Licenced,  
March 24, 1687/8.   

ARTS TREASURY: OR, A Profitable and pleasing Invitation to the Lovers of INGENUITY. Contained in many extraordinary Experiments, Rareties, and curious Inventions.  
In two PARTS.  
PART I. Containing the Mystery of Dying , Silks Stuffs, Hair, Feather, Bone, Horn, Ivory, Leather, etc. The manner of preparing Colours, Directions to take out Spots, Stains, Pitch, Tar, Wax, Rosins, etc. out of Silks, Stuffs, Woollen, Linen, etc. To recover faded Colours and preserve Apparel, etc. To scour Silver and Gold Lace, Plate, etc. Preparing Cement for glass, China, etc. Diapering Linen, making Perfumes. The Art of Drawing, Limning, Painting, preparing and laying on Colours, Etching, Engraving, Cutting, Gilding, Enameling, refreshing Pictures, hang, Carpets, preparing Flock-work-cloth, directions to paint thereon, and to make sundry Colours; prepare Gums, Alum-Water. The Art of thickening Linen, Washing or Colouring Maps, or printed Pictures, with sundry other things, etc.  
PART II. Containing the Quality, Generation and Product of Metals and Minerals, Natural and Artificial; directions to harden or soften them for use. The Art of Souldering, Burnishing, and Gild Metals Instructions for making Inks of all kinds and Colours, preparing Gold or Silver for Writing, and all manner of Sealing-wax, Wafers, etc. Gold and Silver to know the fineness, and to detect counterfeit Coins. How to write sundry ways, that it shall not appear without the help of Fire, Water, etc. taking blots and writing off Paper or Parchment. The Mystery of beautifying, writing with Gold or Silver, Colouring, Dressing, Cleansing, and Perfuming Gloves, Ribbons, etc. Embossing in Plate, Wax-work, Imagery, dialing, Gauging, Washing Point-lace, Tiffany, Sarsenet, Lutestring, and any coloured Silks, etc. Weighing Ships, extinguishing Fire, blowing up Houses or Vessels under Water, etc.  
London: Printed for W. W●itwood, next the Bible in Ducklane; and Mrs. Feltham in Westminster-Hall. 1688.  
〈…〉   

THE PREFACE TO THE READER.  
READER,  
HAving well weighed and considered, That a Book containing sundry Varieties of this Nature, might prove exceeding useful; I held it highly necessary for the Advantage of the Industrious part of Mankind, as well for the increase of Profit as Pleasure, besides my own Experience to consult the best Authors and greatest Masters, most approved in all Ages for their Skill and Dexterity in what I have adventured to lay down; and from their worthy Labours have extracted even the quintessential part of what their many years Study and Practice had brought to perfection; and not only so, but rendered that which seemed hard, and to many unintelligible, plain and easy to be understood and practised, adding a great number of New Receipts and Curious Matters, never before made public: So that all things rightly considered, I may justly term this Book, though small in itself, yet exceeding Copious and Elaborate in what it comprehends and contains, The Storehouse or Treasury of Art, etc. nothing being omitted that in the least I conceived pertinent or conducing to the Illustration or Advantage of a Subject woven with so many Golden Threads of Variety, to render it the better acceptable and more grateful to the Sons of Art, and all Lovers of Ingenuity; which may over and above prove as a friendly Guide and Instructor even to the unskilful in these Affairs, and lead them as it were by the hand to the Knowledge of Things and Matters worthy their best and more serious Considerations; the which that it may do and prove universally Beneficial and Useful, as the various Subjects it candidly, experimentally, and Impartially Treats of, is the hearty wish of,  
Reader, Your Friend, and Very Humble Servant, John White:   

Several BOOKS lately Printed for W. Whitwood, next to the Bible in Duck-lane.  
1. M. Juniani Justini ex Trogi Pompeii Historiis Externis Libri 44. Omnia quam diligentissime ex Variorum Exemplarium Collatione Recensita & Castigata in usum Scholasticae Juventutis, cum Vita ejus ex Gerardi Johan. Vossii. Price One shilling. This Book is now carefully Corrected, with Notes, by a London-School-master.  
2. The Wars of Hungary, since it was first invaded by the Turks, to this time, viz. The Relief of Vienna, the Taking of Newheusel, Gran, Buda, with the memorable overthrow of the Turks on the River Drove, the Taking of Esseck, and the success of the Christian Arms to this present year 1688.  
3. A Collection of Apophthegms or Say of the Ancients, out of Plutarch, Diogenes Laertius, Elian, Erasmus, and others; wherein the Manners and Customs of the Grecians, Romans, and Lacedæmonians, are represented.  
4. The Spanish History or Relation of the difference between Don John of Austria, and Cardinal Nitard, are represented, with Letters and Politic Discourses between Persons of the highest Quality, relating to that Affair.  
5. Ovid's Heroical Epistles, Englished by W. S. and illustrated with twenty four Pictures curiously Engraven on Copper-Plates.  
6. An exact Survey of the Grand Affairs of France since the Treaty at Nimiguen; but more especially what relates to Count Teckely and the Hungarian Wars.  
7. The Curiosities of Scurvygrass, in which is exhibited to public Use the Preparations of Meditines, both Galenical and Chemical, either for Internal or External use, in which that Plant or any part thereof is employed; with Figures of all the sorts of Scurvygrass: By Dr. Shirley.  
8. Reflections upon Ancient and Modern Philosophy, Treating of the Egyptians, Arabians, Grecians, etc. in French, by the famous Monsieur Rapine; Englished by Mr. Loutil.  
9 The Illustrious Lovers, or Princely Adventures in the Courts of England and France, a Novel.  
10. The Lives and Actions of several notorious Counterfeits, who from the most abject of the People, have Usurped the Titles of Emperors, Kings, and Sovereign Princes; in Twelve several Histories.  
11. M. Juniani Justini ex Trogi Pompeii Histortis Externis Libri 44. Cum Notis Vossn Thisii Bongarisi. Price Two Shillings.  
12. The Fortunate, Deceived, and Unfortunate Lovers; three excellent new Novels, containing many pleasant and delightful Histories.  
13. The Worthies of England in Church and State, illustrated in the Lives and Characters of the most Eminent Persons since the Conquest, being an Epitome of Dr. Fuller.  
14. A Philosophical Essay, declaring the probable Causes whence Stones are produced in the Greater World; from which is taken occasion to search into the Origin of all Bodies, discovering them to proceed from Water and Seeds; by Dr. Shirley.  
15. The present State of Geneva, with a Description of that City, and the several Changes and Alterations it hath been subject to, from the first Foundation thereof, to this time.  
16. Curious Observations in that difficult part of Chirurgery relating to the Teeth; an account of their Cause, of Corruption, and Putrefaction, with proper Remedies: Considerations on the Toothache, looseness of the jeeths, the use of the Polican or Instrument, with which they are drawn on all occasions.  
17. A Treatise of Lithotomy, or of the Extracting the Stone out of the Bladder; wherein an Account is given of the various Instruments used, and the Method observed in that curious but difficult part of Chirurgery; illustrated with twenty Figures, curiously engraved on Copper-Plates.  
10. The History of the damnable Life and deserved Death of Dr. John Faustus, the famous Conjurer of Germany; newly Printed from the Correct Copy from Franckfort in Germany.  
19 The History of Justin, Translated out of the Four and Forty Books of Trogus Pompeius; Containing the Affairs of all Ages and Countries, both in Peace and War, from the beginning of the World, to the Time of the Roman Emperors; now Reprinted, with the Life of Justin, and the time when he flourished; by Gerard John Vossius; Englished by Rob. Codrington, Master of Arts.  

PLAYS.  
The Elder Brother.  
The Reformation.  
Pastor fido.  
Flora's Vagaries.  
Mock-Tempest.  
Unfortunate Mother.  
Charles the Eight King of France.  
The Revenge or Match at Newgate.  
Herod and Mariam.  
Piso's Conspiracy.  
Imperiale.  
Settle's Notes on Dryden's Plays.    

Art's Treasury, or a profitable and pleasing Invitation to the Lovers of Ingenuity, contained in many extraordinary Experiments, Rarities, new, and curious Inventions, etc.  
PART I.  

CHAP. I. The Art and Mystery of dying Silks, Stuffs, cloth, feathers, etc. In the most curious and delightful Colours, with the manner of ordering, making and preparing them, etc.  
SO pleasing to the Eyes of mankind, are the various colours that we daily or frequently behold, that they in a manner captivate and detain even the fancy itself with Wonder and Delight. Wherefore, I have thought it highly convenient, amongst the many stupendious Secrets and Curiosities this Book contains, as well tending to profit, as pleasure, if duly practised, to place the Art of colouring, vulgarly called dying, in the beginning, as an Introduction to the rest, it being much wanted, and frequently coveted by public and private Persons, to be known, and rightly managed. Wherefore for its better Improvement, take the following Rules and Directions.  

To colour or die Wool, or Woollen Cloth a curious red.  
Take a considerable quantity of Alum, and dissolve it in Water, wherein bran has been boiled and strained out, putting the Cloth, Wool, or Yarn, to steep in it, which being well steeped, put it into other clear water, heating it over a gentle fire, putting thereto greening-Weed, two pounds, to four gallons of water, stirring it about; but not suffering it to boil; add more, a handful of unslaked Lime, and as much Wood-Ashes, stirring about the materials, adding yet a like quantity of Lime, Ashes, and a pound of the Powder of Log-Wood, or redwood, and the like of Braziel, and so in three or four hours' time, a very fair colour to your satisfaction will be taken.   

To die Linen Thread, or Cloth red, etc.  
Take a pound of Sam-fleure; and suffer it, for the space of twenty four hours, to soak in two Gallons of water, heating over a gentle fire; then add, half a pound of the powder of Braziel, two Ounces of Vermilion, and an Ounce of Alum, dissolved in a pint of fair water.   

To die a clear, or pleasant light Red.  
Take Wheat Bran, half a Peck, two Ounces of Alum, and boil them in four gallons of fair water, then through a fine hair fieve, strain out the liquid part, then dissolve in it half a pound of Alum, and the like quantiy of white Tartar, and put in the Stuff, Cloth, etc. intended for colouring, adding three pound of Madder, and perfect the colour at a moderate heat without boiling.   

To die Silk a Sanguine Colour.  
Take a pound of Alum, and two pound of Greening weed, bruise them well and pour upon them fair water, add then half a pound of Ground-Braziel, heat them over the Fire, and put the silk in some part of the liquid matter, suffering it to seethe therein; and so renew it with the remainder, till you find your Colour take, and having so done three times, rinse it in Lee of Oak-bark, or Wood ashes, and afterward in Water.   

To die a fair Blue.  
Take white Silk, Stuff or Cloth that is white, and soak it in water, then having wrung the water out, add two pound of Woold or Woad, a pound of Indigo, and three ounces of Alum, and then gently heat and dissolve them in the water, and so dip your materials, till you perceive the Colour has taken.   

To die a purple Colour.  
Take the Silk, Stuff or Cloth, that has already taken a blue, and dip it in Braziel and Alum-water, at moderate heats; and you will soon perceive your Colour answer your Expectation.   

To die Carnation.  
Take a dry purper, and soak it a night in Man's Urine; then take your Cloth, that has been soaked in Alum-water, and dried again, and put it therein, suffer the purper before hand to be twice seethed in fair water; then set another Vessel by the Fire, and suffer the Cloth to take the die therein.   

To die a deep red Carnation.  
Take Linen and woollen white, Gall, and alum it well, and take the herb called by the Dutch Foli, which is to be found on the banks of Ditches, to the quantity of a pound well dried; Indian Lake, four ounces, Spanish red, two ounces; make of these and Alum-water a hot Liquor, and dip your materials therein, at gentle heats three or four times, and it will afford a curious Colour.   

To die silk Quoins a curious red.  
Steep first your Silk in Alum-water, giving it a gentle heat, adding thereto in the heating, Bran-water; then take a pound and a half of greening weed, and so heat it up, and put the Silk therein, but let it not seethe, then take it out and rinse it in Ley, and after that in water, adding some Powder of Log-wood; and so heating it up a second time, the business will be perfected.   

To die a fair yellow.  
Take the Stalks, Leaves and Seeds, etc. of Wood, the roots being cut off, and lay them in soak in Ley of wood Ashes, for the space of three hours, after that seethe them, till you think they are sufficiently sodden; then put them into hot water and Urine, and heat them up indifferent different well straining the liquid part through a sieve, adding to every two pounds of woad, two pounds of Verdigrease, with the Ley already sod, stirring and well mixing it together in your Liquor, for the space of three hours, and so dip into it very hot at three or four times what you intent to colour.   

Another way to die a curious Purple, viz.  
In case, it be silk you intent to die, you must to one pound of it take four ounces of Alum and a gallon of water, dissolving the Alum therein o'er a gentle Fire; putting then the Silk therein, and suffering it to lie, for the space of four hours; then take of Indian Lake and Indigo, each a quarter of a pound, add likewise a quart of Urine, and so heat them up into a dye, adding more about a handful of Cochinele.   

A curious green water to make.  
Take half an ounce of Verdigrease, bruise it well, put thereto the yolk of an Egg, and a few blades of Saffron; then take of the Leaves of Spurge half a handful, bruise them with a quarter of a pint of Vinegar, straining the liquid part through a cloth, and mingle it with the materials before mentioned, so thin that it may take, either in dying or painting.   

To make a black water to die Silk Cloth, etc.  
Take half a pound of Nut-galls, add to them a pottle of water, and an ounce of Lamb-black, with a handful of the rust or filings of Iron, heat them up, adding half a pound of coperas, seethe them to a half Consumption, adding then a pint of Gum-water, and so set it by for your use, etc. and it will prove excellent good, the longer it is kept, it being the better.   

To die Linen or Silk a Rose red.  
Take to every four yards and a half, a pound of Nut-galls, and seethe them in fair water unbrused, for the space of two hours, when pouring out the liquid part into another Vessel or Fat, put your Linen, etc. into it, and suffer it to soak for the space of four hours; then wring it dry, and heat it again in Alum and fair water, adding half a pound of Braziel powder, and a pound of Greening-weed, and so by gentle heats make up your colour to the height.   

To die a fair green.  
Take Bran-water and Alum, a Gallon of the former, to a pound of the latter, and seethe them up, till the Alum is dissolved; then for about a quarter of an hour, let your Silk or Cloth lie therein; then take more Bran-water and a few handfuls of woad, and put it therein, till it become a dark yellow; then add Verdigrease and Indigo of each half a pound or more, or less of the one or the other, as you would have it lighter or darker.   

To die a good black.  
Take two pounds of Galls, and half a pound of Coperas, seethe them in water over a gentle Fire, putting your Silk, Stuff or Cloth therein, and stirring it about; then hang it to dry, and prepare your dye in this manner, viz. Take a large Fat, and put therein three or four handfuls of Rye Meal, and half so much of swarf of the Grindstone or Smith's water, with two handfuls of elder bark, and the like quantity of the rust of Iron, and having suffered it to stand for the space of three days, heat it up and put your materials therein, etc.   

To make a thick water to work on yellow Silk the best way.  
Take two quarts of the best Varnish, add to it an ounce of the Flower of Sulphur, half an ounce of Camphire; then seethe it a while, and suffer it to cool, straining it through a Cloth, to take away the grosser part; and when you use it, let it be mixed with a small quantity of  water.   

To make a curious red Water.  
Take two quarts of fair water, four ounces of , a pound of faucet Woad, seethe them together, till half be consumed; and then taking it off, put into the remainder half an ounce of Spanish green, and about thirty grains of Cochinele, and so use it as you see convenient.   

To make a curious blue Water for Silks, Stuffs, or Woollen.  
Take three parts of Soap boilers Ashes, and one part of unquenched Lime, make of them a Ley, and suffer it well to settle, then add to the thinner part taken off, a pound of Boloemen, stirring them well together over a gentle fire, adding a pound of Woad, and half a pound of Indigo, dipping what you intent to colour therein when it is very hot.   

To work on yellow Silk, white, grey, or Azure Colour.  
Take a pottle of fair water, and a fourth part of , and half a pottle of faucet Woad, an ounce of Arshick, and the like quantity of Turmerick ground small, and seethe them over a gentle Fire, putting a small quantity of Grains therein, and so apply it to your use, as you see convenient.   

To make a red Water for white Silk or Wool, green, yellow, Violet or Azure.  
Take two quarts of running water, and an ounce of Braziel, heat them up till half be conlumed, then take it off the Fire, and put in an ounce of Grains, and a quarter of an ounce of Gum Arabic, with a quarter of a pound of Alum Powder, and suffering it to stand all night, in the Morning you may use it.   

To make grey Florey.  
Take Florey, and soak it twenty four hours, at the end of which, wring it through a Cloth, then take the Ashes of the Vine, and make a Ley with them, and spread the Florey for the space of two hours upon a Table, and having put the Ley into three Vessels, take the Florey, and put it into one of the said Vessels, and so shift it to the rest, putting before you dip your Linen, etc. Vinegar to it, and your Colour will be good.   

To die Linen with Crampmede.  
Use in this a pound of Crampmede, to three els of Linen, and put it to a gallon and a half of water, or so proportionable to the quantity, and warm it over the Fire, till it appears ready to seethe; then add to it two ounces of Galls, and so put your Linen into it, and as often as you take it out, which must be frequent, wring it, when having a pot of fair water ready heated with Alum dissolved in it, put the Linen well wrung into it; and so rub it over at the taking out, and dry it; but if you would have it the darker Colour; then is it requisite to have a Ley made with Lime-Stones, or unslaked Chalk, etc.   

To die Velvet, or other things requiring it, the most curious of Blacks.  
Take of Galls two pound, Coperas half a pound, Smith's water a G●llon, the powder of  Ivory an ounce, and of Oak bark, and Shoemaker's black ground to powder, the like quantity, and two gallons of fair water, mix them well together, and suffer them to stand in the Sun or some other warm place for the space of thirty days, with often stirring about, then put your materials therein, and as often as you di●, hang them to dry, and your expectation will be answered.   

To make Bran water much used in dying, etc.  
Take half a peck of Wheat Bran, and two gallons of fair water, set them on the Fire, giving them a gentle heat, which being done, put half a pound of Alum powder into it, and suffer it to stand a week or more, with sometimes stirring it about before you use it.   

To die Wool or woollen Yarn.  
Take four pound of Wool or yarn, two pound of Woad, putting the Woad into a Kettle to two gallons of water; then throw in two handfuls of Wood-Ashes, and when it seetheth, put your Wool or Yarn into it, and let it remain there about half an hour, at what time take it out and wring it and put it in again, and let it seethe as long as before; and than if it be before a brown blue, it will be a dark green, or if it was white, it will be a yellowish colour. And thus much at present, in relation to Colours for dying Silks, cloth, etc.    

CHAP. II. The most curious Art and Method of colouring Skins, or any pieces or parcels of Leather or Bristles; as also of gilding Leather with Gold, laying with Silver or Lacquering, etc.  

To colour Skins green.  
TAke the Leaves of Nightshade, bruise them in a Mortar, strain out the juice, and dissolve in a pint two ounces of Alum, add half an ounce of Verdigrease, and heat them gently over the Fire, and then suffering it to stand for twenty four hours, strike over the Skin with it warm, and suffering it to dry, do it again till it has taken the Colour, which will be very lively.   

To colour black Leather after the Order in Germany, etc.  
Take of the Bark of Elder two pounds, of the filings or rust of Iron the like quantity, put to them two Gallons of Rain-water; and stop them up close in a Cask or other Vessel, and so suffer them to stand for the space of two Months; then put to the liquid part a pound of Nut-galls beaten to Powder, and a quarter of a pound of Coperas, heating them over the Fire, and suffering them to stand twenty four hours after, and so use them with a brush, till the Skin has taken an excellent black.   

To colour white Leather the best way.  
Having hung your Skins in Chalk, or Limewater, till they are grown supple, that the Hair or Wool may be stripped off, stretch them on Tenters or by Lines, and smooth them over; then take your colouring mixed, according to the Purport of what you intent they shall take, and having first brushed them over with Alum-water very warm, give them the Tincture, and dry them in the Sun or in some warm house, and they will be useful on sundry occasions, without any further trouble.   

To make white Leather blue.  
Take the Berries of Elder a quart, strain out the juice and boil it with an ounce of the powder of Alum, and half an ounce of Indigo, or smalt blue, and brush over the Leather with a fine brush dipped therein three or four times, suffering it to dry between while, and the business will be effected.   

