The Subject of the ensuing Work is the Art of Painting : a name not only too singular, but also too short or narrow, to express what is here intended thereby : For we do not only express that Art, (as it is generally received) but also Drawing, Engraving, Etching, Limning, Washing, Colouring and Dying ; all which being considered in their proper extent, infinitely exceeds that curtaild name of Painting ; which that we might joyn all in one proper and comprehensive word, we made choice of that Greek Compound POLYGRAPHICE.

I. POLYGRAPHICE is an Art, so much imitating Nature, as that by proportional lines with answerable Colours, it teacheth to represent to the life (and that in plano) the forms of all  corporeal things, with their respective passions.
II. It is called in general in Greek Χρωματινη, in Latine Pictura, and in English the Art of Painting.
III. It is sevenfold (to wit) in Drawing, Engraving, Etching, Limning, Painting, Washing and Colouring.

I. POLYGRAPHICE is an Art, so much imitating Nature, as that by proportional lines with answerable Colours, it teacheth to represent to the life (and that in plano) the forms of all  corporeal things, with their respective passions.
II. It is called in general in Greek Χρωματινη, in Latine Pictura, and in English the Art of Painting.
III. It is sevenfold (to wit) in Drawing, Engraving, Etching, Limning, Painting, Washing and Colouring.
IV. Drawing is, that whereby we represent the shape and form of any corporeal substance in rude lines onely.
V. It consists in proportion and passion, as it hath relation to motion and situation, in respect of Light and Vision.
VI. Sanderson saith, This Admirable Art is the Imitation of the surface of Nature in Colour and proportion, 1. By Mathematical demonstration, 2. By Chorographical description, 3. By shapes of Living creatures, 4. And by the forms of Vegetables, in all which it prefers Likeness to the life, conserves it after death, and this altogether by the sense of seeing.
VII. The proportion shews the true lengh, breadth or bigness of any part (in Known measures) in respect of the whole, and how they bear one to another : The passion represents the visual Quality, in respect of love or hatred, sorrow or joy, magnanimity or cowardise, majesty or humility, of all which things we shall speak in order.

I. POLYGRAPHICE is an Art, so much imitating Nature, as that by proportional lines with answerable Colours, it teacheth to represent to the life (and that in plano) the forms of all  corporeal things, with their respective passions.
II. It is called in general in Greek Χρωματινη, in Latine Pictura, and in English the Art of Painting.
III. It is sevenfold (to wit) in Drawing, Engraving, Etching, Limning, Painting, Washing and Colouring.
IV. Drawing is, that whereby we represent the shape and form of any corporeal substance in rude lines onely.
V. It consists in proportion and passion, as it hath relation to motion and situation, in respect of Light and Vision.
VI. Sanderson saith, This Admirable Art is the Imitation of the surface of Nature in Colour and proportion, 1. By Mathematical demonstration, 2. By Chorographical description, 3. By shapes of Living creatures, 4. And by the forms of Vegetables, in all which it prefers Likeness to the life, conserves it after death, and this altogether by the sense of seeing.

IV. Drawing is, that whereby we represent the shape and form of any corporeal substance in rude lines onely.
V. It consists in proportion and passion, as it hath relation to motion and situation, in respect of Light and Vision.
VI. Sanderson saith, This Admirable Art is the Imitation of the surface of Nature in Colour and proportion, 1. By Mathematical demonstration, 2. By Chorographical description, 3. By shapes of Living creatures, 4. And by the forms of Vegetables, in all which it prefers Likeness to the life, conserves it after death, and this altogether by the sense of seeing.
VII. The proportion shews the true lengh, breadth or bigness of any part (in Known measures) in respect of the whole, and how they bear one to another : The passion represents the visual Quality, in respect of love or hatred, sorrow or joy, magnanimity or cowardise, majesty or humility, of all which things we shall speak in order.

CHAP. II. Of the Instrument of Drawing.
 
I. The Instruments of Drawing are sevenfold, viz. Charcoals, feathers of a Ducks-wing, black and red Lead pensils, pens made of Ravens quils, Rulers, Compasses, and Pastils.
II. Charcoals are to be chosen of Sallow-wood split into the form of pensils, and sharpned to a point, being chiefly known by their pith in the middle.
Their use is to draw lightly the draught over at first, that if any thing de drawn amiss it may be wiped out and amended.

CHAP. II. Of the Instrument of Drawing.
 
I. The Instruments of Drawing are sevenfold, viz. Charcoals, feathers of a Ducks-wing, black and red Lead pensils, pens made of Ravens quils, Rulers, Compasses, and Pastils. [...] IV. Black and red Lead pensils, are to go over your draught the second time more exactly, because this will not wipe out with your hand, when you come to draw it over with the pen.

IX. To the former add good Copies, Patterns, and Examples of good Pictures, and other draughts, without which it is almost impossible, that the young Artist should ever attain to any perfection in this Art.
We have wholly pretermitted these for brevity sake, but those that desire to be furnished with any excellent Patterns, Copies or Prints, may have of all sorts, whether of humane shape, perspective design, Landskip, Fowls, Beasts, Fishes, Insects, Plants, Countries, or any other Artificial figures, exquisitely drawn, at very reasonable rates, [...].

CHAP. III. Of the precepts of Drawing in General.
 
I. Be sure to have all the necessaries aforesaid in readiness, but it will be good to practise as much as may be without the help of your Rule and Compasses ; it is your eye and fansie must judge without artificial measurings.

CHAP. III. Of the precepts of Drawing in General.
 
