The art of dravving vvith the pen, and limming in water colours more exactlie then heretofore taught and enlarged with the true manner of painting vpon glasse, the order of making your furnace, annealing, &c. Published, for the behoofe of all young gentlemen, or any els that are desirous for to become practicioners in this excellent, and most ingenious art, by H. Pecham., gent.

• 1. The excellency of painting.
• 2. The antiquitie.
• 3. Much esteemed in times past.
• 4. The manifold vses thereof.
• 5. Necessary to be taught.

CHAP. 1.

PICTVRA, or painting in generall, is an art which ei∣ther by draughte of bare lines, liuely colours, cutting out or embossing, expres∣seth any thing the like by the same: which we may find in the holy Scripture both allowed, and highly com∣mended by the mouth of God himselfe; where he calleth Bezaleel and Aholiab, Men whom he hath filled with the spirit of God in wisedom * 1.1 and vnderstanding, and in knowledge, and in all workman∣ship, to find out curious workes, to worke in gold, and in siluer, and in brasse, also in the art to set stones, and to carue in timber &c. There plainly shewing, as all other good arts, so caruing or drawing to be an especiall gift of Gods spi∣rit.

In another place he goeth farther, and as it were challengeth to himselfe the Mastership of the compa∣ny in that his Maiestique Erotema in lov in these words: Hast thou giuen the pleasant wings vnto the Peacocks? and * 1.2 wings and feathers vnto the Ostrich? whereas disabling the wit of man by his owne excellency: he giueth vs to ad∣mire that admirable wisedome in disposing so many beautifull colours, from the wings of the proude Pea∣cock and Ostrich vnto the poore Butterflie, that astoni∣shed I may say with Aristotle, euen in these little painted Creatures there is 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 and in the very border of one of their wings, and euident tast of the diuine Omni∣potency. But as Picture hath been allowed of God, so it hath aswell among Christians, as the Heathen bin ho∣nored from all antiquity, and always sound fauour with the greatest wits and mightiest Monarchs of the world; * 1.3 insomuch as Aristotle in his Politiques accounteth it among those liberalia Paedeumata, and counselleth it as an especiall thing to bee taught vnto children: and not long after by the authority and labour of Eupompus a learned Geometrician and painter, it was taught in all Grammar schools throughout Greece. But some will tell me; Mechanicall arts, and those wrought with the hand are for the most part base, and vnworthy the prac∣tize of Gentlemen and great personages. I confesse the Lord of Bartas hath said: L'eur esprit se'n fuit au bout des * 1.4 doigts. But forasmuch as their ends are honest, & them∣selues but the exercises of praegnant, & the finest wits: I see no reasō (as one saith) why nature should be so much wronged in her intētion, as not sōtime to produce into action that wherto she is well inclined: And no more disgrace to a Lord to draw a fair picture, then to cut his

Hawks meat, or play at footeball with his men. Achilles thought no scorn to be so cunning in cookery, that whē certain embassadors came vnto him, his own hāds dres∣sed them a great & roial supper: & Homer to no smal cō∣mendation of his Vlisses (vnder whose person he shapeth * 1.5 an absolute wisemā) saith he could make his ships him∣self. Quintus Fabius (whose stock was one of the noblest in Rome, after called Pictore,) with his own hāds painted the wals of the temple of Salus, & wrote his name vnder∣neath. Pomponius Atticus (a man of singular wisedom, & so loued of Tully) after he had composed a Poem of sun∣dry deuises, beutified it with picturs ofhis own drawing. The Emperor Constantin gat his liuing a long time by pain∣ting. * 1.6 And in Plinies time certain festiuall days were yeer∣ly appointed at Corintth for exercise of picture for great prizes & wagers. Since painting then hath been so well esteemed, & of it own nature so linked with other arts, as many of them can hardly stand without it: I think, not for pleasure only, but of necessity most needful to be ex∣ercised, of all such that either study the Mathematicks, mean to follow the wars, or trauell into sorreine coun∣tries. I haue heard many & excellēt men of these seueral qualities lament so great a wāt in themselues, otherwise most absolute. My scholer then I would make choise of, I wold haue a yong Gentlemā, if it might be, who were inclined to drawing by nature, at the least a welwiller & louer of it; & as Tully would haue in his Orator, so I re∣quire * 1.7 in him aliquid redundans & ampu••andū, a prety fan∣tastical head & something (as chips of the sound timber, which cōmonly the best wits are subiect vnto) to be pa∣red of; with all daily & cōtinuall practise, were it but A∣pelles his vna linea, without which it is impossible forhim

to attain to ready draught, & les to excellecy in general

• 1. The most excellent painters of old time.
• 2. The great value and prizes of pictures.
• 3. Of certaine women that haue excelled herein.
• 4. Of Statuary or caruing.

CHAP. 2.

PAinters at the first (saith Aelian) were such būglers and so rude, that they were * 1.8 fayn to write ouer a Cow or a Hog, what beast it was: otherwise the behoulder could not tell what to make of it; but in a short time they grew to that perfecti∣on, that they were honoured well nigh as Gods, as Me∣trodorus the Athenian: of whom, as of the rest that were famous in their times (aswell for the dignity of this art as for the Readers recreation) I will make mention, as I find in Plinie, Pausanias, and others.

Apollodorus among the Athenians was the first that * 1.9 did expresse the life with colours, and that was famous for his pencill.

Euphranor a painter of Isthmos, was the first deuiser ofEmblems, and heroicall Impresa's for shieldes, and * 1.10 the first that obserued Symmetry, or proportion, wherof he wrote many volumes.

Parrhasius aboue all others excelled in black & white, * 1.11 and had the principall commendation for his Arte in casting and curling the hayre.

Pyreicus (as Volaterane saith) was only famous for counterfeiting all base things, as earthen pitchers, Bar∣bers * 1.12 shops, a scullery, Rogues together by the eares,

swine sleeping in the my••e &c: Whereupon hee was sirnamed Rupographus, that is, a painter of base things.

Aristides was the first that expressed sence and pas∣sion, * 1.13 as in that peece of his, where he painted a mother deadly wounded, with her child in her armes, striuing for the Teat; she weeping in extreame passion, loath to deny it her brest, and loath to let it suck, for feare of kil∣ling it with her own blood, which in great aboundance issued foorth with her milke. This table Alexander cari∣ed with him to Pella.

Nicophanes had attributed vnto him the statelines of * 1.14 Inuention.

Protogenes was the first that could lay his colours so * 1.15 artificially, that one being worn off, another succeeded fresh, to the number of fowr or fiue: it is saide when he vndertooke any excellent peece, hee would obserue a strict diet; eating only pease, lupines and such like, to the intent his wit and inuention might becom the more sharpe and fine: Amongst his other workes his Lalysus or Bacchus hath the principall praise, which table (when Demetrius Poliorcetes besieg'd the Rhodes) being in the Iland, he refused to enter where he hearde it was kept, least by the rudenes of his souldiers it might receiue harme: protesting as Plutarch saith, that he had rather burne all his fathers Images: which occasion at that * 1.16 time being ouerslipt, his enterprise came to no effect. Aelian saith this table was seuen yeers in making.

