A28779	----	A book of dravving, limning, vvashing or colouring of maps and prints: and the art of painting, with the names and mixtures of colours used by the picture-drawers. Or, The young-mans time well spent. In which, he hath the ground-work to make him fit for doing anything by hand, when he is able to draw well. By the use of this work, you may draw all parts of a man, leggs, armes, hands and feet, severally, and together. And directions for birds, beasts, landskips, ships, and the like. Moreover, you may learn by this tract, to make all sorts of colours; and to grinde and lay them: and to make colours out of colours: and to make gold and silver to write with. How also to diaper and shadow things, and to heighthen them, to stand off: to deepen them, and make them glitter. In this book you have the necessary instruments for drawing, and the use of them, and how to make artificiall pastels to draw withall. Very usefull for all handicrafts, and ingenuous gentlemen and youths. By hammer and hand all arts doe stand. This text is an enriched version of the TCP digital transcription A28779 of text R17980 in the English Short Title Catalog (Wing B3705AB). Textual changes and metadata enrichments aim at making the text more computationally tractable, easier to read, and suitable for network-based collaborative curation by amateur and professional end users from many walks of life. The text has been tokenized and linguistically annotated with MorphAdorner. The annotation includes standard spellings that support the display of a text in a standardized format that preserves archaic forms ('loveth', 'seekest'). Textual changes aim at restoring the text the author or stationer meant to publish. This text has not been fully proofread Approx. 93 KB of XML-encoded text transcribed from 22 1-bit group-IV TIFF page images. EarlyPrint Project Evanston,IL, Notre Dame, IN, St. Louis, MO 2017 A28779 Wing B3705AB ESTC R17980 99825051 99825051 29421 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A28779) Transcribed from: (Early English Books Online ; image set 29421) Images scanned from microfilm: (Early English books, 1641-1700 ; 423:2 or 1754:1) A book of dravving, limning, vvashing or colouring of maps and prints: and the art of painting, with the names and mixtures of colours used by the picture-drawers. Or, The young-mans time well spent. In which, he hath the ground-work to make him fit for doing anything by hand, when he is able to draw well. By the use of this work, you may draw all parts of a man, leggs, armes, hands and feet, severally, and together. And directions for birds, beasts, landskips, ships, and the like. Moreover, you may learn by this tract, to make all sorts of colours; and to grinde and lay them: and to make colours out of colours: and to make gold and silver to write with. How also to diaper and shadow things, and to heighthen them, to stand off: to deepen them, and make them glitter. In this book you have the necessary instruments for drawing, and the use of them, and how to make artificiall pastels to draw withall. Very usefull for all handicrafts, and ingenuous gentlemen and youths. By hammer and hand all arts doe stand. Dürer, Albrecht, 1471-1528. Jenner, Thomas, fl. 1631-1656. [2], 40 p. : ill. (plates) printed by M. Simmons, for Thomas Jenner; and are to be sold at his shop, at the south entrance of the Royal Exchange, London : 1652. Recto of titlepage has a portrait of Dürer engraved by Francis Delarame, and the title: A booke of the art of drawing according to ye order of Albert Durer, Jean Cozijn, etc. Compiled by Thomas Jenner. Later editions under title: Albert Dürer revived, or, A book of drawing. Item at reel 1754:1 incorrectly identified as Wing A875A. Reproduction of the original in the Henry E. Huntington Library and Art Gallery. eng Drawing -- Study and teaching -- 17th century. Painting -- Technique -- Early works to 1800. Glass painting and staining -- Early works to 1800. A28779 R17980 (Wing B3705AB). civilwar no A book of dravving, limning, vvashing or colouring of maps and prints: and the art of painting, with the names and mixtures of colours used [no entry] 1652 16423 11 0 0 0 0 0 7 B The rate of 7 defects per 10,000 words puts this text in the B category of texts with fewer than 10 defects per 10,000 words. 2000-00 TCP Assigned for keying and markup 2001-09 Apex CoVantage Keyed and coded from ProQuest page images 2002-06 Mona Logarbo Sampled and proofread 2002-06 Mona Logarbo Text and markup reviewed and edited 2002-07 pfs Batch review (QC) and XML conversion A BOOK OF Dravving , Limning , Washing Or Colouring of MAPS and PRINTS : AND THE Art of Painting , with the Names and Mixtures of Colours used by the Picture-Drawers . OR , The Young-mans Time well Spent . In which , He hath the Ground-work to make him fit for doing any thing by hand , when he is able to draw well . By the Use of this work , you may Draw all parts of a Man , Leggs , Armes , Hands and Feet , severally , and together . And Directions for Birds , Beasts , Landskips , Ships , and the like . Moreover You may learn by this Tract , to make all sorts of Colours ; and to Grinde and Lay them : and to make Colours out of Colours : and to make Gold and Silver to write with . How also To Diaper and Shadow things , and to heighthen them , to stand off : to Deepen them , and make them Glister . In this BOOK You have the necessary Instruments for Drawing , and the use of them , and how to make Artificiall Pastels to draw withall . Very Usefull for all Handicrafts , and Ingenuous Gentlemen and Youths . By Hammer and Hand all Arts doe stand . Infoelix qui Pauca Sapit , spernit que Doceri . LONDON . Printed by M. Simmons , for Thomas Ienner ; and are to be sold at his Shop , at the South Enterance of the Royal Exchange . 1652. THE TRVE PORTRAITVRE OF ALBERTVS DVRER ▪ THE VERIE PRIME PAINTER AND GRAVER OF GERMANY 〈…〉 〈…〉 R 〈…〉 mer ▪ pinxit ▪ Francis 〈…〉 DeLa 〈…〉 sculpsit A Book of the Art of Drawing according to ye order of Albert Durer ▪ Iean CoziIn and ▪ other Excellent Picture-makers describing ye true proportions of Men , women & Children . Are to bee sould by Thoma 〈…〉 Of necessary Instruments for Drawing . FOr Implements these are the onely necessary ones ; Pens made of Ravens quils because they are the best to draw faire , and shadow fine , and smal Charcoals , black-lead , white-lead , red-lead , a feather , and a pair of Compasses . The use of these Instruments . FOr your Charcoals , They must be slit into small 〈◊〉 peeces , and then sharpned at the point : You may chuse your Charcoals thus , they are finer grain'd then others , and smooth when they are broken , and soft , and they have a pith in the middle of them , which is the best token to know them by : The use of them is to draw over your drafts first withall , because if you should draw it false at first , you may easily wipe it out , which you cannot so well doe with any other thing . Your black-lead is to draw over that againe which you drew before in Char-coal , because this will not wipe out under your hands when you come to draw it with your pen ; and if you shall draw it with your pen before this , you Charcoal would furry your pen that you could not write with it , and besides you cannot so well mend your faults with a pen as with a black-lead , for what you doe with your pen you cannot alter , but wherein you erre with your black-lead , you mend it with your pen . The pen is the finisher of your work , with which you must be most exact , knowing it is unalterable , therefore you must be sure your worke is right before you draw it with your pen . Black-chalk is to draw on blew-paper with , which is not to be used till you be pretty perfect in drawing . White lead is to doe the lightest parts of that you draw before with black Chalk . Your Compasses are not to be used constantly , for they will spoyle you that you cannot draw without them , but onely when you have 〈◊〉 your drawing with Char-coal , you may measure if it be every 〈◊〉 right , before you draw it with your black-lead . The Fether is to wipe out the Char-coal where it is drawne false , before you draw it again , and this you must be sure to doe , or else you will be confounded with variety of stroakes , so that you shall not know which is the right stroake . Having these Implements in readinesse , The 〈◊〉 practise of a Drawer must be readily to Draw Circles , Ovals , Squares , Piramids , &c. And the reason of exercising you first in these , is , because in these you will be fitted for the performance of other bodies ; as for example , your Circle will teach you to draw Sphericall bodies , as the Sun , Moon and Stars , and the most Flowers , as the Rose , Dazy , &c. the most Vessels , as Cups , Basons , Boles , Bottles , &c. the Square will fit you for all manner of comportliments , plots , buildings , &c. your Piramids for sharpe Steeples and Turrets , &c. your Ovall for Faces , Shields , &c. for it is impossible to draw the body of a Picture before you can draw the Abstract . When you can do these , practise to draw Pots , Bals , Candlesticks , Pillars , a Cherry with a leafe , &c. but be sure you be perfect in the out-stroake , before you goe to draw the shadows within . How to make Artificiall Pastiles to draw withall . TAke a great Chalk-stone , and make deep furrows , or holes in them , two of three inches long , and so wide that you may lay in each a quill , then take white Chalk ground very fine , temper it with oyl or wort , and a little new milk , and to make pap thereof , then poure it into the furrows of Chalk , and in a short time you may take them out and roul them up , or let them lye in them till they are quite dry , and then take them and scrape them into a handsom form ; you may temper lake with burnt Alablaster for a red , and so for others ; having regard to some colours that will binde over-hard , which must have a little water put to them in their grinding . Directions in Drawing of a Face . FOr the better assisting you in the drawing of a face , you may make use of this direction ; when you have drawn the circle of the Face ( which you must doe at first with a plain 〈◊〉 line , without making any bendings in or out , till you come towards the finishing of it ) you may make a stroak downe from that place of the forehead which is even with the chin , coming down where you should place the middle of the Nose , and the middle of the mouth ; observe that this stroak must be struck that way which the Face should turne , either to one side , or strait right , and then this stroak will exceedingly helpe you to place the features rightly , that they may not stand all awry , but directly one under another ; when you have made this stroak , you may make another stroake acrosse to guide you for the even placing of the eyes ; that one be not higher then another . Now if the face turne downwards , the stroake must be so struck that the eyes may turne answerable with the face downward , when you have done that make anòther stroake for the length of the Nose , where the end of the Nose should come , and another stroak for the mouth , that it be not made crooked , still observing to make all the stroakes to turne one way , either up or downe , according as the face turns ; for if the face turne up or downe , the Eyes , Nose , and Mouth must turne with it : when you have made these stroakes rightly , proceed to the placing of the features as in the rules before . There is this three-fold equall proportion usually observed in a Face ; 1 From the top of the fore-head to the eye-brows ; 2 From the 〈◊〉 - brows to the bottome of the nose ; 3 From thence to the bottom of the chin : but this proportion is not constant , for sometimes the fore-head is lower then at other times , and some 〈◊〉 noses longer , other shorter , and therefore this rule is not alwayes to be observed , but onely in a well proportioned Face . The distance between the two eyes is Iust the length of one eye , if it be a full face , but if it turne any thing aside then that distance is lesned accordingly ; the nostrill ought not to come out further then the 〈◊〉 of the eye in any face , and the mouth must be placed alwayes between the eyes and the chin , Iust under the mouth . Further Directions about a Face . BEcause the greatest difficulty , and principall part of this Art lies in the 〈◊〉 〈◊〉 of a Face , I thought good to adde these further Directions to make 〈◊〉 the more perfect in the drawing of it . 1 If you would rightly draw a Face , that it may resemble the patterne you draw 〈◊〉 〈◊〉 : you must in the first place take notice of the Visiognomy or 〈◊〉 of 〈◊〉 〈◊〉 , 〈◊〉 it be long or round , fat , or lean , big , or little , that so you may be 〈◊〉 〈◊〉 the 〈◊〉 〈◊〉 , to draw the right visiognomy , or bignesse of the Face , which 〈◊〉 〈◊〉 〈◊〉 〈◊〉 face you shall perceive the cheeks to make the side of the face to swell out , 〈◊〉 〈◊〉 make the face look as if it were square ; if a lean face the Iaw bones will 〈◊〉 〈◊〉 〈◊〉 the 〈◊〉 〈◊〉 in , and the face will look long and 〈◊〉 ; if it be neither 〈◊〉 〈◊〉 , nor too 〈◊〉 , the face will be round for the most part . 〈◊〉 you draw the utmost Circumference of a face , you must take in the head and all with 〈◊〉 , otherwise you may be deceived in drawing the true bignesse of a face . Generall Rules for the Practise of Drawing . 1. HAving your charcoal neatly sharpned , you must at the first in drawing of a face , lightly draw the out-stroak , or circumference of the face Iust according to the bignes of your pattern , making it to stand fore-right , or to turn upvvards or dovvnvvards according to your patterne , then make some little touches vvhere the features as the Eyes , Nose , Mouth , Chinne , should be placed , not drawing them exactly at the 〈◊〉 , and having thus exactly pointed out the places where the features should bee : begin to draw them more exactly , and so proceed , till the face be finished , and then make the hair , beard , and other things about it ; In making of a side face you need not at first exactly draw the nose , mouth and chin that stand in the outmost line , but onely make it at first but a bare circumference , turning this way , or that way , according as the pattern doth , and then make the mouth , nose and chin to come out afterwards , in the right places and Iust proportion . 2 The Circles , Squares and Triangles that are made in the Print , about a face , are to guide your apprehensions the more readily to the framing of one , that being as it were led by a line , you may the more easily know where abouts to place the features , as eyes , nose , mouth , &c. which when you are able to doe without them ; these are of no use at all , but onely to guide you at the first to the placing of them . 3 In the third place you must be sure to place the musles in their right and proper places ; by the musles I meane all the shadows that are caused by some dents , or swellings in the face , and be able to find out the reason of every musle , that so you may proceed to work with the more Iudgement ; you shall perceive the musles most in an old and withered face , and you must first draw the principall of them , and then you may the more easily draw the lesser within ; you must be very exact in the right placing of them , or else you spoyle your draft be it never so good . 4 Observe to make the shadows rightly , and be sure not to make them to darke , where they should be faint , for if you doe you can never recover it to make it light again , and 〈◊〉 the whole face will be mar'd , and appear unhandsome ; the shadows are generally fainter and lighter in a faire face then in a swarthy complexion : when you have finisht your draft , you will do very well to give here and there some hard touches with your pen where the shadows are darkest , which will adde a great life and grace to your drawing . When you have finisht the face , then come to the ears and haire , wherein you must observe this rule , having drawne the out-line of it , you must first draw the principal Curles , or master-strokes in the haire , which will guide you with ease to doe the 〈◊〉 curls which have their dependance on them ; always make your curle to bend , and 〈◊〉 exactly according to the patterne , that they may lye loose and safte , and not look as if they were stiffe , stubborne and unplyable : When you have drawne the curls rightly you must in the last place strike in the loose haires which hang carelesly out of the curls . When you can draw a face ( which is the principall thing in the Art ) then goe to hands and arms , legs and feet , and so to full bodies of men and women , which are the most difficult things , which if you can attaine to performe , with a well grounded 〈◊〉 , nothing then will be difficult to you , but will be most easie as flowers , birds , beasts , 〈◊〉 , or any other thing that is to be drawne by hand . Of Drawing Hands and Feet . To foreshorten the Hands . You must draw the perpendicular lynes from the Hands seene slopewise or a syde marked with their proportions and measures 1. 2. 3. 4. upon which the shining would so cast them downe vnto the Dyagonall marked at the ende with O. and then carry the reflexion of them levelly from the intersections of those perpendicular lynes in the Dyagonall aforesaid untill you come vnder the place of the foreshortened Hands therby to gett the shaddowe from which shaddow you must perpendicularly rayse perpendicular lines vntill then may meete or intersect levell lines drawne also from the first hand seene asyde , so will the intersections of the said lase named levell lines and raysed perpendiculars give the foreshortened Hands A. B. C. D. E. Even as the Eye would see the Sydewise or sloping Hande , So shall the workman see the Hand foreshortened by meanes of the said shaddow . The actions and postures of the hand are so various , that I can give you no certain rule for the drawing of them , onely take this for a generall , when you first draw it with charcoal , you must not draw it exactly , that is to say , to make all the Ioynts or 〈◊〉 , or other things , to appear but onely lightly and faintly ; to touch out the bignes of the hand , and the manner of the turning of it with faint touches , and 〈◊〉 with hard stroakes ; then if you have done that right , part the fingers asunder , or close , according to your pattern , with the like faint stroake ; then marke that place where any of the fingers do stand out from the others , and make a faint resemblance of it : having so done , if you perceive your draft to be 〈◊〉 , proceed to draw it more perfectly , and make the bending of the Ioynts , the rist-bone , and other principal things , somewhat exactly . And lastly goe over it again , and draw every small bending or swelling of the fingers , and make the nails , knuckles and veins , so many of them as appear , and every thing else that you can discerne . Observe this rule in all your drawings , that before you come to draw your draft with Black-lead , or other thing , you must blow off the loose dust of the coal off from your drawing , or faintly to whiske over your drawing with a fether , that so you may leave it faint , so that you must but Iust perceive your stroakes , and by this means you will the better see how to draw it againe with your black-lead , otherwise you would not be able to discern your stroaks . For the proportions of a hand , you have it sufficiently set downe in the print , by lines and figures , which shews the equalities of proportion in a hand , and how many equall measures there are in it , which you should endeavour to be acquainted with , that so you might know when a hand is well proportioned , with Iust and equall distances ; but I would you should take notice of this rule , or exception , according as the hand turns one way or other , the proportions must be shortned , according as they appear to the eye , as you shall see in the fore-shortning of the hand in the print ; so much as the hand turns away from our sight , so much it looses of its ordinary proportion , and is made to shorten unto that proportion that the eye Iudges of it , nay sometimes a whole finger , sometimes two or three , or more , is lost to our sight , by the turning of the hand another way from us , and so they must be holy left out , and not made . For feet there is not so much difficulty in the making of them , as in hands ; and in drawing of them , you must proceed to the same way that was shewed for the making of hands . When you can draw hands and feet pretty well , then goe to arms and legs , wherein is little difficulty ; when you can draw the hands and feet , afterwards proceed to whole bodies . Of Drawing the whole body rules to be observed . 1 IN all your drawings you must draw it at first with your coal , but very lightly and faintly , for then you may the easier mend it if you draw amisse . 2 In the drawing of a body , you must begin with the head , and be sure to give a Iust proportion and bignesse to that , because all the body must be proportioned according to the head . 3 At the first drawing of the body with your coal , you must draw nothing perfect or exact before you see that the whole draft is good , and then you may finish one thing after another as curiously as you can . The proportion of a Man to be seene standing forward . In this figure is to be observed that from the top of the head to the sole of the feete , is 8. measures of the head , and the head 4 lengthes of the nose , the which measures are upon a perpendicular line . 〈◊〉 the head figured with 1. the second to the breasts . 2. the 3d. to the navel 3. the 4th . to the privities . 4. the 5th . to the midle of that thigh 5. the 6th . to the lower part of the knee 6. the 7th . to the small of the leg. 7. the eight reaching to the heele & sole of the feet . 8. Likewise the same 8. measures are to be observed from the end of the fingers of the right hand , to the end of the left hand fingers : the breadth of the shoulders containeth 2 measures of the head , & the breadth of the hips 2 measures of the face as appeareth in the vnshadowed figure . 5 In your drawing be sure you place the paralel Ioynts , sinews and musles , directly opposite in a strait even line one against the other , as the shoulders , the arme-pits , the wast , the hips , the knees , and so every thing else , that one may not be higher or lower then the other , that the body may not seem crooked or deformed , but every paralel Ioynt bend &c. may directly answer the other that is opposite thereunto ; and to this end you may strike a strait stroak directly crosse the shoulders to direct you to place them even and strait one against the other , so also you may do in other places , as the arm-pits , wast , hips , thighes , or any other place , where you should place one thing even with the other ; for you must have the same care in all parts of the body , as you have in one place where any bendings or members of the body have , or do require a direct opposition one against the other , you may make use of this help and direction . 6 Observe that if the body turne one way or other , then this stroake must be so struck , so that it may answer the bowing of the body , as if the body stoop a little downwards , the stroak must be struck sloaping or sideways , and so you must then make the shoulders and other things which should stand strait against one another , to be somewhat higher then one another , so that that side that the body turns upon the shoulders and other things that otherwise should be placed even one against the other must be made somewhat lower the other side , more or lesse , according as the body stoops more or lesse . 7 As you are to be carefull in the right placing of all level or paralel Ioynts , bendings , sinews and 〈◊〉 , so you must look exactly to all perpendicular Ioynts , musles , &c. that is when you have drawn the outmost draft , and are come to draw the Ioynts and musles that are contained within the body , you must be as exact in placing them , that are directly Iust under one another , as you are in placing them even , that are opposite one to the other ; and to this end that you may place things exactly perpendicular , that is in a strait line under one another ; you may strike a strait perpendicular line from the throat pit downe to the privities , Iust in the middle or seam of the body , where you may discerne the parting of the ribs , and so from thence strait downe to the feet , as you shall see in the print of the man , the line will direct you to place things evenly perpendicular , that the body may stand strait upright , and not appear crooked and awry . 8 Take notice of the bowings and bendings that are in the body , to make that part that is opposite to that which bends to answer to it in bending with it , as if one side of the body bend in , the other side must stand out answerable to the bending in of the other side , if the back bend out the belly must bend in , if the belly come in , the back must stick out , if the breech stick out , the thigh that answers to it in opposition , must come in : so also , in any other part of the body ; as if the knee bend out , the hams that answer to it must come in , and so for any other Ioynts in the body this rule must be exactly observed , otherwise the body will be made grosly and absurdly , and will be very gowty without any proportion . 9 Indeavour to make all things of an equall proportion and bignes , not to make one arme bigger then the other , or one leg bigger then the other , or one breast bigger then the other , or any one part of the body in an unIust proportion , but as every thing must answer to the bignes of the face , so one member must answer to another in bignes , that so there may be a sweet harmony in the parts of the body , that it may not have broad shoulders , and a thin slender waste , a raw-bone arme , and a thick gowty leg , or any part disproportionable from the other , unlesse it be so that any part of the body doth turne awry from our eye , as if the one arme should be seen side-wayes , and the other fore-right then the one arme must be made so much less then the other by how much it turns away from our sight , and appears lesse to our eyes , and so if one legg be seen full or fore-right , and the other legg be seen side-wayes , then it must be made so much lesse then the other , by how much it turnes away from your sight . The proportion of a woman to be seene afore . The Proportion & measure of a woman to be seene afore , is like the 〈◊〉 , excepting that that measure of the breadth betwene the shoulders of the woman 〈◊〉 but 2 lengths of thē face , as appeares by that pricked line athwart the breasts and from that Hippes to the 〈◊〉 . 2 lengths of the head , marked with an other crosse pricked line ; which maketh the difference betwene the man & that Woman and you must make the Armes Thighes & Legges fatter and plumper then that mans , euen to that wrists & 〈◊〉 Allso you must not make that muscles as of that man . The Whole figure of Mans body foreshortened a litle & seene by the Sole of the Foot , the Back upwards . Having 〈◊〉 〈◊〉 〈◊〉 〈◊〉 at length by the Syde , the back upwards You must also observe the measures as 〈◊〉 in the levell 〈◊〉 〈◊〉 . 23. 4. 5. 6. 7. 8. and 〈◊〉 up the 〈◊〉 〈◊〉 and proportions by the 〈◊〉 lynes vpon the perpendicular which 〈◊〉 the 〈◊〉 figure and the Shadow , of the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . 〈◊〉 to make the figure of the Shadow you 〈◊〉 draw a Lyne 〈◊〉 in 〈◊〉 midse of 〈◊〉 〈◊〉 therin 〈◊〉 〈◊〉 〈◊〉 & measures marked 1. 2. 3. 4. 5. 6. 7. 8. The 〈◊〉 〈◊〉 〈◊〉 for 〈◊〉 〈◊〉 the second 2 for 〈◊〉 Shoulders and so consequently of the rest unto 〈◊〉 〈◊〉 measure . And to make 〈◊〉 shadow as 〈◊〉 Sonne 〈◊〉 〈◊〉 upon the Back . And to make the 〈◊〉 you must 〈◊〉 perpendicular lynes . proceeding from the figure stretched at length . & seene a syde by the coresponding 〈◊〉 of which and 〈◊〉 levell 〈◊〉 me for shortened lynes and 〈◊〉 of the same seene by 〈◊〉 〈◊〉 of the feet , the back upwards is described as appeareth in the 〈◊〉 of this present 〈◊〉 . 11 Observe the exact distance of one thing from another , how far distant they are , that you may be exact in your draft , and perfectly imitate your patterne . 12 Observe how much one part of the body sticks out beyond the other , or falls in within the other , or whether it stands even with the other , and to this end you may strike a small stroake downe from the top of the shoulder along by the out-side of the body strait down to the feet , and this will direct you how farre one part of the body should stand out beyond the other , and how far other parts should come in ; let nothing be done without a rule and Iudgement . 13 Let nothing be done hard , sharpe or cutty , that is , let not the bendings that are either in the body , or in the Ioynts be made as if they were 〈◊〉 or cuts in the flesh , with sharpe corner stroakes , but finely round and sloaping , like bendings , and not like cuts in the body : this is a common fault among learners which they cannot chuse but commit & 〈◊〉 you should be the more careful of it by imitating your patterne exactly , in the 〈◊〉 manner of making every stroake and touch , and indeavour to find out the ground and reason of every small stroak and touch that is given , for nothing must be done without Iudgement . Now I have given you directions for the drawing of the body ; I would in the next place give some instructions , wherby you might have some Iudgement in a good draft . Of Perspective Proportion . PErspective Proportion differeth much from the former , for according to the 〈◊〉 of the eye from a thing it Iudgeth what proportion it hath , as if one part 〈◊〉 the body come neerer to the eye , then the other , it is made so much begger then the other part of the body , which turns away from the eye , as if one legg stand behind another ; the formost legg that comes first to the eye must be made somewhat bigger , and longer 〈◊〉 the other , because the eye Iudgeth so of it ; and so it is for any other part of the body , the 〈◊〉 must be lessened , according to the distance that it is from the eye . The second thing in good drafts , is gracefull posture , and proper action , that is , that the true naturall motion of every thing be exprest in the life and spirit of it , that is , to quicken the life by art , as in a King to expresse the greatest 〈◊〉 , by putting him in such a gracefull posture , as may move the spectators with reverence to behold him ; and so to make a Souldier , to draw him in such a posture , as may betoken the greatest courage , boldnes and valour ; and so to make a Clowne in the most detestable and clownish posture ; and so for every thing , that the inward affection and disposition of the mind be most lively exprest in the outward action and gesture of the body . Now that you might attaine to a skill herein ; I would counsell you diligently to observe the works of famous Masters , who doe use to delight themselves in seeing those that fight at cuffs , to observe the eyes of privy murtherers , the courage of 〈◊〉 , the actions of Stage-players , the intising allurements of Courtesans , and those who are led to execution , to mark the contracting of their brows , the motions of 〈◊〉 〈◊〉 , and the carriage of their whole body , to the end they might 〈◊〉 them to the life in their drawings and works . The third thing in good drast is , loosnesse , that is , that the body be not made 〈◊〉 in any part , but that every Ioynt may have its proper and naturall bending , so as it may with greatest life express your intention , that the figure may not seem lame , and the Ioynts stiffe , as if they were not plyable or capable of bending , but every Ioynt and limbe may have its proper and natural moisture , according as it may best suite with , and become the posture in which the figure is sett The fourth thing in drawing is fore . shortning , which is to take things as they appeare to our eye , and not to draw the full length and proportion of every part , but to make it shorter , by reason the full length and bignes is hid from our fight ; as if I would draw a ship standing fore-right , there can appear but onely her fore-part , the rest is hid from our sight , and therefore cannot be exprest ; or if I would draw a horse standing fore-right , looking full in my face , I must of necessity foreshorten him behind , because his sides and flanks appear not unto me , wherefore observe this rule ; That you ought rather to imitate the visible proportion of things , then the proper and naturall proportion of them , for the eye and the understanding together being directed by the perspective art , ought to be the guide , measure and Iudge of drawing and painting . The fifth thing in good drawing is , That every thing be done by the guidance of nature , that is , that nothing be exprest , but what doth accord and agree with nature in every point ; as if I would make a man turning his head over his shoulder , I must not make him to turne more then nature will permit , not any thing must be foarst beyond the limits of nature , neither must any thing be made to come short of nature , but nature though it is not to be strained beyond its centure , yet it must be quickned to the highest pitch of it , as if I would expresse a King , I must expresse him in the most MaIestick posture that I can invent ; and if I would draw a Clown , I must draw him in the most clownish action that can be , yet must neither the one nor the other be drawne in such a posture as will not agree with the motion of nature , that is , to draw such a posture which a man cannot imitate with his naturall body , and so for any thing else whatsoever nature must be the patterne of all kind of drafts . Of Drawing Garments . WHen you are able to draw naked drafts well , you will finde a matter of no great difficulty to doe bodies with garments upon them , yet neverthelesse it will not be amiste to give you some directions about the same . 1 First , you must draw the outmost lines of your garments lightly , and in this you must be very carefull , for the whole grace of a picture lies in the outmost draft , and not in the curious work within . Now that you might performe this exactly , you must suite your garments to the body , and make them bend with the body , and not to make them strait there where the body should bend ; if you would rightly fit the garments to the body , you must observe which part of the body bends in or out , that the garment may answer to the body upon the least turning one way or oother the garment may turne with it ; you must also observe where the body should come if it were naked , and there draw your garments in the right place , making it bend according as the Ioynts and limbs of the body should bend : Excellent workmen doe make the body appeare plainly thorow the garments , especially where the garment lyes close and flat upon the body , and indeed where ever the body bends in or sticks 〈◊〉 in any one part more then other , it should be showne in a plaine and vifible manner through the garments , which thing you must take notice of in your drawing , either by a patterne , or by the life . The proportion and measure of a Childe standing forward containeth but fine measures of the head , to 〈◊〉 3 from the 〈◊〉 of the head to the priuities , 〈◊〉 two more in the 〈◊〉 and legges , as 〈◊〉 in this figure , and the breadtis 〈◊〉 the 〈◊〉 is the lonath of a head and a halfe , as apeares by a 〈◊〉 pricked line marked 〈◊〉 and the 〈◊〉 of the body aboue the 〈◊〉 marked also with a crosse pricked line is the 〈◊〉 of one head . the breadth of the vpper part of the 〈◊〉 marked with a priked line oposite to the 〈◊〉 , is the third part of two lengths of the head . the knee marked with a small 〈◊〉 pricked line and a little † at both ends is of the Iust length as betweene the eye and chin , the small of that leg and the brawne of the arme are of the thicknes of the 〈◊〉 . 2 You must draw the greatest folds first , and so stroake your greater folds into lesse , and be sure you let one fold crosse another . Directions for the bestowing of your lights . 1 LEt all your lights be placed one way in the whole work , as if the light fals side-wayes on your picture , you must make the other side which is furthest from the light , darkest , and so let your lights be placed altogether , on one side , and not confusedly to make both sides alike lightned , as if it stood in the midst of many lights , for the body 〈◊〉 otherwise be lightned equall in all places . 1 Because the light doth not with all its brightnesse illuminate any more then that part that is directly opposite unto it . 2 The second reason is taken from the nature of our eye , for the first part of the body coming unto the eye with a bigger angle is seen more distinctly ; but the second part 〈◊〉 further off comes to the eye in a lesser angle , and being lesser lightned 〈◊〉 not so plainly seen as the first . By this rule if you are to draw two or three men standing together , one behind another , though all of them receive equally the light , yet the second being further from the eye must be made darker , and the third more darke . 2 That part of the body must be made lightest , which hath the light most directly opposite to it , as if the light be placed above the head , then the top of the head must be made lightest , the shoulders next lightest , and so it must loose by degrees . 3 That part of the body that stands furthest out , must be made lightest , because it comes neerer to the light , and the light looseth so 〈◊〉 of its brightnesse , by how much any part of the body bends inward , because those parts that 〈◊〉 out doe hinder the lustre and sull brightness of the light from those parts that fall any thing more inward , therefore by how much one part of the body sticks out beyond the other it must 〈◊〉 〈◊〉 so much lighter then the other , or if it fal more inward , it must be made 〈◊〉 〈◊〉 . Sattins and Silks , and all other bright-shining stuffs , have certain bright 〈◊〉 , exceeding light with sudden bright glances , especially where the light falls brightest , and so the reflections are lesse bright , by how much the garment fals more inward from the light . The like is seen in armour , 〈◊〉 pots , or any glittering mettals , you shall see a sudden brightnesse in the middle or centure of the light , which discovers the shining nature of such things . Of Landskips . LAndskip is expressing of land by hils , woods , castels , seas , valleys , ruines , rocks , Cities , towns , &c. and there is not so much difficulty in 〈◊〉 , as in drawing figures therefore take onely these rules for it . 1 The best way of making Landskips is to make them shoot away one 〈◊〉 lower then another , which hath been practised by our best workmen of 〈◊〉 , but 〈◊〉 have run into a contrary error , by making the Landskip mount up higher and 〈◊〉 , till it reach up a great heigth , that it appears to touch the clouds , as if they had stood at the bottome of a 〈◊〉 , when they took the Landskip which is altogether improper , for we can discerne no prospect at the bottom of an hill , but the most proper way of making a Landskip , is to make the neerest hill highest , and so to make the rest that are further off , to shoot away under that , that the Landskip may appear to be taken from the top of an hill . 2 You must be very carefull to lessen every thing proportionable to their distance , expressing them bigger or lesse according to the distance they are from the eye . 3 You must make all your lights fal one way , both upon the ground and trees , and all things else , and all the 〈◊〉 must be cast one way . So likewise you must observe the motions of the Sea , by representing the 〈◊〉 agitations of the waters , as likewise in rivers , the flashings of the waters upon boats and ships floating up and downe the waters , you must also represent the motions of waters falling downe from an high place , but especially when they fall upon some rock or stones , where you shall see them spiriting up in the aire and sprinkling all about . Also clouds in the aire require to have their motions now gathered together with the winds , now violently condensated into haile , thunder-bolts , lightning , rain , and such like ; finally , you can make nothing which requireth not his proper motions , according unto which it ought to be represented : observe this rule that all your motions which are caused by the wind must be made to move one way , because the wind can blow but one way at once . Thus much for directions to those who are contented to take some pains to attain so noble a science ; Now there follow certain directions for those that are unskilful , and have not spare time sufficient to spend in the practise of those directions , yet are desirous upon occasions , & for certain ends to take the copies of some lesser prints or pictures which they oftentimes may meet withall , the which are very facile and easie to be performed . How to take the perfect Draft of any picture . TAke a sheet of the finest white paper you can get , Venice paper is the best , 〈◊〉 it all over with cleane linsed oyle on one side of the paper , then wipe the oyle off from the paper as clean as you can , then let the paper stand and dry , otherwise it will spoyl a printed picture , by the soaking thorow of the oyle ; having thus prepared your paper , lay it on any printed or painted picture , and you may see perfectly thorow and so with black lead pen , you may draw it over with ease : after you have thus drawne the picture on the oyled paper , put it upon a sheet of cleane white paper , and with a little sticke pointed , or which is better 〈◊〉 a feather , taken out of a Swallows wing , draw over your stroakes which you drew upon the oyled paper , and so you shall have the same very prettily and neatly , and exactly drawne upon the white paper which you may set out with colours at your own pleasure . Another way . HAving drawn the Picture , take the oyled paper , and put it upon a sheet of clean white paper , and 〈◊〉 over the drawing with a pen , then from the clean sheet that was pricked , pownse 〈◊〉 upon another , that it take some small coal , powder it fine , and wrap it in a 〈◊〉 of some fine linnen , and binde it up therein loosly , and clap it lightly over all the 〈◊〉 line by little and little , and afterwards draw it over againe by little and little , and afterwards draw it over againe with a pen or pensell , or what you please . Another way . TAke a sheet of fine white paper , and rub it all over on one side with black-lead , or else with vermilion tempered with a little fresh butter , then lay this coloured side upon a sheet of white paper , then lay the picture you would copy out upon the other side of the coloured paper , and with a small pointed sticke , or with a Swallows quill goe over all the 〈◊〉 of your picture , and then you shall have your stroakes very prettily drawn on the white paper . Another way . TAke a piece of white Lanthorne horne , and lay it upon your picture , then with a hard nipt pen made with a Ravens quill draw the stroake of your picture upon the horne , and when it is dry , breath upon the horne twice or thrice , and presse it hard upon a peice of white paper a little wetted , and the picture you drew upon the horn , will stick fast upon the paper . Another way . TAke 〈◊〉 sheet of white paper , rub it all over with fresh butter , and dry it in by 〈◊〉 fire ; then rub one side of it all over with lamp-black or lake , or any other colour finely ground : lay this paper upon a sheet of 〈◊〉 paper with the coloured sid downwards , and upon it lay the picture you would copy out , and trace the stroak over with a fether of a Swallows wing , and you shall have your desire . Another way . TAke some lake , and grinde it fine , and temper it with lin-seed oyle , and afterwards with a pen draw with this mixture , instead of inke , all the out-stroake of any paper picture , also the musles , then wet the contrary side of the picture , and presse it hard upon a sheet of cleane white paper , and it will leave behind it all 〈◊〉 〈◊〉 of the said picture that you drew over it . Another way . TAke Printers blacke , grinde it fine , and temper it with faire water , and with a pen dipt therein draw over the master stroakes , and out-lines of the musles , wet then a faire paper with a spunge , or other thing , and clap the paper upon it , pressing it very hard thereupon , and you shall finde the stroakes you drew left upon the faire paper . Another most easie way . LAy a paper print upon a bright glasse window , or paper window that is oyled with the back-side of the print upon the window , then lay a clean paper upon the print , and draw the out-stroaks upon the paper , which may visibly see you , it being sett up against the light , and if you wil shadow it siner you may . An easie way to lessen any Picture that is to draw a picture from another in a lesser Compasse . 〈◊〉 take a ruler and a black-lead plummet made an even square ; now , you must divide 〈◊〉 〈◊〉 into divers equal parts with a pair of compasses , and draw lines with a 〈◊〉 and black lead plummet quite over the picture , make also other lines acrosse , so that 〈◊〉 picture may be divided into equall squares , then take a faire paper and make 〈◊〉 〈◊〉 〈◊〉 upon it as there is in the picture ; you may make them as little as 〈◊〉 will , but be sure they are equall in number with those in the Picture , having 〈◊〉 drawne 〈◊〉 the picture and paper into squares ; take a black-lead pen and draw the picture by little and little , passing from square to square , and in what part of the 〈◊〉 〈◊〉 picture lies , in that same square put the drawing , and in the same place of 〈◊〉 〈◊〉 upon the paper untill you have finished the whole , then draw it over with a pen , in which second drawing of it over you may easily mend any fault ; when it is 〈◊〉 it over with the crumme of white bread , and it will take off all the black - 〈◊〉 stroakes , and your draft onely will remaine faire upon the paper . 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 Pensell . FIrst take the leafe that you would have , and gently bruise the ribs and veines on the back-side of it , afterwards wet that side with linsed oyle , and then presse it hard upon a peice 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 colored , it would seem to be truly naturall . Of Washing Maps or Prints . WAshing Pictures is nothing else but the setting them out with colours , and for the effecting hereof you must be provided with store of pensels , some smaller The 3. whole Anatomique figures Before Behind & Sydewise . In these three whole Anatomiques are represented the Muscles aswell Before and Behynde as Sydewyse . And the sayd Figures are made by such observations and measures as is before herein declared . And you may note that the draught of the Figure for before serueth also for the Figure 〈◊〉 So as in such 〈◊〉 that in the makeing of the one you also 〈◊〉 made the other taking the opposyte of the 〈◊〉 and the 〈◊〉 spaces which are betweene the 〈◊〉 are the 〈◊〉 measures and 〈◊〉 of the Head which are to be obserued in Humane 〈◊〉 . 〈◊〉 〈◊〉 , Allum-water , Gum-water , Water made of Sope ashes , size , varnish , 〈◊〉 〈◊〉 of good colours well prepared . How to make Allum Water , and the 〈◊〉 of it . TAke a quart of faire water , and boyle it in a quarter of a pound of Allum , seeth it untill the Allum be desolved , then let it stand a day , and so make use of it . With this water you must wet over your pictures that you intend to colour , for it will keep the colours from sinking into the paper , also it will adde a lustre unto the colours , and make them shew fairer , and it will also make them continue the longer without fading ; you must let the paper dry of it selfe after you have once wetted it , before you either lay on your colours , or before you wet it againe , for some paper will need to be wet foure or five times . If you intend to varnish your pictures , after you have coloured them you must first size them , that is , rub them over with white starch with a brush , instead of doing them with Allum water , but be sure you size it in every place , or else the varnish will sinke thorow : Note , if your varnish be too thick you must put into it so much Turpentine oyle as will make it thinner . How to make Gum-water . TAke cleane water a pint , and put it into three ounces of the clearest and whitest Gum araback , and let it stand untill the gum be desolved , and so mix all your colours with it ; if the gum water be very thick it will make your colours shine , but then your colours will not work so easily , therefore the best is , that the water be not 〈◊〉 too thick nor too thin . How to make Lime water . TAke unsack't lime , and cover it with water , an inch thick , let it stand so one night , in the 〈◊〉 power off the clear water and reserve it in a cleane thing for your use ; with this water you must temper your sap green when you would have a blew colour of it . How to make water of Soap-Ashes . STeep Soap-ashes a night in rain-water , in the morning powre off the clearest . This water is to temper you Brazil withall . How to make Size TAke a quantity of blew , and let it steep a night in water , to make it the readier to melt in the morning , then set it on a coal of fire to melt , which done , to try whether it be neither too stiffe nor too weak , for the meanest is best , take a spoonfull thereof and set it in the aire to cool , or fill a musle shell with it , and let it swim in cold water , to cool the sooner if it be too stiffe when it is cold put more water to it , if too weake then put more glew into it , and when you would use it , make it lukewarme , and so use it . This is to wet your cloaths in if you intend to paist your maps or pictures upon cloath , or you may take white starch and wet your sheet , and wring it out , and so straine it upon a frame , or nail it stretched upon a wall or 〈◊〉 , and so paist your maps or pictures thereon . The Names of all the Colours Pertaining to Washing . Blews . Blew-bice . Indico . Blew-verditer . Reds . Vermillion . Lake . Red-lead . Whites . Ceruse . White-lead . pickt . Blacks . Printers Black . Ivory Burnt . Greens . Verdigreece . Varditer-green . Sap-green . Copper-green . Yellows . Yellow-berries . Saffron . Light-Masticote . Browns . Spanish Brown . Umber or Haire Colour . Of the tempering your Colours . SOme colours must be grownd , and some washt : such colours as are to be grownd you must first grind very fine , in faire water , and so let them stand and dry , and afterwards grind them again in Gum-water . Those that are to be washt must be thus used . TAke a quantity of the colour you would have washt , and put it into a shell , or earthen dish , then cover it all over with pure faire water , and so stir up and downe for a while together with your hand , or a wooden spoon till the water be all coloured , then let the colour sinke a little to the bottome , and before it be quite setled , pour out the top into another dish , and so fling the bottome away , and let the other stand till it be quite setled , and then powre off the water , and mixe it with gum-water , and so use it . What Colours must be Grownd , and what washt . Grownd . Indico . Lake . Ceruse . White-lead . Spanish-Browne . Vmber . Printers Black . Ivory Burnt . Washt . Blew-Bice . Blew-Verditer . Green-Verditer . Red-lead . Light-Masticoat . Steept . These must be steept only till the water be sufficiently coloured . Verdigreece in Vineger . Sap-green in Vineger . Yellow-berries in Allum water . Saffron in faire water . Copper-green is made of Copper . How to make Copper-Green . TAke Copper plates , or any shreds of Copper , and put distilled Vineger to them , set them in a warme place untill the Vinegar become blew , then powre that 〈◊〉 into another pot , well leaded , and poure more Vineger upon the Copper plates againe , letting that also stand untill it be of a blew colour , then poure it unto the former liquor , this may you doe so often untill you have liquor enough , then let that liquor stand in the Sun , or upon a slow fire till it be thick enough , and it will be an excellent green . The use and nature of every particular Colour . 1 BLew-Bice is the most excellent Blew next to Ultermarine , which is too good to wash withall , and therefore I leave it out here , and put in Blew-bice , which will very well 〈◊〉 in the steed of it , and indeed you may leave out both and use Smelt in the 〈◊〉 of them , but that it will not worke so well as Bise ; no Bise is too good to use upon all occasions , but onely when you intend to bestow some cost and pains upon a piece , otherwise you may use no other blew in your worke then blew Verditer , with which you may make a pretty good shift without any other blew , I meane in ordinary worke . 2 Indico is a dark blew , and is used principally to shadow with upon your other blew Indico , and yellow berries mixed together make a dark green to shadow other greens with in the darkest places . 3 Blew Verditer is a very bright pleasant blew , and the easiest to worke with in water : it is somewhat inclining to a green , and being mixed with yellow-berries it makes a good green : this blew is most used . 4 Verdigreece is a good green , but subIect to decay : when it is 〈◊〉 upon the paper it wil be of a lighter colour then it is when you lay it 〈◊〉 on , therefore to preserve it from that fault , put some sap green amongst it to dissolve in it , and it will make it keep its colour ; this colour is of a poysonous nature , and therefore you must be carefull how you use it , that it come not neer your mouth . There is distilled Verdigreece to be bought at the Coller-shops , that is a far better green then the other , but it is somewhat dear , and the other will serve insteed of it . 5 Verditer-Green is a light green , seldome used in any thing but in colouring of I andskips , those places that should show a far off , and it is good for such a purpose , because it is somewhat inclining to a blew , but you may make a shift to doe any thing well enough without it ; for a little blew Verditer mixt with Copper green and 〈◊〉 little white , will make Iust such another colour . 6 Sap-green is a darke durty green , and never used but to shadow other greens in the darkest places , or else to lay upon some darke ground , behind a picture , which requires to be coloured with a darke green , but you may make shift well enough without this green , for Indico and Yellow-berries make Iust such another Colour . 7 Copper-green , it is an excellent transparent green , of a shining nature if it be thickned in the Sun , or upon a softly fire , and it is most used of any green in washing of 〈◊〉 , especially in colouring of the grasse ground or trees , for it is a most perfect grasse-green . 8 Vermillion it is the perfectest Scarlet colour , you need not grinde it , no nor wash it , it is fine enough of it selfe , onely temper it with your finger in a gally pot or oyster shell , with gum-water , and it will be ready for your use , if you put a little yellow-berries amongst it , it vvill make it the brighter colour , this is principally used for garments . 9 Lake , It is an excellent Crimson colour , vvith it you may shadovv Vermilion , or your yellovv garments in the darkest places ; vvith it you make a skie colour , being mixed onely vvith vvhite ; vvith it you make flesh colour , sometimes mixed together vvith vvhite and a little red-lead , it is an excellent colour of it selfe to colour garments , or the like Indian lake is the best lake , but too good to be used to wash prints with , unlesse you intend to bestow great curiosity upon your worke ; but the 〈◊〉 sort of ordinary lake will serve well enough for ordinary uses , but that also will be somewhat costly . Therefore instead thereof you may use Red-Inke thickned upon the fire , and it will 〈◊〉 very well for your purpose , and better then Lake , unlesse it be very good . Note if you would make a light skie colour of your red-inke , you must not thicken it , or if you would mix it among your 〈◊〉 - colour you must not thicken it , you should rather chuse to shadow your Vermillion with Spanish browne then thick red Inke , which will serve well for that purpose , and is much cheaper , but it is not altogether so bright a colour and cleare . 10 Red - 〈◊〉 is the nearest to an Orange colour , and putting a little yellow 〈◊〉 into some of it , will make it a perfect Orange colour , but if you mean to make flesh-colour of it , you must put no yellow , but onely then when you would make 〈◊〉 Orange colour . This colour is used for the colouring of buildings or high-wayes in Landskip , being mixed with a little white . Also it is the onely bright colour to shadow yellow garments with , to make them show like changeable 〈◊〉 ; it is good also to colour any light ground in a picture , taking only the thin water of it , and so for severall other uses as you shall see occasion for it . To foreshorten feete seene forwards , you must make the foote 〈◊〉 〈◊〉 his proportions and measures seene on the insyde of the foote marked A. and from those prepertions and measures marked 1234. drawe downe 〈◊〉 vntill they cutt the Diagonall , and conuey thence lines Paralell , to make the 〈◊〉 foote vnder the place of the foreshortned foote and from the said shadowed you must rayse perpendiculars vnto the place of the saide foote to be shortened which there meeting with the 〈◊〉 lines that proceede from the first foote by intersections of them there , giueth vs the said foote Gēometrically 〈◊〉 as 〈◊〉 heere represented wherein the toes of the feete are marked A , B , C , D , E , and the lyke is to be observed for the foote seene by the heele marked B , and also for the foote marked with C. seene on the foreparte , and lastly in like 〈◊〉 for the foote marked D 〈◊〉 are foreshortned by the same rules as the former . 11 Yellow berries , it is most used in washing of all other yellows , it is bright , and transparent , fit for all uses , and is sufficient without the use of any other yellow , 12 Saffron is a deep yellow if you let it stand a pretty while ; it is good principally to shadow yellow-berries with , instead of Red-lead : and it is somewhat a brighter shadow , but you may make shift well enough without this colour , for red-lead , and yellow-berries make Iust such another colour . 13 Light Masticote ; It is a light yellow , Iust like yellow berries and white , 〈◊〉 therefore you may shift well enough without it , only for the saving you a 〈◊〉 to mixe your yellow berries with white when you have occasion for a light yellow , which you may sometimes make use of to colour a light ground in a picture , and then shadow it with the water of burnt umber , or red-lead , that is the 〈◊〉 part of the colour . 14. 15. Ceruse , It is the best white , if it be good and finely ground ready to your hand , as you may have it at some colour shops , or for want of it buy white-lead pickt to your hand , either of them will serve well enough ; any of these being minled with another colour , they make it lighter , and the more you put the lighter they will be , as you shall finde in the using of them . 16 Spanish Browne is a dirty browne colour , yet of great use , not to colour any garment with , unlesse it be an old mans gowne , but to shadow Vermillion , or to lay upon any darke ground behind a Picture , or to shadow yellow berries in the darkest places , when you want Lake , or thick red 〈◊〉 . 17 It is the best and brightest colour whrn it is burnt in the fire till it be red-hot , but if you would colour any hare , horse , dog , or the like , you must not burne it , but for other uses it is best when it is burnt ; as to colour any wooden post , bodies of trees , or any thing else of wood , or any darke ground in a picture ; it is not to be used about any garments , unlesse you would colour many old mens 〈◊〉 , or caps standing together , because they must not be all of one colour of black , therefore for distinction and varieties sake you may use Umber un-burnt for some of them . 18 Printers blacke is most used , because it is easiest to be had , and serves very well in washing : Note , You must never put any black amongst your colours to make them dark , for it will make them dirty , neither should you shadow any colour with black , unlesse it be Spanish browne , when you would colour an old mans gowne , that requires to be 〈◊〉 of a sad colour ; for whatsoever is shadowed with black will look dirtily , and not bright faire and beautifull . 19 Ivory burnt or want of that bone burnt , it is the blackest black that is , and it is thus made ; Take 〈◊〉 , or for want of it some white bone , and put it into the fire till it be thorowly burned , then take it out and let it cool , and so slit it in the middle , and take out the lackest of it in the middle and grinde it for your use . Directions for the mixing of your colours . IN mixing of any colour , you must be very carefull you make it not too sad ; if one colour be sadder then the other that you mixe with it , put in but a little and a little of the sad colour , till you see it be sad enough for your purpose , 〈◊〉 if you make your colour too sad , you will very hardly recover it in mixing , and if you lay it so on your picture , you can never recover , but if it be too light you may make it darker at your pleasure . 2 In mixing your colours you must be very carefull that you put not your pensell out of one colour into another , for that will spoyle and dirty all your colours unlesse you wash your pensell cleane and then wipe the water out of them . 3 Black is not to be mingled with any colour but white , for it will dirty all other colours , and make them look unpleasant . Particular Directions for the compounding of Colours or mingling one Colour with another How to make a Purple Colour . TAke Logg-wood , and seeth it in Vinegar and small beer , in an earthen pot , and put a little Allum therein , untill you taste it to be strong on your tongue , and when it is boyled , straine the Log-wood through a clout , cleane from the water , and so let the water stand and cool for your use . OR , YOu may make purple colour with mixing bise and lake together , or if you want bise , you may use blew Verditer , but it will not serve your purpose so well as blew bise , but thick red-Inke will serve at all times as wel as lake in washing . How to make Red Inke . BOyle Brazill as you doe the Log-wood , and straine the brazill through a clout as before . A Flesh Colour . IT is made of white and a little lake , and a little red-lead mixed , a very small quantity of each ; you may make it as light , or as red as you please , by putting more or lesse white in it shadow in the cheeks and other places , by putting in a little more lake and red-lead into it , if you would have it a swarthy complexion to distinguish the mans flesh from the womans , put a little yellow Oker among your flesh , and for your shadow put a little more lake , and a smal quantity of burnt umber . An Ash colour is compounded of black and white . You may make your greens lighter by mingling it well with yellow berries or white . Colours for Buildings . IN washing we doe not observe the natural colours of every thinh , as to expresse variety of colours and pleasantnesse to the sight , that the things coloured may appear beautiful to the eye , yet so as they may not be contrary to reason , and be accounted 〈◊〉 ; but that we doe somewhat imitate natural things , and here and there adde some beauty by pleasant colours , more then doth usually and commonly appeare in the natural things themselves , so that although the naturall things themselves doe very rarely appear in such beauty or with such kind of colours , yet it may be imagined that it is possible that at some times they doe or may be made ( without derogating from the rule of nature and reason ) to appear in such colours as you have exprest them in , by this rule , you may guide yur selfe in colouring of any thing , and principally in buildings , and in Landskips , therefore when you would colour any buildings , you must do it with as much variety of pleasant colours as the utmost extent of nature and reason will permit , yet not without reason , or beyond the limits of nature . In colouring buildings you may sometimes use black and white for the wals , conduits or other things , where you think fit sometimes , you may use red-lead and white for brick houses or others , when many houses stand together you must colour them with as many various colours as you can well use about buildings ; sometimes you may use umber and white , and sometimes lake and white , or red-inke and white , for varieties sake , and if you want more variety , you may put here and there in some places Varditer and white , all these you must shadow after you have laid them on . Colours for Landskips . FOr the neerest and darkest saddest hils lay burnt Umber , and for the light places you must put some yellow to your burnt Umber , for the next hils lay Copper The Whole figure of Mans body 〈◊〉 a 〈◊〉 on the Syde and 〈◊〉 by the 〈◊〉 of the head the back 〈◊〉 The 〈◊〉 〈◊〉 shall 〈◊〉 vs in this figure 〈◊〉 〈◊〉 by the 〈◊〉 of the head , 〈◊〉 〈◊〉 〈◊〉 of any 〈◊〉 for the 〈◊〉 that 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the figure of the 〈◊〉 〈◊〉 the 〈◊〉 〈◊〉 of the first figure 〈◊〉 A their 〈◊〉 〈◊〉 〈◊〉 〈◊〉 our figure 〈◊〉 , 〈◊〉 by the 〈◊〉 of the Head , green well thickned with the fire , or in the Sun ; in the next hils further off , 〈◊〉 some yellow berries with your copper green , and let the fourth degree be done with green verditer , and the furthest and faintest places with blew Bice , or for want of that with blew verditer mingled with white for the lightest places , and shadowed with blew verditer in the shadows , somewhat thick : the high-wayes must be done commonly with red-lead and white , and for variety you may use sometimes yellow Oker , and shadow it with burnt Umber , which colour you may use also for sandy rocks and hils ; the rocks must be done with various colours , in some places with black and white , in some , places with red-lead and white , and some must be done with umber and white , and some with blew and white , and other colours , such as you think do neerest resemble rocks , but alwayes endeavour to do them with pleasant colors as much as you can ; the water must be done wth black varditer and white , sometimes shadowed with copper green , a little verditer blew , when the banks cast a green shade upon the water , at other times it must be shadowed with blew verditer alone , and where the water is very darke in the shadows , it must be shadowed with a little 〈◊〉 , some copper green thickned , and some blew verditer : the bodies of trees must be done with burnt umber , and the leaves must be done with such greens as the ground is , and the whole Landskip must be shadowed after you have laid on the first colours , the darker greens must shadow the lighter , Spanish brown then must shadow red lead and white , and so the others as before . Colours for the skie . LIght Masticote , or yellow berries and white , for the lowest and lightest places , red-inke not thickned , and white for the next degree , blew bice and white for the next degree and blew bice alone for the highest of all : insteed of bice you may use verditer , all these must be so laid on and wrought one into another , that you may not receive any sharpnesse in the edge of your colour , but that they may be so layd on , that you cannot perceive where you began to lay them on , they must be so drownded one into another . For Cloud-colours , you may use sometimes blew verditer , and white shadowed with blew verditer , sometimes light Masticote shadowed with blew verditer , and sometimes Lake and white or red inke , and white shadowed with blew varditer . What Shadows must be used for every colour in Garments . TAke this generall rule , That every colour is made to shadow it self , either if you mingle it with white , for the light and so shadow it with the same colour , unmingled with white , or else take off the thinnest water of the colour for the light , and so shadow it with the thickest bottome of the colour ; but if you would have your shadow of a darker colour , then the colour it self is to shadow the deepest places with , then follow these directions . 1 Blew bice is shadowed with Indico in the darkest shadows . 2 Indico is darke enough to make the darkest shadow , therefore needs no other colour to shadow it withal . 3 Blew verditer is shadowed with thin Indico . 4 Verdigreece with sap-green . Verditer with copper green , and in the darkest places of all with sap-green . 5 Sap-green is used only to shadow other greens , and not to lay for a ground in any garment . 6 Copper green is shadowed either with sapgreen or Indico and yellow berries . 7 〈◊〉 million with lake , or thick red inke , or Spanish browne . 8 Lake must not be shadowed with any other colour , for it is the darkest red of it 〈◊〉 , but for variety you may shadow it sometimes with bice , or blew verditer , which 〈◊〉 it shew like a changeable Taffity . 9 Red-lead is shadowed with Spanish browne in the darkest places . 11 Saffron is shadovved vvith thick red Inke or Lake . 12 Light Masticote , vvith the thin vvater of Red-lead . 13 , 14. White Ceruse , and vvhite lead vvith a little black amongst some of it 〈◊〉 . 15 Spanish brovvn vvith black , but that is not used in any bright garment . 16 Umber vvith black mingled vvith some of it . 17 Black cannot be shadovved vvith any colour darker then it selfe . Directions for the laying on of your Colours . 1 YOu must lay your colours on of such a thicknesse , I meane your body'd colours that you may see how to shadow them to perceive where the shadows are , and not lay on your colours so thick that you cannot perteive the print , nor how and where to shadow it , 2 You must always lay on your lightest colours first , and then shadow them afterwards 3 You must lay on your colours very smooth with your pensel , that the colour may not lye thicker in some places then in others , and to that end you should take your pensell pretty 〈◊〉 of colour when you should cover a garment all over ( otherwise not ) that so you may lay the colour smooth before it dry , for you cannot well smooth them afterwards when they are once dry ; therefore when you lay them on be as quick as you can in covering the garment , that you may have covered it all over before your colour be dry in any part , for by this means you shall be the better able to lay it smooth ; some colours are harder to lay then others ; those that are the most sandy colours , as varditer , bice , red-lead , &c. are hardest to lay smooth on , and therefore you must be the more carefull in them . What Colours set off best together . 1 BLews set off well enough with red , yellows , whites , browns and blacks . They set of best with reds , whites and browns . They set not off well with greens and purples . 2 Greens set off well with purples , reds yellows or browns . They set off best with purples and reds . They 〈◊〉 not off well with blews or blacks , nor whites , unlesse it be a sad green . 3 Reds set off well with yellows , blews , greens and whites . They set off best with yellows and blews . 〈◊〉 set not off with purples browns or blacks . 4 Yellows set off well with reds , sad blews , greens , browns purples . 〈◊〉 〈◊〉 off best with reds and blews . They set not off well with light greens or blacks or whites . 5 Whites set off with all colours . They set off best with black and blew . 6 Browns set off very well with no colour , but are used sometimes upon necessity , they set off worst of all with black , because they are so neer alike . 7 Blacks are not used but upon necessary occasions in some things that doe needfully require ; it and so it 〈◊〉 off well enough with almost any colour , because it is not like any , but differs somewhat from all . How to write Gold with Pen or Pensell . TAke a shell of Gold , and put a little Gum-water into it , and so stir it about with 〈◊〉 pensel , but you must put very little Gum-water , and then you may use it as you doe other colours . ' The proportion of the Hand 〈◊〉 of 3 measures of the Nose , of 〈◊〉 : you are to make the three equall pricked squares , marked perpendicularly 1. 3. 2. the lowest of which 〈◊〉 is 〈◊〉 into 2 〈◊〉 parts therby to adIoyne a halfe making a third part unto that base marked also 〈◊〉 . which we give 〈◊〉 the Balle of the Thumb and 〈◊〉 〈◊〉 neare unto 〈◊〉 . 〈◊〉 , 〈◊〉 a pricked line perpendicularly vp unto the topp of the right hand angle of the square marked above with 1 making a pricked quill , within the which the said Forefinger is 〈◊〉 , the length and toppe therof exceeding the vpper 〈◊〉 of the Middle finger : That being divided into 3 equall partes the two equall Ioynts 〈◊〉 the two upper parts shallbe of equall hight vnto the vpper Ioynt of 〈◊〉 〈◊〉 finger . as appeareth in the figure of 〈◊〉 Hand represented at B And the Thumbe shall not 〈◊〉 〈◊〉 second or midle 〈◊〉 of the 〈◊〉 . ' Then 〈◊〉 a 4th 〈◊〉 for 〈◊〉 〈◊〉 which is the measure of 〈◊〉 Nose the base or lower part of which is divided into 4 parts , which shall serve us for Hands 〈◊〉 on the syde The same measures are observed aswell in the hand 〈◊〉 without or on the back 〈◊〉 〈◊〉 〈◊〉 〈◊〉 seene or 〈◊〉 〈◊〉 〈◊〉 & 〈◊〉 marked 〈◊〉 〈◊〉 & C but that that 〈◊〉 seene sydewise 〈◊〉 but 3 measures of that base of that Wrist Appeareth 〈◊〉 that figures of that said 〈◊〉 marked in that 〈◊〉 page in that 〈◊〉 or 〈◊〉 lines marked in the ovall formes marked 1. 2. 3. 4. under that wrists 〈◊〉 make that 〈◊〉 plane of that said Wrist . Thus by a little practise you may become perfect in this Art , and learne the full perfection 〈◊〉 it . How to lay Gold or Silver on Gum-water . TAke five or six leaves of Gold or Silver , and grinde them with a stiffe gum-water ; and a pretty quantity of Salt , as fine as possibly you can , then put them into a 〈◊〉 glasse , and fill the glasse almost ful of faire water , to the end the stiffe water may dissolve , and so the Gold goe to the bottom , let it stand three or foure houres , then 〈◊〉 away the liquor from the gold , and put in more cleane water , and stir it about , and let it settle again , and then poure the same water to this so often untill you see your gold or silver clean washed : then take a clean water , and put thereto a little 〈◊〉 of Sal Almoniack , and great Salt , and let it stand the space of three days in a box made of wax , or in some close space : then take a piece of Glovers leather , and pick away the skin-side and put the gold and the water therein , tye it up , then hang it on a pin , and the salt will fret through , and the Gold will remain , which you shall temper with the glayr of an egge , and so use it with pen or pensel . You 〈◊〉 diaper on gold with lake and yellow Oker , but on silver with Cerese . Let your Gum-water be made good and stiffe , and lay it on with your pensel where you would guild , then take a Cushion that hath a smooth Leather , and turn the bottom 〈◊〉 , upon that cut your gold with a sharpe knife , in what quantity you will , and to take it up draw the edge of your knife finely upon your tongue , that it may be onely wet , with which do but touch the edge of your gold , and it will come up , and you may 〈◊〉 it as you list , but before you lay it on let your Gum be almost dry , and being 〈◊〉 presse it down , hard with the scut of an hair , afterwards burnish it with a dogs tooth . Of Limming . LImming consisteth not only in the true proportioning of a picture , but also in the 〈◊〉 and lively colouring of the same , whereby the worke is exceedingly graced , and most lively set out in proper colours , most neerly resembling the life . How to chuse your Pensels . LEt them be clean and sharpe pointed , not cleaving in too in the hair , they must be full and thick , next the quill , and so descending into a round and sharp point ; if you finde any one haire longer then other , take it away with the flame of a Candle , passing the pensel through the flame , you must have severall pensels for severall colours . Gum-Araback . AMongst all your colours you must mingle gum Araback , the best and whitest , which you should have alwayes ready , finely poudred ( or dissolved in fair water ) and so with a few drops of pure water , mingle it with your colour , and temper them together til the gum be dissolved and incorporated with the colours . How to grinde your Colours YOu must grind your colours either upon a perphire Serpentine , or pibble stone , which are the hardest , and therefore the best to grind upon ; grind then with faire water onely , without gum , and when you have ground them very fine , put them upon a chalk stone , and there let them dry , and when they are dry take them off from the chalke and reserve them for your use , in papers or boxes . The proportion of a woman standing backe ; The same maner as you make the former figure , you must use in this backward of the woman , without altering any thing of the measure , except in observing the muscles , which are marked behinde must be made sweeter & smoother then the mans , as appeares in this figure . The Names of your Colours . Whites . Ceruse . White-lead . Yellows . Masticote . Yellow-Oker . English Oker . Greens . Sap-green . Pink & blew bice Green bice . Cedar-green . Verditure . Blews . Indico . Vltermarine . Blew bice . Smalt . Browns . Umber . Spanish-browne . Cullins-earth , Reds . India Lake . Red-lead . Red-Oker . Blacks . Cheristone-burnt . Ivory burnt . Lamblacke . What Colours must be Washt , and what ground . Ground . Ceruse . White-lead . Indian-Lake . English Oker . Pink . Indico . Umber . Spanish-brown . Colens-earth . Cheristone-black . Ivory-blacke . Washt . Red-lead . Masticote . Green-bice . Coedar-green . Ultermarine . Blew bice . Smalt . Verditer . Sap-green . Is to be steept in water . How to wash your colours . TAke some blew bice or other colour you would wash and put it into a dish full of pure water , stir it for a while together , till the water be all coloured , then let it stand a while , and the corruption will fleet upon the water , then poure away the water , and fill the dish with fresh water , and stir it as before till the water be troubled and thick ; which done , before it be halfe setled , poure it out into another dish , leaving the dregs and seethings of your colour in the former dish , which you must cast away , the troubled and coloured water being poured into your second dish , put more water to it , and wash it as before , then let it settle till it be clear , and so poure off the water , washing it againe , and again , if any scum arise , which may make foure or five sorts , still pouring halfe the thin water into another dish , and washing it as aforesaid ; when you have washed it often , and finde it well clensed , poure away the water , then set the colour in the Sun to dry , and when it is dry , strike off the faintest part of the colour , lying about the sides of the dish with a feather , and so use it for your finest work , the rest will serve well for courser worke . When you would use your colour , take of it as much as you can well spread about the sides of a shell , somewhat thin , and not on heaps , and so temper it finely with your gum as before . To avoid the cracking of your colour , and flying from the shell , to which some colours are subIect ; take a little fine pouder of white Sugar-candy , and with it and a little faire water temper the colour over againe with your finger till the candy be dissolved . Colours for Garments . To make a Grasse-green is made of Pink and Bice , it is shadovved vvith Indico and Pink . Popinia-greeen , of Indico and more Pink , shadovved vvith Indico . French-green of Pink and Indico — Indico Sea-green , of Bice , pink and vvhite — Indico The proportion of a Childe behinde . The former rule without changing any thing , must be observed in this present figure standing backward , and all the proportions and measures which are observed in the former , serve to this likewise . Carnation of Lake and vvhite — Lake Crimson , of Vermillion Lake and vvhite — Lake Scarlet Vermilion — Lake Purple : Bice Lake and white — Lake and Indico Violet : Bice and Lake — Indico Yellow made of Masticote , pink and saffron shadow with lake and Saffron Straw-colour : most pink , Saffron , white and Vermillion — Lake Orange-tauny : Vermillion , pink and masticote — Lake Ash-colour : Lam-black and white — Black Skie-colour : Bice and white — Bice Light hair-colour : Umber , yellow-Oker and white — Umber Sad haire-colour : Umber , oker and black — Umber and black Thus by a little practising you may learne to mingle and compound all other colours whatsoever . The manner of Working . 1 THe manner of working in Limming , is by little smal pricks with a sharp pointed pensel . 2 You must lay your colours on very faint at first , and so make them deeper and deeper by degrees , for if you lay it on too sad at the first , it is impossible you should well recover it to make it lighter , but if it be too light you may make it darker at your pleasure . 3 When you would worke , you must first lay on flat primer , which must be of the lightest part of the complexion 〈◊〉 〈◊〉 〈◊〉 make , so that you may not need to heigthen ; or lay a lighter upon it , you may make a 〈◊〉 complexion of white lake , and red-lead 〈◊〉 together in a shell , if it be a 〈◊〉 complexion , mingle a little fine Masticote or English Oker , or both with the 〈◊〉 ; having laid on the primer which you must doe very quick and smooth , 〈◊〉 〈◊〉 the 〈◊〉 after the primer is dry with lake and white very faintly , and so proceed 〈◊〉 the perfecting of it by degrees . Colours For the Face . FOr the red in the cheeks , lips , &c. temper lake , red-lead and a little white together , for the faint shadows that are blewish , 〈◊〉 〈◊〉 white together , for bice is not used in a face , nor any black ; for the deeper shadows take white English Oker and Umber , and for darke and hard shadows in many pictures , use 〈◊〉 and Pinke mixt with Umber . When you are come to the close of your , and have almost finisht your face , you 〈◊〉 in the last place doe all the 〈◊〉 〈◊〉 , smilings and glansings of the eye , descending and contracting of the mouth , all which you must be sudden to expresse with a bold quick and constant hand , or 〈◊〉 alwayes not to depend to fast . Thus by a constant practise Ioyned with these 〈◊〉 and your own industry , 〈◊〉 may in time attaine to a great measure of perfection in this art of limming . Be patient , thou that seekest for this skill , By grace and art : so mayst thou have thy will . FINIS . Notes, typically marginal, from the original text Notes for div A28779e-360 Char-coal . Black-lead . Pen . Black-chalk . White-lead . Compasses . Fether . Perspective 〈◊〉 . 2 Gracefull posture . 〈◊〉 . 〈◊〉 . Fore-shortning . 5 Naturalnesse . Note . Ash-colour . Orange . Light-green 
A09192	----	The art of dravving vvith the pen, and limming in water colours more exactlie then heretofore taught and enlarged with the true manner of painting vpon glasse, the order of making your furnace, annealing, &c. Published, for the behoofe of all young gentlemen, or any els that are desirous for to become practicioners in this excellent, and most ingenious art, by H. Pecham., gent. Peacham, Henry, 1576?-1643? 1606 Approx. 112 KB of XML-encoded text transcribed from 40 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2003-01 (EEBO-TCP Phase 1). A09192 STC 19500 ESTC S106084 99841809 99841809 6418 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A09192) Transcribed from: (Early English Books Online ; image set 6418) Images scanned from microfilm: (Early English books, 1475-1640 ; 581:03) The art of dravving vvith the pen, and limming in water colours more exactlie then heretofore taught and enlarged with the true manner of painting vpon glasse, the order of making your furnace, annealing, &c. Published, for the behoofe of all young gentlemen, or any els that are desirous for to become practicioners in this excellent, and most ingenious art, by H. Pecham., gent. Peacham, Henry, 1576?-1643? [8], 70 [i.e. 71], [1] p. : ill. Printed by Richard Braddock, for William Iones, and are to be sold at his shop at the signe of the Gun neere Holburn Conduit, At London : 1606. Page 71 is incorrectly numbered 70. 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Glass painting and staining -- Early works to 1800. 2002-02 TCP Assigned for keying and markup 2002-02 Apex CoVantage Keyed and coded from ProQuest page images 2002-03 TCP Staff (Oxford) Sampled and proofread 2002-03 Judith Siefring Text and markup reviewed and edited 2002-04 pfs Batch review (QC) and XML conversion THE ART OF DRAVVING VVITH THE PEN , AND LIMMING IN WATER COLOVRS , MORE EXACTLIE THEN HERETOFORE TAVGHT and enlarged : with the true manner of Painting vpon glasse , the order of making your furnace , Annealing , &c. Published , For the behoofe of all young Gentlemen , or any els that are desirous for to become practicioners in this excellent , and most ingenious Art , By H. PECHAM , Gent. At London , Printed by Richard Braddock , for William Iones , and are to be sold at his shop at the signe of the Gun. neere Holburn Conduit . 1606. TO THE RIGHT WORSHIPFVL SIR Robert Cotten Knight . SIr , it hath bin vsuall aswel among Heathen in erecting their profane monuments , as Christians in dedicating their churches , to affect and chuse among many , some one saint tanquā numen tutelare aboue the rest : in whose honor when they had finished the maine worke , yet they thought not all wel , except his picture stood enshrined ouer the porch , or some other more eminent place . ( Though with a number more of my time I neuer dremt of any thing lesse thē building churches ) I imitate them so far , ( if it be not superstition , ) to chuse my Patrone whose name in the depth of an honest zeale , I carue in operis vestibulo , as Lipsius saith ; although in this case deuotion be liable to none account , I confes though I had neuer bin obliged vnto you for some particular fauors ; yet the loue you bear to the arts aboue any other I know , shold haue enforced my Genius to haue awaked , & sought you out wheresoeuer : not that I thinke so weak a present either worthy of your view , or so vntoward a tourney , but ( as it falleth out among pilgrimes ) while others of farre better merit , in zeale of your name hang vp their gownes or bracelets , I mighte sliely escape with my candle : and in truth I bring no better ; for imparting to manie what I haue , not hindering my selfe , I doe but accendere lumen de lumine as one saith . How necessarie a skill drawing or painting is ; & howe manie waies the vse thereof is required , none knoweth better then your selfe : how rare the perfection of it amongst vs , euery man may perceiue , when scarce England can affoord vs a perfect pen-man orgood cutter , ( I speak not of the pencil wherin our Maisters may compare with any els in Europe ) in respect of the dutchmen and other straūgers : for which cause ( as well to encorage as instruct any young practitioner that bereth good wil to this arte ) I haue collected as familiarly as I could , the chiefe and most easie groundes of drawing , annexing hereto the māner of limming in water colors , also certaine rules for Annealing & painting vpon glasse : which with my self , and my hereafter more serious endeauours , I offer to the censure of your worship , of whome J humbly take my leaue . From my studie in Kimbalton this eighth of Nouember . Who is sincerely deuoted vnto you . HENRY PECHAM . To the Reader . GENTLEMEN , you haue heer a few principles of mine art , which as franckly I impart vnto you , as the heauens freely bestowed them vpon my selfe : I cal it mine , because it was borne with me , nor euer vsed I the benefit of any instructor saue mine owne practise and experience . I haue ( it is true ) bestowed many idle howers in it , which perhaps might haue beene worse spent , yet in my iudgment I was neuer so wedded vnto it , as to hold it any part of my profession , but rather allotted it the place inter splendidas nugas , and those things of accomplement required in a Scholler or Gentleman . I speak not any whit to disgrace so worthy a skill , or to discommend the true & necessarie vse therof , but to giue my scholler a watch word , that like a simple wooer hee should neuer cast off the mistres to court the maid : but esteem himselfe a great deale better graced by propounding at the table aliquid cedro dignum , ( as K. Alphonsus was merily wont to say , ) or maintaining an argument in Philosophy or diuinity , thē by intimating his skil with the pencil , or insight in the Chords of musick , which perhaps he that holds a trencher at his back cā excel him in Q. Fabius could paint , yet hee was a greate counsellor . Epaminondas could playe or sing excellently to the Harpe or violls , but Iustine to his true glory addeth , that he was a man endued with such learning , and so great experience in military affairs , that it was a wonder how he could attaine to so absolute an heigth in both : in whom alone , and at once sprang vp and died the glory of the Thebanes , Socrates being aboue three score yeeres of age , spent one howr in a day with Conus a musitian in playing vpon the organes : Ifhe had spent aboue , I thinke we had not known him by the name of Philosophorum parens : And whereas Aristotle deseigning 4 principall exercises , wherein hee would haue all children in a well tuned city or commonwealth brought vp & taught , ( which are Grammatice , or Grammer : Gymnastice or exercising the body by wrestling , running , swimming tossing the pike , &c. Graphice , or well handling the pen in drawing , writing faire , &c : and lastly Musice or Musick ) his meaning is , vt adseriamagis studia capessenda idonei reddantur : the same vse and none other I wish to be made of drawing . Concerning these directions I haue giuen , they are such as I thought in respect of their breuity & plainnesse , fit for the capacity of the young learner , for whom they were first and principally intended : they are mine owne , not borrowed out of the shops , but the very same , Nature acquainted mee withall ; and such as euer in practise I found most easie and true . I may perhaps be snarled at by some obscure fellows that affect their own priuate gaine before a generall commodity : but if ( Reader ) thou shalt find any thing herein worthy thy practise or liking , I care not what the other say ; the worst hurt they can doe me , is to draw my picture ilfauoredly , and sell it : And perhaps I could requite them againe as Hipponax the Satirist did , who wrote so bitterly against certaine painters that sold his picture vp and down in a mockery to be laughed at ( because he was hardfauoured , ) that many ofthem for griefe hanged themselues . I had purposed to haue annexed hereunto a discours of Armory : the manner of painting with virgin wax , and with feathers , not altogether impertinent to our purpose ; but I haue reserued it ( being a while imploied in som important businesse ) till some other time , entreating thee in the meane while , to take vvhat I haue begun as affectionately as I offer it . The most assured friend to all that loue or learne this art of drawing or painting . H. Pecham . Ad Zoilum Authoris Epigramma . Zoile vicatim dum Criticus omnia lustras , blattaque liuenti dente alien● vor as : Usque licet nostrum ieiunus rode libellum qui tibi ( ni fallor ) mille venena dabit . 1. The excellency of painting . 2. The antiquitie . 3. Much esteemed in times past . 4. The manifold vses thereof . 5. Necessary to be taught . CHAP. 1. PICTVRA , or painting in generall , is an art which either by draughte of bare lines , liuely colours , cutting out or embossing , expresseth any thing the like by the same : which we may find in the holy Scripture both allowed , and highly commended by the mouth of God himselfe ; where he calleth Bezaleel and Aholiab , Men whom he hath filled with the spirit of God in wisedom and vnderstanding , and in knowledge , and in all workmanship , to find out curious workes , to worke in gold , and in siluer , and in brasse , also in the art to set stones , and to carue in timber &c. There plainly shewing , as all other good arts , so caruing or drawing to be an especiall gift of Gods spirit . In another place he goeth farther , and as it were challengeth to himselfe the Mastership of the company in that his Maiestique Erotema in lov in these words : Hast thou giuen the pleasant wings vnto the Peacocks ? and wings and feathers vnto the Ostrich ? whereas disabling the wit of man by his owne excellency : he giueth vs to admire that admirable wisedome in disposing so many beautifull colours , from the wings of the proude Peacock and Ostrich vnto the poore Butterflie , that astonished I may say with Aristotle , euen in these little painted Creatures there is 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and in the very border of one of their wings , and euident tast of the diuine Omnipotency . But as Picture hath been allowed of God , so it hath aswell among Christians , as the Heathen bin honored from all antiquity , and always sound fauour with the greatest wits and mightiest Monarchs of the world ; insomuch as Aristotle in his Politiques accounteth it among those liberalia Paedeumata , and counselleth it as an especiall thing to bee taught vnto children : and not long after by the authority and labour of Eupompus a learned Geometrician and painter , it was taught in all Grammar schools throughout Greece . But some will tell me ; Mechanicall arts , and those wrought with the hand are for the most part base , and vnworthy the practize of Gentlemen and great personages . I confesse the Lord of Bartas hath said : L'eur esprit se'n fuit au bout des doigts . But forasmuch as their ends are honest , & themselues but the exercises of praegnant , & the finest wits : I see no reasō ( as one saith ) why nature should be so much wronged in her intētion , as not sōtime to produce into action that wherto she is well inclined : And no more disgrace to a Lord to draw a fair picture , then to cut his Hawks meat , or play at footeball with his men . Achilles thought no scorn to be so cunning in cookery , that whē certain embassadors came vnto him , his own hāds dressed them a great & roial supper : & Homer to no smal cōmendation of his Vlisses ( vnder whose person he shapeth an absolute wisemā ) saith he could make his ships himself . Quintus Fabius ( whose stock was one of the noblest in Rome , after called Pictore , ) with his own hāds painted the wals of the temple of Salus , & wrote his name vnderneath . Pomponius Atticus ( a man of singular wisedom , & so loued of Tully ) after he had composed a Poem of sundry deuises , beutified it with picturs ofhis own drawing . The Emperor Constantin gat his liuing a long time by painting . And in Plinies time certain festiuall days were yeerly appointed at Corintth for exercise of picture for great prizes & wagers . Since painting then hath been so well esteemed , & of it own nature so linked with other arts , as many of them can hardly stand without it : I think , not for pleasure only , but of necessity most needful to be exercised , of all such that either study the Mathematicks , mean to follow the wars , or trauell into sorreine countries . I haue heard many & excellēt men of these seueral qualities lament so great a wāt in themselues , otherwise most absolute . My scholer then I would make choise of , I wold haue a yong Gentlemā , if it might be , who were inclined to drawing by nature , at the least a welwiller & louer of it ; & as Tully would haue in his Orator , so I require in him aliquid redundans & ampu●andū , a prety fantastical head & something ( as chips of the sound timber , which cōmonly the best wits are subiect vnto ) to be pared of ; with all daily & cōtinuall practise , were it but Apelles his vna linea , without which it is impossible forhim to attain to ready draught , & les to excellecy in general 1. The most excellent painters of old time . 2. The great value and prizes of pictures . 3. Of certaine women that haue excelled herein . 4. Of Statuary or caruing . CHAP. 2. PAinters at the first ( saith Aelian ) were such būglers and so rude , that they were fayn to write ouer a Cow or a Hog , what beast it was : otherwise the behoulder could not tell what to make of it ; but in a short time they grew to that perfection , that they were honoured well nigh as Gods , as Metrodorus the Athenian : of whom , as of the rest that were famous in their times ( aswell for the dignity of this art as for the Readers recreation ) I will make mention , as I find in Plinie , Pausanias , and others . Apollodorus among the Athenians was the first that did expresse the life with colours , and that was famous for his pencill . Euphranor a painter of Isthmos , was the first deuiser ofEmblems , and heroicall Impresa's for shieldes , and the first that obserued Symmetry , or proportion , wherof he wrote many volumes . Parrhasius aboue all others excelled in black & white , and had the principall commendation for his Arte in casting and curling the hayre . Pyreicus ( as Volaterane saith ) was only famous for counterfeiting all base things , as earthen pitchers , Barbers shops , a scullery , Rogues together by the eares , swine sleeping in the my●e &c : Whereupon hee was sirnamed Rupographus , that is , a painter of base things . Aristides was the first that expressed sence and passion , as in that peece of his , where he painted a mother deadly wounded , with her child in her armes , striuing for the Teat ; she weeping in extreame passion , loath to deny it her brest , and loath to let it suck , for feare of killing it with her own blood , which in great aboundance issued foorth with her milke . This table Alexander caried with him to Pella . Nicophanes had attributed vnto him the statelines of Inuention . Protogenes was the first that could lay his colours so artificially , that one being worn off , another succeeded fresh , to the number of fowr or fiue : it is saide when he vndertooke any excellent peece , hee would obserue a strict diet ; eating only pease , lupines and such like , to the intent his wit and inuention might becom the more sharpe and fine : Amongst his other workes his Lalysus or Bacchus hath the principall praise , which table ( when Demetrius Poliorcetes besieg'd the Rhodes ) being in the Iland , he refused to enter where he hearde it was kept , least by the rudenes of his souldiers it might receiue harme : protesting as Plutarch saith , that he had rather burne all his fathers Images : which occasion at that time being ouerslipt , his enterprise came to no effect . Aelian saith this table was seuen yeers in making . Apelles who liued in the 1012 Olympiade excelled all the others , yet for action and disposition , he gaue place to Amphion : many times hee would sayle ouer to the Rhodes to see Protogenes and his worke : among his peeces the picture of Alexander at Ephesus , and his Venus which he left at his death vnfinished in Chios were the most notable . Galaton surpassed all others of his time , for witty conceit & Inuention : amongst other his deuises , he drew Homer vomiting , and a number of pety Poets gathering it vp . Claudius Pulcher painted Tiles so artificially , that Rauens lighted vpon them . I will passe ouer the artificiall peeces of Zeuxis , L : Manlius , Pacuvius a Tragedian Poet , Metrodorus a most cunning painter and a great Philosopher ; who , when L : Paulus wrote vnto the vniuersity of Athens to prouide him a graue and learned Schoolemaster for his sonnes , was chosen by generall consent , and sent to Rome , as the fittest man both to teache his children , and to adorn his triumphes . Nor will I make mention of others of later times , as Hercole di Ferrara , & his notable workmanship seen this day in Bononie . Bellino the venetian , whose fame caused the Turk to send for him , frō whom he returned roially rewarded . Vnicio , and his admirable peece of the twelue Apostles in the church of our Lady of grace in Millan : Pisanello that so beautified the Church of Laterane in Rome , which the world may scarce match for rarenes & tenuity of shadowing : Petro de Burgo , that so excelled in perspectiue . Zoto the Florentine with many others . Nor of those of neerer and our own times , as Michael Angelo & his brother , Alberdure , Stradane , M. Hilliard & M. Isaac our own countrimen ; because their works are yet scarce dry in the world . Now least you shold esteem but basely of this art , & disdain your pictur because you may haue it for a trifle ( which I acoūt a fault in many of our good workmen ) I will tell you the prizes of some peeces of note aswell in ancient time , as of late days . Caesar the dictator redeemed the tables of Aiax & Medea for 80. tal . which amounteth to 24000 french crowns , I speak with the least , because I take minus talentum alt : cum ( sor generally where you find talentum in any Latin author , as in Tully pro C : Rabirio Posthumo and in his Epistles ad Attic. & som other places where you haue it oftnest : you must vnderstād the Athenian talent , except you haue the addition of Aegineum , Sirium , Babiloniū , &c ) the greater was bigger ( as Budaeus saith ) by a third part : K : Altalus paid for one of Aristides peeces an hūdred talents . Hortensius the Orator gaue for a table of the Argonatae 144 talents , Mnason paid to Asclepiadorus for the 12 Gods , after 300 pound sterling a peece . Candaules K : of Lydia gaue to Bularchus for a peece of his the weight of the same in gold . Pope Innocent the 8 a worthy fauorer of all good artes , bestowed vpon Andrea Mantega his painter in the Beluedere in Rome , 2000 ducats for a months pains . The Genoans paid vnto two Germane painters for the battel of Patras fought between don Iohn of Austria , & Hali Bassa 187 ducats . And what a round sum was once offered by strāgers for S : Magnus altar cloth in London : many other examples might be alledged , but I haue said enough to shew that arts haue alwais bin wel paid their hire , & the professors bin had in esteem with the worthiest men . Neither hath picture bin peculiar to men only , but also women hauebin excellent herin . Timarete the daughter of Micon , a famous paintres drew Diana , which at Ephesus was counted among the best and ancient pictures . Olimpias taught Ant●bulus the art of shadowing , there wer other very famous herein , which for breuity I omit : as Irene , Calipso , Lala , Aristorete . But we end with those famous Artists leauing them to their graues , and their works to the admiration of all posterity , and speake of Statuary or Caruing , which thus farre differeth from painting ; this doth expresse hir image in the plaine or smooth superficies imaginarily ; the other in the hollow and vneuen superficies , really . It hath been I confesse in as great account as painting ; yet it deserueth not altogether to well , because it is more rude and rough in exercise , and worketh not with so fine a iudgement : for painting is tied to counterfeite all shadowes , expresse the life , sence and passion , whereas in caruing they fall in with the chissell , and nothing els required but an euen proportion . A painter not priuiledged to draw what he list . 2 Great abuses may arise of Painting or drawing . 