{Pen and Pensill described.} The most excellent use of the Penn, and Pensil, is illustrated by the admirable Art of Drawing, and Painting ; and perfectly defined, to be the Imitation of the Surface of Nature, in Proportion and Colour.
By Mathematicall Demonstration of Globes, Spheres, Charts, […].
Or, by particular description of Plotts, Fortifications, […].
Or, by shapes of Creatures ; Men, and Beasts ; Birds, and Fishes.
Or, by Vegetables ; Fruits, Flowers, Hearbs.
In all, it preferrs likenesse to the Life, and conserves it, after Death ; and altogether by the Sense of Seeing.

Of Painting and Poetry compared
{Harmony of Poetry and Painting.} Thus have I adventured the challenge, in the name of Apollo, to the Art of Apelles ; by comparing Wit, and Words, by the Poem, with Draught and Colour by the Pensil [ndr : voir les pages précédentes] ; […].
For Poesie is a speaking Picture, and Picture is a silent, Poesie ; the first, as if alwayes a doing ; the other, as if done already. In both, an astonishment of wonder ; by Painting to stare upon Imitation of Nature, leading and guiding our Passions, by that beguiling power, which we see exprest ; and to ravish the mind most, when they are drunke in by the eyes.
{Painting before Poetry} Yet Painting was before Poetry ; for Pictures were made before Letters were read. […].

{To distinguish Principall from Copies.} Generally, in Originalls, the Colours become often vaded, and, in many, much changed ; the Piece in time grown crusty, and often peeles by ill usage. Yet you shall find the Lightnings bold strong, and high ; the shadowes deep and gracefull.
Their Copies ; if well counterfeit, the workeman must alter the manner of his Colours by a mixt tempering ; otherwayes then the Modern Naturall way of Painting admits. To do this well, he may be lesse excellent in the Precepts of Painting, and yet in this way of working, out Master, a better Artizan ; […].
{How to judge of them} To judge of them with facility ; Originalls have a Natural force of Grace Rising ; Copies seems to have, only an imperfect, and borrowed comlinesse ; and if you stay to judge of them, thought they seem so, to the sight of Imitation, yet it proceeds not out of a Naturall Genius in the Workeman.
{By distinction} An Imitator, does never come neer the first Author, (unless by excellent modern Masters own working) a similitude ever more, comes short of that truth, which is in the Things themselves : The Copier being forced to accomodate himself, to another mans intent.

After the first view of a Picture you may limit the understanding (without more difficulty) in few observations ; as first.
1. The Artizans care and paines must be visible,
2. It must appeare that he had knowledge and understanding in the Art, and followed it in every particular throughout ; Not as if done by severall hands, good and indifferent.
3. Then observe if he have expressed his Naturall Genius, with delight, upon some special fancy, as more proper to himself, than any other.
 
For Example, some.
In Historie and Figure.
Others in Prospective.
Some in Shipwrack and Seas.
In designe.
In likenesse to th’ Life.
In Landskips, not many.
In Flowers.
In Huntings and Beasts.
Cattle and Neat-heards.
 
[…].
 
And in each of these severall Artists have been (properly) more rare.

Of Abilities in Painters,
You may desire many Abilities of an Artist in his Piece, but the Italians observe each single prayse to deserve merit, in any some Master.
Some, are noted for one of these, viz.
Diligence and Proportion, with a free hand.
Fancie, and conceiving of Passions.
Invention.
Grace.
Of all these, we shall discourse hereafter.
{Confined.} But in a word, there may not be wanting these two,
First, to be well drawn, or (as Artizans term it) well designed ; and herein without exceptions, let there be truth and Grace.
Secondly, well Coloured, with Force, and Affection.

Well Designed.
           
[…] ; there must be truth in every part, and Proportion of the figure, just and Naturall with the Life. Some artizans, strain Limbs into extreams. Albert Durar, Golties, Spranger, did so, in that which was ; and Michael Angelo, in that which should be ; and thereby in truth, loose the gracefulness.
{Of Factions.} But then, if an Artizan adventure on a Fiction, it will appeare lesse pleasing, unless it be done boldly ; not only to exceed the worke, (but also the possibility) of Nature ; […].
{Difference of Naturall and feigned Figures.} The Naturall figures indeed, shew property and decencie to delight common Judgement ; and the forced figures, may be the sign of the Novelty in expression, and pleasing the Excitation of the mind ; for Novelty causeth admiration, and admiration enforces curiosity, the delightfull appetite of the mind.
And certainely from an Artizan’s excellencies, proceed those extravagant varieties, or admirable Novelties, which are not the issues of an idle brain, or to be found within the compass of a narrow conception ; but please the Eyes, like new straines of Musick to the Eares, when common ayres become insipid.
{And with Grace.} Grace, is the bold and free disposing of the hand in the whole draught of the designe. […].

Well Coloured.
 
{Well Coloured.} […], for well Colouring, you may observe, that in all darkness there is deepness ; but then the sight must be sweetly deceived, by degrees, in breaking the Colours, by insensible passage, from higher Colours, to more dimme, better expressed in the sight of the Rain-bow ; where severall Colours intermixt with soft and gentle distinction, as if two Colours where blended together.
{With Force, what it is} Force, is the rounding, and rising of the work, in truth of Nature, as the Limbs require it ; without sharpnesse in out lines, or flatnesse within the body of the Piece ; and both these are visible errors.
{And Affection, what ?} Affection, is to express Passion in the figure ; Gladnesse, Grief, Fear, Anger, with motion and gesture of any Action. And this is a ticklish skill of the hand, for Passions of contrary Nature, with a touch of the Pensil, alter the Countenance, from Mirth to Mourning, as a coincident extream.

{And Affection, what ?} Affection, is to express Passion in the figure ; Gladnesse, Grief, Fear, Anger, with motion and gesture of any Action. And this is a ticklish skill of the hand, for Passions of contrary Nature, with a touch of the Pensil, alter the Countenance, from Mirth to Mourning, as a coincident extream.

Of Grotesco.
{Grotesco work, what it is.} As for Grotesco or (as we say) Antique-worke ; It takes my fancy, though in forms of different Natures, or Sexes, Sirenes, Centaures, and such like, as the outward walls of White-Hall, observes this kind ; […].
And if Poets devise these double Natur’d Creatures, why, not the Painters ; who can do what the other but bespeake ? But in true Judgment I would confine Grotesco, only to Borders and Freezes ; then it may become the Wall, within or, without doores.