Apelles who liued in the 1012 Olympiade excelled all * 1.17 the others, yet for action and disposition, he gaue place to Amphion: many times hee would sayle ouer to the Rhodes to see Protogenes and his worke: among his pee∣ces the picture of Alexander at Ephesus, and his Venus

which he left at his death vnfinished in Chios were the most notable.

Galaton surpassed all others of his time, for witty conceit * 1.18 & Inuention: amongst other his deuises, he drew Homer vomiting, and a number of pety Poets gathering it vp.

Claudius Pulcher painted Tiles so artificially, that Ra∣uens lighted vpon them. * 1.19

I will passe ouer the artificiall peeces of Zeuxis, L: Man∣lius, Pacuvius a Tragedian Poet, Metrodorus a most cun∣ning painter and a great Philosopher; who, when L: * 1.20 Paulus wrote vnto the vniuersity of Athens to prouide him a graue and learned Schoolemaster for his sonnes, was chosen by generall consent, and sent to Rome, as the fittest man both to teache his children, and to adorn his triumphes.

Nor will I make mention of others of later times, as Hercole di Ferrara, & his notable workmanship seen this * 1.21 day in Bononie. Bellino the venetian, whose fame caused the Turk to send for him, frō whom he returned roially rewarded. Vnicio, and his admirable peece of the twelue Apostles in the church of our Lady of grace in Millan: * 1.22 Pisanello that so beautified the Church of Laterane in * 1.23 Rome, which the world may scarce match for rarenes & tenuity of shadowing: Petro de Burgo, that so excelled in perspectiue. Zoto the Florentine with many others. Nor * 1.24 of those of neerer and our own times, as Michael Angelo & his brother, Alberdure, Stradane, M. Hilliard & M. Isaac our own countrimen; because their works are yet scarce dry in the world. Now least you shold esteem but basely of this art, & disdain your pictur because you may haue it for a trifle (which I acoūt a fault in many of our good workmen) I will tell you the prizes of some peeces of

note aswell in ancient time, as of late days. Caesar the dic∣tator * 1.25 redeemed the tables of Aiax & Medea for 80. tal. which amounteth to 24000 french crowns, I speak with the least, because I take minus talentum alt: cum (sor gene∣rally where you find talentum in any Latin author, as in Tully pro C: Rabirio Posthumo and in his Epistles ad Attic. & som other places where you haue it oftnest: you must vnderstād the Athenian talent, except you haue the ad∣dition of Aegineum, Sirium, Babiloniū, &c) the greater was bigger (as Budaeus saith) by a third part: K: Altalus paid for * 1.26 one of Aristides peeces an hūdred talents. Hortensius the Orator gaue for a table of the Argonatae 144 talents, Mnason paid to Asclepiadorus for the 12 Gods, after 300 pound sterling a peece. Candaules K: of Lydia gaue to Bu∣larchus for a peece of his the weight of the same in gold. Pope Innocent the 8 a worthy fauorer of all good artes, bestowed vpon Andrea Mantega his painter in the Belue∣dere in Rome, 2000 ducats for a months pains. The Ge∣noans paid vnto two Germane painters for the battel of Patras fought between don Iohn of Austria, & Hali Bassa 187 ducats. And what a round sum was once offered by strāgers for S: Magnus altar cloth in London: many other examples might be alledged, but I haue said enough to shew that arts haue alwais bin wel paid their hire, & the professors bin had in esteem with the worthiest men. Neither hath picture bin peculiar to men only, but also women hauebin excellent herin. Timarete the daughter of Micon, a famous paintres drew Diana, which at Ephe∣sus was counted among the best and ancient pictures.

Olimpias taught Ant••bulus the art of shadowing, there wer other very famous herein, which for breuity I omit: as Irene, Calipso, Lala, Aristorete. But we end with those

famous Artists leauing them to their graues, and their works to the admiration of all posterity, and speake of Statuary or Caruing, which thus farre differeth from painting; this doth expresse hir image in the plaine or smooth superficies imaginarily; the other in the hollow and vneuen superficies, really. It hath been I confesse in as great account as painting; yet it deserueth not alto∣gether to well, because it is more rude and rough in ex∣ercise, and worketh not with so fine a iudgement: for painting is tied to counterfeite all shadowes, expresse the life, sence and passion, whereas in caruing they fall in with the chissell, and nothing els required but an euen proportion.

• A painter not priuiledged to draw what he list.
• 2 Great abuses may arise of Painting or drawing.
• 3 How and when to vse it.

CHAP. 3.

AS I woulde haue my scholler take his pleasure, so would I not haue him buy it at too deeer a rate, either with losse of ouermuch time in neglecting the maine profession, or of his eares for a libeller, defaming honest men by ilfa∣uoured pictures: as drawing them with Asses ears, huge noses, hornes or such like, neither to thinke with Horace that he may quidlibet audere: for there be some things that ought to be free from the pencill, as the picture of God the father: or (as I haue seene) the whole Trinitie painted in a glasse window: which hee cannot do with∣out

artificiall blasphemy, and reuiuing from hell the old heresie of the Anthropomorphites who supposed God to be in the shape of an old man, sitting vpon his throne in a white Robe, with a triple crowne on his head. I know what diuers haue in this behalfe al∣ledged, * 1.27 one speciall place they haue in Ezechiel in the vision of the throne, but howsoeuer, it is misliked by many good Catholiques, and none of the worst de∣uines in their owne Catechismes and confessions, though especially and in plainest termes by Lorichius * 1.28 in these words. Est praeterea abusus imaginum quod san∣ctam Trinitatem praesumpsimus exprimere, quod haeresis est pestilentissima, quid enim magis S: Trinitati aduersum, at∣que Patrem effingere senis silicernij effigie, filium iuuenis formam habentem, spiritum sanctum alitis speciem volitan∣tis referentem: Quid I diotae ex tali libro didicisse poterint? errorem sane & haeresim. Secondly he must abstaine with Christian modesty from drawing arts of filthi∣nes, & laying open those parts which Nature would haue kept secret: what hurt hath that abhominable Aretine done by his booke and baudy pictures? and what lewd art is ordinarily showen in the naked pic∣tures of wax sould vp and downe as libidinis fomenta? Surely I must commend art in them, though detest their wicked makers and abhominable ends. For the time of drawing, I woulde haue my Scholler take it when he is wearied at his book, forced to keep home by reason of foule weather, or sollicited by idlenesse to some wors businesse: hauing chosen such a conue∣nient time, let him make or buy him a fayre paper book for the nonce, to begin to practise in, and keep very carefully that he hath done, by which he shall

see how hee profiteth daily, auoyd scribling in loose papers and (keeping his hand from walls or wain∣scot) to deale plainly the bable: For Il muro bianco car∣ta di matto passeth currant through Italy.

Instruments necessary for drawing. CHAP. 4.

I Am not ignorant of sundry waies that haue beene deuised to teach draught, as namely by crossing the pattern, then your owne paper with equall spaces, filling the same as you finde in your example: also drawing vpon a lanterne horne, with a paper blackt with a torch, and such, like: neither do I mislike any such conuenient help to a yong learners furtherance; but if you wil learn to the purpose, and grow cunning in short time, you shoulde rather fall to it onely by your owne conceipt and Iudgement, and let those * 1.29 toyes goe, you must first get you black lead sharp∣ned finelie: and put fast into quils, for your rude and first draught, some ten or twelue.

