Page:Cyclopaedia, Chambers - Volume 1.djvu/556

 DBS

jffiean in Colours, but with an infinite NumBer of little Pack- threads, which being xlifpofed fo as to raife the Threads of the Warp, let the Painter fee from Time to Time what Kind of Silk is to'be put in the Eye of the Shuttle, for Woof.

This Method of preparing the Work, is ca\V A reading the Deflgn, OP reading the Figure^ which is pcrfonn'd after the following Manner.

A Paper is provided considerably broader than the Stuff, and of a Length proportionate to what is inten : ded to be represented thereon. This they divide length- wife by as many black Lines as there are intended to be Threads in the Warp ; and crofs thefe Lines, by others drawn breadth-wife 5 which with the former make little equal Squares. On the Paper thus fquared, the Painter defigns his Figures, and heightens them with Colours as he fees fit. When thc2JeJign is finifh'd, a Workman reads it, while an- other lays it on theSimblot.

Now, to read the c Defign, is to tell the Perfon, who ma- nages the Loom, the Number of Squares, or Threads com- prized in the Space he is reading 5 intimating at the fame Time, whether it is Ground, or Figure.

To put what is read on theSimblot, is to fallen little Strings to the feveral Pack-Threads, which are to raife the Threads named. And thus they continue to do, till the whole tBejign is read.

Every Piece being compofed of feveral Repetitions of the fame Deflgn ; when the whole Dejign is drawn, the Drawer, to re-begin, as I may fay, theDeJign a-fiefh, has nothing to do, but raife the little Strings with Slip-knots to the Top of the Simblot, which he had let down to the Bot- tom. And this he is to repeat as often as is neceifary, till the Whole be manufactured.

The Pjbhond- Weavers have likewife a Deflgn, but much more Simple than that now defcribed. J Tis drawn on Pa- per, with Lines, and Squares, reprefenting the Threads of the Warp, and Woof. But in lieu of Lines, whereof the Fi- gures of the former coniiit, thefe only confift of Points, or Dotts, placed in certain of the little Squares, form'd by the Inter fecii on of the Lines. Thefe Points mark the Threads of the Warp that are to be raifed ; and the Spaces left blank, deflgn the Threads that are to keep their Situation. The reft is manag'd as in the former.

Design, is particularly ufed in Painting, for the firft Idea of a large Work drawn roughly, and in little 5 with Inten- tion to be executed, and finifh'd in large. See Painting.

In this fimple Scnfc, the Deflgn is the fimple Contour, or Outline of the Figures, or Things intended to be represen- ted - 7 or the Lines that terminate, and circumfcribe them. Sec Contour, and Designing.

Such DeJJgn is fometimes drawn in Crayons, or Ink, with- out any Shadows at all : Sometimes it is hatch'd, that is, the Shadows are exprefs'd by fcnfible Lines, ufually drawn a-crofs each other with the Pen, Crayon, or Graver. Some- times, again, the Shadows are done with the Crayon rub'd, fo as there does not appear any Lines : Sometimes, the Grain, or Strokes of the Crayon appear, as not being rubb'd: Sometimes the JDeJign is -ivaffd, that is, the Shadows are done with a Pencil, in Indian Ink, or fome other Liquor ; And fometimes the Deflgn is coloured, that is, Colours are laid on, much like thofe intended for the Grand Work.

The Qualities, or Parts required in a Deflgn, are CorreB- nefs, Good 1*afte, Elegance, Character, Diverfuy, Ex- preffwn, and ^PerfpeBive.

CorrcBnefs depends principally on the Juftnefs of the Proportions, and a Knowledge of Anatomy. T'ajle is an Idea, or Manner of Defigning, which arifes either from the Complexion and natural Difpofition, or from Education, the Makers, Studies, &c. Elegance gives the Figures a Kind of Delicacy, which ffrikes People of Judgment, and a certain Agreeablenefs, which pleafcs every body. The Character is what is peculiar to each Thing ; In which there rouft be a Diverfity-j in as much as every Thing has its particular Character, to diftinguifh it. The Expreffion is the Reprefentation of an Object, accord- ing to its Character, and the feveral Circumftances it is fup- pofed to be in. The ^PerffieBive is the Reprefentation of the Parts of a Painting, or Figure, according to the Situa- tion they are in, with refpect to the Point of Sight.

The Deflgn, or Draught, is a Part of the grcateft Im- port, and Extent in Painting. 'Tis acquired chiefly by Ha- bit, and Application 5 Rules being of lefs Avail here than in any of the other Branches of the Art, as Colouring, Clair-Obfcure, Exprejfion, &c.