Of Fresco.
{Of Fresco what it is.} There is a Painting upon Walls called Fresco : It was the ancient Græcians Noble way of Painting, and since much used by the Romans. […]..
[…].
{Whole Towns of this worke.} There have been PAINTINGS of this worke, in severall Towns of GERMANY, rarely done ; but now ruined by Warre.
{Three Chambers in Rome.} At Rome ; there are three Chambers, in the Popes Pallace, of Frescoe ; done by Raphael Urbin, and Julio Romano, (his disciple,) who finished his Master’s worke, and are yet called, Raphaells designes […].

{Five sorts of Paintings.} And thus much of Pictures their Choyce and Use, there being five kinds of Paintings. Distemper or Sise-colour ; Frescoe ; Oyle-Colours ; Miniture or Water-Colours ; Croyons, or dry Colours.

Of Drawing, and Designing in generall
{Drawing and Designing, their excellent use.} I Have marvailed, at the negligence of Parents in generall ; they not to enforce a Necessity, in the Education of their youth, to this Art of Drawing and Designing, being so proper for any course of Life whatsoever. Since the use thereof for expressing the Conceptions of the Mind, seems little inferiour, to that of Writing ; which in no man, ought to be deficient. And in many Cases, Drawing and Designing performs, what by words are impossible ; and (to boot) perfects the hand, for all manner of writing.
[…]. For almost, nay in any Arts, we must respect Rule, and Proportion, which this makes perfect. […].
But to our particular purpose of Painting, it is the only Consequence. And therefore to draw well with the Pen, after a Copy, or the Life, is the most difficult to begin, and the only pains, for the present ; but when mastered, the whole worke of Designing (which leads you into Painting) will become the greatest pleasure ; and of more variety, then any Manuall Profession what ever.

Of Drawing, and Designing in generall
{Drawing and Designing, their excellent use.} I Have marvailed, at the negligence of Parents in generall ; they not to enforce a Necessity, in the Education of their youth, to this Art of Drawing and Designing, being so proper for any course of Life whatsoever. Since the use thereof for expressing the Conceptions of the Mind, seems little inferiour, to that of Writing ; which in no man, ought to be deficient. And in many Cases, Drawing and Designing performs, what by words are impossible ; and (to boot) perfects the hand, for all manner of writing.

The Practice of Drawing or Designing.
{The practice of Drawing and Designing.} I Would prepare you with Rule and Compasse, and other Instruments, necessary for you to lye by you at hand ; but advise you to practise without them ; It is your eye must judge, without artificiall Measuring. And when you have past my first directions, and are perfect to draw by the Life, you may afterwards, in large Proportions and dimensions, use your Instruments, both for perfection, ease, and speed.
[…].

The foundation of Proportion consists in severall particular figures, by which I would have you enter your Drawings ; as the Circle, Ovall, Square, Trangle, Cilinder : Each of these have their effects. […].
{How to draw by Copyes.} Begin your Example, by a Copie or Print, of those severall forms of figures ; as the Sun, full-Moon, […].
{Of severall members of the body.} Then, practise by severall members of the body ; in some Print ; as the Eare, Eye, […].
{Head and shoulders.} The next is by a Print, or Copy of a Head and shoulders of a Man or Woman, […]. [...] {The best Prints.} The best Prints, for true proportion ; take Raphael or other old Artizans well graven.
Coltius, (a Hollander of Harlem,) varies his postures, very much ; […].

{Pensils.} Black Chalke Pensils draws handsomely (without the Cole) upon Blew-paper, and shadowed neatly ; being heightned with White-lead Pastils, you may practice upon several coloured papers, as the ground and shadow ; and heighten it with other Colour Pastils, as your fancy affects.
[…].

{Drapery what ?} Drapery-garments ; of severall Stuffs, coorse or fine, Silke, Wollen, or Linnen, have their different and naturall folds ; So as in the Lines, of greater, or softer shadows, (well done by an Artist) you may (though in black and white) easily discerne the meaning of the draught ; to be of such a Stuffe, or Cloathing.

{Of hatching.} In shadowing, with hatches, or small strokes (as in your print) use the pen of a Ravens-quill ; and be sure not to cross any stroake, before the former be dry ; left they runne into each other.

After some practice with the Pen (which follows the use of the Cole) proceed to shadow, with black and white Chalks, in stroakes, or sweetning (as in Painting).
For better directions herein, get some Designes or draughts, done in Chalke, Red-oaker, dry Colours, Croyons, or Pastills, for your patterns.

{Most Pictures are Copied by Gravings.} Now, though we name these, as other Artizans, for draughts, and to be met with in Prints ; you must know that they were Painters, and for the most part, wrought their Pieces first, by designe, and draught, with blacke and white Chalkes in little ; […].
So shall you have, two or three, or more, severall Names oft-times, set to the Print ; the Designer, the Painter, the Graver, and sometime the Printer. Our excelllent Artists in Graving are, Father Lambert, Hollar, Vaughan, Trevethen, Gay-wood, Crosse.

{Not to Paint ere you can Draw well.} By this time, and Practice, you expect that I should put you into Painting, the usuall longing desire of the Practitioner ; but, forbear, by any means, untill you be excellent in Copying of draughts, according to the foresaid Rules ; nay, untill you can boldly and truly, adventure upon your own fancie, and designe a Pattern for others. And believe it for truth, hastly Colouring, undoes the Painter. He shall never be excellent, that is not ready, in his own Draughts ; Nor be able to paint (and be esteemed) till he understand a Picture as it should be made.

Of the powers of a Painter and Painting
{In reference to Philosophy and Poetry And Painting.} Philosophers, divide the universe (which is their subject) into three Regions ; Cælestiall, Aeriall, Terrestriall.
So the POETS, (who imitate humain Life, in measured lines,) have lodged themselves, in three Regions of Mankind ; Court, Citty, and Country.
So the PAINTERS, (whose Art is to imitate Nature) performe it in three severall Qualities ; Design, Proportion, and Colour.
{Into three sorts.} And these, into three sorts of Painting ; Prospective, (or Landskip), Historicall, and Life.
Prospective ; a wonderfull freedome, and liberty, to draw, even, what you list, so various is Nature in that.
Historicall ; respects due Proportions and figures.
Life ; only the Colour.
In each of these ; you must have dependency upon all the other, but necessarily, on each in particular.

