A BOOK OF drawing, Limning, Washing Or Colouring of MAPS and PRINTS: AND THE Art of Painting, with the Names and Mixtures of Colours used by the Picture-Drawers. OR, The youngman's Time well Spent. In which, He hath the groundwork to make him fit for doing any thing by hand, when he is able to draw well. By the Use of this work, you may Draw all parts of a Man, legs, arms, Hands and Feet, severally, and together. And Directions for Birds, Beasts, landscapes, Ships, and the like. Moreover You may learn by this Tract, to make all sorts of Colours; and to grind and Lay them: and to make Colours out of Colours: and to make Gold and Silver to write with. How also To Diaper and Shadow things, and to heighten them, to stand off: to Deepen them, and make them Glister. In this BOOK You have the necessary Instruments for Drawing, and the use of them, and how to make artificial Pastels to draw withal. Very useful for all Handicrafts, and Ingenuous Gentlemen and Youths. By Hammer and Hand all Arts do stand. Infoelix qui Pauca Sapit, spernit que Doceri. LONDON. Printed by M. Simmons, for Thomas Jenner; and are to be sold at his Shop, at the South entrance of the Royal Exchange. 1652. THE true portraiture OF Albertus DVRER▪ THE very PRIME PAINTER AND GRAVER OF GERMANY 〈…〉 〈…〉 R 〈…〉 mer▪ pinxit▪ Francis 〈…〉 DeLa 〈…〉 sculpsit A Book of the Art of Drawing according to the order of Albert Durer▪ Jean CoziIn and▪ other Excellent Picture-makers describing the true proportions of Men, women & Children. Are to be sold by Thoma 〈…〉 Of necessary Instruments for Drawing. FOr Implements these are the only necessary ones; Pens made of raven's quills because they are the best to draw fair, and shadow fine, and small Charcoals, black-lead, white-lead, red-lead, a feather, and a pair of Compasses. The use of these Instruments. FOr your Charcoals, They must be slit into small 〈◊〉 pieces, and then sharpened charcoal. at the point: You may choose your Charcoals thus, they are finer grained than others, and smooth when they are broken, and soft, and they have a pith in the middle of them, which is the best token to know them by: The use of them is to draw over your drafts first withal, because if you should draw it false at first, you may easily wipe it out, which you cannot so well do with any other thing. Your black-lead is to draw over that again which you drew before in charcoal, Black-lead. because this will not wipe out under your hands when you come to draw it with your pen; and if you shall draw it with your pen before this, you Charcoal would furry your pen that you could not write with it, and besides you cannot so well mend your faults with a pen as with a black-lead, for what you do with your pen you cannot alter, but wherein you err with your black-lead, you mend it with your pen. The pen is the finisher of your work, with which you must be most exact, knowing Pen. it is unalterable, therefore you must be sure your work is right before you draw it with your pen. Black-chalk is to draw on blue-paper with, which is not to be used till you be Black-chalk. pretty perfect in drawing. White lead is to do the lightest parts of that you draw before with black Chalk. White-lead. Your Compasses are not to be used constantly, for they will spoil you that you Compasses. cannot draw without them, but only when you have 〈◊〉 your drawing with charcoal, you may measure if it be every 〈◊〉 right, before you draw it with your black-lead. The feather is to wipe out the charcoal where it is drawn false, before you draw feather. it again, and this you must be sure to do, or else you will be confounded with variety of strokes, so that you shall not know which is the right stroke. Having these Implements in readiness, The 〈◊〉 practice of a Drawer must be readily to Draw Circles, Ovals, Squares, pyramids, &c. And the reason of exercising you first in these, is, because in these you will be fitted for the performance of other bodies; as for example, your Circle will teach you to draw spherical bodies, as the Sun, Moon and Stars, and the most Flowers, as the Rose, Dazy, &c. the most Vessels, as Cups, basins, bowls, Bottles, &c. the Square will fit you for all manner of comportliments, plots, buildings, &c. your pyramids for sharp Steeples and Turrets, &c. your oval for Faces, Shields, &c. for it is impossible to draw the body of a Picture before you can draw the Abstract. When you can do these, practise to draw Pots, balls, Candlesticks, Pillars, a Cherry with a leaf, &c. but be sure you be perfect in the out-stroke, before you go to draw the shadows within. How to make artificial Pastiles to draw withal. TAke a great Chalk-stone, and make deep furrows, or holes in them, two of three inches long, and so wide that you may lay in each a quill, then take white Chalk ground very fine, temper it with oil or wort, and a little new milk, and to make pap thereof, then pour it into the furrows of Chalk, and in a short time you may take them out and roll them up, or let them lie in them till they are quite dry, and then take them and scrape them into a handsome form; you may temper lake with burnt alabaster for a red, and so for others; having regard to some colours that will bind overhard, which must have a little water put to them in their grinding. Directions in Drawing of a Face. FOr the better assisting you in the drawing of a face, you may make use of this direction; when you have drawn the circle of the Face (which you must do at first with a plain 〈◊〉 line, without making any bendings in or out, till you come towards the finishing of it) you may make a stroke down from that place of the forehead which is even with the chin, coming down where you should place the middle of the Nose, and the middle of the mouth; observe that this stroke must be struck that way which the Face should turn, either to one side, or straight right, and then this stroke will exceedingly help you to place the features rightly, that they may not stand all awry, but directly one under another; when you have made this stroke, you may make another stroke across to guide you for the even placing of the eyes; that one be not higher than another. Now if the face turn downwards, the stroke must be so struck that the eyes may turn answerable with the face downward, when you have done that make anòther stroke for the length of the Nose, where the end of the Nose should come, and another stroke for the mouth, that it be not made crooked, still observing to make all the strokes to turn one way, either up or down, according as the face turns; for if the face turn up or down, the Eyes, Nose, and Mouth must turn with it: when you have made these strokes rightly, proceed to the placing of the features as in the rules before. There is this threefold equal proportion usually observed in a Face; 1 From the top of the forehead to the eyebrows; 2 From the 〈◊〉- brows to the bottom of the nose; 3 From thence to the bottom of the chin: but this proportion is not constant, for sometimes the forehead is lower than at other times, and some 〈◊〉 noses longer, other shorter, and therefore this rule is not always to be observed, but only in a well proportioned Face. The distance between the two eyes is just the length of one eye, if it be a full face, but if it turn any thing aside then that distance is lessened accordingly; the nostril ought not to come out further than the 〈◊〉 of the eye in any face, and the mouth must be placed always between the eyes and the chin, just under the mouth. Further Directions about a Face. BEcause the greatest difficulty, and principal part of this Art lies in the 〈◊〉 〈◊〉 of a Face, I thought good to add these further Directions to make 〈◊〉 the more perfect in the drawing of it. 1 If you would rightly draw a Face, that it may resemble the pattern you draw 〈◊〉 〈◊〉: you must in the first place take notice of the Visiognomy or 〈◊〉 of 〈◊〉 〈◊〉, 〈◊〉 it be long or round, fat, or lean, big, or little, that so you may be 〈◊〉 〈◊〉 the 〈◊〉 〈◊〉, to draw the right visiognomy, or bigness of the Face, which 〈◊〉 〈◊〉 〈◊〉 〈◊〉 face you shall perceive the cheeks to make the side of the face to swell out, 〈◊〉 〈◊〉 make the face look as if it were square; if a lean face the jaw bones will 〈◊〉 〈◊〉 〈◊〉 the 〈◊〉 〈◊〉 in, and the face will look long and 〈◊〉; if it be neither 〈◊〉 〈◊〉, nor too 〈◊〉, the face will be round for the most part. 〈◊〉 you draw the utmost Circumference of a face, you must take in the head and all with 〈◊〉, otherwise you may be deceived in drawing the true bigness of a face. General Rules for the practice of Drawing. 1. HAving your charcoal neatly sharpened, you must at the first in drawing of a face, lightly draw the out-stroke, or circumference of the face just according to the bigness of your pattern, making it to stand foreright, or to turn upwards or downward according to your pattern, then make some little touches where the features as the Eyes, Nose, Mouth, chin, should be placed, not drawing them exactly at the 〈◊〉, and having thus exactly pointed out the places where the features should be: begin to draw them more exactly, and so proceed, till the face be finished, and then make the hair, beard, and other things about it; In making of a side face you need not at first exactly draw the nose, mouth and chin that stand in the outmost line, but only make it at first but a bare circumference, turning this way, or that way, according as the pattern doth, and then make the mouth, nose and chin to come out afterwards, in the right places and just proportion. 