The Excellency of The PEN and PENCIL. London Printed for Rich: Jones & Dorman Newman and are to be sold at their shops at the Golden Lion and Chirurgeons Arms in Little Britain. THE EXCELLENCY OF THE PEN and PENCIL, EXEMPLIFYING The Uses of them in the most Exquisite and Mysterious Arts of DRAWING, ETCHING, ENGRAVING, LIMNING. PAINTING in OIL, WASHING of Maps & Pictures. Also the way to Cleanse any Old Painting, and Preserve the Colours. Collected from the Writings of the ablest Masters both Ancient and Modern, as Albert Durer, P. Lomantius, and divers others. Furnished with divers Cuts in Copper, being Copied from the best Masters, and here inserted for Examples for the Learner to Practice by. A Work very useful for all Gentlemen, and other Ingenious Spirits, either Artificers or others. LONDON: Printed by Thomas Ratcliff and Thomas Daniel, for Dorman Newman and Richard Jones, and are to be sold at their shops in Little Britain, near the Lame Hospital Gate, at the Surgeons Arms, and at the Golden lion. 1668. To the READER. AMong the many Operations of Mysterious Nature, the Intellectual Part of Man hath no equal: Among the multifarious Productions of Man's Understanding, the Art of LIMNING is by none excelled; whether we consider the Grandeur of Spirit therein expressed, or the Ingenious Delight thereby acquired. What Ray of the Great Creator's Image is more conspicuous in the Soul of Man, than that of Intense Desire to produce Creatures of his own? And wherein is that Inclination so completely answered, as by Delineating the Workmanship of God in Artificial Resemblances contrived and wrought by his proper Wit? Nor can any Satisfaction equal what is derived from the Perfection of these Designs. Are the Proportions exact? How strongly do they attract the Eye? Be the Shadowing accurate? How strangely do they affect the Mind? But if the Artist hath stolen so much of Promethean Fire as to add the Excellency of Life to well-disposed Lineaments, representing the Native Air and sprightly Gesture of the Person in vive; How unspeakably doth he gratify both? To exercise this Faculty and comply with this Fancy in Man, is this little Tract compiled, in Five Books. The First lays down the Primordial Rudiments of the Art of Drawing with the Pen and Pastils: In a due and orderly Method proposing the Description of Man's Body in its distinct parts, presenting sundry Draughts of them in the plain Circumferential Lines, and giving Directions for the Proper Shades, as of Naked Bodies, so of Drapery; by Instructions and Copies so easy and intelligible, that the meanest Capacity need not doubt to undertake the Drawing of that Admirable Fabric, and arrive to the Perfection of this Mystery in exact Symmetry, suitable Proportions, and enlivening Postures, if well perused and practised. For which purpose also certain Geometrical Rules, Definitions, and Figures are inserted, to exemplify and adorn this Mistress of Proportion; in the Accomplishing whereof that nothing may be defective, some succinct Advertisements concerning Landscape are added in the Close. Having premised these more plain and easy Fundamentals, the Second proceeds to discover the Secret and Ingenious Skill of Etching with Aqua fortis; where the most perspicuous and familiar Ground possible is described, and Prescriptions, for carrying on and perfecting that Work, no less Rational annexed. And for as much as some may perhaps take more Pleasure in, or reap more Profit from, that of Graving; you have the Instruments most Necessary in that kind, and the Manner of Using them most Convenient, particularly demonstrated; Together with that abstruse Slight of transferring the Copy upon the Copper. But because this alone may seem barely Mechanic, that which suits with the most Gentile, and can not derogate from the most Honourable, is offered in the Third; where the Requisits for Limning in Water-Colours are deposed, the Gums and their Waters in few words digested, the Colours particularly nominated, and the true way to prepare and compound them specified: All which are but as so many Degrees and Ingredients to approach and accomplish the desirable and ultimate Design of Miniture; for the Practice whereof you are throughly furnished with the Choice of the meetest Light, Position, and Implements at hand, by the particular Description of Drawing a Face to the Life in ●ittle, according to its duly methodised Progress at the first, second, and third Sitting; not omitting the Ornaments thereunto pertaining. And to supply the Fading and Decay of these, the Fourth delivers Rules and Directions for P●inting in Oil, answerable to that depth of Judgement required in that more durable kind of Operation; naming the proper Colours, and declaring its peculiar Utensils, with accurate Instructions how to temper and diversify the former, for all Complexions and Garments, of what variety soever; and to use the later in the Artificial Painting of a Face, the only Exemplar prescribed, because it includes all the Art and Difficulty of this Science. The Fifth, and last, displays a pretty superficial Experiment; imparting what Colours and other Necessaries are best fitted for the Washing or Colouring of Maps and Printed Pictures: And, to help the divers Exigencies that concern this Affair, some Expedients put a Period to the whole Work. Plainness and Brevity (which may procure Contempt from the Nice or Vulgar) are sufficient to recommend this Piece to Ingenious Aspirers after any of those Excellencies therein taught; since they have done the Art and Artist Right, in rescuing both, from such obscure Intricacies and voluminous Impertinencies as would discourage the one, or disparage the other: And these Muniments have so justly prevented all Censure, that nothing can suggest the least Imputation of Difficulty but want of Diligence, nor any one surmise it Tedious but the Slothful. Farewell. A Necessary TABLE, showing the Chief Matters treated of in this Book. As, CHAP. I. A description of all the External Parts of Man's Body. SECT. 1. Of the Head. Page 2 SECT. 2. Of the Ear. ibid. SECT. 3. Of the Eyes. ibid. SECT. 4. Of the Nose, Mouth, Chin, Neck, and Throat. Page 3 SECT. 5. Of the Forepart of the Body. Page 5 SECT. 6. Of the Hinder-part of the Body. Page 6 SECT. 7. Of the Arms. Hands, and Fingers. ib. SECT. 8. Of the Legs, Feet, and Toes. Page 8 CHAP. II. Of Actions, Gestures, Decorum, Motion, Spirit, and Grace in Pictures rightly Resembled. SECT. 1. Of Action or Gesture. Page 9 SECT. 2. Of the Passions or Complexions. Page 10 CHAP. III. Of Necessary Instruments appertaining to Drawing. Page 11 How to make Pastils of several Colours. Page 12 A way to Draw an Escutcheon Geometrically. ib. To Draw a Geometrical Oval. Page 15 Some Geometrical Definitions. Page 16 CHAP. IV. Of the First Practice of Drawing. SECT. 1. Of Geometrical Figures. Page 18 Five Columns of Architecture. Page 19 SECT. 2. Of the Second Practice of Drawing. page 20 SECT. 3. Of the Third Practice. ib. SECT. 4. Of the Fourth Practice. ib. CHAP. V. Directions for Drawing the Body of Man or Woman. SECT. 1. General Rules for drawing the Face. Page 21 SECT. 2. To Draw a Foreright Face. Page 22 SECT. 3. To Draw an Upright Head. ib. SECT. 4. Of the Inclining and Fore-shortned Face. Page 23 SECT. 5. Of the Nose, Mouth, and Chin. Page 26 SECT. 5. Of Hands, both Palm, Back, and Sides; as also open and closed: and likewise of Hands and Arms joined. Page 28 SECT. 6. Of Feet in several Positions, both with and without Measures; as also of Feet and Legs joined together. Page 31 SECT. 7. Of the Back, Breast, Secret members, Thighs, Shoulders, etc. Page 34 SECT. 8. Of Whole figures from head to foot. Page 36 SECT. 9 Rules of Symmetry or Proportion to be observed in Drawing the whole Body of Man or Woman. Page 41 SECT. 10. The Proportion of the Body of Man. Page 46 CHAP. VI Of Shadowing, and Rules to be observed therein. Page 47 CHAP. VII. Of Drapery, and Rules to be observed therein. Page 45 CHAP. VIII. Of Landscape, and Rules to be observed therein. Page 46 Of Etching and Graving, the Second Book. CHAP. I. Of Etching with Aqua fortis. Page 48 SECT. 1. To make Mr. Hollar's Ground, and how to Etch in Copper; and what Instruments ought to be used in the Practice thereof. ib. SECT. 2. How to prepare your Copper. Page 49 SECT. 3. How to lay the Ground upon the Plate. Page 50 SECT. 4. How to Transfer your design upon the Copper. Page 51 SECT. 5. How to wall about your Plate with Wax, to lay on your Aqua fortis, and to finish your Work. ib. CHAP. II. Of Graving. SECT. 1. Of necessary Instruments belonging to Graving. Page 53 1. Of your oil-stone. ib. 2. Of Gravers. Page 54 SECT. 2. Of several ways of Holding the Graver. Page 55 SECT. 3. The forms of Graving-tools, as also the manner of Whetting your Graver. Page 57 SECT. 4. The manner how to hold and handle your Graver. Page 58 SECT. 5. The manner of holding your Hand in Graving. Page 59 SECT. 6. How to take off any Picture, or Map-letters, etc. upon your Copper. Page 61 Of Limning in Water-colours, the Third Book. CHAP. I. Of Necessaries belonging to Limning. Page 64 SECT. 1. Of Gum-waters used in Limning. Page 65 Of Gum-Lake. ib. Of Gum-Armoniack. Page 66 Of Liquid Gold or Silver. Page 67 SECT. 2. Of your Grinding-stone and Muller. ib. SECT. 3. Of Colours ib. CHAP. II. Of Colours used in Limning, their names, and how to order them. SECT. 1. Of the Names of Colours, and how every Colour is to be prepared; whether Ground, Washed, or Steeped. Page 68 SECT. 2. Of those Colours that are to be Ground; & how to Grind them. Page 70 SECT. 3. Of those Colours that are to be Washed, and how to Wash them. Page 71 SECT. 4. Of Colours to be Steeped. ib. SECT. 5. Of those Colours that are to be Washed and Ground, and how to temper them in your Shells when you are to use them. Page 72 SECT. 6. Of Pencils, and how to choose them. ib. SECT. 7. Of Compounded Colours. Page 74 CHAP. III. How to prepare a Table for Picture in small for Limning, to make use of your Light, the manner of Sitting in respect of Position and Distance, and what necessary Instruments are to lie by you when you are at work. Page 76 SECT. 1. How to prepare a Table for a Picture in Small. Page 76 SECT. 2. Of your Light. ib. SECT. 3. Of the manner of Sitting. Page 77 SECT. 4. Of such Necessaries as are to lie by you while you are at Work. Page 78 CHAP. IV. Of the Miniture or Limning of a Face in Water-colours. Page 80 SECT. 1. At the first Operation or Sitting. Page 81 SECT. 2. At the second Operation or Sitting. Page 83 SECT. 3. At the third Operation or Sitting. Page 85 CHAP. V. Of Drapery, and other Ornaments belonging to a Picture in Miniture. ib. SECT. 1. Of Drapery in Limning. Page 86 SECT. 2. Of other Ornaments in Pictures. ib. CHAP. VI Of Landscape. Page 87 Of Painting in Oil, the Fourth Book. CHAP. I. Of the Names of your Colours, and how to Grind and order them. Page 90 CHAP. II. Of your Easel, Straining-Frame, Cloth, palate▪ Pencils, and Stay. Page 91 Names of several sorts of Pencils. Page 93 CHAP. III. How to order your Colours upon your palate, and how to temper Shadows for all Complexions. ib. 1. For a Fair Complexion. Page 94. 2. For a more Brown or Swarthy Complexion. Page 95 3. For a Tawny Complexion. ib. 4. For an absolute Black Complexion, Page 96 CHAP. IV. What Pencils are useful for the Painting of a Face, and how to dispose them. Page 97 CHAP. V. How to Paint a Face in oil-colours. Page 98 CHAP. VI Of Garments of several Colours, and of their proper Colouring. ib. CHAP. VII. To temper Colours for several occasions. Page 104 Of things meet to be known. Page 105 The Discovery, how to Cleanse any Old Painting, so as to Preserve the Colours; with Cautions to those that through Ignorance, have instead of Cleansing, quite Defaced, or irrecoverably lost the Beauty of good Colours in and Old piece of Painting. Page 106 Of Washing or Colouring of Maps and Printed Pictures: the Fifth Book. Page 108 CHAP. I. What things are necessary to be always ready for Washing of Maps or Pictures. ib. SECT. 1. Of Colours for Washing. ib. Colours to be used in Washing, which are not used in Limning. Page 109 SECT. 2. Of other Necessaries. ib. 1. Of Allum-water, how to make it. Page 112 2. How to make Size. ib. 3. How to Temper Gold to write with a Pen or Pencil. Page 113 4. Of Pencils. Page 114 CHAP. II. Of other Colours for Washing, both Simple and Compounded. ib. 1. How to make a Green Colour of Copper Plates, ib. 2. To make a Green another way. ib. 3. Another Green. Page 115 4. For a Light Green. ib. 5. To Shadow Greene's. ib. 6. Green's for Landscapes and Rocks. ib. 7. To make a Blue. ib. 8. Of Shadowing Blews. Page 116 9 To make a Brown. ib. 10. Spanish Brown. ib. 11. How to make an Orange-colour. ib. 12. A Flesh-colour. Page 117 13. Colours for the Sky. ib. 14. To make Colours for Precious Stones. ib. 15. Colours for Landscapes. Page 118 16. Colours for Buildings. Page 119 17. How to Shadow every Colour in Garments or Drapery. ib. CHAP. III. General Rules to be observed. Page 120 What Colours sets off best together. ib. SECT. 2. Directions for the Mixing of your Colours. Page 121 These with several other Books are Printed for, and to be sold by Dorman Newman at the Surgeons Arms in Little Britain, near the Hospital Gate. Folio. A Large Body of Divinity, in ten Books, wherein the Fundamentals and Grounds of Religion are opened, all the contrary Errors refuted, and all the Scriptures explained; with the Addition of 200 sheets. By Edward Leigh, Esq; M. A. Forty Sermons by the Right Reverend Father in God, Ralph Brownrig, late Bishop of Exeter. A Relation in form of a Journal, of the Voyage and Residence of Charles the 2d. King of Great Britain, etc. Rendered into English by Sir William Lower Knight. Quarto. The Christian Man's Calling, or a Treatise of making Religion one's Business, wherein the nature of it is discovered, as also the Christian directed how he may perform it in Religious Duties, Natural Actions, his particular Vocation, his Family Direction, and his own Recreations: To be read in Families, for their Instruction and Edification. The First Part. The Second Part of this Treatise of the Christian Man's Calling, wherein a Christian is directed how he may perform his Duty in the Relations of Parents, Children, Husbands, Wives, Masters, Servants, in the Conditions of Prosperity and Adversity. The Third and last Part of the Christian Man's Calling; wherein the Christian is directed how to make Religion his Business, in his Dealings with all men, in the choice of his Companions, in his carriage in Good Company, in Bad Company, in Solitariness, or when he is alone, on a Weekday from Morning to Night, in Visiting the Sick, on a Dying bed; as also the Means how a Christian may do this, and some motives to it. All three by George Swinnock M. A. Preacher of the Gospel late at Great Kimbel in the County of Bucks. The Use and Practice of Faith, or Faiths universal Usefulness and Quickening Influence into every Kind and Degree of the Christian Life. Delivered in the Public Lectures at Ipswitch, by the late eminent and faithful Servant of the Lord Mr. Matthew Laurence, Preacher of the Word to the said Town. The virtue and value of Baptism, Catechetically propounded, as an Antidote against all Baptism-despising Dictates. To which is added, A Sermon Preached by the Author, the day after his coming out of the Tower. By Zach. Crofton, late Minister of Botolph Aldgate, London. Farewell Sermons, 4to. Allyn's Works. Octavo. God. Fearers are Gods Favourites, or an Encouragement to be good in the worst of Times. Sermons on Mal. 4. 8. By A. Tucker, Minister of Portsmouth. Twenty Sermons of Mr. James Nalton late Minister in Foster-lane, London. The Christians great Interest. By W. Guthry Minister in Scotland. The Life of Cardinal Woolsey, the famous Lord Chancellor of England, etc. with the Remarks upon those times. Rebukes for Sin, by God's burning Anger, by the Burning of the City, the Burning of the World, the Burning of the Wicked in Hell: With a Discourse of Heart-fixedness. By Tho. Doo●itel, late Minister of Alphage, London. 12ᵒ. Together with several other pieces of the same Author. Heaven on Earth, or, the Best Friend in the Worst of Times: Being a Legacy to London. By J. J. Large 8vo. A Sermon upon the Fire, By Mr. Robert Elsborough, Minister of the Parish that was lately St. Laurence Pountney, London, 4to. Fair Play on both sides, or the Surest way to Heaven: Discovered in a Dispute between a Roman Catholic and a Protestant. By Samuel Hyeron. A Guide to young Women and Maidens, directing them how to behave themselves in all estates, relations, and condiditions, from their Childhood down to Old Age. By Hannah Woolley. 8vo. There is now extant, that much Expected Book of Mr. Jer. Burroughs, Entitled, Gospel Remission, being the Second Part of his Book called The Evil of Sin: Wherein is discovered, 1. The many and great Gospel Mysteries therein contained. 