Graphice. The use of the pen and pensil. Or, the most excellent art of painting : in two parts. / By William Sanderson, Esq;

The Use of the PENSIL: In the most Excellent Art of LIMNING, In WATER-COLOURS. Part II. (Book 2)

Of Limning in Water-Colours.

The True Order and Names of Colours, the means to prepare them for the Pensill and to clense them from their corrupt mixtures, wherewith they are Sophisticate.

We name them Seaven (though in truth the first and last White and Black are no Colours; but Elements.)

Whites,

• Ceruse;
• White-Lead.

Greens,

• Sap-green.
• Pinck.
• Bise-green.
• Cedar-green.

Reds,

• India-lake.
• Read-Lead, or Mene.

Blews,

• Indico.
• Ultramanue.
• Bise-blew.
• Smalt.

Yellows,

• Masticoate.
• Oker of England.

Browns,

• Umber.
• Spanish-brown.
• Terra lemnia or▪
• Cullins earth.

Blacks,

• Cherry▪stones burnt.
• Ivory burnt.
• Lamp-blacke.

* 1.1 In this account or number of Colours, I name not Vermi∣lion; Verdigreece; Ver••iters blew and green; and severall other Colours, frequent with Painter-stainers, but in our work un∣necessary, useless, & dangerous; both for their Minerall qua∣lyties, coorse and gross bodies, not to be mixt with our Co∣lours, of a more fine subtile, and transparent Quality.

We do not admit of divers others; as Saffron, Litmus, Rus∣set, Brasill, Log-wood; nor of Colours, extracted from Flowers, juice of Herbs or Roots; more proper, for washing, or Colour∣ring, Prints, Cards, Maps.

Of Whites.

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

* 1.2 Ceruse, after it is wrought will starve, lavish, and dye; and being laid on with a Pensill, a fair white wil, in a few months, become Russet, Reddish, or Yellowish.

* 1.3 White-lead, If you grind it fine (as all our Colours must be) it will glister and shine, both in the Shell, and after it is wrought; and if not ground, it will not work, nor be service∣able.

To prevent these Inconveniences of both Colours; This is the only remedy. Before you grind either of them, lay them (especially White-lead) in the Sun for two or three dayes to dry, which will exhale and draw away, the Salt, greasie com-mixtures, that starve and poyson the Colour. Besides, you must scrape off the superficies of the White-lead, reser∣ving only the middle as the cleanest and purest.

* 1.4 Be carefull of your white, being the ground and foundati∣on of all your other Colours, and if faulty, all the work is marred.

The effect you may see at Rome in the Vatican Library, and in the Silla of Cardinall Burgesse, and in the Porta▪setimiane, there where many excellent Pieces heightned with White-Lead unprepared, are spoyled, Russet, and dead.

* 1.5 Being thus prepared, grind it (upon a Porphire, Serpentine, or Pebble-stone; any of these are excellent: some use Marble, * 1.6thick Glasse, or Crystall. But the first two are too soft, and in grinding, mixe with the Colour and spoyle them; the lat∣ter

is very good, but hard to be got large enough. I say grind it very fine, and a good quantity together in water, without Gum; then have in readiness, a piece of thick white chalk; make therein certain furrows or troughs, in which instantly put the White-lead ground from the stone wet; let it remain there, till it be very dry: the chalk will suck and drain up the filth, salt, and grease in the Colour.

Preserve it for use in a paper, or clean Boxes.

* 1.7 When you intend to worke with it. Take as much as con∣veniently will lye in a shell, of Mother of Pearle, neatly clea∣ned and burnisht wherein (as in all Colours) be curious and neat, not to have the Room troubled with company, where you grind, for avoiding dust or Atomes which you will find troublesome in your working.

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

* 1.9 Observe (in each particular) what is directed in this Co∣lour of washing, grinding, tempering. A Rule for all the other Co∣lours, that are to be ground.

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

• * 1.10 Ceruse.
• White-Lead.
• India-Lake.
• English-Oker.
• Pinke.
• Indico.
• Umber.
• Spanish-brown.
• Colens-Earth.
• Cherry-stone and
• Ivory black.

Other to be washt only, are these.

• * 1.11 Red-Lead, or
• Mene.
• Masticote.
• Blew-Bise.
• Green-Bise.
• Cedar-Green.
• Smalt.
• Ultra-marine.

Only Sap-green to be steeped in fair water.

* 1.12 The reason why these Colours are not to be ground, as the others are, because of a sandy substance, loose, gravelly, and so heavy ponderous and solid bodies hardly to be reduced unto such firmness as is to be required in this Art: for if you think to make them fine by grinding, they instantly loose their beauty, starve, and dye. Besides, some of them as Masticote and Red-Lead, become of a greasie and clammye thicknesse, by reason of the agitation and tampering upon the stone, and so utterly unserviceable to refine them, there∣fore they must be washed.

* 1.13 There are but five perfect Colours (white and black being none) like the five precious stones perfect and transparent severall Colours.

The hard Topas for Yellow, the Amethyst orient for Murray, the Rubie for Red, Saphire for Blew, Emrauld for Green. All which Colours are perfect different from mixture of white and are thus distinguished by Heraulds in blazoning of Arms of Princes Bearings.

And although what hath been said for grinding Ceruse and VVhite-Lead; may serve for a direct order in all other grind∣ing Colours: Yet I shall for full satisfaction speak of them se∣verally; before I come to those that are to be washed.

Colours, to be grinded.

* 1.14 THe next in order is India-Lake, the dearest and most beautifull; grinde it as the VVhites with the help of the Sun, and with your finger spread it about the shel sides. After it is dry, you will find this Colour, and some other as Am∣ber, subject to crackle and fall from the shell in pieces; take * 1.15care that this an•• all others be fast, smooth and firme, which to effect take a little quantity of VVhite-Suger-candy with a few drops of fair water, temper the Colour againe as it is in the shell with your finger, till the Colour and Sugar-candy be throughly dissolved, which being dry will lye fast and eeven.

* 1.16 English-Oaker is a very good Colour and of much use for shadows in Pictures by the Life, for Haires and Drapery, Rocks, High-wayes in Land-skips, and commonly lye eeven and fast in the shell, and works beyond any other, being well ground.

* 1.17 Get the fairest; because with it and Blew you make the * 1.18fastest Greens for Land-skips or Drapery: for the Green-Bise and Sap-Green, though good in their kind, the first is of so coorse and gross a body, and the other so transparent and thinne, that in many things they will be unserviecable; espetially

where you have occasion to use a beautifull fair Green by mixing a little Indico, with Bise and Pinke: this Colour being ground fine, worketh very sharp and neat; of exceeding use, if ground as the rest.

* 1.19 The next in Order is Umber, a Colour greasie and foule, hard to work with: you must burn it in a Crusible or Gold∣smiths Po••▪ and being ground as the rest, it works sharp and neat.

* 1.20 It is exceeding coorse and full of gravell of no great use; for a little Umber, Red-Lead or Mene mixed, makes the same Colour.

* 1.21 Is easie to work when it is new ground very good to close up the last and deepest touches, in the shadowed places of Pictures by Life; and also very usefull in Landskips:

* 1.22 Are both to be burnt in a Crusible and so ground: the first is very good especially for Drapery and black Apparrell, but but if you make Sattin, temper it with a little Indico: only to make it appear beautifull▪ glassshining, lightned with a lit∣tle mixture of more white. In strong touches and deep, hard reflections deepned with Ivory will shew marvellous fair; this was the way of that famous Hilliard the English Limner in Queen Elizabeth's dayes.

* 1.23 Serves only for a deep Ivory black, nor is it easie to worke without well tempering with Sugar Candy to prevent crack∣ling and peeling. And so much for Colours to be ground.

Colours to be washed, and not to be ground.

I Shall follow the former▪ Order by shewing how one Co∣lour is to be prepared; which will demonstrate all the rest.

* 1.24 Put an ounce thereof into a Bason or clean earthen dish, full of fair water, stir it sometime together with your hand or spoon till it be coloured, then let it stand till the greasie scumme arise upon the superficies, which with the water pour out: fill it again with fresh water, stir it often untill it be thick and troubled, which presently pour out into ano∣ther clean Bason or Vessell: reserving behind in the first Bason the dreggs of the Colours, which haply will be the greatest part, and to be cast away; for you are to seek the best not the most. A little good Colour goes far in Limning, and if a handfull of Red-Lead yield a shell or two in goodness it is enough, so it be fine.

The troubled water being in the second Bason, add more water, wash them well together, as before, let it settle till it become almost clear; but if you▪ perceive a scumme to a∣rise

again upon the water, pour it out and put in fresh till the Colour be clearer; for the skumme is Chalk and other filth, which washes out by stirring all the Colour together. Then let it settle, and so when the skum arises, pour it away till it be perfect.

