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jpOLYGR APHICE; 
 
 OR 
 
 j The Art of Drawing,Engrav- 
 
 ing, Etching, Limning, Paint- 
 ing, Wafting, 
 
 Colouring and 
 IN THREE Bod^S. ‘ 
 
 I. Shews the Drawing*of Men, and o- 
 thtr Animal Creatures, Land skips, Countries, 
 and Figures of Various Forms. 
 
 IF The way of Engraving, ditching and Limn- 
 ing, with all their Requifits and Ornaments. 
 
 • III. The way of Painting, Wathingv UantiHi* 
 tils, Colouring, and yDging, according to the 
 Method of the bell Authors now Extant. 
 Exemplified In the Painting of the Antients, 
 Walhing of Maps. Globes, or P’ifhires s Dy-j 
 ing of Cloth, Silks, Bones, Wood , Glafs, 
 Stones *and $p)ej;al0 : together With the way d 
 offfianultfing thereof according to any Pur- 
 pofeor Intent, ibe Like never yet Extant* 
 
 By IV. s. a Lover of Art. 
 
 L 0 JST D 0 N, i 
 
 Printed by E. Tl and E. H- for Richard Jones ' 
 at the Golitn Lion in Little- Britain, 15 JZ* 
 
Imprimatur Sam, Parser R° 
 in Chrifto Patri ac Dn°j 
 Dn°. Gilberto Archiep. 
 Cantuar. e fac, Domeft. 
 September n th . 1671. 
 
To the Honourable and truly 
 Noble Peter. Stanley 
 of Alderly, in the County of 
 Chester, Efquire. 
 
 SIR , 
 
 A S Nature was never more car- 
 neft nor folicitous to conferv 
 her various Species } nor a tender 
 Mother more careful of the hope- 
 ful fruit of her Womb, than you 
 have been indulgent to the Mu- 
 fes j not only touniverfal Learn- 
 ing in general, and to ‘Vrania her 
 felf in partrcular;but alfoan efpe- 
 cial Favorite, to as many as have had 
 but the face of Ingenuity, or the 
 leaft appearance of boldnes to court 
 any of the heautiesof the excellent 
 Mnemofyne : So I could do no left, 
 
 (havirg 
 
The Epiftle Dedicatory. 
 
 this opportunity) but humbly pre- 
 fent (in token of a thankful mind ) 
 this fmall Produce of a few /pare! 
 hours. The kind acceptance of 
 which, [/hall account, as a Wall 
 and Bulwark, agairift the over- 
 flowing Deluge of Ignorance , 
 Scorn , and Envy. Your name , 
 Sir, is enough to make this work 
 go Currant, and to pafs unquefti- 
 onable under the piercing cenftire 
 of this Critical age. And that 
 as muchhappinefs may attend you J 
 as can be conferr’d upon a Mortal, 
 is the defire of 
 
 Sir, 
 
 Your Humble Servant 
 
 W . Salmon. 
 

 THE 
 
 PREFACE 
 
 TO THE 
 
 READER. 
 
 H E Subject of the en - 
 filing worl ^ is the Art 
 of Painting : a name not ' 
 only too fingnlar } but 
 alfo too fbort or narrow , to exprefs 
 what is here intended thereby : 
 For we do not only exprefl that 
 Arty (as it is generally received ) 
 but alfo Drawing, Engraving, 
 Etching, Limning, Wafliing, Co- 
 A 2 louring 
 
5 
 
 The Preface 
 
 louring and Dying ; all which 
 being confidered in their proper 
 extent , infinitely exceeds that cur- 
 tail'd name of Painting t which that 
 we might joyn all in one proper 
 and comprehenfive word , we wade 
 choice of that (Sreek^ Compound \ 
 POL YGRAPH1CE. 
 
 To perfwade any one to thejludy 
 or praSlice of this Art , would be 
 a great folly b fince Ignorance , 
 (which is always blind) can never 
 be able to conceive or judge aright: 
 For to him that already underfunds 
 it , the labour would be nfelefs and 
 unprof table b to him which is al- 
 ready delighted therein , it would 
 be needlefs and fuperf uom b and 
 to the Averfe and Ignorant , it 
 would be the putting a jewel into 
 a Spines fnottt : the exquiftc know- 
 
to the Readier. 
 
 1 iedo of which , is impofjible ever to he 
 attained or understood , by fuels pre- 
 judicate and cloudy Souls , although 
 it is Sufficiently known to many al- 
 ready } audits uj efu/nefs as appa- 
 rent as it is excellent : 7 o enumerate 
 the one , or rehearje the other , is 
 but to perfwade the worlds that it 
 is day light when the Sun is upon 
 the Meridian . or at leafi to incul- 
 cate j an Ignorance of rhofe things, 
 which have been manifeftly know'n 
 even a long time fince. 
 
 The Method of this work i ts 
 wholly new., wherein we have 11- 
 nitedand made one, fitch various 
 jubjeSts^as have been the uncertain , 
 obfeure , and tedious clifconrfe 
 of a great number of various and 
 large Volumes. What lhall w r e 
 fay ? things far af under, we have 
 A 3 laid 
 
The Preface 
 
 laid together things uncertain > 
 are here limited and reduced : 
 things obfcure,we have made plain: 
 things tedious,we have made fliort: 
 things erroneous , we have refilled 
 and corre£l:cd.*f&/»gJ■ hard, we have 
 made faciland eafie .• things vari- 
 ous , we have colle&ed .• things 
 (in appearance ) heterogene, we have 
 made homogene ; And in a word , 
 the whole Art we have reduced to 
 certain heads ; brought under a cer- 
 tain mehod limited to pra&ical 
 rules ’, and made it perfpicuous, e- 
 ven to a very mean underjlanding . 
 
 In the Compofure of this work L 
 ( bejides our own Objervations ) 
 we have madeufe of the bejl Au- 
 thors now Extant , that we could 
 poffibly procure , or get into our 
 hands i wherein our labour was 
 not 
 
to the Reader. 
 
 not fntall y what in Reading, Com* 
 paring, Tranfcribing, Choofing, 
 Corre&ing , Difpofing, and Re- 
 viling every thing , in refpsSt of 
 Matter, Form, and Order. The 
 which had we any Prefident to 
 have followed j any Path to have 
 traced j any Example to have i- 
 mitated \ any Help to have con - 
 fulted ; or any Subjeft entire : Or 
 otherwife , had the Number of 
 our Authors been ftnall , their 1 
 Maxims , truths } their Rules , 
 certain } their Meanings not ob- 
 f cure or their Precepts been re- 
 
 duced to Method and Order : We 
 might not only , with much more 
 eafe , pleafurc , and certainty i 
 lefs labour , trouble , and pains ; 
 greater perfpicuity , plainnefs , 
 and fingularity j better order , 
 
 method. 
 
The Preface to the Reader. 
 
 method , and language j but alfo 
 in fhorter time have brought to 
 perfection , what we here prefent 
 you withall. 
 
 La&ly, the Keader is defied to 
 take notice , that in this following 
 Worl^-, there are many excellent fe- 
 crets , not vulgarly known j which 
 fell into our hands from fevttral 
 fpeciah friends ( whofe exguifite 
 knowledge in t'hefe kind of Myfleri&s 
 doth truly declare them to he abjo- 
 lute Majlers ■■ thereo f ) which for the 
 public f good are freely ■ communi- 
 cated to the World, ' • - • 
 
 r i'/rc .■ > 
 
 Art Exp r anation of the Quot ations * : ** 1 
 
 [2 fe] Cgnifics the fecond Seilion of the fame Chapter : 
 [2.e 4,]thefccondSc&ionofthe fourth Chapter: 
 [34,5.67.] the third, fourth, and fifth Seftions of 
 the feventh Chapter 5 the like underfhnd of the reft* 
 
I 
 
 POLYGRAPHICES 
 
 Liber Primus . 
 
 Of Drawing. 
 
 CHAP. i. 
 
 Of Poljgraphice in General. 
 
 iOL YGR APHICE isan 
 Art, fo much imitating Na- 
 ture, as that by proportion- 
 al lines with anfwerable 
 Colours, it teacheth to reprdent to the 
 life ("and that in piano) the forms of all 
 corporeal things, with their refpe&ive 
 paffions. 
 
 1 I. It is called in general in Greek 
 Xfouavxii , in Latine Pi&ura. } and in En- 
 glifh the Art of Painting . 
 
 I II. It is fevenfold (to witj in Dravh 
 B 
 
3 Polygraphices. Lib. I. 
 
 ing 0 Engraving , Etchings Limning , Taint - 
 ing^ IVaJhing and Colouring. 
 
 I V. Drawing is , that whereby we 
 reprefent the Ihape and form of any 
 corporeal (ubftance in rude lines 
 onely. 
 
 V. It confifts in proportion and paf 
 fion 3 as it hath relation to motion 
 and fituation , in relpeft of Light and 
 Vifipn. 
 
 V I. Sanderfon faith, This Admirable 
 Art 5 is the Imitation of the furface of 
 Nature in Colour and proportion , 
 
 1. By Mathematical demonftration, 
 
 2. By Chorographical defcription, 3. By 
 (hapes of Living creatures , 4. And by 
 the forms of Vegetables 5 in all which it 
 prefers Likencfs to the life , conferves 
 it after death, and this altogether by the 
 (en(e of feeing. 
 
 VII. The proportion (hews the true 
 length, breadth or bignels of any part 
 ("in Known meafures) in refpeft of the 
 whole, and how they bear one to ano- 
 ther : The pajjzon repreients the Viliial 
 Quality , in refpett of love or hatred, 
 
 lorrow 
 
Of Drawing. 5 
 
 lorrow or joy, magnanimity or co- 
 wardife , majefty or humility , of all 
 which things we (hall fpeak in order. 
 
 CHAP. II. 
 
 Of the Infiruments of Drawing. 
 
 I. | 'He Infiruments of Drawing are 
 J. fevenfold , viz. Charcoals, fea- 
 thers of a Ducks-wing , black and red 
 Lead penfils, pens made of Ravens quils. 
 Rulers, Companies, and Paftils. 
 
 II. Charcoals are to be cholen of 
 Sallow-wood fplit into the form of 
 penfils , and (harpned to a point, be- 
 ing chiefly known by their pith in the 
 middle. 
 
 Their ufe is to draw lightly the draught 
 over at fir ft , that if any thing de drawn a- 
 ntifi it may be wiped out and amended. 
 
 III. The feathers ought to be of a 
 Ducks-wing, ("though others may lerve 
 well enough) with which you may wipe 
 out any ftroak of the Charcoal where it 
 
 B 2 is 
 
4 Folygraphiccs. Lib. I. 
 
 is drawn amifs , ( left variety of Lines 
 breed confufion. 
 
 IV. Black^and red Lead penftls, are to 
 go over your draught the fecond time 
 more exactly., becaufe this will not wipe 
 out with your hand, when you come 
 to draw it over with the pen. 
 
 V. Tetts made of Ravens quils ("but 
 others may fervej are to finith the work : 
 but herein you rauft be very careful and 
 exaft, for what is now done amifs there ' 
 is no altering of. 
 
 V I. The Rulers which are of life, to 
 draw ftraight or perpendicular lines, tri- 
 angles, Iquares or polygons, the which 
 you are to ufe in the beginning till 
 praftice and experience may rendei 
 them need left. 
 
 VII. Cowpajffes made of fine Braft with 
 Steel-points , to take in and out , thai 
 you may ufe black or red Lead at plea- 
 litre. 
 
 Their ufe is firft to meafure ( by helj 
 of a curious feale of equal parts upor 
 the edge of your ruler ) your proporti- 
 ons, and whether your work is exafi 
 
 whicl 
 
Of Drawing. 5 
 
 which is done with the Charcoal. Se- 
 condly to draw Circles, Ovals, and 
 Arches withal. 
 
 VIII. Taftils are made of feveral 
 Colours to draw withal, upon coloured 
 paper or parchment, Thus, 
 
 Take Tlaifter of Paris or A labl after cal- 
 cined 0 of the Colour of which you intend 
 to make your paflils with ana q. s. 
 grind them firft afunder , then together , 
 and with a little water make them into 
 paft , then with your hands roul them in- 
 to long pieces like black-lead pen fils. ) then 
 dry them moderately in the Air : being 
 dryed when you ufe them 0 j crape them to a 
 ' ooint like an ordinary penfil. 
 
 And thus may you make paftils of 
 1 what colour you pleale , fitting them 
 
 ( for the faces of Men or Women , Land- 
 ftips. Clouds , Sun-beams , Buildings and 
 Shadows. 
 
 > I X. To the formed add good Co- 
 Dies, Patterns , and Examples of good 
 -fi&ures and other draughts, without 
 which it is almoft impoilible, that the 
 voung Artift lhould ever attain to 
 B 3 any 
 
Lib. i. 
 
 6 Folygraphtces. 
 
 any perfection in this Art. 
 
 IVe have wholly pretermitted thefe for 
 brevity fake , but thofe that defire to be 
 furnijhed with any excellent Patterns , 
 Copies or Prints may have of all forts 3 
 whether of humane Jhape , perjpeffive de~ 
 Jign, Lands kip) F owls 5 Beall s^ Fijhes 0 In - 
 Jeffs, Plants , Countries , or any other Ar- 
 tificial figures exquifitely drawn at very 
 reafonable rates , where this book, is to be 
 fold j the plenty and eafie charge whereof 
 was alfo another reajon for which we 
 were unwilling to injert them here , as alfo ■■ 
 becaufe greater variety may yet be bought 
 in (ingle papers , than pojjibly we could have 
 inferted) had we been Jo minded. 
 
 CHAP. III. 
 
 Oj the precepts of Drawing in General. 
 
 I. T)E fure to have all the neceflaries 
 £3 afordaid in readme!!, but it will 
 be good to praftife as much as may be 
 
 with- 
 
/' -• 
 
 I. I t 
 
 Of drawing. ~ 
 
 without the help of your Rule and 
 Compares 5 it is your eye and fanlie 
 muft judge without artifical meafii- 
 rings. 
 
 I I . Then firji begin with plain Gcome - • 
 trical figures , as Lines , Angles , Tri- 
 
 , angles, Quadrangles , Polygons, Archr 
 es. Circles, Ovals, Cones, Cylinders and 
 , the like. For thefe are the foundations 
 of all other proportions. 
 
 III. The Circle helps in all orbicular 
 , forms, as in the Sun, Moon, 6cc. the Oval 
 \ in giving a juft proportion to the face, 
 t and mouth 5 the mouth of a pot or well, 
 
 ( the foot of a Glals, &c. the fquare con- 
 fines the Picture you are to Coppy, &c. 
 the Try angle in the -half-face 5 the 
 Volygone in Ground-plats i, Fortificati- 
 ons and the like , Angles and Arches in 
 perlpedfive 5 the Cone in Spires-tops of 
 Towers and Steeples 5 the Cylinder in 
 
 , Columns, Pillars, Pilafters and their Or- 
 naments. 
 
 IV. Having made your hand fit and 
 , ready in General proportions, then learn 
 
 to give every objeft its due ftiade ac- 
 p 1 cord- 
 
8 Polygraphices. Lib. I. 
 
 cording to its convexity or concavity, 
 and to elevate or depreis the lame , as 
 the objeft appears either nearer or far- 
 ther off the light, the which is indeed 
 the life of the work. 
 
 V. The fee on d pra&ice of drawing 
 confifts in forming fruits , as Apples, 
 Peares, Cherries, Peaches, Grapes, Straw- 
 berries, Pealcods, &c. with their leaves : 
 the imitation of flower /, as Roles, Tulips, 
 Carnations, &c. Herbs , as Rofemary, 
 Time, Hylop, &c. Trees^as the Oak, Fir, 
 Alh, Wall nut, &c. 
 
 V I. The third praUice of drawing imi- 
 tates , T. Beafi .r, as the Lamb, Elephant, 
 Lion, Bear, Leopard, Dog, Cat, Buck, 
 LInicorn, Horle, &c. 2. Fowls , as the 
 Eagle, Swan, Parrot, Patridge, Dove, 
 Raven, &c. 3. Fijhes , as the Whale, 
 Herring, Pike, Carp, Thornback, Lob- 
 fter, Crab, &c. of which variety of Prints 
 may be bought at rcafonables rates. 
 
 VI I. The fourth praxis imitates the 
 
 body of man with all its Lineaments, 
 the Head, Nofe, Eyes, Ears, Cheeks, 
 Hands , Arms , and lhaddows all ex- 
 aftly 
 
Of Drawing . 9 
 
 adly proportional both to the whole 
 and one to another, as well to fituation 
 as magnitude. 
 
 VIII. ‘The fifth praxis is in Drapery, 
 imitating Cloathing, and Artificially let- 
 ting off the outward Coverings, Habit & 
 Ornaments of the Body, as Cloath,Stuff, 
 Silk and Linnen, their natural and pro- 
 per folds, which although it may leem 
 iomething hard to do, yet by much ex- 
 crcile and imitation of the choileft 
 Prints, will become facile and eafie. 
 
 I X. In drawing of all the aforegoing 
 forms , or what ever elle, you muft be 
 perfed , firft in the exad proportions : 
 fecondly in the" general or outward 
 lines, before you fall to fhadowing or 
 trimming of your work within. 
 
 X. In mixed 8e uncertain forms,where 
 Circle and Square will do no good ('but 
 onely the Idea thereof in your own fan- 
 fie ) as in Lions, Hories, and the like 5 
 you muft work by reafon in your own 
 judgment, and fo obtain the true propor- 
 tion by daily pradice. 
 
 Having the fiape of the thing in your 
 mind) 
 
I o Tolygraphiccs . Lib. I , 
 
 mind, jirji draw it rudely with your coal 5 
 then more exactly with your lead or pen- 
 ftl j then peruje it well \ and consider where 
 you have erred , and, mend it 2 accord- 
 ing to that Idea 5 which you carry in 
 your mind j this done , view it a- 
 gain 5 correcting by degrees the other 
 parts 5 even to the leaf Jota , Jo fat a, \ 
 your judgement will inform you j and 
 this you may do with twenty , thirty , 
 fourty or more papers of feveral things 
 at once : having done what you can , 
 confer it with feme excellent pattern or 
 print of like kind , ufing no rule or com- 
 pafi at all y but your own reajon , in mend- 
 ing every fault , giving every thing its 
 due place , , and jujl proportion j by 
 this means you may red /fie all your er- 
 rours , and Jlep an Incredible way on to 
 perfection. 
 
Of Drawing. 
 
 II 
 
 : C H A P. IV. 
 
 Of Drawing the face of a Man . 
 
 T.tN drawing of the face you arefirft 
 j[ to obferve its motion whether up- 
 wards, downwards, forwards, or fide- 
 ways 5 whether it be long or round, fat 
 or lean, great or little. 
 
 For if it be fat 0 the cheeks will feem 
 to fwell : if lean , the jaw bones will flick, 
 out , and the cheeks fall in j but if neither 
 too fat , nor too lean , it will be for the moll 
 part round. 
 
 II. Touch lightly the features where 
 the eyes, mouth, nofe, artd chin fhould, 
 ftand , ( having firft drawn the circle 
 or oval of the face ) then make a flroak 
 down from that place of the forehead 
 which is even with the chin , coming 
 down where you fhould place the mid- 
 dle or tip of the nofe, and middle of the 
 mouth , which ftroak muft be made 
 ftraight down in a full right face , but 
 
 arched 
 
1 2 Polygraphices. Lib. I. 
 
 arched or oval (in an oblique facej 
 leaning that way towards which the 
 face doth turn : then crols the ftroak a- 
 bout the middle of the eyes , either 
 with a ftraight line in a right face , or 
 with a Curved either upwards or down- 
 wards according to the prelent aftion or 
 pofture of the face : then make another 
 anlwerable to that, where the end of the 
 nofe fhould come $ and another for the 
 mouth, that it be not made crooked. 
 
 III. Then if the face look upwards 
 toward heaven , or downwards to- 
 wards the earth , let the eyes , nole, 
 mouth, and brows look accordingly 
 with it 3 and now proceed to the placing 
 of the features. 
 
 IV. In a juft proportioned face, the 
 
 diftances, i. between the top of the 
 forehead, and the eye-brows , 2. be- 
 
 tween the eye-brows and the bottom 
 of the nole : 3. between the bottom of 
 the nole and the bottom of the chin 3 are 
 
 - equal. 
 
 V. In drawing the utmoft circumfer- 
 ence of a face, take in the head and all 
 
 with 
 
Of Drawing. 13 
 
 with it, left you be deceived in draw- 
 ing the true bignels. 
 
 VI. Then confider all thole chief 
 touches which give life to a face, adding 
 grace thereto, and Ibmething difeover- 
 ing the difpoiition of the mind. 
 
 So the month extended and the corners 
 a little turning up, fhews a fmiling coun- 
 tenance : the eye-brow bending , and the 
 forehead and top of the nofe between the 
 eye-brows wrinkled , ficws one frown- 
 ing : the upper eye-lid coming fomething 
 over the ball of the eye^fhews one fober and 
 Jlayed: with many other touches which 
 give life and fpirit to a face , which in 
 good paints , by little ana little , and di- 
 ligent objervation yon will at lajl find 
 out. 
 
 VII. The diftances between the 
 eyes, is the length of one eye in a full 
 face, but in a three quartered or half- 
 face, it isldfened proportionably : and 
 exactly underneath the corners of the 
 eyes, place the noftrils. 
 
 VIII. Having given touches where 
 the eyes, nole, mouth, and chin Ihould 
 
 be' 
 
14 Polygraphices. Lib. I. 
 
 be placed , begin to draw them more ! 
 exaftly , and fo proceed till the face 
 be finilhed and then make the hair, 
 beard , (hadows , and other things a- j 
 bout it. 
 
 I X. Be fure to make the (hadows 
 rightly , and be fure not to make 
 them too dark, where they (hould be 
 faint $ for that can never be made 
 light again, and fo the whole face is 
 marr’d. 
 
 The Jhadovps are fainter and lighter in 
 a fair face than in a frvarthy. 
 
 X. When you have finished the face, 
 give here and there (bme hard touches 
 with your pen where the (hadows are; 
 darkeft$ then come to the ears and 
 hair , wherein having drawn the out- 
 line, draw the principal curls, or mafter 
 ftroak in the hair, which will be a guide 
 to you in the lefler curls whole depen- 
 dance are on them : always make the 
 curls to bend exactly according to the 
 pattern, that they may lie loo(e, or care- 
 lelly, and not as if they were ftiff and 
 forced wfhe curls being rightly drawn, 
 
Of Drawing. 1 5 
 
 in the laft place ftrike in the loofe hairs 
 which hang fcatteringly out of the 
 Circles. 
 
 X I. Laftly, having pradiled a little 
 by rule , and brought your hand in ; 
 in drawing of any thing, firft ftrike the 
 out-ftroaks, principal veins, and mufcles 
 lightly, and afterwards Ihadow them, 
 ever following exquifite patterns and 
 prints , which will both encreafe your 
 judgement, and bring command to your 
 hand. 
 
 ; C H A P. V. 
 
 I Of the extreme parts. 
 
 , I. I N drawing the hands, draw not all 
 I the joynts, veins or other things to 
 , appear plainly , but onely lightly and 
 , faintly, and ftrike out the bigneft of the 
 , hand , and the manner of its turning 
 with faint touches , and not with hard 
 ftroaks 5 then that being done right, 
 part the fingers according to the pattern 
 
 with. 
 
1 6 Folygraphices. Lib. I. 
 
 with like faint llroaks , then mark that 
 place where any of the fingers do (land 
 out from the others, with a faint relem- 
 blance : this done proceed to draw it 
 more perfe&ly, making the bending of 
 the joynts, the wrilts, and other prin- 
 cipal things more exactly 3 and laftly, 
 go over with it again , drawing every 
 fmall bending orfwelling of the fingers, 
 nails, knuckles and veins, lb many a:s do I 
 appear. 
 
 II. Learn by good prints the juft 
 proportions of the hands, with their 
 equal diftances, oblerving this rule, that 
 according as it turns one way or ano- 
 ther, to fhorten proportionally as they 
 appear to the eye. 
 
 For jo much as it turns away from our 
 tye, fo much it lofes in proportion , yea 
 Jometimes a whole finger , two or three or 
 more is lojl to our fight.., which you mujl ac-' 
 corclingly anfwer in your draught. 
 
 III. In drawing of the feet, the lame 
 rules which we even now enumerated 
 at the i.& 2 e.are to be underftood here. 
 
 CHAP 
 
Of Drawing. 
 
 17 
 
 CHAP. VI. 
 
 Of Drawing the whole Body. 
 
 I. TJTrft begin with the head, and be 
 jP lure to give it its juft proportion., 
 anfwerable to what you intend the 
 whole body (hall be 5 then draw the 
 fhoulders in their exaet breadth 5 after 
 them, the trunk of the body : beginning 
 at -the Armpits, and fo drawing down to 
 the hips on both (ides, obierving withal 
 the exaft breadth of the Waft ^ Laftly, 
 draw the legs, arms and hands, exa&ly 
 to your pattern. 
 
 I I. But firft draw with a coal, and 
 i that very lightly and frintly, drawing 
 
 nothing perfed (that you may the ea- 
 fier mend it if it be amilsj and then after- 
 wards finilh one thing after another as 
 cunoufly as you can. 
 
 III. Let the parallel (inews, muicles, 
 veins and joynts be placed oppofite one 
 to another in a ftraight line (as (houlder 
 
 C to - 
 
1 8 Tolygraphices. Lib. I. 
 
 to fhoulder, hip to hip, knee to knee. 
 See.) for which purpofe draw ftraight 
 crols lines to guide you therein j oblerv- 
 ing that which way loever the body 
 turns or bows, thefe lines may anfwer ac- 
 cordingly. 
 
 IV. Let all perpendicular joynts, 
 and parts alio, be placed in a right line 
 one under another (as they are in your 
 pattern) for which end, draw a ftraight 
 line ( if the body be ftraight) from the 
 throat through the middle of the breaft 
 and privities, to the feet, to which line 
 draw all thole particular points parallels 
 that the body may not appear Crooked 
 or awry. 
 
 V. In bowings and bendings of the 
 
 body , let the extuberance of the out- ( 
 ward part be juft equal to the compreft 
 lion of the inward part : making all 
 
 things of an equal proportion 5 that as 
 oppofite parts may be equal ( as the arm 
 to the arm, leg to leg , &c . ) ib every 
 part may be proportionable to each o- 
 ther, (as the hand not too big for the 
 arm , ncr the arm for the body , nor 
 
Of Drawing* 19 
 
 the body , for the legs, &c.) onely 
 with this difference that , ( as the one 
 part may appear fully to the eye, or the 
 other may turn away either in part, or 
 in whole, or be feen fidewayj it be made 
 fb much lefs than the other, by fb much 
 as it turns away from the fight. 
 
 V.I. As you obferve a juft proporti- 
 on in bignefs, fb alfo in length, that as 
 every oppofite part be of equal length, 
 fb that each part may not be too long 
 one for another, but according to the 
 propofed magnitude : And in this cafe 
 that if the body be awry, or any ways 
 hid, thofe parts may fhorten according- 
 ly, to what is out of fight. 
 
 VII. Laftly, Obferve the juft di- 
 ftance of one thing from another , for 
 by that means you will be more exaft: 
 in your draught} and in fhort time, 
 perfedly imitate your pattern or na- 
 ture. 
 
 e 2 
 
 GHAP. 
 
20 
 
 Tolygraphices. 
 
 Lib. I. 
 
 CHAP. VII. 
 
 Of Shadowing a nakyd body. 
 
 I. '"T" , He fhadows of the neck, in a 
 JL child or young woman, are ve- 
 ry fine, rare, and hard to be (een : In a 
 man, the finews and veins are exprefled 
 by fhadowing of the reffofthe neck,and 
 leaving them white : the (houlder is (ha- 
 do wed underneath : the brawn of the 
 arm muft appear full and white, fhadow- 
 ed on one fide. 
 
 II. The veins .of the back of the 
 hand , and the knuckles, are made with 
 two or three hair ftroaks with a fine 
 touch of the pen. 
 
 III. The paps of a man are (hewed 
 by tvvo or three ftroaks given under- 
 neath: in a woman with an orbicular 
 (hade fomewhat deep 3 the ribs retain 
 no fhadow , except you reprefent one 
 jean orftarved. 
 
 I V. The belly is made eminent by 
 
 fhadow- 
 
Of Drawing. 2 1 
 
 ftiadowing underneath the breaft bone 
 and the flank : The brawn of the thigh 
 is Ihadowed by drawing (mall hair 
 ftroaks from the hip to the knee 5 and 
 crofled again overthwartly. 
 
 V. The knee is to be finely Ihadowed. 
 underneath the joynt 3 the fhin bone ap- 
 pears by fhadowing one half of the leg 
 with a fingle fhadow. 
 
 VI. The anckle bone appears by Iha- 
 dowing a little underneath ( as in the 
 knees) and the finew’s thereof muft leem 
 to take beginning from the midft of the 
 foot 3 and to wax bigger as they grow 
 neerer to the toes. 
 
 V I I. Laftly, the (hadows of the foot 
 muft take place according as reafon 
 and occafion requires 3 for which fas 
 allq in all the former precepts) the ha- 
 ving of good prints will be no ftnall ad- 
 vantage unto you. 
 
 C 3 CHAP. 
 
22 
 
 Lib. i 
 
 Tolygraphices. 
 
 CHAP. VIII. 
 
 The way and manner of Shadowing . 
 
 I. T F it be a furface only it is belt Iha- 
 
 I dowed by drawing lines ( either 
 ftraight or oblique, according as the 
 luperficies is ) through the better half 
 thereof. 
 
 2. If it be in a body, it is a double 
 fhadow, and is ufed when a (uperficies 
 begins to forlake your fight, as in Co- 
 lums and Pillars , where it is dquble 
 darkned , and reprefenteth to the eye, 
 as it were the backfide, leaving that un- 
 Ihadowed to the light. 
 
 III. The treble fhadow, is made by 
 eroding over again the double fha- 
 dow j and is uled for the inward parts ; 
 of things, as in clefts of the earth, 
 wells, caves, the infides of pots, cups and 
 difhes. 
 
 IV. In fiiadowing let the fhadow 
 always fall one way, that is on the lame 
 
 fide 
 
Of drawing. 23 
 
 ide of the body 3 leaving the other to 
 he light. 
 
 So in drawing a man , If I begin to 
 badow his right cheeky I tnujl Jhadow 
 he right part of his nec arm^fde^thigh. 
 fe&c. . 
 
 V. But if the light fide of the body 
 ae darkned by the oppofition of fbme 
 ather body {landing between the light 
 md it, it mull receive a contrary lha- 
 dow , according as the light is' ob- 
 fulcated. 
 
 So if three pillars jland together jhat in 
 the midfl mnjl receive a fadow on both 
 ftdes. 
 
 VI. All circular bodies mull have a 
 circular lhadow (by the 1. e) ac- 
 cording to their form or appearance, 
 and the orbicular lhadow of the objed 
 which caft'eth it. 
 
 VII. Let your lhadow grow fainter 
 and fainter., according to the greatnels 
 of the dillance from the opaeous body 
 ihadowing. 
 
 And the reafon is becar/fe all f) ad ores 
 are pyramidal ? in which cafe , fpace 
 C 4 of 
 

 24 Foljigraphices. Lib. I. 
 
 of place prevails with the light againtf the 
 Jkadorc. v 
 
 VIII. Where contrary fhadows con- 
 cur, let the meaneft and moft folid bo- 
 dy be firft ferved 3 and in double and 
 treble fhadpws, let the firft lines be very 
 dry for fear of blotting,before you crofs 
 them. 
 
 I X. All perfect lights receive no (ha- 
 dow at all 3 but being manifeft, are 
 onely to be made apparent by that body 
 which receives them 3 whole ihadow 
 muft be according to the efflux of light : 
 but the colour of the light ought to 
 agree with the medium which receives 
 it , whether it be Air , Cryftal, Water, 
 Amber, Glafs, Tranfparent-wine, or the 
 like. 
 
 CHAP. IX. 
 
 Of Exprejjzng pajjions in the Countenance. 
 
 J , T O V E is exprefled by a clear, fair 
 JL, and pleafant Countenance, with- 
 out 
 
Of Drawing. 25 
 
 out clouds, wrinkles, or unpleafant 
 bendings : giving the forehead an am- 
 ple height and breadth with majeftick 
 grace 3 a full eye with a fine thadow at 
 the bottom of the eye-lid, and a little at 
 the corner : a proportionable nofe 3 no- 
 ftrils not too wide : a clear cheek made 
 by Ihadqwing of it on one fide: and a 
 finding mouth , made by a thin upper 
 lip, and fhadowing the mouth line at 
 the corners. 
 
 II. FEAR is exprefled by making 
 the eyes look hollow, heavy and down- 
 ward, thin fain cheeks, dole mouth, and 
 flaring carelefs hair about the ears. 
 
 III. E N V Y is beft decyphred by 
 the only hanging of the cheeks, and a 
 pale countenance 3 and fometimes by 
 grinning of the teeth. 
 
 I V. Let every paffion be reprefented 
 according to the outward appearance 
 thereof, as it is in thofe perfons in whom 
 it reigns 3 obferving the rules at the 6 e 4. 
 
 char 
 
I 
 
 2 6 Tolygraphiccs. Lib. I, 
 
 CHAP. X. 
 
 Of Humane Proportion. 
 
 1. '“'g~'He length of an upright body is 
 1 equal to Eight times the length 
 of the face or head : The arm hanging 
 ftraight down, reacheth within a fpan 
 of the Knee : The length of the hand, 
 muft be the length of the face: The 
 arms extended muft be the juft length of 
 the body. 
 
 II. Thole parts of the body near to 
 the Eye muft be made greater and long- 
 er than thole farther off, ( becaule the 
 eye judgeth lo of them,J and according ; 
 to the diftance from the eye, lo muft you 
 vary from that which is otherwile the 
 real true proportion of thole parts. 
 
 III. In forelhortning you muft take 
 things as they appear to the eye, and not 
 to draw the full proportion of each part, 
 but to Ihorten ail, according to the rate 
 or realbn which isobfufcated. 
 
 So 
 
v Of Drawing. 2 7 
 
 So if you would draw a ftp foreright 3 
 here can appear but only her forepart ( for 
 he refl being hid cannot be expreji :J the 
 'he of an horfe looking full in my face 3 or 
 man lying along 3 I mujl here of necejjity 
 orc-fsorten to exprcf the Vifual property : 
 Ind in this cafe your eye and reafon 3 muji 
 •e your chief guide to give the true rea- 
 son and meajure of thefe appearances , w he- 
 ll er in Drawings Limning or Painting. 
 
 I V. The ufe of this fore(hortning is to 
 ixprels all manner of a&ions in man or 
 jeaft 3 to reprefent many things in a little 
 00m 5 to (hew at one view to the eye 
 ind mind , the whole body of a tem- 
 de, with all its arches and pillars whe- 
 her the irdide or outfide , as alfo the 
 undry fides of Cities, Caftles, and Forts, 
 ind (uch like. 
 
 V. ,Laftly, That in every cafe you 
 make nature the pattern of all draughts, 
 ,0 that nothing be expreft, but what 
 idoth agree and accord with nature 5 
 and that nothing be either forced be- 
 jyond nature, nor yet any thing to come 
 port of nature. 
 
 As 
 
28 T o/y graphic es. Lib [. 
 
 As if in drawing the picture of a 
 be fare you draw not fuch a pcjhtre as f 
 impojjible for him to imitate with his n- 
 taral body . 
 
 G H A P. XI. 
 
 Of Drapery. 
 
 1 . 
 
 Raw the out-lines of the Ga 
 U ment lightly, and herein be cart- 
 ful for the whole grace of the pi&ui: 
 lyes there 5 then draw the greateftfolc 
 firft, and ftroak thole into lefier 3 and t 
 fure they crofs one another. 
 
 I I. Suit your garments to the bod) 
 and make them bend with the bod) 
 according as it Hands in or out, ftreigh 
 or crooked 3 or turns one way %r an 
 other : the cloler the garment ar& ti 
 the body 3 the narrower and fipaller mul 
 the folds be. 
 
 III. All your folds muft £onfift o 
 two lines and no more, whi-eh you ma; 
 turn with the garment at plealure 3 lha 
 
 % dow 
 
Of Drawing, 29 
 
 'flowing the innermoft deeper, the outer- 
 noft more light 3 and if the folds be -ne- 
 ver Co curiouily contrived, (pare not to 
 hadow them ( if they fall inward from 
 :he light ) with a double or treble (ha- 
 jdow, as the occafion requires. 
 
 IV. The greater folds muft be con- 
 tinued through the whole garment, the 
 leffer you may break off and (horten as 
 you pleafo. 
 
 f V. The (hades of (ilk and fine linnen, 
 -are very thick and (mail , winch re- 
 quires little folds and a light and rare 
 I (hadow, commonly but double at moft 3 
 'and (b alfo fine Drapery requires more 
 and (harper folds than courfo. 
 
 V I. That part of a garment which 
 fits dole to the body, muft not be 
 (folded at all but only (weedy (haded, 
 to reprefont the part of the body which 
 t lies under it. 
 
 VII. Obforve the motion of the wind 
 and air, for driving ioofo apparel all one 
 way, drawing that part- of the garment 
 firft which lyes higheft and clofoft upon 
 the body, before you draw the loofor 
 
 part 
 
' " - I 
 
 0O Polygraphices. Lib,. 
 
 part that flies off from the body, left v 
 drawing the loofe fart of the garment fid 
 you jhould be out , and fo place the boa 
 crooked or awry* 
 
 CHAP. XII. 
 
 Of Mixed and 'Uncertain Forms. 
 
 I. T70r the drawing the form of an 
 l -1 bead, begin with your lead c 
 coal at the forehead, drawing dowr 
 ward the nofe, mouth , upper and nc 
 ther chop, ending your line at th 
 throaty then viewing it again wher 
 you begun , from the forehead , ove 
 the head, ears and neck, continuing til 
 you have given the full compals of th< 
 buttock , then mark out the legs anc 
 feet: Viewing it again, touch out tht 
 bread with the eminency thereof 5 Lad- 
 ly, finifh the tail, paws, tongue, teeth, 
 beard, and feveral fhadows. 
 
 1 1 . In drawing beads you mud be 
 well acquainted with their fliape aqd 
 
 a&ion. 
 
Of Drawing. g 1 
 
 a&ion, without which you fhall never 
 perforin any thing excellent in that 
 kind : and here if you draw it in an 
 Emblem or the like, you ought to (hew 
 the landskip of the Country natural to 
 that bead. 
 
 III. In birds begin alio the draught 
 at the head, ("and beware of making it 
 too big) then bring from under the 
 throat , the breaft line down to the 
 legs, there day, and begin at the 
 pinion to make the wing, which being 
 joyned to the back line, will be pre- 
 [ently finifhed : the eye, legs and train 
 nud be at laid, letting always (in birds 
 is in beads) the farthed leg, ever be 
 [horted 5 their feathers (as the hair in 
 beads J mud take their beginnings at the 
 head very fmall and fall in one way 
 backwards in five ranks , greater and 
 greater to the conclufion. 
 
 I V. Infefts, as flies, bees, walps, graf- 
 hoppers, worms and fuch like, are eafie 
 to be drawn and not hard to be laid in 
 Colours $ in doing thele , it will at 
 (ird , be really neceflary to have the 
 
 living 
 
/ 
 
 32 Volygraphices. Lib. I 
 
 living pattern before your eyes. 
 
 V. To draw a flower, begin fromtht 
 bofs, tufft or wart in the middle 5 as ir 
 a Role or Marigold, with the yellow 
 tufft, which being made draw lines e 
 qually divided , from thence to th( 
 greateft com pals or extent of youi 
 flower : you may draw them eithej 
 fully open or in the bud , and lader 
 with dew, wet, and worms,and then yov 
 may draw rudely with the coal or leac 
 the leaves afterwards, giving them theii 
 veins or jaggednels. 
 
 VI. To take the natural and lively 
 fhape of the leaf of any herb or tree, 
 
 Firfl^ take the leaf that you vFould have . 
 and gently bruife the ribs and veins on thi 
 back^fide of it: afterwards wet the (ide wit) 
 linfeed oyl , and then prefi it hard upon t 
 piece of clean white paper , and fo you JlsaL 
 have the perfeff figure of the faid leaf, 
 with every vein thereof Jo exaUly exprejl 
 as being lively coloured it will Jeem to bt 
 truly natural . 
 
 CHAP, 
 
Of Drawing* 
 
 33 
 
 CHAR XIII: 
 
 Of Landslip, 
 
 I; T Andskip is that which exprdfeth 
 in lines the perfect vifion of the 
 earth, and all things thereupon, placed 
 above the horizon, as towns, villages, 
 caftles, promontaries, mountains, rocks, 
 valleys, tuines, rivers, woods, forefts, 
 chafes, trees, houfes and all other build- 
 ings, both beautiful and ruinous. 
 
 I I. Firft, Always exprds a fair hori- 
 
 zon, fhewing the heavens, cloudy or 
 clear, more or Ids according to the oc- 
 cafion j and if you exprds the Sun , 
 let it be either as riling or fetting, and 
 as it were behind or over fame hill or 
 mountain. , 
 
 The Moon & Stars are feldom or never 
 depifted, Uriels it be in reprefentation 
 of twilight 5 becaufe all things are fup- 
 pofed to be feen by day. 
 
