POLYGRAPHICES
LIBER
PRIMUS
.
OF
DRAWING
.
CHAP.
I.
Of
Polygraphice
in
General
.
I.
POlygraphice
is
an
Art
,
so
much
imitating
Nature
,
as
that
by
proportional
lines
with
answerable
Colours
,
it
teacheth
to
represent
to
the
life
(
and
that
in
plano
)
the
forms
of
all
corporeal
things
,
with
their
respective
passions
.
II.
It
is
called
,
in
general
,
in
Greek
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
in
Latin
Pictura
,
and
in
English
the
Art
of
Painting
.
III.
It
is
sevenfold
(
to
wit
)
in
Drawing
,
Engraving
,
Etching
,
Limning
,
Painting
,
Washing
and
Colouring
.
IV.
Drawing
is
,
that
whereby
we
represent
the
shape
and
form
of
any
corporeal
substance
in
rude
lines
only
.
V.
It
consists
in
proportion
and
passion
,
as
it
hath
relation
to
motion
and
situation
,
in
respect
of
Light
and
Vision
.
VI.
Sanderson
saith
,
This
Admirable
Art
,
is
the
Imitation
of
the
surface
of
Nature
in
Colour
and
Proportion
,
1.
By
Mathematical
demonstration
,
2.
By
Chorographical
description
,
3.
By
shapes
of
Living
creatures
,
4.
And
by
the
forms
of
Vegetables
;
in
all
which
it
prefers
Likeness
to
the
life
,
conserves
it
after
death
,
and
this
altogether
by
the
Sense
of
Seeing
.
VII
.
The
proportion
shews
the
true
length
,
breadth
or
bigness
of
any
part
(
in
Known
measures
)
in
respect
of
the
whole
,
and
how
they
bear
one
to
another
:
The
passion
represents
the
Visual
Quality
,
in
respect
of
love
or
hatred
,
sorrow
or
joy
,
magnanimity
or
cowardise
,
majesty
or
humility
;
of
all
which
things
we
shall
speak
in
order
.
CHAP.
II.
Of
the
Instruments
of
Drawing
.
I.
THe
Instruments
of
Drawing
are
sevenfold
,
viz.
Charcoals
,
feathers
of
a
Ducks-wing
,
black
and
red
Lead
pencils
,
pens
made
of
Ravens
quils
,
Rulers
,
Compasses
,
and
Pastils
.
II.
Charcoals
are
to
be
chosen
of
Sallow-wood
split
into
the
form
of
pencils
,
and
sharpened
to
a
point
,
being
chiefly
known
by
their
pith
in
the
middle
.
Their
use
is
to
draw
lightly
the
draught
over
at
first
,
that
if
any
thing
he
drawn
amiss
it
may
be
wiped
out
and
amended
.
III.
The
feathers
ought
to
be
of
a
Ducks-wing
,
(
though
others
may
serve
well
enough
)
with
which
you
may
wipe
out
any
stroak
of
the
Charcoal
where
it
is
drawn
amiss
,
lest
variety
of
Lines
breed
confusion
.
IV.
Black
andred
Lead
pencils
,
are
to
go
over
your
draught
the
second
time
more
exactly
,
because
this
will
not
wipe
out
with
your
hand
,
when
you
come
to
draw
it
over
with
the
pen.
V.
Pens
made
of
Ravens
quills
(
but
others
may
serve
)
are
to
finish
the
work
:
but
herein
you
must
be
very
careful
and
exact
,
for
what
is
now
done
amiss
there
is
no
altering
of
.
VI.
The
Rulers
,
which
are
of
use
to
draw
straight
or
perpendicular
lines
,
triangles
,
squares
or
polygons
,
the
which
you
are
to
use
in
the
beginning
,
till
practice
and
experience
may
render
them
needless
.
VII
.
Compasses
made
of
fine
Brass
with
Steel
points
,
to
take
in
and
out
,
that
you
may
use
black
or
red
Lead
at
pleasure
.
Their
use
is
first
to
measure
(
by
help
of
a
curious
scale
of
equal
parts
upon
the
edge
of
your
Ruler
)
your
proportions
,
and
whether
your
work
is
exact
which
is
done
with
the
Charcoal
.
Secondly
,
to
draw
Circles
,
Ovals
,
and
Arches
withal
.
VIII
.
Pastils
are
made
of
several
Colours
to
draw
withal
,
upon
coloured
paper
or
parchment
,
Thus
,
Take
Plaister
of
Paris
or
Alabaster
calcined
,
of
the
colour
of
which
you
intend
to
make
your
pastils
with
,
ana
q.
s
.
grind
them
first
asunder
,
then
together
,
and
with
a
little
water
make
them
into
paste
,
then
with
your
hands
roul
them
into
long
pieces
like
black-lead
pencils
,
then
drie
them
moderately
in
the
Air
:
being
dryed
,
when
you
use
them
,
scrape
them
to
a
point
like
an
ordinary
pencil
.
And
thus
may
you
make
pastils
of
what
colour
you
please
,
fitting
them
for
the
faces
of
Men
or
Women
,
Land-skips
,
Clouds
,
Sun-beams
,
Buildings
and
shadows
.
IX
.
To
the
former
add
good
Copies
,
Patterns
,
and
Examples
of
good
Pictures
,
and
other
draughts
,
without
which
it
is
almost
impossible
,
that
the
young
Artist
should
ever
attain
to
any
perfection
in
this
Art
.
Those
that
desire
to
be
furnished
with
any
excellent
Patterns
,
Copies
or
Prints
,
may
have
of
all
sorts
,
whether
of
Humane
shape
,
Perspective
design
,
Landskip
,
Fowls
,
Beasts
,
Fishes
,
Insects
,
Plants
,
Countries
,
or
any
other
Artificial
figures
,
exquisitely
drawn
,
at
very
reasonable
rates
,
where
this
Book
is
to
be
sold
.
CHAP.
III.
Of
the
precepts
of
Drawing
in
General
.
I.
BE
sure
to
have
all
the
necessaries
aforesaid
in
readiness
,
but
it
will
be
good
to
practise
as
much
as
may
be
without
the
help
of
your
Rule
and
Compasses
;
it
is
your
eye
and
fansie
must
judge
without
artificial
measurings
.
II.
Then
first
begin
with
plain
Geometrical
figures
,
as
Lines
,
Angles
,
Triangles
,
Quadrangles
,
Polygons
,
Arches
,
Circles
,
Ovals
,
Cones
,
Cylinders
and
the
like
.
For
these
are
the
foundations
of
all
other
proportions
.
III.
The
Circle
helps
in
all
orbicular
forms
,
as
in
the
Sun
,
Moon
,
&c.
the
Oval
in
giving
a
just
proportion
to
the
face
and
mouth
;
the
mouth
of
a
Pot
or
Well
,
the
foot
of
a
Glass
,
&c.
the
Square
confines
the
Picture
you
are
to
Copy
,
&c.
the
Triangle
in
the
half-face
;
the
Polygone
in
Ground-plats
,
Fortifications
,
and
the
like
;
Angles
and
Arches
in
Perspective
;
the
Cone
in
Spires-tops
of
Towers
and
Steeples
:
the
Cylinder
in
Columns
,
Pillars
,
Pilasters
,
and
their
Ornaments
.
IV.
Having
made
your
hand
fit
and
ready
in
General
proportions
,
then
learn
to
give
every
object
its
due
shade
according
to
its
convexity
or
concavity
,
and
to
elevate
or
depress
the
same
,
as
the
object
appears
either
nearer
or
farther
off
the
light
,
the
which
is
indeed
the
life
of
the
work
.
V.
The
second
practice
of
drawing
consists
in
forming
fruits
,
as
Apples
,
Pears
,
Cherries
,
Peaches
,
Grapes
,
Strawberries
,
Peascods
,
&c.
with
their
leaves
:
the
imitation
of
flowers
,
as
Roses
,
Tulips
,
Carnations
,
&c.
Herbs
,
as
Rosemary
,
Tyme
,
Hysop
,
&c.
Trees
,
as
the
Oak
Fir
,
Ash
,
Wallnut
,
&c.
VI.
The
third
practice
of
Drawing
imitates
,
1.
Beasts
,
as
the
Lamb
,
Elephant
,
Lion
,
Bear
,
Leopard
,
Dog
,
Cat
,
Buck
,
Unicorn
,
Horse
,
&c.
2.
Fowls
,
as
the
Eagle
,
Swan
,
Parrot
,
Partridge
,
Dove
,
Raven
,
&c.
3.
Fishes
,
as
the
Whale
,
Herring
,
Pike
,
Carp
,
Thornback
,
Lobster
,
Crab
,
&c.
of
which
,
variety
of
Prints
may
be
bought
at
reasonable
rates
.
VII
.
The
fourth
praxis
imitates
the
body
of
Man
with
all
its
Lineaments
,
the
Head
,
Nose
,
Eyes
,
Ears
,
Cheeks
,
hands
,
Arms
,
and
shadows
all
exactly
proportional
both
to
the
whole
,
and
one
to
another
,
as
well
to
situation
as
Magnitude
.
VIII
.
The
fifth
praxis
is
in
Drapery
,
imitating
Cloathing
,
and
Artificially
setting
off
the
outward
Coverings
,
Habit
and
Ornaments
of
the
Body
,
as
Cloth
,
Stuff
,
Silk
and
Linnen
,
their
natural
and
proper
folds
;
which
although
it
may
seem
something
hard
to
do
,
yet
by
much
exercise
and
imitation
of
the
choicest
Prints
,
will
become
facil
and
easie
.
IX
.
In
drawing
of
all
the
aforegoing
forms
,
or
what
ever
else
,
you
must
be
perfect
,
first
in
the
exact
proportions
:
secondly
in
the
general
or
outward
lines
,
before
you
fall
to
shadowing
or
trimming
your
work
within
.
X.
In
mixed
and
uncertain
forms
,
where
Circle
and
Square
will
do
no
good
(
but
only
the
Idea
thereof
in
your
own
fansie
)
as
in
Lions
,
Horses
,
and
the
like
;
you
must
work
by
reason
in
your
own
judgment
,
and
so
obtain
the
true
proportion
by
daily
practice
.
Thus
;
Having
the
shape
of
the
thing
in
your
mind
,
first
draw
it
rudely
with
your
coal
,
then
more
exactly
with
your
lead
or
pencil
;
then
peruse
it
well
,
and
consider
where
you
have
erred
,
and
mend
it
,
according
to
that
Idea
,
which
you
carry
in
your
mind
;
this
done
,
view
it
again
,
correcting
by
degrees
the
other
parts
,
even
to
the
least
Jota
,
so
far
as
your
judgment
will
inform
you
;
and
this
you
may
do
with
twenty
,
thirty
,
forty
or
more
papers
of
several
things
at
once
:
having
done
what
you
can
,
confer
it
with
some
excellent
pattern
or
print
of
like
kind
,
using
no
rule
or
compass
at
all
,
but
your
own
reason
,
in
mending
every
fault
,
giving
every
thing
its
due
place
,
and
just
proportion
;
by
this
means
you
may
rectifie
all
your
errors
,
and
step
an
Incredible
way
on
to
perfection
.
CHAP.
IV.
Of
Drawing
the
Face
of
a
Man
.
I.
IN
drawing
of
the
face
you
are
first
to
observe
its
motion
whether
upwards
,
downwards
,
forwards
,
or
sideways
;
whether
it
be
long
or
round
,
fat
or
lean
,
great
or
little
.
For
if
it
be
fat
,
the
cheeks
will
seem
to
swell
:
if
lean
,
the
jaw-bones
will
stick
out
,
and
the
cheeks
fall
in
;
but
if
neither
too
fat
nor
too
lean
,
it
will
be
for
the
most
part
round
.
II.
Touch
lightly
the
features
where
the
eyes
,
mouth
,
nose
,
and
chin
should
stand
,
(
having
first
drawn
the
circle
or
oval
of
the
face
)
then
make
a
stroak
down
from
that
place
of
the
forehead
which
is
eaven
with
the
Chin
,
coming
down
where
you
should
place
the
middle
or
tip
of
the
nose
,
and
middle
of
the
mouth
,
which
stroak
must
be
made
straight
down
in
a
full
right
face
,
but
arched
or
oval
in
an
oblique
face
,
leaning
that
way
towards
which
the
face
doth
turn
:
then
cross
the
stroak
about
the
middle
of
the
Eyes
,
either
with
a
straight
line
in
a
right
face
,
or
with
a
Curved
either
upwards
or
downwards
according
to
the
present
action
or
posture
of
the
face
:
then
make
another
answerable
to
that
,
where
the
end
of
the
nose
should
come
;
and
another
for
the
mouth
,
that
it
be
not
made
crooked
.
how to draw the human head
W
Sherwin
sc
III.
Then
if
the
face
look
upwards
toward
heaven
,
or
downwards
towards
the
earth
,
let
the
Eyes
,
Nose
,
Mouth
,
and
Brows
look
accordingly
with
it
;
and
now
proceed
to
the
placing
of
the
features
.
IV.
In
a
just
proportioned
face
,
the
distances
,
1.
between
the
top
of
the
forehead
and
the
eye-brows
,
2.
between
the
eye-brows
and
the
bottom
of
the
nose
,
3.
between
the
bottom
of
the
nose
and
the
bottom
of
the
Chin
,
are
equal
.
V.
In
drawing
the
utmost
Circumference
of
a
face
,
take
in
the
head
and
all
with
it
,
lest
you
be
deceived
in
drawing
the
true
bigness
.
how to draw facial features
W
Sherwin
sc
VI.
Then
consider
all
those
chief
touches
which
give
life
to
a
face
,
adding
grace
thereto
,
and
something
discovering
the
disposition
of
the
mind
.
So
the
mouth
extended
and
the
corners
a
little
turning
up
,
shews
a
smiling
countenance
:
the
eye-brow
bending
,
and
the
forehead
and
top
of
the
nose
between
the
eye-brows
wrinkled
,
shews
one
frowning
:
the
upper
eye-lid
coming
something
over
the
ball
of
the
eye
,
shews
one
sober
and
stayed
:
with
many
other
touches
which
give
life
and
spirit
to
a
face
,
which
in
good
paints
,
by
little
and
little
,
and
diligent
observation
you
will
at
last
find
out
.
VII
.
The
distances
between
the
eyes
,
is
the
length
of
one
eye
in
a
full
face
,
but
in
a
three-quarted
or
half-face
,
it
is
lessened
proportionably
:
and
exactly
underneath
the
corners
of
the
eyes
,
place
the
nostrils
.
VIII
.
Having
given
touches
where
the
eyes
,
nose
,
mouth
and
chin
should
be
placed
,
begin
to
draw
them
more
exactly
,
and
so
proceed
till
the
face
be
finished
;
and
then
make
the
hair
,
beard
,
shadows
,
and
other
things
about
it
.
sample drawings of heads
W
Sherwin
sc
IX
.
Be
sure
to
make
the
shadows
rightly
,
and
be
sure
not
to
make
them
too
dark
,
where
they
should
be
faint
;
for
that
can
never
be
made
light
again
,
and
so
the
whole
face
is
marr'd
.
The
shadows
are
fainter
and
lighter
in
a
fair
face
than
in
a
swarthy
.
X.
When
you
have
finished
the
face
,
give
here
and
there
some
hard
touches
with
your
pen
where
the
shadows
are
darkest
;
then
come
the
ears
and
hair
,
wherein
,
having
drawn
the
out-line
,
draw
the
principal
curls
,
or
master
stroaks
in
the
hair
,
which
will
be
a
guide
to
you
in
the
lesser
curls
,
whose
dependance
are
on
them
:
always
make
the
curls
to
bend
exactly
according
to
the
pattern
,
that
they
may
lie
loose
,
or
carelesly
,
and
not
as
if
they
were
stiff
and
forced
;
the
curls
being
rightly
drawn
,
in
the
last
place
strike
in
the
loose
hairs
which
hang
scatteringly
out
of
the
Circles
.
XI
.
In
forming
the
Ear
,
describe
an
Oval
as
it
were
,
and
proceeding
lightly
,
joyn
stroak
to
stroak
,
in
such
manner
as
you
see
in
the
Figures
;
so
that
the
ear
may
be
entirely
formed
,
without
digressing
from
the
bounds
of
Nature
or
Art
.
XII
.
Lastly
,
having
practised
a
little
by
rule
,
and
brought
your
hand
in
;
in
drawing
of
any
thing
,
first
strike
the
out-stroaks
,
principal
veins
,
and
muscles
lightly
,
and
afterwards
shadow
them
,
ever
following
exquisite
patterns
and
prints
,
which
will
both
encrease
your
judgment
,
and
bring
command
to
your
hand
.
sample drawings of heads
W
Sherwin
sc
CHAP.
V.
Of
the
Extremeparts
.
I.
IN
drawing
the
hands
,
draw
not
all
the
joints
,
veins
or
other
things
to
appear
plainly
,
but
only
lightly
and
faintly
,
and
strike
out
the
bigness
of
the
hand
,
and
the
manner
of
its
turning
with
faint
touches
,
and
not
with
hard
strokes
;
then
that
being
done
right
,
part
the
fingers
according
to
the
pattern
with
like
faint
stroaks
;
then
mark
that
place
where
any
of
the
fingers
do
stand
out
from
the
others
,
with
a
faint
resemblance
:
this
done
,
proceed
to
draw
it
more
perfectly
,
making
the
bending
of
the
joints
,
the
wrists
and
other
principal
things
more
exactly
;
and
lastly
,
go
over
with
it
again
,
drawing
every
small
bending
or
swelling
of
the
fingers
,
nails
,
knuckles
and
veins
,
so
many
as
do
appear
.
II.
Learn
by
good
prints
the
just
proportions
of
the
hands
,
with
their
equal
distances
;
observing
this
rule
,
that
according
as
it
turns
one
way
or
another
,
to
shorten
proportionally
as
they
appear
to
the
eye
.
For
so
much
as
it
turns
away
from
our
eye
,
so
much
it
loses
in
proportion
,
yea
sometimes
a
whole
finger
,
two
or
three
or
more
is
lost
to
our
sight
,
which
you
must
accordingly
answer
in
your
draught
.
III.
In
drawing
of
the
feet
,
the
same
rules
which
we
even
now
enumerated
,
at
the
first
and
second
Section
of
this
Chapter
,
are
to
be
understood
here
.
sample drawings of hands, feet, and legs
W
Sherwin
sc
sample drawings of hands, feet, and legs
W
Sherwin
sc
CHAP.
VI.
Of
Drawing
the
whole
Body
.
I.
FIrst
begin
with
the
head
,
and
be
sure
to
give
it
its
just
proportion
,
answerable
to
what
you
intend
the
whole
body
shall
be
;
then
draw
the
shoulders
in
their
exact
breadth
;
after
them
,
the
trunk
of
the
body
:
beginning
at
the
Arm-pits
,
and
so
drawing
down
to
the
Hips
on
both
sides
,
observing
withal
the
exact
breadth
of
the
Waste
;
Lastly
,
draw
the
legs
,
arms
and
hands
,
exactly
to
your
pattern
.
II.
But
first
draw
with
a
coal
,
and
that
very
lightly
and
faintly
,
drawing
nothing
perfect
(
that
you
may
the
easier
mend
it
if
it
be
amiss
)
and
then
afterwards
finish
one
thing
after
another
as
curiously
as
you
can
.
III.
Let
the
parallel
sinews
,
muscles
,
veins
and
joints
,
be
placed
opposite
one
to
another
in
a
straight
line
(
as
shoulder
to
shoulder
,
hip
to
hip
,
knee
to
knee
,
&c.
)
for
which
purpose
draw
straight
cross
lines
to
guide
you
therein
;
observing
that
which
way
soever
the
body
turns
or
bows
,
these
lines
may
answer
accordingly
.
sample drawings of cherubs
W
Sherwin
sc
IV.
Let
all
perpendicular
joynts
,
and
parts
also
,
be
placed
in
a
right
line
one
under
another
(
as
they
are
in
your
pattern
)
for
which
end
,
draw
a
straight
line
(
if
the
body
be
straight
)
from
the
throat
through
the
middle
of
the
breast
and
privities
,
to
the
feet
,
to
which
line
draw
all
those
particular
points
parallels
,
that
the
body
may
not
appear
crooked
or
awry
.
V.
In
bowings
and
bendings
of
the
body
,
let
the
extuberance
of
the
outward
part
be
just
equal
to
the
compression
of
the
inward
part
:
making
all
things
of
an
equal
proportion
;
that
as
opposite
parts
may
be
equal
(
as
the
arm
to
the
arm
,
leg
to
leg
,
&c.
)
so
every
part
may
be
proportionable
to
each
other
,
(
as
the
hand
not
too
big
for
the
arm
,
nor
the
arm
for
the
body
,
nor
the
body
for
the
legs
,
&c.
)
only
with
this
difference
,
that
(
as
the
one
part
may
appear
fully
to
the
eye
,
or
the
other
may
turn
away
either
in
part
,
or
in
whole
,
or
be
seen
side-way
)
it
be
made
so
much
less
than
the
other
,
by
so
much
as
it
turns
away
from
the
sight
.
VI.
As
you
observe
a
just
proportion
in
bigness
,
so
also
in
length
,
that
as
every
opposite
part
be
of
equal
length
,
so
that
each
part
may
not
be
too
long
one
for
another
,
but
according
to
the
proposed
magnitude
:
And
in
this
case
that
if
the
body
be
a
wry
,
or
any
ways
hid
,
those
parts
may
shorten
accordingly
,
to
what
is
out
of
sight
.
VII
.
Lastly
,
Observe
the
just
distance
of
one
thing
from
another
,
for
by
that
means
you
will
be
more
exact
in
your
draught
;
and
,
in
short
time
,
perfectly
imitate
your
pattern
or
nature
.
CHAP.
VII
.
Of
Drawing
a
Naked
Body
.
I.
IN
drawing
after
the
life
,
as
there
are
variety
of
faces
,
so
no
certain
Rules
can
be
delivered
for
the
same
;
yet
the
following
precautions
may
be
useful
.
II.
Draw
out
the
head
in
an
Oval
,
one
fourth
part
for
the
hair
;
one
fourth
part
for
the
forehead
and
brows
;
one
fourth
for
the
nose
;
and
the
last
for
the
mouth
and
chin
.
III.
Having
drawn
out
the
head
,
measure
out
eight
times
the
length
of
the
head
(
the
head
making
one
of
the
eight
parts
)
and
draw
a
straight
line
from
the
top
of
the
head
to
the
sole
of
the
foot
.
IV.
One
heads
length
from
the
chin
is
for
the
breast
;
the
next
eighth
part
reacheth
to
the
navel
;
the
fourth
part
to
the
privities
;
the
fifth
part
to
the
middle
of
the
thigh
;
the
sixth
part
to
the
lower
part
of
the
knee
;
the
seventh
to
the
small
of
the
leg
;
and
the
eighth
part
to
the
heel
.
V.
The
muscles
you
must
observe
to
draw
exactly
as
they
are
in
the
life
:
the
breadth
of
the
shoulders
,
is
about
two
measures
of
the
head
:
the
breadth
of
the
hips
,
two
measures
of
the
face
:
the
arms
stretched
out
,
are
just
the
length
of
the
whole
figure
,
the
breasts
also
accounted
;
but
without
the
breasts
they
are
but
six
.
VI.
The
arms
hanging
straight
down
reach
within
a
span
of
the
knee
:
the
length
of
the
hand
is
the
just
length
of
the
face
.
See
the
two
figures
following
.
VII
.
Observe
first
to
draw
the
head
exactly
,
and
next
,
the
shoulders
in
their
just
breadth
:
then
draw
the
trunk
of
the
Body
,
and
the
rest
as
at
the
first
Section
of
the
sixth
Chapter
.
VIII
.
Be
sure
to
place
the
joints
,
sinews
,
and
muscles
in
their
natural
places
,
and
also
proportionally
,
in
respect
of
Magnitude
,
Similitude
,
and
Parts
:
lest
it
seem
crooked
and
deformed
.
IX
.
See
that
every
parallel
joint
bend
moderately
,
so
as
to
answer
in
nature
its
opposite
.
sample drawings of male figures
W
Sherwin
sc
sample drawings of female figures
W
Sherwin
〈◊〉
CHAP.
VIII
.
Of
Shadowing
a
Naked
Body
.
I.
THe
shadows
of
the
neck
,
in
a
child
or
young
woman
,
are
very
fine
,
rare
,
and
hard
to
be
seen
:
In
a
man
,
the
sinews
and
veins
are
expressed
by
shadowing
of
the
rest
of
the
neck
,
and
leaving
them
white
:
the
shoulder
is
shadowed
underneath
:
the
brawn
of
the
arm
must
appear
full
and
white
,
shadowed
on
one
side
.
II.
The
veins
of
the
back
of
the
hand
,
and
the
knuckles
are
made
with
two
or
three
hair
stroaks
with
a
fine
touch
of
the
pen.
III.
The
paps
of
a
man
are
shewed
by
two
or
three
stroaks
given
underneath
:
in
a
woman
with
an
orbicular
shade
,
somewhat
deep
;
the
ribs
retain
no
shadow
,
except
you
represent
one
lean
or
starved
.
IV.
The
belly
is
made
eminent
by
shadowing
underneath
the
breast
bone
and
the
flank
:
The
brawn
of
the
thigh
is
shadowed
by
drawing
small
hair
stroaks
from
the
hip
to
the
knee
,
and
crossed
again
overthwartly
.
V.
The
knee
is
to
be
finely
shadowed
underneath
the
joint
;
the
shin-bone
appears
by
shadowing
one
half
of
the
leg
with
a
single
shadow
.
VI.
The
ankle-bone
appears
by
shadowing
a
little
underneath
(
as
in
the
knees
)
and
the
sinews
thereof
must
seem
to
take
beginning
from
the
midst
of
the
foot
;
and
to
wax
bigger
as
they
grow
nearer
to
the
toes
.
VII
.
Lastly
,
the
shadows
of
the
foot
must
take
place
according
as
reason
and
occasion
requires
,
for
which
(
as
also
in
all
the
former
precepts
)
the
having
of
good
prints
will
be
no
small
advantage
unto
you
.
CHAP.
IX
.
The
way
and
manner
of
Shadowing
.
I.
IF
it
be
a
surface
only
it
is
best
shadowed
by
drawing
lines
(
either
straight
or
oblique
,
according
as
the
superficies
is
)
through
the
better
half
thereof
.
II.
If
it
be
in
a
body
,
it
is
a
double
shadow
,
and
is
used
when
a
superficies
begins
to
forsake
your
sight
,
as
in
Columns
and
Pillars
,
where
it
is
double
darkned
,
and
representeth
to
the
eye
,
as
it
were
the
backside
,
leaving
that
unshadowed
to
the
light
.
III.
The
treble
shadow
is
made
by
crossing
over
again
the
double
shadow
,
and
is
used
for
the
inward
parts
of
things
,
as
in
clefts
of
the
earth
,
wells
,
caves
,
the
insides
of
pots
,
cups
and
dishes
.
IV.
In
shadowing
,
let
the
shadow
always
fall
one
way
,
that
is
,
on
the
same
side
of
the
body
;
leaving
the
other
to
the
light
.
So
in
drawing
a
man
,
if
I
begin
to
shadow
his
right
cheek
,
I
must
shadow
the
right
part
of
his
neck
,
arm
,
side
,
thigh
,
leg
,
&c.
V.
But
if
the
light
side
of
the
body
be
darkned
by
the
opposition
of
some
other
body
standing
between
the
light
and
it
,
it
must
receive
a
contrary
shadow
according
as
the
light
is
obfuscated
.
So
if
threepillars
stand
together
,
that
in
the
midst
must
receive
a
shadow
on
both
sides
.
VI.
All
circular
bodies
must
have
a
circular
shadow
(
by
the
first
Section
of
this
Chapter
)
according
to
their
form
or
appearance
,
and
the
orbicular
shadow
of
the
object
which
casteth
it
.
VII
.
Let
your
shadow
grow
fainter
and
fainter
,
according
to
the
greatness
of
the
distance
from
the
opacous
Body
shadowing
.
And
the
reason
is
,
because
all
shadows
are
pyramidal
,
in
which
case
,
space
of
place
prevails
with
the
light
against
the
shadow
.
VIII
Where
contrary
shadows
concurr
,
let
the
meanest
and
most
solid
body
be
first
served
;
and
in
double
and
treble
shadows
,
let
the
first
lines
be
very
dry
for
fear
of
blotting
,
before
you
cross
them
.
IX
.
All
perfect
lights
receive
no
shadow
at
all
;
but
being
manifest
,
are
only
to
be
made
apparent
by
that
body
which
receives
them
;
whose
shadow
must
be
according
to
the
efflux
of
light
:
but
the
colour
of
the
light
ought
to
agree
with
the
medium
which
receives
it
,
whether
it
be
Air
,
Crystal
,
Water
,
Amber
,
Glass
,
Transparentwine
,
or
the
like
.
CHAP.
X.
Of
Expressing
Passions
in
the
Countenance
.
I.
LOve
is
expressed
by
a
clear
,
fair
and
pleasant
Countenance
,
without
clouds
,
wrinkles
,
or
unpleasant
bendings
:
giving
the
forehead
an
ample
height
and
breadth
with
majestick
grace
;
a
full
eye
with
a
fine
shadow
at
the
bottom
of
the
eye-lid
,
and
a
little
at
the
corner
:
a
proportionable
nose
;
nostrils
not
too
wide
:
a
clear
cheek
made
by
shadowing
of
it
on
one
side
:
and
a
smiling
mouth
made
by
a
thin
upper
lip
,
and
shadowing
the
mouth-line
at
the
corners
.
II.
Fear
is
expressed
by
making
the
eyes
look
hollow
,
heavie
and
downward
,
thin
faln
cheeks
,
close
mouth
,
and
staring
careless
hair
about
the
ears
.
III.
Envie
is
best
decyphred
by
the
only
hanging
of
the
cheeks
,
and
a
pale
countenance
;
and
sometimes
by
grinning
of
the
teeth
.
IV.
Let
every
passion
be
represented
according
to
the
outward
appearance
thereof
,
as
it
is
in
those
persons
in
whom
it
reigns
;
observing
the
rules
at
the
sixth
Section
of
the
fourth
Chapter
.
CHAP.
XI
.
Of
Humane
proportion
.
sample drawing of naked warrior
Guil:
Vaughan
sculp
:
II.
Those
parts
of
the
body
near
to
the
Eye
must
be
made
greater
and
longer
than
those
farther
off
,
(
because
the
eye
judgeth
so
of
them
)
and
according
to
the
distance
from
the
eye
,
so
must
you
vary
from
that
which
is
otherwise
the
real
true
proportion
of
those
parts
.
III.
In
foreshortning
you
must
take
things
as
they
appear
to
the
eye
,
and
not
to
draw
the
full
proportion
of
each
part
,
but
to
shorten
all
,
according
to
the
rate
or
reason
which
is
obfuscated
.
So
if
you
would
draw
a
ship
foreright
,
there
can
appear
but
only
her
forepart
(
for
the
rest
being
hid
cannot
be
exprest
:
)
the
like
of
an
horse
looking
full
in
my
face
,
or
a
man
lying
along
;
I
must
here
of
necessity
foreshorten
,
to
express
the
Visual
property
:
And
in
this
case
your
eye
and
reason
must
be
your
chief
guide
to
give
the
true
reason
and
measure
of
these
appearances
,
whether
in
Drawing
,
Limning
or
Painting
.
IV.
The
use
of
this
foreshortning
is
to
express
all
manner
of
actions
in
man
or
beast
;
to
represent
many
things
in
a
little
room
;
to
shew
at
one
view
to
the
eye
and
mind
,
the
whole
body
of
a
temple
,
with
all
its
arches
and
pillars
whether
the
inside
or
outside
,
as
also
the
sundry
sides
of
Cities
,
Castles
and
Forts
,
and
such
like
.
Lastly
,
That
in
every
case
you
make
Nature
the
pattern
of
all
draughts
,
so
that
nothing
be
exprest
,
but
what
doth
agree
and
accord
with
nature
;
and
that
nothing
be
either
forced
beyond
nature
,
nor
yet
any
thing
to
come
short
of
nature
.
As
if
in
drawing
the
picture
of
a
man
,
be
sure
you
draw
not
such
a
posturt
as
is
impossible
for
him
to
imitate
with
his
natural
body
.
CHAP.
XII
.
Of
Drapery
.
I.
DRaw
the
out-lines
of
the
Garment
lightly
,
and
herein
be
careful
,
for
the
whole
grace
of
the
picture
lies
there
;
then
draw
the
greatest
folds
first
,
and
stroak
those
into
lesser
,
and
be
sure
they
cross
one
another
.
II.
Suite
your
garments
to
the
body
,
and
make
them
bend
with
the
body
,
according
as
it
stands
in
or
out
,
streight
or
crooked
,
or
turns
one
way
or
another
:
the
closer
the
garment
sits
to
the
body
,
the
narrower
and
smaller
must
the
folds
be
.
III.
All
your
folds
must
consist
of
two
lines
and
no
more
,
which
you
may
turn
with
the
garment
at
pleasure
,
shadowing
the
innermost
deeper
,
the
outermost
more
light
;
and
if
the
folds
be
never
so
curiously
contrived
,
spare
not
to
shadow
them
(
if
they
fall
inward
from
the
light
)
with
a
double
or
treble
shadow
,
as
the
occasion
requires
.
sample drawing of draped male figure
W
Sherwin
sc
sample drawing of draped female figure
W
Sherwin
sc
IV.
The
greater
folds
must
be
continued
through
the
whole
garment
,
the
lesser
you
may
break
off
and
shorten
as
you
please
.
V.
The
shades
of
silk
and
fine
linnen
,
are
very
thick
and
small
,
which
require
little
folds
and
a
light
and
rare
shadow
,
commonly
but
double
at
most
;
and
so
also
fine
Drapery
requires
more
and
sharper
folds
than
course
.
VI.
That
part
of
a
garment
which
sits
close
to
the
body
,
must
not
be
folded
at
all
,
but
only
sweetly
shaded
,
to
represent
the
part
of
the
body
which
lies
under
it
.
CAROLVS
II
DEI
GRATIA
ANGLIAE
SCOTIAE
FRANCIAE
ET
HIBERNIAE
REX
portrait of King Charles II
CATHARINA
DEI
GRATIA
ANGLIAE
SCOTIAE
FRANCIAE
ET
HIBERNIAE
REGINA
etc
portrait of Catherine of Braganza, Queen Consort
VII
.
Observe
the
motion
of
the
wind
and
air
,
for
driving
loose
apparel
all
one
way
,
drawing
that
part
of
the
garment
first
which
lies
highest
and
closest
upon
the
body
,
before
you
draw
the
looser
part
that
flies
off
from
the
body
,
lest
by
drawing
the
loose
part
of
the
garment
first
you
should
be
out
,
and
so
place
the
body
crooked
or
awry
.
CHAP.
XIII
.
Of
Mixed
and
Vncertain
Forms
.
I.
FOr
the
drawing
the
form
of
any
beast
,
begin
with
your
lead
or
coal
at
the
forehead
,
drawing
downward
the
nose
,
mouth
,
upper
and
nether
chop
,
ending
your
line
at
the
throat
;
then
viewing
it
again
where
you
begun
,
from
the
forehead
,
over
the
head
,
ears
and
neck
,
continuing
till
you
have
given
the
full
compass
of
the
buttock
,
then
mark
out
the
legs
and
feet
:
Viewing
it
again
,
touch
out
the
breast
with
the
eminency
thereof
;
Lastly
,
finish
the
tail
,
paws
,
tongue
,
teeth
,
beard
,
and
several
shadows
.
II.
In
drawing
beasts
you
must
be
well
acquainted
with
their
shape
and
action
,
without
which
you
shall
never
perform
any
thing
excellent
in
that
kind
:
and
here
if
you
draw
it
in
an
Emblem
or
the
like
,
you
ought
to
shew
the
Landskip
of
the
Country
natural
to
that
beast
.
III.
In
birds
begin
also
the
draught
at
the
head
,
(
and
beware
of
making
it
too
big
)
then
bring
from
under
the
throat
the
breast
line
down
to
the
legs
,
there
stay
,
and
begin
at
the
pinion
to
make
the
wing
,
which
〈◊〉
joined
to
the
●●ck
line
will
be
presently
finished
:
the
eye
,
legs
and
train
must
be
at
last
,
letting
always
(
in
birds
as
in
beasts
)
the
farthest
leg
be
shortest
;
their
feathers
(
as
the
hair
in
beasts
)
must
take
their
beginning
at
the
head
very
small
,
and
fall
in
one
way
backwards
in
five
ranks
,
greater
and
greater
to
the
conclusion
.
IV.
Insects
,
as
flies
,
bees
,
wasps
,
grashoppers
,
worms
,
and
such
like
,
are
easie
to
be
drawn
and
not
hard
to
be
laid
in
Colours
;
in
doing
these
,
it
will
at
first
be
absolutely
necessary
to
have
the
living
pattern
before
your
eyes
.
V.
To
draw
a
flower
,
begin
from
the
boss
,
tufft
or
wart
in
the
middle
;
as
in
a
Rose
or
Marigold
,
with
the
yellow
tufft
,
which
being
made
,
draw
lines
equally
divided
,
from
thence
to
the
greatest
compass
or
extent
of
your
flower
:
you
may
draw
them
either
fully
open
or
in
the
bud
,
and
laden
with
dew
,
wet
,
and
worms
,
and
then
you
may
draw
rudely
with
the
coal
or
lead
the
leaves
afterwards
,
giving
them
their
veins
or
jaggedness
,
VI.
To
take
the
natural
and
lively
shape
of
the
leaf
of
any
herb
or
tree
.
First
,
take
the
leaf
that
you
would
have
,
and
gently
bruise
the
ribs
and
veins
on
the
back-side
of
it
:
afterwards
wet
the
side
with
linseed
oyl
,
and
then
press
it
hard
upon
a
piece
of
clean
white
paper
,
and
so
you
shall
have
the
perfect
figure
of
the
said
leaf
,
with
every
vein
thereof
so
exactly
exprest
,
as
being
lively
coloured
it
will
seem
to
be
truly
natural
.
CHAP.
XIV
.
Of
Landskip
.
I.
LAndskip
is
that
which
expresseth
in
lines
the
perfect
vision
of
the
earth
,
and
all
things
thereupon
,
placed
above
the
horizon
,
as
towns
,
villages
,
castles
,
promontaries
,
mountains
,
rocks
,
valleys
,
ruines
,
rivers
,
woods
,
forests
,
chases
,
trees
,
houses
and
all
other
buildings
,
both
beautiful
and
ruinous
.
II.
First
,
Always
express
a
fair
horizon
,
shewing
the
heavens
,
cloudy
or
clear
,
more
or
less
according
to
the
occasion
;
and
if
you
express
the
Sun
,
let
it
be
either
as
rising
or
setting
,
and
as
it
were
behind
or
over
some
hill
or
mountain
.
The
Moon
and
Stars
are
seldom
or
never
depicted
,
unless
it
be
in
representation
of
twilight
;
because
all
things
are
supposed
to
be
seen
by
day
.
III.
Secondly
,
If
you
express
the
Sun
,
make
his
light
to
reflect
upon
all
the
trees
,
hills
,
mountains
,
rocks
,
or
buildings
;
shading
the
contrary
side
;
after
which
manner
also
shadow
clouds
,
mists
,
and
the
like
:
making
the
shadows
to
fall
all
one
way
.
sample landscape drawing
IV.
Thirdly
,
be
very
careful
to
augment
or
lessen
every
thing
proportionably
to
their
distance
from
the
eye
,
making
them
either
bigger
or
lesser
.
V.
In
expressing
things
at
large
distances
,
as
ten
,
twenty
or
thirty
miles
off
;
where
the
object
is
hard
to
be
discerned
,
as
whether
it
be
Temple
,
Castle
,
House
or
the
like
;
shew
no
particular
signs
thereof
,
or
any
eminent
distinction
;
but
rather
as
weakly
,
faintly
,
and
confusedly
as
the
eye
judgeth
of
it
.
VI.
If
Landskips
be
laid
in
Colours
,
the
farther
you
go
,
the
more
you
must
lighten
it
with
a
thin
and
airy
blew
,
to
make
it
seem
as
it
were
afar
off
,
beginning
at
first
with
a
dark
green
,
so
driving
it
by
degrees
into
a
blew
,
according
to
the
distance
.
VII
.
Make
your
Landskip
to
shoot
(
as
it
were
)
away
,
one
part
lower
than
another
,
making
the
nearest
hill
or
place
highest
,
and
those
that
are
farther
off
,
to
shoot
away
under
that
,
that
the
Landskip
may
appear
to
be
taken
from
the
top
of
an
hill
.
VIII
.
Let
every
thing
have
its
proper
motion
,
as
in
trees
when
they
are
shaken
with
the
wind
,
making
the
smaller
boughs
yielding
;
the
stiffer
less
bending
:
in
clouds
that
they
follow
the
winds
:
in
rivers
,
the
general
current
,
and
flashing
of
the
water
against
the
boat
sides
:
in
the
Sea
,
the
waves
and
other
proper
agitations
;
and
lastly
,
let
every
thing
which
moveth
whether
essentially
or
accidentally
,
have
its
proper
representation
.
IX
.
Let
your
work
imitate
the
season
you
intend
it
for
.
As
if
you
intend
it
for
a
winter
piece
,
represent
felling
of
wood
;
sl●ding
upon
the
Ice
;
fowling
by
night
;
hunting
of
bears
or
foxes
in
the
snow
;
making
the
trees
every
where
naked
or
laden
with
the
hoar
frost
;
the
earth
bare
without
greenness
,
flowers
or
catiel
;
the
air
thick
;
water
frozen
,
with
carts
passing
over
it
and
boys
upon
it
,
&c.
X.
Lastly
,
let
every
site
have
its
proper
parergra
,
adjuncts
,
or
additional
graces
,
as
the
Farm
house
,
Wind-mill
,
Water-mill
,
Woods
,
Flocks
of
sheep
,
Herds
of
cattel
,
Pilgrims
,
ruines
of
Temples
,
Castles
,
and
Monuments
;
with
a
thousand
such
other
only
proper
to
particular
subjects
.
CHAP.
XV.
Of
Diapering
and
Antique
.
I.
DIapering
,
is
a
tracing
or
running
over
your
work
again
when
you
have
,
as
it
were
,
quite
done
,
with
damask
branches
,
and
such
like
.
It
is
used
to
counterfeit
cloth
of
gold
,
silver
,
damask
,
velvet
,
chamlet
and
the
like
,
with
what
branch
and
in
what
fashion
you
please
:
it
is
derived
from
the
Greek
word
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
transeo
,
to
pass
over
,
and
only
signifies
a
light
passing
over
the
same
again
.
II.
If
you
Diaper
upon
folds
,
let
your
work
be
broken
off
accordingly
,
and
taken
as
it
were
by
the
half
.
For
reason
sheweth
that
the
fold
covereth
something
which
cannot
be
seen
by
reason
of
it
,
which
if
it
was
drawn
out
at
length
would
all
appear
plain
.
III.
Let
the
whole
work
be
homogene
;
that
is
,
let
the
same
work
be
continued
throughout
the
whole
garment
,
setting
the
fairest
branch
in
the
most
eminent
and
perspicuous
place
,
causing
it
to
run
upwards
,
for
else
your
work
would
be
ridiculous
.
IV.
You
may
either
shadow
the
ground
and
leave
your
work
white
;
or
shadow
your
work
and
leave
the
ground
white
;
and
as
you
shall
please
in
this
kind
,
your
filling
may
be
with
small
pricks
,
which
will
shew
very
fair
.
V.
Antique
(
ab
antes
)
are
butteresses
whereon
the
building
is
stayed
,
as
also
the
outwardmost
ranges
,
used
in
fore-fronts
of
houses
,
in
all
manner
of
Compartments
,
curious
Architecture
,
Armours
,
Jewels
,
and
Columns
.
VI.
The
form
of
it
is
(
only
for
delights
sake
)
a
general
or
irregular
composition
of
men
,
beasts
,
birds
,
fishes
and
flowers
and
such
like
,
without
either
rule
or
reason
.
VII
.
Lastly
,
observe
the
continuation
of
one
and
the
same
work
,
through
the
whole
piece
,
without
the
least
change
or
alteration
.
As
if
it
be
naked
boys
,
playing
,
lying
,
sitting
,
or
riding
upon
goats
,
eagles
,
dolphins
and
the
like
;
strings
of
pearl
,
Satyrs
,
Tritons
,
apes
,
dogs
,
oxen
,
bearing
or
drawing
fruits
,
branches
,
or
any
wild
fansie
after
your
own
invention
,
with
a
thousand
such
other
idle
toys
;
be
sure
you
observe
the
continuation
.
CHAP.
XVI
.
To
take
the
perfect
draught
of
any
Picture
.
I.
TAke
a
sheet
of
fine
Venice
paper
,
wet
it
all
over
with
linseed
oyl
on
one
side
thereof
,
which
then
wipe
off
as
clean
as
you
can
;
let
the
paper
dry
,
and
lay
it
on
any
printed
or
painted
picture
;
then
with
a
black-lead
pen
you
may
draw
it
over
with
ease
:
put
this
oyled
paper
upon
a
sheet
of
clean
white
paper
,
and
with
a
little
pointed
stick
or
feather
out
of
a
swallows
wing
,
draw
over
the
stroaks
which
you
drew
upon
the
oyled
paper
;
so
shall
you
have
the
exact
form
upon
the
white
paper
,
which
may
be
set
out
with
colours
at
pleasure
.
II.
Or
thus
,
The
picture
being
drawn
as
before
in
the
oyled
paper
,
put
it
upon
a
sheet
of
white
paper
,
and
prick
over
the
drawing
with
a
pen
:
then
take
some
small
coal
,
powder
it
fine
,
and
wrap
it
in
a
piece
of
some
fine
linnen
,
and
bind
it
up
therein
loosely
,
and
clap
it
lightly
,
all
over
the
pricked
line
by
little
and
little
,
and
afterwards
draw
it
over
again
once
or
twice
,
with
pen
or
pencil
.
III.
Or
thus
,
Rub
a
sheet
of
white
paper
all
over
on
one
side
with
black
lead
,
or
else
with
vermilion
mixed
with
fresh
butter
;
lay
the
coloured
side
upon
a
sheet
of
white
paper
,
then
lay
the
picture
you
would
coppy
out
upon
the
other
side
of
the
coloured
paper
,
and
with
a
small
pointed
stick
or
swallows
quill
,
go
over
all
the
stroaks
of
your
picture
,
and
it
will
be
exact
on
the
white
paper
.
IV.
Or
thus
,
Lay
a
piece
of
Lanthorn
horn
upon
the
picture
,
then
draw
the
stroaks
of
your
picture
with
a
hard
nibbed
pen
upon
the
horn
;
and
when
it
is
dry
,
breath
upon
the
horn
twice
or
thrice
,
and
press
it
hard
upon
white
paper
a
little
moistned
.
V.
Or
thus
,
Take
an
oyled
sheet
(
as
at
the
first
Section
of
this
Chapter
)
rub
one
side
of
it
with
lamb
black
or
lake
;
lay
it
upon
a
sheet
of
fair
paper
with
the
coloured
side
downwards
,
and
upon
it
lay
the
picture
you
would
coppy
out
,
and
trace
it
over
with
a
swallows
feather
.
VI.
Or
thus
,
Take
fine
lake
mixed
with
linseed
oyl
,
and
draw
wit●●i
,
instead
of
Ink
,
all
the
out-stroaks
of
any
picture
,
and
other
material
parts
;
then
wer
the
contrary
side
of
the
picture
and
press
it
hard
upon
a
sheet
of
paper
,
and
,
it
will
leave
behind
it
all
that
which
you
drew
over
.
VII
.
Or
thus
,
Grind
Printers
black
fine
,
and
temper
it
with
water
,
and
with
a
pen
dipt
in
it
,
draw
over
the
out-lines
and
master
stroaks
:
wer
then
some
white
paper
with
a
spunge
or
the
like
,
and
press
it
hard
thereupon
;
and
you
shall
have
the
stroaks
you
drew
upon
the
white
paper
.
VIII
.
Or
thus
,
Lay
the
print
(
the
back-side
of
it
)
upon
a
clear
glass
,
or
oyled
paper
,
then
lay
a
clean
paper
upon
the
print
;
hold
it
up
against
the
light
,
so
will
you
see
all
the
stroaks
which
you
may
draw
out
,
and
shadow
also
if
you
please
.
CHAP
XVII
.
To
extend
or
contract
a
Picture
keeping
the
proportion
.
I.
ENcompass
your
picture
with
one
great
square
,
which
divide
into
as
many
little
ones
as
you
please
:
this
done
,
according
as
you
would
have
your
picture
either
greater
or
less
,
make
another
square
greater
or
less
,
which
divide
into
as
many
equal
squares
,
which
be
drawn
with
a
black
lead
plummet
.
Take
your
black
lead
pen
,
and
draw
the
picture
by
little
and
little
,
passing
from
square
unto
square
(
by
the
example
of
the
pattern
)
until
you
have
gone
all
ever
with
it
:
observing
,
that
in
what
part
of
the
square
the
picture
lies
,
you
draw
the
like
part
in
the
square
answerable
thereto
,
till
you
have
fin
shed
the
whole
.
III.
Then
draw
it
over
with
a
pen
,
in
which
second
drawing
of
it
you
may
easily
mend
any
fault
,
and
shadow
it
at
pleasure
.
IV.
Lastly
,
When
it
is
throughly
dry
,
rub
it
over
with
the
crum
of
white-bread
,
and
it
will
take
off
all
the
black
lead-stroaks
,
so
will
your
draught
remain
fair
upon
the
paper
.
CHAP.
XVIII
.
To
express
the
Powers
.
I.
ETernity
,
It
is
expressed
in
the
form
of
a
fair
Lady
,
having
three
heads
,
signifying
time
past
,
present
,
and
to
come
;
in
her
left
hand
a
circle
,
pointing
with
the
forefinger
of
her
right
hand
up
to
Heaven
:
the
circle
signifies
she
hath
neither
beginning
nor
end
.
In
the
Medals
of
Trajan
she
was
figured
red
,
sitting
upon
a
Sphear
,
with
the
Sun
in
one
hand
,
the
Moon
in
the
other
(
by
her
sitting
is
signified
perpetual
constancy
.
)
In
the
Medals
of
Faustina
,
she
is
drawn
with
a
vail
;
and
in
her
right
hand
the
Globe
of
the
World
.
Boccace
writing
of
the
progeny
of
the
Gods
,
saith
that
the
Ancients
derived
it
from
Demogorgon
,
as
the
principal
and
first
of
them
all
,
who
inhabited
in
the
middle
or
center
of
the
earth
,
encircled
round
about
and
circumvested
with
a
dark
and
obfuscate
cloud
,
breathing
from
his
mouth
a
certain
liquid
humidity
.
But
however
what
eternity
is
,
the
name
doth
clearly
discover
,
containing
in
it self
all
worlds
and
ages
,
and
not
limited
or
measured
by
any
space
of
time
.
Claudius
describes
it
by
a
serpent
that
compasseth
round
with
her
body
the
Cave
or
Den
wherein
it
lieth
,
so
as
making
a
circle
,
she
holds
in
her
mouth
the
end
of
her
tail
,
which
with
the
Aegyptians
was
the
emblem
of
a
year
.
All
in
a
circle
thus
she
sits
involv'd
,
Whose
firm
tenacity
is
ne'er
dissolv'd
:
She
sends
forth
times
,
and
them
recalls
again
.
Ages
to
come
,
and
past
she
doth
retain
.
But
according
to
Boccace
,
as
Eternity
hath
an
absolute
command
over
all
times
,
so
she
lives
far
hence
in
some
remote
and
unknown
vale
,
where
humane
steps
never
approached
,
but
is
even
unfound
out
of
the
caelestial
inhabitants
,
those
happy
souls
,
who
stand
before
the
presence
of
the
greatest
,
that
only
knows
all
things
.
II.
Time
,
It
is
drawn
standing
upon
an
old
ruine
,
winged
,
and
with
Iron
teeth
.
Or
thus
,
An
old
man
in
a
garment
of
stars
;
upon
his
head
a
garland
of
roses
,
ears
of
corn
,
and
dry
sticks
,
standing
upon
the
Zodiaque
,
with
a
looking
glass
in
his
hand
;
two
children
at
his
feet
,
the
one
fat
,
the
other
lean
,
writing
both
in
one
book
;
upon
the
head
of
one
,
the
Sun
,
upon
the
other
the
Moon
.
Or
thus
,
An
old
man
,
bald
behind
,
winged
,
with
a
sithe
and
an
hour
glass
,
having
a
lock
of
hair
on
his
forehead
.
III.
Fate
,
A
man
in
a
fair
,
long
,
flaxen
robe
,
looking
upwards
to
bright
stars
encompassed
with
thick
clouds
,
from
whence
hangs
a
golden
chain
.
IV.
Fortune
,
A
naked
Lady
having
an
Insign
or
Sail
overshadowing
her
,
standing
upon
a
globe
or
ball
.
Lactantius
saith
that
Fortune
is
a
vain
,
idle
and
senseless
name
,
shewing
forth
mans
weakness
in
attributing
any
thing
thereto
:
which
Marcus
Tullius
confirmeth
,
where
he
saith
that
this
name
of
Fortune
,
was
first
brought
in
to
cover
the
ignorance
of
man
.
Alexander
Neopolitanus
saith
that
at
Prenestes
in
a
temple
she
was
depicted
in
the
shape
and
form
of
two
sisters
,
both
conjoined
in
one
and
the
same
statue
.
Pausamus
saith
that
her
most
ancient
statue
was
that
which
Bupalus
made
in
Greece
in
shape
of
a
woman
,
upon
whose
head
was
a
round
ball
,
and
in
one
of
her
hands
a
Cornucopia
.
She
is
called
the
blind
Goddess
,
and
partial
Lady
,
by
reason
of
the
bestowing
of
her
unconstant
and
mutable
favours
.
Imperious
ruler
of
the
worlds
designs
,
Lady
of
solace
,
pleasure
and
of
pains
:
Like
Tennis
balls
thou
beat'st
us
to
and
sro
,
From
favours
to
disgrace
,
from
joy
to
woe
;
From
wars
to
peace
,
from
rule
to
be
commanded
:
But
with
unconstancy
thou
now
art
branded
.
Macrobius
saith
she
was
set
forth
with
wings
on
her
shoulders
,
(
to
shew
that
she
was
always
at
hand
among
men
)
had
by
her
side
the
rudder
of
a
Ship
(
to
shew
that
she
doth
rule
and
command
)
her self
placed
upon
a
wheel
,
holding
in
her
right
hand
a
golden
ball
,
and
in
the
other
a
whip
;
shewing
where
she
smiled
,
wealth
and
honour
,
and
where
she
frowned
,
crosses
and
misery
should
follow
.
In
Egypt
Fortune
was
depicted
like
a
lady
turning
a
great
glass
wheel
,
on
whose
top
was
many
men
playing
,
others
a
climbing
up
;
and
others
having
attained
it
,
precipitating
themselves
and
falling
down
back
again
.
V.
Equality
,
A
Lady
lighting
two
torches
at
once
.
VI.
Victory
,
Is
expressed
by
a
Lady
clad
all
in
Gold
,
in
one
hand
a
helmet
,
in
the
other
a
pomegranate
:
by
the
helmet
is
meant
force
;
by
the
pomegranate
unity
of
wit
and
counsel
.
Augustus
drew
her
with
wings
ready
to
fly
standing
upon
a
globe
,
with
a
garland
of
Bays
in
one
hand
,
in
the
other
a
Coronet
of
the
Emperor
,
with
these
words
Imperator
Caesar
.
In
the
Medals
of
Octavius
,
she
is
drawn
with
wings
,
standing
on
a
base
,
in
one
hand
a
palm
,
in
the
other
a
crown
of
gold
.
VII
.
Peace
,
Is
drawn
like
a
Lady
,
holding
in
her
right
hand
a
wand
or
rod
downwards
towards
the
earth
,
over
a
hideous
Serpent
of
sundry
colours
;
and
with
her
other
hand
covering
her
face
with
a
veil
,
as
loth
to
behold
strife
or
war
.
Trajan
gave
a
Lady
,
in
her
right
hand
an
Olive
branch
,
in
her
left
a
Cornucopia
.
In
the
Medals
of
Titus
,
a
Lady
having
in
one
hand
an
olive
branch
,
the
other
leading
a
Lamb
and
Wolf
coupled
by
the
necks
in
one
yoke
.
The
Olive
is
always
the
emblem
of
peace
.
VIII
.
Providence
,
A
Lady
lifting
up
both
her
hands
to
Heaven
with
these
words
Providentia
Deorum
.
Or
thus
,
A
Lady
in
a
robe
,
in
her
right
hand
a
Scepter
,
in
her
left
a
Cornucopia
,
with
a
globe
at
her
feet
.
IX
.
Concord
,
A
Lady
sitting
,
in
her
right
hand
a
charger
for
sacrifice
,
in
her
left
a
Cornucopia
,
with
the
word
Concordia
.
Or
thus
,
A
fair
Virgin
,
holding
in
one
hand
a
Pomegranate
;
in
the
other
a
Mirtle
bunch
.
The
nature
of
these
trees
are
such
,
that
if
planted
though
a
good
space
one
from
another
,
they
will
meet
and
with
twining
embrace
one
another
.
X.
Fame
,
A
Lady
clad
in
a
thin
and
light
garment
,
open
to
the
middle
thigh
,
that
she
might
run
the
faster
;
two
exceeding
large
wings
;
●●●ments
embroider'd
with
eyes
and
ears
,
and
blowing
of
a
Trumpet
.
XI
.
Destiny
,
A
Lady
,
who
with
great
fury
,
and
exceeding
celerity
holds
in
her
hand
in
Iron
bow
ready
bent
,
aiming
to
strike
fortune
even
at
the
very
heart
.
Destiny
and
fortune
can
never
agree
;
and
therefore
as
fortune
flies
from
destiny
,
so
destiny
pursues
fortune
;
for
where
destiny
sets
her
foot
,
there
fortune
is
as
it
were
inchanted
and
conjured
,
as
having
no
power
,
efficacy
or
vertue
.
CHAP.
XIX
.
Of
Vertues
and
Vices
.
I.
VErtue
is
represented
by
Hercules
,
naked
,
with
his
Lyons
skin
,
and
knotted
club
,
performing
some
one
of
his
Labours
;
as
offering
to
strike
a
dragon
keeping
an
Apple-tree
;
or
holding
in
his
hand
three
golden
Apples
.
Hercules
is
nothing
else
but
Vertue
,
his
name
in
the
Greek
tongue
is
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
quasi
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
Junonis
gloria
:
vel
quia
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
celebrat
aut
commemorat
Heroas
,
which
is
the
property
of
Vertue
:
he
is
drawn
naked
to
demonstrate
her
simplicity
:
by
the
dragon
is
set
forth
all
manner
of
vices
:
by
the
Lions
skin
,
magnanimity
and
greatness
:
by
his
Oaken
Club
,
Reason
and
Policy
:
by
its
knottiness
,
the
difficulty
,
pains
and
labour
in
seeking
after
vertue
:
by
the
three
golden
Apples
,
the
three
Heroical
Vertues
,
Moderation
,
Content
and
Labour
.
II.
Piety
is
drawn
like
a
Lady
,
with
a
sober
countenance
;
in
her
right
hand
she
holdeth
a
sword
stretched
over
an
Altar
;
in
her
left
hand
a
Stork
;
and
by
her
side
is
placed
an
Elephant
and
a
Child
.
The
Stork
is
so
called
of
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
the
reciprocal
or
mutual
love
of
parent
and
child
,
of
which
this
bird
was
ever
an
Emblem
,
for
the
love
and
care
she
hath
of
her
parents
being
old
.
The
Elephant
worships
towards
the
rising
of
the
Sun
.
III.
Hope
is
drawn
like
a
beautiful
child
in
a
long
robe
hanging
loose
,
standing
upon
tiptoes
,
and
a
trefoyl
or
three
leaved
grass
in
its
right
hand
,
in
its
lest
an
Anchor
.
The
loose
vestment
shews
,
she
never
pincheth
or
binds
truth
;
standing
on
tiptoes
,
shews
she
always
standeth
dangeronsly
;
the
branch
of
trefoyl
shews
knowledge
(
the
ground
of
faith
)
faith
(
the
ground
of
hope
)
and
hope
it self
.
IV.
Mercy
,
a
Lady
sitting
upon
a
Lion
,
holding
in
one
hand
a
Spear
,
in
the
other
an
Arrow
;
which
she
seemeth
to
cast
away
.
In
the
Medals
of
Vitellius
she
sits
with
a
branch
of
Bays
in
her
hand
,
and
a
staff
lying
by
her
.
V.
Justice
,
a
fair
young
Virgin
,
drawing
after
her
,
with
her
left
hand
,
a
black
,
hard
,
ill-favoured
Woman
,
haling
her
by
main
force
,
and
striking
her
over
the
face
in
a
severe
manner
.
The
young
Virgin
was
Justice
,
the
other
Injuria
:
she
is
drawn
young
and
a
Virgin
,
to
shew
,
that
Judges
and
administrators
of
Law
ought
to
be
incorrupt
and
free
from
bribes
,
partiality
or
flattery
,
but
just
,
constant
and
sincere
.
VI.
Felicity
,
a
Lady
sitting
in
an
Imperial
throne
,
in
the
one
hand
she
holdeth
a
Caduceus
or
Rod
,
in
the
other
hand
a
Cornucopia
.
VII
.
Fruitfulness
,
a
Lady
sitting
upon
a
bed
,
and
two
little
Infants
hanging
about
her
neck
.
VIII
.
Dissimulation
,
a
Lady
wearing
a
vizard
of
two
faces
,
in
a
long
robe
of
changeable
colour
;
and
in
her
right
hand
a
Magpye
.
IX
.
Security
,
a
Lady
leaning
against
a
pillar
,
before
an
Altar
,
with
a
Scepter
in
her
hand
.
X.
Calumnia
,
a
beautiful
,
rich
and
young
woman
,
approaching
towards
a
Judge
,
gorgeous
in
her
habit
,
with
an
angry
,
scornful
and
discontented
look
,
and
red
and
firie
eyes
;
she
holds
in
her
left
hand
a
flaming
torch
:
and
with
her
right
she
by
force
draws
a
young
man
by
the
hair
of
the
head
.
XI
.
Envie
,
a
wonderful
lean
old
man
,
with
a
pale
and
meagre
face
,
in
whose
withered
cheeks
Age
hath
wrought
deep
furrows
and
wrinkles
.
XII
.
Penitence
,
a
Woman
in
vile
,
ragged
and
base
attire
,
infinitly
deploring
her
being
:
and
bemoaning
her self
in
passionate
fits
above
all
measure
,
continually
weeping
.
CHAP.
XX.
Of
Rivers
.
I.
HErein
you
ought
to
observe
the
Adjuncts
and
Properties
of
the
same
;
which
consists
in
some
notable
Accident
done
near
them
;
some
famous
City
,
trees
,
fruits
,
or
reeds
situate
upon
their
banks
;
some
fish
only
proper
to
their
streams
;
or
recourse
of
shipping
from
all
parts
of
the
world
.