{Of Imitation.} The powers of a Painter, is expresses, by Imitation of Naturall things, whereof the most excellent, are ever, the most difficult ; easie to paint deformity.
{In severall graces and abilities.} In your Imitations of Art or Copying, observe to hit the virtues of the Piece, and to refuse the vices ; for all Masters have somewhat, of them both. For, Paintings, may be puft-up, but not stately ; starved in Colour, nor delicate ; rash, not Confident ; Negligent, not Plain. […].
{Of Fancie.} Proficiency of Painting, is purchased, not (altogether) by Imitation, (the common drole-way of ordinary Painters) if you neglect the amendment, by your own generous fancie ; (Est autem proprie Imago rerum animo insidentium). For, he that only follows another’s steps, must (needs) be the last in the race : Lazy Painters study not, the brain : Nature can do much with Doctrine ; but not Doctrine, without Nature : Nature, is of greater Moment : Every Artificer hath a peculiar Grace, in his own worke, agreeing to his Nature ; though many (of the other sort,) owe most to Doctrine.
{Surpassing Imitation.} The force, of Imitation of Nature, is in the Fancie ; which worketh with the more Wisdome. It being an imaginative faculty, or wit, and is set on worke to imagine, what we have seen (or at least made up with some other Sense) being the Print or foot-steps of Sense. It is the treasury of the mind, The darkness of night awakes our Speculations of the day ; when sleep failes, the Mind does, then, digest the conceived things into Order ; that so, the whole invention wants nothing, but the hand of the Artificer, to effect the worke ; and, without Art, to do, Imagination is uselesse ; Fancie supplyes Imitation’s weakness : the property and Office whereof, is to retain those images, and figures, which the Common Sense receives : First, from the exterior sense ; and then transmits it to the judgemnt ; from thence, to the fancie ; and there locked up, and covered in the memory ; and we may alter and move with the re-presentation of things, although it have them not present, which the common Sense cannot have, unlesse present.
[…].

We may paint a conceived, or intelligible thing, Perfect, by the Idea of Fancie : but, by Imitation, we may faile of Perfection. Hence it was, that the Antients intending to excell in the forms and figures of their Jupiters, would not imitate, or take a pattern, generated, but rather, by a conceived description of Him, out of Homer, or other Poets.
There is in the form and shape of things, a certain perfection and excellencie ; unto whose conceived figures, such things by Imitation, are referred, that cannot be seen.
{To encrease fancie.} To amend fancie, we must lodge up such rarities, as are administred to fight, to encrease the meditation of fancie ; as in your dayly view of forms and shadows, made by lights and darknesses ; […].
{And order it in a Picture.} In a draught of designe, the Artist must fancie every circumstance of his matter in hand ; as usually Rubens would (with his Arms a cross) fit musing upon his work for some time ; […]. The Commotions of the mind, are not to be cooled by flow performance : discreet diligence, brings forth Excellence : Care, and Exercise, are the chiefest precepts of Art. But, diligence is not to stagger, and stay at unnecessary Experiments ; and therefore I have observed in excellent Pieces a willing neglect, which hath added singular grace unto it.

Of the Parts of a Piece
{Five Principa parts in a Picture.} In a PICTURE from Nature, there are five Principall parts..
 
1. Invention or Historicall Argument.
2. Proportion, Symmetry.
3. Colour, with Light or Darknesse.
4. Motion, or Life, and their Action and Passion.
5. Disposition, or œconomicall placing, or disposing, or ordering the work.
The four first, are observed in all sorts of Pieces.
 
Disposition only in those Pictures, that have many figures ; not to appear mingle-mangle ; but, in all and every part of the Piece, to observe a decent comlinesse, or grace, in a mutuall accord, of all five.

{1. Invention} Of Invention.
It must flow easily ; to force and strain it, marrs the Life and Spirit of the work ; perfect Invention flowes from generall knowledge ; Antiquity must be familiar to the workman ; most of all, multitude of Historicall and Poeticall Narrations ; Geometry ; Obticks ; and so to order your Piece, as to be valued neer or farther off.
Observe to expresse, proper and fit things, agreeing in Circumstance to the Time, Place, and Person : Habits, according to the fashion of such a people or Nation, ancient or Moderne. [...] And so have we done with an Example of all in One : For
 
                       Invention allures the mind.
                       Proportion, attracts the Eyes.
                       Colour ; delights the Fancie.
                       Lively Motion, stirs up our Soul.
                       Orderly Disposition, charmes our Senses.
 
{Conclude a rare Picture.} These produce gracefull Comliness, which makes one fairer then fair ; […].
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too much double diligence, or over doing ; a careless shew, hath much of Art.

{2. Proportion.} Of Proportion.
It’s called Symmetry, Analogie, Harmony.
Proportion is of any part ; a Hand fitted to the bigness of a body.
Symmetry is the proportion of each finger to that bigness ; Analogie or Harmonie. All together in one ; a Concinnity of Harmony ; A congruence, or equality of parts and members ; or due connexion, in reference of all parts, one to the other, and all to the whole, which produceth a perfect Nature, or beauty.
{Of true beauty.} Whatsoever is made, after a conceived or Intelligible thing is Fair.
Whatsoever is made, after a thing generated, is not faire.
Beauty, may be perfectly conceived.
{Naturall and conceived.} True beauty in any Creature, is not to be found ; being full of deformed disproportions, far remote from truth ; for sinne is the cause of deformity.
Beauty in truth, is, where Joynts and severally every part with the whole, hath its due proportion and measure ; and therefore hard to describe.
Beauty should consist but of One at the most ; and deformity contrariwise, measured by many : for the eeven Lineaments and due proportion of fair and goodly Persons, seem to be created and framed, by the judgement and sight of one form alone, which cannot be in deformed persons ; as with blub cheeks, bigg eyes, little nose, flat mouth, out chin, and brown skin, as it were moulded from many ill faces ; and yet some one part considered about, to be handsome, but altogether become ugly ; not for any other cause, but that they may be Lineaments of many fair women, and not of One. The Painter, did well, to procure all the fair maides naked, to judge of each severall and single perfection ; and so from the Idea of fancie, to shape a Venus. {By the Idea.}
{His brave and unpattern’d and unparallel’d Piece of Artimesia.} And thus, by often exercise from severall beauties, you shall fixe a conceived Idea is your mind of accomplished Pulchritude grace or comlinesse, according to the true rule of Symmetry. […].
A Beauty may be expressed by a comely body, though not of delicate features ; rather dignity of presence, than beauty of aspect. It is seen at the first sight. Favour more than Colour ; and yet that of decent and gratious motion, more than that of favour.
There is no excellent beauty without some strangeness in the proportion, and both Apelles and Albert Durer, doe but trifles out the time and trouble us ; The One to compose a Personage by Geometricall proportion ; and Apelles by collecting the best parts from severall faces, to make one excellent. Indeed a Painter may make a better personage than ever was seen since the first Creation ; which he does by a kind of felicity, not by Rule, as a Musician doth his French Aires, not by true Method of setting.
[…].

