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

• Of the five Senses.
  Sight, to the Heavens.
• Smelling, to the Fire.
• Hearing, to the Ayre.
• Tasting to the VVater.
• Touching, to the Earth.

[Page 2] 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.

Sight the best sense. 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, w ^ch 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.’

Sight compa­red with other senses. 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, [Page 3] 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.

Excellency of sight. 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.

1. Variety of Objects. 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.

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.

2. In spiritual operation. 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!

3. In Light the Noblest Qua­lity. 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 [Page 4] 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.

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.

[Page 5] 4▪ In infallibi­lity. 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.

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▪

Eyes their ex­lency and ef­fects. 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 a Landskip.

In the descrp­tion 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.

By an English Gentleman. 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.

The Mountain Vesuvius bur­ning. 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. Simile▪

But now his sight, dim'd with much gazing, and his Eye­lids 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.)’

Prospect of the Vale.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;

River. 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.

Bridge. 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.

And Orchards. Neer unto an Orchard of Palms, and Sicamours, where, un­der an ample Arch, the River seems convayed to utter losse of all, but imagination.

People flye from the Fire. 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 [Page 8] severall degrees of dimensions, each Creature seems contracted into Shapes, almost of Atomes.

And from the mixt Villages. 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.

Hills a farr off. 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.

The left hand Prospect of the Vallye. 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.

Foot of the Hill. 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.

Horison. 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.

Travalers. 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, [Page 9] 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.

A Curtezan Courted. 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) The Tale put into a Picture.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.

Description of a storm at Sea. 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.

Storm begin [...] with wind and 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.

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 [Page 13] millions of change. There being such Harmony in them, Harmony of Poetry and Painting.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.

Painting be­fore Poetry by Hierogly­phicks. 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.

Graecians the first Painters. 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.

[Page 14] Paintinghigh­ly valued. 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.

Excellency and 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.

Effects by So did they well; who, to enforce a more horrid recepti­on massacre at Amboyna.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 1653 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.

Pictures valu­ed at a mighty Price. 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.

Van Dorts death by losse of a Picture. 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. Mr. Gibson, the Marqui­sate Picture.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, [Page 15] 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, Common­wealths, 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, Three Knight-Painters.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 Ʋse and Ornament of Pictures.

Use of Pain­tings. 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.

Ornaments to Houses. 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 Whether Sculpture or Painting, be supream.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.

Decided by a Blind Man. 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.

1. The first Grace of a Picture. 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 [Page 16] A Cut here­of. Originalls many, even pretenders to this Art, are deceived with Copies.

Of Originall Pieces and of Copies.

To distin­guish Princi­pall from Copies. GEnerally, in Originalls, the Colours become often va­ded, and, in many, much changed; the Piece in time grown crusty, and often peeles by ill usage. Yet you shall find the Lightnings bold strong, and high; the shadowes deep and gracefull.

Their Copies, if well counterfeit, the workeman must alter the manner of his Colours by a mixt tempering; otherwayes then the Modern Naturall way of Painting admits. To do this well, he may be lesse excellent in the Precepts of Painting, and yet in this way of working, out Master, a better Artizan; Mr. Croix.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.

Of Laniere. 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.

How to judge of them 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.

By distinction An Imitator, does never come neer the first Author, (unless by excellent modern Masters own working) a similitude ever more, comes short of that truth, which is in the Things them­selves: The Copier being forced to 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.

Of Old and New Pictures. 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 [Page 17] 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.

In History. Antient Itali­ans and their successors. 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, [Page 18] 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.

Dutch Mas­ters. 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.

French Mas­ters. The ancient French Masters were Le petit Barnard, Voget, Le­here, Blancher. And at present, the most excellent Nicholas Posen for History.

[Page 19] Foquere and Claud Delaverne, for Landskip.

Particular Masterie [...].

Designs. FOr excellent designes of Noble History, vve may be a­mazed to behold the aforesaid Urbin, Angelo, Vernes, and Tinteret.

Life. 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.

Landskip [...] 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.

Flowers. 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.

Prospective Sea Pieces. Beasts. 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; Neat heards.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.

[Page 20] English Mo­dern Masters. 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.

Limning in Water Co­lours. 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.

War destroyes all Arts. 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 out­went 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.

Abilities of Painters. 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.

Confined. 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.

Grecians the first Painters.

The first orde­ring of Paint­ing by Greci­ans. 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.

[Page 24] 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,

• Their Names and Qualities.
  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.

