●rinted for Dixy Page 1673   depiction of painter at work   

The English Academy.  
A DRAWING BOOK.  
Containing Variety of EXAMPLES OF THE External Parts of Men, Women, and children's Bodies; With the Shapes of several Creatures frequently used amongst Heralds, Goldsmiths, etc.  
LIKEWISE The ARTS of Drawing, Etching, Engraving in Copper and Wood, Painting and Limning: All being carefully Performed.  
WHEREIN The aforesaid ARTS are Exemplified, with Plain and Easy Directions to Guide you to their Attainment, with much Delight. Also the Real Method how to Wash or Colour GLOBES, MAPS, PICTURES, LANDSCAPES, FLOWERS, FRUITS, BIRDS, BEASTS, FISH and FOWL.  
A WORK Worthy Acceptation of all those that are Friends to ART, AS, 

Drawers  
Embroiderers  
Stone-Cutters  
Carvers  
Goldsmiths  
Needle-Workers  
Gum-Workers, etc.    
Performed according to the Order of the First and most Eminent Masters of Proportion, VIZ  
P.L. H.G. P.R. H▪ B.  
LONDON, Printed by H. L'oyd for D●●● Page, at the Author and Mariner on Fish-street-Hill near London-Bridge, who buyeth all sorts of Old-Books, and maketh the best Ink for Records. 1672.   

TO THE Ingenuous Lovers OF ART.  
Courteous Reader,  
AMONGST the Variety of Books of this Nature, here is One puts in for a share. It's in a plain Garb, without that Enrichment that some are Adorned with; I mean, that laborious shadowing that beclouds the eyes of Young Practitioners, for whose Use chief this Piece is intended: It is in another kind of Coloured Coat then all its former Brethren; not Clothed in Black, but in Red, for the convenient Use following. Those that may desire to attain the Art of Proportion, at the first sight look upon the imitation of these first Rules to be so hard a task, that it oft falls out they rather desist then adventure: Such therefore I Advise to go over each particular Part, in each Leaf, several times with a dry Pen, until the Idea of the Part they go over falls in with their Fancy, which when they do apprehend, then let them with a Pen and black Ink, go carefully over that part they so conceived in its Proportion; This way for a Learners Encouragement at his first Attempt, will reduce his first disheartening to a speedy undertaking of a first seeming impossibility: And this I Advise, for the Parts in each Leaf, and for so many Leaves as may lead the Beginner to a capacity of Apprehension of Proportion. If Envy carp, and say, This is a New Device: 'Tis soon Answered, But 'tis a true one. If the Artist shall say, 'Tis an Erroneous Rule. 'Tis Replied, It's only intended to lead to the knowledge of the true, and by that I mean the Eye and Hand, Imitation. Vale.  

Of Instruments for Drawing and their Use.  
A Pen knife, white Paper thick and smooth, Sallow-coals to be had of the Charcoal-men, Feathers of a Duck Wing, black or red Lead-Pencils; Pens made of a Raven's Quill, a neat Ruler, and a pair of Compasses.  
Slit your Charcoals of Sallow-wood into slender Pieces, and then sharpen them into the form of a Pencil, the neatest way of using them, is to put them into a large Quill or a brass Pencil; This way you will avoid soiling, both your Fingers and the Paper on which you draw; the reason why you are first to draw with Charcoal is, because it will with the least touch of a Feather be taken out, as oft as you see convenient, until the design you imitate please your Fancy.  
After your Proportion is thus far touched out, then with black Lead, by degrees, go over those faint Touches remaining of the Coal, and carefully endeavour the Amendment of those first Touches, with diligence comparing your Imitation with your Copy, and it will the better confirm your judgement; if now you try by your Compass the Proportion of the whole, and also each particular Part therein contained, before you perfect your Design with Ink- for after Ink you can make no alteration.  
My Advice to young Learners is, that they would follow open and visible Figures, not cumbered with tedious Shadows, until in some measure they apprehend the real Parts of true Proportion, for all ingenuous Persons, account that ill-spent time, to bestow great pains in shadowing a lame Proportion, and is no less ridiculous than a large Knot fixed to a lame Letter; for those that intent Graving of Figures, or Etching with Aqua fortis, after they understand Proportion, it will be more advantageous to them to imitate open shadowed draughts, with the Method of the wind of the strokes in that Piece they copy; for this will not only inure the hand, but likewise inform and confirm the Judgement, how to order proper shadows; but if the Practitioner design for Pointing then after Proportion is accomplished, Bold and free Touches upon blue or fine grey Paper, with black chalk, heightened with pastils, of what colour you most fancy, is a most advantageous way of Practice. Some advice first to begin with Geometrical Figures; and then proceed to the Imitation of Fruits, Flowers and Plants; after that to Beasts, Fowls and Fish.  
And in the last place, to the parts of the Proportions contained in the Body of Man: I confess, this tedious task of going about may bring something home at last: but if you grant, that the freest Fancy proves the best Artist, then why should the Fancy be bound up, since there hath been rarely found and Artist that hath been excellent in Proportion in th●s● 〈…〉    

THE ENGLISH ACADEMY, A DRAWING-BOOK.  