Moreouer you must not be without as many Sal∣low * 1.30 coales, sharpned at the ends: you shall chuse them thus, they are more blew and finer grained then the other coales, smooth (being broken) like fatten: you shall sharpen them vpon one of your fin∣gers, as also your black lead; otherwise they will quickly breake and point sharp.

Get you also a small paire of brazen compas∣ses * 1.31 and Brasill rule, for taking the distance, if you

followe a printe; and bee not without the crums * 1.32 of fine manchet or whitebreade, to rubbe out your lead or coal, when you haue done amisse, or fini∣shed your worke.

Scriueners & Schoolemasters in the Country that teach to write haue diuers small pensills of broome, with which they shadowe greate letters in * 1.33 coppy bookes very pretily: they are made in this manner, take a broome stalk about the bignes of a spoone handle, and cut it euen at the end, when when you haue done, chewe it betweene your teeth till it be fine and grow heary at the end like a pensill, but I care not how little you vse them, because your pen shall doe better & shew more art.

For your drawing pennes, neuer be without twen∣ty or thirty at a time, made of Rauens and goose quills; your Rauens quills are the best of all other, to write faire, or shadow fine, your goose quils serue for the bigger or ruder lines.

The first practise. CHAP. 5.

HAuing these in a readines, you shall prac∣tise for the space of a week or there abouts, to draw Circles, Squares of all sorts, a Cy∣linder, the ouall forme, with other such like solid and plaine Geometricall figures, till you can doe them indifferent well, vsing the helpe of your

rule and Compasse: the reason of exercising you first in these is, when as Symmetry or proportion is the very soule ofpicture, it is impossible that you should be ready in the bodies, before you can draw their ab∣stract and generall sormes, and haue woonted and made your hand ready, in proportions of all sortes, which are compounded of the same, as for example, your Circle will teache you, to draw euen & truly all sphaericall bodies which are, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 of like parts and formes, as the Sun, Moone, Stars, &c. The most flowers as the Rose, Marigold, Heliotropium, Daisie, &c: the most vessells as cups, Basons, Bowles, Bottles, &c. The square will make you ready for all manner of compartments, bases, perystiles, plots, buildings, &c: your Cylinder for vaulted turrets and round buildings; your Orthogonium and Pyramis, for sharp steeples, turrets and all things, in mucronem fastigiata, your Ouall forme will help you in drawing the face, a shield, or such like: so that you may reduce many thousand bodies to these few generall figures, as vnto their principall heads and fountaines.

After you are cunning in these figures (beginning with the Circle and) imitate some thing of Circular forme, what you shall think good, in which as in all the other aforenamed proportions you shall worke and help your selfe by the Diameter (which is a strait line, drawn long waies iust in the midst of your circle or square) and which will guide you marueilously in your work: for example if I would draw the Sun, so soone as I haue made a fayr Circle I draw (with cole or lead that I may rub it out againe) my Diameter, or line down the midst, ou••r which if you will again,

you may draw a crosse line, both which deuide your Circle equally into 4 parts as you see.

[illustration]

Which Diameter with the crosse line, are not onely your directors for the equall placing of the greater & lesser beames, on the side as you may perceiue: but also for the drawing of the nose, mouth and eyes e∣uen, in the midst of the face.

I will giue you another example of a goblet, first I make a halfe or semicircle for the bowle, downe the midst of which (as low as I would haue the foote to come) I draw my Diameter or straight line, which being done, the worst is past: you must now marke, I am not tied to make my bowle as roūd as the circle, but long or what fashion I list, no other vse hath the Circle there then to guide me euen on either side, whether I make it broad or narrow, long or short, embosse it or howsoeuer, the other part of the line

causeth me to make the foct euen as you see.

[illustration]

which line and circle (as I said before) you may with your white bread rub out, when you haue done.

In these and such like you may at your pleasure find infinite variety to set your selfe a worke with, till you ar able, Sine cortice natare, to fall to work by your own iudgement; which you shall do in your next and se∣cond practise.

The second practise. CHAP. 6.

YOu shall, next after your hand is grown ready in the aforesaid pro∣portions, practise to draw smal and easie things, comming as neer your former examples as may be, by your conceipt only: as a cherry with the leafe, the shaft of a steeple, a single or canker Rose, &c. wherin you shall begin to take some delight, and find no great difficulty.

But in drawing these and whatsoeuer els, I must not forget to tell you; that you must be perfect and quick in the generall or outward lines, and giue them a rea∣sonable

good proportion, ere you fall to shadowing or tricking your work within: wherfore I would haue you make an essay 6 or 7 times at the least for the ge∣nerall proportion only: if at the first it be not to your mind, as for exāple in drawing of a rose, be sure that the compasse of it be not faulty, ere you cast out the leaues by 5 equal lines, or in making a womans ruffe, that you skore it out first narrow in the neck, then wi∣der from the cheekes, and narrow againe vnder the chin very truly, ere you add the lace or seting, al which is don with I line which I cal the general or extream. For those sorms that are mixed & vncertain, & where your circle and square cā do you no good (being left only to your Idea) as in a Lion, a Horse or such like: you must work altogither by your own iudgement, & win the proportion by dailie practise, which wil seem very harsh & strange vnto you at the first, but to help your self herein you shall do thus: hauing the generall notion or shape of the thing in your mind you mean to draw (which I doubt not but you may conceiue and remember as wel as the best painter in the world though not expresse according to the rules of art) draw it with your lead or coale after your own fashiō * 1.34 though neuer so badly, & laie it from you for a day: the next daie peruse it well, bethinke your selfe where you haue erred, and mend it according to that Idea you carrie in your mind, in the generall propor∣tion: when you haue thus done, laie it by again til the next daie, & so cōtinue for 5 or 6 daies together, cor∣recting by degrees the other parts euen to smal vains as your discretiō wil serue you, this may you do with 40 papers at once, of seuerall things, hauing done

what you can (though not to your liking) confer it by the like, some excellent print or patterne of the same, vsing no rule or compasse at all but your own iudge∣ment in mending euery fault lightly, and with a quick hand, giuing euery place his due; whereby you shall of all sides meet with your errors and find an incre∣dible furtherance to your practise: though hereunto is required I must confesse, a strong imagination and a good memory, which are the midwiues to this arte and practise as in all things els the nurse that bringes it to the ful growth and perfection.

Of drawing the face or countenaunce of a man. CHAP. 7.

SInce man is the worthiest of al crea∣tures, and such pleasing variety in countenances so disposed of by the diuine prouidence, that among ten thousand you shall not see one like another (as well for breeding de∣light, as for obseruing a methode after you haue pra∣ctised according to your former directions in other things) you shall begin to draw a mans face, in which as in al other creatures you must take your beginning at the forehead, and so draw downward till you haue finished.

The visage or countenance is (for the most part) * 1.35 drawn but three manner of waies, the first is full fa∣ced, as commonly we see King Henry the 8 drawne:

The second is 3 quarter faced, as our Flanders and ordinarie pictures are, that is when one part of the * 1.36 face is hid by a quarter as thus:

[illustration]

The third is onlie halfe faced, as you see the pictures of Philip and Mary vpon a twelue pence. * 1.37

For draught of a full face you must beare in memory and narrowlie obserue the breadth of the fore head, and the compasse of both the cheekes, all which are composed of two lines as thus:

[illustration]

And be carefull to giue as precise an euenesse to one side as to the other; causing both your lines to meete at the tip of the chin: your diameter guideth you for

the euē placing (as I said) of nose & mouth, your other line for the iust oppositiō of the eies between which in distāce for the nose, always leaue the space of an ey

The end of the nose in ordinary proportion must be brought no lower then the middle of the cheek, * 1.38 from whence to the chin is for the most part as far, as from thence vpward to the eie browes.

