portrait of William Sanderson Souse pinxit W. Faithorne sculp▪ 
Gulielmus Sandersonus. Aetat: suae. 68  Etsi Se nescit quod senescit tamen cupit diss●●●i. 
1658    

GRAPHICE. The use of the Pen and pencil. OR, THE MOST EXCELLENT ART OF PAINTING: In Two PARTS. By WILLIAM SANDERSON, Esq  
LONDON, Printed for Robert Crofts, at the sign of the Crown in Chancery-Lane, under Serjeant's inn. 1658.   

On the Picture of the Author, Mr SANDERSON.  

LEt others style this Page a Chronicle;  
Others, Arts Mystery; let a third sort dwell  
Upon the curious neat Artifice, and swear,  
The Sun near saw a shadow half so rare.  
He outsaies All, who lets you understand,  
The Head is Sanderson's, Fathern's the Hand.   
THO. FLATMAN, Inn. Temp. Lond.   

PREFACE.  
I MAY be censured by some persons, who have known me busy the most part of my life, to find me at leisure now in my last days, (under the discipline of Providence) to set out this subject of Painting.  
It is an Art I never professed: These Readings are gathered at my Study, accompanied with observations which I met with beyond Seas, and other Notions, picked up from excellent artisans abroad, and here at home; not without some experience by my own private practice, and altogether suiting my Genius. Which gave me occasion to say somewhat to our Painters, with their approbation, and desire, to reduce that discourse into a Method, legible to all, and so to render it profitable to the public; it being as well delightful to be read, as useful for practice, (I speak to Lovers of this Art, not to Masters): Yet, not altogether uncocerning the ordinary artisan, whose former Instructions (hitherto) not reaching unto knowledge, rather hinders his progression from ever being excellent; himself (perhaps) unacquainted with his own spirit, cannot so readily rise to estimation, though he labour much to make it his profession: For, the invention or election of the means, may be more effectual, than any enforcement or accumulation of endeavours. Not that I desire to derogate from the worthy intentions of any, that have deserved well in the condition of this elaborate Art But I observe, that their Pieces are rather works of labour, and alike to what hath been done, than of progression and proficiency; the same things multiplied, not new, nor rare, taking them the ordinary way, without advancing to the former, in manner or matter. For, all works are mastered either by 1. Amplitude of Reward. 2. By soundness of Direction; or, 3. By conjunction of Labour. And therefore I could wish, that the excellency of Painting, were higher prized, better taught, and more workmen. The first multiplieth endeavours, the second preventeth error, and the third supplieth the frailty of man. But the chiefest of these, is Direction in Painting. I have therefore endeavoured to enlighten him, into the Theory of the first Book, distinguished from the profitable practice, which descends to the second Book; and the Heads of all contained in an Index, prefixed to the whole, fitted with Cuts and P rints, proper to their Sections, for the apt apprehension of the puny, by which he cannot easily misconceive my meaning.  
Such as they are, I send abroad to your judgements, who are the best Proficients, and merit the Mastery; that so, the mystery of this wondrous Art, and your artificial working, (a secret inconsisting with common capacities) may hereby be so far revealed to men's admirations, as to be first understood, and then how to be valued. Not unproperly for use, to those ingenious spirits, who have no will to be ignorant in any Art, that does not misbecome the Student's wit, nor misbeseem the quality of a Gentleman, that intends to entertain Attendants, Handmaids to the Sciences of liberal▪ Learning.  
W. SANDERSON.   

READER,  
WIth much Cost and Art, orderly to this Impression; I laboured to be furnished from beyond▪ seas, with Cuts and Prints, proper for several Sections; But the watchful Pirate plundered the passengers, and that Cargasoon of Papers, which makes them failing in this Work, and crave excuse▪ till the next Edition, with such other, and 〈◊〉 further enlarg●●●●●. In the mean time, the Practitioner may be furnished at Mr. Fatherns, (a Graver, without Temple-bar) and at other Print-sellers, with such Cuts and Prints, as may serve his own private use for this whole Book, which could not be gotten by me in England, for so many thousands of Prints, as the press of this Edition would contain; only three or four Plates I have met with, which are here inserted for Example.  
And for the Art of Painting in glass, as also the excellency of Graving and Etching, in Copper or Wood, with the manner of Printing those Pieces in several colours, may soon be made public, as this Book finds acceptance.  
W. Sanderson.   

To Mr. Sanderson, the Author of this Book, The Art of Painting.  

Venus', scarce finished by Apelles death,  
Was by her Painter (just) deprived of Breath.  
Painters nor Pictures were there any such,  
Distinguishable only by the Touch.   

None could complete It, when that He was gone;  
This Book was wanting, else it had been done;  
Which teacheth intellectuals, Hands, and Eyes,  
To value, work, and view their faculties.   

Prometheus by his sar-setched feigned Fire,  
Into his mouldings (once) did life inspire.  
Your Rules direct us to avoid that toil,  
And to give life by Water, and by oil.  
Your Pen excels the pencil, whilst you write,  
You finish Venus in your Black and White.   
R. P.   

Upon our English Zeuxis, W. Sanderson, Esquire.  

POets and Painters dare do much, and can  
Fancy a Man a Beast, a Beast a Man.  
But when themselves are subjects, and the quill  
Describes the pencil, there's the trial o'th' Skill.   

When that fierce Ovid must a Zeuxis show,  
And Verse to Shapes give interview:  
'Tis not one Muse will serve, but the whole Nine,  
And father Phoebus too must prompt a line.   

As he, that pourtraicting the horse's foam,  
Despairing, that to life it e'er would come:  
Threw his famed pencil at the very bit  
O'th' bruit, and so a casual froth did hit,  
In such an exact figure, that lookers on  
Feared, that the drops, themselves would fall upon.   

So it must be some providential strain,  
And an eecstatic fancy, and rapt vein,  
Betwixt Despair and Inspiration,  
That fits the Zeuxis of our Nation.   

What Colours in our rhetoric, can show  
Thine, which more various are, than those i'th' Bow?  
If in Grotesco, or in landscape thou  
Express thy skill, we're in a wood I vow,   

And lose ourselves in thy feigned Groves, and view,  
And wish the Milk-wench, and her fine leg too:  
Such lively streams her snowy hand doth stroke  
From the milked Cow, that Calves they do provoke  
To louw for painted Teats, and Sheep do gaze  
On the deluding Commons, and would graze.   

Then since thou canst deceive all subtlest sense,  
And art a Zeuxis of such excellence,  
I will admire thy parts, and cozened be:  
But for to write thee, let't alone for me.   
EDMOND GAYTON.   

On the noble Art of PAINTING.  

STrike a bold stroke (my Muse!) and let me see,  
Thou fear'st no colours in thy Poetry,  
For Pictures are dumb Poems; they that write  
Best Poems, do but paint in Black and White.   

The Pensill's annulets forbid to die,  
And vest us with a fair Eternity.  
What think ye of the gods, to whose huge name  
The Pagans bowed their humble knees? Whence came  
Their immortalities, but from a Shade,  
But from those Pourtraictures the Painter made?  
They saddled Jove's fierce Eagle like a Colt,  
And made him grasp in's fist a Thunderbolt.  
Painters did all: Jove had (at their command)  
Spured a Jackdaw, and held a Switch in's hand.  
The demigods, and all their glories, be  
Apelles debtors, for their deity.   

O how the Catholics cross themselves, and throng  
Around a Crucifix! when all along  
That's but a Picture. How the spruce trim lass,  
Dotes on a Picture in the looking-glass?  
And how ineffable's the Peasant's joy,  
When he has drawn his Picture in his Boy.  
Bright Angels condescend to share a part,  
And borrow glorious Plumes from our rare Art.  
King's triumph in our sackcloth, Monarchs bear  
Reverence t'our canvas 'bove the Robes they wear.  
Great Fortunes, large Estates, (for all their noise)  
Are nothing in the world but painted toys.  
Th' Egyptian hieroglyphics, Pictures be,  
And Painting taught them all their A. B. C.  
The Presbyterian, th' Independent too,  
All would a colour have for what they do.  
And who so just, that does not sometimes try,  
To turn pure Painter, and deceive the eye?   

Our honest slight of hand prevails with all;  
Hence springs an emulation general.  
Mark how the pretty female-artists try,  
To shame poor Nature with an Indian dye.  
Mark how the Snail with's grave majestic pace,  
Paints earth's green waistcoat with a silver lace.   

But (since all Rhymthes are dark, and seldom go  
Without the Sun) the Sun's a Painter too;  
(Heavens famed Vandyke) the Sun, he paints ('tis clear)  
Twelve signs throughout the zodiac every year:  
'Tis He, that at the spicy Spring's gay birth  
Makes pencils of his beams, and paints the Earth;  
He limns the Rainbow, when it struts so proud  
Upon the Dusky surface of a Cloud;  
He daubs the Moors, and when they sweat with toil  
'Tis the● He paints them All at length in oil;  
The blushing fruits, the gloss of flowers so pure  
Owe their varieties to his Miniature.   

Yet, what's the Sun? each thing where ere we go  
Would be a Rubens, or an Angelo.  
Gaze up, some winter-night, and you'll confess,  
Heaven's a large Gallery of Images.  
Then stoop down to the Earth, wonder, and scan,  
The masterpiece of th'whole Creation, Man:  
Man, that exact original in each limb,  
And Woman, that fair Copy drawn from him.  
What e'er we see's one Bracelet, whose each Bead  
Is cemented, and hangs by Painting's thread.  
Thus (like the soul oth'world) our subtle Art,  
Insinuates itself through every part.  
Strange Rarity! which canst thee Body save,  
From the course usage in a sullen grave,  
Yet never make it mummy! Strange, that hand,  
That spans and circumscribes the Sea and Land:  
That draws from death to th'life, without a Spell,  
As Orpheus did Eurydice from Hell.  
But all my Lines are rude, and all such praise  
Dead coloured nonsense. Painters scorn slight bays.  
Let the great Art commend itself, and then  
You'll praise the pencil, and deride the Pen.   
T. FLATMAN, lately Fellow of New Coll. Oxon; now Inn-Temp. Lond.   

To the exquisitely Ingenious, W. SANDERSON Esq On his Book of Painting in Water-Colours.  
Great Artist,  

When I saw thy ROYAL STORY,  
(That theatre erected for thy glory)  
I stood amazed at each majestic line,  
And deemed each syllable therein Divine,  
Thinking Thee All-Historian: But now,  
Thy Protean Pen constrains me to allow,  
The Diadem of Arts and Sciences to Thee;  
Their vanquished depths confess Thy sovereignty:  
Whose absolute Dominion can dethrone  
The Rest, and fix supremacy in One  
(Rare MINIATURE) whose glittering Trophies stand,  
Reared by the learned endeavours of Thine hand.  
Thy Water-Colours shall outbrave the Fire,  
And dare courageously confront Jove's ire.   

Your fame shall (spite of Proverbs) make it plain,  
To write in Water's not to write in vain.    

Clarissimo viro Guilielmo Sandersono, Artis Zoographicae excultori Celeberrimo.  

OUis precor hic? iterúmne Orbi comparet Apelles?  
Anne magis radio Pictor Apollo suo?  
Neuter adest; sed uterque tamen: sed major utroque  
Sive homines lubeat pingere sive Deos?  
Pingendi heic stupido prostent cum viscera mundo  
Viscera, Primaevis impenetranda Sophis.  
Forma, & Norma recens; Artique Ars addita priscae;  
Et pictura Ostro nobiliore nitens  
Cuncta suis speciosa notis, renovata Colorum  
Temperies, Radii Daedala forma novi,  
Authoris Genium, si non depingere, saltem  
Fas Vati aeternis pangere Carminibus.  
Plaudite Pictores! Patremque agnoscite; vobis  
Ludus erit, priscis quod fuit antè labour.  
Obruat expositas nè fortè litura Fabellas,  
Picturae Archetypon nobile, Pictor, habe.   
Amicissimè scripsit amicus charissimus, GUILIELMUS MOORHEAD.  A tam laudato laudari laus erit vera.  

GRAPHICE. OR, The use of the Pen and pencil, in Designing, Drawing, and Painting; with an exact Discourse of each of them. AS ALSO, Concerning Miniature or Limning, in Water-Colours: The Names, Natures, and Properties of Colours: The ordering, preparing, washing, and using them, for Pictures of Life, landscape, and History. AS ALSO, Of crayons, or Dry-Colours, by pastels or Powders; The way of making them, and working with them: With rare Receipts and Observations, of the best Masters of this Art. In two Parts. With some Cuts and Prints, proper to each Section. By WILLIAM SANDERSON, Esq  
LONDON, Printed for Robert Crofts, at the sign of the Crown in Chancery-Lane, under Serjeant's inn. 1658.   

 portrait of Charles I G Faithorne Excud. 
Carolus Primus D. G. Ang●iae Sc●●iae Franciae et Hiberniae Rex. ●●.    

In Effigiem Caroli, Nuper-Regis.  

INdiges heic quorsum prostat Tibi Carolus! Ann●  
Hunc quòd aims? vel quòd te redamârit, erat?  
Anne quòd Essigiem subrepti Martyris, Orbis  
Quà patet, indomito more & honore colat?  
Anne, quòd hanc reliquis (dum vixerat) Artibus Artem  
Praetuleri● Genio discure, Mome, tuo  
Cuncta simul num vera sient, non dirimit Author,  
Cui satis est Sphyngem solvere posse suam.   
G. M.   

GRAPHICE: OR The use of the Pen and pencil; In the most Excellent Art of PAINTING.  

Pen and pencil described.  THe most excellent use of the pen, and pencil, is illustrated by the admirable Art of Drawing, and Painting; and perfectly defined, to be the Imitation of the Surface of Nature, in Proportion and Colour.  
By mathematical Demonstration of Globes, Spheres, Charts, maps, cosmographical, geographical, chorographical, and hydrographical.  
Or, by particular description of Plots, Fortifications, forms of Batalia's, situation of towns, Castles, Forts, Lands, Rocks, mountains, Seas, lands, Rivers.  
Or, by shapes of Creatures; Men, and Beasts; Birds, and Fishes.  
Or, by Vegetables; Fruits, Flowers, herbs.  
In all, it prefers likeness to the Life, and conserves it, after Death; and altogether by the Sense of Seeing.  

Of the Five Senses.  
THe number of Senses, in this Microcosm, or little world of Man, do correspond to the first Bodies, in the great World, as 


Of the five Senses.  Sight, to the Heavens.  
Smelling, to the Fire.  
Hearing, to the air.  
Tasting to the water.  
Touching, to the Earth.    
I have lamented the defect, that most Men misunderstand the true use and perfections of the senses; when the advantage of our Reason prefers us before ordinary Creatures, that enjoy them in common.  
How many men that have Organs, and de hear, yet cannot distinguish the Excellency of musical sounds, and find not the defect?  
As many, who have the sense of Touching, that labour not their hands to the things that are good.  
Those that can smell, yet profess their ignorance in the delicacy of sweet Odours; and conceive no more benefit thereby, than others, who are satisfied with a stink.  
To cram the Belly, & fill the gut, diseaseth Nature, without apprehension of health in a choice diet, or, in difference of tastes  
And there are several notorious degrees of sin depending on the extreme fruition of those four, which taints both body and mind with impurity.  

Sight the best sense.  But in my Opinion, the whole World, and all the forms of Nature may be safely comprehended, by the royalty of external sight, (There being a Lordship of the Eye, which as it is a ranging, impetuous, and usurping Sense, can endure no narrow circumscription, but must be fed with extent and variety to the glory of the creator,) and yet without prejudice to the reasonable Creature) except in the misuse of looking with Lust, after that, which is none of his, Lasci●iously, Covetuously, Superstitiously; To which possibility of misapplication, not only, those Semiliberall Arts, but the highest perfections, and endowments of Nature, are subject; Nay Religion itself. Therefore Ab Abuti, ad non-Uti, negatur consequentia.   


Sight compared with other senses.  Of the Excellency of Sight.  
BUt, Sight deserves, a higher, and a more mysterious consideration, and therefore, let us compare the difference, with other Senses.  
The State of sense may be divided into two parts; Inward, and outward; commodity, and necessity; Soul, and Body: but, as the soul is more excellent, than the body, so the sense that profits the soul, is to be more esteemed than those, that are needful for the body; because it is better to be well, then simply to be.  
The Soul of man, (that most perfect form of the Creator) not consisting of matter, or subject to division, and so by consequence, whole in all the body, and wholly in every part: Yet, in every respect, the noblest powers thereof are more eminent, in distinct places; some have lodged and bounded the limits within the compass of One Member of the Brain, (the magnificent stately Turret of the soul,) wherein is placed Reason, the sovereign power of the Soul,) as the Messengers of understanding. The Eyes, Ears, Nose, Tongue, (Guards and Servants to Reason) placed in the head, as ne●r att●ndants.  
The external Senses are but five because of the five sorts of Objects, either unto Colour, Sound, Smell, Taste; or to those Qualities whereabout Touching is conversant. Seeing and Hearing are the most pleasurable; Sensus Jucunditatis▪ The other more practical; these more contemplative: Those, Sensus Disciplinae; these are Mentis, Noeticall.  

Excellency of sight.  The excellency of Sight, is especially, in four things.  
1. Variety of objects; which it presents to the Soul.  
2. its means of Operation; altogether spiritual.  
3. In respect of its particular object, Light; the most Noble Quality that God hath created.  
4. In respect of the certainty, of his Action.  
(In a word; all things, under the first movable orb, are subject to the power of sight.)  
For the first; all natural Bodies, are Visible; but all are not effectual, to other Senses. Heaven, (the World's Ornament) is not to be touched; Harmony of the Spheres, not to be Heard; No taste in the Earth, or Fire; All these may be Seen.  

1. Variety of Objects.  Sight, besides his own proper Object (Colour), hath infinite others, as Magnitude, Number, Proportion, Motion, Rest, situation, Distance: And therefore called, the sense of Invention of all Arts, and Sciences.  
And all the skill in deep astronomy,  
Is to the Soul derived by the eye.  
philosophy was begot, by admiring of Things; Admiration, from Sight of excellent things; the Mind, raised up and ravished, with the consideration thereof, desirous to know the cause, began to play the Philosopher.  

2. In spiritual operation.  Secondly, Sight is the Sense of our blessedness, as it brings us, to the knowledge of God. The Invisible things of God, are manifested to us, by the visible. Infinity cannot be known, but by his effects.  
Set on work this Noble Sense, to view and consider the excellency of the Workmanship, of the Great creator; the Heavens, and the glory thereof, in Proportion, and Colour; the Beauty of the Surface of the Earth, and the Creatures thereon. Consider Man, the Wonder, and utmost endeavour of Nature. so that the Prophet-Singer cried out; How secret and wonderful am I made!  

3. In Light the Noblest Quality.  Thirdly, it is endowed with the goodliest quality in the World, Light, The heaven's offspring, the eldect daughter of God, Fiat Lux the first days creation. Common, as indifferent to all; best known of us, (for other natural Bodies consist of mixed Colours. It discovers itself in the modesty of a morning Blush, and opens its fair and virgin eyelids in the dawning of the day, shine out in its Noon-day's glory. It twinkles in a Star; Blazes and glares out in a Comet; frisks and dances in a jewel; dissembles in a Glow-worm; Epitomises and abbreviates its self in a spark; Ruddy in the yolk of the Fire, pale and consuming in a Candle.  

Thus described in old rhyme.  
Light, the grandchild to the Glorious Sun,  
Opens the Casement of the rosy Morn;  
Makes the abashed Heavens, soon to shun  
The ugly darkness, it imbraceed before.  
This, a true Looking-glass, impartial,  
Where Beauties-self, herself doth beautify,  
With Native hue, not artificial;  
Discovering falsehood, opens verity.  
The day's bright-eye; Colour's distinction;  
Best judge, of measure and proportion;  
The only means, by which, each mortal eye,  
Sends Messengers to the wide firmament:  
That to the longing Soul brings presently  
High contemplation, and deep wonderment:  
By which aspiring, she, her wings displays,  
And, herself thither, whence she came, Up-rayes.   
It performeth his Office, at an instant, though far distant, without moving itself. And as the understanding part of the mind, receiveth from the Imagination, the forms of Things naked, and void of substance; So the sight is the subject of Forms without a Body; which are called, Intentionalls.  
It comprehends Universality, without pestering any room or place contained: the largest Mountains, enter at once undiminished, through the Apple of the Eye, without straitness of entrance.  
It judgeth, at one instant of two Contraries, White and Black, and distinguisheth them; the knowledge of the one, No impeachment to the knowledge of the other; being that, of what the other Senses are not capable. It receives at One instant, the circumference of the World; But the other Senses move by intercourse of Time; the reason why we see Lightning, before we hear the Thunder; being neither of them made before or after another.  
It hath a kind of liberty, which Nature hath denied to the other Senses; The ears are always open; so is the Nose; the skin always subject to cold and heat, and other injuries of the air: but the eye, opens and shuts, at pleasure.  

4▪ In infallibility.  Fourthly, it is the most infallible Sense; which lest deceives being ten times of more certainty, than hearsay; as between truth and falsehood.  
According to the French Proverb.  Ce qu' on voit est plus certain que cequ' on oit. 
Horace saith, Oculis potiùs credendum, quàm auribus.  
The Prophets confirm their Sayings, by the Sight (Visions) as most true; It is the form, and perfection of man: by it, we draw near to the divine Nature, seeming that we are born, only to see▪  

Eyes their exlency and effects.  The Eyes, the Looking-glasses of Nature: Consider the beauty, and excellency thereof, from several Objects: Behold the spangled canopy of Heaven by Night: the watery Clouds, by day, with excellent Colours, and Shadows of the Sun's reflection: The wonderful painted Rainbow: The glorious appearing of the Morning Lamp of Light: the golden rays, round about him, spreading a faint and trembling Light, upon the stickering and gilded waves: How, his shadows lessen at Noon-tide; and how they increase towards evening, and at the burning ruddy sunset.  
To view, the towering tops of Mountains, unaccessable Rocks, with ridgie extents, or sudden fractions, by some steepy abruptness: Here a valley, so large, that at the end of the plain, it seems to meet Heaven; there a Grove, and here a Green pleasant Arbours; rows of Trees, spreading their clasping arms, like gentle lovers embracing each, with intricate weavings; gently swelling Hillocks; high delightful plains; flowery meadows, pleasant streams; natural fountains, gushing waters down the rocks.  
Stately Cities; famous Towers; large Bridges; spiring Steeples; intermixed with Orchards, Gardens, Walks; and what not of these kinds, that delights the mind of Man?  
Consider the shapes of each several Creatures; from the Elephant to the Emet: the admirable and absolute perfections of each Limb; the beautiful Colours of Birds; silver skaled-fish; wonderful forms of worms, and creeping things.  
And all these to praise the Lord, for his mercy endures for ever.  