To colour Leather a fair Red.  
Having rubbed your Leather well with Alum-water or alumed it, take stolen Urine, seethe it and scum it till half be wasted; put then to it an ounce of the finest Lake with the like quantity of Braziel in Powder, an ounce of Alum, and half an ounce of Salarmoniac, mix them well and keep them stirring over a gentle Fire about two hours, and so use the liquid part, and your expectation will be answered.   

To colour your Leather a curious French yellow.  
Take one part of Chalk, and another of Wood-Ashes, and make thereof a good Ley; then strain out the fine or Liquid matter, put it into a Vessel over the Fire, and put into it Turmerick in Powder, and a little quantity of Saffron, and so suffer it to simper, till it becomes pretty thick; then set it to cooling, and as you have occasion use it, as before mentioned.   

To colour Spanish Leather, etc.  
Take that which the Dutch call Pomplemelch, warm it, and rub the Leather therewith, then take of Venus' tot Appelen, and having beaten it small, put a considerable quantity of fair water to it, and let it soften over a gentle Fire; then press out the water, and so in the liquid part rub or wash the Skin, doing it so often; and after that, take Shoe makers black the sinest, and rub over the Skin with it, having in the wetting added to it a little Vitriol or Coperas, and suffering it to dry, take Goose or Hogs-grease in a Woollen Cloth, and rub the Skin over for a good space, where there is a good Fire to supple it in; and then rub it over with your hands, till it disappear, or instead of Grease, Line-seed, or train Oil may be used, and so in case of any other Colour, according as the Colours are designed.   

To die Bristles a c●rious r●d for Br●shes.  
Take an ounce of Braziel-Wood in Powder, half an ounce of Alum, a quarter of an ounce of Vermilion, and a pint of Vinegar, boil them up to a moderate thickness, and dip the Bristles in when it is very hot, suffering them to continue or sometime in the Liquor, and they will be of a curious Red.   

To die Bristles or Feathers a curious green, etc.  
Take of Verdigrease an ounce, Verditur the like quantity, Gum-water a pint, mix them well together, and dip the Bristles or Feathers, they having been first soaked in hot water into the said mixture.   

To die Bristles or Feathers blue.  
Take an ounce of Indigo, as much of Bisse, as much Alum as a Hazelnut, put them into Gum water, and dip the materials into it hot, hang them up to dry, and clap them well, that they may open. And so changing the Colours, you may in this manner die the aforesaid materials of any Colour, as for black use Log-wood, and Galls for Purple, Lake and Indigo; for Carnation. Vermilion and Smalt, for yellow, yellow Berries and Saffion with a little Tartar mingled or dissolved in your Gum-water.   

To die Ivory, Bone, or Hern a curious red.  
Take the materials and soften them in water wherein Tartar has been dissolved; then take Vermilion and Braziel, temper them well in water, boil them up in a Liquor, and put your Horn, Ivory, or Bone into it, and suffer either of them to be there, it being hot, for a convenient time, and taking them instantly, out cast them into cold Alum-water; and if they have not taken the Tincture at first, use them in the like manner a second time; and so proportioning the Colours, you may in this manner proceed to make them take what Colour you please.   

To marble Books or Paper the best way.  
Take four ounces of , dissolve it in two quarts of fair water; then provide several Colours mixed with water in pots or shells, and with peculiar pencils to every Colour, sprinkle them by way of intermixture upon the Gum-water, which must be in a Trough, or some broad Vessel; then with a stick curl them and draw them out in streaks, to as much variety as may be; which done, hold your Book or Books close together, and only dip the Edges in on the top of the water, and Colours, very lightly; which done, take them off, and the plain Impression of the Colours in mixture will be upon the Leaves, doing as well the ends as the Front of the Book in like manner: and in this case, you may do paper by dipping it on the flat, as also Linen Cloth, etc.   

To die or colour Horse hair, or any hair, etc.  
Steep the water, wherein a small quantity of Turpentine has been boiled for the space of two hours; then having prepared your Colours very hot, boil the Hair therein, and any Colour, black excepted, will take, but that will only take a dark red or dark blue, etc. And after this manner with Colours cold, or but like-warm, you may die the feathers upon the backs of Poultry, wild fowl, hair on Dogs, Horses, or the like, in as much varieties as your Fancy can suggest.   

Another fair red for Skins, etc.  
Wet your Skins or Fells in Alum water, in which has been dissolved a like quantity of Salt with half as much Lime, when being again stretched and dried, take the last of Brewers drink a quart, put into it an ounce of Braziel powder, a quarter of an ounce of Vermilion, and an ounce of Alum-powder, thicken them over a gentle Fire, by continual stirring, and so with a brush or Cloth, rub over the Skins at an evenness, not laying it thicker on one place than another, and so do three times successively, suffering them only to dry the mean while, and your expectation will be answered.   

To die Skins a crimson Colour, etc.  
Scrape hard soap three ounces, and dissolve it in fair water, add to that three ounces of Alum, boil ●hem over a gentle Fire; till the water grow clammy, or a little inclining to thickish; then put in a few grains of Cochinele, half an ounce of Lake, two ounces of red lead, and a quarter of an ounce of Vermilion, and a small piece of Indigo, mix them well by stirring together, and keep them upon a gentle Fire, till they are about the thickness of the white of an Egg; then having first rubbed your Skin over with Alum-water, and suffered it to dry, apply this colour, as has been directed in the former.   

To colour Skins a light blue or Turkey Colour.  
Take Smalt two ounces, red wine a quarter of a pint, Alum two ounces, Vinegar half a Pint, and white starch half an ounce, put them over a gentle Fire, not suffering them to become over thick; and then soaking the Skins with Alum-water, and suffering them to dry as usually, add to this colouring half a pint of Gum-water tolerably thick, and lay it on, glazing it over when dry with a polisher.   

To colour a light green.  
Take the Herb called Horse Tail, bruise it, and add to the juice a small quantity of Verd-grease, Alum and Coperas, and over a gentle Fire, make it into a colour; which will prove very pleasant and delightful.   

To dress, or cover Leather with Silver or Gold.  
Take that which is called brown red, and grind, or move it on a stone with a muller, adding water, and chalk, the latter being dissolved, and with it rub, or lightly dawb the Skins over, till they look a little whitish; and then, before they are quite dry, lay on your Leaf-Silver or Gold, placing the Leaves a little over each other, that no Intermission be found; and when they have well closed with the Leather, and are sufficiently dried on, rub them over with a polisher made of smooth Ivory, or of a Horse's Fore-tooth, and you will perceive it very splendid.   

Another way of gilding Leather more lasting than the former, viz.  
Take Gleer made, or consisting of the whites of Eggs, or you may for want of the former make Gum-water, and with a brush run over the Leather with either of them; which done, lay on your Gold or Silver, and burnish it over as the former.   

To make Leather shine without any Gold, etc.  
Take whites of Eggs, Gum-water, and powder of Antimony, mix them well together, by beating, and having your Skins well dried, lay the mixture on them, and do it often, till the Leather be quite hid; which done, let the mixtures dry; and then burnish them over; and for want of Antimony, you may use black Lead.    

CHAP. III. How to recover faded Colours in Cloth or Silk, to take Spots, Stains, Pitch, Tar, Rosin, Grease, Wax, Oil, etc. out of Silks, Stuffs, Woollen or Linen, to preserve them from Damage of Worms, Moths, etc. and other matters, etc.  

To make Cloth that has lost its Colour recover it and look fresh and bright.  
TAke of unquenched Lime two ounces, of the Ashes of the Bark of Oak, the like quantity, and put them into a quart of fair water, mixing them well, and suffering a settlement for the space of an hour, drawing off the clear part, and therewith wash or carry over with a hard brush the Cloth, and by twice or thrice carrying it over, it will look fair and bright.   

To wash Scarlet that is soiled or greasy.  
Take two ounces of white Tartar, beat it finely, and heat it over a Fire in a pint of fair water, till it be thoroughly dissolved and very hot, then suffering it to cool a little, take an indifferent hard brush, and dip into it, rubbing it ●ightly over with the same, and by so doing in a short time it will return to its first Estate and Colour.   

To restore Silks of any Colour in the like nature as the former.  
Take an ounce of unslaked Lime, and the like quantity of the Ashes of Vine Branches, and as much of Oak-Bark, mix them well together in fair water, and make a kind of a Ley with them over a gentle Fire; which being settled, take the clear part, and with a brush or sponge rub over the faded part, and it will in a short time restore it.   

To make a Soap to take Grease, Spots, or Stains out of Cloth, Stuffs, Silks, etc.  
Take a pound of Roch-Alum, burn it well, and beat it into Powder, add to it the powder of the roots of Florence-flame, an herb so called, about half a pound, and to these add a new laid Egg, and two pound and a half of Cake Soap, make them up with fair water into round balls; and when you are desirous to take out any Spot or Stain, wash well the place first with warm water, and then lay a laying of this Soap upon it for three or four hours; and then wash it off with other warm water, and in often so doing they will disappear.   

An other excellent and approved way.  
Take Wood Sorrel and distil it in an Alimbeck with Fumitory, and wash the damaged place therewith, and it will in frequently so doing restore it.   

A way to take Spots out of Linen or woollen, if coloured.  
Take of the juice of a Limon, two spoonfuls, one Spoon full of the Juice of an Onion, and warm them over the Fire, and with them often wash the Spots, and they will no more appear.   

How to make a good Ley to take out Spots and Stains, viz  
Put into three pints of Water half a pound of Soap-boilers Ashes, and suffer them with daily stirring, to remain in it for the space of four days, then pour off the clear water; then mix it, as you see convenient with Fuller's Earth, and lay it hot on the place, and it will with often using effect your desire.   

A very good way to take Spots of Oil out of Cloth.  
Take Oil of Tartar, and mixing it with the powder of a  bone, apply it to the spot, and hold over or upon it a spoon wherein is a live coal, and the heat thereof will attract the grease and render the spot invisible.   

To take Pitch, Tar, Ros●n or Bees wax out of any Stuff, Silk or Cloth.  
Take Oil of Turpentine, warm it a little, and apply it to the place, suffering it to soak in for the space of an hour; and then gently rub it, and you will perceive the Rosin, etc. losened and instantly to crumble away.   

A Soap water to take out any manner of spots, how to make it.  
Boil Strawberries, or the Leaves thereof in a quart of fair water, and a pint of Vinegar; then add two pounds of Casteel Soap, and half a pound of Chalk finely scraped, boil them till the moisture is consumed, and when you have Occasion, wet the place with sharp Vinegar, and rub it over with this Soap, drying it afterward against a Fire or in the Sun.   

A speedy way to take all manner of Spots, or Stains, out of Scarlet, or out of Velvet, of what Colour soever, not changing it.  
Take Soap-wort, an herb so called, strain out the Juice, it being bruised, add to the Juice a small quantity of black Soap, if the Scarlet be ●●t died in clear grain, and these being made ●●in, wash the place with the liquid part, suffering it to dry between while, and by this means in a day or two, you will perceive the Spots to disappear.   

To take Iron Moulds or Stains out of Linen.  
Take the Juice of a Limon, warm it with a little Powder of Alum dissolved in it, wet it, and as it is wet, dry it with a spoon, wherein is a live coal, and so continue to do for the space of two hours, and the Spot or Ironmould in a washing or two will disappear. This likewise will take out Spots of Ink, etc.   

To take out oily Spots out of parchment or oily Paper the manner.  
Take the Powder of  Bone, finely sifted, ●nd place between two boards, pressing it hard, ●ome of the powder on either side the Spot, and ●n two days it will be quite vanished.   

An excellent way to take Spots or Stains out of Linen, viz.  
Take fair water, and dissolve it in Bay-salt, ●nd steep the Linen therein; then take juice of ●●rrel and sharp Vinegar, and ●ub the Spot with them, suffering it likewise to soak in, and in so often doing it will disappear.   

To take away Ink-Stains, Stains with Fruit, etc.  
Take the powder of Alum half an ounce, the juice of Housleek or Sengreen two ounces, and apply them, the Alum being dissolved very hot, and the business will be effected.   

Instructions how to keep Silks from staining in the washing.  
Heat rain-water, and when it is very hot, put into it casteel Soap, dissolve it well; then suffer it to be almost cold, after which, sprinkle in a small quantity of fulling Earth, and so scour out your Silks; then suffer them not to lie on heaps, but spread them, and clap them between clean dry , and they will be fresh and fair.   

Directions to keep Linen laid up without using from Damage for many Years.  
Having washed, and well dried your Line● the Sun, fold it up, and scatter in the folding the Powder of Cedar wood or Cedar sma●● ground, having first perfumed your Chest wi●● storax; by which means, not only dampness 〈◊〉 prevented, but Worms or Moths, etc.   

Further Directions, to keep Woollen or Linen sweet and pleasant, as likewise from being damaged by Moths, Worms, etc.  
Take Orange Peels, dry them in an Oven, and beat them to Powder, add to that Powder of Elicampane roots, the Powder of Arras, and that of Juniper, and air your , when you lay them up, over a Fire wherein Bay-leaves are cast and burnt.   

A pleasant water to preserve Linen or any other thing a long time, g●ving it moreover a curious scent.  
Take of Spike flowers two pound, Costmary one pound, Balm an handful,  as much, Mace two ounces, Arras Powder an ounce, soak these in White-wine, and distil them, and sprinkle your  in a fair day, suffering them afterward to dry, and then lay them up.   

A good way to wash any Linen or Woollen inter woven with Gold or Silver, and not to impair it.  
Dip the part you design to favour in Urine and Alum, and suffer it well to be soaked; then soap the rest, but not that place, and having washed it, hang it to dry in the shade, and your expectation will be answered.   

To remove stains occasioned by Wine or Vinegar.  
Take new Milk, and steep the thing stained therein a night; then take Runnet, and apply to the Stain, rubbing it in; and by so doing twice or thrice, you will find it fair as at first.   

To make Linen that is turned yellow, very white.  
Heat Milk over the Fire, and add to a Gallon a pound of Cake soap scraped in, so that it may dissolve, and when the  have boiled therein, take them out, and clap them into a Lather of hot water, and wash them out speedily.   

To whiten Cloth the best way.  
Take your Cloth, and buck it well; then spread it upon the Grass, and sprinkle it with Alum-water, suffering it to continue abroad for three or four days; then buck it again with Soap and fullers Earth, and use it as before, and so it will be both thick and white.    

CHAP. IV. Directions to scour Silver and gold Lace, make Plate bright, and look like new, take Spots and Stains out of it, to diaper Linen, whiten Ivory, make Cement for broken Glasses, etc. Perfumes of divers kinds, Musk-balls, and many other things and matters, etc.  

To scour Silver, and Gold Lace, and to restore it to its first Lustre, as also Imboss, or Embroidery.  
TAke the Lace, and lay it as smooth as may be upon a dry Woollen Cloth; then burn Alum, and beat it to Powder, sifting it afterward through a very fine fieve; then with a brush, rub it gently over the Lace, and by so doing, and often turning it, the business will come to Perfection. And thus,   

To scour, and take Stains out of any Silver Plate, etc.  
Steep you Plate in Soap-leys for the space of four hours; then run it over with whiting wet with Vinegar, so that it may stick thick upon it, and dry it by a Fire; after which, rub off the whiting, and pass it over with dry bran, and the Spots will not only disappear, but it will look exceeding bright.   

To boil up Plate, that it may look like new.  
Take of unslaked Lime a pound, of Alum the like quantity, Aqua vitae and Vinegar of each a pint, and of Beer grounds two quarts, boil the P●ate in these, and they will set a curious gloss upon it.   

To make any Linen at the first appearance look like Diaper.  
Take it when new washed, spread it upon a Table somewhat damp, and sprinkle it over with a brush dipped in Alum and Rose-water, in form and manner, as best shall suit with your fancy.   

To whiten any piece of Ivory, that is turned yellow, as also Bone, etc.  
Take a pound of Quicklime beat small, and place it on the Ivory, till it be covered; then pour gently, and by degrees Vinegar thereon, and so suffering it to lie for the space of twenty four hours, take it out, and rub it with Alum-Powder, and the first whiteness will be restored and in the like manner Bone may be used and ordered.   

To cement broken Glass, or China beware a good way.  
Take the whites of two Eggs, half an ounce of Quicklime beaten to Powder, a dram of the Powder of  Flint, and the like quantity of Gum-sandrick, temper them well together, and, add for the better moistening a little Lime juice; then with a Feather anoint the edges of the broken Vessels, and clap the pieces together by a warm Fire, and if your hand be light and steady in the Performance, the Fracture will hardly be discerned.   

To remove Spots and Stains out of very thin Silks, etc.  
Take White-wine Vinegar a pint, make it indifferent warm, then dip a black Cloth into it, and rub over the Stains, then scrape Fullers-Earth on it, and clapping dry Woollen  above and beneath, place an Iron indifferently hot on the uppermost, and it will draw out the Spot, etc.   

To make an excellent Perfume preventing pestilential Airs, etc.  
Take Benjamin half an ounce, Storax the like quantity, as much of Galbanum, temper them being bruised into Powder with the Oil of Myrrh, and burn them in a Chasing-dish, or for want of these, take Rosemary, Balm and Bay-leaves, heat them in Wine and Sugar, and suffering the moisture to consume, let them likewise burn by the heat of the pan, and they will cast a curious scent.   

To perfume .  
Take the best Cloves an ounce, dry them in an Oven, and beat them to Powder, do the same by a like quantity of the Wood of Rheubarb and Cedar, and sprinkle them in your Box or Chest, and they will not only cast a curious scent, but likewise preserve them against Worms and Moths.   

A curious Scent, or Perfume, to carry with one, when going abroad in damp Airs, or to visit sick or infected Persons, and is wonderful good for all Pains in the head.  
Take Orange-flower Butter an ounce, Oil of Nutmeg, a quarter of an ounce, Ambergrease a dram and Civet a scruple, mix them well together, and carry a small box of it about you, smelling to it as you have occasion.   

To make a sweet scented Powder very pleasant.  
Take Rice-grounds, and the small of white ●●arch a like quantity, pound them in a Mortar, and sift them well through a fine sieve, dry the dust in an Oven or before the Fire; then infuse to each pound a grain of Civet, and half an ounce of Rose scent, and keep it close looped up, till it be well infused; and then use it for your Hair, or otherways at your discretion.   

To make scented Washballs the best way to keep, etc.  
Take Casteel Soap, scrape it into new milk, and heat it over the Fire, till it melt and again become thick, than put a small quantity of Amber grease, Lavender cotton flowers beaten, and dried, till they are as fine as Meal, and a little Spirit of Cloves or Cinnamon, and so make them up into balls, and lay them a drying in a warm place, but not in the Sun.   

A Perfume to drive Vermin out of a House, etc.  
Take Burgundia-Pitch an ounce, Brimstone half an ounce, Storax the like quantity, the Powder of Mother-Amber a dram, beat and mix them well together, and burn them upon a Chasing-dish, and where the scent comes, the Mice and Rats will fly with much speed to avoid it.   

An Ointment or Perfume to remove an evil scent that has tainted the brain, etc.  
Ta●● of the Oil of Bay-berries, half an ounce of the Powder of Frankincense a dram; the Oil of Mace or Spirit a scruple, as much of the Oil of Turpentine, mix them well together, and keep them in an Essence bottle.   

An Essence that will immediately perfume the place. How to make i●.  
Take Cinnamon an ounce, Camphora half an ounce, Opopanax a dram, Roses clean picked a handful;, Rue and Rosemary flowers the like quantity, the Gum of Myrrh a dram, bruise them well, and put them into a small Alembick or glass retort, and take the Essential part in a Bottle, stopping it close, unless when occasion requires it, and then by opening it, you will suddenly find the Effects answer your Expectation.    