I. Be sure to have all the necessaries aforesaid in readiness, but it will be good to practise as much as may be without the help of your Rule and Compasses ; it is your eye and fansie must judge without artificial measurings.
II. Then first begin with plain Geometrical figures, [...]. For these are the foundations of all other proportions.
[...]
IV. Having made your hand fit and ready in General proportions, then learn to give every object its due shade according to its convexity or concavity, and to elevate or depress the same, as the object appears either nearer or farther off the light, the which is indeed the life of the work.
V. The second practice of drawing consists in forming fruits, as Apples, Peares, Cherries, [...] with their leaves : the imitation of flowers, as Roses, Tulips, Carnations, &c. Herbs, as Rosemary, Time, Hysop, &c. Trees, as the Oak, Fir, Ash, Wallnut, &c.
VI. The third practice of drawing imitates, 1. Beats, as the Lamb, Elephant, [...]. 2. Fowls, as the Eagle, Swan, [...]. 3. Fishes, as the Whale, Herring, [...] of which variety of Prints may be bought at reasonables rates.
VII. The fourth praxis imitates the body of man with all its Lineaments, the Head, Nose, Eyes, Ears, Cheeks, Hands, Arms, and shaddows all exactly proportional both to the whole and one to another, as well to situation as magnitude.
VIII. The fifth praxis is in Drapery, imitating Cloathing, and Artificially setting off the outward Coverings, Habit & Ornaments of the Body, as Cloath, Stuff, Silk and Linnen, their natural and proper folds ; which although it may seem something hard to do, yet by much exercise and imitation of the choisest Prints will become facile and easie.
IX. In drawing of all the aforegoing forms, or what ever else, you must be perfect, first in the exact proportions : secondly in the general or outward lines before you fall to shadowing or trimming of your work within.
X. In mixed and uncertain forms, where Circle and Square will do no good (but onely the Idea thereof in your own fansie) as in Lions, Horses, and the like ; you must work by reason in your own judgment, and so obtain the true proportion by daily practice. Thus,
Having the shape of the thing in your mind, first draw it rudely with your coal, then more exactly with your lead or pensil ; then peruse it well, and consider where you have erred, and mend it, according to that Idea, which you carry in your mind ; this done, view it again, correcting by degrees the other parts, even to the least Jota, so far as your judgement will inform you ; and this you may do with twenty, thirty, fourty or more papers of several things at once : having done what you can, confer it with some excellent pattern or print of like kind, using no rule or compass at all, but your own reason, in mending every fault, giving every thing its due place, and just proportion ; by this means you may rectifie all your errours, and step and Incredible way on to perfection.

IV. Having made your hand fit and ready in General proportions, then learn to give every object its due shade according to its convexity or concavity, and to elevate or depress the same, as the object appears either nearer or farther off the light, the which is indeed the life of the work.

VII. The fourth praxis imitates the body of man with all its Lineaments, the Head, Nose, Eyes, Ears, Cheeks, Hands, Arms, and shaddows all exactly proportional both to the whole and one to another, as well to situation as magnitude.

VIII. The fifth praxis is in Drapery, imitating Cloathing, and Artificially setting off the outward Coverings, Habit & Ornaments of the Body, as Cloath, Stuff, Silk and Linnen, their natural and proper folds ; which although it may seem something hard to do, yet by much exercise and imitation of the choisest Prints will become facile and easie.

X. In mixed and uncertain forms, where Circle and Square will do no good (but onely the Idea thereof in your own fansie) as in Lions, Horses, and the like ; you must work by reason in your own judgment, and so obtain the true proportion by daily practice. Thus,
Having the shape of the thing in your mind, first draw it rudely with your coal, then more exactly with your lead or pensil ; then peruse it well, and consider where you have erred, and mend it, according to that Idea, which you carry in your mind ; this done, view it again, correcting by degrees the other parts, even to the least Jota, so far as your judgement will inform you ; and this you may do with twenty, thirty, fourty or more papers of several things at once : having done what you can, confer it with some excellent pattern or print of like kind, using no rule or compass at all, but your own reason, in mending every fault, giving every thing its due place, and just proportion ; by this means you may rectifie all your errours, and step and Incredible way on to perfection.

CHAP. IV. Of Drawing the face of a Man.
 
I. In drawing of the face you are first to observe its motion whether upwards, downwards, forwards, or sideways ; whether it be long or round, fat or lean, great or little.
For if it be fat, the cheeks will seem to swell : if lean, the jaw bones will stick out, and the cheeks fall in ; but if neither too fat, nor too lean, it will be for the most part round.
II. Touch lightly the features where the eyes, mouth, nose, and chin should stand, (having first drawn the circle or oval of the face) then make a stroak down from that place of the forehead which is even with the chin, coming down where you should place the middle or tip of the nose, and middle of the mouth, which stroak must be made straight down in a full right face, but arched or oval (in an oblique face) leaning that way towards which the face doth turn : then cross the stroak about the middle of the eye ; [...].

CHAP. V. Of the extreme parts.
I. In drawing the hands, draw not all the joynts, veins or other things to appear plainly, but onely lightly and faintly, and strike out the bigness of the hand, and the manner of its turning with faint touches, and not with hard stroaks ; then that being done right, part the fingers according to the pattern with like faint stroakes ; [...].

CHAP. VI. Of the Drawing of the whole Body.
I. First begin with the head, and be sure to give it its just proportion, answearable to what you intend the whole body shall be ; [...].

CHAP. VII. Of Shadowing a naked body.
I. The shadows of the neck, in a child or young woman, are very fine, rare, and hard to be seen : In a man, the finews and veins are expressed by shadowing of the rest of the neck, and leaving them white : the shoulder is shadowed underneath : the brawn of the arm must appear full and white, shadowed on one side.
[...].

CHAP. VII. Of Shadowing a naked body.
I. The shadows of the neck, in a child or young woman, are very fine, rare, and hard to be seen : In a man, the finews and veins are expressed by shadowing of the rest of the neck, and leaving them white : the shoulder is shadowed underneath : the brawn of the arm must appear full and white, shadowed on one side.
[...].
 
CHAP. VIII. The way and manner of Shadowing.
I. If it be a surface only it is best shadowed by drawing lines (either straight or oblique, according as the superficies is) through the better half thereof.
            2. If it be in a body, it is a double shadow, and is used when a superficies begins to forsake your sight, as in Colums and Pillars, where it is double darkned, and representeth to the eye, as it were the backside, leaving that unshadowed to the light.
            III. The treble shadow, is made by crossing over again the double shadow ; and is used for the inward parts of things, as in clefts of the earth, wells, caves, the insides of pots, cups and dishes.
            [...].

CHAP. IX. Of Expressing passions in the Countenance.
I. Love is expressed by a clear, fair and pleasant Countenance, without clouds, wrinkles, or unpleasant bendings : giving the forehead an ample height and breadth with majestick grace ; a full eye with a fine shadow at the bottom of the eye-lid, and a little at the corner : a proportionable nose ; nostrils not too wide : a clear cheek made by shadowing of it on one side : and a smiling mouth, made by a thin upper lip, and shadowing the mouth line at the corners.
            II. FEAR is expressed by making the eyes look hollow, heavy and downward, [...].
            III. ENVY is best decyphred by the only hanging of the cheeks, and a pale countenance, [...].
            IV. Let every passion be represented according to the outward appearance thereof, as it is in those persons in whom it reigns ; [...].

