2* 
 
 
 i^4^5w^^^<^^^r^^^^^^T^^^^^^ 
 
T7t€ Tibccefttricy of 
 Ifie PEN and PENCIL, 
 
 IprtfrttfrmtdjfaBjcfclcnjes %^'Doman'N'en/maftadare ti> 
 ^{•iatihtrjhps atlke CoMmLycn : W Cftmirqions Jrmes ml 
 
 " BrOtaine . u 
 
' EXCELLENCY 
 
 O F T H E 
 
 $en anu dentil , 
 
 EXEMPLIFYING 
 
 The Ufcsof them in the mod Ex- 
 
 quifite and Myflerious An of 
 
 DRAWING, 1 ( P A I N T IN G in 
 ETCHING, () OYL, 
 
 engraving,? Swashing of 
 
 LIMNING, Vf Maps&t-i&ures. 
 
 Alfo the way to Clejinfe any Old Painting, 
 and Preferve the Colours. 
 
 Collected from the Writings of the able ft Ma fieri 
 both Ancient and Modern, as Albert' Durer, 
 P. Lomantius, and divers others. 
 
 Furniihed with divers Cuts in Copper,being 
 Copied from the belt Matters, and here inferted 
 for Examples for the Learner to Pra&ice by. 
 
 A Work 'very useful for all Gentlemen^ and other 
 Ingenious Spirits t either Artificers or otters* 
 
 j — . — ^ 
 
 LONDON: 
 
 Printed. for Dtfrwrfw Newman^ at the Kings- Arms 
 in the Poultrey, M DC LXXXVIH. 
 
To the 
 
 READER; 
 
 AMong the many Operations of Myflerious 
 Nature , the Intellectual Part of Man 
 hath no equal : Among the multifarious 
 Productions of Man's Under ft anding y the 
 Art of L I M N I N G is by none ex- 
 celled ^ whether we confider the Grandeur of Spirit 
 therein exprtffed, or the Ingenious Delight thereby 
 acquired. What Ray of the Great Creator's Image 
 is more confpicuous in the Soul of Man, than that 
 of Intenfe Defire to produce Creatures of his ovn ? 
 And wherein is that Inclination fo compleatly answe- 
 red, as by Delineating the JVorkmanfoip of God in Ar- 
 tificialRefemblances contrived and wrought by his pro- 
 per Wit ? Nor can any Satisfaction equal what- is de- 
 rived from the Perfection of thefe Dejigns. Are the 
 Proportions exact ? How ftrongly do they attract r!.c 
 Eye^ Be the Shadowings accurate ? How ftrangdy do 
 they affect the Mind? But if the Artifv hath ftohi ft 
 much of Promethean Fire as to add the Excellency of 
 Life to well- difpo fed Lineament s % reprefenting the Nn- 
 , five Air and fprightly Geflurecf the Perfon invhs; 
 
 A 5 Hlw 
 
To the Reader. 
 
 How unffeakably doth he gratify both ? 
 
 To exercife this Faculty , and com fly with this Fancy 
 in Man , is this little Tract comf ilea, in Five Books. 
 
 ■ The Firft lays down the Primordial Rudiments of 
 the Art of Drawing with the Pen andPafiils: in a 
 due. and orderly Method frofojing the Defcriftion of 
 Man y s Body in its diftwct parts-, prefent'wg fundry 
 Draughts of them in the flain Circumferential Lines , 
 and giving Directions for the Profer Shades, as of 
 Naked Bodies, fo of Drafery ; by Instructions and Co- 
 piss fo eafy and intelligible, that the meaneft Capacity 
 need not doubt to undertake the Drawing of that Ad- 
 mirable Fabrick, and arrive to the Perfection of this 
 iJMyftery in exact Symmetry, fuitable Proportions, 
 and enlivening? oft ures, ifwellperus y d andfractifed. 
 For which furfofe al/o certain Geometrical Rules> De- 
 finitions, and Figures are inftrted, to exemplify and 
 adorn this Mifirefs of Proportion; in the Acccmflijhing 
 whereof that nothing maybe defective, fome fuccinct, 
 Advertifements concerning Landskip are added in the 
 Clofe. 
 
 Having fremijed thefe more plain and eafy Funda- 
 mentals, the Second proceeds to difcover the Secret and 
 Ingenious Skill of Etching with Aqua fortis ; where 
 the moft perfpicuous and familiar Ground poffible is def- 
 er ibed) and Prefer if tions for carrying on and per- 
 fecting that Work } no lefs Rational, annexed. And 
 for a [much as fome may perhafs take more pleafure in, 
 or reap more Profit from that fcf Graving : you have 
 the Inftrtiments moft NeceJJary in that kind, and the 
 Manner ofTJfing them moft Convenient, particularly 
 demonftrated : Together with that ab/truje Slight, of 
 
 transferring 
 
To the Reader. 
 
 transferring the Copy upon the Copper. 
 
 But becaufe this alone may feem barely Mechanick 9 
 that which fuits with the mo ft Gentile*, and cannot 
 derogate from the moH Honour able* is offered in the 
 Third : where the Requifites for Limning in water- 
 Colours are depofed y the Gums and their Waters in 
 few words digefted, the Colours particularly nomina- 
 ted, and the true way to prepare and compound them 
 fpecified : All which are but as fo many Degrees and 
 Ingredients to approach and accomplish the defirable 
 and ultimate Defign of Miniture: for the Practice 
 whereof you are throughly furnijhed with the Choice of 
 the meeteft Light , Pofition, and Implements at hand 
 by the particular Defcription of Drawing a Face to the 
 Life in little , according to its duly Methodised Pro- 
 grefs at the firft t fecond, and third Sitting • not 0- 
 mitting the Ornament thereunto pertaining. 
 
 And to fupply the Fading and Decay of thefe f the 
 Fourth delivers Rules and Directions for Painting in 
 Oyl, anfwerable to that depth of Judgement required 
 in that more durable kind of Operation; naming the 
 proper Colours, and declaring its peculiar Utenfils, with 
 accurate mfirutlicns how to temper and diver fife the 
 former 9 for all Complexions and Garments, of what 
 variety foever : and to ufe the later in tbe Artificial 
 Painting of a Face, the only Exemplar prefcribed,be- 
 caufe it includes all the Art and Difficulty of this Sci- 
 ence, 
 
 The Fifth v and la ft, difplays a pretty fuperficial Ex* 
 
 periment : imparting what Colours and other Necef- 
 
 faries are be ft fitted for the Wa filing or Colouring 
 
 of Maps and Pr/nted Pidtures: And, to help the du 
 
 A 4 divers 
 
To the Reader. 
 
 divers Exigencies that concern this Affair ', feme Ex- 
 fedients put a Fericd to the 'whole Work. 
 • Plainnefs and Brevity (which may procure Con- 
 tempt from the Nice or Vulgar ) ar e fujficient to recom- 
 mend this Piece to ingenious afpirers after any oftkofe 
 Excellencies therein taught ; Jince they have dene the 
 Art and Artift Right y in Refcuiug both frcm fuch ob- 
 fcurelntricacies and voluminouslmpertinencies aswould 
 difcourage the one, or difparage the other : And thefe 
 Muniments have fojuftly prevented all Cenfurj, that 
 nothing can faggeft the lea ft Imputation of Difficulty 
 hut want of Diligence^ nor any omfurmifeit Tedious , 
 but the Slothfitll 
 
 * 
 
 Farewell. 
 
A Neceflary TABLE, iliewing the Chief 
 
 Matters treated of in this Book.' As, 
 
 C H A P. I. 
 
 4 defcription tf all the External Parts of 
 Mans Body. 
 
 SECT, i . Of the Head Page 2. 
 
 x. Of the Ear ibid 
 
 3. Of the Eyes - $. 
 
 4. Of theNofe, Mouth, Chin, Neck, and 
 
 Throat ibid. 
 
 5. Of the Fore part of the Body 5-. 
 
 6. Of the Hinder-part of the Body. 6. 
 
 7. Of the Arms, Hands, and Fingers, ib. 
 
 8. Of the Legs, Feet, and Toes 8 
 
 CHAP. II. Of Aclions, Geftures, Decorum, Motion, 
 
 Spirit, and Grace in Pictures rightly Refembled. 
 S EOT. 1. Of Adtion or Gefture 9. 
 
 2* Of the Paffions or Complexions io* 
 
 C H A P . 1 1 1. Of Necejfary Instruments apper- 
 taining to Drawing f 11, 
 How to make Paftils of feveral Colours ^ 1 z. 
 A way to Draw an Efcutcheon Geometrically 1 5. 
 To Draw a Geometrical Ova I ib. 
 Some Geometrical Definitions 1 6 . 
 
 C H A P. I V. Of the Firfi Practice of Drawing. 
 SECT 1. Of Geometrical Figures 18. 
 
 Five Columns of Architecture 19. 
 
 2. of 
 
The TABLE. 
 
 2. Of the fecond Practice of Drawing. 10 
 
 3. Of the Third Pra&ice ib. 
 
 4. Of the Fourth Practice ib. 
 
 CHAP. V. Directions for Drawing the Body of 
 Manor Woman. 
 SECT. 1. General Rules for drawing the Face. 11 
 
 2. To draw a Fore-right Face 22. 
 
 3. To Draw an Upright Head 23. 
 
 4. Of the Inclining and Fore-fhortned 
 
 Face. ib. 
 
 5. Of the Nofe, Mouth, and Chin 26. 
 
 5. Of Hands , both Palm , Back, and 
 
 Sides, as alfb open and clofed : and 
 likewife of Hands and Arms joyned 
 
 28, 
 
 6. Of Feet in feveral Pofitions, both with 
 
 and without Meafures, as alfo'of 
 Feet and Legs joined together 3 1. 
 
 7. Of the Back, Breaft, Secret members, 
 
 Thighs, Shoulders,^. 34. 
 
 8. Of Whole figures from head to foot. 3 6 
 
 9. Rules of Symmetry or Proportion to 
 
 be obferved in Drawing the whole 
 
 Body of Man or Womah 41. 
 
 j o. The Proportion of the Body of Man. 
 
 4#. 
 CHAP. VI. Of Shadowing, and Rules to be ob- 
 ferved therein 47. 
 CHAP. VII. Of Drapery, and Rules to be obferved 
 therein 45-. 
 Ci H A P. VIN. Of Landskip, and Rules to be ob- 
 Jerved therein 46. 
 
 Of 
 
The TAtfLfc. 
 
 Of Etching and Graving, the Second Book. 
 
 CHAP. i. Of Etching with Aqua-fortis 48** 
 
 SECT. 1. To make Mr. Hcllar y s Ground, an^ 
 
 how to Etch in Copper, and what 
 
 Inftrnmcnts ought to be ufed in the 
 
 practice thereof. ft. 
 
 2; How to prepare your Copper 4p. 
 
 3. How to lay the Ground upon the 
 
 Plate 50. 
 
 4. How to Transfer your defign upon the 
 
 Copper 5 1. 
 
 5. How to wall about your Plate with 
 
 Wax, to lay on your Aquafortis , 
 and to finifh your Work 51. 
 
 CHAP. II. Of Graving. 
 
 SECT. 1. Cf neceffarylnftruments belonging to 
 Graving 53. 
 
 1. Of yourOyl'ftone 54. 
 
 2. Of Gravers ib: 
 2. Of feveral ways of holding the Gra- 
 ver 5r . 
 
 3; The forms of Graving-tools, as alfo 
 the manner of Whetting your 
 Graver 57. 
 
 4. The manner how to hold and handle 
 
 your Grayer 58. 
 
 5. The manner of holding your Hand 
 
 •■/iir Graving 59. 
 
 A How to take off any Picture, or Map- 
 letters, 0^. upon your Copper '61. 
 
 The 
 
The TABLE. 
 
 The way of laying a Mezza-tinto Grqwndi with 
 
 the fafhion of the Engine, #v. 79. 
 
 How to take off Mezza-tmto Prints, &c. 80. 
 
 Of Limning in Water-colours, the Third Book. 
 
 CHAP. I. Of necejjaries belonging to Limning 8 2. 
 
 S ECT. 1. Of Gum-waters ufed in Limning 83.' 
 
 Of Gum- Lake ib. 
 
 Of Gum-Armoniack 84. 
 
 Of Liquid Gold or Silver 8 5-. 
 
 %. Of your Grinding-ftone and Muller ib. 
 
 3. Of Colours 8<5. 
 
 CHAP. II. Of Colours ufed in Limning , their 
 
 names, and how to order them* 
 
 SECT. 1. Of the Names of Colours, and how 
 
 every Colour is to be prepared, 
 
 whether Grownd , Wafhed or 
 
 Steeped ib* 
 
 2. Of thofe Colours that are to be 
 
 Grownd, and how toGrind them 87. 
 
 3. Of thofe Colours that are to be Wafh- 
 
 ed, and how to Wafh them 8 8. 
 
 4. Of Colours to be Steeped 89. 
 
 5. Of thofe Colours that are to be Wafh- 
 
 ed and Grownd, and how to temper 
 them in your Shells when you are to 
 ufe them 90* 
 
 6. Of Pencils,and how to choofe them 9 1. 
 
 7. Of Compounded Colours ib. 
 CHAP. III. How to prepare a Table for Pifture in 
 
 [mall for Limning^ to make ufe of your Light , the 
 manner of Sitting in refpeH of V option and Di- 
 
 ftanctt 
 
The TABL £ 
 
 jianec, and what necejfary Inftrumcuts are t* lye by 
 you when you are at w 78. 
 
 SECT. 1. How to prepare ^ Table, fcr a Pifrure 
 in Small. 
 
 2 Of your Light 
 
 3 Of the manner of Sitting 
 
 4. OffuchNeceflariesasaretoIyeby 
 while you are at Work 
 
 CHAP. IV. Of the Miniture ir Limning of 4 Face 
 rn Vr 8i. 
 
 SECT. 1. At thefirfr C -g 83. 
 
 2. At the fecond Op era:icn t 
 
 3. At the third Operation cr 
 
 C H A P. V. OfDr«: \ c:hir Ornaments be- 
 
 longing to a Fi&ure in Miniture 8 8. 
 
 SECT. 1. Of Draptry in Limning 
 
 1. Of other Ornaments in Figures 
 CHAP. VI. OfLtmdd 
 
 Of ; in Cyi, the Fourth Book. 
 
 C H AP. \ mes cfycur Colours, and 
 
 to Grin i em 91. 
 
 CHAP. \\. ' ng-Frame^Clctb^ 
 
 -vdStay 
 fefemes of federal fens c( Penc 95 
 
 CHAP. III. How to order y. -jour 
 
 Fallat, and bow to temper Shadows for all Com 
 
 c6., 
 i. For a fair. Complex. on 
 : . For a mere Brown or Swarthy Complexion 
 
 t 3- For 
 
The TABLE. 
 
 3. For a Tawny Complexion 9 8 , 
 
 4. For an abfolute Black Complexion ib. 
 CHAP. IV. What Pencils are ufeful for the Taint- 
 
 ingof a Face, and how to difpofe them. 97, 
 
 CHAP. V. Bow to Paint a Face in Oyl-colours 
 
 100, 
 CHAP. VI. Of Garments of fever al Colour ■/, and 
 of their proper Colouring. ' ° 3 • 
 
 CHAP. VII. To temper Colours for fever al occa~ 
 fions 106 
 
 Of things meet to be known. 107 
 
 The Difcovery >how to Cleanfe any Old Paint- 
 ing* fo as to Preferve the Colours;with Cau- 
 tions to thofe that through Ignorance, have 
 inftead of Cleanfing.quite Defaced,or irreco- 
 verably loft the Beauty of good Colours in 
 ' an old piece of Painting 108. 
 
 Of Warning or Colouring of Maps and Primed 
 Pictures : the Fifth Book. 1 i c. 
 
 C H A P. I. What things are neceffary to be always 
 ready for Wafting of Maps or Piflures 1 1 1 . 
 SECT. 1 . ' Of Colours for Wafliing ib. 
 
 Colours to beufed in Walhing, which are not 
 ufed in Limning ib. 
 
 i. Of other Necefiaries, > 114. 
 1. Of Allum-water,how to make it ib. 
 
 ~%i How to make Size iif. 
 
 3. How to Temper Gold to write with a Pen 
 or Pencil ib* 
 
 4. Of Pencils 116. 
 •CHAP. II. Of o;her Colours for Wafting , both 
 
 Simple and Compounded ib. 
 
 i. How 
 
The TABLE. 
 
 i. How to make a Green Colour of Copper 
 
 Plates ib. 
 
 I* To make a Green another way ib. 
 
 3. Another Green ib. 
 
 4. For a Light Green 1 18< 
 
 5. To Shadow Greens ib* 
 
 6. Greens for Landskips and Rocks * ib. 
 
 7. To make a Blew ib. 
 
 8. Of Shadowing Blews ib. 
 
 9. To make a Brown 119. 
 
 10. Spanijh Brown *£. 
 
 1 1. How to make an Orange-colour ib. 
 ii. A Flefh-colour 1.19. 
 
 1 3. Colours for the Sky 120. 
 
 14. To make Coloursfor Precious Stones ib. 
 iy. Colours for Landskips ib. 
 
 1 6. Colours for Buildings it u 
 
 17. How to Shadow every Colour in Garments 
 or Drapery nx. 
 
 CHAP. III. General Rules to be obferved ib. 
 
 What Colours fets off belt together 1 23. 
 
 SECT. 2. Directions for the Mixing of your 
 
 Colours ib. 
 
 The 
 

O F 
 
 DRAWING 
 
 The Firft BOOK. 
 
 PART. L 
 
 The Introduction. 
 
 |"""VR AWING confifis of fever al General pre- 
 I 3 cepts to be learnt of every one that is defircus to 
 tttian toVerfeclion therein ; thepraclice of which re- 
 quires Obfervation, Difcretion, and Judgment ; in 
 vhkh, Proportions,Motions,<W Actions are with 
 \reat care and diligence to be followed: And therefore 
 n that will attain to the perfection of this excellent 
 ''raBice, it is necejfary he Jhould not be ignorant of 
 Mathematical Demonfiration in the Rules of Geo- 
 nctry and PerfpecYive ; of which in this took you 
 'jail receive Inflruclions. Of all other proportions , 
 he Body of man hath the pre-eminence for excellency t 
 ro;» which all other Arts are derived \asmany of the 
 learned have concluded '•> /^rVitruvius noteth, that 
 be Ar chit eel hence took the obfervations of his Build- 
 *.gs , Man being the firfi pattern of all Artificial 
 hings: and Antiquity hath fo graced Painting, (as 
 *ing the chief Mifirefs of Proportion ) fo that all 
 her Artificers are called Handy-crafts or Me* 
 Micks. A CHAP, 
 
2 The Excellency of Bock I. 
 
 , - i - - i ■ r 
 
 CHAP. I. 
 
 A defer ip ion of all the External parts 
 of Maris Body- 
 
 SECT. L Of thetiEAD. 
 
 N Man's body the higheft part is the 
 READ\ the fore-part is called the 
 Bore-head-, the turning of the Hair, the 
 Crown \ the root of the Hair above the 
 Fore-head, the Center-, the parting of 
 the Hair, (efpecially of Women)is called 
 the Seam. 
 
 The Forehead containeth all the fpace between 
 the root of the Hair before, and the Eye-brows : 
 The Fulfe is the higheft part of the Forehead,end- 
 ing with the Hair : Met one is the fwelling out in 
 the Forehead above the Eye-brows: The Temples 
 lye betwixt the Fulfe, the Foreliead,and the Ear. 
 
 SEGT, II. Of the EAR. 
 
 THe E AR turns between the Temples, the 
 upper part of the Cheek,and the root of the 
 hair ; by the fide of the head the lower part is 
 called the tipp, in the midft whereof is the hole 
 where ths found entreth in. 
 
 SECT. 
 
Part I. the Pen and Pencil 
 
 SECT. III. Of the ETE S. 
 
 TUcEYE-BROJVES arethofe thick 
 hairs at the bottom of the Forehead : The 
 upper eye-lid is that little part which compaflfeththe 
 upper part of the Eye: The Eye is that round ball 
 which is contained between the upper and lower 
 Eye-lids : the black of the Eye is the round fpot in 
 the midft of that little circle,by virtue whereof we 
 fee, and is called the apple or fight of 'the Eye : the 
 outward corner of the eye is next the ear, the in- 
 ner is toward the nofe ; all the fpace between the 
 upper eye-lid and the outward corner of the eye, 
 8c the whole turning of the eye to the upper pare 
 of the cheek, is called the cafe or hollow of the Eye, 
 
 SECT. IV. Of the NOSE, MOUTH, 
 CHIN, NECK, and THRO AT. 
 