2. The glorious Effects proceeding from it. 3. The great Mistakes that are made about it. 4. The true Signs and Symptoms of it. 5. The way and means how to obtain it. Published by the same hand, in 4to. A Guide to the true Religion, directing to make a wise choice of that Religion men venture their Salvation upon. By J. Clapham, M. A. fanatics primer, for the Instruction of the Little ones, in order to perfect Reading. By Henry Adis. The Complete Physician qualified and dignisied. By E. Maynwaring Doctor in Physic. OF DRAWING. The First Book. The Introduction. DRAWING consists of several General precepts to be learned of every one that is desirous to attain to Perfection therein; the practice of which requires Observation, Discretion, and Judgement; in which, Proportions, Motions, and Actions are with great care and diligence to be followed: And therefore he that will attain to the perfection of this excellent Practice, it is necessary he should not be ignorant of Mathematical Demonstration in the Rules of Geometry and Perspective; of which in this Book you shall receive Instructions. Of all other proportions, the Body of Man hath the pre-eminence for excellency, from which all other Arts are derived, as many of the learned have concluded; for Vitruvius noteth, that the Architect hence took the observations of his Buildings, Man being the first pattern of all Artificial things: and Antiquity hath so graced Painting, (as being the chief Mistress of Proportion) so that all other Artificers are called Handicrafts or Mechanics. CHAP. I. A description of all the External parts of Man's Body. SECT. I. Of the HEAD. IN Man's body the highest part is the HEAD; the forepart is called the Forehead; the turning of the hair, the Crown; the root of the hair above the forehead, the Centre; the parting of the hair, (especially of Women) is called the Seam. The Forehead containeth all the space between the root of the hair before, and the eyebrows: the Pulse is the highest part of the forehead, ending with the hair: Metone is the swelling out in the forehead above the eyebrows: the Temples lie betwixt the pulse, the forehead, and the ear. SECT. II. Of the EAR. THe EAR turns between the temples, the upper part of the cheek, and the root of the hair; by the side of the head the lower part is called the tipp, in the midst whereof is the hole where the sound entereth in. SECT. III. Of the EYES. THe EYEBROWS are those thick hairs at the bottom of the forehead: the upper eyelid is that little part which compasseth the upper part of the eye: the eye is that round ball which is contained between the upper and lower eyelids: the black of the eye is the round spot in the midst of that little circle, by virtue whereof we see, and is called the apple or sight of the eye: the outward corner of the eye is next the ear, the inner is toward the nose; all the space between the upper eyelid and the outward corner of the eye, and the whole turning of the eye to the upper part of the cheek is called the case or hollow of the eye. SECT. IV. Of the NOSE, MOUTH, CHIN, NECK, and THROAT. THe NOSE is between the cheeks, descending from betwixt the eyes, and endeth at the nostrils which hang out on each side at the bottom thereof, each whereof hath an hole or passage, whereby we smell. The lower end of the nose which standeth forward is called the top or point, the rising in the midst the ridge or gristle; the upper Cheek is that space between the ear, the hollow of the eye, the nose. and the lower Cheek; whereof the part rising towards the eye, is named the ball: the lower Cheek is bounded with the upper, the nostrils, the mouth, the chin, to the throat and the neck under the ear: the Upper lip is that red piece of flesh above the mouth. The MOUTH is that division between the upper and neither lips, which is red like the other; that concavity which cometh down from the bottom of the nose to the upper lip, is the gutter of the nose. The roof of the mouth is called the palate; the tongue is that which moveth in the mouth; the passage between the lungs and the mouth is called the Windpipe, through which the breath passeth; the gum is that piece of flesh in which the teeth are fastened; the four first whereof are called dividers, next unto which on each side are the dog-teeths; the other five on each side with their roots, are the grinders or cheek-teeths; so that the full number of Teeth is thirty two. The CHIN or place of the beard, is the extremity beneath the lip and the end of the face, whose beginning is the root of the hair. The hinder part of the head under the crown is called the nape, where the hairs grow; behind is the beginning of the neck The THROAT is between the chin and the beginning of the body or trunk, in the midst whereof is that rising called the throat-bone; the concavity of the neck before, between the end of the throat and the beginning of the breast, is the throat-pit. The NECK is that part behind between the root of the hair and the beginning of the backbone, which on either side is joined with the throat, and at the lower end of the neck with the shoulders, whereof the bone in the midst is called astragalus, or the bone that knits the neck with the shoulders; the whole trunk or body before containeth the upper fork of the stomach or breast, which begins at the end of the throat-pit. SECT. V. Of the FOREPART of the Body. THe forepart of the body, as the Breasts or Paps, end with the short ribs, and they are called the part under the paps, and in Women are called duggs, the heads of which whence the milk is sucked out are called Nipples; the space between the breasts or duggs at the lower fork of the breast is the chest; the armpits are the hollows under the arms, where the hairs grow. The Short-ribbs begin at the end of the paps, and reach to the flanks near the belly; the Flanks begin at the end of the breast, and are called the Waste; the upper part of the belly lies between the hollow of the breast, the waste above, the navel, and the ribs; the knitting of the entrails is called the Navel. The Paunch lieth between the waste, the privities, and the flanks, and is also called the Belly; especially in Women; where the hairs grow under the belly, is the Privities; the hollow compass at the top is called Corona, the place which the urine passeth through is called the Hole, the two little balls that hang under the Yard the Stones, the Privities of a Woman are called, etc. SECT. VI Of the HINDER-PART of the Body. THe hinder part of the body called the Back or Chine consists of the shoulderblade, which is the part behind the shoulders end, with part of the chine and loins; the rest of the back reacheth down along from the neck to the beginning of the cleft of the buttocks, the loins lie between the shoulderblades; the ribs and the rest of the chine to the reins or waste. The REINS reach from the loins to the buttocks, and do properly belong to the part below the Waste. The BUTTOCKS are that fleshy part which serve us for sitting. SECT. VII. Of the ARMS, HANDS, and FINGERS. THe Arm contains the shoulder, behind which is the back, beginning between the neck and throat, and reacheth to the shoulderblade, behind which place is properly called the Back; the part of the arm from the elbow upward, is called the upper brawn of the arm; the Elbow is the bowing of the arm, the inside whereof is the Joint; and at the lower part of the arm begins the Wrist, where the arm is joined to the hand, the palm is the inside of the hand between the wrist and the fingers, the thumb is the biggest and shortest of the fingers. The Forefinger is next to the thumb, the middle-finger is that which stands in the midst, and is longer than the rest; next unto this is the Ring-finger, the Ear-finger or Little-finger is the least and last. The Joints of the fingers are even in number, viz. three upon each, except the thumb, which hath but two. The hinder part of the arm reacheth from the end of the shoulder or arme-pit to the elbow, where the second part of the arm beginneth, reaching to the wrist-joynt. The back of the hand reacheth from the wrist to the first joints of the fingers, and is called Pecten, the spaces between the joints are called Internodi, which are two upon each finger, except the thumb, which hath but one; in the space between the last joint and the top of the finger is the Nail, whose bowing is called Corona, (I mean where it toucheth the flesh or skin. The whole hand begins at the wrist, and reacheth to the top or extremity of the fingers. SECT. VIII. Of the LEGS, FEET, and TOES. THe LEG consists of these parts; the thigh, which begins at the trunk of the body, and ends at the knee; the hollow of the thigh is the inner side below the privities; the knee begins at the round bone at the end of the thigh, and reaches to the beginning of the shinbone; the instep begins at the end of the shinbone, and reaches to the beginning of the toes, and is called the upper part of the foot, the ankle is that bone which buncheth out on each side between the instep and beginning of the heel. The Small of the leg is the space between the end of the two calves above, and the ankle, instep, and heel below; the Pit of the foot is the hollow under the hill or higher bunch of the foot towards the soles. The TOES have also joints as the fingers, though they be somewhat shorter, and have also nails in like manner, and are otherwise called, as 1. 2. 3. 4. 5. The hinder part of the leg begins under the buttock, and is called the thigh, and endeth at the hinder part of the knee, called the ham or bending; the calves of the legs begin under the ham, and are two upon each leg; the outward, which endeth somewhat high; and the inward, which reacheth nearer to the small of the leg, which diminisheth by degrees to that part a little above the ankle; the heel is that part of the foot which riseth out backwards, reaching from the end of the leg to the bottom of the foot, called the Sole, which beginneth at the end of the heel, and reacheth to the top of the toes, containing likewise the spaces between the joints underneath orderly. Thus much for the External parts of Man's Body; all which are deciphered in the Sculptures following. CHAP. II. Of Actions, Gestures, Decorum, Motion, Spirit, and Grace in Pictures rightly resembled. SECT. I. Of Actions or Gestures. THese are those that most nearly resemble the life, be it either in laughing, grieving, sleeping, fight, wrestling, running, leaping, and the like. Amongst the Ancients, famous for lively motion and gesture, Leonard Vincent deserves much, whose custom was to behold clowns, condemned persons, and did mark the contracting of their brows, the motions of their eyes and whole bodies; and doubtless it cannot but be very expedient for an Artist in this kind to behold the variety of exercises, that discover various actions, where the motion is discovered between the living and the dead, the fierce and the gentle, the ignorant and learned, the sad and the merry. John de Bruges was the first inventor of Oyl-painting that deserved excellently in this particular. SECT. II. Of the Passions or Complexions. Man's Body is composed of the four Elements. Melancholy resembles Earth. Phlegm the Water. Choler the Fire. Blood the Air; and answerable are the Gestures and Humours. Melancholy bodies are slow, heavy, and restrained; and the consequents are anxiety, disquietness, sadness, stubbornness, etc. in which horror and despair will appear. Phlegmatic bodies are simple, humble, merciful. Sanguine bodies are temperate, modest, gracious, princely, gentle, and merry; to whom these affections of the mind best agree, viz. love, delight, pleasure, desire, mirth, and hope. Choleric bodies are violent, boisterous, arrogant, bold, and fierce; to whom these passions appertain, anger, hatred, and boldness; and accordingly the skilful Artist expresses these motions of these several bodies, which ought Philosophically to be understood. Now to proceed according to our promised Method, to the Practical part; and here first the Learner must be provided with several Instruments. CHAP. III. Of necessary Instruments appertaining to Drawing. 1. SAllow coals split into the forms of Pencils, which you may best have of those that sell Charcoal ready burnt for your use; these are to be prepared by sharpening them at the point, their use is to touch over your Draught lightly at the first: you may know Sallow coals from others by the fineness of their grain. 2. You must also have a Feather of a Duck's wing, with which you may wipe out at pleasure what you desire to alter in your Draught. 3. Black-lead Pencils, to go over your Draught more exactly the second time. 4. Pens made of a Raven's quill, to finish your design; which will strike a more neat stroke then the common quill: but you must be very exact here, for there is no altering what you do with the Pen. 5. A Rule and a pair of Compasses with three Points to take in and out; one for Chalk, another for Black lead, or red Chalk, or any other Paste. The use of the Compasses is required in most things you draw, which you are to use after your out-stroke is done, by trying how near your Draught and Pattern agree, and this being only touched out in Charcoal, you may alter at pleasure. 6. Pastils made of several Colours, to draw upon coloured Paper or Parchment, the making whereof is as followeth. How to make Pastils of several colours. Take the Colour that you intent to make your Pastil and grind it dry, or rather only bruise it somewhat fine; to your Colour (whatsoever it be) add a reasonable quantity of Plaster of Paris burnt and finely sifted, mix and incorporate the Colour and Plaster together with fair Water till it be stiff like Clay or Doughty; then take it and roll it between your hands into long pieces, about the bigness of the shank of a Tobacco-pipe, then lay them in the Sun or Wind to dry. They being thus dried are ready for use, being finely scraped to a very small point; and if they be short, put them into an ordinary Goose-quill to lengthen them. And here note, that you may by this means make Pastils of what Colour you please, either simple or compounded, if you know what ingredients and mixtures will make such a Colour as you desire; which you will understand in the third Book, where we treat of the Mixture of Colours. And further observe, that the Plaster of Paris is only to bind the Colours together; and therefore according as your Colour or Colours you are to make are more hard or more soft, you must add the greater or lesser quantity of Plaster. By this means of tempering and mixing of several Colours together, you may make (indeed) whatsoever colour you please; as all manner of Colours for the Face or Body of Man or Woman, all kind of Greene's for Landscape, for Rocks, Skies, Sunbeams; all colours for Buildings, with their Shadows. These Pastils are very fine and commodious for drawing upon coloured paper, and therefore I would have you, 7. Provide yourself also of fine Blue paper; some light-coloured, othersome more sad; as also with Paper of divers other colours, which now is very common to be sold in many places. 8. Have always in a readiness by you the Crumbs of fine Manchet or White-bread; the use whereof is, when you have drawn any thing with Black-lead that disliketh you, you may strew some of these Crumbs upon the defective part, and with a linen cloth rub hard upon that place, and it will fetch out the Black-lead, and leave the Paper or Parchment fair and white. It is also useful when you have finished a piece, either Head, Leg, Arm, or whole Body with Black-lead, and would trace it over with Ink to finish it, the Black-lead will be seen in many places, being thicker than the line of your Pen; wherefore when you have finished your Drawing with Ink, and that dry, rub it over with these Crumbs, and it will not only take off the superfluous Black-lead, but all other spots of your Paper. Escutchion An Oval A way to Draw an Escutcheon Geometrically. FIrst strike a Circle at pleasure, as your occasion requires. Then strike the Diameter as BC, than set one foot of the Compasses in B, and strike the crooked lines DD and DD, then keeping the Compasses at the same distance, strike the other crooked lines EE and EE, than where they do intersect as FF, there strike the cross Diameter, then divide the upper Semidiameter into three parts, and take two of them, there make the Cross-line, by setting one foot of the Compasses in B, and make the crooked line GG, then at the same distance make the crooked line HH, by setting them in C, then strike the line TWO, then measure two or three of those parts, and set off towards B and C, then set the Compasses in K, and strike the lines L L and LL, then set the Ruler in MM and MM, and strike the lines in NN and NN, and divide the lower Semicircle in two equal parts, than set the Compass in O, and strike the lines PP and PP from AA, then measure from MN downwards, five of those parts of the upper measure, than set the Compasses at N5 and N5, and strike the lines KP and KP, and you have your desire. To Draw a Geometrical Oval. THis Oval is drawn by drawing two equal Circles, than set the Compasses in D, and strike the Arch BC, and at the same distance set them in D, and strike the Arch FE, then set them in G, and strike the Arch CF, then set them in H, and strike the Arch BE. Some Geometrical Definitions. 