Of the Excellency of Sight, in the Art of Painting.  
HAving said thus much in general: Let us draw down to our particular use of this Sense, first to be apprehended by speculative knowledge, in the Art of Designing, Drawing, and Painting, which comprehends It: when lights and shadows, (set out by Art, to counterfeit Nature) give the workman the excellency of representing in proportion and Colour, what ere Nature hath produced. Nay more, described into form, what ere can be uttered by speech of another, or to be imagined, by his own fancy.    

Of a landscape.  

In the descrption of a landscape.  what a large scope of several objects, are daily offered to delight the wearied travailler, when with true judgement, he beholds the variety of Nature, and the Artifice thereof, within the landscape of his Horizon in a well chosen Prospect?  
Give me leave to describe unto you, a landscape; by which, and many such like you may apprehend with delight, the excellency, of a journey by land, or voyage by Sea, Which commonly, are either not observed with judgement, or soon lost to memory, for lack of Art to put them into form, and Colour.  

By an English Gentleman.  For example; An English Gentleman, of singular ingenuity, came to Naples by Sea, at the instant, of a strange accident without the city: The report whereof amazed the people, into sudden fear; Yet curious they were, to behold that, which they apprehended, horrid: Each one, crowding forward, to pull back his Neighbour; disorderly Number, stopped their haste, so that, they stuck fast in the Gate. Only this Stranger, whose single discretion taught him, always, to avoid a Tumult; and now showed him the way, to creep out at a Wicket.  

The Mountain Vesuvius burning.  He soon discovered the cause; casting his eyes up to the view, of the towering Hill, Vesuvius, from whose Base, the fruitful valleys, trend down to the strand of a River, refreshing this city.  
This double topped Mountain, had one Speer burnt, in time of Pliny, by which means, (that Rocky part dissevered into fractions) there appeared, rare reflections of Lights, and shadows, occasioned from a fearful Fire of the other Speer, now flaming up into the Clouds.  
Sometimes, with blazing flash to frighten Heaven, instantly quenched by a crowding vapour, as dark as Hell: And yet each raging quality stinted by Him, that in a bounded measure, preserves all from destruction. These objects (unequally mixed) expressed such glaring variety of Colours, as two contraries, Light, and dark in opposition, usually do produce. 
Simile▪   
So had he seen (he said), a sight at Sea; a Ship so gallant never ploughed the waves, but she, and our brave sovereign; when in the moment of a twinkling eye, the reckless Swabber, with a Lintstock-match, tin'ds but some powder for his knavish crack, which kindled all on fire;  
So q●i●k is Sulphur, that the sound and sight  
Soon into Air dissolved the fabric quite.  
But now his sight, dimed with much gazing, and his eyelids wearied, wi●h force of long looking up-wards, of themselves took ease, to descend.  
(So did his thoughts, in an humble consideration, of the natural Cause, Sulphurous matter, many ages past, penned in for a time, and now (fired with heat) burst out into this fury. Which, though not seldom happening in hot Conntries, yet to his sense, the more rare, that never saw the like.)  

Prospect of the Vale.  When suddenly he seemed ravished, with the most pleasing Prospect of Nature, and Art, mixed with accidents of divers manner, such as possibly might delight him;  

River.  It took its Scite, at the entrance of Naples, from the valleys; where the cool streams of— gently pass; seeming then, a preservative Element, of powerful contrariety to quench the raging Fire with turnings and windings, on the right hand, so far as the Countries of Apulia, six Leagues off.  

Bridge.  Over this River is raised a stone-Bridge of antiquity, more than splendour, yet fair enough, with six locks, or vaults, through which, the water runs, not too quick on purpose to delight you; but murmuring down on the left hand, to a single Pile of Red-marble; partly ruined, more by war, than time; and yet of some Antiquity, by the remnant of Pillars, pedestals, Cornices, and such like, of old Tuscan, and Doric Sculpture.  

And Orchards.  near unto an Orchard of Palms, and sycamores, where, under an ample Arch, the River seems conveyed to utter loss of all, but imagination.  

People fly from the Fire.  A world of people, from far, filled the Bridge, with haste; being come to secure themselves, their goods and cattle: Those of Quality rod, pranzing on their Gennets; not too fast, being fettered, within a flock of Sheep.  
The good Man and his wife, load their own backs, to save their beds, leading their Infants, frightened with the Fire.  
The poor ass now bears his burden, not in vain, being driven from danger, as concerned in the Interest, as well as the wiser sort, who governed the Beast.  
The Wagoner, whips on his wearied Jades, who yet, huye so fast, that they tread, on horse's heels.  
Fearful apprehensions scare them all, that follow in a Train, beyond the comprehension of Sight; and until from several degrees of dimensions, each Creature seems contracted into Shapes, almost of atoms.  

And from the mixed Villages.  These Multitudes, fled from Torre, del Greco, and Nunciato, two pleasant Towns, seated upon this River, appearing so far distant from the eye, as usually, the judgement assists the Sight, to distinguish them into Buildings.  
Before these Towns, anchored two Neapolitan galleys, sent thither to receive the people, and their goods aboard, from the destruction of stones and ashes, disgorged by force of the fire, and which the violence of the Rock-water stream, hurried down from the top of the Hill, overwhelming these Villages, almost as a Cover; the suffocating heat of this rubbish, more fearful than any Fire.  
Behind these you might discern, the rising sallow-fields, here and there, mixed with trees, and hedge-rows.  

Hills a far off.  Beyond them, the proud Hills, covered with whiteness of S●ow, which the sunbeams expressed, like Silver towers, that reached up, to the next Region.  

The left hand Prospect of the valley.  Then on the left hand view, you might behold, (Sun a●d wind clearing that side) the whole Vale graced with several structures, and buildings, here and farther off.  
Here, and there, the stately Pines, overtopping their Tops, naturally intermingled with Cedars, and Citrons.  

Foot of the Hill.  From these, your sight (ascending the rise of the Hill) becomes ravished, with pleasant Gardens, and Orchards; beautiful rows and walks of Trees, gracefully high and large; Here vineyards of Grapes; there Groves of Granadoes, Citrons, Pomegranes, figs, and Olives, and other Fruits without Number.  

horizon.  These reach so far, until your sight is lost, into the Edge and Circle of an horizon, where Heaven and Earth, beget a wonder, This in contemplation covets to mount, That, in affection, willingly descends, until with joint embraces (like two reconciled Lovers) kiss each other into everlasting kindness, Terram Coelo miscere.  

Travalers.  near hand, a Loader, following the heels of his Horse; and to spare his overmuch burden, the good old man, in charity to his Beast, takes part of the pains, and stoops his own bended Back, with the remain of the carriage.  
Not far before him, trots another, ready to climb the mounting ground, and to ease himself, the poor Jade, spares his pace; but two rustic Swains, hard hearted drivers, (or else in more ha●te, than good speed) both of them beat him.  
Beyond them, you may perceive two more; one hastening forward, the other returning; their business belike, of more concernment, than to salute; though the narrowness of the way, necessitates them to meet.  
And thus the Traveller, having long time looked over these objects; he turns his back from all, with religious Contemplation: That in such varieties of Prospect; contrarieties in Nature and affection; Fire and Water; Hills and Vales, barren and fruitful; Trees, and meadows; Heaven, and Earth; all should concur in beautiful Objects, and Ornaments of delight, to God's glory, and content to the Creature.  

A courtesan Courted.  when lo, he espies a Neapolitan gallant, caressing his courtesan; she was handsome, he was not so; and yet the custom of the Country, taught him boldness, to court her, into more than ordinary kindness; which no doubt, in dependence thereto, was soon after, put into practice, when the opening of the Gates, received them into the city.  
The Stranger being entered: He tells this Story, unto other Guests, to one of them, that for a Wager (The Table taken away) 
The Tale put into a Picture.  described this Tale, into the form of a Picture; and Painted it to the Life from the others' report; which being done, became such a Miracle of Art to everlasting Memory, that deservedly, might adorn the viceroy's Gallery.  
The papers of this print were lost at▪ Sea. But any other print of a Prospective, may serve the practitioner to discourse thereupon; and ●it this example.  

Description of a storm at Sea.  Another, of the Sea, a storm and shipwrecks.  
It was so fair a Morn as Middling-june, which invited tender virgins, to the brinck of the Ocean: where they beheld, a Fleet of gallant Ships, such as ne'er graced the flood before.  
Each distinct Squadron attending their Admirals, in an orderly course, to the very Bay of a secure Haven; the Seas as smooth as glass.  
When, for Novelty; (the various desire of change) one of the virgins, wished to see the Waves.  

Storm begin● with wind and waves.  The stormy-Fiend obeyed, and vexed the air with wind which volved the Waves, till they on end do stand; ranging their race with mighty furrows; wave shoveth wave, and Billow beateth Billow.  

Twixt Ridge, and Ridge; the engulphing space was hollow,  
Much like infernal jaws, whole Fleets of Ships, to swallow,  
In those devouring, liquid Graves.  

lours the sail.  The mariner by often trials, becomes fearless;  
Yet his sails takes in, and stoops to an ill, he cannot master.  

horridness.  A monstrous shower of rain, thickened the face of Heaven; peal after peal.  
" So dark as Hell; and yet the Stars are seen,  
" And dreadful terrors, had been▪ lost to sight,  
" But that, (these) dire Lightnings turn  
" To me●● horrid fears.  
" The Seas▪ like quenchless flames, do burn:  
" Sad ●louds, sink into showry tears:  
" You would have thought,  
" The high swollen Seas, to Heaven had wrought,  
" And Heaven, to Seas descended.  

Ships Instruments useless.  Away goes steerage, Lead, and all adieu;  
The Card and Compass too:  
Of two and thirty winds, not one of safety shows;  
All point to death. The loadstone useless;  
The needles-north, drunk with the waves  
Turns round, and reeling too: so did the Ship.  
And disengorged the Sea, into the Sea again.  
The Jacob-staff, no farther sight could reach,  
Then second surge.  

In sundry ships several distresses.  The dancing Beak-head, dives into the deep,  
Then bounding up again, than down amain,  
Which cracks her massy ribs.  
" So have you seen a fierce strong Bear,  
" Stand bolt upright, to paw the mastiff dog,  
" Which in his Clutch, once got, he gripes to death.  
No place for Art, or force, yet all are tried:  
For now▪ the waves must have their will,  
" Obedienc●▪ best to follow, and that was ill.  

Sheets rent and Tackling tore.  The Ship sides crack, and tackle tore like Twine,  
The six-fold Buck from sheet, is rent to ragg●  
" Nor left so much to wipe a tear  
" From the distressed Passengers, that weeping were.  

Boy blown away.  A bucksome-bully Boy, up to the topmast climbs  
To clear a Haulfer, or less weightier course;  
Like Crow on maypole ●ane, a wondrous height,  
Yet he obeys, and cheerly cries, Done, done, Sir:  
When in the moment, of a twinkling eye;  
Not half way down, a blast of mighty force,  
" Darts him as far  
" As David's pebble from his sling of war.  

mariner's miseries.  Upon the Decks two stand, but bind themselves,  
Yet both are blown away:  
Another, on his hands, into a corner creeps;  
But bounding Hatches, band him to the deeps.  
Some trust to Haliards, others to their holds,  
But cardage cracks, and they o'er-board, are rolled.  
The giddy Ship turns Saylor's brains,  
Though bound his brows;  
And as from flint, so sparkles Fire, from both his eyes;  

Spectators frighted.  The sickly Soul was worse, weary of Life, he dies.  
Those on the shore (by prospective) that saw, were giddy grown.  
And whilst I tell this tale, I'm not mine own.  
My brains turn round, so does the Reader's too,  
No wonder then, the Mariners did so:  
The stress of horrid storm, none but by feeling know.  

Passengers in a longboat, cast away  Some seeming wiser, hear the Long-boat's out, and leap therein;  
Which soon like froth are spewed upon the sands:  
And with the stroke are torn to smallest chips.  
The aged father strides the lusty Lad,  
Some swim, others wade, till many footing find;  
When by degrees, the swallowing tide, steals on them,  

upon Sands,  First to the feet, the ankles, knees, and waste.  
Then to the rising ground they all retire,  
And down they kneel;  

And  Their Sacrificing hands, above their heads, they heave, and hold them there:  
Till brinish Seas, up to the Chin comes in, and chokes them all:  

They are drowned.  A dozen of such, by several 'scapes, got thither,  
Freed from the Sea; on sands are drowned together.  
Those in the Ships see this, and on their knees they fall,  

The Wrack described.  This sad example, makes them, one, and all: for now,  
The Rudder's torn away, the wracks begin,  
And traitorous leaks, the dryving Seas drink in,  
No Master, Mate, nor steer's-man, now;  
Nor Plummet guide or Watch can show;  
No standing on the decks;  
The unbridled beast, the Master casts,  
And shakes off the sailor, griping close the Mast,  
The rest shrink into cabins, as their gravy rooms.  
The main Mast, by the Board is cut,  

Goods throw overboard.  The goods thrown o'er the Hull to save.  
Then gaping comes the fatal wave.  
Which into watery womb, at one suck d●●ws down all.  
Yet as a Load too heavy to digest,  
One s●rge, plays it over to the rest,  
Some pieces of the wrack, on sands are cast,  
Some on the ragged Rocks:  

Ship sinks.  The Timber planks, start out; the ribs in pieces crack▪  
And these, thus yielding, breaks her massy back.  

The lading floats, and men upon them.  Here, barrels float, there packs, not yet through-wet,  
And chests of mighty wealth;  
Men and boys, bestride them, whilst they can,  
Then shrink, and cry, farewell, from boy to man.  
The Hog sheds, full of Claret wine,  
The curled foam, doth mix with brines  
Both being dipped, in dies of red; and seem to blush with shame,  

And men drowned.  For swallowing down, the Merchant's gain.  
The Factors, sailors, Children, Wives and Friends,  
In wretched loss, the whole adventure ends.  
A world of scattered goods, on Billows green,  

Wrack on shore.  (As at a Mart on grass) you might have seen.  
The shore, more cruel, than the Seas, devours.  
For they, who claim the wrack, cry, All is ours.  
The sunk ships fall, and beaten waters roar,  
Which mightaiy affrights them, on the shore.  
Who 'scape the greedy waves of Seas, are cast on land,  
Find burial there; the people, weeping stand:  

Only one man saves himself.  You might behold, one Man, ne'er stooped  
To baseness, though to brine  
In swimming sinks, but up again he gets;  
Now strides a Mast, lays hold, on yard, and plank,  
And though amongst the lost, himself doth vault.  
Yet strives with arms, and legs, and (often so)  
Death favoured him, and lets him go.  
God unto Man, gives gifts of such a mind,  
Above the power of Fortune, Seas, or Wind.   
The Maidens wept when they came in; and it was her task to tell this story, whose beauty, (shadowed only by her tears,) gave grace to the relation, and pity to the distressed. But afterwards, being put into a Draught and coloured, it is accounted no less than a singular dignity to Cardinal— Cabinet, his most admired Piece. And the Prints of this are likewise lost at Sea. Which you may supply with any other such storm.   

Of Painting and Poetry compared.  
THus have I adventured the challenge, in the name of Apollo, to the Art of Apelles; by comparing Wit, and Words, by the Poem, with Draught and Colour by the pencil; in these two distiall descriptions, of the Fiery Mountain, and Prospect at Land, and of the horrid tempest and Ship▪ wrack at Sea▪ the like may be conceived of many other millions of change. There being such Harmony in them, 
Harmony of Poetry and Painting.  that may not be separate; and when Eloquence flourished, Painting was esteemed.  
For poesy is a speaking Picture, and Picture is a silent poesy, the first, as if always a doing; the other, as if done already. In both, an astonishment of wonder; by Painting to stare upon smitation of Nature, leading and guiding our Passions, by that beguiling power, which we see expressed; and to ravish the mind most, when they are drunk in by the eyes.  

Painting before Poetry by hieroglyphics.  Yet Painting was before Poetry; for Pictures were made before Letters were read. For before that the Egyptians had Letters, they signified their conceptions by hieroglyphics of Figures, Characters, and ciphers, of divers things: as Birds, Beasts, Trees, Plants, and by tradition to their Children were readily understood. As by the Earth, the ox, a beast of the Tillage; by the falcon, diligence and swiftness; By the Bee, a King, mildness and justice, by honey and a sting; by the Eagle, Envy, not accompanying other Birds; by a Serpent his tail in his mouth, the revolution of the year; for hearing, a Hare listening; and such like numberless. And framed their gods also of such Creatures, and things; as that ancient piece of Antiquity, a carved Stone in Rome in the Garden of the House of Julius, the form of a Man with an ape's face and dog's ears, holding a Sphere of the Heavenly Circles in one hand, a Mercury-Staff in the left, standing upon the back of a Crocodile, according to these verses.  
Templa Paretoniis onerâsse Altaria Monstris  
Quis negat? inter quae Simia et Ibis erant;  
Et Canis et Vasto frendens Croc●dilus hiatu,  
Herbae etiam cultu, non caruêre suo.  Dij Aegyptiorum. Romae in Hortis Julij. III. P. M. 

Grecians the first Painters.  The Greeks adventured on this Art, merely in the first Elements of Black and White; which afterwards were put into Colour by the Romans, with whom Painting was much in esteem, and had the honour of a liberal Art. In Rome the Fabijs were surnamed Pictor, and the Temple Salus circumscribed. Quintus Fabius pinxi: from whence the Italians, of excellent spirits and best designers, gave examples. The Germans more laborious, followed their fashion; and the English, Dutch, and French, become Imitators of them all.  

Paintinghighly valued.  The Art of Painting hath been valued, from Antiquity; yet rarely arrived to its perfection, in any age: partly by ignorance, of most men in this Art, seldom encouraging the Professor: Besides, in truth, it is a gift in the Artist peculiar; more natural to a single fancy, then common to all. The difficulty therefore to attain it, is not to be laboured out by ordinary pains, and industry; yet requiring indefatigable assistance, to bring the work to become a wonder.  

Excellency and  Picture insinuates into our most inward affections: Things by the ear, do but faintly stir the mind, but captivate the Eyes; as being the more accurate witnesses of the two: Gods may be conceived by poesy, but are madeby Painters.  

Effects by  So did they well; who, to enforce a more horrid reception 
massacre at Amboyna.  of the Dutch-cruelty upon our English at Amboyna in the East Indies, described it into Picture (after that it had been, most eloquently urged, by Sr. Dudley Digs and imprinted,) to incense the Passions, by sight thereof; which truly (I remember well) appeared to me so monstrous, as I then wished it to be burnt. And so belike it seemed prudential to those in power, who soon defaced it; lest, had it come forth in common, might have incited us then, to a national quarrel and revenge; though we have not wanted other just provocations since to make them our enemies.  
However, at the time before, it wrought this strange effect upon the widow of one of the Martyrs; who, upon former relations, prosecuted her complaint; but when she saw the Picture, lively describing her Husband's horrid execution, she sunk down, in a dead swound.  

Pictures valued at a mighty Price.  we read, of Kings and Nations, that have valued Painters; so have they sought their Paintings, for their weight in Gold; for 100 Talents; for 6000. testers; 12000. testers Nay some Pieces were preserved with so much safety, that their keeper's lives, have been responsible for their security.  

Van Dorts death by loss of a Picture.  An example of that nature, we had in Abraham van-Dort, Supervisor of the late King CHARLES his Repository of Rarities; with especial command and care of one most excellent piece of miniature; which therefore he lodged (more secure than safe) so far out of the way, as not to be found by himself, when it was missing, to his own memory, at the King's demand; till after his death, the Executors brought it home. 
Mr. Gibson, the Marquisate Picture.  This chance, fitted the story; which was [of the lost Sheep found] The design of the Limner, A shepherd bearing upon his shoulder a strayed sheep to the fold. The Doctrine; Christ reclaims the sinner. But miserable it was to the poor man who at the first, for fear of his Master's Van Dorts displeasure, or perhaps his own love to the excellency of that Art, in sad regret, went home and hanged himself.  
Several Pieces have been presented to cities, commonwealths, Nations, and kingdoms, as overvaluable for any private person. Our late King CHARLES, had many most rare originals, Collections, both of Painting and Sculpture. He being the most of fame, for his encouragement, and Patronage of Arts and Honour. His love to this Art, begat three Knight-Painters; Rubens, Vandick, and Gerbier, 
Three Knight-Painters.  the last had little of Art, or merit; a common Pen▪ man, who penciled the Dialogue in the Dutch Church LONDON; his first rise of preferment.   

The use and Ornament of Pictures.  

Use of Paintings.  TO give a Picture its value, in respect of the use: We may consider, that God hath created the whole universe for Man; the Microcosm whereof, is contracted into each man's Mansion House, or Home, wherein he enjoys the usus-fructus of himself, and leaves it so, to his Son, as an Inheritage of strength, Profit, Pleasure.  

Ornaments to Houses.  The great Oeconomistes of all Ages (and so other men from noble examples) have endeavoured, to magnify their own Memories, with Princely palaces of structure, and afterwards to adorn them distinct and gracefully, with Pictures within, and Sculpture without. And both these witty Arts, have 
Whether Sculpture or Painting, be supreme.  contended for supremacy, whether Imagery embossed, which pretends (as indeed it is to ordinary Capacities) more natural, and so easier to be apprehended, whose excellency is only in the soft Sculpt of the Chizell, as if it were Painted; Or the other, Painting, being the more rare by enforcing shadows upon a Flat, as if Carved; and yet the shadows themselves, not grossly apparent.  
Certainly, this latter, must be the more excellent Artifice, by forcing this to seem so, upon a Flat, which Nature makes rising and hollow; and indeed, the truth is wonderfully concluded by one A. B.  

Decided by a Blind Man.  He is a blind man, yet by feeling the form and lineaments of Nature in the Life, doth mould by the hand in Clay, rare figures exceeding like in shape, which is impossible to be done by him, in Painting.  
But of this, more hereafter when we come to working in Colours.  

1. The first Grace of a Picture.  A Picture in truth, must stand off natural, as if it were Carved, graceful and pleasant at the first blush, or sight thereof; which are the excellencies of ancient Painters: of whose 
A Cut hereof.  originals many, even pretenders to this Art, are deceived with Copies.   

Of original Pieces and of Copies.  

To distinguish principal from Copies.  GEnerally, in originals, the Colours become often vaded, and, in many, much changed; the Piece in time grown crusty, and often peeles by ill usage. Yet you shall find the Lightnings bold strong, and high; the shadows deep and graceful.  
Their Copies, if well counterfeit, the workman must alter the manner of his Colours by a mixed tempering; otherways than the Modern natural way of Painting admits. To do this well, he may be less excellent in the Precepts of Painting, and yet in this way of working, out Master, a better artisan; 
Mr. Croix.  I knew but one, that herein (lafoy Croix) who outwent all; and copied many of the King's originals, from several rarities in this kind.  

