The Gentleman's Exercise.  
Or An exquisite practice, as well for drawing all manner of Beasts in their true Portraittures: as also the making of all kinds of colours, to be used in Lymming, Painting, Tricking, and Blazon of Coats, and Arms, with divers others most delightful and pleasurable observations, for all young Gentlemen and others.  
As also Serving for the necessary use and general benefit of divers Tradesmen and Artificers, as namely Painters, joiners, Free-masons, Cutters and Carvers, etc. for the farther gracing, beautifying, and garnishing of all their absolute and worthy pieces, either for Borders, Architecks, or Columns, etc.  
By HENRY PEACHAM Master of Artes.  
LONDON, Printed for john Browne, and are to be sold at his shop in Fleetstreet in Saint Dunstanes Church-yard. 1612.   

TO THE RIGHT WORSHIPFUL AND WORTHIEST PATRON OF ALL Learning and Excellency, Sir EDMUND ASHFIELD Knight, one of his majesties deputy Lieutenant's o● the County of BUCKINGHAM.  
SIR, as to be excellent in any skill is very rare, so the favourers of excellency are not every where to be found, whom when by our good hap we find; I know not by what Sympathy we are drawn to admire and honour them above all other creatures, as the Saints and Sovereigns of our affections and devices: few they are I confess, and so few, that if by events forepast we may judge of things to come, I fear me ere many years, even the most necessary Arts to our posterity erun● pos●liminio revocandae, so great a coldness hath benumbed our times. I cannot much blame the Italian, though he accounts us ●ull, and other nations, that have the wit to work upon our idleness, which I can impute to none other cause, than the want of encouragement from the better sort. Our countrymen being as happy in their invention as the best stranger of them all. For mine own part, I hope I shall not be imagined to speak as Demetrius did for his silver Images, as gaining aught hereby, since by profession I am a Scholar. Only I am sorry that our courtiers and great personages must seek far and near for some Dutchman or Italian to draw their pictures, and invent their devices, our Englishmen being held for Vaunients. To which end as well for their sakes who are as yet young practitioners, as in regard of many young Gentlemen in this Kingdom, who being naturally inclined hereunto, want fit directions to the attaining of this commendable skill, so many ways necessary, (favoured in times passed of the greatest monarchs, and of late days practised even by Princes, and the greatest personages themselves, as Francis the first, king of France, Charl●s Emanuel Duke of Savoy, with many others who are reported to have been excellent with the pencil) I have drawn and collected together the most true and easy grounds of drawing, mingling and ordering all manner of water colours for limming, certain observations for perspective and the light, the manner of annealing in glass etc. together with a short discourse of Armoury, all which together with myself (in regard as well of that duty I owed to yourself for many favours towards me at your Chesham, as that you are generally known to be a principal favourer of all skill and scholership) I offer up unto your censure, of whom most humbly I take my leave from Richmond.  
Who is most affectionately devoted unto your Worship, HENRY P●ACHAM.   

To the Reader.  
IT is now three years since (friendly Reader) I published this short discourse of the Art of drawing, for the benefit of many young Gentlemen, who were my Scholars for the Latin and Greek tongues, which when I saw it found some savour generally with the world, being since quite worn out of press, I was encouraged to take some further pains in the same, not with any desire of Title in this age of blotting papers, since I affect nothing more than silence, and desire nothing less than ●he censure of the vulgar. But that I might hanc ornare Spartam, and finish with a more polished hand the model, which before I had so rawly begun, I have (it is true) bestowed many idle hours in this well-busied Art, which perhaps might have been worse spent, yet in my judgement I was never so wedded unto it, as to make it my profession, but rather allowed it the place inter splendidas nugas, and those things of accomplishment required in a Scholar or Gentleman. I speak not any whit to the disgrace of so worthy a skill, or to discommend the true and necessary use thereof, but to give my scholar an It●m, that like a simple wooer he should neu●r leave the Mistress to court the maid, but esteem himself better graced by propounding at the table Aliquid Cedro dignum (as King Alphonsus of Arragon was wont merrily to say) or making good an argument in Divinity or Philosophy, then by intimating his skill with th● pencil or insight in the Chords of Music, which perhaps he that holds his trencher can excel him in. Quintus Fabius could draw and paint, 
Fidibus praeclare cecinisse dicitur. Tusc. Quaest lib. 1.  yet he was a grave Counsellor. Epaminondas could play or sing excellently to his harp or Viols, but justine (which was his true glory) addeth that he was a man endued with such learning, and so great experience in Military affairs, that in him alone, and at once, sprang up, and died the glory of the Thebans. Socrates being above three score years of age, 
Xenophon lib. ult. rerum Graec.  spent one hour in a day with Conus a physician in playing upon the Organs, if he had spent above, I think we had not known him by the name of Philosophorum Parens. 
Arist. Politic 8.  And whereas Aristotle designing four principal exercises, wherein he wou●d have all children in a well governed City or Commonwealth, brought up and t●ught, as namely Grammatice or Grammar, Gymnastice, or exercising the body by wrestling, running, riding, etc. Graphice or use of the Pen in writing fair, drawing, painting, and the like; lastly, Music, his meaning is, Vt ad seria magis studia capessenda idonei reddantur. The same use and none other I wish to be made of drawing.  
Concerning th●se directons I have given, they are such as I thought, in respect of their brevity and plainness, fit for the capacity of the young learner, for whom th●y were first and principally intended, they are mine own, not borrowed out of the shops, but the very same Nature acquainted me withal from a child, and such as in practice I have ever found most easy and true. I may perhaps be snar●●dat by some few obscure Artisans, that affect th●ir base private gain before a general commodity: but if any thing herein (Reader) shall content thee, I care not what the other say: the worst hurt they can do me is to draw my picture ilfauoredl●: and perhaps I could requite them as Hipponax the Satirist did: But knowing envy to rest in none but the most base and degenerate mind's, I hope of thy kind acceptance of what I here of●er thee, since it proceedeth from no private respect, but from a willing and free mind, either to pleasure or to profit thee.  
The most assured friend to all that love or learn this Art, Henry Peacham.   

Authoris ad Zoilum Epigramma.  

ZOile, vicat●m dum Criticus ●mnia lustras,  
Blattaque li●ents dente aliena voras,  
Vsque licet nostrum ieiunus rode libellum  
Qui tibi, (ni fallor) 
* Pigmenta fere omnia venena.  mill venen● dabit.   

Eiusdem de multiplici picturae usu ad ingenuos adolescentes.  
QVisquis es, antiquam quem discere iunerit artem,  
Mentiri e●figies r●rum nitidóque colore;  
Non te poenite at nostrum trivisse libellum.  
Seu te delectet divinilectio verbi,  
N●sse locos, ubi prima dedit fundamina mundi  
Conditor omnipotens, regni quis limes Ede●●;  
Structura ingentis templ●, q●●lesque fu●ssent  
Illius ornatus, Sanctiquae foederis arca,  
Indignumque solun● recut●tae visere gentis,  
Quasuè redux coelo, te●ras c●lcauit I●sus.  
Seu cup●● herbarum Medicus cognoscere formas,  
Fructuum & ignotas species, quas Indica tellus  
Gignit, & ad nostras toties advexerit oras:  
Sive doces stellas radio, coelique mea●us,  
Quà micet Andromedae igniculus, quà frigidus Axis:  
Quaque patent Hyades rutilae, ●●mb●sus Orion,  
Candid● quo proper●t nitidoue Galaxia flexu.  
Aut mu●t Occanum, fi●● tent●sse carina,  
Littora v●surus, tot Persi●●●oeta ●oeta l●pillis:  
Quaeve stupenda vomant s●pic●●fl●a flumina Nili;  
Africa & horrendis enixa est monstra figuris:  
Infames scopulos, immania sc●ptra profundi,  
Quae fuerit Troiae facies, ubi Pergamon quondam,  
Quis Romae antiquae locus, & Carthaginis altae,  
Laurifer● cingant qui colles Thessala Tempe.  
Hinc numerosa tibi contingant stemmata, longè  
Ductaque ad ignotos olim ventura nepotes,  
Pignora non ingrata, animi ac virtutis auîtae,  
Oráue dehi●c cupias Dominae gestare decorae,  
Cum qua nec forma, certet Priameia virgo,  
A●t fidi amissos vultus lugebis amici,  
Cui dabis amplex●s frustra, frustrà oscula figes,  
Ingemis at que animum specie dum pascis inani,  
H●c PICTURA tuis vel singula reddet ocellis.   

Ad D. Henricum Peachamum amicum singularem, & in pictura exercitatissimum.  
GRammaticus, Pictor, dum Music●●, esq Poeta,  
His cunctis mira dexteritate vale●s:  
Instruis atque alios his cunctis, nemo meretur,  
De patria meliùs, judice Aristotele.   
joannes Thorpe.   


H P ICH DIEN    

THE FIRST BOOK of Drawing and Limming.  

CHAP. I. The excellency, and antiqu●tie of Painting, the manifold uses, and necessity of the sam●.  
PAinting in general called in Latin Pictura, in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, is an Art, which either by draft 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 Aholia, 
Exodus 31.  men whom he hath filled with the spirit o● God in wisdom 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 solely to himself the mastership of the company in that his Majestic Erotema in job in these words. 
job. 39.16.  Hast thou given the pleasant wings unto the Peacocks? and wings and feathers unto the Ostrich? whereas disabling the wit and skill of man by his own excellency, he giveth us to admire that admirable wisdom of his in distinguishing so many beautiful colours from the wings of the proud Peacock and Ostrich, even unto the poor Butterfly, so that astonished with Aristotle, I may say even in these little painted creatur●s there is 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, some wonder or other, and in the very border of one of their wings an evident ●aste of the divine omnipotency.  
But as Picture hath been allowed of God, so it hath aswell among the Christians as heathen been honoured from all antiquity, and ever found favour with the greatest wits & mightiest monarchs of the world, insomuch as Aristotle in his Politics accounteth it amongst those liberalia Paideumata, 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, it was taught in all 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 practice of great personages, and Gentlemen: I confess Divine D● Bartas hath said of such L'e●r esprit e'en ●uit a● 'bout des doigts. 
●ar●as. Semaine. 1.  But for as much as their ends are honest, and themselves but the exercises of pregnant and the finest wits, I see no reason (as one saith) why nature should be so much wronged in her intention, as not to produce at her pleasure that into action whereto she is well inclined. 
E●am. de Ingen●●.  And surely it can be no more disgrace to a great Lord to draw a fair Picture, then to cut his Hawks meat, or play at Tennis with his Page. Achilles thought it no scorn to be so cunning in cookery, that when certain Ambassadors came unto him, he with his own hands dressed them a great and royal Supper. And Homer to no small commendation of his Ulysseses (under whose person he marks an absolute wise man) reporteth, that he could make his ships himself.  
Qu●nt●s Fabius (whose family was one of the noblest in Rome, 
Ru●ilius in vitae Quint. Fab●● pictoric.  and after had the surname of Pictores) with his own hands painted the walls of the Temple of Salus, and wrote his name under his own work.  
Pomponius Atticus a man of singular wisdom, and so much beloved of Cicero, after he had composed a Poem of sundry devices, beautified the same with pictures of his own drawing.  
The Emperor Constantine got his living a long time by painting, 
Sigebert in Chronicis.  and in Pliny's times certain festival days were yearly appointed at Corinth for the exercise of picture for great prizes & wagers. Since Painting then hath been so well esteemed, and of it own nature is so linked with the other Arts, as many of them can hardly stand without it, I think it not for pleasure only, but of necessity most needful to be practised of all such, that either study the Mathematics, the art Military, or purpose to travel for the benefit of their friends and country. I have heard many excellent Captains and Scholars lament so great a want in themselves, otherwise being most absolute.  
My Scholar than I would make choice of, should be a young Gentleman, if it might be, naturally inclined to drawing, at least a well-willer and lover of it. And I would have in him, as Tully wisheth in his Orator, aliquid redundans & quod amputem, 
Cic●ro 1. de Orator●.  A pretty fantastical head, and something, as chips from the sound timber to be pared off, to which commonly the best wits are subject, withal daily and contnuall practice, were it but Apelles his unica linea, without which it is impossible for him to attain to ready draft, much less to excellency in general.   

The beginning and progress of Painting. CHAP. II. A comparison between the Painters of old times, and the latter, the great value and prizes of Pictures, etc.  

AElian de varia Historia. lib. 10.  AElian saith, Painters at the first were such bunglers, and so rude, that when they drew a Cow or a Hog, they were fain to write over the head what it was, otherwise the beholder knew not what to make of it; but in short time they grew to that excellency, that they were honoured well-nigh as Gods, as Metrodor●s the Athenian, of whom, as of some other that were the most famous in their times I will speak a word or two, as well for method, as the recreation of my Reader.  
Apollodorus among the Athenians was the first that did express the life with colours.  
Euphranor hath attributed unto him the invention of Emblems, Impr●sa's, and the like heroical devices, and was the first observer of Symmetry, whereof he wrote many volumes.  
Parrhasius most of all excelled in black and white.  
Pyreicus (as Volaterane saith) was only famous for counterfeiting all base things, as earthen pitchers a scullery, Rogues together by the ears, swine tumbling in the mire, etc. whereupon he was surnamed Rupographus. 
That is Painter of base things.   
Aristides was the most excellent of his time for expressing sense and passion, as in that piece of his, of a mother deadly wounded, and giving her child suck, in whose face he expressed a deadly fear, as loath to deny it food, and unwilling to give it the teat for fear of killing it with her blood, which with the milk issued forth in great abundance. This Table Alexander carried with him to Pella.  
Protogenes was the first that could lay his colours so artificially, that one being worn off, a fresh should succeed to the number of four or five, when he would undertake any excellent piece, he used to di●t himself with pease, lupines, and the like, that his invention might be the more quick and refined.  
Amongst his works his jalysus or Bacchus was the chief taken at the Rhodes by Demetrius Poliorcetes; 
Plutarch in Demetr.  which he so esteemed, that (as Plutarch reports) he swore he had rather lose all his father's Images then that Table, AElian saith it was seven years in making.  
Ap●lles who lived in the 1012. Olympiade● excelled all the rest, yet for action he gave place to Amphion: Among his pieces, the picture of Alexander at Ephesus, and his Venus which he left at his death unperfect in Chios were the chiefest.  
I will pass over the artificial pieces of Zeuxis, L. Manlius, 
De quo Cicero lib. 1. de Oratore.  Pacwius a Tragedian Poet, Metrodorus before named, an excellent Painter, and withal a great Philosopher, who when Lucius Paulus a great man in Rome wrote unto the University of Athens to provide him a grave and learned Schoolmaster for his sons, was chosen by the general consent of the whole University, as the fittest man both to bring up his children, and to adorn his triumphs.  
Nothing inferior to these rare Artistes (in my judgement) have been our painters of late time, and many now living in sundry parts of Europe, who if they could find an Alexander or another Demetrius, would remain as famous to posterity, as Apelles, or the best of them all have done to us, neither do I suppose every thing to have been excellent, which over credulous Authors have writ, and ignorant antiquity admired, the best arts being then in their infancy, whose perfection is not distilled to the purity, until it hath run through many ages: what times shall not ever admire that excellent piece of Raphael Urbine in the Church of S. Victore in Milan: the workmanship of Michael Angelo of the last judgement in the Pope's Chapel in Rome, Her●ole di Ferrara, and his notable art seen at this day in Bononia Pisanello, who so beautified ●he Church of Lateran in Rome, Bellino the Ven●tian, whom the Turk so royally rewarded, what Apelles could excel Petro de Burgo for perspective, Albert Durer for drapery, Michael Angelo for action, Goldzius for good standing, and bold action, Hans Holben for sense and the life, Marcus de Sienna for Sandtschap, with infinite others, as Titianus, Antonio de Corregio, Caesar Sestius, Zenale Triviliano, Francisco Melzi, nor must I be ingratefully unmindful of mine own counrriemen, who have been, and are able to equal the best, if occasion served, as old Mr. Hiliard, Mr. Isaac Oliver inferior to none in Christendom for the countenance in small, my good friend Mr. Peake and Mr. Marqu●s for oil colours, with many more unknown unto me. Neither doth our country want her Patrons and favourers of this worthy skill, as first the Kings most excellent Majesty, Noble Prince Henry, to whom I presented not long since his father's Basilicon Doron, which I had turned a little before throughout into Latin verse● And Emblems limmed in lively colours, which he graciously accepted. The Right Honourable Robert Earl of Salisbury, and Lord high Treasurer of England, who as he favoureth all learning and excellency, so he is a principal patron of this art, having lately employed Mr. Butler and many other excellent Artistes for the beautifying of his houses, especially his Chapel at Hatfield. The right Honourable the Earls of Arundel, Worcester, Southampton, Pembroke, Suffolk, and Northampton, with many Knights and Gentlemen, to whom our masters are daily beholden. Now lest you should esteem over basely of this art, and disdain to have your picture, because you may have it for a trifle (which I account a fault in many of our good workmen) I will tell you the prices of some pieces of note aswell in ancient times, as of late days.  
Caesar the Dictator redeemed the tables of Ai●x and Medea for eighty talents, which amount to 24000 French crowns: I speak with the least, because take the lesser Athenian talon (for generally where you find this word Talentum in any Latin Author, as in Tully his Oration pro C. Rabirio Postumo, and in Act: in verrem, and some other places, where you shall find it oftenest, you must understand the Athenian talon, except you have the addition of AEgineum, Syrium, Babylonium, etc. 
●udaeus in Ass. ) the greater (as Budaeus saith) was bigger by a third part.  
King Attalus paid for one of Aristides pieces an hundred talents.  
Hortensius' the Orator gave for a table of the Argonauts 144. talents.  
Mnason paid to Asclepiodorus for the twelve Gods after three hundred pounds sterling a piece.  
Candaules King of Lydia gave to Bularchus for a piece of his, the weight of the same in gold.  
The Duke of Milan rewarded Raphael Urbine as many ducats as covered the picture of a great breadth which he had made for him.  
Pope Innocent the eight, a worthy lover of all learning, and ingenious arts, bestowed upon Andrea Mantega his painter in the Beluedere of Rome two thousand ducats for a months pains.  
I have also heard what a round sum was offered by strangers for the Altar cloth of St. Magnus in London; sundry other examples I might allege, but I have said enough to show that art hath ever been well paid her hire, and the professors thereof been had in esteem with the worthiest and wisest men.   

CHAP. III. A Painter not privileged to draw what he list, the manifold abuses of painting: whether the picture of the Trinity, of our Saviour Christ, according to his humanity, the Images of the Saints and their passions: The sign of the Cross may be lawfully drawn or not, etc.  
AS I would have my young Scholar take his pleasure, so I would not have him to buy it at over dear a rate, either with loss of over much time in the main profession, or of his ears for a libeler, neither to think with Horace, he may quidlibet audere, for there be many things which as well Nature or Religion would have freed from the pencil; what hurt hath that beastly book of Aretine's done abroad in the world, and what lewd art is there shown in many prints and pieces that are daily brought over out of Italy, Flanders, and other places, which are oftener inquired after in the shops than any other, little use else is there of most of the wax pictures of Courtesans in Rome and Venice being drawn naked, and sold up and down as Libidinis Fomenta, surely I cannot but commend art in them, as many times there is excellent good, but verily do hate their wicked makers and abominable ends.  
Touching the picture of the Trinity, as commonmonly it is drawn, first God the Father like an old man, between his knees Christ upon the Cross, and over his head a Dove resembling the holy ghost, I hold it basphemous, and utterly unlawful, and whatsoe●er the Roman Catholics think of it, both the Scripture, Counsels, and fathers, nay many of the best Divines of their own side are either utterly against it, by Bellarmine's own con●ession, or speak very slenderly, for it as tolerable by the Church, but no ways allowable by the word of God: as namely, Abulensis, 
Abulensis in 4. cap. Deutero. Qu●st. 5.  Durandus, 
Durand. in d●st. quaest. 9  Peresius, 
Pe●esiu● de traditionibus part 3  and many others, though in plainest terms: Lorichius a man of great learning and sound judgement amongst them, 
Lorichius Cathol. Institut. in precept. 1.  utterly condemns the same in these words.  
Est praeterea abusus imaginum, quod sanctam Trinitat●m praesumpsimus exprimere, quod haeresis est pestilentissima, quid enim magis sanctae Trinitati adversum, atque Patrem effingere senis silicernij effigy, filium juvenis formam habentem, Spiritum Sanctum alitis speciem volitantis referentem? Quid Idiotae ex tali libro didicisse poterint? errorem sane & Haeresim.  
Wherein Calvin and our Protestant writers do agree strongly and truly maintaining the contrary by these places of Scripture, 
Calvin Ins●it. 1.- Places o● scripture against the painting or expressing of the Trinity.  Exod. 20. Deut. 4. Esay. 40. and 46 lastly. Act. 17.  
To these places it is again answered by Bell●rmine, Cardinal C●ietanus, 
Ca●●tan. in 3. pot. quaest 25. a●t 3.  Catharinus, 
Catharinus in cults Imag.  Diegus, Pay●ia, 
Pay●● co●●r● K●m●●t●um.  and others, that it is lawful to express the Trinity or the picture of God the Father, in such form as he visibly appeared, sometime like a man, and sometimes like an Angel, the places they allege are. Gen. 1. Gen. 3. Gen. 28. Exod. 33. Isaiae. 6. Micheae. 3. Regum. vlt● Amos. 9 Daniel .7. 
B●lla●m l●b. 8. de Im●g.  Moreover they allege Saint Augustine, who thought that the Trinity appeared unto Abraham. Gen. 18.  
But howsoever these and other places do seem to make for the lawfulness of it we are to hold it an impious thing, & not to be tolerated, as being expressly forbidden by the word of God, and giving occasion of the infinite errors in the Church.  
Va●ro in his time, 
August. de Ciuit●t● D●i. lib. 4. cap. 19  said that the Images of the Gods, took away the fear of them, and increased error.  