It will not be amisse when you have washed your Colours a while, if you stir the water till it become thick; then pour out half that thickned water, into a third Bason, and washing both the second and third water, you will find your Colour of a coorser or else finer quality. In so much that the third (and if you please) fourth and fift sort, will be very fine and fair being often washed; and so by often changing and shif∣ting the Colour and Water, you will find it perfectly clean∣sed.

You must by little and little gently drain away the re∣mainder of the water, not suffering any or very little of the Colour to pour out; so that setting your Basons in the Sun and shelving them, you will find your Colours drying and lodg∣ing about the ••ide•• of the Bason o•• dishes like drift land, some places ••air and clean, others more coor••e and soul: which when it is all dryed, take away with your finger or feather; the finest part like flower will fall away, with the least touch: Reserve this for your prime use, the rest for ordinary or coorse work.

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

Of Pensils.

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

* 1.27 Take the Tailes of Chalibes, and breaking an ordinary Pensill assunder, observe how they are tyed up and fastned;

they being now made here in England by an old Workman to the Painters, the best of any here or beyond the Seas. Bind your haires (much or little) somewhat loose, fashion them round to an eeven poynt, rubbing or turning it upon a clean paper or Table; Marke how the haires scatter or spread, and ever with a Pen-knife take them away; easily to be done. When it is prepared to your mind, tye it fast about and fit it to your Quill: according to the size of your Pensil, dispo∣sed upon some neat stick of Brasill or such like Wood: the length of an ordinary writing Pen. Having sixe or seaven for the severall shadows of your work.

* 1.28 And remember that those Pensills which you use in Gold or Silver Work, be reserved only for that purpose▪ not to be mixt or tempered with Colours.

Being thus settled with these Tools, you want a Tablet whereon to express your Art, which must be made severally, as you are disposed to work either for a Picture of Life, Land∣skip, or History.

The first Division, by Life.

The Tablet.

* 1.29 THe Tablets for the Life are commonly wrought in an O∣vall form not very great nor little, as I have seen many in France no bigger then a Penny; an indifferent size is best. Take an ordinary playing Card, polish it smooth with a Bores-tooth or such like, as possibly slicke as may be, the VVhite side every where eeven, and cleane from Spots or Knobs; then chuse the best abortive Parchment, cutting out a piece▪ size with the Carde, pasteing them fine and firme together; let them drye, and making your Grinding-stone exceeding cleane, lay the Parchment side of the Card downward; and holding it fast, polish and rub the Card as hard as you can upon the backside, that so the other may be smooth, whereon you are to work: When you paste the Parchment, let the outside of the skinne be out∣ward, it being the smoother and better to worke upon.

* 1.30 Lay your ground or Prime therein of flesh-Colour, tempe∣ring it a••cording to the Complexion you are to paint. If fair; White-Lead and Red-Lead mixed together, a pretty quantity, indifferent thicknesse, in a shell somewhat bigger then or∣dinary. * 1.31

* 1.32 If Swarthy or Brown; mingle White, Red, and a little fine Ma∣sticote or English-Oker, or both. Evermore▪ observing, as a sure Maxime that your ground be fairer than the Party pain∣ted: for being over-faire you may in working Darken or

Shadow it as you please; but if too sad you shal never heighthen it higher.

In Limning of Pictures, you must never heighthen, but work them down to their just Colour.

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

* 1.34 This done, you are to take a pretty large shell of Mother of Pearle or such like, and before you begin to work, temper certain little heapes of severall shadows for the face, and (as Oyl-Painters lay them upon their Pallet) so place them seve∣rally about your shell. There are some that temper or mixe them as they worke them in the shadows, without more adoe; but I esteem this other way, the better.

* 1.35 First then, in all your shadows mingle some White with every one, and white by it self.

* 1.36 Then for the Red in the Cheeks and Lipps, temper Lake, Red lead and a little Vermilion together.

* 1.37 For blews; use Indico and white (for Blew-bise is never used in the face.) Then for those sweet and fine blewish and * 1.38grayish Colours called in french Grisatrie (which are the weak and faintest shadows) take white, a little English oker and as much Indico, and (if you will) adde a little Masticote, it will give the shadow a good grace, so that it be not too Greene.

For the deep shadow, take White English Oker and Umber; for the darke shadows in mens faces, mingle Lake and Pinke, which makes an excellent f••eshy shadow. But to prescribe an absolute and generall Rule is impossible; Nature is so infinite various in the Colours and shadows of the face, differing one from the other; that, what e're can be said, your own discre∣tion and practice by the Life, will be the best direction. Yet this, and what I say hereafter, will be a great furtherance to your ingenious Indeavours.

To Order your Light.

* 1.39 AND now, notwithstanding the former preparations very necessary, yet take this Observation of your Light, being of the greatest importance; and therein I advise you to be curious▪ Make your Light with a Curtain or window∣shutters somewhat cleer, with soft and gentle reflecting upon the Person to be drawn; for a glaring bright light makes hard, and unpleasant reflections and shadows. And because the Sunne is an enemy to this work, choose your Light Northwards towards the East, one single Light only, great and fair, with∣out any reflection of Trees or Walls: let it be high, and so your shadows will fall downward••, rather then traverse-wise, and the work will be the fa••rer and rounder.

* 1.40 Place your self to your Deske, that your Light may strike inside-long from the left hand to the right; your work will shew with more advantage being turned and viewed to the same light that it was wrought unto.

Have a clean Sawcer or Shell of Water, to wash your Pensils, and another of Water to temper your Colours; Have a dry brush-Pensill to clean your work from dust. A neat and large Penknife to take away such spots or haires that may mixe with your Colours, or fall upon your Card▪ Place all these on your Right hand: You may likewise cover your Piece with a small paper, whereon to try your Pensills and Colours, before you begin to work.

* 1.41 Thus setled; Draw your Lines purfle, of the face with Lake and White mingled together very fine; so that if hap∣ly you mistake your Draught at the first, yet you may with a strong Stroke, draw it true, and the other Line be no hinderance to the Worke, it being faint and not easily discernable.

The Lines thus truly drawn of the face, somewhat sharp and neate (wherein you are to be very exact, ••bove any other di∣rections) observe the deep and most remarkable shadows for your better memory and help, when you come to go over them more exactly. And now you may if you please, draw out also the fashion and portraicture, and that part of the body which you will joyn to the face, commonly not much be∣neath the Shoulders; wherein observe the Life so much as pos∣sibly you can: that part you may draw with a strong and darke Colour; it being easie to change or deface, in case you mistake in the just proportion.

The Generall manner of working in Limning.

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

* 1.43 The order you are to follow to the Life▪ is to observe some∣what▪ the manner of Oyl Painters▪ The first sitting, to ••••ad-Colord ••he face only. •• (not troubling your self at all with the 〈◊〉〈◊〉 of Hairs, ••pparrell &c.) Which commonly takes up the time of two houres▪ or, if very exact, three or foure houres.

* 1.44 The next s••••ting requires four or five hours▪ for in that time you are to goe over the face very curiously; observing what∣soever may conduce either to the Likeness which is the Prin∣cipal••; or to the judicious Colouring and observation of the severall graces, ••eauties or deformities as they appear in Nature; or else in close, sharp, neat workmanship, and sweetnesse of the 〈◊〉〈◊〉 and smooth touching of the Colours.

* 1.45 The third sitting, is commonly the work of two or three hours, and is spent in cloathing what was before left imper∣fect and rough; but principally in giving to every deep sha∣dows, their strong and deep••ing touches, as well in dark shadows of the Eye and Face, Eye-brow, Haire, Eares, &c.

And these Observations and touches, are ever the last part of the businesse, and are never done till all the Haire, Appar∣rell &c. be finished, for this being wrought with judgment and discretion, adds exceedingly to the Life likenesse and roundnesse of the Picture. It is like to a Consort of Mu••icke which is relished in the Close.

Colours to the Complexion.

* 1.46 AND first to speak of dead-Colours, the manner of working is sutable to the Name, to be done rough and boldest of all; Having drawn the face with Lake and White (as before said) you may take to this Colour a little Red-lead tempering them to the Colour of the Cheeks, Lipps, &c. but very faintly: * 1.47for you must remember, that in this and all other Colours in Limning, you may adde when you please to make your Colour deeper or stronger: but be sure not to make it too deep or too strong, for you can hardly help it without defacing or spoyling the Picture. Because, (as I have told you before) you can never heighthen in this Art▪ except the two bright lights of the eyes and touches of the Haires. Thus much in generall. And now we come to the particular Working.

The first sitting to worke in particular.

* 1.48 THe comlinesse of the face consists in three abilities, Beautifull▪ Colour, or Complexion; true Proportion and Fa∣vour; and Grace in the Countenance; The curious Artist must watch and catch the lovely graces, witty smilings, short and suddain, which pass like Lightning. In smiling how the eye changeth and narroweth, holding the sight between the Lidds, as a Cen••er; ••ow the Mouth extendeth little, at both ends of the Line upwards; the Cheeks raise themselves to the Eye wards.

