BATE, John, The Mysteryes of Nature and Art : Conteined in foure severall Tretises, The first of water workes The second of Fyer workes. The third of Drawing, Colouring, Painting, and Engraving. The fourth of divers Experiments as wel serviceable as delightful: partly Collected, and partly of the Authors Peculiar Pratice, and Invention, London, Ralph Mab - Thomas Harper, 1634.

BATE, John, The Mysteryes of Nature and Art : Conteined in foure severall Tretises, The first of water workes The second of Fyer workes. The third of Drawing, Colouring, Painting, and Engraving. The fourth of divers Experiments as wel serviceable as delightful: partly Collected, and partly of the Authors Peculiar Pratice, and Invention, London, Ralph Mab - Thomas Harper, 1634.

Getty Research Institute Los Angeles Q155 .B38 1634b Frontispice Images in-texte Images hors-texte 58 quotations 48 terms
John Bate (?-?), auteur du manuel intitulé The Mysteries of Nature and Art, est présenté comme un « writer on mechanics » par S. A. Walton [1]. Comme le note aussi ce dernier, la vie de Bate est très peu connue aujourd’hui.
The Mysteries of Nature and Art, tout d’abord publié en 1634, connaît une réédition augmentée en 1635, puis une autre en 1654. Ce texte est composé de quatre livres, abordant chacun des thématiques distinctes et possédant leur propre page de titre. Bate s’intéresse tour à tour aux systèmes hydrauliques, aux feux d’artifice, à l’art et à ce qu’il nomme « Extravagants » – il s'agit principalement des recettes de remèdes. Ce mélange des sujets rappelle les manuels destinés à l’éducation des gentilshommes publiés au XVIIe siècle en Angleterre, dans la suite du Il Cortegiano de Castiglione, et incluant souvent une partie sur la pratique des arts, même si les thématiques abordées ici peuvent différer de celles traitées par d’autres auteurs comme Peacham [2].
Dans son livre sur l’art Of Drawing, Limning, Colouring, Painting, and Graving, Bate aborde plusieurs techniques d’un point de vue pratique. Il évoque tout d’abord le dessin et s’intéresse notamment aux divers moyens pour dessiner de manière ressemblante un visage et des éléments naturels en respectant les proportions par exemple. Suivent huit planches représentant le corps humain, en entier ou en partie, et le corps d’un cheval. La partie suivante est consacrée à la peinture à l’huile. Bate s’intéresse en particulier à la manière de fabriquer telle ou telle couleur. Enfin, l’auteur aborde la gravure dont il donne quelques indications pratiques concernant les instruments à utiliser.
Les divers conseils pratiques sont accompagnés de dessins explicatifs. Ainsi, aux pages 132 et 136, un dessin de palette et un de burin sont insérés entre deux paragraphes.

Élodie Cayuela

[1] S. A. Walton, « Bate, John (fl. 1626–1635) », Oxford Dictionary of National Biography, Oxford University Press, 2004 [http://www.oxforddnb.com/view/article/53656, consulté le 18 avril 2017].
[2] C. Hurley, 2010, p. 201.
in-4 english

Dedication
John Bate

Structure
Avis au lecteur at n.p.
Avis au lecteur at n.p.
Avis au lecteur at n.p.

BATE, John, The Mysteries of Nature and Art. On foure severall parts. The first of Water works. The second of Fire works. The third of Drawing, Washing, Limning, Painting, and Engraving. The fourth of sundry Experiments. The second Edition ; with many additions unto every part, London, Ralph Mab, 1635.

BATE, John, The Mysteries of Nature and Art. In four severall Parts. The first, of Water-Works. The second, of Fier-Works. The third, of Drawing, Colouring, Limning, Paynting, Engraving, and Etching. The fourth, of sundry Experiments, The third Edition With many Additions, London, Andrew Crooke, 1654.

BATE, John, The mysteries of nature and art, Amsterdam, Theatrum Orbis Terrarum, 1977.

MARTINET, Marie-Madeleine, « L'espace dans la peinture anglaise aux XVIIe et XVIIIe siècles : perspective de l'esprit et distance affective », Espaces et représentations dans le monde anglo-américain aux XVIIe et XVIIIe siècles, Actes du colloque de Paris, Paris, Presses de l'université Paris-Sorbonne, 1981, p. 62-82.