Of Laniere.  It is said that Laniere in Paris, by a cunning way of tempering his Colours with Chimney soot, the Painting becomes duskish, and seems ancient; which done, he rolls up and thereby it crackls, and so mistaken for an old principal, it being well copied from a good hand.  

How to judge of them  To judge of them with facility; originals have a Natural force of Grace Rising; Copies seem to have, only an imperfect, and borrowed comeliness; and if you stay to judge of them, though they seem so, to the sight of Imitation, yet it proceeds not out of a natural Genius in the workman.  

By distinction  An Imitator, does never come near the first Author, (unless by excellent modern Masters own working) a similitude ever more, comes short of that truth, which is in the Things themselves: The Copier being forced to accommodate himself, to another man's intent. Authority gives Pictures repute by age, which no Art can well imitate. Garish Colours, in new Pieces, take the eye at first; But in old Pictures we are delighted, with their decayings, horridness of the Colours.  

Of Old and New Pictures.  Old PICTURES in a wonderful simplicity of Colours, draw their chief Commendations, from a more accurate, and graceful design.  
New Pieces, on the contrary, being but carelessly designed, stand most of all on their garish Colours, and some affectation of Light and shadows, strained with overdaring.  
It is the opinion of many Masters of this Art concerning Ancient originals; that the air, by time and age works so much upon the Colours, that the oiliness thereof, being vaded, the Colour becomes more fleshy, more natural than at the first. So they say of Tytians, and of Jurgiones being his Master. In Copies you shall not find such freeness of the hand and pencil; It will discover itself to skilful observators, not to be natural, but forced: Painters express the difference; they judge of old pieces and their decays from what they were at the first, by viewing them through their fingers as through a lettuce or Vale, by a secret Mystery in that Art. Like as to a good judgement we usually may guess of the Beauty of her Youth in an ancient well formed Matron.   

Choice of Pictures.  
AFter the first view of a Picture you may limit the understanding (without more difficulty) in few observations; as first.  
1. The artisans care and pains must be visible,  
2. It must appear that he had knowledge and understanding in the Art, and followed it in every particular throughout; Not as if done by several hands, good and indifferent.  
3. Then observe if he have expressed his natural Genius, with delight, upon some special fancy, as more proper to himself, than any other.  


For Example, some.  
In history and Figures.  
Others in Prospective.  
Some in shipwreck and Seas.  
In design.  
In likeness to th' Life.  
In landscape, not many.  
In Flowers.  
In Huntings and Beasts.  
Cattle and Neat-heards.   The Prints of these were also lost but you may meet with others for Example.  
And in each of these several Artists have been (properly) more rare.  

In History. Ancient Italians and their successors.  The ancient Italians, who first began in Figures were Cimubes, and he was far surpassed by Gotto, famous until the time of Peter Perugino, who was infinitely outdone, by his excellent scholar Raphaell Urbino; In his time flourished the most admired artisans for Architecture, for Paintings, for Sculpture, as Bramon● for Architecture; &c.  
Then came the World's wonder Michael Angelo; Bona R●tto; Georgeon del Castelfranco; Coregio Dannielle; Macerino▪ Andrea del Certo, Julio Romano. These all excellent History Painters, whose works (for the most part) they throughly finished.  
To these, succeeded Titian, and Jacobus Palma, whose Paintings were Inferior to none; but as to the Invention and Design they mastered it in another manner. After them, we find Lu●hetta, Tenteret●a, Paulo Vern●s, who for Noble Inventions, quantity of make, excellent design, beauty of Colouring exceeding all before, are different in Painting from all the rest.  
The late age produced many brave Masters, but somewhat inferior to the former; viz. Hannibal and Lodowick Carosier (two brothers). And another Michael Angelo (called Corrowageo●) Joseph d' Arpi●as, Guido● Paleneza and many other their equals; at present, Peter de Cordova.  

Dutch Masters.  That famous Albert Durex, who never learned of any, yet he is known of all. He never traveled abroad, nor had the light of study after the Antique Marbles, wherein he was deficient; otherwise no doubt he had infinitely surpassed all the former, as it may appear by his admirable works in oil, Limning, in water, Etching; and Graving in Copper and Wood. His works of Graving were the first that were ever seen in Italy, which set that Nation Imitators of him therein, for his Master Marta (20 years before) found out that Art, but never performed any matter therein praiseworthy.  
We find only this Albert Durex (of a Painter) that writ methodically of the Art of Perspective & Geometry: No modern hath writ better. And his Symmetry, so exact, both of truth and diligence; that none other hath adventured to imitate. This defect he had, that all his designs were disgraced by his Gothic way of Architect, which he followed, after the gross building of his own Country, always living at home.  
Hans Hobben and Antonio More, in that curious smooth Painting specially after the Life, have not been exampled by any.  
About the same time lived Martin Hemskerke, So●oclere, and divers others, good Masters.  
Since these; we find Blewmart, Seagers, Ruberus▪ and Antonia Vandike, who exceeded these, especially after the Life.  

French Masters.  The ancient French Masters were Le petit Barnard, Voget, Lehere, Blancher. And at present, the most excellent Nicholas Posen for History.  
Foquere and Claud Delaverne, for landscape.   

Particular Masterie●.  

Designs.  FOr excellent designs of Noble History, we may be amazed to behold the aforesaid Urbino, Angelo, Vernes, and Tinteret.  

Life.  For Life, Titian, Holben, Antonio More▪ but now it becomes the bold adventure of all, as the ordinary practice that most men apprehend, of common Use and Sale. In which Vandik was excellent; and now in England the most Painters profess it.  

Landskip●  Albert Durex was the first in landscapes whose errors are now amended by late observation. He usually wrought, his horizon to the top or edge of the Piece; which may be true to nature and Art, but nothing graceful (as hereafter is observed when we come to working.)  
The best indeed in this kind, were Paulus ●rill, Claud de Laniere, and Vanbots: The French were well affected to this way, Troquere for one; for of that Nation, their Spirits are seldom so well settled, as to be excellent. And for the Dutch, Vangore was the best▪ but pretenders not a few.  
Of our own Nation I know none▪ more excellent but Streter who indeed is a complete Master therein, as also in other Arts of Etching, Graving, and his work of Archi●ecture and Perspective: not a line but is true to the Rules of A●t and Symmetry.  

Flowers.  For Flower-pots and Paintings of that kind, Brugel and Dehem were excellent: but now Paulus Seagers is best of all, a rare artisan, and Van Thewlin of Antwerp, his Imitator.  
And in dead-standing-things, Little-House, a Dutchman.  

Prospective Sea Pieces. Beasts.  Stenwick in Prospective.  
Porsellus in Sea Pieces and shipwrecks.  
For Hunting and Beasts of Prey, Snider▪ and in little, Ellsamere, Rohen, Hames, Tambots, who led the way to sundry others that practise after his excellent hand in this kind, and for Horses; Woverman for Cattle and neatheard, both the ●assances; 
Neat herds.  the Elder, more exact.  
And in an excellent Master, you may meet with all these Eminencies complete; Raphael Urbino, and Titian the best that this Art can boast of.  
All these had their several ages of Fame, and decay; their Growths and Wanes; Perfections and weaknesses.  

English Modern Masters.  These now in England are not less worthy of fame then any foreigner; and although some of them be strangers born, yet for their affection to our Nation we may mix them together. Our Modern Masters comparable with any now beyond Seas: Not to take upon me to enrol them in order and degree of merit; each one hath his deserts.  
In the Life, walker Zowst, Wright, lily, Hales, Shepheard, de Grange, rare artisans.  
Fuller for story. Stone and Croix ingenious Painters in the incomparable way of Copying after the ancient Masters.  
Barlo for Fowl and Fish, and Streter in all Paintings.  
Then have we marshal for Flowers and Fruits.  
Flesher for Sea-Pi●ces.  
Reurie for most Paintings, usually in little, and John Baptista; also Cleve his excellent designs for those rare tapstery work, wrought at Moretlake, and otherwise, which will eternize his aged body.  

Limning in Water Colours.  For miniature or Limning, in water-Colours, Hoskins and his Son, the next modern since the Hilliards, father and son; those Pieces of the father (if my judgement fail not) incomparable.  
The like of Cooper's and Cary: And let me say it with submission, Gibsons great piece of the Queen of England's head to the Life, done with that elaborate and yet accurate neatness as may be a masterpiece to posterity.  
And to make good that maxim, that the ground of all excellencies in this Art is the natural fancy bon-esprite, quick wit, and ingenuity, which adds and enables the elaborate part, pick me out one equal to Madam Caris, a Brabanne; judgement and Art mixed together in her rare pieces of Limning, since they came into England. And in oil Colours we have a virtuous example in that worthy Artist Mrs. Carlisle: and of others Mr. Beale, Mrs. Brooman, and to Mrs. Weimes.  
And to give honour to this Art of Painting many worthy Gentlemen, ingenious in their private delight, are become judicious practitioners herein; Namely Sir▪ John Holland, Mr. Gyves, Mr. Parker, Mr. springal, and others; I need not name the rest; their works will better their worths and estimations in this and other excellent sciences of Art and Learning. Quaere, Haines and thorn.   

Of Abilities in Painters.  

War destroys all Arts.  HIstory informs us, that in war, all Arts dissolve into that action; but when the Roman Sword had bounded the Empire, than the peaceful endeavours of cunning artisans outwent former excellency of the Grecian instructions; from whom, these derived their Learning.  
And yet of all Arts, this of Painting is least beholden, to the gramatical Pen, for any knowledge of the Theory by their deficiency in the practical: and so not doubly qualified in both, Pen and pencil, Rule and Example, the perfection becomes less communicable to posterity; being rarely conjoined in one, a Learned Painter.  
This observation leads me into an ingenuous Confession of myself, to be neither; but as a Lover of Arts, I am an intruder upon either. The Liberty of these latter loose times prevailing over my former employments, (heretofore of somewhat more concernment) have now resolved me into the harmless simplicity of doing any thing, that may be aequè bonum to divert me, (even my thoughts) from Malignity.  

Abilities of Painters.  You may desire many Abilities of an Artist in his Piece, but the Italians observe each single praise to deserve merit, in any one Master.  
Some, are noted for one of these, viz.  

Diligence and Proportion, ●ith a free hand.  
fancy, and conceiving of Passions.  
Invention.  
Grace.   

Confined.  Of all these, we shall discourse hereafter.  
But in a word, there may not be wanting these two,  
First, to be well drawn, or (as artisans term it) well designed; and herein without exceptions, let there be truth and Grace.  
Secondly, well Coloured, with Force and Affection.  

Well Designed.  
FOr the first; there must be truth in every part, and Proportion of the figure, just and natural with the Life. Some artisans, strain Limbs into extreme. Albert Durar, Golties, Spranger, did so, in that which was; and Michael Angelo, in that which should be; and thereby in truth, lose the gracefulness.  

Of Factions.  But then, if an artisan adventure on a Fiction, it will appear 
The Painter's freedom.  less pleasing, unless it be done boldly; not only to exceed the work, (but also the possibility) of Nature; as in Centaurs, Satyrs, sirens, Flying-Horses. And therefore I say.  picture a fit ejus, et quod est, et quod non pote saint esse. 
Which are easily figured, by those that dare adventure, with judgement. And so the beauty of such a fiction, may consist in Exorbitance, and the fancy of the Painter to be without Limitation.  
And yet the Philosophers have writ of wonderful intermixed shapes, that have been seen of several kinds, in one Creature. Earthly, as Satyrs, Centaurs, Flying-Horses, Waterish, Fishes Flying, Sea-Horses, Triton's the Male, Nereïdes the female. Th●odore Gaza caught one of these Nereïdes in Grece; and in Zealand, was another taught to spin; so says Alexander of Alexan●●ia, and some others that have seen Monsters, chimaeras Hippotames, and others such, which heralds undertake, to bestow upon gentleman's Buryings.  
Beyond the actual works of Nature, a Painter may describe, but not to exceed the conceived possibilities of Nature in the same Culture. St. Austin affirms, that in Utica, a Town in Africa, he saw the jawbone of a man, as great and weighty, as of 100 men of that age.  
The descriptions of men in great actions, were the constant designs of Poets, to afford the● large and ample Limbs. The Statuaries of Roman Gods, and men of fame, were so imitated; and being well drawn, (that is Proportionate to Disproportion) in Picture, are excellent Ornaments: for though I confess a painter's profession, may be, the imitation of Nature, yet to exceed her kind, shows his own store and provision of fancy, without borrowing of her example; and does well in Picture, if not ill done by the Painter. Since it discovers no suspicion of ignorance in him, having his liberty allowed, that what he could not master, he might have left undone.  

Difference of natural and feigned Figures.  The natural figures indeed, show property and decency to delight common Judgement; and the forced figures, may be the sign of the Novelty in expression, and pleasing the Excitation of the mind; for Novelty causeth admiration, and admiration enforces curiosity, the delightful appetite of the mind.  
And certainly from an Artizan's excellencies, proceed those extravagant varieties, or admirable Novelties, which are not the issues of an idle brain, or to be found within the compass of a narrow conception, but please the Eyes, like new strains of music to the ears, when common airs become insipid.  

And with Grace.  Grace, is the bold and free disposing of the hand in the whole draught of the design. You have the pattern to the Life, in an unaffected freedom, La mode, or Bon mean of fashion in Man or Woman; which sets out, or supplies beauty; the French have devised that phrase, to commend a Madam, whose behaviour mends nature's defects, and thereby the courtesy of Court allows her, not unhandsome.   

Well Coloured.  

Well Coloured.  SEcondly, for well Colouring, you may observe, that in all darkness there is deepness; but then the sight must be sweetly deceived, by degrees, in breaking the Colours, by insensible passage, from higher Colours, to more dim, better expressed in the sight of the rainbow; where several Colours intermixed with soft and gentle distinction, as if two Colours were blended together.  

1. With Force, what it is?  Force, is the rounding, and rising of the work, in truth of Nature, as the Limbs require it; without sharpness in out lines, or flatness within the body of the Piece; and both these are visible errors.  

2. And Affection, what?  Affection, is to express Passion in the figure; gladness, Grief, Fear, Anger, with motion and gesture of any Action. And this is a ticklish skill of the hand, for Passions of contrary Nature, with a touch of the pencil, alter the Countenance, from Mirth to Mourning, as a coincident extreme.  
We have done with our Picture of Choyc not to trouble you with more, or other Notes of perfection, for the present until afterward, that we treat of Working. Indeed Perfections of these kinds, are so various, and mysterious, that chief Masters themselves, in the right censure of their work, have undergone, several characters of defect.    

Grecians the first Painters.  

The first ordering of Painting by Grecians.  WE have it rendered from an old Author, that the first of Antiquity, that drew Proportions, were Grecians (as aforesaid) in Black and white; who have begotten others, that in time became Masters in Painting also. And afterwards, many added to this Art. The first inventing the due disposition of Lights in the draught, and evermore, with ampler Limbs than the Life. Homer set out so his god's 〈◊〉 goddesses with large forms and features, as aforesaid.  
Then they came to limit Proportions exactly, as lawmakers; whom others followed as decrees.  
About the time of Philip, Painting began to flourish; and so to the successors of Alexander; for we have several of those ancient artisans, set out to us, for their excellencies, in sundry of those Abilities, which we have named, as, 


Their Names and Qualities.  Pictegenes, in Diligence.  
Pamphilus & Melanchius in Proportion.  
Antiphylus, in Facility.  
Theon, in fantasy and Passions.  
Apelles, in Invention and Grace.  
Euphranor, a rare artisan as in general, so in Painting.     

How to dispose of Pictures and Paintings.  

How to dispose of Pictures.  ANd now; supposing that you have purchased the most costly Pieces, we must next consider, how to dispose them properly, with conveniency and Grace, for the adornment of your House.  
We shall not doubt the Question, whether Painting becomes 
Not upon outside of Houses.  outsides of walls of the House; In imitation of the german; Caecill Viscount Wimbleton (sometime general of the English in the Dutch wars) seems to intend the beautifying pleasant Scite, and graceful Edifice at Wimbleton, with large and ample figures without doors; in Fresco and Stoke park in Northampton, they are done by claine. And Carew House at parson's Green, large and bold, but almost decayed, though but lately done. Some Towns are done so amongst the Germans, but then, not with glaring Colours; that were to please common judgements.  
I have observed other Pieces in England, not many; for indeed the work is soon lost upon a moist Wall; which in our Clime necessarily follows. That excellent Painting of the two Kings, Henry the seventh and eighth, with their Queens, done upon the Wall in the Privy Chamber of the late KING at White-Hall in oil only, by the rare hand of Holben, hath been preserved with continual warmth within doors, and benefit of fire, even till now. But withal, I observe the Wall, primed with a very thick Compost of plaster, and some other mixture fixed, to preserve the work.  
Therefore I admit of no Colouring upon Walls; If any Draugh●●●●en let them be Black and White, or of one Colour hightn●● 〈◊〉 Figures of Life, Men and Women: Or otherwise Nakeds, as large as the place will afford. If without Personages, I wish it of Counterfeits, or imitations of Marbles, aqueducts, Arches, Columns, ruins, Cataracts, in large proportions, bold and high, and to be well done; for fear of lameness, which is soon discerned.   

Of Grotesco.  

Grotesco work, what it is.  AS for Grotesco or (as we say) antique-work; It takes my fancy, though in forms of different Natures, or Sexes, sirens, centaurs, and such like, as the outward walls of White-Hall, observes this kind; as running-trale▪ work, and not ill mastered: But when all is done (now a days) it looks like an alehouse; Citizen painting, being too common; and usually elsewhere, were very ill wrought. Excellent prints of this kind were lost at Sea, of Steven de Labella.  
And if Poets devise these double Natur'd-Creatures, why, not the Painters; who can do what the other but bespeak? But in true judgement I would confine Grotesco, only to Borders and Freezes: than it may become the Wall, within or, without doors. Here a Print of Grotesco should have been inserted.   

Of Fresco.  

Of Fresco what it is▪  THere is a Painting upon Walls called Fresco: It was the ancient Grecians Noble way of Painting, and since much used by the Romans. Plutarch tells us: That Aratus the great Commander under Ptolemie of Egypt, (being curious to satisfy his sovereign's delight in Pictures) presented him with such Rarities, as his Victories made him Master of; or, that he could purchase at any price, and (in a compliment to the Emperor's affection that way) spared the sacking of a wealthy city▪ merely for the Excellency of Fresco-Painting, upon the Wall, and out▪ side of Houses; lest the unruly soldier, by Fire, or otherways, should ruin the rarity.  

Whole Towns of this work.  There have been PAINTINGS of this work, in several Towns of GERMANY, rarely done; but now ruined by war.  

Three Chambers in Rome.  At Rome; there are three Chambers, in the Pope's palace, of Frescoe; done by Raphael Urbino, and Julio Romano, (his disciple,) who finished his Master's work, and are yet called, Raphaells designs. Other places, done by Andrea dél sexto, and Michael Angelo, and some other Artists.  

And in France.  At Fountain-bleau in France, is most excellent work of this kind; they are the continued Travails of Ulysses in 60. Pieces, done by Bollameo, Martin Rouse a Florentine, and others. But more of this hereafter; when we show the manner and order of this work, in the second Book.   

To place the Pictures within Doors.  

●o dispose Pictures within doors.  LEt us therefore contrive our Pictures within doors; spare your purse and pains, not to Clutter the Room with too many Pieces, unless in Galleries and Repositories, as rarities of several artisans intermingled; otherwise it becomes only a Painters-Shop, for choice of sale.  

How for light?  Place your best Pieces, to be seen with single lights: through Lights on both sides, or double windows at each end, are Enemies to the view of Painting; for then the shadows fall not natural, being always made to answer one Light. Observe in their placing, as you may see how the Painter stood in his working, the light of the windows to fall upon the right side of the work from whence their Shadows always fall backward. The Italians evermore, stand low beneath their high windows; so then, the shadows in his figures, have that respect, as a descending light, best for men's 
Orderly for grace  faces, and shows them lively, and generally low Lights to large Pieces, do prejudice Paintings.  
Then bestow them orderly, and in their Qualities properly, and fitly, for Ornaments; lest your cost and discretion, be cast away at once.  
In the entrance of your house, or Porch; with some rustic figures, or things rural.  

In the Hall,  The Hall with Paintings of Neat-heards, peasants, shepherds, milkmaids attending Cattle, in proper degrees, some other also, of Kitchenry; several sorts of Foul and Fish, fitted for the Cooking.  

staircase.  Pictures becomes the sides of your staircase; when the grace of a Painting invites your guest to breathe, and stop at the ease-pace; and to delight him, with some ruin or Building which may at a view, as he passes up, be observed. And a Piece overhead, to cover the ceiling, at the top-landing, to be foreshortned, in figures looking downward, out of the Clouds with Garlands or cornucopias, to bid welcome.  

Great Chamber.  The Great Chamber with landscapes, Huntings, Fishing, Fowling; or, History of Notable actions.  

dyning-room.  The dyning-room; with the most eminent; a King and Queen, if possibly to be purchased at any rate, (I mean their Pictures) rarely done; the want whereof in former times, were supplied only, with the Court-Arms of their Majesties; few good subjects then, but conceived it expedient, to express their Love and Loyalty, by some such emblem, or note of remembrance. But then in reverence to their Persons, forbear to place any other Pictures of Life, as not worthy their Companions; being, themselves, Ornament sufficient, for any Room: unless (as some will have it) at the nether end, two or three, of their own blood: Or of chief Nobility, (Favourites) to wait upon their princely Persons.  

Drawing-Chambers.  Inward with drawing Chambers; place others of the Life, whether of Honour, friendship or of Art only.  

bedchamber.  Your own and your wives or Children, best become your discretion, and her modesty, (if she be fair) to furnish the most private, or bedchamber; lest, (being too public) an Italian▪ minded Guest, gaze too long on them, and commend the work for your wive's sake.  
We had an arrant Knight, notorious in this error, who was so mistaken with the love of his wife and handsome daughters, that in each hole (of his house I mean) you might salute them; As for which, they became the more common here, and after beyond Seas, to his and their ruin.  

Banquetting-Rooms.  cheerful Paintings, In banqueting Rooms: but here, as anywhere, forbear Obseene Pictures; those centaurs, Satyrs Ravishings, Jupiter-scapes in several Shapes, though often done by rare Artists: unless you mean to publish the sign, because you delight in the sin.  