The nose of a ful face must not be expressed with ap∣parant lines, but with a very fine shadow on each side as you see.

An eie is commonly drawn in this manner.

[illustration]

To make an angry or sterne countenance let your brow bend so, that it may almost seeme to touch the ball of the eie; at what time you must also giue the forehead a fine wrincle or two, and withall the vpper part of the nose betweene the eies.

A great conceipt is required in making the eie * 1.39 which either by the dulnes or liuely quicknes there∣of giueth a great taste of the spirit & disposition of the mind, (which manie times I will not denie may be aswell perceiued by the mouth, & motion of the body,) as in drawing a foole or ideot, by making his eies narrow, and his tēples wrinkled with laughter, wide mouthd, or shewing his teeth &c. A graue or reuerend father by giuing him a demisse and lowly countenauce, his eie beholding you with a sober cast which is caused by the vpper eielid, couering a great part of the ball, and is an especial marke of a sober & staied braine within, Nazianzen when hee beheld * 1.40 Iulian (long time before hee was Emperour of A∣thens,

at the verie first sight of his countenance, (Prae∣saging his future disposition) burst forth into these words; Deus bone, quantum malum fouet romanum im∣perium: * 1.41 for (as he witnesseth himselfe) there was not any signe of goodnes or towardnesse in him, his eies rowled in his head, wandring and turning fearefully now this, now that waie; sparkling with furie & an∣ger, his nose was grown wrinckled with scoffing and deriding the rest of his countenance tending to mockery, his laughter so immoderate that his whole body would shake therwith, his shoulders shrinking to and fro, to his neck: his legges and feete seldome standing stil; his questions and answeares suspitious, rash, and often interrupted by short fetching his breath: by which signes the good man foresawe his inbred tyranny and vile disposition, which after burst forth into an horrible persecution and open rebellion against God and his church. A Graecian * 1.42 Captaine in like manner noting very often the cast of the eie & countenance of Scylla, together with his gesture and motion of bodie, vsed these words: it is impossible but this gentleman one day shoulde prooue a great commaunder, and I meruaile that he is not aduanced all this while: by which examples and the like, I prooue that there is a certaine iudici∣um, or notice of the mindes disposition inly im∣printed by nature euen in the countenaunce, and many times in the the eie or mouth, which (as I haue said) you must be carefull, as you shall haue oc∣casion, warily to obserue.

Now for the mouth (though least of all other a∣ny * 1.43 generall rule may bee giuen for it,) it consisteth

principally of two lines whereof one expresseth the mouth it selfe, the other the neather lippe: the ouer∣lipp is best showen by a shadow cast ouer the crosse line as you see: which shadowe and crosse line if you drawe by the life muste bee hit at an heyres breadth, and if your picture bee little, you cannot thinke so small a thing as giueth or quite ta∣keth awaie the tutch and resemblance of the mouth: and to saie truly it will bee the hardest peece of cun∣ning that euer you shall meet withall: therefore you had need cause the party whome you will drawe to sit as we saie, Vultu composito, without stirring or al∣tering the mouth were it neuer so little: wherefore you shall I beleeue find (a mās face) aboue all other creaturs the most troublesōe vnto you: for either they will smile, be ouerlooking your hand, or setting their countenances to seeme gratious and comely, giue you choyse of twentie seuerall faces.

The proper and ordinary shadowes of the full face.

IT is true that some do affirme, there can be no ge∣nerall rule giuen for shadowing the face; the rea∣son is, euery seuerall countenance hath his proper shadowe as it falleth, fat, lean, swoln, wrinckled with age, or deformed by some other accident: but their argument is much at one with that I remember a Welshman vrged in good sadnes in the schooles when I was Sophister in Cambridge: Wales was ful of hills & dales, Ergo the world was not roūd: but to our purpose, The shadowes that fall naturally in this

face are these, first a single shadowe in the temples, then a double shadow in the corner of the eies, a cir∣cular shadow down the cheek, vnder the neather lip, a little vnder the nosethril, frō the side of the nose to the corner of the mouth, what these seueral shadows and there vses are, you shall know anon.

Of the three quarter face.

The three quarter face, as I haue said, is diminished by a fourth part, where some part of the eie & cheek are taken away by the nose and made lesse: so that the cheek in full sight must not onely haue his due proportion allowed him, but as much of the head & neck as was taken away from the other side.

In this face both the eies ought not to be made of equall bignes, because the eie is lessened with the cheek, as likwise a corner of the mouth; the shadows in a manner are all one with the full face, saue in this the neck & cheek are commonly deeply shadowed.

Of the halfe face.

The halfe face of all other is most easie, insomuch that if you will, you may draw it onely with one line neuer remoouing your hand; in this you are to shew but half an eie, and the eare at full, as you see.

[illustration]

In making a true eare there is some difficulty, where∣fore I haue giuen an example by it selfe.

Of the whole bodie. CHAP. 8.

WHen you are grown something perfect in the face, and can draw the head in∣different well, you must be carefull to proportion the body thereafter, then the error of which, no one falt is more common with most painters: for you shall scarce see one among twenty but will draw the head too big, which if you obserue, you shall find in * 1.44 most pictures: help your selfe herein by setting a boie before you, causing him to stand which waie you list, and so to wont your iudgment to the proportion by little and little: hauing finished the head, draw the * 1.45 neck, beginning it with one line from about the tip of the eare; then draw the other downe from the ball of the cheeke (which is lessened on the other side) as far as you think good to the shoulder, where staie, till you haue shadowed it: the shadowes of the neck in a child or yong woman are verie fine, rare and scarcelie seen, but in a man the sinews must be expressed, with the vaines, by shadowing the rest of the neck, & lea∣uing them white. For the proportion of the other parts (because Master Haddocke hath preuented mee, whose booke in anie case I would haue you to buie, after you are well entred) I will omit and shew you onlie such eminences which by shadow must be ne∣cessarilie

expressed: after you haue don the neck, you are to expres the wing or vpper part of the shoulder * 1.46 by shadowing it vnderneath, the brawne of the arme must appeare full, shadowed on one side, then show the wrist bone thereof and the meeting of the vaines in that place, the vaines of the back of the hand, and the knuckles, are made with 2 or 3 heare stroaks with * 1.47 a fine touch of your pen: the paps of a mā are shown by two or three fine stroakes giuen vnderneath, in a woman, with a circular shadowe well deepened, the ribs are so to be shadowd, as you doubt whether they appeare or no; except your man were starued, or you should draw death himself: the bellie shall be eminēt * 1.48 by shadowing the flanke, and vnder the breast bone: the brawn of the thigh shall appear, by drawing smal * 1.49 heare strokes from the hip to the knee, shadowed a∣gain ouerthwartlie: the knee pan must be shown with the knitting thereof by a fine shadow vnderneath the ioynt; the sh nbone from the knee to the insteppe, is * 1.50 made by shadowing one halfe of the leg with a single * 1.51 shadow, the ankle bone will shew it selfe by a shadow giuen vnderneath, as the knee; the sinews must seem to take their beginning from the midst of the foot: & to grow bigger the neerer they are to the toes.