Of the EYES, NOSE, MOUTH, CHIN and EARS.  
IN which you will find a Medium in the Size presented to your View, in seven several useful Motions, after the Order of no mean Master in the truth of Proportion, performed with few Touches, and you may single out at pleasure, either Eye, Nose or Mouth, if the whole together seem difficult; but the Printing in Red, as was formerly mentioned, is of excellent Use to bring in your Hand, and assist your Fancy in your first Attempt.  
I have thus expressed these parts of the Face, to inform you how Harmonious each part answers to the Motions in General, which way soever they turn: which if not first carefully viewed, and after that conceived of a possibility of truth in Imitation, your rash Onset will come to little: Go not from Leaf to Leaf, and from one part to another, until you have made a considerable progress by Imitation, and have great regard to the Face, whether young or old, fat or lean, grim or pleasant, laughing or weeping: according to which all the parts must be answerable.   drawings of faces  

Of Heads and their Proportions.  
I Have here in this Leaf given you a more perfect Face with few Touches, yet Truth of Proportion and Motion; And when you attempt their Imitation, be very curious and careful in touching out leisurely, Part by Part, observing whether the Face be elevated or dejected, wrinkled Age, or smooth-faced Youth, which are properly expressed in this Leaf of Heads.  
To Imitate which, 

1. Touch very lightly if it be a side face, as in these, the outmost Circumference of the Head and Face, to direct you in the exact bigness.  
2. Consider those principal Touches that give life and likeness.  
3. In placing the Features, note the Parts must be equal, from the top of the Forehead to the Eyebrows, and from the Eyebrows to the bottom of the Nose; And from the bottom of the Nose to the bottom of the Chin are the Parts equal.  
4. The Mouth Extended, and the Corners turning up, shows a smiling Countenance, a bending Eyebrow, and the Forehead and top off the Nose between the Eyebrows wrinkled, shows frowning.  
5. The distance betwixt the Eyes, must be the length of one Eye in the full Face, but in a half or three quarters Face it is lessened by degrees.  
6. Place the Nostrils underneath the Corners of the Eyes exactly.  
7. Having touched out the Eyes, Nose and Mouth lightly, make them more perfect, then proceed to finish the Face; and then proceed, if a man, to perfect it with the Hair on the Head and Beard.  
8. Observe exactly the principal Curies and Deepnings in the Hair, so shall the Order of the lesser Curls fall in with Ease, still having regard to the Imitation of your Pattern     drawings of heads  

Of Heads and their Proportions.  
YOU have here another Leaf of Heads considerably different from the former, and no less exact; wherein the Method is continued with small pains and proper Touches, according to their several Representations, whether sprightly Youth, or serious Age.  
The lovely Countenance is expressed without any clouded brows, wrinkled forehead, with ample height and breadth; Also a Majestic Grace, a full Eye, a sweet shadow at the bottom of the Eyelid, and little at the Corner; a Nose proportionable, not too wide Nostrils; a clear Cheek tenderly shadowed, a smiling Mouth, a thin upper Lip, the Mouth-line shadowed at the Corners.  
The fearful Countenance is expressed with hollow Eyes, looking heavy and downward, fallen, thin Cheeks, close Mouth, with careless staring Hair about the Ears.  
The Envious Countenance is expressed with hanging Cheeks, pale Countenance, and Grinning Teeth.   drawings of heads  

Of Heads of several Creatures for Imitation.  
THESE Varieties are no less useful than the former, for the Exercise of the Eye and Hand, done with as little pains, and yet to our intended Purpose.  

The Cruel Savage, Bear.  
The strong Elephant.  
The wanton Goat.  
The furious Lion.  
The tender Hind.  
The Swinish Boar.  
The Antic Ape.  
The stout Horse and the Cow.   
Each of which, though of various Shapes, yet with a few Touches expressing their natural and principal Features; Intended for the use of all such as have occasion for Coats of Arms, Crests, etc. In imitation of which, each particular Creature requires no less care and observation them the foregoing Heads, which with care, observation and deliberation, are to be first lightly touched out, their Proportions measured, and their distinct differences accordingly performed.   drawings of animal heads  