 THe NO S E is between the cheek, defend- 
 ing from betwixt the eyes, and endeth at the 
 noftrils which hang out on each fide at the bot- 
 tom thereof, each whereof hath an hole or paf- 
 fage, whereby we fmefl. 4 
 
 The lower end of the Nofe which ftandeth for- 
 ward is call'd the top or point ,the rifing in the midft 
 the ridge or grifile ; the upper Cheek is that fpace 
 between the ear, the hollow of the eye, the note, 
 A % and 
 
4 The Excellency of Book I. 
 
 and the lower Cheek • whereof the part rifmg to- 
 wards the eye, is named the ball : the lower Cheek 
 is bounded with the upper, the nofirils, the mouthy 
 the chin, to the throat and the neck under the ear : 
 the Upperlip is that red piece of flefh above the 
 mouth. 
 
 The MOUTH is thatdivifion between the 
 upper and nether lips, which is red like the other ; 
 that concavity which cometh down from the 
 bottom of the Nofe to the upper lip, is the gut- 
 ter of the Nofe. 
 
 The roof of the mouth is called the pallat ; the 
 tongue is that which moveth in the mouth i the 
 paffage between the lungs and the mouth is call'd 
 the Wind-pipe, through which the breath pafleth . 
 the gum is that piece of flefh in which the teeth are 
 faftned ; the four firit whereof are called divi- 
 ders, next unto which on each.fide are the dog- 
 teeth ■•> the other five on each fide with their roots, 
 are the grinders or cheek teeth, (o that the full 
 number of Teeth is thirty two. 
 
 The CHIN or place of the beard, is the ex- 
 tremity beneath the lip and the end of the face, 
 whofe beginning is the root of the hair. 
 
 The hinder part of the head under the crown is 
 called the nape, where the hairs grow ; behind is 
 the beginning of the neck. 
 
 The THROAT is between the chin and the 
 beginning of the body or trunk, in the midft 
 whereof is that rifing called the throat-bone • the 
 concavity of the neck before, between the end of 
 the throat and the beginning of the breaft, is the 
 throat-fit. The 
 
Part I. The Pen and Pencil 5 
 
 TheNECK is that part behind between the root 
 of the hair and the beginning of the back-bone, 
 which on either fide is joyned with the throat,and 
 at the lower end of the neck with the fhoulders, 
 whereof the bone in the mid ft is called a(tragalus % 
 :>r the bone that knits the neck with the (houlders \ 
 :he whole trunk or body before, containeth the 
 jpper fork of the ftomach or breait, which begins 
 it the end of the throat-pit. 
 
 SECT. V. Of the FORE-PART 
 of the Body. 
 
 T He fore-part of the body, as the Vreap,ov 
 Paps, end with the ihort ribs, and they are 
 called the pare under the paps, and in Women 
 are called duggs, the heads of which whence the 
 nilk is fuckt out,are called Nipples ; the fpace be- 
 tween the breafts or dugs at the lower fork of the 
 )reaft, is the cheft ; the arm-pits are the hollows 
 mder the arms, where the hairs grow. 
 
 The Short-ribs begin at the end of the papsy 
 ind reach to the flanks near the belly, the Flanks 
 oegin at the end of the breah\ and are called the 
 Vafie : the upper part of the belly lies between 
 he hollow of the breaft, the watte above, the na- 
 uel, and the ribs : the knitting of the intraiis is 
 ;alled the Navel. 
 
 The VauncbWeth between the watte, the privi- 
 
 ies.and the flanks } and is aifo called theBelly efpe- 
 
 aaliy in Women,where the hairs grow under the 
 
 A 3 belly, 
 
6 The Excellency of Book I # 
 
 belly, is the Privities ; the hollow compafs at the 
 top is called Cor on a, the place which the urine paf- 
 feth through is called the Hole, the Two little 
 balls that hang under the Yard, the Stones, the 
 Privities of a Woman are called, &c. 
 
 SECT. VI- Of the HINDER-? ART \ 
 of the BODY. 
 
 THe hinder part of the Body called the Back 
 orC£/>7f,confifts of theShouUer-blade^hKh | 
 is the part behind the (houlders end, with part of j 
 the chine and loyns^ the reft of the back reacheth J 
 down along from the neck to the beginning of 
 the cleft of the buttocks, the loyns lye between the \ 
 fhoulder-blades ; the rtbbs and the reft of the f 
 chine to the rt'vns or waftc. 
 
 The REIN S reach from the loyns to the - ; 
 buttocks } and do properly belong to the part be- i 1 
 low the Wafte. 
 
 The BUTTOCKS are that fiefliy parti : 
 which ferve us for fitting. 
 
 - SEGT. VII. Of the ARMES, HANDS, 
 and FINGERS. 
 
 THe Arm contains the fhoulder, behind which 
 
 is the back, beginning between the neck anc : 
 throat, and reacheth to the fhoulder-blade, be 
 fluid which place is properly called the Back ; t 
 
 par 
 
 t 
 
Pj rt I. the yen and remit. 7 
 
 pan of the arm from the elbow upward, is called 
 the u??er brawn of the arm *, the Elkw is the bow- 
 ing of the arm, theinfi^ M hereof is the J 
 and at the lower part of the arm begins- the 
 Wrijt, where the arm is joyned to the hand, the 
 e infide of the hand between the wrift 
 and the fingers, the thiw. ; biggeft and 
 
 I 
 
 The Fore- finger is next to the thmi^thc mi 
 fng : which ftands in the midft, and is 
 
 jer then the reft ; next nn;o this is the R. 
 >-, the tar-finger or rath- finger is the leaft and 
 bft. ' 
 
 of the fingers are even in number, 
 
 job three upon each, except the thumb, which 
 
 ath but two. 
 
 The binder part of the arm reacheth from the 
 
 of the fhaulder or arm-pit to the elbow, 
 
 here xnd part of the arm teginneth, 
 
 ireachi r.g to the wr it-pynt. 
 
 e Back of the hand reacheth from the wrift 
 to tl s of the fingers, and is called Pc- 
 
 ;es between the jovnrs arecall'd I«- 
 trich are two upon each ringer, except 
 | e : ich hath but one ; in the fpace be- 
 
 nt and the top of the finger is 
 hole bowing is called Ccrona % (\ mean 
 toucl elb :hefle{horskia) 
 e whole hand begin^ at the wrifr 5 and reach- 
 :y of the ringers. 
 
 A 4 SECT* 
 
8 The Excellency of Book I. 
 
 SECT. VIII. Of the LEGS, FEET, 
 and TO E S. 
 
 THE LEG confifts of thefe partts; the thigh, 
 which begins at the trunk of the body, and 
 ends at the knee ; the hollow of the thigh is the in- 
 ner fide below the privities > the knee begins at the 
 round bone at the end of the thigh,and reachesto 
 the beginning of the (hin-bone; the inftep begins at 
 the end of the (hin-bone, and reaches to the be- 
 ginning of the toes* and is called the upper part of 
 the foot j the ancle is that bone which buncheth 
 out on each fide between the inftep and begin- 
 ningofthehee]. 
 
 The Small of the leg is the fpace between the 
 end of the two calves above,and the ancle, inftep, 
 and heel below ; the Fit of the foot is the hollow 
 under the hill or higher bunch of the foot towards 
 the foles. 
 
 The TOES have alfo joynts as the fingers, 
 though they be fomewhat (horter, and have alfo 
 nails in like manner, and are otherwifecalled,as 
 1.2. 3.4 j. 
 
 The hinder part of the /<g begins under the but- 
 tock and is called the thigh, and endeth at the hin- 
 der part of the knee,called the hammeov bending-, 
 the calves of the legs begin under the ham, and are 
 rwo upon each leg; the outward, which endeth 
 fomewhat high ; and the inward, which endeth 
 nearer to the fmall of the kg } which diminifheth 
 
 by 
 
Part I. The Pen and Pencil 9 
 
 by degrees to that part a little above the ancle; 
 the heel is that part of the foot which rifeth oue 
 backwards, reaching from the end of the leg to 
 the bottom of the foot,called the-SV*, which begin- 
 neth at the end of the heel,and reacheth to the top 
 of the toeSjContaining likewife the fpaces between 
 I the joy nts underneath orderly. Thus much for 
 •ithe External parts of Mans Body ; all which are 
 deciphered in the Sculptures following. 
 
 CHAP. II. 
 
 OfAftions, Geftures, Decorum, Mot ion. Spirit, 
 and Grace in Pictures rightly refemlkd. 
 
 SECT. I. Of Attions or Gefiures, 
 
 THefeare thofethat moft nearly refemble the 
 life, be it either in laughing, grieving, deep- 
 ing, fighting, wraftling, running, leaping, and 
 the like. 
 
 Amongftthe Ancients,famons for lively motion 
 and gefture, Leonard Vincent deferves much,whofe 
 cuftom was to behold clowns,condemnedperfons, 
 and did mark the contracting of their brows, the 
 motions of their eyes and whole bodies -.and doubt- 
 lefs it cannot but be very expedient for an Artift 
 in this kind to behold the variety of exercifes, that 
 difcovers various adtions, where the motion is 
 difcovered between the living and the dead, the 
 fierce and the gentle, the ignorant and learned, 
 the fad and the merry. John 
 
io The Excellency of Book !• 
 
 John de Bruges was the firft inventer of Oyl- 
 painting, that deferv'd excellently in this particu- 
 lar. 
 
 SECT. II. Of the Vajfions or Complexions. 
 
 MAn's Body is compofed of the Four Ele- 
 ments; 
 
 Melancholly refembles Earth. 
 
 Flegm the Water. 
 
 Chaler the Fire. 
 
 Bloud the Air \ and anfwerable are the Ge- 
 ftures and Humours. 
 
 Melancholy bodies are flow , heavy, and re- 
 strained '■> and the confequents are anxiety, dif- 
 quietnefs, fadnefs, ftubbornefs, d c. in which hor- 
 ror and defpair will appear. 
 
 Flegm&itk bodies are fimple,humble,merciful. 
 
 Sanguine bodies are temperate, modeit, gra- 
 cious,princeiy,gentIe, and merry , to whom thefe 
 affe&ions of the mind belt agree, vk,. love, de- 
 light, pleafure, defire, mirth, and hope. 
 
 Cbolerick bodies are violent, boifterous, arro- 
 gant, bold, and fierce; to whom thefe paffions 
 appertain, anger, hatred, and boldnefs 5 and ac- 
 cordingly the skilful Artift exprefles the motions 
 of thefe feveral bodies , which ought Philofophi- 
 callvto be underftood. 
 
 Now to proceed according to our promifed 
 Method; to the Practical part ; and here ftrft the 
 Learner mult be provided with -feveral instru- 
 ments. 
 
 CHAP. 
 
Part I. The kxcdleticy of 1 1 
 
 CHAP. II I. 
 
 Of neceffary Inftruments appertaining 
 to Drawing. 
 
 1. Q Allow coals fplit into the forms of Pencils, 
 ij which you may beft have of thofe that fell 
 Charcoal ready burnt for your ufe ; thefe are to 
 be prepared by (harpning them at the point; their 
 ufe is to touch over your Draught lightly at the 
 firft : you may know Sallow coals from others by 
 the finenefs of their grain. 
 
 2. You muft alfo have a Feather of a Ducks 
 wing, with which you may wipe out at pleafure 
 What you defire to alter in your Draught. 
 
 3 . Black-lead Pencils,to go over your Draught 
 more exactly the fecond time. 
 
 4. Pens made of a Ravens quill, to finifti your 
 defign \ which will ftrike a more neat ftroke than 
 the common quill : but you muft be very exadt 
 here , for there is no altering what you do with 
 the Pen. 
 
 5. A Rule and a pair of Compaffes with three 
 Points to take in and out ; one for Chalk, another 
 for Black-lead, or red Chalk, or any other Pafte. 
 The ufe of the CompaHes is required in moft 
 things you draw,which you are to ufe after your 
 out-ftroke is done , by trying how near your 
 Draught and Pattern agree, and this being only 
 toucht out in Charcoal,you may alter at pleafure. 
 
 6. Paftils 
 
12 The Excellency of Book I. 
 
 6. Paftils made of feveral Colours, to draw up- 
 on coloured Paper or Parchment, the making 
 whereof is as followeth. 
 
 How to make Paftils of feveral colours. 
 
 Take the Colour that you intend to make your 
 Paftil,andgrindjitdry, or rather only bruife it 
 fomewhat fine; to your Colour(whatfoever it be) 
 add a reafonablequantity of Plaifter ofPanj burnt 
 and finely fifted, mix and incorporate the Colour 
 and Plaifter together with fair Water till it be ftiff 
 like Clay or Dough ; then take it and rowl it be- 
 tween your hands into long pieces,about the big- 
 nelsoftbe fhankofaTobacco-pipe,then lay them 
 in the Sun or Wind to dry. They being thus 
 dryed,are ready for ufe, being finely (craped to a 
 very fmall point; and if they be (hort, put them 
 into an ordinary Goofe-quill to lengthen them. 
 
 And here note , that you may by this means 
 make Paftils of what Colour you pieafe, either 
 Ample or compounded, if you know what ingre- 
 dients and mixture will make fuch.a Colour as 
 you defire ; which you will underftand in the 
 third Book,where we treat of the Mixture of Co- 
 lours. And further obferve, that the Plaifter of 
 Paris is only to bind the Colours together ; and 
 therefore according as your Colour or Colours 
 you are co make are more hard or more foft,you 
 muft add the greater or Jefler quantity ofPlaifter. 
 
 By this means of tempering and mixing feveral 
 Colours together, you may make(indeed)what- 
 
 foever 
 
Parti. thtrcnandTenal. 13 
 
 focvcr colour you plcafe • as all manner of Colours 
 for the Face orBodieof Manor Woman, all kind of 
 Greens for k Landskip, for Rocks, Skies, Sun- beams - % 
 all colours for Buildings % with their Shadows. 
 
 Thefe Paftils are very fine and commodious for 
 drawing upon coloured papers, and therefore I 
 would nave you, 
 
 7. Provide your felf alfo of fine Blew paper-, 
 fome light-coloured , other-fome more fad ^ a* 
 alfo with Paper of divers other colours, which now 
 is very common to be fold in many places. 
 
 8. Have alwayes in a readinefs by you the 
 Crumbs of fine Manchet or White-bread ; the ufe 
 whereof is, when you have drawn any thing with 
 Black-lead that difliketh you, you may ftrew fomc 
 of thefe Crumbs upon the defective member , and 
 with a linnen cloth rub it hard upon the defective 
 place, and it will fetch out the Black-lead, and leave 
 the Paper or Parchment fair and white. It is alfo 
 ufefull when you have finifhed a piece, either Head, 
 Leg, Arme, or whole Bodie with Black-lead, and 
 would trace it over with Ink to finifh it , the Blacks 
 lead will be feen in many places, being thicker then 
 the line of your Pen •, wherefore when you have 
 finifhed your Drawing with Ink, and that dry, rub 
 it over with thefe Crumbs, and it will not only take 
 off the fuperfluous Black-lead* but all other fpots of 
 yourPaper. 
 
 *A 
 
14 The Excellency of Book I. 
 
 # ■ 
 
 
 **-5 
 
 £ 
 
 -^*- (?f/Z# 
 
 
 14 
 
Part I. the Ten and TenciL 15 
 
 A way to Draw an Efcntcheon Geometrically. 
 
 Fkft ftrike a Circle at pleafure, as your occafion 
 requires. 
 Then ftrike the Diameter as B C, then fct one 
 foot of the CompafTes in B, and ftrike the crooked 
 lines DDandDD, then keeping the CompafTes 
 at the fame diftance , ftrike the other crooked lines 
 EE and EE, then where they do interfeel: as F F, 
 there ftrike the crofs Diameter 9 then divide the 
 upper Semidiameter into three parts, and take two 
 of them, there make the Crofs-line , by fetting 
 one foot of the CompafTes in B , and make the 
 crooked line G G, then at the fame diftance make 
 the crooked line H H, by fetting them* in C, then 
 ftrike the line 1 1, then meafure two or three of 
 thofe parts, and fet off towards B and C, then fee 
 the CompafTes in K , and ftrike the lines LL and 
 LL, then fet the Ruler in MM and MM, and 
 ftrike the lines in N N and NN, and divide the 
 lower Semicircle in two equal parts , then fet the 
 Compafs in O, and ftrike the lines PP and PP 
 from A A, then meafure from MN downwards, 
 five of thofe parts of the upper meafure , then fct 
 the Compaffes at N 5 and N 5 , and ftrike the 
 lines K P and K P , and you have your defire. 
 
 To Draw a Geometrical Oval. 
 
 'His Oval is drawn by drawing two equal Cir- 
 cles, then fet the CompafTes in D, and ftrike 
 
 the 
 
10 The Excellency of Book L 
 
 the Arch BC, and at the fame diftance fee them in 
 D , and ftrike the Arch F E , then fet them in G, 
 and ftrikethe Arch CF , then fee them in H, and 
 flrike the Arch BE. 
 
 Some Geometrical Definitions. 
 
 i. A Point is void of magnitude. 
 
 Jl\. 2. A Line is a length without breadth or 
 thickneft ^ and of the three kinds of magnitudes in 
 Geometry, twt* Length, Breadth, and Thicknefs, 
 a Line is the firft. 
 
 3 . The ends or bounds of a Finite-line are points ^ 
 but in a circular Line, the points motion returns to 
 the placewhere.it firft began, and fo makes the 
 Line infinite , and the ends or bounds undeter- 
 minate. 
 
 4. A Right- line lyeth equally betwixt his points. 
 
 5. A -Superficies hath onely Length and Breadth. 
 
 6. A plain Superficies is that which lyeth equally 
 between his Lines. , 
 
 7. A plain Angle is the inclination, or bowing of 
 two Lines the one to the other, the one touching the 
 other, and not being diredly joyned together : an 
 Angle commonly (Igned by three Letters, the mid- 
 dlemoft whereof (hews the Angular point. 
 
 8. If the Lines that contain the Angle be right 
 Lines , then it is called a Right-lined Angle. 
 
 9. When a Right-line Handing upon a Right- 
 line, makes the Angles on either fide equal, then ei- 
 thcrof thefe Angles is a Right-angle, and Right-line 
 
 which 
 
Part I. The Pen and Pent \l 1 7 
 
 which ftands eredled , is called a Perpendicular 
 Line to that wherein it ftands. 
 
 10. An Obftrufe-angle is that which is greater 
 than a Right-angle. 
 
 1 1. An Acute-angle is Jefs than a Right-angle. 
 
 1 2. A Limit or Term is the end of every thing. 
 
 1 3. A Figure is that which is contained under 
 one Limit or Term, or many, viz. a Round-line, 
 three Right-lines, four Right-lines, five Right- 
 lines, &c. 
 
 14. A Circle is a plain figure contained under 
 ione Line, called a Circumference. 
 
 1 5-. A Diameter of a Circle is a Right-line drawn 
 I by the Center thereof, and ending at the Circum- 
 ference/ 
 
 1 6. A Semi-circle is a figure contained under 
 the Diameter, and that part of the Circumference 
 cut off by the Diameter. 
 
 1 7. A Sedlion or portion of a Circle, is a figure 
 contained under a Right-line, and a part of the. 
 Circumference greater or lefs than a Semi-circle. 
 
 18. Right lined figures are fuch as are contain- 
 ed under Right lines. 
 
 1 9. Three-fided figures are fuch as are contain- 
 ed under three Right lines. 
 
 10. Four-fided figures are fuch as are contain- 
 ed under four Right lines. 
 
 11. Many fided figures are fuch as have more 
 fide th^n four. . 
 
 21. All three Tided figures are called Triangles. 
 23. Four-fided figures a Quadrater; a Square is 
 that whofe fides are equal, and his Angles right. 
 
 B 14. A 
 
18 The Excellency of Book I. 
 
 24. A Long-fquare is that which hath right 
 Angles, but unequal Sides. 
 
 25. A Rhombus is a figure having four equal 
 Sides, but not right Angles. 
 
 26. ARhomboides is a figure whofe oppofite 
 Sides are equal, and whofe oppofite Angles are alio 
 equal, but it hath neither Sides,nor equal Angles. 
 
 27. All other figures of four fides,befides thefe, 
 are called Trapez, as fuch are all figures of 4 fides 
 in which is obferved no equality of Sides or Angles. 
 
 28. Parallel or equi-diftant Right-lines are fuch, 
 which being in one and the fame Superficies, and 
 produced infinitely on both fides, do never in any 
 part concur, but ftill retain the fame diftance* 
 
 CHAP. IV. 
 Of the fir ft TraUice of Drawing* 
 SECT. I Of Geometrical Figures* 
 
 BEing provided of all necefiary mftruments for 
 Drawing, proceed to Pradlice- and fir ft be- 
 gin with plain Geometrical figures, fuch as the 
 Circle, Oval, Square, Triangle, Cone, Cylinder • all 
 which your Rule and Compaffes will help yon in : 
 but firft endeavour to draw them by hand, which 
 with a little practice you may attain. I have my 
 felF, by taking a Black-lead Pencil in my hand, and 
 holding it as I do a Pen, and refting the end of my 
 
 lktle 
 
THE :V: OfiDERS OF AfiCIOTECT. < r ,„ _., 
 
 T 
 
 o 
 
 Dorica- 
 
 n ~— J 
 
 ° 
 
 o 
 
 ' "■'■) 
 
 I 
 
 i 
 
 : © 
 
 Corinthia. . I Conwofita . 
 
