Among the many Operations of Mysterious Nature, the Intellectual Part of Man hath no equal : Among the multifarious Productions of Man’s Understanding, the Art of LIMNING is by none excelled ; whether we consider the Grandeur of Spirit therein expressed, or the Ingenious Delight thereby acquired. What Ray of the Great Creator’s Image is more conspicuous in the Soul of Man, than that of Intense Desire to produce Creatures of his own ? And wherein is that Inclination so compleatly answered, as by Delineating the Workmanship of God in Artificial Resemblances contrived and wrought by his proper Wit ? Nor can any Satisfaction equal what is derived from the Perfection of these Designs. Are the Proportions exact ? How strongly do they attract the Eye ? Be the Shadowings accurate ? How strangely do they affect the Mind ? But if the Artist hath stoln so much of Promethean Fire as to add the Excellency of Life to well-disposed Lineaments, representing the Native Air and sprightly Gesture of the Person in vive : How unspeakably doth he gratify both ?

Drawing consists of several General precepts to be learnt of every one that is desirous to attian to Perfection therein ; the practice of which requires Observation, Discretion, and Judgement ; in which, Proportions, Motions, and Actions are with great care and diligence to be followed : And therefore he that will attain to the perfection of this excellent Practice, it is necessary he should not be ignorant of Mathematical Demonstration in the Rules of Geometry and Perspective ; of which in this Book you shall receive Instructions. Of all other proportions, the Body of man hath the pre-eminence for excellency, from which all other Arts are derived, as many of the learned have concluded ; for Vitruvius noteth, that the Architect hence took the observations of his Buildings, Man being the first pattern of all Artificial things ; and Antiquity hath so graced Painting, (as being the chief Mistress of Proportion) so that all other Artificers are called Handy-crafts or Mechanicks.

SECT. I. Of Actions or Gestures.
These are those that most nearly resemble the life, be it either in laughing, grieving, sleeping, fighting, wrastling, running, leaping, and the like.
Amongst the Ancients, famous for lively motion and gesture, Leonard Vincent deserves much, whose custom was to behold clowns, condemned persons, and did mark the contracting of their brows, the motions of their eyes and whole bodies ; and doubtless it cannot but be very expedient for an Artist in this kind to behold the variety of exercises, that discovers various actions, where the motion is discovered between the living and the dead, the fierce and the gentle, the ignorant and learned, the sad and the merry.
John de Bruges was the first inventer of Oyl-painting, that deserv’d excellently in this particular.

SECT. II. Of the Passions or Complexions.
Man’s Body is composed of the Four Elements.
Melancholly resembles Earth.
Flegm the Water.
Choler the Fire.
Bloud the Air ; and answerable are the Gestures and Humours.
Melancholly bodies are slow, heavy, and restrained ; and the consequents are anxiety, disquietness, sadness, stubborness, &c. in which horror and despair will appear.
Flegmatick bodies are simple, humble, merciful.
Sanguine bodies are temperate, modest, gracious, princely, gentle, and merry ; to whom these affections of the mind best agree, viz. love, delight, pleasure, desire, mirth, and hope.
Cholerick bodies are violent, boisterous, arrogant, bold, and fierce ; to whom these passions appertain, anger, hatred, and boldness ; and accordingly the skillful Artist expresses the motions of these several bodies, which ought Philosophically to be understood.

Chap. III, Of necessary Instruments appertaining to Drawing.
1. Sallow coals split into the forms of Pencils, which you may best have of those that sell Charcoal ready burnt for your use ; these are to be prepared by sharpning them at the point ; their use is to touch over your Draught lightly at the first : you may know Sallow coals from others by the fineness of their grain.
2. You must also have a Feather of a Ducks wing, with which you may wipe out at pleasure what you desire to alter in your Draught.
3. Black-lead Pencils, to go over your Draught more exactly the second time.
4. Pens made of a Ravens quill, to finish your design ; which will strike a more neat stroke than the common quill : but you must be very exact here, for there is no altering what you do with the Pen.
5. A Rule and a pair of Compasses with three Points to take in and out ; one for Chalk, another for Black-lead, or red Chalk, or any other Paste. The use of the Compasses is required in most things you draw, which you are to use after your out-stroke is done, by trying how near your Draught and Pattern agree, and this being only toucht out in Charcoal, you may alter at pleasure.
6. Pastils made of several Colours, to draw upon coloured Paper or Parchment, the making whereof is as followeth.
How to make Pastils of several colours.
Take the Colour that you intend to make your Pastil, and grind it dry, […].
These Pastils are very fine and commodious for drawing upon coloured papers, and therefore I would have you,
7. Provide your self also of fine Blew paper ; some light-coloured, other-some more sad ; as also with Paper of divers other colours, which now is very common to be sold in many places.
8. Have alwayes in a readiness by you the Crumbs of fine Manchet or White-bread ; the use whereof is, when you have drawn any thing with Black-lead that disliketh you, you may strew some of these Crumbs upon the defective member, and with a linnen cloth rub it hard upon the defective place, and it will fetch out the Black-lead, and leave the Paper or Parchment fair and white. It is also usefull when you have finished a piece, either Head, Leg, Arme, or whole Bodie with Black-lead, and would trace it over with Ink to finish it, the Black-lead will be seen in many places, being thicker then the line of your Pen ; wherefore when you have finished your Drawing with Ink, and that dry, rub it over with these Crumbs, and it will not only take off the superfluous Black-lead, but all other spots of your Paper.

1. Sallow coals split into the forms of Pencils, which you may best have of those that sell Charcoal ready burnt for your use ; these are to be prepared by sharpning them at the point ; their use is to touch over your Draught lightly at the first : you may know Sallow coals from others by the fineness of their grain.

2. You must also have a Feather of a Ducks wing, with which you may wipe out at pleasure what you desire to alter in your Draught.

3. Black-lead Pencils, to go over your Draught more exactly the second time.

4. Pens made of a Ravens quill, to finish your design ; which will strike a more neat stroke than the common quill : but you must be very exact here, for there is no altering what you do with the Pen.

5. A Rule and a pair of Compasses with three Points to take in and out ; one for Chalk, another for Black-lead, or red Chalk, or any other Paste. The use of the Compasses is required in most things you draw, which you are to use after your out-stroke is done, by trying how near your Draught and Pattern agree, and this being only toucht out in Charcoal, you may alter at pleasure.

6. Pastils made of several Colours, to draw upon coloured Paper or Parchment, the making whereof is as followeth.
How to make Pastils of several colours.
Take the Colour that you intend to make your Pastil, and grind it dry, […].
These Pastils are very fine and commodious for drawing upon coloured papers, and therefore I would have you,
7. Provide your self also of fine Blew paper ; some light-coloured, other-some more sad ; as also with Paper of divers other colours, which now is very common to be sold in many places.

7. Provide your self also of fine Blew paper ; some light-coloured, other-some more sad ; as also with Paper of divers other colours, which now is very common to be sold in many places.

8. Have alwayes in a readiness by you the Crumbs of fine Manchet or White-bread ; the use whereof is, when you have drawn any thing with Black-lead that disliketh you, you may strew some of these Crumbs upon the defective member, and with a linnen cloth rub it hard upon the defective place, and it will fetch out the Black-lead, and leave the Paper or Parchment fair and white. It is also usefull when you have finished a piece, either Head, Leg, Arme, or whole Bodie with Black-lead, and would trace it over with Ink to finish it, the Black-lead will be seen in many places, being thicker then the line of your Pen ; wherefore when you have finished your Drawing with Ink, and that dry, rub it over with these Crumbs, and it will not only take off the superfluous Black-lead, but all other spots of your Paper.

Chap. IV, Of the first Practice of Drawing.
SECT. I. Of Geometrical Figures.
Being provided of all necessary Instruments for Drawing, proceed to Practice ; and first begin with plain Geometrical figures, such as the Circle, Oval, Square, Triangle, Cone, Cylinder ; all which your Rule and Compasses will help you in : but first endeavour to draw them by hand, which with a little practice you may attain. I have my self, by taking a Black-lead Pencil in my hand, and holding it as I do a Pen, and restling the end of my little finder upon my paper, turning the paper about with my left hand, and have described a Circle so exact, that a pair of Compasses could not discover an errour : I say, practice the making and drawing of these by hand, for they are all useful in one kind or other. […].