II.
Therefore
you
had
best
place
the
City
upon
their
heads
;
their
fruits
in
a
Cornucopia
;
reeds
,
flowers
,
and
branches
of
trees
in
their
Garlands
,
and
the
like
.
III.
The
River
Tyber
.
It
is
expressed
(
in
the
Vatican
in
Rome
)
in
a
goodly
Statue
of
Marble
lying
along
(
for
so
you
must
draw
them
)
holding
under
his
right
arm
a
she
Wolf
,
with
two
little
infants
sucking
at
her
teats
,
leaning
upon
an
Urne
or
Pitcher
,
out
of
which
issueth
its
stream
:
in
his
left
a
Cornucopia
of
delicate
fruits
,
with
a
grave
Countenance
and
long
beard
;
a
garland
of
flowers
upon
his
head
;
and
resting
his
right
leg
upon
an
Oar.
IV.
The
River
Nilus
.
It
is
seen
(
in
the
Vatican
)
cut
out
in
white
Marble
,
with
a
garland
of
sundry
fruits
and
flowers
,
leaning
with
his
left
arm
upon
a
Sphynx
;
from
under
his
body
issueth
its
stream
;
in
his
left
arm
a
Cornucopia
full
of
fruits
and
flowers
on
one
side
,
with
sixteen
little
children
,
smiling
and
pointing
to
the
flood
.
The
Sphynx
was
sometimes
a
monster
which
remained
by
Nilus
:
the
Crocodile
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
from
his
hatred
of
Saffron
,
the
most
famous
monster
of
Egypt
:
the
the
sixteen
children
,
the
sixteen
cubits
of
height
,
unermost
of
the
flowing
of
Nilus
:
their
smiling
looks
,
the
profit
of
it
,
which
glads
the
hearts
of
the
Sun-burnt
inhabitants
.
V.
The
River
Tigris
.
It
was
drawn
like
an
old
man
(
as
the
rest
)
and
by
his
fide
a
Tiger
.
This
beast
was
given
it
as
well
for
its
fierce
streams
,
as
for
the
store
of
Tigers
which
are
there
.
VI.
The
River
Ganges
.
It
bears
the
shape
of
a
rude
and
barbarous
savage
,
with
bended
brows
,
of
a
fierce
and
cruel
Countenance
,
crowned
with
a
palm
,
having
,
as
other
floods
,
his
pitcher
,
and
by
his
sides
a
Rhinoceros
.
This
River
runneth
through
India
,
and
hath
its
head
from
a
fountain
in
Paradise
.
VII
.
The
River
Indus
.
It
is
drawn
with
a
grave
and
jovial
aspect
,
with
a
garland
of
its
country
flowers
,
by
its
side
a
Camel
(
from
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
:
)
it
is
represented
pleasantly
;
grave
,
as
an
Emblem
of
the
Indian
pollicy
.
This
is
the
greatest
River
in
the
world
,
receiving
into
its
channel
threescore
other
great
and
famous
Rivers
,
and
above
an
hundred
lesser
.
VIII
.
The
River
Thamesis
.
In
the
house
of
an
honourable
friend
,
I
saw
the
Thames
thus
drawn
:
A
Captain
or
Soldier
lying
along
,
holding
in
his
right
hand
a
Sword
,
and
under
his
arm
the
August
tower
:
in
the
other
a
Cornucopia
of
all
fragrancies
,
with
a
Golden
chain
which
held
four
Crowns
;
and
with
this
he
encompassed
the
streams
,
from
under
which
bending
of
his
left
arm
they
seemed
to
flow
:
his
temples
were
adorned
with
Bays
,
the
River
was
empaled
on
one
side
with
Anchors
,
and
on
the
other
stood
Caesar's
Augusta
.
IX
.
The
River
Arnus
.
It
is
a
famous
River
in
Italy
,
drawn
like
an
old
man
leaning
upon
his
pitcher
,
powring
out
water
:
upon
his
head
a
garland
of
Beech
,
by
his
right
side
a
Lyon
,
holding
forth
in
his
dexterp●w
a
red
Lilly
or
Flower-de-luce
,
the
ancient
Armes
of
the
chief
City
of
Tuscany
.
By
the
garland
of
Beech
is
set
forth
the
great
abundance
of
Beech-trees
growing
about
Fasterona
in
the
Appennines
where
Arnus
bath
his
head
.
X.
The
River
Po
or
Padus
.
It
is
depicted
with
an
Ox's
face
,
having
a
garland
of
Reeds
or
Poplar
on
his
head
.
It
is
so
called
from
the
Sister
of
Phaeton
,
whom
the
Poets
feign
destroyed
with
lightning
,
and
drowned
here
:
the
head
of
the
Ox
,
is
from
its
horrid
noise
and
roaring
,
whose
crooked
banks
resemble
the
horns
thereof
;
by
the
sides
whereof
grows
much
Reed
and
many
Poplars
.
XI
.
The
River
Danubius
.
In
the
ancient
Medals
of
the
Emperour
Trajan
it
is
depicted
with
its
head
covered
with
a
veil
.
It
is
so
drawn
because
its
head
or
first
spring
is
unknown
.
Ausonius
saith
,
Danubius
periit
caput
occultatus
in
ore
.
XII
.
The
River
Achelous
.
Ovid
describes
it
with
a
garland
of
Reeds
,
Willow
,
and
the
like
:
having
two
Urns
or
Earthen
Pitchers
,
the
one
empty
,
the
other
casting
out
water
;
and
upon
its
head
two
horns
,
the
one
whole
the
other
broken
.
This
River
as
it
is
the
most
famous
of
all
Greece
,
so
it
divides
Aetolia
from
Arcadia
,
and
then
falls
into
the
Sea
.
This
is
fetch'd
from
the
fable
of
Hercules
who
combated
him
in
the
likeness
of
a
Bull
,
and
broke
one
of
his
horns
,
for
Deianiras
sake
,
there
turning
both
its
streams
into
one
,
whereupon
one
of
the
Vrns
is
empty
.
XIII
.
The
River
Niger
.
It
is
drawn
like
a
black
Moore
,
with
Glory
,
or
a
Coronet
of
Sun-beams
falling
upon
his
Urne
,
having
by
its
side
a
Lyon
.
By
the
Sun-beams
and
black
,
is
shewed
the
clime
,
lying
under
the
torrid
Zone
,
whose
inhabitants
are
Blacks
or
Moors
;
the
Lyon
is
that
which
the
Country
Mauritania
and
Barbary
breed
,
being
the
fiercest
in
the
World
.
CHAP.
XXI
.
Of
Nymphs
.
I.
ΝΎΜΦΗ
,
Nympha
,
a
Bride
(
from
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
as
it
were
a
fresh
or
new
creature
:
or
as
some
will
have
it
from
Nympha
quasi
Lympha
,
by
changing
L.
into
N.
after
the
Dorick
dialect
:
)
it
is
nothing
else
but
an
Allegory
,
from
the
Vegetative
humidity
,
which
gives
life
to
trees
,
herbs
,
plants
,
and
flowers
,
by
which
they
grow
and
increase
.
II.
They
are
feigned
to
be
the
daughters
of
the
Ocean
,
the
mother
of
floods
,
the
nurses
of
Bacchus
,
and
goddesses
of
fields
,
who
have
the
protection
and
charge
of
mountains
,
herbs
,
woods
,
meadows
,
rivers
,
trees
,
and
generally
of
the
whole
life
of
man
.
III.
First
,
Napaeae
,
Nymphs
of
the
Mountains
.
Let
them
be
drawn
of
a
sweet
and
gracious
aspect
,
in
green
mantles
,
girded
about
in
the
middle
;
and
upon
their
heads
garlands
of
honey-suckles
,
wildroses
,
tyme
and
the
like
;
their
actions
,
dancing
in
a
ring
,
making
garlands
or
gathering
flowers
.
They
are
so
called
from
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
the
top
of
an
hill
,
or
woody
valley
.
IV.
Secondly
,
Dryades
,
Nymphs
of
the
woods
.
Draw
these
less
fair
than
the
former
,
of
a
brown
or
tawny
complexion
,
hair
thick
like
moss
,
and
their
attire
of
a
dark
green
.
They
are
so
so
called
from
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
an
Oak
,
having
their
beginning
with
trees
,
and
dying
again
with
them
.
V.
Thirdly
,
Naiades
,
Nymphs
of
the
floods
.
Draw
them
beautiful
,
with
arms
and
legs
naked
,
their
hair
clear
as
Crystal
;
upon
their
heads
garlands
of
water-cresses
,
with
red
leaves
:
their
actions
,
powring
out
water
.
They
are
so
called
from
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
to
flow
,
or
bubble
as
water
doth
.
VI.
Thet
is
,
a
Lady
of
a
brown
complexion
,
her
hair
scattered
about
her
shoulders
,
crowned
with
a
coronet
of
Periwincle
and
Escallop
shells
,
in
a
mantle
of
Sea-green
,
with
chains
and
bracelets
of
Amber
about
her
Neck
and
Arms
,
and
a
branch
of
red
Coral
in
her
hand
.
VII
.
Galatea
,
a
most
beautiful
young
Virgin
,
her
hair
carelesly
falling
about
her
shoulders
like
silver
threads
,
and
at
each
ear
a
fair
pearl
with
a
double
string
of
them
(
sometimes
)
about
her
Neck
and
left
Arm
,
a
mantle
of
pure
thin
and
fine
white
,
waving
as
it
were
by
the
gentle
breathing
of
the
air
,
viewing
in
her
hand
a
spunge
made
of
Sea-froth
,
she
is
so
called
from
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
lac
,
milk
.
VIII
.
Iris
,
a
Nymph
with
large
wings
,
extended
like
to
a
semicircle
,
the
plumes
set
in
rows
of
divers
colours
,
as
yellow
,
green
,
red
,
blew
or
purple
;
her
hair
hanging
before
her
eyes
,
her
breasts
like
clouds
,
drops
of
water
falling
from
her
body
,
and
in
her
hand
Iris
,
or
the
Flower-de-luce
.
Virgil
makes
her
the
messenger
of
Juno
(
where
she
is
taken
for
the
air
)
when
he
saith
,
Irin
de
Coelo
misit
Saturnia
Juno
.
IX
.
Nymphae
Dianae
;
Let
them
be
cloathed
in
white
linnen
to
denote
their
Virginity
,
and
their
garments
girt
about
them
;
their
Arms
and
Shoulders
naked
;
bows
in
their
hands
,
and
arrows
by
their
sides
.
X.
Aurora
,
the
Morning
.
A
young
Virgin
with
carnation
wings
and
a
yellow
mantle
;
in
her
forehead
a
star
,
and
Golden
Sun-beams
from
the
Crown
of
her
head
,
riding
upon
Pegasus
,
with
a
viol
of
dew
in
one
hand
,
and
various
flowers
in
the
other
,
which
she
scattereth
upon
the
earth
.
CHAP.
XXII
.
Of
the
Nine
Muses
.
I.
CLio
.
She
is
drawn
with
a
Coronet
of
Bays
;
in
her
right
hand
a
Trumpet
;
in
her
left
a
Book
,
upon
which
may
be
written
Historia
;
her
name
is
from
praise
or
glory
.
II.
Euterpe
,
Is
crowned
with
a
garland
of
flowers
,
holding
in
each
hand
sundry
wind
instruments
;
her
name
is
from
giving
delight
.
III.
Thalia
.
Draw
her
with
a
smiling
look
,
and
upon
her
Temples
a
Coronet
of
Ivy
,
a
Mantle
of
Carnation
embroidered
with
silver
twist
and
gold
spangles
,
and
in
her
left
hand
a
vizard
;
her
Ivy
shews
she
is
mistriss
of
Comical
Poesie
.
IV.
Melpomene
.
Draw
her
like
a
virago
,
with
a
majestick
and
grave
countenance
,
adorn
her
head
with
Pearls
,
Diamonds
and
Rubies
;
holding
in
her
left
hand
Scepters
with
Crowns
upon
them
,
other
Crowns
and
Scepters
lying
at
her
feet
;
and
in
her
right
hand
a
naked
poniard
,
in
a
Mantle
of
changeable
Crimson
.
Her
gravity
befits
Tragick
Poesie
.
V.
Polybymnia
.
Draw
her
acting
a
Speech
with
her
forefinger
,
all
in
white
,
her
hair
hanging
loose
about
her
shoulders
of
an
orient
yellow
,
upon
her
head
a
garland
of
the
choicest
jewels
intermixt
with
flowers
,
and
in
her
left
hand
a
book
,
upon
which
let
it
be
written
Suadere
;
her
name
imports
memory
,
to
whom
the
Rhetorician
is
beholden
.
VI.
Erato
.
She
hath
her
name
from
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
Amor
,
Love
:
draw
her
with
a
sweet
and
comely
visage
,
her
temples
girt
with
Myrtles
and
Roses
,
bearing
an
heart
with
an
Ivory
Key
;
by
her
side
Cupid
,
winged
,
with
a
lighted
torch
;
at
his
back
,
his
bow
and
quivers
.
VII
.
Terpsichore
;
a
chearful
visage
playing
upon
some
Instrument
;
upon
her
head
a
Coronet
of
Feathers
of
sundry
Colours
,
but
chiefly
green
;
in
token
of
the
victory
which
the
Muses
got
of
the
Syrenes
,
&c.
by
●●nging
.
VIII
.
Vrania
,
A
beautiful
Lady
in
an
azure
robe
;
upon
her
head
a
Coronet
of
bright
stars
;
in
her
right
hand
the
Coelestial
globe
,
and
in
her
left
the
Terrestrial
.
Her
name
imports
as
much
as
heavenly
;
Vrania
coeli
motus
serutatur
&
Astra
.
IX
.
Calliope
.
Upon
her
head
draw
a
Coronet
of
Gold
;
upon
her
left
Arm
Garlands
of
Bays
in
store
,
for
the
reward
of
Poets
;
and
in
her
right
hand
three
books
,
upon
which
write
Homerus
,
Virgilius
,
Ovidius
.
The
Muses
had
their
names
,
as
Eusebius
saith
,
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
which
is
to
instruct
,
because
they
teach
the
m●st
bonest
and
laudable
disciplines
.
CHAP.
XIII
.
Of
the
four
Winds
.
I.
EVrus
,
the
East-wind
.
Draw
a
youth
with
puffed
and
blown
cheeks
(
as
all
the
other
winds
must
be
)
wings
upon
his
shoulders
,
his
body
like
a
Tauny
Moor
,
upon
his
head
a
Red
Sun
.
II.
Zephyrus
,
the
West-wind
.
Draw
a
youth
with
a
merry
look
,
holding
in
his
hand
a
Swan
,
with
wings
displai'd
as
about
to
sing
,
on
his
head
a
garland
of
all
sorts
of-flowers
.
'T
is
called
Zephyrus
quasi
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
bringing
life
,
because
it
cherisheth
and
quickneth
.
III.
Boreas
,
the
North-wind
.
Draw
it
like
an
old
man
,
with
a
horrid
,
terrible
look
;
his
hair
and
beard
covered
with
snow
,
or
the
hoar-frost
;
with
the
feet
and
tail
of
a
Serpent
.
IV.
Auster
,
the
South-wind
,
is
drawn
with
head
and
wings
wet
,
a
pot
or
urn
pouring
forth
water
,
with
which
descend
frogs
,
grashoppers
,
and
the
like
creatures
which
are
bred
by
moisture
.
CHAP.
XXIV
.
Of
the
Months
of
the
Year
.
I.
JAnuary
must
be
drawn
all
in
white
,
like
snow
or
hoar
froast
,
blowing
his
fingers
;
in
his
left
arm
a
billet
,
and
Aquarius
standing
by
his
side
.
II.
February
is
drawn
in
a
dark
skie
colour
,
carrying
in
his
right
hand
Pisces
,
or
Fishes
.
III.
March
is
drawn
tawny
with
a
fierce
look
,
a
helmet
upon
his
head
,
leaning
upon
a
Spade
:
in
his
right
hand
Aries
;
in
his
left
Almond
Blossoms
and
Scions
;
and
upon
his
arm
a
basket
of
Garden-seeds
.
IV.
April
is
drawn
like
a
young
man
in
green
,
with
a
garland
of
Myrtle
and
Hawthorn-buds
,
winged
;
in
the
one
hand
Primroses
and
Violets
;
in
the
other
Taurus
.
V.
May
is
drawn
with
a
sweet
and
lovely
aspect
,
in
a
robe
of
white
and
green
,
embroidered
with
Daffadils
,
Haw-thorn
and
Blew-bottles
;
on
his
head
a
garland
of
white
,
red
,
Damask-roses
;
in
the
one
hand
a
Lute
;
upon
the
forefinger
of
the
other
a
Nightingal
.
VI.
June
is
drawn
in
a
mantle
of
dark
grass-green
;
upon
his
head
a
Coronet
of
Bents
,
King-cobs
,
and
Maiden-hair
;
in
his
left
hand
an
Angle
;
in
his
right
Cancer
;
and
upon
his
Arm
a
basket
of
Summer
fruits
.
VII
.
July
is
drawn
in
a
Jacket
of
a
light
yellow
,
eating
Cherries
,
with
his
face
and
bosome
Sun-burnt
;
on
his
head
a
garland
of
Centaury
and
Tyme
,
on
his
shoulder
a
Sithe
;
with
a
bottle
at
his
girldle
,
carrying
a
Lion
.
VIII
.
August
is
like
a
young
man
of
a
fierce
look
,
in
a
flame-coloured
robe
;
upon
his
head
a
garland
of
wheat
;
upon
his
arm
a
basket
of
Summer
fruits
;
at
his
belt
a
Sickle
,
bearing
a
Virgin
.
IX
.
September
is
drawn
in
a
purple
robe
,
with
a
cheerful
look
;
and
on
his
head
a
Coronet
,
of
white
and
purple
grapes
;
in
his
left
hand
a
handful
of
Oats
,
with
a
Cornucopia
of
Pomegranates
and
other
Summer
fruits
;
and
in
his
right
hand
a
ballance
.
X.
October
is
drawn
in
a
garment
of
the
colour
of
decaying
flowers
and
leaves
;
upon
his
head
a
garland
of
Oak-leaves
with
the
Acorns
;
in
his
right
hand
a
Scorpion
;
in
his
left
,
a
basket
of
Services
,
Medlars
,
and
Chestnuts
.
XI
.
November
in
a
robe
of
changeable
green
and
black
:
upon
his
head
,
a
garland
of
Olives
with
the
fruit
;
in
his
right
hand
Sagittarius
:
and
in
his
left
bunches
of
Parsneps
and
Turneps
.
XII
.
December
is
drawn
with
a
horrid
aspect
,
clad
in
Irish
rug
,
or
course
Freeze
,
girt
about
him
:
upon
his
head
three
or
four
night-caps
,
and
over
them
a
Turkish
Turbant
;
his
nose
red
;
beard
hung
with
Iceickle
;
at
his
back
a
bundle
of
Holly
and
Ivy
;
holding
in
Furred
Mittens
a
Goat
.
Where
note
it
will
be
good
to
give
every
month
its
natural
and
proper
Landskip
,
not
making
blossoms
and
fruits
upon
trees
in
December
;
nor
a
barren
face
of
the
earth
and
trees
in
June
.
CHAP
XXV
.
Of
Perspective
in
general
.
ὈΠΤΙΚῊ
in
Greek
,
Perspectiva
in
Latin
,
the
Art
of
seeing
in
English
;
is
that
by
which
we
behold
,
contemplate
,
and
draw
the
likeness
of
all
magnitudes
,
just
in
form
and
manner
as
they
appear
to
the
Eye
.
II.
The
matter
to
be
seen
or
speculated
is
a
magnitude
:
the
manner
of
the
speculation
is
by
radiations
of
Light
,
either
direct
,
reflected
or
broken
.
III.
A
magnitude
is
that
which
hath
form
;
and
it
is
either
lineal
,
superficial
,
or
solid
;
that
is
,
either
a
complication
of
points
,
a
complication
of
lines
;
or
a
complication
of
superficies
.
IV.
A
line
is
a
complication
of
points
;
that
is
(
according
to
Euclid
)
a
length
only
without
either
breadth
or
thickness
.
V.
A
superficies
is
a
complication
of
lines
;
that
is
a
length
having
breadth
without
thickness
.
For
as
the
continuation
of
points
makes
a
line
:
so
the
couching
of
lines
makes
a
superficies
:
which
is
only
the
laying
of
points
cross
wise
.
A
solid
is
a
complication
of
superficies
;
that
is
,
a
length
and
breadth
,
having
depth
or
thickness
.
And
inde●d
it
is
nothing
but
the
continuation
of
points
upon
a
superficies
either
perpendicularly
or
bending
.
VII
.
The
Contemplation
of
the
Object
,
represents
the
matter
to
the
mind
,
in
the
same
manner
as
its
outward
appearance
doth
to
the
Eye
.
And
from
hence
comes
Judgment
whereby
the
Artist
is
enabled
to
describe
the
same
in
lines
;
and
delineate
it
,
according
to
its
apparent
or
visual
proportions
.
VIII
.
To
draw
or
describe
the
Appearance
in
lines
is
the
Active
part
of
this
Art
,
whereby
the
Idaea
conceived
in
the
mind
(
by
sight
and
contemplation
)
is
brought
to
light
.
IX
.
A
radiation
is
a
beam
of
light
,
conveighing
the
likeness
of
the
thing
,
to
the
Eyes
,
or
sight
;
and
the
Knowledge
thereof
to
the
mind
or
understanding
.
And
this
radiation
is
twofold
,
either
external
from
the
external
light
;
or
intellectual
from
its
being
and
power
.
X.
Direct
radiations
,
are
those
which
consider
the
direct
or
straight
beams
,
which
pass
between
the
Eye
and
the
object
.
And
this
is
the
first
kind
of
Perspective
;
and
is
many
times
(
alone
)
called
the
Opticks
.
XII
.
Reflected
Radiations
,
are
those
which
consider
the
reflection
of
beams
,
and
their
shape
upon
any
polish'd
body
,
as
on
a
Globe
,
Cone
,
Cylinder
,
Pyramid
,
or
any
regular
solid
.
And
this
is
the
second
kind
of
Perspective
,
which
is
called
the
Art
Catoptrica
.
XII
.
Broken
Radiations
are
those
which
consider
the
breaking
of
beams
,
as
they
are
to
be
seen
through
a
glass
or
Crystal
cut
into
several
plains
or
superficies
.
And
this
is
the
third
and
last
kind
of
Perspective
which
is
called
the
Art
Dioptrica
.
CHAP.
XXVI
.
Of
the
Active
part
of
Perspective
.
I.
THe
Active
part
of
Perspective
is
either
Ichnographical
,
Orthographical
,
or
S●●nographical
.
II.
Ichnographia
,
is
the
description
of
the
plain
,
base
or
bottom
of
any
body
or
building
.
III.
And
it
is
twofold
,
to
wit
,
either
Geometrical
or
Scenographical
.
IV.
Ichnographia
Geometrical
,
is
that
which
gives
the
sight
of
the
bottom
or
base
of
any
body
or
building
.
So
a
Circle
is
the
base
of
a
Column
;
and
a
square
is
the
base
of
a
Pedestal
;
and
the
like
;
but
this
Geometrical
Ichnography
is
not
seen
in
Section
,
or
through
a
Glass
,
unless
it
lies
parallel
to
the
base
;
and
so
it
makes
no
Section
with
it
.
V.
Ichnographia
Scenographical
is
the
Appearance
of
the
same
base
in
Section
,
or
through
a
Glass
,
erected
upright
on
the
same
plain
,
on
which
the
base
stands
.
And
by
this
the
said
base
is
extended
in
length
but
contracted
in
breadth
,
for
so
it
appears
to
the
Eye
.
VI.
Orthographia
,
is
the
Vision
of
the
foreright
side
of
any
plain
;
to
wit
,
of
that
plain
or
superficies
which
lies
Equidistant
to
a
right
line
,
passing
through
the
outward
or
convex
centers
of
both
Eyes
,
continued
to
a
due
length
.
And
therefore
Perspective
Orthographia
,
is
the
delineation
of
the
apparent
right
plain
.
Scenographia
is
the
description
of
a
plain
or
other
figure
,
that
declines
from
the
apparent
or
foreright
plain
;
that
is
,
of
that
plain
which
makes
Angles
with
the
said
foreright
plain
.
The
Scenographick
vision
of
any
form
,
body
,
or
building
is
,
of
that
side
which
declines
from
,
or
constitutes
an
Angle
,
with
the
right
line
,
passing
from
the
convex
centers
of
both
Eyes
aforesaid
:
this
Artists
call
the
return
of
the
foreright
side
.
Now
the
difference
between
the
Orthographick
and
Scenographick
vision
is
this
;
the
Orthographick
shews
the
side
of
a
body
or
building
as
it
is
beheld
when
the
plain
of
the
Glass
is
placed
equidistant
to
that
side
:
but
the
Scenographick
shews
the
side
of
a
body
or
edifice
as
it
appears
through
a
glass
raised
obliquely
to
the
said
side
,
or
making
an
angle
therewith
.
CHAP.
XXVII
.
Of
the
Subject
to
be
seen
.
I.
THe
Base
of
any
thing
,
is
the
plain
,
flat
,
or
floor
upon
which
any
solid
body
,
or
object
is
placed
,
or
raised
.
II.
The
Altitude
or
height
is
the
perpendicular
space
of
place
,
between
the
base
and
Eye
,
or
height
of
the
visual
point
above
the
base
.
III.
The
Visual
point
,
is
a
point
in
the
Horizontal
line
,
wherein
all
the
beams
of
the
Eyes
unite
.
Exempli
gratiâ
.
If
you
look
on
a
long
straight
river
,
the
sides
of
which
run
parallel
,
yet
by
reason
of
the
distance
both
sides
of
the
riven
(
although
it
be
very
broad
)
will
seem
to
incline
,
touch
,
and
unite
with
each
other
in
one
common
point
or
center
:
and
so
if
you
look
on
a
long
straight
brick-wall
,
the
several
lays
of
brick
,
and
courses
of
mortar
▪
will
(
at
a
great
distance
)
seem
to
incline
each
to
other
in
one
common
point
or
center
;
this
point
reflected
on
a
glass
,
raised
upright
on
the
base
,
is
called
the
Visual
point
.
IV.
The
Horizontal
line
is
a
line
proceeding
from
the
center
of
the
Eye
to
the
visual
point
,
parallel
to
the
Horizon
of
the
Earth
.
And
this
is
,
in
men
of
ordinary
height
or
stature
,
commonly
about
five
foot
from
the
ground
or
base
.
V.
The
Distance
is
the
space
on
the
base
,
between
the
Glass
and
point
in
the
base
which
lies
directly
under
the
Eyes
.
VI.
The
Section
is
a
plain
of
transparent
or
perlucid
matter
(
as
of
Glass
)
raised
upright
on
the
plain
of
the
base
standing
before
you
,
parallel
to
a
straight
line
,
passing
through
the
convex
centers
of
both
Eyes
.
Without
the
knowledge
of
this
Section
or
Glass
,
it
is
utterly
impossible
to
understand
perspective
,
or
know
what
it
means
:
Or
be
able
to
give
a
reason
for
the
difference
between
the
Orthographick
and
Scenographick
figure
.
VII
.
If
the
Glass
is
placed
near
the
visual
point
,
and
far
from
the
object
,
the
figure
which
is
seen
will
be
very
small
:
and
the
reason
is
,
because
all
rays
comprehending
the
Orthographical
and
Scenographical
figures
(
though
more
remote
from
the
object
)
fall
into
the
visual
point
,
as
their
common
center
.
VIII
.
If
the
Visual
point
be
more
elevated
(
though
at
the
same
distance
)
the
Scenographick
figure
or
form
will
appear
of
a
much
larger
magnitude
:
because
the
Visual
radiations
being
higher
,
the
various
perpendiculars
raised
on
the
Section
or
Glass
,
cut
them
in
wider
distances
,
because
more
remote
from
the
Glass
.
IX
.
If
the
Glass
incline
to
the
Visual
point
,
the
Scenographick
vision
will
be
long-wise
between
the
visual
point
and
the
object
.
And
the
reason
is
,
because
the
plain
of
the
Glass
heaps
in
more
of
the
Visual
Radiations
.
X.
If
the
Glass
recline
from
the
Visual
point
,
the
Scenographick
figure
will
appear
rounder
,
and
begin
to
resemble
the
Orthographick
.
XI
.
But
if
the
Glass
is
fixed
Equidistant
to
the
bafe
,
or
plain
the
object
stands
upon
;
the
Scenographick
and
Orthographick
resemblance
will
be
one
and
the
same
.
And
the
reason
is
,
because
the
form
of
the
figure
is
lost
,
or
not
visible
in
the
Section
.
XII
.
The
Visual
Raies
,
are
those
lines
which
proceed
from
the
Visual
point
,
through
the
Glass
,
to
any
point
higher
or
lower
than
the
plain
of
the
Horizon
.
XIII
,
Diagonals
or
lines
of
distance
,
are
such
as
are
drawn
from
the
point
of
distance
to
any
other
point
,
higher
or
lower
than
the
Horizon
.
XIV
.
The
Object
is
that
form
,
figure
,
body
or
edifice
intended
to
be
expressed
in
Perspective
proportions
.
CHAP.
XXVIII
.
The
General
Practice
of
Perspective
.
I.
LEt
every
line
which
in
the
Object
or
Geometrical
figure
is
straight
,
perpendicular
,
or
parallel
to
its
base
,
be
so
also
in
its
Scenographick
delineation
.
II.
Let
the
lines
which
in
the
object
return
at
right
Angles
from
the
fore-right-side
,
be
drawn
Scenographically
from
the
Visual
point
.
III.
Let
all
straight
lines
,
which
in
the
object
return
from
the
fore-right
side
,
run
in
a
Scenographick
figure
into
the
Horizontal
line
.
IV.
Let
the
object
you
intend
to
delineate
standing
on
your
right
hand
,
be
placed
also
on
the
right
hand
of
the
Visual
point
:
and
that
on
the
left
hand
,
on
the
left
hand
of
the
same
point
:
and
that
which
is
just
before
,
in
the
middle
of
it
.
V.
Let
those
lines
which
are
(
in
the
object
)
Equidistant
to
the
returning
line
,
be
drawn
in
the
Scenographick
figure
,
from
that
point
found
in
the
Horizon
.
VI.
In
setting
off
the
altitude
of
Columns
,
Pedestals
and
the
like
,
measure
the
heighth
from
the
base
line
upwards
in
the
front
or
fore-right
side
;
and
a
visual
ray
drawn
,
that
point
in
the
front
shall
limit
the
altitude
of
the
Column
or
pillar
,
all
the
way
behind
the
fore-right
side
or
Orthographick
appearance
,
even
to
the
visual
point
.
This
rule
you
must
observe
in
all
figures
,
aswel
where
there
is
a
front
or
fore-right
side
,
as
where
there
is
none
.
VII
.
In
delineating
Ovals
,
Circles
,
Arches
,
Crosses
,
Spirals
and
Cross-arches
,
or
any
other
figure
,
in
the
roof
of
any
room
;
first
draw
Ichnographically
,
and
so
with
perpendiculars
,
from
the
most
Eminent
points
thereof
,
carry
it
up
unto
the
Ceiling
,
from
which
several
points
carry
on
the
figure
.
VIII
.
The
center
in
any
Scenographick
regular
figure
is
found
by
drawing
cross-lines
from
opposite
angles
:
for
the
point
where
the
Diagonals
cross
is
the
Center
.
IX
.
A
ground
plain
of
squares
is
alike
,
both
above
and
below
the
Horizontal
line
;
only
the
more
it
is
distant
above
or
beneath
the
Horizon
,
the
squares
will
be
so
much
the
larger
or
wider
.
X.
In
drawing
a
perspective
figure
,
where
many
lines
come
together
,
you
may
for
the
directing
of
your
eye
,
draw
the
Diagonals
in
Red
;
the
Visual
lines
in
black
;
the
Perpendiculars
in
Green
,
or
other
different
colour
from
that
which
you
intend
the
figure
shall
be
of
.
XI
.
Having
considered
the
height
,
distance
and
position
of
the
figure
,
and
drawn
it
accordingly
,
with
side
or
angle
against
the
base
;
raise
perpendiculars
from
the
several
angles
or
designed
points
in
the
figure
,
to
the
base
,
and
transfer
the
length
of
each
perpendicular
,
from
the
place
where
it
touches
the
base
,
to
the
base
on
the
side
opposite
to
the
point
of
distance
;
so
will
the
diametrals
drawn
to
the
perpendiculars
in
the
base
,
by
intersection
with
the
Diagonals
drawn
to
the
several
transferred
distances
,
give
the
Angles
of
the
figure
:
and
so
lines
drawn
from
point
to
point
will
circumscribe
the
Scenographick
figure
.
XII
.
If
in
Landskip
there
be
any
standing
waters
,
as
rivers
,
ponds
,
and
the
like
;
place
the
horizontal
line
level
with
the
farthest
sight
or
appearance
of
it
.
XIII
.
If
there
be
any
houses
or
the
like
in
the
picture
,
consider
their
position
,
that
you
may
find
from
what
point
in
the
Horizontal
line
to
draw
the
fronts
and
sides
thereof
.
XIV
.
In
describing
things
at
a
great
distance
,
observe
the
proportion
(
both
in
magnitude
and
distance
)
in
draught
,
which
appears
from
the
object
to
the
eye
.
XV.
In
colouring
and
shadowing
of
every
thing
;
you
must
do
the
same
in
your
picture
which
you
observe
with
your
Eye
,
especially
in
objects
lying
near
;
but
according
as
the
distance
grows
greater
and
greater
,
so
the
Colours
must
be
fainter
and
fainter
,
till
at
last
they
lose
themselves
in
a
darkish
sky
colour
.
XVI
.
The
Catoptricks
are
best
seen
in
a
common
looking
glass
or
other
polish'd
matter
,
where
if
the
glass
be
exactly
flat
,
the
object
is
exactly
like
its
original
:
but
if
the
glass
be
not
flat
,
the
resemblance
alters
from
the
original
,
and
that
more
or
less
,
according
as
the
glass
differs
from
an
exact
plain
.
XVII
.
In
drawing
Catoptrick
figures
,
the
furface
of
the
Glass
is
to
be
considered
,
upon
which
you
mean
to
have
the
reflection
,
for
which
you
must
make
a
particular
Ichnographical
draught
or
projection
;
which
on
the
glass
must
appear
to
be
a
plain
full
of
squares
;
on
which
projection
transfer
what
shall
be
drawn
,
on
a
plain
divided
into
the
same
number
of
like
squares
:
where
though
the
draught
may
appear
very
confused
,
yet
the
reflection
thereof
on
the
Glass
,
will
be
very
regular
,
proportional
and
really
composed
.
XVIII
.
The
Dioptrick
or
broken
beam
may
be
seen
in
a
tub
;
through
a
Crystal
,
or
Glass
,
which
hath
its
surface
cut
into
many
others
,
whereby
the
raies
of
the
object
are
broken
.
For
,
to
the
flat
of
the
Crystal
or
water
,
the
raies
run
straight
;
but
then
they
break
and
make
an
Angle
;
the
which
also
by
the
refracted
beams
is
made
and
continued
on
the
other
side
of
the
same
flat
.
XIX
.
When
these
faces
on
a
Crystal
are
turned
towards
a
plain
,
placed
directly
before
it
,
they
separate
themselves
at
a
good
distance
on
the
plain
;
because
they
are
all
directed
to
various
far
distant
places
of
the
same
.
XX.
But
for
the
assigning
to
each
of
them
a
place
on
the
same
plain
,
no
Geometrick
rule
is
yet
invented
.
CHAP.
XXIX
.
A
Rational
Demonstration
of
Chiromantical
Signatures
;
Added
by
way
of
Appendix
to
Chap.
V.
of
this
Book
.
I.
THe
soundation
of
Chiromancie
depends
upon
the
true
appropriation
of
the
several
mounts
,
fingers
,
or
places
in
the
hand
,
to
their
proper
stars
or
Planets
.
II.
The
Ancients
have
assigned
the
root
of
the
middle
finger
to
Saturn
;
of
the
forefinger
to
Jupiter
:
the
hollow
of
the
hand
to
Mars
:
the
root
of
the
ring-finger
to
Sol
:
of
the
thumb
to
Venus
:
of
the
little
finger
to
Mercury
:
and
lastly
,
the
brawn
of
the
hand
near
the
wrist
to
Luna
.
III.
That
line
which
comes
round
the
ball
of
the
thumb
towards
the
root
or
mount
of
Jupiter
is
called
Linea
Jovialis
,
or
the
life-line
:
that
from
the
wrist
to
the
root
or
mount
of
Saturn
,
Linea
Saturnialis
:
but
if
it
points
to
the
root
or
mount
of
Sol
,
Linea
Solaris
:
if
to
Mercury
,
Linea
Mercurealis
:
that
which
goes
from
Linea
Jovialis
to
the
mount
of
Luna
,
Linea
Lunaris
,
or
the
natural
line
:
the
other
great
line
above
it
is
called
Linea
Stellata
,
or
the
line
of
fortune
,
because
it
limits
the
mounts
of
the
planets
,
and
is
impressed
with
various
vertues
in
those
places
according
to
the
nature
of
the
planet
whose
mount
it
runs
under
or
sets
a
boundary
unto
:
Lastly
,
the
space
between
the
natural
line
and
the
line
of
fortune
is
called
mensa
,
the
Table
.
IV.
All
other
lines
shall
either
proceed
out
of
the
sides
of
the
former
,
or
else
from
some
proper
mount
.
V.
Every
line
great
or
small
,
long
or
short
,
hath
a
certain
beginning
or
root
,
from
which
it
rises
;
and
a
certain
end
or
point
to
which
it
tends
.
VI.
The
distance
between
both
ends
,
is
the
way
of
its
passage
;
in
which
way
,
it
either
crosses
some
other
line
,
or
else
is
crossed
:
if
it
do
neither
,
its
signification
is
continual
,
and
ought
so
much
the
more
to
be
taken
notice
of
.
VII
.
Every
mount
hath
a
proper
signification
,
which
it
receives
from
the
significations
of
its
proper
planet
,
being
abstractly
considered
:
the
same
understand
of
all
the
principal
lines
aforesaid
.
VIII
.
Saturn
is
the
Author
of
Age
,
Inheritances
,
Melancholly
,
Malice
,
Sorrow
,
Misery
,
Calamities
,
Enemies
,
Imprisonment
,
Sickness
,
Diseases
,
Perplexities
,
Cares
,
Poverty
,
Crosses
,
Death
,
and
whatsoever
evil
can
befall
humane
life
:
he
signifies
Fathers
,
Old
Men
,
Labourers
,
Dyers
,
Smiths
and
Jesuits
.
IX
.
Jupiter
is
the
Author
of
Health
,
Strength
,
Moderation
,
Sobriety
,
Mercy
,
Riches
,
Substance
,
Goodness
,
Liberty
,
Religion
,
Honesty
,
Justice
,
Modesty
,
and
all
other
things
which
may
make
a
man
happy
;
he
signifies
Churches
,
Church-men
,
Lawyers
,
Scholars
,
Cloathiers
,
and
the
like
.
X.
Mars
is
the
Author
of
Strife
,
Contention
,
Pride
,
Presumption
,
Tyranny
,
Thefts
,
Murders
,
Victory
,
Conquest
,
Infortunacy
,
Boldness
,
and
Dangers
:
he
signifies
Physicians
,
Chirurgians
,
Apothecaries
,
the
Camp
,
all
Military
men
and
Preferments
,
Edge-tools
,
Butchers
,
Carpenters
,
Gunners
,
Bailiffs
and
the
like
.
XI
.
Sol
is
the
Author
of
Honour
,
Glory
,
Renown
,
Preferment
,
Life
,
Generosity
,
Magnanimity
,
Soveraignty
,
Dominion
,
Power
,
Treasures
,
Gold
,
Silver
,
and
whatsoever
may
make
the
life
of
man
splendid
;
he
signifies
Kings
,
Princes
,
Rulers
,
and
all
men
in
power
,
Minters
,
Goldsmiths
,
long
Life
and
Wisdom
.
XII
.
Venus
is
the
Author
of
Joy
,
Pleasure
Mirth
,
Solace
,
Lust
,
Uncleanness
and
Idleness
:
she
signifies
Women-kind
,
Sisters
,
Ladies
,
Whores
,
Curiosities
,
Lapidaries
,
Silkmen
,
Taylors
,
Mercers
,
Upholsters
,
Pictures
,
Picture-drawers
,
the
Pox
,
and
diseases
proceeding
from
uncleanness
.
XIII
.
Mercury
is
the
Author
of
Craft
,
Subtilty
,
Policy
,
Deceit
,
Perjury
,
Study
,
Hearing
,
and
Merchandizing
:
he
signifies
Merchants
,
Clerks
,
Scholars
,
Secretaries
,
Ambassadors
,
Pages
,
Messengers
,
Poets
,
Orators
,
Stationers
,
Cheaters
,
Thieves
,
Petty-lawers
,
Philosophers
,
Mathematicians
,
Astrologers
.
XIV
.
Luna
is
the
Author
of
popular
Fame
both
Good
and
Evil
,
Joy
and
Sorrow
,
Mutability
and
Inconstancy
;
Affection
and
Disaffection
;
Moisture
and
every
affect
which
may
be
said
to
be
common
:
she
signifies
Waters
,
Ships
,
Seamen
of
all
sorts
,
Queens
,
Ladies
,
a
Governess
,
the
Common
people
in
general
,
Neighbours
,
Mothers
,
Kindred
,
Fishmongers
,
Vintners
,
Tapsters
,
Midwives
,
Nurses
and
Travellers
.
This
being
known
,
understand
,
XV.
First
,
That
the
lines
take
their
signification
from
the
mount
of
that
planet
from
whence
they
rise
.
XVI
.
Secondly
,
That
the
place
from
whence
any
line
rises
shews
the
ground
,
cause
,
or
original
of
the
things
signified
by
that
line
:
the
line
or
mount
to
which
it
points
,
shews
the
issue
,
to
what
the
thing
tends
,
and
what
may
be
the
end
of
the
matter
signified
.
XVII
.
Thirdly
,
That
whether
the
line
signifies
good
or
evil
,
if
it
be
cut
or
crossed
by
any
other
line
,
that
line
so
cutting
it
,
will
at
a
certain
time
not
only
abate
the
good
,
but
also
take
away
the
evil
,
if
it
so
signified
.
XVIII
.
Fourthly
,
That
the
nature
and
quality
of
that
line
thus
:
destroying
the
signification
of
the
former
,
is
known
by
considering
from
what
place
it
rises
,
and
to
what
place
it
tends
.
XIX
.
Fifthly
,
That
a
double
judgment
arises
from
every
line
,
by
accounting
its
rise
,
first
from
the
one
end
;
secondly
,
from
the
other
.
XX.
Sixthly
,
That
little
lines
rising
out
of
the
sides
of
any
other
line
,
both
augment
the
things
signified
by
that
line
;
and
also
signifie
new
matter
arising
by
things
signified
by
the
line
from
whence
they
rise
;
and
the
place
to
which
they
point
,
shew
to
what
they
tend
.
XXI
.
Seventhly
,
That
the
mounts
or
lines
adorned
with
stars
,
or
small
lines
,
not
crossed
,
or
pointing
to
evil
places
,
shew
great
good
and
happiness
to
the
person
,
by
things
signified
by
the
same
mount
or
line
:
and
on
the
contrary
,
vitiated
with
crosses
,
spots
,
or
knots
,
shew
much
evil
and
perplexity
.
XXII
.
Lastly
,
the
beginning
of
the
lines
,
shews
in
the
beginning
or
fore
part
of
Life
;
the
middle
,
in
the
middle
part
of
Life
;
and
the
ends
of
them
,
the
latter-part
,
or
end
of
Life
;
so
that
if
any
evil
or
good
be
signified
by
any
line
,
you
must
hint
the
time
according
to
the
aforesaid
reason
.
'T
is
true
,
here
we
ought
to
enquire
into
the
denominated
times
when
the
things
signified
should
come
to
pass
;
but
because
that
matter
is
something
long
and
abstruse
(
being
more
fit
to
be
handled
in
a
particular
tract
,
wherein
all
its
curiosities
may
be
examined
)
this
our
present
work
being
a
a
subject
of
another
nature
,
and
these
things
not
essential
to
our
purpose
,
but
only
added
by
way
of
appendix
,
we
shall
at
this
time
forbear
.
Notwithstanding
,
although
we
have
not
here
delineated
every
thing
in
particular
,
yet
we
have
laid
(
as
it
were
)
the
ground
and
foundation
of
the
Art
;
out
of
which
,
as
out
of
a
fountain
,
the
industrious
student
may
at
his
own
leisure
and
pleasure
,
rear
a
stately
fabrick
.
POLYGRAPHICES
LIBER
SECUNDUS
.
Of
ENGRAVING
,
ETCHING
,
and
LIMNING
.
Shewing
the
Instruments
belonging
to
the
Work
;
the
Matter
of
the
Work
,
the
way
and
manner
of
performing
the
same
;
togewith
all
other
Requisites
and
Ornaments
.
CHAP.
I.
Of
Graving
,
and
the
Instruments
thereof
.
I.
GRaving
is
an
Art
which
teachet
how
to
trans
fer
any
design
upon
Copper
Brass
,
or
Wood
,
by
help
of
sharp
pointed
and
cutting
Instruments
.
II.
The
chief
Instruments
are
four
,
1.
Gravers
,
2.
An
Oyl
stone
,
3.
A
Cushion
,
4.
A
Burnisher
.
III.
Gravers
are
of
three
sorts
,
round
pointed
,
square
pointed
,
and
Lozenge
pointed
.
The
round
is
best
to
scratch
withal
:
the
square
Graver
is
to
make
the
largest
stroaks
:
the
Lozenge
is
to
make
stroaks
more
fine
and
delicate
;
but
a
Graver
of
a
middle
size
betwixt
the
square
and
Lozenge
pointed
,
will
make
the
stroaks
or
hatches
show
with
more
life
and
vigour
,
according
as
you
manage
it
in
working
.
IV.
The
Oyl-stone
is
to
whet
the
Gravers
upon
,
which
must
be
very
smooth
,
not
too
soft
,
nor
too
hard
,
and
without
pinholes
.
The
use
is
thus
:
put
a
few
drops
of
oyl
Olive
upon
the
stone
,
and
laying
that
side
of
it
,
which
you
intend
shall
cut
the
Copper
,
flat
upon
the
stone
,
whet
it
very
flat
and
eavens
and
therefore
be
sure
to
carry
your
hand
stedfast
with
an
equal
strength
,
placing
the
forefinger
firmly
,
upon
the
opposite
side
of
the
graver
.
Then
turn
the
next
side
of
your
graver
,
and
whet
that
in
like
manner
,
that
you
may
have
a
very
sharp
edge
for
an
Inch
or
more
.
Lastly
,
turning
uppermost
that
edge
which
you
have
so
whetied
,
and
setting
the
end
of
the
graver
obliquely
upon
the
stone
,
whet
it
very
flat
and
sliping
in
form
of
a
Lozenge
(
with
an
exact
and
eaven
hand
)
making
to
the
edge
thereof
a
sharp
point
.
It
is
impossible
that
the
work
should
be
with
the
neatness
and
curiosity
desired
,
if
the
graver
be
not
,
not
only
very
good
,
but
also
exactly
and
carefully
whetted
.
V.
The
Cushion
is
a
leather
bag
filled
with
fine
sand
,
to
lay
the
plate
upon
,
on
which
you
may
turn
it
every
way
at
ease
.
You
must
turn
your
plate
with
your
left
hand
,
according
as
the
stroaks
which
you
grave
do
turn
,
which
must
be
attained
with
diligent
care
and
practice
.
VI.
The
burnishing
Iron
is
of
use
to
rub
out
scratches
and
specks
or
other
things
which
may
fault
your
work
in
the
plate
;
as
also
if
any
stroaks
be
graved
too
deep
or
gross
to
make
them
appear
less
and
fainter
by
rubbing
them
therewith
.
VII
.
To
make
your
Gravers
.
Provide
some
Cross-bow
stell
,
and
cause
it
to
be
beaten
out
into
small
rods
,
and
softned
,
then
with
a
good
file
you
may
shape
them
at
pleasure
:
when
you
have
done
,
heat
them
red-hot
,
and
straight
dip
it
into
Soap
,
and
by
so
doing
it
will
be
very
hard
:
where
note
,
that
in
dipping
them
into
the
Soap
,
if
you
turn
your
hand
never
so
little
awry
,
the
graver
will
be
crooked
.
If
your
graver
be
too
hard
,
take
a
red-hot
Charcoal
and
lay
the
end
of
your
graver
upon
it
till
it
begins
to
wax
yellowish
,
and
then
dip
it
into
t●llow
(
some
say
water
)
and
it
will
be
tougher
.
VIII
.
Have
by
you
a
piece
of
box
or
hard
wood
,
that
after
you
have
sharpned
your
graver
,
by
striking
the
point
of
it
into
the
said
box
or
hard
wood
,
you
may
take
off
all
the
roughness
about
the
points
,
which
was
caused
by
whetting
it
upon
the
oyl-stone
.
IX
.
Lastly
,
take
a
file
and
touch
the
edge
of
the
graver
therewith
;
if
the
file
cut
it
,
it
is
too
soft
,
and
will
do
no
good
:
but
if
it
will
not
touch
it
,
it
is
fit
for
your
work
.
If
it
should
break
on
the
point
,
it
is
a
sign
it
is
tempered
too
hard
;
which
of
tentimes
after
a
little
use
by
whetting
will
come
into
a
good
condition
.
CHAP.
II.
Of
Polishing
the
Copper
Plates
.
I.
TAke
a
plate
of
Brass
or
Copper
of
what
bigness
you
please
,
and
of
a
reasonable
thickness
,
taking
heed
that
it
be
free
from
fire
flaws
.
II.
Beat
it
as
smooth
as
you
can
with
a
hammer
,
and
then
rub
it
as
smooth
as
you
can
,
with
a
pumice
stone
void
of
Gravel
(
lest
it
scratch
it
and
so
cause
as
much
labour
to
get
them
out
)
and
a
little
water
.
III.
Then
drop
a
few
drops
of
oyl
Olive
upon
the
plate
,
and
burnish
it
with
your
burnishing
Iron
;
and
then
rub
it
with
Charcoal
made
of
Beech
wood
quenched
in
Urine
.
IV.
Lastly
,
with
a
roul
made
of
a
piece
of
a
black
felt
,
castor
,
or
Beaver
,
dip'd
in
oyl
Olive
,
rub
it
well
for
an
hour
,
so
shall
your
plate
be
exactly
polished
.
CHAP.
III.
Of
Holding
the
Graver
.
I.
IT
will
be
necessary
to
cut
off
that
part
of
the
knob
of
the
handle
of
the
graver
which
is
upon
the
same
line
with
the
edge
of
the
graver
;
thereby
making
that
lower
side
next
to
the
plate
flat
,
that
it
may
be
no
hinderance
in
graving
.
For
working
upon
a
large
plate
,
that
part
of
the
handle
(
if
not
cut
away
)
will
so
rest
upon
the
Copper
,
that
it
will
hinder
the
smooth
and
eaven
carriage
of
your
hand
in
making
your
stroaks
,
and
will
cause
your
graver
to
run
into
your
Copper
deeper
than
it
should
do
.
This
done
,
II.
Place
the
knob
at
the
end
of
the
handle
of
the
Graver
in
the
hollow
of
your
hand
,
and
having
extended
your
forefinger
towards
the
point
of
the
Graver
,
laying
it
a
top
,
or
opposite
to
the
edge
which
should
cut
the
plate
,
place
your
thumb
on
the
one
side
of
the
Graver
,
and
your
other
fingers
on
the
other
side
,
so
as
that
you
may
guide
the
graver
flat
and
parallel
with
the
plate
.
III.
Be
wary
that
your
fingers
interpose
not
between
the
plate
and
the
Graver
,
for
they
will
hinder
you
in
carrying
your
graver
level
with
the
plate
,
and
cause
your
lines
to
be
more
deep
,
gross
and
rugged
,
than
otherwise
they
would
be
.
CHAP.
IV.
Of
the
way
and
manner
of
Engraving
.
I.
HAving
a
Cushion
filled
with
sand
about
nine
inches
long
and
six
broad
,
and
three
or
four
thick
,
and
a
plate
well
polished
;
lay
the
plate
upon
the
Cushion
,
which
place
upon
a
firm
Table
.
II.
Holding
the
Graver
(
as
aforesaid
)
according
to
art
,
in
making
straight
stroaks
be
sure
to
hold
your
plate
firm
upon
the
Cushion
,
moving
your
hand
,
leaning
lightly
where
the
stroak
should
be
fine
;
and
harder
where
you
would
have
the
stroak
broader
.
III.
But
in
making
circular
or
crooked
stroaks
,
hold
your
hand
and
Graver
stedfast
,
your
arm
and
elbow
resting
upon
the
table
,
and
move
the
plate
against
the
Graver
;
for
otherwise
it
is
impossible
to
make
those
crooked
or
winding
stroaks
with
that
neatness
and
command
that
you
ought
to
do
.
IV.
Learn
to
carry
your
hand
with
such
a
slight
,
that
you
may
end
your
stroak
as
finely
as
you
began
it
;
and
if
you
have
occasion
to
make
one
part
deeper
or
blacker
than
another
,
do
it
by
degrees
;
and
that
you
may
do
it
the
more
exactly
,
observe
that
your
stroaks
be
not
too
close
,
nor
too
wide
.
For
your
more
exact
observation
,
practise
by
such
prints
which
are
more
loosly
shadowed
,
lest
by
imitating
the
more
dark
,
you
should
not
know
where
to
begin
or
end
.
V.
After
you
have
graved
part
of
your
work
,
it
will
be
needful
to
scrape
it
with
the
sharp
edge
of
a
burnisher
or
other
graver
,
carrying
it
along
eaven
with
the
plate
,
to
take
off
the
roughness
of
the
stroaks
;
but
in
doing
it
beware
of
making
scratches
.
VI.
And
that
you
may
the
better
see
that
which
is
engraven
,
with
the
piece
of
Felt
or
Castor
(
at
the
fourth
Section
of
the
second
Chapter
)
dipt
in
oyl
rub
the
places
graven
.
VII
.
Lastly
,
whatsoever
appears
to
be
amiss
,
you
may
rub
out
with
the
burnisher
,
and
very
exactly
polish
it
with
your
piece
of
Felt
or
Castor
and
oyl
;
which
done
,
to
cleanse
the
plate
you
may
boil
it
a
little
in
wine
vinegar
,
and
rub
it
gently
with
a
brush
of
small
brass
wire
or
hogs
bristles
.
CHAP.
V.
Of
the
Imitation
of
Copies
or
Prints
.
I.
HAving
a
piece
of
Bees
wax
tyed
up
in
a
fine
holland
rag
,
heat
the
plate
over
the
fire
,
till
it
may
be
hot
enough
to
melt
the
wax
;
then
rub
the
plate
with
the
wax
tied
up
in
the
rag
,
till
you
see
it
covered
all
over
with
wax
,
(
which
let
be
very
thin
:
)
if
it
be
not
eaven
,
heat
it
again
by
the
fire
,
and
wipe
it
over
gently
with
a
feather
.
II.
If
you
would
coppy
a
printed
picture
,
to
have
it
print
off
the
same
way
;
then
clap
the
print
which
you
would
imitate
with
the
printed
side
next
to
the
plate
;
and
having
placed
it
very
exactly
,
rub
the
backside
of
the
print
with
a
burnisher
,
or
any
thing
that
is
hard
,
smooth
and
round
,
which
will
cause
it
to
stick
to
the
wax
upon
the
plate
:
then
take
off
the
print
(
beginning
at
one
corner
)
gently
and
with
care
,
lest
you
tear
it
(
which
may
be
caused
also
by
putting
too
much
wax
upon
the
plate
)
and
it
will
leave
upon
the
wax
the
perfect
proportion
in
every
part
.
Where
note
,
if
it
be
an
old
picture
,
before
you
place
it
upon
the
wax
,
it
will
be
good
to
track
it
over
in
every
limb
with
a
black-lead
pensil
.
III.
But
if
you
would
have
it
print
the
contrary
way
;
take
the
dust
of
black-lead
,
and
rub
the
backside
of
the
print
all
over
therewith
,
which
black
side
put
upon
the
waxed
plate
;
and
with
your
needle
or
drawing
point
,
draw
all
the
out-lines
of
the
design
or
print
,
all
which
you
will
find
upon
the
wax
.
This
done
,
IV.
Take
a
long
graver
either
Lozenge
or
round
(
which
is
better
)
very
sharp
,
and
with
the
point
thereof
scratch
over
every
particular
limb
in
the
outstroke
;
which
done
,
it
will
not
be
difficult
to
mark
out
all
the
shadows
as
you
engrave
,
having
the
proportion
before
you
.
V.
Lastly
,
for
Coppies
or
Letters
,
go
over
every
letter
with
black-lead
,
or
write
them
with
ungumm'd
Ink
,
and
clap
the
paper
over
the
waxed
plate
as
before
.
CHAP.
VI.
Of
Engraving
in
Wood.
THe
figures
that
are
to
be
carved
or
geaven
in
wood
must
first
be
drawn
,
traced
,
or
pasted
upon
the
wood
;
and
afterwards
all
the
other
standing
of
the
wood
(
except
the
figure
)
must
be
cut
away
with
little
narrow
pointed
knives
made
for
that
purpose
.
This
graving
in
wood
is
far
more
tedious
and
difficult
than
that
in
Brass
or
Copper
;
because
you
must
cut
twice
or
thrice
to
take
out
one
stroak
;
and
having
cut
it
,
to
be
careful
in
picking
it
out
,
lest
you
should
break
any
part
of
the
work
,
which
would
deface
it
.
II.
For
the
kind
of
the
wood
let
it
be
hard
and
tough
:
the
best
for
this
purpose
is
Beech
and
Box
:
let
it
be
plained
inch
thick
,
which
you
may
have
cut
into
pieces
according
to
the
bigness
of
the
figure
you
grave
.
III.
To
draw
the
figures
upon
the
wood
.
Grinde
white
Lead
very
fine
,
and
temper
it
with
fair
water
;
dip
a
cloth
therein
,
and
rub
over
one
side
of
the
wood
,
and
let
it
dry
throughly
:
This
keepeth
the
Ink
(
if
you
draw
therewith
)
that
it
run
not
about
,
nor
sink
:
and
if
you
draw
with
Pastils
,
it
makes
the
stroaks
appear
more
plain
and
bright
.
IV.
Having
whited
the
wood
as
before
(
if
it
is
a
figure
you
would
copy
)
black
or
red
the
blankside
of
the
print
or
copy
,
and
with
a
little
stick
or
swallows
quill
,
trace
or
draw
over
the
stroaks
of
the
figure
.
V.
But
if
you
paste
the
figure
upon
the
wood
,
you
must
not
then
white
it
over
(
for
then
the
figure
will
pill
off
)
but
only
see
the
wood
be
well
plained
:
then
wipe
over
the
printed
side
of
the
figure
with
Gum
Tragacanth
dissolved
in
fair
water
,
and
clap
it
smooth
upon
the
wood
,
which
let
dry
throughly
:
then
wet
it
a
little
all
over
,
and
fret
off
the
paper
gently
,
till
you
can
see
perfectly
every
strock
of
the
figure
:
dry
it
again
,
and
fall
to
cutting
or
carving
it
.
CHAP.
VII
.
Of
Etching
,
and
the
Materials
thereof
.
I.
ETching
is
an
artificial
Engraving
of
Brass
or
Copper
plates
with
Aqua
fortis
.
II.
The
Instruments
of
Etching
(
besides
the
plate
)
are
these
nine
.
1.
Hard
Varnish
.
2.
Soft
Varnish
.
3.
Prepared
Oyl
.
4.
Aqua
fortis
.
5.
Needles
.
6.
Oyl-stone
.
7.
Brush-pensil
.
8.
Burnisher
.
9.
The
Frame
and
Trough
.
III.
To
polish
the
Plate
.
Although
in
chap.
2.
of
this
Book
,
we
have
sufficiently
taught
how
to
polish
the
Plate
,
yet
nevertheless
we
think
it
convenient
to
subjoyn
these
following
words
.
First
,
the
Plate
being
well
planished
or
forged
,
chose
the
smoothest
side
to
polish
;
then
fix
it
upon
a
board
a
little
declining
,
and
rub
it
firmly
and
eavenly
all
over
with
a
piece
of
Grindstone
,
throwing
water
often
on
it
,
so
long
till
there
be
no
dints
,
flaws
or
marks
of
the
hammer
:
wash
it
clean
,
and
with
a
piece
of
good
Pumice
stone
,
rub
it
so
long
till
there
be
no
rough
stroaks
or
marks
of
the
Grindstone
:
wash
it
clean
again
,
and
rub
it
with
a
fine
Hoan
and
water
,
till
the
marks
of
the
pumice
stone
are
rubbed
out
:
wash
it
again
,
and
with
a
piece
of
Charcoal
without
knots
(
being
heat
red
hot
and
quenched
in
water
,
the
outside
being
pared
off
)
rub
the
plate
with
water
till
all
the
small
stroaks
of
the
Hoan
be
vanished
;
lastly
,
if
yet
there
remain
any
small
stroaks
or
scratches
,
rub
them
out
with
the
end
of
the
burnishing
Iron
,
so
shall
the
Plate
be
fitted
for
work
.
IV.
To
make
the
hard
Varnish
for
Etching
.
Take
Greek
or
Burgundy
Pitch
,
Colophonium
or
Rozin
,
of
each
five
ounces
,
Nut-oyl
four
ounces
;
melt
the
Pitch
and
Rozin
in
an
earthen
pot
upon
a
gentle
fire
;
then
put
in
the
Oyl
,
and
let
them
boil
for
the
space
of
half
an
hour
:
Cool
it
a
little
upon
a
softer
fire
till
it
appear
like
a
Glewy
syrrup
:
cool
it
a
little
more
,
strain
it
,
and
being
almost
cold
,
put
it
into
a
Glass
bottle
for
use
.
Being
thus
made
it
will
keep
at
least
twenty
years
.
V.
To
make
the
soft
Varnish
for
Etching
.
Take
Virgin-wax
three
ounces
,
Mastich
in
drops
two
ounces
,
Asphaltum
one
ounce
:
grind
the
Mastich
and
Asphaltum
severally
very
fine
;
then
in
an
Earthen
pot
melt
the
Wax
,
and
strew
in
the
Mastich
and
Asphaltum
,
stirring
all
upon
the
fire
till
they
be
well
dissolved
and
mixed
,
which
will
be
in
about
half
a
quarter
of
an
hour
;
then
cooling
it
a
little
,
pouring
it
into
a
basin
of
fair
water
(
all
except
the
dregs
)
and
with
your
hands
wet
(
before
it
is
cold
)
form
it
into
rouls
.
VI.
To
make
the
prepared
Oyl
.
Take
Oyl
Olive
,
make
it
hot
in
an
Earthen
pot
,
and
put
into
it
a
sufficient
quantity
of
tried
sheeps
suet
(
so
much
as
being
dropped
upon
a
cold
thing
,
the
oyl
may
be
a
little
hardened
and
firm
)
boil
them
together
for
an
hour
,
till
they
be
of
a
reddish
colour
,
lest
they
should
separate
when
you
use
them
.