Of the Pictures of our Saviour Christ, the Apostles and Martyrs.  
NEither by any means may the picture of our Saviour, the Apostles and Martyrs of the Church be drawn to an Idolatrous use, or be set up in Churches to be worshipped.  
Saith the Elibertine Council: 
Co●cil. Eli●e●t. Canon. 36.  Placuit in templis non haberi picturas, ne quod colitur, vel adoratur, in parietibus depingatur: which is, It hath pleased us (saith the Council) that pictures be not set up in Churches, nor any thing be painted upon the walls, which is reverenced or worshipped.  
Epiphanius moreover in an Epistle to john Bishop 
Bishop Jewel against Harding.  of jerusalem, saith it is against the authority of the Scripture, that an Image be hanged up in a Church, there speaking of the Image of Christ, or some other Saint which he found painted upon a cloth. 
AElius Lampridi u● in vita Alex.   
Adrian the Emperor caused Churches to be built for the Christians without Images.  
Beside the holy Scripture, these with many other be the arguments of our writers: whom Bellarmine after his manner answereth severally. That pictures of these kinds may be drawn, and set up to draw the beholder ad Histo●icum usum, and not ad cultum, I hold them very lawful and tolerable in the windows of Churches and the private houses, and deserving not to be beaten down with that violence and fury as they have been by our Puritans in many places.  
Touching the picture of Christ according to his humanity I would scarce change it for the best jewel in the world, if I had it truly drawn, neither of the lawfulness thereof I think any wise man will make question.  

Tertul. in lib. de pudic●tia.  Tertullian who hath lived within the first five hundred years reporteth that the picture of Christ was engraven upon the communion Cup carrying the lost sheep upon his shoulder.  
Gregory Nyss●nus in his Oration for Theodorus the Emperor, saith, the Emperor was delighted when he saw the Temple of God beautified with stately buildings, & with sundry ornaments within, where the painter had showed the excellency of his art in setting forth the valiant sufferings of the Matyrs, their torments, the cruel countenances of Tyrants their violence, the fiery furnace, the blessed end of those valiant champions. etc.  
Zozomen and Nicephorus write that in the time of julian the Apostata, 
●●zom●●. lib. 5. cap. ●0.  the Image of Christ, which was at Panneades, was brought by the Christians into one of their Churches and there preserved.  
Nazianzen grieved much that a City of Dioecesaria was to be razed and destroyed, 
N●zianz●n. Epist. 49. ad Olympium.  wherein was a Temple, which himself had adorned with sundry statues.   

Of the Crosse.  
THough the cross be of the same nature with the other forenamed, I am moved to say something particularly of the same, since being lately in company of a Gentleman of this land wholly devoted to Puritani●me, a reasonable good Scholar, & one, who, as he told me in his time had been a burgess of the Parliament house, we had a discourse of the Cross, I affirming that it was an ancient and honourable bearing in arms, naming many of our Nobility and Gentry that bore it: yea but (quoth he) our heralds in former times were to blame, for giving allowance to such relics of Idolatry, and suffering them so publicly to be carried up and down upon Coaches.  
But leaving such pure judgements to their singularity, we are satisfied, since we know from time to time● it hath been allowed by the Church, not to any superstitious use, but because the ancient Christians thought that their glory wherewith the Gentiles had so long scorned and disgraced therewithal  

Euseb● lib. ●. de vita Const●nt.  Constantine the Emperor gave the Cross in his standard, as Eusebius witnesseth, who also having overcome Max●ntius, erected a Cross in the chiefest place in all Rome with these words, hoc salutare signum. Moreover he caused his statue to be made with a Cross in his hand.  
Theodosius forbade it should be painted upon the ground. 
Z●zomen. lib. 1. c●p. 8.   
Arcadius' his son caused it the first to be stamped upon his coin in gold, (which kind of Cross I make no question but of all sorts is loved well enough) as Prosperus writ●th, 
August. ser. 18. de v●rbis Domini.  de praedict. & promise. part. 3. cap. 34.  
Tiberius, when he saw the Cross cut in Marble, and lying upon the ground, 
Paulus Diaconus lib. 18.  caused it to be digged up, and set upright, saying, we ought to sign our forehead and breast with the Cross of the Lord, and we ●read it under our feet.  

In Honcil. quod Christus sit Deus.  Chrysostome saith, that in his time (beside the Ceremony of using it in Baptism and the Lords Supper) it was painted upon beds, Armour, Ships, etc. Touching the Ceremony of signing with the same, as we use it in Baptism to say any thing thereof, were beside my subject, neither were it needful since the meanest divine can tell, that it hath anciently been used and allowed by the Fathers, as Basil (who affirms it to be one of the Apostolical traditions) Cyrill, Tertullian, St. Cyprian, 
August. Tractat. in joan. 118. Nihil corum rite per●icitur.  and lastly, Saint Augustine, who saith, that except the foreheads of the believers (as children baptised) be signed with the sign● of the cross, the form of baptism is not as it ought to be, but enough if not so much of this subject.    

CHAP. FOUR Pencils and other Instruments necessary for drawing.  
MAny ways I know there have been devised to teach draft, as namely, by crossing the pattern, than your own papers 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 to learn to the purpose, and to grow cunning in short time, you should rather fall to it only by your own conceit and judgement, and let those toys go, you must first get you black lead sharpened finely: 
Black lead in quills.  and put fast into quills, for your rude and first draft, some ten or twelve.  
Moreover you must not be without as many Sallow coals, 
Sallow 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 satin: you shall sharpen them upon one of your finger's, as also your black lead; other coals will quickly break, and never point sharp.  
Get you also a small pair of brazen compasses and fine rule, 
Rule and compass.  for taking the distance, if you follow a print; and be not without the crumbs of fine manchet or white bread, to rub out your lead or coal, when you have done amiss, or finished your work.  
Scriveners and writing Schoolmasters in the country that teach to write, have divers small pencils of broom, 
Broome pencils.  with which they shadow great letters with common Ink in copy books very prettily: they are made in this manner, take a broom stalk about the bigness of a spoon ●andle, and cut it even at the end, 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, and 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. To draw with dry colours, you may make long pastils, which you shall do by grinding red lead, or any other colour with strong wort, and so roll them up into long rolls like pencils drying them in the Sun, some put hereto a little new milk.   

CHAP. V. The first Practice.  
I will give you another example of a goblet or cup. 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 how, soever, the other part of the line causeth me to make the foot even as you see.  
In these and such like, you may at your pleasure find infinite variety to ●set yourself a work with, till you are able to fall to work by your own judgement; which you shall do in your next and second practice.   

CHAP. VI The second practice.  
YOu shall, next after your hand is grown ready in the foresaid 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 assey six or seven times at the least for the general proportion only: if at 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 five 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 of setting, a●l which is done with one line, which I call the general or extreme. For those forms that are mixed and uncertain, and 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, 
A strong imagination required in a good painter.  and win the proportion by daily practice, which will seem very harsh and 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, and 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 continue for five or six days together, correcting by degrees the other parts even so ●mal veins as your discretion will serve you, this may you do with forty 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, ●hich are the midwives to this art and practise as in all things else, the nurse that brings it to full growth and perfection.   

CHAP. VII. Of drawing the face or countenance of a man.  
SInce a man is the worthiest of all creatures, and such pleasing 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 yo● have finished.  
The visage or countenance is (for the most part) drawn but three manner of ways, the first is full faced, 
The full ●ace.  as commonly we see King Henry the 8 drawn:  
And be careful to give as precise an evenness to one side as to the other; causing both your lines to meet at the tip of the chin: your Diameter guideth you for the even placing (as I said) of nose and mouth, your other line for the just opposition of the eyes between which in distance for the nose, always leave the space of an eye.  
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 le●t between the eyes.  from whence to the chin is for the most part as far, as from thence upward to the eyebrows.  
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 which either by the dullness or lively quickness thereof giveth a great taste of the spirit and disposition of the mind, 
Great difficulty in the eye.  (which many times I will not deny may be aswell perceived by the mouth, and 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 eyelid covering a great part of the ball, and is an especial mark of a sober and stayed brain within. 
Nic●phor lib. 10. cap 3.7.  Nazianzen when he beheld a Iu●ian (long time before he was Emperor, at Athen●, at the very fi●st sight of his countenance, (Presaging his future disposition) burst forth into these words; Deus bone, quantum malum souet Romanum imperium: 
in●. avect. contra julianum.  for (as he witnesseth himself) there was not any sign of goodness or towardness in him, his eyes ●owled 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 supitious, 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 Captain in like manner noting very often the cast of the eye and countenance of Scylla, 
Brusoni●s. lib. 7. cap. 20.  together with his gesture and motion of body, used these words: it is impossible but this Gentlemen one day should prove a great commander, and I marvel that he is not advanced all this while. D●gonius an Earl of Flanders, when he should have been put to death by the Turk, a physiognomer wished that he might not die by any means, because if he lived he would sow much dissension among the Christians, which after fell out to be true, by which examples and the like, I prove that there is a certain Indictum, or notice of the minds disposition inly imprinted by nature even in the countenance, and many times in 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 general rule may be given for it, 
The mouth. ) it consisteth principally of two lines, whereof one expresseth the mouth itself, the other the neither lip: the overlip 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 hairs 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: I have many times been much troubled about expressing the mouth as it ought, wherein you shall find great difficulty, wherefore you shall best take it when the party minds you not, and to say the truth it is the best time of taking a picture. I have never drawn any more truly, then when they have been busy in talking, at dinner, viewing some thing or other, and in this manner I have often taken his Majesties, sitting at dinner, or talking with some of his followers. I have m●ny times wondered why I could among so many never find any true picture of his Majesty, or that did any thing near resemblie him: I know not, but generally in his picture I ●inde two principal errors, the one in the complexion and hair, the other is in the mouth, which commonly they draw with a full and great nether-lip very apparent, wherein they commit the chiefest error, which good observation having avoided, I have drawn him often with my Pen and Ink only upon a fair piece of paper in an hour, more truly and like then the best pieces in oil about the town.   

CHAP. VIII. Of expressing passion in the countenance  
THe passions of the mind being divers as love, fear, joy, anger, hatred, despair, desire, boldness, etc. must be expressed with great judgement & discretion, though you shall better express them in lively colours then with the pen, because paleness redness, fiery eyes etc. are adjuncts to the same.  
You shall express love by making vultum sere●um, fair and pleasant, no where clouded with wrinkles, or furrowed with unpleasing bend, which are commonly effects of care, melancholy, anger, despair, and the like: first you are to give the forehead a Majestic grace and height, a full eye which you shall make very pleasing by shadowing it, with a fine shadow at the bottom of the eye lid, and a little at the corner, a small & proportionable nose, the nostrils not too wide, a clear cheek which you shall make by shadowing the same on one side, the mouth smiling which you shall do by making a thin upper lip, and shadowing the mouth line a little at the corners, and for as much as the kinds of beauties are infinite, if you would draw some rare piece for beauty, you should as Apelles was wont, frequent the Court or City, and imitate some excellent beauty or other. I was not long since extremely troubled with a piece of the Sea Nymphs being all sisters, in whose faces I was to express a singular and several beauty, yet so like one another, that they might be known to be sisters, the history is in the second of Ovid's Metamorphosis. And Vi●gil describing the countenance of AEneas, 
AEn●●d .1.  express●●h with singular art the beauty and comeliness which his mother Venus had bestowed upon him in this manner.  
Os humerosque D●o similis, namque ipsa decoram  
Caesariem gnato genetrix, lumenque●uuentae,  
Purpureum, & laetos o●ulis afflarat honores.  
You shall show ●eare in the countenance, by making of the eyes to look hollow, heavily and downward, the cheeks fallen, the mouth close, the hair staring or hanging carelessly about the ears, I saw an excellent piece of this kind done by Leonard Vincentio, done to the imitation of an ancient painter, which was a company of young men swimming, and upon the sudden surprised by the enemy, where you might see one putting his head into his shirt sleeve for haste, another running away half naked. Fear is described by our excellent Spencer to ride in armour, 
In hi● Fa●ry Queen.  at the clashing whereof he looks deadly pale, as afeard of himself.  
The like observations you are to keep in the rest which you shall naturally find described by our Poets, by Lomazius, and lastly in mine Emblems, so that it were needless for me here to reiterate the same.   

CHAP. IX. Of the whole body.  
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 the most Painters: for you shall scarce see one among twenty but will draw the head too big, 
Making the head too big, a common fault  which if you observe, you shall find in most pictures: help yourself herein by ●e●ting a boy before you, causing him to stand which way you list, 
The neck.  and so to wont your judgement to the proportion by little & little: having finished the head, draw the 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 sine, rare and scarely seen, but in a man the sinews must be expressed, with the veins, by shadowing the rest of the neck, and leaving them white. For the proportion of the other parts (because Lomazius hath prevented me: whose book though it be somewhat obscure● 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 by shadowing it underneath, 
The s●oulder.  the brawn of the arm must appear full, shadowed on one side, 
The arm.  then show the w●i●t bone thereof, 
●he w●ist.  & the meeting of the veins in that place, the veins of the back of the hand, & the knuckles, 
The knuck●e●.  are made with two or three hair strokes with a fine touch of your p●●● the paps of a man are shown by two of three fine strokes given underneath, 
The paps.  in a woman, with a circular shadow well deepned, the ribs are so ●o be shadowed, 
The ribs.  as you doubt whether they appear or no: except your man were starved, or you should draw death himself: the belly shall be eminent by shadowing the flank, 
The be●ly.  and under the breast bone: the brawn of the thigh shall appear, 
The thigh.  by drawing small hair strokes from the hip to the knee, 
The knee.  shadowed again overtwhartly: 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 made by shadowing one half of the leg with a single shadow, 
The leg.  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, and 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, but naturally they fall as I have said; for teaching you the true shadowing of a naked body; 
The foot.  Goltzius is one of the best, whose prints above any other I wish you to imitate.   

CHAP. X. Of shadowing and observing the light according to the rules and infallible principles of perspective.  
A Shadow is nothing else but a diminution of the first and second light.  
The first light I call that which proceedeth immediately from a lightened body, as the beams of the sun.  
The second is an accidental light dispreading itself into the air or medium, proceeding from the other.  
Under this division are comprehended the other lights, as the light of glory is referred in the first. The light of all manner of reflections to the second.  
Shadows are threefold: 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.  

General rules for shadowing.  
YOu must always cast your 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 ●o shadow his left cheek the l●ft part of his n●●ke, the le●t side of the left arm, the left side of the left thigh, etc. leaving the other to the light, except the light side be darkened by the opposition of another body, as if three bowls should stand together, that in the midst must receive a shadow on both sides.  
2 All circular and round bodies that receive a concentration of the light, as the light of a burning glass, when it doth gather it ●elfe into a small centre, must be shadowed in circular manner as thus:  
4. Where contrary shadows concur and strive (as those cross winds about AE●eas his ●●●ip) for superiority, let the nearest and most solid body be first se●ued. In the double and treble shadows, let your first strokes be very dry for fe●re o● blotting e●e you cross them.  
5. It will seem a hard matter to shadow a gem or well pointed D●●●●n●●●hat hath many sides and sq●●●●s, and 〈…〉 aught: but if you 〈…〉 give you, y●● 〈◊〉 easily do it without 〈◊〉.  
6. All the 〈◊〉 participate in the mediu● according to the greatness or weakness o● the light.  
●. No body between the light, and our sight can effect an absolute darkness, wherefore ● said a ●hado● was but a diminution of the light, and it is a great question whether there be any darkness in the wo●ld or not. Bu● because all manner of shadows depend upon the light; I will briefly for your memory teach you by general propositions what you are to observe in the nature of the same, it being a matter of the greatest moment in picture, and wherein you shall exercise your judgement with an incredible pleasure, it being one of the most delightful secrets in nature.   

1 Proposition.  
All light doth disperse itself upon the object circularly, and again the object enlightened affecteth the air or medium in the same manner, th● reason is, because the round or Spherical figure as to all heavenly bodies, so it agreeth naturally to light, as the most absolute, the most perfect, and conservative of all others, we find this to be true if w●● but view the light through a hole or crevice in a sunshine morning, or about the ●●ame of a candle, hence you must learn in shadowing all circular bodies to give a circular light, except by some accident you are compelled to the contrary.   

2 Proposition.  
Every greater light dims and diminisheth the lesser, as for example the stars shine in the day time, yet we perceive not their light, by reason of the greater light of the Sun, yet if you stand in the bottom of a well, you shall easily perceive them and their motion, the reason is the light or beam of the star being perpendicular or direct over your head, is of greater force than the beams of the Sun coming oblikely or sideway (for you must take it for a general rule, that all beams or reflections from the perpendicular are o● more force than the other broken & oblique, for example a ball being strucken hard down with your hand, reboundeth back in the same line with greater force than when it flieth sideways, so doth an arrow shot against the stone wall.) Moreover in an evening at a bonfire in the street you shall hardly discern any thing beyond the ●ire being your light hindered by the light thereof which otherwise you might well do.   

3 Proposition.  
Bodies lighted by night by ●ire, must have a brighter ●ustre given them then by day, as I have seen many excellent pieces of that nature, as the taking of Christ by night, sacking of Cities, batfowling and t●e like, the reason is, because ●ire in the n●ght being compassed about with darkness, enlightens the medium more forcibly and nearly.   

4 Proposition.  
According to the diversity (or as the Logicians term it) the intention and remission of the light, the colours of bodies are changed, as the ●eathers of birds wings, cloth of sundry colours, the Sea at morning and even, and the like.   

5 Proposition.  
Lights never mingle in their Medium, as we prove by the shadow of many candles lighted once.   

6 Proposition.  
In all concave and hollow bodies that are capable of light as silver basins, bowls, and the like, the light must be strongest and brightest in the centre, the reason is from every point of the concavity, the perpendicular lines meet and join together in the Centre.   

7 Proposition.  
Every Spherical body that giveth light, enlightens a lesser Spherical body according to the quantity of his Diameter: for example, by how much the Diameter of the Sun is brother than the Diameter of the earth● by so much the earth is enlightened beyond his Diameter or middle.  
Alhacen and Vitellio have taught the making of artificial instruments for taking of the light which with the manner of making Albert Durer's glisse, I will teach you in a discourse of perspective I will shortly publish.   

8 Proposition.  
If the light penetrateth any clear body (which we call Di●phanon) that is coloured as painted glas●e Amber, Crystal, fair water, a glass of Claret wine, and the like, you must remember to give the light the same colour that his Medium is of, as if we look through red or blue glass, every thing without appeareth red or blew to our sight.   

9 Proposition.  
Every beam direct reflected or broken is so much the more weak in the lightning or burning, by how much the less time it stayeth upon the object: this is proved if we dry a thing in a paper over a ca●dle which we do a great while without burning, or by the swift motion of rivers, who take not the heat of the Sun so much as standing waters: wherefore those countries under the Equinoctial, by reason of the equal presence and absence of the Sun are ve●y temperate, whereas on the contrary in Lituania and thereabouts, where it is in a manner day continually, they have extreme hot Summers, and most bit●er cold Winters.   

Of Foreshortning.  
The chie●e use of perspective you have in foreshortning which is when by art the whole is concluded into one p●rt, which only shall appear to the sight● as i● I should paint a ship upon ●he Sea, yet the●e should appear unto you but her fore part, the rest imagined hid, or likewise an ho●se with his breast and head looking full in my face, I must of necessity foreshorten him behinds because his sides and ●lanks 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, and that but lamely neither.  
The use of it 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.    

CHAP. XI. Certain Questions of the manifold deceptions of the sight by perspective.  
ALL errors of the sight proceed from a threefold cause, the fi●st exterior, or being as I may say in the false apprehension of distance opposition, proportion or the like, the second from an inward cause, as the weakness of the eye itself, or the decaying of the Spirits, the third from the affection of the eye from some outward humour of hurt, but we are only to entreat of the ●irst.  

1. Why the Horizon appeareth to our sight bigger th●n any part else of the Hemisphere.  
All quantity of distance is known by bodies interposed, but between our eye and the vertical point of heaven over our heads we perceive nothing, between our sight and the horizon, there appeareth the breadth of the earth, the space therefore seemeth greater.   

2. Why in round and Spherical glasses every thing appeareth crooked to the eye.  
In all glasses the form of the figure seen, followeth the form of the figure reflecting, but the reflection from the superficies or outside, is after the form of the Superficies which is crooked, therefore must the thing seen needs appear crooked.   

3. Why in the said Round glasses all things appear less then in plain glasses.  
Because the concourse or meeting of the beams, with the perpendicular line in orbicular glasses is nearer to the eye then in plain glasses: Euclid gives another reason which is this. Because (saith he) in plain glasses, the reflection is greater & more forcible then in the round, for as I said the Idolon or Image is of the nature of the Superficies reflecting the same.   

4 Why in a glass broken to pieces, in every piece you see a several face, and but one, if you join them together.  
The reason is the diversity of position or situation, which may be gathered by a concave or hollow glass, wherein you shall see your face in sundry places at once there being a reflection from every part of the glass. Hereupon in uneven glasses, your face will appear to be monstrous.   

5 Why square things by distance seem unto us to be long as Courts, the roofs of Churches & houses, etc.  
Because the excess or multitude of beams falling upon the sides of the square body indirectly presented to the eye, is not proportionate with a sensible proportion to those beams that fall upon the side directly against the eye by comparison with the whole distance. Besides sight is not able to discern the obliquity of the sides, because it is seen sideways under longer beams, and a lesser angle.   