The first Coloer to begin the face, are the Redds of the Cheeks and Lipps somewhat strongly in the bottome of the Chin (if the man be beardless) as also over, under, and about the Eyes, you will perceive a delicate and faint▪ Redness; and underneath the Eyes somewhat inclining to a Purple Colour; which in fair and beautifull faces, are very ordinary, and must be diligently observed.

The 〈◊〉〈◊〉 commonly is Reddi•••• and a little Crimson and sometimes the Roots of the ha••re also. All these you must work after the manner of 〈◊〉〈◊〉 Ha••ching or Drawing your Pensill along, and with faint and gentle stroakes; rather wa∣shing then wipeing it, with stroaks and pricks as some do affect. But the manner of working must be the fruit of your indus∣try and practice, and as you find your inclination, ease and dexterity of hand; Wherein to prescribe a certaine Rules is impossible, above that of your own Nature and ex∣perience.

The summe of all. That in your dead Colouring, you must

wash over your Ground or Complexion, with this Red and the following shadows, indeavouring not only to be exact and curious, but also bold and judicious: for I have seen Pictures by a good Master begun, and dead-coloured only, that neer at hand they seemed exceeded Rough, Uneven, and unpleasant; yet being viewed at a distance from your Eye, they appear very smooth, neat, and delicate: therefore I shall perswade you in this first worke, not to study or regard curiosity, or neatness of your Colours; but a bold and judicious manner of expressing, what you see in the Life.

Which though you worke never so Rough at the first, yet in the finishing, it will be in your power to sweeten and close it, neat and curious as you please.

* 1.49 The Red being done, the next is your faint blews about the Corners & balls of the eyes and temples, which you must work * 1.50from the uttermost part to the face, and so along, but excee∣ding sweet and faint; by degrees, sweetning your shadow and deepning, according as the light falls, with hard or gentle tou∣ches; and in going over the face, be sure to marke out the hard shadows, in the dark•• side of the face, under the Nose, Chin, Eye∣browes as the light falls, and somewhat strong touches, in those places, bring up the work in an equall roundnesse; giving perfections to every particular part, by visiting all the face curiously, and in a kind of random••; by which meanes you will better observe the likeness, roundnesse, postures, or colou∣ring, whatsoever is remarkable, to make your work compleat and exquisite.

The faint and lighter shadows being done and somewhat smoothed, and wrought into the Red, you may work over the * 1.51Haire disposing it into such formes, folds, and turnings, as may best become the Picture.

You must at first only draw them with Colours as neate as you can, sutabl•• to the Life; and after wash them roughly as the rest, and then once more, perfect the work; and be sure to fill up the void empty bare places with Colour which are uncovered, and for the parting blew; deepning it somewhat more strougly then before, in the places of the darkest sha∣dowes, still carefully observing the Life, which must be your Load starre.

* 1.52 And ever remembring most needfull, first to work your Colours and shadows, as deep and strong as you see them, but by degrees; beginning faintly, increasing the strength of the shadows, as the rest of the work comes up unto it, and suits for it.

And for this, no Rule can be given better, then that of your owne judgement. And so here we have done our

face alone and that in dead COLOURS only.

Second sitting.

* 1.53 YOUR next worke will be longer in time, but not so long in description: for this will take up five or sixe or more houres, as you will bestow more or lesse paines in the worke.

And now the Person being set just in the former posture, you are more exactly to observe and curiously to express Nature; which you did but rudely score out before. For direction therein, this is all that can be said. You must use g ain the * 1.54same Colours, in the same places, you did before in the first sit∣ting; working, driving and sweetning them one into another; to the end that nothing be left in your worke, with an hard edge, or uneven heap, or patch of Colours; but altogether mix∣ed and driven one into another, with the poynt of (some∣what) a sharper Pensill then you used at first, that your sha∣dows may lye soft and smooth, beinga dispersed and gently extended into, and towards, the light and part•• of the face, like aire, smoake, or vapour,

But before you proceed thus far, you are carefully to ob∣serve all the aforesaid shadows and Colours, and by little and little to work them, over, & into one another; and when you have wrought an houre or two, it will be time to lay your * 1.55ground behind your Picture. It is commonly blew or Crimson, somewhat like a satten or velvet Curtaine, much in use with old Hilliard.

* 1.56 If blew, you must lay it thus, (being not easie to do it well and eeven.) The Bise being pure and clean washed, temper of it as much in a shell, as will cover a Card. Let it be all thorough moyst, and well bound with the Sun; Then with a small Pensill draw (with the same Colour) the outside or Pur∣fle, I mean the outmost line of the head and body of the Pic∣ture. That done with a larger Pensill, wash over carefully the whole ground, that you mean to cover, with somewhat a thinne and waterish blew; and after with a reasonable great Pensill, full of Colour and flowings, lay over that very place, with thick and substantiall Colour, which before you had on∣ly washt over. In doing of this, be very swift, keeping your * 1.57Colour moyst, that you have laid, not suffering any part thereof to dry, untill all be covered: by this meanes, it will lye as smooth as glass, and the watering over the Card be∣fore, with a thinne Colour, makes the rest, that you lay after, to settle eeven and handsome, which otherwise would lye in heaps, like unto drift sand: It is a troublesome Colour.

* 1.58 If you will have the ground as Crimson Satten, you must worke with India-Lake, where, and in what places, you will have those strong and high lights, and reflections to fall, which are seen in satten and velvet.

Lay your light with thinne and waterish Lake, and in deep∣ning and strong shadows, close by the other lights, with thick∣er Colour.

It cannot be better expressed possibly, than to take a piece of satten, of any Colonr, being laid before you▪ you will pre∣sently see, what an excellent president the life is for light and shadow: no instruction, being like to this experiment.

When your back-ground is laid and dry, you will find the Picture strangely changed, the beauty of these grounds will so darken and dead the Picture: The apparrell with fitting Co∣lour, being also done only flat with heigthning or deepning; * 1.59Then go over the face again, reducing your shadows, to much neatnesse, drawing the eyes and lines of the lids, expressing the nostrils rednesse, the shadowy entrance into the eares, the deep∣nesse of the eye-brows, and those more perspicuous markes of the face, with somewhat a more sharpe and curious Pen∣sill.

But to particular line every thing, would seem to be a plot upon your patience. And therefore to finish this second sitting; I only wish you not to leave your ground, to rest upon the face too hard, with an edge; but with your Pensill so to sweeten and drive-in your Colours into the Enstroake, or outline of the face that when the work is done, the ground may stand as it were a great deale distant from the face behind the Picture, and the face seeme to stand forward off from the ground; by darkning both the ground above, from the light-••ide of the Picture, and below, on the dark-side of the Pic∣ture.

Then go over the haire, lightning and deepning it by the * 1.60Life, and gently drawing the lines of those locks of haire up∣per most, and behind over the ground, which else would seem hard and unpleasant.

Now when you have done this sitting, and the Person gone and weary (as usually they are) and yet your work be rough (as indeed it will be, as yet, impossible to bring so cu∣rious work to absolute perfection) you must spend somegood time by your self, in polishing & working your Piece to per∣fection; filling up the empty places, and sweetning the shadows, that as yet may lie uneeven, hard, and unpleasant.

* 1.61 Then go on in your linnen dressings and apparrell, to make out the severall folds, and deepning as you shall find in the Life: for in perfecting the worke, lay the linnen, apparrell,

jewells, pearles, and (what else is to be imitated,) in the same fold and forme as you have drawn it in your first drought, and then finish it by the life as you shall see the shadows and light fall; lightning the lines, with the purest white, a little yellow, and less blew.

* 1.62 The black must be deepned with Ivory-black, and if you worke in heighthning and light reflections, you must mingle with the ordinary black a little Lake or Indico, or rather bile∣ing in stead of Indico; you will find the black to render a cu∣rious and admirable reflection like to well dryed satten; especially if your light be strong and hard. The matter where∣of, if you please to see imitably exprest, you will find it a∣boundantly in severall rare pieces done by that incompara∣ble Master Hans Holbin who in all his differing and various manner of Painting either in Oyle, Distemper, or Limning was so generall an Artist, as never to follow any man, nor any one able to imitate him.

Third Sitting.

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

* 1.64 In this sitting therefore observe, what ever may conduce to the likeness and resemblance, which above all is the princi∣pal aime: viz. skin-molds, smiling, or glanceing of the eye, descen∣ding or contracting the mouth, narrowing the eyes, with smiling▪ to which purpose, find occasion of discours••, or * 1.65cause the party to be in action, or to regard you wit•• a Jovi∣all merry and discoursive aspect. Wherein you must be rea∣dy and apprehensive to steal observations, and to express them with a quick bold and constant hand, ever remem∣bring * 1.66not to make the deeper shadows too darke and obscure, as happily you may think they appear in the Life, which in Painting (as deep as the Life) is no good Rule to follow, and in Limning is a note of very necessary consequence; conclude your face with these observations, that the eye gives the life; the nose, the favour; the mouth, the likeness.

