VARIETY OF EXCELLENT symmetrical RULES of Drawing Limning &c. Invented by Odoardo Fialet and others    

THE Whole Art OF DRAWING, PAINTING, LIMNING, AND ETCHING. Collected out of the Choicest Italian and German Authors. To which is added Exact Rules of Proportion for Drawing the Heads of Men, Women and Children, of what Bigness soever.  
Originally invented and written by the famous Italian Painter Odoardo Fialetti, Painter of Boloign.  
Published for the Benefit of all Ingenuous Gentlemen and Artists, by Alexander Brown Practitioner.  
London, Printed for Peter Stint at the sign of the white Horse in giltspur-street, and Simon Miller at the star in St Paul's churchyard, M. D C. LX.   

TO THE Great Cherisher of all Ingenuous Artists. Sr WILLIAM PASTON Baronet, &c.  
Honoured Sir,  
IT was a Fate as happy as accidental, threw this ensuing Treatise into my hands, ready instructed at the charge of a Person of Honour in the English Tongue, and by him preserved as a Jewel (bound up together with the Original Prints and Italian Comment) for private use. There hath been no Parallel it'h same Species ever public in this our native dress, which put me to a pause, till the remembrance of your un●●served favour (despairing of any thing of my own, worthy your acceptance) prompted me to communicate. And the rather, because I find my Author both precedent and warrant, first unlocking this treasure in his Mother tongue. Let therefore the genuine propensity, your disposition bears to Arts of this nature, pardon my presumption; and your wonted candour, not only courteously entertain this Stranger (whose noble extract shines through all disguises) but also vindicate him against incident injuries; from which, the inscription of no Name I know, can better protect, than your own. Sir, I may not longer detain you here, since I dare hope you will take some delight in the Garden, though this passage be wholly unpleasant, were it not an Inlet, and the only conveyance of the duty and observance of  
Your honour's most humble and obliged Servant, Alexander Brown.   

THE CONTENTS.  

Several Observations and Directions in the Art of Drawing, page 1. 7  
The Manner of Drawing a Head by the Life, 1. 45  
How to Draw a naked man by the Life, 2, 3  
How to perfect the out-Lines of any Point or Figure 6  
How to decline any Print in a small compass, ibid  
Observations in the Art of Limning, and Painting, and Tempering Colours, 8, 9, 10, 11  
How to prepare a Tablet to work on, 12  
Rules for Shadows in the Face, 13  
How to begin a Face by the Life, 14  
Concerning dead-Colouring, 15  
The second work of Painting observed in the second Sitting, 15, 16  
The Manner of finishing at the third Sitting, 17  
Ornaments in setting forth a Picture, 18  
A Receipt to make liquid Gold, 19  
Rules for landscapes, ibid  
Secrets for preserving Colours, 20  
General Observations in Painting, ibid  
Instruments to draw with, 21  
To make Wax-work or Moulding, 22, 23  
To counterfeit Sweet Meats, 24  
To counterfeit Pearl, ibid  
Grounds and Rules of Etching, 25  
Instruments used in Etching, 25, 26  
How to make the Ground, 27  
How to lay the Ground on the Plate, 28▪ 33  
How to draw the outmost Lines of any Print on the Plate, ibid  
Several Observations in Hatching, 29  
Necessary Observations in Etching landscapes, 30  
How to make the Wax-wall round about the Plate, to keep the Aqua fortis from running off, ib  
How to use the Aqua fortis, ibid  
How to know when it is eaten deep enough, 31  
To lay a white or red Ground on a black, 32  
How to preserve the work in frosty Weather, 34  
To keep the Aqua fortis from injuring the Plate, ibid  
To Etch soft or hard according to Nature or Art, ibid  
Observations in Etching Prospective, 35  
How to Grave any Hand or Letter on Copper, ibid  
How to Polish the Plate, 36  
Fit Instruments to be used; and their use, ibid  
Rules of Proportion for Drawing of the Ear, 38  
Nose, Mouth, and Beard, 40  
The Head upright, or with a Triangle, 41, 42  
The Foreright, and other Positions of the Face, 48  
The Inclining or Foreshortning of the Face, 46  
A more perfect Foreshortning, 44  
The upright or side-Face without any Measure, 50  
The Manner how to describe a Head every way without Measure, 52  
Of children's Heads, 54    

THE ART OF drawing.  
Several Instructions and Observations directing to the Art of Drawing.  
BEcause the greatest difficulties and principal parts of this Art consist in some part in Drawing the lively Resemblance of a Face, therefore I thought it very necessary to add this as a further direction to Draw any Face after the Life.  

Several Observations in Drawing a Head after the Life.  
Therefore if you will draw any Face after the Life, that it may resemble the Party you Draw it after; take notice in the first place of the Physiognomy or circumference of the Face, whither it be round or long, fat or lean, big or little; so that in the first place you must be sure to take the right Physiognomy and bigness of the Face, and in case it be a fat Face you will perceive the Cheeks to make the side of the Face swell out, add so make the Face look as if it were square; and if it be neither too fat nor too lean, it will be round for the most part; but if it be a lean Face the jawbones will stick out, and the Cheeks fall in, and the Face will be long and slender. Observe when you Draw the outmost circumferences of a Face, to take the Head and all with it, or otherwise you may be deceived in Drawing the true bigness of a Face, than you must diligently and judiciously observe and discern all the Gentlemaster touches, which gives the spirit and life to a Face, and discovers the graces or disposition of the mind, wherein lieth the whole grace of the work, and the credit of the Artist, you may easily discern a smiling countenance in the corners of the mouth when they turn up a little; you may best discern a staid and sober countenance in the eye, when the upper eyelid comes somewhat over the Ball of the Eye; but a frowning countenance is easily discerned in the Forehead by the bending of the eyebrows, and some few wrinkles about the top of the Nose between the two eyebrows▪ and a laughing Countenance is easily discerned all over the Face; but an angry Countenance is discerned by extraordinary frownings; there are also some touches about the Eye and Mouth which you must diligently observe, which gives the spirit and life to a Face.   

Some general Rules to be Observed in Drawing the Figure of a Naked Man after the Life.  
A standing Figure from the top of the head to the bottom of the feet is eight times the length of the Head, and because you ought to be most exact in Drawing the Head, because the whole body must be proportioned correspondently to the Head; therefore I shall give you in short some several Rules and Observations to Draw a foreright Head. First, Draw an Ovale, then divide that Ovale into four equal parts; the first is for the Hair, the second for the Forehead and brows; the third for the Nose, the fourth for the Mouth and Chin, as afore written in the Book of Fielettoe. But when you Draw after the life, you are not to follow this Rule exactly, because some Men have a long Nose, and another a short; one a high forehead, another a low forehead; Therefore if you look upon a hundred men's Faces that they all differ one from another, the eyes must be placed just the length of one eye the one from the other. Then having Drawn the Head, you measure out eight times the length of the Head, than the Head is reckoned one of the eight parts; than you must Draw a straight Line from the top of the Head to the sole of the foot, one Heads length from the Chin, you must Draw the breasts the third length reacheth to the navel, the fourth to the privities, the fifth reacheth just to the middle of the Thigh, and the sixt to the lower part of the Knee, the seventh to the small of the leg, and the eighth to the Heel and sole of the Foot: But observe as you Draw downwards from the Head to place the Muscles in their right places according to nature; and because there are no certain Rules for Drawing the Muscles but only to observe them exactly as they are in the Life. The breadth of the Shoulders containeth two measures of the Head, the breadth of the hips two measures of the Face, and the arms stretched out are eight measures of the Head, and if the breasts be reckoned unto them, so the arms without the breasts are but six measures. And note that when an arm hangeth straight down it reacheth within a span of the Knee: a Hand must be no longer than the length of the Face, that when the Hand is spread abroad, it must as it were cover the Face and no more; It is very necessary for one that intends to practise to Draw Naked Figures to Draw after good Anatomies of plaster, and when you have practised a while, it will learn you to place all your Muscles according to Nature or Art. There are also good Books of Anatomies with Prints and instructions to them, which are very useful for one that intends to draw a good Naked Figure, which you can never be eminent at, without you understand the Anatomy and use to Draw after the Life very much.   

Some further Observations in Drawing a Naked Figure.  
Whatsoever you Draw, Draw it at first very lightly with a coal, because if it be out of proportion you can the easier mend it, and rub it out, and Draw it again anew: but note, that you must finish nothing with your coal, before you see every thing is placed right according to Art and proportion and then finish it the one after the other as exactly and curiously as you can possibly in the Drawing a Naked Figure. Observe first that you draw the Head very exactly, and next the Shoulders in their just breadth, as before mentioned, containing two measures of the Head; Then you Draw the trunk of the Body beginning just at the armpits, and you may leave the arms to finish till afterwards, and then you proceed to Draw down to the hips on both sides, but be sure that you exactly observe the breadth of the Wast; and when you have done this, then Draw that Leg first which the Body standeth firmest upon, then Draw the other which standeth looser of the two, but be sure to place that Leg which the Figure stands upon firmly and right, upon the straight Line which cometh down from the Head, or else the Figure may seem to yield one way or the other, and as it were fall; and lastly you must proceed to Draw the arms and Hands.   