There is a great art in making the foote wherein your shadowes must take place as occasion serueth, and to saie the trueth, so they must in the other parts, * 1.52 but naturallie they fall as I haue saide; for teaching you the true shadowing of a naked bodie; Goltzius is one of the best whom aboue any other I wish you to ••mitate.

Of Shadowing.

That you might better vnderstand what I meane in this last chapter by so manie kinds of shadowes, I will ere I go farther shew you what they be, with their seuerall vses.

The first is a single shadow, and the least of all other, and is proper to the plaine Superficies where it is not wholelie possessed of the light; as for example: I draw a fowr square plate thus, that shaddowe, because there is no hol low, but all plain (as neerest parti∣cipatinge with the light) is most naturall and agreea∣ble to that bo∣die.

[illustration]

The second is the double shadow, and it is vsed when * 1.53 the Superficies begins once to forsake your eies as you may per∣ceiue best in a column as thus: where it beeing darkned double, it presenteth to your eie (as it were) the back∣side, leauing that vnshaddowed to the light. Your treble shaddowe is made by cros∣sing ouer your double shadowe againe, which darkeneth by a third part in this manner, as fol∣loweth.

[illustration]

It is vsed for the inmoste shadow and farthest from the light, as in gulffes, chinks of the earth, wells, caues within houses (as whē you ima∣gine to look in at a doore, or window) vnder the bel∣lies & flanks of beastes to shew the thik nesor darknes of a mygh∣ty wood, that it may seem nulli penetrabilis astro: consequently in al places where the light is beaten foorth, as your reason will teache you.

[illustration]

Generall rules for shadowing.

You must alwaies cast you shadow one way, that is, on which side of the body you begin your shadow, you must continue it till your worke be done: as if I would draw a man, I begin to shadow his left cheeke, the left part of his neck, the left side of the left arme, the left side of the left thigh, &c: leauing the other to the light, except the light side be darkned by the op∣position of an other body, as if three bowles should stand togither, that in the midst must receiue a sha∣dow on both sides.

2. All circular and round bodies that receiue a concentration of the light, as the light of a burning glasse, when it dooth gather it selfe into a small center, must bee shadowed in circular manner as

thus: All per∣fecte lightes do receiue no shadow at all, * 1.54 therefore hee did absurdly, that in the trāsfiguration of our Sauiour in the mounte not gaue his garmentes a deep shadow, but also thin∣king to shewe greate Art, hee gaue the beams of the lighte it selfe a deeper, both which ought to haue beene most glorious, and all means vsed for their lustre and brightnes; which hath been excellently well obserued of Stradane, and Golt∣zius. Where contrary shadowes concur and striue (as * 1.55 those crosse winds about Aeneas his ship) for superio∣rity, let the nearest and most solide body bee first ser∣ued. In the double and treble shadows, let your first strokes be very dry for fear of blotting, ere you crosse them.

[illustration]

It will seeme a hard matter to shadowe a gemm * 1.56 or well pointed Diamond, that hath many side•• and squares, and to giue the lustre, where it ought but if you remember and obserue the right vse o•• your shadowes giuing the light to the lightwarde which I haue taught you, you shall easily do it of you•• selfe.

A merry iest of two Painters.

VVHilest I lay in Huntingdon, there grew a qua••rel between two painters, the one a strau••ger and a Soiourner, the other dwelling in t••••

towne, the ground of which quarrell was a secret aemulation betweene them (as commonly falleth out among tradesmen of one profession) which burst out so farre, that at length one challenged to paint with the other for a wager of 20 nobles; the picture which should be drawn (because the strā∣ger had already made and sold many) was the picture of Christ, and my selfe chosen iudge of the workmā∣ship: great aduice and deliberation was taken on both sides (Now the painter of the towne to shew (as he thought) extraordinary art in shadowing, had laid with charcoale in a deepe blew the cheeks and eies of his picture) at the last, the worke beeing fini∣shed, and both ready to heare my verdict; Newman the stranger who was the better workman so soon as he saw his aduersaries worke, God forgiue me (quoth hee) heers a picture with a witnes, it looks as if it had been beaten black and blew: and I pray you (quoth the other) was not Christ buffeted, whereat certain gentlemen present, and my selfe took so good an oc∣easion of laughter (hee speaking it in an honest sim∣plicity to saue himselfe) that wee could do no lesse then make them both frinds giuing them their mony again; & thus much of shadowing.

Offore-shortning. CHAP. 9

FOreshortning is when by art the whole is conclu∣ded into one part, which onely appeareth to the sight: as if I should paint a ship vpō the sea, yet there

should appeare vnto you but her fore part, the reste imagined hid, or likewise an horse with his brest and head looking full in my face, I must of necessity fore∣shorten him behinde because his sides and flanks ap∣peare not vnto me: this kind of draught is willingly ouerslipt by ordinary painters for want of cunning and skill to performe it; and you shall see not one thing among an hundred among them drawn in this manner, but after the ordinary fashion side waies, & that but lamely neither: I neuer beheld more abso∣lute skil in his kind then in some of the Pageantes at the coronation of his Maiesty; but I would not haue you meddle with it till you were growen very cun∣ning in pour plaine Draught.

The vse of foreshortning.

THe vse of foreshortning is to expresse all man∣ner of action in man or beast, to represent ma∣ny things in a little room, to giue or shew sūdry sides of Citties, castles, forts, &c, at one time.

Of Landt-skip. CHAP. 10.

LAndtskip is a Dutch word, & it is as much as wee shoulde say in English landship, or expressing of the land by hills, woodes, Castles, seas, valleys, ru∣ines, hanging rocks, Citties, Townes, &c. as farre as may bee shewed within our Horizon. Seldome it is drawne by it selfe, but in respect & for the sake of some thing els: wherfore it falleth out among those thing which we call Parer∣ga,

which are additions or adiuncts rather of orna∣ment, thē otherwise necessary: as for exāple I should Draw the citty of London, I would beside the citty it selse, shew in vacant places (as far as my table or Ho∣rizon would giue me leaue) the Country round a∣bout, as Shooters hill, and the high way winding vp there between the woods, the Thames to grow lesse and lesse, & appearing as it were a dozen mile of, heer and there scattered with shippes and boats: Green∣witch with the tower there and such like, all which are beside my purpose, because I was tied to nothing but the citty itselfe: this kind of all other is most plea∣sing, because it feedeth the eie with varietie. Before you make your Landskp, you must haue perfected all your other work, & let that be the last: you may draw it at your discretion (except you be tied to the con∣trary, & make it either plaine, hilly, all sea, &c: as for your superficies I meane of rising or declining of the ground with hilles or Dales, let it fall out how it will, because you cannot drawe it so rough with hills, or with so euen a plainnes but the earth hath the like in on place or other.

Generall rules for Landtskip.

YOu shall alwaies in your Landtskip shewe a fair Horizon, and expresse the heauen more or lesse either ouercast by clouds, or with a cleare sky, shewing the sunne rising or setting ouer some hill or other: you shall seldome, except vpon ne∣cessity, shew the moone or stars, because we imagin al things to be seene by day.

