THE ART OF DRAWING WITH THE PEN, AND LIMMING IN WATER COLOURS, MORE EXACTLY THAN HERETOFORE TAUGHT and enlarged: with the true manner of Painting upon glass, the order of making your furnace, Annealing, etc. Published, For the behoof of all young Gentlemen, or any else that are desirous for to become practitioners in this excellent, and most ingenious Art, By H. PECHAM, Gent. At London, Printed by Richard Braddock, for William jones, and are to be sold at his shop at the sign of the Gun. near Holburn Conduit. 1606. TO THE RIGHT WORSHIPFUL SIR Robert Cotten Knight. SIr, it hath been usual aswell among Heathen in erecting their profane monuments, as Christians in dedicating their churches, to affect and choose among many, some one saint tanquam numen tutelare above the rest: in whose honour when they had finished the main work, yet they thought not all well, except his picture stood enshrined over the porch, or some other more eminent place. (Though with a number more of my time I never dremt of any thing less than building churches) I imitate them so far, (if it be not superstition,) to choose my Patron whose name in the depth of an honest zeal, I carve in operis vestibulo, as Lipsius saith; although in this case devotion be liable to none account, I confess though I had never been obliged unto you for some particular favours; yet the love you bear to the arts above any other I know, should have enforced my Genius to have awaked, & sought you out wheresoever: not that I think so weak a present either worthy of your view, or so untoward a tourney, but (as it falleth out among pilgrims) while others of far better merit, in zeal of your name hang up their gowns or bracelets, I might slily escape with my candle: and in truth I bring no better; for imparting to many what I have, not hindering myself, I do but accendere lumen de lumine as one saith. How necessary a skill drawing or painting is; & how many ways the use thereof is required, none knoweth better than yourself: how rare the perfection of it amongst us, every man may perceive, when scarce England can afford us a perfect penman orgood cutter, (I speak not of the pencil wherein our Masters may compare with any else in Europe) in respect of the dutchmen and other strangers: for which cause (as well to encourage as instruct any young practitioner that beareth good will to this art) I have collected as familiarly as I could, the chief and most easy grounds of drawing, annexing hereto the manner of limming in water colours, also certain rules for Annealing & painting upon glass: which with myself, and my hereafter more serious endeavours, I offer to the censure of your worship, of whom I humbly take my leave. From my study in Kimbalton this eighth of November. Who is sincerely devoted unto you. HENRY PECHAM. To the Reader. GENTLEMEN, you have here a few principles of mine art, which as frankly I impart unto you, as the heavens freely bestowed them upon myself: I call it mine, because it was borne with me, nor ever used I the benefit of any instructor save mine own practice and experience. I have (it is true) bestowed many idle hours in it, which perhaps might have been worse spent, yet in my judgement I was never so wedded unto it, as to hold it any part of my profession, but rather allotted it the place inter splendidas nugas, and those things of accomplishment required in a Scholar or Gentleman. I speak not any whit to disgrace so worthy a skill, or to discommend the true & necessary use thereof, but to give my scholar a watch word, that like a simple wooer he should never cast off the mistress to court the maid: but esteem himself a great deal better graced by propounding at the table aliquid cedro dignum, (as K. Alphonsus was merrily wont to say,) or maintaining an argument in Philosophy or divinity, them by intimating his skill with the pencil, or insight in the Chords of music, which perhaps he that holds a trencher at his back can excel him in Q. Fabius could paint, yet he was a great Fidibus praeclare cecinisse dicitur. Tusc. Q. li. 1 counsellor. Epaminondas could play or sing excellently to the Harp or viols, but justine 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 attain to so absolute an height in both: in whom alone, and at once Xenoph. lib. ult. Rer. graec. sprang up and died the glory of the Thebans, Socrates being above three score years of age, spent one hour in a day with Conus a physician in playing upon the organs: Ifhe had spent above, I think we had not known him by the name of Philosophorum parens: Politic. 8. And whereas Aristotle deseigning 4 principal exercises, wherein he would have all children in a well tuned city or commonwealth brought up & taught, (which are Grammatice, or Grammar: Gymnastice or exercising the body by wrestling, running, swimming tossing the pike, etc. Graphice, or well handling the pen in drawing, writing fair, &c: and lastly Musice or Music) his meaning is, ut adseriamagis studia capessenda idonei reddantur: the same use and none other I wish to be made of drawing. Concerning these directions I have given, they are such as I thought in respect of their brevity & plainness, fit for the capacity of the young learner, for whom they were first and principally intended: they are mine own, not borrowed out of the shops, but the very same, Nature acquainted me withal; and such as ever in practice I found most easy and true. I may perhaps be snarled at by some obscure fellows that affect their own private gain before a general commodity: but if (Reader) thou shalt find any thing herein worthy thy practice or liking, I care not what the other say; the worst hurt they can do me, is to draw my picture ill-favouredly, and sell it: And perhaps Plin. lib. 36. cap. 5. I could requite them again as Hipponax the Satirist did, who wrote so bitterly against certain painters that sold his picture up and down in a mockery to be laughed at (because he was hardfavoured,) that many of them for grief hanged themselves. I had purposed to have annexed hereunto a discourse of Armoury: the manner of painting with virgin wax, and with feathers, not altogether impertinent to our purpose; but I have reserved it (being a while employed in some important business) till some other time, entreating thee in the mean while, to take what I have begun as affectionately as I offer it. The most assured friend to all that love or learn this art of drawing or painting. H. Pecham. Ad Zoilum Authoris Epigramma. Zoile vicatim dum Criticus omnia lustras, blattaque liventi dente alien● vor as: Usque licet nostrum ieiunus rode libellum qui tibi (ni fallor) mill venena dabit. 1. The excellency of painting. 2. The antiquity. 3. Much esteemed in times past. 4. The manifold uses thereof. 5. Necessary to be taught. CHAP. 1. PICTURA, or painting in general, is an art which either by draught of bare lines, lively 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 himself; where he calleth Bezaleel and Aholiab, Men whom he hath filled with the spirit of God in wisdom Exod. 31. and understanding, and in knowledge, and in all workmanship, to find out curious works, to work in gold, and in silver, and in brass, also in the art to set stones, and to carve in timber etc. There plainly showing, as all other good arts, so carving or drawing to be an especial gift of God's spirit. In another place he goeth farther, and as it were challengeth to himself the Mastership of the company in that his Majestic Erotema in lov in these words: Hast thou given the pleasant wings unto the Peacocks? and job: 39: 16 wings and feathers unto the Ostrich? whereas disabling the wit of man by his own excellency: he giveth us to admire that admirable wisdom in disposing so many beautiful colours, from the wings of the proud Peacock and Ostrich unto the poor Butterfly, that astonished I may say with Aristotle, even in these little painted Creatures there is 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and in the very border of one of their wings, and evident taste of the divine Omnipotency. But as Picture hath been allowed of God, so it hath aswell among Christians, as the Heathen been honoured from all antiquity, and always sound favour with the greatest wits and mightiest Monarches of the world; Polit. 8. insomuch as Aristotle in his Politics accounteth it among those liberalia Paedeumata, and counseleth it as an especial thing to be taught unto 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; Mechanical arts, and those wrought with the hand are for the most part base, and unworthy the practise of Gentlemen and great personages. I confess the Lord of Bartas hath said: L'eur esprit seven fuit au bout des 1 Sem: Exam: de ingenios. doigts. But forasmuch as their ends are honest, & themselves but the exercises of pregnant, & the finest wits: I see no reason (as one saith) why nature should be so much wronged in her intention, as not sometime to produce into action that whereto 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 football with his men. Achilles thought no scorn to be so cunning in cookery, that when certain ambassadors came unto him, his own hands dressed them a great & royal supper: & Homer to no small commendation of his Ulysses (under whose person he shapeth Rutilius in vita Q. Fabii pictoris juriscon. In vita Pom an absolute wiseman) saith he could make his ships himself. Quintus Fabius (whose stock was one of the noblest in Rome, after called Pictore,) with his own hands painted the walls of the temple of Salus, & wrote his name underneath. Pomponius Atticus (a man of singular wisdom, & so loved of Tully) after he had composed a Poem of sundry devices, beautified it with pictures ofhi own drawing. The Emperor Constantin got his living a long time by painting. Sigebert in Chron. And in Pliny's time certain festival days were yearly 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 Mathematics, mean to follow the wars, or travel into sorreine countries. I have heard many & excellent men of these several qualities lament so great a want in themselves, otherwise most absolute. My scholar than I would make choice of, I would have a young Gentleman, if it might be, who were inclined to drawing by nature, at the least a well-willer & lover of it; & as Tully would have in his Orator, so I require de Oratore, in him aliquid redundans & amputadnum, a pretty fantastical head & something (as chips of the sound timber, which commonly the best wits are subject unto) to be pared of; with all daily & continual practice, were it but Apelles his una linea, without which it is impossible forhim to attain to ready draft, & les to excellecy in general 1. The most excellent painters of old time. 2. The great value and prizes of pictures. 3. Of certain women that have excelled herein. 