to soil the vellum you would paint upon; and the print or draught must be fastened upon the vellum with four pins, to keep it from shifting.

And if it be another paper that is blackened, it must be put between the vellum and the print, or draught, with the blackened side upon the vellum. Then, with a blunted pin or needle, you must pass over the principal lines or strokes of the print, or draught, the contours, the plait of the drapery, and over every thing else that must be distinguished; pressing so hard, that the strokes may be fairly marked upon the vellum underneath.

Copying by squares is another convenient method for such as are but little skilled in the art of designing, and would copy pictures, or other things, that cannot be chalked. The method is this: The piece must be divided into many equal parts by little squares, marked out with charcoal, if the piece be clear and whitish, and the black can be fairly seen upon it; or with white chalk, if it be too brown and dusty. After which, as many squares of equal dimensions must be made on white paper, upon which the piece must be designed; because, if this be done immediately upon vellum, (as one is apt to miscarry in the first attempt), the vellum may be foiled with false touches. But when it is neatly done upon paper, it must be chalked upon the vellum in the manner before described. When the original and the paper are thus ordered, observe what is in each square of the piece to be designed; as a head, an arm, a hand, and so forth; and place it in the corresponding part of the paper. And thus finding where to place all the parts of the piece, you have nothing to do but to form them well, and to join them together. By this method you may reduce or enlarge a piece to what compasses you please, making the squares of your paper greater or less than those of the original; but they must always be of an equal number.

To copy a picture, or other thing, in the same size Drawing and proportion, another method is, to make use of varnished paper, or of the skin of a hog's bladder, very transparent, such as is to be had at the gold-beaters. Talc or flinglas will likewise do as well. Lay any one of those things upon your piece; through it you will see all the strokes and touches, which are to be drawn upon it with a crayon or pencil. Then take it off; and fastening it under paper or vellum, set up both against the light in the manner of a window; and with a crayon, or a silver needle, mark out upon the paper or vellum you have put uppermost, all the lines and touches you shall see drawn upon the varnished paper, bladder, talc, or flinglas, you have made use of, and which will plainly appear through this window.

After this manner, making use of the window, or of glass exposed to the light, you may copy all sorts of prints, designs, and other pieces on paper or vellum: laying and fastening them under the paper or vellum upon which you would draw them. And it is a very good and a very easy contrivance for doing pieces of the same size and proportion.

If you have a mind to make pieces look another way, there is nothing to be done but to turn them; laying the printed or drawn side upon the glass, and fastening the paper or vellum upon the back of it; remembering to let your lights fall on the left side.

A good method likewise to take a true copy of a picture in oil, is to give a touch of the pencil upon all the principal strokes, with lake tempered with oil; and to clap upon the whole a paper of the same size: then passing the hand over it, the touches of the lake will stick and leave the design of your piece expressed upon the paper, which may be chalked like other things. But you must remember to take off with the crumb of bread what remains of the lake upon the picture before it be dry.

You must likewise make use of pounce, made of powdered charcoal put in a linen rag; with which the piece you would copy must be rubbed, after you have pricked all the principal strokes or touches, and fastened white paper or vellum underneath.

When the piece is marked out upon the vellum, you must pass with a pencil of very clear carmine over all the traces, that they may not be effaced as you work; then clean your vellum with the crumb of bread, that no black may remain upon it.

The vellum must be pasted upon a plate of brads or wood, of the size you would make your piece, to keep it firm and tight. But this pasting must be on the edges of your vellum only, and behind the plate, for which purpose your vellum must exceed your plate above an inch on every side; for the part you paint upon must never be pasted; because it would not only give it an ill look, but you could not take it off if you would. Cut off the little flags and locks of the vellum; and wetting the fair side with a linen cloth dipped in water, clap the other upon the plate with a clean paper between them; so much as hangs over must be pasted upon the back of the plate, drawing it equally on all sides, and hard enough to stretch it well.

Sect. II. Of Materials.

The chief colours made use of for painting in miniature are,

Carmine. Venice and Florence lake. Rose pink. Vermilion. Red lead. Brown red. Red orpiment. Ultramarine. Verditer. Indigo. Gall stone. Yellow ochre. Dutch pink. Gamboge. Naples yellow. Pale masticot. Deep yellow masticot. Ivory black. Lamp black. True Indian ink. Bistre, or wood foot. Raw umber. Burnt umber. Sap green. Verdigris. Flake white. Crayons of all colours. Gold and silver shells. Leaf gold and leaf silver.