Of HADST.  
THE Variety of Postures and Actions of the Hands are more various than the opinions of Matters concerning their Proportions; some say, the Hand is the length of the Face; others, that it is three times: the length of the Nose, against which there are Exceptions; some that hath along Face and Nose, hath but a short Hand: and others have a short Face and a long Hand: but to the drawing of Hand there goes in the opinion of most no less curious Observation than is required in a Face: its true Proportion with the Fingers, Joints, Veins, with its bending of the Joints, the Wrist-bone, the small swell and bend of the Finsers; also the Nails and Knuckles.  
The Hand by Touches of the Muscles discovers Age, answerable to the faces Discovery in its place.  
The Plump and fleshy, Youth and Courage: The Nail upon the last Joint of the Finger, and takes about half that Joint.  
Observe-carefully these several Proportions, whether backward or forward, and pass not them by until your Judgement convince you, that the Hand and Face are the choice Distinguishers of an able and experienced Artist.   drawings of hands  

Of Feet and their Proportions.  
Concerning these Nine Varieties of Feet, what hath been said of Hands is not impertinent for the Observation of Feet, also especially Considering our Modern habits, they seldom appearing uncovered as the Hands usually do. Neither think I it proper to Led you into that Labyrinth and dubious story, about Geometrical and Diagonal Lines to form out Proportions, a Practice more fit for an able Mathematician, or Geometrician, than a Young undertaker for some particular uses, the forms themselves are obvious to each Eye, and so I leave it to your serious Imitation: advising you to observe all their Motions and Wind, whether standing, running or fallen, with their swell of Ankles or Joints, and their due Proportions.  
 drawings of feet   

Of Arms and Hands joined.  
THESE more Complete Parts of the Body, are 〈◊〉 Preparatory to our farther design; which is to lead you on gradually to a higher perfection in truth of Proportion, wherein your serious Observation of each postures, Action and Motion is required, as if fixed to the Trunk of the Body, without which you will never joyn-these Parts properly to the whole: and although there appear little of shadow in each part, yet the grand Touches that fall in the Bend or Motion of the Arm directs the true carriage, of shadows, in all such Postures, Gestures and Actions.  
There is, and you will find it so, a vast difference betwixt the natural Composed Motion, and the enraged or forced Motion.  
Let not the Arms length contain any inequality the one part to another; but with care and deliberation touched out each part: for the pitch of the shoulder to the Arms bending, and from that part to the Wrist, and accordingly with as great a care affix the hand.   drawings of arms and hands  

Of Thighs, Legs and Feet; their Proportions.  
THESE forms of Proportion are the last Part of the Parts of Proportion: our next will be to the Trunks of Bodies: What our Advice was concerning Arms and Hands is not to be forgot in these Parts, from the Groin, the Thigh to the Knee bears a differenr thickness, falling less and less: and the Muscles about the Knee have curious Observations, and seldom well expressed: from the Knee the swelling out as well as the falling in of the calf of the Leg, requires as exact Observation: And from the Ankle, the Foot, to the end of the Toes no less, if Harmoniously completed.  
If in all these parts of Proportions you run from part to part, before you understand what you are about: when you come to the Trunks of Bodies, and Bodies more complete: then your erroneous performance will convince you of that neglect you all along so much slighted And as sure as he that will write words before he can shape Letters is ridiculous, so no less guilty is he that attempts at whole Bodies before he understand the parts.   drawings of thighs, legs and feet  

Of the Backparts and Foreparts of the Bodies of Man and Woman.  
THE Trunk of Man's Body seen on the backpart from the shoulder to the Buttocks is expressed, though with few Touches in his natural Postures, as the Muscles properly fall: to imitate which, let it appear, that your labour in all the former parts was managed with such diligence, that now in the close your Progress expresses so much: the Touches of the Muscles, and the Motion of the Body must be answerable, you will find swell out and fall in of the body require curious and careful Obserservation: Note the Shoulders breadth, from thence to the Armpits, and so down: and let all Parallel-veins, Muscles and Joints be placed proper as they naturally fall in opposition, the one answering the other: as shoulder to shoulder, side to side, and hip to hip: still observing the Body's Motion and Winding.  
The Trunk of a Woman's Body is very different from that of a Man, which will appear to the eye of an Ingenious Observer at the first Glance.  
In the plump Roundness, and tender Pleasantness in what shadows are requisite for that Sex.   drawings of bodies  

Of Heads and Trunks of the Body of Man and Woman joined; both seen forward.  
IN these Figures the Heads joined to the Bodies come to the nearest of our last Intention, which is Perfection and Proportion in the complete Bodies of Man and Woman; The difference is great in the Observation of their foreparts, as the Proportion themselves best discover: The forepart of Man's Body hath the like strength of Muscles answerable to the backparts, as will appear in the Figure from the pitch of the Throat to the Privities, in his Breasts, Sides and Belly, how unpleasant to that of a Woman, whose beautiful Countenance, Clearness of Skin, Plumpness of Flesh, Pleasantness of Breasts, and Roundness of Body, terms her, The Delight of Man for Pleasure, Mirth and Solace.  
 drawings of bodies   