4. Of Statuary or carving. CHAP. 2. Painter's at the first (saith Aelian) were such bunglers and so rude, that they were Aelian de varia H●st. lib. 10: fain to write over 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 Pliny, Pausanias, and others. Apollodorus among the Athenians was the first that Apollodorus did express the life with colours, and that was famous for his pencil. Euphranor a painter of Isthmos, was the first deviser ofEmblems, and heroical Impresa's for shields, and Euphranor. the first that observed Symmetry, or proportion, whereof he wrote many volumes. Parrhasius above all others excelled in black & white, Parrhasias. and had the principal commendation for his Art in casting and curling the hair. Pyreicus (as Volaterane saith) was only famous for counterfeiting all base things, as earthen pitchers, Barbers Pyreicus. shops, a scullery, Rogues together by the ears, swine sleeping in the my●e &c: Whereupon he was surnamed Rupographus, that is, a painter of base things. Aristides was the first that expressed sense and passion, Aristides. as in that piece of his, where he painted a mother deadly wounded, with her child in her arms, striving for the Teat; she weeping in extreme passion, loath to deny it her breast, and loath to let it suck, for fear of killing it with her own blood, which in great abundance issued forth with her milk. This table Alexander carried with him to Pella. Nicophanes had attributed unto him the stateliness of Nicophanes Invention. Protogenes was the first that could lay his colours so Protogenes. artificially, that one being worn off, another succeeded fresh, to the number of four or five: it is said when he undertook any excellent piece, he would observe a strict diet; eating only pease, lupines and such like, to the intent his wit and invention might become the more sharp and fine: Amongst his other works his Lalysus or Bacchus hath the principal praise, which table (when Demetrius Poliorcetes besieged the Rhodes) being in the Island, he refused to enter where he heard it was kept, least by the rudeness of his soldiers it might receive harm: protesting as Plutarch saith, that he had rather burn all his father's Images: which occasion at that in Demetr. time being overslipped, his enterprise came to no effect. Aelian saith this table was seven years in making. Apelles who lived in the 1012 olympiad excelled all Apelles. the others, yet for action and disposition, he gave place to Amphion: many times he would sail over to the Rhodes to see Protogenes and his work: among his pieces the picture of Alexander at Ephesus, and his Venus which he left at his death unfinished in Chios were the most notable. Galaton surpassed all others of his time, for witty conceit Galaton. & Invention: amongst other his devices, he drew Homer vomiting, and a number of petty Poets gathering it up. Claudius' Pulcher painted Tiles so artificially, that Ravens lighted upon them. C. Pulcher. I will pass over the artificial pieces of Zeuxis, L: Manlius, Pacuvius a Tragedian Poet, Metrodorus a most cunning painter and a great Philosopher; who, when L: de quo Cicero. I de Oratore Paulus wrote unto the university of Athens to provide him a grave and learned Schoolmaster for his sons, was chosen by general consent, and sent to Rome, as the fittest man both to teach his children, and to adorn his triumphs. Nor will I make mention of others of later times, as Hercole di Ferrara, & his notable workmanship seen this Herocle di Ferrara. Bellino. day in Bononie. Bellino the venetian, whose fame caused the Turk to send for him, from whom he returned royally rewarded. Vnicio, and his admirable piece of the twelve Apostles in the church of our Lady of grace in Milan: Vnicio. Pisanello that so beautified the Church of Lateran in Pisanello. Rome, which the world may scarce match for rareness & tenuity of shadowing: Petro de Burgo, that so excelled in perspective. Zoto the Florentine with many others. Nor Petro de Burgo. Zoto. Mi. Angelo Alberdure. Stradane. M. Hilliard M. Isaac. of those of nearer and our own times, as Michael Angelo & his brother, Alberdure, Stradane, M. Hilliard & M. Isaac our own countrymen; because their works are yet scarce dry in the world. Now lest you should esteem but basely of this art, & disdain your pictur because you may have it for a trifle (which I account a fault in many of our good workmen) I will tell you the prizes of some pieces of note aswell in ancient time, as of late days. Caesar the dictator The excee. ding value of pictures. de quibus Cic. Act. 6. in Verrem. redeemed the tables of Ajax & Medea for 80. tall. which amounteth to 24000 french crowns, I speak with the least, because I take minus talentum alt: come (sor generally where you find talentum in any Latin author, as in Tully pro C: Rabirio Posthumo and in his Epistles ad Attic. & some other places where you have it oftenest: you must understand the Athenian talon, except you have the addition of Aegineum, Sirium, Babilonium, etc.) the greater was bigger (as Budaeus saith) by a third part: K: Altalus paid for B. in Ass, one of Aristides pieces an hundred talents. Hortensius' the Orator gave for a table of the Argonatae 144 talents, Mnason paid to Asclepiadorus for the 12 Gods, after 300 pound sterling a piece. Candaules K: of Lydia gave to Bularchus for a piece of his the weight of the same in gold. Pope Innocent the 8 a worthy favourer of all good arts, bestowed upon Andrea Mantega his painter in the Beluedere in Rome, 2000 ducats for a months' pains. The Genoans paid unto two German painters for the battle of Patras fought between don john of Austria, & Hali Bassa 187 ducats. And what a round sum was once offered by strangers for S: Magnus' altar cloth in London: many other examples might be alleged, but I have said enough to show that arts have always been well paid their hire, & the professors been had in esteem with the worthiest men. Neither hath picture been peculiar to men only, but also women havebin excellent herein. 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 were other very famous herein, which for brevity I omit: as Irene, Calypso, Lala, Aristorete. But we end with those famous Artists leaving them to their graves, and their works to the admiration of all posterity, and speak of Statuary or Carving, which thus far differeth from painting; this doth express her image in the plain or smooth superficies imaginarily; the other in the hollow and uneven superficies, really. It hath been I confess in as great account as painting; yet it deserveth not altogether to well, because it is more rude and rough in exercise, and worketh not with so fine a judgement: for painting is tied to counterfeit all shadows, express the life, sense and passion, whereas in carving they fall in with the chisel, and nothing else required but an even proportion. A painter not privileged to draw what he list. 2 Great abuses may arise of Painting or drawing. 3 How and when to use it. CHAP. 3. AS I would have my scholar take his pleasure, so would I not have him buy it at too deeer a rate, either with loss of overmuch time in neglecting the main profession, or of his ears for a libeler, defaming honest men by ill-favoured pictures: as drawing them with Ass' ears, huge noses, horns or such like, neither to think with Horace that he may quidlibet audere: for there be some things that ought to be free from the pencil, as the picture of God the father: or (as I have seen) the whole Trinity painted in a glass window: which he cannot do without artificial blasphemy, and reviving from hell the old heresy of the Anthropomorphites who supposed God to be in the shape of an old man, sitting upon his throne in a white rob, with a triple crown on his head. I know what divers have in this behalf alleged, Ezech. eh. 1, verse 27. one special place they have in Ezechiel in the vision of the throne, but howsoever, it is misliked by many good Catholics, and none of the worst divines in their own Catechisms and confessions, though especially and in plainest terms by Lorichius Catholic. Institut. in precept. 1. in these words. Est praeterea abusus imaginum quod sanctam Trinitatem praesumpsimus exprimere, quod haeresis est pestilentissima, quid enim magis S: Trinitati adversum, atque Patrem effingere senis silicernij effigy, filium juvenis formam habentem, spiritum sanctum alitis speciem volitantis referentem: Quid I diotae ex tali libro didicisse poterint? errorem sane & haeresim. Secondly he must abstain with Christian modesty from drawing arts of filthiness, & laying open those parts which Nature would have kept secret: what hurt hath that abominable Aretine done by his book and bawdy pictures? and what lewd art is ordinarily shown in the naked pictures of wax sold up and down as libidinis fomenta? Surely I must commend art in them, though detest their wicked makers and abominable ends. For the time of drawing, I would have my Scholar take it when he is wearied at his book, forced to keep home by reason of foul weather, or solicited by idleness to some worse business: having chosen such a convenient time, let him make or buy him a fair paper book for the nonce, to begin to practise in, and keep very carefully that he hath done, by which he shall see how he profiteth daily, avoid scribbling in loose papers and (keeping his hand from walls or wainscot) to deal plainly the babble: For Ill muro bianco carta di matto passeth currant through Italy. Instruments necessary for drawing. CHAP. 4. I Am not ignorant of sundry ways that have been devised to teach draft, as namely by crossing the pattern, than your own paper with equal spaces, filling the same as you find in your example: also drawing upon a lantern horn, with a paper blacked with a torch, and such, like: neither do I mislike any such convenient help to a young learners furtherance; but if you will learn to the purpose, and grow cunning in short time, you should rather fall to it only by your own conceit and judgement, and let those Black lead in quills. toys go, you must first get you black lead sharpened finely: and put fast into quills, for your rude and first draft, some ten or twelve. Moreover you must not be without as many Sallow Sallow coal es. coals, sharpened at the ends: you shall choose them thus, they are more blue and finer grained than the other coals, smooth (being broken) like fatten: you shall sharpen them upon one of your fingers, as also your black lead; otherwise they will quickly break and point sharp. Get you also a small pair of brazen compasses Rule and compass. and Brasill rule, for taking the distance, if you follow a print; and be not without the crumbs Manchet or fine white bread. of fine manchet or whitebread, to rub out your lead or coal, when you have done amiss, or finished your work. Scriveners & Schoolmasters in the Country that teach to write have divers small pencils of broom, with which they shadow great letters in Broome pencils. copy books very prettily: they are made in this manner, take a broom stalk about the bigness of a spoon handle, and cut it even at the end, when when you have done, chew it between your teeth till it be fine and grow hairy at the end like a pencil, but I care not how little you use them, because your pen shall do better & show more art. For your drawing pens, never be without twenty or thirty at a time, made of Ravens and goose quills; your ravens quills are the best of all other, to write fair, or shadow fine, your goose quills serve for the bigger or ruder lines. The first practice. CHAP. 5. Having these in a readiness, you shall practise for the space of a week or there about, to draw Circles, Squares of all sorts, a Cylinder, the oval form, with other such like solid and plain Geometrical figures, till you can do them indifferent well, using the help of your rule and Compass: the reason of exercising you first in these is, when as Symmetry or proportion is the very soul ofpicture, it is impossible that you should be ready in the bodies, before you can draw their abstract and general sormes, and have wonted and made your hand ready, in proportions of all sorts, which are compounded of the same, as for example, your Circle will teach you, to draw even & truly all spherical bodies which are, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of like parts and forms, as the Sun, Moon, Stars, etc. The most flowers as the Rose, Marigold, Heliotropium, Daisy, &c: the most vessels as cups, Basins, Bowls, Bottles, etc. 