Part I. The Pen and Pencil 1 9 
 
 little finger upon my paper, turning the paper 
 about with my left hand , and have defcribed a 
 Circle fo exaft, that a pair of Compafles could not 
 difcoveran errour : I fay, practice the making and 
 drawing of thefe by hand, for they are all ufeful in 
 one kind or other. Example. 
 
 The Circle will help you in all Orbicular forms ; 
 as, the Sun in its glory, the Moon either///// or cre- 
 fcent, and infinite other Circular fhapes. The Oval 
 is a direction for the Face, for the mouth or foot of 
 a wine or beer-glafs, the mouth of a well, &c. The 
 Square is afliftant to you in confining yourPi&ure 
 you are to copy, and keeping it wuhin bounds. 
 The Triangle for the half-face, as in the Figures 
 following, yoa will eafily difcern. The Cone will 
 help you in drawing of Flute Colajfes, now much in 
 faftuon ; as alfo in Spirc-Steepl, s and tops of Tow 
 erf. The Cylinder will be of good ufe in drawing 
 of all manner of Columns, fillers and Filafiers, with 
 their Ornaments. Thefe (indeed J are fo ufeful, 
 that hardly any thing can be effected in which they 
 are not ingredient. 
 
 And now,fmce it falls in my way fo opportunely; 
 I will infert the fign of the five Orders of Archite- 
 cture, that you may know them when yoa fee 
 them either painted, or built in Brick or Scone. 
 
 Tlace here the Five Columns of Architetjure. 
 
 B % SECT. 
 
20 The Excellency of Book I. 
 
 SECT. II. Of the fecond practice of Drawing. 
 
 HAving prattifed thefe Figures, \proceed to the 
 drawing of Cherries, Tears, Apples , Apri- 
 cocks, Peacbts, Grapes, Strawberries, Peafcods, But. 
 terfiiesy and fuch like. 
 
 SECT. III. Of the third PraBice. 
 
 IMitate Flowers, as Rofes, Tulips, Carnations, &C. 
 MCo Beafts, firft the more heavy and dull, as 
 the Elephant, the Bear', the Bull, the Goat, the 
 Sheep, 6cc. Then them more fleet and nimble, as 
 the Stag, the Hart, the Nag, the Unicorn, and the 
 like. Then praftice Birds, as the Eagle, the Swan, 
 the Parrot, the Kwgfifher, the Partridge, the 
 Theafant , and fuch like. Then F//fc^ , as the 
 Whale, Salmon, Herring, Pike , Or^, Thornh-ack, 
 Lobfier, &c. Of all which there are Books to be 
 Bought at very reafbnable rates. 
 
 SECT. IV. Of the fourth Practice. 
 
 IMitate the Body and Parts of the Body of Man; 
 in the pra&ice whereof beware of the common 
 errors ufually committed, as of drawing the Head 
 
 too 
 
Fart I. Ike Fen and Penal. 21 
 
 too big for the Body, and others the like ; which to 
 prevent, you have here prefented to your view the 
 Heads, Nofes, Mouths, Hands, Arms* Feet,Legs % 
 Bodies', alfo whole Figures of Men, Wxwen, and 
 Children in feveral poftures, being Copies of the 
 belt Mafters'fcxtant, with Rules and Directions for 
 Drawing every particuler member of the Body, 
 and that I would have you now to practice, you 
 having gone fufficiently forward with the others 
 before noted. 
 
 CHAP. V. 
 
 Direction* for Drawing the Body of Man 
 cr Woman. 
 
 SECT. J. General Rules for Drawing the Face* 
 
 J N Drawing the Face, obferve its motion whe- 
 ther forward, upward, downward, or fide- 
 ways, by your Eye ; touch lightly the features 
 where the Eyes, Nofe, Mouth, and Chin fhould 
 ftand , and then go over them more perfectly. 
 The Circle, Squares, and Triangles that are ufed 
 in a Face, ferve to guide your judgment where 
 to place the feveral features. 
 
 Obferve dilligently the principal Mufcles of a 
 
 Face, thefe appear raoft in an aged man or wo- 
 
 mans face. . 
 
 There is ufually a three-fold proportion obferved 
 
 B 3 in 
 
22 ± be Excellency oj Book I. 
 
 in a Face : j • From the top of the Fore- head to 
 the Eye^ brows ; i. From the Eye- brows to the 
 bottom of the Nofe : 3. From thence to the 
 bottom of the Chin ; but in fome the Fore head is 
 lower ; others Nofes are longer. 
 
 The Diftances between the Eyes,is the length of 
 one Eye in a full face h but in a three quarter, or 
 fide face* the diftance is leflened anfwerable. 
 
 The Noftril ought to be plac'd exactly againft 
 the corner of the Eye. 
 
 In a fat face you will perceive the Cheeks fwel!, 
 in a lean Face the Jaw-bones ftick out, and the 
 Cheeks fall in. 
 
 A fmiling countenance is difcemed by theMouth, 
 when the corners of theMouth turn up a little. 
 
 A frowning countenance is difcerned in theFore- 
 head, Eye-brows, bending and fomewhat wrink- 
 ling about the top of the Nofe, &c. 
 
 SECT. II. To draw a fore-right Face. 
 
 MAke the form of a perfect Oval divided into 
 three equal parts by two Lines ; in the firft 
 part place the Eyes, in the (econd part the Noftrils, 
 and in the third part the Mouth. 
 
 Note, that the Eyes muft be diftant one from 
 the other the length of one of the Eyes, and that 
 their inner corners be perfectly over the out-fide 
 of theNoftrils. 
 
 SECT 
 
1 
 
 J.f.6 / c/z uwu rc"(<' l < 
 
 SECT. III. To draw an Up-right Head. 
 
 TTTHich is made with three Lines equal every 
 W way, either upwards, downwards, higher 
 or lower ; and that rauft be divided as the former 
 into three equal parts, as in the Example. 
 
 SECT. IV. Of the inclining and Forer 
 JJjortned Face. 
 
 THis is plainly feen by the Lines, how they con- 
 cord together, and you may with facility 
 draw in their proper places, the NGfe,Mouth, and 
 other parts with a little praflice, and obferving dili- 
 gently the Example following. 
 
 B 4 In 
 
94 
 
 The excellency of Boos, i 
 
Part I. The Pert and Pencil. 25 
 
 In thefe Forms you mult be very perfect, it be- 
 ing a Rule that in moft Faces you may have occafi- 
 on to make ufe of: for of all the parts of Mans body 
 the Face is the moft difficult. But having got the 
 Proportions with their Meafures, you will be able 
 (which way foever a Face turns) to form it out, 
 whatever proportion your Face is, you are to imi- 
 tate, fo muft your out-ftroke be formed , whether 
 long, round, fat, or lean. 
 
 Becaufe prefidents are moft ufeful, I have here 
 thought good to give you the forms of feveral Eyes 
 more at large, by which you may with more eafe 
 know the truth of their Proportions. 
 
 As alfo Ears,which are exactly to be known; and 
 then the forms of feveral Nofes and Mouths i all 
 which are taken from eminent Matters, as Palma 
 and others. \Jn the following Page."] 
 
 SECT. 
 
x^c 
 
 xcwency oj 
 
 Book h 
 
 m^ l m$ 
 
 
 S EC T. V. Of the Nofe, Mouth, and Chin. 
 
 THE Nofe is the moft eminent part of the Face; 
 in which obferve the hollownefs, roundnefs, 
 and the Noftrils, as they appear in thefe feveral Fi : 
 gures borrowed from Fiolet. 
 i i. Defcribe a Semi-circle downwards. 
 
 i. Make the Holes of the Nofe. 
 
 3. The addition of the NoftriIs# 
 
irt L The Pen and Pencil 
 
28 
 
 The excellency of 
 
 Book lv 
 
 SECT. V. Of Hands, both Palm, Back , and 
 
 Sides \ as alfo open and clofed : and Iikewife of 
 Hands and Arms jojned. 
 
 HAving fufficiently pra&ifed the Drawing of 
 Mouths arid Nofes , let your next exercife 
 be in drawing of Hands in all pofitions, both by 
 meafures, and without; as alfo Hands and Arms 
 joyned. 
 
 ( • 
 
 
 a 
 
 14 
 
 i 2,3 4 
 
 M 
 
 I 
 
 '-- f '" \ 
 
 e? 
 
 
frtl. 
 
 The Ten and Pencil. 
 
 29 
 
 
 
 
36 
 
 Tre hxcelkncy of Book \ 
 
fart T. the Fen and Pencil 3 I 
 
 ECT. VI. Of Feet in fever al portions 9 both 
 •with t and without meafures^ as alfo of Feet and 
 Legs joyned together* 
 
 BEing expert in the Drawing of Hands and 
 Armsy proceed to the Drawing of Feet in all 
 >ftures, both with and without rneafiires; which 
 .ving attained, exercife your felf in Drawing of 
 >gs and Feet joyned together, as before you did 
 {Hands and Arms\ that fo you underftand the 
 articulars of the whole Body* you come with the 
 lore judgment to that great difficulty of Figures 
 ["the whole Body of Man. To help you therein, I 
 avetet before you the ea fie ft and trueft Rules thac 
 ie beft Matters of Proportions have published, with 
 Difcourfe of their trne Meafures: which will be 
 te more eafie , if you ferioufly weigh the fore- 
 Ding Chapter, treating of all the external parts of 
 ans Body, for then you will have occafion to 
 )ferve it • but firft exercife your felf in following 
 efe examples of Feet, as alfo of Feet and Legs 
 yned together. C^e the z following Pages, 2 
 
3* 
 
 l he Excellency of £>ook i« 
 
 i 
 
 - ' t 
 
 . . JL l-ri J, 
 
 
 53 
 
part L 
 
 Tie Pen and Pencil. 
 
 33 
 
34 The Excellency of Book I, 
 
 SECT. VII. Of the Back, Breafi, fecret Mem* 
 hers, Thighs, Shoulders, &C. 
 
 HAving fufficiently prattifed the Drawing of 
 the feveral Limbs of Man and Woman, as 
 Head, Mouth, Nofe, Hands, Arms, Feet 9 anc^ 
 Legs ; proceed next to the drawing of the other 
 parts of the Body : as the Back, Belly , Shoulders, 
 Breaft, Secrets, and Thighs, therein following the 
 example of this noble Majter Palmas, in the fol» 
 lowing Figure. 
 
Part f. tit Pen an & 
 
 Pencil. 
 
 §5 
 
 c% 
 
The Excellency of Book I. 
 
 SECT. VIII. Of whole Figures from head to foot* 
 
 OF whole Figures I have furnifhed you with va- 
 riety of examples ; as firft, of a Child ftand- 
 ing backward and forward, which is neceffary to 
 be beft prattifed, becaufe thefe are the more eafie, 
 being more plump & round than the Body of Man, 
 without that obfervation of the Mufcles and other 
 parts, which I defire you in a methodical way tc 
 imitate often before you adventure upon the othei 
 Figures, which are Man and Woman ftanding for- 
 ward, and after that Man and Woman ftanding 
 backward, as alfo in other poftures : and the fam< 
 order that was at firft propofed about the Heads 
 Hands, and Fee t 9 &c by touching out every Figun 
 firft with Charcoal, is exa&Iy to be obferved ii 
 thefe Figures alfo, 
 
 SEC1 
 
fart i. 
 
 I ht tenant Pencil. 
 
 37 
 
3 8 
 
 The hxcelkncy of book I. 
 
 vx 
 
 38 
 
Part I- 
 
 the ten and Pencil. 
 
 3? 
 
 c ± 
 
40 
 
 ike Excellency of Book I, 
 
 14* 
 
Part I. The Pen and Pencil. 41 
 
 SECT. IX. Rules of Symmetry or Proportion to he 
 obferved in Drawing the whole Body of Man or 
 Woman* 
 
 T?OR your" further help in Drawing the fol- 
 1/ lowing Figures, take notice of chefe necefiary 
 Rules : Begin at the Head, and fo proceed by de- 
 grees, as your pattern directs , and be careful that 
 your parallel Joynts, Smews \ or Mufcles 9 bo dire&ly 
 oppofite ; alfo that the Motion of the Body be 
 anfwerable one part to another, and that the parts 
 and limbs of the body have a due fymmetry ; not 
 a great Arm, and a fmall Leg; or a fmall HW,and 
 a great Finger, &c. Let not one part be too long 
 for another. Of all which, you muft know, that 
 at firft you will be apt to commit many errours,but 
 be not difheartned -, proceed, and your labour will 
 not be loft, experience is gained by pra&ice; be but 
 diiigent,and you will find more eafe than you could 
 imagine: at firft all things that are attainable feem 
 : difficult'; we have a good old faying, Nothing is 
 hard to a willing mind, and I can fpeak it by expe- 
 rience. I might fpend time to tell you many fto- 
 ries how to proceed to Figures clothed, &c* but 
 if you can draw a Naked figure well, for the order 
 of Garments, you will be able to do that with eafe. 
 
 And 
 
4» 
 
 J. he tLXCUkncy of BOOK I. 
 
Part I. The Pen and Pencil. 
 
 43 
 
 43 
 
44 
 
 l he excellency of BOOK I 
 
Part I. The Pen and Pencil 45 
 
 
46 The Excellency of Book I. 
 
 And now having brought you thus far in Pra- 
 &ice,and given you a more exadt order to proceed 
 with fo many feveral Examples more than larger 
 Volumes have produced ; which you having well 
 followed, and attained to fome reafonable meafure 
 of Proportion, you may now proceed to that which 
 may be more profitable, if you firft practice thofe 
 things that may be eafily fhadowed with a Pen, 
 and that will fie your hand for Etching with Aqua 
 fortis , which (hall be perfe&Iy taught in the next 
 Chapter ; wherein you have the mixture of the 
 Ground to Etch upon, the order how to prepare 
 your Copper , and how to order your Aquafortis, 
 what Inftruments you are to u(e about the fame, 
 and how to take off your defign on the Plate, 
 which is an experimental Rule praftifed by the 
 beft Etcher in England, namely Mr. W* Hollar. 
 
 SECT. X. 7he Proportion of the Body of Man. 
 
 FO R your further information, and to dtreft 
 your judgment in drawing of whole Bodies, 
 obferve thefe following Proportions. 
 
 A Man ftanding, from the top of the Head to the 
 bottom of the Feet, is eight times the length of the 
 Head. 
 
 The Arm hanging ftraight down, it reacheth 
 within a fpan of the Knee. 
 
 A Hand muft be the length of the Face,the Hand 
 fpread abroad muft cover the Face, and no more. 
 Note, that in Drawing a Figure ftanding, you 
 
 muft 
 
Part I. The Pen and Pencil. 47 
 
 muft firft draw that Leg which the Body ftands 
 firmeft upon ; otherwife your Figure will yield one 
 way or other, as it were falling. 
 
 A Mans Arms extended is the juft length of the 
 whole Body. 
 
 The like proportion is obferved for Women, and 
 therefore one example ferves for both. 
 
 The Proportion of a Child, according to our 
 learned Author Lomantius, confifts of five lengths 
 of the Head ; according to the Figure exprefs'd in 
 our Difcourfe, for an example to the Praftioner. 
 
 CHAP, VI. 
 OfShadcmtfg^ndRnks to be obferved therein. 
 
 ETT 1 H E out-lines of any Draught or Pi&ure 
 & give the Symmetry or Proportion, which 
 is enough to a good judgment : So the 
 igures before in thisBook have only the out-lines, 
 -nd thofe are beft to practice firft by : I fay, the 
 [Out-lines (hew the Proportion to a good judg- 
 ment ; but the Lines and Shadows give the lively 
 jlikenefs. In Shadowing therefore of any Pifture 
 you muft obferve thefe Rules following. 
 RU L E I. 
 Caft your Shadows always one way, that is, 
 on which fide you begin to fliadow your Figure, 
 either on the right or left fide, you muft continue 
 o doing through your whole work. As in the 
 
 Iigure of a Man, if you begin to (hadow his left 
 Cheek; 
 
48 Tke Excellency of Book I. 
 
 Cheek, you muft fhadow the left fide of his Neck* _ 
 the left fide of his Arms, the left fide of his Body, 
 the left fide- of his Legs, &c. Except the light fide 
 of the Figure be darkned by the oppofition of fome 
 other body ftanding between the light and it. As 
 if three Men were ftanding together, that Figure 
 which (lands in the middle muft be darkned by the 
 foremoft, except the light come between them. 
 
 R U L 'My.lt 
 
 All Shadows muft grow fainter and fainter, as 
 they are farther removed from the bpacous body 
 from whence they iffue. 
 
 RULE III. 
 
 In great Winds, where Clouds are driven to and 
 for fevera! ways ; as alfo in Tempefts at Sea,where 
 Wave expofeth Wave -, here contrary (hadows , 
 muft concur, as ftriving for fuperiority : here in 
 fuch cafes you muft be fure to fupply the greateft 
 iirft, and from them, according to your judgment 
 fupply the Jeffer ; practice and imitation of good 
 Copies will be your beft director. 
 
 RULE IV. 
 
 All Circular bodies muft have a Circular (hadow, 
 as they have a Circular form, and as the objett of 
 light which caufeth (hadow is Circular. 
 
 CHAP. 
 
rt I. The Pen and Ptncil. 45 
 
 CHAP. VII. 
 )/ Drapery, and Rules to be ohferved therein. 
 
 A S in Naked figures you draw the Out-lines 
 J\^ firft*, the like you muft do in Drapery , 
 leaving room within for your greater and 
 efler folds ; then draw firft your greater folds, 
 nd then break your greater folds into leffer con- 
 ained within them : The clofer the Garment fits to 
 he body, the fmaller and narrower muft the folds 
 >e. Shadow your folds according to the direfti- 
 ms of the laft Chapter ; the innermoft harder, and 
 fae outer morefofter. As in Shadowing % {o in Dra- 
 ery % good Copies of Prints inftruft belt ; yet take 
 shefe general Rules following. 
 
 RULE I. 
 
 Continue your great folds throughout your Gar- 
 oent,and break off your fhorter at pleafure. 
 RULE II. 
 
 The finer your Drapery is, the fuller and (harper 
 nuftyour folds be, and thefliadows theftronger, 
 ■>uc yet fweet. 
 
 RULE III. 
 
 That part of any Garment that fits clofe to the 
 >ody, as the Doublet of a Man,theBreafts ofaWo- 
 oan, and the like, you muft not fold at all ; but 
 ather with your fweet fhadow reprefent the part 
 »f the body that lies under the Garment, as a Wo- 
 uans Breaft, with a fweet round (hadow, &c 
 
 D CHAP. 
 
46 The Excellency of Book I. 
 
 CHAP. VIII. 
 
 Of Landski^and Rules to be obferved therein. 
 
 LAndskip is that which expreffeth in Picture 
 whatsoever may be beheld upon the Earth, 
 within the [pedes of Sight ; which is the termina- 
 tion of a fair Horizon, reprefenting Towns, Vil- 
 lages, Caftles, Promontaries, Mountains, Rocks, 
 Vallies, Ruines, Rivers, and whatfoever elfe the 
 Eye is capable of beholding within the [pedes of 
 the Sight. To exprefs which, and to make all 
 things appear in Draught or Picture according to 
 true proportion and diftance,there are feveralRules 
 to beobferved, of which take thefe following. 
 RULE I. 
 In every Landskip (hew a fair Horizon, the Sky 
 either clear or overcaft with Clouds, exprefling the 
 riling or fetting of the Sun to iflue (as it were) 
 from or over fome Hill , or Mountain, or Rock ; 
 the Moon or Stars are never to be exprelfed in a 
 fair Landskip, but in a Night-piece I have often 
 feen ir, as in a piece of our Sarinus being taken by 
 night, and in others- As an Aftronomer with his 
 Quadrant taking the height of the Moon, and ano- 
 ther with his Crols-ftaff taking thediftance of cer- 
 tain Stars,their man ftanding at a diftance with his 
 Dark-lanthorn, to fee their Degrees when they had 
 made their obfervation;thefe things,as taking of the 
 Partridge with the Loo bell, and the like, become 
 Night-pieces very well. RULE 
 
Part I. The Pen and Pencil. 47 
 
 RULE \l. 
 
