162 
was touched, there w ill be an impression upon 
the lowermost sheet of paper as if it had been 
written or drawn with a pen. It maybe 
made of any colour, by mixing with the 
soap black-lead, vermilion, &c. 
Stenciling . — Lay the print or drawing you 
Wish to have copied over a sheet of paper, 
and with a pin or needle prick all the outline 
over with holes, through both the papers. 
Then take the clean paper with the holes 
made in it, and lay it upon the paper you wish 
to have the design transferred to, and dust it 
over with the powder of charcoal in a small 
muslin bag ; the dust will penetrate through 
the holes, and leave a correct copy of the 
original upon the paper. 
This pricked paper will do again for any 
number of copies. This is very useful for 
ladies who work ltowers upon muslin. 
The method, of enlarging and contracting 
by squares . — Divide the sides of your ori- 
ginal with a pair of compasses into any num- 
ber of equal parts, and rule lines across with a 
black-lead pencil from side to side, and from 
top to bottom. Then having your paper of 
the size you intend, divide it into the same 
number of squares, either larger or less, as 
you would enlarge or contract it. Then 
placing your original before you, draw, square 
by square, the several parts, observing to 
make the part of the figure you are drawing 
fall into the same part of the squares in the 
copy as it does in your original. To prevent 
mistakes, number the squares both of the 
original and copy. This method is much 
used by engravers. 
To prevent the necessity of ruling across 
the original, which in some cases may injure 
it, take a square pane of crown glass, and 
divide its sides, and also its top and bottom, 
into equal parts: then from each division 
draw lines across the glass with lamp-black 
ground with gum-water, and you will divide 
the glass into squares. Then lay the glass 
upon the original which you wish to copy, 
and having drawn the same number of 
squares upon your paper, proceed to copy 
into each square on your paper what appears 
behind each corresponding square of the 
glass. Instead of a glass, an open frame with 
threads stretched across will answer the same 
purpose. 
The pcntagraph . — The pentagraph is an 
instrument, by means of which one may copy, 
enlarge, or reduce, the outlines of any 
picture, print, or drawing. It may be had 
at most mathematical instrument-makers’, 
and is extremely useful for copying plans, 
maps, and other complicated figures. 
Transparencies . — The effect of this kind 
of drawing, which has lately become very 
fashionable, though by no means a modern 
invention, is very pleasing, if managed with 
judgment, particularly in fire and moon- 
lights, where brilliancy of light and strength 
of shade are so very desirable. 
The very great expence attending the pur- 
chase of stained-glass, and the risk of keeping 
it secure from accident, almost precludes the 
use of it in ornamenting rooms ; but trans- . 
parenci.es form a substitute nearly equal, 
and at a very small expence. 
The paper upon which you intend to draw 
must' be fixed in a straining-frame, in order 
that you may be able to place it between 
you and the fight, when you see occasion in 
DRAWING. 
! the progress of your work. After tracing in 
! your design, the colours must be laid on in 
the usual method of stained drawings. When 
the tints are got in, you must place your 
picture against the window, on a pane of glass 
framed for the purpose, and begin to 
strengthen the shadows with Indian ink, or 
with colours, according as the effect requires, 
i laying the colours sometimes orx both sides of 
the paper, to give greater force and depth of 
colour. The last touches for giving final 
strength to shadows and forms, are to be done 
with ivory-black, or lamp-black, prepared 
with gum-water, as there is no pigment so 
opaque and capable of giving strength and 
decision. 
When the drawing is finished, and every 
art has got its depth of colour and bril- 
ancy, being perfectly dry, you touch very 
carefully with spirits of turpentine on both 
sides those parts which are to be the brightest, 
such as the moon and fire ; and those parts 
requiring less brightness, only on one side. 
Then lay on immediately with a pencil a 
varnish, made by dissolving one ounce of 
Canada balsam in an equal quantity of spirit 
of turpentine. You must be cautious with 
the varnish, as it is apt to spread. When the 
varnish is dry you tint the flame with red 
lead and gamboge, slightly tinging the smoke 
next the flame : the moon must not be tinted 
with colour. 