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 Pyramid, for sharp steeples, turrets and all things, in mucronem fastigiata, your oval form will help you in drawing the face, a shield, or such like: so that you may reduce many thousand bodies to these few general figures, as unto their principal heads and fountains. After you are cunning in these figures (beginning with the Circle and) imitate some thing of Circular form, what you shall think good, in which as in all the other aforenamed proportions you shall work and help yourself by the Diameter (which is a straight line, drawn long ways just in the midst of your circle or square) and which will guide you marvelously in your work: for example if I would draw the Sun, so soon as I have made a fair Circle I draw (with coal or lead that I may rub it out again) my Diameter, or line down the midst, ou●r which if you will again, you may draw a cross line, both which divide your Circle equally into 4 parts as you see. Which Diameter with the cross line, are not only your directors for the equal placing of the greater & lesser beams, on the side as you may perceive: but also for the drawing of the nose, mouth and eyes even, in the midst of the face. I will give you another example of a goblet, first I make a half or semicircle for the bowl, down the midst of which (as low as I would have the foot to come) I draw my Diameter or strait line, which being done, the worst is past: you must now mark, I am not tied to make my bowl as round as the circle, but long or what fashion I list, no other use hath the Circle there then to guide me even on either side, whether I make it broad or narrow, long or short, embosse it or howsoever, the other part of the line causeth me to make the foct even as you see. which line and circle (as I said before) you may with your white bread rub out, when you have done. In these and such like you may at your pleasure find infinite variety to set yourself a work with, till you are able, Sine cortice natare, to fall to work by your own judgement; which you shall do in your next and second practice. The second practice. CHAP. 6. YOu shall, next after your hand is grown ready in the aforesaid proportions, practise to draw small and easy things, coming as near your former examples as may be, by your conceit only: as a cherry with the leaf, the shaft of a steeple, a single or canker Rose, etc. wherein you shall begin to take some delight, and find no great difficulty. But in drawing these and whatsoever else, I must not forget to tell you; that you must be perfect and quick in the general or outward lines, and give them a reasonable good proportion, ere you fall to shadowing or tricking your work within: wherefore I would have you make an essay 6 or 7 times at the least for the general proportion only: if at the first it be not to your mind, as for example in drawing of a rose, be sure that the compass of it be not faulty, ere you cast out the leaves by 5 equal lines, or in making a woman's ruff, that you score it out first narrow in the neck, then wider from the cheeks, and narrow again under the chin very truly, ere you add the lace or setting, all which is done with I line which I call the general or extreme. For those forms that are mixed & uncertain, & where your circle and square can do you no good (being left only to your Idea) as in a Lion, a Horse or such like: you must work altogether by your own judgement, & win the proportion by daily practice, which will seem very harsh & strange unto you at the first, but to help yourself herein you shall do thus: having the general notion or shape of the thing in your mind you mean to draw (which I doubt not but you may conceive and remember as well as the best painter in the world though not express according to the rules of art) draw it with your lead or coal after your own fashion How to help you in your Idea. though never so badly, & lay it from you for a day: the next day peruse it well, bethink yourself where you have erred, and mend it according to that Idea you carry in your mind, in the general proportion: when you have thus done, lay it by again till the next day, & so continued for 5 or 6 days together, correcting by degrees the other parts even to small veins as your discretion will serve you, this may you do with 40 papers at once, of several things, having done what you can (though not to your liking) confer it by the like, some excellent print or pattern of the same, using no rule or compass at all but your own judgement in mending every fault lightly, and with a quick hand, giving every place his due; whereby you shall of all sides meet with your errors and find an incredible furtherance to your practice: though hereunto is required I must confess, a strong imagination and a good memory, which are the midwives to this art and practise as in all things else the nurse that brings it to the full growth and perfection. Of drawing the face or countenance of a man. CHAP. 7. SInce man is the worthiest of all creatures, and such pleasing variety in countenances so disposed of by the divine providence, that among ten thousand you shall not see one like another (as well for breeding delight, as for observing a method after you have practised according to your former directions in other things) you shall begin to draw a man's face, in which as in all other creatures you must take your beginning at the forehead, and so draw downward till you have finished. The end of the nose in ordinary proportion must be brought no lower than the middle of the cheek, The space of an other eye to be left between the eyes. from whence to the chin is for the most part as far, as from thence upward to the eye brows. The nose of a full face must not be expressed with apparent lines, but with a very fine shadow on each side as you see. To make an angry or stern countenance let your brow bend so, that it may almost seem to touch the ball of the eye; at what time you must also give the forehead a fine wrinkle or two, and withal the upper part of the nose between the eyes. A great conceit is required in making the eye great difficulty in the eye. which either by the dullness or lively quickness thereof giveth a great taste of the spirit & disposition of the mind, (which many times I will not deny may be aswell perceived by the mouth, & motion of the body,) as in drawing a fool or idiot, by making his eyes narrow, and his temples wrinkled with laughter, wide mouthed, or showing his teeth etc. A grave or reverend father by giving him a demisse and lowly countenance, his eye beholding you with a sober cast which is caused by the upper eielid, covering a great part of the ball, and is an especial mark of a sober & stayed brain within, Nazianzen when he beheld Nicephor. lib 10 cap. 3 7. julian (long time before he was Emperor of Athens, at the very first sight of his countenance, (Praesaging his future disposition) burst forth into these words; Deus bone, quantum malum fovet romanum imperium: Nazianz. in 2. invect. contra julianum. for (as he witnesseth himself) there was not any sign of goodness or towardness in him, his eyes rolled in his head, wandering and turning fearfully now this, now that way; sparkling with fury & anger, his nose was grown wrinkled with scoffing and deriding the rest of his countenance tending to mockery, his laughter so immoderate that his whole body would shake therewith, his shoulders shrinking to and fro, to his neck: his legs and feet seldom standing still; his questions and answers suspicious, rash, and often interrupted by short fetching his breath: by which signs 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 Grecian Brusonius lib; 7. cap. 20 Captain in like manner noting very often the cast of the eye & countenance of Scylla, together with his gesture and motion of body, used these words: it is impossible but this gentleman one day should prove a great commander, and I marvel that he is not advanced all this while: by which examples and the like, I prove that there is a certain judicium, or notice of the minds disposition inly imprinted by nature even in the countenance, and many times in the the eye or mouth, which (as I have said) you must be careful, as you shall have occasion, warily to observe. Now for the mouth (though least of all other any The mouth. general rule may be given for it,) it consisteth principally of two lines whereof one expresseth the mouth itself, the other the neither lip: the overlipp is best shown by a shadow cast over the cross line as you see: which shadow and cross line if you draw by the life must be hit at an heirs breadth, and if your picture be little, you cannot think so small a thing as giveth or quite taketh away the touch and resemblance of the mouth: and to say truly it will be the hardest piece of cunning that ever you shall meet withal: therefore you had need cause the party whom you will draw to sit as we say, Vultu composito, without stirring or altering the mouth were it never so little: wherefore you shall I believe find (a man's face) above all other creatures the most troublesone unto you: for either they will smile, be overlooking your hand, or setting their countenances to seem gracious and comely, give you choice of twenty several faces. The proper and ordinary shadows of the full face. IT is true that some do affirm, there can be no general rule given for shadowing the face; the reason is, every several countenance hath his proper shadow as it falleth, fat, lean, swollen, wrinkled with age, or deformed by some other accident: but their argument is much at one with that I remember a Welshman urged in good sadness in the schools when I was Sophister in Cambridge: Wales was full of hills & dales, Ergo the world was not round: but to our purpose, The shadows that fall naturally in this face are these, first a single shadow in the temples, than a double shadow in the corner of the eyes, a circular shadow down the cheek, under the neither lip, a little under the nosethril, from the side of the nose to the corner of the mouth, what these several shadows and there uses are, you shall know anon. Of the three quarter face. The three quarter face, as I have said, is diminished by a fourth part, where some part of the eye & cheek are taken away by the nose and made less: so that the cheek in full sight must not only have 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 eyes ought not to be made of equal bigness, because the eye is lessened with the cheek, as likewise a corner of the mouth; the shadows in a manner are all one with the full face, save in this the neck & cheek are commonly deeply shadowed. Of the half face. The half face of all other is most easy, insomuch that if you will, you may draw it only with one line never removing your hand; in this you are to show but half an eye, and the ear at full, as you see. In making a true ear there is some difficulty, wherefore I have given an example by itself. Of the whole body. CHAP. 8. WHen you are grown something perfect in the face, and can draw the head indifferent well, you must be careful to proportion the body thereafter, than the error of which, no one fault is more common with most painters: for you shall scarce see one among twenty but will draw the head too big, which if you observe, you shall find in Making the head too big, a common fault. most pictures: help yourself herein by setting a boy before you, causing him to stand which way you list, and so to wont your judgement to the proportion by little and little: having finished the head, draw the The neck. neck, beginning it with one line from about the tip of the ear; then draw the other down from the ball of the cheek (which is lessened on the