CHAP. X. Of Humane Proportion.
I. The length of an upright body is equal to Eight times the length of the face or head ; The arm hanging straight down, reacheth within a span of the Knee : [...].
            II. Those parts of the body near to the Eye must be made greater and longer than those farther off, (because the eye judgeth so of them,) and according to the distance from the eye, so must you vary from that which is otherwise the real true proportion of those parts.

CHAP. XI. Of Drapery.
I. Draw the out-lines of the Garment lightly, and herein be careful, for the whole grace of the picture lyes there ; then draw the greatest folds first, and stroak those into lesser, and be sure they cross one another.
            II. Suit your garments to the body, and make them bend with the body, according as it stands in or out, streight or crooked, or turns one way or another : the closer the garment fits to the body, the narrower and smaller must the folds be.
            III. All your folds must consist of two lines and no more, which you may turn with the garment at pleasure, shadowing the innermost deeper, the outermost more light ; and if the folds be never so curiously contrived, spare not to shadow them (if they fall inward from the light) with a double or treble shadow, as the occasion requires.
[…]. 

CHAP. XII. Of Mixed and Uncertain Forms.
I. For the drawing the form of any beast, begin with your lead or coal at the forehead, drawing downward the nose, mouth, upper and nether chop, ending your line at the throat ; then viewing it again where you begun, from the forehead, over the head, ears and neck, continuing till you have given the full compass of the buttock, then mark out the legs and feet : [...].
            II. In drawing beasts you must be well acquainted with their shape and action, [...].
            III. In birds begin also the draught at the head, (and beware of making it too big) [...].
            IV. Insects, as flies, bees, [&], are easie to be drawn and not hard to be laid in Colours ; [...].
            V. To draw a flower, begin from the boss, tufft or wart in the middle ; as in a Rose or Marigold, [...].
            VI. To take the natural and lively shape of the leaf of any herb or tree,
            First, take the leaf that you would have, and gently bruise the ribs and veins on the back-side of it ; [...].

CHAP. XIII. Of Landskip.
I. Landskip is that which expresseth in lines the perfect vision of the earth, and all things thereupon, placed above the horizon, as towns, villages, castles, promontaries, mountains, rocks, valleys, ruines, rivers, woods, forests, chases, trees, houses and all other buildings, both beautiful and ruinous.
II. First, Always express a fair horizon, shewing the heavens, cloudy or clear, more or less according to the occasion ; [...].
III. Secondly, If you express the Sun, make his light to reflect upon all the trees, hills, mountains, rocks, or buildings ; shading the contrary sides ; [...].
IV. Thirdly, be very careful to augment or lessen every thing proportionably to their distance from the eye, making them either bigger or lesser.
[...]
VI. If Landskips be laid in Colours, the farther you go, the more you must lighten it, with a thin and airy blew, to make it seem as it were afar off, beginning at first with a dark green, so driving it by degrees into a blew, according to the distance.
[...].

I. Diapering, is a tracing or running over your work again when you have (as it were) quite done, with damask branches, and such like.
It is used to counterfeit cloath of gold, silver, damask, velvet, chamlet and the like with what branch and in what fashion you please : it is derived from the Greek word [...] transeo, to pass over and onely signifies a light passing over the same again.
[...]

CHAP. XV. To take the perfect draught of any Picture.

I. Take a sheet of fine Venice paper, wet all over with linseed oyl on one side thereof, which then wipe off as clean as you can ; let the paper dry, and lay it on any printed or painted picture ; [...].
            II. Or thus, The picture being drawn as before in the oyled paper, put it upon a sheet of white paper, and prick over the drawing with a pen : [...].

CHAP. XVI. To extend or contract a Picture keeping in the proportion.
I. Encompass your picture with one great square, which divide into as many little ones as you please : this done, according as you would have your picture either greater or less, make another square greater or less, which divide into as many equal squares, which be drawn with a black lead plummet.
            II. Take your black lead pen, and draw the picture by little and little, passing from square into square, (by the example of the pattern) until you have gone all over with it : observing, that in what part of the square the picture lies, you draw the like part in the square answerable thereto, till you have finished the whole.
            III. Then draw it over with a pen, in which second drawing of it you may easily mend any fault, and shadow it at pleasure.
            IV. Lastly, when it is throughly dry, rub it over with the crum of white-bread, and it will take off all the black lead stroaks, so will your draught remain fair upon the paper.

CHAP. XXIV. Of Perspective in General.
[...], the Art of seeing in English, is that by which we behold, contemplate, and draw the likeness of all magnitudes, just in form and manner as they appear to the Eye.
II. The manner to be seen or speculated is a magnitude : the manner of the speculation, is by radiations of Light, either direct, reflected, or broken.
[...].
IV. A line is a complication of points ; that is (according to EUCLID) a length only without either breadth or thickness.
V. A superficies is a complication of lines ; that is, a length having breadth without thickness.
[...]
VI. A solid is a complication of superficies ; that is, a length and breadth, having depth or thickness.
[...]
 
CHAP. XXV. Of the Active part of Perspective.

I. The Active part of Perspective is either Ichnographical, Orthographical, or Scenographical.
            [...].

CHAP. XXVII. The General Practice of Perspective.
[...]
XII. If in Landskip, there be any standing waters, as rivers, ponds, and the like ; place the horizontal line level with the farthest sight or appearance of it.
[...]

XII. If in Landskip, there be any standing waters, as rivers, ponds, and the like ; place the horizontal line level with the farthest sight or appearance of it.
[...]

XV. In colouring and shadowing of every thing ; you must do the same in your picture which you observe with your Eye, especially in objects lying near ; but according as the distance grows greater and greater, so the Colours must be fainter and fainter, till at last they loose themselves in a darkish sky colour.

Liber Secundus.
Of Engraving, Etching and Limning.
Shewing the Instruments belonging to the work ; the matter of the work, and the way and manner of performing the same ; together with all other requisites and ornaments.
CHAP. I. Of Graving, and the Instruments thereof.
I. GRAVING is an Art which teacheth how to transfer any design upon Copper, Brass, or Wood, by help of sharp pointed and cutting Instruments.
            II. The chief Instruments are four, 1. Gravers, 2. An Oyl stone, 3. A Cushion, 4. A burnisher.