 I I I. Secondly, If you exprds the Sun, 
 
 D • make 
 
54 Tolygrafbic.es . Lib. I, 
 
 make his light to refled upon all the 
 trees, hills, mountains, rocks, or build' 
 ings $ fhading the contrary fide 5 after 
 which manner alfb fliadow clouds.mifb 
 and the like : making the (hadovvs to fall 
 all one way. 
 
 I V. Thirdly, be very careful to aug- 
 ment or leflen every thing proportion- 
 ably to their diftance from the eye, ma- 
 king them either bigger or lefler. 
 
 V. In expreffing things at large diftan- 
 ces, as ten, twenty or thirty miles off : 
 where the objed is hard to be difcern- 
 ed, as whether it be Temple, Caftle. 
 Houle or the like 5 fhew no particular 
 figns thereof^ or any eminent diftindi- 
 011 5 but rather as weakly, faintly, and 
 confiifedly as the eye judgethof it. 
 
 V I. If Landskips be laid in Colours, 
 the farther you go, the more you muff 
 lighten it , with a thin and airy blew, 
 to make it feem as it were afar off, be- 
 ginning at firft with a dark green, fo dri- 
 ving it by degrees into a blew, accord- 
 ing to the diftance. 
 
 VII. Make your Landskip to fhooti 
 
 (as 
 
Of Drawing. 35 
 
 (as it were) away, one part lower than 
 another, making the neareft hill or 
 place higheffc , and thole that are far- 
 ther oft, to fhoot away under that, that 
 the Landskip may appear to be taken 
 from the top of an hill. 
 
 VIII. Let every thing have its pro- 
 per motion , as in trees when they are 
 fhaken vyith the mind, making the (mai- 
 ler boughs yielding 5 the ftiffer lefs 
 bending : in clouds that they follow the 
 winds : in rivers , the general current, 
 and flafhing of the water againft the 
 boat-fides : in the Sea , the waves and 
 other proper agitations 5 and laftly, let 
 every thing which moveth whether e£ 
 fentially or accidentally, have its proper 
 reprefentation. 
 
 I X. Let your work imitate the fea- 
 (on you intend it for. 
 
 As if you intend it for a winter piece , 
 reprefent felling of wood $ fiiding upon the 
 Ice 5 fowling by night 5 hunting of b ear i or 
 foxes in the fnow , making the trees ever/ 
 rdf) ere naked or laden with the hoar frojl 5 
 the earth bare without greennefl i flowers or 
 D a cat* 
 

 5 6 Tolygraphices. Lib. I, 
 
 cattel'-ythe air thick 3 water frozen ^with 
 carts pajjing over it , and hoys upon it } &C. 
 
 X. Laftly, Let every fite have its pro- 
 per parergra , adjuncts , or additional 
 graces, as the farm houfe, wind-mill, wa- 
 ter-mill, woods, flocks of fheep, herds 
 of cattel, pilgrims, ruines of temples, ca- 
 ttles and monuments 3 with a thoufimd 
 fuch other onely proper to particular 
 fitbje&s. 
 
 CHAP. XIV. 
 
 Of Diapering and Antique . 
 
 I. T'YTapering, is a tracing or running 
 A, 3 over your work again when you 
 have (as it were) quite done , with da- 
 mask branches, and fitch like. 
 
 It is ufed to counterfeit cloath of gold } 
 f liver , damask ,, velvety chamlet and the 
 like with what branch and in what fa- 
 fbion you pleafe : it is derived front the 
 Greeks word fuurifsCu tranfeo, to pafi over, 
 and 
 
Of Drawing. 37 
 
 and onely (ignifies a light faffing over the 
 fame again. 
 
 I I. If you Diaper upon folds , let 
 your work be broken off according- 
 ly , and taken as it were by the 
 half. 
 
 - For reafon Jhevpeth that the fold cover- 
 eth fomething which cannot be feen by 
 reafon of it , which if it was drawnforth 
 at length would all appear plain. 
 
 III. Let the whole work be homo - 
 gene 3 that is, let the lame work be con- 
 tinued throughout the whole garment, 
 letting the faireft branch in the moft e- 
 minent and perlpicuous place, caufing it 
 to run upwards, for elle your work 
 would be ridiculous. 
 
 IV. You may either lhadow the 
 ground and leave your work white 3 or 
 lhadow your work and leave the ground 
 white 3 and as you fhall pleale in this 
 kind, your filling may be with Imall 
 pricks, which will (hew very fair. 
 
 V. Antique ( ab antes ) are buttereffes 
 whereon the building is ftayed, as alfo 
 the outwardmoft ranges, ufed in fore- 
 
 D 3 fronts 
 
3 8 Tolygraphices. Lib. i. 
 
 fronts of houfes, in all manner of Com- 
 partments 3 curious Architecture , Ar- 
 mours 3 Jewels, and Columns. 
 
 V I. The form of it is ( only for de- 
 lights fake ) a general or irregular com- 
 pofition of men, beads, birds, fifties, and 
 flowers and fiich like , without either 
 rule or reafon. 
 
 V I I. Laftly, obferve the continuati- 
 on of one and the fame work, through 
 the whole piece without the lead: change 
 or alteration. 
 
 As if it be naked boys , playings lyings 
 fitting , or riding upon goats , eagles , dol- 
 phins and the like , firings of pear /, Sa- 
 tyrs , Tritons , apes , dogs^ oxen , bearing or 
 drawing fruits , branches , or any wild 
 fanfie after your own invention , with a 
 thoufand fuch other idle toys , be fure you 
 obferve the continuation. 
 
 £HAP. 
 
Of drawing. 
 
 39 
 
 CHAP. XV. 
 
 To take the perfect draught of any 
 Ti&ure. 
 
 I. ^ | 'Ake a fheet of fine Venice paper, 
 X wet all over with linfeed oyl 
 on one fide thereof, which then wipe 
 off as clean as you can j let the paper 
 dry, and lay it on any printed or paint- 
 ed picture j then with a black-lead pen 
 you may draw it over with eale : put 
 this oyled paper upon a fheet of clean 
 white paper, and with a little pointed 
 ftick or feather out of a lwallows wing, 
 draw over the ftroaks which you drew 
 upon the oyled paper, fo ihall you have 
 the exaft form upon the white paper, 
 which may be let out with colours at 
 plealure. 
 
 1 1 . Or thus^ The picture being drawn 
 as before in the oyled paper, put it upon 
 a Iheet of white paper, and prick over , 
 the drawing with a pen : then take font 
 D 4 fmall 
 
4© Polygraphices. Lib. I 
 
 {mall coal, powder it fine and wrap it ir > 
 a piece of (bme fine linnen, and bind ii 
 up therein loofely, and clap it lightly, al 
 over the pricked line by little and little 
 and afterwards draw it over again once 
 or twice, with pen or penfil. 
 
 III. Or thus 0 Rub a fheet of white 
 paper all over on one fide with black 
 lead, or el(e with Vermillion mixed 
 with frefh butter s lay the coloured fide 
 upon a fheet of white papers then lay 
 the pidure you would coppy out upon 
 the other fide of the coloured paper, 
 and with a ftnall pointed ftick or (wal- 
 lows quill , go over all the ftroaks of 
 your pidure, and it will be ex ad on the 
 white paper. 
 
 I V. Or thus , Lay a piece of Lanthorn 
 horn upon the pidure, then draw the 
 ftroaks of your pidure with a hardnib- 
 ed pen upon the horn s and when it is 
 dry, breath upon the horn twice or 
 thrice, and prefs it hard upon whitepa- 
 per a little moiftned. 
 
 V. Or thus , Take an oyled (heet 
 ( as at the i e.J rub one fide jo f it 
 
 s with 
 
f Of Drawing. 4 1 
 
 with lamb black or lake } lay it upon a 
 (heet of fair paper with the coloured fide 
 downwards, and upon it lay the picture 
 you would copy out, and trace it over 
 with a fwallows feather. 
 
 V I. Or thus , Take fine lake mixed 
 with linfeed oyl, and draw with it in 
 ftead of ink, all the out-ftroaks of any 
 pi&ure, and other material parts, then 
 Wet the contrary fide of the pifture and 
 prels it hard upon a (heet of paper, and 
 it will leave behind it all that which you 
 drew over. 
 
 VII. Or thus , Grind printers black fine, 
 and temper it with water, and with a pen 
 dipt in it, draw over the out-lines and 
 mafter ftroaks : wet then lome white 
 paper with a fpung or the like, and prels 
 it hard thereupon 5 and you lhall have 
 the ftroaks you drew upon the white 
 paper. 
 
 VIII. Or thus , Lay the print ( the 
 back-fide of it) uppn a clear glals, or 
 
 I oyled paper, then lay a clean paper 
 upon the print} hold it up againft the 
 light, lo will you fee all the ftroaks 
 
 which 
 
42 Folygraphicer. Lib. £ 
 
 which you may draw out, and ft]- 
 dow alio if you plcafe. 
 
 CHAP. XVI. 
 
 To extend or contra.^ a. Ft Bure peep- 
 ing the proportion. 
 
 I. TJ'Ncompals your pi&ure with or: 
 great Iquare, which divide into ; 1 
 many little ones as you pleale: thisdou 
 according as you would have your p 
 dhire either greater or 1 els, make at 
 other Iquare greater oriels, which d 
 vide into as many equal Iquares, whic 
 fei be drawn with a black lead plummet. 
 
 II. Take your black lead pen, an 
 draw the pifture by little and little, pal 
 ling from Iquare unto Iquare (by the ex 
 ample of the pattern) until you hav 
 gone all over with it : oblerving, tha 
 in what part of the Iquare the pidtur 
 lies, you draw the like part in th 
 Iquare anlwerable thereto, till you hav 
 finifhed the whole. 
 
 III. Thei 
 
Of Drawing. 43 
 
 1 III. Then draw it over with a pen, 
 n which (econd drawing of it you may 
 afiJy mend any fault, and ftiadow it at 
 lea hire. 
 
 I V. Lajlly^ when it is throughly dry, 
 11b it over with the crum of white- 
 iread , and it will take off all the 
 ilack lead ftroaks, (b will your draught 
 emain fair upon the paper. 
 
 CHAP. XVII. 
 
 To Exprefs the Powers. 
 
 E T E R N I T Y,It is exprefled in the 
 form of a fair Lady, having three 
 leads, fignifying time paft, prefent, and 
 to come in her left hand a circle, point- 
 ing with the forefinger of her right hand 
 up to heaven : the circle fignifies (he hath 
 neither beginning nor end. 
 
 In the Medals ^Trajan fhe was figured 
 reds fitting upon a Sphear , with the Sun 
 in one hand , the Moon in the other ( by 
 her fitting is fignifyed perpetual conffan-* 
 cy.) 
 
44 Polygraphices. Lib f.j 
 
 cy.) In the Medals of Fauflina, Jhe r 
 drawn with a vail , and in her right ha f 
 the Globe of the World. 
 
 II. T I M E, It is drawn (landing u« 
 ,on an old mine, winged, and with Ir< 
 teeth. Or thus , An old man in a garme 
 offtarss upon his head a garland 
 rofes, ears of corn, and dry (licks, (lan 
 ing upon the Zodiaque, with a lookir 
 glaft in his hands two children at 1 
 feet, the one fat, the other lean, writi; 
 both in one book 3 upon the head of or 
 the Sun, upon the other the Moon. > 
 thus , An old man, bald, winged, with 
 (itheand an hour-glafs. 
 
 III. FATE, A man in a fair, Ion 
 flaxen robe, looking upwards to brig! 
 flars encompafled with thick clouc 
 from whence hangs a golden chain. 
 
 IV. FORTUNE, A naked Lac 
 having an Infign or Sail overfhadowir 
 her, (landing upon a globe or ball. 
 
 V. EQJU ALI T r, A Lady lightin 
 two torches at once. 
 
 VI. V I c T O R Y, Is expreffed by 
 Lady clad all in Gold, in one hand 
 
 he! 
 
Of Drawing. 45 
 
 :lmet , in the other a pomegranate : by 
 e helmet is meant force 5 by the pomcgra- 
 ; te unity of wit and Counfel . 
 
 Auguftus drew her with wings ready to 
 ftanding upon a globe , with a garland 
 ' Bays in one hand , in the other a Coronet 
 ' the Emperour 0 with thefe words Impe- 
 tor Caviar. In the Medals of Ofravius, 
 j is drawn with wings , jianding on a 
 /<?, in one hand a palm 3 in the other a 
 own of gold. 
 
 VII. PEACE, Is drawn like a 
 idy, holding in her right hand a wand 
 
 rod downwards towards the earth, 
 'er a hideous Serpent of fundry co- 
 urs 3 and with her other hand cover* 
 g her face with a vail, as loath to be* 
 >ld ftrife or war. 
 
 Trajan gave a Lady , in her right hand 
 ! Olive branch , in her left a Cornuco- 
 a. In the Medals af Titus, a Lady ha- 
 ng in one hand an Olive-branch , the 
 1 her leading a Lamb and Wolf coupled by 
 e necks in one yoke : the Olive is always 
 ? embleme of peace. 
 
 VIII. PROVIDENCE, ALady 
 
 lifting 
 
I 
 
 4 6 Polygraphices. Lit! 
 
 lifting up both her hands to heavr 
 with this word Providentia Deorum. )i 
 thus , A Lady in a robe, in her right ha id 
 a Scepter, in her left a Cornucopia 9 wi\ 
 a globe at her feet. 
 
 IX. CONCORD, A Lady fittiir, 
 in her right hand a charger for facrifie, 
 in her left a Cornucopia , with the wcc 
 Concordia. Or thus , A fair Virgin, holL 
 ing in one hand a Pomegranate , in t e 
 other a Mirtle bunch; 
 
 The nature of thefe trees are fuu, 
 that if planted though a good (pace o< 
 from another, they will meet, and wil 
 twining, embrace one another. 
 
 X. F A M E , A Lady clad in a th 
 and light garment, open to the rriidc: 
 thigh, that (he might run the fafte 
 two exceeding large wings 5 garmer 
 embroider’d with eyes and ears, at 
 blowing of a trumpet. 
 
 cha: 
 
Of Drawing . 
 
 47 
 
 G H A P. XVIII. 
 
 Of Vertues and Vices. 
 
 \ 7ER.TUE , Is reprefented by 
 Hercules , naked with his Lyons 
 kin, and knotted club, performing fome 
 »ne 4 >f his Labours 3 as offering to ftrike 
 dragon keeping an Apple-tree 3 or 
 olding in his hand three golden Ap- 
 ples. 
 
 Hercules is nothing elfe but Vertue 0 his 
 ante in Greeks is H^t quafi kmcs 
 unonis gloria : vel quia kmio-h t &} 
 Oelebrat aut commemorat Heroas, which 
 r the property of Vertue: he is drawn na~ 
 ed to Jlsew her Jimplicity : by the dragon, 
 re meant all manner of vices : by the 
 ions skin ^ magnanimity : by his Oaken 
 lub , Reafon : by its knottinefs 0 the dif- 
 culty and labour in fee king after vettue : 
 1 ' the three golden Apples , three Heroical 
 ertues i Moderation , Content and La - 
 
 iur. 
 
 II. PI- 
 
48 Polygraphices. Lib. I 
 
 II. P IE T Y, Is drawn like a Lady 
 with a fober countenance 3 in her righi 
 hand a fword ftretched over an Altar 3 ii 
 her left hand a Stork 3 by her fide an E 
 lephant and a child. 
 
 The Storks is fo called of wy*, the re- 
 ciprocal love of parent and child , Oj 
 which this bird was always an Emblem, 
 for the love and care Jhe hath of her pa- 
 rents being old : the Eltphant worfhips to- 
 wards the riftng of the Sun . 
 
 III. H O P E, Is drawn like a beau 
 tiful child in a long robe hanging loole 
 {landing upon tiptoes, and a trefoyl 01 
 three leaved grals in its right hand , ir 
 its left an Anchor. 
 
 The loofe garment Jlsews^Jhe never pinch- 
 eth or binds truth 3 jlanding on tiptoes, 
 fijewr fije never Jlandeth firm 3 the branch 
 of trefoyl fhews knowledge ( the ground oj 
 faith ) faith ( the ground of hope ) ana 
 hope it Jelf. 
 
 IV. MERCY, A Lady fitting upor 
 a Lion, holding in one hand a Spear, in 
 the other an Arrow, which fhe (eem- 
 eth to caft away. 
 
 in 
 
Of Drawing. 49 
 
 In the Medals 0/Vitellius fie fits with 
 branch of Bays in her hand , and a ft a ff 
 ing by her. 
 
 V. FELICITY, A Lady fitting 
 1 an Imperial throne, in the one hand 
 Caduceus or Pvod, in the other a Cor- 
 ttcopia. 
 
 VI. FRUIT FULNESS, A Lady 
 tting upon a bed, and two little Infants 
 anging about her neck. 
 
 VII. DISSIMULATION, A 
 ady wearing a vizard of two faces, in a 
 >ng robe of changeable colour 3 and in 
 er right hand a Magpye. 
 
 VIII. SECURITY, ALady lean- 
 lg againft a pillar, before an Altar, with 
 Scepter in her hand. 
 
 CHAP. XIX. 
 
 Of Rivers » 
 
 H Erein you ought to obferve the 
 Adjundts and properties of the 
 .me, which confifts in fbme notable 
 E Acci- 
 
jo Polygraphices. Lib. ] 
 
 Accident done near them 3 fome fa 
 mous City, trees, fruits, or reeds fituat 
 upon their banks 3 fome fifh only prc 
 per to their ftreams 3 or recourfe offhip 
 ping from all parts of the world. 
 
 I I. Therefore you had beft place th 
 City upon their heads 5 their fruits in 
 Cornucopia^ reeds, flowers, and bran 
 ches of trees in their Garlands, and th 
 like. 
 
 III. The River TIBER. It is exprefle 
 ( in the Vatican in Rome ) in a goodl 
 Statue of Marble lying along ('for fo yo 
 muft draw them ) holding under hi 1 
 right arm a (he Wolf, with two little ir 
 fants fucking at her teats, leaning upo 
 an Urne or Pitcher, out of which ifluet 1 
 its dream : in his left a Cornucopia of de 
 Jicate fruits, with a grave Countenanc 
 and long beard 3 a garland of flower 1 
 upon his head 3 and refting his right lq 
 upon an Oar. 
 
 IV. The River NIL US. It is fee 
 ( in the Vatican j cut out in white Mai 
 ble, with a garland of fundry fruits an< 
 flowers, leaning with his left arm upoi 
 
 
Of Drawing. 5 r 
 
 a Sphynx 5 from under his body ifliieth 
 its ftream 5 in his left arm a Cornucopia 
 full of fruits and flowers on one fide, and 
 a Crocodile on the other fide, with fix- 
 teen little children finding and pointing 
 to the flood. 
 
 The Sphynx was fome times a menslcr 
 which remained by Nilus : the Crocodile 
 1 T8 HubKOi/ , from his hatred, of Saf- 
 fron^ the moil famous monfier <?/ Egypt : 
 
 ). the (ixteen children the fixteen cubits .of 
 | height , the uttermojl of the flowing of 
 1 Nilus: their jmiling lookj^the profit of it 
 j which glads the hearts of the Sun-burnt 
 inhabitants . 
 
 I V. The River TIGRIS. It was ( 
 drawn like an old man (as the reftj and 
 : by his fide a Tiger. 
 
 This beafl was given it afwel for its 
 [fierce ftr earns , as for the fiore of Tigers 
 j which are there. 
 
 V I. The river GANG E S. It bears 
 I the lhape of a rude and barbarous fa- 
 J vage , with bended brows j of a fierce 
 jand cruel Countenance, cr owned with 
 j ^ palm 3 having ( as o&^i floods ) his. 
 
5 2 Tolygraphiccs. Lib. T, 
 
 pitcher , and by his fides a Rhino- 
 ceros. 
 
 This River runneth through India , and 
 hath its head from a fountain in Tara - 
 dijc 
 
 VII. The River INDUS. It is 
 drawn with a grave and jovial afpedh, 
 with a garland of its country flowers., 
 by its fide a Camel ( from wim : ) it 
 is reprelented pleafantly 5 grave as an 
 Embleme of the Indian pollicy. 
 
 This is the greatejl River in the worlds 
 receiving into its channel thrcefcore other 
 great and famous Rivers , and above an 
 hundred leffer. 
 
 VIII. The River THAMESIS. 
 In the houfe of an honourable friend I 
 law the Thames , thus drawn : A Captain 
 or Souldier lying along holding in his 
 right hand a Sword, and under his arm 
 the Auguft tower : in the other a Cornu- 
 copia of all fragrancies , with a Golden 
 chain which held four Crowns 5 and 
 with this he encompafled the dreams, 
 from under which bending of his left 
 arm they leemed to flow: his temples 
 
 were 
 
Of Drawing. 55 
 
 were adorned with Bays, the River 
 ■was empaled on one fide with An- 
 chors, and on the other, ftood Cafar’s 
 Augi/Jia. 
 
 
 
 CHAP. XX. 
 
 Of Nymphes. 
 
 IS lymph a ^ a Bride ( from 
 p»ov & (fdivi^<u t as it were a frefj or 
 new creature : or as fome will have it from 
 Nympha quad Lympha, hy changing L. 
 into N. after the Dorick^ dialeB : ) it is 
 3 nothing ehe but an Allegory, from the 
 . Vegetative humidity., which gives life to 
 rrees, herbs, plants and fiowers,by which 
 :hey grow and increafe. 
 
 1 1. They are fained to be the daugh- 
 of the Ocean, the mother of floods^ 
 he nurfes of Bacchus , and goddefles of 
 lelds , who have the protection and 
 ' charge of mountains, herbs, woods, mea- 
 ; lows, rivers, trees, and generally of the 
 11 Whole life of man. 
 
 E 3 lll.FirJl, 
 
54 Tolygraphices. Lib. i. 
 
 III. Firfl , Napae# , Nymphes of the 
 Mountains. 
 
 Let them be drawn of a Iweet and 
 gracious alpeft, in green mantles, girded 
 about in the middle 5 and upon their 
 heads garlands of honeyfuckles, wild- 
 roles, tyme and the like 5 their actions, 
 dancing in a ring , making garlands or 
 gathering flowers. 
 
 'They are fo called from Nmr> the top of 
 an hr If or woody valley. 
 
 J V. Secondly , Dryades, Nymphes of the 
 woods. 
 
 Draw thefe lels fair than the former,of 
 a brown or tawny complexion , hair 
 thick like mofs , and their attire of a 
 dark green. 
 
 They arc fo called from an Oaf 0 
 having their beginning with trees , and dy- 
 ing again with them. 
 
 V. Thirdly ) Naiades, Nymphes of floods. 
 
 Draw them beautiful with arras and 
 legs naked, their hair clear as Cryftal 5 
 upon their heads garlands of water- 
 crcfles., with red leaves : their aftions, 
 po wring out water. 
 
Of drawing. 55 
 
 They are fo called from Ni« to flow , or 
 > ub hie as water doth. 
 
 V I. Thetis , A Lady of a brown com- 
 plexion 3 her hair Mattered about her 
 houlders, crowned with a coronet of 
 Periwincle and Efcallop (hells , in a 
 nantle of Sea-green , with chains and 
 pracelets of Amber about her Neck 
 and Arms., and a branch of red Coral in 
 ler hand. 
 
 VII. Galatea^k moft beautiful young 
 
 Virgin, her hair careleily falling about 
 her (houlders like filver threds, and at 
 sach ear a fair pearl,with a double fixing 
 Pfthern (" fometimes ) about her Neck 
 and left Arm, a mantle of pure thin 
 and fine white, waving as it were by 
 the gentle breathing of the air, view- 
 ing in her hand a fpung made of Sea- 
 froth , Jfje is jo called from jahcc , lac , 
 milk,. ' 
 
 VIII. Iris , A Nymph with large 
 wings, extended like to a femicircle, the 
 plumes fet in rows of divers colours, as 
 yellow, green, red, blew or purple 5 her 
 hair hanging before her eyes, her breads 
 
 E 4 like 
 
5 6 Tolj/gr aphiccf. Lib.] 
 
 like clouds, drops of water falling fron 
 her body, and in her hand Iris , or th* 
 Flower-deluce. 
 
 Virgil makes her the meffenger o 
 J™° (where (he is taken for the Air 
 
 when he (aith, Irin de Ccelo mifit Satur 
 nia Juno. J 
 
 IX. Nymph* Diant ; Let them b( 
 clothed in white Jinnen to denote 
 then Vnginity, and their garments gin 
 about them; their Arms and Shoulder 
 naked ; bows in their hand, and arrows 
 by their (ides. 
 
 X. Aurora, the Morning. A young 
 Virgin with carnation wings and a yel- 
 low mantle; in her forehead a (far, and 
 Golden Sun-beams from the Crown of 
 
 er bead, riding upon Pegajus , with a 
 viol of dew m one hand, and various 
 flowers m the other, which fhe fcattereth 
 upon the earth. 
 
 CHAP, 
 
Of Drawing, 
 
 57 
 
 CHAP. XXI. 
 
 Of the Nine Mufes. 
 
 L I O, She is drawn with a Co- 
 
 ronet of Bays , in her right hand 
 a trumpet 3 in her left a book , upon 
 which may be written Hijloria 3 her name 
 is from praile or glory. 
 
 I I . E U T E R P E, Is crowned with 
 1 garland of flowers, holding in each 
 :iand, fundry winde Inftruments, her 
 aame is from giving delight. 
 
 III. THALIA. Draw her with a 
 miling look, and upon her Temples a 
 Coronet of Ivy, a Mantle of Carnation 
 embroidered with filver twift and gold 
 
 pangles, and in her left hand a vizard, 
 her Ivy Ihews (he is miftrils of Comical 
 Poefie. 
 
 IV. MELPOMENE. Draw her 
 like a virago, with amajeftickandgrave 
 countenance , adorn her head with 
 Pearls, Diamonds and Rubies 3 holding 
 
 in 
 
58 Folygraphiccs. Lib. 1 
 
 in her left hand Scepters with Crown 
 upon them, other Crowns and Scepter, 
 lying at her feet 5 and in her right hanc 
 a naked poniard,, in a Mantle of change 
 able Crimfon. Her gravity befits Tra- 
 gick Poefie. 
 
 "V. POLYHYMNIA. Draw her act- 
 ing a Speech with her forefinger, all ir 
 white, her hair hanging loofe about hei 
 Ihoulders of an orient yellow, upon hei 
 head a garland of the choiceft jewels in- 
 termixt with dowers, and in her left 
 hand a book, upon which let be written 
 Suadcre 3 her name imports memory, to 
 whom the Rhetorician is beholden. 
 
 VI. ERATO. She hath her name 
 from "Eta;, Amor , Love 3 draw her with a 
 fweet and comely vilage, her temples girt 
 with myrtles and roles, bearing an heart 
 with an Ivory Key 3 by her fide Cupid , 
 winged, with a lighted torch 3 at his 
 back, his bow and quivers. 
 
 VII. TERPSICHORE 3 a chearful 
 vilage playing upon lome Inftrumentj 
 upon her head a Coronet of Feathers of 
 lundry colours, but chiefly green 3 in to- 
 ken 
 
Of Drawing. 59 
 
 , r bn of the victory which the Mules got 
 •if the Syrenes, &c. by linging. 
 
 Mill. URANIA, A beautiful La- 
 j y in an azure robe 5 upon her head a 
 loronet of bright liars } in her right 
 .and the Cceleftial globe , and in her 
 ■ft the Terreftial. Her name imports 
 > much as heavenly j Drama cceli motus 
 rut at or & Ajlra. 
 
 IX. CALLIOPE, Upon her 
 iead draw a Coronet of Gold; upon 
 ,ier left Arm Garlands of Bays in ftore, 
 or the reward of Poets and in her right 
 and three books upon which write Ho- 
 tertis^ Virgilius , Ovidius. 
 
 The Mufes had their names as Eule- 
 >ius faith , mfijt A y.vKv , which is to 
 njlruCt , becauje they teach the mojh ho - 
 zeli and laudable difciplines. 
 
 CHAP. 
 
CHAP. XXII. 
 
 Of the four IVinds. 
 
 I. C Vrus , the Eaft-wind. Draw t 
 ~ youth with puffed and blow 
 cheeks ( as all the other winds mu: 
 be) wings upon his (boulders , his boc 
 like a Tauny Moor , upon his head . 
 Red Sun. 
 
 II. Zephyruf, the Weft-wind. Dra ’ 
 a youth with a merry look, holding i 
 his hand a Swan, with wings difplai’d ; 
 about to fing, on his head a garland c 
 all forts of flowers. 
 
 *Tis called Zephyrus quaff fvh 
 bringing life , bccaufe it cherifheth an. 
 quickneth. 
 
 III. Boreas^ the North-wind. Drav 
 it like an old man , with a horrid, ter 
 rible look , his hair and beard covere* 
 with (now , or the hoar-froft } with tb 
 feet and tail of a Serpent. 
 
 IV. Anfter , the South-wind, is drawt 
 
 witl 
 
Of Drawing. 6 1 
 
 /ith head and wings wet, a pot or urne 
 ouring forth water, with which de- 
 ;and frogs, grafhoppers, and the like 
 features which are bred by moifture. 
 
 CHAP. XXIIL 
 
 Of the Monet hs of the Tear. 
 
 J Amtary muft be drawn all in white, 
 like fnow or hoar froft, blowing 
 tis fingers 3 in his left arm a billet, and 
 Aquarius handing by his fide. 
 
 1 1. February is drawn in a dark skie 
 olour, carrying in his right hand Pifces, 
 >r Fifties. 
 
 III. March is drawn tawny with a 
 ,erce look, a helmet upon his head, 
 waning upon a Spade : in his right hand 
 | tries 5 in his left Almond blofioms and 
 cions 5 and upon his arm a basket of 
 jarden-leeds. 
 
 IV. April is drawn like a young 
 nan in green, with a garland of Myrtle 
 nd Hawthorn-buds, winged, in the 
 
 one 
 
62 Polygraphiccs. Lib, 
 
 one hand Primrofes and Violets; in t 
 ether Taurus. 
 
 V. May is drawn with a fweet ai 
 iovely alpeft, in a robe of white ai 
 green, embroidered with Dafiadils,Ha 
 thorn agd Blew-bottels ; on liis he 
 a garland of white, red. Damask-role 
 in the one hand a Lute ; upon the foi 
 finger of the other a Nightingal. 
 
 V I. June is drawn in a mantle 
 Dark grals-green ; upon his head a C 
 ronet of Bents, King-cobs, and Maide 
 hair ; in his left hand an Angle ; in 1 
 right Cancer? and upon his Arm a bask 
 of Summer fruits. 
 
 VII. July is drawn in a Jacket 
 light yellow, eating Cherries, with 1: 
 face and bolbme Sun-burnt; on his her 
 a garland of Centaury and Tyme, on 1 
 fhoulder a Sithe; with a bottle at 1 
 girdle, carrying a Lion. 
 
 VIII. -Augujl is like a young man 
 a fierce look, in a flame-coloured rob< 
 upon his head a garland of wheat ; upt 
 his arm a basket of Summer-fruits; 
 his belt a Sickle, bearing a Virgin. 
 
 IX. Septa 
 
Of Drawing. 63 
 
 IX. September is drawn in a purple 
 robe, with a cheerful look 3 and on his 
 head a Coronet , of white and purple 
 grapes 3 in his left hand a handful of 
 3 ats with a Cornucopia of Pomegra- 
 nates and other Summer-fruits 3 and in 
 his right hand a ballance. 
 
 X. O&ober is drawn in a garment of 
 the colour of decaying flowers and 
 leaves 3 upon his head a garland of Oak- 
 leaves with the Acorns 3 in his right hand 
 a Scorpion 3 in his left, a basket ofServi- 
 ces, Meddlars, and Cheftnuts. 
 
 XI. November in a robe of changeable 
 green and black ; upon his head, a gar- 
 land of Olives with the fruit 3 in his 
 right hand Sagittarius : and in his left 
 nunches of Parlhepsand Turneps. 
 
 XII. December is drawn with a hor- 
 'id aipeft, clad in Irifh rug, or courle 
 freeze, girt about him: upon. his head 
 three or four night-caps, and over them 
 1 Turkilh Turbant3 his Nole red 3 beard 
 hung with Iceickle3 at his back a bun- 
 dle of Holly and Ivy 3 holding in Furred 
 Mittens a Goat. 
 
 Where 
 
6 \ Polygraphices. Lib. I. 
 
 Where note it will be good to give eve- 
 . ry month its natural and proper Landslip, 
 not making blojjbmes and fruits upon 
 trees in December } nor a barren face oj 
 the Earth and Trees in June. 
 
 CHAP. XXIV. 
 
 Of VerfpdHve in General. 
 
 ♦QnriKtt' in Greek, PerfpeUiva irl 
 Latin , the Art of feeing in Englifh 5 
 is that by which we behold, contem- 
 plate, and draw the likenels of all magni- 1 
 tudes, juft in form and manner as they 
 appear to the Eye. 
 
 I I . The matter to be feen or {pecula- 
 ted is a magnitude : the manner of the 
 fpeculation, is by radiations of Light, ei- 
 ther direft, refle&ed, or broken. 
 
 III. A magnitude is that which hath 
 form 5 and it is either lineal, fuperficial, 
 or (olid j that is , either a complication 
 of points 5 a complication of lines 5 or a 
 complication of fuperficies. 
 
 IV, A 
 
Of Drawing. 6$ 
 
 IV. A line is a complication of 
 ooints 3 that is (according to EUCLID) 
 
 : length only without either breadth or 
 hicknefs. 
 
 V. A fuperficies is a complication of 
 ines3 that is, a length having breadth 
 vithout thicknefs. 
 
 For as the continuation of points makes 
 i line : Jo the couching of lines makes a 
 Mperficies 3 which is only the laying of 
 oints crofl wife. 
 
 V I. A folid is a complication of fa- 
 perficies 3 that is, a length and breadth, 
 laving depth or thicknefs. 
 
 And indeed it is nothing but the conti - 
 ination of points upon a fuperficies either 
 erpendicularly or bending. 
 
 VII. The Contemplation of the Ob- 
 eft, reprefents the Matter to the mind, 
 n the fame manner as its outward ap- 
 pearance doth to the Eye. 
 
 And from hence comes judgment here- 
 by the Artijl is enabled to dejcribc the fame 
 n lines 3 and delineate it 3 according to 
 Us apparent or vifual proportions. 
 
 VIII. To draw or defaribe the, Ap- 
 
 F pear- 
 
66 Polygraphices. Lib. I, 
 
 pearance in lines is the Adivepart of this 
 Art 3 whereby the Idea conceived in 
 the mind (by fight and contemplation J 
 is brought to light. 
 
 I X. A radiation is a beam of light, 
 conveighing the likenels of the thing, to 
 the Eyes, or fight $ and the Knowledge 
 thereof to the mind or underftanding. 
 
 And this radiation is twofold , either 
 external from the external light $ or Intel~ 
 letfual from its being and power. 
 
 X. Direct Radiations , are thole which ! 
 confider the dired or ftraight beams, 
 which pals between the Eye, and the 
 objed. 
 
 And this is the Ji'rJl kind of Perfpe - 
 Hive 5 and is many timesQtlone ) called the 
 
 OPTIGKS. 
 
 X I. Reflected Radiations , are thole 
 which confider the refledion of beams, 
 and their fhape upon any polilh’d body, 
 as on a Globe, Cone, Cylinder, Pyramid, 
 or any Regular folid. 
 
 And this is the fecond kind of Perfpe- 
 ctive , which is called the Art C A T O- 1 
 PTRICA. 
 
 XII. tiro* 
 
Of Drawing, 
 
 XII. Broken Radiations , are thole 
 i which confider the breaking of beams, 
 ias they are to be leen through a glafs 
 or Cryftal cut into feveral plains or fii- 
 ,perficies. 
 
 i And this is the third and Lift kind of 
 [perjpe&ive which is called the Art D I- 
 
 jOPTRIC A. 
 
 CHAR XXV. 
 
 U* ; ; v ’ 11 
 
 Of the Active part of PerfpeSlivc. 
 
 I. / ~|~^He A&ive part of Perfpeetive is 
 JL either Ichnographicaf Orthogra- 
 phical , or Scenoqraphical. 
 
 II. ICHNOGRAPHIA, is the 
 delcription of the plain, bale or bottom 
 of any body or building. 
 
 III. And it is twofold, to wit, either 
 Geometrical or Scenographicdl. 
 
 I V. Ichnographia Geometrical , is that 
 which gives the fight of the bottom e or 
 bale of any body or building. 
 
 So a Circle is the hafe of a Column 3 
 F 2 and 
 
58 Polygraphices. Lib. I. 
 
 and a fquarc is the bafe of a Pedejlal 3 and 
 the like 3 but ^//Geometrical Ichnogra- 
 phy // not feen in Section , or through a 
 Glafi^ unlefi it lies parallel to the bafe 3 and 
 fo it makes noSeUion Keith it. 
 
 V. Ichnographia Scenographical is the 
 
 Appearance of the fame bafe in Se&ion, 
 or through a Glafs, ere&ed upright on 
 the fame plain , on which the bale 
 (lands. | 
 
 And by this the faid bafe is extended in 
 length but contracted in breadth , for fo it 
 appears to the Eye. 
 
 VI. Orthographia^ is theVifion of the 
 foreright fide of any plain 3 to wit , of 
 that plain or fuperficies which lies Equi- | 
 diflant to a right line, paffing through 
 the outward or convex centers of both 
 Eyes, continued to a due length. 
 
 And therefore Perfpeftive Orthogra- i 
 phia , is the delineation of the apparent 
 right plain. 
 
 L S C E N O G R A P H I A is the deferi- 
 ption of a plain or other figure, that de- 
 clines from the apparent or fbreright 
 plain 3 that is, of that plain which makes 
 
 Angles 
 
Of Drawing. 6$ 
 
 Angles with the laid fbreright plain. 
 
 The Scenographick vifion of any form , 
 body 3 or building zx, of that fide which de- 
 clines from , or conjlitutcs an Angle , with 
 the right line , puffing from the convex cen- 
 ters of both Eyes aforefiid : this Artijls 
 call the return of the foreright fide. Now 
 the difference between the Orthographick 
 and Scenographick viflon is this f> the 
 Orthographick fbews the fide of a body 
 or building as it is beheld when the plain of 
 the Glafi is placed equidijlant to that 
 fide : but the Scenographick fhews the 
 fide of a body or edifice as it appears 
 through a glaf raifed obliquely to the faid 
 fide , or making an angle therewith. 
 
 CHAP. XXVI. 
 
 Of the fubjetd to be feen. 
 
 I. "THe BASE of any thing, > is the 
 *■ plain, flat, or floor, upon which 
 any folid body, or object is placed, or 
 railed. 
 
 F 3 
 
 II. The 
 
70 Tolygraphices. LJb. i. 
 
 II. The ALTITUDE or height 
 is the perpendicular fpace of place, be- 
 tween the bale and Eye, or height of the 
 Vifual point above the bafe. 
 
 III. The VISUAL point (is a point 
 in the Horizontal line, wherein all the 
 beams of the Eyes unite. 
 
 Exempli gratia. If you looh^ on a long 
 jiraight river , the (ides of which run pa - 1 
 rallel , yet by reafon of the dijlance , both 
 (Ides of the river ( although it be very 
 broad') will feem to incline , touchy and 
 unite with each other in otic common point 
 or center : and fo if you looh^ on a long 
 jiraight brie f- wall , the fever al lays of 
 briefs and courfes of mortar , will (at a j 
 great distance) feem to incline each to \ 
 other in one common point or center 5 this , 
 point refected on a glafi , raifed upright on 
 the bafe , is called the Vifual point. 
 
 IV. The HORIZONTAL line ', | 
 Is a line proceeding from the center of 
 the Eye to the vifual point, parallel to 
 the Horizon of the Earth. 
 
 And this is 0 in men of ordinary height 
 or Jlature 0 commonly about five foot from 
 the ground or bafe. V. The 
 
Of Drawing. 7 1 
 
 V. The DISTANCE isthelpace 
 on the bale, between the date, and 
 point in the bale which lies dire&ly un- 
 der the Eyes. 
 
 VI. The SECTION is a plain 
 of tranlparent or perlucid matter fas of 
 glals) railed upright on the plain of the 
 bale, Handing before you , parallel to a 
 ftraight line, palling through the convex 
 centers of both Eyes. 
 
 Without the knowledge of this Sedfion 
 or Glals, it is utterly impojjzble to under- 
 stand perlpecfive, or know what it means : 
 Or be able to give a reafon for the defer- 
 ence between the Orthograph ick and 
 Scenographickyigam 
 
 VII. If the Glals is placed near the 
 Vilual point, and far from the ob left, 
 the figure which is feen will be very 
 fmall : and the reafon is,becaule all rays 
 comprehending the Orthographical and 
 Scenographical figures (though more 
 remote from the objeft ) fall into the 
 Vilual point, as their common center, 
 
 VIII. If the Vilual point be more e- 
 levated ( though at the lame diftance) 
 
 F 4 the 
 
7 2 Tolygraphices. Lib. 1 
 
 the Scenographick figure or form, wil 
 appear of a much larger magnitude 
 becaufe the Vifual radiations beinj 
 higher , the various perpendiculars rai 
 fed on the Sedion or Glafs 5 cut them it 
 wider difiances ^ becaufe more remote 
 from the Glafs. 
 
