Chap. XII, Of Antiquities
Out of the Treasury and Storehouse of venerable Antiquities, I have selected these three sorts. Statues, Inscriptions, and Coynes ; desiring you to take a short view of them, ere you proceed any further.
The pleasure of them is best known to such as have seen them abroad in France, Spain, and Italy […]. And indeed, the possession of such Rarities, by reason of their dead costliness, doth properly belong to Princes, or rather to princely minds. […]. Sure I am, that he that will travel, most both heed them, and understand them, if he desire to be though ingenious, and to be welcome to the owners. For next men and manners, there is nothing fairly more delightful, nothing worthier observation, than these Copies, and memorials of men, and matters of elder times ; whose lively presence is able to perswade a man, that he now seeth two thousand years ago. Such as are skilded in them, are by the Italians termed Virtuosi, as if others that either neglect or despise them, were idiots, or rake-hels. And to say truth, they are somewhat to be excused, if they have all Leefhebbers (as the Dutch call them) in so high estimatiion, for they themselves are so great lovers of them (& similis simili gaudet) that they purchase them at any rate, and lay up mighty treasures of money in them.

Chap. XIII, Of Drawing, Limning, and Painting: with the lives of the famous Italian Painters.
Since Aristotle numbreth Graphicè, generally taken, for whatsoever is done with the Pen or Pencill (as writing fair, Drawing, Limning and Painting (amongst those his παιδενματα, or generous Practises of youth in a well governed Common-wealth : I am bound also to give it you in charge for your exercise at leasure, it being a quality most commendable, and so many waies usefull to a Gentleman. For should you (if necessity required) be employed for your Countries service in following the warre, you can describe no plot, manner of fortification, form of Battalia, situation of Town, Castle, Fort, Haven, Island, course of River, passage thorow Wood, Marish ; over Rock, Mountain, &c. […] without the help of the same. {The manifold use of Painting or Limning.} In all Mathematicall Demonstrations, nothing is more required in our travail in forrain Regions. It bringeth home with us from the farthest part of the world in our bosomes, whatsoever is rare and worthy the observance, as the generall Mappe of the Country, the Rivers, Harbourgs, Havens, Promontories, &c within the Landscap, of fair Hils, fruitfull Valleyes : the forms and colours of all Fruits, severall beauties of their Flowers ; […]. And since it is only the imitation of the surface of Nature, by it as in a book of golden and rare-limmed Letters, the chief use end of it, we read a continuall Lecture of the Wisdome of the Almighty Creator […].

And that you should not esteem basely of the practise thereof, let me tell you, that in ancient times ; Painting was admitted into the first place among the liberall Arts, and throughout all Greece taught only to the children of Noble men in the Schools, and altogether forbidden to be taught to servants or slaves. 
In no less honour and esteem was it held among the Romans, as we find in Pliny and many others […].

For your first beginning and entrance in draught, make your hand as ready as you can (without the help of your compasses) in those generall figures of the Circle, ovall, square, triangle, cylinder, &c. for these are the foundation of all other proportions. As for example, your ovall directs you in giving a just proportion to the face. Your Square or Cube for all manner of ground plots, formes of fortification; wherein you have no use of the Circle at all. Your Circle again directs you in all orbicular forms whatsoever, and so forth to the rest.

Having made your hand fit and ready in generall proportion, learn to give all bodies their true shadows according to their eminence and concavity, and to heighthen or deepen, as your body appeareth nearer or farther from the light ; which is a matter of great judgment, and indeed the soul (as I may say) of a picture.

Then learn all manner of Drapery, that is, to give garments, and all manner of stuffes, cloth, silk, and linnen their naturall and proper folds; which at the first will seem strange and difficult unto you, but by imitating the choisest prints and pieces of the most judicious Masters, with your own observance, you will very easily attain the skill.

{Albert. Durer.} Since, as I said, proportion is the principall and chief thing you are first to learn, I commend unto you that Prince of Painters and Grand-master Albert Durer, who beside that his pieces for proportion and drapery are the best that are, he hath written a very learned book of Symmetry and proportions, which hath been since translated out of high Dutch into Latine.

{Of Painting in Oyle.} Painting in Oyle is done, I confess, with greater judgment, and is generally of more esteem, then working in water colours; but then it is more Mechanique, and will rob you of overmuch time from your more excellent studies, it being sometime a fortnight, or a month ere you can finish an ordinary piece. I have known Michael Janss of Delf in Holland, the most excellent Painter of all the Low-Countries, to have been (at times), a whole half year about a picture, yet in the end to have blurred it out (as it is his manner) for some small disresemblance, either in the eye or mouth ; so curious is the workmanship to do it well : beside, oyle, nor oyle colours, if they drop upon apparel, will not out ; when water colours will with the least washing.