3 How and when to vse it . CHAP. 3. AS I woulde haue my scholler take his pleasure , so would I not haue him buy it at too deeer a rate , either with losse of ouermuch time in neglecting the maine profession , or of his eares for a libeller , defaming honest men by ilfauoured pictures : as drawing them with Asses ears , huge noses , hornes or such like , neither to thinke with Horace that he may quidlibet audere : for there be some things that ought to be free from the pencill , as the picture of God the father : or ( as I haue seene ) the whole Trinitie painted in a glasse window : which hee cannot do without artificiall blasphemy , and reuiuing from hell the old heresie of the Anthropomorphites who supposed God to be in the shape of an old man , sitting vpon his throne in a white Robe , with a triple crowne on his head . I know what diuers haue in this behalfe alledged , one speciall place they haue in Ezechiel in the vision of the throne , but howsoeuer , it is misliked by many good Catholiques , and none of the worst deuines in their owne Catechismes and confessions , though especially and in plainest termes by Lorichius in these words . Est praeterea abusus imaginum quod sanctam Trinitatem praesumpsimus exprimere , quod haeresis est pestilentissima , quid enim magis S : Trinitati aduersum , atque Patrem effingere senis silicernij effigie , filium iuuenis formam habentem , spiritum sanctum alitis speciem volitantis referentem : Quid I diotae ex tali libro didicisse poterint ? errorem sane & haeresim . Secondly he must abstaine with Christian modesty from drawing arts of filthines , & laying open those parts which Nature would haue kept secret : what hurt hath that abhominable Aretine done by his booke and baudy pictures ? and what lewd art is ordinarily showen in the naked pictures of wax sould vp and downe as libidinis fomenta ? Surely I must commend art in them , though detest their wicked makers and abhominable ends . For the time of drawing , I woulde haue my Scholler take it when he is wearied at his book , forced to keep home by reason of foule weather , or sollicited by idlenesse to some wors businesse : hauing chosen such a conuenient time , let him make or buy him a fayre paper book for the nonce , to begin to practise in , and keep very carefully that he hath done , by which he shall see how hee profiteth daily , auoyd scribling in loose papers and ( keeping his hand from walls or wainscot ) to deale plainly the bable : For Il muro bianco carta di matto passeth currant through Italy . Instruments necessary for drawing . CHAP. 4. I Am not ignorant of sundry waies that haue beene deuised to teach draught , as namely by crossing the pattern , then your owne paper with equall spaces , filling the same as you finde in your example : also drawing vpon a lanterne horne , with a paper blackt with a torch , and such , like : neither do I mislike any such conuenient help to a yong learners furtherance ; but if you wil learn to the purpose , and grow cunning in short time , you shoulde rather fall to it onely by your owne conceipt and Iudgement , and let those toyes goe , you must first get you black lead sharpned finelie : and put fast into quils , for your rude and first draught , some ten or twelue . Moreouer you must not be without as many Sallow coales , sharpned at the ends : you shall chuse them thus , they are more blew and finer grained then the other coales , smooth ( being broken ) like fatten : you shall sharpen them vpon one of your fingers , as also your black lead ; otherwise they will quickly breake and point sharp . Get you also a small paire of brazen compasses and Brasill rule , for taking the distance , if you followe a printe ; and bee not without the crums of fine manchet or whitebreade , to rubbe out your lead or coal , when you haue done amisse , or finished your worke . Scriueners & Schoolemasters in the Country that teach to write haue diuers small pensills of broome , with which they shadowe greate letters in coppy bookes very pretily : they are made in this manner , take a broome stalk about the bignes of a spoone handle , and cut it euen at the end , when when you haue done , chewe it betweene your teeth till it be fine and grow heary at the end like a pensill , but I care not how little you vse them , because your pen shall doe better & shew more art . For your drawing pennes , neuer be without twenty or thirty at a time , made of Rauens and goose quills ; your Rauens quills are the best of all other , to write faire , or shadow fine , your goose quils serue for the bigger or ruder lines . The first practise . CHAP. 5. HAuing these in a readines , you shall practise for the space of a week or there abouts , to draw Circles , Squares of all sorts , a Cylinder , the ouall forme , with other such like solid and plaine Geometricall figures , till you can doe them indifferent well , vsing the helpe of your rule and Compasse : the reason of exercising you first in these is , when as Symmetry or proportion is the very soule ofpicture , it is impossible that you should be ready in the bodies , before you can draw their abstract and generall sormes , and haue woonted and made your hand ready , in proportions of all sortes , which are compounded of the same , as for example , your Circle will teache you , to draw euen & truly all sphaericall bodies which are , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of like parts and formes , as the Sun , Moone , Stars , &c. The most flowers as the Rose , Marigold , Heliotropium , Daisie , &c : the most vessells as cups , Basons , Bowles , Bottles , &c. The square will make you ready for all manner of compartments , bases , perystiles , plots , buildings , &c : your Cylinder for vaulted turrets and round buildings ; your Orthogonium and Pyramis , for sharp steeples , turrets and all things , in mucronem fastigiata , your Ouall forme will help you in drawing the face , a shield , or such like : so that you may reduce many thousand bodies to these few generall figures , as vnto their principall heads and fountaines . After you are cunning in these figures ( beginning with the Circle and ) imitate some thing of Circular forme , what you shall think good , in which as in all the other aforenamed proportions you shall worke and help your selfe by the Diameter ( which is a strait line , drawn long waies iust in the midst of your circle or square ) and which will guide you marueilously in your work : for example if I would draw the Sun , so soone as I haue made a fayr Circle I draw ( with cole or lead that I may rub it out againe ) my Diameter , or line down the midst , ou●r which if you will again , you may draw a crosse line , both which deuide your Circle equally into 4 parts as you see . Which Diameter with the crosse line , are not onely your directors for the equall placing of the greater & lesser beames , on the side as you may perceiue : but also for the drawing of the nose , mouth and eyes euen , in the midst of the face . I will giue you another example of a goblet , first I make a halfe or semicircle for the bowle , downe the midst of which ( as low as I would haue the foote to come ) I draw my Diameter or straight line , which being done , the worst is past : you must now marke , I am not tied to make my bowle as roūd as the circle , but long or what fashion I list , no other vse hath the Circle there then to guide me euen on either side , whether I make it broad or narrow , long or short , embosse it or howsoeuer , the other part of the line causeth me to make the foct euen as you see . which line and circle ( as I said before ) you may with your white bread rub out , when you haue done . In these and such like you may at your pleasure find infinite variety to set your selfe a worke with , till you ar able , Sine cortice natare , to fall to work by your own iudgement ; which you shall do in your next and second practise . The second practise . CHAP. 6. YOu shall , next after your hand is grown ready in the aforesaid proportions , practise to draw smal and easie things , comming as neer your former examples as may be , by your conceipt only : as a cherry with the leafe , the shaft of a steeple , a single or canker Rose , &c. wherin you shall begin to take some delight , and find no great difficulty . But in drawing these and whatsoeuer els , I must not forget to tell you ; that you must be perfect and quick in the generall or outward lines , and giue them a reasonable good proportion , ere you fall to shadowing or tricking your work within : wherfore I would haue you make an essay 6 or 7 times at the least for the generall proportion only : if at the first it be not to your mind , as for exāple in drawing of a rose , be sure that the compasse of it be not faulty , ere you cast out the leaues by 5 equal lines , or in making a womans ruffe , that you skore it out first narrow in the neck , then wider from the cheekes , and narrow againe vnder the chin very truly , ere you add the lace or seting , al which is don with I line which I cal the general or extream . For those sorms that are mixed & vncertain , & where your circle and square cā do you no good ( being left only to your Idea ) as in a Lion , a Horse or such like : you must work altogither by your own iudgement , & win the proportion by dailie practise , which wil seem very harsh & strange vnto you at the first , but to help your self herein you shall do thus : hauing the generall notion or shape of the thing in your mind you mean to draw ( which I doubt not but you may conceiue and remember as wel as the best painter in the world though not expresse according to the rules of art ) draw it with your lead or coale after your own fashiō though neuer so badly , & laie it from you for a day : the next daie peruse it well , bethinke your selfe where you haue erred , and mend it according to that Idea you carrie in your mind , in the generall proportion : when you haue thus done , laie it by again til the next daie , & so cōtinue for 5 or 6 daies together , correcting by degrees the other parts euen to smal vains as your discretiō wil serue you , this may you do with 40 papers at once , of seuerall things , hauing done what you can ( though not to your liking ) confer it by the like , some excellent print or patterne of the same , vsing no rule or compasse at all but your own iudgement in mending euery fault lightly , and with a quick hand , giuing euery place his due ; whereby you shall of all sides meet with your errors and find an incredible furtherance to your practise : though hereunto is required I must confesse , a strong imagination and a good memory , which are the midwiues to this arte and practise as in all things els the nurse that bringes it to the ful growth and perfection . Of drawing the face or countenaunce of a man. CHAP. 7. SInce man is the worthiest of al creatures , and such pleasing variety in countenances so disposed of by the diuine prouidence , that among ten thousand you shall not see one like another ( as well for breeding delight , as for obseruing a methode after you haue practised according to your former directions in other things ) you shall begin to draw a mans face , in which as in al other creatures you must take your beginning at the forehead , and so draw downward till you haue finished . The end of the nose in ordinary proportion must be brought no lower then the middle of the cheek , from whence to the chin is for the most part as far , as from thence vpward to the eie browes . The nose of a ful face must not be expressed with apparant lines , but with a very fine shadow on each side as you see . To make an angry or sterne countenance let your brow bend so , that it may almost seeme to touch the ball of the eie ; at what time you must also giue the forehead a fine wrincle or two , and withall the vpper part of the nose betweene the eies . A great conceipt is required in making the eie which either by the dulnes or liuely quicknes thereof giueth a great taste of the spirit & disposition of the mind , ( which manie times I will not denie may be aswell perceiued by the mouth , & motion of the body , ) as in drawing a foole or ideot , by making his eies narrow , and his tēples wrinkled with laughter , wide mouthd , or shewing his teeth &c. A graue or reuerend father by giuing him a demisse and lowly countenauce , his eie beholding you with a sober cast which is caused by the vpper eielid , couering a great part of the ball , and is an especial marke of a sober & staied braine within , Nazianzen when hee beheld Iulian ( long time before hee was Emperour of Athens , at the verie first sight of his countenance , ( Praesaging his future disposition ) burst forth into these words ; Deus bone , quantum malum fouet romanum imperium : for ( as he witnesseth himselfe ) there was not any signe of goodnes or towardnesse in him , his eies rowled in his head , wandring and turning fearefully now this , now that waie ; sparkling with furie & anger , his nose was grown wrinckled with scoffing and deriding the rest of his countenance tending to mockery , his laughter so immoderate that his whole body would shake therwith , his shoulders shrinking to and fro , to his neck : his legges and feete seldome standing stil ; his questions and answeares suspitious , rash , and often interrupted by short fetching his breath : by which signes the good man foresawe his inbred tyranny and vile disposition , which after burst forth into an horrible persecution and open rebellion against God and his church . A Graecian Captaine in like manner noting very often the cast of the eie & countenance of Scylla , together with his gesture and motion of bodie , vsed these words : it is impossible but this gentleman one day shoulde prooue a great commaunder , and I meruaile that he is not aduanced all this while : by which examples and the like , I prooue that there is a certaine iudicium , or notice of the mindes disposition inly imprinted by nature euen in the countenaunce , and many times in the the eie or mouth , which ( as I haue said ) you must be carefull , as you shall haue occasion , warily to obserue . Now for the mouth ( though least of all other any generall rule may bee giuen for it , ) it consisteth principally of two lines whereof one expresseth the mouth it selfe , the other the neather lippe : the ouerlipp is best showen by a shadow cast ouer the crosse line as you see : which shadowe and crosse line if you drawe by the life muste bee hit at an heyres breadth , and if your picture bee little , you cannot thinke so small a thing as giueth or quite taketh awaie the tutch and resemblance of the mouth : and to saie truly it will bee the hardest peece of cunning that euer you shall meet withall : therefore you had need cause the party whome you will drawe to sit as we saie , Vultu composito , without stirring or altering the mouth were it neuer so little : wherefore you shall I beleeue find ( a mās face ) aboue all other creaturs the most troublesōe vnto you : for either they will smile , be ouerlooking your hand , or setting their countenances to seeme gratious and comely , giue you choyse of twentie seuerall faces . The proper and ordinary shadowes of the full face . IT is true that some do affirme , there can be no generall rule giuen for shadowing the face ; the reason is , euery seuerall countenance hath his proper shadowe as it falleth , fat , lean , swoln , wrinckled with age , or deformed by some other accident : but their argument is much at one with that I remember a Welshman vrged in good sadnes in the schooles when I was Sophister in Cambridge : Wales was ful of hills & dales , Ergo the world was not roūd : but to our purpose , The shadowes that fall naturally in this face are these , first a single shadowe in the temples , then a double shadow in the corner of the eies , a circular shadow down the cheek , vnder the neather lip , a little vnder the nosethril , frō the side of the nose to the corner of the mouth , what these seueral shadows and there vses are , you shall know anon . Of the three quarter face . The three quarter face , as I haue said , is diminished by a fourth part , where some part of the eie & cheek are taken away by the nose and made lesse : so that the cheek in full sight must not onely haue his due proportion allowed him , but as much of the head & neck as was taken away from the other side . In this face both the eies ought not to be made of equall bignes , because the eie is lessened with the cheek , as likwise a corner of the mouth ; the shadows in a manner are all one with the full face , saue in this the neck & cheek are commonly deeply shadowed . Of the halfe face . The halfe face of all other is most easie , insomuch that if you will , you may draw it onely with one line neuer remoouing your hand ; in this you are to shew but half an eie , and the eare at full , as you see . In making a true eare there is some difficulty , wherefore I haue giuen an example by it selfe . Of the whole bodie . CHAP. 8. WHen you are grown something perfect in the face , and can draw the head indifferent well , you must be carefull to proportion the body thereafter , then the error of which , no one falt is more common with most painters : for you shall scarce see one among twenty but will draw the head too big , which if you obserue , you shall find in most pictures : help your selfe herein by setting a boie before you , causing him to stand which waie you list , and so to wont your iudgment to the proportion by little and little : hauing finished the head , draw the neck , beginning it with one line from about the tip of the eare ; then draw the other downe from the ball of the cheeke ( which is lessened on the other side ) as far as you think good to the shoulder , where staie , till you haue shadowed it : the shadowes of the neck in a child or yong woman are verie fine , rare and scarcelie seen , but in a man the sinews must be expressed , with the vaines , by shadowing the rest of the neck , & leauing them white . For the proportion of the other parts ( because Master Haddocke hath preuented mee , whose booke in anie case I would haue you to buie , after you are well entred ) I will omit and shew you onlie such eminences which by shadow must be necessarilie expressed : after you haue don the neck , you are to expres the wing or vpper part of the shoulder by shadowing it vnderneath , the brawne of the arme must appeare full , shadowed on one side , then show the wrist bone thereof and the meeting of the vaines in that place , the vaines of the back of the hand , and the knuckles , are made with 2 or 3 heare stroaks with a fine touch of your pen : the paps of a mā are shown by two or three fine stroakes giuen vnderneath , in a woman , with a circular shadowe well deepened , the ribs are so to be shadowd , as you doubt whether they appeare or no ; except your man were starued , or you should draw death himself : the bellie shall be eminēt by shadowing the flanke , and vnder the breast bone : the brawn of the thigh shall appear , by drawing smal heare strokes from the hip to the knee , shadowed again ouerthwartlie : the knee pan must be shown with the knitting thereof by a fine shadow vnderneath the ioynt ; the sh nbone from the knee to the insteppe , is made by shadowing one halfe of the leg with a single shadow , the ankle bone will shew it selfe by a shadow giuen vnderneath , as the knee ; the sinews must seem to take their beginning from the midst of the foot : & to grow bigger the neerer they are to the toes . There is a great art in making the foote wherein your shadowes must take place as occasion serueth , and to saie the trueth , so they must in the other parts , but naturallie they fall as I haue saide ; for teaching you the true shadowing of a naked bodie ; Goltzius is one of the best whom aboue any other I wish you to ●mitate . Of Shadowing . That you might better vnderstand what I meane in this last chapter by so manie kinds of shadowes , I will ere I go farther shew you what they be , with their seuerall vses . The first is a single shadow , and the least of all other , and is proper to the plaine Superficies where it is not wholelie possessed of the light ; as for example : I draw a fowr square plate thus , that shaddowe , because there is no hol low , but all plain ( as neerest participatinge with the light ) is most naturall and agreeable to that bodie . The second is the double shadow , and it is vsed when the Superficies begins once to forsake your eies as you may perceiue best in a column as thus : where it beeing darkned double , it presenteth to your eie ( as it were ) the backside , leauing that vnshaddowed to the light . Your treble shaddowe is made by crossing ouer your double shadowe againe , which darkeneth by a third part in this manner , as followeth . It is vsed for the inmoste shadow and farthest from the light , as in gulffes , chinks of the earth , wells , caues within houses ( as whē you imagine to look in at a doore , or window ) vnder the bellies & flanks of beastes to shew the thik nesor darknes of a myghty wood , that it may seem nulli penetrabilis astro : consequently in al places where the light is beaten foorth , as your reason will teache you . Generall rules for shadowing . You must alwaies cast you shadow one way , that is , on which side of the body you begin your shadow , you must continue it till your worke be done : as if I would draw a man , I begin to shadow his left cheeke , the left part of his neck , the left side of the left arme , the left side of the left thigh , &c : leauing the other to the light , except the light side be darkned by the opposition of an other body , as if three bowles should stand togither , that in the midst must receiue a shadow on both sides . It will seeme a hard matter to shadowe a gemm or well pointed Diamond , that hath many side● and squares , and to giue the lustre , where it ought but if you remember and obserue the right vse o● your shadowes giuing the light to the lightwarde which I haue taught you , you shall easily do it of you● selfe . A merry iest of two Painters . VVHilest I lay in Huntingdon , there grew a qua●rel between two painters , the one a strau●ger and a Soiourner , the other dwelling in t●● towne , the ground of which quarrell was a secret aemulation betweene them ( as commonly falleth out among tradesmen of one profession ) which burst out so farre , that at length one challenged to paint with the other for a wager of 20 nobles ; the picture which should be drawn ( because the strāger had already made and sold many ) was the picture of Christ , and my selfe chosen iudge of the workmāship : great aduice and deliberation was taken on both sides ( Now the painter of the towne to shew ( as he thought ) extraordinary art in shadowing , had laid with charcoale in a deepe blew the cheeks and eies of his picture ) at the last , the worke beeing finished , and both ready to heare my verdict ; Newman the stranger who was the better workman so soon as he saw his aduersaries worke , God forgiue me ( quoth hee ) heer 's a picture with a witnes , it looks as if it had been beaten black and blew : and I pray you ( quoth the other ) was not Christ buffeted , whereat certain gentlemen present , and my selfe took so good an oceasion of laughter ( hee speaking it in an honest simplicity to saue himselfe ) that wee could do no lesse then make them both frinds giuing them their mony again ; & thus much of shadowing . Offore-shortning . CHAP. 9 FOreshortning is when by art the whole is concluded into one part , which onely appeareth to the sight : as if I should paint a ship vpō the sea , yet there should appeare vnto you but her fore part , the reste imagined hid , or likewise an horse with his brest and head looking full in my face , I must of necessity foreshorten him behinde because his sides and flanks appeare not vnto me : this kind of draught is willingly ouerslipt by ordinary painters for want of cunning and skill to performe it ; and you shall see not one thing among an hundred among them drawn in this manner , but after the ordinary fashion side waies , & that but lamely neither : I neuer beheld more absolute skil in his kind then in some of the Pageantes at the coronation of his Maiesty ; but I would not haue you meddle with it till you were growen very cunning in pour plaine Draught . The vse of foreshortning . THe vse of foreshortning is to expresse all manner of action in man or beast , to represent many things in a little room , to giue or shew sūdry sides of Citties , castles , forts , &c , at one time . Of Landt-skip . CHAP. 10. LAndtskip is a Dutch word , & it is as much as wee shoulde say in English landship , or expressing of the land by hills , woodes , Castles , seas , valleys , ruines , hanging rocks , Citties , Townes , &c. as farre as may bee shewed within our Horizon . Seldome it is drawne by it selfe , but in respect & for the sake of some thing els : wherfore it falleth out among those thing which we call Parerga , which are additions or adiuncts rather of ornament , thē otherwise necessary : as for exāple I should Draw the citty of London , I would beside the citty it selse , shew in vacant places ( as far as my table or Horizon would giue me leaue ) the Country round about , as Shooters hill , and the high way winding vp there between the woods , the Thames to grow lesse and lesse , & appearing as it were a dozen mile of , heer and there scattered with shippes and boats : Greenwitch with the tower there and such like , all which are beside my purpose , because I was tied to nothing but the citty itselfe : this kind of all other is most pleasing , because it feedeth the eie with varietie . Before you make your Landskp , you must haue perfected all your other work , & let that be the last : you may draw it at your discretion ( except you be tied to the contrary , & make it either plaine , hilly , all sea , &c : as for your superficies I meane of rising or declining of the ground with hilles or Dales , let it fall out how it will , because you cannot drawe it so rough with hills , or with so euen a plainnes but the earth hath the like in on place or other . Generall rules for Landtskip . YOu shall alwaies in your Landtskip shewe a fair Horizon , and expresse the heauen more or lesse either ouercast by clouds , or with a cleare sky , shewing the sunne rising or setting ouer some hill or other : you shall seldome , except vpon necessity , shew the moone or stars , because we imagin al things to be seene by day . 2. Yf you shew the Sunne , let all the light of your trees , hils , Rocks , building &c be giuen thitherward : shadow also your clouds from the sunne : and you must be very dainty in lessening your bodies by their distance & haue a regard , the farther your Landsskip goeth to those vniuersalia which as Aristotle saith ( in respect of they re particulars concealed from our sences ) are notiora : as in discerning a building 10 or 12 miles off , I cannot tell whether it bee Church , Castle , gentlemans house , or the like : So that in drawing of it I must expresse no particular signe as bell , portculleis &c , but shew it as weakly and as faintly as mine eie iudgeth of it , , because all those particulars are taken away by the greatnes ofthe of the distance . I haue seen a man painted comming downe a hill some mile and a halfe from mee , as I iudged by the Landtskip , yet might you haue told all the buttons ofhis dublet : whether the painter had a suttle inuention , or the fellows buttons were as big as those in fashion whē Mounseir came into England , I wil leaue it ( friendly reader ) to thy iudgement . If you laie your Landtskip in coloures , the farther you goe , the more you must lighten it with a thinne and aiery blew , to make it seeme farre off , beginning it first with a darke greene , so driuing it by degrees into a blew , which the densitie of the air betweene our sighte and that place doth ( onely imaginarily ) effect : your eie may easily bee deceiued in remote thinges , that is when the bodies appeare to your sighte farre bi gger then indeede they are , by the corruption ( as wee saie ) of the Medium : as for example , the Sunne and Moone at their rising or Setting , you see , seeme farre bigger then when they are mounted ouer our heades in the Zenith : the reason is the thicknesse or corruption , as I sayd , of the ayre or Medium ; which ( beeing morning and Euening subiect to vapours ) dooth participate and multiply the quality of the obiect : the same reason is giuen of a Seamew or stake that ( beeing fowre or fiue miles from you , neere the Sea ) will seeme as big as a Swanne , or greate Snowball : or of a twelue-pence , or apple cast into a cleare riuer : to take thereof iust and true Landtskip , neuer go foorth in a morning or euening , ( but in the middest of the day : ) for doubtlesse you will bee deceiued . An honest yeoman and a friend of myne was in this manner notablely coesoned in buiyng a bargain of Timber by the greate in a mystie or rimie morning , ( the trees seeming bigger then they were ) in a manner to his vndooing : but I feare mee , within these few yeares the mistes will bee so thicke , wee shall see no wood at all . Of Draperie . CHAP. 11. DRapery ( so called of the French word Drap , which is cloth ) principallie consisteth in the true making and folding your garment , giuing to euery folde his proper naturall doubling and shadow ; which is a great skil & scarce attained vnto by any of our country and ordinary painters : insomuch that if I woulde make triall of a good workman ; I would finde him quickly by the folding of a garment , or the shadowing of a gowne , sheet , or such like : but to auoide folding , you shall see our common painters set foorth their men & women , with lace , fringe , pinckings , &c. which makes as fayre a shew as the best . The Method now to bee obserued in Draperie , is to drawe first the outmost or extreame lines of your garment , as you will , full or narrow , and leaue wide and spare places , where you thinke you shall haue need of folds ; drawe your greater foldes alwaies first , not letting any line touch , or directly crosse another , for then shall you bring an irrecouerable confusiō into your work : whē you haue so done , break your greater folds vnto lesse , which shall be conteined within them : I would giue you an example , but euery print will shew you the like ; all your folds consist of two lines and no more , which you may turne with the garment at your pleasure : beginne your maine and greatest folds , from the skirt vp ward , and the closer the garmentes sitte , the narrower you must make them : for the shadowing of euery seuerall folde , obserue the first rule I gaue you in the Chapter of shadowing , and spare not to shaddowe your foldes , ( bee they neuer so curiously contriued ) if they fall inwarde from the light , with the double or treble shadow ; as you shall see occasion : for the shadow take his place in one and the same manner aswell in folding as without : some haue vsed to drawe the body naked first , and after to haue put on the apparrell , but I holde it as an idle conceipte , and to small purpose . Generall obseruations and rules for Draperie . Your greater folds must be continued thoroughout the whole garment , the lesser you may break and shorten at your pleasure . The shadowes of all manner of silkes , and fine linnen are very thick , and fine , so that your foldes must not onely be little , but their shadow or deepning verie light , and rare , which commonly at the most is but a double shadow giuen with a new , and the finest penne . You must not vse much folding where the garments ought to sit close or any eminency appeare , as commonly there doth in the brests of a woman , the armes , belly , thighes , legges , &c : but to shewe Arte , you shall leaue the forme of the brest , leg , &c to appeare thorough , which you may doe by shadowing the brest or leg , ( after you draw it ) on one or either side , leauing it white . As I tolde before of the light , fo must you in your draperie haue a care of the winde and motion of the ayre , for driuing your loose apparell all one waie , which I haue seene well obserued in many excellent peeces . Of Diapering . CHAP. 12. DIapering is deriued ( as I take it of the Greeke verbe 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is , iraijcio or transeo , in English to passe or cast ouer , & it is nothing els but a light tracing or running ouer with your pen ( in Damaske brāches , and such like ) your other worke when you haue quite done ( I meane foldes , shadowing and all ) it chiefly serueth to counterfeite cloth of gold , Siluer , Damaske brancht , veluet , chamlet , &c : with what branche and in what fashion you list . If you diaper vpon folds , let your worke be broken , & taken as it were by the halfe : for reason telleth you that your fold must couer so mewhat vnseene , which being drawn forth at length and laid plaine sheweth all faire and perfect : as Ouid saith of Tapistry . Sic vbi tolluntur festis aulaea theatris , Surgere Signa Solent , primumque ostēdere vultus : Caetera paulatim placidoque educta tenore , Tota patent You must moreouer in drapering , let your work fall out so , that there may be an affinity one part with the other , maintaining one branche or the same worke throughout , setting the fairest in the most eminent place , and causing it to runne vpward : otherwise one might imagine some foolish Tailor had cut out his Ladies gown the wrong way . To make a chamlet you shall draw but fiue lines waued ouerthwart , if your drapering consist of a double line ; you may either shadow the ground , & leaue it white , or shadow your work and leaue the ground white : as you shall thinke good , in this kind your filling may be with smal pricks of your pens end , which will shew faire . Of Antique . CHAP. 13. ANTIQVE so called ab antiquitate , because the inuention and vse therof aboue all other kinds among the Graecians especially was most auncient and in greatest request , the Italian calleth it L'antica : it hath the principall vse in plate , clocks , armour , all manner of compartmentes , curious Architecture , borders of maps , &c : Though you shall seldome haue any greate vse of it , yet I woulde haue you know what it is , and what to obserue in it : The forme of it is a generall , and ( as I maye say ) an vnnaturall or vnorderly composition for delight sake , of mē , beasts , birds , fishes , flowers , &c without ( as wee say ) Rime or reason , for the greater variety you shew in your inuention , the more you please , but remembring to obserue a method or continuation of one and the same thing throughout your whole work without change or altering . You may , if you list , draw naked boyes riding and playing with their paper-mills or bubble-shels vppon Goates , Eagles , Dolphins &c : the bones of a Rammes head hung with strings of beads and Ribands , Satyres , Tritons , apes , Cornu-copia's , Dogges yoackt &c drawing cowcūmers , cherries & any kind of wild trail or vinet after your owne inuention , with a thousand more such idle toyes , so that heerein you cannot bee too fantastical . The late dutch peers in this kind excel all others , and certainly I know not by what destinie the Germanes haue wonne vnto them ( aboue other nations ) the glory of inuention , generally in picture : for except it bee a dutch peece , you shall haue it either lame , ill cut , false shadowed or subiect to some such grosse error . Wherfore , not without reason , Bodine calleth The country officinam hominum a shoppe of men , as from whence a man might bee hadde for all turnes , either Deuine , Phisitian , Souldier painter , &c. Though much I confesse may be imputed to the industrie of that Nation : ( for none in the worlde are more painefull then they ) yet without question the people of themselues , as they ar in genious & capable of all other arts , so naturally they are inclined to this of Painting : Since the greatest persons among them as Dukes , Earles , and in a manner all the Gentlemen doe beare an inbred loue to drawing , and of themselues by they re owne practise growe manie times wonderfull expert heerein : yet none at this daie who fauoureth a good picture , or any excellency in that kind , more then Rodulph the Emperour now liuing . Of Drawing beasts , birds , flowers , &c , CHAP. 14. YOV shall finde amonge beastes some more harder to bee drawne then others for two respectes , one is for a clean making and shape , together with a finenes of the cote or skin : the other for theyr nimblenes and much action , both which you may for exāple see to fal out in a horse , whose lineamentes are both passing curious , and coate so fine , that many sinews yea and the smallest vaines muste be showen in him , besides whose action is so diuers , that for hardnesse of draughte I know not anie one beast maye bee compared to the horse ; for sometime you muste drawe him in his carreer with his manage , & turne , doing the Coruetto , leaping , &c. which you shall not find in the Elephant , Cowe , Beare , or hogg as beeing beasts heauy and sloathfull by nature : moreouer wanting that finenes of coat or hide , so that you shall escape a greate trouble in shewing vains , knitting of Ioints , with the eminency almost of euery bone in them , which you haue in a horse and greyhound . Now for the manner of drawing these or any other beast whatsoeuer : begin with your lead or coale ( as before I told you and gaue you a generall rule ) at the forehead , drawing downward the nose , mouth , vpper and nether chap , ending your line at the throat , then learching it again where you began , from the forehead ouer the head , eares , and neck : continuing it till you haue giuen the full compasse of the buttock , but I will giue you an example . I Begin in this Lion my firste stroke at A , bringing it down to B , making the nose , mouth , and nether chap with one line , as you se ; there I rest : then fetch I that line forward behind by S : making the compas ofhis mane by pricks with my penne ( because if I shoulde make a line , I could not make it iagged ) then bring I the back down to the taile or D , leauing a little space for it , I continue my line from thence to E , or the heele , where I rest : then begin I again at B , and making the breast with the eminency thereof I stay at F , bringing out his neere fore foote , which I finish : then begin I at G not stirring my hand till I come to the foot or paw at H ; wher I finish it quite at E , or the heele . I next draw from his bellie two strokes at I and K : I make the other legge behind , thē the right fore foot issuing from the brest : thē I finish the tail , clawes , toung , teeth , beard , and last of al the shadowing : which method you shall obserue in all beasts howsoeuer they stand . Obseruations of the shadowing . YOV see him shadowed on the back side from CD , vnto E , the reason is the light beateth on his fore parte , wherefore os necessity the shadowe must be in euery parte behinde , eare mane , back , hinder legge , &c. But you maie say , how happeneth it then , that his nether chap and some part of his throat & belly are shadowed being both with the light ? I answeare the light of it own nature cā neuer fall vnder , but take the place aboue or in the vpper part , which place is heer praepossessed by the vpper & nether chap , which as you see fall in between as likewise the forfoot to the belly , which cause a shadow in either of those places . The treble shadow as it ought is giuen to the most in ward places : It your beast bee not in charge , that is not in armes , and you are to shew the ground vnder his feete ; you must make his farther feet on the other side somwhat shorter then those next you : the reason is , that distance of earth betweene them deceiueth the sight , causing the neerer to seem longest : as you may see by opening or stretching your fore and middle finger like a paire of compasses long waies from you , vpon a boord or table , drawing them with your pen as they stand , and obseruing the space betweene . Beasts more hard to be drawn for their shape and action . The Lion. The Horse . The Rhinoceros . The Vnicorne . The Stagge . The Lucerne . The Grey-hound . The Hiena . The Leopard . The Ownce . The Tiger . The Panther . The Ape , &c. Others more easie . The Elephant . The Dromedary . The Camel. The Beare . The Asse . The Hogge . The Sheepe . The Badger . The Porc-espine . The Wolfe . The Foxe . The Cow. The Otter . The Hare . The Coney . The All maner rough The & shag hair dogs In drawing these and all other beasts , the better you obserue their shape and action , the better shall you please , and your iudgement be commended , wherefore a painter had need to be well seene in Naturall Philosophie . The meanest workeman can drawe the ordinary shape of a Lion , when scarce the best of them all know , that his hinder partes are so smal , that there is in a manner a disproportion betweene his forepart and them : so that if I should drawe him in this manner among our ordinarie painters , my work would be condemned as lame , when I deserued most commendation . Moreouer if you aske a Country painter whether he could draw a Crocodile or no , hee will make noe question of it , when as except he trauailed through Aegypt , or met with Aristotle in English , all the wit he had could not so much as set the chaps right , or giue the future truely in the head to , shew the motion of his vpper-chap , which no creature in the world mooueth , saue onely he . If you draw your beast in an Embleme or such like , you shall sometime shew a lant-skip ( as it is ordinarily obserued by Iudicious workemen ) of the country natural to that beast , as to the Rhinoceros an East-indian Lantskip , the Crocodile an Aegyptian , by laying the ground low without hills , many woods of palme-tres , heere and there the ruine of a Pyramis , and so forth of the rest . Of birds . There is les difficulty in drawing birds thē beasts , & least of all in flowers , yet art and needful directions to be obserued in all of them : begin your draught in a bird , as I said , at the head , and beware of making it too big : Van Londerseel's peeces are much to blame for this fault , for in most of them the heads of all his birds are to great by a third part , neither is that fault proper to him alone , but to many good workemen els . You shall best remedy that by causing a bird to be held or tied in a clouen stick before you , where you shall take with your compasses a true proportion , which afterwards you may conclude into as small a forme as you list : there is not the same reason of proportion ( it is true ) in the heads and bodies of all birds alike , but hereby you shall euer after bee acquainted with a reasonable proportion , which though you hit not iustly , you shall come very neere : hauing drawne the head , bring from vnder the throat , the brest line , downe to the legs ; there stay : and begin at the pineon to make the wing , which being ioined with the back line is presently finished : the eie , legs , and traine must be the last , and ( as I told you before in beasts ) let the farther leg euer be shortest . the feathers as the hayre in beasts , must take their beginning ●t the head very small , and in fine rankes fall backward greater and greater , as this your example sheweth . Of flowers , flies , &c. For flowers , flies and such like , I wil leaue them ( being things of smal moment ) to your own discretion , counselling you at your leasure when you walke abroad into the fields , to gather and-keep them in little boxes vntill you shall haue occasion to vse them . To draw a flower begin it ab vmbone , or the bosse in the midst : as in a Rose , there is a yealowe tuft , which being first made , draw your lines equally diuided , frō thence to the line of your compas , which you are first to giue , and then the worst is past . You may shew your flower , either open and faire in the bud , laden with deawe and wette , wormeaten , the leaues dropt away with ouerripenes &c : and as your flower , so first draw rudely your leaues , making them plaine with your coale or lead , before you giue them their vaines or Iaggednesse . For Butterflies , Brees , wasps , grashoppers , & such like , which wee call Insecta , most of them are easie to be drawne , and not hard to be laid in colours : because the colours of many of them are simple , and without composition , as perfect red , black , blew , yellow , &c : which euerye ordinary painter may laie , who if they should bee put ( by mixture of many colours ) to make that purple of a pigeons neck , or giue the perfect colour but of a Daw or Iay , you should see them at their wits end . In the moneths of Iune and Iuly , you may gather of all manner of flies , which you may preserue all the yeere , eyther in close boxes , or sticking them with a pinne seuerally vpon small papers : Butterflies are where store of Thistles and Lauender is , your Brees by ponds and Riuers sides Notable absurdities to be auotded in draught . CHAP. XV. THE first absurdity is of proportion Naturall , commonly called lamenesse , that is when any part or member is disproportionable to the whole body , or seemeth thorough the Ignorance of the painter to be wrested from his naturall place and motion : As in the roofe of the Quire in Peter-borough Minster , you may see Saint Peter painted , his head very neere or altogether as bigge as his middle : and it is ordinary in country houses to see horsemen painted , and the rider a great deale bigger then his horse . The second is of Landtskippe , or Local distance , as I haue seene painted a Church , and some halfe a mile beyond it the vicaredge ; yet the Vicars chimney drawne bigger then the steeple by a third parte , which being lesse of it selfe , ought also to bee much more abated by the distance . The third absurdity is of accident of time , that is when wee fashion or attribute the proprieties of ancient times to those of ours , or ours to theirs : As not long since I founde painted in an Inne Bethulia besieged by Holophernes , where the painter , as if it had beene at Ostend , made his East and West batteries , with great ordinance & small shot playing from the walls , when you know that ordinance was not inuented of two thousand yeers after . The fourth is in expressing passion or the disposition of the minde , as to draw Mars like young Hippolitus with an amiable or effeminate countenaunce , or Venus like an Amazon , or that same hotspurd Harpalice in Virgil , this proceedeth of too sencelesse and ouercold a iudgement . The fift is of Draperie or attire , in not obseruing a decorum in garments proper to euery seuerall condition and calling , as not giuing to a King his Robes of Estate , with their proper furres and linings : To Religious persons an habite fitting with humilitie and contempt of the world ; A notable example of this kinde I found in a Gentlemans hall , which was King Salomon sitting in his throne with a deepe lac'd gentlewomans Ruffe , and a Rebatoe about his neck , vppon his head a blacke veluet Cap with a white feather ; the Queene of Sheba kneeling before him in a loose bodied gowne , and a French-hood . The sixt and last of shadowing , as I haue seen painted the flame of a candle , and the light therof on one side shadowed 3 parts : when there ought to haue bin none at all , because there is vndequaque lumen , which may cause a shadow but take none . THE Second booke intreating of the true ordering of all manner of water colors and painting vpon glasse . CHAP. 1. HAVING hitherto as plainelie , as I could , giuen you those directions I haue thoughte moste necessary for drawing with the pen : I will shewe you next the righte mingling and ordering of your colors , that after you can draw indiffernt well ( for before I woulde not haue you know what colors meaneth ) you may with more delighte apparrell your worke with the liuely and naturall beauty : and first of the choise of your grinding stone and pencills . I like best the porphyrie , white or greene Marble , with a muller or vpper stone of the same , cut verie euen without flawes or holes : you may buy them in London , of those that make toombs , they will laste you youre life time , wearing very little or nothing : some vse glasse , but many times they gather vp their colours on the ground : others slates , but they with wearing ( though neuer so hard at first ) will kill all colours : you may also make you a mullar of a flat pibble , by grinding it smooth at a grindstone if you doe it handsomly , it is as good as the best : your great muscle shells commonly called horse muscles are the best for keeping colors , you may gather them in Iuly about riuer sides , the next to these are the small muscle shels washt and kepte very cleane . Choose your pencils by their fastnes in the quils , and their sharp points , after you haue drawne and wetted them in your mouth ; you shall buy them one after another for eight or ten pence a dozen at the Apothecaries . Of the Seuerall Gummes that are vsed in grinding of water colors . CHAP. 2. Gumme Arabick . THE first and principall is gumme Arabick , choose it by the whitenes , clearenes , & the britlenes of it being broken betweene your teeth : for then it is good , take it and lay it in very faire water vntill it bee quite resolued , and with it grind your colors : you may make it thinne or thick as all other gummes , at your pleasure , by adding & taking away the water you put to it . 2 Gumma Hederae , or of the luie . There is an other verie excellent gumme that proceedeth from the Iuie which you shal get in this māner : find out first an O ake , or house that hath a great branch of Iuie climing vp by it , and with an axe cut it asunder in the midst , and then with your axe head bruise both the ends , & let it stand a month or there abouts , at what time you shall take from it a pure & fine gum like an oyle , which issueth out of the ends : take it off handsomly with a knife or spoon , and keep it in a viall ; it is good to put into your gold size and other colors for threee respects , first it alaies the smell osthe size , secondly it taketh awaie the bubbles that arise vpon your gold size , and other colors , lastly it taketh awaie the clammines , and fatnes from your other colors : there is moreouer great vse of it in the confection of pommander . 3. Gumme lake . Gumme lake is made with the glaire of egges , strained often and very short , about March or April : to which aboute the quantity of a pinte you muste put two spoonful of honey , and as much of Gumma Hederae as a hasell nut , and foure good spoonefuls of the strongest woort you can come by : then straine thē again with a spoong , or peece of wool , so fine as you can , & so long til that you see them runne like a fine and cleare oyle , keepe it then in a cleane glasse , it wil grow hard , but you maie resolue it again with a little cleane water , as you doe gumme Arabeck : it is moreouer an excellent vernish for any picture . 4 Gumme Armoniack . Take Gumme Armoniack , and grind it with the iuice of Garlicke so fine as maye bee , to which put 2. or three drops of weake Gumme Arabeck water , and temper it so that it bee not too thick , but that it may runne well out of your penne , and write therewith what you wil , and let it drie , and when you meane to guild vpon it , cut your gold , or siluer according to the bignes of the size you haue laid ; and then set it with a peece of wool in this manner : firste breath vpon the size , and then laye on your gold vpon it gently taken vp , which presse downe hard with your peece of wool , and then let it well drie , being dried , with a fine linnen cloath strike off finely the loose gold : then shal you find al that you drew very faire gold , and as clean as you haue drawn it , though it were as small as any heare : it is called gold Armoniack , and is taken many times for liquid gold . Of guilding or the ordering of gold and siluer in water colors . CHAP. 3. YOu maie guild onely with gumme water , as I wil shew you , make your water good and stiffe , and laye it on with your pencil where you woulde guild , then take a cushion that hath smooth leather , and turn the bottom vpward , vpon that cut your gold with a sharp knife ; in what quantity you will , & to take it vp draw the edge of your knife finely vpon your tongue , that it may be onely wet : with which , doe but toutch the very edge of your gold , it will come vp and you may lay it as you list ; but before you lay it on , let you gumme bee almost drie , otherwise it will drowne your gold : and being laid , presse it downe harde with the skut of an hare , afterward burnish it with a dogges tooth , or bores tush . I call burnisht gold , that māner of guilding which wee ordinarily see in old parchment & Masse books , ( done by monks and priests who were very expert heerin , as also in laying of colors , that in bookes of an hundred or two hundred yeares old you may see the colors as beautifull and as fresh as if they were done but yesterday , ) it lieth commonly Embossed that you maie feele it , by reason of the thicknes of the ground or size , which size is made in this māner . Take 3 partes of Bole Armoniack , and 4 of fine chalke , grind them together as smal as you can with cleane water , 3 or 4 times , and euery time let it drie , & see it be clean without grauil or grit , & then let it be throwghly Drie , then take the glaire of egges and straine it as short as water ; grind then your bole and chalk therwith , & in the grinding put to a little gum Haederae , & a little ear wax , to the quātitie of a fitch , & 5 or 6 chiues of saffrō , which grind to gether as small as you can possible , & then put it into an ox horn , & couered close let it rot in hot horse dung , or in the earth , for the space of 5 or 6 weekes , then take it vp and laie it in the aire , ( for it will haue an ill sauor ) & vse it at your pleasure . To set gold or siluer . TAKE a peece of your Gūme and resolue it into a stiffe water , then grind a shiue of saffron there with , and you shal haue a fair gold : when you haue set it , and you see that it is throroughly drie , rub or burnish it with a dogs toothe . To make liquid gold or siluer . TAke 5 or 6 leaues of gold or siluer , and laie it vp on a cleane Porphiry , marble stone , or pane of glasse , and grind it with strong water of gumme Lake and a pretty quantity of greate salte , as small as you can , and then put it into a cleane vessel , or viall that is well glazed : and put thereto as much faire water as will fill the glasse or vessell , to the end it may dissolue the stiffe water you ground with it , & that the gold may haue room to go to the bottom let it stand so three or foure houres , then powre out that water , and put in more , vntill you see the gold clean washed : after that take clean water , which put therto with a little Sal Armoniack & great salt , so let it stand three or foure daies in some close place : thē must you distil it in this māner , take a peece of glouers leather , that is very thin , & pick away the skinny side , and put your gold therein binding it close , thē hāging it vp , the Sal Armoniack will fret away , and the gold remain behind , which take , and when you will vse it , haue a little glaire water in a shell by you , wherin dip your pensill , taking vp no more gold then you shall vse . Of all sorts of Reds , and their Tempering . CHAP. IIII. Of Vermilion . YOur fairest and most principall Red is Vermilion , called in Latine Minium , it is a poison , and found where great store of quicksiluer is : you must grind it with the glayre of an egge , and in the grinding put too a little clarified hony , to make his colour brighte and perfect . Sinaper Lake . Sinaper ( in Latine called Cinnabaris , or Synopis of the City Synope in Pontus , where it was first inuented ) maketh a deepe and beautifull red or rather purple , almost like vnto a red Rose : the best was woont to be made , as Dioscorides saith , in Libia of Brimstone and quicksiluer burnt a long time to a small quantity : and not of the blood of the Elephant and Dragon as Plinie supposed : you shall grind it with Gum Lake and Turnsoile water , if you will haue it light , put to a little Ceruse , and it will make a bright crimson , if to diaper put to only Turnsoile water . Synaper Top's . Grinde your Tops after the same manner you doe your lake , they are both of one nature . Red Lead . Red lead , in Latine is called Syricum , it was woont to be made of Ceruse burnt ; which grinde with a quantity of Saffron , and stiffe gumme lake : for your saffron will make it orient and of a Marigolde colour . Turnesoile . Turnsoile is made of old linnen ragges died , you shall vse it after this manner : lay it in a saucer of vineger , and set it ouer a chafing dish of coales and let it boyle , then take it of and wring it into a shell , and put vnto it a little gum Arabeck , letting it stand 3 or 4 howrs , till it be dissolued : it is good to shadow carnations , and all yeallowes . Roset . You shall grind your Roset with Brasill water , and it will make you a deepe and a faire purple , if you put Ceruse to it , it maketh a lighter , if you grinde it with Litmose , it maketh a faire violet . Browne of Spaine . Grind your Browne of Spaine with Brasill water , and if you mingle it with Ceruse it maketh an horse flesh colour . Bole Armoniack . Bole Armoniack is but a faint colour , the chiefest vse of it , is , as I haue said in making a size for burnisht gold . Of Greenes and their tempering . CHAP. V. Greene Bice . TAke green Bice , and order it as you do your blew bice , and in the selfe same manner : when it is moiste and not thorough drie , you may diaper vpon it with the water of deepe greene . Vert-greace . Vertgreace is nothing els but the rust of brasse , which in time being consumed and eaten with Tallow turneth into greene , as you may see many times vpon fowle candlestickes that haue not beene often made cleane , wherfore it hath the name in latine Aerugo , in French Vert de gris , or the hoary greene : to tēper it as you ought , you must grind it with the iuice of Rue , and a little weak gum water , & you shall haue the purest greene that is ; if you will diaper with it , grind it with the lie of Rue , ( that is , the water wherin you haue sod your Rue or Herbgrace ) and you shall haue an hoary greene : you shall diaper or Damaske vpon your vertgreace green , with the water of sapgreene . Verditure . Take your verditure , and grind it with a weak gum Arabeck water , it is the faintest and palest green that is , but it is good to veluet vpon black in any manner of drapery . Sappe greene . Take Sapp greene and laie it in sharpe vineger all night , put to it a little Alom , to raise his colour , and you shall haue a good green to diaper vpon all other greenes . Of Whites and their tempering . Venice Ceruse . Your principall white is Ceruse , called in Latine Cerussa , by the Italian Biacea . Vitruuius teacheth the making of it , which is in this manner . The Rhodians ( saith he ) vse to take the parings of vines or any other chips , and lay them in the bottoms of pipes or hogsheads , vpon which they powr great store of vinegar , and then laie aboue many sheets of lead , and so still one aboue another by rankes till the hogsheads are full , then stoppe they vp againe the hogsheads close , that no ayr may enter : which againe after a certayne time being opened , they find betweene the lead and chips great store of Ceruse : it hath beene much vsed ( as , it is also now adaies ) by women in painting their faces , at whome Martial in his merry vaine skoffeth , saying ; Cerussata timet Sabella Solem. Actius saith it beeing throughly burnt , it turneth into a faire Red , which he calleth Syricum , grinde it with the glair of egs , that hath lien rotting a month or two vnder the ground , and it will make a most perfect white . White Lead . White Lead is in a manner the same that Ceruse is , saue that the Ceruse is refined & made more pure , you shall grinde it with a weake water of gum Lake , and let it stand 3 or 4 daies , Roset and Vermilion maketh it a fair Carnation . Spanish white , There is an other white called Spanish white , which you may make your selfe in this manner ; take fine chalk and grind it with the third part of Alome in faire water , till it be thick like pap , then roule it vp into balls , letting it lie til it be dry , when it is drie , put it into the fire , and let it remayne till it bee red whot like a burning coale , and then take it out and let it coole : it is the best white of al others to lace or garnish beeing ground with a weake Gumme water . of all manner of blewes and their ordering . CHAP. 7. Blew Bice . TAke fine Bice and grind it vpon a clean stone , first with cleane water as smal as you can , then put it into an horn and wash it on this manner : put vnto it as much faire water as will fill vp your horne , and stirre it well , then let it stand the space of an houre , & all the bice shall fall to the bottome , and the corruption will fleet aboue the water , then powre away the corrupt water , and put in more cleane water , and so vse it foure or fiue times , at the last powr awaie all the water , & put in clean water of gum Arabeck not to stiffe , but sōwhat weak , that the bice may fall to the bottō , thē powre away the Gum water clean frō the bice ; & put to another clean water and so wash it vp , and if you would haue it rise of the same color it is of , when it is drie temper it with a weake gum water , which also will cause it to rise and swell in the driing , if a most perfect blew , and of the same color it is being wet , temper it with a stiffe water of gumme lake , if you would haue it light , grind it with a little ceruse , or the muting of an hawk that is white , if you will haue it a most deepe blew , put thereto the water of litmose . Litmose blew Take fine litmose and grind it with ceruse , and if you put to ouermuch Litmos , it maketh a deep blew : if ouermuch ceruse and lesse litmos , it maketh a light blew : you must grind it with weake water of gumme Arabeck . Indebaudias . Take Indebaudias and grind it with the water of Litmose , if you will haue it deepe ; but if lighte , grind it with fine ceruse , and with a weake water of gumme Arabeck , you shall also grind your English Indebaudias , after the same manner , which is not fully so good a cullour as your indebaudias isyou must : Diaper lighte and deepe vpon it , with a good litmose water . Florey blew . Take Florey blew , and grinde it with a little fine Roset , and it will make a deep violet , and by putting in a quantity of Ceruse it wil make a light violet : with 2 parts of Ceruse , and one of red lead , it maketh a perfect Crane colour . Korck or Orchal . Take fine Orchal and grinde it with vnsleckt lime and vrine , it maketh a pure violet : by putting to more or lesse lime , you may make your violet light , or deep as you will. To make a blew water to Diaper vpon all other blews . Take fine Litmus and cut it in peeces , when you haue done , lay it in weak water of Gum Lake , and let it ly 24 howrs therein ; and you shall haue a water of a most perfect azure , with which water you may diaper and damaske vpon all other blews , and sanguines to make them shew more fayr and beautifull : if it begin to dry in your shell , moisten it with a little more water , and it will be as good as at the first . OfYealowes and their mingling . CHAP. VIII . Orpiment . ORpiment called in Latine Arsenicum , or Auripigmentum , ( because being broken it resembleth Gold for shining and colour ) is best ground with a stiffe water of Gumm Lake , and with nothing els : because it is the best colour of it selfe , it will ly vpon no greene : for all greenes , white lead , Red lead , and Ceruse staine it : wherfore you must deepen your colours so , that the Orpiment may be the highest , in which manner it may agree with all colours : it is said that Caius a certayne couetous Prince caused greate store of it to be burned , and tried for golde , of which he found some , and that very good ; but so small a quantity , that it woulde not quite the coste in refining . Masticot or General . Grind your Masticot with a small quantity of Saffron in Gum water , and neuer make it lighter then it is ; it will endure and ly vpon all colours and mettals . Pinke yealow . You must grind your Pinke , if you will haue it sad coloured , with saffron ; if light , with Ceruse : temper it with weake gum water and so vse it . Oker de Luke . Take fine Oker de Luke , or Luce , and grind it with a pure brasil water : it maketh a passing hayr-colour , and is a naturall shadow for gold . Vmber . Vmber is a more sad colour , you may grind it with Gumme water or Gumme Lake : and lighten it at your pleasure with a little Ceruse , and a chiue of saffron . Of blacks and their ordering . CHAP. 9. Harts horne . THe best black to make your Sattens and veluets , in water colours , is the Harts horne burnt to a coale : you may buy it at euery Apothecaries ( for it hath many vses in medicines ) buy the blackest , and if there be ( as commonly there is ) any white , or ouerburnt peeces it it , pick them out cleane , for they wil infect the rest : for a shift you may burne an old combe , fanne handle , or knife haft , or any thing els that is iuory , they wil make a very good black in water , but in oyle the best of all others ; or you may burne a manchet to a coale , which wil serue for a need . Ordinary lamp black . Take a torch ora link , and hold it vnder the bottom of a latten basen , and as it groweth to bee furd and black within , strike it with a feather into some shell or other , and grind it with gumme water . To work with mettals . Tinglas . Grind Tinglas with weak gumme water as smal as you can , and when it is drie , and you haue wroughte it , burnish it with a Dogs tooth , and it will bee like Mettal . Antemonie . Grind your Antemony as your Tinglasse , and burnish it in the same manner . Eler-glasse . Grind your Elerglas with stiffe water of Gumme Arabeck : for it is so brittle that otherwise it will not abide , and order it as you doe your other Mettals ; it will agree with all colours sauing Orpiment . Of making inkes of sundry colours . Greene inke . Take vertgrease and grind it with the iuice of a rotten apple with a little saffron , when you haue done put it into a clean Horn and let it stand a good while , vntill the best fleet aboue , which take and put into a shell , vntill you haue occasion to vse it . The best red inke . Grind vermilion with the glaire of an egge , or stiffe gumme Arabeck water , putting hereto a little saffron , and so write with it out of a shell , if it be drie , you may soften it by adding a little more water . yealow inke . Take saffron rust , or the seedes , and grind it on your painters stone , halfe an hower , with the yolke of an egge : if you wil haue it a light yealow , adde therto a little Ceruse . Blew Inke . Take Indico and grind it with gumme water , and put thereto blanck-bloome , as much as will quicken & and perfect his cullor . White Inke . Grind ceruse on a stone with Gumme water , and you haue done . Sanguine Inke . Take turne soyl and steepe it in gumme water , and after a while wring it into a shel , and so write with it . To keepe inkes from freezing . Put into any of them Camphire about the quantitie of a fitch , and stirre it well about , To make a golden water . Take greene vitriol , Sal Gemma , and Sal Armoniack , and put them together : so that their bee the quantitie of an ownce ; and seeth them in a quart of white wine , vntill it be halfe wasted awaie , and when it is coole worke withall : To make an excellent greene water . Take red vineger and the Vrine of a Ramme , the filing of brasse and an ownce of vert-greace , with the gall of a Bul , & boile them together the space of going halfe a mile : and then put thereto a prety quantity of Alome , & let it stand . 7. or 8. daies , and so worke with it . Thus briefly haue I taught you your colors , and the manner of ordering or tempering the same : for the mixtnre of some one cullor of many , ( as a bay or Sorrell in a horse ) you must haue some time to doe it by your owne discretion and obseruation : for it wold bee too tedious a peece of worke to giue directions all , when as a man may of one color alone , make aboue a thousand species , or kindes : wherefore when you come to a compounded color , ( like the aforesaid ) which you can very hardly make , mingle those colors which you know come neerest vnto it , confer and laie them to the life , adding or taking awaie as you see cause . The manner of Annealing and painting vpon glasse . CHAP. I. AS there haue been of late years many artes inuented , and others , that in a manner laie rude and vnregarded , through the industry of our times growne to ful perfection : So I make no question on the other side , but diuers by our Idlenes & negligence are vtterly lost and forgotten ; that I may alledge one in stead of the rest , I would know what Lapidarie , or any els could shew mee the art of casting that marble , where of wee see many fayre and beautifull pillars in Westminster , Lincolne , Peterborough ; &c , and in many places whole pauements , as in Saint Albanes Abbey , Gormanchester , surely I think not any : And what hath been in greater request then good workmanship in glasse , when scarce now any maie bee found ( excepte some few in Londō , and they perhaps dutchmen to ) that haue but the ordinary skill of annealing and laying their colours : verily I am perswaded , if our forefat hers had knowne , how little we regarded either their deuotion or cost in painting glasse windowes , they would haue spared their mony , to some better purpose ; nay if we would in many places imitate them so farre , as but to allow our Churches and Chappels glasse , it were wel ; where many times you shall see whole panes ( whereof some haue carried the names of their deuout and religious founders ; others the royal coates either of our auncient kinges of this land , their Allies , or of the benefactors and Lords of that place , monuments many times of great importance , ) for want of repaire partly beene beaten downe by the weather , partly by ouer precise parsōs & vicars , ( as one in Northamptonshire did in his chauncel , the armes of King Edward the 3. and the dukes of Yorke and Clarence , taking them for images , ) and the windowes stopt vp with strawe and sedge , or damd vp quite , a regard I confes hath been had of these abuses , but I feare me a great deal too late . The best workmanship that may be seene in England at this daie in glasse , is in K. Colledge Chappel in Cambridge , containing ( as they say ) the whole history both of the old and new testament , the next to that in Henry the seuenths Chapel at Westminster the one finished , the other wholly builte by the said religious King. There are many good peeces els in diuers other places , as Canterbury , Lincolne , &c : vnto which being drawne by their own antiquitye , and loue of arte , I haue in a manner gone in pilgrimage , neither , as I thought , loosing my labour , since I can shew almost 8 hundred seuerall auncient coates , which out of old and decaied windowes , I haue entertained from the iniury of rude hands , and fowle weather . CHAP. 2. THere be six principal colors in glasse ; which are Or , or yealow Argent , or white , Sables , Azure , Gules , and Vert , black , blew , red , and greene . How to makeyour Or , or yealow vpon glasse . Your yealow is made in this manner , take an olde groate : or other peece of the purest and best refmed filuer that you can get , then take a good quantitie of Brimstone , and melt it , when ye haue done , put your siluer into the Brimstone melted ; and take it forth againe with a pair of pliers or smal tongues , and lighte it at the fier , holding it in your tongues vntil it leaue burning : then beate your siluer in a brazen Mortar to dust , which dust take out of the mortar , and laying it on your Marble stone grind it ( adding vnto it a smal quātity of yelow Oker ) with gum Arabeck water and when you haue drawne with your pencill what you will , let it of it selfe throughly drie vpon the glasse . Another fair Gold or yealow vpon Glasse . Take a quantity of good siluer , and cut it in small peeces : Antemonium beaten to powder , and put them togither in a crucible or melting cruse , and set them on the fire , well couered round about , with coales for the space of an houre : then take it out of the fire , and cast it into the bottom of a candle stick , after that beat it small into powder , and so grind it . Note when as you take your siluer as much as you meane to burne , remember to waie againste it six times as much yealow oaker as it waieth , and seauen times as much of the old earth , that hath been scraped of the annealed worke , as your siluer waieth : which after it is well ground , put altogether into a pot and stir it well , and so vse it , this is the best yealow . Argent or white . Argent or siluer , is the glasse it self , and needeth no other colour , yet you may diaper vpon it with other glasse or Christal , beaten to powder and ground . Sables . Take Iet , and the scales of Iron , and with a wet fether when the smith hath taken an heat , take vp the scales that fly from the Iron ; which you may doe by laying the feather on them , & those scales that come vp with the feather , you shall grind vpon your painters stone , with the Iet and Gum me water , so vse it as your gold aboue written . Azure , Gules , and Ver● . These three colors are to be vsed after one māner you m ay buy or speak vnto some merchant you are acquainted withall , to po cure you what coloured beads you will , as for example , the most & perfectest red beads , that can be come by , to make you a faire red , beat thē into powder , in a brazē Mortar , then buy the gold smithes red Ammell , which in any case let be very transparent and through-shining , take of the beades two pearls , and of the Ammel one part , and gtind them together as you did your filuer , in the like sort may you vse al the other cullors . Another saire red vpon glasse . Take a quantity of Dragons blood , called in Latin Sanguis Draconis , beate it into fine powder in a mortar , and put it in a linnen cloath , & put thereto strōg Aquauitae , and strain them to gether in a pot , and vse them when you need . An other excellent greene vpon glasse . Take a quantitie of vertgrease and grind it very well with Turpentine , when you haue done put it into a pot , and as often as you vse it warme it on the fire . To make a faire carnation vpon a glasse . Take an ownce of Tinne-glas , one quarter of gum ofIet three ownces , ofRed oker fiue ownces , & grind them together . Another black Take a quantity of iron scales , and so many copper scales and waie them one against an other , and half as much Iet , and mix them well together . Before you occupy your scales , let them be stamped small , and put them into a cleane fire shouel , and set them vpon the fire till they be red whot , and they wil be the better . Another Carnation . Take a quantity of let , and halfe as much siluer scum , or glasse tinne , & halfe as much of Iron scales , a quarter as much of gum , and as much red chalk as all these do way , and grind it . The manner of annealing your glasse , after you haue laid on your colours . Take brickes , and therewith make an ouen fowre square , one foot and a halfe high in this manner : and raise it a foote and a halfe high , when you haue done , laye little barres of Iron ouerthwart it thus , three or fowr , or as many as will serue , then raise it aboue the barres one foote and a halfe more , then is it high enough : when you purpose to anneale , Take a plate of Iron made fitt for the aforesaid ouen , or for want thereof , take a blew stone , such as they make hauer or oaten cakes vpon which being made fit for the aforesayd ouen , lay it vpon the crosse barres of Iron : that done , take sleekt lime & sift it through a fine siue , into the ouen , open the plate or stone , and make a bed of lime , then lay your glasse which you haue wrought and drawne before , vpon the said bed of lime ; then sift vpon the said glasse : another bed of lime , & vpon that bed lay other glas , and so by beds you maie lay as much glas as the ouen wil containe : prouiding alwaies that one glasse touch not another . Then make a softe fire vnder your glasse , and let it burn til it be sufficiently annealed : it maie haue ( you must note ) too much or too little of the fire , but to prouide that it shal be wel , you shal doe as followeth . To know when your glasse is well annealed . Take so many peeces of glasse , as you purpose to lay beds of glasse in your ouen , or furnace , and draw in colors what you will vpon the said peeces , or if you wipe them ouer with some color , with your finger onely it is enough : & lay with euery bed of your wrought and drawne glasse one of the said peeces of glasse , which are called watches , & when you think that they are sufficiētly annealed with a pair of pliers or tongs , take out the first watch which is the lowest , & next to the fire , and laie it vpon a boord vntill it be cold : then scrape it good and harde with a knife , and if the color goeth off ; it hath not enough of the fire , & if it hold it is wel annealed . When you woulde occupie any oiled color in glasse , you shal once grind it with gumme water , & then temper it with spanish Turpentine , and let it drie as neere the fire as may bee , then is it perfect . Other notes worthy of the practise and obseruation . Colours for a table worke . Take Indie blew , and grind it vpon your stone , or glasse , and gumme it wel : and laie it vpon your table worke as you thinke good , striking your blew ouer with linseed oylvpon which after it hath dried a little , lay on lesse gold or siluer , and it will be faire . For a faire Red. Take faire black adding thereto a small quantity of Sanguis Draconis , and grind it vpon a stone with the fattest oyl you can get , afterward grind it as drie as you can , and put it into a shell : after you haue laid it let your color dry , and strike it ouer with linseed oyl , after that laie on you siluer . For greene . Take spanish greene , and grind it as you ground your black , and laie it : you may first shadow it with blew , and so lay your greene vpon it : and after letting it Drie in the sunne , lay on the green or siluer as is beforementioned . For a gold cloath . Take your carnation and deep it is as you would deepe with black , and strike it thin with oile , and after lay your gold on , and it will bee faire . To write vpon iron . Take vertgrease , greene copperaes , vinegar , and roch Alome : and temper them together : and melte wax vpon your sword or knife , vpon which draw or write what you will. Hauing thus ( friendly reader ) for thy behoof plaid both the Painter and Glasier at once , I craue pardon if in so deepe a skill I haue not satisfied thee in all things : what I haue omitted it is not through Ignorance , but because I would not trouble thee a learner ( as I imagine ) with ouer busie or tedious conclusions ; hauing long since lerned that lesson of Horace . Quicquid praecipies breuis esto . &c. And thus not doubting of thy good will for my paines , such as they are , I throw away my Apron , and bid thee heartily adew . FINIS . Notes, typically marginal, from the original text Notes for div A09192-e260 Fidibus praeclare cecinisse dicitur . Tuse . Q. li. 1 Xenoph. lib. vlt. Rer. graec . Politic. 8. Plin. lib. 36. cap. 5. Notes for div A09192-e650 Exod. 31. Iob : 39 : 16 Polit. 8. 1 Sem : Exam : de ingenios . Rutilius in vita Q. Fabii pictoris Iuriscon . In vita Pom Sigebert in Chron. de Oratore , Aelian de varia H●st . lib. 10 : Apollodorus Euphranor . Parrhasias . Pyreicus . Aristides . Nicophanes Protogenes . in Demetr . Apelles . Galaton . C. Pulcher. de quo Cicero . I de Oratore Herocle di Ferrara . Bellino . Vnicio . Pisanello . Petro de Burgo . Zoto . Mi. Angelo Alberdure . Stradane . M. Hilliard M. Isaac . The excee . ding value of pictures . de quibus Cic. Act. 6. in Verrem . B. in Asse , Ezech. eh . 1 , verse 27. Catholic . Institut . in praecept . 1. Black lead in quils . Sallow coal es . Rule and compasse . Manchet or fine white bread . Broome pencils . How to helpe you in your Idea . The space of an other eie to be left betweene the eies . great difficulty in the eie . Nicephor . lib 10 cap. 3 7. Nazianz. in 2. inuect . contra Iulianum . Brusonius lib ; 7. cap. 20 The mouth . Making the head too big , a common fault . The neck . The sholder . The arme . The wrist . The knuckles The paps . The Ribs . Thebelly . The thigh . The knee . The legge . The foote . The double shadow . 5. Poster . 1. Metam . 3. A lantskip must be giuē to euery beast according to his Country 1 Of lamenes 2 Of locall distance . 3 Accident of Time. Iud. 7. 4 In expressing the passion or disposition of the mind . Qualisequos Threissa fatigat Harpalice . Aeneid . 1. 5 Of drapery 6 Of shadowing . Notes for div A09192-e5750 The choyse of your grinding stone & mullar . Lib. 33. cap ; 7. A bright Crimson . Marigold colour . A purple . A faire violet . Horseflesh colour . Epigram , lib. 2. A fair Carnation . 
A41260	----	The whole art of drawing, painting, limning, and etching collected out of the choicest Italian and German authors : to which is added exact rules of proportion for drawing the heads of men, women and children , of what bigness soever / originally invented and written by the famous Italian painter Odoardo Fialetti, painter of Boloign ; published for the benefit of all ingenuous gentlemen and artists by Alexander Brown ... Fialetti, Odoardo, 1573-1638. This text is an enriched version of the TCP digital transcription A41260 of text R6823 in the English Short Title Catalog (Wing F844). Textual changes and metadata enrichments aim at making the text more computationally tractable, easier to read, and suitable for network-based collaborative curation by amateur and professional end users from many walks of life. The text has been tokenized and linguistically annotated with MorphAdorner. The annotation includes standard spellings that support the display of a text in a standardized format that preserves archaic forms ('loveth', 'seekest'). Textual changes aim at restoring the text the author or stationer meant to publish. This text has not been fully proofread Approx. 96 KB of XML-encoded text transcribed from 31 1-bit group-IV TIFF page images. EarlyPrint Project Evanston,IL, Notre Dame, IN, St. Louis, MO 2017 A41260 Wing F844 ESTC R6823 12251462 ocm 12251462 57103 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A41260) Transcribed from: (Early English Books Online ; image set 57103) Images scanned from microfilm: (Early English books, 1641-1700 ; 143:6) The whole art of drawing, painting, limning, and etching collected out of the choicest Italian and German authors : to which is added exact rules of proportion for drawing the heads of men, women and children , of what bigness soever / originally invented and written by the famous Italian painter Odoardo Fialetti, painter of Boloign ; published for the benefit of all ingenuous gentlemen and artists by Alexander Brown ... Fialetti, Odoardo, 1573-1638. Browne, Alexander, fl. 1660-1677. [8], 54 p. : ill. Printed for Peter Stint ... and Simon Miller ..., London : 1660. Translation of an unidentified work probably written in Italian. Reproduction of original in British Library. eng Drawing -- Technique. Painting -- Technique. Etching -- Technique. A41260 R6823 (Wing F844). civilwar no The whole art of drawing, painting, limning, and etching. Collected out of the choicest Italian and German authors. To which is added exact Fialetti, Odoardo 1660 17852 14 0 0 0 0 0 8 B The rate of 8 defects per 10,000 words puts this text in the B category of texts with fewer than 10 defects per 10,000 words. 2006-05 TCP Assigned for keying and markup 2006-05 Apex CoVantage Keyed and coded from ProQuest page images 2006-08 Judith Siefring Sampled and proofread 2006-08 Judith Siefring Text and markup reviewed and edited 2006-09 pfs Batch review (QC) and XML conversion VARIETY OF EXCELLENT SYMMETRICALL RULES of Drawing Limning &c. Invented by Odoardo Fialet and others THE Whole Art OF DRAWING , PAINTING , LIMNING , AND ETCHING . Collected out of the Choicest Italian and German Authors . To which is added Exact Rules of Proportion for Drawing the Heads of Men , Women and Children , of what Bigness soever . Originally invented and written by the famous Italian Painter Odoardo Fialetti , Painter of Boloign . Published for the Benefit of all Ingenuous Gentlemen and Artists , by Alexander Brown Practitioner . London , Printed for Peter Stint at the Signe of the white Horse in Giltspurre-Street , and Simon Miller at the Starre in St Pauls Church-yard , M. D C. LX . TO THE Great Cherisher of all Ingenuous Artists . Sr WILLIAM PASTON Baronet , &c. Honoured Sir , IT was a Fate as happy as accidental , threw this ensuing Treatise into my hands , ready instructed at the charge of a Person of Honour in the English Tongue , and by him preserv'd as a Jewel ( bound up together with the Original Prints and Italian Comment ) for private use . There hath been no Parallel it'h same Species ever publick in this our native dress , which put me to a pause , till the remembrance of your un●●served favour ( despairing of any thing of my own , worthy your acceptance ) prompted me to communicate . And the rather , because I find my Author both precedent and warrant , first unlocking this treasure in his Mother tongue . Let therefore the genuine propensity , your disposition bears to Arts of this nature , pardon my presumption ; and your wonted candor , not only curteously entertain this Stranger ( whose noble extract shines through all disguises ) but also vindicate him against incident injuries ; from which , the inscription of no Name I know , can better protect , then your own . Sir , I may not longer detain you here , since I dare hope you will take some delight in the Garden , though this passage be wholly unpleasant , were it not an Inlet , and the only conveyance of the duty and observance of Your Honours most humble and obliged Servant , Alexander Brown . THE CONTENTS . SEverall Observations and Directions in the Art of Drawing , page 1. 7 The Manner of Drawing a Head by the Life , 1. 45 How to Draw a naked man by the Life , 2 , 3 How to perfect the out-Lines of any Point or Figure 6 How to decline any Print in a small compass , ibid Observations in the Art of Limning , and Painting , and Tempering Colours , 8 , 9 , 10 , 11 How to prepare a Tablet to work on , 12 Rules for Shadows in the Face , 13 How to begin a Face by the Life , 14 Concerning dead-Colouring , 15 The second work of Painting observed in the second Sitting , 15 , 16 The Manner of finishing at the third Sitting , 17 Ornaments in setting forth a Picture , 18 A Receipt to make liquid Gold , 19 Rules for Landskips , ibid Secrets for preserving Colours , 20 Generall Observations in Painting , ibid Instruments to draw with , 21 To make Wax-work or Moulding , 22 , 23 To counterfeit Sweet Meats , 24 To counterfeit Pearl , ibid Grounds and Rules of Etching , 25 Instruments used in Etching , 25 , 26 How to make the Ground , 27 How to lay the Ground on the Plate , 28 ▪ 33 How to draw the outmost Lines of any Print on the Plate , ibid Severall Observations in Hatching , 29 Necessary Observations in Etching Landskips , 30 How to make the Wax-wall round about the Plate , to keep the Aqua fortis from running off , ib How to use the Aqua fortis , ibid How to know when it is eaten deep enough , 31 To lay a white or red Ground on a black , 32 How to preserve the work in frosty Weather , 34 To keep the Aqua fortis from injuring the Plate , ibid To Etch soft or hard according to Nature or Art , ibid Observations in Etching Prospective , 35 How to Grave any Hand or Letter on Copper , ibid How to Polish the Plate , 36 Fit Instruments to be used ; and their use , ibid Rules of Proportion for Drawing of the Ear , 38 Nose , Mouth , and Beard , 40 The Head upright , or with a Triangle , 41 , 42 The Foreright , and other Positions of the Face , 48 The Inclining or Foreshortning of the Face , 46 A more perfect Foreshortning , 44 The upright or side-Face without any Measure , 50 The Manner how to describe a Head every way without Measure , 52 Of Childrens Heads , 54 THE ART OF DRAVVING . Severall Instructions and Observations directing to the Art of Drawing . BEcause the greatest difficulties and principall parts of this Art consist in some part in Drawing the lively Resemblance of a Face , therefore I thought it very necessary to add this as a further direction to Draw any Face after the Life . Severall Observations in Drawing a Head after the Life . Therefore if you will draw any Face after the Life , that it may resemble the Party you Draw it after ; take notice in the first place of the Physiognomy or circumference of the Face , whither it be round or long , fat or leane , big or little ; so that in the first place you must be sure to take the right Physiognomy and bigness of the Face , and in case it be a fat Face you will perceive the Cheeks to make the side of the Face swell out , add so make the Face look as if it were square ; and if it be neither too fat nor too leane , it will be round for the most part ; but if it be a leane Face the Jaw-bones will stick out , and the Cheeks fall in , and the Face will be long and slender . Observe when you Draw the outmost circumferences of a Face , to take the Head and all with it , or otherwise you may be deceived in Drawing the true bigness of a Face , then you must diligently and judiciously observe and discerne all the Gentlemaster touches , which gives the spirit and life to a Face , and discovers the graces or disposition of the mind , wherein lyeth the whole grace of the work , and the credit of the Artist , you may easily discerne a smiling countenance in the corners of the mouth when they turn up alittle ; you may best discerne a staid and sober countenance in the eye , when the upper eye-lid comes somewhat over the Ball of the Eye ; but a frowning countenance is easily discerned in the Forehead by the bending of the Eyebrowes , and some few wrinckles about the top of the Nose between the two Eyebrowes ▪ and a laughing Countenance is easily discerned all over the Face ; but an angry Countenance is discerned by extraordinary frownings ; there are also some touches about the Eye and Mouth which you must diligently observe , which gives the spirit and life to a Face . Some generall Rules to be Observed in Drawing the Figure of a Naked Man after the Life . A standing Figure from the top of the head to the bottome of the feet is eight times the length of the Head , and because you ought to be most exact in Drawing the Head , because the whole body must be proportioned correspondently to the Head ; therefore I shall give you in short some severall Rules and Observations to Draw a foreright Head . First , Draw an Ovale , then devide that Ovale into four equall parts ; the first is for the Hair , the second for the Forehead and Browes ; the third for the Nose , the fourth for the Mouth and Chin , as afore written in the Book of Fielettoe . But when you Draw after the life , you are not to follow this Rule exactly , because some Men have a long Nose , and another a short ; one a high forehead , another a low forehead ; Therefore if you look upon a hundred Mens Faces that they all differ one from another , the eyes must be placed just the length of one eye the one from the other . Then having Drawn the Head , you measure out eight times the length of the Head , then the Head is reckoned one of the eight parts ; then you must Draw a straight Line from the top of the Head to the sole of the Foote , one Heads length from the Chin , you must Draw the Brests the third length reacheth to the Navell , the fourth to the privities , the fifth reacheth just to the middle of the Thigh , and the sixt to the lower part of the Knee , the seaventh to the small of the Legg , and the eighth to the Heel and sole of the Foot : But observe as you Draw downwards from the Head to place the Muscles in their right places according to nature ; and because there are no certain Rules for Drawing the Muscles but only to observe them exactly as they are in the Life . The breadth of the Shoulders containeth two measures of the Head , the breadth of the Hipps two measures of the Face , and the Armes stretched out are eight measures of the Head , and if the Brests be reckoned unto them , so the Armes without the Brests are but six measures . And note that when an Arme hangeth straight down it reacheth within a span of the Knee : a Hand must be no longer then the length of the Face , that when the Hand is spread abroad , it must as it were cover the Face and no more ; It is very necessary for one that intends to practise to Draw Naked Figures to Draw after good Anatomies of Plaister , and when you have practised a while , it will learn you to place all your Muscles according to Nature or Art . There are also good Books of Anatomies with Prints and instructions to them , which are very usefull for one that intends to draw a good Naked Figure , which you can never be eminent at , without you understand the Anatomy and use to Draw after the Life very much . Some further Observations in Drawing a Naked Figure . Whatsoever you Draw , Draw it at first very lightly with a Cole , because if it be out of proportion you can the easier mend it , and rub it out , and Draw it again anew : but note , that you must finish nothing with your Cole , before you see every thing is placed right according to Art and proportion and then finish it the one after the other as exactly and curiously as you can possibly in the Drawing a Naked Figure . Observe first that you draw the Head very exactly , and next the Shoulders in their just breadth , as before mentioned , containing two measures of the Head ; Then you Draw the Trunck of the Body beginning just at the Arm-pits , and you may leave the Armes to finish till afterwards , and then you proceed to Draw down to the Hipps on both sides , but be sure that you exactly observe the breadth of the Wast ; and when you have done this , then Draw that Leg first which the Body standeth firmest upon , then Draw the other which standeth looser of the two , but be sure to place that Leg which the Figure stands upon firmely and right , upon the straight Line which cometh down from the Head , or else the Figure may seem to yield one way or the other , and as it were fall ; and lastly you must proceed to Draw the Armes and Hands . A further Observation . When you Draw a Naked Figure you must judiciously and exactly observe to place the Joynts and Sinews and Muscles in their naturall places , according to their proportion , and observe that one Joynt be not higher or lower then the other ; otherwise the Figure will seem to be crooked and deformed and out of proportion to the judicious eye ; see that every parallel Joynt must bend moderately according to Nature , and answer the other which is opposite to it ; and note that the straight stroake must be struck according to the bending of the Body , so that if the Body bowe , the stroke must bowe also , and if the body stoope downwards a little , you must strike your stroake sloping accordingly ; then make the Shoulder , which ought to stand straight over one another , the one to be a little higher then the other , on that side which the body turns upon the Shoulders and the other Joynts , which otherwise ought to be placed one even against another ; you must make them to yield something lower then that side the Figure stands firmest upon , more or less , answerable to the stooping of the Body ; and be sure to be very exact and carefull in the Drawing your outmost circumferences , and to be very carefull in Drawing your Muscles and Joynts which are in the body ; therefore because you should place things in their right and natural places , you strike the straight Line from the Pit of the Throat straight down , just in the middle of the Body , where you can discern the parting of the Ribs . From thence you must proceed with your Line quite down to the Feet , and be sure to observe the bowing and bendings of the Body , and to draw that part which is opposite to that which bendeth , to yield and bend accordingly with it : As for example , if one side of the Body doth yield or bend inwards , then you must make the other side for to stand out answerable , and according to the bending in of the otherside ; and observe whensoever you draw the Back bending in , you must make the Belly to yield in according to it , so that when the Belly yields in , the Back must stick out according to proportion ; and also if the Buttocks stick out , then that which is over in opposition to it must yield in equally . This is not only to be observed in these parts of the Body , but in all the other also ; as when the Knees bend out , then the Hammes which answer to it must yield in accordingly , and therefore this Rule is very necessary to be observed very exactly in all the other Joynts ; or else peradventure the Body will not have all the natural windings and yieldings , which give the greatest looseness to any Figure whatsoever . Withall be sure to use your utmost endeavour to make things of an answerable and equall proportion and bigness according to Art , that is to say , not to make a Leg or an Arm or any other Joynt , not of an equall and suitable bigness , but to make one bigger then the other ; therefore observe to make all the Joynts of an equall bigness , both of bigness , length , and breadth , but according to proportion . But in case any part of the Body yield or turn something away from the Eye , then you must decline that part which turneth according to proportion ; and likewise if any part of the Body do appear to the Eye to foreshorten , as when it doth hinder the sight of the full Latitude of that part of the Body : Therefore I say upon such occasions , the Body or part of the Body must be made to decline and foreshorten , according to that proportion that the Eye doth guess of it ; therefore be sure to observe your exact distances one from another , how farre the one is distant from the other ; you must observe also how much one part of the Body sticks out beyond the other ; be carefull when you draw a naked Figure to draw nothing hard , but to shadow it fine and soft as possible you can , and not to draw the out-Circumferences sharp or stiff , but as loose as possible . A way to take the perfect out-Lines or Circumferences of any Painting or Print whatsoever . Take a sheet of Venice Paper , and dip it in Oyl ; or take a Feather , and wet the Paper all over with Oyl of Turpentine , then take a clean linnen Rag , and after the Oyl is soaked into the Paper a while , rub the Oyl clean off from the Paper as clean as you can , for if the Paper be Oyly it will spoil any Print , because that the Oyl will soak through . Then having prepared the Oyl-Paper , take it and lay it upon the Painting or Print which you intend to draw after , and you shall perceive all the Painting very clearly through the Oyl-Paper . Then you take a black lead Pensil , and ▪ draw upon the Oyl-Paper all the out-Lines and Circumferences thereof , then take a piece of Charcole , or a piece of black Lead , and scrape it upon the backside of the Oyl-Paper , then take a Feather and rub it all over , and shake off the rest ; this being done take a sheet of clean Paper , and lay under the Oyl-Paper ; then take a Stift , and draw all the same stroaks which you drew before upon the Oyl-Paper over again , then take the Oyl-Paper off from the other , and all the same out-Lines will be upon the clean Paper ; then if you think good , you may finish it up according to the Painting or Print you draw it after . A way to decline or bring any Painting or Print into a lesser compass . If it be a Painting that you intend to decline , then you take a pair of Compasses , and divide the length of it into so many equall parts as you think convenient , and the breadth also with the very same distances , then you must take a piece of Packthread and chalk it , then take that Line , and strike upon all the parts which you divided with your Compasses , so many strait Lines as there are parts in the length , then strike them Lines that go in the breadth , quite across them in the length , so that it may be all uniformed ; so the like with that as you would have smaller or greater , according to your intention ; and by the distances in the Chequers you guess to draw it smaller accordingly . A further direction for Drawing . Be sure to place all the Muscles in their right and proper places : By the Muscles I mean the shadows that are caused by some dents or swellings in the face or body ; therefore labour to find out the reason of every Muscle , that so you may proceed to work with the more judgement ; you shall perceive the most Muscles in old and withered faces . First you must draw the principle of them , and then place the features exactly in their right places ; observe to shadow them rightly , and be sure not to make them too dark where they should be faint , for if you should , you can never recover it to make them light again ; the shadowes are generally fainter and lighter in a fair face , then in a swarthy complexion . And when you have finished your draught , you must give it here and there a hard touch where it is darkest shadowed , which will adde a great life and grace to it . Certain choice Observations concerning Miniture or Limning ▪ ERe you begin to paint , you must be exact at Design or Draught , so as to be able to Copy any Picture in black and white , with Cole-black , Chalk , Black Lead , or the like . The Colours to be painted with are thus termed . White Cereus . White Lead . Red India lake . Red Lead . Mynne . Yellow Masticot . Yellow Ocur . English Ocur . Green Sap green . Pink . Blew Verdure . Green Bice . Terra Vert. Blew Indico . Vltra marine . Blew Bice . Smalt . Brown Spanish Brown . Collins earth , or Terra de Coloma . Vmber . Black Cherri-stone . Ivory black . Lamblack . As for Vermillion , Verdigrease , Orpiment , &c. they are too course and gritty to paint in Water-colours ; Turnsoil , Litmus blew , Rosset , Brasill , Logwood , Saffron , are more fit for washing Prints , then curious Limning . Grisatrice . Faint shade for the Face ] Mingle together white English Ocur , Indico , a little Masticot . Deep shade ] White English Ocur , Umber . Dark shades in mens Faces ] India-Lake and Pink mixt . Ruddy Compl. ] Mine , Vermilion , Lake , Cereus , Ana q. s. Mingle white Lead with all the shades . Bise . To Wash Bise ] Grinde the Bise first very purely , then fill a shell with clean water , put the Bise therein , stir it , and let it settle an hour , then reserve the bottome and blow oft the top . To deepen this use Litmus Water . Deepest shade ] Umber , Cullins earth , Pink , Lake , Ana q. s. Observation in Grindeing ] Leave not your Colour too moist , but thick and clammy ; if after your Colour be dry , you rubbing your finger thereon finde any to come off , it must be better bound with Gum . Black ] Cherystone burnt good for Drapery . Cereus . White ] To make your Cereus or white Lead that it shall neither rust nor shine ( both which are no small inconveniences ) go this way to work before you begin to grinde either of them ; lay them in the Sun to dry two or three dayes , which will exhale those greasie and salt humors that poyson and starve the Colours ; besides you must scrape away the superficies of the white Lead , and only reserve the middle of it ; grinde it with fair water or Rosemary water with a Pebble on a Porphir . When 't is ground , have in readiness a Chalk stone with Furrows in it , into which put the Colour while 't is wet , and it will be exceedingly cleansed thereby . After it is through dry , reserve it in clean papers , and when you would use it , put it in a Muscle shell with Gum water made of the whitest Gum Arabick . Colours to be ground are these . Cereus , white Lead , India Lake , English Ocur , Pink , Indico , Umber , Spanish Brown , Cullins Earth , Cheristone Ivory . Colours to be washt are these . Red Lead , Minne , Masticot , green Bise , Cedar green , Ultra Marine , blew Bise , Smalt , Verdure , Sap green . India Lake . Purple ] Grinde this with Gum water ; when 't is ground fine before you put it in a shell , mix a little powder of white Sugar Candy with it , which will make it not crack ; after this Temperature , you may spread it with your finger thinly about the shell . English Ocur . Yellow ] This Colour lies even in the shell of it self , and is of great use , especially if well ground ▪ Pink . Green ] The fairest Pink is best , wherewith well ground and tempered with blew Bise , makes an excellent green ; to deepen this Colour in Landskip or Drapery , use Indico very finely ground . Vmber . Brown ] This Colour is somewhat greasie , to cleanse which burn it in a Crucible , afterwards grinde it and it will be good . Spanish Brown . Dark Red ] Because this Colour is very course , you may use Umber and a little Lake tempered instead thereof , which is as good . Black . Black ] Cherristone and Ivory are both to be burnt in a Crucible and so ground . Cherristone is good for Drapery ; for a black Sattin , temper with it a little white , India , Lake , and Indico ; heighten it with a lighter mixture ; deepen it with Ivory black : This was Hilliards way . Ivory . Ivory ] Grinde Ivory with Sugarcandy . Colours to be washt and how . Red Lead ] One Instance may serve for all , and that shall be of red Lead , whereof take as much as you will an Ounce or two , put it into a Bason or earthen Dish full of fair water , stir it a while together till the water be all coloured , let it stand , and you will soon perceive a greasie scum to arise , which with all the water cast away , put fresh water to it , and do as before a second time ; but before the water be half setled , pour all the water into a clean Dish to this water in your second Bason , you must adde more clean water , and mingle both together , then let it settle , afterwards pour out the water , and that small pittance at the bottome is only good , which after 't is dry must be taken off with a Feather , and put up in papers for use . To use it , spread a little of it about the sides of a shell , and with your finger temper it with Gum water . Pencils ] Choose such Pencils as are clear , sharp-pointed , not dividing into parts ; of these you must have in readiness a several Pencil for every several Colour . To prepare a Tablet to work on with Miniature for Pictures by the life . Take an ordinary playing Card , pollish it with a Dogs tooth , and make as smooth as you can the white side of it , cleansing it from all spots and extuberances ; then choose of the best abortive Parchment a piece proportionable to your Card , which piece with fine and clean Starch paste fast on the Card , temper the Starch before you paste it on in the Palm of your hand , that it may be free from knots ; let the Card thus pasted dry , then making your Grindeing stone as clean as may be , lay the Card thereon with the Parchment side downward ; then with a tooth burnish or pollish the backside as hard as you can . Note that the outside of the skin is best to paint upon , and must therefore be outmost . To Prime for a Face ] Your Card thus prepared , you are to lay a Ground or Primer of flesh Colour before you begin your work , and that must be tempered according to the Complexion of the Face to be drawn ; if the Complexion be fair , temper white , red Lead , and Lake ; if an hard swarthy Complexion , mingle with your white and red a little fine Masticot , or English Ocur ; but note , that your Ground ought alwayes to be fairer then the Face you take , for it is a facile matter to darken a light Colour , but a difficult to lighten a deep one ; for in Limning you must never heighten , but work them down to their just Colour . Your Ground thus prepared , you must lay it on the Card ( ordered as before ) with a Pencil bigger then ordinary , lay it on as smooth , even , and free from hairs of your Pencil as 't is possible , which that you may do , fill your Pencil full of Colour rather thin or watrish , then thick and gross , and with two or three daubes of your great Pencil , lay it on in an instant , the nimbler it is laid on , the evener the Colour will lie . Note ] Note that you ought to cover rather too much then too little with this Prime ; cover 〈◊〉 what more of the Card with the Ground Colour , then you shall use for the Face . This done , take a pretty large shell of Mother-pearl , or another shell , and before you 〈◊〉 work , temper certain little heaps of several Shadowes for the Face , which you may dispose about the edges of the shell . The Order of Shadowes for the Face . Shadows ] In all your Shadows , remember to mix some white , exempli gratiâ ; for the red in the Cheeks , Lips , &c. temper Lake , red Lead ; and a little white for the blew , as the Veines , &c. a little Indico and white , for blew Bise is never used in a Face ; for the faintest and weakest Colour or Shades , Lake-white , a little Ocur , and a little Indico , adding thereto if you will a small pittance of Pink , or Masticot ; for the deeper Shadows , white English Ocur , Umber ; for the darkest and hardest Shadows , use Lake , and Pink mixt with Umber . Note that black must not by any means be used in a Face : for other Shadows your own observation must direct you , for it is impossible to give a general Rule for the Shadows in all Faces , unless we could force Nature to observe the same method in Composeing and Modelling them , so that one in every Punctilio should resemble the other . Light ] For your Light to draw by a Northern is accounted best , which if it fall sloping down from an high window , is best of all . Position ] Place your self so to your Desk , that the Light may strike in sidelong from the left hand to the right ; and observe that in all your work it will shew to the best advantage , when 't is turned and seen by the same Light it was drawn by . Necessaries in Painting ] Let a Saucer or clean shell of fair water be ever on your right hand , wherewith you may temper your Colours and wash your Pencils , which you must have on your right hand too ; together with a brush-Pencil dry , to brush and cleanse your work from dust ; also a sharp Pen-knife , wherewith to take away such spots or hairs as may casually mix with your Colours , or fall into your Card ; you may also conveniently cover your Picture with a piece of paper , whereon to try your Pencils before you begin to work . To begin a Face . The first Draught ] Having these accommodations , draw the Lines of Porphile ( i. e. the outmost stroaks ) of a Face with Lake , and white mingled , very faint ; by this you may conveniently mend the Draught ( if false ) with a deeper mixture of the same Colour ; the Lines being exactly drawn , and true proportion observed ) ( which is the chiefest thing of concernment ) next observe the deeper and more remarkable Shadows , and with the same faint Crimson Colour of Lake and white , give some slight touches and marks somewhat roughly of these Shadows , which afterwards you 'l finish . The Order to be observed in drawing by the Life . The Order of Drawing ▪ First Sitting ] First you must only dead-Colour the Face , as the oyl-Painters do , and not meddle with the rest , and this first Sitting commonly takes up two hours . Second Sitting ] The second Sitting will require four or five hours , in that time you are to go over the Face very curiously , observing whatever may conduce either to likeness , or judicious Colouring , and observation of the several graces , beauties , or deformities , as they appear in Nature , or else in smoothness of Shadows , or close and sweet Couching the Colours . Third Sitting ] The third Sitting is two or three hours work , and is spent in closeing what was before left imperfect and rough ; but principally in diveing to every deep Shadow , the strong touches and deepenings as well in the dark Shadows in the Face , as in the Eyes , Eyebrows , Hair , and Ears , and these touches are ever the last part of this business , and are never to be done till all the Hair and Drapery be finisht ; these touches ( if well done ) adde exceedingly to the life . Concerning dead-Colouring . The dead-Colouring of a Face is to be done the roughest and boldest of all ; having drawn your Face with Lake and white ( as before ) you must take to the said Colour a little red Lead , tempering it to the Colour of the Cheeks , Lips , &c. but very faintly , because you cannot lighten a deep Colour , without hazard of spoiling the Picture . To begin to Paint ] The first Colour to begin the Face with is the red of the Cheeks , and Lips , somewhat strongly , the bottome of the Chin , if the Party be beardless ; over under and about the Eyes , you will perceive a delicate and faint redness , and underneath the Eyes , inclineing to purple Colour , which in fair and beautifull Faces is usuall , and must be observed ; the tip of the Ear and the roots of the Hair are commonly of the same Colour . All this you must do after the manner of Hatching , with faint and gentle Stroaks , washing it all along . In short , in your dead-Colouring you must cover your ground with the aforesaid red , and the subsequent Shadows . Note ] Be not too curious in your first working , but regard a good bold following of Nature , rather then smooth Curiosity , the roughness of the Colour you may end at another Sitting . The second Work of Painting . The second Procedure ] The red being done , the next is the faint blewes about the corners and balls of the Eyes , and the gray and blewish under the Eyes , the Temples , &c. which you are also to work from the uppermost part of the Face almost all over , but exceeding sweet and faint , by degrees sweetening and heightening your Shadows , as the Light falls . And in going over the Face , be sure to mark out the hard Shadows in the dark side of the Face , under the Nose , Chin , Eyebrows , &c. as the Light falls , and somewhat strong touches in those places . Bring up your work together in an equall roundness , not giving perfection to any particular part of the Face , but visiting all the parts curiously , and in a kinde of randome , by which meanes you will better observe the likeness , roundness , postures , Colouring , or whatever else is requisite to the perfection of your work . The third Procedure ] Having done the fainter or slighter Shades , and somewhat smoothed and wrought them into the red , you may go over the Hair , disposing into such Forms , Folds , or Tramels , as may become your Picture best . You must at first only draw them with Colour as near as you can sutable to the life , and after wash them lightly at the first , and then once more peruse your work , being carefull to fill up the void empty and bare places which are uncovered with Colour , and at last deepen it somewhat more strongly then before in the deepest shady places , still carefully observing the life . Thus much for the first Sitting . The Order of Painting in the second Sitting . The Party being set just in his former seat , you must most exactly observe and curiously delineate with your Pencil , those several varieties of Nature , which you did rudely score out before . To do this you must use the same Colour in the same places you did before , working , driving , and sweetening the same Colours one into another , to the end that nothing be left in your work with a hard edge , uneven , or a lump together , but all so swept and driven one into another , with the point of somewhat a sharper Pencil then you used at first as that your Shadows may lie soft and smooth , being dispersed and gently extended into all , and towards the lighter parts of the Face , like air or a vapoury smoak ; but before this you must carefully observe all the Shadows and Colours . The ground behind the Picture ] For the ground behind the Picture , it is commonly blew or crimson , somewhat like a Satin or red Velvet Curtain : If blew you must lay it thus ; your Bise being pure and clear washt , temper as much in a shell as will cover a Card , let it be all throughly moist and well bound with Gum , then with a small Pencil go about with the same Colour the Porphile , that is the utmost Stroak , and ambient Superficies of the Picture ; this done take a greater Pencil , and therewith wash over somewhat carefully the whole ground that you mean to cover with a blew , somewhat thin and watrish , and then with a reasonable big Pencil full of Colour and flowing , lay over that place with a thick and substantial body of Colour , which before you had only washt over . In the doing of this you must be very swift , keeping the Colour moist that you have laid , not permitting any part to dry till the whole be covered . A Crimson Ground ] If you would have your ground Crimson like Satin , you must with India-Lake mark out where and in what places you will have these strong and hard Lights and Reflections to fall , which is seen in Satin or Velvet , there lay your Lights with a thin and watrish Lake , and while it is yet wet with a stronger and darker Colour of Lake thick ground , lay the deepning and hard strong Shadows close by the other lights ; your best way is to have a piece of Satin before you to imitate . For Method in the Touches ] After this lay your linnen with a flat white , and the Drapery likewise flat , then go over your Face again , endeavouring to reduce each Shadow to its true perfection , then draw the Lines of the Eye-lids , expressing the red dark Nostril , the shadowy entrance into the Ears , the deepness of the Eye-brows , and those more perspicuous notes and marks in the Face , with a Pencil somewhat more curious and sharp then before ; you may darken your ground as you see it will be most advantagious to the setting out the Picture . The Hair ] Next go over your Hair , heightning and deepning it as you shall see by the life , drawing some Locks loosely over the ground , which would otherwise seem unpleasant . Linnen Shade ] To shadow Linnen use black , white , a little yellow , and less blew ; the black must be deepned with Ivory-black , with which mix a little Lake , and Indico , or Litmus-blew . Thus much for the second Sitting . The Manner of Finishing at the third Sitting . Third Sitting ] The third will be wholly spent in giving the strong Touches and Observations necessary for the rounding of a Face , which you will now better see to do , the Apparel , Hair , and Ground , being already finished . In this Sitting curiously observe whatever may conduce to similitude , which is the chiefest thing , as Scars , Moles , &c. glances of the Eyes , descending and circumflexions of the Mouth ; never make your deepest Shadows so deep as they appear in the life . Thus much of the Face and three Sittings : For Ornaments thus . Ornament . Armour-Silver ] For Colouring Armour , first lay liquid Silver flat and even , which dryed and burnisht with a Tooth , temper the Shadows with Silver , Indico , Litmus , and a little Umber , work these Shadows on the Silver as directed by the life . Gold Armour ] For the Gold Armour , lay Gold as you did Silver , for the Shadow , Lake , English Ocur , tempered with a little Gold . Pearls ] To express the roundness and lustre of Pearls , your ground must be white , and Indico , your Shadow black , and Pink . Diamonds ] Diamonds are exprest with a ground of flat liquid Silver , the deepening is Cherristone , black , and Ivory ; the deeper the Shadow , the fairer the Diamond . Rubies ] Lay a ground of Silver , burnish it to the bigness of the Rubie , then take Turpentine of the best and purest , and temper with it very neat a little India-Lake , then taking a Needle or some small iron Instrument heated in a Candle , lay or drop a little of the Composition upon the Silver , fashioning the Stone in a round or square , or what fashion you please with the point of your Instruments , you must let it lye a day or two to dry ; if it be too long in drying , adde to your other Composition a little powder of clarified Mastick ; this Receipt is not commonly known . Emeraulds ] For any green Stone , temper your Turpentine with Verdigrease , and a little Turmerick root first scraped with Vinegar , then let it dry , then grinde it to fine powder and temper it . Saphires ] Mix Turpentine with Ultra Marine , &c. Note that the ground to all must be liquid Silver polisht . A true Receipt to make liquid Gold . Liquid Gold ] Take of fine leaf Gold the value of 2s — 6d , grinde this Gold with a strong and thick Gum water upon a reasonable large stone , which you must grinde very fine and painfully ; as you grinde it still adde more of your strong Gum water , and though the Gold look never so black and dirty , 't is never the worse ; having brought it to a competent fineness , wash it in a great shell as you did Bise , &c. being very clean adde to it a little quantity of Mercury sublimate , with the point of your Knife which you must temper with it , and a very little Gum to binde it in the shell , and as it settles and begins to dry in the shell , shake it together , and remove and spread the Gold about the sides of the shell , that it may be altogether of one Colour and fineness , use it with fair water as you do the other Colours . Note ] So for liquid Silver , only observe ( and 't is a Secret ) that when your Silver either with long keeping or moistness of the air becomes starvd and rusty , you must to prevent this inconveniency , before you lay the Silver Cover over the place with a little juice of Garlick , which will preserve it . Landskip . Landskip ] In painting Landskip ever begin with the Skie , and if there be any Sun-beams , do them first . Purple Clouds ] For the purple Clouds , only mingle Lake and white . Yellow ] The yellow Sun-beams , Masticot and white . Note 1. ] Work your blew Skie with Smalt only . Note 2. ] At your first working dead-Colour all the Piece over , leave nothing uncovered , lay the Colour smooth and even . Note 3. ] Work the Sky down in the Horizon fainter and fainter as you Draw near the Earth , except in tempestuous Skies , work your further Mountaines so that they should seem to be lost in the Aire . Note 4. ] Your first Ground must be of the colour of the earth and dark ; yellowish , brown , green , the next successively as they loose in their distance must also faint and abate in their colours . Note 5. ] Beware of perfection at a distance . Note 6. ] Ever place light against dark , and dark against light [ that is ] that the only way to extend the Prospect far off , is by opposing light to shadows , yet so as ever they must loose their force and vigor in proportion as they remove from the eye , and the strongest shadow ever nearest hand . Dark green For a dark green for Trees , mingle blew Verdure , Pink , and Indico ; the deepest shadowes of all in green are made with sap green and Indico . A rare Secret to preserve colours . Take Rosemary Water distilled , and with a few drops of it , temper your shell of White , and you shall see it become instantly perfect White , how ever dead and faded it was before . Besides this Water allayes the bubbles in White and Umber , which are usually very troublesome in the Grounding them . Some generall Observations in Miniature . 