1. A Point is void of magnitude. 2. A Line is a length without breadth or thickness; and of the three kinds of magnitudes in Geometry, viz. Length, Breadth, and Thickness, a Line is the first. 3. The ends or bounds of a Finite-line are points; but in a circular Line, the points motion returns to the place where it first began, and so makes the Line infinite, and the ends or bounds undeterminate. 4. A Right-line lieth equally betwixt his points. 5. A Superficies hath only Length and Breadth. 6. A plain Superficies is that which lieth equally between his Lines. 7. A plain Angle is the inclination, or bowing of two Lines the one to the other, the one touching the other, and not being directly joined together: an Angle commonly signed by three Letters, the middlemost whereof shows the Angular point. 8. If the Lines that contain the Angle be right Lines, than it is called a Right-lined Angle. 9 When a Right-line standing upon a Right-line, makes the Angles on either side equal, then either of these Angles is a Right-angle, and Right-line which stands erected, is called a Perpendicular-Line to that wherein it stands. 10. An Obtuse-angle is that which is greater than a Right-angle. 11. An Acute-angle is less than a Right-angle. 12. A Limit or Term, is the end of every thing. 13. A Figure is that which is contained under one Limit or Term, or many, viz. a Round-line, three Right-lines, four Right-lines, five Right-lines, etc. 14. A Circle is a plain figure contained under one Line, called a Circumference. 15. A Diameter of a Circle is a Right-line drawn by the Centre thereof, and ending at the Circumference. 16. A Semicircle is a figure contained under the Diameter, and that part of the Circumference cut off by the Diameter. 17. A Section or portion of a Circle, is a figure contained under a Right-line, and a part of the Circumference greater or less than a Semicircle. 18. Right-lined figures are such as are contained under Right lines. 19 Three-sided figures are such as are contained under three Right lines. 20. Four-sided figures are such as are contained under four Right lines. 21. Many-sided figures are such as have more sides than four. 22. All-three-sided figures are called Triangles. 23. Four-sided figures a Quadrater; a Square is that whose Sides are equal, and his Angles right. 24. A Long-square is that which hath right Angles, but unequal Sides. 25. A Rhombus is a figure having four equal Sides, but not right Angles. 26. A Rhomboides is a figure whose opposite Sides are equal, and whose opposite Angles are also equal, but it hath neither Sides, nor equal Angles. 27. All other figures of four sides, besides these, are called Trapez, as such are all figures of four sides, in which is observed no equality of Sides or Angles. 28. Parallel or equi-distant Right-lines are such, which being in one and the same Superficies, and produced infinitely on both sides, do never in any part concur, but still retain the same distance. CHAP. IU. Of the first Practice of Drawing. SECT. I. Of Geometrical Figures. THE: V: ORDERS OF ARCHITECT. Tuscan. Dorica. Jonica. Corinthia. Composita. Place this page 19 The Circle will help you in all Orbicular forms; as, the Sun in its glory, the Moon either full or crescent, and infinite other Circular shapes. The Oval is a direction for the Face, for the mouth or foot of a wine or beer-glass, the mouth of a well, etc. The Square is assistant to you in confining your Picture you are to copy, and keeping it within bounds. The Triangle for the half-face, as in the Figures following you will easily discern. The Cone will help you in drawing of Flute-Colasses, now much in fashion; as also in Spire-Steeples and tops of Towers. The Cylinder will be of good use in drawing of all manner of Columns, Pillars and Pilasters, with their Ornaments. These (indeed) are so useful, that hardly any thing can be effected in which they they are not ingredient. And now, since it falls in my way so opportunely, I will insert the sign of the Five orders of Architecture, that you may know them when you see them either painted, or built in Brick or Stone. Place here the Five Columns of Architecture. SECT. II. Of the second practice of Drawing. HAving practised these Figures, proceed to the drawing of Cherries, Pears, Apples, Apricocks, Peaches, Grapes, Strawberries, Peascods, Butterflies, and such like. SECT. III. Of the third Practice. IMitate Flowers, as Roses, Tulips, Carnations, etc. Also Beasts; first the more heavy and dull, as the Elephant, the Bear, the Bull, the Goat, the Sheep, etc. Then them more fleet and nimble, as the Stag, the Hart, the Nag, the Unicorn, and the like. Then practice Birds, as the Eagle, the Swan, the Parrot, the King-fisher, the Partridge, the Pheasant, and such like. Then Fishes, as the Whale, Salmon, Herring, Pike, Carp, Thornback, Lobster, etc. Of all which there are Books to be bought at very reasonable rates. SECT. IV. Of the fourth Practice. IMitate the Body and Parts of the Body of Man; in the practice whereof beware of the common errors usually committed, as of drawing the Head too big for the Body, and others the like; which to prevent, you have here presented to your view the Heads, Noses, Mouths, Hands, Arms, Feet, Legs, Bodies, also whole Figures of Men, Women, and Children in several postures, being Copies of the best Masters extant, with Rules and directions for Drawing every particular member of the body, and that I would have you now to practice, you having gone sufficiently forward with the others before noted. CHAP. V. Directions for Drawing the Body of Man or Woman. SECT. I General Rules for Drawing the Face. IN Drawing the Face, observe its motion whether forward, upward, downward, or sideways, by your Eye; touch lightly the features where the Eyes, Nose, Mouth, and Chin should stand, and then go over them more perfectly. The Circle, Squares, and Triangles that are used in a Face, serve to guide your judgement where to place the several features. Observe diligently the principal Muscles of a Face, these appear most in an aged man or woman's face. There is usually a threefold proportion observed in a Face: 1. From the top of the Forehead to the Eyebrows: 2. From the Eyebrows to the bottom of the Nose: 3. From thence to the bottom of the Chin; but in some the Forehead is lower; others Noses are longer. The Distances between the Eyes, is the length of one Eye in a full face; but in a three-quarter, or side-face, the distance is lessened answerable. The Nostril ought to be placed exactly against the corner of the Eye. In a fat Face you will perceive the Cheeks swell, in a lean Face the Jawbones stick out, and the Cheeks fall in. A smiling countenance is discerned by the Mouth, when the corners of the Mouth turn up a little. A frowning countenance is discerned in the Forehead, Eyebrows, bending and somewhat wrinkling about the top of the Nose, etc. SECT. II. To draw a Foreright Face. MAke the form of a perfect Oval divided into three equal parts by two Lines; in the first part place the Eyes, in the second part the Nostrils, and in third part the Mouth. Note, that the Eyes must be distant one from the other the length of one of the Eyes, and that their inner corners be perfectly over the outside of the Nostrils. SECT. III. To draw an Upright Head. WHich is made with three Lines equal every way, either upwards, downwards, higher or lower; and that must be divided as the former into three equal parts, as in the Example. SECT. IV. Of the Inclining and Fore-shortned Face. THis is plainly seen by the Lines, how they concord together, and you may with facility draw in their proper places the Nose, Mouth, and other parts with a little practice, and obserung diligently the Examples following. In these Forms you must be very perfect, it being a Rule that in most Faces you may have occasion to make use of: for of all the parts of Man's body the Face is the most diffcult. But having got the Proportions with their Measures, you will be able (which way soever a Face turns) to form it out, whatever proportion your Face is you are to imitate, so must your Out-stroke be form; whether long, round, fat, or lean. Because precedents are most useful, I have here thought good to give you the forms of several Eyes more at large, by which you may with more ease know the truth of their Proportions. As also Ears, which are exactly to be known; and then the forms of several Noses and Mouths; all which are taken from eminent Masters, as Palma and others. [In the following Page.] SECT V. Of the Nose, Mouth, and Chin. THe Nose is the most eminent part of the Face; in which observe the hollowness, roundness, and the Nostrils, as they appear in these several Figures borrowed from Fiolet. 1. Describe a Semicircle downwards. 2. Make the Holes of the Nose. 3. The addition of the Nostrils. SECT. V. Of Hands, both Palm, Back, and Sides; as also open and closed: and likewise of Hands and Arms joined. HAving sufficiently practised the Drawing of Mouths and Noses, let your next exercise be in drawing of Hands in all positions, both by measures, and without; as also Hands and Arms joined. SECT. VI Of Feet in several positions, both with and without measures, as also of Feet and Legs joined together. BEing expert in the Drawing of Hands and Arms, proceed to the Drawing of Feet in all postures, both with and without measures; which having attained, exercise yourself in Drawing of Legs and Feet joined together, as before you did of Hands and Arms; that so you understanding the particulars of the whole Body, you come with the more judgement to that great difficulty of Figures of the whole Body of Man. To help you therein, I have set before you the easiest and truest Rules that the best Masters of Proportions have published, with a Discourse of their true Measures: which will be the more easy, if you seriously weigh the foregoing Chapter, treating of all the external parts of Man's body, for than you will have occasion to observe it; but first exercise yourself in following these examples of Feet, as also of Feet and Legs joined together. [See the 2. following Pages.] SECT. VII. Of the Back, Breast, Secret members, Thighs, Shoulders, etc. HAving sufficiently practised the Drawing of the several Limbs of Man and Woman, as Head, Mouth, Nose, Hands, Arms, Feet, and Legs; proceed next to the drawing of the other parts of the Body: as the Back, Belly, Shoulders, Breast, Secrets, and Thighs, therein following the example of this noble Master Palmas, in the following Figure. SECT. VIII. Of whole Figures from head to foot. OF whole Figures I have furnished you with variety of examples; as first, of a Child standing backward and forward, which is necessary to be first practised, because these are the more easy, being more plump and round then the Body of Man, without that observation of the Muscles and other parts, which I desire you in a methodical way to imitate often before you adventure upon the other Figures, which are Man and Woman standing forward, and after that Man and Woman standing backward, as also in other postures: and the same order that was at first proposed about the Heads, Hands, and Feet, etc. by touching out every Figure first with Charcoal, is exactly to be observed in these Figures also. SECT. IX. Rules of Symmetry or Proportion to be observed in Drawing the whole Body of Man or Woman. FOR your further help in Drawing the following Figures, take notice of these necessary Rules: Begin at the Head, and so proceed by degree, as your pattern directs; and be careful that your parallel Joints, Sinews, or Muscles be directly opposite; also that the Motion of the Body be answerable one part to another, and that the parts and limbs of the body have a due symmetry; not a great Arm, and a small Leg; or a small Hand, and a great Finger, etc. Let not one part be too long for another. Of all which, you must know, that at first you will be apt to commit many errors, but be not disheartened; proceed, and your labour will not be lost, experience is gained by practice; be but diligent, and you will find more ease than you could imagine: at first all things that are attainable seem difficult; we have a good old saying, Nothing is hard to a willing mind, and I can speak it by experience. I might spend time to tell you many stories how to proceed to Figures clothed, etc. but if you can draw a Naked figure well, for the order of Garments, you will be able to do that with ease. And now, having brought you thus far in Practice, and given you a more exact order to proceed with so many several Examples more than larger Volumes have produced; which you having well followed, and attained to some reasonable measure of Proportion, you may now proceed to that which may be more profitable, if you first practice those things that may be easily shadowed with a Pen, and that will fit your hand for Etching with Aqua fortis, which shall be perfectly taught in the next Chapter; wherein you have the mixture of the Ground to Etch upon, the order how to prepare your Copper, and how to order your Aqua fortis, what Instruments you are to use about the same, and how to take off your design on the Plate; which is an experimental Rule practised by the best Etcher in England, namely Mr. W. Hollar. SECT. X. The Proportion of the Body of Man. FOR your further information, and to direct your judgement in Drawing of whole Bodies, observe these following Proportions. A Man standing, from the top of the Head to the bottom of the Feet, is eight times the length of the Head. The Arm hanging strait down, it reacheth within a span of the Knee. A Hand must be the length of the Face, the Hand spread abroad must cover the Face, and no more. Note, that in Drawing a Figure standing, you must first draw that Leg which the Body stands firmest upon; otherwise your Figure will yield one way or other, as it were falling. A Man's Arms extended is the just length of the whole Body. The like proportion is observed for Women, and therefore one example serves for both. The Proportion of a Child, according to our learned Author Lomantius, consists of five lengths of the Head; according to the Figure expressed in our Discourse, for an example to the Practitioner. CHAP. VI Of Shadowing, and Rules to be observed therein. THE out-lines of any Draught or Picture give the Symmetry or Proportion, which is enough to a good judgement: So the Figures before in this Book have only the out-lines, and those are best to practise first by: I say, the Out-lines show the Proportion to a good judgement; but the Lines and Shadows give the lively likeness. In Shadowing therefore of any Picture you must observe these Rules following. RULE I. Cast your Shadows always one way, that is, on which side you begin to shadow your Figure, either on the right or left side, you must continue so doing through your whole work. As in the figure of a Man, if you begin to shadow his left Cheek, you must shadow the left side of his Neck, the left side of his Arms, the left side of his Body, the left side of his Legs, etc. Except the light side of the Figure be darkened by the opposition of some other body standing between the light and it. As if three Men were standing together, that Figure which stands in the middle must be darkened by the foremost, except the light come between them. RULE II. All Shadows must grow fainter and fainter, as they are farther removed from the opacous body from whence they issue. RULE III. In great Winds, where Clouds are driven to and fro several ways; as also in Tempest at Sea, where Wave opposeth Wave; here contrary shadows must concur, as striving for superiority: here in such cases you must be sure to supply the greatest first, and from them, according to your judgement, supply the lesser; practice and imitation of good Copies will be your best director. RULE IU. All Circular bodies must have a Circular shadow, as they have a Circular form, and as the object of light which causeth shadow is Circular. CHAP. VII. Of Drapery, and Rules to be observed therein. AS in Naked figures you draw the Out-lines first, the like you must do in Drapery, leaving room within for your greater and lesser folds; then draw first your greater folds, and then break your greater folds into lesser contained within them: the closer the Garment sits to the body, the smaller and narrower must the folds be. Shadow your folds according to the directions of the last Chapter; the innermost harder, and the outer more softer. As in Shadowing, so in Drapery, good copies of Prints instruct best; yet take these general Rules following. RULE I. Continue your great folds throughout your Garment, and break off your shorter at pleasure. RULE II. The finer your Drapery is, the fuller and sharper must your folds be, and the shadows the stronger, but yet sweet. RULE III. That part of any Garment that sits close to the body, as the Doublet of a Man, the Breasts of a Woman, and the like, you must not fold at all; but