to dry for a day or two, and it will be fit for use. Lay this over the print or drawing you want to copy, and you will see every line distinctly through, so that you can go over them with the black-lead pencil. If you wish to do it in ink, you must mix a little ox's gall with the ink, to make the paper take it, which it would not otherwise do on account of the oil.

To make camp-paper.-Take some hard soap, and mix it with lamp-black; make it into the consistence of a jelly with water; with this, brush over one side of your paper, and let it dry. When you use it, put it between two sheets of clean paper, with its black side downwards, and with a pin, or stick with a sharp point, draw or write what you please upon the clean paper; and where the tracer has touched, there will be an impression upon the lowermost sheet of paper, as if it had been written or drawn with the pen. It may be made of any colour, by mixing with the soap black-lead, vermillion, &c.

Stenciling. Lay the print or drawing you wish to have a copy over a sheet of paper, and with a pin or needle prick all the outlines 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 flowers upon muslin.

Method of enlarging and contracting by squares.-Divide the sides of your original with a pair of compasses into any number 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 on 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 lampblack 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 auswer the same purpose. See the plate.

The pentagraph. The pentagraph is an instrument by means of which one may copy, enlarge, or reduce the outlines of any picture, print, or drawing. They may be had at most mathematical instrument-makers, and are extremely useful for copying plans, maps, and other complicated figures.

CURIOUS METHOD OF DRAWING ALL PERSPECTIVE IN THE MOST NATURAL MANNER, WITHOUT OBSERVING THE RULES.

It may be of service to such as love painting, and take pleasure in practising the same, without being willing to be at the pains of opening the compasses, or taking up the ruler to draw lines. For, in this method, neither the one nor the other are required; and yet the finest draughts may be made hereby of buildings, gardens, landscapes, &c. See fig. 7. plate II. of Perspective.

Before we come to the method itself, it must be observed, that the principal requisite therein is a large piece of fine clear glass, fitted into a wooden frame, at A, fig. 2. This frame is to slide between two cheeks or pieces of wood, an inch and a half thick, which are raised at the two extremes of a board the breadth of the frame, i. e. about a foot broad, as shewn in B C, which is disposed to receive the frame A.

In the middle of the board one or more square holes must be made as in E, to receive the slit ruler F, so as it may be raised or lowered at pleasure. At the top of which ruler is a circle of three or four inches diameter; but very thin, being made of tin or the like, and having a little aperture about the size of a pin in the middle; the whole is represented together at H.

Having therefore placed the instrument H before the object you would draw, look through the middle hole or sight I, and if you see all the proposed object represented on the glass, the instrument is fixed, otherwise bring the sight nearer the glass, till you see the whole of what is required. The piece being thus rectified, you are to draw on the glass every thing that you see thereon though the hole I, which has the same effect here as the point of sight in other methods. And it is certain, that every thing thus drawn on the glass, the eye being fixed to the little hole, will be according to the strict rules of perspective.

In order to take off what is thus designed on the glass, draw the lines and figures on glass with ink; then wetting the back side of the glass a little, and laying a moist sheet of paper ou the side that has the design, rub or press the paper gently there

on, and the whole draft will be impressed or transferred from the glass upon the paper. Some advise to make use of a pencil and colours; but, in short, every body is left to their own discretion; it is enough to know the method in general.

A design of a palace is as easily taken this way as a landscape; and a church as a house or chamber; all required in any of them, being to pitch on a place where the whole thing to be represented may be seen, and to bring the sight to the proper nearness to the glass. A painter may use the same method for the drawing of figures, postures, &c. from nature, statues, relievos, and in short, every thing; it being certain that a little practice will render the method exceedingly feasible and easy.

ANOTHER MANNER OF DRAWING IN PERSPECTIVE.

This method is as curious as the former; and some even prefer it, by reason of a double draught being required in that, one on the glass, and a second copied or imprinted from it; whereas, in the present method, only a single draught is made, and that as exactly as the former.

We shall not describe the structure of this instrument, it being the same with that already mentioned, excepting that the frame, instead of the glass fitting it, must be divided into a number of little squares by fine threads, drawn at equal distances from each side of the frame across each other, forming what we call a reti As to the number of squares, that is left to discula, or lettice. cretion; all that is necessary to be added is, that they must not be too large, that you may work the more exactly; nor too smail, for fear of being confused.

For the practice-place the piece H in such a manner, as that you may see all the objects you mean to design through the hole of the sight I. If the design should be larger than the compars of the frame or reticula, your chequer squares must be made on the cloth or paper larger than those of the frame. If the design be intended smaller on the cloth, &c. than the frame, make the squares less; otherwise they are to be of the same size. But in paper, all the cases make the same number of squares on the as in the frame when you look through the sight I. Thus transferring proportionably from the squares in the one, to the corresponding squares in the other, the perspective will be as just as if you had gone by the strict rules, and used the compasses, ruler, &c.

&c.

The figure shews how the piece H is to be placed, in order to design on a table; the expedient is of excellent use in painting, and serves to draw very exactly any perspective draught, to copy paintings, draw to the life, &c.

Another method of enlarging and diminishing pictures, and