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

Lake. Blue. Yellow. Liquid Grass-green. Dark-green. Purple colour. Brown.

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, gray, 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 masticot. 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, sap-green, and gamboge, which must be tempered with fair water only. But ultramarine, lake, and bistre, 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 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. - Bistre, 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 any thing 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 bistre, umbre, and Cologn earth, with a little black and white; others more yellow, in which is mixed a great deal of ochre; others grayer, 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 what has been laid on at the first, especially when you lean a little too light upon the pencil.

Other dark grounds are likewise made of a colour a little greenish; and those are most in use, and the properest to lay under all sorts of figures and portraitures; because they make the carnation, or naked parts of a picture, appear very fine; are laid on very easily, and there is no occasion to dot them, as one is often obliged to do the others, which are rarely made smooth and even at the first; whereas in these one seldom fails of success at the first bout. To make them, you must mix black, Dutch pink, and white, all together: more or less of each colour, according as you would have them darker or lighter. You are to make one lay very light, and then a thicker, as of the first grounds. You may also make them of other colours, if you please; but these are the most common.

When you paint a holy person upon one of these grounds, and would paint a small glory round the head of your figure, you must not lay the colour too thick in that part, or you may even lay none at all, especially where this glory is to be very bright; but lay for the first time with white and a little ochre mixed together, of a sufficient thickness; and in proportion as you go from the place of the head, put a little more ochre; and to make it lose itself, and die away with the colour of the ground, hatch with a free stroke of the pencil, following the round of the glory sometimes with the colour of which it is made, and sometimes with that of the ground, mixing a little white or ochre with the last when it paints too dark to work with: and do this till one be insensibly lost in another, and nothing can be seen to disjoin them.

To fill an entire ground with a glory, the brightest part is laid on with a little ochre and white, adding more of the first in proportion as you come nearer the edges of the picture: and when the ochre is not strong enough (for you must always paint darker and darker), add gall stone, afterwards a little carmine, and lastly bistre. This first laying, or dead colouring, is to be made as soft as possible; that is to say, let these shadowings lose themselves in one another without gap or interfection. Then the way is to dot upon them with the same colours, in order to drown the whole together; which is pretty tedious, and a little difficult, especially when there are clouds of glory on the ground. Their lights must be fortified in proportion as you remove from the figure, and finished as the rest, by dotting and rounding the clouds; the bright and obscure parts of which must run insensibly into one another.

For a day sky, take ultramarine and a good deal of white, and mix them together. With this make a lay, as smooth as you can, with a large pencil and liberal strokes, as for grounds; applying it paler and paler as you descend towards the horizon; which must be done with vermilion or red lead, and with white of the same strength with that where the sky ends, or something less; making this blue lose itself in the red, which you bring down to the skirts of the earth, or tops of houses; mixing towards the end gall stone and... a good deal of white, in such a manner that the mixture be still paler than the former, without any visible interjection or parting between all these colours of the sky.

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 masticot, 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 masticot 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 finishing.

**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 smaller matter deeper; that the dots may be fairly seen. All the parts must be drowned one in another, and the plaits appear without interjection. When the ultramarine is not dark enough to make the deeper shades, 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 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 green 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, orpiment, or gall stone, that it may look a little yellowish. Of lowish. Then dead-colour, and finish the shades with blue, a little black, white, and bistre; putting a great deal of the last in the darkest.

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

For a brown drapery, make a lay of bistre, 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 infensibly 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 lap 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, bistre, 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 plats 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 bistre, mixed with a little white; giving only some touches of this mixture, and even of pure bistre, 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 shades 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 tints 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 mantuas; 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 clear 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 off; 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 silk 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, 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 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.

Vermillion 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 flowerwork 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 Carnations, other with white and a little blue.

For doing a building, if it be of stone, take indigo, bistre, and white, with which make the beginning or first form of it: and for shadowing it, put less of this last; and more bistre 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 tints, some 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, losing or drowning them with the rest when you finish.