Liber Secundus.
Of Engraving, Etching and Limning.
Shewing the Instruments belonging to the work ; the matter of the work, and the way and manner of performing the same ; together with all other requisites and ornaments.
CHAP. I. Of Graving, and the Instruments thereof.
I. GRAVING is an Art which teacheth how to transfer any design upon Copper, Brass, or Wood, by help of sharp pointed and cutting Instruments.
            II. The chief Instruments are four, 1. Gravers, 2. An Oyl stone, 3. A Cushion, 4. A burnisher.

Liber Secundus.
Of Engraving, Etching and Limning.
Shewing the Instruments belonging to the work ; the matter of the work, and the way and manner of performing the same ; together with all other requisites and ornaments. [...] CHAP. VII. Of Etching, and the Materials thereof.
I. ETCHING is an Artificial Engraving of Brass or Copper Plates with Aqua fortis.
            II. The Instruments of Etching (besides the Plate) are these nine. I. Hard Varnish. 2. Soft Varnish. 3. Prepared Oyl. 4. Aqua fortis. 5. Needles. 6. Oyl stone. 7. Brush-pensil. 8. Burnisher. 9. The Frame and Trough.
            [...]. [...] CHAP. IX. The way and manner of Etching.
I. In making lines or hatches, some bigger, some lesser, straight or crooked, you must use several sorts of needles, bigger or lesser as the work requires.
            II. The great lines are made by leaning hard on the needle ; [...].

CHAP. I. Of Graving, and the Instruments thereof.
I. GRAVING is an Art which teacheth how to transfer any design upon Copper, Brass, or Wood, by help of sharp pointed and cutting Instruments.
            II. The chief Instruments are four, 1. Gravers, 2. An Oyl stone, 3. A Cushion, 4. A burnisher.
            III. Gravers are of three sorts, round pointed, square pointed, and Lozeng pointed. The round is best to scratch with all : the square graver is to make the largest strokes : the Lozeng is to make strokes more fine and delicate : But a graver of a middle size betwixt the square and Lozeng pointed, will make the strokes or hatches show with more life and vigour, according as you manage it in working.

CHAP. III. Of Holding the Graver.
I. It will be necessary to cut off that part of the knob of the handle of the graver which is upon the same line with the edge of the graver ; thereby making (that lower side next to the plate) flat, that it may be no hinderance in graving.
            [...].

CHAP. VI. Of Engraving in Wood.
I. The figures that are to be carved or graven in wood must first be drawn, traced, or pasted upon the wood ; and afterwards all the other standing of the wood (except the figure) must be cut away with little narrow pointed knives made for that purpose.
            This graving in wood is far more tedious and difficult, than that in Brass or Copper ; because you must cut twice or thrice to take out one stroak ; and having cut it, to be careful in picking it out, left you should break any part of the work, which would deface it.
II. For the kind of the wood let it be hard and tough ; [...].
III. To draw the figures upon the wood.
[...].

CHAP. VII. Of Etching, and the Materials thereof.
I. ETCHING is an Artificial Engraving of Brass or Copper Plates with Aqua fortis.
            II. The Instruments of Etching (besides the Plate) are these nine. I. Hard Varnish. 2. Soft Varnish. 3. Prepared Oyl. 4. Aqua fortis. 5. Needles. 6. Oyl stone. 7. Brush-pensil. 8. Burnisher. 9. The Frame and Trough.
            [...]. [...] VII. To make the Aqua fortis.
Take distilled White-wine Vinegar three pints ; [...]. [...] CHAP. X. Of using the Aqua fortis.
I. If there be any strokes which you would not have the Aqua fortis eat into ; or any places where the varnish is rubbed off, melt some prepared Oyl, and with a pensil, cover those places pretty thick.
            [...]. [...] CHAP. XIV. Of Using the Aqua fortis, and finishing the work.
I. Put soft Wax (red or green) round the brims of the Plate, and let it be raised above the Varnish about half a Barly corns length ; [...].

CHAP. VII. Of Etching, and the Materials thereof.
I. ETCHING is an Artificial Engraving of Brass or Copper Plates with Aqua fortis.
            II. The Instruments of Etching (besides the Plate) are these nine. I. Hard Varnish. 2. Soft Varnish. 3. Prepared Oyl. 4. Aqua fortis. 5. Needles. 6. Oyl stone. 7. Brush-pensil. 8. Burnisher. 9. The Frame and Trough.
            [...].
IV. To make the hard Varnish for Etching.
Take Greek or Burgundy Picth, Colophonium or Rozin, of each five ounces, [...].
V. To make the soft Varnish for Etching.
Take Virgin-wax three ounces, Mastich in drops two ounces, [...]. [...] CHAP. VIII. The way and manner of using the hard varnish.
I. Having well heat the polished plate over a chaffing dish of coals, take some of the first varnish with a little stick, and put a drop of it on the tope of your finger, with which lightly touch the plate at equal distances, [...]. [...] CHAP. XII. The way of using the soft Varnish.
I. The Plate being prepared by cleansing it with a Charcoal and clean water, wash it well and drie it, then with fine white Chalk scraped and a fine rag, rub it well over, not touching it with your fingers. [...].
 
CHAP. XIII. The way of Etching upon the soft Varnish.
I. The way of Etching is the same with that in the hard Varnish ; [...].

. ETCHING is an Artificial Engraving of Brass or Copper Plates with Aqua fortis.
            II. The Instruments of Etching (besides the Plate) are these nine. I. Hard Varnish. 2. Soft Varnish. 3. Prepared Oyl. 4. Aqua fortis. 5. Needles. 6. Oyl stone. 7. Brush-pensil. 8. Burnisher. 9. The Frame and Trough. [...] VIII. To make the Etching Needles.
Chose Needles of several sizes, such as will break without bending, and of a fine grain ; then take good round sticks of firm wood (not apt to split) about six inches long, and as thick as a large Goose quill, at the ends of which fix your Needles, so that they may stand out of the sticks about a quarter of an inch or something more.
[...]