This
mixture
is
to
make
the
fat
more
liquid
,
and
not
cool
so
fast
,
for
the
fat
alone
would
be
no
sooner
on
the
pencil
,
but
it
would
grow
cold
;
and
be
sure
to
put
in
more
oyl
in
Winter
than
in
Summer
.
VII
.
To
make
the
Aqua
fortis
.
Take
distilled
White-wine
Vinegar
three
pints
;
Sal
Armoniack
,
Bay-falt
,
of
each
six
ounces
;
Vertegriese
four
ounces
.
Put
all
together
into
a
large
well
glazed
earthen
pot
(
that
they
may
not
bo●
over
)
cover
the
pot
close
,
and
put
it
on
a
quick
fire
,
and
let
it
speedily
boil
two
or
three
great
walms
and
no
more
;
when
it
is
ready
to
boil
,
uncover
the
pot
,
and
stir
it
sometimes
with
a
stick
,
taking
heed
that
it
boil
not
over
:
having
boiled
,
take
it
from
the
fire
,
and
let
it
cool
being
close
covered
,
and
when
it
is
cold
,
put
it
into
a
glass
bottle
with
a
glass
stopple
:
If
it
be
too
strong
in
Etching
,
weaken
it
with
a
glass
or
two
of
the
same
Vinegar
you
made
it
of
.
There
is
another
sort
of
Aqua
fortis
,
which
is
called
Common
,
which
is
exhibited
in
Synopsis
Medicinae
,
lib.
3.
cap.
7.
sect.
4.
pag.
656.
But
because
that
Book
may
not
be
in
every
mans
hand
,
we
will
here
insert
it
;
it
is
thus
:
Take
dried
Vitriol
two
pound
,
Salt-peter
one
pound
;
mix
them
and
distil
by
a
Retort
,
in
open
fire
by
degrees
.
VIII
.
To
make
the
Etching
Needles
.
Chose
Needles
of
several
sizes
,
such
as
will
break
without
bending
,
and
of
a
fine
grain
;
then
take
good
round
sticks
of
firm
wood
(
not
apt
to
split
)
about
six
inches
long
,
and
as
thick
as
a
large
Goose
quill
,
at
the
ends
of
which
fix
your
Needles
,
so
that
they
may
stand
out
of
the
sticks
about
a
quarter
of
an
inch
or
something
more
.
IX
.
To
whet
the
points
of
the
Needles
with
the
Oylstone
.
If
you
would
have
them
whetted
round
,
you
must
whet
their
points
short
upon
the
oyl
stone
,
(
not
as
sowing
Needls
are
)
turning
them
round
whilst
you
whet
them
,
as
Turners
do
.
If
you
whet
them
sloping
,
first
make
them
blunt
upon
the
oyl
stone
,
then
holding
them
firm
and
steady
,
whet
them
sloping
upon
one
side
only
,
till
they
come
to
a
short
and
roundish
oval
.
X.
The
Brush
pencil
is
to
cleanse
the
work
,
wipe
off
dust
,
and
to
strike
the
Colours
eaven
over
the
ground
or
varnish
,
when
laid
upon
the
Plate
.
XI
.
The
burnisher
is
a
well
hardened
piece
of
steel
somewhat
roundish
at
the
end
.
Its
uses
are
what
we
have
spoken
at
the
sixth
Section
of
the
first
Chapter
,
and
the
third
Section
of
the
second
Chapter
.
XII
.
To
make
the
Frame
and
Trough
.
The
Frame
is
an
entire
board
,
about
whose
top
and
sides
is
fastned
a
ledge
two
Inches
broad
,
to
keep
the
Aqua
fortis
from
running
off
from
the
sides
when
you
pour
it
on
:
the
lower
end
of
this
board
must
be
placed
in
the
Trough
,
leaning
sloping
against
a
wall
or
some
other
thing
,
wherein
you
must
fix
several
pegs
of
wood
to
rest
the
plate
upon
.
The
Trough
is
made
of
a
firm
piece
of
Elm
or
Oak
set
upon
four
legs
,
whose
hollow
is
four
Inches
wide
;
and
so
long
as
may
best
fit
your
use
:
the
hollow
must
be
something
deeper
in
the
middle
,
that
the
water
running
thither
may
fall
through
a
hole
(
there
made
for
that
purpose
)
into
an
earthen
pan
well
leaded
.
The
inside
of
this
board
and
trough
must
be
covered
over
with
a
thick
oyl
colour
,
to
hinder
the
Aqua
fortis
from
eating
or
rotting
the
board
.
CHAP.
VIII
.
The
way
and
manner
of
using
the
hard
Varnish
.
I.
HAving
well
heat
the
polished
Plate
over
a
chafing-dish
of
coals
,
take
some
of
the
first
varnish
with
a
little
stick
,
and
put
a
drop
of
it
on
the
top
of
your
finger
,
with
which
lightly
touch
the
Plate
at
equal
distances
,
laying
on
the
varnish
equally
,
and
heating
the
plate
again
as
it
grows
cold
,
keeping
it
carefully
from
dust
or
filth
;
then
with
the
ball
of
your
thumb
tap
it
upon
the
plate
;
still
wiping
your
hand
over
all
,
to
make
it
more
smooth
and
equal
.
And
here
beware
that
neither
the
varnish
be
too
thick
upon
the
plate
,
nor
your
hand
sweaty
.
II.
Then
take
a
great
lighted
candle
burning
clear
,
with
a
short
snuff
,
(
placing
the
corner
of
the
plate
against
a
wall
)
hold
the
varnished
side
downward
over
the
candle
,
as
close
as
you
can
,
so
it
touch
not
the
Varnish
,
guiding
the
flame
all
over
,
till
it
is
all
perfectly
black
;
which
you
must
keep
from
dust
or
filth
till
it
is
dry
.
III.
Over
a
fire
of
Charcoals
hang
the
varnished
plate
to
dry
with
the
varnish
upwards
,
which
will
smoak
;
when
the
smoak
abates
,
take
away
the
plate
,
and
with
a
pointed
stick
scratch
near
the
side
thereof
,
and
if
the
varnish
easily
comes
off
,
hang
it
over
the
fire
again
a
little
,
so
long
till
the
Varnish
will
not
too
easily
come
off
;
then
take
it
from
the
fire
and
let
it
cool
.
If
the
varnish
should
be
too
hard
,
cast
cold
water
on
the
back-side
of
the
plate
to
cool
it
,
that
the
heat
may
not
make
it
too
hard
and
brittle
.
This
done
,
IV.
Place
it
upon
a
low
desk
,
or
some
such
like
thing
,
and
cover
that
part
which
you
do
not
work
on
,
with
a
sheet
of
fine
white
paper
,
and
over
that
a
sheet
of
brown
paper
,
on
which
may
rest
your
hand
,
to
keep
it
from
the
varnish
.
V.
If
you
use
a
ruler
,
lay
some
part
of
it
upon
the
paper
,
that
it
may
not
rub
off
the
varnish
;
and
have
an
especial
care
,
that
no
dust
or
filth
get
in
between
the
paper
and
the
varnish
,
for
that
will
hurt
it
.
CHAP.
IX
.
The
way
and
manner
of
Etching
.
I.
IN
making
lines
or
hatches
,
some
bigger
,
some
lesser
,
straight
or
crooked
,
you
must
use
several
sorts
of
needles
,
bigger
or
lesser
as
the
work
requires
.
II.
The
great
lines
are
made
by
leaning
hard
on
the
needle
;
its
point
being
short
and
thick
,
(
but
a
round
point
will
not
cut
the
varnish
clear
:
)
or
,
by
making
divers
lines
or
hatches
,
one
very
close
to
another
,
and
then
by
passing
over
them
again
with
a
thicker
needle
;
or
,
by
making
them
with
an
indifferent
large
needle
,
and
letting
the
Aqua
fortis
lie
the
longer
thereon
.
The
best
needles
for
this
work
are
such
as
are
whet
sloping
with
an
oval
,
because
their
sides
will
cut
that
which
the
round
ones
will
not
.
III.
If
your
lines
or
hatches
ought
to
be
of
an
equal
thickness
from
end
to
end
,
lean
on
the
needle
with
an
equal
force
;
leaning
lightly
where
you
would
have
the
lines
or
stroaks
fine
or
small
;
and
more
heavy
where
you
would
have
the
line
appear
deep
or
large
;
thereby
the
needle
may
have
some
Impression
in
the
Copper
.
IV.
If
your
lines
or
hatches
be
too
small
,
pass
over
them
again
with
a
short
round
point
,
of
such
a
bigness
as
you
would
have
the
line
of
,
leaning
strongly
where
you
would
have
the
line
deep
.
V.
The
manner
of
holding
the
needle
with
Oval
points
(
which
are
most
proper
to
make
large
and
deep
stroaks
)
is
much
like
that
of
a
pen
,
only
the
flat
side
whetted
is
usually
held
towards
the
thumb
:
but
they
may
be
used
with
the
face
of
the
Oval
turned
toward
the
middle
finger
.
VI.
If
you
would
end
with
a
fine
stroak
,
you
ought
to
do
that
with
a
very
fine
needle
.
VII
.
In
using
the
Oval
points
,
hold
them
as
upright
and
straight
in
your
hand
as
you
can
,
striking
your
stroaks
firmly
and
freely
,
for
that
will
add
much
to
their
beauty
and
clearness
.
VIII
.
In
Landskips
,
in
places
farthest
from
the
sight
,
as
also
nearest
the
light
,
use
a
very
stender
point
,
leaning
so
lightly
with
your
hand
as
to
make
a
small
faint
stroak
.
IX
.
In
working
be
careful
to
brush
off
all
the
dust
which
you
work
off
with
the
needles
.
CHAP
X.
Of
using
the
Aqua
fortis
.
I.
IF
there
be
any
stroaks
which
you
would
not
have
the
Aqua
fortis
eat
into
;
or
any
places
where
the
varnish
is
rubbed
off
,
melt
some
prepared
Oyl
,
and
with
a
pencil
,
cover
those
places
pretty
thick
.
II.
Then
take
a
brush
,
pencil
,
or
rag
,
and
dip
it
in
the
prepared
oyl
,
and
rub
the
back
side
of
the
plate
all
over
,
that
the
Aqua
fortis
may
not
hurt
it
,
if
by
chance
any
should
fall
thereon
.
III.
Before
you
put
the
Aqua
fortis
to
the
plate
,
gently
warm
or
dry
the
plate
by
a
fire
to
dry
up
the
humidity
,
which
it
might
contract
by
reason
of
the
Air
;
and
to
prevent
the
breaking
up
the
Varnish
upon
the
first
pouring
the
Aqua
fortis
thereon
.
IV.
Place
the
plate
by
the
12th
.
Section
of
the
7th
.
Chapter
of
this
book
,
and
with
the
Aqua
fortis
in
an
Earthen
pot
pour
upon
the
plate
,
begiming
at
the
top
,
so
moving
your
hand
that
it
may
run
all
over
the
plate
,
which
do
for
eight
or
ten
times
:
then
turn
it
corner-wise
,
and
pour
the
Aqua
fortis
on
it
that
way
ten
or
twelve
times
;
and
then
turn
it
again
corner-wise
the
other
way
,
pouring
on
the
Aqua
fortis
eight
or
ten
times
as
before
;
doing
thus
several
times
for
the
space
of
half
a
quarter
of
an
hour
or
more
,
according
to
the
strength
of
the
water
,
and
nature
of
the
Copper
.
For
there
must
be
less
time
allowed
to
hard
and
brittle
Copper
for
pouring
on
the
Aqua
fortis
,
but
more
to
the
soft
.
V.
But
you
must
have
special
regard
to
cast
on
the
Aqua
fortis
as
occasion
shall
require
,
and
work
is
;
casting
it
on
at
several
times
,
and
on
several
places
;
where
you
would
have
it
very
deep
,
often
;
where
less
deep
fewer
times
:
where
light
,
less
yet
;
where
lighter
,
lesser
yet
:
and
where
so
light
as
it
can
scarcely
be
seen
,
once
or
twice
:
wash
it
with
water
,
and
cover
it
where
you
would
have
it
lighter
.
VI.
Having
thus
covered
your
plates
as
occasion
requires
;
for
the
second
time
,
place
the
plate
on
the
frame
as
aforesaid
,
and
pour
on
it
your
Aqua
fortis
for
a
full
half
hour
.
VII
.
Then
wash
it
with
water
and
dry
it
,
covering
the
places
which
require
lightness
or
faintness
(
that
they
may
be
proportionable
to
the
design
)
then
pour
on
the
Aqua
fortis
for
the
last
time
more
or
less
according
to
the
nature
of
your
work
,
and
the
deepnses
that
it
requires
.
VIII
.
You
may
rub
off
the
varnish
or
ground
,
as
occasion
in
your
work
requires
with
a
Charcoal
,
to
see
whether
the
water
hath
eaten
deep
enough
;
by
which
you
may
judge
of
the
space
of
time
,
that
you
are
after
to
employ
in
pouring
on
the
Aqua
fortis
,
in
the
works
you
will
have
to
do
,
which
if
the
shadows
require
much
depth
,
or
ought
to
be
very
black
,
the
water
ought
to
be
poured
on
(
at
the
least
time
)
for
an
hour
or
better
;
yet
know
no
certain
rule
of
time
can
be
limited
for
this
.
CHAP.
XI
.
Of
Finishing
the
Work
.
I.
ALL
the
former
operations
being
done
,
wash
the
Plate
with
fair
water
;
and
put
it
wet
upon
the
fire
,
till
the
mixture
be
well
melted
,
and
then
wipe
it
very
clean
on
both
sides
with
a
linnen
cloth
,
till
you
have
cleansed
it
of
all
the
mixture
.
II.
Take
Charcoal
of
Willow
,
take
off
the
rind
of
it
,
and
putting
fair
water
on
the
plate
,
rub
it
with
the
Charcoal
,
as
if
you
were
to
polish
it
,
and
it
will
take
off
the
varnish
.
Where
note
,
that
the
Coal
must
be
free
from
all
knots
and
roughness
,
and
that
no
sand
or
filth
fall
upon
the
plate
.
III.
Take
ordinary
Aqua
fortis
,
to
which
add
two
third
parts
of
water
,
and
with
some
linnen
rags
dipped
therein
,
rub
the
Plate
all
over
,
so
will
you
take
away
its
discolouring
,
and
recover
its
former
beauty
.
IV.
Then
take
dry
linnen
rags
,
and
wipe
the
plate
so
as
to
take
off
all
the
aforesaid
water
,
and
then
holding
it
a
little
to
the
fire
,
put
upon
it
a
little
oyl
olive
,
and
with
a
piece
of
an
old
Beaver
rolled
up
rub
the
plate
well
all
over
,
and
lastly
wipe
it
well
with
a
dry
cloth
.
V.
Then
if
any
places
need
touching
with
the
Graver
,
as
sometimes
it
happens
,
especially
where
it
is
to
be
very
deep
or
black
,
perfect
them
with
care
;
which
done
,
the
plate
is
ready
for
the
Rolling
Press
.
CHAP.
XII
.
The
way
of
using
the
soft
Varnish
.
THE
Plate
being
prepared
by
cleansing
it
with
a
Charcoal
and
clean
water
,
wash
it
well
and
dry
it
,
then
with
fine
white
Chalk
scraped
and
a
fine
rag
,
rub
it
well
over
,
not
touching
it
with
your
fingers
.
II.
Lay
down
your
plate
over
a
Chafing-dish
of
small
coal
,
yet
so
as
the
fire
may
have
air
;
then
take
the
Ground
or
soft
Varnish
(
it
being
tyed
up
in
a
fine
rag
)
and
rub
it
up
and
down
the
Copper
,
so
as
it
may
sufficiently
cover
it
,
(
not
too
thin
nor
too
thick
:
)
then
take
a
feather
and
smooth
it
as
well
as
possibly
you
can
all
one
way
,
and
then
cross
it
,
till
it
lie
very
well
.
But
you
must
take
heed
that
the
Plate
be
not
too
hot
,
for
if
it
lie
till
the
Ground
smoak
,
the
moisture
will
be
dried
up
,
and
that
will
spoil
the
work
,
and
make
the
Ground
break
or
fly
up
.
III.
Then
grind
some
white
Lead
with
Gum
water
,
so
that
it
may
be
of
a
convenient
thickness
to
spread
on
the
Copper
;
and
with
a
large
pencil
,
or
small
brush
,
strike
the
Plate
cross
over
,
twice
or
thrice
till
it
is
smooth
;
and
then
with
a
larger
brush
(
made
of
Squirrels
tails
)
gently
smooth
the
white
,
and
then
let
it
lie
till
it
is
drie
.
IV.
Or
you
may
black
the
Varnish
with
a
candle
,
as
we
taught
at
the
second
Section
of
the
eighth
Chapter
,
and
then
warm
it
over
the
fire
,
till
the
varnish
begin
to
melt
.
CHAP.
XIII
.
The
way
of
Etching
upon
the
soft
Varnish
.
I.
THE
way
of
Etching
is
the
same
with
that
in
the
hard
Varnish
;
only
you
must
be
careful
not
to
hurt
your
varnish
,
which
you
may
do
by
placing
on
the
sides
of
your
plate
two
little
boards
,
and
laying
cross
over
them
another
thin
one
,
so
as
that
it
may
not
touch
the
plate
,
on
which
you
must
rest
your
hand
whilst
you
work
.
II.
Then
place
the
plate
on
a
Desk
(
if
you
so
please
)
for
by
that
means
the
superfluous
matter
will
fall
away
of
it self
.
III.
But
if
you
have
any
design
to
transfer
upon
the
plate
from
any
Copy
or
Print
,
scrape
on
the
backside
thereof
some
red
Chalk
all
over
;
then
go
over
that
,
by
scraping
some
soft
Charcoal
,
till
it
mingle
with
the
Chalk
;
and
with
a
large
stiff
pencil
rub
it
all
over
till
it
be
fine
and
eaven
,
and
so
lay
down
the
design
upon
the
plate
:
with
a
blunt
Needle
draw
over
the
out
stroaks
:
and
as
you
work
,
you
need
not
scratch
hard
into
the
Copper
,
only
so
as
you
may
see
the
Needle
go
through
the
Varnish
to
the
Copper
.
IV.
Always
be
sure
when
you
leave
the
work
,
to
wrap
the
Plate
up
in
Paper
,
to
keep
it
from
hurt
,
and
corrupting
in
the
air
,
which
may
drie
the
varnish
:
and
in
Winter
time
wrap
the
Plate
up
in
a
piece
of
wollen
,
as
well
as
paper
;
for
if
the
frost
get
to
it
,
it
will
cause
the
Varnish
to
rise
from
the
Copper
in
the
eating
.
An
inconveniency
also
will
accrew
,
by
letting
the
Varnish
lie
too
long
upon
the
Plate
before
the
work
is
finished
;
for
three
or
four
months
will
consume
the
moisture
and
so
spoil
all
.
V.
The
marking
of
the
design
upon
the
soft
varnish
,
is
best
done
with
black
Lead
or
Chalk
,
if
the
ground
is
white
;
but
with
red
Chalk
,
if
the
ground
is
black
.
VI.
Having
graved
what
you
intend
upon
the
varnish
,
take
some
fair
water
,
a
little
warm
,
and
cast
it
upon
the
plate
;
and
then
with
a
soft
clean
Sponge
,
rub
upon
the
white
Lead
to
moisten
it
all
over
;
and
then
wash
the
plate
to
take
away
the
whiting
,
and
drie
it
.
VII
.
Or
lastly
,
with
Aqua
fortis
mixed
with
fair
water
,
wash
it
all
over
,
and
by
this
means
you
may
take
away
the
whiting
,
which
then
wash
with
common
water
and
drie
it
;
and
thus
have
you
the
plate
prepared
for
the
Aquafortis
.
CHAP.
XIV
.
Of
using
the
Aqua
fortis
,
and
finishing
the
work
.
I.
PUt
soft
Wax
(
red
or
green
)
round
the
brims
of
the
Plate
,
and
let
it
be
raised
above
the
varnish
about
half
a
Barley
corns
length
;
so
that
placing
the
plate
level
,
the
water
being
poured
upon
the
Plate
may
by
this
means
be
retained
.
This
done
,
II.
Take
common
Aqua
fortis
six
ounces
,
Common
water
two
ounces
;
mix
them
,
and
pour
it
gently
upon
the
plate
,
so
that
it
may
cover
it
fully
all
over
;
so
will
the
stronger
hatchings
be
full
of
bubbles
,
while
the
fainter
will
appear
clear
for
a
while
,
not
making
any
sudden
operations
to
the
view
.
III.
When
you
perceive
the
water
to
operate
a
small
time
,
pour
it
off
into
a
glazed
carthen
dish
,
and
throw
fair
water
upon
the
Plate
,
to
wash
away
the
Aqua
fortis
,
then
drie
the
plate
:
and
where
you
would
have
the
Cut
to
be
faint
,
tender
or
sweet
,
cover
it
with
the
prepared
Oil
,
and
then
cover
the
Plate
again
with
Aqua
fortis
as
before
,
leaving
it
on
for
eight
or
ten
minutes
,
or
longer
:
then
put
off
the
Aqua
fortis
as
before
,
washing
and
drying
the
Plate
,
and
covering
with
the
prepared
Oyl
other
places
which
you
would
not
have
so
deep
as
the
rest
:
Lastly
,
put
on
the
Aqua
fortis
again
,
for
the
space
of
half
an
hour
(
more
or
less
)
and
then
pour
it
off
,
washing
the
plate
with
fair
water
as
before
.
As
you
would
have
your
lines
or
strokes
to
be
deeper
and
deeper
,
so
cover
the
sweeter
or
fainter
parts
by
degrees
with
the
prepared
oyl
,
that
the
Aqua
fortis
may
lie
the
longer
on
the
deep
stroaks
.
Then
IV.
Take
off
the
border
of
Wax
,
and
heat
the
plate
,
so
that
the
oyl
and
varnish
may
throughly
melt
;
which
wipe
away
well
with
a
linnen
cloth
:
then
rub
the
plate
over
with
oyl
Olive
and
a
piece
of
an
old
beaver
roll'd
up
,
which
done
,
touch
it
with
the
Graver
where
need
is
.
V.
But
if
any
thing
be
(
at
last
)
forgotten
;
then
rub
the
plate
aforesaid
with
crums
of
bread
,
so
well
that
no
filth
or
oyl
remain
upon
the
Plate
.
VI.
Then
heat
the
plate
upon
a
Charcoal
fire
,
and
spread
the
soft
varnish
with
a
feather
upon
it
(
as
before
)
so
that
the
hatchings
may
be
filled
with
varnish
;
black
it
,
and
then
touch
it
over
again
,
or
add
what
you
intend
.
VII
.
Let
your
hatchings
be
made
by
means
of
the
Needles
,
according
as
the
manner
of
the
work
shall
require
,
being
careful
before
you
put
on
the
Aqua
fortis
,
to
cover
the
first
graving
on
the
Plate
with
the
prepared
Oyl
(
lest
the
Varnish
should
not
have
covered
all
over
:
)
then
cause
the
Aqua
fortis
to
eat
into
the
work
;
and
lastly
cleanse
the
Plate
as
before
.
CHAP.
XV.
Of
Limning
,
and
the
Materials
thereof
.
I.
LImming
is
an
Art
whereby
in
water
Colours
,
we
strive
to
resemble
Nature
in
every
thing
to
the
life
.
II.
The
Instruments
and
Materials
thereof
are
chiefly
these
.
1.
Gums
.
2.
Colours
.
3.
Liquid
Gold
and
Silver
.
4.
The
Grindstone
and
Muller
.
5.
Pencils
.
6.
Tables
to
Limn
in
.
7.
Little
glass
or
China
dishes
.
III.
The
Gums
are
chiefly
these
four
,
Gum
Arabick
,
Gum
Lake
,
Gum
Hedera
,
Gum
Armoniack
.
IV.
The
principal
Colours
are
these
seven
,
White
,
Black
,
Red
,
Green
,
Yellow
,
Blew
,
Brown
:
out
of
which
are
made
mixt
or
compound
Colours
.
V.
The
Liquid
Gold
and
Silver
is
either
natural
or
artificial
.
The
natural
is
that
which
is
produced
of
the
Metals
themselves
:
the
Artificial
is
that
which
is
formed
of
other
colours
.
VI.
The
Grinding
stone
,
Muller
,
Pencils
,
Tables
,
and
Shells
,
or
little
China
dishes
are
only
the
necessary
instruments
and
attendants
,
which
belong
to
the
practice
of
Limning
.
CHAP.
XVI
.
Of
the
Gumms
and
their
Vse
.
I.
THe
chief
of
all
is
Gum-Arabick
,
that
which
is
white
,
clear
and
brittle
;
the
Gum-water
of
it
is
made
thus
:
Take
Gum-Arabick
,
bruise
it
and
tie
it
up
in
a
fine
clean
linnen
cloath
,
and
put
it
into
a
convenient
quantity
of
pure
spring-water
,
in
a
glass
or
earthen
vessel
;
letting
the
Gum
remain
there
till
it
is
dissolved
;
which
done
,
if
the
water
is
not
stiff
enough
,
put
more
Gum
into
the
cloath
;
but
if
too
stiff
,
add
more
water
:
of
which
Gum-water
have
two
sorts
by
you
,
the
one
strong
,
the
other
weak
,
of
which
you
may
make
a
third
at
pleasure
.
But
if
you
be
where
Gum-Arabick
is
not
to
be
got
,
you
may
instead
of
that
use
the
preparation
of
sheeps
leather
or
parchment
following
.
Take
of
the
shreds
of
white
sheep-skins
(
which
are
to
be
bad
plentifully
at
Glovers
)
or
else
of
parchments
,
one
pound
;
Conduit
or
running-water
two
quarts
,
boyl
it
to
a
thin
gelly
,
then
strain
it
whilst
bot
through
a
fine
strainen
,
and
so
use
it
.
II.
Gum-lake
;
it
is
made
of
whites
of
Eggs
beaten
and
strained
,
a
pint
,
Honey
,
Gum-hedera
of
each
two
Drachms
,
strong
wort
four
spoonfuls
,
mix
them
,
and
strain
them
with
a
piece
of
spunge
till
they
run
like
a
clear
oyl
,
which
keep
in
a
clean
vessel
till
it
grows
hard
.
This
Gum
will
dissolve
in
water
like
Gum-Arabick
,
of
which
Gum-water
is
made
in
like
manner
;
it
is
a
good
ordinary
Varnish
for
Pictures
.
III.
Gum-Hedera
,
or
Gum
of
Ivy
;
it
is
gotten
out
of
Ivy
,
by
cutting
with
an
Axe
a
great
branch
thereof
,
climbing
upon
an
Oak-tree
,
and
bruising
the
ends
of
it
with
the
head
of
the
Axe
;
at
a
Months
end
,
or
thereabouts
,
you
may
take
from
it
a
very
clear
,
and
pure
fine
Gum
,
like
oyl
.
It
is
good
to
put
into
gold
size
and
other
colours
,
for
these
three
reasons
:
1.
It
abates
the
ill
scent
of
the
size
:
2.
It
will
prevent
bubbles
in
gold
size
and
other
colours
:
3.
Lastly
,
it
takes
the
fat
and
clamminess
off
colours
:
besides
which
it
is
of
use
in
making
Pomanders
.
IV.
Gum
Armoniacum
,
It
is
a
Forrein
Gum
,
and
ought
to
be
brought
strained
.
Grind
it
very
fine
with
juyce
of
Garlick
and
a
little
Gum-Arabick
water
,
so
that
it
may
not
be
too
thick
,
but
that
you
may
write
with
it
what
you
will
:
When
you
use
it
,
draw
what
you
will
with
it
,
and
let
it
dry
;
and
when
you
gild
upon
it
,
cut
your
Gold
or
Silver
,
to
the
fashion
which
you
drew
with
the
size
or
gum
;
then
breath
upon
the
size
,
and
lay
the
Gold
upon
it
gently
taken
up
,
which
press
down
hard
with
a
piece
of
wool
;
and
then
let
it
well
dry
;
being
dryed
,
with
a
fine
linnen
cloath
strike
off
the
loose
gold
;
so
will
what
was
drawn
be
fairly
gilded
if
it
was
as
fine
as
a
hair
:
it
is
called
Gold
Armoniack
.
CHAP.
XVII
.
Of
the
seven
Colours
in
General
.
I.
THe
chief
Whites
are
these
,
Spodium
,
Ceruse
,
White-lead
,
Spanish-white
,
Egg-shels
burnt
.
This
Colour
is
called
in
Greek
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
of
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
video
,
to
see
,
because
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
whiteness
(
as
Aristotle
said
)
is
the
object
of
sight
,
in
Latine
Albus
,
from
whence
the
Alps
had
their
name
,
by
reason
of
their
continual
whiteness
with
Snow
.
The
Spanish-white
is
thus
made
.
Take
fine
Chalk
three
Ounces
,
Alom
one
Ounce
,
grind
them
together
with
fair
water
,
till
it
be
like
pap
;
roul
it
up
into
balls
,
which
dry
leisurely
:
then
put
them
into
the
fire
till
they
are
red
hot
;
take
them
out
,
and
let
them
cool
:
it
is
the
best
white
of
all
,
to
garnish
with
,
being
ground
with
weak
gum-water
.
II.
The
chief
Blacks
are
these
,
Hartshorn
burnt
,
Ivory
burnt
,
Cherry-stones
burnt
,
Lamp-black
,
Charcoal
.
Black
,
in
Latine
Niger
is
so
called
from
the
Greek
word
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
which
signifies
dead
,
because
putrified
and
dead
things
are
generally
of
that
colour
.
Lamp-black
is
the
smoak
of
a
Link
,
Torch
or
Lamp
gathered
together
.
III.
The
chief
Reds
are
these
;
Vermilion
,
Red-lead
,
Indian-lake
,
Red-oker
.
It
is
called
in
Latin
Ruber
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
à
corticibus
vel
granis
mali
punic●●
;
from
the
Rinds
or
Seeds
of
Pomegranates
,
as
Scaliger
saith
.
IV.
The
chief
Greens
are
these
;
Green
Bice
,
Verdegriese
,
Verditure
,
Sapgreen
.
This
colour
is
called
in
Latine
Viridis
from
Vires
:
in
Greek
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
Grass
or
Green
berb
,
which
is
of
this
Colour
.
V.
The
chief
Yellows
are
these
;
Orpiment
,
Masticot
,
Saffron
,
Pink
yellow
,
Oker
de
luce
.
This
colour
is
called
in
Latine
Flavus
,
Luteus
;
in
Greek
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
which
is
Homer
's
Epithete
for
Menelaus
,
where
he
calls
him
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
.
VI.
The
chief
Blews
are
Ultramarine
,
Indico
,
Smalt
,
Blew
bice
.
This
colour
is
called
in
Latine
Caeruleus
,
in
Greek
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
à
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
the
name
of
a
stone
,
which
yields
Ultramarine
.
VII
.
The
chiefest
Browns
are
Umber
,
Spanish-brown
,
Colens
Earth
.
It
is
called
in
Latine
Fuscus
,
quasi
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
from
darkening
the
Light
,
in
Greek
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
.
CHAP.
XVIII
.
Of
Colours
in
Particular
.
I.
CEruse
,
Grind
it
with
glair
of
Eggs
,
and
it
will
make
a
most
perfect
white
.
II.
White-lead
,
Grind
it
with
a
weak
water
of
Gum-lake
,
and
let
it
stand
three
or
four
days
,
after
which
if
you
mix
with
it
Roset
and
Vermilion
,
it
makes
a
fair
Carnation
.
III.
Spanish-white
,
It
is
the
best
white
of
all
,
to
garnish
with
,
ground
with
weak
Gum-water
.
IV.
Lamp
black
,
ground
with
Gum-water
,
it
makes
a
good
black
.
V.
Vermilion
,
Grind
it
with
the
glair
of
an
Egg
,
and
in
the
grinding
put
a
little
clarified
honey
,
to
make
its
colour
bright
and
perfect
.
VI.
Sinaper-lake
,
it
makes
a
deep
and
beautiful
red
,
or
rather
purple
,
almost
like
unto
a
Red-rose
.
Grind
it
with
Gum-lake
and
Turnsole
water
:
if
you
will
have
it
light
,
add
a
little
Ceruse
,
and
it
will
make
it
a
bright
Crimson
;
if
to
Diaper
,
add
only
Turnsole
water
.
VII
.
Red-lead
,
Grind
it
with
some
Saffron
,
and
stiff
Gum-lake
;
for
the
Saffron
makes
it
orient
,
and
of
a
Marigold
colour
.
VIII
.
Turnsole
,
Lay
it
in
a
Sawcer
of
Vinegar
,
and
set
it
over
a
chafing-dish
of
coals
;
let
it
boil
,
then
take
it
off
,
and
wring
it
into
a
Shell
,
adding
a
little
Gum-Arabick
,
let
it
stand
till
it
is
dissolved
:
It
is
good
to
shadow
Carnation
,
and
all
Yellows
.
IX
.
Roset
,
Grind
it
with
Brazil-water
,
and
it
will
make
a
deep
purple
:
put
Ceruse
to
it
,
and
it
will
be
lighter
;
grind
it
with
Litmose
,
and
it
will
make
a
fair
Violet
.
X.
Spanish
brown
,
Grind
it
with
Brazil-water
:
mingle
it
with
Ceruse
and
it
makes
a
horse-flesh
Colour
.
XI
.
Bole
Armoniack
,
It
is
a
faint
Colour
;
its
chief
use
is
,
in
making
size
for
burnish'd
gold
.
XII
.
Greenbice
,
Order
it
as
you
do
blew
bice
;
when
it
is
moyst
,
and
not
through
dry
,
you
may
diaper
upon
it
with
the
water
of
deep
green
.
XIII
.
Verdegriese
,
Grind
it
with
juyce
of
Rue
,
and
a
little
weak
gum-water
,
and
you
will
have
a
most
pure
green
:
if
you
will
diaper
with
it
,
grind
it
with
Lye
of
Rue
(
or
else
the
decoction
thereof
)
and
there
will
be
a
hoary
green
:
Diaper
upon
Verdegriese
green
with
sap-green
:
also
Verdegriese
ground
with
white
Tartar
,
and
then
tempered
with
gum-water
,
gives
a
most
perfect
green
.
XIV
.
Verditure
,
grind
it
with
a
weak
Gum-Arabick
water
:
it
is
the
faintest
green
that
is
,
but
is
good
to
lay
upon
black
,
in
any
kind
of
drapery
.
XV.
Sap-green
,
lay
it
in
sharp
vinegar
all
night
;
put
it
into
a
little
Alom
to
raise
its
colour
,
and
you
will
have
a
good
green
to
diaper
upon
other
greens
.
XVI
.
Orpiment
,
Arsenicum
or
Auripigmentum
,
grind
it
with
a
stiff
water
of
Gum-lake
,
because
it
is
the
best
colour
of
it self
;
it
will
lie
upon
no
green
,
for
all
greens
,
white
and
red
lead
,
and
Ceruse
stain
it
:
wherefore
you
must
deepen
your
colours
so
that
the
Orpiment
may
be
highest
,
and
so
it
may
agree
with
all
Colours
.
XVII
.
Masticot
,
Grind
it
with
a
small
quantity
of
Saffron
in
gum-water
,
and
never
make
it
lighter
than
it
is
:
it
will
endure
to
lie
upon
all
colours
and
metals
.
XVIII
.
Saffron
,
Steep
it
in
Glair
:
it
may
be
ground
with
Vermilion
.
XIX
.
Pink-yellow
,
If
you
would
have
it
sad
coloured
,
grind
it
with
Saffron
;
if
light
,
with
Ceruse
:
mix
it
with
weak
gum-water
,
and
so
use
it
.
XX.
Oker
de
Luce
,
Grind
it
with
pure
Brazil-water
:
it
makes
a
passing
hair
colour
;
and
is
a
natural
shadow
for
gold
.
XXI
.
Vmber
,
It
is
a
more
sad
colour
.
Grind
it
with
gum-water
,
or
gum-lake
;
and
lighten
it
(
if
you
please
)
with
a
little
Ceruse
and
a
blade
of
Saffron
.
XXII
.
Vltramarine
,
If
you
would
have
it
deep
,
grind
it
with
Litmose-water
;
but
if
light
,
with
fine
Ceruse
,
and
a
weak
Gum-Arabick
water
.
XXIII
.
Indico
,
Grind
it
with
water
of
Gum-Arabick
,
as
Ultramarine
.
XXIV
.
Blew
bice
,
Grind
it
with
clean
water
,
as
small
as
you
can
,
then
put
it
into
a
shell
,
and
wash
it
thus
:
put
as
much
water
to
it
as
will
fill
up
the
vessel
or
shell
,
and
stir
it
well
,
let
it
stand
an
hour
,
and
the
filth
and
dirty
water
cast
away
;
then
put
in
more
clean
water
,
do
thus
four
or
five
times
;
and
at
last
put
in
Gum-Arabick
water
somewhat
weak
,
that
the
Bice
may
fall
to
the
bottom
;
pour
off
the
gum-water
,
and
put
more
to
it
,
wash
it
again
,
drie
it
,
and
mix
it
with
weak
gum-water
(
if
you
would
have
it
rise
of
the
same
colour
)
but
with
a
stiff
water
of
Gum-lake
,
if
you
would
have
a
most
perfect
blew
;
if
a
light
blew
,
grind
it
with
a
little
Ceruse
;
but
if
a
most
deep
blew
,
add
water
of
Litmose
.
XXV
.
Smalt
,
Grind
it
with
a
little
fine
Roset
,
and
it
will
make
a
deep
Violet
:
and
by
putting
in
a
quantity
of
Ceruse
,
it
will
make
a
light
Violet
.
XXVI
.
Litmose
blew
,
Grind
it
with
Ceruse
:
with
too
much
Litmose
it
makes
a
deep
blew
;
with
too
much
Ceruse
,
a
light
blew
:
grind
it
with
the
weak
water
of
Gum-Arabick
.
Take
fine
Litmose
,
cut
it
in
pieces
,
lay
it
in
weak
water
of
Gum-lake
for
twenty
four
hours
,
and
you
shall
have
a
water
of
a
most
perfect
Azure
;
with
which
water
you
may
Diaper
and
Damask
,
upon
all
other
blews
,
to
make
them
shew
more
fair
and
beautiful
.
XXVII
.
Orchal
,
Grind
it
with
unslak'd
Lime
and
Urine
,
it
makes
a
pure
Violet
:
by
putting
to
more
or
less
Lime
,
you
may
make
the
Violet
light
or
deep
as
you
please
.
CHAP.
XIX
.
Of
Mixt
and
Compound
Colours
.
I.
MVrry
,
It
is
a
wonderful
beautiful
colour
,
composed
of
purple
and
white
:
it
is
made
thus
.
Take
Sinaper-lake
two
ounces
;
white
Lead
one
ounce
;
grind
them
together
.
See
the
24
Section
.
II.
A
Glass
grey
,
Mingle
Ceruse
with
a
little
Azure
.
III.
A
Bay
colour
,
Mingle
Vermilion
with
a
little
Spanish
brown
and
black
.
IV.
A
deep
Purple
,
It
is
made
of
Indico
,
Spanish
brown
and
white
.
It
is
called
in
Latine
Purpureus
,
in
Greek
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
from
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
a
kind
of
shell
fish
that
yields
a
liquour
of
that
coulour
.
V.
An
Ash
colour
,
or
Grey
,
It
is
made
by
mixing
white
and
Lamp-black
;
or
white
with
Sinaper
,
Indico
and
black
make
an
Ash
colour
.
It
is
called
in
Latine
Caesius
,
and
color
Cinerius
;
in
Greek
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
and
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
.
VI.
Light
Green
,
It
is
made
of
Pink
and
Smalt
;
with
white
to
make
it
lighter
if
need
require
.
VII
.
Saffron
colour
,
It
is
made
of
Saffron
alone
by
infusion
.
VIII
.
Flame
colour
,
It
is
made
of
Vermilion
and
Orpiment
,
mixed
deep
or
light
at
pleasure
:
or
thus
.
Take
red
Lead
and
mix
it
with
Masticote
,
which
heighten
with
white
.
IX
.
A
Violet
Colour
,
Indico
,
white
and
Sinaper
Lake
make
a
good
Violet
.
So
also
Ceruse
and
Litmose
,
of
each
equal
parts
.
X.
Lead
colour
,
It
is
made
of
White
mixed
with
Indico
.
XI
.
Scarlet
colour
,
It
is
made
of
Red
Lead
,
Lake
,
Vermilion
:
yet
Vermilion
in
this
case
is
not
very
useful
.
XII
.
To
make
Vermilion
.
Take
Brimstone
in
powder
one
ounce
,
mix
it
with
Quicksilver
a
pound
,
put
it
into
a
Crucible
well
luted
,
and
upon
a
Charcoal
fire
heat
it
till
it
is
red
hot
;
then
take
it
off
and
let
it
cool
.
XIII
.
To
make
a
bright
Crimson
.
Mix
tincture
of
Brazil
with
a
little
Ceruse
ground
with
fair
water
.
XIV
.
To
make
a
sad
Crimson
.
Mix
the
aforesaid
light
Crimson
with
a
little
Indico
ground
with
fair
water
.
XV.
To
make
a
pure
Lake
.
Take
Urine
twenty
pound
,
boil
it
in
a
Kettle
and
scum
it
with
an
Iron
Scummer
till
it
comes
to
sixteen
pound
;
to
which
add
gum
Lake
one
pound
,
Alom
five
ounces
;
boil
all
till
it
is
well
coloured
,
which
you
may
try
by
dipping
therein
a
piece
of
linnen
cloth
;
then
add
sweet
Alom
in
powder
a
sufficient
quantity
,
strain
it
and
let
it
stand
;
strain
it
again
through
a
dry
cloth
till
the
liquor
be
clear
:
that
which
remains
in
the
cloth
or
bag
is
the
pure
Lake
.
XVI
.
To
make
a
Crimson
Lake
.
It
is
usually
made
of
the
flocks
shorn
off
from
Crimson
cloth
by
a
Lye
made
of
Salt
-
peter
,
which
extracts
the
colour
;
which
precipitate
,
edulcorate
,
and
dry
in
the
Sun
or
a
Stove
.
XVII
.
A
pure
Green
.
Take
white
Tartar
and
Verdegriese
,
temper
them
with
strong
white
Wine
Vinegar
,
in
which
a
little
gum
Arabick
hath
been
dissolved
.
XVIII
.
A
pure
Violet
.
Take
a
little
Indico
and
tincture
of
Brazil
,
grind
them
with
a
little
Ceruse
.
XIX
.
A
pure
Purple
colour
.
Take
fine
Brimstone
an
ounce
and
an
half
,
Quicksilver
,
Sal
Armoniack
,
Jupiter
,
of
each
one
ounce
;
beat
the
Brimstone
and
Salt
into
powder
,
and
make
an
Amalgamie
with
the
Quicksilver
and
Tinn
,
mix
all
together
,
which
put
into
a
great
glass
Goard
;
make
under
it
an
ordinary
fire
,
and
keep
it
in
a
constant
heat
for
the
space
of
six
hours
.
XX.
To
make
a
Yellow
Colour
.
Take
the
yellow
chives
in
white
Lilies
,
steep
them
in
gum
water
,
and
it
will
make
a
perfect
yellow
;
the
same
from
Saffron
and
Tartar
tempered
with
gum
water
.
XXI
.
To
make
a
Red
colour
.
Take
the
roots
of
the
lesser
Bugloss
,
and
beat
them
,
and
strain
out
the
juice
,
and
mix
it
with
Alom
water
.
XXII
.
To
make
excellent
good
Greens
.
The
Liver
of
a
Lamprey
makes
an
excellent
and
durable
grass
green
:
and
yellow
laid
upon
blew
will
change
into
green
:
so
likewise
the
juice
of
a
blew
Flower-de-luce
,
mixed
with
gum
water
,
will
be
a
perfect
and
durable
green
or
blew
,
according
as
it
is
used
.
XXIII
.
To
make
a
Purple
colour
.
Take
the
juice
of
Bilberries
and
mix
it
with
Alom
and
Galls
,
and
so
paint
with
it
.
XXIV
.
To
make
a
good
Murry
.
Temper
Rosset
with
a
little
Rose
water
,
in
which
a
little
gum
hath
been
dissolved
,
and
it
will
be
good
;
but
not
exceeding
that
at
the
first
Section
of
this
Chapter
.
XXV
To
make
Azure
or
Blew
.
Mix
the
Azure
with
glew
water
,
and
not
with
gum
water
.
XXVI
.
To
make
a
Yellow
,
Green
,
or
Purple
.
Buckthorn
Berries
gathered
green
and
steeped
in
Alom
water
yield
a
good
yellow
:
but
being
through
ripe
and
black
(
by
the
eighteenth
Section
of
the
twenty
first
Chapter
of
the
third
Book
)
they
yield
a
good
green
:
and
lastly
,
being
gathered
when
they
are
ready
to
drop
off
,
which
is
about
the
middle
or
end
of
November
,
their
juice
mixt
with
Alom
water
yields
a
good
purple
colour
.
CHAP.
XX.
Of
Colours
for
Drapery
.
I.
FOR
Yellow
garments
.
Take
Masticot
deepned
with
brown
Oker
and
red
Lead
.
II.
For
Scarlet
.
Take
Vermilion
deepned
with
Sinaper
lake
,
and
heightned
with
touches
of
Masticot
.
III.
For
Crimson
.
Lay
on
Lake
very
thin
,
and
deepen
with
the
same
.
IV.
For
Purple
.
Grinde
Lake
and
Smalt
together
:
or
take
blew
Bice
,
and
mix
it
with
red
and
white
Lead
.
V.
For
an
Orient
Violet
.
Grind
Litmose
,
blew
Smalt
,
and
Ceruse
;
but
in
mixture
let
the
blew
have
the
upper
hand
.
VI.
For
Blew
.
Take
Azure
deepned
with
Indie
blew
;
or
Lake
heightned
with
white
.
VII
.
For
black
Velvet
.
Lay
the
garment
first
over
with
Ivory
black
,
then
heighten
it
with
Cherrystone
black
,
and
a
little
white
.
VIII
.
For
black
Sattin
.
Take
Cherrystone
black
;
then
white
deepned
with
Cherrystone
black
;
and
then
lastly
,
Ivory
black
.
IX
.
For
a
pure
Green
.
Take
Verdegriese
,
bruise
it
,
and
steep
it
in
Muscadine
for
twelve
hours
,
then
strain
it
into
a
shell
,
to
which
add
a
little
Sap
green
:
(
but
put
no
gum
thereto
.
)
X.
For
a
Carnation
.
Grind
Ceruse
,
well
washed
,
with
red
Lead
;
or
Ceruse
and
Vermilion
.
XI
.
For
Cloth
of
Gold
.
Take
brown
Oker
,
and
liquid
Gold
water
,
and
heighten
upon
the
same
with
small
stroaks
of
Gold
.
XII
.
For
white
Sattin
.
Take
first
fine
Ceruse
,
which
deepen
with
Cherrystone
black
,
then
heighten
again
with
Ceruse
,
and
fine
touches
where
the
light
falleth
.
XIII
.
For
a
russet
Sattin
.
Take
Indy
blew
and
Lake
,
first
thin
,
and
then
deepned
with
Indy
again
.
XIV
.
For
a
hair
Colour
.
It
is
made
out
of
Masticot
,
Umber
,
yellow
Oker
,
Ceruse
,
Oker
de
Rous
,
and
Sea-coal
.
XV.
For
a
Popinjay
green
.
Take
a
perfect
green
mingled
with
Masticot
.
XVI
.
For
changeable
Silk
.
Take
water
of
Masticot
and
red
Lead
;
which
deepen
with
Sap
green
.
XVII
.
For
a
light
Blew
.
Take
blew
Bice
,
heightned
with
Ceruse
or
Spodium
.
XVIII
.
For
to
shadow
Russet
.
Take
Cherrystone
black
,
and
white
;
lay
a
light
russet
,
then
shadow
it
with
white
.
XIX
.
For
a
Skie
colour
.
Take
blew
Bice
and
Venice
Ceruse
:
but
if
you
would
have
it
dark
,
take
some
blew
and
white
.
XX.
For
a
Straw
colour
.
Take
Masticot
;
then
white
heightened
with
Masticot
,
and
deepned
with
Pink.
Or
thus
.
Take
red
Lead
deepned
with
Lake
.
XXI
.
For
Yellowish
.
Thin
Pink
deepned
with
pink
and
green
:
Orpiment
burned
makes
a
Marigold
colour
.
XXII
.
For
a
Peach
colour
.
Take
Brazil
water
,
Log
water
and
Ceruse
.
XXIII
.
For
a
light
Purple
.
Mingle
Ceruse
with
Logwood
water
:
or
take
Turnsole
mingled
with
a
little
Lake
,
Smalt
and
Bice
.
XXIV
.
For
a
Walnut
colour
.
Red
Lead
thinly
laid
,
and
shadowed
with
Spanish
brown
.
XXV
.
For
a
Fire
colour
.
Take
Masticot
,
and
deepen
it
with
Masticot
for
the
flame
.
XXVI
.
For
a
Tree
.
Take
Umber
and
white
,
wrought
with
Umber
,
deepned
with
black
.
XXVII
.
For
the
Leaves
.
Take
Sap
green
and
green
Bice
,
heighten
it
with
Verditure
and
white
.
XXVIII
.
For
Water
.
Blew
and
white
,
deepned
with
blew
,
and
heightned
with
white
.
XXIX
.
For
Banks
.
Thin
Umber
,
deepned
with
Umber
and
black
.
XXX
.
For
Feathers
.
Take
Lake
frizled
with
red
Lead
.
CHAP.
XXI
.
Of
Liquid
Gold
and
Silver
.
I.
LIquid
Gold
or
Silver
.
Take
five
or
six
leaves
of
Gold
or
Silver
,
which
grind
(
with
a
stiff
gum
Lake
water
,
and
a
good
quantity
of
salt
)
as
small
as
you
can
;
then
put
it
into
a
vial
or
glazed
vessel
;
add
so
much
fair
water
as
may
dissolve
the
stiff
gum
water
;
then
let
it
stand
four
hours
,
that
the
gold
may
settle
:
decant
the
water
,
and
put
in
more
,
till
the
gold
is
clean
washed
:
to
the
gold
put
more
fair
water
,
a
little
sal
Armoniack
and
common
salt
,
digesting
it
close
for
four
days
;
then
put
all
into
a
piece
of
thin
Glovers
leather
(
whose
grain
is
peeled
off
)
and
hang
it
up
,
so
will
the
sal
Armoniack
fret
away
,
and
the
gold
remain
behind
,
which
keep
.
Or
thus
.
Grind
fine
leaf
Gold
with
strong
or
thick
gum
water
very
fine
;
and
as
you
grind
add
more
thick
gum
water
;
being
very
fine
,
wash
it
in
a
great
shell
,
as
you
do
bice
:
then
temper
it
with
a
little
quantity
of
Mercury
sublimate
,
and
a
little
dissolved
gum
to
bind
it
in
the
shall
;
shake
it
,
and
spread
the
Gold
about
the
sides
thereof
,
that
it
may
be
all
of
one
colour
and
fineness
,
which
use
with
fair
waters
,
as
you
do
other
Colours
.
The
same
observe
in
liquid
Silver
;
with
this
observation
,
That
if
your
Silver
,
by
length
of
time
,
or
humidity
of
the
air
becomes
rusty
;
then
cover
the
place
with
juice
of
Garlick
before
you
lay
on
the
Silver
,
which
will
preserve
it
.
When
you
use
it
,
temper
it
with
glair
of
eggs
,
and
so
use
it
with
pen
or
pencil
.
Glair
of
Eggs
is
thus
made
.
Take
the
whites
and
beat
them
with
a
spoon
,
till
that
rise
all
in
a
foam
;
then
let
them
stand
all
night
,
and
by
morning
they
will
be
turned
into
clear
water
,
which
is
good
glair
.
II.
Argentum
Musicum
.
Take
one
ounce
of
tin
,
melt
it
,
and
put
thereto
of
Tartar
and
Quicksilver
of
each
one
ounce
,
stir
them
well
together
until
they
be
cold
,
then
beat
it
in
a
mortar
and
grind
it
on
a
stone
;
mix
it
with
gum
water
,
write
therewith
,
and
afterwards
polish
it
.
III.
Burnished
Gold
or
Silver
.
Take
gum-lake
and
dissolve
it
into
a
stiff
water
;
then
grind
a
blade
or
two
of
Saffron
therewith
,
and
you
shall
have
a
fair
gold
:
when
you
have
set
it
,
being
throughly
dry
,
burnish
it
with
a
dogs
tooth
.
Or
thus
,
having
writ
with
your
pen
or
pencil
what
you
please
,
cut
the
Leaf
Gold
or
Silver
into
pieces
,
according
to
the
draught
,
which
take
up
with
a
feather
and
lay
it
upon
the
drawing
,
which
press
down
with
a
piece
of
wool
;
and
being
dry
,
burnish
it
.
IV.
Gold
Armoniack
.
This
is
nothing
but
that
which
we
have
taught
at
the
fourth
Section
of
the
sixteenth
Chapter
of
this
Book
.
V.
Size
for
burnished
Gold
.
Take
Bole
Armoniack
three
drachms
,
fine
Chalk
one
drachm
;
grind
them
as
small
as
you
can
together
with
fair
water
,
three
or
four
times
,
letting
it
dry
after
every
time
:
then
take
glair
and
strain
it
as
short
as
water
,
with
which
grind
the
Bole
and
Chalk
,
adding
a
little
gum
Hedera
,
and
a
few
blades
of
Saffron
:
grind
all
as
small
as
possible
,
and
put
them
into
an
Ox
horn
(
I
judge
a
glass
vessel
better
)
and
set
it
to
rot
in
horse
dung
for
six
weeks
;
then
take
it
up
,
and
let
it
have
air
,
and
keep
it
for
use
.
It
s
use
is
for
gilding
parchments
,
book
covers
,
and
leather
,
thus
;
lay
this
size
first
upon
the
parchment
,
then
with
a
feather
lay
the
Gold
or
Silver
upon
it
,
which
when
dry
,
burnish
it
.
VI.
To
diaper
on
Gold
or
Silver
.
You
must
diaper
on
Gold
with
Lake
and
yellow
Oker
:
but
upon
Silver
with
Ceruse
.
VII
.
Aurum
Musicum
.
Take
fine
Crystal
,
Orpiment
,
of
each
one
ounce
,
beat
each
severally
into
a
fine
powder
,
then
grind
them
together
well
with
glair
.
You
may
write
with
it
,
with
pen
or
pencil
,
and
your
letters
or
draught
will
be
of
a
good
gold
colour
.
CHAP.
XXII
.
Of
Preparing
the
Colours
.
I.
COlours
,
according
to
their
natures
,
have
each
a
particular
way
of
preparation
:
to
wit
,
by
grinding
,
washing
or
steeping
.
II.
The
chief
Colours
to
be
ground
are
these
;
White
Lead
,
Ceruse
,
Sinaper
Lake
,
Oker
,
Pink
,
Indico
,
Umber
,
Colens
Earth
,
Spanish
Brown
,
Ivory
Black
,
Cherrystone
Black
.
III.
The
chief
Colours
to
be
wash'd
are
Red
Lead
,
Masticot
,
green
Bice
,
Cedar
green
,
Ultramarine
,
blew
Bice
,
Smalt
,
Verditure
.
IV.
The
chief
Colours
to
be
steep'd
,
are
Sap-green
,
Saffron
,
Turnsole
,
Stone
blew
,
Venice
berries
.
V.
To
Grind
Colours
.
Take
the
colour
you
would
grind
,
and
scrape
off
from
it
all
the
filth
,
then
lay
it
upon
the
stone
,
and
with
the
muller
bruise
it
a
little
;
then
put
thereto
a
little
spring
water
,
and
grind
all
together
very
well
,
till
the
colour
is
very
fine
;
which
done
,
pour
it
out
into
certain
hollows
or
furrows
cut
in
chalk-stone
,
and
there
let
it
lie
till
it
is
dry
,
which
reserve
in
papers
or
glasses
.
VI.
To
Wash
colours
.
Put
the
colour
into
a
glazed
vessel
,
and
put
thereto
fair
water
plentifully
,
wash
it
well
,
and
decant
(
after
a
while
)
the
water
;
do
this
six
or
seven
times
;
at
last
put
the
water
(
being
just
troubled
)
into
another
glazed
vessel
,
leaving
the
dregs
at
bottom
:
then
into
this
second
vessel
put
more
fair
water
,
washing
it
as
before
,
till
the
water
(
being
settled
)
be
clear
,
and
the
colour
remain
fine
at
bottom
:
we
have
taught
another
way
at
the
twenty
fourth
Section
of
the
eighteenth
Chapter
of
this
Book
.
VII
.
To
steep
Colours
.
Take
a
quantity
thereof
,
and
put
it
into
a
shell
,
and
fill
the
shell
with
fair
water
,
to
which
add
some
fine
powder
of
Alom
,
to
raise
the
Colour
;
let
it
thus
steep
a
day
and
night
,
and
you
will
have
a
good
colour
.
Where
note
;
Saffron
steeped
in
vinegar
gives
a
good
colour
;
and
the
Venice
berries
in
fair
water
and
a
little
Alom
,
or
a
drop
or
two
of
oyl
of
Vitriol
makes
a
fair
yellow
.
VIII
.
To
temper
the
colours
.
Take
a
little
of
any
colour
,
and
put
it
into
a
clean
shell
,
and
add
thereto
a
few
drops
of
gum
water
,
and
with
your
fingers
work
it
about
the
shell
,
then
let
it
dry
;
when
dry
,
touch
it
with
your
fingers
,
if
any
colour
comes
off
,
you
must
add
stronger
gum
water
:
but
being
dry
,
if
the
colour
glister
or
shine
,
it
is
a
sign
there
is
too
much
gum
in
it
,
which
you
may
remedy
by
putting
in
fair
water
.
IX
.
To
help
the
defects
.
Some
colours
as
Lake
,
Umber
,
and
others
which
are
hard
,
will
crack
when
they
are
dry
;
in
this
case
,
in
tempering
them
add
a
little
white
Sugar
candy
in
very
fine
powder
,
which
mix
with
the
colour
and
fair
water
in
the
shell
,
till
the
Sugar
candy
is
dissolved
.
X.
These
colours
,
Umber
,
Spanish
brown
,
Colen
earth
,
Cherrystone
,
and
Ivory
black
,
are
to
be
burnt
before
they
be
ground
or
wash'd
.
XI
.
To
burn
or
calcine
Colours
.
This
is
done
in
a
crucible
,
covering
the
mouth
thereof
with
clay
,
and
setting
it
in
a
hot
fire
,
till
you
are
sure
it
is
red
hot
through
:
which
done
,
being
cold
,
wash
or
grind
it
as
aforesaid
.
XII
.
To
prepare
shadows
for
Colours
.
White
is
shaded
with
black
,
and
contrariwise
:
yellow
with
Umber
,
and
the
Okers
:
Vermilion
with
Lake
:
blew
Bice
with
Indie
:
Black
coal
with
Roset
,
&c.
CHAP.
XXIII
.
Of
the
Manual
Instruments
.
I.
THe
manual
Instruments
are
four
(
by
the
second
Section
of
the
fifteenth
Chapter
of
this
Book
)
to
wit
,
The
Grinding
stone
and
Muller
;
Pencils
;
Tables
to
Limn
on
;
and
shells
or
little
glasses
or
China
dishes
.
II.
The
Grinding
stone
may
be
of
Porphury
,
Serpentine
or
Marble
,
but
rather
a
Pebble
,
for
that
is
the
best
of
all
others
:
the
Muller
only
of
pebble
,
which
keep
very
clean
.
These
may
be
easily
got
of
Marblers
or
Stone-cutters
in
London
.
III.
Choose
your
pencils
thus
:
by
their
fastness
in
the
quills
,
and
their
sharp
points
after
you
have
drawn
or
wetted
them
in
your
mouth
two
or
three
times
;
so
that
although
larger
yet
their
points
will
come
to
as
small
as
a
hair
,
which
then
are
good
;
but
if
they
spread
or
have
any
extravagant
hairs
they
are
naught
.
To
wash
your
Pencils
.
After
using
them
,
rub
the
ends
of
them
well
with
soap
,
then
lay
them
a
while
in
warm
water
to
steep
,
then
take
them
out
and
wash
them
well
in
other
fair
water
.
V.
To
prepare
the
Table
.
It
must
be
made
of
pure
fine
paste-board
,
such
as
Cards
are
made
of
(
of
what
thickness
you
please
)
very
finely
slick'd
and
glazed
.
Take
a
piece
of
this
paste-board
of
the
bigness
you
intend
the
picture
,
and
a
piece
of
the
finest
and
whitest
parchment
you
can
get
(
virgin
parchment
)
which
cut
of
equal
bigness
with
the
paste
board
;
with
thin
,
white
,
new
made
starch
,
paste
the
parchment
to
the
paste-board
,
with
the
outside
of
the
skin
outwardmost
:
lay
on
the
starch
very
thin
and
eaven
;
then
the
grinding
stone
being
clean
,
lay
the
card
thereon
with
the
parchment
side
downwards
,
and
as
hard
as
you
can
,
rub
the
other
side
of
the
paste-board
with
a
Boars
tooth
set
in
a
stick
;
then
let
it
be
thorow
drie
,
and
it
will
be
fit
to
work
or
limn
any
curious
thing
upon
.
VI.
The
shells
holding
or
containing
your
colours
,
ought
to
be
Horse-muscle
shells
,
which
may
be
got
in
July
about
Rivers
sides
;
but
the
next
to
these
are
small
muscle
shells
,
or
in
stead
thereof
little
China
or
glass
vessels
.
CHAP.
XXIV
.
Of
Preparations
for
Limning
.
I.
HAve
two
small
glass
or
China
dishes
,
in
either
of
which
must
be
pure
clean
water
,
the
one
to
wash
the
pencils
in
being
foul
;
the
other
to
temper
the
colours
with
,
when
there
is
occasion
.
II.
Besides
the
pencils
you
Limn
with
;
a
large
,
clean
,
and
dry
pencil
,
to
cleanse
the
work
from
any
kind
of
dust
,
that
may
fall
upon
it
,
which
one
called
Fitch-Pencils
.
III.
A
sharp
Pen-knife
to
take
off
hairs
that
may
come
from
your
pencil
,
either
among
the
colours
or
upon
the
work
;
or
to
take
out
spots
that
may
fall
upon
the
card
or
table
.
IV.
A
Paper
with
a
hole
cut
therein
,
to
lay
over
the
Card
,
to
keep
it
from
dust
and
filth
,
to
rest
your
hand
upon
,
and
to
keep
the
soil
and
sweat
of
your
hand
from
sullying
the
parchment
,
as
also
to
try
your
pencils
on
before
you
use
them
.
Let
the
small
glasses
,
waters
,
pencils
and
pen-knife
lie
all
on
the
right
hand
.
V.