HURLEY, Cecilia, « William Salmon et la “Polygraphice” : la théorie de l’art en Angleterre avant Jonathan Richardson », dans HECK, Michèle-Caroline (éd.), L’histoire de l’histoire de l’art septentrional au XVIIe siècle, Actes des journées d'étude de Lille et de Bruxelles, Turnhout, Brepols, 2010, p. 187-207.

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CONCEPTUAL FIELDS

QUOTATIONS

The Art of Drawing is in it selfe most excellent, and most worthy commendations in whosoever it is : yea it is an Art so necessarie unto all ingenious Artists, as that in no wise they can be without it, and my selfe have found it to bee true, that the sight of a good draught is more unto an ingenious person, then a whole Chapter of Information ;

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

First, let the thing, whose pourtrature you intend to take, stand before you, so that the light be not hindred from falling upon it, and with a pointed peece of charcoale draw it rustically ; which when you have done, consider a while whether all the parts thereof are proportionable, and whether it carry the semblance of the thing that you drew it from, which if it do not, wipe it out with your wing, and begin anew : but if it be faulty in one part onely, wipe onely that part out, and draw it againe ; whensoever it liketh you, or that you have so drawne it, that you can finde no great fault in it ; wipe it over gently with your wing, so that you may perceive the former strokes : then with your blacke chalke, or blacke lead plummets, draw it as perfectly, and as curiously as you can, and shadow it according as the light falleth upon it ; This way is workeman like, and the most difficult of all, yet by a little practice may easily be attained unto: so that the persons stand well affected unto the Art.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Conceptual field(s)

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
CONCEPTS ESTHETIQUES → nature, imitation et vrai

An easie way to take the naturall, and lively shape of the leafe of any hearbe or tree, which thing passeth the Art of man to imitate with Pen or Pensill.


First take the leafe that you would have, and gently bruise the ribs and veines on the backe side of it, afterwards wet that side with Linseed-oyle, and then presse it hard upon a peece of cleane white paper, and so you shall have the perfect figure of the said leafe, with every veine thereof, so exactly exprest as being lively coloured, it would seeme to bee truly naturall, by this we learne, that Nature being but a little adjuvated or seconded with Art, can worke wonders.
Now for the farther information of such as are desirous of exemplarie instruction, I have set downe in order following the delineation of the proportion of such things as in my judgement seemed most necessarie for young beginners, and those in such easie demonstrations as for the most part they consist of equall squares, and require no more for their right understanding, then diligent observation, I might have filled a whole Booke of such like: but having considered that what I had done, was a sufficient ground for a farther procession, I thought fitting to leave each person to the exercise and practise of his best Invention.

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CONCEPTS ESTHETIQUES → nature, imitation et vrai

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
L’HISTOIRE ET LA FIGURE → proportion

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Of Painting,
The principall end and subject of this Art, is to set out things both in proportion of parts, and livelinesse of colour.
For the former, the proportion of parts, I have given sufficient information for the meanest capacitie in the precedent part of this tractat

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
PEINTURE, TABLEAU, IMAGE → définition de la peinture

Of Painting,
The principall end and subject of this Art, is to set out things both in proportion of parts, and livelinesse of colour.
For the former, the proportion of parts, I have given sufficient information for the meanest capacitie in the precedent part of this tractat
: now therefore I will speake of the other, the colouring or setting out in colours. But first provide a frame or Easel called by Artists, which is very necessary to worke upon, especially in greater pieces of worke : the forme whereof followeth [ndr : présence d’un dessin de chevalet].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils

Of Painting,
The principall end and subject of this Art, is to set out things both in proportion of parts, and livelinesse of colour.
For the former, the proportion of parts, I have given sufficient information for the meanest capacitie in the precedent part of this tractat
: now therefore I will speake of the other, the colouring or setting out in colours. But first provide a frame or Easel called by Artists, which is very necessary to worke upon, especially in greater pieces of worke : the forme whereof followeth [ndr : présence d’un dessin de chevalet].
Also you must provide divers little shels to put your colours in, also pensils or all sorts, both for priming and other : a light ruler of one foot and a halfe, or two foot long : and colours of all sorts ground very fine upon a porphire or marble. […].
Painting may be performed either with water colours, or with oyle colours.
First I will speake of water colours, wherein I shall observe two things.
First, the diversitie of colours, and preparations. Secondly, their mixture, and manner of laying them on the ground.
First of the first, the diversitie of colours and their preparation.
Colours are either simple or compounded, meerely tinctures of vegetables, or substances of minerals, or both : the simple colours are such as of themselves, being tempered with the water or oyle, doe give a colour. The compounded are such, whose ingredients do exceed the number of one. Vegetables are rootes, juces, berries, and such like things as grow out of the earth. Minerals are such as are dig’d out of the earth, as earth, and stones, &c. All which follow in order, as well their preparations, as description. First note that every colour to be ground, ought first to be ground with the gall of a neat : then let them dry of themselves in a cold place, afterwards grinde them with gumme water for your use.
Now I am to come to the second thing observable (to wit) the mixture and laying the colours on the grounds, which is thus: your colours prepared for use, ought to be tempered according unto direction, still observing a meane : and to that end, mixe them by little and little, till the colour please you ; first you must lay on the ground colour, and let it dry throughly : then with a small pensill, pricke on the second colour, else it will be apt to run abroad, nor can you worke it so well, to make it seeme lively, as you may by pricking it one, specially in small peeces. 

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
CONCEPTION DE LA PEINTURE → couleur
MATERIALITE DE L’ŒUVRE → couleurs

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
CONCEPTS ESTHETIQUES → nature, imitation et vrai
MATERIALITE DE L’ŒUVRE → technique de la peinture

Painting may be performed either with water colours, or with oyle colours.
First I will speake of water colours, wherein I shall observe two things.
First, the diversitie of colours, and preparations. Secondly, their mixture, and manner of laying them on the ground.
First of the first, the diversitie of colours and their preparation.
Colours are either simple or compounded, meerely tinctures of vegetables, or substances of minerals, or both : the simple colours are such as of themselves, being tempered with the water or oyle, doe give a colour. The compounded are such, whose ingredients do exceed the number of one. Vegetables are rootes, juces, berries, and such like things as grow out of the earth. Minerals are such as are dig’d out of the earth, as earth, and stones, &c. All which follow in order, as well their preparations, as description. First note that every colour to be ground, ought first to be ground with the gall of a neat : then let them dry of themselves in a cold place, afterwards grinde them with gumme water for your use.
Now I am to come to the second thing observable (to wit) the mixture and laying the colours on the grounds, which is thus: your colours prepared for use, ought to be tempered according unto direction, still observing a meane : and to that end, mixe them by little and little, till the colour please you ; first you must lay on the ground colour, and let it dry throughly : then with a small pensill, pricke on the second colour, else it will be apt to run abroad, nor can you worke it so well, to make it seeme lively, as you may by pricking it one, specially in small peeces. 

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
CONCEPTION DE LA PEINTURE → couleur

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

To make Gum water to temper your Colours with.
Take cleane water, and put into it of gum Arabicke a little, and let it stand untill the gumme be dissolued. Now you must have a care that it be neither too thicke, by reason of the Gumme, nor yet too thin : for with the one you cannot worke well, and the other will not binde the colour fast.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture
MATERIALITE DE L’ŒUVRE → couleurs

A Purple colour.
Take two pound of Heidleber, two ounces of Allum, halfe an ounce of ashes of Copper, halfe a pound of water ; put them into a Skillet, and let them boyle till a third be consumed : when it is cold, straine it into a cleane vessell, and let it stand a while, then straine it into another, and then let it stand till it be thicke enough.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

A Purple colour.
Take two pound of Heidleber, two ounces of Allum, halfe an ounce of ashes of Copper, halfe a pound of water ; put them into a Skillet, and let them boyle till a third be consumed : when it is cold, straine it into a cleane vessell, and let it stand a while, then straine it into another, and then let it stand till it be thicke enough.


[…]

Browne Colour.
Take good browne, and grinde it with Gumme water : his false colour is made with two parts browne, and a third part white lead, sad it with the same browne.

[…]

A Blew.
Boyle Mulberries with Allum.