Galleries:  Graver stories; Histories your best figures, and rarest work becomes Galleries; here you Walk, Judge, Examine, Censure.  

terraces. ●  landscapes become Chimney-pieces, Boscage, and wildworke, in terraces or open places; Summer-Houses, Stone-walks some Church Prospect, or Buildings, set out well, at the end of the walk.  

Note.  One Rule for all, and every pieces; If they hang high above reach, set them somewhat bending forward, at the Top from the wall; because (as one observes) the visual beams of the eye, extend to the top of the Picture, appear farther off, than the foot; to reduce it, allow the advantage of stooping forward above.  

Five sorts of Paintings.  And thus much of Pictures their choice and Use, there being five kinds of Paintings. Distemper or Sise-colour; Frescoe; Oyle-Colours; miniature or water-colours; crayons, or dry Colours.  
By this time having told you thus much, to make you in Love with the work, let me say somewhat to teach you the ART; and so to save your purse, and delight your practice.  
Which to do, I must begin, with the beginning of the practice of the Pen; and then, to the pencil.   

Of Drawing, and Designing in general.  

Drawing and Designing, their excellent use.  I Have marvailed, at the negligence of Parents in general; they not to enforce a Necessity, in the Education of their youth, to this Art of Drawing and Designing, being so proper for any course of Life whatsoever. Since the use thereof for expressing the Conceptions of the Mind, seems little inferior, to that of Writing; which in no man, aught to be deficient. And in many Cases, Drawing and Designing performs, what by words are impossible; and (to boot) perf●cts the hand, for all manner of writing.  
And, if it be the general Rule, (or should be) that Children be taught some gentle Manu-facture; then, doth this of Drawing, apt them for those. For almost, nay in any Art, we must respect Rule, and Proportion, which this makes perfect. And such as will not make it up to a trade, yet, the Idea thereof, renders a man very useful, 

As for Navarchy; models for building Ships, and Rigging them.  
Architecture; models for Houses.  

The Cuts of these, all lost ●● Sea.  anatomy; forming Skeletons.  
Magnetics; Compasses, Globes, Instruments, dials.  
Batonicks; Gardning.  
Astronomicalls.  
Graving, Etching, Carving, Embling, Moulding, &c.  
Thus much in general, for the excellency of this Art.    
But to our particular purpose of Painting, it is the only Consequence. And therefore to draw well with the Pen, after a Copy, or the Life, is the most difficult to begin, and the only pains, for the present; but when mastered, the whole work of Designing (which leads you into Painting) will become the greatest pleasure; and of more variety, than any manual Profession what ever. Being the singular delight, rather to be doing, then to have done. The Spirits evermore refreshed, with new fancies, and unexpected success in the end, are never wearied. The livelin●sse of the fancy, cannot be contained within the compass of ordinary practice, readily expressing the inward Motions of a forward mind.   

The Practice of Drawing or Designing.  

The practice of Drawing and Designing.  I Would prepare you with Rule and compass, and other Instruments, necessary for you to lie by you at hand; but advise you to practise without them; It is your eye must judge, without artificial Measuring. And when you have past my first directions, and are perfect to draw by the Life, you may afterwards, in large Proportions and dimensions, use your Instruments, both for perfection, ease, and speed.  
So than you may have large and less pairs of Compasses, the one foot shorter, to put therein a Pen for ink, or Black lead; a strait Ruler and a squire. Of Box, Holly, Sallow, and Prick-wood.  
Provide yourself necessarily of Cole-Pensils, split into shivers, from a charcoal of Sallow wood, soft with a pith running through it, well burnt, the grain, and Colour like Black satin. Other pencils, of Black-lead, Black and white chalk, and pastels also of several Colours; the making and use is hereafter taught you in the second book.  
Get a book in Folio, of a double choir of fine Paper, (as also some sheets of blue Papers and other Colours) to avoid loose leaves, soon lost; that by overlooking your first draughts thereon, you may with encouragement, delight in your proficiency.  
The foundation of Proportion consists in several particular figures, by which, I would have you enter your Drawings; as the Circle, Ovail, Square, Trangle, Cilinder: Each of these have their effects.  
oval, is a direction for the Face Square, for Platforms, buildings, fortifications; Circle, for all Orbicular Shapes; Triangle, for three-side lines; Cilinder for Pillars, Columns; and these with small practice, you will Master: they do, but, make your hand.  

How to draw by copies.  Begin your Example, by a copy or Print, of those several forms of figures; a the Sun, ●ull-Moon, Orbicular Flowers, or other Circular shapes, and so of the rest, by the outside line only, without shadows.  
These I propose as most easy, to win your affection, to more difficulties; to bring your hand, to hold your coal, to draw lightly, to wipe it out, with a feather and to practise it, over again, until you master these forms, as your first work.  

Of several members o● the body.  Then, practise by several members of the body; in some Print; as the ear, Eye, Nose, Hand, Foot, Legg, by themselves in several Postures, all which are particularly designed for 
Head and shoulders.  this Art.  
The next is, by a Print, or Copy of a Head and shoulders of a Man or Woman, frame the out dimension or Table, which comprehends your Sample with equal lines, whether Square, Circle▪ or oval; by help of Rule and Compass.  
Observing the distance from the lines of your Table, by your eye; then take your coal, made very fine and sharp, with a penknife, or smooth File. Begin from the top of the Brow or Forehead; trace the out line of the face down to the tip of the chin with a soft and gentle hand, hardly discernible, wiping it out with a feather, or piece of Spanish Leather with sharp Corners so oft, until your practice comes like your Pattern.  
Then gently draw Orbicular, the out side line of the Head, from the Brow where you began, to the Crown; and so backwards, down to the Neck, compassing it to the Throat and Chin, where you left; all which becomes oval.  
Then guess at the eyebrows; mark out the place of the Eyes; between them, draw down the Nose and nostrils, score out the Line, and length of the Mouth and lips; lastly, the ear, and the hair, falling upon the Face; wipe it out all with a feather; leaving the Lines discernible only, by which you may discover the errors and amend them.  
Then draw it all again as before; overlooking each part, until it becomes reasonable; then perfect the Eyes, Nose, Lips, ears, Hair, go on boldly; adventure a stroke or Line, down from the Chin, for the throat; the back-stroke, alike, from the ear, to the Neck, and Shoulder; and so proceed to the Breast, or further down, as your Print is in length, which commonly is not deep, for a Head▪  
Look over this work; be not discouraged, though deformed; wipe it out as before; and by the Errors, amend it so oft till it become reasonable handsome.  
Let this draught remain in your Book; begin another of the same, and so a third, or more; perfecting each with courage, and confidence, for 2 or three several days practice, that you may find delight in your proficiency.  
When you can Master a single head of several postures; as side-face, three gutters and full; looking upward, downward, foreshortned; Then adventure on a whole figure at length, 
Nakeds.  Man, woman, or Child; Then some Skeletons, forward, back, and side, and after all, clothed with Garments; Lastly, shadow 
Skeletons.  each one of those severally, as a true Copy from the principal; drawing over the Lines of the charcoal, and then over that, with a Ravens quill pen, for to remain in your book, and hatch it.  
I had prepared Prints for all these directions but they are lost at Sea.  

pencils.  Black chalk pencils draws handsomely (without the coal) upon blue-paper, and shadowed neatly; being heightened with white-lead Pastils, you may practise upon several coloured papers, as the ground and shadow; and heighten it with other Colour Pastils, as your fancy affects.  
By Copies of Prints; first drawings of good masters, by Paintings or by Sculptures of round; and then by Observation of nature, in the Life, learn to understand (before you shall perfectly draw them) the reason and cause of true shadows of Bodies, as they appear heightened, outward, or deepened, in their Concave or hollow. Which are caused by nearness, as farther distance, from the light; and therefore, those Prints which duly observe them, express much judgement, and the true Spirit of a Picture.  

Drapery what?  Drapery-garments; of several Stuffs, course or fine, silk, woollen, or linen, have their▪ different and natural folds; So as in the Lines, of greater, or softer shadows, (well done by an Artist) you may (though in black and white) easily discern the meaning of the draught; to be of such a stuff, or clothing.  

Of hatching.  In shadowing, with hatches, or small strokes (as in your print) use the pen of a Ravens-quill; and be sure not to cross any stroke, before the former be dry; lest they run into each other.  
After some practice with the Pen (which follows the use of the coal) proceed to shadow, with black and white Chalks, in strokes, or sweetening (as in Painting.)  
For your better directions herein, get some designs or draughts, done in chalk, Red-oaker, dry Colours, crayons, or pastels, for your patterns.  

The best Prints.  The best Prints, for true proportion; take Raphael of other Old artisans well graven.  
Coltius, (a Hollander of Harlem,) varies his postures, very much; large and bold hatches; but curious and true, in all his shadows; Michael Angelo, his Pieces are not common, a famous Italian; Hans Holben, a perfect Master; his bold hand appears in several Ornaments of Painting, at Whitehall chapel, and Palace; at Greenwich, Hampton Court: but mostly defaced by the injury of time. He was employed by King Henry the Eighth against the entertainment of the Emperor Charles the 5th, his Prints are not common.  

Shadan and others.  Shadan, Wierin, Spranga, Michaell-Jans of Delft, Raphael and John Sadler, and other Masters sans, Number.  

Most Pictures are Copied by Gravings.  Now, though we name these, as other artisans, for draughts, and to be met with in Prints; you must know that they were Painters, and for the most part, wrought their Pieces first, by design, and draught, with black and white chalks in little; and so in oil-colours, to the Life or History: from which other Masters, Gravers in Copper, or Etching with Strong-water, have preserved them in Prints, for more public use, and eternal memory of the first Authors, either after their first Draughts, or Paintings.  

With several Names to them.  So shall you have, two or three, or more, several Names ofttimes, set to the Print; the Designer, the Painter, the Graver, and sometime the Printer. Our excellent Artists in Graving are, Father Lambert, Hollar, Vaughan, Trevethen, Gay-wood, cross.  

Not to Paintere you can Draw well.  By this time, and Practice, you expect that I should put you into Painting, the usual longing desire of the Practitioner; but forbear, by any means, until you be excellent in Copying of draughts, according to the foresaid Rules; nay, until you can boldly and truly, adventure upon your own fancy, and design a Pattern for others. And believe it for truth; hasty Colouring, undoes the Painter. He shall never be excellent, that is not ready, in his own Draughts; Nor be able to paint (and be esteemed) till he understand a Picture as it should be made. And therefore, give me leave to read a Lecture of the powers of a Painter.   

Of the powers of a Painter and Painting.  

In reference to Philosophy and  philosopher's, divide the universe (which is their subject) into three Regions; celestial, aerial, terrestrial.  

Poetry  So the POETS, (who imitate human Life, in measured 
And  lines,) have lodged themselves, in three Regions of Mankind; Court, city, and Country.  

Painting.  So, the PAINTERS, (whose Art is to imitate Nature) perform it in three several Qualities; Design, Proportion, and Colour.  

Into three sorts.  And these, into three sorts of Painting; Prospective, (or landscape,) historical, and Life.  
Prospective; a wonderful freedom, and liberty, to draw, even, what you list; so various is Nature in that.  
historical; respects due Proportions and figures.  
Life; only the Colour.  
In each of these; you must have dependency upon all the other, but necessarily, on each in particular.  

Of Imitation.  The powers of a Painter, is expressed, by Imitation of natural things, whereof the most excellent, are ever, the most difficult; easy to paint deformity.  
In your Imitations of Art or Copying, observe to hit the virtues of the Piece, and to refuse the vices; for all Masters have somewhat, of them both. For, Paintings▪ may be puffed-up, but not stately; starved in Colour, not delicate; rash▪ not Confident; 
In several graces and abilities.  Negligent, not Plain. several men, several excellencies: Some in Grace, Boldness, Diligence, subtlety, Magnificence, &c. (as aforesaid). In all, do not imitate outward Ornaments, but express inward force? Yet in some Pieces I have found these virtues not pleasing, and, even vices (themselves) graceful; but then, it hath been by a Master, that boldly did it, to show, that he was able, to make his conceit a pattern, (as before said.)  
Generally, follow best Masters, lest an indifferent choice bring you to an evil habit.  

Of fancy.  proficiency of Painting, is purchased, not (altogether) by Imitation, (the common drole-way of ordinary Painters) if you neglect the amendment, by your own generous fancy; (Estautem proprie Imago rerum animo insidentium). For, he that only follows fewer steps, must (needs) be the last in the race: Lazy Painters study not, the brain: Nature can do much with Doctrine; but not Doctrine, without Nature: Nature, is of greater Moment: Every Artificer hath a peculiar Grace, in his own work, agreeing to his Nature; though many (of the other sort,) owe most to Doctrine.  
The force, of Imitation of Nature, is in the fancy; which worketh with the more wisdom. It being an imaginative faculty, or Wit, and is set on work to imagine, what we have seen (or at least made up with some other Sense) being 
Surpassing Imitation.  the Print or foot▪ steps of Sense. It is the treasury of the mind, The darkness of night awakes our Speculations of the day; when sleep fails, the Mind does, then, digest the conceived things into Order; that so, the whole invention wants nothing, but the hand of the Artificer, to effect the work; and, without Art, to do, Imagination is useless; fancy supplies Imitation's weakness; the property and Office whereof, is to retain those images, and figures, which the Common Sense receives: First, from the exterior sense; and then transmits it to the judgement; from thence, to the fancy; and there looked up, and covered in the memory; and we may alter and move with the representation of things, although it have them not present, which the common Sense cannot have, unless present. 
Fancy in sleep.   
Herein appears the marvelous force of Imagination; A man sleeps, his Senses are at rest, yet his Imagination is at work; and offers things to him, as if present, and awake. 
It changes passions and affections.   
Imagination moves the passion and affections of the Soul; and can provoke the body, to change the Accidents; as to make a man sick, or well; sorrow, joy, sear.  
We may paint a conceived, or intelligible thing, Perfect, by the Idea of fancy: but, by Imitation, we may fail of Perfection. Hence it was, that the ancients intending to excel in the forms and figures of their Jupiter's, would not imitate, 
Mr. May.  or take a pattern, generated, but rather, by a conceived description of Him, out of Homer, or other Poets.  
There is in the form and shape of things, a certain perfection and excellency; unto whose conceived figures, such things 
To increase fancy.  by Imitation, are referred, that cannot be seen.  
To amend fancy, we must lodge up such rarities, as are administered to sight, to increase the meditation of fancy; as in your daily view of forms and shadows, made by lights and darknesses; such as in the Clouds near summer sunsetting; which soon alter change and vanish, and cannot remain for Copying, but must be lodged in the fancy so that it is no difficulty, to study this Art walking by day or night. In your bed, waking or sleeping, or what dr●ams and fancy possesses your sleep. You have Lessons in all, and Paintings there are of either.  

And order it in a Picture.  In a draught of design, the Artist must fancy every circumstance of his matter in hand; as usually Rubens would (with his Arms a cross) fit mu●ing upon his work for some time; and in an instant in the liveliness of spirit, with a nimble hand would force out, his overcharged brain into description, as not to be contained in the Compass of ordinary practice, but by a violent driving on of the passion. The Commotions of the mind, are not to be cooled by slow performance: discreet diligence, brings forth Excellence: Care, and Exercise, are the chiefest precepts of Art. But, diligence is not to stagger, and stay at unnecessary Experiments; and therefore I have observed in excellent Pieces a willing neglect, which hath added singular grace unto it. Be not so overcurious that the grace of your work be abated by the over-diligence; as never to tell, when you have done well: therein you will be maximus tuî Calumniator, your own worst detractor.  

Not to dwell upon d●signing.  Not to dwell upon every line; nor to alter what is well; It wants true judgement and makes it worse; and so to love every thing we do, whilst a doing, though too much. Not being able in the exercise of designing, to overtake the quickness of fancy; we must therefore unbend the intention of our thoughts; breathing, and reviewing what is done, by which we make a handsome connexion of things.  

To correct what is amiss.  To add or detract, to allay those things which swell too much, to raise things that sink, to tie things that flow, to digest or compose what is without order, to restrain what is superfluous, require double pains; to lay it by for a time, and as it were to give it new birth; festina lente.  

And to submit to Censure.  Admit of censure; What others justly reprehend, amend: Apelles did so; great wisdom in a confessed ignorance; and be content with every one's opinion, for you shall lie open, unto two exceptions; the Incompetent, and the corrupt witness; the first, if not a Painter; the second, if no Poet.  

being wisely judged.  But if your Piece deserve it, a man of knowledge should say in general terms.  
That you have chosen a good Argument, Story or History.  
That the Parts are excellently disposed.  
The Maintenance of the several characters, of the Persons, properly.  
The dignity and vigour of the expression, in form and Colour.  
A good Spirit, boldly done, &c.  
And so, it may seem to have in it performed, all the parts of various experience, clear judgement, ready memory, swift and well governed fancy, and this being enough for truth, and the weight and credit, of a singular testimony.  
But if your understanding be called to council, you may please both parties, and speak like a stranger in this or the like manner, viz.  
Of a Picture.  
I Know neither Person for the Life; Yet I like the Picture of this Lady. A lively Spirit and good Grace. Well wrought; Round, and Neatly painted. The Lady becomes a Limner's Art. He takes the less pains, when Nature makes her so, to his hand. Comely Tall. If she designed her own posture, it was done with discretion. Bon-Mene adds to Nature, and yet to yield her the due, a Handsome Lady, A beauteous blushing Browne.  
Her hair proper to the complexion; neatly put into curls and folds. I believe she did direct her own dress, and so saves the labour of his fancy; for if I mistake not, the Lady wants no will, nor judgement to set herself forward.  
The face made up of excellent parts. A quick Eye and full, amends the defect in the Colour; and yet the circled brows gracefully big and black Her Nose not over-Romane, with Nostrils fair enough. A sull mouth: the largeness of the lips commendable, because plump and Red. I like well the deepned shadow stroke, which parts them, and almost shows her Ivory teeth, as if to appear; and altogether seems to be speaking.  
The very dimple by the Cheek, with a wanton touch of the pencil, singly sets out her looks, most lovely: Somewhat long visage; and it may be in true measure to the Life, and sufficient Symmetry. But see the Painter hath done his part and me●ded Nature by round shadows, whichdeceives the Eye to the better. He did well to make her face not too full, the features had been less becoming.  
The Head is w●ll set on, supported by her Noble Neck: roundrising full and fat. Ample breasts interlined with River'et vaves See, see; the swelling paps like fair Pome-waters. The Nipples too, like Rasberry fountains, in true centre to their circles. Her brawny Arms of good flesh, and pure colour. A Hand well drawn; the singers spread, and yet not forced. Her Body well fed, not too fat. An Italian Dou's delight.  
Her Drapery of good fashion, true Mode; the very Colour not improper for her complexion; well chafen Colours become the countenance. Certainly, the Painter was well paid; or sel●pleased in his own work, for it must be valued a masterpiece of lily and might show with more advantage, by a better light.  
This way and manner to commend, does not a miss for the Painter, nor to the Person if the work deserve merit. Yet judgement will be the more true, when your eye dwells not upon particulars, but views the Limbs apart, and skips from several Objects, to a full Close, and Censure of all.  
It is pity that a Piece well done, should hang like an offender in chains, as if set up only, to be seen a far off not to be valued near hand. I could wish that the Ladies would read their own Lectures this way, and though not so becoming to commend themselves, (which the man does too much, to their faces) yet they may cunningly inform underhand, and set out the work to the full view of their own excellency. To teach the Gallant by such artificial Patterns, how to ascribe due praise to a deserving person and so in sooth with modesty and truth, to commend both as in particular upon the Lady Vandikes Picture in England.  
I marry Sir, Vandick's rare Mistress, and his masterpiece, she needed not of his Art to help her forward. A goodly Plump, Fat, well Favoured, well formed Figure.  
A lovely look. How she leers out her inticing Italianated eyes, able to confound a Saint. Her Habit put into a Garment, call it a petticoat, and waistcoat, or morning dress. (an Alphabet of Titles, serves not sufficient to number the names of Ladies coverings.)  
But i'll say so much for this Piece, not overcurious (it seems) to set out herself. A delicate Isabel sarsenet; the Bodies tacked together before, with sour jewels set into buttons of Diamonds; on each side thereof an Orient pearl, and a fift Jewel more fair, the pendant to the other four, in fashion alike; only, the lowest pure pearl, so large, (such is the painter's Art to make it) inestimable. These but untacked, (with little pains, but much passion) you come to the smock, which peeps out between them; and at the hand-wrest carelessly purfled of purest Holland (the nuns ne'er spun neater twine) which needs no Flanders-lace to come near it. Indeed the Nations are at Odds, we know, their Ware may not mingle. What a stately head she has! well set on! A goodly Rope of pearl surrounding her firm, fair, and noble Neck; full and fat fleshed shoulders, plump breasts, well coloured skin, and altogether, able to endure a man's handling. Her hair of a well chosen mingled Colour, (as you may say) of all into one. Not brown, nor black, and too too graceful she was, to produce a flaxen. I can tell that the Painter was put to it, upon two ●allats full, to mix them into a Colour, which made it as you see a lovely pure bright Aburn; with which the darkened folds, set out each Circle, sufficient to enchant a man into those Mazes. But that her looks were so near, which hooked yours into her eyeballs, full black and rolling, and when she had you, she held you there. Only, you might have leave to steal to her Cheek and lip, and there to dine and sup, and sip. The whole frame of her face a very Miracle of Nature. Her counte●ance double, for though she seems to invite you, yet with so much majesty, as to command your distance, only to admire, not to meddle.  
And what's her fancy, would you think? Somewhat she must have of ●ashion to set her out. Surely, Nolshe needs none Yet she goes not far to fetch it. A Sap green and golden coloured Oken-branch tacked to her head. The emblem, Strong and lasling. So was she; a bouncing Bona-Roba, to endure for ever.  
Hold Sir! Herself gives you the ensign of Religion; for having done her devotion, she wraps her Row of Beads about her Arm, lifting up the pendant cross, as who should say: At the end of all. Look upon this Sir, and you shall never sin.  
'Tis Vandick's. The first Painter that e'er put Ladies dress into a careless Romance. This way suits well to most fancies, and not improperly befits the various modes, that alter with the time, and which our vine-folkes call a New-fashion. But if we look upon Paintings of late ages, how ill doth the apparel in use then, become the Picture now? A Noble custom of the ancients, to be so divers in their dress, as not seriously to settle upon any; and so of this and other his Pieces of different devised dress.  
This figure (you see) sideway; perhaps her body would not otherwise bear it out forward, with so much advantage as to the pleasing humour of plumpness. She seems flatbreasted; and therefore the Painter has done what he can by Art, to hide defects of Nature, and sets her out in such a posture best becoming her parts. Yet hath he given her Grace to her good Face, which she turns from the body's posture and shows it at the best, three-quarter. She is fair and full, not fat; plump enough, and with good features to her length; Not over-tall, nor too slender. See, see, how prettily she is busied to wreathe her lily▪ flowered branch into a Chapelet which signifies her innocent mind intent to Nature, not Art, holding it forth as an emblem, that Solomon in all his Loyalty came short of Nature's purity. A light brown hair; handsomely curled; not too forward upon the face. Her fair cheeks and pure complexion need not her locks, for shadow, themselves will bear out all censure; and the better, for she used no Art to make them Red, nor hath the artisan painted them at all. Look behind, how her Tresses roll up with ropes of pearl; rich and pretty, without so much as a knot of fancy to be seen, or any strain of dress about her; her mind seems to be more serious. Her eyes somewhat sad. A Cherry lip and full, which does invite you. Her neck, something too long; and therefore, the rope of pearl does well to help nature which cannot promise plumpness.  
Take her together, she's better for a brave Wife, than a complete Mistress; her mantle rich for Winter-covering. A deep Ruby velvet, lined with Aurora sarsenet with excellent true shadows well folded, & ●ackt up backwards, with an equal pair of Collets▪ pure oval emeralds, large and fair, well set, between four pearls (quarterly) round and great. Over all, a tippit of Sables rich and deep; Certainly, the great Tartar sent it a present to salute her. It sets off the colour of her skin, Pine Lilly w●ite; smooth as unspotted Marble (if it were proper, or possibly comparative in any degree, to pattern lively flesh, to be like a stone.)  
Her linen not seen at all, unless her smock-sleeves, cuffed with a Neat-new-fashion-Flanders lace, rich and deep. Her Arms and hands well formed by nature, and may not be ill done by the artisan. Altogether, framed equally to an even feature. No parts strained, to make her other than she should be. A handsome Piece, well worth the Painter's fame, that hath not left his fellow.  
Maria Ruten Vxor D. Antoni van Dick Eq:  W Faithorne excud▪  portrait of Mary Ruthven, wife of van Dyck  