{Of preparing your table for an oyl picture.} First, for your table whereupon to draw your picture, plane it very even, and with Size […]

Having all your colours ready ground, with your pallet on the thumb of your left hand, and pencils for every colour, in the same lay your colours upon your pallet thus : first, your white Lead, then Lake, Ivory black, Seacoale black (as you see the complexion) Lamp-black, Umber for the haire, red Lead, yellow Oaker, Verdigreece ; then your Blews, Masticot and Pink ; the rest at your pleasure, mixing them on the other side of the pallet, at your pleasure

To begin a Picture, first draw the Eye, the white thereof make of white Lead, with a little Charcoale black; having finished it, leave from the other Eye the distance of an Eye; then draw the proportion of the Nose, the compass of the Face ; after that make the Mouth, the Eare, the Haire, &c.
After you have made the white of the Eyes, and proportion of the Nose, &c. lay your Carnation or Flesh colour over the Face, casting in here and there some shadowes, which work in with the flesh colour by degrees. Your flesh-colour is commonly compounded of white lead, lake, and vermilion ; but you may heighthen or deepen it at your pleasure.

After you have made the white of the Eyes, and proportion of the Nose, &c. lay your Carnation or Flesh colour over the Face, casting in here and there some shadowes, which work in with the flesh colour by degrees. Your flesh-colour is commonly compounded of white lead, lake, and vermilion ; but you may heighthen or deepen it at your pleasure.

Then shadow the face all over as you see cause, and finish the Nose, compassing the tip of it with some dark, or light reddish shadow.
The shadowes for your face are compounded commonly of Ivory, black, white Lead, Vermilion, Lake, Sea-coale, black, &c. 
Then shadow your cheekes and lips (with the mouth-stroke, which make of Lake only) with Vermilion and Lake, as you list mixed together.

For Russes, Lawnes, Linnen.
For Linnen, take white Lead mingle with Charcoal black, so making it whiter or darker at your pleasure ; for your fine Lawnes, put a little oyl smalt in amongst it, and with a fine little bag of Taffata stuffed with wooll or the like, take up the colour and presse it hard down where you would have it. 

For Velvets of all colours.
For black-velvet, take Lamp-black and Verdigreace for your first ground ; but when it is dry, lay it over with Ivory black and Verdigreace, (to help it to dry) and for the shadow, use white Lead, with a little Lamp-black.
For Green Velvet, take Lamp-black, and white Lead, and work it over like Russet Velvet ; then being dry, draw it only with Verdigreace, and a little Pinke, and it will be a perfect Green Velvet.
For a Sea-water Green Velvet, lay on the foresaid mingled Russet Verdigreace only ; if you will have it more grassie, put to more Pinke.
For a Yellowish Green, put a little Masticot among your Verdigreace at your pleasure : but note this, all your shadowing must be in the Russet, and these Greens only drawn lightly over. 
For Red Velvet, take Vermilion, and shadow it with Brown of Spain, and where you will have it darkest, take Sea-coale black mingled with Spanish Brown, and shadow where you will, letting it dry ; then glaze it over with Lake, and it will be a perfect red Velvet. 
For a Crimson, or Carnation Velvet, put the more or less white Lead to the Vermilion, as you shal see cause.
For a Blew Velvet, take Masticot and yellow Oker, and deepen it for the shadow with Umber.
For Tauny Velvet, take Brown of Spain, white Lead, and Lamp-black, mixed with a little Verdigreace to shadow it, where you see occasion ; and when it is dry, glaze it over with a little Lake, and red Velvet added unto it.
For Purple Velvet, take Oyl Smalt, and temper it with Lake, half Lake, half Smalt ; then take white Lead and order it as bright or as sad as you list.
For Ash-coloured Velvet ; take Char-coale black, and white Lead, and make a perfect Russet of the same, deepning it with the black, or heightning it with your white at your pleasure.
For Hair-coloured Velvet, grinde Umber by it self with Oyl, and lay it on your Picture, and heighten with white Lead and the same Umber.


For Sattens in Oyl Colours.
For Black Satten, grinde Lamp-black with Oyl, then mixe it with some white Lead ; where you will have it shine most, mingle some Lake with your white Lead.
For White Satten, take white Lead ground with Oyl, then grinde Ivory black by it self, and where you will have it sad, adde more of the black.
For Green Satten, take Verdigreace and grinde it by it self, then mixe some white Lead with it ; and where you will have it bright, adde some Pinke : if more inclining to a Popingjay, adde more Pinke to your white Lead : and to deepen it more, adde more Verdigreace. 
For Yellow Satten, grinde Masticot by it self, yellow Oker by it self, and Umber by it self ; where you will have it lightest, let the Masticot serve ; where a light shadow, let the Oker serve ; where the darkest or saddest, Umber only.
For Blew Satten, take Oyl Smalt, and white Lead, ground by themselves ; white Lead for the heightning, and Smalt for your deepning, or darkest shadow.
For Purple Satten, mixe Oyl, Smalt, with Lake, and white Lead : heightning with white Lead.
For Orenge Tauny Satten, take red Lead and Lake ; where you will have it brightest, take red Lead by it self, and where made sad, Lake.
For Red Satten, grinde Brown of Spain by it self, mingling Vermilion with the same ; where you would have it light, put it a little white Lead.
For Hair-coloured Satten, take Umber and white Lead ; heighten with your white Lead, and for the darke shadow of the cuts, adde to your Umber a little Sea-coale black.