{Likenesse, not to be compared} But the worke of Art, is not singly in the Similitude or likenesse to the Life, (as common judgement will have it) but in the Symmetry  ; which in truth, proceeds from someskill in the Artizan’s surpassing Art.
{To Symmetry} It was distinguished by that excellent Painter. A Boy holding a cluster of Grapes so like, that deceived the Birds, and yet not deterred by the shape of the Lad ; which therefore being an exception to the excellencie of the Piece, the Painter put out the Grapes, (though most like,) but reserved the Boy (for his Symmetry,) as the better esteem of the Art ; not understood by ordinary capacities.
{And therefore Naked Bodies hard to Paint.} You shall hardly find an Artist, very excellent in a naked body, where true Symmetry is expected ; and therefore the ancient skill of the Græcians, sildome apparelled any. A timorous Painter, excuses his weaknesse, by covering the body, with a muffled Mantle.
{Defining Lines, what ?} The Artizans call this proportion, the designing lines, Scatches, the first draught, and so a second and third, before you Paint them ; {A Cut.} which stroaks, by those that have insight in Art, are esteemed of high value ; for by these first draughts, the true force and undisguised Lineaments of Nature, do ravish the contemplation ; wherein the thought of a studious Artificer is perfectly evidenced.
[…].

Of Colouring
{Colouring. what ?} Corruption composition or mixing of Colours, we call Painting ; which is, to express shadows in Colours ; thereby, to resemble, what we do desire to imitate, by a moderate confusion, or tempering, discordant Colours ; as white, black, red, blew, green, &c.
[…].
{With Light and shadows.} Observe herein Light and Shadows, Obscurity and Brightnesse.
Contrary things are more apparant, being placed neer their Contraries ; Light and Shadows forward, set out any Painting outwards ; as if you might take hold of any part.
Obscurity or Darknesse, is the duskishness of a deeper shadow ; as brightness is the Intension of Light.
White appears sooner, or neerer to the Eye ; and the black seems farther off, any thing that should seem hollow (as in a Well, or Cave,) must be coloured blackish ; more deep, more black.
On the contrary, to lighten or rise forward, with white.
{Tonus, what?} Tonus or brightnesse ; as it is of necessary use, so of excellent ornament in a Picture, it is which is above light ; {A Brightness.} sparkling as in the glory of Angels, twinckling of precious stones ; […] : the variety of these Ornaments, must be expressed excellently ; but avoid satiety, not cloy your Picture with it.
{Harmogia what ?} Harmoge in Colours, is an unperceivable way of Arts ; stealing to pass from one Colour to another, as in the sea and skie meeting in one thin mistly Horizontall stroake, both are lost and confounded in sight ; […]. [...] And so have we done with an Example of all in One : For
 
                       Invention allures the mind.
                       Proportion, attracts the Eyes.
                       Colour ; delights the Fancie.
                       Lively Motion, stirs up our Soul.
                       Orderly Disposition, charmes our Senses.
 
{Conclude a rare Picture.} These produce gracefull Comliness, which makes one fairer then fair ; […].
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too much double diligence, or over doing ; a careless shew, hath much of Art.

So also in Art ; to paint the line or meeting of a Centaur in his two Natures, which must seem to unite and joyn insensibly, as not to distinguish where they meet ; deceiving the Eye with a stealth of change ; a pleasant confusion of differing Colours. It is hard to be expressed, and difficult to be done, the very excellencie of an Artist ; when the extream or utmost lines, the unrestrained extent of the figure, lightly and smoothly coosin the Eye, as if something were behind the figure, more to be then the Eye sees, when the Lineaments, that do circumscribe, or include the figure, are so thin, as to varnish by little and little ; {Of Spirits and Souls Painted} the highest subtility of a piece, like spirits and souls painted.
{A Geometricall Line.} You may call it a Geomettricall Line ; which is, without breadth : Observe the parting of the Sun-shadow, upon the Wall, the line parting the light, and that is thus

Of Action and Passion.
{4. Action and Passion.} The next observation, is out of which, Life and Motion doth result : It shews no Action or Passion in a Piece, barely upright, looking forward ; the Armes hanging down, the feet close together, and so seems unmoveable, and stiff.
{How to be expressed} In lineall Pieces, there may be a deceitfull similitude of Life and Motion, and statues may seem to live and breathe but coloured Pictures shew a lively force in the severall effects, and properties of Life and Spirit.
{And to be improved} To be well acquainted with Nature, Manner, guize and behaviour ; as to paint a Man, angry or sad ; joyfull earnest ; or idle ; all passions to be proper to the figure : […]. Indeed the severall postures of the head, describe the Numbers of passions ; […]. In a word, each severall member or part of the body, either of themselves, or in reference of some other part, expresses the passions of the mind, as you may easily observe in the Life.
[…].
{By example of Titian’ Pieces.} I have seen a piece of Tytian’s : A Child in the Mothers Lap playing with a Bird ; so round and pleasing, it seem’s a doubt whether a Sculpture or Painting ; whether Nature or Art, made it ; the mother smiles and speaks to : the child starts, and answers.
{And of Palma’s Piece.} Another of Palma’s ; a speaking Piece indeed. The young Damsell brought for Old Davids Bedfellow ; all the company in Passion and Action : some in admiration of her beauty, others in examining her features, which so please the good Old Man, that in some Extasie of passion, he imbraces her which her humility admits, yet with a silent modesty as best became her, only to be dumb and so suffer.
[…]. [...] And so have we done with an Example of all in One : For
 
                       Invention allures the mind.
                       Proportion, attracts the Eyes.
                       Colour ; delights the Fancie.
                       Lively Motion, stirs up our Soul.
                       Orderly Disposition, charmes our Senses.
 
{Conclude a rare Picture.} These produce gracefull Comliness, which makes one fairer then fair ; […].
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too much double diligence, or over doing ; a careless shew, hath much of Art.

Of the disposition of the Parts.
{5. Of Disposition.} A Picture of many figures, must needs express some Historicall part in it ; Every figure ought to represent therein, by a speechless discourse, the connexion in them. Assigne therefore the principall place, to the principall figures, next to hand ; Other figures, farther off. Finish the Principal figures, whilst your Spirits are fresh. {In order to perfection,} Frame not your Historicall Piece, rude, loose, and scattered, but rather, in an equitable roundness of composition ; to be perceived by each observer ; to be liked of the most, but to be judged, only, by the learned. Neglects in disposition, are soon discovered.
{Soon discovered.} Pourtray in your excellent Pieces, not only the dainty Lineaments of Beauty, but shadow round about, rude thickers, rocks ; and so it yields more grace to the Picture, and sets it out : this discord (as in musicke) makes a comely concordance ; a disorderly order of counterfeit rudeness, pleaseth : so much grace, doe mean and ordinary things, receive from a good and orderly connexion.
{But altogether excellent.} All these together, make that perspicuous disposiiton in a Piece of History ; and is the effectuall expression in Posture and Action ; the very Passion of each Figure ; the Soul of the PICTURE ; the Grace and Ayr of the Piece ; or the sweet Consent of all manner of perfections heaped together, in one Picture.
{By example in brief} And so have we done with an Example of all in One : For
 
                       Invention allures the mind.
                       Proportion, attracts the Eyes.
                       Colour ; delights the Fancie.
                       Lively Motion, stirs up our Soul.
                       Orderly Disposition, charmes our Senses.
 