1. If your Colours peel or by reason of the greasiness of your Parchment will not lye on ; mix with them a very little Ear-Wax , and 't will help them . 2. Sit not above two yards from him you Draw by . 3. Draw not any part in the Face of a Picture exactly at first , neither finish a Mouth , Eye , or Nose , till the rest of your work come up , and be wrought together with it . 4. When you have finished the Face , make the Party stand up to Draw the Drapery by him . 5. Let the Party you Draw be set in an higher Seat then your self that Draw . To make Crayons or Pastils and Draw with them . Pastils . ] To instance one for all , if you were to make a Pastill for a brown Complexion , grind on your Stone , Cereus , red Lead , or Virmilion , English Ocre , and a little Pink , to this add a proportionable quantity of Plaister of Paris burnt and finely sifted , mix this with the other Colours and you may role it up . Note . ] Mix white Cereus with all your other colours . To use these Pastils , Colour the Paper whereon you mean to Draw with a Carnation or flesh Colour , with a wet Spunge Draw the out-lines faintly with red Chalk , then rub in the Pastils , finish and fill up all with black Chalk as you shall see occasion . To make white . Cereus . ] Take two parts of ordinary Chalk , and one part of Allum , grind these together fine , make them up in a lump , burn them in a Crucible and use them . To make white Lead . White Lead . ] Take a Gallypot , whereinto put severall small plates of clean Lead , cover them with white Wine Vinegar , cover the Pot , and dig an hole in a Cellar , where let it abide for the space of six Weeks ; take it up , and scrape off the White Lead from the plates . To prepare a Card for a Picture . Wet a Card all over with a great Pencill so soon as the water is sunk in burnish it smooth on the backside , having beaten some Starch with a Knife in your hands palme spread it over , instantly lay on a piece of abortive Parchment , let it be prest in a book till it be almost dry , then smooth it on the backside . To preserve Colours fresh , some grind them with the Gall of a Neate . To prepare White excellently . White . ] Take some Cereus which being grosly bruised and put into a fine earthen Basen , put to it a good quantity of running Water distilled , wherein wash the Cereus till it be throughly clean and purged , which you shall know by the taste of the Water which is drained from thence . Vernish . ] Vernish is made thus , Take of Oyl of Turpentine one pound , Sandrake one pound , Oyl of Spike one pound , mix the Oyles together , and let all stand over the fire till the Sandrake be ●esolved : if the fire should chance to catch hold of this , clap a Pewter Dish over it . Concerning Wax work or Moulding . To make the Moulds . The Mould . ] Take a good big lump of Plaister of Paris and burne it in a Crucible till it be red hot , let it coole , then beat it very fine , and searse it through a Tiffany Sieve ; be very cautious that the Wind come not at it , for that will hinder its hardening : after it be tempred keep it wrapt up in a cleane brown Paper . Use it thus , Take any Earthen or Pewter Vessel that is shallow , and put ten or twelve spoonfulls of fair Water in it , then prepare your fruit , and bind a Ragg round it like a Cord in a wreath long wayes on the fruite : then take some Linseed Oyl , or ( which is the more cleanly ) Oyl of sweet Almonds , with which in a Pencill besmeare the Lemmon or ( what other fruit it be ) on one side , which lay upermost : your Lemmon thus prepared , take up some of your sifted Plaister of Paris and temper it in the forementioned Water to a pretty thickness , then as speedily as may be with the help of your Spoon cast it on the Oyled Lemmon , lay it on very thick , least the thinness of the Mould spoile the work , when 't is hardned ( which will be in a small time ) take away your Ragg , leaving the Linnen still fast in its half Mould ; Which done , turne the hardned side downward , then Oyl the other half of the Lemmon together , with the edges of the Mould , which the Ragg did cover ; then wash your Poringer or Vessel where the former Plaister was clean and prepared , and cast on more Plaister of Paris as before ; observe it must not be too thick when you cast it on , and after 't is hardned , you must put no more water to it , for then it will crumble ; when you have done the Moulds so , and made a notch that one may fall fitly into the other , tye them close together having before well Oyled them , and keep them for use . To Cast in these Moulds . To Cast . ] Use the whitest and purest Virgins Wax . To colour the Wax answerable to the things you Mould . To colour . ] For a Raddish your Ground is Cereus , which must be afterwards Painted over with Lake , the top of the Raddish Painted with Verdigrease , all other such Colours must be tempered with Gum-Water . Gum-Water is thus made , Disolve a lump of clear Gum Arabick about the bigness of a Wallnut in two spoonfuls of fair Water , herewith temper your Colours . Note that every thing Mouldable is either all of one and the same colour , as ( a Lemmon , ) or striped , and particoloured with different colours , as a Pare , Paremaine , &c. Now such as are of one colour may be easily cast all of the same colour ; but such as are variegated must be kept out afterwards by colours tempered with Gum-Water , ( as above , ) you colour your Wax by putting into it whilst it is hot and melted in a Gallypot , a little Linnen Bag of that colour you use , provided that the colour be before bruised very fine . As to particulars , for the Lemmons or Apricocks , take only Turmerick in a Bag ; for Oranges , Turmerick and red Lead well tempered ; Apples , Peares , or Grapes , Turmerick and a little Verdigrease ; mixt Wallnuts and Figs , Turmerick and English Ocre , and Umber all in a bag together ; Cucumbers , or Hartichoakes , Peasecods , or Filbirds , Turmerick , Verdigrease , Eggs , and Cereus , all put in severall Bagges , and steept in the Virgin Wax when 't is melting as before mentioned ; for Damsons , bruise Charchoale , Indico , and blew Starch in a Bag together ; for flesh colour , White Lead , and Vermilion mixt , &c. To counterfit Rochcand'd Sweetmeates . Rochcandy . ] Disolve the quantity of a Wallnut of Gum Arabick in two spoonfuls of clear Water , let it be very thick , then take any piece of broken Venice Glass , the thicker the better , beat it in a Mortar so small as you please ; that it may serve your occasion , daub over some cast Sweetmeats with the forementioned Gum-Water , strew this Pouder on them , and 't will with much delight satisfie the expectation . Additionall Observations out of a Manuscript of Mr. Hilliards touching Miniature . When you begin to Paint temper all your colours a fresh with your finger , in your shell , or on your pallat . Pearle . Your Pearl must be laid with a White mixture , with a little black , a little Indico and Mastick , but very little in comparison of the White , not to the hundredth part ; that dry , give the light of the Pearle with a little Silver , somewhat more to the light then the shadowed side , then take a White allaid with Masticot , and underneath the shadowed side give it a compassing stroake , which shews a reflection , then without that a small shadow of Sea Cole undermost of all . But Note , your Silver must be laid round and full . The Grounds and Rules of Etching . BEfore that you begin to Etch upon Copper , it is very necessary to practise the Art of Drawing , till you be able if need require to Draw any Head after the Life , or to Draw a designe ; Therefore if you intend to practise the Art of Etching , you will find it very profitable to Draw after good Prints , which are well designed and Graved , and when you , have practised so long that you are able to Coppy any Print , or Drawing very exactly ; then Draw after good Heads of Plaister or Figures , according to your own fancy , which will learn you to shadow according to Art , if well observed ; therefore be sure when you Draw after Plaister , to observe very exactly to take the true out-lines or circumferences , and then take notice how the shadow falls , then shadow it very faint and soft , where need requires accordingly . The Prints which I recommend unto you as absolutely the best to learne to Etch after , be the Prints of Henry Goldshis and Hermon Muller . Therefore it is very convenient to learn to hatch with the Pen exactly after either of the aforesaid Prints of Goldshis or Muller ; and when you have brought it to that perfection , and can Draw very well after Plaister , you may practise to Draw after the Life ; but before you Draw after the Life , you must be very exact and true in your out-lines or circumferences . The Instruments with their particular names which are used to Etch withall . A Copper plate polished , a piece of Ground bound up in a piece of Silk or Taffety , and preserved from any dust or grease ; and about twenty Needles of all sizes , the best are made at Cleafe ; then take the Needles and set them indifferent deep into some round slender sticks about a span long , with a Needle at one of the Sticks , and a Pencill at the other , a scraper , a polisher ; and two or three good French Gravers , well ground and whetted , and a pair of Compasses , a Ruler , some green Wax , a Bottle which holdeth some halfe a pound , of single Aqua fortis stopped close with soft Wax , some white Lead , a Stift , a hand Vice to hold the Plate over the fire , an Oyl-stone . The use and property of every particular Instrument . The Copper Plate is the only Object to Etch upon ; the Ground is to lay upon the Copper Plate , when they are both warmed ▪ your Needles are to Hatch withall upon the Ground ; the Pencill is to wipe away the bits of Ground , which rise when you Hatch upon the Ground with your Needles ; the Scraper is to scrape out any thing that is amiss ▪ the Polisher is to make smooth any place that is rough , so that you can mend any place that is amiss according to your own mind ; the Gravers are to mend here and there a stroake where need requires . But Note , That your Gravers must be ground and whet very sharp and smooth upon an Oyl stone before you use them . Your Compasses are of very little use in Etching , except it be to measure a distance , or strike a Circle . The Ruler is used to Hatch all the straight Hatches or Lines upon the Plate . The green Wax is used to make a Wall round about the edges of your Plate , to keep the Aqua fortis from runing off from the Plate . The Aqua fortis is the finisher of the work , when you have Hatched the designe upon the Plate with your Needles . The white Lead is used to scrape upon the backside of the Drawing or Print that you Etch after . The Stift is used to Draw thorow all the outmost Lines or circumferences of the Print or Drawing which you Etch after . The Oyl stone is to whet your Gravers upon . Having these things in readiness , Note , that if it be a black Ground that lies upon the Plate , then you must take white Lead and rub it upon the backside of the Print or Drawing which you intend to Etch after ; but if it be a white Ground , then you must take black Lead , or a piece of Charchoale , and rub on the back of your Print as aforesaid . The manner and way to make the Ground . Take a quarter of a pound of Virgins Wax ▪ and half a quarter of a pound of Expoltum burnt , of Amber one ounce , of Mastick one ounce . Having all these Materials in readiness , you must take the Mastick and the Expoltum and beat them very fine in a Mortar ; this being done , take a new earthen Pot , and put the Wax into it , and set it upon the fire till it be just melted ; then take the Mastick and the Expoltum and shake them in by degrees , stirring the Wax about till they be throughly mingled with the Wax ; but let it not stand too long over the fire , nor let the fire be too hot , which if you do it will burn the Ground ; therefore when they are throughly melted , take it off from the fire , and poure the Ground out into a Pot of fair Water , and make it up into a Ball and preserve it from dust ; and when you will use it , take a quantity of it and bind it up in a piece of Taffity or Silk , and use it as hereafter . Etching . A red Ground . Grind red Lead very well tempered with Vernix ▪ A white Ground . Take of Wax one ounce , Rosin two ounces , melt them together , add thereto a quarter of an ounce of Venice Cereus finely ground ▪ A black Ground . Spaltum . ] Asphaltum two parts , Bees Wax one part , melt them together , being warme , lay it thinly on with a Lawne ragg ▪ Another Ground . Grind red Lead with Linseed Oyl ; Note , your Ground must be laid very thin . The manner and way to lay the Ground upon the Plate . Take some Charcole and kindle them , this being done , take the hand and screw it fast to one of the corners of the Plate , as near to the edge as you can , because you must lay the Ground all over the Plate ; then take the Plate and hold it over the fire , till it be so warme to melt the Ground , then take the Ground which is bound up , and rub it to and fro upon the Plate till it be covered all over alike ; then take one of the stiffest Feathers out of a Ducks Wing that is not ruffled , and spread the Ground very thin , and smooth every where alike upon the Plate ; but have a speciall care you heate not the Plate too hot , least you burne the Ground ; which if it be , the Ground will break up when you put on the Aqua fortis and spoile the Plate ; you may discover when it is burnt , by its rising sandy , which if you perceive , you must take a clean Linnen ragg , and warming the Plate , wipe the Ground cleane off , and lay a new as aforesaid . But if you perceive the Ground to be smooth and not sandy , take it off from the fire , and when it is cold , take a piece of Link and hold under the Ground till you have smoaked it very black , but let not the flame touch the Ground , least you burn it ; this being done , if the Plate be cold hold it over the fire again till it be just warme , to let the smoake melt into the Ground , that it may not rub off under your hand ; then hold it off from the fire with the Ground-side of the Plate downwards for to preserve it from the dust , otherwise when the Ground is warme , dust will flye therein and spoile it , therefore you must hold it with the Ground-side downwards untill the Ground is cold . The way to Draw the outmost Lines of any Print or Drawing upon the Ground of the Plate . First take the Drawing or Print which you intend to Etch after , and scrape a little white Lead upon the backside of it , then take a Feather and rub it over every where alike , and shake off that which remaines , then take the Print and lay it upon the Plate on that side the Ground is , then fasten the four corners of the Print to the Plate with a little soft Wax ; this being done , take the Stift and Draw upon the Print all the outmost circumferences and Lines exactly , and when you have so done , take off the Print from the Plate , and all the same out-lines and circumferences which you Drew upon the Print with the Stift , will be exactly and unfailably upon the Ground . Severall Observations in Hatching . First observe exactly and judiciously how your principle is shadowed , and how close the Hatches joyn , and how they are laid , and which way the light falleth or cometh ; the light must fall all one way , for if the light fall side wayes in your Print , you must Hatch the other side which is furthest from the light darkest , and so place your lights altogether on the one side , and not confusedly to have the light come on both sides alike , as if it stood in the midst of many lights ; for neither doth the light with all its brightness illuminate any more then that part that is directly opposite unto it . Then observe exactly how close all the Hatches joyn , and how they are laid , and which way they twist and wind : then follow them as exactly as possibly you can , but before that you begin to Hatch or Shadow , you must Draw all the outmost Lines with a Needle upon the Ground , as Artificially as you can , and then you must Shadow it with your Needles of severall sorts according to your principle ; and when you will make a broad stroake , then break off the point of a great Needle and whet it upon an Oyl stone four square untill it comes to a point ; and if you will Hatch five stroakes , then you must use five pointed Needles ; and if middle size , then break off the point of a middle size Needle and whett it as beforesaid , and so according to all sizes . But some Masters when they make a bold stroake Hatch it fine at first , and so by degrees make them broader . Necessary Observations in Etching Landskips . Observe when you Etch Landskips , to make or hatch that which is nearest to the Eye darkest , and so let it lose or decline its Shadows by degrees , and that which is furthest off must be faintest , and so lose equally by degrees ; the same observation must be in making the Skie , for that which is nearest to the Eye must be the darkest shadowed , but in general as faint and soft as possible ; and so also let it lose by degrees as before is mentioned , and the nearer the Skie cometh to the ground , the more it must lose and be fainter ; but when they as it were meet together , the Skie must quite be lost ; and when you have hatched it as exactly as you can possibly with your Needles , according to the print of Drawing that you do it after ; this being done , compare them exactly and judicially together , and if you finde it like the original , take some green soft Wax and make a wall round about the edges of the Plate . How to make the Wax wall round about the Plate , to keep the Aqua fortis from running off from it . Take some green soft Wax and temper it till it be warm , then draw it into a long slender role as long as will reach about the Plate , then flat it and fasten it about the edges of the Plate , and let it be about half an inch high ; then take an old Knife and heat it in the fire , and sear the Wax round about under the Plate very close , otherwise the Aqua fortis will run out ; but be sure to fasten the wall as near to the edges of the Plate as you can conveniently ; then pour the Aqua fortis upon the Plate , letting it lie till it be deep enough . How to use the Aqua fortis on the Plate . You must use single Aqua fortis . Take a quantity of Aqua fortis and pour it into a Glass , and mingle it with a little Vinegar to weaken it , if it be too strong , or a little Aqua fortis which hath been used before ; for in case the Aqua fortis work too strong , it will make the work very hard , and sometimes make the ground to break up ; and when you have tempered it very well , pour it upon the Plate almost as high as the Wax wall ; the deeper the Aqua fortis lieth , the harder it will eat , and when you perceive it to be deep enough , pour off the Aqua fortis from the Plate into a Glass , and preserve it to mingle with other as aforesaid ; this being done , take some fair water and wash the Plate , and then take off the Wax wall and preserve it for the same use again ; then warm the Plate , and take a clean linnen Rag when it is indifferent warm , and rub off the ground from the Plate very clean ; then take some Oyl and rub over the Plate to clean it , and if you perceive that the Aqua fortis hath not eaten as deep in some places as it should be , then it must be helped with a Graver . Observations by which you may know when it is deep enough . When the Aqua fortis hath layn upon the Plate a little more then a quarter of an hour , or half an hour ; there being no certainty in time , because sometimes the Aqua fortis will work stronger then at other ; therefore when you think it is deep enough , pour off the Aqua fortis from the Plate into a Glass , then wash the Plate with a little fair water , then take a Knife and scrape off a little piece of the ground where it is hatcht , and may be least prejudicial to the Plate , and if you perceive it to be deep enough ; warm the Plate and rub the ground off as before-written ; but if you finde it not deep enough , take a little Candle-tallow and melt it in a Spoon , and while it is warm take a Pensil and cover the place with it where you scraped the ground off , then pour the Aqua fortis upon it again , and let it lie till you guesse it to be deep enough ; then pour the Aqua fortis from the Plate as aforesaid , and at any time when you perceive that the Aqua fortis doth not work strong enough , you pour off half the old , and refresh it with some new , for when the Aqua fortis hath been upon the Plate about half an hour , it will be much the weaker , because the strength of it doth evaporate away , and by a little practice you will come to the certain knowledge when the Aqua fortis hath eaten deep enough . Another way to know when it is deep enough . Take a little piece of a Copper plate , and lay a ground upon it as you have been shewed before , and make a wax wall about it , then hatch it with several hatches as you think best , and when you pour the Aqua fortis upon the one , pour it upon the other , and when you think they be eaten deep enough , pour the Aqua fortis from the little Plate , and wash it with some fair water as aforesaid , then take a Knife and scrape off a little piece of the ground from the little Plate where it is hatcht , and in case you perceive it not deep enough , cover the place again with some warm Candle-tallow , and then pour the Aqua fortis upon it again till you guesse it to be enough ; then pour the Aqua fortis from the little Plate again and try as before , and if you see it to be enough , pour the Aqua fortis from the great Plate , and wash it with a little fair water before you warm it , or else the Aqua fortis will stain the Plate . A way to lay a white Ground upon a black . First you must understand that most grounds are black , and when you lay a white ground upon a black you must not smoak the black with a Link , and you must lay the undermost ground the thinner , when you lay a white ground upon it ; and if you would lay a white ground upon a black , take a quantity of Surice , as much as you think will cover the Plate , and grinde it very fine with Gum water , and temper it very thinne , then take a Pencil and wash the Plate all over very thinne and even . The way to lay a red Ground upon a black Ground . Take red Chalk and grinde it very fine with Gum water , then take a pretty big Pencil , and wash the Plate all over with the red ground very thinne and smooth , as before is mentioned . A Receipt for a Ground taken out of a Manuscript of Collots . Take a quarter of a pound of Virgins wax ; and half a quarter of a pound of the best Expoltum burnt of Amber , and half a quarter of a pound of Mastick if it be warm weather , because it doth harden the ground and preserve it from injury , when you lean with your hand hard upon it ; if it be cold weather , then take but an ounce of Mastick ; this being observed , then take an ounce of Rosin , and an ounce of Shoomakers Pitch , and half an ounce of other Pitch , half an ounce of Vernish : having all these materials in readiness ; take a new earthen Pot , and put the Virgins wax into it , and when it is melted stir it about ; and put in the other materials by degrees as before-mentioned , and when they are throughy mingled and melted , take the Pot off from the fire and pour it out in a clean Pot of fair water , and work it into a Ball , and preserve it from dust and grease , and when you have occasion to make use of it , take a quantity thereof and binde it up in a piece of Silk , and make use of it as before-mentioned . The Ground of Rinebrant of Rine . Take half an ounce of Expoltum burnt of Amber one ounce , of Virgins Wax half an ounce , of Mastick , then take the Mastick and Expoltum , and beat them severally very fine in a Mortar ; this being done , take a new earthen Pot and set it upon a Charcolefire , then put the Virgins Wax into it and melt it , then shake into it the Mastick and Expoltum by degrees , stirring the Wax about till they be throughly mingled , then pour it forth into fair water and make a Ball of it , and use it as before-mentioned ; but be sure you do not heat the Plate too hot when you lay the ground on it , and lay your black ground very thin , and the white ground upon it . This is the only way of Rinebrant . The way to preserve any Ground , which is laid upon a Plate in frosty weather . Take the Plate and wrap it very warm in a woollen Cloth , and lay it in the warmest place you can convenient ; for if the Frost is got into the ground , it will break up , when you pour the Aqua fortis upon it . A way to preserve the Plate from injury of the Aqua fortis , where the Ground breaks up . If you perceive the ground to break up in any place , pour off the Aqua fortis from the plate , and wash it with a little fair water ; then take a quantity of Candle-tallow , and melt it in a Spoon , and while it is warm , take a Pencil and cover the place which is broken up with the said Tallow , and so far as the Tallow is spread , the Aqua fortis will not eat ; some make use of Vernish in stead of Tallow : and when you have covered the place that is broken , pour on the Aqua fortis again , and let it lie upon the Plate , till you guess it hath eaten enough ; then pour the Aqua fortis from the Plate , and preserve it , then take the Wax-wall and preserve it also , and wash the Plate with a little fair water , then rub off your ground as aforesaid , and for the places which the ground broke up in , it must be helped with a Graver ; therefore it will be necessary for one that desireth to learn this Art , to practise Graveing a little , so much as to help a stroak where you think convenient . A way to make the Aqua fortis eat soft or hard according to nature or Art . First take Candle-tallow , and melt it in a Spoon , then with a Pencil cover that place so far as you will have it to be faint , but note it to be after the Aqua fortis hath lain upon your Plate an indifferent while ; and so by degrees you must use the Tallow as you would have it fainter ; this is very necessary when you Etch Landskips , which must lose and stand at a distance by degrees ; therefore when you Etch Landskips , observe to stop off that place first which must be faintest , and so by degrees stop it off , and make it lose equally ; and note the nearer you come to the Eye , it must be strongest and darkest shaded , but not on that side from whence the light cometh , for that side must be preserved as faint as may be ; but according to Art . Observations in Etching Prospective . Prospective is a thing that is one of the difficultest Arts to be rightly understood , that is practised ; because it is not rightly understood , but by a good Arithmetick ; otherwise you can never understand Prospective , because you can never guess rightly how much a Pillar , or a Figure , or the like must decline , or lose at their several distances , according to Art and proportion : therefore when you Etch a piece of Prospective after a Drawing or a Print , observe these Rules ; beware of perfection at a distance ; and be sure to shadow that , which is nearest to the Eye , perfectest and strongest ; and the further from the Eye , it must decline in length , and breadth , and heighth , according to Art and proportion ; observe also to let it lose and be fainter by equall degrees . A way to grave any Hand or Letter upon a Copper Plate . Take some Charcole and kindle them ; then take a Hand-vice and screw it to the corner of the Plate , and hold it over the fire till it be warm ; then take a piece of Virgins Wax , and rub it all over the Plate , untill it is covered every where alike : this being done , take a stiff Feather of a Ducks wing that is not ruffled , and drive it even and smooth every where alike , and let it cool ; then write the Hand or Letter which you intend to grave upon the Plate , on a piece of Paper , with ungum'd Ink ; then take the Paper which you have written , and lay that side which is written , downwards next to the Wax , and fasten the four corners with a little soft Wax ; but be sure to place the writings so , that the Lines may run straight ; then you must take a Calves Tooth , and rub the Paper all over which is fastened , and not miss any place : this being done , take off the Paper from the Plate , and you shall see the very same Letters which you wrote on the Paper , hath left their perfect impression upon the Wax ; then take a Stift , and draw all the Letters through the Wax upon the Plate ; and when you have done that , warm the Plate , and take a linnen Rag and rub the Wax clean off , and you shall see all the Letters drawn upon the Copper ; then get some good French Gravers , and grinde them as they should be , very sharp towards the points upon a Grindestone ; and afterwards whet them very smooth and sharp upon a good Oyl-stone ; then grave the Letters with them . The way to polish a Copper Plate . At first you buy the Copper rough , then you have it plenished , if you cannot do it your self ; and when it is plenished , then you polish it with these following Instruments . The Names of the Instruments or Tooles which are used to polish a Copper Plate . A Plain which cuts very well , and of an indifferent bigness , but not broad ; some pieces of Pumice-stones ; some pieces of Sand-stones ; and some Moulton-stones ; a soft blew stone ; and a Burnisher and Scraper ; and some Charcole . The use of every particular Tool or Instrument . First fasten your Plate with some small Nails , to a place that is as high as your middle ; then make use of the Plain to shave all the roughness off from it , and make it very even in all places alike ; and if you perceive any crackles or little holes upon that side which you shave , then you must shave them all clean out ; and wheh you have shaved it even and smooth with the Plain , then take a piece of Sand-stone , and wet the Plate with some water , and rub to and fro with the stone upon the Plate , till you have worn it very smooth and even every where alike ; but be sure to choose the so ftest stones , because they make the least scratches : and when you have worn it even and smooth with this stone , wash off the Sand from the Plate , and take a piece of Pumice-stone and rub to and fro upon the Plate , quite across the grain of the former stone , because it is of a hard sandy nature , and will therefore leave some scratches ; therefore the Pumice-stone is of a more softer and spungy nature , and is alwayes used to wear out the former scratches : and when you have worn out all the former scratches , you will perceive the Plate to be worked into a finer grain ; then wash the Sand very clean off from the Plate : and then make use of the Moulton-stone , and work with it quite across the grain of the Pumice-stone , untill you have worn it quite out ; withall be sure you supply this and all the other stones with water , when you work with them upon the Plate : and when you have worn out all the scratches of the Pumice-stone clean out ; then for the fourth , make use of the soft blew stone , it being of a very soft grain , and softer then any of the former ; then work with that quite across the grain of the Moulton-stone , till all the grain is worn out ; but if you perceive any scratches in the Plate here or there , rub them over with your Burnisher , till you have worked them out ; but in case they are very deep , you must make use of your Scraper , and scrape them out , and burnish it afterwards : this being done , in the fifth place you must burnish it all over . Sixthly and lastly , take a Charcole which is throughly burnt , and scrape off the Rine ; then put it in the fire till it is throughly kindled ; then take it out and quench it in Chamber-lee , and make use of it as of the former , till you have glazed the Plate ; then wash it very clean with fair water , and let it dry . Rules of Proportion . Of the Ear . CHAP. I. I Have observed this Rule , First to treat of the Ear , in a manner of my self invented , and not by any other discovered . Being then desirous to forme the Ear by this way ; you are first to describe an Ovall , in such manner as I have represented in this Figure , at the Number 1. but to forme that in more perfection , and as easily as possible may be therein , with such Method and Order as I design . Proceed lightly joyning Stroak to Stroak , in that manner as in each of the sequent Ovalls they are encreased , even unto the 8. Number . So imitate every Stroak of each Ovall , that the Ear may entirely be formed without digressing from the bounds , and reasonable termes of the Art . This Rule serveth not only to forme the Ear in correspondent proportion to Nature , but also with due proportion and perfection for every greater Head , without any reprehensible Error ; that is , without making that with too great length or breadth , hetrogeneal or disproportioned . For Observing then the Rule , there will be no occasion for the Spectator to say ( as often it hapneth ) that that was beyond reason , exorbitantly traced , and made without the bounds of reason . Of the Nose , Mouth , and Beard . CHAP. II. FOrasmuch as I think that necessary , to make a brief Discourse upon this next Figure , in which the Nose , the Mouth , and the Beard is described , to give thereof certain general advertisements ; and that I may further define all the difficulties from point to point ; the Nose being known to be the most eminent part of the Face , and therefore first seen ; and then the Eye which resteth in the judgement , the next form of the Face : therefore I will demonstrate two of the most easie wayes hath hitherto been invented , which may serve reasonable capacities from Stroke to Stroke , to make the same well . Make then first a Stroke like that in the 1. Number , which hath the beginning of the hollowness of the Nose : and then proceed to the 2. Stroke of the whole Nose , with the roundness thereof : in the 3. the hole of the Nostrills : in the 4. the Nostrills themselves : in the 5. the place of the upper Lip : in the 6. the upper Lip : in the 7. the form of the Mouth : in the 8. the roundness of the Beard : in the 9. the under-Throat : in the 10. the uniting of them all , with the Stroke of the finishing of the Nose , the Mouth , and the Beard . Describe a semi-Circle downwards , which is in the 1. in the 2. make the holes of the Nose , with the two Points on each side , and how each are placed : in the 3. the addition of the Nostrills : in the 4. the forming of all the upper Lip : in the 5. the form of all the Mouth : in the 6. the finishing of all the Strokes of the Beard and Chin . This for frameing the Nose is necessary to be explained , being of importance to describe the same well ; because be the Head never so well done , the Mouth and it being not correspondent , that will be but disgracefull , and give great distast to any judicious beholder ; be the other parts never so well and fairly done , that will rest without grace and unworthy of commendations . Of the Head upright , or with a Triangle . CHAP. III. THe manner to make the upright Head by just and safe Rules without errour , is thus : First form a perfect equall Triangle so as you see , in what position you will , having a respect to the Draughts I have presented with the Lines that form with the Compasses a just Equilaterall Triangle , which is with 3. Lines just and equall every way , turning the Triangle to make the Face upon one of the 3. sides , be it which you will , either upwards , downwards , higher or lower , dividing that side into 3. equall parts , as in the sequent Figure . The 1. to serve from the lower part of the Hair , to the lower part of the Forehead : The 2. thence , to the under part of the Nostrills : The 3. to the lower part of the Chin . Now having framed these 3. Lines , as I have shewed Number 2d draw a little crooked Stroke with a Cole or Chalk out of the right Line , that that may reach to the other point , and that will form the Forehead , From whence draw a waved slope Line bending at the end , to form the Nose either long , short , gross , or thin , as you would have that ; ending that at the 2d point , where the Nostrills end . Then subdivide the remaining 3d part in the midst , where the Mouth shall be placed , for the parting of the upper and under-Lips . Then frame the Chin , having a respect to the perpendicular Line , that that fall not out of the middle of the Chin ; adjoyning thereto the under-Chin down to the Throat-pit . So with the other two dividing Lines , the one from the top of the Forehead downwards ( and ends in the midst of the back part of the Ear ; ) the other proceedeth upwards from the Chin , ascending till that meet with the superior descending Line , whose intersection directeth the Ear , that the Circumference thereof stretch not too far ; which in the first Chapter I formed by the Rule of the Circle . Thus with your judgement take the upper part of the Forehead , and come to describe a great Circular Line about , to form with that the roundness of the Head , unto the Nape of the Neck , keeping the proportion that Nature teacheth ; and from thence downwards frame the rest of the Neck , remembring that the tip of the Ear doth not exceed the lower part of the Nostrill . So you may have the Head in what position you will , so this abandon not the two other Lines ; each concurring in their due points . Of the Foreright , and other Positions of the Face . CHAP. IV. HAving demonstrated an easie way how to draw the upright Head ; it will be also necessary to shew the manner how to draw the foreright Face , and in other Positions . Being then desirous to draw the foreright Face , it will be necessary to form a perfect Ovall , as I shewed in the Rule for drawing the Ear ; which being made , divide in the midst with a Line the longest way , which must from the lower part of the Hair be divided into 3. equall parts , by 2. Lines as you see . In the 1. is the Eyes to be placed ; in the 2d the Nostrils : then the lower part divided ; in the midst thereof must the Mouth be formed , as by the Figure may be conceived : alwayes remembring that the Eyes must be in the 1. Line ; and each of them distant from the other , the length of one of them : and that their inner Corners be perpendicularly over the outside of the Nostrils punctually . But to make the Ears in a foreright Face , the Ovall must be exceeding narrow , yet proportional ; that is , that the Ears be drawn in , and be in height from the Nostrils to the Eye-brows : and then adjoyn the Neck with the Hair , in such sort as may seem most pleasing to the judicious Eye . Of the Inclining or Foreshortning of the Face . CHAP. V. IN this Figure I will make a brief Declaration concerning the scituation or posture ; and being respective of the bigness , to give easie wayes to observe in framing the altitude of the Head in any inclination , as well in Foreshortning or other postures . This then requireth small labour ; and yet I have explained the same , that the manner thereof may be plainly seen ; and the path infallible by the Lines , as they turn and concord together . Imitating the like , you may with facility draw in their places the Nose , the Mouth , and all the parts in good order , agreeing correspondently without much labour ; as I will shew with these simple Lines ; which with a little practice to prepare the hand and judgement thereto ; all which may be absolutely well effected thereby . Of a more perfect Foreshortning . CHAP. VI . HItherto have I treated of the Head , both foreright , and in other positions ; but that you might know all that is needfull for the perfect understanding of this profession , it is necessary that I specifie the Manner how to draw the Face by an easie , absolute , and fair way . Treating thus , I propound to you Methodicall meanes therein ; because my intent is to facilitate the matter in that manner , that without writing thereupon it may be intelligible : For a Draught well made hath that power , that it makes itself understood without any Discourse of the Author thereon . But I alwayes observe both the one and the other also ; instructing by the Draught the intelligence first , and afterward by Discourse thereupon . I say then that the Foreshortning which is made only with Frets , Grates , Squares , or with Geometricall instruments , breed only a confusion of Lines , which is not the best principle of expert ingenuity ; the reason whereof is , that it can hardly be measured by any Rule , unless the whole Body be framed together . Therefore I will shew an easie Rule , very like to that of the foreright Face ; that is , to make a Circular Draught with aspect upwards , or downwards , as in the foreright Head , where the Traverse Lines are straight ; but these go Circularly , as in the Figures in the last Chapter going before may be seen . For if the Heads flye upwards , the Trace , Strokes , and the Divisions , must be raised as I have shewed ; with Caution that the Ears and Eyes fall not without their due points . Of the upright or side-Face without any Measure . CHAP. VII . BEing desirous to make an upright Head or side-Face , without any Triangle or other Measure ; you shall not need alwayes to make the Triangle , but with a little care and practice to form the Eye , which will serve for direction sufficiently ; because the Head and other parts of the Body are to be proportionals , and made from Measures , it will easily follow , framing many with one and the same Stroke , you may not only facilitate it by the Eye and Judgement , but also accommodate the Hand to trace and draw all things right ; for it is true that the Eye will have his place . And I have proved , that having drawn certain Strokes and Draughts from the life of Nature , and reduced it with the Pen and Pencil into Oyl-Colours , I have found it to come off punctually right of a correspondent bigness to that which I have imitated . So that having finished my work , and measured it part by part , I have not found any thing disproportioned , but have alwayes found it fall out right , as I would have it . Therefore I say that this Rule and Measure which I have set down , is not any hinderance to the excellency of the Art , nor will weaken your worth ; but will serve as a general Advertisement , being once possest therewith ; and also become prevalent when occasion will require , to make a Head ten times as big as the natural ; for that with this Measure you shall readily frame it right by any great Head ; and that because the Understanding therein is equally extended ; but the more the Capacity is wanting , the more my labour will further , when need requireth . These then I give as principal for the first Strokes , as in the next Figure may be perceived , which is from the Forehead , as I have already said , for the beginning of the Nose ; that is from the lower part of the Hair , to the hollowness of the Nose and the Nostrils , and from thence to the Chin . It will afterwards be necessary to proceed accordingly from Stroke to Stroke , by encreasing the Strokes until you come to the Head , Number 10. and so make it to be divided into 3. parts by the Eye justly , without the help of Compasses or other Measures ; and in so doing , you may easily accustome your hand , in such sort that you may draw all you would , without any labour at all . The Manner how to describe a Head every way without Measure . CHAP. VIII . IT will not be needfull alwayes to set down the Measures which I have before prescribed , because it will be too troublesome : But my intent is to shew how by an unusuall manner by me invented , you may form in the Idea , the just Measures and Distances of all sorts of Heads ; and in all Positions , having the knowledge of this Rule ; and afterwards making some Heads without any Triangle , or other manner of Demonstration , knowing the errors of heights , lengths , and divisions , into which you may otherwise run . Therefore I shew in this Figure an easie manner that must be held ; and how with those few Lines , to make the Head in what manner you will . Of Childrens Heads . CHAP. IX . IT resteth only for me to treat of the manner how to draw the Heads of Children , with a Rule , invented by me , and not yet by any put forth in writing . Being then desirous to form the Heads of Children perfectly , and of what imaginable bigness you will ; take a pair of Compasses , and make a perfect equilater-triangular Triangle , and upon each point thereof by turning the Compasses round , make a Circle as you see , of that bigness that they may touch each other : The like done on each , you shall so have described 3. Circles , whereof 2. shall be even upon one side , and the 3d behind them , joyned to them both . And this is the 1. demonstration : In the 2d , upon that side which the two even Rounds are , the one of them shall serve for the Forehead , and the other for the Throat ; and behind both where there is a space , you shall make the Nose , the Mouth , and some part of the Chin , with a Stroke near the Throat ; afterwards adjoyning the Ear in the place which I shew , where we conclude the Triangle , and under those two Circles , joyn a little of the Nape and the Neck ; and so will the Childes Head be finished in the side Face porfill , with the Crown , as you see Number 3rd. In Number 4. I represent what force a real Rule and Reason hath in designing , as if in these 3. Circles I should open the excellency of the Art ; because as you see , there is no point nor Circle but performeth his office , with that convenience that is possible ; I make you 3. Heads in one Demonstration , of which at your pleasure you may leave away 2. and take the 3d , without danger of committing any error therein . But as I use the Triangle in the upright or side-Head , so do I use the Square or Quadrangle in the foreright Face ; which being first described , will be a guide to place the Circles in their places ; as in the 1. Draught I shew : In the 2d falleth the Eye , the Nose , and the Mouth : In the 3d I finish all together , with the under-Chin , Hair , and other Circumstances . But be alwayes advised in this Face , where and how to place the points and bigness of the Ear ; and to situate the Eye , which I have made to avoid confusion , observing the Measures in practice by the precedent Demonstration : And so your work will come off with the greater life and judgement . FINIS . 
A39003	----	The Excellency of the pen and pencil exemplifying the uses of them in the most exquisite and mysterious arts of drawing, etching, engraving, limning, painting in oyl, washing of maps & pictures, also the way to cleanse any old painting, and preserve the colours : collected from the writings of the ablest masters both ancient and modern, as Albert Durer, P. Lomantius, and divers others ; furnished with divers cuts in copper, being copied from the best masters ... 1668 Approx. 168 KB of XML-encoded text transcribed from 74 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2007-10 (EEBO-TCP Phase 1). A39003 Wing E3779 ESTC R22483 12363792 ocm 12363792 60341 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A39003) Transcribed from: (Early English Books Online ; image set 60341) Images scanned from microfilm: (Early English books, 1641-1700 ; 914:25) The Excellency of the pen and pencil exemplifying the uses of them in the most exquisite and mysterious arts of drawing, etching, engraving, limning, painting in oyl, washing of maps & pictures, also the way to cleanse any old painting, and preserve the colours : collected from the writings of the ablest masters both ancient and modern, as Albert Durer, P. Lomantius, and divers others ; furnished with divers cuts in copper, being copied from the best masters ... Dürer, Albrecht, 1471-1528. [16], 121 p. : ill. Printed by Thomas Ratcliff and Thomas Daniel, for Dorman Newman and Richard Jones ..., London : 1668. Reproduction of original in Huntington Library. Table of contents: p. [7]-[13] Advertisement: p. [14]-[16] Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). 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Keying and markup guidelines are available at the Text Creation Partnership web site . eng Drawing -- Study and teaching. Drawing -- Early works to 1800. Art -- Technique. 2006-10 TCP Assigned for keying and markup 2006-10 Aptara Keyed and coded from ProQuest page images 2006-12 Celeste Ng Sampled and proofread 2006-12 Celeste Ng Text and markup reviewed and edited 2007-02 pfs Batch review (QC) and XML conversion The Excellency of The PEN and PENCIL . London Printed for Rich : Jones & Dorman Newman and are to be sold at their shops at the Golden Lyon and Chyrurgions Armes in Little Brittaine . THE EXCELLENCY OF THE PEN and PENCIL , EXEMPLIFYING The Uses of them in the most Exquisite and Mysterious Arts of DRAWING , ETCHING , ENGRAVING , LIMNING . PAINTING in OYL , WASHING of Maps & Pictures . Also the way to Cleanse any Old Painting , and Preserve the Colours . Collected from the Writings of the ablest Masters both Antient and Modern , as Albert Durer , P. Lomantius , and divers others . Furnished with divers Cuts in Copper , being Copied from the best Masters , and here inserted for Examples for the Learner to Practice by . A Work very useful for all Gentlemen , and other Ingenious Spirits , either Artificers or others . LONDON : Printed by Thomas Ratcliff and Thomas Daniel , for Dorman Newman and Richard Jones , and are to be sold at their shops in Little Britain , near the Lame Hospital Gate , at the Chyrurgeons Arms , and at the Golden Lyon. 1668. To the READER . AMong the many Operations of Mysterious Nature , the Intellectual Part of Man hath no equal : Among the multifarious Productions of Man's Vnderstanding , the Art of LIMNING is by none excelled ; whether we consider the Grandeur of Spirit therein expressed , or the Ingenious Delight thereby acquired . What Ray of the Great Creator's Image is more conspicuous in the Soul of Man , than that of Intense Desire to produce Creatures of his own ? And wherein is that Inclination so compleatly answered , as by Delineating the Workmanship of God in Artificial Resemblances contrived and wrought by his proper Wit ? Nor can any Satisfaction equal what is derived from the Perfection of these Designs . Are the Proportions exact ? How strongly do they attract the Eye ? Be the Shadowings accurate ? How strangely do they affect the Mind ? But if the Artist hath stoln so much of Promethean Fire as to add the Excellency of Life to well-disposed Lineaments , representing the Native Air and sprightly Gesture of the Person in vive ; How unspeakably doth he gratify both ? To exercise this Faculty and comply with this Fancy in Man , is this little Tract compiled , in Five Books . The First lays down the Primordial Rudiments of the Art of Drawing with the Pen and Pastils : In a due and orderly Method proposing the Description of Man's Body in its distinct parts , presenting sundry Draughts of them in the plain Circumferential Lines , and giving Directions for the Proper Shades , as of Naked Bodies , so of Drapery ; by Instructions and Copies so easy and intelligible , that the meanest Capacity need not doubt to undertake the Drawing of that Admirable Fabrick , and arrive to the Perfection of this Mystery in exact Symmetry , suitable Proportions , and enlivening Postures , if well perus'd and practised . For which purpose also certain Geometrical Rules , Definitions , and Figures are inserted , to exemplify and adorn this Mistress of Proportion ; in the Accomplishing whereof that nothing may be defective , some succinct Advertisements concerning Landskip are added in the Close . Having premised these more plain and easy Fundamentals , the Second proceeds to discover the Secret and Ingenious Skill of Etching with Aqua fortis ; where the most perspicuous and familiar Ground possible is described , and Prescriptions , for carrying on and perfecting that Work , no less Rational annexed . And for as much as some may perhaps take more Pleasure in , or reap more Profit from , that of Graving ; you have the Instruments most Necessary in that kind , and the Manner of Vsing them most Convenient , particularly demonstrated ; Together with that abstruse Slight of transferring the Copy upon the Copper . But because this alone may seem barely Mechanick , that which suits with the most Gentile , and can not derogate from the most Honourable , is offered in the Third ; where the Requisits for Limning in Water-Colours are deposed , the Gums and their Waters in few words digested , the Colours particularly nominated , and the true way to prepare and compound them specified : All which are but as so many Degrees and Ingredients to approach and accomplish the desirable and ultimate Design of Miniture ; for the Practice whereof you are throughly furnished with the Choice of the meetest Light , Position , and Implements at hand , by the particular Description of Drawing a Face to the Life in ●ittle , according to its duly methodized Progress at the first , second , and third Sitting ; not omitting the Ornaments thereunto perteining . And to supply the Fading and Decay of these , the Fourth delivers Rules and Directions for P●inting in Oyl , answerable to that depth of Judgement required in that more durable kind of Operation ; naming the proper Colours , and declaring its peculiar Vtensils , with accurate Instructions how to temper and diversifie the former , for all Complexions and Garments , of what variety soever ; and to use the later in the Artificial Painting of a Face , the only Exemplar prescribed , because it includes all the Art and Difficulty of this Science . The Fifth , and last , displays a pretty superficial Experiment ; imparting what Colours and other Necessaries are best fitted for the Washing or Colouring of Maps and Printed Pictures : And , to help the divers Exigencies that concern this Affair , some Expedients put a Period to the whole Work. Plainness and Brevity ( which may procure Contempt from the Nice or Vulgar ) are sufficient to recommend this Piece to Ingenious Aspirers after any of those Excellencies therein taught ; since they have done the Art and Artist Right , in rescuing both , from such obscure Intricacies and voluminous Impertinencies as would discourage the one , or disparage the other : And these Muniments have so justly prevented all Censure , that nothing can suggest the least Imputation of Difficulty but want of Diligence , nor any one surmise it Tedious but the Slothfull . Farewell . A Necessary TABLE , shewing the Chief Matters treated of in this Book . As , CHAP. I. A description of all the External Parts of Mans Body . SECT . 1. Of the Head. Page 2 SECT . 2. Of the Ear. ibid. SECT . 3. Of the Eyes . ibid. SECT . 4. Of the Nose , Mouth , Chin , Neck , and Throat . Page 3 SECT . 5. Of the Fore-part of the Body . Page 5 SECT . 6. Of the Hinder-part of the Body . Page 6 SECT . 7. Of the Arms. Hands , and Fingers . ib. SECT . 8. Of the Legs , Feet , and Toes . Page 8 CHAP. II. Of Actions , Gestures , Decorum , Motion , Spirit , and Grace in Pictures rightly Resembled . SECT . 1. Of Action or Gesture . Page 9 SECT . 2. Of the Passions or Complexions . Page 10 CHAP. III. Of Necessary Instruments appertaining to Drawing . Page 11 How to make Pastils of several Colours . Page 12 A way to Draw an Escutcheon Geometrically . ib. To Draw a Geometrical Oval . Page 15 Some Geometrical Definitions . Page 16 CHAP. IV. Of the First Practice of Drawing . SECT . 1. Of Geometrical Figures . Page 18 Five Columns of Architecture . Page 19 SECT . 2. Of the Second Practice of Drawing . page 20 SECT . 3. Of the Third Practice . ib. SECT . 4. Of the Fourth Practice . ib. CHAP. V. Directions for Drawing the Body of Man or Woman . SECT . 1. General Rules for drawing the Face . Page 21 SECT . 2. To Draw a Fore-right Face . Page 22 SECT . 3. To Draw an Upright Head. ib. SECT . 4. Of the Inclining and Fore-shortned Face . Page 23 SECT . 5. Of the Nose , Mouth , and Chin. Page 26 SECT . 5. Of Hands , both Palm , Back , and Sides ; as also open and closed : and likewise of Hands and Arms joyned . Page 28 SECT . 6. Of Feet in several Positions , both with and without Measures ; as also of Feet and Legs joyned together . Page 31 SECT . 7. Of the Back , Breast , Secret members , Thighes , Shoulders , &c. Page 34 SECT . 8. Of Whole figures from head to foot . Page 36 SECT . 9. Rules of Symmetrie or Proportion to be observed in Drawing the whole Body of Man or Woman . Page 41 SECT . 10. The Proportion of the Body of Man. Page 46 CHAP. VI. Of Shadowing , and Rules to be observed therein . Page 47 CHAP. VII . Of Drapery , and Rules to be observed therein . Page 45 CHAP. VIII . Of Landskip , and Rules to be observed therein . Page 46 Of Etching and Graving , the Second Book . CHAP. I. Of Etching with Aqua fortis . Page 48 SECT . 1. To make Mr. Hollar's Ground , and how to Etch in Copper ; and what Instruments ought to be used in the Practice thereof . ib. SECT . 2. How to prepare your Copper . Page 49 SECT . 3. How to lay the Ground upon the Plate . Page 50 SECT . 4. How to Transfer your design upon the Copper . Page 51 SECT . 5. How to wall about your Plate with Wax , to lay on your Aqua fortis , and to finish your Work. ib. CHAP. II. Of Graving . SECT . 1. Of necessary Instruments belonging to Graving . Page 53 1. Of your Oyl-stone . ib. 2. Of Gravers . Page 54 SECT . 2. Of several wayes of Holding the Graver . Page 55 SECT . 3. The forms of Graving-tools , as also the manner of Whetting your Graver . Page 57 SECT . 4. The manner how to hold and handle your Graver . Page 58 SECT . 5. The manner of holding your Hand in Graving . Page 59 SECT . 6. How to take off any Picture , or Map-letters , &c. upon your Copper . Page 61 Of Limning in Water-colours , the Third Book . CHAP. I. Of Necessaries belonging to Limning . Page 64 SECT . 1. Of Gum-waters used in Limning . Page 65 Of Gum-Lake . ib. Of Gum-Armoniack . Page 66 Of Liquid Gold or Silver . Page 67 SECT . 2. Of your Grinding-stone and Muller . ib. SECT . 3. Of Colours ib. CHAP. II. Of Colours used in Limning , their names , and how to order them . SECT . 1. Of the Names of Colours , and how every Colour is to be prepared ; whether Grownd , Washed , or Steeped . Page 68 SECT . 2. Of those Colours that are to be Grownd ; & how to Grind them . Page 70 SECT . 3. Of those Colours that are to be Washed , and how to Wash them . Page 71 SECT . 4. Of Colours to be Steeped . ib. SECT . 5. Of those Colours that are to be Washed and Grownd , and how to temper them in your Shells when you are to use them . Page 72 SECT . 6. Of Pencils , and how to choose them . ib. SECT . 7. Of Compounded Colours . Page 74 CHAP. III. How to prepare a Table for Picture in small for Limning , to make use of your Light , the manner of Sitting in respect of Position and Distance , and what necessary Instruments are to lye by you when you are at work . Page 76 SECT . 1. How to prepare a Table for a Picture in Small . Page 76 SECT . 2. Of your Light. ib. SECT . 3. Of the manner of Sitting . Page 77 SECT . 4. Of such Necessaries as are to lye by you while you are at Work. Page 78 CHAP. IV. Of the Miniture or Limning of a Face in Water-colours . Page 80 SECT . 1. At the first Operation or Sitting . Page 81 SECT . 2. At the second Operation or Sitting . Page 83 SECT . 3. At the third Operation or Sitting . Page 85 CHAP. V. Of Drapery , and other Ornaments belonging to a Picture in Miniture . ib. SECT . 1. Of Drapery in Limning . Page 86 SECT . 2. Of other Ornaments in Pictures . ib. CHAP. VI. Of Landskip . Page 87 Of Painting in Oyl , the Fourth Book . CHAP. I. Of the Names of your Colours , and how to Grind and order them . Page 90 CHAP. II. Of your Easel , Straining-Frame , Cloth , Pallat ▪ Pencils , and Stay. Page 91 Names of several sorts of Pencils . Page 93 CHAP. III. How to order your Colours upon your Pallat , and how to temper Shadows for all Complexions . ib. 1. For a Fair Complexion . Page 94. 2. For a more Brown or Swarthy Complexion . Page 95 3. For a Tawny Complexion . ib. 4. For an absolute Black Complexion , Page 96 CHAP. IV. What Pencils are usefull for the Painting of a Face , and how to dispose them . Page 97 CHAP. V. How to Paint a Face in Oyl-colours . Page 98 CHAP. VI. Of Garments of several Colours , and of their proper Colouring . ib. CHAP. VII . To temper Colours for several occasions . Page 104 Of things meet to be known . Page 105 The Discovery , how to Cleanse any Old Painting , so as to Preserve the Colours ; with Cautions to those that through Ignorance , have instead of Cleansing , quite Defaced , or irrecoverably lost the Beauty of good Colours in and Old piece of Painting . Page 106 Of Washing or Colouring of Maps and Printed Pictures : the Fifth Book . Page 108 CHAP. I. What things are necessary to be alwayes ready for Washing of Maps or Pictures . ib. SECT . 1. Of Colours for Washing . ib. Colours to be used in Washing , which are not used in Limning . Page 109 SECT . 2. Of other Necessaries . ib. 1. Of Allum-water , how to make it . Page 112 2. How to make Size . ib. 3. How to Temper Gold to write with a Pen or Pencil . Page 113 4. Of Pencils . Page 114 CHAP. II. Of other Colours for Washing , both Simple and Compounded . ib. 1. How to make a Green Colour of Copper Plates , ib. 2. To make a Green another way . ib. 3. Another Green. Page 115 4. For a Light Green. ib. 5. To Shadow Greens . ib. 6. Greens for Landskips and Rocks . ib. 7. To make a Blew . ib. 8. Of Shadowing Blews . Page 116 9. To make a Brown. ib. 10. Spanish Brown. ib. 11. How to make an Orange-colour . ib. 12. A Flesh-colour . Page 117 13. Colours for the Sky . ib. 14. To make Colours for Precious Stones . ib. 15. Colours for Landskips . Page 118 16. Colours for Buildings . Page 119 17. How to Shadow every Colour in Garments or Drapery . ib. CHAP. III. General Rules to be observed . Page 120 What Colours sets off best together . ib. SECT . 2. Directions for the Mixing of your Colours . Page 121 These with several other Books are Printed for , and to be sold by Dorman Newman at the Chyrurgeons Arms in Little Britain , near the Hospital Gate . Folio . A Large Body of Divinity , in ten Books , wherein the Fundamentals and Grounds of Religion are opened , all the contrary Errors refuted , and all the Scriptures explained ; with the Addition of 200 sheets . By Edward Leigh , Esq ; M. A. Fourty Sermons by the Right Reverend Father in God , Ralph Brownrig , late Bishop of Exceter . A Relation in form of a Journal , of the Voyage and Residence of Charles the 2d . King of Great Britain , &c. Rendred into English by Sir William Lower Knight . Quarto . The Christian Mans Calling , or a Treatise of making Religion ones Business , wherein the nature of it is discovered , as also the Christian directed how he may perform it in Religious Duties , Natural Actions , his particular Vocation , his Family Direction , and his own Recreations : To be read in Families , for their Instruction and Edification . The First Part. The Second Part of this Treatise of the Christian Mans Calling , wherein a Christian is directed how he may perform his Duty in the Relations of Parents , Children , Husbands , Wives , Masters , Servants , in the Conditions of Prosperity and Adversity . The Third and last Part of the Christian Mans Calling ; wherein the Christian is directed how to make Religion his Business , in his Dealings with all men , in the choice of his Companions , in his carriage in Good Company , in Bad Company , in Solitariness , or when he is alone , on a Week-day from Morning to Night , in Visiting the Sick , on a Dying bed ; as also the Means how a Christian may do this , and some motives to it . All three by George Swinnock M. A. Preacher of the Gospel late at Great Kimbel in the County of Bucks . The Use and Practice of Faith , or Faiths universal Usefulness and Quickning Influence into every Kinde and Degree of the Christian Life . Delivered in the Publick Lectures at Ipswitch , by the late eminent and faithfull Servant of the Lord Mr. Matthew Lawrence , Preacher of the Word to the said Town . The vertue and value of Baptism , Catechetically propounded , as an Antidote against all Baptism-despising Dictates . To which is added , A Sermon Preached by the Author , the day after his coming out of the Tower. By Zach. Crofton , late Minister of Botolph Aldgate , London . Farewell Sermons , 4to . Allyn ' s Works . Octavo . God. Fearers are Gods Favourites , or an Encouragement to be good in the worst of Times . Sermons on Mal. 4. 8. By A. Tucker , Minister of Portsmouth . Twenty Sermons of Mr. James Nalton late Minister in Foster-lane , London . The Christians great Interest . By W. Guthry Minister in Scotland . The Life of Cardinal Woolsey , the famous Lord Chancellour of England , &c. with the Remarks upon those times . Rebukes for Sin , by Gods burning Anger , by the Burning of the City , the Burning of the World , the Burning of the Wicked in Hell : With a Discourse of Heart-fixedness . By Tho. Doo●itel , late Minister of Alphage , London . 12o. Together with several other pieces of the same Author . Heaven on Earth , or , the Best Friend in the Worst of Times : Being a Legacy to London . By J. J. Large 8vo . A Sermon upon the Fire , By Mr. Robert Elsborough , Minister of the Parish that was lately St. Lawrence Pountney , London , 4to . Fair Play on both sides , or the Surest way to Heaven : Discovered in a Dispute between a Roman Catholick and a Protestant . By Samuel Hyeron . A Guide to young Women and Maidens , directing them how to behave themselves in all estates , relations , and condiditions , from their Childhood down to Old Age. By Hannah Woolley . 8vo . There is now extant , that much Expected Book of Mr. Jer. Burroughs , Intituled , Gospel Remission , being the Second Part of his Book call'd The Evil of Sin : Wherein is discovered , 1. The many and great Gospel Mysteries therein contained . 2. The glorious Effects proceeding from it . 3. The great Mistakes that are made about it . 4. The true Signs and Symptoms of it . 5. The way and means how to obtain it . Published by the same hand , in 4to . A Guide to the true Religion , directing to make a wise choice of that Religion men venture their Salvation upon . By J. Clapham , M. A. Fanaticks Primmer , for the Instruction of the Little ones , in order to perfect Reading . By Henry Adis . The Compleat Physician qualified and dignisied . By E. Maynwaring Doctor in Physick . OF DRAWING . The First Book . The Introduction . DRAWING consists of several Generall precepts to be learnt of every one that is desirous to attain to Perfection therein ; the practice of which requires Observation , Discretion , and Judgement ; in which , Proportions , Motions , and Actions are with great care and diligence to be followed : And therefore he that will attain to the perfection of this excellent Practice , it is necessary he should not be ignorant of Mathematical Demonstration in the Rules of Geometry and Perspective ; of which in this Book you shall receive Instructions . Of all other proportions , the Body of Man hath the preheminence for excellency , from which all other Arts are derived , as many of the learned have concluded ; for Vitruvius noteth , that the Architect hence took the observations of his Buildings , Man being the first pattern of all Artificial things : and Antiquity hath so graced Painting , ( as being the chief Mistress of Proportion ) so that all other Artificers are called Handy-crafts or Mechanicks . CHAP. I. A description of all the External parts of Man's Body . SECT . I. Of the HEAD . IN Man's body the highest part is the HEAD ; the fore-part is called the Forehead ; the turning of the hair , the Crown ; the root of the hair above the forehead , the Center ; the parting of the hair , ( especially of Women ) is called the Seam . The Forehead conteineth all the space between the root of the hair before , and the eye-browes : the Pulse is the highest part of the forehead , ending with the hair : Metone is the swelling out in the forehead above the eye-browes : the Temples lye betwixt the pulse , the forehead , and the ear . SECT . II. Of the EAR. THe EAR turns between the temples , the upper part of the cheek , and the root of the hair ; by the side of the head the lower part is called the tipp , in the midst whereof is the hole where the sound entreth in . SECT . III. Of the EYES . THe EYE-BROWES are those thick hairs at the bottom of the forehead : the upper eye-lid is that little part which compasseth the upper part of the eye : the eye is that round ball which is contained between the upper and lower eye-lids : the black of the eye is the round spot in the midst of that little circle , by virtue whereof we see , and is called the apple or sight of the eye : the outward corner of the eye is next the ear , the inner is toward the nose ; all the space between the upper eye-lid and the outward corner of the eye , and the whole turning of the eye to the upper part of the cheek is called the case or hollow of the eye . SECT . IV. Of the NOSE , MOVTH , CHIN , NECK , and THROAT . THe NOSE is between the cheeks , descending from betwixt the eyes , and endeth at the nostrils which hang out on each side at the bottom thereof , each whereof hath an hole or passage , whereby we smell . The lower end of the nose which standeth forward is called the top or point , the rising in the midst the ridge or gristle ; the upper Cheek is that space between the ear , the hollow of the eye , the nose . and the lower Cheek ; whereof the part rising towards the eye , is named the ball : the lower Cheek is bounded with the upper , the nostrils , the mouth , the chin , to the throat and the neck under the ear : the Vpper lip is that red piece of flesh above the mouth . The MOVTH is that division between the upper and neither lipps , which is red like the other ; that concavity which cometh down from the bottom of the nose to the upper lip , is the gutter of the nose . The roof of the mouth is called the pallat ; the tongue is that which moveth in the mouth ; the passage between the lungs and the mouth is called the Wind-pipe , through which the breath passeth ; the gum is that piece of flesh in which the teeth are fastned ; the four first whereof are called dividers , next unto which on each side are the dog-teeth ; the other five on each side with their roots , are the grinders or cheek-teeth ; so that the full number of Teeth is thirty two . The CHIN or place of the beard , is the extremity beneath the lip and the end of the face , whose beginning is the root of the hair . The hinder part of the head under the crown is called the nape , where the hairs grow ; behind is the beginning of the neck The THROAT is between the chin and the beginning of the body or trunk , in the midst whereof is that rising called the throat-bone ; the concavity of the neck before , between the end of the throat and the beginning of the breast , is the throat-pit . The NECK is that part behind between the root of the hair and the beginning of the back-bone , which on either side is joyned with the throat , and at the lower end of the neck with the shoulders , whereof the bone in the midst is called astragalus , or the bone that knits the neck with the shoulders ; the whole trunk or body before containeth the upper fork of the stomack or breast , which begins at the end of the throat-pit . SECT . V. Of the FORE-PART of the Body . THe fore-part of the body , as the Breasts or Papps , end with the short ribs , and they are called the part under the papps , and in Women are called duggs , the heads of which whence the milk is suckt out are called Nipples ; the space between the breasts or duggs at the lower fork of the breast is the chest ; the arm-pits are the hollows under the armes , where the hairs grow . The Short-ribbs begin at the end of the papps , and reach to the flanks near the belly ; the Flanks begin at the end of the breast , and are called the Waste ; the upper part of the belly lies between the hollow of the breast , the waste above , the navel , and the ribbs ; the knitting of the intrails is called the Navel . The Paunch lieth between the waste , the privities , and the flanks , and is also called the Belly ; especially in Women ; where the hairs grow under the belly , is the Privities ; the hollow compass at the top is called Corona , the place which the urine passeth through is called the Hole , the two little balls that hang under the Yard the Stones , the Privities of a Woman are called , &c. SECT . VI. Of the HINDER-PART of the Body . THe hinder part of the body called the Back or Chine consists of the shoulder-blade , which is the part behind the shoulders end , with part of the chine and loynes ; the rest of the back reacheth down along from the neck to the beginning of the cleft of the buttocks , the loynes lie between the shoulder-blades ; the ribbs and the rest of the chine to the reins or waste . The REINES reach from the loynes to the buttocks , and do properly belong to the part below the Waste . The BVTTOCKS are that fleshy part which serve us for sitting . SECT . VII . Of the ARMES , HANDS , and FINGERS . THe Arme contains the shoulder , behind which is the back , beginning between the neck and throat , and reacheth to the shoulder-blade , behind which place is properly called the Back ; the part of the arme from the elbow upward , is called the upper brawn of the arme ; the Elbow is the bowing of the arme , the inside whereof is the Joynt ; and at the lower part of the arme begins the Wrist , where the arme is joyned to the hand , the palm is the inside of the hand between the wrist and the fingers , the thumb is the biggest and shortest of the fingers . The Fore-finger is next to the thumb , the middle-finger is that which stands in the midst , and is longer then the rest ; next unto this is the Ring-finger , the Ear-finger or Little-finger is the least and last . The Joynts of the fingers are even in number , viz. three upon each , except the thumb , which hath but two . The hinder part of the arme reacheth from the end of the shoulder or arme-pit to the elbow , where the second part of the arme beginneth , reaching to the wrist-joynt . The back of the hand reacheth from the wrist to the first joynts of the fingers , and is called Pecten , the spaces between the joynts are called Internodi , which are two upon each finger , except the thumb , which hath but one ; in the space between the last joynt and the top of the finger is the Nail , whose bowing is called Corona , ( I mean where it toucheth the flesh or skin . The whole hand begins at the wrist , and reacheth to the top or extremity of the fingers . SECT . VIII . Of the LEGS , FEET , and TOES . THe LEG consists of these parts ; the thigh , which begins at the trunk of the body , and ends at the knee ; the hollow of the thigh is the inner side below the privities ; the knee begins at the round bone at the end of the thigh , and reaches to the beginning of the shin-bone ; the instep begins at the end of the shin-bone , and reaches to the beginning of the toes , and is called the upper part of the foot , the ancle is that bone which buncheth out on each side between the instep and beginning of the heel . The Small of the leg is the space between the end of the two calves above , and the ancle , instep , and heel below ; the Pit of the foot is the hollow under the hill or higher bunch of the foot towards the soles . The TOES have also joynts as the fingers , though they be somewhat shorter , and have also nails in like manner , and are otherwise called , as 1. 2. 3. 4. 5. The hinder part of the leg begins under the buttock , and is called the thigh , and endeth at the hinder part of the knee , called the hamme or bending ; the calves of the legs begin under the hamme , and are two upon each leg ; the outward , which endeth somewhat high ; and the inward , which reacheth nearer to the small of the leg , which diminisheth by degrees to that part a little above the ancle ; the heel is that part of the foot which riseth out backwards , reaching from the end of the leg to the bottom of the foot , called the Sole , which beginneth at the end of the heel , and reacheth to the top of the toes , containing likewise the spaces between the joynts underneath orderly . Thus much for the External parts of Mans Body ; all which are deciphered in the Sculptures following . CHAP. II. Of Actions , Gestures , Decorum , Motion , Spirit , and Grace in Pictures rightly resembled . SECT . I. Of Actions or Gestures . THese are those that most nearly resemble the life , be it either in laughing , grieving , sleeping , fighting , wrastling , running , leaping , and the like . Amongst the Ancients , famous for lively motion and gesture , Leonard Vincent deserves much , whose custom was to behold clowns , condemned persons , and did mark the contracting of their browes , the motions of their eyes and whole bodies ; and doubtless it cannot but be very expedient for an Artist in this kind to behold the variety of exercises , that discover various actions , where the motion is discovered between the living and the dead , the fierce and the gentle , the ignorant and learned , the sad and the merry . John de Bruges was the first inventer of Oyl-painting that deserved excellently in this particular . SECT . II. Of the Passions or Complexions . MAns Body is composed of the four Elements . Melancholy resembles Earth . Flegm the Water . Choler the Fire . Bloud the Air ; and answerable are the Gestures and Humours . Melancholy bodies are slow , heavy , and restrained ; and the consequents are anxiety , disquietness , sadness , stubbornness , &c. in which horrour and dispair will appear . Flegmatick bodies are simple , humble , mercifull . Sanguine bodies are temperate , modest , gracious , princely , gentle , and merry ; to whom these affections of the minde best agree , viz. love , delight , pleasure , desire , mirth , and hope . Cholerick bodies are violent , boysterous , arrogant , bold , and fierce ; to whom these passions appertain , anger , hatred , and boldness ; and accordingly the skilfull Artist expresses these motions of these several bodies , which ought Philosophically to be understood . Now to proceed according to our promised Method , to the Practical part ; and here first the Learner must be provided with several Instruments . CHAP. III. Of necessary Instruments appertaining to Drawing . 1. SAllow coals split into the forms of Pencils , which you may best have of those that sell Charcoal ready burnt for your use ; these are to be prepared by sharpning them at the point , their use is to touch over your Draught lightly at the first : you may know Sallow coals from others by the fineness of their grain . 2. You must also have a Feather of a Ducks wing , with which you may wipe out at pleasure what you desire to alter in your Draught . 3. Black-lead Pencils , to go over your Draught more exactly the second time . 4. Pens made of a Ravens quill , to finish your design ; which will strike a more neat stroke then the common quill : but you must be very exact here , for there is no altering what you do with the Pen. 5. A Rule and a pair of Compasses with three Points to take in and out ; one for Chalk , another for Black lead , or red Chalk , or any other Paste . The use of the Compasses is required in most things you draw , which you are to use after your out-stroke is done , by trying how near your Draught and Pattern agree , and this being only toucht out in Charcoal , you may alter at pleasure . 6. Pastils made of several Colours , to draw upon coloured Paper or Parchment , the making whereof is as followeth . How to make Pastils of several colours . Take the Colour that you intend to make your Pastil and grind it dry , or rather only bruise it somewhat fine ; to your Colour ( whatsoever it be ) add a reasonable quantity of Plaister of Paris burnt and finely sifted , mix and incorporate the Colour and Plaister together with fair Water till it be stiff like Clay or Dough ; then take it and rowl it between your hands into long pieces , about the bigness of the shank of a Tobacco-pipe , then lay them in the Sun or Wind to dry . They being thus dryed are ready for use , being finely scraped to a very small point ; and if they be short , put them into an ordinary Goose-quill to lengthen them . And here note , that you may by this means make Pastils of what Colour you please , either simple or compounded , if you know what ingredients and mixtures will make such a Colour as you desire ; which you will understand in the third Book , where we treat of the Mixture of Colours . And further observe , that the Plaister of Paris is only to binde the Colours together ; and therefore according as your Colour or Colours you are to make are more hard or more soft , you must add the greater or lesser quantity of Plaister . By this means of tempering and mixing of several Colours together , you may make ( indeed ) whatsoever colour you please ; as all manner of Colours for the Face or Bodie of Man or Woman , all kind of Greens for Landskip , for Rocks , Skies , Sun-beams ; all colours for Buildings , with their Shadows . These Pastils are very fine and commodious for drawing upon coloured paper , and therefore I would have you , 7. Provide your self also of fine Blew paper ; some light-coloured , other-some more sad ; as also with Paper of divers other colours , which now is very common to be sold in many places . 8. Have alwayes in a readiness by you the Crumbs of fine Manchet or White-bread ; the use whereof is , when you have drawn any thing with Black-lead that disliketh you , you may strew some of these Crumbs upon the defective part , and with a linnen cloth rub hard upon that place , and it will fetch out the Black-lead , and leave the Paper or Parchment fair and white . It is also usefull when you have finished a piece , either Head , Leg , Arme , or whole Bodie with Black-lead , and would trace it over with Ink to finish it , the Black-lead will be seen in many places , being thicker then the line of your Pen ; wherefore when you have finished your Drawing with Ink , and that dry , rub it over with these Crumbs , and it will not only take off the superfluous Black-lead , but all other spots of your Paper . Escutchion An Ovall A way to Draw an Escutcheon Geometrically . FIrst strike a Circle at pleasure , as your occasion requires . Then strike the Diameter as BC , then set one foot of the Compasses in B , and strike the crooked lines DD and DD , then keeping the Compasses at the same distance , strike the other crooked lines EE and EE , then where they do intersect as FF , there strike the cross Diameter , then divide the upper Semidiameter into three parts , and take two of them , there make the Cross-line , by setting one foot of the Compasses in B , and make the crooked line GG , then at the same distance make the crooked line HH , by setting them in C , then strike the line II , then measure two or three of those parts , and set off towards B and C , then set the Compasses in K , and strike the lines L L and LL , then set the Ruler in MM and MM , and strike the lines in NN and NN , and divide the lower Semicircle in two equal parts , then set the Compass in O , and strike the lines PP and PP from AA , then measure from MN downwards , five of those parts of the upper measure , then set the Compasses at N5 and N5 , and strike the lines KP and KP , and you have your desire . To Draw a Geometrical Oval . THis Oval is drawn by drawing two equal Circles , then set the Compasses in D , and strike the Arch BC , and at the same distance set them in D , and strike the Arch FE , then set them in G , and strike the Arch CF , then set them in H , and strike the Arch BE. Some Geometrical Definitions . 1. A Point is void of magnitude . 2. A Line is a length without breadth or thickness ; and of the three kinds of magnitudes in Geometry , viz. Length , Breadth , and Thickness , a Line is the first . 3. The ends or bounds of a Finite-line are points ; but in a circular Line , the points motion returns to the place where it first began , and so makes the Line infinite , and the ends or bounds undeterminate . 4. A Right-line lyeth equally betwixt his points . 5. A Superficies hath onely Length and Breadth . 6. A plain Superficies is that which lyeth equally between his Lines . 7. A plain Angle is the inclination , or bowing of two Lines the one to the other , the one touching the other , and not being directly joyned together : an Angle commonly signed by three Letters , the middlemost whereof shews the Angular point . 8. If the Lines that contain the Angle be right Lines , then it is called a Right-lined Angle . 9. When a Right-line standing upon a Right-line , makes the Angles on either side equal , then either of these Angles is a Right-angle , and Right-line which stands erected , is called a Perpendicular-Line to that wherein it stands . 10. An Obtuse-angle is that which is greater then a Right-angle . 11. An Acute-angle is less then a Right-angle . 12. A Limit or Term , is the end of every thing . 13. A Figure is that which is contained under one Limit or Term , or many , viz. a Round-line , three Right-lines , four Right-lines , five Right-lines , &c. 14. A Circle is a plain figure contained under one Line , called a Circumference . 15. A Diameter of a Circle is a Right-line drawn by the Center thereof , and ending at the Circumference . 16. A Semi-circle is a figure contained under the Diameter , and that part of the Circumference cut off by the Diameter . 17. A Section or portion of a Circle , is a figure contained under a Right-line , and a part of the Circumference greater or less then a Semi-circle . 18. Right-lined figures are such as are contained under Right lines . 19. Three-sided figures are such as are contained under three Right lines . 20. Four-sided figures are such as are contained under four Right lines . 21. Many-sided figures are such as have more sides then four . 22. All-three-sided figures are called Triangles . 23. Four-sided figures a Quadrater ; a Square is that whose Sides are equal , and his Angles right . 24. A Long-square is that which hath right Angles , but unequal Sides . 25. A Rhombus is a figure having four equal Sides , but not right Angles . 26. A Rhomboides is a figure whose opposite Sides are equal , and whose opposite Angles are also equal , but it hath neither Sides , nor equal Angles . 27. All other figures of four sides , besides these , are called Trapez , as such are all figures of four sides , in which is observed no equality of Sides or Angles . 28. Parallel or equi-distant Right-lines are such , which being in one and the same Superficies , and produced infinitely on both sides , do never in any part concurr , but still retain the same distance . CHAP. IV. Of the first Practice of Drawing . SECT . I. Of Geometrical Figures . THE : V : ORDERS OF ARCHITECT . Tuscan . Dorica . Jonica . Corinthia . Composita . Place this page 19 The Circle will help you in all Orbicular forms ; as , the Sun in its glory , the Moon either full or crescent , and infinite other Circular shapes . The Oval is a direction for the Face , for the mouth or foot of a wine or beer-glass , the mouth of a well , &c. The Square is assistant to you in confining your Picture you are to copie , and keeping it within bounds . The Triangle for the half-face , as in the Figures following you will easily discern . The Cone will help you in drawing of Flute-Colasses , now much in fashion ; as also in Spire-Steeples and tops of Towers . The Cylinder will be of good use in drawing of all manner of Columns , Pillars and Pilasters , with their Ornaments . These ( indeed ) are so usefull , that hardly any thing can be effected in which they they are not ingredient . And now , since it falls in my way so opportunely , I will insert the sign of the Five orders of Architecture , that you may know them when you see them either painted , or built in Brick or Stone . Place here the Five Columns of Architecture . SECT . II. Of the second practice of Drawing . HAving practised these Figures , proceed to the drawing of Cherries , Pears , Apples , Apricocks , Peaches , Grapes , Strawberries , Peascods , Butterflies , and such like . SECT . III. Of the third Practice . IMitate Flowers , as Roses , Tulips , Carnations , &c. Also Beasts ; first the more heavy and dull , as the Elephant , the Bear , the Bull , the Goat , the Sheep , &c. Then them more fleet and nimble , as the Stag , the Hart , the Nag , the Vnicorn , and the like . Then practice Birds , as the Eagle , the Swan , the Parrot , the King-fisher , the Partridge , the Pheasant , and such like . Then Fishes , as the Whale , Salmon , Herring , Pike , Carp , Thornback , Lobster , &c. Of all which there are Books to be bought at very reasonable rates . SECT . IV. Of the fourth Practice . IMitate the Body and Parts of the Body of Man ; in the practice whereof beware of the common errors usually commited , as of drawing the Head too big for the Body , and others the like ; which to prevent , you have here presented to your view the Heads , Noses , Mouthes , Hands , Arms , Feet , Legs , Bodies , also whole Figures of Men , Women , and Children in several postures , being Copies of the best Masters extant , with Rules and directions for Drawing every particular member of the bodie , and that I would have you now to practice , you having gone sufficiently forward with the others before noted . CHAP. V. Directions for Drawing the Body of Man or Woman . SECT . I General Rules for Drawing the Face . IN Drawing the Face , observe its motion whether forward , upward , downward , or side-wayes , by your Eye ; touch lightly the features where the Eyes , Nose , Mouth , and Chin should stand , and then go over them more perfectly . The Circle , Squares , and Triangles that are used in a Face , serve to guide your judgement where to place the several features . Observe diligently the principal Muscles of a Face , these appear most in an aged man or womans face . There is usually a three-fold proportion observed in a Face : 1. From the top of the Fore-head to the Eye-browes : 2. From the Eye-browes to the bottom of the Nose : 3. From thence to the bottom of the Chin ; but in some the Fore-head is lower ; others Noses are longer . The Distances between the Eyes , is the length of one Eye in a full face ; but in a three-quarter , or side-face , the distance is lessened answerable . The Nostril ought to be plac'd exactly against the corner of the Eye . In a fat Face you will perceive the Cheeks swell , in a lean Face the Jaw-bones stick out , and the Cheeks fall in . A smiling countenance is discerned by the Mouth , when the corners of the Mouth turn up a little . A frowning countenance is discerned in the Fore-head , Eye-browes , bending and somewhat wrinkling about the top of the Nose , &c. SECT . II. To draw a Fore-right Face . MAke the form of a perfect Oval divided into three equal parts by two Lines ; in the first part place the Eyes , in the second part the Nostrils , and in third part the Mouth . Note , that the Eyes must be distant one from the other the length of one of the Eyes , and that their inner corners be perfectly over the out-side of the Nostrils . SECT . III. To draw an Vp-right Head. WHich is made with three Lines equal every way , either upwards , downwards , higher or lower ; and that must be divided as the former into three equal parts , as in the Example . SECT . IV. Of the Inclining and Fore-shortned Face . THis is plainly seen by the Lines , how they concord together , and you may with facility draw in their proper places the Nose , Mouth , and other parts with a little practice , and observng diligently the Examples following . In these Formes you must be very perfect , it being a Rule that in most Faces you may have occasion to make use of : for of all the parts of Mans bodie the Face is the most diffcult . But having got the Proportions with their Measures , you will be able ( which way soever a Face turns ) to form it out , whatever proportion your Face is you are to imitate , so must your Out-stroke be formed ; whether long , round , fat , or lean . Because presidents are most usefull , I have here thought good to give you the forms of several Eyes more at large , by which you may with more ease know the truth of their Proportions . As also Ears , which are exactly to be known ; and then the forms of several Noses and Mouthes ; all which are taken from eminent Masters , as Palma and others . [ In the following Page . ] SECT V. Of the Nose , Mouth , and Chin. THe Nose is the most eminent part of the Face ; in which observe the hollowness , roundness , and the Nostrils , as they appear in these several Figures borrowed from Fiolet . 1. Describe a Semi-circle downwards . 2. Make the Holes of the Nose . 