A Picture of the Husband and his Wife.  
IT is a painting of figures, inseparably two, and so made up into one Picture; nor needs there any more addition, themselves are grace sufficient, to fill up a story▪ The design sets it out, as after midnoon Summer, when heat hath influence on hearty affections.  
A new bed-bridal went out a-walking, led by the way into a well-grown Wood, where, under the branched boughs of an ample Oak they two sat billing: and after all, in the close of the Even, the Married Man starts up, and looketh wishly on Her.  
His Aspect cheerful; a silent testimony of a clear Soul and an even Conscience at peace with itself. His Countenance not more nor less than Manly; His Constitution Sanguine, complexion ruddy. His hair of good grace, and proper colour, a darkened brown fitted for length and curling; eyebrows, more sad, full eyed and quick. The Nose somewhat rising, not Roman: His youthful chin but thin, for Nature was in doubt, whether a Beard were better, or without:  
I might read a Lecture of his outside Limbs, but better what's within. His looks not unlovely, show him Manlymild; a tender heart full of Noble pity. Of a Spirit too brave to offer injuries to any, and so much a Christian as to pardon them from an other; rather willing to suffer, than to disturb the temper of his well-composed mind into a degree of Anger. His apparel of silk, and (like civility itself) the Colour Black. His mantle-cloak cast on his arm. He looketh long upon her, and having twined his hand in hers, He seem● to speak unto Her.  
But She sat still; for having found his eyeballs fierce, an● fixed on her, and hers the like on him, and they thus imprisoned; both of them blushed, and she looks back: he would have done so too, had not her modesty began first.  
Had you but seen her thus upon the sudden, you would have said she did so, as not to undo him, with overlooking. Her beauty was of brown: Her hair of Aburn-black; and though she sits down, her dimension showed her Symmetry of personagetall, not thin. Her years beneath his, yet at such a desired distance as made either's age equally matchless. Her beauty, in this blush, caused her to look the more lovely. A full eye and piercing; the circled brows gracefully big and black; Her forehead high, her cheeks so well complexioned, as never till non) she could endure (or need they) Painting; somewhat long visage, in true measure of the Life; yet the Painter did his part by artificial shadows and roundings, that you could not easily distinguish it, to be any defect of Nature. Her hair curled in wreaths and folds, as if she had a mind to enchant the Man into those fetters, and hold him there. Her ear came under all, round and small, such as men say belong to witty Women; the tip rather graced a Pearl than that It: In form it was most like a Pear (no doubt there was a pair, the other though unseen) but of such Value that a single one might be sent a Present to a Princess; the pattern sampled a Rope of them so round, that they were ennobled into her necklace. Her dress, her own direction, surpassing the painter's design; so then, she might teach him that Art, for ever after. Her Knots of choice ribbon sapgreen and silver, fancied into witty fashions, twining her hair like mazes made up into round rolls, that lodged in the Crown and centre of her Head behind.  
Her Head was well set on (as Artists use to say) supported by a round neck, down behind to her rising shoulder, full and plump, and meeting before with a fair breast, well proportioned, interlaced with Riveret-azur-veines. See, see, the swelling paps like ripe Pome▪ waters, well grown and fit for her Husband's gathering. The ruddy nipples, two if seen, would seem Rasbery fountains in true centre to their Globy-Orbs. Her brawny Arms▪ of good flesh, and pure colour. A hand well drawn, holding a sprig of Gesmine, the other shadowed in his. Her body well fed not fat, fitted only for his delight.  
Her apparel right Mode. I dare say, therein she learns of none, being herself a sample to all. Her Drapery well fashioned of Aurora silk. Her scarf of Azure sky, opened with the wind to let in air, or to uncover her beauteous breasts toher Husbands beholding.  
In a word; She appears a Lady of a high fancy, and an equal Wit; both of them made up, by a commanding judgement.  
The Grove was deepned dark, which set out all like a sunsetting; so seemed the sky, in the view of a far fetched horizon. When lo, (a distance off,) you might discern her pretty dog (Sable) came running in; Love to his Mistress' looks, made him hasten his diligence, seeming to consent to her desire, as being now time to return home.  
Certainly, the Painter was well paid for his pains, or well pleased to see them while they sat to his elaborate work. A comely Piece, rather with dignity of presence than beauty of aspect. The Artist rather busy not to err from his pattern, than in labour to produce greater excellency than their own deserving. And thus, in sum, it must be valued an Ornament to the dyning-room; being besides well known to be the Art of Sowst's handiwork, and he a Master of sufficiency.   

A Promontory of Land, like a man's head.  
A Promontory which bears itself into the Sea and makes a Cape of Land (formed by Nature) in fashion of a man's Head.  
The face (as it were) lying upwards, neck and Shoulders fixed; like to St. JOHN's Head in a Platter of blood.  
The Grove of Trees rising thick and round, shagging themselves in show downwards, like curled locks.  
The Brow-part forceth outwards, (with Hills) leaving a Valley towards the rising Nose, a Rocky Clift so formed by Nature as needs no Art to model it, to be the same.  
Between that and the Lips, a tust of bushes of an even length, makes the tusk of hair as it were the upper Lip: only a little Lodge-House raised (per chance) for necessary use, appears, as if by consent of Art and Nature, to answer for the nether Lip.  
The place for the Chin is right set, round with bushes for the beard, proportionably thick and short, alongst the cheek, breaking off, before you come to the ear, and bearing a space of sallow ground, being the useful way up to the Mount.  
For the ear, indeed a convenient plat is left by Nature to raise a work of safety to the place; the inner Contrivers, made up with Stone, answer to the ear in all parts; and the Eye at some distance, shows itself to be such in truth, being yet no more than a Rift in the Rocky part, equally formed to the rest, and in proportion to all.  
Then comes the throat and Neck; a large Valley with small Hedge-rows in breadth and length orderly in frame, for the rising and falling of veins, to make up the whole fabric a complete Head-piece. So we see, Art or Nature can counterfeit each other.   

Of the Parts of a Piece.  

Five Principa parts in a Picture.  IN a PICTURE from Nature, there are five principal parts.▪  
1. Invention or historical Argument.  
2. Proportion, Symmetry.  
3. Colour, with Light or darkness.  
4. Motion, or Life▪ and their Action and Passion.  
5. Disposition, or economical placing, or disposing, or ordering the work.  
The four first, are observed in all sorts of Pieces.  
Disposition only in those Pictures, that have many figures; not to appear mingle-mangle; but, in all and every part of the Piece, to observe a decent comeliness, or grace, in a mutual accord, of all five.  

Of Invention.  

Invention.  IT must flow easily; to force and strain it, mars the Life and Spirit of the work; perfect Invention flows from general knowledge; Antiquity must be familiar to the workman; most of all, multitude of historical and poetical Narrations; Geometry; Obtieks; and so to order your Piece, as to be valued near or farther off.  
Observe to express, proper and fit things, agreeing in Circumstance to the Time, Place, and Person: Habits, according to the fashion of such a people or Nation, ancient or modern.   

Of Proportion.  
IT's called Symmetry, analogy, Harmony.  

Proportion.  Proportion is of any part; a Hand fitted to the bigness of a body.  
Symmetry is the proportion of each finger to that bigness; analogy or harmony. All together in one; a Concinnity of harmony; A congruence, or equality of parts and members; or, due connexion, in reference of all parts, one to the other, and all to the whole, which produceth a perfect Nature, or beauty. 
Of true beauty.   
Whatsoever is made, after a conceived or Intelligible thing, is Fair.  
Whatsoever is made, after a thing generated, is not fair.  

natural or conceived.  Beauty, may be perfectly conceived.  
True beauty in any Creature, i● not to be found; being full of deformed disproportions, far remote from truth; for sin is the cause of informity.  
Beauty in truth, is, where joints and severally every part with the whole, hath its due proportion and measure; and therefore hard to describe.  
Beauty should consist but of One at the most; and deformity contrariwise, measured by many: for the even Lineaments and due proportion of fair and goodly Persons, seem to be created and framed, by the judgement and sight, of one form alone, which cannot be in deformed persons; as wit●blub cheeks, big eyes, little nose, flat mouth, out chin, and brown skin, as it were moulded from many ill faces; and yet some one part considered about, to be hand some, but altogether become ugly; not for any other cause, but that they may be Lineaments of many fair women, and not of One. The Painter did well, to procure all the fair maids naked, to judge of each 
By the Idea.  several and single perfection; and so from the Idea of fancy, to shape a Venus.  
And thus, by often exercise from several beauties, you 
His brave and unpatterned and unparalleled Piece of Artime●ia.  shall fix● a conceived Idea i● your mind of accomplished Pulchrit●de grace or comeliness▪ according to the true rule of Symmetry. So like the Life, (if done by lily.) that by the Lines and Colour, a skilful Physiognomer (another lily) may by the Picture foretell her fortune.  
A Beauty may be expressed by a comely body, though not of delicate features; rather dignity of presence, than beauty of aspect. It is seen at the first sight. Favour more than Colour; and yet that of decent and gracious motion, more than that of favour.  
There is no excellent beauty without some strangeness in the proportion, and both Apelles and Albert Durer, do but trifles out the time and trouble us; The One to compose a Personage by geometrical proportion; and Apelles by collecting the best parts from several faces, to make one excellent. Indeed a Painter may make a better personage than ever was seen since the first Creation; which he does by a kind of felicity, not by Rule; as a musician doth his French airs, not by true Method of setting.  
Some faces examined by Piece▪ meal do not well, and yet put together make a good one.  
If then beauty may be had in a comely decent motion, it is no wonder if Persons in some years, oft▪ times, seem more lovely than youth; Pulchrorum autumus Pulcher. Such is she, N. B. T. For no youth can be comely but by excuse, and considering the youth to make up the handsomeness. beauty being a Summer Fruit, easy to corrupt and cannot last.  

likeness, not to be compared  But the work of Art, is not singly in the Similitude or likeness to the Life, (as common judgement will have it) but in the Symmetry; which in truth, proceeds from someskill in the Artizan's surpassing Art.  

To Symmetry  It was distinguished by that excellent Painter. A Boy holding a cluster of Grapes so like, that deceived the Birds, and yet not deterred by the shape of the Lad; which therefore being an exception to the excellency of the Pie●e, the Painter put out the Grapes, (though most like,) but reserved the Boy (for his Symmetry,) as the better esteem of the Art; not understood by ordinary capacities. 
And therefore Naked Bodies hard to Paint.   
You shall hardly find an Artist, very excellent in a naked body, where true Symmetry is expected; and therefore the ancient skill of the Grecians, seldom apparelled any. A timorous Painter, excuses his weakness, by covering the body, with a muffled Mantle. 
Designing Lines, what?   
The artisans call this proportion, the designing lines▪ Scatches, the first draught, and so a second and third, before you Paint 
A Cut.  them; which strokes, by those that have in●ight in Art, are esteemed of high value; for by these first draughts, the true force and undisguised Lineaments of Nature, do ravish the contemplation; wherein the thought of a studious Artificer is perfectly evidenced.  
And lineal designs or proportions, draugh●d, Scatches, may be called Picture; which rarely done, show not only the shape, but also the party's mind and intent, for we may draw in white-lines, the Symmetry of a Black More, and to be like him; there may be beauty and force in a proportionable design, naked and undisguised Lineaments.  
After design and proportion, we come to Colouring.   

Of Colouring.  
COrruption composition or mixing of Colours, we call Painting; which is, to express shadows in Colours; thereby, 
Colouring, what?  to resemble, what we do desire to imitate, by a moderate confusion, or tempering, discordant Colours; as white, black, red, blue, green, &c.  

To mix them accurately:  
To shadow conveniently.  
To apply them seasonably.   

With Light and shadows.  Observe herein Light and Shadows, Obscurity and brightness.  
Contrary things are more apparent, being placed near their Contraries; Light and Shadows forward, set out any Painting outwards; as if you might take hold of any part.  
Obscurity or darkness, is the duskishness of a deeper shadow; as brightness is the intention of Light:  
white appears sooner, or nearer to the Eye; and the black seems farther off, any thing that should seem hollow (as in a Well, or Cave,) must be coloured blackish; more deep, more black.  
On the contrary, to lighten or rise forward, with white.  

Tonus, what?  Tonus or brightness; as it is of necessary use, so of excellent ornament in a Picture, it is that which is above light; sparkling 
A Brightness.  as in the glory of Angels, twinkling of precious stones; armoury, Gold and silver vessels; Flame, Gold; a burning glittering Lustre: the variety of these Ornaments, must be expressed excellently; but avoid satiety, not cloy your Picture with it.  

Harmogia what?  Harmoge in Colours, is an unperceivable way of Art; stealing to pass from one Colour to another, as in the sea and sky meeting in one thin misty horizontal stroke, both are lost and confounded in sight; water and air become one in 
As the Rainbow in Colours.  their meeting. The Rainbow's sundry Colours, seeming one mixture, not distinct; and consisting of one Colour, shows excellent; but considered of severals, becomes a wonder.  
So also in Art; to paint the line or meeting of a Centaur in his two Natures, which must seem to unite and join insensibly, as not to distinguish where they meet; deceiveing the Eye with a stealth of change; a pleasant confusion of differing Colours. It is hard to be expressed, and difficult to be done, the very excellency of an Artist; when the extreme or utmost lines, the unrestrained extent of the figure, lightly and smoothly cousin the Eye, as if something were behind the figure, more to be then the Eye sees, when the Lineaments, 
Of Spirits and Souls Painted ●●  that do circumscribe, or include the figure, are so thin, as to vanish by little and little; the highest subtlety of 
A geometrical Line.  a piece, like spirits and souls painted.  
You may call it a geometrical Line; which is, without breadth: Observe the parting of the Sun-shadow, upon 
Colouring of a Man.  the Wall, the line parting the light, and that is thus.  
In Painting of a Man consider his dignity, stout and uncorrupt; (in effeminate smoothness) the Limbs moderately swelling-graced with true and lively Colour; of pure and wholesome blood: blood and strength makes it goodly fair; the black exquisite black, pure white, with the flower of redness intermixed: Ivory died in Purple.  

And beauty of a Woman.  As for the beauty of a Woman, possibly so rare and pure; not to be imitated with Colour of Painting. Her natural gracefulness not yielding unto an Art, which does but counterfeit. No hand, in truth, knows the temper, for such a countenance. Confound lilies with Roses, and what reflection the air takes of them, that's her complexion. N. B. T. Never to be well done, but by an Ingenious, Excellent artisan, and a faithful admirer of his beauteous Mistress.   

Of Action and Passion.  

Action and Passion.  THe next observation, is out of which, Life and Motion doth result: It shows no Action or Passion in a Piece, barely, upright, looking forward, the arms hanging down, the feet close together, and so seems unmovable, and stift.  

How to be expressed  In lineal Pieces, there may be a deceitful similitude of Life and Motion, and statues may seem to live and breathe but coloured Pictures show a lively force in the several effects, and properties of Life and spir●t.  

And to be improved  To be well acquainted with Nature, Manner, guise and behaviour; as to paint a Man, angry or sad; joyful earnest; or id●●iall passions to be proper to the figure: for every commotion of the mind, altars the countenance into several passions of fear, hope, love, joy; so does a touch of the pencil from mirth to mourning. The head cast down, seemeth humbleness; 
In several postures of the Head.  cast back, arogancy or scorn; hanging on the Neck languishing stiff and sturdy, morosity of the mind. Indeed the several postures of the head, describe the Numbers of passions; the countenance as many; the Eyes, the like. So excellent must the Art be, to counterfeit Nature. In a word, each several member or part of the body, either of themselves, or in reference of some other part, expresses the passions of the mind, as you may easily observe in the Life.  

Hands and Arms.  The Arms abroad; the Hands expansed; the Fingers spread; all motions of the parts of the body assist whilst we speak; but the hands seem to speak themselves, in several actions, and postures  
The Poets in their descriptions of their gods and great men, do rarely express the passions of their minds, and I would have an artisan to observe so much in each Picture of the Life (which indeed they only aim at, but do not take the pains to express) this being effected more by the Master's thoughtfulness, then by diligence and labour.  
Study therefore to yourself, that affectation in your thoughts, which you intend to express. So shall your endeavours be assisted by a virtue, which the Greeks called 
Energia what?  Energia, effectual operation, evidence or perspicuity, wonderfully studied by them.  

By example of Titian' Pieces.  I have seen a piece of Tytian's: A Child in the mother's Lap playing with a Bird; so round and pleasing, it seemed a doubt whether a Sculpture or Painting; whether Nature or Art, made it; the mother smiles and speaks to: the child starts, and answers.  

And of Palma's Piece.  Another of palmas; a speaking Piece indeed. The young damsel brought for Old David's Bedfellow; all the company in Passion and Action: some in admiration of her beauty, others in examining her features, which so please the good Old Man, that in some ecstasy of passion, he embraces her, which her humility admits, yet with a silen● modesty a● best became her, only to be dumb and to suffer.  

And of another.  Another; the Picture of an Infant, in a Surprised C●tty, creeps to the mother's breast gr●velling on the ground, amongst other Captives and dying of a wound: seeming to have only so much sense, as f●aring lest the Child finding no milk, should suck her blood, and so be ●●oakt; she stri●es with death to prevent the Infant so destruction. In an●ient Excellent Pieces, you may at a view under●ake to read the mind of the artisan, in his intent of the Story. We are gone through all, but the last.   

Of the disposition of the Parts.  
A Picture of many figures, must needs express some historical 
Of Disposition.  part in it; Every figure ought to represent therein, by a speechless discourse, the connexion in them. Assign therefore the principal place, to the principal figures, next to hand: Other figures, farther off. Finish the principal figures, 
In order to perfection,  whilst your Spirits are fresh. Frame not your historical Piece, rude, loose, and scattered, but rather, in an equitable roundness of composition; to be perceived by each observer; to be liked of the most; but to be judged, only, by the 
Soon discovered.  learned. Neglects in disposition, are soon discovered.  
Portray in your excellent Pieces, not only the dainty Lineaments of Beauty, but shadow round about, rude thickets, rocks; and so it yields more grace to the Picture, and sets it out: this discord (as in music) makes a comely concordance; a disorderly order of counterfeit rudeness, pleaseth: so much grace, do mean and ordinary things, receive from a good and orderly connexion.  

But altogether excellens.  All these together, make that perspicuous disposition in a Piece of History; and is the effectual expression in Posture and Action; the very Passion of each Figure; the Soul of the PICTURE; the Grace and air of the Piece; or the sweet Consent of all manner of perfections heaped together, in one Picture.  

By exampl● in brief  And so have we done with an Example of all in One: For 

Invention allures the mind.  
Proportion, attracts the Eyes.  
Colour, delights the fancy.  
Lively Motion, stirs up our Soul.  
Orderly Disposition, charms our Senses.    

Conclude a rare Picture.  These prodnce graceful Combiness, which makes one fairer than fair; and all together, confirm us into Rupture. N. B. T.  
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer; not to be done by too m●ch double dilig●nce, or over doing; a careless show, hath much of Art.  

Parergia what? With pretty adornments graceful.  For additions▪ to your Piece to adorn it, or Parergia to your work. Some by Paintings are not amiss; pretty draughts upon shields; Sword, hilts; Pots, brakes of Vines, Ivy, Cypress, and such like devices: we call them sweet seasonings of the Picture.  
But then, these do but adorn, and must be dim and carelessly drawn, rather seemingly with a light air, then actually done.  

And to conclude it a wonder.  And these conclude the work. That all sorts of people, wise and weak, ignorant and Learned, Men and Women, one and all, may find in it, to be delighted, which comes now to be a Wonder.  
Our ancient Painters, famous for Art, immortalised their works with all excellencies, and thereby consecrated 
dedicated to the gods.  the wisdoms of their hands, as Donaries unto Delphis, a sacrifice to deities.  

Painter's faults.  Our late Painters strive for wealth, by sale of Ordinary and quick work, (the bane of all Arts) rather than labour for Fame, and Glory; the cause of many Pieces, so common and few of Art.  
For, upon enjoying of Glory, follows a confident boldness of Art, incredibly advanced by success and repute. Success, is that veneration of Art, by Kings and Nations. In such a Man, shamefacedness is a vice, causing our Wits to rust with too much secrecy. The shunning of vice, when it wants Art, leads us into vice. Be bold and know your merit, and in God's Name when you do well, make others pay for it. Art cannot be overvalued.    

Conclusion of this first Part.  

Conclusion of all  TO reduce & discipline my scattered Notes and Papers; & such indigested Collections, as require a more formal Method and a better Pen, hath been my pains and desire to effect; Wherein, perhaps, I have been over prolix; A fault pardonable, and excusable from such, as are any thing acquainted with the profoundness of this Art, and artificial Mysteries.  
The consideration enlightens my understanding, and sits my mind, with such a treasure of discourse, as that with great difficulty, I cannot be brief; to distinguish, or to divide.  