 If you exprefs the Light of the Sun in any Land" 
 skip, be furechat through your whole work you 
 caft the light of your Trees, Buildings, Rocks, 
 Ruines , and all things elfe expreffed within the 
 rergs thereof thitherwards. 
 
 RULE III. 
 
 Be fure in Landskip that you leflfen your bodies 
 .proportionally according to their diftances, fo that 
 :he farther the Landskip goeth ftom your eye, the 
 iainter you muft exprefs any thing feen atdiftance, 
 ill at laft the Sky and the Earth feem to meet, as 
 (he Colours in a Rain-bow do. 
 
 There are many excellent pieces of Landskip to 
 
 e procured very eahly ; as alfo of Landskip and 
 
 ■erfpective intermixed, which pieces to me were 
 
 ver the moft delightful of any other ; and fuch I 
 
 *ould advife you to practice by > they, if they be 
 
 ood, being the only helps to teach you proportion 
 
 f bodies in any pofition, either near or a-far off. 
 
 I might here fpeak further of Damasking, An- 
 
 vjue y Prtfco, Grotefco, Tracery, and the like ', but 
 
 efe are things that when you are expert in good 
 
 raught,as(by diligent practice and following the 
 
 ules and Examples before delivered) I hope (by 
 
 is time) you are, thefe things will come of them- 
 
 !ves, and indeed, no fooner heard of or feen, but 
 
 *ne. And thus I conclude this firft Book of 
 
 awing with the Pen and Paftils, and (hall now 
 
 Dceed to the fecond Book, which teacheth the 
 
 It of Etching and Graving, 
 D z OF 
 
The Excellency of Book II. 
 
 O F 
 
 ETCHING and G RAVING. 
 
 The Second Book. Part the Second. 
 
 CHAP. I. 
 
 Of Etching with Aqua fortis. 
 
 T Here are feveral ways for Etching y and fe- 
 vera! Grounds of divers colours, ufed by 
 feveral men. I fhall deliver here onely one, 
 and that fo familiar, eafie, and true, that I be- 
 lieve there is not a better Ground, nor a more ac- 
 curate way performing the work intended,thanthac 
 which fhall be here taught •, it being the only way, 
 fo many years pra&ifed, and to this day continued 
 by that unparallePd defigner and incomparable 
 Etcher in Aqua fortis, Mr. Hollar ; the manner of 
 performing the whole work is asfolloweth. 
 
 SECT. I. To make Mr. Hollar'; Ground , and 
 
 how to Etch in Copper , and what Instruments 
 ought to he ufed in thepraftice thereof, 
 
 TAke three parts of Virgins Wax, one part of' 
 Afphaltum, one part of the beft Mafttckyti] 
 
Pal*, if. The Pen and Pencil 49 
 
 you will, you may take away a third part of the 
 Afphaltum^nd puc inftead thereof as much refined 
 Rofin that is tranfparent and clear, for this will be 
 better to fee through the Ground, to (top up what 
 you have occafion for. Beat your A ft bait um and 
 Rofin together to powder, and put your Wax into 
 a clean Pipkin that bath never been ufed before,and 
 fet it over a gentle fire, and let it boyl ; then pour 
 in the Afpbaltumand Rofin into it, and mingle them 
 all together. Then take a Porenger or fuch like 
 thing full of clean Water,and pour that boiling fluff 
 when all is melted into the Water, but pour not 
 out the dregs; then when it is cold,work it up into 
 a coal or ball ; and when you are to ufe if , then 
 take a clean rag and double it, that no dregs or 
 knots may come through the rag, and tie it faft 
 with a piece of Thread > fo is your Ground pre- 
 pared. 
 
 SECT. II. How to prepare your Copper. 
 
 YOur Copper muft be wellplanifht, that it 
 may lie level '•> and before you lay on the 
 Ground, take your Plate , and with a Charcoal 
 well burnt, coal it over with very clean water ; 
 then wafli it off with clean Water never ufed be- 
 fore, and fet it floping to run off; when it is dry, 
 then fcrape fome Chalk fine all over it, and with 
 a very clean fine rag rub it over ;but let not your 
 fingers touch upon the Plate, tillyou have put the 
 Ground on, which you muft lay on thus. 
 
 D 3 SECT. 
 
50 Tke Excellency of Book II. 
 
 SECT. HI. How to lay the Ground upon the Plate. 
 
 PUt into fome Fire- pan fome fmall-coal or coal- 
 fire, for charcoal is too hot ; then l<ay down 
 the Copper over that, fo as the fire may have air ; 
 then take your Ground, it being in a clot?h as afore- 
 faid,and rub up and down the Copper,fo as it flffi- 
 ciently may cover the Plate, not too thin nor too 
 thick ; then take a Ducks feather of the wing, and 
 fmooth it as well as poflible you can all one way, 
 and then crofs and crofs until it lie well to your 
 eye ; but take heed that your Copper be not too 
 hot, for if it lie until the Ground fmoak, all the 
 moifture of the Ground is burnt away,and that will 
 fpoil your piece in Etching, beciufe the Ground 
 will break or fly up ^ this done, let your Plate be 
 cold, then grind ibme White lead with Gum' wa- 
 ter; and note,that as much Gum as the bignefs of a 
 Cherry-ftone will ferve for a piece of White-lead as 
 big as a Nutmeg ; but you rnuft underftand, that 
 you muft put (b much water that the white may 
 be of convenient thicknefs to fpread on the Copper. 
 Then you muft have a large Pencil or imc 11 
 Brufh, as the Painters Ufe, of the bignefs of a VVal- 
 nut,or more efpecially for a large Plate, and with 
 that ftrike over the Plate crofs twice or thrire, till 
 you fee it fmooth. 
 
 Then you muft have another Brufh larger than 
 the firft, but very fmooth, made of feveral Squirils 
 tails, with that you may fmooth gently the White, 
 
 which 
 
Part. IL The Pen and Pencil 5 1 
 
 which you could not do with the other Brufli, and 
 then let it lie till it be dry. 
 
 SECT. IV. How to transfer y our defign 
 
 upon the Copper. 
 
 THen take your defign orCopy after which you 
 are to work, fcrape on the back-fide thereof 
 fome red Chalk all over, then go over that by (cra- 
 ping fome foft fmall-coal till it mingle with the 
 chalk ; then take a Hand- bruih or great Pencil that 
 is very ftirT,and rub ir/up and down till it be fine and 
 even,and fo lay down the defign on your PJate,and 
 with a blunt Needle or Point draw over the out- 
 broke ; you muft have feveral Needles, fome big- 
 ger,and fome finer, put them into a pencil-ftickof 
 thelength of a writing-pen, and on the other end 
 keep one Pencil to wipe away the Ground thac 
 your Needle fetches off when you work To blunt 
 your Needle point you muft do thus., blunt it on a 
 Table, or on the back-fide of a Copper plate, ftill 
 holding the point downward .and carry your hand 
 circular that you keep the pointround ; the fined 
 Needles you muft fharpen upon a fineWhet-ftone, 
 and ftill turning it betwixt your fingers as you 
 whet it, as the Turners do their work, to keep it 
 round,, then after fmooth it upon a Table-book 
 leaf; and as you work you need not fcratch hard 
 into the Copper,only fo as you ma£ fee the-Needle 
 go through the Ground to theGopper^and always 
 when you leave your wordwrap your Plate up in 
 D 4 Paper 
 
Si Ike Excellency of Book Vi 
 
 Paper, left your Plate get fcratches 3 which it will be 
 apt to do,and the Ground will be apt to be corrupt- 
 ed lying open in theAir,and the moifture drawn out 
 oftheGround,and the fame inconveniency will ac- 
 crue by letting yourGroundlie too long upon your 
 Plate before you finifh; three or four months time 
 will eat out the moifture of the Ground, and in 
 Etching it will feem broad and deep,and when you 
 think it eaten enough, you will find it to be eaten 
 little or nothing : In Winter time wrap your Plate 
 in a Blanket as well as Paper,when you leave your 
 work ; jf the Copper get froft, it will caufe the 
 Ground to rife up from the Copper in the eating 
 with the Aquafortis. 
 
 SECT. V. How to wall about your Tlate with 
 Wax, to lay on your Aquafortis, and to fimfh 
 your work. r 
 
 YOur Plate being prepared, your Ground laid 
 on, and your Defign transferred upon your 
 Plate j when you are going to Etch, then take green 
 Wax and melt it in fome little Pipkin, and with a 
 Pencil cover round about the edges of the Copper; 
 firfr, with the hot Wax ftick it round about the 
 Plate as a wall to keep in the Aquafortis , that it 
 may ftick faft; let the fame be of Green wax alfo; 
 which draw out into long pieces of the thicknefsof 
 ftrong pafte- board, and as broad as a knife, then 
 faften it about the edges with a little ftick being 
 broad on the end , and (harp edged 3 anjd with it 
 
 thruft 
 
rare u. ite yen ana renai. 5^ 
 
 thruft down the Wax to make it flick- then if your 
 work be fine, take of Aquafortis the third pare of 
 an Ounce, and break it with your other water that 
 hath been ufed before twice or thrice, and take ac 
 leaft two parts of the old to one part of the new. 
 In cafe you have no Aquafortis formerly ufed, take 
 good Wine- vinegar to mix with your Aqua fortis y 
 but if your work be courfe, you may ufe your 
 three pence the ounce Water only ; and for fuch 
 things as you will have fine and fweet, you muft 
 firft pour out your Aqua fortis into fome earthen 
 dim, then warn off the Aqua fort is with clean wa- 
 ter, and let it be dry, then melt fomeCandle- 
 greafe with a little Ground , and with a Pencil 
 cover thofe things you will have to lie faint ; then 
 pour on your Aquafortis again as oft as you fee 
 need ; then melt your Ground the fame way you 
 laid it on, and with a linnen rag wipe clean your 
 plate, andfo is your work finiihed. 
 
 CHAP. II. 
 Of GRAVING 
 
 SECT. L Of necejjary Instruments lekvging 
 to Graving' 
 
 TTE that will undertake the Art of Graving, 
 JljL muft know how to Draw, and hatch with a 
 Pen ; which, I doubt not, but he that hath obferved 
 the former Rules can do, 
 
 I. Of 
 
54 The Excellency of Book H. 
 
 i . Of your Oyl-Jtone. 
 
 The firft thing you are to do, is to provide a 
 good Oyl-ftone, which you may have of thofe 
 that (ell feveral Tools for the GoUfmiths ; whichjet 
 be very fmooth, not too hard nor too foft, and be 
 fure it be without pin-holes. Now to fit your felf 
 aright, you are to refolve what kind of Graving 
 you will follow \ if you follow Pidture or Letter- 
 work, that is a Work more curious than theGold- 
 fmltbs: Arms and Letters are upon Silver or Pew- 
 ter , and accordingly your Gravers muft be 
 fliap'd. x 
 
 x Of Gravers. 
 
 Goldfmiths Gravers are crooked, that they may 
 more readily come at hollow workout forCopper- 
 pi&ures or Letters, the beftGravers are the ftraight, 
 which chufe thus ; lake a File and touch the edge 
 of the Graver therewith, if the File cut it, it is too 
 foft, and Will never do you good ; but if the File 
 will not touch it by reafonof the hardnefs, it will 
 ferve your occafion, although fuch a Graver be 
 apt at firft to break (hort oft, after a little ufe by 
 whetting it will come to a good temper, and con- 
 dition, as by experience I have found ; though fome 
 ignorant of what they have writ, would puzzle 
 you about altering the temper. 
 
 SECT. 
 
fart 11. ire fen ana rerun. 55 
 
 S EC T. II. The fever always of holding 
 the Graver. 
 
 jj' E T the end of the haft of the Graver reft 
 LLy againit the ball of the thumb,anld let the fore- 
 finger guide the Graver , which is done by refting 
 fteadily upon the point of your Graver. 
 
 You muft alio provide a Bag of Sand to lay your 
 Plate upon, on which you may turn your Plate at 
 [eafe every way : And note , that with your left 
 hand you mult turn your Plate as the ftroaks you 
 grave do turn, which is not eafily attained without 
 diligent care. 
 
 Your Copper plates ready polifhed doofren 
 come from Holland, or c](t you may have them 
 prepared by feveral \r\Ergland\ you may be di- 
 Tefted how to have thefe Plates by molt Primers of 
 Plates in London, and therefore I forbear to trouble 
 you or my (elf about directing you how to prepare 
 Plates for your ufe. 
 
 SECT 4 
 
im zxceuency of dook H, 
 
Part II. The Pen and Pencil 57 
 
 SECT. III. Tin forms of Graving-tools 9 as aljo 
 the rnannir of whetting your Graver. 
 
 THe upper part of this figure will fhew two forts 
 of Graving-tools, the one formed fquare, the 
 other lozeng : The fquare Graver makes a bread 
 and (hallow ftroke,or hatch ; and the lozeng makes 
 a deep and narrower ftroke. The ufe of the fquare 
 Grayer is to make the largefi ftrokes ,and the ufe of 
 the other is to make the ftrokes more delicate and 
 lively. But I prefer a Graver made of an indiffe- 
 rent fize betwixt both thefe two, which will make 
 your ftrokes, or hatches, (how with more life and 
 vigour, and yet with fufficient force, according as 
 you (hall manage it in your working : The forms of 
 which will appear in the 1. and 2. figures. 
 
 The 3. figure (hews you ho,w to whet the two 
 fides of your Graver, which is to be done in this 
 manner following- you muft have a very goodOyl- 
 ftone fmooth and flat, and having poured a little 
 Sallad-oyl thereupon, take the Graver, and laying 
 one fide of it ( that which you intend (hall cut the 
 Copper) flat upon the ftone,whet that fide very flat 
 and even, and to that purpofe have an efpecial care 
 to carry your hand ftedfaft , and with an equal 
 ftrength , placing your forefinger very firm upon 
 theoppofitefideof your Graver, to the end that 
 vou mayguide it with the more exaftnefs : Then 
 turnthe very next fide of your Graver, and whet 
 
 that in the like manner, as you did the other ; fo 
 
 that 
 
52 The Excellency oj Book II. 
 
 that there may be a very (harp edge for the (pace 
 of an inch or better ; then turning uppermofr that 
 edge which vou have Co whetted, and fetting the 
 end of your Graver obliquely upon the ftone, car- 
 ry your band exactly even, to the end that it may 
 be whected very flat and Hoping, in the form of a 
 Lozenge, making to the edge a (harp point, as the 
 figure^ (hews you. 
 
 it is very neceflary that you take great care in 
 theexadt whetting of your Graver • for it is lrnpof- 
 fiblethatvoa (honld ever work with that neatnefs 
 and curioficy as you defire, if your Graver be not 
 very good, and rightly whetted. 
 
 I cannot demonftrate it fo plain and fully by 
 figures, and difcourfe,as 1 would ; if you have ac- 
 quaintance with an Artift in this way, you may 
 eafily underftand in a (hort time. 
 
 SECT. IV. The manner how to hold and handle 
 your Graver. 
 
 TH E uppermoft part of this figure defcribes to 
 you the form of two Gravers, with their 
 handles, fitted for the whetting. They that ufe 
 this Art, do before they make ufe of them, com- 
 monly cut away that part of the knob or bowl that 
 is at the end of their handles, which is upon the 
 fame line with the edge of their Graver, to the end 
 it may not hinder them in their graving, as the 
 figure 2. (hews you. 
 For if you work upon a large plate you will find 
 
 that 
 
Fart 11. ibe ren ana renal. 5p 
 
 that part of your handle (if it be not cut away)will 
 fo reft upon the Copper \ that it will hinder the 
 fmoothand even carriage of your hand in making 
 your ftrokes or hatches ; alfb it will caufe your 
 , Graver to run into the Copper in fuch tort,that you 
 (hall not be able to manage it at your pleafure. 
 
 The 5. figure defcribes to you the way of hold- 
 ing your Graver •, which is thus,place the knob or 
 ball of the handle of your Graver in the hollow of 
 youf hand, and having extended your fore- finger 
 towards the point of your Graver. lay ing it oppofite 
 to the edge that mould cut the Copper, place your 
 other fingers on the fide of your handle, and your 
 thumbon the other fide of the Graver, in fuch fort 
 that you may guide your Graver flat and parallel 
 with the plate; as ycu may fee in the figure. 
 
 And be very careful that your fingers do not 
 interpofe between the plate and the Graver, for 
 that will hinder you in carrying your Graver level 
 with the prate , fo that you cannot make your 
 ftrokes with that freedom and neatnefs , which 
 otherwife you may. This I think fit to give you 
 notice of, becaufe the skill of holding your Graver 
 is that which you muft flrft perfe&ly learn: 
 
 SECT. V. The manner of holding your hand 
 in Graving. 
 
 HAving defcribed the way of holding your 
 Graver, the next thing is to (hew you how to 
 guide your Graver upon the plate in making of 
 
 your 
 
6o The Excellency of Book II # 
 
 your ftrokes,which are ftraight orcrooked -that you 
 may work with the more eafe and convenience, you 
 muft have a ftrong round leather Cufhion fill'd 
 with fand or fined u It ; let it be"made about half a 
 foot broad in the diameter,and three or four inches 
 deep; lay this upon a Table which ftandeth faft 
 and firm : Then lay your plate upon the Cufhion, 
 as is defcribed in the 6. figure. 
 
 When you are to make any ftraight ftrokes, 
 hold your Graver as is di reded in the former 
 Se<ftion;and if you will have your ftrokes deeper or 
 broader in one place than in another,in that place 
 where you would have them deepeft, you muft 
 prefs your hand hardeft ; but efpecially in making 
 of a ftraight ftroke, be careful to hold your plate 
 firm and (tedfaft upon the cufhion. 
 
 And if you make any crooked or winding ftrokes, 
 then hold your hand and Graver ftedfaft •, and as 
 yo:i work , turn your plate againft your Graver ; 
 for other wife it is impoftible for you to make any 
 crooked or winding ftroke with that neatnefs and 
 command, which by this means you may, if you do 
 not move your plate, and keep your arm and elbow 
 fixed or refted upon the Table. 
 
 If as you are working, your Graver happen to 
 break often on the point, it is a fign it is tempered 
 too hard \ to help this, take a red hot charcoal, and 
 lay the end of your Graver upon it, and when you 
 perceive your Graver to wax yelJowifh,dip it in the 
 Water : If your Graver become blunt without 
 breaking, it is a fign it is nothing worth. 
 After you have graved part of your work, it wiH 
 
 be 
 
r"arc. xx. sue r en anu renew. I 
 
 be neceffary to (crape it with the (harp edge of a 
 Burnifher, carrying it along even with the plate, to 
 take offthe roughnefs of the ftrokesvbutin (b doing 
 take heed of making any fcratches in your work. 
 To the end you may better fee that which is gra- 
 ven,they commonly roll up clofe a piece of a black 
 Felt or Caftor, liquored over with a littl Oyl, and 
 f therewith rub the places graven : And if you per- 
 ceive any fcratches in your plate,rub them out with 
 your Burnifher : And if you have graved any of 
 your ftrokes too deep, you make them appear 
 fainter with rubbing them with your Burnifher. 
 
 SECT. VI. How to take off any figure % or Map- 
 letter s> &c. upon jour Copper. 
 
 TAke your Plate and heat it over the Fire, and 
 having a piece of yellow Bees Wax, put into, 
 andtyed up in a fine Holland rag^try if your Plate 
 be hot enough to melt your Wax ; if it be, lightly 
 wipe over your plate with that Wax,until you fee 
 it be covered over with Wax,but let it be but thin ; 
 if it be not even, after it is cold you may heat it 
 again, and with a feather lay it even, which at 
 firft you will find a little difficult. 
 
 Now if what you are to imitate be an exaft copy, 
 you rauft note it mull: ftand the contrary way in 
 the platej and therefore your beft way will be to 
 track it over in every limb with a good Black-lead 
 Pencil >efpecially if it be an old picture, which ha- 
 ying done, take an old Ivory ha r t of a Knife, and 
 E placing 
 
7 8 Ike Excellency of Book II. 
 
 placing your pitture exa&ly on your copper, the 
 face downward, take your baft and lightly rub 
 over your print, and you (hall perceive the perfect 
 proportion remain upon the wax that is upon the 
 plate > then take a long Graver, or another piece 
 of fteel grownd (harp, and with the point thereof 
 go over every particular limb in the out-ftroke, 
 and there will be no difficulty to mark out all the 
 frudows as you go to engrave your work, having 
 the proportion before you. 
 
 And it will be more ready, if alfo you note 
 your (hadows how far they be dark, and hoW far 
 light with your black-lead, before you rub it off; 
 but a learner may be puzzled at firft with too ma- 
 ny obfervations. 
 