SECT. II. Of the second practice of Drawing.
Having practised these Figures, proceed to the drawing of Cherries, Pears, Apples, Apricocks, Peaches, Grapes, Strawberries, Peascods, Butterflies, and such like.


SECT. III. Of the third Practice.
Imitate Flowers, as Roses, Tulips, Carnations, &c. Also Beasts, […]. Then practice Birds, […]. Then Fishes, […]. Of all which there are Books to be bought at very reasonable rates.


SECT. IV. Of the fourth Practice.
Imitate the Body and Parts of the Body of Man ; in the practice whereof beware of the common errors usually committed, as of drawing the Head too big for the Body, and others the like ; which to prevent, you have here presented to your view the Heads, Noses, Mouths, Hands, Arms, Feet, Legs, Bodies ; also whole Figures of Men, Women, and Children in several postures, being Copies of the best Masters extant, with Rules and Directions for Drawing every particuler member of the Body, and that I would have you now to practice, you having gone sufficiently forward with the others before noted.

Chap. V, Directions for Drawing the Body of Man or Woman.
SECT. I. General Rules for Drawing the Face.
In Drawing the Face, observe its motion whether forward, upward, downward, or sideways, by your Eye ; touch lightly the features where the Eyes, Nose, Mouth, and Chin should stand, and then go over them more perfectly. The Circle, Squares, and Triangles that are used in a Face, serve to guide your judgment where to place the several features.
Observe dilligently the principal Muscles of a Face, these appear most in an aged man or womans face.
[…].
A smiling countenance is discerned by the Mouth, when the corners of the Mouth turn up a little.
A frowning countenance is discerned in the Fore-head, Eye-brows, bending and somewhat wrinkling about the top of the Nose, &c.


SECT. II. To draw a fore-right Face.
Make the form of a perfect Oval divided into three equal parts by two Lines ; […].


SECT. III. To draw an Up-right Head.
Which is made with three Lines equal every way, either upwards, downwards, higher or lower ; and that must be divided as the former into three equal parts, as in the Example.


SECT. IV. Of the inclining and Fore-shortned Face.
This is plainly seen by the Lines, how they concord together, and you may with facility draw in their proper places, the Nose, Mouth, and other parts with a little practice, and observing diligently the Example following.
In these Forms you must be very perfect, it being a Rule that in most Faces you may have occasion to make use of : for of all the parts of Mans body the Face is the most difficult. But having got the Proportions with their Measures, you will be able (which way soever a Face turns) to form it out, whatever proportion your Face is, you are to imitate, so must your out-stroke be formed, whether long, round, fat, or lean.
Because presidents are most useful, I have here thought good to give you the forms of several Eyes more at large, by which you may with more ease know the truth of their Proportions.
As also Ears, which are exactly to be known ; and then the forms of several Noses and Mouths ; all which are taken from eminent Masters, as Palma and others. [In the following Page.]

A smiling countenance is discerned by the Mouth, when the corners of the Mouth turn up a little.
A frowning countenance is discerned in the Fore-head, Eye-brows, bending and somewhat wrinkling about the top of the Nose, &c.

SECT. IV. Of the inclining and Fore-shortned Face.
This is plainly seen by the Lines, how they concord together, and you may with facility draw in their proper places, the Nose, Mouth, and other parts with a little practice, and observing diligently the Example following.
In these Forms you must be very perfect, it being a Rule that in most Faces you may have occasion to make use of : for of all the parts of Mans body the Face is the most difficult. But having got the Proportions with their Measures, you will be able (which way soever a Face turns) to form it out, whatever proportion your Face is, you are to imitate, so must your out-stroke be formed, whether long, round, fat, or lean.
Because presidents are most useful, I have here thought good to give you the forms of several Eyes more at large, by which you may with more ease know the truth of their Proportions.
As also Ears, which are exactly to be known ; and then the forms of several Noses and Mouths ; all which are taken from eminent Masters, as Palma and others. [In the following Page.]

SECT. IX. Rules of Symmetry or Proportion to be observed in Drawing the whole Body of Man or Woman.
For your further help in Drawing the following Figures, take notice of these necessary Rules : Begin at the Head, and so proceed by degrees, as your pattern directs ; and be careful that your parallel Joynts, Sinews, or Muscles, be directly opposite ; also that the Motion of the Body be answerable one part to another, and that the parts and limbs of the body have a due symmetry ; not a great Arm, and a small Leg ; or a small Hand, and a great Finger, &c. Let not one part be too long for another. Of all which, you must know, that at first you will be apt to commit many errours, but be not disheartned ;

SECT. X. The Proportion of the Body of Man.
For your further information, and to direct your judgment in drawing of whole Bodies, observe these following Proportions.
A Man standing, from the top of the Head to the bottom of the Feet, is eight times the length of the Head.
The Arm hanging straight down, it reacheth within a span of the Knee.
A Hand must be the length of the Face, the Hand spread abroad must cover the Face, and no more.
Note, that in Drawing a Figure standing, you must first draw that Leg which the Body stands firmest upon ; otherwise your Figure will yield one way or other, as it were falling.
A Mans Arms extended is the just length of the whole Body.
The like proportion is observed for Women, and therefore one example serves for both.
The Proportion of a Child, according to our learned Author Lomantius, consists of five lengths of the Head, according to the Figure express’d in our Discourse, for an example to the Practioner.

Chap. VI, Of Shadowing, and Rules to be observed therein.
The out-lines of any Draught or Picture give the Symmetry or Proportion, which is enough to a good judgment : So the Figures before in this Book have only the out-lines, and those are best to practice first by : I say, the Out-lines shew the Proportion to a good judgment ; but the Lines and Shadows give the lively likeness. In Shadowing therefore of any Picture you must observe these Rules following.
RULE I.
Cast your Shadows always one way, that is, on which side you begin to shadow your Figure, either on the right or left side, you must continue so doing through your whole work. As in the figure of a Man, if you begin to shadow his left Cheek, you must shadow the left side of his Neck, the left side of his Arms, the left side of his Body, […].
RULE II.
All Shadows must grow fainter and fainter, as they are farther removed from the opacous body from whence they issue.
RULE III.
In great Winds, where Clouds are driven to and for several ways ; as also in Tempests at Sea, where Wave exposeth Wave ; here contrary shadows must concur, as striving for superiority : here in such cases you must be sure to supply the greatest first, and from them, according to your judgment supply the lesser ; practice and imitation of good Copies will be your best director.
RULE IV.
All Circular bodies must have a Circular shadow, as they have a Circular form, and as the object of light which causeth shadow is Circular.

Chap. VI, Of Shadowing, and Rules to be observed therein.
The out-lines of any Draught or Picture give the Symmetry or Proportion, which is enough to a good judgment : So the Figures before in this Book have only the out-lines, and those are best to practice first by : I say, the Out-lines shew the Proportion to a good judgment ; but the Lines and Shadows give the lively likeness. In Shadowing therefore of any Picture you must observe these Rules following.

Chap. VII, Of Drapery, and Rules to be observed therein.
As in Naked figures you draw the Out-lines first, the like you must do in Drapery, leaving room within for your greater and lesser folds ; then draw first your greater folds, and then break your greater folds into lesser contained within them : The closer the Garment fits to the body, the smaller and narrower must the folds be. Shadow your folds according to the directions of the last Chapter ; the innermost harder, and the outer more softer. As in Shadowing, so in Drapery, good Copies of Prints instruct best ; yet take these general Rules following.
RULE I.
Continue your great folds throughout your Garment, and break off your shorter at pleasure.
RULE II.
The finer your Drapery is, the fuller and sharper must your folds be, and the shadows the stronger, but yet sweet.
RULE III.
That part of any Garment the fits close to the body, as the Doublet of a Man, the Breasts of a Woman, and the like, you must not fold at all ; but rather with your sweet shadow represent the part of the body that lies under the Garment, as a Womans Breast, with a sweet round shadow, &c.

