DRAWING. 



\vhich will transfer the lead to the clean 

 paper precisely in the direction the point 

 passed over the print : this may be cor- 

 rected with the black-lead pencil, and 

 cleansed of any soil by the crumbs of 

 stale bread. 



Copying drawings, &c. -with fixed mate- 

 "inls. Rub a thin piece of paper tho- 

 roughly and equally with fresh butter, 

 and after drying 1 it well by a fire, cover 

 it with black-lead, as before-mentioned, 

 or with carmine, lamp-black, or blue- 

 bice, on the side which received the 

 butter. When the operation has so far 

 succeeded, as that the colour will not ad- 

 here to any substance passed over it, lay 

 the coloured surface on white paper, the 

 print on it, and trace the subject through 

 with a point, as above. 



To transfer any impression with vermilion. 

 Mix the colour with linseed oil in a state 

 sufficiently fluid to flow from the point 

 of a pen, \vith which let every line of the 

 print be accurately traced; then wet the 

 back of it, and turning 1 the face down- 

 wards on clean white dry paper, place 

 other paper on the back, and gently rub 

 or press it, till it may be supposed the red 

 lines are completely transferred to the 

 paper from the print. 



Writing, or outlines of prints, may be 

 conveyed exactly by the following me- 

 thod. Mix fine vermilion with water, 

 of the same fluidity as ink, and putting it 

 into a vessel containing cotton, use it 

 with a pen in tracing over the subject, 

 making the lines of the same breadth as 

 the original; then wet white paper with 

 gum-water spread by a sponge, and lay 

 the vermilion t facing on it gently, press- 

 ing every part till the process is com- 

 plete : when the print is withdrawn, the 

 gum will retain the vermilion, and after 

 it is dried they will become inseparable. 

 This mode, except the gum and paper, 

 is used by engravers, who secure the 

 lines by wax on their copperplates. 



There are numerous beauties in the 

 skeletons or fibres of leaves : and it is at 

 least a pleasing, if not an useful employ- 

 ment, to collect all, or a part of their va- 

 rieties, which may be done with decisive 

 accuracy as follows. 



To obtain the true shape and fibres of a 

 leaf, rub the back of it gently with any 

 hard substance, so as to bruise the fibres, 

 then apply a small quantity of linseed oil 

 to their edges ; after which press the leaf 

 on white paper, and, upon removing it, a 

 perfectly correct representation of every 

 ramification will appear, and the whole 

 may be coloured from the original. 



VOL. IV. 



Another way, which may be called 

 printing of a leaf. This is effected by 

 carefully touching the fibres with one of 

 those balls, lightly covered with ink, us- 

 ed by printers, and impressing it on wet 

 paper. This is done to most advantage 

 by a round stick covered with woollen 

 cloth, rolled backwards and forwards 

 over the paper and leaf. 



A substitute may be adopted by rub- 

 bing and bruisingthe leaf, oiling it as be- 

 fore, and scattering powdered black lead, 

 charcoal, or the powder of burnt cork, on 

 it, and pressing it on paper. Other co- 

 lours may be used, prepared with butter 

 or oil, of which blue-bice is the best, as 

 it serves as a ground for colouring the 

 leaf from nature. The back of the leaf 

 must be exclusively preferred, as the fi- 

 bres project on that side only. ' 



Stenciling is a process well calculated 

 for multiplying of patterns, for working 

 in muslin, &c. ; when a print or drawing 

 is to be copied in this way, it must be 

 placed upon a sheet of white paper, and 

 the outline pricked through both with a 

 pin or needle ; the pierced sheet may 

 then be laid on a second clean one, and a 

 muslin bag of powdered charcoal shaken 

 or rubbed over it, when, upon removing 

 the former, the latter will be found a 

 p elect copy. 



The camera obscura makes the most 

 pleasing representation of nature hither- 

 to discovered, by which the external ob- 

 jects are reflected on any plane within 

 the chamber in the liveliest colours, and 

 every leaf and animal appear in motion ; 

 but unfortunately in a reversed position. 

 The constructing of a camera obscura is 

 a very simple operation : close all the 

 windows of an apartment, and leave a 

 single circular aperture, suitedfor the re- 

 ception of a convex or plane convex lens 

 in the shutter of that which faces the 

 greatest variety of landscape; then place 

 any smooth white surface before it, at the 

 proper distance, which is to be deter- 

 mined upon the same principle as the 

 movement of the glasses of a telescope, 

 and every portion of the view will be ex 

 hibited on it. If the least ray of light 

 makes its way through any other means, 

 the effect will be destroyed ; and it will 

 he heightened, if the atmosphere is clear 

 and the sun shines bright. 



The portable camera obscura resembles a 

 wooden box or chest, furnished with a 

 circular or angular projection in the raid- 

 die, opening from it, and to be directed 

 towards the landscape ; beyond this aper- 

 ture, and within the box, is placed a 