2 The Circles, Squares and Triangles that are made in the Print, about a face, are to guide your apprehensions the more readily to the framing of one, that being as it were led by a line, you may the more easily know where abouts to place the features, as eyes, nose, mouth, &c. which when you are able to do without them; these are of no use at all, but only to guide you at the first to the placing of them. 3 In the third place you must be sure to place the muscles in their right and proper places; by the muscles I mean all the shadows that are caused by some dents, or swellings in the face, and be able to find out the reason of every mussel, that so you may proceed to work with the more judgement; you shall perceive the muscles most in an old and withered face, and you must first draw the principal of them, and then you may the more easily draw the lesser within; you must be very exact in the right placing of them, or else you spoil your draft be it never so good. 4 Observe to make the shadows rightly, and be sure not to make them to dark, where they should be faint, for if you do you can never recover it to make it light again, and 〈◊〉 the whole face will be marred, and appear unhandsome; the shadows are generally fainter and lighter in a fair face then in a swarthy complexion: when you have finished your draft, you will do very well to give here and there some hard touches with your pen where the shadows are darkest, which will add a great life and grace to your drawing. When you have finished the face, then come to the ears and hair, wherein you must observe this rule, having drawn the out-line of it, you must first draw the principal curls, or master-strokes in the hair, which will guide you with ease to do the 〈◊〉 curls which have their dependence on them; always make your curl to bend, and 〈◊〉 exactly according to the pattern, that they may lie loose and saved, and not look as if they were stiff, stubborn and unplyable: When you have drawn the curls rightly you must in the last place strike in the loose hairs which hang carelessly out of the curls. When you can draw a face (which is the principal thing in the Art) then go to hands and arms, legs and feet, and so to full bodies of men and women, which are the most difficult things, which if you can attain to perform, with a well grounded 〈◊〉, nothing then will be difficult to you, but will be most easy as flowers, birds, beasts, 〈◊〉, or any other thing that is to be drawn by hand. Of Drawing Hands and Feet. To foreshorten the Hands. You must draw the perpendicular lines from the Hands seen slopewise or a side marked with their proportions and measures 1. 2. 3. 4. upon which the shining would so cast them down unto the Dyagonall marked at the end with O. and then carry the reflection of them level from the intersections of those perpendicular lines in the Dyagonall aforesaid until you come under the place of the foreshortened Hands thereby to get the shadow from which shadow you must perpendicularly raise perpendicular lines until then may meet or intersect level lines drawn also from the first hand seen aside, so will the intersections of the said lase named level lines and raysed perpendiculars give the foreshortened Hands A. B. C. D. E. Even as the Eye would see the Sydewise or sloping hand, So shall the workman see the Hand foreshortened by means of the said shadow. The actions and postures of the hand are so various, that I can give you no certain rule for the drawing of them, only take this for a general, when you first draw it with charcoal, you must not draw it exactly, that is to say, to make all the joints or 〈◊〉, or other things, to appear but only lightly and faintly; to touch out the bigness of the hand, and the manner of the turning of it with faint touches, and 〈◊〉 with hard strokes; then if you have done that right, part the fingers asunder, or close, according to your pattern, with the like faint stroke; then mark that place where any of the fingers do stand out from the others, and make a faint resemblance of it: having so done, if you perceive your draft to be 〈◊〉, proceed to draw it more perfectly, and make the bending of the joints, the rist-bone, and other principal things, somewhat exactly. And lastly go over it again, and draw every small bending or swelling of the fingers, and make the nails, knuckles and veins, so many of them as appear, and every thing else that you can discern. Observe this rule in all your drawings, that before you come to draw your draft with Black-lead, or other thing, you must blow off the loose dust of the coal off from your drawing, or faintly to whisk over your drawing with a feather, that so you may leave it faint, so that you must but just perceive your strokes, and by this means you will the better see how to draw it again with your black-lead, otherwise you would not be able to discern your strokes. For the proportions of a hand, you have it sufficiently set down in the print, by lines and figures, which shows the equalities of proportion in a hand, and how many equal measures there are in it, which you should endeavour to be acquainted with, that so you might know when a hand is well proportioned, with just and equal distances; but I would you should take notice of this rule, or exception, according as the hand turns one way or other, the proportions must be shortened, according as they appear to the eye, as you shall see in the fore-shortning of the hand in the print; so much as the hand turns away from our sight, so much it loses of its ordinary proportion, and is made to shorten unto that proportion that the eye judges of it, nay sometimes a whole finger, sometimes two or three, or more, is lost to our sight, by the turning of the hand another way from us, and so they must be holy left out, and not made. For feet there is not so much difficulty in the making of them, as in hands; and in drawing of them, you must proceed to the same way that was showed for the making of hands. When you can draw hands and feet pretty well, then go to arms and legs, wherein is little difficulty; when you can draw the hands and feet, afterwards proceed to whole bodies. Of Drawing the whole body rules to be observed. 1 IN all your drawings you must draw it at first with your coal, but very lightly and faintly, for than you may the easier mend it if you draw amiss. 2 In the drawing of a body, you must begin with the head, and be sure to give a just proportion and bigness to that, because all the body must be proportioned according to the head. 3 At the first drawing of the body with your coal, you must draw nothing perfect or exact before you see that the whole draft is good, and then you may finish one thing after another as curiously as you can. The proportion of a Man to be seen standing forward. In this figure is to be observed that from the top of the head to the sole of the feet, is 8. measures of the head, and the head 4 lengths of the nose, the which measures are upon a perpendicular line. 〈◊〉 the head figured with 1. the second to the breasts. 2. the 3d. to the navel 3. the 4th. to the privities. 4. the 5th. to the middle of that thigh 5. the 6th. to the lower part of the knee 6. the 7th. to the small of the leg. 7. the eight reaching to the heel & sole of the feet. 8. Likewise the same 8. measures are to be observed from the end of the fingers of the right hand, to the end of the left hand fingers: the breadth of the shoulders containeth 2 measures of the head, & the breadth of the hips 2 measures of the face as appeareth in the unshadowed figure. 5 In your drawing be sure you place the parallel joints, sinews and muscles, directly opposite in a strait even line one against the other, as the shoulders, the armpits, the wast, the hips, the knees, and so every thing else, that one may not be higher or lower than the other, that the body may not seem crooked or deformed, but every parallel joint bend &c. may directly answer the other that is opposite thereunto; and to this end you may strike a strait stroke directly cross the shoulders to direct you to place them even and straight one against the other, so also you may do in other places, as the armpits, wast, hips, thighs, or any other place, where you should place one thing even with the other; for you must have the same care in all parts of the body, as you have in one place where any bendings or members of the body have, or do require a direct opposition one against the other, you may make use of this help and direction. 