 IX. If the Glafs incline to the Vifual |t 
 
 point, the Scenographick vifion will be | 
 long wife between the Vifual point and i 
 the objed. i 
 
 And the reafon js 0 becaufe the plain oj 
 the Glafs 5 heaps in more of the Vifual Ra- 
 diations. 
 
 X. If the Glafs recline froln the Vi- 
 fual point^the Scenographick vifion will 
 appear rounder , and begin to refemble 
 the Orthographick. 
 
 X I. But if the Glafs is fixed Equidi- 
 ftant to the bale , or plain the objed 
 ftands on } the Scenographick and Or- 1 
 thographick refemblance will be one 
 and the fame. 
 
 And the reafon is , becaufe the form of 
 the figure is (loft or ) not viftble in Se- 
 ction* 
 
 XII. The 
 
Of Drawing. 73 
 
 XII. The VISUAL R.AIES, 
 re thole lines which proceed from the 
 /ifual point, through the Glafs, to any 
 oint higher or lower than the plain of 
 he Horizon. 
 
 XIII. DIAGONALS or lines 
 T diftance are fitch as are drawn from 
 he point of diftance, to any other point, 
 igher or lower than the Horizon. 
 
 XIV. The OBJECT is that form, 
 gure , body or edifice intended to be 
 xprefled in PerfpeBivc proportions. 
 
 CHAP. XXVIL 
 
 The General Practice of Perjpe&ive. 
 
 L Et every line which in the Object 
 or Geometrical figure, is ftraight, 
 'erpendicular, or parallel to its bale, 
 »e lb alfo in its Scenographick deli- 
 leation. 
 
 1 1. Let the lines which in the object 
 eturn at right Angles from the fore- 
 ight-fide, be drawn Scenographical- 
 
74 Pelygraphiccs. Lib. j 
 
 3 y from the Vilual point. 
 
 III. Let all ftraight lines, which i I 
 
 the object return from the fbre-rigi * 
 fide, run in a Scenographick figure int ‘ 
 the Horizontal line. , 
 
 I V. Let the objeft you intend to dt t 
 lineate (landing on your right hand, t 
 placed alio on the right hand of the V 
 (ual point : and that on the left hanc 
 on the left hand of the (ame point : ar 
 that which is juft before, in the middl 
 of it. 
 
 V. Let thofe lines which are (inth 
 objeft) Equidiftant to the returnin ; 
 line , be drawn in the Scenographic j 
 figure, from that point found in th 
 Horizon. 
 
 V I. In fetting off the altitude of Cc j 
 lumns, pedeftals and the like, meafur \ 
 the height from the bale line upwards i ; 
 the front or fore-right fide $ and a vi j 
 fual ray drawn, that point in the fron 
 (hall limit the altitude of the Column o 
 pillar, all the way behind the fore-righ 
 fide or Orthographick appearance, evei 
 to the viftial point. 
 
of Drawing* j 5 
 
 This rule you muji obferve in all figures 
 we l where there is a fronts or fore-right 
 he, as where there is none. 
 
 VII. In delineating Ovals, .Circles, 
 rches, Crofles,Spirals,and Croft-arches, 
 ; any other figure, in the roof of any 
 
 i>om , firft draw Ichnographically, and 
 > with perpendiculars , from the mod 
 minent points thereof carry it up unto 
 le Ceiling, from which leveral points 
 irry on the figure. 
 
 VIII. The center in any Scenogra- 
 hick regular figure is found by draw- 
 »g crofs-lines, from oppofite angles : for 
 ie point where the Diagonals crofs is 
 ie Center. 
 
 I X. A ground plain of fquares is a- 
 ’ke both above and below the Hori- 
 fontal line 5 only the more it is diftant 
 bove or beneath the Horizon , the 
 pares will be fo much the larger or 
 pider. 
 
 X. In drawing a perfpe&ive figure, 
 yhere many lines come together, you 
 pay for the dire&ing of your eye, draw 
 he Diagonals in Red , the Vifual lines 
 
 in 
 
j6 Tolygraphices. Lib [. 
 
 in black 5 the Perpendiculars in Gre i 3 
 or other different colour from ti t 
 which you intend the figure fhall be f. 
 
 XL Having confidered the heig;, 
 diftance, and pofition of: the figure a ll 
 drawn it accordingly, with fide or ; 
 gle, againft the bale 5 raife perpendii 5! 
 lars from the feveral angles or defignl 
 points in the figure , to the bafe, al 
 transfer the length of each perpend id 
 lar, from the place where it touches 1 q 
 bale, to the bale on the fide oppofite d 
 the point of diftance ; fowill the dian -i 
 teals drawn to the perpendiculars in te 
 bajfe, by interfedion with the Diagoni 
 drawn to the feveral transferred dift; 
 ces, give the Angles of the figure : a 1 
 fo lines drawn from point to point v> 1 
 cricumtcribe the Scenographick figure. 
 
 XII. If in Landskip , there be an 
 ftanding waters , as rivers, ponds, a 1 
 the like ; place the horizontal line ■ 
 vel with the fartheft fight or appearan; 
 of it. 
 
 XIII. If there be any houfes or t: 
 like in the picture, confider their pc 
 
Of Drawing, 77 
 
 an, that you may find from what point 
 , the Horizontal line to draw the fronts 
 d fides thereof. 
 
 XIV. In defcribing things at a great 
 fiance, obferve the proportion ( both 
 i magnitude and diftancej in draught. 
 Inch appears from the object to the 
 
 e. 
 
 X V. In colouring and fhadowing of 
 ery thing , you mu ft do the lame in 
 >ur pidure which you obferve with 
 mr Eye , efpecially in objeds lying 
 ■ar , but according as the diftance 
 •ows greater and greater, fo the Co- 
 itus muft be fainter and fainter, till at 
 d they loofe themfelves in a darkifh 
 y colour. 
 
 XVI. The CATOPTRICKS 
 le beft feen in a common looking glafs 
 
 other polifh’d matter, where if the 
 lafs be exadly flat, the objed is ex- 
 tfcly like its original : but if the glafs be 
 )t flat, the refemblance alters from the 
 riginal , and that more or lefs , ac- 
 arding as the Glafs differs from an Ex- 
 it plain. 
 
 XVII. In 
 
7 8 Polygraphices. Lib. 
 
 XVII. In drawing Catoptric k. figure 
 the lurface of the Gials is to be confide 
 ed, upon which you mean to have ti 
 reflection , for which you mult make 
 particular Ichnographical draught or pr 
 jedion3 which on the glals muftappe 
 to be a plain full of Iquares 3 on whit 
 projection transfer vvhat fhall be draw 
 on a plain divided into the fame nui 
 ber of like Iquares : where though t 
 draught may appear very confuted , y 
 the refledion thereof on the Glals, w 
 be very regular, proportional and real 
 compofed. 
 
 XVIII. The DIOPTRICK 
 broken beam may be feen in a tul 
 through a Cryftal, or Glals, which ha 
 its lurface cut into many others, whei 
 by the raies of the objed are broke 
 
 For 0 to the flat of the Cryftal or watt 
 the raies run jlraight 3 but then they bre 
 and make an Angle 3 the which alfo by t 
 refracted beams is made and continued 
 the other flde of the fame flat. 
 
 XIX. When thele faces o,n a Cryfi 
 are turned towards a plain ^ placed ( 
 
 red 
 
of Drawing. 79 
 
 ftly before it, they feparate thenafelves 
 a good diftance on the plain 5 becaufe 
 ey are all dire&ed to various, far di- 
 mt places of the fame. 
 
 X X. But for the affigning to each of 
 lem a place on the fame plain, no Geo- 
 etrick rule isyet invented. 
 
 CHAP. XXVIII. 
 
 4 Rational Demonjlration of Chiro- 
 nt anti cal Signatures 5 Added by 
 way of Appendix to Chap. V. 
 of this Book. 
 
 T He foundation of Chiromancie 
 depends upon the true appro- 
 1 iation of the feveral mounts , fingers, 
 r places in the hand, to their proper ftars 
 r planets. 
 
 i 1 1 . The Ancients have affigned the 
 ]»ot of the middle finger to Saturne 5 of 
 i e forefinger to Jupiter : the hollow of 
 l.e hand to Mars : the root of the ring 
 hger to Sol : of the thumb to Venus : of 
 
 the 
 
86 Tolygraphices. Lib. ! 
 
 the little finger to Mercury : and laftb 
 the brawn of the hand near the wrift t 
 
 Lnncu 
 
 III. That line which comes roun 
 the ball of the thumb towards the roc 
 or mount of Jupiter is called Linea Jt 
 vialis , or the life line: that from th 
 wrift to the root or mount of Saturm 
 Lima Saturnialis : but if it points to th : 
 root, or mount of Sof Lima folaris : 
 to Mercury , the Lima Mcrcurialis : th; i 
 which goes from the Lima Jovialis t 
 the mount of Lund , Lima Lunar is , or th 
 natural line : the other great line abo\ 
 it is called Lima Stellata , or the line < 
 fortune, becaule it limits the mounts < 
 the planets, and is imprefted with var 
 ous vertues in thole places according t 
 the nature of the planet whole moui 
 it runs under or lets a boundary untc 
 Laftly, the Ipace between the natur 
 line and the line of fortune is calk 
 men fa-, the Table. 
 
 IV. All other lines lhall either procee 
 out of the lides of the former, or el 
 from lome proper mount. 
 
 V. Even 
 
Of Drawing. 8 t 
 
 V. Every line great or fmall, long, or 
 lort, hath a certain beginning or root, 
 rom which it rifes , and a certain end 
 r point to which it tends. 
 
 VI. The diftance between both ends, 
 
 : the way of its paflage j in which way, 
 
 I: either crofles fome other line, or elfe 
 : eroded : if it do neither, its fignifica- 
 on is continual, and ought fb much the 
 lore to be taken notice of 
 
 VII. Every mount hath a proper 
 ignification, which it receives from the 
 gnifications of its proper planet, being 
 bftra&ly confidered : the lame under- 
 rand of all the principal lines afore- 
 lid. 
 
 VIII; Saturn is the Author of Age, 
 inheritances, Melancholly, Malice, Sor- 
 ow, Mifery, Calamities, Enemies, Im- 
 irifonment, Sicktiels, Difeafes, Perplexi- 
 ies, Cares, Poverty, Croffes, Death,and 
 vhatfoever evil can befall humane life : 
 he fignifies Fathers, Old Men,LaboUrers, 
 3yers, Smiths and Jeluites. 
 
 IX. Jupiter is the Author of Health, 
 Strength, Moderation, Sobriety, Mercy, 
 G Riches, 
 
82 ' Polygraphices . Lib. 
 
 Pdches, Subftance, Goodnefs , Liberty 
 Religion, Honefty, Juftice,Modefty, an 
 all other things which may make a Ma 
 happy 5 he fignifies Churches, Churcl 
 men, Lawyers, Schollars, Cloathiers,an 
 the like. 
 
 X. Mars is the Author of Strifi 
 Contention, Pride, Prelumption,Tyrar 
 ny. Thefts, Murders, Victory, Conquef 
 Infortunacy, Bpldnels, and Dangers : b 
 fignifies Phyficians, Chirurgians, Ape 
 thecaries, the Camp, all Military Me 
 and Preferments, Edge-tools, Butcher 
 Carpenters, Gunners, Bailiffs , and tb 
 like. 
 
 XI. Sol is the Author of Honour 
 Glory, Renown’, Preferment, Life, Gt 
 nerofity,Magnanimity, Sovereignty, Dc 
 minion. Power, T reafiires, Gold, Silvei 
 and whatfbever may make the life c 
 Man fplendid } he fignifies. Kings, Priri 
 ces. Pvulers, all men in Power, Minter 
 Gokifmiths, long Life and Wifdom. 
 
 > II. Venus is the Author of Joj 
 Pier hr.*, Mirth, Solace, Luft, Unclear 
 nefs at- dlenefs: ihe fignifies women 
 
 kind 
 
Of Drawing. 83 
 
 kind, Sifters, Ladies, Whores, Curiofi- 
 ties, Lapidaries, Silkmen, Taylors, Mer- 
 ;ers, Upholfters, Pictures, Pi&ure-draw- 
 irs , the Pox, and difeales proceeding 
 rom uncleannels. 
 
 XIII. Mercury is the Author of Craft, 
 mbtilty, Policy, Deceit, Perjury, Stil- 
 ly , Hearing, and Merchandizing : he 
 lgnifies Merchants, Clerks, Scholars, Se- 
 cretaries, Ambafladors, Pages, Me'flen- 
 gers, Poets, Orators, Stationers, Chea- 
 ers, Thieves, Petty-lawyers , Philofo- 
 >hers. Mathematicians, Aftrologers, 
 
 XIV. Luna is the Author of popu- 
 ar Fame both Good and Evil, Joy and 
 
 J.'orrow, Mutability and Jjaconftancy } 
 
 ' Vffeftion andDifaffe&ion, Moifture and 
 ‘very affeft which may be laid to b t 
 ommon : fhe fignilies Waters , Ships, 
 earn cii of all forts, Queens, Ladies, a 
 jovernefs. the Common people in ge- 
 i.eral. Neighbours, Mothers , Kindred, 
 
 I 'ifhmongers, Vintners, Tapfters, Mid- 
 lives, Nurles and Travellers. 
 
 This being hyiown^ undertf and, 
 
 XV. Firji.^ That the lines take their 
 G 2 figni- 
 
84 Tolygraphices, Lib. I. 
 
 fignification from the mount of that pla- 
 net from whence they rile. 
 
 XVI. Secondly, That the place froir 
 whence any line riles (hews the ground 
 caule, or original of the things fignifiec 
 by that line : the line or mount tc 
 which it points,, (hews the Iflue, to wh# 
 the thing tends, and what may be th< 
 end of the matter fignified. 
 
 XVII. Thirdly , That whether thi 
 line fignifies good or evil , if it be cu 
 or crofted by any other line., that line f< 
 cutting it, will at a certain time no 
 only abate the good, but allb take awa: 
 the evil, if it lb fignified. 
 
 XVIII. Fourthly, That the natur 
 and quality of that line thus deftroyin 
 the fignification of the former, is know 
 by confidering from what place it rife: 
 and to what place it tends. 
 
 X I X. Fifthly, That a double judge 
 ment ariles from every line, by accouro 
 ing its rife, firft from the one end $ S< 
 condly, from the other. 
 
 XX. Sixthly , That little lines rifir 
 out of the tides of any other line , boi 
 
 augmei 
 
of Drawing. 8 5 
 
 Augment the things fignified by that 
 line 3 and allb fignifie new matter ari- 
 sing by things fignified by the line from 
 whence they rile 5 and the place to which 
 :hey point, (hew to what they tend. 
 
 XXI. Seventhly , That the mounts or 
 unes adorned with ftars, or finall lines, 
 ,iot eroded, or pointing to evil places, 
 hew great good and happinels to the 
 ?erlon, by things fignified by the lame 
 nount or line : and on the contrary, vi- 
 j ,:iated with erodes, Ipots, or knots, Ihew 
 { ,nuch evil and perplexity, 
 jit XXII. Lajl/y , the beginning of the 
 ines, Ihews in the beginning or forepart 
 j, pf Life 5 the middle, in the middle part 
 jjiDf Life j and the ends of them, the latter- 
 r >art,or end of Life 5 lo that if any evil 
 jgpr good be fignified by any line , you 
 null hint it the time according to the a- 
 brelaid reafon. 
 
 jjj 'Tisfrue^ here we ought to enquire into 
 t he denominated times when the things 
 ignified jhould come to paf $ hut hecauje 
 1 1 hat matter is fo me thing long and a'ofirufe 
 jJ being more jit to be handled in a parti- 
 G 3 cular 
 
S6 rolj'graphices. Lib. i, 
 
 cular tra£t 0 wherein all its curio ftties may 
 he examined') this our prefent worh^beiny. 
 a fubjedf of another nature 3 and thef 
 things not ejjential to our purpofe 5 bm 
 only added by way of appendix ywe Jball a\ 
 this time forbear . Notwithstanding) al- 
 though we have not here delineated ever) 
 thing in particular;, yet we have laid (at 
 it were) the ground and foundation of thi 
 Art j out of .which 0 as out of a fountain, 
 the industrious jiudent 3 may at his owr, 
 leifure and pleafure , rear a Jiately fa- 
 bric^ 
 
 POLY 
 
87 
 
 >OLYGRAPHICES 
 
 Liber Secundus. 
 
 fi Of Engravings Etchings 
 and Limning. 
 
 /hewing the Inflruments belong- 
 ing to the work ; the matter of 
 the work , and the way and 
 manner of performing the fame , 
 together with all other requi- 
 sites and ornaments. 
 
 CHAP. I. 
 
 >/ Graving, and the Injlruments thereof. 
 
 G RAVING is an Art which 
 teacheth how to transfer any de- 
 ign upon Copper, Brals, or Wood, by 
 G 4 help 
 
88 Polygraphices. Lib. 11 
 
 help of (harp pointed and cutting In 
 ftruments. 
 
 I I . The chief Inftruments are four 
 i. Gravers, 2. An Oyl ftone, 3. ACu 
 ftiion 3 4. Aburniftier, 
 
 III. Gravers are of three forts, roun< 
 pointed, (quare pointed, and Lozenj 
 pointed. The round is beji to fcrata 
 with all : the fqtiare graver is to make th 
 largejt jlrokes : the Lozeng is to mak 
 ftrokes more fine and delicate : But a gra 
 ver of a middle fize betwixt the fquar 
 and Lozeng pointed , will make thejlroke 
 or hatches Jhow with more life ant 
 vigour , according as you manage it it 
 
 Oyl-ftone is to whet th< 
 Gravers upon, which muft be ver’ 
 Imooth, not too foft, nor too hard, am 
 without pinholes. 
 
 The ufo is thus: put a few drops of oy 
 Olive upon the Jlone , and laying that fidt 
 of it , ( which you intend floall cut the Cop 
 per J flat upon the jlone , whet it very flat 
 and even 3 and therefore be fure to carrj 
 your hand jledfajl with an equal jtrength. 
 
 working 
 
 IV. 
 
Of Engraving, 89 
 
 facing the forefinger Jirmly, upon the op- 
 ofitejide of the graver. Then turn the 
 ext fide of your graver 0 and whet that in 
 fie manner , that you may have a very 
 <arp edge for an Inch or more. Lajlly , 
 trning uppermofi that edge which you 
 Wave fo whetted 3 and fetting the end of 
 he graver obliquely upon the jlone 3 whet 
 t very fiat and fioping inform of a Lo- 
 ti ,eng ( with an exacl and even handj 
 waking to the edge thereof a fijarp point, 
 t is impojftble that the worfijhould be 
 ", nth the neatnefs and curiofity de- 
 red ^ if the graver be not onely very 
 ood 5 but alfo exaBly and carefully whet- 
 ed. 
 
 V. The Cufhion is a leather bag 
 illed with fine land, to lay the plate 
 ipon, on which you may turn it every 
 vay at eafe. 
 
 Tou mujl turn your plate with your left 
 hand^ according as the Jlroaky which you 
 grave do turn 5 which mujl be attained with 
 diligent care and praBicc. 
 
 VI. The burnilhing Iron is of ufe to 
 rub out fcratches and Ipecks or other / 
 
 things' 
 
9 a Polygraphiccs. Lib. 1 
 
 things which may fault your work i 
 the plate $ as alfo if any ftroaks b 
 graved too deep or grofs to make thei 
 appear lefsand fainter by rubbing thei , 
 therewith. 
 
 VII. To make your gravers $ 
 
 Provide fome Crojs-bow Steely and cauj 
 
 it to be beaten out into fmall rods , an 
 foftned , then with a good file you mayjhap 
 them at pleajure : when you have dom I 
 heat them red-hot , and Jlraight dip it in 
 to Soap , and by fo doing it will be ver.\ 
 hard: where note that. in dipping ther 
 into the Soap, if you turn your han< 
 never fb little awry, the graver will b 
 crooked. If your graver be too hard tak, 
 a red-hot Charcoal and lay the end of you 
 graver upon it till it begins to wax yel 
 lowijh , and then dip it into tallow (fom 
 fay water J and it will be tougher. 
 
 VIII. Have by you a piece of box o 
 hard wood, that after you have (harp 
 ned your graver, by ftriking the poin 
 of it into the (aid box or hard wood 
 you may take off all the roughnels a 
 bout the points, which was caufec 
 
fp 
 
 Of Engraving. cji 
 
 l ■ whetting it upon the oyl-ftone. 
 
 I X. Laftly, take a file and touch the 
 <lge of the graver therewith 5 if the 
 t e cut it, it is too (oft, and will. do no 
 ;>od : but if it will not touch it, it is fit 
 I r your work. 
 
 If it JJjonld breaks on the point , it is a 
 I n it is tempered too hard :, which often- 
 ]tnes after a little nfe by whetting will 
 < me into a good condition. 
 
 CHAP. II. 
 
 Of Tolijhing the Copper Plates. 
 
 T Ake a plate of Brafs or Copper 
 of what bignels you pleale, and 
 f a reafonable thicknefs, taking heed 
 hat it be free from fire flaws. 
 
 1 1. Beat it as finooth as you can with 
 hammer, and then rub it as finooth as 
 ou can, with a pumice ftone void of 
 travel ( left it (cratch it and fo caufe as 
 nuch labour to get them out ) and a lit- 
 le water. 
 
 1 1 1. Then 
 
9 2 Polygraphices. Lib. 
 
 III. Then drop a few drops of o 
 Olive upon the plate , and burnifh 
 with your burnifhing Iron } and then rn 
 it with Charcoal made of Beech woe 
 quenched in Urine. 
 
 I V. Laftly, with a roul made of 
 piece of a black felt, caftor, or beave 
 dip’d in oyl Olive, rub it well for 
 hour, fo {hall your plate be exaftly pd 
 liftied. 
 
 CHAP. III. 
 
 Of Holding the Graver. 
 
 I. T T will be neceflary to cut off th 
 i part of the knob of the handle 
 
 the graver which is upon the lame lin 
 with the edge of the graver j there } 
 making ( that lower fide next to 
 plate J flat, that it may be no hinderanc 
 in graving. 
 
 For working upon a. large plate , tha 
 paft of the handle (if not cut array) will J 
 rejl upon the Copper , that it will hinder th 
 
 fmooti 
 
Of Engraving. 93 
 
 i ooth and even carriage of your hand in 
 i akjng your Jiroakj , and will caufe your 
 \ aver to run into your Copper deeper than 
 \ fiould do. This done, 
 
 , 1 1. Place the knob at the end of the 
 hndle of the Graver in the hollow of 
 our hand, and having extended your 
 orefinger towards the point of the Gra- 
 er, laying it a top, or oppofite to the 
 dge which fhould cut the plate, plage 
 our thumb on the one fide of the 
 iraver, and your other fingers on 
 he other fide, fo as that you may 
 ;uide the graver flat and parallel with 
 he plate. 
 
 III. Be wary that your fingers inter- 
 >ofe not between the plate and the 
 3raver, for they will hinder you in car- 
 rying your graver level with the plate, 
 ind caufe your lines to be more deep, 
 ;ro(s, and rugged, than otherwife they 
 would be. 
 
 CHAP. 
 
94 
 
 Polygraphices. Lib, 
 
 . I 
 
 ‘ rl 
 
 CHAP. IV* 
 
 ' , J 
 
 Of the way and manner of Engraving. \ 
 
 I* r JAving a Cufhion filled with far! 
 
 1 I about nine inches long and fi 
 broad., and three or four thick, andt 
 plate well polifhed, lay the plate upa 
 the Cufhion , which place upon a firi 
 Table. 
 
 II. Holding the Graver ( as afon j' 
 laid) according to art, in making ftraigl I 
 ftroaks be lure to hold your plate fin | : 
 upon the Culhion, moving your han< 
 leaning lightly where the ftroak fhoul 
 be fine 5 and harder where you woul 
 have the firoke broader. 
 
 HI. but in making Circular e 
 Crooked ftroaks, hold your hand anyi 
 Graver fteadfaft, your arm and elbo\ 
 refting upon the table, and move th 
 pl a ^ e againft the Graver 5 for other 
 wife it is impoffible to make thof 
 crooked or winding ftroaks with tha 
 
 neat 
 
Of Engraving. 95 
 
 eatnefs and command;, that you ought 
 > do. 
 
 IV. Learn to carry your hand with 
 ich a flight, that you may end your 
 
 , roke as finely as you began it 5 and if 
 ou have occafion to make one part 
 f eeper or blacker than another, doit 
 j y degrees 3 and that you may do it the 
 lore exactly, oblerve that your ftroaks 
 e not too clofe, nor too wide. 
 
 For your more exact obfervation, pro- 
 file by (uch prints which are more 
 ( j )ofly (hadowed , left by imitating the 
 lore dark, you fliould not know where 
 o begin or end. 
 
 V. After you have Graved part of 
 our work, it will be needful to fcrape 
 
 . : with the (harp edge of a burniflier or 
 ther graver,carrying it along even with 
 be plate , to take off the roughneft of 
 iieftrokes^ but in doing it beware of 
 laking (cratches. 
 
 V I. And that you may the better fee 
 hat which is engraven, with the piece of 
 elt or Caftor fat the 4. e. 2.) dipt in 
 )'l rub the places graven. 
 
 VII.Laft- 
 
$6 Polygraphices. Lib.I 
 
 VII. Laftly, whatlbever appears ti 
 be amils, you may rub out with the bu; 
 niftier and very exactly polilh it win 
 your piece of Felt or Caftor and oy , 
 which done , to cleanfe the plate yc. 
 may boil it a little in wine vinegar, an. 
 rub it gently with a brulh of frtiall bra; 
 wire or hogs briftles. 
 
 CHAP, V. 
 
 Of the Imitation of Copies or Prints. 
 
 I. r TAving a piece of Bees wax tyd 
 [j. up in a fine holland rag, heat tl: 
 plate over the fire, till it may be b: 
 enough to melt the waixj then rub tl; 
 plate with the wax tyed up in the ra, 
 till you lee it covered all over wii 
 Wax , C which let be very thin : ) if it h 
 not even, heat it again by the fire, arl 
 Wipe it over gently with a feather. 
 
 II. If you would coppy a print d 
 pidiure , to have it print oif the fan; 
 way 5 then clap the print which yd 
 
 Woui 
 
Of Engraving. 97 
 
 ,/Ould Imitate with the printed fide 
 iextto the plate 3 and having placed it 
 cry exa&ly,rub the backfide of the print 
 with a burnifher , or any thing that is 
 ( ard 3 fmooth and round , which will 
 E1 au(e it to ftick to the wax upon the 
 i; )late: then take off the print, ( begin- 
 ling at one corner) gently and with 
 are, left you taer it, ( which may be 
 aufed alio by putting too much wax up- 
 in the plate) and it will leave upon the 
 vax the perfeft proportion in every 
 >art. i 
 
 Where note 0 if it be an old piffure, be- 
 , ore yon place it upon the wax 0 it will be 
 \ood to track^it over in every limb with a 
 ydach^lead penfil. 
 
 ■I III. But if you would have it print 
 j he contrary way 5 take the duft of 
 j dack-Iead, and rub the backfide of the 
 Sprint all over therewith, which black 
 t idc put upon the waxed plate , and 
 .vith your needle or drawing point, draw 
 ( ill the out-lines of the defign or print, 
 pH which you will find upon the wa t. 
 This done, 
 
 Id 
 
 IV. Take 
 
^8 Pofygraphices. Lib. II. 
 
 IV. Take a long graver either Lo- 
 zeng or round ( which is better) verj 
 fharp , aitd with the point thereof 
 fcratch over every particular limb in the 
 outftroke} which done, it will not be 
 difficult to mark out all the fhadows 
 as you engrave., having the proportior 
 before you. 
 
 V. Laftly,for Coppies or Letters, go 
 over every letter with black-lead , 01 
 write them with ungutnm’d Ink, and 
 clap the paper over the waxed plate a: 
 before. 
 
 CHAP. VI. 
 
 Of Engraving in Wood. 
 
 I. He figures that are to be carved 
 1 or graven in wood muft firft bt 
 drawn, traced,or parted upon the wood; 
 and afterwards all the other ftanding oi 
 the wood ("except the figure) muft be 
 cut away with little narrow pointed 
 knives made for that purpofe. 
 
Of Engraving, 99 
 
 Tf. is graving in wood is far more tedi- 
 ous and difficulty than that in Erafs or 
 Coppery bccaufe you mujl cut twice or thrice 
 to take out onejlroak b and having cut ity 
 1 to be careful in picking it out , left you 
 would breaks any part of the work, 3 which 
 'would deface it. 
 
 II. For the kind of the wood let it 
 be hard and tough : the beft for this 
 'purpofe is Beech and Box : let it be 
 'plained inch thick, which you may have 
 ! cut into pieces according to the bignels 
 of the figure you grave. 
 
 If I. To draw the figures upon the 
 wood. 
 
 Crinde white Lead very finey and tem- 
 per it with fair ivater ; dip a cloth there- 
 in y and rub over one (ideoj r the woody and 
 net it dry throughly : This kycpeth the Ink, 
 If if sou draw therewith j that it rim not 
 \abouty nor (ink, •' and i f you draw with 
 PasHlsy it makes the Jlroakj appear more 
 plain and bright. 
 
 I V. Having whited the wood as be- 
 fore (if it is a figure you would copy) 
 black or red the blankfideof the print 
 
 H 7 or 
 
IOO 
 
 Tolygraphices. Lib. II. 
 
 
 or copy, and with a little ftick or Swal- 
 lows qtlill, trace or draw over the ftrokes 
 of the figure. 
 
 V. But if you palle the figure upon 
 the wood, you mull; not then white it 
 over (for then the figure will pill off) 
 but only lee the wood be well plained : 
 then wipe over the printed fide of the 
 figure with Gum Tragacanth diflolved 
 in fair water, and clap it Imooth upon 
 the wood , v^hich let dry throughly : 
 then wet it a little all over, and fret off 
 the paper gently, till you can lee per- 
 fectly every ftroke of the figure : dry 
 it again, and fall to cutting or carv- 
 ing it. 
 
 Of Etching, and the Materials thereof. 
 
 I. T CHIN G is an Artificial En- 
 
 graving of Brafs or Copper Platts 
 with Arjuafortis. 
 
 1 1. The Inftruments of Etching ( be-. 
 
 fides 
 
 CHAP. VII. 
 
Of Drawing. loi 
 
 lides the Plate) are thefe nine, i . Hard 
 l arniJJj. 2. Soft Vamijh. 3. Prepared 
 Oyl. 4. Aqua fords. 5. Needles. 6 . 
 Oylftone. 7. Ernfi-penfil. 8 . Burmjlcr. 
 9. The Frame and Trough. 
 
 III. To pohjh the Plate. 
 
 Although in chap. 2. of this Book, 
 we have fufficiently taught how to po- 
 lilh the Plate, yet nevertheleis We think 
 it convenient to fubjoyn thefe -follow- 
 ing words. Firft, the Plate being well 
 planilhed or forged, chole the fmooth- 
 eft lide to polilh 5 then fix it upon a 
 board a little declining, and rub it firm- 
 ly and eavenly all over with a pieceof 
 Grindftone, throwing water often on it, 
 fo long till there be nodints, flaws, or 
 marks of the hammer : walk tt clean, 
 ji and with a piece of good Pumice ft one' 
 i rub it with water fo long till there be 
 no rough ftrokes or marks of the Grind- 
 ftoac : wafti it clean again D and rub it 
 With a fine Hoan and water, till the 
 marks of the Pumice ftone are rubbed 
 out; wafh it again, and with a piece of 
 Charcoal without knots (being heat red 
 a 3 hot 
 
102 
 
 Tolygraphices, Lib. II. 
 
 hot and quenched in water, the out fide 
 being pared oft) rub the Plate with 
 water till all the fmall ftrokes of the 
 Hoan be vanifhed .• laftly, if yet there 
 remain any fmall ftrokes or fcratches,rub 
 them out with the' end of the burnifh- 
 ing Iron, fb (hall the Plate be fitted for 
 work. 
 
 IV. To make the hard Vartiijh for 
 Etching. 
 
 Take Greek or Burgundy Picth, Co- 
 Jophonium or Rozin,of each five ounces, 
 Nut-oyl four ounces 5 melt thePicth and 
 Kozin in an Earthen pot upon a gentle 
 fire, then put in the Oyl, and let them 
 boil for the fpace of half an hour : Cool 
 it a little upon a fbfter fire till it appear 
 like a Glewy fyrrup : cool it a little 
 more, ftrain it, and being almoft cold, 
 put it into a Glals bottle for u(e. Be- 
 ing thus made it will keep at leaft twen- 
 ty years. 
 
 V. To make the foft Varrrif) for Etch- 
 ing. 
 
 Take Virgin-wax three ounces, Ma- 
 fitich in drops two ounces, Alphaltum 
 
 one 
 
f 
 
 Of Etching. 103 
 
 one ounce : grind the Maftich and Aft 
 phaltum ieverally very fine 3 then in an 
 : Earthen pot melt the Wax, and ftrew 
 in the Maftich and Afphaltum, ftirring 
 ill upon the fire till they be well dil- 
 olve d and mixed;, which will be in a- 
 ibout half a quarter of an hour 3 then 
 cooling it a little, pouring it into a ba- 
 ;in of fair water ( all except the dregs) 
 ind with your hands wet ( before it is 
 cold) form it into rouls. 
 
 V I. To mal\e the prepared OyL 
 Take Oyl Olive, make it hot in an 
 Earthen pot, and put into it a fufficient 
 quantity of tried fheeps fuet (fb much as 
 being dropped upon a cold thing, the oyl 
 may be a little hardened and firm) boil 
 them together for an hour, till they be 
 of a reddifh colour, left they fhoiild fe- 
 iparate when you ufe them. This mix- 
 ture is to make the fat more liquid, and 
 not cool fb faft, for the fit alone would 
 be no fooner on the penfil, but it would 
 ;;grow cold 3 and be fure to put in 
 more oyl in Winter than in Summer. 
 VII, To make the Aquafortis. 
 
 H 4 Take 
 
1 C4 rolygraphhcs. Lib. I 
 
 Take diftilled White-wine Vinega 
 three pints , Sal Armoniack, Bay-falt, e 
 each fix ounces : Vertegriefo four ounce 
 Put all together into a large well glaze 
 earthen pot (that they may not boil c 
 verj cover the pot clofo, and put it o 
 a quick fire, and let it fpeedily boil tw< 
 or three great wal ms and no more^whe; 
 it is ready to boil, uncover the pot, an< 
 ftir it fometimes with a ftick , takinj 
 heed that it boil not over : having boil 
 ed, take it from the fire;, and let it coo 
 b?ing dole covered , and when it i 
 cold, put it into a glafs bottle with : 
 glafs ftopplc: If it be too ftrong in Etch 
 mg, weaken it with a glafs or two o 
 the iame Vinegar you made it of. Then 
 is another fort of Aqua fortis, which i 
 called Common , which is exhibitec 
 in Sj/Kopfls Mcdicwi?.^ lib. q. cap.j.Seffi 
 4>pag. 6 56. But becaufe that Bool 
 may not be in every mans hand, we wil 
 here infort it 5 it is thus : Take dried 
 Vitriol two pound } Salt-peter one 
 pound, mix them and diftil by a Re- 
 tort, in open fire by degrees. 
 
 VIII. To 
 
Of Etckving. 105 
 
 VIII. To make the Etching Needles. 
 
 Chole Needles of leveral fizes, fuch 
 s will break without bending, and of 
 i! fine grain } then take good round fticks 
 i f firm wood ( not apt to fplit) about 
 ax inches long, and as thick as a large 
 ooofe quill, at the ends fcf which fix 
 our Needles, ib that they may ftand 
 •ut of the fticks about a quarter of an 
 rich or fomething more. 
 
 I X. To whet the points of the Needles 
 kith the Oyl Jione. 
 
 If you would have them whetted 
 outid, you muft whet their points Chort 
 tpon the oyl ftone ( not as lowing Nee- 
 lies are ) turning them round whilft 
 you whet them, as Turners do. If you 
 ,vhet them Hoping , firft make them 
 Hunt upon the oyl ftone, thc-n holding 
 ::hem firm and fteady, wherthem Hoping 
 upon one fide onely, till they come to a 
 Tort and roundilh oval. * 
 
 X. The Brulh penfil is to cleanle the 
 work, wipe off duft, and to ftrike the 
 Colours even over the ground or var- 
 nifh. when laid upon the Plate. 
 
 XI. The 
 
io6 Folygraphiccs. Lib. f J 
 
 XI. The burnifher is a well hardni 
 piece offteel lomewhat roundilh at te 
 end. Its ules are what we have fpoken t 
 the 6 e i. & 3 e 2. 
 
 XII. To make the frame and trough. ' « 
 
 The frame is an intire board 3 abo: 
 
 whole top aftd fides is faftned a ledp 
 two Inches broad to keep the Aqua fort- ( 
 from running off from the fides whti 
 you pour it on : the lower end of tb: 
 board rauft be placed in the troug ^ 
 leaning Hoping againft a wall or lo ri- 
 ot her thing, wherein you mud fix fev<i 
 xal pegs of wood to reft the plate upotj 
 The trough is made of a firm piece q 
 Elm or Oak let upon four legs, who:, 
 hollow is four Inches wide 5 and lb Ion 
 as may beft fit your ufe : the hoi lot 
 mud: be fomething deeper in the middl 
 that the water running thither may fall 
 through a hole (there made for thal 
 purpole ) into an earthen pan well lead 1 
 ed. The in fide of this hoard and troug, 1 
 mi ft he covered over veith a thick oyl co I 
 louiy to hinder the Aqua fortis jrom eat 
 ing or rotting the hoard . 
 
 CHAP 
 
Of Etching. 
 
 10 7 
 
 >■ ' 
 
 III | 
 
 ij— 
 
 CHAP. VIII. 
 
 ‘ "he way and manner of ufine the hard 
 varnijh. 
 
 • ' > ' 
 
 V~ TAving well heat the poliihed plate 
 “* over a cliaffing difh of coals, take 
 ine. of the firft varnifh with a little 
 :k, and put a drop of it on the top 
 your finger, with which lightly touch 
 k plate at equal diftances , laying on 
 b varnifh equally , and heating the 
 ite again as it grows cold, keeping it 
 ; :efully. from duft or filthy then with 
 e ball of your thumb, tap it upon the 
 'ate, till the fpots of the varnilh are e- 
 tally fpread upon the plate y (fill wi- 
 ng your hand over all, to make it more 
 Booth and equal. 
 
 And here beware that neither the var - 
 (!) be too thicl ^ upon the plate , nor your 
 '.nd fweaty. 
 
 1 1. Then take a great lighted candle 
 truing clear, with a (lion fnuff, (pla- 
 cing 
 
io8 Polygraphices. Lil[fl 
 
 cing the corner of the plate again! j 
 vVall ) hold the varnilhed fide do'i 
 ward oyer the candle , as dole as 
 can, fo it touch not the varnifh., guidj 
 the flame all over, till it is all perfei 
 black, which you muff keep from c 
 or filth till it is dry. 
 
 III. Over a fire of Charcoals ha 
 the varnilhed plate to dry with the vi 
 nifii upwards, which will Ifnoak 3 wl* 
 the fin oak abates, take away the pla 
 and with a pointed flick leratch ni 
 the fide thereof^ and if the varnifh ea ] 
 comes off, hang it over the fire agai 
 little, fo long till the varnifh will not 1 
 eafily come off, then take it from the ) 
 and let it cool. 
 
 T f the varn/Jh Jhould be too hard , , c 
 cold water on the bac^-fide of the plate i 
 cool that the heat may not m a J\e it 9 
 hard and- brittle. This done, 
 
 IV. Place it upon a low desk, or foi 
 luch like thing , and cover that p;tf 
 which you do not work on, with a fht t 
 of fine white paper, and over that a lh(t) 
 oi brown paper., on which may reft yen 
 
 ha i] 
 

 Of Etching. I09 
 
 : id;, to keep it from the varnifh. 
 
 1 /. If you u(e a ruler , lay feme part 
 I t upon the paper, that it may not rub 
 I the varnilh, and have an efpecial 
 
 J e that no duft or filth get in between 
 paper and the varnilh, for that will 
 rt it. 
 
 H 1 r/ fc ' , - * ' t • 
 
 W \ ^ • i ' 
 
 I — ‘ 
 
 CHAP. IX. 
 
 1 The way and manner of Etching. 
 
 I • . 
 
 iTN making lines or hatches, feme big- 
 •'L g er 3 fo me lefler, ftraight or crooked, 
 fiu mu ft ufe feveral forts of needles,. 
 > 'ger or lefler as the work requires. 
 
 1 1. The great lines are made by lean- 
 15 hard on the needle 5 its point being 
 bit and thick, ( but a round point will 
 1 1 cut the varnifh clear : ) or, by ma- 
 sig divers lines or hatches, one very 
 : >fe to another , and then by pafting 
 1 er them again with a thicker needle 5 
 ), by making them with an indifferent 
 rge needle, and letting the Aqua forth 
 
Lib. 
 