Have
ready
a
quantity
of
light
carnation
or
flesh
colour
temper'd
up
in
a
shell
by
it self
with
a
weak
gum
water
;
If
it
be
a
fair
complexion
,
mix
white
and
red
Lead
together
;
if
a
brown
or
swarthy
,
add
to
the
former
,
Masticot
,
or
English
Oker
,
or
both
:
but
be
sure
the
flesh
colour
be
always
lighter
than
the
complexion
you
would
limn
;
for
by
working
on
it
you
may
bring
it
to
its
true
colour
.
VI.
In
a
large
Horse-muscle
shell
place
your
several
shadows
(
for
the
flesh
colour
)
in
little
places
one
distinct
from
another
.
VII
.
In
all
shadowings
have
ready
some
white
,
and
lay
a
good
quantity
of
it
by
it self
,
besides
what
the
shadows
are
first
mixed
with
:
for
red
for
the
cheeks
and
lips
,
temper
Lake
and
red
Lead
together
:
for
blew
shadows
(
as
under
the
eyes
and
in
veins
)
Indico
or
Ultrarine
and
white
:
for
gray
faint
shadows
,
white
,
English
Oker
,
sometimes
Masticot
:
for
deep
shadows
,
white
,
English
Oker
,
Umber
:
for
dark
shadows
,
Lake
and
Pink
,
which
make
a
good
fleshy
shadow
.
VIII
.
To
make
choice
of
the
light
.
Let
it
be
fair
and
large
and
free
from
shadows
of
trees
or
houses
,
but
all
clear
Skie
light
,
and
let
it
be
direct
from
above
,
and
not
transverse
;
let
it
be
northerly
and
not
southerly
;
and
let
the
room
be
close
and
clean
,
and
free
from
the
Sun-beams
.
IX
.
Of
the
manner
of
sitting
.
Let
your
desk
on
which
you
work
be
so
situate
,
that
sitting
before
it
,
your
left
arm
may
be
towards
the
light
,
that
the
light
may
strike
sidling
upon
your
work
:
Let
the
party
that
is
to
be
Limned
,
be
in
what
posture
themselves
will
design
,
but
not
above
two
yards
off
you
at
most
,
and
level
with
you
;
wherein
observe
their
motion
,
if
nover
so
small
,
for
the
least
motion
,
if
not
recalled
,
may
in
short
time
bring
on
you
many
errors
:
Lastly
,
the
face
being
finished
,
let
the
party
stand
(
not
sit
)
at
a
farther
distance
(
four
or
five
yards
off
)
to
draw
the
posture
of
his
clothes
.
CHAP.
XXV
.
Of
the
Practice
of
Limning
in
Miniture
,
or
Drawing
of
a
Face
in
Colours
.
I.
TO
begin
the
work
.
Have
all
things
in
a
readiness
(
as
before
)
then
on
the
Card
lay
the
prepared
colour
(
answerable
to
the
complexion
presented
)
eaven
and
thin
,
free
from
hairs
and
spots
,
over
the
place
where
the
picture
is
to
be
:
the
ground
thus
laid
,
begin
the
work
,
the
party
being
set
,
which
must
be
done
at
three
sittings
:
at
the
first
sitting
the
face
is
only
dead
coloured
,
which
takes
up
about
two
hours
time
:
at
the
second
sitting
,
go
over
the
work
more
curiously
,
adding
its
particular
graces
or
deformities
,
sweetly
couching
the
colours
,
which
will
take
up
about
five
hours
time
:
at
the
third
sitting
finish
the
face
,
in
which
you
must
perfect
all
that
is
imperfect
and
rough
,
putting
the
deep
shadows
in
the
face
,
as
in
the
eyes
,
eye-brows
,
and
ears
,
which
are
the
last
of
the
work
,
and
not
to
be
done
till
the
hair
curtain
,
or
backside
of
the
picture
,
and
the
drapery
be
wholly
finished
.
II.
The
operation
or
work
at
first
sitting
.
The
ground
for
the
complexion
being
laid
,
draw
the
out-lines
of
the
face
,
which
do
with
Lake
and
white
mingled
;
draw
faintly
,
that
if
you
miss
in
proportion
or
colour
you
may
alter
it
:
this
done
,
add
to
the
former
colour
red
Lead
,
for
the
cheeks
and
lips
;
let
it
be
but
faint
(
for
you
cannot
lighten
a
deep
colour
)
and
make
the
shadows
in
their
due
places
,
as
in
the
checks
,
lips
,
tip
of
the
chin
and
ears
,
the
eyes
and
roots
of
the
hair
:
shadow
not
with
a
flat
pencil
,
but
by
small
touches
(
as
in
hatching
)
and
so
go
over
the
face
.
In
this
dead
covering
rather
than
to
be
curious
,
strive
as
near
as
may
be
to
imitate
nature
.
The
red
shadows
being
put
in
their
due
places
;
shadow
with
a
faint
blew
,
about
the
corners
and
balls
of
the
eyes
;
and
with
a
grayish
blew
under
the
eyes
and
about
the
temples
,
heightning
the
shadows
as
the
light
falls
,
as
also
the
harder
shadows
in
the
dark
side
of
the
face
,
under
the
eye-brows
,
chin
and
neck
.
Bring
all
the
work
to
an
equality
,
but
add
perfection
to
no
particular
part
at
this
time
;
but
imitate
the
life
in
likeness
,
roundness
,
boldness
,
posture
,
colour
,
and
the
like
.
Lastly
,
touch
at
the
hair
with
a
sutable
colour
in
such
curls
,
folds
and
form
,
as
may
either
agree
with
the
life
,
or
grace
the
picture
;
fill
the
empty
places
with
colour
,
and
deepen
it
more
strongly
,
than
in
the
deepest
shadowed
before
.
III.
The
operation
or
work
at
second
sitting
.
As
before
rudely
,
so
now
you
must
sweeten
those
varieties
which
Nature
affords
,
with
the
same
colours
and
in
the
same
places
,
driving
them
one
into
another
,
yet
so
as
that
no
lump
or
spot
of
colour
,
or
rough
edge
may
appear
in
the
whole
work
;
and
this
must
be
done
with
a
pencil
sharper
than
that
which
was
used
before
.
This
done
,
go
to
the
backside
of
the
picture
,
which
may
be
Landskip
,
or
a
curtain
of
blew
or
red
Sattin
:
if
of
blew
,
temper
as
much
Bice
as
will
cover
a
Card
,
and
let
it
be
well
mixed
with
gum
;
with
a
pencil
draw
the
out-line
of
the
Curtain
;
as
also
of
the
whole
picture
;
then
with
a
large
pencil
lay
thinly
or
airily
over
the
whole
ground
,
on
which
you
mean
to
lay
the
blew
;
and
then
with
a
large
pencil
,
lay
over
the
same
a
substantial
body
of
colour
;
in
doing
of
which
,
be
nimble
,
keeping
the
colour
moist
,
letting
no
part
thereof
be
drie
till
the
whole
be
covered
.
If
the
Curtain
be
crimson
,
trace
it
out
with
lake
;
lay
the
ground
with
a
thin
colour
;
and
lay
the
light
with
a
thin
and
waterish
colour
,
where
they
fall
;
and
while
the
ground
is
yet
wet
,
with
a
strong
dark
colour
tempered
something
thick
,
lay
the
strong
and
hard
shadows
close
by
the
other
lights
.
Then
lay
the
linnen
with
faint
white
,
and
the
drapery
flat
,
of
the
colour
you
intend
it
.
In
the
face
,
see
what
shadows
are
too
light
or
too
deep
,
for
the
Curtain
behind
,
and
drapery
,
and
reduce
each
to
their
due
perfection
;
draw
the
lines
of
the
eye-lids
,
and
shadow
the
entrance
into
the
ear
,
deepness
of
the
eye-brows
,
and
eminent
marks
in
the
face
,
with
a
very
sharp
pencil
:
lastly
,
go
over
the
hair
,
colouring
it
as
it
appears
in
the
life
,
casting
over
the
ground
some
loose
hairs
,
which
will
make
the
picture
stand
as
it
were
at
a
distance
from
the
curtain
:
Shadow
the
linnen
with
white
,
black
,
and
a
little
yellow
and
blew
;
and
deepen
your
black
with
Ivory
black
,
mixed
with
a
little
Lake
and
Indieo
.
IV.
The
operation
or
work
at
third
sitting
.
This
third
work
is
wholly
spent
in
giving
strong
touches
where
you
see
cause
;
in
rounding
,
smoothing
and
colouring
the
face
,
which
you
may
better
see
to
do
,
now
the
curtain
and
drapery
is
limned
than
before
.
And
now
observe
whatsoever
may
conduce
to
the
perfection
of
your
work
,
as
gesture
,
skars
or
moles
,
casts
of
the
eyes
,
windings
of
the
mouth
,
and
the
like
.
CHAP.
XXVI
.
Of
Limning
Drapery
.
I.
A
Full
and
substantial
ground
being
laid
all
over
where
you
intend
the
drapery
;
as
if
blew
,
with
Bice
smoothly
laid
,
deepen
it
with
Lake
and
Indico
;
lightning
it
with
a
fine
faint
white
,
in
the
extreme
light
places
,
the
which
understand
of
other
colours
.
II.
If
the
body
you
draw
be
in
Armour
,
lay
liquid
silver
all
over
for
a
ground
,
well
dried
and
burnished
;
shadow
it
with
Silver
,
Indico
and
Umber
,
according
as
the
life
directs
you
.
III.
For
Gold
Armour
,
lay
liquid
gold
as
you
did
the
silver
,
and
shadow
upon
it
with
Lake
,
English
Oker
,
and
a
little
gold
.
IV.
For
Pearls
,
your
ground
must
be
Indico
and
white
;
the
shadows
black
and
pink
.
V.
For
Diamonds
,
lay
a
ground
of
liquid
silver
,
and
deepen
it
with
Cherrystone
black
and
Ivory
black
.
VI.
For
Rubies
,
lay
a
silver
ground
,
which
burnish
to
the
bigness
of
a
Rubie
:
then
with
pure
Turpentine
temper'd
with
Indian
Lake
,
from
a
small
wire
heated
in
a
Candle
,
drop
upon
the
burnished
place
,
fashioning
it
as
you
please
with
your
Instruments
,
which
let
lie
a
day
or
two
to
dry
.
VII
.
For
Emeraulds
,
or
any
green
stone
,
temper
Turpentine
with
Verdigriese
,
and
a
little
Turmerick
root
,
first
scraped
,
with
Vinegar
,
drying
it
,
grind
it
to
fine
powder
and
mix
it
.
VIII
.
For
Saphyres
,
mix
or
temper
Ultramarine
with
pure
Turpentine
,
which
lay
upon
a
ground
of
liquid
Silver
polisht
.
To
make
liquid
Gold
or
Siver
,
see
the
first
Section
of
the
twenty
first
Chapter
of
this
Book
.
CHAP.
XXVII
.
Of
Limning
Landskip
.
ALL
the
variable
expressions
of
Landskip
are
innumerable
,
they
being
as
many
as
there
are
men
and
fancies
;
the
general
rules
follow
.
I.
Always
begin
with
the
Sky
,
Sunbeams
,
or
lightest
parts
first
;
next
the
yellowish
beams
(
which
make
of
Masticot
and
white
)
next
the
blewness
of
the
Skie
,
(
which
make
of
Smalt
only
.
)
II.
At
first
colouring
,
leave
no
part
of
the
ground
uncovered
,
but
lay
the
colours
smooth
all
over
.
III.
Work
the
Sky
downwards
:
towards
the
Horizon
fainter
and
fainter
,
as
it
draws
nearer
and
nearer
the
earth
:
the
tops
of
mountains
far
remote
,
work
so
faint
that
they
may
appear
as
lost
in
the
air
.
IV.
Let
places
low
,
and
near
the
ground
be
of
the
colour
of
the
earth
,
of
a
dark
yellowish
,
or
brown
green
;
the
next
lighter
green
;
and
so
successively
as
they
lose
in
distance
,
let
them
abate
in
colour
.
V.
Make
nothing
which
you
see
at
a
distance
perfect
,
by
expressing
any
particular
sign
which
it
hath
,
but
express
it
in
colours
,
as
weakly
and
faintly
as
the
eye
judgeth
of
it
.
VI.
Always
place
light
against
darkness
and
darkness
against
light
,
by
which
means
you
may
extend
the
prospect
as
a
very
far
off
.
VII
.
Let
all
shadows
lose
their
force
as
they
remove
from
the
eye
;
always
letting
the
strongest
shadow
be
nearest
hand
.
VIII
.
Lastly
,
Take
Isinglass
in
small
pieces
half
an
ounce
,
fair
Conduit
water
two
quarts
,
boil
it
till
the
glass
is
dissolved
,
which
save
for
use
:
with
which
mix
spirit
or
oyl
of
Cloves
,
Roses
,
Cinnamon
or
Ambergriese
,
and
lay
it
on
and
about
the
Picture
where
it
is
not
coloured
(
lest
it
should
change
the
Colours
:
but
upon
the
Colours
use
it
without
the
perfumes
)
so
it
will
varnish
your
Pictures
,
and
give
them
a
gloss
,
retaining
the
glory
of
their
colours
,
and
take
from
them
any
ill
scent
which
they
might
otherwise
retain
.
Horat.
Epod.
16.
Vos
,
quibus
est
virtus
,
mulicbrem
tollite
luctum
,
Etrusca
praeter
&
volate
littora
.
Nos
manet
Oceanus
circumvagus
;
arva
,
beata
Petamus
arva
,
divites
&
insulas
:
Reddit
ubi
Cererem
tellus
inarata
quotannis
,
Et
imputata
floret
usquè
vinea
.
Germinet
&
nunquam
fallentis
termes
olivae
,
Suámque
pulla
ficus
ornat
arborem
.
Illis
injussae
veniunt
ad
mulctra
capellae
:
Refértque
tenta
grex
amicus
ubera
.
Nec
Vespertinus
circumgemit
ursus
ovile
,
Nec
intumescit
alta
viperis
humus
:
Pluráque
felices
mirabimur
:
ut
neque
largis
Aquosus
Eurus
arva
radat
imbribus
,
Pinguia
nec
siccis
urantur
semina
glebis
:
Utrumque
rege
temperante
Coelitum
.
Non
huc
Argoo
contendit
remige
pinus
,
Neque
impudica
Colchis
intulit
pedem
:
Non
huc
Sidonii
torserunt
cornua
nautae
,
Laboriosa
nec
cohors
Ulyssei
.
Nulla
nocent
pecori
contagia
,
nullius
astri
Gregem
aeftuosa
torret
impotentia
.
Jupiter
illa
piae
secrevit
littora
genti
,
Ut
inquinavit
aere
tempus
aureum
.
You
nobler
spirits
,
hence
with
womens
tears
,
Sail
from
Etruscan
confines
free
from
fears
.
The
Earth
encircling
Ocean
us
invites
,
Rich
Islands
,
Fields
,
Fields
blest
with
all
delights
.
Where
Lands
untill'd
are
yearly
fruitful
seen
,
And
the
unpruned
vine
perpetual
green
.
Still
,
Olives
by
the
faithful
branch
are
born
,
And
mellow
Figgs
their
native
trees
adorn
.
There
milchy
goats
come
freely
to
the
pail
,
Nor
do
glad
flocks
with
dugs
distended
fail
.
The
mighty
Bear
roars
not
about
the
fold
,
Nor
hollow
earth
doth
poysonous
Vipers
hold
.
Add
to
this
happiness
,
the
humid
East
Doth
not
with
frequent
showers
the
fields
infest
.
Nor
the
fat
seeds
are
parcht
in
barren
land
,
The
powers
above
both
temp'ring
with
command
.
No
Bark
came
hither
with
Argoan
oar
,
Ner
landed
wanton
Colchis
on
this
shoar
:
Cadmus
with
filled
sails
turn'd
not
this
way
,
Nor
painful
troops
that
with
Ulysses
stray
.
Here
amongst
cattel
no
Contagions
are
,
Nor
feel
flocks
droughty
power
of
any
star
.
When
brass
did
on
the
golden
Age
intrude
,
Jove
for
the
pious
did
this
place
seclude
.
Libri
Polygraphices
secundi
FINIS
.
POLYGRAPHICES
LIBER
TERTIUS
.
Of
Painting
,
Washing
,
Colouring
,
Dying
,
Varnishing
and
Gilding
.
Containing
the
description
and
use
of
all
the
chief
Instruments
and
Materials
;
the
way
and
manner
of
working
,
together
with
the
beginning
,
progress
and
end
thereof
.
Exemplified
in
the
Painting
of
the
Antients
:
the
washing
of
Maps
,
Globes
or
Pictures
:
Dying
of
Cloath
,
Silks
,
Horns
,
Bones
,
Woods
,
Glass
,
Stones
and
Metals
:
Together
with
the
Gilding
and
Varnishing
thereof
,
according
to
any
purpose
or
intent
.
CHAP.
I.
Of
Painting
in
Oyl
,
and
the
Materials
thereof
.
I.
PAinting
in
Oyl
is
nothing
but
the
work
or
Art
of
Limning
performed
with
colours
made
up
or
mixed
with
oyl
.
II.
The
Materials
of
Painting
are
chiefly
seven
,
1.
The
Easel
,
2.
The
Pallet
,
3.
The
Straining
frame
,
4.
The
Primed
cloath
,
5.
Pencils
,
6.
The
Stay
,
7.
Colours
.
III.
The
Easel
is
a
Frame
made
of
wood
(
much
like
a
ladder
)
with
sides
flat
,
and
full
of
holes
,
to
put
in
two
pins
to
set
your
work
upon
higher
or
lower
at
pleasure
;
something
broader
at
bottom
than
at
the
top
;
on
the
backside
whereof
is
a
stay
,
by
which
you
may
set
the
Easel
more
upright
or
sloping
.
IV.
The
Pallet
is
a
thin
piece
of
wood
,
(
Peartree
or
Walnut
)
a
foot
long
,
and
about
ten
inches
broad
,
almost
like
an
Egg
,
at
the
narrowest
end
of
which
is
made
an
hole
,
to
put
in
the
thumb
of
the
left
hand
,
near
to
which
is
cut
a
notch
,
that
so
you
may
hold
the
pallet
in
your
hand
.
It
s
use
is
to
hold
and
temper
the
Colours
upon
.
V.
The
Streining
frame
is
made
of
wood
,
to
which
with
nails
is
fastned
the
primed
cloath
,
which
is
to
be
painted
upon
.
These
ought
to
be
of
several
sizes
according
to
the
bigness
of
the
cloath
.
VI.
The
Primed
cloath
is
that
which
is
to
be
painted
upon
;
and
is
thus
prepared
.
Take
good
Canvase
and
smooth
it
over
with
a
slick-stone
,
size
it
over
with
size
,
and
a
little
honey
,
and
let
it
dry
;
then
white
it
over
once
with
whiting
and
size
mixed
with
a
little
honey
,
so
is
the
cloath
prepared
,
on
which
you
may
draw
the
picture
with
a
coal
,
and
lastly
lay
on
the
Colours
.
Where
note
,
honey
keeps
it
from
cracking
,
peeling
or
breaking
out
.
VII
.
Pencils
are
of
all
bignesses
,
from
a
pin
to
the
bigness
of
a
finger
,
called
by
several
names
,
as
Ducks
quill
fitched
and
pointed
;
Goose
quill
fitched
and
pointed
;
Swans
quill
fitched
and
pointed
;
Jewelling
pencils
,
and
bristle
pencils
:
some
in
quills
,
some
in
tinn
cases
,
and
some
in
sticks
.
VIII
.
The
Stay
or
Mol-stick
,
is
a
Brazil
stick
(
or
the
like
)
of
a
yard
long
;
having
at
the
one
end
thereof
,
a
little
ball
of
Cotton
,
fixed
hard
in
a
piece
of
leather
,
of
the
bigness
of
a
chestnut
;
which
when
you
are
at
work
you
must
hold
in
your
left
hand
;
and
laying
the
end
which
hath
the
leather
ball
upon
the
cloath
or
frame
,
you
may
rest
your
right
arm
upon
it
,
whilst
you
are
at
work
.
IX
.
The
Colours
are
in
number
seven
(
ut
suprà
)
to
wit
,
White
,
Black
,
Red
,
Green
,
Yellow
,
Blew
,
and
Brown
.
Of
which
some
may
be
tempered
on
the
pallet
at
first
;
some
must
be
ground
,
and
then
tempered
;
and
other
some
must
be
burnt
,
ground
,
and
lastly
tempered
.
X.
To
make
the
size
for
the
primed
cloath
at
the
fifth
Section
of
this
Chapter
.
Take
glew
,
and
boil
it
well
in
fair
water
,
till
it
be
dissolved
,
and
it
is
done
.
XI
.
To
make
the
whiting
for
the
fifth
Section
of
this
Chapter
.
Take
of
the
aforesaid
size
,
mix
it
with
whiting
ground
,
and
so
white
your
boards
or
cloath
(
being
made
smooth
)
dry
them
,
and
white
them
a
second
or
third
time
;
lastly
,
scrape
them
smooth
and
draw
it
over
with
white
Lead
tempered
with
oyl
.
XII
.
To
keep
the
Colours
from
skinning
.
Oyl
colours
(
if
not
presently
used
)
will
have
a
skin
grow
over
them
,
to
prevent
which
,
put
them
into
a
glass
,
and
put
the
glass
three
or
four
inches
under
water
,
so
will
they
neither
skin
nor
dry
.
XIII
.
To
cleanse
the
Grinding
stone
and
Pencils
.
If
the
grinding
stone
be
foul
,
grind
Curriers
shavings
upon
it
,
and
then
crumbs
of
bread
,
so
will
the
filth
come
off
:
if
the
pencils
be
foul
,
dip
the
end
of
them
in
oyl
of
Turpentine
,
and
squeeze
them
between
your
fingers
,
and
they
will
be
very
clean
.
CHAP.
II.
Of
the
Colours
in
General
,
and
their
significations
.
I.
THe
chief
Whites
for
painting
in
oyl
are
,
white
Lead
,
Ceruse
and
Spodium
.
II.
The
chief
Blacks
are
,
Lamp
black
,
Seacoal
black
,
Ivory
black
,
Charcoal
,
and
earth
of
Colen
.
III.
The
chief
Reds
are
,
Vermilion
,
Sinaper
lake
,
red
Lead
,
Indian
Red
,
Ornotto
.
IV.
The
chief
Greens
are
,
Verdigriese
,
Terra
vert
,
Verditer
.
V.
The
chief
Yellows
are
,
Pink
,
Masticot
,
English
Oker
,
Spruse
Oker
,
Orpiment
.
VI.
The
chief
Blews
are
,
blew
Bice
,
Indico
,
Ultramarine
,
Smalt
.
VII
.
The
chief
Browns
are
,
Spanish
brown
,
burnt
Spruce
,
Umber
.
VIII
.
These
Colours
,
Lamp
black
,
Verditer
,
Vermilion
,
Bice
,
Smalt
,
Masticot
,
Orpiment
,
Ultramarine
,
are
not
to
be
ground
at
all
,
but
only
tempered
with
oyl
upon
the
Pallet
.
IX
.
These
colours
,
Ivory
,
Ceruse
,
Oker
and
Umber
are
to
be
burnt
,
and
then
ground
with
oyl
.
X.
All
the
rest
are
to
be
ground
upon
the
Grinding
stone
with
Linseed
oyl
(
except
white
Lead
,
when
it
is
to
be
used
for
Linnen
,
which
then
is
to
be
ground
with
oyl
of
Walnuts
,
for
Linseed
oyl
will
make
it
turn
yellow
.
)
And
now
since
we
are
engaged
to
treat
of
colours
,
it
may
neither
be
unnecessary
,
nor
unuseful
for
the
young
Artist
to
know
their
natural
significations
;
which
take
as
followeth
.
XI
.
Blew
signifieth
truth
,
faith
,
and
continued
affections
;
Azure
,
Constancy
;
Violet
,
a
religious
mind
.
XII
.
Orange
tawny
,
signifies
Pride
,
also
integrity
;
Tawny
,
forsaken
;
Limmon
,
jealousie
.
XIII
.
Green
signifies
hope
:
grass-green
,
youth
,
youthfulness
,
and
rejoicing
:
Sea
green
,
Inconstancy
.
XIV
.
Red
signifies
Justice
,
Vertue
and
Defence
:
Flame-colour
,
Beauty
and
desire
:
Maidens-blush
,
envy
.
XV.
Yellow
signifies
Jealousie
:
perfect
yellow
,
Joy
,
Honour
,
and
greatness
of
Spirit
:
Gold-colour
,
Avarice
,
XVI
.
Flesh-colour
signifieth
lasciviousness
:
Carnation
,
Craft
,
Subtilty
and
Deceipt
:
Purple
,
Fortitude
and
Strength
.
XVII
.
Willow-colour
signifieth
forsaken
:
Popingjaygreen
,
Wantoness
:
Peach-colour
,
Love
.
XVIII
.
White
signifieth
Death
:
Milk-white
,
Innocency
,
Purity
,
Truth
,
Integrity
:
Black
,
Wisdom
,
Sobriety
,
and
Mourning
.
XIX
.
Straw-colour
signifieth
plenty
:
Rust
of
Iron
,
Witheredness
:
Ermine
,
Religion
and
Holiness
.
XX.
The
White
,
Black
,
Red
and
green
,
are
colours
held
sacred
in
the
Church
of
Rome
:
White
is
worn
in
the
festivals
of
Virgins
,
Saints
,
Confessors
and
Angels
,
to
shew
their
Innocency
:
Red
in
the
solemnities
of
the
Apostles
and
Martyrs
of
Jesus
:
Black
in
Lent
and
other
fasting
days
:
Green
is
worn
between
the
Epiphany
and
Sepiuagesima
:
and
between
Pentecost
and
Advent
.
CHAP.
III.
Of
the
fitting
of
Colours
for
Painting
.
I.
UPon
the
Pallet
dispose
the
several
colours
,
at
a
convenient
distance
,
that
they
may
not
intermix
;
first
lay
on
the
Vermilion
,
then
the
Lake
,
then
the
burnt
Oker
,
then
the
India
Red
,
Pink
,
Umber
,
Black
and
Smalt
,
each
in
their
order
,
and
lay
the
white
next
to
your
thumb
,
because
it
is
oftnest
used
,
for
with
it
all
shadows
are
to
be
lightned
;
and
next
the
white
a
stiff
sort
of
Lake
;
thus
is
the
Pallet
furnished
with
single
colours
for
a
face
.
Now
to
temper
them
for
shadowing
various
complexions
do
thus
.
II.
For
a
fair
complexion
.
Take
White
one
Drachm
;
Vermilion
,
Lake
of
each
two
Drachms
;
temper
them
,
and
lay
them
aside
for
the
deepest
Carnation
of
the
face
:
to
part
of
the
aforesaid
mixture
put
a
little
more
white
,
for
a
light
carnation
:
and
to
part
of
that
put
more
white
(
which
temper
on
the
Pallet
)
for
the
lightest
colour
of
the
face
.
III.
The
faint
shadows
for
the
fair
complexion
.
Take
Smalt
,
and
a
little
White
,
for
the
eyes
:
to
part
of
that
add
a
little
pink
,
and
temper
by
it self
for
faint
greenish
shadows
in
the
face
.
IV.
The
deep
shadows
for
the
same
.
Take
Sinaper
Lake
,
Pink
,
and
black
of
each
,
which
temper
together
;
if
the
shadows
ought
to
be
redder
than
what
is
tempered
,
add
more
Lake
:
if
yellower
,
add
more
pink
:
if
blewer
or
grayer
,
add
more
black
;
thus
shall
the
Pallet
be
fitted
with
colours
.
V.
For
a
brown
or
swarthy
complexion
.
The
fingle
colour
being
laid
on
the
Pallet
as
before
,
and
tempered
;
to
the
White
,
Lake
,
and
Vermilion
,
put
a
little
burnt
Oker
for
a
Tawney
:
and
for
heightning
adde
some
Yellow
Oker
,
so
much
as
may
just
change
the
colours
.
The
faint
and
deep
shadows
are
the
same
at
the
third
and
fourth
Section
of
this
Chapter
.
VI.
For
a
tawny
Complexion
.
The
colours
are
the
same
with
the
former
,
but
the
shadows
are
different
;
which
must
be
made
of
burnt
Oker
and
Vmber
,
(
which
will
fit
well
:
)
if
the
shadow
be
not
yellow
enough
,
add
a
little
pink
to
it
.
VII
.
For
a
black
Complexion
.
The
dark
shadows
are
the
same
with
the
former
:
but
for
heightening
take
White
,
Black
,
Lake
and
burnt
Oker
;
in
tempering
of
which
put
in
the
white
by
degrees
,
till
you
come
to
the
lightest
of
all
.
Where
note
,
that
the
single
colours
at
first
laid
upon
the
Pallet
and
tempered
,
serve
for
shadows
for
all
complexions
;
and
that
all
deepnings
ought
to
be
with
black
,
Lake
and
pink
tempered
together
.
CHAP.
IV.
Of
Colours
for
Velvet
.
I.
FOR
black
Velvet
.
Take
Lamp
black
and
Verdigriese
for
the
first
ground
;
that
being
drie
,
take
Ivory
black
,
and
Verdigriese
;
shadow
it
with
white
Lead
mixed
with
Lamp
black
.
II.
For
Green
.
Take
Lamp
black
and
white
Lead
,
and
work
it
like
a
russet
Velvet
,
and
let
it
drie
;
then
draw
it
over
with
Verdigriese
tempered
with
a
little
pink
.
III.
For
Sea
Green
.
Take
only
Verdigriese
and
lay
it
over
Russet
:
If
a
Grass-green
,
put
a
little
Masticot
to
it
:
shadow
these
greens
with
Russet
;
which
lay
according
to
the
deepness
of
the
green
.
IV.
For
Red.
Take
Vermilion
,
and
shadow
it
with
Spanish
brown
:
and
where
you
would
have
it
darkest
,
shadow
with
Seacoal
black
and
Spanish
brown
with
the
aforesaid
colours
;
drie
it
,
and
then
gloss
it
over
with
Lake
.
V.
For
Crimson
or
Carnation
.
Take
Vermilion
,
to
which
add
white
Lead
at
pleasure
.
VI.
For
Blew
.
Take
Smalt
tempered
alone
.
VII
.
For
Yellow
.
Take
Masticot
and
yellow
Oker
;
and
where
you
would
have
it
darkest
,
shadow
it
with
Umber
.
VIII
.
For
Tawney
.
Take
Spanish
brown
,
white
Lead
,
and
Lamp
Black
,
with
a
little
Verdigriese
,
to
shadow
where
need
is
:
when
drie
,
gloss
it
over
with
Lake
and
a
little
red
Lead
.
IX
.
For
hair
colour
.
Take
Umber
ground
alone
;
and
where
it
should
be
brightest
,
mix
some
white
Lead
about
the
folds
,
lighten
or
darken
with
white
Lead
and
Umber
.
X.
For
Ash
colour
.
Take
Charcoal
,
black
and
white
Lead
:
lighten
with
white
Lead
:
a
colour
like
to
a
dark
russet
will
be
an
Ash
colour
.
XI
.
For
purple
.
Take
Smalt
and
Lake
,
of
each
alike
,
temper
them
(
light
or
deep
as
you
please
)
with
white
Lead
.
XII
.
Lastly
note
,
that
in
painting
Velvet
you
must
at
first
work
it
somewhat
sad
,
and
then
give
it
a
sudden
brightness
.
CHAP.
V.
Of
colours
for
Sattins
.
I.
FOR
Black
.
Take
Lamp-black
ground
with
oyl
and
tempered
with
white
Lead
;
and
where
you
would
have
it
shine
most
,
mix
Lake
with
the
white
Lead
.
II.
For
Green
.
Take
Verdigriese
ground
alone
and
mixed
with
white
Lead
;
adding
Pink
where
you
would
have
it
brightest
:
to
the
deepest
,
shadows
add
more
Verdigriese
.
III.
For
Yellow
.
Take
Masticot
,
yellow
Oker
and
Umber
(
ground
each
by
themselves
)
where
it
should
be
brightest
,
use
Masticot
alone
;
where
a
light
shadow
,
use
Oker
;
where
darkest
,
use
Umber
.
IV.
For
Purple
.
Take
Smalt
alone
,
and
where
it
should
be
brightest
,
use
white
Lead
.
V.
For
Red.
Take
Spanish
brown
(
ground
alone
)
mix
it
with
Vermilion
,
and
where
it
should
be
brightest
,
mix
white
Lead
with
the
Vermilion
.
VI.
For
White
.
Take
white
Lead
(
ground
alone
)
and
Ivory
black
,
which
temper
light
or
dark
.
VII
.
For
Blew
.
Temper
Smalt
and
white
Lead
;
where
it
should
be
saddest
,
use
Smalt
;
where
lightest
,
white
Lead
.
VIII
.
For
Orange
colour
.
Take
red
Lead
and
Lake
;
where
brightest
,
red
Lead
;
where
saddest
,
Lake
.
IX
.
For
Hair
colour
.
Temper
Umber
and
white
Lead
;
where
it
should
be
brightest
,
put
more
white
Lead
;
and
where
the
greatest
shadow
,
use
seacoal
Black
mixed
with
Umber
.
CHAP.
VI.
Of
Colours
for
Taffatie
,
Cloth
and
Leather
.
TAffaties
are
painted
much
as
Sattins
,
thus
:
Take
such
colours
as
are
fit
for
the
purpose
,
and
lay
them
one
by
another
upon
the
work
,
and
shadow
them
with
others
.
II.
Cloth
is
the
same
work
with
Sattin
,
save
,
you
must
not
give
to
cloth
so
sudden
a
shining
gloss
.
III.
Cloth
of
Gold
is
made
of
brown
Oker
and
liquid
Gold
;
water
and
heighten
upon
the
same
with
small
gold
stroaks
.
IV.
For
Buff
,
mix
yellow
Oker
and
White
lead
;
and
where
it
should
be
dark
by
degrees
,
mix
it
with
a
little
Umber
;
when
you
have
done
,
size
it
over
with
Umber
and
seacoal
Black
.
V.
For
yellow
Leather
,
take
Masticot
and
yellow
Oker
:
shadow
it
with
Umber
.
VI.
For
black
Leather
,
take
Lamp
black
,
and
shadow
it
with
white
Lead
.
VII
.
For
white
Leather
,
take
white
Lead
,
and
shadow
it
with
Ivory
black
.
CHAP.
VII
.
Of
Colours
for
Garments
in
general
.
I.
FOR
Black
.
Let
the
dead
colour
be
Lamp
black
and
Verdigriese
:
being
dry
,
go
over
with
Ivory
black
and
Verdigriese
:
but
before
the
second
going
over
,
heighten
it
with
white
.
II.
For
Hair
colour
.
Take
Umber
and
White
for
the
ground
;
umber
and
black
for
the
deeper
shadows
;
Umber
and
English
Oker
for
the
meaner
shadows
;
white
and
English
Oker
for
heightning
.
III.
For
Blew
.
Take
Indico
and
White
:
first
lay
the
White
,
then
the
Indico
and
White
mixed
;
then
deepen
it
with
Indico
;
and
when
drie
,
glaze
it
with
Ultramarine
which
will
never
fade
.
Smalt
will
turn
black
,
and
Biee
will
turn
green
.
IV.
For
Purple
.
Take
Smalt
tempered
with
Lake
and
white
Lead
;
then
heighten
with
white
Lead
.
V.
For
a
sad
Red.
Take
Indian
Red
heightned
with
White
.
VI.
For
a
light
Red.
Take
Vermilion
;
glaze
it
over
with
Lake
,
and
heighten
it
with
White
.
VII
.
For
a
Searlet
.
Take
Vermilion
,
and
deepen
it
with
Lake
or
Indian
red
.
VIII
.
For
Green
.
Take
Bice
and
Pink
,
heighten
it
with
Masticot
,
and
deepen
with
Indico
and
Pink.
IX
.
For
Yellow
.
Take
Masticot
,
yellow
Oker
,
Umber
;
lay
Masticot
and
White
in
the
lightest
places
;
Oker
and
White
in
the
mean
places
;
and
Umber
in
the
darkest
;
glaze
it
with
Pink.
X.
For
Orange
colour
.
Lay
the
lightest
parts
with
red
Lead
and
White
,
the
mean
parts
with
red
Lead
alone
;
the
deeper
parts
with
Lake
;
and
if
need
is
,
heighten
it
with
white
.
XI
.
For
a
sad
Green
.
Mix
Indico
with
Pink
:
for
a
light
Green
mix
Pink
and
Masticot
:
for
a
Gras●
green
mix
Verdigriese
and
Pink.
XII
.
Remember
always
to
lay
yellows
,
blews
,
reds
and
greens
,
upon
a
white
ground
,
for
that
only
giveth
them
life
.
CHAP.
VIII
.
Colours
for
Metals
and
precious
stones
.
I.
FOR
Iron
.
Take
Lamp
black
and
white
Lead
;
if
you
would
have
it
rusty
,
take
seacoal
black
,
and
mix
it
with
a
little
white
.
II.
For
Silver
.
Take
Charcoal
black
and
white
Lead
:
where
you
would
have
it
darkest
,
use
more
Charcoal
;
work
silver
somewhat
rustish
,
and
give
it
a
sudden
●●●ss
with
white
Lead
only
.
III.
For
Gold
.
Take
Lake
,
Umber
,
red
Lead
,
Masticot
:
lay
the
ground
with
red
Lead
,
and
a
little
dry
Pink
:
where
you
would
have
it
darkest
,
shadow
it
most
with
Umber
;
where
lightest
with
Masticot
.
Note
,
in
grinding
the
red
Lead
for
the
gold
size
,
put
in
a
little
Verdigriese
to
make
it
dry
sooner
.
IV.
For
Pearls
.
Temper
Charcoal
black
with
white
Lead
,
till
it
be
a
perfect
russet
;
then
make
the
Pearl
with
it
,
and
give
it
a
speck
of
white
Lead
only
to
make
it
shine
.
Where
note
,
that
Ceruse
tempered
with
oyl
of
white
Poppy
is
excellent
to
heighten
up
Pearls
.
V.
For
precious
stones
.
For
Rubies
,
&c.
lay
their
counterfeit
grounds
with
transparent
colours
;
and
Lake
,
Vedigriese
and
Verditer
give
them
a
shining
colour
.
CHAP.
IX
.
Of
Colours
for
Landskip
.
I.
FOR
a
light
Green
,
use
pink
and
Masticot
heightned
with
white
:
for
a
sad
green
,
Indico
and
Pink
heightned
with
masticot
.
II.
For
some
Trees
,
take
Lake
,
Umber
and
white
:
for
others
charcoal
and
white
:
for
others
Umber
,
black
and
white
,
with
some
green
:
adding
sometimes
Lake
or
Vermilion
,
with
other
colours
.
III.
For
wood
,
take
lake
,
umber
and
white
,
mixing
sometimes
a
little
green
withal
.
IV.
For
Fire
,
lay
red
Lead
and
Vermilion
tempered
together
where
it
is
reddest
:
where
it
is
blew
,
lay
oyl
,
smalt
,
and
white
lead
:
where
it
is
yellow
,
take
masticot
,
and
work
it
over
in
certain
places
:
where
you
would
have
it
shine
most
,
with
Vermilion
.
V.
For
an
Azure
skie
,
which
seems
afar
off
,
take
oyl
,
smalt
,
or
bice
,
and
temper
them
with
Linseed
oyl
.
But
grind
them
not
:
for
smalt
or
bice
utterly
lose
their
colour
in
grinding
.
VI.
For
a
red
skie
,
take
Lake
and
White
;
and
for
Sun
beams
,
or
yellow
clouds
at
Sun-rising
or
setting
,
take
masticot
and
white
.
VII
.
For
a
Night
skie
,
or
clouds
in
a
storm
,
take
Indico
deepned
with
black
,
and
heightned
with
white
.
VIII
.
For
wood
colours
.
They
are
compounded
either
of
Umber
and
white
;
Char-coal
and
white
,
Sea-coal
and
white
;
Umber
black
and
white
;
or
with
some
green
added
;
to
which
you
may
adjoin
sometimes
,
as
in
barks
of
trees
,
a
little
Lake
or
Vermilion
.
IX
.
Lastly
,
for
the
practical
performing
of
the
work
have
recourse
to
the
rules
delivered
in
chap.
13.
lib
1.
and
chap.
27.
lib.
2.
CHAP.
X.
Of
the
Painting
of
the
Face
.
I.
HAve
your
necessary
pencils
in
readiness
,
as
two
pencils
ducks
quill
fitched
;
and
two
ducks
quill
pointed
;
two
goose
quill
fitched
;
and
two
pointed
:
two
bristles
both
alike
:
one
Swans
quill
fitched
,
and
one
pointed
:
one
larger
pencil
in
a
tin
case
fitched
;
and
a
bristle
of
the
same
bigness
;
every
one
having
a
stick
of
about
nine
inches
long
put
into
the
quill
thereof
,
the
farther
end
of
which
stick
must
be
cut
to
a
point
.
II.
The
Pencils
in
a
readiness
in
your
left
hand
,
with
the
pallet
upon
your
thumb
,
prepared
with
fit
colours
;
and
your
molstick
to
rest
upon
;
you
must
work
according
to
the
directions
following
.
III.
The
cloth
being
pinned
,
and
strained
upon
the
frame
,
take
a
knife
,
and
with
the
edge
thereof
scrape
over
the
cloath
,
lest
knots
or
the
like
should
trouble
it
.
IV.
Then
set
the
frame
and
cloth
upon
the
Easel
,
at
a
convenient
heighth
,
that
sitting
on
a
stool
(
●eaven
with
the
party
you
draw
)
you
may
have
the
face
of
the
picture
equal
,
or
something
higher
than
your
own
:
set
the
Easel
to
the
light
(
as
in
Limning
we
have
taught
)
letting
it
come
in
upon
your
left
hand
,
casting
the
light
towards
the
right
.
V.
Let
the
person
to
be
drawn
,
sit
before
you
in
the
posture
he
intends
to
be
painted
in
,
about
two
yards
distant
from
you
.
VI.
Then
with
a
piece
of
painted
chalk
draw
the
proportion
of
the
face
upon
the
cloth
,
with
the
place
of
the
eyes
,
nose
,
mouth
,
ears
,
hair
,
and
other
postures
.
Here
is
no
difficulty
in
this
,
if
you
miss
much
,
the
colours
will
bring
all
to
rights
again
.
VII
.
Then
take
a
pencil
Swans
quill
pointed
,
and
begin
to
paint
some
of
the
lightest
parts
of
the
face
with
the
lightest
colour
,
(
as
the
heightning
of
the
forehead
,
nose
,
cheek-bone
,
of
the
lightest
side
:
)
the
mean
parts
next
(
as
the
cheek-bone
of
the
darkside
,
chin
,
and
over
the
upper
lip
:
)
proceeding
gradually
till
you
come
to
the
reddest
parts
of
all
.
VIII
.
Lay
faint
greenish
shadows
in
convenient
places
;
and
where
it
is
necessary
to
soften
harsher
shadows
;
but
take
heed
of
putting
green
where
red
should
be
.
IX
.
The
faint
or
light
parts
thus
done
,
take
one
of
the
Goose
quill
pointed
,
or
Ducks
quill
fitched
,
and
begin
at
the
eyes
to
shadow
with
Lake
,
going
over
the
nose
,
mouth
,
compass
of
the
ear
,
&c.
before
you
lay
on
any
colour
,
wiping
it
lightly
over
with
a
linnen
rag
,
to
prevent
the
overcoming
of
the
other
colours
.
X.
The
colours
both
light
and
dark
being
put
in
,
take
a
great
fitch
pencil
,
and
sweeten
the
colours
therewith
;
by
going
over
the
shadows
with
a
clean
soft
pencil
,
which
being
well
handled
will
drive
and
intermix
the
colours
one
into
another
,
that
they
will
look
as
if
they
were
all
laid
on
at
once
,
and
not
at
divers
times
.
Where
note
that
the
bigger
pencils
you
use
,
the
sweeter
and
better
your
work
will
lie
.
XI
.
At
the
second
sitting
,
begin
again
with
clean
pencils
,
of
such
bigness
as
the
work
requires
,
and
observe
well
the
person
,
and
see
what
defects
you
find
in
your
work
at
first
sitting
,
and
amend
them
;
then
heighten
or
deepen
the
shadows
as
occasion
requires
.
XII
.
Lastly
,
take
a
Goose
quill
bristle
,
and
put
in
the
hair
about
the
face
(
if
there
must
be
any
)
and
rub
in
the
greater
hair
,
with
the
greater
bristle
;
heightning
it
up
with
the
Goose
quill
pencil
.
CHAP.
XI
.
Of
the
cleansing
of
any
old
Painting
.
I.
TAke
good
Wood
ashes
,
and
searce
them
;
or
else
some
Smalt
or
powder
blew
,
and
with
a
Spunge
and
fair
water
gently
wash
the
picture
you
would
cleanse
(
taking
great
care
of
the
shadows
)
which
done
,
dry
it
very
well
with
a
clean
cloth
.
II.
Then
varnish
it
over
again
with
some
good
varnish
,
but
such
as
may
be
washed
off
again
with
water
if
need
be
.
We
shall
hereafter
shew
the
way
of
making
varnish
of
several
sorts
;
mean
season
this
following
may
serve
.
III.
Take
either
common
varnish
(
made
with
Gumsandrack
dissolved
in
Linseed
oyl
by
boiling
)
or
Glair
of
Eggs
,
and
with
your
pencil
go
over
the
picture
once
,
twice
,
or
more
therewith
as
need
requires
.
CHAP.
XII
.
The
painting
of
the
Antients
exemplified
first
in
some
of
their
Heathen
gods
.
I.
JVpiter
,
(
their
chief
god
)
paint
with
long
black
curled
hair
,
in
a
purple
robe
,
trimmed
with
gold
,
and
sitting
on
a
golden
throne
,
with
bright
yellow
clouds
dispersed
about
him
.
II.
Apollo
or
Sol
(
the
god
of
Physick
)
with
long
,
curled
,
yellow
hair
,
crowned
with
a
Laurel
,
in
a
purple
robe
,
a
silver
bow
,
golden
hair
,
and
the
throne
of
Emeralds
.
III.
Mercury
,
with
long
,
yellow
,
curled
hair
,
in
a
coat
of
flame
colour
,
with
a
mantle
purely
white
,
trimmed
with
gold
and
silver
;
his
beaver
white
with
white
feathers
,
his
shoes
golden
,
his
rod
silver
.
IV.
Neptune
,
with
long
,
hoary
hair
,
in
a
blew
or
sea
green
mantle
,
trimmed
with
silver
,
riding
in
a
blew
chariot
,
or
on
a
Dolphin
,
of
a
brown
black
colour
,
with
a
silver
trident
in
his
right
hand
.
V.
Pluto
,
with
long
,
curled
,
black
hair
,
in
a
robe
of
cloth
of
gold
.
VI.
Bacchus
,
with
short
,
brown
,
curled
hair
,
with
a
Leopards
skin
spotted
,
or
in
a
green
mantle
;
a
tawny
face
,
with
a
wreath
of
Vine
branches
.
VII
.
Hymen
,
with
long
yellow
hair
,
in
a
purple
or
saffron
coloured
mantle
.
VIII
.
Vulcan
,
paint
in
a
scarlet
robe
.
IX
.
Triton
(
Neptune's
Trumpeter
)
with
a
blew
skin
,
and
in
a
purple
mantle
.
X.
Cupid
was
painted
by
Zeuxis
(
that
famous
Painter
of
Greece
)
in
a
green
robe
.
XI
.
Minos
(
one
of
the
Judges
of
Hell
)
with
hair
long
,
brown
,
and
curled
;
crowned
with
a
golden
crown
;
his
robe
blew
and
silver
,
his
buskins
of
gold
.
XII
.
Momus
(
the
carping
god
)
with
a
darkish
robe
,
his
beard
and
hair
party-coloured
.
CHAP.
XIII
.
Of
the
painting
of
some
of
the
Heathen
goddesses
.
I.
JVno
,
Queen
of
the
goddesses
,
with
black
hair
and
eyes
,
adorned
with
a
sky-coloured
mantle
,
or
pied
;
wrought
with
gold
and
peacocks
eyes
;
like
the
orient
circles
in
the
peacocks
trains
.
II.
Diana
,
the
goddess
of
chastity
,
with
yellow
hair
;
a
grass
green
mantle
,
trimmed
with
silver
;
buskins
silver
;
bow
golden
;
quiver
painted
colours
.
III.
Pallas
,
the
goddess
of
wisdom
,
with
a
blew
mantle
imbroidered
with
silver
.
IV.
Venus
,
the
goddess
of
love
and
beauty
,
with
gold
yellow
hair
,
attired
with
black
;
a
scarlet
(
or
else
dun-coloured
)
robe
.
V.
Ceres
,
the
goddess
of
Corn
and
plenty
,
with
yellow
hair
,
and
a
straw-coloured
mantle
trimmed
with
silver
.
VI.
Tellus
,
the
goddess
of
the
earth
,
in
a
green
mantle
.
VII
.
Vrania
,
in
a
mantle
of
azure
,
filled
with
Lamps
.
VIII
.
Aurora
,
in
a
purple
robe
,
in
a
blew
mantle
fringed
with
silver
.
IX
.
Proserpine
,
Queen
of
Hell
,
in
a
black
mantle
trimmed
with
gold
flames
.
X.
Vesta
,
the
daughter
of
Saturn
,
in
white
garments
filled
with
flames
.
XI
.
Astrea
,
the
goddess
of
justice
,
in
a
crimson
mantle
,
trimmed
with
silver
.
XII
.
Flora
,
the
goddess
of
flowers
,
in
a
mantle
of
divers
colours
.
XIII
.
Night
,
in
a
black
mantle
spotted
with
stars
of
gold
.
XIV
.
The
Graces
were
always
alike
in
silver
robes
,
like
sisters
.
Eccbo
,
the
goddess
of
the
air
,
and
daughter
of
speech
,
the
entirely
beloved
of
Pan
,
is
an
invisible
goddess
.
Ausonius
Gallus
reporteth
that
she
hath
oftentimes
disswaded
and
reprehended
such
who
would
undertake
to
depaint
her
,
and
repeats
the
fame
in
an
Epigram
,
whose
sence
in
English
is
this
.
Surcease
thox
medling
Artist
thy
endeavour
,
Who
for
thy
skill
hast
reap'd
such
long
liv'd
fame
:
Strive
not
to
paint
my
bodys
shape
,
for
never
Did
any
humane-eyes
behold
the
same
.
In
concave
caverns
of
the
earth
I
dwell
,
Daughter
of
th'
air
,
and
of
each
tatling
voice
,
In
woods
and
hollow
dales
I
build
my
Cell
,
Joying
to
re-report
the
least
heard
noise
,
To
grief-opprest
,
and
men
disconsolate
,
That
tell
each
grove
their
Souls
vexation
,
Their
dying
agonies
I
aggravate
By
their
dele
accents
iteration
.
And
he
that
will
describe
my
form
aright
,
Must
shape
a
formless
sound
,
or
airy
sprite
.
CHAP.
XIV
.
The
Painting
of
Law-givers
,
Emperours
and
Kings
,
and
Queens
.
I.
MOses
,
the
Hebrew
Law-giver
,
with
bright
hair
;
a
very
beautiful
visage
,
with
radiant
scintillations
about
his
head
,
in
form
of
hoariness
,
which
in
painting
is
called
Glory
.
II.
Numa
Pompilius
,
with
white
hair
,
crowned
with
a
silver
bend
or
Diadem
;
his
robe
Crimson
trimmed
with
Gold
;
his
mantle
yellow
trimmed
with
Silver
;
his
buskins
watchet
and
Silver
.
III.
Aeneas
,
the
Trojane
Prince
,
in
a
purple
mantle
trimmed
with
Gold
.
IV.
David
,
the
King
of
Israel
,
with
brown
hair
and
a
ruddy
complexion
.
V.
Alexander
Magnus
,
with
brown
hair
and
a
ruddy
complexion
.
VI.
Roman
Emperors
,
with
yellow
Carussers
embroidered
with
silver
;
the
labels
of
their
sleeves
,
and
short
bases
of
watchet
;
the
under
sleeves
and
long
stockings
,
white
;
a
Lawrel
wreath
,
with
a
silver
jewel
before
,
and
rayes
of
gold
issueing
from
the
wreath
.
VII
.
German
Emperors
,
with
a
violet
coloured
robe
,
watchet
or
light
coloured
.
VIII
.
Mahomet
;
the
Turks
great
Prophet
,
in
garments
all
of
green
.
IX
.
Gustavus
Adolphus
,
King
of
Sweden
,
with
yellow
hair
.
X.
Dido
,
Queen
of
Carthage
,
in
a
purple
or
Scarlet
mantle
;
her
under
garments
Purple
;
a
Golden
quiver
;
her
hair
yellow
,
tyed
up
with
Spangs
and
Knots
of
Gold
.
XI
.
Elizabeth
,
Queen
of
England
,
pale
faced
,
light
brown
hair
,
and
gray-eyed
.
CHAP.
XV.
The
Painting
of
Philosophers
,
and
the
Sybills
.
I.
PYthagoras
,
in
white
garments
with
a
Crown
of
Gold
.
Empedocles
,
in
Violet
,
Murry
,
or
Purple
,
and
so
the
rest
of
the
Grecian
Philosophers
.
III.
Erasmus
Roterdamus
,
yellow
haired
,
gray-eyed
,
and
somewhat
pale
.
IV.
Beza
is
painted
with
white
hair
.
V.
Sibilla
Agrippa
,
a
woman
in
years
in
a
roseal
garment
.
VI.
Sibilla
Libica
an
elderly
woman
,
crowned
with
a
garland
of
flowers
,
in
purple
garments
.
VII
.
Sibilla
Delphica
,
with
a
black
garment
,
a
young
woman
with
a
horn
in
her
hand
.
VIII
.
Sibilla
Phrygia
,
in
red
garments
,
having
an
old
Saturnian
hard
favoured
face
.
IX
.
Sibilla
Herophila
,
a
young
woman
very
fair
in
a
purple
garment
,
and
head
covered
with
a
vail
of
Lawn
.
Sibilla
Europea
,
a
comely
young
woman
,
having
a
high
,
red-coloured
face
,
a
fine
vail
on
her
head
,
and
clad
in
a
garment
of
Gold
work
.
XI
.
Sibilla
Persica
,
with
a
white
vail
,
and
a
golden
garment
.
XII
.
Sibilla
Samia
,
a
middle
aged
woman
,
clothed
in
Willow
weeds
,
having
a
palm
in
her
hand
.
XIII
.
Sibilla
Hellespontica
,
a
young
woman
in
green
garments
,
with
a
round
,
lovely
,
fresh
coloured
face
;
holding
in
her
left
hand
a
Book
;
and
in
her
right
hand
a
Pen.
XIV
.
Sibilla
Tibur●ina
,
an
old
woman
in
purple
garments
,
of
a
hard
visage
,
holding
in
her
Apron
the
books
of
the
Sibills
.
These
Sibills
for
their
Prophecies
of
Christ
are
in
high
esteem
:
they
are
ten
in
number
as
Varro
saith
;
yet
others
make
twelve
,
of
which
we
are
not
satisfied
;
Boyfardus
in
his
Treatise
of
divination
,
besides
these
ten
addeth
two
others
,
Epirotica
and
Aegyptia
.
Some
,
as
Martianus
,
will
have
but
two
;
Pliny
and
Solinus
,
but
three
;
Aelian
four
;
and
Salmasius
but
the
first
seven
.
They
are
generally
described
as
young
women
,
yet
some
were
old
,
as
she
that
sold
the
books
unto
Tarquin
,
from
whence
we
conclude
the
Licentia
pictoria
is
very
large
.
CHAP.
XVI
.
The
Painting
of
Arts
,
Vertues
,
and
Passions
:
I.
ARithmetick
is
painted
in
cloth
of
Gold
:
Geometry
,
sallow
faced
,
a
green
mantle
fringed
with
silver
,
and
a
silver
wand
in
her
right
hand
:
Aft●●nomy
with
a
silver
Cressant
on
her
fore-head
,
an
azure
mantle
,
a
watchet
Scarf
,
with
golden
Stars
.
II.
Faith
is
painted
in
white
garments
,
with
a
cup
of
Gold
:
Hope
in
blew
,
with
a
silver
Anchor
:
Charity
in
yellow
robes
;
on
her
head
a
tyre
of
Gold
with
precious
stones
;
her
chair
Ivory
.
III.
Religion
in
a
silver
vail
,
with
a
mantle
or
garment
of
white
:
Justice
in
a
white
robe
,
and
a
white
mantle
;
with
a
Coronet
of
silver
and
white
buskins
:
Innocency
in
White
wholly
.
IV.
Concord
in
a
sky
coloured
robe
,
and
a
yellow
mantle
;
Peace
in
white
,
scattered
with
stars
,
or
a
carnation
mantle
fringed
with
Gold
,
a
vail
of
silver
,
green
buskins
,
and
a
palm
in
her
hand
in
black
:
Vnanimity
in
a
blew
robe
,
mantle
and
buskins
,
with
a
chaplet
of
blew
Lillies
.
V.
Wisdom
in
a
white
robe
,
blew
mantle
,
seeded
with
stars
:
Law
in
purple
robes
,
seeded
with
gold
stars
,
a
mantle
of
Carnation
fringed
with
gold
;
purple
and
yellow
buskins
:
Government
in
Amour
.
VI.
Watchfulness
in
a
yellow
robe
;
a
Sable
mantle
fringed
with
silver
,
and
seeded
with
waking
eyes
;
a
chaplet
of
turnsole
;
in
her
right
hand
a
lamp
;
in
her
left
a
bell
:
Confidence
in
a
party
coloured
garment
:
Modesty
in
blew
.
VII
.
Eternity
in
blew
,
seeded
with
Golden
stars
:
The
Soul
in
white
garments
,
branched
with
gold
and
pearl
,
and
crowned
with
a
garland
of
Roses
:
Felicity
in
purple
trimmed
with
silver
.
VIII
.
Love
,
in
Crimson
fringed
with
gold
,
a
flame
coloured
Mantle
,
a
chaplet
of
red
and
white
Roses
:
Natural
affection
in
Citron
colour
:
Envy
in
a
discoloured
green
garment
full
of
eyes
.
IX
.
Joy
in
a
green
robe
,
and
a
mantle
of
divers
colours
,
embroidered
with
flowers
;
a
garland
of
Myrtle
;
in
her
right
hand
a
Crystal
Cruise
;
in
her
left
,
a
golden
Cup
:
Pleasure
in
light
garments
,
trimmed
with
silver
and
gold
:
Laughter
in
several
Colours
.
X.
Wit
,
in
a
discoloured
mantle
:
Jollity
,
in
flame
colour
:
Pastime
,
in
purple
trimmed
with
gold
.
XI
.
Opinion
,
in
black
Velvet
,
black
cap
,
with
a
white
fall
:
Impudence
in
a
party
coloured
garment
:
Audacity
in
blush
colour
.
XII
.
Honour
in
a
purple
robe
wrought
with
gold
:
Liberty
in
white
:
Safety
in
Carnation
CHAP.
XVII
.
Of
Colours
for
Painting
Glass
.
I.
YEllow
.
Take
a
very
thin
piece
of
pure
fine
silver
,
and
dip
it
into
melted
brimstone
;
take
it
out
with
a
pair
of
plyers
,
and
light
it
in
the
fire
,
holding
it
,
till
it
leaves
burning
;
then
beat
it
to
powder
in
a
brasen
mortar
;
then
grind
it
with
Gum
Arabick
water
,
and
a
little
yellow
Oker
.
II.
Yellow
.
Take
fine
silver
one
Drachm
,
Antimony
in
powder
two
drachms
,
put
them
in
a
hot
fire
,
in
a
crucible
for
half
an
hour
,
and
then
cast
it
into
a
brassmortar
,
and
beat
it
into
powder
,
to
which
add
yellow
Oker
six
Drachms
,
old
earth
of
rusty
Iron
seven
Drachms
,
grind
all
well
together
.
This
is
fairer
than
the
former
.
III.
White
This
is
the
colour
of
the
glass
it self
:
you
may
diaper
upon
it
with
other
glass
or
Crystal
ground
to
powder
.
IV.
Black
.
Take
Jet
and
Scales
of
Iron
,
and
with
a
wet
feather
take
up
the
Scales
that
fly
from
the
Iron
,
after
the
Smith
hath
taken
his
heat
,
grind
them
with
gum
water
.
V.
Black
.
Take
Iron
scales
,
Copper
scales
of
each
one
Drachm
,
heat
them
red
hot
in
a
clean
fire
shovel
;
then
take
Jet
half
a
Drachm
,
first
grind
them
small
and
temper
them
with
gum
water
.
VI.
Red.
Take
Sanguis
Draconis
in
powder
,
put
to
it
rectified
spirit
of
wine
;
cover
it
close
a
little
while
,
and
it
will
grow
tender
;
wring
it
out
into
a
pot
,
that
the
dross
may
remain
in
the
cloth
;
the
clear
preserve
for
use
.
This
is
a
fair
red
.
VII
.
Carnation
.
Take
tin
glass
one
ounce
:
jet
three
ounces
:
red
oker
five
ounces
:
gum
two
drachms
,
grind
:
them
together
.
It
is
a
fair
Carnation
.
VIII
.
Carnation
.
Take
jet
four
Drachms
:
tin
glass
or
litharge
of
silver
two
Drachms
:
gum
,
and
scales
of
Iron
of
each
one
Drachm
,
red
chalk
one
ounce
,
grind
them
.
IX
.
Green
.
Take
Verdigriese
and
grind
it
well
with
Turpentine
;
and
put
it
into
a
pot
;
warming
it
at
the
fire
,
when
you
use
it
.
X.
Blew
.
Provide
the
clearest
leads
you
can
get
of
that
colour
,
beat
them
to
powder
in
a
brazen
mortar
,
take
Goldsmiths
Amel
of
the
same
colour
,
clear
and
transparent
,
grind
each
by
it self
,
take
two
parts
of
lead
,
and
one
of
Amel
,
grind
them
together
as
you
did
the
silver
.
The
same
understand
of
Red
and
Green
.
CHAP.
XVIII
.
Of
the
way
of
Painting
upon
Glass
.
I.
THere
are
two
manner
of
ways
of
painting
upon
glass
;
the
one
is
for
oyl
colour
,
the
other
for
such
colours
,
as
are
afterwards
to
be
annealed
or
burnt
on
.
II.
To
lay
oyl
colours
upon
glass
,
you
must
first
grind
them
with
Gum
water
once
,
and
afterwards
temper
it
with
Spanish
Turpentine
,
lay
it
on
and
let
it
dry
by
the
fire
,
and
it
is
smished
.
III.
To
anneal
or
burn
your
glass
,
to
make
the
colours
abide
,
you
must
make
a
four
square
brick
furnace
,
eighteen
inches
broad
and
deep
;
lay
five
or
six
cross
Iron
bars
on
the
top
of
it
,
and
raise
the
furnace
eighteen
inches
above
the
bars
:
then
laying
a
plate
of
Iron
over
the
bars
,
sift
(
through
a
five
)
a
lay
of
slack'd
lime
over
the
plate
,
upon
which
lay
a
row
of
glass
;
upon
that
a
bed
of
lime
,
and
upon
that
lime
,
another
row
of
glass
;
thus
continue
stratum
super
stratum
,
till
the
furnace
is
full
.