3. The addition of the Nostrils . SECT . V. Of Hands , both Palm , Back , and Sides ; as also open and closed : and likewise of Hands and Armes joyned . HAving sufficiently practised the Drawing of Mouthes and Noses , let your next exercise be in drawing of Hands in all positions , both by measures , and without ; as also Hands and Armes joyned . SECT . VI. Of Feet in several positions , both with and without measures , as also of Feet and Legs joyned together . BEing expert in the Drawing of Hands and Arms , proceed to the Drawing of Feet in all postures , both with and without measures ; which having attained , exercise your self in Drawing of Legs and Feet joyned together , as before you did of Hands and Arms ; that so you understanding the particulars of the whole Bodie , you come with the more judgement to that great difficulty of Figures of the whole Bodie of Man. To help you therein , I have set before you the easiest and truest Rules that the best Masters of Proportions have published , with a Discourse of their true Measures : which will be the more easie , if you seriously weigh the foregoing Chapter , treating of all the external parts of Mans bodie , for then you will have occasion to observe it ; but first exercise your self in following these examples of Feet , as also of Feet and Legs joyned together . [ See the 2. following Pages . ] SECT . VII . Of the Back , Breast , Secret members , Thighs , Shoulders , &c. HAving sufficiently practised the Drawing of the several Limbs of Man and Woman , as Head , Mouth , Nose , Hands , Arms , Feet , and Legs ; proceed next to the drawing of the other parts of the Bodie : as the Back , Belly , Shoulders , Breast , Secrets , and Thighs , therein following the example of this noble Master Palmas , in the following Figure . SECT . VIII . Of whole Figures from head to foot . OF whole Figures I have furnished you with variety of examples ; as first , of a Child standing backward and forward , which is necessary to be first practised , because these are the more easie , being more plump and round then the Body of Man , without that observation of the Muscles and other parts , which I desire you in a methodical way to imitate often before you adventure upon the other Figures , which are Man and Woman standing forward , and after that Man and Woman standing backward , as also in other postures : and the same order that was at first proposed about the Heads , Hands , and Feet , &c. by touching out every Figure first with Charcoal , is exactly to be observed in these Figures also . SECT . IX . Rules of Symmetrie or Proportion to be observed in Drawing the whole Body of Man or Woman . FOR your further help in Drawing the following Figures , take notice of these necessary Rules : Begin at the Head , and so proceed by degree , as your pattern directs ; and be carefull that your parallel Joynts , Sinews , or Muscles be directly opposite ; also that the Motion of the Bodie be answerable one part to another , and that the parts and limbs of the bodie have a due symmetrie ; not a great Arme , and a small Leg ; or a small Hand , and a great Finger , &c. Let not one part be too long for another . Of all which , you must know , that at first you will be apt to commit many errours , but be not disheartned ; proceed , and your labour will not be lost , experience is gained by practice ; be but diligent , and you will find more ease then you could imagine : at first all things that are attainable seem difficult ; we have a good old saying , Nothing is hard to a willing mind , and I can speak it by experience . I might spend time to tell you many stories how to proceed to Figures clothed , &c. but if you can draw a Naked figure well , for the order of Garments , you will be able to do that with ease . And now , having brought you thus far in Practice , and given you a more exact order to proceed with so many several Examples more than larger Volumes have produced ; which you having well followed , and attained to some reasonable measure of Proportion , you may now proceed to that which may be more profitable , if you first practice those things that may be easily shadowed with a Pen , and that will fit your hand for Etching with Aqua fortis , which shall be perfectly taught in the next Chapter ; wherein you have the mixture of the Ground to Etch upon , the order how to prepare your Copper , and how to order your Aqua fortis , what Instruments you are to use about the same , and how to take off your design on the Plate ; which is an experimental Rule practised by the best Etcher in England , namely Mr. W. Hollar . SECT . X. The Proportion of the Body of Man. FOR your further information , and to direct your judgement in Drawing of whole Bodies , observe these following Proportions . A Man standing , from the top of the Head to the bottom of the Feet , is eight times the length of the Head. The Arme hanging straight down , it reacheth within a span of the Knee . A Hand must be the length of the Face , the Hand spread abroad must cover the Face , and no more . Note , that in Drawing a Figure standing , you must first draw that Leg which the Body stands firmest upon ; otherwise your Figure will yield one way or other , as it were falling . A Mans Armes extended is the just length of the whole Body . The like proportion is observed for Women , and therefore one example serves for both . The Proportion of a Child , according to our learned Author Lomantius , consists of five lengths of the Head ; according to the Figure express'd in our Discourse , for an example to the Practitioner . CHAP. VI. Of Shadowing , and Rules to be observed therein . THE out-lines of any Draught or Picture give the Symmetrie or Proportion , which is enough to a good judgement : So the Figures before in this Book have only the out-lines , and those are best to practise first by : I say , the Out-lines shew the Proportion to a good judgement ; but the Lines and Shadows give the lively likeness . In Shadowing therefore of any Picture you must observe these Rules following . RVLE I. Cast your Shadows alwayes one way , that is , on which side you begin to shadow your Figure , either on the right or left side , you must continue so doing through your whole work . As in the figure of a Man , if you begin to shadow his left Cheek , you must shadow the left side of his Neck , the left side of his Armes , the left side of his Bodie , the left side of his Legs , &c. Except the light side of the Figure be darkned by the opposition of some other body standing between the light and it . As if three Men were standing together , that Figure which stands in the middle must be darkned by the foremost , except the light come between them . RVLE II. All Shadows must grow fainter and fainter , as they are farther removed from the opacous body from whence they issue . RVLE III. In great Windes , where Clouds are driven to and fro several wayes ; as also in Tempest at Sea , where Wave opposeth Wave ; here contrary shadows must concur , as striving for superiority : here in such cases you must be sure to supply the greatest first , and from them , according to your judgement , supply the lesser ; practice and imitation of good Copies will be your best director . RVLE IV. All Circular bodies must have a Circular shadow , as they have a Circular form , and as the object of light which causeth shadow is Circular . CHAP. VII . Of Drapery , and Rules to be observed therein . AS in Naked figures you draw the Out-lines first , the like you must do in Drapery , leaving room within for your greater and lesser folds ; then draw first your greater folds , and then break your greater folds into lesser contained within them : the closer the Garment sits to the bodie , the smaller and narrower must the folds be . Shadow your folds according to the directions of the last Chapter ; the innermost harder , and the outer more softer . As in Shadowing , so in Drapery , good copies of Prints instruct best ; yet take these general Rules following . RVLE I. Continue your great folds throughout your Garment , and break off your shorter at pleasure . RVLE II. The finer your Drapery is , the fuller and sharper must your folds be , and the shadows the stronger , but yet sweet . RVLE III. That part of any Garment that sits close to the body , as the Doublet of a Man , the Breasts of a Woman , and the like , you must not fold at all ; but rather with your sweet shadow represent the part of the bodie that lies under the Garment , as a Womans Breast ; with a sweet round shadow , &c. CHAP. VIII . Of Landskip , and Rules to be observed therein . LAndskip is that which expresseth in Picture whatsoever may be beheld upon the Earth , within the species of Sight ; which is the termination of a fair Horizon , representing Towns , Villages , Castles , Promontaries , Mountains , Rocks , Vallies , Ruines , Rivers , and whatsoever else the eye is capable of beholding within the species of the Sight . To express which , and to make all things appear in Draught or Picture according to true proportion and distance , there are several Rules to be observed , of which take these few following . RVLE I. In every Landskip shew a fair Horizon , the Sky either clear or overcast with Clouds , expressing the rising or setting of the Sun to issue ( as it were ) from or over some Hill , or Mountain , or Rock ; the Moon or Stars are never to be expressed in a fair Landskip , but in a Night-piece , I have often seen it , as in a piece of our Sarinus being taken by night , and in others . As an Astronomer with his Quadrant taking the height of the Moon , and another with his Cross staff taking the distance of certain Stars , their Man standing at a distance with his Dark-lanthorn , to see their Degrees when they had made their observation ; these things , as taking of the Partridge with the Loo-bell , and the like , become Night pieces very well . RVLE II. If you express the Light of the Sun in any Landskip , be sure that through your whole work you cast the light of your Trees , Buildings , Rocks , Ruines , and all things else expressed within the verge thereof thitherwards . RVLE III. Be sure in Landskip that you lessen your bodies proportionably according to their distances , so that the farther the Landskip goeth from your eye , the fainter you must express any thing seen at distance , till at last the Sky and the Earth seem to meet , as the Colours in a Rainbow do . There are many excellent pieces of Landskip to be procured very easily ; as also of Landskip and Perspective intermixed , which pieces to me were ever the most delightfull of any other ; and such I would advise you to practise by ; they , if they be good , being the only helps to teach you proportion of Bodies in any position , either near or a-far off . I might here speak further of Damasking , Antique , ●risco , Grotesco , Tracery , and the like ; but these are things that when you are expert in good Draught , as ( by diligent practice and following the Rules and Examples before delivered , ) I hope ( by this time ) you are , these things will come of themselves , and indeed , no sooner heard of or seen , but done . And thus I conclude this first book of Drawing with the Pen and Pastils , and shall now proceed to the second Book , which teacheth the Art of Etching and Graving OF ETCHING and GRAVING . The Second Book . CHAP. I. Of Etching with Aqua fortis . THere are several wayes for Etching , and several Grounds of divers colours , used by several men , I shall deliver here onely one , and that so familiar , easie , and true , that I believe there is not a better Ground , nor a more accurate way performing the work intended , than that which shall be here taught ; it being the only way , so many years practised , and to this day continued by that unparallel'd designer and incomparable Etcher in Aqua fortis , Mr. Hollar ; the manner of performing the whole work is as followeth . SECT . I. To make Mr. Hollar's Ground , and how to Etch in Copper , and what Instruments ought to be used in the practice thereof . TAke three parts of Virgins wax , one part of Asphaltum , one part of the best Mastick ; if you will , you may take away a third part of the Asphaltum , and put instead thereof as much refined Rosin that is transparent and clear , for this will be better to see through the Ground , to stop up what you have occasion for . Beat your Asphaltum and Rosin together to powder , and put your Wax into a clean Pipkin that hath never been used before , and set it over a gentle fire , and let it boyl ; then pour in the Asphaltum and Rosin into it , and mingle them all together . Then take a Porenger or such like thing full of clean water , and pour that boyling stuff when all is melted into the water , but pour not out the dregs , then when it is cold work it up into a coal or ball ; and when you are to use it , then take a clean rag and double it , that no dregs or knots may come through the rag , and tie it fast with a piece of thread ; so is your Ground prepared . SECT . II. How to prepare your Copper . YOur Copper must be well planisht , that it may lie level ; and before you lay on the Ground , take your Plate , and with a Charcoal well burnt coal it over with very clean water ; then wash it off with clean water never used before , and set it sloping to run off ; when it is dry , then scrape some Chalk fine all over it , and with a very clean fine rag rub it over ; but let not your fingers touch upon the Plate , till you have put the Ground on , which you must lay on thus . SECT . III. How to lay the Ground upon the Plate . PUt into some fire-pan some small-coal or coal-fire , for charcoal is too hot , then lay down the Copper over that , so as the fire may have air ; then take your Ground , it being in a cloth as a foresaid , and rub up and down the Copper , so as it sufficiently may cover the Plate , not too thin nor too thick ; then take a Ducks feather of the wing and smooth it as well as possibly you can all one way , and then cross and cross until it lie well to your eye ; but take heed that your Copper be not too hot , for if it lie until the Ground smoak all the moisture of the Ground is burnt away , and that will spoil your piece in Etching , because the Ground will break or fly up ; this done , let your Plate be cold , then grind some White-lead with Gum-water , and note , that as much Gum as the bigness of a Cherry-stone will serve for a piece of White-lead as big as a Nutmeg ; but you must understand , that you must put so much water that the white may be of convenient thickness to spread on the Copper . Then you must have a large Pencil or small Brush , as the Painters use , of the bigness of a Walnut , or more especially for a large Plate , and with that strike over the Plate cross twice or thrice , till you see it smooth . Then you must have another Brush larger then the first , but very smooth , made of several Squirels tails , with that you may smooth gently the White , which you could not do with the other Brush , and then let it lie till it be dry . SECT . IV. How to transfer your design upon the Copper . THen take your design or Copie after which you are to work , scrape on the back-side thereof some red Chalk all over , then go over that by scraping some soft small-coal till it mingle with the chalk , then take a Hand-brush or great Pencil that is very stiff , and rub it up and down till it be fine and even , and so lay down the design on your Plate , and with a blunt Needle or Point draw over the out-stroke ; you must have several Needles , some bigger , and some finer , put them into a pencil-stick of the length of a writing-pen , and on the other end keep one Pencil to wipe away the Ground that your Needle fetches off when you work . To blunt your Needle point you must do thus , blunt it on a Table , or on the back-side of a Copper plate , still holding the point downward , and carry your hand circular that you keep the point round ; the finest Needles you must sharpen upon a fine Whet-stone , and still turning it betwixt your fingers as you whet it , as the Turners do their work , to keep it round , then after smooth it upon a Table-book leaf ; and as you work you need not scratch hard into the Copper , only so as you may see the Needle go through the Ground to the Copper , and alwayes when you leave your work wrap your Plate up in paper , lest your Plate get scratches , which it will be apt to do , and the Ground will be apt to be corrupted lying open in the air , and the moisture drawn out of the Ground , and the same inconveniency will accrue by letting your Ground lie too long upon your Plate before you finish , three or four moneths time will eat out the moisture of the Ground , and in Etching it will seem broad and deep , and when you think it eaten enough , you will find it to be eaten little or nothing : in Winter time wrap your Plate in a Blanket as well as Paper when you leave your work ; if the Copper get frost , it will cause the Ground to rise up from the Copper in the eating with the Aqua fortis . SECT . V. How to wall about your Plate about with Wax , to lay on your Aqua fortis , and to finish your work . YOur Plate being prepared , your Ground laid on , and your Design transferred upon your Plate ; when you are going to Etch , then take green Wax and melt it in some little pipkin , and with a Pencil cover round about the edges of the Copper ; first , with the hot Wax stick it round about the Plate as a wall to keep in the Aqua fortis , that it may stick fast , let the same be of Green wax also , which draw out into long pieces of the thickness of strong paste-board , and as broad as a knife , then fasten it about the edges with a little stick being broad on the end , and sharp edged , and with it thrust down the Wax to make it stick , then if your work be fine , take of Aqua fortis the third part of an ounce , and break it with your other water that hath been used before twice or thrice , and take at least two parts of the old to one part of the new . In case you have no Aqua fortis formerly used , take good Wine-vinegar to mix with your Aqua fortis , but if your work be course , you may use your three pence the ounce Water only ; and for such things as you will have fine and sweet , you must first pour out your Aqua fortis into some earthen dish , then wash off the Aqua fortis with clean water , and let it be dry , then melt some Candle-grease with a little Ground , and with a Pencil cover those things you will have to lie faint , then pour on your Aqua fortis again as oft as you see need ; then melt your Ground the same way you laid it on , and with a linnen rag wipe clean your Plate , and so is your work finished . CHAP. II. Of GRAVING . SECT . I. Of necessary Instruments belonging to Graving . HE that will undertake the Art of Graving , must know how to Draw , and hatch with a Pen ; which , I doubt not , but he that hath observed the former Rules can do . 1. Of your Oyl-stone . The first thing you are to do , is to provide a good Oyl-stone , which you may have of those that sell several Tooles for the Goldsmiths ; which , let be very smooth , not too hard nor too soft , and be sure it be without pin-holes . Now to fit your self aright , you are to resolve what kind of Graving you will follow ; if you follow Picture or Letter work , that is a work more curious than the Goldsmiths : Armes and Letters are upon Silver or Pewter , and accordingly your Gravers must be shap'd . 2. Of Gravers . Goldsmiths Gravers are crooked , that they may more readily come at hollow work , but for Copper-pictures or Letters the best Gravers are the straight , which chuse thus ; Take a File and touch the edge of the Graver therewith , if the File cut it , it is too soft and will never do you good ; but if the File will not touch it by reason of the hardness , it will serve your occasion , although such a Graver be apt at first to break short off , after a little use by whetting it will come to a good temper and condition , as by experience I have found ; though some ignorant of what they have writ , would puzzle you about altering the temper . SECT . II. The several wayes of holding the Graver . LEt the end of the haft of the Graver rest against the ball of the thumb , and let the fore-finger guide the Graver , which is done by resting steadily upon the point of your Graver . You must also provide a Bag of Sand to lay your Plate upon , on which you may turn your Plate at ease every way : And note , that with your left hand you must turn your Plate as the stroaks you grave do turn , which is not easily attained without diligent care . You Copper plates ready polished do often come from Holland , or else you may have them prepared by several in England ; you may be directed how to have these Plates by most Printers of Plates in London , and therefore I forbear to trouble you or my self about directing you how to prepare Plates for your use . SECT . III. The forms of Graving-tools , as also the manner of whetting your Graver . THe upper part of this figure will shew two sorts of Graving-tools , the one formed square , the other lozeng : the square Graver makes a broad and shallow stroke , or hatch ; and the lozeng makes a deep and narrower stroke . The use of the square Graver is to make the largest strokes , and the use of the other is to make the strokes more delicate and lively . But I preferre a Graver made of an indifferent size betwixt both these two , which will make your strokes , or hatches , show with more life and vigour , and yet with sufficient force , according as you shall manage it in your working : The forms of which will appear in the 1. and 2. figures . The 3. figure shews you how to whet the two sides of your Graver , which is to be done in this manner following ; you must have a very good Oyl-stone smooth and flat , and having powred a little Sallad-oyl thereupon , take the Graver , and laying one side of it ( that which you intend shall cut the Copper ) flat upon the stone , whet that side very flat and even ; and to that purpose have an especial care to carry your hand stedfast , and with an equal strength , placing your fore-finger very firm upon the opposite side of your Graver , to the end that you may guide it with the more exactness : then turn the very next side of your Graver , and whet that in the like manner , as you did the other ; so that there may be a very sharp edge for the space of an inch or better ; then turning uppermost that edge which you have so whetted , and setting the end of your Graver obliquely upon the stone , carry your hand exactly even , to the end that it may be whetted very flat and sloping , in the form of a lozeng , making to the edge a sharp point , as the figure 4. shews you . It is very necessary that you take great care in the exact whetting of your Graver ; for it is impossible that you should ever work with that neatness and curiosity as you desire , if your Graver be not very good , and rightly whetted . I cannot demonstrate it so plain and fully by figures , and discourse , as I would : if you have acquaintance with an Artist in this way , you may easily understand in a short time . SECT . IV. The manner how to hold and handle your Graver . THe uppermost part of this figure describes to you the form of two Gravers , with their handles , fitted for the whetting . They that use this Art , do before they make use of them , commonly cut away that part of the knob or bowl that is at the end of their handles , which is upon the same line with the edge of their Graver , to the end it may not hinder them in their graving , as the figure 2. shews you . For if you work upon a large\late you will find that part of your handle ( if it be not cut away ) will so rest upon the copper , that it will hinder the smooth and even carriage of your hand in making your strokes or hatches ; also it will cause your Graver to run into the copper in such sort , that you shall not be able to manage it at your pleasure . The 5. figure describes to you the way of holding your Graver ; which is thus , place the knob or ball of the handle of your Graver in the hollow of your hand , and having extended your fore-finger towards the point of your Graver , laying it opposite to the edge that should cut the copper , place your other fingers on the side of your handle , and your thumb on the other side of the Graver , in such sort that you may guide your Graver flat and parallel with the plate ; as you may see in the figure . And be very carefull that your fingers do not interpose between the plate and the Graver , for that will hinder you in carrying your Graver level with the plate , so that you cannot make your strokes with that freedom and neatness , which otherwise you may . This I think fit to give you notice of , because the skill of holding your Graver is that which you must first perfectly learn. SECT . V. The manner of holding your hand in Graving . HAving described the way of holding your Graver , the next thing is to shew you how to guide your Graver upon the plate in making of your strokes , which are straight or crooked ; that you may work with the more ease and convenience , you must have a strong round leather Cushion fill'd with sand or fine dust ; let it be made about half a foot broad in the diameter , and three or four inches deep ; lay this upon a table which standeth fast and firm : then lay your plate upon the cushion , as is described in the 6. figure . When you are to make any straight strokes , hold your Graver as is directed in the former Section ; and if you will have your strokes deeper or broader in one place than in another , in that place where you would have them deepest you must press your hand hardest ; but especially in making of a straight stroke , be carefull to hold your plate firm and stedfast upon the cushion . And if you make any crooked or winding strokes , then hold your hand and Graver stedfast ; and as you work turn your plate against your Graver ; for otherwise it is impossible for you to make any crooked or winding stroke with that neatness and command , which by this means you may , if you do not move your plate , and keep your arm and elbow fixed or rested upon the table . If as you are working your Graver happen to break often on the point , it is a sign it is tempered too hard ; to help this take a red hot charcoal , and lay the end of your Graver upon it , and when you perceive your Graver to wax yellowish , dip it in the water : If your Graver become blunt without breaking , it is a sign it is nothing worth . After you have graved part of your work , it will be necessary to scrape it with the sharp edge of a Burnisher , carrying it along even with the plate , to take off the roughness of the strokes ; but in so doing take heed of making any scratches in your work . To the end you may better see that which is graven , they commonly roll up close a piece of a black Felt or Castor , liquored over with a little Oyl , and therewith rub the places graven : And if you perceive any scratches in your plate , rub them out with your Burnisher : and if you have graved any of your strokes too deep , you make them appear fainter with rubbing them with your Burnisher . SECT . VI. How to take off any Picture , or Map-letters , &c. upon your Copper . TAke your Plate and heat it over the fire , and having a piece of yellow Bees wax , put into , and tyed up in a fine Holland rag , try if your Plate be hot enough to melt your Wax , if it be , lightly wipe over your plate with that wax , until you see it be covered over with wax , but let it be but thin ; if it be not even , after it is cold you may heat it again , and with a feather lay it even , which at first you will find a little difficult . Now if wh●t you are to imitate be an exact copy , you must note it must stand the contrary way in the plate , and therefore your best way will be to track it over in every limb with a good Black-lead Pencil , especially if it be an old picture , which having done , take an old Ivory haft of a knife , and placing your picture exactly on your copper , the face downward , take your haft and lightly rub over your print , and you shall perceive the perfect proportion remain upon the wax that is upon the plate ; then take a long Graver , or another piece of steel grownd sharp , and with the point thereof go over every particular limb in the out-stroke , and there will be no difficulty to mark out all the shadows as you go to engrave your work , having the proportion before you . And it will be more ready , if also you note your shadows how far they be dark , and how far light with your black-lead , before you rub it off ; but a learner may be puzzeled at first with too many observations . At first you will find some difficulty for carrying your hand , and for the depth of your stroke you are to engrave ; but take this experiment in your first beginning ; learn to carry your hand with such a slight , that you may end your stroke with as light a stroke as you began it , and though you may have occasion to have one part deeper or blacker than another , do that by degrees ; and that you may the more distinctly do it , observe your strokes that they be not too close nor too wide : and for your more exact observation , practice by those prints that are more loosly shadowed at first , left by imitating those dark and more shadowed , you be at a loss where to begin or where to end ; which to know , is only got by practice : Thus for Pictures . Now for Letters , if copies , every word and letter must be either writ with ungumm'd Ink , or else gone over with Black-lead , and rubb'd on the plate when it is waxed , as before ; but if a Map or other Mathematical Instrument , every circle , square , or perpendicular must be drawn over as before , or else you cannot exactly imitate the same ; but if you be to cut any Face , Armes , Instruments , or Map not to be printed , then if you black over the back-side , as you are directed for your design in Etching , that will serve your turn ; onely for Etching you use a mixt ground , and for to Engrave you onely use wax . And thus , in a plain style , I have given you an account of the whole mysterie of Engraving . OF LIMNING IN WATER-COLOURS . The Third Book . THE pr●ctice of Limning is a quality commendable in any person , and a p●actice meet for the Noblest personage of what quality soever ; I shall say no more in the praise of it , it may speak for it self , but come immediately to shew you the manner how to perform it ; therein fol●owing the Rules now practised by the most eminent Masters in that faculty : and first , I shall begin in this as in the other parts of this Book , what things are to be in a readiness prepared for the practice of it . CHAP. I. Of necessaries belonging to Limning . TO the Limning in Water-colours th●re belongs sever●l thing , as Gumms of several sorts , and Waters made of them , a Grinding-stone and Muller , several Colours , Liquid Gold and Silver , several Sizes to lay Gold , Parchment of the finest , as of Abortive Skins , Pencils of divers sorts ; of the making and preparing all these in their order , and then to their use . SECT . I. Of Gumms and Gum-waters used in Limning . THe principal Gum is Gum-Arabick , get the best that may be , which you shall know by the whiteness and clearness ; if it be yellowish , of an Amber colour , it is naught . To make Gum-water hereof , do thus , take a cle●n earthen Vessel , Pan , Dish , or the like , put therein the fairest Spring-water you can procu●e , then take a quantity of Gum - Arabick , and tie it in a fine clean Linnen cloth , as in a bag , and hang this in the middle of the water , and there let it rest till the Gum be dissolved ; if you find your water be not stiff enough of the Gum , put more Gum into your cloth , and let that dissolve as the other did ; if it be too stiff , add more Water : of this Gum-water it is absolutely necessary you have alwayes by you tow sorts , one strong , the other weak ; and of these two , you may make a third at pleasure ; preserve these in clean Glasses for your use . Of GVM-LAKE . Gum-Lake is a compounded Gum made of many ingredients , as of whites of Eggs beaten and strained , of Honey , Gum of Ivy , strong Wort , these ingredients mingled together will at last run like an Oyl , which at last will congeal and be hard . Trouble not your self to make it , but buy it readie made ; chuse it as you do the Gum - Arabick , by the clearness , and then you need not fear it . To make Water thereof , use it in all respects as you did your Gum - Arabick , by tying it in a cloth and dissolving it in fair water : of this water also have of two sorts , a weaker and a stronger . Of GVM-ARMONIACK . Of this Gum you may make a Water , that whatsoever you write therewith you may lay in Gold. The manner of making the Water is thus ; take your Gum and grind it with the juice of Garlick as fine as may be , thereunto add a few drops of weak water of Gum - Arabick , making it of such a thickness as you may conveniently write with it with a pen. With this liquor write what you will , and let it drie , but not too long , for if you do , the Gold will not stick , and if you lay on your Gold too soon , it will drown it . When you would lay your Gold upon it being drie , do thus , get a Gold-cushion , which you may thus make ; take a piece of Calves-leather rough , and get a board about sixinches long , and five inches broad , upon this board lay some woollen cloth four or five times double , and over all your Leather with the rough side outwards , nailing the edges of the leather to the sides of the board ; so is your Cushion made . Upon this Cushion lay your Gold-leaf , and with a knife that hath a very sharp edge , cut your Gold upon your Cushion into pieces , so that it may quite cover what you have written , then breathe upon your writing , and with a piece of white Cotton-wool ( breathing upon that also ) lay it upon your Gold and it will take it off from your Cushion , which press down hard upon your Writing , and it will there stick ; then with other Cotton-wool dry , wipe away the loose Gold , and your Writing only will remain , which when it is through drie you may burnish with a Tooth , and it will shew fair . Of LIQVID GOLD or SILVER . You may with Liquid Gold or Silver Draw or Write any thing with the Pen or Pencil , as with any other liquid colour ; I could shew you how to make it , but to make a small quantitie it is not worth the while , neither will it quit the cost ; therefore I would advise you to buy it readie prepared , which you may do where you buy your Colours , or of some Gold-beaters , who make it of their cuttings of the ragged edges of their Gold. When you use it do only thus , put into your Shell a drop or two of fair water , and with a clean Pencil tamper up so much Gold as will serve your occasion at that time , with which Write or Draw what you will ; then about two or three hours after , the longer the better , burnish it by rubbing hard upon it with a Dogs-tooth , and it will be pure Gold ; this is the best and easiest way of laying Gold that I know of . SECT . II. Of your Grinding-stone and Muller . GEt a Stone of Porphery or Serpentine , or rather a Pebble , ( if you light of one large enough ) is best of any other . But in short , get as good an one as you can , which your Marblers in London may help you to ; keep this and your Muller alwayes very clean and free from dust . SECT . III. Of Colours . THere are simply six , viz. White , Black , Red , Green , Yellow , and Blew ; to which we may add browns , but they are compounded . Of either of these there are several sorts , the names whereof , and the manner of ordering of them shall be shewed in the ensuing Chapter . CHAP. II. Of Colours used in Limning : their names , and how to order them . SECT . I. Of the Names of Colours , and how every Colour is to be prepared ; whether Grownd , Wash'd , or Steep'd . BLACKS . Cherry-stones burnt . Ivory burnt . Lamp-black . WHITES . Ceruse . White-Lead . REDS. Red-Lead . Lake . GREENS . Bise . Pink. Sap-green . Cedar-green . BLEWS . Indico . Vltramarine . Bise . Smalt . YELLOWS . English Oker . Masticote . BROWNS . Vmber . Spanish Brown. Colen's Earth . These are the principal Colours used in Limning , I have omitted many others , but they are such that are not fitting for this Work , which I shall speak of when I come to teach how to Wash Maps and printed Pictures , for which use those Colours I have omitted are only usefull . Of the Colours here mentioned , usefull in Limning , they are to be used three several wayes , viz. either Washed , Grownd , or Steeped . The Colours to be only Washed are these : Bise . Cedar . Red-Lead . Smalt . Vltramarine . Masticote . To be Steeped , only Sap-green . The Colours to be Washed and Grownd , are these : Ceruse . White-Lead . Lake . English Oker . Pink. Indico . Vmber . Colens Earth . Spanish Brown. black Ivory , & Cherry-stone SECT . II. Of those Colours that are to be Grownd , and how to Grind them . I Have in the last Section told you what Colours are to be Grownd , which Washed , and which to be Steeped ; it resteth now , to shew you how to Grind those Colours that are to be grownd ; I shall not run over every Colour particularly , but shew you how to grind one Colour , which take as an example for all the rest . For our example in grinding of Colours , let us take the original of Colours , viz. Ceruse , or White-lead , there is little difference between them , only one is refined , the other not . To grind it do thus ; Take a quantitie thereof , or of any other Colour to be grownd , being cleansed from all manner of dirt or filth , which you must first scrape off ; then lay the Colour upon your Stone , and with your Muller bruise it a little , then put thereto fair spring-water , and between your Muller and Stone grind the Colour well together with the water till the Colour be very fine , which when you find to be enough , have in a readiness a great Chalk-stone , in which make certain troughs or surrows , into which pour your Colour thus grownd , and there let it rest till it be thorough drie , then take it out and reserve it in papers , and those papers in boxes , for your use . This order you are to observe in all Colours that are to be Grownd . SECT . III. Of those Colours that are to be Washed , and how to Wash them . AS in the Grinding of Colours I gave you an instance but in one for all the rest , the like I shall do for those Colours which are to be Washed ; I will make my instance in Red-lead , which you are to Wash in this manner . Put a quantity thereof into a clean earthen dish , and pour thereto fair water , stirring the colour and water together with your hand or otherwise , then let it stand a while , and you shall see a filthy greasie scum arise and lie above the water , with other filth ; pour this water quite away , and put other clean water to the Colour , and stir it about again , pouring away the water ( if foul ) the second or third time ; then add more water , and stir the Colour about again till the water be thick and troubled ; but yet free from filth , then gently pour this troubled water into a second earthen dish , leaving in the first dish all the dregs . Into the second bason put more fair water , and with your hand stir about the Colour as before ; do thus two or three times , and take ( if your Colour be very foul ) a third earthen dish , and add more water , and keep stirring , till at last the water become clear , and the Colour remain fine at the bottom of the dish ; pour away your water gently , and you will find some Colour remaining and sticking to the edges of the dish , which when it is dry , you may ( with a feather ) strike away like flower , which reserve as the choicest and purest of all ; if in a pound of this Red-lead you have an ounce of good indeed , Prize it , for it is troublesome to procure . The other , which is not altogether so pure , may be serviceable for some uses , though not for all . What hath been said of this Colour is to be understood of all other that are to be washed ; there●ore for Washing of Colours let this suffice . SECT . IV. Of Colours to be Steeped . I Said ( among the Colours before mentioned ) there was only Sap green to be Steeped , though in Colours to wash Maps and Prints there are many , but of these , when we come to shew how to Wash Maps , &c. To Steep your Sap green do thus , take a quantity thereof and put it into a Shell , and fill the shell with fair water , to which adde some fine powder of Allum to raise the colour ; let it thus steep twenty four hours , and you will have a very good Green. SECT . V. Of those Colours that are Washed and Grownd , how to temper them in your shells when you are to use them . YOu having all Colours both Grownd and Washed by you in a readiness , when you begin any piece you must temper them as followeth , for which take one example ●or all . Take any Colour , a small quantitie thereof , and put it into a clean shell , then add thereunto a drop or two of Gum-water , and with your finger ( being clean ) work it about the sides of the shell , and there let it stick till it be dry ; when the colour is dry in the shell , draw your finger over it ; if any Colour come off , you must add stronger Gum water to it . But , if when your Colour is dry in the shell , it glitter or shine , it is a sign there is too much Gum in it ; therefore remedy that by tempering your Colour up again with fair water only , without any Gum. There are some Colours , as Lake , Vmber , and other hard Colours , which when they are dry in the shell will crack , and look like parched ground in a drie Summer ; to such colours as these , when you temper them for use , add to them a small quantity of white Sugar-candy in fine powder , which temper with your Colour and fair water with your finger in the shell till the Candy be dissolved ; and this will keep them from peeling when you have laid them on your Work. Note here , that these Colours following , viz. Vmber , panish - Brown , Colen - Earth , Cherry-stone and Ivory-black are to be burnt before they be Wash'd or Grownd . To burn any of them do thus , put the Colour into a Crucible , such as Gold-smiths melt their silver in ; if you will , cover the mouth thereof with clay , and set it in a hot fire , there let it rest till it be red hot when the Colour is cold you may Grind or Wash it according to former Directions . SECT . VI. Of Pencils , and how to choose them . YOu are in the next place to furnish your self with Pencils of all sorts ; which how to choose do thus , take a Pencil and put the hairy end between your lips , wetting it a little by drawing it through your lips , being moist , two or three times ; so that the Pencil being large will come to a point as small as a hair , which if it do , it is good ; but if it spread , or any extravagant hairs stick out of the sides , they are naught ; you may try them by wetting in your mouth , and attempt to draw a line on the back of your hand . SECT . VII . Of Compounded Colours . OF the the six simple Colours before named , together with the Browns , many others may be compounded for Faces of all Complexions , Garments , Landskips , Building ; for Birds , Fishes , Beasts , and what not ? I will shew how to compound some , and by those you may by practice find out and invent infinite more , I shall instance in these following . As , A Violet . A Lead-colour . Flame-colour . Scarlet . Light-green Purple . A Bay-colour . A Murrey . To make a Violet-colour . Indico , White , and Lake make a good Violet-colour ; you may make it lighter or darker at pleasure , as you may all other compounded Colours . Lead-colour . Indico and White make a Lead-colour . Colour for Flaming fire . Red-lead and Masticote , heightned with White . Scarlet-colour . Red-lead , Lake and Vermilion , very little or no Vermilion , for it is not good in Limning . Light-green . Pink and Smalt , with White to make it lighter , if you require it . A Purple-colour . Indico , Spanish - brown , and White . A Bay-colour . Spanish - brown and White . A Murrey-colour . Lake and White make a Murrey-colour . Of these infinite others may be made , but I leave them to your own ingenuity to find out , which with little practice you will soon do . The next thing you shall be informed in , is how to prepare your Table for Limning , and fit all things for your work , which shall be declared in the next Chapter . CHAP. III. How to prepare a Table for a Picture in small for Limning , to make choice of your Light , the manner of Sitting in respect o● Position and Distance , and what necessary Instruments are to lie by you when you are at work . WE now draw pretty near to our intended purpose , viz. Miniture or Limning to the life in Water-Colours : but SECT . I. How to prepare a Table for a Picture in small . GET pure fine Paste-board , such as the ordinary playing Cards are made of , you may have of what size and thickness you please , and very finely slick'd and glazed , at the Card-makers : Take a piece of this Paste-board of the size you intend your Picture , then take a piece of Parchment of the finest and whitest you can get , which are the skins of abortives or costlings , cut a piece of this skin of equal bigness with your Paste-board , and with thin white Starch new made paste the Parchment to the Paste-board , with the out-side of the skin outermost ; lay on your Starch very thin and even ; then your Grinding-stone being made very clean , lay the Card thereupon with the Parchment-side downwards , and as hard as you can , rub the other side of the Paste-board with a Boars tooth set in a stick for that purpose , when it is through drie it is fit to work upon . SECT . II. Of your Light. COncerning your Light , let it be fair and large , free from being shadowed with trees or houses , but a clear sky-light , let it be a direct light from above , and not a traverse-light ; let it be a Northerly and not a Southerly light , for the Sun shining either upon you , your work , or the partie sitting , will be very prejudici●l ; as your room must be light , so let it be also close and clean . And observe , that you begin and end your work by the same light . SECT . III. Of the manner of Sitting . LEt your Desk on which you work be so situate , that when you sit before it your left arme may be towards your light , and your right arme from it , that the light may strike in sideling upon your Work. Thus for your own sitting . Now for the manner of the parties sitting that is to be Drawn , it may be in what posture he or she shall design ; but let the posture be what it will , let it not be above two yards off you at the most , and level with you ; but if the partie be tall , then above . Mark well when the party that sits moveth , though never so little , for the least motion of the body of face , if not recalled , may in short time cause you to run into many errours . The Face of a party being finished , let him stand and not sit to have his posture drawn , and that at a farther distance than two yards , viz. four or five yards . SECT . IV. Of such necessaries as are to lie by you while you are at work . 1. YOu must have two small Sawcers or other China-dishes , in either of which there must be pure clean Water ; the one of them is to wash your Pencils in being foul , the other to temper your Colours with when there is occasion . 2. A large , but clean , fine and dry Pencil , to cleanse your work from any kind of dust that may by accident fall upon it : such Pencils they call Fitch-Pencils . 3. A sharp Pen-knife to take off hairs that may come from your Pencil , either among your Colours or upon your Work , or to take out spots that may come to fall upon your Card. 4. A Paper , having a hole cut therein , to lay upon your Card to cover it from dust , and to rest your hand upon , to keep the soil and sweat of your hand from fullying your Parchment , and also to try your Pencils on before you apply them to your Work. Let your Sawcers of Water , your Pen-knife and Pencils lie all on your right hand . 5. Have a pretty quantitie of Carnation ( as some call it , ) or Flesh-colour , somewhat lighter than the Complexion of the party you are to draw , tempered up in a shell by it self with a weak Gum-water . If it be a Fair complexion , White-lead and Red-lead mixed . If a Swarthie or Brown complexion , to your White and Red-lead add a quantitie of Masticote , or English-Oker , or both if occasion be . But whatever the Complexion be , be sure you temper your Flesh-colour lighter than the partie ; for by often working upon it you may bring it to its true colour , it being first too light ; but if it be first too sad , there then is no remedy . 6. Having prepared your Flesh-colour , take a large Shell of Mother of Pearl , or a Horse-Mussel-Shell , which any Fisherman will help you to , and therein ( as Painters in Oyl dispose their Colours upon their Pallat for their working of a Face , so must you ) place your several Shadows in this Shell in little places one distinct from another . Note , that in all your Shadows you must use some White , wherefore 1. lay a good quantitie of White by it self , besides what the Shadows are first tempered with . 2. For Red for the Cheeks and Lips , temper Lake and Red-lead together , some use Vermilion , but I like it not . 3. For your Blew Shadows , as under the Eyes , and in Veins , &c. Indico and White , or Ultamarine and White . 4. For your Gray , faintish Shadows , take White English-Oker and Indico , or sometimes Masticote . 5. or Deep shadows , White , English-Oker , and Umber . 6. For Dark-shadows in mens Faces , Lake and Pink , which make an excellent fleshy shadow . Many other Shadows you may temper up , but these are the chief ; your own judgement , when you look upon the partie to be Drawn , will best direct you , and inform your fancie better than a thousand Words . Thus are you absolutely prepared of all necessaries , it is now fit time to go to work ; and first we will begin with a Face . CHAP. IV. Of the Miniture or Limning of a Face in Water-Colours . HAving all things in a readiness , according to the directions before delivered , upon that part of your Card where you intend the Face of your picture to be , lay that part of the Card over with your Colour that you have before prepared , answerable to the Complexion of the partie ; it being well tempered , pretty thin , with a ●encil bigger than ordinary , spread your Colour very even and thin , free from hairs or other spots , in your Pencil , over the place where you are to make the Face of your Picture . The Ground being laid , you may begin the Draught , the partie being ready to sit . Now to the finishing of a Face there will require three Operations or Sittings at the least . At the first sitting you do only dead Colour the Face , and this takes about two hours time . At the second sitting you are to go over the Face more curiously , observing whatsoever may conduce to the graces or deformities of the partie to to be Drawn , together with a sweet dispose and couching of the Colours one within another , and this sitting will take up some four or five hours . At the third sitting you may finish the Face , this takes up some three hours time ; in which you perfect what was before imperfect and rough , in putting the deep and dark shadows in the Face ; as in the Eyes , Eye brows hair , and Ears , which things are the last of the Work , and not to be done till the Hair-curtain or the back-side of the Picture , as also the Drapery be wholly finished . Of these three sittings or operations we shall make three Sections , as followeth : Then in the next Chapter shew how the Drapery and other ornaments are to be performed : then in the next Chapter something of Landskip in Miniture , or Limning , and so conclude . SECT . I. At the first Operation or Sitting . YOur Ground for the general Complexion being laid , the first work at your first sitting must be to draw the Porphile or out-lines of the Face , which you must do with Lake and White mingled ; draw it very faintly , so that if you miss of your Proportion you may alter it with a deeper mixture of the same Colour . The proportion of the Face being drawn , add to the former colour some Red-lead , temper it to the colour of the Cheeks , Lips , &c. but faintly , for ( as I said before ) you cannot lighten a deep Colour when you would . You must now put in the Red shadows in their due places , as in the Cheeks , Lips , tip of the Chin , about the Eyes , the tip of the Ears , and about the roots of the Hair. All these Shadows must be put in , not with the flat of the Pencil , but by small touches , after the manner of Hatching ; in this manner going over the Face , you will cover your ground with these and the following shadows . In this Dead-colouring you need not be over-curious , but strive to imitate Nature as near as may be , the roughness of the Colours may be mended at the second Operation . Having put in your Red shadows in their due places , put in next your faint Blew shadows about the corners and balls of the Eyes , and your Grayish blew shadows under the Eyes and about the Temples ; work these sweetly and faintly all over by degrees , heightning your shadows as the light falls ; as also those harder shadows in the dark side of the Face , under the Eye-browes , Nose , Chin , and Neck , with some stronger touches in those places than on the light side of the Face . Bring all your Work together to an equal roundness , and give perfection to no particular part at this time , but view your object well , and see how near you hit the Life , not only in seeming likeness , but in roundness boldness of posture , colouring , and such like . Having wrought your fainter shadows into the Red ones before laid , you may now have a touch at the Hair , disposing of it into such curls , folds , or form as shall best grace the picture , or please the partie . You must only draw the Hair with some colour suitable to the life , fill up the empty and void places with colour , and deepen it somewhat more strongly than before in the deepest shadowed places . And let this be your first operation . SECT . II. At the second Operation or Sitting . AT the second sitting let the partie sit in the same place and posture as he did at the first sitting , then observe and delineate with your Pencil those varieties which Nature affords you ; and as you did them but rudely before , you must now with the same Colours , in the same places , by working drive and sweeten the same Colours one into another , so that no lump of Colour , or any rough edge may appear in your whole work , and this work must be performed with a Pencil somewhat sharper then that which you used before , so as your Shadows may be soft and smooth . Having made this progress in the Face , leave it for this time , and go to the back-side of your Picture ; which is sometimes a piece of Landskip , but most commonly a Curtain of blew of red Sattin . If it be of blew Sattin , temper as much Bise in a shell as will cover a Card , let it be moist , but well bound with Gum ; then with a Pencil draw the Porphile or out-line of your Curtain , as also of your Picture , then with a large Pencil lay over carefully , but thin and aery , the whole ground you mean to lay with Blew ; then afterwards again with a large Pencil , as before , lay over the same again with a substantial bodie of colour ; in doing of which you must be expeditious , keeping your Colour alwayes moist , letting no one part thereof be dry till you have covered the whole . If your Curtain be Crimson , then trace it out with Lake , and lay the ground with a thin colour , then where your strong lights and reflexions fall , there lay your lights with a thin and Waterish colour , and while the ground is yet wet , with a strong and dark colour tempered reasonable thick , lay the hard and strong shadows close by the other lights . After you have thus laid the back-side of your Picture with Blew , or Red , or any other Colour , lay your Linnen with a fair White , and the Drapery likewise flat of the colour you intend it . Then repair to the Face again , and view your object well , and see what shadows are too light or too deep for the Curtain behind , and the Linnen and Drapery may somewhat alter the propertie to the eye , and make the Picture appear otherwise than it did when there was only the colour of the Parchment about it ; I say , view your object well , and endeavour to reduce each Shadow to its due perfection : then draw the lines of the Eye-lids , and shadow the entrance into the Ear , the deepness of the Eye-browes , and those more eminent notes and marks in the Face , and these must be done with a very curious and sharp Pencil . The Face done thus far , go over the Hair , heightning or deepning it as it appears in the life , casting over the ground some loose hairs , which will be pleasing , and make the Picture stand as it were at a distance from the Curtain . To shadow your Linnen , use Black , White , a little Yellow , and less Blew ; the Black must be deepned with lvory-black , with which mix a little Lake and Indico . And thus far have we proceeded at the second operation . SECT . III. At the third Operation , or Sitting . THe third and last operation of the Face will be wholly spent in giving of strong touches where you see cause ; and in observations necessary for the rounding of the Face , which will better be seen how to perform now , than before the Curtain , Drapery , and Linnen were laid . In this last sitting observe very diligently and exactly whatever may conduce to similitude , which is a main thing , as Scars or Moles in the Face , &c. casts of the Eye , circumflexions or windings of the mouth . Thus much for the third operation and finishing of the Face . CHAP. V. Of Drapery , and other ornaments belonging to a Picture in Miniture . THE Face being compleatly finished , and the Apparel rudely put on , let us now come to shew how to settle them in their right geers , ( as the saying is , ) as also to put on such Ornaments as are usual in Pictures of this nature . And these shall be expressed in the Sections following . SECT . I. Of Drapery in Limning . HAving laid a good , fat , and full Ground all over the Drapery you intend to make ; if Blew , then all over with Bise smoothly laid : the deepning must be Lake and Indico , the lightning White , very fine , faint , and fair , and in the extreme light places . What hath been said of this Blew Drapery , the like is to be understood of all other Colours . It is rare to see Drapery expressed by lightning of of it with fine shell-Gold , with which it must be hatched and washed , what a lustre it gives to well-coloured Drapery , either Crimson , Green , or Blew , but much more if with the Ground it self you mix Gold when you lay it on . SECT . II. Of other Ornaments in Picture . 1. IF the Body you are to draw be in Armor , lay liquid Silver all over for your ground , well dryed and burnished , shadow it with Silver , Indico , and Umber ; work these shadows upon the Silver as the life directs you . 2. For Gold Armor , lay liquid Gold as you did the Silver , and shadow upon it with Lake , English-Oker , and a little Gold. 3. For Pearls , your ground must be Indico and White ; your shadows Black and Pink. 4. For Diamonds , lay a ground of liquid Silver , deepen it with Cherrystone and Ivory-black . CHAP. VI. Of LANDSKIP . THE bounds and limits of Landskip are inexpressible , they being as various as fancy is copious ; I will give you only some general Rules for painting of Landskip , and so conclude this third Book . In painting of any Landskip alwayes begin with the Sky , the Sun-beams , or lightest parts first ; next the Yellow beams , which compose of Masticote and White ; next your Blew skies , with Smalt only . At your first colouring leave no part of your ground uncovered , but lay your Colours smooth and even all over . Work your Sky downwards towards your Horizon fainter and fainter , as it draws nearer and nearer to the earth , you must work your tops of Mountains and objects far remote , so faint that they may appear as lost in the Air : Your lowest and nearest Ground must be of the colour of the earth , of a dark yellowish brown Green , the next lighter Green , and so successively as they lose in their distance they must abate in their colour . Make nothing that you see at a distance perfect ; as if discerning a Building to be fourteen or fifteen miles off , I know not Church , Castle , House , or the like ; so that in drawing of it you must express no particular sign , as Bell , Portcullis , or the like ; but express it in colours as weakly and faintly as your eye judgeth of it . Ever in your Landskip place light against dark , and dark against light , which is the only way to extend the prospect far off , occasioned by opposing light to shadow ; yet so as the shadows must lose their force in proportion as they remove from the eye , and the strongest shadow must alwayes be nearest hand . OF PAINTING in OYL . The Fourth Book . PAinting in Oyl is of most esteem of any other Painting , and indeed it requireth the greatest judgement in the performance , of any other kind of Painting . I shall ( according to the weakness of my ability ) deliver unto you such Rules and directions , as being well minded and practised , may in a short time make you a good proficient therein : Presupposing you have read the three foregoing Books , especially the First and Third , and that you understand Draught of any kind , and also the nature ( if not the manner of working with ) Water-colours , yet at least have read the Rules there delivered concerning the use of them , you may fall to practise the Painting in Oyl ; in which observe the directions following . CHAP. I. Of the Names of your Colours , and how to Grind and order them . Names of the Colours in Oyl . BLACKS . Lamp-black . Seacoal-black . Ivory-black . Charcoal-black . Earth of Colen . WHITES . White-Lead . GREENS . Verdigrease . Terra vert . Verditer . BLEWS . Rise Indico . Smalt . Vltamarine . REDS. Vermilion . Red-Lead . Lake . India Red. Ornotto . YELLOWS . Pink. Masticote . English Oker . Orpiment . Spruse Oker . Spanish Brown , Burnt Spruse , Vmber . These are the chief Colours that are used in Painting in Oyl , the most part of which are to be grownd very fine upon your Stone with a Muller , with Linseed-Oyl : some must be Burnt before they be Grownd ; others must be only temper'd upon the Pallat , and not grownd at all . The Colours to be burnt are these : Ivory , Spruse , Oker , and Vmber . The Colours that are not to be Grownd at all , but only tempered with Oyl upon your Pallat , are these : Lamp-black , Verditer , Vermilion , Bise , Smalt , Masticote , Orpiment , Vltamarine . All the rest are to be Grownd upon your Stone with Linseed-Oyl ; only White-Lead , when you are to use that for Linnen , you must grind it with Oyl of Walnuts , for Linseed-Oyl will make it turn yellow . Those Colours that are to be Burnt , you must put them into a Crucible , such as Gold-smiths melt their Silver in , cover the mouth thereof with clay , and there let it burn red hot , when it is cold you must grind it upon your Stone with Oyl . CHAP. II. Of your Easell , Straining-frame , Cloth , Pallat , Pencils , and Stay. I Might here describe the form and fashion of your Easell and Pallat , but I think I need not ; for he that ever saw a Painter at work , must needs see these two Instruments , but what they are I shall here describe . An Easell is a frame made of wood , not much unlike a Ladder , only the sides are flat , and full of holes on either side , to put in two pinns to set your Work upon higher or lower at pleasure ; it is broader at the bottom than at the top , and on the back-side there is a Stay , by the help of which you may set in the middle of any room , more upright or sloping at pleasure ; when you do not use it , you may clap it together and set it behind any door , or hang it against any wall out of the way . A Pallat is a thin piece of wood , and is necessary to be about twelve or fourteen inches long , and nine or ten inches broad , in form of an egge , at the narrower end whereof is a hole made also of an oval form , about an inch and a half in length , and an inch broad ; this hole is to put in your thumb of your left hand , upon which you must alwayes hold it when you are at work ; out of the side of your Pallat neer unto the thumb-hole is cut a notch , by the side of which the Pencils which you hold in your left hand also may come through , by which means you may take any of them out , or put another in at pleasure . These Pallats ought to be very thin and light , especially at the broad end , but toward the thumb-hole somewhat thick , yet not above half a quarter of an inch ; the best wood to make them of is Pear-tree of Walnut-tree . A Straining-frame is nothing else but a frame made of wood ; to which with nails you must fasten your Cloth that you are to paint upon ; of these Frames you should have of several sizes , according to the bigness of your Cloths . By your Cloth I mean Cloth primed , I could teach you how to prime it , but it is a moiling work , and besides , it may be bought ready primed cheaper and better than you can do it your self . Few Painters ( though all can do it ) prime it themselves , but buy it ready done . Pencils , what they are I need not tell you , but what sorts there are I will , because I shall have occasion to call them sometimes by their names in the Discourse following . There are of all bignesses , from a pin to the beginess of your finger . There are several sorts , thus called : Ducks Quill fitched . Ducks Quill pointed . — Bristle . Swans Quill fitched . Swans Quill pointed . — Bristle . Hairing , or Jewelling-Pencils . Goose Quill fitched . Goose Quill pointed . — Bristle . Bristle Pencils ; some in Quills , others in Tinn-cases ▪ bigger than Quills , and others in Sticks . Your Stay or Mol-stick is nothing else but a stick of Brazeel or such like wood that will not easily bend , about a yard in length , at one end whereof tie a little ball of Cotton hard in a piece of Leather about the bigness of a Chesnut ; this stick when you are at work you must hold also in your left hand , and laying the end which hath the leather ball upon your cloth or frame , you may rest your right arm upon it all the while you are at work . Thus being furnished with all manner of Colours , and other necessaries here described , you may begin to practise when you please ; we will begin with a Face , in which observe the directions in the following Chapters . CHAP. III. How to order your Colours upon your Pallat , and how to temper Shadows for all Complexions . DIspose your single Colours upon your Pallat in this order , laying them at a convenient distance one from another , so that they be not apt to intermix . First lay on your Vermilion , then Lake , then burnt Oker , India Red , Pink , Umber , Blacks , and Smalt : lay the White next to your thumb , because it is oftnest used , for with it you lighten all your Shadows ; next to your White lay a stiff sort of Lake : this done your Pallat is furnished with the single Colours belonging to a Face ; then for the tempering of your Shadows to all Complexions , observe the following Directions . 1. For a Fair Complexion . Take a little White , and twice as much Vermilion , and as much Lake , temper these well together upon your Pallat with the flat blade of your knife ; lay aside by it self on your Pallat the greatest quantity of this to be used for the deepest Carnation of the Face . Put more White to that which remains , and temper that well with your knife , and being well tempered lay some of that aside also for your lighter Carnation . To the remainder add yet more White , and temper it upon your Pallat till you have brought it to the lightest colour of your Face . Your Carnations being thus tempered , and orderly laid upon your Pallat , prepare your faint Shadows . For which , Take Smalt , and mix it with a little White , which may serve for the Eyes ; lay aside the greatest quantity , and to the rest add a little Pink , this well tempered and laid by it self will serve for the faint greenish shadows in the Face . Now prepare your deep Shadows ; for which take Lake , Pink , and Black , of each a like quantity , temper all these together . If the parties Face you are to draw , or the Picture you are to copie do require the Shadows to be redder than what you have tempered , then add a little more Lake ; if yellower , add a little more Pink ; if blewer or grayer , add a little more Black. This done , your Pallat is prepared with Colours for any fair Face . 2. For a more Brown or Swarthy Complexion . Lay your single Colours on your Pallat as before , and in like manner temper them , only amongst your White , Lake , and Vermilion , put a little quantity of burnt Oker , to make it look somewhat Tawny . Amongst your heightnings temper a little yellow Oker , onely so much as may just turn the Colours . For your very faint and very deep Shadows ; the same as before . 3. For a Tawny Complexion . The general Colours must be the same as before , only the Shadows are different , for you are to prepare them of Umber , and burnt Oker , which shadow will fit these Complexions best ; if the shadow be not Yellow enough , add more Pink to it . 4. For an absolute Black Complexion . Your dark Shadows must be the same as before ; but for your heightnings , you must take White , burnt Oker , Lake , and Black , put but a little White in at first , but work it up by degrees , till you come to the lightest of all , as you did the contrary Colours for a fair Complexion . Here note , that the single Colours at first laid upon your Pallat being tempered together according to the former directions , serve for shadows for all Complexions . Thus much concerning the disposing and ordering of your Pencils , and what Pencils you are alwayes to have in your hand all the while you are painting of a Face . CHAP. IV. What Pencils are usefull for the Painting of a Face , and how to dispose them . EVery Pencil must have a stick of about nine inches long put into the Quill thereof , the farther end of which stick must be cut to a point . When you are to begin any Face or other picture , lay together two Ducks quill-fitch-Pencils , and two Ducks-quill-pointed-Pencils , also two Goose-quill fitched and two pointed , two Bristles both alike ; one Swans-quill fitched , and another pointed ; then a larger Pencil than any of these , which no Quill will hold , and therefore they make cases of Tinn to put them in , you must have one of these Fitched , as also a Bristle of the same bigness . Your Pencils being in a readiness , when you are to use them , your Pallat being upon your thumb , you must take your Pencils in your right hand , and put the ends of their sticks into your left hand , keeping ( when you work ) the hairy ends at a distance , one from touching another , lest the Colours in them intermingle . Your Pallat of Colours being prepared , and your Pencils and Molstick also in a readiness , you are to use them as is hereafter taught . CHAP. V. How to Paint a FACE in Oyl-Colours . YOur Cloth being ready primed , and strained upon your Frame , take a knife , and with the edge thereof scrape over your Cloth , lest any knots or the like should be upon it which may disryme your Work. Your Cloth being ready , draw forth your Easell , setting your Frame & Cloth upon it at a convenient height , so that you sitting upon a stool , ( level with the party you draw ) may have the face of the picture equal , or somewhat higher than your own . Then set your Easell according to your light , which let be the same as I have described in Limning , namely , a Northerly light , free from shade of trees or houses , but let it come in on your left hand , and so cast the light towards the right hand . All things being now in a readiness , let the party you are to draw sit before you in the Posture he intends to be painted , about two yards distant from you . Then with a piece of Chalk pointed , draw the proportion of the Face upon the Cloth , with the place of the Eyes , Nose , Mouth , Ears , Hair , and whatsoever the posture affordeth the Eye ; here is no curiosity in this , only see that you keep a good decorum , if you miss a good deal , the Colours will bring all to rights ; but I suppose you know already whether the design will make a Face proportionable to the parties . And so of that no more . Your Design being drawn in Chalk , take one of your Swans-quill-pointed-Pencils , and some of your lightest Colour , and begin with the lightest parts in the Face , as the heightning of the Forehead , the Nose , and the Cheek-bone of the lightest side : when you have done the lightest parts , do the mean parts next ; that is , those parts not altogether so light as the other , as the Cheek-bone of the fore-shortning or dark side , the Chin , and over the upper Lip ; and so proceed gradually till you come to the Reddest parts of all . Then lay your faint Greenish shadows in convenient places , and where you see cause to moderate harder shadows ; but you must have a care you put not Green shadows where Red are required . Thus all your faint or light beginnings being put in , take one of your Goose-quill-pointed-Pencils , or one of your Ducks-quill-fitched , and begin at the Eyes to shadow with Lake , because you may easily overcome it if it should chance to be wrong : I do not mean you should go all over the face with Lake , but trace out these parts of the Face therewith , as the Eyes , Nose , Mouth , Compass of the Ear , &c. This tricking or tracing out of these parts with Lake is to be done before you lay on any Colour , wipping it lightly over with a linnen rag , to prevent the overcoming of the other Colours . Having thus put in all your Colours both light and dark , take a great Fitch-pencil , either that in the plate , or that in the stick , and sweeten the Colours therewith ; by sweetning , is meant the going over these several Shadows thus laid with a clean soft Pencil , which with orderly handling will drive and intermix the Colours one into another , that they will appear as if they were all laid on at once , and not at several times . If this great fitch'd Pencil be too big , you may use a lesser ; but note , that the bigger Pencils you use , the sweeter and better your Work will lie ; and it is as easie to handle a great Pencil as a little one , if you use your self to it . At your Second sitting ( for this is enough at once ) begin again with your clean Pencils of such bigness as the piece you are to work upon does require . Then the party sitting in the same position , and at the same distance as before , the light also being the same , Observe well the party , and see what defects you find in the Work at your first sitting , and amend them ; then heighten or deepen your Shadows according as you see occasion . This done , take a Goose-quill Bristle and put in the Hair about the Face , and rub in the greater Hair with the greater Bristle , and heighten it up with your Goose-quill Pencil . CHAP. VI. Of Garments of several colours , and of their proper Colouring . THE next thing I shall speak of , shall be of Drapery of Garments , and the true and proper manner of Colouring of them . And 1. For a Red Garment . For a light-red Garment , first dead-colour it with Vermilion , and when you would finish it , glaze it over with Lake , and heighten it with White . For a Scarlet . If you will have your Garment Scarlet , Vermilion it self must be the lightest , and it must be deepned with Lake or India Red. For a Crimson Velvet . Lay Vermilion , burnt Oker , or India Red , for the dead colour , glaze it with Lake , and touch it up with Vermilion . A sad Red. Indian Red heightned with White . Note , that all your deepnings should or ought to be deepned with Black , Pink , and Lake , tempered together . 2. For Green Garments . The best Green for holding is Bise and Pink , heighten it with Masticote , and deepen it with Indico and Pink. For Green Velvet . Lay the dead colour of White with a little Lamp-black , glaze it with Verdigrease , deepen it with Indico and Pink , and heighten it with Pink and White . 3. For Blew Garments . Take Indico and White , first lay the White in its due places , and then your mean colour , namely Indico and White mixed in their due places , then deepen it with Indico only , and when it is dry glaze it with Ultamarine , which will never fade ; you may glaze it with Smalt or Bise ; but Smalt will turn Black , and Bise will turn Green. But if you will have a Blew Garment without glazing , lay the ground as before , with Indico and White , heighten and deepen it with the same Colours . 4. For Yellow Garments . For a Yellow Garment , Masticote , yellow Oker , and Umber ; lay the dead colour of Masticote and White in the lightest places , Oker and White in the mean places , and Umber in the darkest places ; when it is dry glaze it with Pink. If you would not glaze it , use only Masticote heightned with White , and deepned in the mean shadows with Oker , and in the deep shadows with Umber . 5. For Black Garments . Let the dead colour be Lamp-black , and some Verdigrease ; when that is dry , go over it with Ivory-black and Verdigrease ; before you go over it the second time heighten it with White . 6. For Purple Garments . Oyl Smalt , tempered with Lake and White-Lead , heighten it with White-Lead . 7. Orange Colour . Red-Lead and Lake , lay the lightest parts of all with Red-Lead and White , the mean parts with Red-Lead alone , the deeper parts with Lake , if need require heighten it with White . 8. Hair Colour . Umber and White for the ground , Umber and Black for the deeper shadows , Umber and English Oker for mean shadows , for heightning White with a little English Oker . CHAP. VII . To temper Colours for several occasions . IN Landskip , variety of Colours are required ; I will therefore begin with those first . Colours for the Skie . For the Aiery skie that seems a great way off , take Oyl-Smalt or Bise , and temper it with Linseed-Oyl , for a Red sky use Lake and White , and for Sun-beams or Yellow clouds appearing at Sun-rising or setting , use Masticote and White ; for Clouds in a storm , or for a Night-sky use Indico deepned with Black , and heightned with White . Colours for Trees . For some use Lake , Umber , and White ; for others Charcoal and White , for others Umber , Black , and White , with some Green , you may add Lake , and sometimes Vermilion among your other Colours . Of several Greens in Landskip . For a light Green use Pink and Masticote heightned with White . For a sad Green , Indico and Pink heightned with Masticote . You may make Greens of any degree whatsoever . In Painting of Landskip I shall say nothing here , that which I have already said in the Sixth Chapter of the Book of Limning being sufficient . Things meet to be known . OYL-Colours if they be not used presently , will have a skin grow over them , and in time will quite dry up ; wherefore if you have any quantity of Colours grownd , to keep them from skinning or drying , set them in a vessel of fair water , three or four inches under water , and they will not skin nor dry . If your Grinding-stone be foul , grind Curriers shavings upon it , afterwards crumbs of bread , and it will fetch off the filth . If your Pencils be foul , dip the ends of them in Oyl of Turpentine , and squeeze them between your fingers . When you work in Oyl , let a little pot of Oyl stand by you , into which dip your Pencil , and streak it by the side of the pot , and the Colour will go out that is within it , and you may use it with another Colour . The Discovery . How to Cleanse any Old Painting , so as to preserve the Colours ; with cautions to those that through ignorance have in stead of Cleansing , quite Defaced or irrecoverably lost the Beauty of good colours in an Old piece of Painting . To Cleanse any old Picture in Oyl . TAke your purest white Wood-ashes you can get , and sift them very well in a fine lawn sieve ; or else some Smalt , which is as some call it Powder-blew , and with a fine Spunge and fair water wash the Picture you intend gently over , but be sure you have a great care of the Shadows ; for by the ignorance of many persons many good Picture hath been abused ; but having carefully wash'd it , as before mentioned , take some of these Vernishes , of which there be several , but some are more prejudicial than others , therefore choose those which may upon occasion be wash'd off again . As Gum-water purely strain'd , or pure Sizegelly , or the whites of Eggs well beaten ; all these will wash off . Your common Vernish will vernish over any dark part of a Picture . But your distill'd Vernish is the best of all ; this will not wash off . But observe , that when you have wash'd the Picture , you must dry it very well with a clean cloth very dry before you vernish it . Divers there be which have pretended to be well skill'd or knowing in the Cleansing of Pictures , and skill in Painting , and have undertaken the spoyling of things they have been unworthy to understand ; as with Sope , or Ashes , and a Brush , and divers other inventions , by their ignorance to deface and spoyl those things which otherwise might have been worth great value , and in stead of hindering the Painter of his employment , have indeed created them new work . OF WASHING or COLOURING OF Maps , and Printed Pictures . The Fifth Book . TO Wash Maps or Printed Pictures is nothing else but to set them out in their proper Colours , which to perform well is a very fine thing . I have seen a Printed Picture printed upon fine Parchment , only washed with Water-colours , which could hardly be distinguished from a Limned piece , and there are many now in England very excellent at it . If any ingenious spirit that delights in Picture , and hath not time or opportunity to study to be a proficient in Painting in Oyl or Limning , I would advise him to practise this , which is very delightfull and quickly attained ; the manner of performing of it I shall here in this Book teach . CHAP. I. What things are necessary to be alwayes ready for Washing of Maps or Pictures . SECT . I. Of Colours for Washing . HHRE note , that all the Colours that are mentioned in the Second Chapter of the Third Book concerning Limning in Water-Colours , are all to be used in Washing or Colouring of Pictures , wherefore provide your self of those Colours , grind them , wash them , and steep and temper them according as you are directed in that Second Chapter ; I say , you must have all these Colours in a readiness ; and for Colouring of Prints some other Colours , namely these that follow , which how to order I will anon shew you . Colours to be used in Washing , which are not used in Limning . BLACKS . Printers Black. or , Franckford - Black , to be had of the Plate-Printers . REDS. Vermilion . Rosset . BLEWS . Verditure . Litmos . Flory . YELLOWS . Gumbooge , Yellow-berries , Orpiment . Also these ; Brazeel and Log-wood grownd , and Turnsoil . Of these Colours above mentioned , Printers Black , Vermilion , Rosset , Verditure , and Orpiment are to be Grownd as is taught in the second Section of the second Chapter of the third Book , page 70. and therefore , I say , Grind them as you are there taught . Now for the other Colours above mentioned , they are to be ordered several wayes , as followeth . And 1. Of Litmos , how to order it . Take fine Litmos and cut it in small pieces , then lay it in steep the space of twenty four hours at least , in a weak Water of Gum-Lake ; [ The making of Gum-Lake Water is taught before in the first Chapter of the third Book , pag. 66. ] it will be a pure Blew Water , good to Wash withall . 2. Of Flory Blew . Take Flory Blew and grind it with the white of an Egg , [ beat the white of the Egg with a spoon in a Porenger till it become a clear Water . ] Flory thus grownd , if you add thereto a little Rosset , it maketh a light Violet-colour . If you mix with it both Red and White Lead , it maketh a Crane-Feather-colour . It , and Pink , Masticote , or Gum-booge make a fair Green. 3. Of Gum-booge . Take Gum-booge and dissolve it in fair spring-water , and it maketh a most beautifull and transparent Yellow . 4. Of Yellow-Berries . Take Yellow-Berries , bruise them a little , and let them steep in Allum-water all night , in the morning you will have a very fair Yellow to Wash withall . 5. Of Turnsoil . Turnsoil is made of pieces of Linnen cloth dyed of a kind of Violet-colour . Take a dish and put some sharp Vinegar therein , together with your Turnsoil , then set the dish over a gentle fire in a chafingdish till the Vinegar boyl and be coloured , then take out the Turnsoil and squeeze it into the Vinegar ; to which put a little Gum - Arabick to dissolve ; it is an excellent good liquor to shadow upon any Carnation or Yellow . 6. Of Brazeel . Take Brazeel grownd , to which put a quantity of small Beer , and as much Vinegar , set them in a pan upon a soft fire , and there let it boyl gently a good while , then put therein some fine powder of Allum to raise the Colour , as also some Gum - Arabick to bind it ; boyl it so long till it taste strong on the tongue , it maketh a very transparent Red. 7. Of Log-wood . If you boyl Log-wood grownd in all respects as you did your Brazeel , it will make a very fair transparent Purple-colour . SECT . II. Of other necessaries . 1. Of Allum-water , how to make it . TAke a quarter of a pint of Allum , heat it to powder , and boyl it in a quart of fair Water till it be dissolved . With this Water wet over your Pictures that you intend to colour , for it will keep the Colour from sinking into the Paper , and it will add a lustre unto the Colours , and make them shew fairer ; and it will make them continue longer without fading : you must let the Paper dry of it self after you have wetted it , before you lay on there Colours , of before you wet it again ; for some Paper will need wetting four or five times . But if you intend to Varnish your Pictures after you have Coloured them , you must first Size them , that is , rub them over with white Starch new made with a Brush very fine , in stead of doing them with Allum-water , he sure you size it all over , or else the Varnish will sink through ; if your Varnish be too think , put into it so much Turpentine-oyl as will make it thinner . 2. How to make Size . Take some Glew , and let it steep all night in water to make it the readier to melt in the morning , then set it on a coal of fire to melt , to try whether it be neither too stiff nor too weak , for the meanest is best ; take a spoonfull thereof and set it in the air to cool , or fill a Mussel-shell of it , and let it swim in cold water to cool the sooner ; if it be too stiff , when it is cold put more water to it , if too weak , then put more Glew to it ; and when you use it make it luke-warm . This is to wet your Cloths in , if you intend to paste your Maps or Pictures upon Cloth , you may use white Starch to wet your sheet , and wring it out and strain it upon a frame , or nail it upon a wall or board , so paste your Maps or Pictures theron . 3. How to temper Gold to Write with a Pen or Pencil . Take the sweepings of leaf-Gold , such as Book-binders sweep off their Books , or leafe-Gold it self , and with stiff Gum-water , with a pretty deal of white Salt , grind them very well together , and put it into a glass , and put a quantity of fair water as will sufficiently cover it , to make the stiff-water dissolve , that so the Gold may settle to the bottom , and let it stand four or five dayes , then pour away the water and put clean water to it again , if you find the Gold dirty , refresh it again the third time , then pour it away and take clean water again , and a little Salt-Armoniack and great Salt , and put it in a gally-pot , and stop it very close , and let it stand a week , then take it out and put it into a a piece of sheeps-skin when the grain is taken off , tie it up close , and hang it up that the Salt may fret from it ; then take the Gold and temper it with the white of an Egg or Gum-water : so use it with Pen or Pencil . 4. Of Pencils . Provide Pencils of all sorts , both pointed and fitch ; a large Brush to paste your Maps upon Cloth withall ; another to Wet your Paper with Allum-water ; a third to Starch the face of your Picture withall before you colour it ; and a fourth Brush to Varnish withal . CHAP. II. Of other Colours for Washing , both Simple and Compounded . 1. How to make a Green colour of Copper-plates . TAke any shreds of Copper and put distilled Vinegar to them , set them in a warm place until the Vinegar become Blew , then pour out that Vinegar into another pot well leaded and pour more Vinegar upon the Copper , letting that stand until it be of a Blew colour , then pour it into the former liquor ; this you may do so often until you have liquor enough , then let the liquor stand in the sun or upon a slow fire till it be thick enough , and it will be a good Green. 2. To Make a Green another way . The best is Cedar-green , but that is dear , therefore you may take green Bise and steep it in Vinegar , then strain it through a linnen rag , then grind it well with fair water , and put to it a little Honey , and let it be well dryed , and when you use it mix it with a little Gum-water . 3. Another Green. Take the juyce of Rew , and a little Verdigrease . and a little Saffron , and grind them well together , and use it with a little Gum-water . 4. For light Greens . Sap-greens , Flower de Bise , or Tawny-green , these need no grinding , only steep'd in fair water , Verditer and Ceruss mixt with a little Copper-green , makes a good light colour . 5. To shadow Greens . Indico and Yellow-berries will do very well . 6. Greens for Landskips and Rocks . Temper your Green with white Pink , Bise , Masticote , Smalt , or Indico , or Ceruss . Blew Verditer mixt with a few Yellow-berries , make another Green. 7. To make a Blew . There is Venice-Ultamarine , but this is very dear ; there are Bises of several sorts , deeper or paler ; there is Smalt and Verditer ; grind any of these with Gum-water . 8. Of shadowing Blews . There is Indico , Litmos , or Flory , take any of these , they need no grinding , steep them in the lees of Sope-ashes , when you use them put Gum-water to them with discretion . 9. To make a Brown. Take Ceruss , Red-Lead , English-Oker , and Pink. 10. Spanish Brown. It s a dirty colour , yet of great use if you burn it till it be red hot ; but if you would colour any hare , horse , or dog , or the like , you must not burn it , but to shadow Vermilion , or to lay upon any dark ground behind a Picture , or to shadow Berries in the darkest places , or to colour any wooden Poste , Wainscot , bodies of Trees , or any thing else of Wood , or any dark ground on a Picture . 11. How to make an Orange-colour . Red-Lead is the nearest to an Orange , put a few Yellow-berries into it , makes a good Orange . 12. A Flesh-colour . Take of White and a little Lake , and some Red-Lead mixed , you may make it light or red as you please , by adding more or less White in shadowing the Cheeks and other places , if you would have a swarthy complexion ; and to distinguish the Mans flesh from the Womans , mingle a little yellow Oker among your Flesh . 13. Colours for the Skie . Light Masticote , or Yellow-berries , and White for the lowest and lightest places ; red Posset , White for the next degree ; blew Bise and White for the other ; and blew Bise for the highest , for want of Bise use Verditer ; these must be worked together ; you must not receive any sharpness in the edge of your Colour , and they must be so laid on , that you cannot perceive where you first began to lay them , you must so drown them one in another . 14. To make colours for Precious stones . Verdigrease with Varnish makes an Emerald , and with Florence Lake it makes a Ruby , and with Ultramarine it makes a Saphire . 15. Colours for Landskips . For the faddest Hills use burnt Umber , for the lightest places put some Yellow to the burnt Umber ; and for the other Hills lay Copper-green thickned on the fire , or in the Sun ; for the next Hills further off , mix some Yellow-berries with Copper-green , and let the fourth part be done with green Verditer ; and the furthest , faintest places with blew Bise , and for want of that , with blew Verditer mingled with White for the lightest places , and shadowed with blew Verditer in the shadows indifferent thick ; the Highways do with Red-Lead and White , and for variety use yellow Oker , and shadow it with burnt Umber , and you may use it for sandy Rocks and Hills ; the Rocks you may do with several colours , in some places Black and White , in other places with Red-Lead and White , and some with Blew and White , and other colours , such as you judge are convenient , and do most resemble Rocks , and let them be pleasant colours ; the Water must be black Verditer and White , shadowed with green and with blew Verditer ; when the Banks cast a green shadow upon the Water , and when the Water is dark in the shadows , then shadow it with a little Indico and Green thickned , and some blew Verditer . 16. Colours for Buildings . When you colour Buildings , do it with as much variety of pleasant colours as possible can be imagined , yet not without reason , and let discretion rule you in mixing your Colours ; in colouring of Buildings you may use sometimes White and Black for the Wall , Conduits , or other things ; for Brick-houses and others you may use Red-Lead and White ; when many Houses stand together , colour them with various colours as you can ; about Buildings use sometimes Umber and White , and sometimes Lake and White , or Red-Lead and White for variety . 17. How to Shadow every colour in Garments , or Drapery . Take this Rule , that every Colour is made to shadow it self , or if you mingle it with White for the light , and so shadow it with the same colour unmingled with White , else take off the thinnest of the colour for the light , and so shadow it with the thickest bottom of the colour ; if you will have your shadow of a darker colour , then the colour it self is to shadow the deepest places . CHAP. III. General Rules to be observed . 1. SAp-green is only used to shadow other Greens , and not to be laid for a ground in any Garment . 2. Lake must not be shadowed with any colour , for it is a dark Red ; but for variety you may shadow it sometimes with Bise , or blew Verditer , which will make it shew like changeable Taffata . 3. Blew Verditer is shadowed with thin Indico . 4. Blew Bise is shadowed with Indico in the darkest colours ; Yellow-berries , the natural shadow for it is Umber , but for beauties sake it is seldome shadowed with Umber , but with Red-Lead , the darkest touches with Spanish-Brown ; and for varieties sake its shadowed with Copper-green thick , and with blew Bise or blew Verditer . What Colours sets off best together . 1. Whites are very usefull in all colours , and sets off Black and Blew very well ; but Blacks are not much used , but upon necessary occasions in some things , as your judgement shall direct you . 2. Reds sets off well with Yellows . 3. Yellows sets off well with Reds , sad Blews , Greens , Browns , Purples . 4. Blews sets off well with Reds , Yellows , Whites , Browns , and Blacks ; but Blews set not off well with Greens and Purples . 5. But Greens sets off well with Purples and Reds . SECT . II. Directions for the Mixing of your Colours . TO mix any Colour , be carefull that you make it not too sad ; when you mix your Colours be carefull you put not your Pencils out of one Colour into another , for it will spoil and dirty your other Colours , except you wash your Pencils clean . When you mix any Colours stir them well about the water , being well coloured pour it out into a Shell , and stir the rest of the Colours and mingle them together ; pour out the Colour first , that you may the better know what quantity of the sadder will serve . FINIS . 
A09198	----	The gentlemans exercise Or an exquisite practise, as well for drawing all manner of beasts in their true portraitures: as also the making of all kinds of colours, to be vsed in lymming, painting, tricking, and blason of coates, and armes, with diuers others most delightfull and pleasurable obseruations, for all yong gentlemen and others. As also seruing for the necessarie vse and generall benefite of diuers trades-men and artificers, as namly painters, ioyners, free-masons, cutters and caruers, &c. for the farther gracing, beautifying, and garnishing of all their absolute and worthie peeces, either for borders, architecks, or columnes, &c. By Henrie Peacham Master of Artes. Graphice Peacham, Henry, 1576?-1643? 1612 Approx. 274 KB of XML-encoded text transcribed from 92 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2003-01 (EEBO-TCP Phase 1). A09198 STC 19508 ESTC S114350 99849576 99849576 14733 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A09198) Transcribed from: (Early English Books Online ; image set 14733) Images scanned from microfilm: (Early English books, 1475-1640 ; 1078:8) The gentlemans exercise Or an exquisite practise, as well for drawing all manner of beasts in their true portraitures: as also the making of all kinds of colours, to be vsed in lymming, painting, tricking, and blason of coates, and armes, with diuers others most delightfull and pleasurable obseruations, for all yong gentlemen and others. As also seruing for the necessarie vse and generall benefite of diuers trades-men and artificers, as namly painters, ioyners, free-masons, cutters and caruers, &c. for the farther gracing, beautifying, and garnishing of all their absolute and worthie peeces, either for borders, architecks, or columnes, &c. By Henrie Peacham Master of Artes. Graphice Peacham, Henry, 1576?-1643? [10], 115, 120-121, [1], 121-174, [2] p. : ill. (woodcut) Printed for Iohn Browne, and are to be sold at his shop in Fleet-street in Saint Dunstanes Church-yard, London : 1612. The page after first 121 is numbered 118. Includes index. With a final errata leaf. A reissue, with cancel title page, of: Graphice. Also published as part 2 of: The compleat gentleman, 1634. Reproduction of the original in the Bodleian Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). 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Keying and markup guidelines are available at the Text Creation Partnership web site . eng Drawing -- 17th century. 2002-02 TCP Assigned for keying and markup 2002-03 SPi Global Keyed and coded from ProQuest page images 2002-04 TCP Staff (Michigan) Sampled and proofread 2002-04 Olivia Bottum Text and markup reviewed and edited 2002-05 pfs Batch review (QC) and XML conversion The Gentlemans Exercise . Or An exquisite practise , as well for drawing all manner of Beasts in their true Portraittures : as also the making of all kinds of colours , to be vsed in Lymming , Painting , Tricking , and Blason of Coates , and Armes , with diuers others most delightfull and pleasurable obseruations , for all yong Gentlemen and others . As also Seruing for the necessarie vse and generall benefite of diuers Trades-men and Artificers , as namly Painters , Ioyners , Free-masons , Cutters and Caruers , &c. for the farther gracing , beautifying , and garnishing of all their absolute and worthie peeces , either for Borders , Architecks , or Columnes , &c. By HENRIE PEACHAM Master of Artes. LONDON , Printed for Iohn Browne , and are to be sold at his shop in Fleet-street in Saint Dunstanes Church-yard . 1612. TO THE RIGHT VVORSHIPFVL AND VVORTHIEST PATRONE OF ALL Learning and Excellencie , Sir EDMVND ASHFIELD Knight , one of his Maiesties d●putie Lieutenants o● the Countie of BVCKINGHAM . SIR , as to be excellent in anie skill is very rare , so the fauorers of excellencie are not euerie where to bee found , whom when by our good happe we find ; I know not by what Sympathy we are drawne to admire and honour them aboue all other creatures , as the Saints and Soueraignes of our affections and deuices : few they are I confesse , and so few , that if by euents fore-past we may iudge of things to come , I feare me ere many yeares , euen the most necessary Artes to our posterity erun● pos●liminio reuocandae , so great a coldnesse hath benummed our times . I cannot much blame the Italian , though he accounts vs ●ull , and other nations , that haue the wit to worke vpon our idlenesse , which I can impute to none other cause , then the want of incouragement from the better sort . Our countrymen being as happy in their inuention as the best stranger of them all . For mine owne part , I hope I shall not be imagined to speake as Demetrius did for his siluer Images , as gaining ought heereby , since by profession I am a Scholler . Onely I am sory that our courtiers and great personages must seeke farre and neere for some Dutchman or Italian to draw their pictures , and inuent their deuises , our Englishmen being held for Vaunients . To which end as wel for their sakes who are as yet yong practitioners , as in regard of many yong Gentlemen in this Kingdome , who being naturally inclined hereunto , want fit directions to the attaining of this commendable skill , so many waies necessarie , ( fauoured in times past of the greatest Monarches , and of late daies practised euen by Princes , and the greatest personages themselues , as Francis the first , king of France , Charl●s Emanuel Duke of Sauoy , with many others who are reported to haue beene excellent with the pencill ) I haue drawne and collected together the most true and easie grounds of drawing , mingling and ordering all maner of water colours for limming , certaine obseruatiōs for perspectiue and the light , the manner of annealing in glasse &c. together with a short discourse of Armory , all which togither with my selfe ( in regard as wel of that dutie I owed to your selfe for many fauours towards me at your Chesham , as that you are generally known to be a principall fauourer of all skil and scholership ) I offer vp vnto your censure , of whom most humbly I take my leaue from Richmond . Who is most affectionately deuoted vnto your Worship , HENRY P●ACHAM . To the Reader . IT is now three yeares since ( friendly Reader ) I published this short discourse of the Art of drawing , for the benefit of many young Gentl●men , who were my Schollers for the Latine and Greek tongues , which when I saw it found some sauour generally with the world , being since quite worne out of presse , I was encouraged to take some further paines in the same , not with any desire of Title in this age of blotting papers , since I affect nothing more then silence , and desire nothing lesse then ●he censure of the vulgar . But that I might hanc ornare Spartam , and finish with a more polished hand the modell , which before I had so rawly begun , I haue ( it is true ) bestowed many idle howres in this well-busied Art , which perhaps might haue beene worse spent , yet in my iudgement I was neuer so wedded vnto it , as to make it my profession , but rather allowed it the place inter splendidas nugas , and those things of accomplement required in a Scholler or Gentleman . I speake not any whit to the disgrace of so worthy a skil , or to discommend the true and necessarie vse thereof , but to giue my scholler an It●m , that like a simple woer he should neu●r leaue the Mist●esse to court the maid , but esteeme himselfe better graced by propounding at the table Aliquid Cedro dignum ( as King Alphonsus of Arragon was wont merily to say ) or making good an argument in Diuini●ie or Philosophy , then by intimating his skill with th● pencill or insight in the Chordes of Musicke , which perhaps he that holds his trencher can excell him in . Quintus Fabius could draw and paint , yet he was a graue Counsell●r . Epaminondas could play or sing excellently to his harpe or Viols , but Iustine ( which was his true glory ) addeth that hee was a man endued with such learning , and so great experience in Militarie affaires , that in him alone , and at once , sprang vp , and died the glory of the Thebanes . Socrates being aboue three score yeares of age , spent one houre in a day with Conus a Musitian in playing vpon the Organs , if he had spent aboue , I thinke we had not knowne him by the name of Philosophorum Parens . And whereas Aristotle designing foure principall exercises , wherein he wou●d haue all children in a well gouerned Citie or Commonwealth , brought vp and t●ught , as namely Grammatice or Grammar , Gymnastice , or exercising the bodie by wrastling , running , riding , &c. Graphice or vse of the Pen in writing faire , drawing , painting , and the like ; lastly , Musicke , his meaning is , Vt ad seria magis studia capessenda idonei reddantur . The same vse and none other I wish to be made of drawing . Concerning th●se directons I haue giuen , they are such as I thought , in respect of their breuitie and plainen●●se , fit for the cap●citie of the young learner , for whom th●y were first and principally intended , they are mine owne , not borrowed out of the shops , but the very same Nature acquainted me withall from a child , and such as in practise I haue euer found most easie and t●ue . I may perhaps be snar●●dat by some few obscure Artizans , that affect th●ir base priuate gaine before a generall commoditie : but if any thing herein ( Reader ) shall content thee , I care not what the other say : the worst hurt they can do me is to draw my pic●ure ilfauoredl● : and perhaps I could requite them as Hipponax the Satyrist did : But knowing enuie to rest in none but the most base and degenerate mind●s , I hope of thy kinde acceptance of what I heere of●er thee , since it proceedeth from no priuate respect , but from a willing and free mind , either to pleasure or to profit thee . The most assured friend to all that loue or learne this Art , Henry Peacham . Authoris ad Zoilum Epigramma . ZOile , vicat●m dum Criticus ●mnia lustras , Blattaque li●ents dente aliena voras , Vsque licet nostrum ieiunus rode libellum Qui tibi , ( ni fallor ) * mille venen● dabit . Eiusdem de multiplici picturae vsu ad ingenuos adolescentes . QVisquis es , antiquam quem discere iunerit artem , Mentiri e●figies r●rum nitidóque colore ; Non te poenite at nostrum triuisse libellum . Seu te delectet diuinilectio verbi , N●sse locos , vbi prima dedit fundamina mundi Conditor omnipotens , regni quis limes Ede●● ; Structura ingentis templ● , q●●lesque fu●ssent Illius ornatus , Sanctiquae foederis arca , Indignumque solun● recut●tae visere gentis , Quasuè redux coelo , te●ras c●lcauit I●sus . Seu cup●● herbarum Medicus cognoscere formas , Fructuum & ignotas species , quas Indica tellus Gignit , & ad nostras toties aduexerit or as : Siue doces stellas radio , coelique mea●us , Quà micet Andromedae igniculus , quà frigidus Axis : Quaque patent Hyades rutilae , ●●mb●sus Orion , Candid● quo proper●t nitidoue Galaxia flexu . Aut mu●t Occanum , fi●● tent●sse carina , Littora v●surus , tot Persi●●●oeta ●oeta l●pillis : Quaeue stupenda vomant s●pic●●fl●a flumina Nili ; Africa & horrendis enixa est monstra figuris : Infames scopulos , immania sc●ptra profundi , Quae fuerit Troiae facies , vbi Pergama quondam , Quis Romae antiquae locus , & Carthaginis altae , Laurifer● cingant qui colles Thessala Tempe . Hinc numerosa tibi contingant stemmata , longè Ductaque ad ignotos olim ventura nepotes , Pignora non ingrata , animi ac virtutis auîtae , Oráue dehi●c cupias Dominae gestare decorae , Cum qua nec forma , certet Priameia virgo , A●t fidi amissos vultus lugebis amici , Cui dabis amplex●s frustra , frustrà oscula figes , Ingemis at que animum specie dum pascis inani , H●c PICTVRA tuis vel singula reddet ocellis . Ad D. Henricum Peachamum amicum singularem , & in pictura exercitatissimum . GRammaticus , Pictor , dum Music●● , esq Poeta , His cunctis mira dexteritate vale●s : Instruis atque alios his cunctis , nemo meretur , De patria meliùs , iudice Aristotele . Ioannes Thorpe . H P ICH DIEN THE FIRST BOOKE of Drawing and Limming . CHAP. I. The excellency , and antiqu●tie of Painting , the manifold vses , and necessitie of the sam● . PAinting in generall called in Latine Pictura , in Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , is an Art , which eyther by draught of bare lines , liuely colours , cutting out or embossing , expresseth any thing the like by the same : which we may finde in the holy Scripture both allowed and highly commended by the mouth of God himselfe , where he calleth Bezaleel and Aholia , men whom he hath filled with the spirit o● God in wisedome and vnderstanding , and in knowledge , and in all workmanship , to finde out curious works , to worke in gold , and in siluer , and in brasse , also in the art to set stones , and to carue in timber , &c. There plainly shewing , as all other good Arts , so caruing or drawing to be an especiall gift of Gods Spirit . In another place he goeth farther , and as it were challengeth solely to himselfe the mastership of the companie in that his Maiestique Erotema in Iob in these words . Hast thou giuen the pleasant wings vnto the Peacocks ? and wings and feathers vnto the Ostrich ? whereas disabling the wit and skill of man by his owne excellency , he giueth vs to admire that ad●irable wisdom of his in distinguishing so many beautifull colours from the wings of the proud Peacocke and Ostrich , euē vnto the poore Butterflie , so that astonished with Aristotle , I may say euen in these little painted creatur●s there is 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , some wonder or other , and in the very border of one of their wings an euident ●aste of the diuine omnipotencie . But as Picture hath beene allowed of God , so it hath aswell among the Christians as heathen beene honoured from all antiquitie , and euer found fauour with the greatest wits & mightiest Monarches of the world , insomuch as Aristotle in his Poli●iques accounteth it amongst those liberalia Paideumata , and counselleth it as an especiall thing to be taught vnto children , and not long after by the authoritie and labour of Eupompus a learned Geometrician , it was taught in all Schooles throughout Greece . But some wil tell me Mechanical arts , and those wrought with the hand are for the most part base , and vnworthy the practise of great personages , and Gentlemen : I confesse Diuine D● Bartas hath said of such L'e●r esprit ●e'n ●uit a● bout des doigts . But for as much as their ends are honest , and themselues but the exercises of pregnant and the finest wits , I see no reason ( as one saith ) why nature should be so much wronged in her intention , as not to produce at her pleasure that into action whereto she is well inclined . And surely it can bee no more disgrace to a great Lord to draw a faire Picture , then to cut his Ha●kes meat , or play at Tennis with his Page . Achilles thought it no scorne to be so cunning in cookery , that when certaine Embassadors came vnto him , he with his owne handes dressed them a great and royall Supper . And Homer to no small commendation of his Vlysses ( vnder whose person he ma●keth an absolute wise man ) reporteth , that he could make his ships himselfe . Qu●nt●s Fabius ( whose familie was one of the noblest in Rome , and after had the sirname of Pictores ) with his owne hands painted the wals of the Temple of Salus , and wrote his name vnder his owne worke . Pomponius Atticus a man of singular wisedome , and so much beloued of Cicero , after he had composed a Poeme of sundrie deuises , beautified the same with pictures of his owne drawing . The Emperour Constantine got his liuing a long time by painting , and in Plinies times certaine festiuall daies were yearely appointed at Corinth for the exercise of picture for great prizes & wagers . Since Painting then hath beene so well esteemed , and of it owne nature is so linked with the other Artes , as many of them can hardly stand without it , I thinke it not for pleasure onely , but of necessitie most needfull to be practised of all such , that eyther studie the Mathematikes , the art Militarie , or purpose to trauell for the benefit of their friends and countrey . I haue heard many excellent Captaines and Schollers lament so great a want in themselues , otherwise being most absolute . My Scholler then I would make choise of , should be a young Gentlman , if it might be , naturally inclined to drawing , at least a welwiller and louer of it . And I would haue in him , as Tully wisheth in his Orator , aliquid redundans & quod amputem , A prety ●antasticall head , and something , as chippes from the sound timber to be pared off , to which commonly the best wits are subiect , withall daily and contnuall practise , were it but Apelles his vnica linea , without which it is impossible for him to attaine to ready draught , much lesse to excellency in generall . The beginning and progresse of Painting . CHAP. II. A comparison betweene the Painters of old times , and the latter , the great value and prizes of Pictures , &c. AElian saith , Painters at the first were such bunglers , and so rude , that when they drew a Cow or a Hog , they were faine to write ouer the head what it was , otherwise the beholder knew not what to make of it ; but in short time they grew to that excellency , that they were honoured welnigh as Gods , as Metrodor●s the Athenian , of whom , as of some other that were the most famous in their times I will speake a word or two , as well for methode , as the recreation of my Reader . Apollodorus among the Athenians was the first that did expresse the life with colours . Euphranor hath attributed vnto him the inuention of Emblemes , Impr●sa's , and the like heroicall deuises , and was the first obseruer of Simetry , whereof he wrote many volumes . Parrhasius most of all excelled in blacke and white . Pyreicus ( as Volaterane saith ) was onely famous for counterfaiting all base things , as earthen pitchers a scullery , Rogues together by the eares , swine tumbling in the mire , &c. whereupon he was sirnamed Rupographus . Aristides was the most excellent of his time for expressing sence and passion , as in that peece of his , of a mother deadly wounded , and giuing her child sucke , in whose face he expressed a deadly feare , as loath to denie it foode , and vnwilling to giue it the teate for feare of killing it with her bloud , which with the milke issued forth in great abundance . This Table Alexander caried with him to Pella . Protogenes was the first that could lay his colours so artificially , that one being worne off , a fresh should succeede to the number of foure or fiue , when hee would vndertake any excellent peece , he vsed to di●t himselfe with pease , lupines , and the like , that his inuention might be the more quicke and refined . Amongst his works his Ialysus or Bacchus was the chiefe taken at the Rhodes by Demetrius Poliorcetes ; which he so esteemed , that ( as Plutarch reports ) hee sware he had rather loose all his fathers Images then that Table , AElian saith it was seuen yea●es in making . Ap●lles who liued in the 1012. Olympiade● excelled all the rest , yet for action he gaue place to Amphion : Among his peeces , the picture of Alexander at Ephesus , and his Venus which he left at his death vnperfect in Chios were the chiefest . I will passe ouer the artificiall peeces of Zeuxis , L. Manlius , Pacuuius a Tragedian Poet , Metrodorus before named , an excellent Painter , and withall a great Philosopher , who when Lucius Paulus a great man in Rome wrote vnto the Vniuersitie of Athens to prouide him a graue and learned Schoolemaster for his sonnes , was chosen by the generall consent of the whole Vniuersity , as the fittest man both to bring vp his children , and to adorne his triumphes . Nothing inferiour to these rare Artistes ( in my iudgement ) haue beene our painters of late time , and many now liuing in sundrie parts of Europe , who if they could finde an Alexander or another Demetrius , would remaine as famous to posteritie , as Apelles , or the best of them all haue done to vs , neither do I suppose euery thing to haue beene excellent , which ouer credulous Authors haue writ , and ignorant antiquitie admired , the best artes being then in their in●ancie , whose perfection is not distilled to the puritie , vntill it hath runne through many ages : what times shall not euer admire that excellent peece of Raphael Vrbine in the Church of S. Victore in Millane : the workmanship of Michael Angelo of the last iudgement in the Popes Chappell in Rome , Her●ole di Ferrara , and his notable art seene at this day in Bononia Pisanello , who so beauti●ied ●he Church of Laterane in Rome , Bellino the Ven●tian , whom the Turke so royally rewarded , what Apelles could excell Petro de Burgo for perspectiue , Albert Durer for drapery , Michael Angelo for action , Goldzius for good standing , and bold action , Hans Holben for sence and the life , Marcus de Siena for Sandtschap , with infinite others , as Titianus , Antonio de Corregio , Caesar Sestius , Zenale Triuiliano , Francesco Melzi , nor must I be ingratefully vnmindfull of mine owne counrriemen , who haue beene , and are able to equal the best , if occasion serued , as old Mr. Hiliard , Mr. Isaac Oliuer inferiour to none in Christendome for the countenance in small , my good friend Mr. Peake and Mr. Marqu●s for oyle colours , with many more vnknowne vnto me . Neither doth our countrey want her Patrone● and fauourers of this worthy skil , as first the Kings most excellent Maiestie , Noble Prince Henry , to whom I presented not long since his fathers Basilicon Doron , which I had turned a little before throughout into Latine verse● And Emblemes limmed in liuely colours , which he gratiously accepted . The Right Honourable Robert Earle of Salisburie , and Lord high Treasurer of England , who as he fauoureth all learning and excellencie , so he is a principall patrone of this art , hauing lately imployed Mr. Butler and many other excellent Artistes for the beautifying of his houses , especially his Chappell at Hatfield . The right Honourable the Earles of Arundell , Worcester , South-hampton , Pembrooke , Suffolke , and Northampton , with many Knights and Gentlemen , to whom our masters are daily beholden . Now least you should esteeme ouer basely of this art , and disdaine to haue your picture , because you may haue it for a trifle ( which I account a fault in many of our good workemen ) I will tell you the prices of some peeces of note aswell in ancient times , as of late daies . Caesar the Dictator redeemed the tables of Ai●x and Medaea for eightie talents , which amount to 24000 French crownes : I speake with the least , because take the lesser Athenian talent ( for generally where you finde this word Talentum in any Latine Author , as in Tullie his Oration pro C. Rabirio Postumo , and in Act : in verrem , and some other places , where you shall finde it oftenest , you must vnderstand the Athenian talent , except you haue the addition of AEgineum , Syrium , Babylonium , &c. ) the greater ( as Budaeus saith ) was bigger by a third part . King Attalus paid for one of Aristides peeces an hundred talents . Hortensius the Orator gaue for a table of the Argonauts 144. talents . Mnason paid to Asclepiodorus for the twelue Gods after three hundred pounds sterling a peece . Candaules King of Lydia gaue to Bularchus for a peece of his , the weight of the same in gold . The Duke of Millane rewarded Raphael Vrbine as many ducats as couered the picture of a great breadth which he had made for him . Pope Innocent the eight , a worthy louer of all learning , and ingenious artes , bestowed vpon Andrea Mantega his painter in the Beluedere of Rome two thousand ducats for a monthes paines . I haue also heard what a round summe was offered by strangers for the Altar cloth of St. Magnus in London ; sundrie other examples I might alledge , but I haue said enough to shew that art hath euer beene well paid her hire , and the professors thereof beene had in esteeme with the worthiest and wisest men . CHAP. III. A Painter not priuiledged to draw what he list , the manifold abuses of painting : whether the picture of the Trinitie , of our Sauiour Christ , according to his humanitie , the Images of the Saints and their passions : The signe of the Crosse may be lawfully drawne or not , &c. AS I would haue my young Scholler take his pleasure , so I would not haue him to buy it at ouer deare a rate , either with losse of ouer much time in the maine profession , or of his eares for a libeller , neither to thinke with Horace , he may quidlibet audere , for there be many things which as well Nature or Religion would haue freed from the pencill ; what hurt hath that beastly booke of Aretines done abroad in the world , and what lewde art is there showne in many printes and peeces that are daily brought ouer out of Italy , Flanders , and other places , which are oftner enquired after in the shops then any other , little vse else is there of most of the wax pictures of Curtizans in Rome and Venice being drawne naked , and sold vp and downe as Libidinis Fomenta , surely I cannot but commend art in them , as many times there is excellent good , but verily doe hate their wicked makers and abhominable ends . Touching the picture of the Trinitie , as commonmonly it is drawne , first God the Father like an olde man , betweene his knees Christ vpon the Crosse , and ouer his head a Doue resembling the holy ghost , I hold it basphemous , and vtterly vnlawfull , and whatsoe●er the Romane Catholickes thinke of it , both the Scripture , Councels , and fathers , nay many of the best Diuines of their owne side are either vtterly against it , by Bellarmines owne con●ession , or speake very slende●ly , for it as tolerable by the Church , but no waies allowable by the word of God : as namely , Abulensis , Durandus , Peresius , and many others , though in plainest termes : Lorichius a man of great learning and sound iudgement amongest them , vtterly condemnes the same in these words . Est praeterea abusus imaginum , quod sanctam Trinitat●m praesumpsimus exprimere , quod haeresis est pestilentissima , quid enim magis sanctae Trinitati aduersum , atque Patrem effingere senis silicernij effigie , filium iuuenis formam habentem , Spiritum Sanctum alitis speciem volitantis referentem ? Quid Idiotae ex tali libro didicisse poterint ? errorem sane & Haeresim . Wherein Caluin and our Protestant writers do agree strongly and truly maintaining the contrary by these places of Scripture , Exod. 20. Deut. 4. Esay . 