Chap. VIII, Of Landskip, and Rules to be observed therein.
Landskip is that which expresseth in Picture whatsoever may be beheld upon the Earth, within the species of Sight ; which is the termination of a fair Horizon, representing Towns, Villages, Castles, Promontaries, Mountains, Rocks, Vallies, Ruines, Rivers, and whatsoever else the Eye is capable of beholding within the species of the Sight. To express which, and to make all things appear in Draught or Picture according to true proportion and distance, there are several Rules to be observed, of which take these following.
RULE I.
In every Landskip shew a fair Horizon, the Sky either clear or overcast with Clouds, expressing the rising or setting of the Sun to issue (as it were) from or over some Hill, or Mountain, or Rock ; the Moon or Stars are never to be expressed in a fair Landskip, but in a Night-piece I have often seen it, as in a piece of our Sarinus being taken by night, and in others. As an Astronomer with his Quadrant taking the height of the Moon, and another with his Cross-staff taking the distance of certain Stars, their man standing at a distance with his Dark-lanthorn, to see their Degrees when they had made their observation ; these things, as taking of the Partridge with the Loo bell, and the like, become Night-pieces very well.
RULE II.
If you express the Light of the Sun in any Landskip, be sure that through your whole work you cast the light of your Trees, Buildings, Rocks, Ruines, and all things else expressed within the verge thereof thitherwards.
RULE III.
Be sure in Landskip that you lessen your bodies proportionably according to their distances, so that the farther the Landskip goeth from your eye, the fainter you must express any thing seen at distance, till at last the Sky and the Earth seem to meet, as the Colours in a Rain-bow do.
There are many excellent pieces of Landskip to be procured very easily ; as also of Landskip and Perspective intermixed, which pieces to me were ever the most delightful of any other ; and such I would advise you to practice by ; they, if they be good, being the only helps to teach you proportion of bodies in any position, either near or a-far off.

In every Landskip shew a fair Horizon, the Sky either clear or overcast with Clouds, expressing the rising or setting of the Sun to issue (as it were) from or over some Hill, or Mountain, or Rock ; the Moon or Stars are never to be expressed in a fair Landskip, but in a Night-piece I have often seen it, as in a piece of our Sarinus being taken by night, and in others. As an Astronomer with his Quadrant taking the height of the Moon, and another with his Cross-staff taking the distance of certain Stars, their man standing at a distance with his Dark-lanthorn, to see their Degrees when they had made their observation ; these things, as taking of the Partridge with the Loo bell, and the like, become Night-pieces very well.

If you express the Light of the Sun in any Landskip, be sure that through your whole work you cast the light of your Trees, Buildings, Rocks, Ruines, and all things else expressed within the verge thereof thitherwards.

Be sure in Landskip that you lessen your bodies proportionably according to their distances, so that the farther the Landskip goeth from your eye, the fainter you must express any thing seen at distance, till at last the Sky and the Earth seem to meet, as the Colours in a Rain-bow do.
There are many excellent pieces of Landskip to be procured very easily ; as also of Landskip and Perspective intermixed, which pieces to me were ever the most delightful of any other ; and such I would advise you to practice by ; they, if they be good, being the only helps to teach you proportion of bodies in any position, either near or a-far off.

Chap. I, Of Etching with Aqua fortis.
There are several ways for Etching, and several Grounds of divers colours, used by several men. I shall deliver here onely one, and that so familiar, easie, and true, that I believe there is not a better Ground, nor a more accurate way performing the work intended, than that which shall be here taught ; it being the only way, so many years practised, and to this day continued by that unparallel’d designer and incomparable Etcher in Aqua fortis, Mr. Hollar ; the manner of performing the whole work is as followeth.


SECT. I. To make Mr. Hollar’s Ground, and how to Etch in Copper, and what Instruments ought to be used in the practice thereof.
Take three parts of Virgins Wax, one part of Asphaltum, one part of the best Mastick […] ; so is your Ground prepared.


SECT. II. How to prepare your Copper.
Your Copper must be well planisht, that it may lie level ; and before you lay on the Ground, take your Plate, and with a Charcoal well burnt, coal it over with very clean water ; then wash it off with clean Water never used before, and set it sloping to run off ; when it is dry, then scrape some Chalk fine all over it, and with a very clean fine rag rub it over ; but let not your fingers touch upon the Plate, till you have put the Ground on, which you must lay on thus.

Chap. II, Of GRAVING
Sect. I. Of necessary Instruments belonging to Graving.
He that will undertake the Art of Graving, must know how to Draw, and hatch with a Pen ; which, I doubt not, but he that hath observed the former Rules can do.


1. Of your Oyl-stone.
The first thing you are to do, is to provide a good Oyl-stone, which you may have of those that sell several Tools for the Goldsmiths ; which, let be very smooth, not too hard nor too soft, and be sure it be without pin-holes. Now to fit your self aright, you are to resolve what kind of Graving you will follow ; if you follow Picture or Letter-work, that is a work more curious than the Goldsmiths : Arms and Letters are upon Silver or Pewter, and accordingly your Gravers must be shap’d.


2. Of Gravers
Goldsmiths Gravers are crooked, that they may more readily come at hollow work ; but for Copper-pictures or Letters, the best Gravers are the straight, which chuse thus ; Take a File and touch the edge of the Graver therewith, if the File cut it, it is too soft, and will never do you good ; but if the File will not touch it by reason of the hardness, it will serve your occasion, although such a Graver be apt at first to break short off, after a little use by whetting it will come to a good temper, and condition, as by experience I have found ; though some ignorant of what they have writ, would puzzle you about altering the temper.

The practise of Limning is a quality commendable in any person, and a practice meet for the Noblest personage of what quality soever ;

Chap. I. Of necessaries belonging to Limning.
To the Limning in Water-colours there belong several things, as Gumms of several sotrs, and Waters made of them, a Grinding-stone and Muller, several Colours, Liquid Gold and Silver, several Sizes to lay Gold, Parchment of the finest, as of Abortive Skins ; Pencils of divers sorts ; of the making and preparing all these in their order, and then to their use.

SECT. I. Of Gums and Gum waters used in Limning.
The principal Gum is Gum-Arabick ; get the best that may be, which you shall know by the whiteness and clearness ; if it be yellowish, of an Amber colour, it is naught.
To make Gum-water hereof, do thus […].


Of GUM-LAKE.
Gum-Lake is a compounded Gum made of many ingredients, as of whites of Eggs beaten and strained, of Honey, Gum of Ivy, strong Wort ; these ingredients mingled together will at last run like an Oyl, which at last will congeal and be hard. Trouble not your self to make it, but buy it ready made ; chuse it as you do the Gum-Arabick by the clearness, and then you need not fear it. […].


Of GUM-ARMONIACK.
Of this Gum you may make a Water, that whatsoever you write therewith you may lay in Gold.
The manner of making the Water is thus […].

Of LIQUID GOLD or SILVER.
You may with Liquid Gold or Silver Draw or Write any thing with the Pen or Pencil, as with any other liquid colour ; I could shew you how to make it ; but to make a small quantity it is not worth the while, neither will it quit the cost ; therefore I would advise you to buy it ready prepared, which you may do where you buy your Colours, or of some Gold-beaters, who make it of their cuttings of the ragged edges of their Gold.
When you use it, do only thus, put into your Shell a drop or two of fair water, and with a clean Pencil-temper up so much Gold as will serve your occasion at that time, with which Write or Draw what you will ; then about two or three hours after, the longer the better, burnish it by rubbing hard upon it with a Dogs-tooth, and it will be pure Gold ; this is the best and easiest way of laying Gold that I know of.

SECT III. Of Colours.
There are simply six, viz. White, Black, Red, Green, Yellow, and Blew ; to which we may add Browns, but they are compounded. […].

