The Excellency of the pen and pencil exemplifying the uses of them in the most exquisite and mysterious arts of drawing, etching, engraving, limning, painting in oyl, washing of maps & pictures, also the way to cleanse any old painting, and preserve the colours : collected from the writings of the ablest masters both ancient and modern, as Albert Durer, P. Lomantius, and divers others ; furnished with divers cuts in copper, being copied from the best masters ...
About this Item
Title
The Excellency of the pen and pencil exemplifying the uses of them in the most exquisite and mysterious arts of drawing, etching, engraving, limning, painting in oyl, washing of maps & pictures, also the way to cleanse any old painting, and preserve the colours : collected from the writings of the ablest masters both ancient and modern, as Albert Durer, P. Lomantius, and divers others ; furnished with divers cuts in copper, being copied from the best masters ...
Publication
London :: Printed by Thomas Ratcliff and Thomas Daniel, for Dorman Newman and Richard Jones ...,
1668.
Rights/Permissions
To the extent possible under law, the Text Creation Partnership has waived all copyright and related or neighboring rights to this keyboarded and encoded edition of the work described above, according to the terms of the CC0 1.0 Public Domain Dedication (http://creativecommons.org/publicdomain/zero/1.0/). This waiver does not extend to any page images or other supplementary files associated with this work, which may be protected by copyright or other license restrictions. Please go to http://www.textcreationpartnership.org/ for more information.
Subject terms
Drawing -- Study and teaching.
Drawing -- Early works to 1800.
Art -- Technique.
Link to this Item
http://name.umdl.umich.edu/A39003.0001.001
Cite this Item
"The Excellency of the pen and pencil exemplifying the uses of them in the most exquisite and mysterious arts of drawing, etching, engraving, limning, painting in oyl, washing of maps & pictures, also the way to cleanse any old painting, and preserve the colours : collected from the writings of the ablest masters both ancient and modern, as Albert Durer, P. Lomantius, and divers others ; furnished with divers cuts in copper, being copied from the best masters ..." In the digital collection Early English Books Online. https://name.umdl.umich.edu/A39003.0001.001. University of Michigan Library Digital Collections. Accessed June 14, 2024.
Pages
CHAP. VI.
Of Shadowing, and Rules to be observed therein.
THE out-lines of any Draught or Picture
give the Symmetrie or Proportion, which
is enough to a good judgement: So the
Figures before in this Book have only the out-lines,
and those are best to practise first by: I say,
the Out-lines shew the Proportion to a good judge∣ment;
but the Lines and Shadows give the lively
likeness. In Shadowing therefore of any Picture
you must observe these Rules following.
RƲLE I. Cast your Shadows alwayes one way, that is,
on which side you begin to shadow your Figure,
either on the right or left side, you must continue
so doing through your whole work. As in the
figure of a Man, if you begin to shadow his left
descriptionPage 48
Cheek, you must shadow the left side of his Neck,
the left side of his Armes, the left side of his Bodie,
the left side of his Legs, &c. Except the light side
of the Figure be darkned by the opposition of some
other body standing between the light and it. As
if three Men were standing together, that Figure
which stands in the middle must be darkned by the
foremost, except the light come between them.
RƲLE II. All Shadows must grow fainter and fainter, as they
are farther removed from the opacous body from
whence they issue.
RƲLE III. In great Windes, where Clouds are driven to and
fro several wayes; as also in Tempest at Sea, where
Wave opposeth Wave; here contrary shadows
must concur, as striving for superiority: here in
such cases you must be sure to supply the greatest
first, and from them, according to your judgement,
supply the lesser; practice and imitation of good
Copies will be your best director.
RƲLE IV. All Circular bodies must have a Circular shadow,
as they have a Circular form, and as the object of
light which causeth shadow is Circular.
email
Do you have questions about this content? Need to report a problem?
Please contact us.