A further Observation.  
When you Draw a Naked Figure you must judiciously and exactly observe to place the joints and Sinews and Muscles in their natural places, according to their proportion, and observe that one joint be not higher or lower than the other; otherwise the Figure will seem to be crooked and deformed and out of proportion to the judicious eye; see that every parallel joint must bend moderately according to Nature, and answer the other which is opposite to it; and note that the straight stroke must be struck according to the bending of the Body, so that if the Body bow, the stroke must bow also, and if the body stoop downwards a little, you must strike your stroke sloping accordingly; then make the Shoulder, which ought to stand straight over one another, the one to be a little higher than the other, on that side which the body turns upon the Shoulders and the other joints, which otherwise ought to be placed one even against another; you must make them to yield something lower than that side the Figure stands firmest upon, more or less, answerable to the stooping of the Body; and be sure to be very exact and careful in the Drawing your outmost circumferences, and to be very careful in Drawing your Muscles and joints which are in the body; therefore because you should place things in their right and natural places, you strike the straight Line from the Pit of the Throat straight down, just in the middle of the Body, where you can discern the parting of the Ribs. From thence you must proceed with your Line quite down to the Feet, and be sure to observe the bowing and bendings of the Body, and to draw that part which is opposite to that which bendeth, to yield and bend accordingly with it: As for example, if one side of the Body doth yield or bend inwards, than you must make the other side for to stand out answerable, and according to the bending in of the otherside; and observe whensoever you draw the Back bending in, you must make the Belly to yield in according to it, so that when the Belly yields in, the Back must stick out according to proportion; and also if the Buttocks stick out, then that which is over in opposition to it must yield in equally. This is not only to be observed in these parts of the Body, but in all the other also; as when the Knees bend out, than the hams which answer to it must yield in accordingly, and therefore this Rule is very necessary to be observed very exactly in all the other joints; or else peradventure the Body will not have all the natural windings and yieldings, which give the greatest looseness to any Figure whatsoever. Withal be sure to use your utmost endeavour to make things of an answerable and equal proportion and bigness according to Art, that is to say, not to make a Leg or an Arm or any other joint, not of an equal and suitable bigness, but to make one bigger than the other; therefore observe to make all the joints of an equal bigness, both of bigness, length, and breadth, but according to proportion. But in case any part of the Body yield or turn something away from the Eye, than you must decline that part which turneth according to proportion; and likewise if any part of the Body do appear to the Eye to foreshorten, as when it doth hinder the sight of the full Latitude of that part of the Body: Therefore I say upon such occasions, the Body or part of the Body must be made to decline and foreshorten, according to that proportion that the Eye doth guess of it; therefore be sure to observe your exact distances one from another, how far the one is distant from the other; you must observe also how much one part of the Body sticks out beyond the other; be careful when you draw a naked Figure to draw nothing hard, but to shadow it fine and soft as possible you can, and not to draw the out-Circumferences sharp or stiff, but as loose as possible.   

A way to take the perfect out-Lines or Circumferences of any Painting or Print whatsoever.  
Take a sheet of Venice Paper, and dip it in oil; or take a Feather, and wet the Paper all over with oil of Turpentine, then take a clean linen Rag, and after the oil is soaked into the Paper a while, rub the oil clean off from the Paper as clean as you can, for if the Paper be oily it will spoil any Print, because that the oil will soak through. Then having prepared the oil-paper, take it and lay it upon the Painting or Print which you intend to draw after, and you shall perceive all the Painting very clearly through the oil-paper. Then you take a black lead pencil, and▪ draw upon the oil-paper all the out-Lines and Circumferences thereof, then take a piece of charcoal, or a piece of black Lead, and scrape it upon the backside of the oil-paper, then take a Feather and rub it all over, and shake off the rest; this being done take a sheet of clean Paper, and lay under the oil-paper; then take a Stift, and draw all the same strokes which you drew before upon the oil-paper over again, then take the oil-paper off from the other, and all the same out-Lines will be upon the clean Paper; then if you think good, you may finish it up according to the Painting or Print you draw it after.   

A way to decline or bring any Painting or Print into a lesser compass.  
If it be a Painting that you intend to decline, than you take a pair of Compasses, and divide the length of it into so many equal parts as you think convenient, and the breadth also with the very same distances, than you must take a piece of Packthread and chalk it, then take that Line, and strike upon all the parts which you divided with your Compasses, so many strait Lines as there are parts in the length, then strike them Lines that go in the breadth, quite across them in the length, so that it may be all uniformed; so the like with that as you would have smaller or greater, according to your intention; and by the distances in the Chequers you guess to draw it smaller accordingly.   

A further direction for Drawing.  
Be sure to place all the Muscles in their right and proper places: By the Muscles I mean the shadows that are caused by some dents or swellings in the face or body; therefore labour to find out the reason of every Muscle, that so you may proceed to work with the more judgement; you shall perceive the most Muscles in old and withered faces. First you must draw the principle of them, and then place the features exactly in their right places; observe to shadow them rightly, and be sure not to make them too dark where they should be faint, for if you should, you can never recover it to make them light again; the shadows are generally fainter and lighter in a fair face, then in a swarthy complexion. And when you have finished your draught, you must give it here and there a hard touch where it is darkest shadowed, which will add a great life and grace to it.    

Certain choice Observations concerning miniature or Limning▪  
ERe you begin to paint, you must be exact at Design or Draught, so as to be able to Copy any Picture in black and white, with coal-black, Chalk, Black Lead, or the like.  

The Colours to be painted with are thus termed.  
White 

Cereus.  
White Lead.    
Red 

India lake.  
Red Lead.  
Mynne.    
Yellow 

Masticot.  
Yellow ochre.  
English Ocur.    
Green 

Sap green.  
Pink.  
Blue Verdure.  
Green Bice.  
Terra Vert.    
Blue 

Indigo.  
Vltra marine.  
Blue Bice.  
Smalt.    
Brown 

Spanish Brown.  
Collins earth, or Terra de Coloma.  
Umber.    
Black 

Cherristone.  
Ivory black.  
Lamblack.     
As for Vermillion, verdigris, Orpiment, &c. they are too course and gritty to paint in Water-colours; Turnsoil, Litmus blew, Rosset, Brasill, Logwood, Saffron, are more fit for washing Prints, then curious Limning.  

Grisatrice.  
Faint shade for the Face] Mingle together white English Ocur, indigo, a little Masticot.  
Deep shade] White English Ocur, Umber.  
Dark shades in men's Faces] India-Lake and Pink mixed.  
Ruddy Compl.] Mine, Vermilion, Lake, Cereus, Ana q. s.  
Mingle white Lead with all the shades.   

Bice.  
To Wash bice] grind the bice first very purely, then fill a shell with clean water, put the bice therein, stir it, and let it settle an hour, then reserve the bottom and blow oft the top. To deepen this use Litmus' Water.  
Deepest shade] Umber, Cullins earth, Pink, Lake, Ana q. s.  
Observation in Grinding] Leave not your Colour too moist, but thick and clammy; if after your Colour be dry, you rubbing your finger thereon find any to come off, it must be better bound with Gum.  
Black] Cherystone burnt good for Drapery.   

Cereus.  
White] To make your Cereus or white Lead that it shall neither rust nor shine (both which are no small inconveniences) go this way to work before you begin to grind either of them; lay them in the Sun to dry two or three days, which will exhale those greasy and salted humours that poison and starve the Colours; besides you must scrape away the superficies of the white Lead, and only reserve the middle of it; grind it with fair water or Rosemary water with a Pebble on a Porphir.  
When 'tis ground, have in readiness a Chalk stone with Furrows in it, into which put the Colour while 'tis wet, and it will be exceedingly cleansed thereby. After it is through dry, reserve it in clean papers, and when you would use it, put it in a Muscle shell with Gum water made of the whitest Gum Arabic.   

Colours to be ground are these.  
Cereus, white Lead, India Lake, English ochre, Pink, indigo, Umber, Spanish Brown, Cullins Earth, Cheristone Ivory.   

Colours to be washed are these.  
Red Lead, Minne, Masticot, green bice, Cedar green, Ultra Marine, blue bice, Smalt, Verdure, Sap green.   

India Lake.  
Purple] grind this with Gum water; when 'tis ground fine before you put it in a shell, mix a little powder of white Sugar Candy with it, which will make it not crack; after this Temperature, you may spread it with your finger thinly about the shell.   

English Ocur.  
Yellow] This Colour lies even in the shell of itself, and is of great use, especially if well ground▪   

Pink.  
Green] The fairest Pink is best, wherewith well ground and tempered with blue bice, makes an excellent green; to deepen this Colour in landscape or Drapery, use indigo very finely ground.   

Umber.  
Brown] This Colour is somewhat greasy, to cleanse which burn it in a Crucible, afterwards grind it and it will be good.   