Chap. II, Of Colours used in Limning : their names, and how to order them.
SECT. I. Of the Names of Colours, and how every Colour is to be prepared ; whether Ground, Wash’d, or Steep’d.

BLACKS. / Cherry-stones burnt. / Ivory burnt. / Lamp black.

WHITES. / Ceruse. / White-Lead.

REDS. / Red-Lead. / Lake.

GREENS. / Bise. / Pink. / Sapgreen. / Cedar-green.

BLEWS. / Indico. / Ultramarine. / Bise. / Smalt.

YELLOWS. / English Oker. / Masticote.

BROWNS. / Umber. / Spanish Brown. / Colen’s Earth.

These are the principal Colours used in Limning ; I have omitted many others but they are such that are not fitting for this Work, which I shall speak of when I come to teach how to wash Maps and printed Pictures, for which use those Colours I have omitted are only useful.
Of the Colours here mentioned, useful in Limning, they are to be used three several ways, viz. either Washed, Grownd, or Steeped.

The Colours to be only Washed are these :
Bise. / Smalt.
Cedar. / Ultramarine.
Red-Lead. / Masticote.

To be Steeped, only Sap-green.

The Colours to be Washed and Grownd, are these :
Ceruse. / White-Lead. / Lake. / English Oker.
Pink. / Indico. / Umber. / Colens Earth.
Spanish Brown. / Ivory, / and Cherry-stone. ) black.

SECT. II. Of those Colours that are to be Grownd, and how to Grind them.
Have in the last Section told you what Colours are to be Grownd, which Washed, and which to be Steeped ; it resteth now, to shew you how to grind those Colours that are to be grownd ; I shall not run over every Colour particularly ; but shew you how to grind one Colour, which take as an Example for all the rest.
For one example in grinding of Colours, let us take the original of Colours, viz. Ceruse, or White-lead, there is little difference between them, only one is refined, the other not.
To grind it do thus […].

SECT. III. Of those Colours that are to be Washed, and how to Wash them.
As in the Grinding of Colours I gave you an instance but in one for all the rest, the like I shall do for those Colours which are to be Washed ; I will make my instance in Red-Lead, which you are to Wash in this manner […].

I Said (among the Colours before mentioned) there was only Sap green to be Steeped, though in Colours to wash Maps and Prints, there are many, […]. To Steep your Sap-green do thus, take a quantity thereof and put it into a Shell, and fill the shell with fair water, to which add some fine powder of Allum to raise the colour ; let it thus steep twenty four hours, and you will have a very good Green.

SECT. VI. Of Pencils, and how to chuse them.
You are in the next place to furnish your self with Pencils of all sorts ; which how to chuse do thus, take a Pencil and put the hairy end between your lips, wetting it a little by drawing it through your lips, being moist, two or three times ; so that the Pencil being large will come to a point as small as a hair, which if it do, it is good ; but it it spread, or any extravagant hairs stick out of the sides, they are naught ; you may try them by wetting in your mouth, and attempt to draw a line on the back of your hand.

SECT. VII. Of Compounded Colours.
Of the six simple Colours before named, [ndr : White, Black, Red, Green, Yellow, Blue, voir p. 86], together with the Browns, many others may be compounded for Faces of all Complexions, Garments, Lanskips, Building ; for Birds, Fishes, Beasts, and what not : I will shew how to compound some, and by those you may by practice find out and invent infinite more. I shall instance in these following, As,


A Violet. / A Lead-colour. / Flame-colour. / Scarlet.
Light-green. / Purple. / A Bay-colour. / A Murry. [...] Lead-colour.
Indico and White make a Lead-colour.

SECT. VII. Of Compounded Colours.
Of the six simple Colours before named, [ndr : White, Black, Red, Green, Yellow, Blue, voir p. 86], together with the Browns, many others may be compounded for Faces of all Complexions, Garments, Lanskips, Building ; for Birds, Fishes, Beasts, and what not : I will shew how to compound some, and by those you may by practice find out and invent infinite more. I shall instance in these following, As,


A Violet. / A Lead-colour. / Flame-colour. / Scarlet.
Light-green. / Purple. / A Bay-colour. / A Murry.


To make a Violet-colour.
Indico, White, and Lake, make a good Violet-colour ; you may make it lighter or darker at pleasure, as you may all other compounded Colours.


Lead-colour.
Indico and White make a Lead-colour.


Colour for Flaming-fire.
Red-lead, and Masticote, heightned with White.


Scarlet-colour.
Red-lead, Lake and Vermilion, very little or no Vermilion, for it is not good in Limning.


Light-green.
Pink and Smalt, with White to make it lighter, if you require it.


A Purple colour.
Indico, Spanish brown, and White.


A Bay-colour.
Spanish-brown and White.


A Murrey-colour.
Lake and White make a Murrey-colour.


Of these infinite others may be made, but I leave them to your own ingenuity to find out, which with little practice you will soon do.

SECT. VII. Of Compounded Colours.
Of the six simple Colours before named, [ndr : White, Black, Red, Green, Yellow, Blue, voir p. 86], together with the Browns, many others may be compounded for Faces of all Complexions, Garments, Lanskips, Building ; for Birds, Fishes, Beasts, and what not : I will shew how to compound some, and by those you may by practice find out and invent infinite more. I shall instance in these following, As,


A Violet. / A Lead-colour. / Flame-colour. / Scarlet.
Light-green. / Purple. / A Bay-colour. / A Murry.


To make a Violet-colour.
Indico, White, and Lake, make a good Violet-colour ; you may make it lighter or darker at pleasure, as you may all other compounded Colours.

SECT. VII. Of Compounded Colours.
Of the six simple Colours before named, [ndr : White, Black, Red, Green, Yellow, Blue, voir p. 86], together with the Browns, many others may be compounded for Faces of all Complexions, Garments, Lanskips, Building ; for Birds, Fishes, Beasts, and what not : I will shew how to compound some, and by those you may by practice find out and invent infinite more.

Scarlet-colour.
Red-lead, Lake and Vermilion, very little or no Vermilion, for it is not good in Limning.

Chap. III, How to prepare a Table for a Picture in small for Limning, to make choice of your Light, the manner of Sitting in respect of Position and Distance, and what necessary Instruments are to lie by you when you are at work. [...] SECT. IV. Of such necessaries as are to lie by you while you are at work.
1. You must have two small Sawcers or other China-dishes, in either of which there must be pure clean Water ; the one of them is to wash your Pencils in, being foul ; the other to temper your Colours with when there is occasion.
2. A large, but clean, fine and dry Pencil, to cleanse your work from any kind of dust that may by accident fall upon it : such Pencils they call Fitch-Pencils.
3. A sharp Pen knife to take off hairs that may come from your Pencil, […].
4. A Paper, having a hole cut therein, to lay upon your Card to cover it from dust, and to rest your hand upon, to keep the foil and sweat of your hand from sullying your Parchment, and also to try your Pencils on before you apply them to your Work […].
5. Have a pretty quantity of Carnation (as some call it) or Flesh-colour, somewhat lighter than the Complexion of the party your are to draw, tempered up in a shell by it self with a weak Gum-water. If it be a Fair complexion, White-lead and Red-lead mixed. If a Swarthie or Brown complexion, to your White and Red-lead add a quantity of Masticote, or English-Oker, or both if occasion be. But whatever the Complexion be, be sure you temper your Flesh-colour lighter than the party ; for by often working upon it you may bring it to its true colour, it being first too light ; but if it be first too sad, there then is no remedy.
6. Having prepared your Flesh-colour, take a large Shell of Mother of Pearl, or a Horse-Mussel-Shell, […], and therein (as Painters in Oyl dispose their Colours upon their Pallat for their working of a Face, so must you) place your several Shadows in this Shell in little places one distinct from another.