6 Why the Sun and Moon appear bigger at their rising or setting, then when they are in our vertical point.  
One reason is, because as I said before, any thing that hath a relation to a greater space, is imagined greater, the other is the corruption (as I may say) of the air or medium being at morning, and ●uening more subject to vapours and exhalations then at any other time, the same reason may be given; an apple in the water, of birds and stakes upon the Sea sands, which being four or five miles off appear bigger unto you, then near hand, the like of trees that appear twice as big in a misty or rimie morning then indeed they are, hereupon a friend of mine was notably cozened in a bargain of timber he bought by the great, in a misty morrning, but I fear me within these few years, the mists will be so thick, we shall see no timber at all.   

7 Why a burning glass causeth fire.  
The reason is the concourse and concentration of the broken beams with the perpendicular in the midst of the glass being round and thick.   

8 Why all things appear downward in the water.  
Every thing seemeth downward in the water by reason of the fall of the other beams in the Catheton or perpendicular.    

CHAP. XI. Of Landscape.  
LAndtskip is a Dutch word, and 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. If it be not drawn by itself or for the own sake, but in respect, and for the sake of some thing else: it falleth out among those things which we call Parerga, which are additions or adjuncts rather of ornament, than otherwise necessary.  

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, buildings, etc. be given thitherward: shadow also your clouds from the sun: and you must be very dainty in lessening your bodies by their distance, and have a regard, the farther your Landtskip goeth to those universalia, which as Aristotle saith (in respect of their particulars concealed from our senses) are notiora: as in discerning a building ten or twelve miles off, I I cannot tell whether it be Church, Castle, 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 Landscape, yet might you have told all the buttons of his doublet: whether the painter had a quick invention, or the Gentleman's buttons were as big as those in fashion, when Mounseur came into England, I will leave it to my reader's judgement.  
If you lay you Landscape 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.   

Of the fairest and most beautiful Landtskips in the world.  
Of Landtskips by land the fairest may be taken upon mount Libanus near Jerusalem, whence you may discern all those holy places where our Saviour lived, and in a manner all over the holy Land, moreover you may plainly view all the towns upon the Sea coast, and into the Sea, as far as Cyprus, being distant from joppa, or jaffa (the first entry or landing place within the holy land) two hundred and fifty miles.  
At Constantinople you have as fair a Landtskip as any where else in the world, as well in regard o● the beautiful places behind, as the goodly prospect into bo●h Seas.  
Upon the mount Ida in Candie called by the Inhabitants Psilloritie, where you shall see underneath you the most goodly country of the world affording all manner of delight Nature can afford, shady woods of all manner of trees bearing fruit as olives Orengies, and Figtrees, Cedars, Sis●is. (that beareth that excellent gum Laudanum being made of the dew of heaven falling upon the leaves) valleys, tapestry with innumerable sorts of flowers great store of rocks, and little hills whereon grow most fruitful wines in great plenty, yielding that excellent wine we call Malmseie, and from whence descend a tho●sand small rivers that water the whole country, none of them so big as they are able to carry a boat. The chief towns of the whole Island Candia (being the chief, and situate at the foot of the said mount Ida,) Cania Sit●io and Rethymo, and the fair haven of Meleca, into the Sea Eastward toward the Cape Solomone, you have in your view the gulf Satellia or Siriatica, westward a goodly prospect from the Adiatique Sea, to the North the Archipelago, and to the South the Sea of Carthage.  
The fairest prospects of Italy are about Naples, Milan, Lago d● Como, and di ●uarda near Peschera, also upon Monte d● Santa Croce, as you come from Genoa, upon the Apennineses (being the ridge or back bone of the country) and upon those Alps that are adjoining to Piedmont.  
In Spain if you would try your skill in Landtskip, or perfect an excellent piece in this kind, I would send you to the magnificent Escurial. About Valledolid, and toward the Sea side near Cartagena.  
In France about the Constable's house ten miles off from Paris, Amiens, A●ignon (belonging to the Pope) Fontainee-bleau many places in Normandy, Bordeaux, and Rochel.  
In Germany you have no fairer prospeects then upon the bank of the Rhine.  
In England I like best at Windsor and the country there about, the prospect which you take of the City of London upon high gate all the country about Roiston with many other places.   

Of the Graces of Landtskip.  
Though invention and imitation in this kind are infinite, you must have a care to work with a sound judgement, that your work become not ridiculous to the beholder's eye as well for true observation of the distance as absurdity of accident: that is, though your Landtship be good and true in general, yet some particular error overslips your judgement either in mistaking or not observing the time and season of the year, the true shadow of your wo●ke with the light of the Sun, the bending of trees in winds and tempests, the natural course of river and such like.  
To settle therefore your judgement in these and the like, I wish you first to imitate the abstract or labour of every month. Not as a foolish Painter undertaking the like, and beginning with january, drew him sitting in wicker chair like an old man, with three or four night caps on his head, by the fire his slip shoes by and one foot upon the tongues within the chimney, & without doors haycocks, green trees, and as if it had been in the midst of july. Wherefore I say such a winter piece should be graced and beautified with all manner of works and exercises of winter, as foot ball, ●elling of wood, sliding upon the ice, batfowling by night, hunting the bears, or fox in the snow, making you trees every where bare or laden with snow, the earth without flowers, and cattles the air thick with clouds, rivers and lakes frozen, which you may show by carts passing over, or boys playing upon the same, and a thousand the like. The same method observe in the other seasons.  
If you draw your Landscape according to your invention, you shall please very well, if you show in the same, the fair side of some goodly City, haven, forest, stately house with gardens, I ever took delight in those pieces that showed to the like a country village, fair or market, Bergamas●as cookery, Morrice dancing, peasants together by the ears, and the like.  
For your Parergas or needless graces, you may set forth the same with farm houses, water mills, pilgrims traveling through the woods, the ruins of Churches, Castles, etc. but you shall find your conceit seconded with a thousand inventions.    

CHAP. XIII. Of drapery.  
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, and 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.  

What Method is to be observed in drapery  The method now to be observed in drapery, is to draw first the outmost or extreme lines of your garment, as you will, full of 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 consists 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 upward, 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 a double or treble shadow; as you shall s●● occasion: for the shadow take his place in one and the same manner aswell in folding as without: some 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. I would herein above all other have you to imitate Albert Du●er, if you can get his pieces, if not Goltzius or some other.  

General observations and rules for Drapery.  

1 Your greater folds must be continued throughout the whole garment, the lesser you may break and shorten at your pleasure.  
2 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 deepening very light, and rare, which commonly at the most is but a double shadow given with a new, and the finest pen.  
3 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, etc. 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.  
4 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, as Ovid describes the garments of Europa, when she by jupiter carried over the Sea: The best drapery in the world is held to be, that done by Michael Angelo in the Pope's Chapel in Rome: and that by Raphael Urban in Milan in the Church of St. Victor at Nostre Dame in Amiens, and many other places.     

CHAP. XIIII. Of Diapering.  
DIapering is derived (as I take it of the Greek verb 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is, traij●io or transeo, in English to pass● or cast over, and 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, etc. with what branch, and in what fashion you list.  
If you diaper upon folds, let your work be broken, and taken as it were by the half: for reason telleth you that your fold must cover somewhat 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,  
Tota patent—  
You must moreover in diapering, 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 diapering consist of a double line; you may either shadow the ground, and 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.   

CHAP. XV. Of antic.  
antic so called ab ants, which are butteresses, whereon the building is stayed, also the outmost ranges of vines, not ab antiquitate as some would have it: the Italian calleth it L'antica, it hath the principal use in forefronts of houses, in all manner of compartments, curious Architecture, Armour, Plate, jewels, Columns, etc. 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, fish, flowers, 
The form of Antic.  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 etc. the bones of a Ram's head hung with strings of beads and Ribbons, satires, Tritons, Apes, Cornu-copia's, Dogs yoked, etc. drawing Cucumbers, Cherries, and 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●e 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, 
Ge●m●nie a 〈◊〉 of men.  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 ingenious and capable of all other arts, so naturally they are inclined to this of Painting: Since the greatest persons among them as Duke●, E●rle●, and in a manner all the Gentlemen do bear an inbred love of 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.   

CHAP. XVI. Of Drawing beasts, birds, flowers, etc.  
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 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 draft I know not any one beast may be compared to the horse; for sometime you must draw him in his career with his manage, and turn, doing the Corvetto, leaping● etc. which you shall not find in the Elephant, Cow, Bear, or Hog, 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 & 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 searching 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 s●e there I rest: then fetch I that line forward behind by C. making the compass o● his 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 sore foot, 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: then I finish the tail, paws, 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 of 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 & some part of his throat and belly are shadowed being both with the light? I answer the light of it own nature can n●uer fall under, but take the place above or the upper part, which place is here prepossessed by the upper and neither chap, which as you see fall in between, as likewise the fore foot to the belly, which cause a shadow in either of those places.  
The treble shadow as it ought, is given to the most inward places: if your beast be not in charge, that is, not in arms, and you arm 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 Lucirne.  
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-●spine.  
The Wolf.  
The Fox.  
The Cow.  
The Ottar.  
The Hare.  
The Coney.  
The All manner of rough & 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, 
The ignorance o● 〈◊〉 common painter's.  he will make no question of it, when as except he traveled 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 suture truly in the head, to s●ew the motion of his upper chap, which no other creature in the world moveth, save only he.  
If you draw your beast in an Emblem or such like, 
A Landtskip must be given to every beast according to his country.  you shall sometime show a Landtskip (as it is ordinarily observed by judicious workmen) of the country natural to that beast, as to the Rhinoceros an East-Indian Landtskip, the Crocodile an Egyptian, by laying the ground low without hills, many woods of Palm trees, here and there the ruin of a Pyramid, and so forth of the rest.   

Of Birds.  
There is less difficulty in drawing birds than beasts, and 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 Londerseet's pieces are much to blame for this fault, for in most of them the heads of all his birds are too great by a third part, neither is that fault proper to him alone, but to many good workmen else. You shall best remedy that by causing a bird to be held or tied before you, where you shall take with your compasses a true proportion, which afterwards you may conclude into as small a 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 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 at 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 at the head very small, and in five ranks fall one way backward greater and greater, as this your example showeth.  
For flowers, fly's, and such like, I will leave them (being things of small moment) to your own discretion, counseling you a● your leisure, when you walk abroad into the fields, to gather & 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, or Marigold, 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 the 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 over ripeness, etc. 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 iaggednesse.  
For butterfly's, bees, wasps, grasshoppers, and such like, which we call Insecta, some of them are easy to be drawn, and not hard to be laid in colours: because the colours are simple, and without composition, as perfect red, black, blue, yellow, etc. 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 flesh-fly or mallards wing, you should see them at their wit's end.  
In the months of june and july I was wont at my leisure to walk into the fields, and get all manner of flies, flowers, herbs, etc. which I either put presently into colours, or kept preserved all the year to imitate at my pleasure in close boxes.    

CHAP. XVII. The most notable absurdities that our Painters ordinarily commit.  
THE first absurdity is of proportion natural, commonly called lameness, 
1 Of lameness.  that is, when any part or member is disproportionable to the whole body, or seems through the ignorance of the Painter, to be wrested from his natural place and motion: As in Peterbrough 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.  

2 Of local distance.  The second is of Landtskip, or Local distance, as I have seen painted a Church, and some half a mile beyond it the vicarage; yet the Vicar's chimney straw bigger than the steeple by a third part, which being less o● itself, ought also to be much more abated by the distance.  

3 Accidents of time. jud. 7.  The third absurdity is of accident of time, that is, when we fashion or attribute the proprieties of ancient times to those of ours, or ours to theirs: As not long since I found painted in an Inn Bethulia besieged by Holophernes, where the painter, as if it had been at Ostend, made his East and West batteries, with great ordinance and 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 of the mind, 
4 In expressing th● passion or disposition of the mind, Q●ali● equos Th●●issa ratigan H●rpalice.  as to draw Mars like a young Hippolytus with an effeminate countenance, Venus like an Amazon, or that same hotspurd H●rpalice in Virgil, 
AE●●id. 1.  this proceedeth of a senseless & overcold a judgement.  
The fifth is of Drapery or attire, 
5 Of drapery  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 Rebato● 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 of shadowing, 
6 Of shadowing.  as I have seen painted the flame of a candle, and the light thereof on one side shadowed three parts, when there ought to have been none at all, because it is corpus luminosum, which may cause a shadow but take none.  
The seventh of motion as a certain painter absurdly made trees bend with the wind one way, and the feathers of the Swan, upon which an Eagle was praying to fly an other Albert Durer was very curious in this kind, as in the hair of S. Hieroms Lion, and S. Sebastian's Dog.   

CHAP. XVIII. Of the Sense of seeing, and of the Eye.  
NOw before I come to entreat particularly of colours, it ●hall not be amiss as well for method as for pleasure, to speak somewhat of that sensitive part of the soul which we call sight, without which it were in vain for me to discourse of colours, or you to read what I have written concerning the same, therefore in brief I will declare the worthiness of this sense, and of the Eye the Organ or instrument thereof.  
To begin with the definition, the Sense of seeing is a faculty of the sensible soul, whose Organ is the Eye, and object is whatsoever may be seen.  
Now since the soul is far more worth than the body, I must of necessity first speak of this most excellent sense before I come to the base and corruptible instrument, or the object thereof.  
It hath been a great and ancient controversy amongst the best Philosophers, I mean Plato, Aristotle the Stoics, and Academics, whether visus fieret, extra vel intra mittendo, that is, whether we receive the object or that which we see into our eye, or whether our eye by a secret faculty of the soul casts and sendeth forth certain beams to apprehend that which we look upon, which question as it is hard to decide, so it is most pleasant and not beside our purpose to be resolved in the same. Hear I pray you the variety of opinions among excellent men.  
Plato thought that the sight was caused by Emission or casting forth beams against the object. 
In Tim●●.   
The Mathematicians in Aristotle's time agreeing also with Plato, 
The opinion of the old Mathematicians.  affirmed visum fieri extrami●tendo, by sending forth from the eye: and all sight to stretch itself forth in the form of a Pyramid, the Conus or point whereof was in the eye ball, and the Basis dispersed upon the object.  
Empedocles (as also Plato) thought there was in the eye a certain little fire not burning, but which yielded as it were a light, the beams whereof, meeting with the beams of the air or medium, grew united, and more strong between both which beams the sight was effected.  
Democritus said (the truest) that it proceeded of water, but he is taxed of Aristotle, because he though, visionem in rei spectabilis simulachro tantum consistere: Others thought that it cast forth a certain animal spirit with the beam.  
Others again supposed that that s●●e 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 stretching itself unto the object, and beaten back to be possessed of the same form, and afterward the soul as it were stirred up to perceive the forms of things by means of that secret faculty it sent forth.  
Neither did the Platonics and Stoics want arguments of strength and probability as they thought to maintain the same against Aristotle: I will propound some, and after answer them letting or receiving.  

1 First say they, if sight be caused by emission, than the nearer and closer the object is to the eye, the more perfectly it is perceived, but this is false.  
2 Secondly, if sight be caused by intromission or receiving in the form of that which is seen, contrary Species, or forms should be received confusedly together, and at the same instant, as white and black, which thing how absurd it is, Aristotle shows in his Metaphysics and other places.  
3 Thirdly, the eye is easily wearied with beholding, therefore something proceedeth forth from the same.  
4 Fourthly, how can that Pyramid, whose point is in the superficies of the eye, be carried and drawn forth with a smaller sharpness.  
5 Fiftly, we find by experience, that a menstruous woman infecteth with her sight a looking glass, causing the same to become faint and dim, therefore of necessity something must needs proceed out of her eyes. This Aristotle himself confesseth, Lib. de somnijs.  
6 Sixtly, a Basilisk killeth with his sight.  
7 Seventhly and lastly: Cats, Wolves, Owls, and other creatures, see best in the night to run and catch their prey, which they discern most perfectly, they cannot see by intromission or receiving inward the form of their prey be it mouse, hare, or whatsoever, because light (by means of which only the object is received into the eye) is wanting, Ergo● their eyes send ●orth the beams, and Aristotle's opinion is utterly false.   
To the ●irst argument I answer out of Plato, as also out of Aristotle, that to the affecting of the sight, there must be medium illustratum, a clee●e medium, that is, such a distance that there may be light enough between the eye and the object, which there is not, if you lay your eye close to the same.  
To the second I answer, that species or forms be not contrary, for were that granted, the medium should have in it infinite contrarieties from every part of the air compassing it about, and continually multiplying the forms of things.  
To the third, the sense of seeing is so far forth weakened and made faint● as the eye, the Organ or Instrument thereof becometh unable to endure beholding, for the power of the sight suffereth not, nor groweth old, as were an old man's eyes young, his sight would not fail him.  
To the fourth argument I answer, that distance being not perceived by the eye, but by the common sense, the point of the Pyramid is not lesser to mine eye, by removing or going back, but always one and the self same.  
To the fifth, it is not the sight of the woman that infecteth the glass, but certain gross and putrefacted vapours, that issue from the eyes, as we see in those that do laborare opthalmia.  
To the sixth, of the Basilisk, I answer the most have held it fabulous, yet suppose it to be true, the best authors have written that infection proceedeth from his breath not his eyes.  
To the seventh and last, it is replied, that cats and wolves retain a certain natural light in N●ruo optico, which serveth them as a Medium to discern plainly any thing by night.  
To conclude to these and all other objections for emission of the sight, in brief I answer with this dilemma unanswerable.  
If any thing be sent out from the eye it is either corporeal or incorporeal, if corporeal, it hath motum localem, or moving in place and time, which motion seemeth to be swifter than the motion of the heaven, for the eye in a minute can discern from one part of the heaven to the other, which were repugnant to truth and all Philosophy. Say it were light and no corporal substance, it followed, though that a sensitive part of the soul went forth with the same, and that an accident should become the subject of the soul, nothing can be granted more absurd. If incorporeal, as Metaphysical, it cannot move the sense: Now it remaineth, that according to Aristotle and the truth, we decide this controversy concerning the sight, wherein so many famous Philosopher's have been blind.  

How sight is caused according to Aristotle.  
Aristotle saith, that the motion which passeth or cometh between the eye, and the object, whether it be the light or air, is the efficient cause of sight, his words be, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉.  
To explain his meaning better, there concurreth to sight a double motion one from the object into the medium, the other from the medium (air or ●ight) to the eye, so that I may say the eye receives the form of the object at a second hand, as it were from the medium, being conveyed as it were half the way by a former motion. For Aristotle in his second de anima, strongly proveth against Democritus 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 non pati ab obiecto sed à medio. So that sight is caused by receiving the colour or object into the eye by a second motion against Plato, 
Plato v●●ius ●emper & v●e si●i constans.  Empedocles, the Stoics, and all other that have held the contrary.   

Of the eye, the Organ or Instrument of sight.  
Some and amongst those before named, Empedocles have supposed the eye to have been fiery, Aristotle as I remember allegeth one of his arguments, which was this, the eye being ruled or having received a blow seemeth as it were to sparkle with fire, the ●est are of like force, whom after he hath confuted with two good reasons, the one is, that if the eye were fiery; it should see itself; the second, it should see clearly in the dark, as a candle in a lantern, he determines the question, and affirms it to be of a watery substance. The Physicians also cold, and of the nature of the brain.   

The parts and wonderful composition of the eye.  
The eye being the most excellent Organ of the noblest sense, & the tenderest part of the body, is by nature as it were a pearl shut up within a four fold casket, that it might the better be preserved from injury as the most precious jewel and sole treasure of the body, for it is defended with four coats or skins, the fir●t whereof is called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which is adnata, or close-bred by this, the eye is fastened and joined, the second is ca●led 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 or cornea, as it were of horn, compassing the eye round, it is transparent: this dependeth the humour and water of the eye, and is placed about the ball, lest the outward light meeting with the Cristaline humour should dazzle and o●fend the sight, & to keep this humour from drying Tunica v●●e, or 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 compasseth it about, this again doth compass another coat like a cobweb of bl●cke colour called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of Arachne, under which lies a moisture like molten glass, which they call 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, and it is thick, within this remaineth a little pearl (as in the centre unmoved) most hard, resembling ice or Crystal, whereon it is called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, it is round, but more flat towards the ball of the eye, that it might give the watery humour a better lustre, and defend it from injury. The ball of the eye is fat and thick, neither hath that fat of itself any heat in it, but warmeth by the force of heat it receiveth from the muscles that serve the eye, who also are covered with fatness, hence the eye never freezeth. 
Why the eye ●euer freezeth.  Thus much of the sense of seeing, and of the eye.    

CHAP. XIX. Co●our what it is, of the object of the sight, and the division thereof.  
COlour according to Scaliger is a quality compounded of the elements and the light, so far forth as it is the light Auerrois & Auenpa●e, said it was actus corporis terminati, others a bare superficies. Aristotle called it corp●ris extremitatem, the extremity or outmost of a body. The object of the sight is any thing whatsoever may be visible, Plato divideth visible things into three heads, which 

are Equal.  
are Greater.  
are Less.    
Equal are all transparent things, which let the sight through, and are not properly said to be seen as the air, water, ice, crystal, and the like.  
Greater, which he calleth 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which spread or scatter the sight by that means, hurting the same as all white things.  
The less 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which gather the sight together, and which are improper, or rather no objects at all, as all blackness.  

Whether all colours be compounded of white and black or no.  
Theophrastus hath long since laboured to prove black to be no colour at all, his reason is, because that colour is proper to none of the elements, for saith he, water, air and earth are white, and the fire is yellow, but rather would fetch it from white and yellow, whereto Scaliger leaving Aristotle, perhaps for singularity sake, seemeth to give consent, who sets down four primary or first colours, viz. 
White in the dry body 
as the earth.  Green in thick and moist 
as the water.  Blue in the thin and moist 
as the air.  Yellow in the hot 
as the fire.   Yet not without reason, for Aristotle affirmed that black was the privation of white, as darkness of light, to whom Scaliger replies, that nothing can be made of privation and habit, but we will leave their arguments, and proceed to the species and several kinds of colours, showing by their Etymologies, their several nature, and after declare the manner of their mixture and composition.    