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

* 1.68 First, lay Liquid Silver, flat, and eeven, dried and burnisht with a small Weesels-tooth, (handsomely fitted into a Pensill-stick;) then temper the shadow of Armour, with Silver, Indico, Li••mus and a little Umber; work your shadows upon, and over, according to the Life; the heighthnings are to be left,

bearing the bright burnish. Then deepning the depth of the sha∣dow (the thinnest part thereof) with some store of Silver which must be sweetly wrought into Silver, and laid all flat as before.

* 1.69 As for the Gold, you may lay your ground flat with Eng∣lish Oker, tempered with liquid Gold. Yet there is a stone in the * 1.70Gall of an Oxe, called the Gall-stone, which being ground and mixt with Gold, is good for all Gold▪works, and gives an ex∣cellent lustre in the shadowing.

When the deepest darkest places are to be mixed with black; your lightning must be purest and finest liquid Gold.

* 1.71 The manner of working whereof was taught by Old Hi∣liard thus: If in your work, there be any carving or Imb••ssing, and that in the light part, it must be sparing; and you must very finely expresse it by raising (in the high and round pla∣ces) a little pile or heape of this Gall-stone or English Oker, by taking your Pensill full of Colour, and resting the point in one and the same place til your heighth, or touch, be raised above your other worke.

That done, cover over your raised worke with Gold, and * 1.72you will see it exceeding fair and bright.

The like you must do with Silver.

* 1.73 To expresse the roundnesse and lustre of Pearl; do it with a * 1.74little Pinck. Diamonds are exprest flat with liquid Silver, laid round and high, the deepning must be Cherry-stone black, and the deepest Ivory-black, the Silver dryed and burnisht is for heighthning; the strong and darker the shadowes are, the fairer the DIAMOND; which if you could set off, as I could wish, would equall that in the Grand-Sultans Cap.

* 1.75 The secret of Rubies, is of maine consequence; vix à visu temperanda. It is delivered in the same Hieroglyphical▪ Cabalisti∣call Character. Having therefore laid the ground of silver burnisht, the bignesse of the Rubie, take gheereaguar, of the best and purest wagron mixt; then take a needle or small pointed Instrument, heated in a Candle & lay a drop or a little of this composition upon the burnisht Silver as aforesaid, fashioning the stone, round or square, or other forme with the poynt of * 1.76your Instrument; Let it lye a day or two to drye, and it will be very fair and transplendent, it being long a drying; And to the other composition a little powder of Tunie. For an Emrauld or Green-stone, temper your gheereaguar with verdigreece and a little turmerick root, (first scraped) with vinegar; then let it dry, then grind it to fine powder, and so temper it with ghe∣ereaguar, as you did for the Rubie.

* 1.77 For a Saphire, and all kind of blew stones the same Gheerea∣guar tempered with Ultra-marine is excellent, especially if your Colour be fai••e.

* 1.78 For an Amethist the same Gheereaguar mixed with Wayco∣riant and way wick; and so the other colours as you please to mixe them; though I conceive I have already told you the fairest.

Thus having inriched you with a Mine of Precious stones, and pearles, with Gold to inset them; I will conclude this first part of Picture by the Life, with the manner of making liquid Gold.

To make Liquid-Gold most Excellent.

* 1.79 TAke of the fine lease-Gold about the quantity of halfe a Crown or rather of the cutting of the same, to the like quantity (at the Gold-beaters); grind this with a thicke and strong Gum-water, upon a reasonable large stone, very fine and painfully; you cannot make it fine enough, being rather opus Laboris, quam Ingenii. As you grind it, adde more Gum-water, and though the Gold look never so dirty and black esteem it not the lesse worth: and having wrought it to a competent finenesse, take it off from the stone; putting in more Gum-water wash it as cleane as you were told before, and in the same manner as you did your Bise, Smalt, &c.

Being very clean, adde to it a little Mercury sublimate, on the poynt of a Knife, with which you must temper with it, a very little Gum, to bind it in the shell, and as it settles and begins to dry in the shell, shake it together; remove, and spread the Gold about the sides thereof, that it may be alto∣gether one Colour and finenesse, which when it is dry and fair, as it will be, if you carefully wash it clean. Use it with fair water, as you do your other Colours: and this way you shall find your Gold fairer and more in quantity, then you can buy, for much more money.

To make Liquid-Silver.

* 1.80 THe same course take with Silver, which you must use in the same manner. Only with this observation▪ that seeing the Silver, either with long keeping, or the moysture of ayre, will become starved and rusty, you must prevent this Inconvenience before you lay your Silver, by covering o∣ver * 1.81the place with a little juice of Garlicke. It will keep it very faire and bright: this secret I had from Mr. Hiliard. Thus have I done with my first Division.

The second Division by Landskip: The Tablet.

TAke some Vellome, shave it upon a thinne frame; fast∣ning * 1.82it with Starch, Paste, or Glue, and pasting it upon a board; which manner of making, for Landskip or History, is altogether used in Italy. I mean thin Parchment with any Pastboard for your Tablet, large or less size, you intend for your Picture.

Green, of all Colours is most delightfull to the Eye. Not in all the Art of Painting such variety of Colour, more pleasing * 1.83then is the Prospect of a well-wrought Landskip; espetially when your ingenious Industry hath already rendred you a Master of Art and contemplation. If you draw a Prospect from the Life; Take your Station upon the rize of ground, or top of an Hill, where you shall have a large Horizon; And skore your Tablet into three divisions downwards, from the top to the bottome, set your face directly opposite to the midst of your Horizon, and keeping your body fixed, Observe what is comprehended directly before your eyes, and draw that into forme upon your Tablet in the middle-Di∣vision.

Then turning your Head only, (not your body) to the right hand, draw likewise what is presented to your sight, ad∣joyning it to your former Draught and frame it into the same.

And so also removing your sight to the left hand, take that observation, which will make a compleate PROS∣PECT.

And as all things appear in Distance and Truth, Proportion and Colour, so be carefull to express them; Most Countrie•• Southward, Spaine and Italy, afford wonderfull strange ob∣jects in Landskip, Hills, Dales, Rocks, Mountains, Ca••aracts, Ruines, Aquaeducts, and alwayes a fair skie to discover far off, which are rarely done there to the Life. You cannot miss of many examples every where, though less pleasing; but in Holland, none at all▪ So then, the Dutch in composing a Piece of Prospect, of their own Fancie and Invention, for want of the Life most grosly erre in Proportion, Distance, and Co∣lour. Now for the want of the Life and Nature, if you will adventure on your fancie; Go to work this way.

I cannot prescribe, how to order your light, in a piece of Landskip by the Life; for according to the place, as you look North, or Southward, East, or West-ward, as the time of the day and the Sun's declination, so must you order your shadows as

they appear. But in all working of Painting by Fancie, let your light descend from your left, to your right hand: So will it appear upon the work, from the right to the left, the more gracefull. (But when you paint a face to the life, you must observe the parties face, which differs, some more per∣fect, either to the right or left.

* 1.84 In making it; First, beginne with a large skie or Element and if there be any shining or reflection of the Sunne, (in which only the Dutch are neat and curious,) then you must be carefull, by no meanes to mixe Red-lead, or Mene, in the purple of the skie, or Clouds, but only with Lake and White; the Yellow and Whitish beams of the Sunne, must be wrought with Masticoate and White, which as soon as you have done, lay by that Pensil; For you must not mingle the blew Colours of the Clouds with any Pensil that hath touched Masticoate; it will make the skie Greenish and discoloured.

Make up the blewish skie and Clouds with Smalt and not with Bise, for it is too green and blew; and nothing so proper * 1.85for the purpose. At the first working, dead all your Piece o∣ver, full and flowing with Colours suitable to the Aire, and green Meadows and Trees or Ground not laying them on heaps but somewhat smooth. Be not curious in your firs•• dead-Colours; do it slightly and hastily. Leave a large skie, which work-down in the Horizon; faint and fair: as you draw neer the Earth, let the remote and far off Mountains appeare sweet and misty, undiscoverable, and almost indistin∣guishable, mixing into the Clowds, as it were lost in the Ayre.

* 1.86 Your next ground-Colour downwards, must increase in big∣ness of proportions as neerer the sight, and must be somewhat blewish as Sea-green and as you draw neerer the first ground let them decline sometimes into a Reddish, otherwise into a Popinjay-green.

Your last ground Colour must be neerest the Colour of Earth, a dark-yellow, brown & green, easier to be done with the Pensil then described by the Pen.

* 1.87 The same Colour (or neere the same,) must be your first Trees, and alwayes as they come down neerest in distance, they must increase towards their Naturall Colour, in largeness, and perfection, somewhat suiting the Earth.

* 1.88 By any means, let passengers & people by the ways encrease neerer hand and be made bigger in their forme and Colour; and evermore let every thing, from left to the right hand in a Line, be of the same equall bigness. You might have seen Passengers in some Landskip (who should be imagined four or five miles in distance from the Eye) to be express∣ed

neerer, and as at hand which is a grosse errour.