We now draw pretty near to our intended purpose, viz. Minuture or Limining to the life in Water-Colours : But,
SECT. I. How to prepare a Table for a Picture in small.
Get pure fine Paste-board, such as the ordinary playing-Cards are made of, you may have of what size and thickness you please, and very finely slick’d and glazed, at the Card-makers : Take a piece of this Paste-board of the size you intend your Picture ; then take a piece of Parchment of the finest and whitest you can get, […] paste the Parchment to the Paste-board, with the out-side of the skin outermost ; lay on your Starch very thin and even ; then your Grinding-stone being made very clean, lay the Card thereupon with the Parchment-side downwards, and as hard as you can, rub the other side of the Paste-board with a Boars tooth set in a stick for that purpose ; when it is thorough drie, it is fit to work upon.
[…]

2. A large, but clean, fine and dry Pencil, to cleanse your work from any kind of dust that may by accident fall upon it : such Pencils they call Fitch-Pencils.

5. Have a pretty quantity of Carnation (as some call it) or Flesh-colour, somewhat lighter than the Complexion of the party your are to draw, tempered up in a shell by it self with a weak Gum-water. If it be a Fair complexion, White-lead and Red-lead mixed. If a Swarthie or Brown complexion, to your White and Red-lead add a quantity of Masticote, or English-Oker, or both if occasion be. But whatever the Complexion be, be sure you temper your Flesh-colour lighter than the party ; for by often working upon it you may bring it to its true colour, it being first too light ; but if it be first too sad, there then is no remedy.

Note, that in all your Shadows you must use some White ; wherefore, 1. lay a good quantity of White by it self, besides what the Shadows are first tempered with. 2. For Red for the Cheeks and Lips, temper Lake and Red-lead together, some use Vermilion, but I like it not. 3. For your Blew Shadows, as under the Eyes, and in Veins, &c. Indico and White, or Ultamarine and White. 4. For your Gray, faintish Shadows, take White English-Oker and Indico, or sometimes Masticote. 5. For Deep shadows, White, English-Oker, and Umber. 6. For Dark-shadows in mens Faces, Lake and Pink, which make an excellent fleshy shadow. Many other Shadows you may temper up, but these are the chief ; your own judgment, when you look upon the party to be Drawn, will best direct you, and inform your fancy better than a thousand Words.

Chap. IV, Of the Miniture or Limning of a Face in Water-Colours.
Having all things in a readiness, according to the directions before delivered, upon that part of your Card where you intend the Face of your Picture to be, lay that part of the Card over with your Colour that you have before prepared, answerable to the Complexion of the party ; it being well tempered, pretty thin, with a Pencil bigger than ordinary, spread your Colour very even and thin, free from hairs or other spots, in your Pencil, over the place where you are to make the Face of your Picture. The Ground being laid, you may begin the Draught, the party being ready to sit. Now to the finishing of a Face there will require three Operations or Sittings at the least.. At the first sitting you do only dead Colour the Face, and this takes about two hours time. At the second sitting you are to go over the Face more curiously, observing whatsoever may conduce to the graces or deformities of the party to be Drawn, together with a sweet dispose and couching of the Colours one within another, and this sitting will take up some four or five hours. At the third sitting you may finish the Face, this takes up some three hours time ; in which you perfect what was before imperfect and rough, in putting the deep and dark shadows in the Face, as in the Eyes, Eye-brows hair, and Ears, which things are the last of the Work, and not to be done till the Hair-curtain or the back-side of the Picture, as also the Drapery be wholly finished.

Bring all your Work together to an equal roundness [ndr : lors de la première séance de pose d’un portrait en miniature], and give perfection to no particular part at this time, but view your object well, and see how near you hit the Life, not only in seeming likeness, but in roundness, boldness of posture, colouring, and such like.

Having made this progress in the Face [ndr : l’auteur explique les étapes à suivre dans la réalisation d’un portrait en miniature durant la deuxième séance de pose], and go to the back-side of your Picture ; which is sometimes a piece of Landskip, but most commonly a Curtain of blew or red Sattin.

SECT. I. Of Drapery in Limning.
Having laid a good, fat, and full Ground all over the Drapery you intend to make ; if Blew, then all over with Bise smoothly laid : the deepning must be Lake and Indico, the lightning White, very fine, faint, and fair, and in the extreme light places. What hath been said of this Blew Drapery, the like is to be understood of all other Colours.
It is rare to see Drapery expressed by lightning of it with fine shell-Gold, with which it must be hatched and washed, what a lustre it gives to well-coloured Drapery, either Crimson, Green, or Blew, but much more if with the Ground it self you mix Gold when you lay it on.

Chap. VI, Of LANDKSIP.
The bounds and limits of Landskip are inexpressible, they being as various as fancy is copious ; I will give you only some general Rules for Painting of Landskip, and so conclude this third Book.
In painting of any Landskip always begin with the Sky, the Sun-beams, or lightest parts first ; next the Yellow beams, which compose of Masticote and White ; next your Blew Skies, with Smalt only. At your first colouring leave no part of your ground uncovered ; but lay Your Colours smooth and even all over. Work your Sky downwards towards your Horizon fainter and fainter, as it draws nearer and nearer to the Earth ; you must work your tops of Mountains and objects far remote, so faint that they may appear as lost in the Air : Your lowest and nearest Ground must be of the colour of the earth, of a dark yellowish brown Green, the next lighter Green, and so successively as they lose in their distance, they must abate in their colour. Make nothing that you see at a distance perfect ; as if discerning a Building to be fourteen or fifteen miles off, I know not Church, Castle, House, or the like ; so that in drawing of it you must express no particular sign, as Bell, Portcullis, or the like ; but express it in colours as weakly and faintly as your eye judgeth of it. Ever in your Landskip place light against dark, and dark against light, which is the only way to extend the prospect far off, occasioned by opposing light to shadow ; yet so as the shadows must lose their force in proportion as they remove from the eye, and the strongest shadow must always be nearest hand.

Painting in Oyl is of most esteem of any other Painting, and indeed it requireth the greatest judgment in the performance, of any other kind of Painting. I shall (according to the weakness of my ability) deliver unto you such Rules and directions, as being well minded and practised, may in a short time make you a good proficient therein : Presupposing you have read the three foregoing Books, especially the First and Third, and that you understand Draught of any kind, and also the nature (if not the manner of working with) Water-colours, yet at least have read the Rules there delivered concerning the use of them, you may fall to practice the Painting in Oyl ;

Chap. I. Of the Names of your Colours, and how to Grind and order them.

The Names of the Colours in Oyl.
BLACKS / Lamp-black. / Seacoal-black. / Ivory-black. / Charcoal-black. / Earth of Colen.
WHITES / White-Lead.
GREENS. / Verdigrease. / Terra vert. / Verditer.
BLEWS. / Bise. / Indico. / Smalt. / Ultamarine.
REDS. / Vermilion. / Red-Lead. / Lake. / India-Red. / Ornotto.
YELLOWS. / Pink. / Masticote. / English Oker. / Orpiment. / Spruse Oker.
Spanish Brown, Burnt Spruse, Umber.

These are the chief Colours that are used in Painting in Oyl, the most part of which are to be grownd very fine upon your Stone with a Muller, with Linseed-Oyl : some must be Burnt before they be Grownd ; others must be only temper’d upon the Pallat, and not grownd at all.
The Colours to be burnt are these :
Ivory, Spruse, Oker, and Umber.
The Colours that are not to be Grownd at all, but only tempered with Oyl upon your Pallat, are these :
Lamp-black, Verditer, Vermilion, Bise, Smalt, Masticote, Orpiment, Ultamarine.
All the rest are to be Grownd upon your Stone with Linseed-Oyl ; only White-Lead, when you are to use that for Linnen, you must grind it with Oyl of Walnuts, for Linseed-Oyl will make it turn yellow.

