Graphice. The use of the pen and pensil. Or, the most excellent art of painting : in two parts. / By William Sanderson, Esq; Sanderson, William, Sir, 1586?-1676. This text is an enriched version of the TCP digital transcription A94194 of text R208648 in the English Short Title Catalog (Thomason E1077_2). Textual changes and metadata enrichments aim at making the text more computationally tractable, easier to read, and suitable for network-based collaborative curation by amateur and professional end users from many walks of life. The text has been tokenized and linguistically annotated with MorphAdorner. The annotation includes standard spellings that support the display of a text in a standardized format that preserves archaic forms ('loveth', 'seekest'). Textual changes aim at restoring the text the author or stationer meant to publish. This text has not been fully proofread Approx. 272 KB of XML-encoded text transcribed from 54 1-bit group-IV TIFF page images. EarlyPrint Project Evanston,IL, Notre Dame, IN, St. Louis, MO 2017 A94194 Wing S648 Thomason E1077_2 ESTC R208648 99867576 99867576 119892 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A94194) Transcribed from: (Early English Books Online ; image set 119892) Images scanned from microfilm: (Thomason Tracts ; 160:E1077[2]) Graphice. The use of the pen and pensil. Or, the most excellent art of painting : in two parts. / By William Sanderson, Esq; Sanderson, William, Sir, 1586?-1676. [16], 87, [1] p., [3] plates : port. Printed for Robert Crofts, at the signe of the Crown in Chancery-Lane, under Serjeant's Inne, London : 1658. Annotation on Thomason copy: "June 14". Reproduction of the original in the British Library. eng Drawing -- Study and teaching -- Early works to 1800. Painting -- Study and teaching -- Early works to 1800. A94194 R208648 (Thomason E1077_2). civilwar no Graphice. The use of the pen and pensil.: Or, the most excellent art of painting : in two parts. / By William Sanderson, Esq; Sanderson, William, Sir 1658 43581 276 0 0 0 0 0 63 D The rate of 63 defects per 10,000 words puts this text in the D category of texts with between 35 and 100 defects per 10,000 words. 2007-02 TCP Assigned for keying and markup 2007-02 Apex CoVantage Keyed and coded from ProQuest page images 2007-03 Emma (Leeson) Huber Sampled and proofread 2007-03 Emma (Leeson) Huber Text and markup reviewed and edited 2008-02 pfs Batch review (QC) and XML conversion portrait of William Sanderson Souse pinxit W. Faithorne sculp ▪ Gulielmus Sandersonus . Aetat : suae . 68 Etsi Se nescit quod senescit tamen cupit diss●●●i . 1658 GRAPHICE . The use of the Pen and Pensil . OR , THE MOST EXCELLENT ART OF PAINTING : In Two PARTS . By WILLIAM SANDERSON , Esq LONDON , Printed for Robert Crofts , at the signe of the Crown in Chancery-Lane , under Serjeant's Inne . 1658. On the Picture of the Author , Mr SANDERSON . LEt others style this Page a Chronicle ; Others , Arts Mystery ; let a third sort dwell Upon the curious neat Artifice , and swear , The Sun near saw a Shaddow half so rare . He outsaies All , who lets you understand , The Head is Sanderson's , Fathern's the Hand . THO. FLATMAN , Inn. Temp. Lond. PREFACE . I MAY be censured by some persons , who have known me busie the most part of my life , to find me at leasure now in my last daies , ( under the discipline of Providence ) to set out this subject of Painting . It is an Art I never professed : These Readings are gathered at my Study , accompanied with observations which I met with beyond Seas , and other Notions , pickt up from excellent Artizans abroad , and here at home ; not without some experience by my own private practise , and altogether suiting my Genius . Which gave me occasion to say somewhat to our Painters , with their approbation , and desire , to reduce that discourse into a Method , legible to all , and so to render it profitable to the Publick ; it being as well delightfull to be read , as usefull for practice , ( I speak to Lovers of this Art , not to Masters ) : Yet , not altogether uncocerning the ordinary Artizan , whose former Instructions ( hitherto ) not reaching unto knowledge , rather hinders his progression from ever being excellent ; himself ( perhaps ) unacquainted with his own spirit , cannot so readily rise to estimation , though he labour much to make it his profession : For , the invention or election of the means , may be more effectual , than any inforcement or accumulation of endeavours . Not that I desire to derogate from the worthy intentions of any , that have deserved well in the condition of this elaborate Art But I observe , that their Pieces are rather works of labour , and alike to what hath been done , than of progression and proficiency ; the same things multiplied , not new , nor rare , taking them the ordinary way , without advancing to the former , in manner or matter . For , all works are mastered either by 1. Amplitude of Reward . 2. By soundness of Direction ; or , 3. By conjunction of Labour . And therefore I could wish , that the excellency of Painting , were higher prized , better taught , and more workmen . The first multiplieth endeavours , the second preventeth errour , and the third supplieth the frailty of man . But the chiefest of these , is Direction in Painting . I have therefore endeavoured to enlighten him , into the Theory of the first Book , distinguished from the profitable practise , which descends to the second Book ; and the Heads of all contained in an Index , prefixed to the whole , fitted with Cuts and P rints , proper to their Sections , for the apt apprehension of the Punie , by which he cannot easily misconceive my meaning . Such as they are , I send abroad to your judgments , who are the best Proficients , and merit the Mastery ; that so , the mystery of this wonderous Art , and your artificiall working , ( a secret inconsisting with common capacities ) may hereby be so far revealed to mens admirations , as to be first understood , and then how to be valued . Not unproperly for use , to those ingenious spirits , who have no will to be ignorant in any Art , that does not mis-become the Student's wit , nor mis-beseem the quality of a Gentleman , that intends to entertain Attendants , Handmaids to the Sciences of Liberall ▪ Learning . W. SANDERSON . READER , WIth much Cost and Art , orderly to this Impression ; I laboured to be furnished from beyond ▪ seas , with Cuts and Prints , proper for severall Sections ; But the watchful Pirate plundered the passengers , and that Cargasoon of Papers , which makes them failing in this Work , and crave excuse ▪ till the next Edition , with such other , and 〈◊〉 further enlarg●●●●● . In the mean time , the Practitioner may be furnished at Mr. Fatherns , ( a Graver , without Temple-bar ) and at other Print-sellers , with such Cuts and Prints , as may serve his own private use for this whole Book , which could not be gotten by me in England , for so many thousands of Prints , as the Presse of this Edition would contain ; onely three or four Plates I have met with , which are here inserted for Example . And for the Art of Painting in Glasse , as also the excellency of Graving and Etching , in Copper or Wood , with the manner of Printing those Pieces in severall colours , may soon be made publick , as this Book finds acceptance . W. Sanderson . To Mr. Sanderson , the Author of this Book , The Art of Painting . VEnus , scarce finish'd by Apelles death , Was by her Painter ( just ) depriv'd of Breath . Painters nor Pictures were there any such , Distinguishable onely by the Touch . None could compleat It , when that He was gone ; This Book was wanting , else it had been done ; Which teacheth Intellectualls , Hands , and Eyes , To value , work , and view their faculties . Prometheus by his sar-setch'd sained Fire , Into his mouldings ( once ) did life inspire . Your Rules direct us to avoid that toile , And to give life by Water , and by Oyle . Your Pen excells the Pensil , whilst you write , You finish Venus in your Black and White . R. P. Upon our English Zeuxis , W. Sanderson , Esquire . POets and Painters dare do much , and can Fancy a Man a Beast , a Beast a Man . But when themselves are subjects , and the Quil Describes the Pensil , there 's the tryall o th' Skill . When that fierce Ovid must a Zeuxis shew , And Verse to Shapes give enterview : 'T is not one Muse will serve , but the whole Nine , And father Phoebus too must prompt a line . As he , that pourtraicting the Horses foam , Despairing , that to life it e're would come : Threw his fam'd Pensill at the very Bitt O' th' Bruite , and so a casuall froth did hit , In such an exact figure , that lookers on Fear'd , that the drops , themselves would fall upon . So it must be some Providentiall strein , And an exstatick fancy , and rap't vein , Betwixt Despair and Inspiration , That fits the Zeuxis of our Nation . What Colours in our Rhetorick , can show Thine , which more various are , than those 'i th Bow ? If in Grotesco , or in Landskip thow Expresse thy skill , wee 're in a wood I vow , And lose our selves in thy feign'd Groves , and view , And wish the Milk-wench , and her sine leg too : Such lively streams her snowy hand doth stroke From the milk'd Cow , that Calves they do provoke To louw for painted Teats , and Sheep do gaze On the deluding Commons , and would graze . Then since thou canst deceive all subtlest sense , And art a Zeuxis of such excellence , I will admire thy parts , and cosen'd be : But for to write thee , let 't alone for me . EDMOND GAYTON . On the noble Art of PAINTING . STrike a bold stroke ( my Muse ! ) and let me see , Thou fear'st no colours in thy Poetry , For Pictures are dumb Poems ; they that write Best Poems , do but paint in Black and White . The Pensill's Amulets forbid to die , And vest us with a fair Eternity . What think ye of the gods , to whose huge name The Pagans bow'd their humble knees ? Whence came Their immortalities , but from a Shade , But from those Pourtraictures the Painter made ? They saddled Jove's fierce Eagle like a Colt , And made him grasp in 's fist a Thunderbolt . Painters did all : Jove had ( at their command ) Spur'd a Jackdaw , and held a Switch in 's hand . The demi-gods , and all their glories , be Apelles debtours , for their deity . O how the Catholicks crosse themselves , and throng Around a Crucifix ! when all along That 's but a Picture . How the spruce trim Lasse , Dotes on a Picture in the Looking-glasse ? And how ineffable 's the Peasant's joy , When he has drawn his Picture in his Boy . Bright Angels condescend to share a part , And borrow glorious Plumes from our rare Art . Kings triumph in our sackcloth , Monarchs bear Reverence t' our Canvase 'bove the Robes they wear . Great Fortunes , large Estates , ( for all their noise ) Are nothing in the world but painted toies . Th' Aegyptian Hieroglyphicks , Pictures be , And Painting taught them all their A. B. C. The Presbyterian , th' Independent too , All would a colour have for what they do . And who so just , that does not sometimes try , To turn pure Painter , and deceive the eye ? Our honest sleight of hand prevailes with all ; Hence springs an emulation generall . Mark how the pretty female-artists try , To shame poor Nature with an Indian die . Mark how the Snail with 's grave majestick pace , Paints earth's green Wastcoat with a silver lace . But ( since all Rhymthes are dark , and seldom go Without the Sun ) the Sun 's a Painter too ; ( Heavn's fam'd Vandyke ) the Sun , he paints ( 't is clear ) Twelve signes throughout the Zodiack every year : 'T is He , that at the spicy Spring 's gay birth Makes Pensils of his Beames , and paints the Earth ; He Limn's the Rainbow , when it strutt's so proud Upon the Dusky surface of a Cloud ; He daubes the Moors , and when they sweat with toil 'T is the● He paints them All at length in oile ; The blushing fruits , the glosse of flowr's so pure Owe their varieties to his Miniature . Yet , what 's the Sun ? each thing where e're we go Would be a Rubens , or an Angelo . Gaze up , some winter-night , and you 'l confesse , Heaven 's a large Gallery of Images . Then stoop down to the Earth , wonder , and scan , The Master-piece of th'whole Creation , Man : Man , that exact Originall in each limb , And Woman , that fair Copy drawn from him . What e're we see's one Bracelet , whose each Bead Is cemented , and hangs by Painting's thread . Thus ( like the soul oth'world ) our subtle Art , Insinuates it self through every part . Strange Rarity ! which canst the Body save , From the coorse usage in a sullen grave , Yet never make it Mummie ! Strange , that hand , That spans and circumscribes the Sea and Land : That drawes from death to th'life , without a Spell , As Orpheus did Eurydice from Hell . But all my Lines are rude , and all such praise Dead colour'd nonsense . Painters scorn slight Baies . Let the great Art commend it self , and then You 'l praise the Pensill , and deride the Pen . T. FLATMAN , lately Fellow of New Coll. Oxon ; now Inn-Temp . Lond. To the exquisitely Ingenious , W. SANDERSON Esq On his Book of Painting in Water-Colours . Great Artist , VVHen I saw thy ROYAL STORY , ( That Theater erected for thy glory ) I stood amaz'd at each Majestick line , And deem'd each syllable therein Divine , Thinking Thee All-Historian : But now , Thy Protean Pen constrains me to allow , The Diadem of Arts and Sciences to Thee ; Their vanquish'd depths confesse Thy Soveraignty : Whose absolute Dominion can dethrone The Rest , and fix supremacy in One ( Rare MINIATURE ) whose glitt'ring Trophies stand , Rear'd by the learn'd endeavours of Thine hand . Thy Water-Colours shall out-brave the Fire , And dare couragiously confront Jove's ire . Your fame shall ( spite of Proverbs ) make it plain , To write in Water 's not to write in vain . Clarissimo viro Guilielmo Sandersono , Artis Zoographicae excultori Celeberrimo . OUis precor hic ? iterúmne Orbi comparet Apelles ? Anne magis radio Pictor Apollo suo ? Neuter adest ; sed uterque tamen : sed major utroque Sive homines lubeat pingere sive Deos ? Pingendi heic stupido prostent cum viscera mundo Viscera , Primaevis impenetranda Sophis . Forma , & Norma recens ; Artique Ars addita priscae ; Et pictura Ostro nobiliore nitens Cuncta suis speciosa notis , renovata Colorum Temperies , Radii Daedala forma novi , Authoris Genium , si non depingere , saltem Fas Vati aeternis pangere Carminibus . Plaudite Pictores ! Patremque agnoscite ; vobis Ludus erit , priscis quod fuit antè labor . Obruat expositas nè fortè litura Fabellas , Picturae Archetypon nobile , Pictor , habe . Amicissimè scripsit amicus charissimus , GUILIELMUS MOORHEAD . A tam laudato laudari laus erit vera . GRAPHICE . OR , The use of the Pen and Pensill , in Designing , Drawing , and Painting ; with an exact Discourse of each of them . AS ALSO , Concerning Miniature or Limning , in Water-Colours : The Names , Natures , and Properties of Colours : The ordering , preparing , washing , and using them , for Pictures of Life , Landskip , and History . AS ALSO , Of Croyons , or Dry-Colours , by Pastills or Powders ; The way of making them , and working with them : With rare Receipts and Observations , of the best Masters of this Art . In two Parts . With some Cuts and Prints , proper to each Section . By WILLIAM SANDERSON , Esq LONDON , Printed for Robert Crofts , at the signe of the Crown in Chancery-Lane , under Serjeant's Inne . 1658. portrait of Charles I G Faithorne Excud . Carolus Primus D. G. Ang●iae Sc●●iae Franciae et Hiberniae Rex . ●● . In Effigiem Caroli , Nuper-Regis . INdiges heic quorsum prostat Tibi Carolus ! Ann● Hunc quòd ames ? vel quòd te redamârit , erat ? Anne quòd Essigiem subrepti Martyris , Orbis Quà patet , indomito more & honore colat ? Anne , quòd hanc reliquis ( dum vixerat ) Artibus Artem Praetuleri● Genio discure , Mome , tuo Cuncta simul num vera sient , non dirimit Author , Cui satis est Sphyngem solvere posse suam . G. M. GRAPHICE : OR The use of the Pen and Pensil ; In the most Excellent Art of PAINTING . 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 , Mapps , Cosmographicall , Geographicall , Chorographicall , and Hydrographicall . Or , by particular description of Plotts , Fortifications , Formes of Batalia's , Scituation of Townes , Castles , Forts , Lands , Rocks , Mountaines , Seas , Ilands , Rivers . 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 the Five Senses . THe number of Senses , in this Microcosm , or little world of Man , do correspond to the first Bodies , in the great World , as Sight , to the Heavens . Smelling , to the Fire . Hearing , to the Ayre . Tasting to the VVater . Touching , to the Earth . I have lamented the defect , that most Men mis-understand the true use and perfections of the senses ; when the advantage of our Reason prefers us before ordinary Creatures , that enjoy them in common . How many men that have Organs , and de hear , yet cannot distinguish the Excellency of Musicall sounds , and find not the defect ? As many , who have the sense of Touching , that labour not their hands to the things that are good . Those that can smell , yet professe their ignorance in the delicacy of sweet Odours ; and conceive no more benefit thereby , than others , who are satisfied with a stinck . To cram the Belly , & fill the gutt , diseaseth Nature , without apprehension of health in a choyce diet , or , in difference of Tasts And there are severall notorious degrees of sin depending on the extream fruition of those Fower , which taints both body and mind with impurity . But in my Opinion , the whole World , and all the formes of Nature may be safely comprehended , by the royalty of externall sight , ( There being a Lordship of the Eye , which as it is a rangeing , impetuous , and usurping Sense , can indure no narrow circumscription , but must be fed with extent and variety to the glory of the Creatour , ) and yet without prejudice to the reasonable Creature ) except in the mis-use of looking with Lust , after that , wch is none of his , Lasci●iously , Covetuously , Superstitiously ; To which possibilitie of Mis-application , not onely , those Semiliberall Arts , but the highest perfections , and endowments of Nature , are subject ; Nay Religion it selfe . Therefore Ab Abuti , ad non-Uti , negatur consequentia . Of the Excellency of Sight . BUt , Sight deserves , a higher , and a more mysterious consideration , and therefore , let us compare the difference , with other Senses . The State of sense may be devided into two parts ; Inward , and outward ; commodity , and necessity ; Soul , and Body : but , as the soul is more excellent , then the body , so the sense that profits the soul , is to be more esteemed then those , that are needfull for the body ; because it is better to be well , then simply to be . The Soul of man , ( that most perfect forme of the Creator ) not consisting of matter , or subject to division , and so by consequence , whole in all the body , and wholly in every part : Yet , in every respect , the noblest powers thereof are more eminent , in distinct places ; some have lodg'd and bounded the limits within the compasse of One Member of the Brain , ( the magnificent stately Turret of the soul , ) wherein is placed Reason , the Soveraign power of the Soul , ) as the Messengers of understanding . The Eyes , Ears , Nose , Tongue , ( Guards and Servants to Reason ) placed in the head , as ne●r att●ndants . The externall Senses are but five because of the five sorts of Objects , either unto Colour , Sound , Smell , Taste ; or to those Qualities whereabout Touching is conversant . Seeing and Hearing are the most pleasurable ; Sensus Jucunditatis ▪ The other more Practicall ; these more contemplative : Those , Sensus Disciplinae ; these are Mentis , Noeticall . The excellency of Sight , is especially , in four things . 1. Variety of objects ; which it presents to the Soul . 2. It's meanes of Operation ; altogether Spirituall . 3. In respect of its particular object , Light ; the most Noble Quality that God hath created . 4. In respect of the certainty , of his Action . ( In a word ; all things , under the first Moveable Orbe , are subject to the power of sight . ) For the first ; all Naturall Bodies , are Visible ; but all are not effectuall , to other Senses . Heaven , ( the World's Ornament ) is not to be touched ; Harmony of the Spheres , not to be Heard ; No taste in the Earth , or Fire ; All these may be Seen . Sight , besides his own proper Object ( Colour ) , hath infinite others , as Magnitude , Number , Proportion , Motion , Rest , Scituation , Distance : And therefore called , the sense of Invention of all Arts , and Sciences . And all the skill in deep Astronomie , Is to the Soul derived by the eye . Philosophie was begot , by admiring of Things ; Admiration , from Sight of excellent things ; the Mind , raised up and ravished , with the consideration thereof , desirous to know the cause , began to play the Philosopher . Secondly , Sight is the Sense of our Blessednesse , as it brings us , to the knowledge of God . The Invisible things of God , are manifested to us , by the visible . Infinity cannot be known , but by his effects . Set on work this Noble Sense , to view and consider the Excellencie of the Workmanship , of the Great Creatour ; the Heavens , and the glory thereof , in Proportion , and Colour ; the Beauty of the Surface of the Earth , and the Creatures thereon . Consider Man , the Wonder , and utmost indevour of Nature . so that the Prophet-Singer cryed out ; How secret and wonderfull am I made ! Thirdly , it is endowed with the goodliest qualitie in the World , Light , The Heavens off-spring , the eldect daughter of God , Fiat Lux the first dayes creation . Common , as indifferent to all ; best known of us , ( for other Naturall Bodies consist of mixt Colours . It discovers it selfe in the modesty of a morning Blush , and opens it's fair and virgin eye-lids in the dawning of the day , shine out in its Noon-daye's glory . It twinckles in a Star ; Blazes and glares out in a Comet ; frisks and dances in a Jewell ; dissembles in a Glow-worm ; Epitomises and abbreviates its self in a spark ; Ruddy in the yolke of the Fire , pale and consuming in a Candle . Thus described in old Rime . Light , the Grand-child to the Glorious Sun , Opens the Casement of the Rosie Morn ; Makes the abashed Heavens , soon to shun The ugly darknesse , it imbrace'd beforn . This , a true Looking-glass , impartiall , Where Beauties-self , her self doth beautifie , With Native hue , not Artificiall ; Discovering falsehood , opens verity . The day's bright-eye ; Colour 's distinction ; Best judge , of measure and proportion ; The only means , by which , each mortall eye , Sends Messengers to the wide firmament : That to the longing Soul brings presently High contemplation , and deep wonderment : By which aspiring , she , her wings displayes , And , her-self thither , whence she came , Up-rayes . It performeth his Office , at an instant , though far distant , without moving it self . And as the understanding part of the mind , receiveth from the Imagination , the forms of Things naked , and void of substance ; So the sight is the subject of Forms without a Body ; which are called , Intentionalls . It comprehends Universality , without pestering any room or place contained : the largest Mountains , enter at once undiminished , through the Apple of the Eye , without straitness of entrance . It judgeth , at one instant of two Contraries , White and Black , and distinguisheth them ; the knowledge of the one , No impeachment to the knowledge of the other ; being that , of what the other Senses are not capable . It receives at One instant , the circumference of the World ; But the other Senses move by entercourse of Time ; the reason why we see Lightning , before we hear the Thunder ; being neither of them made before or after another . It hath a kind of liberty , which Nature hath denyed to the other Senses ; The eares are alwaies open ; so is the Nose ; the skinne alwayes subject to cold and heat , and other injuries of the aire : but the eye , opens and shuts , at pleasure . Fourthly , it is the most infallible Sense ; which least deceives being ten times of more certainty , than hear-say ; as between truth and falshood . According to the French Proverb . Ce qu' on voit est plus certain que cequ ' on oit . Horace saith , Oculis potiùs credendum , quàm auribus . The Prophets confirm their Sayings , by the Sight ( Visions ) as most true ; It is the form , and perfection of man : by it , we draw neer to the divine Nature , seeming that we are born , only to see ▪ The Eyes , the Looking-glasses of Nature : Consider the beauty , and excellency thereof , from severall Objects : Behold the spangled Canopie of Heaven by Night : the watry Clouds , by day , with excellent Colours , and Shadows of the Sun's reflection : The wonderfull painted Rainbow : The glorious appearing of the Morning Lamp of Light : the golden rayes , round about him , spreading a faint and trembling Light , upon the stickering and gilden waves : How , his shadows lessen at Noon-tide ; and how they increase towards evening , and at the burning ruddy Sun-set . To view , the Towring tops of Mountains , unaccessable Rocks , with ridgie extents , or suddain fractions , by some steepy abruptnesse : Here a vally , so large , that at the end of the plain , it seems to meet Heaven ; there a Grove , and here a Green pleasant Arbours ; rows of Trees , spreading their clasping arms , like gentle lovers imbracing each , with intricate weavings ; gently swelling Hillocks ; high delightfull plaines ; flowry meddows , pleasant streams ; naturall fountains , gushing waters down the rocks . Stately Cities ; famous Towers ; large Bridges ; spiring Steeples ; intermixed with Orchards , Gardens , Walks ; and what not of these kinds , that delights the mind of Man ? Consider the shapes of each severall Creatures ; from the Elephant to the Emet : the admirable and absolute perfections of each Limb ; the beautifull Colours of Birds ; silver skaled-fishes ; wonderfull forms of worms , and creeping things . And all these to praise the Lord , for his mercy endures for ever . Of the Excellency of Sight , in the Art of Painting . HAving said thus much in generall : Let us draw down to our particular use of this Sense , first to be apprehended by speculative knowledge , in the Art of Designing , Drawing , and Painting , which comprehends It : when lights and shadows , ( set out by Art , to counterfeite Nature ) give the workman the excellency of representing in proportion and Colour , what ere Nature hath produced . Nay more , described into form , what ere can be uttered by speech of another , or to be imagined , by his own fancy . Of a Landskip . VVHat a large scope of severall objects , are dayly offered to delight the wearied travailler , when with true judgment , he beholds the variety of Nature , and the Artifice thereof , within the Landskip of his Horizon in a well chosen Prospect ? Give me leave to describe unto you , a Landskip ; by which , and many such like you may apprehend with delight , the excellency , of a journy by land , or voyage by Sea , Which commonly , are either not observed with judgment , or soon lost to memory , for lack of Art to put them into form , and Colour . For example ; An English Gentleman , of singular ingenuity , came to Naples by Sea , at the instant , of a strange accident without the Citty : The report whereof amazed the people , into suddain fear ; Yet curious they were , to behold that , which they apprehended , horrid : Each one , crouding forward , to pull back his Neighbour ; disorderly Number , stopt their haste , so that , they stuck fast in the Gate . Only this Stranger , whose single discretion taught him , alwayes , to avoid a Tumult ; and now shewed him the way , to creep out at a Wicket . He soon discovered the cause ; casting his eyes up to the view , of the Towring Hill , Vesuvius , from whose Base , the fruitfull vallyes , trend down to the Strond of a River , refreshing this Citty . This double topp'd Mountain , had one Speer burnt , in time of Pliny , by which meanes , ( that Rocky part dissevered into fractions ) there appeared , rare reflections of Lights , and shadows , occasioned from a fearfull Fire of the other Speer , now flaming up into the Clouds . Sometimes , with blazing flash to frighten Heaven , instantly quencht by a crouding vapour , as darke as Hell : And yet each raging quality stinted by Him , that in a bounded measure , preserves all from destruction . These objects ( unequally mixt ) expressed such glaring variety of Colours , as two contraryes , Light , and Darke in opposition , usually doe produce . So had he seen ( he said ) , a sight at Sea ; a Ship so gallant never plow'd the waves , but she , and our brave Soveraign ; when in the moment of a twinckling eye , the Wretchlesse Swabber , with a Lintstock-match , tin'ds but some powder for his knavish crack , which kindled all on fire ; So q●i●k is Sulphur , that the sound and sight Soon into Air dissolv'd the fabrick quite . But now his sight , dim'd with much gazing , and his Eye-lids wearied , wi●h force of long looking up-wards , of them selves took ease , to descend . ( So did his thoughts , in an humble consideration , of the Naturall Cause , Sulphurous matter , many ages past , pent in for a time , and now ( fired with heat ) burst out into this fury . Which , though not seldom hapning in hot Conntries , yet to his sense , the more rare , that never saw the like . ) When suddainly he seemed ravished , with the most pleasing Prospect of Nature , and Art , mixt with accidents of divers manner , such as possibly might delight him ; It took its Scite , at the entrance of Naples , from the Vallyes ; where the coole streams of — gently pass ; seeming then , a preservative Element , of powerfull contrariety to quench the raging Fire with turnings and windings , on the right hand , so far as the Countries of Apulia , six Leagues off . Over this River is raised a stone-Bridge of antiquity , more then splendor , yet fair enough , with sixe locks , or vaults , through which , the water runns , not too quick on purpose to delight you ; but murmuring down on the left hand , to a single Pile of Red-marble ; partly ruined , more by Warre , then time ; and yet of some Antiquity , by the remnant of Pillars , Pedestalls , Cornices , and such like , of old Tuscan , and Dorique Sculpture . Neer unto an Orchard of Palms , and Sicamours , where , under an ample Arch , the River seems convayed to utter losse of all , but imagination . A world of people , from far , filled the Bridge , with haste ; being come to secure themselves , their goods and cattell : Those of Quality rod , pranzing on their Gennets ; not too fast , being fettered , within a flock of Sheep . The good Man and his VVife , load their own backs , to save their Bedds , leading their Infants , frightned with the Fire . The poor Asse now beares his Burthen , not in vain , being driven from danger , as concern'd in the Interest , as well as the wiser sort , who govern'd the Beast . The Wagoner , whips on his wearied Jades , who yet , huye so fast , that they tread , on Horses heels . Fearfull apprehensions scare them all , that follow in a Train , beyond the comprehension of Sight ; and untill from severall degrees of dimensions , each Creature seems contracted into Shapes , almost of Atomes . These Multitudes , fled from Torre , del Greco , and Nunciato , two pleasant Towns , seated upon this River , appearing so far distant from the eye , as usually , the Judgment assists the Sight , to distinguish them into Buildings . Before these Towns , anchored two Neapolitan Gallyes , sent thither to receive the people , and their goods aboard , from the destruction of stones and ashes , disgorged by force of the fire , and which the violence of the Rock-water stream , hurried down from the top of the Hill , overwhelming these Villages , almost as a Cover ; the suffocating heat of this rubbish , more fearfull then any Fire . Behind these you might discern , the rising sallow-fields , here and there , mixt with trees , and hedge-rows . Beyond them , the proud Hills , covered with whitenesse of S●ow , which the Sun-beams exprest , like Silver Towrs , that reached up , to the next Region . Then on the left hand view , you might behold , ( Sun a●d wind cleering that side ) the whole Vale grac'd with severall structures , and buildings , heer and farther off . Here , and there , the stately Pines , overtopping their Tops , naturally intermingled with Cedars , and Citrons . From these , your sight ( ascending the rise of the Hill ) becomes ravished , with pleasant Gardens , and Orchards ; beautifull rowes and walkes of Trees , gracefully high and large ; Here vineyards of Grapes ; there Groves of Granadoes , Citrons , Pomegranes , Figges , and Olives , and other Fruits without Number . These reach so farre , untill your sight is lost , into the Edge and Circle of an Horison , where Heaven and Earth , beget a wonder , This in contemplation covets to mount , That , in affection , willingly descends , untill with joynt imbraces ( like two reconciled Lovers ) kisse each other into everlasting kindness , Terram Coelo miscere . Neer hand , a Loader , following the heels of his Horse ; and to spare his overmuch burthen , the good old man , in charity to his Beast , takes part of the paines , and stoops his own bended Back , with the remaine of the carriage . Not farre before him , trots another , ready to climb the mounting ground , and to ease himself , the poor Jade , spares his pace ; but two rustique Swains , hard hearted drivers , ( or else in more ha●te , than good speed ) both of them beate him . Beyond them , you may perceive two more ; one hastning forward , the other returning ; their businesse belike , of more concernment , than to salute ; though the narrownesse of the way , necessitates them to meet . And thus the Traveller , having long time looked over these objects ; he turnes his back from all , with religious Contemplation : That in such varieties of Prospect ; contrarieties in Nature and affection ; Fire and Water ; Hills and Vales , barren and fruitfull ; Trees , and Medows ; Heaven , and Earth ; all should concurre in beautifull Objects , and Ornaments of delight , to Gods glory , and content to the Creature . VVhen loe , he espies a Neopolitan gallant , caressing his Curtizan ; she was handsome , he was not so ; and yet the custome of the Country , taught him boldness , to court her , into more then ordinary kindness ; which no doubt , in dependence thereto , was soon after , put into practice , when the opening of the Gates , received them into the Citty . The Stranger being entred : He tells this Story , unto other Guests , to one of them , that for a Wager ( The Table taken away ) described this Tale , into the form of a Picture ; and Painted it to the Life from the others report ; which being done , became such a Miracle of Art to everlasting Memory , that deservedly , might adorn the Vice-roy's Gallery . The papers of this print were lost at ▪ Sea . But any other print of a Prospective , may serve the practitioner to discourse thereupon ; and ●it this example . Another , of the Sea , a storm and ship-wracks . It was so fair a Morn as midling-June , which invited tender virgins , to the brinck of the Ocean : where they beheld , a Fleet of gallant Ships , such as ne're grac'd the Floud before . Each distinct Squadron attending their Admirals , in an orderly course , to the very Bay of a secure Haven ; the Seas as smooth as glass . When , for Novelty ; ( the various desire of change ) one of the virgins , wisht to see the Waves . The stormy-Fiend obeyed , and vexed the Ayr with wind which volved the Waves , till they on end do stand ; ranging their race with mighty furrows ; wave shoveth wave , and Billow beateth Billow . Twixt Ridge , and Ridge ; the engulphing space was hollow , Much like infernall Jawes , whole Fleets of Ships , to swallow , In those devouring , liquid Graves . The Marriner by often tryalls , becomes fearlesse ; Yet his Sailes takes in , and stoops to an ill , he cannot master . A monstrous showre of rain , thickned the face of Heaven ; peale after peale . " So dark as Hell ; and yet the Stars are seen , " And dreadfull terrours , had bin ▪ lost to sight , " But that , ( these ) dire Lightnings turn " To me●● horrid fears . " The Seas ▪ like quenchlesse flames , do burn : " Sad ●louds , sinck into showry teares : " You would have thought , " The high swoln Seas , to Heaven had wrought , " And Heaven , to Seas descended . Away goes steerage , Lead , and all adiew ; The Card and Compass too : Of two and thirty winds , not one of safety shewes ; All point to death . The Load-stone uselesse ; The Needls-North , drunk with the waves Turns round , and reeling too : so did the Ship . And disengorged the Sea , into the Sea again . The Jacob-staff , no farther sight could reach , Then second surge . The dancing Beak-head , dives into the deep , Then bounding up again , then down amain , Which cracks her massie ribbs . " So have you seen a fierce strong Bear , " Stand bolt upright , to paw the Mastive Dogge , " VVhich in his Clutch , once got , he gripes to death . No place for Art , or force , yet all are try'd : For now ▪ the waves must have their will , " Obedienc● ▪ best to follow , and that was ill . The Ship sides crack , and tackle tare like Twine , The six-fold Buck from sheet , is rent to ragg● " Nor left so much to wipe a tear " From the distressed Passengers , that weeping were . A bucksome-bully Boy , up to the Top-mast climbs To cleer a Haulfer , or lesse waightier course ; Like Crow on May-pole ●ane , a wondrous height , Yet he obeyes , and chearly cryes , Done , done , Sir : VVhen in the moment , of a twinckling eye ; Not half way down , a blast of mighty force , " Darts him as farre " As Davids pibble from his sling of war . Upon the Decks two stand , but bind themselves , Yet both are blown away : Another , on his hands , into a corner creeps ; But bounding Hatches , band him to the deeps . Some trust to Haliards , others to their holds , But cardage cracks , and they o're-board , are roul'd . The giddy Ship turns Saylor's brains , Though bound his browes ; And as from flint , so sparkles Fire , from both his eyes ; The sickly Soul was worse , weary of Life , he dyes . Those on the shore ( by prospective ) that saw , were giddy grown . And whilst I tell this tale , I 'me not mine own . My brains turn round , so does the Reader's too , No wonder then , the Mariners did so : The stresse of horrid storm , none but by feeling know . Some seeming wiser , hear the Long-boat's out , and leap therein ; Which soon like froth are spew'd upon the sands : And with the stroake are torn to smallest chips . The aged father strides the lusty Lad , Some swim , others wade , till many footing find ; VVhen by degrees , the swallowing tide , steales on them , First to the feet , the anckles , knees , and waste . Then to the rising ground they all retire , And down they kneel ; Their Sacrificing hands , above their heads , they heave , and hold them there : Till brinish Seas , up to the Chin comes in , and choakes them all : A dozen of such , by severall scapes , got thither , Freed from the Sea ; on sands are drown'd together . Those in the Ships see this , and on their knees they fall , This sad example , makes them , one , and all : for now , The Rudder 's torn away , the wracks begin , And trayterous leakes , the dryving Seas drink in , No Master , Mate , nor steer's-man , now ; Nor Plummet guide or Watch can shew ; No standing on the decks ; The unbridled beast , the Master casts , And shakes off the Saylor , griping close the Mast , The rest shrink into Cabines , as their gravy rooms . The main Mast , by the Board is cut , The goods thrown o're the Hull to save . Then gaping comes the fatall wave . VVhich into watry womb , at one suck d●●ws down all . Yet as a Load too heavy to disgest , One s●rge , plaies it over to the rest , Some pieces of the wrack , on sands are cast , Some on the ragged Rocks : The Timber plancks , start out ; the Ribbs in pieces crack ▪ And these , thus yeelding , breaks her massie back . Here , barrells flote , there packs , not yet through-wet , And chests of mighty wealth ; Men and boyes , bestride them , whilst they can , Then shrink , and cry , Farewel , from boy to man . The Hog sheads , full of Claret VVine , The curled Foame , doth mixe with brines Both being dipt , in dies of red ; and seem to blush with shame , For swallowing down , the Merchant's gain . The Factors , Saylors , Children , Wives and Friends , In wretched losse , the whole adventure ends . A world of scattered goods , on Billows green , ( As at a Mart on grasse ) you might have seen . The shore , more cruell , then the Seas , devoures . For they , who claime the wrack , crye , All is ours . The sunck ships fall , and beaten waters roare , VVhich mightaiy affrights them , on the shore . VVho scapes the greedy waves of Seas , are cast on land , Find buriall there ; the people , weeping stand : You might behold , one Man , ne're stoop'd To basenesse , though to brine In swimming sincks , but up again he gets ; Now strides a Mast , layes hold , on yard , and planck , And though amongst the lost , himself doth vault . Yet strives with arms , and leggs , and ( often so ) Death favour'd him , and lets him go . God unto Man , gives gifts of such a mind , Above the power of Fortune , Seas , or Wind. The Maidens wept when they came in ; and it was her taske to tell this story , whose beauty , ( shadowed only by her teares , ) gave grace to the relation , and pitty to the distressed . But afterwards , being put into a Draught and coloured , it is accompted no lesse than a singular dignity to Cardinall — Cabinet , his most admired Piece . And the Prints of this are likewise lost at Sea . Which you may supply with any other such storm . Of Painting and Poetry compared . 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 ; in these two distiall discriptions , of the Fiery Mountain , and Prospect at Land , and of the horrid tempest and Ship ▪ wrack at Sea ▪ the like may be conceived of many other millions of change . There being such Harmony in them , that may not be separate ; and when Eloquence flourished , Painting was esteemed . 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 smitation 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 . Yet Painting was before Poetry ; for Pictures were made before Letters were read . For before that the Aegyptians had Letters , they signified their conceptions by Hieroglyphicks of Figures , Characters , and Cyphers , of divers things : as Birds , Beasts , Trees , Plants , and by tradition to their Children were readily understood . As by the Earth , the Oxe , a beast of the Tillage ; by the Faulcon , diligence and swiftness ; By the Bee , a King , mildness and justice , by hony and a sting ; by the Eagle , Envy , not accompanying other Birds ; by a Serpent his taile in his mouth , the revolution of the yeare ; for hearing , a Hare listning ; and such like numberlesse . And fram'd their gods also of such Creatures , and things ; as that ancient piece of Antiquity , a carved Stone in Rome in the Garden of the House of Julius , the form of a Man with an Apes face and Doggs eares , holding a Sphere of the Heavenly Circles in one hand , a Mercury-Staff in the left , standing upon the back of a Crocodile , according to these verses . Templa Paretoniis onerâsse Altaria Monstris Quis negat ? inter quae Simia et Ibis erant ; Et Canis et Vasto frendens Croc●dilus hiatu , Herbae etiam cultu , non caruêre suo . Dij Aegyptiorum . Romae in Hortis Julij . III. P. M. The Greeks adventured on this Art , meerly in the first Elements of Black and White ; which afterwards were put into Colour by the Romanes , with whom Painting was much in esteem , and had the honour of a liberall Art . In Rome the fabij were surnamed Pictor , and the Temple Salus circumscribed . Quintus Fabius pinxi : from whence the Italians , of excellent spirits and best designers , gave examples . The Germanes more laborious , followed their fashion ; and the English , Dutch , and French , become Imitators of them all . The Art of Painting hath been valued , from Antiquity ; yet rarely arrived to its perfection , in any age : partly by ignorance , of most men in this Art , seldom encouraging the Professor : Besides , in truth , it is a gift in the Artist peculiar ; more naturall to a single fancy , then common to all . The difficulty therefore to attain it , is not to be laboured out by ordinary paines , and industry ; yet requiring indefatigable assistance , to bring the work to become a wonder . Picture insinuates into our most inward affections : Things by the Eare , doe but faintly stirre the mind , but captivate the Eyes ; as being the more accurate witnesses of the two : Gods may be conceived by Poesie , but are madeby Painters . So did they well ; who , to enforce a more horrid reception of the Dutch-cruelty upon our English at Amboyna in the East Indies , described it into Picture ( after that it had been , most eloquently urged , by Sr. Dudly Digs and imprinted , ) to incense the Passions , by sight thereof ; which truly ( I remember well ) appeared to me so monstrous , as I then wished it to be burnt . And so belike it seemed prudentiall to those in power , who soon defac'd it ; lest , had it come forth in common , might have incited us then , to a nationall quarrell and revenge ; though we have not wanted other just provocations since to make them our enemies . However , at the time before , it wrought this strange effect upon the widow of one of the Martyrs ; who , upon former relations , prosecuted her complaint ; but when she saw the Picture , lively describing her Husband's horrid execution , she sunck down , in a dead swound . Wee read , of Kings and Nations , that have valued Painters ; so have they sought their Paintings , for their weight in Gold ; for 100 Talents ; for 6000. testers ; 12000. testers Nay some Pieces were preserved with so much safety , that their Keepers lives , have been responsable for their security . An example of that nature , we had in Abraham van-Dort , Supervisor of the late King CHARLES his Repository of Rarities ; with especiall command and care of one most excellent piece of Miniture ; which therefore he lodged ( more secure then safe ) so farre out of the way , as not to be found by himself , when it was missing , to his own memory , at the KINGS demand ; till after his death , the Executors brought it home . This chance , fitted the story ; which was [ of the lost Sheep found ] The designe of the Limner , A shepheard bearing upon his shoulder a strai'd sheep to the fold . The Doctrine ; Christ reclaimes the sinner . But miserable it was to the poor man who at the first , for fear of his Masters Van Dorts displeasure , or perhaps his own love to the excellency of that Art , in sad regret , went home and hanged himself . Severall Pieces have been presented to Citties , Common-wealths , Nations , and Kingdomes , as overvaluable for any private person . Our late King CHARLES , had many most rare Originalls , Collections , both of Painting and Sculpture . He being the most of fame , for his incouragement , and Patronage of Arts and Honour . His love to this Art , begat three Knight-Painters ; Rubens , Vandick , and Gerbier , the last had little of Art , or merit ; a common Pen ▪ man , who Pensil'd the Dialogue in the Dutch Church LONDON ; his first rise of preferment . The Vse and Ornament of Pictures . TO give a Picture its value , in respect of the use : We may consider , that God hath created the whole universe for Man ; the Microcosm whereof , is contracted into each Mans Mansion House , or Home , wherein he enjoyes the usus-fructus of himself , and leaves it so , to his Son , as an Inheritage of strength , Profit , Pleasure . The great Oeconomistes of all Ages ( and so other men from noble examples ) have indevoured , to magnifie their own Memories , with Princely Pallaces of structure , and afterwards to adorne them distinct and gracefully , with Pictures within , and Sculpture without . And both these witty Arts , have contended for Supremacie , whether Imagery imbossed , which pretends ( as indeed it is to ordinary Capacities ) more naturall , and so easier to be apprehended , whose excellency is only in the soft Sculpt of the Chizell , as if it were Painted ; Or the other , Painting , being the more rare by enforceing shadows upon a Flat , as if Carved ; and yet the shadows themselves , not grossely apparant . Certainly , this latter , must be the more excellent Artifice , by forcing this to seem so , upon a Flat , which Nature makes rising and hollow ; and indeed , the truth is wonderfully concluded by one A. B. He is a blind man , yet by feeling the form and lineaments of Nature in the Life , doth mould by the hand in Clay , rare figures exceeding like in shape , which is impossible to be don by him , in Painting . But of this , more hereafter when we come to working in Colours . A Picture in truth , must stand off Naturall , as if it were Carved , gracefull and pleasant at the first blush , or sight thereof ; which are the excellencies of ancient Painters : of whose Originalls many , even pretenders to this Art , are deceived with Copies . Of Originall Pieces and of 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 ; I knew but one , that herein ( La Croix ) who out-went all ; and copied many of the Kings Originalls , from severall rarities in this kind . It is said that Laniere in Paris , by a cunning way of tempering his Colours with Chimney Soote , the Painting becoms duskish , and seems ancient ; which done , he roules up and thereby it crackls , and so mistaken for an old Principall , it being well copied from a good hand . To judge of them with facility ; Originalls have a Natural force of Grace Rising ; Copies seem to have , only an imperfect , and borrowed comlinesse ; and if you stay to judge of them , though they seem so , to the sight of Imitation , yet it proceeds not out of a Naturall Genius in the Workeman . 