6 Observe that if the body turn one way or other, than this stroke must be so struck, so that it may answer the bowing of the body, as if the body stoop a little downwards, the stroke must be struck sloping or sideways, and so you must then make the shoulders and other things which should stand straight against one another, to be somewhat higher than one another, so that that side that the body turns upon the shoulders and other things that otherwise should be placed even one against the other must be made somewhat lower the other side, more or less, according as the body stoops more or less. 7 As you are to be careful in the right placing of all level or parallel joints, bendings, sinews and 〈◊〉, so you must look exactly to all perpendicular joints, muscles, &c. that is when you have drawn the outmost draft, and are come to draw the joints and muscles that are contained within the body, you must be as exact in placing them, that are directly just under one another, as you are in placing them even, that are opposite one to the other; and to this end that you may place things exactly perpendicular, that is in a strait line under one another; you may strike a strait perpendicular line from the throat pit down to the privities, just in the middle or seam of the body, where you may discern the parting of the ribs, and so from thence straight down to the feet, as you shall see in the print of the man, the line will direct you to place things evenly perpendicular, that the body may stand straight upright, and not appear crooked and awry. 8 Take notice of the bowings and bendings that are in the body, to make that part that is opposite to that which bends to answer to it in bending with it, as if one side of the body bend in, the other side must stand out answerable to the bending in of the other side, if the back bend out the belly must bend in, if the belly come in, the back must stick out, if the breech stick out, the thigh that answers to it in opposition, must come in: so also, in any other part of the body; as if the knee bend out, the hams that answer to it must come in, and so for any other joints in the body this rule must be exactly observed, otherwise the body will be made grossly and absurdly, and will be very gouty without any proportion. 9 endeavour to make all things of an equal proportion and bigness, not to make one arm bigger than the other, or one leg bigger than the other, or one breast bigger than the other, or any one part of the body in an unjust proportion, but as every thing must answer to the bigness of the face, so one member must answer to another in bigness, that so there may be a sweet harmony in the parts of the body, that it may not have broad shoulders, and a thin slender waste, a rawbone arm, and a thick gouty leg, or any part disproportionable from the other, unless it be so that any part of the body doth turn awry from our eye, as if the one arm should be seen sideways, and the other foreright than the one arm must be made so much less than the other by how much it turns away from our sight, and appears less to our eyes, and so if one leg be seen full or foreright, and the other leg be seen sideways, than it must be made so much less than the other, by how much it turns away from your sight. The proportion of a woman to be seen afore. The Proportion & measure of a woman to be seen afore, is like the 〈◊〉, excepting that that measure of the breadth between the shoulders of the woman 〈◊〉 but 2 lengths of them face, as appears by that pricked line athwart the breasts and from that hips to the 〈◊〉. 2 lengths of the head, marked with an other cross pricked line; which maketh the difference between the man & that Woman and you must make the arms thighs & legs fatter and plumper than that man's, even to that wrists & 〈◊〉 also you must not make that muscles as of that man. The Whole figure of man's body foreshortened a little & seen by the Sole of the Foot, the Back upwards. Having 〈◊〉 〈◊〉 〈◊〉 〈◊〉 at length by the side, the back upwards You must also observe the measures as 〈◊〉 in the level 〈◊〉 〈◊〉. 23. 4. 5. 6. 7. 8. and 〈◊〉 up the 〈◊〉 〈◊〉 and proportions by the 〈◊〉 lines upon the perpendicular which 〈◊〉 the 〈◊〉 figure and the Shadow, of the 〈◊〉 〈◊〉 〈◊〉 〈◊〉. 〈◊〉 to make the figure of the Shadow you 〈◊〉 draw a line 〈◊〉 in 〈◊〉 midse of 〈◊〉 〈◊〉 therein 〈◊〉 〈◊〉 〈◊〉 & measures marked 1. 2. 3. 4. 5. 6. 7. 8. The 〈◊〉 〈◊〉 〈◊〉 for 〈◊〉 〈◊〉 the second 2 for 〈◊〉 Shoulders and so consequently of the rest unto 〈◊〉 〈◊〉 measure. And to make 〈◊〉 shadow as 〈◊〉 son 〈◊〉 〈◊〉 upon the Back. And to make the 〈◊〉 you must 〈◊〉 perpendicular lines. proceeding from the figure stretched at length. & seen a side by the coresponding 〈◊〉 of which and 〈◊〉 level 〈◊〉 me for shortened lines and 〈◊〉 of the same seen by 〈◊〉 〈◊〉 of the feet, the back upwards is described as appeareth in the 〈◊〉 of this present 〈◊〉. 11 Observe the exact distance of one thing from another, how far distant they are, that you may be exact in your draft, and perfectly imitate your pattern. 12 Observe how much one part of the body sticks out beyond the other, or falls in within the other, or whether it stands even with the other, and to this end you may strike a small stroke down from the top of the shoulder along by the outside of the body straight down to the feet, and this will direct you how far one part of the body should stand out beyond the other, and how far other parts should come in; let nothing be done without a rule and judgement. 13 Let nothing be done hard, sharp or cutty, that is, let not the bendings that are either in the body, or in the joints be made as if they were 〈◊〉 or cuts in the flesh, with sharp corner strokes, but finely round and sloaping, like bendings, and not like cuts in the body: this is a common fault among learners which they cannot choose but commit & 〈◊〉 you should be the more careful of it by imitating your pattern exactly, in the 〈◊〉 manner of making every stroke and touch, and endeavour to find out the ground and reason of every small stroke and touch that is given, for nothing must be done without judgement. Now I have given you directions for the drawing of the body; I would in the next place give some instructions, whereby you might have some judgement in a good draft. Of Perspective Proportion. PErspective Proportion differeth much from the former, for according to the 〈◊〉 Perspective 〈◊〉. of the eye from a thing it judgeth what proportion it hath, as if one part 〈◊〉 the body come nearer to the eye, than the other, it is made so much beggar then the other part of the body, which turns away from the eye, as if one leg stand behind another; the foremost leg that comes first to the eye must be made somewhat bigger, and longer 〈◊〉 the other, because the eye judgeth so of it; and so it is for any other part of the body, the 〈◊〉 must be lessened, according to the distance that it is from the eye. The second thing in good drafts, is graceful posture, and proper action, that is, 2 graceful posture. that the true natural motion of every thing be expressed in the life and spirit of it, that is, to quicken the life by art, as in a King to express the greatest 〈◊〉, by putting him in such a graceful posture, as may move the spectators with reverence to behold him; and so to make a soldier, to draw him in such a posture, as may betoken the greatest courage, boldness and valour; and so to make a clown in the most detestable and clownish posture; and so for every thing, that the inward affection and disposition of the mind be most lively expressed in the outward action and gesture of the body. Now that you might attain to a skill herein; I would counsel you diligently to observe the works of famous Masters, who do use to delight themselves in seeing those that fight at cuffs, to observe the eyes of privy murderers, the courage of 〈◊〉, the actions of Stage-players, the enticing allurements of Courtesans, and those who are led to execution, to mark the contracting of their brows, the motions of 〈◊〉 〈◊〉, and the carriage of their whole body, to the end they might 〈◊〉 them to the life in their drawings and works. The third thing in good drast is, looseness, that is, that the body be not made 〈◊〉. 〈◊〉. 〈◊〉 in any part, but that every joint may have its proper and natural bending, so as it may with greatest life express your intention, that the figure may not seem lame, and the joints stiff, as if they were not pliable or capable of bending, but every joint and limb may have its proper and natural moisture, according as it may best suit with, and become the posture in which the figure is set The fourth thing in drawing is fore. shortening, which is to take things as they appear Fore-shortning. to our eye, and not to draw the full length and proportion of every part, but to make it shorter, by reason the full length and bigness is hid from our fight; as if I would draw a ship standing foreright, there can appear but only her forepart, the rest is hid from our sight, and therefore cannot be expressed; or if I would draw a horse standing foreright, looking full in my face, I must of necessity foreshorten him behind, because his sides and flanks appear not unto me, wherefore observe this rule; That you ought rather to imitate the visible proportion of things, than the proper and natural proportion of them, for the eye and the understanding together being directed by the perspective art, aught to be the guide, measure and judge of drawing and painting. The fifth thing in good drawing is, That every thing be done by the guidance of nature, that is, that nothing be expressed, but what doth accord and agree with nature 5 naturalness. in every point; as if I would make a man turning his head over his shoulder, I must not make him to turn more than nature will permit, not any thing must be foarst beyond the limits of nature, neither must any thing be made to come short of nature, but nature though it is not to be strained beyond its centure, yet it must be quickened to the highest pitch of it, as if I would express a King, I must express him in the most majestic posture that I can invent; and if I would draw a Clown, I must draw him in the most clownish action that can be, yet must neither the one nor the other be drawn in such a posture as will not agree with the motion of nature, that is, to draw such a posture which a man cannot imitate with his natural body, and so for any thing else whatsoever nature must be the pattern of all kind of drafts. Of Drawing Garments. WHen you are able to draw naked drafts well, you