An Emerauld Colour.
Take Verdigreese, and grinde it first dry, and put unto it a little of the Gall of the neat : also of Saffron, and the juyce of Rew, of each a little : grinde them together, and put them into a shell, and let it dry there : when you would use it, grinde it againe with Vineger or Verjuce, and a little neats gall dissolved in either of them. His false colour is two parts greene, and a third ceruse : it must bee sadded with a good greene.

A Motlie greene.
This colour is compounded of red and greene.


A Blacke Colour.
First you must lay on a light blacke, mingled with white lead, and afterwards when it is dry, sad it with good blacke ; for sad blacke, mixe Indie Baudias with Gumme water.

A marble or ashe colour.
This is compounded of blacke and white.


A russet or sad Browne.
This colour is made by compounding a little white, with a good quantity of red.

A browne Blew.
Take two parts of Indie Baudias, and a third of ceruse and temper them with gumme water.


A Brasse Colour.
This is compounded of Masticot and Umber.

A gold yellow for Armes.
Take Orpment, and Masticot, grinde each by themselves : but in grinding of the Masticot, adde a little Saffron, and worke with them. Note you may alay your Orpment with chalke, and sadde it with browne of Spain or Oker de Luke.


Azure
Take of white lead foure ounces, of Indicum two ounces, put them into a leaden pot with vinegar : boyle them well, and that which swimmes on the top is the colour.

A purple or violet Colour.
This is a compounded colour, and it is made either by mixing a quantitie of Azure, and a portion of Turnsole : or else by mixing a quantitie of cusset, and a quantitie of Azure :

Sanguine or Blood-colour.
This is likewise a compounded colour, and it is made by mixing a good quantitie of Cinaper with a little blacke.

Orange-tawny.
This colour is compounded of a brigh red, and a bright yellow.

A Lyon-tawny.
This colour is made by mixing red lead and Masticot together.

A Carnation, or Flesh-colour.
First you must lay on a white colour tempered with gumme-water, and when it is drie you must go it over againe with Vermilion or lake, or else you must temper ceruse and vermilleon together, and being dry, go over it againe with lake or vermillion.


[…]

A Blood red.
This colour is made of Cinaper, and afterwards sadded with Vermilleon at the sides, or else with a browne colour. A bloudy colour, grinde Cinaper, Lake, and Cinaper tops, put them into good water, and if they be too light, put to them a little Turnsole.

A Lincoln-greene.
This colour is compounded of a good greene and Saffron.

A Poppin-jay greene.
This colour is compounded of azure, and masticot.

A good yellow.
Take Saffron, or Cambugium, and temper it with gum water, Sad it with Vermilleon.


A sable or blacke.
Take a Torch, hold it under a lattyn Bason, temper that blacke with gumme-water.

A velvet-blacke.
Burne harts-horne on a Colliers hearth ; then grinde it with the gaul of a neat, put it into a shell, and let it dry in the shade : when you would use it, grinde it againe with gumme-water.

[…].

To make Azure, or bise sadder.
Take blew Turnsole, wet it in gum-water, and the wring it out and mixe it either with Bise, or else over-shadow the Bise with it.

Red Colour.
Take Vermilion, and temper it with gumme water : His false colour is two parts vermillion, and a third part ceruse.

Another Red.
Take russet, and temper it with gumme-water, clay it with ceruse, and sad it with it selfe.

Another Red.
Take Brassill in grosse powder, allum in powder : steep them in gum water a night and a day : then straine it, and keepe it for use.


A greene Colour.
Take Copper plates, put them in a copper pot, & put distilled vineger to them : set them in a warme place till the vinegar become blew, then put it out into another leaded pot, and poure more vinegar into it again ; let it stand so till it become blew ; this do so many times till you thinke you have enough : then let it stand till it be thicke.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Browne Colour.
Take good browne, and grinde it with Gumme water : his false colour is made with two parts browne, and a third part white lead, sad it with the same browne.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

A Blew.
Boyle Mulberries with Allum.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

An Emerauld Colour.
Take Verdigreese, and grinde it first dry, and put unto it a little of the Gall of the neat : also of Saffron, and the juyce of Rew, of each a little : grinde them together, and put them into a shell, and let it dry there : when you would use it, grinde it againe with Vineger or Verjuce, and a little neats gall dissolved in either of them. His false colour is two parts greene, and a third ceruse : it must bee sadded with a good greene.