40. and 46 lastly . Act. 17. To these places it is againe answered by Bell●rmine , Cardinall C●ietanus , Catharinus , Diegus , Pay●ia , and others , that it is lawfull to expresse the Trinitie or the picture of God the Father , in such forme as he visibly appeared , sometime like a man , and sometimes like an Angell , the places they alledge are . Gen. 1. Gen. 3. Gen. 28. Exod. 33. Isaiae . 6. Micheae . 3. Regum . vlt● Amos. 9. Daniel .7 . Moreouer they alledge Saint Augustine , who thought that the Trinitie appeared vnto Abraham . Gen. 18. But howsoeuer these and other places do seeme to make for the lawfulnes of it we are to hold it an impious thing , & not to be tolerated , as being expresly forbidden by the word of God , and giuing occasion of the infinite errors in the Church . Va●ro in his time , said that the Images of the Gods , tooke away the feare of them , and increased error . Of the Pictures of our Sauiour Christ , the Apostles and Martyrs . NEither by any meanes may the pic●ure of our Sauiour , the Apostles and Martyrs of the Church be drawne to an Idolatrous vse , or be set vp in Churches to be worshipped . Saith the Elibertine Councell : Placuit in templis non haberi picturas , ne quod colitur , vel adoratur , in parietibus depingatur : which is , It hath pleased vs ( saith the Coūcel ) that pictures be not set vp in Churches , nor any thing be painted vpon the walles , which is reuerenced or worshipped . Epiphanius moreouer in an Epistle to Iohn Bishop of Ierusalem , saith it is against the authoritie of the Scripture , that an Image be hanged vp in a Church , there speaking of the Image of Christ , or some other Saint which he found painted vpon a cloth . Adrian the Emperour caused Churches to be built for the Christians without Images . Beside the holy Scripture , these with many other be the arguments of our writers : whom Bellarmine after his manner answereth seuerally . That pictures of these kindes may be drawne , and set vp to draw the beholder ad Histo●icum vsum , and not ad cultum , I hold them very lawfull and tolerable in the windowes of Churches and the priuate houses , and deseruing not to bee beaten downe with that violence and furie as they haue beene by our Puritanes in many places . Touching the picture of Christ according to his humanity I would scarce change it for the best Iewel in the world , if I had it truly drawne , neither of the lawfulnesse thereof I thinke any wise man will make question . Tertullian who hath liued within the first fiue hundred yeares reporteth that the picture of Christ was engrauen vpon the communion Cup carrying the lost sheepe vpon his shoulder . Gregory Nyss●nus in his Oration for Theodorus the Emperour , saith , the Emperour was delighted when he saw the Temple of God beautified with stately buildings , & with sundrie ornaments within , where the pain●er had shewed the excellency of his art in setting forth the valiant sufferings of the Matyrs , their torments , the cruell countenances of Tyrantes their violence , the fiery furnace , the blessed ende of those valiant champions . &c. Zozomen and Nicephorus write that in the time of Iulian the Apostata , the Image of Christ , which was at Panneades , was brought by the Christians into one of their Churches and there preserued . Nazianzen grieued much that a Citie of Dioecesaria was to bee razed and destroyed , wherein was a Temple , which himselfe had adorned with sundrie statues . Of the Crosse. THough the crosse be of the same nature with the other forenamed , I am moued to say something particularly of the same , since being lately in company of a Gentlemā of this land wholy deuoted to Puritani●me , a reasonable good Scholler , & one , who , as he told me in his time had beene a burgesse of the Parliament house , we had a discourse of the Crosse , I affirming that it was an ancient and honourable bearing in armes , naming many of our Nobility and Gentrie that bare it : yea but ( quoth he ) our heralds in former times were to blame , for giuing allowance to such relikes of Idolatrie , and suffering them so publikely to be carried vp and downe vpon Coaches . But leauing such pure iudgements to their singularitie , we are satisfied , since we know from time to time● it hath beene allowed by the Church , not to any superstitious vse , but because the ancient Christians thought that their glory wherewith the Gentiles had so long scorned and di●graced therewithall Constantine the Emperour gaue the Crosse in his standard , as Eusebius witnesseth , who also hauing ouercome Max●ntius , erected a Crosse in the chiefest place in all Rome with these words , hoc salutare signum . Moreouer he caused his statue to be made with a Crosse in his hand . Theodosius forbad it should be painted vpon the ground . Arcadius his sonne caused it the first to be stamped vpon his coyne in gold , ( which kinde of Crosse I make no question but of all sortes is loued well enough ) as Prosperus writ●th , de praedict . & promis . part . 3. cap. 34. Tiberius , when he saw the Crosse cut in Marble , and lying vpon the ground , caused it to be digged vp , and set vpright , saying , wee ought to signe our forehead and brest with the Crosse of the Lord , and we ●read it vnder our feete . Chrysostome saith , that in his time ( beside the Ceremonie of vsing it in Baptisme and the Lords Supper ) it was painted vpon beds , Armour , Ships , &c. Touching the Ceremony of signing with the same , as we vse it in Baptisme to say any thing thereof , were beside my subiect , neither were it needfull since the meanest diuine can tell , that it hath anciently beene vsed and allowed by the Fathers , as Basil ( who affirmes it to be one of the Apostolicall traditions ) Cyrill , Tertullian , St. Cyprian , and lastly , Saint Augustine , who saith , that except the foreheads of the beleeuers ( as childrē baptized ) be signed with the sign● of the crosse , the forme of baptisme is not as it ought to be , but enough if not so much of this subiect . CHAP. IIII. Pencils and other Instruments necessarie for drawing . MAny waies I know there haue beene deuised to teach draught , as namely , by crossing the patterne , then your owne papers with equall spaces , filling the same as you finde in your example : also drawing vpon a lanterne horne with a paper blackt with a torch , and such like : neither do I mislike any such conuenient help to a yong learners furtherance ; but to learne to the purpose , and to grow cunning in short time , you should rather fall to it onely by your owne conceit and iudgement , and let those toyes goe , you must first get you blacke lead sharpned finely : and put fast into quils , for your rude and first draught , some ten or twelue . Moreouer you must not be without as many Sallow coales , sharpned at the endes : you shall chuse them thus , they are more blew and finer grained then the other coales , smooth ( being broken ) like satten : you shal sharpen them vpon one of your ●ingers , as also your blacke lead ; other coales will quickly breake , and neuer point sharpe . Get you also a small paire of brazen compasses and fine rule , for taking the distance , if you follow a print ; and be not without the crums of fine manchet or white bread , to rubbe out your lead or coale , when you haue done amisse , or finished your worke . Scriueners and writing Schoolemasters in the countrey that teach to write , haue diuers small pensils of broome , with which they shadow great letters with common Inke in coppy bookes very pretily : they are made in this manner , take a broome stalke about the bignesse of a spoone ●andle , and cut it euen at the end , when you haue done , chew it betweene your teeth till it bee fine and grow heary at the end like a pensill , but I care not how little you vse them , because your pen shall do better , and shew more art . For your drawing pennes , neuer be without twentie or thirtie at a time , made of Rauens and goose quils ; your Rauens quilles are the best of all other , to write faire , or shadow fine , your goose quils serue for the bigger or ruder lines . To draw with drie colours , you may make long pastils , which you shall doe by grinding red lead , or any other colour with strong wort , and so roule them vp into long roules like pensils drying them in the Sun , some put heereto a little new milke . CHAP. V. The first Practise . I will giue you another example of a goblet or cup. First I make a halfe or semicircle for the bowle , downe the midst of which ( as low as I would haue the foote to come ) I draw my Diameter or straight line , which being done , the worst is past : you must now marke : I am not tied to make my bowle as round as the circle , but long or what fashion I list , no other vse hath the Circle there then to guide me euen on either side , whether I make it broad or narrow , long or short , embosse it , or how , soeuer , the other part of the line causeth me to make the foote euen as you see . In these and such like , you may at your pleasure finde infinite varietie to ●set your selfe a worke with , till you are able to fall to worke by your owne iudgement ; which you shall doe in your next and second practise . CHAP. VI. The second practise . YOu shall , next after your hand is growne readie in the foresaid proportions , practise to draw small and easie things , comming as neere your former examples as may be , by your conceipt onely : as a cherry with the leafe , the shaft of a steeple , a single or canker Rose , &c. wherein you shall begin to take some delight , and finde no great difficulty . But in drawing these and whatsoeuer else , I must not forget to tell you ; that you must be perfect and quicke in the generall or outward lines , and giue them a reasonable good proportion , ere you fall to shadowing or tricking your worke within : wherefore I would haue you make an assey sixe or seuen times at the least for the generall proportion onely : if at first it be not to your minde , as for example in drawing of a Rose , be sure that the compasse of it be not faulty , ere you cast out the leaues by fiue equall lines , or in making a womans ruffe , that you score it out first narrow in the necke , then wider from the cheekes , and narrow againe vnder the chin very truly , ere you add● the lace of setting , a●l which is done with one line , which I call the g●nerall or extreme . For those formes that are mixed and vncertaine , and where your circle and square can doe you no good ( being left only to your Idea ) as in a Lion , a horse or such like : you must worke altogether by your owne iudgement , and winne the proportion by daily practise , which will seeme very harsh and strange vnto you at the first , but to helpe your selfe herein you shal doe thus : hauing the generall notion or shape of the thing in your minde you meane to draw ( which I doubt not but you may conceiue and remember as well as the best painter in the world , though not expresse according to the rules of art ) draw it with your lead or coale after your owne fashion , though neuer so badly , and lay it from you for a day : the next day peruse it well , bethinke your selfe where you haue erred , and mend it according to that Idea you carry in your mind , in the generall proportion : when you haue thus done , lay it by again till the next day , & so continue for fiue or six daies together , correcting by degrees the other parts euē so ●mal vains as your discretion wil serue you , this may you do with fortie papers at once , of seueral things , hauing done what you can ( though not to your liking ) confer it by the like , some excellent print or patterne of the same , vsing no rule or compasse at all but your owne iudgement in mending euery fault lightly , and with a quicke hand , giuing euery place his due ; whereby you shall of all sides meete with your errors , and finde an incredible furtherance to your practise : though hereunto is required I must confesse , a strong imagination , and a good memory , ●hich are the midwiues to this art and practise as in all things else , the nurse that brings it to full growth and perfection . CHAP. VII . Of drawing the face or countenance of a man. SInce a man is the worthiest of all creatures , and such pleasing varietie in countenances so disposed of by the diuine prouidence , that among tenne thousand you shall not see one like another ( as well for breeding delight , as for obseruing a methode after you haue practised according to your former directions in other things ) you shall beginne to draw a mans face , in which as in all other creatures you must take your beginning at the forehead , and so draw downward till yo● haue finished . The visage or countenance is ( for the most part ) drawn but three manner of waies , the first is full faced , as commonly we see King Henry the 8 drawne : And be carefull to giue as precise an euennesse to one side as to the other ; causing both your lines to meete at the tip of the chin : your Diameter guideth you for the euen placing ( as I said ) of nose and mouth , your other line for the iust opposition of the eyes betweene which in distance for the nose , alwaies leaue the space of an eye . The end of the nose in ordinary proportion must be brought no lower then the middle of the cheeke , from whence to the chin is for the most part as farre , as from thence vpward to the eye-browes . The nose of a full face must not be expressed with apparant lines , but with a very fine shadow on each side , as you see . To make an angrie or sterne countenance , let your brow bend so , that it may almost seeme to touch the ball of the ey ; at what time you must also giue the forehead a fine wrinckle or two , and withall the vpper part of the nose betweene the eyes . A great conceipt is required in making the eye which either by the dulnesse or liuely quicknesse thereof giueth a great taste of the spirit and disposition of the minde , ( which many times I will not denie may be aswell perceiued by the mouth , and motion of the bodie , ) as in drawing a foole or idiot , by making his eies narrow , and his temples wrinkled with laughter , wide mouthed , or shewing his teeth &c. A graue or reuerend father by giuing him a demisse and lowly countenance , his eie beholding you with a sober cast , which is caused by the vpper ey●lid couering a great part of the ball , and is an especiall marke of a sober and staied braine within . Nazianzen when he beheld a Iu●ian ( long time before he was Emperour , at Athen● , at the very fi●st sight of his countenance , ( Presaging his future disposition ) burst forth into these words ; Deus bone , quantum malum souet Romanum imperium : for ( as he witnesseth himselfe ) there was not any signe of goodnes or towardnes in him , his eies ●owled in his head , wandring and turning fearefully now this , now that way ; sparkling with furie & anger , his nose was growne wrinckled with scoffing and deriding , the rest of his countenance tending to mockery , his laughter so immoderate , that his whole bodie would shake therewith , his shoulders shrinking to and fro , to his necke : his legs and feete seldome standing still ; his questions and answeres supitious , rash , and often interrupted by short fetching his breath ; by which signes the good man foresaw his inbred tyranny and vile disposition , which after burst forth into an horrible persecution and open rebellion against God and his Church . A Graecian Captaine in like manner noting very often the cast of the eye and countenance of Scylla , together with his gesture and motion of body , vsed these words : it is impossible but this Gentlemen one day should prooue a great commaunder , and I maruaile that he is not aduāced al this while . D●gonius an Earl of Flanders , when he should haue bene put to death by the Turke , a Phisiognomer wisht that he might not die by any meanes , because if he liued he would sow much dissention among the Christians , which after fell out to be true , by which examples and the like , I proue that there is a certaine Indictum , or notice of the minds disposition inly imprinted by nature euen in the countenance , and many times in the eie or mouth , which ( as I haue said ) you must be carefull , as you shall haue occasion , warily to obserue . Now for the mouth ( though least of all other any generall rule may be giuen for it , ) it consisteth principally of two lines , whereof one expresseth the mouth it selfe , the other the neather lip : the ouerlip is best showne by a shadow cast ouer the crosse line as you see ; which shadow and crosse line if you draw by the life must be hit at an haires breadth , and if your picture be little , you cannot thinke so small a thing as giueth or quite taketh away the touch and resemblance of the mouth : and to say truly● it will be the hardest peece of cunning that euer you shal meet withall : therefore you had neede cause the partie whom you will draw , to sit as we say , Vultu composito , without stirring or altering the mouth were it neuer so little : I haue many times beene much troubled about expressing the mouth as it ought , wherein you shall finde great difficultie , wherefore you shall best take it when the partie mindes you not , and to say the truth it is the best time of taking a picture . I haue neuer drawne any more truly , then when they haue beene busie in talking , at dinner , viewing some thing or other , and in this manner I haue often taken his Maiesties , sitting at dinner , or talking with some of his followers . I haue m●ny times wondred why I could among so many neuer finde any true picture of his Maiestie , or that did any thing neere resemblie him : I know not , but generally in his picture I ●inde two principall errors , the one in the complexion and haire , the other is in the mouth , which commonly they draw with a full and great nether-lip very apparant , wherein they commit the chiefest error , which good obseruatiō hauing auoided , I haue drawne him often with my Pen and Inke only vpon a faire peece of paper in an houre , more truly and like then the best peeces in oyle about the towne . CHAP. VIII . Of expressing passion in the countenance THe passions of the mind being diuers as loue , feare , ioy , anger , hatred , dispaire , desire , boldnesse , &c. must be expressed with great iudgement & discretion , though you shal better expresse them in liuely colours then with the pen , because palenesse rednesse , fiery eies &c. are adiuncts to the same . You shall expresse loue by making vultum sere●um , faire and pleasant , no where clouded with wrinckles , or furrowed with vnpleasing bendings , which are commonly effects of care , melancholy , anger , dispaire , and the like : first you are to giue the forehead a Maiesticke grace and height , a full eie which you shal make very pleasing by shadowing it , with a fine shadow at the bottome of the eye lid , and a little at the corner , a small & proportionable nose , the nosethrils not too wide , a cleere cheeke which you shall make by shadowing the same on one side , the mouth smiling which you shall doe by making a thinne vpper lippe , and shadowing the mouth line a little at the corners , and for as much as the kindes of beauties are infinite , if you would draw some rare peece for beauty , you should as Apelles was wont , frequent the Court or Citie , and imitate some excellent beautie or other . I was not long since extremely troubled with a peece of the Sea Nymp●es being all sisters , in whose faces I was to expresse a singuler and seuerall beautie , yet so like one another , that they might be knowne to be sisters , the historie is in the second of Ouids Metamorphosis . And Vi●gil describing the countenance of AEneas , express●●h with singular art the beautie and comelinesse which his mother Venus had bestowed vpon him in this manner . Os humerosque D●o similis , namque ipsa decoram Caesariem gnato genetrix , lumenque●uuentae , Purpureum , & laetos o●ulis afflarat honores . You shall shew ●eare in the countenance , by making of the eies to looke hollow , heauily and downeward , the cheekes fallen , the mouth close , the haire staring or hanging carelesly about the eares , I saw an excellent peece of this kinde done by Leonard Vincentio , done to the imitation of an ancient painter , which was a company of young men swimming , and vpon the sodaine surprized by the enemie , where you might see one putting his head into his shirt sleeue for hast , another running away halfe naked . Feare is described by our excellent Spencer to ride in armour , at the clashing whereof he lookes deadly pale , as afeard of himselfe . The like obseruations you are to keepe in the rest which you shall naturally finde described by our Poets , by Lomazius , and lastly in mine Emblems , so that it were needlesse for me heere to re●terate the same . CHAP. IX . Of the whole bodie . WHen you are growne something perfect in the face , and can draw the head indifferent well , you must be carefull to proportion the bodie thereafter , then the error of which , no one fault is more common with the most Painters : for you shall scarce see one among twentie but will draw the head too big , which if you obserue , you shall find in most pictures : helpe your selfe herein by ●e●ting a boy before you , causing him to stand which way you list , and so to wont your iudgement to the proportion by little & little : hauing finished the head , draw the necke , beginning it with one line from about the tip of the eare , then draw the other downe from the ball of the cheeke ( which is lessened on the other side ) as farre as you thinke good to the shoulder , where stay , till you haue shadowed it : the shadowes of the neck in a child or young woman are very sine , rare and scarely seene , but in a man the sinewes must be expressed , with the veines , by shadowing the rest of the necke , and leauing them white . For the proportion of the other parts ( because Lomazius hath preuented mee : whose booke though it be somewhat obscure● in any case I would haue you to buy , after you are well entred ) I will omit and shew you onely such eminences which by shadow must be necessarily expressed : after you haue done the neck : you are to expresse the wing or vpper part of the shoulder by shadowing it vnderneath , the brawne of the arme must appeare full , shadowed on one side , then shew the w●i●t bone therof , & the meeting of the veines in that place , the veines of the backe of the hand , & the knuckles , are made with two or three haire strokes with a fine touch of your p●●● the pappes of a man are showne by two of three fine strokes giuen vnderneath , in a woman , with a circular shadow well deepned , the ribs are so ●o be shadowed , as you doubt whether they appeare or no : except your man were starued , or you should draw death himselfe : the bellie shall be eminent by shadowing the flanke , and vnder the breast bone : the brawne of the thigh shall appeare , by drawing small haire strokes from the hip to the knee , shadowed againe ouertwhartly : the knee pan must be showne with the knitting thereof by a fine shadow vnderneath the ioynt ; the shinbone from the knee to the instep , is made by shadowing one halfe of the leg with a single shadow , the ankle bone wil shew it selfe by a shadow giuen vnderneath as the knee ; the sinewes must seeme to take their beginning from the midst of the foote , and to grow bigger the neerer they are to the toes . There is a great art in making the foote , wherein your shadowes must take place as occasion serueth , and to say the truth , so they must in the other parts , but naturally they fal as I haue said ; for teaching you the true shadowing of a naked bodie ; Goltzius is one of the best , whose prints aboue any other I wish you to imitate . CHAP. X. Of shadowing and obseruing the light according to the rules and infallible principles of perspectiue . A Shadow is nothing else but a diminution of the first and second light . The first light I call that which proceedeth immediately from a lightned bodie , as the beames of the sunne . The second is an accidental light dispreading it selfe into the aire or medium , proceeding from the other . Vnder this diuision are comprehended the other lights , as the light of glory is referred in the first . The light of all manner of reflexions to the second . Shadowes are threefold : the first is a single shadow , and the least of all other , and is proper to the plaine Superficies , where it is not wholy possessed of the light ; as for example . Generall rules for sh●dowing . YOu must alwaies cast your shadow one way , that is , on which side of the bodie you beginne your shadow , you must continue it till your worke be done : as if I would draw a man , I beginne ●o shadow his left cheeke the l●ft part of his n●●ke , the le●t side of the left arme , the left side of the left thigh , &c. leauing the other to the light , except the light side be darkned by the opposition of a●ot●er bodie , as if three bowles should stand together , that in the mi●st must receiue a shadow on both sides . 2 All circular and round bodies that receiue a concentration of the light , as the light of a burning glasse , when it doth gath●r it ●elfe into a small center , must be shadowed in circul●r manner as thus : 4. Where contrary shadowes concurre and striue ( as those crosse winds about AE●eas his ●●●ip ) for sup●riority , let the nearest and most solide body be first se●ued . In the double and treble shadowes , let your first strokes be very drie for fe●re o● blotting e●e you crosse them . 5. It will seeme a hard matter to shadow a gemme or well pointed D●●●●n●●●hat hath many sides and sq●●●●s , and 〈…〉 ought : but if you 〈…〉 giue you , y●● 〈◊〉 easil● do it without 〈◊〉 . 6. All the 〈◊〉 pa●ticipate in the mediu● according to the grea●n●●●e or ●●akn●sse o● the light . ● . No bodie between the light , and our sight can ef●ect an absolute da●knes , wher●●re ● said a ●hado● was but a diminution of the light , and it is a great question whether there be any dar●nesse in the wo●ld or not . Bu● beca●se all manner of shadowes depend vpon the light ; I will briefely for your memory teach you by generall propositions what you are to obserue in the nature of the same , it being a matter of the greatest moment in picture , and wherein you shall exercise your iudgement with an incredible pleasure , it being one of the most delightfull secrets in nature . 1 Proposition . All light doth disperse it selfe vpon the obiect circularly , and againe the obiect enlightned affecteth the aire or medium in the same maner , th● reason is , because the round or Sphaericall figure as to all heauenly bodies , so it agreeth naturally to light , as the most absolute , the most perfect , and conseruatiue of all others , we finde this to be true if w●● but view the light through a hole or cre●ise in a sunshine morning , or about the ●●ame of a candle , hence you must learne in shadowing all circula● bodies to giue a circular light , except by some accident you are compelled to the contrary . 2 Prop●sition . Euery greater light dimmes and diminisheth the lesser , as for example the stars shine in the day time , yet we perceiue not their light , by reason of the great●r light of the Sunne , yet if you stand in the bottome of a well , you shal easily perceiue them and their motion , the reason is the light or beame of the starre being perpendicular or direct ouer your head , is of greater force then the beames of the Sunne comming oblikely or sideway ( for you must take it for a generall rule , that all beames or reflexions from the p●rpendicular are o● more force then the other broken & oblique , for example a ball being strucken hard downe with your hand , reboundeth backe in the same line with greater force then when it flieth sidewaies , so doth an arrow shot against the stone wall . ) Moreouer in an euening at a bonefire in the streete you shall hardly discerne any thing beyond the ●ire being your light hindered by the light thereof which otherwise you might well doe . 3 Proposition . Bodies lighted by night by ●ire , must haue a brighter ●ustre giuen them then by day , as I haue seene many excellent peeces of that nature , as the taking of Christ by night , sacking of Cities , bat●owling and t●e like , the reason is , because ●ire in the n●ght being compassed about with darknesse , enlightens the med●um more forceably and neerly . 4 Proposition . According to the diuersitie ( or as the Logicians terme it ) the intention and remission of the light , the colours of bodies are changed , as the ●eathers of birdes wings , cloth of sundrie colours , the Sea at morning and euen , and the like . 5 Proposition . Lightes neuer mingle in their Medium , as wee prooue by the shadow of many candles lighted once . 6 Proposition . In all concaue and hollow bodies that are capable of light as siluer basens , bowles , and the like , the light must be strongest and brightest in the center , the reason is from euery point of the concauity , the perpendicular lines meete and ioyne together in the Center . 7 Proposition . Euery Sphaericall bodie that giueth light , enlightens a lesser Sphaericall bodie according to the quantitie of his Diamete● : for example , by how much the Diameter of the Sunne is broder then the Diameter of the earth● by so much the earth is enlightned beyond his Diameter or middle . Alhacen and Vitellio haue taught the making of artificiall instruments for taking of the light which with the manner of making Albert Durers gl●sse , I will teach you in a discourse of perspectiue I will shortly publish . 8 Proposition . If the light penetrateth any cleare bodie ( which we call Di●phanon ) that is coloured as painted glas●e Amber , Cristall , faire water , a glasse of Claret wine , and the like , you must remember to giue the light the same colour that his Medium is of , as if we looke through red or blew glasse , euerie thing without appeareth red or blew to our sight . 9 Proposition . Euery beame direct reflected or broken is so much the more weake in the lightning or burning , by how much the lesse time it stayeth vpon the obiect : this is proued if we drie a thing in a paper ouer a ca●dle which we do a great while without burning , or by the swift motion of riuers , who take not the heate of the Sun so much as standing waters : wherefore those countries vnder the Equinoctiall , by reason of the equall presence and absence of the Sunne are ve●y temperate , whereas on the contrary in Lituania and thereabouts , where it is in a manner day continually , they haue extreme hot Summers , and most bit●er cold Winters . Of Foreshortning . The chie●e vse of perspectiue you haue in fore-shortning which is when by art the whole is concluded into one p●rt , which onely shall appeare to the sight● as i● I sho●ld paint a ship vpon ●he Sea , yet the●e should appeare vnto you but her fore part , the rest imagined hid , or likewise an ho●se with his breast and head looking full in my face , I must of necessitie fo●eshorten him behind● because his sides and ●lanks appeare not vnto me : this kinde of draught is willingly ouerslipt by ordinary painters for want of cunning and skill to performe it ; and you shall see not one thing among an hundred among them drawne in this manner , but after the ordinarie fashion side waies , and that but lamely neither . The vse of it is to expresse all manner of action in man or beast , to represent many things in a little roome , to giue or shew sundrie sides of Cities , Castles , Forts , &c. at one time . CHAP. XI . Certaine Questions of the manifold deceptions of the sight by perspectiue . ALL errors of the sight proceede from a three-fold cause , the fi●st exterior , or being as I may say in the false apprehension of distance opposition , proportion or the like , the second from an inward cause , as the weaknesse of the eye it selfe , or the decaying of the Spirits , the third from the aff●ction of the eye from some outward humour of hurt , but we are onely to intreate of the ●irst . 1. Why the Horizon appeareth to our sight bigger th●n any part else of the Hemisphere . All quantitie of distance is knowne by bodies interposed , but betweene our eie and the vertical point of heauen ouer our heads we perceiue nothing , betweene our sight and the horizon , there appeareth the breadth of the earth , the space therefore seemeth greater . 2. Why in round and Sphaericall glasses euery thing appeareth crooked to the eye . In all glasses the forme of the figure seene , followeth the forme of the figure reflecting , but the reflection from the superficies or outside , is after the forme of the Superficies which is crooked , therefore must the thing seene needs appeare crooked . 3. Why in the said Round glasses all things appeare lesse then in plaine glasses . Because the concourse or meeting of the beames , with the perpendicular line in orbicular glasses is neerer to the eye then in plaine glasses : Euclide giues another reason which is this . Because ( saith he ) in plaine glasses , the reflexion is greater & more forceable then in the round , for as I said the Idolon or Image is of the nature of the Superficies reflecting the same . 4 Why in a glasse broken to peeces , in euery peece you see a seuerall face , and but one , if you ioyne them together . The reason is the diuersitie of position or situation , which may be gathered by a concaue or hollow glasse , wherein you shall see your face in sundrie places at once there being a reflexion from euery part of the glasse . Heereupon in vneuen glasses , your face will appeare to be monstrous . 5 Why square things by distance seeme vnto vs to be long as Courts , the roofes of Churches & houses , &c. Because the excesse or multitude of beames falling vpon the sides of the square bodie indirectly presented to the eye , is not proportionate with a sensible proportion to those beames that fal vpon the side directly against the eye by comparison with the whole distance . Besides sight is not able to discerne the obliquitie of the sides , because it is seene sidewaies vnder longer beames , and a lesser angle . 6 Why the Sunne and Moone appeare bigger at their rising or setting , then when they are in our verticall point . One reason is , because as I said before , any thing that hath a relation to a greater space , is imagined greater , the other is the corruption ( as I may say ) of the ayre or medium being at morning , and ●uening more subiect to vapors and exhalations then at any other time , the same reason may be giuen ; an apple in the water , of birds and stakes vpon the Sea sands , which being foure or fiue miles off appeare bigger vnto you , then neere hand , the like of trees that appeare twice as bigge in a mistie or rimie morning then indeed they are , hereupon a friend of mine was notably cosened in a bargaine of timber hee bought by the great , in a mistie morrning , but I feare me within these few yeares , the mistes will be so thicke , we shall see no timber at all . 7 Why a burning glasse causeth fire . The reason is the concurse and concentration of the broken beames with the perpendicular in the midst of the glasse being round and thicke . 8 Why all things appeare downward in the water . Euery thing seemeth downward in the water by reason of the fall of the other beames in the Catheton or perpendicular . CHAP. XI . Of Lant-skip . LAndtskip is a Dutch word , and it is as much as we should say in English landship , or expressing of the land by hilles , woods , Castles , Seas , vallies , ruines , hanging rockes , Cities , Townes , &c. as farre as may be shewed within our Horizon . If it be not drawne by it selfe or for the owne sake , but in respect , and for the sake of some thing else : it falleth out among those things which we call Parerga , which are additions or adiuncts rather of ornament , then otherwise necessarie . Generall rules for Landtskip . YOV shall alwaies in your● Landtskip shew a faire Horizon , and expresse the heauen more or lesse eyther ouercast by clouds , or with a cleere skie , shewing the Sunne rising or setting ouer some hill or other : you shall seldome , except vpon necessitie , shew the Moone or Starres , because we imagine all things to be seene by day . 2 If you shew the Sunne , let all the light of your trees , hilles , rockes , buildings , &c. be giuen thitherward : shadow also your clouds from the sunne : and you must be verie daintie in lessening your bodies by their distance , and haue a regard , the farther your Landtskip goeth to those vniuersalia , which as Aristotle saith ( in respect of their particulars concealed from our sences ) are notiora : as in discerning a building tenne or twelue miles off , I I cannot tell whether it be Church , Castle , House , or the like : So that in drawing of it , I must expresse no particular signe as Bell , Portculleis , &c. but shew it as weakly and as faintly as mine eye iudgeth of it , because all those particulars are taken away by the greatnesse of the distance . I haue seene a man painted comming downe a hill some mile and a halfe from mee , as I iudged by the Landskip , yet might you haue told all the buttons of his dublet : whether the painter had a quicke inu●ntion , or the Gentlemans buttons were as big as those in fashion , when Mounseur came into England , I will leaue it to my readers iudgement . If you lay you Lantskip in colours , the farther you goe , the more you must lighten it with a thinne and ayerie blew , to make it seeme farre off , beginning it first with a darke greene , so driuing it by degrees into a blew , which the densitie of the ayre betweene our sight , and that place doth ( onely imaginarily ) effect . Of the fairest and most beautifull Landtskips in the world . Of Landtskips by land the fairest may be taken vpon mount Libanus neere Hierusalem , whence you may discerne all those holy places where our Sauiour liued , and in a manner all ouer the holy Land , moreouer you may plainely view all the townes vpon the Sea coast , and into the Sea , as farre as Cyprus , being distant from Ioppa , or Iaffa ( the first entrie or landing place within the holy land ) two hundred and fiftie miles . At Constantinople you haue as faire a Landtskip as any where else in the world , as well in regard o● the beautifull places behinde , as the goodly prospect into bo●h Seas . Vpon the mount Ida in Candie called by the Inhabitants Psilloritie , where you shall see vnderneath you the most goodly countrey of the world affording all manner of delight Nature can affoord , shadie woods of all manner of trees bearing fruit as Oliues Orengies , and Figtrees , Cedars , Sis●is . ( that beareth that excellent gumme Ladanum being made of the dew of heauen falling vpon the leaues ) vallies , tapistry with innumerable sorts of flowers great store of rockes , and little hilles whereon grow most fruitfull wines in great plentie , yeelding that excellent wine we call Malmseie , and from whence discend a tho●sand small riuers that water the whole country , none of them so bigge as they are able to ca●ry a boate . The chiefe townes of the whole Iland Candia ( being the chiefe , and scituate at the foote of the said mount Ida , ) Cania Sit●io and Rethymo , and the faire hauen of Meleca , into the Sea Eastward toward the Cape Solomone , you haue in your view the gulfe Satellia or Siriatica , westward a goodly prospect from the Adiatique Sea , to the North the Archipelago , and to the South the Sea of Carthage . The fairest prospects of Italy are about Naples , Millane , Lago d● Como , and di ●uarda neere Peschera , also vpō Monte d● Santa Croce , as you come from Genoa , vpon the Appenines ( being the ridge or backe bone of the countrey ) and vpon those Alpes that are adioyning to Piemont . In Spaine if you would trie your skill in Landtskip , or perfect an excellent peece in this kinde , I would send you to the magnificent Escuriall . About Valledolid , and toward the Sea side neere Cartagena . In France about the Constables house ten miles off from Paris , Amiens , A●ignon ( belonging to the Pope ) Fontainee-bleau many places in Normandie , Burdeaux , and Rochell . In Germanie you haue no fairer prospeects then vpon the banke of the Rhine . In England I like best at Windsore and the countrey there abouts , the prospect which you take of the Citie of London vpon high gate all the countrey about Roiston with many other places . Of the Graces of Landtskip . Though inuention and imitation in this kind are infinite , you must haue a care to worke with a sound iudgemēt , that your work become not ridiculous to the beholders eye as well for true obseruation of the di●tance as absurditie of accident : that is , though your Landtship be good and true in generall , yet some particular error ouerslips your iudgement eyther in mistaking or not ob●eruing the time and season of the yeare , the true shadow of your wo●ke with the light of the Sunne , the bending of trees in winds and tempests , the naturall course of riuer and such like . To settle therfore your iudgment in these and the like , I wish you first to imitate the abstract or labour of euery month . Not as a foolish Painter vndertaking the like , and beginning with Ianuary , drew him sitting in wicker chaire like an old man , with three or foure night caps on his head , by the fire his slip shoes by and one foote vpon the tongues within the chimney , & without doores hay●ocks , greene trees , and as if it had beene in the midst of Iuly . Wherefore I say such a winter peece should be graced and beautified with all manner of workes and exercises of winter , as foot ball , ●elling of wood , sliding vpon the yce , ba●fowling by night , hunting the beares , or foxe in the snow , making you trees euery where bare or laden with snow , the earth without flowers , and catell the ayre thicke with clouds , riuers and lakes frozen , which you may shew by cartes passing ouer , or boyes playing vpon the same , and a thousand the like . The same methode obserue in the other seasons . If you draw your Landskip according to your inuention , you shall please very well , if you shew in the same , the faire side of some goodly Citie , hauen , forrest , stately house with gardens , I euer tooke delight in those peeces that shewed to the like a countrey village , faire or market , Bergamas●as cookerie , Morrice dancing , peasants together by the eares , and the like . For your Parergas or needlesse graces , you may set forth the same with farme houses , water milles , pilgrimes trauelling through the woods , the ruines of Churches , Castles , &c. but you shall finde your conceipt seconded with a thousand inuentions . CHAP. XIII . Of Draperie . DRapery ( so called of the French word Drap , which is cloth ) principally consisteth in the true making and folding your garment , giuing to euery fold his proper naturall doubling and shadow ; which is a great skill , and scarce attained vnto by any of our countrey and ordinarie painters : insomuch that if I would make triall of a good workeman ; I would finde him quickly by the folding of a garment , or the shadowing of a gowne , sheete , or such like . The method now to be obserued in Draperie , is to draw first the outmost or extreme lines of your garment , as you will , full of narrow , and leaue wide and spare places , where you think you shall haue neede of foldes ; draw your greater foldes alwaies first , not letting any line touch , or directly crosse another , for then shall you bring an irrecouerable confusion into your worke : when you haue so done , breake your greater foldes vnto lesse , which shall be contained within them : I would giue you an example , but euery print will shew you the like ; all your foldes consistes of two lines and no more , which you may turne with the garment at your pleasure : beginne your maine and greatest foldes , from the skirt vpward , and the closer the garments sit , the narrower you must make them : for the shadowing of euery seuerall fold , obserue the first rule I gaue you in the Chapter of shadowing , and spare not to shadow your foldes , ( be they neuer so curiously contriued ) if they fall inward from the light , with a double or treble shadow ; as you shall s●● occasion : for the shadow take his place in one and the same manner aswell in folding as without : some haue vsed to draw the bodie naked first , and after to haue put on the apparrell , but I hold it as an idle conceit , and to small purpose . I would herein aboue all other haue you to imitate Albert Du●er , if you can get his peeces , if not Goltzius or some other . Generall obseruations and rul●s for Drapery . 1 Your greater folds must be continued throughout the whole garment , the lesser you may breake and shorten at your pleasure . 2 The shadowes of all manner of silkes , and fine linnen are very thicke , and fine , so that your foldes must not onely be little , but their shadow or deepening very light , and rare , which commonly at the most is but a double shadow giuen with a new , and the finest pen. 3 You must not vse much folding where the garments ought to sit close , or any eminency appeare , as commonly there doth in the breasts of a woman , the armes , belly , thighes , legs , &c. but to shew art , you shall leaue the forme of the breast , legge . &c. to appeare thorough , which you may doe by sha●dowing the brest or legge , ( after you draw it ) on one or either side , leauing it white . 4 As I told before of the light , so must you in your draperie haue a care of the winde and motion of the ayre , for driuing your loose apparrell all one way , as Ouid describes the garments of Europa , when she by Iupiter carried ouer the Sea : The best drapery in the world is held to be , that done by Michael Angelo in the Popes Chappell in Rome : and that by Raphael Vrbane in Millane in the Church of St. Victor at Nostre Dame in Amiens , and many other places . CHAP. XIIII . Of Diapering . DIapering is deriued ( as I take it of the Greeke verbe 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is , traij●io or transeo , in English to pass● or cast ouer , and it is nothing else but a light tracing or running ouer with your pen ( in Damaske branches , and such like ) your other worke when you haue quite done ( I meane foldes , shadowing and all ) it chiefely serueth to counterfeite cloth of Gold , Siluer , Damask brancht , Veluet , Chamlet , &c. with what branch , and in what fashion you list . If you diaper vpon folds , let your worke be broken , and taken as it were by the halfe : for reason telleth you that your fold must couer somewhat vnseene , which being drawne forth at length and laid plaine , sheweth all faire and perfect : as Ouid saith of tapistry . Sic vbi tolluntur festis aulaea theatris , Surgere signa solent , primumque ostendere vultus : Caetera paulatim placidoque educta tenore , Tota patent — You must moreouer in diapering , let your worke fall out so , that there may be an affinitie , one part with the other , maintaining one branch or the same worke throughout , setting the fairest in the most eminent place , and causing it to runne vpward : otherwise one might imagine some foolish Tailor had cut out his Ladies gowne the wrong way . To make a chamlet , you shall draw but fiue lines waued ouerthwart , if your diapering consist of a double line ; you may either shadow the ground , and leaue it white , or shadow your worke , and leaue the ground white : as you shall thinke good , in this kind your filling may be with small pricks of your pens end , which will shew faire . CHAP. XV. Of Antique . ANtique so called ab antes , which are butteresses , whereon the building is staied , also the outmost ranges of vines , not ab antiquitate as some would haue it : the Italian calleth it L'antica , it hath the principall vse in forefronts of houses , in all maner of compartments , curious Architecture , Armour , Plate , Iewels , Columnes , &c. though you shal seldome haue any great vse of it , yet I would haue you know what it is , and what to obserue in it : The forme of it is a generall , and ( as I may say ) an vnnaturall or vnorderly composition for delight sake , of men , beasts , birds , fi●hes , ●lowres , &c. without ( as we say ) Rime or reason , for the greater variety you shew in your inuention , the more you please , but remembring to obserue a methode or continuation of one and the same thing throughout your whole worke without change or altering . You may , if you list , draw naked boyes riding and playing with their paper-mils or bubble-shels vpon Goates , Eagles , Dolphins &c. the bones of a Rams head hung with strings of beads and Ribands , Satyres , Tritons , Apes , Cornu-copia's , Dogs yoakt , &c. drawing Cowcumbers , Cherries , and any kind of wild traile or vinet after your owne inuention , with a thousand more such idle toyes , so that herein you cannot be too fantastical . The late Dutch peers in this kinde excell all others , and certainly I know not by what destinie the Germanes haue won●e vnto them ( aboue other nations ) the glory of inuention , generally in picture : for except it be a Dutch peece , you shall haue it either lame , ill cut , false shadowed or subiect to some such grosse error . Where●ore , not without reason , Bodine calleth the country officinam hominum a shoppe of men , as from whence a man might be had for all turnes , either Diuine , Phisitian , Souldier , Painter , &c. Though much I confesse may be imputed to the industrie of that Nation : ( for none in the world are more painfull then they ) yet without question the people of themselues , as they are ingenious and capable of all other arts , so naturally they are inclined to this of Painting : Since the greatest persons among them as Duke● , E●rle● , and in a manner all the Gentlemen doe beare an inbr●d loue of drawing , and of themselues by their owne practise grow many times wonderfull expert herein : yet none at this day , who fauoureth a good picture , or any excellency in that kinde , more then Rodulph the Emperour now liuing . CHAP. XVI . Of Drawing beasts , birds , flowers , &c. YOV shall finde among beasts some more harder to be drawne then others , for two respects , one is for a cleane making and shape , together with finenesse of the cote or skin : the other for their nimblenesse and much action , both which you may for example see to fall out in a horse , whose lineaments are both passing curious , and coate so fine , that many sinewes , yea and the smallest veines must be showne in him , besides whose action is so diuers , that for hardnesse of draught I know not any one beast may be compared to the horse ; for sometime you must draw him in his carreer with his manage , and turne , doing the Cor●etto , leaping● &c. which you shall not finde in the Elephant , Cow , Beare , or Hog , as being beasts heauie and sloathfull by nature : Moreouer wanting that finenesse of coate or hide , so that you shall escape a great trouble in shewing veines , knitting of ioynts , with the eminency almost of euery bone in them which you haue in a horse & greyhound . Now for the manner of drawing these or any other beast whatsoeuer ; begin with your lead or coale ( as before I told you , and gaue you a generall rule ) at the forehead , drawing downward the nose , mouth , vpper and nether chap , ending your line at the throat , then searching it againe where you began , from the forehead ouer the head , eares , and necke : continuing it till you haue giuen the full compasse of the buttocke , but I will giue you an example . I begin in this Lion my first stroke at A , bringing it downe to B , making the nose , mouth , and nether chap w th one line , as you s●e there I rest : then fetch I that line forward behind by C. making the compasse o● his mane by prickes with my penne ( because if I should make a line , I could not make it iagged ) then bring I the backe downe to the taile or D , leauing a little space for it , I continue my line from thence to E , or the heele , where I rest : then beginne I againe at B , and making the breast with the eminency thereof I stay at F , bringing out his neere sore foote , which I finish : then beginne I at G , not stirring my hand till I come to the foote or paw at H , where I finish it quite at E , or the heele . I next draw from his belly two strokes at I and K : I make the other legge behinde , then the right fore foote issuing from the breast : then I finish the taile , pawes , tongue , teeth , beard , and last of all the shadowing : which methode you shall obserue in all beastes howsoeuer they stand . Obseruations of the shadowing . YOu see him shadowed on the backe side from CD , vnto E , the reason is the light beateth on his fore part , wherefore of necessitie the shadow must be in euerie part behinde , eare , mane , backe , hinder legge , &c. But you may say , how happeneth it then , that his nether chap & some part of his throate and belly are shadowed being both with the light ? I answere the light of it owne nature can n●uer fall vnder , but take the place aboue or the vpper part , which place is heere prepossessed by the vpper and nether chappe , which as you see fall in betweene , as likewise the fore foote to the belly , which cause a shadow in eyther of those places . The treble shadow as it ought , is giuen to the most inward places : if your beast be not in charge , that is , not in armes , and you arme to shew the ground vnder his feet ; you must make his farther feet on the other side somewhat shorter then those next you : the reason is , that distance of earth between thē deceiueth the sight , causing the neerer to seeme longest : as you may see by opening or stretching your fore and middle finger like a paire of compasses long waies from you , vpon a boord or table , drawing them with your pen as they stand , and obseruing the space betweene . Beasts more hard to be drawne for their shape and action . The Lion. The Horse . The Rhinoceros . The Vnicorne . The Stagge . The Lucirne . The Grey-hound . The Hiena . The Leopard . The Ownce . The Tiger . The Panther . The Ape , &c. Others more easie . The Elephant . The Dromedarie . The Camel. The Beare . The Asse . The Hogge . The Sheepe . The Badger . The Porc-●spine . The Wolfe . The Foxe . The Cow. The Ottar . The Hare . The Coney . The Al maner of rough & shag hair dogs . In drawing these and all other beasts , the better you obserue their shape and action , the better shall you please , and your iudgement be commended● wherefore a Painter had need to be well seene in naturall Philosophie . The meanest workman can draw the ordinary shape of a Lion , when scarce the best of them all know , that his hinder parts are so small , that there is in a manner a disproportion betweene his forepart and them : so that if I should draw him in this manner among our ordinary painters , my work would be condemned as lame , when I deserued most commendation . Moreouer if you aske a countrey painter whether he could draw a Crocodile or no , he will make no question of it , when as except he trauelled through AEgypt , or met with Aristotle in English , all the wit he had , could not so much as set the chaps right , or giue the suture truly in the head , to s●ew the motion of his vpper chap , which no other creature in the world moueth , saue onely hee . If you draw your beast in an Embleme or such like , you shall sometime shew a Landtskip ( as it is ordinarily obserued by iudicious workmen ) of the countrey naturall to that beast , as to the Rhinoceros an East-Indian Landtskip , the Crocodile an AEgyptian , by laying the ground low without hils , many woods of Palme trees , heere and there the ruine of a Pyramis , and so forth of the rest . Of Birdes . There is lesse difficulty in drawing birdes then beasts , and least of all in flowers , yet art and needfull directions to be obserued in all of them : begin your draught in a bird , as I said , at the head , and beware of making it too big : Van Londerseet's peeces are much to blame for this fault , for in most of them the heads of all his birds are too great by a third part , neither is that fault proper to him alone , but to many good workemen else . You shall best remedie that by causing a bird to be held or tied before you , where you shall take with your compasses a true proportion , which afterwards you may conclude into as small a forme as you list : there is not the same reason of proportion ( it is true ) in the heads and bodies of all birds alike , but hereby you shall euer after be acquainted with a reasonable proportion , which though you hit not iustly , you shal come very neere : hauing drawne the head , bring from vnder throat , the breast line downe to the legs ; there stay : and begin at the pineon to make the wing , which being ioyned with the backe line is presently finished : the eye , legs , and traine must be at last , and ( as I tolde you before in beasts ) let the farther leg euer be shortest , the feathers as the hair● in beasts , must take their beginning at the head very small , and in fiue rankes fall one way backward greater and greater , as this your example sheweth . For flowers , flies , and such like , I will leaue them ( being things of small moment ) to your owne discretion , counselling you a● your leasure , when you walke abroad into the fields , to gather & keepe them in little boxes vntill you shall haue occasion to vse them . To draw a flower , begin it ab vmbone , or the bosse in the midst : as in a Rose , or Marigold , there is a yealow tuft , which being first made , draw your lines equally diuided , from thence to the line of your compasse , which you are the first to giue , and then the worst is past . You may shew your flower , either open and faire in the bud , laden with deaw and wet , worme-eaten , the leaues dropt away with ouer ripenesse , &c. and as your flower , so first draw rudely your leaues , making them plaine with your coale or lead , before you giue them their veines or iaggednesse . For butterfli●s , bees , waspes , grashoppers , and such like , which we call Insecta , some of them are easie to be drawne , and not hard to be laid in colours : because the colours are simple , and without compositiō , as perfect red , black , blew , yellow , &c. which euery ordinary painter may lay , who if they should be put ( by mixture of many colours ) to make that purple of a pigeons necke , or giue the perfect colour but of a flesh-flie or mallards wing , you should see them at their wits end . In the monethes of Iune and Iuly I was woont at my leasure to walke into the fields , and get all manner of flies , flowers , herbs , &c. which I either put presently into colours , or kept preserued all the yeare to imitate at my pleasure in close boxes . CHAP. XVII . The most notable absurdities that our Painters ordinarily commit . THE first absurditie is of proportion naturall , commonly called lamenesse , 1 that is , when any part or member is disproportionable to the whole body , or ●eemeth through the ignorance of the Painter , to bee wrested from his naturall place and motion : As in Peter-brough Minster , you may see Saint Peter painted , his head very neere , or altogether as bigge as his middle : and it is ordinary in countrey houses to see horsemen painted , and the rider a great deale bigger then his horse . 2 The second is of Landtskip , or Locall distance , as I haue seene painted a Church , and some halfe a mile beyond it the ●icaredge ; yet the Vicars chimney strawne bigger thē the steeple by a third part , which being lesse o● it selfe , ought also to be much more abated by the distance . 3 The third absurditie is of accident of time , that is , when we fashion or attribute the proprieties of ancient times to those of ours , or ours to theirs : As not long since I found painted in an Inne Bethulia besieged by Holophernes , where the painter , as if it had beene at Ostend , made his East and West batteries , with great ordinance and small shot playing from the wals , when you know that ordinance was not inuented of two thousand yeares after . The fourth is in expressing passion or the disposition of the mind , 4 as to draw Mars like a yong Hippolitus with an effeminate countenance , Venus like an Amazon , or that same hotspurd H●rpalice in Virgil , this proceedeth of a sencelesse & ouercold a iudgement . The fift is of Drapery or attire , 5 in not obs●ruing a decorum in garments proper to euery seuerall condition and calling , as not giuing to a king his Robes of estate , with their proper furres and linings : To religious persons an habite fitting with humilitie and contempt of the world ; A notable example of this kind I found in a Gentlemans hall , which was King Salomon sitting in his throne with a deepe lac'd gentlewomans Ruffe , and a Rebato● about his necke , vpon his head a black veluet cap with a white feather ; the Queene of Sheba kneeling before him in a loose bodied gowne , and a French hood . The sixt of shadowing , 6 as I haue seene painted the flame of a candle , and the light thereof on one side shadowed three parts , when there ought to haue beene none at all , because it is corpus luminosum , which may cause a shadow but take none . The seuenth of motion as a certaine painter absurdly made trees bend with the wind one way , and the feathers of the Swanne , vpon which an Eagle was praying to flie an other Albert Durer was very curious in this kind , as in the hayre of S. Hieroms Lion , and S. Sebastians Dog. CHAP. XVIII . Of the Sence of seeing , and of the Eye . NOw before I come to entreate particularly of colours , it ●hall not be amisse as well for methode as for pleasure , to speake somewhat of that sensitiue part of the soule which we call sight , without which it were in vaine for mee to discourse of colours , or you to read what I haue written concerning the same , therefore in briefe I will declare the worthinesse of this sence , and of the Eye the Organe or instrument thereof . To begin with the definition , the Sence of seeing is a facultie of the sensible soule , whose Organe is the Eye , and obiect is whatsoeuer may be seene . Now since the soule is farre more worth then the bodie , I must of necessitie first speake of this most ex●ellent sence before I come to the baser and corruptible instrument , or the obiect thereof . It hath beene a great and ancient controuersie amongst the best Philosophers , I mean Plato , Aristotle the Stoicks , and Academicks , whether visus fieret , extra vel intra mittendo , that is , whether we receiue the obiect or that which we see into our eye , or whether our eye by a secret facultie of the soule casts and sendeth forth certaine beames to apprehend that which we looke vpon , which question as it is hard to decide , so it is most pleasant and not beside our purpose to bee resolued in the same . Heare I pray you the varietie of opinions among excellent men . Plato thought that the sight was caused by Emission or casting forth beames against the obiect . The Mathematicians in Aristotles time agreeing also with Plato , affirmed visum fieri extrami●tendo , by sending forth from the eye : and all sight to stretch it selfe forth in the forme of a Pyramis , the Conus or point whereof was in the eye ball , and the Basis dispersed vpon the obiect . Empedocles ( as also Plato ) thought there was in the eye a certaine little fire not burning , but which yeelded as it were a light , the beames whereof , meeting with the beames of the ayre or medium , grew vnited , and more strong betweene both which beames the sight was effected . Democritus said ( the truest ) that it proceeded of water , but he is taxed of Aristotle , because he though , visionem in rei spectabilis simulachro tantum consistere : Others thought that it cast forth a certaine animall spirit with the beame . Others againe supposed that that s●●e 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 stretching it selfe vnto the obiect , and beaten backe to be possessed of the same forme , and afterward the soule as it were stirred vp to perceiue the formes of things by meanes of that secret facultie it sent forth . Neither did the Platonicks and Stoicks want arguments of strength and probability as they thought to maintaine the same against Aristotle : I will propound some , and after answere them letting or receiuing . 1 First say they , if sight be caused by emission , then the neerer and closer the obiect is to the eye , the more perfectly it is perceiued , but this is false . 2 Secondly , if sight be caused by intromission or receiuing in the forme of that which is seene , contrarie Species , or formes should be receiued confusedly together , and at the same instant , as white and black , which thing how absurd it is , Aristotle shewes in his Metaphisickes and other places . 3 Thirdly , the eye is easily wearied with beholding , therefore something proceedeth forth from the same . 4 Fourthly , how can that Pyramis , whose point is in the superficies of the eye , be carried and drawne forth with a smaller sharpnesse . 5 Fiftly , we find by experience , that a menstruous woman infecteth with her sight a looking glasse , causing the same to become faint and dimme , therefore of necessitie something must needes proceede out of her eyes . This Aristotle himselfe confesseth , Lib. de somnijs . 6 Sixtly , a Basiliske killeth with his sight . 7 Seuenthly and lastly : Cats , Wolues , Owles , and other creatures , see best in the night to runne and catch their prey , which they discerne most perfectly , they cannot see by intromission or receiuing inward the forme of their prey be it mouse , hare , or whatsoeuer , because light ( by meanes of which onely the obiect is receiued into the eye ) is wanting , Ergo● their eyes send ●orth the beames , and Aristotles opinion is vtterly false . To the ●irst argument I answere out of Plato , as also out of Aristotle , that to the affecting of the sight , there must be medium illustratum , a clee●e medium , that is , such a distāce that there may be light enough betweene the eye and the obiect , which there is not , if you lay your eye close to the same . To the second I answere , that species or formes be not contrarie , for were that granted , the medium should haue in it infinite contrarieties from euerie part of the ayre compassing it about , and continually multiplying the formes of things . To the third , the sence of seeing is so farre forth weakened and made faint● as the eye , the Organe or Instrument therof becommeth vnable to endure beholding , for the power of the sight suffereth not , nor groweth old , as were an old mans eyes young , his sight would not faile him . To the fourth argument I answere , that distance being not perceiued by the eye , but by the common sence , the point of the Pyramis is not lesser to mine eye , by remouing or going backe , but alwaies one and the selfe same . To the fift , it is not the sight of the woman that infecteth the glasse , but certaine grosse and putrefacted vapors , that issue from the eies , as we see in those that doe laborare opthalmia . To the sixt , of the Basiliske , I answere the most haue held it fabulous , yet suppose it to be true , the best authors haue written that infection proceedeth from his breath not his eyes . To the seuenth and last , it is replied , that cats and wolues retaine a certaine naturall light in N●ruo optico , which serueth them as a Medium to ●iscerne plainly any thing by night . To conclude to these and all other obiections for emission of the sight , in briefe I answere with this dilemma vnanswerable . If any thing be sent out from the eye it is either corporeal or incorporeal , if corporeal , it hath motū localē , or mouing in place and time , which motion seemeth to be swifter then the motiō of the heauen , for the eye in a minute can discerne from one part of the heauen to the other , which were repugnant to truth and all Philosophie . Say it were light and no corporall substance , it followed , though that a sensitiue part of the soule went forth with the same , and that an accident should become the subiect of the soule , nothing can be granted more absurd . If incorporeall , as Metaphysicall , it cannot mooue the sence : Now it remaineth , that according to Aristotle and the truth , wee decide this controuersie concerning the sight , wherein so many famous Philosophe●s haue beene blind . How sight is caused according to Aristotle . Aristotle saith , that the motion which passeth or commeth betweene the eye , and the obiect , whether it be the light or ayre , is the efficient cause of sight , his words bee , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . To explaine his meaning better , there concurreth to sight a double motion one from the obiect into the medium , the other from the medium ( ayre or ●ight ) to the eye , so that I may say the eye receiues the forme of the obiect at a second hand , as it were from the medium , being conueyed as it were halfe the way by a former motion . For Aristotle in his second de anima , strongly proueth against Democritus 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 non pati ab obiecto sed à medio . So that sight is caused by receiuing the colour or obiect into the eye by a second motion against Plato , Empedocles , the Stoicks , and all other that haue held the contrary . Of the eye , the Organ or Instrument of sight . Some and amongest those before named , Empedocles haue supposed the eye to haue beene fierie , Aristotle as I remember alledgeth one of his arguments , which was this , the eye being ruled or hauing receiued a blow seemeth as it were to sparkle with fire , the ●est are of like force , whom after hee hath confuted with two good reasons , the one is , that if the eye were fierie ; it should see it selfe ; the second , it should see clearly in the darke , as a candle in a lanthorne , he determines the question , and affirmes it to be of a watery substance . The Phisitions also cold , and of the nature of the braine . The parts and wonder●ull composition of the eye . The eye being the most excellent Organ of the noblest sence , & the tend●est part of the body , is by nature as it were a pearle shut vp within a four fold casket , that it might the better be preserued from iniury as the most precious Iewell and sole treasure of the bodie , for it is defended with foure coates or skinnes , the fir●t whereof is called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which is adnata , or close-bred by this , the eye is fastened and ioyned , the second is ca●led 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 or cornea , as it were of horne , compassing the eye round , it is transparen● : this de●endeth the humour and water of the eye , and is placed about the ball , least the outward light meeti●g with the Cristaline humour should dazell and o●fend the sight , & to keepe this humour from drying Tunica v●●e , or 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 compasseth it about , this againe doth compasse another coate like a cob-web of bl●cke colour called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of Arachne , vnder which lies a moisture like molten glasse , which they call 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , and it is thicke , within this remaineth a little pearle ( as in the center vnmoued ) most hard , rese●bling yce or Cristall , whereon it is called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , it is round , but more flat towards the ball of the eye , that it might giue the watrie humour a better lustre , and defend it from iniurie . The ball of the eye is fat and thicke , neither hath that fat of it selfe any heate in it , but warmeth by the force of heate it receiueth from the muscles that serue the eye , who also are couered with fatnesse , hence the eie neuer freezeth . Thus much of the sence of seeing , and of the eye . CHAP. XIX . Co●our what it is , of the obiect of the sight , and the diuision thereof . COlour according to Scaliger is a qualitie compounded of the element● and the light , so farre forth as it is the light Auerrois & Auenpa●e , said it was actus corporis terminati , others a bare superficies . Aristotle called it corp●ris extremitatem , the extremitie or ou●most of a bodie . The obiect of the sight is any thing whatsoeuer may be visible , Plato deuideth visible thinges into three heades , which are Equall . are Greater . are Lesse . Equall are all transparent things , which let the sight through , and are not properly said to be seene as the ayre , water , yce , cristall , and the like . Greater , which he calleth 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which spread or scatter the sight by that meanes , hurting the same as all white things . The lesse 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which gather the sight together , and which are improper , or rather no obiectes at all , as all blacknesse . Whether all colours be compou●ded of white and blacke or no. Theophrastus hath long since laboured to prooue blacke to be no colour at all , his reason is , because that colour is proper to none of the elements , for saith he , water , ayre and earth are white , and the fire is yellow , but rather would fetch it from white and yealow , whereto Scaliger leauing Aristotle , perhaps for singularitie sake , seemeth to giue consent , who sets downe foure primarie or first colours , viz. White in the drie bodie as the earth . Greene in thicke and moist as the water . Blew in the thin and moyst as the ayre . Yealow in the hot as the fire . Yet not without reason , for Aristotle affirmed that black was the priuation of white , as darknesse of light , to whom Scaliger replies , that nothing can be made of priuation and habit , but we will leaue their arguments , and proceede to the species and seuerall kindes of colours , shewing by their Etymologies , their seuerall nature , and af●er declare the manner of their mixture and composition . CHAP. XX. Of the choyce of your grinding stone , Mullar , Penc●ls , making your gummes , gylding , &c. HAuing hitherto as plainely as I could , giuen you those directions , I haue thought most necessarie for drawing with the pen : I will shew you next the right mingling and ordering of your colours , that after you can draw indifferent well ( for before I would not haue you know what colours meaneth ) you may with more delight apparrell your wo●k with the liuely and naturall beautie : and first of the choice of your grinding stone and pencils . I like best the porphytie , white or greene Marble , with a muller or vpper stone of the same , cut verie euen without flawes or holes : you may buy them in London , of those that make toombes , they will last you your life time , wearing very little or nothing : some vse glasse , but many times they gather vp their colours on the ground : others slates , but they with wearing ( though neuer so hard at the first ) will kill all colours : you may also make you a mullar of a flat pibble , by grinding it smooth at a grindstone , if you doe it handsomely , it is as good as the best● your great muscle shelles commonly called horse muscles are the best for keeping colours , you may gather them in Iuly about riuers sides , the next to ●hese are the small muscle shelles washt and kept very cleane . Chuse your pencels by their fastnesse in the quils , and their sharpe points , after you haue drawne and whetted them in your mouth ; you shal buy them one after another for eight or tenne pence a dozen at the Apothecaries . CHAP. XXI . Of the seuerall Gummes that are vsed in grinding of water colours . Gumme Arabicke . THE first and principall is Gumme Arabicke , choose it by the whitenesse , cleerenesse , & the brittlenesse of it being broken betweene your teeth : for then it is good , take it and lay it in very faire water , vntill it be quite resolued , and with it grinde your colours : you may make it thinne or thicke , as all other Gummes , at your pleasure , by adding and taking away the water you put to it . 2. Gumme Hederae , or of the Iuie . There is another very excellent gumme that proceedeth from the Iuie , which you shall get in this manner : finde out first an Oke , or house that hath a great branch of Iuie climing vp by it , and with an axe cut it a sunder in the midst , and then with your axe he●d bruise both ends , and let it sta●d a moneth or thereabouts , at what time you shal●●●ke from it a pure and fine gumme , like an oyle , w●●ch issueth out of the ends : take it off handsomely with a knife or spoone , and keepe it in a viall ; it is good to put into your gold size and other colours for three respectes , first it allaies the smell of the size , secondly , it taketh away the bubbles that arise vpon your gold size , & other colours , lastly it taketh away the clamminesse , and fatnesse from your other colours : there is moreouer great vse of it in the confection of pomander . 3 Gumme lake . Gumme lake is made with the glaire of egs , strained often and very short , about March or Aprill : to which about the qua●tity of a pinte you must put two spoonfull of honey , and as much of Gumma Hederae as a hasell nut , and foure good spoonefuls of the strongest woort you can come by : then straine them againe with a sponge , or peece of wooll , so fine as you can , and so long , till that you see them runne like a fine and cleare oyle , keepe it then in a cleane glasse , it will grow hard , but you may resolue it againe with a little cleare water , as you doe gumme Arabicke : it is moreouer an excellent vernish for any picture . 4 Gumme Armoniacke . Take Gumme Armoniacke , and grinde it with the iuyce of Garlicke so fine as may be , to which put two or three drops of weake Gumme Arabicke water , and temper it so , that it be not too thicke , but that it may runne well out of your penne , and write therewith what you will , and let it drie , and when you mean to gyld vpon it , cut your gold or siluer according to the bignesse of the size you haue laid ; and then se● it with a peece of wooll in this manner : first breath vpon the size , and then lay on your gold vpon it gently taken vp , which presse downe hard with your peece of wooll , and then let it well drie , being dried , with a fine linnen cloath strike off finely the loose gold : then shall you finde all that you drew very faire gold , and cleane as you haue drawne it , though i● were as small as any heire : it is called gold Armoniack , & is taken many times for liquid gold . CHAP. XXII . Of gylding or the ordering of gold and siluer in water colours . YOV may gyld onely with gumme water , as I will shew you , make your water good and stiffe , and lay it on with your pencel , where you would gyld , then take a cushion that hath smooth leather , and turne the bottome vpward , vpon th●t cut your gold with a sharpe knife ; in what quantitie you will , and to take it vp , draw the edge of your knife finely vpon your tongue that it may be onely wet : with which doe but touch the very edge of your gold , it will come vp , and you may lay it as you list : but before you lay it on , let your gumme be almost drie , otherwise it wil drowne your gold : and being laid , presse it downe hard with the skut of an haire , afterward burnish it with a dogs tooth . I call burnisht gold , that manner of gylding which we ordinarily see in old parchment & Masse bookes ( done by Monkes and Priests who were very expert herein , as also in laying of colours , that in bookes of an hundred or two hundred yeares old you may see the colours as beautiful and as fresh as if they were done but yesterday . ) A very faire manuscript of this kind Sir Robert Cotton my worshipfull friend had of me , which was King Edward the fourthes , compiled by Anthony Earle Riuers , and as Master Cambden told me , it was the first booke that euer was printed in England : it lieth commonly embos●ed that you may feele it , by reason of the thicknesse of the ground or size , which size is made in this manner . Take three parts of Bole Armoniacke , and foure of fine chalke , grinde them together as small as you can with cleane water , three or foure times , & euery time let it drie , and see it be cleane without grauel or girt , and then let it be throughly drie , then take the glaire of egges and straine it as short as water ; grind then your bole , and chalke therewith , and in the grinding put to a little gumme Haederae , and a little eare waxe , to the quantie of a fitch , and fiue or sixe shiues of saffron , which grinde together as small as you can possible , and then put it into an oxe horne , and couered close , let it rot in hot horse dung , or in the earth , for the space of fiue or sixe weekes , then take it vp and lay it in the ayre , ( for it will haue an ill sauour ) and vse it at your pleasure . To set gold or siluer . Take a peece of your Gumme , and resolue it into a stiffe water , then grinde a shiue of saffron therewith , and you shall haue a faire gold : when you haue set it , and you see that it is thorowly drie , rub or burnish it with a dogs tooth . To make liquid gold or siluer . Take fiue or sixe leaues of gold or siluer , and lay it vpon a cleane Porphiry , marble stone , or pane of glasse , and grinde it with strong water of gumme Lake , and a prettie quantitie of great salt , as small as you can , and then put it into a cleane vessell , or viall that is well glazed : and put thereto as much faire water as will fill the glasse or vessell , to the end it may dissolue the stiffe water you ground with it , and that the gold may haue roome to goe to the bottome , let it stand so three or foure houres , then powre out that water , and put in more , vntil you see the gold cleane washed : after that take cleane water , which put thereto with a little Sal Armoniacke and great salt , so let it stand three or foure daies in some close place : then must you distil it in this maner , take a peece of glouers leather , that is very thinne , and picke away the skinny side , and put your gold therein binding it close , then hanging it vp , the Sal Armoniacke will fret away , and the gold remaine behinde , which take , and when you will vse it , haue a little glaire water in a shell by you , wherein dip your pensill , taking vp no more gold then you shall vse . CHAP. XXIII . The Etymologie and true mixture of colours . Of Blacke . BLacke is so called from the Saxon word black , in French No●r , in Italian Nero , in Spanish Negro , from the Latine Niger , and from the Greeke , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which signifieth Dead because all dead and corrupted things are properly of this colour , the reasō why they are so , Aristotle plainly sheweth where he saith : 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which is , blacknesse doth accompany the elements , confounded or commixed one with another , as for example of aire & water mixed together , and consumed with fire is made a black colour , as we may see in charcoales , oyle , pitch , linkes , and such like fattie substances , the smoke whereof is most blacke , as also in stones and timber , that haue laine long vnder water , which when the water is dried vp , they lie open to the sunne and aire , & become presently of the same colour : these be the blacks which you most commonly vse in painting , this colour is simple of it selfe . Harts horne burned . Ordinarie lampe blacke● Date stones burned . Iuory burned . Manchet or white bread burned . The blacke of walnut shels . The making of ordinary lamp blacke . Take a torch or linke , and hold it vnder the bottome of a latten basen , and as it groweth to be furd and blacke within , strike it with a feather into some shell or other , and grind it with gumme water . Of White . This word white in English commeth from the low Dutch word wit , in high Dutch Weif , which is deriued from W●sser , that is , water which by nature is white , yea thickned or condensate , most white , as it appeareth by haile and snow which are compounded of water hardned by the coldnesse of the ayre in Italian it is called Bianco , in French Blanc , if we may beleeue Scaliger , from the Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which as he takes it , signifies faint or weake : wherein happily he agreeth with Theophrastus who affirmeth omnia candida esse imbecilliora , that all white things are faint and weake , hence I beleeue it is called in Latine Candidus , from the Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , i. confundo , because whitenesse confoundeth or dazeleth the sight as we find when we ride forth in a snow in winter . It is called also albus of that old Greeke word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the same , hence had the Alpes their Etymon , because of their continual whitenesse with snow . The Grecians call this colour 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , video , that is , to see , because , whitenesse is the most proper obiect of our sight according to Aristotle saying , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , that is , whitenesse , or the obiect or sight , whitenesse proceedeth from the water , aire , and earth , which by nature is also white , as we proue by ashes of all ea●th●y matter burnt , though to our sight it seemeth blacke , brownish , and of other colours , by reason of the intincture and commix●ure of other elements with the same : the principal whites in painting and limming are these . viz. Ceruse . White l●●d . Spanish white . Of whites and their temp●ring Venice Ceruse . Your principall white is Ceruse , called in Latine Cerussa , by the Italian B●acea . Vitr●ui●s teacheth the making of it , which is in this manner . The Rhodians ( saith he ) vse to take the paring of vines , or any other chips , and lay them in the bottoms of pipes or hogsheads , vpō which they powre great store of vinegar , and then lay aboue many sheets of lead , and so still one aboue another by rankes till the hogsheads are full , then stop they vp againe the hogsheads close , that no aire may enter : which againe after a certaine time being opened , they finde betweene the lead and chips great store of Ceruse : it hath beene much vsed ( as it is al●o now adaies● by women in painting their faces , whom Martial in his merry vaine skoffeth , saying , Cerussata timet Sabella sol●m . AEtius saith it being throughly burnt , it turneth into a faire red , which he calleth Syricum , grinde it with the glaire of egs , that hath lien rotting a month or two vnder the ground , and it will make a most perfect white . White Lead . White Lead is in a manner the same that Ceruse is , saue that the Ceruce is refined and made more pure , you shall grinde it with a weake water of gumme Lake , and let it stand three or foure daies , Roset and Vermelion maketh it a faire Carnation . Spanish white . There is another white called Spanish white , which you may make your selfe in this manner , take fine chalke and grind it , with the third part of Alome in faire water , till it be thicke like pap , then roule it vp into balles , letting it lie till it be drie , when it is drie , put it into the fire , and let it remaine till it bee red hote like a bu●ning coale , and then take it out , and let it coole : it is the best white of all others to lace or garnish , being ground with a weake gumme water . Of Yealow . Yealow is so called from the Italian word Giallo , which signifieth the same Giallo , hath his Etymologie from Geel the high Dutch , which signifieth lucere , to shine , and also hence commeth Gelt , and our English word Gold , in French Iaulne , in Spani●h Ialde , or Am ●illo , in Latine Fla●us luteus , of● lutum , in Greeke , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which is Homers Epithite for Menalaus , where he cals him 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , and Silius imitating him , attributes the same to the Hollander whom he calles Flauicomus Batau●s , by reason of his yealow lockes , it is called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 ab 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , a flower as if he should say 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , a beautifull head of haire , which in times past was accounted the bright yealow , which H●rod●an so commendeth in the Emperour Commo●u● , & the Romans supposed in the same aliquid numinis ●esse : And it seemes AEneas his haire in Virgil , which his mother Venus bestowed vpon him for a more maiestical beauty to haue beene of the same colour , or it may be called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , haire worthing the kembing , but I dare not be too busie in Etymologies , least catching at the shadow I leaue the substāce , yelow hath his primary beginning from the Element of fire , or Sun-beames , Aristotles reason is , because all liquid things concocted by heate become yealow as lie , wort vrine , ripe fruit , brimstone , &c. so that blacke , white , and yealow according to Aristotle are the foure primary or principall colours as immediately proceeding from the elements , and from those all other colours haue their beginning . Your principall yealowe be these . Orpiment . Masticot . Saffron . Pinke yealow . Oker de Luce. Vmber . Orpiment . Orpiment called in Latine Arsenicum , or Auripigmentum , ( because being broken , it resembleth God for shining and colour ) is best ground with a stiffe water of Gumme Lake , and with nothing else : because it is the best colour of it selfe , it will lie vpon no greene : for all greenes , white lead , red lead , and Ceruse staine it : wherefore you must deepen your colours so , that the Orpiment may be the highest , in which manner it may agree with all colours : it is said that Caius a certaine couetous Prince caused great store of it to be burned , and tried for gold , of which he found some , and that very good ; but so small a quantitie , that it would not quite the cost in refining . Mas●icot or Generall . Grinde your Masticot with a small quantitie of Saffron in Gumme water , and neuer make it lighter then it is ; it will endure and lie vpon all colours and mettals . Pinke yealow . You must grinde your Pinke , if you will haue it sad coloured , with ●affron ; if light , with Ceruse : temper it with weake gumme water , and so vse it . Oker de Luke . The fine Oker de Luke , or Luce , and grind it with a pure brasil water : it maketh a passing haire-colour , and is a naturall shadow for gold . Vmber . Vmber is a more sad colour , you may grinde it with Gumme water or Gumme lake : and lighten it at your pleasure with a little Ceruse , and a shiue of saffron . Of Greene. Our English word greene is fetched from the high Dutch ●●un , in the Belgick Groen , in French it is called Coleur verde , in Italian and Spanish Verde , from the Latine Vi●●ais , and that from vires , quia viribus maxime pollent in virente aetate vigentia , in Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 a 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , that is , grasse or the greene herbe , which is of this colour , why the earth hath this colour aboue others Aristotle sheweth which is by reason of the much and often falling of raine , and setting vpon the same , for saith hee , all water or moisture that standeth long , and receiueth the beames of the Sun at the fi●st groweth greenish , afterward more blacke , after that receiuing as it were another g●●ene , they become of a grasse colour , for all moisture dried vp of it selfe becommeth blacke , as we see in old wels and cesternes , and if any thing hath lien long vnder water , and afterwards lying drie , may receiue the heate of the Sunne ( the moisture being exhaled and drawne away ) it becommeth greene , because that yealow proceeding from the Sunne beames mixed with black doe turne into a greene , for where the moisture doth not participate with the beames of the Sunne , there remaines whitenesse , as wee see in most rootes and stalkes of herbes , which grow neere or within the earth , now when t●● moisture hath spent it selfe farre in the stalke , leafe , and flower , that it cannot ouercome the heat of the ayre and Sunne , it changeth and giueth place to yealow , which heat afterward being well concocted turned into seuerall colours as we see in flowers , mellow apples , peares , plummes , and the like , the greene we commonly vse , are these . Greene bice . Vert greece . Verditure . Sapgreene . Of the blew and yealow proceedeth the greene . Greene Bice . Take greene Bice , and order it as you doe your blew bice , and in the self same manner : when it is moist and not through drie , you may diaper vpon it with the water of deepe greene . Vert-greece . Vertgreece is nothing else but the rust of brass●● which in time being consumed and eaten with Tal●low , turneth into green , as you may see many times vpon foule candlestickes that haue not beene often made cleane , wherefore it hath the name in Latine AErugo , in French Vert de gris , or the hoary gr●ene : to temper it as you ought , you must grinde it with the iuice of Rue , & a little weake gumme water , and you shall haue the purest greene that is ; if you will diaper with it , grinde it with the lie of Rue , ( that is , the water wherein you haue sod your rue or herbgrace ) and you shall haue an hoary greene : you shall diaper or damaske vpon your vert-greece greene , with the water of sapgreene . Verditure Take yo●r verditure , and grinde it with a weake Gumme Arabick water , it is the faintest and palest greene that is , but it is good to veluet vpon blacke in any manner of drapery . Sappe greene . Take Sappe greene , and lay it in sharpe vineger all night , put into it a little Alome to raise his colour , and you shall haue a good greene to diaper vpon all other greenes . Of Blew . Blew hath his Etymon from the high Dutch , Blaw , from whence he calleth Himmel-blaw , that which we call skie colour or heauens-blew , in Spanish it is called Blao or Azul , in Italian Azurro , in French Azur of Lazur an Arabian word , which is the name of a stone , whereof it is made , called in Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , from whence it is called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , and in Latine Cyaneus a stone , as Dioscorides saith , or sandie matter found in minerals in the earth , of a most pure and perfect blew , whether it be our bice or no , I know not for a certaine , but I remember Homer calleth a table , whose seete were painted with bice 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , but howsoeuer I will not striue , since I am perswaded many of those colours , which were in vse with those excellent Grecian painters in old time are vtterly vnknowne to vs. The principall blewes with vs in vse are . Blew bice . Smalt . Litmose blew . Inde baudias . Florey blew . Korck or Orchall . Blew Bice . Take fine Bice and grinde it vpon a cleane stone , first with cleane water as small as you can , then put it into an horne and wash it on this manner : put vnto it as much faire water as wil fill vp your horne , and stirre it well , then let it stand the space of an houre , and all the bice shall fall to the bottome , and the corruptiō will fleet aboue the water , then powre away the corrupt water , and put in more cleane water , and so vse it foure or fiue times , at the last powre away all the water , and put in cleane water of Gumme Arabick not too stiffe , but somewhat weak , that the bice may fall to the bottome , then powre away the Gumme water cleane from the bice ; and put to another cleane water , and so wash it vp , and if you would haue it rise of the same colour it is of , when it is drie , temper it with a weake gum water , which also wil cause it to rise and swell in the drying , if a most perfect blew , and of the same colour it is being wet , temper it with a stiffe water of gumme lake , if you would haue it light , grinde it with a little Cer●se , or the muting of an hawke that is white , if you will haue it a most deepe blew , put thereto the water of litmose . Litmose blew . Take fine litmose , and grinde it with Ceruse , and if you put to ouermuch Litmos , it maketh a deepe blew : if ouermuch Ceruse and lesse litmos , it maketh a light blew : you must grinde it with weake water of gumme Arabeck . Indebaudias . Take Indebaudias and grinde it with the water of Litmose , if you will haue it deepe , but if light , grind it with fine Ceruse , and with a weake water of gum Arabe●k , you shall also grinde your Engli●h Indeba●d●●●● after the same manner , which is not fully so good a colour as your Indebaud●●● is : you must Diaper light and deepe vpon it , wi●● a good litmose water . ●l●rey Blew . Take Florey blew , and grinde it with a little fine Rose● , and it will make a deepe violet , and by putting in a quantitie of Ceruse it will make a light violet : with two partes of Ceru●e , and one of red lead , it maketh a perfect Crane colour . Korke or Orchall . Take fine Orchall and grinde it with vnslekt lime and vrine , it maketh a pure violet : by putting to more or lesse lime , you may make your violet light or deep as you will. To make a blew water to diaper vpon all other blewes● Take fine litmos and cut it in peeces , when you haue done , lay it in weake water of Gumme Lake , and let it lie 24. houres therein , and you shall haue a water of a most perfect azure , with which water you may diaper and dammaske vpon all other blewes , and sanguines to make them shew more fai●e and beautifull : if it beginne to dr●e in your shell , moysten it with a little more water , and it will be as good as at the first . Of Red. Red , from the old Saxon Rud , as the towne of Hertford , as my worshipfull friend Master Camden in his Britannia noteth , first was called by the Saxons Herudford , as much as to say , the Rud ford , or the red ford● or water , the like of many other places in England , in high Dutch it is called Rot , in low Dutch Root , without doub● from the Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which is the same , in French Rouge , in Italian Rubro , from the Latine Ruber , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 à corticibus vel grauis mali punici , from the rindes or seedes ( as Scaliger●aith ●aith ) of a Pomegranate , which are of this colour . In Spanish it is called Vermeio , of Minium which is Vermilion . The sorts of Red are these . Vermilion . Synaper lake . Synaper tops . Red lead . Roset . Turnsoile . Browne of Spaine . Bole Armoniack . Of Vermilion . Your fairest and most principall Red is Vermilion , called in Latine Minium , it is a poyson , and found where great store of quicksiluer is : you must grinde it with the glaire of an egge , and in the grinding put to a little clarified hony , and make his colour bright and perfect . Sinaper lake . Sinaper in Latine is called Cinnabaris , it hath the name Lake of Lacca , a red berry , whereof it is made growing in China and those places in the East Indies , as Master Gerrard shewed me out of his herbal , it maketh a deepe & beautifull red , or rather purple , almost like vnto a red Rose : the best was wont to be made , as Dioscorides saith , in L●bia of brimstone and quicksiluer burnt a long time to a smal quantity : and not of the bloud of the Elephant and Dragon , as Pl●nie supposed : you shall grinde i● with gumme Lake , and Turnsoile water , if you will haue it light , put to a little Ceruse , and it will make a bright crimson , if to diaper , put to onely Turnsoile water . Sinaper Tops . Grinde your Tops after the same manner you do your lake , they are both of one nature . Red Lead . Red Lead , in Latine is called Syricum , it was wont to be made of Ceruse burnt ; which grinde with a quantitie of Saffron , and stiffe gumme lake : ●or your Saffron will make it orient , and of a Marigold colour . Turneso●le . Turnesoile is made of old linnen ragges died , you shall v●e it after this manner : lay it in a ●aucer of vineger , and set it ouer a chasing dish of coales , and let it boyle , then take it off , and wring it into a shell , a●d put vnto it a little gumme Arabeck , letting it st●nd three or foure houres , till it be dissolued : it is good to shadow carnations , and all yealowes . Ros●t . You shall grind your Roset with Brasill water , and it wi●l make you a deepe and a faire purple , if you p●t Ce●use to it , it maketh a lighter , if you grinde it with Litmose , it maketh a ●aire violet . Browne of Spayne . Grind your Browne of Spayne with Brasill water , and if you mingle it with Ceruse , it maketh an horse flesh colour . ●ole Armoniack . Bole Armoni●ck is but a faint colour , the chiefest vse of it , is , as I haue said , in making a size for burnisht gold . CHAP. XXIIII . O● composed colours , Scarlet colour . IN French coleur d'●scarlite , Italicè , color Scarlatino ● porposi●o , H●sp . color de grana , Belg●●è Kermesin of Scharlacken root , T●utonice Rosinfa●b , Carmasinsarb Latine Coccineus color , Graec. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the seed of Kernel of a Pomgra●●e , with which in times past they did vse to 〈…〉 colour : Aristophanes saith , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 for to picke out the graines of kernels of a Po●gra●ate . The Arabians call this colour Che●meb , from whence commeth our Crimson , as Scaliger saith , two parts of verme●ion , and one of lake make a perfect Scarlet . A bright Mur●e● . In Latine Mur●hinus col●r , Gra●●● 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , is a wonderfull beautifull colour , computed of purple and white , resembling the colour o● a precious stone of that name , which besides the ●a●e colour yeelde●h a maruellous odoriferous and s●eete smell : it is found in the Easterne parts of the world , the best among the Par●hians , being all ouer ●potted with Rosie coloured , and milke white spots yeelding a glosse like changeable silke of this colour : of the incredible price of these stone● Plinie writeth , Lib. 37. Martial . in like mann●r also seemeth to number them among the precious things that were brought to Rome where he saith . Surrentinabibis ? n●● murrhina picta nec aurum Posce , dabunt calices haec tibi vina snos . Some haue mistaken and thought that colour which we call Murinus colour to bee this murrey which is properly the colour of a mo●se or as some will haue it an asse colour . Others that colour which we call Morellus , the French Morea● a Moris as some would haue it , but in my opinion they are much deceiued . Lake Sinast with a quantity of white lead make a murrey colour , one part of white lead , and two of each of the other . A Glassie Gray . The word Glasse it selfe cometh from the Belgick and high Dutch : Glasse from the verbe Glansen , which signifieth amongst them to shine , from the Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the same , or perhaps from glacies in the Latine , which is Ice , whose colour it resembleth , in French it is called Coleur de voir , in Italian v●●reo color di vetro , in high Dutch Glasgrum , in Spanish Color vidrial , in Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 that is moist , and that from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , pluere , to raine , from whence also proceed those words in Latine , humus , vdus , &c. It is an aiery and and greenish white , it serueth to imitate at sometimes the skie glasses of all sorts , fountaines and the like : To make this , mingle white lead or Ceruse with a little azure . A Browne . Browne is called in high Dutch Braun of the Netherlands Bruyn , in French Coleur brune , in Italian Bruno , in Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , from colour of the AEthiopians , for 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , is to burne , and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 a face , for some haue imagined that blacknesse or swarthinesse in their faces is procured through the forcible heate of the Sunbeames . In Latine it is called fuscus quasi 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , that is , from darkening or ouershadowing the light , or of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which is to burne or scorch , in which sense I haue often read it in Hippocrates : this colour in the ayre is called by the learned 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is sold as much as 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , terminus lu●is , and indeed it is taken properly for that duskie rednesse that appeareth in the morning either before the Sunrising , or after the same set . A bay colour . In Latine it is called Ba●us aut castancu● color , A bay or a Chesnut colour , of all others it is most to bee commended in horses , it commeth from the Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is a sl●p of the date tree pulled off with the fruit , which is of this colour , in French Bay , Ba●ard , in Italian Ba●o , in high Dutch Kesten-braune that is Chesnut browne , it is also called of some Phoenicius colour from Dates , which the Grecians call 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , but as I take it improperly , for colour Phoeniceus , is either the colour of bright purple , or of the rednesse of a Summer morning according to Aristotle , of vermilion , Spanish browne and blacke you shall make a perfect bay . A deepe purple . From the Dutch purple , in French Purpurin , in Italian Porporeo , in the Spanish and Portugall Purpureo , in Latine Purpurus , in Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , a kind of shelfish that yeeldeth a liquor of this color , wherwith in old times they died this colour , it is also called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , as much as to say , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the worke of the Sea , whereupon Plato taketh 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to be of a deepe red mixed with blacke and some white , and so it is taken also of Aristotle and Lucian , it is made , saith Aristotle by the weaker beames of the Sunne mixed with a little white , and a dusky blacke , which is the reason that the morning and euening is for the most part of this colour . Ash colour or gray . In Latine col●r Cinereus in French ●●l●ur cen●ree , ou ●ris● , Ital. Griso ber●tino , German . Asch●n fra● , Hispan . color decen●z ●s , In Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , that is ashes , it is made by equally mixing white and blacke , white with Synaper Indico , on● blacke make an ash colour . A fiery or bright purple . A fiery or bright purple is called in Latine ●uniceus colour , in French Purpurni ●elnissante , Ital. Rosso di Phoenice , in Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , it is made as I said before of blacke enlightned with the fire or beames o● the Suune : the words of Aristotle be these : 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . It seemeth by Virgil to be the same colour of which Roses are , or ve●y neere it , for he saith , Puniceis humilis quantum ●a●unca Roseti● , and againe in his AEneid●s to be that colour in the morning , Puniceis iniecta rotis Aurora rubebat , and the Poet Lucretius calleth that colour on the side of ripe crabs p●niceum : where hee saith , Matura colore arbuta puniceo . A grassy or yealowish greene . In high Dutch Grassgrun , in Belgick Gersgroe● , Gall. ver messeè de iaulne , Italicè verde de giallo , Hispanecè verde qui tiene pocode Rurio , in Latine prassinus , in Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is Leeke , a whose colour it resembleth , there is also a precious stone called prasites of the same colour . This colour ●s made g●●n●ing Ceruse with Pinke , or adding a little verditure wi●h the ●u●ce of Rue or herbe Grace . A S●●●ron colour . Germanice S●ffr●n-gerb ; B●lg . Saff●●n-geel , Gall. Iau●ne , c●me S●●fran . Itali●e croceo , color di Saffrano , H●spanice color d● a●●sran from the Arabian word Za●r●n● Lat●n● Croc●●● c●●or , G●●●● 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 a 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , that is , Saffron , the Etymon of that name in is 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 from florishing in the cold , for in frost and snow the Saffron ●lower , sheweth the fairest , and th●iueth best , the colour in washing is made of S●ff●on it selfe by s●eeping it . A 〈◊〉 colour . In high Dutch it is cal●ed Sewe●t●ro as you would say in English fire red , in the Belgick or low Dutch vier-root , glinsterich ro●t , in Fre●ch Rouge come feu , resplendissante , In Italian color d●●uoco , Hispan . color de ●uego Latine rutilus aut igneus , in Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 a 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which is fire : it is made of vermelion and orpiment mixed deepe or light at your pleasure . A Violet c●lour . In French col●ur Violette , Ital. Violato color di viola , Hisp. color de violet ●s , T●utonice viol bra●n , Latin. violaceus , à viola , which is a violet so called of vitula , as some imagine , in Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , a violet it hath the Etymon from Io the virgin transformed into a bullock , who grazed as the Poets fayine vpon no other herbes then violets , Roset , Ceruse , and Litmose of equall partes . A Lead colour . In the Belgicke Loot-verbe , Gallice coleur de plomb . Ital. color piombo , color liuide , Teutonicè bley-farb . Hispan . color catdenno , O color de plomo , Latinè liuidus of liu●r , which is taken for enuie , because this colour is most of all ascribed to enuious persons it is deriued from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . CHAP. XXV . How to prepare your tablet for a picture in small . TAke of the fairest and smothest pastboord you can get , which with a sleeke stone rubbe as smooth , and as euen as you can , that done , take the ●ine skin of an Abortiue , which you may buy in Pater no●ter row , and other places , ( it being the ●inest parchment that is ) and with starch thinne laid on , and the skinne well stretched and smoth pressed within some booke or the like , prepare your ground or tablet , then according to the general complexion of the face you are to draw , lay on a weake colour , that done , trace out the ●ies , nose , mouth , and eare , with lake or red Lead , and if the complexion be swarthy , adde either of sea coale , lampe blacke to deepen and shadow it , when you haue thus done , lay it by for a day , or till it be well drie , then by little and little , worke it with a curious hand with the liuely colour , till you haue brought it to perf●ction : but I will lay before you the practise of a rare Article in stead of many , that you may imagine you saw it done before you . CHAP. XXV . The practise of that famous Li●mer Hippolito Donato y●t liuing in Rome , in a small picture of Christ. FIrst hee tooke a Card or smooth peece o● past boo●d , which after he had well rubbed with a Sleeke stone , hee with starch finely layed on , pasted an aborti●e skinne vpon the same , which when it was through drie , smoothed , pressed and prepared hee did draw the forme of the face with lines of lake then on the complexion , which he composed according to the life of white and redde lead , adding therto as occasion serued , a little Lake , Vermilion , &c. Then hee came ouer the face with a little red Leade an● Lake . Th●t done and dry he mixed for the shadow vnder the eies , eie-browes and face redde leade lake like a little ●oote with a smal quantity of Lamp blacke . For the haire he laid on first yealow oker very thinne and after deepened with ●oot a little lamp blacke a●d his owne . For the lips vsed a little vermillion with lake for the shadow and the mouth stroke . For the hands hee vsed redde leade and lake with which he mingled a little lampe blacke and soote . For the Drape●y which hee termed Per panneare , he laied on first lake very thinne , which beeing drie , hee deepened it with the same , which also he obserued in ●is blew . Although most co●monly it is deep●ed with Indice or Turnsoile . O● mingling Colou●s ●or all manner o● G●●ments and Drapery . FOr a Garment of yellow , take Masti●o● , deepned with browne oker and red leade . For Crimson , lay on your Lake very thinne , and deepen with the same . For Blew , vse Azure deepned with I●die blew , or lake heightened with whi●e . For Cloth of Gold , take browne Oker and liquid Gold water , and heighten vpon the same with small strokes of Gold. For changeable silke , the water of Masticot and redde leade for the heightning , deepen the same with sappe greene . A light blew , heightned with white , and deepned with Lake . For a straw cullour , Masticot and white heigh●ned with Masticot , and deepened with Pinke . Another , red leade deepened with Lake . For yellowish garments , thinne pinke and deepned with pinke and greene . Another verditure deepned with sappe green and heightned about the edges with gold . For a Sca●let , vermillion deepned with Lake , and heightned with touches of Ma●ticot . For a blacke Veluet , lay first your garment ouer with Iuory blacke , then heighten it with Cheristone blacke and a little white . For a blacke satten , vse Cheristone blacke and white steepened againe wi●h Cheristone blacke , lastly with Iuory black as Elephants tooth burned &c. Another , a faire blew deepned with lake and pursled ●ith liquid gold . For a white S●tten , fi●st very fine Ceruse , which d●epen with Cheristone blacke , which height●n againe wit● Ceruse and fine touches where the light falleth . For a russet satten● Indie blew and lake first thinne after deepened with Indie againe . To shaddow russet , take Cheristone blacke , and white for the russet lay a light russet then shadow it with white . For purples , grinde lake and smalt together , you may also make them of blew bice , red lead and white light or da●ke as you will. For an orient violet , grind Litmose blew Smalt , somwhat light Ceruse ground heerewith maketh an orient colour for violets , Colombines and the like , but in their mixture let the blew haue the vpper hand . To m●ke a most pure green , take Verdigrease , and bruise it in a linnen cloth , and steepe it in Muscadine or Malmesie for twelue houres , or somewhat more , then straine it into a shell , and put therein a little sappe greene , and it will be perfect , but put ( I wish you ) no gumme at all heerein . To make a carnation or flesh colour , grind Ceruse well washed with red lead , or Ceruse and vermillion Lake is not so good . Out of Masticot , Vmber , yealow Oker , Ceruse Oker de Rous and Sea coale are made for the most part all manner of haire colours . With a perfect and faire green mingled with Masticot is made a Popingaie greene . For a skie colour Venice Ceruse and blew bice . A darke skie colour you shall make of stone blew and white , orpiment burned maketh a marigold colour . For a peach colour take Brasill water , L●gwood water , and Ceruse . To make a Craine colour , mingle Ceruse with Indie blew . For a darke skie colour as in a thicke foggie and cloudy day mixe stone blew and white . To make a light purple mingle Ceruse with logwood water . You may moreouer take Turnsoile with a little Lake : mingled together with Smalt or bice . Take Ceruse and Sa●fron , it maketh a deeper shaw colour . Redde lead thinly laid and shadowed with brown of Spaine , maketh a walnut colour . There be certaine berries to be bought at the Apothecaries called Venice berries , bruise them and put them into a shell with Alome , then put into a little faire water , and within an hower it will bee a faire yealow to wash withall . In grinding lampe black put into it a little sugar , and into the rest if you will excepting blew and greene . Grind your blew verditure but lightly . Your stone blew steepe onely in water , and it will bee sufficient . To make your saf●ron shew fair steep it either in faire water or vineger . White is shadowed with blacke and so on the contra●y . Yellow is shadowed with vmber and the okers . Vermillion with Lake . Blew bice with Indie . Blacke coale with Roset , &c. Other instructions for the colouring of some other bodies . To resemble the fier take Masticot and deepen it with Masticot for the flame . For a tree take Vmber and white wrought with vmber and deepened wi●h blacke . For the leaues , Sap green & green bice , the heightning verditure and white , or Masticot and white . For water , blew and white , deepened with blew and heightned with white . For bankes , thin vmber , deepened with vmber and blacke . For a feather Lake , ●rizeled with red lead : and so by your discretion you may iudge of the rest : but I wish you euery day to doe somwhat in practise , but first to buy some faire prints to exercise your pencill withall . CHAP. XXVI . The manner of Annealing and Painting vpon glasse . THere be sixe principall colours in glasse , which are Or , or yealow Argent , or white , Sables , Azure , Gules , and Ver● , blacke , blew , red , and greene . How to make your Or , or yealow vpon glasse . Your yealow is made in this manner , take an old groate , or other peece of the purest and best refined siluer , that you can get , then take a good quantity of Brimstone , and melt it , when ye haue done , put your ●●luer into the Brimstone melted , and take it forth , gaine with a paire of pliers or small tongues , and light it at the fire , holding it in your tongues vntil it leaue burning : then beate your siluer in a brazen Morter to dust , which dust take out of the Morter , & laying it on your Marble stone , grinde it ( adding vnto it a small quantitie of yealow Oker ) with gum Arabeck water , and when you haue drawne with your pencell what you will , let it of it selfe throughly drie vpon the glasse . Another faire Gold or yealow vpon Glasse . Take a quantitie of good siluer , and cut it in small peeces : Antemonium beat to powder , and put them together in a crucible or melting cruse , and set them on the fire , well couered round about , with coales for the space of an houre : then take it out of the fire , and cast it into the bottome of a candlesticke , after that beat it small into powder , and so grinde it . Note when as you take your siluer , as much as you meane to burne , remember to waye against ●it sixe times as much yealow oaker as it waieth , and seuen times as much of the old earth , that hath beene scraped of the annealed worke , as your siluer waieth : which after it is wel groūd , put altogether into a pot , and stir it well , and so vse it , this is the best yealow . Argent or white . Argent or siluer , is the glasse it selfe , and needeth no other colour , yet you may diaper vpon it with other Glasse or Christall beaten to powder and ground . S●bles . Take let , and the scales of Iron , and with a wet fether when the Smith hath taken an hea● , take vp the scales that ●lie from the Iron , which you may doe by laying the feather on them , and those scales that come vp with the feather , you shall grind vpon your painters stone , with the let and Gumme water , so vse it as your gold aboue written . Azure , Gules , and Vert. These three colours are to be vsed after one manner , you may buy or speake vnto some merchant you are acquainted withall , to procure you what coloured beads you will , as for example , the most and perfectest red beads , that can be come by , to make you a faire red , beat thē into powder , in a brazen Mortar , then buy the Goldsmiths red Ammell , which in any case let be very transparent & through-shining , take off the beads two pearles , & of the Ammell one part , and grinde them together as you did your siluer , in the like sort may you vse all the other colours . Another faire red vpon Glasse . Take a quantity of Dragons bloud , called in Latine Sanguis Draconis , beate it into fine powder in a Mortar , and put it in a linnen cloth , and put thereto strong Aquauitae , and straine them together in a pot , and vse them when you need . Another excellent greene vpon Glasse . Take a quantity of vert grease , and grinde it very with Turpentine , when you haue done , put it into a pot , and as often as you vse it warme it on the fire . To make a faire Carnation vpon a Glasse . Take an ounce of Tinne-glasse , one quarter of gum , of Iet three ounces , of red Oker fiue ounces , and grind them together . Another blacke . Take a quantity of yron scales , and so many copper scales , and waie them one against another , and halfe as much Iet , and mixe them well together . Before you occupie your scales , let them be stamped small , and put them into a cleane fire shouell , and set them vpon the fire till they be red hote , and they will be the better . Another Carnation . Take a quantitie of I●t , and halfe as much siluer , scumme , or glasse tinne● and halfe as much of Iron scales , a quar●er as much of gumme , and so much red chalke as all these do waie , and grind it . The manner of annealing your glasse , after you haue laid on your colours . Take brickes , and therewith make an Ouen foure square , one ●oote and a halfe high in this manner : and raise it a ●oot and a halfe high● when you haue done , lay little barres of Iron ouerthwart it thus : three or foure , or as many as will●serue , then raise it aboue the barres one foote , and a halfe more , then is it high enough : when you purpose to anneale , take a plate of Iron made fit for the aforesaid O●en , or for want thereof , take a blew stone , such as they make Hauer or Oten cakes , vpon which being made fit for the aforesaid Ouen , lay it vpon the crosse barres of Iron : that done , take sleekt lime , and fift it through a fine ●iue into the Ouen , open the plate or stone , and make a bed of lime , then lay your glasse which you haue wrought and drawne before , vpon the said bed of lime , then ●ift vpon the said glasse , another bed of ●ime , and vpon that bed lay other glasse , and so by beddes you may lay as much glasse as the Ouen will containe : prouiding alwaies , that one glasse touch not another . Then make a ●o●t ●ire vnder your glasse , and let it burne till ●t be ●u●●iciently annealed : it may haue ( you must note ) too much or too little of the fire , but to prouide , that it shall be well , you shall doe as followeth . To know when your glasse is well anne●l●d . Take so many peeces of glasse , as you purpose to lay beds of glasse in your Ouen or furnace , and dra● in colours what y●u will vpon the said peeces , or if you wipe them ●uer with ●o●e colour , with your finger onely it is e●ough : and lay with e●ery bed of your wrought & drawne glasse one of the said peeces of glasse , which are called watches , and when you thinke that they are sufficiently annealed with a paire of pliers or tongs , take out of the first watch which is the lowest , and next to the fire , & lay it vpon aboord vntill it be cold : then scrape it good and hard with a knife , and if the colour goeth off , it hath not enough of the fire , and if it hold it is well annealed . VVhen you would occupie any oyled colour i● glasse , you shall once grinde it with gum water , and then temper it with Spanish Turpentine , and let it drie as neere the fire as may be , then it is perfect . THE SECOND BOOKE of Drawing and Limning . CHAP. I. Teaching how , according to truth to purtract and expresse , Eternitie , Hope , Victorie , Pietie , Prouid●nce , Ve●●●e , Time , Peace , Concord , Fame , Common Safetie , Clemen●ie , Fat● , &c. as they haue beene by Antiquitie described either in Comes , Statues , or other the like Publike Monuments . Eternitie . THE most ancient picture of Eternitie , was expressed in the forme of a faire Lady , hauing three heads , signi●ying those three parts of time , viz. Time past , Present , and to come , in her le●t hand a Circle pointing with her right fore-finger vp to heauen , the Circle shewes she hath neither beginning nor end , and those three heads not altogether vnproper to her , ●or saith Petr. Non haura luogo , fu , Sara , ne era Ma è solo in presente , et hora et hoggi Et sola eternita racolta , è vera . In the Meddals of Traia● and Domitian , she is figured sitting vpon a Sphere , in one hand the Sunne , in the other the Moone , by her sitting is signified her perpetuall constancie . August●s Caesar caused her to be stamped in his coine in the forme of a Ladie with two heads crowned vnder her feete , written AEternitas Augusti , and these letters S C. In the Meddals of Faustina , she is drawne with a vaile , and in her right hand the Globe of the world . In another ancient Meddall I haue seene her drawne in greene , with a speare in her left hand , with her right hand reaching for●h w●th th●se letters . Clod. Sept. Alb. Aug. Hope . Hope by the Ancients was drawne in the forme of a sweete and beautiful child in a long Roabe hanging loose , standing vpon the tip●toes , & a treyfoile or three leaued grasse in the hand . Hope hath her infancie and encrease , the amiable countenance , the pleasure & delight she bringeth the loose garment shewes she neuer pincheth or bindeth , truth , but alloweth the largest scope , the treyfoile of all other herbs first appeareth greene , h●r standing on tiptoe , shewes she neuer standeth ●irme and certaine . In the Meddals of Gold of the Emperour Adrian and Claudius , she is is draw like a Ladie all in greene , with one hand holding vp th● skirt of her garment , in the other a goblet with a Lilly in the ●ame , and these leters R. P. Elsewhere shee is drawne in yellow with a flowry plant in her hand , her garment also embroydered with sundry flowers as Roses , Vi●lets , Daffadils &c. in her l●ft hand an Anchor . Shee is al●o expressed all in greene with a Garland of sundry flo●●rs vpon her head gi●ing a Cupid , or Loue suck , for indeede she is the ●ood of loue . Amor sinespe , non attin●t ●inem desider● , saith S. Augustine . Victory . Victory ( as ●●liodorus reports ) was expressed by the ancients in the forme of a Lady , ●lad all in Gold , in one hand a Helmet in the other a pomgranate , by the h●lmet was meant force & strength of the body by the pomgranate vnity of wit and counsell , in the Meddals of Octauius she is portra●tured with wings standing vpon a base , in one hand a Palme , in the other a Crowne of Gold , with these words , Asia re●epta . The sea victory of Vespasian , was a Ladie holding a Palme in her hand , at her foote the prow of a ship . The same Vespasian caused also a Columne to bee erected in Rome , vpon whose toppe there was the prow of a ship , which being called in Latine Rostrum gaue the name to the common pulpit or pleading place in Rome , where those excellent Orations of Tullius ●orte●sius and others were made beeing framed and built of the prowe of those ships of Anti●m which the Romanes ouerthrew and tooke in the riuer of Tiber in memory of so notable a victory . The victory by land of Vespasian was a Lady winged writing these words in a shield ( neere a palm● tree ) Iudaea Capta . Titus his sonne gaue her without wings , ( as Pa●●sanias reports the Athenians did , who drew ( her p●●●iond● because she could not slie awa●e but euer ●●●maine with him . Augustus would haue her with wings ready to fl●● standing vpon a Globe , with a Garland of b●●es , in one hand , in the other the Corne● of ●he Emperour with this word Imperator Caesar. Luc●us Verus drew Victory in the forme of a tall Souldier a helmet vpon his head , in his right hand a speare , in his left hand a Trophey laden with the spoiles of the enemy . Domitian deuised after his Germane Conquest Victory in forme of a Lady writing within a shield hanging vpon a tree , neere whome sate a comely virgine mourning and leaning with her cheek vpon one hand . Piety . Piety is drawne like a Lady of Solemne chear , and a ●ober countenance , in her left hand a storke , her right arme stretched ouer an Alter with a sword in her hand , by her side an Elephant and a child . The Storke is so called o● 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is the naturall or reciprocall loue the child beareth to the parent , or the parent to the childe , of which this bird hath euer beene an Embleme for the loue and care she hath of her parents being old . The sword and Alter declares her readinesse in offering her selfe for the defence of Religion . The El●phant aboue all beasts is thought to haue a secret and naturall instinct of pity , Plutarch and AElian affirme that they adore and worship the Sun at the rising , Pliny addeth the new Moone : AElian moreouer reporteth that they haue a care of inter●ing their dead , and that if they ●inde one dead , they will doe their best to couer him with earth , and no meruaile , if it be true , which Oppian writeth of them that they can prophecie , and which is more as Dion saith , that they haue knowledge of what is done in Heauen . The AEgiptians resembled P●ety by B●tonis and Cleobis , drawing by the neck● their mother in a chariot to the Temple of Iuno . A●t●n●●s P●us gaue her in his money , like a Lady with a Censer before an Altar . P●a●e . Peace ( as I haue yet to shew in an ancient peece of coine stamped about Augustus Caesars time ) is drawne like a Lady , in her right hand holding a Caduceus downward toward the earth , where lieth an hideous serpent of sundry colours , with her other hand couering her face with a vaile , as loth to behold the serpent : the word vnder is Pax Orb. Terr . Aug. It being the time of the birth of our blessed Sauiour Iesus Christ , when there was a generall peace ouer the whole world . Caduceus among the Romanes was the name of a wand so called a Cad●ndo , because at the sight thereof presently all quarrels and discord ceased , and it was carried by their Herralds and embassadors , as an ensigne of peace . Traian gaue a Lady in her right hand an Oliue branch , in her left a Cornucopia . The Oliue is giuen as the Embleme of Peace , because of all other trees if it may grow free from annoiance as in times of peace it becommeth the most fruitfull . In certaine peeces also of Sergius Galba , shee is resembled by a faire Lady sitting with an Oliue bow in one hand , and a Club in the other , vnderneath Pax Aug●st . Et S. C. Her beauty and sitting signifie the quiet of the mind in times of peace , by her Club is meant bodily strength . In the Medals o● Titus shee is figured like a Lady in one hand , an Oliue branch with the other , leading a lambe and a woolfe coupled by the necks in one yoke . Vertue . Vertue in most of the olde Romane statues and coines ( as in those of Maximinus , Geta , Traian ) was represented by Hercules , naked with his Lions skin , and knotted Clubbe , performing some one of his labours ( as at this day hee is seene in a goodly statue in the pallace of Cardinall Farness in Roome ) Hercules being nothing else : but Vertue hath his name in Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Iunonis gloria vel quia 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Celebrat aut commemorat Heroas , which is the property of Vertue , hee is drawne naked to shew the simplicity of Vertue , being as the common saying is nudo homine cortenta . In the pe●ces of Geta hee is drawne offering to strike a Dragon keeping an Apple ●ree , by the Dragon are meant all manner of ●●●●s , by his Lions skin magnanimity , by his oken Club is signified Reason ruling the Appetite , the knottines thereof , the difficulty they haue , that seeke after Vertue . In the Capitol in Rome he was framed in a goodly stature guilt al ouer , in his hand three golden Apples designing the three Heroicall v●rtues , which are 1. Moderation of Anger , 2. Tempera●ce in Couetousnesse 3. The despising of pleasures . Domitian Gal●●nus and Galba gaue her like an Amazon with a sheeld and sword holding a lance , setting one foote vpon the World. Lucius Verus a Bellephoron , & the Chimaera taken by Alciate for the Embleme of vertue and Heroicall Fortitude . Prouidence . A Lady lifting vp both her hands to Heauen with this worde Prouidentia Deorum . In the Meddals of Probus a Lady in a Robe in her right hand a Scepter , in her left a Cornucopia , a Globe at her feete . Of Maximinus carrying a bundle of Corne , with a speare in one hand . Time. I haue seene time drawne by a painter standing vpon an old ruine , winged , and with Iron teeth . But I rather allow his deuise that drew him an old man in a garment of starres , vpon his head a Garland land of Roses , eares of Corne and dry stickes , standing vpō the Zodiack ( for he hath his strength from heauen ) holding a looking glasse in his hand , as beholding onely the present time ) two children at his feete , one fat , and well liking , the other leane , writing both in one booke vpon the heade of one , the sunne vpon the other , the Moone . Hee is commonly drawne vpon tombes in Gardens , and other places an olde man bald , winged with a Sith and an hower glasse . Concord . Concord was drawne sitting in her right hand a charger , or platter ●or sacrifice in her selfe , a Cornucopia , the word Concordia Augg. Et. S.C. Concordia Militaris Neruae Imp. A Lady in her right hand the beake of a shippe , vpon which standeth a flagge about the middle of the staffe of the same , two hands ioyned , the word Concordia Exercituum . Pierius Valerianus out of Democritus would haue Concord like a faire Virgin holding in one hand a pomgranate , in the other a bundle of Mirtle , for such is the nature of these trees , that if they bee planted , though a good space one from the other , they will meet , and with twining one embrace the other . In Faustinas meddals she is represented by crows , as may bee seene in Alciates Emblems . In another place s●e is shewed with a Scepter , hauing flowers bound to the toppe of the same , and in her arme a bundle of greene rods . Fame . A Lady clad in a thinne and light Garment , open to the middle thigh , that ●he might runne the ●aster , two exceeding large wings , her garments embroydered with eies and eares , blowing of a trumpet● as shee is described by the Poet Virgill . Captiu● Fame . A Lady in a long blacke robe painted with Puttines , or little Images with blacke wings a trumpet in her hand . Salus publica , or common s●fe●y . A faire childe holding a goblet in the right hand , offering the same to a serpent , in the other hand a wand , the word Salus . Pub. August● . Clemenc●e . A Lady sitting vpon a Lion , holding in one hand a speare , in the other an arrow , which shee seemeth to cast away from her with these words , Indulgentia Aug. Incar . Among the Meddals of Nitellius she is expressed sitting with a bay branch in her hand , and a staffe lying by her . Fate . Fate is drawne like a man in a faire long flaxen robe looking vpward to certain bright starres compassed about with thicke clouds , from whence there shall hang a golden chaine , as it is described by Homer in the eight of his Illiades , which chaine signifieth nothing else but the coniunction of diuine with humane things on which they depend as on their cause Plato holds this chaine to be the power of the diuine spirit & his heate Flax was the hieroglyphick of Fate among the AEgiptians , as Pierius Valerianus noteth . Felicity Lulia Mamme● gaue Felicity like a Lady sitting in an imperi●ll throne , in one hand a Caduceus , in the other a Cornucopia . ●ecundity . Among the M●dd●●les of ●austina shee is described in the forme of a Lady sitting vpon a bedde , two little infants hanging about her ne●ke . Security . Is expressed among the Meddailes of Gordianus by a Lady lea●ing against a pillar , a scepter in her hand before an Altar . Mon●y . Was among the Graeci●ns represented by a Lady , in a garment of white , yellow , ●nd tawny or copper color , in her hand sundry stamps by her side a Ciuet cat which was stamped in the Grecian coin , and was ( as Plutarch saith ) the A●ms of the Athenians . Dissimul●tion . A lady wearing a vizard of two faces , in a long Robe of changeable colour , in her right hand a Magpie , the Poet Spenc●r described her looking through a lattice . Equality . A Lady lighting two torches at once . Matrimony . A young man standing vpon his shoulder a double yoke , his legges fast in a pair of stocks , in his hand a Q●ince , in token of ●ruitfulnesse , which by the laws of Solon was giuen to the Brides of Athens vpon the day of their Marriage , for further variety of these and the like deuises , I referre you to my Emblemes Dedicated to Prince Henry . CHAP. II. The manner o● expressing and figuring ●louds , Riuers , all so●ts of Nymphes : The M●●●s , Pl●nts , ●indes , Faun●s , and Satyres , the Sea●ons and M●nth●s of the yeare , &c. Of Flouds and Riuers . IN describing Flouds and Riuers , you must principally obse●ue the adiuncts ●nd properties of the same , which consist either in some notable accident done neere them : Some famous Citie situate vpon their bankes , trees , fruits , or reeds , by shew of some fish proper to their streames onely , their heads or fi●st fountaines , their windings and turning noise in th●ir ●alles , &c you shall best place the Citie vpon their heads , their fruits in a Cornucopia , reeds , flowers and branches of trees in their garlands , as for example . The Riuer Tiber. The riuer Tiber is seene expressed in many places in Rome , but especially in the Vaticane , in a goodly statue of Marble lying along ( for so you must ●emember to draw them to expresse their leuelnesse with the eateh ) holding vnder his right arme a shee-wolfe with two little infants sucking at her teates leaning vpon an vrne or pitcher , out of the which issueth his streame , in his left a Cornu-copia with all manner of delicate fruits , with a graue countenance , and long beard , a garland of sundrie sweete flowers vpon his head , resting his right leg vpon an Oare , to shew it was nauigable and commodious for tra●●ike . The Riuer Arnus Arnus is another famous riuer of Italy , and is drawne like an old man , leaning vpon his pitcher , powring forth water vpon his head , a ga●land of beech , by his right side a Lion holding forth in his right paw a red Lilly or flower De luce , each b●ing the ancient armes of the chiefe Citie of Toscanie , through the which this riuer passeth : by his beechen garland is signified the great plenty of beech trees , which grow about Fasterona in the Appenines , where Arnus hath his head . The Riuer Po , or Padus . Po is drawne with the ●ace of an Oxe a garland of reedes vpon his head , or rather of Poplar as well for the great abundance of those trees vpon his bankes , as in regard of the fable of the sister of Phaeton , whom the Poets faine strucken with lightning from heauen , to haue beene drowned in the riuer , he hath the head of an Oxe , because of the horrible noise and roring , he maketh his crooked bankes resembling the hornes , as Serui●s and Probus writes . The Riuer Nilus . Nilus at this day is seene in the Vaticane in Rome , cut out in white marble , with a garland of sundrie fruits and flowers , leaning with his left arme vpon a Sphinx from vnder his bodie issueth his streame , in his left arme a Cornu-cop●● full of fruits and flowers on one side , a Crocodile on the other , six●●ene little children smiling and pointing to the floud . The Sphinx was sometime a famous monster in AEgypt , that rem●ined by conioyned Nilus , hauing the face of a Virgin , and the bodie of a Lion , resembling bodily str●ngth and wisedome . The Crocodile , the most famous S●rpent of AEgypt , who hath his name 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 from the fe●re he hath of S●●●ron , which hee cannot endure , wherefore those in AEgypt that keepe Bees set great store of Saffron about the hiues , which when hee seeth , hee presently depa●teth without doing any harme . The sixteene children resemble the sixteene cubits of height , being the vtmost of height of the flowing of Nilus , their smiling countenances , the commoditie it bringeth , gladding the hearts of the drie and poore sunburnt inhabita●ts . The Riuer Tigris . Tigris ( as appeareth in the Meddals of Traian , ) was drawne like an old man as the rest , and by his side a Tyger . This beast was giuen him aswell in regard of his swiftnesse , as of the place which he passeth , where are said to be great store of Tigers . This riuer hath his head or beginning in Armenia the greater , in a large plaine named Elongosin , and winding through many countries , at the least with ten branches or st●eams disburthens himselfe within the Persian Sea. The Riuer Danubius , or the Donow Danubius among the ancient Meddals of Traian the Emperour afore●aid , is represented with his head couered with a veile . He is so drawne , because his beginning or head is vnknowne , whereupon as I remember A●sonius saith , Danubius perijt caput occultatus in ore . The Riuer Achelous . Achelous is described by Ouid to bee crowned with willow , reeds , &c. hee hath two vrnes or pitchers , the one pow●ing out water , the other emptie , with a horne vpon one side of his head , vpon the other the appearance of another broken description being grounded vpon that sable of Hercules , who for Deianiras sake turned both his streames into one shadowed in his combating him in the likenesse of a Bull , and breaking off one of his hornes : Whereupon one of his vrnes are emptie . This riuer is one of the most famous of al Greece , diuiding AEtolia from Arcadia , and so falling into the Sea. The Riuer Ganges . I haue seene this riuer with wonderfull art cut out in white Marble , bearing the shape of a rude and barbarous sauage , with bended browes of a fierce and cruel countenance , crowned with Palme , hauing ( as other flouds ) his pitcher , and by his sides a Rhinoceros . His crabbed lookes signifie the sauage vnciuility of the people in those par●s being for the most part cruell , runnagates , and notorious theeues . This riuer runneth through India , and hath his head from a fountaine in Paradise . The Riuer Indus . Indus is co●only described with a graue and Ioniall aspect , with a garland of his countrey flowers by his side a Camell , the beast hath his name from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , that is , on the ground he is represented pleasantly graue , because the East Indians are held to bee the most politique peop●e of t●e world , as our countrymen haue had good experience among those of China , Iaua , Bantam , and in other places in those Easterne parts . This is the great●st riuer in the world , receiuing into his channell threescore other mightie and famous riuers , and aboue an hundred lesser . The Riuer Niger . This riuer is pourtracted like a tawney or blacke Moore , with a coronet of Sunbeames ●esting vpon his vrne by his side a Lion. The Sunbeames represent the exceeding heat of that clime lying vnder the burning Zone whose Inhabitants are the Moores . The Lion is proper to M●●ritania and Barbarie , where are bred the fie●cest in the world . Thus haue I broken the Ice to inuention , for the apt description and liuely representation of flouds and riuers necessary for our Painters and Poets in their pictures , poems , comedies , maskes , and the like publike shewes , which many times are expressed ●or want of iudgement very grosly and rudely . CHAP. III. The N●mp●es i● gen●r●ll . THis word N●mphe in Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 properly signifieth a bride hauing the et●mon from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , because she appeareth to the world , as it were a fresh & new creature , hēce those virgin goddesses of the woods , & waters had the name of Nymphes , or as some will from water , Nympha quasi lympha by changing L. into N. after the dorick dialect which may very well be , since by this word Nymphe is meant nothing else but by allegory the veget●tiue humour or mo●●ture that quickneth and giueth life to trees , plants , h●rbs and flowers , whereby they grow and increase , wherefore they are samed to bee the daughters of the Ocean , the mothers of flouds , the nurses of B●cchus , goddesses of Fields , who haue the protection and charge of Mountaines , feeding of heards , woods , medowes , trees , and in generall the whole life of man. Nap●●e or Nymphes o● the mountains . They are called of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which is the top of an hill or wooddy valley , they would be drawne of a sweete and gracious aspect in mantles of greene girded about them vpon their heads garlands of hunnisuckles , woodbine , wild roses , sweet Marioram and the like . Their action should be dancing in a ring , composing a ga●land or gathering flowers . Dryades and ●am●d●yad●s , Nymph● o● the 〈◊〉 . They haue their name of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 an Oake , these must be drawne not of ●o faire a hew , but of a browne o● tawny complexion , no o●nament vpon their heads , their haire thicke like mos●e , their attire of darke greene , of the colour of the ba●ke of trees . They are called Hamadryades , because as they haue their birth and beginning with the trees , so ( saith Appolloniu● ) they die together with them . N●●iades or the Nymphes of f●ouds . You shall make them very beautifull with armes and legs naked , their haire cleare as Cristall , vpon their heads garlands of water-cresses , and their red leaues with pitchers powring out water . They haue their names from Nao to flow or bubble as the water doth from a fountaine . Dianas Nymphes would be arraid in white , in signe of their virginity , their garments gyrt close a●bout them , as Virgil & Claudian describe them , their armes and shoulders naked , bowes in their hands , and quiuers by their sides . Diana hath her name of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is to moysten which is proper to the Moone , being by nature cold and moist , a●d is fained to be a goddesse huntresse● because they thought in times past the night to be fittest time for that sport , whereupon Horace perhaps thought hunters wiues had wrong lying many a cold night without their husbands . CHAP. IIII. The Ocean● HE is represented like a surley old fellow with a thicke beard , long and vnkembed lockes , quite naked , saue gyrt ab●ut the middle with a Seales skinn● or ships ●aile laying his legge ouer a Dolphins backe , in his hand the sterne of a ship , Anker , Oare , or the like . He is painted old , because he is of equall age with our common mother the earth , of fearefull and fower aspect , by reason of his often commotion and raging , he hath his name from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which is swift , and suddenly violent . Thetis . A Ladie of something a browne complexion , her hei●e d●sheueld about her shoulders , vpon her head a Coronet of Periwinckle and Escallop shelles in a mantle of Sea●water greene about her necke and armes , chaines and bracelets of Amber , in her hand a branch of red Corrall . Her name importes a nurse , because she giues moisture to euery thing , her complexion agreeth with the colour of the Sea , being many times at the Sunne rising and setting , as Aristotle saith , of a dark red or purple colour Galatea . A most beautifull young Virgin , her hayre with a careles grace fal●ing ●bout her shou●ders like threds o● si●uer , at each ea●e a faire pea●l ●anging , of which al●o s●e shall haue a chaine many times doubled about her n●●ke and left arm , a M●●t●e of most pure , thinne and ●ine white , wa●ing as it were by the gentle brething of the a●r , viewing in her hand a spunge being made of the ●●oth of the Sea. S●ee hath her name from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which is milke , as bei●g of the ●●llour of the same f●oth . Ir●●●r the Rain●bow . A Nymphe with large wings dispred in the forme of a semi-circle , the feathers set in ranckes of sundry colours , as purple yellow , greene , redde , &c. Her haire hanging before her eies , her breast in form of a cloud , drops of water falling from her body , standing if it ●ay bee so deuised in a iust or thicke cloud in her hand , Iris or the flower deluce , some giue her wings to her feete agree●ble to Homers 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 she is said to be the messenger of the Gods , Virgil often makes her the Messenger of Iuno , allegorically taken for the aire , when he saith . Irin de coelo m●sit Saturnia Iuno . Aurora or the Morning . Aurora i● drawne like a young maide with carnation wings , in a mantle of yellow , in her forehead a starre with the appe●r●nce of certaine golden sun-beames from the crowne of her head r●ding vpon Pegasus some giue her a light in her hand , but in●stead of that I rather allow her a Viol of deaw , which with sundry flowers she scattereth about the earth . Her dressing agreeth well with those Epistles of Homer 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , and o● Vi●gil Croc●o velamine sulgens . Her Carnation wings with her Epithite of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , or the rosie fingred Morne . Her riding vpon Pegasus sheweth her swiftnes , & how shee is a friend to all studies especially to poe●trie and all ingenious and pleasant inuentions . CHAP. V. The Nine Muses . THe Muses in auncient time were repr●sented by nine faire , young , and gratious Virgins , they had the name of Muses , as Eusebius saith 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is to instruct , because they instruct & teach the most honest and commendable disciplines and Orpheus in his himnes declareth how they first taught religion and ciuility amongst men . Clio. Clio the first hath her name from praise or glory and is drawne with a Garland of baies in her right hand and a Trumpet in her left , a book , vpon whose outside may be written , Thucidides or the name of some other famous Historian . ●ut●rpe . Euterpe is crowned with a wr●ath 〈◊〉 sweet ●lowers , h●lding in each hand sundry wind instruments , she hath ●●r name ●●om giui●g delight , Dio●o●us attribute● vnto ●er all kind of lea●ning . T●●lia . Th●li● should be drawne with a wanton and s●●●ling cou●tenanc● vpon h●●●ead a Garland o● Iuy● in her le●t ha●d a ●●zard on a ro●e of Ca●nation embroydered with light siluer twist , and Gold spangles : ●er my shewes her prerogatiue ouer Comical Poe●sie : her maske Man●●e and pum●es are ornaments belonging to the stage . Melpo●●ne . Melpomene would bee ●epresented like a Virago or manly Lady , with a Maiesticke & graue countenance vpon her head a most rich dressing of Pearle , D●amonds● & Rubies holding in her le●t hand scepte●s with crowne● vpon them other crowns & scepters lying at her feete , in her right hand a naked poniard , in a pall or mantle of changeable Crimson , & black bu●kins of siluer , with Carnation blac●e and white Ribands , o● her feete her high Cothurn or Tragicke pantofles of redde Veluet and gold beset with pearles and sparkes of Rubies , her grauity be●itteth Tragike Poesie , her pall and pantofles were inuented for the stage by the Greeke Poet● AEschilus , as Horace t●stifyeth . Polymnia . Polymnia shall bee drawne as it were acting her speech with her forefinger all in white , her hair hanging loose about her shoulders , resembling wie●y gold , vpon her he●d a Coronet of the richest and rarest iewels en●ermixt with sweet flowers , in her le●t hand a booke , vpon whose outside shall bee written Suad●r● . To this Muse al Rhetorician● are beholden , whose patron is the Coronet of pretiou , stones signif●ing those rare gifts which ought to bee i● a Rhetorici●n viz : Inuention , Disp●sition , M●mory , and Pronuntiation , her white habite declares the sinceri●y which ought to be in Orators , her name imports much Memory . Erato . Erato hath her name of Eros which is Loue , draw her with a sweete and louely counten●nce , h●r temples gy●● with Mirtle and roses ( both of aunci●nt time Dedicated to Venus ) bearing a heart with an Iuory key , by her side a prety Cupid or Amorino winged with a Torch lighted in her hand , at his backe , his bow and qui●er . Terpsichore . Terpsichore would bee expressed with a merry countenance playing vpon some instrument , vppon her head a coronet of feathers of sundry colours , but especially those greene feathers of the Poppiniaie , in token of that victory , which the Muses got of the Syrenes , and the daughters of Pieri●s and Euripus , by singing ( as P●usanias reports ) who after were turned into poppini●es or wood peckers as Ouid writes . Vrania . Let Vrania bee showne in a robe of Azure , imitating t●e Heauen vpon her head a Coronet of bright starres , in her hand a Globe rep●esenting the c●l●stiall spheres . Her name imports as much as heauenly , for it is her office to describe heuen , and the spheres , vrania ●oeli motus scrutatur et Astra . Calliope . Calliope would bee painted richest of all the rest , vpon her head a Coronet of gold as queene of her fellowes howsoeuer we heere giue her the last place vpon her left arme , many garlands of bay in store for the reward of Poets , in her right hand three bookes , whose titles may be Illiadoes , Odysseos , and AEneidos , as the worthiest of Poetry . I haue thus briefly giuen you the draught of this faire company , as Fulu●us Vrsinus reports they are described in the Middals of the auncient family of Pomponia , the rather because their description agreeth with the inuention of Virgil , and the rest of the auncient Poets . CHAP. VI. Pan and the Satires . THis word Pan in Greeke signifieth All , or the V●iuersall , and indeede he is nothing else but an Allegoricall fiction of the World , hee is painted with a Goates face , red blowen cheekes , vpon his head two hornes standing vpright , about his shoulders a panthers skinne , in one hand a crooked sheepehooke , in the other a pipe of seauen reedes , compact with waxe together : from the middle downewards hee beareth the shape of a Goate , in this manner hee is expressed by Boccace and Silius Italicus . His hornes signifie the sunne and Moone . His redde and fiery face the Element of burning fire . His long bearde noteth the aire and fire , the two Masculine Elements , exercising their operation vpon Nature being the Feminine . His Panthers skinne represents the eight sphere or starry firmament , being the highest sensible Orbe couering the earth . The rodde shewes the soueraignty of Nature , guiding and destining each creature to his proper office and end : his pipe , how that hee was the first i●uentor of Country Musicke according to Virgill , P●n primu● calamos , &c. His nether parts of a Goate declare the inequality of the earth beeing rough and ●hagged as it were with trees plant● hills , &c. The Satyres haue their names from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , and as Pliny testifieth were found in times past in the Easterne mountaines of India Lib. 7. cap. 2. S. Hierom in the life of S. Anthony reporteth , ●hat he saw one of these in his time : vid● homunculum ( inquit ) aduncis ●aribus , et fronte cornibus aspera cui extrem● corporis in caprarum pelles desinebant &c. but the truth hereof I will not rashly impugne , or ouerboldly affirme . The 4 Winds . Eurus or the E●st wind . Eurus as all the other Winds must be drawn with puffed and blowne cheekes , wings vppon his shoulders , his body the colour of the tawny Moore , vpon his head a red sunne . The Moorish colour shewes his habitation to be in the East , the redde sunne , an effect of his blowing . Zephyrus or the West wind . Zephorus you shall shew a youth with a merry cou●tenance , holding in his hand a swan with wings displaied , as about to sing , because when this wind bloweth , the swan singeth sweetliest , vpon his head a Garland of all manner of sweete flowers of the spring : thus he is described by Philostratu● , for with his gentle and warme breath , hee bringeth them forth , which Petrarch as liuely depain●eth in that sonnet of his , which with Gironimo Conuersi and many mo excellent Musitians I haue lastly chosen f●r a ditty in my songs of 4. and 5. parts being a subiect farre fitter then foolish and vaine loue , to which our excellent Musitians are ouermuch addicted . Zephiro torna e'l bel temporimena Ei fi●ri , e'l he● be sua dolce famiglia E●g●oir pr●gne , ●pianger Filomena E●primauera cand●d● è vermiglia , &c. Zephyrus is so called of the Grecians , qu●si 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 bringing life , because as I said , it cherisheth and quickneth all things . Boreas , or the North winde . Boreas is drawne like an old man with a horrid and terrible countenance , his heire and beard quite couered with snow , or frozen with Iseickles , with the feete and taile of a Serpent , as hee is described by Ouid in his Metamorphosis . Auster or the South wind . Auster is drawne with head and winges wet , a pot or vrne powring forth water with the which shall discend ●rogs , grashoppers , caterpillers , and the like creatures as are bred by much moisture . The South wind of his owne nature is cold and drie , and passing through the burning Zone ere it commeth to vs , it receiueth heate and moisture from the abundance of raine , thus the nature of it being changed , it commeth vnto vs hot and moist , and with heate it openeth the earth , whereby the moisture multiplied causeth clouds and raine . CHAP. VII . The tw●lue moneths of the ●eare . March. MArch is drawne in tawny with a ●ierce aspect , a helmet vpon his head to shew this moneth was dedicated to Mars his father , the signe Aries in his right hand , leaning vpon a spade , in his left hand Almond blossomes and scients vpon his arme and basket of garden seeds . The Spring beginneth in the signe , wherupon saith Arios●o . Ma poi che il sol uell animal discreto Che porto Phrisio illumio la ssera & . Aprill . Aprill a young man in Greene with a garland of Mirtle , and hawthorne buds winged ( as all the rest of the moneths ) in one hand Primroses and Violets , in the other the signe Taurus , this moneth hath the name ab aper●endo saith Varro , because now the earth beginnes to lay forth her trea●ures to the world . May. May must be drawne with a sweete and ami●ble countenance , clad in a Robe of white a●d greene , embra●dered with D●ff●dilles , Hawtho●ne , blew-bottels , vpon his head a garland of whi●e dama●k● & red Roses , in one hand a Lute , vpon the forefinger of the other a N●ghtinga●e , with the signe G●mini : it was called Maius à maioribus , for Romulus hauing deuided the people of Rome into two parts , Maiores & Minores , whereof the younger were appointed to defend their countrey by strength , the elder by counsell : May so called in the honour of one , and Iune of the other , whereto Ouid agreeth saying : Hinc suae maiores tribu●re vocabula Maio , Iunius à Iuuenum nomine dictus adest . Iune . Iune in a mantle of darke grasse greene , vpon his head a garland of bents , king-cups , and maidens haire , in his left hand an angle with a boxe of Cantharides , in his right the signe Cancer , vpon his arme a basket of the fruits of his season , it hath the name , either à Iuuenibus , as I said , or of Iunius Brutus . Iuly . Iuly I would haue drawne in a Iacket of light yealow , eating cherries with his face and bosome Sunburnt , on his head a wreath of Centaurie and wild time , a sith on his shoulder , and a bottle at his girdle carrying the signe Leo. This month was called Iuly in the honour of Iulius Caesar the Dictator , being before called Quintili● or the fifth month , for the Romanes began with March. August . August shall beare the forme of a young man of a fierce and cholericke aspect in a flame colored garment , vpon his head a garland of wheat and Rie , vpon his arme a basket of all manner of ripe fruites , as peares , plummes , apples , gooseberies : at his belt ( as our Spence● describeth him ) a sickle , bearing the signe Virgo . This month was dedicated to the honour of Augustus Caesar by the Senate , because in the same moneth he was the first time created Consull , thrice triumpher in Rome , subdued AEgypt to the Romane Empirer and made an end of ●●uill warres , being before named Sextilis , or the sixt from March. September . September with a merry and cheerefull countenance , in a purple roabe vpon his head , a wreath of white and purple grapes : in his left hand a handfull of Millet● Oates , and Panicle , withall carrying a Cornu-copia of ripe Peaches , Peares , Pomgranates , and other fruits of his season , in his right hand the signe Libra . His purple Roabe sheweth how he raigneth like a king aboue other monthes , abounding with plenty of things necessary for mans life . The signe Libra is now ( as Sir Philip Sidney saith ) an indifferent arbiter betweene the day and night , peizing to each his equall howers according to Virgil. Libra dies , somnique pares vbi fecerit hor●s . This hath the name as being the seuenth moneth from March. October . In a garment of yealow and carnation vpon his head a garland of Oake leaues with the Akornes , in his right hand the signe Scorpio , in his left a basket of Seruises Medlers and Chestnuts and other fruits , that ripen at the latter time of the yeare , his robe is of the colour of the leaues and flowers decaying . This month was called Domitianus in the time of Domitian by his edict and commandement , but after his death by the decree of the Senate it tooke the name of October , euery one hating the name and memory of so detestable a Tyrant . Nouember . Nouember in a Garment of changeable greene and blacke vpon his head a garland of Oliues with the fruit in his left hand bunches of parseneps , and turneps , in his right the signe Sagittarius . D●cember . December must bee expressed with a horrid and fearefull aspect , as also Ianua●y following , cladde in Irish rugge , or course freeze , gyrt vnto him , vpon his head no Garland but three or foure nightcaps , and ouer them a Tu●kish Tu●bant , his nose redde , his mouth and beard clogd with Iseckles , at his backe a bundle of holly Iuy or Misletoe , holding in furd mittens the signe Caprico●nus . Ianua●y . Ianuary would bee clad all in white , like the colour of the earth at this time blowing his nailes , in hi● le●t arme a billet , the signe Aquarius standing by his side . This Moneth and the next were added to the yea●e by Numa Pompilius , and had the name from Ianus a Romane God painted with two faces ( signifying prouidence or wisedome ) iudging by things past of things to come . Februarie . February shall be clothed in a darke skie colour , carrying in his right hand with a faire grace the signe Pisces . Numa Pompilius gaue February his name either a Febribus from Agues , to which this time is much subiect , or from Febr●● , which were sacrifices offered for the purgation of the soules of the dead , for Februo was an old verbe , and signified to purge . You shall rather giue euery moneth his instruments of husbandrie , which because they do differ , according to the custome ( with the time also ) in sundrie countries , I haue willingly omitted , what ours are heere in England Tusser will tell you . Moreouer you ●ust be sure to giue euery month his proper and naturall Landtskip , not making ( as a Painter of my acquaintance did in seuerall tables of the monthes for a Noble man of this land ) blossomes vpon the trees in December , and Schoole-boyes , playing at nine pinnes vpon the yce in Iuly . THE THIRD AND LAST BOOKE , CONTAIning by way of Dialogue , a Discourse tending to the Blazon of Armes , with a more Philosophicall and p●rticular examination of the causes of Colours and their p●rticipation , with the light , according to the opinions as well o● Ancient as late writers . The speakers . Cosmopolites , E●daemon . Cosm EVDAEMON well met : what make you hee●e so solitarie all alone , Come , you haue some point of Musicke in your head , or inuenting some Impresa or other ; this B●●se was neuer built to studie in . Eud. To tell you troth , I was thinking how Luc●an could make ●is opinion good , concerning the s●u●es of wealthie vsurers , and couetous pe●sons , whom after their death he verily beleeues , and affirmes to be Metemphychosed , or translat●d into the bodies of Asses , and there to remaine certaine thousands of yeares , for poore men to take their p●niworth out of their bones and sides with the cudgell and spu●re . Cosm. There is no better physicke for melancholy then ●ither Lucian of the heathen● or of eternall memorie . Sir Thomas Moore among the Christians for wittie conceit and inuention , neither thinke I euer shal we s●e their like . But what book haue you there ? Eud. It is a part of Giouan de Ramellis , one of the best enginers in Europe . Cosm. I haue no skill that way , but what thinke you of this worke ? Eud. Surely an ●ffect of Magnisicence her selfe . Cosm. Haue you beene aboue . Eud. Yes , but I bought nothing . Cosm. Such a customer the Epigrammatist Martiall meetes withall , one who after he had walked through the fairest street twice or thrice cheapening Iewels , Plate , rich hangings , came away with a wodden dish : well since we are met so fitly together , I will now challenge you of your promise which was , to giue me cer●aine rules as the principles of Blazonrie , it being a skill I haue long desired , and as I imagine quickly learned . Eud. VVith all my heart , yet I am loath to thrust my sickle into another mans corne , since it is in a manner beside my subiect ( which Plinie wisheth a writer alwaies to beare in minde ) and which is more , it hath so plentifully beene written of already ( especially of late , by that worthy and honest Gentleman Master Guillim ) that little or nothing remaineth to be spoken heereof , notwithstanding rather then I will deny so reasonable a request , I will say somewhat heereof in generall , what I imagine , it is fitt●st for you to know for farther skill I re●erre you to the pro●essors he●reof . Cosm. Faith● the principall vse I would make of thi● skill is , that when I come into an old decaied Church or Monastery ( as wee haue plenty in Engl●●d ) or Gentlemans house , I might rather busie my selfe in viewing Armes , and matches of Houses in the windowes or walls , then lie bootes and spurres vpon my bedde in mine Inne , or ou●r-looke mine Hostes shou●der at Irish. Moreouer beeing a Gentlem●n ●y selfe , I haue beene many times asked my Coate , and except I should haue shewed them my ier●i● , I knew n●t what to say . Eud. Very likely , many of our English Gentlemen are in your predicament , but to say the truth , I must i●ge●i●usly confesse , it hath the most necessary vse to the knowledge and imitation of the vertues and atchieuements of our Ancestors , it beeing besides a most gentlemanly ornament to our selues , when occasion of discourse hee●eof shall be offered . Cosm. But first I pray you concerning the word Herald , let me vnde●stand what it signifieth . Eud. It hath the Etymon from the Dutch or Saxon heere , which is a Lord or a principall man , for in times past they were among the Romanes in great reputati●n , being by their office priests , created at the first by Numa Pompilius king of the Romanes appointed to denounce war against the enemy , by striking a spear● into the ground at what time they wore Garlands or wreaths of Ver●en , concerning the beginning and Antiquity of bearing Armes , and the first inuentors heereof , I will say nothing , at all , since so much hath beene saide already by Leigh , Sir Iohn Ferne , and others , to whose labours I referre you . Cosm. Acquaint me I pray you with an Escotcheon , and if it please you , with the sundry formes of shields , since I haue seene many differing , seuer●ll one from the o●her , as the Italian giues his Armes in an Ouall forme . Eud. Very willingly : this worde Escocheon is a French word deriued from the Latine Scutum , and th●t from the Gre●ke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which is leather & hence commeth our English word Buckler , Lere in the old Saxon , signisying Leather , and Buck or Bock , a bucke or stagge of whose skins quilted close together with horne or hard wood , the auncient Britaines made their shields , of which sort it seemed the shield o● Nennius to haue beene , wherein Iulius Caesa●s sword stucke so fast , that Nennius had taken of his head , had not Labienus the Tribune , stepped happily betweene them in the meane time and rescued his maister . But of shields the first and most auncient was that same among the Romanes , w●ich they call 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , an elbow , where it was worne , or from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which signifieth a remedy because it was a great r●medy and also a helpe to that grieuous pestilence in Rome , falling downe ●rom Heauen into the Citty in the time of Numa Pompi●ius , wherwith a voice was herd saying , in what City so●uer that shield should remai●e , the same should become the most mighty of the falling downe of this shield , I remember this of Ouid when I was a Grammar scholler . Ecce leui Scutum versatum leniter aura Decidit , a populo clamor ad astra venit . The forme of i● was long , and round at the ends , without any corner , as Ouid shew●th in another place . Atque ancil● vo●ant q●o● ab omni part● r●●●●um est , Quaque oculis sp●●les ●ngulus omnis abest : A second kind was that which Suid●● calleth 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , in Latine Parma , so called ( as Varro saith ) quod par in omnes partes esset , meaning , that it was round , and ●quall from the vm●e●iqu● or middle point , to eu●ry side this shield was vsed most by the Troians as Virgil testifieth . Ense leuis nudo parmaque in glorius alba . A third kind was a short Target made in forme of a cressant or halfe Moone , called in Latine Pelta , vsed by the Amazons , as the same Virgil noteth , where he saith : Ducit Amazonidum lunatis agmina peltis Penthesilea furens — It was also in great vse among the olde Romane Souldiers , as L●uy testifi●th . A fourth kind was called cetra , vsed by the African Moores and the Spaniards , in Caesars time who in his Commentaries calleth those Legions Vlterioris Hispaniae , cetratas . Some other kinds there haue been which for breuity , and your memory sake I omit , I will proceed to ●olours , and then to variety of charges . Cosm. How many colours be there in Armes ? Eud. Sixe principall , ( of which two viz. yealow and white , Or , & Argent , are termed mettals : that is , Gold and Siluer , viz. Or Azure and Vert. that is , yealow , white , redde , blacke , blew , and greene . Argent Azure and Vert. that is , yealow , white , redde , blacke , blew , and greene . Gules Azure and Vert. that is , yealow , white , redde , blacke , blew , and greene . Sables . Azure and Vert. that is , yealow , white , redde , blacke , blew , and greene . Gold is the most pretious and dearest of all mettals , the reason is , it remaineth longest vncorrupted , and without rust , and since man by nature desireth immortality , and to preserue his Memory , hee holdeth so this mettall , as most worthy of his loue and respect , I haue seene the monies of Augustus Caesar , ( who was Emperor of Rome , when Christ was born ) as fr●sh and as faire as if they had beene stamped in the Tower of London but yesterday , as also of Nero Domitian , Const●ntine and the rest , it is begotten by the heate of the sunne vpon the purest earth . It is called Gold in our English tongue , either of Geel ( as Scaliger saith , ) which is in Dutch to shine , or of an other Dutch word , which is Gelten , and signifieth in Latine Valere , in English to be of price or value : and hence commeth their ordinary word Gelt , for money Gold was of such ●stimation and price among the Romanes , that it was prouided by a Law , that it should be worne of none , but of the greatest persons , and of them but at certaine times . Cosm. I would the like laws were amongst vs heer in England , where if those infinite summes and expences which are consumed in gold lace and fringe vpon petticotes and garters , were bestowed in iron and steele , great horses , or poore schollers , it were better for our common wealth . Nay so ordinary is excesse in this kinde , that euen shoppe keepers , and which is more , their apprentices , with seruingmen , and chamber maids thinke themselues fowly disgraced if they be not in the fashion . I haue my selfe met an ordinary tapster in his silke stockins , garters deep ●●nged with gold lace , the rest of his apparell suteable with cloake lined with veluet , who tooke it in some scorne I should take the wall of him , as I went along in the streete , what shall now our Courtiers and gentlemen thinke of themselues ? Eud. It is a fault in the Magistrate , that so good Laws ●s we haue ( God be thanked ) in this land be so ill executed , I verily beleeue if this fellow had liued in the time of Cato Censor in Rome , hee would haue beene followed as a monster , and for his punishment haue been confinde to the bottom of a Sellar during his life . Cosm. But I pray you proceed to say somthing of Siluer . Eud. Silu●r next vnto Gold , is of greatest account beeing called in Gre●ke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , in Italian Argento , in French Argent , of the Latin Argentum , in Spanish it is called Plata of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 ● by reason of the beating of it into broad peeces or Ingots , our English word siluer without doubt proceedeth of the Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to shine , it is the second Mettall , and signifieth purity , innocency , and chastity , among the planets it holdeth with Luna , among pretious stones with the Margarite or pear●e . Gold signifieth to the bearer Riches , Honor and preheminence , among planets it holdeth with the sunne among stones with the Tapasion . They are called Mettals because they fall among metallica corpora which are numbred by Aristotle , compound the pur●st part of the earth growing one neere to another according to the Etymon of the worde met●lla which is qu●si 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 for one veine or mine being found another is vnderneath it farre off , or as some would haue it ●rom 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is to search diligently as those doe that search for mines , and because their shining not as colours but as bright mettals are mingled wi●h the other colours they might the farthe● be discerned either by day or night in the field : for of themselues either doth confound the sight , and had need to bee allaied wi●h colour , which on the other side without any of these colours , is as much displeasing and o●fensiue to the sight being as it were a body without a soule , & take it for a general rule there is no coate without a mettell , or any without colour one onely excepted , which is the same of Godfrey of Bulloigne , it beeing a crosse Hierusalem or in a field siluer which you must not take as a president it being giuen him as a singular marke of honour as if some one atturney at the common Law should bee priuiledged by● both the Vniuersities to speake false Latine , ●nd his to be held for most pure and good , that of the rest most absurd and barbarous . Cosm. But I pray you what is the reason that I may not , notwithstanding call them by the names of yealow and white . Eud. Because those colours of the mettals are certain bright splendors begotten of a singular and one onely reflection from an outmost an● continuate superficies , as in leade , tinne , quickesi●uer , &c. the whitenesse of colour proceede●h ●rom a light often reflected and pen●t●ating many small cleare and transparent bodies as we ●ee in salt , I●e beaten small the foame of the sea and the like , for this is a generall rule that euery transparent body which wee call Diaphanon beaten and diuided into small parts or peeces yeeldeth a white colour as snow , which white is a continuate body in raine or water is transparent but being diuided by the cold ai●e in the falling downe into discreete parts , it forthwith turneth white , the like we may see in the shauings of horne , which the finer you cut them the whiter they appear so t●at in these & the like bodi●s the cause of whiten●sse is nothing else ( as I said ) then an o●t r●flection of the light possessing our ●ies and the aire or medium with many beames reflecte● . Cosm. I pray you now proceed to Blacke , which I thinke to be the next colour . Eud. You say true , this colour in Armes is called Sables , which is a most rich ●urre worne of Princes and great personages , it is brought out of Russia and Muscouia , it is the furre of a little beast of that name esteemed for the perfectnesse of the colour of the haires , which are in summitate nigerrimi . In Armes it denoteth sadnesse , grie●e and constancy , among the planets it hath Melancholy Saturne , among pretious stones the Diamond . Cosm. But mee thinks now you are contrary to your selfe , for euen now you saide that those cleare and transparent bodies , as Diamonds , Glasse , water , ice and the like were the subiects , rather of whitenesse then blacknesse as beeing most capable of light . Eud. It is true I said so , but you must know t●at these cleare bodies , as Cristall , Ice , the Diamond &c are subiects of both , for as white proceedeth from a cleare and transparent bodie , deuided into many parts , as in snow , so blacke is caused in the same body by a shadow dispersed into the smallest bodies beyond the light , or whether the light cānot come . For the light only possessing the one halfe of the superficies , draws it selfe with the broken beams into a center , which when it possesseth the eye with stronger & more forcible b●ames , the other on the sides pos●essing the sight with weker & fainter , can ha●dly be discerned : so that black color in these bodies is no thing else then a certain priuation of the light , by ouer shadowing , and heerin differeth darkenesse ●rom blacke : da●kness● is not bounded and circumscribed , ( as we say ) by other obiects enlightned , whereby it appea●eth of lesse blacknesse then blacke colour for contrarium contrarto oppositum m●gis clucescit . So that heerein it is worthy consideration , to see how as somtime contrary causes produce the like effects so euen the same to proceed from black and white , for the cleare and perspicuous body effecteth white , and that white a blacke , againe with contrary affections they beget like effects , for the cleare body broken to small peeces ( as I said ) produceth white , and becommeth most black , while it is continuate and vndiuided , as we see in deepe waters , ( which are euer blackest ) thicke glasses and the like . It is the opinion of some , that contrary to Aristotle , that the colour white doth gathe● the beames of the sight together ( as I said in my former booke ) and that black doth onely dispe●se and scatt●r them , as for example , if one beholde●h ●he light , or some very whit● ob●ect , he vieweth it win●●●gly , as we see those do , that are purblind● but if any thing that is blacke , he looketh vpon it with a broad and a full eye , and we see by experience in a Cat , so long as ●he beholdeth the light she doth , contrahere pupillam , draw the ball o● her eie small and long ( being couered ouer with a greene skin ) and let it forth or dilate at her pleasure . Now as Cristall , Ice , &c. by reason of their perspiscuitie , are the subiects of whitenesse , so are quicksiluer , silu●r , lead , steele , Iron● tin , and the like , by reason of their opacitie of blacknesse , as we see in their dust , and in the blacking o● our hands with much handling the same . And that they are the most shadowie bodies , we know by experience , for if the thinnest lea●e of tinne , laid ouer with quicksiluer be laid vpon a Glasse or Cristalline superficies , it hinders the light so much from passing through , that it is constrained to reflect it selfe to the aduerse part , which other bodies though of a farre greater thicknesse cannot doe , and hence at first came the inuention o● looking glasses . Cosm. I am well satisfied in these three colours , viz. or , Argent , and Sable , what I pray you is the next . Eud. Mar● , Azure , Guiles , and Vert , which I will passe ouer with as much hast as I can , because I will come to our matter . Azure is a faire light blew so named from the Arabian word Lazul , which is the same , it betokeneth to the bearer a zealous mind , it is also proper to them as Dauid saith that occupie their businesse in great wate●s , as trauellers by Sea and the like of the planets it holdeth with Mercury , among pretious stones with the Saphyre . This colour blew doth participate lesse of the light then the white colour , for striking it selfe vpon this colour it is rarified and dispersed , as on the contrarie it is thickned and more condensate in red , as by a most pleasant and delightfull experiment wee may perceiue in a three square cristal prisme , wherin you shal perceiue the blew to be outmost next to that the red , the reason is , that the extreme parts of a perspicuous bodie shine and yeelde a more faint light then the middle as appeareth by Opticke , and the light is receiued by fewer beames in the outmost edges then into the midst , so that yee perceiue first while in the middest then red and blew in the extremes seene . This againe is most manifest by the light of the Sun , through a thicke cloud which then appeareth red , and by the higher parts of the ayre which b●●ause they are more rarified and pure , then the nether appeare to be most blew which Theophrastus in his booke of colours witnesseth saying . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Againe while a candle , oyle , wood , or any thing that consisteth o● fatnesse burneth , the flame next to the candle it selfe at the nether end of the weeke appeareth blew , bec●use there is but a thinne and a weake light ioyned with a thinne , weake , and ae●ic moisture , the top of the ●lame is red , because it there adh●reth to a smoakie and thicke , earthy bodie , whereupon all earthy and sooty flames are red , the ●l●me of Aqu●vil● is most blew , because it is so rare and thinne that it is scarce able to burne , but heate i● coales , Iron , and the li●e is most red , because it is contained in thi●ke , drossie , and ea●thie bodies . Red is named in ' Armory Geules , it signifieth a warlike disposition , a haughtie courage , dreadlesse of dangers among planets it is attributed to Mars , among stones to the Rubie . Cosm. Proceed ( I pray you ) to greene , and then I thinke we haue done with those colours proper to Armes . Greene is termed by the name of Vert , and it is composed of white a thinne red : and lastly blew , for if you mingle blew with a little yealow you shal haue a Poppingay gree●e , if with much blew and yealow a sad or blacke greene if but a little more blew then yealow a Seawater greene , &c. It is called Vert of the Latine word viridis , contracted into the French , it signifieth hope and youth , it appertaineth to Venus among stones to be emerald . There the also other colours borne in armes , in number three , viz. tenne or tawney sanguine and pupre very ordinarie in French coates ( but not in such vse though honourable bearings with vs he●re in England . Now you haue done with the coulours , I pray you proceede to those things that are borne . You meane the charge for so is that termed which is borne vpon th● colour , except it be a coat diuided only by partition , falling in among those honorable ordinaries wherof the accidence of armory speaketh : which are in number ( as Leigh reckoneth thē ) nine . viz. The Crosse containing the fifth part of the Escotcheon being charged the three . The chiefe containing a third part . The Pale also a third part . The Bend a fifth part . The Fesse a third part . The Escotcheon a fifth part . The Cheueron a fifth part . The Salteir a fifth part vncharged . The Barre a fifth part . The Crosse is called in Latine Crux , à cruciando , for it was nothing else then an Instrument of execution among the old Romanes , it hath beene a very ancient bearing , yea euen before the birth of our Sauiour Christ among the Paynims themselues . Though they knew it not but in their blazon , they made the field gules , and called the charge foure cautions , bilfets or cantonez , touching the dignity of the Crosse , and the worthinesse of the bearing , I will , wanting words to expresse the same , referre my selfe to the ancient Fathers , who haue had this signe in such estimation and reuerence , That one may serue in stead of many , I will as farre as I can remember , report vnto you the words of Chrysostome in a Sermon of his : The Crosse ( saith he ) which was wont to be reputed the onely signe of disgrace , is now become the glory and boasting of vs Christians , insomuch as the most noble part of our bodie is signed therewith in our baptisme , we vse it in our praiers , in diuine seruice , we set it vp in our houses , yea at our beds heads , brides and bride groomes are adorned therewith , souldiers when they goe to the warres , marriners carry it on the tops of their ships , yea the bodies of bruite beasts ill affected are marked herewith , so that I cannot imagine ( these being the words of a deuout and most learned father of the Greeke Church , and Archbishop of Constantinople who liued twelue hundred yeares since ) that the signe of the crosse is so perilous a thing as most Puritanes would make it . I should fill more sheetes of paper then they would be willing to read , or my selfe to write , if I should report what hath bene said by Saint Augustine , Athanasius , Saint Hierome , and others in defence of lawfulnesse of the same . But I remember that I am writing of Heraldrie , not of those things that cōcerne controuersies in diuinity . Cosm. Be there no more crosses then one borne in armes ? Eud. Yes sir. Cosm. I pray you onely name them . I will learne them out hereafter of my selfe out of the Accidence of Armory ; The honor of armes or some where else . Eud. The most ordinary are these . A crosse Pateè . Potenc●è . Cro●seè . Fleuroncè . Composeè . Vair cōtre vaire . Nelle or Nylle . Bourdonncè . de 4. hermines . B●santie . Florenceè . Fretteè . Lozangcè . Pommeè . Fitcheè and some few others which I remēber not . Cosm. I pray you proceede to the chiefe , and why it is so called . Eud. The chiefe is so called of the French word Chief , and that from the Greeke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , which is the head or vpper part , this possesseth the vpper third part of the Schocheon , and is diuided by one line in this manner . Cosm. I vnderstand this verie well , proceede , I pray to the pale . Of the Pale . Eud. The Pale is the third middle part of the Scocheon , being diuided from the chiefe to the base , or nether part of the Scotcheon with two lines as thus : Is called from the Latine palus , which is a Pale or peece of woode , wherewith wee fence about Gardens , Parks , Fields and such like . This in ancient time was called a tierce , and you should then haue blazed it thus , hee beares a fierce Sables betweene two fierces , or which will seeme strange to some of our Heralds . Of the Bende . The French Heralds call this Bande , it resembleth a kinde of Baudricke or girdle , which knights wore in times past ouer the right shoulder , and vnder the left , whereat their swords hung . Some vnknowne Godfather long since hath named it in Latine Bend● , it hath a fift part of the Escotcheon , beginning from the dexter part , or the right corner of the l●ft , the Species or kindes it containeth , are bendlets which are , if there be many , a Cotize , which is the third part of the bend , and a b●ston , which is like , and the same with a Cotize , saue that it must not touch the Scotcheon at both the ends , this is reserued for a difference of kindred or alliance among Princes , as it is to be seene in the house of Burbon in France . Cosm. I haue heard say that a bend sinister is the marke of a bastard , it hath beene taken so , but I hope you will not make that proposition , conuertibilis : For I haue knowne it borne by some lawfully borne , whose ancestors before them were legitimate . Eud. Here is a bend sinister . Cosm. If it had bene brought then from the other side , it had beene dexter and right . Eud. Very true . Cosm. Proceed I pray to the fesse . Of the F●sse . Eud. The fesse is so called of the Latine word fascia a band or girdle , possessing the third part of the Scotcheon ouer the middle , as thus , If there bee aboue one , you must call them barres , if the field with there be odde peeces , as seuen or nine● then you must name the field , and say so many ba●●es , if euen , as sixe , eight , or ten , you must say barwise or barry of sixe , eight , or ten , as the King of Hungary beares Arg. and gules barry of eight : marke this coate , how would you blaze it ? Cosm. To tell you true , I know not . Eud. I will tel you : he bears barry , counterbarrie of eight , Or and gules . You see heere an euen number of peeces . Cosm. I pray you proceed , I shall carry this in minde , and thinke of those odde and euen peeces . The next is a Ch●ueron called in Latine Tignum , or the ra●ter of an house . Howbeit it be a ve●y honorable bearing , yet it is neuer see●e in the coate of a King or Prince , because it pertaineth to a Mechanicall prof●ssion : none of which kind may touch the coate of a Prince . For nothing may touch the coat of a Prince saue a border a sable or a baston . If there be many , you must call them by the diminutiue cheueronelles . Heere is a cheueron . Of the Salteir . A Salteir is made in the forme of a Saint Andr●ws crosse , and by some is taken to be an engine to take wild beasts with all : In French it is called vn sautoir , it is an honourable bearing , it is borne in England by that most honourable familie of the Neuels : amongst whom I must neuer forget my dutie towards that noble and worthy-minded Gentleman , Master Doctor Neuell our master of Trinitie Colledge in Cambridge , who hath euer retained and shewed in all his life tho●e , Igniculos vertutis au●tae● as a Poet speaketh , and Homer auerreth to be a thing incident to those that are descended of generous and noble houses . The S●ltier is drawne in this manner . But one thing I must remember to tell you of these nine honourable bearings● Foure are neuer borne , but single , and by themselues , viz. the Crosse , Chiefe and Salteir ; the rest are borne in many peeces , as the Bend , F●sse , Barre , Cheueron , and Gyron . Of the Gyron or Guy●on . The Gyron is a point of triangular forme , whose basis on euery side of the Escotcheon and point or comes in vmbelico or the midst , they are commonly borne in the number of the eight peeces , as in the ancient coate of Bassing●orne , which by chance I found in a window at the Vicaredge in Fulham . O● the partit●ons . There is a diuision or partition by all these aforesaid places , which is drawne in the Sco●cheon with onely one line , as for example , party per bend is when the field is deuided into two colours by a single line drawne as the bend from the point , Dexter to the sinister in base , so likewi●e is the partition per pale , per Cheueron , Saltier and the rest . Cosm. The single line is sometime indented enuecky wauey embatteled &c. I pray you now acquaint with the furres , which are giuen in Armes , I haue heard great discourse of the same , but vnderstood not wel what they meane . Eud. I will tell you what they are , and how many , there be in number nine , whereof there bee fiue kinds of Ermines , the sixt is the Escotcheon plaine white , the other three vaires or of varry , the first ordinary and naturall beeing compounded of Argent and Azure , which is the coate of Beauchamp of Hach in the county of Somerset , and now quartered by the Right Honourable , the Earle of Hartford , the other two compounded of other colours , it is drawne in this manner . Cosm. I pray you what is Ermines . Eud. It is the furre of a little beast about the bignesse of a Weasell , called in Latine Armenius● for they are found in Armenia it is not Mus Ponticus , as some haue written , who though it be all white , and somewhat like it , the furre is nothing so white and fine , neither hath it that spot at the tip or end of the taile , which is that which we doe call Ermines , many of them being set together , it is held of all furres in nature the most precious , because they write , that when this beast is hunted , rather then he will runne ouer a puddle , or any dirtie place , where his skin may be endāgered to be spotted with mire , he will stay there , and be torne in peeces with the dogs : which gaue me an occasion of an Embleme ( what time I turned his Maiesties ΒΑΣΙΛΙΚΟΝ ΔΩΡΟΝ● into Emble●e● and Latine verses , presenting the same after to Prince Henrie . The word was cui candor morte redemptus , the v●rses . Quod maculae impatiens flammasque agitere per vndas , Candidulae i●sano pellis amore , fera , Hoc Tyrio Heroas superâris murice tinc●os , Vos , quibus aut mens est laesaue fama , fides . None may weare this furre but Princes , and there is a certaine number of rankes allowed to Dukes , Marquesses , Earles , which they must not exceede in lining their caps therewith , in the time of Charles the Great , and long since the whole furres in the t●iles dependant , but now that fashion is left , and the spots onely worne without the tailes . There be now certaine compositions or mixtures of the field , wherewith I would haue you acquainted ere we proceed further , which are called Checky , M●sculy , Fusile , Nebule , Lozengeé . Checky is called of the French Eschiquette , resembling the chesse bord , in Latine it may be called Scacc●atum of Scaccia , the play at chesse , the squares thereof in a coate must not amount aboue the number of fiue and twentie , or sixe and twentie , as also Lozenges and Fusils . Masculy is termed so from the dutch word Masch●n , it is nothing else , but the resemblance of the mashes of a net , they are borne commonly pierced . Fusilee is like vnto Masculi , but your fusile must be made long , and small in the middle , they are seene in the ancient coate of Mountague , who beareth arg . three fusils in fesse gules . A fusill is so called of fusus , a spindle , whose forme it resembleth . Nebulee is so called from nebula a cloud , and that from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 , the same , because it resembleth the clouds . It is borne in the ancient coate of Blondus or Blouut . Lozengee , so called of Lozenges certaine cordials made by the Apothecaries , and giuen in Phisicke . They are like vnto the Mascles , but somewhat broder they are giuen round in the coate of the familie de Medices , Dukes of Florence . If there be aboue the number as I said of fiue and twentie or sixe and twentie , you must say Semi-lozengie . Remember to make your Lozenges more high then broad , they are giuen for the most part in bend or in fesse , saith Bara the French Herald . There be certaine rondles giuen in armes , which haue their names according to their seueral colours . If they be Or , they are beasantes ; if siluer , plates ; if Gules , Tortoixes ; if Sables , Pellets , if Azure , Ogoesses ; if greene , Emeralds , if purpure , Pommes , if Tenne , Oranges ; if sanguine , Gules . There is seldome borne aboue nine in an Eschotcheon that must be numbred , if there be aboue , you must call them semie or besantie . Cosm. I haue seene sometimes staples of doores , nailes , and the like borne . How can they be honourable to the bearer ? Eud. Yes very honourable and ancient . As the Crosse Moline ( giuen by the worshipfull familie of Molineux ) Mil peckes , and most yrons appertaining to the mill , nailes , keies , lockes , buckles , cabassets or morians , helmets , and the like . Cosm. VVhat is that you call a labell or lambeaux ? Eud. It is a kinde of fillet ( some haue taken labels for candels or lights ) it is the difference of the elder brother , the father being aliue , it is drawne of two , three , foure , and fiue pendants , not commonly aboue . You may in Master Guillims booke an ong the difference of brothers read more of this subiect . A border in French called vn bordure , in Latine , ●●mbria , hath his place within the Escotcheon round about the same , it must containe the sixth part of the Scotcheon . An Orle is much like a border saue that it standeth quite within the Scotcheon , the field being seene on either side . A Fillet the fourth of an Orle. Cosm. I pray you be there not trees and herbes , sometimes giuen for good Armorie ? Eud. VVhy not ? What Herbes are most commonly borne in Armes . Of herbs you shall find commonly borne the Cinquefoile but most often pierced the field , the Treyfoile , Mallowes , Rue , Sparage , Fennell , the white Ellebore , Pie de Lion , with many others . What Trees are giuen vsually in armes . Of trees you shall haue the Palme , the Oliue , Sicamore , Apple and Peare tree , the Pine , Ash , the white thorne , Pomgranate , Orange , Quince , Nut-tree , the Oake with some others . You haue Times rootes , as the Mandragoras , Burgony , L●vesse , and such like . What Flowers . Of Flowers you haue Roses , Gilliflowers , Violets , Nenuphar , Lilly , Saffran , Columbine , Borage , Line , Buglosse , Alleluia with others . What Serpents and creeping things . Of Serpents you haue the Crocodile , who hath his name 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 from the feare he hath of Saffron which he cannot endure , wherfore nere Nilus , they plant it much in their gardēs , & nere their Bees , which the Crocodile continually lieth in waite for . For he loueth honie aboue measure . Otho Duke of Millane in the yeare 1099. tooke from a Sarazen his armes : which was a Serpent , a child issuing out of the mouth of the same , which to this day is yet the armes of Millane . The Scorpion , the L●zard , yea the old Armes of France were the three Toades or Crapauds , Crabs , Creuisses , Frogs , Snailes , and such like . I haue seene in an ancient coate three Grashoppers , but the owner I could neuer learne . The Grashopper is called in Latine Cicada , 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 from singing , with a little skin vpon his side , against the which he rubs the thicke part of his leg , and so makes that noise , wherewith hee so disturbs the sleepy hay-makers . When I found this Etymology first , I would needes make triall : which I found very true ; so significant , and wittie were the Grecians at first , inuenting names to all things from their nature . Of fishes you shall find in Armes the VVhale , the Dolphin , the Salmon , the Trout , Barbel , Turbot , Herring , Roach , Remora Escallop shels . Cosm. VVhat meaneth the bearing of Escallop shels ? Eud. It betokeneth vnitie and friendly loue , for as they close so neerely they can hardly be separated , so should friendes and true louers : whereupon it is wor●e in the colours of the knights of the order of Saint Michael . You must be very heedful in the blazoning of fishes , by reason of the variety of their natures . Of those birds that are born in Armes . Of all bearings among these winged creatures , the Griffon is the most ancient , and yet to this day in Pomerania , of great esteeme . But since the AEgle hath got the soueraignty , and is held for a farre more honourable bearing , it being the armes of the Empire and of many other kingdomes . Cosm. I pray what is the reason the Emperour giueth in his Arms an Eagle with two neckes , which is against nature . Eud. So is a Lion with two tailes : yet they haue their reason . The cause why it is giuen by the Emperour was this . The kingdome of Romania beeing vnited vnto the Empire gaue an Eagle Sables displaid , and the Emperor giuing the same likewise , vnited them into one , giuing that two necks as you see . Cosm. This is very pretty and more then I knew before , but is the Eagle of such antiquity among the Romanes ? Eud. Yes before the time of Iulius Caesar ; do you not remember since you were a scholler that verse of Lucane writing of the ciuill warres betweene Caesar and Pompey , Signa pares aquilas et pila minantia pilis . The Pellican is more commonly borne with vs here in England then in other countries . Other birds that are vsually borne are the Swan , the Rauen , the Cormorant , Heron , Faulcon , Cocke , Pigeon , Lapwing , Swallowes , Martle●s , Cornish choughes , Spar-hauke , Larkes with some others . The Spar-hauke Crowned was the Armes of Attilas King of the Hunnes , and fiue Larkes were found depainted in an olde Troian shield . You must note then that seldome or neuer the female o● any thing is giuen in Armes . Cosm. I remember I think a rule for 't in mine Accidence , not of Armory but of Lillies english rules , where note that the Masculine gender is more worthy then the Feminine &c. Eud. Indeed it is the reason because the Masculine gender is the worthiest . One rule is worthy the obse●uation , that fishes birds and diuers beasts haue beene giuen to bearers for the names sake , to preserue it either really or by accident : really or immediately as Heron giues the Heron , Foxe the ●oxe heads , which was the coate of Bishop Foxe , Bullock of Barkshire the bullocks head , Herring , and Her●ingham a coate quartered by the Ea●les of Bed●ord , the three herrings , Roch the Roches , Troutbeck the three Trouts braced , quartered by the right Worshipfull and that worthy Gentleman so well deseruing and beloued of his Country Sir Ralphe Conn●ngsb●● Knight o● Northmims in the county of Hertford , Lucie tres lucios pisces or three pikes , quartered by the Earles of Northumberland , and the coate of that noble Gentleman Sir Thomas Lucey of Warwickshire knight , B●rrisford the Beare with infinite the like some haue their names accidentally from the property of the bird or beast , or by an Onomatopoea , or allusion of the voice to the name , as Terwhit giues the three Lapwings who in a manner expresse the ve●y same ( neither is it any disparagement to the bearer , since there bee of these very Honorable and ancient : ) and Chanteur a French Gentleman very well d●scended who gaue the three Nightingales . Excellent haue beene the conceipt of some Citizens , who wanting Armes , haue coined themselues certaine deuises as neere as may be alluding to their names , which wee call Rebus . Master Iugge the printer , ( as you may see in many of his bookes ) tooke to expresse his name , a Nightingale sitting in a bush with a scrole in her mouth , wherein was written Iugge Iugge Iugge . Master Bishoppe caused to be painted in his glasse windowes the picture of a Bishop in his Rochet , his square cappe on his head , by which was written his Christen name George . One Foxe-craft caused to be painted in his Hall & Parlour a Foxe , counterfeiting himselfe dead vppon the Ice , among a company of ducks and Goslings . Euery scholler can shew you in the first page of his Grammer Harrisons name , expressed by a Hare sitting in a shea●e of Rie , and vpon that the Sunne : al which made Harrison . One Master Gutteridge drew for himselfe a Giant standing in a gutter , ●nd looking ouer the ridge of a house , which could not chuse but make Gutteridge . There was not long since a Grocer in London his name I haue quite forgot , but I am sure for an allusion thereto he gaue for his Rebus a Sugar lofe standing vpon a flat steeple , and I think it was Pauls . A Church warden who shall be nameles , of Saint Martins in the fields , I remember when I was in that parish , to expresse Saint Martins in the fields caused to be engrauen a Martin ( a bird like a swallow ) sitting vppon a Molehill betweene two trees , which was Saint Martins in the fields . It is there yet to be seene , vpon the Communion Cuppe : These and a thousand the like , if you bee a diligent obseruer you shall ●i●de both in City and Country , especially in Towne halls , Churchwalls , and VVindowes , olde Monasteries and such places , which many a time and often I haue enquired after as the best receipt against Melancholy , wher●to I am much addicted . Cosm. I thinke it the best Phisicke you could take , for euen these conceipts and passages of mi●th haue their times and seasons as well as the most graue discourses . I remember the Poet Martiall spe●king to his booke of Epigrams saith , there is a time , Cum te vel rigidi legant Ca●ones . But leauing these Parerga I pray you proceed vnto those beasts that are giuen in Armes , and as neere as you can , teach mee what I ought to obserue in their blazon . Eud. The beasts that are borne in Armes are very many , whereof the Lion is esteemed the most nob●e , and worthiest bearing● next the Vnicorne , the ●art , the Horse , the Beare , the Bull , the VVolfe , the Greyhound , the Antelop , the Porcespine , the Hare the Coney , the Squirrel with many others which I cannot vpon the sodaine remember : Cosm. VVhat must I obserue in the blazon of beasts , because I take it they are somewhat harder then birds to be described ? Eud. So they are : You shall ●irst begin with the Lion , who is borne these waies , Rampant , Passant , Saliant , Seisant or couchant . Rampant is said when the Lion is arreared vp in the Scotcheon as it were ready to combat with his enemy being drawne in this manner : his right fore-foot must directly stand against the dexter point of the Escotcheon , Saliant downe Lower . Saliant is when the Lion is sporting himselfe and taking his pleasure . Passant is drawne as if he were going . Seisant is sitting . Couchant couching or lying downe close with his head betweene his legges like a dogge . A Lion is giuen sometimes but ha●fe , then you must call it a demi-Lion . Sometime but his head only , which is neu●r born but side-waies , and with one eie , the Leopards heads alwaies with the full face , as in the Armes of Cantelupe with both the eies . The Elephant is seldome borne , yet saith ●ierom de Bara , a Troian Captaine gaue an Elephants Trunk in his shield . Cosm. I neuer heard of any that gaue the Ape . Eud. Yes the Ape hath beene a very auncient bearing & so hath the wild cat , which being Herisonne was the auncient Armes of the Kings of Burgundy . Bucks , Goates and the like are said to bee tripping or saliant , that is , going or leaping . You shall say rampant and saliant but of those which are Bestes du proy , and those of the bigger sort . The heads of birds for the most part are giu●n erazed , that is , plucked off ; of beasts , Coup●è or erased , that is cut or pluckt off . You shall know them one from the other because the head that is Coupè is euen vnderneath ; erazed hath three tuftes of feathers , or haire hanging downe . The tong●e and nailes of a beast are alwaies different from the colour of the beast as if the beast bee of a colour , they are of a mettall , if the beast be of a mettall , they are of a colour : so likewise in birdes , you must say of a beast armed & langued , of a bird membred . Thus you see I giue you a tast of euery thing . For further knowledge I referre you to those learned bookes that haue lately beene written of Armory , neither do I wish you as Aulus Gellius said , ingurgitare in i●ta scientia sed tantum delibare , to know something rather then nothing . Cosm. It was my desire onely to learn but the first grounds , and as I euer had a desire to haue an insight in all a●tes and sciences , so more especially in this because nothing more beseemes a Gentleman then the knowledge of Armes . Eud. You say well , I hope you are not vnmindful of that old prouerb Chi tutti abbracci● , and it hath my fault to entertaine too many such guests at once of which I cannot so soone be rid off● For. Turpius eticitur quam non admittitur hospes . Cosm. I pray resolue mee of one thing of which I haue long doubted . Eud. VVhat 's that ? Cosm. Are the same lawes and rules obserued in Armes among other nations , with those which wee haue heere in England ? Eud. Yes doubtlesse , and more strictly : only they d●ffer in ●ome small particulars ; as some vse staines as much as colours , some charge their Scotcheons after a strange maner with diaper as the french : some vse round Scotcheons as the Italian , and such like : otherwise t is all one , as you may see by the Armes of euery kingdom . Cosm. I pray let me request one thing more since you speake of kingdomes● that is , to acquaint mee if your leasure ser●e , with the Armes of euery kingdome in Christendome : which I thinke are about ●●ue and twenty . Eud. Yes if you count those kingdomes in Spaine as Leon , Aragon , Castile , and the rest , I will ; but to no end : you are so young a scholler in Heraldry you will ●ca●ce vnderstand mee . Cosm. So I thinke : but these beeing most eminent coates , I shall ma●ke and remember them the better , but now I remember me , I haue a paire of tables . Eud. The first is the Armes of the Emperour of G●rmanie , which hath vpon it a crowne imperiall ( the difference of Crownes I will tell you anone ) the Emperour bear●th Or , an Eagle displaied with two necks membred Gules . The King of the Romanes bare Or , an Eagle displaied Sables . The king of Hungary beares barry of eight , Argent and Gules . The king of Polonia beares Gules , an Eagle displaied , membred and crowned Or. The King of Bohemia ●eares Gules , a Lion double Queue● Armes langued and crown●d Or. Arragon beareth Or , 4. pales ●ules . Sclauonia beareth Sables a Cardinals hat Argent , stringed and tasselled Or. Sueuia beareth Azure three Crownes Or. Dalmatia beareth Azure three kings heads proper crowned Or. Morauia beareth Azure an Eagle eschecky , Or and Gules , membred of the same . Castile beareth Gules , a Castle triple towred Or. France beareth Azure three flower delices , Or. England beareth Gules three Lions Pass●nt , Gardant , Armed and langued Azure . Nauarre beares Gules , an Escarboucle Accolled and pometted Or. Scotland beareth Or , a Lion enclosed with a double tressure fleurty and counter fleurty Gules . Sicilie beareth party per Salteir , the point and chief , Arragon the other two Argent , in each , an Eagle displaied Sable , membred Gules . Denmarke beareth Or Semie de cuers or hartes , Gules three Lions passant armed and langued of the second ( or as some will haue it nine Hearts . ) Portugall beareth Argent 5. Escotcheons Azure : charged with fiue plates in salteir ( in remembrance of fiue deadly wounds a certaine King of Portugall receiued in the field whereof he was cured , or of the fiue wounds of Christ which they say appeared vnto him ) in a border Gules seuen towers Or. Legion or Leon beareth Argent a Lion Rampant Sable crowned Or , armed and langued Gules . Ireland beareth Azure , an harpe Or , ( though the a●ncient coate of Ireland bare the field Sables a king sitting crosseleggd in his throne in his right hand a Scepter Or. ) Toledo beareth Gules a crowne imperiall Or● Naples beareth Azure semie flower delices or a lambeaux of foure Argent . Galizia beareth Azure semi crosses fitche és Argent , a couered cup Or. Granado beares Argent a Pomgranat with the stalke and leafes proper . Norway beares Gules , a Lion Rampant Argent : crowned Or , holding a battell Axe of the second . I haue thus briefly giuen you the blazon of the coates of al the kingdomes in Christendome . Now because we will not Altum Sapere , I will oppose you in the blazon of some few coates to try your cunning , and to see what you haue profited by your master : heere is a coate , what say you to this ? Cos. I should blaze it thus . He beares Azure a starre Or between 3. crescents Argent . Eud. Very well , you must take heed● that you take not a starre for a mullet and the contrary , for a mullet is the rowell of a spurre , and hath neuer but fiue points ; a star hath sixe and some times 8. beside , the mullet is often pierced of the field and the mullet neuer . Cosm. Whose coate I pray you is this ? Eu. It did belong to the Abbot of Tame , whose name was Thorpe , and now borne of Master Iohn Thorpe of the parish of Saint Martins in the field , my especiall friend , and excellent Geometrician and Surueiour , whom the rather I remember , because he is not onely learned and ingenuous himselfe , but a furtherer & fauorer of all excellency whatsoeuer , of whom our age findeth too few . Nor must I heere be vnmindfull since now I speake of that great and honourable parish ( hauing as many , and as substan●iall parishione●s in the same as any else beside in England ) of the friendship that I haue euer found at the hands of three especially in that parish , to whom aboue all the rest I haue beene most beholden , as well in regard of my selfe in particular , as that they are louers of learning , and all vertue , viz. Master Christopher Collard ( whose sonne my Scholler is now of Magdalen Colledge in Oxford ) Master Simon Greene Purueyor of his Maiesties stable : And lastly the aforenamed Master Iohn Thorpe his sonne , to whom I can in words neuer be sufficiently thankfull . Cosm. Herein you doe wel . There is no vice more hatefull to God and Man , then ingratitude : whereupon it is well said of one . — Gratis seruire libertas . Eud. VVell I must now thinke my paines not ill bestowed , for , est aliquid prodire tenus● si non datur vltra . I am inuited to dinner heere ouer the way , and I thinke it almost twelue a clocke : wherefore I am constrained abruptly to breake off this discourse which willingly I would haue continued , but Time is moderator betwix● vs , and we can go no further then he permits . If it shal please you to take the pains to walke with me : I know you shall be heartily welcome , and the rather , because you are a Scholler . Cosm. Sir a thousand thankes : I cannot , I haue some businesse with a Dutch Merchant , who hath staied all this fore noone of purpose for me at home , I am to receiue money of him by a bill of Exchange , and I dare not deceiue his expectation . Eud. Marry Sir , I pray you take the benefit of so good an opportunitie : Adieu good Sir. FINIS . The Author to the Reader . LEt me intreate thee ( Iudi●ious Reader ) to amend eithe● in thy reading , or with thy Penne the faults ensuing , which by reason of my often absence ( hauing ha● extraordinary businesse ) haue escaped the Presse , they are these that follow . In my Latine verses at the beginning : for regni quis l●mes Edeni , read , ●egui qu●s limes Ed●n● . Pag. ● . ●or A●olia , r. A●oliab . p. 7. for Sandscape , r. Landscape . p 47. for . ●iue lines , r. fiu● : lines . p 50. for Dutch peers , r. Dutch peeces . p. 56 for Birds of Prag . Birds of praie . p 62. lin . ● . for ●mission , r. intromission . p. 89. for chermeb , r. chermes . p. 125. r. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . p. 126. for , those Epistles Homer , r. those Epi●hites of Homer . p. 129. for Illiadoes , r. Illiados . p. 130. for the red , r. the rodde . p. 131. for Zephorus , r. Zepbyrus . p. 133● for illumi●●a S●era in those verses of Ariosto , r. illumino la S●era Ibid. for vel animal , r. n●l animal . p 140. r. through the fairest st●ee●e in Rome . p. 146. for Tapasian , r. Topazion . p. 151. r. to the Emerald . p 156. for sable , r. labell . p. 157. for Neuell , r. Neuil . If Reader thou meetest any where else with the like , let me entreate thee to correct them . Vale , hijs f●uere , meliora expecta . Notes, typically marginal, from the original text Notes for div A09198-e230 Fidibus praeclare cecinisse dicitur . Tusc. Quaest. lib. 1. Xenophon lib. vlt. rerum Graec. Arist. Politic 8. Notes for div A09198-e530 * Pigmenta fere omnia venena . Notes for div A09198-e1210 Exodus 31. Iob. 39.16 . ●ar●as . Semaine . 1. E●am . de Ingen●● . Ru●ilius in vitae Quint. Fab●● pic●or●● . Sigebert in Chronicis . Cic●ro 1. de Orator● . AElian de varia Historia . lib. 10. That is Painter of base things . Plutarch in Demetr . De quo Cicero lib. 1. de Oratore . ●udaeus in Asse . Abulensis in 4. cap. Deutero . Qu●st . 5. Durand . in d●st . quaest . 9. Pe●esiu● de traditionibus part 3 Lorichius Cathol . Institut . in praecept . 1. Caluin Ins●it . 1. - Places o● scripture against the painting or e●pressing of the T●inity . Ca●●tan . in 3. pot . quaest 25. a●t 3. Catharinus in cult● Imag. Pay●● co●●r● K●m●●t●um . B●lla●m l●b . 8. de Im●g . August . de Ciuit●t● D●i . lib. 4. cap. 19. Co●cil . Eli●e●t . Canon . 36. Bishop I●w●l against Harding . AElius Lampridi u● in vita Alex. Tertul. in lib. de pudic●tia . ●●zom●● . lib. 5. cap. ●0 . N●zianz●n . Epist . 49. ad Olympium . Euseb● lib. ● . de vita Const●nt . Z●zomen . lib. 1. c●p . 8. August . ser. 18. de v●rbis Domini . Paulus Diaconus lib. 18. In Honcil . quod Christus sit Deus . August . Tractat. in Ioan. 118. Nihil corum rite per●icitur . Blacke lead in quils . Sallow coales . Rule and compasse . Broome pencils . A strong imagina●ion required in a good painter . How to helpe you in your Idea . The full ●ace . The space of an other eie to be le●t betweene the eies . Great difficultie in the eie . Nic●phor lib. 10. cap 3.7 . in● . auect . contra Iulianum . Brusoni●s . lib. 7. cap. 20. The mouth . AEn●●d .1 . In hi● Fa●ry Queene . Making the head too big , a common fault The necke . The s●oulder . The arme . ●he w●ist . The knuck●e● . The paps . The ribs . The be●ly . The thigh . The knee . The legge . The foote . What Method is to be obserued in drapery The forme of Anticke . Ge●m●nie a 〈◊〉 of men . The ignorance o● 〈◊〉 common pa●nte●s . A Landtskip must be giuen to euery beast according to his countrey . 1 Of lamenesse . 2 Of locall distance . 3 Accidents of time . Iud. 7. 4 In ex●●essing th● passi●n or disposition of the mind , Q●ali● equos Th●●issa ●atiga● H●rpalice . AE●●id . 1. 5 Of drapery 6 Of shadowing . In Tim●● . The opinion of the old Mathematicians . Plato v●●ius ●emper & v●e si●i constans . Why the eye ●euer fre●●eth . The choice of your grinding stone and mullar . Discorides lib. 5. cap. 106. Hom. Ili . 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 . Yellow . Crimson . Blew . Cloth of gold . Changeable silke . Of other sorts . Straw colour . Scar●et . Blacke V●luet . Blacke Satten . White Satten . Russet Satten . Purple . An orient violet . Th● most excellent . Notes for div A09198-e16040 In Trion●i . Notes for div A09198-e21800 Chrysost. in serm . quod Christus sit De●s . That is leaping at his prey . 