 At fir ft you will find fome difficulty for carrying 
 your hand>and for the depth of your ftroke you are 
 to engrave y but cake this experiment in your firft 
 beginning; learn to carry your hand with fuch a 
 flight, that you may end your ftroke with as light 
 a ftroke as you began it:and though you may have 
 occafion ro have one part deeper or blacker than 
 anorher,do that by degrees \ and that you may the 
 ' more diftinctly doit, obferve your ftrokes, that 
 they be not too clofe nor too wide : And for your 
 more exad: obfervation, practice by thofe prints 
 that are more loo fly (hadowed at fir ft, left by imi- 
 tating thofe dark and more fliadowed, you beat a 
 lofs where to begin or where to end i which to 
 know, is only got by practice: Thus for Pictures. 
 
 Now for Letters, if copies, every word and let- 
 ter muft be either writ with ungumm'd Ink, or 
 * elfe 
 
Part. IL The Pen and Pencil 79 
 
 elfe gone over with Black-lead, and rubb'd on the 
 plate when it is waxed, as before ; but if a Map 
 or other Mathematical Inftrument , every circle* 
 fquare,or perpendicular muft be drawn over as be- 
 fore, fquare, or elfe you cannot exa&ly imitate the 
 fame ; but if you be to cut any Face, Arms, Inftru- 
 ments, or Map not to be printed, then if you black 
 over the back-fide, as you are directed for your 
 defign in Etching, that willferve your turn', onely 
 for Etching you ufe a mixt ground, and for to En- 
 grave you onely ufe wax. 
 
 And thus, in a plain ftyle, I have given you an 
 account of the whole myftery of Engraving. 
 
 The way of La j in g a Mezza-iinto Grownd> with the 
 faflnon of the Engine , and manner of f craping your 
 defign. 
 
 YO U muft go to fbme Ingenious File Cutter, 
 and get a Roll made of the heft fteel, about 
 one Inch Diameter>and one Third thick and hatchc 
 round the edge, and croft again at right Angles : 
 the faftiion of the Engine and the feveral Tools 
 ufe'd in fcraping the Grownd is hereunto annexed,' 
 then take your Copper Plate and divide it into 
 fquare Inches, and draw the lines Parellels and 
 Perpendiculars with a Black-lead Pencil, then 
 crofs it Diagonal ways; then take your En- 
 gine in one hand, the other bearing indifferent 
 hard upon the frame,runitup two or three of the 
 fquares from the Left till you come to the Righc 
 hand of your Plate, Co gradually till you have gone 
 it over one way, then crofs it'the other way; fo 
 
 E z hkewife 
 
8o The Excellency of Book II. 
 
 likewife the Diagonal ways, till you have gone it 
 over the Four feveral ways ; thenyournuft begin 
 again, and go it over the fame ways agaift, till 
 you have gone it over at lead Twenty times, till 
 you leave no place untoucht with your Engine : 
 Your grownd being thus laid, take your defign 
 and Rub White-lead upon the back fide, and fix 
 it on the Plate , and with your Drawing-point, 
 draw over all the out-ftroakes and bounds of the 
 Principal fliadows, and it will come off upon the 
 Plate; then with your feveral Scrapers, lightly 
 fcrapingupon the extreme Lights, and fo gradu- 
 ally all the other ihadows, until you have brought 
 all the drawing of your defign upon the Plate; 
 then take a Proof off, by which means you will be 
 able to go on in the finiftiing of it, although you 
 muft proof it Three or Four times before you can 
 thoroughly finifti it. 
 
 How to take off Mezzo-t into Trints, for 
 Painting on Glafs. 
 
 YOU muft get your Eeft Looking-glafs, and 
 the beft Venice Turpentine ; then take your 
 Print and lay it in Water for about Two or Three 
 hours; then take it out and lay it flat before a clean 
 Cloth,and warmasmuchoftheTurpentine as^ou 
 think you (hall ufe,and warm the Glafs a little like- 
 wife; then with a large Brufhjay your Turpentine 
 even all over the Glafs, your Print' lying the Right 
 fide uppermoftjay your Glafs from one fida by de- 
 grees 
 
iff front y a. Sc. lib 
 
 .<fff. Ul'-l. 
 
 rujim 
 
 **Jeperalt- s 
 
 nJcraperj 
 

Fart 1U ibe ren ana remii. Si 
 
 greesupon theGlafs; by which means you keep 
 thp Wind fron** raifing Blifters in your Print; then 
 Rub with your Finger, gently dipping your Finger 
 in Water now and then, and you will find the 
 Paper to Rub off; but have a Care of Rubbing 
 holes quite through the Print, for you mult leave 
 only a thin film of Paper 9 and when it's dry, 
 varnifh it over with White Varnifh, which you may 
 have at the Colour-Shops ; then it is fit to work 
 upon. 
 
 O F 
 
82 Book III, 
 
 LIMNING 
 
 I N 
 
 water-colours. 
 
 •The Third Book. Part the Third, 
 
 THE practice of Limning is a quality com- 
 mendable in any perfon, and a practice 
 meet for the Nobleft perfonage of what 
 quality foever ; I (hall fay no more in the praifeof 
 it, it may fpeak for it (elf, but come immediately to 
 ihew you the manner how to perform it ; therein 
 following the Rules now pra&ifed by the moft emi- 
 nent Matters in that faculty : And firft, (hA\ begin 
 in this as in the other parts of this Book, what 
 rhings are to be in areadinefs prepared for the pra- 
 ctice of it. 
 
 CHAP. I. 
 
 Of necejjaries belonging to Limning, 
 
 TO the Limning in Water-colours there be- 
 long feveral things, as Gumms of feveral 
 fotrs, and Waters made of them, a Grinding- [tone 
 and Adulter t feveral Colours, Liquid Gold and Stiver* 
 feveral Sizes to lay Gold, Parchment of rhe fineft,as 
 of Abortive Skins ; Vencils of divers forts ; of the 
 making and preparing all thefe in their order, and 
 then to their ufe, SECT. 
 
Part III. The, Pen and Pencil. S3 
 
 SECT. I. Of Gums and Gum waters ufed 
 in Limning. 
 
 TH E principal Gum is Gum-Arabkk ; get the 
 belt that may be, which you (hall know by 
 the •whitenefs and clearnefs ; if it be yellowifti, of an 
 Amber colour, it is naught. 
 
 To make Gum-water hereof, do thus ■■> Take a 
 clean earthen Veffel, Pan, Difli, or the like, put 
 therein the faireft Spring-water you can procure, 
 then take a quantity of Gum-Arabick; and tie ic 
 in a fine clean Linnen cloth, as in a bag, and hang 
 this in the rniddle of the water, and there let it reft, 
 till the Gum be diffolved ; if you find your water 
 be not ftiffenough of the Gum, put more Gum in- 
 to your cloth, and let that diffolve as the ether did i 
 if it be too ftiff, add more Water : Of this Gum wa- 
 ter it is abfolutely necefTary you have always by 
 you two forts, one ftrong, the other weak ; and 
 of thefe Two, you may make a Third at pleafure ; 
 preferve thefe in clean Glafles for your ufe. 
 
 Of GUM- LAKE. 
 
 Gum-Lake is a compounded Gum made of many 
 ingredients,as of whites of Eggs beaten and ftrained, 
 of Honey, Gum of Ivy, (Irong Wort -thefe ingredients 
 mingled together will at laft run like an Cyl, 
 which at laft will congeal and be hard. Trouble 
 not your felf to make it, but buy it ready made ; 
 chufeit as you do the Gum- Arab ick % by the clear- 
 nefs, and then you need not fear it. 
 
 E 4 I? 
 
84 The Excellency of > Eo^k Iff. 
 
 To make Water thereof, ufeitin all refpe&s as 
 you did your Gumb-Arabick, by tying it in a cloth 
 and diflblvingic in fair water : of this Water alfb 
 have of two forts, a weaker and a ftronger. 
 Of GUM-ARMONIACK. 
 Of this Gum you may make a Water, that whac* 
 foever you write therewith you may lay in Gold. 
 
 The manner of making the Water is thus ; take 
 your Gum and grind it with the juice of Garlick as 
 fine as may be, thereunto add a few drops of weak 
 water ofGum-y4r^/c£, making it of fuch a thicknefs 
 as you may conveniently write it with a Pen. 
 
 With this liquor write what you will, and let it 
 dry, but not too long, for if you do, the Gold will 
 not flick j and if you lay on your Gold too foon, ic 
 will drown it. When you would lay your Gold up- 
 on it being dry,do thus, get a Gold-cufhion, which 
 you may thus make ; tajse a piece of Calves-leather 
 rough, and get a board about fix inches long, and 
 five inches broad, upon this board lay fome wool- 
 len cloth four or five times double, snd over all 
 your -Leather with tfte rough fide outwards, nail- 
 ing the edges of the Leather to the fides of the 
 Board ; to is vour Cufhion made. 
 
 Upon this Cufhion lay your Gold-leaf and wirh 
 a Knife that hath a very flurp edge>cut your Gold 
 upon your Cufhion into pieces,fo that it may quite 
 cover what you have written, then breathe upon 
 your writing , and with a piece of white Cotton- 
 wool (breathing upon that alfo) lay it upon your 
 Gold, and it w<Il take it off from your Cufhion, 
 Which prefs down hard upon your Writing, and ic 
 
 Will 
 
Part IU. Tke Pen and Pencil. %$ 
 
 will there ftick ; then with other Cotton- wool dry, 
 wipe away the loofe Gold, and your Writing only 
 will remain,which when it is through diy you may 
 burnifft with a Tooth.ar.d it will (hew lair. 
 
 Of LIQUID GOLD or SILVER. 
 
 YO U may with Liquid Geld or Silver Draw or 
 Write any thing with the Pen or Pencil, as with 
 anv other liquid colour j 1 could (hew you how to 
 make it ; but to make a fmall quantity ic is not 
 worth the while, neither will it quit the colt ; there- 
 fore 1 would advi'e you to buy it ready prepared, 
 which you may do where you boy your Colours, 
 or of fome Gold-bsaters* who make it of their cut* 
 tings of the ragged edges of their Gold. 
 
 When you ufe it, do only this, put into your 
 Shell a drop or two of fair water,and with a clean 
 Pencil -temper upfo much Gold as will ierve your 
 occafion at that time, with which Write or Draw 
 what you will j then about two or three hours after, 
 the longer the better, burniihit by rubbing hard 
 upon it with a Dogs-'ooth, and it will be pure 
 Gold ; this is the belt and eaijeft way of laying 
 Gold that I know o\ 
 
 S E C T. II. Of fom Grind;ng-ftL?ie and U$f* 
 
 GZt a Stone of Perpbhy or Serpentine, or rather 
 a Vebble, (if you light of one large enough) is 
 belt of any other. But in irrrt.ge; as good an one 
 as vou can, which ypar Msrblcrs in Lond n may 
 help you to j keep this and your Mailer always very 
 clean and free from duft. SEC T. 
 
«6 lbe Excellency oj book III. 
 
 SECT III. OfCohurs. 
 
 THere are fimpty fix, viz,. White^ Black, Red, 
 Green 9 Tt&ovsf, and Blew, to which we may * 
 add Browns, but they are compounded. * 
 
 Of either of thefe there are feveral forts, the 
 names whereof, and the manner of ordering of 
 them (hall be (hewed in the enfuing Chapter. 
 
 CHAP. II. 
 Of Colours ufed in Limning : their names 9 1 
 and how to order them. 
 
 § E C T. I. Of the Names of Colours, and how every 
 Colour is to fa prepared', whether Grownd, Wa$?d % ' 
 or Steep'd. 
 
 BLACKS. WHITES. REDS. 
 
 Cherry-(tones burnt. Cerufe. Red-Lead. 
 
 Ivory burnt* White-Lead. Lake. 
 
 Lampblack. 
 
 GREENS. BLEWS. YELLOWS, 
 
 Bife. lndico. Englifli Oker. 
 
 Tink. Ultramarine. Msfticote. 
 
 Sapgreen. Bife. BROWNS. 
 
 Cedar -green. Smalt. Umber. 
 
 Spanifh Brown. 
 
 Cokn's Earth. 
 
 Thefe 
 
Part HI. the Ten and Pencil. Xj 
 
 Thefe are the principal Colours ufed in Lim- 
 ling • I have omitted many others,but they are ftich 
 hat are not fitting for this Work, which I- (hall 
 peak of when I come to teach how to waflj Maps 
 ind printed Figures, for which life thofe Colours 
 have omitted are only ufeful. 
 , Of the Colours here mentioned, ufeful in Lim- 
 ing, they are to be ufed ihree feveral way s, viz,* 
 jtker JFajhed, Grownd r ov Steeped. 
 
 The Colours to be only Wajhedare thefe : 
 
 Bife. Cedar. Red-lead. 
 
 Smalt* Ultramarine. Mafiicote. 
 
 To be Steeped, only Sap-green. 
 
 The Colours to be Wafiedand Gn?2W,a re thefe ; 
 
 erufe* Pink. Spanifti Brown. 
 
 Vhtte-Lead. Indico. Ivory , 
 
 ,ake. Umber. and S blach 
 
 ngliih Oker. Colens Earth. Cherry- [lone. 
 
 
 E C T. II. Cf thofe Colcurs thai are to he Crczi'nd s 
 and how to Grind them. 
 
 Have in the laft Section told you what Colours 
 are to be Qrownd, which Warned , and which 
 be Steeped ; it refteth now, to (hew you how co 
 rind thofe oloursthat are to be grownd ; { fhall 
 )t run over every Colour particularly • but {hew 
 m how to grind one Colour, which take as ari 
 Ache reft- Fur 
 
88 The Excellency of ticofc III. 
 
 For our example in grinding of Colours, let us 
 take the original of Colours, viz,. Cerufe, or 
 White-lead, there is little difference between them, 
 only one is refined, the other not. 
 
 To grind it do thus ; Take a quantity thereof, 
 or of any other Colour to be grownd,being eleanfeel 
 from all manner of dirt or filth, which you muft 
 firft fcrapeoff; then lay the Colour upon your 
 Stone, and with your Muller bruifeit a little, then 
 put thereto fair Spring-water, and between your 
 Muller and Stone grind the Colour well together 
 with the water till the Colour be very fine, which, 
 when you rind to be enough, have in a readinefsa 
 great Chalk (tone, in which make certain troughs 
 or furrows, into which pour your Colour thus 
 grownd, and tliere let it reft till it be thorough 
 dry, then take it out and referve it in Papers, and 
 thole Papers in boxes, for your life. This order 
 you are to obferve in all Colours tha$ are to be 
 Grownd. 
 
 SECT. III. Of tbofe Colours that are to be 
 Wafad, and how to VVafo them, 
 
 AS in the Grinding of Colours I gave you an 
 inftance but in one for all the reft, the like I 
 fhall do for thofe Colours which are to be Wafted? 
 I will make my inftance in Red-Lead, which you 
 are toWafh in this manner. 
 
 Pur a quantity thereof into a clean earthen difh, 
 and ;o;:r thereto fairWater,ttirring the colour and 
 Water scgerher with your hand orotherwife; then- 
 
 iet 
 
Part lit The Ten and pencil. 89 
 
 iet it ftand a while,and you (hall fee a filthy greafie 
 fcum arife and lie above the water,with other filth; 
 pour this water quite away, and put other clean 
 water to the Colour, and ftir it about again, pour- 
 ing away the water if ( foul ) the fecond or third 
 time j then add more water, and ftir the Colour 
 I ibouc. again till the Water be thick and troubled j 
 but yet free from filth, then gently pour this trou- 
 bled water into a fecond earthen dfh, leaving in 
 the firft difli all the dregs. 
 
 Into the fecond bafon put more fair water; and 
 with your hand ftir about the Colour as before ; do 
 thus two or three times, and take (if your colour be 
 very foul) a third earthen difh, and add more wa- 
 ter, and keep ftirring, till at laft the water become 
 Clear, and the colour remain fine at the bottom 
 of the di(h ', pour away your water gently,and you 
 will find fome colour remaining and flicking to the 
 edges of the d.fh, which when it is dry, you may 
 (with a feather) ftrike away like flower, which re- 
 : ferve as the choiceft and pureft of all; if in a pound 
 of this Red-lead you have an ounce cf good in- 
 deed, prize it, for it is troublome to procure. The 
 • other, which is not altogether (b pure, may befer- 
 viceable for fome ufes, though not for all. What 
 ; hath been faid of this colour is to beunderftood of 
 1 all other that are to be warned ; therefore for 
 ; Warning of Colours let this fuffice. 
 
 SECT. IV. Of Colours to be fteepeJ. 
 
 I Said ( amongthe Colours before mentioned ) 
 there was only Sap great to be Steeped, though 
 
 in 
 
9o The Excellency of Book IH. 
 
 in Colours to wafii Mips and Prints, there are ma- 
 ny, butofthefe, when we come to (hew how to 
 Wafli Maps,c2v. To Steep your Sap-green do thus, 
 take a quantity thereof and put it into a Shell, 
 and fill the (hell with fair water, to which add 
 fome fine powder of Allum to raife the colour; let 
 it thus fteep twenty four hours, and you will have 
 • a very good Green. 
 
 SECT. V. Of t ho fe Colours that , are Wafhed and 
 Groivnd, how ta temper them in your (hells when 
 you are to ttfi them. 
 
 YOU having all Colours both Gro-wnd and Waflf 
 ed by you in a readinefs, when you begin 
 any piece you mnft temper them as followeth, for 
 which take one example for all. 
 
 Take any Colour a (mall quantity thereof, and 
 put it into a clean (hell, then add thereunto a drop 
 or two of Gum water ^and with your ringer (being 
 clean) work it about the fides of the (hell, and there 
 lee it (tick till it be dry ; when the colour is dry in 
 the (hell; draw your finger over it ; if any Colour 
 come oiF. you muft add Itronger Gum-water to it. 
 But, if when your Colour is dry in the (hell 5 it glitter t 
 or (hine, it is a fign there is too much Gum in ic ; 
 therefore remedy that by tempering your Colour 
 up again with fair Water only ,without any Gum. 
 
 There are fome Colours, as Lake, Umber, and 
 other hard Colours, which when they are dry in 
 the (hell will crack , and look like parched ground 
 in a dry Summer ; to fuch colours as rhefe, when 
 you temper them for ufe,add to them a (mail quan- 
 tity 
 
Part HI. The Pen and pencil. 9 t 
 
 city of white Sugar-candy in fine powder, which 
 temper with your Colour and fair water with your 
 finger in the (hell till the Candy be dtflfolved • and 
 this will keep them from peeling when you have 
 laid them on your Work. 
 
 Note here, that thefe Colours following , viz. 
 Umber % Spanifh-Br^fl, Co\cn-Earth, Cherry-fion& 
 and Ivory-black are to be burnt before they be 
 Wafh'dor Grownd. 
 
 Toburn any of them do thus,put the Colour in- 
 to a Crucible, fuch as Goldjmiths melt their filver 
 in ; if you will, cover the mouth thereof with clay, 
 and fet it in a hot fire, there let it reft till it be red 
 hot ; when the Colour is cold you may Grind or 
 Warn it according to former Directions. 
 
 SECT. VI. 0/ "Pencils^ andhcwtochufe them. 
 
 YOu are in the next place to furnifh your felf 
 with Pencils of all forts ; which how to chufe 
 no thus, take a Pencil and put the hairy end be- 
 tween your lips, wetting it a little by drawing it 
 .trough your lips, being moift , two or three times 5 
 jo that the Pencil being large will come to a point 
 UsfmaJlasahair, which if it do, it is good \ but if 
 t fpread, or any extravagant hairs ftick out of the 
 ides, they are naught 5 you may try them by 
 netting in your mouth, and attempt to draw a line 
 )n the back of your band. 
 
 SECT. WW. Of Compounded Colours. 
 
 OF the fix fimple Colours befoie named, toge- 
 ther with the Srcwns, many others may 
 
 be 
 
7 6 The Excellency cf Book IH. 
 
 be compounded for Faces of all Com flexions , Gar- 
 mints, Landskips, Building; for Birds, Fi[hes 9 
 Bsafis, and what not : I will (hew how to com- 
 pound fome, and by thofe you may by practice 
 find out and invent infinite more. I (hall inftance 
 in thefe following, As, 
 
 A Viohu 
 
 Light-green. 
 
 A Lead-colour. 
 
 ■ Turple. 
 
 Flame-colour. 
 
 A Bay- colour 
 
 Scarlet* 
 
 A Murry. 
 
 To make a Violet-colour. 
 Indico, White, and Lake, make a good Violet-co- 
 lour ; you may make it lighter or darker at plea- 
 fare, as you may all other compounded Colours. 
 
 Lead-colour. 
 Indico and White make a Lead-colour* 
 
 Colour for Flaming-fire. 
 Red-!ead } and Ma(tlcote % heightned with White. 
 
 Scarlet' colour. 
 Red-lead, Lake and Vermilion, very little or no 
 Vermilion, for it is not good in Limning. 
 