{Conclude a rare Picture.} These produce gracefull Comliness, which makes one fairer then fair ; […].
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too much double diligence, or over doing ; a careless shew, hath much of Art.

Of the disposition of the Parts.
{5. Of Disposition.} A Picture of many figures, must needs express some Historicall part in it ; Every figure ought to represent therein, by a speechless discourse, the connexion in them. Assigne therefore the principall place, to the principall figures, next to hand ; Other figures, farther off. Finish the Principal figures, whilst your Spirits are fresh. {In order to perfection,} Frame not your Historicall Piece, rude, loose, and scattered, but rather, in an equitable roundness of composition ; to be perceived by each observer ; to be liked of the most, but to be judged, only, by the learned. Neglects in disposition, are soon discovered.
{Soon discovered.} Pourtray in your excellent Pieces, not only the dainty Lineaments of Beauty, but shadow round about, rude thickers, rocks ; and so it yields more grace to the Picture, and sets it out : this discord (as in musicke) makes a comely concordance ; a disorderly order of counterfeit rudeness, pleaseth : so much grace, doe mean and ordinary things, receive from a good and orderly connexion.
{But altogether excellent.} All these together, make that perspicuous disposiiton in a Piece of History ; and is the effectuall expression in Posture and Action ; the very Passion of each Figure ; the Soul of the PICTURE ; the Grace and Ayr of the Piece ; or the sweet Consent of all manner of perfections heaped together, in one Picture.

Of the disposition of the Parts.
{5. Of Disposition.} A Picture of many figures, must needs express some Historicall part in it ; Every figure ought to represent therein, by a speechless discourse, the connexion in them. Assigne therefore the principall place, to the principall figures, next to hand ; Other figures, farther off. Finish the Principal figures, whilst your Spirits are fresh. {In order to perfection,} Frame not your Historicall Piece, rude, loose, and scattered, but rather, in an equitable roundness of composition ; to be perceived by each observer ; to be liked of the most, but to be judged, only, by the learned. Neglects in disposition, are soon discovered.
{Soon discovered.} Pourtray in your excellent Pieces, not only the dainty Lineaments of Beauty, but shadow round about, rude thickers, rocks ; and so it yields more grace to the Picture, and sets it out : this discord (as in musicke) makes a comely concordance ; a disorderly order of counterfeit rudeness, pleaseth : so much grace, doe mean and ordinary things, receive from a good and orderly connexion.

And so have we done with an Example of all in One : For
 
                       Invention allures the mind.
                       Proportion, attracts the Eyes.
                       Colour ; delights the Fancie.
                       Lively Motion, stirs up our Soul.
                       Orderly Disposition, charmes our Senses.
 
{Conclude a rare Picture.} These produce gracefull Comliness, which makes one fairer then fair ; […].
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too much double diligence, or over doing ; a careless shew, hath much of Art.

Of Limning in Water-Colours
The True Order and Names of Colours, the means to prepare them for the Pensill and to clense them from their corrupt mixtures, wherewith they are Sophisticate.
We name them Seaven (though in truth the first and last White and Black are no Colours ; but Elements.)
Whites,
Ceruse ;
White-Lead. [...] Of Whites.
First in order, the most excellent pure Virgin Colours, are Ceruse and White leade : the latter is the better for use, and less subject to mixtures ; yet both have these Inconveniences, and thus to be prevented.
{Ceruse.} Ceruse, after it is wrought will starve, lavish, and dye; and being laid on with a Pensill, a fair white wil, in a few months, become Russet, Reddish, or Yellowish.
{White-Lead.} White-lead, If you grind it fine (as all our Colours must be) it will glister and shine, both in the Shell, and after it is wrought; and if not ground, it will not work, nor be serviceable.
[…].
{Note.} Be carefull of your white, being the ground and foundation of all your other Colours, and if faulty, all the work is marred.
  […].
{How to grind it} Being thus prepared, grind it […].

Of Limning in Water-Colours
The True Order and Names of Colours, the means to prepare them for the Pensill and to clense them from their corrupt mixtures, wherewith they are Sophisticate.
We name them Seaven (though in truth the first and last White and Black are no Colours ; but Elements.) [...] Browns,
Umber,
Spanish-brown
Terra lemnia or
Cullins earth

Of Limning in Water-Colours
The True Order and Names of Colours, the means to prepare them for the Pensill and to clense them from their corrupt mixtures, wherewith they are Sophisticate.
We name them Seaven (though in truth the first and last White and Black are no Colours ; but Elements.)
Whites,
Ceruse ;
White-Lead.

Reds,
India-Lake.
Read-Lead, or Mene.

Yellows,
Masticoate.
Oker of England.

Greens,
Sap-green.
Pinck.
Bise-green.
Cedar-green.

Blews,
Indico.
Ultramanue.
Bise-blew.
Smalt

Browns,
Umber,
Spanish-brown
Terra lemnia or
Cullins earth
 
Blacks,                                   Ivory burnt.
Cherry-stones burnt.             Lamp-blacke.
 
{Colours not usefull.} In this account or number of Colours, I name not Vermilion ; Verdigreece ; Veraiters blew and green ; and severall other Colours, frequent with Painter-stainers, but in our work unnecessary, useless, & dangerous ; both for their Minerall qualyties, coorse and gross bodies, not to be mixt with our Colours, of a more fine subtile, and transparent Quality.
We do not admit of divers others ; as Saffrons, Litmus, Russet, Brasill, Log-woods ; nor of Colours, extracted from Flowers, juice of Herbs or Roots ; more proper, for washing, or Colouring, Prints, Cards, Maps.

Of Whites.
First in order, the most excellent pure Virgin Colours, are Ceruse and White leade : the latter is the better for use, and less subject to mixtures ; yet both have these Inconveniences, and thus to be prevented.
{Ceruse.} Ceruse, after it is wrought will starve, lavish, and dye; and being laid on with a Pensill, a fair white wil, in a few months, become Russet, Reddish, or Yellowish.
{White-Lead.} White-lead, If you grind it fine (as all our Colours must be) it will glister and shine, both in the Shell, and after it is wrought; and if not ground, it will not work, nor be serviceable.
[…].
{Note.} Be carefull of your white, being the ground and foundation of all your other Colours, and if faulty, all the work is marred.
  […].
{How to grind it} Being thus prepared, grind it […].
{Note a generall rule.} Observe (in each particular) what is directed in this Colour of washing, grinding, tempering. A Rule for all the other Colours, that are to be ground.
{Colours to be washt and ground.} Some Colours are to be washt and ground, and they are these. […].
{To be washt only.} Other to be washt only, are these. […].
{But five perfect Colours.} There are but five perfect Colours (white and black being none) like the five precious stones perfect and transparent severall Colours. 
The hard Topas for Yellow, the Amethyst orient for Murray, the Rubie for Red, Saphire for Blew, Emrauld for Green. All which Colours are perfect different from mixture of white […].
 
