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CHAP. XVI.
Rules for Painting in Oyl.
HAving already treated of Drawing, and Painting in Miniature, there requires the [ 10] less to be said in Painting in Oyl, the chief differ∣ence being in the mixing them with Oyl, and preparing them on the Pallet fit to work with; yet you must take notice, that some Colours fit for Miniature are improper for Oyl: I shall not descend to the particulars, for you may be sup∣plyed either with a whole Sett of Colours, or with what you have occasion for ready made up in Bladders and sold by most Colour-Shops.
Of these Colours some are to be tempered on [ 20] the Pallet at first; some must be ground, and then tempered; and others must be burnt, then ground and tempered. Those tempered on the Pallet without grinding in Oyl, are Vermillion, Bice, Verditer, Smalt, Vltramarine, Lamb-Black, Masticot, and Orpment. Those to be burnt, and then ground and tempered, are Cerus, Ivory, Vmber, and Oaker; and those that must be ground in Oyl, and then to be tempered on your Pallet, are all the rest of the Colours used in Oyl-Painting; [ 30] that is to say, White-Lead, Cerus, Flake-White, Seacoal-Black, Charcoal, Colens-Earth, Lake, Ker∣mine, Red-Lead, Ornetto, Verdigreace, Terra-Vert, Pink, Masticot, Smalt, Spanish Brown, &c. Oyl Colours (if not timely used) will have a Skin grow over them; to prevent which, (for those that you will grind your self) put the said Colours into Glasses, with Fair Water over them; but for those that you buy ready prepared in Blad∣ders, that trouble, as also that of burning and [ 40] grinding, is saved.
The Materials for Painting in Oyl are, the Easel, on which your Piece to work on is set; the Pallet used for putting on the Colours for your Work, and there tempered and mixed toge∣ther as occasion requires, with a thin Knife; the Straining-Frame, to which is nailed the Primed Cloth you are to paint upon; the Stay or Mol∣stick, being a small Stick about a Yard long, which is to rest your Arm upon, when you are at work, [ 50] being a great stay, causing a steddy Hand; and the Pencils, which must be of several Sizes, length∣ned with neat Pieces of Brazil-Wood for your better commanding and holding them. The several sorts of Pencils are generally known by these names, Ducks-Quills fitched and pointed, Goose-Quills fitched and pointed, Swans-Quills fitched and pointed; Jewelling Pencils, and Bristle Pencils. As for the Priming-Cloths on which you Paint, they are cheaper bought, than to be troubled with the [ 60] preparing them; so that I shall forbear giving Directions for the same.
Upon the Pallet let your Colours be so disposed at convenient distances, that there may be room for the mixing of some of them together for the making of proper or mixt Colours, for the Face, Garments, and other occasions, as Shadows, &c. and let the White be next your Thumb, it being most used; for with it all Shadows are to be lightned.
Further Directions in Painting.
HAving all your Pencils, which should be two of a sort, as two Duck-Quills fitched, and two pointed; the like of all the rest: These Pencils being thus in a readiness in your left Hand, vvith the Pallet on your Thumb prepared vvith Colours, proceed to Work, as followeth:
Set the Frame and Cloth on the Easel at a convenient height, so that sitting on a Stool you may have the Face of the Picture something higher than your own. Let the Easel be set to the Light, which must come in on your left Hand, casting the Light towards the Right.
Let the Person you are to Draw, sit before you at about four or five Foot distance, and in the Posture you design the Picture. Then with a Croyon, Coal, or the like, draw the Proportion of the Face upon the Cloth, putting in the Eyes, Nose, Mouth, Ears, Hair, &c. Then with your Swans-Quill Pointed-Pencil, begin to Paint some of the lightest Parts of the Face with the lightest Colour; as the heightning of the Nose, Forehead, and the Cheek-Bone of the lightest side: Then the mean Parts; as the Chin, over the upper Lip, and the Cheek-Bone of the dark Side; and so proceed gradually until you come to the reddest Part of all.
Lay faint greenish Shadows in convenient places, and where it is necessary to soften harsher Shadows.
The faint and light Parts being thus done, take a Goose-Quill pointed, or a Ducks-Quill fitched Pencil, and begin at the Eyes to Shadow with Lake, going over the Nose, Mouth, Compass of the Ear, &c. before you lay on any Colour, wiping it lightly over with a fine Rag, or Cloth, to prevent the overcoming of the other Co∣lours.
The light and dark Colours being thus put in, take a large Fitch-Pencil, and sweeten the Colours therewith, by going over the Shadows with a clean soft Pencil; and thus doing will intermix the Colours one into another, so that they will look soft, and as if all laid on together.
At the second Sitting, begin again with clean Pencils of such bigness as your Work requires: And at this Sitting you must observe well the Person whose Picture you Draw, taking notice of all the Features, and to amend what you find amiss at your first Sitting: Then heighten, or deepen the Shadows, as you see occasion. And lastly, Take a Goose-Quill Bristle, and put in the Hair about the Face (if any,) and rub in the greater Hair with the greater Bristle, heightning it up with the Goose-Quill Pencil.