A94194	----	Graphice. The use of the pen and pensil. Or, the most excellent art of painting : in two parts. / By William Sanderson, Esq; Sanderson, William, Sir, 1586?-1676. This text is an enriched version of the TCP digital transcription A94194 of text R208648 in the English Short Title Catalog (Thomason E1077_2). Textual changes and metadata enrichments aim at making the text more computationally tractable, easier to read, and suitable for network-based collaborative curation by amateur and professional end users from many walks of life. The text has been tokenized and linguistically annotated with MorphAdorner. The annotation includes standard spellings that support the display of a text in a standardized format that preserves archaic forms ('loveth', 'seekest'). Textual changes aim at restoring the text the author or stationer meant to publish. This text has not been fully proofread Approx. 272 KB of XML-encoded text transcribed from 54 1-bit group-IV TIFF page images. EarlyPrint Project Evanston,IL, Notre Dame, IN, St. Louis, MO 2017 A94194 Wing S648 Thomason E1077_2 ESTC R208648 99867576 99867576 119892 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A94194) Transcribed from: (Early English Books Online ; image set 119892) Images scanned from microfilm: (Thomason Tracts ; 160:E1077[2]) Graphice. The use of the pen and pensil. Or, the most excellent art of painting : in two parts. / By William Sanderson, Esq; Sanderson, William, Sir, 1586?-1676. [16], 87, [1] p., [3] plates : port. Printed for Robert Crofts, at the signe of the Crown in Chancery-Lane, under Serjeant's Inne, London : 1658. Annotation on Thomason copy: "June 14". Reproduction of the original in the British Library. eng Drawing -- Study and teaching -- Early works to 1800. Painting -- Study and teaching -- Early works to 1800. A94194 R208648 (Thomason E1077_2). civilwar no Graphice. The use of the pen and pensil.: Or, the most excellent art of painting : in two parts. / By William Sanderson, Esq; Sanderson, William, Sir 1658 43581 276 0 0 0 0 0 63 D The rate of 63 defects per 10,000 words puts this text in the D category of texts with between 35 and 100 defects per 10,000 words. 2007-02 TCP Assigned for keying and markup 2007-02 Apex CoVantage Keyed and coded from ProQuest page images 2007-03 Emma (Leeson) Huber Sampled and proofread 2007-03 Emma (Leeson) Huber Text and markup reviewed and edited 2008-02 pfs Batch review (QC) and XML conversion portrait of William Sanderson Souse pinxit W. Faithorne sculp ▪ Gulielmus Sandersonus . Aetat : suae . 68 Etsi Se nescit quod senescit tamen cupit diss●●●i . 1658 GRAPHICE . The use of the Pen and Pensil . OR , THE MOST EXCELLENT ART OF PAINTING : In Two PARTS . By WILLIAM SANDERSON , Esq LONDON , Printed for Robert Crofts , at the signe of the Crown in Chancery-Lane , under Serjeant's Inne . 1658. On the Picture of the Author , Mr SANDERSON . LEt others style this Page a Chronicle ; Others , Arts Mystery ; let a third sort dwell Upon the curious neat Artifice , and swear , The Sun near saw a Shaddow half so rare . He outsaies All , who lets you understand , The Head is Sanderson's , Fathern's the Hand . THO. FLATMAN , Inn. Temp. Lond. PREFACE . I MAY be censured by some persons , who have known me busie the most part of my life , to find me at leasure now in my last daies , ( under the discipline of Providence ) to set out this subject of Painting . It is an Art I never professed : These Readings are gathered at my Study , accompanied with observations which I met with beyond Seas , and other Notions , pickt up from excellent Artizans abroad , and here at home ; not without some experience by my own private practise , and altogether suiting my Genius . Which gave me occasion to say somewhat to our Painters , with their approbation , and desire , to reduce that discourse into a Method , legible to all , and so to render it profitable to the Publick ; it being as well delightfull to be read , as usefull for practice , ( I speak to Lovers of this Art , not to Masters ) : Yet , not altogether uncocerning the ordinary Artizan , whose former Instructions ( hitherto ) not reaching unto knowledge , rather hinders his progression from ever being excellent ; himself ( perhaps ) unacquainted with his own spirit , cannot so readily rise to estimation , though he labour much to make it his profession : For , the invention or election of the means , may be more effectual , than any inforcement or accumulation of endeavours . Not that I desire to derogate from the worthy intentions of any , that have deserved well in the condition of this elaborate Art But I observe , that their Pieces are rather works of labour , and alike to what hath been done , than of progression and proficiency ; the same things multiplied , not new , nor rare , taking them the ordinary way , without advancing to the former , in manner or matter . For , all works are mastered either by 1. Amplitude of Reward . 2. By soundness of Direction ; or , 3. By conjunction of Labour . And therefore I could wish , that the excellency of Painting , were higher prized , better taught , and more workmen . The first multiplieth endeavours , the second preventeth errour , and the third supplieth the frailty of man . But the chiefest of these , is Direction in Painting . I have therefore endeavoured to enlighten him , into the Theory of the first Book , distinguished from the profitable practise , which descends to the second Book ; and the Heads of all contained in an Index , prefixed to the whole , fitted with Cuts and P rints , proper to their Sections , for the apt apprehension of the Punie , by which he cannot easily misconceive my meaning . Such as they are , I send abroad to your judgments , who are the best Proficients , and merit the Mastery ; that so , the mystery of this wonderous Art , and your artificiall working , ( a secret inconsisting with common capacities ) may hereby be so far revealed to mens admirations , as to be first understood , and then how to be valued . Not unproperly for use , to those ingenious spirits , who have no will to be ignorant in any Art , that does not mis-become the Student's wit , nor mis-beseem the quality of a Gentleman , that intends to entertain Attendants , Handmaids to the Sciences of Liberall ▪ Learning . W. SANDERSON . READER , WIth much Cost and Art , orderly to this Impression ; I laboured to be furnished from beyond ▪ seas , with Cuts and Prints , proper for severall Sections ; But the watchful Pirate plundered the passengers , and that Cargasoon of Papers , which makes them failing in this Work , and crave excuse ▪ till the next Edition , with such other , and 〈◊〉 further enlarg●●●●● . In the mean time , the Practitioner may be furnished at Mr. Fatherns , ( a Graver , without Temple-bar ) and at other Print-sellers , with such Cuts and Prints , as may serve his own private use for this whole Book , which could not be gotten by me in England , for so many thousands of Prints , as the Presse of this Edition would contain ; onely three or four Plates I have met with , which are here inserted for Example . And for the Art of Painting in Glasse , as also the excellency of Graving and Etching , in Copper or Wood , with the manner of Printing those Pieces in severall colours , may soon be made publick , as this Book finds acceptance . W. Sanderson . To Mr. Sanderson , the Author of this Book , The Art of Painting . VEnus , scarce finish'd by Apelles death , Was by her Painter ( just ) depriv'd of Breath . Painters nor Pictures were there any such , Distinguishable onely by the Touch . None could compleat It , when that He was gone ; This Book was wanting , else it had been done ; Which teacheth Intellectualls , Hands , and Eyes , To value , work , and view their faculties . Prometheus by his sar-setch'd sained Fire , Into his mouldings ( once ) did life inspire . Your Rules direct us to avoid that toile , And to give life by Water , and by Oyle . Your Pen excells the Pensil , whilst you write , You finish Venus in your Black and White . R. P. Upon our English Zeuxis , W. Sanderson , Esquire . POets and Painters dare do much , and can Fancy a Man a Beast , a Beast a Man . But when themselves are subjects , and the Quil Describes the Pensil , there 's the tryall o th' Skill . When that fierce Ovid must a Zeuxis shew , And Verse to Shapes give enterview : 'T is not one Muse will serve , but the whole Nine , And father Phoebus too must prompt a line . As he , that pourtraicting the Horses foam , Despairing , that to life it e're would come : Threw his fam'd Pensill at the very Bitt O' th' Bruite , and so a casuall froth did hit , In such an exact figure , that lookers on Fear'd , that the drops , themselves would fall upon . So it must be some Providentiall strein , And an exstatick fancy , and rap't vein , Betwixt Despair and Inspiration , That fits the Zeuxis of our Nation . What Colours in our Rhetorick , can show Thine , which more various are , than those 'i th Bow ? If in Grotesco , or in Landskip thow Expresse thy skill , wee 're in a wood I vow , And lose our selves in thy feign'd Groves , and view , And wish the Milk-wench , and her sine leg too : Such lively streams her snowy hand doth stroke From the milk'd Cow , that Calves they do provoke To louw for painted Teats , and Sheep do gaze On the deluding Commons , and would graze . Then since thou canst deceive all subtlest sense , And art a Zeuxis of such excellence , I will admire thy parts , and cosen'd be : But for to write thee , let 't alone for me . EDMOND GAYTON . On the noble Art of PAINTING . STrike a bold stroke ( my Muse ! ) and let me see , Thou fear'st no colours in thy Poetry , For Pictures are dumb Poems ; they that write Best Poems , do but paint in Black and White . The Pensill's Amulets forbid to die , And vest us with a fair Eternity . What think ye of the gods , to whose huge name The Pagans bow'd their humble knees ? Whence came Their immortalities , but from a Shade , But from those Pourtraictures the Painter made ? They saddled Jove's fierce Eagle like a Colt , And made him grasp in 's fist a Thunderbolt . Painters did all : Jove had ( at their command ) Spur'd a Jackdaw , and held a Switch in 's hand . The demi-gods , and all their glories , be Apelles debtours , for their deity . O how the Catholicks crosse themselves , and throng Around a Crucifix ! when all along That 's but a Picture . How the spruce trim Lasse , Dotes on a Picture in the Looking-glasse ? And how ineffable 's the Peasant's joy , When he has drawn his Picture in his Boy . Bright Angels condescend to share a part , And borrow glorious Plumes from our rare Art . Kings triumph in our sackcloth , Monarchs bear Reverence t' our Canvase 'bove the Robes they wear . Great Fortunes , large Estates , ( for all their noise ) Are nothing in the world but painted toies . Th' Aegyptian Hieroglyphicks , Pictures be , And Painting taught them all their A. B. C. The Presbyterian , th' Independent too , All would a colour have for what they do . And who so just , that does not sometimes try , To turn pure Painter , and deceive the eye ? Our honest sleight of hand prevailes with all ; Hence springs an emulation generall . Mark how the pretty female-artists try , To shame poor Nature with an Indian die . Mark how the Snail with 's grave majestick pace , Paints earth's green Wastcoat with a silver lace . But ( since all Rhymthes are dark , and seldom go Without the Sun ) the Sun 's a Painter too ; ( Heavn's fam'd Vandyke ) the Sun , he paints ( 't is clear ) Twelve signes throughout the Zodiack every year : 'T is He , that at the spicy Spring 's gay birth Makes Pensils of his Beames , and paints the Earth ; He Limn's the Rainbow , when it strutt's so proud Upon the Dusky surface of a Cloud ; He daubes the Moors , and when they sweat with toil 'T is the● He paints them All at length in oile ; The blushing fruits , the glosse of flowr's so pure Owe their varieties to his Miniature . Yet , what 's the Sun ? each thing where e're we go Would be a Rubens , or an Angelo . Gaze up , some winter-night , and you 'l confesse , Heaven 's a large Gallery of Images . Then stoop down to the Earth , wonder , and scan , The Master-piece of th'whole Creation , Man : Man , that exact Originall in each limb , And Woman , that fair Copy drawn from him . What e're we see's one Bracelet , whose each Bead Is cemented , and hangs by Painting's thread . Thus ( like the soul oth'world ) our subtle Art , Insinuates it self through every part . Strange Rarity ! which canst the Body save , From the coorse usage in a sullen grave , Yet never make it Mummie ! Strange , that hand , That spans and circumscribes the Sea and Land : That drawes from death to th'life , without a Spell , As Orpheus did Eurydice from Hell . But all my Lines are rude , and all such praise Dead colour'd nonsense . Painters scorn slight Baies . Let the great Art commend it self , and then You 'l praise the Pensill , and deride the Pen . T. FLATMAN , lately Fellow of New Coll. Oxon ; now Inn-Temp . Lond. To the exquisitely Ingenious , W. SANDERSON Esq On his Book of Painting in Water-Colours . Great Artist , VVHen I saw thy ROYAL STORY , ( That Theater erected for thy glory ) I stood amaz'd at each Majestick line , And deem'd each syllable therein Divine , Thinking Thee All-Historian : But now , Thy Protean Pen constrains me to allow , The Diadem of Arts and Sciences to Thee ; Their vanquish'd depths confesse Thy Soveraignty : Whose absolute Dominion can dethrone The Rest , and fix supremacy in One ( Rare MINIATURE ) whose glitt'ring Trophies stand , Rear'd by the learn'd endeavours of Thine hand . Thy Water-Colours shall out-brave the Fire , And dare couragiously confront Jove's ire . Your fame shall ( spite of Proverbs ) make it plain , To write in Water 's not to write in vain . Clarissimo viro Guilielmo Sandersono , Artis Zoographicae excultori Celeberrimo . OUis precor hic ? iterúmne Orbi comparet Apelles ? Anne magis radio Pictor Apollo suo ? Neuter adest ; sed uterque tamen : sed major utroque Sive homines lubeat pingere sive Deos ? Pingendi heic stupido prostent cum viscera mundo Viscera , Primaevis impenetranda Sophis . Forma , & Norma recens ; Artique Ars addita priscae ; Et pictura Ostro nobiliore nitens Cuncta suis speciosa notis , renovata Colorum Temperies , Radii Daedala forma novi , Authoris Genium , si non depingere , saltem Fas Vati aeternis pangere Carminibus . Plaudite Pictores ! Patremque agnoscite ; vobis Ludus erit , priscis quod fuit antè labor . Obruat expositas nè fortè litura Fabellas , Picturae Archetypon nobile , Pictor , habe . Amicissimè scripsit amicus charissimus , GUILIELMUS MOORHEAD . A tam laudato laudari laus erit vera . GRAPHICE . OR , The use of the Pen and Pensill , in Designing , Drawing , and Painting ; with an exact Discourse of each of them . AS ALSO , Concerning Miniature or Limning , in Water-Colours : The Names , Natures , and Properties of Colours : The ordering , preparing , washing , and using them , for Pictures of Life , Landskip , and History . AS ALSO , Of Croyons , or Dry-Colours , by Pastills or Powders ; The way of making them , and working with them : With rare Receipts and Observations , of the best Masters of this Art . In two Parts . With some Cuts and Prints , proper to each Section . By WILLIAM SANDERSON , Esq LONDON , Printed for Robert Crofts , at the signe of the Crown in Chancery-Lane , under Serjeant's Inne . 1658. portrait of Charles I G Faithorne Excud . Carolus Primus D. G. Ang●iae Sc●●iae Franciae et Hiberniae Rex . ●● . In Effigiem Caroli , Nuper-Regis . INdiges heic quorsum prostat Tibi Carolus ! Ann● Hunc quòd ames ? vel quòd te redamârit , erat ? Anne quòd Essigiem subrepti Martyris , Orbis Quà patet , indomito more & honore colat ? Anne , quòd hanc reliquis ( dum vixerat ) Artibus Artem Praetuleri● Genio discure , Mome , tuo Cuncta simul num vera sient , non dirimit Author , Cui satis est Sphyngem solvere posse suam . G. M. GRAPHICE : OR The use of the Pen and Pensil ; In the most Excellent Art of PAINTING . THe most excellent use of the Penn , and Pensil , is illustrated by the admirable Art of Drawing , and Painting ; and perfectly defined , to be the Imitation of the Surface of Nature , in Proportion and Colour . By Mathematicall Demonstration of Globes , Spheres , Charts , Mapps , Cosmographicall , Geographicall , Chorographicall , and Hydrographicall . Or , by particular description of Plotts , Fortifications , Formes of Batalia's , Scituation of Townes , Castles , Forts , Lands , Rocks , Mountaines , Seas , Ilands , Rivers . Or , by shapes of Creatures ; Men , and Beasts ; Birds , and Fishes . Or , by Vegetables ; Fruits , Flowers , Hearbs . In all , it preferrs likenesse to the Life , and conserves it , after Death ; and altogether by the Sense of Seeing . Of the Five Senses . THe number of Senses , in this Microcosm , or little world of Man , do correspond to the first Bodies , in the great World , as Sight , to the Heavens . Smelling , to the Fire . Hearing , to the Ayre . Tasting to the VVater . Touching , to the Earth . I have lamented the defect , that most Men mis-understand the true use and perfections of the senses ; when the advantage of our Reason prefers us before ordinary Creatures , that enjoy them in common . How many men that have Organs , and de hear , yet cannot distinguish the Excellency of Musicall sounds , and find not the defect ? As many , who have the sense of Touching , that labour not their hands to the things that are good . Those that can smell , yet professe their ignorance in the delicacy of sweet Odours ; and conceive no more benefit thereby , than others , who are satisfied with a stinck . To cram the Belly , & fill the gutt , diseaseth Nature , without apprehension of health in a choyce diet , or , in difference of Tasts And there are severall notorious degrees of sin depending on the extream fruition of those Fower , which taints both body and mind with impurity . But in my Opinion , the whole World , and all the formes of Nature may be safely comprehended , by the royalty of externall sight , ( There being a Lordship of the Eye , which as it is a rangeing , impetuous , and usurping Sense , can indure no narrow circumscription , but must be fed with extent and variety to the glory of the Creatour , ) and yet without prejudice to the reasonable Creature ) except in the mis-use of looking with Lust , after that , wch is none of his , Lasci●iously , Covetuously , Superstitiously ; To which possibilitie of Mis-application , not onely , those Semiliberall Arts , but the highest perfections , and endowments of Nature , are subject ; Nay Religion it selfe . Therefore Ab Abuti , ad non-Uti , negatur consequentia . Of the Excellency of Sight . BUt , Sight deserves , a higher , and a more mysterious consideration , and therefore , let us compare the difference , with other Senses . The State of sense may be devided into two parts ; Inward , and outward ; commodity , and necessity ; Soul , and Body : but , as the soul is more excellent , then the body , so the sense that profits the soul , is to be more esteemed then those , that are needfull for the body ; because it is better to be well , then simply to be . The Soul of man , ( that most perfect forme of the Creator ) not consisting of matter , or subject to division , and so by consequence , whole in all the body , and wholly in every part : Yet , in every respect , the noblest powers thereof are more eminent , in distinct places ; some have lodg'd and bounded the limits within the compasse of One Member of the Brain , ( the magnificent stately Turret of the soul , ) wherein is placed Reason , the Soveraign power of the Soul , ) as the Messengers of understanding . The Eyes , Ears , Nose , Tongue , ( Guards and Servants to Reason ) placed in the head , as ne●r att●ndants . The externall Senses are but five because of the five sorts of Objects , either unto Colour , Sound , Smell , Taste ; or to those Qualities whereabout Touching is conversant . Seeing and Hearing are the most pleasurable ; Sensus Jucunditatis ▪ The other more Practicall ; these more contemplative : Those , Sensus Disciplinae ; these are Mentis , Noeticall . The excellency of Sight , is especially , in four things . 1. Variety of objects ; which it presents to the Soul . 2. It's meanes of Operation ; altogether Spirituall . 3. In respect of its particular object , Light ; the most Noble Quality that God hath created . 4. In respect of the certainty , of his Action . ( In a word ; all things , under the first Moveable Orbe , are subject to the power of sight . ) For the first ; all Naturall Bodies , are Visible ; but all are not effectuall , to other Senses . Heaven , ( the World's Ornament ) is not to be touched ; Harmony of the Spheres , not to be Heard ; No taste in the Earth , or Fire ; All these may be Seen . Sight , besides his own proper Object ( Colour ) , hath infinite others , as Magnitude , Number , Proportion , Motion , Rest , Scituation , Distance : And therefore called , the sense of Invention of all Arts , and Sciences . And all the skill in deep Astronomie , Is to the Soul derived by the eye . Philosophie was begot , by admiring of Things ; Admiration , from Sight of excellent things ; the Mind , raised up and ravished , with the consideration thereof , desirous to know the cause , began to play the Philosopher . Secondly , Sight is the Sense of our Blessednesse , as it brings us , to the knowledge of God . The Invisible things of God , are manifested to us , by the visible . Infinity cannot be known , but by his effects . Set on work this Noble Sense , to view and consider the Excellencie of the Workmanship , of the Great Creatour ; the Heavens , and the glory thereof , in Proportion , and Colour ; the Beauty of the Surface of the Earth , and the Creatures thereon . Consider Man , the Wonder , and utmost indevour of Nature . so that the Prophet-Singer cryed out ; How secret and wonderfull am I made ! Thirdly , it is endowed with the goodliest qualitie in the World , Light , The Heavens off-spring , the eldect daughter of God , Fiat Lux the first dayes creation . Common , as indifferent to all ; best known of us , ( for other Naturall Bodies consist of mixt Colours . It discovers it selfe in the modesty of a morning Blush , and opens it's fair and virgin eye-lids in the dawning of the day , shine out in its Noon-daye's glory . It twinckles in a Star ; Blazes and glares out in a Comet ; frisks and dances in a Jewell ; dissembles in a Glow-worm ; Epitomises and abbreviates its self in a spark ; Ruddy in the yolke of the Fire , pale and consuming in a Candle . Thus described in old Rime . Light , the Grand-child to the Glorious Sun , Opens the Casement of the Rosie Morn ; Makes the abashed Heavens , soon to shun The ugly darknesse , it imbrace'd beforn . This , a true Looking-glass , impartiall , Where Beauties-self , her self doth beautifie , With Native hue , not Artificiall ; Discovering falsehood , opens verity . The day's bright-eye ; Colour 's distinction ; Best judge , of measure and proportion ; The only means , by which , each mortall eye , Sends Messengers to the wide firmament : That to the longing Soul brings presently High contemplation , and deep wonderment : By which aspiring , she , her wings displayes , And , her-self thither , whence she came , Up-rayes . It performeth his Office , at an instant , though far distant , without moving it self . And as the understanding part of the mind , receiveth from the Imagination , the forms of Things naked , and void of substance ; So the sight is the subject of Forms without a Body ; which are called , Intentionalls . It comprehends Universality , without pestering any room or place contained : the largest Mountains , enter at once undiminished , through the Apple of the Eye , without straitness of entrance . It judgeth , at one instant of two Contraries , White and Black , and distinguisheth them ; the knowledge of the one , No impeachment to the knowledge of the other ; being that , of what the other Senses are not capable . It receives at One instant , the circumference of the World ; But the other Senses move by entercourse of Time ; the reason why we see Lightning , before we hear the Thunder ; being neither of them made before or after another . It hath a kind of liberty , which Nature hath denyed to the other Senses ; The eares are alwaies open ; so is the Nose ; the skinne alwayes subject to cold and heat , and other injuries of the aire : but the eye , opens and shuts , at pleasure . Fourthly , it is the most infallible Sense ; which least deceives being ten times of more certainty , than hear-say ; as between truth and falshood . According to the French Proverb . Ce qu' on voit est plus certain que cequ ' on oit . Horace saith , Oculis potiùs credendum , quàm auribus . The Prophets confirm their Sayings , by the Sight ( Visions ) as most true ; It is the form , and perfection of man : by it , we draw neer to the divine Nature , seeming that we are born , only to see ▪ The Eyes , the Looking-glasses of Nature : Consider the beauty , and excellency thereof , from severall Objects : Behold the spangled Canopie of Heaven by Night : the watry Clouds , by day , with excellent Colours , and Shadows of the Sun's reflection : The wonderfull painted Rainbow : The glorious appearing of the Morning Lamp of Light : the golden rayes , round about him , spreading a faint and trembling Light , upon the stickering and gilden waves : How , his shadows lessen at Noon-tide ; and how they increase towards evening , and at the burning ruddy Sun-set . To view , the Towring tops of Mountains , unaccessable Rocks , with ridgie extents , or suddain fractions , by some steepy abruptnesse : Here a vally , so large , that at the end of the plain , it seems to meet Heaven ; there a Grove , and here a Green pleasant Arbours ; rows of Trees , spreading their clasping arms , like gentle lovers imbracing each , with intricate weavings ; gently swelling Hillocks ; high delightfull plaines ; flowry meddows , pleasant streams ; naturall fountains , gushing waters down the rocks . Stately Cities ; famous Towers ; large Bridges ; spiring Steeples ; intermixed with Orchards , Gardens , Walks ; and what not of these kinds , that delights the mind of Man ? Consider the shapes of each severall Creatures ; from the Elephant to the Emet : the admirable and absolute perfections of each Limb ; the beautifull Colours of Birds ; silver skaled-fishes ; wonderfull forms of worms , and creeping things . And all these to praise the Lord , for his mercy endures for ever . Of the Excellency of Sight , in the Art of Painting . HAving said thus much in generall : Let us draw down to our particular use of this Sense , first to be apprehended by speculative knowledge , in the Art of Designing , Drawing , and Painting , which comprehends It : when lights and shadows , ( set out by Art , to counterfeite Nature ) give the workman the excellency of representing in proportion and Colour , what ere Nature hath produced . Nay more , described into form , what ere can be uttered by speech of another , or to be imagined , by his own fancy . Of a Landskip . VVHat a large scope of severall objects , are dayly offered to delight the wearied travailler , when with true judgment , he beholds the variety of Nature , and the Artifice thereof , within the Landskip of his Horizon in a well chosen Prospect ? Give me leave to describe unto you , a Landskip ; by which , and many such like you may apprehend with delight , the excellency , of a journy by land , or voyage by Sea , Which commonly , are either not observed with judgment , or soon lost to memory , for lack of Art to put them into form , and Colour . For example ; An English Gentleman , of singular ingenuity , came to Naples by Sea , at the instant , of a strange accident without the Citty : The report whereof amazed the people , into suddain fear ; Yet curious they were , to behold that , which they apprehended , horrid : Each one , crouding forward , to pull back his Neighbour ; disorderly Number , stopt their haste , so that , they stuck fast in the Gate . Only this Stranger , whose single discretion taught him , alwayes , to avoid a Tumult ; and now shewed him the way , to creep out at a Wicket . He soon discovered the cause ; casting his eyes up to the view , of the Towring Hill , Vesuvius , from whose Base , the fruitfull vallyes , trend down to the Strond of a River , refreshing this Citty . This double topp'd Mountain , had one Speer burnt , in time of Pliny , by which meanes , ( that Rocky part dissevered into fractions ) there appeared , rare reflections of Lights , and shadows , occasioned from a fearfull Fire of the other Speer , now flaming up into the Clouds . Sometimes , with blazing flash to frighten Heaven , instantly quencht by a crouding vapour , as darke as Hell : And yet each raging quality stinted by Him , that in a bounded measure , preserves all from destruction . These objects ( unequally mixt ) expressed such glaring variety of Colours , as two contraryes , Light , and Darke in opposition , usually doe produce . So had he seen ( he said ) , a sight at Sea ; a Ship so gallant never plow'd the waves , but she , and our brave Soveraign ; when in the moment of a twinckling eye , the Wretchlesse Swabber , with a Lintstock-match , tin'ds but some powder for his knavish crack , which kindled all on fire ; So q●i●k is Sulphur , that the sound and sight Soon into Air dissolv'd the fabrick quite . But now his sight , dim'd with much gazing , and his Eye-lids wearied , wi●h force of long looking up-wards , of them selves took ease , to descend . ( So did his thoughts , in an humble consideration , of the Naturall Cause , Sulphurous matter , many ages past , pent in for a time , and now ( fired with heat ) burst out into this fury . Which , though not seldom hapning in hot Conntries , yet to his sense , the more rare , that never saw the like . ) When suddainly he seemed ravished , with the most pleasing Prospect of Nature , and Art , mixt with accidents of divers manner , such as possibly might delight him ; It took its Scite , at the entrance of Naples , from the Vallyes ; where the coole streams of — gently pass ; seeming then , a preservative Element , of powerfull contrariety to quench the raging Fire with turnings and windings , on the right hand , so far as the Countries of Apulia , six Leagues off . Over this River is raised a stone-Bridge of antiquity , more then splendor , yet fair enough , with sixe locks , or vaults , through which , the water runns , not too quick on purpose to delight you ; but murmuring down on the left hand , to a single Pile of Red-marble ; partly ruined , more by Warre , then time ; and yet of some Antiquity , by the remnant of Pillars , Pedestalls , Cornices , and such like , of old Tuscan , and Dorique Sculpture . Neer unto an Orchard of Palms , and Sicamours , where , under an ample Arch , the River seems convayed to utter losse of all , but imagination . A world of people , from far , filled the Bridge , with haste ; being come to secure themselves , their goods and cattell : Those of Quality rod , pranzing on their Gennets ; not too fast , being fettered , within a flock of Sheep . The good Man and his VVife , load their own backs , to save their Bedds , leading their Infants , frightned with the Fire . The poor Asse now beares his Burthen , not in vain , being driven from danger , as concern'd in the Interest , as well as the wiser sort , who govern'd the Beast . The Wagoner , whips on his wearied Jades , who yet , huye so fast , that they tread , on Horses heels . Fearfull apprehensions scare them all , that follow in a Train , beyond the comprehension of Sight ; and untill from severall degrees of dimensions , each Creature seems contracted into Shapes , almost of Atomes . These Multitudes , fled from Torre , del Greco , and Nunciato , two pleasant Towns , seated upon this River , appearing so far distant from the eye , as usually , the Judgment assists the Sight , to distinguish them into Buildings . Before these Towns , anchored two Neapolitan Gallyes , sent thither to receive the people , and their goods aboard , from the destruction of stones and ashes , disgorged by force of the fire , and which the violence of the Rock-water stream , hurried down from the top of the Hill , overwhelming these Villages , almost as a Cover ; the suffocating heat of this rubbish , more fearfull then any Fire . Behind these you might discern , the rising sallow-fields , here and there , mixt with trees , and hedge-rows . Beyond them , the proud Hills , covered with whitenesse of S●ow , which the Sun-beams exprest , like Silver Towrs , that reached up , to the next Region . Then on the left hand view , you might behold , ( Sun a●d wind cleering that side ) the whole Vale grac'd with severall structures , and buildings , heer and farther off . Here , and there , the stately Pines , overtopping their Tops , naturally intermingled with Cedars , and Citrons . From these , your sight ( ascending the rise of the Hill ) becomes ravished , with pleasant Gardens , and Orchards ; beautifull rowes and walkes of Trees , gracefully high and large ; Here vineyards of Grapes ; there Groves of Granadoes , Citrons , Pomegranes , Figges , and Olives , and other Fruits without Number . These reach so farre , untill your sight is lost , into the Edge and Circle of an Horison , where Heaven and Earth , beget a wonder , This in contemplation covets to mount , That , in affection , willingly descends , untill with joynt imbraces ( like two reconciled Lovers ) kisse each other into everlasting kindness , Terram Coelo miscere . Neer hand , a Loader , following the heels of his Horse ; and to spare his overmuch burthen , the good old man , in charity to his Beast , takes part of the paines , and stoops his own bended Back , with the remaine of the carriage . Not farre before him , trots another , ready to climb the mounting ground , and to ease himself , the poor Jade , spares his pace ; but two rustique Swains , hard hearted drivers , ( or else in more ha●te , than good speed ) both of them beate him . Beyond them , you may perceive two more ; one hastning forward , the other returning ; their businesse belike , of more concernment , than to salute ; though the narrownesse of the way , necessitates them to meet . And thus the Traveller , having long time looked over these objects ; he turnes his back from all , with religious Contemplation : That in such varieties of Prospect ; contrarieties in Nature and affection ; Fire and Water ; Hills and Vales , barren and fruitfull ; Trees , and Medows ; Heaven , and Earth ; all should concurre in beautifull Objects , and Ornaments of delight , to Gods glory , and content to the Creature . VVhen loe , he espies a Neopolitan gallant , caressing his Curtizan ; she was handsome , he was not so ; and yet the custome of the Country , taught him boldness , to court her , into more then ordinary kindness ; which no doubt , in dependence thereto , was soon after , put into practice , when the opening of the Gates , received them into the Citty . The Stranger being entred : He tells this Story , unto other Guests , to one of them , that for a Wager ( The Table taken away ) described this Tale , into the form of a Picture ; and Painted it to the Life from the others report ; which being done , became such a Miracle of Art to everlasting Memory , that deservedly , might adorn the Vice-roy's Gallery . The papers of this print were lost at ▪ Sea . But any other print of a Prospective , may serve the practitioner to discourse thereupon ; and ●it this example . Another , of the Sea , a storm and ship-wracks . It was so fair a Morn as midling-June , which invited tender virgins , to the brinck of the Ocean : where they beheld , a Fleet of gallant Ships , such as ne're grac'd the Floud before . Each distinct Squadron attending their Admirals , in an orderly course , to the very Bay of a secure Haven ; the Seas as smooth as glass . When , for Novelty ; ( the various desire of change ) one of the virgins , wisht to see the Waves . The stormy-Fiend obeyed , and vexed the Ayr with wind which volved the Waves , till they on end do stand ; ranging their race with mighty furrows ; wave shoveth wave , and Billow beateth Billow . Twixt Ridge , and Ridge ; the engulphing space was hollow , Much like infernall Jawes , whole Fleets of Ships , to swallow , In those devouring , liquid Graves . The Marriner by often tryalls , becomes fearlesse ; Yet his Sailes takes in , and stoops to an ill , he cannot master . A monstrous showre of rain , thickned the face of Heaven ; peale after peale . " So dark as Hell ; and yet the Stars are seen , " And dreadfull terrours , had bin ▪ lost to sight , " But that , ( these ) dire Lightnings turn " To me●● horrid fears . " The Seas ▪ like quenchlesse flames , do burn : " Sad ●louds , sinck into showry teares : " You would have thought , " The high swoln Seas , to Heaven had wrought , " And Heaven , to Seas descended . Away goes steerage , Lead , and all adiew ; The Card and Compass too : Of two and thirty winds , not one of safety shewes ; All point to death . The Load-stone uselesse ; The Needls-North , drunk with the waves Turns round , and reeling too : so did the Ship . And disengorged the Sea , into the Sea again . The Jacob-staff , no farther sight could reach , Then second surge . The dancing Beak-head , dives into the deep , Then bounding up again , then down amain , Which cracks her massie ribbs . " So have you seen a fierce strong Bear , " Stand bolt upright , to paw the Mastive Dogge , " VVhich in his Clutch , once got , he gripes to death . No place for Art , or force , yet all are try'd : For now ▪ the waves must have their will , " Obedienc● ▪ best to follow , and that was ill . The Ship sides crack , and tackle tare like Twine , The six-fold Buck from sheet , is rent to ragg● " Nor left so much to wipe a tear " From the distressed Passengers , that weeping were . A bucksome-bully Boy , up to the Top-mast climbs To cleer a Haulfer , or lesse waightier course ; Like Crow on May-pole ●ane , a wondrous height , Yet he obeyes , and chearly cryes , Done , done , Sir : VVhen in the moment , of a twinckling eye ; Not half way down , a blast of mighty force , " Darts him as farre " As Davids pibble from his sling of war . Upon the Decks two stand , but bind themselves , Yet both are blown away : Another , on his hands , into a corner creeps ; But bounding Hatches , band him to the deeps . Some trust to Haliards , others to their holds , But cardage cracks , and they o're-board , are roul'd . The giddy Ship turns Saylor's brains , Though bound his browes ; And as from flint , so sparkles Fire , from both his eyes ; The sickly Soul was worse , weary of Life , he dyes . Those on the shore ( by prospective ) that saw , were giddy grown . And whilst I tell this tale , I 'me not mine own . My brains turn round , so does the Reader's too , No wonder then , the Mariners did so : The stresse of horrid storm , none but by feeling know . Some seeming wiser , hear the Long-boat's out , and leap therein ; Which soon like froth are spew'd upon the sands : And with the stroake are torn to smallest chips . The aged father strides the lusty Lad , Some swim , others wade , till many footing find ; VVhen by degrees , the swallowing tide , steales on them , First to the feet , the anckles , knees , and waste . Then to the rising ground they all retire , And down they kneel ; Their Sacrificing hands , above their heads , they heave , and hold them there : Till brinish Seas , up to the Chin comes in , and choakes them all : A dozen of such , by severall scapes , got thither , Freed from the Sea ; on sands are drown'd together . Those in the Ships see this , and on their knees they fall , This sad example , makes them , one , and all : for now , The Rudder 's torn away , the wracks begin , And trayterous leakes , the dryving Seas drink in , No Master , Mate , nor steer's-man , now ; Nor Plummet guide or Watch can shew ; No standing on the decks ; The unbridled beast , the Master casts , And shakes off the Saylor , griping close the Mast , The rest shrink into Cabines , as their gravy rooms . The main Mast , by the Board is cut , The goods thrown o're the Hull to save . Then gaping comes the fatall wave . VVhich into watry womb , at one suck d●●ws down all . Yet as a Load too heavy to disgest , One s●rge , plaies it over to the rest , Some pieces of the wrack , on sands are cast , Some on the ragged Rocks : The Timber plancks , start out ; the Ribbs in pieces crack ▪ And these , thus yeelding , breaks her massie back . Here , barrells flote , there packs , not yet through-wet , And chests of mighty wealth ; Men and boyes , bestride them , whilst they can , Then shrink , and cry , Farewel , from boy to man . The Hog sheads , full of Claret VVine , The curled Foame , doth mixe with brines Both being dipt , in dies of red ; and seem to blush with shame , For swallowing down , the Merchant's gain . The Factors , Saylors , Children , Wives and Friends , In wretched losse , the whole adventure ends . A world of scattered goods , on Billows green , ( As at a Mart on grasse ) you might have seen . The shore , more cruell , then the Seas , devoures . For they , who claime the wrack , crye , All is ours . The sunck ships fall , and beaten waters roare , VVhich mightaiy affrights them , on the shore . VVho scapes the greedy waves of Seas , are cast on land , Find buriall there ; the people , weeping stand : You might behold , one Man , ne're stoop'd To basenesse , though to brine In swimming sincks , but up again he gets ; Now strides a Mast , layes hold , on yard , and planck , And though amongst the lost , himself doth vault . Yet strives with arms , and leggs , and ( often so ) Death favour'd him , and lets him go . God unto Man , gives gifts of such a mind , Above the power of Fortune , Seas , or Wind. The Maidens wept when they came in ; and it was her taske to tell this story , whose beauty , ( shadowed only by her teares , ) gave grace to the relation , and pitty to the distressed . But afterwards , being put into a Draught and coloured , it is accompted no lesse than a singular dignity to Cardinall — Cabinet , his most admired Piece . And the Prints of this are likewise lost at Sea . Which you may supply with any other such storm . Of Painting and Poetry compared . THus have I adventured the challenge , in the name of Apollo , to the Art of Apelles ; by comparing Wit , and Words , by the Poem , with Draught and Colour by the Pensil ; in these two distiall discriptions , of the Fiery Mountain , and Prospect at Land , and of the horrid tempest and Ship ▪ wrack at Sea ▪ the like may be conceived of many other millions of change . There being such Harmony in them , that may not be separate ; and when Eloquence flourished , Painting was esteemed . For Poesie is a speaking Picture , and Picture is a silent Poesie , the first , as if alwayes a doing ; the other , as if done already . In both , an astonishment of wonder ; by Painting to stare upon smitation of Nature , leading and guiding our Passions , by that beguiling power , which we see exprest ; and to ravish the mind most , when they are drunke in by the eyes . Yet Painting was before Poetry ; for Pictures were made before Letters were read . For before that the Aegyptians had Letters , they signified their conceptions by Hieroglyphicks of Figures , Characters , and Cyphers , of divers things : as Birds , Beasts , Trees , Plants , and by tradition to their Children were readily understood . As by the Earth , the Oxe , a beast of the Tillage ; by the Faulcon , diligence and swiftness ; By the Bee , a King , mildness and justice , by hony and a sting ; by the Eagle , Envy , not accompanying other Birds ; by a Serpent his taile in his mouth , the revolution of the yeare ; for hearing , a Hare listning ; and such like numberlesse . And fram'd their gods also of such Creatures , and things ; as that ancient piece of Antiquity , a carved Stone in Rome in the Garden of the House of Julius , the form of a Man with an Apes face and Doggs eares , holding a Sphere of the Heavenly Circles in one hand , a Mercury-Staff in the left , standing upon the back of a Crocodile , according to these verses . Templa Paretoniis onerâsse Altaria Monstris Quis negat ? inter quae Simia et Ibis erant ; Et Canis et Vasto frendens Croc●dilus hiatu , Herbae etiam cultu , non caruêre suo . Dij Aegyptiorum . Romae in Hortis Julij . III. P. M. The Greeks adventured on this Art , meerly in the first Elements of Black and White ; which afterwards were put into Colour by the Romanes , with whom Painting was much in esteem , and had the honour of a liberall Art . In Rome the fabij were surnamed Pictor , and the Temple Salus circumscribed . Quintus Fabius pinxi : from whence the Italians , of excellent spirits and best designers , gave examples . The Germanes more laborious , followed their fashion ; and the English , Dutch , and French , become Imitators of them all . The Art of Painting hath been valued , from Antiquity ; yet rarely arrived to its perfection , in any age : partly by ignorance , of most men in this Art , seldom encouraging the Professor : Besides , in truth , it is a gift in the Artist peculiar ; more naturall to a single fancy , then common to all . The difficulty therefore to attain it , is not to be laboured out by ordinary paines , and industry ; yet requiring indefatigable assistance , to bring the work to become a wonder . Picture insinuates into our most inward affections : Things by the Eare , doe but faintly stirre the mind , but captivate the Eyes ; as being the more accurate witnesses of the two : Gods may be conceived by Poesie , but are madeby Painters . So did they well ; who , to enforce a more horrid reception of the Dutch-cruelty upon our English at Amboyna in the East Indies , described it into Picture ( after that it had been , most eloquently urged , by Sr. Dudly Digs and imprinted , ) to incense the Passions , by sight thereof ; which truly ( I remember well ) appeared to me so monstrous , as I then wished it to be burnt . And so belike it seemed prudentiall to those in power , who soon defac'd it ; lest , had it come forth in common , might have incited us then , to a nationall quarrell and revenge ; though we have not wanted other just provocations since to make them our enemies . However , at the time before , it wrought this strange effect upon the widow of one of the Martyrs ; who , upon former relations , prosecuted her complaint ; but when she saw the Picture , lively describing her Husband's horrid execution , she sunck down , in a dead swound . Wee read , of Kings and Nations , that have valued Painters ; so have they sought their Paintings , for their weight in Gold ; for 100 Talents ; for 6000. testers ; 12000. testers Nay some Pieces were preserved with so much safety , that their Keepers lives , have been responsable for their security . An example of that nature , we had in Abraham van-Dort , Supervisor of the late King CHARLES his Repository of Rarities ; with especiall command and care of one most excellent piece of Miniture ; which therefore he lodged ( more secure then safe ) so farre out of the way , as not to be found by himself , when it was missing , to his own memory , at the KINGS demand ; till after his death , the Executors brought it home . This chance , fitted the story ; which was [ of the lost Sheep found ] The designe of the Limner , A shepheard bearing upon his shoulder a strai'd sheep to the fold . The Doctrine ; Christ reclaimes the sinner . But miserable it was to the poor man who at the first , for fear of his Masters Van Dorts displeasure , or perhaps his own love to the excellency of that Art , in sad regret , went home and hanged himself . Severall Pieces have been presented to Citties , Common-wealths , Nations , and Kingdomes , as overvaluable for any private person . Our late King CHARLES , had many most rare Originalls , Collections , both of Painting and Sculpture . He being the most of fame , for his incouragement , and Patronage of Arts and Honour . His love to this Art , begat three Knight-Painters ; Rubens , Vandick , and Gerbier , the last had little of Art , or merit ; a common Pen ▪ man , who Pensil'd the Dialogue in the Dutch Church LONDON ; his first rise of preferment . The Vse and Ornament of Pictures . TO give a Picture its value , in respect of the use : We may consider , that God hath created the whole universe for Man ; the Microcosm whereof , is contracted into each Mans Mansion House , or Home , wherein he enjoyes the usus-fructus of himself , and leaves it so , to his Son , as an Inheritage of strength , Profit , Pleasure . The great Oeconomistes of all Ages ( and so other men from noble examples ) have indevoured , to magnifie their own Memories , with Princely Pallaces of structure , and afterwards to adorne them distinct and gracefully , with Pictures within , and Sculpture without . And both these witty Arts , have contended for Supremacie , whether Imagery imbossed , which pretends ( as indeed it is to ordinary Capacities ) more naturall , and so easier to be apprehended , whose excellency is only in the soft Sculpt of the Chizell , as if it were Painted ; Or the other , Painting , being the more rare by enforceing shadows upon a Flat , as if Carved ; and yet the shadows themselves , not grossely apparant . Certainly , this latter , must be the more excellent Artifice , by forcing this to seem so , upon a Flat , which Nature makes rising and hollow ; and indeed , the truth is wonderfully concluded by one A. B. He is a blind man , yet by feeling the form and lineaments of Nature in the Life , doth mould by the hand in Clay , rare figures exceeding like in shape , which is impossible to be don by him , in Painting . But of this , more hereafter when we come to working in Colours . A Picture in truth , must stand off Naturall , as if it were Carved , gracefull and pleasant at the first blush , or sight thereof ; which are the excellencies of ancient Painters : of whose Originalls many , even pretenders to this Art , are deceived with Copies . Of Originall Pieces and of Copies . GEnerally , in Originalls , the Colours become often vaded , and , in many , much changed ; the Piece in time grown crusty , and often peeles by ill usage . Yet you shall find the Lightnings bold strong , and high ; the shadowes deep and gracefull . Their Copies , if well counterfeit , the workeman must alter the manner of his Colours by a mixt tempering ; otherwayes then the Modern Naturall way of Painting admits . To do this well , he may be lesse excellent in the Precepts of Painting , and yet in this way of working , out Master , a better Artizan ; I knew but one , that herein ( La Croix ) who out-went all ; and copied many of the Kings Originalls , from severall rarities in this kind . It is said that Laniere in Paris , by a cunning way of tempering his Colours with Chimney Soote , the Painting becoms duskish , and seems ancient ; which done , he roules up and thereby it crackls , and so mistaken for an old Principall , it being well copied from a good hand . To judge of them with facility ; Originalls have a Natural force of Grace Rising ; Copies seem to have , only an imperfect , and borrowed comlinesse ; and if you stay to judge of them , though they seem so , to the sight of Imitation , yet it proceeds not out of a Naturall Genius in the Workeman . An Imitator , does never come neer the first Author , ( unless by excellent modern Masters own working ) a similitude ever more , comes short of that truth , which is in the Things themselves : The Copier being forced to accommodate himself , to another mans intent . Authority gives Pictures repute by age , which no Art can well imitate . Garish Colours , in new Pieces , take the eye at first ; But in old Pictures we are delighted , with their decayings , horridnesse of the Colours . Old PICTURES in a wonderfull simplicity of Colours , draw their chief Commendations , from a more accurate , and gracefull designe . New Pieces , on the contrary , being but carelessely designed , stand most of all on their garish Colours , and some affectation of Light and shadows , strained with over-daring . It is the opinion of many Masters of this Art concerning Ancient Originalls ; that the ayre , by time and age works so much upon the Colours , that the Oilynesse thereof , being vaded , the Colour becomes more fleshy , more Naturall than at the first . So they say of Tytians , and of Jurgiones being his Master . In Copies you shall not find such freeness of the hand and Pensill ; It will discover it self to skilfull observators , not to be Naturall , but forced : Painters express the difference ; they judge of old pieces and their decayes from what they were at the first , by viewing them through their fingers as through a Lettice or Vale , by a secret Mystery in that Art . Like as to a good Judgment we usually may guesse of the Beauty of her Youth in an ancient well formed Matron . Choyce of Pictures . AFter the first view of a Picture you may limit the understanding ( without more difficulty ) in few observations ; as first . 1. The Artizans care and paines must be visible , 2. It must appeare that he had knowledge and understanding in the Art , and followed it in every particular throughout ; Not as if done by severall hands , good and indifferent . 3. Then observe if he have expressed his Naturall Genius , with delight , upon some special fancy , as more proper to himself , than any other . For Example , some . In Historie and Figures . Others in Prospective . Some in Shipwrack and Seas . In designe . In likenesse to th' Life . In Landskip , not many . In Flowers . In Huntings and Beasts . Cattle and Neat-heards . The Prints of these were also lost but you may meet with others for Example . And in each of these severall Artists have been ( properly ) more rare . The ancient Italians , who first began in Figures were Cimubes , and he was farre surpassed by Gotto , famous untill the time of Peter Perugino , who was infinitely out-done , by his excellent Scholler Raphaell Urbino ; In his time flourished the most admired Artizans for Architecture , for Paintings , for Sculpture , as Bramon● for Architecture ; &c. Then came the World's wonder Michael Angelo ; Bona R●tto ; Georgeon del Castelfranco ; Coregio Dannielle ; Macerino ▪ Andrea del Certo , Julio Romano . These all excellent History Painters , whose works ( for the most part ) they throughly finished . To these , succeeded Titian , and Jacobus Palma , whose Paintings were Inferior to none ; but as to the Invention and Design they mastered it in another manner . After them , we find Lu●hetta , Tenteret●a , Paulo Vern●s , who for Noble Inventions , quantity of make , excellent designe , beauty of Colouring exceeding all before , are different in Painting from all the rest . The late age produced many brave Masters , but somewhat inferior to the former ; viz. Anniball and Lodowick Carosier ( two brothers ) . And another Michael Angelo ( called Corrowageo● ) Joseph d' Arpi●as , Guido● Paleneza and many other their equalls ; at present , Peter de Cordova . That famous Albert Durex , who never learned of any , yet he is known of all . He never travelled abroad , nor had the light of study after the Antique Marbles , wherein he was deficient ; otherwise no doubt he had infinitely surpassed all the former , as it may appear by his admirable works in Oyle , Limning , in water , Etching ; and Graving in Copper and Wood . His works of Graving were the first that were ever seen in Italy , which set that Nation Imitators of him therein , for his Master Marta ( 20 years before ) found out that Art , but never performed any matter therein prayseworthy . We find only this Albert Durex ( of a Painter ) that writ methodically of the Art of Perspective & Geometry : No modern hath writ better . And his Symmetry , so exact , both of truth and diligence ; that none other hath adventured to imitate . This defect he had , that all his designes were disgraced by his Gothick way of Architect , which he followed , after the gross building of his owne Country , alwayes living at home . Hans Hobben and Antonio More , in that curious smooth Painting specially after the Life , have not been exampled by any . About the same time lived Martin Hemskerke , So●oclere , and divers others , good Masters . Since these ; we find Blewmart , Seagers , Ruberus ▪ and Antonia Vandike , who exceeded these , especially after the Life . The ancient French Masters were Le petit Barnard , Voget , Lehere , Blancher . And at present , the most excellent Nicholas Posen for History . Foquere and Claud Delaverne , for Landskip . Particular Masterie● . FOr excellent designes of Noble History , vve may be amazed to behold the aforesaid Urbin , Angelo , Vernes , and Tinteret . For Life , Titian , Holben , Antonio More ▪ but now it becomes the bold adventure of all , as the ordina ry practice that most men apprehend , of common Use and Sale . In which Vandik was excellent ; and now in England the most Painters profess it . Albert Durex was the first in Landskips whose errors are now amended by late observation . He usually wrought , his Horison to the top or edge of the Piece ; which may be true to nature and Art , but nothing gracefull ( as hereafter is observed when we come to working . ) The best indeed in this kind , were Paulus ●rill , Claud de Laniere , and Vanbots : The French were well affected to this way , Troquere for one ; for of that Nation , their Spirits are seldom so well setled , as to be excellent . And for the Dutch , Vangore was the best ▪ but pretenders not a few . Of our own Nation I know none ▪ more excellent but Streter who indeed is a compleat Master therein , as also in other Arts of Etching , Graving , and his worke of Archi●ecture and Perspective : not a line but is true to the Rules of A●t and Symmetry . For Flower-pots and Paintings of that kind , Brugel and Dehem were excellent : but now Paulus Seagers is best of all , a rare Artizan , and Van Thewlin of Antwerpe , his Imitator . And in dead-standing-things , Little-House , a Dutchman . Stenwick in Prospective . Porsellus in Sea Pieces and Shipwracks . For Hunting and Beasts of Prey , Snider ▪ and in little , Ellsamere , Rohen , Hames , Tambots , who led the way to sundry others that practise after his excellent hand in this kind , and for Horses ; Woverman for Cattle and Neat-heard , both the ●assances ; the Elder , more exact . And in an excellent Master , you may meet with all these Eminencies compleat ; Raphael Urbin , and Titian the best that this Art can boast of . All these had their severall ages of Fame , and decay ; their Growths and Wanes ; Perfections and Weakenesses . These now in England are not less worthy of fame then any forraigner ; and although some of them be strangers born , yet for their affection to our Nation we may mixe them together . Our Modern Masters comparable with any now beyond Seas : Not to take upon me to enroll them in order and degree of merit ; each one hath his deserts . In the Life , walker Zowst , Wright , Lillie , Hales , Shepheard , de Grange , rare Artizans . Fuller for story . Stone and Croix ingenious Painters in the incomparable way of Copying after the Antient Masters . Barlo for Fowl and Fish , and Streter in all Paintings . Then have we Marshall for Flowers and Fruits . Flesher for Sea-Pi●ces . Reurie for most Paintings , usually in little , and John Baptista ; also Cleve his excellent designes for those rare Tapstry work , wrought at Moretlake , and otherwise , which will eternize his aged body . For Miniture or Limning , in water-Colours , Hoskins and his Son , the next modern since the Hilliards , father and son ; those Pieces of the father ( if my judgment faile not ) incomparable . The like of Coopers and Cary : And let me say it with submission , Gibsons great piece of the Queen of England's head to the Life , done with that elaborate and yet accurate neatness as may be a Master-piece to posterity . And to make good that Maxime , that the ground of all excellencies in this Art is the Naturall fancie bon-esprite , quick wit , and ingenuity , which adds and enables the elaborate part , pick me out one equall to Madam Caris , a Brabanne ; Judgment and Art mixed together in her rare pieces of Limning , since they came into England . And in Oyl Colours we have a virtuous example in that worthy Artist Mrs. Carlile : and of others Mr. Beale , Mrs. Brooman , and to Mrs. Weimes . And to give honour to this Art of Painting many worthy Gentlemen , ingenious in their private delight , are become Juditious practitioners herein ; Namely Sr ▪ John Holland , Mr. Guies , Mr. Parker , Mr. Sprignall , and others ; I need not name the rest ; their works will better their worths and estimations in this and other excellent sciences of Art and Learning . Quaere , Haines and Thorne . Of Abilities in Painters . HIstory informs us , that in Warre , all Arts dissolve into that action ; but when the Roman Sword had bounded the Empire , then the peacefull endevours of cunning Artizans out-went former excellencie of the Graecian instructions ; from whom , these derived their Learning . And yet of all Arts , this of Painting is least beholden , to the Gramaticall Pen , for any knowledge of the Theory by their deficiency in the Practicall : and so not doubly qualified in both , Pen and Pensil , Rule and Example , the perfection becomes less communicable to posterity ; being rarely conjoyned in one , a Learned Painter . This observation leads me into an ingenuous Confession of my self , to be neither ; but as a Lover of Arts , I am an intruder upon either . The Liberty of these latter loose times prevailing over my former imployments , ( heretofore of somewhat more concernment ) have now resolved me into the harmlesse simplicity of doing any thing , that may be aequè bonum to divert me , ( even my thoughts ) from Malignity . You may desire many Abilities of an Artist in his Piece , but the Italians observe each single prayse to deserve merit , in any one Master . Some , are noted for one of these , viz. Diligence and Proportion , ●ith a free hand . Fancie , and conceiving of Passions . Invention . Grace . Of all these , we shall discourse hereafter . But in a word , there may not be wanting these two , First , to be well drawn , or ( as Artizans term it ) well designed ; and herein without exceptions , let there be truth and Grace . Secondly , well Coloured , with Force and Affection . Well Designed . FOr the first ; there must be truth in every part , and Proportion of the figure , just and Naturall with the Life . Some artizans , strain Limbs into extream . Albert Durar , Golties , Spranger , did so , in that which was ; and Michael Angelo , in that which should be ; and thereby in truth , loose the gracefulness . But then , if an Artizan adventure on a Fiction , it will appeare lesse pleasing , unless it be done boldly ; not only to exceed the worke , ( but also the possibility ) of Nature ; as in Centaurs , Satyrs , Sirenes , Flying-Horses . And therefore I say . Pictur a fit ejus , et quod est , et quod non pote st esse . Which are easily figured , by those that dare adventure , with Judgment . And so the beauty of such a fiction , may consist in Exorbitance , and the fancie of the Painter to be without Limitation . And yet the Philosophers have writ of wonderfull intermixed shapes , that have been seen of severall kinds , in one Creature . Earthly , as Satyrs , Centaurs , Flying-Horses , Waterish , Fishes Flying , Sea-Horses , Tritons the Male , Nereïdes the female . Th●odore Gaza caught one of these Nereïdes in Grece ; and in Zeland , was another taught to spinne ; so sayes Alexander of Alexan●●ia , and some others that have seen Monsters , Chimeraes Hippotames , and others such , which Heraulds undertake , to bestow upon Gentlemans Buryings . Beyond the actuall works of Nature , a Painter may describe , but not to exceed the conceived possibilities of Nature in the same Culture . St. Austin affirmes , that in Utica , a Town in Affrica , he saw the Jaw-bone of a man , as great and weighty , as of 100. men of that age . The descriptions of men in great actions , were the constant designes of Poets , to afford the● large and ample Limbs . The Statuaries of Roman Gods , and men of fame , were so imitated ; and being well drawn , ( that is Proportionate to Disproportion ) in Picture , are excellent Ornaments : for though I confess a Painters profession , may be , the imitation of Nature , yet to exceed her kind , shews his own store and provision of fancie , without borrowing of her example ; and does well in Picture , if not ill done by the Painter . Since it discovers no suspition of ignorance in him , having his liberty allowed , that what he could not master , he might have left undone . The Naturall figures indeed , shew property and decencie to delight common Judgement ; and the forced figures , may be the sign of the Novelty in expression , and pleasing the Excitation of the mind ; for Novelty causeth admiration , and admiration enforces curiosity , the delightfull appetite of the mind . And certainely from an Artizan's excellencies , proceed those extravagant varieties , or admirable Novelties , which are not the issues of an idle brain , or to be found within the compass of a narrow conception , but please the Eyes , like new straines of Musick to the Eares , when common ayres become insipid . Grace , is the bold and free disposing of the hand in the whole draught of the designe . You have the pattern to the Life , in an unaffected freedome , La mode , or Bon mene of fashion in Man or Woman ; which sets out , or supplyes beauty ; the French have devised that phrase , to commend a Madam , whose behaviour mends Natures defects , and thereby the Courtisie of Court allows her , not unhandsome . Well Coloured . SEcondly , for well Colouring , you may observe , that in all darkness there is deepness ; but then the sight must be sweetly deceived , by degrees , in breaking the Colours , by insensible passage , from higher Colours , to more dimme , better expressed in the sight of the Rain-bow ; where severall Colours intermixt with soft and gentle distinction , as if two Colours were blended together . Force , is the rounding , and rising of the work , in truth of Nature , as the Limbs require it ; without sharpnesse in out lines , or flatnesse within the body of the Piece ; and both these are visible errors . Affection , is to express Passion in the figure ; Gladnesse , Grief , Fear , Anger , with motion and gesture of any Action . And this is a ticklish skill of the hand , for Passions of contrary Nature , with a touch of the Pensil , alter the Countenance , from Mirth to Mourning , as a coincident extream . We have done with our Picture of Choyc not to trouble you with more , or other Notes of perfection , for the present untill afterward , that we treat of Working . Indeed Perfections of these kinds , are so various , and mysterious , that chief Masters themselves , in the right censure of their worke , have undergon , severall characters of defect . Grecians the first Painters . WE have it rendred from an old Author , that the first of Antiquity , that drew Proportions , were Grecians ( as aforesaid ) in Black and white ; who have begotten others , that in time became Masters in Painting also . And afterwards , many added to this Art . The first inventing the due disposition of Lights in the draught , and evermore , with ampler Limbs then the Life . Homer set out so his gods 〈◊〉 goddesses with large formes and features , as aforesaid . Then they came to limit Proportions exactly , as Law-makers ; whom others followed as decrees . About the time of Philip , Painting began to flourish ; and so to the successors of Alexander ; for we have severall of those antient Artizans , set out to us , for their excellencies , in sundry of those Abilities , which we have named , as , Pictegenes , in Diligence . Pamphilus & Melanchius in Proportion . Antiphylus , in Facility . Theon , in Fantasie and Passions . Apelles , in Invention and Grace . Euphranor , a rare Artizan as in Generall , so in Painting . How to dispose of Pictures and Paintings . ANd now ; supposing that you have purchased the most costly Pieces , we must next consider , how to dispose them properly , with Conveniencie and Grace , for the adornment of your House . We shall not doubt the Question , whether Painting becomes out-sides of walls of the House ; In imitation of the Germain ; Caecill Viscount Wimbleton ( sometime generall of the English in the Dutch Warrs ) seems to intend the beautifying pleasant Scite , and gracefull Edifice at Wimbleton , with large and ample figures without doors ; in Fresco and Stoke parke in Northampton , they are done by claine . And Carew House at Parsons Green , large and bold , but almost decayed , though but lately done . Some Towns are done so amongst the Germains , but then , not with glaring Colours ; that were to please common judgments . I have observed other Pieces in England , not many ; for indeed the worke is soon lost upon a moist Wall ; which in our Clime necessarily follows . That excellent Painting of the two Kings , Henry the seaventh and eighth , with their Queens , done upon the Wall in the Privy Chamber of the late KING at White-Hall in Oyle only , by the rare hand of Holben , hath been preserved with continuall warmth within doors , and benefit of fire , even till now . But withall , I observe the Wall , prim'd with a very thick Compost of Playster , and some other mixture fixed , to preserve the worke . Therefore I admit of no Colouring upon Walls ; If any Draugh●●●●en let them be Black and White , or of one Colour hightn●● 〈◊〉 Figures of Life , Men and Women : Or otherwise Nakeds , as large as the place will afford . If without Personages , I wish it of Counterfeits , or imitations of Marbles , Aquae-ducts , Arches , Columns , Ruines , Cataracts , in large proportions , bold and high , and to be well done ; for fear of Lamenesse , which is soon discerned . Of Grotesco . AS for Grotesco or ( as we say ) Antique-worke ; It takes my fancy , though in forms of different Natures , or Sexes , Sirenes , Centaures , and such like , as the outward walls of White-Hall , observes this kind ; as running-trale ▪ worke , and not ill mastered : But when all is done ( now a dayes ) it looks like an Ale-house ; Citizen painting , being too common ; and usually else-vvhere , were very ill wrought . Excellent prints of this kind were lost at Sea , of Steven de Labella . And if Poets devise these double Natur'd-Creatures , why , not the Painters ; who can do what the other but bespeake ? But in true Judgment I would confine Grotesco , only to Borders and Freezes : then it may become the Wall , within or , without doores . Here a Print of Grotesco should have been inserted . Of Fresco . THere is a Painting upon Walls called Fresco : It was the ancient Graecians Noble way of Painting , and since much used by the Romans . Plutarch tells us : That Aratus the great Commander under Ptolemie of Aegypt , ( being curious to satisfie his Soveraign's delight in Pictures ) presented him with such Rarities , as his Victories made him Master of ; or , that he could purchase at any price , and ( in a Complement to the Emperour's affection that way ) spared the sacking of a wealthy Citty ▪ meerly for the Excellency of Fresco-Painting , upon the Wall , and out ▪ side of Houses ; lest the unruly Souldier , by Fire , or otherwayes , should ruine the raritie . There have been PAINTINGS of this worke , in severall Towns of GERMANY , rarely done ; but now ruined by Warre . At Rome ; there are three Chambers , in the Popes Pallace , of Frescoe ; done by Raphael Urbin , and Julio Romano , ( his disciple , ) who finished his Master's vvorke , and are yet called , Raphaells designes . Other places , done by Andrea dél sexto , and Michael Angelo , and some other Artists . At Fountain-bleau in France , is most excellent worke of this kind ; they are the continued Travails of Ulysses in 60. Pieces , done by Bollameo , Martin Rouse a Florentine , and others . But more of this hereafter ; when we shew the manner and order of this worke , in the second Book . To place the Pictures within Doors . LEt us therefore contrive our Pictures within doors ; spare your purse and pains , not to Clutter the Room with too many Pieces , unlesse in Galleries and Repositories , as rarityes of severall Artizans intermingled ; otherwise it becomes only a Painters-Shop , for choyce of sale . Place your best Pieces , to be seen with single lights : Thorough Lights on both sides , or double windows at each end , are Enemies to the view of Painting ; for then the shadows fall not naturall , being alwayes made to answer one Light . Observe in their placing , as you may see how the Painter stood in his working , the light of the windows to fall upon the right side of the worke from whence their Shadows alwayes fall backward . The Italian's evermore , stand low beneath their high windows ; so then , the shadows in his figures , have that respect , as a descending light , best for mens faces , and shews them lively , and generally low Lights to large Pieces , do prejudice Paintings . Then bestow them orderly , and in their Qualities properly , and fitly , for Ornaments ; lest your cost and discretion , be cast away at once . In the entrance of your house , or Porch ; with some Rustique figures , or things rurall . The Hall with Paintings of Neat-heards , Pesants , Shep-heards , Milke-maides attending Cattle , in proper degrees , some other also , of Kitchenry ; severall sorts of Foul and Fish , sitted for the Cooking . Pictures becomes the sides of your Staire-case ; when the grace of a Painting invites your guest to breathe , and stop at the ease-pace ; and to delight him , with some Ruine or Building which may at a view , as he passes up , be observed . And a Piece over-head , to cover the Sieling , at the top-landing , to be fore-shortned , in figures looking downward , out of the Clouds with Garlands or Cornu-Copia's , to bid wellcome . The Great Chamber with Landskips , Huntings , Fishing , Fowling ; or , History of Notable actions . The Dyning-Roome ; with the most eminent ; a King and Queen , if possibly to be purchased at any rate , ( I mean their Pictures ) rarely done ; the want whereof in former times , were supplyed onely , with the Court-Arms of their Majesties ; few good subjects then , but conceived it expedient , to express their Love and Loyalty , by some such Embleme , or note of remembrance . But then in reverence to their Persons , forbear to place any other Pictures of Life , as not worthy their Companions ; being , themselves , Ornament sufficient , for any Room : unless ( as some will have it ) at the nether end , two or three , of their own bloud : Or of chiefe Nobility , ( Favourits ) to waite upon their princely Persons . Inward with drawing Chambers ; place others of the Life , whether of Honour , friendship or of Art only . Your own and your wives or Children , best become your discretion , and her modesty , ( if she be faire ) to furnish the most private , or Bed-Chamber ; lest , ( being too publique ) an Italian ▪ minded Guest , gaze too long on them , and commend the worke for your wive's sake . We had an arrant Knight , notorious in this error , who was so mistaken with the love of his wife and handsome daughters , that in each hole ( of his house I mean ) you might salute them ; As for which , they became the more common here , and after beyond Seas , to his and their ruine . Cheerfull Paintings , In Banquetting Rooms : but here , as anywhere , forbear Obseene Pictures ; those Centaures , Satyrs Ravishings , Jupiter-scapes in severall Shapes , though often done by rare Artists : unless you mean to publish the sign , because you delight in the sinn . Graver stories ; Histories your best figures , and rarest worke becomes Galleries ; here you Walk , Judge , Examine , Censure . Landskips become Chimney-pieces , Boscage , and VVildworke , in Tarraces or open places ; Summer-Houses , Stone-walks some Church Prospect , or Buildings , set out well , at the end of the Walke . One Rule for all , and every pieces ; If they hang high above reach , set them somewhat bending forward , at the Top from the wall ; because ( as one observes ) the visuall beames of the eye , extend to the top of the Picture , appeare farther off , then the foot ; to reduce it , allow the advantage of stooping forward above . And thus much of Pictures their Choyce and Use , there being five kinds of Paintings . Distemper or Sise-colour ; Frescoe ; Oyle-Colours ; Miniture or VVater-Colours ; Croyons , or dry Colours . By this time having told you thus much , to make you in Love with the VVorke , let me say somewhat to teach you the ART ; and so to save your purse , and delight your practice . Which to do , I must begin , with the beginning of the Practise of the Pen ; and then , to the Pensil . Of Drawing , and Designing in generall . I Have marvailed , at the negligence of Parents in generall ; they not to enforce a Necessity , in the Education of their youth , to this Art of Drawing and Designing , being so proper for any course of Life whatsoever . Since the use thereof for expressing the Conceptions of the Mind , seems little inferiour , to that of Writing ; which in no man , ought to be deficient . And in many Cases , Drawing and Designing performs , what by words are impossible ; and ( to boot ) perf●cts the hand , for all manner of writing . And , if it be the generall Rule , ( or should be ) that Children be taught some gentle Manu-facture ; then , doth this of Drawing , apt them for those . For almost , nay in any Art , we must respect Rule , and Proportion , which this makes perfect . And such as will not make it up to a trade , yet , the Idea thereof , renders a man very usefull , As for Navarchy ; Modells for building Ships , and Rigging them . Architecture ; Modells for Houses . Anatomie ; forming Skeletons . Magneticks ; Compasses , Globes , Instruments , Dialls . Batonicks ; Gardning . Astronomicalls . Graving , Etching , Carving , Embling , Moulding , &c. Thus much in generall , for the Excellencie of this Art . But to our particular purpose of Painting , it is the only Consequence . And therefore to draw well with the Pen , after a Copy , or the Life , is the most difficult to begin , and the only pains , for the present ; but when mastered , the whole worke of Designing ( which leads you into Painting ) will become the greatest pleasure ; and of more variety , then any Manuall Profession what ever . Being the singular delight , rather to be doing , then to have done . The Spirits evermore refreshed , with new fancies , and unexpected success in the end , are never wearied . The livelin●sse of the fancie , cannot be contained within the compass of ordinary practice , readily expressing the inward Motions of a forward mind . The Practice of Drawing or Designing . I Would prepare you with Rule and Compasse , and other Instruments , necessary for you to lye by you at hand ; but advise you to practise without them ; It is your eye must judge , without artificiall Measuring . And when you have past my first directions , and are perfect to draw by the Life , you may afterwards , in large Proportions and dimensions , use your Instruments , both for perfection , ease , and speed . So then you may have large and lesse paires of Compasses , the one foot shorter , to put therein a Pen for Inke , or Black lead ; a strait Ruler and a squire . Of Box , Holly , Sallow , and Prick-wood . Provide your self necessarily of Cole-Pensils , split into shivers , from a Charcoale of Sallow wood , soft with a pith running through it , well burnt , the grain , and Colour like Black Satten . Other Pensills , of Black-lead , Black and white Chalke , and Pastills also of severall Colours ; the making and use is hereafter taught you in the second book . Get a booke in Folio , of a double Quire of fine Paper , ( as also some sheets of Blew Papers and other Colours ) to avoid loose leaves , soon lost ; that by overlooking your first draughts thereon , you may with incouragement , delight in your proficiency . The foundation of Proportion consists in severall particular figures , by which , I would have you enter your Drawings ; as the Circle , Ovail , Square , Trangle , Cilinder : Each of these have their effects . Ovall , is a direction for the Face Square , for Platforms , buildings , fortifications ; Circle , for all Orbicular Shapes ; Triangle , for three-side lines ; Cilinder for Pillars , Columns ; and these with small practice , you will Master : they do , but , make your hand . Begin your Example , by a Copie or Print , of those severall forms of figures ; a the Sun , ●ull-Moon , Orbicular Flowers , or other Circular shapes , and so of the rest , by the outside line only , without shadows . These I propose as most easie , to win your affection , to more difficulties ; to bring your hand , to hold your Cole , to draw lightly , to wipe it out , with a feather and to practice it , over again , untill you master these formes , as your first worke . Then , practise by severall members of the body ; in some Print ; as the Eare , Eye , Nose , Hand , Foot , Legg , by themselves in severall Postures , all which are particularly designed for this Art . The next is , by a Print , or Copy of a Head and shoulders of a Man or Woman , frame the out dimension or Table , which comprehends your Sample with equall lines , whether Square , Circle ▪ or Ovall ; by help of Rule and Compass . Observing the distance from the lines of your Table , by your eye ; then take your Cole , made very fine and sharpe , with a Pen-knife , or smooth File . Begin from the top of the Brow or Forehead ; trace the out line of the face down to the tip of the chin with a soft and gentle hand , hardly discernable , wiping it out with a feather , or piece of Spanish Leather with sharp Corners so oft , until your practice comes like your Pattern . Then gently draw Orbicular , the out side line of the Head , from the Brow where you began , to the Crown ; and so backwards , down to the Neck , compassing it to the Throat and Chin , vvhere you left ; all which becomes Ovall . Then guesse at the Eye-browes ; marke out the place of the Eyes ; between them , draw down the Nose and Nostrills , score out the Line , and length of the Mouth and Lipps ; lastly , the Eare , and the Haire , falling upon the Face ; wipe it out all with a feather ; leaving the Lines discernable only , by which you may discover the errors and amend them . Then draw it all again as before ; overlooking each part , untill it becomes reasonable ; then perfect the Eyes , Nose , Lips , Eares , Hair , go on boldly ; adventure a stroke or Line , down from the Chin , for the Throate ; the Back-stroake , alike , from the Eare , to the Neck , and Shoulder ; and so proceed to the Breast , or further down , as your Print is in length , which commonly is not deep , for a Head ▪ Looke over this worke ; be not discouraged , though deformed ; wipe it out as before ; and by the Errors , amend it so oft till it become reasonable handsome . Let this draught remain in your Book ; begin another of the same , and so a third , or more ; perfecting each with courage , and confidence , for 2 or three severall dayes practice , that you may find delight in your proficiencie . When you can Master a single head of severall postures ; as side-face , three gutters and full ; looking upward , downward , fore-shortned ; Then adventure on a whole figure at length , Man , VVoman , or Child ; Then some Skeletons , forward , back , and side , and after all , cloathed with Garments ; Lastly , shadow each one of those severally , as a true Copy from the Principall ; drawing over the Lines of the Charcoale , and then over that , with a Ravens quill pen , for to remain in your book , and hatch it . I had prepared Prints for all these directions but they are lost at Sea . Black Chalke Pensils draws handsomely ( without the Cole ) upon Blew-paper , and shadowed neatly ; being heightned with VVhite-lead Pastils , you may practice upon severall coloured papers , as the ground and shadow ; and heighten it with other Colour Pastils , as your fancy affects . By Copies of Prints ; first drawings of good masters , by Paintings or by Sculptures of round ; and then by Observation of nature , in the Life , learn to understand ( before you shall perfectly draw them ) the reason and cause of true shadows of Bodies , as they appear heightned , outward , or deepned , in their Concave or hollow . Which are caused by neernesse , as farther distance , from the light ; and therefore , those Prints which duely observe them , express much judgment , and the true Spirit of a Picture . Drapery-garments ; of severall Stuffs , coorse or fine , Silke , VVollen , or Linnen , have their ▪ different and naturall folds ; So as in the Lines , of greater , or softer shadows , ( well done by an Artist ) you may ( though in black and white ) easily discerne the meaning of the draught ; to be of such a Stuffe , or Cloathing . In shadowing , with hatches , or small strokes ( as in your print ) use the pen of a Ravens-quill ; and be sure not to cross any stroake , before the former be dry ; lest they runne into each other . After some practice with the Pen ( which follows the use of the Cole ) proceed to shadow , with black and white Chalks , in stroakes , or sweetning ( as in Painting . ) For your better directions herein , get some Designes or draughts , done in Chalke , Red-oaker , dry Colours , Croyons , or Pastills , for your patterns . The best Prints , for true proportion ; take Raphael of other Old Artizans well graven . Coltius , ( a Hollander of Harlem , ) varies his postures , very much ; large and bold hatches ; but curious and true , in all his shadows ; Michael Angelo , his Pieces are not common , a famous Italian ; Hans Holben , a perfect Master ; his bold hand appeares in severall Ornaments of Painting , at VVhitehall Chappell , and Palace ; at Greenwich , Hampton Court : but mostly defaced by the injurie of time . He was imployed by King Henry the Eighth against the entertainment of the Emperour Charles the 5th , his Prints are not common . Shadan , VVierin , Spranga , Michaell-Jans of Delph , Raphael and John Sadler , and other Masters sans , Number . Now , though we name these , as other Artizans , for draughts , and to be met with in Prints ; you must know that they were Painters , and for the most part , wrought their Pieces first , by designe , and draught , with blacke and white Chalkes in little ; and so in Oyl-Colours , to the Life or History : from which other Masters , Gravers in Copper , or Etching with Strong-water , have preserved them in Prints , for more publick use , and eternall memory of the first Authors , either after their first Draughts , or Paintings . So shall you have , two or three , or more , severall Names oft-times , set to the Print ; the Designer , the Painter , the Graver , and sometime the Printer . Our excellent Artists in Graving are , Father Lambert , Hollar , Vaughan , Trevethen , Gay-wood , Crosse . By this time , and Practice , you expect that I should put you into Painting , the usuall longing desire of the Practitioner ; but forbear , by any means , untill you be excellent in Copying of draughts , according to the foresaid Rules ; nay , untill you can boldly and truly , adventure upon your own fancie , and designe a Pattern for others . And believe it for truth ; hasty Colouring , undoes the Painter . He shall never be excellent , that is not ready , in his own Draughts ; Nor be able to paint ( and be esteemed ) till he understand a Picture as it should be made . And therefore , give me leave to read a Lecture of the powers of a Painter . Of the powers of a Painter and Painting . PHilosophers , divide the universe ( which is their subject ) into three Regions ; Caelestiall , Aeriall , Terrestriall . So the POETS , ( who imitate humain Life , in measured lines , ) have lodged themselves , in three Regions of Mankind ; Court , Citty , and Country . So , the PAINTERS , ( whose Art is to imitate Nature ) performe it in three severall Qualities ; Design , Proportion , and Colour . And these , into three sorts of Painting ; Prospective , ( or Landskip , ) Historicall , and Life . Prospective ; a wonderfull freedome , and liberty , to draw , even , what you list ; so various is Nature in that . Historicall ; respects due Proportions and figures . Life ; only the Colour . In each of these ; you must have dependency upon all the other , but necessarily , on each in particular . The powers of a Painter , is expressed , by Imitation of Naturall things , whereof the most excellent , are ever , the most difficult ; easie to paint deformity . In your Imitations of Art or Copying , observe to hit the virtues of the Piece , and to refuse the vices ; for all Masters have somewhat , of them both . For , Paintings ▪ may be puft-up , but not stately ; starved in Colour , not delicate ; rash ▪ not Confident ; Negligent , not Plain . Severall men , severall excellencies : Some in Grace , Boldness , Diligence , Subtility , Magnificence , &c. ( as aforesaid ) . In all , do not imitate outward Ornaments , but express inward force ? Yet in some Pieces I have found these vertues not pleasing , and , even vices ( themselves ) gracefull ; but then , it hath been by a Master , that boldly did it , to shew , that he was able , to make his conceite a pattern , ( as before said . ) Generally , follow best Masters , lest an indifferent choyce bring you to an evill habite . Proficiencie of Painting , is purchased , not ( altogether ) by Imitation , ( the common drole-way of ordinary Painters ) if you neglect the amendment , by your own generous fancie ; ( Estautem proprie Imago rerum animo insidentium ) . For , he that only follows another's steps , must ( needs ) be the last in the race : Lazy Painters study not , the brain : Nature can do much with Doctrine ; but not Doctrine , without Nature : Nature , is of greater Moment : Every Artificer hath a peculiar Grace , in his own worke , agreeing to his Nature ; though many ( of the other sort , ) owe most to Doctrine . The force , of Imitation of Nature , is in the Fancie ; which worketh with the more Wisdome . It being an imaginative faculty , or Wit , and is set on worke to imagine , what we have seen ( or at least made up with some other Sense ) being the Print or foot ▪ steps of Sense . It is the treasury of the mind , The darkness of night awakes our Speculations of the day ; when sleep failes , the Mind does , then , digest the conceived things into Order ; that so , the whole invention wants nothing , but the hand of the Artificer , to effect the worke ; and , without Art , to do , Imagination is uselesse ; Fancie supplyes Imitation's weakness ; the property and Office whereof , is to retain those images , and figures , which the Common Sense receives : First , from the exterior sense ; and then transmits it to the judgment ; from thence , to the fancie ; and there looked up , and covered in the memory ; and we may alter and move with the re-presentation of things , although it have them not present , which the common Sense cannot have , unlesse present . Herein appears the marvailous force of Imagination ; A man sleeps , his Senses are at rest , yet his Imagination is at worke ; and offers things to him , as if present , and awake . Imagination moves the passion and affections of the Soul ; and can provoke the body , to change the Accidents ; as to make a man sick , or well ; sorrow , joy , sear . We may paint a conceived , or intelligible thing , Perfect , by the Idea of Fancie : but , by Imitation , we may faile of Perfection . Hence it was , that the Antients intending to excell in the forms and figures of their Jupiters , would not imitate , or take a pattern , generated , but rather , by a conceived description of Him , out of Homer , or other Poets . There is in the form and shape of things , a certain perfection and excellencie ; unto whose conceived figures , such things by Imitation , are referred , that cannot be seen . To amend fancie , we must lodge up such rarities , as are administred to sight , to encrease the meditation of fancie ; as in your dayly view of forms and shadows , made by lights and darknesses ; such as in the Clouds neer summer Sun-setting ; which soon alter change and vanish , and cannot remain for Copying , but must be lodged in the fancie so that it is no difficulty , to study this Art walking by day or night . In your bed , waking or sleeping , or what dr●ams and fancie possesses your sleep . You have Lessons in all , and Paintings there are of either . In a draught of designe , the Artist must fancie every circumstance of his matter in hand ; as usually Rubens would ( with his Arms a cross ) fit mu●ing upon his work for some time ; and in an instant in the livelinesse of spirit , with a nimble hand would force out , his over-charged brain into description , as not to be contained in the Compass of ordinary practice , but by a violent driving on of the passion . The Commotions of the mind , are not to be cooled by slow performance : discreet diligence , brings forth Excellence : Care , and Exercise , are the chiefest precepts of Art . But , diligence is not to stagger , and stay at unnecessary Experiments ; and therefore I have observed in excellent Pieces a willing neglect , which hath added singular grace unto it . Be not so over-curious that the grace of your worke be abated by the over-diligence ; as never to tell , when you have done well : therein you will be maximus tuî Calumniator , your owne worst detractor . Not to dwell upon every line ; nor to alter what is well ; It wants true judgment and makes it worse ; and so to love every thing we do , whilst a doing , though too much . Not being able in the exercise of designing , to overtake the quicknesse of fancie ; we must therefore unbend the intention of our thoughts ; breathing , and reviewing what is done , by which we make a handsome connexion of things . To adde or detract , to allay those things which swell too much , to raise things that sinck , to ty things that flow , to digest or compose what is without order , to restrain what is superfluous , require double paines ; to lay it by for a time , and as it were to give it new birth ; festina lente . Admit of censure ; What others justly reprehend , amend : Apelles did so ; great wisdome in a confessed ignorance ; and be content with every ones opinion , for you shall lye open , unto two exceptions ; the Incompetent , and the corrupt witnesse ; the first , if not a Painter ; the second , if no Poet . But if your Piece deserve it , a man of knowledge should say in general termes . That you have chosen a good Argument , Story or History . That the Parts are excellently disposed . The Maintenance of the severall characters , of the Persons , properly . The dignity and vigour of the expression , in Forme and Colour . A good Spirit , boldly done , &c. And so , it may seem to have in it performed , all the parts of various experience , cleer judgment , ready memory , swift and well govern'd fancie , and this being enough for truth , and the weight and credit , of a singular testimony . But if your understanding be call'd to councell , you may please both parties , and speake like a stranger in this or the like manner , viz. Of a Picture . I Know nother Person for the Life ; Yet I like the Picture of this Lady . A lively Spirit and good Grace . Well wrought ; Round , and Neatly painted . The Lady becomes a Limner's Art . He takes the lesse pains , when Nature makes her so , to his hand . Comely Tall . If she designed her own posture , it was done with discretion . Bon-Mene adds to Nature , and yet to yield her the due , a Handsome Lady , A beautious blushing Browne . Her haire proper to the complexion ; neatly put into Curles and folds . I believe she did direct her own Dresse , and so saves the labour of his fancie ; for if I mistake not , the Lady wants no will , nor judgement to set her self forward . The face made up of excellent parts . A quick Eye and full , amends the defect in the Colour ; and yet the circled brows gracefully big and black Her Nose not over-Romane , with Nostrils fair enough . A sull mouth : the largenesse of the Lipps commendable , because plump and Red . I like well the deepned shadow stroak , which parts them , and almost shews her Ivory teeth , as if to appear ; and altogether seems to be speaking . The very dimple by the Cheek , with a wanton touch of the Pensil , singly sets out her looks , most lovely : Somewhat long visage ; and it may be in true measure to the Life , and sufficient Symmetry . But see the Painter hath done his part and me●ded Nature by round shadows , whichdeceives the Eye to the better . He did well to make her face not too full , the features had been lesse becomming . The Head is w●ll set on , supported by her Noble Neck : roundrising full and fat . Ample Brests interlined with River'et Vaues See , see ; the swelling Papps like fair Pome-waters . The Nipples too , like Rasberry fountains , in true center to their circles . Her brawny Arms of good flesh , and pure colour . A Hand well drawn ; the singers spread , and yet not forced . Her Body well fed , not too fat . An Italian Dou's delight . Her Drapery of good fashion , true Mode ; the very Colour not improper for her complexion ; well chafen Colours become the countenance . Certainly , the Painter was well paid ; or sel●pleased in his owne worke , for it must be valued a Master-piece of Lilly and might shew with more advantage , by a better light . This way and manner to commend , does not a misse for the Painter , nor to the Person if the worke deserve merit . Yet judgment will be the more true , when your eye dwells not upon particulars , but views the Limbs apart , and skips from severall Objects , to a full Close , and Censure of all . It is pitty that a Piece well done , should hang like an offender in Chaines , as if set up only , to be seen a far off not to be valued neer hand . I could wish that the Ladies would read their own Lectures this way , and though not so becomming to commend themselves , ( which the man does too much , to their faces ) yet they may cunningly informe underhand , and set out the worke to the full view of their own excellencie . To teach the Gallant by such Artificiall Patterns , how to ascribe due praise to a deserving person and so in sooth with modesty and truth , to commend both as in particular upon the Lady Vandikes Picture in England . I marry Sir , Vandick's rare Mistresse , and his Master-piece , she needed not of his Art to help her forward . A goodly Plump , Fat , well Favoured , well formed Figure . A lovely looke . How she leers out her inticeing Italianated eyes , able to confound a Saint . Her Habit put into a Garment , call it a Petty-coate , and Wast-coate , or morning dresse . ( an Alphabet of Titles , serves not sufficient to number the names of Ladies coverings . ) But I le say so much for this Piece , not overcurious ( it seems ) to set out her self . A delicate Isabella sarsnet ; the Bodies tackt together before , with sour Jewells set into buttons of Diamonds ; on each side thereof an Orient Pearle , and a fift Jewel more faire , the pendant to the other four , in fashion alike ; only , the lowest pure Pearle , so large , ( such is the Painters Art to make it ) inestimable . These but untacked , ( with little paines , but much passion ) you come to the smock , which peeps out between them ; and at the hand-wrest carelessely purfled of purest Holland ( the Nunns ne're spun neater twine ) which needs no Flanders-lace to come neer it . Indeed the Nations are at Odds , we know , their Ware may not mingle . What a stately head she has ! wel set on ! A goodly Rope of Pearle surrounding her firm , fair , and noble Neck ; full and fat fleshed shoulders , plump breasts , well coloured skin , and altogether , able to indure a mans handling . Her haire of a well chosen mingled Colour , ( as you may say ) of all into one . Not brown , nor black , and too too gracefull she was , to produce a flaxen . I can tell that the Painter was put to it , upon two ●allats full , to mixe them into a Colour , which made it as you see a lovely pure bright Aburn ; with which the darkned folds , set out each Circle , sufficient to enchant a man into those Mazes . But that her looks were so neer , which hooked yours into her eye-balls , full black and rouling , and when she had you , she held you there . Only , you might have leave to steal to her Cheek and Lippe , and there to dine and sup , and sip . The whole frame of her face a very Miracle of Nature . Her counte●ance double , for though she seems to invite you , yet with so much majesty , as to command your distance , only to admire , not to meddle . And what 's her fancie , would you think ? Somewhat she must have of ●ashion to set her out . Surely , Nolshe needs none Yet she goes not farre to fetch it . A Sap green and golden coloured Oken-branch tackt to her head . The Embleme , Strong and lasling . So was she ; a bounsing Bona-Roba , to indure for ever . Hold Sir ! Her self gives you the Ensigne of Religion ; for having done her devotion , she wraps her Row of Beads about her Arm , lifting up the pendant crosse , as who should say : At the end of all . Look upon this Sir , and you shall never sinne . 