When the building is of wood, as there are many sorts, it is done at discretion; but the most ordinary way is to begin or first form with ochre, bistre, and white, and finish without white, or with very little; and if the shades are deep, with pure bistre. In the other they add sometimes vermilion, sometimes green or black; in a word, just according to the colour they would give it; and they finish with dotting, as in draperies and every thing else.

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

There are in carnation so many different colourings, that it would be a difficult thing to give general rules upon so variable a subject. Nor are they minded, when one has got, by custom and practice, some habit of working easily: and such as are arrived to this degree, employ themselves in copying their originals, or else they work upon their ideas, without knowing how: inasmuch, that the most skilful, who do it with less reflection and pains than others, would likewise 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 use of for such and such a colouring, a tint here, and another there.

Nevertheless, as beginners want some instruction at the first, we will show in general after what manner several carnations are to be done.

In the first 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 composition; but let it hardly be seen.

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

Afterwards follow all the traces 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 darkest, and none, in a manner, in certain places where strong touches are to be given; for instance, in the corner of the eye; under the nose; at the ears; under the chin; in the separations of the fingers; in all joints; at the corners of the nails; and generally in every part where you would mark out separations. in shades that are obscure. Neither need you fear to give to those places all the force and strength they ought to have as soon as you begin or first form them, because 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 say, upon the temples; under and in the corners of the eyes; on both sides the mouth, above and below; a little upon the middle of the forehead; between the nose and the eyes; on the side of the cheeks; on the neck and other places where the flesh assumes a bluish cast. Yellowish teints are likewise made with ochre or orpiment, and a little vermilion mixed with white, under the eyebrows, on the sides of the nose towards the bottom, a little underneath the cheeks, and upon the other parts which rise and come nearer the eye. It is especially from these teints that the natural complexion is to be observed, in order to catch it; for painting being an imitation of nature, the perfection of the art consists in the justness and simplicity of the representation, especially in face painting.

When, therefore, you have done your first lay, your dead-colouring, and your teints, you must 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 those that are more sensible; that is to say, which rise, and come nearer the eye; and at the end of the shades, on the side of the light, you must blend and lose your colour indefinably 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 first, pass over the shades several times, now with red, and now with green; always dotting: and this do till they are as they should be.

And if you cannot with these colours give the shades all the force they ought to have, finish, in the darkest, with bistre mixed with orpiment, ochre, or vermilion, and sometimes with pure bistre, according to the colouring you would make, but lightly, laying on your colour very clear.

You must dot upon the clear and bright places with a little vermilion or carmine, mixed with much white, and a very small matter of ochre, in order to lose them with the shadowy, and to make the teints die away indefinibly into one another; taking care, as you dot, or hatch, to make your strokes follow the turnings and windings of the fleshy parts. For though the rule be to cross always, this dotting or hatching ought to appear a little more here, because it rounds the parts. And as this mixture might make a colouring too red, if it was always to be used, they work likewise, in every part, to blend the teints and the shades with blue and a little green, and much white, so mixed as to be very pale; excepting, nevertheless, that this colour must not be put upon the cheeks, nor upon the extremities of the clear parts, no more than the other mixture upon these last, which must be left with all their light; as certain places of the chin, of the nose, and of the forehead, and upon the cheeks; which, and

the cheeks, ought nevertheless to be redder than the rest, as well as the feet, the hollows of the hands, and the fingers of both.

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 its 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 gray. 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 flits or partings, and the eyelids, 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 interlocked. 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 of 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 eyebrows 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 Of lefs white in them; and finith with pure bitfre, or mixed with ochre or black, by small strokes very fine, and clofe to each other, waving and buckling them according to the curling of the hair. The light parts muft also be heightened by little strokes with ochre or orpiment, white, and a little vermilion. After which, lofe 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 muft 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 finith with bitfre. The lights are to be heightened as the other. Gray hair is dead-coloured with white, black, and bitfre, and finished with the same colour, but deeper; heightening the bright and clear parts of the hair, as well as those of the eyebrows 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 finith with bitfre.

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 interlocked. 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 muft 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 bitfre, 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 muft 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 livid and of a purple colour. The tints are done the same way as in another colouring; but there muft 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 muft 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 bitfre and lake, with which they likewise do the same to the eyes, the nose, and the ears. If it be 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 masticot; shadow it with bitfre 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 bitfre; 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 gallstone. Silver is done the same way; excepting that it must be shadowed with indigo.