Of whole Figures Naked.  
THESE three following Figures of Women Naked, so largely expressed, are not perfected to the Feet; but our Varieties foregoing, are to that defect, if any, a sufficient supply, I might have given you, as Albertus Durus, and some others ha●e the Proportions of Bodies by Lines thus divided, 〈◊〉 which there are from the Grown or Top of the Head to the sole of the Foot contained eight Parts or Measures of the Head, which the Ingenuous may soon examine with a Pair of Compasses, either in the Figures themselves designed, or the Pe●●e ●●om which they do design, in which ●et these Observations continually be remembered.  
1. That the Bodies of Women of ordinary Proportion, contain the same Measures with that of Man.  
2. All 〈◊〉 standing, whether of Men or Women, one Leg generally ●ears the stress of the whole Body, and the other Legistanding more lose and free.  
3. Note, that although the Measures from Head to Foot both of Man and Woman agree, yet in the breadth of some of the Parts they differ much.  
4. For in the Body of Man the breadth of the Shoulders contain two Measures of the Head; and the breadth of the Hips two Measures of the Face.  
5. And the breadth between the Shoulders of a Woman contains but two lengths of the Face; and from the Hips to the Buttocks two lenghs of the Head.  
6. Observe how the Measures of the Body are divided.  

The first Measure contains the length of the Head.  
The second to the bottom of the Breast.  
The third, from that to the Navel.  
The fourth, to the Privities.  
The fifth, to the brawny part of the Thigh.  
The sixth, to the lower part of the Knee.  
The seventh, to the small of the Leg.  
The eighth, to the Heel of the Foot.    drawings of whole figures  

Of the Bodies of Anatomy, and the Body of a Skeleton; both standing backward.  
THESE two Figures are added for Variety, and require no less care in their Imitation then the other foregoing. In the Anatomy-Figure the several parts distinguished lie visible, from the Nape to the Throat, 〈◊〉 Bone of knitting; the Back, Shoulder, Blade, Chine and Loins; Shoulderblades, Ribs, Waste, Reins, Buttocks, Thighs, Hams, Ankles, Legs, Feet and Sole; to imitate these as the rest foregoing lightly touched out in the outward form before you: Divide the inward parts, and be sure to finish no one part, until you find every part placed in its true and proper place, in exact Proportion, which having done, then wiping out your gross Touches of the Coal, leaving only dim Touches for your Direction; then with black Lead, eyeing your Pattern, amend what you find amiss at first; And after, with a Neat Pen go over all again, and this finishing part, be sure that in it you be most exact.  
 drawings of musculature and skeleton   