IV.
Lay
also
with
every
bed
of
glass
a
piece
of
glass
,
which
you
may
wipe
over
with
any
Colour
(
these
are
called
watches
;
)
and
when
you
think
your
glass
is
burnt
enough
,
with
a
pair
of
plyers
take
out
the
first
and
lowest
watch
,
and
lay
it
on
a
board
,
and
being
cold
,
try
if
you
can
scrape
off
the
Colour
,
if
it
hold
fast
on
,
take
out
that
row
;
always
letting
it
abide
the
fire
till
the
colour
will
not
scrape
off
.
CHAP.
XIX
.
Of
Washing
,
and
the
Materials
thereof
.
I.
BY
washing
,
here
we
intend
nothing
else
,
but
either
to
set
out
Maps
or
Printed
Pictures
in
proper
Colours
,
or
else
to
varnish
them
.
II.
The
Instruments
and
materials
of
washing
are
chiefly
six
,
to
wit
,
I.
Alom-water
,
2.
Size
,
3.
Liquid
Gold
,
4.
Pencils
,
5.
Colours
,
6.
Varnish
.
III.
To
make
Alom
water
.
Take
Alom
eight
ounces
,
fair
water
a
quart
,
boil
them
till
the
Alom
is
dissolved
.
IV.
To
make
size
.
Take
glew
,
which
steep
all
night
in
water
,
then
melt
it
over
the
fire
,
to
see
that
it
be
neither
too
strong
nor
too
weak
:
then
let
a
little
of
it
cool
;
if
it
be
too
stiff
when
it
is
cold
,
put
more
water
to
it
,
if
too
weak
more
glew
,
using
it
lukewarm
.
V.
Liquid
Gold
.
It
is
exactly
made
by
the
first
Section
of
the
21
Chapter
of
the
second
Book
.
VI.
Pencils
are
to
be
of
all
sorts
both
fitch'd
and
pointed
;
as
also
a
large
pencil
brush
to
past
Maps
upon
Cloth
;
another
to
wet
the
paper
with
Alom
water
;
a
third
to
starch
the
face
of
the
picture
withal
before
it
be
coloured
;
and
a
fourth
to
varnish
withal
.
VII
.
The
colours
are
the
same
with
those
which
we
mentioned
in
Chap.
17.
lib.
2.
to
which
add
,
1.
Of
Black
,
Printers
black
,
Franckford
black
,
2.
Of
Red
,
Vermilion
,
Rosset
,
3.
Of
Blew
,
Verditure
,
Litmos
,
Flory
,
4.
Of
Yellow
,
Cambogia
,
Yellow
berries
,
Orpiment
,
5.
Brazil
,
Logwood
(
ground
)
and
Turnsole
,
Cochenele
,
Madder
.
CHAP.
XX.
Of
Colours
simple
for
Washing
.
I.
PRinters
black
.
Vermilion
,
Rosset
,
Verditure
,
and
Orpiment
are
to
be
ground
,
as
we
have
taught
at
the
fifth
Section
of
the
22
Chapter
of
the
fecond
Book
.
II.
Brazil
.
To
some
ground
Brazil
put
small
Beer
and
Vinegar
,
of
each
a
sufficient
quantity
,
let
it
boil
gently
a
good
while
,
then
put
therein
Alom
in
powder
to
heighten
the
Colour
,
and
some
gum
Arabick
to
bind
it
;
boil
it
till
it
taste
strong
on
the
tongue
,
and
make
a
good
red
.
III.
Logwood
,
Ground
Logwood
boiled
as
Brazil
,
makes
a
very
fair
transparent
Purple
Colour
.
IV.
Cochenele
.
Steeped
as
Brazil
was
boiled
,
makes
a
fair
transparent
purple
:
as
thus
,
take
Cochenele
and
put
it
into
the
strongest
Sope
lees
to
steep
,
and
it
will
be
a
fair
purple
,
which
you
may
lighten
or
deepen
at
pleasure
.
V.
Madder
.
Take
Madder
four
drachms
,
ground
Brazil
one
ounce
,
Rain
water
a
quart
;
boil
away
a
third
part
:
then
add
Alom
half
an
ounce
,
boil
it
to
a
pint
;
then
gum
Arabick
one
ounce
,
which
boil
till
it
is
dissolved
,
cool
it
stirring
it
often
,
and
strain
it
for
use
.
It
is
a
good
scarlet
die
for
Leather
.
VI.
Verdigriese
.
Take
Verdigriese
ground
finely
one
ounce
,
put
to
it
a
good
quantity
of
common
varnish
,
and
so
much
oyl
of
Turpentine
,
as
will
make
it
thin
enough
to
work
withal
;
it
is
a
good
green
.
And
Verdigriese
,
Alom
,
of
each
one
Drachm
,
Logwood
three
Drachms
,
boiled
in
Vinegar
,
make
a
good
Murry
.
VII
.
Gambogia
.
Dissolve
it
in
fair
spring
water
,
and
it
will
make
a
beautiful
and
transparent
yellow
:
if
you
would
have
it
stronger
,
dissolve
some
Alom
therein
:
it
is
good
for
Silk
,
Linnen
,
white
Leather
,
Parchment
,
Vellom
,
Paper
,
Quills
,
&c.
VIII
.
To
make
Verdigriefe
and
Ceruse
according
to
Glauber
.
These
colours
are
made
with
Vinegar
in
earthen
pots
set
into
hot
horse
dung
:
but
if
you
dissolve
your
Venus
or
Saturn
with
spirit
of
Nitre
,
and
precipitate
your
Venus
with
a
lye
made
of
Salt
of
Tartar
,
and
your
Saturn
with
Salt
water
,
edulcorating
and
drying
them
;
the
Venus
will
yield
an
excellent
Verdigriese
,
which
will
not
corrode
other
colours
as
the
common
Verdigriese
doth
;
and
the
Saturn
yields
a
Ceruse
whiter
and
purer
than
the
ordinary
:
much
better
for
Painting
or
Chirurgery
.
IX
.
Yellow
Fustick
benry
.
Boil
it
in
water
or
sleep
them
in
Alom
water
,
it
makes
a
good
yellow
for
the
same
purpose
.
X.
Turnsole
.
Put
it
into
sharp
.
Vinegar
over
a
gentle
fire
,
till
the
Vinegar
boil
,
and
is
coloured
;
then
take
out
the
Turnsole
and
squeeze
it
into
the
Vinegar
,
in
which
dissolve
a
little
gum
Arabick
;
it
shadows
very
well
on
a
Carnation
or
yellow
.
XI
.
Litmos
.
Cut
it
into
small
pieces
,
and
steep
it
a
day
or
two
in
weak
gum
Lake
water
,
and
you
will
have
a
pure
blew
water
to
wash
with
.
XII
.
Flory
Blew
.
Grind
it
with
Glair
of
Eggs
,
if
then
you
add
a
little
Rosset
it
makes
a
light
Violet
Blew
;
mixed
with
White
and
Red
Lead
,
it
makes
a
Crane
feather
Colour
.
XIII
.
Saffron
Steeped
in
Vinegar
and
mixed
with
gum
water
is
a
good
Yellow
.
CHAP.
XXI
.
Of
Compounded
Colours
for
Washing
.
ORange
Colour
.
Red
Lead
and
Yellow
berries
make
a
good
Orange
Colour
:
or
thus
,
take
Arnotto
half
an
ounce
,
Pot
ashes
one
Drachm
,
water
one
pound
,
boil
it
half
away
,
then
strain
it
,
and
use
it
hot
.
It
is
good
for
white
leather
,
paper
,
vellom
,
quills
,
parchment
,
&c.
II.
Green
.
Take
distilled
vinegar
,
filings
of
Copper
,
digest
till
the
vinegar
is
blew
,
which
let
stand
in
the
Sun
ora
slow
fire
till
it
is
thick
enough
,
and
it
will
be
a
good
green
.
Or
thus
.
Take
Cedar
green
(
which
is
best
of
all
)
or
instead
thereof
green
Bice
,
steep
it
in
Vinegar
,
and
strain
it
;
then
grind
it
well
with
fair
water
,
and
put
to
it
a
little
honey
,
and
dry
it
well
;
when
you
use
it
,
mix
it
with
gum
water
.
III.
To
make
fine
Indico
.
Take
the
blossoms
of
Wode
three
ounces
,
Amylum
one
ounce
,
grind
them
with
Urine
and
strong
vinegar
,
of
which
make
a
Cake
,
then
dry
it
in
the
Sun
and
so
keep
it
for
use
.
IV.
A
Blew
to
wash
upon
paper
.
Take
of
the
best
azure
an
ounce
,
Kermes
two
ounces
,
mix
them
,
which
temper
with
clear
gum
water
,
and
it
will
be
a
glorious
Colour
.
V.
To
make
a
Venice
Blew
.
Take
quick
lime
,
make
it
into
past
with
strong
vinegar
,
half
an
hour
after
put
thereto
more
vinegar
to
soften
it
;
then
add
Indico
in
fine
powder
one
ounce
,
mix
them
and
digest
it
in
horse
dung
for
thirty
or
forty
days
.
VI.
Another
excellent
Blew
.
Mix
fine
white
Chalk
with
juice
of
elder
berries
full
ripe
,
to
which
put
a
little
Alom
water
.
VII
.
To
make
blew
Smalt
.
Take
fluxible
sand
,
Sal
Nitre
and
Cobalt
,
mix
them
together
.
VIII
.
A
lively
yellow
.
Dissolve
orpiment
in
gum
water
,
to
which
put
a
little
ground
Vermilion
;
grind
them
together
and
you
shall
have
a
very
lively
colour
.
IX
.
A
light
green
.
Take
Juice
of
Rew
,
Verdigriese
,
and
Saffron
,
grand
them
well
together
and
use
them
with
gum
water
.
Or
thus
;
Take
sap
green
,
flower
de
bice
,
or
tawny
green
,
which
steep
in
water
:
Verditure
and
Ceruse
mixe
with
a
little
copper
green
,
make
a
good
light
colour
.
X.
Blew
.
Ultramine
,
blew
bice
,
smalt
,
and
Verditure
,
ground
singly
with
gum
water
,
or
together
,
make
a
good
blew
.
XI
.
Brown
.
Ceruse
,
red
lead
,
English
Oker
,
and
pink
,
make
a
good
brown
.
XII
.
Spanish
Brown
.
To
colour
any
horse
,
dog
,
or
the
like
,
you
must
not
calcine
it
;
(
yet
not
calcined
it
is
a
dirty
colour
:
)
but
to
shadow
Vermilion
,
or
lay
upon
any
dark
ground
,
behind
a
picture
,
to
shade
berries
in
the
darkest
places
,
or
to
colour
wooden
posts
,
wainscot
,
bodies
of
trees
and
the
like
,
it
is
very
good
(
being
burnt
.
)
XIII
.
Flesh
colour
.
Mix
white
,
Indian
lake
,
and
red
lead
(
according
as
you
would
have
it
light
or
deep
;
)
and
to
distinguish
a
mans
flesh
from
a
womans
,
mingle
with
it
a
little
Oker
.
XIV
.
Colours
of
Stones
.
Verdigriese
with
Varnish
makes
an
Emerald
:
with
Florence
lake
a
Ruby
:
with
Ultramanine
a
Saphyr
.
XV.
A
never
fading
green
.
Take
juice
of
flowers
of
Flowerdeluce
,
put
it
into
Gum
water
and
dry
it
in
the
Sun
.
CHAP.
XXII
.
Of
mixing
Colours
and
shadowing
.
I.
IN
mixing
be
careful
not
to
make
the
colour
too
sad
,
nor
take
the
pencils
out
of
one
colour
and
put
them
into
another
.
II.
In
mixing
colours
,
stir
them
well
about
the
water
severally
till
they
are
well
mixed
;
then
put
them
together
,
making
the
colour
sadder
or
lighter
at
pleasure
.
III.
Green
is
shadowed
with
Indico
and
yellow
berries
.
IV.
Blew
is
shadowed
with
Indico
,
Litmose
and
flory
;
or
any
of
them
being
steeped
in
lees
of
Soap
ashes
,
and
used
with
gum
water
.
V.
Garments
are
shadowed
with
their
own
proper
colours
:
or
you
may
mingle
the
colour
with
white
(
for
the
light
)
and
shadow
it
with
the
same
colour
unmingled
:
or
you
may
take
the
thinnest
of
the
colour
for
the
light
,
and
shadow
with
the
thickest
or
bottom
of
the
same
.
VI.
Sap
green
is
only
used
to
shadow
other
greens
with
,
and
not
to
be
laid
for
a
ground
in
any
garment
.
VII
.
Lake
ought
not
to
be
shaded
with
any
colour
,
for
it
is
a
dark
red
;
but
for
variety
you
may
shadow
it
with
Bice
,
or
blew
Verditure
,
which
will
make
it
like
changeable
Taffata
.
VIII
.
The
shadow
for
Yellow
Berries
is
Umber
;
but
for
beauties
sake
with
red
Lead
,
and
the
darkest
touches
with
Spanish
brown
;
and
for
variety
with
Copper
green
,
blew
Bice
or
Verditure
.
IX
.
White
sets
off
blews
and
blacks
very
well
:
Red
sets
off
well
with
yellows
:
Yellow
with
reds
,
sad
blews
,
browns
,
greens
,
and
purples
.
X.
Blew
sets
off
well
with
yellows
,
reds
,
whites
,
browns
,
and
blacks
:
and
Green
sets
off
well
with
purples
,
and
reds
.
CHAP.
XXIII
.
Of
Colours
for
Landskips
.
I.
GReen
mixed
with
white
,
pink
,
bice
,
masticot
,
smalt
,
indico
,
or
ceruse
;
or
blew
verditure
mixt
with
a
few
yellow
berries
makes
a
good
green
for
Landskips
.
II.
For
the
saddest
hills
use
umber
burnt
;
for
the
lightest
places
,
put
yellow
to
the
burnt
umber
:
for
other
hills
lay
copper
green
thickened
on
the
fire
,
or
in
the
Sun
:
for
the
next
hills
further
off
,
mix
yellow
berries
with
copper
green
;
let
the
fourth
part
be
done
with
green
verditure
;
and
the
farthest
and
faintest
places
with
blew
bice
;
or
blew
verditure
mingled
with
white
,
and
shadowed
with
blew
verditure
,
in
the
shadows
indifferent
thick
.
III.
Let
the
high-ways
be
done
with
red
and
white
lead
,
and
for
variety
yellow
oker
;
shadow
it
with
burnt
umber
,
which
you
may
use
for
sandy
rocks
and
hills
.
IV.
Rocks
may
be
done
with
several
colours
,
in
some
places
black
and
white
,
in
other
places
red
and
white
,
and
in
others
blew
and
white
,
and
the
like
,
as
you
see
convenient
.
V.
The
water
must
be
black
verditure
and
white
,
shadowed
with
green
and
blew
verditure
:
when
the
banks
cast
a
green
shadow
upon
the
water
,
and
the
water
is
dark
shadowed
,
then
shade
it
with
indico
,
green
thickned
,
and
blew
verditure
.
VI.
Colour
buildings
with
as
much
variety
of
pleasant
colours
as
may
be
imaginable
,
yet
let
reason
be
your
rule
in
mixing
your
colours
:
you
may
sometimes
use
white
and
black
for
the
wall
,
conduits
or
other
things
:
for
Brick-houses
and
the
like
,
red
lead
and
white
:
if
many
houses
stand
together
,
set
them
off
with
variety
of
colours
,
as
umber
and
white
;
lake
and
white
;
red
lead
and
white
,
and
the
like
.
VII
.
Lastly
,
for
the
sky
,
use
masticot
or
yellow
berries
,
and
white
for
the
lowest
and
lightest
places
;
red
rosset
and
white
for
the
next
degree
;
blew
bice
and
white
for
the
other
;
blew
bice
,
or
blew
verditure
for
the
highest
.
These
degrees
and
colours
must
be
so
wrought
together
,
that
the
edge
of
each
colour
may
not
receive
any
sharpness
;
that
is
,
so
as
that
you
cannot
perceive
where
you
began
to
lay
them
,
being
so
drowned
one
in
another
.
CHAP.
XXIV
.
Of
the
practice
of
Washing
.
I.
WIth
the
Alom-water
wet
over
the
pictures
to
be
coloured
,
for
that
keeps
the
colours
from
sinking
into
the
paper
,
and
will
add
a
lustre
unto
them
,
make
them
shew
fairer
,
and
keep
them
from
fading
.
II.
Then
let
the
paper
dry
of
it self
(
being
washed
with
Alom-water
)
before
you
lay
on
the
colours
;
or
before
you
wet
it
again
,
for
some
paper
will
need
wetting
four
or
five
times
.
III.
The
washing
of
the
paper
with
the
Alom-water
must
be
done
with
a
large
pencil
brush
,
such
as
we
have
advised
to
at
the
sixth
Section
of
the
nineteenth
Chapter
of
this
Book
.
IV.
But
if
you
intend
to
varnish
your
pictures
after
you
have
coloured
them
;
instead
of
washing
them
with
Alom
water
,
first
size
them
with
new
size
,
made
of
good
white
starch
,
with
a
very
fine
brush
;
and
this
you
must
be
sure
to
do
all
over
,
for
else
the
varnish
will
sink
through
.
V.
Having
thus
prepared
your
work
,
go
to
laying
on
your
Colours
according
to
the
former
directions
,
suiting
them
,
as
near
as
may
be
,
to
the
life
of
everything
.
VI.
The
picture
being
painted
,
you
may
with
size
(
at
the
fourth
Section
of
the
nineteenth
Chapter
of
this
Book
)
paste
your
maps
or
pictures
upon
cloth
,
thus
:
wet
the
sheet
of
cloth
therein
,
wring
it
out
,
and
strain
it
upon
a
frame
,
or
nail
it
upon
a
wall
or
board
,
and
so
paste
your
maps
or
pictures
thereon
.
VII
.
Lastly
,
if
the
picture
be
to
be
varnished
,
having
thus
fixed
it
into
its
proper
frame
,
then
varnish
it
with
a
proper
varnish
(
by
the
following
rules
)
and
the
work
will
be
fully
finished
.
CHAP.
XXV
.
Of
the
making
of
Varnishes
.
I.
VArnish
for
painting
in
Oyl
.
Take
Mastich
two
ounces
,
Oyl
of
Turpentine
one
ounce
;
put
the
Mastich
in
powder
into
the
Oyl
,
and
melt
it
over
the
fire
,
letting
it
boil
little
or
nothing
(
lest
it
be
clammy
;
)
when
it
is
enough
,
you
may
know
by
putting
in
a
hens
feather
,
for
then
it
will
burn
it
.
II.
Varnish
for
painted
pictures
.
Take
white
Rozin
one
pound
,
Plumb-tree
gum
(
or
gum
Arabick
)
Venice
Turpentine
,
Linseed
oyl
,
of
each
two
ounces
;
first
melt
the
Rozin
and
strain
it
very
hot
;
steep
the
Gum
in
oyl
Olive
(
oyl
ben
is
better
)
till
it
is
dissolved
,
and
strain
it
,
to
which
put
the
Turpentine
and
Rozin
,
and
over
a
slow
fire
mingle
them
till
they
are
well
dissolved
.
When
you
use
it
,
use
it
hot
.
III.
Another
for
the
same
.
Take
Olibanum
and
gum
Sandrack
in
powder
,
which
mingle
with
Venice
Turpentine
,
melting
and
incorporating
them
still
over
a
gentle
fire
;
then
strain
it
hot
.
When
you
use
it
let
it
be
hot
,
and
your
Varnish
will
shine
well
;
it
dries
immediately
.
IV.
Another
for
the
same
.
Take
oyl
of
Linseed
,
which
distill
in
a
glass
Retort
,
one
ounce
,
fair
Amber
dissolved
three
ounces
,
mix
them
over
a
flow
fire
,
and
it
is
done
.
V.
A
very
good
Varnish
for
Gold
,
Silver
,
Brass
,
Iron
Stone
,
Wood
,
Vedom
or
Paper
.
Take
Benjamin
(
made
into
fine
powder
between
two
papers
)
put
it
into
a
vial
,
and
cover
it
with
Spirit
of
Wine
four
fingers
above
it
,
and
let
it
stand
three
or
four
days
,
then
strain
it
,
and
it
will
be
bright
and
shining
,
drying
immediately
,
and
retaining
its
brightness
many
years
.
If
you
varnish
Gold
,
or
any
thing
gilded
,
before
the
straining
you
should
put
in
a
few
blades
of
Saffron
for
colour
sake
:
but
if
Silver
or
any
thing
white
,
you
ought
to
use
the
white
part
of
the
Benjamin
only
.
VI.
A
varnish
particularly
for
Gold
,
Silver
,
Tin
,
or
Copper
.
Take
Linseed
oyl
six
ounces
,
Mastich
,
Aloes
Epatick
of
each
one
ounce
;
put
the
gums
in
powder
into
the
Oyl
,
into
a
glazed
earthen
pot
,
which
cover
with
another
,
luting
them
together
,
in
the
bottom
of
which
,
let
be
a
hole
,
whereinto
put
a
small
stick
with
a
broad
end
to
stir
withal
;
cover
them
all
over
with
clay
,
(
except
the
hole
)
set
it
over
the
fire
,
and
stir
it
as
often
as
it
seetheth
for
a
little
while
,
then
strain
it
for
use
.
First
let
the
metal
be
polished
,
then
strike
it
over
with
this
varnish
.
VII
.
A
Varnish
for
Wood
and
Leather
.
Take
Tincture
of
Saffron
or
Turmerick
in
Spirit
of
Wine
a
pint
,
prepared
gum
Lake
a
sufficient
quantity
,
dissolve
the
gum
in
the
tincture
and
it
is
done
.
This
is
a
Varnish
of
great
use
to
lay
over
Gold
and
Silver
or
any
thing
which
is
exposed
to
the
Air.
VIII
.
To
make
the
Common
Varnish
.
Take
spirit
of
Wine
a
quart
,
Rozin
one
ounce
,
Gum
Lake
a
sufficient
quantity
,
dissolve
the
gums
in
a
gentle
heat
(
being
close
covered
)
and
let
them
settle
:
then
gently
decant
off
the
clear
,
which
keep
in
a
close
glass
Bottle
for
use
.
The
thick
which
remains
,
you
may
strain
through
a
cloth
,
and
keep
for
other
purposes
.
IX
.
To
make
a
red
Varnish
.
Take
spirit
of
Wine
a
quart
,
gum
Lake
four
ounces
,
Sanguis
Draconis
in
fine
powder
eight
ounces
,
Cochenele
one
ounce
,
digest
a
week
over
a
gentle
heat
,
then
strain
it
for
use
.
X.
To
make
a
yellow
Varnish
.
Take
spirit
of
Wine
a
pint
,
in
which
infuse
(
three
or
four
days
)
Saffron
half
an
ounce
,
then
strain
it
,
and
add
Aloes
Succotrina
one
ounce
,
Sanguis
Draconis
two
ounces
,
which
digest
a
week
over
a
gentle
heat
close
covered
,
then
strain
it
for
use
.
XI
.
An
Vniversal
Varnish
,
the
best
of
all
others
.
Take
good
gum
Sandrick
(
but
gum
Anime
is
better
)
dissolve
it
in
the
highest
rectified
spirit
of
Wine
(
an
ounce
and
a
half
more
or
less
to
a
pint
)
and
it
is
done
.
Where
note
1.
That
unless
the
Spirits
be
highly
rectified
,
the
Varnish
connot
be
good
.
2.
That
some
put
into
it
Linseed
oyl
(
which
is
naught
;
oyl
of
ben
is
better
)
and
mix
them
together
.
3.
Some
mix
boiled
Turpentine
with
it
;
others
Chymical
oyls
of
deep
colours
(
as
of
Cloves
,
Mace
,
Nutmegs
,
Caraways
,
Cinnamon
)
according
to
the
intent
.
4.
That
it
ought
to
be
kept
in
a
glass
bottle
close
stopped
,
lest
it
curdle
,
and
the
gums
separate
.
CHAP.
XXVI
.
Of
the
manner
of
Varnishing
.
I.
THe
intent
of
Varnishing
is
either
to
preserve
the
gloss
of
paintings
or
pictures
,
or
else
to
represent
and
imitate
the
forms
of
shining
and
perlucid
bodies
.
II.
To
varnish
paintings
and
pictures
,
't
is
no
more
but
with
a
pencil
dipt
in
the
Varnish
to
go
over
the
same
,
then
letting
it
dry
;
and
so
going
over
it
so
often
as
in
reason
you
shall
see
convenient
.
III.
If
you
are
to
imitate
any
thing
,
as
Marble
,
Tortoise
shell
,
Amber
,
Lapis
Lazuli
or
the
like
;
you
must
first
make
the
imitation
of
them
,
upon
that
which
you
would
Varnish
,
with
their
proper
colours
,
as
in
Limning
or
Painting
with
oyl
;
which
must
be
throughly
dry
:
then
by
the
second
Section
go
over
all
with
the
Varnish
,
so
often
till
you
see
it
thick
enough
;
letting
it
dry
every
time
leisurely
.
For
example
sake
;
IV.
To
imitate
Marble
.
Take
of
the
Universal
Varnish
at
the
eleventh
Section
of
the
five
and
twentieth
Chapter
,
with
which
mingle
Lamp
black
(
or
other
black
)
and
white
Lead
finely
beaten
,
and
with
a
brush
pencil
,
marble
the
thing
you
would
Varnish
according
to
your
fancy
;
lastly
,
being
dry
strike
it
again
two
or
three
times
over
with
the
clear
varnish
alone
,
and
it
will
be
perfect
.
V.
To
imitate
Tortoise
shell
.
First
lay
a
white
ground
,
then
with
convenient
colours
(
as
Vermilion
with
Auripigment
)
duly
mixt
with
Common
Varnish
,
streak
and
shadow
the
white
ground
with
any
wild
fancy
(
as
nearly
imitating
Tortoise
shell
as
you
can
)
which
being
dry
,
strike
it
here
and
there
with
the
red
Varnish
(
mixed
with
a
little
Sinaper
or
Indian
Lake
)
then
up
and
down
the
work
as
nature
requires
touch
it
with
varnish
mixed
with
any
good
black
;
then
stroke
it
over
with
Universal
Varnish
four
or
five
times
,
letting
it
dry
every
time
;
lastly
,
let
it
dry
well
a
week
,
and
with
Pumice
stone
(
in
fine
powder
)
and
a
wet
cloth
polish
it
by
rubbing
;
then
go
over
it
again
three
or
four
times
with
the
Universal
Varnish
,
and
(
if
need
require
)
polish
it
again
with
fine
putty
as
before
;
after
which
you
may
once
again
strike
it
over
with
the
said
Varnish
,
and
it
will
be
done
.
VI.
To
imitate
Tortoise
shell
upon
silver
or
gold
.
A
white
ground
being
laid
,
and
smeared
over
with
Vermilion
or
the
like
;
lay
over
the
same
leaves
of
silver
or
gold
(
as
we
have
taught
in
other
places
)
either
with
gum
Ammoniacum
,
Lake
,
common
varnish
or
glair
;
this
done
,
and
being
dryed
,
shadow
it
according
to
reason
;
striking
it
over
here
and
there
with
yellow
varnish
,
and
with
the
yellow
varnish
mixed
with
a
little
red
varnish
;
(
all
things
being
done
in
imitation
of
the
shell
)
strike
it
several
times
over
with
the
Universal
Varnish
,
and
polish
it
(
in
all
respects
)
as
before
.
VII
.
To
imitate
Lapis
Lazuli
.
Upon
a
ground
of
white
Lead
,
Spodium
or
the
like
in
common
Varnish
(
being
first
dry
)
lay
Vltramarine
or
some
other
pure
blew
well
mixed
with
the
Uni●●●sal
Varnish
,
so
as
that
the
ground
may
not
appear
:
then
with
wild
,
irregular
streaks
(
in
resemblance
of
Nature
)
with
liquid
or
shell
gold
,
run
straglingly
all
over
the
blew
,
adding
very
small
specks
upon
the
blew
part
,
of
such
various
colours
,
as
are
usually
to
be
seen
upon
the
stone
.
CHAP.
XXVII
.
Experimental
Observations
of
Vegetable
Colours
in
General
.
I.
A
Strong
infusion
of
galls
filtred
;
mixed
with
a
strong
and
clear
solution
of
Vitriol
,
makes
a
mixture
as
black
as
Ink
:
which
with
a
little
strong
oyl
of
Vitriol
is
made
transparent
again
:
after
which
the
black
colour
is
regained
again
,
by
the
affusion
of
a
little
quantity
of
a
strong
solution
of
salt
of
Tartar
.
The
first
black
(
although
pale
in
writing
,
yet
)
being
dry
,
appears
to
be
good
Ink.
II.
Decoction
of
dried
red
roses
,
in
fair
water
,
mixed
with
a
little
filtrated
solution
of
blew
vitriol
made
a
black
colour
:
this
mixed
with
a
little
Aqua
fortis
,
turn'd
it
from
a
black
,
to
a
deep
red
;
which
by
affusion
of
a
little
spirit
of
Urine
,
may
be
reduced
straight
to
a
thick
and
black
colour
.
III.
Yellow
wax
is
whitened
by
dissolving
it
over
the
fire
in
spirit
of
wine
,
letting
it
boil
a
little
,
and
then
exhaling
the
spirit
of
wine
;
or
else
whilst
it
is
hot
,
sep●rating
it
by
filtration
.
IV.
Fair
water
mixed
with
a
blood
red
Tincture
of
Benjamin
drawn
with
spirit
of
wine
,
immediately
makes
it
of
a
milk
white
colour
.
V.
Blackness
may
be
taken
away
with
oyl
of
Vitriol
;
so
black
pieces
of
silk
or
hair
I
have
turn'd
to
a
kind
of
yellow
.
VI.
A
handful
of
Lignum
Nephitrioum
rasped
,
infused
in
four
pound
of
spring
water
,
yields
between
the
light
and
the
eye
an
almost
golden
colour
(
unless
the
Infusion
be
too
strong
)
but
with
the
eye
between
the
light
and
it
(
in
a
clear
vial
)
a
lovely
blew
as
indeed
it
is
:
this
with
spirit
of
Vinegar
may
be
made
to
vanish
(
still
keeping
its
golden
colour
)
and
after
with
oyl
of
Tartar
per
deliquium
may
be
restored
again
.
VII
.
Cloths
died
with
blew
and
Woad
,
is
by
the
yellow
decoction
of
Luteola
died
into
a
green
.
VIII
.
Syrup
of
Violets
mixed
with
a
high
solution
of
Gold
in
Aqua
regia
,
produces
a
reddish
mixture
;
and
with
a
high
solution
of
filings
of
Copper
in
spirit
of
Urine
,
a
lovely
fair
green
.
IX
.
Syrup
of
Violets
mixed
with
a
little
juice
of
Lemons
,
spirit
of
Salt
,
vinegar
,
or
the
like
acid
salt
,
will
be
immediately
red
;
but
mixt
with
oyl
of
Tartar
,
or
a
solution
of
pot
ashes
,
it
will
in
a
moment
be
perfect
green
:
the
like
in
juice
of
blew
bottles
.
X.
A
good
quantity
of
oyl
of
Tartar
,
put
into
a
strong
solution
of
Verdigriese
,
gives
a
delightful
blew
;
which
may
be
variously
changed
by
adding
spirit
of
Urine
,
or
hartshorn
.
XI
.
Although
red
roses
hung
over
the
fume
of
Sulphur
,
lose
all
their
redness
,
and
become
white
:
yet
oyl
of
Sulphur
(
which
is
nothing
but
the
fumes
condensed
)
doth
wonderfully
heighten
the
tincture
of
the
same
.
XII
.
Cochenele
will
have
its
colour
far
more
heightned
by
Spirit
of
Urine
,
than
by
rectified
spirit
of
wine
:
And
one
grain
of
Cochenele
in
a
good
quantity
of
spirit
of
Urine
,
being
put
into
one
hundred
twenty
six
ounces
of
water
,
tinged
it
(
although
but
faintly
:
)
which
amounts
to
above
one
hundred
twenty
five
thous
and
times
its
own
weight
.
XIII
.
Twenty
grains
of
Cochenele
being
mixed
with
an
ounce
of
Saecharum
Saturni
,
makes
a
most
glorious
purple
colour
:
and
so
accordingly
as
the
quantity
is
either
diminished
or
encreased
,
so
the
purple
colour
shall
be
either
lighter
or
deeper
.
XIV
.
A
few
Grains
of
Cochenele
being
mixed
with
the
Lixivium
of
Quicklime
in
a
due
proportion
,
makes
a
fading
purple
colour
,
of
the
greatest
glory
imaginable
in
the
world
.
XV.
The
juice
of
privet
berries
with
spirit
of
salt
,
is
turned
into
a
lovely
red
:
but
with
a
strong
solution
of
pot
ashes
into
a
delightful
green
.
XVI
.
Upon
things
red
by
nature
,
as
syrup
of
Clove-gilliflowers
,
juice
of
Buckthorn
berries
infusion
,
of
red
roses
,
Brazil
,
&c.
Spirit
of
Salt
makes
no
considerable
change
,
but
rather
a
lighter
red
:
but
other
salts
turn
them
into
a
greenish
;
especially
juice
of
buckthorn
berries
.
XVII
.
Juice
of
Jasmin
and
snow
drops
,
by
a
strong
alcalizate
solution
,
was
(
although
of
no
colour
)
turned
into
a
deep
greenish
yellow
.
XVIII
.
Buckthorn
berries
being
gathered
green
and
dried
,
are
called
sap-berries
,
which
being
infused
in
Alom
water
gives
a
fair
yellow
(
which
is
used
by
Book-binders
for
the
edges
of
their
books
,
and
to
colour
leather
also
:
)
being
gathered
when
they
are
black
,
they
are
called
sap
green
,
and
make
a
green
colour
being
put
into
a
brass
or
copper
vessel
for
three
or
four
days
;
or
a
little
heated
upon
the
fire
,
and
mixed
with
Alom
in
powder
,
and
pressed
forth
;
so
put
into
bladders
,
hanging
it
up
till
it
is
dry
:
And
being
gathered
about
the
end
of
November
,
(
when
they
are
ready
to
drop
)
they
yield
a
purplish
colour
.
XIX
.
Tincture
of
Cochenele
,
diluted
never
so
much
with
fair
water
,
will
never
yield
a
yellow
colour
:
a
single
drop
of
a
deep
solution
in
spirit
of
Urine
,
diluted
in
an
ounce
of
fair
water
,
makes
a
fair
pink
,
or
carnation
.
XX.
Oyl
or
spirit
of
Turpentine
,
digested
with
pure
white
Sugar
of
lead
,
yields
in
a
short
time
a
high
red
tincture
,
which
Chymists
call
Balsamum
Saturni
.
XXI
.
Spirit
of
Salt
dropt
into
a
strong
infusion
of
Cochenele
or
juice
of
black
cherries
,
makes
immediately
a
fair
red
:
but
dropt
into
the
Infusion
of
Brazil
,
a
kind
of
yellow
:
so
the
filtrated
tincture
of
Balaustins
mixed
with
good
spirit
of
Urine
,
or
the
like
,
turns
of
a
darkish
green
;
but
with
spirit
of
salt
,
a
high
redness
,
like
rich
Claret
wine
;
which
glorious
colour
may
in
a
moment
be
destroyed
,
and
turned
into
a
dirty
green
,
by
spirit
of
Urine
.
XXII
.
A
high
Infusion
of
Lignum
Nephriticum
,
mixed
with
spirit
of
Urine
,
gives
so
deep
a
blew
,
as
to
make
the
liquor
opacous
:
which
after
a
day
or
two
vanishes
,
and
leaves
the
liquor
of
a
bright
amber
colour
.
Where
note
that
instead
of
Spirit
of
Vrine
you
may
use
oyl
of
Tartar
,
or
a
strong
solution
of
pot
ashes
.
XXIII
.
Infusion
of
Logwood
in
fair
water
(
mixt
with
spirit
of
Sal
Armoniack
)
straight
turns
into
a
deep
,
rich
,
lovely
purple
;
two
or
three
drops
to
a
spoonsul
is
enough
,
lest
the
colour
be
so
deep
,
as
to
be
opacous
.
XXIV
.
Spirit
of
Sal
Armoniack
will
turn
syrup
of
Violets
to
a
lovely
green
.
XXV
.
Infusion
of
Litmoss
in
fair
water
,
gives
in
a
clear
glass
a
purple
colour
:
but
by
addition
of
spirit
of
Salt
,
it
will
be
wholly
changed
into
a
glorious
yellow
.
XXVI
.
The
Infusions
and
juices
of
several
plants
,
will
be
much
altered
by
a
solution
of
Lead
in
spirit
of
Vinegar
:
it
will
turn
infusion
of
red
rose
leaves
into
a
sad
green
.
XXVII
.
So
Tincture
of
red
roses
in
fair
water
,
would
be
turned
into
a
thick
green
,
with
the
solution
of
Minium
in
spirit
of
Vinegar
;
and
then
with
the
addition
of
oyl
of
Vitriol
the
resolved
Lead
would
precipitate
white
,
leaving
the
liquor
of
a
clear
,
high
red
colour
again
.
XXVIII
.
We
have
not
yet
found
,
that
to
exhibit
strong
variety
of
colours
,
there
need
be
imployed
any
more
than
these
five
,
White
,
Black
,
Red
,
Blew
,
Yellow
:
for
these
being
variously
compounded
and
decompounded
exhibit
a
variety
and
number
of
colours
;
such
as
those
who
are
strangers
to
painting
can
hardly
imagine
.
XXIX
.
So
Black
and
White
variously
mixed
,
make
a
vast
company
of
light
and
deep
Grays
:
Blew
and
Yellow
,
many
Greens
:
Red
and
Yellow
,
Orange-tawnies
:
Red
and
White
,
Carnations
:
Red
and
Blew
,
Purples
,
&c.
producing
many
colours
for
which
we
want
names
.
XXX
.
Acid
salts
destroy
a
blew
Colour
:
Sulphurous
,
Urinous
or
fixed
restore
it
.
XXXI
.
Acid
and
Alcalizate
salts
,
with
many
bodies
that
abound
with
Sulphureous
or
oyly
parts
will
produce
a
red
,
as
is
manifest
in
the
Tincture
of
Sulphur
,
made
with
Lixioiums
of
Calcined
Tartar
or
pot
ashes
.
XXXII
.
Lastly
,
it
may
be
worth
tryal
(
since
it
hath
succeeded
in
some
experiments
)
so
to
take
away
the
colour
of
a
Liquor
,
as
that
it
may
be
colourless
:
which
in
what
we
have
tryed
,
was
thus
:
first
by
putting
into
the
Tincture
,
Liquor
,
or
juice
,
a
quantity
of
the
solution
of
pot
ashes
or
oyl
of
Tartar
per
deliquium
;
and
then
affusing
a
good
or
strong
solution
of
Alom
,
which
in
our
observations
precipitated
the
tinging
matter
,
or
gathered
it
into
one
body
(
like
as
it
were
curds
)
and
so
left
the
Liquor
transparent
and
clear
as
Crystal
.
CHAP.
XXII
.
General
Experimental
observations
of
Mineral
Colours
.
I.
SVblimate
dissolved
in
fair
water
,
and
mixed
with
a
little
spirit
of
Urine
,
makes
a
milk
white
mixture
in
a
moment
:
which
by
addition
of
Aqua
Fortis
,
immediately
again
becomes
transparent
.
II.
If
Sublimate
two
ounces
,
and
Tin-glass
one
ounce
be
sublimed
together
,
you
will
have
a
sublimate
not
inferiour
to
the
best
orient
Pearls
in
the
world
.
III.
Silver
dissolved
in
Aqua
fortis
,
and
evaporated
to
dryness
,
and
fair
water
poured
two
or
three
times
thereon
,
and
evaporated
,
till
the
calx
is
dry
,
leaves
it
of
a
Snow
whiteness
:
which
rubbed
upon
the
skin
,
(
wetted
with
spittle
,
water
or
the
like
)
produces
a
deep
blackness
,
not
to
be
obliterated
in
some
days
.
With
this
,
Ivory
,
hair
,
and
horns
may
be
dyed
in
fair
water
of
a
lasting
black
.
IV.
Coral
dissolved
by
oyl
of
vitriol
,
Sulphur
,
or
spirit
of
Vinegar
,
and
precipitated
by
oyl
of
Tartar
,
yields
a
Snow
whiteness
.
The
same
of
crude
Lead
and
Quicksilver
dissolved
in
Aqua
Fortis
:
So
butter
of
Antimony
rectified
by
bare
affusion
in
much
fair
water
,
will
(
though
Unctuous
)
be
precipitated
into
the
Sn●w
white
powder
which
(
being
washed
from
its
corrosive
salts
)
is
called
Mercurius
Vitae
:
the
like
of
which
may
be
made
without
the
addition
of
any
Mercury
at
all
.
V.
Mercury
Sublimate
and
precipitate
yields
(
with
the
spirit
of
Urine
,
Harts
horn
,
or
the
like
)
a
white
precipitate
:
but
with
the
solution
of
Pot
ashes
,
or
other
Lixiviate
salts
an
Orange
tawny
.
And
if
on
a
filtrated
solution
of
Vitriol
,
you
put
the
solution
of
a
fixed
salt
,
there
will
subside
a
copious
substance
far
from
whiteness
,
which
Chymists
call
the
Sulphur
of
Vitriol
.
VI.
If
Copper
two
ounces
be
mixed
with
Tin
one
ounce
,
the
reddishness
will
vanish
:
and
if
Arsenick
(
calcined
with
Nitre
)
in
a
just
proportion
be
mixed
with
melted
Copper
,
it
will
be
blanched
both
within
and
without
.
VII
.
Fine
powders
of
blew
Bice
,
and
yellow
Orpiment
,
slightly
mixed
,
give
a
good
green
:
and
a
high
yellow
solution
of
good
Gold
in
Aqua
regia
,
mixed
with
a
due
quantity
of
a
deep
blew
solution
of
crude
Copper
in
strong
spirit
of
Urine
,
produces
a
transparent
green
:
And
so
blew
and
yellow
Amel
fused
together
in
the
flame
of
a
Lamp
,
being
strongly
blowed
on
without
ceasing
,
produces
at
length
a
green
colour
.
VIII
.
An
urinous
salt
,
largely
put
into
the
dissolution
of
blew
Vitriol
in
fair
water
,
turn'd
the
liquor
and
corpuscles
(
which
resided
)
into
a
yellowish
colour
like
yellow
Oker
.
IX
.
Verdigriese
ground
with
salt
Armoniack
and
the
like
(
digested
for
a
while
in
a
dunghil
)
makes
a
glorious
blew
.
X.
The
true
glass
of
Antimony
extracted
with
acid
spirits
(
with
or
without
Wine
)
yields
a
red
tincture
.
XI
.
Balsam
of
Sulphur
(
of
a
deep
red
in
the
glass
)
shaked
about
,
or
dropt
on
paper
give
a
yellow
stain
.
XII
.
If
Brimstone
and
Sal
Armoniack
in
powder
of
each
five
ounces
,
be
mixed
with
quick-lime
in
powder
six
ounces
,
and
distilled
in
a
Retort
in
sand
by
degrees
;
you
will
have
a
volatil
spirit
of
Sulphur
of
excellent
redness
,
though
none
of
the
ingredients
be
so
.
So
also
oyl
of
Anniseeds
mixed
with
oyl
of
Vi●riol
,
gives
in
a
trice
a
blood
red
colour
,
which
soon
decays
.
XIII
.
Fine
silver
dissolved
in
Aqua
fortis
,
and
precipitated
with
spirit
of
Salt
;
upon
the
first
decanting
the
liquor
,
the
remaining
matter
will
be
purely
white
;
but
lying
uncovered
,
what
is
subject
to
the
ambient
air
will
lose
its
whiteness
.
XIV
.
Sublimate
dissolved
in
a
quantity
of
water
and
filtred
,
till
it
is
as
clear
as
Crystal
,
mixed
(
in
a
Venice
glass
)
with
good
oyl
of
Tartar
per
deliquium
filtred
,
(
three
or
four
drops
to
a
spoonful
)
yields
an
opacous
liquor
of
a
deep
Orange
colour
;
after
which
if
four
or
five
drops
of
Oyl
of
Vitriol
be
dropt
in
,
and
the
glass
straight
way
be
strongly
shaked
,
the
whole
liquor
will
(
to
admiration
)
be
colourless
without
sediment
.
And
if
the
filtred
solution
of
sublimed
Sal-armoniack
and
Sublimate
of
each
alike
be
mixt
with
the
solution
of
an
Alcaly
,
it
will
be
white
.
XV.
Spirit
of
Sal
Armoniack
makes
the
solution
of
Verdigriese
an
excellent
Azure
;
but
it
makes
the
solution
of
Sublimate
yield
a
white
precipitate
.
XVI
.
So
the
solution
of
filings
of
Copper
in
spirit
of
Urine
(
made
by
fermentation
)
gives
a
lovely
Azure
colour
:
which
with
oyl
of
Vitriol
(
a
few
drops
to
a
spoonful
)
is
deprived
in
a
trice
of
the
same
,
and
makes
it
like
fair
water
.
And
so
a
solution
of
Verdigriese
in
fair
water
,
mixed
with
strong
Spirit
of
Salt
,
or
dephlegmed
Aqua
fortis
,
makes
the
greenness
almost
totally
to
disappear
.
XVII
.
Quick-filver
mixed
with
three
or
four
times
its
weight
of
good
oyl
of
Vitriol
,
and
the
oyl
drawn
off
in
sand
,
through
a
glass
Retort
,
leaves
a
snow
white
precipitate
;
which
by
affusion
of
fair
water
,
becomes
one
of
the
loveliest
light
yellows
in
the
world
,
and
a
durable
colour
.
XVIII
.
Tin
calcined
per
se
by
fire
,
affords
a
very
white
calx
called
putty
:
Lead
,
a
red
powder
called
Minium
:
Copper
,
a
dark
or
blackish
powder
:
Iron
,
a
dirty
yellowish
colour
,
called
Crocus
Martis
:
and
Mercury
,
a
red
powder
.
XIX
.
Gold
dissolved
in
Aqua
Regia
ennobles
the
Menstruum
with
its
own
colour
:
Silver
Coyn
dissolved
in
Aqua
fortis
yields
a
tincture
like
that
of
Copper
;
but
fine
silver
a
kind
of
faint
blewishness
:
Copper
dissolved
in
spirit
of
Sugar
(
drawn
off
in
a
glass
Retort
)
or
in
oyl
or
spirit
of
Turpentine
,
affords
a
green
tincture
;
but
in
Aqua
fortis
,
a
blew
.
XX.
Vermilion
is
made
of
Mercury
and
Brimstone
sublimed
together
in
a
due
proportion
.
XXI
.
Glass
may
have
given
to
it
a
lovely
golden
colour
with
Quick
silver
;
but
it
is
now
coloured
yellow
generally
with
Calx
of
silver
:
yet
shell
silver
,
(
such
as
is
used
with
pen
or
pencil
)
mixed
with
a
convenient
proportion
of
powdered
glass
,
in
three
or
four
hours
fusion
,
gave
a
lovely
Saferine
blew
.
XXII
.
Glass
is
tinged
Green
(
by
the
Glass-men
)
with
the
Calx
of
Venus
:
which
Calx
mixed
with
an
hundred
times
its
weight
of
fair
glass
,
gave
in
fusion
a
blew
coloured
mass
.
XXIII
.
Putty
(
which
is
Tin
calcined
)
as
it
is
white
of
it self
,
so
it
turns
the
purer
sort
of
glass
metal
into
a
white
mass
,
which
when
opacous
enough
,
serves
for
white
Amel.
XXIV
.
This
White
Amel
is
as
it
were
the
Basis
of
all
those
fine
Concretes
,
that
Gold-smiths
,
and
several
Artificers
use
,
in
the
curious
art
of
Enamcling
;
for
this
white
and
fuseable
substance
,
will
receive
into
it self
,
without
spoiling
them
,
the
colours
of
divers
other
Mineral
substances
,
which
like
it
will
endure
the
fire
.
XXV
.
Glass
is
also
tinged
blew
with
the
dark
mineral
called
Zaffora
;
and
with
Manganess
or
Magnessia
in
a
certain
proportion
,
which
will
tinge
glass
of
a
red
Colour
;
and
also
of
a
Purplish
or
Murry
;
and
with
a
greater
quantity
,
into
that
deep
colour
which
passes
for
black
.
XXVI
.
Yellow
Orpiment
sublimed
with
Sea
Salt
,
yields
a
white
and
Crystalline
Arsenick
;
which
Arsenick
coloured
with
pure
Nitre
being
duly
added
to
Copper
when
't
is
in
fusion
,
gives
it
a
whiteness
both
within
and
without
.
XXVII
.
So
Lapis
Calaminaris
turns
Copper
into
Brass
.
XXVIII
.
And
Zink
duly
mixed
with
Copper
when
't
is
in
fusion
,
gives
it
the
noblest
golden
colour
that
was
ever
seen
in
the
best
gold
.
XXIX
.
Copper
dissolved
in
Aqua
fortis
will
imbuc
several
bodies
of
the
colour
of
the
solution
.
XXX
.
Lastly
,
Gold
dissolved
in
Aqua
Regia
will
(
though
not
commonly
known
)
dye
Horns
,
Ivories
and
other
bones
of
a
durable
purple
colour
:
And
the
Crystals
of
Silver
made
with
Aqua
fortis
,
(
though
they
appear
white
)
will
presently
dye
the
Skin
,
Nails
,
Hair
,
Horn
,
and
Bones
,
with
a
Black
not
to
be
washed
off
.
CHAP.
XXIX
.
Of
Metals
.
I.
TO
barden
Quick-silver
.
Cast
your
Lead
separated
from
its
dross
into
a
vessel
,
and
when
it
begins
to
cool
,
thrust
in
the
point
of
a
stick
,
which
take
out
again
and
cast
in
the
Argent
Vive
,
and
it
will
congeal
:
then
beat
it
in
a
mortar
,
and
do
so
often
;
when
it
is
hard
,
melt
it
often
,
and
put
it
into
fair
water
,
doing
it
so
long
till
it
is
hard
enough
,
and
may
be
hammered
.
II.
To
tinge
Quick-silver
of
the
colour
of
gold
.
Break
it
into
small
pieces
(
being
hardned
)
which
put
into
a
crucible
,
with
the
powder
of
Cadmia
,
stratum
super
stratum
,
mixed
with
pomegranate
peels
,
Turmerick
(
beaten
fine
)
and
Raisons
;
cover
the
crucible
and
lute
it
well
,
dry
it
well
;
and
then
set
it
on
a
fire
for
six
or
seven
hours
,
that
it
may
be
red
hot
;
then
blow
it
with
bellows
till
it
run
,
which
then
let
cool
whilest
covered
with
coles
,
and
it
will
have
the
colour
of
gold
.
III.
To
fix
Quick-silver
being
hardned
.
This
is
done
with
fine
powder
of
Crystal
glass
,
laid
with
the
metal
stratum
super
stratum
in
a
crucible
covered
and
luted
;
heating
it
all
over
red
hot
,
and
then
melting
of
it
.
IV.
To
make
Quick-silver
malleable
.
First
harden
it
by
the
first
Section
,
then
break
the
metal
into
small
pieces
,
and
boil
it
a
quarter
of
an
hour
in
sharp
vinegar
:
then
add
a
little
Sal
Armoniack
,
and
digest
all
together
for
ten
or
twelve
days
;
then
boil
all
together
in
a
luted
crucible
,
till
it
is
red
hot
,
and
by
degrees
crack
:
lastly
,
hang
the
Mercury
in
a
pot
with
brimstone
at
bottom
to
cover
it
;
lute
it
and
set
it
into
the
fire
,
that
it
may
grow
hot
by
degrees
,
and
receive
the
fume
of
the
Sulphur
;
do
thus
for
a
month
once
a
day
,
and
the
Mercury
will
run
and
be
hammered
.
V.
Another
way
of
tinging
Mercury
.
Take
purified
Mercury
one
ounce
,
Sulphur
two
ounces
,
Aqua
fortis
three
ounces
,
let
them
all
stand
till
the
water
grow
clear
;
distill
this
with
its
sediment
,
and
at
bottom
of
the
Limbeck
:
you
shall
find
the
Mercury
hard
,
and
of
an
exact
colour
.
VI.
To
colour
and
soften
Gold
.
Dissolve
Verdigriese
in
Vinegar
,
and
strain
it
through
a
felt
,
then
congeal
,
and
when
it
begins
to
wax
thick
,
put
to
it
some
Sal
armoniack
,
and
let
it
harden
a
good
while
,
then
melt
gold
with
it
,
and
it
will
heighten
the
colour
and
make
it
soft
.
VII
.
To
make
Gold
and
Silver
softer
.
Take
Mercury
Sublimate
,
Sal
armoniack
,
of
each
alike
,
powder
them
,
melt
the
gold
,
and
put
to
it
a
little
of
this
powder
,
and
it
will
be
soft
.
VIII
.
Another
way
to
do
the
same
.
Take
Vitriol
,
Verdet
,
Sal
Armoniack
,
burnt
brass
of
each
half
an
ounce
,
mix
them
with
Aqua
fortis
,
let
it
so
repose
in
the
heat
two
days
,
then
let
it
harden
,
do
thus
three
times
with
Aqua
fortis
,
and
let
it
dry
,
make
it
into
powder
,
to
one
dram
put
one
ounce
of
gold
three
times
and
it
will
be
softer
.
IX
.
Another
way
to
do
the
same
in
silver
.
Take
Salt-peter
,
Tartar
,
Salt
,
Verdet
,
boil
all
together
,
till
the
water
is
consumed
,
then
put
to
it
Urine
,
and
let
it
so
consume
,
and
you
shall
have
an
oyl
,
which
put
into
melted
silver
will
do
the
same
.
Or
thus
,
Take
as
many
wedges
as
you
have
melted
,
put
them
one
night
into
a
crucible
in
a
furnace
,
but
so
as
they
melt
not
,
and
they
will
be
soft
and
fair
.
Or
thus
,
Take
honey
,
oyl
,
of
each
alike
,
in
which
quench
the
Gold
or
Silver
three
or
four
times
,
and
it
will
be
softer
.
Or
thus
,
Take
Mastich
,
Frankincense
,
Myrrh
,
Borax
,
Vernix
,
of
each
alike
,
all
in
powder
.
Or
thus
,
Quench
the
Gold
or
silver
in
water
of
Sal
armoniack
,
and
it
will
be
soft
.
X.
To
tinge
silver
of
a
golden
colour
.
Take
fine
gold
,
fine
silver
,
good
brass
,
and
brass
or
copper
calcin'd
with
Sulphur
vive
,
of
each
alike
,
melt
them
down
together
,
and
it
shall
appear
to
be
gold
of
eighteen
carets
fine
.
XI
.
Another
way
to
tinge
silver
.
Take
Quick-silver
purged
three
ounces
,
leaf
gold
one
ounce
,
mix
them
and
put
them
into
a
glass
Retort
well
luted
,
put
it
on
the
fire
till
it
grow
hot
;
then
take
it
off
,
and
add
to
it
Quick-silver
purged
two
ounces
,
Sal
Armoniack
one
ounce
,
Sal
Ellebrot
half
an
ounce
,
Borax
two
drachms
;
then
seal
up
the
glass
hermetically
,
and
put
it
into
a
continuual
fire
for
three
days
;
then
take
it
out
,
let
it
cool
,
open
the
retort
,
take
out
the
matter
,
and
powder
it
very
fine
:
of
which
powder
mix
one
ounce
with
silver
five
ounces
,
and
it
will
tinge
it
into
a
good
gold
colour
.
Note
,
Sal
Ellebrot
is
thus
made
.
Take
pure
common
Salt
,
Sal
Gem
,
Sal
alcaly
in
powder
,
of
each
one
ounce
,
juice
of
mints
four
ounces
,
spring
water
four
pound
,
mingle
them
,
and
evaporate
.
And
Quick-silver
is
purged
by
washing
it
in
sharp
vinegar
three
or
four
times
and
straining
it
;
or
by
subliming
it
which
is
better
.
XII
.
To
bring
silver
into
a
calx
.
This
is
done
by
amalgamating
of
it
with
Quick-silver
,
and
then
subliming
of
it
;
or
by
dissolving
it
in
Aqua
fortis
,
and
precipitating
it
with
the
solution
of
salt
in
fair
water
,
and
then
washing
it
with
warm
water
often
to
free
it
from
the
salts
:
or
else
by
mingling
the
fillings
with
sublimed
Mercury
,
and
in
a
retort
causing
the
Mercury
to
ascend
,
which
will
leave
at
bottom
the
Calx
of
silver
,
fit
for
jewels
,
&c.
XIII
.
To
blanch
Silver
.
Take
Salarmoniack
,
Roch
alom
,
Alom
plumosum
,
Sal
gem
,
Argal
,
Roman
Vitriol
,
of
each
alike
;
powder
and
mix
them
,
and
dissolve
them
in
fair
water
,
in
which
boil
the
silver
so
long
,
till
you
see
it
wonderful
white
.
XIV
.
To
colour
silver
of
a
Gold
colour
.
Take
Salt-peter
two
pound
,
Roch
Alom
five
pound
,
mingle
,
and
distil
them
,
keeping
the
water
for
use
.
When
you
use
it
,
melt
the
Silver
,
and
quench
it
in
the
said
water
.
XV.
To
tinge
Brass
of
a
Gold
Colour
.
Dissolve
burnt
brass
in
Aqua
fortis
(
made
of
Vitriol
,
Salt-peter
,
Alom
,
Verdigriese
,
and
Vermilion
)
and
then
reduce
it
again
,
and
it
will
be
much
of
a
gold
colour
.
XVI
.
To
make
Brass
through
white
.
Heat
Brass
red
hot
,
and
quench
it
in
water
distilled
from
Sal
Armoniack
,
and
Egg-shells
ground
together
,
and
it
will
be
very
white
.
XVII
.
To
make
Brass
white
otherwise
.
Take
egg-shells
and
calcine
them
in
a
crucible
,
and
temper
them
with
the
whites
of
eggs
,
let
it
stand
so
three
weeks
;
heat
the
brass
red
hot
,
and
put
this
upon
it
.
XVIII
.
To
make
Brass
.
Take
Copper
three
pounds
,
Lapis
Calaminaris
one
pound
in
powder
,
melt
them
together
the
space
of
an
hour
,
then
put
it
out
.
XIX
.
The
way
to
colour
Brass
white
.
Dissolve
a
peny
weight
of
Silver
in
Aqua
fortis
,
putting
it
to
the
fire
in
a
vessel
,
till
the
Silver
turn
to
water
;
to
which
add
as
much
powder
of
white
Tartar
as
may
drink
up
all
the
water
,
make
it
into
Balls
,
with
which
rub
any
Brass
,
and
it
will
be
white
as
silver
.
XX.
To
tinge
Copper
of
a
gold
Colour
.
Take
Copper
,
Lapis
Calaminaris
,
of
each
four
drachms
,
Tutty
two
drachms
;
heat
the
Copper
red
hot
twice
,
quenching
it
in
piss
;
doing
the
like
by
the
Lapis
and
Tutty
:
take
of
the
dissolved
Copper
half
an
ounce
,
adding
to
it
Honey
one
ounce
,
boil
them
till
the
Honey
look
black
and
is
dry
that
it
may
be
powdered
,
which
then
beat
with
the
Lapis
and
Tutty
:
boil
them
again
,
till
the
Copper
is
melted
and
it
is
done
.
XXI
.
Another
way
to
make
Copper
of
a
gold
Colour
.
Take
the
Gall
of
a
Goat
,
Arsnick
,
of
each
a
sufficient
quantity
,
and
distil
them
;
then
the
Copper
being
bright
being
washed
in
this
water
,
will
turn
into
the
Colour
of
gold
.
XXII
.
Another
way
to
do
the
same
.
Melt
Coppper
,
to
which
put
a
little
Zink
in
filings
,
and
the
Copper
will
have
a
glorious
golden
colour
.
XXIII
.
To
make
Copper
of
a
white
colour
.
Take
Sublimate
,
Sal
Armoniack
,
of
each
alike
;
boil
them
in
Vinegar
,
in
which
quench
the
Copper
being
made
red
hot
,
and
it
will
be
like
Silver
.
XXIV
.
Another
way
to
whiten
Copper
.
Heat
it
red
hot
divers
times
,
and
quench
it
in
oyl
of
Tartar
per
deliquium
,
and
it
will
be
white
.
XXV
.
Another
way
to
whiten
Copper
.
Take
Arsnick
three
ounces
,
Mercury
Sublimate
two
ounces
,
Azure
one
ounce
,
mix
them
with
good
and
pure
grease
like
an
ointment
,
with
which
anoint
any
Copper
vessel
,
then
put
that
vessel
into
another
,
and
set
it
into
a
digestive
heat
for
two
months
,
after
which
cleanse
it
with
a
brush
and
water
and
it
is
done
.
XXVI
.
Another
way
to
whiten
Copper
.
Take
Arsnick
calcined
with
Salt-peter
,
and
Mercury
Sublimate
,
which
cast
upon
melted
Copper
,
and
it
will
be
white
like
Silver
.
XXVII
.
To
soften
Copper
.
Melt
burnt
Brass
with
Borax
in
a
crucible
,
quench
it
in
Linseed
oyl
,
and
then
beat
it
gently
on
an
Anvil
;
boil
it
again
and
quench
it
in
oyl
as
before
,
doing
thus
five
or
six
times
,
till
it
is
soft
enough
;
and
this
will
neatly
unite
with
Gold
,
of
which
you
may
put
in
more
by
half
than
you
can
of
other
Brass
.
XXVIII
.
To
tinge
with
Iron
a
gold
colour
.
Lay
in
a
crucible
plates
of
Iron
and
Brimstone
,
stratum
super
stratum
,
cover
and
Lute
it
well
,
and
calcine
in
a
fornace
,
then
take
them
out
and
they
will
be
brittle
:
put
them
into
a
pot
with
a
large
mouth
,
and
put
in
sharp
distilled
Vinegar
,
digesting
till
they
wax
red
over
a
gentle
heat
:
then
decant
the
Vinegar
,
and
add
new
,
thus
doing
till
all
the
Iron
be
dissolved
;
evaporate
the
moisture
in
a
glass
Retort
or
Vesica
,
and
cast
the
remaining
powder
on
Silver
,
or
other
white
Metal
,
and
it
will
look
like
Gold
.
XXIX
.
To
make
Iron
or
Silver
of
a
Brass
Colour
.
Take
Flowers
of
Brass
,
Vitriol
,
Sal
armoniack
,
of
each
alike
in
fine
powder
;
boil
it
half
an
hour
in
strong
Vinegar
,
take
it
from
the
fire
,
and
put
in
Iron
or
Silver
,
covering
the
vessel
till
it
be
cold
,
and
the
metall
will
be
like
to
Brass
,
and
sit
to
be
gilded
:
or
rub
polished
Iron
with
Aqua
fortis
in
which
filings
of
Brass
is
dissolved
.