Spanish Brown.  
Dark Red] Because this Colour is very course, you may use Umber and a little Lake tempered instead thereof, which is as good.   

Black.  
Black] Cherristone and Ivory are both to be burnt in a Crucible and so ground. Cherristone is good for Drapery; for a black satin, temper with it a little white, India, Lake, and indigo; heighten it with a lighter mixture; deepen it with Ivory black: This was Hilliards way.   

Ivory.  
Ivory] grind Ivory with sugar-candy.   

Colours to be washed and how.  
Red Lead] One Instance may serve for all, and that shall be of red Lead, whereof take as much as you will an Ounce or two, put it into a basin or earthen Dish full of fair water, stir it a while together till the water be all coloured, let it stand, and you will soon perceive a greasy scum to arise, which with all the water cast away, put fresh water to it, and do as before a second time; but before the water be half settled, pour all the water into a clean Dish to this water in your second basin, you must add more clean water, and mingle both together, then let it settle, afterwards pour out the water, and that small pittance at the bottom is only good, which after 'tis dry must be taken off with a Feather, and put up in papers for use.  
To use it, spread a little of it about the sides of a shell, and with your finger temper it with Gum water.  
Pencils] Choose such Pencils as are clear, sharp-pointed, not dividing into parts; of these you must have in readiness a several Pencil for every several Colour.   

To prepare a Tablet to work on with Miniature for Pictures by the life.  
Take an ordinary playing Card, polish it with a dog's tooth, and make as smooth as you can the white side of it, cleansing it from all spots and extuberances; then choose of the best abortive Parchment a piece proportionable to your Card, which piece with fine and clean Starch passed fast on the Card, temper the Starch before you paste it on in the Palm of your hand, that it may be free from knots; let the Card thus pasted dry, then making your Grinding stone as clean as may be, lay the Card thereon with the Parchment side downward; then with a tooth burnish or polish the backside as hard as you can. Note that the outside of the skin is best to paint upon, and must therefore be outmost.  
To Prime for a Face] Your Card thus prepared, you are to lay a Ground or Primer of flesh Colour before you begin your work, and that must be tempered according to the Complexion of the Face to be drawn; if the Complexion be fair, temper white, red Lead, and Lake; if an hard swarthy Complexion, mingle with your white and red a little fine Masticot, or English Ocur; but note, that your Ground ought always to be fairer than the Face you take, for it is a facile matter to darken a light Colour, but a difficult to lighten a deep one; for in Limning you must never heighten, but work them down to their just Colour.  
Your Ground thus prepared, you must lay it on the Card (ordered as before) with a Pencil bigger than ordinary, lay it on as smooth, even, and free from hairs of your Pencil as 'tis possible, which that you may do, fill your Pencil full of Colour rather thin or waterish, then thick and gross, and with two or three daubs of your great Pencil, lay it on in an instant, the nimbler it is laid on, the evener the Colour will lie.  
Note] Note that you ought to cover rather too much then too little with this Prime; cover 〈◊〉 what more of the Card with the Ground Colour, than you shall use for the Face.  
This done, take a pretty large shell of Mother-pearl, or another shell, and before you 〈◊〉 work, temper certain little heaps of several shadows for the Face, which you may dispose about the edges of the shell.   

The Order of shadows for the Face.  
Shadows] In all your Shadows, remember to mix some white, exempli gratiâ; for the red in the Cheeks, Lips, &c. temper Lake, red Lead; and a little white for the blue, as the veins, &c. a little indigo and white, for blue bice is never used in a Face; for the faintest and weakest Colour or Shades, Lake-white, a little ochre, and a little indigo, adding thereto if you will a small pittance of Pink, or Masticot; for the deeper Shadows, white English Ocur, Umber; for the darkest and hardest Shadows, use Lake, and pinks mixed with Umber. Note that black must not by any means be used in a Face: for other Shadows your own observation must direct you, for it is impossible to give a general Rule for the Shadows in all Faces, unless we could force Nature to observe the same method in Composing and Modelling them, so that one in every Punctilio should resemble the other.  
Light] For your Light to draw by a Northern is accounted best, which if it fall sloping down from an high window, is best of all.  
Position] Place yourself so to your Desk, that the Light may strike in sidelong from the left hand to the right; and observe that in all your work it will show to the best advantage, when 'tis turned and seen by the same Light it was drawn by.  
Necessaries in Painting] Let a Saucer or clean shell of fair water be ever on your right hand, wherewith you may temper your Colours and wash your Pencils, which you must have on your right hand too; together with a brush-Pencil dry, to brush and cleanse your work from dust; also a sharp penknife, wherewith to take away such spots or hairs as may casually mix with your Colours, or fall into your Card; you may also conveniently cover your Picture with a piece of paper, whereon to try your Pencils before you begin to work.   

To begin a Face.  
The first Draught] Having these accommodations, draw the Lines of Porphile (i. e. the outmost strokes) of a Face with Lake, and white mingled, very faint; by this you may conveniently mend the Draught (if false) with a deeper mixture of the same Colour; the Lines being exactly drawn, and true proportion observed) (which is the chiefest thing of concernment) next observe the deeper and more remarkable Shadows, and with the same faint Crimson Colour of Lake and white, give some slight touches and marks somewhat roughly of these Shadows, which afterwards you'll finish.   

The Order to be observed in drawing by the Life.  
The Order of Drawing▪ First Sitting] First you must only dead-Colour the Face, as the oyl-Painters do, and not meddle with the rest, and this first Sitting commonly takes up two hours.  
Second Sitting] The second Sitting will require four or five hours, in that time you are to go over the Face very curiously, observing whatever may conduce either to likeness, or judicious Colouring, and observation of the several graces, beauties, or deformities, as they appear in Nature, or else in smoothness of Shadows, or close and sweet Couching the Colours.  
Third Sitting] The third Sitting is two or three hours' work, and is spent in closeing what was before left imperfect and rough; but principally in diving to every deep Shadow, the strong touches and deepenings as well in the dark Shadows in the Face, as in the Eyes, Eyebrows, Hair, and Ears, and these touches are ever the last part of this business, and are never to be done till all the Hair and Drapery be finished; these touches (if well done) add exceedingly to the life.   

Concerning dead-Colouring.  
The dead-Colouring of a Face is to be done the roughest and boldest of all; having drawn your Face with Lake and white (as before) you must take to the said Colour a little red Lead, tempering it to the Colour of the Cheeks, Lips, &c. but very faintly, because you cannot lighten a deep Colour, without hazard of spoiling the Picture.  
To begin to Paint] The first Colour to begin the Face with is the red of the Cheeks, and Lips, somewhat strongly, the bottom of the Chin, if the Party be beardless; over under and about the Eyes, you will perceive a delicate and faint redness, and underneath the Eyes, inclineing to purple Colour, which in fair and beautiful Faces is usual, and must be observed; the tip of the Ear and the roots of the Hair are commonly of the same Colour.  
All this you must do after the manner of Hatching, with faint and gentle strokes, washing it all along. In short, in your dead-Colouring you must cover your ground with the aforesaid red, and the subsequent Shadows.  
Note] Be not too curious in your first working, but regard a good bold following of Nature, rather than smooth Curiosity, the roughness of the Colour you may end at another Sitting.   

The second Work of Painting.  
The second Procedure] The red being done, the next is the faint blewes about the corners and balls of the Eyes, and the grey and bluish under the Eyes, the Temples, &c. which you are also to work from the uppermost part of the Face almost all over, but exceeding sweet and faint, by degrees sweetening and heightening your Shadows, as the Light falls. And in going over the Face, be sure to mark out the hard Shadows in the dark side of the Face, under the Nose, Chin, Eyebrows, &c. as the Light falls, and somewhat strong touches in those places. Bring up your work together in an equal roundness, not giving perfection to any particular part of the Face, but visiting all the parts curiously, and in a kind of random, by which means you will better observe the likeness, roundness, postures, Colouring, or whatever else is requisite to the perfection of your work.  
The third Procedure] Having done the fainter or slighter Shades, and somewhat smoothed and wrought them into the red, you may go over the Hair, disposing into such Forms, Folds, or trammels, as may become your Picture best.  
You must at first only draw them with Colour as near as you can suitable to the life, and after wash them lightly at the first, and then once more peruse your work, being careful to fill up the void empty and bare places which are uncovered with Colour, and at last deepen it somewhat more strongly than before in the deepest shady places, still carefully observing the life. Thus much for the first Sitting.   