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 accommodate himself , to another mans intent . Authority gives Pictures repute by age , which no Art can well imitate . Garish Colours , in new Pieces , take the eye at first ; But in old Pictures we are delighted , with their decayings , horridnesse of the Colours . Old PICTURES in a wonderfull simplicity of Colours , draw their chief Commendations , from a more accurate , and gracefull designe . New Pieces , on the contrary , being but carelessely designed , stand most of all on their garish Colours , and some affectation of Light and shadows , strained with over-daring . It is the opinion of many Masters of this Art concerning Ancient Originalls ; that the ayre , by time and age works so much upon the Colours , that the Oilynesse thereof , being vaded , the Colour becomes more fleshy , more Naturall than at the first . So they say of Tytians , and of Jurgiones being his Master . In Copies you shall not find such freeness of the hand and Pensill ; It will discover it self to skilfull observators , not to be Naturall , but forced : Painters express the difference ; they judge of old pieces and their decayes from what they were at the first , by viewing them through their fingers as through a Lettice or Vale , by a secret Mystery in that Art . Like as to a good Judgment we usually may guesse of the Beauty of her Youth in an ancient well formed Matron . Choyce of Pictures . 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 Figures . Others in Prospective . Some in Shipwrack and Seas . In designe . In likenesse to th' Life . In Landskip , not many . In Flowers . In Huntings and Beasts . Cattle and Neat-heards . The Prints of these were also lost but you may meet with others for Example . And in each of these severall Artists have been ( properly ) more rare . The ancient Italians , who first began in Figures were Cimubes , and he was farre surpassed by Gotto , famous untill the time of Peter Perugino , who was infinitely out-done , by his excellent Scholler Raphaell Urbino ; In his time flourished the most admired Artizans for Architecture , for Paintings , for Sculpture , as Bramon● for Architecture ; &c. Then came the World's wonder Michael Angelo ; Bona R●tto ; Georgeon del Castelfranco ; Coregio Dannielle ; Macerino ▪ Andrea del Certo , Julio Romano . These all excellent History Painters , whose works ( for the most part ) they throughly finished . To these , succeeded Titian , and Jacobus Palma , whose Paintings were Inferior to none ; but as to the Invention and Design they mastered it in another manner . After them , we find Lu●hetta , Tenteret●a , Paulo Vern●s , who for Noble Inventions , quantity of make , excellent designe , beauty of Colouring exceeding all before , are different in Painting from all the rest . The late age produced many brave Masters , but somewhat inferior to the former ; viz. Anniball and Lodowick Carosier ( two brothers ) . And another Michael Angelo ( called Corrowageo● ) Joseph d' Arpi●as , Guido● Paleneza and many other their equalls ; at present , Peter de Cordova . That famous Albert Durex , who never learned of any , yet he is known of all . He never travelled abroad , nor had the light of study after the Antique Marbles , wherein he was deficient ; otherwise no doubt he had infinitely surpassed all the former , as it may appear by his admirable works in Oyle , Limning , in water , Etching ; and Graving in Copper and Wood . His works of Graving were the first that were ever seen in Italy , which set that Nation Imitators of him therein , for his Master Marta ( 20 years before ) found out that Art , but never performed any matter therein prayseworthy . We find only this Albert Durex ( of a Painter ) that writ methodically of the Art of Perspective & Geometry : No modern hath writ better . And his Symmetry , so exact , both of truth and diligence ; that none other hath adventured to imitate . This defect he had , that all his designes were disgraced by his Gothick way of Architect , which he followed , after the gross building of his owne Country , alwayes living at home . Hans Hobben and Antonio More , in that curious smooth Painting specially after the Life , have not been exampled by any . About the same time lived Martin Hemskerke , So●oclere , and divers others , good Masters . Since these ; we find Blewmart , Seagers , Ruberus ▪ and Antonia Vandike , who exceeded these , especially after the Life . The ancient French Masters were Le petit Barnard , Voget , Lehere , Blancher . And at present , the most excellent Nicholas Posen for History . Foquere and Claud Delaverne , for Landskip . Particular Masterie● . FOr excellent designes of Noble History , vve may be amazed to behold the aforesaid Urbin , Angelo , Vernes , and Tinteret . For Life , Titian , Holben , Antonio More ▪ but now it becomes the bold adventure of all , as the ordina ry practice that most men apprehend , of common Use and Sale . In which Vandik was excellent ; and now in England the most Painters profess it . Albert Durex was the first in Landskips whose errors are now amended by late observation . He usually wrought , his Horison to the top or edge of the Piece ; which may be true to nature and Art , but nothing gracefull ( as hereafter is observed when we come to working . ) The best indeed in this kind , were Paulus ●rill , Claud de Laniere , and Vanbots : The French were well affected to this way , Troquere for one ; for of that Nation , their Spirits are seldom so well setled , as to be excellent . And for the Dutch , Vangore was the best ▪ but pretenders not a few . Of our own Nation I know none ▪ more excellent but Streter who indeed is a compleat Master therein , as also in other Arts of Etching , Graving , and his worke of Archi●ecture and Perspective : not a line but is true to the Rules of A●t and Symmetry . For Flower-pots and Paintings of that kind , Brugel and Dehem were excellent : but now Paulus Seagers is best of all , a rare Artizan , and Van Thewlin of Antwerpe , his Imitator . And in dead-standing-things , Little-House , a Dutchman . Stenwick in Prospective . Porsellus in Sea Pieces and Shipwracks . For Hunting and Beasts of Prey , Snider ▪ and in little , Ellsamere , Rohen , Hames , Tambots , who led the way to sundry others that practise after his excellent hand in this kind , and for Horses ; Woverman for Cattle and Neat-heard , both the ●assances ; the Elder , more exact . And in an excellent Master , you may meet with all these Eminencies compleat ; Raphael Urbin , and Titian the best that this Art can boast of . All these had their severall ages of Fame , and decay ; their Growths and Wanes ; Perfections and Weakenesses . These now in England are not less worthy of fame then any forraigner ; and although some of them be strangers born , yet for their affection to our Nation we may mixe them together . Our Modern Masters comparable with any now beyond Seas : Not to take upon me to enroll them in order and degree of merit ; each one hath his deserts . In the Life , walker Zowst , Wright , Lillie , Hales , Shepheard , de Grange , rare Artizans . Fuller for story . Stone and Croix ingenious Painters in the incomparable way of Copying after the Antient Masters . Barlo for Fowl and Fish , and Streter in all Paintings . Then have we Marshall for Flowers and Fruits . Flesher for Sea-Pi●ces . Reurie for most Paintings , usually in little , and John Baptista ; also Cleve his excellent designes for those rare Tapstry work , wrought at Moretlake , and otherwise , which will eternize his aged body . For Miniture or Limning , in water-Colours , Hoskins and his Son , the next modern since the Hilliards , father and son ; those Pieces of the father ( if my judgment faile not ) incomparable . The like of Coopers and Cary : And let me say it with submission , Gibsons great piece of the Queen of England's head to the Life , done with that elaborate and yet accurate neatness as may be a Master-piece to posterity . And to make good that Maxime , that the ground of all excellencies in this Art is the Naturall fancie bon-esprite , quick wit , and ingenuity , which adds and enables the elaborate part , pick me out one equall to Madam Caris , a Brabanne ; Judgment and Art mixed together in her rare pieces of Limning , since they came into England . And in Oyl Colours we have a virtuous example in that worthy Artist Mrs. Carlile : and of others Mr. Beale , Mrs. Brooman , and to Mrs. Weimes . And to give honour to this Art of Painting many worthy Gentlemen , ingenious in their private delight , are become Juditious practitioners herein ; Namely Sr ▪ John Holland , Mr. Guies , Mr. Parker , Mr. Sprignall , and others ; I need not name the rest ; their works will better their worths and estimations in this and other excellent sciences of Art and Learning . Quaere , Haines and Thorne . Of Abilities in Painters . HIstory informs us , that in Warre , all Arts dissolve into that action ; but when the Roman Sword had bounded the Empire , then the peacefull endevours of cunning Artizans out-went former excellencie of the Graecian instructions ; from whom , these derived their Learning . And yet of all Arts , this of Painting is least beholden , to the Gramaticall Pen , for any knowledge of the Theory by their deficiency in the Practicall : and so not doubly qualified in both , Pen and Pensil , Rule and Example , the perfection becomes less communicable to posterity ; being rarely conjoyned in one , a Learned Painter . This observation leads me into an ingenuous Confession of my self , to be neither ; but as a Lover of Arts , I am an intruder upon either . The Liberty of these latter loose times prevailing over my former imployments , ( heretofore of somewhat more concernment ) have now resolved me into the harmlesse simplicity of doing any thing , that may be aequè bonum to divert me , ( even my thoughts ) from Malignity . You may desire many Abilities of an Artist in his Piece , but the Italians observe each single prayse to deserve merit , in any one Master . Some , are noted for one of these , viz. Diligence and Proportion , ●ith a free hand . Fancie , and conceiving of Passions . Invention . Grace . Of all these , we shall discourse hereafter . 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 . FOr the first ; there must be truth in every part , and Proportion of the figure , just and Naturall with the Life . Some artizans , strain Limbs into extream . 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 . 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 ; as in Centaurs , Satyrs , Sirenes , Flying-Horses . And therefore I say . Pictur a fit ejus , et quod est , et quod non pote st esse . Which are easily figured , by those that dare adventure , with Judgment . And so the beauty of such a fiction , may consist in Exorbitance , and the fancie of the Painter to be without Limitation . And yet the Philosophers have writ of wonderfull intermixed shapes , that have been seen of severall kinds , in one Creature . Earthly , as Satyrs , Centaurs , Flying-Horses , Waterish , Fishes Flying , Sea-Horses , Tritons the Male , Nereïdes the female . Th●odore Gaza caught one of these Nereïdes in Grece ; and in Zeland , was another taught to spinne ; so sayes Alexander of Alexan●●ia , and some others that have seen Monsters , Chimeraes Hippotames , and others such , which Heraulds undertake , to bestow upon Gentlemans Buryings . Beyond the actuall works of Nature , a Painter may describe , but not to exceed the conceived possibilities of Nature in the same Culture . St. Austin affirmes , that in Utica , a Town in Affrica , he saw the Jaw-bone of a man , as great and weighty , as of 100. men of that age . The descriptions of men in great actions , were the constant designes of Poets , to afford the● large and ample Limbs . The Statuaries of Roman Gods , and men of fame , were so imitated ; and being well drawn , ( that is Proportionate to Disproportion ) in Picture , are excellent Ornaments : for though I confess a Painters profession , may be , the imitation of Nature , yet to exceed her kind , shews his own store and provision of fancie , without borrowing of her example ; and does well in Picture , if not ill done by the Painter . Since it discovers no suspition of ignorance in him , having his liberty allowed , that what he could not master , he might have left undone . 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 . Grace , is the bold and free disposing of the hand in the whole draught of the designe . You have the pattern to the Life , in an unaffected freedome , La mode , or Bon mene of fashion in Man or Woman ; which sets out , or supplyes beauty ; the French have devised that phrase , to commend a Madam , whose behaviour mends Natures defects , and thereby the Courtisie of Court allows her , not unhandsome . Well Coloured . SEcondly , 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 were blended together . 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 . 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 . We have done with our Picture of Choyc not to trouble you with more , or other Notes of perfection , for the present untill afterward , that we treat of Working . Indeed Perfections of these kinds , are so various , and mysterious , that chief Masters themselves , in the right censure of their worke , have undergon , severall characters of defect . Grecians the first Painters . WE have it rendred from an old Author , that the first of Antiquity , that drew Proportions , were Grecians ( as aforesaid ) in Black and white ; who have begotten others , that in time became Masters in Painting also . And afterwards , many added to this Art . The first inventing the due disposition of Lights in the draught , and evermore , with ampler Limbs then the Life . Homer set out so his gods 〈◊〉 goddesses with large formes and features , as aforesaid . Then they came to limit Proportions exactly , as Law-makers ; whom others followed as decrees . About the time of Philip , Painting began to flourish ; and so to the successors of Alexander ; for we have severall of those antient Artizans , set out to us , for their excellencies , in sundry of those Abilities , which we have named , as , Pictegenes , in Diligence . Pamphilus & Melanchius in Proportion . Antiphylus , in Facility . Theon , in Fantasie and Passions . Apelles , in Invention and Grace . Euphranor , a rare Artizan as in Generall , so in Painting . How to dispose of Pictures and Paintings . ANd now ; supposing that you have purchased the most costly Pieces , we must next consider , how to dispose them properly , with Conveniencie and Grace , for the adornment of your House . We shall not doubt the Question , whether Painting becomes out-sides of walls of the House ; In imitation of the Germain ; Caecill Viscount Wimbleton ( sometime generall of the English in the Dutch Warrs ) seems to intend the beautifying pleasant Scite , and gracefull Edifice at Wimbleton , with large and ample figures without doors ; in Fresco and Stoke parke in Northampton , they are done by claine . And Carew House at Parsons Green , large and bold , but almost decayed , though but lately done . Some Towns are done so amongst the Germains , but then , not with glaring Colours ; that were to please common judgments . I have observed other Pieces in England , not many ; for indeed the worke is soon lost upon a moist Wall ; which in our Clime necessarily follows . That excellent Painting of the two Kings , Henry the seaventh and eighth , with their Queens , done upon the Wall in the Privy Chamber of the late KING at White-Hall in Oyle only , by the rare hand of Holben , hath been preserved with continuall warmth within doors , and benefit of fire , even till now . But withall , I observe the Wall , prim'd with a very thick Compost of Playster , and some other mixture fixed , to preserve the worke . Therefore I admit of no Colouring upon Walls ; If any Draugh●●●●en let them be Black and White , or of one Colour hightn●● 〈◊〉 Figures of Life , Men and Women : Or otherwise Nakeds , as large as the place will afford . If without Personages , I wish it of Counterfeits , or imitations of Marbles , Aquae-ducts , Arches , Columns , Ruines , Cataracts , in large proportions , bold and high , and to be well done ; for fear of Lamenesse , which is soon discerned . Of Grotesco . 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 ; as running-trale ▪ worke , and not ill mastered : But when all is done ( now a dayes ) it looks like an Ale-house ; Citizen painting , being too common ; and usually else-vvhere , were very ill wrought . Excellent prints of this kind were lost at Sea , of Steven de Labella . 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 . Here a Print of Grotesco should have been inserted . Of Fresco . THere is a Painting upon Walls called Fresco : It was the ancient Graecians Noble way of Painting , and since much used by the Romans . Plutarch tells us : That Aratus the great Commander under Ptolemie of Aegypt , ( being curious to satisfie his Soveraign's delight in Pictures ) presented him with such Rarities , as his Victories made him Master of ; or , that he could purchase at any price , and ( in a Complement to the Emperour's affection that way ) spared the sacking of a wealthy Citty ▪ meerly for the Excellency of Fresco-Painting , upon the Wall , and out ▪ side of Houses ; lest the unruly Souldier , by Fire , or otherwayes , should ruine the raritie . There have been PAINTINGS of this worke , in severall Towns of GERMANY , rarely done ; but now ruined by Warre . 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 vvorke , and are yet called , Raphaells designes . Other places , done by Andrea dél sexto , and Michael Angelo , and some other Artists . At Fountain-bleau in France , is most excellent worke of this kind ; they are the continued Travails of Ulysses in 60. Pieces , done by Bollameo , Martin Rouse a Florentine , and others . But more of this hereafter ; when we shew the manner and order of this worke , in the second Book . To place the Pictures within Doors . LEt us therefore contrive our Pictures within doors ; spare your purse and pains , not to Clutter the Room with too many Pieces , unlesse in Galleries and Repositories , as rarityes of severall Artizans intermingled ; otherwise it becomes only a Painters-Shop , for choyce of sale . Place your best Pieces , to be seen with single lights : Thorough Lights on both sides , or double windows at each end , are Enemies to the view of Painting ; for then the shadows fall not naturall , being alwayes made to answer one Light . Observe in their placing , as you may see how the Painter stood in his working , the light of the windows to fall upon the right side of the worke from whence their Shadows alwayes fall backward . The Italian's evermore , stand low beneath their high windows ; so then , the shadows in his figures , have that respect , as a descending light , best for mens faces , and shews them lively , and generally low Lights to large Pieces , do prejudice Paintings . Then bestow them orderly , and in their Qualities properly , and fitly , for Ornaments ; lest your cost and discretion , be cast away at once . In the entrance of your house , or Porch ; with some Rustique figures , or things rurall . The Hall with Paintings of Neat-heards , Pesants , Shep-heards , Milke-maides attending Cattle , in proper degrees , some other also , of Kitchenry ; severall sorts of Foul and Fish , sitted for the Cooking . Pictures becomes the sides of your Staire-case ; when the grace of a Painting invites your guest to breathe , and stop at the ease-pace ; and to delight him , with some Ruine or Building which may at a view , as he passes up , be observed . And a Piece over-head , to cover the Sieling , at the top-landing , to be fore-shortned , in figures looking downward , out of the Clouds with Garlands or Cornu-Copia's , to bid wellcome . The Great Chamber with Landskips , Huntings , Fishing , Fowling ; or , History of Notable actions . The Dyning-Roome ; with the most eminent ; a King and Queen , if possibly to be purchased at any rate , ( I mean their Pictures ) rarely done ; the want whereof in former times , were supplyed onely , with the Court-Arms of their Majesties ; few good subjects then , but conceived it expedient , to express their Love and Loyalty , by some such Embleme , or note of remembrance . But then in reverence to their Persons , forbear to place any other Pictures of Life , as not worthy their Companions ; being , themselves , Ornament sufficient , for any Room : unless ( as some will have it ) at the nether end , two or three , of their own bloud : Or of chiefe Nobility , ( Favourits ) to waite upon their princely Persons . Inward with drawing Chambers ; place others of the Life , whether of Honour , friendship or of Art only . Your own and your wives or Children , best become your discretion , and her modesty , ( if she be faire ) to furnish the most private , or Bed-Chamber ; lest , ( being too publique ) an Italian ▪ minded Guest , gaze too long on them , and commend the worke for your wive's sake . We had an arrant Knight , notorious in this error , who was so mistaken with the love of his wife and handsome daughters , that in each hole ( of his house I mean ) you might salute them ; As for which , they became the more common here , and after beyond Seas , to his and their ruine . Cheerfull Paintings , In Banquetting Rooms : but here , as anywhere , forbear Obseene Pictures ; those Centaures , Satyrs Ravishings , Jupiter-scapes in severall Shapes , though often done by rare Artists : unless you mean to publish the sign , because you delight in the sinn . Graver stories ; Histories your best figures , and rarest worke becomes Galleries ; here you Walk , Judge , Examine , Censure . Landskips become Chimney-pieces , Boscage , and VVildworke , in Tarraces or open places ; Summer-Houses , Stone-walks some Church Prospect , or Buildings , set out well , at the end of the Walke . One Rule for all , and every pieces ; If they hang high above reach , set them somewhat bending forward , at the Top from the wall ; because ( as one observes ) the visuall beames of the eye , extend to the top of the Picture , appeare farther off , then the foot ; to reduce it , allow the advantage of stooping forward above . And thus much of Pictures their Choyce and Use , there being five kinds of Paintings . Distemper or Sise-colour ; Frescoe ; Oyle-Colours ; Miniture or VVater-Colours ; Croyons , or dry Colours . By this time having told you thus much , to make you in Love with the VVorke , let me say somewhat to teach you the ART ; and so to save your purse , and delight your practice . Which to do , I must begin , with the beginning of the Practise of the Pen ; and then , to the Pensil . Of Drawing , and Designing in generall . 