CHAP. XV. Of  Limning and the Materials thereof.
I. Limning is an Art whereby in water Colours, we strive to resemble Nature in every thing to the life.

CHAP. XV. Of  Limning and the Materials thereof.
I. Limning is an Art whereby in water Colours, we strive to resemble Nature in every thing to the life.
II. The Instruments and Materials thereof are chiefly these. 1. Gums. 2. Colours. 3. Liquid Gold and Silver. 4. The Grindstone and Muller. 5. Pencils. 6. Tables to Limn in. 7. Little glass or China dishes.
III. The Gums are chiefly these four, Gum Arabick, Gum Lake, Gum Hedera, Gum Armoniack.
IV. The principal Colours are these seven, White, Black, Red, Green, Yellow, Blew, Brown : out of which are made mixt or compound Colours.
V. The Liquid Gold and Silver is eithe natural or artificial.
The natural is that which is produced of the Metals themselves : the Artificial is that which is formed of other colours.
VI. The Grinding stone, Muller, Pencils, Tables, and Shells or little China dishes are only the necessary instruments and attendants, which belong to the practice of Limning.

CHAP. XVI. Of the Gumms and their Use.
I. The chief of all is Gum-Arabick, that which is white, clear and brittle ; the Gum-water of it is made thus :
            Take Gum Arabick, bruise it and tie it up in a fine clean linnen cloath, and put it into a convenient quantity of pure spring water, in a glass or earthen vessel ; [...].
            II. Gum-lake ; it is made of whites of Eggs beaten and strained, [...].
            This gum will resolve in water like gum Arabick, of which gum water is made in like manner ; it is a good ordinary varnish for pictures.
            III. Gum Hedera, or gum of Ivy ; it is gotten out of Ivy, [...].
            IV. Gum Armoniacum, It is a forrein gum, and ought to be bought strained. [...].

CHAP. XVII. Of the seven Colours in General.
I. The chief WHITES are these, Spodium, Ceruse, White-lead, Spanish-white, Eg-shels burnt. [...].
II. The chief BLACKS are these, Hartshorn burnt, Ivory burnt, Cherry-stones burnt, Lamp-black, Charcoal. [...].
III. The chief REDS are these : Vermilion, Red-lead, Indian-lake, Red-oker. [...].
IV. The chief GREENS are these : Green Bice, Verdegriese, Verditure, Sapgreen. [...].
V. The chief YELLOWS are these : Orpiment, Masticot, Saffron, Pink yellow, Oker de luce. [...].
VI. The chief BLEWS are Ultramarine, Indico, Smalt, Blew bice. [...].
VII. The chiefest BROWNS are Umber, Spanish-brown, Colens Earth. [...].
 
CHAP. XVI. Of Colours in Particular.
I. Ceruse, Grind it with glair of Eggs and it will make a most perfect white.
II. White-lead, [...], it makes a fair Carnation.
III. Spanish-white, It is the best white of all, [...].
IV. Lamp-black, ground with Gum-water, it makes a good black.
V. Vermilion, [...].
VI. Sinaper-lake, it makes a deep and beautiful red, or rather purple, almost like unto a Red-rose. [...].
VII. Red Lead, [...].
VIII. Turnsole, [...] : It is good to shadow Carnation, and all Yellows.     
IX. Roset, Grind it with brazil water, and it will make a deep purple : put Ceruse to it, and it will be lighter : gring it with Litmose, and it will make a fair Violet.
X. Spanish brown, [...] it makes a horse flesh Colour.
XI. Bole Armoniack, It is a faint Colour ; its chief use is, in making size for burnishd gold.
XII. Green bice, [&] ; when it moyst, and not through dry, you may diaper upon it with the water of deep green.
XIII. Verdegreise, Grind it with juyce of Rue, and a little weak gum water, and you will have a most pure green : if you will diaper with it, grind it with Lye of Rue (or else the decoction thereof) and there will be a hoary green [...].
XIV. Verditure, [...] it is the faintest green that is, but is good to lay upon black, in any kind of drapery.
XV. Sap-green, lay it in sharp vinegar all night ; put it into a little Alome to raise the colour, and you will have a good green to diaper upon other greens.
XVI. Orpiment, Arsenicum or Auripigmentum, grind it with a stiff water of gum Lake, because it is the best colour of it self ; it will lye upon no green, for all greens, white and red lead, and Ceruse stain it : wherefore you must deepen your colours so that the Orpiment may be highest, and so it may agree with all Colours.
XVII. Masticot, [...].
XVIII. Saffron, [...] : it may be ground with Vermilion.
XIX. Pink-yellow, If you would have it sad coloured, grind it with Saffron : if light, with Ceruse, [...].
XX. Oker de Luce, [...] : it makes a passing hair colour ; and is a natural shadow for gold.
XXI. Umber, It is a more sad colour. [...].
XXII. Ultramarine, If you would have it deep, grind it with Litmose water ; but if light with fine Cesure, and a weak gum Arabick water.
XXIII. Indico, [...].
XXIV. Blew bice, [...].
XXV. Smalt, Grind it with a little fine Roset, and it will make a deep violet : and by putting in a quantity of Ceruse, it will make a light Violet.
XXVI. Litmose blew, [...] it makes a deep blew : [...] a light blew ; [...]
XXVII. Orchal, [...] it makes a pure Violet : [...] you may make the Violet light or deep as you please.
 
CHAP. XIX. Of Mixt and Compound Colours
I. Murry, It is a wonderful beautiful colour, composed of purple and white : [...]
II. A glass Grey, Mingle Ceruse with a little Azure.
III. A Bay colour, Mingle Vermilion with a little Spanish brown and black.
IV. A deep Purple, It is made of Indico, Spanish brown and white.
[...].
V. An Ash colour, or Grey, [...].
VI. Light Green, [...]
VIII. Flame colour, [...]
IX. A Violet colour, [...]
X. Lead colour, [...]
XI. Scarlet colour, [...]

CHAP. XVII. Of the seven Colours in General. [...] VII. The chiefest BROWNS are Umber, Spanish-brown, Colens Earth. [...].

CHAP. XVII. Of the seven Colours in General. [...] II. The chief BLACKS are these, Hartshorn burnt, Ivory burnt, Cherry-stones burnt, Lamp-black, Charcoal. [...].

CHAP. XVII. Of the seven Colours in General.
I. The chief WHITES are these, Spodium, Ceruse, White-lead, Spanish-white, Eg-shels burnt. [...].