 HO Tojygraphiccs. 
 
 lye the longer thereon. 
 
 The beji needles for this work are j, 
 as are whet Jloping with an oval , beet 
 their fide s will cut that which the roi 
 ones will not. 
 
 III. If your lines or hatches ought 
 be of an equal thicknels from end toe 
 lean on the needle with an equal fore 
 leaning lightly where you would h;i 
 the lines or ftrokes fine or fmall; si 
 more heavy where you would have 
 line appear deep or large, thereby 
 needle may have fome Impreffion in 
 Copper. 
 
 IV. If your lines or hatches be j 
 final!, pals over them again with a Ih 
 round point, of fuch a bignels as ) 
 would have the line of, leaning ftroi 
 ly where you would have the 1 
 deep. 
 
 V . The manner of holding the nee<! 
 with Oval points (which are moft p: 
 per to make large and deep ftrokes i 
 much like that of a pen, onely the li 
 fide whetted is ulually held towards it 
 thumb : but they may be ufed w 
 

 Of Etching. Ill 
 
 i face of the Oval turned toward the 
 ddle finger. 
 
 V I. If you would end with a fine 
 ;,ioke, you ought to do that with a ve- 
 fine needle. 
 
 iVII. In ufing the Oval points., hold 
 cm as upright and ftraight in your 
 :nd as you can, (hiking your ftrokes 
 Imly and freely , for that will add 
 rich to their beauty and clearnefs. 
 
 - V III. In Landskip, in places farthejft 
 pm the fight, as aho neareft the light, 
 .e a very (lender point, leaning lo 
 ! ;htly with your hand as to make a (mall 
 : nt ftroke. 
 
 IX. In working be careful to brufti oft 
 si the duft which you work off with 
 ic needles. 
 
 C H A P. X. 
 
 r ‘ ’ ; J : .• v ■ ’ ‘it ' .■ C 
 
 Of. ufing the Aqua fort is. 
 
 \ 
 
 I F there be any ftrokes which you 
 would not have the Aqua, forth eat 
 
 in- 
 

 1 1 2 Po/jgraphices. Lib. I i 
 
 into 5 or any, places where the varni(h ;j 
 rubbed off, melt lome prepared Oyl,ar 
 with a penfil, cover thole places preti 
 thick. 
 
 I I. Then take a brufh, penfil, or ra 
 and dip it in the prepared oyl, and ri 
 the back fide of the plate all over, th 
 the Aqua fort is may not hurt it, if t 
 chance any fhould fall therton. 
 
 III. Before you put the Aqua fort 
 to the plate, gently warm or dry tl: 
 plate by a (ire to dry up the humidit, 
 which it might contract by realbn of tl: 
 Airy and to prevent the breaking up tl: 
 Varnilh upon the firft pouring the Aq\ 
 fortis thereon. 
 
 I V. Place the plate by the 1 2 e ■ 
 of this book, and with the Aqua fortis 1 
 an Earthen pot pour upon the plate, b-: 
 ginning at the top, fo moving your hai 
 that it may run all over the plate, whit 
 do for eight or ten times ; then turn 
 corner-wife, and pour the Aqua fortis 
 it that way ten or twelve times } ail 
 then turn it again corner-wife the otbr 
 way, pouring on the Aqua fortis eigt 
 
 
Of Etching. 1 13 
 
 ir ten times as before 3 doing thus (eve- 
 jjtl times for the fpace of half a quarter 
 f an hour or more, according to the 
 rength of the water, and nature of the 
 opper. 
 
 For there muji he left time allowed to 
 ird and brittle Copper for pouring on 
 )e Aqua fortis, but more to the foft. 
 
 V. But you muft have fpecial regard 
 o cart on the Aqua fortis as occafion (hall 
 squire, and work is 3 carting it on at 
 nveral times, and on (everai places 5 
 /here you would have it very deep, 
 ften 3 where left deep fewer times : 
 /here light, left yet 3 where lighter, lefi- 
 sr yet : and where fo light, as it can 
 sarcely be (een, once or twice : wafh it 
 vith water , and cover it where you. 
 vould have it lighter. 
 
 V I. Having thus covered your 
 idates as occafion requires 3 for the fe- 
 :ond time, place the plate on the frame 
 is aforelaid, and pour on it your Aqua 
 ortis for a full half hour. 
 
 VII. Then wafh it with water and 
 dry it, covering the places which re- 
 
 I quite 
 
H4 Tolygraphices. Lib. I] 
 
 quire lightnefs or faintnels ( that the’ 
 may be proportionable to the de 
 llgn ) then pour on the Aqua fortis fo 
 the laft time more or left according t< 
 the nature of your work, and the deep 
 nels that it requires. 
 
 VIII. You may rub off the Varnifh ci 
 Ground, as occafion in your work re 
 quires with a Charcoal, to lee whethej 
 the water hath eaten deep enough 5 b 
 which you may judge of the (pace cl f 
 time, that you are after to employ i 
 pouring on the Aqua fortis , in th 
 works you will have to do , which : 0j 
 the fhado ws require much depth , c L 
 ought to be very black, the wate c 
 ought to be poured On (at the la! 
 time) for an hour or better 5 yet knov 
 no certain rule of time can be limitel | 
 for this. 0 
 
 I 
 
 I \ 
 
 CHAf 
 
 t 
 
 t 
 
Of Etching. 1 1 5 
 
 CHAP. XL 
 
 Of Finifing the Work 
 
 ■ 
 
 A L L tlie former operations being 
 done, walh the Plate with fair 
 Water , and put it wet upon the fire, 
 ill the mixture be w r ell melted, and then 
 Wipe it very clean on both fides with a 
 1 innen cloth, till you have cleanfed it of 
 'ill the mixture. 
 
 II. Take Charcoal of Willow, take 
 ofF the rind of it, and putting fair wa- 
 :eronthe Plate, rub it with the Char- 
 coal, as if you were to polifh it, and it 
 will takeoff the Varnilh. 
 
 Where note,that the Coal muft be free 
 Prom all knots and roughnels, and that 
 no land or filth fall upon the Plate. 
 
 III. Take ordinary Aqua fortis, to 
 which add two third parts of water, and 
 with fome linnen rags dyed therein, rub. 
 the Plate all over, fo will you take a- 
 way its decolouring , and recover its 
 former beauty. •• 
 
 ' I 2 IV. Their 
 
ii6 Polygraphices. Lib. I]; 
 
 I V. Then take drie linnen rags, an< ; 
 wipe the Plate lb as to take off all th 
 aforefaid water , and then holding i 
 a little to the fire, put upon it a littl 
 oyl olive, and with a piece of an oL 
 Beaver rolled up rub the Plate well a 
 over, and laftly wipe it well with a dri 
 cloth. 
 
 V. Then if any places need touch 
 ing with the Graver , as fometimes i 
 happens, efpecially where it is to be ve 
 ry deep or black, perfect them wit 
 care 5 which done, the Plate is ready fc 
 the Rolling Prefs. 
 
 CHAP. XII. 
 
 The way of uftng the foft Varnijh. 
 
 I. '“fr”' HE Plate being prepared b 
 Jl clea tiling it with a Charcoal an« 
 clean water, walh it well and drie it 
 then w^th fine white Chalk fcraped an 
 a fine rag, rub it well over, not touch 
 ing it with your fingers. 
 
 II. La 
 
Of Etching , 1 1 7 
 
 I I . Lay down your Plate over a Cha- 
 ing-difh of Small coal , yet lo as the 
 ire may have air 5 then take the Ground 
 >r loft Varnifh (it being tyed up in a 
 ine rag) and rub it up and down the 
 Copper., lb as it may fufficiently cover 
 t, ('not too thin nor too thick:) then 
 ake a feather and fmooth it as well as 
 aofiibly you can all one way , and then 
 rofs it, till it lie very well. 
 
 But you mujl take heed that the Plate be 
 tot too hot , for if it lie till the Ground 
 moak_? ^e moyflure will be dried up 0 and 
 hat will Jpoil the woifj and make the 
 Ground breal^or fly up. 
 
 III. Then grind Ibme white Lead 
 with Gum water, fo that it may be of 
 1 convenient thicknefs to fpread on the 
 Copper 5 and with a large penfil , or 
 mall brulh, ftrike the Plate crofs over, 
 :wice or thrice till it is fmooth } and 
 hen with a larger brulh (made of Squir- 
 
 i ‘els tails) gently fmooth the white, and 
 ! hen let it lie till it is drie. 
 
 ! I V. Or you may black the Varnifh 
 ; with a candle, as w4 taught at the 2.e.8. 
 
 I 3 and 
 
Il8 Tolygraphtces. Lib. II 
 
 and then warm it over the fire, till th 
 Varnifh begins to melt. 
 
 CHAP. XIII. 
 
 The way of Etching upon thefoft Varnifh. 
 
 • 
 
 I.1 1 HE way of Etching is the (am 
 *■ with that in the hard Varnilh 
 only you muff be careful not to hur 
 your Varnifh, which you may do b; 
 placing on the fides of your Plate tw< 
 little boards, and laying crofs ove 1 
 them another thin one , fo as that i 
 may not touch the Plate, on whicl 
 you mull: reft your hand whilft yoi 
 work. 
 
 I I. , Then place the Plate on a Desk 
 (if you fb pleafe) for by that means th< 
 fiiperfluous matter will fall away of i 
 felf. 
 
 III. But if you have any defign t( 
 transfer upon the Plate from any Cop] 
 or Print, ferape on the backfide thereo 
 fome red Chalk all over} then go ove:f 
 
 tha I 
 
 \ H 
 
Of Etching . lie/ 
 
 nat, by (craping fbme fbft Charcoals 
 ill it mingle with the Chalk 5 and with 
 large ftifF penfil rub it all over till it 
 •e fine and eaven, and lb lay down the 
 efign upon the Plate, and with a blunt 
 'leedle draw over the out ftrokes .* and 
 s youreor^ you need not f cratch hard in- 
 0 the Copper , only fo as you may fee the 
 Jeedle go through the Varnijh to the 
 ' opper . 
 
 I V. Always be fure, when you leave 
 he work, to wrap the Plate up in 
 Paper, to keep it from hurt, and cor- 
 rupting in the air, which may drie the 
 yarnifh : and in Wintertime wrap the 
 Plate up in a piece of woollen, as well 
 is paper 3 for if the froft get to it, it 
 will caufe the Varnilh to rife from the 
 Copper in the eating. 
 
 An inconveniency alfo reill ac creep , by 
 letting the Varmjh he too long upon the 
 Plate before the rvorkis JiniJhed 3 for three 
 or four months reill conjumc the moiJlure. J 
 and fo (poll all. 
 
 V. The marking of the defign upon 
 the loft Varnilh, is beft done with black 
 
 I 4 Lead 
 
120 
 
 Tolygraphices. Lib. II 
 
 Lead or Chalk, if the ground is white 
 but with red Chalk, if the ground i 
 black. 
 
 VI. Having graved what you in 
 tend upon the Varnilh, take fome fai 
 water, a little warm, and caft it upoi 
 the Plate 3 and then with a (oft clear 
 Sponge, rub upon the white Lead tc 
 moiften it all Over 3 and then walh th< 
 Plate to take away the whiting , anc 
 drie it. 
 
 VII. Or laftly, with Aqua fortis mix 
 ed with fair water, wafh it all over, anc 
 by this means you may take away the 
 whiting? which then wafn with commor 
 water, and drie it 3 and thus have voi 
 the Plate prepared for the Aqua fortis. 
 
 CHAP. XIV. 
 
 Of Vfing the Aqua, fort is > and finifking 
 the worh. 
 
 I.T) U T foft Wax(red or green)round 
 1 the brims of the Plate, and let it 
 
 be 
 
Of Etching. 121 
 
 e railed above the Varnifh about half a 
 arly corns length j fo that placing the 
 late level, the water being powred up- 
 n the Plate may by this means be re- 
 fined. This done, 
 
 II. Take common Aqua fortis fix 
 unces, Common water two ounces 3 
 fix them, and pour it gently upon the 
 'late, fo that it may cover it fully all 
 •ver i, fo will the ftronger hatchings be 
 ull of bubbles, while the fainter will 
 ppear clear for a while, not making a- 
 ny fudden operations to the view. 
 
 III. When you perceive the water 
 o operate a fmall time, pour it off into 
 glazed earthen dilh, and throw fair 
 
 vater upon the Plate, to wafh away 
 he Aqua fortis , then dry the Plate : 
 tnd where you would have the Cut 
 o be faint, tender or fweet, cover it 
 vith the prepared Oil, and then cover 
 he Plate again with Aqua fortis as be- 
 'ore, leaving it on for eight or ten mi- 
 lutes, or longer : then put off the A- 
 }ua fortis as before, waflfing and drying 
 :he Plate, and covering with the pre- 
 
122 Folygraphiccs. Lib. j 
 
 pared Oyl other places which yc 
 would not have fo deep as the reft : Lai 
 ly put on the Aqua fortis again, for tl 
 fpace of half an hour (more or Ids) ar 
 then pour it off wafhing the Plate wii 
 fair water as before. 
 
 As you would have your lines or Jlrok, 
 •to he deeper and deeper 3 jo cover the jwe 
 ter or fainter parts by degrees with ti 
 prepared oyl 3 that the Aqua fortis may i 
 the longer on the deep jlrokys. Then 
 
 I V. Takeoff the border ofWax,ar 
 heat the Plate fo that the Oyl and Va 
 nifh may throughly melt} which wip 
 away well with a linnen cloth : then rt 
 the Plate over with oyl Olive and 
 a piece of an old beaver roll’d uj 
 which done, touch it with the Grav( 
 where need is. 
 
 V. But if any thing be (atlaft) fo 
 gotten , then rub the Plate aforefai! 
 with crums of bread, fo well that r ; 
 filth or oyl remain upon the Plate. 
 
 VI. Then heat the Plate upon 
 Charcoal fire, and fpread the foft Va 
 mlh with a feather upon it (as before J 
 
 th: 
 
Of Limning, 125 
 
 ; at the hatchings may be filled with 
 arnifh 3 black it, and then touch it over 
 Jain, or add what you intend. 
 
 V 1 1 . Let your hatchings be made by 
 leans of the Needles, according as the 
 ianner of the work fhall require, being 
 ’ireful before you put on the Aqua for- 
 s, to cover the firft graving on the 
 late with the prepared Oyl (left the 
 tarnifti fhould not have covered ailo- 
 er : ^ then caule the Aqua fortis to 
 at into the work 5 and laftly clcanfb 
 fie Plate as before. 
 
 | . ; , V . *. 
 
 - ■ 1 1 I ..-— 
 
 CHAP. XV. 
 
 Of Limning and the Materials thereof, 
 
 I lmning is an Art whereby in wa- 
 ter Colours, we ftrive to refemble 
 Nature in every thing to the life. 
 
 II. The Inftruments and Materials 
 thereof are chiefly thefe. 1 .Gums, 2. 
 Colours. 3. Liquid Gold and Silver. 4. 
 The Grind (lone and Muller. Pencils . 
 
 J 6 . Tables 
 
124 Poljgraphices. Lib.], 
 
 6. Tables to Limn in. 7 . Little glafi ,> 
 China drjhes. 
 
 III. The Gums are chiefly thefe fbu 
 GumArabick, Gum Lake,Gum Heder 
 Gum Armoniack. 
 
 I V; The principal Colours are the 
 feven, White , Blacky Red , Green , Tello\ 
 Blew , Brown : out of which are mac 
 mixt or compound Colours. 
 
 V. The Liquid Gold and Silver is e 
 the natural or artificial. 
 
 The natural is that which is pr< 
 duced of the Metals themfelves : tl 
 Artificial is that which is formed of c 
 ther colours. 
 
 VI. The Grinding Jlone , Muller 
 Pencils , Tables , and Shells or little Ch 
 na difbes are only the neceflary ii 
 ftruments and attendants, which belon 
 to the practice of Limning. 
 
 CHAT 
 
Of Limning, 
 
 125 
 
 CHAP. XVI. 
 
 Of the Gumms and their Vfe. 
 
 I r T“'He chief of all is Gum-Arabic^ 
 J that which is white, clear and 
 rittle 5 the Gum-water of it is made 
 ius : 
 
 Take Gum Arabic k . , bruife it and tie it 
 \) in a jine clean linnen cloath 0 and put 
 ! into a convenient quantity of pure fpring 
 ater , in a glafi or earthen veffel } letting 
 ie Gum remain there till it is diffblved 5 
 hich done , if the water is not Jlijf enough , 
 'it more gum into the cloath , but if too 
 iff add more water : of which Gum- 
 /ater have two forts by you, the one 
 :rong, the other weak , of which you 
 lay make a third at pleafure. 
 
 1 1 . Gum-lake 5 it is made of whites of 
 -ggs beaten and ftrained, a pint. Honey, 
 jum-hedera of each 2 Drachmes,ftrong 
 yort four fpoonfuls, mix them, and ftrain 
 hem with a piece of fpunge till they run 
 
 like 
 
' ’-v ; - ' n\ 
 
 12 6 Polygraphices. Lib.j 
 
 like a clear oyl, which keep in a clej 
 vellel till it grows hard. 
 
 This gum will refolve in water like gw. 
 Arabic 4 , of which gum water is made 
 like manner $ it is a good ordinary varn: 
 for pictures. 
 
 III. Gum Hedcra 0 or gum of Ivy 5 it; 
 gotten out of Ivy, by cutting with ; 
 Axe a great branch thereof, climbii* 
 upon an Oak-tree, and bruifing the en 
 of it with the head of the Axe 5 ail 
 months end, or thereabouts you m;' 
 take from it a very clear, pure and fii 
 gum, like oyl. 
 
 It is good to put into gold (ize and otfr 
 colours , for thefe three reafons : 1. . 
 abates the ill fcent of the fize : 2. It w! 
 prevent bubbles in gold (ize and other c-\ 
 lours: 5. Lajlly , it tabes the fat an 
 clamminefl off colours : be fide s which it ! 
 ofufein making pomanders. 
 
 I V. Gum Armoniacunt , It is a fbrrei ! 
 gum, and ought to be bought ftrainec 
 Grind it very fine with juyce of Garlic , 
 and a little gum Arabic f water ^ fo that 
 may not be too thick . 5 but that you mi 
 
Of Limning. 127 
 
 yite with it what you will : 
 
 When you ufe itydraw what you will with 
 h and let it dryland when you gild upon it? 
 t your Gold or Silver ,• to the faff) ion 
 hich you drew with the ffze or gum? then 
 eath upon the fee, and lay the Gold up- 
 [r it gently taken up , which preff down 
 trd with , a piece of wool ? and then let it 
 ell dry ? being dry ed? with ajine linnen 
 oath jlrike off the looje gold ? fo will what 
 as drawn be fairly gilded if it was as 
 te as a hair .* it is called Gold Arnto- 
 'acff. 
 
 CHAP. XVII. 
 
 Of the feven Colours in General. 
 
 T He chief WHITES are thefe^ 
 Spodium, Cerafe, White-lead } 
 panifh-white, Eg-Qiels burnt. This Co* 
 mr is called in Greeks of ** uS0 * > 
 
 ideo 5 to fee 5 becaufe hivnoTn* ©2i 
 
 'oitof , whiteneff ( as Ariftotl efaid) 
 r the obje& of fight , in Latine Albus, 
 from 
 
I 
 
 128 Folygraphices. Lib. I 
 
 from whence the Alps had their name , t 
 reafon of their continual whitenef wit 
 fnow. The Spanijlo-white is thus mid 
 Take fine chalk three Ounces. Alon 
 one Ounce , grind them together wii I 
 fair water, till it be like pap 5 roul it u 
 into balls, which dry leilurely : then pi 
 them into the fire till they are red hot 
 take them out, and let them cool : it I 
 the beji white of all 0 to garnijh with , beh 
 ground with weak^ gum-water. 
 
 II. The chief BLACKS are thef 
 Hartshorn burnt, Ivory burnt. Cherry 
 ftones burnt. Lamp-black, Charcoal. 
 
 Blac^ in Latino Niger is fo calltl 
 from the Greek, word vik&s, which (igtt- 
 fies deads becauje putrified and dead thin; 
 arc generally of that colour 4 Lamp-blac 
 is the fmoa\ of a Linl^ 0 Torch or Lampg : 
 thered together. 
 
 III. The chief REDS are theft 
 Vermilion, Red-lead, Indian-lake, Re- 
 oker. It is called in Latine Rub' 
 57*£* r»r font a corticibus vel granis md 
 punici, from the Rinds or Seeds of Pom- 
 granatess as Scaliger faith . 
 
 IV. Tl: 
 
Of Limning, 1 
 
 IV. The chief GREENS are 
 ie(e : Green Bice, Verdegriefe, Ver- 
 ,iture , Sapgreen. This colcur is called 
 a Latine Viridis from Vires : in Greeks 
 Aaeot- a %ao» , Grafs or Green herh^which 
 • of this Colour. 
 
 V. The chief YELLOWS are 
 hefe : Orpiment 3 Mafticot 3 Saffron,, 
 'ink yellow., Oker de luce. This colour 
 r called in Latine Flavus , Lute us 5 in 
 Week ^Soc, which is Homers Epithite 
 or Menelaus 3 where he calls him 
 
 iiPiK «0f. 
 
 VI. The chief BLEWS are Ultra- 
 narine., Indico, Smalt, Blew bice. This 
 olour is called in Latine Caruleus , in 
 jreek k van®* a k Jcw& , the name of a 
 lone 0 which yields Ultramarine. 
 
 VII. Thechiefeft BROWNS are 
 Umber, Spanifh-brown, Colen’s Earth. 
 Tt is called in Latine F ufeus , quad 
 p*< cmiajvi , from darkening the lights in 
 Greek 
 
 CHAP, 
 
130 
 
 Tolygraphices. Lib. I jj 
 
 CHAP. XVIII. 
 
 Of Colours in Particular. 
 
 hf^ErufC) Grind it with glair ( 
 V_/ Eggs and it will make a mo 
 perfedt white. 
 
 I I . White-lead^ Grind it with a wea » 
 water of gum-lake and let it ftand thre 
 or four days., after which if you mix wit I 
 itRofetand Vermilion, it makes a fa 
 Carnation. 
 
 III. Spanijb-wkite , It is the beft whilj 
 of all, to garnifh with, ground with wea 
 Gum- water. 
 
 I V. Latnp-blacf) ground with Gun 
 water, it makes a good black. 
 
 V. Vermilion , Grind it with the gla 
 of an Egg, and in the grinding put a littJ 
 clarified honey, to make its colour brigl 
 and perfect. 
 
 V I. Sinaper-laks , it makes a dee 
 and beautiful red, or rather purple, a i 
 mofl: like unto a Red-rofe. Grind it wit; 
 
 Gui; ‘ 
 
Of Limning. 1 3 i 
 
 rum-Lake and Turnfole water: if you 
 A'iJl haye it light, add a little Cerufo, 
 md it will make it a bright Crimfon$ if 
 o diaper, add only Turnfole water. 
 
 V II. Red Lead, Grind it with fome 
 >affron, and ftiff gum-Lake 5 for the Safi* 
 rpn makes it orient, and of a Marigold 
 :olour. 
 
 VIII. Turnfole , Lay it in a Sawcer 
 >f Vinegar, and let it over a chafing difh 
 yf coals 3 let it boil, then take it off, 
 ind wring it into a Shell, adding a little 
 rum Arabick, let it (land till it is dif- 
 olved : It is good to lhadow Carnation, 
 rndall Yellows. 
 
 I X. Rofet , Grind it with brazil wa- 
 er, and it will make a deep purple: put 
 Cerufe to it, and it will be lighter : grind 
 t with Litmole, and it will make a fair 
 ffolet. 
 
 X. Spanifo brown. Grind it with Bra- 
 til water : mingle it with Cerufo and it 
 nakes a horfo flelh Colour. 
 
 XI. Bole Armoni acf. It is a faint Co- 
 our 5 its chief ufo is, in making fizefbr 
 burnifh’d gold. 
 
 K 2 X 1 1. Green 
 
1^2 Tolygr aphich* Lib. If <j 
 
 XII. Green bice , Order it as you dc i 
 
 blew bice 5 when it is moyft, and no j 
 through dry, you may diaper Upon it I 
 with the water of deep green. - j 
 
 XIII. Verdegrcife it with juycq 
 
 of Rue, and a little weak gum water * 
 and you will have a moll pure green .* ij 
 you will diaper with it, grind it witl 
 Lye of Rue (or elle the deeoefior 
 thereof) and there will be a hoan I 
 green : diaper upon Verdegriefe- 'greet 3 
 with lap green. . - 
 
 XIV. Verditure 0 grind it with a weal 
 
 gum Arabick water t it is the faintef 
 green that is, but is good to lay upor 
 black, in any kind of drapery . — 1 
 
 X V. Sap-green , lay it in iharp vinega: | 
 all night 5 put it into a little Alome t< j 
 jraife its colour ,i and you will r hav< 
 a good green to diaper upon othe: 
 ■greens.- ,X y j 
 
 XVI. Orpiment , Arjeniciim or Anri 
 pigment uni , grind it with aftiff water 0 
 gUm Lake, becaufe it is the beft colou: 
 of it felf$ it will lye upon no green, fo , 
 all greens, white and red lead, and Ce 
 
Of Limn ing. 1 3 3 
 
 rule ftain it : wherefore you muff deepen 
 your coloursfo that the Orpiment may 
 be higheft, and fo it may agree with all 
 Colours. 
 
 X VII. Majiicot 0 Grind it with a 
 'mall quantity of Saffron in gum water, 
 and never make it lighter than it is: it 
 will endure to lie upon all colours and 
 metals. 
 
 XVIII. Saffron , Steep it in Glair : 
 it may be ground with Vermilion. 
 
 XIX. Vink-yellow^ If you would have 
 it lad coloured, grind it with Saffron : if 
 light, with Cerule : mix it with weak 
 gum water, and fo ufe it. 
 
 X X. O/yer de Luce , Grind it with 
 pure Brazil water : it makes a palling hair 
 [colour ; and is a natural fhadow for 
 
 gold. 
 
 XXI. Vmber, It is a more lad colour. 
 Grind it with gum water, or gum Lake 5 
 and lighten it (if you pleale) with a Ut- 
 ile Cerule and a blade of Saffron. 
 
 XXII. 'Vit ram crane , If you would 
 
 have it deep, grind it with Lit mole wa- 
 ter y but if light with fine Cerule, 
 | * K 3 and 
 
134 Tolygraphices. Lib. II, 
 
 and a weak gum Arabick water. 
 
 XXIII. Indico , Grind it withwa-l 
 ter of Gum Arabick, as Ultrama- 1 
 rine. 
 
 XXIV. Blew bice , Grind it with 
 clean water, asfmall as you can, then 
 put it into a {hell, and wafh it thus : i 
 put as much water to it as will fill up 
 the veffel or (hell, and ftir it well, let 
 it fland an hour, and the filth and dir- 
 ty water caft away; then put in more ; 
 clean water, do thus four or five times ; 
 and at laft put in Gum Arabick water 
 (bmewhat weak, that the Bice may fall 
 to the bottom ; pour off the gum wa- 
 ter, and put more to it, wafh it again, 
 drie it, and mix it with weak gum wa- 
 ter ( if you would have it rife of the 
 fame colour^ but with a ftiff water of 
 gum Lake, if you would have a moft ! 
 perfect blew ; if a light blew, grind it 
 with a little Cerufe ; but if a moft deep : 
 blew, add water of Litmofe. 
 
 XXV. Sma!t 0 Grind it with a little 
 fine Rofet, and it will make a deep vio- 
 let : and by putting in a quantity of 
 
 Cerufe 
 
Of Limning. 135 
 
 ferule j it will make a light Vio- 
 j;t. 
 
 XXVI. Lit mofe blew, Grind it with 
 ferule: with too much Litmole it makes 
 
 deep blew : with too much Cerufe 5 a 
 ight blew , grind it with the weak wa- 
 er of gum Arabick. 
 
 Take fine Litmofe, cut it in pieces, lay it 
 I n weahywater of Gum Lake for twenty four 
 tours, and you fall have a water ofamojl 
 erf cU Azure with which water you may 
 diaper and Damask 1, upon all other blews , 
 0 maky them few more fair and beau - 
 iful. 
 
 XXVII. Orchal , Grind it with un- 
 lak’d Lime and Urine 3 it makes a 
 mre Violet : by putting to more or 
 els Lime 5 you may make the V10- 
 et light or deep as you pleafe. 
 
 K 4 
 
 CHAP. 
 
1 36 Polygraphices. Lib. 11 
 
 at 
 
 CHAP. XIX. 
 
 Of Mixt and Compound Colours. 
 
 I.A A Vrry , It is a wonderful beauti 
 ful colour, compofed of purpl \ 
 and white : it is made thus. Take Sin a 
 per lake two ounces } white Lead one ounce 
 grind them together. 
 
 II. Aglafi Grey , Mingle Cerufe wit!' 
 a little Azure. 
 
 III. A Bay colour. Mingle Vermilioi 
 with a little Spanifh brown and black. 
 
 I V. A deep Purple , It is made of Indi 
 co, Spanifh brown and white. 
 
 It is called in Latin Purpureus,/# Greet 
 from 7roptfu£g r , a kjnd of Jhell fjt 
 that yield a liquour of that colour. 
 
 V. An Afs colour , or Grey , It is mad< 
 by mixing white and lamp black} o 
 white with Sinaper, Indico and bfacl 
 make an Afli colour. 
 
 It is called in Latin Cadius, and coloi 
 Cineriusj in Greeks tkojjv.q< and nvsaSn;. 
 
 VI. Light 
 
Of Etching. 137 
 
 V I. Light Green 0 It is made of Pink 
 : nd Smalt 5 with white to make it light- 
 
 rif need require. 
 
 VII. Saffron colour , It is made of Saf- 
 ron alone by infufion, 
 
 VIII. Flame colour , It is made of 
 Vermilion and Orpiment,mixed deep or 
 light at pleafure : or thus. Take red 
 _,ead and mix it with Mafticote, which 
 aeightenwith white. 
 
 IX. A Violet colour , Indico, white 
 ind Sinaper Lake make a good Violet. 
 So alfo Ceruie and Litmoie, of each e- 
 cpial parts. 
 
 X. Lead colour , It is made of White- 
 mixed with Indico. 
 
 XI. Scarlet colour , It is made of 
 Red Lead, Lake, Vermilion : yet Ver- 
 milion in this, cafe is not very ufe- 
 
 ful. 
 
 CHAP. 
 
ij8 
 
 Polygraphices. 
 
 Lib. I j 
 
 'J j 
 
 CHAP. XX. 
 
 Of Colours for Drapery, t 
 
 v to] 
 
 I. 1 fOR Tellore garments. Take Ma 
 
 j fticot deepned with brown Oke 
 
 and red Lead. > 
 
 II. For Scarlet. Take vermilion deep 
 ned with Sinaper lake, and heightne 
 with touches of Mafticot, 
 
 III. For Crimfon. Lay on Lake ver 
 thin, and deepen with the lame. 
 
 I V. For Purple. Grind Lake and Smal 
 together : or take blew Bice, and mixi 
 with red and white Lead. 
 
 V. For an Orient Violet. Grind Lit 
 
 mole, blew Smalt, and Cerufe f but it 
 mixture let the blew have the uppe] 
 hand. ; 
 
 VI. For Blew. Take Azure deepnec 
 with Indie blew $ or Lake heightnec 
 with white. 
 
 VII. For blacky Velvet. Lay the gar- 
 ment firft over with Ivory black, then 
 
 heighten 
 
• Of Limning.' 139 
 
 lighten it with Cherryftone black,and 
 glittle white. 
 
 VIII. Eor blacl^ Sattin. Take Cher- 
 irftone black 5 then white deepned with 
 herryftone blackyind then laitly,Ivory 
 lack. 
 
 | IX. Fora pure Green. Take Verde- 
 i'riele, bruile it, and deep it in Mufca- 
 ine for twelve hours, then drain it into 
 (hell, to which add a little Sap green: 
 but put no gum thereto . ) 
 
 X. For a Carnation. Grind Cerule , 
 /ell walked with red Lead 3 or Cerule 
 nd Vermilion. 
 
 X I. For Cloth of Gold. Take brown 
 j»ker,and liquid Gold water, and height- 
 en upon the fame with fmall drokes o£ 
 ? old. * 
 
 i XII. For white Sattin. Take firft 
 iine Cerule, which deepen with Cherry- 
 don black, then heighten again with 
 Cerule, and fine touches where the light 
 falleth. 
 
 XIII. For a ruffet Sat tin . Take Indy 
 blew and Lake, firft tin;,, and then deep- 
 ned with Indie again. 
 
 XIV. For 
 
140 Volygraphices. ' Lib..! 
 
 XIV. For a hair Colour. It is ma ;i 
 out of Mafticot, Umber, yellow Ok<l 
 Cerufe, Oker de Rous, and Sea-coal, j 
 
 X V. For a Popinjay green. Take l 
 perfect green mingled with Mafticot. 
 
 XVI. For changeable Sill{. Take w • 
 ter of Mafticot and red Lead 3 whi l 
 deepen with Sap green. 
 
 XVII. For a light Blew. Take ble • 
 Bice , heightned with Cerufe or Sp I 
 dium. 
 
 XVIII.' For to jhadow Rujfet. Tab 
 Cherry ftone black,and white,lay aligl: 
 ruflet, then fnadow it with white. 
 
 XI X. For a skje colour. Take ble I 
 Bice and Venice Cerufe : but if yij 
 #>ould have it dark, take fome blew an l 
 *vhitc. 
 
 X X. For a Straw colour . Take PCI; j 
 fticot 3 then white heightned with M; I 
 fticot , and deepned with Pink. O] 
 thus. Take red Lead deepned wit 
 Lake. 
 
 XXI. For Tellowi/l). Thin Pink deer 
 ned with pink and green : Orpimen 
 burned makes a Marrigold colour. 
 
 XXI I. Fo. 
 
Of Limning. 14 ! 
 
 - XXII. For a reach colour. T ake Bra- 
 id water. Log water and Cerufe. 
 
 XXIII.’ For a light Purple. Mingle 
 ferule with Logwood water: or take 
 urnfole mingled with a little Lake, 
 *malt and Bice. 
 
 ; XXIV 7 . For a Walnut colour. Red 
 ,ead thinly laid, and (hadowed with 
 panifh brown. 
 
 'XXV. For a Fire colour. Take Ma- 
 picot, and deepen it with Mafticot for 
 he flamie. 
 
 XXVI. For a Tree. Take Umber and 
 white, wrought with Umber, deepned 
 with black. 
 
 XX VII. For the Leaves. Take Sap 
 green and green Bice, heighten it with 
 Verditure and white. 
 
 XXVIII. For Water. Blew and white, 
 deepned with blew, and heightned with 
 white. 
 
 XXIX. For Banks. Thin Umber, 
 deepned with Umber and black. 
 
 XXX. For Feathers. Take Lake frizl- 
 ed with red Lead. 
 
 CHAP. 
 
142 
 
 Tolygrayhices. Lib. ; 
 
 CHAP, XXL 
 
 Of Liquid Gold and Silver. \ ; 
 
 I. T Iquid Gold or Silver. 
 
 JL Take five or fix leaves of Goi 
 or Silver, which grind (with a ftiff gup; 
 lake water,and a good quantity of fak 
 as fmall as you can 5 then put ic intc 
 vial or glalTed veffel 3 add fo much fa 
 water as may diflol ve the ftifF gum w > 
 ter 5 then let it ftand four hours, that tli 
 gold may fettle: decant the water, at 
 put in more, till the gold is dean wall 
 ed : to the gold put more fair water, 
 little fid Armoniack and common fijf 
 digefting it dole for four days. : the 
 put all into a piece of thin Glovers le; 
 ther ( whofe grain is peeled off) an 
 hang it up, fo will the fill Armoniac 
 fret away, and the gold remain behind 
 which keep. 
 
 When yon tife it ^temper it with glair 0 
 eggs, and fo ufe it with yen or yen fti. Ghtr. 
 
Of Limning . 143 
 
 f Eggs is thus made.Taky the whites and 
 \eat them with a fpoon^ till that rife all in 
 foam j then let them jland all nighty and 
 Yy morning they will be turned into clear 
 1 ’ ater , which is good glair . 
 
 I I . Argentum Muficutn. 
 
 Take one ounce of tin, melt it, and put 
 hereto of Tartar andQuicklilvcr of each 
 me ounce, ftir them well 'together until 
 hey be cold, then beat it in a mortar 
 nd grind it on a ftone , mix it with gum 
 water, write therewith, and afterwards 
 poll ifh it. 
 
 III. Burnijhed Cold or Silver. 
 
 Take gum-lake and diflolve it into a 
 
 liff watery then grind a blade or two 
 )f Saffron therewith and you {hall have 
 1 fair gold : when you have let it, being 
 hroughly dry , burnifh it with a dogs 
 :00th. Or thus, having writ with your 
 aen or penfil W 7 hat you pleafe, cut the 
 Leaf Gold or Silver into pieces, accord- 
 ing to the draught, which take up with 
 a feather and lay it upon the drawing, 
 which prels down with a piece of wool 3 
 and being dry, burnilh it. 
 
 IV. Gold 
 
- 1 
 
 144 Tolygraphicei. Lib.il j 
 
 I V. Gold Arnioniack. 
 
 This is nothing but that which w 
 have taught at the 4 e 16 of thi 
 Book. 
 
 V. Size for burnijhed Gold. 
 
 Take Bole Arnioniack 3 drachms, fin 
 Chalk 1 drachm j grind them as (mall a 
 you can together with fair water, thre 
 or four times, letting it dry after ever 
 time : then take glair and (train it a 
 fhort as water, with which grind th 
 Bole and Chalk , adding a little gui 
 Hedera, and a few blades of Saffron 
 grind all as finall as poffible, and pi 
 them into an Ox horn ( I judge a gla 
 veflel better J and let it to rot in horl 
 dung for fix weeks 5 then take it u[ 
 and let it have air , and keep it fc 
 ule. '-1 " -j 
 
 Its ufe is for gilding parchments, boo 
 covers, and leather, thus : lay this fiz 
 firft upon the parchment, then with 
 feather lay the Gold or Silver upon i 
 which when dry, burnifh it. 
 
 V I. To Diaper on Gold or Silver . 
 
 You mufi: diaper on gold with lak 
 
 an 
 
v; 1 
 
 Of Limning. * I45 
 
 nd yeilow Oker : but upon Silver with 
 ferule. 
 
 VII. Aurum Mnficmn.’ 
 
 Take fine Ctyftal, Orpiment of each 
 ne ounce,beat each fever ally into a fine 
 owder, then grind them together well 
 ith glair, 
 
 ! You may write with it, with pen or 
 enfil, and your letters or draught will 
 e of a good gold colour. 
 
 CHAP. XXII. 
 
 df Preparing the Colours . 
 
 ^Olours according to their L na- 
 tures, have each a particular way 
 of preparation : to wit, by grinding, 
 walking, of fteeping. 
 
 II. The chief Colours to be ground are 
 tfiele j White lead, Cerule,Sinaper lake, 
 Oker, Pink , Indico, Umber , Colens 
 Earth, Spanilh Brown,Ivory Black, Cher- 
 ry ftone Black. 
 
 III. The chief colours to be wajf/d 
 
 L 
 
10 roljigraphices. Lib. II j 
 
 are, Red lead, Mafiicot, green Bice, Ce- 
 dar green , * Ultramarine , blew Bice. 
 Smalt, Verditure. 
 
 I V. The chief colours to be fieept 0 are 
 Sap-green, SafFron,Tumlole,Stone blew. 
 Venice berries. 
 
 V. To Grind Colours. 
 
 Take the colour you would grind, 
 and {crape off from it all the filth, then 
 lay it upon the ftone and with the mul- 
 ler bruile it a little 5 then put thereto a 
 little fpring water, and grind all toge- 
 ther very well, till the colour is very 
 fine } which done, pour it ©ut into cer- ■ 
 tain hollows or furrows, cut in chalk- 
 ftone, and there let it lye till it is dry, 
 which referve in papers or glafles. 
 
 VI. To j vaJJj Colours . 
 
 Put the colour into a glafed veflel,and 
 put thereto fair water plentifully, walh 
 it well, and decant f after a while ) the 
 watery do this fix or {even times} at 
 laft put the water (being juft troubled) 
 into another glafea veilel, leaving the 
 dregs at bottom : then into this fecond 
 veflel put more fair water, wafhing it as 1 
 ’ be- : 
 
Of Limning. 147 
 
 before, till the water ( being fettled ) 
 be deaf, and the colour remain fine at 
 bottom : we have taught another way at 
 the 24 e 18 of this Book. 
 
 VII. To Jleep Colours. 
 
 Take a quantity thereof, and put it 
 into a lhell, and fill the lhell with fair 
 water , to which adde feme fine powder 
 af Atom, to raife the Colour $ let it thus 
 f eep a day and night, and you will have 
 1 good colour. 
 
 Where note , Saffron Jleeped in vinegar 
 lives a good colour 5 and the Venice her - 
 nes in fair water and a little Alom , or a 
 drop or two of oyl of Vitriol makes a fair 
 yellow. 
 