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 ) perf●cts the hand , for all manner of writing . And , if it be the generall Rule , ( or should be ) that Children be taught some gentle Manu-facture ; then , doth this of Drawing , apt them for those . For almost , nay in any Art , we must respect Rule , and Proportion , which this makes perfect . And such as will not make it up to a trade , yet , the Idea thereof , renders a man very usefull , As for Navarchy ; Modells for building Ships , and Rigging them . Architecture ; Modells for Houses . Anatomie ; forming Skeletons . Magneticks ; Compasses , Globes , Instruments , Dialls . Batonicks ; Gardning . Astronomicalls . Graving , Etching , Carving , Embling , Moulding , &c. Thus much in generall , for the Excellencie of this Art . 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 . Being the singular delight , rather to be doing , then to have done . The Spirits evermore refreshed , with new fancies , and unexpected success in the end , are never wearied . The livelin●sse of the fancie , cannot be contained within the compass of ordinary practice , readily expressing the inward Motions of a forward mind . The Practice of Drawing or 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 . So then you may have large and lesse paires of Compasses , the one foot shorter , to put therein a Pen for Inke , or Black lead ; a strait Ruler and a squire . Of Box , Holly , Sallow , and Prick-wood . Provide your self necessarily of Cole-Pensils , split into shivers , from a Charcoale of Sallow wood , soft with a pith running through it , well burnt , the grain , and Colour like Black Satten . Other Pensills , of Black-lead , Black and white Chalke , and Pastills also of severall Colours ; the making and use is hereafter taught you in the second book . Get a booke in Folio , of a double Quire of fine Paper , ( as also some sheets of Blew Papers and other Colours ) to avoid loose leaves , soon lost ; that by overlooking your first draughts thereon , you may with incouragement , delight in your proficiency . The foundation of Proportion consists in severall particular figures , by which , I would have you enter your Drawings ; as the Circle , Ovail , Square , Trangle , Cilinder : Each of these have their effects . Ovall , is a direction for the Face Square , for Platforms , buildings , fortifications ; Circle , for all Orbicular Shapes ; Triangle , for three-side lines ; Cilinder for Pillars , Columns ; and these with small practice , you will Master : they do , but , make your hand . Begin your Example , by a Copie or Print , of those severall forms of figures ; a the Sun , ●ull-Moon , Orbicular Flowers , or other Circular shapes , and so of the rest , by the outside line only , without shadows . These I propose as most easie , to win your affection , to more difficulties ; to bring your hand , to hold your Cole , to draw lightly , to wipe it out , with a feather and to practice it , over again , untill you master these formes , as your first worke . Then , practise by severall members of the body ; in some Print ; as the Eare , Eye , Nose , Hand , Foot , Legg , by themselves in severall Postures , all which are particularly designed for this Art . The next is , by a Print , or Copy of a Head and shoulders of a Man or Woman , frame the out dimension or Table , which comprehends your Sample with equall lines , whether Square , Circle ▪ or Ovall ; by help of Rule and Compass . Observing the distance from the lines of your Table , by your eye ; then take your Cole , made very fine and sharpe , with a Pen-knife , or smooth File . Begin from the top of the Brow or Forehead ; trace the out line of the face down to the tip of the chin with a soft and gentle hand , hardly discernable , wiping it out with a feather , or piece of Spanish Leather with sharp Corners so oft , until your practice comes like your Pattern . Then gently draw Orbicular , the out side line of the Head , from the Brow where you began , to the Crown ; and so backwards , down to the Neck , compassing it to the Throat and Chin , vvhere you left ; all which becomes Ovall . Then guesse at the Eye-browes ; marke out the place of the Eyes ; between them , draw down the Nose and Nostrills , score out the Line , and length of the Mouth and Lipps ; lastly , the Eare , and the Haire , falling upon the Face ; wipe it out all with a feather ; leaving the Lines discernable only , by which you may discover the errors and amend them . Then draw it all again as before ; overlooking each part , untill it becomes reasonable ; then perfect the Eyes , Nose , Lips , Eares , Hair , go on boldly ; adventure a stroke or Line , down from the Chin , for the Throate ; the Back-stroake , alike , from the Eare , to the Neck , and Shoulder ; and so proceed to the Breast , or further down , as your Print is in length , which commonly is not deep , for a Head ▪ Looke over this worke ; be not discouraged , though deformed ; wipe it out as before ; and by the Errors , amend it so oft till it become reasonable handsome . Let this draught remain in your Book ; begin another of the same , and so a third , or more ; perfecting each with courage , and confidence , for 2 or three severall dayes practice , that you may find delight in your proficiencie . When you can Master a single head of severall postures ; as side-face , three gutters and full ; looking upward , downward , fore-shortned ; Then adventure on a whole figure at length , Man , VVoman , or Child ; Then some Skeletons , forward , back , and side , and after all , cloathed with Garments ; Lastly , shadow each one of those severally , as a true Copy from the Principall ; drawing over the Lines of the Charcoale , and then over that , with a Ravens quill pen , for to remain in your book , and hatch it . I had prepared Prints for all these directions but they are lost at Sea . Black Chalke Pensils draws handsomely ( without the Cole ) upon Blew-paper , and shadowed neatly ; being heightned with VVhite-lead Pastils , you may practice upon severall coloured papers , as the ground and shadow ; and heighten it with other Colour Pastils , as your fancy affects . By Copies of Prints ; first drawings of good masters , by Paintings or by Sculptures of round ; and then by Observation of nature , in the Life , learn to understand ( before you shall perfectly draw them ) the reason and cause of true shadows of Bodies , as they appear heightned , outward , or deepned , in their Concave or hollow . Which are caused by neernesse , as farther distance , from the light ; and therefore , those Prints which duely observe them , express much judgment , and the true Spirit of a Picture . Drapery-garments ; of severall Stuffs , coorse or fine , Silke , VVollen , 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 . 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 ; lest 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 your better directions herein , get some Designes or draughts , done in Chalke , Red-oaker , dry Colours , Croyons , or Pastills , for your patterns . The best Prints , for true proportion ; take Raphael of other Old Artizans well graven . Coltius , ( a Hollander of Harlem , ) varies his postures , very much ; large and bold hatches ; but curious and true , in all his shadows ; Michael Angelo , his Pieces are not common , a famous Italian ; Hans Holben , a perfect Master ; his bold hand appeares in severall Ornaments of Painting , at VVhitehall Chappell , and Palace ; at Greenwich , Hampton Court : but mostly defaced by the injurie of time . He was imployed by King Henry the Eighth against the entertainment of the Emperour Charles the 5th , his Prints are not common . Shadan , VVierin , Spranga , Michaell-Jans of Delph , Raphael and John Sadler , and other Masters sans , Number . 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 ; and so in Oyl-Colours , to the Life or History : from which other Masters , Gravers in Copper , or Etching with Strong-water , have preserved them in Prints , for more publick use , and eternall memory of the first Authors , either after their first Draughts , or Paintings . 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 excellent Artists in Graving are , Father Lambert , Hollar , Vaughan , Trevethen , Gay-wood , Crosse . 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 ; hasty 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 . And therefore , give me leave to read a Lecture of the powers of a Painter . Of the powers of a Painter and Painting . PHilosophers , divide the universe ( which is their subject ) into three Regions ; Caelestiall , 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 . 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 . The powers of a Painter , is expressed , by Imitation of Naturall things , whereof the most excellent , are ever , the most difficult ; easie to paint deformity . 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 , not delicate ; rash ▪ not Confident ; Negligent , not Plain . Severall men , severall excellencies : Some in Grace , Boldness , Diligence , Subtility , Magnificence , &c. ( as aforesaid ) . In all , do not imitate outward Ornaments , but express inward force ? Yet in some Pieces I have found these vertues not pleasing , and , even vices ( themselves ) gracefull ; but then , it hath been by a Master , that boldly did it , to shew , that he was able , to make his conceite a pattern , ( as before said . ) Generally , follow best Masters , lest an indifferent choyce bring you to an evill habite . Proficiencie 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 ; ( Estautem 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 . 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 judgment ; from thence , to the fancie ; and there looked 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 . Herein appears the marvailous force of Imagination ; A man sleeps , his Senses are at rest , yet his Imagination is at worke ; and offers things to him , as if present , and awake . Imagination moves the passion and affections of the Soul ; and can provoke the body , to change the Accidents ; as to make a man sick , or well ; sorrow , joy , sear . 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 amend fancie , we must lodge up such rarities , as are administred to sight , to encrease the meditation of fancie ; as in your dayly view of forms and shadows , made by lights and darknesses ; such as in the Clouds neer summer Sun-setting ; which soon alter change and vanish , and cannot remain for Copying , but must be lodged in the fancie so that it is no difficulty , to study this Art walking by day or night . In your bed , waking or sleeping , or what dr●ams and fancie possesses your sleep . You have Lessons in all , and Paintings there are of either . 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 mu●ing upon his work for some time ; and in an instant in the livelinesse of spirit , with a nimble hand would force out , his over-charged brain into description , as not to be contained in the Compass of ordinary practice , but by a violent driving on of the passion . The Commotions of the mind , are not to be cooled by slow 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 . Be not so over-curious that the grace of your worke be abated by the over-diligence ; as never to tell , when you have done well : therein you will be maximus tuî Calumniator , your owne worst detractor . Not to dwell upon every line ; nor to alter what is well ; It wants true judgment and makes it worse ; and so to love every thing we do , whilst a doing , though too much . Not being able in the exercise of designing , to overtake the quicknesse of fancie ; we must therefore unbend the intention of our thoughts ; breathing , and reviewing what is done , by which we make a handsome connexion of things . To adde or detract , to allay those things which swell too much , to raise things that sinck , to ty things that flow , to digest or compose what is without order , to restrain what is superfluous , require double paines ; to lay it by for a time , and as it were to give it new birth ; festina lente . Admit of censure ; What others justly reprehend , amend : Apelles did so ; great wisdome in a confessed ignorance ; and be content with every ones opinion , for you shall lye open , unto two exceptions ; the Incompetent , and the corrupt witnesse ; the first , if not a Painter ; the second , if no Poet . But if your Piece deserve it , a man of knowledge should say in general termes . That you have chosen a good Argument , Story or History . That the Parts are excellently disposed . The Maintenance of the severall characters , of the Persons , properly . The dignity and vigour of the expression , in Forme and Colour . A good Spirit , boldly done , &c. And so , it may seem to have in it performed , all the parts of various experience , cleer judgment , ready memory , swift and well govern'd fancie , and this being enough for truth , and the weight and credit , of a singular testimony . But if your understanding be call'd to councell , you may please both parties , and speake like a stranger in this or the like manner , viz. Of a Picture . I Know nother Person for the Life ; Yet I like the Picture of this Lady . A lively Spirit and good Grace . Well wrought ; Round , and Neatly painted . The Lady becomes a Limner's Art . He takes the lesse pains , when Nature makes her so , to his hand . Comely Tall . If she designed her own posture , it was done with discretion . Bon-Mene adds to Nature , and yet to yield her the due , a Handsome Lady , A beautious blushing Browne . Her haire proper to the complexion ; neatly put into Curles and folds . I believe she did direct her own Dresse , and so saves the labour of his fancie ; for if I mistake not , the Lady wants no will , nor judgement to set her self forward . The face made up of excellent parts . A quick Eye and full , amends the defect in the Colour ; and yet the circled brows gracefully big and black Her Nose not over-Romane , with Nostrils fair enough . A sull mouth : the largenesse of the Lipps commendable , because plump and Red . I like well the deepned shadow stroak , which parts them , and almost shews her Ivory teeth , as if to appear ; and altogether seems to be speaking . The very dimple by the Cheek , with a wanton touch of the Pensil , singly sets out her looks , most lovely : Somewhat long visage ; and it may be in true measure to the Life , and sufficient Symmetry . But see the Painter hath done his part and me●ded Nature by round shadows , whichdeceives the Eye to the better . He did well to make her face not too full , the features had been lesse becomming . The Head is w●ll set on , supported by her Noble Neck : roundrising full and fat . Ample Brests interlined with River'et Vaues See , see ; the swelling Papps like fair Pome-waters . The Nipples too , like Rasberry fountains , in true center to their circles . Her brawny Arms of good flesh , and pure colour . A Hand well drawn ; the singers spread , and yet not forced . Her Body well fed , not too fat . An Italian Dou's delight . Her Drapery of good fashion , true Mode ; the very Colour not improper for her complexion ; well chafen Colours become the countenance . Certainly , the Painter was well paid ; or sel●pleased in his owne worke , for it must be valued a Master-piece of Lilly and might shew with more advantage , by a better light . This way and manner to commend , does not a misse for the Painter , nor to the Person if the worke deserve merit . Yet judgment will be the more true , when your eye dwells not upon particulars , but views the Limbs apart , and skips from severall Objects , to a full Close , and Censure of all . It is pitty that a Piece well done , should hang like an offender in Chaines , as if set up only , to be seen a far off not to be valued neer hand . I could wish that the Ladies would read their own Lectures this way , and though not so becomming to commend themselves , ( which the man does too much , to their faces ) yet they may cunningly informe underhand , and set out the worke to the full view of their own excellencie . To teach the Gallant by such Artificiall Patterns , how to ascribe due praise to a deserving person and so in sooth with modesty and truth , to commend both as in particular upon the Lady Vandikes Picture in England . I marry Sir , Vandick's rare Mistresse , and his Master-piece , she needed not of his Art to help her forward . A goodly Plump , Fat , well Favoured , well formed Figure . A lovely looke . How she leers out her inticeing Italianated eyes , able to confound a Saint . Her Habit put into a Garment , call it a Petty-coate , and Wast-coate , or morning dresse . ( an Alphabet of Titles , serves not sufficient to number the names of Ladies coverings . ) But I le say so much for this Piece , not overcurious ( it seems ) to set out her self . A delicate Isabella sarsnet ; the Bodies tackt together before , with sour Jewells set into buttons of Diamonds ; on each side thereof an Orient Pearle , and a fift Jewel more faire , the pendant to the other four , in fashion alike ; only , the lowest pure Pearle , so large , ( such is the Painters Art to make it ) inestimable . These but untacked , ( with little paines , but much passion ) you come to the smock , which peeps out between them ; and at the hand-wrest carelessely purfled of purest Holland ( the Nunns ne're spun neater twine ) which needs no Flanders-lace to come neer it . Indeed the Nations are at Odds , we know , their Ware may not mingle . What a stately head she has ! wel set on ! A goodly Rope of Pearle surrounding her firm , fair , and noble Neck ; full and fat fleshed shoulders , plump breasts , well coloured skin , and altogether , able to indure a mans handling . Her haire of a well chosen mingled Colour , ( as you may say ) of all into one . Not brown , nor black , and too too gracefull she was , to produce a flaxen . I can tell that the Painter was put to it , upon two ●allats full , to mixe them into a Colour , which made it as you see a lovely pure bright Aburn ; with which the darkned folds , set out each Circle , sufficient to enchant a man into those Mazes . But that her looks were so neer , which hooked yours into her eye-balls , full black and rouling , and when she had you , she held you there . Only , you might have leave to steal to her Cheek and Lippe , and there to dine and sup , and sip . The whole frame of her face a very Miracle of Nature . Her counte●ance double , for though she seems to invite you , yet with so much majesty , as to command your distance , only to admire , not to meddle . And what 's her fancie , would you think ? Somewhat she must have of ●ashion to set her out . Surely , Nolshe needs none Yet she goes not farre to fetch it . A Sap green and golden coloured Oken-branch tackt to her head . The Embleme , Strong and lasling . So was she ; a bounsing Bona-Roba , to indure for ever . Hold Sir ! Her self gives you the Ensigne of Religion ; for having done her devotion , she wraps her Row of Beads about her Arm , lifting up the pendant crosse , as who should say : At the end of all . Look upon this Sir , and you shall never sinne . 'T is Vandick's . The first Painter that e're put Ladies dresse into a careless Romance . This way suits well to most fancies , and not improperly befits the various modes , that alter with the time , and which our vine-folkes call a New-fashion . But if we looke upon Paintings of late ages , how ill doth the apparrell in use then , become the Picture now ? A Noble Custome of the antients , to be so divers in their dresse , as not seriously to settle upon any ; and so of this and other his Pieces of different devised dress . This figure ( you see ) side-way ; perhaps her body would not otherwise beare it out forward , with so much advantage as to the pleasing humour of Plumpnesse . She seems flatbreasted ; and therefore the Painter has done what he can by Art , to hide defects of Nature , and sets her out in such a posture best becomming her parts . Yet hath he given her Grace to her good Face , which she turns from the bodies posture and shews it at the best , three-quarter . She is fair and full , not fat ; plump enough , and with good features to her length ; Not over-tall , nor too slender . See , see , how pretily she is busied to wreath her Lilly ▪ flowr'd branch into a Chapelet which signifies her innocent mind intent to Nature , not Art , holding it forth as an Embleme , that Solomon in all his Loyalty came short of Nature's purity . A light brown hair ; handsomely curl'd ; not too forward upon the face . Her fair cheeks and pure complexion need not her locks , for shadow , themselves will bear out all censure ; and the better , for she used no Art to make them Red , nor hath the Artizan painted them at all . Look behind , how her Tresses roule up with ropes of Pearle ; rich and pretty , without so much as a knot of fancie to be seen , or any strain of dress about her ; her mind seems to be more serious . Her eyes somewhat sad . A Cherry lip and full , which does invite you . Her neck , something too long ; and therefore , the rope of pearl does well to help nature which cannot promise plumpnesse . Take her together , she 's better for a brave Wife , than a compleat Mistress ; her mantle rich for Winter-covering . A deep Ruby velvet , lin'd with Aurora sarsnet with excellent true shadows well folded , & ●ackt up backwards , with an equall pair of Collets ▪ pure Ovall Emralds , large and fair , well set , between four Pearles ( quarterly ) round and great . Over all , a tippit of Sables rich and deep ; Certainly , the great Tartar sent it a present to salute her . It sets off the colour of her skinne , Pine Lilly w●ite ; smooth as unspotted Marble ( if it were proper , or possibly comparative in any degree , to pattern lively flesh , to be like a stone . ) Her linnen not seen at all , unless her smock-sleeves , cuffed with a Neat-new-fashion-Flanders lace , rich and deep . Her Arms and hands well formed by nature , and may not be ill done by the Artizan . Altogether , framed equally to an eeven feature . No parts strain'd , to make her other than she should be . A handsome Piece , well worth the Painter's fame , that hath not left his fellow . Maria Ruten Vxor D. Antoni van Dyck Eq : W Faithorne excud ▪ portrait of Mary Ruthven, wife of van Dyck A Picture of the Husband and his Wife . IT is a painting of figures , inseparably two , and so made up into one Picture ; nor needs there any more addition , themselves are grace sufficient , to fill up a story ▪ The designe sets it out , as after Mid-Noon Summer , when heat hath influence on hearty affections . A new Bed-Bridall went out a walking , led by the way into a well-grown Wood , where , under the branched boughes of an ample Oak they two sat billing : and after all , in the close of the Even , the Married Man starts up , and looketh wishly on Her. His Aspect cheerfull ; a silent testimony of a cleer Soul and an eeven Conscience at peace with it self . His Countenance not more nor less than Manly ; His Constitution Sanguine , complexion ruddie . His hair of good grace , and proper colour , a darkned brown fitted for length and curling ; eye-brows , more sad , full ey'd and quick . The Nose somewhat rising , not Roman : His youthfull chin but thin , for Nature was in doubt , whether a Beard were better , or without : I might read a Lecture of his out-side Limbs , but better what 's within . His looks not unlovely , shew him Manlymild ; a tender heart full of Noble pitty . Of a Spirit too brave to offer injuries to any , and so much a Christian as to pardon them from an other ; rather willing to suffer , than to disturbe the temper of his well-composed mind into a degree of Anger . His Apparrell of Silke , and ( like civility it self ) the Colour Black . His Mantle-Cloake cast on his Arme . He looketh long upon her , and having twined his hand in hers , He seem● to speak unto Her. But She sat still ; for having found his Eye-balls fierce , an● fixed on her , and hers the like on him , and they thus imprisoned ; both of them blusht , and she looks backe : he would have done so too , had not her modesty began first . Had you but seen her thus upon the suddain , you would have said she did so , as not to undoe him , with over-looking . Her beauty was of brown : Her hair of Aburn-black ; and though she sits down , her dimension shew'd her Symmetry of personagetall , not thin . Her years beneath his , yet at such a desired distance as made eithers age equally matchlesse . Her beauty , in this blush , caused her to look the more lovely . A full eye and piercing ; the circled brows gracefully big and