2. Yf you shew the Sunne, let all the light of your trees, hils, Rocks, building &c be giuen thitherward: shadow also your clouds from the sunne: and you must be very dainty in lessening your bodies by their distance & haue a regard, the farther your Landsskip goeth to those vniuersalia which as Aristotle saith (* 1.57 in respect of theyre particulars concealed from our sences) are notiora: as in discerning a building 10 or 12 miles off, I cannot tell whether it bee Church, Castle, gentlemans house, or the like: So that in drawing of it I must expresse no particular signe as bell, portculleis &c, but shew it as weakly and as faint∣ly as mine eie iudgeth of it,, because all those parti∣culars are taken away by the greatnes ofthe distance. I haue seen a man painted comming downe a hill some mile and a halfe from mee, as I iudged by the Landtskip, yet might you haue told all the buttons ofhis dublet: whether the painter had a suttle inuen∣tion, or the fellows buttons were as big as those in fashion whē Mounseir came into England, I wil leaue it (friendly reader) to thy iudgement.

If you laie your Landtskip in coloures, the far∣ther you goe, the more you must lighten it with a thinne and aiery blew, to make it seeme farre off, be∣ginning it first with a darke greene, so driuing it by degrees into a blew, which the densitie of the air be∣tweene our sighte and that place doth (onely imagi∣narily) effect: your eie may easily bee deceiued in remote thinges, that is when the bodies appeare to your sighte farre bi gger then indeede they are, by the corruption (as wee saie) of the Medium: as

for example, the Sunne and Moone at their rising or Setting, you see, seeme farre bigger then when they are mounted ouer our heades in the Zenith: the reason is the thicknesse or corruption, as I sayd, of the ayre or Medium; which (beeing morning and Euening subiect to vapours) dooth participate and multiply the quality of the obiect: the same reason is giuen of a Seamew or stake that (beeing fowre or fiue miles from you, neere the Sea) will seeme as big as a Swanne, or greate Snowball: or of a twelue∣pence, or apple cast into a cleare riuer: to take there∣of iust and true Landtskip, neuer go foorth in a mor∣ning or euening, (but in the middest of the day:) for doubtlesse you will bee deceiued. An honest yeo∣man and a friend of myne was in this manner no∣tablely coesoned in buiyng a bargain of Timber by the greate in a mystie or rimie morning, (the trees seeming bigger then they were) in a manner to his vndooing: but I feare mee, within these few yeares the mistes will bee so thicke, wee shall see no wood at all.

Of Draperie. CHAP. 11.

DRapery (so called of the French word Drap, which is cloth) princi∣pallie consisteth in the true making and folding your garment, giuing to euery folde his proper naturall doubling and shadow; which is a great skil & scarce attained vnto by any of our coun∣try and ordinary painters: insomuch that if I woulde make triall of a good workman; I would finde him quickly by the folding of a garment, or the shadow∣ing of a gowne, sheet, or such like: but to auoide fol∣ding, you shall see our common painters set foorth their men & women, with lace, fringe, pinckings, &c. which makes as fayre a shew as the best. The Method now to bee obserued in Draperie, is to drawe first the outmost or extreame lines of your garment, as you will, full or narrow, and leaue wide and spare places, where you thinke you shall haue need of folds; drawe your greater foldes alwaies first, not letting any line touch, or directly crosse another, for then shall you bring an irrecouerable confusiō into your work: whē you haue so done, break your greater folds vnto lesse, which shall be conteined within them: I would giue you an example, but euery print will shew you the like; all your folds consist of two lines and no more, which you may turne with the garment at your plea∣sure: beginne your maine and greatest folds, from the

skirt vp ward, and the closer the garmentes sitte, the narrower you must make them: for the shadowing of euery seuerall folde, obserue the first rule I gaue you in the Chapter of shadowing, and spare not to shaddowe your foldes, (bee they neuer so cu∣riously contriued) if they fall inwarde from the light, with the double or treble shadow; as you shall see occasion: for the shadow take his place in one and the same manner aswell in folding as without: some haue vsed to drawe the body naked first, and after to haue put on the apparrell, but I holde it as an idle conceipte, and to small pur∣pose.

Generall obseruations and rules for Draperie.

Your greater folds must be continued thorough∣out the whole garment, the lesser you may break and shorten at your pleasure.

The shadowes of all manner of silkes, and fine linnen are very thick, and fine, so that your foldes must not onely be little, but their shadow or deepning verie light, and rare, which commonly at the most is but a double shadow giuen with a new, and the finest penne.

You must not vse much folding where the gar∣ments ought to sit close or any eminency appeare, as commonly there doth in the brests of a woman, the armes, belly, thighes, legges, &c: but to shewe Arte,

you shall leaue the forme of the brest, leg, &c to ap∣peare thorough, which you may doe by shadowing the brest or leg, (after you draw it) on one or either side, leauing it white.

As I tolde before of the light, fo must you in your draperie haue a care of the winde and motion of the ayre, for driuing your loose apparell all one waie, which I haue seene well obserued in many excellent peeces.

Of Diapering. CHAP. 12.

DIapering is deriued (as I take it of the Greeke verbe 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 which is, iraijcio or transeo, in English to passe or cast ouer, & it is nothing els but a light tracing or running ouer with your pen (in Damaske brāches, and such like) your other worke when you haue quite done (I meane foldes, shadowing and all) it chiefly serueth to counterfeite cloth of gold, Siluer, Damaske brancht, veluet, cham∣let, &c: with what branche and in what fashion you list.

If you diaper vpon folds, let your worke be broken, & taken as it were by the halfe: for reason telleth you that your fold must couer so mewhat vnseene, which being drawn forth at length and laid plaine sheweth all faire and perfect: as Ouid saith of Tapistry.

Sic vbi tolluntur festis aulaea theatris,

Surgere Signa Solent, primumque ostēdere vultus: Caetera paulatim placidoque educta tenore, * 1.58 Tota patent

You must moreouer in drapering, let your work fall out so, that there may be an affinity one part with the other, maintaining one branche or the same worke throughout, setting the fairest in the most eminent place, and causing it to runne vpward: otherwise one might imagine some foolish Tailor had cut out his Ladies gown the wrong way.

To make a chamlet you shall draw but fiue lines waued ouerthwart, if your drapering consist of a dou∣ble line; you may either shadow the ground, & leaue it white, or shadow your work and leaue the ground white: as you shall thinke good, in this kind your fil∣ling may be with smal pricks of your pens end, which will shew faire.

Of Antique. CHAP. 13.

ANTIQVE so called ab antiquitate, because the inuention and vse ther∣of aboue all other kinds among the Graecians especially was most aun∣cient and in greatest request, the Italian calleth it L'antica: it hath the principall vse in plate, clocks, armour, all manner of compartmentes, curious Architecture, borders of maps, &c: Though you shall seldome haue any greate vse of it, yet I woulde haue you know what it is, and

what to obserue in it: The forme of it is a generall, and (as I maye say) an vnnaturall or vnorderly composition for delight sake, of mē, beasts, birds, fishes, flowers, &c without (as wee say) Rime or reason, for the greater variety you shew in your in∣uention, the more you please, but remembring to ob∣serue a method or continuation of one and the same thing throughout your whole work without change or altering.