 VIII. To temper the Colours. 
 
 Take a little of any colour, and put it 
 into a clean lhell, and adde theretoa few 
 drops of gum water, and with your fin- 
 gers work it about the lhell, then let it 
 dry 3 when dry, touch it with your fin- 
 gers, if any colour comes off, you mult 
 adde ftronger gum water : but being 
 dry , if the colour glifter or Ihine, it 
 is a fign there Is too much gum in it, 
 L 2 which 
 
148 Volygraphices. Lib. II, 
 
 which you may remedy by putting in 
 fair water. 
 
 I X. To help the defeBs. 
 
 Some colours as Lake, limber, and o- 
 thers which are hard, will crack wher 
 they are dry 5 in this cafe, in tempering 
 them adde a little white Sugar candy ir 
 very fine powder, which mix with tht 
 colour and fair water in the {hell, till the 
 Sugar candy is diflolved. 
 
 X. Thefe colours , limber, Spanifl 
 brown, Colen earth, Cherryftone, anc 
 Ivory black, are to be burnt before they 
 be ground or wafh’d. 
 
 XI. To burn or calcine Colours. 
 
 This is done in a crucible, covering 
 the mouth thereof with clay, and letting 
 it in a hot fire,ti!l you are lure it is red hoi i 
 through : which done, being cold, waff 
 or grind it as aforelaid. 
 
 XII. To prepare f adores for Colours. 
 
 White is fhaded with black, and con- 1 
 
 trariwife; yellow with Umber, and the ' 
 Okers : Vermilion with Lake : blew , 
 Bice with Indie : Black coal with Ro- >■ 
 fet, &:c. 
 
 CHAR 
 
Of Limning . 
 
 *49 
 
 CHAP. XXIII. 
 
 I " ' f 
 
 Of the Manual Instruments, 
 
 I. manual Inftruments are four, 
 
 1 ('by-the 2 e 15 of this BookJ) 
 to wit. The grinding Jtonc and Muller $ 
 Pen fils 5 Tables to Limn on 5 and pells or 
 little glafles or China difhes. 
 
 I I. The grinding' jlone may be of 
 Porphury, Serpentine, or Marble, but ra- 
 ther a Pebble, for that is the beft of all 
 others : the muller only of pebble, which 
 keep very clean. 
 
 Thefe may be eafily got of Marblers or 
 
 Stone-cutters in London. 
 
 III. Choofe your penfils thus : by 
 their faftnels in the quills^md their fharp 
 points after you have drawn or wetted 
 them in your mouth tvyo or three times 5 
 fo that although larger yet their points 
 will come to as finall as a hair, which 
 then are good 5 but if they fpread or have 
 any extravagant hairs they are naught. 
 
 L 3 ' IV. To 
 
150 Polygrapkices. Lib. II. 
 
 I V. To wa.Jh your Pcnfds. 
 
 After ufing them , rub the ends of 
 them well with foap, then lay them a j 
 while in warm water to deep, then take 
 them out and wafh them well in other 
 fair water. 
 
 V. To prepare theTablc. 
 
 It muft be made of pure fine pafte- 
 board, fitch as Cards are made of ( of 
 what thicknefs you pleafe) very finely 
 flick'd and glazed. Take a piece of this 
 pade-board of the bignefs you intend 
 the pi&ure, and a piece of the fined 
 and whited parchment you can get (vir- 
 gin-parchment) which cut of equal big- 
 nefs with the pade-board $ with thin, 
 white, new made darch, pade the parch- 
 ment to the pade-board, with theout- 
 fide of the skin outwardmod : lay on 
 the darch very thin and eaven 3 then 
 the grinding done (being clean) lay the s 
 card thereon with the parchment fide 
 downwards, and as hard as you can, 
 rub the other fide of the pade-board 
 with a Boars tooth let in a dick 3 then 
 let it be thorow drie , and it will be 
 
Of Limning. 1 5 1 
 
 lit to work or limn any curious thing 
 ipon. 
 
 VI. The fhells holding or contain- 
 tig your colours, ought to be Horfe- 
 | 'utricle (hellsj which may be got in July 
 bout Rivers fides 5 but the next to 
 hefe are fmall mufcle fhells, or in ftead 
 hereof little China or glafs veffels. 
 
 CHAP. XXIV. 
 
 Of Preparations for Limning. 
 
 t T Ave two fmall glafs or China 
 1 difhes, in either of which muft 
 )e pure clean water, the one to wafh 
 he pencils in being foul, the other to 
 :emper the colours with when there is 
 uccafion. 
 
 1 1 . Befides the pencils you Limn with } 
 1 large, clean, and dry pencil, to cleanfe 
 the work from any kind of duft, that 
 may fall upon it, which one called Fitch- 
 Pencils. 
 
 III. A (harp Pen-knife to take off 
 L 4 hairs 
 
152 rofygi'aphices. Lib. I f 
 
 hairs that may come from your ppnci sj 
 either among the colours or upon th 
 Work j or to take out fpots that ma 
 fall upon the card, or table, 
 
 IV. A Paper with a hole cut thereii 
 to lay over the Card, to keep it froi 
 dull: and filth, to reft your hand upon 
 and to keep the foil and fweat of yot 
 hand from tallying the parchment, i 
 alio to try your pencils on before yo 
 ule them. 
 
 Let the final I glajjes ^waters. ^ pencils , an 
 pen-ktiije lie all on the right hand . . ] 
 
 V. Have ready a quantity of light cai j 
 nation or flefh colour temper’d up in: 
 fheii by it (elf with a weak gum wate:j 
 If it be a fair complexion mix whit 
 
 , and red Lead together 5 if a brown c 
 fwarthy, add to the former, Mafticot | 
 or Englilh Oker, or both : but be furl 
 the flplh colour be always lighter tha 1 
 the complexion you would limne, fcl 
 by working on it you may bring it t ) 
 its true colour. 
 
 V I. In a large Horfe-mufcle fhe 
 place your feveral Ihadows ( for th 
 ■ " ' flef I 
 
Of Limning, 153 
 
 efh colour) in little places one diftincf 
 f rom another. 
 
 VII. In all lhadowings have ready 
 □me white., and lay a good quantity of 
 t by it felf, befides what the Ihadows 
 ire .firft mixed with 3 for red for the 
 i’heeks and lips, temper Lake and red 
 _ead together: for blew Ihadows (as 
 under the eyes and in veins) Indico or 
 Ultramarine and white : for gray faint 
 Ihadows, white, Englilh Oker , fome- 
 times Mafticote : for deep Ihadows , 
 white, Englifh oker, Umber : for dark 
 Ihadows, Lake and Pink, which make a 
 good flefhy lhadow. 
 
 VIII. To make choice of the light. 
 
 Let it be fair and large ^ and free from 
 
 (hadorvs of trees or houfes , but all clear 
 Skje light , and let it be direct from above , 
 and not tranfverfe j let it be northerly and 
 not font her lyy, and let the room be clofe 
 and clean , and free from the Sun-beams. 
 
 I X. Of the manner of fitting. 
 
 Let your desf on which you ivorf befo 
 fituate , that fitting before it , your left 
 amt may be towards the lights that the 
 light 
 
154 Polygraphi ccs. Lib. . 
 
 light may firike (Idling upon your work A 
 Let the party that is to be Limned , be - 
 what pojiure themfelves will dejign 3 b 
 not above two yards off' you at mojl , ar. 
 level with you 5 wherein obferve their m 
 tion , if never fo finally for the leajl mot, \ 
 on 3 if not recalled 3 may infkort time brii 
 on you many errors : Lajlly , the face beit, 
 finifhedy let the party Jland 3 (not fitfe, 
 a farther dijlance (four or five yards off 
 to draw the pojiure of his clothes. 
 
 CHAP. XXV. 
 
 Of the Practice of Limning in Mint\ 
 ture 3 or Drawing of a Face in Colours. ! 
 
 'T O begin the work. 
 
 Have all things in a readinef ' 
 (as before) then on the Card lay th< 
 prepared colour ( anfwerable to th< 
 complexion prelented ) eaven and thin, 
 free from hairs and fpots,over the place 
 where the pifture is to be : the ground 
 thus laid, begin the work , the party 
 
 being 
 
Of Limning . 1 55 
 
 bing let, which muft be done at three 
 firings : at the firft fitting the face is 
 oly dead coloured, which takes up a- 
 t.ut two hours time : at the fecond 
 ting, go over the work more cud- 
 dly, adding its particular graces or 
 rformities , fweetly couching the co- 
 -urs, which will take up about five 
 jurs time : at the third fitting finifh the 
 ce, in which you muft perfect all that 
 imperfect and rough, putting the deep 
 adows in the face, as in the eyes, eye- 
 rows, and ears, which are the laft of 
 le work, and not to be done till the 
 air curtain, or back fide of the pidture, 
 
 , nd the drapery be wholly finithed, 
 
 1 1. The operation or work_ at firji fit* 
 'ng. 
 
 The ground for the complexion be- 
 ing laid, draw the out- lines of the face, 
 .vhich do with Lake and white mingledj 
 Iraw faintly , that if you mifs in pro- 
 portion or colour you may alter it : 
 his done , add to the former colour 
 read Lead , for the cheeks and lips } 
 let it be but faint (for you cannot ligh- 
 
156 Folygraphices. Lib [J 
 
 ten a deep colour) and make the (1 
 dows in their due places , as in 1 1 
 cheeks., lips, tip of the chin and ea 
 the eyes and roots of the hair : ft ! 
 dow not with a flat penfil , but 
 finall touches (as in hatching ) and 
 go over the face. In this dead coveri 
 rather than to be curious, ftriveasne 
 as may be to imitate nature. The r 
 fhadows being put in their due place 
 fhadow with a faint blew, about t 
 corners and balls of the eyes 5 and wi 
 a grayilh blew under the eyes and 
 bout the temples, heightning the (h 
 dows as the light falls, as alfo the har 
 er fhadows in the dark fide of the fat ^ 
 under the eyebrows , chin, and nec 
 Bring all the work to an eqality,but ac 
 perfedion to no particular part at ti, 
 time; but imitate the life in likenef 
 roundnefs, boldnefs , pofture , colouij 
 aid the like. Laftly, touch at the ha 1 
 with a futable colour in luch curls, fold, 
 and form, as may either agree with tl 
 life, or grace the pidure ; fill the empt 
 
Of Limning. 1 5 7 
 
 races with colour, and deepen it more 
 [rongly, than in the deepeft (hadow- 
 l before. 
 
 III. The operation 
 
 or work, At fecond 
 
 nng- a. 
 
 As before rudely , fo now you mult 
 
 yeeten thofe varieties which Nature 
 Fords, with the fame colours and in 
 le fame places , driving them one in- 
 > another, yet fo as that no lump or 
 jot of colour, or rough edge may Sp- 
 ear in the whole work, and this muft 
 e done with a penfil fharper than that 
 diichwas ufed before. This done, go 
 3 the back fide of the pidhire, which 
 lay beLandskip, or a curtain of blew 
 |r red Sattin : if of blew , temper as 
 1 yiuch Bice as will cover a Card , and 
 et it be well mix’d with gum 5 with a 
 ! lenfil draw the out line of the Curtain* 
 
 ; s alfo of the whole pifture * then 
 vith a large penfil lay thinly or airily 
 iver the whole ground, on which you 
 mean to lay the blew , and then w'ith a 
 large penfil, lay over the fame a fub- 
 flantial body of colour , in doing ox 
 
 which 
 
158 Polygraphices, Lib. J 
 
 which, be nimble, keeping the cole 
 moift, letting no part thereof be d ; 
 till the whole be covered; If the Ci 
 tain be crimlbn, trace it out with lak ; 
 lay the ground with a thin colour 3 a 
 lay the light with a thin and water i 
 colour, where they fall 3 and while t 
 ground is yet wet, with a ftrong da 
 colour tempered Ibmething thick, 1 
 the ftrong and hard fhadows clofe I 
 the other lights. Then lay the linn 
 with faint white, and the drapery ft; 
 of the colour you intend it. In the fac 
 fee what fhadows are too light or tc 
 deep, for the curtain behind, and dr- 
 pery, and reduce each to their due pel 
 fe&ion 3 draw the lines of the eye-lie jj 
 and fhadow the entrance into the ee j 
 deepnels of the eye-brows, and emine : 
 marks in the face , with a very fha 1 
 pencil : laftly go over the hair, c< 
 louring it as it appears in the life, caf 
 ing over the ground fome loole hail 
 - which will make the pifture ftand as I 
 Were at a diftance from the curtail 
 Shadow the linnen with white , black ' 
 
Of Limning. 159 
 
 id a little yellow and blew , and deepen 
 ar black, with Ivory blacks mix’d with a 
 1 tie Lake and Indico. 
 
 I V. The operation or work at third 
 ting. 
 
 This third work is wholly fpent in 
 ying ftrong touches where you lee 
 ;ule 5 in rounding, fmoothing and co- 
 ming the face, which you may better 
 ? to do, now the curtain and drapery 
 limned, than before. And now ob- 
 ve whatloever may conduce to the 
 rfe&ion of your work, as gefture, 
 ars or moles, cafts of the eyes, wind- 
 2js of the mouth, and the like. 
 
 CHAP. XXVI. 
 
 Of Limning Drapery. 
 
 A Full and fubftantial ground be- 
 ing laid all over where you in- 
 nd the drapery , as if blew, with Bice 
 loothly laid, deepen it with Lake and 
 dico 5 lightning it with a fine faint 
 
160 Polygraphicts. Lib.ll 
 
 white, in the extreme light places, th 
 which underftand of other colours. 
 
 II. If the body you draw be i 
 
 Armour , lay liquid filver all over fc 
 a ground , well dried and burnifhed 
 fhadow it with Silver , Indico an 
 Umber, according as the life diref 
 you. ' 
 
 III. For Gold Armour , lay liqui 
 gold as you did the filver, and fii; 
 dow upon it with Lake, Englifh Oke 
 and a little gold. 
 
 TV. For Pearls , your ground ml 
 be Indico and white } the fhadows blaCc 
 and pink. ! 
 
 V. For Diamonds , lay a ground of ’ 
 quid filver, and deepen it with Cherr 
 ft on and Ivory black. 
 
Of Limning. 
 
 161 
 
 CHAP. XXVII. 
 
 Of Limning Landslip. 
 
 \ L L the variable exprejjtons of Land* 
 skjp we innumerable , they being as 
 uany as there are men and fancies j the ge~ 
 eral rules follow. 
 
 I. Always begin with the Sky, Sun- 
 cams, or lighteft parts firft 3 next the: 
 ellowilh beams (which make of Mafti- 
 ot and white ) next the blewnefs of 
 le Skie, ('which make of Smalt on- 
 
 *0 r 
 
 II. At firft colouring, leave no part 
 f the ground uncovered, but lay the 
 olours fmooth all over. 
 
 III. Work the Sky downwards : to- 
 
 t /ards the Horizon fainter and fainter, as 
 It draws nearer and nearer the earth: 
 he tops of mountains far remote, work 
 d faint that they may appear as loft in 
 he air. 
 
 I V, Let places low , and near the 
 M ground 
 
162 
 
 Polygraphices. Lib. I. 
 
 ground be of the colour of the earth, c 
 a dark yellowifh, or brown greeny th 
 next lighter green , and fo fucoeffively a 
 they lofe in diftance, let them abate i 
 Colour. 
 
 V. Make nothing which you fee at 
 diftance perfeft, by e^preffing any part 
 cular fign which it hath, but exprefs it i 
 colours, as weakly and faintly, as the e) 
 eth of it. \\n v 
 
 I. Always place light againft datl 
 nefs and darknefs againft light, by whic 
 means you may extend the prof|>e& as 
 Very far off! ;• 
 
 VII. Laftly,Let all fhadows lofe the 
 force as they remove from the eye $ a 
 ways letting the ft rongeft fhailovV ‘ 1 
 neareft hand. 
 

 i6f 
 
 POL YGR APHICES 
 
 Liber Ter tins. 
 
 Df Painting, Walking, Colouring, 
 Dying and Vanishing. 
 
 'outlining the defer if t ion and ufe of all the 
 chief Instruments & materials , the way 
 and manner of workings together with 
 the heginning. fr ogrefs and end thereof • 
 
 Exemplified in the Painting of the An- 
 tients ; the wafhirig of Maps., Globes or 
 Pictures : dying of Cloaths 5 Silks* 
 Horns* Bpnes* Woods* Glafs* Stones 
 and Metals : Together with the var- 
 nifhing thereof* according to any 
 purpose or intent. 
 
 C H A P. I. 
 
 . . 
 
 f Painting in Oylg& the Materials thereof. 
 
 P Ainting in Oyl is nothing but the 
 work or Art of Limning performed 
 dth colours made up or mixed with oyl. 
 . . M a II. The 
 
i^4 Tolygraphices. Lib. III. 
 
 II. The materials of Painting are 
 
 chiefly (even, i. The Eafel, 2. The Pallet*, 
 3. The Straining frame , 4. The Primed 
 cloath , 5. Penfils 6. The Stay , 7. 1 
 
 lours. 
 
 III. T/je £4/2/ is a frame made of wood 
 (much like a ladder) with fldes flat, 
 and full of holes, to put in two pins to 
 let your work upon higher or lower at 
 pleafure 5 (omething broader at bottom 
 than at the top j on the backfide where- 
 of is a flay, by which you may let the 
 Ealel more upright or (loping. 
 
 IV. The Pallet is a thin piece of 
 wood, (Peartree or Walnut) a foot 
 long, and about ten Inches broad, al- 
 molt like an Egg, at the narrowed end 
 of which is made an hole, to put in the 
 thumb of the left hand, near to which is 
 cut a notch, that (o you may hold the 
 pallet in your hand. Its ufe is to hold and * 
 temper the Colours upon. 
 
 V. The Streining frame is made oi 
 wood , to which with nails is faftned. 
 the primed cloath, which is to be paint- 
 ed upon. 
 
Of Painting. 1 6 5 
 
 Thefe ought to be of fever ul fazes accord- 
 ing to the bigncfs of the c loath. 
 
 VI. The Primed doath is that which 
 is to be painted upon y and is thus pre- 
 pared. 
 
 Takg good Canvafe and Jmooth it over 
 [with a fickcjlone , faze it over with faze, and 
 la little honey , and let it dry then white it 
 over once with whiting and faze mixed 
 with a little honey , fo is the cloath prepa- 
 red, on which you may draw the piilurc 
 with a coal, and, lallly lay on the Colours. 
 
 Where note , honey keeps it from cracky 
 ing, peeling or breaking out. 
 
 VII. Penfals are of all bigneftes, from 
 a pin to the bignefs of a finger, called 
 by feveral names, as Ducky quilt fit c bed 
 aiid pointed-, gooje quill filched and point- 
 ed , Swans quill fitchcd and pointed 5 
 1 Jewelling pen fils, and brijile Penfils : lo me- 
 in quils, fome in tinn cafes, and fome in 
 flicks. 
 
 VIII. The Stay or Mol-fiick , is a 
 Brazil dick (or the like J of a yard- 
 long 5 having at the one end thereof, a 
 little ball of Cotton fixed hard in a 
 
 M 3 piece 
 
1 66 Yolygraphices. Lib.tll, 
 
 piece of leather , of the bignefs of j 
 cheftnut} which when you are at worl 
 you mu ft hold in your left hand 5 anc 1 
 laying the end which hath the leathei 
 ball upon the cloath or frame., you maj 
 reft your right arm upon it, whilft yot 
 are at work. 
 
 IX. The Colours are in number fever 
 (ut fupra J to wit White , Black, Red 
 Green, Yellow, Blew, and Brown. 
 
 Of iphich fame may he tempred on th 
 pallet at ji'rjl 5 feme mull be ground, anc 
 then tempred 5 and other fome mujl In 
 burnt aground, and lasl ly tempred. 
 
 X. To make the lize for the primer 
 cloath at the 5 e. 
 
 " Takg gleiv , and boil it well in fair watei 
 till it be difjblvcd , and it is done. 
 
 X I. To make the whiting for the 5 e 
 
 Take of the afore (aid, (ize, mix it wit I 
 
 whiting ground, and Jo white your board 
 or cloath (being made fmoothj dry them 
 and white them a fecond or third time 
 laflly J crape them fmooth and draw it ovei a 
 with 'white lead tempred with oyl. 
 
 XII. To keep the Colours from skining 1 
 
 Oy I 
 
H ’ Of Fainting iu Oyl. 1 6j 
 
 Oyl colours ( if not prefently ufed ) will 
 j uve a skin grew over them , to prevent 
 which) put them into a glafs , and put the 
 || lafs three cr four inches under water 3 Jo 
 rill they neither skjn nor dwy. 
 
 XIII. To .deanle the Grinding ftone 
 and Penfils. 
 
 If the grinding jlone he ford grind Cur- 
 riers pavings upon it 0 and then crumbs 
 of bread) jo will the filth conic off ; if the 
 pencils befoul 5 dip the end of them in oyl 
 of Turpentine 0 and Jipnceze them between 
 your fingers , and they will be very- clean. 
 
 C H A P. II. 
 
 Of the Colours in General. 
 
 I. ‘T'*He chief Whites for painting in 
 oyl are 3 White lead;, Cerufe, and 
 Spodium. 
 
 I I. The chief Blacks a tej Lamp black, 
 Seacoal black. Ivory black, Charcoal, 
 and earth of Coien, 
 
 III. The chtef Reds are, Vermilion, 
 
 ' / M 4 Sina- 
 
1 
 
 1 68 rolygraphices. Lib. Ill 
 
 Sinaper lake , Red lead , Indian Red 
 Ornotto. 
 
 IV. The chief Greens are,Verdigriefe 
 Terra vert, Verditer. 
 
 V. The chief Yellows are, Pink, Marti- 
 
 cote, Englifh Oker, Sprufe Oker, Orpi 
 raent. .. j *|j'! 
 
 V I. The chief Blews are;, blew Bice 
 Indico, Ultramarine., Smalt. 
 
 V I I. The chief Browns are, Spanift 
 brown. Burnt Spruce, Umber. 
 
 VIII. Thefe colours , Lamp black 
 Verditer, Vermilion, Bice, Smalt, Ma- 
 fticot, Orpiment, Ultramarine , are noi 
 to be ground at all, but only tempcrec 
 with oyl upon the Pallet. 
 
 IX. Thefe colours, Ivory, Cerufe 
 Oker, and Umber are to be burnt , anc 
 then ground with oyl. 
 
 X. All the reft are to be ground upor 
 the Grinding ftone with Linfeed oyl I 
 ( except white lead, when it is to be ufed I 
 for Linnen, which then is to be ground 
 with oyl of Walnuts , for Linfeed oyl 
 will make it turn yellow.) 
 
 CHAP, 
 
Of Tainting. 
 
 169 
 
 CHAP. III. 
 
 Of the fitting of Colours for Tainting. 
 
 j Pon the Pallet difpole the feve- 
 
 r „„ ral colours, at a convenient di- 
 
 ance, that they may not intermix 5 
 :rft lay c a t Vermilion, then the Lake, 
 aen the burnt Oker , then the India 
 [Led, Pink, Umber, Black, and Smalt, 
 ach in their order, and lay the white 
 iext to your thumb, becaufe it is oft- 
 left uled, for with it all fhadows are to 
 telightned^ and next the whiteaftiff 
 ortof Lake 5 thus is the Pallet furnifhed 
 vith fingle colours for a face. 
 
 Now to temper them for Jljadowing vari- 
 ous complexions do thus. 
 
 1 1. For a fair complexion. 
 
 Take White one Drachm^T ermilionJLake 
 of each two Dr achmes ^temper them^and lay 
 them ajide for the deepeff Carnation of the 
 face : to part of the aforefaid mixture put 
 a little more white , for a light carnation : 
 
 and 
 
f 73 Polygraphiccs. Lib.il 
 
 and to part of that put more white ( [whit 
 temper on the Pallet') for the light ejl color 
 of the face. 
 
 III. The faint lhadows for the fa 
 complexion. 
 
 Take Smalt , and a little White y ft 
 the eyes: to part of that adde a litt 
 pink^-, and temper by it felf for fait 
 greenifhjhadows in the face. 
 
 I V. The deep fhadows for the lame, 
 
 Take Sinaper Laky 0 Pin and blacky t 
 
 eachyvhich temper together 5 if the JJ.iadon 
 ought to be redder than what is temperet 
 add more Lake : if Yellower 0 adde moh 
 pink. • tf blewer or grayer 5 adde nm 
 blackly thus fhall the Pallet be fitted .xvti 
 colours . 
 
 V. For a brown or Swarthy Con 
 plexion. 
 
 ' The (ingle colour being laid on the Pall 
 as before , and tempered 5 to the Whit 
 Lake y and Vermilion , put a little bun 
 Oker for a Tawney : and for height nil, : 
 adde jome Yellow Okyrfio much as may ju j 
 change the colours . The faint and dec i 
 fkadows arc the fame at the 3 & 4 e. ] 
 
 ■ VL Fc ; 
 
Of -Limni ng. fcdwUlny. 171 
 
 V I. For a tawny Completion. ' 
 
 V The colours are the fame with the for- 
 | :v 3 but the foaclovcs are different 3 'which 
 i.ujl be made of burnt Ohgr and Timber 0 
 I vhich will fit well:) if thefiadow be not 
 
 I llow enough 3 add a little pi nig to it. 
 
 VII. Fora black Complexion. 
 
 The dar/gjhadows are the fame with the 
 ■rmer : but for heightning take- .White $ 
 laclg^ Labe and burnt Ohyr 3 in temper- 
 hg of which put in the white by degrees ^ 
 ll you come to the lighted of all. Where 
 ote 3 that the (Ingle colours at firfl laid up- 
 n the Pallet and tempered 3 ferve forjha- 
 fows for all complexions 3 and that all 
 feepnings ought to be with blacky 3 lak ,? , and 
 \inkjempered together. 
 
 CHAR IV. 
 
 Of Colours for Velvet. 
 
 F O R blaclg Velvet. Take Lamp 
 black and Verdigriefc for the firli 
 ^Foiind 3 that being drie 3 take Ivory 
 
 blacky 
 
1 7 2 Foljgraphices. Lib.I . 
 
 black, and Verdigriefe 3 (hadow it wi 
 white Lead mixed with Lamp black. 
 
 II. For Green. Take Lamp black ai 
 white Lead, and work it likearufi 
 Velvet, and let it drie 3 then draw 
 over with Verdigriefe tempered with 
 little pink. 
 
 HI. For Sea green. Take only Verdi 
 griefe and lay it over ruflet : If a Gra 
 green , put a little Mafticot to it : (hado 
 thefe greens with ruflet 3 which ky a 
 cording to the deepnefs of the green. 
 
 IV. For Red. Take Vermilion, an! 
 (hadow it with Spanifh brown : an 
 where you would have it darkeft, (h; 
 dow with Seacoal black and Spani 
 brown with the aforefeid colours 3 dr 
 it, and then glols it over with Lake. 
 
 V. For Crimfon or Carnation. Tal 
 Vermilion, to which add white Lead ;’ 
 pleafere. 
 
 V I. For Blew. Take Smalt tempere 
 alone. 
 
 VII. For Fellow. Take Mafticot an 
 fellow Oker 3 and where you woul 
 have it darkeft, (hadow it with Umber, 
 
 VIII. Ft 
 
Of Fainting, 1 73 
 
 VIII. For Tarvney. Take Spanilh 
 jown, white Lead, and Lamp blacky 
 j th a little verdigriele,to lhadow where 
 ted is 5 when drie, glofs it over with 
 ke and a little red Lead. 
 
 IX. For hair colour. Take Umber 
 ound alone } and where it Ihould be 
 ighteft, mix fome white Lead: about 
 e folds, lighten or darken with white 
 ;ad and Umber. 
 
 X. For j/h colour . Take Charcoal 5 
 ack and white Lead : lighten with 
 hite Lead : a colour like to a dark, rujjet 
 ill be an Ajb colour. 
 
 XI. For Purple. Take Smalt and Lake, 
 r each alike, temper them (light or deep 
 ; you pleale) with white Lead. 
 
 XII. Lajily note , that in painting 
 elvet you mult at firft work it fome- 
 rhat lad , and then give it a ludden, 
 rightnels. 
 
 CHAR 
 
174 
 
 Poly gray bices. 
 
 Lib. II 
 
 CHAP. V. 
 
 Of colours for Sattins. 
 
 i 
 
 O R Black i Take Lamp blac 
 gjrpund with oyl and tempere 
 with white Lead s and where you woul 
 haveitfhine moft 3 mix Lake with th 
 white Letid. . 
 
 II. For Green. Take Verdigriel 
 ground alone and mixed with whit 
 Leads adding Pink where you woul< 
 have it brighteft : to the deepeft fha 
 dowsuidd more Verdigriefe. 
 
 III. For Fellow. Take Mafticot, yel 
 loW'O'ker and -Umber fgrouad each b] 
 tbfim£eb{esf).W/]acre iitifliould be bright 
 eft, ftfcMafticot alone: 5 Where fa ‘lighi 
 lhadow, ule Oker 3 where darkeft, life 
 Umber. 
 
 IV. For Purple. Take Smalt alone, 
 and where it fhould be brighteft 2 ufe 
 white Lead. 
 
 V. For Red. Take Spanifh brown 
 
 (ground 
 
O I - £-/ m n i ng ^ ^A : nAri-v 1 7 5 
 
 ground alone) mix it with Vermili- 
 n , and where it fhould be bright- 
 |t 3 mix white Lead with the Ver- 
 ailion. 
 
 VI. For White. Take white Lead 
 ground alone) and Ivory black, which 
 [impe* light or dark. 
 
 VII. For Blew. Temper Smalt and 
 i-hite Lead 5 where it fhould be 
 :ddeft 3 ule Smalt 3 where lighteft, white 
 ead. 
 
 , VIII. For Orange colour. Take red 
 . ead and Lake 5 where bright eft, red 
 ead 3 where faddeft. Lake. u 
 
 I X For Hair colour. Temper, tim- 
 er and white Lead 3 where it fhould 
 e brighteft , put; more white Lead 5 
 nd where the greateft fhadow, ufe Sea- 
 oal black mixed with Umber. 
 
 CHAR 
 
176 Tolygraphices* Lib.IIj 
 
 CHAP. vr. 
 
 Of Colours for Tajfatte , Cloth and Leather 
 
 I. nP AJfaties are painted much as Sat 
 
 *■ tins, thus : Take luch colour 
 as are fit for the purpofe , and la 
 them one by another upon the work 
 and fhadow them with others. 
 
 I I . Cloth is the lame work with Sat 
 tin, lave, you muft not give to cloth ( 
 {udden a fhining glols. 
 
 III. Cloth of Gold is made of brow 
 Oker and liquid Gold 3 water an- 
 heighten upon the lame with fmall gob 
 ftrokes. 
 
 IV. For Buff ) mix yellow Oke 
 and white Lead 5 and where it fhould b 
 dark by degrees, mix it with a litttl 
 Umber $ when you have done, fize i" 
 over with Umber and Seacoal black. 
 
 V. For yellow' Leather , take Maftico 
 and yellow Oker : lhadow it wit; 
 Umber. 
 
 VI. Fo 
 
 i 
 
Of Tainting . i J j 
 
 VI. For b\acf Leather , take Lamp 
 Hack;, and Ihadow it with white Lead. 
 
 CHAP. VII. 
 
 i Of Colours for Garments in general. 
 
 F O R Blacky Let the dead colour be 
 Lamp black and Verdigriefe: be- 
 lg dry;, go over with Ivory black and 
 ’erdigriefe 5 but before the fecond go- 
 lg over, heighten it with white. 
 
 1 1. For Flair colour. Take llmbef and 
 ; ;hite for the ground 5 limber and black 
 Dr the deeper Ihadows 5 Umber and 
 j'nglifh Oker for the meaner Ihadows 5, 
 yhite and Englifh Oker for heightning.' 
 .III. For Blew. Take Indico and 
 White : firft lay the White, then the In- 
 lico and White mixed 5 then deepen 
 t With Indico 5 and when drie, glaze it 
 vith Ultramarine which will never fade;, 
 Smalt will turn blacky , and Bice will 
 ^.urn green. 
 
 I V. For Fnrple. T ake Smalt temper- 
 • N ed 
 
1 78 Pofjgraphicer. Lib. III. 
 
 cd with Lake and white Lead 3 then 
 heighten with white.Lead . < 
 
 V. For a fad Red. Take Indian Red 
 heightned with White. 
 
 VI. For a light Red. Take Vermilion ! ( 
 glaze it over with Lake 3 and heighten 
 it with White. 
 
 VI I. For a Scarlet. Take Vermilion, 
 and deepen it with Lake or Indian red. t ’ 
 
 VIII. For Green . Take Bice ane 
 
 Pink , heighten it with Mafticot 5 anc 
 deepen with Indico and Pink. a 
 
 I X. For Tellorv.Tdke Mafticot,yellow ( 
 
 Oker, Umber 5 lay Mafticot and Whitt 
 in the lighted places 3 Oker and Whin 
 in the mean places 5 and Umber in th< 
 darkeft 3 glaze it with Pink. ( 
 
 X. For Orange colour. Lay the light ef 
 parts with red Lead and White , th< ( 
 mean parts with red Lead alone 3 th< 
 deeper parts with Lake 5 and if need is 
 heighten it with white. 
 
 CHAP 
 
Of Painting. 
 
 1 79 
 
 CHAP. VIII. 
 
 Colours for metals and precious Jlones. 
 
 .YfOfi Iron. Take Lamp black and 
 II white Lead 3 if you would have 
 rufty, take feacoal black , and mix it 
 pith a little white. 
 
 ' II. For Silver. Take Charcoal black 
 nd white Lead : where you would have 
 darkeft, ufe more Charcoal 3 work 
 lver Ibmewhat ruftifh , and give it a 
 ldden glols with white Lead only. 
 
 III. For Gold. Take Lake, Umber, 
 ed Lead,Mafticot : lay the ground with 
 led Lead, and a little dry Pink : where 
 ou would have it darkeft, fhadow it 
 noft with Umber 3 where lighted: with 
 : dafticot. 
 
 Note , in grinding the red Lead for the 
 old fizerfut in a little Ferdigriejejo make 
 t dry fooner. 
 
 IV. For Pearls. Temper charcoaL 
 >lac.k with white Lead, till it be a per- 
 
 N S fc& 
 
. 
 
 180 Polpgraphices., Lib.Ill 
 
 Se&ruSIet, then make the Pearl with it. 
 and give it a Speck of wliite lead only, tc 
 make it fhine. 
 
 Where note 0 ! that Cernfe tempered wit* 
 o)l of white Popp)} is excellent to heightei 
 up Pearls. ' V 
 
 V. For -precious Jlones. For Rubies 
 8ccf. lay their counterfeit grounds wit! 
 tranfparent colours 3 and Lake, Verdi || 
 griefe and Verdi ter give them a Shi 
 ning colour. 
 
 .a 
 
 - — ; . L— i . , 
 
 , - u- - - f < 
 
 CHAP. IX. 
 
 ■ 
 
 Of Colours for Landslip. _ tl 
 
 1 1 It 
 
 I. Tf O R a light Greta , uSc pink an( 
 r mafticot heightned with White | 
 for a Sad green, Indico and Pink height 5 
 ned with mafticot. 
 
 II. For fome Trees , take Lake, Umbel , 
 and white : for others charcoal an< 
 white .* for others Umber , black, anc 
 .white, with fome green : adding Some- 
 times Lake or Vermilion , with ' othe 
 colonist ' * III. Fo ) 
 
 Jk- . 
 
Of Painting. 181 
 
 III. For woody take lake a u mbe r and 
 
 yhite, mixing fometimes a little green 
 /ithaJJ. • j 
 
 IV. ForFirey lay red Lead and Ver- 
 
 lil ion tempered together where it is 
 eddeft : where it is blew, lay oyl, fmalt, 
 nd white lead : where it is r yellow., take 
 bafticot, and work it over in’ certain 
 laces : where you would have it fhine 
 toft, with Vermilion. - y* : 
 
 V. For an A%ure 'skjey which leenis 
 far off, take oyl, frnalt, or bice, and 
 temper them with Linfeed oyl. 
 
 VI. For a red Skje\ take Lake and 
 Vhite” 5 and for lim beams., or yellow 
 louds at fun-rifingor fating., take mafli- 
 ot and white. 
 
 ' VII. For a Night ski e 0 or clouds in a 
 form, take Indico deepned with black, 
 nd heightned with white. 
 
 VIII. LaJllj/yfor the pr alii cal p erf drift - 
 
 of the roor\ have recourle to the rules 
 delivered in chap.i^.Iib.i. and chap. if. 
 \ib. 2. 
 
lS2 
 
 Tolygraphices. 
 
 Lib. Ill 
 
 l $£ 
 
 
 CHAP. X. 
 
 
 Of the Tainting of the face. 
 
 L TTAve your neceftary penfils it 
 
 Ij readinefs, as two penfils duck 
 quill fitched , and two ducks quil 
 pointed j twogoofe quill fitched 5 and 1 
 two pointed : two briftles both alike f 
 one Swans quill fitched, and one point 1 
 ed : one larger penfil in a tin cafe fitch 
 edj and a briftle of the fame bignefs ;| 
 every one having a flick of about nin< 
 inches long put into the quill thereof 
 the farther end of which flick mufl b< 
 cut to a point. 
 
 II. The penfils in a readinefs inyoui 
 left hand, with the pallet upon you) 
 thumb, prepared with fit colours 3 and 
 your molftick^ to reft upon , you mufl 
 work according to the directions follow- 
 ing- 
 
 III. The cloth being pinned , and 
 jflrained upon the frame, take a knife. 
 
 and 
 
Of Fainting. 1 83 
 
 nd with the edge thereof (crape over 
 fciecloath, left knots or the like fliould 
 rouble it. 
 
 IV. Then let the frame and cloth up- 
 *1 the Eafel y at a convenient heighth, 
 bat fitting on a ftool (eaven with the 
 jiarty you draw) you may have the face 
 >f the picture equal, or lomethirig high- 
 r than your own : let the Ealel to the 
 ight ( as in Limning we have taught ) 
 ettingit come in upon your left hand, 
 calling the light towards the right. 
 
 V. Let the perlbn to be drawn, fit 
 aefore you in the pofture he intends to 
 ae painted in, about two yards diftant 
 from you. 
 
 V I. Then with a piece of painted 
 chalk draw the proportion of the face 
 upon the cloth, with the place of the 
 eyes, nofe, mouth, ears, hair, and other 
 poftures. 
 
 Herds no difficulty in this , if you mi f 
 much , the colours will bring all to rights 
 again. 
 
 VII. Then take a pencil Swans quill 
 N 4 pointed. 
 
184 Polygraph! ces. Lib.] 
 
 pointed, and begin to paint Tome of th 
 lighted parts of the face, with the ligh 
 eft colour, ( as the heightning of tl 
 Forehead, nofe, cheek-bone, of the ligh 
 eft fide :) the mean parts next ( as tl 
 cheek-bone of the' dark fide, chin, an 
 over the upper lip : ) proceeding gradi 
 ally till you come to the reddeft par 
 of all. 
 
 VIII. Lay faint greenifh (hadov 
 in convenient places $ and where it 
 neceflary to foften hardier fhadows 5 bi 
 take heed of putting green where re 
 thould be. 
 
 IX. The faint or light parts thi 
 done, take one of the Goole quill poin 
 ed, or Ducks quill fitched, and begi 
 at the eyes to (hadov/ with Lake, goin 
 over the nofe, mouth, compafs of th 
 ear &c. before you lay on any colouj 
 wiping it lightly over with a linhe 
 rag, to prevent the overcoming of th 
 other colours. 
 
 X. The colours both light and darl 
 being put in, take a great fitch pencil 
 and fweeten the colours therewith 
 
Of Fainting. 185 
 
 j>y going over the fhadows with a clean 
 oft pencil, which being well handled 
 vill drive and intermix the colours one 
 nto another, that they will look as if 
 hey w T ere all laid on at once, and not 
 :t divers times. 
 
 i Where note that the bigger pencils you 
 tfe 0 the fveeeter and better your reork^will 
 ie. 
 
 XI. At the fecond fitting-, begin again 
 With clean pencils , of luch bignels as 
 the work requires, and obferve well the 
 perlon, and fee what defefts you find 
 in your work at firft fitting, and amend 
 them 3 then heighten or deepen the 
 fhadows as occafion requires. 
 
 XII. Lajily , take a Goofe quill briftle, 
 land put in the hair about the face ( if 
 there mu ft be any) and rub in the grea- 
 ter hair, with the greater Briftle 3 height- 
 ning it up with the Goofe quill pencil. 
 
 C HAP. 
 
i86 
 
 Fofygraphices. 
 
 Lib.II. 
 
 CHAP. XI. 
 
 Of the cleaning of any old painting. 
 
 I. '"TT" 1 Ake good Wood afhes , an 
 JL learce them , or elfe fome Sma 
 or powder blew, and with a Ipunge an 
 fair water gently wafh the pi&ure yo 
 would cleanle ("taking great care of th 
 fhado wsJ which done, drieit very we! 
 with a clean cloth. 
 