black ; Her forehead high , her cheeks so well complexion'd , as never till non ) she could indure ( or need they ) Painting ; some-what long visage , in true measure of the Life ; yet the Painter did his part by artificiall shadows and roundings , that you could not easily distinguish it , to be any defect of Nature . Her hair curled in wreaths and folds , as if she had a mind to enchant the Man into those fetters , and hold him there . Her ear came under all , round and small , such as men say belong to witty Women ; the tippe rather graced a Pearl than that It : In form it was most like a Pear ( no doubt there was a paire , the other though unseen ) but of such Value that a single one might be sent a Present to a Princesse ; the pattern sampled a Rope of them so round , that they were enobled into her Neck-lace . Her dress , her own direction , surpassing the Painters design ; so then , she might teach him that Art , for ever after . Her Knots of choyce Riband sap-green and silver , fancied into witty fashions , twining her hair like mazes made up into round Rouls , that lodged in the Crown and center of her Head behind . Her Head was well set on ( as Artists use to say ) supported by a round necke , down behind to her rising shoulder , full and plump , and meeting before with a fair breast , well proportion'd , interlaced with Riveret-azur-veines . See , see , the swelling paps like ripe Pome ▪ waters , well grown and fit for her Husband 's gathering . The ruddy nipples , two if seen , would seem Rasbery fountaines in true Center to their Globy-Orbs . Her brawny Arms ▪ of good flesh , and pure colour . A hand well drawn , holding a sprig of Gesmine , the other shadowed in his . Her body well fed not fat , sitted onely for his delight . Her Apparrell right Mode . I dare say , therein she learns of none , being her self a sample to all . Her Drapery well fashioned of Aurora Silke . Her Skarfe of Azure skye , opened with the wind to let in Aire , or to uncover her beautious breasts toher Husbands beholding . In a word ; She appeares a Lady of a high Fancie , and an equall Wit ; both of them made up , by a commanding Judgment . The Grove was deepned dark , which set out all like a Sun-setting ; so seem'd the skie , in the view of a farr fetched Horison . When loe , ( a distance off , ) you might discern her pretty Dogge ( Sable ) came running in ; Love to his Mistresse's looks , made him hasten his diligence , seeming to consent to her desire , as being now time to returne home . Certainly , the Painter was well paid for his paines , or well pleased to see them while they sat to his elaborate work . A comely Piece , rather with dignity of presence than beauty of aspect . The Artist rather busie not to erre from his pattern , than in labour to produce greater excellencie than their own deserving . And thus , in summe , it must be valued an Ornament to the Dyning-Roome ; being besides well known to be the Art of Sowst's handy-worke , and he a Master of sufficiencie . A Promontory of Land , like a Mans head . A Promontory which bears it self into the Sea and makes a Cape of Land ( formed by Nature ) in fashion of a Mans Head . The face ( as it were ) lying upwards , Necke and Shoulders fixed ; like to St. JOHN's Head in a Platter of bloud . The Grove of Trees rising thick and round , shagging themselves in shew downwards , like curled locks . The Brow-part forceth outwards , ( with Hills ) leaving a Valley towards the rising Nose , a Rocky Clift so formed by Nature as needs no Art to modell it , to be the same . Between that and the Lips , a tust of bushes of an eeven length , makes the tuske of hair as it were the upper Lip : only a little Lodge-House raised ( per chance ) for necessary use , appeares , as if by consent of Art and Nature , to answer for the nether Lip . The place for the Chin is right set , round with bushes for the beard , proportionably thick and short , alongst the cheeke , breaking off , before you come to the eare , and bearing a space of sallow ground , being the usefull way up to the Mount . For the Eare , indeed a convenient plat is left by Nature to raise a worke of safety to the place ; the inner Contrivers , made up with Stone , answer to the Eare in all parts ; and the Eye at some distance , shews it selfe to be such in truth , being yet no more than a Rift in the Rocky part , equally formed to the rest , and in proportion to all . Then comes the Throate and Neck ; a large Valley with small Hedge-rows in breadth and length orderly in frame , for the rising and falling of Veines , to make up the whole fabrick a compleat Head-piece . So we see , Art or Nature can counterfeit each other . Of the Parts of a Piece . 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 oeconomicall 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 . 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 ; Obtieks ; 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 . 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 Harmonie ; 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 . 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 . True beauty in any Creature , i● not to be found ; being full of deformed disproportions , far remote from truth ; for sinne is the cause of informity . 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 wit●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 hand some , 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 . And thus , by often exercise from severall beauties , you shall fix● a conceived Idea i● your mind of accomplished Pulchrit●de grace or comlinesse ▪ according to the true rule of Symmetry . So like the Life , ( if done by Lilly . ) that by the Lines and Colour , a skilfull Physiognomer ( another Lilly ) may by the Picture foretell her fortune . 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 Musitian doth his French Aires , not by true Method of setting . Some faces examined by Piece ▪ meale do not well , and yet put together make a good one . If then beauty may be had in a comely decent motion , it is no wonder if Persons in some years , oft ▪ times , seem more lovely then youth ; Pulchrorum autumus Pulcher . Such is she , N. B. T. For no youth can be comely but by excuse , and considering the youth to make up the handsomnesse . Beautie being a Summer Fruit , easie to corrupt and cannot last . 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 . 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 Pie●e , 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 . You shall hardly find an Artist , very excellent in a naked body , where true Symmetry is expected ; and therefore the ancient skill of the Graecians , sildome apparelled any . A timorous Painter , excuses his weaknesse , by covering the body , with a muffled Mantle . The Artizans call this proportion , the designing lines ▪ Scatches , the first draught , and so a second and third , before you Paint them ; which stroaks , by those that have in●ight 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 . And lineall designes or proportions , draugh●d , Scatches , may be called Picture ; which rarely done , shew not only the shape , but also the partie 's mind and intent , for we may draw in white-lines , the Symmetry of a Black More , and to be like him ; there may be beauty and force in a proportionable designe , naked and undisguised Lineaments . After design and proportion , we come to Colouring . Of Colouring . 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. To mixe them accurately : To shadow conveniently . To apply them seasonably . 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 or brightnesse ; as it is of necessary use , so of excellent ornament in a Picture , it is that which is above light ; sparkling as in the glory of Angels , twinckling of precious stones ; Armory , Gold and silver vessells ; Flame , Gold ; a burning glittering Lustre : the variety of these Ornaments , must be expressed excellently ; but avoid satiety , not cloy your Picture with it . Harmoge in Colours , is an unperceivable way of Art ; stealing to pass from one Colour to another , as in the sea and skie meeting in one thin misty Horizontall stroake , both are lost and confounded in sight ; water and ayre become one in their meeting . The Rainbow's sundry Colours , seeming one mixture , not distinct ; and consisting of one Colour , shews excellent ; but considered of severalls , becomes a wonder . 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 ; deceiveing 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 vanish by little and little ; the highest subtility of a piece , like spirits and souls painted . You may call it a Geometricall Line ; which is , without breadth : Observe the parting of the Sun-shadow , upon the Wall , the line parting the light , and that is thus . In Painting of a Man consider his dignity , stout and uncorrupt ; ( in effeminate smoothness ) the Limbs moderately swelling-grac'd with true and lively Colour ; of pure and wholesome bloud : Bloud and strength makes it goodly fair ; the black exquisite black , pure white , with the flower of redness intermixt : Ivory died in Purple . As for the beauty of a Woman , possibly so rare and pure ; not to be imitated with Colour of Painting . Her naturall gracefulnesse not yielding unto an Art , which does but counterfeit . No hand , in truth , knows the temper , for such a countenance . Confound Lillies with Roses , and what reflection the Ayre takes of them , that 's her complexion . N. B. T. Never to be well done , but by an Ingenious , Excellent Artizan , and a faithfull admirer of his beautious Mistress . Of 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 stift . 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 spir●t . To be well acquainted with Nature , Manner , guize and behaviour ; as to paint a Man , angry or sad ; joyfull earnest ; or id●●iall passions to be proper to the figure : for every commotion of the mind , alters the countenance into severall passions of fear , hope , love , joy ; so does a touch of the Pensill from mirth to mourning . The head cast down , seemeth humbleness ; cast back , Arogancie or scorn ; hanging on the Neck languishing stiff and sturdy , morosity of the mind . Indeed the severall postures of the head , describe the Numbers of passions ; the countenance as many ; the Eyes , the like . So excellent must the Art be , to counterfeit Nature . 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 . The Arms abroad ; the Hands expansed ; the Fingers spread ; all motions of the parts of the body assist whilst we speak ; but the hands seem to speak themselves , in severall actions , and postures The Poets in their descriptions of their gods and great men , do rarely express the passions of their minds , and I would have an Artizan to observe so much in each Picture of the Life ( which indeed they only aim at , but do not take the pains to express ) this being effected more by the Master's thoughtfulness , then by diligence and labour . Study therefore to your self , that affectation in your thoughts , which you intend to express . So shall your indeavours be assisted by a vertue , which the Greeks called Energia , effectuall operation , evidence or perspicuity , wonderfully studied by them . I have seen a piece of Tytian's : A Child in the Mothers Lap playing with a Bird ; so round and pleasing , it seem'd a doubt whether a Sculpture or Painting ; whether Nature or Art , made it ; the mother smiles and speaks to : the child starts , and answers . 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 silen● modesty a● best became her , only to be dumb and to suffer . Another ; the Picture of an Infant , in a Surprised C●tty , creeps to the Mothers breast gr●velling on the ground , amongst other Captives and dying of a wound : seeming to have only so much sense , as f●aring lest the Child finding no Milke , should suck her Bloud , and so be ●●oakt ; she stri●es with death to prevent the Infant so distruction . In an●ient Excellent Pieces , you may at a view under●ake to read the mind of the Artizan , in his intent of the Story . We are gone through all , but the last . Of the disposition of the Parts . 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 Principall figures , whilst your Spirits are fresh . 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 . Pourtray in your excellent Pieces , not only the dainty Lineaments of Beauty , but shadow round about , rude thickets , 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 . All these together , make that perspicuous disposition 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 . 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 . These prodnce gracefull Combiness , which makes one fairer then fair ; and all together , confirme us into Rupture . N. B. T. 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 m●ch double dilig●nce , or over doing ; a careless shew , hath much of Art . For additions ▪ to your Piece to adorn it , or Parergia to your worke . Some by Paintings are not amiss ; pretty draughts upon sheilds ; Sword , hilts ; Pots , brakes of Vines , Ivy , Cypress , and such like devices : we call them sweet seasonings of the Picture . But then , these do but adorn , and must be dimme and carelesly drawn , rather seemingly with a light ayre , then actually done . And these conclude the worke . That all sorts of people , wise and weak , ignorant and Learned , Men and Women , one and all , may find in it , to be delighted , which comes now to be a Wonder . Our Antient Painters , famous for Art , Immortalized their works with all excellencies , and thereby consecrated the Wisdomes of their hands , as Donaries unto Delphis , a sacrifice to Deityes . Our late Painters strive for wealth , by sale of Ordinary and quick work , ( the bane of all Arts ) rather than labour for Fame , and Glory ; the cause of many Pieces , so common and few of Art . For , upon enjoying of Glory , follows a confident boldness of Art , incredibly advanced by success and repute . Success , is that veneration of Art , by Kings and Nations . In such a Man , shamefastness is a vice , causing our Wits to rust with too much secrecie . The shunning of vice , when it wants Art , leads us into vice . Be bold and know your merit , and in Gods Name when you do well , make others pay for it . Art cannot be over-valued . Conclusion of this first Part. TO reduce & discipline my scattered Notes and Papers ; & such indigested Collections , as require a more formal Method and a better Pen , hath been my pains and desire to effect ; Wherein , perhaps , I have been over prolix ; A fault pardonable , and excusable from such , as are any thing acquainted with the profoundness of this Art , and Artificiall Mysteries . The consideration enlightens my understanding , and sits my mind , with such a treasure of discourse , as that with great difficulty , I cannot be brief ; to distinguish , or to devide . This subject , being so fruitfull , that store makes me penurious . And now , with no more adoe , I represent you with the Second Part. The Art of Limn●ngton Water Colours , differing somewhat from Oyl-Colou●s ; In both , the practice will easily distinguish . The way and manner , those directions before and what does follow will serve for either . And so , I put you forward , to your Pallet and Colours . The Use of the PENSIL : In the most Excellent Art of LIMNING , In WATER-COLOURS . Part II. Of Limning in Water-Colours . The True Order and Names of Colours , the means to prepare them for the Pensill and to clense them from their corrupt mixtures , wherewith they are Sophisticate . We name them Seaven ( though in truth the first and last White and Black are no Colours ; but Elements . ) Whites , Ceruse ; White-Lead . Greens , Sap-green . Pinck . Bise-green . Cedar-green . Reds , India-lake . Read-Lead , or Mene. Blews , Indico . Ultramanue . Bise-blew . Smalt . Yellows , Masticoate . Oker of England . Browns , Umber . Spanish-brown . Terra lemnia or ▪ Cullins earth . Blacks , Cherry ▪ stones burnt . Ivory burnt . Lamp-blacke . In this account or number of Colours , I name not Vermilion ; Verdigreece ; Ver●iters 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 Saffron , Litmus , Russet , Brasill , Log-wood ; nor of Colours , extracted from Flowers , juice of Herbs or Roots ; more proper , for washing , or Colourring , Prints , Cards , Maps . Of Whites . FIrst in order , the most excellent pure Virgin Colours , are Ceruse and White leade : the latter is the better for use , and less subject to mixture ; yet both have these Inconveniences , and thus to be prevented . 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 , 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 . To prevent these Inconveniences of both Colours ; This is the only remedy . Before you grind either of them , lay them ( especially White-lead ) in the Sun for two or three dayes to dry , which will exhale and draw away , the Salt , greasie com-mixtures , that starve and poyson the Colour . Besides , you must scrape off the superficies of the White-lead , reserving only the middle as the cleanest and purest . Be carefull of your white , being the ground and foundation of all your other Colours , and if faulty , all the work is marred . The effect you may see at Rome in the Vatican Library , and in the Silla of Cardinall Burgesse , and in the Porta ▪ setimiane , there where many excellent Pieces heightned with White-Lead unprepared , are spoyled , Russet , and dead . Being thus prepared , grind it ( upon a Porphire , Serpentine , or Pebble-stone ; any of these are excellent : some use Marble , thick Glasse , or Crystall . But the first two are too soft , and in grinding , mixe with the Colour and spoyle them ; the latter is very good , but hard to be got large enough . I say grind it very fine , and a good quantity together in water , without Gum ; then have in readiness , a piece of thick white chalk ; make therein certain furrows or troughs , in which instantly put the White-lead ground from the stone wet ; let it remain there , till it be very dry : the chalk will suck and drain up the filth , salt , and grease in the Colour . Preserve it for use in a paper , or clean Boxes . When you intend to worke with it . Take as much as conveniently will lye in a shell , of Mother of Pearle , neatly cleaned and burnisht wherein ( as in all Colours ) be curious and neat , not to have the Room troubled with company , where you grind , for avoiding dust or Atomes which you will find troublesome in your working . Put to this ( as to all Colours ) a little Gum-Arabick the best and whitest ; which you must have ready in powder , very fine , in a box ( or else dissolved in water ) and with a few drops of running water temper it with your finger to dissolve and mixe with your Colour . Discretion and Practice will direct you . Leave not your Colours too dry and liquid in your shell : but somewhat thick and clammie , cover them from dust till it be dry in the shell , then draw your finger gently upon the Colour ; if none come off , it is well ; if it do , add a little more Gum-water , if it be too much it will glister and shine in the shell ; then wash off the gumme with fair water or temper a new shell . 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 . Some Colours are to be washt and ground , and they are these . Ceruse . White-Lead . India-Lake . English-Oker . Pinke . Indico . Umber . Spanish-brown . Colens-Earth . Cherry-stone and Ivory black . Other to be washt only , are these . Red-Lead , or Mene. Masticote . Blew-Bise . Green-Bise . Cedar-Green . Smalt . Ultra-marine . Only Sap-green to be steeped in fair water . The reason why these Colours are not to be ground , as the others are , because of a sandy substance , loose , gravelly , and so heavy ponderous and solid bodies hardly to be reduced unto such firmness as is to be required in this Art : for if you think to make them fine by grinding , they instantly loose their beauty , starve , and dye . Besides , some of them as Masticote and Red-Lead , become of a greasie and clammye thicknesse , by reason of the agitation and tampering upon the stone , and so utterly unserviceable to refine them , therefore they must be washed . There are but five perfect Colours ( white and black being none ) like the five precious stones perfect and transparent severall Colours . The hard Topas for Yellow , the Amethyst orient for Murray , the Rubie for Red , Saphire for Blew , Emrauld for Green . All which Colours are perfect different from mixture of white and are thus distinguished by Heraulds in blazoning of Arms of Princes Bearings . And although what hath been said for grinding Ceruse and VVhite-Lead ; may serve for a direct order in all other grinding Colours : Yet I shall for full satisfaction speak of them severally ; before I come to those that are to be washed . Colours , to be grinded . THe next in order is India-Lake , the dearest and most beautifull ; grinde it as the VVhites with the help of the Sun , and with your finger spread it about the shel sides . After it is dry , you will find this Colour , and some other as Amber , subject to crackle and fall from the shell in pieces ; take care that this an● all others be fast , smooth and firme , which to effect take a little quantity of VVhite-Suger-candy with a few drops of fair water , temper the Colour againe as it is in the shell with your finger , till the Colour and Sugar-candy be throughly dissolved , which being dry will lye fast and eeven . English-Oaker is a very good Colour and of much use for shadows in Pictures by the Life , for Haires and Drapery , Rocks , High-wayes in Land-skips , and commonly lye eeven and fast in the shell , and works beyond any other , being well ground . Get the fairest ; because with it and Blew you make the fastest Greens for Land-skips or Drapery : for the Green-Bise and Sap-Green , though good in their kind , the first is of so coorse and gross a body , and the other so transparent and thinne , that in many things they will be unserviecable ; espetially where you have occasion to use a beautifull fair Green by mixing a little Indico , with Bise and Pinke : this Colour being ground fine , worketh very sharp and neat ; of exceeding use , if ground as the rest . The next in Order is Umber , a Colour greasie and foule , hard to work with : you must burn it in a Crusible or Goldsmiths Po● ▪ and being ground as the rest , it works sharp and neat . It is exceeding coorse and full of gravell of no great use ; for a little Umber , Red-Lead or Mene mixed , makes the same Colour . Is easie to work when it is new ground very good to close up the last and deepest touches , in the shadowed places of Pictures by Life ; and also very usefull in Landskips : Are both to be burnt in a Crusible and so ground : the first is very good especially for Drapery and black Apparrell , but but if you make Sattin , temper it with a little Indico : only to make it appear beautifull ▪ glassshining , lightned with a little mixture of more white . In strong touches and deep , hard reflections deepned with Ivory will shew marvellous fair ; this was the way of that famous Hilliard the English Limner in Queen Elizabeth's dayes . Serves only for a deep Ivory black , nor is it easie to worke without well tempering with Sugar Candy to prevent crackling and peeling . And so much for Colours to be ground . Colours to be washed , and not to be ground . I Shall follow the former ▪ Order by shewing how one Colour is to be prepared ; which will demonstrate all the rest . Put an ounce thereof into a Bason or clean earthen dish , full of fair water , stir it sometime together with your hand or spoon till it be coloured , then let it stand till the greasie scumme arise upon the superficies , which with the water pour out : fill it again with fresh water , stir it often untill it be thick and troubled , which presently pour out into another clean Bason or Vessell : reserving behind in the first Bason the dreggs of the Colours , which haply will be the greatest part , and to be cast away ; for you are to seek the best not the most . A little good Colour goes far in Limning , and if a handfull of Red-Lead yield a shell or two in goodness it is enough , so it be fine . The troubled water being in the second Bason , add more water , wash them well together , as before , let it settle till it become almost clear ; but if you ▪ perceive a scumme to arise again