will find a matter of no great difficulty to do bodies with garments upon them, yet nevertheless it will not be amiss to give you some directions about the same. 1 First, you must draw the outmost lines of your garments lightly, and in this you must be very careful, for the whole grace of a picture lies in the outmost draft, and not in the curious work within. Now that you might perform this exactly, you must suit your garments to the body, and make them bend with the body, and not to make them straight there where the body should bend; if you would rightly fit the garments to the body, you must observe which part of the body bends in or out, that the garment may answer to the body upon the least turning one way or oother the garment may turn with it; you must also observe where the body should come if it were naked, and there draw your garments in the right place, making it bend according as the joints and limbs of the body should bend: Excellent workmen do make the body appear plainly thorough the garments, especially where the garment lies close and flat upon the body, and indeed where ever the body bends in or sticks 〈◊〉 in any one part more than other, it should be shown in a plain and vifible manner through the garments, which thing you must take notice of in your drawing, either by a pattern, or by the life. The proportion and measure of a child standing forward containeth but fine measures of the head, to 〈◊〉 3 from the 〈◊〉 of the head to the privities, 〈◊〉 two more in the 〈◊〉 and legs, as 〈◊〉 in this figure, and the breadtis 〈◊〉 the 〈◊〉 is the lonath of a head and a half, as appears by a 〈◊〉 pricked line marked 〈◊〉 and the 〈◊〉 of the body above the 〈◊〉 marked also with a cross pricked line is the 〈◊〉 of one head. the breadth of the upper part of the 〈◊〉 marked with a priked line oposite to the 〈◊〉, is the third part of two lengths of the head. the knee marked with a small 〈◊〉 pricked line and a little† at both ends is of the just length as between the eye and chin, the small of that leg and the brawn of the arm are of the thickness of the 〈◊〉. 2 You must draw the greatest folds first, and so stroke your greater folds into less, and be sure you let one fold cross another. Directions for the bestowing of your lights. 1 LEt all your lights be placed one way in the whole work, as if the light falls sideways on your picture, you must make the other side which is furthest from the light, darkest, and so let your lights be placed altogether, on one side, and not confusedly to make both sides alike lightened, as if it stood in the midst of many lights, for the body 〈◊〉 otherwise be lightened equal in all places. 1 Because the light doth not with all its brightness illuminate any more than that part that is directly opposite unto it. 2 The second reason is taken from the nature of our eye, for the first part of the body coming unto the eye with a bigger angle is seen more distinctly; but the second part 〈◊〉 further off comes to the eye in a lesser angle, and being lesser lightened 〈◊〉 not so plainly seen as the first. By this rule if you are to draw two or three men standing together, one behind another, though all of them receive equally the light, yet the second being further from the eye must be made darker, and the third more dark. 2 That part of the body must be made lightest, which hath the light most directly opposite to it, as if the light be placed above the head, than the top of the head must be made lightest, the shoulders next lightest, and so it must lose by degrees. 3 That part of the body that stands furthest out, must be made lightest, because it comes nearer to the light, and the light loseth so 〈◊〉 of its brightness, by how much any part of the body bends inward, because those parts that 〈◊〉 out do hinder the lustre and sull brightness of the light from those parts that fall any thing more inward, therefore by how much one part of the body sticks out beyond the other it must 〈◊〉 〈◊〉 so much lighter than the other, or if it fall more inward, it must be made 〈◊〉 〈◊〉. Satins and Silks, and all other bright-shining stuffs, have certain bright 〈◊〉, exceeding light with sudden bright glances, especially where the light falls brightest, and so the reflections are less bright, by how much the garment falls more inward from the light. The like is seen in armour, 〈◊〉 pots, or any glittering metals, you shall see a sudden brightness in the middle or centure of the light, which discovers the shining nature of such things. Of landscapes. Landscape is expressing of land by hills, woods, castles, seas, valleys, ruins, rocks, Cities, towns, &c. and there is not so much difficulty in 〈◊〉, as in drawing figures therefore take only these rules for it. 1 The best way of making landscapes is to make them shoot away one 〈◊〉 lower than another, which hath been practised by our best workmen of 〈◊〉, but 〈◊〉 have run into a contrary error, by making the landscape mount up higher and 〈◊〉, till it reach up a great height, that it appears to touch the clouds, as if they had stood at the bottom of a 〈◊〉, when they took the landscape which is altogether improper, for we can discern no prospect at the bottom of an hill, but the most proper way of making a landscape, is to make the nearest hill highest, and so to make the rest that are further off, to shoot away under that, that the landscape may appear to be taken from the top of an hill. 2 You must be very careful to lessen every thing proportionable to their distance, expressing them bigger or less according to the distance they are from the eye. 3 You must make all your lights fall one way, both upon the ground and trees, and all things else, and all the 〈◊〉 must be cast one way. So likewise you must observe the motions of the Sea, by representing the 〈◊〉 agitations of the waters, as likewise in rivers, the flashings of the waters upon boats and ships floating up and down the waters, you must also represent the motions of waters falling down from an high place, but especially when they fall upon some rock or stones, where you shall see them spiriting up in the air and sprinkling all about. Also clouds in the air require to have their motions now gathered together with the winds, now violently condensated into hail, thunderbolts, lightning, rain, and such like; finally, you can make nothing which requireth not his proper motions, according unto which it ought to be represented: observe this rule that all your motions which are caused by the wind must be made to move one way, because the wind can blow but one way at once. Thus much for directions to those who are contented to take some pains to attain so noble a science; Now there follow certain directions for those that are unskilful, and have not spare time sufficient to spend in the practice of those directions, yet are desirous upon occasions, & for certain ends to take the copies of some lesser prints or pictures which they oftentimes may meet withal, the which are very facile and easy to be performed. How to take the perfect Draft of any picture. TAke a sheet of the finest white paper you can get, Venice paper is the best, 〈◊〉 it all over with clean linsed oil on one side of the paper, then wipe the oil off from the paper as clean as you can, then let the paper stand and dry, otherwise it will spoil a printed picture, by the soaking thorough of the oil; having thus prepared your paper, lay it on any printed or painted picture, and you may see perfectly thorough and so with black lead pen, you may draw it over with ease: after you have thus drawn the picture on the oiled paper, put it upon a sheet of clean white paper, and with a little stick pointed, or which is better 〈◊〉 a feather, taken out of a Swallows wing, draw over your strokes which you drew upon the oiled paper, and so you shall have the same very prettily and neatly, and exactly drawn upon the white paper which you may set out with colours at your own pleasure. Another way. HAving drawn the Picture, take the oiled paper, and put it upon a sheet of clean white paper, and 〈◊〉 over the drawing with a pen, then from the clean sheet that was pricked, pownse 〈◊〉 upon another, that it take some small coal, powder it fine, and wrap it in a 〈◊〉 of some fine linen, and bind it up therein loosely, and clap it lightly over all the 〈◊〉 line by little and little, and afterwards draw it over again by little and little, and afterwards draw it over again with a pen or pencil, or what you please. Another way. TAke a sheet of fine white paper, and rub it all over on one side with black-lead, or else with vermilion tempered with a little fresh butter, then lay this coloured side upon a sheet of white paper, then lay the picture you would copy out upon the other side of the coloured paper, and with a small pointed stick, or with a Swallows quill go over all the 〈◊〉 of your picture, and then you shall have your strokes very prettily drawn on the white paper. Another way. TAke a piece of white lantern horn, and lay it upon your picture, then with a hard nipped pen made with a raven's quill draw the stroke of your picture upon the horn, and when it is dry, breath upon the horn twice or thrice, and press it hard upon a piece of white paper a little wetted, and the picture you drew upon the horn, will stick fast upon the paper. Another way. TAke 〈◊〉 sheet of white paper, rub it all over with fresh butter, and dry it in by 〈◊〉 fire; then rub one side of it all over with lamp-black or lake, or any other colour finely ground: lay this paper upon a sheet of 〈◊〉 paper with the coloured sid downwards, and upon it lay the picture you would copy out, and trace the stroke over with a feather of a Swallows wing, and you shall have your desire. Another way. TAke some lake, and grind it fine, and temper it with linseed oil, and afterwards with a pen draw with this mixture, instead of ink, all the out-stroke of any paper picture, also the muscles, then wet the contrary side of the picture, and press it hard upon a sheet of clean white paper, and it will leave behind it all 〈◊〉 〈◊〉 of the said picture that you drew over it. Another way. TAke Printers black, grind it fine, and temper it with fair water, and with a pen dipped therein draw over the master strokes, and out-lines of the muscles, wet then a fair paper with a sponge, or other thing, and clap the paper upon it, pressing it very hard thereupon, and you shall find the strokes you drew left upon the fair paper. Another most easy way. LAy a paper print upon a bright glass window, or paper window that is oiled with the backside of the print upon the window, than lay a clean paper upon the print, and draw the out-stroaks upon the paper, which may visibly see you, it being set up against the light, and if you will shadow it siner you may. An easy way to lessen any Picture that is to draw a picture from another in a lesser compass. 