CHAP. XX. Of Colours for Drapery.
I. For Yellow garmets. Take Masticot deepned with brown Oker and red Lead.
II. For Scarlet. Take vermilion deepned with Sinaper lake, and heightned with touches of Masticot.

[...].

CHAP. XVI. Of  Preparing the Colours.
I. Colours according to their natures, have each a particular way of preparation : to wit, by grinding, wahing, or steeping.
II. The chief Colours to be ground are these ; White lead, Ceruse, Sinaper lake, Oker, Pink, Indico, Umber, Colens Earth, Spanish Brown, Ivory Black, Cherystone Black.
III. The chief colours to be washd are, Red lead, Masticot, green Bice, Cedar green, Ultramarine, blew Bice, Smalt, Verditure.
IV. The chief colours to be steept, are Sap-green, Saffron, Turnsole, Stone blew, Venice berries.
V. To Grind Colours.
[...]
VI. To wash Colours.
[...]     
VII. To steep Colours.
[...]
VIII. To temper Colours.
[...]
IX. To help the defects.
[...]
XI. To burn or calcine Colours.
[...]
XII. To prepare shadows for Colours.
White is shaded with blacks, and contrariwise : yellow with Umber, and the Okers : Vermilion with Lake : blew Bice with Indie : Black coal with Roset, &c.

CHAP. XXIII. Of the Manual Instruments.
[...]
II. The grinding stone may be of Porphury, Serpentine, or Marble, [...].
III. Choose your pensils thus [...].
V. To prepare the Table. [...].

CHAP. XXIV. Of Preparations for Limning.
[...]
V. Have ready a quantity of light carnation or flesh colour temperd up in a shell by it self with a weak gum water ; If it be a fair complexion mix white and red Lead together ; if a brown or swarthy, add to the former, Masticot, or English Oker, or both : but be sure the flesh colour be always lighter than the complexion you would limne ; for by working on it you may bring it to its true colour.
[...]
VII. In all shadowings have ready some white, and lay a good quantity of it by it self, besides what the shadows are first mixed with ; for red for the cheeks and lips, temper Lake and red Lead together : for blew shadows (as under the eyes and in veins) Indico or Ultramarine and white : for gray faint shadows, white, English Oker, sometimes Masticote : for deep shadows, white, English oker, Umber : for dark shadows, Lake and Pink, white make a good fleshy shadow.
VIII. To make choice of the light.
Let it be fair and large, and free from shadows of trees or houses, but all clear skie light, and let it be direct from above, and not transverse ; let it be northerly and southerly ; and let the room be close and clean, and free from the Sun-beams.
[...].

CHAP. XXIV. Of Preparations for Limning.
[...]
V. Have ready a quantity of light carnation or flesh colour temperd up in a shell by it self with a weak gum water ; If it be a fair complexion mix white and red Lead together ; if a brown or swarthy, add to the former, Masticot, or English Oker, or both : but be sure the flesh colour be always lighter than the complexion you would limne ; for by working on it you may bring it to its true colour.

CHAP. XXIV. Of Preparations for Limning.
[...]
V. Have ready a quantity of light carnation or flesh colour temperd up in a shell by it self with a weak gum water ; If it be a fair complexion mix white and red Lead together ; if a brown or swarthy, add to the former, Masticot, or English Oker, or both : but be sure the flesh colour be always lighter than the complexion you would limne ; for by working on it you may bring it to its true colour.
[...]
VII. In all shadowings have ready some white, and lay a good quantity of it by it self, besides what the shadows are first mixed with ; for red for the cheeks and lips, temper Lake and red Lead together : for blew shadows (as under the eyes and in veins) Indico or Ultramarine and white : for gray faint shadows, white, English Oker, sometimes Masticote : for deep shadows, white, English oker, Umber : for dark shadows, Lake and Pink, white make a good fleshy shadow.

CHAP. XXV. Of the Practice of Limning in Miniature, or Drawing of a Face in Colours.
I. To begin the work.
[...] the ground thus laid, begin the work, the party being set, which must be done at three sittings : at the first sitting the face is only dead coloured, which takes up about two hours time : at the second sitting, go over the work more curiously, adding its particular graces or deformities, sweetly couching the colours, which will take up about five hours time : at the third sitting finish the face, in which you must perfect all that is imperfect and rough, putting the deep shadows in the face, as in the eyes, eyes-brows, and ears, which are the last of the work, and not to be done till the hair curtain, or back side of the picture, and the drapery be wholly finished.
II. The operation or work at first sitting.
The ground for the complexion being laid, draw the out-lines of the face, which do with Lake and white mingled; [...].

III. The operation or work at second sitting.
[...]

IV. The operation or work at third sitting.
[...]

CHAP. XXVI. Of Limning Drapery.
            I. A Full and substantial ground being laid all over where you intend the drapery ; as if blew, with Bice smoothly laid, deepen it with Lake and Indico ; [...].

CHAP. XXVII. Of Limning Landskip
All the variable expressions of Landskip are innumerable, they being as many as there are men and fancies ; the general rules follow.
I. Always begin with the Sky, Sun-beams, or lightest parts first ; [...].
[...].
            VII. Lastly, Let all shadows lose their force as they remove from the eye ; always letting the strongest shadow be nearest hand.

Liber Tertius.
Of Painting, Washing, Colouring, Dying and Varnishing.

Containing the description and use of all the chief Instruments & materials ; the way and manner of working, together with the beginning, progress and end thereof.
[...].
 