I Might here describe the form and fashion of your Easell and Pallat, but I think, I need not ; for he that ever saw a Painter at work must needs see these two Instruments ; but what they are, I shall here describe. [...] A Pallat is a thin piece of wood, and is necessary to be about twelve or fourteen inches long, and nine or ten inches broad, in form of an Egge, at the narrower end whereof is a hole made also of an Oval form, about an inch and a half in length, and an inch broad ; this hole is to put in your thumb of your left hand upon which you must always hold it when you are at work ; out of the side of your Pallat near unto the thumb hole is cut a notch, by the side of which the Pencils which you hold in your left hand also may come through, by which means you may take any of them out, or put another in at pleasure. These Pallats ought to be very thin and light, especially at the broad end, but toward the thumb-hole somewhat thick, yet not above half a quarter of an inch ; the best wood to make them of is Pear-tree, or Walnut-tree.

I Might here describe the form and fashion of your Easell and Pallat, but I think, I need not ; for he that ever saw a Painter at work must needs see these two Instruments ; but what they are, I shall here describe.
An Easell is a frame made of wood, not much unlike a Ladder, only the sides are flat, and full of holes on either side, to put in two pins to set your Work upon higher or lower at pleasure ; it is broader at the bottom than at the top, and on the back-side there is a Stay, by the help of which you may set in the middle of any room, more upright or sloping at pleasure ; […].

A Straining-frame is nothing else but a frame made of wood, to which with nails you must fasten your Cloth that you are to paint upon ; of these Frames you should have of several sizes, according to the bigness of your Cloths.

A Straining-frame is nothing else but a frame made of wood, to which with nails you must fasten your Cloth that you are to paint upon ; of these Frames you should have of several sizes, according to the bigness of your Cloths.
By your Cloth I mean Cloth primed. I could teach you how to prime it, but it is a moiling work, and besides, it may be bought ready primed cheaper and better than you can do it your self. Few Painters (though all can do it) prime it themselves, but buy it ready done.

Pencils, what they are I need not tell you, but what sorts there are I will, because I shall have occasion to call them sometimes by their names in the Discourse following. There are of all bignesses, from a pin to the bigness of your finger.

There are several sorts, thus called :

Ducks Quill fitched.
Ducks Quill pointed.
——— —— Bristle.
Swans Quill fitched.
Swans Quill pointed.
——— —— Bristle.
Hairing, or Jewelling-Pencils.

Goose Quill fitched.
Goose Quill pointed.
——— —— Bristle.
Bristle Pencils ; some in Quills, others in Tinn-cases bigger than Quills, and others in Sticks.

Your Stay or Mol-Stick is nothing else but a stick of Brazeel or such like wood that will not easily bend, about a yard in length, at one end whereof tie a little ball of Cotton hard in a piece of Leather about the bigness of a Chesnut ; this stick when you are at work, you must hold also in your left hand, and laying the end which hath the leather ball, upon your cloth or frame, you may rest your right arm upon it all the while you are at work.

Chap. III, How to order your Colours upon your Pallat, and how to temper Shadows for all Complexions.
Dispose your single Colours upon your Pallat in this order, laying them at a convenient distance one from another, so that they be not apt to intermix. First lay on your Vermilion, then lake, then burnt Oker, India Red, Pink, Umber, Blacks, and Smalt : lay the White next to your thumb, because it is oftenest used, for with it you lighten all your shadows ; next to your White lay a stiff sort of Lake : this done, your Pallat is furnished with the single Colours belonging to a Face ; then for the tempering of your Shadows to all Complexions, observe the following Directions.

1. For a Fair Complexion.
Take a little White, and twice as much Vermilion, and as much Lake temper these well together upon your Pallat with the flat blade of your knife ; lay aside by it self on your Pallat the greatest quantity of this to be used for the deepest Carnation of the Face […].
Your Carnations being thus tempered, and orderly laid upon your Pallat, prepare your faint Shadows. For which,
Take Smalt, and mix it with a little White, which may serve for the Eyes ; lay aside the greatest quantity, and to the rest add a little Pink, this well tempered and laid by it self, will serve for the faint greenish shadows in the Face.
Now prepare your deep Shadows : for which take Lake, Pink, […].

2. For a more Brown or Swarthy Complexion.
Lay your single Colours on your Pallat as before, and in like manner temper them, only amongst your White Lake, and Vermilion, put a little quantity of burnt Oker, to make it look somewhat Tawny […].

3. For a Tawny Complexion.
The general Colours must be the same as before, only the Shadows are different, for you are to prepare them of Umber, and burnt Oker, […].

4. For an Absolute Black Complexion.
Your dark Shadows must be the same as before ; but for your heightnings, you must take White, burnt Oker, Lake, and Black, put but a little White in at first, […].
Here note, that the single Colours at first laid upon your Pallat being tempered together according to the former directions, serve for shadows for all Complexions.

Chap. IV, What Pencils are useful for the Painting of a Face, and how to dispose them.
Every Pencil must have a stick of about nine inches long put into the Quill thereof, the farther end of which stick must be cut to a point.
When you are to begin any Face or other picture, lay together two Ducks quill fitch-Pencils, and two Ducks-quill-pointed-Pencils, also two Goose quill fitched and two pointed, two Bristles both alike ; one Swans quill fitched, and another pointed ; then a larger Pencil than any of these, which no Quill will hold, and therefore they make cases of Tinn to put them in, you must have one of these Fitched, as also a Bristle of the same bigness.
Your Pencils being in a readiness, when you are to use them, your Pallat being upon your thumb, you must take your Pencils in your right hand, and put the ends of their sticks into your left hand, keeping (when you work) the hairy ends at a distance, one from touching another, left the Colours in them intermingle.

Chap. V, How to Paint a FACE in Oyl-Colours.
[…] let the party you are to draw sit before you in the Posture he intends to be painted, about two yards distant from you.
Then with a piece of Chalk pointed, draw the proportion of the Face upon the Cloth. with the place of the Eyes, Nose, Mouth, Ears, Hair, and whatsoever the posture affordeth the Eye ; here is no curiosity in this, only see that you keep a good decorum ; if you miss a good deal, the Colours will bring all to rights ; but I suppose you know already whether the design will make a Face proportionable to the party’s. And so of that no more.
Your Design being drawn in Chalk, take one of your Swans-quill-pointed-Pencils, and some of your lightest Colour, and begin with the lightest parts in the Face, as the heightning of the Forehead, […].
Then lay your faint Greenish shadows in convenient places, and where you see cause to moderate harder shadows ; but you must have a care you put not Green shadows where Red are required.
Thus all your faint or light beginnings being put in, take one of your Goose-quill-pointed-Pencils, or one of your Ducks quill-fitched and begin at the Eyes to shadow with Lake, because you may easily overcome it if it should chance to be wrong : I do not mean you should go all over the Face with Lake, but trace out these parts of the Face therewith, as the Eyes, Nose, Mouth, Compass of the Ear, &c. […].
At your Second sitting (for this is enough at once) begin again with your clean Pencils of such bigness as the piece you are to work upon does require. Then the party sitting in the same position, and at the same distance as before, the light also being the same, Observe well the party, and see what defects you find in the Work at your first sitting, and amend them ; then heighten or deepen your Shadows according as you see occasion.
This done, take a Goose-quill Bristle and put in the Hair about the Face, and rub in the greater Hair with the greater Bristle, and heighten it up with your Goose-quill Pencil.

Chap. VI, Of Garments of several colours, and of their proper Colouring.
The next thing I shall speak of, shall be of Drapery or Garments, and the true and proper manner of Colouring of them.
And
1. For a Red Garment.
For a light-red Garment, first dead-colour it with Vermilion, and when you would finish it, glaze it over with Lake, and heighten it with White.
For a Scarlet.
[…]
For a Crimson Velvet.
[…]
For a sad Red.
[…]
2. For Green Garments.
The best Green for holding, is Bise and Pink, heighten it with Masticote, and deepen it with Indico and Pink.
For Green Velvet.
[…].
3. For Blew Garments.
Take Indico and White, first lay the White in its due places, and then your mean colour, namely Indico and White mixed in their due places, then deepen it with Indico only, […].
4. For Yellow Garments.
For a Yellow Garment, Masticote, yellow Oker, and Umber ; lay the dead colour of Masticote and White in the lightest places, Oker and White in the mean places, and Umber in the darkest places ; when it is dry glaze it with Pink. […].
5. For Black Garments.
Let the dead colour be Lamp-black, and some Verdigrease ; when that is dry, go over it with Ivory-black and Verdigrease ; before you go over it the second time, heighten it with White.
6. For Purple Garments.
Oyl Smalt, tempered with Lake and White-Lead, heighten it with White Lead.
7. Orange Colour.
Red-Lead and Lake, lay the lightest parts of all with Red-Lead and White, the mean parts with Red-Lead alone, the deeper parts with Lake, if need require heighten it with White.
8. Hair Colour.
Umber and White for the ground, Umber and Black for the deeper shadows, Umber and English Oker for mean shadows, for heightning White with a little English Oker.