〈◊〉 take a ruler and a black-lead plummet made an even square; now, you must divide 〈◊〉 〈◊〉 into divers equal parts with a pair of compasses, and draw lines with a 〈◊〉 and black lead plummet quite over the picture, make also other lines across, so that 〈◊〉 picture may be divided into equal squares, then take a fair paper and make 〈◊〉 〈◊〉 〈◊〉 upon it as there is in the picture; you may make them as little as 〈◊〉 will, but be sure they are equal in number with those in the Picture, having 〈◊〉 drawn 〈◊〉 the picture and paper into squares; take a black-lead pen and draw the picture by little and little, passing from square to square, and in what part of the 〈◊〉 〈◊〉 picture lies, in that same square put the drawing, and in the same place of 〈◊〉 〈◊〉 upon the paper until you have finished the whole, then draw it over with a pen, in which second drawing of it over you may easily mend any fault; when it is 〈◊〉 it over with the crumb of white bread, and it will take off all the black- 〈◊〉 strokes, and your draft only will remain fair upon the paper. An easy way to take the natural and lively shape of the leaf, of any herb or tree, which thing passeth the art of man to imitate with Pen or pencil. FIrst take the leaf that you would have, and gently bruise the ribs and veins on the backside of it, afterwards wet that side with linsed oil, and then press it hard upon a piece of clean white paper, and so you shall have the perfect figure of the said leaf with every vein thereof so exactly expressed, as being lively coloured, it would seem to be truly natural. Of Washing Maps or Prints. WAshing Pictures is nothing else but the setting them out with colours, and for the effecting hereof you must be provided with store of pencils, some smaller The 3. whole Anatomique figures Before Behind & Sydewise. In these three whole Anatomiques are represented the Muscles as well Before and behind as Sydewyse. And the said Figures are made by such observations and measures as is before herein declared. And you may note that the draught of the Figure for before serveth also for the Figure 〈◊〉 So as in such 〈◊〉 that in the making of the one you also 〈◊〉 made the other taking the opposite of the 〈◊〉 and the 〈◊〉 spaces which are between the 〈◊〉 are the 〈◊〉 measures and 〈◊〉 of the Head which are to be observed in human 〈◊〉. 〈◊〉 〈◊〉, Allum-water, Gum-water, Water made of soap ashes, size, varnish, 〈◊〉 〈◊〉 of good colours well prepared. How to make alum Water, and the 〈◊〉 of it. TAke a quart of fair water, and boil it in a quarter of a pound of alum, seeth it until the alum be desolved, then let it stand a day, and so make use of it. With this water you must wet over your pictures that you intend to colour, for it will keep the colours from sinking into the paper, also it will add a lustre unto the colours, and make them show fairer, and it will also make them continue the longer without fading; you must let the paper dry of itself after you have once wetted it, before you either lay on your colours, or before you wet it again, for some paper will need to be wet four or five times. If you intend to varnish your pictures, after you have coloured them you must first size them, that is, rub them over with white starch with a brush, instead of doing them with alum water, but be sure you size it in every place, or else the varnish will sink thorough: Note, if your varnish be too thick you must put into it so much Turpentine oil as will make it thinner. How to make Gum-water. TAke clean water a pint, and put it into three ounces of the clearest and whitest Gum araback, and let it stand until the gum be desolved, and so mix all your colours with it; if the gum water be very thick it will make your colours shine, but then your colours will not work so easily, therefore the best is, that the water be not 〈◊〉 too thick nor too thin. How to make Lime water. TAke unsacked lime, and cover it with water, an inch thick, let it stand so one night, in the 〈◊〉 power off the clear water and reserve it in a clean thing for your use; with this water you must temper your sap green when you would have a blue colour of it. How to make water of Soap-Ashes. STeep Soap-ashes a night in rain-water, in the morning pour off the clearest. This water is to temper you Brazil withal. How to make Size TAke a quantity of blue, and let it steep a night in water, to make it the readier to melt in the morning, then set it on a coal of fire to melt, which done, to try whether it be neither too stiff nor too weak, for the meanest is best, take a spoonful thereof and set it in the air to cool, or fill a mussel shell with it, and let it swim in cold water, to cool the sooner if it be too stiff when it is cold put more water to it, if too weak then put more glue into it, and when you would use it, make it lukewarm, and so use it. This is to wet your clothes in if you intend to payest your maps or pictures upon cloth, or you may take white starch and wet your sheet, and wring it out, and so strain it upon a frame, or nail it stretched upon a wall or 〈◊〉, and so payest your maps or pictures thereon. The Names of all the Colours Pertaining to Washing. Blues. Blue-bice. Indigo. Blue-verditer. Reds. Vermilion. Lake. Red-lead. Whites. Ceruse. White-lead. picked. Blacks. Printers Black. Ivory Burnt. Greens. Verdigris. Varditer-green. Sap-green. Copper-green. Yellows. Yellow-berries. Saffron. Light-Masticote. Brown's. Spanish Brown. Umber or Hair Colour. Of the tempering your Colours. SOme colours must be ground, and some washed: such colours as are to be ground you must first grind very fine, in fair water, and so let them stand and dry, and afterwards grind them again in Gum-water. Those that are to be washed must be thus used. TAke a quantity of the colour you would have washed, and put it into a shell, or earthen dish, then cover it all over with pure fair water, and so stir up and down for a while together with your hand, or a wooden spoon till the water be all coloured, then let the colour sink a little to the bottom, and before it be quite settled, pour out the top into another dish, and so fling the bottom away, and let the other stand till it be quite settled, and then pour off the water, and mix it with gum-water, and so use it. What Colours must be ground, and what washed. Ground. Indigo. Lake. Ceruse. White-lead. Spanish-brown. Umber. Printers Black. Ivory Burnt. Washed. Blue-bice. Blue-verditer. Green-Verditer. Red-lead. Light-Masticoat. steeped. These must be steeped only till the water be sufficiently coloured. Verdigris in vinegar. Sap-green in vinegar. Yellow-berries in alum water. Saffron in fair water. Copper-green is made of Copper. How to make Copper-Green. TAke Copper plates, or any shreds of Copper, and put distilled vinegar to them, set them in a warm place until the Vinegar become blue, then pour that 〈◊〉 into another pot, well leaded, and pour more vinegar upon the Copper plates again, letting that also stand until it be of a blue colour, then pour it unto the former liquour, this may you do so often until you have liquour enough, then let that liquour stand in the Sun, or upon a slow fire till it be thick enough, and it will be an excellent green. The use and nature of every particular Colour. 1 Blue-bice is the most excellent Blew next to Ultermarine, which is too good to wash withal, and therefore I leave it out here, and put in Blue-bice, which will very well 〈◊〉 in the steed of it, and indeed you may leave out both and use smelled in the 〈◊〉 of them, but that it will not work so well as bice; no bice is too good to use upon all occasions, but only when you intend to bestow some cost and pains upon a piece, otherwise you may use no other blue in your work then blue Verditer, with which you may make a pretty good shift without any other blue, I mean in ordinary work. 2 indigo is a dark blue, and is used principally to shadow with upon your other blue indigo, and yellow berries mixed together make a dark green to shadow other greens with in the darkest places. 