'T is Vandick's . The first Painter that e're put Ladies dresse into a careless Romance . This way suits well to most fancies , and not improperly befits the various modes , that alter with the time , and which our vine-folkes call a New-fashion . But if we looke upon Paintings of late ages , how ill doth the apparrell in use then , become the Picture now ? A Noble Custome of the antients , to be so divers in their dresse , as not seriously to settle upon any ; and so of this and other his Pieces of different devised dress . This figure ( you see ) side-way ; perhaps her body would not otherwise beare it out forward , with so much advantage as to the pleasing humour of Plumpnesse . She seems flatbreasted ; and therefore the Painter has done what he can by Art , to hide defects of Nature , and sets her out in such a posture best becomming her parts . Yet hath he given her Grace to her good Face , which she turns from the bodies posture and shews it at the best , three-quarter . She is fair and full , not fat ; plump enough , and with good features to her length ; Not over-tall , nor too slender . See , see , how pretily she is busied to wreath her Lilly ▪ flowr'd branch into a Chapelet which signifies her innocent mind intent to Nature , not Art , holding it forth as an Embleme , that Solomon in all his Loyalty came short of Nature's purity . A light brown hair ; handsomely curl'd ; not too forward upon the face . Her fair cheeks and pure complexion need not her locks , for shadow , themselves will bear out all censure ; and the better , for she used no Art to make them Red , nor hath the Artizan painted them at all . Look behind , how her Tresses roule up with ropes of Pearle ; rich and pretty , without so much as a knot of fancie to be seen , or any strain of dress about her ; her mind seems to be more serious . Her eyes somewhat sad . A Cherry lip and full , which does invite you . Her neck , something too long ; and therefore , the rope of pearl does well to help nature which cannot promise plumpnesse . Take her together , she 's better for a brave Wife , than a compleat Mistress ; her mantle rich for Winter-covering . A deep Ruby velvet , lin'd with Aurora sarsnet with excellent true shadows well folded , & ●ackt up backwards , with an equall pair of Collets ▪ pure Ovall Emralds , large and fair , well set , between four Pearles ( quarterly ) round and great . Over all , a tippit of Sables rich and deep ; Certainly , the great Tartar sent it a present to salute her . It sets off the colour of her skinne , Pine Lilly w●ite ; smooth as unspotted Marble ( if it were proper , or possibly comparative in any degree , to pattern lively flesh , to be like a stone . ) Her linnen not seen at all , unless her smock-sleeves , cuffed with a Neat-new-fashion-Flanders lace , rich and deep . Her Arms and hands well formed by nature , and may not be ill done by the Artizan . Altogether , framed equally to an eeven feature . No parts strain'd , to make her other than she should be . A handsome Piece , well worth the Painter's fame , that hath not left his fellow . Maria Ruten Vxor D. Antoni van Dyck Eq : W Faithorne excud ▪ portrait of Mary Ruthven, wife of van Dyck A Picture of the Husband and his Wife . IT is a painting of figures , inseparably two , and so made up into one Picture ; nor needs there any more addition , themselves are grace sufficient , to fill up a story ▪ The designe sets it out , as after Mid-Noon Summer , when heat hath influence on hearty affections . A new Bed-Bridall went out a walking , led by the way into a well-grown Wood , where , under the branched boughes of an ample Oak they two sat billing : and after all , in the close of the Even , the Married Man starts up , and looketh wishly on Her. His Aspect cheerfull ; a silent testimony of a cleer Soul and an eeven Conscience at peace with it self . His Countenance not more nor less than Manly ; His Constitution Sanguine , complexion ruddie . His hair of good grace , and proper colour , a darkned brown fitted for length and curling ; eye-brows , more sad , full ey'd and quick . The Nose somewhat rising , not Roman : His youthfull chin but thin , for Nature was in doubt , whether a Beard were better , or without : I might read a Lecture of his out-side Limbs , but better what 's within . His looks not unlovely , shew him Manlymild ; a tender heart full of Noble pitty . Of a Spirit too brave to offer injuries to any , and so much a Christian as to pardon them from an other ; rather willing to suffer , than to disturbe the temper of his well-composed mind into a degree of Anger . His Apparrell of Silke , and ( like civility it self ) the Colour Black . His Mantle-Cloake cast on his Arme . He looketh long upon her , and having twined his hand in hers , He seem● to speak unto Her. But She sat still ; for having found his Eye-balls fierce , an● fixed on her , and hers the like on him , and they thus imprisoned ; both of them blusht , and she looks backe : he would have done so too , had not her modesty began first . Had you but seen her thus upon the suddain , you would have said she did so , as not to undoe him , with over-looking . Her beauty was of brown : Her hair of Aburn-black ; and though she sits down , her dimension shew'd her Symmetry of personagetall , not thin . Her years beneath his , yet at such a desired distance as made eithers age equally matchlesse . Her beauty , in this blush , caused her to look the more lovely . A full eye and piercing ; the circled brows gracefully big and black ; Her forehead high , her cheeks so well complexion'd , as never till non ) she could indure ( or need they ) Painting ; some-what long visage , in true measure of the Life ; yet the Painter did his part by artificiall shadows and roundings , that you could not easily distinguish it , to be any defect of Nature . Her hair curled in wreaths and folds , as if she had a mind to enchant the Man into those fetters , and hold him there . Her ear came under all , round and small , such as men say belong to witty Women ; the tippe rather graced a Pearl than that It : In form it was most like a Pear ( no doubt there was a paire , the other though unseen ) but of such Value that a single one might be sent a Present to a Princesse ; the pattern sampled a Rope of them so round , that they were enobled into her Neck-lace . Her dress , her own direction , surpassing the Painters design ; so then , she might teach him that Art , for ever after . Her Knots of choyce Riband sap-green and silver , fancied into witty fashions , twining her hair like mazes made up into round Rouls , that lodged in the Crown and center of her Head behind . Her Head was well set on ( as Artists use to say ) supported by a round necke , down behind to her rising shoulder , full and plump , and meeting before with a fair breast , well proportion'd , interlaced with Riveret-azur-veines . See , see , the swelling paps like ripe Pome ▪ waters , well grown and fit for her Husband 's gathering . The ruddy nipples , two if seen , would seem Rasbery fountaines in true Center to their Globy-Orbs . Her brawny Arms ▪ of good flesh , and pure colour . A hand well drawn , holding a sprig of Gesmine , the other shadowed in his . Her body well fed not fat , sitted onely for his delight . Her Apparrell right Mode . I dare say , therein she learns of none , being her self a sample to all . Her Drapery well fashioned of Aurora Silke . Her Skarfe of Azure skye , opened with the wind to let in Aire , or to uncover her beautious breasts toher Husbands beholding . In a word ; She appeares a Lady of a high Fancie , and an equall Wit ; both of them made up , by a commanding Judgment . The Grove was deepned dark , which set out all like a Sun-setting ; so seem'd the skie , in the view of a farr fetched Horison . When loe , ( a distance off , ) you might discern her pretty Dogge ( Sable ) came running in ; Love to his Mistresse's looks , made him hasten his diligence , seeming to consent to her desire , as being now time to returne home . Certainly , the Painter was well paid for his paines , or well pleased to see them while they sat to his elaborate work . A comely Piece , rather with dignity of presence than beauty of aspect . The Artist rather busie not to erre from his pattern , than in labour to produce greater excellencie than their own deserving . And thus , in summe , it must be valued an Ornament to the Dyning-Roome ; being besides well known to be the Art of Sowst's handy-worke , and he a Master of sufficiencie . A Promontory of Land , like a Mans head . A Promontory which bears it self into the Sea and makes a Cape of Land ( formed by Nature ) in fashion of a Mans Head . The face ( as it were ) lying upwards , Necke and Shoulders fixed ; like to St. JOHN's Head in a Platter of bloud . The Grove of Trees rising thick and round , shagging themselves in shew downwards , like curled locks . The Brow-part forceth outwards , ( with Hills ) leaving a Valley towards the rising Nose , a Rocky Clift so formed by Nature as needs no Art to modell it , to be the same . Between that and the Lips , a tust of bushes of an eeven length , makes the tuske of hair as it were the upper Lip : only a little Lodge-House raised ( per chance ) for necessary use , appeares , as if by consent of Art and Nature , to answer for the nether Lip . The place for the Chin is right set , round with bushes for the beard , proportionably thick and short , alongst the cheeke , breaking off , before you come to the eare , and bearing a space of sallow ground , being the usefull way up to the Mount . For the Eare , indeed a convenient plat is left by Nature to raise a worke of safety to the place ; the inner Contrivers , made up with Stone , answer to the Eare in all parts ; and the Eye at some distance , shews it selfe to be such in truth , being yet no more than a Rift in the Rocky part , equally formed to the rest , and in proportion to all . Then comes the Throate and Neck ; a large Valley with small Hedge-rows in breadth and length orderly in frame , for the rising and falling of Veines , to make up the whole fabrick a compleat Head-piece . So we see , Art or Nature can counterfeit each other . Of the Parts of a Piece . IN a PICTURE from Nature , there are five Principall parts . ▪ 1. Invention or Historicall Argument . 2. Proportion , Symmetry . 3. Colour , with Light or Darknesse . 4. Motion , or Life ▪ and their Action and Passion . 5. Disposition , or oeconomicall placing , or disposing , or ordering the work . The four first , are observed in all sorts of Pieces . Disposition only in those Pictures , that have many figures ; not to appear mingle-mangle ; but , in all and every part of the Piece , to observe a decent comlinesse , or grace , in a mutuall accord , of all five . Of Invention . IT must flow easily ; to force and strain it , marrs the Life and Spirit of the work ; perfect Invention flowes from generall knowledge ; Antiquity must be familiar to the workman ; most of all , multitude of Historicall and Poeticall Narrations ; Geometry ; Obtieks ; and so to order your Piece , as to be valued neer or farther off . Observe to expresse , proper and fit things , agreeing in Circumstance to the Time , Place , and Person : Habits , according to the fashion of such a people or Nation , ancient or Moderne . Of Proportion . IT 's called Symmetry , Analogie , Harmony . Proportion is of any part ; a Hand fitted to the bigness of a body . Symmetry is the proportion of each finger to that bigness ; Analogie or Harmonie . All together in one ; a Concinnity of Harmonie ; A congruence , or equality of parts and members ; or , due connexion , in reference of all parts , one to the other , and all to the whole , which produceth a perfect Nature , or beauty . Whatsoever is made , after a conceived or Intelligible thing , is Fair . Whatsoever is made , after a thing generated , is not faire . Beauty , may be perfectly conceived . True beauty in any Creature , i● not to be found ; being full of deformed disproportions , far remote from truth ; for sinne is the cause of informity . Beauty in truth , is , where Joynts and severally every part with the whole , hath its due proportion and measure ; and therefore hard to describe . Beauty should consist but of One at the most ; and deformity contrariwise , measured by many : for the eeven Lineaments and due proportion of fair and goodly Persons , seem to be created and framed , by the judgement and sight , of one form alone , which cannot be in deformed persons ; as wit●blub cheeks , bigg eyes , little nose , flat mouth , out chin , and brown skin , as it were moulded from many ill faces ; and yet some one part considered about , to be hand some , but altogether become ugly ; not for any other cause , but that they may be Lineaments of many fair women , and not of One . The Painter did well , to procure all the fair maides naked , to judge of each severall and single perfection ; and so from the Idea of fancie , to shape a Venus . And thus , by often exercise from severall beauties , you shall fix● a conceived Idea i● your mind of accomplished Pulchrit●de grace or comlinesse ▪ according to the true rule of Symmetry . So like the Life , ( if done by Lilly . ) that by the Lines and Colour , a skilfull Physiognomer ( another Lilly ) may by the Picture foretell her fortune . A Beauty may be expressed by a comely body , though not of delicate features ; rather dignity of presence , than beauty of aspect . It is seen at the first sight . Favour more than Colour ; and yet that of decent and gratious motion , more than that of favour . There is no excellent beauty without some strangeness in the proportion , and both Apelles and Albert Durer , doe but trifles out the time and trouble us ; The One to compose a Personage by Geometricall proportion ; and Apelles by collecting the best parts from severall faces , to make one excellent . Indeed a Painter may make a better personage than ever was seen since the first Creation ; which he does by a kind of felicity , not by Rule ; as a Musitian doth his French Aires , not by true Method of setting . Some faces examined by Piece ▪ meale do not well , and yet put together make a good one . If then beauty may be had in a comely decent motion , it is no wonder if Persons in some years , oft ▪ times , seem more lovely then youth ; Pulchrorum autumus Pulcher . Such is she , N. B. T. For no youth can be comely but by excuse , and considering the youth to make up the handsomnesse . Beautie being a Summer Fruit , easie to corrupt and cannot last . But the worke of Art , is not singly in the Similitude or likenesse to the Life , ( as common judgement will have it ) but in the Symmetry ; which in truth , proceeds from someskill in the Artizan's surpassing Art . It was distinguished by that excellent Painter . A Boy holding a cluster of Grapes so like , that deceived the Birds , and yet not deterred by the shape of the Lad ; which therefore being an exception to the excellencie of the Pie●e , the Painter put out the Grapes , ( though most like , ) but reserved the Boy ( for his Symmetry , ) as the better esteem of the Art ; not understood by ordinary capacities . You shall hardly find an Artist , very excellent in a naked body , where true Symmetry is expected ; and therefore the ancient skill of the Graecians , sildome apparelled any . A timorous Painter , excuses his weaknesse , by covering the body , with a muffled Mantle . The Artizans call this proportion , the designing lines ▪ Scatches , the first draught , and so a second and third , before you Paint them ; which stroaks , by those that have in●ight in Art , are esteemed of high value ; for by these first draughts , the true force and undisguised Lineaments of Nature , do ravish the contemplation ; wherein the thought of a studious Artificer is perfectly evidenced . And lineall designes or proportions , draugh●d , Scatches , may be called Picture ; which rarely done , shew not only the shape , but also the partie 's mind and intent , for we may draw in white-lines , the Symmetry of a Black More , and to be like him ; there may be beauty and force in a proportionable designe , naked and undisguised Lineaments . After design and proportion , we come to Colouring . Of Colouring . COrruption composition or mixing of Colours , we call Painting ; which is , to express shadows in Colours ; thereby , to resemble , what we do desire to imitate , by a moderate confusion , or tempering , discordant Colours ; as white , black , red , blew , green , &c. To mixe them accurately : To shadow conveniently . To apply them seasonably . Observe herein Light and Shadows , Obscurity and Brightnesse . Contrary things are more apparant , being placed neer their Contraries ; Light and Shadows forward , set out any Painting outwards ; as if you might take hold of any part . Obscurity or Darknesse , is the duskishness of a deeper shadow ; as brightness is the Intension of Light : white appears sooner , or neerer to the Eye ; and the black seems farther off , any thing that should seem hollow ( as in a Well , or Cave , ) must be coloured blackish ; more deep , more black . On the contrary , to lighten or rise forward , with white . Tonus or brightnesse ; as it is of necessary use , so of excellent ornament in a Picture , it is that which is above light ; sparkling as in the glory of Angels , twinckling of precious stones ; Armory , Gold and silver vessells ; Flame , Gold ; a burning glittering Lustre : the variety of these Ornaments , must be expressed excellently ; but avoid satiety , not cloy your Picture with it . Harmoge in Colours , is an unperceivable way of Art ; stealing to pass from one Colour to another , as in the sea and skie meeting in one thin misty Horizontall stroake , both are lost and confounded in sight ; water and ayre become one in their meeting . The Rainbow's sundry Colours , seeming one mixture , not distinct ; and consisting of one Colour , shews excellent ; but considered of severalls , becomes a wonder . So also in Art ; to paint the line or meeting of a Centaur in his two Natures , which must seem to unite and joyn insensibly , as not to distinguish where they meet ; deceiveing the Eye with a stealth of change ; a pleasant confusion of differing Colours . It is hard to be expressed , and difficult to be done , the very excellencie of an Artist ; when the extream or utmost lines , the unrestrained extent of the figure , lightly and smoothly coosin the Eye , as if something were behind the figure , more to be then the Eye sees , when the Lineaments , that do circumscribe , or include the figure , are so thin , as to vanish by little and little ; the highest subtility of a piece , like spirits and souls painted . You may call it a Geometricall Line ; which is , without breadth : Observe the parting of the Sun-shadow , upon the Wall , the line parting the light , and that is thus . In Painting of a Man consider his dignity , stout and uncorrupt ; ( in effeminate smoothness ) the Limbs moderately swelling-grac'd with true and lively Colour ; of pure and wholesome bloud : Bloud and strength makes it goodly fair ; the black exquisite black , pure white , with the flower of redness intermixt : Ivory died in Purple . As for the beauty of a Woman , possibly so rare and pure ; not to be imitated with Colour of Painting . Her naturall gracefulnesse not yielding unto an Art , which does but counterfeit . No hand , in truth , knows the temper , for such a countenance . Confound Lillies with Roses , and what reflection the Ayre takes of them , that 's her complexion . N. B. T. Never to be well done , but by an Ingenious , Excellent Artizan , and a faithfull admirer of his beautious Mistress . Of Action and Passion . THe next observation , is out of which , Life and Motion doth result : It shews no Action or Passion in a Piece , barely , upright , looking forward , the Armes hanging down , the feet close together , and so seems unmoveable , and stift . In lineall Pieces , there may be a deceitfull similitude of Life and Motion , and statues may seem to live and breathe but coloured Pictures shew a lively force in the severall effects , and properties of Life and spir●t . To be well acquainted with Nature , Manner , guize and behaviour ; as to paint a Man , angry or sad ; joyfull earnest ; or id●●iall passions to be proper to the figure : for every commotion of the mind , alters the countenance into severall passions of fear , hope , love , joy ; so does a touch of the Pensill from mirth to mourning . The head cast down , seemeth humbleness ; cast back , Arogancie or scorn ; hanging on the Neck languishing stiff and sturdy , morosity of the mind . Indeed the severall postures of the head , describe the Numbers of passions ; the countenance as many ; the Eyes , the like . So excellent must the Art be , to counterfeit Nature . In a word , each severall member or part of the body , either of themselves , or in reference of some other part , expresses the passions of the mind , as you may easily observe in the Life . The Arms abroad ; the Hands expansed ; the Fingers spread ; all motions of the parts of the body assist whilst we speak ; but the hands seem to speak themselves , in severall actions , and postures The Poets in their descriptions of their gods and great men , do rarely express the passions of their minds , and I would have an Artizan to observe so much in each Picture of the Life ( which indeed they only aim at , but do not take the pains to express ) this being effected more by the Master's thoughtfulness , then by diligence and labour . Study therefore to your self , that affectation in your thoughts , which you intend to express . So shall your indeavours be assisted by a vertue , which the Greeks called Energia , effectuall operation , evidence or perspicuity , wonderfully studied by them . I have seen a piece of Tytian's : A Child in the Mothers Lap playing with a Bird ; so round and pleasing , it seem'd a doubt whether a Sculpture or Painting ; whether Nature or Art , made it ; the mother smiles and speaks to : the child starts , and answers . Another of Palma's ; a speaking Piece indeed . The young Damsell brought for Old Davids Bedfellow ; all the company in Passion and Action : some in admiration of her beauty , others in examining her features , which so please the good Old Man , that in some Extasie of passion , he imbraces her , which her humility admits , yet with a silen● modesty a● best became her , only to be dumb and to suffer . Another ; the Picture of an Infant , in a Surprised C●tty , creeps to the Mothers breast gr●velling on the ground , amongst other Captives and dying of a wound : seeming to have only so much sense , as f●aring lest the Child finding no Milke , should suck her Bloud , and so be ●●oakt ; she stri●es with death to prevent the Infant so distruction . In an●ient Excellent Pieces , you may at a view under●ake to read the mind of the Artizan , in his intent of the Story . We are gone through all , but the last . Of the disposition of the Parts . A Picture of many figures , must needs express some Historicall part in it ; Every figure ought to represent therein , by a speechless discourse , the connexion in them . Assigne therefore the principall place , to the principall figures , next to hand : Other figures , farther off . Finish the Principall figures , whilst your Spirits are fresh . Frame not your Historicall Piece , rude , loose , and scattered , but rather , in an equitable roundness of composition ; to be perceived by each observer ; to be liked of the most ; but to be judged , only , by the learned . Neglects in disposition , are soon discovered . Pourtray in your excellent Pieces , not only the dainty Lineaments of Beauty , but shadow round about , rude thickets , rocks ; and so it yields more grace to the Picture , and sets it out : this discord ( as in musicke ) makes a comely concordance ; a disorderly order of counterfeit rudeness , pleaseth : so much grace , doe mean and ordinary things , receive from a good and orderly connexion . All these together , make that perspicuous disposition in a Piece of History ; and is the effectuall expression in Posture and Action ; the very Passion of each Figure ; the Soul of the PICTURE ; the Grace and Ayr of the Piece ; or the sweet Consent of all manner of perfections heaped together , in one Picture . And so have we done with an Example of all in One : For Invention allures the mind . Proportion , attracts the Eyes . Colour , delights the Fancie . Lively Motion , stirs up our Soul . Orderly Disposition , charmes our Senses . These prodnce gracefull Combiness , which makes one fairer then fair ; and all together , confirme us into Rupture . N. B. T. This Grace is the close of all , effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too m●ch double dilig●nce , or over doing ; a careless shew , hath much of Art . For additions ▪ to your Piece to adorn it , or Parergia to your worke . Some by Paintings are not amiss ; pretty draughts upon sheilds ; Sword , hilts ; Pots , brakes of Vines , Ivy , Cypress , and such like devices : we call them sweet seasonings of the Picture . But then , these do but adorn , and must be dimme and carelesly drawn , rather seemingly with a light ayre , then actually done . And these conclude the worke . That all sorts of people , wise and weak , ignorant and Learned , Men and Women , one and all , may find in it , to be delighted , which comes now to be a Wonder . Our Antient Painters , famous for Art , Immortalized their works with all excellencies , and thereby consecrated the Wisdomes of their hands , as Donaries unto Delphis , a sacrifice to Deityes . Our late Painters strive for wealth , by sale of Ordinary and quick work , ( the bane of all Arts ) rather than labour for Fame , and Glory ; the cause of many Pieces , so common and few of Art . For , upon enjoying of Glory , follows a confident boldness of Art , incredibly advanced by success and repute . Success , is that veneration of Art , by Kings and Nations . In such a Man , shamefastness is a vice , causing our Wits to rust with too much secrecie . The shunning of vice , when it wants Art , leads us into vice . Be bold and know your merit , and in Gods Name when you do well , make others pay for it . Art cannot be over-valued . Conclusion of this first Part. TO reduce & discipline my scattered Notes and Papers ; & such indigested Collections , as require a more formal Method and a better Pen , hath been my pains and desire to effect ; Wherein , perhaps , I have been over prolix ; A fault pardonable , and excusable from such , as are any thing acquainted with the profoundness of this Art , and Artificiall Mysteries . The consideration enlightens my understanding , and sits my mind , with such a treasure of discourse , as that with great difficulty , I cannot be brief ; to distinguish , or to devide . This subject , being so fruitfull , that store makes me penurious . And now , with no more adoe , I represent you with the Second Part. The Art of Limn●ngton Water Colours , differing somewhat from Oyl-Colou●s ; In both , the practice will easily distinguish . The way and manner , those directions before and what does follow will serve for either . And so , I put you forward , to your Pallet and Colours . The Use of the PENSIL : In the most Excellent Art of LIMNING , In WATER-COLOURS . Part II. Of Limning in Water-Colours . The True Order and Names of Colours , the means to prepare them for the Pensill and to clense them from their corrupt mixtures , wherewith they are Sophisticate . We name them Seaven ( though in truth the first and last White and Black are no Colours ; but Elements . ) Whites , Ceruse ; White-Lead . Greens , Sap-green . Pinck . Bise-green . Cedar-green . Reds , India-lake . Read-Lead , or Mene. Blews , Indico . Ultramanue . Bise-blew . Smalt . Yellows , Masticoate . Oker of England . Browns , Umber . Spanish-brown . Terra lemnia or ▪ Cullins earth . Blacks , Cherry ▪ stones burnt . Ivory burnt . Lamp-blacke . In this account or number of Colours , I name not Vermilion ; Verdigreece ; Ver●iters blew and green ; and severall other Colours , frequent with Painter-stainers , but in our work unnecessary , useless , & dangerous ; both for their Minerall qualyties , coorse and gross bodies , not to be mixt with our Colours , of a more fine subtile , and transparent Quality . We do not admit of divers others ; as Saffron , Litmus , Russet , Brasill , Log-wood ; nor of Colours , extracted from Flowers , juice of Herbs or Roots ; more proper , for washing , or Colourring , Prints , Cards , Maps . Of Whites . FIrst in order , the most excellent pure Virgin Colours , are Ceruse and White leade : the latter is the better for use , and less subject to mixture ; yet both have these Inconveniences , and thus to be prevented . Ceruse , after it is wrought will starve , lavish , and dye ; and being laid on with a Pensill , a fair white wil , in a few months , become Russet , Reddish , or Yellowish . White-lead , If you grind it fine ( as all our Colours must be ) it will glister and shine , both in the Shell , and after it is wrought ; and if not ground , it will not work , nor be serviceable . To prevent these Inconveniences of both Colours ; This is the only remedy . Before you grind either of them , lay them ( especially White-lead ) in the Sun for two or three dayes to dry , which will exhale and draw away , the Salt , greasie com-mixtures , that starve and poyson the Colour . Besides , you must scrape off the superficies of the White-lead , reserving only the middle as the cleanest and purest . Be carefull of your white , being the ground and foundation of all your other Colours , and if faulty , all the work is marred . The effect you may see at Rome in the Vatican Library , and in the Silla of Cardinall Burgesse , and in the Porta ▪ setimiane , there where many excellent Pieces heightned with White-Lead unprepared , are spoyled , Russet , and dead . Being thus prepared , grind it ( upon a Porphire , Serpentine , or Pebble-stone ; any of these are excellent : some use Marble , thick Glasse , or Crystall . But the first two are too soft , and in grinding , mixe with the Colour and spoyle them ; the latter is very good , but hard to be got large enough . I say grind it very fine , and a good quantity together in water , without Gum ; then have in readiness , a piece of thick white chalk ; make therein certain furrows or troughs , in which instantly put the White-lead ground from the stone wet ; let it remain there , till it be very dry : the chalk will suck and drain up the filth , salt , and grease in the Colour . Preserve it for use in a paper , or clean Boxes . When you intend to worke with it . Take as much as conveniently will lye in a shell , of Mother of Pearle , neatly cleaned and burnisht wherein ( as in all Colours ) be curious and neat , not to have the Room troubled with company , where you grind , for avoiding dust or Atomes which you will find troublesome in your working . Put to this ( as to all Colours ) a little Gum-Arabick the best and whitest ; which you must have ready in powder , very fine , in a box ( or else dissolved in water ) and with a few drops of running water temper it with your finger to dissolve and mixe with your Colour . Discretion and Practice will direct you . Leave not your Colours too dry and liquid in your shell : but somewhat thick and clammie , cover them from dust till it be dry in the shell , then draw your finger gently upon the Colour ; if none come off , it is well ; if it do , add a little more Gum-water , if it be too much it will glister and shine in the shell ; then wash off the gumme with fair water or temper a new shell . Observe ( in each particular ) what is directed in this Colour of washing , grinding , tempering . A Rule for all the other Colours , that are to be ground . Some Colours are to be washt and ground , and they are these . Ceruse . White-Lead . India-Lake . English-Oker . Pinke . Indico . Umber . Spanish-brown . Colens-Earth . Cherry-stone and Ivory black . Other to be washt only , are these . Red-Lead , or Mene. Masticote . Blew-Bise . Green-Bise . Cedar-Green . Smalt . Ultra-marine . Only Sap-green to be steeped in fair water . The reason why these Colours are not to be ground , as the others are , because of a sandy substance , loose , gravelly , and so heavy ponderous and solid bodies hardly to be reduced unto such firmness as is to be required in this Art : for if you think to make them fine by grinding , they instantly loose their beauty , starve , and dye . Besides , some of them as Masticote and Red-Lead , become of a greasie and clammye thicknesse , by reason of the agitation and tampering upon the stone , and so utterly unserviceable to refine them , therefore they must be washed . There are but five perfect Colours ( white and black being none ) like the five precious stones perfect and transparent severall Colours . The hard Topas for Yellow , the Amethyst orient for Murray , the Rubie for Red , Saphire for Blew , Emrauld for Green . All which Colours are perfect different from mixture of white and are thus distinguished by Heraulds in blazoning of Arms of Princes Bearings . And although what hath been said for grinding Ceruse and VVhite-Lead ; may serve for a direct order in all other grinding Colours : Yet I shall for full satisfaction speak of them severally ; before I come to those that are to be washed . Colours , to be grinded . THe next in order is India-Lake , the dearest and most beautifull ; grinde it as the VVhites with the help of the Sun , and with your finger spread it about the shel sides . After it is dry , you will find this Colour , and some other as Amber , subject to crackle and fall from the shell in pieces ; take care that this an● all others be fast , smooth and firme , which to effect take a little quantity of VVhite-Suger-candy with a few drops of fair water , temper the Colour againe as it is in the shell with your finger , till the Colour and Sugar-candy be throughly dissolved , which being dry will lye fast and eeven . English-Oaker is a very good Colour and of much use for shadows in Pictures by the Life , for Haires and Drapery , Rocks , High-wayes in Land-skips , and commonly lye eeven and fast in the shell , and works beyond any other , being well ground . Get the fairest ; because with it and Blew you make the fastest Greens for Land-skips or Drapery : for the Green-Bise and Sap-Green , though good in their kind , the first is of so coorse and gross a body , and the other so transparent and thinne , that in many things they will be unserviecable ; espetially where you have occasion to use a beautifull fair Green by mixing a little Indico , with Bise and Pinke : this Colour being ground fine , worketh very sharp and neat ; of exceeding use , if ground as the rest . The next in Order is Umber , a Colour greasie and foule , hard to work with : you must burn it in a Crusible or Goldsmiths Po● ▪ and being ground as the rest , it works sharp and neat . It is exceeding coorse and full of gravell of no great use ; for a little Umber , Red-Lead or Mene mixed , makes the same Colour . Is easie to work when it is new ground very good to close up the last and deepest touches , in the shadowed places of Pictures by Life ; and also very usefull in Landskips : Are both to be burnt in a Crusible and so ground : the first is very good especially for Drapery and black Apparrell , but but if you make Sattin , temper it with a little Indico : only to make it appear beautifull ▪ glassshining , lightned with a little mixture of more white . In strong touches and deep , hard reflections deepned with Ivory will shew marvellous fair ; this was the way of that famous Hilliard the English Limner in Queen Elizabeth's dayes . Serves only for a deep Ivory black , nor is it easie to worke without well tempering with Sugar Candy to prevent crackling and peeling . And so much for Colours to be ground . Colours to be washed , and not to be ground . I Shall follow the former ▪ Order by shewing how one Colour is to be prepared ; which will demonstrate all the rest . Put an ounce thereof into a Bason or clean earthen dish , full of fair water , stir it sometime together with your hand or spoon till it be coloured , then let it stand till the greasie scumme arise upon the superficies , which with the water pour out : fill it again with fresh water , stir it often untill it be thick and troubled , which presently pour out into another clean Bason or Vessell : reserving behind in the first Bason the dreggs of the Colours , which haply will be the greatest part , and to be cast away ; for you are to seek the best not the most . A little good Colour goes far in Limning , and if a handfull of Red-Lead yield a shell or two in goodness it is enough , so it be fine . The troubled water being in the second Bason , add more water , wash them well together , as before , let it settle till it become almost clear ; but if you ▪ perceive a scumme to arise again upon the water , pour it out and put in fresh till the Colour be clearer ; for the skumme is Chalk and other filth , which washes out by stirring all the Colour together . Then let it settle , and so when the skum arises , pour it away till it be perfect . It will not be amisse when you have washed your Colours a while , if you stir the water till it become thick ; then pour out half that thickned water , into a third Bason , and washing both the second and third water , you will find your Colour of a coorser or else finer quality . In so much that the third ( and if you please ) fourth and fift sort , will be very fine and fair being often washed ; and so by often changing and shifting the Colour and Water , you will find it perfectly cleansed . You must by little and little gently drain away the remainder of the water , not suffering any or very little of the Colour to pour out ; so that setting your Basons in the Sun and shelving them , you will find your Colours drying and lodging about the ●ide● of the Bason o●dishes like drift land , some places ●air and clean , others more coor●e and soul : which when it is all dryed , take away with your finger or feather ; the finest part like flower will fall away , with the least touch : Reserve this for your prime use , the rest for ordinary or coorse work . When you will use this Colour , ●ake so much as will lye about the sides of your shell , somewhat thinne , that you may handsom●ly take it o●● with your Pensill ; which you cannot conveniently do , if you fill the shell , or to let it lye thick or in heapes , and so with Gum-water ( or Gum-powder and a few drops of water as before said ) temper it finely with your finger , letting it spread about the sides of the shell , as in ground Colours . Thus are your Colours prepared . Of Pensils . YOUR Pensills must be chosen clean and sharp poynted , the hairs not divided into parts ( as many of them do , being drawn gently out of your mouth between your Lips ) let them be full and thick next the Quill , and so descending in a round sharp poynt . This fashion I prefer before those that are long and slender , which retain the Colours longer time , and then deliver it out , too free and full . If you find one hair longer then the other , cut it away with a sharp Pen-knife or pass it through the flame of a Candle . Take the Tailes of Chalibes , and breaking an ordinary Pensill assunder , observe how they are tyed up and fastned ; they being now made here in England by an old Workman to the Painters , the best of any here or beyond the Seas . Bind your haires ( much or little ) somewhat loose , fashion them round to an eeven poynt , rubbing or turning it upon a clean paper or Table ; Marke how the haires scatter or spread , and ever with a Pen-knife take them away ; easily to be done . When it is prepared to your mind , tye it fast about and fit it to your Quill : according to the size of your Pensil , disposed upon some neat stick of Brasill or such like Wood : the length of an ordinary writing Pen . Having sixe or seaven for the severall shadows of your work . And remember that those Pensills which you use in Gold or Silver Work , be reserved only for that purpose ▪ not to be mixt or tempered with Colours . Being thus settled with these Tools , you want a Tablet whereon to express your Art , which must be made severally , as you are disposed to work either for a Picture of Life , Landskip , or History . The first Division , by Life . The Tablet . THe Tablets for the Life are commonly wrought in an Ovall form not very great nor little , as I have seen many in France no bigger then a Penny ; an indifferent size is best . Take an ordinary playing Card , polish it smooth with a Bores-tooth or such like , as possibly slicke as may be , the VVhite side every where eeven , and cleane from Spots or Knobs ; then chuse the best abortive Parchment , cutting out a piece ▪ size with the Carde , pasteing them fine and firme together ; let them drye , and making your Grinding-stone exceeding cleane , lay the Parchment side of the Card downward ; and holding it fast , polish and rub the Card as hard as you can upon the backside , that so the other may be smooth , whereon you are to work : When you paste the Parchment , let the outside of the skinne be outward , it being the smoother and better to worke upon . Lay your ground or Prime therein of flesh-Colour , tempering it a●cording to the Complexion you are to paint . If fair ; White-Lead and Red-Lead mixed together , a pretty quantity , indifferent thicknesse , in a shell somewhat bigger then ordinary . If Swarthy or Brown ; mingle White , Red , and a little fine Masticote or English-Oker , or both . Evermore ▪ observing , as a sure Maxime that your ground be fairer than the Party painted : for being over-faire you may in working Darken or Shadow it as you please ; but if too sad you shal never heighthen it higher . In Limning of Pictures , you must never heighthen , but work them down to their just Colour . Your ground or Complexion thus mixed in , upon the shell ; lay it on the Card with a greater Pensil then ordinary ; and very carefully , couch and spread your Colour , as smooth and eeven as is possible , clean from spots , haires of your Pensill , or dust . In doing this , fill your Pensill full of Colour rather thin and waterish , then too thick and gross . And with two or three dashes , or sweeps of your long Pensil , lay it on at an instant , the quicker the better , and the eevener will your Colours lye ; Not forgetting to cover so much of your Card , as shall be larger or broader , then you intend to make your face , for you cannot adde any more largness to it ; being to be done at once and speedily . Otherwise the Card or rather the Parchment will become rough and rise in bubbles , and come off from the Card. This done , you are to take a pretty large shell of Mother of Pearle or such like , and before you begin to work , temper certain little heapes of severall shadows for the face , and ( as Oyl-Painters lay them upon their Pallet ) so place them severally about your shell . There are some that temper or mixe them as they worke them in the shadows , without more adoe ; but I esteem this other way , the better . First then , in all your shadows mingle some White with every one , and white by it self . Then for the Red in the Cheeks and Lipps , temper Lake , Red lead and a little Vermilion together . For blews ; use Indico and white ( for Blew-bise is never used in the face . ) Then for those sweet and fine blewish and grayish Colours called in french Grisatrie ( which are the weak and faintest shadows ) take white , a little English oker and as much Indico , and ( if you will ) adde a little Masticote , it will give the shadow a good grace , so that it be not too Greene . For the deep shadow , take White English Oker and Umber ; for the darke shadows in mens faces , mingle Lake and Pinke , which makes an excellent f●eshy shadow . But to prescribe an absolute and generall Rule is impossible ; Nature is so infinite various in the Colours and shadows of the face , differing one from the other ; that , what e're can be said , your own discretion and practice by the Life , will be the best direction . Yet this , and what I say hereafter , will be a great furtherance to your ingenious Indeavours . To Order your Light . AND now , notwithstanding the former preparations very necessary , yet take this Observation of your Light , being of the greatest importance ; and therein I advise you to be curious ▪ Make your Light with a Curtain or windowshutters somewhat cleer , with soft and gentle reflecting upon the Person to be drawn ; for a glaring bright light makes hard , and unpleasant reflections and shadows . And because the Sunne is an enemy to this work , choose your Light Northwards towards the East , one single Light only , great and fair , without any reflection of Trees or Walls : let it be high , and so your shadows will fall downward● , rather then traverse-wise , and the work will be the fa●rer and rounder . Place your self to your Deske , that your Light may strike inside-long from the left hand to the right ; your work will shew with more advantage being turned and viewed to the same light that it was wrought unto . Have a clean Sawcer or Shell of Water , to wash your Pensils , and another of Water to temper your Colours ; Have a dry brush-Pensill to clean your work from dust . A neat and large Penknife to take away such spots or haires that may mixe with your Colours , or fall upon your Card ▪ Place all these on your Right hand : You may likewise cover your Piece with a small paper , whereon to try your Pensills and Colours , before you begin to work . Thus setled ; Draw your Lines purfle , of the face with Lake and White mingled together very fine ; so that if haply you mistake your Draught at the first , yet you may with a strong Stroke , draw it true , and the other Line be no hinderance to the Worke , it being faint and not easily discernable . The Lines thus truly drawn of the face , somewhat sharp and neate ( wherein you are to be very exact , ●bove any other directions ) observe the deep and most remarkable shadows for your better memory and help , when you come to go over them more exactly . And now you may if you please , draw out also the fashion and portraicture , and that part of the body which you will joyn to the face , commonly not much beneath the Shoulders ; wherein observe the Life so much as possibly you can : that part you may draw with a strong and darke Colour ; it being easie to change or deface , in case you mistake in the just proportion . The Generall manner of working in Limning . IT is ano Art so curious and difficult to describe by my Pen , that many Prac●it●one●s , with much Industry and the help of Demonstra●ion ▪ have not easily proved Proficients , as in these populous Nations of England , France , and others ; which draw but few famous Masters out of thousands Practitioners . In England at this day are the most and best famous in Christendome ; Yet according to the Italian Proverb A buen Indentore poch● parola basta , so I doubt not ▪ but your ingenious capacity and knowledge , ( I● speak to a Gentleman ) having already rendred you Master in Studies , ( very likely much above this either in Honour or Profit ) will by the same industry easily conceive me : and with ordinary diligence and practice , you may likewise attain to express the Life with the Pensil ; by what I shall deliver in this dead GODOUR Observations . The order you are to follow to the Life ▪ is to observe somewhat ▪ the manner of Oyl Painters ▪ The first sitting , to ●●ad-Colord●he face only . ● ( not troubling your self at all with the 〈◊〉 of Hairs , ●pparrell &c. ) Which commonly takes up the time of two houres ▪ or , if very exact , three or foure houres . The next s●●ting requires four or five hours ▪ for in that time you are to goe over the face very curiously ; observing whatsoever may conduce either to the Likeness which is the Principal● ; or to the judicious Colouring and observation of the severall graces , ●eauties or deformities as they appear in Nature ; or else in close , sharp , neat workmanship , and sweetnesse of the 〈◊〉 and smooth touching of the Colours . The third sitting , is commonly the work of two or three hours , and is spent in cloathing what was before left imperfect and rough ; but principally in giving to every deep shadows , their strong and deep●ing touches , as well in dark shadows of the Eye and Face , Eye-brow , Haire , Eares , &c. And these Observations and touches , are ever the last part of the businesse , and are never done till all the Haire , Apparrell &c. be finished , for this being wrought with judgment and discretion , adds exceedingly to the Life likenesse and roundnesse of the Picture . It is like to a Consort of Mu●icke which is relished in the Close . Colours to the Complexion . AND first to speak of dead-Colours , the manner of working is sutable to the Name , to be done rough and boldest of all ; Having drawn the face with Lake and White ( as before said ) you may take to this Colour a little Red-lead tempering them to the Colour of the Cheeks , Lipps , &c. but very faintly : for you must remember , that in this and all other Colours in Limning , you may adde when you please to make your Colour deeper or stronger : but be sure not to make it too deep or too strong , for you can hardly help it without defacing or spoyling the Picture . Because , ( as I have told you before ) you can never heighthen in this Art ▪ except the two bright lights of the eyes and touches of the Haires . Thus much in generall . And now we come to the particular Working . The first sitting to worke in particular . THe comlinesse of the face consists in three abilities , Beautifull ▪ Colour , or Complexion ; true Proportion and Favour ; and Grace in the Countenance ; The curious Artist must watch and catch the lovely graces , witty smilings , short and suddain , which pass like Lightning . In smiling how the eye changeth and narroweth , holding the sight between the Lidds , as a Cen●er ; ●ow the Mouth extendeth little , at both ends of the Line upwards ; the Cheeks raise themselves to the Eye wards . The first Coloer to begin the face , are the Redds of the Cheeks and Lipps somewhat strongly in the bottome of the Chin ( if the man be beardless ) as also over , under , and about the Eyes , you will perceive a delicate and faint ▪ Redness ; and underneath the Eyes somewhat inclining to a Purple Colour ; which in fair and beautifull faces , are very ordinary , and must be diligently observed . The 〈◊〉 commonly is Reddi●● and a little Crimson and sometimes the Roots of the ha●re also . All these you must work after the manner of 〈◊〉 Ha●ching or Drawing your Pensill along , and with faint and gentle stroakes ; rather washing then wipeing it , with stroaks and pricks as some do affect . But the manner of working must be the fruit of your industry and practice , and as you find your inclination , ease and dexterity of hand ; Wherein to prescribe a certaine Rules is impossible , above that of your own Nature and experience . The summe of all . That in your dead Colouring , you must wash over your Ground or Complexion , with this Red and the following shadows , indeavouring not only to be exact and curious , but also bold and judicious : for I have seen Pictures by a good Master begun , and dead-coloured only , that neer at hand they seemed exceeded Rough , Uneven , and unpleasant ; yet being viewed at a distance from your Eye , they appear very smooth , neat , and delicate : therefore I shall perswade you in this first worke , not to study or regard curiosity , or neatness of your Colours ; but a bold and judicious manner of expressing , what you see in the Life . Which though you worke never so Rough at the first , yet in the finishing , it will be in your power to sweeten and close it , neat and curious as you please . The Red being done , the next is your faint blews about the Corners & balls of the eyes and temples , which you must work from the uttermost part to the face , and so along , but exceeding sweet and faint ; by degrees , sweetning your shadow and deepning , according as the light falls , with hard or gentle touches ; and in going over the face , be sure to marke out the hard shadows , in the dark● side of the face , under the Nose , Chin , Eye-browes as the light falls , and somewhat strong touches , in those places , bring up the work in an equall roundnesse ; giving perfections to every particular part , by visiting all the face curiously , and in a kind of random● ; by which meanes you will better observe the likeness , roundnesse , postures , or colouring , whatsoever is remarkable , to make your work compleat and exquisite . The faint and lighter shadows being done and somewhat smoothed , and wrought into the Red , you may work over the Haire disposing it into such formes , folds , and turnings , as may best become the Picture . You must at first only draw them with Colours as neate as you can , sutabl● to the Life ; and after wash them roughly as the rest , and then once more , perfect the work ; and be sure to fill up the void empty bare places with Colour which are uncovered , and for the parting blew ; deepning it somewhat more strougly then before , in the places of the darkest shadowes , still carefully observing the Life , which must be your Load starre . And ever remembring most needfull , first to work your Colours and shadows , as deep and strong as you see them , but by degrees ; beginning faintly , increasing the strength of the shadows , as the rest of the work comes up unto it , and suits for it . And for this , no Rule can be given better , then that of your owne judgement . And so here we have done our face alone and that in dead COLOURS only . Second sitting . YOUR next worke will be longer in time , but not so long in description : for this will take up five or sixe or more houres , as you will bestow more or lesse paines in the worke . And now the Person being set just in the former posture , you are more exactly to observe and curiously to express Nature ; which you did but rudely score out before . For direction therein , this is all that can be said . You must use gain the same Colours , in the same places , you did before in the first sitting ; working , driving and sweetning them one into another ; to the end that nothing be left in your worke , with an hard edge , or uneven heap , or patch of Colours ; but altogether mixed and driven one into another , with the poynt of ( somewhat ) a sharper Pensill then you used at first , that your shadows may lye soft and smooth , beinga dispersed and gently extended into , and towards , the light and part● of the face , like aire , smoake , or vapour , But before you proceed thus far , you are carefully to observe all the aforesaid shadows and Colours , and by little and little to work them , over , & into one another ; and when you have wrought an houre or two , it will be time to lay your ground behind your Picture . It is commonly blew or Crimson , somewhat like a satten or velvet Curtaine , much in use with old Hilliard . If blew , you must lay it thus , ( being not easie to do it well and eeven . ) The Bise being pure and clean washed , temper of it as much in a shell , as will cover a Card. Let it be all thorough moyst , and well bound with the Sun ; Then with a small Pensill draw ( with the same Colour ) the outside or Purfle , I mean the outmost line of the head and body of the Picture . That done with a larger Pensill , wash over carefully the whole ground , that you mean to cover , with somewhat a thinne and waterish blew ; and after with a reasonable great Pensill , full of Colour and flowings , lay over that very place , with thick and substantiall Colour , which before you had only washt over . In doing of this , be very swift , keeping your Colour moyst , that you have laid , not suffering any part thereof to dry , untill all be covered : by this meanes , it will lye as smooth as glass , and the watering over the Card before , with a thinne Colour , makes the rest , that you lay after , to settle eeven and handsome , which otherwise would lye in heaps , like unto drift sand : It is a troublesome Colour . If you will have the ground as Crimson Satten , you must worke with India-Lake , where , and in what places , you will have those strong and high lights , and reflections to fall , which are seen in satten and velvet . Lay your light with thinne and waterish Lake , and in deepning and strong shadows , close by the other lights , with thicker Colour . It cannot be better expressed possibly , than to take a piece of satten , of any Colour , being laid before you ▪ you will presently see , what an excellent president the life is for light and shadow : no instruction , being like to this experiment . When your back-ground is laid and dry , you will find the Picture strangely changed , the beauty of these grounds will so darken and dead the Picture : The apparrell with fitting Colour , being also done only flat with heigthning or deepning ; Then go over the face again , reducing your shadows , to much neatnesse , drawing the eyes and lines of the lids , expressing the nostrils rednesse , the shadowy entrance into the eares , the deepnesse of the eye-brows , and those more perspicuous markes of the face , with somewhat a more sharpe and curious Pensill . But to particular line every thing , would seem to be a plot upon your patience . And therefore to finish this second sitting ; I only wish you not to leave your ground , to rest upon the face too hard , with an edge ; but with your Pensill so to sweeten and drive-in your Colours into the Enstroake , or outline of the face that when the work is done , the ground may stand as it were a great deale distant from the face behind the Picture , and the face seeme to stand forward off from the ground ; by darkning both the ground above , from the light-●ide of the Picture , and below , on the dark-side of the Picture . Then go over the haire , lightning and deepning it by the Life , and gently drawing the lines of those locks of haire upper most , and behind over the ground , which else would seem hard and unpleasant . Now when you have done this sitting , and the Person gone and weary ( as usually they are ) and yet your work be rough ( as indeed it will be , as yet , impossible to bring so curious work to absolute perfection ) you must spend somegood time by your self , in polishing & working your Piece to perfection ; filling up the empty places , and sweetning the shadows , that as yet may lie uneeven , hard , and unpleasant . Then go on in your linnen dressings and apparrell , to make out the severall folds , and deepning as you shall find in the Life : for in perfecting the worke , lay the linnen , apparrell , jewells , pearles , and ( what else is to be imitated , ) in the same fold and forme as you have drawn it in your first drought , and then finish it by the life as you shall see the shadows and light fall ; lightning the lines , with the purest white , a little yellow , and less blew . The black must be deepned with Ivory-black , and if you worke in heighthning and light reflections , you must mingle with the ordinary black a little Lake or Indico , or rather bileing in stead of Indico ; you will find the black to render a curious and admirable reflection like to well dryed satten ; especially if your light be strong and hard . The matter whereof , if you please to see imitably exprest , you will find it aboundantly in severall rare pieces done by that incomparable Master Hans Holbin who in all his differing and various manner of Painting either in Oyle , Distemper , or Limning was so generall an Artist , as never to follow any man , nor any one able to imitate him . Third Sitting . THe third sitting will be only spent in giving the strong touches necessary for rounding the face , which now will appear better for observation , the apparrell , hair , and ground , being already finished . In this sitting therefore observe , what ever may conduce to the likeness and resemblance , which above all is the principal aime : viz. skin-molds , smiling , or glanceing of the eye , descending or contracting the mouth , narrowing the eyes , with smiling ▪ to which purpose , find occasion of discours● , or cause the party to be in action , or to regard you wit● a Joviall merry and discoursive aspect . Wherein you must be ready and apprehensive to steal observations , and to express them with a quick bold and constant hand , ever remembring not to make the deeper shadows too darke and obscure , as happily you may think they appear in the Life , which in Painting ( as deep as the Life ) is no good Rule to follow , and in Limning is a note of very necessary consequence ; conclude your face with these observations , that the eye gives the life ; the nose , the favour ; the mouth , the likeness . If there happen any Armour or Gold-work to observe this Rule . First , lay Liquid Silver , flat , and eeven , dried and burnisht with a small Weesels-tooth , ( handsomely fitted into a Pensill-stick ; ) then temper the shadow of Armour , with Silver , Indico , Li●mus and a little Umber ; work your shadows upon , and over , according to the Life ; the heighthnings are to be left , bearing the bright burnish . Then deepning the depth of the shadow ( the thinnest part thereof ) with some store of Silver which must be sweetly wrought into Silver , and laid all flat as before . As for the Gold , you may lay your ground flat with English Oker , tempered with liquid Gold . Yet there is a stone in the Gall of an Oxe , called the Gall-stone , which being ground and mixt with Gold , is good for all Gold ▪ works , and gives an excellent lustre in the shadowing . When the deepest darkest places are to be mixed with black ; your lightning must be purest and finest liquid Gold . The manner of working whereof was taught by Old Hiliard thus : If in your work , there be any carving or Imb●ssing , and that in the light part , it must be sparing ; and you must very finely expresse it by raising ( in the high and round places ) a little pile or heape of this Gall-stone or English Oker , by taking your Pensill full of Colour , and resting the point in one and the same place til your heighth , or touch , be raised above your other worke . That done , cover over your raised worke with Gold , and you will see it exceeding fair and bright . The like you must do with Silver . To expresse the roundnesse and lustre of Pearl ; do it with a little Pinck . Diamonds are exprest flat with liquid Silver , laid round and high , the deepning must be Cherry-stone black , and the deepest Ivory-black , the Silver dryed and burnisht is for heighthning ; the strong and darker the shadowes are , the fairer the DIAMOND ; which if you could set off , as I could wish , would equall that in the Grand-Sultans Cap. The secret of Rubies , is of maine consequence ; vix à visu temperanda . It is delivered in the same Hieroglyphical ▪ Cabalisticall Character . Having therefore laid the ground of silver burnisht , the bignesse of the Rubie , take gheereaguar , of the best and purest wagron mixt ; then take a needle or small pointed Instrument , heated in a Candle & lay a drop or a little of this composition upon the burnisht Silver as aforesaid , fashioning the stone , round or square , or other forme with the poynt of your Instrument ; Let it lye a day or two to drye , and it will be very fair and transplendent , it being long a drying ; And to the other composition a little powder of Tunie . For an Emrauld or Green-stone , temper your gheereaguar with verdigreece and a little turmerick root , ( first scraped ) with vinegar ; then let it dry , then grind it to fine powder , and so temper it with gheereaguar , as you did for the Rubie . For a Saphire , and all kind of blew stones the same Gheereaguar tempered with Ultra-marine is excellent , especially if your Colour be fai●e . For an Amethist the same Gheereaguar mixed with Waycoriant and way wick ; and so the other colours as you please to mixe them ; though I conceive I have already told you the fairest . Thus having inriched you with a Mine of Precious stones , and pearles , with Gold to inset them ; I will conclude this first part of Picture by the Life , with the manner of making liquid Gold . To make Liquid-Gold most Excellent . TAke of the fine lease-Gold about the quantity of halfe a Crown or rather of the cutting of the same , to the like quantity ( at the Gold-beaters ) ; grind this with a thicke and strong Gum-water , upon a reasonable large stone , very fine and painfully ; you cannot make it fine enough , being rather opus Laboris , quam Ingenii . As you grind it , adde more Gum-water , and though the Gold look never so dirty and black esteem it not the lesse worth : and having wrought it to a competent finenesse , take it off from the stone ; putting in more Gum-water wash it as cleane as you were told before , and in the same manner as you did your Bise , Smalt , &c. Being very clean , adde to it a little Mercury sublimate , on the poynt of a Knife , with which you must temper with it , a very little Gum , to bind it in the shell , and as it settles and begins to dry in the shell , shake it together ; remove , and spread the Gold about the sides thereof , that it may be altogether one Colour and finenesse , which when it is dry and fair , as it will be , if you carefully wash it clean . Use it with fair water , as you do your other Colours : and this way you shall find your Gold fairer and more in quantity , then you can buy , for much more money . To make Liquid-Silver . THe same course take with Silver , which you must use in the same manner . Only with this observation ▪ that seeing the Silver , either with long keeping , or the moysture of ayre , will become starved and rusty , you must prevent this Inconvenience before you lay your Silver , by covering over the place with a little juice of Garlicke . It will keep it very faire and bright : this secret I had from Mr. Hiliard . Thus have I done with my first Division . The second Division by Landskip : The Tablet . TAke some Vellome , shave it upon a thinne frame ; fastning it with Starch , Paste , or Glue , and pasting it upon a board ; which manner of making , for Landskip or History , is altogether used in Italy . I mean thin Parchment with any Pastboard for your Tablet , large or less size , you intend for your Picture . Green , of all Colours is most delightfull to the Eye . Not in all the Art of Painting such variety of Colour , more pleasing then is the Prospect of a well-wrought Landskip ; espetially when your ingenious Industry hath already rendred you a Master of Art and contemplation . If you draw a Prospect from the Life ; Take your Station upon the rize of ground , or top of an Hill , where you shall have a large Horizon ; And skore your Tablet into three divisions downwards , from the top to the bottome , set your face directly opposite to the midst of your Horizon , and keeping your body fixed , Observe what is comprehended directly before your eyes , and draw that into forme upon your Tablet in the middle-Division . Then turning your Head only , ( not your body ) to the right hand , draw likewise what is presented to your sight , adjoyning it to your former Draught and frame it into the same . And so also removing your sight to the left hand , take that observation , which will make a compleate PROSPECT . And as all things appear in Distance and Truth , Proportion and Colour , so be carefull to express them ; Most Countrie● Southward , Spaine and Italy , afford wonderfull strange objects in Landskip , Hills , Dales , Rocks , Mountains , Ca●aracts , Ruines , Aquaeducts , and alwayes a fair skie to discover far off , which are rarely done there to the Life . You cannot miss of many examples every where , though less pleasing ; but in Holland , none at all ▪ So then , the Dutch in composing a Piece of Prospect , of their own Fancie and Invention , for want of the Life most grosly erre in Proportion , Distance , and Colour . Now for the want of the Life and Nature , if you will adventure on your fancie ; Go to work this way . I cannot prescribe , how to order your light , in a piece of Landskip by the Life ; for according to the place , as you look North , or Southward , East , or West-ward , as the time of the day and the Sun's declination , so must you order your shadows as they appear . But in all working of Painting by Fancie , let your light descend from your left , to your right hand : So will it appear upon the work , from the right to the left , the more gracefull . ( But when you paint a face to the life , you must observe the parties face , which differs , some more perfect , either to the right or left . In making it ; First , beginne with a large skie or Element and if there be any shining or reflection of the Sunne , ( in which only the Dutch are neat and curious , ) then you must be carefull , by no meanes to mixe Red-lead , or Mene , in the purple of the skie , or Clouds , but only with Lake and White ; the Yellow and Whitish beams of the Sunne , must be wrought with Masticoate and White , which as soon as you have done , lay by that Pensil ; For you must not mingle the blew Colours of the Clouds with any Pensil that hath touched Masticoate ; it will make the skie Greenish and discoloured . Make up the blewish skie and Clouds with Smalt and not with Bise , for it is too green and blew ; and nothing so proper for the purpose . At the first working , dead all your Piece over , full and flowing with Colours suitable to the Aire , and green Meadows and Trees or Ground not laying them on heaps but somewhat smooth . Be not curious in your firs●dead-Colours ; do it slightly and hastily . Leave a large skie , which work-down in the Horizon ; faint and fair : as you draw neer the Earth , let the remote and far off Mountains appeare sweet and misty , undiscoverable , and almost indistinguishable , mixing into the Clowds , as it were lost in the Ayre . Your next ground-Colour downwards , must increase in bigness of proportions as neerer the sight , and must be somewhat blewish as Sea-green and as you draw neerer the first ground let them decline sometimes into a Reddish , otherwise into a Popinjay-green . Your last ground Colour must be neerest the Colour of Earth , a dark-yellow , brown & green , easier to be done with the Pensil then described by the Pen . The same Colour ( or neere the same , ) must be your first Trees , and alwayes as they come down neerest in distance , they must increase towards their Naturall Colour , in largeness , and perfection , somewhat suiting the Earth . By any means , let passengers & people by the ways encrease neerer hand and be made bigger in their forme and Colour ; and evermore let every thing , from left to the right hand in a Line , be of the same equall bigness . You might have seen Passengers in some Landskip ( who should be imagined four or five miles in distance from the Eye ) to be expressed neerer , and as at hand which is a grosse errour . The Trees must be made with great judgment , the leaves flowing or filling one with the other , some sticking forward , others lost in shadows . Let not your Landskip of land , rise high , and lift it self into the top of your Piece , as hath been noted in the Prints of Albert Durar , ( otherwise , in his way , an excellent Master ; ) rather let them lye low , and under the eye , which is most gracefull , and more Naturall , with a full skie . The most generall and absolute Rule in Landskip , was observed by that excellent Master at Rome , Paul Brell , whose delightfull ▪ works many of them extant in Prints , are set out by Raphael and John Sadler . Besides many Paintings of his own hand both in Frescoe and Oyle , in the Pallace of Cardinal Montaltre , by St. Maria Mahgior , Bentoglia in Mount Gaballo , and in the Church of St. Cecillia ; His observation i● onely this , That an Artist must be sure to make all his shadows fall one way ; that is , to place light against dark , and dark against light . His meaning is , that to oppose Light to shadows , is only to remove and extend the Prospect , and to make it shew far off , yet so as ever they must lose their force of vigour as they remove from the eye , and if strongest alwaies neerest at hand , and as they fall on the first ground . Besides all this second working , you are to touch up the Trees , boughs , and branches of them , putting all the dark shadows first , and raising the lighter leaves above the darker , by mixing some Masticoate with the dark green , which you may make with Bise , Pinke , and Indico . The uppermost of all , you are last of all to express by lightly touching the exteriour edges and brimes of some of the former leaves , with a little green Masticoate , and white . If deeper , darkest shadows , you may well set off with sap-green and Indico . Only remember , that both in the leaves and trees , Rivers , and far distant Mountains , you must affect , to express certain reall Morrice-dello ( as Paul Brell calls it ) , or soft delicateness , which is the very next remarkable in the worke . There is great Art in making Cataracts , and terrible falls of waters ( such as you see at Bruolli neer Rome ) and fearfull Rocks . Wherein Montpert of Antwerp is excellent ; no Pieces pass his hand without them . They are rather made with sleight of hand , and a little dramme of discretion with judgment , then by study and diligence . A good full ground must be first laid neer the Colour ; then with stronger , in the dark places ; and sl●ight and easie heighning in the light ; ever observing those dis-proportions , Cracks and ruptures of various over-wannie colours ; the manner whereof , you see abundantly exprest by most mens Pensils , almost in every Landskip . I should have proceeded in a formall discourse of the second manner of working , according to the second sitting after the Life : But I spare your troub le referring you to those observations heretofore directed : for curiosity in this work is not so much required , as in a Picture . The greatest cunning herein is to cosen your own eyes ; which yet , you cannot do , without their consent in assisting , by an apt accommodation of rarity of Colours , in their due places , In such manner , that many times in a Tablet of a span long , a man's Imagination , may be carried quite out of the Country , Seas , and Citties , by a sure Piece of his own making . See Streeter's most exact and rare Landskips in Oyl . The Third Division of History . YOu shall rarely see History in Limning to be done in any largeness . Only four books there are in a Master Book of Paulo quinto in the Vatican Library reasonably well done by one Salmiato , a Florentine . In the same place there is a very antient Greek Martyrologie , sometime belonging to the Emperour Basilius about a thousand years since . Wherein were Limned upon Parchment 463 good large Histories out of the Martyrdome of Antient holy people in the primitive Church ; and these pieces were done by severall Gretians dwelling at Constantinople . Other Books exceedingly wel limm'd in that Library , done by Albert Durar . Another , done by Don Clavio very neat and curious , and al these upon Parchment , only the fleshy Colour wrought in , with the poynt of a Pensill , without any Primere or ground at all . Which certainly ●is an error , or rather Heresie in the Italian , who wil by no meanes admit of Limning with a ground . But that which i●Instar omnium , is an History of the Buriall of a Gretian Monarch , done upon a large Tablet of sine abortive Parchment , polished on a smooth and well seasoned board of Pear-tree . It was in the hands of Mr. Endymion Porter & begun by that in comparable Master , Isaack Olyver , almost to the end , but it had finishing from his Sonne . It was a piece of the greatest beauty and perfection ( for so much ) as I think all Europe or the World can produce . And I believe if Carlovan Mandras in his Dutch History of the famous Painters had seen this Picture , his book might have encreased to a Tome with this worthy description . The difference in Painting of Pictures and History are infinite , though the Colours be the same ; and to particularise but in part , what may be said of this subject would be endlesse . The most remarkable difference certainely is in the variety of Colours which according to their several Complexions , Sex , and Ages may be represented , and many times according to the humour , judgment and affection of the Workman ; And we see ordinarily , the practice of the best and most famous Painters , ( those that follow the Life , ) doe tye themselves straightly and precisely , to what they see in their patternes ( the designes and drawings of Bloomart and Spranger . ) Yet in the Invention they assume unto themselves liberty or rather licence in their racking and strained proportions so others in their Colouring , as that many times extravagancies , and impossibilities , ( if not ridiculous ) , do appear . Hence comes it , that the rare Raphael Urbine affecting a delicate pleasing liberty in Colouring of his Na●ea's , is so pittifully imitated by some of the Dutch Masters . And so , the Dutch pester their work with greenish , bl●● and purple Colour , in their Na●e●s , as would rather serve for a reasonable Landskip , and set out the flesh as if bastinado'd into black and blew . The Naturall Basano , an old and excellent Master ; yet so affected to Pots and Dripping-pannes , to blew cotes and Doggs , that his History of the Deluge sometimes in the Gallery at St. Jame's by White●all , seemes to be rather a disordered and confused Kichin ; then Noah's floud . So Ruben in his affected Colouring sometimes in the privy Gallery at Whitehall , and Cornelius of Harlem in his loose & untrussed figures , like old and beaten Gladiatry ; seem exceedigly to abuse that gentle and modest licence , which alwayes graced the worke of that admirable Italian Michael Angelo , that therefore it is not safe to go beyond the Life rather then so much to exceed the patterne by the Chimeraes of their own brain and fancy ▪ and yet what I have touched before concerning him also , is accounted a fault . Four severall sorts of Colouring . INdeed and briefly there are four severall kinds of Colouring to be observed in History . Of young Infants , of faire virgins , of young women , of old women , in every of these severally . It is in the power of a judicious Artist , to vary and change their manner of colouring , according to his discretion , or as the occasion and subject of his intention shall require . Infants and yo●ng children are to be of a soft , airy , and tender complexion , crimson and delicate colloured blood upon the ear and skin , almost transparent ; which you will expresse with White , Lake , and a little Red-lead ; the shaddowes are to be thin , faint , and tender ; the cheeks , lips , chin , fingers , knees , and toes , more reddish than the other parts of the body . The Linnen and Laune about these tender bodies , are to be made thin , and very transparent ; onely strongly touched up in the thickest foldings . The complexions of Virgins and fair young women , are not so much different from the other colouring , as in the perfe●tion and shapenesse of the work ; those few and soft Muscles are to be done gently and easily , to expresse the shaddowes of white-yellow , blewish , in some places purple . And if you seek perfection in this , or any of the rest , the nearest , and most certain , and infallible direction , is , by the Life ; which you may follow with best assurance ; since alwaies , we suppose , you know all colours , and how to mix them at pleasure . Mens bodies naked , are to be made strong , robustious , and vigorous ; the Muscles and Sinewes strongly and exactly fellowed , allotting to every Artery his right and due place ; which to do with understanding , is a study and practise of your whole life ; and yet an Artist otherwise , may not be deficient in this . So exceedingly doth Nature transcend Art , and her Idol●ters ; not easily to be courted , or so much as to be followed afar off . And though these observations are carefully to be exampled , yet is it in the power and judgment of the Painter , to vary the colours and severall complexions of bodies ; onely , if the postures be either reposed , or otherwise in violent action , they are to be more or lesse expressed . An excellent shadow for an old man's body , is Pinck , Lake , and Ivory-black ; it will be a glowing shadow , like the expression of the wrinckles and furrowes of the face and hands , of people extreamly aged , dark eyes , melancholly aspect . Subject enough , to show the riches of invention and spirit , especially if it be suitable to the History . To order many persons in one Tablet , of the same sex and age , apparelling and clothing their persona●es ; I do not find , that the best Painters have been very carefull , to present figures with colours of apparell , fitting their years ; as to an old man , sad and dark colours , and such like ; but rather quite contrary , bending their noble study to cloth their figures , with what may best adorn their workmanship . The Eastern Nations were never clothed in black or sad colours . The Virgin Mary is universally ( as it were by common consent ) represented in Purple and Azure ; St. John the Evangelist in Scarlet , the Apostles ( though most reverend ) are vested in Green , Crimson , Blew , as pleaseth the Painter . Of Drapery in Limning . FOr Drapery , I find but two waies in Limning ; the one by Italians and French , to work-in their Aparrel , in manner of washing ; working it with the point of a Pensill , with slips and little pricks , and engraving it all over , somewhat like the nap of Frisado ; yet so , that when all is done , you may see the parchment quite through your work ; which , in my opinion , is a very sleight single-sol'd device , and rather like a Wash-drawing , than a Master's work . The bett●r way is , to lay a good , flat , and full ground , all over , whose Drapery you mean to make ; and if it must be Blew , then all over with Bise , smoothly laid . The deepening Lake and Indico , the lightning White , very fine , faint , and fair ; and that onely in extreamest light . The same order you are to observe , in all your Draperies whatsoever . And this was the way of Isaac Oliver , in my observation . There is to be seen in the Palace of Don Julio Clovis , Crimson-velvet Curtains , and Clothe● of Gold , excellently expressed by lightning , with fine shell-gold : but it must be hatched and washed ; and your gold must be of your own making , for you can buy none fine enough for this purpose . You cannot believe , what an ornament this lightning with Gold is , and what a lustre it gives to fair coloured Drapery ; as , crimson-velvet , red , green , and blew : And if you mix gold with the very ground it self , you will find the apparell much fairer . And in the same manner , you are to work the Building and Architecture , especially in rich stately Edifices ; And so far was Albert Durar in love with this manner of working , that I have seen the very dirty earth , the dead stocks of rotten trees , and stakes of hedges , in Landskips , all lightned with this manner of working in gold , which shew very pleasant , and affect the eye exceedingly . Other remarkable observations there are , which you shall better master by your own practise , than my relation : And yet those that follow will not be amisse . Observations in Limning . WHen you begin to work , temper the Colours in a shell with your finger , dipt in water , a little before you begin ; if your colour will not take , or your parchment be greasie , temper with the colour a little ear-wax , as little as may be ; it is good to mix with those colours that do peel from your work , as hath been before noted . Sit not above two yards at the most ( for the face ) from the person , whose picture you take ; and six yards distance for the whole body , levell with them ; unlesse they are tall , then somewhat above them , for so they appear to most men , who are not so tall . Mark when he removes , though never so little , from his first station or placing ; recall him to the former sitting , for a little change of the site of the body or face , causeth errour in the work . Draw not any part of the face , in story or picture , exactly , or perfectly at the first , neither finish the eye , mouth , or nose ; but let all the work be made and concluded together . All the art and judgment is in the touch of Proportion , and the exact drawing ; yet , neatnesse of work , and curiosity in beautifull colours , do indeed many times grace the Picture in such manner , that the defects of drawing are not easily discovered , but unto very judicious observers . Never change your light , if you can possible , but rather finish the work by the first light : And therefore not many excellent Artists in this kind , will work abroad from their own light . A dishonour to transport his Easel , Pallat , Collours , and Pensills from home . When you have finished the face , and are to draw the posture , let the Person rise and stand , when you draw the lines of posture , and not sit by any means ; for though never so true sitting , yet you will find your self deceived in the draught , which will lose the grace and sprightfulnesse , and will be rewarded with a dull and livelesse aspect . Of Pastills , or Croyons . THe Pastill for Croyon , or dry colour : take three ounces of Lint-seed oyle , six ounces of yellow Wax , two ounces of white Mastick , four ounces of Colophonia , four ounces of Rosin-Depino Greaseo , one ounce of Turpentine : Melt all these together in a fair earthen pot or pan , well leaded ; put not all in together , but one quantity after another , as they melt ; cut the waxe in pieces , it will melt the sooner ; stamp the Rosin , and Caliphonia ; this done , let it be luke-warme , in any wise not hot ▪ mingle there with ( as best you may with your hand ) the Lapis Loculi ; ground and work it up in a lumpe , and so let it rest a day or two , then take a faire earthen pan or a dry smooth Bason almost full of water , so warme , as you may well indure your hand in it . Then take the massy Lumpe and work it between your hands , so long as you can see it sweate out a cleer water of a blew Colour , and the longer it is before the drops come forth the better . When the water is well blewed , set it away , and take another Bason or Panne of clean water and worke it as before , then take another Panne ▪ a fourth , and a fift ; till no more drops will sweat out , letting the ground remain and dry throughly : then with a feather wipe it off the panne , upon a paper ; and so put it up the first blew that sweateth is best , and so the rest in degrees . You may put the worser sort into the like new Pastill again , and work it over as before . It will be the fairer but less in quantity . There are other wayes pretended . Note also , that the Pastill can never serve but once : and afterwards , to make Lincks , and Torches . You may get some of the broken pieces of Lapis Loculi of the Marchants of ALEPPO , the deepest colour the best . To work in Croyons or Pastills , I observe three manners of wayes . The first and worst , is that of Monsieur de Mousters of Paris , whose custome is to ●ub-in several Colours , ▪ being first reduced into powder , and set in severall small boxes , ) upon the paper , which commonly is the whitest ; and this he doth with severall stubbed Pensils , the ends fitted with Cotton or Bumbaste . His work is reasonable neate , but not lasting , there being nothing to bind on the Colours , which commonly fall off , and the work lost or defective . The second is with Pastills the length of a finger or thereabout , composed of severall Colours , mixt and ground together , of a good consistence and stiffnesse , and so rouled up and laid to dry . They have used to make them up with Milk , Beer , or Ale , or new Wort ; others with old rotten size , to bind the Colours together . The last and best ( as I conceive ) is to Colour the pa●er , whereon you intend to draw the Picture , with Carnation or flesh Colour , neer the Person's Complexion you mean to draw . Cover the whole paper ( for some complexion ) with Ceruse , Mene , and a little yellow-Oaker , ground with Gum ; When you prepare one paper , do so with many other papers to save labour , and those with different complexions , untill you have use of them . Lay the Complexion with a sponge wet , but let it be so bound , as it may not come off with rubbing ; this done & dry , draw your outward lines with red-Chalke faintly . Then with your several Pastills rubbe in the Colours , & , with your fingers-end , sweeten and mixe them together , driving them , one within another , after the manner of the Oyl-Painters ; and because you cannot sharpen your Pastills as shall be needful , you must remember to close up all the worke with Red-Chalke and black-Chalke , which ( with your Pen-knife ) sharpen at your pleasure . I have seen a book of Pictures in this last manner of Croyon , done by the hand of that incomparable Artist Hans Holben , who was servant in Ordinary to KING Henry the Eighth . They were Paintings of the most ENGLISH LORDS , and LADIES then living ; and the patternes whereby he drew their Pictures in Oyle . Many of those Pieces in the book were spoyled by the injury of time and the ignorance of such as had it in custody . Yet there appear'd in those ruines and remaines , an admirable hand , and a rare manner of working in few lines , with much diligence and labour in expressing the Life and Likenesse . Many of them equalling his own Oyl-Pictures , and alwayes excelling any other Artizan . After a long time of Peregrination , this Book fell into the hands of the late Earle of Arundell , Earle Marshall of ENGLAND , an eminent Patron to all PAINTERS , and who understood the ART ; and therefore preserved this BOOK with his Life , till both were lost together . The Ordinary working in Croyon is upon blew-paper , the Colour rubbed-in , first with the Pensill ; and afterwards , either with a stubbe-Pensill with your finger , or with a little piece of paper , or with a sponge , or otherwise . You may also work in Croyon upon Parchment exceeding neat and curious in that manner , as these small Pieces to the Life done upon Velome , Parchment , and white Paper also , by the admirable Artist and Gra●er in Brass , Henricus Jessius at Harlem in Holland . The faces no bigger than a Jacobus in Gold coine . His Pastills of the shape and bigness of a tackpoynt , but longer : they might compare with Limning and seemed so , to the suddain view . They were rubbed-in , with small Cotten-pensills , and were finished with sharp poynted Red-chalke and Black-chalk . The true way of making the Pastill , is the secret of the Art ; and so you may remember that I said , some make them of Ale-wort and such trash , to tell you the difference not to teach you those wayes : for either they bind so hard , that they will not mark nor score at all , or else so loose and brittle , that you cannot bring them to finenesse . For tempering so many Pastills for change of Colours in the Face . I Shall onely direct you in one COLOUR , for example of all the other . For a Brown Complexion . Grind upon the stone , Ceruse , Red-leade ( or Vermillion , for this is a more useful colour in this kind of work then in Limning ) English Oaker and a little Pinke ; you need not grind them very fine but onely to bruise and mixe them well together . To these , adde a reasonable quantity of Plaister of Paris burnt and finely sifted , mixe and incorporate this , with the other Colours , thick and stiff , like moyst clay ; then take it off the stone , and roule it betwixt the palmes of your hand , as long , or as little as you list ; then lay it to dry , in the Sun or Wind , but not by the Fire . In this manner , and with mixture of Playster of Paris , temper all the other shadows , and Colours whatsoever ; the quality of this plaister of Paris , is to binde the Colours together , and to make them durable , which otherwise would be loose and brittle . With your Pen-knife scrape them being dry , to a fine poynt , so sharpe , that you may with it draw a haires breadth , and this Plaister makes the Colour so hard and drye , that you may draw lines upon Parchment or paper . The Colour Crimson is most difficult to worke ; It is made of Lake , which of it self is light and hard : therefore instead of that , use India Lake or Russet , observing alwayes to mixe white Ceruse with all the other Colours , or shadows , whatsoever . And when you are to mixe a Colour that is hard to worke as this Crimson , ( which commonly you shall find brittle and hard ) then temper it with another Colour , neer the same in Colour , but more soft and gentle . As if you mixe a little Vermillion with a good quantity of Lake , it will take , not much from the Colour , and make it work very well . In this manner you may make all manner of beautifull Greens for Landskips and all other Colours requisite for Rocks , Waters , Skyes , and tempering the Greens with white Pinck , Bise , Masticoate , Smalt , Indico , and to make them high , deep , or light , as you please ; remembring where you are to temper fast and firm colours , as Umber , Oke , Indico , take the less plaister of Paris . But where your colours are loose and sandy , they bind the stronger and faster , by adding more plaister . And when your colours are dry , before you begin your work , sharpen them with a pen-knife , according to the large or little proportion of your designe . Having ground the white-lead to a sufficient finenesse , put it together with the water with the which you ground it , ( being sweet water distilled ) into a Silver or China-dish , wherein hath been dissolved a good quantity of Gum-Arabick , and strained : The water becoming clear , and the colour become setled ; poure the water away , and let it dry inthe dishes , and so receive it to your use . The second washing will serve well to work withall , and temper and mix with the shadowes . The third and last is good for heightnings , lights , and high touches , and strong reflections . But the first and coorsest in the bottom , reserved in the first dish , must be ground again , and tempered with gum-water , and is very good for laying grounds , and carnations , and complexions for Picture by the life . It is good to mix Spanish White with your white-lead , for it will bind it together ; and it is good to be heightned upon . If you have no Spanish White , make this mixture : Take two parts of ordinary Chalk , and one part of Allom ; grind these together to a good finenesse , which being made up to a lump , burn it in the fire , and reserve it for use . And so much for the work , by Croyons , or Pastills . Of Frescoe . THe way of Painting upon walls , to endure weather , the Colours must be ground with lime-water , or milk , or whey , tempered and mix'd in pots , as in Size-colouring . Take the powder of old rubbish stones , mixed with well-burnt flint-stones , ( or lime ) and water ; wash out the saltnesse of the lime , by often pouring out the water , and put in fresh , the oftner the better , which makes the plaister or compost : Avoid moist weather , which hath influence upon the walls . ( To do the work lasting , strike into the brick or stone-wall , stumps of head-nails , about six inches assunder , which will keep the plaister firm from peeling . ) Then with this compost , plaister the wall a good thicknesse , letting it dry ; and your colours prepared ready and mingled , plaister again over the former , the thicknesse of half a crown of silver , very fine and thin , so much as you intend presently to work upon , whilst it is wet : Work your colours therein , which will co-operate and corrob o rate into the plaister , and so dry together as a perfect compost . Work your painting quick with a free hand , for there cannot be any alteration after the first painting ; and therefore make your painting high enough at the first : You may deepen , but not easily heighten . Avoid Min●rall colours ; Earth colours are best , as all Oker s , Brown of Spain , Terre-vert , Spanish-white , and such like . Your Brushes and Pensills must be long and soft ; otherwise they will ●ake the work , and raise the painting . Your Colours must be full , and flowing from the Brush ; your Designe , perfect in the Image , or paper-copy ; for in this work , you cannot alter or add upon any colour . To make excellent pur● White-Lead . PUt into a gallon pot certain plaits of clean fine le●d , cover them with white-wine vinegar , glewing the pot with clean Lome ; bury it in a Cellar a months space , or six weeks , then you shall find very good white-lead upon the plates , which take off for use . To make severall Colours . BReak the best Verdigree●e into fine powder in a mortar , then having laid the ground with liquid silver and burnisht , temper the Verdigreece with Varnish , it makes an Emerauld ; as also with Florence-Lake , it makes a fair Ruby ; and with ultra-Marine , it makes a Saphire . Let it rest a while upon your hand , that the varnish thereof may di●solve the stone . Make it little , eeven , and smooth upon the Card , and it will dry ●n a day . A Crimson-Velv●t . TAke Indico-Lake , well ground , and strongly bound with G●m , and a little white-Sugar-candy . Temper these with a little Turnsoil , then lay it full ; and when it is wet , with a dry Pensill , wipe away the colour , where you will have the heightning of the Crimson-velvet appear , and the strong reflections will this way expresse it . Excellent Receipts from Mr. Hilliard , that old famous English Limner . PEarl must be laid with a white , mixed with a little black , and a little India blew Mastick , but ye ta very little , in comparison of the white , not the hundred part ; which being dry , give the light of the Pearl with silver , somewhat more to the light side , than to the shaddow . Then take White allayed with Mastick , and underneath the shadow-side , give it a compassing stroak , which shewes the reflection ; then without that , a small shadow of sea-coal , undermost of all . But note , that the silver must be laid round and full . Note , that all Stones , ( besides the Diamond ) must be glazed upon silver , with their proper colours , with a varnish . An excellent Black . THe best Black is black-Ivory , burnt in a Cr●cible , well stopt with a tyle-shard , or iron-plate , and luted , that the aire enter not : Mix therefore the luting with a little salt , heat it red h●r a quarter of an hour , then being set by , let it cool of it self , the pot still close ; then open it , grind it with Gum-water , onely wash it in this manner from the Gum ; pouring water into it by little and little , in some deep glasse , stirring it with a feather ; and when it is as thin , or thinner than Inck , let it settle an afternoon ; then poure it from the uppermost of the matter , which is but the sc●m and foulnesse , ( good to put into Inck ) the rest being very dry , take it out of the glasse and keep it in paper or boxes for use . But you must soft grinde it again , or temper it again upon the stone with water , adding Gum beaten fine , into it , with discretion , for by use , you will find the fault ; if too little , it worketh ill , and dries too fast ; if too much , it will be bright , and glister like oyl-colour , which by any means avoid . The five perfect Colours , with their Lights and Shaddowes . THe best for Limning , is a Lake of it self , of a Murray colour , which is best made , and to be had at Venice , or in Flenders at Antwerp ; for if you make shift with other Lake , adding blew , to make it Murray , it can never be good . The former Lake is to be ground with Gum-Arabick water onely , although when it is once dry in the shel , it is hardly reduced into a condition to work well again . Then grinde more and fresh . 2. Red , or Ruby . IF you will make a fair Red for Limning , take India-Lake , ( with breaks of a Scarlet , or Stammell-colour ) there are sundry Lakes , which will shadow one upon another , and some ●o black , that they must be ground generally with Sugar-candy , amongst the Gum , and others with Sugar onely . You cannot grind them too much , nor need they washing . Vermilion also is another Red , which must be ground and wash'd . 3. Blew , or Saphire ▪ THe darkest and richest is of Ultra Marine of Venice ; but that is very dear , in the place thereof we use Smalt , of the best Blew ; Bises also of severall sorts , paler then other of five or six degrees . They may be ground ; but better to be beaten in a Morter of flint , like Ammel , very smooth , with a Pestill likewise of flint , or Aggat , well stirred , till it be fine , with gum-water onely , and well wash'd . So have you many sorts , and all good ; shaddowing Blewes , or Litmus , Indico blew , Flory . These need no washing , nor Litmus any grinding , but steeped in the lees of Soap-ashes . Use Gum with discretion , as aforesaid . 4. Green , or Emrauld . GReen ; the best is Cedar-green , in the place thereof , take Tripall , to draw with : Pink is also needfull for Landskips , mixed with Bise-ashes , makes another Green ; so likewise with Mastico●e and Ceruse , as you see cause . For light-greens , sap-greens , flour d● Bise , tauny-green , needs nothing but steeped in water , which is best . 5. Yellow , or Topas . YEllow the best is Masticote , whereof there are divers forts , paler or deeper ; yellow Oker , for want of better , is another also ; and these wash'd , not ground , do best ; and must have a little Sugar amongst the Gum , in tempering them . Shadowing Yellowes ▪ are of the stone , found in an Ox-gall , ground with Gum-water , not washed . And yellow Oker , made with white Roses , bruised with a little Allom , and strained ; neither of them needs grinding , nor washing , nor Gum . You may make shift with fair Oker de rouse , and Sa●●ron water . Shadow your Masticote with yellow Oker , deepen it with Oker de rouse . And so have we done with the five perfect Colours . An excellent Receipt to make Vltra-Marine . TAke the broken pieces of Lapis Lazarilli , the deeper blew , or between black and blew , with as little grains of gold upon them as may be ; put it into a Goldsmith's meltingpot , covering it with a potsheard ; heat it hot about an hour , upon a fire of charcoal ; then quench it with urine , vinegar , or water , in some pot , well leaded : dry it in a fire-shovell upon coals , the moisture quite dry ; then lay it upon a table , and with pinsers , nip off the hard part from it , being gray and whitish : Then boyl two spoonfulls of Honey in a pot of clean water , and take the Lapis Lazarilli , and grind it out with this water , as fine as may be , and so let it dry for use . To make a Varnish . TAke a pound and half of oyle Aspeck , the best ; five ounces of Mastick , as many of Sandrose : put these together in a glasse , boyling them in a pottle of water , and putting a cloth in the bottom ; stir it often for three hours , the longer the better ; and after it is cool , let it stand in the Scum for ten daies . An excellent Water , for the preserving white-Colours , and recovering them , being dead or starved ; and generally for all Colours . TAke Rosemary-water distilled , and with a few drops thereof temper a shell of White , so starved or dead , and it shall instantly become perfect ; for a truth , try one half of the colour , and see the difference . It hath also this quality of goodnesse , that whereas all colours ( especially Whites and Umber ) in the grinding and tempering , arise in bubbles , very troublesome to an Artist , a little of this water clenseth the colour , and disperseth the bubbles ; and being tempered with your colour in the shell , makes it flow , and to work exceeding sharp . The draught of a Landskip Mathematicall ; they that have leasure and desire thereto , may make experiment . SEt up a little black Tent in a field , made easie , portable , and convertible , as a Wind-mill , to all quarters at pleasure , capable of no more then one man with little ease , exactly close and dark , save at one hole , an inch and half diameter ; to which , apply a long prospective Trunck , with a convex glasse , fitted to the said hole , and the concave taken out at the other end , which extendeth unto ( about ) the middle of this erected Tent ; through which , the visible radiations of all the objects without , are intermitted , falling upon a paper which is accommodated to receive them , and so trace them with your pen in their naturall appearance , turning this your little Tent round by degrees , till you have design'd the whole aspect of the place . There is good use hereof in Chorography ; but to make Landskips hereby , were too illiberall . Surely no Painter could exceed the precisenesse of these . To make clean a fonl , or old Picture , in Oyle . MAke clean the Picture with a spunge , dipt in warm beer , and then let it dry ; and afterwards wash it over with the liquor of the whitest Gum-dragon , steeped or dissolved in water , which will set a glare or freshnesse upon the Picture . If you use blew starch , or glare of eggs , or other such trash , as is very common , it will take off the heightning , and spoil the grace of the work . Light , bad for the eyes . LEt not the aire be too lightsome ; excessive light scatters the spirits , and causeth the sight to be lost . Xenophons souldiers passing a long time in the snow , became almost blind . Dionysius the Tyrant , shut up his prisoners in dark holes , and sodainly bringing them to sun-shine took away their sight . Some colours are not profitable for the sight , which diffuseth the spirits , drawing them to it ; Black makes them too grosse : Not any colour does much comfort the eyes , but Green , Blew , Viol●t , Saphir , and Emerauld . Flowers of Burrage , and leaves of Burnet , put into French-wine , the colours comfort the eyes , the property of the Herbs represse the vapour of the Wine ; and this Wine is most due to be drunk by an excellent Painter ; in which , other persons may have leave to taste onely , unlesse to drink his health , unto The END . Notes, typically marginal, from the original text Notes for div A94194e-5800 Pen and Pensill described . Of the five Senses . Sight the best sense . Sight compared with other senses . Excellency of sight . 1. Variety of Objects . 2. In spiritual operation . 3. In Light the Noblest Quality . 4 ▪ In infallibility . Eyes their exlency and effects . In the descrption of a Landskip . By an English Gentleman . The Mountain Vesuvius burning . Simile ▪ Prospect of the Vale . River . Bridge . And Orchards . People flye from the Fire . And from the mixt Villages . Hills a farr off . The left hand Prospect of the Vallye . Foot of the Hill . Horison . Travalers . A Curtezan Courted . The Tale put into a Picture . Description of a storm at Sea . Storm begin● with wind and waves . Lowers the Sayle . ●orridnesse . Ships Instruments useless . In sundry ships severall distresses . Sheets rent and Tackling tare . Boy blown away . Mariners miseries . Spectators frighted . Passengers in a long-boate , cast away upon Sands , And They are drowned . The Wrack described . Goods thrown over-board . Ship sincks . The lading flotes , and men upon them . And men drowned . Wrack on shore . Only one man saves himself . Harmony of Poetry and Painting . Painting before Poetry by Hieroglyphicks . Graecians the first Painters . Paintinghighly valued . Excellency and Effects by massacre at Amboyna . Pictures valued at a mighty Price . Van Dorts death by losse of a Picture . Mr. Gibson , the Marquisate Picture . Three Knight-Painters . Use of Paintings . Ornaments to Houses . Whether Sculpture or Painting , be supream . Decided by a Blind Man . 1. The first Grace of a Picture . A Cut hereof . To distinguish Principall from Copies . Mr. Croix . Of Laniere . How to judge of them By distinction Of Old and New Pictures . In History . Antient Italians and their successors . Dutch Masters . French Masters . Designs . Life . Landskip● Flowers . Prospective Sea Pieces . Beasts . Neat heards . English Modern Masters . Limning in Water Colours . War destroyes all Arts . Abilities of Painters . Confined . Of Factions . The Painter's freedom . Difference of Naturall and seigned Figures . And with Grace . Well Coloured . 1. With Force , what it is ? 2. And Affection , what ? The first ordering of Painting by Grecians . Their Names and Qualities . How to dispose of Pictures . Not upon out-side of Houses . Grotesco work , what it is . Of Fresco what it is ▪ Whole Towns of this worke . Three Chambers in Rome . And in France . ●o dispose Pictures within doors . How for light ? Orderly for grace In the Hall , Staire-Case . Great Chamber . Dyning-Roome . Drawing-Chambers . Bed-Chamber . Banquetting-Rooms . Galleries : Tarraces . ● Note . Five sorts of Paintings . Drawing and Designing , their excellent use . The Cuts of these , all lost ●● Sea . The practice of Drawing and Designing . How to draw by Copyes . Of severall members o● the body . Head and shoulders . Nakeds . Skeletons . Pensils . Drapery what ? Of hatching . The best Prints . Shadan and others . Most Pictures are Copied by Gravings . With severall Names to them . Not to Paintere you can Draw well . In reference to Philosophy and Poetry And Painting . Into three sorts . Of Imitation . In severall graces and abilities . Of Fancie . Surpassing Imitation . Fancy in sleep . It changes passions and affections . Mr. May . To encrease fancie . And order it in a Picture . Not to dwell upon d●signing . To correct what is amisse . And to submit to Censure . being wisely judged . Five Principa parts in a Picture . Invention . Proportion . Of true beauty . Naturall or conceived . By the Idea . His brave and unpattern'd and unparallel'd Piece of Artime●ia . Likenesse , not to be compared To Symmetry And therefore Naked Bodies hard to Paint . Designing Lines , what ? A Cut . Colouring , what ? With Light and shadows . Tonus , what ? A Brightness . Harmogia what ? As the Rainbow in Colours . Of Spirits and Souls Painted ●● A Geometricall Line . Colouring of a Man . And beauty of a Woman . Action and Passion . How to be expressed And to be improved In severall postures of the Head . Hands and Arms . Energia what ? By example of Titian ' Pieces . And of Palma's Piece . And of another . Of Disposition . In order to perfection , Soon discovered . But altogether excellens . By exampl● in brief Conclude a rare Picture . Parergia what ? With pretty adornments gracefull . And to conclude it a wonder . Dedicate to the gods . Painter's faults . Conclusion of all Sets you forward to the Second Book . Notes for div A94194e-32640 Colours not usefull . Ceruse . White-Lead . Note . How to grind it Upon what stone To use it ▪ Gum-atrabick . Note a generall rule ▪ Colours to be washt and ground ▪ To be washt only . Why to be washt . But five perfect Colours . India-Lake . To ●ixe all Colours . Oker , Pinke . Blew and yellow makes green . Umber . Brown of Spaine . Terra-Colen . Cherry-stone and Ivory black . Ivory . Red-Lead to be washed . How to use it . Pensils how to choose them . To make Pensils . Some onely for Gold . Tablet for the Life . The Prime for severall Complexions . Faire . Brown . How to lay on the ground . To prepare Colours upon your shell . Of Whites , Reds . Blews , Grisatrie . Your Light . And sitting . First lines . Manner of Limning . To the Life . First ●itting . Second . Third . Dead-Colour Note . Particular directions of the Picture , Blew-Colour-working . Eyes . Haire . Note . Second sitting . Observation . The Ground-Colour behind . Curtaine of Blew , How to lay it Remarkable . Crimson Satten ground . Over-view , and add to the face , And Haire . The Dressings Blackish reflections . Third sitting . Likenesse , Resemblance , Countenance , Marks , Moles . Note . Remarkable . Armour to Colour Silver . Gold Colour . ●all-stone of an Oxe . The manner of working liquid Gold , Or Silver . Pearle . Diamonds . Rubies . Emrauld or Green-stone . Saphire . Amethist , Liquid Gold , to make it . Liquid Silver , to make it . Silver larnish Tablet for Landskip . Landskip after the Life , the way to draw it . To make a Landskip . Dead Colour . Next ground ▪ And neere● . Note . Trees . Note ▪ Paul Brell's observations . Light against dark , et ● contrario . Heightning the touches of the Trees . Cataracts and falls of water-Rock● . Second working . History of rare pieces by Salmiato . By Graetians , By Albert D●rar , Don Clavio ▪ Error in the Italians . Isaack Oliver . The difference in Painting History and Picture . Variety of Colours in the Life . Bloomart and Spranger . Liberty affected in Colouring . By Raphael Vrbine . And Bassano , Ruben and Cornelius of Harlem , Angelo . Four severall wayes of Colonring . 1. Of Infant● . 2. Virgins and fair-Women . 3. Men naked ▪ 4. Aged bodies . Severall persons of one age and sex , in one Tablet . Colours of their Apparel . Drapery two waies . Blew Drapery Isaac Oliver . Lightning with Gold , upon all Colours , by Albert Durar . Observations in Limning . The Sitting , Proportion , Light , and Posture ▪ Pastills for Croyons . To make them Lapis Loculi , Lapis Lazarilli . To make Ultramarine . 1. With Powders . 2. Pa●tills ▪ 3. Colour'd paper . Croyons of Holben , a rare Book . Ordinary working in Croyon . Brown Complexion . Plaister of Paris . For Crimson ▪ Greens , And Other Colours . White-Lead . To counterfeit Spanish White . Frescoe . Painting upon Walls . Without any Mineral colours . What Brushes White-Lead . Emrauld . Ruby . Saphire . Crimson-velvet . Pearl . Note . Black . Murray , or Amethyst . 2. Fair Red , or Ruby . 3. Blew , or Saphire . 4. Green , or Emrauld . 5. Yellow , or Topas . To make Ultra-Marine . To make a Varnish . An excellent Water . A Landskip . To clean old Pictures . Light , bad for the eyes . Colours good and bad for sight .