Sets you forward to the Second Book.  This subject, being so fruitful, that store makes me penurious.  
And now, with no more ado, I represent you with the Second Part. The Art of Limn●ngton Water Colours, differing somewhat from Oyl-Colou●s; In both, the practice will easily distinguish. The way and manner, those directions before and what does follow will serve for either.  
And so, I put you forward, to your Pallet and Colours.    

The Use of the pencil: In the most Excellent Art of LIMNING, In WATER-COLOURS. Part II.  

Of Limning in Water-Colours.  
The True Order and Names of Colours, the means to prepare them for the pencil and to cleanse them from their corrupt mixtures, wherewith they are Sophisticate.  
We name them seven (though in truth the first and last White and Black are no Colours; but Elements.)  


Whites,  
Ceruse;  
White-Lead.   

Greens,  
Sap-green.  
Pink.  
Bise-green.  
Cedar-green.   

Reds,  
India-lake.  
Read-Lead, or Mene.   

Blues,  
Indigo.  
Ultramanue.  
Bise-blew.  
Smalt.   

Yellows,  
Massicot.  
Ochre of England.   

Browns,  
Umber.  
Spanish-brown.  
Terra lemnia or▪  
Cullins earth.    


Blacks,  
Cherry▪ stones burnt.  
Ivory burnt.  
Lamp-black.    

Colours not useful.  In this account or number of Colours, I name not Vermilion; verdigris; Ver●iters blue and green; and several other Colours, frequent with Painter-stainers, but in our work unnecessary, useless, & dangerous; both for their mineral qualities, course and gross bodies, not to be mixed with our Colours, of a more fine subtle, and transparent Quality.  
We do not admit of divers others; as Saffron, Litmus, Russet, Brasill, Log-wood; nor of Colours, extracted from Flowers, juice of Herbs or Roots; more proper, for washing, or Colourring, Prints, Cards, Maps.   

Of Whites.  
FIrst in order, the most excellent pure Virgin Colours, are Ceruse and White lead: the latter is the better for use, and less subject to mixture; yet both have these Inconveniences, and thus to be prevented.  

Ceruse.  Ceruse, after it is wrought will starve, lavish, and die; and being laid on with a pencil, a fair white will, in a few months, become Russet, Reddish, or Yellowish.  

White-Lead.  White-lead, If you grind it fine (as all our Colours must be) it will glister and shine, both in the Shell, and after it is wrought; and if not ground, it will not work, nor be serviceable.  
To prevent these Inconveniences of both Colours; This is the only remedy. Before you grind either of them, lay them (especially White-lead) in the Sun for two or three days to dry, which will exhale and draw away, the Salt, greasy commixtures, that starve and poison the Colour. Besides, you must scrape off the superficies of the White-lead, reserving only the middle as the cleanest and purest.  

Note.  Be careful of your white, being the ground and foundation of all your other Colours, and if faulty, all the work is marred.  
The effect you may see at Rome in the Vatican Library, and in the Silla of Cardinal Burgess, and in the Porta▪ setimiane, there where many excellent Pieces heightened with White-Lead unprepared, are spoiled, Russet, and dead.  

How to grind it  Being thus prepared, grind it (upon a Porphire, Serpentine, or Pebble-stone; any of these are excellent: some use Marble, 
Upon what stone  thick glass, or crystal. But the first two are too soft, and in grinding, mix with the Colour and spoil them; the latter is very good, but hard to be got large enough. I say grind it very fine, and a good quantity together in water, without Gum; then have in readiness, a piece of thick white chalk; make therein certain furrows or troughs, in which instantly put the White-lead ground from the stone wet; let it remain there, till it be very dry: the chalk will suck and drain up the filth, salt, and grease in the Colour.  
Preserve it for use in a paper, or clean Boxes.  

To use it▪  When you intend to work with it. Take as much as conveniently will lie in a shell, of Mother of pearl, neatly cleaned and burnished wherein (as in all Colours) be curious and neat, not to have the Room troubled with company, where you grind, for avoiding dust or atoms which you will find troublesome in your working.  

Gum-atrabick.  Put to this (as to all Colours) a little gum-arabic the best and whitest; which you must have ready in powder, very fine, in a box (or else dissolved in water) and with a few drops of running water temper it with your finger to dissolve and mix with your Colour. Discretion and Practice will direct you. Leave not your Colours too dry and liquid in your shell: but somewhat thick and clammy, cover them from dust till it be dry in the shell, then draw your finger gently upon the Colour; if none come off, it is well; if it do, add a little more Gum-water, if it be too much it will glister and shine in the shell; then wash off the gum with fair water or temper a new shell.  

Note a general rule▪  Observe (in each particular) what is directed in this Colour of washing, grinding, tempering. A Rule for all the other Colours, that are to be ground.  

Some Colours are to be washed and ground, and they are these.  

Colours to be washed and ground▪  Ceruse.  
White-Lead.  
India-Lake.  
English-Oker.  
Pink.  
Indigo.  
Umber.  
Spanish-brown.  
Colens-Earth.  
Cherry-stone and  
Ivory black.   

Other to be washed only, are these.  

To be washed only.  Red-Lead, or  
Mene.  
Massicot.  
Blew-Bise.  
Green-Bise.  
Cedar-Green.  
Smalt.  
Ultra-marine.   
Only Sap-green to be steeped in fair water.  

Why to be washed.  The reason why these Colours are not to be ground, as the others are, because of a sandy substance, loose, gravelly, and so heavy ponderous and solid bodies hardly to be reduced unto such firmness as is to be required in this Art: for if you think to make them fine by grinding, they instantly lose their beauty, starve, and die. Besides, some of them as massicot and Red-Lead, become of a greasy and clammy thickness, by reason of the agitation and tampering upon the stone, and so utterly unserviceable to refine them, therefore they must be washed.  

But five perfect Colours.  There are but five perfect Colours (white and black being none) like the five precious stones perfect and transparent several Colours.  
The hard Topas for Yellow, the Amethyst orient for Murray, the ruby for Red, sapphire for blue, emerald for Green. All which Colours are perfect different from mixture of white and are thus distinguished by heralds in blazoning of Arms of Princes Bearings.  
And although what hath been said for grinding Ceruse and white-lead; may serve for a direct order in all other grinding Colours: Yet I shall for full satisfaction speak of them severally; before I come to those that are to be washed.   

Colours, to be grinded.  

India-Lake.  THe next in order is India-Lake, the dearest and most beautiful; grind it as the whites with the help of the Sun, and with your finger spread it about the shell sides. After it is dry, you will find this Colour, and some other as Amber, subject to crackle and fall from the shell in pieces; take 
To ●ixe all Colours.  care that this an● all others be fast, smooth and firm, which to effect take a little quantity of white-suger-candy with a few drops of fair water, temper the Colour again as it is in the shell with your finger, till the Colour and Sugar-candy be throughly dissolved, which being dry will lie fast and even.  

ochre,  English-Oaker is a very good Colour and of much use for shadows in Pictures by the Life, for hairs and Drapery, Rocks, highways in landscapes, and commonly lie even and fast in the shell, and works beyond any other, being well ground.  

pink.  Get the fairest; because with it and Blew you make the 
blue and yellow makes green.  fastest Greens for landscapes or Drapery: for the Green-Bise and Sap-Green, though good in their kind, the first is of so course and gross a body, and the other so transparent and thin, that in many things they will be unserviecable; especially where you have occasion to use a beautiful fair Green by mixing a little indigo, with bice and pink: this Colour being ground fine, worketh very sharp and neat; of exceeding use, if ground as the rest.  

Umber.  The next in Order is Umber, a Colour greasy and foul, hard to work with: you must burn it in a Crusible or goldsmith's Po●▪ and being ground as the rest, it works sharp and neat.  

Brown of Spain.  It is exceeding course and full of gravel of no great use; for a little Umber, Red-Lead or mean mixed, makes the same Colour.  

Terra-Colen.  Is easy to work when it is new ground very good to close up the last and deepest touches, in the shadowed places of Pictures by Life; and also very useful in landscapes:  

Cherry-stone and Ivory black.  Are both to be burnt in a Crusible and so ground: the first is very good especially for Drapery and black apparel, but but if you make satin, temper it with a little indigo: only to make it appear beautiful▪ glassshining, lightened with a little mixture of more white. In strong touches and deep, hard reflections deepned with Ivory will show marvellous fair; this was the way of that famous Hilliard the English Limner in Queen Elizabeth's days.  

Ivory.  Serves only for a deep Ivory black, nor is it easy to work without well tempering with Sugar Candy to prevent crackling and peeling. And so much for Colours to be ground.   

Colours to be washed, and not to be ground.  
I Shall follow the former▪ Order by showing how one Colour is to be prepared; which will demonstrate all the rest.  

Red-Lead to be washed.  Put an ounce thereof into a basin or clean earthen dish, full of fair water, stir it sometime together with your hand or spoon till it be coloured, then let it stand till the greasy scum arise upon the superficies, which with the water pour out: fill it again with fresh water, stir it often until it be thick and troubled, which presently pour out into another clean basin or vessel: reserving behind in the first basin the dregs of the Colours, which haply will be the greatest part, and to be cast away; for you are to seek the best not the most. A little good Colour goes far in Limning, and if a handful of Red-Lead yield a shell or two in goodness it is enough, so it be fine.  
The troubled water being in the second basin, add more water, wash them well together, as before, let it settle till it become almost clear; but if you▪ perceive a scum to arise again upon the water, pour it out and put in fresh till the Colour be clearer; for the scum is Chalk and other filth, which washes out by stirring all the Colour together. Then let it settle, and so when the scum arises, pour it away till it be perfect.  
It will not be amiss when you have washed your Colours a while, if you stir the water till it become thick; then pour out half that thickened water, into a third basin, and washing both the second and third water, you will find your Colour of a coorser or else finer quality. In so much that the third (and if you please) fourth and fift sort, will be very fine and fair being often washed; and so by often changing and shifting the Colour and Water, you will find it perfectly cleansed.  
You must by little and little gently drain away the remainder of the water, not suffering any or very little of the Colour to pour out; so that setting your basins in the Sun and shelving them, you will find your Colours drying and lodging about the ●ide● of the basin o●dishes like drift land, some places ●air and clean, others more coor●e and soul: which when it is all dried, take away with your finger or feather; the finest part like flower will fall away, with the least touch: Reserve this for your prime use, the rest for ordinary or course work.  

How to use it.  When you will use this Colour, ●ake so much as will lie about the sides of your shell, somewhat thin, that you may handsom●ly take it o●● with your pencil; which you cannot conveniently do, if you fill the shell, or to let it lie thick or in heaps, and so with Gum-water (or Gum-powder and a few drops of water as before said) temper it finely with your finger, letting it spread about the sides of the shell, as in ground Colours. Thus are your Colours prepared.   

Of pencils.  

pencils how to choose them.  YOUR pencils must be chosen clean and sharp pointed, the hairs not divided into parts (as many of them do, being drawn gently out of your mouth between your Lips) let them be full and thick next the Quill, and so descending in a round sharp point. This fashion I prefer before those that are long and slender, which retain the Colours longer time, and then deliver it out, too free and full. If you find one hair longer than the other, cut it away with a sharp penknife or pass it through the flame of a Candle.  

To make pencils.  Take the tails of Chalibes, and breaking an ordinary pencil asunder, observe how they are tied up and fastened; they being now made here in England by an old Workman to the Painters, the best of any here or beyond the Seas. Bind your hairs (much or little) somewhat loose, fashion them round to an even point, rubbing or turning it upon a clean paper or Table; mark how the hairs scatter or spread, and ever with a penknife take them away; easily to be done. When it is prepared to your mind, tie it fast about and fit it to your Quill: according to the size of your pencil, disposed upon some neat stick of Brasill or such like Wood: the length of an ordinary writing Pen. Having six or seven for the several shadows of your work.  

Some only for Gold.  And remember that those pencils which you use in Gold or Silver Work, be reserved only for that purpose▪ not to be mixed or tempered with Colours.  
Being thus settled with these Tools, you want a Tablet whereon to express your Art, which must be made severally, as you are disposed to work either for a Picture of Life, landscape, or History.   

The first Division, by Life.  

The Tablet.  

Tablet for the Life.  THe Tablets for the Life are commonly wrought in an oval form not very great nor little, as I have seen many in France no bigger than a Penny; an indifferent size is best. Take an ordinary playing Card, polish it smooth with a boars-tooth or such like, as possibly slick as may be, the white side everywhere even, and clean from Spots or Knobs; then choose the best abortive Parchment, cutting out a piece▪ size with the card, pasting them fine and firm together; let them dry, and making your Grinding-stone exceeding clean, lay the Parchment side of the Card downward; and holding it fast, polish and rub the Card as hard as you can upon the backside, that so the other may be smooth, whereon you are to work: When you paste the Parchment, let the outside of the skin be outward, it being the smother and better to work upon.  

The Prime for several Complexions.  Lay your ground or Prime therein of flesh-Colour, tempering it a●cording to the Complexion you are to paint. If fair; White-Lead and Red-Lead mixed together, a pretty quantity, indifferent thickness, in a shell somewhat bigger than ordinary. 
fair.   

Brown.  If Swarthy or Brown; mingle White, Red, and a little fine massicot or English-Oker, or both. Evermore▪ observing, as a sure maxim that your ground be fairer than the Party painted: for being over-fair you may in working Darken or Shadow it as you please; but if too sad you shall never heighten it higher.  
In Limning of Pictures, you must never heighten, but work them down to their just Colour.  

How to lay on the ground.  Your ground or Complexion thus mixed in, upon the shell; lay it on the Card with a greater pencil then ordinary; and very carefully, couch and spread your Colour, as smooth and even as is possible, clean from spots, hairs of your pencil, or dust. In doing this, fill your pencil full of Colour rather thin and waterish, then too thick and gross. And with two or three dashes, or sweeps of your long pencil, lay it on at an instant, the quicker the better, and the eevener will your Colours lie; Not forgetting to cover so much of your Card, as shall be larger or broader, than you intend to make your face, for you cannot add any more largeness to it; being to be done at once and speedily. Otherwise the Card or rather the Parchment will become rough and rise in bubbles, and come off from the Card.  

To prepare Colours upon your shell.  This done, you are to take a pretty large shell of Mother of pearl or such like, and before you begin to work, temper certain little heaps of several shadows for the face, and (as Oyl-Painters lay them upon their Pallet) so place them severally about your shell. There are some that temper or mix them as they work them in the shadows, without more ado; but I esteem this other way, the better.  

Of Whites,  First then, in all your shadows mingle some White with every one, and white by itself.  

Reds.  Then for the Red in the Cheeks and lips, temper Lake, Red lead and a little Vermilion together.  

blues,  For blues; use indigo and white (for Blew-bise is never used in the face.) Then for those sweet and fine bluish and 
Grisatrie.  grayish Colours called in french grisatry (which are the weak and faintest shadows) take white, a little English ochre and as much indigo, and (if you will) add a little massicot, it will give the shadow a good grace, so that it be not too green.  
For the deep shadow, take White English ochre and Umber; for the dark shadows in men's faces, mingle Lake and pink, which makes an excellent f●eshy shadow. But to prescribe an absolute and general Rule is impossible; Nature is so infinite various in the Colours and shadows of the face, differing one from the other; that, what e'er can be said, your own discretion and practice by the Life, will be the best direction. Yet this, and what I say hereafter, will be a great furtherance to your ingenious endeavours.   

To Order your Light.  

Your Light.  AND now, notwithstanding the former preparations very necessary, yet take this Observation of your Light, being of the greatest importance; and therein I advise you to be curious▪ Make your Light with a Curtain or windowshutters somewhat clear, with soft and gentle reflecting upon the Person to be drawn; for a glaring bright light makes hard, and unpleasant reflections and shadows. And because the sun is an enemy to this work, choose your Light Northwards towards the East, one single Light only, great and fair, without any reflection of Trees or Walls: let it be high, and so your shadows will fall downward●, rather than traverse-wise, and the work will be the fa●rer and rounder.  

And sitting.  Place yourself to your desk, that your Light may strike inside-long from the left hand to the right; your work will show with more advantage being turned and viewed to the same light that it was wrought unto.  
Have a clean saucer or Shell of Water, to wash your pencils, and another of Water to temper your Colours; Have a dry brush-pencil to clean your work from dust. A neat and large Penknife to take away such spots or hairs that may mix with your Colours, or fall upon your Card▪ Place all these on your Right hand: You may likewise cover your Piece with a small paper, whereon to try your pencils and Colours, before you begin to work.  

First lines.  Thus settled; Draw your Lines purfle, of the face with Lake and White mingled together very fine; so that if haply you mistake your Draught at the first, yet you may with a strong Stroke, draw it true, and the other Line be no hindrance to the work, it being faint and not easily discernible.  
The Lines thus truly drawn of the face, somewhat sharp and neat (wherein you are to be very exact, ●bove any other directions) observe the deep and most remarkable shadows for your better memory and help, when you come to go over them more exactly. And now you may if you please, draw out also the fashion and portraiture, and that part of the body which you will join to the face, commonly not much beneath the Shoulders; wherein observe the Life so much as possibly you can: that part you may draw with a strong and dark Colour; it being easy to change or deface, in case you mistake in the just proportion.   

The general manner of working in Limning.  

Manner of Limning.  IT is ano Art so curious and difficult to describe by my Pen, that many Prac●it●one●s, with much Industry and the help of Demonstra●ion▪ have not easily proved Proficients, as in these populous Nations of England, France, and others; which draw but few famous Masters out of thousands Practitioners. In England at this day are the most and best famous in Christendom; Yet according to the Italian Proverb A buen Indentore poch● parola basta, so I doubt not▪ but your ingenious capacity and knowledge, (I● speak to a Gentleman) having already rendered you Master in Studies, (very likely much above this either in Honour or Profit) will by the same industry easily conceive me: and with ordinary diligence and practice, you may likewise attain to express the Life with the pencil; by what I shall deliver in this dead GODOUR Observations.  

To the Life. First ●itting.  The order you are to follow to the Life▪ is to observe somewhat▪ the manner of oil Painters▪ The first sitting, to ●●ad-Colord●he face only. ● (not troubling yourself at all with the 〈◊〉 of Hairs, ●pparrell &c.) Which commonly takes up the time of two hours▪ or, if very exact, three or four hours.  

Second.  The next s●●ting requires four or five hours▪ for in that time you are to go over the face very curiously; observing whatsoever may conduce either to the Likeness which is the Principal●; or to the judicious Colouring and observation of the several graces, ●eauties or deformities as they appear in Nature; or else in close, sharp, neat workmanship, and sweetness of the 〈◊〉 and smooth touching of the Colours.  

Third.  The third sitting, is commonly the work of two or three hours, and is spent in clothing what was before left imperfect and rough; but principally in giving to every deep shadows, their strong and deep●ing touches, as well in dark shadows of the Eye and Face, eyebrow, hair, ears, &c.  
And these Observations and touches, are ever the last part of the business, and are never done till all the hair, apparel &c. be finished, for this being wrought with judgement and discretion, adds exceedingly to the Life likeness and roundness of the Picture. It is like to a Consort of Mu●icke which is relished in the Close.   

Colours to the Complexion.  

Dead-Colour  AND first to speak of dead-Colours, the manner of working is suitable to the Name, to be done rough and boldest of all; Having drawn the face with Lake and White (as before said) you may take to this Colour a little Red-lead tempering them to the Colour of the Cheeks, lips, &c. but very faintly: 
Note.  for you must remember, that in this and all other Colours in Limning, you may add when you please to make your Colour deeper or stronger: but be sure not to make it too deep or too strong, for you can hardly help it without defacing or spoiling the Picture. Because, (as I have told you before) you can never heighten in this Art▪ except the two bright lights of the eyes and touches of the hairs. Thus much in general. And now we come to the particular Working.   

The first sitting to work in particular.  

Particular directions of the Picture,  THe comeliness of the face consists in three abilities, beautiful▪ Colour, or Complexion; true Proportion and Favour; and Grace in the Countenance; The curious Artist must watch and catch the lovely graces, witty smilings, short and sudden, which pass like Lightning. In smiling how the eye changeth and narroweth, holding the sight between the lids, as a Cen●er; ●ow the Mouth extendeth little, at both ends of the Line upwards; the Cheeks raise themselves to the Eye wards.  
The first Coloer to begin the face, are the Redds of the Cheeks and lips somewhat strongly in the bottom of the Chin (if the man be beardless) as also over, under, and about the Eyes, you will perceive a delicate and faint▪ Redness; and underneath the Eyes somewhat inclining to a Purple Colour; which in fair and beautiful faces, are very ordinary, and must be diligently observed.  
The 〈◊〉 commonly is Reddi●● and a little Crimson and sometimes the Roots of the ha●re also. All these you must work after the manner of 〈◊〉 Ha●ching or Drawing your pencil along, and with faint and gentle strokes; rather washing then wiping it, with strokes and pricks as some do affect. But the manner of working must be the fruit of your industry and practice, and as you find your inclination, ease and dexterity of hand; Wherein to prescribe a certain Rules is impossible, above that of your own Nature and experience.  
The sum of all. That in your dead Colouring, you must wash over your Ground or Complexion, with this Red and the following shadows, endeavouring not only to be exact and curious, but also bold and judicious: for I have seen Pictures by a good Master begun, and dead-coloured only, that near at hand they seemed exceeded Rough, Uneven, and unpleasant; yet being viewed at a distance from your Eye, they appear very smooth, neat, and delicate: therefore I shall persuade you in this first work, not to study or regard curiosity, or neatness of your Colours; but a bold and judicious manner of expressing, what you see in the Life.  
Which though you work never so Rough at the first, yet in the finishing, it will be in your power to sweeten and close it, neat and curious as you please.  

blue-colour-working.  The Red being done, the next is your faint blues about the Corners & balls of the eyes and temples, which you must work 
Eyes.  from the uttermost part to the face, and so along, but exceeding sweet and faint; by degrees, sweetening your shadow and deepening, according as the light falls, with hard or gentle touches; 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 as the light falls, and somewhat strong touches, in those places, bring up the work in an equal roundness; giving perfections to every particular part, by visiting all the face curiously, and in a kind of random●; by which means you will better observe the likeness, roundness, postures, or colouring, whatsoever is remarkable, to make your work complete and exquisite.  
The faint and lighter shadows being done and somewhat smoothed, and wrought into the Red, you may work over the 
hair.  hair disposing it into such forms, folds, and turnings, as may best become the Picture.  
You must at first only draw them with Colours as neat as you can, sutabl● to the Life; and after wash them roughly as the rest, and then once more, perfect the work; and be sure to fill up the void empty bare places with Colour which are uncovered, and for the parting blue; deepening it somewhat more strougly than before, in the places of the darkest shadows, still carefully observing the Life, which must be your Load star.  