other side) as far as you think good to the shoulder, where stay, till you have shadowed it: the shadows of the neck in a child or young woman are very fine, rare and scarcely seen, but in a man the sinews must be expressed, with the veins, by shadowing the rest of the neck, & leaving them white. For the proportion of the other parts (because Master Haddock hath prevented me, whose book in any case I would have you to buy, after you are well entered) I will omit and show you only such eminences which by shadow must be necessarily expressed: after you have done the neck, you are to express the wing or upper part of the shoulder The shoulder. The arm. The wrist. by shadowing it underneath, the brawn of the arm must appear full, shadowed on one side, then show the wrist bone thereof and the meeting of the veins in that place, the veins of the back of the hand, and the knuckles, are made with 2 or 3 hear strokes with The knuckles The paps. The Ribs. a fine touch of your pen: the paps of a man are shown by two or three fine strokes given underneath, in a woman, with a circular shadow well deepened, the ribs are so to be shadowed, as you doubt whether they appear or no; except your man were starved, or you should draw death himself: the belly shall be eminent Thebelly. by shadowing the flank, and under the breast bone: the brawn of the thigh shall appear, by drawing small The thigh. hear strokes from the hip to the knee, shadowed again overthwartly: the knee pan must be shown with the knitting thereof by a fine shadow underneath the joint; the shinbone from the knee to the instep, is The knee. made by shadowing one half of the leg with a single The leg. shadow, the ankle bone will show itself by a shadow given underneath, as the knee; the sinews must seem to take their beginning from the midst of the foot: & to grow bigger the nearer they are to the toes. There is a great art in making the foot wherein your shadows must take place as occasion serveth, and to say the truth, so they must in the other parts, The foot. but naturally they fall as I have said; for teaching you the true shadowing of a naked body; Goltzius is one of the best whom above any other I wish you to imitate. Of Shadowing. That you might better understand what I mean in this last chapter by so many kinds of shadows, I will ere I go farther show you what they be, with their several uses. The first is a single shadow, and the least of all other, and is proper to the plain Superficies where it is not wholly possessed of the light; as for example: I draw a four square plate thus, that shadow, because there is no hollow, but all plain (as nearest participating with the light) is most natural and agreeable to that body. The second is the double shadow, and it is used when The double shadow. the Superficies begins once to forsake your eyes as you may perceive best in a column as thus: where it being darkened double, it presenteth to your eye (as it were) the backside, leaving that unshaddowed to the light. Your treble shadow is made by crossing over your double shadow again, which darkeneth by a third part in this manner, as followeth. It is used for the inmost shadow and farthest from the light, as in gulffes, chinks of the earth, wells, caves within houses (as when you imagine to look in at a door, or window) under the bellies & flanks of beasts to show the thick nesor darkness of a mighty wood, that it may seem nulli penetrabilis astro: consequently in all places where the light is beaten forth, as your reason will teach you. General rules for shadowing. You must always cast you shadow one way, that is, on which side of the body you begin your shadow, you must continue it till your work be done: as if I would draw a man, I begin to shadow his left cheek, the left part of his neck, the left side of the left arm, the left side of the left thigh, &c: leaving the other to the light, except the light side be darkened by the opposition of an other body, as if three bowls should stand together, that in the midst must receive a shadow on both sides. It will seem a hard matter to shadow a gem 5. or well pointed Diamond, that hath many side● and squares, and to give the lustre, where it ought but if you remember and observe the right use o● your shadows giving the light to the lightwarde which I have taught you, you shall easily do it of you● self. A merry jest of two Painters. Whilst I lay in Huntingdon, there grew a qua●rel between two painters, the one a strau●ger and a sojourner, the other dwelling in t●● town, the ground of which quarrel was a secret emulation between them (as commonly falleth out among tradesmen of one profession) which burst out so far, that at length one challenged to paint with the other for a wager of 20 nobles; the picture which should be drawn (because the stranger had already made and sold many) was the picture of Christ, and myself chosen judge of the workmanship: great advice and deliberation was taken on both sides (Now the painter of the town to show (as he thought) extraordinary art in shadowing, had laid with charcoal in a deep blew the cheeks and eyes of his picture) at the last, the work being finished, and both ready to hear my verdict; Newman the stranger who was the better workman so soon as he saw his adversaries work, God forgive me (quoth he) heers a picture with a witness, it looks as if it had been beaten black and blue: and I pray you (quoth the other) was not Christ buffeted, whereat certain gentlemen present, and myself took so good an oceasion of laughter (he speaking it in an honest simplicity to save himself) that we could do no less than make them both friends giving them their money again; & thus much of shadowing. Offore-shortning. CHAP. 9 FOreshortning is when by art the whole is concluded into one part, which only appeareth to the sight: as if I should paint a ship upon the sea, yet there should appear unto you but her fore part, the rest imagined hid, or likewise an horse with his breast and head looking full in my face, I must of necessity foreshorten him behind because his sides and flanks appear not unto me: this kind of draft is willingly overslipped by ordinary painters for want of cunning and skill to perform it; and you shall see not one thing among an hundred among them drawn in this manner, but after the ordinary fashion side ways, & that but lamely neither: I never beheld more absolute skill in his kind then in some of the pageants at the coronation of his Majesty; but I would not have you meddle with it till you were grown very cunning in pour plain draft. The use of foreshortning. THe use of foreshortning is to express all manner of action in man or beast, to represent many things in a little room, to give or show sundry sides of Cities, castles, forts, etc., at one time. Of Landtskip. CHAP. 10. LAndtskip is a Dutch word, & it is as much as we should say in English landship, or expressing of the land by hills, woods, Castles, seas, valleys, ruins, hanging rocks, Cities, Towns, etc. as far as may be showed within our Horizon. Seldom it is drawn by itself, but in respect & for the sake of some thing else: wherefore it falleth out among those thing which we call Parerga, which are additions or adjuncts rather of ornament, than otherwise necessary: as for example I should Draw the city of London, I would beside the city it self, show in vacant places (as far as my table or Horizon would give me leave) the Country round about, as Shooter's hill, and the high way winding up there between the woods, the Thames to grow less and less, & appearing as it were a dozen mile of, here and there scattered with ships and boats: Greenwich with the tower there and such like, all which are beside my purpose, because I was tied to nothing but the city itself: this kind of all other is most pleasing, because it feedeth the eye with variety. Before you make your Landskp, you must have 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 plain, hilly, all sea, &c: as for your superficies I mean of rising or declining of the ground with hills or Dales, let it fall out how it will, because you cannot draw it so rough with hills, or with so even a plainness but the earth hath the like in on place or other. General rules for Landtskip. YOu shall always in your Landtskip show a fair Horizon, and express the heaven more or less either overcast by clouds, or with a clear sky, showing the sun rising or setting over some hill or other: you shall seldom, except upon necessity, show the moon or stars, because we imagine all things to be seen by day. 2. If you show the Sun, let all the light of your trees, hills, Rocks, building etc. be given thitherward: shadow also your clouds from the sun: and you must be very dainty in lessening your bodies by their distance & have a regard, the farther your Landsskip goeth to those universalia which as Aristotle saith ( Poster. 1. in respect of their particulars concealed from our senses) are notiora: as in discerning a building 10 or 12 miles off, I cannot tell whether it be Church, Castle, gentleman's house, or the like: So that in drawing of it I must express no particular sign as bell, portculleis etc., but show it as weakly and as faintly as mine eye judgeth of it,, because all those particulars are taken away by the greatness of the distance. I have seen a man painted coming down a hill some mile and a half from me, as I judged by the Landtskip, yet might you have told all the buttons ofhis doublet: whether the painter had a subtle invention, or the fellows buttons were as big as those in fashion when Mounseir came into England, I will leave it (friendly reader) to thy judgement. If you lay your Landtskip in colours, the farther you go, the more you must lighten it with a thin and airy blue, to make it seem far off, beginning it first with a dark green, so driving it by degrees into a blue, which the density of the air between our sight and that place doth (only imaginarily) effect: your eye may easily be deceived in remote things, that is when the bodies appear to your sight far by gger then indeed they are, by the corruption (as we say) of the Medium: as for example, the Sun and Moon at their rising or Setting, you see, seem far bigger than when they are mounted over our heads in the Zenith: the reason is the thickness or corruption, as I said, of the air or Medium; which (being morning and Evening subject to vapours) doth participate and multiply the quality of the object: the same reason is given of a Seamew or stake that (being four or five miles from you, near the Sea) will seem as big as a Swan, or great Snowball: or of a twelvepences, or apple cast into a clear river: to take thereof just and true Landtskip, never go forth in a morning or evening, (but in the midst of the day:) for doubtless you will be deceived. An honest yeoman and a friend of mine was in this manner notablely coesoned in buying a bargain of Timber by the great in a misty or rimie morning, (the trees seeming bigger than they were) in a manner to his undoing: but I fear me, within these few years the mists will be so thick, we shall see no wood at all. Of drapery. CHAP. 11. DRapery (so called of the French word Drap, which is cloth) principally consisteth in the true making and folding your garment, giving to every fold his proper natural doubling and shadow; which is a great skill & scarce attained unto by any of our country and ordinary painters: insomuch that if I would make trial of a good workman; I would find him quickly by the folding of a garment, or the shadowing of a gown, sheet, or such like: but to avoid folding, you shall see our common painters set forth their men & women, with lace, fringe, pinckings, etc. which makes as fair a show as the best. The Method now to be observed in drapery, is to draw first the outmost or extreme lines of your garment, as you will, full or narrow, and leave wide and spare places, where you think you shall have need of folds; draw your greater folds always first, not letting any line touch, or directly cross another, for than shall you bring an irrecoverable confusion into your work: when you have so done, break your greater folds unto less, which shall be contained within them: I would give you an example, but every print will show you the like; all your folds consist of two lines and no more, which you may turn with the garment at your pleasure: begin your main and greatest folds, from the skirt up ward, and the closer the garments sit, the narrower you must make them: for the shadowing of every several fold, observe the first rule I gave you in the Chapter of shadowing, and spare not to shadow your folds, (be they never so curiously contrived) if they fall inward 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 have used to draw the body naked first, and after to have put on the apparel, but I hold it as an idle conceit, and to small purpose. General observations and rules for drapery. Your greater folds must be continued throughout the whole garment, the lesser you may break and shorten at your pleasure. The shadows of all manner of silks, and fine linen are very thick, and fine, so that your folds must not only be little, but their shadow or deepning very light, and rare, which commonly at the most is but a double shadow given with a new, and the finest pen. You must not use much folding where the garments ought to sit close or any eminency appear, as commonly there doth in the breasts of a woman, the arms, belly, thighs, legs, &c: but to show Art, you shall leave the form of the breast, leg, etc. to appear through, which you may do by shadowing the breast or leg, (after you draw it) on one or either side, leaving it white. As I told before of the light, so must you in your drapery have a care of the wind and motion of the air, for driving your loose apparel all one way, which I have seen well observed in many excellent pieces. Of Diapering. CHAP. 12. DIapering is derived (as I take it of the Greek verb 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is, iraijcio or transeo, in English to pass or cast over, & it is nothing else but a light tracing or running over with your pen (in Damask branches, and such like) your other work when you have quite done (I mean folds, shadowing and all) it chiefly serveth to counterfeit cloth of gold, Silver, Damask branched, velvet, chamlet, &c: with what branch and in what fashion you list. If you diaper upon folds, let your work be broken, & taken as it were by the half: for reason telleth you that your fold must cover so mewhat unseen, which being drawn forth at length and laid plain showeth all fair and perfect: as Ovid saith of Tapestry. Sic ubi tolluntur festis aulaea theatris, Surgere Signa Solent, primumque ostendere vultus: Caetera paulatim placidoque educta tenore, Metam. 3. Tota patent You must moreover in drapering, let your work fall out so, that there may be an affinity one part with the other, maintaining one branch or the same work throughout, setting the fairest in the most eminent place, and causing it to run upward: otherwise one might imagine some foolish Tailor had cut out his Lady's gown the wrong way. To make a chamlet you shall draw but five lines waved overthwart, if your drapering consist of a double line; you may either shadow the ground, & leave it white, or shadow your work and leave the ground white: as you shall think good, in this kind your filling may be with small pricks of your pens end, which will show fair. Of antic. CHAP. 13. ANTIQVE so called ab antiquitate, because the invention and use thereof above all other kinds among the Grecians especially was most ancient and in greatest request, the Italian calleth it L'antica: it hath the principal use in plate, clocks, armour, all manner of compartmentes, curious Architecture, borders of maps, &c: Though you shall seldom have any great use of it, yet I would have you know what it is, and what to observe in it: The form of it is a general, and (as I may say) an unnatural or unorderly composition for delight sake, of men, beasts, birds, fishes, flowers, etc. without (as we say) Rhyme or reason, for the greater variety you show in your invention, the more you please, but remembering to observe 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 boys riding and playing with their paper-mills or bubble-shels upon Goats, Eagles, Dolphins &c: the bones of a Rams head hung with strings of beads and Ribbons, satires, Tritons, apes, Cornu-copia's, Dogs yoackt etc. drawing cowcummers, cherries & any kind of wild trail or vinet after your own invention, with a thousand more such idle toys, so that herein you cannot be too fantastical. The late dutch peers in this kind excel all others, and certainly I know not by what destiny the Germans have won unto them (above other nations) the glory of invention, generally in picture: for except it be a dutch piece, you shall have it either lame, ill cut, false shadowed or subject to some such gross error. Wherefore, not without reason, Bodine calleth The country officinam hominum a shop of men, as from whence a man might be had for all turns, either Divine, Physician, Soldier painter, etc. Though much I confess may be imputed to the industry of that Nation: (for none in the world are more painful than they) yet without question the people of themselves, as they are in genius & capable of all other arts, so naturally they are inclined to this of Painting: Since the greatest persons among them as Dukes, Earls, and in a manner all the Gentlemen do bear an inbred love to drawing, and of themselves by their own practice grow many times wonderful expert herein: yet none at this day who favoureth a good picture, or any excellency in that kind, more than Rodulph the Emperor now living. Of Drawing beasts, birds, flowers, etc., CHAP. 14. YOU shall find among beasts some more harder to be drawn than others for two respects, one is for a clean making and shape, together with a fineness of the cote or skin: the other for their nimbleness and much action, both which you may for example see to fall out in a horse, whose lineaments are both passing curious, and coat so fine, that many sinews yea and the smallest veins must be shown in him, besides whose action is so divers, that for hardness of draught I know not any one beast may be compared to the horse; for sometime you must draw him in his career with his manage, & turn, doing the Coruetto, leaping, etc. which you shall not find in the Elephant, Cow, Bear, or hogg as being beasts heavy and slothful by nature: moreover wanting that fineness of coat or hide, so that you shall escape a great trouble in showing veins, knitting of joints, with the eminency almost of every bone in them, which you have in a horse and greyhound. Now for the manner of drawing these or any other beast whatsoever: begin with your lead or coal (as before I told you and gave you a general rule) at the forehead, drawing downward the nose, mouth, upper and neither chap, ending your line at the throat, then learching it again where you began, from the forehead over the head, ears, and neck: continuing it till you have given the full compass of the buttock, but I will give you an example. I Begin in this Lion my first stroke at A, bringing it down to B, making the nose, mouth, and neither chap with one line, as you see; there I rest: then fetch I that line forward behind by S: making the compass ofhi mane by pricks with my pen (because if I should make a line, I could not make it jagged) then bring I the back down to the tail or D, leaving a little space for it, I continue my line from thence to E, or the heel, where I rest: then begin I again at B, and making the breast with the eminency thereof I stay at F, bringing out his near forefoot, which I finish: then begin I at G not stirring my hand till I come to the foot or paw at H; where I finish it quite at E, or the heel. I next draw from his belly two strokes at I and K: I make the other leg behind, than the right fore foot issuing from the breast: them I finish the tail, claws, tongue, teeth, beard, and last of all the shadowing: which method you shall observe in all beasts howsoever they stand. Observations of the shadowing. YOU see him shadowed on the back side from CD, unto E, the reason is the light beateth on his fore part, wherefore os necessity the shadow must be in every part behind, ear mane, back, hinder leg, etc. But you may say, how happeneth it then, that his neither chap and some part of his throat & belly are shadowed being both with the light? I answer the light of it own nature can never fall under, but take the place above or in the upper part, which place is here praepossessed by the upper & neither 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 given to the most in ward places: It your beast be not in charge, that is not in arms, and you are to show the ground under his feet; you must make his farther feet on the other side somewhat shorter than those next you: the reason is, that distance of earth between them deceiveth the sight, causing the nearer to seem longest: as you may see by opening or stretching your fore and middle finger like a pair of compasses long ways from you, upon a board or table, drawing them with your pen as they stand, and observing the space between. Beasts more hard to be drawn for their shape and action. The Lion. The Horse. The Rhinoceros. The Unicorn. The Stag. The Lucerne. The Greyhound. The Hyena. The Leopard. The Ounce. The Tiger. The Panther. The Ape, etc. Others more easy. The Elephant. The Dromedary. The Camel. The Bear. The Ass. The Hog. The Sheep. The Badger. The Porc-espine. The Wolf. The Fox. The Cow. The Otter. The Hare. The Coney. The All manner rough The & shag hair dogs In drawing these and all other beasts, the better you observe their shape and action, the better shall you please, and your judgement be commended, wherefore a painter had need to be well seen in Natural Philosophy. 