How to dis­pose of Pic­tures. 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 Not upon out-side of Houses.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 [Page 25] 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.

Grotesco work, what it is. AS for Grotesco or (as we say) Antique-worke; It takes my fancy, though in forms of different Natures, or Sexes, Sirenes, Centaures, and such like, as the outward walls of White-Hall, observes this kind; 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.

Of Fresco what it is▪ 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.

Whole Towns of this worke. There have been PAINTINGS of this worke, in severall Towns of GERMANY, rarely done; but now rui­ned by Warre.

Three Cham­bers in Rome. At Rome; there are three Chambers, in the Popes Pallace, of Frescoe; done by Raphael Urbin, and Julio Romano, (his disciple,) who finished his Master's vvorke, and are yet called, Raphaells designes. Other places, done by Andrea dél sexto, and Mi­chael Angelo, and some other Artists.

And in France. At Fountain-bleau in France, is most excellent worke of this [Page 26] 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.

[...]o dispose 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.

How for light? 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 Orderly for gracefaces, 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.

In the Hall, 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.

Staire-Case. 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.

Great Cham­ber. The Great Chamber with Landskips, Huntings, Fishing, Fowling; or, History of Notable actions.

Dyning-Roome. 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; [Page 27] 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.

Drawing-Chambers. Inward with drawing Chambers; place others of the Life, whether of Honour, friendship or of Art only.

Bed-Cham­ber. 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.

Banquetting-Rooms. Cheerfull Paintings, In Banquetting Rooms: but here, as any where, 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.

Galleries: Graver stories; Histories your best figures, and rarest worke becomes Galleries; here you Walk, Judge, Examine, Cen­sure.

Tarraces. [...] 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.

Note. 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.

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

[Page 28] 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.

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

The practice of Drawing and Desig­ning. I Would prepare you with Rule and Compasse, and o­ther Instrume nts, 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.

How to draw by Copyes. 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.

Of severall members o [...] the body. Then, practise by severall members of the body; in some Print; as the Eare, Eye, Nose, Hand, Foot, Legg, by themselves [Page 30] in severall Postures, all which are particularly designed for Head and shoulders.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, Nakeds. Man, VVoman, or Child; Then some Skeletons, forward, back, and side, and after all, cloathed with Garments; Lastly, sha­dow Skeletons.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.

[Page 31] I had prepared Prints for all these directions but they are lost at Sea.

Pensils. 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 what? 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.

Of hatching. In shadowing, with hatches, or small strokes (as in your print) use the pen of a Ravens-quill; and be sure not to cross any stroake, before the former be dry; 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. 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 and o­thers. Shadan, VVierin, Spranga, Michaell-Jans of Delph, Raphael and John Sadler, and other Masters sans, Number.

[Page 32] Most Pictures are Copied by Gravings. Now, though we name these, as other Artizans, for draughts, and to be met with in Prints; you must know that they were Painters, and for the most part, wrought their Pieces first, by designe, and draught, with blacke and white Chalkes in little; 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.

With severall Names to them. 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.

Not to Paintere you can Draw well. By this time, and Practice, you expect that I should put you into Painting, the usuall longing desire of the Practitio­ner; but forbear, by any means, untill you be excellent in Copying of draughts, according to the foresaid Rules; nay, untill you can boldly and truly, adventure upon your own fancie, and designe a Pattern for others. And believe it for truth; 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.

In reference to Philosophy and PHilosophers, divide the universe (which is their sub­ject) into three Regions; Caelestiall, Aeriall, Terrestri­all.

Poetry So the POETS, (who imitate humain Life, in measured Andlines,) have lodged themselves, in three Regions of Man­kind; Court, Citty, and Country.

Painting. So, the PAINTERS, (whose Art is to imitate Nature) performe it in three severall Qualities; Design, Proportion, and Colour.

Into three sorts. And these, into three sorts of Painting; Prospective, (or Landskip,) Historicall, and Life.

Prospective; a wonderfull freedome, and liberty, to draw, even, what you list; so various is Nature in that.

Historicall; respects due Proportions and figures.

Life; only the Colour.

In each of these; you must have dependency upon all the other, but necessarily, on each in particular.

Of Imitation. The powers of a Painter, is expressed, by Imitation of Na­turall [Page 33] 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; In severall graces and abilities. 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.

Of Fancie. 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 Surpassing Imitation.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. Fancy in sleep.