CHAP. XX. Of the choice of your grinding stone, Mullar, Pencils, making your gums, gilding, etc.  
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 indifferent well (for before I would not have you know what colours meaneth) you may with more delight apparel your wo●k with the lively and natural beauty: and first of the choice of your grinding stone and pencils.  
I like best the porphytie, white or green Marble, with a muller or upper stone of the same, 
The choice of your grinding stone and mullar.  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 the 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 rivers sides, the next to ●hese 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 whetted them in your mouth; you shall buy them one after another for eight or ten pence a dozen at the Apothecaries.   

CHAP. XXI. Of the several Gums that are used in grinding of water colours.  

Gum Arabic.  
THE first and principal is Gum Arabic, choose it by the whiteness, clearness, & the brittleness 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 and taking away the water you put to it.   

2. Gum Hederae, or of the ivy.  
There is another very excellent gum that proceedeth from the ivy, which you shall get in this manner: find out first an Oak, or house that hath a great branch of ivy climbing up by it, and with an axe cut it a sunder in the midst, and then with your axe he●d bruise both ends, and let it sta●d a month or thereabouts, at what time you shal●●●ke from it a pure and fine gum, like an oil, w●●ch 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 of the size, secondly, it taketh away the bubbles that arise upon your gold size, & other colours, lastly it taketh away the clamminess, and fatness from your other colours: there is moreover great use of it in the confection of pomander.   

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 sponge, or piece of wool, so fine as you can, and 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 clear water, as you do gum Arabic: 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 two or three drops of weak Gum Arabic 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 gyld upon it, cut your gold or silver according to the bigness of the size you have laid; and then se● 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 clean as you have drawn it, though i● were as small as any heir: it is called gold Armoniac, & is taken many times for liquid gold.    

CHAP. XXII. Of gilding or the ordering of gold and silver in water colours.  
YOU may gyld only with gum water, as I will show you, make your water good and stiff, and lay it on with your pencel, where you would gild, then take a cushion that hath smooth leather, and turn the bottom upward, upon th●t cut your gold with a sharp knife; in what quantity you will, and to take it up, draw the edge of your knife finely upon your tongue that it may be 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 your gum be almost dry, otherwise it will drown your gold: and being laid, press it down hard with the skut of an hair, afterward burnish it with a dog's tooth.  
I call burnished gold, that manner of gilding 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.) A very fair manuscript of this kind Sir Robert Cotton my worshipful friend had of me, which was King Edward the fourths, compiled by Anthony Earl Rivers, and as Master Cambden told me, it was the first book that ever was printed in England: 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 three parts of Bole armoniac, and four of fine chalk, grind them together as small as you can with clean water, three or four times, & every time let it dry, and see it be clean without gravel or girt, and 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, and in the grinding put to a little gum Haederae, and a little ear wax, to the quantity of a fitch, and five or six shives of saffron, which grind together as small as you can possible, and then put it into an ox horn, and covered close, let it rot in hot horse dung, or in the earth, for the space of five or six weeks, then take it up and lay it in the air, (for it will have an ill savour) and 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 therewith, and you shall have a fair gold: when you have set it, and you see that it is thoroughly dry, rub or burnish it with a dog's tooth.   

To make liquid gold or silver.  
Take five or six leaves of gold or silver, and lay it upon 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, and 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 and great salt, so let it stand three or four days in some close place: then must you distill it in this manner, take a piece of glovers leather, that is very thin, and pick away the skinny side, and put your gold therein binding it close, then 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.    

CHAP. XXIII. The Etymology and true mixture of colours. Of Black.  
Black is so called from the Saxon word black, in French No●r, in Italian Nero, in Spanish Negro, from the Latin Niger, and from the Greek, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which signifieth Dead because all dead and corrupted things are properly of this colour, the reason why they are so, Aristotle plainly showeth where he saith: 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which is, blackness doth accompany the elements, confounded or commixed one with another, as for example of air & water mixed together, and consumed with fire is made a black colour, as we may see in charcoals, oil, pitch, links, and such like fatty substances, the smoke whereof is most black, as also in stones and timber, that have lain long under water, which when the water is dried up, they lie open to the sun and air, & become presently of the same colour: these be the blacks which you most commonly use in painting, this colour is simple of itself.  

Heart's horn burned.  
Ordinary lamp blacke●  
Date stones burned.  
ivory burned.  
Manchet or white bread burned.  
The black of walnut shells.   

The making of ordinary lamp black.  
Take a torch or 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.   

Of White.  
This word white in English cometh from the low Dutch word wit, in high Dutch Weif, which is derived from W●sser, that is, water which by nature is white, yea thickened or condensate, most white, as it appeareth by hail and snow which are compounded of water hardened by the coldness of the air in Italian it is called Bianco, in French Blanc, if we may believe Scaliger, from the Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which as he takes it, signifies faint or weak: wherein happily he agreeth with Theophrastus who affirmeth omnia candida esse imbecilliora, that all white things are faint and weak, hence I believe it is called in Latin Candidus, from the Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, i. confundo, because whiteness confoundeth or dazzleth the sight as we find when we ride forth in a snow in winter. It is called also albus of that old Greek word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the same, hence had the Alps their Etymon, because of their continual whiteness with snow. The Grecians call this colour 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, video, that is, to see, because, whiteness is the most proper object of our sight according to Aristotle saying, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, that is, whiteness, or the object or sight, whiteness proceedeth from the water, air, and earth, which by nature is also white, as we prove by ashes of all earthly matter burnt, though to our sight it seemeth black, brownish, and of other colours, by reason of the intincture and commixture of other elements with the same: the principal whites in painting and limming are these. viz.  

Ceruse.  
White l●●d.  
Spanish white.    

Of whites and their temp●ring Venice Ceruse.  
Your principal white is Ceruse, called in Latin Cerussa, by the Italian B●acea. Vitr●ui●s teacheth the making of it, which is in this manner. The Rhodians (saith he) use to take the paring 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 adaies● by women in painting their faces, whom Martial in his merry vain skoffeth, saying, Cerussata timet Sabella sol●m. AEtius saith it being thoroughly burnt, it turneth into a fair red, which he calleth Syricum, grind it with the glaire 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 and made more pure, you shall grind it with a weak water of gum Lake, and let it stand three or four days, Roset and Vermelion maketh it a fair Carnation.   

Spanish white.  
There is another 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 bu●ning 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 Yellow.  
Yellow is so called from the Italian word Giallo, which signifieth the same Giallo, hath his Etymology from Geel the high Dutch, which signifieth lucere, to shine, and also hence cometh Gelt, and our English word Gold, in French jaulne, in Spanish jalde, or Am ●illo, in Latin Fla●us luteus, of● lutum, in Greek, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which is Homer's Epithet for Menelaus, where he calls him 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, and Silius imitating him, attributes the same to the Hollander whom he calls Flavicomus Batau●s, by reason of his yellow locks, it is called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 ab 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, a flower as if he should say 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, a beautiful head of hair, which in times past was accounted the bright yellow, which Herodian so commendeth in the Emperor Commo●u●, & the Romans supposed in the same aliquid numinis ●esse: And it seems AEneas his hair in Virgil, which his mother Venus bestowed upon him for a more majestical beauty to have been of the same colour, or it may be called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, hair worthing the kembing, but I dare not be too busy in Etymologies, least catching at the shadow I leave the substance, yellow hath his primary beginning from the Element of fire, or Sunbeams, Aristotle's reason is, because all liquid things concocted by heat become yellow as lie, wort urine, ripe fruit, brimstone, etc. so that black, white, and yellow according to Aristotle are the four primary or principal colours as immediately proceeding from the elements, and from those all other colours have their beginning. Your principal yellow be these.  

Orpiment.  
Masticot.  
Saffron.  
pink yellow.  
Ochre de Luce.  
Umber.    

Orpiment.  
Orpiment called in Latin Arsenicum, or Auripigmentum, (because being broken, it resembleth God 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.   

Mas●icot 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 ●affron; if light, with Ceruse: temper it with weak gum water, and so use it.   

Ochre de Luke.  
The fine Ochre de Luke, or Luce, and grind it with a pure brasil water: it maketh a passing haire-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 shive of saffron.   

Of Greene.  
Our English word green is fetched from the high Dutch ●●un, in the Belgic Groen, in French it is called Coleur verde, in Italian and Spanish Verde, from the Latin Vi●●ais, and that from vires, quia viribus maxime pollent in virente aetate vigentia, in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 a 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, that is, grass or the green herb, which is of this colour, why the earth hath this colour above others Aristotle showeth which is by reason of the much and often falling of rain, and setting upon the same, for saith he, all water or moisture that standeth long, and receiveth the beams of the Sun at the fi●st groweth greenish, afterward more black, after that receiving as it were another g●●ene, they become of a grass colour, for all moisture dried up of itself becometh black, as we see in old wells and cisterns, and if any thing hath lain long under water, and afterwards lying dry, may receive the heat of the Sun (the moisture being exhaled and drawn away) it becometh green, because that yellow proceeding from the Sun beams mixed with black do turn into a green, for where the moisture doth not participate with the beams of the Sun, there remains whiteness, as we see in most roots and stalks of herbs, which grow near or within the earth, now when t●● moisture hath spent itself far in the stalk, leaf, and flower, that it cannot overcome the heat of the air and Sun, it changeth and giveth place to yellow, which heat afterward being well concocted turned into several colours as we see in flowers, mellow apples, pears, plums, and the like, the green we commonly use, are these.  

Green bice.  
Vert grease.  
Verditure.  
Sapgreene.   
Of the blue and yellow proceedeth the green.   

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.   

Vertgreece.  
Vertgreece is nothing else but the rust of brass●● which in time being consumed and eaten with Tal●low, turneth into green, as you may see many times upon foul candlesticks that have not been often made clean, wherefore it hath the name in Latin AErugo, in French Vert de gris, or the hoary gr●ene: to temper it as you ought, you must grind it with the juice of Rue, & a little weak gum water, and 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 vertgreece green, with the water of sapgreene.   

Verditure  
Take your verditure, and grind it with a weak Gum Arabic 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 into it a little Alum to raise his colour, and you shall have a good green to diaper upon all other greene's.   

Of Blue.  
Blue hath his Etymon from the high Dutch, Blaw, from whence he calleth Himmel-blaw, that which we call sky colour or heavens-blew, in Spanish it is called Blao or Azul, in Italian Azurro, in French Azure of Lazur an Arabian word, which is the name of a stone, whereof it is made, called in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, from whence it is called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, and in Latin Cyaneus a stone, as Dioscorides saith, 
Discorides lib. 5. cap. 106.  or sandy matter found in minerals in the earth, of a most pure and perfect blue, whether it be our bice or no, I know not for a certain, but I remember Homer calleth a table, whose feet were painted with bice 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, 
Hom. Ili. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉.  but howsoever I will not strive, since I am persuaded many of those colours, which were in use with those excellent Grecian painters in old time are utterly unknown to us.  
The principal blewes with us in use are.  

Blue bice.  
Smalt.  
Litmose blue.  
Ind baudias.  
Florey blue.  
Korck or Orchall.    

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, and 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, and put in clean water of Gum Arabic not too stiff, but somewhat weak, that the bice may fall to the bottom, then power away the Gum water clean from the bice; and 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 Cer●se, 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 Arabe●k, you shall also grind your English Indeba●d●●●● after the same manner, which is not fully so good a colour as your Indebaud●●● is: you must Diaper light and deep upon it, wi●● a good litmose water.   

●l●rey Blue.  
Take Florey blue, and grind it with a little fine Rose●, and it will make a deep violet, and by putting in a quantity of Ceruse it will make a light violet: with two parts of Ceru●e, and one of red lead, it maketh a perfect Crane colour.   

Korke or Orchall.  
Take fine Orchall and grind it with unslekt 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 blewest  
Take fine litmos 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 blewes, and sanguines to make them show more fai●e and beautiful: if it begin to dr●e in your shell, moisten it with a little more water, and it will be as good as at the first.   

Of Red.  
Red, from the old Saxon Rud, as the town of Hertford, as my worshipful friend Master Camden in his Britannia noteth, first was called by the Saxons Herudford, as much as to say, the Rud ford, or the red ford● or water, the like of many other places in England, in high Dutch it is called Rot, in low Dutch Root, without doubt from the Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which is the same, in French Rogue, in Italian Rubro, from the Latin Ruber, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 à corticibus vel gravis mali punici, from the rinds or seeds (as Scaliger●aith ●aith) of a Pomegranate, which are of this colour. In Spanish it is called Vermeio, of Minium which is Vermilion.  

The sorts of Red are these.  
Vermilion.  
Synaper lake.  
Synaper tops.  
Red lead.  
Roset.  
Turnsoile.  
Browne of Spain.  
Bole Armoniac.    

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 glaire of an egg, and in the grinding put to a little clarified honey, and make his colour bright and perfect.   

Sinaper lake.  
Sinaper in Latin is called Cinnabaris, it hath the name Lake of Lacca, a red berry, whereof it is made growing in China and those places in the East Indies, as Master Gerrard showed me out of his herbal, it maketh a deep & beautiful red, or rather purple, almost like unto a red Rose: the best was wont to be made, as Dioscorides saith, in L●bia of brimstone and quicksilver burned a long time to a small quantity: and not of the blood of the Elephant and Dragon, as Pl●nie supposed: you shall grind i● with gum Lake, and Turnsoile water, if you will have it light, put to a little Ceruse, and it will make a bright crimson, if to diaper, put to only Turnsoile water.   

cinnabar Tops.  
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: ●or your Saffron will make it orient, and of a Marigold colour.   

Turneso●le.  
Turnesoile is made of old linen rags died, you shall v●e it after this manner: lay it in a saucer of vinegar, and set it over a chase dish of coals, and let it boil, then take it off, and wring it into a shell, a●d put unto it a little gum Arabeck, letting it st●nd three or four hours, till it be dissolved: it is good to shadow carnations, and all yealowes.   

Ros●t.  
You shall grind your Roset with Brasill water, and it will make you a deep and a fair purple, if you p●t Ceruse to it, it maketh a lighter, if you grind it with Litmose, it maketh a ●aire violet.   

Browne of Spain.  
Grind your Browne of Spain with Brasill water, and if you mingle it with Ceruse, it maketh an horse flesh colour.   

●ole 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.    

CHAP. XXIIII. O● composed colours, Scarlet colour.  
IN French coleur d'●scarlite, Italicè, colour Scarlatino ● porposi●o, H●sp. colour de grana, Belg●●è Kermesin of Scharlacken root, T●utonice Rosinfa●b, Carmasinsarb Latin Coccineus colour, Graec. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the seed of Kernel of a Pomgra●●e, with which in times past they did use to 〈…〉 colour: Aristophanes saith, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 for to pick out the grains of kernels of a Pomegranate. The Arabians call this colour Che●meb, from whence cometh our Crimson, as Scaliger saith, two parts of verme●ion, and one of lake make a perfect Scarlet.  

A bright Mur●e●.  
In Latin Mur●hinus col●r, Gra●●● 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, is a wonderful beautiful colour, computed of purple and white, resembling the colour o● a precious stone of that name, which besides the ●a●e colour yields a marvelous odoriferous and skeete smell: it is found in the Eastern parts of the world, the best among the Parthians, being all over spotted with Rosy coloured, and milk white spots yielding a gloss like changeable silk of this colour: of the incredible price of these stone● Pliny writeth, Lib. 37. Martial. in like mann●r also seemeth to number them among the precious things that were brought to Rome where he saith.  
Surrentinabibis? n●● murrhina picta nec aurum  
Posce, dabunt calices haec tibi vina snos.  
Some have mistaken and thought that colour which we call Murinus colour to be this murrey which is properly the colour of a mo●se or as some will have it an ass colour. Others that colour which we call Morellus, the French Morea● a Moris as some would have it, but in my opinion they are much deceived. Lake Sinast with a quantity of white lead make a murrey colour, one part of white lead, and two of each of the other.   

A glassy Grace.  
The word Glass itself cometh from the Belgic and high Dutch: Glass from the verb Glansen, which signifieth amongst them to shine, from the Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the same, or perhaps from glacies in the Latin, which is Ice, whose colour it resembleth, in French it is called Coleur de voir, in Italian v●●reo colour di vetro, in high Dutch Glasgrum, in Spanish Color vidrial, in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 that is moist, and that from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, pluere, to rain, from whence also proceed those words in Latin, humus, udus, etc. It is an airy and and greenish white, it serveth to imitate at sometimes the sky glasses of all sorts, fountains and the like: To make this, mingle white lead or Ceruse with a little azure.   

A Browne.  
Browne is called in high Dutch Braun of the Netherlands Bruyn, in French Coleur brune, in Italian Bruno, in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, from colour of the AEthiopians, for 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, is to burn, and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 a face, for some have imagined that blackness or swarthiness in their faces is procured through the forcible heat of the Sunbeams. In Latin it is called fuscus quasi 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, that is, from darkening or overshadowing the light, or of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which is to burn or scorch, in which sense I have often read it in Hypocrates: this colour in the air is called by the learned 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is sold as much as 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, terminus lu●is, and indeed it is taken properly for that dusky redness that appeareth in the morning either before the Sunrising, or after the same set.   

A bay colour.  
In Latin it is called Ba●us aut castancu● colour, A bay or a Chestnut colour, of all others it is most to be commended in horses, it cometh from the Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is a sl●p of the date tree pulled off with the fruit, which is of this colour, in French Bay, Ba●ard, in Italian Ba●o, in high Dutch Kesten-braune that is chestnut brown, it is also called of some Phoenicius colour from Dates, which the Grecians call 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, but as I take it improperly, for colour Phoeniceus, is either the colour of bright purple, or of the redness of a Summer morning according to Aristotle, of vermilion, Spanish brown and black you shall make a perfect bay.   

A deep purple.  
From the Dutch purple, in French Purpurin, in Italian Porporeo, in the Spanish and Portugal Purpureo, in Latin Purpurus, in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, a kind of shellfish that yieldeth a liquor of this colour, wherewith in old times they died this colour, it is also called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, as much as to say, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the work of the Sea, whereupon Plato taketh 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to be of a deep red mixed with black and some white, and so it is taken also of Aristotle and Lucian, it is made, saith Aristotle by the weaker beams of the Sun mixed with a little white, and a dusky black, which is the reason that the morning and evening is for the most part of this colour.   

Ash colour or grey.  
In Latin col●r Cinereus in French ●●l●ur cen●ree, ou ●ris●, Ital. Griso ber●tino, German. Asch●n fra●, Hispan. colour decen●z ●s, In Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, that is ashes, it is made by equally mixing white and black, white with Synaper Indigo, on● black make an ash colour.   

A fiery or bright purple.  
A fiery or bright purple is called in Latin ●uniceus colour, in French Purpurni ●elnissante, Ital. Rosso di Phoenicia, in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, it is made as I said before of black enlightened with the fire or beams o● the Sun: the words of Aristotle be these: 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉. It seemeth by Virgil to be the same colour of which Roses are, or ve●y near it, for he saith, Puniceis humilis quantum ●a●unca Roseti●, and again in his AEneid●s to be that colour in the morning, Puniceis iniecta rotis Aurora rubebat, and the Poet Lucretius calleth that colour on the side of ripe crabs p●niceum: where he saith, Matura colore arbuta puniceo.   

A grassy or yellowish green.  
In high Dutch Grassgrun, in Belgic Gersgroe●, Gall. ver messeè de iaulne, Italicè verde de giallo, Hispanecè verde qui tiene pocode Rurio, in Latin prassinus, in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is leek, a whose colour it resembleth, there is also a precious stone called prasites of the same colour. This colour ●s made grinding Ceruse with Pink, or adding a little verditure wi●h the ●u●ce of Rue or herb Grace.   

A S●●●ron colour.  
Germanice S●ffr●n-gerb; B●lg. Saff●●n-geel, Gall. Iau●ne, c●me S●●fran. Itali●e croceo, colour di Saffrano, H●spanice colour d● a●●sran from the Arabian word Za●r●n● Lat●n● Croc●●● c●●or, G●●●● 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 a 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, that is, Saffron, the Etymon of that name in is 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 from flourishing in the cold, for in frost and snow the Saffron ●lower, showeth the fairest, and thriveth best, the colour in washing is made of Saffron itself by s●eeping it.   

A 〈◊〉 colour.  
In high Dutch it is called Sewe●t●ro as you would say in English fire red, in the Belgic or low Dutch vier-root, glinsterich ro●t, in Fre●ch Rogue come feu, resplendissante, In Italian colour d●●uoco, Hispan. colour de ●uego Latine rutilus aut igneus, in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 a 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which is fire: it is made of vermilion and orpiment mixed deep or light at your pleasure.   

A Violet c●lour.  
In French colour Violet, Ital. Violato colour di viola, Hisp. colour de violet ●s, T●utonice viol bra●n, Latin. violaceus, à viola, which is a violet so called of vitula, as some imagine, in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, a violet it hath the Etymon from Io the virgin transformed into a bullock, who grazed as the Poet's fayine upon no other herbs than violets, Roset, Ceruse, and Litmose of equal parts.   

A Lead colour.  
In the Belgic Loot-verbe, Gallice coleur de plomb. Ital. colour piombo, colour livide, Teutonicè bley-farb. Hispan. colour catdenno, O colour de plomo, Latinè lividus of liver, which is taken for envy, because this colour is most of all ascribed to envious persons it is derived from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉.    

CHAP. XXV. How to prepare your tablet for a picture in small.  
TAke of the fairest and smoothest pastboord you can get, which with a sleek stone rub as smooth, and as even as you can, that done, take the ●ine skin of an Abortive, which you may buy in Pater no●ter row, and other places, (it being the ●inest parchment that is) and with starch thin laid on, and the skin well stretched and smooth pressed within some book or the like, prepare your ground or tablet, then according to the general complexion of the face you are to draw, lay on a weak colour, that done, trace out the ●ies, nose, mouth, and ear, with lake or red Lead, and if the complexion be swarthy, add either of sea coal, lamp black to deepen and shadow it, when you have thus done, lay it by for a day, or till it be well dry, then by little and little, work it with a curious hand with the lively colour, till you have brought it to perfection: but I will lay before you the practice of a rare Article in stead of many, that you may imagine you saw it done before you.   