You may, if you list, draw naked boyes riding and playing with their paper-mills or bubble-shels vp∣pon Goates, Eagles, Dolphins &c: the bones of a Rammes head hung with strings of beads and Ri∣bands, Satyres, Tritons, apes, Cornu-copia's, Dogges yoackt &c drawing cowcūmers, cherries & any kind of wild trail or vinet after your owne inuention, with a thousand more such idle toyes, so that heerein you cannot bee too fantastical. The late dutch peers in this kind excel all others, and certainly I know not by what destinie the Germanes haue wonne vnto them (aboue other nations) the glory of inuention, generally in picture: for except it bee a dutch peece, you shall haue it either lame, ill cut, false shadowed or subiect to some such grosse error. Wherfore, not without reason, Bodine calleth The country offici∣nam hominum a shoppe of men, as from whence a man might bee hadde for all turnes, either De∣uine, Phisitian, Souldier painter, &c. Though much I confesse may be imputed to the industrie of that Nation: (for none in the worlde are more painefull then they) yet without question the peo∣ple of themselues, as they ar in genious & capable of

all other arts, so naturally they are inclined to this of Painting: Since the greatest persons among them as Dukes, Earles, and in a manner all the Gentle∣men doe beare an inbred loue to drawing, and of themselues by theyre owne practise growe manie times wonderfull expert heerein: yet none at this daie who fauoureth a good picture, or any excellen∣cy in that kind, more then Rodulph the Emperour now liuing.

Of Drawing beasts, birds, flowers, &c, CHAP. 14.

YOV shall finde amonge beastes some more harder to bee drawne then others for two respectes, one is for a clean making and shape, to∣gether with a finenes of the cote or skin: the other for theyr nimblenes and much action, both which you may for exāple see to fal out in a horse, whose linea∣mentes are both passing curious, and coate so fine, that many sinews yea and the smallest vaines muste be showen in him, besides whose action is so diuers, that for hardnesse of draughte I know not anie one beast maye bee compared to the horse; for some∣time you muste drawe him in his carreer with

his manage, & turne, doing the Coruetto, leaping, &c. which you shall not find in the Elephant, Cowe, Beare, or hogg as beeing beasts heauy and sloathfull by nature: moreouer wanting that finenes of coat or hide, so that you shall escape a greate trouble in shewing vains, knitting of Ioints, with the eminency almost of euery bone in them, which you haue in a horse and greyhound. Now for the manner of draw∣ing these or any other beast whatsoeuer: begin with your lead or coale (as before I told you and gaue you a generall rule) at the forehead, drawing downward the nose, mouth, vpper and nether chap, ending your line at the throat, then learching it again where you began, from the forehead ouer the head, eares, and neck: continuing it till you haue giuen the full com∣passe of the buttock, but I will giue you an example.

[illustration]

I Begin in this Lion my firste stroke at A, bringing it down to B, making the nose, mouth, and nether chap with one line, as you se; there I rest: then fetch I that line forward behind by S: making the compas

ofhis mane by pricks with my penne (because if I shoulde make a line, I could not make it iagged) then bring I the back down to the taile or D, leauing a little space for it, I continue my line from thence to E, or the heele, where I rest: then begin I again at B, and making the breast with the eminency thereof I stay at F, bringing out his neere fore foote, which I finish: then begin I at G not stirring my hand till I come to the foot or paw at H; wher I finish it quite at E, or the heele. I next draw from his bellie two strokes at I and K: I make the other legge behind, thē the right fore foot issuing from the brest: thē I finish the tail, clawes, toung, teeth, beard, and last of al the shadowing: which method you shall obserue in all beasts howsoeuer they stand.

Obseruations of the shadowing.

YOV see him shadowed on the back side from CD, vnto E, the reason is the light beateth on his fore parte, wherefore os necessity the shadowe must be in euery parte behinde, eare mane, back, hinder legge, &c.

But you maie say, how happeneth it then, that his nether chap and some part of his throat & belly are shadowed being both with the light? I answeare the light of it own nature cā neuer fall vnder, but take the place aboue or in the vpper part, which place is heer praepossessed by the vpper & nether chap, which as you see fall in between as likewise the forfoot to the belly, which cause a shadow in either of those places.

The treble shadow as it ought is giuen to the most in ward places: It your beast bee not in charge,

that is not in armes, and you are to shew the ground vnder his feete; you must make his farther feet on the other side somwhat shorter then those next you: the reason is, that distance of earth betweene them deceiueth the sight, causing the neerer to seem long∣est: as you may see by opening or stretching your fore and middle finger like a paire of compasses long waies from you, vpon a boord or table, drawing them with your pen as they stand, and obseruing the space betweene.

Beasts more hard to be drawn for their shape and action.

• The Lion.
• The Horse.
• The Rhinoceros.
• The Vnicorne.
• The Stagge.
• The Lucerne.
• The Grey-hound.
• The Hiena.
• The Leopard.
• The Ownce.
• The Tiger.
• The Panther.
• The Ape, &c.

Others more easie.

• The Elephant.
• The Dromedary.
• The Camel.
• The Beare.
• The Asse.
• The Hogge.
• The Sheepe.
• The Badger.
• The Porc-espine.
• The Wolfe.
• The Foxe.
• The Cow.
• The Otter.
• The Hare.
• The Coney.
• The All maner rough
• The & shag hair dogs

In drawing these and all other beasts, the better you obserue their shape and action, the better shall you please, and your iudgement be commended, where∣fore

a painter had need to be well seene in Naturall Philosophie. The meanest workeman can drawe the ordinary shape of a Lion, when scarce the best of them all know, that his hinder partes are so smal, that there is in a manner a disproportion betweene his forepart and them: so that if I should drawe him in this manner among our ordinarie painters, my work would be condemned as lame, when I deserued most commendation.

Moreouer if you aske a Country painter whether he could draw a Crocodile or no, hee will make noe question of it, when as except he trauailed through Aegypt, or met with Aristotle in English, all the wit he had could not so much as set the chaps right, or giue the future truely in the head to, shew the moti∣on of his vpper-chap, which no creature in the world mooueth, saue onely he.

If you draw your beast in an Embleme or such like, * 1.59 you shall sometime shew a lant-skip (as it is ordina∣rily obserued by Iudicious workemen) of the country natural to that beast, as to the Rhinoceros an East-in∣dian Lantskip, the Crocodile an Aegyptian, by lay∣ing the ground low without hills, many woods of palme-tres, heere and there the ruine of a Pyramis, and so forth of the rest.

Of birds.

There is les difficulty in drawing birds thē beasts, & least of all in flowers, yet art and needful directions to be obserued in all of them: begin your draught in a bird, as I said, at the head, and beware of making it

too big: Van Londerseel's peeces are much to blame for this fault, for in most of them the heads of all his birds are to great by a third part, neither is that fault proper to him alone, but to many good workemen els. You shall best remedy that by causing a bird to be held or tied in a clouen stick before you, where you shall take with your compasses a true proportion, which afterwards you may conclude into as small a forme as you list: there is not the same reason of pro∣portion (it is true) in the heads and bodies of all birds alike, but hereby you shall euer after bee acquainted with a reasonable proportion, which though you hit not iustly, you shall come very neere: hauing drawne the head, bring from vnder the throat, the brest line, downe to the legs; there stay: and begin at the pineon to make the wing, which being ioined with the back line is presently finished: the eie, legs, and traine must be the last, and (as I told you before in beasts) let the farther leg euer be shortest. the feathers as the hayre in beasts, must take their beginning ••t the head very small, and in fine rankes fall backward greater and greater, as this your example sheweth.