A Motlie greene.
This colour is compounded of red and greene.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

A Blacke Colour.
First you must lay on a light blacke, mingled with white lead, and afterwards when it is dry, sad it with good blacke ; for sad blacke, mixe Indie Baudias with Gumme water.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

A marble or ashe colour.
This is compounded of blacke and white.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

A russet or sad Browne.
This colour is made by compounding a little white, with a good quantity of red.

A browne Blew.
Take two parts of Indie Baudias, and a third of ceruse and temper them with gumme water.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

A Brasse Colour.
This is compounded of Masticot and Umber.

A gold yellow for Armes.
Take Orpment, and Masticot, grinde each by themselves : but in grinding of the Masticot, adde a little Saffron, and worke with them. Note you may alay your Orpment with chalke, and sadde it with browne of Spain or Oker de Luke.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Azure
Take of white lead foure ounces, of Indicum two ounces, put them into a leaden pot with vinegar : boyle them well, and that which swimmes on the top is the colour.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

A purple or violet Colour.
This is a compounded colour, and it is made either by mixing a quantitie of Azure, and a portion of Turnsole : or else by mixing a quantitie of cusset, and a quantitie of Azure :

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

A Carnation, or Flesh-colour.
First you must lay on a white colour tempered with gumme-water, and when it is drie you must go it over againe with Vermilion or lake, or else you must temper ceruse and vermilleon together, and being dry, go over it againe with lake or vermillion.

flesh colour

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

carnation

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

A Blood red.
This colour is made of Cinaper, and afterwards sadded with Vermilleon at the sides, or else with a browne colour. A bloudy colour, grinde Cinaper, Lake, and Cinaper tops, put them into good water, and if they be too light, put to them a little Turnsole.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

A Lincoln-greene.
This colour is compounded of a good greene and Saffron.

A Poppin-jay greene.
This colour is compounded of azure, and masticot.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

A good yellow.
Take Saffron, or Cambugium, and temper it with gum water, Sad it with Vermilleon.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

A sable or blacke.
Take a Torch, hold it under a lattyn Bason, temper that blacke with gumme-water.

A velvet-blacke.
Burne harts-horne on a Colliers hearth ; then grinde it with the gaul of a neat, put it into a shell, and let it dry in the shade : when you would use it, grinde it againe with gumme-water.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Red Colour.
Take Vermilion, and temper it with gumme water : His false colour is two parts vermillion, and a third part ceruse.

Another Red.
Take russet, and temper it with gumme-water, clay it with ceruse, and sad it with it selfe.

Another Red.
Take Brassill in grosse powder, allum in powder : steep them in gum water a night and a day : then straine it, and keepe it for use.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

A greene Colour.
Take Copper plates, put them in a copper pot, & put distilled vineger to them : set them in a warme place till the vinegar become blew, then put it out into another leaded pot, and poure more vinegar into it again ; let it stand so till it become blew ; this do so many times till you thinke you have enough : then let it stand till it be thicke.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

To make colouring, called Vernix : to varnish gold, silver, or any other colour on vellem, paper, timber, stone, &c.
[…]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Of painting in Oyle.
Here you must provide one thing more then you did before : that is, a Pallet (so called by Artists) whereupon you must put a small quantitie of every such colour you are to use, the forme whereof followeth [ndr : présence d’un dessin de palette au dessous de ce paragraphe].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils

Of painting in Oyle.
Here you must provide one thing more then you did before : that is, a Pallet (so called by Artists) whereupon you must put a small quantitie of every such colour you are to use, the forme whereof followeth [ndr : présence d’un dessin de palette au dessous de ce paragraphe].