3 blue Verditer is a very bright pleasant blue, and the easiest to work with in water: it is somewhat inclining to a green, and being mixed with yellow-berries it makes a good green: this blue is most used. 4 verdigris is a good green, but subject to decay: when it is 〈◊〉 upon the paper it will be of a lighter colour than it is when you lay it 〈◊〉 on, therefore to preserve it from that fault, put some sap green amongst it to dissolve in it, and it will make it keep its colour; this colour is of a poisonous nature, and therefore you must be careful how you use it, that it come not near your mouth. There is distilled verdigris to be bought at the Coller-shops, that is a far better green than the other, but it is somewhat dear, and the other will serve instead of it. 5 Verditer-Green is a light green, seldom used in any thing but in colouring of I andskips, those places that should show a far off, and it is good for such a purpose, because it is somewhat inclining to a blue, but you may make a shift to do any thing well enough without it; for a little blue Verditer mixed with Copper green and 〈◊〉 little white, will make just such another colour. 6 Sap-green is a dark dirty green, and never used but to shadow other greens in the darkest places, or else to lay upon some dark ground, behind a picture, which requires to be coloured with a dark green, but you may make shift well enough without this green, for indigo and Yellow-berries make just such another Colour. 7 Copper-green, it is an excellent transparent green, of a shining nature if it be thickened in the Sun, or upon a softly fire, and it is most used of any green in washing of 〈◊〉, especially in colouring of the grass ground or trees, for it is a most perfect grass-green. 8 Vermillion it is the perfectest Scarlet colour, you need not grind it, no nor wash it, it is fine enough of itself, only temper it with your finger in a galley pot or oyster shell, with gum-water, and it will be ready for your use, if you put a little yellow-berries amongst it, it will make it the brighter colour, this is principally used for garments. 9 Lake, It is an excellent Crimson colour, with it you may shadow Vermilion, or your yellow garments in the darkest places; with it you make a sky colour, being mixed only with white; with it you make flesh colour, sometimes mixed together with white and a little red-lead, it is an excellent colour of itself to colour garments, or the like Indian lake is the best lake, but too good to be used to wash prints with, unless you intend to bestow great curiosity upon your work; but the 〈◊〉 sort of ordinary lake will serve well enough for ordinary uses, but that also will be somewhat costly. Therefore instead thereof you may use Red-Inke thickened upon the fire, and it will 〈◊〉 very well for your purpose, and better than Lake, unless it be very good. Note if you would make a light sky colour of your red-inke, you must not thicken it, or if you would mix it among your 〈◊〉- colour you must not thicken it, you should rather choose to shadow your vermilion with Spanish brown then thick red ink, which will serve well for that purpose, and is much cheaper, but it is not altogether so bright a colour and clear. 10 Red- 〈◊〉 is the nearest to an Orange colour, and putting a little yellow 〈◊〉 into some of it, will make it a perfect Orange colour, but if you mean to make flesh-colour of it, you must put no yellow, but only then when you would make 〈◊〉 Orange colour. This colour is used for the colouring of buildings or highways in landscape, being mixed with a little white. Also it is the only bright colour to shadow yellow garments with, to make them show like changeable 〈◊〉; it is good also to colour any light ground in a picture, taking only the thin water of it, and so for several other uses as you shall see occasion for it. To foreshorten feet seen forwards, you must make the foot 〈◊〉 〈◊〉 his proportions and measures seen on the inside of the foot marked A. and from those prepertions and measures marked 1234. draw down 〈◊〉 until they cut the diagonal, and convey thence lines parallel, to make the 〈◊〉 foot under the place of the foreshortned foot and from the said shadowed you must raise perpendiculars unto the place of the said foot to be shortened which there meeting with the 〈◊〉 lines that proceed from the first foot by intersections of them there, giveth us the said foot genometrically 〈◊〉 as 〈◊〉 here represented wherein the toes of the feet are marked A, B, C, D, E, and the like is to be observed for the foot seen by the heel marked B, and also for the foot marked with C. seen on the forepart, and lastly in like 〈◊〉 for the foot marked D 〈◊〉 are foreshortned by the same rules as the former. 11 Yellow berries, it is most used in washing of all other yellows, it is bright, and transparent, fit for all uses, and is sufficient without the use of any other yellow, 12 Saffron is a deep yellow if you let it stand a pretty while; it is good principally to shadow yellow-berries with, instead of Red-lead: and it is somewhat a brighter shadow, but you may make shift well enough without this colour, for red-lead, and yellow-berries make just such another colour. 13 Light massicot; It is a light yellow, just like yellow berries and white, 〈◊〉 therefore you may shift well enough without it, only for the saving you a 〈◊〉 to mix your yellow berries with white when you have occasion for a light yellow, which you may sometimes make use of to colour a light ground in a picture, and then shadow it with the water of burnt umber, or red-lead, that is the 〈◊〉 part of the colour. 14. 15. Ceruse, It is the best white, if it be good and finely ground ready to your hand, as you may have it at some colour shops, or for want of it buy white-lead picked to your hand, either of them will serve well enough; any of these being minled with another colour, they make it lighter, and the more you put the lighter they will be, as you shall find in the using of them. 16 Spanish Browne is a dirty brown colour, yet of great use, not to colour any garment with, unless it be an old man's gown, but to shadow Vermillion, or to lay upon any dark ground behind a Picture, or to shadow yellow berries in the darkest places, when you want Lake, or thick red 〈◊〉. 17 It is the best and brightest colour whrn it is burnt in the fire till it be red-hot, but if you would colour any hare, horse, dog, or the like, you must not burn it, but for other uses it is best when it is burnt; as to colour any wooden post, bodies of trees, or any thing else of wood, or any dark ground in a picture; it is not to be used about any garments, unless you would colour many old men's 〈◊〉, or caps standing together, because they must not be all of one colour of black, therefore for distinction and varieties sake you may use Umber un-burnt for some of them. 18 Printers black is most used, because it is easiest to be had, and serves very well in washing: Note, You must never put any black amongst your colours to make Note. them dark, for it will make them dirty, neither should you shadow any colour with black, unless it be Spanish brown, when you would colour an old man's gown, that requires to be 〈◊〉 of a sad colour; for whatsoever is shadowed with black will look dirtily, and not bright fair and beautiful. 19 Ivory burnt or want of that bone burnt, it is the blackest black that is, and it is thus made; Take 〈◊〉, or for want of it some white bone, and put it into the fire till it be thoroughly burned, then take it out and let it cool, and so slit it in the middle, and take out the lackest of it in the middle and grind it for your use. Directions for the mixing of your colours. IN mixing of any colour, you must be very careful you make it not too sad; if one colour be sadder than the other that you mix with it, put in but a little and a little of the sad colour, till you see it be sad enough for your purpose, 〈◊〉 if you make your colour too sad, you will very hardly recover it in mixing, and if you lay it so on your picture, you can never recover, but if it be too light you may make it darker at your pleasure. 2 In mixing your colours you must be very careful that you put not your pencil out of one colour into another, for that will spoil and dirty all your colours unless you wash your pencil clean and then wipe the water out of them. 3 Black is not to be mingled with any colour but white, for it will dirty all other colours, and make them look unpleasant. Particular Directions for the compounding of Colours or mingling one Colour with another How to make a Purple Colour. TAke log-wood, and seeth it in Vinegar and small beer, in an earthen pot, and put a little alum therein, until you taste it to be strong on your tongue, and when it is boiled, strain the Log-wood through a clout, clean from the water, and so let the water stand and cool for your use. OR, YOu may make purple colour with mixing bice and lake together, or if you want bice, you may use blue Verditer, but it will not serve your purpose so well as blue bice, but thick red-Inke will serve at all times as well as lake in washing. How to make Red ink. Boil Brazill as you do the Log-wood, and strain the brazill through a clout as before. A Flesh Colour. IT is made of white and a little lake, and a little red-lead mixed, a very small quantity of each; you may make it as light, or as red as you please, by putting more or less white in it shadow in the cheeks and other places, by putting in a little more lake and red-lead into it, if you would have it a swarthy complexion to distinguish the man's flesh from the woman's, put a little yellow ochre among your flesh, and for your shadow put a little more lake, and