For Taffata’s.
Make your Taffata’s all one as you do your Sattens, but you must observe the shadowing of Taffata’s ; for they fall more fine with the folds, and are thicker by much.
For changeable Taffata’s, take sundry colours, what you please, and lay them upon your garment or picture one by another ; first casting out the folds, then with your Pencil driving and working them finely one into another.


For Cloth.
Cloth likewise is as your Sattens, but that you must not five so shining and sudden a glosse unto it.


For Leather.
As Busse, take yellow Oker, and some white Lead mixed with it : and where you will have it darker, by degrees, mixe Umber with it, and when you have wrought it over, take a broad Pencil and frieze it over with Umber, and a little Sea-coale black.
For yellow Leather, take Masticot and yellow Oker, shadow it with Umber at your pleasure.
For black Leather for shooes, Lamp-black, shadowed with white Lead.
For white Leather, white Lead, shadowed with Ivory black.

To expresse Gold and Silver.
To expresse Gold upon Armour, or the hilt of a Sword or Rapier, take Umber, Red Lead, and Masticote ; lat your ground only Red Lead, if you please mixed with a little Pinke, and where you will have the shadow dar, use Umber ; where the light, Masticote.
For Silver, take Charcoale, black and white Lead ; where you will have it dark, use more Charcoale, and for the light, give it a bold and sudden stroke with your white. And thus you make your Pearle. Note that you must grinde your Sea-coale and Char-coale (of a Sallow if you can get it) in fair water first, and when it is dry, grinde it in Oyl.

For Skie and Landscaps.
For a Skie or Landscaps, that seem a great way off, take Oyl Smalt, or Bice if you will, and with Linseed Oyl onely temper it on your pallat (for in grinding Smalt, or Bice, they utterly lose their colour) with white Lead, and where it looketh red as the morning, use Lake, &c.

Of Wood colours, Barks of Trees, &c.
Your Wood-colours are compounded either of Umber and white, Char-coal and white, Sea-coal and white, Umber black and white, or with some green added. Sometime adde a little Lake or Vermilion.

Of sundry Greens in Oyl.
For a deep and sad Green, as in the inmost leaves of trees, mingle Indico and Pinke. 
For a light Green, Pinke and Masticote : for a middle and Grasse green, Verdigreace and Pinke.
Remember ever to lay-on your Yellows, Blews, Reds, and Greens, upon a white ground, which giveth them their life.

Of Colours there be seven Species, to wit, White, Red, Yellow, Green, Blew, Brown, and Black. White and Black are the extremities, and the parents of all other Colours ; for Red is an equal mixture of White and Black, and so is Green : Yellow is two parts of White, and one of Red, &c.

An Exposition of Colours.
Abram colour, i.e. brown
Auburne or Abborne, i.e. brown or brown-black.
Cole black.
Sable black.
Velvet black.
Pitchy black.
Blanket colour, i. e. a light watchet.
Venice blew, i. e. a light blew.
Lincolne blew.
Coventry blew.
A Prince blew.
Crimson, i. e. Scarlet.
Cumatical colour, i. e. blew.
Flesh colour, a certain mixture of red white.
Gangran colour, i. e. divers colours together, as in a Mallards, or Pigeons neck.
Sabell colour, i. e. flame colour.
Incardine, or flesh colour.
Peacocke colour, i. e. changeable blew, or red blew. 
Patise, or a kinde of red or Arsenick colour.
Plumbet colour, i. e. like little Speks of gray clouds in a fair day. 
Puke colour, i. e. between russet and black.
Purpurine, or Purple colour ; of which read Matth. 27.2. A colour much used heretofore, by the Tyrians ; but now it is not to be had.
Ried colour, or Diversified.
Scarlet, i. e. crimson, or stammel.
Shammy colour, a smoakie, or rain colour, which is a kind of yellow ; as you may see upon whited walls or in a Chymny.
Stammel, i. e. Scarlet, as before.
Lyon Tawny.
Turkie colour, i. e. Venice blew, or as others will have it, red.
Milke white.
Paper white.
Snow white. 
Bastard yellow.
Bright yellow.
Dark yellow.


Of the Names of Colours, read more in Aul. Gel. Noct. Attic.