upon the water , pour it out and put in fresh till the Colour be clearer ; for the skumme is Chalk and other filth , which washes out by stirring all the Colour together . Then let it settle , and so when the skum arises , pour it away till it be perfect . It will not be amisse when you have washed your Colours a while , if you stir the water till it become thick ; then pour out half that thickned water , into a third Bason , and washing both the second and third water , you will find your Colour of a coorser or else finer quality . In so much that the third ( and if you please ) fourth and fift sort , will be very fine and fair being often washed ; and so by often changing and shifting the Colour and Water , you will find it perfectly cleansed . You must by little and little gently drain away the remainder of the water , not suffering any or very little of the Colour to pour out ; so that setting your Basons in the Sun and shelving them , you will find your Colours drying and lodging about the ●ide● of the Bason o●dishes like drift land , some places ●air and clean , others more coor●e and soul : which when it is all dryed , take away with your finger or feather ; the finest part like flower will fall away , with the least touch : Reserve this for your prime use , the rest for ordinary or coorse work . When you will use this Colour , ●ake so much as will lye about the sides of your shell , somewhat thinne , that you may handsom●ly take it o●● with your Pensill ; which you cannot conveniently do , if you fill the shell , or to let it lye thick or in heapes , and so with Gum-water ( or Gum-powder and a few drops of water as before said ) temper it finely with your finger , letting it spread about the sides of the shell , as in ground Colours . Thus are your Colours prepared . Of Pensils . YOUR Pensills must be chosen clean and sharp poynted , the hairs not divided into parts ( as many of them do , being drawn gently out of your mouth between your Lips ) let them be full and thick next the Quill , and so descending in a round sharp poynt . This fashion I prefer before those that are long and slender , which retain the Colours longer time , and then deliver it out , too free and full . If you find one hair longer then the other , cut it away with a sharp Pen-knife or pass it through the flame of a Candle . Take the Tailes of Chalibes , and breaking an ordinary Pensill assunder , observe how they are tyed up and fastned ; they being now made here in England by an old Workman to the Painters , the best of any here or beyond the Seas . Bind your haires ( much or little ) somewhat loose , fashion them round to an eeven poynt , rubbing or turning it upon a clean paper or Table ; Marke how the haires scatter or spread , and ever with a Pen-knife take them away ; easily to be done . When it is prepared to your mind , tye it fast about and fit it to your Quill : according to the size of your Pensil , disposed upon some neat stick of Brasill or such like Wood : the length of an ordinary writing Pen . Having sixe or seaven for the severall shadows of your work . And remember that those Pensills which you use in Gold or Silver Work , be reserved only for that purpose ▪ not to be mixt or tempered with Colours . Being thus settled with these Tools , you want a Tablet whereon to express your Art , which must be made severally , as you are disposed to work either for a Picture of Life , Landskip , or History . The first Division , by Life . The Tablet . THe Tablets for the Life are commonly wrought in an Ovall form not very great nor little , as I have seen many in France no bigger then a Penny ; an indifferent size is best . Take an ordinary playing Card , polish it smooth with a Bores-tooth or such like , as possibly slicke as may be , the VVhite side every where eeven , and cleane from Spots or Knobs ; then chuse the best abortive Parchment , cutting out a piece ▪ size with the Carde , pasteing them fine and firme together ; let them drye , and making your Grinding-stone exceeding cleane , lay the Parchment side of the Card downward ; and holding it fast , polish and rub the Card as hard as you can upon the backside , that so the other may be smooth , whereon you are to work : When you paste the Parchment , let the outside of the skinne be outward , it being the smoother and better to worke upon . Lay your ground or Prime therein of flesh-Colour , tempering it a●cording to the Complexion you are to paint . If fair ; White-Lead and Red-Lead mixed together , a pretty quantity , indifferent thicknesse , in a shell somewhat bigger then ordinary . If Swarthy or Brown ; mingle White , Red , and a little fine Masticote or English-Oker , or both . Evermore ▪ observing , as a sure Maxime that your ground be fairer than the Party painted : for being over-faire you may in working Darken or Shadow it as you please ; but if too sad you shal never heighthen it higher . In Limning of Pictures , you must never heighthen , but work them down to their just Colour . Your ground or Complexion thus mixed in , upon the shell ; lay it on the Card with a greater Pensil then ordinary ; and very carefully , couch and spread your Colour , as smooth and eeven as is possible , clean from spots , haires of your Pensill , or dust . In doing this , fill your Pensill full of Colour rather thin and waterish , then too thick and gross . And with two or three dashes , or sweeps of your long Pensil , lay it on at an instant , the quicker the better , and the eevener will your Colours lye ; Not forgetting to cover so much of your Card , as shall be larger or broader , then you intend to make your face , for you cannot adde any more largness to it ; being to be done at once and speedily . Otherwise the Card or rather the Parchment will become rough and rise in bubbles , and come off from the Card. This done , you are to take a pretty large shell of Mother of Pearle or such like , and before you begin to work , temper certain little heapes of severall shadows for the face , and ( as Oyl-Painters lay them upon their Pallet ) so place them severally about your shell . There are some that temper or mixe them as they worke them in the shadows , without more adoe ; but I esteem this other way , the better . First then , in all your shadows mingle some White with every one , and white by it self . Then for the Red in the Cheeks and Lipps , temper Lake , Red lead and a little Vermilion together . For blews ; use Indico and white ( for Blew-bise is never used in the face . ) Then for those sweet and fine blewish and grayish Colours called in french Grisatrie ( which are the weak and faintest shadows ) take white , a little English oker and as much Indico , and ( if you will ) adde a little Masticote , it will give the shadow a good grace , so that it be not too Greene . For the deep shadow , take White English Oker and Umber ; for the darke shadows in mens faces , mingle Lake and Pinke , which makes an excellent f●eshy shadow . But to prescribe an absolute and generall Rule is impossible ; Nature is so infinite various in the Colours and shadows of the face , differing one from the other ; that , what e're can be said , your own discretion and practice by the Life , will be the best direction . Yet this , and what I say hereafter , will be a great furtherance to your ingenious Indeavours . To Order your Light . AND now , notwithstanding the former preparations very necessary , yet take this Observation of your Light , being of the greatest importance ; and therein I advise you to be curious ▪ Make your Light with a Curtain or windowshutters somewhat cleer , with soft and gentle reflecting upon the Person to be drawn ; for a glaring bright light makes hard , and unpleasant reflections and shadows . And because the Sunne is an enemy to this work , choose your Light Northwards towards the East , one single Light only , great and fair , without any reflection of Trees or Walls : let it be high , and so your shadows will fall downward● , rather then traverse-wise , and the work will be the fa●rer and rounder . Place your self to your Deske , that your Light may strike inside-long from the left hand to the right ; your work will shew with more advantage being turned and viewed to the same light that it was wrought unto . Have a clean Sawcer or Shell of Water , to wash your Pensils , and another of Water to temper your Colours ; Have a dry brush-Pensill to clean your work from dust . A neat and large Penknife to take away such spots or haires that may mixe with your Colours , or fall upon your Card ▪ Place all these on your Right hand : You may likewise cover your Piece with a small paper , whereon to try your Pensills and Colours , before you begin to work . Thus setled ; Draw your Lines purfle , of the face with Lake and White mingled together very fine ; so that if haply you mistake your Draught at the first , yet you may with a strong Stroke , draw it true , and the other Line be no hinderance to the Worke , it being faint and not easily discernable . The Lines thus truly drawn of the face , somewhat sharp and neate ( wherein you are to be very exact , ●bove any other directions ) observe the deep and most remarkable shadows for your better memory and help , when you come to go over them more exactly . And now you may if you please , draw out also the fashion and portraicture , and that part of the body which you will joyn to the face , commonly not much beneath the Shoulders ; wherein observe the Life so much as possibly you can : that part you may draw with a strong and darke Colour ; it being easie to change or deface , in case you mistake in the just proportion . The Generall manner of working in Limning . IT is ano Art so curious and difficult to describe by my Pen , that many Prac●it●one●s , with much Industry and the help of Demonstra●ion ▪ have not easily proved Proficients , as in these populous Nations of England , France , and others ; which draw but few famous Masters out of thousands Practitioners . In England at this day are the most and best famous in Christendome ; Yet according to the Italian Proverb A buen Indentore poch● parola basta , so I doubt not ▪ but your ingenious capacity and knowledge , ( I● speak to a Gentleman ) having already rendred you Master in Studies , ( very likely much above this either in Honour or Profit ) will by the same industry easily conceive me : and with ordinary diligence and practice , you may likewise attain to express the Life with the Pensil ; by what I shall deliver in this dead GODOUR Observations . The order you are to follow to the Life ▪ is to observe somewhat ▪ the manner of Oyl Painters ▪ The first sitting , to ●●ad-Colord●he face only . ● ( not troubling your self at all with the 〈◊〉 of Hairs , ●pparrell &c. ) Which commonly takes up the time of two houres ▪ or , if very exact , three or foure houres . The next s●●ting 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 Principal● ; or to the judicious Colouring and observation of the severall graces , ●eauties or deformities as they appear in Nature ; or else in close , sharp , neat workmanship , and sweetnesse of the 〈◊〉 and smooth touching of the Colours . 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 deep●ing touches , as well in dark shadows of the Eye and Face , Eye-brow , Haire , Eares , &c. And these Observations and touches , are ever the last part of the businesse , and are never done till all the Haire , Apparrell &c. be finished , for this being wrought with judgment and discretion , adds exceedingly to the Life likenesse and roundnesse of the Picture . It is like to a Consort of Mu●icke which is relished in the Close . Colours to the Complexion . 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 : 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 heighthen in this Art ▪ except the two bright lights of the eyes and touches of the Haires . Thus much in generall . And now we come to the particular Working . The first sitting to worke in particular . 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 . In smiling how the eye changeth and narroweth , holding the sight between the Lidds , as a Cen●er ; ●ow the Mouth extendeth little , at both ends of the Line upwards ; the Cheeks raise themselves to the Eye wards . The first Coloer to begin the face , are the Redds of the Cheeks and Lipps somewhat strongly in the bottome of the Chin ( if the man be beardless ) as also over , under , and about the Eyes , you will perceive a delicate and faint ▪ Redness ; and underneath the Eyes somewhat inclining to a Purple Colour ; which in fair and beautifull faces , are very ordinary , and must be diligently observed . The 〈◊〉 commonly is Reddi●● and a little Crimson and sometimes the Roots of the ha●re also . All these you must work after the manner of 〈◊〉 Ha●ching or Drawing your Pensill along , and with faint and gentle stroakes ; rather washing then wipeing it , with stroaks and pricks as some do affect . But the manner of working must be the fruit of your industry and practice , and as you find your inclination , ease and dexterity of hand ; Wherein to prescribe a certaine Rules is impossible , above that of your own Nature and experience . The summe of all . That in your dead Colouring , you must wash over your Ground or Complexion , with this Red and the following shadows , indeavouring not only to be exact and curious , but also bold and judicious : for I have seen Pictures by a good Master begun , and dead-coloured only , that neer at hand they seemed exceeded Rough , Uneven , and unpleasant ; yet being viewed at a distance from your Eye , they appear very smooth , neat , and delicate : therefore I shall perswade you in this first worke , not to study or regard curiosity , or neatness of your Colours ; but a bold and judicious manner of expressing , what you see in the Life . Which though you worke never so Rough at the first , yet in the finishing , it will be in your power to sweeten and close it , neat and curious as you please . The Red being done , the next is your faint blews about the Corners & balls of the eyes and temples , which you must work from the uttermost part to the face , and so along , but exceeding sweet and faint ; by degrees , sweetning your shadow and deepning , according as the light falls , with hard or gentle touches ; and in going over the face , be sure to marke out the hard shadows , in the dark● side of the face , under the Nose , Chin , Eye-browes as the light falls , and somewhat strong touches , in those places , bring up the work in an equall roundnesse ; giving perfections to every particular part , by visiting all the face curiously , and in a kind of random● ; by which meanes you will better observe the likeness , roundnesse , postures , or colouring , whatsoever is remarkable , to make your work compleat and exquisite . The faint and lighter shadows being done and somewhat smoothed , and wrought into the Red , you may work over the Haire disposing it into such formes , folds , and turnings , as may best become the Picture . You must at first only draw them with Colours as neate as you can , sutabl● to the Life ; and after wash them roughly as the rest , and then once more , perfect the work ; and be sure to fill up the void empty bare places with Colour which are uncovered , and for the parting blew ; deepning it somewhat more strougly then before , in the places of the darkest shadowes , still carefully observing the Life , which must be your Load starre . And ever remembring most needfull , first to work your Colours and shadows , as deep and strong as you see them , but by degrees ; beginning faintly , increasing the strength of the shadows , as the rest of the work comes up unto it , and suits for it . And for this , no Rule can be given better , then that of your owne judgement . And so here we have done our face alone and that in dead COLOURS only . Second sitting . YOUR next worke will be longer in time , but not so long in description : for this will take up five or sixe or more houres , as you will bestow more or lesse paines in the worke . And now the Person being set just in the former posture , you are more exactly to observe and curiously to express Nature ; which you did but rudely score out before . For direction therein , this is all that can be said . You must use gain the same Colours , in the same places , you did before in the first sitting ; working , driving and sweetning them one into another ; to the end that nothing be left in your worke , with an hard edge , or uneven heap , or patch of Colours ; but altogether mixed and driven one into another , with the poynt of ( somewhat ) a sharper Pensill then you used at first , that your shadows may lye soft and smooth , beinga dispersed and gently extended into , and towards , the light and part● of the face , like aire , smoake , or vapour , But before you proceed thus far , you are carefully to observe all the aforesaid shadows and Colours , and by little and little to work them , over , & into one another ; and when you have wrought an houre or two , it will be time to lay your ground behind your Picture . It is commonly blew or Crimson , somewhat like a satten or velvet Curtaine , much in use with old Hilliard . If blew , you must lay it thus , ( being not easie to do it well and eeven . ) The Bise being pure and clean washed , temper of it as much in a shell , as will cover a Card. Let it be all thorough moyst , and well bound with the Sun ; Then with a small Pensill draw ( with the same Colour ) the outside or Purfle , I mean the outmost line of the head and body of the Picture . That done with a larger Pensill , wash over carefully the whole ground , that you mean to cover , with somewhat a thinne and waterish blew ; and after with a reasonable great Pensill , full of Colour and flowings , lay over that very place , with thick and substantiall Colour , which before you had only washt over . In doing of this , be very swift , keeping your Colour moyst , that you have laid , not suffering any part thereof to dry , untill all be covered : by this meanes , it will lye as smooth as glass , and the watering over the Card before , with a thinne Colour , makes the rest , that you lay after , to settle eeven and handsome , which otherwise would lye in heaps , like unto drift sand : It is a troublesome Colour . If you will have the ground as Crimson Satten , you must worke with India-Lake , where , and in what places , you will have those strong and high lights , and reflections to fall , which are seen in satten and velvet . Lay your light with thinne and waterish Lake , and in deepning and strong shadows , close by the other lights , with thicker Colour . It cannot be better expressed possibly , than to take a piece of satten , of any Colour , being laid before you ▪ you will presently see , what an excellent president the life is for light and shadow : no instruction , being like to this experiment . When your back-ground is laid and dry , you will find the Picture strangely changed , the beauty of these grounds will so darken and dead the Picture : The apparrell with fitting Colour , being also done only flat with heigthning or deepning ; Then go over the face again , reducing your shadows , to much neatnesse , drawing the eyes and lines of the lids , expressing the nostrils rednesse , the shadowy entrance into the eares , the deepnesse of the eye-brows , and those more perspicuous markes of the face , with somewhat a more sharpe and curious Pensill . But to particular line every thing , would seem to be a plot upon your patience . And therefore to finish this second sitting ; I only wish you not to leave your ground , to rest upon the face too hard , with an edge ; but with your Pensill so to sweeten and drive-in your Colours into the Enstroake , or outline of the face that when the work is done , the ground may stand as it were a great deale distant from the face behind the Picture , and the face seeme to stand forward off from the ground ; by darkning both the ground above , from the light-●ide of the Picture , and below , on the dark-side of the Picture . Then go over the haire , lightning and deepning it by the Life , and gently drawing the lines of those locks of haire upper most , and behind over the ground , which else would seem hard and unpleasant . Now when you have done this sitting , and the Person gone and weary ( as usually they are ) and yet your work be rough ( as indeed it will be , as yet , impossible to bring so curious work to absolute perfection ) you must spend somegood time by your self , in polishing & working your Piece to perfection ; filling up the empty places , and sweetning the shadows , that as yet may lie uneeven , hard , and unpleasant . Then go on in your linnen dressings and apparrell , to make out the severall folds , and deepning as you shall find in the Life : for in perfecting the worke , lay the linnen , apparrell , jewells , pearles , and ( what else is to be imitated , ) in the same fold and forme as you have drawn it in your first drought , and then finish it by the life as you shall see the shadows and light fall ; lightning the lines , with the purest white , a little yellow , and less blew . The black must be deepned with Ivory-black , and if you worke in heighthning and light reflections , you must mingle with the ordinary black a little Lake or Indico , or rather bileing in stead of Indico ; you will find the black to render a curious and admirable reflection like to well dryed satten ; especially if your light be strong and hard . The matter whereof , if you please to see imitably exprest , you will find it aboundantly in severall rare pieces done by that incomparable Master Hans Holbin who in all his differing and various manner of Painting either in Oyle , Distemper , or Limning was so generall an Artist , as never to follow any man , nor any one able to imitate him . Third Sitting . 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 . 