The Order of Painting in the second Sitting.  
The Party being set just in his former seat, you must most exactly observe and curiously delineate with your Pencil, those several varieties of Nature, which you did rudely score out before. To do this you must use the same Colour in the same places you did before, working, driving, and sweetening the same Colours one into another, to the end that nothing be left in your work with a hard edge, uneven, or a lump together, but all so swept and driven one into another, with the point of somewhat a sharper Pencil than you used at first as that your Shadows may lie soft and smooth, being dispersed and gently extended into all, and towards the lighter parts of the Face, like air or a vapoury smoke; but before this you must carefully observe all the Shadows and Colours.  
The ground behind the Picture] For the ground behind the Picture, it is commonly blue or crimson, somewhat like a Satin or red Velvet Curtain: If blew you must lay it thus; your bice being pure and clear washed, temper as much in a shell as will cover a Card, let it be all throughly moist and well bound with Gum, then with a small Pencil go about with the same Colour the Porphile, that is the utmost stroke, and ambient Superficies of the Picture; this done take a greater Pencil, and therewith wash over somewhat carefully the whole ground that you mean to cover with a blue, somewhat thin and waterish, and then with a reasonable big Pencil full of Colour and flowing, lay over that place with a thick and substantial body of Colour, which before you had only washed over. In the doing of this you must be very swift, keeping the Colour moist that you have laid, not permitting any part to dry till the whole be covered.  
A Crimson Ground] If you would have your ground Crimson like Satin, you must with India-Lake mark out where and in what places you will have these strong and hard Lights and Reflections to fall, which is seen in Satin or Velvet, there lay your Lights with a thin and waterish Lake, and while it is yet wet with a stronger and darker Colour of Lake thick ground, lay the deepening and hard strong Shadows close by the other lights; your best way is to have a piece of Satin before you to imitate.  
For Method in the Touches] After this lay your linen with a flat white, and the Drapery likewise flat, then go over your Face again, endeavouring to reduce each Shadow to its true perfection, then draw the Lines of the eyelids, expressing the red dark Nostril, the shadowy entrance into the Ears, the deepness of the eyebrows, and those more perspicuous notes and marks in the Face, with a Pencil somewhat more curious and sharp then before; you may darken your ground as you see it will be most advantageous to the setting out the Picture.  
The Hair] Next go over your Hair, heightening and deepening it as you shall see by the life, drawing some Locks loosely over the ground, which would otherwise seem unpleasant.  
linen Shade] To shadow linen use black, white, a little yellow, and less blue; the black must be deepned with Ivory-black, with which mix a little Lake, and indigo, or Litmus-blew. Thus much for the second Sitting.   

The Manner of Finishing at the third Sitting.  
Third Sitting] The third will be wholly spent in giving the strong Touches and Observations necessary for the rounding of a Face, which you will now better see to do, the Apparel, Hair, and Ground, being already finished. In this Sitting curiously observe whatever may conduce to similitude, which is the chiefest thing, as Scars, Moles, &c. glances of the Eyes, descending and circumflexions of the Mouth; never make your deepest Shadows so deep as they appear in the life.   

Thus much of the Face and three Sittings: For Ornaments thus.  
Ornament. Armour-Silver] For Colouring Armour, first lay liquid Silver flat and even, which dried and burnished with a Tooth, temper the Shadows with Silver, indigo, Litmus, and a little Umber, work these Shadows on the Silver as directed by the life.  
Gold Armour] For the Gold Armour, lay Gold as you did Silver, for the Shadow, Lake, English ochre, tempered with a little Gold.  
Pearls] To express the roundness and lustre of Pearls, your ground must be white, and indigo, your Shadow black, and Pink.  
Diamonds] Diamonds are expressed with a ground of flat liquid Silver, the deepening is Cherristone, black, and Ivory; the deeper the Shadow, the fairer the Diamond.  
Rubies] Lay a ground of Silver, burnish it to the bigness of the ruby, then take Turpentine of the best and purest, and temper with it very neat a little India-Lake, then taking a Needle or some small iron Instrument heated in a Candle, lay or drop a little of the Composition upon the Silver, fashioning the Stone in a round or square, or what fashion you please with the point of your Instruments, you must let it lie a day or two to dry; if it be too long in drying, add to your other Composition a little powder of clarified mastic; this Receipt is not commonly known.  
emeralds] For any green Stone, temper your Turpentine with verdigris, and a little Turmerick root first scraped with Vinegar, then let it dry, then grind it to fine powder and temper it.  
Saphires] Mix Turpentine with Ultra Marine, &c.  
Note that the ground to all must be liquid Silver polished.   

A true Receipt to make liquid Gold.  
Liquid Gold] Take of fine leaf Gold the value of 2s— 6d, grind this Gold with a strong and thick Gum water upon a reasonable large stone, which you must grind very fine and painfully; as you grind it still add more of your strong Gum water, and though the Gold look never so black and dirty, 'tis never the worse; having brought it to a competent fineness, wash it in a great shell as you did bice, &c. being very clean add to it a little quantity of Mercury sublimate, with the point of your Knife which you must temper with it, and a very little Gum to bind it in the shell, and as it settles and begins to dry in the shell, shake it together, and remove and spread the Gold about the sides of the shell, that it may be altogether of one Colour and fineness, use it with fair water as you do the other Colours.  
Note] So for liquid Silver, only observe (and 'tis a Secret) that when your Silver either with long keeping or moistness of the air becomes starved and rusty, you must to prevent this inconveniency, before you lay the Silver Cover over the place with a little juice of garlic, which will preserve it.   

Landscape.  
landscape] In painting landscape ever begin with the sky, and if there be any sunbeams, do them first.  
Purple Clouds] For the purple Clouds, only mingle Lake and white.  
Yellow] The yellow sunbeams, Masticot and white.  
Note 1.] Work your blue sky with Smalt only.  
Note 2.] At your first working dead-Colour all the Piece over, leave nothing uncovered, lay the Colour smooth and even.  
Note 3.] Work the Sky down in the Horizon fainter and fainter as you Draw near the Earth, except in tempestuous Skies, work your further mountains so that they should seem to be lost in the air.  
Note 4.] Your first Ground must be of the colour of the earth and dark; yellowish, brown, green, the next successively as they lose in their distance must also faint and abate in their colours.  
Note 5.] Beware of perfection at a distance.  
Note 6.] Ever place light against dark, and dark against light [that is] that the only way to extend the Prospect far off, is by opposing light to shadows, yet so as ever they must lose their force and vigour in proportion as they remove from the eye, and the strongest shadow ever nearest hand.   

Dark green  
For a dark green for Trees, mingle blue Verdure, Pink, and indigo; the deepest shadows of all in green are made with sap green and indigo.   

A rare Secret to preserve colours.  
Take Rosemary Water distilled, and with a few drops of it, temper your shell of White, and you shall see it become instantly perfect White, how ever dead and faded it was before. Besides this Water allays the bubbles in White and Umber, which are usually very troublesome in the Grounding them.   

Some general Observations in Miniature.  

1. If your Colours peel or by reason of the greasiness of your Parchment will not lie on; mix with them a very little Ear-Wax, and 'twill help them.  
2. Sit not above two yards from him you Draw by.  
3. Draw not any part in the Face of a Picture exactly at first, neither finish a Mouth, Eye, or Nose, till the rest of your work come up, and be wrought together with it.  
4. When you have finished the Face, make the Party stand up to Draw the Drapery by him.  
5. Let the Party you Draw be set in an higher Seat than yourself that Draw.    

To make Crayons or Pastils and Draw with them.  
Pastils.] To instance one for all, if you were to make a pastille for a brown Complexion, grind on your Stone, Cereus, red Lead, or vermilion, English Ocre, and a little Pink, to this add a proportionable quantity of plaster of Paris burnt and finely sifted, mix this with the other Colours and you may role it up.  
Note.] Mix white Cereus with all your other colours.  
To use these Pastils, Colour the Paper whereon you mean to Draw with a Carnation or flesh Colour, with a wet sponge Draw the out-lines faintly with red Chalk, then rub in the Pastils, finish and fill up all with black Chalk as you shall see occasion.   

To make white.  
Cereus.] Take two parts of ordinary Chalk, and one part of alum, grind these together fine, make them up in a lump, burn them in a Crucible and use them.   

To make white Lead.  
White Lead.] Take a Gallypot, whereinto put several small plates of clean Lead, cover them with white Wine Vinegar, cover the Pot, and dig an hole in a Cellar, where let it abide for the space of six Weeks; take it up, and scrape off the White Lead from the plates.   

To prepare a Card for a Picture.  
Wet a Card all over with a great pencil so soon as the water is sunk in burnish it smooth on the backside, having beaten some Starch with a Knife in your hands palm spread it over, instantly lay on a piece of abortive Parchment, let it be pressed in a book till it be almost dry, then smooth it on the backside.  
To preserve Colours fresh, some grind them with the Gall of a neat.   

To prepare White excellently.  
White.] Take some Cereus which being grossly bruised and put into a fine earthen basin, put to it a good quantity of running Water distilled, wherein wash the Cereus till it be throughly clean and purged, which you shall know by the taste of the Water which is drained from thence.  
varnish.] Varnish is made thus, Take of oil of Turpentine one pound, Sandrake one pound, oil of Spike one pound, mix the oils together, and let all stand over the fire till the Sandrake be ●esolved: if the fire should chance to catch hold of this, clap a Pewter Dish over it.   