CHAP. XXV. The practice of that famous Li●mer Hippolito Donato y●t living in Rome, in a small picture of Christ.  
FIrst he took a Card or smooth piece o● past boo●d, which after he had well rubbed with a sleek stone, he with starch finely laid on, pasted an abortive skin upon the same, which when it was through dry, smoothed, pressed and prepared he did draw the form of the face with lines of lake then on the complexion, which he composed according to the life of white and red lead, adding thereto as occasion served, a little Lake, Vermilion, etc. Then he came over the face with a little red Lead an● Lake. Th●t done and dry he mixed for the shadow under the eyes, kickshaws and face red lead lake like a little ●oote with a small quantity of Lamp black. For the hair he laid on first yellow ochre very thin and after deepened with ●oot a little lamp black a●d his own.  
For the lips used a little vermilion with lake for the shadow and the mouth stroke.  
For the hands he used red lead and lake with which he mingled a little lamp black and soot.  
For the Drapery which he termed Per panneare, he laid on first lake very thin, which being dry, he deepened it with the same, which also he observed in ●is blue. Although most commonly it is deep●ed with Indice or Turnsoile.  

O● mingling Colour's ●or all manner o● Garments and Drapery.  

Yellow.  FOr a Garment of yellow, take Masti●o●, deepned with brown ochre and red lead.  

Crimson.  For Crimson, lay on your Lake very thin, and deepen with the same.  

Blue.  For Blew, use Azure deepned with I●die blew, or lake heightened with whi●e.  

Cloth of gold.  For Cloth of Gold, take brown Ochre and liquid Gold water, and heighten upon the same with small strokes of Gold.  

Changeable silk.  For changeable silk, the water of Masticot and red lead for the heightening, deepen the same with sap green.  

Of other sorts.  A light blew, heightened with white, and deepned with Lake.  

Straw colour.  For a straw colour, Masticot and white heightened with Masticot, and deepened with Pink.  
Another, red lead deepened with Lake.  
For yellowish garments, thin pink and deepned with pink and green.  
Another verditure deepned with sap green and heightened about the edges with gold.  
For a Sca●let, 
Scar●et.  vermilion deepned with Lake, and heightened with touches of Ma●ticot.  
For a black Velvet, 
Black Velvet.  lay first your garment over with ivory black, then heighten it with Cheristone black and a little white.  
For a black satin, 
Black Satin.  use Cheristone black and white steepened again wi●h Cheristone black, lastly with ivory black as Elephant's tooth burned etc.  
Another, a fair blew deepned with lake and pursled ●ith liquid gold.  
For a white S●tten, 
White Satin.  fi●st very fine Ceruse, which deepen with Cheristone black, which heighten again wit● Ceruse and fine touches where the light falleth.  
For a russet satins 
Russet Satin.  Indie blew and lake first thin after deepened with Indie again.  
To shadow russet, take Cheristone black, and white for the russet lay a light russet then shadow it with white.  
For purples, 
Purple.  grind lake and smalt together, you may also make them of blue bice, red lead and white light or da●ke as you will.  
For an orient violet, 
An orient violet.  grind Litmose blue Smalt, somewhat light Ceruse ground herewith maketh an orient colour for violets, Colombines and the like, but in their mixture let the blue have the upper hand.  
To m●ke a most pure green, 
Th● most excellent.  take verdigris, and bruise it in a linen cloth, and steep it in Muscadine or malmsey for twelve hours, or somewhat more, then strain it into a shell, and put therein a little sap green, and it will be perfect, but put (I wish you) no gum at all herein.  
To make a carnation or flesh colour, grind Ceruse well washed with red lead, or Ceruse and vermilion Lake is not so good.  
Out of Masticot, Umber, yellow Ochre, Ceruse Ochre de Rous and Sea coal are made for the most part all manner of hair colours.  
With a perfect and fair green mingled with Masticot is made a Popingay green.  
For a sky colour Venice Ceruse and blue bice.  
A dark sky colour you shall make of stone blue and white, orpiment burned maketh a marigold colour.  
For a peach colour take Brasill water, L●gwood water, and Ceruse.  
To make a Craine colour, mingle Ceruse with Indie blew.  
For a dark sky colour as in a thick foggy and cloudy day mix stone blue and white.  
To make a light purple mingle Ceruse with logwood water. You may moreover take Turnsoile with a little Lake: mingled together with Smalt or bice.  
Take Ceruse and Saffron, it maketh a deeper shaw colour.  
Red lead thinly laid and shadowed with brown of Spain, maketh a walnut colour.  
There be certain berries to be bought at the Apothecaries called Venice berries, bruise them and put them into a shell with Alum, then put into a little fair water, and within an hour it will be a fair yellow to wash withal. In grinding lamp black put into it a little sugar, and into the rest if you will excepting blue and green.  
Grind your blue verditure but lightly.  
Your stone blew steep only in water, and it will be sufficient. To make your saffron show fair steep it either in fair water or vinegar.  
White is shadowed with black and so on the contra●y.  
Yellow is shadowed with umber and the okers.  
Vermilion with Lake.  
Blue bice with Indie.  
Black coal with Roset, etc.  
Other instructions for the colouring of some other bodies.  
To resemble the fire take Masticot and deepen it with Masticot for the flame.  
For a tree take Umber and white wrought with umber and deepened wi●h black.  
For the leaves, sap green & green bice, the heightening verditure and white, or Masticot and white.  
For water, blue and white, deepened with blue and heightened with white.  
For banks, thin umber, deepened with umber and black.  
For a feather Lake, ●rizeled with red lead: and so by your discretion you may judge of the rest: but I wish you every day to do somewhat in practice, but first to buy some fair prints to exercise your pencil withal.    

CHAP. XXVI. The manner of Annealing and Painting upon glass.  
THere be six principal colours in glass, which are Or, or yellow Argent, or white, Sables, Azure, Gules, and Ver●, black, blue, red, and green.  

How to make your Or, or yellow upon glass.  
Your yellow is made in this manner, take an old groat, or other piece of the purest and best refined silver, that you can get, then take a good quantity of Brimstone, and melt it, when ye have done, put your ●●luer into the Brimstone melted, and take it forth, gain 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, & 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 candlestick, 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 let, and the scales of Iron, and with a wet feather when the Smith hath taken an hea●, take up the scales that ●lie from the Iron, which you may do by laying the feather on them, and those scales that come up with the feather, you shall grind upon your painter's stone, with the let and Gum water, so use it as your gold above written.   

Azure, Gules, and Vert.  
These three colours are to be used after one manner, you may buy or speak unto some merchant you are acquainted withal, to procure you what coloured beads you will, as for example, the most and perfectest red beads, that can be come by, to make you a fair red, beat them into powder, in a brazen Mortar, then buy the Goldsmith's red Enamel, which in any case let be very transparent & through-shining, take off the beads two pearls, & of the Enamel one part, and grind them together as you did your silver, in the like sort may you use all the other colours.   

Another fair 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, and 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 vert grease, and grind it very 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-glasse, one quarter of gum, of jet three ounces, of red Ochre five ounces, and grind them together.   

Another black.  
Take a quantity of iron scales, and so many copper scales, and way them one against another, 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 I●t, and half as much silver, scum, or glass tinne● and half as much of Iron scales, a quar●er as much of gum, and so 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 ●oote and a half high in this manner: and raise it a ●oot and a half high● when you have done, lay little bars of Iron overthwart it thus: three or four, or as many as will●serue, 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 O●en, 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, and fifth it through a fine ●iue 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 ●ift upon the said glass, another bed of ●ime, and 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 ●o●t ●ire under your glass, and let it burn till ●t 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 dra● in colours what y●u will upon the said pieces, or if you wipe them ●uer with ●o●e colour, with your finger only it is enough: and lay with e●ery bed of your wrought & drawn glass one of the said pieces of glass, which are called watches, and when you think that they are sufficiently annealed with a pair of pliers or tongues, take out of the first watch which is the lowest, and next to the fire, & lay it upon aboard 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, and if it hold it is well annealed.  
When you would occupy any oiled colour i● glass, you shall once grind it with gum water, and then temper it with Spanish Turpentine, and let it dry as near the fire as may be, than it is perfect.     

THE SECOND BOOK of Drawing and Limning.  

CHAP. I.  
Teaching how, according to truth to purtract and express, Eternity, Hope, Victory, Piety, Providence, Ve●●●e, Time, Peace, Concord, Fame, Common Safety, Clemency, Fat●, etc. as they have been by Antiquity described either in Comes, Statues, or other the like Public Monuments.  

Eternity.  
THE most ancient picture of Eternity, was expressed in the form of a fair Lady, having three heads, signifying those three parts of time, viz. Time past, Present, and to come, in her le●t hand a Circle pointing with her right forefinger up to heaven, the Circle shows she hath neither beginning nor end, and those three heads not altogether unproper to her, ●or saith Petr.  
Non haura luogo, fu, Sara, ne era 
In Trion●i.   
Ma è solo in present, et hora et hoggi  
Et sola eternita racolta, è vera.  
In the Medals of Traia● and Domitian, she is figured sitting upon a Sphere, in one hand the Sun, in the other the Moon, by her sitting is signified her perpetual constancy.  
August●s Caesar caused her to be stamped in his coin in the form of a Lady with two heads crowned under her feet, written AEternitas Augusti, and these letters S C.  
In the Medals of Faustina, she is drawn with a vail, and in her right hand the Globe of the world.  
In another ancient Meddall I have seen her drawn in green, with a spear in her left hand, with her right hand reaching for●h w●th th●se letters. Clod. Sept. Alb. Aug.   

Hope.  
Hope by the Ancients was drawn in the form of a sweet and beautiful child in a long Robe hanging loose, standing upon the tiptoes, & a treyfoile or three leaved grass in the hand. Hope hath her infancy and increase, the amiable countenance, the pleasure & delight she bringeth the loose garment shows she never pincheth or bindeth, truth, but alloweth the largest scope, the treyfoile of all other herbs first appeareth green, h●r standing on tiptoe, shows she never standeth firm and certain.  
In the Medals of Gold of the Emperor Adrian and Claudius, she is is draw like a Lady all in green, with one hand holding up th● skirt of her garment, in the other a goblet with a Lily in the ●ame, and these letters R. P.  
Elsewhere she is drawn in yellow with a flowery plant in her hand, her garment also embroidered with sundry flowers as Roses, Violets, Daffodils etc. in her l●ft hand an Anchor.  
She is also expressed all in green with a Garland of sundry flowers upon her head gi●ing a Cupid, or Love suck, for indeed she is the ●ood of love. Amor sinespe, non attin●t ●inem desidery, saith S. Augustine.   

Victory.  
Victory (as ●●liodorus reports) was expressed by the ancients in the form of a Lady, ●lad all in Gold, in one hand a Helmet in the other a pomegranate, by the helmet was meant force & strength of the body by the pomegranate unity of wit and counsel, in the Medals of Octavius she is portra●tured with wings standing upon a base, in one hand a Palm, in the other a Crown of Gold, with these words, Asia re●epta.  
The sea victory of Vespasian, was a Lady holding a Palm in her hand, at her foot the prow of a ship.  
The same Vespasian caused also a Column to be erected in Rome, upon whose top there was the prow of a ship, which being called in Latin Rostrum gave the name to the common pulpit or pleading place in Rome, where those excellent Orations of Tullius ●orte●sius and others were made being framed and built of the prow of those ships of Anti●m which the Romans overthrew and took in the river of Tiber in memory of so notable a victory.  
The victory by land of Vespasian was a Lady winged writing these words in a shield (near a palm● tree) judaea Capta.  
Titus his son gave her without wings, (as Pa●●sanias reports the Athenians did, who drew (her p●●●iond● because she could not sly awa●e but ever ●●●maine with him.  
Augustus would have her with wings ready to fl●● standing upon a Globe, with a Garland of b●●es, in one hand, in the other the Corne● of ●he Emperor with this word Imperator Caesar.  
Luc●us Verus drew Victory in the form of a tall Soldier a helmet upon his head, in his right hand a spear, in his left hand a Trophy laden with the spoils of the enemy.  
Domitian devised after his German Conquest Victory in form of a Lady writing within a shield hanging upon a tree, near whom sat a comely virgin mourning and leaning with her cheek upon one hand.   

Piety.  
Piety is drawn like a Lady of Solemn cheer, and a ●ober countenance, in her left hand a stork, her right arm stretched over an Altar with a sword in her hand, by her side an Elephant and a child.  
The Stork is so called o● 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is the natural or reciprocal love the child beareth to the parent, or the parent to the child, of which this bird hath ever been an Emblem for the love and care she hath of her parents being old.  
The sword and Altar declares her readiness in offering herself for the defence of Religion.  
The Elephant above all beasts is thought to have a secret and natural instinct of pity, Plutarch and AElian affirm that they adore and worship the Sun at the rising, Pliny addeth the new Moon: AElian moreover reporteth that they have a care of interring their dead, and that if they ●inde one dead, they will do their best to cover him with earth, and no marvel, if it be true, which Oppian writeth of them that they can prophecy, and which is more as Dion saith, that they have knowledge of what is done in Heaven.  
The Egyptians resembled P●ety by B●tonis and Cleobis, drawing by the necks their mother in a chariot to the Temple of juno.  
A●t●n●●s P●us gave her in his money, like a Lady with a Censer before an Altar.   

P●a●e.  
Peace (as I have yet to show in an ancient piece of coin stamped about Augustus Caesar's time) is drawn like a Lady, in her right hand holding a Caduceus downward toward the earth, where lieth an hideous serpent of sundry colours, with her other hand covering her face with a vail, as loath to behold the serpent: the word under is Pax Orb. Terr. Aug. It being the time of the birth of our blessed Saviour jesus Christ, when there was a general peace over the whole world.  
Caduceus among the Romans was the name of a wand so called a Cad●ndo, because at the sight thereof presently all quarrels and discord ceased, and it was carried by their Heralds and ambassadors, as an ensign of peace.  
trajan gave a Lady in her right hand an Olive branch, in her left a Cornucopia.  
The Olive is given as the Emblem of Peace, because of all other trees if it may grow free from annoyance as in times of peace it becometh the most fruitful.  
In certain pieces also of Sergius Galba, she is resembled by a fair Lady sitting with an Olive bow in one hand, and a Club in the other, underneath Pax Aug●st. Et S. C.  
Her beauty and sitting signify the quiet of the mind in times of peace, by her Club is meant bodily strength.  
In the Medals o● Titus she is figured like a Lady in one hand, an Olive branch with the other, leading a lamb and a wolf coupled by the necks in one yoke.   

Virtue.  
Virtue in most of the old Roman statues and coins (as in those of Maximinus, Geta, trajan) was represented by Hercules, naked with his Lion's skin, and knotted Club, performing some one of his labours (as at this day he is seen in a goodly statue in the palace of Cardinal Farness in Room) Hercules being nothing else: but Virtue hath his name in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 junonis gloria vel quia 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Celebrat aut commemorat Heroas, which is the property of Virtue, he is drawn naked to show the simplicity of Virtue, being as the common saying is nudo homine cortenta.  
In the pe●ces of Geta he is drawn offering to strike a Dragon keeping an Apple ●ree, by the Dragon are meant all manner of ●●●●s, by his Lion's skin magnanimity, by his oaken Club is signified Reason ruling the Appetite, the knottines thereof, the difficulty they have, that seek after Virtue.  
In the Capitol in Rome he was framed in a goodly stature guilt all over, in his hand three golden Apples designing the three Heroical virtues', which are 1. Moderation of Anger, 2. Temperance in Covetousness 3. The despising of pleasures.  
Domitian Gal●●nus and Galba gave her like an Amazon with a shield and sword holding a lance, setting one foot upon the World.  
Lucius Verus a Bellephoron, & the Chimaera taken by Alciate for the Emblem of virtue and Heroical Fortitude.   

Providence.  
A Lady lifting up both her hands to Heaven with this word Providentia Deorum. In the Medals of Probus a Lady in a rob in her right hand a Sceptre, in her left a Cornucopia, a Globe at her feet.  
Of Maximinus carrying a bundle of Corn, with a spear in one hand.   

Time.  
I have seen time drawn by a painter standing upon an old ruin, winged, and with Iron teeth.  
But I rather allow his devise that drew him an old man in a garment of stars, upon his head a Garland land of Roses, ears of Corn and dry sticks, standing upon the Zodiac (for he hath his strength from heaven) holding a looking glass in his hand, as beholding only the present time) two children at his feet, one fat, and well liking, the other lean, writing both in one book upon the head of one, the sun upon the other, the Moon.  
He is commonly drawn upon tombs in Gardens, and other places an old man bald, winged with a Sith and an hour glass.   

Concord.  
Concord was drawn sitting in her right hand a charger, or platter ●or sacrifice in herself, a Cornucopia, the word Concordia Augg. Et. S.C.  
Concordia Militaris Neruae Imp. A Lady in her right hand the beak of a ship, upon which standeth a flag about the middle of the staff of the same, two hands joined, the word Concordia Exercituum.  
Pierius Valerianus out of Democritus would have Concord like a fair Virgin holding in one hand a pomegranate, in the other a bundle of Myrtle, for such is the nature of these trees, that if they be planted, though a good space one from the other, they will meet, and with twining one embrace the other.  
In Faustinas' medals she is represented by crows, as may be seen in Alciates Emblems.  
In another place s●e is showed with a Sceptre, having flowers bound to the top of the same, and in her arm a bundle of green rods.   

Fame.  
A Lady clad in a thin and light Garment, open to the middle thigh, that ●he might run the ●aster, two exceeding large wings, her garments embroidered with eyes and ears, blowing of a trumpets as she is described by the Poet Virgil.   

Captiu● Fame.  
A Lady in a long black rob painted with Puttines, or little Images with black wings a trumpet in her hand.   

Salus publica, or common s●fe●y.  
A fair child holding a goblet in the right hand, offering the same to a serpent, in the other hand a wand, the word Salus. Pub. August●.   

Clemency.  
A Lady sitting upon a Lion, holding in one hand a spear, in the other an arrow, which she seemeth to cast away from her with these words, Indulgentia Aug. Incar.  
Among the Medals of Nitellius she is expressed sitting with a bay branch in her hand, and a staff lying by her.   

Fate.  
Fate is drawn like a man in a fair long flaxen rob looking upward to certain bright stars compassed about with thick clouds, from whence there shall hang a golden chain, as it is described by Homer in the eight of his Iliads, which chain signifieth nothing else but the conjunction of divine with human things on which they depend as on their cause Plato holds this chain to be the power of the divine spirit & his heat Flax was the hieroglyphic of Fate among the Egyptians, as Pierius Valerianus noteth.   

Felicity  
Lulia Mamme● gave Felicity like a Lady sitting in an imperial throne, in one hand a Caduceus, in the other a Cornucopia.   

fecundity.  
Among the M●dd●●les of ●austina she is described in the form of a Lady sitting upon a bed, two little infants hanging about her ne●ke.   

Security.  
Is expressed among the Meddailes of Gordianus by a Lady lea●ing against a pillar, a sceptre in her hand before an Altar.   

Mon●y.  
Was among the Grecians represented by a Lady, in a garment of white, yellow, ●nd tawny or copper colour, in her hand sundry stamps by her side a Civet cat which was stamped in the Grecian coin, and was (as Plutarch saith) the A●ms of the Athenians.   

Dissimulation.  
A lady wearing a vizard of two faces, in a long rob of changeable colour, in her right hand a Magpie, the Poet Spenc●r described her looking through a lattice.   

Equality.  
A Lady lighting two torches at once.   

Matrimony.  
A young man standing upon his shoulder a double yoke, his legs fast in a pair of stocks, in his hand a Quince, in token of fruitfulness, which by the laws of Solon was given to the Brides of Athens upon the day of their Marriage, for further variety of these and the like devices, I refer you to my Emblems Dedicated to Prince Henry.    

CHAP. II. The manner o● expressing and figuring ●louds, Rivers, all sorts of Nymphs: The M●●●s, Plants, ●indes, Faun●s, and satires, the Sea●ons and Month's of the year, etc.  

Of Floods and Rivers.  
IN describing Floods and Rivers, you must principally obseque the adjuncts ●nd properties of the same, which consist either in some notable accident done near them: Some famous City situate upon their banks, trees, fruits, or reeds, by show of some fish proper to their streams only, their heads or fi●st fountains, their windings and turning noise in th●ir ●alles, etc. you shall best place the City upon their heads, their fruits in a Cornucopia, reeds, flowers and branches of trees in their garlands, as for example.   

The River Tiber.  
The river Tiber is seen expressed in many places in Rome, but especially in the Vatican, in a goodly statue of Marble lying along (for so you must remember to draw them to express their levelnesse with the eateh) holding under his right arm a she-wolf with two little infants sucking at her teats leaning upon an urn or pitcher, out of the which issueth his stream, in his left a Cornucopia with all manner of delicate fruits, with a grave countenance, and long beard, a garland of sundry sweet flowers upon his head, resting his right leg upon an Oar, to show it was navigable and commodious for traffic.   

The River Arnus  
Arnus is another famous river of Italy, and is drawn like an old man, leaning upon his pitcher, pouring forth water upon his head, a ga●land of beech, by his right side a Lion holding forth in his right paw a red Lily or flower De luce, each b●ing the ancient arms of the chief City of Toscanie, through the which this river passeth: by his beechen garland is signified the great plenty of beech trees, which grow about Fasterona in the Apennineses, where Arnus hath his head.   