XXX
.
To
tinge
Iron
into
a
Brass
colour
.
Melt
the
Iron
in
a
crucible
casting
upon
it
Sulphur
vive
,
then
cast
it
into
small
rods
,
and
beat
it
into
pieces
(
for
it
is
very
brittle
)
then
in
Aqua
fortis
dissolve
it
,
and
evaporate
the
menstruum
,
reducing
the
powder
by
a
strong
fire
into
a
body
again
,
and
it
will
be
good
Brass
.
XXXI
.
To
whiten
Iron
.
First
purge
it
,
by
heating
it
red
hot
and
quenching
it
in
a
water
made
of
Ly
and
Vinegar
,
boiled
with
Salt
and
Alom
,
doing
this
so
often
till
it
is
somewhat
whitened
.
The
fragments
of
the
Iron
beat
in
a
mortar
till
the
Salt
is
quite
changed
,
and
no
blackness
is
left
in
the
Liquor
of
it
,
and
till
the
Iron
is
cleansed
from
its
dross
:
then
Amalgamate
Lead
and
Quick-silver
together
,
and
reduce
them
into
a
powder
;
lay
the
prepared
plates
of
Iron
and
this
powder
stratum
super
stratum
in
a
Crucible
,
cover
it
,
and
lute
it
all
over
very
strongly
,
that
the
least
fume
may
not
come
forth
,
and
put
it
into
the
fire
for
a
day
;
at
length
encrease
the
fire
,
so
as
it
may
melt
the
Iron
(
which
will
quickly
be
)
and
repeat
this
work
till
it
is
white
enough
:
It
is
whitened
also
by
melting
with
Lead
,
the
Marchasit
or
fire-stone
and
Arsnick
.
If
you
mix
a
little
silver
(
with
which
it
willingly
unites
)
with
it
,
it
gives
a
wonderful
whiteness
,
scarcely
ever
to
be
changed
any
more
,
by
any
art
whatsoever
.
XXXII
.
To
keep
Iron
from
Rusting
.
Rub
it
over
with
Vinegar
mixt
with
Ceruse
;
or
with
the
marrow
of
a
Hart
:
if
it
be
rusty
,
oyl
of
Tartar
per
deliquium
will
presently
take
it
away
and
cleanse
it
.
XXXIII
.
To
cleanse
Brass
.
Take
Aqua
fortis
and
water
of
each
alike
;
shake
them
together
,
and
with
a
woolen
rag
dipt
therein
rub
it
over
:
then
presently
rub
it
with
an
oyly
cloth
;
lastly
with
a
dry
woolen
cloth
dipt
in
powder
of
Lapis
Calaminaris
,
it
will
be
clear
and
bright
as
when
new
.
XXXIV
.
To
soften
Iron
.
Take
Alom
,
Sal
armoniack
,
Tartar
,
of
each
alike
,
put
them
into
good
Vinegar
,
and
set
them
on
the
fire
,
heat
the
Iron
,
and
quench
it
therein
:
or
quench
it
four
or
five
times
in
oyl
,
in
which
melted
Lead
hath
been
put
six
or
seven
times
.
XXXV
.
To
make
Iron
of
a
Gold
colour
.
Take
Alom
of
Melancy
in
powder
,
Sea
water
;
mix
them
:
then
heat
the
Iron
red
hot
,
and
quench
it
in
the
same
.
XXXVI
.
To
make
Iron
of
a
Silver
Colour
.
Take
powder
of
Sal
armoniack
,
unslak'd
lime
,
mix
and
put
them
into
cold
water
,
then
heat
the
Iron
red
hot
,
quench
it
therein
,
and
it
will
be
as
white
as
silver
.
XXXVII
.
To
soften
Steel
to
grave
upon
.
This
is
done
with
a
Lixivium
of
Oak
ashes
and
unslak'd
Lime
,
by
casting
the
Steel
into
it
and
letting
it
remain
there
fourteen
days
.
Or
thus
.
Take
the
Gall
of
an
Ox
,
Man's
Urine
,
Verjuice
,
and
juice
of
Nettles
of
each
alike
,
mix
them
;
then
quench
steel
red
hot
therein
four
or
five
times
together
,
and
it
will
become
very
soft
.
XXXVIII
.
To
barden
Iron
or
Steel
.
Quench
it
six
or
seven
times
in
Hogs
blood
mixed
with
Goose
grease
,
at
each
time
drying
it
at
the
fire
before
you
dip
it
again
,
and
it
will
become
very
hard
and
not
brittle
.
XXXIX
.
To
solder
on
Iron
.
Set
the
joints
of
Iron
as
close
as
you
can
,
lay
them
in
a
glowing
fire
,
and
take
of
Venice
glass
in
powder
,
and
the
Iron
being
red
hot
,
cast
the
powder
thereon
,
and
it
will
solder
of
it self
.
XL.
To
counterfeit
Silver
.
Take
Crystal
Arsnick
eight
ounces
,
Tartar
six
ounces
,
Salt-peter
two
ounces
,
Glass
one
ounce
and
an
half
,
Sublimate
half
an
ounce
:
make
them
severally
into
fine
powder
and
mix
them
:
then
take
three
pound
of
Copper
in
thin
plates
which
put
into
a
Crucible
(
with
the
former
powder
stratum
super
statum
)
to
calcine
,
covering
it
and
luting
it
strongly
;
let
it
stand
in
the
furnace
for
about
eight
or
ten
hours
:
then
take
it
out
,
and
(
being
cold
)
break
the
pot
,
and
take
out
all
the
matter
,
and
melt
it
with
a
violent
fire
,
casting
it
into
some
mold
.
Then
take
purged
Brass
two
pound
,
of
the
former
metal
one
pound
;
melt
them
together
,
casting
in
,
now
and
then
,
some
of
the
aforesaid
powder
,
after
which
add
half
as
much
of
fine
silver
,
melting
them
together
,
and
you
have
that
which
is
desired
:
lastly
to
make
it
as
white
as
Silver
,
boil
it
in
Tartar
.
XLI
.
Another
way
to
counterfeit
Silver
.
Take
purified
tin
eight
ounces
,
Quick-silver
half
an
ounce
,
and
when
it
begins
to
rise
in
the
first
heat
,
take
powder
of
Cantharides
,
and
cast
into
it
,
with
a
lock
of
hair
,
that
it
may
burn
in
it
;
being
melted
put
into
it
the
powder
aforesaid
,
then
take
it
suddenly
from
the
fire
,
and
let
it
cool
.
XLII
.
To
purge
the
Brass
.
It
is
cleansed
or
purged
,
by
casting
into
it
when
it
is
melted
,
broken
glass
,
Tartar
,
Sal
armoniack
,
and
Salt-peter
,
each
of
them
by
turns
,
by
little
and
litle
.
XLIII
.
To
tinge
Lead
of
a
golden
colour
.
Take
purged
Lead
one
pound
,
Sal
Armoniack
in
powder
one
ounce
,
Salt-peter
half
an
ounce
,
Sal
Elebrot
two
drachms
;
put
all
into
a
crucible
for
two
days
and
it
will
be
throughly
tinged
.
XLIV
.
To
purge
Lead
.
Melt
it
at
the
fire
,
then
quench
it
in
the
sharpest
Vinegar
;
melt
it
again
and
quench
it
in
the
juice
of
Celandine
:
melt
it
again
and
quench
it
in
salt
water
:
then
in
Vinegar
mixed
with
Sal
armoniack
:
and
lastly
melt
it
,
and
put
it
into
ashes
,
and
it
will
be
well
cleansed
.
XIV
.
To
make
Lead
of
a
golden
colour
.
Put
Quick-silver
one
ounce
into
a
Crucible
,
set
it
over
the
fire
till
it
is
hot
,
then
add
to
it
of
the
best
Leaf-gold
one
ounce
,
and
take
it
from
the
fire
,
and
mingle
it
with
purified
Lead
melted
one
pound
;
mingle
all
well
together
with
an
Iron
rod
,
to
which
put
of
the
filterated
solution
of
Vitriol
in
fair
water
one
ounce
;
then
let
it
cool
,
and
it
will
be
of
a
good
colour
.
Dissolve
the
Vitriol
in
its
equal
weight
of
water
.
XLVI
.
To
take
away
the
ringing
and
softness
of
Tin
.
Melt
the
Tin
,
and
cast
in
some
Quick-silver
,
remove
it
from
the
fire
,
and
put
it
into
a
glass
Retort
,
with
a
large
round
belly
,
and
a
very
long
neck
,
heat
it
red
hot
in
the
fire
,
till
the
Mercury
sublimes
and
the
Tin
remains
at
bottom
;
do
thus
three
or
four
times
.
The
same
may
be
done
by
calcining
of
it
three
or
four
times
,
by
which
means
it
will
sooner
be
red
hot
than
melt
.
XLVII
.
To
take
away
the
softness
and
creaking
noise
of
Tin
.
This
is
done
by
granulating
of
it
often
,
and
then
reducing
it
again
,
and
quenching
it
often
in
Vinegar
and
a
Lixivium
of
Salt
of
Tartar
.
The
creaking
noise
is
taken
away
by
melting
it
seven
or
eight
several
times
and
quenching
it
in
Boys
Urine
,
or
else
oyl
of
Walnuts
.
XLVIII
.
To
take
away
the
deaf
sound
of
Tin
.
This
is
done
by
dissolving
it
in
Aqua
fortis
over
a
gentle
fire
,
till
the
water
fly
away
:
doing
thus
so
long
till
it
is
all
turned
to
a
calx
;
which
mixed
with
calx
of
silver
,
and
reduced
,
performs
the
work
.
XLIX
.
To
make
that
Tin
crack
not
.
Take
Salt
,
Honey
,
of
each
alike
,
and
mix
them
:
melt
your
Tin
and
put
it
twelve
or
more
times
into
it
,
then
strain
out
the
Tin
,
and
it
will
purge
and
leave
cracking
;
put
it
into
a
crucible
,
which
lute
,
and
calcine
it
four
and
twenty
hours
,
and
it
will
be
like
calx
of
gold
.
L.
To
take
away
the
brittleness
of
any
Metal
.
First
calcine
it
and
put
it
under
dung
;
then
do
thus
;
when
it
is
red
hot
at
the
fire
,
or
melted
,
quench
it
often
in
Aqua
vitae
often
distilled
;
or
use
about
them
Rosin
or
Turpentine
,
or
the
oyl
of
it
,
or
wax
,
suet
,
Euphorbium
,
Myrrh
,
artificial
Borax
:
for
if
a
metal
be
not
malleable
,
unctuous
bodies
will
oftentimes
make
them
softer
,
if
all
these
,
or
some
of
these
be
made
up
with
some
moisture
into
little
Cakes
:
and
when
the
metal
yields
to
the
fire
,
by
blowing
with
the
bellows
,
we
cast
in
some
of
them
and
make
them
thick
like
mud
,
or
clear
,
thenset
the
Metal
to
the
fire
,
that
it
may
be
red
hot
in
burning
coals
,
take
it
forth
&
quench
it
in
them
,
&
so
let
it
remain
half
an
hour
to
drink
in
.
Or
anoint
the
Metal
with
dogs
grease
,
and
melt
it
with
it
,
for
that
will
take
away
much
of
the
brittleness
of
it
,
and
make
it
so
that
it
may
be
hammered
and
wrought
.
LI.
To
colour
Metal
like
gold
.
Take
Sal
armoniack
,
White
Vitriol
,
Stone
Salt
,
Verdigriese
,
of
each
alike
,
in
fine
powder
;
lay
it
upon
the
Metal
,
then
put
it
into
the
fire
for
an
hour
,
take
it
out
and
quench
it
in
Urine
,
and
the
Metal
will
have
the
colour
of
gold
.
LII
.
To
make
a
kind
of
Counterfeited
Silver
of
Tin
.
This
is
done
by
mingling
Silver
with
Tin
melted
with
Quick-silver
,
continuing
it
long
in
the
fire
,
then
being
brittle
,
it
is
made
tough
,
by
keeping
it
in
a
gentle
fire
or
under
hot
Embers
(
in
a
Crucible
)
for
about
twenty
four
hours
.
LIII
.
To
Solder
upon
Silver
,
Brass
or
Iron
.
Take
Silver
five
peny
weight
,
Brass
four
peny
weight
,
melt
them
together
for
soft
Solder
,
which
runs
soonest
.
Take
Silver
five
peny
weight
,
Copper
three
peny
weight
,
melt
them
together
for
hard
Solder
.
Beat
the
Solder
thin
and
lay
it
over
the
place
to
be
Soldred
,
which
must
be
first
fitted
,
and
bound
together
with
Wire
as
occasion
requires
:
then
take
Borax
in
powder
,
and
temper
it
like
pap
,
and
lay
it
upon
the
Solder
,
letting
it
dry
,
then
cover
it
with
quick
coals
and
blow
,
and
it
will
run
immediately
;
then
take
it
presently
out
of
the
fire
,
and
it
is
done
.
Note
1.
If
a
thing
is
to
be
Soldred
in
two
places
,
(
which
cannot
be
well
done
at
one
time
)
you
must
first
Solder
with
the
hard
Solder
,
and
then
with
the
soft
;
for
if
it
be
first
done
with
the
soft
,
it
will
unsolder
again
before
the
other
be
soldred
.
2.
That
if
you
would
not
have
your
Solder
run
about
the
piece
to
be
Soldred
,
rub
those
places
over
with
Chalk
.
LIV.
To
make
the
Silver
tree
of
the
Philosophers
.
Take
Aqua
fortis
four
ounces
,
fine
Silver
one
ounce
,
which
dissolve
in
it
:
then
take
Aqua
fortis
two
ounces
,
in
which
dissolve
Quick-silver
:
mix
these
two
Liquors
together
in
a
clear
glass
,
with
a
pint
of
pure
water
;
stop
the
glass
close
,
and
after
a
day
,
you
shall
see
a
Tree
to
grow
by
little
and
little
,
which
is
wonderful
and
pleasant
to
behold
.
LV.
To
make
the
Golden
tree
of
the
Philosophers
.
Take
oyl
of
Sand
or
Flints
,
oyl
of
Tartar
per
deliquium
,
of
each
alike
,
mix
them
well
together
,
then
dissolve
Sol
in
Aqua
Regis
,
and
evaporate
the
menstruum
,
dry
the
Calx
by
the
fire
,
but
make
it
not
too
hot
(
for
then
it
will
lose
its
growing
quality
)
break
it
into
little
bits
(
not
into
powder
)
which
bits
put
into
the
aforesaid
liquor
,
a
fingers
breadth
one
from
another
in
a
very
clear
glass
,
keep
the
liquor
from
the
Air
,
and
let
the
Calx
stand
still
,
and
the
bits
of
Calx
will
presently
begin
to
grow
:
first
swell
;
then
put
forth
one
or
two
stems
;
then
divers
branches
and
twigs
,
so
exactly
,
as
you
cannot
but
wonder
to
see
.
Where
note
that
this
growing
is
not
imaginary
but
real
.
LVI
.
To
make
the
Steel
tree
of
the
Philosophers
.
Dissolve
Steel
in
rectified
spirit
or
oyl
of
Salt
,
so
shall
you
have
a
green
and
sweet
solution
,
swelling
like
brimstone
;
filter
it
,
and
abstract
all
the
moisture
with
a
gentle
heat
,
and
there
will
distil
over
a
liquor
,
as
sweet
as
rain
water
(
for
steel
by
reason
of
its
dryness
detains
the
Corrosiveness
of
the
spirit
of
Salt
,
which
remaineth
in
the
bottom
,
like
a
blood
red
mass
,
and
it
is
as
hot
on
the
tongue
as
fire
:
)
dissolve
this
blood
red
mass
in
oyl
of
Flints
or
Sand
,
and
you
shall
see
it
grow
up
in
two
or
three
hours
like
a
tree
with
stem
and
branches
.
If
you
prove
this
tree
at
the
test
,
it
will
yield
good
gold
,
which
it
draweth
from
the
oyl
of
Sand
or
Flints
;
the
said
oyl
being
full
of
a
pure
golden
Sulphur
.
LVII
.
To
make
oyl
of
Flints
or
Sand.
Take
of
most
pure
Salt
of
Tartar
in
fine
powder
twenty
ounces
;
small
Sand
,
Flints
,
pebbles
,
or
Crystals
in
fine
powder
five
ounces
,
mix
them
;
put
as
much
of
this
as
will
fill
an
Egg-shell
into
a
crucible
,
set
it
in
a
furnace
,
and
make
it
red
hot
,
and
presently
there
will
come
over
a
thick
and
white
spirit
;
take
out
the
crucible
whilest
it
is
hot
,
and
that
which
is
in
it
,
like
transparent
glass
,
keep
from
the
air
;
after
beat
it
to
powder
,
and
lay
in
a
moist
place
,
and
it
will
dissolve
into
a
thick
,
fat
oyl
,
which
is
the
oyl
of
Flints
,
Sand
,
pebbles
or
Crystals
.
This
oyl
precipitateth
metals
,
and
makes
the
Calx
there
more
heavy
than
oyl
of
Tartar
doth
;
it
is
of
a
golden
nature
,
and
extracts
colours
from
all
Minerals
;
it
is
fixed
in
all
fires
,
maketh
fine
Crystals
,
and
Borax
,
and
maturateth
imperfect
metals
into
Gold
.
LVIII
.
To
melt
Metals
quickly
.
Take
a
Crucible
,
and
make
in
it
a
lay
or
course
of
the
powder
of
any
metal
,
then
lay
upon
it
a
lay
of
Sulphur
,
Salt-peter
and
Saw-dust
of
each
alike
mixed
tother
,
put
a
coal
of
fire
to
it
,
and
the
Metal
will
immediately
be
in
a
mass
.
LIX
.
Lastly
,
He
that
shall
observe
the
work
and
reason
of
the
silver
,
golden
and
steel
trees
,
may
in
like
manner
produce
the
like
out
of
the
Calx
of
other
Metals
.
CHAP.
XXX
.
Of
the
Instruments
and
Materials
of
Casting
.
I.
HE
that
would
learn
to
cast
,
must
be
provided
of
all
the
chief
Tools
thereto
belonging
;
which
are
1.
A
Trough
,
2.
Sand
,
3.
A
Flask
,
4.
Skrew
,
5.
Tripoli
,
6.
The
Medal
or
form
,
7.
A
Furnace
,
8.
Crucibles
,
9.
A
Pipe
.
10.
Tongs
,
11.
Two
Oak
plates
,
12.
Plegets
of
wool
,
13.
Oyl
and
Turpentine
,
14.
A
Hares
foot
,
15.
Brushes
.
II.
The
Trough
is
a
four-square
thing
about
half
a
foot
deep
or
something
more
;
and
its
use
is
to
hold
the
Sand.
III.
Of
Sand
there
is
various
sorts
,
the
chief
are
Higate
Sand
,
and
Tripoll
;
the
which
to
make
fit
for
the
work
you
must
order
thus
.
If
it
is
Higate
Sand
,
you
must
finely
sift
it
;
if
Tripoli
,
you
must
first
beat
it
fine
,
then-sift
it
through
a
fine
s●ve
:
to
either
of
these
fine
sands
you
must
put
of
pure
fine
Bole
(
an
ounce
to
nine
ounces
)
well
beaten
,
dissolved
in
water
,
and
lastly
reduced
into
fine
powder
;
which
powders
you
must
moderately
moisten
with
this
Magisterial
water
,
viz.
filterated
Brine
made
of
decripitated
common
Salt
:
or
the
same
,
mixed
with
Glair
of
Eggs.
IV.
The
Flask
is
a
pair
of
Oval
Irons
,
containing
only
sides
to
hold
the
Sand
,
which
must
be
pressed
hard
thereinto
:
and
a
passage
or
mouth
for
the
metal
to
run
in
at
.
V.
The
Skrew
is
an
Iron
Press
,
between
which
the
flask
is
put
and
prest
,
after
that
it
is
filled
with
Sand
,
and
hath
received
the
form
or
impression
to
be
cast
.
VI.
Tripoli
is
that
of
which
the
second
sort
of
Sand
is
made
,
which
here
ought
to
be
calcined
and
beaten
into
impalpable
powder
,
to
strew
over
the
sandy
moulds
;
first
that
the
sides
of
the
flask
may
not
cleave
together
when
they
are
full
;
secondly
that
the
thing
cast
may
have
the
perfect
form
and
impression
,
without
the
least
scratch
or
blemish
imaginable
.
The
Medal
or
form
,
is
that
which
is
to
be
impressed
upon
the
Sand
,
whose
likeness
we
would
imitate
.
VIII
.
The
Furnace
is
that
which
contains
the
fire
,
where
the
Crucible
is
put
,
for
the
Metal
to
melt
in
which
is
generally
melted
with
Charcoal
.
IX
.
The
Crucibles
are
calcining
or
melting
pots
,
(
commonly
three-square
)
made
so
as
they
may
endure
the
fire
all
over
,
in
which
the
metal
is
to
be
melted
.
X.
The
Pipe
is
a
hollow
Reed
,
or
piece
of
Tin
,
to
blow
coals
and
filth
out
of
the
Crucible
.
XI
.
The
Tongs
are
a
crooked
Instrument
to
take
coals
out
of
the
crucible
with
,
as
also
to
stir
and
repair
the
fire
;
and
to
take
the
pot
out
of
the
furnace
when
you
go
to
Cast
.
XII
.
The
two
Oak
plates
are
to
be
smooth
,
and
to
be
put
between
the
flask
and
the
sides
of
the
skrew
,
on
each
side
.
XIII
.
Pledgets
of
wool
are
to
be
put
between
the
Oak
plates
and
the
sand
to
fill
up
empty
spaces
if
there
be
any
.
XIV
.
The
Oyl
and
Turpentine
is
to
wet
some
paper
or
cotton
threads
,
which
must
be
set
on
fire
,
to
smoak
the
Impression
or
Mould
(
being
dry
)
that
the
metal
may
run
the
better
.
XV.
The
Hares
foot
is
to
wipe
the
hollow
places
in
the
Mould
,
if
they
should
be
too
much
filled
with
smoak
.
XVI
.
The
Brushes
ought
to
be
two
,
to
wit
one
with
thick
bar
Wire
strings
;
another
with
Hogs
Bristles
,
wherewith
the
work
(
both
before
and
after
casting
)
ought
to
be
rubbed
and
cleansed
.
CHAP.
XXXI
.
The
Way
and
Manner
of
Casting
.
I.
WAsh
the
Medal
in
Vinegar
,
in
which
put
some
Salt
and
Straw
ashes
;
and
rub
it
well
with
the
aforesaid
hair
brush
,
then
wash
it
with
water
,
and
dry
it
well
.
II.
Place
the
female
part
of
the
flask
upon
one
of
the
Oak
plates
;
so
that
the
middle
part
,
viz.
that
which
is
joined
to
the
other
,
may
lie
downwards
.
III.
Then
put
the
cleansed
Medal
in
the
flask
upon
the
Oak
plate
,
in
a
right
line
to
the
mouth
of
the
flask
:
and
if
there
be
two
,
let
them
be
placed
so
,
that
there
may
be
a
place
left
in
the
middle
for
the
melted
metal
to
run
in
as
.
IV.
Then
take
of
the
aforesaid
earth
or
sand
prepared
,
(
that
is
,
so
much
moistned
with
the
Magisterial
water
,
that
being
crushed
between
the
hands
or
fingers
,
it
will
not
stick
but
like
dry
flower
,
and
will
stand
with
the
print
of
the
hand
closed
together
)
and
press
it
on
well
in
the
flask
upon
the
Medal
with
the
fleshy
part
of
your
fingers
or
hand
;
then
with
a
rule
strike
off
all
the
superfluous
sand
that
sticks
about
the
flask
.
V.
This
done
,
the
plegets
of
wool
,
or
a
woolen
cloth
,
must
be
laid
upon
it
,
and
then
the
other
Oak
plate
,
and
then
turned
up
with
both
hands
,
the
plates
being
both
held
close
.
VI.
Then
taking
off
the
upper
plate
;
put
upon
it
the
male
part
of
the
flask
,
which
fill
with
sand
in
like
manner
(
the
Medal
being
now
between
)
pressing
it
down
as
before
,
and
then
with
a
ruler
striking
away
the
superfluous
sand
.
VII
.
Upon
which
lay
a
woolen
cloth
,
and
gently
lift
off
the
top
,
or
upper
part
of
the
flask
,
so
that
the
medal
may
be
taken
forth
.
VIII
.
All
things
being
thus
done
with
a
knife
(
or
some
such
like
)
cut
the
passage
for
the
metal
,
which
let
be
a
little
dried
:
then
,
IX
.
Either
strew
over
the
side
of
the
impression
(
now
taken
off
)
with
a
calcined
Tripoli
ground
impalpable
;
applying
it
upon
the
female
flask
again
;
turn
the
female
flask
uppermost
,
which
take
off
,
and
strew
it
in
like
manner
,
with
the
calcined
Tripoli
,
and
putting
them
together
again
,
press
them
so
hard
,
as
that
the
fine
Tripoli
may
receive
the
most
perfect
impression
of
the
Medal
,
which
then
take
out
,
by
separating
the
sides
of
the
flask
,
and
gently
shaking
that
part
which
holds
it
,
till
it
falls
out
:
X.
Or
with
Cotton
wet
in
Oyl
and
Turpentine
and
set
on
fire
let
the
Impression
be
smoaked
;
and
if
any
superfluous
fume
be
taken
,
wipe
it
off
with
a
Hares
foot
.
XI
.
Then
join
the
sides
of
the
flask
together
,
putting
them
with
the
woolen
cloaths
between
the
Oaken
plates
,
which
put
into
the
Press
,
and
skrew
them
a
little
.
XII
.
Then
the
Metal
being
melted
,
put
it
into
the
mould
being
hot
,
which
if
it
be
Silver
,
or
blanched
Brass
,
or
Copper
,
it
will
run
well
enough
.
XIII
.
But
if
it
runs
not
well
,
you
may
cast
in
about
the
hundred
part
of
Mercury
sublimate
,
and
an
eighth
part
of
Antimony
;
for
so
it
will
not
only
run
well
,
but
also
be
a
harder
metal
.
XIV
.
Lastly
,
the
Medal
being
cooled
,
take
it
neatly
out
and
keep
it
.
Where
note
1.
That
so
long
as
the
Impression
or
mould
is
not
spoiled
,
you
may
still
cast
more
Medals
therein
;
but
when
it
decays
,
you
must
perfectly
renew
the
whole
work
as
at
first
.
2.
That
you
may
blanch
them
with
a
pure
whiteness
by
the
ninth
Section
of
the
nine
and
twentieth
Chapter
of
this
Book
;
or
thus
,
if
they
be
of
whitened
Brass
,
Take
Sal
armoniack
one
ounce
and
an
half
,
Salt-peter
two
ounces
and
a
half
,
Leaf
silver
twenty
four
grains
;
mix
them
and
evaporate
them
in
a
Luted
crucible
,
having
a
hole
in
the
cover
,
till
all
the
moisture
is
gone
;
being
cold
beat
all
into
fine
powder
;
of
which
take
one
ounce
,
Salt
,
Alom
,
Tartar
,
of
each
one
handful
,
fair
water
a
sufficient
quantity
;
mix
and
boil
all
in
a
glazed
vessel
,
in
which
put
the
Medals
boiling
them
till
they
are
purely
white
:
then
rub
them
with
the
Tartar
in
the
bottom
very
well
,
wash
them
in
fair
water
and
dry
them
.
3.
That
if
the
Medals
be
of
Gold
,
or
of
a
golden
colour
,
you
may
heighten
it
with
Verdigriese
and
Vrine
.
CHAP.
XXXII
.
Of
Glass
and
Precious
Stones
.
I.
TO
melt
Crystal
.
Beat
Crystal
to
bits
,
and
put
them
into
an
Iron
spoon
,
cover
it
and
lute
it
well
,
and
heat
it
in
the
fire
till
it
is
red
hot
,
which
quench
in
oyl
of
Tartar
:
this
do
so
often
,
till
they
will
easily
beat
to
powder
in
a
mortar
,
which
will
then
easily
melt
.
This
is
of
use
to
counterfeit
Jewels
with
.
II.
To
make
a
Cement
for
broken
Glasses
.
Glair
of
Eggs
mixed
with
Quick-lime
will
join
broken
pieces
of
Glass
together
,
and
all
earthen
pots
,
so
as
that
they
shall
never
be
broken
in
the
same
place
again
.
Or
thus
,
Take
old
liquid
Varnish
,
and
join
the
pieces
with
;
bind
them
together
and
dry
them
well
in
the
Sun
or
in
an
Oven
,
and
they
will
never
unglew
again
:
but
put
no
hot
liquor
into
them
then
.
Or
thus
,
Take
White-lead
,
Red-lead
,
Quick-lime
,
Gum
sandrack
of
each
one
ounce
,
mix
all
with
glair
of
eight
eggs
.
Or
thus
,
Take
White-lead
,
bole
,
liquid
varnish
as
much
as
sufficeth
.
Or
thus
,
Take
White-lead
,
Lime
,
glair
of
Eggs
,
as
much
as
sufficeth
.
Or
thus
,
Take
fine
powder
of
glass
,
Quick-lime
,
Liquid
varnish
,
of
each
a
sufficient
quantity
.
Or
thus
,
Take
Quick-lime
powdered
,
liquid
varnish
,
glair
of
Eggs
,
of
each
alike
:
grind
them
upon
a
stone
:
this
is
a
strong
glew
even
for
stones
.
Or
thus
,
Take
Calcined
flints
and
egg-shells
of
each
alike
,
and
with
whites
of
Eggs
and
gum
tragacanth
or
dissolution
of
Gum
Sandrack
make
glew
,
this
in
few
days
will
be
as
hard
as
stone
.
Or
thus
,
Take
calcined
flints
two
pound
,
Quick-lime
four
pound
,
Linseed
oyl
so
much
as
may
temper
the
mixture
,
this
is
wonderful
strong
:
but
with
liquid
varnish
it
would
be
stronger
.
Or
thus
,
Take
fish
glew
,
and
beat
it
thin
,
then
soak
it
in
water
till
it
is
like
paste
,
make
rouls
thereof
which
draw
out
thin
:
when
you
use
it
,
dissolve
it
in
fair
water
over
the
fire
,
letting
it
seeth
a
while
and
scumming
of
it
,
and
whilest
it
is
hot
use
it
.
This
not
only
cements
glass
,
but
Tortoise
shell
and
all
other
things
.
III.
To
wake
Glass
green
.
Green
glass
is
made
of
fern
ashes
,
because
it
hath
much
of
an
alkaly
salt
.
Crystal
or
Venice
Glass
is
tinged
green
with
Ore
of
Copper
;
or
with
the
Calx
of
Copper
five
or
six
grains
to
an
ounce
.
IV.
To
counterfeit
a
Diamond
.
Take
a
Saphyre
of
a
faint
colour
,
put
into
the
middle
of
a
crucible
in
quick
Lime
,
and
put
it
into
a
gentle
fire
,
and
heat
it
by
degrees
till
it
is
red
hot
,
keep
it
so
for
six
or
seven
hours
;
let
it
stand
in
the
crucible
till
it
is
cold
,
(
lest
taking
it
out
hot
it
should
break
)
so
will
it
lose
all
its
colour
,
and
be
perfectly
like
a
Diamond
,
so
that
no
file
will
touch
it
:
if
the
colour
is
not
all
vanished
at
the
first
heating
,
you
must
heat
it
again
till
it
is
perfect
.
V.
To
prepare
the
Salts
for
counterfeit
Gems
.
The
Salts
used
in
making
counterfeit
Gems
,
are
chiefly
two
,
the
first
is
made
of
the
herb
Kali
;
the
second
of
Tartar
;
their
preparations
are
according
to
the
usual
way
(
but
in
Glass
vessels
.
)
VI.
To
prepare
the
matter
of
which
Gems
are
made
.
The
matter
is
either
Crystal
or
flint
that
is
clear
and
white
:
put
them
into
a
crucible
in
a
reverberatory
heat
(
the
crucible
being
covered
)
then
take
them
out
and
cast
them
into
cold
water
,
so
will
they
crack
and
easily
reduce
to
powder
:
of
which
powder
take
an
equal
quantity
with
Salt
of
Tartar
(
or
Sal
Alkali
)
to
which
mixture
add
what
Colour
you
please
,
which
must
be
either
Metalline
or
Mineral
:
put
them
into
a
very
strong
Crucible
(
filling
it
about
half
full
)
cover
it
close
,
and
melt
all
in
a
strong
fire
till
it
become
like
glass
.
Where
note
,
in
melting
you
must
put
an
Iron
red
into
it
,
and
take
up
some
of
it
,
and
if
it
is
free
from
bubbles
,
grains
,
or
specks
,
it
is
fused
enough
:
if
not
,
you
must
fuse
it
till
it
is
free
.
VII
.
To
make
a
counterfeit
Diamond
of
Crystal
.
Put
Crystal
in
a
crucible
and
set
it
in
a
glass
furnace
all
night
,
and
then
bring
it
to
fine
powder
,
mix
it
with
equal
parts
of
Sal
Tartari
,
digest
all
night
in
a
vehement
heat
,
but
yet
not
to
melt
,
then
take
them
out
,
and
put
them
into
another
vessel
which
will
stoutly
endure
the
fire
;
let
them
stand
melted
two
days
and
take
out
the
mass
.
VIII
.
To
make
a
Chalcedon
.
Mingle
with
the
powder
of
Crystal
,
a
little
calcined
silver
,
and
let
it
stand
in
fusion
twenty
four
hours
.
IX
.
To
make
counterfeit
Pearls
.
Mix
Calx
of
Luna
and
Egg-shells
with
leaf
silver
ground
with
our
best
varnish
,
of
which
make
paste
,
and
having
bored
them
with
a
hogs
bristle
,
dry
them
in
the
Sun
,
or
an
Oven
.
X.
To
counterfeit
a
Ruby
.
Take
Sal
Alkaly
four
ounces
,
Crystal
three
ounces
,
Scales
of
Brass
half
an
ounce
,
leaf
gold
six
grains
,
mix
all
,
and
melt
them
in
a
reverberatory
.
XI
.
To
counterfeit
a
Carbuncle
.
Mix
Crystal
with
a
little
red
Lead
,
putting
it
into
a
furance
for
twenty
four
hours
,
then
take
it
out
,
powder
and
searce
it
,
to
which
add
a
little
Calcined
brass
;
melt
all
again
,
and
add
a
small
quantity
of
leaf
gold
,
stirring
it
well
three
or
four
hours
,
and
in
a
day
and
night
it
will
be
done
.
XII
.
An
Artificial
Amethyst
.
Take
Crystal
one
pound
,
Manganess
one
drachm
,
mix
and
melt
them
.
Or
thus
,
Take
Sal
Alkaly
three
ounces
,
powder
of
Crystal
four
ounces
,
filings
of
Brass
half
an
ounce
,
melt
all
in
a
strong
fire
.
XIII
.
An
Artificial
Jacynth
.
Put
Lead
into
a
strong
crucible
,
and
set
it
into
a
furnace
,
let
it
stand
there
about
six
weeks
till
it
is
like
glass
,
and
it
will
have
the
natural
colour
of
a
Jacynth
not
easily
to
be
discerned
.
XIV
.
An
Artificial
Chrysolite
.
Mix
with
melted
Crystal
a
sixth
part
of
scales
of
Iron
,
letting
it
stand
in
a
vehement
fire
for
three
days
.
Or
thus
,
to
the
mixture
of
the
Topaze
add
a
little
Copper
.
XV.
An
Artificial
Topaze
.
To
Crystal
one
pound
,
add
Crocus
Martis
two
Drachms
,
Red
Lead
three
ounces
,
first
putting
in
the
Lead
,
then
the
Crocus
.
XVI
.
Artificial
Corals
.
Take
the
scrapings
of
Goats
horns
,
beat
them
together
,
and
infuse
them
in
a
strong
Lixivium
made
of
Sal
fraxini
for
five
days
:
then
take
it
out
and
mingle
it
with
Cinnaber
dissolved
in
water
;
set
it
to
a
gentle
fire
that
it
may
grow
thick
;
make
it
into
what
form
you
please
,
dry
,
and
polish
it
.
Or
thus
,
Take
Minii
one
ounce
,
Vermilion
ground
fine
half
an
ounce
,
Quick-lime
,
and
powder
of
Calcined
flints
,
of
each
six
ounces
,
a
Lixivium
of
Quick-lime
and
Wine
,
enough
to
make
it
thick
:
add
a
little
Salt
,
then
make
it
into
what
form
you
please
,
and
boil
it
in
Linseed
oyl
.
XVII
.
An
Artificial
Emerald
.
Take
Brass
(
three
days
)
Calcined
in
powder
,
which
put
again
into
the
furnace
with
oyl
and
a
weaker
fire
;
let
it
stay
there
four
days
,
adding
a
double
quantity
of
fine
sand
or
powder
of
Crystal
:
after
it
is
something
hard
,
keep
it
at
a
more
gentle
fire
for
twelve
hours
,
and
it
will
be
a
lovely
,
pleasant
and
glorious
green
.
Or
thus
,
Take
fine
Crystal
two
ounces
and
an
half
,
Sal
Alkali
two
ounces
,
flas
aeris
infused
in
Vinegar
and
strained
one
ounce
,
Sal
Tartari
one
ounce
and
half
;
mix
and
lute
them
into
a
crucible
,
and
put
all
into
a
glass-makers
furnace
for
twenty
four
hours
,
and
it
will
be
glorious
indeed
.
Or
thus
,
Take
Crystal
ten
ounces
,
Crocus
Martis
,
and
Brass
twice
calcined
,
of
each
one
pound
,
mix
and
melt
them
,
stirring
them
well
with
an
Iron
Rod.
XVIII
.
An
Artificial
Sapbyre
.
To
melt
Crystal
put
a
little
Zaphora
(
two
Drachms
to
a
pound
of
Crystal
)
then
stir
it
continually
from
top
to
bottom
with
an
Iron
hook
,
till
it
is
well
mixed
,
keep
it
in
the
furnace
three
days
and
it
is
done
:
yet
when
it
is
well
coloured
,
unless
it
be
presently
removed
from
the
fire
,
it
will
lose
its
tincture
again
.
XIX
.
Artificial
Amber
.
Boil
Turpentine
in
an
earthen
pot
,
with
a
little
cotton
(
some
add
a
little
oyl
)
stirring
it
till
it
is
as
thick
as
paste
,
then
put
it
into
what
you
will
,
and
set
it
in
the
Sun
eight
days
,
and
it
will
be
clear
and
hard
,
of
which
you
may
make
beads
,
hasts
for
knives
,
and
the
like
.
XX.
Another
way
to
counterfeit
Amber
.
Take
sixteen
yolks
of
Eggs
,
beat
them
well
with
a
spoon
;
Gum
Arabick
two
ounces
,
Cherry-tree
Gum
an
ounce
,
make
the
Gums
into
powder
,
and
mix
them
well
with
the
yolks
of
Eggs
;
let
the
Gums
melt
well
,
and
put
them
into
a
pot
well
leaded
,
then
set
them
six
days
in
the
Sun
,
and
they
will
be
hard
,
and
shine
like
glass
;
and
when
you
rub
them
,
they
will
take
up
a
wheat
straw
,
as
other
Amber
doth
.
XXI
.
To
make
yellow
Amber
soft
.
Put
yellow
Amber
into
hot
melted
wax
well
scum'd
and
it
will
be
soft
,
so
that
you
may
make
things
thereof
in
what
form
and
fashion
you
please
.
XXII
.
Another
Artificial
Amber
.
Take
whites
of
eggs
well
beaten
,
put
them
into
a
vessel
with
strong
white
wine
Vinegar
,
stop
it
close
,
let
it
fland
fourteen
days
,
then
dry
it
in
the
shade
,
and
it
will
be
like
to
Amber
.
XXXIII
.
Another
Artificial
Amber
.
Break
whites
of
eggs
with
a
spunge
,
take
off
the
froth
,
to
the
rest
put
Saffron
,
put
all
into
a
glass
close
stopped
,
or
into
a
Copper
or
brazen
vessel
,
let
it
boil
in
a
kettle
of
water
,
till
it
be
hard
;
then
take
it
out
and
shape
it
to
your
liking
,
lay
it
in
the
Sun
and
anoint
it
often
with
Linseed
oyl
mixed
with
a
little
Saffron
;
or
else
being
taken
out
of
the
Kettle
,
boil
it
in
Linseed-oyl
.
XXIV
.
To
make
white
Enamel
.
Take
Calx
of
Lead
two
ounces
,
Calx
of
Tin
four
ounces
,
make
it
into
a
body
with
Crystal
twelve
ounces
,
role
it
into
round
balls
,
and
set
it
on
a
gentle
fire
for
a
night
,
stirring
it
about
with
an
Iron
rod
,
till
it
is
melted
,
and
it
is
done
.
XXV
.
The
general
preparations
and
proportions
of
Mineral
Colours
.
Plates
of
Copper
must
be
made
red
hot
,
&
then
quenched
in
cold
water
;
of
which
five
or
six
grains
mixed
with
Crystal
and
Sal
Tartari
of
each
half
an
ounce
,
and
melted
,
will
colour
a
Sea-green
.
Iron
must
be
made
into
a
Crocus
in
a
reverberatory
fire
;
of
which
eight
or
ten
grains
will
tinge
the
said
ounce
of
mixture
into
a
yellow
or
hyacinth
colour
.
Silver
is
to
be
dissolved
in
Aqua
fortis
and
precipitated
with
oyl
of
flints
,
then
dulcifyed
with
water
and
dryed
;
of
this
five
or
six
grains
to
an
ounce
,
gives
a
mixed
colour
.
Gold
must
be
dissolved
in
Aqua
Regis
,
and
precipitated
with
liquor
of
flints
,
then
sweetned
and
dryed
;
of
which
five
or
six
grains
to
one
ounce
gives
a
glorious
Sapherine
colour
.
Gold
melted
with
Regulus
Martis
nitrosus
five
or
six
grains
to
one
ounce
,
gives
an
incomparable
Rubine
colour
.
Magnesia
in
powder
only
ten
or
twelve
grains
to
one
ounce
,
makes
an
Amethyst
Colour
.
Granata
in
powder
only
ten
or
fifteen
grains
to
one
ounce
,
will
tinge
the
mass
into
a
glorious
Smaragdine
Colour
,
not
unlike
to
the
natural
.
XXVI
.
Lastly
,
Common
Copper
makes
a
Sea-green
:
Copper
of
Iron
a
Grass-green
:
Granats
,
a
Smaragdine
:
Iron
,
Yellow
or
Hyacinth
:
Silver
,
White
,
yellow
,
green
and
granat
:
Gold
,
a
fair
skie
colour
:
Wismut
,
a
common
Blew
:
Magnesia
,
an
Amethyst
colour
:
Copper
and
Silver
,
an
Amethyst
colour
:
Copper
and
Iron
,
a
pale
green
:
Wismut
and
Magnesia
,
a
purple
colour
:
Silver
and
Magnesia
,
an
Opal
;
and
the
like
.
XXVII
.
To
make
Azure
.
Take
Sal
armoniack
three
ounces
,
Verdigriefe
six
ounces
,
make
them
into
powder
,
and
put
them
into
a
glass
with
water
of
Tartar
,
so
that
it
may
be
somewhat
thick
,
stop
the
glass
and
digest
in
Sand
in
Horse-dung
for
eight
or
ten
days
and
it
will
be
good
azure
.
XXVIII
.
Another
way
to
make
good
beyond-sea
Azure
.
Beat
common
azure
with
Vinegar
,
and
anoint
therewith
thin
plates
of
Silver
,
and
put
the
same
over
a
vessel
full
of
Urine
,
which
set
over
hot
ashes
and
coals
,
moving
and
stirring
it
till
it
looks
like
good
azure
.
CHAP.
XXXIII
.
The
Ways
and
Manner
of
Gilding
.
I.
To
lay
Gold
on
any
thing
.
Take
red
Lead
ground
fine
,
temper
it
with
Linseed
oyl
:
write
with
it
and
lay
Leaf
gold
on
it
,
let
it
dry
,
then
polish
it
.
II.
To
lay
Gold
on
Glass
.
Take
Chalk
and
red
Lead
of
each
alike
,
grind
them
together
,
and
temper
them
with
Linseed
oyl
:
lay
it
on
,
and
when
it
is
almost
dry
,
lay
leaf
gold
on
it
;
let
it
dry
,
then
polish
it
.
III.
To
gild
Iron
with
a
water
.
Take
Spring
water
three
pound
,
Roch
Alom
three
ounces
,
Roman
Vitriol
,
Orpiment
,
one
ounce
,
Verdigriese
twenty
four
grains
,
Sal
gem
three
ounces
,
boil
all
together
,
and
when
it
begins
to
boil
,
put
in
Tartar
and
Bay
salt
of
each
half
an
ounce
;
continue
the
boiling
a
good
while
,
then
take
it
from
the
fire
,
strike
the
Iron
over
therewith
,
dry
it
against
the
fire
and
burnish
it
.
IV.
To
lay
Gold
on
Iron
or
other
Metals
.
Take
liquid
Varnish
one
pound
,
oyl
of
Linseed
and
Turpentine
,
of
each
one
ounce
;
mix
them
well
together
:
strike
this
over
any
metal
,
and
afterwards
lay
on
the
gold
or
silver
,
and
when
it
is
dry
polish
it
.
V.
To
Gild
Silver
or
Brass
with
Gold
water
.
Take
Quick-silver
two
ounces
,
put
it
on
the
fire
in
a
Crucible
,
and
when
it
begins
to
smoak
,
put
into
it
an
Angel
of
fine
Gold
;
then
take
it
off
immediately
,
for
the
Gold
will
be
presently
dissolved
:
then
if
it
be
too
thin
,
strain
a
part
of
the
Quick-silver
from
it
,
through
a
piece
of
Fustian
:
this
done
,
rub
the
Gold
and
Quicksilver
upon
Brass
or
Silver
,
and
it
will
cleave
unto
it
,
then
put
the
said
Brass
or
Silver
upon
quick
coals
till
it
begin
to
smoak
,
then
take
it
from
the
fire
,
and
scratch
it
with
a
hair
brush
;
this
do
so
long
till
all
the
Mercury
is
rubbed
as
clean
off
as
may
be
,
and
the
gold
appear
of
a
faint
yellow
:
which
colour
heighten
with
Sal
Armoniack
,
Bole
and
Verdigriese
ground
together
and
tempered
with
water
.
Where
note
,
that
before
you
gild
your
Metal
,
you
must
boil
it
with
Tartar
in
Beer
or
water
,
then
scratch
it
with
a
wire
Brush
.
VI.
Another
water
to
gild
Iron
,
Steel
,
Knives
,
Swords
and
Armour
with
.
Take
Fire-stone
in
powder
,
put
it
into
strong
red
wine
vinegar
for
twenty
four
hours
,
boil
it
in
a
glazed
pot
,
adding
more
Vinegar
as
it
evaporates
,
or
boils
away
:
into
this
water
dip
your
Iron
,
Steel
,
&c.
and
it
will
be
black
;
dry
it
,
then
polish
it
,
and
you
will
have
a
gold
colour
underneath
.
VII
.
Another
water
to
gild
Iron
with
.
Take
Salt
peter
,
Roch-alom
burnt
of
each
half
an
ounce
;
Sal-armoniack
an
ounce
,
all
being
in
fine
powder
,
boil
with
strong
Vinegar
in
a
Copper
vessel
;
with
which
wet
the
Iron
,
&c.
then
lay
on
leaf
Gold
.
VIII
.
Another
water
to
gild
Iron
with
.
Take
Roch-alom
,
and
grind
it
with
boys
Urine
,
till
it
is
well
dissolved
,
with
which
anoint
the
Iron
,
heat
it
red
hot
in
a
fire
of
wood
coals
,
and
it
will
be
like
Gold
.
IX
.
To
gild
Books
.
Take
Bole
Armoniack
four
peny-weight
,
Sugar-candy
one
peny-weight
,
mix
and
grind
them
with
glair
of
Eggs
;
then
on
a
bound
Book
,
(
while
in
the
press
,
after
it
hath
been
smeared
with
glair
of
Eggs
,
and
is
dried
)
smear
the
said
composition
,
let
it
dry
,
then
rub
it
well
and
polish
it
:
then
with
fair
water
wet
the
edges
of
the
Book
,
and
suddenly
lay
on
the
gold
,
pressing
it
down
with
Cotton
gently
,
this
done
let
it
dry
,
and
then
polish
it
exactly
with
a
tooth
.
X.
Another
way
of
Gilding
Iron
.
Take
water
three
pound
,
Alom
two
ounces
,
Sal
gem
three
ounces
,
Vitriol
Roman
,
Orpiment
of
each
one
ounce
,
flos
Aeris
twenty
four
grains
;
boil
all
with
Tartar
and
Salt
as
at
the
third
Section
.
XI
.
To
make
Iron
of
the
colour
of
Gold
.
Take
Linseed
oyl
three
ounces
,
Tartar
two
ounces
,
yolks
of
Eggs
boiled
hard
and
beaten
two
ounces
,
Aloes
half
an
ounce
,
Saffron
five
grains
,
Turmerick
two
grains
:
boil
all
in
an
Earthen
vessel
,
and
with
the
oyl
anoint
Iron
,
and
it
will
look
like
Gold
.
If
there
be
not
Linseed
oyl
enough
,
you
may
put
in
more
.
XII
.
A
Golden
liquor
to
colour
Iron
,
Wood
,
Glass
,
or
bones
with
.
Take
a
new
laid
Egg
,
through
a
hole
at
one
end
take
out
the
white
,
and
fill
up
the
Egg
with
Quicksilver
two
parts
,
Sal-armoniack
finely
powdred
one
part
;
mix
them
all
together
with
a
Wire
or
little
stick
:
stop
the
hole
with
melted
Wax
,
over
which
put
an
half
Egg-shell
:
digest
in
horse
dung
for
a
month
,
and
it
will
be
a
fine
golden
coloured
Liquor
.
XIII
.
To
gild
Silk
and
Linnen
.
Take
Glew
made
of
parchment
,
lay
it
on
the
Linnen
,
or
Silk
,
&c.
gently
,
that
it
may
not
sink
:
then
take
Ceruse
,
Bole
and
Verdigriese
of
each
alike
,
mix
and
grind
them
upon
a
Stone
:
then
in
a
glazed
vessel
mix
it
with
varnish
,
which
let
simper
over
a
small
fire
,
then
keep
it
for
use
.
XIV
.
Another
of
a
pure
gold
colour
.
Take
juice
of
fresh
Saffron
,
or
(
for
want
of
it
)
Saffron
ground
,
the
best
clear
Orpiment
of
each
alike
:
grind
them
with
Goats
gall
or
gall
of
a
Pike
(
which
is
better
)
digest
twenty
eight
days
in
horse
dung
,
and
it
is
done
.
XV.
To
gild
on
Wood
or
Stone
.
Take
Bole
Armoniack
,
Oyl
Ben
,
of
each
a
sufficient
quantity
;
beat
and
grind
them
together
:
with
this
smear
the
wood
or
stone
,
and
when
it
is
almost
dry
,
lay
on
the
Leaf-gold
,
let
it
dry
,
then
polish
it
.
XVI
.
To
gild
with
Leaf-gold
.
Take
leaves
of
gold
,
and
grind
them
with
a
few
drops
of
honey
,
to
which
add
a
little
gum-water
,
and
it
will
be
excellent
to
write
or
paint
with
.
XVII
.
To
gild
Iron
or
Steel
.
Take
Tartar
one
ounce
,
Vermilion
three
ounces
,
Bole
armoniack
,
Aqua
Vitae
of
each
two
ounces
,
grind
them
together
with
Linseed
oyl
,
and
put
thereto
Lapis
Calaminaris
the
quantity
of
a
hasle
nut
;
and
grind
therewith
in
the
end
a
few
drops
of
Varnish
;
take
it
off
the
Stone
,
strain
it
through
a
linnen
cloth
(
for
it
must
be
as
thick
as
honey
)
then
strike
it
over
Iron
or
Steel
,
and
let
it
dry
;
then
lay
on
your
Silver
or
Gold
,
and
burnish
it
.
XVIII
.
To
colour
Tin
or
Copper
of
a
golden
Colour
.
Take
Linseed
oyl
,
set
it
on
the
fire
,
scum
it
;
then
put
in
Amber
,
Aloes
hepatick
,
of
each
alike
,
stir
them
well
together
till
it
wax
thick
;
then
take
it
off
,
cover
it
close
,
and
set
it
in
the
earth
three
days
:
when
you
use
it
,
strike
the
Metal
all
over
with
it
,
with
a
pencil
,
let
it
dry
,
and
it
will
be
of
a
golden
colour
.
XIX
.
To
gild
any
Metal
.
Take
strong
Aqua
fortis
,
in
which
dissolve
fine
Silver
,
to
which
put
so
much
Tartar
in
fine
powder
,
as
will
make
it
into
paste
,
with
which
rub
any
metal
,
and
it
will
look
like
fine
Silver
.
XX.
To
gild
so
as
it
shall
not
out
with
any
water
.
Take
Oker
calcined
,
pumice
stone
of
each
alike
,
Tartar
a
little
,
beat
them
with
Linseed
oyl
,
and
five
or
six
drops
of
Varnish
,
strain
all
through
a
Linnen
cloth
,
with
which
you
may
Gild.
CHAP.
XXXIV
.
Of
Paper
,
Parchment
,
and
Leather
.
I.
TO
make
paper
waved
like
Marble
.
Take
divers
oyled
colours
,
put
them
severaly
in
drops
upon
water
,
and
stir
the
water
lightly
:
then
wet
the
Paper
(
being
of
some
thickness
)
with
it
,
and
it
will
be
waved
like
Marble
;
dry
it
in
the
Sun
.
II.
To
write
golden
letters
on
Paper
or
Parchment
.
This
may
be
done
by
the
ninth
,
tenth
,
and
twelvth
Sections
of
the
three
and
thirtieth
Chapter
of
this
Book
:
or
write
with
Vermilion
ground
with
Gum
Armoniack
,
ground
with
glair
of
Eggs
,
and
it
will
be
like
gold
.
III.
To
take
out
blots
,
or
make
black
Letters
vanish
,
in
Paper
or
Parchment
.
This
may
be
done
with
Alom
water
;
or
with
Aqua
fortis
mixed
with
common
water
.
IV.
To
make
Silver
letters
in
Paper
or
Parchment
.
Take
Tin
one
ounce
,
Quick-silver
two
ounces
,
mix
and
melt
them
,
and
grind
them
with
Gum
water
.
V.
To
write
with
green
Ink.
Take
Verdigriese
,
Litharge
,
Quick-silver
,
of
each
a
sufficient
quantity
,
grind
and
mingle
them
with
Urine
;
and
it
will
be
a
glorious
green
like
an
Emerald
to
write
or
paint
with
:
Or
thus
,
Grind
juice
of
Rue
and
Verdigriese
with
a
little
Saffron
together
;
and
when
you
would
write
with
it
mix
it
with
Gum
water
:
Or
thus
,
Dissolve
Verdigriese
in
Vinegar
,
strain
it
,
then
grind
it
with
common
water
,
and
a
little
honey
;
dry
it
;
then
grind
it
again
with
gum
water
,
and
it
is
done
.
VI.
To
write
on
Paper
or
Parchment
with
blew
Ink.
Grind
blew
with
honey
,
then
temper
it
with
Glair
of
Eggs
or
gum
water
made
of
Isinglass
.
VII
.
To
Dye
Skins
Blew
.
Take
berries
of
Elder
or
Dwarf-elder
,
first
boil
them
,
then
smear
and
wash
the
Skins
therewith
,
and
wring
them
forth
:
then
boil
the
berries
as
before
,
in
the
dissolution
of
Alom
water
,
and
wet
the
Skins
in
the
same
water
once
or
twice
,
dry
them
and
they
will
be
very
Blew
.
VIII
.
To
dye
Skins
into
a
reddish
Colour
.
First
wash
the
Skin
in
water
and
wring
it
well
:
then
wet
it
with
the
solution
of
Tartar
and
Bay
salt
in
fair
water
,
and
wring
it
again
:
to
the
former
dissolution
add
ashes
of
Crab
shells
and
rub
the
Skin
very
well
therewith
,
then
wash
with
common
water
and
wring
them
out
:
then
wash
them
with
tincture
of
Madder
,
in
the
solution
of
Tartar
,
Alom
,
and
the
aforesaid
Ashes
;
and
after
(
if
not
red
enough
)
with
the
Tincture
of
Brazil
.
IX
.
Another
way
to
Dye
them
red
.
Wash
the
Skins
,
and
lay
them
in
galls
for
two
hours
;
wring
them
out
,
and
dip
them
into
a
colour
made
with
Ligustrum
,
Alom
and
Verdigriese
in
water
:
Lastly
,
twice
dye
them
with
Brazil
boiled
with
lye
.
X.
Another
way
to
Dye
them
Blew
.
Take
the
best
Indico
and
steep
it
in
Urine
a
day
,
then
boil
it
with
Alom
,
and
it
will
be
good
.
Or
,
temper
the
Indice
with
red
Wine
,
and
wash
the
Skins
therewith
.
XI
.
To
dye
Skins
Purple
.
Take
Roch
Alom
,
dissolve
it
in
warm
water
,
wet
the
Skins
therewith
drying
them
again
;
then
take
rasped
Brazil
,
boil
it
in
water
well
,
then
let
it
cool
;
do
thus
thrice
:
this
done
rub
the
dye
over
the
skins
with
your
hand
,
which
being
drye
polish
.
XII
.
To
dye
Skins
of
a
sad
green
.
Take
the
filings
of
Iron
and
Sal
armoniack
of
each
,
steep
them
in
Urine
till
they
be
soft
,
with
which
besmear
the
skin
,
being
stretched
out
,
drying
it
in
the
shade
:
the
colour
will
penetrate
and
be
green
on
both
sides
.
XIII
.
To
dye
Skins
of
a
pure
sky
colour
.
For
each
skin
take
Indico
an
ounce
,
put
it
into
boiling
water
,
let
it
stand
one
night
,
then
warm
it
a
little
,
and
with
a
brush
pencil
besmear
the
skin
twice
over
.
XIV
.
To
dye
skins
of
a
pure
yellow
.
Take
fine
Aloes
one
ounce
,
Linseed
oyl
two
pound
,
dissolve
or
melt
them
,
then
strain
it
;
besmearing
the
skins
therewith
,
being
dry
,
varnish
them
over
.
XV.
To
dye
Skins
green
.
Take
Sap
green
,
Alom
water
,
of
each
a
sufficient
quantity
,
mix
and
boil
them
a
little
:
If
you
would
have
the
colour
darker
,
add
a
little
Indico
.
XVI
.
To
dye
Skins
Yellow
.
Infuse
Woold
in
Vinegar
,
in
which
boil
a
little
Alom
:
Or
thus
,
having
dyed
them
Green
by
the
fifteenth
Section
,
dip
them
in
decoction
of
Privit
berries
and
Saffron
and
Alom
water
.
XVII
.
To
dye
them
of
an
Orange
Colour
.
Boil
Fustick
berries
in
Alom
water
:
but
for
a
deep
Orange
,
use
Turmerick
root
.
XVIII
.
A
Liquor
to
gild
Skins
,
Metals
,
or
Glass
.
Take
Linseed
Oyl
three
pound
,
boil
it
in
a
glazed
vessel
till
it
burns
a
feather
being
put
into
it
;
then
put
to
it
Pitch
,
Rozin
,
dry
Varnish
,
or
Gum
Sandrach
,
of
each
eight
ounces
,
Aloes
Hepatica
four
ounces
;
put
all
in
powder
into
the
oyl
,
and
stir
them
with
a
stick
,
the
fire
being
a
little
encreased
:
if
the
Liquor
is
too
clear
or
bright
,
you
may
add
ounce
or
two
more
of
Aloes
Socratine
,
and
diminish
the
Varnish
,
so
the
Liquor
will
be
darker
and
more
like
Gold
.
Being
boiled
,
take
it
,
and
strain
it
,
and
keep
it
in
a
Glass
for
use
:
which
use
with
a
pencil
.
CHAP.
XXXV
.
Of
Wood
,
Horns
,
and
Bones
.
I.
TO
Dye
Elder
,
Box
,
Mulberry-tree
,
Pear-tree
,
Nut-tree
of
the
colour
of
Ebony
.
Steep
the
wood
in
Alom
water
three
or
four
days
,
then
boil
it
in
Common
Oyl
,
with
a
little
Roman
Vitriol
and
Sulphur
.
Where
note
,
the
longer
you
boil
the
wood
,
the
blacker
it
will
be
,
but
too
long
makes
them
brittle
.
II.
To
Dye
Bones
green
.
Boil
the
Bones
in
Alom
water
,
then
take
them
out
,
dry
them
and
scrape
them
,
then
boil
them
in
Lime
water
with
a
little
Verdigriese
.
III.
To
Dye
Wood
like
Ebony
,
according
to
Glauber
.
Distil
an
Aqua
fortis
of
Salt-peter
and
Vitriol
.
IV.
To
make
Horns
black
.
Vitriol
dissolved
in
Vinegar
and
spirit
of
Wine
will
make
Horns
black
:
so
the
Snow
white
Calx
of
Silver
in
fair
water
.
V.
To
make
Bones
white
.
They
are
strangely
made
white
by
boiling
with
water
and
Lime
;
continually
scumming
of
it
.
VI.
To
dye
Bones
green
.
Take
white
Wine-vinegar
a
quart
,
filings
of
Copper
,
Verdigriese
,
of
each
three
ounces
,
Rue
bruised
one
handful
;
mix
them
,
and
put
the
Bones
therein
for
fifteen
days
.
VII
.
To
Dye
Wood
,
Horn
,
or
Bones
red
.
First
boil
them
in
Alom
water
,
then
put
them
into
tincture
of
Brazil
in
Alom
water
for
two
or
three
weeks
:
or
into
Tincture
of
Brazil
in
Milk
.
VIII
.
To
Dye
them
Blew
.
Having
first
boiled
them●
in
Alom
water
,
then
put
them
into
the
Dissolution
of
Indico
in
Urine
.
To
Dye
them
Green
like
Emeralds
.
Take
Aqua
fortis
.
and
put
as
much
filings
of
Copper
into
it
,
as
it
will
dissolve
;
then
put
the
Wood
,
Horns
or
Bones
therein
for
a
night
.
X.
To
Dye
Bristles
and
Feathers
.
Boil
them
in
Alom
water
,
and
after
,
while
they
are
warm
,
put
them
into
Tincture
of
Saffron
,
if
you
would
have
them
yellow
:
or
juice
of
Elder
berries
,
if
blew
:
or
in
Tincture
of
Verdigriese
,
if
green
.
XI
.
To
Dye
an
Azure
Colour
.
Take
Roch
Alom
,
filings
of
Brass
,
of
each
two
ounces
,
Fish
glew
half
an
ounce
,
Vinegar
,
or
Fair
water
a
pint
,
boil
it
to
the
Consumption
of
the
half
.
XII
.
To
soften
Ivory
and
Bones
.