Concerning Wax work or Moulding. To make the Moulds.  
The Mould.] Take a good big lump of plaster of Paris and burn it in a Crucible till it be red hot, let it cool, then beat it very fine, and searse it through a Tiffany Sieve; be very cautious that the Wind come not at it, for that will hinder its hardening: after it be tempered keep it wrapped up in a clean brown Paper. Use it thus, Take any Earthen or Pewter Vessel that is shallow, and put ten or twelve spoonfuls of fair Water in it, then prepare your fruit, and bind a rag round it like a Cord in a wreath long ways on the fruit: then take some Linseed oil, or (which is the more cleanly) oil of sweet Almonds, with which in a pencil besmear the lemon or (what other fruit it be) on one side, which lay upermost: your lemon thus prepared, take up some of your sifted plaster of Paris and temper it in the forementioned Water to a pretty thickness, then as speedily as may be with the help of your Spoon cast it on the oiled Lemmon, lay it on very thick, lest the thinness of the Mould spoil the work, when 'tis hardened (which will be in a small time) take away your rag, leaving the linen still fast in its half Mould; Which done, turn the hardened side downward, than oil the other half of the lemon together, with the edges of the Mould, which the rag did cover; then wash your Poringer or Vessel where the former plaster was clean and prepared, and cast on more plaster of Paris as before; observe it must not be too thick when you cast it on, and after 'tis hardened, you must put no more water to it, for than it will crumble; when you have done the Moulds so, and made a notch that one may fall fitly into the other, tie them close together having before well oiled them, and keep them for use.   

To Cast in these Moulds.  
To Cast.] Use the whitest and purest Virgins Wax.   

To colour the Wax answerable to the things you Mould.  
To colour.] For a radish your Ground is Cereus, which must be afterwards Painted over with Lake, the top of the radish Painted with verdigris, all other such Colours must be tempered with Gum-Water. Gum-Water is thus made, dissolve a lump of clear Gum Arabic about the bigness of a walnut in two spoonfuls of fair Water, herewith temper your Colours.  
Note that every thing Mouldable is either all of one and the same colour, as (a lemon,) or striped, and particoloured with different colours, as a Pare, Paremaine, &c. Now such as are of one colour may be easily cast all of the same colour; but such as are variegated must be kept out afterwards by colours tempered with Gum-Water, (as above,) you colour your Wax by putting into it whilst it is hot and melted in a Gallypot, a little linen Bag of that colour you use, provided that the colour be before bruised very fine.  
As to particulars, for the lemons or Apricocks, take only Turmerick in a Bag; for Oranges, Turmerick and red Lead well tempered; Apples, pears, or Grapes, Turmerick and a little verdigris; mixed walnuts and Figs, Turmerick and English Ocre, and Umber all in a bag together; Cucumbers, or Hartichoakes, Peasecods, or Filbirds, Turmerick, verdigris, Eggs, and Cereus, all put in several bags, and steeped in the Virgin Wax when 'tis melting as before mentioned; for Damsons, bruise Charchoale, indigo, and blue Starch in a Bag together; for flesh colour, White Lead, and Vermilion mixed, &c.   

To counterfeit rochcanded Sweetmeates.  
Rochcandy.] Dissolve the quantity of a walnut of Gum Arabic in two spoonfuls of clear Water, let it be very thick, then take any piece of broken Venice Glass, the thicker the better, beat it in a Mortar so small as you please; that it may serve your occasion, daub over some cast Sweetmeats with the forementioned Gum-Water, strew this powder on them, and 'twill with much delight satisfy the expectation.   

Additionall Observations out of a Manuscript of Mr. Hilliards touching Miniature.  
When you begin to Paint temper all your colours a fresh with your finger, in your shell, or on your palate.   

Pearl.  
Your Pearl must be laid with a White mixture, with a little black, a little indigo and mastic, but very little in comparison of the White, not to the hundredth part; that dry, give the light of the pearl with a little Silver, somewhat more to the light then the shadowed side, then take a White allayed with Masticot, and underneath the shadowed side give it a compassing stroke, which shows a reflection, then without that a small shadow of Sea Cole undermost of all. But Note, your Silver must be laid round and full.    

The Grounds and Rules of Etching.  
BEfore that you begin to Etch upon Copper, it is very necessary to practise the Art of Drawing, till you be able if need require to Draw any Head after the Life, or to Draw a design; Therefore if you intend to practise the Art of Etching, you will find it very profitable to Draw after good Prints, which are well designed and Graved, and when you, have practised so long that you are able to copy any Print, or Drawing very exactly; then Draw after good Heads of plaster or Figures, according to your own fancy, which will learn you to shadow according to Art, if well observed; therefore be sure when you Draw after plaster, to observe very exactly to take the true out-lines or circumferences, and then take notice how the shadow falls, than shadow it very faint and soft, where need requires accordingly. The Prints which I recommend unto you as absolutely the best to learn to Etch after, be the Prints of Henry Goldshis' and Hermon Muller. Therefore it is very convenient to learn to hatch with the Pen exactly after either of the aforesaid Prints of Goldshis' or Muller; and when you have brought it to that perfection, and can Draw very well after plaster, you may practise to Draw after the Life; but before you Draw after the Life, you must be very exact and true in your out-lines or circumferences.  

The Instruments with their particular names which are used to Etch withal.  
A Copper plate polished, a piece of Ground bound up in a piece of Silk or taffeta, and preserved from any dust or grease; and about twenty Needles of all sizes, the best are made at Cleafe; then take the Needles and set them indifferent deep into some round slender sticks about a span long, with a Needle at one of the Sticks, and a pencil at the other, a scraper, a polisher; and two or three good French Gravers, well ground and whetted, and a pair of Compasses, a Ruler, some green Wax, a Bottle which holdeth some half a pound, of single Aqua fortis stopped close with soft Wax, some white Lead, a Stift, a hand Vice to hold the Plate over the fire, an oil-stone.   

The use and property of every particular Instrument.  
The Copper Plate is the only Object to Etch upon; the Ground is to lay upon the Copper Plate, when they are both warmed▪ your Needles are to Hatch withal upon the Ground; the pencil is to wipe away the bits of Ground, which rise when you Hatch upon the Ground with your Needles; the Scraper is to scrape out any thing that is amiss▪ the Polisher is to make smooth any place that is rough, so that you can mend any place that is amiss according to your own mind; the Gravers are to mend here and there a stroke where need requires. But Note, That your Gravers must be ground and whet very sharp and smooth upon an oil stone before you use them. Your Compasses are of very little use in Etching, except it be to measure a distance, or strike a Circle. The Ruler is used to Hatch all the straight Hatches or Lines upon the Plate. The green Wax is used to make a Wall round about the edges of your Plate, to keep the Aqua fortis from running off from the Plate. The Aqua fortis is the finisher of the work, when you have Hatched the design upon the Plate with your Needles. The white Lead is used to scrape upon the backside of the Drawing or Print that you Etch after. The Stift is used to Draw thorough all the outmost Lines or circumferences of the Print or Drawing which you Etch after. The oil stone is to whet your Gravers upon. Having these things in readiness, Note, that if it be a black Ground that lies upon the Plate, than you must take white Lead and rub it upon the backside of the Print or Drawing which you intend to Etch after; but if it be a white Ground, than you must take black Lead, or a piece of Charchoale, and rub on the back of your Print as aforesaid.   

The manner and way to make the Ground.  
Take a quarter of a pound of virgin's Wax▪ and half a quarter of a pound of Expoltum burned, of Amber one ounce, of mastic one ounce. Having all these Materials in readiness, you must take the mastic and the Expoltum and beat them very fine in a Mortar; this being done, take a new earthen Pot, and put the Wax into it, and set it upon the fire till it be just melted; then take the mastic and the Expoltum and shake them in by degrees, stirring the Wax about till they be throughly mingled with the Wax; but let it not stand too long over the fire, nor let the fire be too hot, which if you do it will burn the Ground; therefore when they are throughly melted, take it off from the fire, and pour the Ground out into a Pot of fair Water, and make it up into a Ball and preserve it from dust; and when you will use it, take a quantity of it and bind it up in a piece of taffety or Silk, and use it as hereafter.   

Etching.  

A red Ground.  
Grind red Lead very well tempered with Vernix▪   

A white Ground.  
Take of Wax one ounce, Rosin two ounces, melt them together, add thereto a quarter of an ounce of Venice Cereus finely ground▪   

A black Ground.  
Spaltum.] Asphaltum two parts, Bees Wax one part, melt them together, being warm, lay it thinly on with a lawn rag▪   

Another Ground.  
Grind red Lead with Linseed oil; Note, your Ground must be laid very thin.    