rather with your sweet shadow represent the part of the body that lies under the Garment, as a Woman's Breast; with a sweet round shadow, etc. CHAP. VIII. Of Landscape, and Rules to be observed therein. Landscape is that which expresseth in Picture whatsoever may be beheld upon the Earth, within the species of Sight; which is the termination of a fair Horizon, representing Towns, Villages, Castles, Promontaries, Mountains, Rocks, Valleys, Ruins, Rivers, and whatsoever else the eye is capable of beholding within the species of the Sight. To express which, and to make all things appear in Draught or Picture according to true proportion and distance, there are several Rules to be observed, of which take these few following. RULE I. In every Landscape show a fair Horizon, the Sky either clear or overcast with Clouds, expressing the rising or setting of the Sun to issue (as it were) from or over some Hill, or Mountain, or Rock; the Moon or Stars are never to be expressed in a fair Landscape, but in a Night-piece, I have often seen it, as in a piece of our Sarinus being taken by night, and in others. As an Astronomer with his Quadrant taking the height of the Moon, and another with his Cross staff taking the distance of certain Stars, their Man standing at a distance with his Darklanthorn, to see their Degrees when they had made their observation; these things, as taking of the Partridge with the Loo-bell, and the like, become Night pieces very well. RULE II. If you express the Light of the Sun in any Landscape, be sure that through your whole work you cast the light of your Trees, Buildings, Rocks, Ruins, and all things else expressed within the verge thereof thitherwards. RULE III. Be sure in Landscape that you lessen your bodies proportionably according to their distances, so that the farther the Landscape goeth from your eye, the fainter you must express any thing seen at distance, till at last the Sky and the Earth seem to meet, as the Colours in a Rainbow do. There are many excellent pieces of Landscape to be procured very easily; as also of Landscape and Perspective intermixed, which pieces to me were ever the most delightful of any other; and such I would advise you to practise by; they, if they be good, being the only helps to teach you proportion of Bodies in any position, either near or afar off. I might here speak further of Damasking, Antique, ●risco, Grotesco, Tracery, and the like; but these are things that when you are expert in good Draught, as (by diligent practice and following the Rules and Examples before delivered,) I hope (by this time) you are, these things will come of themselves, and indeed, no sooner heard of or seen, but done. And thus I conclude this first book of Drawing with the Pen and Pastils, and shall now proceed to the second Book, which teacheth the Art of Etching and Graving OF ETCHING and GRAVING. The Second Book. CHAP. I. Of Etching with Aqua fortis. THere are several ways for Etching, and several Grounds of divers colours, used by several men, I shall deliver here only one, and that so familiar, easy, and true, that I believe there is not a better Ground, nor a more accurate way performing the work intended, than that which shall be here taught; it being the only way, so many years practised, and to this day continued by that unparallelled designer and incomparable Etcher in Aqua fortis, Mr. Hollar; the manner of performing the whole work is as followeth. SECT. I. To make Mr. Hollar's Ground, and how to Etch in Copper, and what Instruments ought to be used in the practice thereof. TAke three parts of Virgin's wax, one part of Asphaltum, one part of the best Mastic; if you will, you may take away a third part of the Asphaltum, and put instead thereof as much refined Rosin that is transparent and clear, for this will be better to see through the Ground, to stop up what you have occasion for. Beat your Asphaltum and Rosin together to powder, and put your Wax into a clean Pipkin that hath never been used before, and set it over a gentle fire, and let it boil; then pour in the Asphaltum and Rosin into it, and mingle them all together. Then take a Porringer or such like thing full of clean water, and pour that boiling stuff when all is melted into the water, but pour not out the dregs, then when it is cold work it up into a coal or ball; and when you are to use it, then take a clean rag and double it, that no dregs or knots may come through the rag, and tie it fast with a piece of thread; so is your Ground prepared. SECT. II. How to prepare your Copper. YOur Copper must be well planisht, that it may lie level; and before you lay on the Ground, take your Plate, and with a Charcoal well burnt coal it over with very clean water; then wash it off with clean water never used before, and set it sloping to run off; when it is dry, then scrape some Chalk fine all over it, and with a very clean fine rag rub it over; but let not your fingers touch upon the Plate, till you have put the Ground on, which you must lay on thus. SECT. III. How to lay the Ground upon the Plate. PUt into some fire-pan some small-coal or coal-fire, for charcoal is too hot, then lay down the Copper over that, so as the fire may have air; then take your Ground, it being in a cloth as a foresaid, and rub up and down the Copper, so as it sufficiently may cover the Plate, not too thin nor too thick; then take a Duck's feather of the wing and smooth it as well as possibly you can all one way, and then cross and cross until it lie well to your eye; but take heed that your Copper be not too hot, for if it lie until the Ground smoke all the moisture of the Ground is burnt away, and that will spoil your piece in Etching, because the Ground will break or fly up; this done, let your Plate be cold, then grind some White-lead with Gum-water, and note, that as much Gum as the bigness of a Cherry-stone will serve for a piece of White-lead as big as a Nutmeg; but you must understand, that you must put so much water that the white may be of convenient thickness to spread on the Copper. Then you must have a large Pencil or small Brush, as the Painter's use, of the bigness of a Walnut, or more especially for a large Plate, and with that strike over the Plate cross twice or thrice, till you see it smooth. Then you must have another Brush larger than the first, but very smooth, made of several Squirrels tails, with that you may smooth gently the White, which you could not do with the other Brush, and then let it lie till it be dry. SECT. IU. How to transfer your design upon the Copper. THen take your design or Copy after which you are to work, scrape on the backside thereof some red Chalk all over, then go over that by scraping some soft small-coal till it mingle with the chalk, then take a Hand-brush or great Pencil that is very stiff, and rub it up and down till it be fine and even, and so lay down the design on your Plate, and with a blunt Needle or Point draw over the out-stroke; you must have several Needles, some bigger, and some finer, put them into a pencil-stick of the length of a writing-pen, and on the other end keep one Pencil to wipe away the Ground that your Needle fetches off when you work. To blunt your Needle point you must do thus, blunt it on a Table, or on the backside of a Copper plate, still holding the point downward, and carry your hand circular that you keep the point round; the finest Needles you must sharpen upon a fine Whetstone, and still turning it betwixt your fingers as you whet it, as the Turner's do their work, to keep it round, then after smooth it upon a Table-book leaf; and as you work you need not scratch hard into the Copper, only so as you may see the Needle go through the Ground to the Copper, and always when you leave your work wrap your Plate up in paper, lest your Plate get scratches, which it will be apt to do, and the Ground will be apt to be corrupted lying open in the air, and the moisture drawn out of the Ground, and the same inconveniency will accrue by letting your Ground lie too long upon your Plate before you finish, three or four month's time will eat out the moisture of the Ground, and in Etching it will seem broad and deep, and when you think it eaten enough, you will find it to be eaten little or nothing: in Winter time wrap your Plate in a Blanket as well as Paper when you leave your work; if the Copper get frost, it will cause the Ground to rise up from the Copper in the eating with the Aqua fortis. SECT. V. How to wall about your Plate about with Wax, to lay on your Aqua fortis, and to finish your work. YOur Plate being prepared, your Ground laid on, and your Design transferred upon your Plate; when you are going to Etch, then take green Wax and melt it in some little pipkin, and with a Pencil cover round about the edges of the Copper; first, with the hot Wax stick it round about the Plate as a wall to keep in the Aqua fortis, that it may stick fast, let the same be of Green wax also, which draw out into long pieces of the thickness of strong paste-board, and as broad as a knife, then fasten it about the edges with a little stick being broad on the end, and sharp edged, and with it thrust down the Wax to make it stick, then if your work be fine, take of Aqua fortis the third part of an ounce, and break it with your other water that hath been used before twice or thrice, and take at least two parts of the old to one part of the new. In case you have no Aqua fortis formerly used, take good Wine-vinegar to mix with your Aqua fortis, but if your work be course, you may use your three pence the ounce Water only; and for such things as you will have fine and sweet, you must first pour out your Aqua fortis into some earthen dish, then wash off the Aqua fortis with clean water, and let it be dry, then melt some Candle-grease with a little Ground, and with a Pencil cover those things you will have to lie faint, then pour on your Aqua fortis again as oft as you see need; then melt your Ground the same way you laid it on, and with a linen rag wipe clean your Plate, and so is your work finished. CHAP. II. Of GRAVING. SECT. I. Of necessary Instruments belonging to Graving. HE that will undertake the Art of Graving, must know how to Draw, and hatch with a Pen; which, I doubt not, but he that hath observed the former Rules can do. 1. Of your oil-stone. The first thing you are to do, is to provide a good oil-stone, which you may have of those that sell several Tools for the Goldsmiths; which, let be very smooth, not too hard nor too soft, and be sure it be without pin-holes. Now to fit yourself aright, you are to resolve what kind of Graving you will follow; if you follow Picture or Letter work, that is a work more curious than the Goldsmiths: Arms and Letters are upon Silver or Pewter, and accordingly your Gravers must be shaped. 2. Of Gravers. Goldsmith's Gravers are crooked, that they may more readily come at hollow work, but for Copper-pictures or Letters the best Gravers are the strait, which choose thus; Take a File and touch the edge of the Graver therewith, if the File cut it, it is too soft and will never do you good; but if the File will not touch it by reason of the hardness, it will serve your occasion, although such a Graver be apt at first to break short off, after a little use by whetting it will come to a good temper and condition, as by experience I have found; though some ignorant of what they have writ, would puzzle you about altering the temper. SECT. II. The several ways of holding the Graver. LEt the end of the haft of the Graver rest against the ball of the thumb, and let the forefinger guide the Graver, which is done by resting steadily upon the point of your Graver. You must also provide a Bag of Sand to lay your Plate upon, on which you may turn your Plate at ease every way: And note, that with your left hand you must turn your Plate as the strokes you grave do turn, which is not easily attained without diligent care. You Copper plates ready polished do often come from Holland, or else you may have them prepared by several in England; you may be directed how to have these Plates by most Printers of Plates in London, and therefore I forbear to trouble you or myself about directing you how to prepare Plates for your use. SECT. III. The forms of Graving-tools, as also the manner of whetting your Graver. THe upper part of this figure will show two sorts of Graving-tools, the one form square, the other lozenge: the square Graver makes a broad and shallow stroke, or hatch; and the lozenge makes a deep and narrower stroke. The use of the square Graver is to make the largest strokes, and the use of the other is to make the strokes more delicate and lively. But I prefer a Graver made of an indifferent size betwixt both these two, which will make your strokes, or hatches, show with more life and vigour, and yet with sufficient force, according as you shall manage it in your working: The forms of which will appear in the 1. and 2. figures. The 3. figure shows you how to whet the two sides of your Graver, which is to be done in this manner following; you must have a very good oil-stone smooth and flat, and having poured a little Sallad-oyl thereupon, take the Graver, and laying one side of it (that which you intent shall cut the Copper) flat upon the stone, whet that side very flat and even; and to that purpose have an especial care to carry your hand steadfast, and with an equal strength, placing your forefinger very firm upon the opposite side of your Graver, to the end that you may guide it with the more exactness: then turn the very next side of your Graver, and whet that in the like manner, as you did the other; so that there may be a very sharp edge for the space of an inch or better; then turning uppermost that edge which you have so whetted, and setting the end of your Graver obliquely upon the stone, carry your hand exactly even, to the end that it may be whetted very flat and sloping, in the form of a lozenge, making to the edge a sharp point, as the figure 4. shows you. It is very necessary that you take great care in the exact whetting of your Graver; for it is impossible that you should ever work with that neatness and curiosity as you desire, if your Graver be not very good, and rightly whetted. I cannot demonstrate it so plain and fully by figures, and discourse, as I would: if you have acquaintance with an Artist in this way, you may easily understand in a short time. SECT. IV. The manner how to hold and handle your Graver. THe uppermost part of this figure describes to you the form of two Gravers, with their handles, fitted for the whetting. They that use this Art, do before they make use of them, commonly cut away that part of the knob or bowl that is at the end of their handles, which is upon the same line with the edge of their Graver, to the end it may not hinder them in their graving, as the figure 2. shows you. For if you work upon a large\late you will find that part of your handle (if it be not cut away) will so rest upon the copper, that it will hinder the smooth and even carriage of your hand in making your strokes or hatches; also it will cause your Graver to run into the copper in such sort, that you shall not be able to manage it at your pleasure. The 5. figure describes to you the way of holding your Graver; which is thus, place the knob or ball of the handle of your Graver in the hollow of your hand, and having extended your forefinger towards the point of your Graver, laying it opposite to the edge that should cut the copper, place your other fingers on the side of your handle, and your thumb on the other side of the Graver, in such sort that you may guide your Graver flat and parallel with the plate; as you may see in the figure. And be very careful that your fingers do not interpose between the plate and the Graver, for that will hinder you in carrying your Graver level with the plate, so that you cannot make your strokes with that freedom and neatness, which otherwise you may. This I think fit to give you notice of, because the skill of holding your Graver is that which you must first perfectly learn. SECT. V. The manner of holding your hand in Graving. HAving described the way of holding your Graver, the next thing is to show you how to guide your Graver upon the plate in making of your strokes, which are strait or crooked; that you may work with the more ease and convenience, you must have a strong round leather Cushion filled with sand or fine dust; let it be made about half a foot broad in the diameter, and three or four inches deep; lay this upon a table which standeth fast and firm: then lay your plate upon the cushion, as is described in the 6. figure. When you are to make any strait strokes, hold your Graver as is directed in the former Section; and if you will have your strokes deeper or broader in one place than in another, in that place where you would have them deepest you must press your hand hardest; but especially in making of a strait stroke, be careful to hold your plate firm and steadfast upon the cushion. And if you make any crooked or winding strokes, then hold your hand