[illustration]

Of flowers, flies, &c.

For flowers, flies and such like, I wil leaue them (be∣ing things of smal moment) to your own discretion, counselling you at your leasure when you walke a∣broad into the fields, to gather and-keep them in lit∣tle boxes vntill you shall haue occasion to vse them. To draw a flower begin it ab vmbone, or the bosse in the midst: as in a Rose, there is a yealowe tuft, which being first made, draw your lines equally diuided, frō thence to the line of your compas, which you are first to giue, and then the worst is past.

You may shew your flower, either open and faire in the bud, laden with deawe and wette, wormeaten, the leaues dropt away with ouerripenes &c: and as your flower, so first draw rudely your leaues, making them plaine with your coale or lead, before you giue them their vaines or Iaggednesse.

For Butterflies, Brees, wasps, grashoppers, & such like, which wee call Insecta, most of them are easie to be drawne, and not hard to be laid in colours: because the colours of many of them are simple, and without composition, as perfect red, black, blew, yellow, &c: which euerye ordinary painter may laie, who if they should bee put (by mixture of many colours) to make that purple of a pigeons neck, or giue the perfect co∣lour but of a Daw or Iay, you should see them at their wits end.

In the moneths of Iune and Iuly, you may gather of all manner of flies, which you may preserue all the yeere, eyther in close boxes, or sticking them with a pinne seuerally vpon small papers: Butterflies are where store of Thistles and Lauender is, your Brees by ponds and Riuers sides

Notable absurdities to be auotded in draught. CHAP. XV.

THE first absurdity is of propor∣tion Naturall, commonly cal∣led lamenesse, that is when a∣ny * 1.60 part or member is dispro∣portionable to the whole body, or seemeth thorough the Igno∣rance of the painter to be wre∣sted from his naturall place and motion: As in the roofe of the Quire in Peter-borough Minster, you may see Saint Peter painted, his head very neere or altogether as bigge as his middle: and it is ordinary in country houses to see horsemen painted, and the rider a great deale bigger then his horse.

The second is of Landtskippe, or Local distance, * 1.61 as I haue seene painted a Church, and some halfe a mile beyond it the vicaredge; yet the Vicars chim∣ney drawne bigger then the steeple by a third parte, which being lesse of it selfe, ought also to bee much more abated by the distance.

The third absurdity is of accident of time, that is when wee fashion or attribute the proprieties of an∣cient * 1.62 times to those of ours, or ours to theirs: As not long since I founde painted in an Inne Bethulia besieged by Holophernes, where the painter, as if it had beene at Ostend, made his East and West batteries,

with great ordinance & small shot playing from the walls, when you know that ordinance was not inuen∣ted of two thousand yeers after.

The fourth is in expressing passion or the disposi∣tion * 1.63 of the minde, as to draw Mars like young Hip∣politus with an amiable or effeminate countenaunce, or Venus like an Amazon, or that same hotspurd Har∣palice in Virgil, this proceedeth of too sencelesse and ouercold a iudgement.

The fift is of Draperie or attire, in not obseruing a decorum in garments proper to euery seuerall con∣dition and calling, as not giuing to a King his Robes of Estate, with their proper furres and linings: To Religious persons an habite fitting with humili∣tie and contempt of the world; A notable example of this kinde I found in a Gentlemans hall, which was King Salomon sitting in his throne with a deepe lac'd gentlewomans Ruffe, and a Rebatoe about his neck, vppon his head a blacke veluet Cap with a white feather; the Queene of Sheba kneeling be∣fore him in a loose bodied gowne, and a French∣hood.

The sixt and last of shadowing, as I haue seen pain∣ted * 1.64 the flame of a candle, and the light therof on one side shadowed 3 parts: when there ought to haue bin none at all, because there is vndequaque lumen, which may cause a shadow but take none.

Notes

• * 1.1

  Exod. 31.
• * 1.2

  Iob: 39: 16
• * 1.3

  Polit. 8.
• * 1.4

  1 Sem: Exam: de in∣genios.
• * 1.5

  Rutilius in vita Q. Fa∣bii pictoris Iuriscon. In vita Pom
• * 1.6

  Sigebert in Chron.
• * 1.7

  de Oratore,
• * 1.8

  Aelian de varia H••st. lib. 10:
• * 1.9

  Apollodorus
• * 1.10

  Euphranor.
• * 1.11

  Parrhasias.
• * 1.12

  Pyreicus.
• * 1.13

  Aristides.
• * 1.14

  Nicophanes
• * 1.15

  Protogenes.
• * 1.16

  in Demetr.
• * 1.17

  Apelles.
• * 1.18

  Galaton.
• * 1.19

  C. Pulcher.
• * 1.20

  de quo Ci∣cero. I de Oratore
• * 1.21

  Herocle di Ferrara. Bellino.
• * 1.22

  Vnicio.
• * 1.23

  Pisanello.
• * 1.24

  Petro de Burgo. Zoto. Mi. Angelo Alberdure. Stradane. M. Hilliard M. Isaac.
• * 1.25

  The excee. ding value of pictures. de quibus Cic. Act. 6. in Verrem.
• * 1.26

  B. in Asse,
• * 1.27

  Ezech. eh. 1, verse 27.
• * 1.28

  Catholic. In∣stitut. in praecept. 1.
• * 1.29

  Black lead in quils.
• * 1.30

  Sallow coal es.
• * 1.31

  Rule and compasse.
• * 1.32

  Manchet or fine white bread.
• * 1.33

  Broome pen∣cils.
• * 1.34

  How to helpe you in your Idea.
• * 1.35

  The ful face.
• * 1.36

  The 3 quar∣ter face.
• * 1.37

  Halfe face.
• * 1.38

  The space of an other eie to be left be∣tweene the eies.
• * 1.39

  great diffi∣culty in the eie.
• * 1.40

  Nicephor. lib 10 cap. 3 7.
• * 1.41

  Nazianz. in 2. inuect. contra Iuli∣anum.
• * 1.42

  Brusonius lib; 7. cap. 20
• * 1.43

  The mouth.
• * 1.44

  Making the head too big, a common fault.
• * 1.45

  The neck.
• * 1.46

  The sholder. The arme. The wrist.
• * 1.47

  The knuckles The paps. The Ribs.
• * 1.48

  Thebelly.
• * 1.49

  The thigh.
• * 1.50

  The knee.
• * 1.51

  The legge.
• * 1.52

  The foote.
• * 1.53

  The double shadow.
• * 1.54

  3.
• * 1.55

  4.
• * 1.56

  5.
• * 1.57

  Poster. 1.
• * 1.58

  Metam. 3.
• * 1.59

  A lantskip must be giuē to euery beast accor∣ding to his Country
• * 1.60

  1 Of lamenes
• * 1.61

  2 Of locall distance.
• * 1.62

  3 Accident of Time. Iud. 7.
• * 1.63

  4 In expres∣sing the passi∣on or disposi∣tion of the mind. Qualisequos Threissa fa∣tigat Harpa∣lice. Aeneid. 1. 5 Of drapery
• * 1.64

  6 Of sha∣dowing.