Lay
them
twelve
hours
in
Aqua
fortis
,
then
three
days
in
the
juice
of
Beets
,
and
they
will
be
tender
,
and
you
may
make
of
them
what
you
will
:
To
barden
them
again
,
lay
them
in
strong
White-wine
Vinegar
.
XIII
.
To
make
Horns
soft
.
Take
Urine
a
Month
old
,
Quick-lime
one
pound
,
calcined
Tartar
half
a
pound
,
Tartar
crude
,
Salt
,
of
each
four
ounces
,
mix
and
boil
all
together
,
then
strain
it
twice
or
thrice
,
in
which
put
the
horns
for
eight
days
,
and
they
will
be
soft
.
XIV
.
Another
way
to
make
them
soft
.
Take
ashes
of
which
glass
is
made
,
Quick-lime
of
each
a
pound
,
water
a
sufficient
quantity
,
boil
them
till
one
third
part
is
consumed
,
then
put
a
feather
into
it
,
if
the
feather
peel
it
is
sodden
enough
,
if
not
,
boil
it
longer
,
then
clarify
it
,
and
put
it
out
,
into
which
put
filings
of
Horn
for
two
days
;
anoint
your
hand
with
oyl
,
and
work
the
horns
as
it
were
paste
,
then
make
it
into
what
fashion
you
please
.
XV.
Another
way
to
soften
Horns
.
Take
juices
of
Marubium
,
Alexanders
,
Yarrow
,
Celandine
and
Radish
roots
,
with
strong
Vinegar
,
mix
them
,
into
which
put
Horns
and
digest
seven
days
in
horse-dung
,
then
work
them
as
before
.
XVI
.
To
cast
Horns
in
a
mould
,
like
as
Lead
.
Make
a
Lixivium
of
Calcined
Tartar
and
Quick-lime
,
into
which
put
filings
or
scrapings
of
Horn
,
boil
them
well
together
,
and
they
will
be
as
it
were
pap
,
tinge
it
of
the
colour
you
would
have
it
,
and
then
you
may
cast
it
in
a
mould
,
and
make
thereof
what
fashioned
things
you
please
.
XVII
.
To
make
Ivory
white
.
If
Ivory
be
yellow
,
spotted
or
coloured
,
lay
it
in
Quick-lime
,
pour
a
little
water
over
it
,
letting
it
lye
twenty
four
hours
,
and
it
will
be
fair
and
white
.
CHAP.
XXXVI
.
Of
Dying
Yarn
,
Linnen
Cloth
,
and
the
like
.
I.
TO
Dye
a
sad
Brown
.
First
infuse
the
matter
to
be
dyed
in
a
strong
tincture
of
Hermodacts
:
then
in
a
bag
put
Saffron
and
ashes
,
stratum
super
stratum
,
upon
which
put
water
two
parts
mixed
with
Vinegar
one
part
;
strain
the
water
and
Vinegar
through
hot
,
fifteen
or
sixteen
times
:
in
this
Lixiviate
Tincture
of
Saffron
put
what
you
would
dye
,
letting
it
lie
a
night
,
then
take
it
out
,
and
hang
it
up
to
dry
without
wringing
,
which
do
in
like
manner
the
second
and
third
times
.
II.
To
Dye
a
Blew
Colour
.
Take
Ebulus
berries
ripe
and
well
dried
,
steep
them
in
Vinegar
twelve
hours
,
then
with
your
hands
rub
them
,
and
strain
through
a
linnen
cloth
,
putting
thereto
some
bruised
Verditer
and
Alom
.
Note
,
if
the
Blew
is
to
be
clear
,
put
more
Verditer
to
it
.
III.
Another
excellent
Blew
Dye
.
Take
Copper
scales
one
ounce
,
Vinegar
three
ounces
,
Salt
one
Drachm
;
put
all
into
a
Copper
vessel
;
and
when
you
would
dye
,
put
the
said
matter
into
the
tincture
of
Brazil
.
IV.
Another
excellent
Blew
Dye
.
Take
calcined
Tartar
three
pugils
,
unslak'd
Lime
one
pugil
,
make
a
Lixivium
,
and
filtrate
it
;
to
twelve
or
fifteen
quarts
of
the
same
water
put
Flanders
blew
one
pound
,
and
mix
them
well
:
set
it
to
the
fire
,
till
you
can
scarcely
endure
your
hand
in
it
:
then
first
boil
what
you
would
dye
in
Alom
water
,
then
dry
it
;
afterwards
dip
it
in
hot
Lye
twice
or
thrice
;
then
put
it
into
the
Dye
.
V.
A
good
red
Dye
.
Take
Brazil
in
powder
,
fine
Vermilion
,
of
each
half
an
ounce
,
boil
them
in
Rain
water
,
with
Alom
one
drachm
,
boil
it
till
it
is
half
consumed
.
VI.
Another
excellent
good
Red
Dye
.
Take
of
the
Lixivium
of
unslak'd
Lime
one
pint
,
Brazil
in
powder
one
ounce
,
boil
to
the
half
;
then
put
to
it
Alom
half
an
ounce
,
keep
it
warm
,
but
not
to
boil
:
then
dip
what
you
would
dye
,
first
in
a
Lixivium
of
Red
wine
Tartar
,
let
it
dry
;
then
put
it
into
the
Dye
.
VII
.
Another
very
good
Red.
Take
Rosset
with
gum
Arabick
,
boil
them
a
quarter
of
an
hour
,
strain
it
:
then
first
boil
what
you
would
dye
,
in
Alom
water
two
hours
;
after
put
it
into
the
Dye
.
VIII
.
To
make
a
fair
Russet
Dye
.
Take
two
quarts
of
water
,
Brazil
one
ounce
,
boil
it
to
a
quart
;
put
to
it
a
sufficient
quantity
of
Granie
and
two
drachms
of
Gum
Arabick
.
IX
.
A
good
Purple
Colour
.
Take
Myrtle
berries
two
pound
,
Alom
,
calcined
Brass
of
each
one
ounce
,
water
two
quarts
,
mix
them
in
a
Brass
kettle
,
and
boil
half
an
hour
,
then
strain
it
.
X.
A
Yellow
Colour
.
Take
berries
of
purging
Thorn
,
gathered
about
Lammas
day
,
bruise
them
,
adding
a
little
Alom
in
powder
;
then
keep
all
in
a
Brass
vessel
.
XI
.
Another
good
Yellow
.
Put
Alom
in
powder
to
the
Tincture
of
Saffron
in
Vinegar
.
XII
.
A
very
good
Green
Colour
.
Take
Sap
green
,
bruise
it
,
put
water
to
it
,
then
add
a
little
Alom
,
mix
and
infuse
for
two
or
three
days
.
XIII
.
To
take
out
Spots
.
Wash
the
spots
with
oyl
of
Tartar
per
Deliquium
,
two
or
three
times
and
they
will
vanish
,
then
wash
with
water
.
Spirit
of
Wine
to
wash
with
is
excellent
in
this
case
.
If
they
be
Ink
spots
,
juice
of
Lemmons
or
Spirit
of
Salt
is
incomparable
,
washing
often
and
drying
it
:
so
also
Castle
Soap
and
Vinegar
.
CHAP.
XXXVII
.
Of
the
Dying
of
Stuffs
,
Cloaths
and
Silks
.
I.
TO
make
a
substantial
blew
Dye
.
Take
Woad
,
one
pound
,
and
mix
it
with
four
pound
of
boiling
water
:
Infuse
it
twenty
four
hours
;
then
die
with
it
all
white
colours
.
II.
To
make
a
firm
black
Dye
.
First
Wad
it
with
the
former
Blew
:
then
take
of
Galls
one
pound
;
water
sixty
pound
;
Vitriol
three
pounds
:
first
boil
the
Galls
and
water
with
the
Stuff
or
Cloath
,
two
hours
:
then
put
in
the
Coperas
at
a
cooler
heat
for
one
hour
:
then
take
out
the
Cloath
or
Stuff
and
cool
it
,
and
put
it
in
for
another
hour
,
boiling
it
:
Lastly
take
it
out
again
,
cool
it
,
and
put
in
once
more
.
III.
To
make
an
excellent
Yellow
Dye
.
Take
liquor
or
decoction
of
Wheat-bran
(
being
very
clear
)
sixty
pound
:
in
which
dissolve
three
pound
of
Alom
:
then
boil
the
stuff
or
cloath
in
it
for
two
hours
:
after
which
take
Wold
two
pounds
,
and
boil
it
till
you
see
the
colour
good
.
IV.
To
make
a
very
good
Green
Dye
.
First
Dye
the
Cloth
or
Stuff
Yellow
by
the
third
Section
,
then
put
it
into
the
Blew
Dye
,
in
the
first
Section
of
this
Chapter
.
V.
To
make
a
pure
clear
Red
Dye
.
Take
Liquor
or
Infusion
of
Wheat-bran
(
being
strained
and
made
very
clear
,
)
sixty
pounds
,
Alom
two
pounds
,
Tartar
one
pound
;
mix
and
dissolve
them
,
with
which
boil
the
Stuff
or
Cloath
for
two
hours
:
take
it
then
out
,
and
boil
it
in
fresh
Wheat-bran
liquor
,
sixty
pounds
;
to
which
put
Madder
three
pounds
;
perfect
the
colour
at
a
moderate
heat
,
without
boiling
:
VI.
To
make
a
very
pleasant
Purple
Dye
.
First
Dye
it
Blew
,
by
the
first
rule
of
this
Chapter
:
then
boil
it
in
the
former
Red
at
the
fifth
rule
hereof
;
Lastly
finish
it
with
a
decoction
of
Brazil
.
VII
.
To
Dye
Crimson
in
Grain
.
First
boil
it
in
the
Red
at
the
fifth
rule
of
this
Chapter
:
then
finish
it
in
a
strong
tincture
of
Cochenele
made
in
the
Wheat-bran
Liquor
aforefaid
.
VIII
.
To
make
a
Bow-dye
or
Scarlet
Colour
.
Take
water
an
hundred
pounds
;
Cremor
Tartari
and
Aqua
fortis
of
each
half
a
pound
;
parched
pease
in
powder
an
hundred
:
boil
all
together
with
the
stuff
for
two
hours
;
this
done
,
take
new
water
an
hundred
pound
weight
;
Cremor
Tartari
&
Aqua
fortis
of
each
two
ounces
,
in
which
boil
the
Stuff
or
Cloath
for
a
quarter
of
an
hour
;
then
put
in
the
Cochenele
,
and
boil
all
for
about
half
an
hour
,
and
it
is
done
.
Where
note
that
the
vessels
in
which
the
Stuff
and
Liquors
are
boiled
must
be
lined
with
Tin
,
else
the
Colour
will
be
defective
.
The
same
observe
in
Dying
of
Silks
(
in
each
colour
)
with
this
Caution
,
that
you
give
them
a
much
milder
heat
,
and
a
longer
time
.
IX
.
The
Bow-dyers
know
that
dissolved
Lime
(
that
is
the
solution
of
Jupiter
)
being
put
into
a
kettle
to
the
Alom
and
Tartar-makes
the
Cloath
attract
the
Colour
into
it
,
so
that
none
of
the
Cochenele
is
left
;
but
is
all
drawn
out
of
the
water
into
the
Cloath
.
The
Spirit
of
Nitre
being
used
with
Alom
and
Tartar
,
in
the
first
boiling
makes
a
firm
ground
,
so
that
they
shall
not
spot
nor
lose
their
colour
by
the
Sun
,
Fire
,
Air
,
Vinegar
,
Wine
,
Vrine
or
Salt-water
.
To
enumerate
all
the
great
variety
of
Dyes
,
or
Colours
;
or
offer
at
an
essay
to
reduce
them
to
a
certain
method
,
as
it
is
a
labour
needless
,
so
it
is
as
altogether
impossible
,
there
being
infinite
Colours
to
be
produced
,
for
which
(
as
yet
)
we
have
no
certain
,
known
or
real
name
:
And
out
of
what
we
have
already
enumerated
in
this
Chapter
,
the
ingenious
(
if
they
please
)
shall
find
(
by
little
practice
and
Experience
)
such
great
variety
to
be
apparent
,
that
should
we
express
the
number
though
but
in
a
very
low
or
mean
degree
,
we
could
not
but
be
exposed
in
censure
to
an
Hyperbole
even
of
the
highest
:
Every
of
the
aforegoing
colours
,
will
alone
or
singly
,
produce
a
great
number
of
others
,
the
first
more
deep
or
high
;
the
latter
,
all
of
them
paler
than
each
other
:
And
according
to
the
variety
of
colours
the
matter
is
of
,
before
it
is
put
into
the
Dye
,
such
new
variety
also
shall
you
have
again
when
it
comes
out
;
not
according
to
what
the
Colour
naturally
gives
,
but
another
clean
contrary
to
what
you
(
although
an
Artist
)
may
expect
.
For
if
strange
colours
be
dipt
into
dyes
not
natural
to
them
,
they
produce
a
forced
colour
of
a
new
texture
,
such
as
cannot
possibly
be
preconceived
by
the
mind
of
man
,
although
long
and
continued
experience
might
much
help
in
that
case
.
And
if
such
variety
may
be
produced
by
any
one
of
those
single
Colours
;
what
number
in
reason
might
be
the
ultimate
of
any
two
or
three
or
more
of
them
being
complicate
or
compounded
?
Now
if
such
great
numbers
or
varieties
may
be
produced
1.
by
any
one
single
colour
;
2.
by
being
complicate
;
how
should
we
(
without
a
certain
and
determinate
limitation
by
denomination
or
name
)
ever
order
such
confused
,
unknown
,
various
,
and
undeterminate
species
of
things
,
in
any
pleasant
,
intelligible
method
?
Since
therefore
that
the
matter
(
as
yet
)
appears
not
only
hard
,
but
also
impossible
,
we
shall
commend
what
we
have
done
to
the
Ingenuity
of
the
Industrious
;
and
desire
that
Candor
or
favour
from
the
experienced
,
with
love
to
correct
our
Errors
;
which
act
or
kindness
will
not
only
be
a
future
obligation
to
the
Author
,
but
also
enforce
Posterity
to
acknowledge
the
same
.
FINIS
Libri
Tertii
.
POLYGRAPHICES
LIBER
QUARTUS
.
Containing
the
Original
,
Advancement
and
Perfection
of
the
Art
of
Painting
.
CHAP.
I.
Of
the
Original
of
these
Arts.
I.
THe
Original
of
the
Art
of
Painting
was
taken
from
the
forms
of
the
things
which
appear
;
expressing
the
same
(
as
Isidorus
Pelusiota
saith
)
with
colours
,
either
hollow
or
swelling
;
dark
or
light
;
hard
or
soft
;
rough
or
smooth
;
new
or
old
.
II.
Among
all
other
visible
things
,
Flowers
yield
the
greatest
variety
of
Colours
;
which
Painters
(
as
the
famous
Pausias
)
have
attempted
to
express
;
who
was
the
first
that
assayed
to
bring
this
Art
to
something
of
Perfection
in
that
kind
.
III.
Amongst
things
invisible
,
as
Thunder
,
Lightning
,
and
the
like
;
Apelles
was
the
first
undertaker
:
the
consideration
of
these
almost
impossibilities
made
Theophylactus
Simocatus
in
his
seven
and
thirtieth
Epistle
say
;
that
Painters
undertake
to
express
such
things
,
as
nature
is
not
able
to
do
.
For
as
Maximus
Tyrius
saith
,
you
shall
not
find
in
hast
a
body
so
accurately
exact
,
as
to
compare
it
with
the
beauty
of
a
Statue
.
And
Proclus
saith
,
if
you
take
a
man
brought
forth
by
nature
,
and
another
made
by
the
Art
of
Carving
;
that
by
nature
shall
not
wholly
seem
statelier
;
because
Art
doth
many
things
more
exactly
:
to
which
Ovid
assents
,
when
be
saith
,
that
Pygmalion
did
carve
the
snow
white
Image
of
Ivory
with
such
a
happy
dexterity
,
that
it
was
altogether
impossible
that
such
a
woman
should
be
born
.
IV.
Now
whereas
Nature
scarcely
ever
presents
any
one
thing
perfect
in
beauty
(
in
all
its
parts
)
lest
it
should
be
said
that
she
had
nothing
more
to
distribute
to
others
;
so
Artists
of
old
chose
out
many
patterns
of
beauty
,
which
were
absolutely
perfect
in
some
of
their
parts
,
that
by
designing
each
part
after
that
pattern
,
which
was
perfect
therein
,
they
might
at
last
present
something
perfect
in
the
whole
.
Wherefore
when
Zeuxis
intended
an
exquisite
pattern
of
a
most
beautiful
woman
he
sought
not
for
this
perfection
in
one
particular
body
;
but
chose
five
of
the
most
well-favoured-virgius
;
that
be
might
find
in
them
that
perfect
beauty
,
which
(
as
Lucian
saith
)
must
of
necessity
be
but
one
.
V.
And
from
this
manner
of
Imitation
arises
the
skill
of
designing
;
from
whence
spring
the
Arts
of
Painting
,
Limning
,
Washing
,
Casting
,
and
all
others
of
that
kind
.
VI.
This
matter
of
Imitation
was
prosecuted
in
the
chief
things
only
;
For
who
should
learn
to
imitate
all
things
in
nature
?
the
greater
being
attained
,
the
less
will
fellow
of
themselves
;
if
any
shall
attempt
so
great
a
burthen
,
two
inconveniences
,
saith
Quintilian
,
will
necessarily
follow
,
to
wit
,
always
to
say
too
much
,
and
yet
never
to
say
all
.
VII
.
The
former
Imitation
is
of
things
seen
with
the
eye
:
there
is
another
,
which
is
the
Idea
of
things
conceived
in
the
mind
,
from
the
continual
motion
of
the
Imagination
.
Wherefore
as
Quintilian
saith
(
in
the
third
Chapter
of
the
tenth
Book
of
his
Institutions
of
Oratory
)
We
shall
do
well
to
accustom
our
mind
to
such
a
stedfast
constancy
of
Conceiving
,
as
to
overcome
all
other
impediments
,
by
the
earnestness
of
our
intention
:
for
if
we
do
altogether
bend
this
same
intention
upon
things
conceived
,
our
mind
shall
never
take
notice
of
any
thing
which
the
eyes
see
,
or
the
ears
hear
.
VIII
.
Those
therefore
which
would
profit
much
,
must
take
care
and
pains
,
to
furnish
their
minds
with
all
sorts
of
useful
Images
and
Idea's
.
This
treasury
of
the
mind
,
saith
Cassiodorus
,
(
Cap.
12.
de
Anima
)
is
not
over-loaden
in
hast
.
If
it
be
once
furnished
,
the
Artist
shall
find
upon
any
sudden
occasion
all
things
necessary
,
ready
at
hand
;
whereas
those
which
are
unprovided
,
shall
be
to
seek
:
it
is
like
to
the
Analytical
furniture
in
Algebra
,
without
the
knowledge
of
which
no
notable
thing
can
be
performed
.
IX
.
Although
the
imagination
may
be
easily
moved
,
yet
this
same
excellency
is
not
attained
in
an
instant
:
without
the
ability
of
expressing
the
conceived
Images
,
all
the
exercise
of
the
Phancy
is
worth
nothing
.
X.
The
Art
of
Painting
in
its
Infancy
was
so
mean
,
that
the
first
Artist
was
forc'd
(
as
Aelianus
saith
in
the
tenth
Chapter
of
the
tenth
Book
of
his
History
)
in
Painting
to
write
,
This
is
an
Ox
,
this
is
a
Horse
,
this
a
dog
.
But
as
Tully
saith
(
in
libro
de
claris
oratoribus
)
there
is
nothing
both
invented
and
finished
at
a
time
.
And
Arnobius
(
in
libro
secundo
adversus
Gentes
)
saith
,
the
Arts
are
not
together
with
our
minds
brought
forth
out
of
the
heavenly
places
;
but
are
all
found
out
here
on
earth
,
and
in
process
of
time
,
softned
,
forged
,
and
beautified
by
a
continual
meditation
:
Our
poor
and
needy
life
perceiving
some
casual
things
to
fall
out
prosperously
,
whilest
it
doth
imitate
,
attempt
,
try
,
slip
,
reform
and
change
,
hath
out
of
the
same
assiduous
reprehension
,
made
up
some
small
sciences
of
Arts
,
the
which
it
hath
afterwards
by
study
brought
to
some
perfection
.
XI
.
The
bare
learning
to
imitate
is
not
enough
;
it
is
requisite
,
that
since
we
are
not
first
in
invention
,
we
should
rather
study
to
out-goe
,
than
to
follow
.
If
it
were
altogether
unlawful
to
add
any
thing
to
things
formerly
invented
,
or
to
find
out
better
things
,
our
continual
labour
(
saith
Quintilian
)
would
be
good
for
nothing
.
It
is
certain
that
Phydias
and
Apelles
have
brought
many
things
to
light
,
which
their
predecessors
knew
nothing
of
.
XII
.
It
is
not
enough
to
do
all
things
with
the
Compleatness
of
Apelles
;
but
there
is
requisite
also
,
the
inestimable
grace
of
Zeuxis
;
the
indefatigable
diligence
of
Protogenes
;
the
witty
subtlety
of
Timanthes
;
and
the
stately
magnificence
of
Nicophanes
.
It
is
a
very
good
way
to
have
recourse
to
the
excellency
of
variety
of
great
masters
,
that
something
out
of
the
one
,
and
something
out
of
the
other
,
may
be
as
so
many
Ornaments
to
adorn
our
works
,
and
so
many
steps
to
lead
us
on
to
the
door
of
perfection
.
XIII
.
Without
doubt
then
there
is
some
perfection
of
Art
to
be
attained
to
;
and
that
it
is
as
possible
that
we
,
or
thou
,
or
he
,
may
aswel
attain
it
,
as
any
body
else
;
if
we
resolve
to
strive
and
take
pains
,
without
fainting
,
or
fear
of
dispair
.
XIV
.
The
Art
of
Painting
(
saith
Soerates
)
is
the
resemblance
of
visible
things
;
and
theref
ore
the
Artist
is
to
beware
that
he
abuses
not
the
liberty
of
his
imagination
in
the
shapes
of
monstrous
and
prodigious
Images
of
things
not
known
in
nature
;
but
as
a
true
lover
of
Art
,
prefer
a
plain
and
honest
work
agreeing
with
nature
,
before
any
phantastical
and
conceited
device
.
XV.
Art
is
but
one
only
thing
:
yet
there
may
be
incomparable
Artists
,
excellent
in
one
and
the
same
Art
,
which
may
almost
infinitely
differ
one
from
another
;
yet
all
alike
praise
worthy
.
There
is
but
one
Art
of
Casting
,
in
which
Myron
,
Polycletus
,
Lysippus
,
have
been
excellent
,
yet
did
one
very
much
differ
from
an
other
:
and
in
Painting
although
Zeuxis
,
Apelles
,
Aglaophon
,
differ
very
much
,
yet
none
of
them
seems
to
lack
any
thing
of
Art
.
Zeuxis
did
surpass
all
other
Artizans
,
in
painting
of
womens
bodies
:
Apelles
had
a
certain
invention
and
Grace
,
proper
unto
himself
alone
,
to
which
never
any
other
Artificer
attained
:
Lysippus
is
most
excellent
in
fine
and
subtle
workmanship
:
Polycletus
made
excellent
statues
upon
one
Leg
:
Samius
did
excell
in
conceiving
of
Visions
and
Phantasies
:
Dionysius
in
painting
of
men
only
:
Polygnotus
most
rarely
expressed
the
affections
and
passions
of
man
:
Antimachus
made
noble
women
:
Nicias
excellent
in
painting
of-women
,
but
most
excellent
in
four-footed
creatures
,
chiefly
dogs
:
Calamis
made
Chariots
drawn
with
two
or
four
horses
;
the
horses
were
so
exact
,
that
there
was
no
place
left
for
emulation
:
Euphranor
the
first
and
most
excellent
in
expressing
the
dignity
and
marks
of
Heroical
persons
:
Arestodemus
painted
wrestlers
:
Serapion
was
most
excellent
in
Scenes
:
Pyreicus
(
inferiour
in
the
Art
of
Painting
to
none
)
painted
nothing
but
Coblers
and
Barbers
:
Ludi●
the
first
and
most
excellent
in
painting
Landskips
:
Apollodorus
,
Aselepiodorus
,
Androbulus
,
Alevas
,
were
the
only
Painters
of
Philosophers
,
&c.
XVI
.
Simonides
comparing
Painting
with
Poesie
saith
,
that
Picture
is
a
silent
Poesie
;
and
Poesie
is
a
speaking
Picture
.
Upon
the
occasion
of
those
words
,
Plutarch
saith
,
The
things
represented
by
Painters
as
if
they
were
as
yet
doing
,
are
propounded
by
Orators
as
done
already
:
Painters
express
in
colours
and
lines
,
what
Poets
do
in
words
;
the
one
doth
that
with
the
Pencil
,
which
the
other
doth
with
the
Pen.
When
Latinus
Pacatus
had
made
a
full
description
of
the
miserable
end
of
wicked
Maximus
,
he
calls
upon
all
the
Painters
to
assist
him
.
Bring
hither
,
bring
hither
,
you
pious
Poets
(
saith
he
)
the
whole
care
and
study
of
your
tedious
nights
;
ye
Artificers
also
despise
the
vulgar
Arguments
of
antient
fables
;
these
,
these
things
deserve
better
to
be
drawn
by
your
cunning
hands
:
let
the
market
places
and
Temples
be
filled
with
such
spectacles
;
work
them
out
in
Ivory
;
let
them
live
in
colours
;
let
them
stand
in
Brass
;
let
them
exceed
the
price
of
precious
stones
.
It
doth
concern
the
security
of
all
ages
,
that
such
things
might
seem
to
have
been
done
;
if
by
chance
any
one
filled
with
wicked
desires
or
purposes
,
might
drink
in
Innocence
by
his
eyes
,
when
he
shall
see
(
the
horrid
and
deplorable
)
monuments
of
these
our
times
.
And
Gregory
Nyssen
,
upon
the
sacrificing
of
Isaac
,
saith
,
I
often
saw
in
a
picture
the
Image
of
this
fact
,
upon
which
I
could
not
look
without
tears
,
so
lively
did
Art
put
the
history
before
my
eyes
.
XVII
.
It
is
reported
that
the
Grecians
were
the
first
Painters
,
and
that
their
colours
were
(
in
the
infancy
thereof
)
only
black
and
white
:
But
it
appears
more
with
reason
and
truth
,
that
the
invention
thereof
should
be
ascribed
to
the
Aegyptians
,
who
(
before
the
invent
on
of
Letters
)
signified
their
Conceptions
by
Hieroglyphicks
of
Figures
,
Cyphers
,
Characters
,
and
Pictures
of
divers
things
,
as
birds
,
beasts
,
insects
,
fishes
,
trees
,
plants
,
&c.
And
by
tradition
transferred
the
same
to
their
children
.
So
they
made
the
Falcon
,
to
signifie
diligence
and
swiftness
:
the
Bee
,
a
King
:
its
honey
,
mildness
:
its
sting
,
justice
:
a
Serpent
(
tail
in
mouth
)
the
revolution
of
the
year
:
the
Eagle
,
envy
:
the
earth
,
a
labouring
beast
,
as
an
Ox
:
a
Hare
,
hearing
,
&c.
XVIII
.
It
appears
then
,
that
as
the
Aegyptians
were
the
first
inventors
thereof
;
so
the
Greeks
brought
it
(
out
of
its
rudeness
)
to
proportion
,
and
the
Romans
at
last
adorned
it
with
Colours
:
the
Germans
following
them
,
made
their
works
more
durable
by
painting
in
Oyl
;
of
whom
the
English
,
Dutch
,
and
French
are
become
mitators
.
XIX
.
About
the
time
of
Philip
King
of
Macedon
,
this
Art
began
to
flourish
;
growing
into
great
estimation
in
the
days
of
Alexander
and
his
successors
:
from
thence
,
through
all
the
series
of
times
,
even
to
this
day
,
it
hath
received
by
degrees
,
such
wonderful
advancements
,
that
it
may
now
be
said
,
it
is
arrived
at
perfection
.
XX.
Lastly
,
that
from
Time
,
Form
,
Magnitude
,
Number
,
Proportion
,
Motion
,
Rest
,
Situation
,
Imagination
,
Similitude
,
Distance
and
Light
,
in
a
single
and
complicate
consideration
,
this
Art
hath
its
offence
,
or
being
;
and
at
last
had
,
by
the
help
of
industrious
and
unwearied
minds
,
its
Original
production
and
manifestation
.
Light
is
that
only
thing
,
without
which
,
all
those
other
things
from
which
this
Art
springs
,
would
be
useless
;
without
which
the
Art
it self
cannot
be
.
It
is
(
as
Sanderson
saith
)
the
Heavens
Off-spring
;
the
eldest
daughter
of
God
;
fiat
lux
,
the
first
days
creation
:
it
twinkles
in
a
Star
;
blazes
in
a
Comet
;
dawns
in
a
Jewel
;
dissembles
in
a
Glow-worm
;
contracts
it self
in
a
spark
;
rages
in
a
flame
;
is
pale
in
a
candle
;
and
dyes
in
a
coal
.
By
it
the
sight
hath
being
,
and
the
imagination
life
,
which
comprehends
the
universality
of
all
things
without
space
of
place
;
the
whole
Heavens
in
their
vast
and
full
extent
,
enter
at
once
through
the
Apple
of
the
eye
,
without
any
straitness
of
passage
:
the
Sight
is
a
sense
,
which
comprehends
that
,
which
no
other
sense
is
capable
of
:
it
judgeth
and
distinguisheth
between
two
contraries
in
an
instant
;
it
considers
the
excellency
and
beauty
of
every
object
;
the
spangled
Canopy
of
Heaven
by
night
;
the
wandering
cloud
by
day
;
the
wonderful
form
of
the
rainbow
;
the
glorious
matutine
appearance
of
Phaebus
;
his
meridional
exaltation
;
the
golden
rays
which
surround
him
;
the
mutability
of
his
shadows
;
his
Vespertine
setting
;
the
lofty
tops
of
mountains
;
unaccessible
and
ridgy
rocks
;
profound
valleys
;
large
plains
,
which
seem
to
meet
Heaven
;
green
trees
and
pleasant
groves
;
delightful
hills
;
sweet
and
flowery
meadows
;
pleasant
streams
;
springing
fountains
;
flowing
rivers
;
stately
Cities
;
famous
Towers
;
large
bridges
;
magnificent
buildings
;
fruitful
Orchards
and
Gardens
;
shapes
of
living
Creatures
,
from
the
Elephant
to
the
Ant
,
from
the
Eagle
to
the
Wren
,
and
from
the
Whale
to
the
Shrimp
;
the
wonderful
form
of
Insects
;
the
marching
of
Armies
;
the
besieging
and
storming
of
Garisons
;
the
insolencies
of
rude
people
;
the
flight
of
the
distressed
;
the
desolations
and
depopulations
of
Kingdoms
and
Countries
;
the
sailing
of
Ships
;
terrible
Sea-fights
;
great
beauty
of
Colours
,
together
with
thousands
of
other
things
;
all
which
it
digests
,
and
marshals
in
ample
order
,
that
when
occasion
may
be
,
it
may
exert
its
store
,
for
the
benefit
,
advantage
,
advancement
,
and
perfection
of
Art
.
CHAP.
II.
Of
a
Picture
in
general
.
I.
IN
every
Picture
there
are
always
four
principal
considerations
:
to
wit
,
1.
Invension
,
2.
Proportion
,
3.
Colour
,
and
4.
Life
.
II.
Invention
must
be
free
,
and
flow
from
a
general
knowledge
of
Antiquities
,
History
,
Poetical
fictions
,
Geometrical
conclusions
,
and
Optical
considerations
;
according
to
its
Situation
or
Aspect
,
either
near
or
far
off
.
III.
And
this
Invention
must
express
proper
and
fit
things
,
agreeing
to
the
Circumstances
of
Time
,
Place
,
Matter
,
and
Person
;
and
having
respect
to
the
modes
of
habits
belonging
to
the
Country
or
People
whether
Antient
or
Modern
.
IV.
Proportion
,
Analogy
,
or
Symmetry
(
which
you
please
)
in
that
which
limits
each
part
to
its
proper
bigness
,
in
respect
to
the
whole
:
Whatsoever
differs
from
this
recedes
from
beauty
,
and
may
be
called
Deformity
.
V.
This
Proportion
is
called
by
Artists
the
designing
lines
;
which
are
first
drawn
before
the
whole
is
painted
.
These
proportions
or
lineal
designs
,
draughts
,
and
scotches
,
may
be
called
Picture
,
which
being
well
done
,
shew
not
only
the
shape
,
but
also
the
intent
:
In
lines
only
,
we
may
draw
the
Proportion
of
a
Black
More
,
and
such
as
shall
be
like
him
;
Now
this
Skill
proceeds
from
the
very
highest
principles
of
Art
.
VI.
Colour
is
that
which
makes
the
Picture
resemble
what
we
desire
to
imitate
;
by
mixing
of
various
Colours
together
.
VII
.
In
making
any
thing
apparent
,
it
is
necessary
to
express
its
opposite
or
contrary
.
So
light
and
shadows
forward
,
set
forth
Paintings
outwards
,
as
if
you
might
take
hold
of
them
with
your
hand
:
blackness
makes
things
seem
farther
off
,
and
is
used
in
things
hollow
,
as
Caves
,
Wells
,
&c.
the
more
deep
,
the
more
black
.
VIII
.
Brightness
exceeds
light
,
sparkling
in
splendor
.
It
is
used
in
the
Glory
of
Angels
;
twinkling
of
Gems
,
Armory
,
Gold
and
Silver
vessels
,
fires
and
flames
.
IX
.
In
Painting
of
a
man
,
grace
each
limb
with
its
proper
and
lively
Colour
;
the
black
make
sincerely
black
;
the
white
,
pure
,
with
redness
intermixt
.
But
to
paint
purely
the
exquisite
beauty
of
a
woman
,
is
never
to
be
well
done
(
except
it
be
by
a
very
ingenious
Artist
indeed
)
her
rare
complexion
being
scarcely
possible
to
be
imitated
with
Colours
:
There
is
none
really
knows
the
exact
mixture
for
such
a
Countenance
.
X.
Life
or
Motion
is
that
from
whence
action
or
passion
doth
result
,
which
in
coloured
pictures
is
seen
with
a
lively
force
of
Gesture
and
spirit
.
To
do
this
it
is
necessary
that
the
Artist
be
well
acquainted
with
the
nature
,
manners
,
and
behaviour
of
men
and
women
,
as
in
anger
,
sadness
,
joy
,
earnestness
,
idleness
,
love
,
envy
,
fear
,
hope
,
dispair
,
&c.
Every
disturbance
of
the
mind
alters
the
Countenance
into
several
postures
.
XI
.
The
head
cast
down
shews
humility
;
cast
back
,
arrogancy
or
scorn
;
hanging
on
the
neck
,
languishing
;
stiff
and
sturdy
,
morosity
of
mind
:
the
various
postures
of
the
head
shew
the
passions
;
the
Countenance
the
same
;
the
eyes
the
like
:
and
in
a
word
,
all
the
other
parts
of
the
body
contribute
something
to
the
expression
of
the
said
passions
of
the
mind
,
as
is
easily
to
be
observed
in
the
life
.
In
excellent
pieces
you
may
at
a
view
read
the
mind
of
the
Artist
in
the
formality
of
the
Storie
.
XII
.
Lastly
,
Be
always
sure
first
to
conceive
that
in
your
thoughts
,
which
you
would
express
in
your
work
;
that
your
endeavours
being
assisted
by
an
intellectual
energie
,
or
power
of
operation
,
may
at
length
render
your
productions
perfect
.
CHAP.
III.
Of
the
Choice
of
Copies
,
or
Patterns
.
I.
HE
that
chuseth
a
Pattern
,
ought
to
see
1.
that
it
be
well
designed
:
2.
that
it
be
well
coloured
.
II.
In
the
well
designing
,
be
sure
that
it
be
true
in
every
part
;
and
that
the
proportion
of
the
figure
be
just
and
correspond
to
the
life
.
III.
If
the
picture
be
a
fiction
,
see
that
it
be
done
boldly
,
not
only
to
exceed
the
work
(
but
also
the
possibility
)
of
nature
,
as
in
Centaurs
,
Satyrs
,
Syrens
,
Flying-horses
,
Sea-horses
,
Tritons
,
Nereides
,
&c.
Alexander
ab
Alexandria
saith
that
Theodore
Gaza
caught
one
of
these
Nereides
in
Greece
,
and
that
in
Zealand
,
another
was
taught
to
spin
:
these
Tritons
and
Nereides
are
these
which
are
called
Maremaids
,
the
M●le
and
the
Female
.
IV.
Natural
figures
shew
property
,
and
are
required
to
agree
with
the
life
:
forced
Figures
express
novelty
,
and
are
to
be
beautified
by
exorbitancies
according
to
the
fancy
of
the
Painter
without
limitation
:
novelty
causes
admiration
,
and
admiration
curiosity
,
a
kind
of
delight
and
satisfaction
to
the
mind
.
These
things
are
not
the
products
of
stupid
brains
,
nor
are
they
contained
within
the
perimitre
of
clouded
and
dull
Conceptions
.
V.
In
the
well
colouring
,
know
that
in
obscurity
or
darkness
there
is
a
kind
of
deepness
;
the
sight
being
sweetly
deceived
gradatim
in
breaking
the
Colours
,
by
insensible
change
from
the
more
high
to
the
more
dull
.
In
the
Rain-bow
this
mixture
is
perfect
;
the
variety
of
Colours
are
throughly
dispers'd
(
like
Atoms
in
the
Sun-beams
)
among
one
another
,
to
create
its
just
appearance
.
VI.
See
that
the
swellings
of
the
work
agree
with
the
exactness
of
nature
,
and
as
the
parts
thereof
require
,
without
sharpness
in
out-lines
,
or
flatness
within
the
body
of
the
piece
;
as
also
that
each
hollowness
exactly
correspond
in
due
proportions
.
VII
.
Lastly
,
View
precisely
the
passions
,
as
Joy
,
Sorrow
,
Love
,
Hatred
,
Fear
,
Hope
,
&c.
and
see
that
they
correspond
with
their
proper
postures
:
for
a
touch
of
the
pencil
may
strangely
alter
a
passion
to
its
just
opposite
or
contrary
,
as
from
Mirth
to
Mourning
,
&c.
CHAP.
IV.
Of
the
Disposing
of
Pictures
and
Paintings
.
I.
ANtique
works
,
or
Grotesco
,
may
become
a
wall
,
the
borders
and
freezes
of
other
works
;
but
if
there
be
any
draughts
in
figures
of
men
and
women
to
the
life
upon
the
wall
,
they
will
be
best
of
black
and
white
;
or
of
one
colour
heightned
:
if
they
be
naked
,
let
them
be
as
large
as
the
place
will
afford
;
if
of
Marbles
,
Columns
,
Aquaeducts
,
Arches
,
Ruines
,
Cataracts
,
let
them
be
bold
,
high
,
and
of
large
proportion
.
II.
Let
the
best
pieces
be
placed
to
be
seen
with
single
lights
,
for
so
the
shadows
fall
natural
,
being
always
fitted
to
answer
one
light
;
and
the
more
under
or
below
the
light
the
better
,
especially
in
mens
faces
and
large
pieces
.
III.
Let
the
Porch
or
entrance
into
the
house
,
be
set
out
with
Rustick
figures
,
and
things
rural
.
IV.
Let
the
Hall
be
adorned
with
Shepherds
,
Peasants
,
Milk-maids
,
Neat-heards
,
Flocks
of
Sheep
and
the
like
,
in
their
respective
places
and
proper
attendants
;
as
also
Fouls
,
Fish
,
and
the
like
.
V.
Let
the
Stair-case
be
set
off
with
some
admirable
monument
or
building
,
either
new
or
ruinous
,
to
be
seen
and
observed
at
a
view
passing
up
:
and
let
the
Ceiling
over
the
top-stair
be
put
with
figures
fore-shortened
looking
downwards
out
of
Clouds
,
with
Garlands
and
Cornucopia's
.
VI.
Let
Landskips
,
Hunting
,
Fishing
,
Fouling
,
Histories
and
Antiquities
be
put
in
the
Great
Chamber
.
VII
.
In
the
Dining-room
let
be
placed
the
pictures
of
the
King
and
Queen
;
or
their
Coat
of
Arms
;
forbearing
to
put
any
other
Pictures
of
the
life
,
as
not
being
worthy
to
be
their
Companions
;
unless
at
the
lower
end
,
two
or
three
of
the
chief
nobility
,
as
attendants
of
their
Royal
persons
:
for
want
hereof
you
may
put
in
place
,
some
few
of
the
nearest
blood
.
VIII
.
In
the
inward
or
with-drawing
chambers
,
put
other
draughts
of
the
life
,
of
persons
of
Honour
,
intimate
or
special
friends
,
and
acquaintance
,
or
of
Artists
only
.
IX
.
In
Banqueting-rooms
,
put
cheerful
and
merry
Paintings
,
as
of
Bacchus
,
Centaures
,
Satyrs
,
Syrens
,
and
the
like
,
but
forbearing
all
obscene
Pictures
.
X.
Histories
,
grave
stories
,
and
the
best
works
become
Galleries
;
where
any
one
may
walk
,
and
exercise
their
senses
,
in
viewing
,
examining
,
delighting
,
judging
and
censuring
.
XI
.
In
Summer-houses
and
Stone-walks
,
put
Castles
,
Churches
,
or
some
fair
building
:
In
Tarraces
,
put
Boscage
,
and
wild
works
:
Upon
Chimney-pieces
,
put
only
Landskips
,
for
they
chiefly
adorn
.
XII
.
And
in
the
Bed-chamber
,
put
your
own
,
your
wives
and
childrens
pictures
;
as
only
becoming
the
most
private
Room
,
and
your
Modesty
:
lest
(
if
your
wife
be
a
beauty
)
some
wanton
and
libidinous
guest
should
gaze
too
long
on
them
,
and
commend
the
work
for
her
sake
.
XIII
.
In
hanging
of
your
Pictures
;
if
they
hang
high
above
reach
,
let
them
bend
somewhat
forward
at
the
top
;
because
otherwise
it
is
observed
that
the
visual
beams
of
the
Eye
,
extending
to
the
top
of
the
Picture
,
appear
further
off
,
than
those
at
the
foot
.
CHAP.
V.
Of
Painting
in
General
.
I.
THe
Art
of
Painting
(
which
is
the
imitation
of
nature
)
consists
in
three
things
,
to
wit
,
Design
,
Proportion
and
Colour
:
all
which
are
exprest
in
three
sorts
of
Painting
,
viz.
Landskip
,
History
,
and
Life
.
II.
Landskip
or
perspective
,
wonderfully
respects
freedom
and
liberty
,
to
draw
even
what
you
please
.
History
respects
proportion
and
figure
:
Life
respects
colour
:
In
each
of
which
there
is
a
necessary
dependency
of
all
the
other
.
III.
The
work
of
the
Painter
is
to
express
the
exact
imitation
of
natural
things
;
wherein
you
are
to
observe
the
excellencies
and
beauties
of
the
piece
,
but
to
refuse
its
vices
.
For
a
piece
of
Painting
may
in
some
part
want
Dililigence
,
Boldness
,
Subilety
,
Grace
,
Magnificence
,
&c.
while
it
is
sufficiently
in
other
parts
excellent
;
and
therefore
you
are
not
so
much
to
imitate
Ornaments
,
as
to
express
the
inward
power
and
strength
.
IV.
In
Imitation
,
always
be
sure
to
follow
the
examples
and
patterns
of
the
best
masters
;
lest
evil
presidents
beget
in
you
an
evil
habit
.
V.
The
force
of
Imitation
resides
in
the
fancy
or
imagination
,
where
we
conceive
(
what
we
have
seen
)
the
form
or
Idaea
of
that
,
or
those
things
which
we
would
represent
in
lines
and
colours
.
VI.
This
Fancy
or
Imagination
is
strengthned
,
by
lodging
therein
all
variety
of
visible
rarities
;
as
1.
forms
made
by
light
and
darkness
;
such
as
are
to
be
seen
in
Summer
in
the
clouds
,
near
Sun-setting
(
which
vanish
before
they
can
be
imitated
:
)
2.
Forms
made
by
proximity
or
distance
of
place
,
such
as
are
Trees
,
Woods
,
Buildings
,
appearing
perfect
being
near
,
or
confused
in
their
parts
being
far
off
:
3.
Forms
of
dreams
,
of
which
(
whether
sleeping
or
waking
)
the
fancy
must
be
fully
possest
.
VII
.
Where
Design
is
required
;
you
must
fancy
every
circumstance
of
the
matter
in
hand
,
that
in
an
instant
,
with
a
nimble
hand
,
you
may
depict
the
same
with
liveliness
and
Grace
.
Slow
performance
causes
a
perturbation
in
the
fancy
,
cooling
of
the
mind
,
and
destruction
of
that
passion
which
should
carry
the
work
on
:
but
quickness
and
diligence
brings
forth
things
even
excellent
indeed
:
Care
,
Industry
and
Exercise
are
the
props
,
supporters
and
upholders
of
Art
.
VIII
.
Be
sure
you
dwell
not
too
long
upon
designing
:
alter
not
what
is
well
,
left
for
want
of
exquisite
judgement
you
make
it
worse
:
and
if
in
designing
you
want
that
ability
to
follow
the
quickness
of
fancy
,
submit
to
a
willing
negligence
;
a
careless
operation
adds
sometimes
such
a
singular
grace
,
as
by
too
much
curiosity
would
have
been
totally
lost
;
then
by
reviewing
what
is
done
,
make
a
regular
connexion
of
all
the
Idaea's
conceived
in
your
mind
.
IX
.
With
Apelles
amend
those
things
which
others
justly
find
fault
with
;
the
reprehensions
of
an
Artist
are
as
demonstrative
rules
of
experience
;
and
weigh
every
ones
opinion
for
the
advancement
of
Art
.
X.
Lastly
,
be
sure
your
Piece
be
of
a
good
Design
,
History
,
or
Life
;
that
the
parts
be
well
disposed
;
the
Characters
of
Persons
,
proper
;
the
form
magnificent
;
the
colour
lively
;
and
the
spirit
bold
:
that
it
may
appear
to
be
the
work
of
a
nimble
fancy
,
ready
memory
,
clear
judgment
,
and
large
experience
.
CHAP.
VI.
Of
Colours
.
I.
OKer
is
a
good
colour
,
and
much
in
use
for
shadows
,
in
pictures
of
the
life
,
both
for
hair
and
drapery
:
In
Landskips
it
is
used
for
Rocks
and
high
wayes
.
II.
Pink
the
fairest
,
with
blew
,
makes
the
fastest
greens
for
Landskip
and
Drapery
.
Sap
green
and
green
bise
are
good
in
their
kind
;
but
the
first
is
so
transparent
and
thin
,
the
other
of
so
course
and
gross
body
,
that
in
many
things
they
will
be
useless
,
especially
where
a
beautiful
green
(
made
of
Pink
and
bise
mixed
with
Indico
)
is
required
.
III.
Vmber
is
a
greasie
foul
colour
;
but
being
calcined
and
ground
,
it
works
sharp
and
neat
.
IV.
Spanish
Brown
is
exceeding
course
and
full
of
gravel
;
being
prepared
,
it
is
used
for
a
mixture
made
of
red
lead
mixt
with
a
little
Umber
,
which
makes
the
same
colour
.
V.
Collens
earth
or
Terra
Lemnia
,
it
is
used
to
close
up
the
last
and
deepest
touches
,
in
the
shadows
of
pictures
of
the
life
,
and
in
Landskips
;
use
it
when
new
ground
.
VI.
Cherry-stone
black
,
is
very
good
for
drapery
and
black
apparel
:
mixt
with
Indico
,
it
is
excellent
for
Sattin
;
it
appears
more
beautiful
or
shining
if
mixed
with
a
little
white
:
if
deepened
with
Ivory
black
,
in
hard
reflexions
,
and
strong
deep
touches
,
it
is
wonderful
fair
.
VII
.
Ivory
black
,
it
serves
for
a
deep
black
,
but
is
not
easie
to
work
without
it
be
well
tempered
with
Sugar-candy
,
to
prevent
peeling
.
VIII
.
Red
lead
well
wash'd
,
is
a
glorious
colour
,
for
those
peices
which
require
an
exquisite
redness
.
IX
.
Indian
Lake
,
is
the
dearest
and
most
beautiful
of
all
reds
;
it
is
to
be
ground
as
white
lead
,
and
mixt
with
a
little
white
Sugar-candy
and
fair
water
,
till
the
Colour
and
Sugar-candy
be
throughly
dissolved
,
which
being
dry
will
lie
very
fast
,
without
danger
of
cracking
or
peeling
.
CHAP.
VII
.
Of
making
Original
Colours
.
I.
TO
make
White
Lead
.
Put
into
an
earthen
pot
several
plates
of
fine
lead
,
cover
them
with
white-wine
vinegar
,
covering
the
top
of
the
pot
close
with
clay
,
bury
it
in
a
Cellar
for
seven
or
eight
weeks
,
and
you
will
have
good
white
lead
upon
the
plates
,
which
wipe
of
.
II.
To
make
Verdigriese
.
This
is
made
by
hanging
plates
of
Copper
over
the
fumes
of
Aqua
fortis
or
spirit
of
Nitre
:
or
by
dipping
them
in
the
same
,
or
in
Vinegar
.
III.
To
make
an
Emerald
Colour
.
Take
Verdigriese
in
fine
powder
,
which
temper
with
Varnish
,
and
lay
it
upon
a
ground
of
liquid
silver
burnish'd
,
and
you
have
a
fair
Emerald
.
IV.
To
make
a
Ruby
Colour
.
Mix
the
same
with
Florence
lake
,
and
you
shall
have
a
very
fair
Ruby
colour
.
V.
To
make
a
Saphyre
Colour
.
The
same
,
viz.
Verdigriese
mixt
with
Vltramarin●
,
makes
a
glorious
Saphyre
.
VI.
To
make
a
Crimson
Velvet
.
Take
Turnsoil
and
mix
it
with
Indico
lake
(
well
ground
with
Gum
and
Sugar-candy
)
lay
it
full
,
and
when
it
is
wet
,
wipe
away
the
colour
with
a
dry
pensil
,
where
you
would
have
the
heightening
of
the
Crimson
velvet
appear
,
and
the
stronger
reflections
will
be
well
expressed
.
VII
.
To
make
a
silver
black
.
Take
fine
Silver
filings
or
plates
,
which
dissolve
in
spirit
of
Nitre
or
Aqua
fortis
,
and
evaporate
to
dryness
,
or
precipitate
with
Oleo
Sulphuris
or
Salt
water
,
and
you
shall
have
a
snow
white
precipitate
,
which
mixt
with
water
makes
the
best
black
in
the
world
,
to
dye
all
manner
of
Hair
,
Horns
,
Bones
,
Wood
,
Metals
,
&c.
VIII
.
To
make
a
Murry
or
Amethyst
.
It
is
make
of
Indian
Lake
ground
with
Gum
Arabick
water
only
.
IX
.
To
make
a
Red
or
Ruby
for
Limning
.
It
is
made
of
Indian
lake
(
which
breaks
off
a
scarlet
colour
)
ground
with
Gum
water
and
Sugar-candy
.
X.
To
make
Azure
blew
,
or
Saphyre
.
It
is
made
of
Vltramarine
of
Venice
(
which
is
best
)
the
best
blew
smalt
,
or
blew
bise
,
ground
with
Gum
water
only
:
you
may
make
good
shadowing
blews
of
Indico
,
Flory
and
Litmoss
,
all
which
need
no
washing
,
nor
Litmoss
no
grinding
,
but
only
infused
in
a
Lixivium
of
Soap-ashes
.
XI
.
To
make
a
green
or
Emerald
.
It
is
made
of
Cedar
green
:
in
place
whereof
,
take
tripal
to
draw
with
:
Pink
is
good
also
for
Landskips
,
mixed
with
Bise
ashes
;
as
also
with
Masticot
and
Ceruse
.
XII
.
To
make
a
yellow
or
Topaz
.
It
is
made
of
Masticot
which
is
the
best
,
of
which
there
is
divers
sorts
,
viz.
deeper
and
paler
:
yellow
Oker
also
for
want
of
better
may
do
.
Shadow
Masticot
with
yellow
oker
;
deepen
it
with
Oker
de
rouse
.
XIII
.
To
make
Vltramarine
.
Take
the
deepest
coloured
Lapis
Lazuli
(
having
few
veins
of
Gold
upon
it
)
heat
it
red
hot
in
a
Crucible
close
covered
,
then
quench
it
in
Urine
,
Vinegar
or
water
,
in
a
leaded
earthen
pot
dry
it
well
,
then
with
a
pair
of
pinsers
nip
off
the
hard
,
gray
,
and
whitish
part
from
it
,
and
grind
the
remainder
with
honied
water
as
fine
as
may
be
,
then
dry
it
for
use
.
The
honied
water
is
made
of
water
a
quart
,
boiled
with
honey
two
spoonfuls
.
CHAP.
VIII
.
Of
Limning
to
the
life
in
general
.
I.
LEt
the
table
be
prepared
very
exact
by
the
fifth
rule
of
the
twenty
third
Chapter
of
the
second
Book
.
II.
Let
the
ground
be
of
flesh
colour
,
tempering
it
according
to
the
complexion
to
be
painted
.
III.
If
it
be
a
fair
complexion
,
mix
a
good
quantity
of
red
and
white
Lead
together
somewhat
thick
.
IV.
If
swarthy
or
brown
,
mix
with
the
former
a
little
fine
Masticot
or
English
Oker
,
or
both
,
always
observing
that
your
ground
be
fairer
than
the
complexion
painted
.
For
fairness
may
be
shadowed
or
darkened
at
pleasure
;
but
if
it
be
sad
or
dark
,
you
can
never
heighten
it
,
for
in
Limning
the
picture
is
alwayes
wrought
down
to
its
exact
colour
.
V.
Lay
the
ground
upon
the
card
or
tablet
,
with
a
larger
pencil
than
ordinary
,
free
from
spots
,
scratches
of
the
pencil
,
or
dust
,
and
as
even
as
possible
may
be
;
and
let
the
colour
be
rather
thin
and
waterish
than
too
thick
,
doing
it
very
quick
and
nimbly
with
two
or
three
dashes
of
the
pencil
.
VI.
This
done
prepare
your
shadows
in
order
,
by
the
seventh
rule
of
the
four
and
twentieth
Chapter
of
the
second
Book
.
VII
.
Then
draw
the
out-lines
of
the
face
with
lake
and
white
mingled
together
very
fine
;
so
that
if
you
should
mistake
in
your
first
draught
,
you
may
with
a
strong
stroke
draw
it
true
,
the
other
line
by
reason
of
its
faintness
being
no
hinderance
.
These
lines
must
be
truly
drawn
,
sharp
and
neat
,
with
the
greatest
exactness
imaginable
.
VIII
.
Observe
the
most
remarkable
and
deep
shadows
,
to
keep
in
memory
when
you
go
over
them
with
more
exactness
;
drawing
out
also
(
if
you
so
please
)
the
shape
of
that
part
of
the
body
next
adjoining
to
the
face
,
viz.
a
little
beneath
the
shoulders
,
with
a
strong
and
dark
colour
,
which
in
case
of
mistake
in
proportion
may
easily
be
altered
.
IX
.
The
first
fitting
is
to
dead
colour
the
face
:
the
second
sitting
is
the
exact
colouring
and
observation
of
the
several
shadows
,
graces
,
beauties
or
deformities
,
as
they
are
in
nature
:
the
third
sitting
is
in
making
smooth
what
was
before
rough
and
rude
;
clothing
what
was
naked
,
and
giving
strong
and
deepning
touches
to
every
respective
shadow
.
X.
The
dead
colour
is
thus
made
.
Take
of
the
aforesaid
ground
(
at
the
third
or
fourth
Section
of
this
Chapter
)
and
mix
it
with
fine
red
lead
,
tempering
it
exactly
to
a
dead
colour
of
the
cheeks
and
lips
,
having
a
great
care
,
that
you
make
it
not
too
deep
;
which
if
light
,
you
may
do
at
pleasure
.
XI
.
The
face
is
first
begun
to
be
coloured
in
the
reds
of
the
cheeks
and
lips
,
and
somewhat
strongly
in
the
bottom
of
the
chin
(
if
beardless
)
also
over
,
under
,
and
about
the
eyes
with
a
faint
redness
.
XII
.
The
ear
is
most
commonly
reddish
,
as
also
sometimes
the
roots
of
the
hair
.
XIII
.
The
ground
being
wash'd
over
with
this
reddish
or
dead
colour
,
let
the
shadows
be
as
well
bold
and
strong
,
as
exact
and
curious
.
A
good
picture
,
if
but
dead
coloured
only
,
and
seeming
near
hand
very
rough
,
uneven
and
unpleasant
,
yet
being
boldly
and
strongly
done
and
shadowed
,
will
appear
very
smooth
,
delicate
,
and
neat
if
but
viewed
at
a
distance
from
the
eye
.
Therefore
curiosity
and
neatness
of
Colour
,
is
not
so
much
to
be
regarded
,
as
bold
,
lofty
,
and
strong
expressing
what
is
seen
in
the
life
.
XIV
.
The
next
thing
to
be
done
is
the
use
of
the
faint
blews
,
about
the
corners
and
balls
of
the
eyes
and
temples
,
which
you
must
work
out
exceeding
sweetly
,
and
faint
by
degrees
.
XV.
Alwayes
be
sure
to
make
the
hard
shadows
fall
in
the
dark
side
of
the
face
,
under
the
nose
,
chin
,
and
eye-brows
,
as
the
light
falls
,
with
somewhat
strong
touches
.
XVI
.
The
light
shadows
being
done
and
smoothed
,
work
the
hair
into
such
forms
,
curlings
,
and
dispositions
as
best
adorn
the
piece
.
First
draw
it
with
colours
,
neatly
and
to
the
life
;
then
wash
it
roughly
as
the
rest
;
and
the
next
time
perfect
it
:
filling
up
the
empty
places
with
colour
,
and
the
partings
thereof
with
blew
.
XVII
.
And
ever
remember
,
when
you
would
have
your
colours
or
shadows
deep
,
strong
,
and
bold
;
that
you
do
them
by
degrees
,
beginning
faintly
,
and
then
encreasing
the
same
.
XVIII
.
First
,
use
the
former
colours
in
the
same
places
again
,
driving
and
sweetning
them
into
one
another
,
that
no
part
may
look
uneven
,
or
with
an
edge
,
or
patch
of
colour
,
but
altogether
equally
mixt
and
dispersed
,
lying
soft
and
smooth
,
like
smoak
or
vapours
.
XIX
.
Secondly
,
This
work
being
done
for
an
hour
or
two
,
lay
the
ground
for
behind
the
picture
of
blew
,
or
crimson
,
like
to
a
sattin
or
velvet
curtain
.
XX.
If
blew
,
let
it
be
done
with
Bise
well
tempered
in
a
shell
:
First
draw
the
out
lines
with
the
same
colour
,
with
a
small
pencil
:
then
with
a
thin
and
waterish
blew
wash
over
the
whole
ground
with
a
larger
pencil
:
lastly
,
with
thicker
colour
cover
the
same
which
you
before
wash'd
,
swiftly
,
that
it
dry
not
before
all
be
covered
,
so
will
it
lye
smooth
and
even
.
XXI
.
If
Crimson
,
work
with
Indian
lake
,
in
those
places
where
the
strong
lights
,
and
high
reflexions
fall
:
let
the
light
be
done
with
thin
and
waterish
lake
;
the
deepning
and
strong
shadows
,
close
by
the
light
with
thicker
colour
:
this
done
,
the
picture
will
be
much
changed
;
the
beauty
of
these
grounds
will
much
darken
and
dead
it
.
XXII
.
Let
the
apparel
with
suitable
colours
be
done
only
flat
with
heightning
or
deepning
;
and
then
go
over
the
face
again
,
reducing
the
shadows
to
smoothness
and
neatness
with
a
sharp
and
curious
pencil
:
drawing
the
eyes
;
the
lines
of
the
eye-lids
;
redness
of
the
nostrils
;
shadow
of
the
ears
;
deepness
of
the
eye-brows
,
and
those
other
more
remarkable
marks
of
the
face
:
so
sweetning
the
out-lines
of
the
face
(
by
darkning
the
ground
,
above
from
the
light
side
,
and
below
on
the
dark
side
)
that
when
the
work
is
done
,
the
ground
may
stand
as
it
were
at
a
distance
from
the
face
behind
;
and
the
face
may
seem
to
stand
off
forward
from
the
ground
.
XXIII
.
Then
go
over
the
hair
,
making
it
light
or
deep
by
the
life
:
and
in
Apparel
make
the
several
folds
and
shadows
,
and
what
else
is
to
be
imitated
,
as
it
is
in
the
life
it self
;
lightning
the
lines
with
the
purest
white
,
a
little
yellow
,
and
some
blew
;
and
deepning
with
Ivory
black
;
and
heightning
with
black
mixed
with
a
little
lake
or
Indico
.
XXIV
.
This
done
,
and
the
person
gone
,
your
work
being
yet
rough
,
by
your self
polish
it
,
and
strive
to
make
it
smooth
and
pleasant
,
filling
up
the
empty
places
,
and
sweetning
the
shadows
,
which
yet
lye
uneven
and
hard
.
XXV
.
The
Apparel
,
hair
,
and
ground
being
finished
,
now
give
strong
touches
for
the
rounding
of
the
face
;
and
observe
whatsoever
may
conduce
to
likeness
and
resemblance
,
as
moles
,
smilings
,
or
glancings
of
the
eyes
,
motion
of
the
mouth
,
&c.
for
which
purpose
,
you
may
find
an
occasion
of
discourse
,
or
cause
the
person
to
be
in
action
,
and
to
look
merrily
and
chearfully
.
XXVI
.
Lastly
conclude
,
that
the
eye
gives
the
life
;
the
nose
the
favour
;
the
mouth
the
likeness
;
and
the
chin
the
grace
.
XXVII
.
In
fair
coloured
drapery
,
if
the
lightning
be
done
with
fine
shell
gold
,
it
will
add
a
most
wonderful
lustre
,
and
be
a
singular
ornament
to
your
work
;
and
if
this
gold
be
mixt
with
the
very
ground
it self
,
the
apparel
will
appear
much
the
fairer
.
CHAP.
IX
.
Of
Limning
Landskip
.
I.
TO
make
the
Tablet
for
Landskip
.
Take
a
piece
of
Vellom
,
and
share
it
thin
upon
a
frame
,
fastning
it
with
past
or
glew
,
and
pasting
it
upon
a
board
;
and
this
manner
of
tablets
are
altogether
used
in
Italy
for
Landskip
,
and
History
.
II.
If
you
draw
a
Land-skip
from
the
life
,
take
your
station
from
the
rise
of
ground
,
or
top
of
an
hill
,
where
you
shall
have
a
large
Horizon
,
marking
your
tablet
into
three
divisions
downwards
,
from
the
top
to
the
bottom
:
then
your
face
being
directly
opposed
to
the
midst
of
the
finitor
,
keeping
your
body
fixed
,
depict
what
is
directly
before
your
eyes
,
upon
your
tablet
,
on
your
middle
division
,
then
turning
your
head
(
not
your
body
)
to
the
right
hand
,
depict
what
is
there
to
be
seen
:
adjoining
it
to
the
former
.