The Art of Etching in Brass, Copper, Silver or Steel. Discovering what Instruments belong to that Art, and the way how to accomplish the same.  
FIRST, How to make the Ground to shadow upon.  
Take one ounce and an half of Virgin's Wax, half an ounce of Asphaltum, half an ounce of the best Mastic; beat your Asphalt to powder; first, put your wax into a new clean Pipkin, and set it over a gentle fire, and when it is throughly melted, then put the Asphalt and Mastic into it, and let it be well mixed altogether; then take a clean earthen Porringer near full of clean water, then pour your melted stuff altogether into the water, only remember to leave the dregs behind; and when it is through cooled in the water, then frame it up into a Ball; and when you are to use it, put it into a clean Lawn, or ●ine Holland Rag doubled; but let not the Rag have any holes in it, and Tie it up close for your use.  
Your Copper being well polished, which is to be had ready prepared, before you lay on your Ground, Cole it over, and wipe not off the water, but set it slant that the water may drain off; and when you perceive it through dry, scrape some chalk very fine upon it, and then clear it over with a fine linen Rag, and be sure that you touch not a finger upon the side of the plate cleared, to avoid any greasiness, which is a great prejudice to the Work.  
Then to lay on your Ground.  
Put into a chaffingdish or Fire-Pan, either some small Coal fire, or Embers, for Charcoal is too vehement a fire, and would quickly burn and dry the moisture out of your ground; but in laying your Plate upon the fire, let the fire have Air: then take your Ground in your Rag; and try if your plate will melt it; if so, then be quick in spreading it over the Copper, but lay it not too thick. Then take a Duck Feather, or a Raven, with that spread or wipe over the ground to make it very even, wiping it cross every way to lie even, and when it is so, set it to cool.  
Then to work exactly, and perceive your strokes plain, cover over the aforesaid Ground with a white colour.  
Thus, grind a small quantity of white Lead, with a little Gum-water, and let it be of convenient mixture to spread; then take a large Pencil as big as a Walnut or more; but let it be of fine hair, with which take off that Colour, and wipe over your Plate cross-ways to lay it even; after you see it even, then take a brush made of Squirrels Tails, and with that you may more curiously lay your white colour even.  
Then having Needles of several Sizes in readiness well prepared, by whetting them upon an oil-stone, which to keep their Points round, you must let them run round betwixt your Fingers as the Turner's run; being thus prepared, and your Draught or Design as ready, you are to consider which way your Draught is to st●nd, when 'tis printed, and accordingly to place it upon your Plate, preparing your Draught with Red Lead, and small-coal dust rubbed over upon the backside of your draught, and so fixing it to the Plate, with a blunt Needle for that purpose, trace over all the out lines of your draught also; touching out the folds or shadows, what distances, and how far dark or light.  
Before you attempt to shadow draw over all your out-strokes, as aforesaid, lest otherwise you lose that first mark of your tracing over which will soon be lost and rubbed out.  
Let your Needles with which you work be put into sticks or Pencils the length of a Common Pen; and at the other end from the Needle, let there be a blunt Pencil to wipe off the Grounds that flies up before your Hand-working.  
In your Working, Lean not hard upon your Pencil; but only to touch through the Ground to the Copper; when you leave work, wrap up your Plate in Papers; and if in Winter, in a Woollen Cloth, to keep your Ground from scratches in the one, and from freezing in the other.  
When you have finished all your Work fit to eat with Aqua fortis, first melt some green wax, and with an old Pencil lay it round upon the Edges of your Plate, to make your green Wall of Wax round your Plate, to keep your Aqua fortis upon it to eat; and this Wax must be wrought into long Pieces, the thickness of a common Paste-board, and half as broad as a Knife, and so fixed round upon the aforesaid melted Wax; and with a little stick, broad at the end, sharp-edged, thrust down the Wax to make it stick; when you put on the Aqua fortis, if it be good, to a third part of that which was never used, mix it at least with two parts to one of that which hath been used, if you intent your Work to be fine.  
Or in case of want of that, you may mix Wine-Vineger with your Aqua fortis.  
But if your Work is to be course, you may use a third part of the Aqua fortis entire.  
Only consider the difference betwixt double and single Aqua fortis.  
Lastly, for what Parts you would have eaten sweet, first pour off your ●●ua fortis into a dish, then wash your Plate over with clear water; let ●●●y, and then melt some Candle-grease with the dregs of your Ground ●efore melted, and with a Pencil cover those Places you would have  
Thus much of Etching.   

Of the Art of Graving, the Instruments to be made use of, and how to emprove them, whether upon Brass, Copper, Steel or Pewter.  
TO practise this Art, Gravers are to be provided according to the Work you intent to practise; If for the Goldsmith's occasions of Arms and Letters in what they call Flat-stitch, several crooked Gravers; If for to engrave Maps, Portraitures, Frontispieces, and the like, straight Gravers are the most commodious; To which add an oil-stone, a Cushion, a Burnisher and a Drawing-point.  
The oil-stone is to be of a Grit, neither too fine nor too course; they are oft sold in Forster-lane; where the several sorts of Gravers and Hafts also are sold: Before you attempt to whet your Gravers, consider what work you intent them for, and according to that prepare them, the Square point, and the Diamond-point are the chief for use.  
In whetting your Graver keep the edge firm upon the stone, on which you intent to fix the point, and be sure to carry an even steady hand, placing both the fore-finger firmly upon the opposite side of the Graver, resting your Haft-end against the Palm of the right hand, whetting both the sides alike.  
Then setting the end of the Graver sloping upon the Stone, held firm against the Palm of the Hand; whet the Point very flat in form of a Diamond: Having thus prepared your Graver, having a Leather-bag filled with sand to lay your Plate on, hold your Plate with your left hand, so that with freedom you may turn it according to the Motion of either shadows or Letters you engrave  
If your Graver be too hard at first, you may a bate it by holding it to the flame of a Candle, until you do perceive it to turn yellowish, or a straw colour, than thrust it into the Tallow, in which quench it; but in constant using in a little time it will become more useful by whetting, which is best. That the Haft of the Graver may not prejudice you, cut off the part of the knob of the Handle that lies upon the same line with the Edge of the Graver; otherwise, specially in a large Plate you will not be able to move it upon the Copper, but it will both stop you in your stroke, and cause your Graver to run irregular.  
And be sure that your Fingers interpose not between the Plate and the Graver, for that will be of the like prejudice as the Haft.  
He that inures not his Hand to such a Command, that with one and the like ease, he can both begin and end a stroke, is to learn a chief part.  
To imitate any Pattern, if to print forward you must reverse it backward upon the Copper thus; your Plate being clear polished, heat it over the fire; And when it is hot, take Bees Wax, put in a fine Rag, and rub the Plate over with it, until you perceive the Wax to lie even all over your Plate, both thin and even: you may for a more certainty lightly wipe it over with a Pigeon or Duck-Feather to lay it even; then after it is cooled, if your Print be not of too old a standing, you may rub it off upon the Wax with an Ivory Haft of a Knife by degrees, and it will leave a perfect Impression; But if it be very old, then to supply that defect either with black lead, or Franckfort-black, mixed with clear water, the thickness of common Ink, and therewith go over all the chief Parts or Proportions you do intent to imitate, and that Impression will remain upon the Wax, which with a drawing Point you must trace over upon the Copper, before you attempt to grave, lest you rub out or lose your Proportion.  
But if you are to imitate a Piece, as it stands in your Pattern, to be graved upon wax; you may trace it through the Pattern, but it will plainest appear upon the wax, if you black the backside.  
Thus much of Graving in Copper, etc.   