CHAP. I. Of Painting in Oyl, & the Materials thereof.
I. Painting in Oyl is nothing but the work or Art of Limning performed with colours made up or mixed with oyl.
II. The materials of Painting are chiefly seven, 1. The Easel, 2. The Pallet, 3. The Straining frame, 4. The Primed cloath, 5. Pensils, 6. The Stay, 7. Colours.
III. The Easel is a frame made of wood (much like a ladder) with sides flat, and full of holes, to put in two pins to set your work upon higher or lower at pleasure ; something broader at bottom than at the top ; on the backside whereof is a stay, by which you may set the Easel more upright or floping.
IV. The Pallet is a thin piece of wood, (Peartree or Walnut) a foot long, and about ten Inches broad, almost like an Egg, at the narrowest end of which is made an hole, to put in the thumb of the left hand, near to which is cut a notch, that so you may hold the pallet in your hand. Its use is to hold and temper the Colours upon.
V. The Streining frame is made of wood, to which with nails is fastned, the primed cloath, which is to be painted upon.
These ought to be of several sizes according to the bigness of the cloath.
VI. The Primed cloath is that which is to be painted upon ; and is thus prepared.
[...].
VII. Pensils are of all bignesses, from a pin to the bigness of a finder, called by several names, as Ducks quill fitched and pointed ; goose quill fitched and pointed, Swans quill fitched and pointed ; Jewelling pensils, and bristle Pensils : some in quils, some in tinn cases, and some in sticks.
VIII. The Stay or Mol-stick, is a Brazil stick (or the like) of a yard-long ; having at the one end thereof, a little ball of Cotton, fixed hard in a piece of leather, of the bigness of a chestnut ; which when you are at work you must hold in your left hand ; and laying the end which hath the leather ball upon the cloath or frame, you may rest your right arm upon it, whilst you are at work.
IX. The Colours are in number seven (ut supra) to wit White, Black, Red, Green, Yellow, Blew, and Brown.
Of which some may be tempred on the pallet at first ; some must be ground, and then tempred ; and other some must be burnt, ground, and lastly tempred.
[...].

CHAP. I. Of Painting in Oyl, & the Materials thereof.
I. Painting in Oyl is nothing but the work or Art of Limning performed with colours made up or mixed with oyl.
II. The materials of Painting are chiefly seven, 1. The Easel, 2. The Pallet, 3. The Straining frame, 4. The Primed cloath, 5. Pensils, 6. The Stay, 7. Colours. [...] VIII. The Stay or Mol-stick, is a Brazil stick (or the like) of a yard-long ; having at the one end thereof, a little ball of Cotton, fixed hard in a piece of leather, of the bigness of a chestnut ; which when you are at work you must hold in your left hand ; and laying the end which hath the leather ball upon the cloath or frame, you may rest your right arm upon it, whilst you are at work.

CHAP. I. Of Painting in Oyl, & the Materials thereof.
I. Painting in Oyl is nothing but the work or Art of Limning performed with colours made up or mixed with oyl.
II. The materials of Painting are chiefly seven, 1. The Easel, 2. The Pallet, 3. The Straining frame, 4. The Primed cloath, 5. Pensils, 6. The Stay, 7. Colours.
III. The Easel is a frame made of wood (much like a ladder) with sides flat, and full of holes, to put in two pins to set your work upon higher or lower at pleasure ; something broader at bottom than at the top ; on the backside whereof is a stay, by which you may set the Easel more upright or floping.

CHAP. II. Of the Colours in General.
I. The chief Whites for painting in oyl are, White lead, Ceruse, and Spodium.
II. The chief Blacks are, Lamp black, Seacoal black, Ivory black, Charcoal, and earth of Colen.
III. The chief Reds are, Vermilion, Sinaper lake, Red lead, Indian Red, Ornotto.
IV. The chief Greens are, Verdigriese, Terra vert, Verditer.
V. The chief Yellows are, Pink, Masticote, English Oker, Spruse Oker, Orpiment.
VI. The chief Blews are, blew Bice, Indico, Ultramarine, Smalt.
VII. The chief Browns are, Spanish brown, Burnt Spruce, Umber.
[...].

CHAP. II. Of the Colours in General.
I. The chief Whites for painting in oyl are, White lead, Ceruse, and Spodium. [...] VI. The chief Blews are, blew Bice, Indico, Ultramarine, Smalt.

CHAP. II. Of the Colours in General.
I. The chief Whites for painting in oyl are, White lead, Ceruse, and Spodium. [...] III. The chief Reds are, Vermilion, Sinaper lake, Red lead, Indian Red, Ornotto.

CHAP. II. Of the Colours in General.
I. The chief Whites for painting in oyl are, White lead, Ceruse, and Spodium.
II. The chief Blacks are, Lamp black, Seacoal black, Ivory black, Charcoal, and earth of Colen.

CHAP. III. Of the fitting of Colours for Painting.
I. Upon the Pallet dispose the several colours, at a convenient distance, that they may not intermix ; first lay on the Vermilion, then the Lake, [&] ; thus is the Pallet furnished with single colours for a face.
            Now to temper them for shadowing various complexions do thus.
II. For a fair complexion.
[...].
III. The faint shadows for the fair complexion.
[...].
IV. The deep shadows for the same.
[...].
V. For a brown or Swarthy Complexion.
[...].
VI. For a tawny Complexion.
[...].
VII. For a black Complexion.
[...].

CHAP. IV. Of Colours for Velvet.
[...].
 
CHAP. V. Of colours for Sattins.
[...].
 
CHAP. VI. Of Colours for Taffatie, Cloth and Leather.
[...].
 
CHAP. VII. Of Colours for Garments in general.
[...].
 
CHAP. IV. Colours for metals and precious stones.
[...].
 
CHAP. IX. Of Colours for Landskip.
I. For a light Green, use pink and masticot heightned with wihte : for a sad green, Indico and Pink heightned with masticot.
II. [...].

CHAP. IX. Of Colours for Landskip.
I. For a light Green, use pink and masticot heightned with wihte : for a sad green, Indico and Pink heightned with masticot.
II. [...].

CHAP. X. Of the Painting of the face.
 
I. Have your necessary pensils in readiness, as two pensils ducks quill fitched ; and two ducks quill pointed ; [...].
            V. Let the person to be drawn, sit before you in the posture he intends to be painted, [...].
            VI. Then with a piece of painted chalk draw the proportion of the face upon the cloth, with the place of the eyes, nose, mouth, ears, hair, and other postures.
            [...].

CHAP. XIX. Of Washing, and the Materials thereof.
I. By washing, here we intend nothing else, but either to set out Maps or Printed Pictures in proper Colours, or else to vernish them.
II. The Instruments and Materials of washing are chiefly six, to wit, 1. Alom-water, 2. Size, 3. Liquid Gold, 4. Pensils, 5. Colours, 6. Vernish.
[...].
            VI. Pensils are to be of all sorts both fitchd and pointed ; as also a large pensil brush to past Maps upon Cloath ; another to wet the paper with Alom water ; a third to starch the face of the picture withall before it be coloured ; and a fourth to varnish withall.
VII. The colours are the same with those which we mentioned in Chap. 17. lib. 2. to which add, I. Of Black, Printers black, Franckford black, 2. Of Red, Vermilion, Rosset, 3. Of Blew, Verditure, Litmos, Flory, 4. Of Yellow, Cambogia, Yellow berries, Orpiment, 5. Brazil, Logwood (ground) and Turnsole, Cochenele, Madder.
 