Herein appears the marvailous force of Imagination; A man sleeps, his Senses are at rest, yet his Imagination is [Page 34] at worke; and offers things to him, as if present, and a­wake. It changes pas­sions and af­fections.

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, Mr. May.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 To encrease fancie.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.

And order it in a Picture. In a draught of designe, the Artist must fancie every circum­stance of his matter in hand; as usually Rubens would (with his Arms a cross) fit 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 d [...]sign­ing. 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 [Page 35] our thoughts; breathing, and reviewing what is done, by which we make a handsome connexion of things.

To correct what is amisse. 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.

And to submit to Censure. 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.

being wisely judged. 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.

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.

[Page 37] I marry Sir, Vandick's rare Mistresse, and his Master­piece, 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 ile 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.

[Page 38] 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.

[Page 39]'Tis 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 [Page 40] 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.

[Page] [Page]

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; [Page 42] 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 Sun­setting; 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 [Page 43] 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.

Five Principa parts in a Picture. IN a PICTURE from Nature, there are five Principall parts.▪

1. Invention or Historicall Argument.

2. Proportion, Symmetry.

3. Colour, with Light or Darknesse.

4. Motion, or Life▪ and their Action and Passion.

5. Disposition, or 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.

Conclusion of this first Part.

Conclusion of all 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.

Sets you for­ward to the Second Book. 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.

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.)

• Ceruse;
• White-Lead.

• Sap-green.
• Pinck.
• Bise-green.
• Cedar-green.

• India-lake.
• Read-Lead, or Mene.

• Indico.
• Ultramanue.
• Bise-blew.
• Smalt.

• Masticoate.
• Oker of England.

• Umber.
• Spanish-brown.
• Terra lemnia or▪
• Cullins earth.

[Page 54]

• Cherry▪stones burnt.
• Ivory burnt.
• Lamp-blacke.

Colours not usefull. 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. Ceruse, after it is wrought will starve, lavish, and dye; and being laid on with a Pensill, a fair white wil, in a few months, become Russet, Reddish, or Yellowish.

White-Lead. White-lead, If you grind it fine (as all our Colours must be) it will glister and shine, both in the Shell, and after it is wrought; and if not ground, it will not work, nor be service­able.

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.

Note. 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.

How to grind it Being thus prepared, grind it (upon a Porphire, Serpentine, or Pebble-stone; any of these are excellent: some use Marble, Upon what stonethick Glasse, or Crystall. But the first two are too soft, and in grinding, mixe with the Colour and spoyle them; the lat­ter [Page 55] 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.

To use it▪ 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.

Gum-atrabick. 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.

Note a gene­rall rule▪ Observe (in each particular) what is directed in this Co­lour of washing, grinding, tempering. A Rule for all the other Co­lours, that are to be ground.

• Colours to be washt and ground▪
  Ceruse.
• White-Lead.
• India-Lake.
• English-Oker.
• Pinke.
• Indico.
• Umber.
• Spanish-brown.
• Colens-Earth.
• Cherry-stone and
• Ivory black.

• To be washt only.
  Red-Lead, or
• Mene.
• Masticote.
• Blew-Bise.
• Green-Bise.
• Cedar-Green.
• Smalt.
• Ultra-marine.

Only Sap-green to be steeped in fair water.

[Page 56] Why to be washt. 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.

But five perfect Co­lours. There are but five perfect Colours (white and black being none) like the five precious stones perfect and transparent severall Colours.

The hard Topas for Yellow, the Amethyst orient for Murray, the Rubie for Red, Saphire for Blew, Emrauld for Green. All which Colours are perfect different from mixture of white 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.

India-Lake. 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 To [...]ixe all Colours.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.

Oker, 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.

Pinke. Get the fairest; because with it and Blew you make the Blew and yel­low makes green.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 [Page 57] 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.

Umber. 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.

Brown of Spaine. 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.

Terra-Colen. 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:

Cherry-stone and Ivory black. 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.

Ivory. 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.

Red-Lead to be washed. 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 [Page 58] 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.

How to use it. 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.

Pensils how to choose them. 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 Pen­knife or pass it through the flame of a Candle.

To make Pen­sils. Take the Tailes of Chalibes, and breaking an ordinary Pensill assunder, observe how they are tyed up and fastned; [Page 59] 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.

Some onely for Gold. 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 second Division by Landskip: The Tablet.

TAke some Vellome, shave it upon a thinne frame; fast­ning Tablet for Landskip.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 Landskip af­ter the Life, the way to draw it.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 [Page 71] 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.