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 discours● , or cause the party to be in action , or to regard you wit● a Joviall merry and discoursive aspect . Wherein you must be ready and apprehensive 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 consequence ; conclude your face with these observations , that the eye gives the life ; the nose , the favour ; the mouth , the likeness . If there happen any Armour or Gold-work to observe this Rule . First , lay Liquid Silver , flat , and eeven , dried and burnisht with a small Weesels-tooth , ( handsomely fitted into a Pensill-stick ; ) then temper the shadow of Armour , with Silver , Indico , Li●mus and a little Umber ; work your shadows upon , and over , according to the Life ; the heighthnings are to be left , bearing the bright burnish . Then deepning the depth of the shadow ( the thinnest part thereof ) with some store of Silver which must be sweetly wrought into Silver , and laid all flat as before . As for the Gold , you may lay your ground flat with English Oker , tempered with liquid Gold . Yet there is a stone in the Gall of an Oxe , called the Gall-stone , which being ground and mixt with Gold , is good for all Gold ▪ works , and gives an excellent lustre in the shadowing . When the deepest darkest places are to be mixed with black ; your lightning must be purest and finest liquid Gold . The manner of working whereof was taught by Old Hiliard thus : If in your work , there be any carving or Imb●ssing , and that in the light part , it must be sparing ; and you must very finely expresse it by raising ( in the high and round places ) a little pile or heape of this Gall-stone or English Oker , by taking your Pensill full of Colour , and resting the point in one and the same place til your heighth , or touch , be raised above your other worke . That done , cover over your raised worke with Gold , and you will see it exceeding fair and bright . The like you must do with Silver . To expresse the roundnesse and lustre of Pearl ; do it with a little Pinck . Diamonds are exprest flat with liquid Silver , laid round and high , the deepning must be Cherry-stone black , and the deepest Ivory-black , the Silver dryed and burnisht is for heighthning ; the strong and darker the shadowes are , the fairer the DIAMOND ; which if you could set off , as I could wish , would equall that in the Grand-Sultans Cap. The secret of Rubies , is of maine consequence ; vix à visu temperanda . It is delivered in the same Hieroglyphical ▪ Cabalisticall Character . Having therefore laid the ground of silver burnisht , the bignesse of the Rubie , take gheereaguar , of the best and purest wagron mixt ; then take a needle or small pointed Instrument , heated in a Candle & lay a drop or a little of this composition upon the burnisht Silver as aforesaid , fashioning the stone , round or square , or other forme with the poynt of your Instrument ; Let it lye a day or two to drye , and it will be very fair and transplendent , it being long a drying ; And to the other composition a little powder of Tunie . For an Emrauld or Green-stone , temper your gheereaguar with verdigreece and a little turmerick root , ( first scraped ) with vinegar ; then let it dry , then grind it to fine powder , and so temper it with gheereaguar , as you did for the Rubie . For a Saphire , and all kind of blew stones the same Gheereaguar tempered with Ultra-marine is excellent , especially if your Colour be fai●e . For an Amethist the same Gheereaguar mixed with Waycoriant and way wick ; and so the other colours as you please to mixe them ; though I conceive I have already told you the fairest . Thus having inriched you with a Mine of Precious stones , and pearles , with Gold to inset them ; I will conclude this first part of Picture by the Life , with the manner of making liquid Gold . To make Liquid-Gold most Excellent . TAke of the fine lease-Gold about the quantity of halfe a Crown or rather of the cutting of the same , to the like quantity ( at the Gold-beaters ) ; grind this with a thicke and strong Gum-water , upon a reasonable large stone , very fine and painfully ; you cannot make it fine enough , being rather opus Laboris , quam Ingenii . As you grind it , adde more Gum-water , and though the Gold look never so dirty and black esteem it not the lesse worth : and having wrought it to a competent finenesse , take it off from the stone ; putting in more Gum-water wash it as cleane as you were told before , and in the same manner as you did your Bise , Smalt , &c. Being very clean , adde to it a little Mercury sublimate , on the poynt of a Knife , with which you must temper with it , a very little Gum , to bind it in the shell , and as it settles and begins to dry in the shell , shake it together ; remove , and spread the Gold about the sides thereof , that it may be altogether one Colour and finenesse , which when it is dry and fair , as it will be , if you carefully wash it clean . Use it with fair water , as you do your other Colours : and this way you shall find your Gold fairer and more in quantity , then you can buy , for much more money . To make Liquid-Silver . THe same course take with Silver , which you must use in the same manner . Only with this observation ▪ that seeing the Silver , either with long keeping , or the moysture of ayre , will become starved and rusty , you must prevent this Inconvenience before you lay your Silver , by covering over the place with a little juice of Garlicke . It will keep it very faire and bright : this secret I had from Mr. Hiliard . Thus have I done with my first Division . The second Division by Landskip : The Tablet . TAke some Vellome , shave it upon a thinne frame ; fastning it with Starch , Paste , or Glue , and pasting it upon a board ; which manner of making , for Landskip or History , is altogether used in Italy . I mean thin Parchment with any Pastboard for your Tablet , large or less size , you intend for your Picture . Green , of all Colours is most delightfull to the Eye . Not in all the Art of Painting such variety of Colour , more pleasing then is the Prospect of a well-wrought Landskip ; espetially when your ingenious Industry hath already rendred you a Master of Art and contemplation . If you draw a Prospect from the Life ; Take your Station upon the rize of ground , or top of an Hill , where you shall have a large Horizon ; And skore your Tablet into three divisions downwards , from the top to the bottome , set your face directly opposite to the midst of your Horizon , and keeping your body fixed , Observe what is comprehended directly before your eyes , and draw that into forme upon your Tablet in the middle-Division . Then turning your Head only , ( not your body ) to the right hand , draw likewise what is presented to your sight , adjoyning it to your former Draught and frame it into the same . And so also removing your sight to the left hand , take that observation , which will make a compleate PROSPECT . And as all things appear in Distance and Truth , Proportion and Colour , so be carefull to express them ; Most Countrie● Southward , Spaine and Italy , afford wonderfull strange objects in Landskip , Hills , Dales , Rocks , Mountains , Ca●aracts , Ruines , Aquaeducts , and alwayes a fair skie to discover far off , which are rarely done there to the Life . You cannot miss of many examples every where , though less pleasing ; but in Holland , none at all ▪ So then , the Dutch in composing a Piece of Prospect , of their own Fancie and Invention , for want of the Life most grosly erre in Proportion , Distance , and 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 . ( But when you paint a face to the life , you must observe the parties face , which differs , some more perfect , either to the right or left . In making it ; First , beginne with a large skie or Element and if there be any shining or reflection of the Sunne , ( in which only the Dutch are neat and curious , ) then you must be carefull , by no meanes to mixe Red-lead , or Mene , in the purple of the skie , or Clouds , but only with Lake and White ; the Yellow and Whitish beams of the Sunne , must be wrought with Masticoate and White , which as soon as you have done , lay by that Pensil ; For you must not mingle the blew Colours of the Clouds with any Pensil that hath touched Masticoate ; it will make the skie Greenish and discoloured . Make up the blewish skie and Clouds with Smalt and not with Bise , for it is too green and blew ; and nothing so proper for the purpose . At the first working , dead all your Piece over , full and flowing with Colours suitable to the Aire , and green Meadows and Trees or Ground not laying them on heaps but somewhat smooth . Be not curious in your firs●dead-Colours ; do it slightly and hastily . Leave a large skie , which work-down in the Horizon ; faint and fair : as you draw neer the Earth , let the remote and far off Mountains appeare sweet and misty , undiscoverable , and almost indistinguishable , mixing into the Clowds , as it were lost in the Ayre . Your next ground-Colour downwards , must increase in bigness of proportions as neerer the sight , and must be somewhat blewish as Sea-green and as you draw neerer the first ground let them decline sometimes into a Reddish , otherwise into a Popinjay-green . Your last ground Colour must be neerest the Colour of Earth , a dark-yellow , brown & green , easier to be done with the Pensil then described by the Pen . The same Colour ( or neere the same , ) must be your first Trees , and alwayes as they come down neerest in distance , they must increase towards their Naturall Colour , in largeness , and perfection , somewhat suiting the Earth . By any means , let passengers & people by the ways encrease neerer hand and be made bigger in their forme and Colour ; and evermore let every thing , from left to the right hand in a Line , be of the same equall bigness . You might have seen Passengers in some Landskip ( who should be imagined four or five miles in distance from the Eye ) to be expressed neerer , and as at hand which is a grosse errour . The Trees must be made with great judgment , the leaves flowing or filling one with the other , some sticking forward , others lost in shadows . Let not your Landskip of land , rise high , and lift it self into the top of your Piece , as hath been noted in the Prints of Albert Durar , ( otherwise , in his way , an excellent Master ; ) rather let them lye low , and under the eye , which is most gracefull , and more Naturall , with a full skie . The most generall and absolute Rule in Landskip , was observed by that excellent Master at Rome , Paul Brell , whose delightfull ▪ works many of them extant in Prints , are set out by Raphael and John Sadler . Besides many Paintings of his own hand both in Frescoe and Oyle , in the Pallace of Cardinal Montaltre , by St. Maria Mahgior , Bentoglia in Mount Gaballo , and in the Church of St. Cecillia ; His observation i● onely this , That an Artist must be sure to make all his shadows fall one way ; that is , to place light against dark , and dark against light . 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 . Besides all this second working , you are to touch up the Trees , boughs , and branches of them , putting all the dark shadows first , and raising the lighter leaves above the darker , by mixing some Masticoate with the dark green , which you may make with Bise , Pinke , and Indico . The uppermost of all , you are last of all to express by lightly touching the exteriour edges and brimes of some of the former leaves , with a little green Masticoate , and white . If deeper , darkest shadows , you may well set off with sap-green and Indico . Only remember , that both in the leaves and trees , Rivers , and far distant Mountains , you must affect , to express certain reall Morrice-dello ( as Paul Brell calls it ) , or soft delicateness , which is the very next remarkable in the worke . There is great Art in making Cataracts , and terrible falls of waters ( such as you see at Bruolli neer Rome ) and fearfull Rocks . Wherein Montpert of Antwerp is excellent ; no Pieces pass his hand without them . They are rather made with sleight of hand , and a little dramme of discretion with judgment , then by study and diligence . A good full ground must be first laid neer the Colour ; then with stronger , in the dark places ; and sl●ight and easie heighning in the light ; ever observing those dis-proportions , Cracks and ruptures of various over-wannie colours ; the manner whereof , you see abundantly exprest by most mens Pensils , almost in every Landskip . I should have proceeded in a formall discourse of the second manner of working , according to the second sitting after the Life : But I spare your troub le referring you to those observations heretofore directed : for curiosity in this work is not so much required , as in a Picture . The greatest cunning herein is to cosen your own eyes ; which yet , you cannot do , without their consent in assisting , by an apt accommodation of rarity of Colours , in their due places , In such manner , that many times in a Tablet of a span long , a man's Imagination , may be carried quite out of the Country , Seas , and Citties , by a sure Piece of his own making . See Streeter's most exact and rare Landskips in Oyl . The Third Division of History . YOu shall rarely see History in Limning to be done in any largeness . Only four books there are in a Master Book of Paulo quinto in the Vatican Library reasonably well done by one Salmiato , a Florentine . In the same place there is a very antient Greek Martyrologie , sometime belonging to the Emperour Basilius about a thousand years since . Wherein were Limned upon Parchment 463 good large Histories out of the Martyrdome of Antient holy people in the primitive Church ; and these pieces were done by severall Gretians dwelling at Constantinople . Other Books exceedingly wel limm'd in that Library , done by Albert Durar . Another , done by Don Clavio very neat and curious , and al these upon Parchment , only the fleshy Colour wrought in , with the poynt of a Pensill , without any Primere or ground at all . Which certainly ●is an error , or rather Heresie in the Italian , who wil by no meanes admit of Limning with a ground . But that which i●Instar omnium , is an History of the Buriall of a Gretian Monarch , done upon a large Tablet of sine abortive Parchment , polished on a smooth and well seasoned board of Pear-tree . It was in the hands of Mr. Endymion Porter & begun by that in comparable Master , Isaack Olyver , almost to the end , but it had finishing from his Sonne . It was a piece of the greatest beauty and perfection ( for so much ) as I think all Europe or the World can produce . And I believe if Carlovan Mandras in his Dutch History of the famous Painters had seen this Picture , his book might have encreased to a Tome with this worthy description . 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 . 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 impossibilities , ( if not ridiculous ) , do appear . Hence comes it , that the rare Raphael Urbine affecting a delicate pleasing liberty in Colouring of his Na●ea's , is so pittifully imitated by some of the Dutch Masters . And so , the Dutch pester their work with greenish , bl●● and purple Colour , in their Na●e●s , as would rather serve for a reasonable Landskip , and set out the flesh as if bastinado'd into black and blew . The Naturall Basano , an old and excellent Master ; yet so affected to Pots and Dripping-pannes , to blew cotes and Doggs , that his History of the Deluge sometimes in the Gallery at St. Jame's by White●all , seemes to be rather a disordered and confused Kichin ; then Noah's floud . So Ruben in his affected Colouring sometimes in the privy Gallery at Whitehall , and Cornelius of Harlem in his loose & untrussed figures , like old and beaten Gladiatry ; seem exceedigly to abuse that gentle and modest licence , which alwayes graced the worke of that admirable Italian Michael Angelo , that therefore it is not safe to go beyond the Life rather then so much to exceed the patterne by the Chimeraes of their own brain and fancy ▪ and yet what I have touched before concerning him also , is accounted a fault . Four severall sorts of Colouring . INdeed and briefly there are four severall kinds of Colouring to be observed in History . Of young Infants , of faire virgins , of young women , of old women , in every of these severally . 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 . Infants and yo●ng children are to be of a soft , airy , and tender complexion , crimson and delicate colloured blood upon the ear and skin , almost transparent ; which you will expresse with White , Lake , and a little Red-lead ; the shaddowes are to be thin , faint , and tender ; the cheeks , lips , chin , fingers , knees , and toes , more reddish than the other parts of the body . The Linnen and Laune about these tender bodies , are to be made thin , and very transparent ; onely strongly touched up in the thickest foldings . The complexions of Virgins and fair young women , are not so much different from the other colouring , as in the perfe●tion and shapenesse of the work ; those few and soft Muscles are to be done gently and easily , to expresse the shaddowes of white-yellow , blewish , in some places purple . And if you seek perfection in this , or any of the rest , the nearest , and most certain , and infallible direction , is , by the Life ; which you may follow with best assurance ; since alwaies , we suppose , you know all colours , and how to mix them at pleasure . Mens bodies naked , are to be made strong , robustious , and vigorous ; the Muscles and Sinewes strongly and exactly fellowed , allotting to every Artery his right and due place ; which to do with understanding , is a study and practise of your whole life ; and yet an Artist otherwise , may not be deficient in this . So exceedingly doth Nature transcend Art , and her Idol●ters ; not easily to be courted , or so much as to be followed afar off . And though these observations are carefully to be exampled , yet is it in the power and judgment of the Painter , to vary the colours and severall complexions of bodies ; onely , if the postures be either reposed , or otherwise in violent action , they are to be more or lesse expressed . An excellent shadow for an old man's body , is Pinck , Lake , and Ivory-black ; it will be a glowing shadow , like the expression of the wrinckles and furrowes of the face and hands , of people extreamly aged , dark eyes , melancholly aspect . Subject enough , to show the riches of invention and spirit , especially if it be suitable to the History . To order many persons in one Tablet , of the same sex and age , apparelling and clothing their persona●es ; I do not find , that the best Painters have been very carefull , to present figures with colours of apparell , fitting their years ; as to an old man , sad and dark colours , and such like ; but rather quite contrary , bending their noble study to cloth their figures , with what may best adorn their workmanship . The Eastern Nations were never clothed in black or sad colours . The Virgin Mary is universally ( as it were by common consent ) represented in Purple and Azure ; St. John the Evangelist in Scarlet , the Apostles ( though most reverend ) are vested in Green , Crimson , Blew , as pleaseth the Painter . Of Drapery in Limning . FOr Drapery , I find but two waies in Limning ; the one by Italians and French , to work-in their Aparrel , in manner of washing ; working it with the point of a Pensill , with slips and little pricks , and engraving it all over , somewhat like the nap of Frisado ; yet so , that when all is done , you may see the parchment quite through your work ; which , in my opinion , is a very sleight single-sol'd device , and rather like a Wash-drawing , than a Master's work . The bett●r way is , to lay a good , flat , and full ground , all over , whose Drapery you mean to make ; and if it must be Blew , then all over with Bise , smoothly laid . The deepening Lake and Indico , the lightning White , very fine , faint , and fair ; and that onely in extreamest light . The same order you are to observe , in all your Draperies whatsoever . And this was the way of Isaac Oliver , in my observation . There is to be seen in the Palace of Don Julio Clovis , Crimson-velvet Curtains , and Clothe● of Gold , excellently expressed by lightning , with fine shell-gold : but it must be hatched and washed ; and your gold must be of your own making , for you can buy none fine enough for this purpose . You cannot believe , what an ornament this lightning with Gold is , and what a lustre it gives to fair coloured Drapery ; as , crimson-velvet , red , green , and blew : And if you mix gold with the very ground it self , you will find the apparell much fairer . And in the same manner , you are to work the Building and Architecture , especially in rich stately Edifices ; And so far was Albert Durar in love with this manner of working , that I have seen the very dirty earth , the dead stocks of rotten trees , and stakes of hedges , in Landskips , all lightned with this manner of working in gold , which shew very pleasant , and affect the eye exceedingly . Other remarkable observations there are , which you shall better master by your own practise , than my relation : And yet those that follow will not be amisse . Observations in Limning . WHen you begin to work , temper the Colours in a shell with your finger , dipt in water , a little before you begin ; if your colour will not take , or your parchment be greasie , temper with the colour a little ear-wax , as little as may be ; it is good to mix with those colours that do peel from your work , as hath been before noted . Sit not above two yards at the most ( for the face ) from the person , whose picture you take ; and six yards distance for the whole body , levell with them ; unlesse they are tall , then somewhat above them , for so they appear to most men , who are not so tall . Mark when he removes , though never so little , from his first station or placing ; recall him to the former sitting , for a little change of the site of the body or face , causeth errour in the work . Draw not any part of the face , in story or picture , exactly , or perfectly at the first , neither finish the eye , mouth , or nose ; but let all the work be made and concluded together . All the art and judgment is in the touch of Proportion , and the exact drawing ; yet , neatnesse of work , and curiosity in beautifull colours , do indeed many times grace the Picture in such manner , that the defects of drawing are not easily discovered , but unto very judicious observers . Never change your light , if you can possible , but rather finish the work by the first light : And therefore not many excellent Artists in this kind , will work abroad from their own light . A dishonour to transport his Easel , Pallat , Collours , and Pensills from home . When you have finished the face , and are to draw the posture , let the Person rise and stand , when you draw the lines of posture , and not sit by any means ; for though never so true sitting , yet you will find your self deceived in the draught , which will lose the grace and sprightfulnesse , and will be rewarded with a dull and livelesse aspect . Of Pastills , or Croyons . THe Pastill for Croyon , or dry colour : take three ounces of Lint-seed oyle , six ounces of yellow Wax , two ounces of white Mastick , four ounces of Colophonia , four ounces of Rosin-Depino Greaseo , one ounce of Turpentine : Melt all these together in a fair earthen pot or pan , well leaded ; put not all in together , but one quantity after another , as they melt ; cut the waxe in pieces , it will melt the sooner ; stamp the Rosin , and Caliphonia ; this done , let it be luke-warme , in any wise not hot ▪ mingle there with ( as best you may with your hand ) the Lapis Loculi ; ground and work it up in a lumpe , and so let it rest a day or two , then take a faire earthen pan or a dry smooth Bason almost full of water , so warme , as you may well indure your hand in it . Then take the massy Lumpe and work it between your hands , so long as you can see it sweate out a cleer water of a blew Colour , and the longer it is before the drops come forth the better . When the water is well blewed , set it away , and take another Bason or Panne of clean water and worke it as before , then take another Panne ▪ a fourth , and a fift ; till no more drops will sweat out , letting the ground remain and dry throughly : then with a feather wipe it off the panne , upon a paper ; and so put it up the first blew that sweateth is best , and so the rest in degrees . You may put the worser sort into the like new Pastill again , and work it over as before . It will be the fairer but less in quantity . There are other wayes pretended . Note also , that the Pastill can never serve but once : and afterwards , to make Lincks , and Torches . You may get some of the broken pieces of Lapis Loculi of the Marchants of ALEPPO , the deepest colour the best . To work in Croyons or Pastills , I observe three manners of wayes . The first and worst , is that of Monsieur de Mousters of Paris , whose custome is to ●ub-in several Colours , ▪ being first reduced into powder , and set in severall small boxes , ) upon the paper , which commonly is the whitest ; and this he doth with severall stubbed Pensils , the ends fitted with Cotton or Bumbaste . His work is reasonable neate , but not lasting , there being nothing to bind on the Colours , which commonly fall off , and the work lost or defective . 