and Graver steadfast; and as you work turn your plate against your Graver; for otherwise it is impossible for you to make any crooked or winding stroke with that neatness and command, which by this means you may, if you do not move your plate, and keep your arm and elbow fixed or rested upon the table. If as you are working your Graver happen to break often on the point, it is a sign it is tempered too hard; to help this take a red hot charcoal, and lay the end of your Graver upon it, and when you perceive your Graver to wax yellowish, dip it in the water: If your Graver become blunt without breaking, it is a sign it is nothing worth. After you have graved part of your work, it will be necessary to scrape it with the sharp edge of a Burnisher, carrying it along even with the plate, to take off the roughness of the strokes; but in so doing take heed of making any scratches in your work. To the end you may better see that which is graven, they commonly roll up close a piece of a black Felt or Castor, liquored over with a little Oil, and therewith rub the places graven: And if you perceive any scratches in your plate, rub them out with your Burnisher: and if you have graved any of your strokes too deep, you make them appear fainter with rubbing them with your Burnisher. SECT. VI How to take off any Picture, or Map-letters, etc. upon your Copper. TAke your Plate and heat it over the fire, and having a piece of yellow Bees wax, put into, and tied up in a fine Holland rag, try if your Plate be hot enough to melt your Wax, if it be, lightly wipe over your plate with that wax, until you see it be covered over with wax, but let it be but thin; if it be not even, after it is cold you may heat it again, and with a feather lay it even, which at first you will find a little difficult. Now if wh●t you are to imitate be an exact copy, you must note it must stand the contrary way in the plate, and therefore your best way will be to tract it over in every limb with a good Black-lead Pencil, especially if it be an old picture, which having done, take an old Ivory haft of a knife, and placing your picture exactly on your copper, the face downward, take your haft and lightly rub over your print, and you shall perceive the perfect proportion remain upon the wax that is upon the plate; then take a long Graver, or another piece of steel ground sharp, and with the point thereof go over every particular limb in the out-stroke, and there will be no difficulty to mark out all the shadows as you go to engrave your work, having the proportion before you. And it will be more ready, if also you note your shadows how far they be dark, and how far light with your black-lead, before you rub it off; but a learner may be puzzeled at first with too many observations. At first you will find some difficulty for carrying your hand, and for the depth of your stroke you are to engrave; but take this experiment in your first beginning; learn to carry your hand with such a slight, that you may end your stroke with as light a stroke as you began it, and though you may have occasion to have one part deeper or blacker than another, do that by degrees; and that you may the more distinctly do it, observe your strokes that they be not too close nor too wide: and for your more exact observation, practice by those prints that are more loosely shadowed at first, left by imitating those dark and more shadowed, you be at a loss where to begin or where to end; which to know, is only got by practice: Thus for Pictures. Now for Letters, if copies, every word and letter must be either writ with ungummed Ink, or else gone over with Black-lead, and rubbed on the plate when it is waxed, as before; but if a Map or other Mathematical Instrument, every circle, square, or perpendicular must be drawn over as before, or else you cannot exactly imitate the same; but if you be to cut any Face, Arms, Instruments, or Map not to be printed, then if you black over the backside, as you are directed for your design in Etching, that will serve your turn; only for Etching you use a mixed ground, and for to Engrave you only use wax. And thus, in a plain style, I have given you an account of the whole mystery of Engraving. OF LIMNING IN WATER-COLOURS. The Third Book. THE practise of Limning is a quality commendable in any person, and a practise meet for the Noblest personage of what quality soever; I shall say no more in the praise of it, it may speak for itself, but come immediately to show you the manner how to perform it; therein following the Rules now practised by the most eminent Masters in that faculty: and first, I shall begin in this as in the other parts of this Book, what things are to be in a readiness prepared for the practice of it. CHAP. I. Of necessaries belonging to Limning. TO the Limning in Water-colours th●re belongs several thing, as Gums of several sorts, and Waters made of them, a Grinding-stone and Muller, several Colours, Liquid Gold and Silver, several Sizes to lay Gold, Parchment of the finest, as of Abortive Skins, Pencils of divers sorts; of the making and preparing all these in their order, and then to their use. SECT. I. Of Gums and Gum-waters used in Limning. THe principal Gum is gum-arabic, get the best that may be, which you shall know by the whiteness and clearness; if it be yellowish, of an Amber colour, it is naught. To make Gum-water hereof, do thus, take a cle●n earthen Vessel, Pan, Dish, or the like, put therein the fairest Spring-water you can procure, then take a quantity of Gum- Arabic, and tie it in a fine clean Linen cloth, as in a bag, and hang this in the middle of the water, and there let it rest till the Gum be dissolved; if you find your water be not stiff enough of the Gum, put more Gum into your cloth, and let that dissolve as the other did; if it be too stiff, add more Water: of this Gum-water it is absolutely necessary you have always by you tow sorts, one strong, the other weak; and of these two, you may make a third at pleasure; preserve these in clean Glasses for your use. Of GUM-LAKE. Gum-Lake is a compounded Gum made of many ingredients, as of whites of Eggs beaten and strained, of Honey, Gum of Ivy, strong Wort, these ingredients mingled together will at last run like an Oil, which at last will congeal and be hard. Trouble not yourself to make it, but buy it ready made; choose it as you do the Gum- Arabic, by the clearness, and then you need not fear it. To make Water thereof, use it in all respects as you did your Gum- Arabic, by tying it in a cloth and dissolving it in fair water: of this water also have of two sorts, a weaker and a stronger. Of GUM-ARMONIACK. Of this Gum you may make a Water, that whatsoever you write therewith you may lay in Gold. The manner of making the Water is thus; take your Gum and grind it with the juice of Garlic as fine as may be, thereunto add a few drops of weak water of Gum- Arabic, making it of such a thickness as you may conveniently write with it with a pen. With this liquor write what you will, and let it dry, but not too long, for if you do, the Gold will not stick, and if you lay on your Gold too soon, it will drown it. When you would lay your Gold upon it being dry, do thus, get a Gold-cushion, which you may thus make; take a piece of Calves-leather rough, and get a board about sixinches long, and five inches broad, upon this board lay some woollen cloth four or five times double, and over all your Leather with the rough side outwards, nailing the edges of the leather to the sides of the board; so is your Cushion made. Upon this Cushion lay your Gold-leaf, and with a knife that hath a very sharp edge, cut your Gold upon your Cushion into pieces, so that it may quite cover what you have written, then breathe upon your writing, and with a piece of white Cotton-wool (breathing upon that also) lay it upon your Gold and it will take it off from your Cushion, which press down hard upon your Writing, and it will there stick; then with other Cotton-wool dry, wipe away the loose Gold, and your Writing only will remain, which when it is through dry you may burnish with a Tooth, and it will show fair. Of LIQVID GOLD or SILVER. You may with Liquid Gold or Silver Draw or Write any thing with the Pen or Pencil, as with any other liquid colour; I could show you how to make it, but to make a small quantity it is not worth the while, neither will it quit the cost; therefore I would advise you to buy it ready prepared, which you may do where you buy your Colours, or of some Gold-beaters, who make it of their cuttings of the ragged edges of their Gold. When you use it do only thus, put into your Shell a drop or two of fair water, and with a clean Pencil tamper up so much Gold as will serve your occasion at that time, with which Write or Draw what you will; then about two or three hours after, the longer the better, burnish it by rubbing hard upon it with a Dogs-tooth, and it will be pure Gold; this is the best and easiest way of laying Gold that I know of. SECT. II. Of your Grinding-stone and Muller. GEt a Stone of Porphery or Serpentine, or rather a Pibble, (if you light of one large enough) is best of any other. But in short, get as good an one as you can, which your Marblers in London may help you to; keep this and your Muller always very clean and free from dust. SECT. III. Of Colours. THere are simply six, viz. White, Black, Red, Green, Yellow, and Blue; to which we may add browns, but they are compounded. Of either of these there are several sorts, the names whereof, and the manner of ordering of them shall be showed in the ensuing Chapter. CHAP. II. Of Colours used in Limning: their names, and how to order them. SECT. I. Of the Names of Colours, and how every Colour is to be prepared; whether Ground, Washed, or Steeped. BLACKS. Cherry-stones burnt. Ivory burnt. Lamp-black. WHITES. Ceruse. White-Lead. REDS. Red-Lead. Lake. GREENE'S. Bise. Pink. Sap-green. Cedar-green. BLEWS. Indigo. Vltramarine. Bise. Smalt. YELLOWS. English Ochre. Masticote. brown's. Umber. Spanish Brown. Colen's Earth. These are the principal Colours used in Limning, I have omitted many others, but they are such that are not fitting for this Work, which I shall speak of when I come to teach how to Wash Maps and printed Pictures, for which use those Colours I have omitted are only useful. Of the Colours here mentioned, useful in Limning, they are to be used three several ways, viz. either Washed, Ground, or Steeped. The Colours to be only Washed are these: Bise. Cedar. Red-Lead. Smalt. Vltramarine. Masticote. To be Steeped, only Sap-green. The Colours to be Washed and Ground, are these: Ceruse. White-Lead. Lake. English Ochre. Pink. Indigo. Umber. Colens Earth. Spanish Brown. black Ivory, & Cherry-stone SECT. II. Of those Colours that are to be Ground, and how to Grind them. I Have in the last Section told you what Colours are to be Ground, which Washed, and which to be Steeped; it resteth now, to show you how to Grind those Colours that are to be ground; I shall not run over every Colour particularly, but show you how to grind one Colour, which take as an example for all the rest. For our example in grinding of Colours, let us take the original of Colours, viz. Ceruse, or White-lead, there is little difference between them, only one is refined, the other not. To grind it do thus; Take a quantity thereof, or of any other Colour to be ground, being cleansed from all manner of dirt or filth, which you must first scrape off; then lay the Colour upon your Stone, and with your Muller bruise it a little, then put thereto fair spring-water, and between your Muller and Stone grind the Colour well together with the water till the Colour be very fine, which when you find to be enough, have in a readiness a great Chalk-stone, in which make certain troughs or furrows, into which pour your Colour thus ground, and there let it rest till it be through dry, then take it out and reserve it in papers, and those papers in boxes, for your use. This order you are to observe in all Colours that are to be Ground. SECT. III. Of those Colours that are to be Washed, and how to Wash them. AS in the Grinding of Colours I gave you an instance but in one for all the rest, the like I shall do for those Colours which are to be Washed; I will make my instance in Red-lead, which you are to Wash in this manner. Put a quantity thereof into a clean earthen dish, and pour thereto fair water, stirring the colour and water together with your hand or otherwise, then let it stand a while, and you shall see a filthy greasy scum arise and lie above the water, with other filth; pour this water quite away, and put other clean water to the Colour, and stir it about again, pouring away the water (if foul) the second or third time; then add more water, and stir the Colour about again till the water be thick and troubled; but yet free from filth, then gently pour this troubled water into a second earthen dish, leaving in the first dish all the dregs. Into the second basin put more fair water, and with your hand stir about the Colour as before; do thus two or three times, and take (if your Colour be very foul) a third earthen dish, and add more water, and keep stirring, till at last the water become clear, and the Colour remain fine at the bottom of the dish; pour away your water gently, and you will find some Colour remaining and sticking to the edges of the dish, which when it is dry, you may (with a feather) strike away like flower, which reserve as the choicest and purest of all; if in a pound of this Red-lead you have an ounce of good indeed, Prise it, for it is troublesome to procure. The other, which is not altogether so pure, may be serviceable for some uses, though not for all. What hath been said of this Colour is to be understood of all other that are to be washed; therefore for Washing of Colours let this suffice. SECT. IV. Of Colours to be Steeped. I Said (among the Colours before mentioned) there was only Sap green to be Steeped, though in Colours to wash Maps and Prints there are many, but of these, when we come to show how to Wash Maps, etc. To Steep your Sap green do thus, take a quantity thereof and put it into a Shell, and fill the shell with fair water, to which add some fine powder of Alum to raise the colour; let it thus steep twenty four hours, and you will have a very good Green. SECT. V. Of those Colours that are Washed and Ground, how to temper them in your shells when you are to use them. YOu having all Colours both Ground and Washed by you in a readiness, when you begin any piece you must temper them as followeth, for which take one example ●or all. Take any Colour, a small quantity thereof, and put it into a clean shell, then add thereunto a drop or two of Gum-water, and with your finger (being clean) work it about the sides of the shell, and there let it stick till it be dry; when the colour is dry in the shell, draw your finger over it; if any Colour come off, you must add stronger Gum water to it. But, if when your Colour is dry in the shell, it glitter or shine, it is a sign there is too much Gum in it; therefore remedy that by tempering your Colour up again with fair water only, without any Gum. There are some Colours, as Lake, Umber, and other hard Colours, which when they are dry in the shell will crack, and look like parched ground in a dry Summer; to such colours as these, when you temper them for use, add to them a small quantity of white Sugar-candy in fine powder, which temper with your Colour and fair water with your finger in the shell till the Candy be dissolved; and this will keep them from peeling when you have laid them on your Work. Note here, that these Colours following, viz. Umber, panish- Brown, Colen- Earth, Cherry-stone and Ivory-black are to be burnt before they be Washed or Ground. To burn any of them do thus, put the Colour into a Crucible, such as Goldsmiths melt their silver in; if you will, cover the mouth thereof with clay, and set it in a hot fire, there let it rest till it be red hot when the Colour is cold you may Grind or Wash it according to former Directions. SECT. VI Of Pencils, and how to choose them. YOu are in the next place to furnish yourself with Pencils of all sorts; which how to choose do thus, take a Pencil and put the hairy end between your lips, wetting it a little by drawing it through your lips, being moist, two or three times; so that the Pencil being large will come to a point as small as a hair, which if it do, it is good; but if it spread, or any extravagant hairs stick out of the sides, they are naught; you may try them by wetting in your mouth, and attempt to draw a line on the back of your hand. SECT. VII. Of Compounded Colours. OF the the six simple Colours before named, together with the brown's, many others may be compounded for Faces of all Complexions, Garments, Landscapes, Building; for Birds, Fishes, Beasts, and what not? I will show how to compound some, and by those you may by practice find out and invent infinite more, I shall instance in these following. As, A Violet. A Lead-colour. Flame-colour. Scarlet. Light-green Purple. A