 Light-green. 
 Tink and Smalt, with White to make it lighter, 
 if you require it. 
 
 A Turple colour. 
 Tndico, Spanifli brown, and White. 
 
 A Bay-colour. 
 Spani(h-£rcM>* and White* 
 
 * A 
 
Part. III. The Pen and Pencil. 7j 
 
 A Murrey-colour. 
 
 Lake and White make a Murrey-colour. 
 
 Of thefe infinite others may be made,but I leave 
 them to your own ingenuity to find out,which with 
 little prance you will foon do. The next thing 
 you (hall be informed in, is* how to prepare your 
 Table for Limning, and fit all things for you work, 
 which ftiaU be declared in the next Chapter. 
 
 CHAP 
 
78 The Excellency of Book III. 
 
 CHAP. III. 
 
 How to prepare a Tahle for a Fifiure in fmall 
 for Limning^ to make choice of your Lights 
 the manner of Sitting in refpett of Fofition 
 and Di(lance, and what necejfary Intern- 
 ments are to lie by you when you are at 
 work. 
 
 WE now draw pretty near to our intended 
 purpofe, viz,. Minuture or Limning to the 
 life in Water-Colours: But, 
 
 SECT. I. How to prepare a Table for a 
 YiBure in fmalh 
 
 GET pure fine Pafte- board, fuch as the 
 ordinary playing-Cards are made of, you 
 may have of what llze and thicknefs you pleafe, 
 and very finely flick'd and glazed, at the Card-ma- 
 kers : Take a piece of this Pafte-board of the llze 
 you intend your Piftureuhen take a piece of Parch- 
 ment of the fineft and whiteft you can get, which 
 are the skins of abortives or coftlings>cut a piece of 
 this skin of equal bignefs with your Pafte-board, 
 and with thin white Starch new made, pafte the 
 Parchment to the : Pafte- board, with the out-fide 
 of the skin butermoft ; lay on your Starch very 
 thin and even ; then your Grinding-ftone being 
 made very clean, lay the Card thereupon with 
 
 the 
 
Part. 1IL The Pen and Pencil. j$ 
 
 the Parchment-fide downwards, and as hard as 
 you can, rub the other fide of the Pafte-board 
 with a Boars tooth fet in a ftick for that purpofe ; 
 when it is thorough drie, it is fit to work upon. 
 
 SECT. II. Of your Light. 
 
 Concerning your Light, let it be fair and large* 
 free from being (hadowed with trees or hou~ 
 fes, but a clear sky-light, let it be a diredt light 
 from above, and not a traverfe-light *, let it be a 
 Northerly and not a Southerly light, for the Sun 
 (hining either upon you, your work, or the party 
 fitting, will be very prejudicial ; as your room 
 muft be light, fo let it be alfo clofe and clean. And 
 obferve, that you begin and end your work by the 
 fame light. 
 
 SECT. 1 1 1. Of the manner of Sitting, 
 
 LEt your Desk on which you work be fo fituateV 
 that when you fit before it, your left arm may 
 be towards your light, and your right arm from 
 it, that the light may ftrike in fideling upon your 
 Work. Thus for your own fitting. 
 
 Now for the manner of the party's fitting that is 
 to be Drawn, it may be in what pofturehe orfhe 
 (hall defign ; but let the pofture be what it will, lee 
 it not be above two yards off you at the moft, and 
 level with you \ but if the party be tall, then above. 
 
 F % Mark 
 
80 The Excellency of Eook III. 
 
 Mark well when the party that fits moVeth, 
 though never fo little, for the leaft motion of the 
 body or face, if not recalled, may in fhort time 
 caufe you to run into many errors. 
 
 The Face of a party being finiflied,let him ftand 
 and not fit to have his pofture drawn, and that at 
 a farther diftance than two yards, viz. four or five 
 yards. 
 
 SECT. IV. Offuch necejfaries as are to lie by you 
 while you are at work. 
 
 i."\7"Ou muft have two fmall Sawcers or other 
 
 JL C/;/>w-difhes, in either of which there muft 
 
 be pure clean Water •, the one of them is to wafh 
 
 your Pencils in,being foul; the other to temper your 
 
 Colours with when there is occafion. 
 
 i. A large, but clean, fine and dry Pencil, to 
 cleanfe your work from any kind of duft that may 
 by accident fall upon it : fuch Pencils they call 
 Fitcb~Tencils» 
 
 3. A fharp Pen knife to take off hairs that may 
 ^ome from your Pencil, either among your Co- 
 1 jurs or upon your Work, or to take out fpots that 
 may come to fall upon your Card. 
 
 4. A Paper, having a hole cut therein, to lay up- 
 on your Card to cover it from duft, and to reft 
 your hand upon, to keep the foil and fweat of your 
 hand from fullying your Parchment, and alfo to try 
 your Pencils on before you apply tkem to your 
 
 . Work. 
 
Part II L The Pen and Pencil 8x 
 
 Work. Let your Sawcers of Water, your Pen- 
 knife and Pencils lie all on your right hand. 
 
 «r". Have a pretty quantity of Carnation (as fome 
 call It) or Fleih-colour, fomewhat lighter than the 
 Complexion of the party you are to draw, tem- 
 pered up in a (hell by it felf with a weak Gum- 
 water. If it be a Fair complexion, White-lead and 
 Red lead mixed. If a Swarthie or Brown com- 
 plexion, to your White and Red lead add a quan- 
 tity of Mafticote, or E//£//jfr-Oker, or both if occa- 
 sion be. But whatever the Complexion be, be fure 
 you temper your Fleth-colour lighter than the par- 
 ty ; for by often working upon it you may bring 
 it to its true colour, it being firft too light ; but if 
 it be firft too fad, there then is no remedy. 
 
 6, Having prepared your Flefti colour, take a 
 large Shell of Mother ofVearl, or a Horfe-MuJJel- 
 Sbell, which any Fijherman will help you to, and 
 therein (as Painters in Oyl difpofe their Colours 
 upon their Pallat for their working of a Face, fo 
 muft you) place your feveral Shadows in this Shell 
 in little places onediftindl: from another. 
 
 Note, that in all your Shadows you muft ufe 
 fome White j wherefore i. lay a good quantity 
 of White by it felf, befides what the Shadows are 
 firft tempered with. a. For Red for the Cheeks 
 i and Lips, temper Lake and Red-lead together, fome 
 ufe Vermilion, but I like it not. 3. For your Blew 
 Shadows, as under the Eyes, and in Veins, &c. In- 
 dicoand White, or Ultamarine and White. 4. For 
 your Gray, faintifh Shadows, take White Ettglifh- 
 Oker and Indico, or fometimes Mafticote. 5. For 
 
 F 1 Deep 
 
gs, The Excellency of Book III". 
 
 DeepfliaJows, White, EnglifrOker, and Umber. 
 6. For Dark (hadows in mens Faces, Lake and Pink, 
 which make an excellent fleflvy (hadow. Many 
 other Shadows you may temper up, but thefe are 
 the chief; your own judgment, when you look 
 upon the party to be Drawn, will belt direct you, 
 and inform your fancy better than a thoufand 
 Words. 
 
 Thus are you abfolutely prepared of all necefla- 
 ries ; it is now fit time to go to work ; and firft we 
 will begin with a Face. 
 
 CHAP. IV. 
 
 Of the Miniturs or Limning cf a Face in 
 Water-Colours, 
 
 HAving all things in a readinefs, according to 
 the directions before delivered, upon that 
 part of your Card where you intend the Face of 
 your Picture to be, lay that part of the Card o- 
 ver with your Colour that you have before pre- 
 pared, anfwerable to the Complexion of the par- 
 ty ; it being well tempered, pretty thin, with a 
 Pencil bigger than ordinary, fpread your Colour 
 very even and. thin, free from hairs or other (pots, 
 in your Pencil, over the place where you are to 
 make the Face of your Pi&ure. The Ground be- 
 ing laid, you may begin the Draught, the party 
 being ready to fit. Now to the finifhing of a Face 
 ehere will require three Operations or Sittings ac 
 
 -the 
 
Part III. The Fen and Pencil. ffy 
 
 the leaft., At the firft fitting you do only dead 
 Colour the Face, and this takes about two hours 
 time. At the fecond fitting you are to go over the 
 Face more curiouily, obferving whatfoever may 
 conduce to the graces or deformities of the party 
 to be Drawn, together with a fweet difpofe and 
 couching of the Colours one within another, and 
 this fitting will take up fome four or five hours. Ac 
 the third fitting you may nnifh the Face, this takes 
 up fome three hours time; in which you perfect 
 what was before imperfeft and rough, in putting 
 the deep and dark fliadows in the Face, as in the 
 Eyes, Eye-brows hair, and Ears, which things are 
 the laft of the Work, and not to be done till the 
 Hair-curtain or the back-fide of the Picture, as al- 
 fo the Drapery be wholly finiihed. Of tfiefe three 
 fittings or operations we (hall make three Sedtions, 
 as followeth : Then in the next Chapter (hew how 
 the Drapery and-other ornaments are to be per- 
 formed : then in the next Chapter fomething of 
 Landsktp in Miniture, or Limning, and fo con- 
 clude. 
 
 SECT. I. At the firfl Operation cr Sitting, 
 
 Y 
 
 "Our Ground for the general Complexion be- 
 ing laid, the firft work at your firft fitting 
 mult be to draw the Porphilecr out lines of the 
 Face, which you mult do with Lake and White 
 mingled ;draw it very faintly, fo that if you rnifs of 
 
 F 4 your 
 
84 The Excellency of Book Itf. 
 
 your Proportion you may alter it with a deeper 
 mixture of the fame Colour. 
 
 The proportion of the Face being drawn, add 
 to the former colour fbme Red-lead, temper it to 
 the colour of the Cheeks. Lips, &c. but faintly, for 
 fas I faid before) you cannot lighten a deep Colour 
 when you would. You muft now put in the Red 
 fhadows in their due places, as in the Cheeks,Lips, 
 tip of the Chin, about the Eyes, the tip of the Ears, 
 and about the roots of the Hair. All thefe Shadows 
 muft be put in, not with the flat of the Pencil, but 
 by fmall touches, after the manner of Hatching ; in 
 this manner going over the Face, you will cover 
 your ground with thefe and the following (hadows. 
 In this Dead colouring you need not be over-curi- 
 ous, but ftrive to imitate Nature as near as may 
 be, the roughnefs of the Colours may be mended 
 at the fecond Operation. 
 
 Having put in your Red (hadows in their due 
 places, put in next your faint Blew (hadows about 
 the corners and balls of the Eyes, and your Grayifii 
 blew (hadows under the Eyes and about the Tem- 
 ples ; work thefe fweetly and faintly all over by 
 degrecs,heightniugyour (hadows as the light falls; 
 asalfothofe harder (hadows in the dark fide of the 
 Face,under the Eye-brows, Nofe, Chin, and Neck, 
 with fome ftronger touches in thofe places than on 
 the light fide of the Face. Bring all your Work 
 together to an equal roundnefc,and give per fedtion 
 to no particular part at this time, but view your ob- 
 jeft well, and fee how near you hit the Life, not on- 
 ly in feeming likenefs, but in roundnefs,boldnefs of 
 pofture, colouring, and fnch like. Having 
 
Part III. The Pen and Pencil 8? 
 
 Having wrought your fainter (hadows into the 
 Red ones before iaid,you may now have a touch at 
 the Hair, difpofing of it into fuch curls, folds, or 
 form as (hall heft grace the picture, or pleafe the 
 party. You muft only draw the Hair with feme 
 colour fuitable to the life, fill up the empty and 
 void places with colour, and deepen it fomewhat 
 more ftrongly than before in the deepeft (hadowed 
 places. And let this be your firft operation. 
 
 SECT. If. At the Jecend Operation or Sitting. 
 
 AT the fecond fitting let the party fit in the 
 fame place and pofture as he did at the firft 
 fitting, thenobferve and delineate with your Pen- 
 cil thofe varieties which Nature affords you ; and 
 as you did them but rudely before, you muft now 
 with the fame Colours,in the lame places,by work- 
 ing, drive'and fweeten tfeefame Colours one into 
 another, fo that no lump of Colour, or any rough 
 edge may appear in your whole work, and mis 
 work muft be performed with a Pencil fomewhat 
 (harper than that which you uled before, fo as your 
 Shadows may be (oft and fuiooth. 
 
 Having made this progrefs in the Face, leave it 
 ) for this time, ard go to the back-fide of your Pi- 
 cture ; whichisfometimesa piece of Landskip, but 
 molt commonly a Curtain of blew or red Sattin. If 
 it be of blew Sattin, temper as much Bifein a (hell 
 as will cover a Card, let it be moift, but well bound 
 with Gum ; then with a Pencil draw the lorphile or 
 
 cut- 
 
26 The Excellency of Book IIL 
 
 out-line of your Curtain, as alfo of your Picture, 
 then with a large Pencil lay over carefully ,but thin 
 and aery, the whole ground you mean to lay with 
 Blew; then afterwards again with a large Pencil, 
 as before, lay over the fame again with a fubftan- 
 tial body of colour, in doing of which you mult be 
 expeditious, keeping your Colour alwayes moift, 
 letting no one part thereof be dry till you have co- 
 vered the whole. 
 
 If your Curtain be Crimfon, then trace it out 
 with Lake, and lay the ground with a thin colour; 
 then where your itrong lights and reflexions fall, 
 there lay your lights with a thin and Waterifli co- 
 lour, and while the ground is yet wet, with a 
 Itrong and dark colour tempered reafonable thick, 
 lay the hard and Itrong fhadows clofe by the other 
 lights. 
 
 After you have thus laid the back- fide of your 
 Pifture with Blew, or Red., or any other Colour, 
 lay your Linnen with a fair White, and the Drape* 
 ry hkewife flat of the colour you intend it. 
 
 Then repair to the Face again, and view your 
 objecl well, and fee whatlhadows are>too light or 
 too deep for the Curtain behind, and the Linnen 
 and Drapery may (bmewhat alter the property to 
 the eye, and make the Pidure appear otherwife 
 jthan icdid when there was only the colour of the 
 Parchment about it; 1 lay, view your Object well, 
 and endeavour to reduce each Shadow to its due 
 perfection : then draw the lines of the Eye-lids, 
 and (hadow the entrance into the Ear, the deepnefs 
 jpf the Eye-brows, and thofe more eminent notes 
 
 and 
 
Part IIL Ihe Pen and Pificil 87 
 
 and marks in the Face, and thefe mull be done 
 with a very curious and (harp Pencil. 
 
 The Face done thus far,go over the Hair,height- 
 ning or deepning it as it appears in the life, calling 
 over the ground fome ioole hairs, which will be 
 pleafing, and make the PicTure ftand as it were at 
 a diftance from the Curtain. 
 
 Tofhadow your Linnen, ufe Black, White, a 
 little Yellow, and lefs Blew ; the Black muft be 
 deepned with Ivory-black, with which mix a little 
 
 I Lake and Indico. And thus far have we proceeded 
 
 ■; at the fecond operation. 
 
 SECT. Ill, At the third Operation , or Sitting, 
 
 TH E third and laft operation of the Face will 
 be wholly fpent in giving of ftrong touches 
 where you lee cau(e } and in obfervations neceifary 
 for the rounding of the Face, which will better be 
 feen how to perform now, than before the Curtain, 
 Drapery, and Linnen were laid. In this laft fitting 
 cbferve very diligently and esa&ly whatever may 
 conduce to fimilitude, which is a main thing, as 
 Scars'or Moles in the Face, &c. cafts of the Eye, 
 qircumflexions or windings of the mouth. Thus 
 much for the third operation and finilhing of the 
 Face, 
 
 CHAP. 
 I 
 
88 The Excellency of Book III. 
 
 CHAP. V. 
 
 Of Drapery , and other ornaments belonging to 
 a Picture in Miniture. 
 
 THE Face being compleatly finifhed, and 
 the Apparel rudely put on, let us now 
 come to (hew how to fettle them in their 
 rijSjht geers (as the faying is) as alfo to put on 
 fuch Ornaments as are ufual in Pictures of this na* 
 turc. And thefe (hall be expreffed in the Sections 
 following. 
 
 SECT. I, Of Drapery in Limning* 
 
 HAving laid a good,fat>and full Ground all over 
 the Drapery you intend to make; if Blew, 
 then all over with Bife (inoothly laid : the dcep- 
 ning muft be Lake and Indico, the lightning White, 
 very fine, faint, and fair* and in the extreme light 
 places. What hath been faid of this Blew Drapery, 
 the like is to be underftood of all other Colours. 
 
 h is rare to fee Drapery expreffed by lightning of 
 it wirh fine {lull-Gold, with which it muft be 
 hatched and wafted, what a luftre it gives to well- 
 coloured Drapery, either Crimfon, Green, cij 
 Blew, but much more if with the Ground it feltl 
 you mix Gold when you lay it on. 
 
 SECLS 
 
part 1IT. TZe p en and Pencil. g^ 
 
 SECT. II. Of other Ornaments in Fitture. 
 
 j.TF the Body you are to draw be in Armour, lay 
 A liquid Silver all over for your ground* well 
 
 dryed and burnifhed, (hadow it with biiver, indico, 
 
 and Umber ; work thefe (hadows upon the Silver 
 
 as the life diredls you. 
 
 x. For Gold Armour, lay liquid Gold as you did 
 
 the Silver, and (hadow upon it with Lake, Engtifo- 
 
 Oker, and a little Gold. 
 . 3. For Pearls, your ground muft be Indico and 
 
 iWhite i your fhadows Black and Pink. 
 
 4. For Diamonds, lay a ground of liquid Silver, 
 
 deepen ic with Cherryftone and Ivory-black. 
 
 CHAP. VI. 
 Of L AND K S I P. 
 
 THE bounds and limits of Landskip are in- 
 expreflible, they being as various as fancy 
 is copiou* ; I will give you only fome ge- 
 neral Rules for Painting ot Landskip, and Co con- 
 clude this third Book. 
 
 In painting of any Landskip always begin with 
 the Sky- the Sun-beams, or lighten: parts fir ft j next 
 the Yellow beams, which compote of Mafiicote 
 and White ; next your Blew Skies, with Smalt on- 
 ly. At your firit colouring leave no part of your 
 ground uncovered \ but lay Your Colours fmootb, 
 * '• ana 
 
go 1 he hxceuency of Book III. 
 
 and even all over. Work your Sky downwards to- 
 wards your Horizon fainter and fainter,as it draws 
 nearer and nearer to the Earth ; you muft work 
 your tops of Mountains and objects far remote, fo 
 faint that they may appear as loft in the Air : Your 
 loweft and neareft Ground muft be of the colour of 
 the earth, of a dark yellowifli brown Green, the 
 next lighter Green, and fo fucceffively as they lofe 
 in their diftance, they muft abate in their colour. 
 Make nothing that you fee at a diftance perfect; 
 as if difcerning a Building to be fourteen or fifteen 
 miles off, I know not Church, Caftle, Houfe,or the 
 like ; Co that in drawing of it you muftexprefs no 
 particutatfig^asBell, Portcullis, or the like ; but 
 exprefs it in colours as weakly and faintly as your 
 eye judgethofit. Ever in your Landskip place- 
 light againft dark, and dark againft light, which is 
 the only way to extend the profpecl: far off, occa- 
 sioned by oppofing light to (hadow h yet fo as the 
 ihadows muft lofe their force in proportion as they 
 remove from the eye, and the ftrongeft Shadow 
 muft always be neareft hand. 
 
 OF 
 
Part 
 
 IV. I he Pen and Fencil. 9I 
 
 O F 
 
 I PAINTING in OYL. 
 
 i .- 
 
 § Book IV. Part IV. " 
 
 PAintlni in Oyl is of moft efteem of any other 
 Painting, and indeed it requireth the grea- 
 teft judgment in the performance, of any- 
 other kind of Painting. 1 (hall (according to the 
 weaknefs of my ability) deliver unto you fuch 
 Rules and directions, as being well minded and 
 pra&ifed, may in afhorttime make you a good 
 proficient therein : Prefuppofing you have read 
 the three foregoing Books, efpecialiy theFirftand 
 Third, and that you underftand Draught of any 
 kind, and alfo the nature (if not the manner of 
 working with) Water-colours, yet at leaft have 
 read the Rules there delivered concerning the ufe 
 of them, you may fall to prattife the Painting 
 in Oyl > in which obferve the directions follow- 
 ing* 
 
 CHAP* 
 
9 x 
 
 The Excellency of Book IV. 
 
 CHAP. I. 
 
 Of the Names of your Colours, and bow to Grind 
 and order them. 
 
 The Names of the Colours in Oyl. 
 BLACKS. WHITES. GREENS. 
 
 White-Lead. 
 
 Lamp-black. 
 Seacoal- black. 
 Ivory -black. 
 Charcoal- black. 
 Earth o/Colen 
 
 BLEWS. 
 