The River Po, or Padus.  
Po is drawn with the ●ace of an Ox a garland of reeds upon his head, or rather of Poplar as well for the great abundance of those trees upon his banks, as in regard of the fable of the sister of Phaeton, whom the Poets feign strucken with lightning from heaven, to have been drowned in the river, he hath the head of an Ox, because of the horrible noise and roaring, he maketh his crooked banks resembling the horns, as Serui●s and Probus writes.   

The River Nilus.  
Nilus at this day is seen in the Vatican in Rome, cut out in white marble, with a garland of sundry fruits and flowers, leaning with his left arm upon a Sphinx from under his body issueth his stream, in his left arm a Cornucopia full of fruits and flowers on one side, a Crocodile on the other, six●●ene little children smiling and pointing to the flood.  
The Sphinx was sometime a famous monster in Egypt, that remained by conjoined Nilus, having the face of a Virgin, and the body of a Lion, resembling bodily strength and wisdom.  
The Crocodile, the most famous Serpent of Egypt, who hath his name 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 from the fe●re he hath of S●●●ron, which he cannot endure, wherefore those in Egypt that keep Bees set great store of Saffron about the hives, which when he seeth, he presently depa●teth without doing any harm.  
The sixteen children resemble the sixteen cubits of height, being the utmost of height of the flowing of Nilus, their smiling countenances, the commodity it bringeth, gladding the hearts of the dry and poor sunburnt inhabitants.   

The River Tigris.  
Tigris (as appeareth in the Medals of trajan,) was drawn like an old man as the rest, and by his side a Tiger.  
This beast was given him aswell in regard of his swiftness, as of the place which he passeth, where are said to be great store of Tigers.  
This river hath his head or beginning in Armenia the greater, in a large plain named Elongosin, and winding through many countries, at the least with ten branches or streams disburthens himself within the Persian Sea.   

The River Danubius, or the Donow  
Danubius among the ancient Medals of trajan the Emperor aforesaid, is represented with his head covered with a veil.  
He is so drawn, because his beginning or head is unknown, whereupon as I remember A●sonius saith, Danubius perijt caput occultatus in ore.   

The River Achelous.  
Achelous is described by Ovid to be crowned with willow, reeds, etc. he hath two urns or pitchers, the one pow●ing out water, the other empty, with a horn upon one side of his head, upon the other the appearance of another broken description being grounded upon that sable of Hercules, who for Deianira's sake turned both his streams into one shadowed in his combating him in the likeness of a Bull, and breaking off one of his horns: Whereupon one of his urns are empty.  
This river is one of the most famous of all Greece, dividing AEtolia from Arcadia, and so falling into the Sea.   

The River Ganges.  
I have seen this river with wonderful art cut out in white Marble, bearing the shape of a rude and barbarous savage, with bended brows of a fierce and cruel countenance, crowned with Palm, having (as other floods) his pitcher, and by his sides a Rhinoceros.  
His crabbed looks signify the savage uncivility of the people in those par●s being for the most part cruel, runagates, and notorious thieves.  
This river runneth through India, and hath his head from a fountain in Paradise.   

The River Indus.  
Indus is commonly described with a grave and joniall aspect, with a garland of his country flowers by his side a Camel, the beast hath his name from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, that is, on the ground he is represented pleasantly grave, because the East Indians are held to be the most politic people of t●e world, as our countrymen have had good experience among those of China, java, Bantam, and in other places in those Eastern parts.  
This is the greatest river in the world, receiving into his channel threescore other mighty and famous rivers, and above an hundred lesser.   

The River Niger.  
This river is pourtracted like a tawny or black Moor, with a coronet of Sunbeams ●esting upon his urn by his side a Lion.  
The Sunbeams represent the exceeding heat of that clime lying under the burning Zone whose Inhabitants are the Moors.  
The Lion is proper to M●●ritania and Barbary, where are bred the fie●cest in the world.  
Thus have I broken the Ice to invention, for the apt description and lively representation of floods and rivers necessary for our Painters and Poets in their pictures, poems, comedies, masks, and the like public shows, which many times are expressed ●or want of judgement very grossly and rudely.    

CHAP. III. The N●mp●es i● gen●r●ll.  
THis word N●mphe in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 properly signifieth a bride having the etymon from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, because she appeareth to the world, as it were a fresh & new creature, hence those virgin goddesses of the woods, & waters had the name of Nymphs, or as some will from water, Nympha quasi lympha by changing L. into N. after the dorick dialect which may very well be, since by this word Nymph is meant nothing else but by allegory the vegetative humour or mo●●ture that quickeneth and giveth life to trees, plants, herbs and flowers, whereby they grow and increase, wherefore they are samed to be the daughters of the Ocean, the mothers of floods, the nurses of B●cchus, goddesses of Fields, who have the protection and charge of Mountains, feeding of herds, woods, meadows, trees, and in general the whole life of man.  

Nap●●e or Nymphs o● the mountains.  
They are called of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which is the top of an hill or woody valley, they would be drawn of a sweet and gracious aspect in mantles of green girded about them upon their heads garlands of hunnisuckles, woodbine, wild roses, sweet Marjoram and the like. Their action should be dancing in a ring, composing a ga●land or gathering flowers.   

Dryads and hamadryades, Nymph● o● the 〈◊〉.  
They have their name of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 an Oak, these must be drawn not of ●o fair a hue, but of a brown o● tawny complexion, no ornament upon their heads, their hair thick like mos●e, their attire of dark green, of the colour of the ba●ke of trees. They are called Hamadryades, because as they have their birth and beginning with the trees, so (saith Appolloniu●) they die together with them.   

N●●iades or the Nymphs of floods.  
You shall make them very beautiful with arms and legs naked, their hair clear as Crystal, upon their heads garlands of watercresses, and their red leaves with pitchers pouring out water.  
They have their names from Nao to flow or bubble as the water doth from a fountain.  
Diana's Nymphs would be arrayed in white, in sign of their virginity, their garments girt close about them, as Virgil & Claudian describe them, their arms and shoulders naked, bows in their hands, and quivers by their sides.  
Diana hath her name of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is to moisten which is proper to the Moon, being by nature cold and moist, a●d is feigned to be a goddess huntresse● because they thought in times past the night to be fittest time for that sport, whereupon Horace perhaps thought hunter's wives had wrong lying many a cold night without their husbands.    

CHAP. FOUR The Ocean●  
HE is represented like a surly old fellow with a thick beard, long and unkembed locks, quite naked, save girt about the middle with a Seals skinny or ships ●aile laying his leg over a Dolphin's back, in his hand the stern of a ship, Anchor, Oar, or the like.  
He is painted old, because he is of equal age with our common mother the earth, of fearful and four aspect, by reason of his often commotion and raging, he hath his name from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which is swift, and suddenly violent.  

Thetis.  
A Lady of something a brown complexion, her hei●e disheveled about her shoulders, upon her head a Coronet of Periwinkle and Escallop shells in a mantle of Sea-water green about her neck and arms, chains and bracelets of Amber, in her hand a branch of red Coral.  
Her name imports a nurse, because she gives moisture to every thing, her complexion agreeth with the colour of the Sea, being many times at the Sun rising and setting, as Aristotle saith, of a dark red or purple colour   

Galatea.  
A most beautiful young Virgin, her hair with a careless grace fal●ing ●bout her shoulders like threads o● silver, at each ea●e a fair pea●l ●anging, of which also s●e shall have a chain many times doubled about her n●●ke and left arm, a M●●t●e of most pure, thin and ●ine white, wa●ing as it were by the gentle breathing of the a●r, viewing in her hand a sponge being made of the ●●oth of the Sea.  
S●ee hath her name from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which is milk, as being of the ●●llour of the same f●oth.   

Ironer the Rain●bow.  
A Nymph with large wings dispred in the form of a semicircle, the feathers set in ranks of sundry colours, as purple yellow, green, red, etc. Her hair hanging before her eyes, her breast in form of a cloud, drops of water falling from her body, standing if it ●ay be so devised in a just or thick cloud in her hand, Iris or the flower deluce, some give her wings to her feet agreeable to Homer's 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 she is said to be the messenger of the Gods, Virgil often makes her the Messenger of juno, allegorically taken for the air, when he saith.  
Irin de coelo m●sit Saturnia juno.   

Aurora or the Morning.  
Aurora i● drawn like a young maid with carnation wings, in a mantle of yellow, in her forehead a star with the appearance of certain golden sunbeams from the crown of her head r●ding upon Pegasus some give her a light in her hand, but in●stead of that I rather allow her a Viol of dew, which with sundry flowers she scattereth about the earth.  
Her dressing agreeth well with those Epistles of Homer 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, and o● Vi●gil Croc●o velamine sulgens. Her Carnation wings with her Epithet of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, or the rosy fingered Morn.  
Her riding upon Pegasus showeth her swiftness, & how she is a friend to all studies especially to poe●trie and all ingenious and pleasant inventions.    

CHAP. V. The Nine Muses.  
THe Muses in ancient time were represented by nine fair, young, and gracious Virgins, they had the name of Muses, as Eusebius saith 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is to instruct, because they instruct & teach the most honest and commendable disciplines and Orpheus in his hymns declareth how they first taught religion and civility amongst men.  

Clio.  
Clio the first hath her name from praise or glory and is drawn with a Garland of bay in her right hand and a Trumpet in her left, a book, upon whose outside may be written, Thucydides or the name of some other famous Historian.   

euterpe.  
Euterpe is crowned with a wr●ath 〈◊〉 sweet ●lowers, h●lding in each hand sundry wind instruments, she hath ●●r name ●●om giving delight, Dio●o●us attributed unto ●er all kind of learning.   

T●●lia.  
Th●li● should be drawn with a wanton and s●●●ling countenance upon hustead a Garland o● Iuy● in her le●t ha●d a ●●zard on a ro●e of Carnation embroidered with light silver twist, and Gold spangles: ●er my shows her prerogative over Comical Poesy: her mask Man●●e and pumps are ornaments belonging to the stage.   

Melpo●●ne.  
Melpomene would be represented like a Virago or manly Lady, with a Majestic & grave countenance upon her head a most rich dressing of Pearl, D●amonds● & Rubies holding in her le●t hand sceptres with crowne● upon them other crowns & sceptres lying at her feet, in her right hand a naked poniard, in a pall or mantle of changeable Crimson, & black bu●kins of silver, with Carnation blache and white Ribbons, o● her feet her high Cothurn or Tragic pantofles of red Velvet and gold beset with pearls and sparks of Rubies, her gravity be●itteth Tragic Poesy, her pall and pantofles were invented for the stage by the Greek Poets Aeschilus', as Horace t●stifyeth.   

Polymnia.  
Polymnia shall be drawn as it were acting her speech with her forefinger all in white, her hair hanging loose about her shoulders, resembling wiry gold, upon her he●d a Coronet of the richest and rarest jewels intermixed with sweet flowers, in her le●t hand a book, upon whose outside shall be written Suad●r●.  
To this Muse all Rhetoricians are beholden, whose patron is the Coronet of pretiou, stones signifying those rare gifts which ought to be i● a Rhetorician viz: Invention, Disposition, Memory, and Pronunciation, her white habit declares the sincerity which ought to be in Orators, her name imports much Memory.   

Erato.  
Erato hath her name of Eros which is Love, draw her with a sweet and lovely countenance, h●r temples gy●● with Myrtle and roses (both of ancient time Dedicated to Venus) bearing a heart with an ivory key, by her side a pretty Cupid or Amorino winged with a Torch lighted in her hand, at his back, his bow and qui●er.   

Terpsichore.  
Terpsichore would be expressed with a merry countenance playing upon some instrument, upon her head a coronet of feathers of sundry colours, but especially those green feathers of the Poppiniaie, in token of that victory, which the Muses got of the sirens, and the daughters of Pieri●s and Euripus, by singing (as P●usanias reports) who after were turned into poppini●es or wood peckers as Ovid writes.   

Urania.  
Let Urania be shown in a rob of Azure, imitating t●e Heaven upon her head a Coronet of bright stars, in her hand a Globe representing the celestial spheres. Her name imports as much as heavenly, for it is her office to describe heaven, and the spheres, urania ●oeli motus scrutatur et Astra.   

Calliope.  
Calliope would be painted richest of all the rest, upon her head a Coronet of gold as queen of her fellows howsoever we here give her the last place upon her left arm, many garlands of bay in store for the reward of Poets, in her right hand three books, whose titles may be Illiadoes, Odysseos, and AEneidos, as the worthiest of Poetry.  
I have thus briefly given you the draft of this fair company, as Fulu●us Vrsinus reports they are described in the Middals' of the ancient family of Pomponia, the rather because their description agreeth with the invention of Virgil, and the rest of the ancient Poets.    

CHAP. VI Pan and the Satyrs.  
THis word Pan in Greek signifieth All, or the Universal, and indeed he is nothing else but an Allegorical fiction of the World, he is painted with a goats face, red blown cheeks, upon his head two horns standing upright, about his shoulders a panther's skin, in one hand a crooked sheephook, in the other a pipe of seven reeds, compact with wax together: from the middle downwards he beareth the shape of a Goat, in this manner he is expressed by Boccace and Silius Italicus.  
His horns signify the sun and Moon.  
His red and fiery face the Element of burning fire.  
His long beard noteth the air and fire, the two Masculine Elements, exercising their operation upon Nature being the Feminine.  
His Panther's skin represents the eight sphere or starry firmament, being the highest sensible Orb covering the earth.  
The rod shows the sovereignty of Nature, guiding and destining each creature to his proper office and end: his pipe, how that he was the first inventor of Country Music according to Virgil, P●n primu● calamos, etc.  
His neither parts of a Goat declare the inequality of the earth being rough and shagged as it were with trees plant● hills, etc.  
The satires have their names from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, and as Pliny testifieth were found in times passed in the Eastern mountains of India Lib. 7. cap. 2.  
S. Hierom in the life of S. Anthony reporteth, ●hat he saw one of these in his time: vid● homunculum (inquit) aduncis ●aribus, et fronte cornibus aspera cui extrem● corporis in caprarum pelles desinebant &c. but the truth hereof I will not rashly impugn, or overboldly affirm.  

The 4 Winds.  

Eurus or the E●st wind.  
Eurus as all the other Winds must be drawn with puffed and blown cheeks, wings upon his shoulders, his body the colour of the tawny Moor, upon his head a red sun.  
The Moorish colour shows his habitation to be in the East, the red sun, an effect of his blowing.   

Zephyrus or the West wind.  
Zephorus you shall show a youth with a merry countenance, holding in his hand a swan with wings displayed, as about to sing, because when this wind bloweth, the swan singeth sweetliest, upon his head a Garland of all manner of sweet flowers of the spring: thus he is described by Philostratu●, for with his gentle and warm breath, he bringeth them forth, which Petrarch as lively depain●eth in that sonnet of his, which with Gironimo conversi and many more excellent musicans I have lastly chosen f●r a ditty in my songs of 4. and 5. parts being a subject far fitter than foolish and vain love, to which our excellent musicans are overmuch addicted.  
Zephiro torna e'l bell temporimena  
Ei fi●ri, e'l he● be sua dolce famiglia  
E●g●oir pr●gne, ●pianger Filomena  
E●primauera cand●d● è vermiglia, etc.  
Zephyrus is so called of the Grecians, qu●si 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 bringing life, because as I said, it cherisheth and quickeneth all things.   

Boreas, or the North wind.  
Boreas is drawn like an old man with a horrid and terrible countenance, his heir and beard quite covered with snow, or frozen with Iseickles, with the feet and tail of a Serpent, as he is described by Ovid in his Metamorphosis.   

Auster or the South wind.  
Auster is drawn with head and wings wet, a pot or urn pouring forth water with the which shall descend frogs, grasshoppers, caterpillars, and the like creatures as are bred by much moisture. The South wind of his own nature is cold and dry, and passing through the burning Zone ere it cometh to us, it receiveth heat and moisture from the abundance of rain, thus the nature of it being changed, it cometh unto us hot and moist, and with heat it openeth the earth, whereby the moisture multiplied causeth clouds and rain.     

CHAP. VII. The tw●lue months of the ●eare.  

March.  
MArch is drawn in tawny with a ●ierce aspect, a helmet upon his head to show this month was dedicated to Mars his father, the sign Aries in his right hand, leaning upon a spade, in his left hand Almond blossoms and scients upon his arm and basket of garden seeds. The Spring beginneth in the sign, whereupon saith Arios●o.  
Ma pois che il sol uell animal discreto  
Che porto Phrisio illumio la ssera &.   

April.  
April a young man in green with a garland of Myrtle, and hawthorn buds winged (as all the rest of the months) in one hand Primroses and Violets, in the other the sign Taurus, this month hath the name ab aper●endo saith Varro, because now the earth begins to lay forth her trea●ures to the world.   

May.  
May must be drawn with a sweet and amiable countenance, clad in a rob of white a●d green, embra●dered with Daffodils, Hawtho●ne, blew-bottels, upon his head a garland of whi●e dama●k● & red Roses, in one hand a Lute, upon the forefinger of the other a Nightingale, with the sign G●mini: it was called Maius à maioribus, for Romulus having divided the people of Rome into two parts, Maiores & Minores, whereof the younger were appointed to defend their country by strength, the elder by counsel: May so called in the honour of one, and june of the other, whereto Ovid agreeth saying: 
Hinc suae maiores tribu●re vocabula Maio,  
junius à Iwenum nomine dictus adest.    

june.  
june in a mantle of dark grass green, upon his head a garland of bents, kingcups, and maiden's hair, in his left hand an angle with a box of Cantharideses, in his right the sign Cancer, upon his arm a basket of the fruits of his season, it hath the name, either à Iwenibus, as I said, or of junius Brutus.   

july.  
july I would have drawn in a jacket of light yellow, eating cherries with his face and bosom Sunburnt, on his head a wreath of Centaurie and wild time, a sith on his shoulder, and a bottle at his girdle carrying the sign Leo.  
This month was called july in the honour of julius Caesar the Dictator, being before called Quintili● or the fifth month, for the Romans began with March.   

August.  
August shall bear the form of a young man of a fierce and choleric aspect in a flame coloured garment, upon his head a garland of wheat and Rye, upon his arm a basket of all manner of ripe fruits, as pears, plums, apples, gooseberries: at his belt (as our Spence● describeth him) a sickle, bearing the sign Virgo.  
This month was dedicated to the honour of Augustus Caesar by the Senate, because in the same month he was the first time created Consul, thrice triumpher in Rome, subdued Egypt to the Roman Empirer and made an end of ●●uill wars, being before named Sextilis, or the sixth from March.   

September.  
September with a merry and cheerful countenance, in a purple robe upon his head, a wreath of white and purple grapes: in his left hand a handful of Millet● Oates, and pannicle, withal carrying a Cornucopia of ripe Peaches, Pears, Pomegranates, and other fruits of his season, in his right hand the sign Libra.  
His purple Robe showeth how he reigneth like a king above other months, abounding with plenty of things necessary for man's life.  
The sign Libra is now (as Sir Philip Sidney saith) an indifferent arbiter between the day and night, peizing to each his equal hours according to Virgil.  
Libra dies, somnique pares ubi fecerit hor●s.  
This hath the name as being the seventh month from March.   

October.  
In a garment of yellow and carnation upon his head a garland of Oak leaves with the Acorns, in his right hand the sign Scorpio, in his left a basket of Services Meddlers and Chestnuts and other fruits, that ripen at the latter time of the year, his rob is of the colour of the leaves and flowers decaying.  
This month was called Domitianus in the time of Domitian by his edict and commandment, but after his death by the decree of the Senate it took the name of October, every one hating the name and memory of so detestable a Tyrant.   

November.  
November in a Garment of changeable green and black upon his head a garland of Olives with the fruit in his left hand bunches of parseneps, and turnips, in his right the sign Sagittarius.   

D●cember.  
December must be expressed with a horrid and fearful aspect, as also Ianua●y following, clad in Irish rug, or course frieze, girt unto him, upon his head no Garland but three or four nightcaps, and over them a Turkish Turban, his nose red, his mouth and beard clogged with Iseckles, at his back a bundle of holly ivy or mistletoe, holding in furred mittens the sign Caprico●nus.   

Ianua●y.  
january would be clad all in white, like the colour of the earth at this time blowing his nails, in hi● le●t arm a billet, the sign Aquarius standing by his side.  
This month and the next were added to the yea●e by Numa Pompilius, and had the name from janus a Roman God painted with two faces (signifying providence or wisdom) judging by things passed of things to come.   

February.  
February shall be clothed in a dark sky colour, carrying in his right hand with a fair grace the sign Pisces.  
Numa Pompilius gave February his name either a Febribus from Agues, to which this time is much subject, or from Febr●●, which were sacrifices offered for the purgation of the souls of the dead, for Februo was an old verb, and signified to purge.  
You shall rather give every month his instruments of husbandry, which because they do differ, according to the custom (with the time also) in sundry countries, I have willingly omitted, what ours are here in England Tusser will tell you.  
Moreover you ●ust be sure to give every month his proper and natural Landtskip, not making (as a Painter of my acquaintance did in several tables of the months for a Noble man of this land) blossoms upon the trees in December, and Schoolboys, playing at nine pings upon the ice in july.     