Bay-colour. A Murrey. To make a Violet-colour. Indigo, White, and Lake make a good Violet-colour; you may make it lighter or darker at pleasure, as you may all other compounded Colours. Lead-colour. Indigo and White make a Lead-colour. Colour for Flaming fire. Red-lead and Masticote, heightened with White. Scarlet-colour. Red-lead, Lake and Vermilion, very little or no Vermilion, for it is not good in Limning. Light-green. Pink and Smalt, with White to make it lighter, if you require it. A Purple-colour. Indigo, Spanish- brown, and White. A Bay-colour. Spanish- brown and White. A Murrey-colour. Lake and White make a Murrey-colour. Of these infinite others may be made, but I leave them to your own ingenuity to find out, which with little practice you will soon do. The next thing you shall be informed in, is how to prepare your Table for Limning, and fit all things for your work, which shall be declared in the next Chapter. CHAP. III. How to prepare a Table for a Picture in small for Limning, to make choice of your Light, the manner of Sitting in respect o● Position and Distance, and what necessary Instruments are to lie by you when you are at work. WE now draw pretty near to our intended purpose, viz. Miniture or Limning to the life in Water-Colours: but SECT. I. How to prepare a Table for a Picture in small. GET pure fine Paste-board, such as the ordinary playing Cards are made of, you may have of what size and thickness you please, and very finely slicked and glazed, at the Card-makers: Take a piece of this Paste-board of the size you intent your Picture, then take a piece of Parchment of the finest and whitest you can get, which are the skins of abortives or costlings, cut a piece of this skin of equal bigness with your Paste-board, and with thin white Starch new made passed the Parchment to the Paste-board, with the outside of the skin outermost; lay on your Starch very thin and even; then your Grinding-stone being made very clean, lay the Card thereupon with the Parchment-side downwards, and as hard as you can, rub the other side of the Paste-board with a Boars tooth set in a stick for that purpose, when it is through dry it is fit to work upon. SECT. II. Of your Light. COncerning your Light, let it be fair and large, free from being shadowed with trees or houses, but a clear sky-light, let it be a direct light from above, and not a traverse-light; let it be a Northerly and not a Southerly light, for the Sun shining either upon you, your work, or the party sitting, will be very prejudicial; as your room must be light, so let it be also close and clean. And observe, that you begin and end your work by the same light. SECT. III. Of the manner of Sitting. LEt your Desk on which you work be so situate, that when you sit before it your left arm may be towards your light, and your right arm from it, that the light may strike in sideling upon your Work. Thus for your own sitting. Now for the manner of the parties sitting that is to be Drawn, it may be in what posture he or she shall design; but let the posture be what it will, let it not be above two yards off you at the most, and levelly with you; but if the party be tall, then above. Mark well when the party that sits moveth, though never so little, for the least motion of the body of face, if not recalled, may in short time cause you to run into many errors. The Face of a party being finished, let him stand and not sit to have his posture drawn, and that at a farther distance than two yards, viz. four or five yards. SECT. IV. Of such necessaries as are to lie by you while you are at work. 1. YOu must have two small Saucers or other China-dishes, in either of which there must be pure clean Water; the one of them is to wash your Pencils in being foul, the other to temper your Colours with when there is occasion. 2. A large, but clean, fine and dry Pencil, to cleanse your work from any kind of dust that may by accident fall upon it: such Pencils they call Fitch-Pencils. 3. A sharp Penknife to take off hairs that may come from your Pencil, either among your Colours or upon your Work, or to take out spots that may come to fall upon your Card. 4. A Paper, having a hole cut therein, to lay upon your Card to cover it from dust, and to rest your hand upon, to keep the soil and sweat of your hand from sullying your Parchment, and also to try your Pencils on before you apply them to your Work. Let your Saucers of Water, your Penknife and Pencils lie all on your right hand. 5. Have a pretty quantity of Carnation (as some call it,) or Flesh-colour, somewhat lighter than the Complexion of the party you are to draw, tempered up in a shell by itself with a weak Gum-water. If it be a Fair complexion, White-lead and Red-lead mixed. If a Swarthy or Brown complexion, to your White and Red-lead add a quantity of Masticote, or English-Oker, or both if occasion be. But whatever the Complexion be, be sure you temper your Flesh-colour lighter than the party; for by often working upon it you may bring it to its true colour, it being first too light; but if it be first too sad, there then is no remedy. 6. Having prepared your Flesh-colour, take a large Shell of Mother of Pearl, or a Horse-Mussel-Shell, which any Fisherman will help you to, and therein (as Painters in Oil dispose their Colours upon their palate for their working of a Face, so must you) place your several Shadows in this Shell in little places one distinct from another. Note, that in all your Shadows you must use some White, wherefore 1. lay a good quantity of White by itself, besides what the Shadows are first tempered with. 2. For Red for the Cheeks and Lips, temper Lake and Red-lead together, some use Vermilion, but I like it not. 3. For your Blue Shadows, as under the Eyes, and in Veins, etc. Indigo and White, or Ultamarine and White. 4. For your Grace, faintish Shadows, take White English-Oker and Indigo, or sometimes Masticote. 5. or Deep shadows, White, English-Oker, and Umber. 6. For Dark-shadows in men's Faces, Lake and Pink, which make an excellent fleshy shadow. Many other Shadows you may temper up, but these are the chief; your own judgement, when you look upon the party to be Drawn, will best direct you, and inform your fancy better than a thousand Words. Thus are you absolutely prepared of all necessaries, it is now fit time to go to work; and first we will begin with a Face. CHAP. IU. Of the Miniture or Limning of a Face in Water-Colours. HAving all things in a readiness, according to the directions before delivered, upon that part of your Card where you intent the Face of your picture to be, lay that part of the Card over with your Colour that you have before prepared, answerable to the Complexion of the party; it being well tempered, pretty thin, with a ●encil bigger than ordinary, spread your Colour very even and thin, free from hairs or other spots, in your Pencil, over the place where you are to make the Face of your Picture. The Ground being laid, you may begin the Draught, the party being ready to sit. Now to the finishing of a Face there will require three Operations or Sittings at the least. At the first sitting you do only dead Colour the Face, and this takes about two hours' time. At the second sitting you are to go over the Face more curiously, observing whatsoever may conduce to the graces or deformities of the party to to be Drawn, together with a sweet dispose and couching of the Colours one within another, and this sitting will take up some four or five hours. At the third sitting you may finish the Face, this takes up some three hours' time; in which you perfect what was before imperfect and rough, in putting the deep and dark shadows in the Face; as in the Eyes, Eye brows hair, and Ears, which things are the last of the Work, and not to be done till the Hair-curtain or the backside of the Picture, as also the Drapery be wholly finished. Of these three sit or operations we shall make three Sections, as followeth: Then in the next Chapter show how the Drapery and other ornaments are to be performed: then in the next Chapter something of Landscape in Miniture, or Limning, and so conclude. SECT. I. At the first Operation or Sitting. YOur Ground for the general Complexion being laid, the first work at your first sitting must be to draw the Porphile or out-lines of the Face, which you must do with Lake and White mingled; draw it very faintly, so that if you miss of your Proportion you may alter it with a deeper mixture of the same Colour. The proportion of the Face being drawn, add to the former colour some Red-lead, temper it to the colour of the Cheeks, Lips, etc. but faintly, for (as I said before) you cannot lighten a deep Colour when you would. You must now put in the Red shadows in their due places, as in the Cheeks, Lips, tip of the Chin, about the Eyes, the tip of the Ears, and about the roots of the Hair. All these Shadows must be put in, not with the flat of the Pencil, but by small touches, after the manner of Hatching; in this manner going over the Face, you will cover your ground with these and the following shadows. In this Dead-colouring you need not be overcurious, but strive to imitate Nature as near as may be, the roughness of the Colours may be mended at the second Operation. Having put in your Red shadows in their due places, put in next your faint Blue shadows about the corners and balls of the Eyes, and your Grayish blue shadows under the Eyes and about the Temples; work these sweetly and faintly all over by degrees, heightening your shadows as the light falls; as also those harder shadows in the dark side of the Face, under the Eyebrows, Nose, Chin, and Neck, with some stronger touches in those places than on the light side of the Face. Bring all your Work together to an equal roundness, and give perfection to no particular part at this time, but view your object well, and see how near you hit the Life, not only in seeming likeness, but in roundness boldness of posture, colouring, and such like. Having wrought your fainter shadows into the Red ones before laid, you may now have a touch at the Hair, disposing of it into such curls, folds, or form as shall best grace the picture, or please the party. You must only draw the Hair with some colour suitable to the life, fill up the empty and void places with colour, and deepen it somewhat more strongly than before in the deepest shadowed places. And let this be your first operation. SECT. II. At the second Operation or Sitting. AT the second sitting let the party sit in the same place and posture as he did at the first sitting, then observe and delineate with your Pencil those varieties which Nature affords you; and as you did them but rudely before, you must now with the same Colours, in the same places, by working drive and sweeten the same Colours one into another, so that no lump of Colour, or any rough edge may appear in your whole work, and this work must be performed with a Pencil somewhat sharper than that which you used before, so as your Shadows may be soft and smooth. Having made this progress in the Face, leave it for this time, and go to the backside of your Picture; which is sometimes a piece of Landscape, but most commonly a Curtain of blue of red Satin. If it be of blue Satin, temper as much Bise in a shell as will cover a Card, let it be moist, but well bound with Gum; then with a Pencil draw the Porphile or out-line of your Curtain, as also of your Picture, then with a large Pencil lay over carefully, but thin and airy, the whole ground you mean to lay with Blue; then afterwards again with a large Pencil, as before, lay over the same again with a substantial body of colour; in doing of which you must be expeditious, keeping your Colour always moist, letting no one part thereof be dry till you have covered the whole. If your Curtain be Crimson, then trace it out with Lake, and lay the ground with a thin colour, then where your strong lights and reflections fall, there lay your lights with a thin and Waterish colour, and while the ground is yet wet, with a strong and dark colour tempered reasonable thick, lay the hard and strong shadows close by the other lights. After you have thus laid the backside of your Picture with Blue, or Red, or any other Colour, lay your Linen with a fair White, and the Drapery likewise flat of the colour you intent it. Then repair to the Face again, and view your object well, and see what shadows are too light or too deep for the Curtain behind, and the Linen and Drapery may somewhat alter the property to the eye, and make the Picture appear otherwise than it did when there was only the colour of the Parchment about it; I say, view your object well, and endeavour to reduce each Shadow to its due perfection: then draw the lines of the Eyelids, and shadow the entrance into the Ear, the deepness of the Eyebrows, and those more eminent notes and marks in the Face, and these must be done with a very curious and sharp Pencil. The Face done thus far, go over the Hair, heightening or deepning it as it appears in the life, casting over the ground some loose hairs, which will be pleasing, and make the Picture stand as it were at a distance from the Curtain. To shadow your Linen, use Black, White, a little Yellow, and less Blue; the Black must be deepned with lvory-black, with which mix a little Lake and Indigo. And thus far have we proceeded at the second operation. SECT. III. At the third Operation, or Sitting. THe third and last operation of the Face will be wholly spent in giving of strong touches where you see cause; and in observations necessary for the rounding of the Face, which will better be seen how to perform now, than before the Curtain, Drapery, and Linen were laid. In this last sitting observe very diligently and exactly whatever may conduce to similitude, which is a main thing, as Scars or Moles in the Face, etc. casts of the Eye, circumflexions or windings of the mouth. Thus much for the third operation and finishing of the Face. CHAP. V. Of Drapery, and other ornaments belonging to a Picture in Miniture. THE Face being completely finished, and the Apparel rudely put on, let us now come to show how to settle them in their right jeers, (as the saying is,) as also to put on such Ornaments as are usual in Pictures of this nature. And these shall be expressed in the Sections following. SECT. I. Of Drapery in Limning. HAving laid a good, fat, and full Ground all over the Drapery you intent to make; if Blue, then all over with Bise smoothly laid: the deepning must be Lake and Indigo, the lightning White, very fine, faint, and fair, and in the extreme light places. What hath been said of this Blue Drapery, the like is to be understood of all other Colours. It is rare to see Drapery expressed by lightning of of it with fine shell-Gold, with which it must be hatched and washed, what a lustre it gives to well-coloured Drapery, either Crimson, Green, or Blue, but much more if with the Ground itself you mix Gold when you lay it on. SECT. II. Of other Ornaments in Picture. 