To make a Landskip. In making it; First, beginne with a large skie or Element and if there be any shining or reflection of the Sunne, (in which only the Dutch are neat and curious,) then you must be carefull, by no meanes to mixe Red-lead, or Mene, in the purple of the skie, or Clouds, but only with Lake and White; 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 Dead Colour.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.

Next ground▪ 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.

And neere [...]. 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.

Note. 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 [Page 72] neerer, and as at hand which is a grosse errour.

Trees. The Trees must be made with great judgment, the leaves flowing or filling one with the other, some sticking forward, others lost in shadows.

Note▪ 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 Paul Brell's ob­servations.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 Light against dark, et [...] con­trario.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.

Heightning the touches of the Trees. 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.

Cataracts and falls of water-Rock [...]. 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 [Page 73] and ruptures of various over-wannie colours; the manner where­of, you see abundantly exprest by most mens Pensils, almost in every Landskip. Second work­ing.

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.

History of rare pieces by Salmiato. 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. By Graetians,

By Albert D [...] ­rar, Other Books exceedingly wel limm'd in that Library, done by Albert Durar.

Don Clavio▪ 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, Error in the Italians.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 Isaack Oliver.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 [Page 74] seen this Picture, his book might have encreased to a Tome with this worthy description.

The difference in Painting History and Picture. The difference in Painting of Pictures and History are infi­nite, though the Colours be the same; and to particularise but in part, what may be said of this subject would be end­lesse.

Variety of Co­lours in the Life. The most remarkable difference certainely is in the vari­ety of Colours which according to their several Complexions, Sex, and Ages may be represented, and many times accor­ding to the humour, judgment and affection of the Work­man; And we see ordinarily, the practice of the best and most famous Painters, (those that follow the Life,) Bloomart and Spranger.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 Liberty affec­ted in Colou­ring.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.

By Raphael Ʋr­bine. 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.

And Bassano, 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.

Ruben and Cornelius of Harlem, 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. 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.

Four severall wayes of Co­lonring. INdeed and briefly there are four severall kinds of Colou­ring to be observed in History. Of young Infants, of faire [Page 75] 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.

1. Of Infant [...]. 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.

2. Virgins and fair-Women. 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.

3. Men naked▪ 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.

4. Aged bodies. 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.

Severall per­sons of one age and sex, in one Tablet. Colours of their Apparel. 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, [Page 76] 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 Drapery two waies. 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 Blew Drapery 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 Isaac Oliver.way of Isaac Oliver, in my observation.

There is to be seen in the Palace of Don Julio Clovis, Crim­son-velvet Lightning with Gold,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 upon all Co­lours, 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 by Albert Du­rar. 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.

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.

The Sitting, 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.

Proportion, 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.

Light, 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.

and Posture▪ 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.

Pastills for Croyons. To make them 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 [Page 78] 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, Lapis Lazarilli. To make Ul­tramarine. 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 1. With Pow­ders.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.

2. Pa [...]tills▪ 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.

3. Colour'd paper. 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 [Page 79] 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.

Croyons of Holben, a rare Book. 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.

Ordinary working in Croyon. 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 [Page 80] 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.

Brown Com­plexion. 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.

Plaister of Paris. 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.

For Crimson▪ 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.

Greens, In this manner you may make all manner of beautifull Greens for Landskips and all other Colours requisite for Rocks, And Waters, Skyes, and tempering the Greens with white Pinck, Bise, Other Co­lours. 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 [Page 81] 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.

White-Lead. 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.

To counter­feit Spanish White. 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.

Frescoe. Of Frescoe.

Painting up­on Walls. THe way of Painting upon walls, to endure weather, the Colours must be ground with lime-water, or milk, or whey, tempered and mix'd in pots, as in Size-colouring. 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, [Page 82] 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.

Without any Mineral co­lours. What Brushes 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.

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, Emrauld. Ruby. Saphire.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.

Crimson-vel­vet. 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. 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. Note, that all Stones, (besides the Diamond) must be glazed upon silver, with their proper colours, with a varnish.

An excellent Black.

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.

An excellent Receipt to make Ʋltra-Marine.

To make Ul­tra-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.

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.

An excellent Water. 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.

A Landskip. 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.

To clean old Pictures. 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.

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.

Colours good and bad for 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.

[Page 87] Flowers of Burrage, and leaves of Burnet, put into French­wine, 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