WAY 
WAX 
inly. As to compound tints, they are to be 
[roduced by a judicious management of the 
pater-colours over the crayons ; and this rule 
pith respect to the colours proper to be used 
jr crayons, is to be particularly observed : 
hat none are tit for the purpose, but such as, 
n their dry unmixed state, will mark on paper 
iretty freely : for the reader may easily judge, 
that the tenacity of the wax would completely 
prevent any hard colour from working that 
Spas incorporated with it. 
I Having procured the kind of wax already 
mentioned, you are to have a nice glazed 
white pipkin, perfectly clean andfree from any 
greasy particles ; and having previously ground 
your colours on a flag with your muller, per- 
fectly fine, in fair water, and dried, put a 
^m all quantity of wax into the pipkin, which 
you are to place over a very slow fire; when 
the wax is entirely dissolved by the gentle heat 
{for if it bubbles it is spoiled), gradually 
sprinkle in your colour, stirring it with an 
ivory pencil-handle, until you find it per- 
fectly mixed; at the same time observing 
{hat you do not overload the wax with colour, 
as it will make the crayons too brittle ; nor 
are you to put in too little colour, as it 
makes them faint and work greasy; so a 
medium is to be observed, to ascertain which 
practice only will conduce. There are some 
colours, such as vermilion, which, if they re- 
ceive too great a heat, turn black; and 
that must be very cautiously observed, as 
vermilion, in this kind of painting, is a high- 
ly useful colour: as is also lamp-black, a 
harder kind of crayon from which is to 
be made by mixing some of it, in its raw 
state, with strong glue, letting it harden, and 
then burning it in a crucible (as directed in 
calcining colours for miniature painting) ; 
then pulverizing it on your flag, and mixing 
ft with your wax, as before mentioned. This 
kind of black crayon is most excellent for giv- 
ing sharp touches in dark parts, as it is also 
for making sketches to refresh the memory : 
is much superior to Italian chalk, as nothing 
will cause it to rub or spoil, it remaining as 
immoveable as writing-ink, and working ex- 
tremely pleasant. 
Paper. The paper fit to be used in wax? 
crayon painting, must be of the wove or vel- 
lum kind; but as of this there are several 
sorts, it is necessary to mention, that it must 
be of a middling fineness, for if too coarse, the 
grain will catch the crayons in dots so remote 
from each other, as to make your work look 
unpleasant ; ana if the paper is too fine itwill 
not catch the crayons as it ought, but clog 
your painting without producing any ef- 
fect. The only rule therefore for choosing 
your paper is to go to the stationer’s, and 
taking a small bit of soft black crayon, by 
gently rubbing the crayon on a few sheets 
of different kinds of wove paper, you will 
become a judge of what is the best for your 
purpose, at a trifling expence. Having pro- 
cured this necessary article to your satis- 
faction, you then proceed to work. 
Method. The desk you are to work on 
must be much larger than the one mentioned 
for miniature painting, (se® Miniature,) 
this kind of work being often used for larger 
sizes than that style of painting is. 
Having your sitter placed in the same man- 
ner as pointed out in the article on Miniature 
Painting, with a soft piece of charcoal sketch 
WAY 
' faintly the distances and forms of the features: 
! then touch them in more strongly with your 
j crimson or black crayon, still altering until 
you are perfectly certain you have a correct 
outline, which in this kind of painting is ab- 
solutely necessary; for if in your fair drawing 
you commit an error in your outline, vou ne- 
ver can alter it, the crayons being in their na- 
ture so adhesive, that nothing will remove 
them. Having, on your first sheet, made 
your outline correct, rub the back of the face 
part with crimson crayon, the hair part with 
a suitable-coloured one, and the drapery, if 
white, with black ; then laying the paper on 
a fair sheet go over the lines of your sketch 
with a tracer, when you will transfer, in a very 
neat manner, your outline ready to colour in. 
You are then to mark in the features of your 
sitter mare strongly with crayon or water- 
colour, and a fine pencil; ever observing, 
when you use it, to work over with a suitable- 
coloured crayon, as it is that which will give 
it the beautiful dotted appearance so much to 
be admired. 
Having marked in the features sufficiently 
strong to put the likeness out of danger of 
being spoiled, make a wash of yellow oker en- 
tirely over the fleshy parts, deepening its tint 
according to youv subject: wash-in the colour 
of the eyes, lips, hair, &c. all which being 
dry, work with your different-coloured cray- 
ons on the parts, until you pi-oduce the effects 
required ; filling up any interstices of the 
crayons with dots of water-colours and a fine 
pencil. As to the tint for your linen shades, 
the black crayon will produce that in every 
degree, the paper answering for the lights of 
any-coloured drapery ; for then you are to 
wash-in and shadow it with the crayons. 