1. IF the Body you are to draw be in Armour, lay liquid Silver all over for your ground, well dried and burnished, shadow it with Silver, Indigo, and Umber; work these shadows upon the Silver as the life directs you. 2. For Gold Armour, lay liquid Gold as you did the Silver, and shadow upon it with Lake, English-Oker, and a little Gold. 3. For Pearls, your ground must be Indigo and White; your shadows Black and Pink. 4. For Diamonds, lay a ground of liquid Silver, deepen it with Cherry-stone and Ivory-black. CHAP. VI Of LANDSCAPE. THE bounds and limits of Landscape are inexpressible, they being as various as fancy is copious; I will give you only some general Rules for painting of Landscape, and so conclude this third Book. In painting of any Landscape always begin with the Sky, the Sunbeams, or lightest parts first; next the Yellow beams, which compose of Masticote and White; next your Blue skies, with Smalt only. At your first colouring leave no part of your ground uncovered, but lay your Colours smooth and even all over. Work your Sky downwards towards your Horizon fainter and fainter, as it draws nearer and nearer to the earth, you must work your tops of Mountains and objects far remote, so faint that they may appear as lost in the Air: Your lowest and nearest Ground must be of the colour of the earth, of a dark yellowish brown Green, the next lighter Green, and so successively as they lose in their distance they must abate in their colour. Make nothing that you see at a distance perfect; as if discerning a Building to be fourteen or fifteen miles off, I know not Church, Castle, House, or the like; so that in drawing of it you must express no particular sign, as Bell, Portcullis, or the like; but express it in colours as weakly and faintly as your eye judgeth of it. Ever in your Landscape place light against dark, and dark against light, which is the only way to extend the prospect far off, occasioned by opposing light to shadow; yet so as the shadows must lose their force in proportion as they remove from the eye, and the strongest shadow must always be nearest hand. OF PAINTING in OIL. The Fourth Book. PAinting in Oil is of most esteem of any other Painting, and indeed it requireth the greatest judgement in the performance, of any other kind of Painting. I shall (according to the weakness of my ability) deliver unto you such Rules and directions, as being well minded and practised, may in a short time make you a good proficient therein: Presupposing you have read the three foregoing Books, especially the First and Third, and that you understand Draught of any kind, and also the nature (if not the manner of working with) Water-colours, yet at least have read the Rules there delivered concerning the use of them, you may fall to practise the Painting in Oil; in which observe the directions following. CHAP. I. Of the Names of your Colours, and how to Grind and order them. Names of the Colours in Oil. BLACKS. Lamp-black. Seacoal-black. Ivory-black. Charcoal-black. Earth of Colen. WHITES. White-Lead. GREENE'S. Verdigrease. Terra vert. Verditer. BLEWS. Rise Indigo. Smalt. Vltamarine. REDS. Vermilion. Red-Lead. Lake. India Red. Ornotto. YELLOWS. Pink. Masticote. English Ochre. Orpiment. Spruce Ochre. Spanish Brown, Burnt Spruce, Umber. These are the chief Colours that are used in Painting in Oil, the most part of which are to be ground very fine upon your Stone with a Muller, with linseed-oil: some must be Burnt before they be Ground; others must be only tempered upon the palate, and not ground at all. The Colours to be burnt are these: Ivory, Spruce, Ochre, and Umber. The Colours that are not to be Ground at all, but only tempered with Oil upon your palate, are these: Lamp-black, Verditer, Vermilion, Bise, Smalt, Masticote, Orpiment, Vltamarine. All the rest are to be Ground upon your Stone with linseed-oil; only White-Lead, when you are to use that for Linen, you must grind it with Oil of Walnuts, for linseed-oil will make it turn yellow. Those Colours that are to be Burnt, you must put them into a Crucible, such as Goldsmiths melt their Silver in, cover the mouth thereof with clay, and there let it burn red hot, when it is cold you must grind it upon your Stone with Oil. CHAP. II. Of your easel, Straining-frame, Cloth, palate, Pencils, and Stay. I Might here describe the form and fashion of your easel and palate, but I think I need not; for he that ever saw a Painter at work, must needs see these two Instruments, but what they are I shall here describe. An easel is a frame made of wood, not much unlike a Ladder, only the sides are flat, and full of holes on either side, to put in two pinns to set your Work upon higher or lower at pleasure; it is broader at the bottom than at the top, and on the backside there is a Stay, by the help of which you may set in the middle of any room, more upright or sloping at pleasure; when you do not use it, you may clap it together and set it behind any door, or hang it against any wall out of the way. A palate is a thin piece of wood, and is necessary to be about twelve or fourteen inches long, and nine or ten inches broad, in form of an egg, at the narrower end whereof is a hole made also of an oval form, about an inch and a half in length, and an inch broad; this hole is to put in your thumb of your left hand, upon which you must always hold it when you are at work; out of the side of your palate near unto the thumb-hole is cut a notch, by the side of which the Pencils which you hold in your left hand also may come through, by which means you may take any of them out, or put another in at pleasure. These Palates ought to be very thin and light, especially at the broad end, but toward the thumb-hole somewhat thick, yet not above half a quarter of an inch; the best wood to make them of is Pear-tree of Walnut-tree. A Straining-frame is nothing else but a frame made of wood; to which with nails you must fasten your Cloth that you are to paint upon; of these Frames you should have of several sizes, according to the bigness of your clothes. By your Cloth I mean Cloth primed, I could teach you how to prime it, but it is a moiling work, and besides, it may be bought ready primed cheaper and better than you can do it yourself. Few Painters (though all can do it) prime it themselves, but buy it ready done. Pencils, what they are I need not tell you, but what sorts there are I will, because I shall have occasion to call them sometimes by their names in the Discourse following. There are of all bignesses, from a pin to the beginess of your finger. There are several sorts, thus called: Ducks Quill fitched. Duck's Quill pointed. — Bristle. Swans Quill fitched. Swans Quill pointed. — Bristle. Hairing, or Jewelling-Pencils. Goose Quill fitched. Goose Quill pointed. — Bristle. Bristle Pencils; some in Quills, others in Tinn-cases▪ bigger than Quills, and others in Sticks. Your Stay or Molstick is nothing else but a stick of Brazeel or such like wood that will not easily bend, about a yard in length, at one end whereof tie a little ball of Cotton hard in a piece of Leather about the bigness of a Chestnut; this stick when you are at work you must hold also in your left hand, and laying the end which hath the leather ball upon your cloth or frame, you may rest your right arm upon it all the while you are at work. Thus being furnished with all manner of Colours, and other necessaries here described, you may begin to practise when you please; we will begin with a Face, in which observe the directions in the following Chapters. CHAP. III. How to order your Colours upon your palate, and how to temper Shadows for all Complexions. DIspose your single Colours upon your palate in this order, laying them at a convenient distance one from another, so that they be not apt to intermix. First lay on your Vermilion, than Lake, then burnt Ochre, India Red, Pink, Umber, Blacks, and Smalt: lay the White next to your thumb, because it is oftenest used, for with it you lighten all your Shadows; next to your White lay a stiff sort of Lake: this done your palate is furnished with the single Colours belonging to a Face; then for the tempering of your Shadows to all Complexions, observe the following Directions. 1. For a Fair Complexion. Take a little White, and twice as much Vermilion, and as much Lake, temper these well together upon your palate with the flat blade of your knife; lay aside by itself on your palate the greatest quantity of this to be used for the deepest Carnation of the Face. Put more White to that which remains, and temper that well with your knife, and being well tempered lay some of that aside also for your lighter Carnation. To the remainder add yet more White, and temper it upon your palate till you have brought it to the lightest colour of your Face. Your Carnations being thus tempered, and orderly laid upon your palate, prepare your faint Shadows. For which, Take Smalt, and mix it with a little White, which may serve for the Eyes; lay aside the greatest quantity, and to the rest add a little Pink, this well tempered and laid by itself will serve for the faint greenish shadows in the Face. Now prepare your deep Shadows; for which take Lake, Pink, and Black, of each a like quantity, temper all these together. If the party's Face you are to draw, or the Picture you are to copy do require the Shadows to be redder than what you have tempered, then add a little more Lake; if yellower, add a little more Pinks; if blewer or grayer, add a little more Black. This done, your palate is prepared with Colours for any fair Face. 2. For a more Brown or Swarthy Complexion. Lay your single Colours on your palate as before, and in like manner temper them, only amongst your White, Lake, and Vermilion, put a little quantity of burnt Ochre, to make it look somewhat Tawny. Amongst your heightenings temper a little yellow Ochre, only so much as may just turn the Colours. For your very faint and very deep Shadows; the same as before. 3. For a Tawny Complexion. The general Colours must be the same as before, only the Shadows are different, for you are to prepare them of Umber, and burnt Ochre, which shadow will fit these Complexions best; if the shadow be not Yellow enough, add more Pinks to it. 4. For an absolute Black Complexion. Your dark Shadows must be the same as before; but for your heightenings, you must take White, burnt Ochre, Lake, and Black, put but a little White in at first, but work it up by degrees, till you come to the lightest of all, as you did the contrary Colours for a fair Complexion. Here note, that the single Colours at first laid upon your palate being tempered together according to the former directions, serve for shadows for all Complexions. Thus much concerning the disposing and ordering of your Pencils, and what Pencils you are always to have in your hand all the while you are painting of a Face. CHAP. IU. What Pencils are useful for the Painting of a Face, and how to dispose them. EVery Pencil must have a stick of about nine inches long put into the Quill thereof, the farther end of which stick must be cut to a point. When you are to begin any Face or other picture, lay together two Ducks quill-fitch-Pencils, and two Ducks-quill-pointed-Pencils, also two Goose-quill fitched and two pointed, two Bristles both alike; one Swans-quill fitched, and another pointed; then a larger Pencil than any of these, which no Quill will hold, and therefore they make cases of Tinn to put them in, you must have one of these Fitched, as also a Bristle of the same bigness. Your Pencils being in a readiness, when you are to use them, your palate being upon your thumb, you must take your Pencils in your right hand, and put the ends of their sticks into your left hand, keeping (when you work) the hairy ends at a distance, one from touching another, lest the Colours in them intermingle. Your palate of Colours being prepared, and your Pencils and Molstick also in a readiness, you are to use them as is hereafter taught. CHAP. V. How to Paint a FACE in oil-colours. YOur Cloth being ready primed, and strained upon your Frame, take a knife, and with the edge thereof scrape over your Cloth, lest any knots or the like should be upon it which may disryme your Work. Your Cloth being ready, draw forth your easel, setting your Frame & Cloth upon it at a convenient height, so that you sitting upon a stool, (level with the party you draw) may have the face of the picture equal, or somewhat higher than your own. Then set your easel according to your light, which let be the same as I have described in Limning, namely, a Northerly light, free from shade of trees or houses, but let it come in on your left hand, and so cast the light towards the right hand. All things being now in a readiness, let the party you are to draw sit before you in the Posture he intends to be painted, about two yards distant from you. Then with a piece of Chalk pointed, draw the proportion of the Face upon the Cloth, with the place of the Eyes, Nose, Mouth, Ears, Hair, and whatsoever the posture affordeth the Eye; here is no curiosity in this, only see that you keep a good decorum, if you miss a good deal, the Colours will bring all to rights; but I suppose you know already whether the design will make a Face proportionable to the parties. And so of that no more. Your Design being drawn in Chalk, take one of your Swans-quill-pointed-Pencils, and some of your lightest Colour, and begin with the lightest parts in the Face, as the heightening of the Forehead, the Nose, and the Cheekbone of the lightest side: when you have done the lightest parts, do the mean parts next; that is, those parts not altogether so light as the other, as the Cheekbone of the fore-shortning or dark side, the Chin, and over the upper Lip; and so proceed gradually till you come to the Reddest parts of all. Then lay your faint Greenish shadows in convenient places, and where you see cause to moderate harder shadows; but you must have a care you put not Green shadows where Red are required. Thus all your faint or light beginnings being put in, take one of your Goose-quill-pointed-Pencils, or one of your Ducks-quill-fitched, and begin at the Eyes to shadow with Lake, because you may easily overcome it if it should chance to be wrong: I do not mean you should go all over the face with Lake, but trace out these parts of the Face therewith, as the Eyes, Nose, Mouth, Compass of the Ear, etc. This tricking or tracing out of these parts with Lake is to be done before you lay on any Colour, wipping it lightly over with a linen rag, to prevent the overcoming of the other Colours. Having thus put in all your Colours both light and dark, take a great Fitch-pencil, either that in the plate, or that in the stick, and sweeten the Colours therewith; by sweetening, is meant the going over these several Shadows thus laid with a clean soft Pencil, which with orderly handling will drive and intermix the Colours one into another, that they will appear as if they were all laid on at once, and not at several times. If this great fitched Pencil be too big, you may use a lesser; but note, that the bigger Pencils you use, the sweeter and better your Work will lie; and it is as easy to handle a great Pencil as a little one, if you use yourself to it. At your Second sitting (for this is enough at once) begin again with your clean Pencils of such bigness as the piece you are to work upon does require. Then the party sitting in the same position, and at the same distance as before, the light also being the same, Observe well the party, and see what defects you find in the Work at your first sitting, and amend them; then heighten or deepen your Shadows according as you see occasion. This done, take a Goose-quill Bristle and put in the Hair about the Face, and rub in the greater Hair with the greater Bristle, and heighten it up with your Goose-quill Pencil. CHAP. VI Of Garments of several colours, and of their proper Colouring. THE next thing I shall speak of, shall be of Drapery of Garments, and the true and proper manner of Colouring of them. And 1. For a Red Garment. For a light-red Garment, first dead-colour it with Vermilion, and when you would finish it, glaze it over with Lake, and heighten it with White. For a Scarlet. If you will have your Garment Scarlet, Vermilion itself must be the lightest, and it must be deepned with Lake or India Red. For a Crimson Velvet. Lay Vermilion, burnt Ochre, or India Red, for the dead colour, glaze it with Lake, and touch it up with Vermilion. A sad Red. Indian Red heightened with White. Note, that all your deepning should or ought to be deepned with Black, Pink, and Lake, tempered together. 2. For Green Garments. The best Green for holding is Bise and Pink, heighten it with Masticote, and deepen it with Indigo and Pink. For Green Velvet. Lay the dead colour of White with a little Lamp-black, glaze it with Verdigrease, deepen it with Indigo and Pink, and heighten it with Pink and White. 3. For Blew Garments. Take Indigo and White, first lay the White in its due places, and then your mean colour, namely Indigo and White mixed in their due places, then deepen it with Indigo only, and when it is dry glaze it with Ultamarine, which will never fade; you may glaze it with Smalt or Bise; but Smalt will turn Black, and Bise will turn Green. But if you will have a Blue Garment without glazing, lay the ground as before, with Indigo and White, heighten and deepen it with the same Colours. 4. For Yellow Garments. For a Yellow Garment, Masticote, yellow Ochre, and Umber; lay the dead colour of Masticote and White in the lightest places, Ochre and White in the mean places, and Umber in the darkest places; when it is dry glaze it with Pink. If you would not glaze it, use only Masticote heightened with White, and deepned in the mean shadows with Ochre, and in the deep shadows with Umber. 5. For Black Garments. Let the dead colour be Lamp-black, and some Verdigrease; when that is dry, go over it with Ivory-black and Verdigrease; before you go over it the second time heighten it with White. 6. For Purple Garments. Oil Smalt, tempered with Lake and White-Lead, heighten it with White-Lead. 7. Orange Colour. Red-Lead and Lake, lay the lightest parts of all with Red-Lead and White, the mean parts with Red-Lead alone, the deeper parts with Lake, if need require heighten it with White. 