CHAP. V The curious Art of drawing in all its Perfection, as well humane Bodies, as Birds, Beasts, Fish, Landscapes, Building, and many other rare Portraicts, by plain and easy Rules, in due proportion and manner.  
SEeing limning or drawing is an Art very curious, much admired, and sought after in all Ages, and especially in the present, I have thought it convenient to lay down Methods and Rules for the Instruction of Learners especially, thereby to enable them for greater acquirements, etc.  
The first material thing to be known, is, the necessary Instruments requisite to be used on this occasion, which are first Sallow-coals, or Sallow-wood burnt to a Char-coal, that it may be sharpened in the form of a Pencil, to touch over lightly the first draught. Secondly the out Feathers of a Duck's Wing, to wipe off, as you see occasion, what is superfluous, or the matter designed to be altered. Thirdly, black lead Pencils well pointed to go over your draught the second time. Fourthly, Pens made of Ravens or Crows Quills, to finish the design, by giving a more curious piece. Fifthly, a rule and a pair of Compasses with three points to take in and out at pleasure, the one for black Lead, the other for white chalk or red, or any other paste, and the use of the compass is to be observed in most drawings, to mark out the equal distances after your ou●-stroaks are drawn.  
Having the forementioned things in a readiness proceed to practice, and in the first part begin with a plain Geometrical Figure, such as are found to be the Circle, Oval, square, cone, Cylinder, Triangle, which accordingly, you may mark out with your rule and compass, till you can readily do it without them, for a Circle well carried will much avail you in any orbicular Form; as the Sun, Moon, Globe of the World, etc. The Oval is a direction for the Mouth, Face, the Foot of a Wine or Beer Glass, etc. The square is very useful in confining the Picture, you are to copy. The Triangle wonderfully assists you in making half a face. The Cone will assist you in drawing Colossuses Spires of Steeples, and the like. The Cylinder assists you in drawing Pillars, pilasters, Columns, together with their Ornaments proper to Architecture, etc.  
Having considered the matters premised, proceed to draw Pears, Cherries, Apples, Apricocks, Peaches, Grapes, Strawberries, Peasecods, but Terfles and other Infects with Flowers and Branches of Trees in their proportion, and being a little perfect at these, proceed to the third practice, which is usually imitating Beasts, As.  
1. Those that are more heavy and dull, viz. the Elephant, the Bear, Cow, Ox or Bull, and sometimes Sheep and Goats; then those more nimble and fleet, as the Horse, Stag, Hart, Unicorn, Tiger, Lion, etc. And for Birds, practise the Eagle, the Swan, the King's Fisher, the Parrot, the Partridge, the Pheasant, and such like, then again, for Fish, the Whale, Salmon, Pike, Carp, Herring, Mackrill, Lobster, and such other fishes, as are most in use, to adorn a Chimney-piece, or any the like matter or business, and from these, proceed to Mellions, Pumpkins, Ears of Corn, Cucumbers, Parsnips, Carrots, Cabbages, etc. when having practised your hand in their proportion, and knowing the proper Colours, of which I shall treat hereafter, you may easily form and illustrate them, though the excellency of this Art consists in drawing a humane Body to the life: And because it ought not rashly to be all drawn at once, I shall proceed to these in order, especially as to the rules in general.   

CHAP. VI To draw the Face in divers Postures and Proportions, the most exact Rules, and what of variety is to be considered therein.  

For drawing the face, general Rules, etc.  
IN this case curiously observe the face in its motion, whether upward, forward, downward, or side-ways, touching lightly the features, where the Eyes, Nose, Mouth, and Chin ought to stand; than more perfectly go over them, for the Circles, Squares and Triangles, that are used in this matter, may serve well enough, to guide your Judgement where to place them. And in this case, observe diligently the principal Muscles of a Face, appearing most in aged Men or Women. And there is usual a threefold proportion observed in a Face, as first from the top of the Forehead to the Eye brows. Secondly, from the Brows to the bottom of the Nose, and Thirdly, from thence to the bottom of the Chin, but in some the Forehead is lower, and in others the Nose longer.  
The distances between the Eyes consist in a full Face of the length of one Eye, but in a three quarter, or side-face, that distance is lessened answerable to the proportion. As for the Nostril, it ought to be exactly placed against the corner of the Eye. And in a fat face, you will perceive the cheeks to swell, when on the contrary, in a lean face, the Jawbones stick out, and the cheeks fall in.  
You may discern a smiling countenance, by perceiving the corners of the Mouth to turn up a little, and a frowning or sour countenance, by the Foreheads bending and somewhat wrinkling on the top of the Nose.  
To draw a foreright Face, make the form of a perfect Oval, divided into three equal parts, by two Lines. In the first part, place the Eyes: In the second, the Nostrils: And in the third, the Mouth, observing to keep the Eyes distant from each other, the length of one Eye, and that their inward corners be perfectly over the out side of the Nostrils.  
To draw an upright head, it must be made equal with three Lines, every way, either upwards, downwards, higher or lower, and that must, as the former, be divided into three equal parts.  
To draw the Inclining, or fore-shortened face, observe how the Lines concord or agree together, and with ease, you may draw, in their proper places, the Nose, Mouth, and other parts, with a little Practice, and in these forms it is requisite that you are very perfect as being rules of frequent use; for of the many parts of Man's Body, the face is most difficult; but having got the true proportion, with your measures, you will be capable, let the face turn which way it will, to form it; and further note, that whatsoever proportion the Face you are to imitate bears, your out strokes must be form accordingly.  
As for the Nose, it requires to its due proportion much care and diligence, as being the most eminent part of the Face; in which, especially, observe the hollowness, roundness, and indenting of the Nostrils, etc.  
The next thing, especially where the body is to be covered, is to be considered of the Hands, in their several postures and positions, as well by measure, as without, as also Hands, and Arms of whose postures, as well as the former, it would not be unnecessary for the Learner, to get draughts for his better imitation, which may be had at most Picture Shops, for a small matter ready done.  
When you have practised, and are a little expert in drawing the Hands and Arms, etc. proceed to the drawing of Feet in their several Postures, as well without, as with measure; which having attained separate, exercise your skill in drawing Legs and Feet conjunct or joined together, that so understanding the frame and particulars of the whole body, you may be the better understanding in drawing the Figures in their due proportion and right Postures, in doing which there is no small difficulty. And in this manner, having proceeded to form the Members, draw the other parts of the body, as the Shoulders, Back, Breast, Belly, Secrets, Thighs, and the like, and lastly take care in due proportion to join them, that they may appear firm and complete.  
Coming to practise upon an entire body the best way is to begin with those of Children; and my reason is, because they are generally fat and plump, and rounder than the Bodies of Men and Women, and consequently require so much curiosity in the observation of Muscles and other Features, which render the drawing less difficult.  
As for your further Direction in drawing, observe ever to begin at the Head, and so proceed by degrees, running the whole lightly over at the first, and increasing more fully, as you see occasion, ever being careful to take notice, that your parallel Joints, Muscles, Sinews, etc. be rightly proportioned, and exactly opposite; also that the motions of the Body be answerable to each other, and that the Parts and Limbs have a due Symmetry, not being faulty in the indecency of having one great Arm or Leg, and another small one, nor a great Finger upon a small Hand, neither further than the proportion requires, suffer one Limb, or Member to be longer than another; and although it so happen, which it frequently does, that at first you commit Errors of this nature, yet be not discouraged, for frequent practice will redress them.  
Having thus far proceeded with Success, and being indisterent perfect herein, you must consider what it is to shadow; and in this case, observe the following Rules, viz.  
The out Lines of the draught of any Picture, give the symmetry or proportion, which ought to be sufficient to a good Judgement, but the Lines and Shadows produce to the less curious, the lively likeness in shadowing; therefore of any Picture, you must take notice to cast your shadow always one way, viz. on which side soever you begin to shadow your Figure, whether on the right or left Hand, as in the Figure of a Man, if you first proceed to shadow his left Cheek, the left side of his Neck, Body, and all other parts must be shadowed, unless the light side of the Figure be dark, by reason of some other Body standing between the Light and it, as suppose three men were standing together; then must the Body, or Figure in the middle be darkened by the foremost, unless the light by facing it come between them.  
Further, note, that all shadows must consequently grow fainter, as they are further removed from the opacous Body from whence they proceed. But in case of Storms, where Clouds, or Waves, by contending Winds are driven one against another, contrary shadows are allowed, as striving for Superiority, and so you must be sure to supply the greatest first, and according to your Judgement, supply from them the lesser.  
All circular Bodies must have a circular shadow, as they have a circular form, and as the object of Light which causeth the shadow is circular.  
And now for your further Information of this kind, observe that a Man standing from the top of the head, to the bottom of the feet, is in due proportion eight times the length of the Head. The Arm when it hangeth strait down, reacheth within a span of the Knee; the Hand must be the length of the Face, and spread broad, must cover it, and no more; and further note, that in drawing a Figure standing, you must in the first place draw that Leg, which the Body stands firm upon, or else your Figure will undecently decline one way more than another, as if it were falling. The Arms of a Man extended are his full length; and so of a Woman in the various particulars. Thus having directed you in the drawing and proportioning naked Figures, I now proceed to give directions about Garments, etc.  
As in naked Figures, it is observed you draw the out-Lines first; so you must do in Drapery or Clothing, leaving space within for your greater or lesser folds; then first draw the greater folds, and break them into lesser contained within them, and the closer the Garment sits to the Body, the narrower and smaller must be the folds, and in shadowing, the innermost must be the harder, and the outermost softer.  
Continue always throughout your Garment the great folds, but as for the lesser, break them off, as you see convenient, and the finer your drapery is, the fuller, and sharper must your folds be, and the shadow the stronger, yet more pleasant to the Eye, ever taking notice, that that part of any Garment that sits close, as the body Coat of a Man, the Breasts of a Woman, and the like, must not at all be folded, but rather with a sweet shadow represent that part of the Body, that the Garment appears to cover, as Woman's Breasts, with a sweet found shadow, etc. And thus much for the body of Man in drawing.    

CHAP. VII. Landscapes, what they are, and what is required in the drawing, and curious proportioning them pleasant to the Eye of Fancy, etc.  
A Landscape is that which giveth a pleasant prospect of Trees, Hills, Rivers, Cattle, and other Rural delights, with Towns, Cities, Castles, Promontories, Rocks, Ships, Boats, Barges, and whatever the fancy of that kind can form. To express which, and make all truly appear naturally, as they ought, according to the true proportion and distance, observe in every Landscape, to make a very fair Horizon appear, the Sky either clear, or overcast with Clouds, expressing the rising or setting of the Sun, to issue as it were from or over some Hill, Mountain or Rock; but in a fair Landscape, beware you express not the Moon or Stars, which are only to be seen in a Night-piece; and in case, such a piece be required, you may draw an Astronomer with his Quadrate, taking the height of the Moon, another with his Crossstaff, taking the distance of certain Stars, some standing with a dark Lantern far from them, to give them knowledge of their degrees, an Owl flying in the Air, Men catching of Partridges with low Bells, a Wolf worrying of Sheep and the like, being natural to such pieces.  
If in any fair Landscape you express the Light of the Sun, ever observe, that throughout your whole Piece, you cast the Light of your Trees, Buildings, Rocks, Ruins, and all things mentioned, or expressed within the work thither-ward: observe further to lessen your Bodies proportionably, according to the nearness, or distance they should naturally appear, so that the further the Landscape goeth from your Eye, the fainter you must express any thing seen at distance, till at last the Earth or Water, and Sky seem to meet, as do the Colours in a Rain bow, wherefore when at any time you see good pieces of this kind, take your observation more particularly from them, and imprint the fancy, as well as may be in your mind.   

CHAP. VIII. The curious and much esteemed Science of Painting or Limning in Water Colours, and how exactly to proceed therein, either on Parchment, Glass or Copper, with the mixture, and distinction of the sundry Colours, and other rare Curiosities.  
HAving gone over that which we may properly term limning, or as many will have it drawing, I now come to that part, vulgarly known by the Appellation of Limning, viz. laying in water Colours the most curious of all, and much practised by Persons of the best Quality.  
To fit yourself, and prepare for the practice of this, you must have Gums of all sorts to make your waters as occasion requires; also a Marble flat stone, a Muller, Colours of various forts, liquid Gold and Silver, Size to lay Gold, etc. Parchment, of the finest pencils of sundry sorts, pots and Shells to put your Colours in.  
To make your Gum-water take , white, clear, or transparent, for that which is yellow, or of an Amber-Colour is insignificant; tie up a quantity in a rag, and hang it in fair water, till it be dissolved; then the water being stiff enough for your purpose, mix your Colours with it, always having two sorts to make a weaker or stronger, as the matter requires.  
Gum-lake is a compound Gum, made of whites of Eggs, finely beat, Honey, Gum, of Ivy, strong wort, etc. which being well mingled and beat together, they will run like Oil, and in the end harden, and this you may buy ready made, as the former, observing only, that it be clear and transparent.  
As for the Colours, there are simply six, viz. white, black, red, yellow, green, and blue, to which some add browns, but they are generally compounded, and of either of these, there are several sorts, as these, viz. Blacks the best, are burnt Ivory, Cherry-stones, Lamp-black. The whites are Ceruse and white Lead. The reds are red Lead and Lake. The Blews are Indigo, Ultramarine, Bise-smalt. The Greene's are bise, Sap-green, Pink, Cedar-green. The yellows are English Ochre and Masticore. The brown's are Umber, Collens-earth, Spanish- brown.  
These (though there are others) are the principal Colours in limning; and therefore, I choose to speak of these only in this place, the others omitted, being fit only to colour Pictures or wash Maps, etc. and of these  
The Colours to be washed are Bise-smak, Cedar, Ultramarine, Masticote, and red Lead. The Sap-green is only to be steeped, and the rest I have meationed are to be washed and ground.  
To wash Colours, you must put a quantity of the Colour intended into a clean earthen dish, and pour water thereto very clear, stirring the Colour and water together, suffering it to stand a while, and perceiving the grease or scum to rise, take it off, and pour out that water, putting other water to the Colour, etc. and so do, till the water become clear, and the Colour at the bottom remain fine; then pour away the water gently, and you will find the Colour sticking about the sides and edges of the dish, as also at the bottom, and if it so happen, that you can get an ounce of pure Colour out of a pound (though the rest is serviceable for many uses) it is sufficient.  
In steeping Sapgreen, you must put it only into fair water, adding a fourth part of Alum-powder to raise the Colour, and at the end of twenty four hours it will be a curious green.  
As for the Colours that are to be washed and ground, take a small quantity of either; and put it into a clean shell, adding a drop or two of Gum-water, and work it about the sides of the shell with your finger, suffering it there to stick, till it is dry; then draw over it your Finger, and if any come off; than you must add more Gum-water, but being dry, if it glitter or shine, it is a token there is too much Gum in it, which you must remedy, by tempering it up with fair water only.  
There are some Colours, as Umber and Lake, which parch and crack when they are dry, and therefore to bind them, you must temper them with fine Sugar-Candy dissolved in fair water, and so you must do by other hard Colours subject to this defect.  
To burn the Colour thereto appropriated, put them into a crucible, cover it with a Lid of Clay, and set it on a hot fire, and suffer it to be red hot, and when the Colour is cold, you may wash or grind it, as the Nature requires, but do neither before they be throughly burnt.  
To grind the Colours, I have directed so to be used, take a quantity of any of them cleansed from dirt and filth, and laying it upon your stone, bruise it a little with your Muller; and then with fair water grind it, till the Colour be very fine, then have in readiness a large chalk stone with troughs, or furrows in it, and pour your Colour into it, and there suffer it to remain till it be well dry, at what time take it out, and reserve it in Papers, or Boxes for your use—  
Of these six simple Colours, adding the brown, many may be compounded for faces of all Complexions, Garments, Landscapes, Building, Rivers, Birds, Fish, Beasts, etc. As thus,  
To make Violet Colour take Indigo, white and Lake, and at pleasure, you may, as you take more or less of a Colour make it lighter, or darker at Pleasure.  
Led Colour, you may make of Indigo, and white mixed and tempered together.  
Make Flame Colour, or Colour for flaming Fire of red Lead and Masticote heightened with white.  
To make a scarlet Colour, take red Lead, Lake, and a small quantity of Vermilion: For note, that the latter is not good in limning.  
To make light green, take Pink, and Smalt with white, to make it lighter, as occasion requires.  
To make a purple Colour, take Indigo, Spanish brown, and white well tempered and ●●ightned  
To make a Bay Colour, take only Spanish brown and white.  
To make a Murrrey Colour, take Lake and white.  
Many other Colours are made by mixture, too tedious here to be recited; wherefore, I leave them to the discretion of the Practitioner, to mix them suitable to his work or fancy, and proceed to the practical part of this curious Art, etc.   

CHAP. IX. Instructions for the preparing your Tablets, and laying on your Colours in their graceful Shadows and proportion, and what is to be observed, as to the Lines in the Face, Complexion, and Procedure in drawing curious, and many other matters.  
WHen you have prepared your Colours, prepare likewise good Pencils, to know them, draw them wet through your Mouth, and if they come to a hair, or sharp point, they are good, but if they after that stand rough, or hairs stare, or start out at the side, they are nought, and to be rejected.  
The next thing is to prepare your Table; and in this case, get a fine Paste-board sleeked as smooth as a Card; then fine Parchment or velum, and starch it upon the board, as smooth and even, that no wrinkle, or rising may appear; to perfect which, you must lay the Parchment side on your Stone rubbed very clean, and polish the contrary side, and so let it dry in the shade.  
Having thus prepared a Table, as big as you intent your Picture, choose a Light fair and large, free from shadow, being if possible a Sky-light on the top of a house, yet such a one, as the Sunbeams do not penetrate, or glance upon, observing to begin and end your work by one and the same light, keeping the room clean, that no dust may fly about to prejudice your work.  
The next thing to be considered is your manner of sitting; and in this case, let your Desk be so placed, that when you sit before it, your left Arm may be placed toward your light, and your right Arm from it, that your light may slaunt upon your work. And if you are to draw the Picture of any live Person, the posture being agreed upon, suffer him or her to sit above two yards distant from you, and as levelly with you as may be, marking well, that whensoever the Party moves, though never so little, for never so little motion of the Body or Face, if not recalled, may occasion in a short time many Errors, and when you undertake this, the following Materials are requisite to be near you, viz.  
Two small dishes or saucers with clean water, the one to wash your Pencils in when foul, and the other to tamper your Colours withal; a fine large Pencil to cleanse your work, called a Fitch-pencil; a sharp Penknife to take off hairs, coming from your Pencil or Spots, that may fall upon your Card; a Paper having holes cut therein, to lay upon your Card, to cover it from dust, and to rest your Hand upon.  
If your Carnation, or flesh Colour be tempered up, it must be somewhat lighter, than the Complexion of the Party you are to draw. If it be a fair Complexion, you must have white Lead, and red Lead well tampered. If the Complexion be swarthy or brown, add to your white and red Lead, Masticote, or English Ochre, or both, if occasion require it; but let the Complexion be what it will, be sure to tamper your Flesh Colour lighter than the Party to be drawn; for if it be too sad, there is no remedy; and observe to place your Shadows distinct from each other in a large shell: And note, that in all your Shadows, you must use some white, wherefore in the first place, lay a considerable quantity of white by itself, over and above what the shadows are at first tempered withal. In the second place, for red usual to the cheeks, and Lips, tamper Lake, and red Lead. In the third place, for your blue shadows, as Veins, or under the Eyes, take Indigo and white. In the fourth place, for your faintish green shadow, take English Ochre, White, and Indigo, or sometimes Masticote. In the fifth place, for a deep shadow, take white, and English Ochre, and Umber. Sixthly, for Dark shadows, in the Faces of Men, take Lake and Pink, for they make an excellent fleshy shadow. And these being the chief shadows, I leave what may further occur of this kind to your discretion.  
Having all things in readiness, the next thing you proceed to, is to draw the face, in doing which; take the following method, viz. lay the ground, with the Colour answerable to the Complexion of the Party; and then begin the draught, the Party sitting. Now to finish a Face three Operations of sitting are required. At the first sitting, you must only lay the dead Colour At the second, go over the Face more curiously, nearly observing whatsoever may conduce to the Grace, or Deformity of the Person to be drawn, considering it in a sweet dispose, and well couching the Colours one within another. And in this sitting, you perfect what only was rough before, by laying on the deep Colours, so that at the third sitting, you may finish the Face, as in the Eyes, Eyebrows, Hair, and Ears, which things are the last work, and not to be perfected, till the Hair, Curtain, or Backside of the Picture, as also the Drapery be finished. And of these sit in their Order.  