Concerning Engraving in Wood  
WHat ever is to be Cut, Carved or Graven in Wood, must be drawn, traced or pasted upon the Wood; and after that all that is vacant or to remain White must be Cut clear out with little Narrow-pointed or points of Knives worn if the Mettle and temper be good will serve as well for that purpose.  
This Cutting in Wood, is very tedious, difficult and curious, and ●or want of Encouragement much lost to what repute once it had amongst Famous Masters.  
The best Wood to cut upon are Beech, or Box, plained Inch t ick or more according to what use they are applied.  
To draw any Pattern, or Copy upon Wood  
Grind white very fine muxed with fair Water, and then dip a Rag therein and Rub over that side of the Wood you intent to cut upon, and when it is through dry, it will preserve the Ink, when you draw upon it that it shall neither spread nor sink.  
Having whited the Wood what you intent to cut either with black or Red colour the Backpart, and with a blunt Drawing point or Swallows quill trace over all the parts you intent to Imitate.  
If you will reverse what you are to do unless you draw the design again the contrary way, you must passed and spoil your pattern.  
And if you passed it upon the Wood it must not be whited over; but being well plained, wipe over the pattern on the work-side with Gum Tragacanth dissolved in fair Water, and lay it smooth upon the Wood, and when it is fast on and dry throughly, then wet it a little all over, and fret off the Paper gently, till you see perfectly every stroke of the figure or design; than dry it again and so fall to work.  
Thus of Cutting in Wood   

Of Painting.  
HE that will Paint in Oil must provide a good Stone, to grind his Colours, Porphry-stone is best and will do the least damage to the Colours, but in such a want a Slate, or a very hard Stone may serve, that a Knife will not wear away.  
Upon which Stone with what Colours you intent, putting Lint-seed Oil to it grind it until there remain no sandiness in the Colour.  
A  is the next material to lay your Colours upon, upon which they are also tempered; It is of an oval form, with a hole for your thumb.  
Upon which lay your Colours in this order.  
Next your thumb lay white-Lead, than next that lay Vermilion, East-India-Red-Lake, Pink-Yellow- Ochre, or Spruse-Oker, than Umber, Flury, etc.  
Thus your  is prepared except the Compounding of them, which to be done for a Face.  
Take a little White-Lead, and as much Vermilion, and the like quantity of Lake, and mix them altogether, and this will serve for the Darkest Carnation that is, in the Colour of the Face, and so consequently at pleasure more white will make it more pale, then having come to the Palest Colour, you must temper a little White, and Flury together, for a proper faint Shadow for the Face.  
Your Colours prepared as aforesaid, use them on the Face, as follows.  
First, take your lightest Colour, and lay in the lightest place of the Forehead, and of the Nose, and the least part of the Cheekbone, and next place your Carnation Colour▪  
And when you come to any place where a faint shadow is required, then as .  
And for the Darkest shadows use East-India-Red, and Fullers-Earth, and sometimes a little Pink amongst it altogether, and note that these Colours  are to express a beautiful Face.  
If you would make it a more Tawny complexion, put more East-India Red for the Carnation, and more Pinks in the lights or heightenings.  
The Pencils for your use are these two.  
Swan-quills Pencils, one fige, one pointed. And for Goose-quill Pencils, two brissels, two figes, and one great brissel on a stick.  
These Pencils are sufficient for any use.   

Of Colours for Garments.  

FOR light Blews, Indigo and white Led mixed together.  
For the darkest blue use all Indigo.  
Use White only of itself for the light.  
For Green, use Bise and Pinck mixed together.  
Use Masticot for the Lights.  
Pink and Umber for the Darks.  
Reds' must be made with East-India Red.  
The Lights with vermilion.  
The Darkest with Earth of Colen.  
For Whites, use white Led only.  
The Darks with Flour.  
For Blacks, use Lamb-black.  
The Lights, with Lamb-black and White mixed together.  
Bone-black for the darkest.   
These are the most usual Colours for Garments; but note, when all these Colours are dry, than they must be glazed, which is like washing of Prints with thin Colours, either mix them with oil or varnish: your Blews must be glazed with Smalt, Bise or Vltramorine; your Reds with Lake, and your Yellows with Pink.  
This will cause them to be exceeding beautiful.   