Your paper is to be perfectly dry, otherwise 
the work will appear glazy ; but even should 
that be the case, hold it before the fire, and 
the shining appearance will instantly va- 
nish. 
With respect to your back grounds, as this 
style of painting is intended to be light and 
sketchy, sky and back grounds are to be pre- 
ferred ; to manage which, the best way is to 
stump them in with dry colour, to whatever 
tint you find pleasing, which will give a pro- 
per value to the appearances of your wax 
crayons. Your drawing, either of portrait 
or landscape, being finished, have ready a 
large flat board, on which you are to stretch a 
sheet of royal paper; and having pasted the 
back of your drawing with some flour paste 
mixed with isinglass, lay it on the royal paper, 
and carefully press it in all directions with a 
soft towel or handkerchief, when your work is 
completed. i 
WAY. A way may be by prescription, as 
if the owners and occupiers of such a farm 
have immemorially used to cross another’s 
ground; for this immemorial usage supplies 
an original grant. A right of way may also 
arise by act and operation of law ; for if a 
man grants to another a piece of ground in the 
middle of his field, he at the same time tacitly 
gives him a way to come at it, for where the 
law gives any thing to any person, it gives 
implied whatever is necessary for enjoying the 
same. 2 Black. 35. 
W ay of a ship, is sometimes used for her 
wake or track. But more commonly the 
term is undefstood of the course or progress 
which she makes oh the water under sail: 
thus when she begins her motion, she is said 
5X2 
m 
to be under way; when that motion increases, 
she is said to have fresh way through the wa- 
ter; when she goes apace, "they say she has a 
good way ; and the account of her rate of 
sailing by the log, they call, keeping an ac- 
count of her way. And because most ships 
are apt to fall a little to the leeward of their 
true course, it is customary, in casting up 
the log-board, to allow something for her lee- 
ward way, or lee way. Hence also a ship is 
said to have head-way, and stern-way. 
WAYGHTES, or Waits. This noun 
formerly signified hautboys; and, which is 
remarkable, has no singular number. From 
the instruments its signification was, after a 
time, transferred to the performers them- 
selves ; who being in the habit of parading the 
streets by night with their music, occasioned 
the name to be applied generally to all mu- 
sicians who followed a similar practice. Hence 
those persons who annually, at the approach 
of Christmas, salute us with their nocturnal 
concerts, were, and are to this day, called 
wayghtes. 
WAYWISER, an instrument for measur- 
ing the road, or distance travelled ; called also 
Perambulator, and Pedometer. See 
those two articles. 
Mr. Lovell Edgworth communicated to 
the Society of Arts, &c. an account of a wav- 
vviser of his invention; for which he obtained 
a silver medal. This machine consists of a 
nave, formed of two round flat pieces of wood, 
one inch thick and eight inches in diameter. 
In each of the pieces there are cut eleven 
grooves, f of an inch wide, and £ deep ; and 
when the two pieces are screwed together, 
they enclose eleven spokes, forming a wheel 
of spokes, without a rim : the circumference 
of the wheel is exactly one pole ; and the in- 
strument may be easily taken to pieces, and 
put up in a small compass. On each of the 
spokes there is driven a ferule, to prevent 
them from wearing out ; and in the centre of 
the nave, there is a square hole to receive 
an axle. Into this hole is inserted an iron 
or brass rod, which has the thread of a 
very fine screw worked upon it from one end 
to the other; upon this screw hangs a nut 
which, as the rod turns round with the wheel, 
advances towards the nave of the wheel or 
recedes from it. The nut does this, because 
it is prevented from turning round with the 
axle, by having its centre of gravity placed at 
some distance below the rod, so as always' to 
hang perpendicularly like a plummet. Two 
sides of this screw are filed away flat, and have 
figures engraved upon them, to shew by the 
progressive motion of the nut, how many 
circumvolutions of the wheel and its axle have 
been made: on one side the divisions of miles 
and furlongs are in a direct order, and on the 
other side the same divisions are placed in a 
retrograde order. 
If the person who uses this machine places 
it at his right-hand side, holding the axle 
loosely in his hands, and walks forward, the 
wheel will revolve, and the nut advance from 
the extremity of the rod towards the nave of 
the wheel. 'When two miles have been mea- 
sured, it will have come close to the wheel. 
But to continue this measurement, nothing 
more is necessary than to place the whee l at 
the left hand of the operator ; and the nut will, 
as he continues the course, recede from the 
axletree, till another space of two miles is 
measured. 