Note.  And ever remembering most needful, first to work your Colours and shadows, as deep and strong as you see them, but by degrees; beginning faintly, increasing the strength of the shadows, as the rest of the work comes up unto it, and suits for it.  
And for this, no Rule can be given better, then that of your own judgement. And so here we have done our face alone and that in dead COLOURS only.   

Second sitting.  

Second sitting.  YOUR next work will be longer in time, but not so long in description: for this will take up five or six or more hours, as you will bestow more or less pains in the work.  
And now the Person being set just in the former posture, you are more exactly to observe and curiously to express Nature; which you did but rudely score out before. For direction therein, this is all that can be said. You must use gain the 
Observation.  same Colours, in the same places, you did before in the first sitting; working, driving and sweetening them one into another; to the end that nothing be left in your work, with an hard edge, or uneven heap, or patch of Colours; but altogether mixed and driven one into another, with the point of (somewhat) a sharper pencil than you used at first, that your shadows may lie soft and smooth, beinga dispersed and gently extended into, and towards, the light and part● of the face, like air, smoke, or vapour,  
But before you proceed thus far, you are carefully to observe all the aforesaid shadows and Colours, and by little and little to work them, over, & into one another; and when you have wrought an hour or two, it will be time to lay your 
The Ground-Colour behind.  ground behind your Picture. It is commonly blue or Crimson, somewhat like a satin or velvet curtain, much in use with old Hilliard.  

curtain of blue, How to lay it  If blue, you must lay it thus, (being not easy to do it well and even.) The bice being pure and clean washed, temper of it as much in a shell, as will cover a Card. Let it be all thorough moist, and well bound with the Sun; Then with a small pencil draw (with the same Colour) the outside or Purfle, I mean the outmost line of the head and body of the Picture. That done with a larger pencil, wash over carefully the whole ground, that you mean to cover, with somewhat a thin and waterish blue; and after with a reasonable great pencil, full of Colour and flowings, lay over that very place, with thick and substantial Colour, which before you had only washed over. In doing of this, be very swift, keeping your 
Remarkable.  Colour moist, that you have laid, not suffering any part thereof to dry, until all be covered: by this means, it will lie as smooth as glass, and the watering over the Card before, with a thin Colour, makes the rest, that you lay after, to settle even and handsome, which otherwise would lie in heaps, like unto drift sand: It is a troublesome Colour.  

Crimson satin ground.  If you will have the ground as Crimson satin, you must work with India-Lake, where, and in what places, you will have those strong and high lights, and reflections to fall, which are seen in satin and velvet.  
Lay your light with thin and waterish Lake, and in deepening and strong shadows, close by the other lights, with thicker Colour.  
It cannot be better expressed possibly, than to take a piece of satin, of any Colour, being laid before you▪ you will presently see, what an excellent precedent the life is for light and shadow: no instruction, being like to this experiment.  
When your back-ground is laid and dry, you will find the Picture strangely changed, the beauty of these grounds will so darken and dead the Picture: The apparel with fitting Colour, being also done only flat with heigthning or deepening; 
overview, and add to the face,  Then go over the face again, reducing your shadows, to much neatness, drawing the eyes and lines of the lids, expressing the nostril's redness, the shadowy entrance into the ears, the deepness of the eyebrows, and those more perspicuous marks of the face, with somewhat a more sharp and curious pencil.  
But to particular line every thing, would seem to be a plot upon your patience. And therefore to finish this second sitting; I only wish you not to leave your ground, to rest upon the face too hard, with an edge; but with your pencil so to sweeten and drive-in your Colours into the Enstroake, or outline of the face that when the work is done, the ground may stand as it were a great deal distant from the face behind the Picture, and the face seem to stand forward off from the ground; by darkening both the ground above, from the light-●ide of the Picture, and below, on the dark-side of the Picture.  
Then go over the hair, lightning and deepening it by the 
And hair.  Life, and gently drawing the lines of those locks of hair upper most, and behind over the ground, which else would seem hard and unpleasant.  
Now when you have done this sitting, and the Person gone and weary (as usually they are) and yet your work be rough (as indeed it will be, as yet, impossible to bring so curious work to absolute perfection) you must spend somegood time by yourself, in polishing & working your Piece to perfection; filling up the empty places, and sweetening the shadows, that as yet may lie uneeven, hard, and unpleasant.  

The Dressings  Then go on in your linen dressings and apparel, to make out the several folds, and deepening as you shall find in the Life: for in perfecting the work, lay the linen, apparel, jewels, pearls, and (what else is to be imitated,) in the same fold and form as you have drawn it in your first drought, and then finish it by the life as you shall see the shadows and light fall; lightning the lines, with the purest white, a little yellow, and less blue.  

Blackish reflections.  The black must be deepned with Ivory-black, and if you work in heighthning and light reflections, you must mingle with the ordinary black a little Lake or indigo, or rather biling in stead of indigo; you will find the black to render a curious and admirable reflection like to well dried satin; especially if your light be strong and hard. The matter whereof, if you please to see imitably expressed, you will find it abundantly in several rare pieces done by that incomparable Master Hans Holbin who in all his differing and various manner of Painting either in oil, Distemper, or Limning was so general an Artist, as never to follow any man, nor any one able to imitate him.   

Third Sitting.  

Third sitting.  THe third sitting will be only spent in giving the strong touches necessary for rounding the face, which now will appear better for observation, the apparel, hair, and ground, being already finished.  

likeness, Resemblance, Countenance, Marks, Moles.  In this sitting therefore observe, what ever may conduce to the likeness and resemblance, which above all is the principal aim: viz. skin-molds, smiling, or glancing of the eye, descending or contracting the mouth, narrowing the eyes, with smiling▪ to which purpose, find occasion of discours●, or 
Note.  cause the party to be in action, or to regard you wit● a jovial merry and discursive aspect. Wherein you must be ready and apprehensive to steal observations, and to express them with a quick bold and constant hand, ever remembering 
Remarkable.  not to make the deeper shadows too dark and obscure, as happily you may think they appear in the Life, which in Painting (as deep as the Life) is no good Rule to follow, and in Limning is a note of very necessary consequence; conclude your face with these observations, that the eye gives the life; the nose, the favour; the mouth, the likeness.  

Armour to Colour  If there happen any Armour or Gold-work to observe this Rule.  

Silver.  First, lay Liquid Silver, flat, and even, dried and burnished with a small weasels-tooth, (handsomely fitted into a pencil-stick;) then temper the shadow of Armour, with Silver, indigo, Li●mus and a little Umber; work your shadows upon, and over, according to the Life; the heighthnings are to be left, bearing the bright burnish. Then deepening the depth of the shadow (the thinnest part thereof) with some store of Silver which must be sweetly wrought into Silver, and laid all flat as before.  

Gold Colour.  As for the Gold, you may lay your ground flat with English ochre, tempered with liquid Gold. Yet there is a stone in the 
●all-stone of an ox.  Gall of an ox, called the Gall-stone, which being ground and mixed with Gold, is good for all Gold▪ works, and gives an excellent lustre in the shadowing.  
When the deepest darkest places are to be mixed with black; your lightning must be purest and finest liquid Gold.  

The manner of working liquid Gold,  The manner of working whereof was taught by Old Hiliard thus: If in your work, there be any carving or Imb●ssing, and that in the light part, it must be sparing; and you must very finely express it by raising (in the high and round places) a little pile or heap of this Gall-stone or English ochre, by taking your pencil full of Colour, and resting the point in one and the same place till your height, or touch, be raised above your other work.  
That done, cover over your raised work with Gold, and 
Or Silver.  you will see it exceeding fair and bright.  
The like you must do with Silver.  

pearl.  To express the roundness and lustre of Pearl; do it with a 
Diamonds.  little pink. Diamonds are expressed flat with liquid Silver, laid round and high, the deepening must be Cherry-stone black, and the deepest Ivory-black, the Silver dried and burnished is for heighthning; the strong and darker the shadows are, the fairer the DIAMOND; which if you could set off, as I could wish, would equal that in the grand-sultans' Cap.  

Rubies.  The secret of Rubies, is of main consequence; vix à visu temperanda. It is delivered in the same Hieroglyphical▪ cabalistical Character. Having therefore laid the ground of silver burnished, the bigness of the ruby, take gheereaguar, of the best and purest wagron mixed; then take a needle or small pointed Instrument, heated in a Candle & lay a drop or a little of this composition upon the burnished Silver as aforesaid, fashioning the stone, round or square, or other form with the point of 
emerald or Green-stone.  your Instrument; Let it lie a day or two to dry, and it will be very fair and transplendent, it being long a drying; And to the other composition a little powder of Tunie. For an emerald or Green-stone, temper your gheereaguar with verdigris and a little turmerick root, (first scraped) with vinegar; then let it dry, then grind it to fine powder, and so temper it with gheereaguar, as you did for the ruby.  

sapphire.  For a sapphire, and all kind of blue stones the same Gheereaguar tempered with Ultra-marine is excellent, especially if your Colour be fai●e.  

amethyst,  For an amethyst the same Gheereaguar mixed with Waycoriant and way wick; and so the other colours as you please to mix them; though I conceive I have already told you the fairest.  
Thus having enriched you with a Mine of Precious stones, and pearls, with Gold to inset them; I will conclude this first part of Picture by the Life, with the manner of making liquid Gold.   

To make Liquid-Gold most Excellent.  

Liquid Gold, to make it.  TAke of the fine lease-Gold about the quantity of half a Crown or rather of the cutting of the same, to the like quantity (at the Gold-beaters); grind this with a thick and strong Gum-water, upon a reasonable large stone, very fine and painfully; you cannot make it fine enough, being rather opus Laboris, quam Ingenii. As you grind it, add more Gum-water, and though the Gold look never so dirty and black esteem it not the less worth: and having wrought it to a competent fineness, take it off from the stone; putting in more Gum-water wash it as clean as you were told before, and in the same manner as you did your bice, Smalt, &c.  
Being very clean, add to it a little Mercury sublimate, on the point of a Knife, with which you must temper with it, a very little Gum, to bind it in the shell, and as it settles and begins to dry in the shell, shake it together; remove, and spread the Gold about the sides thereof, that it may be altogether one Colour and fineness, which when it is dry and fair, as it will be, if you carefully wash it clean. Use it with fair water, as you do your other Colours: and this way you shall find your Gold fairer and more in quantity, than you can buy, for much more money.   

To make Liquid-Silver.  

Liquid Silver, to make it.  THe same course take with Silver, which you must use in the same manner. Only with this observation▪ that seeing the Silver, either with long keeping, or the moisture of air, will become starved and rusty, you must prevent this Inconvenience before you lay your Silver, by covering over 
Silver larnish  the place with a little juice of garlic. It will keep it very fair and bright: this secret I had from Mr. Hiliard. Thus have I done with my first Division.    

The second Division by landscape: The Tablet.  
TAke some Vellome, shave it upon a thin frame; fastening 
Tablet for landscape.  it with Starch, Paste, or Glue, and pasting it upon a board; which manner of making, for landscape or History, is altogether used in Italy. I mean thin Parchment with any pasteboard for your Tablet, large or less size, you intend for your Picture.  
Green, of all Colours is most delightful to the Eye. Not in all the Art of Painting such variety of Colour, more pleasing 
landscape after the Life, the way to draw it.  than is the Prospect of a well-wrought landscape; especially when your ingenious Industry hath already rendered you a Master of Art and contemplation. If you draw a Prospect from the Life; Take your Station upon the rize of ground, or top of an Hill, where you shall have a large Horizon; And score your Tablet into three divisions downwards, from the top to the bottom, set your face directly opposite to the midst of your Horizon, and keeping your body fixed, Observe what is comprehended directly before your eyes, and draw that into form upon your Tablet in the middle-Division.  
Then turning your Head only, (not your body) to the right hand, draw likewise what is presented to your sight, adjoining it to your former Draught and frame it into the same.  
And so also removing your sight to the left hand, take that observation, which will make a complete PROSPECT.  
And as all things appear in Distance and Truth, Proportion and Colour, so be careful to express them; Most Countrie● Southward, Spain and Italy, afford wonderful strange objects in landscape, Hills, Dales, Rocks, Mountains, Ca●aracts, ruins, aqueducts, and always a fair sky to discover far off, which are rarely done there to the Life. You cannot miss of many examples everywhere, though less pleasing; but in Holland, none at all▪ So then, the Dutch in composing a Piece of Prospect, of their own fancy and Invention, for want of the Life most grossly err in Proportion, Distance, and Colour. Now for the want of the Life and Nature, if you will adventure on your fancy; Go to work this way.  
I cannot prescribe, how to order your light, in a piece of landscape by the Life; for according to the place, as you look North, or Southward, East, or westward, as the time of the day and the Sun's declination, so must you order your shadows as they appear. But in all working of Painting by fancy, let your light descend from your left, to your right hand: So will it appear upon the work, from the right to the left, the more graceful. (But when you paint a face to the life, you must observe the party's face, which differs, some more perfect, either to the right or left.  

To make a landscape.  In making it; First, begin with a large sky or Element and if there be any shining or reflection of the sun, (in which only the Dutch are neat and curious,) than you must be careful, by no means to mix Red-lead, or Mene, in the purple of the sky, or Clouds, but only with Lake and White; the Yellow and Whitish beams of the sun, must be wrought with massicot and White, which as soon as you have done, lay by that pencil; For you must not mingle the blue Colours of the Clouds with any pencil that hath touched massicot; it will make the sky Greenish and discoloured.  
Make up the bluish sky and Clouds with Smalt and not with bice, for it is too green and blue; and nothing so proper 
Dead Colour.  for the purpose. At the first working, dead all your Piece over, full and flowing with Colours suitable to the air, and green Meadows and Trees or Ground not laying them on heaps but somewhat smooth. Be not curious in your firs●dead-Colours; do it slightly and hastily. Leave a large sky, which work-down in the Horizon; faint and fair: as you draw near the Earth, let the remote and far off Mountains appear sweet and misty, undiscoverable, and almost indistinguishable, mixing into the clouds, as it were lost in the air.  

Next ground▪  Your next ground-Colour downwards, must increase in bigness of proportions as nearer the sight, and must be somewhat bluish as Sea-green and as you draw nearer the first ground let them decline sometimes into a Reddish, otherwise into a Popinjay-green.  
Your last ground Colour must be nearest the Colour of Earth, a dark-yellow, brown & green, easier to be done with the pencil then described by the Pen.  

And neere●.  The same Colour (or near the same,) must be your first Trees, and always as they come down nearest in distance, they must increase towards their natural Colour, in largeness, and perfection, somewhat suiting the Earth.  

Note.  By any means, let passengers & people by the ways increase nearer hand and be made bigger in their form and Colour; and evermore let every thing, from left to the right hand in a Line, be of the same equal bigness. You might have seen Passengers in some landscape (who should be imagined four or five miles in distance from the Eye) to be expressed nearer, and as at hand which is a gross error.  

Trees.  The Trees must be made with great judgement, the leaves flowing or filling one with the other, some sticking forward, others lost in shadows.  

Note▪  Let not your landscape of land, rise high, and lift itself into the top of your Piece, as hath been noted in the Prints of Albert Durar, (otherwise, in his way, an excellent Master;) rather let them lie low, and under the eye, which is most graceful, and more natural, with a full sky.  
The most general and absolute Rule in landscape, was observed 
Paul Brell's observations.  by that excellent Master at Rome, Paul Brell, whose delightful▪ works many of them extant in Prints, are set out by Raphael and John Sadler. Besides many Paintings of his own hand both in Frescoe and oil, in the palace of Cardinal Montaltre, by St. Maria Mahgior, Bentoglia in Mount Gaballo, and in the Church of St. Cecillia; His observation i● only this, That an Artist must be sure to make all his shadows fall 
Light against dark, et ● contrario.  one way; that is, to place light against dark, and dark against light. His meaning is, that to oppose Light to shadows, is only to remove and extend the Prospect, and to make it show far off, yet so as ever they must lose their force of vigour as they remove from the eye, and if strongest always nearest at hand, and as they fall on the first ground.  

heightening the touches of the Trees.  Besides all this second working, you are to touch up the Trees, boughs, and branches of them, putting all the dark shadows first, and raising the lighter leaves above the darker, by mixing some massicot with the dark green, which you may make with bice, pink, and indigo.  
The uppermost of all, you are last of all to express by lightly touching the exterior edges and brimes of some of the former leaves, with a little green massicot, and white. If deeper, darkest shadows, you may well set off with sapgreen and indigo. Only remember, that both in the leaves and trees, Rivers, and far distant Mountains, you must affect, to express certain real Morrice-dello (as Paul Brell calls it), or soft delicateness, which is the very next remarkable in the work.  

Cataracts and falls of water-Rock●.  There is great Art in making Cataracts, and terrible falls of waters (such as you see at Bruolli near Rome) and fearful Rocks. Wherein Montpert of Antwerp is excellent; no Pieces pass his hand without them. They are rather made with slight of hand, and a little dram of discretion with judgement, then by study and diligence.  
A good full ground must be first laid near the Colour; then with stronger, in the dark places; and sl●ight and easy heighning in the light; ever observing those disproportions, Cracks and ruptures of various over-wanny colours; the manner whereof, you see abundantly expressed by most men's pencils, almost in every landscape. 
Second working.   
I should have proceeded in a formal discourse of the second manner of working, according to the second sitting after the Life: But I spare your troub le referring you to those observations heretofore directed: for curiosity in this work is not so much required, as in a Picture.  
The greatest cunning herein is to cozen your own eyes; which yet, you cannot do, without their consent in assisting, by an apt accommodation of rarity of Colours, in their due places, In such manner, that many times in a Tablet of a span long, a man's Imagination, may be carried quite out of the Country, Seas, and cities, by a sure Piece of his own making. See Streeter's most exact and rare landscapes in oil.   

The Third Division of History.  

History of rare pieces by Salmiato.  YOu shall rarely see History in Limning to be done in any largeness. Only four books there are in a Master Book of Paulo quinto in the Vatican Library reasonably well done by one Salmiato, a Florentine.  
In the same place there is a very ancient Greek martyrology, sometime belonging to the Emperor Basilius about a thousand years since. Wherein were Limned upon Parchment 463 good large Histories out of the martyrdom of ancient holy people in the primitive Church; and these pieces were done by several Grecians dwelling at Constantinople. 
By Graetians,   

By Albert D●rar,  Other Books exceedingly well limned in that Library, done by Albert Durar.  

Don Clavio▪  Another, done by Don Clavio very neat and curious, and all these upon Parchment, only the fleshy Colour wrought in, with the point of a pencil, without any Primero or ground at all. Which certainly ●is an error, or rather heresy in the Italian, 
Error in the Italians.  who will by no means admit of Limning with a ground.  
But that which i●Instar omnium, is an History of the burial of a Grecian Monarch, done upon a large Tablet of sine abortive Parchment, polished on a smooth and well seasoned board of Pear-tree. It was in the hands of Mr. Endymion Porter & begun by that in comparable Master, Isaac Oliver, almost 
Isaac Oliver.  to the end, but it had finishing from his son. It was a piece of the greatest beauty and perfection (for so much) as I think all Europe or the World can produce. And I believe if Carlovan Mandras in his Dutch History of the famous Painters had seen this Picture, his book might have increased to a Tome with this worthy description.  

The difference in Painting History and Picture.  The difference in Painting of Pictures and History are infinite, though the Colours be the same; and to particularize but in part, what may be said of this subject would be endless.  

Variety of Colours in the Life.  The most remarkable difference certainly is in the variety of Colours which according to their several Complexions, Sex, and Ages may be represented, and many times according to the humour, judgement and affection of the Workman; And we see ordinarily, the practice of the best and most famous Painters, (those that follow the Life,) 
Bloomart and Spranger.  do tie themselves straightly and precisely, to what they see in their patterns (the designs and drawings of Bloomart and Spranger.) Yet in the Invention they assume 
Liberty affected in Colouring.  unto themselves liberty or rather licence in their racking and strained proportions so others in their Colouring, as that many times extravagancies, and impossibilities, (if not ridiculous), do appear.  

By Raphael Urbine.  Hence comes it, that the rare Raphael Urbine affecting a delicate pleasing liberty in Colouring of his Na●ea's, is so pitifully imitated by some of the Dutch Masters.  
And so, the Dutch pester their work with greenish, bl●● and purple Colour, in their Na●e●s, as would rather serve for a reasonable landscape, and set out the flesh as if bastinadoed into black and blue.  

And Bassano,  The natural Basano, an old and excellent Master; yet so affected to Pots and dripping-pans, to blue coats and dogs, that his History of the Deluge sometimes in the Gallery at St. Jame's by White●all, seems to be rather a disordered and confused Kichin; then Noah's flood.  

Reuben and Cornelius of Harlem,  So Reuben in his affected Colouring sometimes in the privy Gallery at Whitehall, and Cornelius of Harlem in his loose & untrussed figures, like old and beaten Gladiatry; seem exceedigly to abuse that gentle and modest licence, which always graced the work of that admirable Italian Michael 
Angelo.  Angelo, that therefore it is not safe to go beyond the Life rather than so much to exceed the pattern by the chimaeras of their own brain and fancy▪ and yet what I have touched before concerning him also, is accounted a fault.   

Four several sorts of Colouring.  

Four several ways of Colonring.  INdeed and briefly there are four several kinds of Colouring to be observed in History. Of young Infants, of fair virgins, of young women, of old women, in every of these severally. It is in the power of a judicious Artist, to vary and change their manner of colouring, according to his discretion, or as the occasion and subject of his intention shall require.  

1. Of Infant●.  Infants and yo●ng children are to be of a soft, airy, and tender complexion, crimson and delicate coloured blood upon the ear and skin, almost transparent; which you will express with White, Lake, and a little Red-lead; the shadows are to be thin, faint, and tender; the cheeks, lips, chin, fingers, knees, and toes, more reddish than the other parts of the body. The linen and Laune about these tender bodies, are to be made thin, and very transparent; only strongly touched up in the thickest foldings.  

2. Virgins and fair-Women.  The complexions of Virgins and fair young women, are not so much different from the other colouring, as in the perfe●tion and shapeness of the work; those few and soft Muscles are to be done gently and easily, to express the shadows of white-yellow, bluish, in some places purple. And if you seek perfection in this, or any of the rest, the nearest, and most certain, and infallible direction, is, by the Life; which you may follow with best assurance; since always, we suppose, you know all colours, and how to mix them at pleasure.  

3. Men naked▪  men's bodies naked, are to be made strong, robustious, and vigorous; the Muscles and sinews strongly and exactly fellowed, allotting to every Artery his right and due place; which to do with understanding, is a study and practise of your whole life; and yet an Artist otherwise, may not be deficient in this. So exceedingly doth Nature transcend Art, and her idolaters; not easily to be courted, or so much as to be followed afar off.  
And though these observations are carefully to be exampled, yet is it in the power and judgement of the Painter, to vary the colours and several complexions of bodies; only, if the postures be either reposed, or otherwise in violent action, they are to be more or less expressed.  