CHAP. XX. Of Colours simple for Washing
I. Printers black, Vermilion, Rosset, Verditure, and Orpiment are to be ground, [...].
            II. Brazil. [...].
            III. Logwood. [...].
            IV. Cochenele [...].
[...].

CHAP. XXI. Of Compouned Colours for Washing
I. Orange Colour. Red Lead and Yellow berries make a good Orange colour : or thus, take Arnotto half an ounce, Pot ashes one Drachm, water one pound, boil it half away, then strain it, and use it hot.
            It is good for white leather, paper, vellom, quills, parchment, &c.
II. Green. [...]. [...] CHAP. XXIV. Of  the practice of Washing.
I. With the Alom-water  wet over the pictures to be coloured, for that keeps the colours from sinking into the paper, and will add a lustre unto them, make them shew fairer, and keep them from fading.
II. [...].

CHAP. XIX. Of Washing, and the Materials thereof.
I. By washing, here we intend nothing else, but either to set out Maps or Printed Pictures in proper Colours, or else to vernish them.
II. The Instruments and Materials of washing are chiefly six, to wit, 1. Alom-water, 2. Size, 3. Liquid Gold, 4. Pensils, 5. Colours, 6. Vernish. [...] VII. The colours are the same with those which we mentioned in Chap. 17. lib. 2. to which add, I. Of Black, Printers black, Franckford black, 2. Of Red, Vermilion, Rosset, 3. Of Blew, Verditure, Litmos, Flory, 4. Of Yellow, Cambogia, Yellow berries, Orpiment, 5. Brazil, Logwood (ground) and Turnsole, Cochenele, Madder.
 
CHAP. XX. Of Colours simple for Washing
I. Printers black, Vermilion, Rosset, Verditure, and Orpiment are to be ground, [...].
            II. Brazil. [...].
            III. Logwood. [...].
            IV. Cochenele [...].
[...].

CHAP. XXI. Of Compouned Colours for Washing
I. Orange Colour. Red Lead and Yellow berries make a good Orange colour : or thus, take Arnotto half an ounce, Pot ashes one Drachm, water one pound, boil it half away, then strain it, and use it hot.
            It is good for white leather, paper, vellom, quills, parchment, &c.
II. Green. [...].
 
CHAP. XXII. Of Mixing Colours and shadowing.
I. In mixing be careful not to make the colour too sad, nor take the pensils out of one colour and put them into another.
            II. In mixing colours, stir them well about the water severally till they are well about the water severally till they are well mixed ; [...].
            III. Green is shadowed with Indico and yellow berries.
IV. Blew is shadowed with Indico, Litmose and flory ; [...].
 
CHAP. XX. Of Colours for Landskips.
I. Green mixed with white, pink, bice, masticot, smalt, indico, or ceruse : or blew verditure mixt with a few yellow berries makes a good green for Landskips.
II. For the saddest hills use umber burnt ; for the lightest places, put yellow to the burnt umber : [...].

CHAP. XIX. Of Washing, and the Materials thereof.
I. By washing, here we intend nothing else, but either to set out Maps or Printed Pictures in proper Colours, or else to vernish them.
II. The Instruments and Materials of washing are chiefly six, to wit, 1. Alom-water, 2. Size, 3. Liquid Gold, 4. Pensils, 5. Colours, 6. Vernish.
[...].
            VI. Pensils are to be of all sorts both fitchd and pointed ; as also a large pensil brush to past Maps upon Cloath ; another to wet the paper with Alom water ; a third to starch the face of the picture withall before it be coloured ; and a fourth to varnish withall.

II. The Instruments and Materials of washing are chiefly six, to wit, 1. Alom-water, 2. Size, 3. Liquid Gold, 4. Pensils, 5. Colours, 6. Vernish.
[...].

CHAP. XXII. Of Mixing Colours and shadowing.
I. In mixing be careful not to make the colour too sad, nor take the pensils out of one colour and put them into another.
            II. In mixing colours, stir them well about the water severally till they are well about the water severally till they are well mixed ; [...].
            III. Green is shadowed with Indico and yellow berries.
IV. Blew is shadowed with Indico, Litmose and flory ; [...].

CHAP. XX. Of Colours for Landskips.
I. Green mixed with white, pink, bice, masticot, smalt, indico, or ceruse : or blew verditure mixt with a few yellow berries makes a good green for Landskips.
II. For the saddest hills use umber burnt ; for the lightest places, put yellow to the burnt umber : [...].

CHAP. XXV. Of the making of Varnishes.
I. VARNISH for Painting in Oyl.
Take Mastich two ounces, Oyl of Turpentine one ounce ; put the Mastich in powder [...].
II. Varnish for painted pictures.
[...].
V. A very good Varnish for Gold, Silver, Brass, Iron, Stone, Wood, Vellom or Paper.
[...].
VI. A Varnish particulary for Gold, Silver, Tin, or Copper.
[...].
VII. A Varnish for Wood and Leather.
[...].
VIII. To make the Common Varnish.
[...].
IX. To make a red Varnish.
[...].
X. To make a Yellow Varnish.
[...].
XI. An Universal Varnish, the best of all others.
[...].
 
CHAP. XXVI. Of the manner of Varnishing
I. The intent of Varnishing is either to preserve the gloss of paintings or pictures, or else to represent and imitate the forms of shining and perlucid bodies.
            II. To varnish paintings and pictures, tis no more but with a pencil dipt in the Varnish to go over the same, then letting it dry ; and so going over it so often as in reason you shall see convenient.
            III. If you are to imitate any thing, as Marble, Tortoise shell, Amber, Lapis Lazuli or the like ; you must first make the imitation of them, upon that which you would Varnish, with their proper colours, as in Limning or Painting with oyl ; which must be throughly dry : then  by the 2 è. [ndr : voir la section précédent celle-ci] go over all with the Varnish ; letting it dray every time leisurely. [...].