 II. Then varnilh it over again wit 
 fome good varnilh, but fuch as may b , 
 walhed off again with water if need be 
 
 We pall hereafter pew the way of mak 
 ing varnip of fever al forts $ mean feafo, 
 this following may ferve. 
 
 III. Take either Common varnif 
 ("made with Gum-landrack diflolved i; 
 Linleed oyl by boiling)or Glair of Eggs 
 and with your pencil go over the pi 
 ifture, once, twice, or more therewith a 
 need requires. 
 
 CHAP 
 
Of fainting. 
 
 187 
 
 CHAP. .XII. 
 
 he fainting of the Antients exemplified;, 
 firfl in Jome of their Heathen gods. 
 
 | r ' * ; l * ’ t 
 
 J UPITER, (their chief god) 
 paint with long black curled hair, 
 n a purple robe, trimmed with gold, 
 nd fitting on a golden throne, with 
 >right yellow clouds difperfed about 
 lim. 
 
 II. APOLLO or Sol(the god of Phyfick) 
 vith long, curled, yellow hair, crown- 
 ed with a laurel, in a purple robe, a fil- 
 ver bow , golden hair, and throne of 
 Emeralds. 
 
 III. MERCURY, with long, yel- 
 low, curled hair, in a coat of flame co- 
 lour, with a mantle purely whiter trim- 
 med with gold and filver 5 his beaver 
 white with white feathers, his (hoes gol- 
 den, his rod filver. 
 
 IV. NEPTUNE, with long, hoary 
 hair, in a blew or lea green mantle , 
 
 trimmed 
 
1 8 8 Tolygraphices. Lib, I! 
 
 trimmed with filver, riding in a blev 
 chariot , or on a Dolphin, of a Srov\ 
 black colour, with a filver trident in fc 
 right hand. , . ) 
 
 Y'. PLUTO 5 with long, curlec 
 black hair, in a robe of cloth of gold. 
 
 VI. BACCHUS, with Ihort 
 
 brown, curled hair, with a Leoparc 
 ririn fpotted, or in a green mantle ^ 
 tawny. face , with a wreath of Vin 
 branches. - ''*■ 
 
 V I I. HYMEN with long yellov 
 hair, in a purple or faffron coloure< 
 piantle. 
 
 VIII. VULCAN paint in a fear 
 let robe. 
 
 IX. TRITON (Neptune's Trumpe 
 ter) with a blew skin, and in a purpl< 
 mantle. 
 
 X. CUPID was painted by Z euxit 
 ( that famous painter of Greece ) in i 
 green robe. 
 
 X I. MINOS (one of the Judges oj 
 hell) with hair long, brown, and curl- 
 ed^ crowned with a golden crown^his 
 robe blew and.filver,his buskins of gold. 
 
 XII. MO- 
 
Of Fainting. 18.9 
 
 XII. MOMUS ( the carping god) 
 with a darkifh robe 3 his beard and hair 
 prty-coloured. 
 
 CHAP. XIII. 
 
 I f the painting of fome of the Heathen 
 goddejfes. 
 
 ! . IUNO ( Queen of the goddeffes ) 
 f with black hair and eyes, adorn- 
 d With a sky-coloured mantle,or pied3 
 i wrought with gold and peacocks 
 :yes3 like the orient circles in the pea- 
 ‘ocks train. 
 
 II. DIANA (the goddcfs of chajli - 
 ty) with yellow hair 3 a grals green 
 mantle, trimmed with filver 3 buskins 
 Giver 3 bow golden 3 quiver painted co- 
 lours. 
 
 III. PALLAS (the goddefl of wif- 
 dom) with a blew mantle imbroidreft 
 with filver.' 
 
 IV. VENUS (the goddefi of love 
 and beauty) with gold yellow hair, at- 
 tired 
 
I90 Polygraphicct. Lib.II 
 
 tired with black j a fcarlee (or elfedu 
 coloured) robe. 
 
 V. C E R E S (t he goddeft of com an 
 plenty) with yellow hair, and a ftra\n 
 coloured mantle trimmed with filver. 
 
 VI. TELLUS (the goddefi of tl 
 earth ) in a green mantle. 
 
 VII. URANIA in a mantle of; 
 zure, filled with lamps. 
 
 VIII. AURORA in a purpl 
 robe, in a blew mantle fringed with fi; 
 ver. 
 
 IX. PROSERPINE (gueen c 
 hell ) in a black mantle trimmed with 
 gold flames. 
 
 X. VESTA ( the daughter of Saturn 
 in white garments filled with flames. 
 
 XI. A S T R E A (the goddefi of jn 
 (lice ) in a crimfon mantle, trimmed witi 
 filver. 
 
 XII. FLORA ( the goddeft of fore 
 trs) in a mantle of divers colours. 
 
 XIII. NIGHT, in a black mantl 
 fpotted with ftars of gold. 
 
 XIV. Lajlly 3 the three G R AC E ! 
 in filver robes. 
 
 CHAP 
 
Of Tainting. 
 
 t 
 
 19 1 
 
 CHAP. XIV. 
 
 It * ' / 
 
 The Tainting of Law-givers^ Emperours 
 
 ! and Kings ^and Queens. 
 
 \4 OSES ( the Hebrew Lawgiver } 
 with bright hair 3 a very beauti- 
 ill vilage, with radiant fcintillations a- 
 iOut his head, in form of hoarineis, which 
 it painting is called Glory. 
 
 II. NUMA POMPI LIUS, with 
 ?hite hair, crowned with a Giver bend 
 r diadem 3 his robe Crimfon trimmed 
 nth Gold 3 his mantle yellow trimmed 
 nth Silver 3 his buskins watchet and 
 ilver. 
 
 III. JE N E A S ( the T rojan prince ) 
 a a purple mantle trimmed with Gold. 
 IV. DAVID ( the King of IfraelJ 
 iuth brown hair and a ruddy comt 
 ilexion. 
 
 V. ALEXANDER MAGNUS, 
 vith brown h^r and a ruddy com- 
 dexion. 
 
 VI. RO-, 
 
I c? 2 Polygraphiccs. Lib.IIi 
 
 Vi. ROMAN EMPEROURS 
 wPh yellow Caruflers embroidered wit 
 filvcr 5 the labels of their fleeves, an 
 fhort bafes of watchet •, the tinder fleeve 
 and long (lockings, whiter a Lawrc 
 wreath, With a (liver jewel before, am 
 rays of gold iffuing from the wreath. 
 
 VII. GERMAN EMPERORS 
 with d Violet coloured robe, watchet c 
 light coloured. 
 
 VIII. MAHOMET (the Turk 
 great Prophet) in garments all c 
 green. 
 
 IX. GUSTAVUS ADOLPHU 
 f King of Sweden') with yellow hair. 
 
 X. DIDO f Queen of Carthage 
 in a Purple or Scarlet mantle , under he 
 garments Purple 3 a Golden quiver 5 he 
 hair yellow, tyed up with Spangs an< 
 Knots of Gold. 
 
 XI. ELIZABETH (Queen of Eng 
 land) pale faced, light brown hair, ant 
 gray-eyed, 
 
 CHAP 
 
Of Tainting. 
 
 m 
 
 CHAP. XV. 
 
 The Painting of Philofophers, and 
 the Sy bills, 
 
 TDITHAGORAS in white gar- 
 ments, with a crown of Gold. 
 
 II. EMPEDOCLES in Violet, 
 lurry, or Purple, and fb the reft of the 
 redan Philofophers. 
 
 III. ERASMUS ROTERDA- 
 [US, yellow haired, gray-eyed, and 
 ►mewhat pale. 
 
 IV. BEZA is painted with white 
 a ix • 
 
 V^ SIBILLA AGRIPPA, a 
 f oman in years in a rofeai garment. 
 
 VI. SIBILLA LIBICA an el- 
 erly woman, crowned with a garland of 
 owers, in purple garments. 
 
 VII. SIBILLA DELPHICA, 
 tith a black garment, a young woman 
 dth a horn in her hand. 
 
 VIII. SIBILLA P H R I G I A, in 
 
 O red 
 
1 94 Folygraphices. Lib. II] 
 
 red garments, having an old Saturniar 
 hard favoured face. 
 
 IX. SIBILLA HEROPHIL, 
 young woman very fair in a purple gai 
 mentj and head covered with a vail ( 
 Lawn. 
 
 X. SIBILLA EUROPEA, 
 comely young woman, having a higl 
 red coloured face , a fine vail on he 
 head , and clad in a garment of Gol 
 work. 
 
 XI. SIBILLA P E R S I C A, wit 
 a white vail, and a golden garment. 
 
 CHAP. XVI. 
 
 The Tainting of Arts , Vertues , and 
 Fajjions. 
 
 I. A Rithmeticf is painted in cloath c 
 Gold : Geometry , fallow faced, 
 green mantle fringed with filver, and 
 iilver wand in her right hand : Ajironc 
 my with a filver Creflant on her fore 
 head, an Azure mantle, a watchet Scar! 
 
Of Tainting. 195 
 
 th golden Stars. 
 
 [ I. Faith is painted in white gar- 
 nts , with a cup of Gold : Hope in 
 :vv 3 with a filver Anchor : Charity 
 yellow robes 3 on her head a tyre of 
 >ld with precious ftones 3 her chair 
 pry. 
 
 1 1 1. Religion in a filver vail, with a 
 : ntle or garment of white : Jujliqe in 
 Vvhite robe , and a white mantle 3 
 ith a coronet of filver and vvhite buf- 
 is : Innocency in White wholly. 
 
 I V. Concord in a sky coloured robe, 
 d a yellow mantle 3 Peace in vvhite, 
 :tred with ftars, or a carnation mantle 
 tiged with gold, a vail of filver, green 
 [skins, and a palm in her hand in 
 tick : Vnanimity in a blew robe, 
 Imtle and buskins, with a chaplet of 
 few lillys. 
 
 T .!Vifdom in a white robe,blew mantle, 
 edea with ftars 3 Law in purple robes, 
 -ded with gold ftars, a mantle ofCarna- 
 :>n fringed with gold 3 purple and yel- 
 lw buskins: Government in Armour. 
 
 VI.‘ Watchfulnefs in a yellow robe 3 
 O 2 a“ 
 
1 96 Polygraphices. Lib.HI, 
 
 a Sable mantle fringed with filver, and 1 
 feeded with waking eyes j a chaplet oi ): 
 turnfole 5 in her right hand a lamp ; f 
 in her left a bell : Confidence in a partj , 
 coloured garment : Modejly in blew. Jr 
 
 VII. Eternity in blew, feeded wit! 1 
 Golden ftars : The Soul in white gar- 
 ments, branched with gold and pearl 
 and crowned with a garland of Rofes: 
 Felicity in purple trimmed with filver. 
 
 VIII. Love , in Crimfbn fringed witf 
 gold , a flame coloured mantle , i , 
 chaplet of red and. white Roles : Natura 
 afi'ettion in Citron colour : Envy in a dif . 
 coloured green garment , full of eyes. ' I. 1 
 
 I X. Joy in a green robe , and a man 11 
 tie of divers Colours, embroidered witl Ie 
 flowers 5 a garland of Myrtle 5 in hei ie 
 right hand a Cryftal Cruife 5 in hei lr 
 left, a golden cup: Pleafure in light gar !t ' 
 ments, trimmed with filver and gold 
 Laughter in feverai Colours. 
 
 X. Wit) in a difcoloured mantle : JoV 
 
 lity , in flame colour : Pajlime , in purple- 3 ' 
 trimmed with Gold. I 11 
 
 X f. opinion , in black Velvet, black! 0 ' 
 
 cap: 
 
 1 
 
Of Painting Glafi. 197 
 
 p, with a white fall : Impudence in a 
 jirty coloured garment : Audacity in 
 lulh colour. 
 
 1 XII. Honour , in a purple robe wrought 
 ith gold : Liberty in white : Safety , in 
 unation. 
 
 CHAP. XVII. 
 
 Of Colours for Painting Glafs. 
 
 I V 7 E L L O W. Take a very thin 
 ! piece of pure fine filver, and dip 
 i into melted brimftone 5 take it out 
 jith a pair ofplyers, and light it in the 
 
 I e, holding it, till it leaves burning 5 
 en beat it to powder in a brafen mor- 
 |r> and then grind it with gum Ara- 
 |ck water, and a little yellow Oker. 
 ill. YELLOW. Take fine filver one 
 Irachm, Antimony in powder two 
 Irachmes, put them in a hot fire, in a 
 lucible for half an hour, and then caft 
 1 into a brals mortar, and beat it into 
 jwder , to which adde yellow Oker 
 O 3 fix 
 
ip 8 Poljigraphices. Lib.il 
 
 fix Drachmes , old earth of rufty Ire 
 feven Drachmes, grind all well tog 
 ther. 
 
 This is fairer than the former. 
 
 III. WHITE. This is the colour 
 the glals it felf : you may diaper upon 
 with other glafs or Cryftal ground 
 powder. 
 
 IV. BLACK. Take Jet and Seal 
 of Iron, and with a wet feather take 1 
 the Scales that fly from the Iron, aft 
 the Smith hath taken his heat, grii 
 them with gum water. 
 
 V. B L A C K. Take Iron (bales, Co 
 per (bales of each one Drachm, heat th< 
 red hot in a clean fire (hovel 3 then ta 
 Jet half a Drachm,firft grind them fina 
 and temper them with gum water. 
 
 VI; RED.- Take Sanguis Draco) 
 jn powder, put to it re&ified fpirit 
 wine 3 cover it dole a little while, a 
 it will grow tender 3 wring it out in 
 a pot, that the drols may remain in t 
 cloath 3 the clear prelerve for u(e. T 1 
 is a fair red. 
 
 VII. CARNATION. Take 1 
 
 s! 
 
Of Painting Glafs. 199 
 
 lafs one ounce : jet three ounces : red 
 iker five ounces : gum two drachmes, 
 rind them together. It is a fair Carna- 
 ion. 
 
 VIII. CARNATION. Take jet 
 our Drachmes : tin glafs or litharge of 
 ilver two Drachms : gum, and Icales of 
 ron of each one Drachm, red chalk one 
 >unce, grind them. 
 
 IX. GREEN. Take Verdigriele and 
 ;rind it well with Turpentine, and put it 
 nto a pot 5 warming it at the fire, when 
 rou ule it. 
 
 X. B L E W. Provide the cleareft 
 eads you can get of that colour, beat 
 hem to powder in a brazen moiter, 
 :ake Goldfiniths Amel of the lame co- 
 our, clear and tranfparent, grind each 
 oy it lelf, take two parts of lead, and one 
 of Amel, grind them together as you did 
 the filver. The fame underfund of Red 
 and Green. 
 
 O 4 
 
 CHAP. 
 
200 
 
 Tolygraphices. 
 
 Lib. II. 
 
 CHAP. XVIII. 
 
 Of the way of Tainting upon Glafs. 
 
 I. HPHere are two manner of ways of 
 painting upon glafs 5 the one is 
 for oyl colour, the other for fuch colours, 
 as are afterwards to be annealed or 
 burnt on. 
 
 I I. To lay oyl colours upon glafs,you| 
 muft firft grind them with gum water! 
 once, and afterwards temper it with] 
 Spanifh Turpentine, lay it on, and 1 
 let it dry by the fire , and it is fi- 
 nifhed. 
 
 III. To anneal or burn your glafs, 
 to make the colours abide , you muft 
 make a fourfquare brick furnace, eigh-i 
 teen inches broad and deep $ lay five or 
 fix crofs Iron bars on the top of it, and 
 raife the furnace eighteen inches above i 
 the bars : then laying a plate of Iron over 
 the bars, lift ( through a five J a lay of I 
 flack’d lime over the plate, upon which 
 
of Waffling. 20 1 
 
 | y a row of glafs 5 upon that a bed of 
 line, and upon that lime, another row 
 < ' glafs, thus continue Jiratumfuper Jlra- 
 \m till the furnace is full. 
 
 I V. Lay alio with every bed of glafs 
 j piece of glals, which you may wipe 
 |ver with any Colour (thefe are called 
 ratches}) and when you think your glals 
 i burnt enough, with a pair of plyers 
 lake out the firft and loweft watch, lay 
 : on a board , and being cold, try if 
 :ou can fcrape off the Colour, if it hold 
 ift on, take out that row } always let- 
 ng it abide the fire till the colour will 
 ot fcrape off. 
 
 CHAP. XIX. 
 
 Of Waffling^ and the Materials 
 
 thereof. 
 
 B Y wafhing, here we intend no- 
 thing elle, but either to let out 
 laps or Printed Piftures in proper Co- 
 >urs, or elfe to vernifh them. 
 
 1 1. The 
 

 202 Tolygraphices. Lib.III 
 
 II. The Inftruments and Materials ol 1 
 
 wafhing are chiefly fix, to wit, i. Alom- 
 water, 2. Size, g. Liquid Gold , 4. fen* 
 fils, 5. Colours , 6 . Vernijh. I 
 
 III. To make Alom water. Take Alom 
 eight ounces, fair water a quart , boyl 
 them till theAlomisdiflolved. 
 
 IV. To make fize. Take glew, which 
 fteep all night in water, then melt it 
 over the fire, to fee that it be neither 
 too ftrong nor too weak : then let a lit- 
 tle of it cool 5 if it be too ftiff when it is 
 cold, put more water to it, if too weak 
 more glew, ufing it lukewarm. 
 
 V. Liquid Gold. It is exadtly made by 
 the 1 e 21. lib. 2. 
 
 V I. Penfils are to be of all forts both 
 fitch’d and pointed 3 as alfo a large pen- 
 fil brufh to paft Maps upon Cloath 3 ano- 
 ther to wet the paper with Alom water 3 
 a third to ftarch the face of the pidfrirc 
 withal 1 before it be coloured 3 and a 
 fourth to varnilh withall. 
 
 VII. The colours are the lame with 
 thole which we mentioned in Chap. ij. 
 lib. 2. to which add, 1. Of Black,, Prin- 
 ters 
 
Of Wafting. 203 
 
 ters black jF ranckford black, 2. Of Red, 
 Vermilion, Roflet, 3. Of Blew, Ve rdi- 
 ture, Litmos, Flory , 4. Of yellow, Cam- 
 bogia, Yellow berries, Orpiment, 5 . Bra- 
 zil, Logwood ("ground^ and Turnfole, 
 Cochenele, Madder. 
 
 CHAP. XX. 
 
 Of Colours fimple for Wafting. 
 
 I. T)Rinters blacky. Vermilion , Roller, 
 A Verditure,and Orpiment are to be 
 ground, as we have taught at the 5 e 22. 
 lib. 2. 
 
 II. Brazil. To fome ground Brazil 
 put (mail Beer and Vinegar , of each a 
 liifficient quantity , let it boil gently a 
 good while , then put therein Alom in 
 powder to heighten the Colour, and 
 fome gum Arabick to bind it 5 boil it 
 till it tafte ftronge on the tongue, and 
 make a good red. 
 
 III. Logwood. Ground Logwood 
 boiled as Brazil, makes a very fair 
 
 tran- 
 
204 Polygraphices. Lib. III. 
 
 tranfparent Purple Colour. 
 
 I V. Cochenele. Steeped as Brazil was 
 boiled, makes a fair tranfparent purple: 
 as thus, take Cochenele and put it into 
 the ftrongeft Sope lees to fteep, and it 
 will be a fair purple, which you may 
 lighten or deepen at pleafiire. 
 
 V. Madder . Take Madder four 
 
 Drachms , ground Brazil one ounce, 
 Rainwater a quart 5 boil away a third 
 part: then add Alom half an ounce, 
 boil it to a pint 5 then gum Arabick 
 one ounce , which boil till it is diflol- 
 ved, cool it ftirring it often, and ftrain it 
 for ufe. It is a good fcarlet die for Lea- 
 ther. 
 
 VI. Verdigriefe. Take Verdigriefe 
 ground finely one ounce,put to it a good 
 quantity of common vcrnifh, and fb 
 much oyl of Turpentine, as will make it 
 thin enough to work withal, it is a good 
 green. And Verdigriefe, Alom, of each 
 one Drachm, Logwood three Drachms, 
 boiled in Vinegar makes a good Murry. 
 
 1 1 Gambogia. Diffolve it in fair 
 ,f:^ 4 fpring water, and it wili make a beauti- 
 
 JUj/i^ccdiie% O.a. &U&Z, (goefi ccJMe&Ayh 
 
 fv-ry p . -7 <9. ‘Y, -&JL ef ptr* K pbncit p. ()6. Ilf. 
 
 
Of WaJhing. 205 
 
 ul and tranfparent yellow : if you 
 pould have it ftronger, diflolve fome 
 Uom therein : it is good for Silk, Lin- 
 ien, white Leather, Parchmen^Vellom, 
 >aper, quills, &c. 
 
 VIII. Yellow Ffftick^berry. Boil it in 
 vater or fteep them in Alom water, it 
 makes a good yellow for the lame pur- 
 ?ole. 
 
 I X. Tnrnfole. Put it into Iharp Vine- 
 gar over a gentle fire, till the Vinegar 
 boil, and is coloured then take out the 
 lurnfole and Iqueeze it into the Vine- 
 gar , in which diflolve a little gum Ara- 
 bick 5 it Ihadows very well on a Carna- 
 tion or yellow. 
 
 X. Lit mo s. Cut it into Imall pieces, 
 and fteep it a day or two in weak gum 
 Lake water, and you will have a pure 
 blew water to wafh with. 
 
 X I. Flory Flew. Grind it with Glair of* 
 Eggs, if then you add a little Roflet it 
 makes' a Light Violet Blew 5 mixed with 
 White and Red Lead, it makes a Crane 
 feather Colour. 
 
 XII. Saffron Steeped in Vinegar 
 
 and 
 
206 Polygraphices. Lib.IIf. 
 
 and mixed with gum water is a good 
 Yellow, . 
 
 CHAP. XXL 
 
 Of C (impounded C o lours for IVaJhing. 
 
 L r\Range Colour. Red Lead and Yel- 
 ^ low berries make a good Orang« 
 Colour: or thus, take Arnotto half an 
 ounce. Pot allies one Drachm, water one 
 pound, boil it half away, then ftrain it, 
 and ule it hot. f- 
 
 It is good for white leather , papery veU 
 lom , quills ^parchment, &c. 
 
 II. Green. Take deftilled vinegar , fi- 
 lings of Copper, digeft till the vinegar is 
 blew, which let Hand in the Sun or a 
 flow fire till it is thick enough and it will 
 be a good green. 
 
 Or thus, Tale Ceader green ( which is 
 bejl of all ) or in Jlead thereof green Bice , 
 fieep it in Vinegar , and Jlrain itj then 
 grind it well with fair water , and put 
 to it a little honey , and dry if well 5 
 
of IVaJhing. 207 
 
 then you ufe it mix it with gum water. 
 
 III. A light green. Take Juyce of 
 Lew, Verdigriefe, and Saffron, grind 
 pern well together and ufe them with 
 jum water. 
 
 f Gr thus 3 Take ftp green , flower de 
 | or tawny green , which fleep in wa- 
 rr : Verditure and Cerufe mixt with a 
 ttle copper green , makes a good light 
 dour. 
 
 I V. Blew. Ultramine , blew bice, 
 aalt, and verditure , ground fingly 
 ith gum water,or together, make a good 
 lew. 
 
 V. Brown. Cerufe, red lead, Englifh 
 >ker, and pink, make a good brown. 
 
 VI. Spanijh brown. To colour any 
 orfe, dog, or the like, you muft not 
 
 itlcineit3 ("yet not calcined it is a dir- 
 colour ) but to fhadow Vermilion, or 
 y upon any dark ground, behind a pi- 
 ure, to (hade berries in the darkeft 
 laces, or to colour wooden ports, wain- 
 :ot, bodies of trees, and the like, it is 
 ery good (being burnt . ) 
 
 VII. Flefh colour. Mix white, Indian 
 
 lake. 
 
208 Polygraphiccs. Lib.I , 
 
 lake, and red lead ('according as yu 
 would have it light or deep}) and to c 
 ftinguifh a mans flefh from a womai 
 mingle with it a little Oker. 
 
 VIII. Colours of Stones . Verdigrie 
 with Vernifh makes an Emerald : wi 
 Florence lake a Ruby : with Ultram 
 rine a Saphyr. 
 
 CHAP. XXII. 
 
 Of Mixing Colours and Jhadotoing. ' 
 
 I. TN mixing be careful not to make tl 
 
 J[ colour too lad, nor take the pear 
 out of one colour and put them into a 
 other. .1 
 
 I I. In mixing colours, ftir them wt 
 about the water leverally till they a: 
 well mixed} then put them togethe 
 making the colour ladder or lighter; 
 plealiire. 
 
 I I I. Green is lhadowed with Indie : 
 and yellow berries. 
 
 I V. Blew is lhadowed with Indic< 
 
 Li 
 
Of Wdjhing. 209 
 
 kitmole and flory v or any of them be- 
 ing deeped in lees of Soap allies, and u- 
 fcd with gum water. 
 
 V. Garments are lhadowed with 
 jieir own proper colours : or you may 
 iiingle the colour with white (for the 
 light ) and lhadow it with the lame co- 
 j >ur unmingled : or you may take the 
 ninneft of the colour for the light, and 
 tiadow with the thickeft or bottom of 
 he lame. ^ . 
 
 V I. Sap green is only uied to fhadow 
 ther greens with,, and not; to $>e laid 
 )r a ground in any garment. 
 
 VII. Lake ought not to be (haded 
 nth any colour, for it is a dark red 5 but 
 jr variety you may lhadow it with Bice, 
 
 I r blew VerditurCi which will make it 
 kc changeable Taffata. 
 
 VIII. The lhadow for Teliorv berries 
 j; Umber 5 but for beauties lake with 
 ed Lead, and the darkeft touches with 
 panilh brown 5 and for variety with 
 >opper green, blew Bice or Verdi- 
 ure. 
 
 IX. White lets off blevos and blacks 
 P very 
 
2io Y olygraphices . Lib. Ill 
 
 very -well} Red (etsoff well with yellows, f' 
 Yellow with reds , fad blews, browns. 1 
 greens, and purples.* 
 
 X. Blew lets off well with yellows, 
 reds, whites, browns , and blacks : and 
 Green fet off well with purples, and reds . Q 
 
 • — — t 
 
 CHAP. XXIII. 
 
 Of Colours for Landslips. 
 
 L R.een mixed with white, pink, 
 bice, mafticor, (malt, indico oi 
 cerufe : or blew verditure rnixt with a 
 few yellow berries makes a good green 
 for Landskips. 
 
 1 1. For the /added} hills u(e umber 
 burnt } for the ligfsteft places , put yellow 
 to the burnt umber : for other hills lay 
 copper green thickned on the fire, or in 
 the fun : for the next hills further off, 
 mix yellow berries with copper green} 
 let the fourth part be done with green 
 verditure $ and the fart heft and fainteft 
 places with blew bice, or blew verditure 
 
 mingled 
 
Of lVaJI)i»g. g 211 
 
 singled with White, arid fhadowed with 
 dew verditure, in the lhadows indiffe- 
 jent thick. 
 
 III. Let the high-ways be done with 
 led and white lead, and for variety yel- 
 pw oker 3 fhadow it with burnt umber, 
 vhich you may ufo for fandy rocks and 
 hills. J 
 
 I V. Rocl<s may be done with foveral 
 :olours,in fome places black and white, 
 n other places with red and white, and 
 n others with blew and white, and the 
 ike, as you foe convenient. 
 
 V.The water mull be black verditer and 
 vhite, fhadowed with green and blew 
 verditure : when the banks caft a green 
 fhadoW upon the water, and the water 
 is dark fhadowed, then (hade it with 
 fndico, green thickried and blew’ ver- 
 diture. 
 
 V I. Colour buildings with as much 
 variety of plealant colours as may be 
 imaginable, yet let reafon be your rule 
 in mixing your colours : you may fome^ 
 times ufo white and black for the wall 0 
 conduits or other things : for Erickrhonfes 
 
 P 2 aad 
 
212 
 
 Tolygraphices. Lib.III, 
 
 and the like, red lead and white .* if ma~ 
 vy houfes ftand together , fet them of] 
 with variety of colours, as umber and 
 white 5 lake and white 3 red lead and 
 white, and the like. 
 
 VII. Laftly, for the skje , ufe mafti- 
 cot or yellow berries, and white for the 
 lovpeji and lightejl places 3 red roflet and 
 white, for the next degree 3 blew bice 
 and white for the others blew bice, or j 
 blew verditure for the higheji. 
 
 Thefe degrees and colour x, mujl be fo 
 wrought together , that the edge of each 
 colour , may not receive any ftarpneft 3 that 
 »■, fo as that you cannot perceive whereyou 
 began to lay them, being fo drowned one in 
 another. 
 
 CHAP. XXIV. 
 
 Of the praBice of Wafting. 
 
 j » < , , j > ■ r .:' Y *’ • ‘ 9 ; - . t */l 
 
 t r Ith the Alom-water wet over 
 
 for that keeps the colours from finking 
 
 the pi&ures to be coloured. 
 
 into 
 
Of JVaJhbrg. 213 
 
 nto the paper, and will add a luftre un- 
 o them, make them (hew fairer, and 
 : ceep them from fading. 
 
 II. Then let the paper dry of it felf 
 : being walked with Alow-w 4 ter ) before 
 rou lay on the colours ; or before you 
 
 yet it again, for forae paper will need 
 {Vetting four or five times. 
 
 III. The walking of the paper with the 
 Atom-water muft be done with a large 
 nencil brufh, fuch as we have advifed 
 
 oat the 6 e 19. of this Book, 
 
 I V. But if you intend to varnifl) your 
 >i&ures after you have coloured them; 
 
 Inftead of walking them with Aiom 
 yater, firft fize them with new fize,made 
 >f good white (larch, with a very fine 
 >rufh ; and this you muft be hire to do 
 11 over, for elle the varnifh will fink 
 hrough. 
 
 V. Having thus prepared your work, 
 
 ;oto laying on your Colours according 
 o the former directions, fuiting them, 
 sircar as may be, to the life of every 
 hing. ;r: . 
 
 VI. The picture being pain ?d; ypu 
 
 1 P 3 may 
 
2*4 Polygraphices. Lib.IIL 
 
 may with fize (at the 4 e 19. of this 
 book)pafte your maps or pictures upor 
 cloth, thus : wet the (beet of cloth 
 therein, wring it out, and drain it upor, I 
 a frame, or nail it upon a wall or board, 
 and fb pafte your maps or pictures there- 
 on. 
 
 VII. Lajl/yyf the pi&ure be to be var - 
 vifoed) having thus fixed it into its pro- 
 per frame, then varnifh it with a propel ' 
 varnifh (by the following rules) and the 
 work will be fully finifhed. 
 
 CHAP. XXV. 
 
 Of the making of Varnftes. 
 
 I. 1 T A R N I S H for Painting in Oyl. 
 
 V Take Maftich two ounces,Oyl 
 of Turpentine one ounce 5 put the Ma- 
 ftich in powder into the Oyl, and melt 
 it over the fire, letting it boil little or 
 nothing (left: it be clammy ,) when it is 
 enough, you may know by putting in a 
 hens feather, for then it will burn it. 
 
 1 1 . Far- 
 
Of Vamijhttog. 215 
 
 i 1 1. Varnifl) for pa/ntcd pictures. 
 
 Take white Rozin one pound,Plumb- 
 ree gum (or gum Arabick) Venice Tur- 
 entine, Linfeed oyl, of each two oun- 
 
 5 firft melt the Rozin and ftrain it 
 ery hot 5 fteep the gum in oyl Olive 
 oyl ben is better) till it is diflolved, 
 nd ftrain it, to which put the Turpen- 
 ine and Rozin , and over a flow firs 
 single them till they are well diflolv- 
 •d. When you ule it, ufe it hot. 
 
 III. Another for the fame. 
 
 Take 01 ibanum,and glim Sandrack in 
 I powder, which mingle with Venice Tur- 
 pentine 5 melting and incorporating them 
 dill over a gentle fire } then ftrain it hot. 
 
 When yo it nfe rt^ let it be hot^ and your 
 Varnif.'i will Jhine tvcll:it dries immediatly. 
 
 I V. Another for the fame. 
 
 Take Oyl of Linleed which deftil in 
 a glafs Retort one ounce , fair Amber 
 diflolved three ounces, mix them over a 
 flow fire, and it is done. 
 
 V. A very good Varnifhfor CoUf Silver ^ 
 Brafflrou^ Stone^Wood^ Vellom or Paper. 
 
 Take Benjamin(made into fine powder 
 P 4 between 
 
2 1 ° Polygraphices. Lib. I , 
 
 between two papers) put it into 3 vi 
 and cover it with fpirit of Wine fcr, 
 fingers above it, and let it dand thr:i 
 or four days, then drain it, and itwl; 
 be bright and fliining, drying immen 
 atdy, and retaining its brightnefsman 
 years. 
 
 If you varniji b Cold , or any thing gilde 1 
 before the fir awing you fhould put jr.i 
 pew blades of Saffron for colour fM 
 but if Silver or any thing white ^ you oug 5 
 to ufe the white part of the Beni am, 
 only. 
 
 VI. A Far niff particularly for Gold j 
 S ilver^ Tin 9 or Copper. 
 
 Take Linfeed oyl fix ounces, Madid 1 
 Aloes Epatick of each one ounce, pi 
 tfie gums in powder into the Oyl, into 
 glazed earthen pot, which cover wit 
 another, luting them together, in thl 
 bottom of which. Jet be a hole, where;* 
 lnt ®. P ut a fipftd dick with a broad en< , 
 toltir withal j cover them all over witl ' 
 clay, (except the holej fet it over th.l : 
 fire, and dir it -as oftep as it leetheth fo 
 a httle while* then drain it for ufe. Firfl i 
 - .!. lei 
 
OfVarnifing. 217 
 
 it the metal be polifhed, then ftrike it 
 «/er with this Varniiffi 
 
 VII. A Varnifi for Wood and Lea- 
 
 ler. 7 - 
 
 | Take Tinfture of Saffron or Turme- 
 jckinfpjrit of Wine a pint, prepared 
 pm Lake a fufficient quantity, diilolve 
 lie gum in the tinfture and it is done. 
 
 • 1 his is a Far niff) of great nfe to lay over 
 < old and Silver or any thing which is ex- 
 p fed to the Air. 
 
 VIII. To make the Common Varnifh. 
 Take fpirit of Wine a quart, Roziti 
 
 lie ounce, Gum Lake a diffident quan- 
 tity, diilolve the gums in a gentle heat 
 jpeing cloie covered) and let them 
 ittle : then gently decant off the clear, 
 ihich keep in a cloie glais Bottle for 
 pe. 
 
 The thicbjvhich remains^you may ft rain 
 1 rough a cloth , and. keep for other pur- 
 ify- 
 
 I X. To make a red Varnifh. 
 
 . Take fpirit of Wine a quart,gum Lake 
 lur ounces , Sanguis Dr aeon it in fine 
 pwder eight ounces ,, Cochenele one 
 
 ounce, 
 
2 1 8 Tolygraphices. Lib.] [. 
 
 ounce, digeft a week over a gentle he 
 then drain it for ule. 
 
 X. To make a Tcllotv Varnijh. 
 
 Take Ipirit of Wine a pint, in wh 
 
 infule ( three or four daysj Saffron 1: l 
 an ounce,then drain it, and add A1 : 
 Succotrina one ounce, Sanguis Dra<- 
 ttis two ounces, which diged: a w< 
 over a gentle heat dole covered, tl 
 ftrain it for ule. 
 
 XI. An Vniverfal Varnijh^ the bei 
 all others. 
 
 Take good gum Sandrick (but g 
 Anime is better) diflolve it in the hip 
 eft re&ified fpirit of Wine ( an out! 
 and a half more or left to a pinf^) 
 it is done. 
 
 Where note I. That tin left the Spi 
 be highly retfified^ the Varnijh cannot l 
 good. 2 . That fome put into it Linfeed 
 (which is naught j oyl of ben is bett \ 
 and mix them together. 3- Some r 
 boiled Turpentine with it 5 others Chy 
 caloyls of deep colours ( as of Clov y 
 Mace , Nutmegs , Caraways , Cinnamon ) k 
 cording to the intent. 4. That it ou\t 
 
Of Vdrnifling* 219 
 
 1 be kept in a bottle clofe flopped, 
 t it curdle , and the gums feparate. 
 
 CHAP. XXVI. 
 
 Of the manner of Far /rifling. 
 
 V" 'I He intent ofVarnifhing is either 
 J to preferve the glofs of paintings 
 I pittures, or elfe to reprefent and imi- 
 s e the forms of fhining and perlucid 
 fedies. 
 
 II. To varnifh paintings and pi&ures, 
 §> no more but with a pencil dipt in 
 i s Varnifh to go over the fame, then 
 rting it dry 3 and fo going over it fb 
 cten as in reafbn you fhall fee conve- 
 rt. 
 
 III. If you are to imitate anything, 
 a Marble, Tortoife Ihell, Amber, Lapis 
 'lizuli or the like j you muft firft make 
 t e imitation of them, upon that which 
 j)U would Varnifh, with their proper 
 olours, as in Limning or Painting with 
 ‘>1 j which muft be throughly dry : 
 
 then 
 

 2 20 Tolygraphices. Lib, 1 i 
 
 then by the 2 e. go over all with't 
 Varnilh , fo often till you fee it thii 
 enough j letting it dry every time It 
 liirely. For example Jake } 
 
 I V. To imitate M A R. B L E. 
 
 Take of the Univerfal Varnijlo at tl 
 11 e 2 5. with which mingle Lamp blac 
 (or other black ) and white Lead fine 
 beaten, and with a brulh pencil, marb 
 the thing you would Varnijh accordir 
 to your fancy , laftly, being dryftrit 
 it again two. or three times over wit 
 the clear varnijfj alone, and it will t 
 perfect 
 
 V. To imitate TORTOISE (hell; 
 
 Firft lay a white ground, then wit 
 convenient colours (as Vermilion wit 
 AuripigmentJ duly mixt with Commo 
 Varnilh, ftreak and Ihadow the whit 
 ground with any wild fancy (as nearl; 
 imitating Tortoife (hell as you can J 
 which being dry, ftrike it here and 
 there with the red Varnijl. ) (mixed witl 
 a little Sinaper or Indian Lake) then uj 
 and doWn the work as nature require 
 touch it with Varnilh mixed with an} 
 
Of Varnijhing. 221 
 
 od black , then ftroke it over with 
 uverlal Varnijh four or five times, let- 
 ig it dry every time 5 laftly, let it dry 
 :11 a week, and with Pumice ftone (in 
 e powder) and a wet cloth polifn it 
 rubbing 5 then go over it again three 
 four times with the Univerfal Vartiij}, 
 d (if need require ) polilh it again 
 th fine putty as before ; after which 
 u may once again ftrike it over with 
 e laid VarniCh, and it will be done. 
 
 V I. To imitate TORTOISE Jhell 
 on (liver or gold. 
 
 A white ground being laid, and fmear- 
 over with Vermilion or the like , lay 
 rer the fame leaves of filver or gold 
 5 we have taught in other places) ei- 
 er with gum Ammoniacum,Lake,com- 
 pn varnijh or glair } this done, andbe- 
 y dryed, (hadow it according to rea- 
 15 ftriking it over here and there 
 l.th yellow varniffo , and with the yel- 
 wvarnift mixed with a little red var - 
 (l) 5 all things being done (in imitati- 
 u of the (hell) ftrike it feveral times 
 c r er with the Univerfal Varnijh> and po- 
 
222 
 
 Polygrdphiees. Lib.II 
 
 lifh it (in all relpe&s) as before. 
 
 VII. To imitate Lapis L A ZUL1 
 Upon a ground of white Lead, Sp( 
 dium or the like in common Varni 
 (being firft dry ) lay Vltramarine \ 
 fome other pure blew well mixed wit 
 the Univerlal Varn-ifh , Co as that tl 
 ground may not appear ; then With wil 
 irregular ftreaks (in relemblance of N 
 ture) with liquid of fhell gold, n 
 ftraglingly all over the blew , acldii 
 very (mall fpecksupon the blew part, 
 fuch various colours, as are ufually to I 
 feen upon the ftone. 
 
 CHAP. XXVII. 
 
 Experimental Observations- of Vegetabl 
 Colours in General . I 
 
 t 
 
 A Strong infufion of galls filtre< 
 l\ mixed with a ftrong and cl< 
 
 folution of Vitriol, makes a mixture 
 Macros Ink >* which with a little ftro 
 oyl of Vitriol is made tranfparent agai : 
 
 afii 
 
Of Vegetable Colours . 223 
 
 :er which the black, colour is regain- 
 1 again , by the affufion of a little 
 lantity of a ftrong folution of fait of 
 irtar. 
 
 The firjl black ( although pale in wn- 
 ig yet ) being dry , appears to be good 
 % 
 
 1 1. Decoftion of dried red roles, irt 
 ir water, mixed with a little of the fli- 
 rted folution of blew vitriol made a 
 ack colour : this mixed with a little 
 ytu fortify turn'd it from a black , to 
 deep red 5 which by affufion of a 
 , tie Spirit of Urine, may be reduced 
 •aight to a thick and blackcolour. 
 