8. Hair Colour. Umber and White for the ground, Umber and Black for the deeper shadows, Umber and English Ochre for mean shadows, for heightening White with a little English Ochre. CHAP. VII. To temper Colours for several occasions. IN Landscape, variety of Colours are required; I will therefore begin with those first. Colours for the Sky. For the Airy sky that seems a great way off, take Oyl-Smalt or Bise, and temper it with linseed-oil, for a Red sky use Lake and White, and for Sunbeams or Yellow clouds appearing at Sunrising or setting, use Masticote and White; for Clouds in a storm, or for a Night-sky use Indigo deepned with Black, and heightened with White. Colours for Trees. For some use Lake, Umber, and White; for others Charcoal and White, for others Umber, Black, and White, with some Green, you may add Lake, and sometimes Vermilion among your other Colours. Of several Greene's in Landscape. For a light Green use Pink and Masticote heightened with White. For a sad Green, Indigo and Pink heightened with Masticote. You may make Greene's of any degree whatsoever. In Painting of Landscape I shall say nothing here, that which I have already said in the Sixth Chapter of the Book of Limning being sufficient. Things meet to be known. oil-colours if they be not used presently, will have a skin grow over them, and in time will quite dry up; wherefore if you have any quantity of Colours ground, to keep them from skinning or drying, set them in a vessel of fair water, three or four inches under water, and they will not skin nor dry. If your Grinding-stone be foul, grind Curriers shave upon it, afterwards crumbs of bread, and it will fetch off the filth. If your Pencils be foul, dip the ends of them in Oil of Turpentine, and squeeze them between your fingers. When you work in Oil, let a little pot of Oil stand by you, into which dip your Pencil, and streak it by the side of the pot, and the Colour will go out that is within it, and you may use it with another Colour. The Discovery. How to Cleanse any Old Painting, so as to preserve the Colours; with cautions to those that through ignorance have in stead of Cleansing, quite Defaced or irrecoverably lost the Beauty of good colours in an Old piece of Painting. To Cleanse any old Picture in Oil. TAke your purest white Wood-ashes you can get, and sift them very well in a fine lawn sieve; or else some Smalt, which is as some call it Powder-blew, and with a fine Sponge and fair water wash the Picture you intent gently over, but be sure you have a great care of the Shadows; for by the ignorance of many persons many good Picture hath been abused; but having carefully washed it, as before mentioned, take some of these Vernishes, of which there be several, but some are more prejudicial than others, therefore choose those which may upon occasion be washed off again. As Gum-water purely strained, or pure Sizegelly, or the whites of Eggs well beaten; all these will wash off. Your common Varnish will varnish over any dark part of a Picture. But your distilled Varnish is the best of all; this will not wash off. But observe, that when you have washed the Picture, you must dry it very well with a clean cloth very dry before you varnish it. Divers there be which have pretended to be well skilled or knowing in the Cleansing of Pictures, and skill in Painting, and have undertaken the spoiling of things they have been unworthy to understand; as with Soap, or Ashes, and a Brush, and divers other inventions, by their ignorance to deface and spoil those things which otherwise might have been worth great value, and in stead of hindering the Painter of his employment, have indeed created them new work. OF WASHING or COLOURING OF Maps, and Printed Pictures. The Fifth Book. TO Wash Maps or Printed Pictures is nothing else but to set them out in their proper Colours, which to perform well is a very fine thing. I have seen a Printed Picture printed upon fine Parchment, only washed with Water-colours, which could hardly be distinguished from a Limned piece, and there are many now in England very excellent at it. If any ingenious spirit that delights in Picture, and hath not time or opportunity to study to be a proficient in Painting in Oil or Limning, I would advise him to practise this, which is very delightful and quickly attained; the manner of performing of it I shall here in this Book teach. CHAP. I. What things are necessary to be always ready for Washing of Maps or Pictures. SECT. I. Of Colours for Washing. HHRE note, that all the Colours that are mentioned in the Second Chapter of the Third Book concerning Limning in Water-Colours, are all to be used in Washing or Colouring of Pictures, wherefore provide yourself of those Colours, grind them, wash them, and steep and temper them according as you are directed in that Second Chapter; I say, you must have all these Colours in a readiness; and for Colouring of Prints some other Colours, namely these that follow, which how to order I will anon show you. Colours to be used in Washing, which are not used in Limning. BLACKS. Printers Black. or, Frankford- Black, to be had of the Plate-Printers. REDS. Vermilion. Rosset. BLEWS. Verditure. Litmos. Flory. YELLOWS. Gumbooge, Yellow-berries, Orpiment. Also these; Brazeel and Log-wood ground, and Turnsoil. Of these Colours above mentioned, Printers Black, Vermilion, Rosset, Verditure, and Orpiment are to be Ground as is taught in the second Section of the second Chapter of the third Book, page 70. and therefore, I say, Grind them as you are there taught. Now for the other Colours above mentioned, they are to be ordered several ways, as followeth. And 1. Of Litmos, how to order it. Take fine Litmos and cut it in small pieces, then lay it in steep the space of twenty four hours at least, in a weak Water of Gum-Lake; [The making of Gum-Lake Water is taught before in the first Chapter of the third Book, pag. 66.] it will be a pure Blue Water, good to Wash withal. 2. Of Flory Blew. Take Flory Blue and grind it with the white of an Egg, [beat the white of the Egg with a spoon in a Porringer till it become a clear Water.] Flory thus ground, if you add thereto a little Rosset, it maketh a light Violet-colour. If you mix with it both Red and White Lead, it maketh a Crane-Feather-colour. It, and Pink, Masticote, or Gum-booge make a fair Green. 3. Of Gum-booge. Take Gum-booge and dissolve it in fair spring-water, and it maketh a most beautiful and transparent Yellow. 4. Of Yellow-Berries. Take Yellow-Berries, bruise them a little, and let them steep in Allum-water all night, in the morning you will have a very fair Yellow to Wash withal. 5. Of Turnsoil. Turnsoil is made of pieces of Linen cloth died of a kind of Violet-colour. Take a dish and put some sharp Vinegar therein, together with your Turnsoil, than set the dish over a gentle fire in a chafingdish till the Vinegar boil and be coloured, then take out the Turnsoil and squeeze it into the Vinegar; to which put a little Gum- Arabic to dissolve; it is an excellent good liquor to shadow upon any Carnation or Yellow. 6. Of Brazeel. Take Brazeel ground, to which put a quantity of small Beer, and as much Vinegar, set them in a pan upon a soft fire, and there let it boil gently a good while, then put therein some fine powder of Alum to raise the Colour, as also some Gum- Arabic to bind it; boil it so long till it taste strong on the tongue, it maketh a very transparent Red. 7. Of Log-wood. If you boil Log-wood ground in all respects as you did your Brazeel, it will make a very fair transparent Purple-colour. SECT. II. Of other necessaries. 1. Of Allum-water, how to make it. TAke a quarter of a pint of Alum, heat it to powder, and boil it in a quart of fair Water till it be dissolved. With this Water wet over your Pictures that you intent to colour, for it will keep the Colour from sinking into the Paper, and it will add a lustre unto the Colours, and make them show fairer; and it will make them continue longer without fading: you must let the Paper dry of itself after you have wetted it, before you lay on there Colours, of before you wet it again; for some Paper will need wetting four or five times. But if you intent to Varnish your Pictures after you have Coloured them, you must first Size them, that is, rub them over with white Starch new made with a Brush very fine, in stead of doing them with Allum-water, he sure you size it all over, or else the Varnish will sink through; if your Varnish be too think, put into it so much Turpentine-oyl as will make it thinner. 2. How to make Size. Take some Glue, and let it steep all night in water to make it the readier to melt in the morning, than set it on a coal of fire to melt, to try whether it be neither too stiff nor too weak, for the meanest is best; take a spoonful thereof and set it in the air to cool, or fill a Mussel-shell of it, and let it swim in cold water to cool the sooner; if it be too stiff, when it is cold put more water to it, if too weak, then put more Glue to it; and when you use it make it lukewarm. This is to wet your clothes in, if you intent to passed your Maps or Pictures upon Cloth, you may use white Starch to wet your sheet, and wring it out and strain it upon a frame, or nail it upon a wall or board, so passed your Maps or Pictures thereon. 3. How to temper Gold to Write with a Pen or Pencil. Take the sweep of leaf-Gold, such as Bookbinders sweep off their Books, or leafe-Gold itself, and with stiff Gum-water, with a pretty deal of white Salt, grind them very well together, and put it into a glass, and put a quantity of fair water as will sufficiently cover it, to make the stiff-water dissolve, that so the Gold may settle to the bottom, and let it stand four or five days, then pour away the water and put clean water to it again, if you find the Gold dirty, refresh it again the third time, then pour it away and take clean water again, and a little Salt-Armoniack and great Salt, and put it in a galley-pot, and stop it very close, and let it stand a week, then take it out and put it into a a piece of sheepsskin when the grain is taken off, tie it up close, and hang it up that the Salt may fret from it; then take the Gold and temper it with the white of an Egg or Gum-water: so use it with Pen or Pencil. 4. Of Pencils. Provide Pencils of all sorts, both pointed and fitch; a large Brush to passed your Maps upon Cloth withal; another to Wet your Paper with Allum-water; a third to Starch the face of your Picture withal before you colour it; and a fourth Brush to Varnish withal. CHAP. II. Of other Colours for Washing, both Simple and Compounded. 1. How to make a Green colour of Copper-plates. TAke any shreds of Copper and put distilled Vinegar to them, set them in a warm place until the Vinegar become Blue, then pour out that Vinegar into another pot well leaded and pour more Vinegar upon the Copper, letting that stand until it be of a Blue colour, then pour it into the former liquor; this you may do so often until you have liquor enough, then let the liquor stand in the sun or upon a slow fire till it be thick enough, and it will be a good Green. 2. To Make a Green another way. The best is Cedar-green, but that is dear, therefore you may take green Bise and steep it in Vinegar, then strain it through a linen rag, then grind it well with fair water, and put to it a little Honey, and let it be well dried, and when you use it mix it with a little Gum-water. 3. Another Green. Take the juice of Rew, and a little Verdigrease. and a little Saffron, and grind them well together, and use it with a little Gum-water. 4. For light Greene's. Sap-greens, Flower de Bise, or Tawny-green, these need no grinding, only steeped in fair water, Verditer and Ceruse mixed with a little Copper-green, makes a good light colour. 5. To shadow Greene's. Indigo and Yellow-berries will do very well. 6. Green's for Landscapes and Rocks. Temper your Green with white Pink, Bise, Masticote, Smalt, or Indigo, or Ceruse. Blew Verditer mixed with a few Yellow-berries, make another Green. 7. To make a Blue. There is Venice-Ultamarine, but this is very dear; there are Bises of several sorts, deeper or paler; there is Smalt and Verditer; grind any of these with Gum-water. 8. Of shadowing Blews. There is Indigo, Litmos, or Flory, take any of these, they need no grinding, steep them in the lees of Soap-ashes, when you use them put Gum-water to them with discretion. 9 To make a Brown. Take Ceruse, Red-Lead, English-Oker, and Pink. 10. Spanish Brown. It's a dirty colour, yet of great use if you burn it till it be red hot; but if you would colour any hare, horse, or dog, or the like, you must not burn it, but to shadow Vermilion, or to lay upon any dark ground behind a Picture, or to shadow Berries in the darkest places, or to colour any wooden Post, Wainscot, bodies of Trees, or any thing else of Wood, or any dark ground on a Picture. 11. How to make an Orange-colour. Red-Lead is the nearest to an Orange, put a few Yellow-berries into it, makes a good Orange. 12. A Flesh-colour. Take of White and a little Lake, and some Red-Lead mixed, you may make it light or red as you please, by adding more or less White in shadowing the Cheeks and other places, if you would have a swarthy complexion; and to distinguish the Man's flesh from the Woman's, mingle a little yellow Ochre among your Flesh. 13. Colours for the Sky. Light Masticote, or Yellow-berries, and White for the lowest and lightest places; red Posset, White for the next degree; blue Bise and White for the other; and blew Bise for the highest, for want of Bise use Verditer; these must be worked together; you must not receive any sharpness in the edge of your Colour, and they must be so laid on, that you cannot perceive where you first began to lay them, you must so drown them one in another. 14. To make colours for Precious stones. Verdigrease with Varnish makes an Emerald, and with Florence Lake it makes a Ruby, and with Ultramarine it makes a Saphire. 15. Colours for Landscapes. For the saddest Hills use burnt Umber, for the lightest places put some Yellow to the burnt Umber; and for the other Hills lay Copper-green thickened on the fire, or in the Sun; for the next Hills further off, mix some Yellow-berries with Copper-green, and let the fourth part be done with green Verditer; and the furthest, faintest places with blue Bise, and for want of that, with blue Verditer mingled with White for the lightest places, and shadowed with blue Verditer in the shadows indifferent thick; the Highways do with Red-Lead and White, and for variety use yellow Ochre, and shadow it with burnt Umber, and you may use it for sandy Rocks and Hills; the Rocks you may do with several colours, in some places Black and White, in other places with Red-Lead and White, and some with Blue and White, and other colours, such as you judge are convenient, and do most resemble Rocks, and let them be pleasant colours; the Water must be black Verditer and White, shadowed with green and with blue Verditer; when the Banks cast a green shadow upon the Water, and when the Water is dark in the shadows, then shadow it with a little Indigo and Green thickened, and some blue Verditer. 16. Colours for Buildings. When you colour Buildings, do it with as much variety of pleasant colours as possible can be imagined, yet not without reason, and let discretion rule you in mixing your Colours; in colouring of Buildings you may use sometimes White and Black for the Wall, Conduits, or other things; for Brick-houses and others you may use Red-Lead and White; when many Houses stand together, colour them with various colours as you can; about Buildings use sometimes Umber and White, and sometimes Lake and White, or Red-Lead and White for variety. 17. How to Shadow every colour in Garments, or Drapery. Take this Rule, that every Colour is made to shadow itself, or if you mingle it with White for the light, and so shadow it with the same colour unmingled with White, else take off the thinnest of the colour for the light, and so shadow it with the thickest bottom of the colour; if you will have your shadow of a darker colour, than the colour itself is to shadow the deepest places. CHAP. III. General Rules to be observed. 1. SAp-green is only used to shadow other Greene's, and not to be laid for a ground in any Garment. 2. Lake must not be shadowed with any colour, for it is a dark Red; but for variety you may shadow it sometimes with Bise, or blue Verditer, which will make it show like changeable Taffeta. 3. Blew Verditer is shadowed with thin Indigo. 4. Blue Bise is shadowed with Indigo in the darkest colours; Yellow-berries, the natural shadow for it is Umber, but for beauty's sake it is seldom shadowed with Umber, but with Red-Lead, the darkest touches with Spanish-Brown; and for variety's sake its shadowed with Copper-green thick, and with blue Bise or blue Verditer. What Colours sets off best together. 1. Whites are very useful in all colours, and sets off Black and Blue very well; but Blacks are not much used, but upon necessary occasions in some things, as your judgement shall direct you. 2. Reds' sets off well with Yellows. 3. Yellows sets off well with Reds, sad Blews, Greene's, brown's, Purples. 4. Blews sets off well with Reds, Yellows, Whites, brown's, and Blacks; but Blews set not off well with Greene's and Purples. 5. But Green's sets off well with Purples and Reds. SECT. II. Directions for the Mixing of your Colours. TO mix any Colour, be careful that you make it not too sad; when you mix your Colours be careful you put not your Pencils out of one Colour into another, for it will spoil and dirty your other Colours, except you wash your Pencils clean. When you mix any Colours stir them well about the water, being well coloured pour it out into a Shell, and stir the rest of the Colours and mingle them together; pour out the Colour first, that you may the better know what quantity of the sadder will serve. FINIS.