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

* 1.90 Let not your Landskip of land, rise high, and lift it self into the top of your Piece, as hath been noted in the Prints of Al∣bert Durar, (otherwise, in his way, an excellent Master;) rather let them lye low, and under the eye, which is most gracefull, and more Naturall, with a full skie.

The most generall and absolute Rule in Landskip, was ob∣served * 1.91by that excellent Master at Rome, Paul Brell, whose de∣lightfull▪ works many of them extant in Prints, are set out by Raphael and John Sadler. Besides many Paintings of his own hand both in Frescoe and Oyle, in the Pallace of Cardinal Montaltre, by St. Maria Mahgior, Bentoglia in Mount Gaballo, and in the Church of St. Cecillia; His observation i•• onely this, That an Artist must be sure to make all his shadows fall * 1.92one way; that is, to place light against dark, and dark against light. His meaning is, that to oppose Light to shadows, is on∣ly to remove and extend the Prospect, and to make it shew far off, yet so as ever they must lose their force of vigour as they remove from the eye, and if strongest alwaies neerest at hand, and as they fall on the first ground.

* 1.93 Besides all this second working, you are to touch up the Trees, boughs, and branches of them, putting all the dark sha∣dows first, and raising the lighter leaves above the darker, by mixing some Masticoate with the dark green, which you may make with Bise, Pinke, and Indico.

The uppermost of all, you are last of all to express by lightly touching the exteriour edges and brimes of some of the former leaves, with a little green Masticoate, and white. If deeper, darkest shadows, you may well set off with sap-green and Indico. Only remember, that both in the leaves and trees, Rivers, and far distant Mountains, you must affect, to ex∣press certain reall Morrice-dello (as Paul Brell calls it), or soft delicateness, which is the very next remarkable in the worke.

* 1.94 There is great Art in making Cataracts, and terrible falls of waters (such as you see at Bruolli neer Rome) and fearfull Rocks. Wherein Montpert of Antwerp is excellent; no Pieces pass his hand without them. They are rather made with sleight of hand, and a little dramme of discretion with judgment, then by study and diligence.

A good full ground must be first laid neer the Colour; then with stronger, in the dark places; and sl••ight and easie heigh∣ning in the light; ever observing those dis-proportions, Cracks

and ruptures of various over-wannie colours; the manner where∣of, you see abundantly exprest by most mens Pensils, almost in every Landskip. * 1.95

I should have proceeded in a formall discourse of the second manner of working, according to the second sitting after the Life: But I spare your troub le referring you to those ob∣servations heretofore directed: for curiosity in this work is not so much required, as in a Picture.

The greatest cunning herein is to cosen your own eyes; which yet, you cannot do, without their consent in assisting, by an apt accommodation of rarity of Colours, in their due places, In such manner, that many times in a Tablet of a span long, a man's Imagination, may be carried quite out of the Country, Seas, and Citties, by a sure Piece of his own making. See Streeter's most exact and rare Landskips in Oyl.

The Third Division of History.

* 1.96 YOu shall rarely see History in Limning to be done in any largeness. Only four books there are in a Master Book of Paulo quinto in the Vatican Library reasonably well done by one Salmiato, a Florentine.

In the same place there is a very antient Greek Martyro∣logie, sometime belonging to the Emperour Basilius about a thousand years since. Wherein were Limned upon Parch∣ment 463 good large Histories out of the Martyrdome of Anti∣ent holy people in the primitive Church; and these pie∣ces were done by severall Gretians dwelling at Constanti∣nople. * 1.97

* 1.98 Other Books exceedingly wel limm'd in that Library, done by Albert Durar.

* 1.99 Another, done by Don Clavio very neat and curious, and al these upon Parchment, only the fleshy Colour wrought in, with the poynt of a Pensill, without any Primere or ground at all. Which certainly ••is an error, or rather Heresie in the Ita∣lian, * 1.100who wil by no meanes admit of Limning with a ground.

But that which i•• Instar omnium, is an History of the Buriall of a Gretian Monarch, done upon a large Tablet of sine abor∣tive Parchment, polished on a smooth and well seasoned board of Pear-tree. It was in the hands of Mr. Endymion Porter & begun by that in comparable Master, Isaack Olyver, almost * 1.101to the end, but it had finishing from his Sonne. It was a piece of the greatest beauty and perfection (for so much) as I think all Europe or the World can produce. And I believe if Carlo∣van Mandras in his Dutch History of the famous Painters had

seen this Picture, his book might have encreased to a Tome with this worthy description.

* 1.102 The difference in Painting of Pictures and History are infi∣nite, though the Colours be the same; and to particularise but in part, what may be said of this subject would be end∣lesse.

* 1.103 The most remarkable difference certainely is in the vari∣ety of Colours which according to their several Complexions, Sex, and Ages may be represented, and many times accor∣ding to the humour, judgment and affection of the Work∣man; And we see ordinarily, the practice of the best and most famous Painters, (those that follow the Life,) * 1.104doe tye themselves straightly and precisely, to what they see in their patternes (the designes and drawings of Bloomart and Spranger.) Yet in the Invention they assume * 1.105unto themselves liberty or rather licence in their racking and strained proportions so others in their Colouring, as that ma∣ny times extravagancies, and impossibilities, (if not ridicu∣lous), do appear.

* 1.106 Hence comes it, that the rare Raphael Urbine affecting a de∣licate pleasing liberty in Colouring of his Na••ea's, is so pittiful∣ly imitated by some of the Dutch Masters.

And so, the Dutch pester their work with greenish, bl•••• and purple Colour, in their Na••e••s, as would rather serve for a rea∣sonable Landskip, and set out the flesh as if bastinado'd into black and blew.

* 1.107 The Naturall Basano, an old and excellent Master; yet so affected to Pots and Dripping-pannes, to blew cotes and Doggs, that his History of the Deluge sometimes in the Gallery at St. Jame's by White••all, seemes to be rather a disordered and confused Kichin; then Noah's floud.

* 1.108 So Ruben in his affected Colouring sometimes in the privy Gallery at Whitehall, and Cornelius of Harlem in his loose & un∣trussed figures, like old and beaten Gladiatry; seem excee∣digly to abuse that gentle and modest licence, which al∣wayes graced the worke of that admirable Italian Michael * 1.109Angelo, that therefore it is not safe to go beyond the Life ra∣ther then so much to exceed the patterne by the Chimeraes of their own brain and fancy▪ and yet what I have touched be∣fore concerning him also, is accounted a fault.

Four severall sorts of Colouring.

* 1.110 INdeed and briefly there are four severall kinds of Colou∣ring to be observed in History. Of young Infants, of faire

virgins, of young women, of old women, in every of these seve∣rally. It is in the power of a judicious Artist, to vary and change their manner of colouring, according to his discreti∣on, or as the occasion and subject of his intention shall re∣quire.

* 1.111 Infants and yo••ng children are to be of a soft, airy, and ten∣der complexion, crimson and delicate colloured blood upon the ear and skin, almost transparent; which you will expresse with White, Lake, and a little Red-lead; the shaddowes are to be thin, faint, and tender; the cheeks, lips, chin, fingers, knees, and toes, more reddish than the other parts of the body. The Linnen and Laune about these tender bodies, are to be made thin, and very transparent; onely strongly touched up in the thickest foldings.

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

* 1.113 Mens bodies naked, are to be made strong, robustious, and vigorous; the Muscles and Sinewes strongly and exactly fel∣lowed, allotting to every Artery his right and due place; which to do with understanding, is a study and practise of your whole life; and yet an Artist otherwise, may not be deficient in this. So exceedingly doth Nature transcend Art, and her Idol••ters; not easily to be courted, or so much as to be followed afar off.

And though these observations are carefully to be exam∣pled, yet is it in the power and judgment of the Painter, to vary the colours and severall complexions of bodies; onely, if the postures be either reposed, or otherwise in violent action, they are to be more or lesse expressed.

* 1.114 An excellent shadow for an old man's body, is Pinck, Lake, and Ivory-black; it will be a glowing shadow, like the ex∣pression of the wrinckles and furrowes of the face and hands, of people extreamly aged, dark eyes, melancholly aspect. Sub∣ject enough, to show the riches of invention and spirit, espe∣cially if it be suitable to the History.

* 1.115 To order many persons in one Tablet, of the same sex and age, apparelling and clothing their persona••es; I do not find, that the best Painters have been very carefull, to present figures with colours of apparell, fitting their years; as to an old man,

sad and dark colours, and such like; but rather quite con∣trary, bending their noble study to cloth their figures, with what may best adorn their workmanship. The Eastern Nati∣ons were never clothed in black or sad colours.

The Virgin Mary is universally (as it were by common con∣sent) represented in Purple and Azure; St. John the Evangelist in Scarlet, the Apostles (though most reverend) are vested in Green, Crimson, Blew, as pleaseth the Painter.

Of Drapery in Limning.