The Operation of the first sitting, etc.  
Having laid your ground for the general Complexion, the next work must be to draw the out Lines, which you must effect with Lake, and white mingled drawing very faintly; so that if you chance to miss your proportion, you may alter it with a deeper mixture of the same Colour.  
Having drawn the proportion of the Face, add to the former Colour a small proportion of red Lead, tempering it faintly to the Colour of the Cheeks, and Lips, at the tips of the Chin, and Ears, about the Eyes, and the roots of the Hair, placing the red shadows, and as for the shadows, they must not be put in with the flat of the Pencil, but with small touches after the manner of hatching, and in this manner going over the Faces, you will cover your ground with these and the like Shadows, and in these dead Colours, your curiosity need not be great, only strive to imitate Nature, as near, as may be, for the roughness of the Colours may be mended at the second Operation.  
Having duly placed, and proportioned your red shadows; in the next place, put in your faint blue shadows about the Corners of the Eyes, and Balls, &c and your greyish blue under the Eyes, and about the Temples, working them sweetly and faintly over by degrees, heightening the shadow, as the Light falls; as likewise the hard shadows in the dark side of the Face under the Eye brows, Nose, Chin, and Neck, with some stronger touches on those places, than on the light side of the Face, and so bring all your work together to an equal roundness, giving Perfection to no particular Part, at this time, but take a full view of your object; and consider, how near you hit the Life, not only in seeming likeness but roundness, boldness of Posture, colouring, and such like. And having by this time wrought your fainter shadows into the red shadows, you may venture to take a touch at the hair, disposing it in such curls, folds, and forms, as you shall see convenient for Grace and Ornament, only drawing it with some Colour suitable to the Life, and fill up the empty space with Colours, deepening it somewhat more strongly, than before in the deepest shadowed places, and this may suffice for the first Operation.   

The second Operation or sitting.  
In this sitting, the party must take the same Place, and Posture, as before, and then be curious to delineate with your Pencil, the particular varieties of Nature; and as you drew them over but rudely before, you now must sweeten them with the same Colours, by working, and driving them one into another; so that no rough edge, nor lump of Colour may appear, and this must be done, with a Pencil sharper than the former, by which means the shadow may be soft and smooth.  
Thus having done, proceed to the backside of your Picture, and if there a Curtain, as is the usual manner, be required, we will suppose it to be blue Satin, and to do it, temper as much Bise in a shell, as will cover a small Card, suffering it to be moist and well bound with Gum; then draw with your Pencil the out-lines of your Curtain, as also of your Picture, and so lay it over very thin, and airy with a large Pencil, that it may be the whole ground, you intent to do with blue; and then lay it over again with a substantial body of the same Colour; in doing which, you must be swift, keeping your Colour moist, and not suffering any part to be dry till all be covered.  
If it happen that your Curtain is to be Crimson, you must trace it out with Lake, and lay the ground with a thin Colour, observing where your strong Lights and Reflections fall, there lay the Lights with a thin, and waterish Colour, and the Ground being yet wet, lay the strong and hard shadows close by the other Lights, with a dark Colour tempered reasonably thick.  
Thus having laid your backside, which in the same manner you may do with any Colour. Your next work is, to lay your Linen of a fair white, and your Drapery flat with the Colour you intent it. Then take another view of the Face, and mark well what shadows are too light, or too deep, and endeavour to reduce each shadow to its due Perfection; then shadow the entrance into the Ear, and draw the Lines of the Eye lid, the deepness of the Eye brows, and all the most eminent Notes and Marks in the Face, doing them with a very curious sharp Pencil, and then heighten the Hair, deepening it, as it appears in the Life, casting over the ground some lose Hairs, which will look very pleasant, and make the Picture seem to stand at some distance from the Curtain.  
In the shadowing your Linen, which ought to be very curious, use black, white, a little yellow, and a small quantity of blue. The black being deepened with Ivory-black; to which add a small quantity of lake, or Indigo: And thus much for the second Operation, from whence I proceed to the third and last.   

The third Operation, etc.  
In this, only observe to give strong touches, where you see Cause, or find any Defect, taking more perfect observations for the rounding of the Face, which at this sitting is better done than before, noting diligently, whatever may conduce to similitude, which is the principal in the work; as Scars, Moles, cast with the Eyes, drawing the Mouth, etc.  
In case of Ornaments, as Garments, etc. the ground being laid with Bise; then the deepening must be Lake, and Indigo, the Lightning, white, very fine, faint and fair; and in the extreme light places, let what has been said of the blue Drapery suffice, and may be understood of all other Colours; and for the greater Ornament, you may mix the Light with Gold, or Silver, etc.  
If the Body is to be in Armour, lay liquid Silver for your ground, and when it is well dried and burnished, shadow it with Silver, Umber, and Indigo, and work the shadow upon the Silver, as the life directs, etc.  
For Gold Armour, lay liquid Gold for the ground, and shadow it with English Ochre, Lake, and a mixture of Gold.  
For Pearls, or that colour your ground must be Indigo, and white, and the shadow Pink, and black.  
For Diamonds, lay a ground of liquid Silver deepened with Ivory and Cherry stone-black. And thus much for the Face, Body, etc. as to the laying in water Colour, and the next that present themselves are Landscapes.   

Directions for laying Landscapes, etc.  
In this case, always begin with the Sun Beams and Sky, the lightest part first; and then the yellow, which must be composed of Masticote, and white, the next your blue Skies with Smalt only leaving no part of your ground at first uncovered; but lay the Colours smooth all over, working the Sky downward toward the Horizon, still suffering it to grow faint, etc. as it draws nearer the Earth, and work the tops of Mountains, and other objects very remote, so faint, that they may appear, as lost in the Air, and as for your lowest and nearest ground, it must be an Earth Colour of dark brown, inclining a little to yellowish, and green, as the matter requires, and the next a lighter green, and so successively, as they lose in their distance, you must abate their Colour, nor must you make any thing, you see at a great distance, perfect, or absolute, what it really is; because it is altogether conjecture, you cannot absolutely discern it, but express it in Colours weakly, and faintly, as your Eye judges it may be. And ever observe in this case to place the light against the dark; and so consequently, the contrary, which is an excellent way, to extend the Prospect far off, yet do it so, as the shadows may lose in their proportion of distance, by degrees, their force, as they remove from the Eye, observing further, that the strongest shadow must ever be nearest. And thus much may suffice for limning in water Colours, which if duly observed, and practised, will wonderfully help the Learner: And in this manner, you may paint upon Glass, by laying on the fairest Colours if it appear through the Glass first; but if otherwise, lay first a ground, and especially upon Copper.    

CHAP. X. Directions for the most curious Painting, or Limning in Oil, with the various Colours, and materials required on that occasion, with their manner of preparing, and ordering; as also Instructions to paint to the Life, etc. wonderfully pleasing, and much profitable to be known, as well by the Gentry, and others, as those that intent it for their Profession.  
AS this Noble Science, in all Ages, has been held in much Esteem, and Veneration among Men, in all Ages, it is now more especially covered to be known, and practised, by either Sex; wherefore for the better Instruction, especially of the Learner, I have thought fit to lay down the following plain, and easy rules, which being well observed, and practised, may in time bring him to be a great Master in the Science. But first, of the Colours to be used on this occasion, without knowing which, the rest may prove ineffectual.  
The blacks are Lamp-black. Sea coalblack, Char-coal black, Ivory-black, and Earth of Collen. The white white Lead only The greene's, Verdegrease, Terra-yert, and Verditer. The yellows are Pink, Masticote, Orpiment, Spruce Ochre, English Ochre. The blues are Bise, Smalt, Indigo, and Ultramarine. The reds are Vermilion, red Lead, Indian red, Lake, and Ornotto. The Colours indifferent are Spanish brown, burnt Spruce, and Umber.  
These are the principal Colours to be laid in Oil, and must for the greatest part of them be ground upon your flat stone with a Muller, with Line-seed Oil, though as for Ivory, Spruce, Ochre, and Umber, they must be burnt before they are ground. And as for Masticote, Ultramarine, Verditer, Vermilion, Lamp-black, Smalt, and Orpiment, you may temper them upon your Pallet with Oil, saving yourself the labour of grinding, etc. and as for those, that are to be burnt you must perform it in a Crucible, and though Line-seed Oil be common to all, yet in case, with your white Lead; you are to lay Linen, you must mix it with Oil of Wall nuts by reason the other will in a short time turn yellowish.  
The next thing, you are to take care of, is to have good Pencils of all sizes, a Pallet, or Board, to lay your Colours on, whilst you are using them, and an Eysil to lay your Cloth upon, or against, and a straining Frame, to which it must be nailed, and you must further have a Stay or Molestick, which is made of Braziel, or such Wood, as will not easily bend, about a yard long, at one end of which, tie a ball of Cotton in a piece of Leather; so that holding it in your left hand against the work, you may support your right Arm with it, whilst you are working; and being thus furnished, you may proceed to the work, etc. And first of the Complexion.  

For a fair Complexion.  
Take a small quantity of white, and twice as much Vermilion, and Lake, temper these with the flat of a Knife's Blade upon your Pallet, or Hand-board, and use it for the deepest Carnation of the Face, adding moreover to a small part of it more white, and reserve that for a lighter Carnation. And yet another part being reserved, add more white to it, till it come to the lightest Colour in the Face: And then proceed to prepare the faint shadows, and in doing it.  
Take Smalt, and mix it with a little white, which may conveniently serve for the Eyes; then laying aside the greatest quantity, add to the rest a little Pink, and these well tempered, will serve for the faint greenish shadow in the Face; then proceed to prepare your deep shadows: And in order to it, take Lake, Pink, and Ivory-black a like quantity of each, and temper them together. And if the Face of the Party, or the Figure you are to copy require redder shadows, than what you have tempered, add more Lake, if yellower, more Pinks, if bluer, or greyer, then add more black.  
Thus having prepared your Pallet with Colours suitable to a fair Face; consider again, in case the Complexion be more brown, or swarthy, you may temper the Colours, as before, putting moreover a little quantity of  Ochre amongst your Lake, Vermilion, and White, that it may look somewhat tawny amongst your heightened Colours: In this case, temper a little Ochre, so much only, as will just turn it, and for your very deep, and very faint shadows, you may use the same, as for the former Complexion.  
For a tawny Complexion, use the same, in the general, as before, only let the shadows be prepared of  Ochre, and Umber.  
For an absolute black Complexion, your dark shadow must be as the fore going, but as for your heightenings, you must take burnt Ochre, Lake, with black and white, yet but a little of the latter must be put in at first, that you may the better work it up by degrees: And note, that the single Colours laid at first upon your Pallet well tempered, according to the foregoing Directions, serve for shadows for all Complexions.    

CHAP. XI. What Pencils are to be used in painting a Face, and how to dispose them. Directions to paint a Face in Oil Colour, and what mixtures are requisite for Carments, etc.  
YOur Pencils, how small soever, aught to have a stick about nine inches long, cut, or sharpened at the farthest end into a point, and when you are to draw any Face, lay together two Ducks Quills Fitch-Pencils, two Goose Quill fitched, two pointed, and two bristled, the pairs being exactly alike; and when you are to use them, having your Pallet in a readiness upon your thumb, take them in your right Hand, and put the ends of your sticks into your left Hand, keeping when you work the hairy ends, at a distance lest the Colours intermingle, & so proceed to your work, viz. your Cloth being ready primed, and strained upon your Frame, scrape it over with a Knife's edge, not very sharp, to take off the knots, if any appear, and so set your Frame and Cloth upon your Eysel a convenient height, so that you sitting upon a Stool level with the Party or Copy you draw, may the better have the Picture equal, etc. placing it according to your Light, as I have directed in Water-limning; then with a piece of Chalk draw the proportion of the Face upon the Cloth, making the place for the Eyes, Nose, Mouth, Ears, Hair, etc. Then take a Swans Quill pointed Pencil, and begin with some of the lightest Colours in the lightest part of the Face (the Cloth before being primed, or groundlaid) as the heightening of the Forehead, Cheekbone, Nose, etc. on the lightest side, and when you have done that, next proceed to the mean parts, viz. those not altogether so light, as the Cheek bone of the fore-shortning, or dark side, the Chin and upper Lip and by degrees come to the reddest part of all.  
Having thus far proceeded, lay the greenish faint shadows in places convenient, and where you see cause, to moderate the harder shadows; but have especial regard not to place the green, where the red should be: And so, all the faint, and light beginnings being put in, take a Duck's Quill fitched, and a Goose-Quill pointed Pencil, and begin at the Eyes to shadow with Lake, and trace out those parts of the Face therewith, that require it, as the Eyes, Nose, Mouth, the compass of the Ears, etc. and do this before you lay on any Colour, lightly wiping it over with a linen rag, to prevent theovercoming of other Colours.  
Having now put in all the Colours, dark, and light, take a large fitched Pencil, and sweeten the Colours: That is, go over the several shadows with a clean, soft Pencil, which by a gentle, and dexterous handling, will force, or drive the Colours into each other; so that they will represent the laying on at once, and not at several times. This being done, begin again with your clean Pencils of such bigness, as the work requires; then, the Party sitting in the posture as before, take a curious view, and see what defects you find in the work, and amend them; after that proceed to heighten, or deepen your shadows, as the Nature of the piece requires, and if a Beard, or Hair be required, take a Goose Quill bristle Pencil, and put in the Hair about the Face, and rub in the greater Hair, with the greater Bristle, heightening it up with your Goose-quill Pencil, and so your work is done.  
If Garments are required, called by Artists Drapery, For a red Garment, lay dead Colour with Vermilion, glaze it over with Lake, and heighten it with white. For Scarlet, Vermilion must be the lightest, deepened with Lake, or Indian red. For a crimson Velvet, lay burnt Ochre, Vermilion, or Indian red, glaze it with Lake, and touch it up with Vermilion. For a sad red, heighten Indian read with white, and let all your deepening be with black, Pinks, and Lake well tempered. For green Garments, heighten Bise and Pink with Masticote, and deepen it with Indigo and Pink. For green Velvet, lay the dead Colour with white, and a little Lamp black, glaze it with Verdegrease, deepen it with Indigo and Pink, and heighten it with Pink and white. For yellow, take yellow Ochre, Masticote, and Umber, lay the dead Colour with Masticote, and white, in the highest Places, and with white, and Ochre in the meanest, and with Umber in the darkest, glazing it when dry with Pink.  
For blue Garments, take Indigo, and white, laying first the white in its due Places; and then your mean Colour, viz. Indigo, and white well tempered in their due places; then deepen it with Indigo, and glaze it with Ultramarine when dry, etc.  
For purple Garments, take Oil small tempered with Lake, and white Lead, and heighten it with the latter.  
For black Garments, let the dead Colour be Lamp-black, and a little Verdegrease, and when it is dry, go over it with Ivory-black, and having heightened it with white, go over it with Ivory black, and Verdegrease.  
For Orange Colour Garments, mix red Lead, and Lake, laying the lightest parts with red Lead, and white; the mean parts with only red Lead, and the deeper with Lake, and if need requires you may heighten it with white.  
For Cloth coloured Garments, for the ground, take Umber, and white, and for the deeper shadows Umber and black, and for the mean Umber and Ochre, and whiten it with Ochre, and white. And thus much may suffice for limning, and painting of these kinds.   

CHAP. XII. The curious and mysterious Art of etching, and engraving in Gold, Silver, Copper, Steel, etc. displayed, and made manifest in easy and plain Rules, and Methods, by which an unexperienced Person, many attain to the knowledge thereof, and the expert be wonderfully improved, etc.  
TO introduce this curious Art, I think it highly convenient to begin with etching, the better to give a light into what succeeds, etc. and first of the Ground.  
In this case, procure three parts of Virgin's wax, and one of Asphaltum, one part of Mastic, and one part of clarified Rosin, but all but the Wax, putting that into a new glazed Pipkin, or Pan, and let it boil over a gentle Fire, at what time, put the other Ingredients to it, which being melted, pour it out into fair cold water, keeping back the dregs; and when it is cold, work it into a ball; tie it then in a rag, so close, that no dregs may come through, and use it upon your Copper, as you have occasion.  
In preparing your Copper, observe that it be well polished, not lying higher in one place than another, nor no where uneven, and if you espy and specks or disorders in it, coal it over with a well burnt Char-coal, and fair water, and set it aslope to dry, which done, scrape some very dry Chalk or Whitening upon it, and rub it over with a woollen rag, not touching the Face of the Plate with your finger, till the ground be laid, which must be done in this manner, viz.  
Put lighted Small coal into a Chafing-dish, and lay the Plate on the wrong side over it, that a gentle breathing of heat may come through; then take your ground in the rag, and rub i● gently up and down the Copper, till it coming through the covering, by reason of the heat, may sufficiently cover the Plate, not too thick, nor too thin; and than whilst it is warm, take a Duck's Feather, and smooth it to an exact evenness, but beware the Copper be not too hot, for if it smoke, the moisture of the ground is gone, and then in etching, it will crack, and fly up; and when it is according to your mind, suffer the Plate to cool; then grind a piece of white Lead in Gum-water, not very stiff, and make th● white of convenient stiffness to wash over th● first ground of the Plate, with a brush dippe● therein, till you perceive it every way smooth, going over it with another brush of soft Furs, and so let it dry.  
The ground thus laid, take your draught, after which, you are to work, and scrape on the backside of it some red Chalk, moving it all over, and scrape over that some Small coal, very fine, suffering it to mingle with the Chalk; and then with a Pencil, or Hand-brush, rub it up and down, till it be smooth, and even, and so place your design upon the Plate, and with a blunt Needle, or Steel Point, draw over the out-stroaks; and than you must have several Needles, according to the smallness, and largeness of your strokes in the Copy, and with them in a ●in Pencil, frame, or stick according as bluntness, or sharpness requires, take out all the black strokes, pressing so hard, that the needles may pass through the ground, and make some small Impression on the Copper, ever observing when ●ou lay by your Plate, to wrap it up in a Paper 〈◊〉 prevent scratches, or the Air spoiling the Ground, wiping away as you work the Ground ●●e needles broke up with a light Pencil, not suffering the ground to lie too long on the Plate before you finish, for the Air drawing out the noisture of the ground, the Etching will appear ●road and deep, working of black and unseemly; 〈◊〉 when sometimes you suppose it eaten sufficiently, you will find it defective in many places, ●●d in frosty weather you must wrap the plate as well in a blanket as in a Paper, for if the frost take the Copper, the ground will start from it, and so the Aquafortis will spread under it, and keep no certain form.  
Having observed these directions, take green Wax, and melt it in a new Pan, or Pipkin, and with a Pencil cover the edges of the Copper and stick the Wax round about like a Wall, to keep in the Aquafortis; that done, which being firmly stuck on, take the third part of an ounce of Aquafortis, and break it with other Water of the same kind, that has been once, or twice used, taking at least two parts of the old, to one part of new, and in case, you have no old Aquafortis, than instead of it, use strong white-wine Vinegar, as a mixture; and for such Figures, or things, as you would have lie fine, and sweet, you must pour out your Aquafortis into some Earthen Vessel; and then wash of what remains with fair water, and suffer it to dry; then melt Candle-grease, with a little ground, and with a Pencil cover the Places you would have ly● faint; then pour on again your Aquafortis, and so continue to do, as often, as you can conceive it convenient, then melt off the ground over a gentle Fire, and with a clean rag, wipe it off, and you will have the perfect impression of the Copy on the Plate, which you may work of at the rolling Press, to serve your occasions, and thus you may do upon any metal the wate● will take, etc.  
From etching, I proceed to the Art of engraving, and he that would be expert herein, mus● have a regard to true drawing; wherefore, I would advise the unskilful well to consider what I have laid down of that kind, and so provide himself with materials for the performance of this curious Art  
In the first place, be sure to choose a good Oil stone free from pin-holes, or flaws, not too hard, nor too soft; and therefore the better to furnish yourself aright, you must consult, in what the stress of your business will lie; for if you intent Picture, or Letter work, accounted more curious than Marks, or Arms used by Goldsmiths, and Pewterers, you must have your Gravers accordingly shaped, and tempered, for Goldsmiths, etc. Gravers are frequently crooked, the better to come at hollow places, etc. but for Copper, or any Plate, that may be easily come at, the straight Gravers are ever held the best, and if you suspect their goodness, try whether, or not, they are file proof; and if so, they will fit your purpose, though at first, by reason of their temper, they may appear brittle, and sometimes break short, yet being ground out, they will still grow better and better, and come in a little time to an excellent temper.  
As for the forms of Gravers, as to their use, the square one makes a broad shadow stroke, or hatch and that which is, form Lozenge, a narrow deep one, the one being appropriated to large, and the other to fine strokes, yet if your work be curious, a middle size between these will the better accommodate you, which will render your strokes, or hatches more graceful, and yet carry with them sufficient force and vigour.  
In case of whetting your Gravers, which is frequently required, pour a little fine Olive Oil upon your stone, and laying that side, which you intent shall cut the Copper flat upon it, whet it very flat, and even, and to that purpose, carry your hand very steady, continuing an equal strength, and placing your fore finger firm upon the contrary side, so that you may have more power to guide it with exactness; then turn the unwhetted side, and use it in the same form and manner, that there may be a very sharp edge; then turning uppermost that edge, which in the former manner you have whetted, setting the end of your Graver obliquely upon the stone, bear your hand with an exact evenness, to the intent it may prove very flat, and s●oping in the form of a Lozenge; and in this, you must take great care, for if your Graver be not well, and rightly whetted, you can never grave well.  
Observe, when you have a Graver, whose handle is a round, or oval knob, if you would prevent it from running into the Copper, or other metal you grave, further than is convenient; then must you cut off that part of the knob, which lies in a Line with the point of the Graver, and make it as levelly as you can with the point; nor then will it hinder your Hand from carrying an even stroke, which otherwise it will do, especially in working a great Plate, by bearing too much upon the Copper, and in holding it, place the knob-side, or that part of the Ball not cut off in the hollow of your Hand, extending your forefinger towards the point, and laying it opposite to the edge, that is to cut, and place your other fingers on the one side of the handle, and your thumb on the other side of the Graver, in such a manner, as with ease you may guide it flat and parallel with the Plate, being ever very careful, that you fingers do not interpose between the Plate, and Graver, lest it hinder you in carrying it levelly with the Plate, hindering you from making your strokes with freedom, and neatness.  
Further to fix you in this affair, you must have a strong round Cushion of Leather filled with fine Sand, about half a foot over, and four inches in the Diameter, rising a little in the middle, and sloping towards the brims, but not much, and this must be to lay your Plate on, that you may turn it at leisure; and if you are to make straight strokes, hold your Graver in a direct Line: Or in case you would have your strokes broader, and deeper in one place than in another, you must lay more or less stress, as you see occasion, observing in all straight strokes, to hold your Plate steady, and firm upon the Cushion, and the Table, or Bank on which it stands well fixed: But in crooked, and winding strokes, you must hold your Hand, and Graver steadfast, and only turn your Plate, or otherways you cannot command your Hand to that neatness, as in many cases is required, observing at the same time, for the more steadiness to keep your Elbow fixed upon the Table, and your Eye on the Plate, scraping your work, as you go with the edge of a burnisher to take off the roughness; yet be careful that you make no scratches, and the better to see what you have done, rub the place over with a piece of black felt dipped in Oil; and than if any scratches appear, with your burnisher rub them out, and if any strokes be too hard, in the same manner you may make them fainter. And in case your Graver should happen to appear very hard, which by its excessive brittleness in often breaking is known, lay it upon a burning Charcoal, till it grow yellow; and then dip it in water, and it will by often so doing render it of a better temper, but if it be blunt in a short time cutting, than it is too soft, and you must heat it in the fire, and dip it in Lime juice, or Vinegar: And thus much for the management of the Tools. etc. the which by a little practice will soon grow natural.  
Another material thing in Art is to be considered; which is, to take the Impression you are to cut, or grave upon your Plate; and in this case, heat your Plate over a fire of Small-coal, and having a piece of fine Bees-wax tied up in a fine rag, worked like a ball, that it may sit close, wipe the Plate over with it, when it is hot enough, very lightly, till you perceive it is covered with wax, very thin, and even, laying it with a feather, in which, at first you may find some difficulty, but use will render it easy, and in this case, if you are to imitate an exact Copy, it must be so ordered, that it may stand the contrary way on the Plate; and therefore in consideration hereof, your best way will be to tract it over with a black Lead Pencil; especially in case of a very old Picture, which being done, take a piece of polished Ivory, and placing your Picture exactly on your Plate the Print fide downward, rub it lightly, and you will perceive the exact proportion of the Print remaining upon the Wax, or the Plate; then take a steel point, and go over each particular Limb, etc. especially in the out strokes, and there will be but little difficulty to mark the shadows which he before you, as you engrave the Work, and the readier it will be, if so you note how far your shadows should be dark, and how far light, with your black Lead before you rub it off.  
The carrying of the hand in this kind, will at first seem difficult, as to the depth of your strokes; but in general, observe ever to carry your hand with such a slight, that you may end with the same faintness, or darkness you begin: And in case, one part require more deepness, and blackness than another, you must do that by degrees; and that you may the more expertly do it, observe that your strokes be not too close, nor too wide; and therefore to bring your hand in the better, practise at first by such Prints, as are but loosely shadowed, least by attempting to imitate those more dark and close, you happen to be puzzled where to begin, and where to end, but practice will inform you.  
As for Letters; in case of Copies, the Letters must be gone over with ungumed Ink, or with black Lead, and laid on the Plate when waxed as the former, unless you are so dexterous at writing, that you can draw them by hand, or with a steel point on the Plate in true Cut, etc.  
But if a Map, or other Mathematical Instrument be required, every circle, or perpendicular must be drawn over as before, or you cannot exactly imitate. But in case of a face, or coat of Arms, or Instruments not to be printed; then you may black over the backside, as in etching, but you must use for engraving a wax ground only.   

