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 ...

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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.
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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

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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.

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