THE THIRD AND LAST BOOK, CONTAIning by way of Dialogue, a Discourse tending to the Blazon of Arms, with a more Philosophical and particular examination of the causes of Colours and their participation, with the light, according to the opinions as well o● Ancient as late writers.  The speakers. Cosmopolites, E●daemon. Cosm 
EUDAEMON well met: what make you heese so solitary all alone, Come, you have some point of Music in your head, or inventing some Impresa or other; this B●●se was never built to study in.  Eud. 
To tell you troth, I was thinking how Luc●an could make ●is opinion good, concerning the s●u●es of wealthy usurers, and covetous person's, whom after their death he verily believes, and affirms to be Metemphychosed, or translated into the bodies of Asses, and there to remain certain thousands of years, for poor men to take their pennyworth out of their bones and sides with the cudgel and spur.  Cosm. 
There is no better physic for melancholy then ●ither Lucian of the heathens or of eternal memory. Sir Thomas Moor among the Christians for witty conceit and invention, neither think I ever shall we s●e their like. But what book have you there?  Eud. 
It is a part of Giovan de Ramellis, one of the best engineers in Europe.  Cosm. 
I have no skill that way, but what think you of this work?  Eud. 
Surely an ●ffect of Magnisicence herself.  Cosm. 
Have you been above.  Eud. 
Yes, but I bought nothing.  Cosm. 
Such a customer the Epigrammatist martial meets withal, one who after he had walked through the fairest street twice or thrice cheapening jewels, Plate, rich hangings, came away with a wooden dish: well since we are met so fitly together, I will now challenge you of your promise which was, to give me certain rules as the principles of Blazonry, it being a skill I have long desired, and as I imagine quickly learned.  Eud. 
With all my heart, yet I am loath to thrust my sickle into another man's corn, since it is in a manner beside my subject (which Pliny wisheth a writer always to bear in mind) and which is more, it hath so plentifully been written of already (especially of late, by that worthy and honest Gentleman Master Guillim) that little or nothing remaineth to be spoken hereof, notwithstanding rather than I will deny so reasonable a request, I will say somewhat hereof in general, what I imagine, it is fitt●st for you to know for farther skill I refer you to the professors he●reof.  Cosm. 
Faith● the principal use I would make of thi● skill is, that when I come into an old decayed Church or Monastery (as we have plenty in Engl●●d) or Gentleman's house, I might rather busy myself in viewing Arms, and matches of Houses in the windows or walls, then lie boots and spurs upon my bed in mine Inn, or overlook mine Hosts shoulder at Irish. Moreover being a Gentlem●n ●y self, I have been many times asked my Coat, and except I should have showed them my ier●i●, I knew n●t what to say.  Eud. 
Very likely, many of our English Gentlemen are in your predicament, but to say the truth, I must ingeniously confess, it hath the most necessary use to the knowledge and imitation of the virtues and achievements of our Ancestors, it being besides a most gentlemanly ornament to ourselves, when occasion of discourse hereof shall be offered.  Cosm. 
But first I pray you concerning the word Herald, let me understand what it signifieth.  Eud. 
It hath the Etymon from the Dutch or Saxon here, which is a Lord or a principal man, for in times past they were among the Romans in great reputation, being by their office priests, created at the first by Numa Pompilius king of the Romans appointed to denounce war against the enemy, by striking a spear● into the ground at what time they wore Garlands or wreaths of Ver●en, concerning the beginning and Antiquity of bearing Arms, and the first inventors hereof, I will say nothing, at all, since so much hath been said already by Leigh, Sir john fern, and others, to whose labours I refer you.  Cosm. 
Acquaint me I pray you with an Escotcheon, and if it please you, with the sundry forms of shields, since I have seen many differing, several one from the o●her, as the Italian gives his Arms in an oval form.  Eud. 
Very willingly: this word Escocheon is a French word derived from the Latin Scutum, and th●t from the Gre●ke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which is leather & hence cometh our English word Buckler, Lere in the old Saxon, signisying Leather, and Buck or Bock, a buck or stag of whose skins quilted close together with horn or hard wood, the ancient Britain's made their shields, of which sort it seemed the shield o● Nennius to have been, wherein julius Caesa●s sword stuck so fast, that Nennius had taken of his head, had not Labienus the Tribune, stepped happily between them in the mean time and rescued his master.  
But of shields the first and most ancient was that same among the Romans, w●ich they call 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, an elbow, where it was worn, or from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which signifieth a remedy because it was a great remedy and also a help to that grievous pestilence in Rome, falling down from Heaven into the City in the time of Numa Pompi●ius, wherewith a voice was herd saying, in what City soever that shield should remain, the same should become the most mighty of the falling down of this shield, I remember this of Ovid when I was a Grammar scholar. 
Ecce levi Scutum versatum leniter aura  
Decidit, a populo clamor ad astra venit.   
The form of i● was long, and round at the ends, without any corner, as Ovid showeth in another place. 
Atque ancile vo●ant q●o● ab omni part● r●●●●um est,  
Quaque oculis sp●●les ●ngulus omnis abest:   
A second kind was that which Suid●● calleth 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, in Latin Parma, so called (as Varro saith) quod par in omnes partes esset, meaning, that it was round, and squall from the vm●e●iqu● or middle point, to eu●ry side this shield was used most by the Troyans' as Virgil testifieth. 
Ense levis nudo parmaque in glorius alba.   
A third kind was a short Target made in form of a crescent or half Moon, called in Latin Pelta, used by the Amazons, as the same Virgil noteth, where he saith: 
Ducit Amazonidum lunatis agmina peltis  
Penthesilea furens—   
It was also in great use among the old Roman Soldiers, as Levy testifi●th.  
A fourth kind was called cetra, used by the African Moors and the Spaniards, in Caesar's time who in his Commentaries calleth those Legions Vlterioris Hispaniae, cetratas.  
Some other kinds there have been which for brevity, and your memory sake I omit, I will proceed to ●olours, and then to variety of charges.  Cosm. 
How many colours be there in Arms?  Eud. 
Six principal, (of which two viz. yellow and white, Or, & Argent, are termed metals: that is, Gold and Silver,  
viz. 

Or Azure and Vert. that is, yellow, white, red, black, blue, and green.  
Argent Azure and Vert. that is, yellow, white, red, black, blue, and green.  
Gules Azure and Vert. that is, yellow, white, red, black, blue, and green.  
Sables. Azure and Vert. that is, yellow, white, red, black, blue, and green.    
Gold is the most precious and dearest of all metals, the reason is, it remaineth longest uncorrupted, and without rust, and since man by nature desireth immortality, and to preserve his Memory, he holdeth so this metal, as most worthy of his love and respect, I have seen the moneys of Augustus Caesar, (who was Emperor of Rome, when Christ was born) as fr●sh and as fair as if they had been stamped in the Tower of London but yesterday, as also of Nero Domitian, Const●ntine and the rest, it is begotten by the heat of the sun upon the purest earth.  
It is called Gold in our English tongue, either of Geel (as Scaliger saith,) which is in Dutch to shine, or of an other Dutch word, which is Gelten, and signifieth in Latin Valere, in English to be of price or value: and hence cometh their ordinary word Gelt, for money Gold was of such estimation and price among the Romans, that it was provided by a Law, that it should be worn of none, but of the greatest persons, and of them but at certain times.  Cosm. 
I would the like laws were amongst us here in England, where if those infinite sums and expenses which are consumed in gold lace and fringe upon petticoats and garters, were bestowed in iron and steel, great horses, or poor scholars, it were better for our common wealth. Nay so ordinary is excess in this kind, that even shop keepers, and which is more, their apprentices, with servingmen, and chamber maids think themselves foully disgraced if they be not in the fashion. I have myself met an ordinary tapster in his silk stockings, garters deep ●●nged with gold lace, the rest of his apparel suitable with cloak lined with velvet, who took it in some scorn I should take the wall of him, as I went along in the street, what shall now our Courtiers and gentlemen think of themselves?  Eud. 
It is a fault in the Magistrate, that so good Laws ●s we have (God be thanked) in this land be so ill executed, I verily believe if this fellow had lived in the time of Cato Censor in Rome, he would have been followed as a monster, and for his punishment have been confined to the bottom of a Cellar during his life.  Cosm. 
But I pray you proceed to say something of Silver.  Eud. 
Silu●r next unto Gold, is of greatest account being called in Gre●ke 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, in Italian Argento, in French Argent, of the Latin Argentum, in Spanish it is called Plata of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 ● by reason of the beating of it into broad pieces or Ingots, our English word silver without doubt proceedeth of the Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to shine, it is the second metal, and signifieth purity, innocency, and chastity, among the planets it holdeth with Luna, among precious stones with the Margarite or pear●e.  
Gold signifieth to the bearer Riches, Honour and pre-eminence, among planets it holdeth with the sun among stones with the Tapasion.  
They are called Metals because they fall among metallica corpora which are numbered by Aristotle, compound the pur●st part of the earth growing one near to another according to the Etymon of the word met●lla which is qu●si 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 for one vein or mine being found another is underneath it far off, or as some would have it from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is to search diligently as those do that search for mines, and because their shining not as colours but as bright metals are mingled wi●h the other colours they might the farthe● be discerned either by day or night in the field: for of themselves either doth confound the sight, and had need to be allayed wi●h colour, which on the other side without any of these colours, is as much displeasing and offensive to the sight being as it were a body without a soul, & take it for a general rule there is no coat without a metal, or any without colour one only excepted, which is the same of Godfrey of Boulogne, it being a cross Jerusalem or in a field silver which you must not take as a precedent it being given him as a singular mark of honour as if some one attorney at the common Law should be privileged by● both the Universities to speak false Latin, ●nd his to be held for most pure and good, that of the rest most absurd and barbarous.  Cosm. 
But I pray you what is the reason that I may not, notwithstanding call them by the names of yellow and white.  Eud. 
Because those colours of the metals are certain bright splendours begotten of a singular and one only reflection from an outmost an● continuate superficies, as in lead, tin, quicksilver, etc. the whiteness of colour proceede●h from a light often reflected and penetrating many small clear and transparent bodies as we ●ee in salt, I●e beaten small the foam of the sea and the like, for this is a general rule that every transparent body which we call Diaphanon beaten and divided into small parts or pieces yieldeth a white colour as snow, which white is a continuate body in rain or water is transparent but being divided by the cold ai●e in the falling down into discreet parts, it forthwith turneth white, the like we may see in the shavings of horn, which the finer you cut them the whiter they appear so t●at in these & the like bodi●s the cause of whiteness is nothing else (as I said) then an o●t reflection of the light possessing our ●ies and the air or medium with many beams reflected.  Cosm. 
I pray you now proceed to Black, which I think to be the next colour.  Eud. 
You say true, this colour in Arms is called Sables, which is a most rich ●urre worn of Princes and great personages, it is brought out of Russia and Muscovia, it is the fur of a little beast of that name esteemed for the perfectness of the colour of the hairs, which are in summitate nigerrimi.  
In Arms it denoteth sadness, grie●e and constancy, among the planets it hath Melancholy Saturn, among precious stones the Diamond.  Cosm. 
But me thinks now you are contrary to yourself, for even now you said that those clear and transparent bodies, as Diamonds, Glass, water, ice and the like were the subjects, rather of whiteness than blackness as being most capable of light.  Eud. 
It is true I said so, but you must know t●at these clear bodies, as Crystal, Ice, the Diamond etc. are subjects of both, for as white proceedeth from a clear and transparent body, divided into many parts, as in snow, so black is caused in the same body by a shadow dispersed into the smallest bodies beyond the light, or whether the light cannot come. For the light only possessing the one half of the superficies, draws itself with the broken beams into a centre, which when it possesseth the eye with stronger & more forcible beams, the other on the sides possessing the sight with weker & fainter, can ha●dly be discerned: so that black colour in these bodies is no thing else then a certain privation of the light, by over shadowing, and herein differeth darkness from black: da●kness● is not bounded and circumscribed, (as we say) by other objects enlightened, whereby it appears of less blackness then black colour for contrarium contrarto oppositum m●gis clucescit. So that herein it is worthy consideration, to see how as sometime contrary causes produce the like effects so even the same to proceed from black and white, for the clear and perspicuous body effecteth white, and that white a black, again with contrary affections they beget like effects, for the clear body broken to small pieces (as I said) produceth white, and becometh most black, while it is continuate and undivided, as we see in deep waters, (which are ever blackest) thick glasses and the like. It is the opinion of some, that contrary to Aristotle, that the colour white doth gather the beams of the sight together (as I said in my former book) and that black doth only dispe●se and scatter them, as for example, if one beholde●h ●he light, or some very whit● ob●ect, he vieweth it win●●●gly, as we see those do, that are purblind but if any thing that is black, he looketh upon it with a broad and a full eye, and we see by experience in a Cat, so long as ●he beholdeth the light she doth, contrahere pupillam, draw the ball o● her eye small and long (being covered over with a green skin) and let it forth or dilate at her pleasure.  
Now as Crystal, Ice, etc. by reason of their perspiscuitie, are the subjects of whiteness, so are quicksilver, silu●r, lead, steel, Iron● tin, and the like, by reason of their opacity of blackness, as we see in their dust, and in the blacking o● our hands with much handling the same.  
And that they are the most shadowy bodies, we know by experience, for if the thinnest lea●e of tin, laid over with quicksilver be laid upon a Glass or Crystalline superficies, it hinders the light so much from passing through, that it is constrained to reflect itself to the adverse part, which other bodies though of a far greater thickness cannot do, and hence at first came the invention o● looking glasses.  Cosm. 
I am well satisfied in these three colours, viz. or, Argent, and Sable, what I pray you is the next.  Eud. 
Mar●, Azure, Guiles, and Vert, which I will pass over with as much haste as I can, because I will come to our matter.  
Azure is a fair light blew so named from the Arabian word Lazul, which is the same, it betokeneth to the bearer a zealous mind, it is also proper to them as David saith that occupy their business in great waters, as travelers by Sea and the like of the planets it holdeth with Mercury, among precious stones with the Sapphire.  
This colour blue doth participate less of the light then the white colour, for striking itself upon this colour it is rarefied and dispersed, as on the contrary it is thickened and more condensate in red, as by a most pleasant and delightful experiment we may perceive in a three square crystal prism, wherein you shall perceive the blue to be outmost next to that the red, the reason is, that the extreme parts of a perspicuous body shine and yield a more faint light then the middle as appeareth by Optic, and the light is received by fewer beams in the outmost edges then into the midst, so that ye perceive first while in the midst then red and blue in the extremes seen. This again is most manifest by the light of the Sun, through a thick cloud which then appeareth red, and by the higher parts of the air which b●●ause they are more rarefied and pure, than the neither appear to be most blue which Theophrastus in his book of colours witnesseth saying.  
〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉.  
Again while a candle, oil, wood, or any thing that consisteth o● fatness burneth, the flame next to the candle itself at the neither end of the week appeareth blue, because there is but a thin and a weak light joined with a thin, weak, and ae●ic moisture, the top of the ●lame is red, because it there adh●reth to a smoky and thick, earthy body, whereupon all earthy and sooty flames are red, the ●l●me of Aqu●vil● is most blue, because it is so rare and thin that it is scarce able to burn, but heat i● coals, Iron, and the li●e is most red, because it is contained in thi●ke, drossy, and earthy bodies.  
Red is named in ' Armoury Geules, it signifieth a warlike disposition, a haughty courage, dreadless of dangers among planets it is attributed to Mars, among stones to the Ruby.  Cosm. 
Proceed (I pray you) to green, and then I think we have done with those colours proper to Arms.  
green is termed by the name of Vert, and it is composed of white a thin red: and lastly blew, for if you mingle blue with a little yellow you shall have a Poppingay gree●e, if with much blue and yellow a sad or black green if but a little more blue than yellow a Seawater green, etc. It is called Vert of the Latin word viridis, contracted into the French, it signifieth hope and youth, it appertaineth to Venus among stones to be emerald.  
There the also other colours borne in arms, in number three, viz. ten or tawny sanguine and pupre very ordinary in French coats (but not in such use though honourable bearings with us he●re in England.  
Now you have done with the colours, I pray you proceed to those things that are borne.  
You mean the charge for so is that termed which is borne upon th● colour, except it be a coat divided only by partition, falling in among those honourable ordinaries whereof the accidence of armoury speaketh: which are in number (as Leigh reckoneth them) nine.  
viz. 

The Cross containing the fifth part of the Escotcheon being charged the three.  
The chief containing a third part.  
The Pale also a third part.  
The Bend a fifth part.  
The Fez a third part.  
The Escotcheon a fifth part.  
The Cheveron a fifth part.  
The Salteir a fifth part uncharged.  
The Bar a fifth part.    
The Cross is called in Latin Crux, à cruciando, for it was nothing else then an Instrument of execution among the old Romans, it hath been a very ancient bearing, yea even before the birth of our Saviour Christ among the Paynims themselves. Though they knew it not but in their blazon, they made the field gules, and called the charge four cautions, bilfets or cantonez, touching the dignity of the Cross, and the worthiness of the bearing, I will, wanting words to express the same, refer myself to the ancient Fathers, who have had this sign in such estimation and reverence, That one may serve in stead of many, I will as far as I can remember, report unto you the words of Chrysostome in a Sermon of his: 
Chrysost. in serm. quod Christus sit De●s.  The Cross (saith he) which was wont to be reputed the only sign of disgrace, is now become the glory and boasting of us Christians, insomuch as the most noble part of our body is signed therewith in our baptism, we use it in our prayers, in divine service, we set it up in our houses, yea at our beds heads, brides and bride grooms are adorned therewith, soldiers when they go to the wars, mariners carry it on the tops of their ships, yea the bodies of bruit beasts ill affected are marked herewith, so that I cannot imagine (these being the words of a devout and most learned father of the Greek Church, and Archbishop of Constantinople who lived twelve hundred years since) that the sign of the cross is so perilous a thing as most Puritans would make it. I should fill more sheets of paper than they would be willing to read, or myself to write, if I should report what hath been said by Saint Augustine, Athanasius, Saint Hierome, and others in defence of lawfulness of the same. But I remember that I am writing of Heraldry, not of those things that concern controversies in divinity.  Cosm. 
Be there no more crosses than one borne in arms?  Eud. 
Yes sir.  Cosm. 
I pray you only name them. I will learn them out hereafter of myself out of the Accidence of Armoury; The honour of arms or some where else.  Eud. 
The most ordinary are these.  
A cross 

Pateè.  
Potenc●è.  
Cro●seè.  
Fleuroncè.  
Composeè.  
Vair country vaire.  
Nelle or Nylle.  
Bourdonncè.  
de 4. hermines.  
B●santie.  
Florenceè.  
Fretteè.  
Lozangcè.  
Pommeè.  
Fitcheè and some few others which I remember not.    Cosm. 
I pray you proceed to the chief, and why it is so called.  Eud. 
The chief is so called of the French word Chief, and that from the Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, which is the head or upper part, this possesseth the upper third part of the Schocheon, and is divided by one line in this manner.  Cosm. 
I understand this very well, proceed, I pray to the pale.  

Of the Pale.  Eud. 
The Pale is the third middle part of the Scocheon, being divided from the chief to the base, or neither part of the Scotcheon with two lines as thus: Is called from the Latin palus, which is a Pale or piece of wood, wherewith we fence about Gardens, Parks, Fields and such like. This in ancient time was called a tierce, and you should then have blazed it thus, he bears a fierce Sables between two fierces, or which will seem strange to some of our Heralds.   

Of the Bend.  
The French Heralds call this Band, it resembleth a kind of Baldric or girdle, which knights wore in times passed over the right shoulder, and under the left, whereat their swords hung. Some unknown Godfather long since hath named it in Latin Bend●, it hath a fifth part of the Escotcheon, beginning from the dexter part, or the right corner of the l●ft, the Species or kinds it containeth, are bendlets which are, if there be many, a Cotize, which is the third part of the bend, and a b●ston, which is like, and the same with a Cotize, save that it must not touch the Scotcheon at both the ends, this is reserved for a difference of kindred or alliance among Princes, as it is to be seen in the house of Bourbon in France.  Cosm. 
I have heard say that a bend sinister is the mark of a bastard, it hath been taken so, but I hope you will not make that proposition, convertibilis: For I have known it borne by some lawfully borne, whose ancestors before them were legitimate.  Eud. 
Here is a bend sinister.  Cosm. 
If it had been brought then from the other side, it had been dexter and right.  Eud. 
Very true.  Cosm. 
Proceed I pray to the fesse.   

Of the F●sse.  Eud. 
The fesse is so called of the Latin word fascia a band or girdle, possessing the third part of the Scotcheon over the middle, as thus, If there be above one, you must call them bars, if the field with there be odd pieces, as seven or niner than you must name the field, and say so many ba●●es, if even, as six, eight, or ten, you must say barwise or barry of six, eight, or ten, as the King of Hungary bears Arg. and gules barry of eight: mark this coat, how would you blaze it?  Cosm. 
To tell you true, I know not.  Eud. 
I will tell you: he bears barry, counterbarrie of eight, Or and gules. You see here an even number of pieces.  Cosm. 
I pray you proceed, I shall carry this in mind, and think of those odd and even pieces.  
The next is a Ch●ueron called in Latin Tignum, or the ra●ter of an house. Howbeit it be a ve●y honourable bearing, yet it is never see●e in the coat of a King or Prince, because it pertaineth to a Mechanical profession: none of which kind may touch the coat of a Prince. For nothing may touch the coat of a Prince save a border a sable or a baston. If there be many, you must call them by the diminutive cheveronelles. here is a cheveron.   

Of the Salteir.  
A Salteir is made in the form of a Saint Andr●ws cross, and by some is taken to be an engine to take wild beasts with all: In French it is called un sautoir, it is an honourable bearing, it is borne in England by that most honourable family of the Nevels: amongst whom I must never forget my duty towards that noble and worthy-minded Gentleman, Master Doctor Nevell our master of Trinity College in Cambridge, who hath ever retained and showed in all his life tho●e, Igniculos vertutis au●tae● as a Poet speaketh, and Homer averreth to be a thing incident to those that are descended of generous and noble houses. The Saltier is drawn in this manner.  
But one thing I must remember to tell you of these nine honourable bearings● Four are never borne, but single, and by themselves, viz. the Cross, Chief and Salteir; the rest are borne in many pieces, as the Bend, F●sse, Bar, Cheveron, and Gyron.   