CHAP. XIII. The Mystery of cutting in Wood, laying Gold, or Silver, solid, or liquid, preparing Colours for the painting of Pictures, or Prints, the way of refreshing old Paintings, or Pictures; colouring Maps, Buildings, Landscapes, and many other curious things, and matters.  

As for cutting in Wood, in relation to Pictures or the like.  
YOU must prepare your Wood in the manner of a Plate, though an Inch thick, or according as the design requires, either Box, or Pear-tree, rendering it by plaining as smooth, and level as a piece of Paper; which done, having a draught of your design, you must rub the Wood gently over with a ground of paste made of the finest flower; and then fix your draught, or copy upon it, when suffering it to dry, rub the back side of the paper, which must be uppermost, with your wet finger, till you crumble it off so thin, that the Print plainly appears upon the Wood, as if it had been painted, or drawn thereon with a p●n, or pencil.  
Having thus prepared your Wood, if it be small, fasten it up with coins, that it move not, unless there be occasion, or as the strokes require and then having a fine small knife in the nature of a Penknife, but much less and thinner, especially for the fine strokes, cut out all the white strokes, and ground, and suffer the black ones to stand, sharpening the fine strokes, and bringing them to an edge, that they may not print black, or dull; and above all, be sure to do it with so light, and curious a hand, that you break none of them; for if so, you much deface, and injure the Work, they not being to be repaired, and further observe to leave a good foundation to the strokes, though never so fine at the top, least by the force of the Press, they break in working.  
You may have your Pattern, or Advice, if it be new drawn upon the Wood with black, orred Lead, though the former way is the securest from being rubbed out, or injured, etc.   

To write, or gild with Gold, and Silv●r, an easec, and curious method, etc.  
If you would have fair Letters appear in Gold, or Silver, take Gum-armoniack, and grind it with a little juice of Garlic, and put thereto a few drops of the weak water of ; and so make it to the thickness of Ink, that you may conveniently write with it; and so write, or draw what you think convenient, and suffer it to dry a little, but not too much, lest it take not the Gold, or Silver, nor too little, lest it drown them. Then lay your Gold, or Silver in Leaf upon a Leather Cushion, being a piece of Calf's skin stuffed, with the ●ough side outwards; and so with a sharp knife, cut it into what proportion you will, suitable to what you have written, and taking it up with a lose piece of Cotton Wool, on which you have breathed, cover with it the place intended, pressing it down hard, and where the Gum-water is, it will take it; then brush away with other Cotton, what it has not taken, and being dry, burnish it with a piece of polished Ivory, and it will appear very splendid.   

To write, or gild with liquid Gold, or Silver, etc.  
Take shell Gold, which is made of the ragged edges, or c●ttings of Leaf Gold; and when you are desirous to use it, put in a little fair water, tempering it up with a clean Pencil, and lay it on with a Pen, or Pencil in what form you please, either by way of writing, or gilding, and when it is dry, rub it over with a Dog's, Calls, or Horse's Fore-tooth, and it will be very shining, and pleasant. And of this, as of the former, you may lay on more, or less, either fo● the gild Picture Frames, Coaches, Rooms, or the like. As for lacquering, it only consists of carrying a Pencil dipped in rectified Spirits over Leaf Silver, which changes it to a gold Colour.   

How to prepare Colours to colour printed Pictures, and thereby render them beautiful.  
For a curious Violet Colour, take Turnsole, being a die infused into a piece of a linen rag, heat it in Vinegar, and it will give you the Colour desired, after which dissolve in it some , and use it, as you see occasion.  
For a curious yellow, take Gum-booge, and dissolve it in fair Spring water over a gentle fire.  
To make a transparent red, take Braziel, grind it, and heat it over a Fire, with small Beer, and Vinegar, put in a little Powder of Alum, and , and suffer it to boil, till it taste strong, etc.  
For a transparent purple Colour, grind Logwood, and boil it in all respects as the former.  
For a curious blue, take fine Litmos, and cut it into small pieces, lay it for the space of twenty four hours in a weak Lake, Gum-water; to make which, you have been before directed, and it will answer your expectations.  
To make a curious green, take the juice of rue, and a little Verdigrease.  
For a light green, take Sap green flower de Biss, or tawny green, and steep them in fair water.  
To shadow greene's, sleep Indigo, and yellow Berries.  
To shadow blues, take Litmos, and Indigo, steeping them in the Lees of Soap ashes, and use them with Gum water.  
To make a good brown, take Ceruse, red Lead, Pink, and English Ochre, mixing them, with Gum-water.  
For an Orange Colour, take red Lead, and yellow Berries, and mix them with Gum-water.  
For a curious flesh Colour, take white Led red Lead, and Lake with Gum-water.  
To make a Colour for precious stones, take Verdigrease, and Varnish for an Emerald, Florence Lake, for a Ruby, and Ultramarine, for Sapphire.   

How to colour Map, and what is to be observed therein.  
In this case as well as in other printed Pictures, is no more than to set them out in their proper Colours, which you must accordingly consider, as the nature of the thing requires, it being impossible to direct in particulars; however observe that water must be a faint blue, Sky somewhat deeper, Trees green, Houses in Maps are usually red and ways yellow, and green: And to these, and the rest, suit any water Colour, you think suitable mentioned in this Book.   

Colouring for Landscapes, and building at large, very proper.  
In Landscapes, for the saddost Hills, use burnt Umber, for the lightest, put some yellow to it, and for other Hills, lay Copper green thickened on the Fire, or in the Sun, and for those further off, mix with it some yellow Berries, and let the fourth part be done with green Verditer; and the furthest, and faintest Places with blue Bise, for the lightest places, use white, and shadow it with blue, as for the High ways, do them with white, and red Lead, using for Variety yellow Ochre, shadowing it with  Umber; and it may likewise be used for sandy Rocks, and Hills; and as for other Rocks, you may lay them with several Colours; but at a distance, they must appear, blue, as in the Air; as for the water, do it with black Verditer, and white shadowed with green, and with blue Verditer, when the banks cast a green shadow upon the water; but when the water is dark in the shadows, shadow it with Indigo, blue Verditer, and green, etc.   

How to colour Building, etc.  
In colouring Buildings, you must use much variety the better to set them off, yet not so, as they may appear extravagantly adorned, or contrary to the use of this kind; but for Walls, and Conduits, use a mixture of white, and black; as likewise for other materials, but if a Brick-house, use red Lead, and white, and where the Houses stand thick together, there use sundry Colours suitable to the occasion.   

T● cleanse old Pictures, and render them fair and pleasing.  
Take Wood-Ashes, the whitest that may be had, sift them through a fine lawn sieve, and with a Sponge, and fair water, wash the Picture gently over not rubbing it hard, lest you impair the shadows, which being done, and the Picture dry, take distilled Varnish, and rub it thin, and gently over, and it will create a lasting freshness, or for want of this, you may do it with the whites of Eggs exceeding well beaten, or with Gum-water: But note, the Pictures to be thus used, must be such as are laid in Water-Colour Oil.    

CHAP. XIV. Instructions for restoring Tapestry Hang, Carpets, or Turkey Chairs, that are faded, or decayed, to their lively Colour; to prepare Flock Cloth for Hang; Spanish white, Size, Alum water, and  water, how to make them; as also to thicken Cloth for Screens, etc.  

To refresh Hang, or Tapestry, Carpets, or Chairs,  
BEat the dust out of them in a dry day, as clean as may be; then rub them over well with a dry brush, and make a good Ladder of casteel, or Cake Soap, and rub them well over with a hard brush; then take fair water, and with it wash off the froth, and make a water with Alum, and wash them over with it, and you will find, when dry most of the Colours restored in a short time; and those that are yet too faint, you must touch up with a Pencil dipped in suitable Colours; and indeed you may run over the whole piece in the same manner, with water Colours mixed with weak Gum-water, and it will cause it, if well done, to look at a distance like new.   

To make Flock Cloth Hang, etc.  
To do this, take a course Canvas, spread it even upon a Flour, or Table; then take flocks, or shreads of Woollen, grind them as small as dust, and having sized over your Cloth with a good strong size, sift whilst it is wet the flocks on through a sieve very fine, and having done it even in all places, run a rowler of wood, or Iron over the piece to press them down close, and so suffer them to dry in the shade, lest the Sun, or Fire parch, and make them crack, and when dry, brush them lightly over with Alum-water; and so draw your design with black Lead, red Lead, Char●coal black, or any other Colour you fancy, and it will at a distance look like Tapestry, and be very lasting in a room, where no great Fires are made.   

How to thicken Linen Cloth for Screens, Bed-teasters, and the like.  
Grind whiting with size, and to prevent its cracking, add a little Honey to it; then take a soft, and smooth brush, and lay it upon the Cloth, and so do two, or three times, suffering it the mean while to dry between layings on, and for the last laying, smooth it over with Spanish white laid with Line-seed Oil, the Oil being first heated, and mixed with a small quantity of the lethargy of Gold, the better to endure the weather, and so it will be lasting.   

Spanish white, how to make it.  
Take fine Chalk, with a tenth part of Alum, grind them with fair water, till very soft; and then bring them to a thickness, and make them up into Balls, lay them to dry leisurely; and then heat them well in the Fire; and so use them.   

To make a very good Size useful upon sundry Occasions, etc.  
Take glue a pound, steep it in four gallons of water, till it be dissolved; then take a pound of the shreds, or cuttings of Gloves, or other the like Leather, and boil them in the water, wherein the glue has been dissolved over a gentle Fire, till it feel very clammy between your fingers, and when that is done, strain the liquid part through a sieve, and keep it for your use.   

To make Alum water the best way.  
Take a pound of Alum, bruise it, and put it into two gallons of water, adding a small piece of Gum; arabic; and having scumed it after a gentle heating from the froth, or scurf strain the water, and keep it for your use; and especially, to wash over printed Pictures lightly before you paint, or colour them, by which means, they being afterward suffered to dry, the Colour will be prevented from sinking, or soaking in unseemly.   

To make  water for all Occasions.  
Take of the transparent, or white Gum two ounces, half an ounce of Alum, and two quarts of Spring water, dissolve the former in the latter over a gentle Fire, scum it, and take away the dross; and so use it with Colours, or in making Ink, or the like, and if you perceive it too strong, you must put more water; but if too weak, then more Gum, taking out the dross as before.  
And thus much may suffice for the first part of this Book, and past all peradventure prove useful to the Reader, and Practitioner, in such a manner, that I can scarcely believe he ever will, or at least will never have cause to repent of, or repine at the cost, and labour so necessary a Treatise, filled with so much variety puts him to.    
The End of the First Part.   

Art's Treasury, or a profitable, and pleasing Invitation to the Lovers of Ingenuity, contained in many rare, and extraordinary Experiments, and Inventions, etc.  

CHAP. I. Metals, and Minerals, their Quality, and Generation, from what they proceed, and how produced, the ●rt of transmuting, and making artificial Metals, or Minerals, with other material matters.  
IN case of Minerals, and all things inanimate, concentered, or contained in the Bowels of the Earth, it is convenient to reduce them to four kinds of Mixtures, viz. Metals, Stones, Earth, or Juices, Nature producing them with mixture, and participation of each o●her, and here by Earth. I mean the simple Element only, of which, as the Philosophers affirm, all sublunary Bodies are compounded, and though the Earth, according to the situations of Countries, and differences of Climes, differs in Scent, Colour and Taste; yet that proceeds from a mixture of some other part, or effect of the former; the pure Elementary Earth being in all places one and the same; in which, and by the operation of heat and moisture, the others are generated; and as there are more or less of these, the Metals are finer or courser: But to come nearer to our purpose.  
Gold is found in Grains, or Sand; and Silver in veins, and sometimes twisted, and wreathed like the branches of a Vine, and at other times these Metals are found in stones, with whose hardness, they have incorporated themselves, and being broken, are with fining materials extracted. As for Gold; it is the most perfect of all inanimate bodies, and has its Generation, as I have said from heat, and moisture in the Original; but of Parts so well contracted, and compacted by Concoction, that it is in a manner incorruptible, it being beyond the Power of any Element to prejudice, or destroy it; for the Fire of the most subtle, and piercing Quality, consuming all other Metals by long Application, renders Gold more pure, nor can the Air, Water, or Earth diminish its lustre; but that it will again recover it, by which means, it has deserved the Estimation the World affords it; and is so ductil, that being expanded, an ounce of pure Gold will cover a place of twenty, or thirty feet square.  
Silver as is hinted, carries a fineness next to Gold, wanting little more than the Colour, to be brought to its perfection; wherefore those that strongly inveigh against the transmutation of Metals, have been convinced, that there is a possibility to turn Silver into Gold, by reason Fire and artificial concoctions may supply the defect, of which there have been many Experiments, and from the even mixture, good temperature, and fineness of its parts, it is not only ductil, and malleable, but endures the Fire with little waste, and admirable it is, that an ounce of fine Silver may be drawn out into a thousand four hundred yards, and that too, for the most part without breaking; and all this extension may be gilded with six grains of Gold.  
Copper is a metal to the composition whereof, a great quantity of Sulphur is required, and from a distempered heat in the mixture, the fiery heat proceeds, and being over burnt in its composition, it is therefore less subject to Corruption, and is used about Engines of long continuance, because it rusteth not, and is found in Mineral Stones of divers colours, though the most effectual Colour is green, or blue, and so often is it engendered near Gold, and Silver, that many times following a vein of it, much pure Gold, and oftener Silver has been found; and such Veins of Copper, as make a superficial show, are upon being digged, richer the deeper you go, and that is occasioned by the moisture; and many times pure Silver is at the bottom, etc.  
Iron though very common, which lessens its esteem, and may be termed the Wall, and Bulwark of Kingdoms the safeguard of private Persons and the Handy craft Trads-man's only unum necessarium, for without it few Employments can subsist. As for its extraordinary hardness from over much Earthy parts, or fixed Sulphur in its composition; not, but it has a proportion of Quick silver in it, so that it will not without a very violent heat be melted, nor will it break, but expand by force of hammers, or other Violence, and receive an impression by dilating itself; and although it is cold and dry, yet by reason it is more porous than other Metals, it is of less weight; and consequently subject to be consumed by rust.  
Lead is frequently found in the Silver Mines, and indeed as often by itself, nor scarcely is there any ore, but some quantity of Lead is found in its mixture, as being by the abundance of its humidity serviceable to it; and especially in the melting of Gold, and Silver, which cannot conveniently be done without the help of Lead; for in this case, by reason of its moisture, it does easily evaporate, carrying with it whatever is not Gold, or Silver, and in its weight comes nearest to the former, viz. Gold, and in Colour to Silver, not being subject to Corruption, as Iron.  
Tin is begotten, or generated by a grosser fore of indigested Quick silver, though much finer than Lead, by which means, it becomes more white, and hard, though from the ill mixture of its substance, it is accounted the Bane of Metals making them brittle by never so small a mixture; and the reason is, that by its incorporation, it hinders the ductility, and disorders its former equal temperature; except in Lead, with which it better agrees, by reason of the moisture, and softness; so that being incorporated they become ductil, and malleable.  
Quicksilver is of a liquid penetrating Substance, and greatly in use; especially in refining Metals, agreeing with any sort, abounding with much humidity; which gives it brightness and weight, and is held the principal of the Generation of all Metals; nay its very substance is transmutable into Metals, enduring as well, as those that come out of the Mines, the trial of the Fire, and Hammer.  
There are sundry Metals, called Artificial Metals, made by mixture of Minerals. As from a mixture of Tin, and Copper, Brass, or Bell-metal is made; as also for pieces of Ordnance, and sundry other uses: and in this case, a pound of Tin must be put from four, to eight pound of Copper, according as you expect it brittler, or tougher.  
Latin is made of Plates of Copper, put into crucibles, and covered with Powder of J●lamina, or a kind of half Mineral Sulphur strewed over it, and upon that, the Powder of beaten Glass, to which, Fire being put, and the steem, or greatest force of it kept in, it altars the Colour of the Copper to a brassy quality, and adds in weight eight pound to the hundred.  
Pewter, a mixture of Lead, and Tin, and has sometimes in it, for the better hardening, and keeping it together, a small quantity of Brass, or Copper: And thus much for the Generation, and Description of Metals, which the Earth so abundantly produces for the use, and benefit of Man kind, from whence I proceed to the hardening of Metals, for Handicraft, and sundry other uses.   