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 . They have used to make them up with Milk , Beer , or Ale , or new Wort ; others with old rotten size , to bind the Colours together . The last and best ( as I conceive ) is to Colour the pa●er , whereon you intend to draw the Picture , with Carnation or flesh Colour , neer the Person's Complexion you mean to draw . Cover the whole paper ( for some complexion ) with Ceruse , Mene , and a little yellow-Oaker , ground with Gum ; When you prepare one paper , do so with many other papers to save labour , and those with different complexions , untill you have use of them . Lay the Complexion with a sponge wet , but let it be so bound , as it may not come off with rubbing ; this done & dry , draw your outward lines with red-Chalke faintly . Then with your several Pastills rubbe in the Colours , & , with your fingers-end , sweeten and mixe them together , driving them , one within another , after the manner of the Oyl-Painters ; and because you cannot sharpen your Pastills as shall be needful , you must remember to close up all the worke with Red-Chalke and black-Chalke , which ( with your Pen-knife ) sharpen at your pleasure . I have seen a book of Pictures in this last manner of Croyon , done by the hand of that incomparable Artist Hans Holben , who was servant in Ordinary to KING Henry the Eighth . They were Paintings of the most ENGLISH LORDS , and LADIES then living ; and the patternes whereby he drew their Pictures in Oyle . Many of those Pieces in the book were spoyled by the injury of time and the ignorance of such as had it in custody . Yet there appear'd in those ruines and remaines , an admirable hand , and a rare manner of working in few lines , with much diligence and labour in expressing the Life and Likenesse . Many of them equalling his own Oyl-Pictures , and alwayes excelling any other Artizan . After a long time of Peregrination , this Book fell into the hands of the late Earle of Arundell , Earle Marshall of ENGLAND , an eminent Patron to all PAINTERS , and who understood the ART ; and therefore preserved this BOOK with his Life , till both were lost together . The Ordinary working in Croyon is upon blew-paper , the Colour rubbed-in , first with the Pensill ; and afterwards , either with a stubbe-Pensill with your finger , or with a little piece of paper , or with a sponge , or otherwise . You may also work in Croyon upon Parchment exceeding neat and curious in that manner , as these small Pieces to the Life done upon Velome , Parchment , and white Paper also , by the admirable Artist and Gra●er in Brass , Henricus Jessius at Harlem in Holland . The faces no bigger than a Jacobus in Gold coine . His Pastills of the shape and bigness of a tackpoynt , but longer : they might compare with Limning and seemed so , to the suddain view . They were rubbed-in , with small Cotten-pensills , and were finished with sharp poynted Red-chalke and Black-chalk . The true way of making the Pastill , is the secret of the Art ; and so you may remember that I said , some make them of Ale-wort and such trash , to tell you the difference not to teach you those wayes : for either they bind so hard , that they will not mark nor score at all , or else so loose and brittle , that you cannot bring them to finenesse . For tempering so many Pastills for change of Colours in the Face . I Shall onely direct you in one COLOUR , for example of all the other . For a Brown Complexion . Grind upon the stone , Ceruse , Red-leade ( or Vermillion , for this is a more useful colour in this kind of work then in Limning ) English Oaker and a little Pinke ; you need not grind them very fine but onely to bruise and mixe them well together . To these , adde a reasonable quantity of Plaister of Paris burnt and finely sifted , mixe and incorporate this , with the other Colours , thick and stiff , like moyst clay ; then take it off the stone , and roule it betwixt the palmes of your hand , as long , or as little as you list ; then lay it to dry , in the Sun or Wind , but not by the Fire . In this manner , and with mixture of Playster of Paris , temper all the other shadows , and Colours whatsoever ; the quality of this plaister of Paris , is to binde the Colours together , and to make them durable , which otherwise would be loose and brittle . With your Pen-knife scrape them being dry , to a fine poynt , so sharpe , that you may with it draw a haires breadth , and this Plaister makes the Colour so hard and drye , that you may draw lines upon Parchment or paper . The Colour Crimson is most difficult to worke ; It is made of Lake , which of it self is light and hard : therefore instead of that , use India Lake or Russet , observing alwayes to mixe white Ceruse with all the other Colours , or shadows , whatsoever . And when you are to mixe a Colour that is hard to worke as this Crimson , ( which commonly you shall find brittle and hard ) then temper it with another Colour , neer the same in Colour , but more soft and gentle . As if you mixe a little Vermillion with a good quantity of Lake , it will take , not much from the Colour , and make it work very well . In this manner you may make all manner of beautifull Greens for Landskips and all other Colours requisite for Rocks , Waters , Skyes , and tempering the Greens with white Pinck , Bise , Masticoate , Smalt , Indico , and to make them high , deep , or light , as you please ; remembring where you are to temper fast and firm colours , as Umber , Oke , Indico , take the less plaister of Paris . But where your colours are loose and sandy , they bind the stronger and faster , by adding more plaister . And when your colours are dry , before you begin your work , sharpen them with a pen-knife , according to the large or little proportion of your designe . Having ground the white-lead to a sufficient finenesse , put it together with the water with the which you ground it , ( being sweet water distilled ) into a Silver or China-dish , wherein hath been dissolved a good quantity of Gum-Arabick , and strained : The water becoming clear , and the colour become setled ; poure the water away , and let it dry inthe dishes , and so receive it to your use . The second washing will serve well to work withall , and temper and mix with the shadowes . The third and last is good for heightnings , lights , and high touches , and strong reflections . But the first and coorsest in the bottom , reserved in the first dish , must be ground again , and tempered with gum-water , and is very good for laying grounds , and carnations , and complexions for Picture by the life . It is good to mix Spanish White with your white-lead , for it will bind it together ; and it is good to be heightned upon . If you have no Spanish White , make this mixture : Take two parts of ordinary Chalk , and one part of Allom ; grind these together to a good finenesse , which being made up to a lump , burn it in the fire , and reserve it for use . And so much for the work , by Croyons , or Pastills . Of Frescoe . THe way of Painting upon walls , to endure weather , the Colours must be ground with lime-water , or milk , or whey , tempered and mix'd in pots , as in Size-colouring . Take the powder of old rubbish stones , mixed with well-burnt flint-stones , ( or lime ) and water ; wash out the saltnesse of the lime , by often pouring out the water , and put in fresh , the oftner the better , which makes the plaister or compost : Avoid moist weather , which hath influence upon the walls . ( To do the work lasting , strike into the brick or stone-wall , stumps of head-nails , about six inches assunder , which will keep the plaister firm from peeling . ) Then with this compost , plaister the wall a good thicknesse , letting it dry ; and your colours prepared ready and mingled , plaister again over the former , the thicknesse of half a crown of silver , very fine and thin , so much as you intend presently to work upon , whilst it is wet : Work your colours therein , which will co-operate and corrob o rate into the plaister , and so dry together as a perfect compost . Work your painting quick with a free hand , for there cannot be any alteration after the first painting ; and therefore make your painting high enough at the first : You may deepen , but not easily heighten . Avoid Min●rall colours ; Earth colours are best , as all Oker s , Brown of Spain , Terre-vert , Spanish-white , and such like . Your Brushes and Pensills must be long and soft ; otherwise they will ●ake the work , and raise the painting . Your Colours must be full , and flowing from the Brush ; your Designe , perfect in the Image , or paper-copy ; for in this work , you cannot alter or add upon any colour . To make excellent pur● White-Lead . PUt into a gallon pot certain plaits of clean fine le●d , cover them with white-wine vinegar , glewing the pot with clean Lome ; bury it in a Cellar a months space , or six weeks , then you shall find very good white-lead upon the plates , which take off for use . To make severall Colours . BReak the best Verdigree●e into fine powder in a mortar , then having laid the ground with liquid silver and burnisht , temper the Verdigreece with Varnish , it makes an Emerauld ; as also with Florence-Lake , it makes a fair Ruby ; and with ultra-Marine , it makes a Saphire . Let it rest a while upon your hand , that the varnish thereof may di●solve the stone . Make it little , eeven , and smooth upon the Card , and it will dry ●n a day . A Crimson-Velv●t . TAke Indico-Lake , well ground , and strongly bound with G●m , and a little white-Sugar-candy . Temper these with a little Turnsoil , then lay it full ; and when it is wet , with a dry Pensill , wipe away the colour , where you will have the heightning of the Crimson-velvet appear , and the strong reflections will this way expresse it . Excellent Receipts from Mr. Hilliard , that old famous English Limner . PEarl must be laid with a white , mixed with a little black , and a little India blew Mastick , but ye ta very little , in comparison of the white , not the hundred part ; which being dry , give the light of the Pearl with silver , somewhat more to the light side , than to the shaddow . Then take White allayed with Mastick , and underneath the shadow-side , give it a compassing stroak , which shewes the reflection ; then without that , a small shadow of sea-coal , undermost of all . But note , that the silver must be laid round and full . Note , that all Stones , ( besides the Diamond ) must be glazed upon silver , with their proper colours , with a varnish . An excellent Black . THe best Black is black-Ivory , burnt in a Cr●cible , well stopt with a tyle-shard , or iron-plate , and luted , that the aire enter not : Mix therefore the luting with a little salt , heat it red h●r a quarter of an hour , then being set by , let it cool of it self , the pot still close ; then open it , grind it with Gum-water , onely wash it in this manner from the Gum ; pouring water into it by little and little , in some deep glasse , stirring it with a feather ; and when it is as thin , or thinner than Inck , let it settle an afternoon ; then poure it from the uppermost of the matter , which is but the sc●m and foulnesse , ( good to put into Inck ) the rest being very dry , take it out of the glasse and keep it in paper or boxes for use . But you must soft grinde it again , or temper it again upon the stone with water , adding Gum beaten fine , into it , with discretion , for by use , you will find the fault ; if too little , it worketh ill , and dries too fast ; if too much , it will be bright , and glister like oyl-colour , which by any means avoid . The five perfect Colours , with their Lights and Shaddowes . 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 Flenders at Antwerp ; for if you make shift with other Lake , adding blew , to make it Murray , it can never be good . The former Lake is to be ground with Gum-Arabick water onely , although when it is once dry in the shel , it is hardly reduced into a condition to work well again . Then grinde more and fresh . 2. 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 sundry Lakes , which will shadow one upon another , and some ●o 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 ▪ THe darkest and richest is of Ultra Marine of Venice ; but that is very dear , in the place thereof we use Smalt , of the best Blew ; Bises also of severall sorts , paler then other of five or six degrees . They may be ground ; but better to be beaten in a Morter of flint , like Ammel , very smooth , with a Pestill likewise of flint , or Aggat , well stirred , till it be fine , with gum-water onely , and well wash'd . So have you many sorts , and all good ; shaddowing Blewes , or Litmus , Indico blew , Flory . These need no washing , nor Litmus any grinding , but steeped in the lees of Soap-ashes . Use Gum with discretion , as aforesaid . 4. Green , or Emrauld . GReen ; the best is Cedar-green , in the place thereof , take Tripall , to draw with : Pink is also needfull for Landskips , mixed with Bise-ashes , makes another Green ; so likewise with Mastico●e and Ceruse , as you see cause . For light-greens , sap-greens , flour d● Bise , tauny-green , needs nothing but steeped in water , which is best . 5. Yellow , or Topas . YEllow the best is Masticote , whereof there are divers forts , paler or deeper ; yellow Oker , for want of better , is another also ; and these wash'd , not ground , do best ; and must have a little Sugar amongst the Gum , in tempering them . Shadowing Yellowes ▪ are of the stone , found in an Ox-gall , ground with Gum-water , not washed . And yellow Oker , made with white Roses , bruised with a little Allom , and strained ; neither of them needs grinding , nor washing , nor Gum . You may make shift with fair Oker de rouse , and Sa●●ron water . Shadow your Masticote with yellow Oker , deepen it with Oker de rouse . And so have we done with the five perfect Colours . An excellent Receipt to make Vltra-Marine . TAke the broken pieces of Lapis Lazarilli , the deeper blew , or between black and blew , with as little grains of gold upon them as may be ; put it into a Goldsmith's meltingpot , covering it with a potsheard ; heat it hot about an hour , upon a fire of charcoal ; then quench it with urine , vinegar , or water , in some pot , well leaded : dry it in a fire-shovell upon coals , the moisture quite dry ; then lay it upon a table , and with pinsers , nip off the hard part from it , being gray and whitish : Then boyl two spoonfulls of Honey in a pot of clean water , and take the Lapis Lazarilli , and grind it out with this water , as fine as may be , and so let it dry for use . To make a Varnish . TAke a pound and half of oyle Aspeck , the best ; five ounces of Mastick , as many of Sandrose : put these together in a glasse , boyling them in a pottle of water , and putting a cloth in the bottom ; stir it often for three hours , the longer the better ; and after it is cool , let it stand in the Scum for ten daies . An excellent Water , for the preserving white-Colours , and recovering them , being dead or starved ; and generally for all Colours . TAke Rosemary-water distilled , and with a few drops thereof temper a shell of White , so starved or dead , and it shall instantly become perfect ; for a truth , try one half of the colour , and see the difference . It hath also this quality of goodnesse , that whereas all colours ( especially Whites and Umber ) in the grinding and tempering , arise in bubbles , very troublesome to an Artist , a little of this water clenseth the colour , and disperseth the bubbles ; and being tempered with your colour in the shell , makes it flow , and to work exceeding sharp . The draught of a Landskip Mathematicall ; they that have leasure and desire thereto , may make experiment . SEt up a little black Tent in a field , made easie , portable , and convertible , as a Wind-mill , to all quarters at pleasure , capable of no more then one man with little ease , exactly close and dark , save at one hole , an inch and half diameter ; to which , apply a long prospective Trunck , with a convex glasse , fitted to the said hole , and the concave taken out at the other end , which extendeth unto ( about ) the middle of this erected Tent ; through which , the visible radiations of all the objects without , are intermitted , falling upon a paper which is accommodated to receive them , and so trace them with your pen in their naturall appearance , turning this your little Tent round by degrees , till you have design'd the whole aspect of the place . There is good use hereof in Chorography ; but to make Landskips hereby , were too illiberall . Surely no Painter could exceed the precisenesse of these . To make clean a fonl , or old Picture , in Oyle . MAke clean the Picture with a spunge , dipt in warm beer , and then let it dry ; and afterwards wash it over with the liquor of the whitest Gum-dragon , steeped or dissolved in water , which will set a glare or freshnesse upon the Picture . If you use blew starch , or glare of eggs , or other such trash , as is very common , it will take off the heightning , and spoil the grace of the work . Light , bad for the eyes . LEt not the aire be too lightsome ; excessive light scatters the spirits , and causeth the sight to be lost . Xenophons souldiers passing a long time in the snow , became almost blind . Dionysius the Tyrant , shut up his prisoners in dark holes , and sodainly bringing them to sun-shine took away their sight . Some colours are not profitable for the sight , which diffuseth the spirits , drawing them to it ; Black makes them too grosse : Not any colour does much comfort the eyes , but Green , Blew , Viol●t , Saphir , and Emerauld . Flowers of Burrage , and leaves of Burnet , put into French-wine , the colours comfort the eyes , the property of the Herbs represse the vapour of the Wine ; and this Wine is most due to be drunk by an excellent Painter ; in which , other persons may have leave to taste onely , unlesse to drink his health , unto The END . Notes, typically marginal, from the original text Notes for div A94194e-5800 Pen and Pensill described . Of the five Senses . Sight the best sense . Sight compared with other senses . Excellency of sight . 1. Variety of Objects . 2. In spiritual operation . 3. In Light the Noblest Quality . 4 ▪ In infallibility . Eyes their exlency and effects . In the descrption of a Landskip . By an English Gentleman . The Mountain Vesuvius burning . Simile ▪ Prospect of the Vale . River . Bridge . And Orchards . People flye from the Fire . And from the mixt Villages . Hills a farr off . The left hand Prospect of the Vallye . Foot of the Hill . Horison . Travalers . A Curtezan Courted . The Tale put into a Picture . Description of a storm at Sea . Storm begin● with wind and waves . Lowers the Sayle . ●orridnesse . Ships Instruments useless . In sundry ships severall distresses . Sheets rent and Tackling tare . Boy blown away . Mariners miseries . Spectators frighted . Passengers in a long-boate , cast away upon Sands , And They are drowned . The Wrack described . Goods thrown over-board . Ship sincks . The lading flotes , and men upon them . And men drowned . Wrack on shore . Only one man saves himself . Harmony of Poetry and Painting . Painting before Poetry by Hieroglyphicks . Graecians the first Painters . Paintinghighly valued . Excellency and Effects by massacre at Amboyna . Pictures valued at a mighty Price . Van Dorts death by losse of a Picture . Mr. Gibson , the Marquisate Picture . Three Knight-Painters . Use of Paintings . Ornaments to Houses . Whether Sculpture or Painting , be supream . Decided by a Blind Man . 1. The first Grace of a Picture . A Cut hereof . To distinguish Principall from Copies . Mr. Croix . Of Laniere . How to judge of them By distinction Of Old and New Pictures . In History . Antient Italians and their successors . Dutch Masters . French Masters . Designs . Life . Landskip● Flowers . Prospective Sea Pieces . Beasts . Neat heards . English Modern Masters . Limning in Water Colours . War destroyes all Arts . Abilities of Painters . Confined . Of Factions . The Painter's freedom . Difference of Naturall and seigned Figures . And with Grace . Well Coloured . 1. With Force , what it is ? 2. And Affection , what ? The first ordering of Painting by Grecians . Their Names and Qualities . How to dispose of Pictures . Not upon out-side of Houses . Grotesco work , what it is . Of Fresco what it is ▪ Whole Towns of this worke . Three Chambers in Rome . And in France . ●o dispose Pictures within doors . How for light ? Orderly for grace In the Hall , Staire-Case . Great Chamber . Dyning-Roome . Drawing-Chambers . Bed-Chamber . Banquetting-Rooms . Galleries : Tarraces . ● Note . Five sorts of Paintings . Drawing and Designing , their excellent use . The Cuts of these , all lost ●● Sea . The practice of Drawing and Designing . How to draw by Copyes . Of severall members o● the body . Head and shoulders . Nakeds . Skeletons . Pensils . Drapery what ? Of hatching . The best Prints . Shadan and others . Most Pictures are Copied by Gravings . With severall Names to them . Not to Paintere you can Draw well . In reference to Philosophy and Poetry And Painting . Into three sorts . Of Imitation . In severall graces and abilities . Of Fancie . Surpassing Imitation . Fancy in sleep . It changes passions and affections . Mr. May . To encrease fancie . And order it in a Picture . Not to dwell upon d●signing . To correct what is amisse . And to submit to Censure . being wisely judged . Five Principa parts in a Picture . Invention . Proportion . Of true beauty . Naturall or conceived . By the Idea . His brave and unpattern'd and unparallel'd Piece of Artime●ia . Likenesse , not to be compared To Symmetry And therefore Naked Bodies hard to Paint . Designing Lines , what ? A Cut . Colouring , what ? With Light and shadows . Tonus , what ? A Brightness . Harmogia what ? As the Rainbow in Colours . Of Spirits and Souls Painted ●● A Geometricall Line . Colouring of a Man . And beauty of a Woman . Action and Passion . How to be expressed And to be improved In severall postures of the Head . Hands and Arms . Energia what ? By example of Titian ' Pieces . And of Palma's Piece . And of another . Of Disposition . In order to perfection , Soon discovered . But altogether excellens . By exampl● in brief Conclude a rare Picture . Parergia what ? With pretty adornments gracefull . And to conclude it a wonder . Dedicate to the gods . Painter's faults . Conclusion of all Sets you forward to the Second Book . Notes for div A94194e-32640 Colours not usefull . Ceruse . White-Lead . Note . How to grind it Upon what stone To use it ▪ Gum-atrabick . Note a generall rule ▪ Colours to be washt and ground ▪ To be washt only . Why to be washt . But five perfect Colours . India-Lake . To ●ixe all Colours . Oker , Pinke . Blew and yellow makes green . Umber . Brown of Spaine . Terra-Colen . Cherry-stone and Ivory black . Ivory . Red-Lead to be washed . How to use it . Pensils how to choose them . To make Pensils . Some onely for Gold . Tablet for the Life . The Prime for severall Complexions . Faire . Brown . How to lay on the ground . To prepare Colours upon your shell . Of Whites , Reds . Blews , Grisatrie . Your Light . And sitting . First lines . Manner of Limning . To the Life . First ●itting . Second . Third . Dead-Colour Note . Particular directions of the Picture , Blew-Colour-working . Eyes . Haire . Note . Second sitting . Observation . The Ground-Colour behind . Curtaine of Blew , How to lay it Remarkable . Crimson Satten ground . Over-view , and add to the face , And Haire . The Dressings Blackish reflections . Third sitting . Likenesse , Resemblance , Countenance , Marks , Moles . Note . Remarkable . Armour to Colour Silver . Gold Colour . ●all-stone of an Oxe . The manner of working liquid Gold , Or Silver . Pearle . Diamonds . Rubies . Emrauld or Green-stone . Saphire . Amethist , Liquid Gold , to make it . Liquid Silver , to make it . Silver larnish Tablet for Landskip . Landskip after the Life , the way to draw it . To make a Landskip . Dead Colour . Next ground ▪ And neere● . Note . Trees . Note ▪ Paul Brell's observations . Light against dark , et ● contrario . Heightning the touches of the Trees . Cataracts and falls of water-Rock● . Second working . History of rare pieces by Salmiato . By Graetians , By Albert D●rar , Don Clavio ▪ Error in the Italians . Isaack Oliver . The difference in Painting History and Picture . Variety of Colours in the Life . Bloomart and Spranger . Liberty affected in Colouring . By Raphael Vrbine . And Bassano , Ruben and Cornelius of Harlem , Angelo . Four severall wayes of Colonring . 1. Of Infant● . 2. Virgins and fair-Women . 3. Men naked ▪ 4. Aged bodies . Severall persons of one age and sex , in one Tablet . Colours of their Apparel . Drapery two waies . Blew Drapery Isaac Oliver . Lightning with Gold , upon all Colours , by Albert Durar . Observations in Limning . The Sitting , Proportion , Light , and Posture ▪ Pastills for Croyons . To make them Lapis Loculi , Lapis Lazarilli . To make Ultramarine . 1. With Powders . 2. Pa●tills ▪ 3. Colour'd paper . Croyons of Holben , a rare Book . Ordinary working in Croyon . Brown Complexion . Plaister of Paris . For Crimson ▪ Greens , And Other Colours . White-Lead . To counterfeit Spanish White . Frescoe . Painting upon Walls . Without any Mineral colours . What Brushes White-Lead . Emrauld . Ruby . Saphire . Crimson-velvet . Pearl . Note . Black . Murray , or Amethyst . 2. Fair Red , or Ruby . 3. Blew , or Saphire . 4. Green , or Emrauld . 5. Yellow , or Topas . To make Ultra-Marine . To make a Varnish . An excellent Water . A Landskip . To clean old Pictures . Light , bad for the eyes . Colours good and bad for sight .