FOr Drapery, I find but two waies in Limning; the one by * 1.116Italians and French, to work-in their Aparrel, in manner of washing; working it with the point of a Pensill, with slips and little pricks, and engraving it all over, somewhat like the nap of Frisado; yet so, that when all is done, you may see the parchment quite through your work; which, in my opinion, is a very sleight single-sol'd device, and rather like a Wash-drawing, than a Master's work.

The bett••r way is, to lay a good, flat, and full ground, all over, whose Drapery you mean to make; and if it must be Blew, then all over with Bise, smoothly laid. The deepening * 1.117Lake and Indico, the lightning White, very fine, faint, and fair; and that onely in extreamest light. The same order you are to observe, in all your Draperies whatsoever. And this was the * 1.118way of Isaac Oliver, in my observation.

There is to be seen in the Palace of Don Julio Clovis, Crim∣son-velvet * 1.119Curtains, and Clothe•• of Gold, excellently expressed by lightning, with fine shell-gold: but it must be hatched and washed; and your gold must be of your own ma∣king, for you can buy none fine enough for this purpose.

You cannot believe, what an ornament this lightning with * 1.120Gold is, and what a lustre it gives to fair coloured Drapery; as, crimson-velvet, red, green, and blew: And if you mix gold with the very ground it self, you will find the apparell much fairer.

And in the same manner, you are to work the Building and * 1.121Architecture, especially in rich stately Edifices; And so far was Albert Durar in love with this manner of working, that I have seen the very dirty earth, the dead stocks of rotten trees, and stakes of hedges, in Landskips, all lightned with this man∣ner of working in gold, which shew very pleasant, and affect the eye exceedingly.

Other remarkable observations there are, which you shall better master by your own practise, than my relation: And yet those that follow will not be amisse.

Observations in Limning.

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

* 1.123 Sit not above two yards at the most (for the face) from the person, whose picture you take; and six yards distance for the whole body, levell with them; unlesse they are tall, then somewhat above them, for so they appear to most men, who are not so tall. Mark when he removes, though never so lit∣tle, from his first station or placing; recall him to the former sitting, for a little change of the site of the body or face, cau∣seth errour in the work. Draw not any part of the face, in story or picture, exactly, or perfectly at the first, neither finish the eye, mouth, or nose; but let all the work be made and con∣cluded together.

* 1.124 All the art and judgment is in the touch of Proportion, and the exact drawing; yet, neatnesse of work, and curiosity in beautifull colours, do indeed many times grace the Picture in such manner, that the defects of drawing are not easily disco∣vered, but unto very judicious observers.

* 1.125 Never change your light, if you can possible, but rather finish the work by the first light: And therefore not many ex∣cellent Artists in this kind, will work abroad from their own light. A dishonour to transport his Easel, Pallat, Collours, and Pen∣sills from home.

* 1.126 When you have finished the face, and are to draw the po∣sture, let the Person rise and stand, when you draw the lines of posture, and not sit by any means; for though never so true sitting, yet you will find your self deceived in the draught, which will lose the grace and sprightfulnesse, and will be re∣warded with a dull and livelesse aspect.

Of Pastills, or Croyons.

* 1.127 THe Pastill for Croyon, or dry colour: take three ounces of Lint-seed oyle, six ounces of yellow Wax, two ounces of white Mastick, four ounces of Colophonia, four ounces of Rosin-Depino Greaseo, one ounce of Turpentine: Melt all these toge∣ther in a fair earthen pot or pan, well leaded; put not all in together, but one quantity after another, as they melt; cut the waxe in pieces, it will melt the sooner; stamp the Rosin, and

Caliphonia; this done, let it be luke-warme, in any wise not hot▪ mingle there with (as best you may with your hand) the * 1.128Lapis Loculi; ground and work it up in a lumpe, and so let it rest a day or two, then take a faire earthen pan or a dry smooth Bason almost full of water, so warme, as you may well indure your hand in it. Then take the massy Lumpe and work it between your hands, so long as you can see it sweate out a cleer water of a blew Colour, and the longer it is before the drops come forth the better. When the water is well blewed, set it away, and take another Bason or Panne of clean water and worke it as before, then take another Panne▪ a fourth, and a fift; till no more drops will sweat out, letting the ground remain and dry throughly: then with a feather wipe it off the panne, upon a paper; and so put it up the first blew that sweateth is best, and so the rest in degrees. You may put the worser sort into the like new Pastill again, and work it over as before. It will be the fairer but less in quantity. There are other wayes pretended.

Note also, that the Pastill can never serve but once: and afterwards, to make Lincks, and Torches. You may get some of the broken pieces of Lapis Loculi of the Marchants of ALEPPO, the deepest colour the best.

To work in Croyons or Pastills,

I observe three manners of wayes.

The first and worst, is that of Monsieur de Mousters of Paris, whose custome is to ••ub-in several Colours, ▪being first re∣duced * 1.129into powder, and set in severall small boxes,) upon the paper, which commonly is the whitest; and this he doth with severall stubbed Pensils, the ends fitted with Cotton or Bumbaste. His work is reasonable neate, but not lasting, there being nothing to bind on the Colours, which commonly fall off, and the work lost or defective.

* 1.130 The second is with Pastills the length of a finger or therea∣bout, composed of severall Colours, mixt and ground toge∣ther, of a good consistence and stiffnesse, and so rouled up and laid to dry. They have used to make them up with Milk, Beer, or Ale, or new Wort; others with old rotten size, to bind the Colours together.

* 1.131 The last and best (as I conceive) is to Colour the pa••er, whereon you intend to draw the Picture, with Carnation or flesh Colour, neer the Person's Complexion you mean to draw. Cover the whole paper (for some complexion) with Ceruse, Mene, and a little yellow-Oaker, ground with Gum; When you prepare one paper, do so with many other papers

to save labour, and those with different complexions, untill you have use of them.

Lay the Complexion with a sponge wet, but let it be so bound, as it may not come off with rubbing; this done & dry, draw your outward lines with red-Chalke faintly. Then with your several Pastills rubbe in the Colours, &, with your fingers-end, sweeten and mixe them together, driving them, one within another, after the manner of the Oyl-Painters; and be∣cause you cannot sharpen your Pastills as shall be needful, you must remember to close up all the worke with Red-Chalke and black-Chalke, which (with your Pen-knife) sharpen at your pleasure.

* 1.132 I have seen a book of Pictures in this last manner of Croy∣on, done by the hand of that incomparable Artist Hans Hol∣ben, who was servant in Ordinary to KING Henry the Eighth. They were Paintings of the most ENGLISH LORDS, and LADIES then living; and the patternes whereby he drew their Pictures in Oyle. Many of those Pieces in the book were spoyled by the injury of time and the ignorance of such as had it in custody. Yet there appear'd in those ruines and remaines, an admirable hand, and a rare man∣ner of working in few lines, with much diligence and labour in expressing the Life and Likenesse. Many of them equal∣ling his own Oyl-Pictures, and alwayes excelling any other Artizan. After a long time of Peregrination, this Book fell into the hands of the late Earle of Arundell, Earle Mar∣shall of ENGLAND, an eminent Patron to all PAINTERS, and who understood the ART; and therefore preserved this BOOK with his Life, till both were lost together.

* 1.133 The Ordinary working in Croyon is upon blew-paper, the Colour rubbed-in, first with the Pensill; and afterwards, ei∣ther with a stubbe-Pensill with your finger, or with a little piece of paper, or with a sponge, or otherwise.

You may also work in Croyon upon Parchment exceeding neat and curious in that manner, as these small Pieces to the Life done upon Velome, Parchment, and white Paper also, by the admirable Artist and Gra••er in Brass, Henricus Jessius at Harlem in Holland. The faces no bigger than a Jacobus in Gold coine. His Pastills of the shape and bigness of a tack∣poynt, but longer: they might compare with Limning and seemed so, to the suddain view. They were rubbed-in, with small Cotten-pensills, and were finished with sharp poynted Red-chalke and Black-chalk.

The true way of making the Pastill, is the secret of the Art; and so you may remember that I said, some make them of Ale-wort and such trash, to tell you the difference not to

teach you those wayes: for either they bind so hard, that they will not mark nor score at all, or else so loose and brit∣tle, that you cannot bring them to finenesse.

For tempering so many Pastills for change of Colours in the Face.

I Shall onely direct you in one COLOUR, for example of all the other.

* 1.134 For a Brown Complexion.

Grind upon the stone, Ceruse, Red-leade (or Vermillion, for this is a more useful colour in this kind of work then in Lim∣ning) English Oaker and a little Pinke; you need not grind them very fine but onely to bruise and mixe them well to∣gether. To these, adde a reasonable quantity of Plaister of Paris burnt and finely sifted, mixe and incorporate this, with the other Colours, thick and stiff, like moyst clay; then take it off the stone, and roule it betwixt the palmes of your hand, as long, or as little as you list; then lay it to dry, in the Sun or Wind, but not by the Fire.