Of Limning in Water-Colours.  
TO Limn, prepare a fine ordinary sized Card, or very fine Paste-board, and polish it well with a Dog's Tooth, as small as possibly you can, on the side you intent to use.  
Then take a Piece of Abortive Parchment of the same size with your Card or Paste-board, the which paste firm with clean fine starch; but before you use it, temper it first in your hand with a Knife, or your Finger, that it may be free from Knots, and then let it dry; then your Stone whereon you use to dry your Colours being made very clean, lay the Card or Paste-board thereon, the Parchment-side being downwards, then with a Tooth polish the backside very hard; but note, that the outside of the skin is best to Limn upon, and therefore must be outmost.  
After this Preparation you must lay a Ground or Prime of flesh Colour before you begin your work, and that must be tempered according to the Complexion of the face you are to draw; If the Complexion be fair, temper white Lake and Red-lead, but if a hard swarthy Complexion, then mingle with your white and red a little fine Masticot, or English Ochre, but observe that the Ground should always be fairer than the Face you take, for it is an easy matter to darken a light colour, but difficult to make a sad one lighter, for in Limning you must never heighten, but work them down to your just colour.  
Your Ground being thus fitted, lay upon your piece of Paste-board or Card, prepared with a bigger Pencil then ordinary, and lay smooth, even and free from Hairs of your Pencil, which that you may the better do, fill your Pencil full of colours, rather thin and waterish then thick and gross; Then with two or three strokes of your great Pencil lay on in an instant; for the sooner it is laid on and nimbly, the evener it will lie.  
Cover rather too much then too little for your primer; this done, take a shell, and before you begin to work, temper several little parcels of several shadows for the face, and dispose them about the edge of your shell, that they may be ready for use.  
Note that these Colours are fit for a face.  
For the Red in the Cheeks, Lips, etc. Temper Lake, Red-Lead, and a little White together.  
For faint bluish shadows temper Indigo and White.  
For deeper shadows take White, English Ochre, and a little Indigo, and for the dark and hard shadows use Lake and Pinck mixed with Umber, where note, that black must not be used in a face by any means.  
Lastly, When you have almost finished, do all the scars, moulds, smiling and glancing of the eye, descending and contracting of the Mouth, all which must be sudden to express a bold quick hand; Note farther, that the best light to draw by is the North-light, and the higher the Window and sloping the better; place yourself so to your desk that the light may strike in sidelong, from the left hand to the right.  
Thus much for Limning.   

Of Washing and Colouring; of Maps and Pictures; Discovering how to prepare them for Colours, with their Use, Order and Mixtures.  
THAT Prints or Maps may lie smooth when pasted upon Paper or Cloth, first wet or damp your Prints with a Sponge or Cloth, but be careful that you wet them as the Paper will bear it; After you have so done, take your Paste, made either of Wheat-flower or of starch; and with a brush spread it all over the Paper or Cloth you intent to put it upon, then take the sheet you damped, and lay it upon another part of the Board you paste upon, and lay your Print upon the Paper or Cloth, and smooth it down with your hand; and so do by as many as your occasion requires, and then either press them; or if you have not conveniency take a sheet or two of that Paper you pasted your Prints upon, and lay upon the Prints you pasted, but let the Paper be dry, then with your hands rub it all over hard, to cause your painted Prints to stick fast every where; as you take them one from another, if you perceive any swelling or rising of the Paper like blisters, then take the point of a Pin or Needle, and prick the same, and that will let out the wind that lies underneath, and so cause it to lie smooth, if you rub it with your hands; and then hang them on lines to dry.  
You may prepare them to make them bear Colours and Varnish, but first observe how to passed on Cloth, which is thus, wet your Maps or Prints you intent to passed, as before you were to wet the Paper you were to passed upon, and then let them lie, while you wet the Cloth or sheet you intent to passed upon, thus put the Cloth into a pale of water, and be sure it be throughly wet, and after wring it out, and nail it fast at the top, bottom and sides, so that it may be strained smooth and even; this done, take your Print wet as beforesaid, and with your brush passed your sheet you intent to place first or uppermost, and be sure the paste lie all over, and then place it upon your Cloth, and after take a Sponge with a little water in it, and so smooth and strike it firm to the Cloth, thus do one after another until all are pasted.  
To strengthen your Print to bear Colours and Varnish, there are three ways; either with size, or which is best of all with Paste, or with starch. If you use size, put some fair water to it, or it will soil much; when your starch or paste is boiled, use it until it be cool; for if it will not strengthen your Print so much, being cold, with your Sponge be sure you rub it all over with your Paste, or else if you miss, some parts will bear the Colours, and other parts will not. After it is once dry, go it over again a second time with paste, and then after it is through dry you need not fear to lay on your Colours,  

How to choose your Pencils.  
Be sure they be fullest next the Quill, falling off with a round sharp point; if there be any straggling Hairs, take them away by the touch of the flame of a Candle, you must have several Pencils for several Colours, or else be sure to wash your Pencil clean, when you take it from one colour to use it with another, or else you will endanger the spoil of all your Colours, you also must have of several sizes, as your Work requires.   