 Bife. 
 Indicoi 
 Smalt. 
 UUamarine* 
 
 Verdigreafe< 
 Terra vert. 
 Verditer. 
 
 REDS. 
 
 Vermilion. 
 Red-Lead. 
 Lake. 
 India- Red. 
 
 Ornotto. 
 
 YELLOWS, 
 
 Fink. 
 Ma/licote. 
 Englifh Oker. 
 Orpment. 
 Sprufe Oker. 
 
 Spanish Brown, Burnt Sprufe, Umber. 
 
 Thefe are the chief Colours that are ufed in Paint- 
 ing in Oyl, the rnoft part of which are to be grownd 
 very fins upon your Stone with a Muller, with 
 Linfeed-Oyl : '"me muft be Burnt before they be 
 Grownd ; ^others muft be only temper'd upon the 
 Pallat, and not grownd at all. 
 
 The Colours to be burnt are thefe: 
 
 Ivory , Sprufe , Oker, and Umber* 
 
 The 
 
Part. IV. Tie Pen and Pencil 93 
 
 The Colours that are not to be Grownd at all,buc 
 only tempered withOyl upon your Paliar,arethefe: 
 
 La/top-black, Ferditer, Vermilion , Bife> Smalt, 
 Mafticete, Orpimtnt, Uhamarine. 
 
 All the reft are to be Grownd upon your Stone 
 with Linfeed-Oyl; only White-Lead, when you 
 are to ufe that fqr Linnen, you mult grind it with 
 Oyl of Walnuts, for Linfeed-Oyl will make it turn 
 yellow. 
 
 Thofe Colours that are to be Burnt,you muft put 
 them into a Crucible, fuch as Gdd-fmitbs melt their 
 Silver in, cover the mouth thereof with clay, and 
 there let it burn red hot ; when it is cold you mult 
 grind it upon your Stone with Oyl. 
 
 CHAP. II. 
 
 Of your Eafell, Straining-frame, Cloath^ Tallat y 
 Pencils, and Stay* 
 
 1 Might here defcribe the form and fafhion ot 
 your Eafell and Pallat, but I think, I need not ; 
 for he that ever faw a Fainter at work muft needs 
 fee thefe two InftrumerfTSj but what they are,l (hall 
 here defcribe. 
 
 An Eafell is$ frame made of wood, not much 
 unlike a Ladder, only the fides are flat, and full of 
 holes on either fide, to put in two pins to fet your 
 Work upon higher or lower at pleafure-; it is 
 broader at the bottom than at the top, and on the 
 
 G back- 
 
94 The Excellency of Book IV 
 
 back-fide there is a Stay, by the help of which you 
 mav fct in the middle of any room, more upright 
 or doping at pJeafure ; when you do not ufe it, you 
 may clap it together and fet it behind any door, or 
 hang itagainft any wall out of the way. 
 
 A Vail at is a thin piece of wood, and is neceflary 
 to be about twelve or fourteen inches long,and nine 
 or ten inches broad, in form of an Egge,at the nar- 
 rower end whereof is a hole made alfoof an Oval 
 form, about an inch and a half in length, and an 
 inch broad ; this hole is to put in your thumb of 
 your left hand upon which you mud always hold 
 it when you are at work ; out of the fide of your 
 Pallat near unto the thumb hole is cut a notch, by 
 the fide of which thePencils which you hold in your 
 hft hand alfo may come through, by which means 
 yoa m3y take any of them out, or put another irr 
 at pleaflnc. Thefe Pallats ought to be very thin 
 and light, efpecially at the broad end, but toward , 
 the thumb-hole fomewhat thick, yet not above 
 half a quarter of an inch; the beft wocd to make 
 ihem of is Pear-tree, or Walnut-tree. 
 
 A Straining-frame is nothing elfe but a frame 
 made of wood, to which with nails you muft fatten 
 your Cloth that you are to paint upon; of thefe 
 Frames you fhould have of fcveral fizes, according 
 to the bignefs of your Cloths. 
 
 By your Cloth I mean Cloth primed. I could 
 teach you how to prime it, but it is a moiling work, 
 and belides,it may be bought ready primed cheaper 
 and better than you can do it your felf Few Painters 
 (though all can do it) prime it themfelves, bat buy 
 it ready r^e. . Temik r 
 
L 
 
 Part. IV. The Pen and Pencil 
 
 95 
 
 Vencih* what they are I need not telJ you, but 
 what fores there are I will, becaufe I (hall have oo 
 cafion to call them fometimes by their names in the 
 Difcourfe following. There are of all bigneflfes, 
 from a pin to the bignefs of your finger. 
 
 There are feveral forts, thus called: 
 
 Ducks jQuittfitchti. 
 Ducks Quill pointed. 
 
 ■ . Br if It. 
 
 Swans Quill fitcbed. 
 Swans Quill point e J. 
 
 • '—Briftle. 
 
 Hairing or JewtU'mg- 
 Pena.'s. 
 
 Goofs Quill fit ched. 
 
 Goofe Quill pointed. 
 
 Bnfile. 
 
 Brifile Vencds ; fome 
 in Quills, others in 
 Tinn- cafes bigger 
 than Quills , and 
 others in Sticks. 
 
 Your Stay or iJMol-Stick is nothing elfe but a 
 ftick of Brazeel or fuck like wood that will not eafily 
 bend, about a yard in length, at one end whereof 
 tie a little ball of Cotton hard in a piece of Leather 
 about the bignefs of a Chefrmt *, this ftick when you 
 are at work, you muft hold alfoin your left hand, 
 and laying the end which hath the leather ball,upon 
 your cloth or frame, you may reft your right arm 
 upon it all the while you are at work. Thus being 
 furnifhed with all manner of Colours, and other 
 necetiaries here defcribed, you may begin to pra- 
 ctife when you pleafe-, we will begin with a Face, 
 in which obferve the directions in the following 
 Chapters. 
 
 n 
 
 ruio 
 
96 The Excellency of Book IV. 
 
 CHAR I ft 
 
 How to order your Colours upon your Pallat , and 
 how to temper Shadows for all Complexions. 
 
 DIfpofe vourfingle Colours upon your Pallat 
 <in this order, laying them at a convenient 
 diftance one from another, ib that they be 
 not apt to intermix. Firft lay en vour Vermilion, 
 then lake, then burnt Oker, India Red, Pink, Um- 
 ber, Blacks, and Smalt : lay the White next to your 
 thumb, becaufeitis ofteneft ufed, for with it you 
 lighten all your (hadows j next to your White lay 
 aftifffortof Lake : this done, your Pallat itfurni- 
 (bed with the Tingle Colours belonging to a Face ; 
 then for the tempering of your Shadows to all 
 Complexions, obferve the following Directions. 
 
 x . For a Fair Complexion, 
 
 Take a little White, and twice as much Vermi-. 
 lion, and as much Lake temper thefe well together 
 upon your Pallat with the flat blade of your knife; 
 lay afide by it (elf on your Pallat the greateft quan- 
 tity of this to be ufed for the deepeft Carnation of 
 the Face. 
 
 Put more White to that which remains,and tem- 
 per that well with your knife, and being well tem- 
 pered, lay Tome of that afide alfo for your lighter 
 Carnation, 
 
 * To 
 
Part IV. The Pen and Pencil. o 7 
 
 To the remainder add yet more White, and tem- 
 per it upon your Pallat till you hav&brought it to 
 the lighteft colour of your Face. 
 
 Your Carnations being thus tempered, and or- 
 derly laid upon your Pallat,prepare your faint Sha- 
 dows. For which, 
 
 Take Smalt,and mix it whh a little White, which 
 may ferve for the Eyes; lay afide the greateft 
 quantity, and to the reft add a little Pink, this well 
 tempered rand laid by itfeif, will ferve for the faint 
 greenifh fhadows in the Face. 
 
 Now prepare your deep Shadows s for which 
 take Lake, Pink, and Black, of each a like quanti- 
 ty, temper all thefe together. 
 
 If the Parties Face you* are to drau\or the Picture 
 you are to copy, do require tbe Shadows to be red- 
 der than what you have tempered, then add a lit- 
 tle more Lake ; if yellower, add a li ttle more Pink ■> 
 if blewer or grayer," add a little more Black. 
 
 This done, your Pallat is prepared with Colours 
 for any fair Face. 
 
 2 . For a more Brown en Swarthy Complexion, 
 
 Lay your fingle Colours en your Pallat as be- 
 fore,and in like manner temper them, only amongft 
 your White Lake, and Vermilion.put alktlequan- 
 tity of burnt Oker, to make it look fomewhat 
 Tawny. 
 
 Amongft your heightnings, temper a little Yel- 
 low Oker, onely 16 much as may juft turn the 
 Colours. 
 
 G 2 For 
 
£0 j.ne cxcviuwcyvj duuk iv. 
 
 For your very faint and very deep Shadows, 
 the fame as before. 
 
 3. For a Tawny Complexion. 
 
 The general Coloursmuft be the fame as before, 
 only the Shadows are different, for you are to pre- 
 pare them of Umber, and burnt Oker, which (ha- 
 dow will fit thefe Complexions beft ; ifthefhadow 
 be not Yellow enough, add more Pink to it. 
 
 4. For an Abfolute Black Complexion* 
 
 Your dark Shadows muft be the fame as before", 
 but for your heightnings, you muft take White, 
 burnr Oker.Lake, and Black, put but a little White 
 in at ftrft, but work it up by degrees, till you come 
 to the lighreft of all, as you did the contrary Co- 
 lours for a fair Complexion. 
 
 Here note, that the fingle Colours at firft laid 
 upon your Pallat being tempered together accord- 
 ing to the former directions, ferve for fhadows for 
 all Complexions. 
 
 Thus much concerning the difpofing and order- 
 ing of your Pencils, and what ?t?7als you are al- 
 ways to have in your hand all the while you are 
 painting of a Face. 
 
 CHAP, 
 
Part IV- The Pen and Pencil 
 
 99 
 
 CHAP. IV. 
 
 What Pencils are useful for the Tainting of 
 a Face, and how to difpofe them. 
 
 EVery Tencil muft have a ftick of about nine 
 inches long put into the Quill thereof, the 
 farther end of which ftick muft be cat to 
 a point. 
 
 When you are to begin any Face or other pi- 
 cture, lay together two Ducks quill fitch-Pencis, 
 and two Ducks-quill- pointed-Pencils, alio two 
 Goofe quill fitched and two pointed, two Briftlcs 
 both alike j ore Swans quill fitched, and another 
 pointed ; then a larger Pencil than any of thefe, 
 which no Quill will hold, and therefore they make 
 cafes of Tinn to put them in, .you mult have one 
 of thele Fitched, as alfo a Brittle of -che fame big- 
 nefs. 
 
 Your Pencils being in a readtnefs, when you are 
 to ufe them, your Pallat being upon your thumb, 
 you muft take your Pencils in your right hand, and 
 put the ends of their (ticks into your left hand, 
 keeping (when you workj the hairy ends at a di- 
 ftance, one from touching another, left tiie Co- 
 lours m them intermingle. 
 
 Your Pallat of Colours being prepared, and 
 your Pencils and Molftick alfo in a readinefs, you 
 are to ufe them as is hereafter taught. 
 
 G 4 CHAP, 
 
ioo iKt excellency of duuk iv. 
 
 CHAP. V. 
 
 How to Paint a FACE in Oyl- Colours. 
 
 YOur Cloth being ready primed, and ftrair.ed 
 upon your Frame, rake a knife, and with 
 the edge thereof fcrape over your Cloth, 
 left any knots or the likeftiould be upon it, which 
 may dlfryme your Work, 
 
 Your Cloth being ready, draw forth your Eafell, 
 fetting your Frame and Cloth upon it at a conveni- 
 ent height, fo that you fitting upon a ftool, ( level 
 with the party you draw) may have the face of the 
 pi&ure equal, or fomewhat higher than your own. 
 Then fet your Eafell according to your light, which 
 let be the fame as I have defcribed in Limmng, 
 namely, a Northerly light, fcca from (hade of trees 
 or houfes, bsit let it come in on your left hand, and 
 focaft the light towards the right hand. 
 
 All things being now in a readinefs, let the party 
 you are to draw fit before you in the Pofture he in- 
 tends to be painred, about two yards diftant from 
 you. 
 
 Then with a piece of Chalk pointed, draw the 
 proportion of the Face upon the Cloth, with the 
 place of the Eyes, Nofe, Mouth, Ears, Hair, and 
 Whatfoever the pofture affbrdeth the Eye • here is 
 no curiofity in this, only fee that you keep a good 
 decorum 5 if you mifsa good deal, the Colours will 
 bring all to rights \ but I fuppufeyou know already 
 
 whether 
 
Part IV. lie pen and Pencil, ior 
 
 whether the defign will make a Face proportionable 
 to the party's. And (b of that no more. 
 
 Your Defign being drawn in Chalk, take one of 
 yourSwans-quill-pointed-Pencils 5 and fomeofyour 
 iighreJt Colour, and begin with the lighteft parts in 
 the Face, as the height nmg of the Forehead, the Nofe y 
 and ihe Cheek-bone of the lighteft fice: t^hen you 
 have done the lighteft parts,do the mean parts next; 
 that is, thofe parts not altogether fo light as the 
 other, as the Cheek-bne of the fore-mortning or 
 dark fide, the Chm, and over the upper Ltp-, and 
 fo proceed gradually till you come to the Redded 
 parts of all. 
 
 Then lay your faint Greenifh fhadowsin conve- 
 nient places ar, d where you fee caufe to moderate 
 harder (hadows ; but you muft have a care you put 
 not Green (hadows where Red are required. 
 
 Thus all your faint or light beg-nnings being put 
 in, take one of your Goofe quill-pointed-Pencils, 
 or one of your Ducks quill-fuched and begin at the 
 Eyes to (hado » with Lake, becaufe you may eafily 
 overcome it if it (hould chance to be wrong : I do 
 not mean you (hould go all over the Face with 
 Lake, but trace oui theie parts of the Face there- 
 with, as the Eyes, Nof, Mouth, Cowpafs of the Ear, 
 &c This tricking or tracing out of thete parts with 
 Lake is tabe dore before you lay on any Colour, 
 wiping itiightiy over with a lirmen rag, to prevent 
 the overcoming of the other Colours. 
 
 Having th-.s put in all your Colours both light 
 and dark, take the great Firch-pencil, either that in 
 the plaie, or that in the luck, and fweeten the Co- 
 lours 
 
ioz xue nxceucncy oj iJOOK I v. 
 
 lours therewith ; by fweetning, is meant the going 
 over thefe feveral Shadows thus laid with a clean 
 loft Pencil, which with orderly handling will drive 
 and intermix the Colours one into another, that 
 they will appear as if they were all laid on at once, 
 and not at feveral times. If this great fitch'd Pen- 
 cil be too big, you may ufe a leifer ; but note, that 
 the bigger Pencils you ufe, the fweeter and better 
 your Work will lie ; and it is as eafie. to handle a 
 great Pencil as a little one, if you ufe your felf to 
 it. 
 
 At your Second fitting (for this is enough at 
 once) begin again with your clean Pencils of fuca 
 bignefs as the piece you are to work upon does re- 
 quire. Then the party fitting in the fame pofi- 
 tion, and at the fame diftance as before, the light 
 alfo being the fame, Obferve well the party, and 
 fee what defedls ycu find in the Work at your 
 firft fitting, and amend them; then heighten or 
 deepen your Shadows according as you fee occa- 
 fion. 
 
 This done, take a Goofe-quill Brittle and put in 
 the Hair about the Face, and rub in the greater 
 Hait with the greater Briftle, and heighten it up 
 with your Goole-quill Pencil. 
 
 CHAP. 
 
' Part IV. The Pen and Pencil 1 03 
 
 I _ 
 
 CHAP. VI. 
 
 Of Garments of feveral colour s 7 and of their 
 proper Colouring. 
 
 TH E next thing I (hall fpeak of, (hall be of 
 Drapery or Garments, and the true and 
 proper manner of Colouring of them. 
 
 I And 
 
 1. For a Red Garment \ 
 
 For a light-red Garment, firft dead-co!oar it 
 i ivitk Vermillion, and when you would nnifh it, 
 I glaze ic over with Lake, and heighten it with 
 
 A White. 
 
 For a Scarlet* 
 
 If you will have your Garment Scarlet, Vermi- 
 - lion itfelfmuft be the lighte(t,and itmutt bedcep- 
 ned with Lake or IndiaRcd. 
 
 For a Crimfon Velvet* 
 
 Lay Vermilion, burnt Oker, or India Red, for 
 I the dead colour, glaze it with Lafce, and touch ic 
 J up with Vermilion, 
 
 A fad Red. 
 
 n Red heightned.with White.. 
 Nore, thac ali your deepnings (hould or ought 
 tobedeepned with Black, Pink, and Lake 3 tem- 
 ped together. 
 
 %. Fa 
 
104 The Excellency of Book IV. 
 
 2. For Green Garments. 
 
 The beft Green for holding, is Bife and Pink, 
 heighten it with Mafticote, and deepen it with In- 
 dico and Pink. 
 
 For Green Velvet* 
 Lay the dead colour of White with a little Lamp- 
 black, glaze it with Verdigreafe, deepen it with In- 
 dico and Pink, and heighten it with Pink and 
 White. 
 
 3. For Blew Garments* 
 
 Take Indico and White, firft lay the White in 
 its due places, and then your mean colour, namely 
 Indico and White mixed in their due places, then 
 deepen it with Indico only, and when it is dry 
 glaze it with Ultamarine, which will never fade; 
 you may glaze it with Smalt or Rife ; but Smalt 
 will turn Black, and Bife will turn Green. 
 
 But if you will have a Blew Garment without 
 glazing, lay the ground as before, with Indico 
 and White, heighten and deepen it with the fame 
 Colours. 
 
 4. For Xdhw Garments* 
 
 For a Yellow Garment, Mafticote, yellow Oker, 
 and Umber j lay the dead colour of Mafticote and 
 White in the lighteft places, Oker and White in the 
 mean places, and Umber in the darkeft places ; 
 when it is dry glaze it with Pin*. 
 
 If you would nor glaze it, ufe only Mafticote. 
 
 heightned 
 
Part IV* The Pen and Ptncil. i ^ 
 
 heightned with White, and deepned in the mean 
 (hadows with Oker, and in the deep (hadows with 
 Umber. 
 
 5. For Black Garments. 
 
 Let the dead colour be Lamp-black, and fome 
 Verdigreafe j when that is dry, go over ic with 
 Ivory-black and Verdigreafe \ before you go over 
 it the fecond time, heighten it with White. 
 
 6. For Purple Garments. 
 
 Oyl Smalt, tempered with Lake and White- 
 Lead, heighten it with White Lead. 
 
 7. Orange Colour. 
 
 Red-Lead and Lake, lay the lighteft parts ofall 
 with Red-Lead and White, the mean parts with 
 Red-Lead alone, the deeper parts with Lake, if 
 need require heighten it with White. 
 
 8. Hair Colour. 
 
 Umber and White for the ground, Umber and 
 Black for the deeper /hadows, Umber and English 
 Oker for mean (hadows, for heightning White 
 with a little Engltjh Oker 
 
 CHAP. 
 
io (J The Excellency of Book IV. 
 
 I 
 
 CHAP. VII. 
 
 To temper Colours for fever al occajions. 
 
 N Landskip, variety of Colours are required) 
 1 will therefore begin with thofe firft. 
 
 Colours for the Skie. 
 
 For the Aiery skie that feems a great way off, 
 take Oyl- Smalt or Bife, and temper itwith Linfeed- 
 Oyl ; for a Red sky ufe Lake and White, and for 
 Sun beams or Yellow clouds appearing atSun-rifing 
 or fetting> ufe Mafticote and White ; for Clouds in 
 a ftorm, or for a Night-sky, ufe Indico deepned 
 with Black, and heightned with White. 
 
 Colours for Trees. 
 
 For fome ufe Lake, Umber, and White ; for 
 others Charcoal and White, for others Umber, 
 Black, and White with fomeGreen- you may add 
 Lake and fometimes Vermilion among your other 
 Colours. 
 
 Of [ever al Greens in Landskip. 
 
 For a light Green ufe Pink and Mafticote height- 
 ned with White. 
 
 For a fad Green, Indico and Pink heightned j 
 with Mafticote. 
 
 You may make Greens of any degree what- 
 foever. 
 
 * In 
 
Part IV. The pin and pencil. 10? 
 
 In Painting of Landskip I (hall fay nothing here, 
 hat which 1 have already faid in the Sixth Chap- 
 :er of the Book ofcLimritng being fufficient. 
 
 Things meet to be km'wn. 
 