The colours to be used, are altogether such dry substances as I mentioned formerly : as Oker, Vermilion red lead, Umber, Spanish browne, Lam-blacke, Gambugice, Masticot, Orpment, Ceruse, or Spanish white, blew and greene Bise, Verdigrease, and a multitude of such like, which may be had at the Rose in
Cornehill, London.
Your colours must be ground all very finely, and tempered with Linseed oyle ; and to preserve them, put them in little earthen pans, and put water upon them, and cover them, that the dust come not at them : thus they may be kept a great while, and from thence you may take them as your use doth require.
There are divers colours which without the admixture of another colour, will not be dry a great while ; as Lake, Verdigrease, Lam-blacke : with such you must temper a little Umber or red lead.
Divers Painters there are, that having haste of worke, doe use to temper their colour with one part of fatte oyle, and two of common Linseed oyle, and by this meanes they make the colours dry the sonner : this fat oyle is onely Linseed oyle exposed to the weather, and so it becommeth thicker : yea sometimes you shall see it so thicke, that you may cut it almost like Butter : it may bee made likewise by boyling of it a little while, but the former is the best. As for the tempering of your colours, I can prescribe no surer way then experience with diligent observation.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture
MATERIALITE DE L’ŒUVRE → couleurs

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture
MATERIALITE DE L’ŒUVRE → couleurs

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Of Graving.
It is possible for one to be a good Painter, and yet not to be able to draw well with the pen, because there is not required in a Painter such a curious and exact carriage of the hand : but it is impossible for one ever to Grave or Etch well, except he can draw well with the pen. First therefore presupposing you can doe the first before you attempt the second, you must provide divers graving tooles, both long and short : some for hard worke, some for sweet worke, some for smaller worke, and some for greater: also a peece of a Beaver hat, and a good oyle stone, smoothed on one side, and free from pin holes, and plates of Copper or Brasse exactly polished.

Conceptual field(s)

L’ARTISTE → apprentissage

Conceptual field(s)

L’ARTISTE → apprentissage
MATERIALITE DE L’ŒUVRE → technique de la gravure

Conceptual field(s)

L’ARTISTE → apprentissage
MATERIALITE DE L’ŒUVRE → technique de la gravure

Conceptual field(s)

L’ARTISTE → apprentissage
MATERIALITE DE L’ŒUVRE → technique de la gravure

Conceptual field(s)

L’ARTISTE → qualités

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils
MATERIALITE DE L’ŒUVRE → technique de la gravure

Of Gravers.
There are two principall sorts of Gravers, the long and the short : the long are straight, and for to engrave Plates withall, especially the greater, and these are to be held as the figure following doth expresse [ndr : voir le dessin introduit au milieu de ce paragraphe] where you may note that the pummell of the Graver resteth against the ball of the thumb, and the point is guided with the forefinger. And there ought to bee a little bagge of sand under your Plate, to the end that you might turne your plate upon it as your worke doth require.
The second sort is a short Graver, and turneth up somewhat at the end, and that is to engrave Letters and Scutchions in plate seales, and smaller plates, being fastened in some convenient instrument : this must be held likewise according unto the expression of the figure following [ndr : voir le dessin introduit au milieu de ce paragraphe] : where it is to be noted, that the pummell of the Graver is stayed against the further part of the hand, and is guided by the inward side of the thumbe. It were needfull that there were a piece of leather like a Taylors thimble, about the end of the thumbe, waxed or glued, whereby to guide the Graver more steadily, and stay it upon occasion.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils
MATERIALITE DE L’ŒUVRE → technique de la gravure

How to smooth and pollish Copper Plates.
Because that in the printing with Copper Plates, the least stratch, though it be scarce visible, receiveith its impression, and so many times disgraceth the worke : I have set downe a way to smooth plates for impression. […].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la gravure

Of Etching.
Etching is an imitation of engraving, but more speedily performed. Things may be expressed to the life thereby, but not so sweetly as by the Graver. It is thus performed : the Plate you are to etch upon, must first exactly be pollished, afterwards overlaid but very lightly with a ground made for the purpose, (of which anon) and thereupon must be pounced, drawne, or traced, the thing that you are to etch : then the said ground is to be pierced with divers stiles of severall bignesse according as the shadowes of the picture doe require : afterwards the edges of the Plate are to be raised with soft waxe and strong water, (for so they terme it:) (It is to be had at the signe of the Legge in
Foster Lane a Distiller) is to be put upon it, which in those places were the strokes, are required to be lightly performed, is to be abated or alayed with faire water, which having dured a while upon the plate, will eate into it, as it were engraven, then out it into cold water, and wash it about, and it will leave eating further, and then take off the ground and it is done.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la gravure