 Ilf. 7 ell 0 vo wax is whitened by differi- 
 ng it over the fire in fpirit of wine, 
 tting it boil a little, and then exha- 
 ig the fpirit of wine } or elfe whilft it 
 hot, fepa 'rating it by filtration. 
 
 : I V. Fair water mixed with a blood 
 d tin&ure of Benjamin^ drawn with 
 
 I irit of wine, immediately makes it of a 
 ilk white colour. 
 
 V. Blackysefs may be taken away 
 ith oyl of Vitriol $ fo black pieces of 
 
 filk 
 
224 Volygraphiccs. Lib.II, 
 
 (ilk or hair 1 haWe turn’d to a kind ( 
 yellow. 
 
 VJ. A handful of Lignum nephrit. 
 cum rafped , infuled in four pound ( 
 (pring water , yields between the ligl 
 and the eye an almoffc golden coloi 
 (tinted the Infufion be too ftrong^bt 
 with the eye between the light and 
 ( in a clear vialj a lovely blew as ii 
 deed it is: this with fpirit of Vineg: 
 may be made to vanifh (ilill keepin 
 its golden colour) and after withoyl,< 
 Tartar per deliquium may be reftpred ; 
 gain. ' . . : 'I 
 
 VII. Cloathes died with blew an 
 VVoad , is by the yellow decoftion < 
 Luteola died into a green. 
 
 VIII. Syrup of Violets mixed with 
 
 high (olution of Gold in Aqua-regia^ pfc 
 duces a redifh mixture 5 and with a hig 
 folution of filings of Copper in fpirit c 
 Urine, a lovely fair green. * 
 
 IX. Syrup of Violets mixed with 
 little juyce of Lemons, fpirit of (ah 
 vinegar, or the like acid (alt, wii 
 he immediatly red : but mixt with oylc 
 
 Tar 
 
Of Vegetable Colour si 22$ 
 
 rartar, or a folution of pot allies, it wi^ 
 n a moment be perfedt green: the like 
 n juyee of blew bottels. 
 
 X. A good quantity of oyl ofTartar, 
 jut into a ftrong folution of Verdigriefe, 
 rives a delightful blew 5 which may be 
 /arioufly changed by adding fpirit of 
 Urine, or hartlhorn* 
 
 XI. Although red rofes hung over 
 ;he fhme of Sulphur, lofe all their red- 
 aels, and become white : yet oyl of Sul- 
 phur (which is nothing but the fumes 
 irondenfedjl doth wonderfully heighten 
 the tin&ure of the lame. 
 
 XII. Cochinele will have its colour 
 far more heightned by Spirit of Urine, 
 than by reftified fpirit of wine : And 
 bne grain of Cochinele in a good quan- 
 tky of fpirit of Urine, being put into 
 one hundred twenty fix ounces of wa- 
 ter, tinged it (although but faintly:) 
 which amounts to above one hundred 
 twenty five thoufand times its own 
 weight. 
 
 XIII. The juyee of privet berries 
 with fpirit of fait, is turned into a lovely 
 
 red f 
 
22 6 Poljigraphices. Lib. II 
 
 red : but with a ftrong folution of p( 
 allies into a delightful green. 
 
 XIV. Upon things red by nature as 1 } 
 rup of Clovegilliflowers, juyce of bud 
 thorn berries, infufion of red rofes, Br; 
 zil, &c. Spirit of Salt makes no confide 
 able change, but rather a lighter red 
 but other fairs turn them into a greet 
 i(h$ efpecially juyce of buckthorn bei 
 ries. w * ~ 
 
 XV . Juyce of Jafenin and fhoW drop ' 
 by a ftrong alcalizate folutiqn, was fa 
 though of no colour) turned into a dee 
 greenifh yellow. 
 
 XVI. Buckthorn berries being gathei i 
 ed green and dried, are called fip-ber 
 ries, which being infilled in Atom mte. 
 gives a fair yellow ( which is ufed b 
 Bookbinders for the edgts of iheirboofs 
 and to colour leather alfo being gathei 
 
 ed when they are black, they are caljdil 
 
 ftp green , and make a green colour beim 
 put into a brafs or copper veflel for thre-1 
 or four days 5 or a little heated spoil 
 the fire , and mixed with Alom in pow 
 der , and preffed forth 5 fb put intt 
 r blad 
 
Of Vegetable Colours, 227 
 
 adders hanging it up till it is dry : And 
 ing gathered about the end of Novem- 
 >•, fwhen they are ready to drop) they 
 eld a purplilh colour. 
 
 XVII. Tin&ure of Cochenele , dilu- 
 d never fo much with fair water, will 
 >ver yield a yellow colour : a fingle 
 op of a deep lolution in fpirit of Urine, 
 luted in an ounce of fair water, makes 
 fair pink, or carnation. 
 
 X V 1 1 1. Oyl or fpirit of Turpentine, 
 igefted with pure white fugar of lead, 
 elds in a Ihort time a high red tin- 
 are, wch chy mills cdWBalfatmim S aturni. 
 
 XIX. Spirit of Salt dropt into a 
 rang infufion of Cochenele or juyce of 
 ack cherries, makes immediatly a fair 
 :d : but dropt into the Infufion of Bra- 
 1 , a kind of yellow : fo the filtrated tin- 
 ure of Balaujlins mixed with good fpirit 
 f Urine, or the like, turns of a darkilh 
 reen 5 but with fpirit of fait, a high red- 
 efs, like rich Claret wine,which glorious 
 olour may in a moment be defiroyed, 
 nd turned into a dirty green, by fpirit 
 'f Urincv 
 
 2 X X, A 
 
228 Folygraphices. Lib.II 
 
 XX. A high Infufion of Lignum Nt 
 phriticum , mixed with fpirit of Urim 
 gives fb deep a blew, as to make the 1 
 quor opacous : which after a day or trw 
 vanilhes,and leaves the liquor of a big j 
 amber colour . 
 
 Where note that injlead of Spirit < 
 Z)rine you may ufe oyl of Tartar , or 
 Jlrong folution of pot affjes. d 
 
 XXI. Infufion of Logwood in fa 
 water (mixt with fpirit of Sal Armox 
 ack^) ftraight turns into a deep, ricj 
 lovely purple j two or three drops to tl 
 fpoonful is enough, left the colour be : c 
 deep, as to be opacous, 
 
 XXIL Spirit of Sal Armoniack^ w; ; 
 turn fyrup of Violets to a Love,; 
 green. i: JI 
 
 XXIII. Infufion of Litmofs in fa 
 water, gives in a clear glafs a purple o ,, 
 lour : but by addition of Spirit of Salt, 
 will be wholly changed into a gloria l 
 yellow. ,,, ,l 
 
 ’ XXIV. The Infufions andjuycesi 
 feveral plants, will be much altered 1 
 a folution of Lead in fpirit ofVinega; 
 
of Vegetable Colours. 229 
 
 will turn infufion of red role leaves in- 
 
 a lad green. . 
 
 XXV. So Tintture of red rotes in 
 r water, would be turned into a thick 
 -en, with the folution of Minium in 
 rit of vinegar j and then with the ad- 
 don of oyl of Vitriol the retolved 
 ;ad would precipitate white, leaving 
 e liquor of a clear, high red co- 
 ir again. 
 
 XXVI. We have not yet found, that 
 exhibit ftrong variety of Colours, 
 
 ere need be imployed any more than 
 efe five , White, Black , Red, Blew, 
 ;llow : for thefe being variously com - 
 uncled and decompounded exhibit a va~ 
 \ty and number of Colours 5 fitch as thofe 
 )o are fir angers to painting can hardly 
 famine. 
 
 XXVII. So Black *”d White vari- 
 ifly mixed , make a vaft company of 
 rht and deep grays : Blew and Yellow , 
 any Greens : Red and Yellow , Orange - 
 wnies : Red and White^Carnations : Red 
 id Blew , Purples , 8cc. producing many 
 »lours for which we want names. 
 
 d 3 XXVIII. A- 
 
230 Tolygraphices. Lib.III, 
 
 XXVIII. Acid iaits deftroy a ble* 
 Colour: SulphurouSjUrinouSjor fixed re 
 ftore it. j 
 
 XXIX. Acid and Jlcalizate felts 
 with many bodies that abound wit! 
 Sulphureous or oyly parts will produce « 
 red, as is manifeft in the Tindture of Sul 
 phur, made with Lixiviums of Calci 
 ned Tartar or pot alhes. 
 
 XXX. Lafly 5 It may he worth try4 
 {((luce it hath jucceeded in fome expert 
 ments j) jo to take away the colour of .< 
 Liquor 3 as that it may be colourlefs 
 which in what we have tryed > wa 
 thus : fir ft by puting into the Tindiure 
 Liquor, or juyce, a quantity of the folu 
 tion of pot alhes or oyl of tartar per deli 
 quilt '-, and then afFufing a good or ftronj 
 fbliition of Alom 5 which in our obferva 
 rions precipitated the tinging matter 
 or gathered it into one body ('like as i 
 were curds Jand lo left the Liquor tranj 
 parent and clear as Cryjlal. 
 
 CHAP 
 
Of Mineral Colours ; 23 1 
 
 CHAP. XXII. 
 
 cncrql Experimental obfervations of 
 Mineral Colours. 
 
 Q Vblimate diflolved in fair water, 
 
 .1^ " and mixed with a little fpirit of 
 trine, makes a mil\ white mixture in a 
 idment : which by addition of Aqua 
 ortis , immediately again becomes tranf- 
 arent. 
 
 IT. If Sublimate two ounces, and Tin- 
 lafi one ounce be fublimed together, 
 ou will have a fiiblimate not inferiour 
 o the beffc orient V earls in the world. 
 
 III. Silver diflolved in Aqua fortify 
 rad evaporated to drynefs , and fair 
 vater poured two or three times there- 
 in, and evaporated, till the calx is dry, 
 eaves it ©f a Snow whitenefs : which 
 rubbed upon the skin, ( wetted with 
 pittle, water or the like ) produces a 
 deep blacknefis not to be obliterated in 
 Tome days; - 
 
 With this , Ivory « hair , and horns via.y 
 dyed in fair water of a lofting black* 
 
 I V. Coral diflolved by oyl of Vitriol, 
 
 Q_ 4 Su!« 
 
23* Polygraphices. Lib. Ill, 
 
 Sulphur, or fpirit of Vinegar, and pre- 
 cipitated by oyl of Tartar , fields a 
 Snow whitenefs. The lame of crude 
 Lead and Quickfilver diflolved in Acjhh 
 fortis. So butter of Antimony rectified, 
 by bare affufion in much fair water, will 
 (though Un&uous) be precipitated inti 
 that Snow white powder which ("being 
 walhed from its corrofive faltsj) is callec 
 Mercurius Vit<£ : the like of which ma) 
 be made without the addition of anj 
 Mercury at all. 
 
 V. Mercury fublimate and precipitatt 
 yields ("with the fpirit of Urine, Ham 
 horn, or the likej a white precipitate 
 but wit|i the folution of Pot ajhes^ or o- 
 ther Lixiviate (alts an Orange tawny. Anc 
 if on a filterated (blution of Fitnol^ yot 
 put the (olution of a fixed fait., there wil 
 fubfide a copious fubftance far fron 
 whitenefs, which Chymjfts call the Sill 
 phur of Vitriol. 
 
 VI. If Copper two ounces be mixei 
 with Tin one ounce , the reddiflmef 
 will vaniih : and if ^rfenjck (calcinec 
 With Nitre) in a juft proportion be mix 
 
 . ec 
 
Of Mineral Colours, 233 
 
 1 i with melted Copper, it Will be blanch- 
 j i both within and without. 
 
 VII. Fine powders of blew Bice, 
 :,ad yellow Orpiment , (lightly mixed, 
 l ives a good green : and a high yellow 
 !>lutionof good Gold in Aqua Regia , 
 lixed with a due quantity of a deep 
 , jew (blution of crude Copper in ftrong 
 jirit of Urine, produces a tranjparent 
 reen : And fo blew and yellow Amel 
 afed together in the flame of a Lamp, 
 >eing ftrongly blowed on without ee§£> 
 ng produces at length a green colour. 
 
 VIII. An Urinous (alt, largely put into 
 he diffolution of blew Vitriol in fair wa- 
 er, turn’d the liquor and corpulcles 
 which r elided) into a yellow i(h colour 
 ike yellow Oker. 
 
 I X. Vercligriefe ground with (alt Ar~ 
 mniack c 2xA the like ( digefted fora 
 syhile in a dunghil)makes a glorious blew. 
 
 X. The true glals of Antimony ex- 
 tracted with acid (pirits ("with or with- 
 out Wine J) yields a red tinBure. 
 
 XI. Balfam of Sulphur (of a deep 
 red in the gJa(s)(haked about, or dropton 
 paper gives a yellow (tain. XII. If 
 
234 Tolygraphices. Lib.II 
 
 . XII. If Brimftone and Sal Armoniac 
 in powder of each five ounces, bemixt 
 with quick-lime in powder fix ounce 
 and diftilled in a Retort in fand by di 
 grees y you will have a volatil fpirit < ] 
 Sulphur of excellent redneft , thoug 
 none of the ingredients be fo. 
 
 So aljo oyl of Annifeeds mixed m\ 
 oyl of Vitriol , giver in a trice a blood n’ 
 colour , which foon decays. 
 
 XI If Fine (fiver diflolved in Aq^n 
 fortis , and precipitated with fpirit J 
 Salt 3 upon the firft decanting the i s 
 quor , the remaining matter will 1 : 
 purely white 5 but lying uncoveted, wh. 3 
 is fuhjeft to the ambient air iwill iofeii 
 whitenefi. ' , r u 0 • • u > i ; • iL>,l w 1 
 
 XIV. Sublimate diffolved in a quai ■ 
 tity of water andr.filtred, till it is as clet 
 as Vryfal^ mixed fin a Venice glafs) Win 
 good oy l of Ta rtar y e)* deliqniumfdtxt , 
 .fthr.ee or four drops to a fpoonfuljyiel > 
 jin opacoils li qUor of a deep. .Orange c * 
 lour '■> aftejs which if fouler five dro ; 
 of Oyl of Vitriol be dropt in, and d: 
 glafs ltraightway be ftrongly fhake*. 
 
Of Mineral Colours. 23 5_ 
 
 he whole Liquor will (to admiration) 
 pe colourlef without Jediment. And if 
 he filtred folution ofjubUmed Sal-armo- 
 pack^ and Sublimate of each alike be 
 nixt with the folution of an Alcaly 3 it 
 will be white. / 
 
 X V. Spirit of Sal Armoniack^ makes 
 ,:he folution of Cer digrief e an excellent 
 Azure 5 but it makes the folution of Sub- 
 limate yield a white precipitate. 
 
 XVI. So the folution of filings of 
 Copper in fpirit of Urine ( made by fer- 
 mentation) gives a lovely Azure colour; 
 which with oyl of Vitriol ( a lew drops to 
 a fpoonful) is deprived in a trice of the 
 fame, and makes it like fair water. And 
 fo a folution of Verdigriefei n fair water r 
 mixed with ftrong Spirit of Salt , or de- 
 phlegmed Aqua fortis, makes th egreen- 
 nefi a Imoft totally to dilappear. 
 
 XVII. Quick-filver mixed with three 
 or four times its weight of good oyl of 
 Vitriol., and the oyl drawn off in fand, 
 through a glaff Retort , leaves a fnow 
 white precipitate } which by affitfion of 
 fair water;, becomes one of the loveliefc 
 
2 %6 Polygraphices. Lib, III. 
 
 light yellows in the world, and a durable 
 colour. 
 
 XVIII. Tin Calcined per fe by fire, 
 affords a very white calx called putty : 
 Lead, a red powder called Minium : Cop- 
 per, a dark or blackifh powder : Iron, a 
 dirty yellowifh colour, called Crocus mar - 
 tis : and Mercury, a red powder. 
 
 XIX. Gold diflolved in Aqua Regia 
 ennobles the Menftruum with its own 
 Colour : Silver Coyn diflolved in Aqua 
 for tis yields a tinfture like that of Cop- 
 per $ but fine Silver a kind of faint blew- 
 ifhnefs : Copper diflolved in fpirit of Su- 
 gar (drawn off in a glafs Retort) or in 
 oyl or fpirit of Turpentine affords a 
 green tin&ure } hut in Aqua fortis , a 
 blew. 
 
 ( 
 
 XX. Vermilion is made of Mercury 
 and Brimfione fublimed together in a due 
 proportion. 
 
 XXI. Glafs may have given to it a • 
 lovely golden colour with Quickfilver , 1 
 but it is now coloured yellow general- | 
 ly with Calx of filver : yet (hell filver, I 
 (fuch asisufed with pen or pencil) mix- 
 ed 
 
Of Mineral Colours. 237 
 
 lid with a convenient proportion of 
 powdered glafs, in three or four hours 
 ufion, gave a lovely Saferine blew. 
 
 XXII. G lais is tinged Green (by the 
 Glais-menJ with the Calx of Venus : 
 which Calx mixed with an hundred 
 times its weight of fair glais, gave in fu- 
 fion a blew coloured mais. 
 
 XXIII. rutty (which is Tin calcin- 
 ed J) as it is white of it felf, fo it turns 
 the purer fort of glafs metal into a white 
 mais, which when opacous enough, ferves 
 for white Amel. 
 
 XXIV. This White Amel is as it were 
 the Bafis of all thofo fine Concretes, that 
 Gold-imiths, and foveral Artificers ufe, 
 in the curious art of Enameling 5 for this 
 white and fufeable fobftance, will re-* 
 ceive into it folf, without fpoiling them, 
 the colours of divers other Mineral fob- 
 ftances, which like it will endure the 
 fire. 
 
 X X V. Glals is alfo tinged blew with 
 the dark mineral called Zajfora 5 and 
 with ManganeJ? or MagneJJza in a certain 
 proportion, which will tinge glafs ofa 
 
 red 
 
2gS Polygraphices. Lib.II 
 
 red Colour 5 and alfo of a Purplilh ( 
 Murry $ and with a greater quantity, ii j 
 to that deep colour which pafles f< 
 black. (; 
 
 XX Vt. Yellow Orpiment fublimc 
 with Sea Salt,yields a white and Cryfta 
 line Arfenick^ 5 which Arfenick^ colours 
 with pure Nitre being duly added i>. 
 Copper when ’tis in fufion, gives it ! 
 whiteneis both within and without. 
 
 XXV I I. So Lapus Calaminaris turn 
 Copper into Brals. 
 
 XXVIII. And Zink l duly mixed wii 1 
 Copper when ’tis in fufion, gives it tl I 
 nobleft golden colour , that ever w » 
 feen in the bed: gold. 
 
 XXIX. Copper diflolved in Aqit 
 'fortis will imbue feveral bodies of tl: 
 colour of the folution. 
 
 X X X. Laftly, Gold diflolved in Aq\ 
 regia: will (though not common | 
 known.) dye Horns , Ivory s and oth t 
 bones of a durable purple collar : Art 
 the Cryftals of Silver made with Aq\ 
 fortis^ (though they appear white! 
 will prcfently dye the Skyn , Nai. J 
 
 Ha i 
 
Of Metals. 239 
 
 fair, Horn , and Bones , with a Blacky not 
 ,) he wajhed ojf. 
 
 CHAP. XXIX. 
 
 Of Metals. 
 
 T O harden Quick^filver. 
 
 Caft your Lead feparated from 
 s drofs into a veflel, and when it be- 
 gins to cool,thruft in the point of a ftick, 
 'hich take out again, and caft in the Ar- 
 dent Vive, and it will congeal: then 
 eat it in a mortar, and do Co often 5 
 'hen it is hard, melt it often, and put it 
 ito fair Water, doing it fo long till it is 
 • ard enough, and may be hammered. 
 
 1 1 . To tinge guick^ fiver of the colour 
 
 f gold. 
 
 Break it into final! pieces ( being 
 ardned ) which put into a crucible, 
 nth the powder of Cadmia , Jlratum fu - 
 er Jlratum , mixed with pomegranate 
 eels, Turmerick (beaten fine J and 
 vaifons:, cover the crucible and lute it 
 
 well. 
 
24<? Polygraphiccs. Lib I 
 
 well, dry it well 3 and then let it c 
 fire for fix or (even hours, that it maj : 
 red hot 5 then blow it with bellows j 
 it run, which then let it cool wl 
 covered with coles, and it will have : 
 colour of gold; 
 
 III. To fix ghticl{-(Uver being hard) < 
 
 This is done with fine powder of Cj 
 
 ftal glafs , laid with the metal fir an 
 fuper firatum in a crucible covered ;i 
 luted 3 heating it all over red hot, ; 
 then melting of it. 
 
 IV. To make G)uicJ{?fiiver tna i 
 able. 
 
 Firft harden it by the 1 b. then bn 
 the metal into frriall pieces, and boil 
 quarter of an hour in (harp vinegar : tl | 
 adde a little Sal Armoniack, and di$! 
 all together for ten or twelve da _ 
 then boil all together in a luted crii 
 ble, till it is red hot, and by degr i 
 crack : laftly, hang the Mercury in aji 
 with br'mftone at bottom to cover 
 lute it and (et it into the fire, that it n ] 
 grow hot by degrees, and receive" 
 futne of the Sulphur 5 do thus fo : 
 
Of Metals. 241 
 
 lonth once a day, and the Mercury will 
 an and be hammered. 
 
 V. Another way of tinging Mercury. 
 Take purified Mercury one ounce, 
 
 ■nlphnr two ounces, Aqua fortis three 
 r unces, let them all ftand till the water 
 \ ,row clear ; diftil this with its fediment, 
 md at bottom of the Limbeck, you fhall 
 nd the Mercury hard, and of an exad 
 i alour. 
 
 V I. To tinge (liver of a golden Co~ 
 mr. 
 
 Take fine gold, fine filver, good brals, 
 id brals or copper calcin’d with Sul- 
 phur vive , of each alike , melt them 
 ■own together, and it fhall appear to be 
 pld of eighteen carets fine. 
 
 V 1 1 . Another way to tinge (liver. 
 
 Take Quicktilver purged 3 ounces,Ieaf 
 pld 1 ounce, mix them & put them into 
 glals retort well luted , put it on the. 
 re till it grow hot 5 then take it off'and 
 dd to it Quickfilver purged two 
 unces. Salt Armoniach^ one ounce, Sal 
 Uebrot half an ounce , Borax two 
 rachms, then feal up the glals herme- 
 R ti- 
 
242 Polygraphices. Lib. 
 
 tically, and put it into a continual 
 for three days $ then take it out, le 
 cool, open the retort, take out the n 
 ter, and powder it very fine : of wl 
 powder mix one ounce with filver 
 ounces, and it will ting it into a g< 
 gold colour. 
 
 Note , Sal Ellebrot is thus made. 1 
 pure common Salt , Sal Gem , Sal alcalj 
 powder , of each one ounce^ juyce ofm 
 four ounces spring water four pounds t. 
 gle them , and evaporate. And Quick, 
 ver is purged by wajhing it in Jha-rp v 
 gar three or four times and jlraining it 
 by jubliming it which is better. 
 
 VIII. To bring filver into a calx. 
 
 This is done by amalgamating < 
 with Quick filver, and then lublin 
 of it 3 or by diflolvingit in Aquafo 
 and precipitating it with the folutio 
 (alt in fair water, and then waihin 
 with warm water often to free it f 
 the (alts $ or el(e by mingling the fill 
 with (ublimed Mercury, and in a re 
 caufing the Mercury to afcend , wl 
 will leave at bottome the Calx of 
 
Of Metals . 243 
 
 er, fit for Jewels, 
 
 IX. To blanch Silver. 
 
 Take Sal armoniach ^ , 
 
 v# plumofum , Sal gem ^ Argal , Roman vi~ 
 'io\ of each alike $ powder and mix 
 aem, and diflolve them in fair water, 
 
 1 which boil the filver lo long, till you 
 ee it wonderful white. 
 
 X. To colour Silver of a Cold Co - 
 ~<ur. 
 
 Take Salt-peter two pound, Roch 
 dom five pound , mingle , and diftil 
 hem, , keeping the water for ufe. When 
 ou ule it, melt the Silver, and quench 
 : in the laid water. 
 
 XI. To tinge Braf of a Gold colour. 
 Dillblve burnt Brals in Aqua fortis 
 
 -made of Vitriol, Salt-peter, Alom,Ver- 
 igriele, and VermilionJ and then re- 
 uce it again, and it will be much of a 
 old colour. 
 
 X I I. To make Braf through white. 
 Heat Brals red hot, and quench it in 
 
 eater diftilled from Sal Armoniack,and 
 i^gg-lhells ground together, and it will 
 >e very white. 
 
 R 2 XIII. The 
 
244 Tolygraphices. Lib.] 
 
 XIII. The way to colour Brafi whit 
 
 Diffolvea peny weight of Silver 
 
 Aqua fortis , putting it to the fire i 
 veflel, till the Silver turn to water } 
 which add as much powder of white! 
 tar as may drink up all the water, m; 
 it into Balls, with which rub any Br; 
 and it will be white as filver. 
 
 XIV. To tinge Copper of a gold 
 lour. 
 
 Take Copper, Lapis Calaminaris 
 each four drachms, Tutty two drach 
 heat the Copper red hot twice, quen 
 ing it in pits $ doing the like by the . 
 'pis and Tutty : take of the dilfoh 
 Copper half an ounce, adding to it 1 
 ney one ounce, boil them till the Hoi 
 look black and is dry that it may : 
 powdred, which then beat with the 
 pis and Tutty, boil them again, till 1 
 Copper is melted and it is done. 
 
 X V. Another way to do the fame. 
 
 Melt Copper, to which put a lit I 
 Zink^ in filings, and the Copper v 
 ■have a glorious golden colour. 
 
 XV I. To make Copper of a white colo ' 
 
 T< 
 
Of Metals. 245 
 
 Take Sublimate, Sal Armoniack, of 
 ich alike } boil them in Vinegar, in 
 ■ hich quench the Copper being made 
 rdhot, and it will be like Silver. 
 XVII. Another way to whiten Cop - 
 
 t r - 
 
 Take Arlhick calcined with Salt- 
 pter , and Mercury fublimate, which 
 tift upon melted Copper, and it will be 
 ^hite like Silver. 
 
 XVIII. To /often Copper. 
 
 Melt burnt Brafs with Borax in a Cru- 
 tble , quench it in Linleed oyl, and then 
 hat it gently on an Anvil 3 boil it again 
 ad quench it in oyl as before, doing 
 t us five or fix times, till it is (oft enough} 
 ad this will neatly unite with Gold, of 
 ^hich you may put in more by half 
 1 an you can of other Brafs. 
 
 XIX. To tinge with Iron a Gold co - 
 l ur. 
 
 Lay in a Crucible plates of Iron and 
 1 'imftone , Jlratam \uper Jlratum , cover 
 ad Lute it well, and Calcine m a for- 
 nce, then take them out and they wi^l 
 1- brittle: put them into a pot with a 
 R 3 large 
 
346 Polygraphicer. Lib.II 
 
 large mouth, and put in (harp diftille 
 Vinegar, digefting till they wax red ( 
 ver a gentle heat : then decant the V 
 negar, and add new, thus doing till a 
 the Iron be diflolved j evaporate tb 
 moifture in a glals Retort or Veftca , an 
 call the remaining powder on Silver 
 or other white metal, and it will loo 
 like Gold. 
 
 To make Iron or Silver of a Brafl ci 
 lour. 
 
 Take Fowers of Brafs, Vitriol, Sal at 
 moniack^ of each alike in fine powder 
 boil it halfan hour in ftrong Vinegai 
 take it from the fire, and put in Iron 0 
 Silver, covering the veflel till it be cold 
 and the metal will be like to Brafs, an 
 fit to be gilded : or rub polifhed Iro 
 with A qua forth in which filings of Bra 
 is diflolved. 
 
 XXL To tinge Iron into a Brafi ct 
 lour. 
 
 Melt the Iron in a Crucible caftin 
 upon it Sulphur vive , then caft it int 
 finall rods, and beat it to pieces (for 
 is very brittle J then in Aqua forth di 
 - ^ folv 
 
Of Metals. 24.7 
 
 olve it, and evaporate the menflruum , 
 •educing the powder by a ftrong fire in- 
 o a body again, and it will be good 
 >rafi. 
 
 XXII. To whiten Iron. 
 
 Firft purge it, by heating it red hot 
 md quenching it in a water made of 
 drong Ly and Vinegar, boiled with Salt 
 tnd Alom, doing this lb often till it is 
 omewhat whitened. The fragments of 
 he Iron beat in a mortar till the Salt 
 s quite changed, and no blacknels is 
 eft in the Liquor of it, and till the Iron 
 , s cleanfed from its drofs : then Amalga- 
 ' wate Lead andQuickfilver together,and 
 [.reduce them into a powder' j lay the 
 prepared plates of Iron and this powder 
 f hatum fuper jlratnm in a Crucible, cover 
 t, and Lute it all over very ftrongly, 
 -hat the leaf: fume may not come forth, 
 tnd put it into the fire for a day 5 at 
 length encreale the fire, (b as it may 
 melt the Iron ( which will quickly bej 
 and repeat this work till it is white e- 
 nough : It is whitened alio by melting 
 with Lead, the Marchafit or fire-ftone 
 K 4 and 
 
248 Polygraphices. Lib. I 
 
 and Arfnick. If you mix a little filv 
 (with which it willingly unites)with 
 it gives a wonderful whitenefs, (care 
 ly ever to be changed any more, by ai 
 art whatfbever. 
 
 XXIII. To keep Iron from Rujling. 
 
 Rub it over with Vinegar mixt wii 
 Cerule 3 or with the marrow of a Har 
 if it be rufty,oyl of Tartar per deliqu 
 um will prefently take it away ar 
 cleanfe it. 
 
 XXIV. To cleanfe Brafr. 
 
 Take Aqua fort is and water of eat 
 alike 3 fhake them together, and wii 
 a woollen rag dipt therein rub it ovei 
 then prefently rub it with an oyl 
 cloth 3 laftly with a dry woollen cloi 
 dipt in powder of Lapis Calaminarh 
 and it will be clear and bright as wht 
 new. 
 
 XXV. To foften Iron. 
 
 Take Alom, Sal Armoniack . , Tart a 
 of each alike, put them into good V 
 negar, and fet them on the fire , he; 
 the Iron, and quench it therein : c 
 quench it four or five times in oyl, i 
 
 whic 
 
Of Metals . 249 
 
 v'lich melted Lead hath been put fix or 
 (Centimes. , 
 
 XXVI. To foften Steel to Grave up - 
 
 0 • 
 
 This is done with a Lixivium of Oak 
 a les and unflak’d Lime, by calling the 
 5 eel into it and letting it remain there 
 f urteen days. Or thus. Take the Gall 
 <,' an Ox, Man’s Urine, Verjuice, and 
 jice of Nett les of each alike, mix them, 
 ten quench Steel red hot therein four 
 ( five times together, and it will be- 
 ome very foft. 
 
 XXVII. To harden Iron or Steel, 
 Quench it fix or (even times in Hogs 
 1 ood mixed with Goo(e greafe, at each 
 tme, drying it at the fire before you 
 tp it again, and it will become very 
 iird and not brittle. 
 
 XXVII I. To Solder on Iron . 
 
 Set the joynts of Iron as dole as you 
 un, lay them in a glowing fire, and 
 i.ke of Venice glafs in powder, and 
 lelron being red hot, call the pow- 
 er thereon, and it will Solder of it 
 If. 
 
 XXIX. To 
 
250 Polygraphices. Lib. I 
 
 XXIX. To Counterfeit Silver. , 
 
 Take Cry Hal, Arlhick eight oun 1 
 
 Tartar fix ounces, Salt-peter two oun* $. 
 Glafs one ounce and an half, Sublim e 
 half an ounce : make them leveijay 
 into fine powder and mix them : tin 
 take three pound of Copper in to 
 plates which put into a Crucible (w li 
 the former powder jlratum fuper Jlratn ) 
 to calcine, covering it and luting 1 
 ftrongly $ let it (land in the furnace foi • 
 bout eight or ten hours : then take it 0 . 
 and ( being cold) break the pot, a I 
 take out all the matter , and melt 1 
 with a violent fire, calling it intolbi: 
 mold. Then take purged Brals tv 
 pound, of the former Metal one poun 
 melt them together calling in, now a 
 then, fome of the aforelaid powde 
 after which add half as much of fi 
 filver, melting them together, and y< 
 have that which is defired : lallly 
 make it as white as Silver boil it 
 Tartar. 
 
 XXX. To purge the Brafi. 
 
 It is cleanfed or purged , by caftii 
 
Of Metals. 251 
 
 a o it when it is melted broken glals, 
 Tatar, Sal Armoniack, and Salt-petre, 
 e:h of them by turns,by little and little. 
 
 XXXI. To tinge Lead of a Gold colour . 
 
 Take purged Lead one pound, Sal 
 f moniack in powder one ounce, Salt- 
 f tre half an ounce , Sal Elebrot two 
 cachms j put all into a Crucible for 
 t 'o days & it will be t.hroughly tinged. 
 -XXXII. To purge Lead. 
 
 I Melt it at the fire, then quench it in 
 t e fharpeft Vinegar , melt it again and 
 ciench it in the juice of Celandine: 
 lelt it again and quench it in fait wa- 
 tr : then in Vinegar mixed with Sal 
 irmoniack : and laftly melt it, and put 
 iinto allies, and it will be well cleanled. 
 [XXXIII.To mal\e Lead of a golden colour. 
 
 I Put Quickfilver one ounce into a 
 < rucible, fet it over the fire till it is hot, 
 nen add to it of the befit Leafigold 
 'ne ounce, and take it from the fire, 
 nd mingle it with purified Lead melt-, 
 d one pound j mingle all well together 
 /ithanlron rod, to which put of the 
 Iterated folution of Vitriol in fait wat- 
 te*. 
 
3,52 Tolygraphices. Lib. Ij 
 
 ter one ounce 3 then let it cool, and : 
 will be of a good colour. Diflol : 
 the Vitriol in its equal weight of wate 
 
 XXXIV. To take away the ringn 
 and foftnej ? of Tin. 
 
 Melt the Tin, and caft in Ibme Quid 
 filver, remove it from the fire, and pi 
 it into a glafs Retort, with a large roun 
 belly, and a very long neck , heat 
 red hot in the fire, till the Mercur 
 fublimes and the Tin remains at bo 
 tom 3 do thus three or four times. Th 
 fame may be done by calcining of 1 
 three or four times , by which meat 
 it will fooner be red hot than melt. 
 
 XXXV. To take away the foftnefatu 
 creakjng noife of Tin. 
 
 This is done by granulating of it ol 
 ten, and then reducing it again , ant 
 quenching it often in Vinegar and a Li 
 xivium of Salt of Tartar. The creak 
 ing noife is taken away by melting ii 
 feven or eight feveral times and quench 
 ing it in Boys Urine, or elfeoyl of Wal 
 nuts. 
 
 X X X V I. To take away the deaf founc 
 of Tin . ' This 
 
of Metals. 255 
 
 This is done by diflolving it in Aq.for- 
 i r over a gentle fire, till the water fly a- 
 > ay : doing thus fo long till it is all turn- 
 d to a calx 5 which mixed with calx of 
 I ver,and reduced, performs the work. 
 
 XXXVII. To make a kind of Counter - 
 i ited Silver of Tin. 
 
 This is done by mingling Silver with 
 
 in melted with Quickfilver, continu- 
 ag it long in the fire,then being brittle, 
 
 : is made tough, by keeping it in a 
 entle fire or under hot Embers fin a 
 >rucibIe)for about twenty four hours. 
 
 XXXVIII. To Solder upon Silver , 
 'rafi or Iron. 
 
 Take Silver five peny weighty Brafi four 
 eny weight 3 melt them together for joft 
 older , which runs foonejl. 
 
 Take Silver five peny weight ^Copper three 
 eny weighty melt them together for hard 
 • older. 
 
 Beat the Solder thin and lay it over 
 he place to be Soldred, which muft be 
 irft fitted , and bound together with 
 Wire as occafion requires : then take 
 k>rax in powder, and temper it like 
 
 pap 
 
2 $4 Polygraphices. Lib.l. 
 
 pap, and lay it upon the Solder, letti * 
 it dry 5 then cover it with quick eo l 
 and blow, and it will run immediail 
 lyj then take it prefently out of ti 
 fire, and it is done. 
 
 Note 1. If a thing is to be Soldredi 
 two places , (which cannot he well do', 
 atone time') you mujlfirjl Solder witht'. 
 hard Solder^ and then with the fdftjf 
 if it be jirjl done With the foft^ it w! 
 'unfolder again before the other be foldrt 
 2. That if you Would not have yotir St 
 derrun about the piece to be Soldred , r 
 ' t ho fe places over With Chalky 
 
 XXXIX. To make the Silver Tree 
 the Philofophersi 
 
 Take Aqua fortis four ounces , fii 
 Silver one ounce, which diflolve in ii 
 then take Aqua fortis two ounces, : 
 which diflolve Quickfilver: mix the 
 two Liquors together in a clear gla 
 with a pint of pure water 5 ftop tl 
 glafs dole, and after a day, you fe 
 lee a Tree to grow by little and littl 
 which is wonderful and plealant to b 
 hold. 
 
 XL, : 
 
Of the Jnflruments of Cajling. 255 
 
 X L. To melt Metals quickly. 
 
 Take a Crucible, and make in it a lay 
 : courle of the powder of any metal, 
 
 : en lay upon it a lay of Sulphur, Salt- 
 ier and Saw-duft of each alike mixed 
 •gether, put a coal of fire to it, and 
 ie Metal will immediately be in a 
 als. 
 
 1 — " — ■ — — 
 
 CHAP. XXX. 
 
 Df the Injlruments and Materials of 
 
 Cajling. 
 
 H E that would learn to call:, nnift 
 be provided of all the chief Tools 
 lereto belonging 3 which are 1 . A 
 rough^. Sands 3. A Flasks 4* Skfevp , 5 . 
 ripoliy 6 . The Medal or form , 7. A Fur - 
 ace , 8. Crucibles s 9. A Pipe. lo. Tongs 0 
 I. Two Oak^platess 12. Flegets of woof 
 3. Oyl and Turpentine ,14. A Hares 
 lots 1 5. Brufhes. 
 
 1 1. The Trough is a four-fquare thing 
 bout half a foot deep or lomething 
 
 more 3 
 
25 6 Polygraphices. Lib. I 
 
 more 5 and its ufe is to hold u 
 Sand. 
 
 III. Of Sand there is various in s 
 the chief are Higate Sand, and Tripe , 
 the which to make fit for the work 3 1 
 tiiuft order thus. 
 
 If it is Higate Sand you mufi finely i 
 it 5 if Tripoly , you mujl firjl beat it j t 
 then (ift it through a fine (ieve : to eit 1 
 of thefe fine fan ds you mutt put of p \ 
 fine Bole ( an ounce to nine ounces J v. \ 
 beaten, diffolved in watery and lajily • 
 duced into fine powder , which povpd \ 
 you ntuji moderately moyfien with t. 
 Magisterial water, viz. filter ated By ' 
 made of decripitated common Salt : or e 
 fame, mixed with Glair of Eggs. L 
 
 I V. The Flask, is a pair of Oval Ire 
 containing only fides to hold the Sail 
 which rauft be prefied hard thereint 
 and a paflage or mouth for the metal 
 run in at. 
 
 V. The Skrew is an Iron Prefs, 1 
 
 tween which the flask is put and prt, 
 after that it is filled with Sand, and ha 
 received the form or imprefiion to 
 caft. VI. 7 
 
Of the Injlruments of Cajling. 257 
 
 VI. Tripoli is that of which the le- 
 nd fort of Sand is made, which here 
 ght to be calcined and beaten into im- 
 Ipable powder, to ftrew over the fandy 
 oulds firft that the fides of the flask 
 ty not cleave together when they are 
 il 5 fecondly that the thing caft may 
 ve the perfeft form and impreflion, 
 thout the leaft (cratch or blemifh ima- 
 aable* 
 
 VII. The Medal or form, is that which 
 to beimprefied upon the Sand, whole 
 enefs we would imitate. 
 
 VIII. The Furnace is that which 
 ntains the fire , where the Crucible 
 put, for the metal to melt in, which 
 generally melted with Charcoal. 
 
 I X. The Crucibles are calcining or 
 idting pots (commonly three-fquarej 
 udefoas they may endure the fire all 
 ; er, in which the metal is to be melt- 
 • •• 
 
 X. The Pipe is a hollow Reed, or piece 
 Tin, to blow coals and filth out of 
 
 e Crucible. 
 
 X I. The Tongs are a crooked Inftru- 
 
 S meat 
 
25 § Tolygraphices. Lib. I] 
 
 ment to take coals out of the Crucib 
 with, asalfotoftir and repair the fin 
 and to take the pot out of the furna< 
 when you go to Call. 
 
 XII. The two Oak^ plates are to 1 
 finooth, and to be put between the fla; 
 and the tides of the skrew, on eat 
 fide. 
 
 XIII. Pledgets of wool are to be p 
 between Oak plates and the (and to f 
 up empty (paces if there be any. 
 
 XIV. The Oyl and Turpentine is i 
 wet fbme paper or cotton thread; 
 which muft be fet on fire, to finoak tl 
 Impreffion or Mould (being dry) th 
 the metal may run the better. 
 