The manner and way to lay the Ground upon the Plate.  
Take some charcoal and kindle them, this being done, take the hand and screw it fast to one of the corners of the Plate, as near to the edge as you can, because you must lay the Ground all over the Plate; then take the Plate and hold it over the fire, till it be so warm to melt the Ground, then take the Ground which is bound up, and rub it to and fro upon the Plate till it be covered all over alike; then take one of the stiffest Feathers out of a duck's Wing that is not ruffled, and spread the Ground very thin, and smooth everywhere alike upon the Plate; but have a special care you heat not the Plate too hot, lest you burn the Ground; which if it be, the Ground will break up when you put on the Aqua fortis and spoil the Plate; you may discover when it is burnt, by its rising sandy, which if you perceive, you must take a clean linen rag, and warming the Plate, wipe the Ground clean off, and lay a new as aforesaid. But if you perceive the Ground to be smooth and not sandy, take it off from the fire, and when it is cold, take a piece of Link and hold under the Ground till you have smoked it very black, but let not the flame touch the Ground, lest you burn it; this being done, if the Plate be cold hold it over the fire again till it be just warm, to let the smoke melt into the Ground, that it may not rub off under your hand; then hold it off from the fire with the Ground-side of the Plate downwards for to preserve it from the dust, otherwise when the Ground is warm, dust will fly therein and spoil it, therefore you must hold it with the Ground-side downwards until the Ground is cold.   

The way to Draw the outmost Lines of any Print or Drawing upon the Ground of the Plate.  
First take the Drawing or Print which you intend to Etch after, and scrape a little white Lead upon the backside of it, then take a Feather and rub it over everywhere alike, and shake off that which remains, then take the Print and lay it upon the Plate on that side the Ground is, then fasten the four corners of the Print to the Plate with a little soft Wax; this being done, take the Stift and Draw upon the Print all the outmost circumferences and Lines exactly, and when you have so done, take off the Print from the Plate, and all the same out-lines and circumferences which you Drew upon the Print with the Stift, will be exactly and unfailably upon the Ground.   

Several Observations in Hatching.  
First observe exactly and judiciously how your principle is shadowed, and how close the Hatches join, and how they are laid, and which way the light falleth or cometh; the light must fall all one way, for if the light fall side ways in your Print, you must Hatch the other side which is furthest from the light darkest, and so place your lights altogether on the one side, and not confusedly to have the light come on both sides alike, as if it stood in the midst of many lights; for neither doth the light with all its brightness illuminate any more than that part that is directly opposite unto it. Then observe exactly how close all the Hatches join, and how they are laid, and which way they twist and wind: then follow them as exactly as possibly you can, but before that you begin to Hatch or Shadow, you must Draw all the outmost Lines with a Needle upon the Ground, as Artificially as you can, and then you must Shadow it with your Needles of several sorts according to your principle; and when you will make a broad stroke, then break off the point of a great Needle and whet it upon an oil stone four square until it comes to a point; and if you will Hatch five strokes, than you must use five pointed Needles; and if middle size, then break off the point of a middle size Needle and whet it as beforesaid, and so according to all sizes. But some Masters when they make a bold stroke Hatch it fine at first, and so by degrees make them broader.   

Necessary Observations in Etching landscapes.  
Observe when you Etch landscapes, to make or hatch that which is nearest to the Eye darkest, and so let it lose or decline its Shadows by degrees, and that which is furthest off must be faintest, and so lose equally by degrees; the same observation must be in making the sky, for that which is nearest to the Eye must be the darkest shadowed, but in general as faint and soft as possible; and so also let it lose by degrees as before is mentioned, and the nearer the sky cometh to the ground, the more it must lose and be fainter; but when they as it were meet together, the sky must quite be lost; and when you have hatched it as exactly as you can possibly with your Needles, according to the print of Drawing that you do it after; this being done, compare them exactly and judicially together, and if you find it like the original, take some green soft Wax and make a wall round about the edges of the Plate.   

How to make the Wax wall round about the Plate, to keep the Aqua fortis from running off from it.  
Take some green soft Wax and temper it till it be warm, then draw it into a long slender role as long as will reach about the Plate, then flat it and fasten it about the edges of the Plate, and let it be about half an inch high; then take an old Knife and heat it in the fire, and sear the Wax round about under the Plate very close, otherwise the Aqua fortis will run out; but be sure to fasten the wall as near to the edges of the Plate as you can conveniently; then pour the Aqua fortis upon the Plate, letting it lie till it be deep enough.   

How to use the Aqua fortis on the Plate.  
You must use single Aqua fortis. Take a quantity of Aqua fortis and pour it into a Glass, and mingle it with a little Vinegar to weaken it, if it be too strong, or a little Aqua fortis which hath been used before; for in case the Aqua fortis work too strong, it will make the work very hard, and sometimes make the ground to break up; and when you have tempered it very well, pour it upon the Plate almost as high as the Wax wall; the deeper the Aqua fortis lieth, the harder it will eat, and when you perceive it to be deep enough, pour off the Aqua fortis from the Plate into a Glass, and preserve it to mingle with other as aforesaid; this being done, take some fair water and wash the Plate, and then take off the Wax wall and preserve it for the same use again; then warm the Plate, and take a clean linen Rag when it is indifferent warm, and rub off the ground from the Plate very clean; then take some oil and rub over the Plate to clean it, and if you perceive that the Aqua fortis hath not eaten as deep in some places as it should be, than it must be helped with a Graver.   

Observations by which you may know when it is deep enough.  
When the Aqua fortis hath lain upon the Plate a little more than a quarter of an hour, or half an hour; there being no certainty in time, because sometimes the Aqua fortis will work stronger than at other; therefore when you think it is deep enough, pour off the Aqua fortis from the Plate into a Glass, then wash the Plate with a little fair water, then take a Knife and scrape off a little piece of the ground where it is hatched, and may be least prejudicial to the Plate, and if you perceive it to be deep enough; warm the Plate and rub the ground off as before-written; but if you find it not deep enough, take a little Candle-tallow and melt it in a Spoon, and while it is warm take a pencil and cover the place with it where you scraped the ground off, then pour the Aqua fortis upon it again, and let it lie till you guess it to be deep enough; then pour the Aqua fortis from the Plate as aforesaid, and at any time when you perceive that the Aqua fortis doth not work strong enough, you pour off half the old, and refresh it with some new, for when the Aqua fortis hath been upon the Plate about half an hour, it will be much the weaker, because the strength of it doth evaporate away, and by a little practice you will come to the certain knowledge when the Aqua fortis hath eaten deep enough.   

Another way to know when it is deep enough.  
Take a little piece of a Copper plate, and lay a ground upon it as you have been showed before, and make a wax wall about it, then hatch it with several hatches as you think best, and when you pour the Aqua fortis upon the one, pour it upon the other, and when you think they be eaten deep enough, pour the Aqua fortis from the little Plate, and wash it with some fair water as aforesaid, then take a Knife and scrape off a little piece of the ground from the little Plate where it is hatched, and in case you perceive it not deep enough, cover the place again with some warm Candle-tallow, and then pour the Aqua fortis upon it again till you guess it to be enough; then pour the Aqua fortis from the little Plate again and try as before, and if you see it to be enough, pour the Aqua fortis from the great Plate, and wash it with a little fair water before you warm it, or else the Aqua fortis will stain the Plate.   

A way to lay a white Ground upon a black.  
First you must understand that most grounds are black, and when you lay a white ground upon a black you must not smoke the black with a Link, and you must lay the undermost ground the thinner, when you lay a white ground upon it; and if you would lay a white ground upon a black, take a quantity of Surice, as much as you think will cover the Plate, and grind it very fine with Gum water, and temper it very thin, then take a Pencil and wash the Plate all over very thin and even.   

The way to lay a red Ground upon a black Ground.  
Take red Chalk and grind it very fine with Gum water, then take a pretty big Pencil, and wash the Plate all over with the red ground very thin and smooth, as before is mentioned.   

A Receipt for a Ground taken out of a Manuscript of Collots.  
Take a quarter of a pound of virgin's wax; and half a quarter of a pound of the best Expoltum burnt of Amber, and half a quarter of a pound of mastic if it be warm weather, because it doth harden the ground and preserve it from injury, when you lean with your hand hard upon it; if it be cold weather, then take but an ounce of mastic; this being observed, then take an ounce of Rosin, and an ounce of shoemaker's Pitch, and half an ounce of other Pitch, half an ounce of varnish: having all these materials in readiness; take a new earthen Pot, and put the virgin's wax into it, and when it is melted stir it about; and put in the other materials by degrees as beforementioned, and when they are throughly mingled and melted, take the Pot off from the fire and pour it out in a clean Pot of fair water, and work it into a Ball, and preserve it from dust and grease, and when you have occasion to make use of it, take a quantity thereof and bind it up in a piece of Silk, and make use of it as beforementioned.   

The Ground of Rinebrant of Rine.  
Take half an ounce of Expoltum burnt of Amber one ounce, of virgin's Wax half an ounce, of mastic, then take the mastic and Expoltum, and beat them severally very fine in a Mortar; this being done, take a new earthen Pot and set it upon a Charcolefire, then put the virgin's Wax into it and melt it, then shake into it the mastic and Expoltum by degrees, stirring the Wax about till they be throughly mingled, then pour it forth into fair water and make a Ball of it, and use it as beforementioned; but be sure you do not heat the Plate too hot when you lay the ground on it, and lay your black ground very thin, and the white ground upon it. This is the only way of Rinebrant.   