CHAP. II. Instructions for softening, and hardening Metals, and Minerals suitable to sundry occasions, as using in Tools, Engraving, etc. The Art of soldering, and gilding, burnishing, and the like, upon Metals, etc.  

To soften Steel, or Crystal.  
TAke of unquenched Lime a pound, and as much of Soap-boilers Ashes, and having made a Ley therewith, put your Steel, or Crystal into it for the space of twenty four hours, and it will easily be cut, or other ways ordered, etc.   

To soften brittle, and stubborn Iron.  
Take the juice of Colts-foot, and Hemlock, and when your Iron is hot, steep it therein, and it will become ductil, or you may do it by often quenching in Line-seed Oil.   

How to make a Powder to soften Metals.  
Take your Metal, and heat it well; then take ground, or beaten Glass, common Salt, and Brimstone, and sprinkle them upon your Metal, whilst it is red hot, and afterward burn them off in the Fire.   

To make Iron, or Steel, as soft as Copper the better to engrave upon, etc.  
Take Chalk, and Alum, bruise them well together, and being wet with the juice of an Onion, dawb it over your Metal a finger thick, and thrust it into the Fire, suffering it to burn, till it become clear, and it will answer your expectation.   

To make Iron, or Steel so soft, that you may t●is● it at Pleasure.  
Take the Gall of an Ox, mix it with Oil o● Turpentine, and Urine, heat your Metal, and strew upon it Powder of Vitriol; then wash it over with the materials before mentioned, till it comes to be somewhat cool, and it will be very flexible.   

Instructions to harden soft Iron.  
Take the concoction of Vervein, Housleek Juice, the juice of Hore hound, Radish, or Rue, dissolve in them some Alum-powder, and the business will be effected, if you anoint your Metal when hot with the liquid part.   

To harden all manner of Iron Tools, or Instruments.  
Take the Leaves, or juice of Pentefole, or five leaved Grass, the juice of a Limon, or White-wine Vinegar, and dip the pieces of Metal, or Tools in it, when hot; and do so often, and you will find the advantage.   

To make Iron as hard as Steel.  
Take the juice of Roman Nigrel, and Mouse-ear, herbs so called, and strike over the Metal being hot; and by this means Tools may be made of it that will cut Iron.   

To harden Metal, so that it shall not crack, nor flaw, etc.  
Take Oil of Spike, and Mutton Suet, and dawb over the Metal hot; then plunge it suddenly in cold water, and the business will be effected.   

To harden Augres, Files, Chisels, Mattocks, etc. for use.  
Take the Juice of Radish, or Coleworts, mix it with Ley made of Soap-ashes, heat it over the Fire, and when your Tools are well heated, or red hot in the Fire, quench them in it.   

To make Tools so hard, that they will cut Iron, Copper, etc.  
Take Salt Peter, and Copperas, strew them in Powder upon the Tools, when red hot; and then quench them in the destilled water of Shell-snails, and your expectation will be answered.   

To colour, or varnish Tin, Copper, or the like metals.  
Take half a pint of Line-seed Oil, warm it over the Fire, and scum it; then put therein bruised Amber, and Aloepaticum, of each a quarter of an ounce, and suffer them to boil up to the thickness of an Ointment; after that, set them in a close earthen Vessel under ground for the space of four days, and when you use it, strike over your Metal with a brush, or Pencil, it being at the same time hot over a pan of Small-coal, and it will be of a curious Amber, or golden Colour.   

The manner of gild upon Metals, viz.  
Take Wine-stone, Verdigrease, and Sal-armoniack, seethe them in White-wine with some common Salt, strike over the Metal indifferent warm with the liquid part, and suffering it to dry a little, take Water or Leaf Gold, and lay it on, which by the Virtue of the washing will stick fast; so that with a burnisher of Ivory, you may finish it in its proper Luster.   

How to make a water for the gild Metals.  
Take three pints of Spring water, two pound of Roch Alum, an ounce of Roman Vitriol, and as much Verdigrease, and Orpiment, boil, and deum them; and then put in water of Tartar, and Bay Salt, of each two ounces; and when ●he Ingredients are well dissolved, and come to a thickness, strike over your Metal therewith, dry ●t against the Fire, and burnish it.   

How to gild Iron, or Steel with Quicksilver, and Gold Foil.  
Take Vitriol, and Sal-armoniack, of each an ounce, and of Alum two ounces, beat them fine, and boil them to a thickness in fair water; add a dram of Verdigrease, and half an ounce of Sublimatum, and sperce over your Metal with it, when having mixed your Gold, and Quicksilver together, lay them on with a Leather Spatula, as smooth, and even as may be, then suffer the Varnish to take it, and burnish it over.   

To make Iron, or the like, a curious blue, or Steel Colour.  
Burnish your Metal to a brightness, and take Cows-hools, burn them, and hold the Metal over the smother, or smoke of it, and it will answer the end designed, etc.   

To make Copper, etc. a Silver Colour.  
Take Bay-salt, Alum, and Wine-stone, grin● them to Powder, adding in your grinding some leaves of Silver, and put them into an earthe● pot, close stopped with your Copper amongst it, and then taking it out, ru● it over with some 〈◊〉 the Powder, and burnish it.   

A very good way to burnish Iron, or other Metals.  
Take of Aloepaticum, Citrinum, and Amber, each an ounce, make them into Powder, and place them over a gentle Fire in a well glazed pot; and when you perceive it melted, put to it a quantity of scalding Oil; and when the mixture is well made, let it cool; and so your Metal being glowing hot, lay a little piece upon it, and rub it over.   

To make a good solder for Iron, or any hard Metal being cold.  
Take of Sal-Armoniack two ounces, two ounces of common Salt; the like quantity of Wine-stone in Powder, six ounces of thick ground Glass, two ounces of Clock-spike, bruise and mingle them wall together, and so put them into a linen Cloth, and suffer the Cloth to be laid a finger thick with soft Clay, encompassing it on the outside, and put them in●o a well glazed earthen pot, with a lid, or cover, and put that into another larger not of Earth well covered, and suffer 〈◊〉 to stand over a gentle Fire, that the heat may e●creasie by degrees, to all be red hot, and r●●●; then suffer it to cool, and break it small, and grind it to Powder: Then in case of soldering, make your Iron, etc. fast, and the joints close laid, lay a paper under them, and upon it some of the Powder; as also between the Joints; then wrap it round with Clay; except the upper part, which you must leave open to solder at; then take the Powder of Burras, and put it into Wine or Aquavitae, and suffer it to dissolve, when dipping a feather therein, strike over the upper part of the Joints, and it will begin to smoke and hiss; the which ended, you may uncase it, and find it perfectly soldered.   

A way to solder warm, or rather, hot on Iron, Steel, etc.  
Take Gum-water, beat it up with green herbs of any kind, till it become a Paste, or of that thickness, and strike it on your Metal, or lay it on the Joint rubbing Soap over, at what time heat it, and it will prove a good Cement, etc.   

To solder on copper, etc.  
Take of Copperas an ounce, half an ounce of Orpiment, or white Arsenic, dividing it into two parts; and then make your Copperas run with Fire, then add one part of the Arsenic, or Orpiment; and after you have spread it thin on a fine stone, add the other part, then beat it into Powder, and use it as the solder for Iron, etc.   

To solder Latin, a Metal, or mixture of Metals so called.  
Take a File, and make the parts to be joined very smooth; then put them together, and being hot, scrape your Powder of Burras, and keep it close till cool, and the Joints will be fastened, or fixed.   

To varnish like Gold on Tin, Silver, or Copper, etc.  
Take an earthen Pot well glazed with a close Lid to shut in; and put into it six ounces, or half a pint of Lin-seed Oil, an Ounce of Aloepaticum, and the same quantity of Mastic, make them into a fine Powder, and put them into the Oil, and cover the former pot with a bigger; the first having a small hole in the top through both lids, the better to stir the materials, and having closed the outward pot about with Clay, and suffer it to stand over the Fire, till it boils up to the hole, then cool it; and when you would experiment it, polish your Metal, and strike it over the Metal, being indifferently warm; and so do it over twice, suffering it to dry between either time, and the business will be effected.   

To lay Gold on Iron, a brief and easy way.  
Take liquid Varnish one pound, and of Oil of Lin-seed, and Turpentine, each an ounce, mix them well together over a gentle Fire; and lay them as a ground whereon to gild with Leaf Gold, etc. laying the Varnish very thin, and suffering it to dry.   

Another easy way to gild on Metal, etc.  
Take of , and , each an ounce, put them into an earthen pot with a good close cover, set it over a gentle Fire; and when they are warm, put in two ounces of Lin-seed Oil; and when they come to a Varnish thickness, lay them for a ground as the former, and on them the Gold, etc. observing for the better splendour, when it is dry to polish it.    

CHAP. III. Valuable Metals, their fineness to be known by essay of Coins, and how they are to be known in their true Value; and what is to be observed in preventing your taking false moneys.  
HAving briefly run over sundry matters relatting to Metals and Minerals, I now proceed to come somewhat nearer their true value, as by the rules of Art, they are laid down by curious Inquirers into those Affairs, etc. especially as to what relates to Metals, used in Vessels of value, and current in Coins, etc. the principal. I take to be Gold, and Silver; the rest being vulgarly known, and therefore not requisite to be mentioned in this Place.  
As for the weight used for these fine Metals, it is that of Troy, consisting of twelve ounces; and the ounce of a hundred and fifty Carots, and may again for the deciding of lesser values be divided into four hundred, and eighty Grains; as for the Pound Troy weight of fine God, it is worth thirty six pounds, and so lessens in proportion of Alloy, in this manner, viz. an ounce of fine Gold is valued at three pounds; and that of thirty three keys fine, at two pounds seventeen shillings ; and so lessening, viz. twenty two Keys, at two pound fifteen shillings, twenty one Keys, at two pound twelve Shillings six pence, at twenty Keys, two pound ten shillings, losing two shillings six peace per ounce, as a Key, or Carot is wanting in the fineness of twenty four.  
In this case, to know the fineness, or defect, it must to prevent defraud be found out by the allay, which upon the touchstone may be done by way of Essay in this manner, viz. take Needles of Gold, and Silver, and Copper allay, suitable to the several allays, and suffer these to be of four sorts, viz. the first to be of fine Gold, and Silver: The second of Gold, and Copper. the third of Gold, Silver, and Copper. And the fourth of Silver, and Copper only; the first for the trial of Gold; and the latter for the trial of Silver, making of these mixtures twenty four Needles of sundry finenesses. As first of fine Gold of twenty four Carots without Alloy. The second twenty three Carots of fine Gold, and one of Silver. The third twenty two Carots of Gold, and two of Silver; and so proceed to one Carot worse, till there remains but one Carot of the fine Gold in mixture with the other Metals specified, etc. viz. twenty three Carots of Silver, and by the same rule proceed to the Gold and Copper, and Silver and Copper, marking each Needle for the better distinction upon occasion of what fineness it is; and by this way, you may be satisfied of the fineness of any Ingot, or piece of Gold or Silver in Coin or otherways by comparing them on your Touchstone with the Needle, whose allay you already know, or trying them, till they become equal or alike, which when wetted will plainly appear. As for the value of Silver, that which is fine is accounted five shillings two pence of our Money the ounce, though there is some that will fall out in fineness, to be worth five and eight pence, and the like. But these Essays not being to be done by every Person who receives Money, I shall by other ways instruct them how they may detect counterfeit Coins.  
Past doubt, few that have the handling of Money are ignorant, that Coins of all sorts have been counterfeit, some by embasing in mixture, others by corrupt Metals, and other by way of plating; and to know these; in case of Guinneas or broad Gold, First, weigh them, and try them by Essay as aforesaid; and than if you further suspect them, try them by Fire, or by Aqua fortis; and if they be of base Metal, or corrupted with is, they will soon grow dim, and their Lustre in a small time more and more impair; but if you suspect them plated, especially Guinneas, throw them indifferent hard on the edge, and the Imbossment will open, and you may discover the shell to rise. In case of gilded Shillings, though they have the Sceptres as Guinneas, which some Persons have had the Art to place there with graving Tools; yet your best way is to try them by racing with a Penknife point in any convenient Place; and although they are double gilded, the Silver will appear.  
The counterfeit Milled is washed over or plated; and to discover this, you will find the Letters imperfect, or perhaps none upon the edges of Crowns or half Crowns; the sound likewise will be flat and dull, and the Metal on the outside may be easily raised to discover the defect.  
As for old moneys, the worst size is the half Crowns with pieces of Copper plated over; and these you may know by their rising in the middle falling hollow, Mackle in the stamp, or better by raising the thin Plate on the edge, and as for smaller money mostly mixed with Silver, your touch stone is the best tryer.   

CHAP. IV. Instructions for making black, red, white, green Inks, etc. for sundry uses as well solid as liquid, with that of the late Invention in Powder; Directions for mysterious writing, and other things, etc.  

To make the best common or black Ink.  
TAke a Gallon of Rain-water or clear Spring or running water, and put twelve ounces of Nut galls bruised, or broken into it, and of  and Copperas of each two ounces, suffer it with once a day stirring to stand for the space of twelve days in a warm place; and so use it as you have occasion: And in this manner you may make a greater or lesser quantity; but if you want Ink of this kind for present occasion, you may boil your Ingredients in Vinegar and Water; but the Ink will not prove as the former.   

To make red Ink.  
Take the Powder of Braziel an ounce, white Lead and Alum of each two drams, Gum arabic a dram, put these into a pint of Urine, and stopped close in a bottle, and often shake them together, and the business will be effected.   

Another way for red Ink.  
Take of Gum arabic half an ounce, Vermilion an ounce and a half, Lake a quarter of an ounce, and Vinegar indifferent strong a quart, mix them well together over a gentle Fire, and then suffer them to stand a while, shaking the Vessel when you come to use it.   

To make white Ink to write on Black Paper or the like: As in case of Consolatory Letters to those whose Friends are deceased.  
Take an ounce of chalk, as much Quicklime, and a quarter of an ounce of Eggshell with half an ounce of  Ising-glass, grind them well together, and put them into Gum water of any kind to a thickness of writing, and the Ink by Candle-light especially will appear like Silver.   

To make Ink for the conveniency of Carriage in Powder, etc.  
Take Lamp-black half an ounce, the Powder of Galls an ounce, Vitriol or Copper, as half an ounce,  a quarter of an ounce, Ivory black a quarter of an ounce make them into balls with water, adding if they stick not well together more Gum; and when you have occasion to use it, scrape a little into a small quantity of Wine, Water and Vinegar, and stir it about, and it will be exceeding black Ink immediately; and so you may be always provided with it without fear of spilling, or want of it in places of travelling, where there is none to be had, and instead of Lamp-black, you may use burnt Cherry-stones ground to Powder.   

To make a red Ink to carry to any Place as the former.  
Take the Powder of Braziel finely ground or heaten one ounce, mix with it the juice of Mulberries or Black berries, or for want of them, water, wherein a little Lake has been dissolved, add  half an ounce, to two ounces of the Powder, wet them to a thickness, and making them up in Balls, use them as the former.   

To make green Ink.  
Take the filing of Copper an ounce, Verditer half an ounce, Gum-arabic half an ounce, and Vinegar half a pint, put them together in a stove or warm Oven, and suffer them to stand three or four days; then stir them together, and use the liquid part.   

To make Ink that will make an Impression, as that of Printers, etc.  
Take of Lamp black an ounce, or for want of it Shoemakers black, half an ounce of Vitriol, an ounce of fine ground Char-coal; to these add a quart of Line-seed Oil, boil them up with stirring over a gentle Fire, till they become of a sufficient thickness; then take out the substance, and move it upon a stone or on an Ink-block with your Muller, till it is very fine; and so it will take the Impression as of Letters, etc. in the nature of Prints or Pictures, etc.   

Red Ink of the foregoing kind,  
Is made with Vermilion and Line-seed Oil well tempered upon a stone with a Muller.   

To write Letters invisible but by Fire.  
You must take the Juice of Limon and Onion, temper them well together, and let your Paper be very dry; then writ what you think convenient, and send it to the Party you design, who knowing the Mystery beforehand shall no sooner hold it to the Fire, but those Letters which were blank before will fairly appear.   

To make Letters appear by water.  
Take welld tied Paper, and having dissolved a quantity of Alum in Gum-water, writ thereon, and suffering the writing to dry, dip the whole Paper under water, and the Letters will appear so much whiter than the rest, that they may be plainly distinguished and read.   

To make Letters that cannot be seen or read, but by reading them through the Paper, etc.  
Take white Led finely ground with very weak Gum-water, and with it as thin as the temperature of Ink, writ upon exceeding white Paper, not very thick; and by that means when it is dry, it cannot be discerned from the Paper, but by looking at a light placed on the other side of the Paper; and then the Letters will plainly appear by denying your Eyes to penetrate them, though the Paper be transparent.    

CHAP. V Directions for cleansing, colouring Gloves, and perfuming them; the way to scour Ribbons without much impairing the Colour; the Method of washing, starching, etc. Silks, as Lutestring, Lawns, Tiffanies, Sarcenets, etc. with other matters of Curiosity.  

Foul Gloves to cleanse without wetting.  
TAke your Gloves, and lay them upon a clean board, and make a mixture of Fulling-earth and Powder of Alum very dry, and pass them over on every side with an indifferent stiff brush; then sweep of that and sprinkle them with dried bran and whiting a considerable time; and so dust them well, the which if they be not extraordinary greasy, will render them clean as at first; but if they be greasy, you must take out the grease with crumbs of toasted bread, and powder of  bone; then pass them over with a woollen cloth dipped in Fulling earth or Alum-powder; and so you may cleanse them without wetting, which many times shrinks and spoils them.   

To colour Gloves.  
Take your Colours suitable to your intention, if dark take Spanish brown and black Earth, if lighter, yellow Ochre and whiting; and so of the rest; mix them with a moderate size, and daub the Gloves over with the Colour wet, and so suffer them to hang, till they dry by degrees; then beat out the superfluity of the Colour, and smooth them over with a stretching or sleeking stick, reducing them to their proper shape.   

To make an excellent Perfume for Gloves.  
Take Amber-grease a dram, Civet the like quantity, Orange flower-Butter a quarter of an ounce; and with these well mixed and ordered, daub them over gently with fine Cotton-wool, and so press the Perfume into them.   

Another good Presume on the like Occasion.  
Take of Damask or Rose-scent half an ounce, the Spirit of Cloves and Mace of each a dram, Frankincense a quarter of an ounce, mix them together, and lay them in Papers between your Gloves, and being hard pressed, the Gloves will take the scent in twenty four hours, and hardly lose it afterward.   

To cleanse cast Bibbands, etc.  
Take your Ribbons and smooth them out, having sprinkled them a little before with fair water; then lay them on a Carpet or clean Cloth at full breadth, and having made a thin Ladder of Casteel soap, go over them gently with a brush or fine woollen Cloth; then having in readiness water, wherein a little Alum, and white Tartar has been dissolved, go over them, till you see them clean; and so they will not only be clean, but the Colour will be fixed from further fading, if you suffer them to dry in the shade, and then smooth them out with a Glass Sleek-stone.   

To wash black and white Sarsenet the best and surest way.  
Lay these smooth and even upon a Board, or Carpet, spreading a little Soap over the dirty places; make a Ladder then with Casteel Soap, and having an indifferent fine brush, dip it therein, and pass over the Silks the right way, viz. long-ways, and repeat your so doing, till you perceive that side is sufficiently scoured; and then turn the other, and use it in the same manner; whereupon take it up, and put it into fair water scalding hot, suffering them to lie, till such time as you have prepared cold water, wherein a small quantity of  has been dissolved, as also, if for white Sarcinet, Smalt, into which you must put them and rinse them well, that done, take them out and fold them, clapping or pressing out the water with your hands on a Carpet that is dry, keeping them under your hands in the like manner, till you find them indifferent dry; at what time in case of the white, you must have Brimstone ready to smoke or dry it over, till it is ready for smoothing, which must be done on the right side with a moderate hot Iron.   