Colours, to be grinded.
[…].

Of Whites.
First in order, the most excellent pure Virgin Colours, are Ceruse and White leade : the latter is the better for use, and less subject to mixtures ; yet both have these Inconveniences, and thus to be prevented.
{Ceruse.} Ceruse, after it is wrought will starve, lavish, and dye; and being laid on with a Pensill, a fair white wil, in a few months, become Russet, Reddish, or Yellowish.
{White-Lead.} White-lead, If you grind it fine (as all our Colours must be) it will glister and shine, both in the Shell, and after it is wrought; and if not ground, it will not work, nor be serviceable.
[…].
{Note.} Be carefull of your white, being the ground and foundation of all your other Colours, and if faulty, all the work is marred.
  […].
{How to grind it} Being thus prepared, grind it […].

Observe (in each particular) what is directed in this Colour of washing, grinding, tempering. A Rule for all the other Colours, that are to be ground.
{Colours to be washt and ground.} Some Colours are to be washt and ground, and they are these. […].
{To be washt only.} Other to be washt only, are these. […].
{But five perfect Colours.} There are but five perfect Colours (white and black being none) like the five precious stones perfect and transparent severall Colours. 
The hard Topas for Yellow, the Amethyst orient for Murray, the Rubie for Red, Saphire for Blew, Emrauld for Green. All which Colours are perfect different from mixture of white […].
 
Colours, to be grinded.
[…].

Colours to be washed, and not to be ground.
[…].

Of Pensils.
{Pensils how to choose them.} Your Pensills must be chosen clean and sharp poynted, […].

The Generall manner of working in Limning
{Manner of Limning.} It is an Art so curious and difficult to describe by my Pen, that many Practitioners with much Industry and the help of Demonstration, have not easily proved Proficients, […].
{To the Life. First Sitting.} The order you are to follow to the Life, is to observe somewhat, the manner of Oyl-Painters. The first sitting, to dead-Colour the face only ; (not troubling your self at all with the Comparus of Hairs ; Apparells, &c.) Which commonly takes up the time of two houres ; or if very exact, three or foure houres.
{Second.} The next sitting requires four or five hours : for in that time you are to goe over the face very curiously, observing whatsoever may conduce either to the Likeness which is the Principall ; or to the judicious Colouring and observation of the severall graces, beauties or deformities as they appear in Nature ; or else in close, sharp, neat workmanship, and sweetnesse of the Shadows, and smooth touching of the Colours.
{Third.} The third sitting, is commonly the work of two or three hours, and is spent in cloathing what was before left imperfect and rough ; but principally in giving to every deep shadows, their strong and deepning touches, as well in dark shadows of the Eye and Face, Eye-brows, Haire, Eares, &c.

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

The first sitting to worke in particular.
{Particular directions of the Picture.} The comlinesse of the face consists in three abilities, Beautifull, Colour or Complexion ; true Proportion and Favour ; and Grace in the Countenance ; The curious Artist must watch and catch the lovely graces, witty smilings, short and suddain, which pass like Lightning. […].
  The first Colour to begin the face, are the Redds of the Cheeks and Lipps […]. I have seen Pictures of a good Master begun, and dead-coloured only, that neer at hand they seemed exceeded Rough, Uneven, and unpleasant ; yet being viewed at a distance from your Eye, they appear very smooth, neat and delicate : therefore I shall perswade you in this first worke, not to study or regard curiosity, or neatness of your Colours ; but a bold and judicious manner of expressing, what you see in the Life.
[…].

The first sitting to worke in particular.
{Particular directions of the Picture.} The comlinesse of the face consists in three abilities, Beautifull, Colour or Complexion ; true Proportion and Favour ; and Grace in the Countenance ; The curious Artist must watch and catch the lovely graces, witty smilings, short and suddain, which pass like Lightning. […].
  The first Colour to begin the face, are the Redds of the Cheeks and Lipps […]. I have seen Pictures of a good Master begun, and dead-coloured only, that neer at hand they seemed exceeded Rough, Uneven, and unpleasant ; yet being viewed at a distance from your Eye, they appear very smooth, neat and delicate : therefore I shall perswade you in this first worke, not to study or regard curiosity, or neatness of your Colours ; but a bold and judicious manner of expressing, what you see in the Life.
[…].

 
Second sitting.
[…].

Third Sitting.
{Third sitting.} The third sitting will be only spent in giving the strong touches necessary for rounding the face, which now will appear better for observation, the apparrell, hair, and ground, being already finished.
{Likenesse, Resemblance, Countenance, Marks, Moles.} In this sitting therefore observe, what ever may conduce to the likeness and resemblance, which above all is the principal aime : viz. skin-molds, smiling, or glanceing of the eye, descending or contracting the mouth ; narrowing the eyes, with smiling : to which purpose, find occasion of discourse, or cause the party to be in action, or to regard you with a Joviall merry and discoursive aspect. Wherein you must be ready and apprenhensive to steal observations, and to express them with a quick bold and constant hand, ever remembring not to make the deeper shadows too darke and obscure, as happily you may think they appear in the Life, which in Painting (as deep as the Life) is no good Rule to follow, and in Limning is a note of very necessary consequences ; conclude your face with these observations, that the eye gives the life ; the nose, the flavour ; the mouth, the likeness.