In Landskip, variety of Colours are required ; I will therefore begin with those first.

Colours for the Skie.
For the Aiery skie that seems a great way off, take Oyl-Smalt or Bise, […] ; for a Red sky use Lake and White, […].

Colours for Trees.
For some use Lake, Umber, and White ; for others Charcoal and White, […].

Of several Greens in Landskip.
For a light Green use Pink and Masticote heightned with White.
For a sad Green, Indico and Pink heightned with Masticote.
You may make Greens of any degree whatsoever.
In Painting of Landskip I shall say nothing here, that which I have already said in the Sixth Chapter of the Book of Limning being sufficient.

How to Cleanse an Old Painting, so as to preserve the Colours ; with cautions to those that through ignorance have in stead of Cleansing, quite Defaced or irrecoverably lost the Beauty of good colours in an Old piece of Painting.

To Cleanse any very old Picture in Oyl.
Take your purest white Wood-ashes you can get, and sift them very well in a fine lawn sieve ; or else some Smalt, which is as some call it Powder blew, and with a fine Spunge and fair water wash the Picture you intend gently over, but be sure you have a great care of the Shadows ; for by the ignorance of many persons many good Picture hath been abused ; but having carefully wash’d it, as before mentioned, take some of these Vernishes, of which there be several, but some are more prejudicial than others, therefore chuse those which may upon occasion be wash’d off again
As Gum-water purely strain’d, or pure Size-gelly, or the whites of Eggs well beaten ; all these will wash off.
Your common Vernish will vernish over any very dark part of a Picture.
But your distill’d Vernish is the best of all ; this will not wash off.
But observe, that when you have wash’d the Picture, you must dry it very well with a clean cloth very dry before you varnish it.
Divers there be which have pretended to be well skill’d or knowing in the Cleansing of Pictures, and skill in Painting ; and have undertaken the spoyling of things they have been unworthy to understand ; as with Sope, or Ashes, and a Brush, and divers other inventions, by their ignorance to deface and spoyl those things which otherwise might have been worth great value, and in stead of hindering the Painter of his employment, have indeed created them new work.

OF WASHING or COLOURING OF Maps, and Printed Pictures.
The Fifth Book.

Uo Wash Maps or Printed Pictures is nothing else but to set them out in their proper Colours, which to perform well is a very fine thing. I have seen a Printed Picture printed upon fine Parchment, only washed with Water-colours, which could hardly be distinguished from a Limned piece ; and there are many now in England very excellent at it. If any ingenious spirit that delights in Picture, and hath not time or opportunity to study to be a proficient in Painting in Oyl or Limning, I would advise him to practice this, which is very delightful, and quickly attained ; the manner of performing of it I shall here in this Book teach.

SECT. I. Of Colours for washing.
Here note, that all the Colours that are mentioned in the Second Chapter of the Third Book concerning Limning in Water-Colours, are all to be used in Washing or Colouring of Pictures ; wherefore provide your self of those Colours, grind them, wash them, and steep and temper them according as you are directed in that Second Chapter ; I say, you must have all these Colours in a readiness ; and for Colouring of Prints some other Colours, namely these that follow, which how to order I will anon shew you.

Colours to be used in Washing, which are not used in Limning.
BLACKS. / Printers Black, / or / Franckford-black, / to be had of the / Plate-Printers.
REDS / Vermilion. / Rosset.
BLEWS. / Verditure. / Litmos. / Flory.
YELLOWS. Gumbooge, Yellow-berries, Orpiment.

Also these ;
Brazeel and Log-wood ground, and Turnsoil.
Of these Colours above-mentioned, Printers Black, Vermilion. Rosset, Verditure, and Orpiment are to be Ground as is taught in the second Section of the second Chapter of the third Book, page 70. and therefore, I say, Grind them as you are there taught.
Now for the other Colours above-mentioned, they are to be ordered several ways, as followeth.
And
1. Of Litmos, how to order it.
Take fine Litmos and cut it in small pieces, then lay it in steep the space of twenty four hours […] it will be a pure Blew Water, good to Wash withall.

2. Of Flory Blew.
Take Flory Blew and grind it with the white of an Egg, […].
Flory thus ground, if you add thereto a little Rosset, it maketh a light Violet-colour.
If you mix with it both Red and white Lead, it maketh a Crane Feather-colour.
It, and Pink, Masticote, or Gum-booge make a fair Green.

3. Of Gumbooge.
Take Gumbooge and dissolve it in fair spring-water, and it maketh a most beautiful and transparent Yellow.

4. Of Yellow-Berries.
Take Yellow-Berries, bruise them a little, and let them steep in Allum-water all night, in the morning you will have a very fair Yellow to Wash withall.

5. Of Turnsoil.
Turnsoil is made of pieces of Linnen cloth dyed of a kind of Violet-colour.
[…] it is an excellent good liquor to shadow upon any Carnation or Yellow.

6. Of Brazeel.
Take Brazeel grownd, to which put a quantity of small Beer, […] it maketh a very transparent Red.

7. Of Logwood.
If you boyl Log-wood grownd in all respects as you did your Brazeel, it will make a very fair transparent Purple-colour.

Colours to be used in Washing, which are not used in Limning.
BLACKS. / Printers Black, / or / Franckford-black, / to be had of the / Plate-Printers.
REDS / Vermilion. / Rosset.
BLEWS. / Verditure. / Litmos. / Flory.
YELLOWS. Gumbooge, Yellow-berries, Orpiment.

Also these ;
Brazeel and Log-wood ground, and Turnsoil.
Of these Colours above-mentioned, Printers Black, Vermilion. Rosset, Verditure, and Orpiment are to be Ground as is taught in the second Section of the second Chapter of the third Book, page 70. and therefore, I say, Grind them as you are there taught.
Now for the other Colours above-mentioned, they are to be ordered several ways, as followeth.
And
1. Of Litmos, how to order it.
Take fine Litmos and cut it in small pieces, then lay it in steep the space of twenty four hours […] it will be a pure Blew Water, good to Wash withall.

2. Of Flory Blew.
Take Flory Blew and grind it with the white of an Egg, […].
Flory thus ground, if you add thereto a little Rosset, it maketh a light Violet-colour.
If you mix with it both Red and white Lead, it maketh a Crane Feather-colour.
It, and Pink, Masticote, or Gum-booge make a fair Green.

Colours to be used in Washing, which are not used in Limning.
BLACKS. / Printers Black, / or / Franckford-black, / to be had of the / Plate-Printers.
REDS / Vermilion. / Rosset.
BLEWS. / Verditure. / Litmos. / Flory.
YELLOWS. Gumbooge, Yellow-berries, Orpiment.

Also these ;
Brazeel and Log-wood ground, and Turnsoil.
Of these Colours above-mentioned, Printers Black, Vermilion. Rosset, Verditure, and Orpiment are to be Ground as is taught in the second Section of the second Chapter of the third Book, page 70. and therefore, I say, Grind them as you are there taught.
Now for the other Colours above-mentioned, they are to be ordered several ways, as followeth.
And
1. Of Litmos, how to order it.
Take fine Litmos and cut it in small pieces, then lay it in steep the space of twenty four hours […] it will be a pure Blew Water, good to Wash withall.