To wash and starch Tissanies, etc.  
In this case, the hems of your Tiffanies must in the first undertaking be only soaped a little; as also the Lace if any be on them; then having a Ladder of Soap, put them into it hot, and gently move them with squeezing them only, and not too roughly rubbing them, lest they break or crumple over much; and when you find they are pretty clean, rinse them in warm water, in which a little Gum arabic has been dissolved, keeping them as much from the Air as possible; this done, make Starch of a reasonable thickness, blewing it as you think convenient, adding a little lump of Alum to be dissolved therein; and when it is boiled to a convenient thickness, strain it, and during its being hot, wet your Tiffanies therewith gently, doing it with a soft Linen rag, and fold them up in a clean Linen cloth, pressing them therein, till they are somewhat dry, after which, clap them between your hands near a good fire; and so finish the drying them over Brimstone, and shape them to your purpose, and either sleek them over, or gently Iron them.  
Lawns may in the manner of the former be ordered. Only observe to Iron them on the wrong side, and using Gum arabic water instead of Starch; and according to what has been directed for black Sarsenet any coloured Silks may be ordered abating, or augmenting as you think fit, according to the stiffness or limberness intended, your Gum-water.   

To wash and starch Point-Lace.  
Have a Tent prepared, fix the Lace in it, and draw it pretty straight; then having a Ladder of Casteel soap pretty warm, and with a fine brush dipped therein, rub over your point gently; and when you perceive it clean on the one side, do the like on the other; then cast fair water, in which a little Alum has been dissolved to take off the Suds; at what time having very thin Starch, go over with the same on the wrong side, and on the same side Iron it when dry; and so with a Bodkin open it, and set it in order.  
To clean Point Lace, if not over dirty without washing, six it in a Tent as the former, and go over with fine Bread, the Crust being pared off, and when it is done, dust out the Crumbs, etc.    

CHAP. VI Instructions for ordering and framing curious Wax-work, Embossing in Silver, or other Metals, making Flowers of Silk, carving and casting Imagery in sundry Figures, the Art of polishing, etc.  

Wax work its Nature, and how to be managed and performed.  
IN this case you must provide yourself with the finest Virgin Wax, raresie it by often melting over a fire, till it become exceeding pliable, and render it the better, so put in a quantity of clarified Turpentine; and having considered your Figure, you must work it in water a little Warm, and move it into a curious flatness, then imboss it in Moulds, or as some will have you, cast it, especially where a curious resemblance of a Head or Face is required, working the rest of the Body proportionably upon sticks or wires, ruffling as you see convenient the Garments, or pleating them; then having your suitable Colours, paint each part as the property with Water Colours prepared according to what has been directed in painting or limning with those Colours, and with a small Ivory Polisher go gently over those parts you would have to shine; and then having prepared Glasses to cover them, which will give them the greater Luster, place them where you please for Ornament.  
As for Birds, Beasts, Trees, Fruits and the like, they must be tempered after their former manner, and reduced in their sundry shapes, not forgetting every one to have its proper and natural Colour; and for the adornment of any Landscape, represent of this kind the Ground, where Grass is required may be Moss, which may in like manner serve for shrubs: But in case of the Leaves of green Trees, they may be Paper or Horn, thin and finely coloured, shaped and wisted upon wires; in order as you shall see convenient: But as to every particular of this kind, 'tis only practice can perfect you.   

To imboss Plate as Powter, Silver, or other Metal.  
Having your device drawn upon the piece you intent to imboss, you must lay the right side upon a Bed of Bees-wax covered over with a fine Cloth; and so proceed to punch out the Metal with punchers or tools for that purpose, going over every stroke and Line as in case of etching or graving, which done, you must turn the right side, and fill the imbessments with war, that the hollows may bed close and not sink, then with your fine Tools and Graver polish and work the shapes in their due order by correcting and amending the roughness made by the punching out, and giving fine touches and strokes where you see it needful, and the Figures will appear very pleasant, being a Performance of great Antiquity.   

To work Flowers, etc. in Silk or Silver.  
Take raw or fleasy Silk of sundry Colours comb out the dross or ravel, laying each Colour, by itself; then twist and mingle the Colours by placing upon wires, according to the natural form of the flower intended, then comb them out, and fashion them more exactly with your scissors and Needle; then dip them in Gum-water; and by drawing them through it, and whilst wet, open and shape them with your Fingers; that done, set them to drying in the shade; and in that form they will remain very pleasant and delightful: And thus you may perform them single, or on Branches with the stalks suitable, etc. You may in this manner form Fruits and other things very material.   

Carving of Images, etc. what is to be materially observed therein.  
Resolving to carve any ●urious Rigure you must provide yourself with a similitude or likeness▪ either in Statue, or Porctraiture; whether it be for Wood, Ivory, or any thing tractable in this nature; and before you proceed to your rough carving with a black or red Lead Pencil, or piece of Coal draw as well as may be the true Proportion, Posture and Features, having before reduced the Wood or Stone to some set form; then cut them out as you see it convenient, or let them swell as curiously as may; then with smaller Tools proceed to polish them yet finer; and so working by degrees, till you have brought your matter to a proportion; and then remains the Curiosity of fashioning to the Life, and in this you must be curious in eyeing your Copy, beginning with the head or upper part; and so descend by degrees, running it over three or four times before you come, either to washing or polishing, that no unseemly knob or other deformity may appear, etc. And in case any Statue or Image, either cast or carved require to be painted in lively Colours, the rule for painting in Oil ought as well in the mixtures as laying on, to be observed.  
In casting of Images or Figures, the curiosity lies in forming the Mould, and bringing the stuff to a fineness, which if done in beaten Chalk, Terrace, Plaster of Paris or the like, they must be mixed with Gum-water, the better to strengthen them, but in case of Lime, etc. it needs not; and then no more is required than bringing the stuff to a fit temper or stiffness of dough; and the Mould being to clasp in the middle, and take asunder, fill it with the Material, and squeeze it hard in a Vice, having rubbed the outside of the Mould before with dry whiting or chalk finely beaten, to prevent the sticking, then take it out, and set it to dry in a place where there is a stove; and when it is thoroughly dry, you may glaze or colour it at Pleasure.  
If you design any Figure in Metal, and will not be at the trouble of embossing it in the expanse; and so soldering it together, thereby rendering it hollow as in fine Metals 'tis often done; then must you make your Mould of Brick, Chalk, fine Clay, or the like, and place it, when dry and firm in a Bed of Sand, or in the Ground, keeping it close together; have then your Metal rarefied or purged from dross by well refining, and a trough or spout laid from the Plug of your Melter, and when the Metal is melted and skimmed, suffer it all at once to run with what speed it may into the Mould, that every part taking hold of each other whilst liquid, the whole Mass may the better incorporate and render the thing designed without flaw or scaling; suffer it then to be thoroughly cold before you take it out, which done, polish it by taking off the rough outside, and proceed with your tools to rectify what is unseemly.   

To polish Marble or any curious Stone.  
Take fine Sand, and the Powder of Alabaster, polish it with a Polisher; and then suffer it to be laid over for a time with Oil; after that calcine, or burn Eggshells, and with the calcination thereof, rub off the Oil and polish it, and it will be of a lasting gloss, etc.   

To make any Writing on Parchment or from Paper, decay and become unlegible in a short time.  
Take Quicklime, and mix with it the white of an Egg, and rub over with the said mixture the Parchment or Paper, when you intent to write; and although the writing for a time will seem fair, it will in a short time decay, and look so faint, that it can by no means be read.   

To make new writing look old, and of a long standing.  
Take a dram of Saffron, and infuse it into half a pint of Ink, and suffer it to warm over a gentle fire, and it will cause whatever is written with it to turn yellowish and appear as if of many years standing.   

To make a curious Purple Ink.  
Take a quarter of an ounce of Lake and half an ounce of Indigo, and bruise them small; which done, warm half a pint of water, and infuse into it an ounce of ; then put the Colour in, and shake them well together.   

Take Blots, or Letters out of Paper or Parchment.  
Take an ounce of Alum, dissolve it in a quarter of a pint of water over a gentle Fire, and drop a drop of it warm as you see occasion upon the spot, and suffering it to lie for a time, take it up again with clean Cotton Wool on which you have breached to moisten it, and the business in once or twice doing will be effected.   

To render Writing very fair.  
Take Gum sandrick, bruise and sift it very fine, dip into it Cotton-Wool, and gently rub therewith your Paper or Parchment, and this is called the pouncing it, and is often used by School Masters to set of their Copies to advantage.   

To write Letters like Gold without the help of Gold.  
Take of Vermilion half an ounce, Gum-armoniack the like quantity, bruise and mix then with the whites of a couple of Eggs, and temper them in water to a thinness, that you may write therewith; and then your writing being dry, glaze it over with a Polisher.   

To write Letters that will appear like Silver, without any Silver.  
Take of Block-tin, Quicksilver, and the whites of Eggs, each an ounce, melt the two former, and having ground them fine and small, put them to the latter, and mix them with Gamwater to the thinness of Ink; and so proceed to write, polishing your writing, when dry.   

How to prepare your Shell-Gold, and write with it.  
Take the ragged cuttings of Leaf Gold, grind them upon a curious smooth and clean stone with Gum-water, and a little Alum Powder; and when they are well incorporated, drop of the substance into small shells; and when you use it, temper a little fair water to bring it to a thinness; and having written with it your Pleasure, suffer it to dry, and then polish the writing, etc.   

To make a good red sealing wax.  
Take of Bees-wax a pound, fine Turpentine three ounces, red Lead, or Vermilion finely ground an ounce and a half, Olive Oil an ounce, melt well the Wax and Turpentine, adding an ounce of Rosin fine in Powder; and when they ●re well melted, and the dross taken off, put in ●he Led or Vermilion, and stir them well together her, till they are well incorporated; and so make them into what form you please for your use.   

To make black Wax.  
Take of Lamp-black or black Earth an ounce and a half, Turpentine and Rosin of each four ounces, of Bees-wax a pound, incorporate them as the former with Oil.   

To make green wax.  
Take Verdegrease an ounce, and all the other Ingredients, except the colouring as the former, ordering it in the like manner.   

To make golden or transparent Wax.  
Take clarified Rosin four ounces, Turpentine two ounces, Bees-wax four ounces, Olive Oil two ounces, melt them well together; and scatter in the melting disordered or shattered Lea● Gold, and suffer it to mix and incorporate; the● polish it over, when made into form, and th● Gold will appear in the transparency.   

Scaling Wafers to make them.  
Take fine Flour sifted or bolted, that 〈◊〉 bran remain therein, mix with it the Glare 〈◊〉 Eggs, a quantity of Ising glass so called, an● a little Yeast, mingle the materials, beat them well together, spread the batter, being made thin with Gum-water on even Tin Plates, and dried in a Stove, cut them out for your use.    

CHAP. VII. Artificial Vinegar, how to make it; Fire in Chimneys, how suddenly to extinguish it, blowing up Ships under Water, blowing up Houses, and weighing of Vessels that are sunk, how to effect them with Directions for dialing and Gauging, etc.  

A way always to be provided with Vinegar for Sauce wherever you travel.  
TAke the blades of green Corn, when young, beat them exceeding small in a wooden Vessel; then strain out the juice, and take the remaining substance, and steep it in strong White wine-vinegar, or the juice of Lemons, and suffer it gently to warm over the Fire; and so let it stand in a warm place, till the Vinegar be consumed; and then make the matter up into balls, and put them into a box and dry them; and so coming into any place where Vinegar is not to be had, scrape a little of the Powder into a little water, and it will afford you, when heat over the Fire, or stirred well together, a very good Sauce.   

In case of the firing of a Chimney, the means whereby it may presently be extinguished.  
Take an ounce of Gun Powder, and a quarter of an ounce of Brimstone fine beaten, wet them with water, and make wildfire thereof, and throw it in small pieces into a small pan of Char-coal or Coal fire, that the smoke may go directly up the Chimney, and it will cause the Sout the Fire has taken instantly to fall by parcels, till there be none left.   

To break, or blow up a Ship or Vessel that is sunk, though lying some Fathoms under Water.  
To do this, you must find how the Vessel lies; and if you can conveniently let down a Barrel, or more of Powder in a stench Cask with a Cane or Leather Pipe let into it, and pitched round, so that it may, when the Barrel is funk to the lowest, appear with the uppermost part above water; then having a Boat ready, and a red hot bolt of Iron with a pair of long Pincers, drop it into the Cane or Spout, so that it may fall into the Powder, at what time, make off as fast as may be, and you will perceive immediately a trembling of the water, and after that a Smoke to burst out; at what time, Planks, Goods, or any thing capable of floating will rise, the Vessel being broke by the force of the Powder.   

To weigh any Vessel that is sunk the best way.  
Lash a couple of Vessels together, and grapple the Vessel sunk, fastening the grapples, a Pole lying  the two Vessels, the said Vessels being filled and low sunk by their weight, then empty them that they may rise, and they will cause the sunk Vessel to rise with them as far as they rise; then tow them as near to the shore as you can at high water, and at low water the sunk Vessel will appear above it, and you may empty it at your pleasure: And in this case twenty Tun of Vessels, Floats or empty Casks above water will raise a hundred Tuns under water.   

To blow up Houses to prevent the Progress of a Fire the baste and safest way.  
If so it happen the House be Timber, and you would throw it off from the fire, place your Barrel of Powder under the main Girder on the contrary side you intent to turn it, and over it a Beam or piece of Timber, and fix in that another upright scotch the Barrel, on either side lay a train upon boards covering it with Cloth to prevent its taking Fire before you intent it; and then having a piece of March fastened upon a Lin-stock, give Fire to your Wild fire at the end of the Train, and so retire.  
If you would take a Timber or Brick-house upright, place the Powder in the Cellar under the main beam in the manner aforesaid, just in the middle; or if there be no Cellar, bed it about as much as may be, and it will take it directly up from the Foundation; and then suffering it to fall directly down, it will break in pieces; at what time the Timber may be drawn away to prevent the Fires overrunning it; and so by that means creep to the next building, and render your undertaking fruitless.   

To make a Sundial upon the Ceiling of a Room, and convey the beams of the Sun to it.  
Prepare the Ceiling exactly level by raifing it with fresh Plaster, if there be any defect; draw your Dyal according to the form of a horizonial Dyal, making the Lines and distance of equal Frame, set up your Gnomen or shadower, so that you may move it and leave blanks for the Figures; this done, conveniently place a Looking-glass, or burnished piece of Iron or Steel; so that it may reflect the light of the Sun upon the Dyal intended; then make it by another Dyal, how the Light moves, which it will do with the Sun; and according to that, b●●ng a true one, place your Figures; then take off the Gnomen or shadower, and lay it aside, fixing the Glass or burnished Steel, that it may remain unsubject to be removed or shaken; and you may at any time without stirring out of the room, know whilst the Sun is upon the Dyal what it is a-Clock.   

To make a Dyal in the Glass of any Window, that has the benefit of the Sun.  
Take a curious, square, smooth Pane or Quarey of Glass, fix it even with strong Borders of Lead in the Window, and set up the Gnomen, siding, slaunting, or direct, according as the Sun has power upon it. Then by a Watch-Clock or other true Dyal, mark how the shadow moves to the time of the day with the point of a Diamond, and accordingly draw the Lines from the Centre, and frame the Figures in due proportion and distance.   

Directions to Measure or Gauge any Round Cark or Vessel, etc.  
In the first place multiply the half of the thickness in inches, by half the circumference, and that product by the length in the inches; the last product for Ale divide by 288, and the quotient shows the number of Gallons in the Barrel; and to bring these Gallons into Barrels, divide the quotient by 36, for so many in case of Beer a Barrel contains. But in case the Vessel very much bellies in the middle, measure but half of it to the Bung, and work as before; and adding the products together, you will have the true account.    

CHAP. VIII. Another Treatise of making sundry Inks.  

To make a Powder upon which you may write with Water, etc.  
BRuise to Powder a handful of Galls, half an ounce of Vitriol, and the like quantity of , and Gum-Sandrick; mingle them finely sisted together, and when you have occasion to write, rub over your Paper with a little of it laid upon Cotton-Wool; and then having sufficiently smoothed it, take water and write upon the said Paper; when suffering it to dry, it will take a black impression, occasioned by the Powder, as if it had been written with Ink.   

Another curious Powder Ink, fit for Travellers, etc. or the London Powder-Ink.  
Take ten ounces of Nut-Galls, bruise them well, three ounces of Roman Vitriol,  and Roch-Alum, of each an ounce, make them into fine powder, sift and dry them; at which time put the Powder up in close Boxes or Papers, and when you have occasion to use it, put a little quantity into a good quantity of water, and shake it well about, and it will instantly change the colour of the water, and at length become good Ink; that is, in less than two hours' space; by which means any person without giving himself considerable trouble of carriage, may be furnished at all times.   

Another curious Powder of the like efficacy, how to make, and lately known by the white Powder-Ink so much coveted of late, etc.  
Take Gum-Sand●ick two ounces, beat it well to Powder, and sift it through a fine sieve, and as much of Chalcanth●, so called by the Latins, of which you may furnish yourself at the Druggist's; mix them well beaten and pulverised; and a quarter of an ounce of this, or little more, will turn a pint of Water or Vinegar, into a curious writing Ink in a very short time.   

Mathoilus 's Direction for making a curious and lasting Ink, etc.  
Take five ounces of Galls well bruised, Roman Vitriol three ounces,  two ounces, Bay-falt a drachm, or instead of it a quantity of Alum; mix them well together in a new glazed earthen pot, and pour upon the mixture White-wine, very strong and hot, about five pints, and suffer it, the weather being hot, to stand in the Sun for the space of fisteen days; or it may be done in a stove Oven, or in the Chimney-corner, frequently stirring it about; and so pouring out the dross, an excellent Ink will be had, not subject to change by time, nor alter its colour.   

Two excellent ways of speedily making Ink, etc.  
1. Take Vitriol and  of each an ounce, of Galls well broken a like quantity, of sharp Wine or Wine-Vinegar ten ounces, and suffer them to stand together for an hour, sometimes shaking them, they will turn the liquid part exceeding black, and render it fit for your use.  
2. Take of Galls half an ounce well bruised, mingle with it a like quantity of Gum Arabic, and of Roman Vitriol eight drachms; put these into eight ounces of White wine pretty hot, and in as short a time as the former, a perfect Ink will be made.   

How to make a Black that will not only serve for Engrossing, but Painting, etc.  
Take Copperas half an ounce, bruised Galls an ounce, Lamp-black an ounce,  half in ounce mix them with a pint of Wine or Vinegar, set them over a gentle fire, and suffer them to simper till a half part be consumed, and what remains will render an excellent thick and black Ink.   

The famous George Machijus 's Receipt for curious Writing-Ink, etc.  
Take of Galls three ounces, R●man Vitriol two ounces,  half an ounce, and having well bruised them, infuse the Galls in two quarts of White wine, for the space of eight days, stirring them well about each day; and three days after the putting in the Galls, put the Gum in, dissolved in a little Wine by itself, before it be put in, three days after the Galls and the Vitriol, as long after that, stirring them at sundry times; and at the termination of eight days, the Ink will come to a full and curious perfection.   

To make a kind of Ink to write obscurely, and not to be read, unless the Paper whereon the Writing is, be held to the Fire.  
Take that which is vulgarly called Sal-Armoniack, and Nitre, of each half an ounce, mingle them with the Juice of Limon over a gentle fire; and having refined the liquid part from the dross, use it when cold; and so holding the Paper when it is written on to the fire, the Letters will fairly appear, or otherwise it will not, etc.   

To take away spots or defects out of Writing, either on Paper or Parchment.  
Take Roch-Alum burnt half an ounce, as much of the Flour of Brimstone; and being finely in Powder, wet the Paper a little, and put a small quantity of the Powder upon the place, rubbing it gently with your finger, and the Maculation will disappear. And thus much for the Treating of Inks, etc. wonderful necessary and useful on all occasions, and profitable to those that will undertake to make them for Sale.    

CHAP. IX. The Art of making Washeses, and other Beautifying Materials, for taking away Sun-burn, Morphew, Freckles, Roughness of the Skin, and restoring a curious Complexion; as also Whitening the Teeth, Enlivening the Eyes, Curling and Colouring the Hair, etc.  

