DOI Page / Citation link:
https://doi.org/10.11588/diglit.19571#0112
93 THE ARTIST'S ASSISTANT.
After a painter has transferred his draught on his
canvas, and has primed it, he begins his piece,
firft, by drawing the eyes or nofe (having while he
works, his right hand fupported with a moll-flick,
or flay, made of heavy wood, not fubjeft to bend,
about a yard long, having at the end, which leans
againft the pifture, a ball of ravelled cotton, with
a leather over it, the other end held with the left
hand) making the white thereof with white lead,
with a little charcoal black. This finifhed, he leaves
from the eye (in a face full front) the dift3nce of an
eye, then draws the proportion of the nofe ; after-
wards makes the mouth, ears, &c. This done, he
lavs his carnation or flefh colour over the face,
calling in, here and there fome fhadows, which he
works in by degrees with the flefh colour; which
flefh colour is commonly compounded of white lead,
lake and Vermillion or carmine, this laft being bell.
There is no fixed rule for heightening or deepening
this colour ; for it is left to the dilcretion and judg-
ment of the painter ; who muft confult in this his
own imagination, with regard to the age, country,
&c. of the perfon, whofe face he endeavours to re-
prelent. Then he fhadows the face over as he fees
caufc, and finifhes the nofe, compaffing the tip of
it, with fome dark, or light reddifh fhadows; which
fhadows, for the face, are commonly compounded
of ivory black, white lead, vermillion, lake, fea-
coal black, &c. The cheeks and lips are fhadowed
with vermillion or carmine, and lake mixed toge-
ther; and the mouth flroke is made with lake only*
As to the circles of the eves; for grey eyes they
are made of charcoal black and white lead, height-
ened and deepened at pleafure : the black circle of
the
After a painter has transferred his draught on his
canvas, and has primed it, he begins his piece,
firft, by drawing the eyes or nofe (having while he
works, his right hand fupported with a moll-flick,
or flay, made of heavy wood, not fubjeft to bend,
about a yard long, having at the end, which leans
againft the pifture, a ball of ravelled cotton, with
a leather over it, the other end held with the left
hand) making the white thereof with white lead,
with a little charcoal black. This finifhed, he leaves
from the eye (in a face full front) the dift3nce of an
eye, then draws the proportion of the nofe ; after-
wards makes the mouth, ears, &c. This done, he
lavs his carnation or flefh colour over the face,
calling in, here and there fome fhadows, which he
works in by degrees with the flefh colour; which
flefh colour is commonly compounded of white lead,
lake and Vermillion or carmine, this laft being bell.
There is no fixed rule for heightening or deepening
this colour ; for it is left to the dilcretion and judg-
ment of the painter ; who muft confult in this his
own imagination, with regard to the age, country,
&c. of the perfon, whofe face he endeavours to re-
prelent. Then he fhadows the face over as he fees
caufc, and finifhes the nofe, compaffing the tip of
it, with fome dark, or light reddifh fhadows; which
fhadows, for the face, are commonly compounded
of ivory black, white lead, vermillion, lake, fea-
coal black, &c. The cheeks and lips are fhadowed
with vermillion or carmine, and lake mixed toge-
ther; and the mouth flroke is made with lake only*
As to the circles of the eves; for grey eyes they
are made of charcoal black and white lead, height-
ened and deepened at pleafure : the black circle of
the