 OYL-Colours if they be not ufed prefently,will 
 have a skin grow over them, and in time will 
 (uite dry up ; wherefore ifyou have any quantity 
 i>f Colours grownd, to keep them from skinning or 
 frying, fet them in a veflel of fair water, three or 
 our inches under water, and they will not skin 
 lor dry. 
 
 If your Grinding- itone be foul, grind Curriers 
 havings upon it, afrerwards crumbs of bread, and 
 : will fetch off the filth* 
 
 If your Pencils be foul, dip the ends of them in 
 >yl of Turpentinei and fqueeze them between 
 our fingers. 
 
 When you work in Oyl, let a little pot of Oyl 
 and by you, into which dip your Pencil, and 
 reak it by the fide of the pot, and the Colour will 
 d out that is within it, and you may ufe it with 
 lother Colour, 
 
 The 
 
ro3 The Excellency of Book IV 
 
 The Difcovery. 
 
 How to Cleanfe an Old Tainting, fo as to preferv 
 the Colours ; with cautions to thofe that thrcugi 
 ignorance have in fiead of Cleaning, quite De facet 
 or irrecoverably loft the Beauty of good colours in a\ 
 Oldfiece of Painting. 
 
 To Cleanfe any very old PttJure in OjL 
 
 TAke your pureft white Wood-aflies you ca 
 get, and fife them very well in a fine law 
 fieve • orelfe fome Smalt, which isasfome call 
 Powder blew, and with a fine Spunge and fat 
 water wafh the Pi&ure you intend gently ovei 
 but be fureyou have a great care of the Shadows 
 for by the ignorance of many perfons many goo 
 Pi&ure hath been abufed ; but having carefull 
 wafh'd it, as before mentioned, take fome of thef 
 Vernifhes, of which there be feveral, but fome ar 
 more prejudicial than others, therefore chufe thoj 
 which may upon occafion be wafh'd off again 
 
 As Gum-water purely ftrain'd, or pure Size 
 gelly, or the whites of Eggs well beaten ; all thel 
 will wafh cff. 
 
 Your common Vernifh will vernifh over an 
 vety dark part of a Pidure. 
 
 But your diftili'd Vernifh is the beft of all ; th 
 will not wafh off. 
 
 But obferve, that when you have wafh'd the P 
 
 ftun 
 
Part. IV. The Pen and Pencil 109 
 
 fture, you muft dry it very well with a clean cloth 
 very dry before you varnifh it. 
 
 Divers there be which have pretended to be well 
 i skill'd or knowing in the Cleanfing of Pictures, and 
 j skill in Painting j and have undertaken the fpoyling 
 1 of things they have been unworthy to understand ; 
 i as withSope, or Alhes, and a Brufti, and divers 
 other inventions, by their ignorance to deface and 
 fpoyl thofe things which otherwife might have 
 been worth great value, and in ftead of hindering 
 the Painter of his employment, have indeed crea- 
 ted them new work. 
 
 H OF 
 
I io The hxceilemy of BooK V. 
 
 O F 
 WASHING orCOLOURING 
 O F 
 
 Maps, and Printed Pi&ures. 
 The Fifth Book. 
 
 UO Wafh Maps or Printed PiBures is nothing 
 elfe but to fee them out in their proper Co- 
 lours, which to perform well is a very fine thing. 
 I have feen a Printed Pidture printed upon fine 
 Parchment, only waflied with Water-colours, 
 which could hardly be diftinguifhed from a Lim- 
 ned piece; and there are many now in England ve- 
 ry excellent at it. If any ingenious fpirit that de- 
 lights in Pi&ure, and hath not time or opportunity 
 to ftudy to be a proficient in Painting in Oyl or 
 Limning , I would advife him to practice this, 
 which is very delightful , and quickly attained •, 
 the manner of performing of it I (hall here in this 
 Book teach. 
 
 CHAP. 
 
Parr. V. The Pen and Pencil in 
 
 CHAP. I. 
 
 What things are neceffary to he always ready 
 for Wajhing of Maps or Pictures. 
 
 SECT. l. Of Colours for wajhing* 
 
 HERE note, that all the Colours that are 
 mentioned in the Second Chapter of the 
 Third Book concerning Limning in Water- Colours, 
 are all to be ufed in Wafhirig or Colouring of 
 Piclures\ wherefore provide your felf of ttibfe Co- 
 lours, grind them, waft them, and fteep and 
 temper them according as you are directed in chat 
 Second Chapter ; 1 fay, you muft have all thefe 
 Colours in a readinefs ; and for Colouring of Prints 
 fome other Colours, namely thefe that follow, 
 which how to order I will anon (hew you. 
 
 Colours to be ufed in Wajhing, which are not 
 nfed in Limning. 
 
 BLACKS. 
 
 REDS. 
 
 BLEWS. 
 
 Printers Black, 
 
 Vermilion* 
 
 Verditure. 
 
 or 
 
 Rcjfet. 
 
 "Litmos* 
 
 Franckford -black, 
 
 
 fiory. 
 
 to be had of the 
 
 
 
 Plate-Printers* 
 
 
 
 H % Y EL- 
 
Hz i be excellency oj dook iv. 
 
 YELLOWS. Gumbooge, Tellow- berries^ Orpimentt 
 
 Alfo thefe ; 
 Brazed and Log-wood ground, and Turnfoil. 
 
 Of thefe Colours above-mentioned » Printers 
 Black, Vermilion, Rojfit, Verditnre % and Orpiment 
 are to be Ground as is taught in the fecond Secti- 
 on of the fecond Chapter of the third Book, page 
 70. and therefore, I fay, Grind them as you are 
 there taught. 
 
 Now for the other Colours above-mentioned , 
 they are to be ordered feveral ways, as followeth* 
 And 
 
 1. OfLitmos, how to order it. 
 
 Take fine Litmos and cut it in fmall pieces,then 
 lay it in fteep the fpace of twenty four hours at 
 leaft, in a weak Water of Gum-Lake, [ The ma- 
 king of Gum Lake water is taught before in the fir fi 
 Chapter of the third Book, pag. 66.] it will be a 
 pure Blew Water, good to Wafli withall. 
 
 z. Of Flory Blew* 
 
 Take Flory Blew and grind it with the white of 
 an Egg, [ the white of the Egg with a fpoon in 
 a Porrenger till it become a clear Water. ] 
 
 Flory thus ground, if you add thereto a little 
 Roffet, it maketh a light Violet- colour. 
 
 If you mix with it both Red and white Lead, it 
 maketh a Crane Feather-colour. 
 
 It 
 
Part IV. The Pen and Pencil \ i y 
 
 It, and Pinkj Mafticote, or Gum-booge make a 
 fair Green/ 
 
 3. QfGumbooge. 
 Take Gumhoge and diflblve it in fair fpring- 
 water, and it maketh a moft beautiful and tranf- 
 parent Yellow. 
 
 4. Of Yellow-Berries. 
 
 Take Tellow-Berries, bruife them a little, and let 
 them fteep inAllum-water all night,in the morning 
 you will have a very fair Yellow to Wafli withall. 
 
 5. Of Turnfoil. 
 
 Turnfoil is made of pieces of Linnen cloth dyed 
 of a kind of Violet-colour. 
 
 Take a difh and put fome (harpVinegar therein, 
 together with your Turnfoil* then fet the di(h over 
 a gentle fire in a chafingdifh till the Vinegar boyl 
 and be coloured, then take out the Turnfoil and 
 fqueeze it into the Vinegar, to which put a Iutle 
 Gutn-yirabick to diflblve ; it is an excellent good 
 liquor to lhadow upon any Carnation or Yellow. 
 
 6. OfBraztel. 
 
 Take Brazeel grownd, to which put a quantity 
 
 offmallEeer, and as much Vinegar, fet them ina 
 
 pan upon a foft fire, and there let it boyl gently 
 
 a good while,then put therein fome fine powder of 
 
 H 3 Allum 
 
 » 
 
H4 The Excellency of Book V. 
 
 Allum to raife the Colour, as alfo fome Gum 
 Arabick to bind it j boyl it fo long till it taft 
 ftrong on the tongue, it maketh a very tranfpa- 
 reruRed. 
 
 7. Of Logwood. 
 
 If you boyl Logwood grownd in all refpe&sas 
 you did your Brazeel, it Will make a very fair 
 tranfparent Purple-colour. 
 
 SECT. II. Of other necejfarief. 
 I. Of AUum-water, hfiv to make it. 
 
 TTAke a quarter of a pint of Allum, beat it to 
 powder, and boyl kin a quart of fair Water 
 nI1 it be diflblved. 
 
 With this Water wet over your Pi&ures that 
 you intend to colour, for it will keep the Colour 
 from finking into the Paper ,and it will add a luftre 
 unto the Colours,and make them fhew fairer; and 
 it will make them continue longer without fading; 
 you muft let the Paper dry of it felf after you have 
 wetted it, before you lay on the Colours, or be- 
 fore you wet it again ; for fome Paper will need 
 wetting four or five times. 
 
 But ifyou intend to Varnifliyour Pictures after 
 you have Coloured them,you muft firft Size them, 
 that is,rub them over with white Starch new made 
 with a Brufh very fine, hnftead of doing them with 
 
 Allum* 
 
Part V. The Pen and Pencil 1 1 ^ 
 
 Allum- water ; be fureyou fize it all over, or elfe 
 the Varnifti will fink through ; if your Varnifti* be 
 
 too thick, put into it Co much Turpentine-oyl as 
 will make it thinner. 
 
 2 . How to make Size* 
 
 Take fome Gle w, and let it fteep all night in wa- 
 ter to make it the readier to melt in the morning, 
 then fet it on a coal of fire to melt, to try whether 
 it be neither too ftiff nor to weak =» for the meaneft 
 is belt ; take a fpoonful thereof and fet it in the 
 air to, cool, or fill a MufTel-fhell of it, and let it 
 fwim in cold water to cool the fooner ; if it be too 
 ftiff, when it is cold put more water to it; if too 
 weak, then put more Glew to it , and when you 
 ufe it make it luke-warm. 
 
 This is to wet your Cloths in ; if you intend to 
 parte your Maps or Pictures upon Cloth , vou 
 may ufe white Starch to wet your fheec,and wring 
 it out and (train it upon a frame, or nail it upon a 
 wall or board, fo pafte your Maps or Pi&uies 
 thereon. 
 
 3 . How to temper Gold to Write with a Pen 
 or TenciL 
 
 Take the fweepings of leaf-Gold, fuchasftwE- 
 hinders fweep off their Books, or leaf-Gold it felf, 
 and with ftiff Gum-water , with a pretty deal 
 of white Salt, grind them very well together, 
 and put it into a glafs, and pyt a quantity of fair 
 water as will fuffiriently cover it, to mafcs&e ftiff 
 H 3 w»st j 
 
1 1 6 The hxcellency of Book IV. 
 
 water diffolve, that fo the Gold may fettle to the 
 bottom, and let it ftand four or five days , then 
 pour away the water, and put clean water to it a- 
 gain,ifyou find the Gold dirty, refrelh it again the 
 third time; then pour it away and take clean water 
 again,and a WttleSak- Jrmoniack and greatSalt,and 
 put it in a gally-pot, and ftop it very clofe, and let 
 it ftand a week, then take it out, and put it into a 
 a piece of (beeps skin when the grain is taken off, 
 tie it up clofe,and hang it up that the Salt may free 
 from it ; then take the Gold and temper it with ehe 
 white of an Egg or Gum-water : fo ufe it with 
 Pen or Pencil. 
 
 4. OfVencils. 
 
 Provide Teucih of all forts, both pointed and 
 fitch;a large Brufli to pafte your Maps upon Cloth 
 withall ; another to wet your Paper with Allum 
 water : a third to Starch the face of yout Picture 
 withall before you colour it ; and a fourth Brufh 
 to Varnifh withal. 
 
 CHAP. 
 
Part IV* The Pen and pencil 117 
 
 G H A P. II. 
 
 ' Of other Colours for Wafhing, both Simple 
 and Compounded. 
 
 1. How to make a Green colour of Copper-plates. 
 
 TAkeany (hreds of Copper, and put diftilled 
 Vinegar to them, fet them in a warm place 
 until the Vinegar become Blew, then pour out 
 that Vinegar into another pot well leaded, and 
 pour more Vinegar upon the Copper, letting that 
 ftand until it be of a Blew colour ; then pour it in- 
 to the former liquor ; this you may do fo often 
 until you have liquor enough, then let the liquor 
 ftand in the fun or upon a flow fire till it be thick 
 enough, and it will be a good Green. 
 
 2. To make a Green another way* 
 
 The beft is Cedar-green, but that is dear; there- 
 fore you may take green Bife and fteepitin Vi- 
 negar, then ftrain it through a linnen rag, then 
 grind it well with fair water, and put to it a little 
 Honey , and let it be well dryed, and when you 
 ufe it mix it with a litte Gum- water. 
 
 3. Another Green* 
 
 Take the juyce of Rew,and a little Verdigreafe, 
 * and 
 
Ii8 The Excellency of Book V. 
 
 and a little Saffron , and grind them well toge- 
 ther, and ufe it with a little Gum- water. 
 
 4. For light Greens* 
 
 Sap-greens, Flower de Bife> or Tawny-green, thefe 
 need no grinding, only fteep'd in fair water, Vtr- 
 dtter and Cerufs mixt with a little Copper-green , 
 makes a good light colour. 
 
 £. To(hadow Greens. 
 
 Indicoand Yellow-berries will do very well. 
 
 6. Greens for Landskips and Rocks, 
 
 Temper your Green with white Pink, Bife, Ma- 
 fticote, Smalt, or Tndico, or Cerufs. 
 
 Blew Verditer mixt with a few Velio w- Berries, 
 make another Green. 
 
 7. To make a Blew. 
 
 There is ^»/n?-Ultamarine , but this is very 
 dear j there are Bifes of feveral forts, deeper or 
 paler; there is Smalt and Verditer ; grind any of 
 thefe with Gum-water. 
 
 8. Ofjhadowing Blews: 
 
 ThereisIndico,Litmos,orFlofy, take any of 
 thefe, they need no grinding, fteep them in the 
 
 lees 
 
Part V. The pen and Pencil up 
 
 lees of Sope allies ; when you trie them,put Gum- 
 water to them with difcretion. 
 
 p. Jo wake a Brown. 
 
 TakeCerufs, Red-Lead, E»g///fc-Oker, and Pink. 
 
 i o. Spanifh Brown. 
 
 It's a dirty colour, yet of great ufe if you burn it 
 rill it be red hot • but if you would colour any hare, 
 horfe, or dog, or the like, you muft not burn it, 
 but to fhadow Vermilion, or to lay upon any dark 
 ground behind a Pi&ure, or to fliadow Berries 
 in the darkeft places, or to colour any wooden 
 Pofte, Wainfcot, bod ie* of Trees, or any thing elfe 
 ©f Wood, or any dark ground on a Picture, 
 
 1 1. How to make an Orange-colour. 
 
 Red-Lead istheneareft to an Orange,putafew 
 Yellow-berries into it, makes a good Orange. 
 
 12. A Flefi-colottr. 
 
 Take of White and a little Lake, and fome Red- 
 Lead mixed, you may make it light or red as you 
 pleafe, by adding more or lefs White jn fhadowing 
 the Cheeks and other places, if you would have a 
 fwarthy complexion ; and to diftinguifli the Mans 
 flefh from the Womans, mingle a little yellow O- 
 ker among your Flefh. 
 
 Co- 
 
no The Excellency of Book IV. 
 
 3 3. Colours for the She, 
 
 Light Mafticote, or Yellow-berries, and White 
 for the loweft and lighteft places;red PofTet,White 
 for the next degree; blew Bife and White for the 
 other ; and blew Bife for the higbeft, for want of 
 Bife ufe Verditer ; thefe muft be worked together; 
 you muft rpt receive any fliarpnefs intheedgof 
 your Colour, and they muft be folaid on, that you 
 cannot perceive where you firft began to lay themi 
 you muft fo drown them one in another. 
 
 14. To make colours for Vreciousftones. 
 
 Verdigreafe with Varnifli makes an Emerald, 
 and with Florence Lake it makes a Rubj % and with 
 Ultramarine it makes a S.ajhire. 
 
 1 5. Colours for Lands kips. 
 
 For the faddeft Hills ufe burnt Umber, for the 
 lighteft places putfome Yellow to the burnt Um- 
 ber ; and for the other Hills lay Copper- green 
 thickned on the fije, or in the Sun -> for the next 
 Hills furcher off, mix fome Yellow-berries with 
 Copper green,and let the fourth part be done with 
 green Verditer •, and the furtheft, faintefi places 
 with the blew Bife,and for want of that, with blew 
 Verditer mingled with White for the ligheft places, 
 and (hadowed with blew Verditer in the (hadows 
 indifferent thick - 7 the Highways do with Red- 
 Lead 
 
Part IV. The Pen and Pencil lz i 
 
 Lead and White, and for variety ufe yellow Oker, 
 and fhadow it with burnt Umber, and you may ufe 
 it for Tandy Rocks and Hills ; the Rocks you may 
 do with feveral colours, in fome places Black and 
 White, in other places with Red-Lead and White, 
 and fome with Blew and White, and other colours, 
 fuch as you judge are convenient,and do moft re- 
 ferable Rocks, and let them be pleafant colours ; 
 the Water muft be black Verditeraud White, fha- 
 dowed with green and with blew Verditer} when 
 the Banks caft a green fhadow upon the Water, 
 and when the water is dark in the fhadows, then 
 fhadow it with a little Indico and Green chickned, 
 and ibme blew Verditer. 
 
 \6. Colours for Buildings 
 
 When yon colour Buildings, do it with as much 
 variety of pleafanc colours as poflible can be imagi- 
 ned, yet not without reafon, and lee difcretion rule 
 you in mixing your Colours; in colouring of Build- 
 ings you may ufe fometimes White and Black for 
 the Wall, Conduits, or other things ; for Bnck- 
 houfes and others you may ufe Red-Lead and 
 White ; when many Houfes irand together,colour 
 them with various colours as you can} about 
 Buildings ufe fometimes Umber and White, and 
 fometimes Lake and White, or Red-Lead and 
 White for variety. 
 
 i 
 
 17. How 
 
I xz l he hxceuency of book V. 
 
 jj. How to Shadow every colour in Garments, 
 \ or Drapery. 
 
 Take this Rule, that every Colour" is made to 
 (hadow it felf,or if you mingle it with White for the 
 light, and fo {hadow it with the fame colour un- 
 mingled with White, elfe take off the thinneft of 
 the colour for the light, and fo (hadow it with the 
 thickeft bottom ofthecolour;if you will have your 
 ftiadowofadarker colour, then the colour it felf 
 istofhadow the deepeft places. 
 
 CHAP. ni. 
 
 General Rules to he obferved. 
 
 j. QAp-green is only ufed to (hadow other 
 O Greens, and not to be laid for a ground in 
 any Garment. 
 
 z. Lake muft not be fhadowed with any colour, 
 for it is a dark Red ; but for variety you may (ha- 
 dow it fometimes with Bi(e, or blew Verditerj 
 which will make it (hew like changeable TTaffata. 
 
 3. Blew Verditer is (hadowed with thin'Indico. 
 
 4. Blew Bife is (hadowed with Indico in the 
 darkeft colours > Yellow-berries, the natural (ha- 
 dow for it is Umber, but for beauties fake it is fel- 
 dom (hadowed with Umber, but with Red-Lead; 
 the darkeft touches with Spanijh Btown ; and for 
 
 . - varieties 
 
Part V. The Pen and Pencil. i % j 
 
 varieties fake it's (hadowed with Copper-geen 
 thick, and with blew Bife, or blew Verditer. 
 
 What Colours fas offk/l together. 
 
 i. Whites are very ufeful in all CoIours,and feis 
 off Black and Blew very well ; but Blacks are not 
 much ufed, but upon neceftary occafions in fome 
 cH$Sgs, as your judgement (hall dired you. 
 
 M Reds fets off well with Yellows. 
 
 3. Yellows fets off well with Reds, fad Blews 
 : Greens, Browns, Purples. 
 
 4. Blews fets off well with Reds,Yellows, Whites, 
 IBrowns,and Blacks; but Blews fet not off well with 
 Greens and Purples. 
 
 5. But Greens fets off well with Purples, and 
 Reds. 
 
 SECT. II. Directions for the Mixing of 
 jour Colours. 
 
 TO mix any Colour, be careful that you make 
 it not too fad; when you mix your Colours be 
 careful you put not your Pencils out of one Colour 
 into another, for it will fpoil and dirty your other 
 Colours, except you wafli your Pencils clean. 
 
 When you mix any Colours,ftir them well about; 
 the waxer being well coloured, pour it out into a 
 Shell, and ftir the reft of the Colours and mingle 
 them together ; pour out the Colour firft, that you 
 may the better know what quantity of the fadder 
 will ferve. 
 
 FINIS. 
 

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