* 1.135 In this manner, and with mixture of Playster of Paris, tem∣per all the other shadows, and Colours whatsoever; the quality of this plaister of Paris, is to binde the Colours toge∣ther, and to make them durable, which otherwise would be loose and brittle. With your Pen-knife scrape them be∣ing dry, to a fine poynt, so sharpe, that you may with it draw a haires breadth, and this Plaister makes the Colour so hard and drye, that you may draw lines upon Parchment or paper.

* 1.136 The Colour Crimson is most difficult to worke; It is made of Lake, which of it self is light and hard: therefore instead of that, use India Lake or Russet, observing alwayes to mixe white Ceruse with all the other Colours, or shadows, whatso∣ever.

And when you are to mixe a Colour that is hard to worke as this Crimson, (which commonly you shall find brittle and hard) then temper it with another Colour, neer the same in Colour, but more soft and gentle.

As if you mixe a little Vermillion with a good quantity of Lake, it will take, not much from the Colour, and make it work very well.

* 1.137 In this manner you may make all manner of beautifull Greens for Landskips and all other Colours requisite for Rocks, * 1.138Waters, Skyes, and tempering the Greens with white Pinck, Bise, * 1.139Masticoate, Smalt, Indico, and to make them high, deep, or light, as you please; remembring where you are to temper fast and firm colours, as Umber, Oke, Indico, take the less plai∣ster

of Paris. But where your colours are loose and sandy, they bind the stronger and faster, by adding more plaister.

And when your colours are dry, before you begin your work, sharpen them with a pen-knife, according to the large or little proportion of your designe.

* 1.140 Having ground the white-lead to a sufficient finenesse, put it together with the water with the which you ground it, (being sweet water distilled) into a Silver or China-dish, where∣in hath been dissolved a good quantity of Gum-Arabick, and strained: The water becoming clear, and the colour become set∣led; poure the water away, and let it dry inthe dishes, and so receive it to your use. The second washing will serve well to work withall, and temper and mix with the shadowes. The third and last is good for heightnings, lights, and high touches, and strong reflections. But the first and coorsest in the bottom, reserved in the first dish, must be ground again, and tempered with gum-water, and is very good for laying grounds, and carnations, and complexions for Picture by the life.

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

* 1.142 Of Frescoe.

* 1.143 THe way of Painting upon walls, to endure weather, the Colours must be ground with lime-water, or milk, or whey, tempered and mix'd in pots, as in Size-colouring. Take the powder of old rubbish stones, mixed with well-burnt flint-stones, (or lime) and water; wash out the saltnesse of the lime, by often pouring out the water, and put in fresh, the oftner the better, which makes the plaister or compost: Avoid moist weather, which hath influence upon the walls. (To do the work lasting, strike into the brick or stone-wall, stumps of head-nails, about six inches assunder, which will keep the plaister firm from peeling.)

Then with this compost, plaister the wall a good thicknesse, letting it dry; and your colours prepared ready and mingled, plaister again over the former, the thicknesse of half a crown of silver, very fine and thin, so much as you intend presently to work upon, whilst it is wet: Work your colours therein,

which will co-operate and corrob o rate into the plaister, and so dry together as a perfect compost.

Work your painting quick with a free hand, for there can∣not be any alteration after the first painting; and therefore make your painting high enough at the first: You may deepen, but not easily heighten.

* 1.144 Avoid Min••rall colours; Earth colours are best, as all Oker s, Brown of Spain, Terre-vert, Spanish-white, and such like.

Your Brushes and Pensills must be long and soft; otherwise they will ••ake the work, and raise the painting. Your Colours must be full, and flowing from the Brush; your Designe, per∣fect in the Image, or paper-copy; for in this work, you cannot alter or add upon any colour.

To make excellent pur•• White-Lead.

* 1.145 PUt into a gallon pot certain plaits of clean fine le••d, co∣ver them with white-wine vinegar, glewing the pot with clean Lome; bury it in a Cellar a months space, or six weeks, then you shall find very good white-lead upon the plates, which take off for use.

To make severall Colours.

BReak the best Verdigree••e into fine powder in a mortar, then having laid the ground with liquid silver and burnisht, * 1.146temper the Verdigreece with Varnish, it makes an Emerauld; as also with Florence-Lake, it makes a fair Ruby; and with ultra-Marine, it makes a Saphire. Let it rest a while upon your hand, that the varnish thereof may di••solve the stone. Make it little, eeven, and smooth upon the Card, and it will dry ••n a day.

A Crimson-Velv••t.

* 1.147 TAke Indico-Lake, well ground, and strongly bound with G••m, and a little white-Sugar-candy. Temper these with a little Turnsoil, then lay it full; and when it is wet, with a dry Pensill, wipe away the colour, where you will have the heightning of the Crimson-velvet appear, and the strong re∣flections will this way expresse it.

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

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

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

An excellent Black.

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

The five perfect Colours, with their Lights and Shaddowes.

* 1.151 THe best for Limning, is a Lake of it self, of a Murray co∣lour, which is best made, and to be had at Venice, or in Flenders at Antwerp; for if you make shift with other Lake, adding blew, to make it Murray, it can never be good. The for∣mer Lake is to be ground with Gum-Arabick water onely, al∣though when it is once dry in the shel, it is hardly reduced in∣to a condition to work well again. Then grinde more and fresh.

2. Red, or Ruby.

* 1.152 IF you will make a fair Red for Limning, take India-Lake, (with breaks of a Scarlet, or Stammell-colour) there are sundry Lakes, which will shadow one upon another, and some ••o black, that they must be ground generally with Sugar-can∣dy, amongst the Gum, and others with Sugar onely. You can∣not grind them too much, nor need they washing. Vermilion also is another Red, which must be ground and wash'd.

3. Blew, or Saphire▪

* 1.153 THe darkest and richest is of Ultra Marine of Venice; but that is very dear, in the place thereof we use Smalt, of the best Blew; Bises also of severall sorts, paler then other of five or six degrees. They may be ground; but better to be bea∣ten in a Morter of flint, like Ammel, very smooth, with a Pe∣still likewise of flint, or Aggat, well stirred, till it be fine, with gum-water onely, and well wash'd. So have you many sorts, and all good; shaddowing Blewes, or Litmus, Indico blew, Flory. These need no washing, nor Litmus any grinding, but steeped in the lees of Soap-ashes. Use Gum with discretion, as aforesaid.

4. Green, or Emrauld.

* 1.154 GReen; the best is Cedar-green, in the place thereof, take Tripall, to draw with: Pink is also needfull for Landskips, mixed with Bise-ashes, makes another Green; so likewise with Mastico••e and Ceruse, as you see cause. For light-greens, sap-greens, flour d•• Bise, tauny-green, needs nothing but steeped in water, which is best.

5. Yellow, or Topas.

* 1.155 YEllow the best is Masticote, whereof there are divers forts, paler or deeper; yellow Oker, for want of better, is another also; and these wash'd, not ground, do best; and must have a little Sugar amongst the Gum, in tempering them. Sha∣dowing Yellowes▪ are of the stone, found in an Ox-gall, ground with Gum-water, not washed. And yellow Oker, made with white Roses, bruised with a little Allom, and strained; neither of them needs grinding, nor washing, nor Gum. You may make shift with fair Oker de rouse, and Sa••••ron water. Shadow your Masticote with yellow Oker, deepen it with Oker de rouse.

And so have we done with the five perfect Colours.

An excellent Receipt to make Ʋltra-Marine.

* 1.156 TAke the broken pieces of Lapis Lazarilli, the deeper blew, or between black and blew, with as little grains of gold upon them as may be; put it into a Goldsmith's melting∣pot, covering it with a potsheard; heat it hot about an hour, upon a fire of charcoal; then quench it with urine, vinegar, or water, in some pot, well leaded: dry it in a fire-shovell upon coals, the moisture quite dry; then lay it upon a table, and with pinsers, nip off the hard part from it, being gray and whitish: Then boyl two spoonfulls of Honey in a pot of clean water, and take the Lapis Lazarilli, and grind it out with this water, as fine as may be, and so let it dry for use.

To make a Varnish.

* 1.157 TAke a pound and half of oyle Aspeck, the best; five oun∣ces of Mastick, as many of Sandrose: put these together in a glasse, boyling them in a pottle of water, and putting a cloth in the bottom; stir it often for three hours, the longer the better; and after it is cool, let it stand in the Scum for ten daies.

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

* 1.158 TAke Rosemary-water distilled, and with a few drops there∣of temper a shell of White, so starved or dead, and it shall instantly become perfect; for a truth, try one half of the co∣lour, and see the difference. It hath also this quality of good∣nesse, that whereas all colours (especially Whites and Umber) in the grinding and tempering, arise in bubbles, very trou∣blesome to an Artist, a little of this water clenseth the colour, and disperseth the bubbles; and being tempered with your colour in the shell, makes it flow, and to work exceeding sharp.

The draught of a Landskip Mathematicall; they that have leasure and desire thereto, may make experiment.