One great means of acquiring 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 fap or lily-green, bitfre, 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 bitfre. In some they mix a little green, particularly for shadowing and finishing.

There are sometimes upon the fore part certain red-dirt 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 grass and leaves upon the foreground, you must, when that is finished, form with leaf-green, or verditer, and a little white; and for those that are yellowish, mix masticot. Afterwards shadow them with lily-green, or bitfre and gallstone, 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 bistre 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 farther distance 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 lost with the rest in finishing. And when there are small branches, with leaves, mosses, 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 grayish they are made.

Castles, old houses, and other buildings of stone and wood, are done in the manner above mentioned; 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 longish 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 gallitone, with white; and finished with gallitone, without white, or with bistre.

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 bistre 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 bistre and white; according to the light they are placed in. They must be shadowed with bistre 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 gallitone.

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. 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 lighthearted 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 blown, to make them seem faded. The seed 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 hatch ing 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 seed a little yellower. Yellow roses are done by putting in every part a lay of masticot, and shadowing them with gamboge, gallstone, 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; therefore 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 handiwork, called streaked; and these streaks are dead-coloured with very clear carmine in some places, and with darker than 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 rosepink 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 that have fallow tints, that are made with lake, bistre, 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 black and white; with which, in some, bistre is mixed, and in others green. Some are likewise 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, let 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 bistre 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 gallstone and umber, or bistre. 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 partly-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 seed about the nozzle or stalk. And if the bottom is yellow, it is formed with gamboge, and finished by adding umber or bistre. 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 likewise 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 likewise 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 bistre; 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 feed of all these anemones 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 handmest 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 anemones 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 anemones are laid with purple, and white, and finished with white. In a word, there are double anemones 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 tiles of them are a little reddish; wherefore they are shadowed with carmine mixed with bistre, and sometimes with green, after having laid them with masticot.

The Carnation and the Pink.—It is with pinks and carnations as with anemones and tulips; that is, there are some mixt-coloured, and others of one single colour. The first are streaked and diversified some-

times 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 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 freaked 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 Purple-flower.—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 less 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 lefs 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 lighthome 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 lefs 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 stiles, the leaves, and the buds, are formed with verditer, mixed with a little masticot, and finished with sap green; making the fibres or veins, which appear upon the leaves, with this same colour; and heightening the lights of the largest with masticot.

The Ranunculus, or Crow-foot.—There are several forms 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 gallstone. 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 gallstone, 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 gallstone, and shadowed with gamboge and gallstone; after which, upon each leaf, on the outside, are made three streaks, separate from one another, with bitre and pure lake; which are left, 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 lefs white; making likewise, in some, purple stripes or streaks, very dark, as in the yellow; and in others only small veins. The seed of both is yellow, and is done with orpiment and gallstone. For the stiles, 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 those on the outside, they put in the same place a lay of masticot, which is shadowed with gallstone 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 lefs 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 finew. There are others which have this very finew 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 finew 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 gallstone, 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 Jasmine.—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 teint, 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 seed is done with orpiment and gallstone. 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 gallstone. And the green is done with sea and sap green.

The Jonquil.—It is laid with masticot and gallstone, and finished with gamboge and gallstone. 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 gallstone, bordered 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 gallstone 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 gallstone; and finish it with the last colour, adding bister 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 gallstone 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 bister. 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 gallstone and bister. 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 Scarious.—There are two sorts of scarious, 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 length 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; and 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 bister 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 ultra-

marine, white, and a little carmine or lake; shadowing the inside of the leaves with the 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 leaf white. The green is done with verditer, masticot, and a little bister; and shadowed with sap green, and a little bister, 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 leaf 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 back veins are made, which take their beginning from the heart of the flower, and die away towards the middle.

The Muscipula, or Catchfly.—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 bister or gallstone to finish it. The leaves of the white are laid with white; adding bister and masticot upon the knots which are shadowed with pure bister, 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,—which is of two colours, the yellow and the red. The first is done by putting a lay of orpiment, and shadowing it with gallstone and orpiment with a little vermilion. The other is laid with orpiment and vermilion, and shadowed with gallstone and vermilion; making the beginning of the leaves next the file, with lake and bister, 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