a small quantity of burnt umber. An Ash colour is compounded of black and white. Ash-colour. You may make your greens lighter by mingling it well with yellow berries or Orange. white. Light-green Colours for Buildings. IN washing we do not observe the natural colours of every thinh, as to express variety of colours and pleasantness to the sight, that the things coloured may appear beautiful to the eye, yet so as they may not be contrary to reason, and be accounted 〈◊〉; but that we do somewhat imitate natural things, and here and there add some beauty by pleasant colours, more than doth usually and commonly appear in the natural things themselves, so that although the natural things themselves do very rarely appear in such beauty or with such kind of colours, yet it may be imagined that it is possible that at some times they do or may be made (without derogating from the rule of nature and reason) to appear in such colours as you have expressed them in, by this rule, you may guide your self in colouring of any thing, and principally in buildings, and in landscapes, therefore when you would colour any buildings, you must do it with as much variety of pleasant colours as the utmost extent of nature and reason will permit, yet not without reason, or beyond the limits of nature. In colouring buildings you may sometimes use black and white for the walls, conduits or other things, where you think fit sometimes, you may use red-lead and white for brick houses or others, when many houses stand together you must colour them with as many various colours as you can well use about buildings; sometimes you may use umber and white, and sometimes lake and white, or red-inke and white, for variety's sake, and if you want more variety, you may put here and there in some places Varditer and white, all these you must shadow after you have laid them on. Colours for landscapes. FOr the nearest and darkest saddest hills lay burnt Umber, and for the light places you must put some yellow to your burnt Umber, for the next hills lay Copper The Whole figure of man's body 〈◊〉 a 〈◊〉 on the side and 〈◊〉 by the 〈◊〉 of the head the back 〈◊〉 The 〈◊〉 〈◊〉 shall 〈◊〉 us in this figure 〈◊〉 〈◊〉 by the 〈◊〉 of the head, 〈◊〉 〈◊〉 〈◊〉 of any 〈◊〉 for the 〈◊〉 that 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the figure of the 〈◊〉 〈◊〉 the 〈◊〉 〈◊〉 of the first figure 〈◊〉 A their 〈◊〉 〈◊〉 〈◊〉 〈◊〉 our figure 〈◊〉, 〈◊〉 by the 〈◊〉 of the Head, green well thickened with the fire, or in the Sun; in the next hills further off, 〈◊〉 some yellow berries with your copper green, and let the fourth degree be done with green verditer, and the furthest and faintest places with blue Bice, or for want of that with blue verditer mingled with white for the lightest places, and shadowed with blue verditer in the shadows, somewhat thick: the highways must be done commonly with red-lead and white, and for variety you may use sometimes yellow ochre, and shadow it with burnt Umber, which colour you may use also for sandy rocks and hills; the rocks must be done with various colours, in some places with black and white, in some, places with red-lead and white, and some must be done with umber and white, and some with blue and white, and other colours, such as you think do nearest resemble rocks, but always endeavour to do them with pleasant colours as much as you can; the water must be done with black varditer and white, sometimes shadowed with copper green, a little verditer blew, when the banks cast a green shade upon the water, at other times it must be shadowed with blue verditer alone, and where the water is very dark in the shadows, it must be shadowed with a little 〈◊〉, some copper green thickened, and some blue verditer: the bodies of trees must be done with burnt umber, and the leaves must be done with such greens as the ground is, and the whole landscape must be shadowed after you have laid on the first colours, the darker greens must shadow the lighter, Spanish brown then must shadow red lead and white, and so the others as before. Colours for the sky. LIght massicot, or yellow berries and white, for the lowest and lightest places, red-inke not thickened, and white for the next degree, blue bice and white for the next degree and blue bice alone for the highest of all: instead of bice you may use verditer, all these must be so laid on and wrought one into another, that you may not receive any sharpness in the edge of your colour, but that they may be so laid on, that you cannot perceive where you began to lay them on, they must be so drowned one into another. For Cloud-colours, you may use sometimes blue verditer, and white shadowed with blue verditer, sometimes light massicot shadowed with blue verditer, and sometimes Lake and white or red ink, and white shadowed with blue varditer. What Shadows must be used for every colour in Garments. TAke this general rule, That every colour is made to shadow itself, either if you mingle it with white, for the light and so shadow it with the same colour, unmingled with white, or else take off the thinnest water of the colour for the light, and so shadow it with the thickest bottom of the colour; but if you would have your shadow of a darker colour, than the colour itself is to shadow the deepest places with, then follow these directions. 1 blue bice is shadowed with indigo in the darkest shadows. 2 indigo is dark enough to make the darkest shadow, therefore needs no other colour to shadow it withal. 3 blue verditer is shadowed with thin indigo. 4 verdigris with sapgreen. Verditer with copper green, and in the darkest places of all with sapgreen. 5 Sap-green is used only to shadow other greens, and not to lay for a ground in any garment. 6 Copper green is shadowed either with sapgreen or indigo and yellow berries. 7 〈◊〉 million with lake, or thick red ink, or Spanish brown. 8 Lake must not be shadowed with any other colour, for it is the darkest red of it 〈◊〉, but for variety you may shadow it sometimes with bice, or blew verditer, which 〈◊〉 it show like a changeable taffety. 9 Red-lead is shadowed with Spanish brown in the darkest places. 11 Saffron is shadowed with thick red ink or Lake. 12 Light massicot, with the thin water of Red-lead. 13, 14. White Ceruse, and white lead with a little black amongst some of it 〈◊〉. 15 Spanish brown with black, but that is not used in any bright garment. 16 Umber with black mingled with some of it. 17 Black cannot be shadowed with any colour darker than itself. Directions for the laying on of your Colours. 1 YOu must lay your colours on of such a thickness, I mean your bodied colours that you may see how to shadow them to perceive where the shadows are, and not lay on your colours so thick that you cannot perteive the print, nor how and where to shadow it, 2 You must always lay on your lightest colours first, and then shadow them afterwards 3 You must lay on your colours very smooth with your pencil, that the colour may not lie thicker in some places then in others, and to that end you should take your pencil pretty 〈◊〉 of colour when you should cover a garment all over (otherwise not) that so you may lay the colour smooth before it dry, for you cannot well smooth them afterwards when they are once dry; therefore when you lay them on be as quick as you can in covering the garment, that you may have covered it all over before your colour be dry in any part, for by this means you shall be the better able to lay it smooth; some colours are harder to lay than others; those that are the most sandy colours, as varditer, bice, red-lead, &c. are hardest to lay smooth on, and therefore you must be the more careful in them. What Colours set off best together. 1 blues set off well enough with red, yellows, whites, browns and blacks. They set of best with reds, whites and browns. They set not off well with greens and purples. 2 Greens set off well with purples, reds yellows or browns. They set off best with purples and reds. They 〈◊〉 not off well with blues or blacks, nor whites, unless it be a sad green. 3 Reds set off well with yellows, blues, greens and whites. They set off best with yellows and blues. 〈◊〉 set not off with purples browns or blacks. 4 Yellows set off well with reds, sad blues, greens, browns purples. 〈◊〉 〈◊〉 off best with reds and blues. They set not off well with light greens or blacks or whites. 5 Whites set off with all colours. They set off best with black and blue. 6 Browns set off very well with no colour, but are used sometimes upon necessity, they set off worst of all with black, because they are so near alike. 7 Blacks are not used but upon necessary occasions in some things that do needfully require; it and so it 〈◊〉 off well enough with almost any colour, because it is not like any, but differs somewhat from all. How to write Gold with Pen or pencil. TAke a shell of Gold, and put a little Gum-water into it, and so stir it about with 〈◊〉 pencil, but you must put very little Gum-water, and then you may use it as you do other colours. ‛ The proportion of the Hand 〈◊〉 of 3 measures of the Nose, of 〈◊〉: you are to make the three equal pricked squares, marked perpendicularly 1. 3. 2. the lowest of which 〈◊〉 is 〈◊〉 into 2 〈◊〉 parts thereby to adjoin a half making a third part unto that base marked also 〈◊〉. which we give 〈◊〉 the Balle of the Thumb and 〈◊〉 〈◊〉 near unto 〈◊〉. 