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 between 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 deserved most commendation. Moreover if you ask a Country painter whether he could draw a Crocodile or no, he will make no question of it, when as except he travailed through Egypt, or met with Aristotle in English, all the wit he had could not so much as set the chaps right, or give the future truly in the head to, show the motion of his upper-chap, which no creature in the world moveth, save only he. If you draw your beast in an Emblem or such like, A landscape must be given to every beast according to his Country you shall sometime show a landscape (as it is ordinarily observed by judicious workmen) of the country natural to that beast, as to the Rhinoceros an East-indian Landscape, the Crocodile an Egyptian, by laying the ground low without hills, many woods of palme-tres, here and there the ruin of a Pyramid, and so forth of the rest. Of birds. There is les difficulty in drawing birds than beasts, & least of all in flowers, yet art and needful directions to be observed in all of them: begin your draft in a bird, as I said, at the head, and beware of making it too big: Van Londerseel's pieces 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 workmen else. You shall best remedy that by causing a bird to be held or tied in a cloven stick before you, where you shall take with your compasses a true proportion, which afterwards you may conclude into as small a form 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 ever after be acquainted with a reasonable proportion, which though you hit not justly, you shall come very near: having drawn the head, bring from under the throat, the breast line, down to the legs; there stay: and begin at the pineon to make the wing, which being joined with the back line is presently finished: the eye, legs, and train must be the last, and (as I told you before in beasts) let the farther leg ever be shortest. the feathers as the hair in beasts, must take their beginning ●t the head very small, and in fine ranks fall backward greater and greater, as this your example showeth. Of flowers, fly's, etc. For flowers, flies and such like, I will leave them (being things of small moment) to your own discretion, counseling you at your leisure when you walk abroad into the fields, to gather and-keep them in little boxes until you shall have occasion to use them. To draw a flower begin it ab umbone, or the boss in the midst: as in a Rose, there is a yellow tuft, which being first made, draw your lines equally divided, from thence to the line of your compass, which you are first to give, and then the worst is past. You may show your flower, either open and fair in the bud, laden with dew and wet, worm-eaten, the leaves dropped away with overripenes &c: and as your flower, so first draw rudely your leaves, making them plain with your coal or lead, before you give them their veins or jaggednesse. For Butterflies, Breeze, wasps, grasshoppers, & such like, which we call Insecta, most of them are easy to be drawn, and not hard to be laid in colours: because the colours of many of them are simple, and without composition, as perfect red, black, blue, yellow, &c: which every ordinary painter may lay, who if they should be put (by mixture of many colours) to make that purple of a pigeon's neck, or give the perfect colour but of a Daw or jay, you should see them at their wit's end. In the months of june and july, you may gather of all manner of flies, which you may preserve all the year, either in close boxes, or sticking them with a pin severally upon small papers: Butterflies are where store of Thistles and Lavender is, your Breeze by ponds and Rivers sides Notable absurdities to be avotded in draft. CHAP. XV. THE first absurdity is of proportion Natural, commonly called lameness, that is when any 1 Of lameness part or member is disproportionable to the whole body, or seemeth through the Ignorance of the painter to be wrested from his natural place and motion: As in the roof of the Choir in Peter-borough Minster, you may see Saint Peter painted, his head very near or altogether as big as his middle: and it is ordinary in country houses to see horsemen painted, and the rider a great deal bigger than his horse. The second is of Landtskippe, or Local distance, 2 Of local distance. as I have seen painted a Church, and some half a mile beyond it the vicarage; yet the Vicar's chimney drawn bigger than the steeple by a third part, which being less of itself, ought also to be much more abated by the distance. The third absurdity is of accident of time, that is when we fashion or attribute the proprieties of ancient 3 Accident of Time. jud. 7. times to those of ours, or ours to theirs: As not long since I found painted in an Inn Bethulia besieged by Holophernes, where the painter, as if it had been at Ostend, made his East and West batteries, with great ordinance & small shot playing from the walls, when you know that ordinance was not invented of two thousand years after. The fourth is in expressing passion or the disposition 4 In expressing the passion or disposition of the mind. Qualisequos' Threissa fatigat Harpalice. Aeneid. 1. 5 Of drapery of the mind, as to draw Mars like young Hippolytus with an amiable or effeminate countenance, or Venus like an Amazon, or that same hotspurd Harpalice in Virgil, this proceedeth of too senseless and overcold a judgement. The fifth is of drapery or attire, in not observing a decorum in garments proper to every several condition and calling, as not giving to a King his Robes of Estate, with their proper furs and linings: To Religious persons an habit fitting with humility and contempt of the world; A notable example of this kind I found in a Gentleman's hall, which was King Solomon sitting in his throne with a deep laced gentlewoman's Ruff, and a Rebatoe about his neck, upon his head a black velvet Cap with a white feather; the Queen of Sheba kneeling before him in a loose bodied gown, and a French-hood. The sixth and last of shadowing, as I have seen painted 6 Of shadowing. the flame of a candle, and the light thereof on one side shadowed 3 parts: when there ought to have been none at all, because there is undequaque lumen, which may cause a shadow but take none. THE Second book entreating of the true ordering of all manner of water colours and painting upon glass. CHAP. 1. HAVING hitherto as plainly, as I could, given you those directions I have thought most necessary for drawing with the pen: I will show you next the right mingling and ordering of your colours, that after you can draw indiffernt well (for before I would not have you know what colours meaneth) you may with more delight apparel your work with the lively and natural beauty: and first of the choice of your grinding stone and pencils. I like best the porphyry, white or green Marble, The choice of your grinding stone & mullar. with a muller or upper stone of the same, cut very even without flaws or holes: you may buy them in London, of those that make tombs, they will last you your life time, wearing very little or nothing: some use glass, but many times they gather up their colours on the ground: others slates, but they with wearing (though never so hard at first) will kill all colours: you may also make you a mullar of a flat pebble, by grinding it smooth at a grindstone if you do it handsomely, it is as good as the best: your great muscle shells commonly called horse muscles are the best for keeping colours, you may gather them in july about river sides, the next to these are the small muscle shells washed and kept very clean. Choose your pencils by their fastness in the quills, and their sharp points, after you have drawn 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 Several Gums that are used in grinding of water colours. CHAP. 2. Gum Arabic. THE first and principal is gum Arabic, choose it by the whiteness, clearness, & the britlenes of it being broken between your teeth: for than it is good, take it and lay it in very fair water until it be quite resolved, and with it grind your colours: you may make it thin or thick as all other gums, at your pleasure, by adding & taking away the water you put to it. 2 Gumma Hederae, or of the ivy. There is an other very excellent gum that proceedeth from the ivy which you shall get in this manner: find out first an O ache, or house that hath a great branch of ivy climbing up 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 about, at what time you shall take from it a pure & fine gum like an oil, which issueth out of the ends: take it off handsomely with a knife or spoon, and keep it in a vial; it is good to put into your gold size and other colours for three respects, first it allays the smell osthe size, secondly it taketh away the bubbles that arise upon your gold size, and other colours, lastly it taketh away the clammines, and fatness from your other colours: there is moreover great use of it in the confection of pommander. 3. Gum lake. Gum lake is made with the glaire of eggs, strained often and very short, about March or April: to which about the quantity of a pint you must put two spoonful of honey, and as much of Gumma Hederae as a hazel nut, and four good spoonfuls of the strongest wort you can come by: then strain them again with a spoong, or piece of wool, so fine as you can, & so long till that you see them run like a fine and clear oil, keep it then in a clean glass, it will grow hard, but you may resolve it again with a little clean water, as you do gum Arabeck: it is moreover an excellent varnish for any picture. 4 Gum Armoniac. Take Gum Armoniac, and grind it with the juice of Garlic so fine as may be, to which put 2. or three drops of weak Gum Arabeck water, and temper it so that it be not too thick, but that it may run well out of your pen, and write therewith what you will, and let it dry, and when you mean to gild upon it, cut your gold, or silver according to the bigness of the size you have laid; and then set it with a piece of wool in this manner: first breath upon the size, and then lay on your gold upon it gently taken up, which press down hard with your piece of wool, and then let it well dry, being dried, with a fine linen cloth strike off finely the loose gold: then shall you find all that you drew very fair gold, and as clean as you have drawn it, though it were as small as any hear: it is called gold Armoniac, and is taken many times for liquid gold. Of guilding or the ordering of gold and silver in water colours. CHAP. 3. YOu may gild only with gum water, as I will show you, make your water good and stiff, and lay it on with your pencil where you would gild, then take a cushion that hath smooth leather, and turn the bottom upward, upon that cut your gold with a sharp knife; in what quantity you will, & to take it up draw the edge of your knife finely upon your tongue, that it may be only wet: with which, do but touch the very edge of your gold, it will come up and you may lay it as you list; but before you lay it on, let you gum be almost dry, otherwise it will drown your gold: and being laid, press it down hard with the skut of an hare, afterward burnish it with a dogs tooth, or bores tush. I call burnished gold, that manner of guilding which we ordinarily see in old parchment & Mass books, (done by monks and priests who were very expert herein, as also in laying of colours, that in books of an hundred or two hundred years old you may see the colours as beautiful and as fresh as if they were done but yesterday,) it lieth commonly Embossed that you may feel it, by reason of the thickness of the ground or size, which size is made in this manner. Take 3 parts of Bole Armoniac, and 4 of fine chalk, grind them together as small as you can with clean water, 3 or 4 times, and every time let it dry, & see it be clean without gravil or grit, & then let it be thoroughly Dry, then take the glaire of eggs and strain it as short as water; grind then your bowl and chalk therewith, & in the grinding put to a little gum Haederae, & a little ear wax, to the quantity of a fitch, & 5 or 6 chives of saffron, which grind together as small as you can possible, & then put it into an ox horn, & covered close let it rot in hot horse dung, or in the earth, for the space of 5 or 6 weeks, then take it up and lay it in the air, (for it will have an ill savour) & use it at your pleasure. To set gold or silver. TAKE a piece of your Gum and resolve it into a stiff water, then grind a shive of saffron there with, and you shall have a fair gold: when you have set it, and you see that it is throroughly dry, rub or burnish it with a dog's tooth. To make liquid gold or silver. TAke 5 or 6 leaves of gold or silver, and lay it up on a clean Porphiry, marble stone, or pane of glass, and grind it with strong water of gum Lake and a pretty quantity of great salt, as small as you can, and then put it into a clean vessel, or vial that is well glazed: and put thereto