The way to preserve any Ground, which is laid upon a Plate in frosty weather.  
Take the Plate and wrap it very warm in a woollen Cloth, and lay it in the warmest place you can convenient; for if the Frost is got into the ground, it will break up, when you pour the Aqua fortis upon it.   

A way to preserve the Plate from injury of the Aqua fortis, where the Ground breaks up.  
If you perceive the ground to break up in any place, pour off the Aqua fortis from the plate, and wash it with a little fair water; then take a quantity of Candle-tallow, and melt it in a Spoon, and while it is warm, take a Pencil and cover the place which is broken up with the said Tallow, and so far as the Tallow is spread, the Aqua fortis will not eat; some make use of varnish in stead of Tallow: and when you have covered the place that is broken, pour on the Aqua fortis again, and let it lie upon the Plate, till you guess it hath eaten enough; then pour the Aqua fortis from the Plate, and preserve it, then take the Wax-wall and preserve it also, and wash the Plate with a little fair water, then rub off your ground as aforesaid, and for the places which the ground broke up in, it must be helped with a Graver; therefore it will be necessary for one that desireth to learn this Art, to practise graving a little, so much as to help a stroke where you think convenient.   

A way to make the Aqua fortis eat soft or hard according to nature or Art.  
First take Candle-tallow, and melt it in a Spoon, then with a Pencil cover that place so far as you will have it to be faint, but note it to be after the Aqua fortis hath lain upon your Plate an indifferent while; and so by degrees you must use the Tallow as you would have it fainter; this is very necessary when you Etch landscapes, which must lose and stand at a distance by degrees; therefore when you Etch landscapes, observe to stop off that place first which must be faintest, and so by degrees stop it off, and make it lose equally; and note the nearer you come to the Eye, it must be strongest and darkest shaded, but not on that side from whence the light cometh, for that side must be preserved as faint as may be; but according to Art.   

Observations in Etching Prospective.  
Prospective is a thing that is one of the difficultest Arts to be rightly understood, that is practised; because it is not rightly understood, but by a good arithmetic; otherwise you can never understand Prospective, because you can never guess rightly how much a Pillar, or a Figure, or the like must decline, or lose at their several distances, according to Art and proportion: therefore when you Etch a piece of Prospective after a Drawing or a Print, observe these Rules; beware of perfection at a distance; and be sure to shadow that, which is nearest to the Eye, perfectest and strongest; and the further from the Eye, it must decline in length, and breadth, and height, according to Art and proportion; observe also to let it lose and be fainter by equal degrees.   

A way to grave any Hand or Letter upon a Copper Plate.  
Take some charcoal and kindle them; then take a Hand-vice and screw it to the corner of the Plate, and hold it over the fire till it be warm; then take a piece of virgin's Wax, and rub it all over the Plate, until it is covered everywhere alike: this being done, take a stiff Feather of a duck's wing that is not ruffled, and drive it even and smooth everywhere alike, and let it cool; then write the Hand or Letter which you intend to grave upon the Plate, on a piece of Paper, with ungumed Ink; then take the Paper which you have written, and lay that side which is written, downwards next to the Wax, and fasten the four corners with a little soft Wax; but be sure to place the writings so, that the Lines may run straight; then you must take a calf's Tooth, and rub the Paper all over which is fastened, and not miss any place: this being done, take off the Paper from the Plate, and you shall see the very same Letters which you wrote on the Paper, hath left their perfect impression upon the Wax; then take a Stift, and draw all the Letters through the Wax upon the Plate; and when you have done that, warm the Plate, and take a linen Rag and rub the Wax clean off, and you shall see all the Letters drawn upon the Copper; then get some good French Gravers, and grind them as they should be, very sharp towards the points upon a Grindestone; and afterwards whet them very smooth and sharp upon a good oil-stone; then grave the Letters with them.   

The way to polish a Copper Plate.  
At first you buy the Copper rough, than you have it plenished, if you cannot do it yourself; and when it is plenished, than you polish it with these following Instruments.   

The Names of the Instruments or tools which are used to polish a Copper Plate.  
A Plain which cuts very well, and of an indifferent bigness, but not broad; some pieces of Pumice-stones; some pieces of Sand-stones; and some Moulton-stones; a soft blue stone; and a Burnisher and Scraper; and some charcoal.   

The use of every particular Tool or Instrument.  
First fasten your Plate with some small Nails, to a place that is as high as your middle; then make use of the Plain to shave all the roughness off from it, and make it very even in all places alike; and if you perceive any crackles or little holes upon that side which you shave, than you must shave them all clean out; and wheh you have shaved it even and smooth with the Plain, then take a piece of Sand-stone, and wet the Plate with some water, and rub to and fro with the stone upon the Plate, till you have worn it very smooth and even everywhere alike; but be sure to choose the so ftest stones, because they make the least scratches: and when you have worn it even and smooth with this stone, wash off the Sand from the Plate, and take a piece of Pumice-stone and rub to and fro upon the Plate, quite across the grain of the former stone, because it is of a hard sandy nature, and will therefore leave some scratches; therefore the Pumice-stone is of a more softer and spongy nature, and is always used to wear out the former scratches: and when you have worn out all the former scratches, you will perceive the Plate to be worked into a finer grain; then wash the Sand very clean off from the Plate: and then make use of the Moulton-stone, and work with it quite across the grain of the Pumice-stone, until you have worn it quite out; withal be sure you supply this and all the other stones with water, when you work with them upon the Plate: and when you have worn out all the scratches of the Pumice-stone clean out; then for the fourth, make use of the soft blue stone, it being of a very soft grain, and softer than any of the former; then work with that quite across the grain of the Moulton-stone, till all the grain is worn out; but if you perceive any scratches in the Plate here or there, rub them over with your Burnisher, till you have worked them out; but in case they are very deep, you must make use of your Scraper, and scrape them out, and burnish it afterwards: this being done, in the fifth place you must burnish it all over. Sixthly and lastly, take a charcoal which is throughly burnt, and scrape off the rind; then put it in the fire till it is throughly kindled; then take it out and quench it in Chamber-lee, and make use of it as of the former, till you have glazed the Plate; then wash it very clean with fair water, and let it dry.    

Rules of Proportion.  

Of the Ear. CHAP. I.  
I Have observed this Rule, First to treat of the Ear, in a manner of myself invented, and not by any other discovered. Being then desirous to form the Ear by this way; you are first to describe an oval, in such manner as I have represented in this Figure, at the Number 1. but to form that in more perfection, and as easily as possible may be therein, with such Method and Order as I design. Proceed lightly joining stroke to stroke, in that manner as in each of the sequent ovals they are increased, even unto the 8. Number. So imitate every stroke of each oval, that the Ear may entirely be formed without digressing from the bounds, and reasonable terms of the Art. This Rule serveth not only to form the Ear in correspondent proportion to Nature, but also with due proportion and perfection for every greater Head, without any reprehensible Error; that is, without making that with too great length or breadth, hetrogeneal or disproportioned. For Observing then the Rule, there will be no occasion for the Spectator to say (as often it happeneth) that that was beyond reason, exorbitantly traced, and made without the bounds of reason.  
  

Of the Nose, Mouth, and Beard. CHAP. II.  
FOrasmuch as I think that necessary, to make a brief Discourse upon this next Figure, in which the Nose, the Mouth, and the Beard is described, to give thereof certain general advertisements; and that I may further define all the difficulties from point to point; the Nose being known to be the most eminent part of the Face, and therefore first seen; and than the Eye which resteth in the judgement, the next form of the Face: therefore I will demonstrate two of the most easy ways hath hitherto been invented, which may serve reasonable capacities from Stroke to Stroke, to make the same well. Make then first a Stroke like that in the 1. Number, which hath the beginning of the hollowness of the Nose: and then proceed to the 2. Stroke of the whole Nose, with the roundness thereof: in the 3. the hole of the nostrils: in the 4. the nostrils themselves: in the 5. the place of the upper Lip: in the 6. the upper Lip: in the 7. the form of the Mouth: in the 8. the roundness of the Beard: in the 9 the under-Throat: in the 10. the uniting of them all, with the Stroke of the finishing of the Nose, the Mouth, and the Beard.  
Describe a semicircle downwards, which is in the 1. in the 2. make the holes of the Nose, with the two Points on each side, and how each are placed: in the 3. the addition of the nostrils: in the 4. the forming of all the upper Lip: in the 5. the form of all the Mouth: in the 6. the finishing of all the Strokes of the Beard and Chin. This for frameing the Nose is necessary to be explained, being of importance to describe the same well; because be the Head never so well done, the Mouth and it being not correspondent, that will be but disgraceful, and give great distaste to any judicious beholder; be the other parts never so well and fairly done, that will rest without grace and unworthy of commendations.   