To make Gum-Water.  
Take a quart of clean water, and put it into a Bottle or earthen Pan, then take six Ounces of Gum Arabeck, and put it into a clean linen Rag, and tie it up with a thread, put that in, let it dissolve in the water; if it prove too strong, put in more water; if too weak, put in more Gum.   

The Names of such Colours that must be washed.  

ELEWES. 

Blue B se.  
Indiga.  
Blew Verditer.    
GREENE'S. 

Verdigreece.  
Sap Green.  
Copper Green.    
REDS. 

Vermilion.  
Lake.  
Red-lead.    
YELLOWS. 

French-berries  
Saffron.  
Light Masticot.  
Cambuga.    
WHITES. 

White-lead picked fine.    
brown's. 

Spanish brown.  
umber, or Hair-colour.    
BLACKS. 

Frank fort-black  
Ivory burnt.  
Small-coal black.  
Sea-coal black.  
Lamb-black.     
All these must be very well ground before they can be used.   

How to order your Colours.  
Having very well ground those Colours to be ground; put them upon a Chalk-stone to dry, when they are dry, lay them up carefully until you use them, then mingle them with Gum-water  
Those Colours that you must wash put into a Galley-pot and cover them with fair water, and stir them with a stick very well, and after they have stood a while, pour off that water into another Galley-pot; and let the second stand until it be settled, then pour the same water back again into the first pot, and stir it again as before, then pour it into the second pot, as before, and this do three or four times; and then at last when the colour is well settled in the second pot, throw the water quite away, and then use that colour that is in the second pot.  
The colour in your first pot will serve for your course work.  
Blue Bise well washed is best, but use no Smalt in washing your Prints.   

A Liquor to be used with some Colours.  
Take an ounce of Pot-ashes of the best, and one Gallon of Riverwater, then brush your Ashes to powder, and put it into your water, and boil it a little while, then set it to settle, after pour off that which is clear, and keep that for your use.   

For a sky Colour.  
Let the upper part be the saddest blue, and the next lighter, and next that a flesh colour mixed with some of the last and the lowest of all flesh colours, wrought with light yellow at your pleasure, and for the clouds your Judgement may direct, they being so various.   

To make a Copper-Green.  
Take an ounce of white Orgal, and four ounces of Copper-dust, to be had at the Coppersmiths, and a pint of fair Water, and boil it half away, then after it hath stood and settled, pour off the thinnest, and keep for your use, if you would have it a Sea-green, then put into it some blue Vorditor, and if a Grass-Green, then put in some French Berry-water, or some Cambuga.   

For a Red Crimson.  
Take off your Liquor made with Pot-ashes, as before is mentioned, and add to it some rain-water, and then take Scarlet-flocks or shreds, steep them with ordinary Gum-water; but note, you must let your Colours boil in the Liquor you steep them in a little while; and then put in your ordinary Gum-water, or weak size, and let them boil together until they are thick for your use.   

For an Orange Colour.  
Take Ornotto and boil it in the aforesaid Liquor, and it will make a fair Orange colour.   

To make a good blue.  
Take Litmus and wet it in the aforesaid liquor, let it stand all night, and then boil it in weak size or Gum-water, and if it be too sad, add lime water to it, and if you would have it a fair purple add White-wine vinegar to it.   

To make a fair Crimson.  
Take the best Brazil ground or shaved, put of the aforesaid Liquor to it, and let it stand all night, then boil it with weak size, or ordinary Gum-water, till the colour is to your mind: try it with a stick upon your Nail, when it fades put Powder of Alum into it to strike it lighter.   

Colours that set off best together in Shadows  

WHITE sets off with all Colours.  
GREEN sets off with Red, brown's or Purples.  
RED sets off with Red, Brown, or Purple.  
YELLOW sets off with Purple, Red, Green or Brown.  
BLUE sets off with White, Red, Brown, Yellow o● Black.  
BROWN sets off with Green or Yellow.   

Colours that must be Ground.  
Indigo  
Lake  
White-Lead  
Spanish brown  
Frankfort-black  
Umber  
Ivory burned  
Small Coal These must be wash● after they are Ground  
Sea Coal These must be wash● after they are Ground   

Colours that must be washed.  
Blue Bice  
Red Lead  
Sap Green.  
Cambuga.     
FINIS.