 XV. The Hares foot is to wipe th 
 hollow places in the Mould , if the 
 (hould be too much- filled with finoak. 
 
 XVI. The Brujhcs ought to be tw< 
 to wit one with thick bar Wire firing 
 another with Hogs briftles, wherewit 
 the work (both before and after calling 
 ought to be rubbed and cleanled. 
 
 CHAF 
 
Of Cajlirg. 
 
 25 9 
 
 CHAP. XXXI. 
 
 The way and Manner of Cajiing, 
 
 A(h the Medal in Vinegar, in 
 
 which put (ome Salt and ftraw 
 hes 5 and rub it well with the afore- 
 :d hair bruth, then wadi it with water, 
 id dry it well. 
 
 I I. Place the female part of the flask: 
 ion one of the Oak plates y(o that the 
 liddle part, vi%. that which joyned to 
 e other, may lie downwards. 
 
 III. Then put the cleanfed Medal 
 
 i the flask upon the Oak plate, in a 
 ght line to the mouth of the flask i 
 id if there be two, let them be placed" 
 >, that there may be a place left in the 
 iiddle for the melted metal to run in 
 t. 
 
 I V. Then take of the aforelaid earth 
 r (and prepared, (that is,(o much moift- 
 ed with the Magifterial water, that be- 
 ng cruthed between the hands or fingers. 
 
 S 3 
 
 it 
 
260 Tolygraphices . Lib.l . 
 
 it will not (tick but like dry flower, a 1 
 will (land with the print of the ha 1 
 doled together ) and prefs it on wl 
 in the flask upon the Medal with 1 2 
 flefhy part of your fingers or hand $ th 1 
 with a rule Al ike off all the fuperflt s 
 (and that flicks about the flask. 
 
 V. This done, the pledgets of wo . 
 or a woolen cloth, muft be laid up i 
 it, and then the other Oak plate, a 1 
 then turned up with both hands, t: 
 plates being both held dole. 
 
 V I. Then taking off the upper plai ; 
 put upon it, the male part of the Has , 
 which fill with land in like manner ft: 
 Medal being now between) prefling : 
 down as before, and then with a rul : 
 ftriking away the fuperfluous land. 
 
 VII. Upon which lay a wool*: 
 cloth, and gently lift off the top, 1 
 upper part of the flask, fo that the m 
 dal may be taken forth, 
 
 VIII. All things being thus dor 
 with a knife for fomefuch like) cuttf 
 paflage for the metal, which let be a litt 
 dried : then, 
 
 IX. E 
 
Of C iifting. 261 
 
 I X. Either drew over the fide of the 
 ipreffion ( now taken ofFj with calci- 
 ';d Tripoli ground impalpable j apply- 
 g it upon the female flask again 5 turn 
 e female flask uppermoft, which take 
 F, and ftrew it in like manner, with 
 e calcined Tripoli, and putting them 
 gether again, prefs them fo hard, as 
 at the fine Tripoli may receive the 
 aft perfeft impreffion of the Medal , 
 tich then take out, by feparating the 
 lies of the flask, and gently fhaking 
 at part which holds it , till it falls 
 
 it: 
 
 X. Or with Cotton wet in Ovl and 
 arpentine and fet on fire let the Im- 
 effion be fmoaked , and if any fuper- 
 I ous fume be taken, wipe it off with a 
 ires foot. 
 
 X I. Then joyn the fides of the flask 
 gether, putting them with the woolen 
 >aths between the Oaken plates, which 
 t into thePrefSjSe skrew them a little. 
 XII. Then the Metal being melted, 
 t it into the mould being hot, which 
 it be Silver, or blaached Brafs, or 
 S 3 Copper, 
 
262 Toly graphites. Lib.il 
 
 Copper 5 it will run well enough. 
 
 XIII. But if it runs not well, yt 
 may call in about the hundred part : 
 Mercury fublimate, and an eighth pa 
 of Antimony 3 for fo it will not on 
 run well, but alio be a harder metal, 
 
 XIV. Laftly, the Medal being co( 
 ed, take it neatly out and keep it. 
 
 Where note 1. That fo long as the L 
 prejjion or mould is not fpoiledyou m 
 fiill cajl more Medals therein 3 but wh 
 it decay /, you mujl perfectly renew t 
 whole work^ as at fir Si. 2. That you m 
 blanch them with a pure whitenefi by t 
 ye 29. of this Boo^ or thus , if they 
 of whitened Brafi 0 Taky Sal Armenia 
 one ounce and an half , Salt-peter U 
 ounces and a half , Leaf filver twenty fo 
 grains 3 mix them and evaporate them 
 a Luted Crucible^ having a hole in thee 
 ver , till all the moijlure is gone 3 being co 
 beat all into fine powder 3 of which ta 
 one ounce , Salt 0 Alom , Tartar , of each 0. 
 handful , fair water a fufficient quantity 
 mix and boil all in a glazed vejfelynwhi 
 put the Medals boiling them till they a 
 pure 
 
Of Glaft and Fretious Stones. 263 
 
 urely white : then mb them with the 
 artar in the bottom very welf waffj them 
 vfair water and dry them . 3 . That if the 
 Fedals be of Gold , or of a golden colour , 
 ou may heighten it with Verdigriefe and 
 )rine. 
 
 CHAP. XXXII. 
 
 Of Glaft and Fretious Stones. 
 
 . "| ' 0 Cry flat. 
 
 *■ Beat Cryftal to bits , and put 
 hem into an Iron lpoon, cover it and 
 ute it well, and heat it in the fire till 
 it is red hot, which quench in oyl of 
 rartar : this do fo often, till they will 
 eafily beat to powder in a mortar, which 
 will then eafily melt. 
 
 This is of ufe to counterfeit Jewels with. 
 
 1 1 . To make a Cement for broken 
 Glajfes. 
 
 Glair of Eggs mixed with Quick- 
 lime will joyn broken pieces of Glafs 
 together, and all Earthen pots, lo as that 
 S 4 they 
 
364 Tolygraphices , Lib. [, 
 
 they (hall never be broken in the ft e 
 place again. 
 
 Or thus. Take old liquid Varnijh , 4 4 
 joyn the pieces with $ bind them toget r 
 and dry them well in the Sun or in n 
 Oven , and they will never unglew agai ; 
 hut put no hot liquor into them then. 
 
 Or thus. Take White-lead , Red-lei [ 
 guick^limc , Gum fandracl ^ of each a 
 ounce , mix all with glair of eight Eggs. 
 
 Or thus. Take White-lead , bole i liqi i 
 Varnijh as much as fujficeth. 
 
 Or thus. Take White-lead , Lime^ gl r 
 of Eggs as much as fujficeth. 
 
 Or thus , Take fine powder of gla , 
 ^uick^lime. Liquid varnijh , of each a J, ■ 
 ficient quantity . 
 
 Or thus, X a k? §>uick?lime powdred , ■ 
 quid varnijh , glair of Eggs , 0 / each alik ' 
 grind them upon a Jione : this is a Jlro . ; 
 glew even for Jlones. 
 
 Or thus. Take Calcined flints and eg 
 J. hells of each alike^and with whites of Eg 
 and gum tragaoanth or dijjolution of gn 
 fandraefi make glew 3 this in few daysw. 
 be as hard as Jione. 
 
 C 
 
Of Glafs and Prctious Stones. 26$ 
 
 Or thusfTak? Calcined flints two pound , 
 ’putck.-Ume four ptfund^Lwfeed oylfo much 
 ■s may temper the mixture , this is wonder * 
 nil flrong : hut with liquid varnifl) it 
 mud be flronger. 
 
 Or thus, Take fljh glew , and beat it 
 hin , then joafi it in water till it is like 
 'afl^ make rouls thereof which draw out 
 hin : when you ufe it , diffolve it in fair 
 vater over the fire , letting it fecth a while 
 ind fcumming^of it , and whilfi it is hot 
 ife it. This not onely cements glafs but Tor- 
 eife fl. yell and all other things. 
 
 III. To make Glafs Green. 
 
 Green glafs is made of fern ashes, be- 
 :aufe it hath much of an alcaly fait. 
 Lryftal or Venice Glafs is tinged green 
 vith Ore of Copper 5 or with the Calx 
 )f Copper five or fix grains to an 
 >unce. 
 
 I V. To counterfeit a Diamond. 
 
 Take a Saphyre of a faint colour put 
 nto the middle of a crucible in quick 
 Lime, and put it into a gentle fire, and 
 aeat it by degrees till it is red hot, keep 
 it fo for fix or feven hours, let it (land 
 
 in 
 
s 66 Tolygraphices . Lib.I] 
 
 in the crucible till it is cold, ( left takii 
 it out hot it ftiould break ) fo will 
 lofe all its colour, and be perfeft 
 like a Diamond. , lo that no file wi 
 touch it : if the colour is not all vanifk 
 at the firft heating, you muft heat it 
 gain till it is perfett. 
 
 V. To prepare the Salts for counterfc 
 Gems. 
 
 The Salts ufed in making counterfe 
 Gems, are chiefly two, the firft 
 made of the herb Kali 5 the lecond < 
 Tartar, their preparations are accorc 
 ing to the ufiial way ( but in Glals ve 
 lels.) 
 
 VI. To prepare the matter of which Gen, 
 
 are. made. «. 
 
 The matter is either Cryftal or flit 
 -that is clear and white : put them into 
 crucible in a reverberatory heat ( th 
 crucible being covered) then tak 
 £hem out and caft them into cold watei 
 fc will they crack and ealily reduce t< 
 powder : of which powder take an e 
 qual quantity with Salt of Tartar ( o 
 Sal Alkali) to which mixture add 
 ; v/ha 
 
of Glafs and Tretious Stones. 267 
 
 s hat Colour you pleafe, which muft be 
 • ther Metalline or Mineral: put them 
 : ito a very ftrong Crucible ( filling it 
 ;>out half full cover it dole , anu. 
 ielt all in a ftrong fire till it become 
 ke glafs. 
 
 Where note , in meltingyou mujt put an 
 iron rod into it, and take up Jome of it, 
 nd if it is free from bubbles , grains , or 
 leeks, it is fifed enough : if not, you mutt 
 '■itfe it till it is free. 
 
 VII. To make a counterfeit Diamond 
 
 f Cryjlal. . 
 
 Put Cryftal in a crucible and let it m 
 glafs furnace all night , and then bring 
 t to fine powder, mix it with equal 
 ?arts of Sal Tartari, digeft all night in a 
 /ehement heat , but yet not to melt, 
 :hen take them out, and put them into 
 another veflel which will ftoutly endure 
 the fire 5 let them ftand melted two 
 days and takeout the mals. 
 
 VIII. To make a Calcedon. 
 
 Mingle with the powder of Cryftal, a 
 little calcined filver, and let: it ftand in 
 fufion twenty four hours. 
 
 IX. To 
 
2 68 Volygraphices. Lib, II 
 
 IX. To make counterfeit Pearls. 
 
 Mix Calx of Lima and Eggs-ftiel. 
 
 with leaf filver ground with our bef 
 varnifti, of which make pafte, and ha 
 ving bored them with a hogs brittle, dr; 
 them in the Sun, or an Oven. 
 
 X. To Counterfeit a Ruby. 
 
 Take Sal Aicaly four Ounces, Cryfta 
 
 3 ounces, Scales of Brals half an ounce 
 leaf gold fix grains, mix all, and meli 
 them in a reverberatory. 
 
 X I. To Counterfeit a Carbuncle. 
 
 Mix Cryftal with a little red lead, put- 
 ting it into a furnace for twenty four 
 hours, then take it out, powder and 
 (earce it, to which adde a little Calci- 
 ned brafs} melt all again , and adde a 
 (mall quantity of leaf gold, ftirring it 
 Well three or four hours, and in a day 
 and night it will be done. 
 
 XII. An Artificial Amethyjl. 
 
 Take Cryftal one pound, Manganefi 
 one Drachm, mix and melt them. 
 
 Or thus , Take Sal Alkaly three oun- 
 ces, powder of Cryftal four ounces, 
 filings of Brals half an ounce,meIt all in a 
 ftrongfire. XIII. An 
 
Of Glafs and Pretidus Stones. 269 
 
 XIII. An Artificial Jacynth. 
 
 Put Lead into a ftrong crucible, and 
 ; t it into a furnace, let it ftand there a- 
 but fix weeks till it is like glals, and it 
 • ill have the natural colour ofa Jacynth 
 iDt eafily to be difcerned. 
 
 XIV. An Artificial Chryfolite . 
 
 Mix with melted Cryftal a fixth part 
 f Scales of Iron, letting it ftand in a ve- 
 ement fire for three days. Or thus , to 
 le mixture of the Topaz ze adde a little 
 .'opper. 
 
 XV. An Artificial Topaze. 
 
 To Cryftal one pound , add Crocus 
 iartis two Drachms, Red Lead three 
 unces, firft putting in the Lead, then 
 be Crocus. 
 
 XVI. Artificial Corrals. 
 
 Take the fcrapings of Goats horns, 
 eat them together, and infuie them in a 
 trong Lixivium made of Sal fraxini 
 or five days : then take it out and min- 
 ;le it with Cinnaber difiolved in wa- 
 er$ let it to a gentle fire that it may 
 ;row thick , make it into what form 
 /ou pleale, dry, and pollifh it* Or thus , 
 
270 Tolygraphices. Lib.II 
 
 Take Minii one ounce , Vermilic 
 ground fine half an ounce, Quick Lim 
 and powder of Calcined flints, of eac 
 fix ounces, a Lixivium of Quick Lin 
 and Wine, enough to make it thicl 
 adde a little Salt, then make it i 
 to what form you pleafe, and boil it 
 Linfeed oyl. 
 
 XVII. An Artificial Emerald. 
 
 Take Brafs (three days) Calcined 
 powder, which put again into the fu 
 nace with oyl and a weaker fire 5 let 
 flay there four days, adding doub 
 quantity of fine land or powder of Cr; 
 ftal : after it is fomething hard, keep 
 at a more gentle fire for twelve horn 
 and it will be a lovely , pleafant ar 
 glorious green. Orthtis^ Take fine Cr] 
 ftal two ounces and an half, Sal Alka 
 two ounces : flor xris infilled in vineg. 
 and (trained one ounce, Sal Tartdri or 
 ounce and an half'5 mix and lute the 
 into a crucible, and put all into a glal 
 makers furnace for twenty four hour 
 and it will be glorious indeed. Or thu 
 TakeGryftal ten ounces. Crocus Marti 
 
Of Clafs and Tretious Stones. 27 1 
 
 ; id Brafs twice Calcined, of each one 
 ] >und, mix and melt them, ftirring them 
 veil with an Iron Rod. 
 
 XVIII. An Artificial Saphyre. 
 
 To melted Cryftal put a little Z apho- 
 i ( two Drachms to a pound of Cry- 
 1 a! ) then ftir it continually from top to 
 bttora 'with an Iron hook, till it is well 
 j ixed, keep it in the furnace three days 
 nd it is done: yet when it is well co-' 
 lured, unlefs it be prefently removed 
 lorn the fire it will ’ofe its tinfture a- 
 pin. 
 
 XIX. To make white Enamel. 
 
 Take Calx of Lead two ounces. Calx 
 if Tin four ounces, make it into a body 
 ith Cryftal 12 ounces,role it into round 
 lalls, 6c let it on a gentle fire for anight, 
 lirring it about with an Iron rod, till it 
 melted, and it is done. 
 
 X X. The general preparations and pro - 
 \irtions of Mineral Colours . 
 
 Plates of Copper muft be made red hot, 
 nd then quenched in cold water 3 of 
 diich five or fix grains mixed with Cry- 
 :al and Sal Tartari of each half an 
 
 ounce. 
 
373 Polygraph ices. Lib.I] 
 
 ounce, and melted, will colour a Se 
 green. Iron muft be made into a croc 
 in a reverberatory fire 5 of which eigi 
 or ten grains will tinge the (aid ounc 
 of mixture into a yellow or hyacim 
 colour. Silver is to be diflolved in Aqt 
 fortis and precipitated with oyl of flint 
 then dulcified with water and dryed,<‘ 
 this five ordix grains to an ounce give? 
 mi>ped colour. Gold muft be diflolved 
 Aqua Regis , and precipitated withliquc 
 of flints, then (weetned and dryed 5 • 
 which five or fix grains to one ounc 
 gives a glorious Sapherine Colour. Gol 
 melted with Regulum Martis nitrofi 
 five or fix grains to one ounce, gives a 
 incomparable Rubine colour. Alagnefi 
 in powder only ten or twelve grains t 
 one ounce, makes an Amethyft Colou: 
 Gran at a in powder only ten or fiftee 
 grains to one ounce, will tinge the mas 
 into a glorious Smaragdine Colour , nc 
 unlike to the natural. 
 
 XXI. Lajlly , Common Copper make 
 a Sea-green : Copper of Iron a Grafs 
 green : Granats a Smaragdine : Iron Tel 
 
 , lot 
 
Of Gilding, 2 73 
 
 ,;zv, <?r Hyacinth : Silver, White , ycllow> 
 een an d granat : Gold, a fair Skye co~ 
 i ur: Wifinut, a common Blew : Magtie- 
 iii, an Amethyll colour : Copper and Sil- 
 > 2 r, an Amethyll colour : Copper and 
 J on, a pale Green : Wifinut and Magrte- 
 h, a Tur pie colour : Silver and Magne- 
 
 l.i, an Opal j and the li kg , 
 
 CHAP. XXXIII. 
 
 i The ways and manner of Gildingi 
 
 I r ~ I'*"' 0 lay Gold on any thing. 
 
 a. Take red Lead ground fine, 
 tmper it with Linfeed oyl: write with 
 i and lay Leaf gold on it, let it dry, 
 t en polilh it. 
 
 I I. To lay Gold on Gtafi. 
 
 Take Chalk and red Lead of each a- 
 ke, grind them together , and tern-, 
 pr them with Linleea oyl : lay it on, 
 ad when it is almoft dry, lay leaf gold 
 u it } let it dry, then polifn it, 
 
 III, To gild Iron with a Water. 
 
 T Take 
 
274 Polygraphices. Lib. Ill 
 
 Take Spring water three pound, Roc 
 Alom three ounces, Roman Vitriol, O] 
 piment one ounce, Verdigriefe twent 
 four grains, Sal gem three ounces, bo 
 all together , and when it begins t 
 boil, put in Tartar and Bay Salt of eac 
 half an ounce ; continue the boiling 
 good while, then take it from the fir 
 ftrike the Iron over therewith, drie it ; 
 gainft the fire and burnifh it. 
 
 I V. To lay Gold on Iron or other Ad 
 tals. 
 
 Take liquid Varnifh one pound, o; 
 of Linfeed. and Turpentine, of each or 
 ounce ; mix them well together : ftrit 
 this over any Metal, and afterwards la 
 on the gold or filver, and when it is dr 
 polifh it. 
 
 V. To Gild Silver or Brafi with Go / 
 water. 
 
 Take Quickfilver two ounces, put 
 on the fire in a Crucible, and when 
 begins to fmoak, put into it an Ang 
 of fine Gold; then take it off immeo 
 atly, for the Gold will be prefently d 
 fclved : then if it be too thin, ftrain 
 • ' -A pa: 
 
Of Gilding. 27$ 
 
 art of the Quicklilver from it, 'through 
 piece of Fuftian : this done, rub the 
 Jold and Quicklilver upon Brals or Sil- 
 er. and it will cleave unto it ? then put 
 ie laid Brals or Silver upon quick coals 
 iill it begin to Imoak, then take it from 
 he lire, and Icratch it with a Wire brulh, 
 his do lo long till all the Mercury is 
 ubbed as clean off as may be, and the 
 old appear of a faint yellow : which 
 olour heighten with Sal Armoniack , 
 >ole, and Verdigriefe ground together 
 nd tempered with water. 
 
 Where note , that before you gild your 
 I >Ietal , you mujl boil it with Tartar in 
 Jeer or water , and then jcratch it with a 
 Tire Brufl). 
 
 V I. To Gild Books 1 
 
 Take Bole Armoniack four peny- 
 veight, Sugar-candy one peny -weight, 
 nix and grind them with Glair of Eggs, 
 hen on a bound Book, ( while in the 
 )rels, after it hath been fmeared with 
 'lair of Eggs and is dried)lmear the laid 
 rompolition, let it dry, then rub it well 
 tnd polifh it : then with fair water wet 
 T 2 the 
 
276 Polygraphices. Lib.III. 
 
 the edges of the Book , and luddenly 
 lay on the gold, preffing it down with 
 Cotton gently, this done let it dry, 
 and then polifh it exa&ly with a tooth. 
 
 V I L Another way of Gilding Iron. 
 
 Take water three pound, Alom two 
 ounces, Sal gem three ounces, Vitriol 
 K.oman, Orpiment of each one ounce, 
 jios Mr is twenty four grains j boil all 
 with Tartar and Salt as at the 3 e* j 
 
 VIII. To make Iron of the, colour oj 
 
 Gold. <, i 
 
 Take-Linleed oyl three ounces. Tar- j* 
 tar two ounces, yolks of Eggs boiled i 
 hard and beaten two ounces, Aloes hali 
 an ounce, Saffron five grains, Turmericls 
 two grains : boil all in an Earthen vef- 
 fel, and with the oyl anoint Iron, anc 
 it will look like Gold. If there be no\ > 
 L infeed oyl enough ^you may put in more. 
 
 I X. A Golden liquor to cover Iron : 
 IVood , Glafii or bones with. 
 
 Take a new laid Egg, through a hole 
 at one end take out the white, and fill 
 up the Egg with Qitickfilver two parts. 
 Sal Armoniack finely powdred one 
 £ . part 5 
 
Of Gilding . 277 
 
 -.art '■) mix them all together with a Wire 
 br little ftick : flop the hole with melt- 
 bd Wax, over which put an half Egg- 
 hell : digeft in horfe dung for a month, 
 md it will be a fine golden coloured 
 Liquor. 
 
 X. Another of a pure Gold colour. 
 
 Take juice of frefh Saffron, or ( for 
 ! vant of it) Saffron ground , the beft 
 lear Orpiment of each alike : grind 
 hem with Goats gall or gall of a Pike 
 which is better) digeft twenty eight 
 lays in horfo dung, and it is done. 
 
 X 1 . To Gild on IVood or Stone. 
 
 Take Bole Armoniack, Oyl Ben, of 
 ach a fufficient quantity^beat and grind 
 hem together : with this ffnear the 
 rood or ftone, and when it is afmoft 
 ry,lay on the Leaf-gold, let it dry, then 
 •olifh it. 
 
 XII. To Gild with Leaf-gold . 
 
 Take Leaves of gold, and grind them 
 vith a few drops of honey, to which 
 dd a little gum-water, and it will be 
 xcellent to write or paint with. 
 
2 jS 
 
 Lib. III. 
 
 Poljgraphices. 
 
 CHAP. XXXIV. 
 
 Of raper^ Parchment , and Leather . 
 
 I. T- O make Paper reave d like Marble. 
 
 J Take divers oyled colours, 
 put them (everally in drops upon wa- 
 ter, and ftir the water lightly : then 
 wet the Paper ('being of fome thick- 
 nelsj) with it, and it will be waved like 
 Marble 3 dry it in the fun. 
 
 II. To write golden letters on Paper or 
 Parchment. 
 
 This may be done by the 9, 10, and 
 12 £33.0 f this book: or write with 
 Vermilion ground with gum Armoniack 
 ground with glair of Eggs, and it will 
 be like gold. 
 
 III. To take out blots , or make black 
 Letters vanijh , in Paper or Parchment. 
 
 This may be done with Alom water 5 
 or with Aqua forth mixed with com- 
 mon water. 
 
 I V. To make Silver letters in Paper or 
 Parchment. Take 
 
Of Taper, Parchment, and Leather. 279 
 
 Take Tin one ounce, Quickfilver two 
 >unces ? mix and melt them, and grind 
 hem with Gum water. 
 
 V. To rerite with green Ink. 
 
 Take Verdigriefe, I.itharge, Quick- 
 ilver,of each a fufficient quantity ,grind 
 nd mingle them with Urine, and it 
 vill be a glorious green like an Emerald 
 o write or paint with : 
 
 Or thus, grind juyce of Rue and Verdi- 
 ;riefe with a little Saffron together 5 
 itnd when you would write wiifh it mix 
 t with gum water. Or thus , Difl'olve 
 Verdigriefe in Vinegar, drain it , then 
 1 yrind it with common water and a little 
 aoney $ dry it , then grind it again with 
 yum water, and it is done. 
 
 VI. To write on Paper or Parchment 
 ) with blew Ink. 
 
 Grind blew with honey, then temper 
 it with Glair of Eggs or gum water made 
 ; }f Ifinglafs. 
 
 V I I. • To Dye Skyns blew. 
 
 Take berries of Elder or Dwarf-el- 
 der, firffc boil them, then fmear and wafh 
 the Skins therewith , and wring them 
 T 4 forth 
 
2$0 
 
 Folygraphices. Lib. I 
 
 forth : then boil the berries as befor 
 in the diflblution of Alom water, ai 
 wet the Skins in the fame water on< 
 or twice, dry them and they will l 
 be very blew. 
 
 VIII. To dye Skjns into 4 Reddijh color, 
 
 Firft wafn the Skin in water ar 
 
 wring it well : then wet it with tl 
 fblution of Tartar and Bay fait in fa 
 water, and wring it again : tothefo 
 mer diflblution add Allies of Crablht 
 and mb the Skin very well therevvit 
 then walh with common water ai 
 wring them out : then vvafh them vvii 
 tin&ure of Madder, in the folution f 
 Tartar, Alom, and the afbrefaid Alhe 
 and after (if not red enough ) with tl 
 Tinfture of Brazil. 
 
 I X. Another way to Dye them Red . 
 
 Wafh the Skins, and lay them in gal 
 
 for two hours; wring them out, an 
 dip them into a colour made with L 
 gujlritm , Alom and Verdigriefe in vv; 
 ter : Lallly twice dye them with Bn 
 zil boiled with lye. 
 
 X. Another way to Dye them Blew. 
 
Of Vafcr^Tarchment^and Leather. 281 
 
 Take the beft Indico and fteep it in 
 Jrine a day, then boil it with Alom, 
 nd it will be good. Or, temper the 
 Indico with red Wine, and wa(h the 
 kins therewith. 
 
 XI To Dye Skjns green. 
 
 Take Sap green, Alom water, of 
 each a diffident quantity, mix and boil 
 ihem a little : If you would have the 
 "olour darker, add a little Indico. 
 
 XII. To Dye Skins Tell ore. 
 
 Infule Woold in Vinegar, in which 
 f»oil a little Alom : Or thus, having dy- 
 •d them Green by the n e. dip them 
 n Decoftion of Privit berries and Saf- 
 iron and Alom water. 
 
 XIII. To Dye them of an Orange co- 
 our. 
 
 Boil Fuftick berries in Alom water : 
 >ut fora deep Orange, ufe Turmerick 
 oot. 
 
 X I V . A liquor to Gild Skins, Met ah , 
 r Glafl. 
 
 TakeLinleed Oyl three pound, boil 
 t in a glazed veflel till it burns a fea- 
 her being putintoit j then put to it 
 
 Pitch, 
 
2S2 Folygraphices. Lib.III 
 
 Pitch, Rozin, dry Varnifh of each eight 
 ounces, Aloes Hepatica four ounces 
 put all in powder into the oy l, andftii 
 them with a ftick, the lire being a little 
 encrealed : if the Liquor is too clear o 
 bright, you may add an ounce or twe 
 more of Aloes Socatrine, and diminifl 
 the Varnifh, fo the Liquor will be dark 
 er and more like Gold. Being boiled 
 take it, and ftrain it, and keep it in i 
 Glafs for ufe : which ufe with a pen 
 cil. 
 
 CHAP. XXXV. 
 
 Of Wood} Horns , and Bones. 
 
 I.'To Dye Elder , Mulberry-tree 
 
 *■ Pear-tree , Nut-tree of the colour oj 
 Ebony. 
 
 Steep the wood in Alom water three 
 or four days, then boyl it in Commor 
 oyl, with a little Roman Vitriol anc 
 Sulphur. 
 
 Where note , the longer you boil the 
 
 wood 
 
Of Dying IVeod^&c. 283 
 
 1 iod 0 the blacker it will be^ but too long 
 takes them brittle. 
 
 I I . To make Horns black. 
 
 Vitriol diflolved in Vinegar and fpirit 
 r Wine wili make Horns black : fb the 
 riovv white Calx of Silver in fair 
 
 ater. 
 
 III. To make Bones white. 
 
 They are ftrangely made white by 
 toiling with water and Limejcontinual- 
 v fcumming of it. 
 
 I V. To Dye Bones green. 
 
 Take white Wine Vinegar a quart, 
 i lings of Copper, Verdigriefe, or each 
 tree ounces, Rue bruifed one handful , 
 lix them, and put the Bones therein for 
 fteen days. 
 
 V. 2 0 Dye Wood , Horn , or Bones 
 fed. 
 
 Firft boil them in Aiom water, then 
 ut them intotinfture of Brazil in A- 
 bm water for two or three weeks : or 
 a to tin&ure of Brazil in Milk. 
 
 V I. To Dye them Blew. 
 
 Having firft boiled them in Alom 
 vater , then put them into the Dif- 
 
 fbiution 
 
Polygraphices. 
 
 Lib, 1 . 
 
 fblution of Indico in Urine. 
 
 VII. To Dye them Green like En - 
 raids. 
 
 Take Jq/tafortk, and put as much - 
 lings of Copper into it, as it will d- 
 Iblve 5 then put the Wood, Horns ’ 
 Bones therein for a night. 
 
 VIII. To Dye Bri tiles and Fi- 
 thers. 
 
 Boil them in Alom water, and aft 
 while they are warm , put them im 
 tin&ure of Saffron, if you would ha !* 
 them yellow: or juyce of Elder be 
 ries, if blew: or in tincture ofVerd 
 griefe 3 if green. 
 
 CHAP. XXXVI. 
 
 Of Dying Tarn , Linnen cloth , and 
 the liky. 
 
 I. 0 Dye a fad Brown. 
 
 I Firft infufe the matter to b 
 dyed in a ltrong tin&ure of Hermodaft 
 then in a bag put Saffron and alh es^Jira 
 
Of tying. 
 
 tm fuper Jlratum, upon which put vva- 
 1 1- two parts mixed with Vinegar one 
 prt 5 drain the water and vinegar 
 t rough, hot, fifteen or fixteen times : 
 i this Lixiviate tin&ure of Saffron put 
 that you would dye letting it lie a night, 
 t en take it out, and hang it up to dry 
 vithout wringing, w hich do in like man- 
 i?r the fecona and third times, 
 j I I. To Dye a Blew colour. 
 
 Take Ebulus berries ripe and well 
 cied , deep them in Vinegar twelve 
 burs, then with your hands rub them, 
 nd drain through a linnen cloth, put- 
 mg thereto fome bruifed Verditer and 
 . lom. 
 
 Note , if the blew is to be clear , put more, 
 terditer to it. 
 
 III. Another excellent blew Dye. 
 
 Take Copper fcales one ounce , Vi- 
 
 egar three ounces. Salt one drachm j 
 ut all into a Copper veflel , and when 
 ou would dye, put the laid matter in- 
 ) the tinfture of Brazil. 
 
 I V. Another excellent blew Dye. 
 
 Take calcined Tartar three pugils, 
 
 un- 
 
3 86 Polygraphices. Lib.lII 
 
 unflak’d Lime one pugil, make a lixivi 
 um, and filtrate it $ to twelve or fifteet 
 quarts of the lame water put Flaijder; 
 blew one pound, and mix them well 
 fet it to the fire, till you can fcarceh . 
 endure your hand in it : then firft boi 
 what you would dye in Alom water 
 then dry it 5 afterwards dip it in ho 
 Lye twice or thrice 5 then put it intc 
 the Dye. 
 
 V. A good red Dya 
 
 Take Brazil in powder,fine Vermilion 
 of each half an ounce,boil them in Rai \ 
 Water, with Alom one drachm, boili : 
 till it is half confumed. 
 
 VI. Another excellent good red Dye. I 
 Take of the Lixivium of unflak’d Lim 
 
 one pint, Brazil in powder one ounct 
 boil to the half } then put to it Alor . 
 half an ounce, keep it warm, but nc 
 to boil : then dip what you w 7 ould Dy * 
 firft in a Lixivium of Red wine Tarta 
 let it dry , then put it into the Dye. 
 
 VII. Another very good Red. 
 
 Take Roflet with gum Arabick, bo 
 
 them a quarter of an hour, ftrain it 
 ' , ; the 
 
Of Dying. - 287 
 
 ien firftboyl what you would dye, in 
 Jom water two hours 5 after put it into 
 ie Dye. 
 
 VIII. To make a fair rujfetDye. 
 
 Take two quarts of water, Brazil one 
 unce, boil it to a quart 5 put to it a luf- 
 cient quantity of Granie and two 
 >rachms of Gum Arabick. 
 
 ; IX. si good Purple colour. 
 
 Take Myrtle berries two pound, A- 
 am, calcined Brafs of each one ounce, 
 /ater two quarts, mix them in a Brals 
 ettle, . and boil half an hour,then ftrain 
 ■»- # 
 
 X. A yellow Colour. 
 
 Take berries of purging Thorn, ga- 
 hered about Lammas day, bruife them, 
 dding a little Alom in powder , then 
 eep all in a Brals veflel. 
 
 X I. Another good Yellow. 
 
 Put Alom in powder to the tin&ure 
 >f Saffron in Vinegar. 
 
 XII. A very good green Colour. 
 
 Take Sap green, bruile it, put water 
 o it, then add a little Alom, mix, and 
 nfufe for two or three days. 
 
 XIII. to 
 
Lib.III. 
 
 288 Potygraphiccs. 
 
 XII f To takg out Spots. 
 
 . Wa(li the {pots with oyl of Tartar 
 per Deliquium , two or three times and 
 they will vanifh, then wafti with water. 
 Spirit of Wine to wafh with is excellent 
 in this cafe. If they be Ink (pots, juice 
 of Lemmons' or Spirit of Salt is incom- 
 parable, wafliing often and drying it: 
 fb alfo Caftle Soap and Vinegar. 
 
 CHAP. XXXVII. 
 
 Of the Dying of Stuffs^ Cloaths 
 and Silky. 
 
 j y. * , 
 
 I, np 0 make d fuhjiantial blew Dye. 
 
 J Take Woad 5 one pound , and 
 mix it with four pound of boyling wa- 
 ter : Infufe it twenty four hours 3 then 
 die with it all white colours. 
 
 II. To wake a firm blacky Dye. 
 
 Firft Wad it with the former Blew : 
 then take of Galls one pound 3 water 
 fixty pound 3 Vitriol three pounds : firft 
 boil the Galls and water with the Stufi 
 
 or 
 
Of Dying. 289 
 
 r Cloath, two hours : then put in the 
 foperas at a Cooler heat for one hour : 
 len take out the Cloath or Stuff and 
 ,ool it, and put it in for another hour, 
 oiling it : Laftl'y take it out again, cool 
 and put in once more. 
 
 III. To make an Excellent Telloto Dye. 
 Take liquor or decoffion ofWhcat- 
 
 >ran (being very clear ) fixty pound : 
 11 which diflolve three pound of Alom : 
 hen boil the fluff or cloath in it for two 
 lours : after which take Wold two 
 >ounds,atid boil it till you foe the colour 
 rood. 
 
 I V. To make a very good Green Dye. 
 Firft dye the Cloth or Stuff Yellow 
 
 by the 3 e. then put it into the Blew dye, 
 in the firft Seftion of this Chapter. 
 
 V. To make a pure clear Red dye. 
 
 Take Liquor or Infiifion of Wheat- 
 
 bran ( being drained and made very 
 clear,) fixty pounds 5 Alom, two pounds, 
 Tartar one pound 5 mix and diflolve 
 them, with which boil the Stuff' or 
 Cloath for two hours : take it then out, 
 and boil it in frefti Wheat-bran liquor, 
 V fixty 
 
290 Folygrapkices. Lib.III. 
 
 fixty pounds 5 to which put Madder 
 three pounds 5' perfect the Colour at a 
 moderate heat, without boiling. 
 
 VI. To make a very p leaf ant Purple Bye. 
 
 Firft dye it Blew , by the firft rule qf 
 
 this Chapter : then boil it in the 
 former Red at the fifth rule hereof: 
 Laftly finifh it with a decoftion of Bra- 
 zil. 
 
 VII. To dye Crimfon in Grain. 
 
 Firft boil it in the Red at the fifth 
 Rule of this Chapter : then finifh it in a 
 ftrong tinfture of Cochenele made in. 
 the Wheat-bran Liquor aforelaid. 
 
 VIII. To make a Bow-dye or fcarlet 
 colour. 
 
 Take water an hundred pounds,} 
 Cremor Tartari and Aquafortis of each 
 half a pound 5 parched peale in powder 
 an hundred : boil all together with the 
 ftufF for two hours 5 this done , take 
 new water an hundred pound weight} 
 Cremor Tartari and Aqua fortis of each 
 two ounces, in which boil the Stuff or 
 Cl oath for a quarter of an hour^ then 
 put in the Cochenele, and boil all for 
 
 about 
 
Of Dying. 291 
 
 bout half an hour, and it is done. 
 Vhere note that the vejj'els in which the 
 'tuff unci liquors are boil’d mujl be lined 
 vthTin^elfe the colour will be defective. 
 ;The lame oblerve in dying of Silks ( in 
 ach colour J with this caution, that 
 r ou give them a much milder heat, and 
 1 longer time. 
 
 1 To enumerate all the Great variety of 
 Dyes , or Colours 5 or offer at an Effay to 
 educe them to a certain method , as it is a 
 abour needlefs 0 fo it is as altogether im- 
 wffible , there being infinite Colours to be 
 produced , for which (as yet') we have no 
 ' ertain , ktiown or real name : And out of 
 vkat we have already enumerated in this 
 chapter , the ingenious ( if they pleafe Jf 
 hall find (by little praUice and Experi- 
 ence ) Juch great variety to be apparent , 
 l hat Jhould we exprejs the number though 
 but in a very low or mean degree , we could 
 sot but be expofed in cenfure to an Hyper- 
 bole even of the higheft : Every of. the 
 foregoing colours , will alone or fingly , 
 wodnce a great number of others , the firjl 
 nore d ep or high , the Latter , all of them 
 V 2 paler 2 
 
292 Tolygraphices. Lib. Hr. 
 
 paler than each other: And according to 
 the variety of colours the matter is of be- 
 fore it is put into the dye^fuch new varie- 
 ty alfo fall you have again when it comes 
 out 5 not according to what the Colour na- j 
 turally gives , but another clean contrary I 
 to what you although an Artijl ) may 
 expect . For if Jlrange colours be dipt into 
 dyes not natural to them 5 they produce 
 a forced colour of anew texture^ fuch as 
 cannot pojjibly be preconceived by the 
 mind of man , although long and con * 
 tinned experience might much help in 
 that cafe. And if fuch variety may be 
 produced by any one of thofe (ingle Co- 
 lours 3 what number in reafon might be 
 the ultimate of any two or three Or more 
 of them being complicate or compounded ? 
 Now if jitch great numbers or varieties 
 may be produced 1. by any one (ingle co- 
 lour j 2. by being complicate^ how fould 
 we C without a certain and determinate 
 limitation by denomination or name ) e- 
 ver order fuch confuJed 3 unknown 0 vctri- 
 cus 3 and determinate fpecies of things 5 in 
 any pleafant 3 intelligible method ? Since 
 
 there - 
 
Of Dying . 293 
 
 1 herefore that the matter (as yet ) appear s 
 otonly hard , but alfo- impojjtble ■, we jhali 
 otnmend what we have done to the In - 
 . e nutty of the In dull nous , and dejire that 
 y, an dor or favour frdm the Experienced ? 
 I pith love to correct our Errors^ which all or 
 indue f will not only be a future obligat- 
 ion to the Author , but alfo enforce ¥o~ 
 lerity to acknowledge the jame . 
 
 , 
 
 FIN I S. 
 
Books Sold ly Richard Jones, at hit 
 Shop at the Golden Lyon in Little-Britain. 
 
 T Hc Art. of Meafuring, o-r the Carpenter’s 
 New Rule, defcribed and explained iwith 
 the Defcription and Ufe of Gunter s Line. By 
 W. Leybourne , Mathemat. in Oitavo. 
 
 Tkynati Vefcariej Epijida, in ijuarro. 
 
 Synopfis Medicina '•> or a Compendium of A- 
 ftrological, Galenical, and Chyrnical Phyfick i 
 Philofophically deduced from the Principles crt 
 j Hermes and Hippocrates by W.Salmon-, 
 
 The Englifh Dictionary, or an Expolitor of 
 Hard Englifh words s newly Refined by H. C» 
 Gent. 
 
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 as Divinity, Hiftory, Romances, Phyfiek, and 
 Mathematical Books, at the fame place. 
 
 Salmons Pills, which infallibly Cure the 
 Scurvy, Dropfie, Gout, Agues, Feavers, Kings- 
 evil, Jaundice, Worms, Gravel, Stone, Stoppage 
 of Urine, Pains and ObftruCtions in any part of 
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 $*fhi|!.the box, with a Book of Directions for 
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