as much fair water as will fill the glass or vessel, to the end it may dissolve the stiff water you ground with it, & that the gold may have room to go to the bottom let it stand so three or four hours, then power out that water, and put in more, until you see the gold clean washed: after that take clean water, which put thereto with a little Sal Armoniac & great salt, so let it stand three or four days in some close place: them must you distill it in this manner, take a piece of glovers leather, that is very thin, & pick away the skinny side, and put your gold therein binding it close, them hanging it up, the Sal Armoniac will fret away, and the gold remain behind, which take, and when you will use it, have a little glaire water in a shell by you, wherein dip your pencil, taking up no more gold than you shall use. Of all sorts of Reds, and their Tempering. CHAP. FOUR Of Vermilion. YOur fairest and most principal Red is Vermilion, called in Latin Minium, it is a poison, and found where great store of quicksilver is: you must grind it with the glayre of an egg, and in the grinding put too a little clarified honey, to make his colour bright and perfect. Sinaper Lake. cinnabar (in Latin called Cinnabaris, or Synopis of the City Synope in Pontus, where it was first invented) maketh a deep and beautiful red or rather purple, almost like unto a red Rose: the best was wont to be made, as Dioscorides saith, in Libya of Brimstone and quicksilver burned a long time to a small quantity: and not of the blood of the Elephant and Dragon as Pliny supposed: you shall grind it with Gum Lake and Lib. 33. cap; 7. Turnsoile water, if you will have it light, put to a little Ceruse, and it will make a bright crimson, if to diaper A bright Crimson. put to only Turnsoile water. Synaper Top's. Grind your Tops after the same manner you do your lake, they are both of one nature. Red Lead. Red lead, in Latin is called Syricum, it was wont to be made of Ceruse burnt; which grind with a quantity of Saffron, and stiff gum lake: for your saffron will make it orient and of a Marigold colour. Marigold colour. Turnesoile. Turnsoile is made of old linen rags died, you shall use it after this manner: lay it in a saucer of vinegar, and set it over a chafing dish of coals and let it boil, then take it of and wring it into a shell, and put unto it a little gum Arabeck, letting it stand 3 or 4 hours, till it be dissolved: it is good to shadow carnations, and all yeallowes. Roset. You shall grind your Roset with Brasill water, and it will make you a deep and a fair purple, if you A purple. A fair violet. put Ceruse to it, it maketh a lighter, if you grind it with Litmose, it maketh a fair violet. Browne of Spain. Grind your Browne of Spain with Brasill water, and if you mingle it with Ceruse it maketh an horse Horseflesh colour. flesh colour. Bole Armoniac. Bole Armoniac is but a faint colour, the chiefest use of it, is, as I have said in making a size for burnished gold. Of Green's and their tempering. CHAP. V. Green Bice. TAke green Bice, and order it as you do your blue bice, and in the self same manner: when it is moist and not through dry, you may diaper upon it with the water of deep green. Vertgreace. Vertgreace is nothing else but the rust of brass, which in time being consumed and eaten with Tallow turneth into green, as you may see many times upon fowl candlesticks that have not been often made clean, wherefore it hath the name in latin Aerugo, in French Vert de gris, or the hoary green: to temper it as you ought, you must grind it with the juice of Rue, and a little weak gum water, & you shall have the purest green that is; if you will diaper with it, grind it with the lie of Rue, (that is, the water wherein you have sod your Rue or Herbgrace) and you shall have an hoary green: you shall diaper or Damask upon 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 velvet upon black in any manner of drapery. sap green. Take sap green and lay it in sharp vinegar all night, put to it a little Alom, to raise his colour, and you shall have a good green to diaper upon all other greene's. Of Whites and their tempering. Venice Ceruse. Your principal white is Ceruse, called in Latin Cerussa, by the Italian Biacea. vitrvuius teacheth the making of it, which is in this manner. The Rhodians (saith he) use to take the parings of vines or any other chips, and lay them in the bottoms of pipes or hogsheads, upon which they power great store of vinegar, and then lay above many sheets of lead, and so still one above another by ranks till the hogsheads are full, then stop they up again the hogsheads close, that no air may enter: which again after a certain time being opened, they find between the lead and chips great store of Ceruse: it hath been much used (as, it is also now adays) by women in painting their faces, at whom Martial in his merry vain skoffeth, Epigram, lib. 2. saying; Cerussata timet Sabella Solem. Actius saith it being thoroughly burnt, it turneth into a fair Red, which he calleth Syricum, grind it with the glair of eggs, that hath lain rotting a month or two under the ground, and it will make a most perfect white. White Lead. White Lead is in a manner the same that Ceruse is, save that the Ceruse is refined & made more pure, you shall grind it with a weak water of gum Lake, and let it stand 3 or 4 days, Roset and Vermilion maketh A fair Carnation. it a fair Carnation. Spanish white, There is an other white called Spanish white, which you may make yourself in this manner; take fine chalk and grind it with the third part of Alum in fair water, till it be thick like pap, than roll it up into balls, letting it lie till it be dry, when it is dry, put it into the fire, and let it remain till it be red hot like a burning coal, and then take it out and let it cool: it is the best white of all others to lace or garnish being ground with a weak Gum water. of all manner of blewes and their ordering. CHAP. 7. Blue Bice. TAke fine Bice and grind it upon a clean stone, first with clean water as small as you can, than put it into an horn and wash it on this manner: put unto it as much fair water as will fill up your horn, and stir it well, then let it stand the space of an hour, & all the bice shall fall to the bottom, and the corruption will fleet above the water, then power away the corrupt water, and put in more clean water, and so use it four or five times, at the last power away all the water, & put in clean water of gum Arabeck not to stiff, but somewhat weak, that the bice may fall to the bottom, them power away the Gum water clean from the bice; & put to another clean water and so wash it up, and if you would have it rise of the same colour it is of, when it is dry temper it with a weak gum water, which also will cause it to rise and swell in the drying, if a most perfect blue, and of the same colour it is being wet, temper it with a stiff water of gum lake, if you would have it light, grind it with a little ceruse, or the muting of an hawk that is white, if you will have it a most deep blue, put thereto the water of litmose. Litmose blue Take fine litmose and grind it with ceruse, and if you put to overmuch Litmos, it maketh a deep blue: if overmuch ceruse and less litmos, it maketh a light blue: you must grind it with weak water of gum Arabeck. Indebaudias. Take Indebaudias and grind it with the water of Litmose, if you will have it deep; but if light, grind it with fine ceruse, and with a weak water of gum Arabeck, you shall also grind your English Indebaudias, after the same manner, which is not fully so good a colour as your indebaudias isyou must: Diaper light and deep upon it, with a good litmose water. Florey blue. Take Florey blue, and grind it with a little fine Roset, and it will make a deep violet, and by putting in a quantity of Ceruse it will 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 grind it with unslaked lime and urine, it maketh a pure violet: by putting to more or less lime, you may make your violet light, or deep as you will. To make a blue water to Diaper upon all other blews. Take fine Litmus' and cut it in pieces, when you have done, lay it in weak water of Gum Lake, and let it lie 24 hours therein; and you shall have a water of a most perfect azure, with which water you may diaper and damask upon all other blews, and sanguines to make them show more fair and beautiful: 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 Latin Arsenicum, or Auripigmentum, (because being broken it resembleth Gold for shining and colour) is best ground with a stiff water of gum Lake, and with nothing else: because it is the best colour of itself, it will lie upon no green: for all greene's, white lead, Red lead, and Ceruse stain 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 certain covetous 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 quantity, that it would not quite the cost in refining. Masticot or General. Grind your Masticot with a small quantity of Saffron in Gum water, and never make it lighter than it is; it will endure and lie upon all colours and metals. pink yellow. You must grind your Pink, if you will have it sad coloured, with saffron; if light, with Ceruse: temper it with weak gum water and so use it. Ochre de Luke. Take fine Ochre de Luke, or Luce, and grind it with a pure brasil water: it maketh a passing hayr-colour, and is a natural shadow for gold. Umber. Umber is a more sad colour, you may grind it with Gum water or Gum Lake: and lighten it at your pleasure with a little Ceruse, and a chive of saffron. Of blacks and their ordering. CHAP. 9 Heart's horn. THe best black to make your Satins and velvets, in water colours, is the Heart's horn burnt to a coal: you may buy it at every Apothecaries (for it hath many uses in medicines) buy the blackest, and if there be (as commonly there is) any white, or overburnt pieces it it, pick them out clean, for they will infect the rest: for a shift you may burn an old comb, fan handle, or knife haft, or any thing else that is ivory, they will make a very good black in water, but in oil the best of all others; or you may burn a manchet to a coal, which will serve for a need. Ordinary lamp black. Take a torch ora link, and hold it under the bottom of a latin basin, and as it groweth to be furred and black within, strike it with a feather into some shell or other, and grind it with gum water. To work with metals. Tinglas. Grind Tinglas with weak gum water as small as you can, and when it is dry, and you have wrought it, burnish it with a Dog's tooth, and it will be like Metal. Antemonie. Grind your Antemony as your Tinglasse, and burnish it in the same manner. Eler-glasse. Grind your Elerglas with stiff water of Gum Arabeck: for it is so brittle that otherwise it will not abide, and order it as you do your other Metals; it will agree with all colours saving Orpiment. Of making inks of sundry colours. Green ink. Take vertgrease and grind it with the juice of a rotten apple with a little saffron, when you have done put it into a clean Horn and let it stand a good while, until the best fleet above, which take and put into a shell, until you have occasion to use it. The best red ink. Grind vermilion with the glaire of an egg, or stiff gum Arabeck water, putting hereto a little saffron, and so write with it out of a shell, if it be dry, you may soften it by adding a little more water. yellow ink. Take saffron rust, or the seeds, and grind it on your painter's stone, half an hour, with the yolk of an egg: if you will have it a light yellow, add thereto a little Ceruse. Blue Ink. Take Indigo and grind it with gum water, and put thereto blanck-bloome, as much as will quicken & and perfect his colour. White Ink. Grind ceruse on a stone with Gum water, and you have done. Sanguine Ink. Take turn soil and steep it in gum water, and after a while wring it into a shell, and so write with it. To keep inks from freezing. Put into any of them Camphire about the quantity of a fitch, and stir it well about, To make a golden water. Take green vitriol, Sal Gemma, and Sal Armoniac, and put them together: so that their be the quantity of an ounce; and seeth them in a quart of white wine, until it be half wasted away, and when it is cool work withal: To make an excellent green water. Take red vinegar and the Urine of a Ram, the filing of brass and an ounce of vertgreace, with the gall of a Bull, & boil them together the space of going half a mile: and then put thereto a pretty quantity of Alum, & let it stand. 