The principal 'Rules that regard the Defign, are: That Novices accuftom themfelves to copy good Originals at firft Sight : Not to ufe Squares in drawing; for Fear of {tint- ing and confining their Judgment : To flay till they can deflgn well after the Life 'ere they begin the Practice of Perfpeclive Rules : \r\Defigning after tneLifc, to learn to adjuit the Bignefs of their Figures to the vifual Angle, and the Diftance of the Eye, from the Model or Objett : To mark out all the Parts of their Deflgn^ before they begin to

I *9* ]

DES

ffiadow : To make their Contours in great Pieces w'th out taking Notice of the little Mufcles,° an d ot v c i { "" To make themfelves Mafters of the Rales rfperfSS^! To obferve every Stroak as to its perpendicular Parallel" and Diftance ; and particularly fo to compare, and opnofe the Parts that meet upon, and travcrfe the Perpendicular fo to form a Kind of Square, in the Mind ; which is the great, and almoft the only Rule of Ziejigning juHly : 'tu have a regard not only to the Model, but alfo to the Part already dejign'd ; there being no fuch Thing as defigninv with ftrict Juftnefs, but by comparing, and proportioning every Part to the firft.

The reft relates to <PerfpeBive : As, that thofe Objects are feen at one View, whofe Rays meet j n a Point : That the Eye and Object be always conceiv'd as immoveable : That the Space, or Medium between them be conceiv'd tranfparent : And that the Eye, Object, and Picture, be at a juft Diftance; which is ufually double the Bigncfs of the Subject, or Picture. See Perspective.

DESIGNING, the Art of Delineating, or Drawing the Appearance of natural Objects, by Lines, on a Plane. See Design.

To deflgn according to the Rules of Mathematicks, makes the Subject of perfpeclive. See Perspective, and Scenography.

To defign by theCamera Obfcura. See Camer a Obfcura. A Mechanical Method o/Desicning ObjeBs.

Provide a fcpiare Piece ofGlafs fitted into a Frame ABDC, {ft ab. 'PerfpeBive Fig. 9.) and wafh, or fmeer it over with Water, wherein a little Gum has been diffolved. When 'tis Weil dried again, turn it towards the Object, or Objects to be dejign'd, fo as that the Whole thereof may be feen through a fDioptra, or Sight GH, fix'd thereto. Then proceed to work 5 and applying the Eye to the Sight, with a Pen and Ink draw every Thing on the Glafs, as you fee it appear rhereon. Having fini/h'd the Draught, lay a fair, moift Paper thereon ; and preffing it pretty tight down, the whole will be transferr'd from the Glafs to the Paper. The Method is very good, eafy, and exact ; and deferves to be more ufed by Painters.

DESIGNATION, the Aft of marking, or making a Thing known. The Dcflgnation of fuch an Eftate is made by the Tenants, Butments, and Boundings.

Among the Romans there were 'Designation s of the Con- fuls, and other Magiftrates, fome Time before their Election.

DESIGNATOR, a Roman Officer, whoaffigned, and mark'd each Perfon his Place, and Rank in publick Ceremo- nies : Or, a Mafter cj "the Ceremonies, who regulated the Seats, March, Order, iSc.

There were 'Defignators at funeral Solemnities, at the Games, Theatres, and Shews, who not only affign'd every- body his Place, but alfo led him to it; as appears from the Prologue to the 1><£nulus oiPlamus.

The Word is form'd from the Verb defignare.

DESPOT, a Title, or Quality given to the Princes of Walachia, Servia, and fome of the neighbouring Coun- tries.

The Word in its firft Origin fignifies the fame with the Latin Her us, and the EngJilh Mafter. But in Time it un- derwent die fame Fate on Medals, as, among the Latins, Ctg- far did with regard to AuguftuS; BAZIAET2, anfwering to Auguftns ; and AEsnoTHS,2)<?/?-'««, to C<efar. Thus, Nicephorus, having order'd his Son Stauracius to be crown'd; the Son, out ofRefpcct, would only take the Name AESnOTHS; leaving to his Father that ofEASIAETS. For it is to be noted, that it was juft about the Time that the Emperors began to ceafe to ufe Latin Infcriptions. This Delicacy, however, did not laft long ; For the following Emperors prefer'd the Quality of AE2noTH2 to that of BA2IAETS, particularly Conftantin, Michael Ducas, Ni- cephorus Sotoniates, Romamis Diogenes, the Commemi, and fome others. In Imitation of the Princes, the Prin- ceffes likewife affumed the Title of AEsnoiNA.

'Twas the Emperor Alexis, furnamed the Angel, that firft created the Dignity ofDefpot; and made it the firft af- ter that ol Emperor, above that of Auguftns, or Sebaftocra- tor, and Cafar. The Defpots were ufually theEmperors Sons, or Sons in Law, and their Collegues, or Co-partners in the Empire, as well as their prefumptive Heirs. The Defpots that were Sons of the Emperors, had more Privi- leges and Authority, than thofe that were only Sons in Law. Codin, p. 38. defcribes the Habit, and Ornaments of the Deffot. See the Notes of Fa. Goar on that Author. Under the Succeffors of Conftantin the Great, the Title, Defpot of Sparta, was given to the Emperor's Son, or Brother, who had the City of Sparta, or Lacedemon, by Way of Apannage.

DESPOTISM, or DESPOTIC Government, a Form of Government wherein the Prince is abfolute and arbitra- ry, doing whatever he lifts, without being check'd by any

other