The second Division by Landskips : The Tablet.
{Tablet for Landskip.} […].
Green, of all Colours is most delightfull to the Eye. Not in all Art of Painting such variety of Colour, more pleasing then is the Prospect of a well-wrought Landskip ; especially when your ingenious Industry hath already rendred you a Master of Art and contemplation. {Landskip after the Life, the way to draw it.} If you draw a Prospect from the Life ; Take your Station upon the rize of ground, or top of an Hill, where you shall have a large Horizon ; and skore your Tablet into three divisions downwards, from the top to the bottome, set your face directly opposite to the midst of your Horizon, and keeping your body fixed, Observe what is comprehended directly before your eyes, and draw that into forme upon your Tablet in the middle Division.
[…].
And as all things appear in Distance and Truth, Proportion and Colour, so be carefull to express them ; […]. So then, the Dutch in composing a Piece of Prospect, of their own Fancie and Invention, for want of the Life most grosly erre in Proportion, Distance and Colour. Now for the want of the Life and Nature, if you will adventure on your fancie ; Go to work this way.
I cannot prescribe, how to order your light, in a piece of Landskip by the Life ; for according to the place, as you look North, or Southward, East, or West-ward, as the time of the day and the Sun’s declination, so must you order your shadows as they appear. But in all working of Painting by Fancie, let your light descend from your left, to your right hand : So will it appear upon the work, from the right to the left, the more gracefull. […].
{To make a Landskip.} In making it ; First, beginne with a large skie or Element and if there be any shining or reflection of the Sunne, (in which only the Dutch are neat and curious,) then you must be carefull, by no meanes to mixe Red-lead, or Mene, in the purple of the skie, or Clouds, but only with Lake and White ; […] For you must not mingle the blew Colours of the Clouds with any Pensil that hath touched Masticoate ; It will make the skie Greenish and discoloured.
[…].
{Paul Brell’s observations.} The most generall and absolute Rule in Landskip, was observed by that excellent Master at Rome, Paul Brell, whose delightfull works many of them extent in Prints, are set out by Raphael and John Sadler. Besides many Paintings of his own hand both in Frescoe and Oyle, in the Pallace of Cardinal Montaltre, by St. Maria Mahgior, Bentoglia in Mount Gaballo, and in the Church of St. Cecillia ; His observation is onely this, That an Artist must be sure to make all his shadows fall one way ; that is, to place light against dark, and dark against light. {Light against dark, et è contrario.} His meaning is, that to oppose Light to shadows, is only to remove and extend the Prospect, and to make it shew far off, yet so as ever they must lose their force of vigour as they remove from the eye, and if strongest alwaies neerest at hand, and as they fall on the first ground.
[…].

The second Division by Landskips : The Tablet.
{Tablet for Landskip.} […].
Green, of all Colours is most delightfull to the Eye. Not in all Art of Painting such variety of Colour, more pleasing then is the Prospect of a well-wrought Landskip ; especially when your ingenious Industry hath already rendred you a Master of Art and contemplation. {Landskip after the Life, the way to draw it.} If you draw a Prospect from the Life ; Take your Station upon the rize of ground, or top of an Hill, where you shall have a large Horizon ; and skore your Tablet into three divisions downwards, from the top to the bottome, set your face directly opposite to the midst of your Horizon, and keeping your body fixed, Observe what is comprehended directly before your eyes, and draw that into forme upon your Tablet in the middle Division.
[…].
And as all things appear in Distance and Truth, Proportion and Colour, so be carefull to express them ; […]. So then, the Dutch in composing a Piece of Prospect, of their own Fancie and Invention, for want of the Life most grosly erre in Proportion, Distance and Colour. Now for the want of the Life and Nature, if you will adventure on your fancie ; Go to work this way.

The second Division by Landskips : The Tablet.
{Tablet for Landskip.} […].
Green, of all Colours is most delightfull to the Eye. Not in all Art of Painting such variety of Colour, more pleasing then is the Prospect of a well-wrought Landskip ; especially when your ingenious Industry hath already rendred you a Master of Art and contemplation. {Landskip after the Life, the way to draw it.} If you draw a Prospect from the Life ; Take your Station upon the rize of ground, or top of an Hill, where you shall have a large Horizon ; and skore your Tablet into three divisions downwards, from the top to the bottome, set your face directly opposite to the midst of your Horizon, and keeping your body fixed, Observe what is comprehended directly before your eyes, and draw that into forme upon your Tablet in the middle Division.
[…].
And as all things appear in Distance and Truth, Proportion and Colour, so be carefull to express them ; […]. So then, the Dutch in composing a Piece of Prospect, of their own Fancie and Invention, for want of the Life most grosly erre in Proportion, Distance and Colour. Now for the want of the Life and Nature, if you will adventure on your fancie ; Go to work this way.
I cannot prescribe, how to order your light, in a piece of Landskip by the Life ; for according to the place, as you look North, or Southward, East, or West-ward, as the time of the day and the Sun’s declination, so must you order your shadows as they appear. But in all working of Painting by Fancie, let your light descend from your left, to your right hand : So will it appear upon the work, from the right to the left, the more gracefull. […].

I cannot prescribe, how to order your light, in a piece of Landskip by the Life ; for according to the place, as you look North, or Southward, East, or West-ward, as the time of the day and the Sun’s declination, so must you order your shadows as they appear. But in all working of Painting by Fancie, let your light descend from your left, to your right hand : So will it appear upon the work, from the right to the left, the more gracefull. […].
{To make a Landskip.} In making it ; First, beginne with a large skie or Element and if there be any shining or reflection of the Sunne, (in which only the Dutch are neat and curious,) then you must be carefull, by no meanes to mixe Red-lead, or Mene, in the purple of the skie, or Clouds, but only with Lake and White ; […] For you must not mingle the blew Colours of the Clouds with any Pensil that hath touched Masticoate ; It will make the skie Greenish and discoloured.
[…].

The most generall and absolute Rule in Landskip, was observed by that excellent Master at Rome, Paul Brell, whose delightfull works many of them extent in Prints, are set out by Raphael and John Sadler. Besides many Paintings of his own hand both in Frescoe and Oyle, in the Pallace of Cardinal Montaltre, by St. Maria Mahgior, Bentoglia in Mount Gaballo, and in the Church of St. Cecillia ; His observation is onely this, That an Artist must be sure to make all his shadows fall one way ; that is, to place light against dark, and dark against light. {Light against dark, et è contrario.} His meaning is, that to oppose Light to shadows, is only to remove and extend the Prospect, and to make it shew far off, yet so as ever they must lose their force of vigour as they remove from the eye, and if strongest alwaies neerest at hand, and as they fall on the first ground.
[…].
The uppermost of all, you are last of all to express by lightly touching the exteriour edges and brimes of some of the former leaves, with a little green Masticoate, and white. If deeper, darkest shadows, you may well set off with sap-green and Indico. Only remember, that both in the leaves and trees, Rivers, and far distant Mountains, you must affect, to express certain reall Morrice-dello (as Paul Brell calls it), or soft delicateness, which is the very next remarkable in the worke.
[…].