Much depends upon the choice of the 
, subject ; and none is so admirably adapted to 
this species of effect as the gloomy Gothic 
ruin, whose antique towers and pointed tur- 
rets finely contrast their dark battlements 
with the pale yet brilliant moon. The effect 
of rays passing through the ruined windows, 
half-choked with ivy ; or of a fire among the 
clustering pillars and broken monuments of 
the choir, round which are figures of ban- 
ditti, or others whose haggard faces catch the 
reflecting light: these afford a peculiarity of 
effect not to be equalled in any other species 
of painting. Internal views of cathedrals 
also, where windows of stained glass are in- 
troduced, have a beautiful effect. _ 
The great point to be attained is, a happy 
coincidence between the subject and the ef- 
fect produced. The fine light should not be 
too near the moon, as its glare would tend to 
injure her pale silver light ; those parts which 
are not interesting should be kept in an un- 
distinguishable gloom, and where the princi- 
pal light is, they should be marked with pre- 
cision. Groups of figures should be well 
contrasted ; those in shadow crossing those 
that are in light, by which means the opposi- 
tion of light against shade is effected. 
Having thus laid down such complete 
rules of instruction as may enable a young 
person of genius, in a remote part of the 
country, to teach himself drawing, we shall 
subjoin, for his amusement, some curious de- 
vices for drawing any object, in its outlines, 
as exact as nature ; with instructions for sha- 
dowing, &c. without any regard to the fore- 
mentioned rules, or any knowledge in the 
art of drawing. 
Take a sheet of the thinnest, or white- 
brown paper, and brush it over with oil of 
turpentine, which will immediately render it 
transparent: then, after drying the paper in 
the air, strain it upon a frame, and fix it 
against the object you design to draw : this 
done, place right before it a piece of wood 
| with a hole in it, fit for one’s eye to look 
through, and as you meet any outlines of the 
1 object on the transparent paper, trace them 
; over with a pencil ; by which means you will 
obtain the just proportion, and true represen- 
tation of any object in its outlines. 
To render this still more pleasing, observe 
the tracings of your draught, wherever the 
shades are, and mark them with your pen- 
cil ; for all the art in the world can never 
dispose the shades so regularly, as one may 
touch by this method ; but the shades must 
be drawn quickly after the outlines are drawn, 
not at different times, because the sun in- 
stantly changes them. 
Here observe, as in certain objects you 
will have fainter, stronger, and darker 
shades, in your remarks of them, to take 
such memorandums as may direct you how 
to finish them with Indian ink, or other co- 
lour, when you sit down to complete your 
work. To this end the best way, before y ou 
trace out your object, is to prepare three 
shells or gallipots of Indian ink, mixed with 
common water, viz. one of a very faint black, 
one of a middling black, and one of an in- 
tense black, numbering them 1, 2, 3 ; and as. 
you make your observation on the shades of 
your object, mark upon your draught the 
same numbers as they happen to appear, so 
that afterwards you may finish with cer- 
tainty. 
In this regard the transparent paper is of 
great use ; tor, being laid upon any paper or 
print in a loose sheet, all the lines will be 
seen so perfectly through it, that you may 
copy them with the greatest ease ; and if the 
print or picture be done by a good master,, 
you can see which lines are strong, which 
soft, and how to imitate them. 
There is yet another way to take views and 
landscapes, which some prefer to the trans- 
parent paper ; and that is, either with white 
or black tiffany or lawn strained upon a 
frame, and used in the same manner as the 
paper, excepting that, as the black-lead pencil 
is used to the paper, on the white tiffany and 
on the lawn you must use charcoal very soft 
and finely powdered ; but on the black tif- 
fany very tender white chalk is to be used. 
Other curious and easy methods of taking 
views, copying draughts, prints, &c. to 
the greatest degree of accuracy „ 
1. A draught may be taken regularly, 
from a drawing, on transparent paper, as 
follows: Take a piece of paper of the same 
size with that of the draught ; rub one side of 
it with some powder of black lead, till it be? 
well and equally blacked, so that a finger, 
touching it, will hardly be tinged with the 
blacking; then take the print, and laying the 
paper underneath it with tire black side down- 
ward^ upon another piece of white paper of 
the same size, pin the three together in two 
or three places: afterwards, take a pin or 
needle, somewhat blunted at the point, and 
trace it over the outlines of your picture, 
which, with a little pressing, will direct the 
black paper to impress the white, so as to 
receive every stroke you draw: this done, 
you may carefully correct what errors you 
see with your black-lead pencil, cleaning the 
new-made draught slightly with the crumb 
of stale bread. 
2. As for the draughts taken on tiffany c.r. 