Of the Head upright, or with a Triangle. CHAP. III.  
THe manner to make the upright Head by just and safe Rules without error, is thus: First form a perfect equal Triangle so as you see, in what position you will, having a respect to the Draughts I have presented with the Lines that form with the Compasses a just equilateral Triangle, which is with 3. Lines just and equal every way, turning the Triangle to make the Face upon one of the 3. sides, be it which you will, either upwards, downwards, higher or lower, dividing that side into 3. equal parts, as in the sequent Figure. The 1. to serve from the lower part of the Hair, to the lower part of the Forehead: The 2. thence, to the under part of the nostrils: The 3. to the lower part of the Chin. Now having framed these 3. Lines, as I have showed Number 2d draw a little crooked Stroke with a coal or Chalk out of the right Line, that that may reach to the other point, and that will form the Forehead, From whence draw a waved slope Line bending at the end, to form the Nose either long, short, gross, or thin, as you would have that; ending that at the 2d point, where the nostrils end. Then subdivide the remaining 3d part in the midst, where the Mouth shall be placed, for the parting of the upper and under-Lips. Then frame the Chin, having a respect to the perpendicular Line, that that fall not out of the middle of the Chin; adjoining thereto the under-Chin down to the Throat-pit. So with the other two dividing Lines, the one from the top of the Forehead downwards (and ends in the midst of the back part of the Ear;) the other proceedeth upwards from the Chin, ascending till that meet with the superior descending Line, whose intersection directeth the Ear, that the Circumference thereof stretch not too far; which in the first Chapter I formed by the Rule of the Circle. Thus with your judgement take the upper part of the Forehead, and come to describe a great Circular Line about, to form with that the roundness of the Head, unto the Nape of the Neck, keeping the proportion that Nature teacheth; and from thence downwards frame the rest of the Neck, remembering that the tip of the Ear doth not exceed the lower part of the nostril. So you may have the Head in what position you will, so this abandon not the two other Lines; each concurring in their due points.  
  

Of the Foreright, and other Positions of the Face. CHAP. IV.  
HAving demonstrated an easy way how to draw the upright Head; it will be also necessary to show the manner how to draw the foreright Face, and in other Positions. Being then desirous to draw the foreright Face, it will be necessary to form a perfect oval, as I showed in the Rule for drawing the Ear; which being made, divide in the midst with a Line the longest way, which must from the lower part of the Hair be divided into 3. equal parts, by 2. Lines as you see. In the 1. is the Eyes to be placed; in the 2d the Nostrils: then the lower part divided; in the midst thereof must the Mouth be formed, as by the Figure may be conceived: always remembering that the Eyes must be in the 1. Line; and each of them distant from the other, the length of one of them: and that their inner Corners be perpendicularly over the outside of the Nostrils punctually. But to make the Ears in a foreright Face, the oval must be exceeding narrow, yet proportional; that is, that the Ears be drawn in, and be in height from the Nostrils to the eyebrows: and then adjoin the Neck with the Hair, in such sort as may seem most pleasing to the judicious Eye.  
  

Of the Inclining or Foreshortning of the Face. CHAP. V.  
IN this Figure I will make a brief Declaration concerning the situation or posture; and being respective of the bigness, to give easy ways to observe in framing the altitude of the Head in any inclination, as well in Foreshortning or other postures. This then requireth small labour; and yet I have explained the same, that the manner thereof may be plainly seen; and the path infallible by the Lines, as they turn and concord together. Imitating the like, you may with facility draw in their places the Nose, the Mouth, and all the parts in good order, agreeing correspondently without much labour; as I will show with these simple Lines; which with a little practice to prepare the hand and judgement thereto; all which may be absolutely well effected thereby.  
  

Of a more perfect Foreshortning. CHAP. VI.  
HItherto have I treated of the Head, both foreright, and in other positions; but that you might know all that is needful for the perfect understanding of this profession, it is necessary that I specify the Manner how to draw the Face by an easy, absolute, and fair way. Treating thus, I propound to you methodical means therein; because my intent is to facilitate the matter in that manner, that without writing thereupon it may be intelligible: For a Draught well made hath that power, that it makes itself understood without any Discourse of the Author thereon. But I always observe both the one and the other also; instructing by the Draught the intelligence first, and afterward by Discourse thereupon. I say then that the Foreshortning which is made only with Frets, Grates, Squares, or with geometrical instruments, breed only a confusion of Lines, which is not the best principle of expert ingenuity; the reason whereof is, that it can hardly be measured by any Rule, unless the whole Body be framed together. Therefore I will show an easy Rule, very like to that of the foreright Face; that is, to make a Circular Draught with aspect upwards, or downwards, as in the foreright Head, where the Traverse Lines are straight; but these go Circularly, as in the Figures in the last Chapter going before may be seen. For if the Heads fly upwards, the Trace, Strokes, and the Divisions, must be raised as I have showed; with Caution that the Ears and Eyes fall not without their due points.  
  

Of the upright or side-Face without any Measure. CHAP. VII.  
BEing desirous to make an upright Head or side-Face, without any Triangle or other Measure; you shall not need always to make the Triangle, but with a little care and practice to form the Eye, which will serve for direction sufficiently; because the Head and other parts of the Body are to be proportionals, and made from Measures, it will easily follow, framing many with one and the same Stroke, you may not only facilitate it by the Eye and Judgement, but also accommodate the Hand to trace and draw all things right; for it is true that the Eye will have his place. And I have proved, that having drawn certain Strokes and Draughts from the life of Nature, and reduced it with the Pen and Pencil into oil-colours, I have found it to come off punctually right of a correspondent bigness to that which I have imitated. So that having finished my work, and measured it part by part, I have not found any thing disproportioned, but have always found it fall out right, as I would have it. Therefore I say that this Rule and Measure which I have set down, is not any hindrance to the excellency of the Art, nor will weaken your worth; but will serve as a general Advertisement, being once possessed therewith; and also become prevalent when occasion will require, to make a Head ten times as big as the natural; for that with this Measure you shall readily frame it right by any great Head; and that because the Understanding therein is equally extended; but the more the Capacity is wanting, the more my labour will further, when need requireth. These than I give as principal for the first Strokes, as in the next Figure may be perceived, which is from the Forehead, as I have already said, for the beginning of the Nose; that is from the lower part of the Hair, to the hollowness of the Nose and the Nostrils, and from thence to the Chin. It will afterwards be necessary to proceed accordingly from Stroke to Stroke, by increasing the Strokes until you come to the Head, Number 10. and so make it to be divided into 3. parts by the Eye justly, without the help of Compasses or other Measures; and in so doing, you may easily accustom your hand, in such sort that you may draw all you would, without any labour at all.  
  

The Manner how to describe a Head every way without Measure. CHAP. VIII.  
IT will not be needful always to set down the Measures which I have before prescribed, because it will be too troublesome: But my intent is to show how by an unusual manner by me invented, you may form in the Idea, the just Measures and Distances of all sorts of Heads; and in all Positions, having the knowledge of this Rule; and afterwards making some Heads without any Triangle, or other manner of Demonstration, knowing the errors of heights, lengths, and divisions, into which you may otherwise run. Therefore I show in this Figure an easy manner that must be held; and how with those few Lines, to make the Head in what manner you will.  
  

Of children's Heads. CHAP. ix..  
IT resteth only for me to treat of the manner how to draw the Heads of Children, with a Rule, invented by me, and not yet by any put forth in writing. Being then desirous to form the Heads of Children perfectly, and of what imaginable bigness you will; take a pair of Compasses, and make a perfect equilater-triangular Triangle, and upon each point thereof by turning the Compasses round, make a Circle as you see, of that bigness that they may touch each other: The like done on each, you shall so have described 3. Circles, whereof 2. shall be even upon one side, and the 3d behind them, joined to them both. And this is the 1. demonstration: In the 2d, upon that side which the two even Rounds are, the one of them shall serve for the Forehead, and the other for the Throat; and behind both where there is a space, you shall make the Nose, the Mouth, and some part of the Chin, with a Stroke near the Throat; afterwards adjoining the Ear in the place which I show, where we conclude the Triangle, and under those two Circles, join a little of the Nape and the Neck; and so will the child's Head be finished in the side Face porfill, with the Crown, as you see Number 3 In Number 4. I represent what force a real Rule and Reason hath in designing, as if in these 3. Circles I should open the excellency of the Art; because as you see, there is no point nor Circle but performeth his office, with that convenience that is possible; I make you 3. Heads in one Demonstration, of which at your pleasure you may leave away 2. and take the 3d, without danger of committing any error therein. But as I use the Triangle in the upright or side-Head, so do I use the Square or Quadrangle in the foreright Face; which being first described, will be a guide to place the Circles in their places; as in the 1. Draught I show: In the 2d falleth the Eye, the Nose, and the Mouth: In the 3d I finish all together, with the under-Chin, Hair, and other Circumstances. But be always advised in this Face, where and how to place the points and bigness of the Ear; and to situate the Eye, which I have made to avoid confusion, observing the Measures in practice by the precedent Demonstration: And so your work will come off with the greater life and judgement.   
FINIS.