〈◊〉, 〈◊〉 a pricked line perpendicularly up unto the top of the right hand angle of the square marked above with 1 making a pricked quill, within the which the said Forefinger is 〈◊〉, the length and top thereof exceeding the upper 〈◊〉 of the Middle finger: That being divided into 3 equal parts the two equal joints 〈◊〉 the two upper parts shallbe of equal height unto the upper joint of 〈◊〉 〈◊〉 finger. as appeareth in the figure of 〈◊〉 Hand represented at B And the thumb shall not 〈◊〉 〈◊〉 2. or middle 〈◊〉 of the 〈◊〉. ‛ Then 〈◊〉 a 4th 〈◊〉 for 〈◊〉 〈◊〉 which is the measure of 〈◊〉 Nose the base or lower part of which is divided into 4 parts, which shall serve us for Hands 〈◊〉 on the side The same measures are observed as well in the hand 〈◊〉 without or on the back 〈◊〉 〈◊〉 〈◊〉 〈◊〉 seen or 〈◊〉 〈◊〉 〈◊〉 & 〈◊〉 marked 〈◊〉 〈◊〉 & C but that that 〈◊〉 seen sydewise 〈◊〉 but 3 measures of that base of that Wrist Appeareth 〈◊〉 that figures of that said 〈◊〉 marked in that 〈◊〉 page in that 〈◊〉 or 〈◊〉 lines marked in the oval forms marked 1. 2. 3. 4. under that wrists 〈◊〉 make that 〈◊〉 plane of that said Wrist. Thus by a little practice you may become perfect in this Art, and learn the full perfection 〈◊〉 it. How to lay Gold or Silver on Gum-water. TAke five or six leaves of Gold or Silver, and grind them with a stiff gum-water; and a pretty quantity of Salt, as fine as possibly you can, then put them into a 〈◊〉 glass, and fill the glass almost full of fair water, to the end the stiff water may dissolve, and so the Gold go to the bottom, let it stand three or four hours, than 〈◊〉 away the liquour from the gold, and put in more clean water, and stir it about, and let it settle again, and then pour the same water to this so often until you see your gold or silver clean washed: then take a clean water, and put thereto a little 〈◊〉 of Sal Almoniack, and great Salt, and let it stand the space of three days in a box made of wax, or in some close space: then take a piece of glover's leather, and pick away the skin-side and put the gold and the water therein, tie it up, then hang it on a pin, and the salt will fret through, and the Gold will remain, which you shall temper with the glayr of an egg, and so use it with pen or pencil. You 〈◊〉 diaper on gold with lake and yellow ochre, but on silver with Cerese. Let your Gum-water be made good and stiff, and lay it on with your pencil where you would guild, then take a Cushion that hath a smooth Leather, and turn the bottom 〈◊〉, upon that 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 edge of your gold, and it will come up, and you may 〈◊〉 it as you list, but before you lay it on let your Gum be almost dry, and being 〈◊〉 press it down, hard with the scut of an hair, afterwards burnish it with a dog's tooth. Of Limming. LImming consisteth not only in the true proportioning of a picture, but also in the 〈◊〉 and lively colouring of the same, whereby the work is exceedingly graced, and most lively set out in proper colours, most nearly resembling the life. How to choose your pencils. LEt them be clean and sharp pointed, not cleaving in too in the hair, they must be full and thick, next the quill, and so descending into a round and sharp point; if you find any one hair longer than other, take it away with the flame of a Candle, passing the pencil through the flame, you must have several pencils for several colours. Gum-Araback. AMongst all your colours you must mingle gum Araback, the best and whitest, which you should have always ready, finely powdered (or dissolved in fair water) and so with a few drops of pure water, mingle it with your colour, and temper them together till the gum be dissolved and incorporated with the colours. How to grind your Colours YOu must grind your colours either upon a perphire Serpentine, or pebble stone, which are the hardest, and therefore the best to grind upon; grind then with fair water only, without gum, and when you have ground them very fine, put them upon a chalk stone, and there let them dry, and when they are dry take them off from the chalk and reserve them for your use, in papers or boxes. The proportion of a woman standing back; The same manner as you make the former figure, you must use in this backward of the woman, without altering any thing of the measure, except in observing the muscles, which are marked behind must be made sweeter & smother than the man's, as appears in this figure. The Names of your Colours. Whites. Ceruse. White-lead. Yellows. Massicot. Yellow-Oker. English ochre. Greens. Sap-green. Pink & blue bice Green bice. Cedar-green. Verditure. Blues. Indigo. Vltermarine. Blue bice. Smalt. Brown's. Umber. Spanish-brown. Cullins-earth, Reds. India Lake. Red-lead. Red-ochre. Blacks. Cheristone-burnt. Ivory burnt. Lamblacke. What Colours must be washed, and what ground. Ground. Ceruse. White-lead. Indian-Lake. English ochre. Pink. Indigo. Umber. Spanish-brown. Colens-earth. Cheristone-black. Ivory-black. Washed. Red-lead. Massicot. Green-bice. Coedar-green. Ultermarine. Blue bice. Smalt. Verditer. Sap-green. Is to be steeped in water. How to wash your colours. TAke some blue bice or other colour you would wash and put it into a dish full of pure water, stir it for a while together, till the water be all coloured, then let it stand a while, and the corruption will fleet upon the water, then pour away the water, and fill the dish with fresh water, and stir it as before till the water be troubled and thick; which done, before it be half settled, pour it out into another dish, leaving the dregs and seethings of your colour in the former dish, which you must cast away, the troubled and coloured water being poured into your second dish, put more water to it, and wash it as before, then let it settle till it be clear, and so pour off the water, washing it again, and again, if any scum arise, which may make four or five sorts, still pouring half the thin water into another dish, and washing it as aforesaid; when you have washed it often, and find it well cleansed, pour away the water, than set the colour in the Sun to dry, and when it is dry, strike off the faintest part of the colour, lying about the sides of the dish with a feather, and so use it for your finest work, the rest will serve well for courser work. When you would use your colour, take of it as much as you can well spread about the sides of a shell, somewhat thin, and not on heaps, and so temper it finely with your gum as before. To avoid the cracking of your colour, and flying from the shell, to which some colours are subject; take a little fine powder of white Sugar-candy, and with it and a little fair water temper the colour over again with your finger till the candy be dissolved. Colours for Garments. To make a Grass-green is made of Pink and Bice, it is shadowed with indigo and Pink. Popinia-greeen, of indigo and more Pink, shadowed with indigo. French-green of Pink and indigo— indigo Sea-green, of Bice, pinks and white— indigo The proportion of a child behind. The former rule without changing any thing, must be observed in this present figure standing backward, and all the proportions and measures which are observed in the former, serve to this likewise. Carnation of Lake and white— Lake Crimson, of vermilion Lake and white— Lake Scarlet Vermilion— Lake Purple: Bice Lake and white— Lake and indigo Violet: Bice and Lake— indigo Yellow made of massicot, pinks and saffron shadow with lake and Saffron Straw-colour: most pinks, Saffron, white and vermilion— Lake orange-tawny: Vermillion, pinks and massicot— Lake Ash-colour: Lam-black and white— Black sky-colour: Bice and white— Bice Light hair-colour: Umber, yellow-Oker and white— Umber Sad hair-colour: Umber, ochre and black— Umber and black Thus by a little practising you may learn to mingle and compound all other colours whatsoever. The manner of Working. 1 THe manner of working in Limming, is by little small pricks with a sharp pointed pencil. 2 You must lay your colours on very faint at first, and so make them deeper and deeper by degrees, for if you lay it on too sad at the first, it is impossible you should well recover it to make it lighter, but if it be too light you may make it darker at your pleasure. 3 When you would work, you must first lay on flat primer, which must be of the lightest part of the complexion 〈◊〉 〈◊〉 〈◊〉 make, so that you may not need to heighten; or lay a lighter upon it, you may make a 〈◊〉 complexion of white lake, and red-lead 〈◊〉 together in a shell, if it be a 〈◊〉 complexion, mingle a little fine massicot or English ochre, or both with the 〈◊〉; having laid on the primer which you must do very quick and smooth, 〈◊〉 〈◊〉 the 〈◊〉 after the primer is dry with lake and white very faintly, and so proceed 〈◊〉 the perfecting of it by degrees. Colours For the Face. FOr the red in the cheeks, lips, &c. temper lake, red-lead and a little white together, for the faint shadows that are bluish, 〈◊〉 〈◊〉 white together, for bice is not used in a face, nor any black; for the deeper shadows take white English ochre and Umber, and for dark and hard shadows in many pictures, use 〈◊〉 and pink mixed with Umber. When you are come to the close of your, and have almost finished your face, you 〈◊〉 in the last place do all the 〈◊〉 〈◊〉, smilings and glancings of the eye, descending and contracting of the mouth, all which you must be sudden to express with a bold quick and constant hand, or 〈◊〉 always not to depend to fast. Thus by a constant practice joined with these 〈◊〉 and your own industry, 〈◊〉 may in time attain to a great measure of perfection in this art of limming. Be patient, thou that seekest for this skill, By grace and art: so mayst thou have thy will. FINIS.