2. Of Flory Blew.
Take Flory Blew and grind it with the white of an Egg, […].
Flory thus ground, if you add thereto a little Rosset, it maketh a light Violet-colour.
If you mix with it both Red and white Lead, it maketh a Crane Feather-colour.
It, and Pink, Masticote, or Gum-booge make a fair Green.

3. Of Gumbooge.
Take Gumbooge and dissolve it in fair spring-water, and it maketh a most beautiful and transparent Yellow.

4. Of Yellow-Berries.
Take Yellow-Berries, bruise them a little, and let them steep in Allum-water all night, in the morning you will have a very fair Yellow to Wash withall.

Colours to be used in Washing, which are not used in Limning.
BLACKS. / Printers Black, / or / Franckford-black, / to be had of the / Plate-Printers.
REDS / Vermilion. / Rosset.
BLEWS. / Verditure. / Litmos. / Flory.
YELLOWS. Gumbooge, Yellow-berries, Orpiment.

Also these ;
Brazeel and Log-wood ground, and Turnsoil.
Of these Colours above-mentioned, Printers Black, Vermilion. Rosset, Verditure, and Orpiment are to be Ground as is taught in the second Section of the second Chapter of the third Book, page 70. and therefore, I say, Grind them as you are there taught.

Chap. II. Of other Colours for Washing, both Simple and Compounded.
1. How to make a Green colour of Copper-plates.
Take any shreds of Copper, and put distilled Vinegar to them, […], and it will be a good Green.
2. To make a Green another way.
The best is Cedar-green, but that is dear ; therefore you may take green Bise and steep it in Vinegar, […].
3. Another Green.
Take the juyce of Rew, and a little Verdigrease, and a little Saffron, and grind them well together, and use it with a little Gum-water.
4. For light Greens.
Sap-greens, Flower de Bise, or Tawny-green, these need no grinding, only steep’d in fair water, Verditer and Ceruss mixt with a little Copper-green, makes a good light colour.
5. To shadow Greens.
Indico and Yellow-berries will do very well.
6. Greens for Landskips and Rocks.
Temper your Green with white Pink, Bise, Masticote, Smalt, or Indico, or Ceruss.
Blew Verditer mixt with a few Vellow-Berries, make another Green.
7. To make a Blew.
There is Venice-Ultamarine, but this is very dear ; there are Bises of several sorts, deeper or paler ; there is Smalt and Verditer ; grind any of these with Gum-water.
8. Of shadowing Blews.
There is Indico, Litmos, or Flory, take any of these, they need no grinding, steep them in the lees of Sope ashes ; […].
9. To make a Brown.
Take Ceruss, Red-Lead, English-Oker, and Pink.
10. Spanish Brown.
It’s a dirty colour, yet of great use if you burn it till it be red hot ; but if you would colour any hare, horse, or dog, or the like, you must not burn it, but to shadow Vermilion, or to lay upon any dark ground behind a Picture, or to shadow Berries in the darkest places, or to colour any wooden Poste, Wainscot, bodies of Trees, or any thing else of Wood, or any dark ground on a Picture.
11. How to make an Orange-colour.
Red-Lead is the nearest to an Orange, put a few Yellow-berries into it, makes a good Orange.
12. A Flesh-colour.
Take of White and a little Lake, and some Red-Lead mixed, you may make it light or red as you please, by adding more or less White in shadowing the Cheeks and other places, if you would have a swarthy complexion : and to distinguish the Mans flesh from the Womans, mingle a little yellow Oker among your Flesh.
13. Colours for the Skie.
Light Masticote, or Yellow-berries, and White for the lowest and lightest places ; red Posset, White for the next degree ; blew Bise and White for the other ; and blew Bise for the highest, for want of Bise use Verditer ; these must be worked together ; you must not receive any sharpness in the edg of your Colour, and they must be so laid on, that you cannot perceive where you first began to lay them, you must so drown them one in another.
14. To make colours for Precious stones.
[…].
15. Colours for Landskips.
For the saddest Hills use burnt Umber, for the lightest places put some Yellow to the burnt Umber ; and for the other Hills lay Copper-green thickned on the fire, or in the Sun ; for the next Hills further off, mix some Yellow-berries with Copper green, and let the fourth part be done with green Verditer ; and the furthest, faintest places with the blew Bise, and for want of that, with blew Verditer mingled with White for the lightest places, and shadowed with blew Verditer in the shadows indifferent thick ; the Highways do with Red-Lead and White, […] ; the Rocks you may do with several colours, […] the Water must be black Verditer and White, […]
16. Colours for Building.
When you colour Buildings, do it with as much variety of pleasant colours as possible can be imagined, yet not without reason, and let discretion rule you in mixing your Colours ; […].
17. How to Shadow every colour in Garments, or Drapery.
Take this Rule, that every Colour is made to shadow it self, or if you mingle it with White for the light, and so shadow it with the same colour unmingled with White, else take off the thinnest of the colour for the light, and so shadow it with the thickest bottom of the colour ; if you will have your shadow of a darker colour, then the colour it self is to shadow the deepest places. 

1. How to make a Green colour of Copper-plates.
Take any shreds of Copper, and put distilled Vinegar to them, […], and it will be a good Green.
2. To make a Green another way.
The best is Cedar-green, but that is dear ; therefore you may take green Bise and steep it in Vinegar, […].
3. Another Green.
Take the juyce of Rew, and a little Verdigrease, and a little Saffron, and grind them well together, and use it with a little Gum-water.
4. For light Greens.
Sap-greens, Flower de Bise, or Tawny-green, these need no grinding, only steep’d in fair water, Verditer and Ceruss mixt with a little Copper-green, makes a good light colour.
5. To shadow Greens.
Indico and Yellow-berries will do very well.
6. Greens for Landskips and Rocks.
Temper your Green with white Pink, Bise, Masticote, Smalt, or Indico, or Ceruss.
Blew Verditer mixt with a few Vellow-Berries, make another Green.

7. To make a Blew.
There is Venice-Ultamarine, but this is very dear ; there are Bises of several sorts, deeper or paler ; there is Smalt and Verditer ; grind any of these with Gum-water.
8. Of shadowing Blews.
There is Indico, Litmos, or Flory, take any of these, they need no grinding, steep them in the lees of Sope ashes ; […].

9. To make a Brown.
Take Ceruss, Red-Lead, English-Oker, and Pink.
10. Spanish Brown.
It’s a dirty colour, yet of great use if you burn it till it be red hot ; but if you would colour any hare, horse, or dog, or the like, you must not burn it, but to shadow Vermilion, or to lay upon any dark ground behind a Picture, or to shadow Berries in the darkest places, or to colour any wooden Poste, Wainscot, bodies of Trees, or any thing else of Wood, or any dark ground on a Picture.

10. Spanish Brown.
It’s a dirty colour, yet of great use if you burn it till it be red hot ; but if you would colour any hare, horse, or dog, or the like, you must not burn it, but to shadow Vermilion, or to lay upon any dark ground behind a Picture, or to shadow Berries in the darkest places, or to colour any wooden Poste, Wainscot, bodies of Trees, or any thing else of Wood, or any dark ground on a Picture.

11. How to make an Orange-colour.
Red-Lead is the nearest to an Orange, put a few Yellow-berries into it, makes a good Orange.

12. A Flesh-colour.
Take of White and a little Lake, and some Red-Lead mixed, you may make it light or red as you please, by adding more or less White in shadowing the Cheeks and other places, if you would have a swarthy complexion : and to distinguish the Mans flesh from the Womans, mingle a little yellow Oker among your Flesh.

15. Colours for Landskips.
For the saddest Hills use burnt Umber, for the lightest places put some Yellow to the burnt Umber ; and for the other Hills lay Copper-green thickned on the fire, or in the Sun ; for the next Hills further off, mix some Yellow-berries with Copper green, and let the fourth part be done with green Verditer ; and the furthest, faintest places with the blew Bise, and for want of that, with blew Verditer mingled with White for the lightest places, and shadowed with blew Verditer in the shadows indifferent thick ; the Highways do with Red-Lead and White, […] ; the Rocks you may do with several colours, […] the Water must be black Verditer and White, […]