7. or 8. days, and so work with it. Thus briefly have I taught you your colours, and the manner of ordering or tempering the same: for the mixtnre of some one colour of many, (as a bay or Sorrel in a horse) you must have some time to do it by your own discretion and observation: for it would be too tedious a piece of work to give directions all, when as a man may of one colour alone, make above a thousand species, or kinds: wherefore when you come to a compounded colour, (like the aforesaid) which you can very hardly make, mingle those colours which you know come nearest unto it, confer and lay them to the life, adding or taking away as you see cause. The manner of Annealing and painting upon glass. CHAP. I. AS there have been of late years many arts invented, and others, that in a manner lay rude and unregarded, through the industry of our times grown to full perfection: So I make no question on the other side, but divers by our Idleness & negligence are utterly lost and forgotten; that I may allege one in stead of the rest, I would know what Lapidary, or any else could show me the art of casting that marble, where of we see many fair and beautiful pillars in Westminster, Lincoln, Peterborough; etc., and in many places whole pavements, as in Saint Albans Abbey, Gormanchester, &c. surely I think not any: And what hath been in greater request then good workmanship in glass, when scarce now any may be found (except some few in London, and they perhaps dutchmen to) that have but the ordinary skill of annealing and laying their colours: verily I am persuaded, if our forefat hers had known, how little we regarded either their devotion or cost in painting glass windows, they would have spared their money, to some better purpose; nay if we would in many places imitate them so far, as but to allow our Churches and Chapels glass, it were well; where many times you shall see whole panes (whereof some have carried the names of their devout and religious founders; others the royal coats either of our ancient kings of this land, their Allies, or of the benefactors and Lords of that place, monuments many times of great importance,) for want of repair partly been beaten down by the weather, partly by over precise parsons & vicar's, (as one in Northamptonshire did in his chancel, the arms of King Edward the 3. and the dukes of York and Clarence, taking them for images,) and the windows stopped up with straw and sedge, or dammed up quite, a regard I confess hath been had of these abuses, but I fear me a great deal too late. The best workmanship that may be seen in England at this day in glass, is in K. College Chapel in Cambridge, containing (as they say) the whole history both of the old and new testament, the next to that in Henry the seventh's Chapel at Westminster the one finished, the other wholly built by the said religious King. There are many good pieces else in divers other places, as Canterbury, Lincoln, &c: unto which being drawn by their own antiquity, and love of art, I have in a manner gone in pilgrimage, neither, as I thought, losing my labour, since I can show almost 8 hundred several ancient coats, which out of old and decayed windows, I have entertained from the injury of rude hands, and fowl weather. CHAP. 2. THere be six principal colours in glass; which are Or, or yellow Argent, or white, Sables, Azure, Gules, and Vert, black, blue, red, and green. How to makeyour Or, or yellow upon glass. Your yellow is made in this manner, take an old groat: or other piece of the purest and best refmed silver that you can get, then take a good quantity of Brimstone, and melt it, when ye have done, put your silver into the Brimstone melted; and take it forth again with a pair of pliers or small tongues, and light it at the fire, holding it in your tongues until it leave burning: then beat your silver in a brazen Mortar to dust, which dust take out of the mortar, and laying it on your Marble stone grind it (adding unto it a small quantity of yellow Ochre) with gum Arabeck water and when you have drawn with your pencil what you will, let it of itself thoroughly dry upon the glass. Another fair Gold or yellow upon Glass. Take a quantity of good silver, and cut it in small pieces: Antemonium beat to powder, and put them together in a crucible or melting cruse, and set them on the fire, well covered round about, with coals for the space of an hour: 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 silver as much as you mean to burn, remember to way against it six times as much yellow oaker as it weigheth, and seven times as much of the old earth, that hath been scraped of the annealed work, as your silver weigheth: which after it is well ground, put altogether into a pot and stir it well, and so use it, this is the best yellow. Argent or white. Argent or silver, is the glass itself, and needeth no other colour, yet you may diaper upon it with other glass or Crystal, beaten to powder and ground. Sables. Take jet, and the scales of Iron, and with a wet feather when the smith hath taken an heat, take up the scales that fly from the Iron; which you may do by laying the feather on them, & those scales that come up with the feather, you shall grind upon your painter's stone, with the jet and Gum me water, so use it as your gold above written. Azure, Gules, and Ver●. These three colours are to be used after one manner you m ay buy or speak unto some merchant you are acquainted withal, to procure you what coloured beads you will, as for example, the most & perfectest red beads, that can be come by, to make you a fair red, beat them into powder, in a brazen Mortar, then buy the gold smiths red Enamel, which in any case let be very transparent and through-shining, take of the beads two pearls, and of the Ammel one part, and gtind them together as you did your silver, in the like sort may you use all the other colours. Another saire red upon glass. Take a quantity of Dragon's blood, called in Latin Sanguis Draconis, beat it into fine powder in a mortar, and put it in a linen cloth, & put thereto strong Aquavitae, and strain them together in a pot, and use them when you need. another excellent green upon glass. Take a quantity of vertgrease and grind it very well with Turpentine, when you have done put it into a pot, and as often as you use it warm it on the fire. To make a fair carnation upon a glass. Take an ounce of Tinne-glas, one quarter of gum ofIet three ounces, ofRed ochre five ounces, & grind them together. Another black Take a quantity of iron scales, and so many copper scales and way them one against an other, and half as much jet, and mix them well together. Before you occupy your scales, let them be stamped small, and put them into a clean fire shovel, and set them upon the fire till they be red hot, and they will be the better. Another Carnation. Take a quantity of let, and half as much silver scum, or glass tin, & half 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 glass, after you have laid on your colours. Take bricks, and therewith make an oven four square, one foot and a half high in this manner: and raise it a foot and a half high, when you have done, lay little bars of Iron overthwart it thus, three or four, or as many as will serve, then raise it above the bars one foot and a half more, then is it high enough: when you purpose to anneale, Take a plate of Iron made fit for the aforesaid oven, or for want thereof, take a blue stone, such as they make haver or oaten cakes upon which being made fit for the aforesaid oven, lay it upon the cross bars of Iron: that done, take sleekt lime & sift it through a fine siue, into the oven, open the plate or stone, and make a bed of lime, then lay your glass which you have wrought and drawn before, upon the said bed of lime; then sift upon the said glass: another bed of lime, & upon that bed lay other glass, and so by beds you may lay as much glass as the oven will contain: providing always that one glass touch not another. Then make a soft fire under your glass, and let it burn till it be sufficiently annealed: it may have (you must note) too much or too little of the fire, but to provide that it shall be well, you shall do as followeth. To know when your glass is well annealed. Take so many pieces of glass, as you purpose to lay beds of glass in your oven, or furnace, and draw in colours what you will upon the said pieces, or if you wipe them over with some colour, with your finger only it is enough: & lay with every bed of your wrought and drawn glass one of the said pieces of glass, which are called watches, & when you think that they are sufficiently annealed with a pair of pliers or tongues, take out the first watch which is the lowest, & next to the fire, and lay it upon a board until 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, & if it hold it is well annealed. When you would occupy any oiled colour in glass, you shall once grind it with gum water, & then temper it with spanish Turpentine, and let it dry as near the fire as may be, then is it perfect. Other notes worthy of the practice and observation. Colours for a table work. Take Indie blue, and grind it upon your stone, or glass, and gum it well: and lay it upon your table work as you think good, striking your blew over with linseed oylupon which after it hath dried a little, lay on less gold or silver, and it will be fair. For a fair Red. Take fair black adding thereto a small quantity of Sanguis Draconis, and grind it upon a stone with the fattest oil you can get, afterward grind it as dry as you can, and put it into a shell: after you have laid it let your colour dry, and strike it over with linseed oil, after that lay on you silver. For green. Take spanish green, and grind it as you ground your black, and lay it: you may first shadow it with blue, and so lay your green upon it: and after letting it Dry in the sun, lay on the green or silver as is beforementioned. For a gold cloth. Take your carnation and deep it is as you would deep with black, and strike it thin with oil, and after lay your gold on, and it will be fair. To write upon iron. Take vertgrease, green copperaes, vinegar, and roch Alum: and temper them together: and melt wax upon your sword or knife, upon which draw or write what you will. Having thus (friendly reader) for thy behoof played both the Painter and Glazier at once, I crave pardon if in so deep a skill I have not satisfied thee in all things: what I have omitted it is not through Ignorance, but because I would not trouble thee a learner (as I imagine) with over busy or tedious conclusions; having long since learned that lesson of Horace. Quicquid praecipies brevis esto. etc. And thus not doubting of thy good will for my pains, such as they are, I throw away my Apron, and bid thee heartily adieu. FINIS.