A Water to restore a faded Complexion.  
TAke the Flowers of Rosemary, Comfrey, and Cammomile, boil them in White-wine, and wash your face and hands therewith mornning and evening.   

To create a very fair Complexion.  
Take two ounces of white Tartar, burn or calcine it, then quench it in the destilled Water of Roses, and wash the face with it.   

To render a fresh and comely Complexion.  
Take an ounce of the Oil of Sweet Almonds, the like quantity of the Oil of Myrrh, bruise in them of the Powder of Gum-Sandrick a grain, and with the whole mixture, rub and anoint the face.   

To render the Skin clear, and of a very fair Complexion.  
Take Bean blossoms, and the Water that destilis from the Vine, with the Flowers of Fumitory, distil them, and make a Wash with what proceeds therefrom.   

To make the Skin smonth and shining.  
Take of the Marrow of Swines-feets an ounce, Oil of Nutmegs a quarter of an ounce, Dears suet half an ounce, Oil of Bay berries two ounces, make them into an Ointment over a gentle fire, and anoint the face, hands, or any part of the body therewith.   

To remove Freckles, Tan, or Sun-burn.  
Take the Juice of Burdock leaves and Lemons, of each a like quantity, mix them together, and add half as much Oil of Chammomile, a little Rye-meal, and the Gall of a Cock or Capon, make them into an Ointment, and anoint the place therewith, and in a short time the defect will be removed.   

To remove Pimples or Redness.  
Take an Egg and roast it hard, then take out the Yolk at the top, and fill it with Copperas, and put it close covered in the Embers, till the Copperas is melted or become water; then pour out the water and bathe the face with it; but if it be too sharp, you may allay it with the water or juice of Celandine; and in often using it, your Expectations will be answered.   

To remove the Redness in a face, etc. occasioned by Scalding, Blasting, etc.  
Take a handful of the Bark of Elder, as much Rue and the roots of Scabeous, with an ounce of the Flowers of Chammomile; bruise them together, and boil them in a pint of Milk, half a pint of olive-oil, and adding a quarter of a pint of Verjuice, till the liquid part become thick as an Ointment, and then strain it out; which being cooled, anoint the place therewith morning and evening.   

To take away unseemly Warts or Moles not too deep impressed.  
Take Rhubarb a drachm, Camphora the like quantity, the Oil of Petrolium half as much, and an ounce of the juice of Housleek, bruise and beat these in a quarter of a pint of Vinegar over a gentle fire, and anoint the place or part therewith, and in often so doing, you will find your desire effected.   

To make a swarthy Complexion fair and clear.  
Take the Liver of a Goat, dry it to powder in a Stove or Oven, then steep the Powder in White-wine, adding a quarter of a pint of the Juice of Celandine, an ounce of Corianderseeds; and as much of Fennel, decoct or boil them over a gentle fire, and with the liquid part anoint or bathe the face, etc. and so continue to do often, and it will remove the choleric humour occasioning swarthiness.   

To brighten and enliven the Eyes.  
Take Vervein; Pelitory of the Wall, Smalage, and Betony, with the Flowers of Eye-bright, destil them and wash the Eyes with the water morning and evening, and it will not only render them bright and clear, but give a true prospect and dimension to the decayed sight.   

To make Bloom-water, an excellent Beautifier upon all occasions.  
Take the Blossoms of Peaches, Baum, Lavender, Cotton, and Rosemary, steep them in White-wine, and destil them, and the Water will prove an excellent Beautifier.   

To make an excellent Pomatum for the hands and face.  
Take Sheep's marrow an ounce, Oil of Sweet Almonds the like quantity, the Juice of smallage a quarter of a pint, Bean flour half an ounce, make them up into an Ointment, and anoint the hands and face warm therewith, and it will make them plump, soft, and free them from cracks, chaps, or roughness.   

An excellent Paste for the Hands.  
Take the Flour of sweet Almonds an ounce, Rye-meal two ounces, white Starch an ounce, and Milk half a pint, with which make these  into a Paste, and that Paste into Balls for your use.   

To soften the Skin, and render it fresh, an Oil, etc.  
Take of the Oil of Nutmegs an ounce, Ambergrease a drachm, Oil of Chammomile an ounce, the Juice of Comfrey half a quarter of a pint, make them into an Oil or Ointment, over a gentle fire, and supple them into the Skin very hot, and in often so doing, it will wonderfully beautify and cause an excellent flavour, etc.   

An excellent way to sweeten the Breath.  
Take Sal Armoniac a drachm, beaten Ginger two drachms, the Spirit of Cloves a drachm, Corianderseeds in fine powder a quarter of an ounce, Oil of Mastic a drachm, bruise them together, and make them up into a Ball, and each morning scrape about the quantity of a large pea into a glass of Wine or Beer, and drink it off.   

To make Hair grow.  
Take of the powder of Bithwort-roots a drachm, of the Juice of Fennel half an ounce, Ivy-berries dried and beaten into powder an ounce, the Juice of Housleek half a quarter of a pint, and of White-wine a pint, boil these over a gentle fire to a half consumption of the liquid part, and wash the place deficient, and in a short time if that part be subject to Hair, it will cause it to grow and increase.   

To take away Hair.  
Take the Juice of Hellebore or Bearsfoot half an ounce, as much of that of Burdock roots and the roots of Cuckowpintles, and anoint the place with it warm, and by often so doing, the Hair will fall off.   

To make any coloured Hair black, or of a dark Colour.  
Take burnt Ivory ground to powder a quarter of an ounce, Soulters' Ink the like quantity, the Juice of Hemlock a quarter of a pint, incorporate them over a gentle fire till the moisture be near consumed; then add Black lead powder to dry up the rest, and with this rub your Hair or powder it, and it will be a curious black, as likewise lasting, if before you wash your head with White-wine wherein Plantane-roots have been sod.   

To make Hair Curl.  
Take the Powder of Elecampane-roots well dried, and as much of Alum in fine Powder, wet your Hair a little with water wherein Raisins have been steeped, and so sprinkle on the Powder with a fine Sprinkler, that it may be all over, then with a pair of Curling-Irons somewhat hot, turn it up in ringlets under a Cap, etc. and so let it dry, as likewise continue for the space of a night, and next morning comb it out, and th● Powder that remains will not only fly away, b●● the Hair will fall into curious Curls, and so continue without any further trouble for a very long time.   

A way speedily to take away the Spots occasioned by the Smallpox.  
Take half an ounce of Copperas, and dissolve it in the Juice of Lemons, and anoint the Spots with it when warm, and their redness will soon disappear.   

To prevent Pittings.  
When the Distemper gins to appear, rub the face over gently with Honey, Oil of Roses, and a little Alum dissolved and well mixed together over a moderate fire, and in so doing every other day, the pits will be prevented if the Party uses no violence to himself by scratching, etc.   

To whiten Teeth.  
Take a piece of fine Pumicestone, grind it to powder, adding to that powder a little quantity of Alum-powder, and by often rubbing the Teeth with it, they will if sound be as white as Ivory.    

CHAP. X. Miscellany of rare and curious Secrets not yet touched upon.  

How to separate Gold and Silver from other Metals.  
TAke Mercury and put it in a Melting or Refining-pot on the fire, adding some Varnish-Glass beaten to powder, and being finely mixed, lay it in powder upon the Metal that is gilded with Gold or Silver, and set some hot coals under it, and it will take off the gild, and render the Metal as if it had never been gilt; and in this case you may save the Gold and Silver; if of value, by putting to it Quicksilver, which will attract it into a body.   

To kill or allay Mercury or Quicksilver.  
Put which of these you design in a Mortar of Iron or Brass, adding some olive-oil, mix them together as well as may be over a gentle fire, adding more when it gins to bubble strong Wine-vinegar; and in so using the aforesaid Materials, they will become so hard as easily to endure the Hammer.   

To boil Gold and Silver in the way of Cleansing.  
Take Tartar bruised to powder, put to it a considerable quantity of Spring-water; and so being boiled up over a quick fire, put in the Plate, and let it continue for a considerable time.   

To soften Gold or Silver.  
Take sublimate Mercury, Sal-Armoniack, of each a like quantity, and when the Metal of either sort is melted, put a small quantity of the phwder into it, and so suffer it to operate thereon; if Gold put more; if Silver less.   

To soften Bone or Ivory.  
Take Bone or Ivory that is hollow, and take the Juices of Alexand. Milfoyl, Radish roots, horehound, and sharp Wine-vinegar, and fill the cavity; after which, lay it near a gentle fire, that the heat may infuse; and in suffering it so to do, in a little time it will mollify the hard quality.   

Experiments of other Natures, viz. How to keep Grapes fresh all the year.  
Cather the Grapes in a fair day; when no wet or moisture is upon them, cleanse them from those that are any ways perished, and let them steep a while in white Muscadine a little warm; after which dry them and stop them up in new earthen bottles, setting them in a cool place free from the Sun or too much Air, and they keep without perishing.   

To make Melons, Cucumbers, or suchlike Fruit ripen by Art  
Boil Wheat bran in Water and a little fine Mould, and water the roots of the Plants with it morning and evening, setting them in hot beds, and covering them from cold and blasts with pots, glasses, etc.   

To make Trees bear Fruits of any Colour.  
Bore a hole in the body of the Tree, at such time as the Sap gins to rise, and plug it up close, and you will perceive what liquid Colour you put in, the same will tincture the Fruit, and give it a participation of its hue.   

To kill or drive away Fleas or Bugs.  
Take the Juice of Rue and the Gall of an Ox, mix them together, and anoint the post and frame therewith, and strew in the Mat Powder of Southern-wood and Wormwood.   

To make one that is very boarse or speaks inwardly, have a very clear Voice.  
Take the Flowers of Elder, dry them in the Sun, and so order it that without taking wet they may be beaten to powder; which done, keep the Powder in a glass, and when you would use it, put as much as will lie upon a , into a glass of Wine pretty warm, and drink it off.   

To make Letters that will soon vanish.  
Take Aquavitae, dissolve a little Camphire in it, and put to them the Ashes of  Straw well mingled or tempered together, which for a time will produce a fair Writing, but at your pleasure you may wipe it off the Paper or Tablet, nor will it be long ere it decays of itself.   

To renew Letters decayed.  
Boil a few Galls in Wine, and wipe over the faint Letters with a Sponge dipped in the Juice, and they will appear fresh and in full lustre as when written.   

To renew the Marks in ●nives that are in a manner worn.  
Polish them well with Powder of Emeril and Oil; after that, cleanse them with chalk to a brightness, then wet the Blades in Lime Juice and Tanner's water made with Vitriol, and they will cause the marks to appear exact and fair, and this way you may damask them.   

How to Grave a Porphory-Marble without an Iron tool.  
Take a small quantity of sublimate Mercury, a like quantity of Salarmoniacum, with as much Verdigrease, destil them in a Retort of Glass, calcine a small weight of Tin and Firestone, and some Salgem, destilling them over three times in sharp Vinegar, and so making a ground of Wax, Rosin, and Turpentine, lay it on the stone as in the case of Etching; and when you have drawn with an Iron point what you intent, pour on the water, and suffer it to continue till it has corroded the stone according to what you drew upon it.   

How to make Water rise by heat, etc.  
Let there be a Vessel above, either of Brass, Day, or Tin, and a pipe in the middle of it, that may descend into the Water below, so fastened that it takes not Air; then let the Vessel above be made hot, and it will by means of the Air's being rarefied by the heat attract the water to it.    

CHAP. XI. Another Miscellany of rare and eurious Experiments, useful, profitable, and altogether pleasant, etc.  

To cause Water (contrary to the nature thereof) to ascend.  
PRepare a Basin with a pint of Water in it, or thereabouts, then take an earthen Pot or Jug with a round belly (fitted for this service) and light a piece of Paper, cast it into the Jug flaming, then turn quickly the mouth of the Jug downward, and set it on the midst of the Basin of water, it will suck up all the water, if it be not more than it can receive and contain within the belly thereof.   

To carry a Jug or earthen Pot, sticking without any thing, unto the palm of the hand.  
Take a piece of Paper, set it on fire, and cast it flaming into the mouth of the Jug, presently clap the palm of your hand on the mouth of the said Jug or Pot, not hollow, but plain and smooth, the Jug will not fall from your hand, but you may walk many paces, and carry the same sticking unto the palm of your hand, unless by violence you pluck it away.   

To break a Stick placed upon the brims of two Glasses, and not break the Glasses.  
Place the Glasses on a smooth stone of an equal height, and put the stick upon them; then take a battoon or cudgel, and therewith strike upon the midst of the stick perpendicularly, or downright; so may you break the stick, and not hurt the Glasses.   

To take the impression of any Seal.  
Melt a little Brimstone, casting in some Ceruse or white Lead, put this mixture on the Seal, strengthening it with a small piece of Paper, a little bigger than the impression is; being cold, take it off, and you will find the print of the Seal thereon.   

How to write a Letter secretly, that cannot easily be discovered or suspected.  
1. Writ your mind at large on one side of the Paper with common Ink, and on the other side with milk, that which you would have secret; and when you would make the same legible, hold that side which is written with Ink to the fire, and the milky Letters will show bluish on the other side.  
2. Rule two Papers of one bigness with lines of an equal distance, make the one full of Glass windows, through which you must write your mind upon the second Paper, then fill up the spaces with other words at your pleasure; but if all were made to hang together in good sense, it would carry the less suspicion. Each friend must have one of these cut Papers to read all such Letters, for without the Paper it will trouble a good Decypherer to read the Letter.   

Of the Dyal upon the Fingers and the Hand.  
Is not a commodity very agreeable, when one is in the field, or in some Village; without any other Dyal, to see only by the hand what of the clock it is, which gives it very near, and may be practised by the left hand in this manner.  
Take a straw, or like thing, of the length of the Index, or the second finger, hold this straw very right between the thumb and the right finger, then stretch forth the hand, and turn your back and the palm of your hand towards the Sun, so that the shadow of the muscle which is under the thumb touch the line of life, which is between the middle of the two other great lines, which is seen in the palm of the hand; this done, the end of the shadow will show what of the clock it is; for at the end of the great finger it is 7 in the morning, or 5 in the evening; at 〈…〉 of the ring finger it is 8 in the morning, 〈…〉 the evening; at the end of the little finger, or first joint, it is 9 in the morning, or 3 in the afternoon; 10 and 2 at the second joint, 11 and 1 at the third joint, and midday in the line following, which comes from the end of the Inder.   

How to make Water boil and sparkle.  
Take a glass near full of Water, or other liquor, and setting one hand upon the foot of it to hold it fast, turn slightly one of the fingers of your other hand upon the brim or edge of the glass, having before privately wet your finger, and so passing softly on with your finger in pressing a little; for than first the glass will begin to make a noise. Secondly; the parts of the glass will sensibly appear to tremble, with notable rarification and condensation: Thirdly, the Water will shake, seem to boil: Fourthly, it will cast itself out of the glass, and leap out by small drops, with great astonishment to the standers-by, if they be ignorant of the cause of it, which is only in the rarification of the parts of the glass, occasioned by the motion and pressure of the finger.   

Of the Play at Nine-Pins.  
You will scarce believe, that with one Bowl, and at one blow, playing freely, one may strike down all the nine Pins at once; yet from Mathematical Principles it is easy to be demonstrated, that if the hand of him that plays was so well assured by Experience, as Reason induceth one thereto, one might at one blow strike down all the nine Pins, or at least 7 or 8, or such a number as one pleaseth.  
For they are but 9 in all, disposed or placed in a perfect square, having three every way: Let us suppose then that a good Player beginning to play at 1, somewhat low, should so strike it, that it should strike down the Pins 2 and 5, and these might in their violence strike down the Pins 3, 6, and 9, and the Bowl being in motion, may strike down the Pins 4 and 7, which 4 Pin may strike down Pin 8, and so all the nine Pins may be stricken down at once.   

Any Numbers under 10 being thought upon, to find what Numbers they were.  
Let the first Number be doubled, and unto it added 5, and multiply that sum by 5, and add to it 10, and the next number thought upon: Multiply the same again by 10, and add to it the next number, and so proceed.  
Now if the last sum be told, mark if one number was thought upon, then subtract 35 from it, and the first figure in the place of Ten is the Number thought upon. If he thought upon two figures, then subtract 35 also, and the 2 also, the said 35 from the last sum, and the 2 figures that remain, are the numbers thought upon. If he thought upon 3 figures, then subtract 350, and then the 3 first figures are the numbers thought upon, etc.  

Example.  
If one thought upon these figures, 5, 7, 9, 6.  
Double the first, which is 5, and it makes 10, to which add 5, it makes 15; This 15 multiplied by 5, makes 75. To this 75 add 10, it makes 85. To this 85 add the next number, viz. 7, it makes 92. This 92 multiplied by 20, makes 920, to which add the next figure, viz. 9, it makes 929. This multiplied by 10, makes 9290. To which add 6, being the last number, it makes 9296. From which subtract 3500, and there resteth 5796, the four numbers thought upon.  
Now because in the figures 9296, the two last numbers are like the two thought upon; to avoid suspicion, bid him add 12, or any number to it, and then it will not be so open: As for example, the 12 being added to 9296, it makes 9308; from which if you subtract 3512, there will remain 5796, the four figures thought upon, as before.    

Two persons thinking two numbers, the one an even number, and the other an odd number, to divine and tell who thought the one, and who the other.  
Bid the first Man to double his Thought, and the second Man to triple his, then to add both numbers together. Then bid the one of them cast away half; which if he can do, the total is even, otherwise odd.  


1 Even.  The Total being Even, 

The first Man thought odd,  
The second Man even.    

2 Odd.  The Total being odd; 

The first Man thought even,  
The second Man thought odd.     

Example.  
1 Man. 2 Man. Thought 15  24 Doubled, is 30 Trebled, is 72  
30 and 72 added together, is 102  
The Total is even, because half may be cast away.  
The total being even, the conclusion is, the first Man thought odd, and the second Man thought even, etc.  
1 Man. 2 Man. Thought 34. Thought 45 Doubled, is 68 Trebled, is 135  
Add 68, and the Total of both is 203  
Cast away half. Answer, I cannot.  
The Total therefore is odd. The Total being odd, the Conclusion is, the first Man thought Even, the second Man thought odd.    

Four Men thinking on four Digit numbers, (which are from 1 to 9) to tell what the first, second, third, and fourth Man thought.  
This conclusion findeth out any number thought, under 10000  
Four persons standing in rank, admit the first think 8, the second 7, the third 6, and the fourth 5.  
Let the first Man double the number of his thought, and add 5 thereto, then multiply the whole by 5, and add 10 to the product, noting the Total.  
Bid the second Man demand of the first Man his total number, which being given him, let him add unto the same his Thought, and give the Total to the third Man.  
Then bid the third Man to affix or set his Thought by the number given him, and put it one place towards the right hand, and give the total thereof to the fourth Man.  
Last of all, bid the fourth Man set his Thought thereby, a place yet to the right hand, in the first place, and add the number of 25 unto it; that done, demand of him the total number, which being given you, subtract out of it 3525 the number remaining will discover the four men's Thoughts.  
The Digit on the left hand showeth the first Man's Thought; the next Digit towards the right hand is for the second Man's Thought; the figure in the second place representeth the third Man's Thought, and the figure in the first place giveth the fourth Man's Thought.  

Example.  
1. The first Man's Thought 8, which being doubled is 16, and 5 added thereto is 21, which multiplied by 5 is 105. Whereunto add 10, the whole is 115  
2. Secondly, let the second Man add in 7 (his Thought) it stands thus, 122  
3. Let the third Man set his Thought a place to the right hand thus. 122. 6  
4. Let the fourth Man place his Thought a place yet to the right hand thus: 1226. 5  
Also bid him add in 25, and it maketh 12290  
Demand the Total, it is 12290  
Which being given you, deduct 3525  
The remains will be 8765  
Ans. The first Man thought 8, the second Man thought 7, the third Man thought 6, the fourth Man 5.   

Example.  
First Man's Thought 8  
Doubled, is 16. and 5 added 21. Multiplied by 5, is 105, and 10 added in is 115  
Second Man's Thought added in, is 7  
The total is 122  
Third and fourth Man's Thought set thereby, 122. 6. 5  
25 Added, makes 12290  
Subtract 3525  
Particular Thought, 8. 7. 6. 5  
Of the 4 Men, 1. 2. 3. 4     
FINIS.