Of the Gyron or Guy●on.  
The Gyron is a point of triangular form, whose basis on every side of the Escotcheon and point or comes in umbelico or the midst, they are commonly borne in the number of the eight pieces, as in the ancient coat of Bassing●orne, which by chance I found in a window at the Vicarage in Fulham.   

O● the partit●ons.  
There is a division or partition by all these aforesaid places, which is drawn in the Sco●cheon with only one line, as for example, party per bend is when the field is divided into two colours by a single line drawn as the bend from the point, Dexter to the sinister in base, so likewise is the partition per pale, per Cheveron, Saltier and the rest.  Cosm. 
The single line is sometime indented enuecky wavey embattled etc.  
I pray you now acquaint with the furs, which are given in Arms, I have heard great discourse of the same, but understood not well what they mean.  Eud. 
I will tell you what they are, and how many, there be in number nine, whereof there be five kinds of Ermines, the sixth is the Escotcheon plain white, the other three vaires or of vary, the first ordinary and natural being compounded of Argent and Azure, which is the coat of Beauchamp of Hach in the county of Somerset, and now quartered by the Right Honourable, the Earl of Hartford, the other two compounded of other colours, it is drawn in this manner.  Cosm. 
I pray you what is Ermines.  Eud. 
It is the fur of a little beast about the bigness of a Weasel, called in Latin Mus Armenius● for they are found in Armenia it is not Must Ponticus, as some have written, who though it be all white, and somewhat like it, the fur is nothing so white and fine, neither hath it that spot at the tip or end of the tail, which is that which we do call Ermines, many of them being set together, it is held of all furs in nature the most precious, because they write, that when this beast is hunted, rather than he will run over a puddle, or any dirty place, where his skin may be endangered to be spotted with mire, he will stay there, and be torn in pieces with the dogs: which gave me an occasion of an Emblem (what time I turned his majesties ΒΑΣΙΛΙΚΟΝ ΔΩΡΟΝ● into Emblemed and Latin verses, presenting the same after to Prince Henry. The word was cui candor morte redemptus, the verses. 
Quod maculae impatiens flammasque agitere per undas,  
Candidulae i●sano pellis amore, fera,  
Hoc Tyrio Heroas superâris murice tinc●os,  
Vos, quibus aut mens est laesaue fama, fides.   
None may wear this fur but Princes, and there is a certain number of ranks allowed to Dukes, Marquesses, Earls, which they must not exceed in lining their caps therewith, in the time of Charles the Great, and long since the whole furs in the triles dependent, but now that fashion is left, and the spots only worn without the tails.  
There be now certain compositions or mixtures of the field, wherewith I would have you acquainted ere we proceed further, which are called Checky, M●sculy, Fusile, Nebule, Lozengeé.  
Checky is called of the French Eschiquette, resembling the chess board, in Latin it may be called Scacc●atum of Scaccia, the play at chess, the squares thereof in a coat must not amount above the number of five and twenty, or six and twenty, as also Lozenges and Fusils.  
Masculy is termed so from the dutch word Masch●n, it is nothing else, but the resemblance of the mashes of a net, they are borne commonly pierced.  
Fusilee is like unto Masculi, but your fusile must be made long, and small in the middle, they are seen in the ancient coat of Montague, who beareth arg. three fusils in fesse gules. A fusil is so called of fusus, a spindle, whose form it resembleth.  
Nebulee is so called from nebula a cloud, and that from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, the same, because it resembleth the clouds. It is borne in the ancient coat of Blondus or Blowt.  
lozenge, so called of Lozenges certain cordials made by the Apothecaries, and given in Physic. They are like unto the Mascles, but somewhat brother they are given round in the coat of the family de Medici's, Dukes of Florence. If there be above the number as I said of five and twenty or six and twenty, you must say Semi-lozengie. Remember to make your Lozenges more high than broad, they are given for the most part in bend or in fesse, saith Bara the French Herald.  
There be certain rondles given in arms, which have their names according to their several colours. If they be Or, they are beasantes; if silver, plates; if Gules, Tortoixes; if Sables, Pellets, if Azure, Ogoesses; if green, Emeralds, if purpur, Pommes, if Ten, Oranges; if sanguine, Gules. There is seldom borne above nine in an Eschotcheon that must be numbered, if there be above, you must call them semie or besantie.  Cosm. 
I have seen sometimes staples of doors, nails, and the like borne. How can they be honourable to the bearer?  Eud. 
Yes very honourable and ancient.  
As the Cross Moline (given by the worshipful family of Molineux) Mil pecks, and most irons appertaining to the mill, nails, keys, locks, buckles, cabassets or morions, helmets, and the like.  Cosm. 
What is that you call a label or lambeaux?  Eud. 
It is a kind of fillet (some have taken labels for candles or lights) it is the difference of the elder brother, the father being alive, it is drawn of two, three, four, and five pendants, not commonly above. You may in Master Guillims book among the difference of brothers read more of this subject.  
A border in French called un bordure, in Latin, ●●mbria, hath his place within the Escotcheon round about the same, it must contain the sixth part of the Scotcheon.  
An Orle is much like a border save that it standeth quite within the Scotcheon, the field being seen on either side.  
A Fillet the fourth of an Orle.  Cosm. 
I pray you be there not trees and herbs, sometimes given for good armory?  Eud. 
Why not?   

What Herbs are most commonly borne in Arms.  
Of herbs you shall find commonly borne the Cinquefoil but most often pierced the field, the Treyfoile, Mallows, Rue, Sparage, Fennell, the white Ellebore, Pie de Lion, with many others.   

What Trees are given usually in arms.  
Of trees you shall have the Palm, the Olive, Sicamore, Apple and Pear tree, the Pine, ash, the white thorn, pomegranate, Orange, Quince, Nut-tree, the Oak with some others.  
You have Times roots, as the Mandragoras, Burgony, L●vesse, and such like.   

What Flowers.  
Of Flowers you have Roses, gilly-flowers, Violets, Nenuphar, Lilly, Saffran, Columbine, Borage, Line, bugloss, Alleluia with others.   

What Serpents and creeping things.  
Of Serpents you have the Crocodile, who hath his name 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 from the fear he hath of Saffron which he cannot endure, wherefore near Nilus, they plant it much in their gardens, & near their Bees, which the Crocodile continually lieth in wait for. For he loveth honey above measure. Otho Duke of Milan in the year 1099. took from a Sarazen his arms: which was a Serpent, a child issuing out of the mouth of the same, which to this day is yet the arms of Milan.  
The Scorpion, the L●zard, yea the old Arms of France were the three Toads or Crapauds, Crabs, Crevisses, Frogs, Snails, and such like.  
I have seen in an ancient coat three Grasshoppers, but the owner I could never learn.  
The Grasshopper is called in Latin Cicada, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 from singing, with a little skin upon his side, against the which he rubs the thick part of his leg, and so makes that noise, wherewith he so disturbs the sleepy hay-makers. When I found this Etymology first, I would needs make trial: which I found very true; so significant, and witty were the Grecians at first, inventing names to all things from their nature.  
Of fishes you shall find in Arms the Whale, the Dolphin, the Salmon, the Trout, Barbel, Turbot, Herring, Roach, Remora Escallop shells.  Cosm. 
What meaneth the bearing of Escallop shells?  Eud. 
It betokeneth unity and friendly love, for as they close so nearly they can hardly be separated, so should friends and true lovers: whereupon it is wor●e in the colours of the knights of the order of Saint Michael.  
You must be very heedful in the blazoning of fishes, by reason of the variety of their natures.   

Of those birds that are born in Arms.  
Of all bearings among these winged creatures, the Griffon is the most ancient, and yet to this day in Pomerania, of great esteem. But since the AEgle hath got the sovereignty, and is held for a far more honourable bearing, it being the arms of the Empire and of many other kingdoms.  Cosm. 
I pray what is the reason the Emperor giveth in his Arms an Eagle with two necks, which is against nature.  Eud. 
So is a Lion with two tails: yet they have their reason. The cause why it is given by the Emperor was this. The kingdom of Romania being united unto the Empire gave an Eagle Sables displayed, and the Emperor giving the same likewise, united them into one, giving that two necks as you see.  Cosm. 
This is very pretty and more than I knew before, but is the Eagle of such antiquity among the Romans?  Eud. 
Yes before the time of julius Caesar; do you not remember since you were a scholar that verse of Lucan writing of the civil wars between Caesar and Pompey, 
Signa pares aquilas et pila minantia pilis.   
The Pelican is more commonly borne with us here in England then in other countries. Other birds that are usually borne are the Swan, the Raven, the Cormorant, Heron, Falcon, Cock, Pigeon, Lapwing, Swallows, Martle●s, Cornish choughs, Sparhauke, Larks with some others. The Sparhauke Crowned was the Arms of Attilas King of the Huns, and five Larks were found depainted in an old Trojan shield. You must note then that seldom or never the female o● any thing is given in Arms.  Cosm. 
I remember I think a rule for't in mine Accidence, not of Armoury but of Lilies english rules, where note that the Masculine gender is more worthy than the Feminine etc.  Eud. 
Indeed it is the reason because the Masculine gender is the worthiest. One rule is worthy the observation, that fishes birds and divers beasts have been given to bearers for the names sake, to preserve it either really or by accident: really or immediately as Heron gives the Heron, Fox the ●oxe heads, which was the coat of Bishop Fox, Bullock of Berkshire the bullock's head, Herring, and Her●ingham a coat quartered by the Ea●les of Bed●ord, the three herrings, Roch the Roches, Troutbeck the three Trout braced, quartered by the right Worshipful and that worthy Gentleman so well deserving and beloved of his Country Sir Ralphe Conn●ngsb●● Knight o● Northmims in the county of Hertford, Lucy tres lucios pisces or three pikes, quartered by the Earls of Northumberland, and the coat of that noble Gentleman Sir Thomas Lucey of Warwickshire knight, B●rrisford the Bear with infinite the like some have their names accidentally from the property of the bird or beast, or by an Onomatopoea, or allusion of the voice to the name, as Terwhit gives the three Lapwings who in a manner express the ve●y same (neither is it any disparagement to the bearer, since there be of these very Honourable and ancient:) and Chanteur a French Gentleman very well descended who gave the three Nightingales.  
Excellent have been the conceit of some Citizens, who wanting Arms, have coined themselves certain devices as near as may be alluding to their names, which we call Rebus. Master jug the printer, (as you may see in many of his books) took to express his name, a Nightingale sitting in a bush with a scroll in her mouth, wherein was written jug jug jug.  
Master Bishop caused to be painted in his glass windows the picture of a Bishop in his Rochet, his square cap on his head, by which was written his Christian name George.  
One Foxe-craft caused to be painted in his Hall & Parlour a Fox, counterfeiting himself dead upon the Ice, among a company of ducks and Goslings.  
Every scholar can show you in the first page of his Grammar Harrisons' name, expressed by a Hare sitting in a sheave of Rye, and upon that the Sun: all which made Harrison.  
One Master Gutteridge drew for himself a Giant standing in a gutter, ●nd looking over the ridge of a house, which could not choose but make Gutteridge.  
There was not long since a Grocer in London his name I have quite forgot, but I am sure for an allusion thereto he gave for his Rebus a Sugar loaf standing upon a flat steeple, and I think it was Paul's.  
A Church warden who shall be nameless, of Saint martin's in the fields, I remember when I was in that parish, to express Saint martin's in the fields caused to be engraven a Martin (a bird like a swallow) sitting upon a Molehill between two trees, which was Saint Martin's in the fields. It is there yet to be seen, upon the Communion Cup:  
These and a thousand the like, if you be a diligent observer you shall ●i●de both in City and Country, especially in Town halls, Churchwalls, and Windows, old Monasteries and such places, which many a time and often I have inquired after as the best receipt against Melancholy, whereto I am much addicted.  Cosm. 
I think it the best Physic you could take, for even these conceits and passages of mi●th have their times and seasons as well as the most grave discourses. I remember the Poet martial spe●king to his book of Epigrams saith, there is a time, Cum te vel rigidi legant Ca●ones.  
But leaving these Parerga I pray you proceed unto those beasts that are given in Arms, and as near as you can, teach me what I ought to observe in their blazon.  Eud. 
The beasts that are borne in Arms are very many, whereof the Lion is esteemed the most nob●e, and worthiest bearing next the Unicorn, the ●art, the Horse, the Bear, the Bull, the Wolf, the Greyhound, the Antelope, the Porcespine, the Hare the Coney, the Squirrel with many others which I cannot upon the sudden remember:  Cosm. 
What must I observe in the blazon of beasts, because I take it they are somewhat harder than birds to be described?  Eud. 
So they are: You shall ●irst begin with the Lion, who is borne these ways, Rampant, Passant, Salient, Seisant or couchant.  
Rampant is said when the Lion is arreared up in the Scotcheon as it were ready to combat with his enemy being drawn in this manner: his right forefoot must directly stand against the dexter point of the Escotcheon, Salient down Lower.  
Salient is when the Lion is sporting himself and taking his pleasure.  
Passant is drawn as if he were going.  
Seisant is sitting.  
Couchant couching or lying down close with his head between his legs like a dog.  
A Lion is given sometimes but half, than you must call it a demi-Lion. Sometime but his head only, which is neu●r born but sideways, and with one eye, the Leopard's heads always with the full face, as in the Arms of Cantelupe with both the eyes.  
The Elephant is seldom borne, yet saith ●ierom de Bara, a Trojan Captain gave an Elephant's Trunk in his shield.  Cosm. 
I never heard of any that gave the Ape.  Eud. 
Yes the Ape hath been a very ancient bearing & so hath the wild cat, which being 
That is leaping at his prey.  Herisonne was the ancient Arms of the Kings of Burgundy.  
Bucks, Goats and the like are said to be tripping or salient, that is, going or leaping. You shall say rampant and salient but of those which are Bestes du proy, and those of the bigger sort.  
The heads of birds for the most part are given erazed, that is, plucked off; of beasts, Coup●è or erased, that is cut or plucked off. You shall know them one from the other because the head that is Coupè is even underneath; erazed hath three tufts of feathers, or hair hanging down. The tongue and nails of a beast are always different from the colour of the beast as if the beast be of a colour, they are of a metal, if the beast be of a metal, they are of a colour: so likewise in birds, you must say of a beast armed & languid, of a bird membered.  
Thus you see I give you a taste of every thing. For further knowledge I refer you to those learned books that have lately been written of Armoury, neither do I wish you as Aulus Gellius said, ingurgitare in i●ta scientia sed tantum delibare, to know something rather than nothing.  Cosm. 
It was my desire only to learn but the first grounds, and as I ever had a desire to have an insight in all a●tes and sciences, so more especially in this because nothing more beseems a Gentleman than the knowledge of Arms.  Eud. 
You say well, I hope you are not unmindful of that old proverb Chi tutti abbracci●, and it hath my fault to entertain too many such guests at once of which I cannot so soon be rid off● For. 
Turpius eticitur quam non admittitur hospes.   Cosm. 
I pray resolve me of one thing of which I have long doubted.  Eud. 
What's that?  Cosm. 
Are the same laws and rules observed in Arms among other nations, with those which we have here in England?  Eud. 
Yes doubtless, and more strictly: only they d●ffer in ●ome small particulars; as some use stains as much as colours, some charge their Scotcheons after a strange manner with diaper as the french: some use round Scotcheons as the Italian, and such like: otherwise 'tis all one, as you may see by the Arms of every kingdom.  Cosm. 
I pray let me request one thing more since you speak of kingdomes● that is, to acquaint me if your leisure ser●e, with the Arms of every kingdom in Christendom: which I think are about ●●ue and twenty.  Eud. 
Yes if you count those kingdoms in Spain as Leon, Arragon, Castille, and the rest, I will; but to no end: you are so young a scholar in Heraldry you will ●ca●ce understand me.  Cosm. 
So I think: but these being most eminent coats, I shall ma●ke and remember them the better, but now I remember me, I have a pair of tables.  Eud. 
The first is the Arms of the Emperor of G●rmanie, which hath upon it a crown imperial (the difference of Crowns I will tell you anon) the Emperor bears Or, an Eagle displayed with two necks membered Gules.  
The King of the Romans bare Or, an Eagle displayed Sables.  
The king of Hungary bears barry of eight, Argent and Gules.  
The king of Polonia bears Gules, an Eagle displayed, membered and crowned Or.  
The King of Bohemia ●eares Gules, a Lion double Quever Arms languid and crowned Or.  
Arragon beareth Or, 4. pales ●ules.  
Sclavonia beareth Sables a Cardinal's hat Argent, stringed and tasselled Or.  
Suevia beareth Azure three Crowns Or.  
Dalmatia beareth Azure three kings heads proper crowned Or.  
Moravia beareth Azure an Eagle eschecky, Or and Gules, membered of the same.  
Castille beareth Gules, a Castle triple towered Or.  
France beareth Azure three flower delices, Or.  
England beareth Gules three Lions Pass●nt, Gardant, Armed and languid Azure.  
Navarre bears Gules, an Escarboucle Accolled and pometted Or.  
Scotland beareth Or, a Lion enclosed with a double tressure fleurty and counter fleurty Gules.  
Sicily beareth party per Salteir, the point and chief, Arragon the other two Argent, in each, an Eagle displayed Sable, membered Gules.  
Denmark beareth Or Semie de covers or hearts, Gules three Lions passant armed and languid of the second (or as some will have it nine Hearts.)  
Portugal beareth Argent 5. Escotcheons Azure: charged with five plates in salteir (in remembrance of five deadly wounds a certain King of Portugal received in the field whereof he was cured, or of the five wounds of Christ which they say appeared unto him) in a border Gules seven towers Or.  
Legion or Leon beareth Argent a Lion Rampant Sable crowned Or, armed and languid Gules.  
Ireland beareth Azure, an harp Or, (though the ancient coat of Ireland bore the field Sables a king sitting crosseleggd in his throne in his right hand a Sceptre Or.)  
Toledo beareth Gules a crown imperial Or●  
Naples beareth Azure semie flower delices or a lambeaux of four Argent.  
Galizia beareth Azure semi crosses fitch és Argent, a covered cup Or.  
Granado bears Argent a Pomegranate with the stalk and leaves proper.  
Norway bears Gules, a Lion Rampant Argent: crowned Or, holding a battle Axe of the second.  
I have thus briefly given you the blazon of the coats of all the kingdoms in Christendom. Now because we will not Altum Sapere, I will oppose you in the blazon of some few coats to try your cunning, and to see what you have profited by your master: here is a coat, what say you to this?  Cos. 
I should blaze it thus. He bears Azure a star Or between 3. crescents Argent.  Eud. 
Very well, you must take heed● that you take not a star for a mullet and the contrary, for a mullet is the rowel of a spur, and hath never but five points; a star hath six and some times 8. beside, the mullet is often pierced of the field and the mullet never.  Cosm. 
Whose coat I pray you is this?  Eu. 
It did belong to the Abbot of Tame, whose name was Thorpe, and now borne of Master john Thorpe of the parish of Saint martin's in the field, my especial friend, and excellent Geometrician and Surveyor, whom the rather I remember, because he is not only learned and ingenuous himself, but a furtherer & favourer of all excellency whatsoever, of whom our age findeth too few.  
Nor must I here be unmindful since now I speak of that great and honourable parish (having as many, and as substan●iall parishioners in the same as any else beside in England) of the friendship that I have ever found at the hands of three especially in that parish, to whom above all the rest I have been most beholden, as well in regard of myself in particular, as that they are lovers of learning, and all virtue, viz. Master Christopher Collard (whose son my Scholar is now of Magdalen College in Oxford) Master Simon Green Purveyor of his majesties stable: And lastly the aforenamed Master john Thorpe his son, to whom I can in words never be sufficiently thankful.  Cosm. 
Herein you do well. There is no vice more hateful to God and Man, than ingratitude: whereupon it is well said of one. 
— Gratis servire libertas.   Eud. 
Well I must now think my pains not ill bestowed, for, est aliquid prodire tenus● si non datur ultra. I am invited to dinner here over the way, and I think it almost twelve a clock: wherefore I am constrained abruptly to break off this discourse which willingly I would have continued, but Time is moderator betwixt us, and we can go no further than he permits. If it shall please you to take the pains to walk with me: I know you shall be heartily welcome, and the rather, because you are a Scholar.  Cosm. 
Sir a thousand thanks: I cannot, I have some business with a Dutch Merchant, who hath stayed all this fore noon of purpose for me at home, I am to receive money of him by a bill of Exchange, and I dare not deceive his expectation.  Eud. 
Marry Sir, I pray you take the benefit of so good an opportunity: Adieu good Sir.   
FINIS.   

The Author to the Reader.  
LEt me entreat thee (judicious Reader) to amend either in thy reading, or with thy Pen the faults ensuing, which by reason of my often absence (having ha● extraordinary business) have escaped the Press, they are these that follow.  
In my Latin verses at the beginning: for regni quis l●mes Edeni, read, ●egui qu●s limbs Ed●n●. Pag. ●. ●or A●olia, r. A●oliab. p. 7. for Sandscape, r. Landscape. p 47. for. ●iue lines, r. fiu●: lines. p 50. for Dutch peers, r. Dutch pieces. p. 56 for Birds of Prag. Birds of pray. p 62. lin. ●. for ●mission, r. intromission. p. 89. for chermeb, r. chermes. p. 125. r. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉. p. 126. for, those Epistles Homer, r. those Epithets of Homer. p. 129. for Illiadoes, r. Illiados. p. 130. for the red, r. the rod. p. 131. for Zephorus, r. Zepbyrus. p. 133● for illumi●●a S●era in those verses of Ariosto, r. illumino la S●era Ibid. for vel animal, r. n●l animal. p 140. r. through the fairest street in Rome. p. 146. for Tapasian, r. Topazion. p. 151. r. to the Emerald. p 156. for sable, r. label. p. 157. for Nevell, r. Nevil. If Reader thou meetest any where else with the like, let me entreat thee to correct them.  
Vale, hijs f●uere, meliora expecta.