* 1.159 SEt up a little black Tent in a field, made easie, portable, and convertible, as a Wind-mill, to all quarters at pleasure, capable of no more then one man with little ease, exactly close and dark, save at one hole, an inch and half diameter; to which, apply a long prospective Trunck, with a convex glasse, fitted to the said hole, and the concave taken out at the other end, which extendeth unto (about) the middle of this erected Tent; through which, the visible radiations of all the objects without, are intermitted, falling upon a paper which is ac∣commodated to receive them, and so trace them with your pen in their naturall appearance, turning this your little Tent round by degrees, till you have design'd the whole aspect of the place.

There is good use hereof in Chorography; but to make Land∣skips hereby, were too illiberall. Surely no Painter could ex∣ceed the precisenesse of these.

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

* 1.160 MAke clean the Picture with a spunge, dipt in warm beer, and then let it dry; and afterwards wash it over with the liquor of the whitest Gum-dragon, steeped or dissolved in water, which will set a glare or freshnesse upon the Picture. If you use blew starch, or glare of eggs, or other such trash, as is very common, it will take off the heightning, and spoil the grace of the work.

Light, bad for the eyes.

* 1.161 LEt not the aire be too lightsome; excessive light scatters the spirits, and causeth the sight to be lost. Xenophons soul∣diers passing a long time in the snow, became almost blind.

Dionysius the Tyrant, shut up his prisoners in dark holes, and sodainly bringing them to sun-shine took away their sight.

* 1.162 Some colours are not profitable for the sight, which diffu∣seth the spirits, drawing them to it; Black makes them too grosse: Not any colour does much comfort the eyes, but Green, Blew, Viol••t, Saphir, and Emerauld.

Flowers of Burrage, and leaves of Burnet, put into French∣wine, the colours comfort the eyes, the property of the Herbs represse the vapour of the Wine; and this Wine is most due to be drunk by an excellent Painter; in which, other persons may have leave to taste onely, unlesse to drink his health, unto

Notes

• * 1.1

  Colours not usefull.
• * 1.2

  Ceruse.
• * 1.3

  White-Lead.
• * 1.4

  Note.
• * 1.5

  How to grind it
• * 1.6

  Upon what stone
• * 1.7

  To use it▪
• * 1.8

  Gum-atrabick.
• * 1.9

  Note a gene∣rall rule▪
• * 1.10

  Colours to be washt and ground▪
• * 1.11

  To be washt only.
• * 1.12

  Why to be washt.
• * 1.13

  But five perfect Co∣lours.
• * 1.14

  India-Lake.
• * 1.15

  To ••ixe all Colours.
• * 1.16

  Oker,
• * 1.17

  Pinke.
• * 1.18

  Blew and yel∣low makes green.
• * 1.19

  Umber.
• * 1.20

  Brown of Spaine.
• * 1.21

  Terra-Colen.
• * 1.22

  Cherry-stone and Ivory black.
• * 1.23

  Ivory.
• * 1.24

  Red-Lead to be washed.
• * 1.25

  How to use it.
• * 1.26

  Pensils how to choose them.
• * 1.27

  To make Pen∣sils.
• * 1.28

  Some onely for Gold.
• * 1.29

  Tablet for the Life.
• * 1.30

  The Prime for severall Complexions.
• * 1.31

  Faire.
• * 1.32

  Brown.
• * 1.33

  How to lay on the ground.
• * 1.34

  To prepare Colours upon your shell.
• * 1.35

  Of Whites,
• * 1.36

  Reds.
• * 1.37

  Blews,
• * 1.38

  Grisatrie.
• * 1.39

  Your Light.
• * 1.40

  And sitting.
• * 1.41

  First lines.
• * 1.42

  Manner of Limning.
• * 1.43

  To the Life. First ••itting.
• * 1.44

  Second.
• * 1.45

  Third.
• * 1.46

  Dead-Colour
• * 1.47

  Note.
• * 1.48

  Particular directions of the Picture,
• * 1.49

  Blew-Colour-working.
• * 1.50

  Eyes.
• * 1.51

  Haire.
• * 1.52

  Note.
• * 1.53

  Second sit∣ting.
• * 1.54

  Observation.
• * 1.55

  The Ground-Colour be∣hind.
• * 1.56

  Curtaine of Blew, How to lay it
• * 1.57

  Remarkable.
• * 1.58

  Crimson Sat∣ten ground.
• * 1.59

  Over-view, and add to the face,
• * 1.60

  And Haire.
• * 1.61

  The Dressings
• * 1.62

  Blackish re∣flections.
• * 1.63

  Third sitting.
• * 1.64

  Likenesse, Re∣semblance, Countenance, Marks, Moles.
• * 1.65

  Note.
• * 1.66

  Remarkable.
• * 1.67

  Armour to Colour
• * 1.68

  Silver.
• * 1.69

  Gold Colour.
• * 1.70

  ••all-stone of an Oxe.
• * 1.71

  The manner of working liquid Gold,
• * 1.72

  Or Silver.
• * 1.73

  Pearle.
• * 1.74

  Diamonds.
• * 1.75

  Rubies.
• * 1.76

  Emrauld or Green-stone.
• * 1.77

  Saphire.
• * 1.78

  Amethist,
• * 1.79

  Liquid Gold, to make it.
• * 1.80

  Liquid Silver, to make it.
• * 1.81

  Silver larnish
• * 1.82

  Tablet for Landskip.
• * 1.83

  Landskip af∣ter the Life, the way to draw it.
• * 1.84

  To make a Landskip.
• * 1.85

  Dead Colour.
• * 1.86

  Next ground▪
• * 1.87

  And neere••.
• * 1.88

  Note.
• * 1.89

  Trees.
• * 1.90

  Note▪
• * 1.91

  Paul Brell's ob∣servations.
• * 1.92

  Light against dark, et •• con∣trario.
• * 1.93

  Heightning the touches of the Trees.
• * 1.94

  Cataracts and falls of water-Rock••.
• * 1.95

  Second work∣ing.
• * 1.96

  History of rare pieces by Salmiato.
• * 1.97

  By Graetians,
• * 1.98

  By Albert D••∣rar,
• * 1.99

  Don Clavio▪
• * 1.100

  Error in the Italians.
• * 1.101

  Isaack Oliver.
• * 1.102

  The difference in Painting History and Picture.
• * 1.103

  Variety of Co∣lours in the Life.
• * 1.104

  Bloomart and Spranger.
• * 1.105

  Liberty affec∣ted in Colou∣ring.
• * 1.106

  By Raphael Ʋr∣bine.
• * 1.107

  And Bassano,
• * 1.108

  Ruben and Cornelius of Harlem,
• * 1.109

  Angelo.
• * 1.110

  Four severall wayes of Co∣lonring.
• * 1.111

  1. Of Infant••.
• * 1.112

  2. Virgins and fair-Women.
• * 1.113

  3. Men naked▪
• * 1.114

  4. Aged bodies.
• * 1.115

  Severall per∣sons of one age and sex, in one Tablet.

  Colours of their Apparel.
• * 1.116

  Drapery two waies.
• * 1.117

  Blew Drapery
• * 1.118

  Isaac Oliver.
• * 1.119

  Lightning with Gold,
• * 1.120

  upon all Co∣lours,
• * 1.121

  by Albert Du∣rar.
• * 1.122

  Observations in Limning.
• * 1.123

  The Sitting,
• * 1.124

  Proportion,
• * 1.125

  Light,
• * 1.126

  and Posture▪
• * 1.127

  Pastills for Croyons.

  To make them
• * 1.128

  Lapis Loculi, Lapis Lazarilli. To make Ul∣tramarine.
• * 1.129

  1. With Pow∣ders.
• * 1.130

  2. Pa••tills▪
• * 1.131

  3. Colour'd paper.
• * 1.132

  Croyons of Holben, a rare Book.
• * 1.133

  Ordinary working in Croyon.
• * 1.134

  Brown Com∣plexion.
• * 1.135

  Plaister of Paris.
• * 1.136

  For Crimson▪
• * 1.137

  Greens,
• * 1.138

  And
• * 1.139

  Other Co∣lours.
• * 1.140

  White-Lead.
• * 1.141

  To counter∣feit Spanish White.
• * 1.142

  Frescoe.
• * 1.143

  Painting up∣on Walls.
• * 1.144

  Without any Mineral co∣lours.

  What Brushes
• * 1.145

  White-Lead.
• * 1.146

  Emrauld. Ruby. Saphire.
• * 1.147

  Crimson-vel∣vet.
• * 1.148

  Pearl.
• * 1.149

  Note.
• * 1.150

  Black.
• * 1.151

  Murray, or Amethyst.
• * 1.152

  2. Fair Red, or Ruby.
• * 1.153

  3. Blew, or Saphire.
• * 1.154

  4. Green, or Emrauld.
• * 1.155

  5. Yellow, or Topas.
• * 1.156

  To make Ul∣tra-Marine.
• * 1.157

  To make a Varnish.
• * 1.158

  An excellent Water.
• * 1.159

  A Landskip.
• * 1.160

  To clean old Pictures.
• * 1.161

  Light, bad for the eyes.
• * 1.162

  Colours good and bad for sight.