4. Aged bodies.  An excellent shadow for an old man's body, is Pinck, Lake, and Ivory-black; it will be a glowing shadow, like the expression of the wrinkles and furrows of the face and hands, of people extremely aged, dark eyes, melancholy aspect. Subject enough, to show the riches of invention and spirit, especially if it be suitable to the History.  


Several persons of one age and sex, in one Tablet.  
Colours of their Apparel.   To order many persons in one Tablet, of the same sex and age, apparelling and clothing their persona●es; I do not find, that the best Painters have been very careful, to present figures with colours of apparel, fitting their years; as to an old man, sad and dark colours, and such like; but rather quite contrary, bending their noble study to clothe their figures, with what may best adorn their workmanship. The Eastern Nations were never clothed in black or sad colours.  
The Virgin Mary is universally (as it were by common consent) represented in Purple and Azure; St. John the Evangelist in Scarlet, the Apostles (though most reverend) are vested in Green, Crimson, blue, as pleaseth the Painter.   

Of Drapery in Limning.  
FOr Drapery, I find but two ways in Limning; the one by 
Drapery two ways.  Italians and French, to work-in their apparel, in manner of washing; working it with the point of a pencil, with slips and little pricks, and engraving it all over, somewhat like the nap of Frisado; yet so, that when all is done, you may see the parchment quite through your work; which, in my opinion, is a very slight single-soled device, and rather like a Wash-drawing, than a Master's work.  
The bett●r way is, to lay a good, flat, and full ground, all over, whose Drapery you mean to make; and if it must be blue, than all over with bice, smoothly laid. The deepening 
blue Drapery  Lake and indigo, the lightning White, very fine, faint, and fair; and that only in extremest light. The same order you are to observe, in all your Draperies whatsoever. And this was the 
Isaac Oliver.  way of Isaac Oliver, in my observation.  
There is to be seen in the Palace of Don Julio Clovis, Crimson-velvet 
Lightning with Gold,  Curtains, and Clothe● of Gold, excellently expressed by lightning, with fine shell-gold: but it must be hatched and washed; and your gold must be of your own making, for you can buy none fine enough for this purpose.  
You cannot believe, what an ornament this lightning with 
upon all Colours,  Gold is, and what a lustre it gives to fair coloured Drapery; as, crimson-velvet, red, green, and blue: And if you mix gold with the very ground itself, you will find the apparel much fairer.  
And in the same manner, you are to work the Building and 
by Albert Durar.  Architecture, especially in rich stately Edifices; And so far was Albert Durar in love with this manner of working, that I have seen the very dirty earth, the dead stocks of rotten trees, and stakes of hedges, in landscapes, all lightened with this manner of working in gold, which show very pleasant, and affect the eye exceedingly.  
Other remarkable observations there are, which you shall better master by your own practice, than my relation: And yet those that follow will not be amiss.   

Observations in Limning.  

Observations in Limning.  WHen you begin to work, temper the Colours in a shell with your finger, dipped in water, a little before you begin; if your colour will not take, or your parchment be greasy, temper with the colour a little ear-wax, as little as may be; it is good to mix with those colours that do peel from your work, as hath been before noted.  

The Sitting,  Sit not above two yards at the most (for the face) from the person, whose picture you take; and six yards' distance for the whole body, level with them; unless they are tall, then somewhat above them, for so they appear to most men, who are not so tall. Mark when he removes, though never so little, from his first station or placing; recall him to the former sitting, for a little change of the site of the body or face, causeth error in the work. Draw not any part of the face, in story or picture, exactly, or perfectly at the first, neither finish the eye, mouth, or nose; but let all the work be made and concluded together.  

Proportion,  All the art and judgement is in the touch of Proportion, and the exact drawing; yet, neatness of work, and curiosity in beautiful colours, do indeed many times grace the Picture in such manner, that the defects of drawing are not easily discovered, but unto very judicious observers.  

Light,  Never change your light, if you can possible, but rather finish the work by the first light: And therefore not many excellent Artists in this kind, will work abroad from their own light. A dishonour to transport his Easel, palate, colours, and pencils from home.  

and Posture▪  When you have finished the face, and are to draw the posture, let the Person rise and stand, when you draw the lines of posture, and not sit by any means; for though never so true sitting, yet you will find yourself deceived in the draught, which will lose the grace and sprightfulness, and will be rewarded with a dull and liveless aspect.   

Of pastels, or crayons.  


Pastels for crayons.  
To make them   THe Pastill for Croyon, or dry colour: take three ounces of Lint-seed oil, six ounces of yellow Wax, two ounces of white mastic, four ounces of Colophonia, four ounces of Rosin-Depino Greaseo, one ounce of Turpentine: Melt all these together in a fair earthen pot or pan, well leaded; put not all in together, but one quantity after another, as they melt; cut the wax in pieces, it will melt the sooner; stamp the Rosin, and Caliphonia; this done, let it be lukewarm, in any wise not hot▪ mingle there with (as best you may with your hand) the 
Lapis Loculi, Lapis Lazarilli. To make Ultramarine.  Lapis Loculi; ground and work it up in a lump, and so let it rest a day or two, then take a fair earthen pan or a dry smooth basin almost full of water, so warm, as you may well endure your hand in it. Then take the massy lump and work it between your hands, so long as you can see it sweat out a clear water of a blue Colour, and the longer it is before the drops come forth the better. When the water is well blewed, set it away, and take another basin or pan of clean water and work it as before, then take another pan▪ a fourth, and a fift; till no more drops will sweat out, letting the ground remain and dry throughly: then with a feather wipe it off the pan, upon a paper; and so put it up the first blew that sweateth is best, and so the rest in degrees. You may put the worser sort into the like new Pastill again, and work it over as before. It will be the fairer but less in quantity. There are other ways pretended.  
Note also, that the Pastill can never serve but once: and afterwards, to make links, and Torches. You may get some of the broken pieces of Lapis Loculi of the merchants of ALEPPO, the deepest colour the best.   

To work in crayons or pastels,  
I observe three manners of ways.  
The first and worst, is that of Monsieur de Mousters of Paris, whose custom is to ●ub-in several Colours,▪ being first reduced 
1. With Powders.  into powder, and set in several small boxes,) upon the paper, which commonly is the whitest; and this he doth with several stubbed pencils, the ends fitted with Cotton or bombast. His work is reasonable neat, but not lasting, there being nothing to bind on the Colours, which commonly fall off, and the work lost or defective.  

2. Pa●tills▪  The second is with pastels the length of a finger or thereabout, composed of several Colours, mixed and ground together, of a good consistence and stiffness, and so rolled up and laid to dry. They have used to make them up with Milk, Beer, or Ale, or new Wort; others with old rotten size, to bind the Colours together.  

3. Coloured paper.  The last and best (as I conceive) is to Colour the pa●er, whereon you intend to draw the Picture, with Carnation or flesh Colour, near the Person's Complexion you mean to draw. Cover the whole paper (for some complexion) with Ceruse, Mene, and a little yellow-Oaker, ground with Gum; When you prepare one paper, do so with many other papers to save labour, and those with different complexions, until you have use of them.  
Lay the Complexion with a sponge wet, but let it be so bound, as it may not come off with rubbing; this done & dry, draw your outward lines with red-chalk faintly. Then with your several pastels rub in the Colours, &, with your fingers-end, sweeten and mix them together, driving them, one within another, after the manner of the Oyl-Painters; and because you cannot sharpen your pastels as shall be needful, you must remember to close up all the work with red-chalk and black-chalk, which (with your penknife) sharpen at your pleasure.  

crayons of Holben, a rare Book.  I have seen a book of Pictures in this last manner of Croyon, done by the hand of that incomparable Artist Hans Holben, who was servant in Ordinary to KING Henry the Eighth. They were Paintings of the most ENGLISH LORDS, and LADIES then living; and the patterns whereby he drew their Pictures in oil. Many of those Pieces in the book were spoiled by the injury of time and the ignorance of such as had it in custody. Yet there appeared in those ruins and remains, an admirable hand, and a rare manner of working in few lines, with much diligence and labour in expressing the Life and likeness. Many of them equalling his own Oyl-Pictures, and always excelling any other artisan. After a long time of Peregrination, this Book fell into the hands of the late Earl of Arundel, Earl Martial of ENGLAND, an eminent Patron to all PAINTERS, and who understood the ART; and therefore preserved this BOOK with his Life, till both were lost together.  

Ordinary working in Croyon.  The Ordinary working in Croyon is upon blue-paper, the Colour rubbed-in, first with the pencil; and afterwards, either with a stub-pencil with your finger, or with a little piece of paper, or with a sponge, or otherwise.  
You may also work in Croyon upon Parchment exceeding neat and curious in that manner, as these small Pieces to the Life done upon Velome, Parchment, and white Paper also, by the admirable Artist and Gra●er in Brass, Henricus Jessius at Harlem in Holland. The faces no bigger than a Jacobus in Gold coin. His pastels of the shape and bigness of a tackpoynt, but longer: they might compare with Limning and seemed so, to the sudden view. They were rubbed-in, with small Cotten-pensills, and were finished with sharp pointed red-chalk and Black-chalk.  
The true way of making the pastille, is the secret of the Art; and so you may remember that I said, some make them of Ale-wort and such trash, to tell you the difference not to teach you those ways: for either they bind so hard, that they will not mark nor score at all, or else so loose and brittle, that you cannot bring them to fineness.   

For tempering so many pastels for change of Colours in the Face.  
I Shall only direct you in one Color, for example of all the other.  

Brown Complexion.  For a Brown Complexion.  
Grind upon the stone, Ceruse, red-lead (or Vermillion, for this is a more useful colour in this kind of work then in Limning) English Oaker and a little pink; you need not grind them very fine but only to bruise and mix them well together. To these, add a reasonable quantity of plaster of Paris burnt and finely sifted, mix and incorporate this, with the other Colours, thick and stiff, like moist clay; then take it off the stone, and roll it betwixt the palms of your hand, as long, or as little as you list; then lay it to dry, in the Sun or Wind, but not by the Fire.  

plaster of Paris.  In this manner, and with mixture of plaster of Paris, temper all the other shadows, and Colours whatsoever; the quality of this plaster of Paris, is to bind the Colours together, and to make them durable, which otherwise would be loose and brittle. With your penknife scrape them being dry, to a fine point, so sharp, that you may with it draw a hair's breadth, and this plaster makes the Colour so hard and dry, that you may draw lines upon Parchment or paper.  

For Crimson▪  The Colour Crimson is most difficult to work; It is made of Lake, which of itself is light and hard: therefore instead of that, use India Lake or Russet, observing always to mix white Ceruse with all the other Colours, or shadows, whatsoever.  
And when you are to mix a Colour that is hard to work as this Crimson, (which commonly you shall find brittle and hard) then temper it with another Colour, near the same in Colour, but more soft and gentle.  
As if you mix a little vermilion with a good quantity of Lake, it will take, not much from the Colour, and make it work very well.  

Greens,  In this manner you may make all manner of beautiful Greens for landscapes and all other Colours requisite for Rocks, 
And  Waters, skies, and tempering the Greens with white Pinck, bice, 
Other Colours.  massicot, Smalt, indigo, and to make them high, deep, or light, as you please; remembering where you are to temper fast and firm colours, as Umber, oak, indigo, take the less plaster of Paris. But where your colours are loose and sandy, they bind the stronger and faster, by adding more plaster.  
And when your colours are dry, before you begin your work, sharpen them with a penknife, according to the large or little proportion of your design.  

White-Lead.  Having ground the white-lead to a sufficient fineness, put it together with the water with the which you ground it, (being sweet water distilled) into a Silver or China-dish, wherein hath been dissolved a good quantity of gum-arabic, and strained: The water becoming clear, and the colour become settled; pour the water away, and let it dry inthe dishes, and so receive it to your use. The second washing will serve well to work withal, and temper and mix with the shadows. The third and last is good for heightenings, lights, and high touches, and strong reflections. But the first and coorsest in the bottom, reserved in the first dish, must be ground again, and tempered with gum-water, and is very good for laying grounds, and carnations, and complexions for Picture by the life.  

To counterfeit Spanish White.  It is good to mix Spanish White with your white-lead, for it will bind it together; and it is good to be heightened upon. If you have no Spanish White, make this mixture: Take two parts of ordinary Chalk, and one part of Allom; grind these together to a good fineness, which being made up to a lump, burn it in the fire, and reserve it for use. And so much for the work, by crayons, or pastels.   


Frescoe.  Of Frescoe.  

Painting upon Walls.  THe way of Painting upon walls, to endure weather, the Colours must be ground with limewater, or milk, or whey, tempered and mixed in pots, as in Size-colouring. Take the powder of old rubbish stones, mixed with well-burnt flint-stones, (or lime) and water; wash out the saltness of the lime, by often pouring out the water, and put in fresh, the oftener the better, which makes the plaster or compost: Avoid moist weather, which hath influence upon the walls. (To do the work lasting, strike into the brick or stone-wall, stumps of head-nails, about six inches asunder, which will keep the plaster firm from peeling.)  
Then with this compost, plaster the wall a good thickness, letting it dry; and your colours prepared ready and mingled, plaster again over the former, the thickness of half a crown of silver, very fine and thin, so much as you intend presently to work upon, whilst it is wet: Work your colours therein, which will cooperate and corrob o rate into the plaster, and so dry together as a perfect compost.  
Work your painting quick with a free hand, for there cannot be any alteration after the first painting; and therefore make your painting high enough at the first: You may deepen, but not easily heighten.  


Without any Mineral colours.  
What Brushes   Avoid Min●rall colours; Earth colours are best, as all ochre s, Brown of Spain, Terre-vert, Spanish-white, and such like.  
Your Brushes and pencils must be long and soft; otherwise they will ●ake the work, and raise the painting. Your Colours must be full, and flowing from the Brush; your design, perfect in the Image, or paper-copy; for in this work, you cannot alter or add upon any colour.   

To make excellent pur● White-Lead.  

White-Lead.  PUt into a gallon pot certain plaits of clean fine le●d, cover them with white-wine vinegar, glewing the pot with clean Lome; bury it in a Cellar a month's space, or six weeks, than you shall find very good white-lead upon the plates, which take off for use.   

To make several Colours.  
BReak the best Verdigree●e into fine powder in a mortar, then having laid the ground with liquid silver and burnished, 
emerald. Ruby. Sapphire.  temper the verdigris with Varnish, it makes an emerald; as also with Florence-Lake, it makes a fair Ruby; and with ultra-Marine, it makes a sapphire. Let it rest a while upon your hand, that the varnish thereof may di●solve the stone. Make it little, even, and smooth upon the Card, and it will dry ●n a day.   

A Crimson-Velv●t.  

Crimson-velvet.  TAke Indico-Lake, well ground, and strongly bound with G●m, and a little white-Sugar-candy. Temper these with a little Turnsoil, then lay it full; and when it is wet, with a dry pencil, wipe away the colour, where you will have the heightening of the Crimson-velvet appear, and the strong reflections will this way express it.   

Excellent Receipts from Mr. Hilliard, that old famous English Limner.  

Pearl.  PEarl must be laid with a white, mixed with a little black, and a little India blew mastic, but ye ta very little, in comparison of the white, not the hundred part; which being dry, give the light of the Pearl with silver, somewhat more to the light side, than to the shadow. Then take White allayed with mastic, and underneath the shadow-side, give it a compassing stroke, which shows the reflection; then without that, a small shadow of sea-coal, undermost of all. But note, that the silver must be laid round and full.  

Note.  Note, that all Stones, (besides the Diamond) must be glazed upon silver, with their proper colours, with a varnish.   

An excellent Black.  

Black.  THe best Black is black-Ivory, burnt in a Cr●cible, well stopped with a tile-shard, or iron-plate, and luted, that the air enter not: Mix therefore the luting with a little salt, heat it red h●r a quarter of an hour, then being set by, let it cool of itself, the pot still close; then open it, grind it with Gum-water, only wash it in this manner from the Gum; pouring water into it by little and little, in some deep glass, stirring it with a feather; and when it is as thin, or thinner than ink, let it settle an afternoon; then pour it from the uppermost of the matter, which is but the sc●m and foulness, (good to put into ink) the rest being very dry, take it out of the glass and keep it in paper or boxes for use. But you must soft grind it again, or temper it again upon the stone with water, adding Gum beaten fine, into it, with discretion, for by use, you will find the fault; if too little, it worketh ill, and dries too fast; if too much, it will be bright, and glister like oil-colour, which by any means avoid.   

The five perfect Colours, with their Lights and shadows.  


Murray, or Amethyst.  THe best for Limning, is a Lake of itself, of a Murray colour, which is best made, and to be had at Venice, or in Flenders at Antwerp; for if you make shift with other Lake, adding blue, to make it Murray, it can never be good. The former Lake is to be ground with gum-arabic water only, although when it is once dry in the shell, it is hardly reduced into a condition to work well again. Then grind more and fresh.   

2. Red, or Ruby.  

2. Fair Red, or Ruby.  IF you will make a fair Red for Limning, take India-Lake, (with breaks of a Scarlet, or stammel-colour) there are sundry Lakes, which will shadow one upon another, and some ●o black, that they must be ground generally with Sugar-candy, amongst the Gum, and others with Sugar only. You cannot grind them too much, nor need they washing. Vermilion also is another Red, which must be ground and washed.   

3. blue, or sapphire▪  

3. Blue, or sapphire.  THe darkest and richest is of Ultra Marine of Venice; but that is very dear, in the place thereof we use Smalt, of the best blue; bices also of several sorts, paler than other of five or six degrees. They may be ground; but better to be beaten in a mortar of flint, like Ammel, very smooth, with a pestle likewise of flint, or agate, well stirred, till it be fine, with gum-water only, and well washed. So have you many sorts, and all good; shadowing Blewes, or Litmus, indigo blue, Flory. These need no washing, nor Litmus any grinding, but steeped in the lees of Soap-ashes. Use Gum with discretion, as aforesaid.   

4. Green, or emerald.  

4. Green, or emerald.  GReen; the best is Cedar-green, in the place thereof, take triple, to draw with: Pink is also needful for landscapes, mixed with Bise-ashes, makes another Green; so likewise with Mastico●e and Ceruse, as you see cause. For light-greens, sap-greens, flour d● bice, tauny-green, needs nothing but steeped in water, which is best.   

5. Yellow, or Topas.  

5. Yellow, or Topas.  YEllow the best is massicot, whereof there are divers forts, paler or deeper; yellow ochre, for want of better, is another also; and these washed, not ground, do best; and must have a little Sugar amongst the Gum, in tempering them. Shadowing yellows▪ are of the stone, found in an Ox-gall, ground with Gum-water, not washed. And yellow ochre, made with white Roses, bruised with a little Allom, and strained; neither of them needs grinding, nor washing, nor Gum. You may make shift with fair ochre de rouse, and Sa●●ron water. Shadow your massicot with yellow ochre, deepen it with ochre de rouse.  
And so have we done with the five perfect Colours.    

An excellent Receipt to make Vltra-Marine.  

To make Ultra-Marine.  TAke the broken pieces of Lapis Lazarilli, the deeper blue, or between black and blue, with as little grains of gold upon them as may be; put it into a Goldsmith's meltingpot, covering it with a potsherd; heat it hot about an hour, upon a fire of charcoal; then quench it with urine, vinegar, or water, in some pot, well leaded: dry it in a fire-shovel upon coals, the moisture quite dry; then lay it upon a table, and with pincers, nip off the hard part from it, being grey and whitish: Then boil two spoonfuls of Honey in a pot of clean water, and take the Lapis Lazarilli, and grind it out with this water, as fine as may be, and so let it dry for use.   

To make a Varnish.  

To make a Varnish.  TAke a pound and half of oil Aspeck, the best; five ounces of mastic, as many of Sandrose: put these together in a glass, boiling them in a pottle of water, and putting a cloth in the bottom; stir it often for three hours, the longer the better; and after it is cool, let it stand in the Scum for ten days.   

An excellent Water, for the preserving white-Colours, and recovering them, being dead or starved; and generally for all Colours.  

An excellent Water.  TAke Rosemary-water distilled, and with a few drops thereof temper a shell of White, so starved or dead, and it shall instantly become perfect; for a truth, try one half of the colour, and see the difference. It hath also this quality of goodness, that whereas all colours (especially Whites and Umber) in the grinding and tempering, arise in bubbles, very troublesome to an Artist, a little of this water cleanseth the colour, and disperseth the bubbles; and being tempered with your colour in the shell, makes it flow, and to work exceeding sharp.   

The draught of a landscape mathematical; they that have leisure and desire thereto, may make experiment.  

A landscape.  SEt up a little black Tent in a field, made easy, portable, and convertible, as a windmill, to all quarters at pleasure, capable of no more than one man with little ease, exactly close and dark, save at one hole, an inch and half diameter; to which, apply a long prospective trunk, with a convex glass, fitted to the said hole, and the concave taken out at the other end, which extendeth unto (about) the middle of this erected Tent; through which, the visible radiations of all the objects without, are intermitted, falling upon a paper which is accommodated to receive them, and so trace them with your pen in their natural appearance, turning this your little Tent round by degrees, till you have designed the whole aspect of the place.  
There is good use hereof in Chorography; but to make landscapes hereby, were too illiberal. Surely no Painter could exceed the preciseness of these.   

To make clean a fonl, or old Picture, in oil.  

To clean old Pictures.  MAke clean the Picture with a sponge, dipped in warm beer, and then let it dry; and afterwards wash it over with the liquour of the whitest Gum-dragon, steeped or dissolved in water, which will set a glare or freshness upon the Picture. If you use blue starch, or glare of eggs, or other such trash, as is very common, it will take off the heightening, and spoil the grace of the work.   

Light, bad for the eyes.  

Light, bad for the eyes.  LEt not the air be too lightsome; excessive light scatters the spirits, and causeth the sight to be lost. Xenophons' soldiers passing a long time in the snow, became almost blind.  
Dionysius the Tyrant, shut up his prisoners in dark holes, and suddenly bringing them to sunshine took away their sight.  

Colours good and bad for sight.  Some colours are not profitable for the sight, which diffuseth the spirits, drawing them to it; Black makes them too gross: Not any colour does much comfort the eyes, but Green, blue, Viol●t, Saphir, and emerald.  
Flowers of borage, and leaves of Burnet, put into French-wine, the colours comfort the eyes, the property of the Herbs repress the vapour of the Wine; and this Wine is most due to be drunk by an excellent Painter; in which, other persons may have leave to taste only, unless to drink his health, unto    
The END.