The most generall and absolute Rule in Landskip, was observed by that excellent Master at Rome, Paul Brell, whose delightfull works many of them extent in Prints, are set out by Raphael and John Sadler. Besides many Paintings of his own hand both in Frescoe and Oyle, in the Pallace of Cardinal Montaltre, by St. Maria Mahgior, Bentoglia in Mount Gaballo, and in the Church of St. Cecillia ; His observation is onely this, That an Artist must be sure to make all his shadows fall one way ; that is, to place light against dark, and dark against light. {Light against dark, et è contrario.} His meaning is, that to oppose Light to shadows, is only to remove and extend the Prospect, and to make it shew far off, yet so as ever they must lose their force of vigour as they remove from the eye, and if strongest alwaies neerest at hand, and as they fall on the first ground.
[…].
The uppermost of all, you are last of all to express by lightly touching the exteriour edges and brimes of some of the former leaves, with a little green Masticoate, and white. If deeper, darkest shadows, you may well set off with sap-green and Indico. Only remember, that both in the leaves and trees, Rivers, and far distant Mountains, you must affect, to express certain reall Morrice-dello (as Paul Brell calls it), or soft delicateness, which is the very next remarkable in the worke.
[…].
The greatest cunning herein is to cosen your own eyes ; which yet, you cannot do, without their consent in assisting, by an apt accommodation of rarity of Colours, in their due places, In such manner, that many times in a Tablet of a span long, a man’s Imagination, may be carried quite out of the Country, Seas, and Citties, by a sure Piece of his own making. See Streeter’s most exact and rare Landskips in Oyl.

The Third Division of History.
{History of rare pieces by Salmiato.} You shall rarely see History in Limning to be done in any largeness. […].
{The difference in Painting History and Picture.} The difference in Painting of Pictures and History are infinite, though the Colours be the same ; and to particularise but in part, what may be said of this subject would be endlesse.
{Variety of Colours in the Life.} The most remarkable difference certainely is in the variety of Colours which according to their several Complexions, Sex, and Ages may be represented, and many times according to the humour, judgment and affection of the Workman ; And we see ordinarily, the practice of the best and most famous Painters, (those that follow the Life,) doe tye themselves straightly and precisely, to what they see in their patternes (the designes and drawings of Bloomart and Spranger.) Yet in the Invention they assume unto themselves liberty or rather licence in their racking and strained proportions so others in their Colouring, as that many times extravagancies, and impossibilites, (if not ridiculous), do appear.

Four severall sorts of Colouring.
{Four severall wayes of Colouring.} Indeed and briefly there are four severall kind of Colouring to be observed in History. Of young Infants, of faire virgins, of young women, of old women, in every of these severallly. It is in the power of a judicious Artist, to vary and change their manner of colouring, according to his discretion, or as the occasion and subject of his intention shall require.

Of Drapery in Limning
{Drapery two waies.} For Drapery, I find but two waies in Limning ; the one by Italians and French, to work-in their Aparrel, in manner of washing ; […].
The better way is, to lay a good, flat, and full ground, all over, whose Drapery you mean to make ; […].

Observations in Limning.
{Observations in Limning.} When you begin to work, temper the Colours in a shell with your finger, dipt in water, a little before you begin ; […].

Of Pastills, or Croyons.
{Pastills for Croyons. To make them} The Pastill for Croyon, or dry colour : take three ounces of Lint-seed oyle, […].

To work in Croyons or Pastills,
I observe three manner of wayes.
{I. With Powders.} The first and worst, is that of Monsieur de Mousters of Paris, whose custome is to rub-in several Colours, […] upon the paper, which commonly is the whitest ; […].
{2. Pastills.} The second is with Pastills the length of a finger or thereabout, composed of severall Colours, mixt and ground together, of a good consistence and stiffnesse, and so rouled up and laid to dry. […].
{3. Colour'd paper.} The last and best (as I conceive) is to Colour the paper, whereon you intend to draw the Picture, with Carnation or flesh Colour, neer the Person’s Complexion you mean to draw. Cover the whole paper (for some complexion) with Ceruse, Mene, and a little yellow-Oaker, ground with Gum ; […].
 
For tempering so many Pastills for change of Colours in the Face.
I shall onely direct in one COLOUR, for example of all the other.
{Brown Complexion.} For a Brown Complexion.
[…].

{Fresco} Of Frescoe.
{Painting upon Walls.} The way of Painting upon walls, to endure weather, the Colours must be ground with lime-water, or milk, or whey, tempered and mix’d in pots, as in Size-colouring. […].

An excellent Black.
{Black.} The best Black is black-Ivory, burnt in a Crucible, well stopt with a tyle-shard, or iron-plate, and luted, that the aire enter not […].

The five perfect Colours, with their Lights and Shaddowes.
{Murray, or Amethyst.} The best for Limning, is a Lake of it self, of a Murray colour, which is best made, and to be had at Venice, or in Flanders at Antwerp ; […].

The five perfect Colours, with their Lights and Shaddowes.
{Murray, or Amethyst.} The best for Limning, is a Lake of it self, of a Murray colour, which is best made, and to be had at Venice, or in Flanders at Antwerp ; […].
2. Red, or Ruby.
{2. Fair Red, or Ruby.} If you will make a fair Red for Limning, take India-Lake, (with breaks of a Scarlet, or Stammell-colour) there are fundry Lakes, which will shadow one upon another, and some so black, that they must be ground generally with Sugar-candy, amongst the Gum, and others with Sugar onely. You cannot grind them too much, nor need they washing. Vermilion also is another Red, which must be ground and wash’d.
3. Blew, or Saphire.
{3. Blew, or Saphire.} The darkest and richest is of Ultra Marine of Venice ; but that is very dear, in the place thereof we use Smalt, of the best Blew ; Bises also of severall sorts, paler then other of five or six degrees. […].
4. Green, or Emrauld.
{4. Green, or Emrauld.} Green ; the best is Cedar-green, in the place thereof, take Tripall, to draw with : Pink is also needfull for Landskips, mixed with Bise-ashes, makes another Green ; so likewise with Masticote and Ceruse, as you see cause. For light-greens, sap-greens, flour de Bise, tauny-green, needs nothing but steeped in water, which is best.
5. Yellow, or Topas.
{5. Yellow, or Topas.} Yellow the best is Masticote, whereof there are divers sorts, paler or deeper ; yellow Oker, for want of better, is another also ; and these wash’d, not ground, do best ; […].

The five perfect Colours, with their Lights and Shaddowes.
{Murray, or Amethyst.} The best for Limning, is a Lake of it self, of a Murray colour, which is best made, and to be had at Venice, or in Flanders at Antwerp ; […].
2. Red, or Ruby.
{2. Fair Red, or Ruby.} If you will make a fair Red for Limning, take India-Lake, (with breaks of a Scarlet, or Stammell-colour) there are fundry Lakes, which will shadow one upon another, and some so black, that they must be ground generally with Sugar-candy, amongst the Gum, and others with Sugar onely. You cannot grind them too much, nor need they washing. Vermilion also is another Red, which must be ground and wash’d.