DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19571#0115
THE ARTIST'S ASSISTANT. 101
tree cut fmall, all well beaten together in an earthen
pan.
Painting in miniature is a delicate kind of paint-
ing, confiding of little points or dots infteac! of
lines, ufually done on vellum, with very thin fim-
ple water colours.
The colours for miniature may he mixed up with
water of gum-arabic, or gum-tragacanth.
The operation is ufually made on vellum, on which
the defign is drawn, with carmine, or feme other
colour, which may render the lines difcernable.
The draught is filled afterwards, with a very thin
and fmooth lay of white, yet fome chcofe to paint
on the naked vellum without any lay; and in my
opinion it contributes much towards incorporating
well the colours, that the dots may not appear fo
vifible, and fo coarfe, as they do without it. When
the lay is drv, the painter iearches with his pencil
all the lines of the draught, left fome of them mould
be either much weakened, or entirely obliterated
by the lay of white ; then he begins, as in all other
paintings, by the face, dipping firft the point of
his pencil in water, and rubbing it afterwards on
the colour he defigns to employ ; when thus rubbed,
he makes the point thereof with the tip of his lips,
and then applies it on the vellum, repeating the
lame procefs every time he wants colours, and hav-
ing different pencils for the different colours. He
has alfo before him a fhell with gum water, in cafe
he wants to dip his pencil in it, as it often happens.
Painting in mofaic is an affemblage of little pieces
of glafs, marble, fhells, precious ftones, woods, or
the like of various colours cut fquare, and cement -
ed on a ground of ftucco, imitating the natural co-
lours and degradations of painting.
DIRECTIONS
tree cut fmall, all well beaten together in an earthen
pan.
Painting in miniature is a delicate kind of paint-
ing, confiding of little points or dots infteac! of
lines, ufually done on vellum, with very thin fim-
ple water colours.
The colours for miniature may he mixed up with
water of gum-arabic, or gum-tragacanth.
The operation is ufually made on vellum, on which
the defign is drawn, with carmine, or feme other
colour, which may render the lines difcernable.
The draught is filled afterwards, with a very thin
and fmooth lay of white, yet fome chcofe to paint
on the naked vellum without any lay; and in my
opinion it contributes much towards incorporating
well the colours, that the dots may not appear fo
vifible, and fo coarfe, as they do without it. When
the lay is drv, the painter iearches with his pencil
all the lines of the draught, left fome of them mould
be either much weakened, or entirely obliterated
by the lay of white ; then he begins, as in all other
paintings, by the face, dipping firft the point of
his pencil in water, and rubbing it afterwards on
the colour he defigns to employ ; when thus rubbed,
he makes the point thereof with the tip of his lips,
and then applies it on the vellum, repeating the
lame procefs every time he wants colours, and hav-
ing different pencils for the different colours. He
has alfo before him a fhell with gum water, in cafe
he wants to dip his pencil in it, as it often happens.
Painting in mofaic is an affemblage of little pieces
of glafs, marble, fhells, precious ftones, woods, or
the like of various colours cut fquare, and cement -
ed on a ground of ftucco, imitating the natural co-
lours and degradations of painting.
DIRECTIONS