In
like
manner
doing
by
that
which
is
to
be
seen
on
the
left
hand
,
your
Landskip
will
be
compleated
.
III.
Make
every
thing
exact
,
not
only
in
respect
of
distance
,
proportion
and
colour
;
but
also
in
respect
of
form
,
as
if
there
be
Hills
,
Dales
,
Rocks
,
Mountains
,
Cataracts
,
Ruines
,
Aquaeducts
,
Towns
,
Cities
,
Castles
,
Fortifications
,
or
whatsoever
else
may
present
it self
to
view
;
making
always
a
fair
sky
,
to
be
seen
afar
off
;
letting
your
light
always
descend
from
the
left
hand
to
the
right
.
IV.
In
beginning
your
work
,
first
begin
with
a
large
sky
;
and
if
there
be
any
shining
or
reflexion
of
the
Sun
,
beware
you
mix
no
red
lead
in
the
purple
of
the
sky
,
or
clouds
,
but
only
with
lake
and
white
:
the
yellow
and
whitish
beams
of
Sol
work
with
Masticot
and
white
.
V.
Then
with
a
fresh
or
clean
pencil
finish
the
blewish
sky
,
and
clouds
,
with
smalt
only
:
at
the
first
working
,
dead
all
the
work
over
,
with
colours
suitable
to
the
Air
,
green
meadows
,
trees
,
and
ground
,
laying
them
somewhat
smooth
,
not
very
curiously
,
but
slightly
and
hastily
;
make
a
large
sky
,
which
work
down
in
the
Horizon
,
faintly
,
but
fair
;
and
drawing
nearer
to
the
earth
,
let
the
remote
mountains
appear
sweet
and
misty
,
almost
indistinguishable
,
joining
with
the
clouds
,
and
as
it
were
lost
in
the
Air.
VI.
The
next
ground
colour
downwards
must
encrease
in
magnitude
of
reason
,
as
nearer
the
eyes
,
somewhat
blewish
or
Sea-green
:
but
drawing
towards
the
first
ground
,
let
them
decline
into
a
reddish
or
popinjay
green
:
the
last
ground
colour
,
must
be
nearest
the
colour
of
the
earth
,
viz.
a
dark
yellow
,
brown
and
green
;
with
which
,
or
some
colour
near
it
,
you
must
make
your
first
trees
;
making
them
,
as
they
come
near
in
distance
,
to
encrease
proportionably
in
colour
and
magnitude
,
with
great
judgment
:
the
leaves
flowing
and
falling
one
with
another
,
some
apparent
,
others
lost
in
shadow
.
VII
.
Let
your
Landskip
lye
low
,
and
as
it
were
under
the
eye
(
which
is
most
graceful
and
natural
)
with
a
large
and
full
skie
not
rising
high
,
and
lifting
it self
into
the
top
of
the
piece
,
as
some
have
done
.
VIII
.
Be
sure
to
make
your
shadows
fall
all
one
way
,
viz.
to
make
light
against
darkness
,
and
darkness
against
light
;
thereby
extending
the
prospect
,
and
making
it
to
shew
as
afar
off
;
by
losing
its
force
and
vigour
,
by
the
remoteness
from
the
eye
.
IX
.
In
touching
the
trees
,
boughs
,
and
branches
,
put
all
the
dark
shadows
first
,
raising
the
lighter
leaves
above
the
darker
,
by
adding
Masticot
to
the
dark
green
,
which
may
be
made
with
Bise
,
Pink
and
Indico
:
the
uppermost
of
all
,
exprest
last
of
all
,
by
lightly
touching
the
exteriour
edges
of
some
of
the
former
leaves
,
with
a
little
green
,
Masticot
,
and
white
:
the
darkest
shadows
you
may
set
off
with
sap
green
and
Indico
.
X.
Trees
and
their
leaves
,
Rivers
,
and
Mountains
far
distant
,
you
must
strive
to
express
with
a
certain
real
softness
and
delicateness
:
in
making
Cataracts
,
great
falls
of
water
,
and
rocks
,
you
must
first
lay
a
full
ground
near
the
colour
,
then
with
a
stronger
in
the
dark
places
,
and
slight
heightning
in
the
light
;
remarking
all
disproportions
,
cracks
,
ruptures
and
various
representations
of
infinitely
differing
matters
;
the
manner
whereof
is
abundantly
exprest
,
in
almost
every
Land-skip
.
CHAP.
X.
Of
the
various
Forms
or
Degrees
of
Colouring
.
I.
THere
are
four
various
forms
or
degrees
of
colouring
,
viz.
1.
Of
Infants
,
or
Children
:
2.
Of
Virgins
or
fair
Women
:
3.
Naked
bodies
:
5.
Old
or
aged
bodies
.
II.
Infants
or
young
children
are
to
be
painted
of
a
soft
and
delicate
complexion
;
the
skin
and
ears
of
a
ruddy
and
pleasant
colour
,
almost
transparent
;
which
may
be
done
with
white
lead
,
lake
,
and
a
little
red
lead
;
shadowing
it
thin
,
faint
,
and
soft
;
letting
the
Cheeks
,
Lips
,
Chin
,
Fingers
,
Knees
and
Toes
be
more
ruddy
than
other
parts
;
making
all
their
Linnen
very
fine
,
thin
,
and
transparent
,
or
perspicuous
,
with
strong
touches
in
the
thickest
folds
.
III.
Virgins
and
fair
Women
are
as
curiously
to
be
express'd
as
the
former
,
but
their
Muscles
are
to
be
more
apparent
,
their
shape
more
perfect
;
and
their
shadows
to
be
of
a
whitish
yellow
,
blewish
,
and
in
some
places
almost
purple
;
but
the
most
perfect
and
exquisite
direction
is
the
life
,
which
ought
rather
to
be
followed
than
any
thing
delivered
by
rule
.
IV.
Naked
bodyes
are
to
be
painted
strong
,
lively
,
and
accurate
;
exactly
matching
the
respective
pairs
of
Muscles
and
Nerves
,
fixing
each
Artery
in
its
due
and
proper
place
,
giving
each
limb
its
proper
motion
form
and
scituation
,
with
its
true
and
natural
colour
;
all
which
to
do
well
may
be
the
study
and
practice
of
almost
ones
whole
life
.
V.
Old
or
aged
Bodies
ought
to
be
eminent
for
exact
and
curious
shadows
,
which
may
be
made
of
Pink
,
lake
,
and
Ivory
black
,
which
make
notable
shadows
,
in
appearance
like
the
wrinkles
and
furrows
of
the
face
and
hand
in
extreme
old
age
:
let
the
eyes
be
dark
,
the
aspect
melancholy
,
the
hair
white
(
or
else
the
pate
bald
)
and
all
the
remarks
of
Antiquity
or
age
be
very
apparent
and
formidable
.
VI.
But
notwithstanding
all
the
aforegoing
rules
,
the
posture
or
form
of
standing
,
and
being
either
of
the
whole
body
,
or
any
of
its
parts
,
ought
diligently
to
be
observed
,
that
the
life
may
be
imitated
,
in
which
,
it
only
lyes
in
the
breast
and
judgment
of
the
Painter
to
set
it
off
with
such
various
colours
,
as
may
best
bent
the
respective
complexion
and
accidental
shadows
of
each
accidental
position
or
posture
,
which
are
sometimes
more
pale
,
sometimes
more
ruddy
;
sometimes
more
faint
,
sometimes
more
lively
.
CHAP.
XI
.
Of
Frescoe
,
or
Painting
of
Walls
.
I.
IN
Painting
upon
Walls
,
to
make
it
endure
the
weather
,
you
must
grind
your
colours
with
Lime
water
,
Milk
,
or
Whey
,
mixt
in
size
colouring
pots
.
II.
The
paste
or
plaister
must
be
made
of
well
wash'd
lime
,
mixt
with
fine
powder
of
old
rubbish
stones
:
the
lime
must
be
so
often
wash'd
,
till
all
its
salt
is
obstracted
;
and
all
your
work
must
be
done
,
in
clear
and
dry
weather
.
III.
To
make
the
work
endure
,
strike
into
the
wall
stumps
of
headed
nails
,
about
five
or
six
inches
asunder
,
and
by
this
means
you
may
preserve
the
plaister
from
peeling
.
IV.
Then
with
this
paste
,
plaister
the
wall
,
a
pretty
thickness
,
letting
it
dry
:
being
dry
,
plaister
it
over
again
,
about
the
thickness
of
half
a
barley
corn
,
very
fine
and
smooth
,
then
your
colours
being
ready
prepared
,
work
this
last
plaistering
over
,
whilest
it
is
wet
,
so
will
your
Painting
unite
and
join
fast
to
the
plaister
,
and
dry
together
as
a
perfect
compost
.
V.
In
painting
be
nimble
and
free
,
let
your
work
be
bold
and
strong
,
but
be
sure
to
be
exact
,
for
there
can
be
no
alteration
after
the
first
painting
;
and
therefore
heighten
your
paint
enough
at
first
,
you
may
deepen
at
pleasure
.
VI.
All
earthy
colours
are
best
,
as
the
Okers
,
Spanish
white
,
Spanish
brown
,
Terrae
Vert
,
and
the
like
;
mineral
colours
are
naught
.
VII
.
Lastly
,
let
your
pencils
and
brushes
be
long
and
soft
,
otherwise
your
work
will
not
be
smooth
;
let
your
colours
be
full
,
and
flow
freely
from
the
pencil
or
brush
;
and
let
your
design
be
perfect
at
first
;
for
in
this
,
there
is
no
after
alteration
to
be
made
.
CHAP.
XII
.
How
the
Antients
depicted
their
Gods
,
and
first
of
Saturn
.
IN
Chap.
18.
and
19.
lib.
1.
and
chap.
12.
and
13.
lib.
3
:
we
have
something
concisely
handled
this
matter
;
but
because
we
have
been
there
exceeding
brief
,
&
that
what
we
have
there
delivered
is
too
strict
for
ordinary
use
or
practice
,
being
indeed
only
the
preparative
or
foundation
for
a
larger
work
;
we
intend
here
in
this
fourth
part
to
prosecute
the
same
,
in
such
sort
,
as
to
comprehend
the
various
ways
of
the
antients
in
depicting
their
Idols
,
according
to
the
customs
of
those
several
nations
,
where
they
were
adored
and
worshiped
,
and
that
from
most
of
the
ancient
,
chiefest
and
best
approved
Authors
now
extant
.
I.
The
ancient
Romans
figured
Saturn
like
an
old
man
,
with
a
Sythe
or
hook
in
his
hand
,
by
some
signifying
time
,
as
his
name
Chronos
also
intimates
.
II.
They
also
figured
him
in
the
shape
of
a
very
aged
man
,
as
one
who
began
with
the
beginning
of
the
world
,
holding
in
his
hand
a
child
,
which
by
piece
meals
he
seems
greedily
to
devour
.
By
this
is
signified
the
revenge
he
took
,
for
being
expulsed
Heaven
by
his
own
children
;
of
which
those
which
escaped
his
fury
,
were
only
four
,
Jupiter
,
Juno
,
Plute
,
and
Neptune
;
by
which
is
shadowed
forth
the
four
Elements
,
Fire
,
Air
,
Earth
,
and
Water
,
which
are
not
perishable
by
the
all
cutting
sickle
of
devouring
time
.
III.
Martianus
Capella
depicts
him
an
old
man
,
holding
in
his
right
hand
a
Serpent
,
with
the
end
of
its
tail
in
its
mouth
,
turning
round
with
a
very
flow
pace
,
his
temples
girt
with
a
green
wreath
,
and
the
hair
of
his
head
and
beard
milk
white
.
The
wreath
on
his
head
shews
the
Spring
time
;
his
snowy
hair
and
beard
,
the
approach
of
churlish
winter
;
the
flowness
of
the
Serpents
motion
,
the
sluggish
revolution
of
that
Planet
.
IV.
Macrobius
describes
him
with
a
Lions
head
,
a
Dogs
head
,
and
a
Wolfs
head
.
By
the
Lions
head
is
signified
the
time
present
,
(
which
is
alwayes
strongest
,
for
that
which
is
,
must
needs
be
more
powerful
than
that
which
is
not
:
)
by
the
dogs
head
,
the
time
to
come
,
(
which
always
fawns
on
us
,
and
by
whose
alluring
delights
we
are
drawn
on
to
vain
and
uncertain
hopes
:
)
and
by
the
wolfs
head
,
time
past
,
(
which
greedily
devoureth
what
ever
it
finds
,
leaving
no
memory
thereof
behind
.
V.
Maerobius
also
saith
that
among
the
rest
of
his
descriptions
,
his
feet
are
tyed
together
with
threds
of
Wool
.
By
which
is
shewed
,
that
God
does
nothing
in
haste
,
nor
speedily
castigates
the
iniquities
of
man
,
but
proceeds
slowly
and
unwillingly
,
to
give
them
time
and
leisure
to
amend
.
VI.
Eusebius
saith
,
that
Astarte
(
the
daughter
of
Coelum
,
wife
and
sister
of
Saturn
)
did
place
also
upon
his
head
two
wings
,
demonstrating
by
the
one
,
the
excellency
and
perfection
of
the
mind
;
by
the
other
,
the
force
of
sence
and
understanding
.
The
Platonicks
understand
by
Saturn
the
mind
,
and
its
inward
contemplation
of
things
coelestial
,
and
therefore
called
the
time
in
which
he
lived
,
the
golden
Age
,
it
being
replete
with
quietness
,
concord
,
and
true
content
.
CHAP.
XIII
.
How
the
Antients
depicted
Jupiter
.
I.
ORpheus
describes
him
with
golden
locks
,
having
on
his
temples
peeping
forth
,
two
golden
horns
,
his
eyes
shining
,
his
breast
large
and
fair
,
having
on
his
shoulders
,
wings
.
By
the
golden
locks
is
signified
the
Firmament
,
and
its
glorious
army
of
tralucent
Stars
:
by
his
two
horns
,
the
East
and
West
:
by
his
eyes
,
the
Sun
and
Moon
:
by
his
breast
,
the
spacious
ambulation
of
the
air
;
and
by
his
wings
the
fury
of
the
winds
.
II.
Porphyrius
and
Suida
depicture
the
Image
of
Jupiter
sitting
upon
a
firm
and
immoveable
seat
;
the
upper
parts
naked
and
uncloathed
,
the
lower
parts
covered
and
invested
;
in
his
left
hand
a
Scepter
;
in
his
right
hand
a
great
Eagle
,
joined
with
the
figure
of
Victoria
.
This
Image
was
erected
in
Piraeus
,
a
stately
and
magnificent
gate
of
Athens
:
by
the
seat
is
shewed
the
permanency
of
Gods
power
:
the
naked
parts
shew
that
the
compassion
of
the
Divine
power
is
always
manifest
to
those
of
an
understanding
Spirit
:
the
lower
parts
covered
,
shew
that
while
we
wallow
in
the
world
,
and
as
it
were
rock'd
asleep
with
the
illecebrous
blandishments
thereof
,
that
the
divine
knowledge
is
hid
and
obscured
from
us
:
by
the
Scepter
is
signified
his
rule
over
all
things
:
by
the
Eagle
and
Victoria
how
all
things
stand
in
vassalage
and
subjection
to
the
all
commanding
power
.
III.
Martianus
depictures
him
with
a
regal
crown
,
adorned
with
most
precious
and
glittering
stones
;
over
his
shoulders
,
a
thin
vail
(
made
by
Pallas
own
hands
)
all
white
,
in
which
is
inserted
divers
small
pieces
of
glass
representing
the
most
resplendent
Stars
;
in
his
right
hand
he
holdeth
two
balls
,
the
one
all
of
gold
,
the
other
half
gold
,
half
Silver
;
in
the
other
hand
an
Ivory
Harp
with
nine
strings
,
sitting
on
a
foot-cloth
,
wrought
with
strange
works
,
and
Peacocks
feathers
;
and
near
his
side
lyeth
a
tridental
gold
embossed
mass
.
IV.
Plutarch
saith
that
in
Crete
,
he
had
wholly
humane
shape
and
proportion
,
but
without
ears
.
By
that
was
signified
that
Superiours
and
Judges
ought
not
to
be
carried
away
by
prejudice
nor
perswasion
,
but
stand
firm
,
stedfast
and
upright
to
all
without
partiality
.
V.
Contrariwise
the
Lacedaemonians
framed
his
picture
with
four
ears
.
By
that
they
signified
that
God
heareth
and
understandeth
all
things
;
and
that
Princes
and
Judges
ought
to
hear
all
informations
,
before
they
deliver
definitive
sentence
or
judgment
.
VI.
Pausanias
saith
that
in
the
temple
of
Minerva
(
among
the
Argives
)
the
statue
of
Jupiter
was
made
with
three
eyes
;
two
of
them
in
their
right
places
;
the
other
in
the
middle
of
his
fore-head
.
By
which
is
signified
his
three
Kingdoms
,
the
one
Heaven
;
the
other
earth
;
the
last
Sea
.
VII
.
With
the
Eleans
(
a
people
of
Greece
)
the
Statue
of
Jove
was
compacted
of
Gold
and
Ivory
,
empaled
with
a
Coronet
of
Olive
leaves
;
in
his
right
hand
the
Image
of
Victoria
;
in
his
left
a
Scepter
,
on
the
top
of
which
was
mounted
the
portraicture
of
an
Eagle
,
upon
a
seat
of
Gold
,
enchased
with
the
forms
of
many
unknown
birds
and
fishes
,
upheld
and
supported
by
four
Images
of
Victoria
.
VIII
.
In
Caria
(
a
place
of
the
lesser
Asia
)
the
Statue
of
Jupiter
was
made
holding
in
one
of
his
hands
a
pole
axe
.
The
reason
of
this
was
,
as
Plutarch
saith
,
from
Hercules
,
who
overthrowing
Hippolyta
the
Amazonian
Queen
,
took
it
from
her
,
and
gave
it
to
Omphale
his
wife
a
Lydian
.
The
Platonists
understand
by
Jupiter
,
the
soul
of
the
world
;
and
that
divine
spirit
,
through
whose
Almighty
Power
,
every
thing
receives
its
being
and
preservation
.
CHAP.
XIV
.
How
the
Antients
depicted
Mars
.
I.
MAcrobius
saith
that
the
Pictures
of
Mars
were
adorned
and
beautified
with
the
Sun-beams
,
in
as
lively
a
manner
as
could
be
devised
;
with
an
Aspect
fierce
,
terrible
,
and
wrathful
,
hollow
red
eyes
,
quick
in
their
motion
,
face
all
hairy
with
long
curled
locks
on
his
head
,
depending
even
to
his
shoulders
of
a
coal
black
colour
,
standing
with
a
spear
in
the
one
hand
,
and
a
whip
in
the
other
.
II.
He
is
also
sometimes
depicted
on
horse-back
and
sometimes
in
a
Chariot
,
drawn
with
horses
called
Fear
and
Horror
:
some
say
the
Chariot
was
drawn
with
two
men
,
which
were
called
Fury
and
Violence
.
III.
Statius
saith
he
wore
on
his
head
a
helmet
most
bright
and
shining
,
so
fiery
as
it
seemed
,
there
issued
flashes
of
lightning
;
a
breast
plate
of
Gold
,
insculp'd
with
fierce
and
ugly
Monsters
;
his
shield
depainted
all
over
with
blood
,
enchased
with
deformed
beasts
,
with
a
spear
and
whip
in
his
hands
,
drawn
in
a
Chariot
with
two
horses
,
Fury
and
Violence
,
driven
with
two
churlish
coach-men
,
Wrath
and
Destruction
.
IV.
Isidorus
saith
that
the
Picture
of
Mars
was
depainted
with
a
naked
breast
.
By
which
is
signified
that
men
ought
not
to
be
timorous
in
warr
,
but
valiantly
and
boldly
expose
themselves
to
hazards
and
dangers
.
V.
Statius
saith
that
the
house
of
Mars
was
built
in
an
obscure
corner
of
Thracia
,
made
of
rusty
,
black
Iron
;
the
Porters
which
kept
the
gates
were
Horror
and
Madness
;
within
the
house
inhabited
Fury
,
Wrath
,
Impiety
,
Fear
,
Treason
and
Violence
,
whose
governess
was
Discord
,
seated
in
a
regal
throne
,
holding
in
one
hand
a
bright
sword
,
in
the
other
a
basin
full
of
humane
blood
.
VI.
Ariosto
,
describing
the
Court
of
Mars
saith
,
that
in
every
part
and
corner
of
the
same
were
heard
most
strange
Ecchoes
,
fearful
shrieks
,
threatnings
,
and
dismal
cryes
;
in
the
midst
of
this
palace
was
the
Image
of
Vertue
,
looking
sad
and
pensive
,
full
of
sorrow
,
discontent
and
melancholy
,
leaning
her
head
on
her
arm
:
hard
by
her
was
seated
in
a
chair
Fury
in
triumph
:
not
far
from
her
sate
Death
,
with
a
bloudy
stern
countenance
,
offering
upon
an
Altar
in
mens
skulls
,
humane
blood
,
consecrated
with
coals
of
fire
,
fetch'd
from
many
Cities
and
Towns
,
burnt
and
ruinated
by
the
tyranny
of
War
.
CHAP.
XV.
How
the
Antients
depicted
Phoebus
or
Sol.
I.
MAcrobius
saith
that
in
Assyria
was
found
the
Statue
of
Apollo
,
Phoebus
or
Sol
,
the
father
of
AEsculapius
,
in
the
form
of
a
young
man
,
and
beardless
,
polished
with
Gold
,
who
stretching
out
his
Arms
,
held
in
his
right
hand
a
Coachmans
whip
;
and
in
his
left
a
thunderbolt
with
some
ears
of
Corn.
The
Tyrant
of
Syracuse
,
Dionysius
,
with
fury
pulled
off
the
beard
from
the
figure
of
Aesculapius
,
saying
it
was
very
incongruous
that
the
father
should
be
beardless
,
and
the
son
have
one
so
exceeding
long
.
II.
Eusebius
saith
that
in
Egypt
the
Image
of
Sol
was
set
in
a
ship
,
carried
up
,
and
supported
by
a
Crocodile
:
and
that
they
(
before
letters
were
invented
)
framed
the
shape
of
the
Sun
,
by
a
Scepter
,
in
the
top
of
which
was
dexterously
engraven
an
eye
.
The
Scepter
signified
Government
:
the
eye
,
the
power
which
over-sees
and
beholds
all
things
.
III.
The
Lacedaemonians
depicted
Apollo
with
four
ears
,
and
as
many
hands
.
By
which
was
signified
the
judgment
and
prudence
of
God
,
being
swift
and
ready
to
hear
,
but
slow
to
speak
,
and
from
thence
grew
that
proverb
among
the
Grecians
.
IV.
Herod●tus
reporteth
that
the
Phoenicians
had
the
Statue
of
the
Sun
made
in
black
stone
,
large
and
spacious
at
bottom
,
but
sharp
and
narrow
at
top
,
which
they
boasted
to
have
had
from
Heaven
.
V.
Lactantius
saith
that
in
Persia
,
Phoebus
or
Apollo
was
their
chiefest
God
,
and
was
thus
described
;
he
had
the
head
of
a
Lyon
habited
according
to
the
Persian
custom
,
wearing
on
his
head
such
ornaments
as
the
women
of
Persia
used
,
holding
by
main
force
a
white
Cow
by
the
horns
.
The
head
of
the
Lion
sheweth
the
Suns
Dominion
in
the
sign
Leo
;
the
Cow
shews
the
Moon
,
whose
exaitation
is
Taurus
:
and
his
forceable
holding
,
the
Moons
Eclipse
which
she
cannot
avoid
.
VI.
Pausanias
telleth
that
in
Patra
a
City
of
Achaia
,
a
metalline
Statue
of
Apollo
was
found
in
the
proportion
of
an
Ox
or
Cow
.
VII
.
Lucianus
saith
that
the
Assyrians
shaped
him
with
a
long
beard
(
shewing
his
perfection
;
)
upon
his
breast
a
shield
;
in
his
right
hand
a
spear
,
in
the
top
of
which
was
Victoria
;
in
his
left
hand
Anthos
,
or
the
Sun
flower
:
this
body
was
covered
with
a
vestment
,
upon
which
was
painted
the
head
of
Medusa
,
from
which
dangled
downwards
many
swarms
of
snakes
;
on
the
one
side
of
him
Eagles
flying
,
on
the
other
side
a
lively
Nymph
.
VIII
.
The
Egyptians
composed
the
statue
of
the
Sun
in
the
shape
of
a
man
,
with
his
head
half
shaven
.
By
the
head
half
shaven
,
is
signified
that
though
his
beauty
or
shining
may
be
clouded
for
a
time
,
yet
that
he
will
return
and
beautify
the
same
with
his
pristin
brightness
;
as
the
growing
of
the
hairs
(
which
signify
his
beams
)
to
their
full
extent
and
perfection
again
may
denote
.
IX
.
Martianus
thus
describes
him
;
upon
his
head
(
saith
he
)
he
wears
a
royal
and
gorgeous
Crown
,
inchased
with
multitudes
of
precious
Gems
;
three
of
which
beautifie
his
fore-head
;
six
his
temples
;
and
three
other
the
hindermost
part
of
the
Crown
:
his
hair
hanging
down
in
tresses
,
looks
like
refined
Gold
,
and
his
Countenance
wholly
like
flame
:
his
vestment
is
thin
,
subtil
,
and
wrought
with
fine
purple
and
gold
;
in
his
right
hand
he
holds
a
bright
shield
;
and
in
his
left
a
flaming
fire-brand
:
on
his
feet
he
hath
two
wings
,
beset
with
fiery
Carbuncles
.
X.
Eusibius
writeth
that
in
Elephantinopolis
(
a
City
in
Egypt
)
the
Image
of
Apollo
was
framed
to
the
due
likeness
of
a
man
throughout
the
body
,
save
only
,
that
he
had
the
head
of
a
Ram
,
with
young
and
small
horns
,
and
his
aspect
of
a
Cerulean
and
blewish
green
,
not
unlike
to
that
of
the
Sea
.
The
head
of
the
Ram
signifies
the
Sun's
exaltation
in
the
sign
Aries
;
and
the
young
horns
the
change
or
New
of
the
Moon
,
made
by
her
conjunction
with
the
Sun
,
in
which
she
looks
blewish
.
There
might
you
see
with
greatest
skill
intexed
,
The
portraicture
of
Phoebus
lively
drawn
;
And
his
fair
Sisters
shape
thereto
annexed
,
Whose
shining
parts
seem'd
shadowed
o're
with
lawn
.
And
though
with
equal
art
both
were
explain'd
,
And
workmens
care
gave
each
of
them
their
due
,
Yet
to
the
view
great
difference
remain'd
,
In
habit
,
shape
,
aspect
,
and
in
their
hue
.
For
one
of
them
must
give
the
day
his
light
:
And
th'
other
reign
Commandress
of
the
night
.
CHAP.
XVI
.
How
the
Antients
depicted
Venus
.
I.
HEr
Statue
is
framed
in
the
shape
of
a
most
beautiful
and
young
woman
,
standing
upright
in
a
huge
shell
of
fish
,
drawn
by
two
other
most
ugly
and
strange
Fishes
,
as
Ovid
at
large
noteth
.
II.
Pausanias
saith
she
is
drawn
in
a
Coach
,
through
the
airy
passages
,
with
two
white
Doves
(
as
Apuleius
also
affirmeth
)
which
are
called
the
birds
of
Venus
.
III.
Horace
and
Virgil
affirm
that
the
Chariot
of
Venus
is
drawn
by
two
white
Swans
,
of
which
Statius
also
maketh
mention
,
who
saith
that
those
birds
are
most
mild
,
innocent
,
and
harmless
,
and
therefore
given
unto
Venus
.
IV.
Praxitiles
an
excellent
engraver
in
the
Island
of
Guidos
,
made
her
Image
naked
,
and
without
clothes
,
as
also
did
the
Grecians
.
By
which
was
signified
that
all
luxurious
and
licentious
people
,
were
by
their
inordinate
lusts
,
like
beasts
deprived
of
sence
,
and
left
as
it
were
naked
and
despoyled
of
reason
,
and
understanding
;
and
oftentimes
also
stripped
thereby
of
their
riches
,
goods
and
estates
.
V.
Lactantius
saith
that
the
Lacedaemonians
framed
and
composed
the
Image
of
Venus
all
armed
like
a
Warrior
,
holding
in
one
hand
a
spear
,
in
the
other
a
shield
or
target
.
And
this
was
by
reason
of
a
certain
Victory
which
the
women
of
that
place
got
over
their
enemies
,
the
people
of
Messenia
,
which
success
they
supposed
to
have
proceeded
from
the
power
and
assistance
of
Venus
,
as
inspiring
these
womens
hearts
with
courage
,
stoutness
and
resolution
.
CHAP.
XVII
.
How
the
Antients
depicted
Mercury
.
I.
THe
Antients
described
him
in
the
shape
of
a
young
man
without
a
beard
,
with
two
small
wings
fixed
behind
his
shoulders
and
ears
,
his
body
almost
all
naked
,
save
that
from
his
shoulders
depended
a
thin
vail
,
which
winded
and
compassed
about
all
his
body
;
in
his
right
hand
he
held
a
golden
purse
,
and
in
his
left
a
Caduceus
,
or
snaky
staff
,
to
wit
,
a
slender
white
wand
,
about
which
two
Serpents
do
annodate
and
entwine
themselves
,
whose
heads
meet
together
just
at
the
top
,
as
their
tails
do
at
the
lower
end
.
This
resemblance
was
called
Concordia
or
Signum
Pacis
;
upon
which
it
came
to
pass
,
that
Embassadors
,
and
great
men
in
matters
of
State
,
carried
always
in
their
hand
such
a
like
staff
,
and
were
called
Caduceators
.
II.
Apuleius
writeth
that
Mercury
was
a
very
youth
,
having
very
short
hair
on
his
head
of
an
Amber
colour
,
and
curled
,
having
for
a
vestment
only
a
subtil
and
thin
vail
made
of
Purple
Silk
.
III.
Martianus
Capella
describes
him
young
,
yet
of
a
strong
and
well
composed
body
,
with
certain
young
hairs
of
a
yellowish
colour
sprouting
out
of
his
chin
.
IV.
Pausanias
saith
that
in
a
Province
of
Corinth
,
he
was
depicted
like
a
young
man
carrying
a
ram
upon
his
shoulders
:
and
that
a
Statue
(
brought
from
Arcadia
unto
Rome
)
erected
in
the
temple
of
Jupiter
Olympicus
,
had
on
its
head
a
helmet
of
engraven
steel
;
and
over
his
shoulder
,
a
coat
,
who
held
under
his
arm
the
Image
of
a
ram
.
V.
Among
some
of
the
Egyptians
his
Image
was
framed
with
a
head
like
a
dogs
,
holding
in
his
right
hand
a
Caduceus
or
snaky
wand
;
shaking
with
his
left
a
green
bough
of
a
Palm
.
By
the
head
of
the
dog
was
understood
subtilty
and
craftiness
(
no
beast
being
so
subtil
as
a
dog
;
)
by
the
snaky
wand
the
power
of
wisdom
and
Eloquence
in
producing
of
peace
,
signified
by
the
green
palm
.
VI.
By
some
he
was
depicted
in
the
similitude
of
a
very
aged
man
,
his
head
almost
bald
,
saving
that
on
the
sides
there
remained
some
few
hairs
,
short
and
curled
;
his
look
grim
,
severe
and
sowr
;
his
complexion
of
a
tawny
,
antient
hue
;
his
upper
garment
,
of
a
Lions
skin
;
in
his
right
hand
a
huge
pole-ax
,
in
his
left
hand
an
Irow
b●w
;
at
his
back
hanging
a
Quiver
of
steel-headed
arrows
:
to
the
end
of
his
tongue
were
fastned
many
small
chains
of
Gold
,
at
whose
ends
were
tyed
multitudes
of
all
sorts
of
men
,
which
he
seemed
to
draw
unto
him
;
looking
alwayes
backward
,
to
behold
the
innumerable
troops
of
people
following
him
.
By
this
description
is
signified
the
all-powerful
and
attractive
vertue
of
Eloquence
;
which
by
his
age
is
understood
to
be
found
only
in
old
,
wise
and
experienced
men
,
as
being
in
them
more
mature
and
perfect
,
than
in
those
of
younger
years
,
of
which
Homer
speaks
at
large
in
his
Commendation
and
Praise
of
Nestor
:
from
whose
mouth
(
saith
he
)
plentifully
rolled
forth
most
pleasant
and
dulcid
streams
;
whose
pen
distilled
crystalline
drops
of
delicious
sweetness
;
whose
works
and
fruits
so
compleatly
adorned
with
golden
sentences
,
asswageth
the
malice
of
time
,
and
mitigateth
and
allayeth
the
spight
of
forgetfulness
,
that
his
perpetuity
is
engraven
in
the
brass
leaved
books
of
eternal
memory
,
never
to
be
blotted
out
.
CHAP.
XVIII
.
How
the
Antients
depicted
Diana
or
Luna
.
I.
DIana
,
Cynthia
,
Lucina
,
or
Luna
was
according
to
Propertius
depicted
,
in
the
likeness
of
a
young
beautiful
virgin
;
having
on
either
side
of
her
forehead
two
small
glistering
horns
,
newly
putting
forth
,
drawn
through
the
air
in
a
purple
coloured
Coach
,
by
two
swift
paced
horses
,
the
one
of
a
sad
Colour
,
the
other
of
a
white
.
These
two
differing
horses
Boccace
saith
,
shew
that
she
hath
power
both
in
the
day
and
night
.
II.
Claudianus
saith
that
her
Chariot
〈◊〉
drawn
by
two
white
Bullocks
,
(
which
Image
the
Egyptians
worshiped
with
great
zeal
and
reverence
)
having
one
of
their
flanks
bespotted
with
divers
stars
,
and
on
their
heads
two
such
sharp
horns
,
as
the
Moon
hath
in
her
chiefest
wain
.
III.
Cicero
describes
her
statue
(
which
he
brought
out
of
a
temple
in
Cicilia
)
of
a
wonderful
height
,
and
large
dimension
,
the
whole
body
covered
with
a
thin
vail
,
of
a
youthful
aspect
,
holding
in
her
right
hand
a
lively
burning
torch
,
and
in
her
left
an
Ivory
bow
,
with
a
Quiver
of
Silver
headed
arrows
hanging
at
her
back
.
IV.
The
Poets
(
who
call
her
the
goddess
of
hunting
and
imperial
governess
of
Woods
and
Groves
)
describe
her
in
the
habit
of
a
young
Nymph
,
with
her
bow
ready
bent
in
her
hand
,
and
a
Quiver
of
arrows
hanging
by
her
left
side
;
a
swift
paced
Greyhound
fast
tyed
to
her
right
side
,
with
a
collar
about
his
neck
;
and
after
her
following
troops
of
Sylvan
Virgins
,
which
are
chast
,
and
are
called
the
Nymphs
of
Diana
.
V.
These
Virgins
and
Votresses
of
the
Goddess
,
we
thus
describe
.
Scarce
mounted
Sol
upon
his
glorious
Car
,
When
o're
the
lofty
hills
,
and
lowly
plain
,
Running
apace
,
you
might
perceive
afar
A
Troop
of
Amazons
to
post
amain
.
But
when
they
nearer
came
unto
your
view
,
You
might
discern
Diana
and
her
Crew
.
A
careless
crew
of
lively
Nymphs
,
despising
The
joyous
pleasures
and
delights
of
love
;
Wasting
their
days
in
rural
sports
devising
:
Which
know
no
other
,
nor
will
other
prove
.
Wing'd
with
desire
to
overtake
the
chase
,
Away
they
flung
with
unresisted
pace
.
Their
necks
and
purple
veined
arms
are
bare
,
And
from
their
Ivory
shoulders
to
their
knee
,
A
Silken
vestment
o're
their
skin
they
wear
,
Through
which
a
piercing
eye
might
chance
to
see
.
Close
to
their
bodies
is
the
same
engineed
,
Bedeck'd
with
pleasing
flowers
their
inserted
.
Each
in
her
hand
a
Silver
bow
doth
hold
,
With
well
stor'd
quivers
hanging
at
their
backs
:
Whose
arrows
being
spent
they
may
be
bold
To
borrow
freely
of
each
others
packs
.
Thus
are
these
nimble
skipping
Nymphs
displai'd
,
That
do
attend
that
Goddess
,
Queen
and
Maid
.
VI.
In
Arcadia
saith
Pausanias
was
a
statue
of
Diana
,
covered
over
with
the
skin
of
a
Hind
,
and
from
her
shoulders
hung
a
Quiver
of
Arrows
;
in
the
one
hand
a
burning
Lamp
,
the
other
leaning
upon
the
heads
of
two
serpents
,
and
before
her
feet
a
hound
.
VII
.
The
Egyptians
worshiped
her
under
the
name
of
Isis
;
and
depictured
her
covered
with
a
black
and
sable
vestment
,
in
token
that
she
her self
giveth
no
light
;
holding
in
one
hand
a
Cymbal
,
in
the
other
an
earthen
vessel
of
water
,
upon
which
a
Servius
saith
,
many
thought
her
to
be
the
Genius
of
Egypt
.
By
the
Cymbal
is
shewed
the
murmurings
,
and
roarings
of
Nilus
,
when
it
overflows
Egypt
;
and
by
the
other
vessel
the
nature
of
the
Country
,
which
is
moist
and
full
of
lakes
,
pools
and
rivers
.
CHAP.
XIX
.
How
the
Antients
depicted
Janus
.
I.
JAnus
is
depicted
with
two
faces
;
in
the
one
of
his
hands
is
a
long
rod
or
wand
;
in
the
other
a
Key
.
The
two
faces
of
Janus
signifie
time
;
the
one
being
withered
and
hoary
,
shews
time
past
;
the
other
youthful
and
beardless
,
time
to
come
.
II.
Pliny
saith
that
Numa
King
of
the
Romans
,
caused
the
statue
of
Janus
to
be
hewed
out
in
such
sort
,
that
the
fingers
of
his
hands
appeared
to
be
three
hundred
sixty
five
,
to
shew
that
he
was
God
of
the
year
,
whereupon
they
called
the
first
month
of
the
year
Januarius
,
from
Janus
their
God
.
Under
the
feet
of
Janus
is
oftentimes
placed
twelve
Altars
,
shewing
thereby
the
months
of
the
year
,
or
signs
of
the
Zodiack
,
through
which
Sol
makes
his
revolution
.
III.
The
Phoenicians
,
as
Cicero
and
Macrobius
report
,
framed
his
Image
in
the
form
of
a
serpent
,
holding
her
tail
in
her
mouth
,
and
continually
turning
round
.
IV.
Some
depicted
Janus
with
four
faces
,
(
as
were
those
statues
which
were
found
in
divers
places
of
Tuscany
.
By
the
four
faces
was
signified
the
four
seasons
of
the
year
,
Spring
,
Summer
,
Autumn
and
Winter
:
which
some
think
to
be
Venus
,
Ceres
,
Bacchus
and
Vulcan
;
and
sometimes
the
winds
with
Aeolus
their
Commander
.
CHAP.
XX.
How
the
Antients
depicted
Aurora
.
I.
HOmer
describes
her
like
a
young
Virgin
,
having
her
hair
disheveled
,
and
hanging
loose
about
her
shoulders
,
being
of
the
colour
of
the
purest
gold
,
sitting
in
a
golden
chair
,
with
all
her
vestments
of
that
hue
and
colour
.
II.
Virgil
saith
,
that
upon
the
instant
time
of
the
sable
nights
departure
,
she
cometh
with
one
of
her
hands
full
of
Roses
,
Gilliflowers
and
Lillies
,
taken
out
of
a
basket
which
she
carries
in
the
other
hand
,
which
she
besprinkles
on
the
marble
pavement
of
the
lower
Heavens
,
adorning
the
Sun
with
unspeakable
beauty
.
III.
Others
describe
her
,
holding
in
one
hand
a
flaming
torch
,
and
drawn
in
a
gorgeous
and
star
bespotted
Chariot
,
by
winged
Pegasus
;
which
favour
she
obtained
of
Jupiter
by
many
importunate
requests
,
presently
after
the
downfall
of
Bellerophon
.
IV.
She
is
as
it
were
the
Herald
and
Messenger
of
Phoebus
,
who
receives
her
being
from
the
vertue
of
his
beams
;
and
is
no
other
but
that
rubicund
and
Vermilion
blush
in
Heaven
,
which
Sol's
first
appearande
worketh
in
the
Orient
,
and
from
thence
descending
beautifies
our
Hemisphere
with
such
a
resplendency
.
See
the
tenth
Section
of
the
one
and
twentieth
Chapter
of
the
first
Book
.
CHAP.
XXI
.
How
the
Antients
depicted
Juno
.
I.
SHe
was
set
forth
by
the
Ancients
like
a
middle
aged
woman
,
holding
in
one
hand
a
silver
vessel
,
in
the
other
a
sharp
Spear
:
and
Homer
saith
she
was
drawn
in
a
Chariot
glistering
with
precious
stones
;
whose
wheels
were
Ebony
,
and
their
nails
fine
silver
,
mounted
upon
a
silver
seat
;
and
drawn
with
horses
,
which
were
fastned
with
chains
of
gold
.
II.
She
is
oftentimes
depicted
with
a
Scepter
in
her
hand
,
to
shew
that
she
hath
the
bestowing
of
Governments
,
Authorities
and
Kingdoms
.
III.
Martianus
depicts
her
(
sitting
in
a
chair
under
Jupiter
)
with
a
thin
veil
over
her
head
,
with
a
Coronet
upon
it
,
inchased
and
adorned
with
many
precious
Jewels
;
her
inward
vestment
fine
and
glittering
;
over
which
depended
a
mantle
of
a
sad
and
darkish
colour
,
yet
with
a
secret
shining
beauty
;
her
shoes
of
an
obscure
and
sable
colour
;
in
her
right
hand
a
thunderbolt
;
and
in
her
other
a
loud
noised
Cymbal
.
IV.
Pausanias
saith
that
in
a
temple
in
Corinth
,
her
statue
(
made
of
Gold
and
Ivory
)
was
adorned
with
a
glorious
Crown
,
on
which
was
insculped
the
pictures
of
the
Graces
;
with
a
Pomegranate
in
the
one
hand
,
with
a
Scepter
(
on
the
top
of
which
a
Cuckow
)
in
the
other
:
for
that
Jupiter
,
when
he
was
first
enamoured
of
Juno
,
transformed
himself
into
that
bird
.
Touching
this
story
(
and
others
of
like
kind
)
Pausanias
saith
,
that
although
he
did
not
believe
such
things
to
be
true
,
nor
any
others
,
which
are
so
written
of
the
Gods
;
yet
saith
he
,
they
are
not
altogether
to
be
rejected
,
in
that
there
were
no
such
things
reported
but
that
they
were
impleated
and
filled
with
mysteries
,
and
carried
in
themselves
an
inward
meaning
,
and
secret
understanding
,
the
which
no
doubt
some
might
by
their
writings
have
unshadowed
,
if
the
tyranny
of
fore
passed
times
had
not
destroyed
and
obliterated
the
same
.
V.
Tertullian
writeth
that
in
Argos
a
City
in
Grecce
,
the
statue
of
Juno
was
covered
all
over
with
the
boughs
of
a
Vine
,
and
underneath
her
feet
lay
the
skin
of
a
Lion
,
which
discovered
the
hatred
and
disdain
she
bare
towards
Baccbus
and
Hercules
,
to
whom
(
as
the
Poets
say
)
she
was
step-mother
.
VI.
Some
have
painted
her
a
middle
aged
woman
,
holding
in
one
hand
a
poppey
flower
or
head
;
with
a
yoke
or
pair
of
fetters
lying
at
her
feet
.
By
the
yoke
was
meant
the
band
of
marriage
,
which
tyeth
man
and
wife
together
;
and
by
the
Poppey
,
fruitfulness
or
the
innumerable
issue
of
children
,
which
are
brought
forth
into
the
world
(
signified
by
the
roundness
of
the
Poppey
head
,
and
its
numberless
seeds
therein
contained
.
)
From
hence
many
suppose
her
to
be
the
goddess
of
marriage
.
CHAP.
XXII
.
How
the
Antients
depicted
Ops
or
Tellus
.
I.
MArtianus
saith
,
that
Ops
(
the
wife
of
Saturn
)
is
an
old
woman
,
of
great
bigness
,
continually
bringing
forth
children
,
with
whom
she
is
encompassed
and
set
round
,
going
in
a
green
vestment
,
with
a
veil
over
her
body
,
spotted
with
divers
colours
,
wrought
with
infinite
curious
knots
,
and
set
with
all
sorts
of
Gems
and
Metals
.
II.
Varro
(
out
of
Boccace
)
thus
describes
her
:
she
is
crowned
(
saith
he
)
with
a
Crown
insculp'd
with
Castles
and
Towers
;
her
apparel
green
,
overshaded
with
boughs
;
in
the
one
hand
a
Scepter
,
in
the
other
a
Ball
or
Globe
;
and
near
to
her
a
Chariot
of
four
wheels
,
drawn
by
four
Lions
.
By
the
Crown
is
signified
the
habitationsof
the
earth
;
by
the
greenness
and
boughs
,
the
increase
thereof
,
by
the
Scepter
,
the
Kingdoms
and
Governments
of
the
world
;
by
the
ball
,
the
roundness
thereof
;
by
the
Chariot
,
the
continual
motion
,
change
and
alteration
of
things
;
by
the
Lions
,
the
wisdom
and
strength
of
mankind
,
by
which
things
are
carried
on
and
managed
.
III.
Isidorus
saith
that
this
Goddess
was
painted
holding
a
key
in
one
of
her
hands
:
which
shews
that
in
the
winter
the
bowels
of
the
earth
are
locked
up
by
reason
of
cold
;
which
at
the
approach
of
Spring
and
Summer
is
unlocked
again
.
IV.
She
was
sometimes
depicted
in
the
form
of
an
ancient
woman
,
having
her
head
circumcinct
with
ears
of
corn
,
holding
in
her
hand
a
poppey-head
:
drawn
in
a
Chariot
(
as
Orpheus
saith
)
with
two
fierce
,
and
untamed
Dragons
.
V.
The
earth
is
also
called
Ceres
,
which
many
have
depicted
with
torches
,
lights
and
fire-brands
in
her
hands
;
as
Praxiteles
in
a
temple
,
seated
upon
a
promontory
of
Attica
.
CHAP.
XXIII
.
How
the
Anitents
depicted
Neptune
and
the
Sea
Gods
.
I.
NEptune
among
the
Antients
is
depainted
with
several
countenances
,
sometimes
with
mild
and
pleasant
looks
,
sometimes
with
lowring
and
sad
,
and
at
other
times
with
a
mad
,
furious
,
and
angry
aspect
;
naked
,
holding
in
his
hand
a
silver
trident
or
forked
mace
,
standing
upright
in
the
concavity
of
a
great
Sea
shell
,
forcibly
drawn
by
two
monstrous
horses
,
which
from
the
middle
downwards
have
the
proportion
and
shape
of
fishes
,
as
Statius
saith
.
That
variety
of
Aspect
(
according
to
Virgil
and
Homer
)
is
given
him
from
the
Sea
,
in
that
it
at
sundry
times
sheweth
it self
so
:
and
the
trident
,
the
three
Gulfs
of
the
Mediterranean
Sea
.
II.
Sometimes
he
is
depainted
with
a
thin
veil
hanging
over
one
of
his
shoulders
,
of
a
Cerulean
or
blewish
colour
.
III.
Lucianus
setteth
him
down
with
marrvellous
long
hair
hanging
down
over
his
shoulders
,
of
a
very
sad
and
darkish
colour
.
Yet
Servius
and
others
affirm
that
all
the
Gods
of
the
Sea
were
for
the
most
part
in
the
shape
of
old
men
with
white
and
hoary
hairs
,
proceeding
from
the
froth
or
spume
of
the
Sea
.
IV.
Plato
describes
him
in
a
sumptuous
Chariot
,
holding
in
one
hand
the
reins
of
a
bridle
:
in
the
other
a
whip
,
drawn
by
Sea-horses
galloping
.
V.
Martianus
describes
him
of
a
greenish
complexion
,
wearing
a
white
Crown
:
signifying
thereby
the
spume
and
froth
of
the
Sea
.
VI.
Glaucus
(
another
Sea
God
)
saith
Philostratus
,
hath
a
long
white
beard
and
hair
,
soft
and
dropping
about
his
shoulders
;
his
eyes
green
and
glistering
;
his
brows
full
of
wrinkles
,
and
green
spots
;
his
breast
all
over-grown
with
greenish
Sea
weed
or
moss
,
his
belly
and
from
thence
downwards
fish
like
,
full
of
fins
and
scales
.
VII
.
Galatea
(
a
Sea
Goddess
)
is
described
(
by
the
said
Philostratus
)
to
be
drawn
in
a
strange
framed
Chariot
,
by
two
mighty
Dolphins
,
which
were
guided
by
two
silver
reins
held
in
the
hands
of
old
Triton's
daughters
;
over
her
head
,
a
Canopy
made
of
Purple
silk
and
silver
,
with
her
hair
hanging
carelesly
over
her
shoulders
.
See
another
description
of
her
at
the
seventh
Section
of
the
one
and
twentieth
Chapter
of
the
first
Book
.
VIII
.
Oceanus
(
the
father
of
all
the
Sea
Gods
)
saith
Thales
Milesius
,
is
depainted
,
drawn
on
a
glorious
Chariot
,
accompanied
and
attended
with
a
mighty
company
of
N●mphs
;
with
the
face
of
an
old
man
,
and
a
long
white
beard
.
IX
.
Aeolus
is
depainted
with
swoln
blub
cheeks
,
like
one
that
with
mainforce
strives
to
blow
a
blast
;
two
small
wings
upon
his
shoulders
,
and
a
fiery
high
countenance
.
He
is
called
the
God
and
Ruler
of
the
winds
,
whose
descriptions
are
in
the
three
and
twentieth
Chapter
of
the
first
Book
.
X.
Thetis
(
another
Sea
Goddess
)
is
depicted
by
the
sixth
Section
of
the
one
and
twentieth
Chapter
of
the
first
Book
.
CHAP.
XXIV
.
How
the
Antients
depicted
Nemesis
.
I.
SHe
was
by
Macrobius
described
with
wings
on
her
shoulders
;
hard
by
her
side
the
rudder
of
a
ship
,
she
her self
standing
upright
upon
a
round
wheel
;
holding
in
her
right
hand
a
golden
ball
,
in
the
other
a
a
whip
.
II.
She
is
often
depicted
,
holding
the
bridle
of
an
horse
in
one
hand
,
and
in
the
other
a
staff
.
III.
Chrysippus
(
as
Aulus
Gellius
saith
)
described
her
like
a
young
Virgin
,
beautiful
and
modest
,
with
an
eye
prying
round
about
her
,
for
which
cause
the
ancients
called
her
the
all-discerning
Lady
.
This
Nemesis
,
as
Pausanias
and
Amianus
Marcellinus
say
,
was
held
to
be
the
Goddess
of
Punishments
,
who
castigates
the
offences
of
Malefactors
,
with
pains
and
torments
,
according
to
their
sins
and
demerits
;
and
rewarding
the
vertuous
with
honour
and
dignities
:
she
was
the
daughter
of
Justitia
(
who
dwells
and
inhabits
very
secretly
,
within
the
house
of
Eternity
,
recording
the
offences
of
the
wicked
)
and
a
most
severe
and
cruel
punisher
of
arrogancy
and
vain
glory
.
Macrobius
saith
,
that
this
Nemesis
was
adored
among
the
Egyptians
(
by
them
called
also
Rhammusia
)
as
the
revenger
and
chief
enemy
of
Pride
,
Insolency
,
and
Haughtiness
;
and
that
she
had
erect
and
dedicated
unto
her
,
a
most
stately
and
magnifique
statue
of
Marble
.
CHAP.
XXV
.
How
the
Antients
depicted
Pan.
I.
PAn
(
the
God
of
Flocks
and
Sheep
)
is
from
the
middle
upwards
in
proportion
like
a
man
,
with
his
face
ruddy
and
sanguine
,
being
very
hairy
;
his
skin
and
breast
covered
with
the
skin
of
a
spotted
Doe
or
Leopard
;
in
the
one
hand
a
shepherds
hook
,
in
the
other
a
whistle
:
from
the
middle
downwards
the
perfect
shape
of
a
goat
,
in
thighs
,
legs
and
feet
.
II.
Justine
saith
,
that
Pan's
Statue
was
made
in
a
temple
in
Rome
,
near
the
hill
Palatine
,
appearing
to
the
view
all
naked
,
saving
that
it
was
slightly
enshadowed
and
covered
with
a
Goats
skin
.
Thereby
is
signified
that
(
as
it
was
reputed
in
those
days
)
Pan
kept
his
habitation
among
Hills
,
Woods
and
Groves
,
who
was
indeed
most
of
any
adored
and
worshiped
by
Shepherds
,
as
he
that
had
the
peculiar
care
and
Government
of
their
flocks
.
Goat-eared
Pan
,
his
small
tipt
,
new
grown
horns
Advance
themselves
,
about
whose
either
side
A
flowry
Garland
twines
,
and
there
adorns
His
curled
Temples
with
a
wondrous
Pride
.
His
face
is
of
a
high
and
reddish
blush
,
From
which
hangs
down
a
stiff
rough
beard
or
bush
.
And
for
his
bodies
vesture
he
doth
wear
The
finest
skin
of
the
most
spotted
Doe
,
That
ever
any
in
those
woods
did
bear
,
Which
from
his
shoulder
loose
hangs
to
his
toe
.
And
when
he
walks
,
he
carries
in
his
hand
A
Shepherds
book
,
made
of
a
knotless
wand
.
Servius
saith
,
by
the
horns
is
signified
either
the
Beams
of
the
Sun
,
or
New
of
the
Moon
,
at
what
time
she
is
horned
:
his
red
face
signifies
the
element
of
fire
:
his
long
beard
,
the
Air
:
his
spotted
garment
,
the
starry
firmament
:
his
Shepherds
hook
,
the
rule
and
Government
of
nature
.
IV.
After
the
form
of
Pan
were
the
Fauns
,
Sylvans
,
Satyres
and
Fairies
set
forth
,
having
little
short
horns
growing
on
their
heads
,
with
small
ears
,
and
short
tails
.
These
are
held
among
some
people
in
very
great
regard
and
observance
,
being
of
a
wonderful
speed
in
running
.
Plutarch
writeth
,
that
there
was
one
of
these
brought
and
presented
for
a
rare
gift
unto
Sylla
,
as
he
returned
from
the
wars
against
Mithridates
.
V.
Plato
understandeth
by
Pan
,
Reason
and
Knowledge
;
which
is
twofold
;
the
one
of
a
man
,
the
other
of
a
beast
:
by
the
upper
part
of
Pan
,
he
signifies
truth
,
accompanied
with
Reason
,
which
being
Divine
,
lifteth
man
up
towards
Heaven
:
by
the
lower
parts
of
him
is
signified
the
falseness
,
beastliness
and
rudeness
of
those
,
which
living
here
in
the
World
,
are
only
delighted
with
the
pleasures
and
foolish
vanities
thereof
.
CHAP.
XXVI
.
How
the
Antients
depicted
Pluto
.
I.
MArtianus
saith
that
Pluto
sitteth
(
in
the
lower
region
)
majestically
in
a
chair
,
holding
in
one
of
his
hands
a
black
imperial
Scepter
,
and
on
his
head
a
stately
Crown
;
at
whose
left
hand
sitteth
his
wife
Proserpina
,
attended
with
many
Furies
,
and
evil
Spirits
,
and
at
whose
feet
lyeth
chained
the
Dog
Cerberus
.
II.
The
ancients
also
have
painted
him
drawn
in
a
Chariot
,
drawn
with
four
furious
black
horses
,
from
out
whose
fiery
nostrils
proceedeth
thick
and
ill-savoured
smoak
,
as
Claudianus
saith
.
III.
Some
say
that
his
head
is
encircled
with
a
garland
of
Cypress
leaves
;
others
with
Narcissus
leaves
.
The
first
shew
sadness
and
horror
,
used
in
burials
,
and
about
the
dead
:
the
other
are
more
grateful
,
and
are
used
in
memory
of
the
untimely
death
of
that
youth
.
IV.
Charon
(
Pluto's
Ferriman
,
which
carries
souls
over
the
three
rivers
of
Hell
,
Acheron
,
Cocytus
and
Styx
)
is
described
old
,
yet
exceeding
strong
,
with
a
black
mantle
hanging
loosely
over
his
shoulders
,
as
Boccace
and
Servius
say
.
By
Charon
is
understood
time
;
and
whereas
he
is
supposed
to
have
the
transportation
of
souls
from
the
one
side
of
those
rivers
to
the
other
;
thereby
is
signified
,
that
time
,
so
soon
as
we
are
born
and
brought
forth
into
the
world
,
doth
carry
us
along
by
little
and
little
unto
our
deaths
;
and
so
setteth
us
over
those
rivers
,
whose
names
by
interpretation
signifie
sorrowfulness
,
for
that
we
pass
this
life
with
misery
and
adversity
.
CHAP.
XXVII
.
How
the
Antients
depicted
the
Parcae
,
or
Sisters
.
I.
THe
Sisters
which
are
called
Parcae
,
are
said
to
attend
upon
Pluto
,
which
are
three
,
and
are
called
Clotho
,
Lachesis
and
Atropos
.
II.
Clotho
takes
the
charge
of
the
Births
and
nativities
of
mortals
:
Lachesis
of
all
the
rest
of
their
life
:
and
Atropos
of
their
death
,
or
departure
out
of
this
world
.
III.
They
are
all
three
depicted
sitting
on
a
row
,
very
busily
employed
in
their
several
offices
;
the
youngest
Sister
drawing
out
of
a
Distaff
a
reasonable
big
thread
:
the
second
winding
it
about
a
wheel
,
and
turning
the
same
,
till
it
becomes
little
and
slender
:
the
eldest
(
which
is
aged
and
decrepit
)
stood
ready
with
her
knife
,
when
it
should
be
spun
to
cut
it
off
.
IV.
And
they
are
described
to
be
invested
with
white
veils
,
and
little
Coronets
on
their
heads
,
wreathed
about
with
garlands
,
made
of
the
flowers
of
Narcissus
.
CHAP.
XXVIII
.
How
the
Antients
depicted
Minerva
,
or
Pallas
.
I.
MInerva
(
as
taken
for
Bellona
)
Licophrones
saith
was
depicted
with
a
flaming
fire-brand
in
her
hand
by
the
Antients
.
II.
Most
writers
have
described
Minerva
in
the
shape
of
a
young
woman
,
of
a
lively
and
fresh
countenance
,
yet
of
an
angry
look
,
fix'd
stedfast
eye
of
a
blewish
green
colour
,
compleatly
armed
at
all
weapons
,
with
a
long
Spear
in
the
one
hand
,
and
in
the
other
a
Crystal
shield
,
or
target
:
upon
her
helmet
a
garland
of
Olive
branches
,
and
two
children
,
Fear
and
Horror
,
by
her
side
with
naked
knives
in
their
hands
,
seeming
to
threaten
one
another
.
III.
Pausanias
saith
that
in
Greece
,
the
statue
of
Minerva
was
made
with
an
helmet
,
on
the
top
of
which
was
the
shape
of
a
Sphynx
;
and
on
the
sides
thereof
,
two
carved
Griffins
.
IV.
Phidias
making
her
statue
in
Greece
,
placed
on
the
top
of
her
Helmet
the
form
of
a
Cock.
V.
She
was
also
painted
in
Greece
,
sitting
on
a
stool
,
and
drawing
forth
little
small
threads
from
a
distaff
;
for
that
the
Ancients
supposed
her
to
be
the
inventress
of
spinning
and
the
like
.
CHAP.
XXIX
.
How
the
Antients
depicted
Vulcan
.
I.
VVlcan
is
depicted
,
standing
,
working
and
hammering
in
a
Smiths
forge
,
on
the
hill
Aetna
,
framing
Thunderbolts
for
Jupiter
,
and
fashioning
Arrows
for
the
God
of
love
.
The
opinions
which
the
Ancients
had
of
Vulcan
were
various
,
in
which
respect
he
is
shaped
sometimes
in
one
form
,
sometimes
in
another
.
II.
Some
make
him
lame
of
one
leg
,
of
a
very
black
and
swarthy
complexion
,
as
it
were
all
smoaky
;
of
a
general
ill
shaped
proportion
in
all
his
Lineaments
;
and
because
that
he
is
the
husband
of
Venus
,
often
depicture
her
with
him
.
III.
Alexander
Neapolitanus
relateth
that
in
one
place
of
Egypt
,
was
erected
the
statue
of
Vulcan
,
which
held
in
one
of
its
hands
,
the
true
and
lively
proportion
of
a
mole
,
and
in
his
other
hand
a
Thunderbolt
.
The
mole
was
so
placed
,
because
they
thought
he
sent
unspeakable
numbers
of
moles
among
them
,
as
a
plague
to
them
,
which
did
eat
,
gnaw
,
and
destroy
every
thing
which
was
good
.
CHAP.
XXX
.
How
the
Antients
depicted
Bacchus
.
I.
PHilostratus
saith
that
his
statue
was
framed
in
the
likeness
of
a
young
man
without
a
beard
,
of
a
corpulent
and
gross
body
,
his
face
of
an
high
colour
and
big
;
about
his
head
a
garland
of
Ivy
leaves
;
upon
his
temples
two
small
horns
;
and
close
by
his
side
a
certain
beast
,
called
a
Leopard
or
Pauther
.
This
description
is
drawn
from
the
nature
of
wine
,
(
of
which
as
the
Poets
feign
,
Bacchus
is
the
God
)
whose
inventer
and
finder
out
was
certainly
Noah
,
which
not
only
Moses
,
but
also
Josephus
and
Lactautius
specially
affirm
;
wherefore
some
suppose
him
to
be
this
God
Bacchus
.
II.
Claudianus
saith
,
that
his
Image
or
Statue
is
made
all
naked
;
thereby
shewing
the
nakedness
of
those
which
abuse
themselves
with
wine
,
by
which
they
reveal
and
open
those
things
which
ought
to
be
concealed
and
kept
hid
.
III.
Diodorus
Siculus
saith
,
that
Bacchus
among
the
Grecians
was
depicted
in
two
several
forms
,
the
one
of
a
very
aged
man
,
with
a
long
beard
,
stiff
and
thick
;
the
other
of
youthful
years
,
of
a
pleasant
and
amorous
aspect
.
By
the
first
is
shewed
the
effects
of
the
intemperate
use
of
wine
,
which
overcomes
nature
and
brings
with
it
old
age
:
by
the
other
,
how
it
cherishes
and
revives
the
heart
,
used
moderately
.
IV.
Mocrobius
saith
that
Bacchus
was
framed
sometimes
in
the
likeness
of
a
young
child
,
sometimes
of
a
youth
,
sometimes
of
a
man
;
and
sometimes
in
the
likeness
of
decrepit
old
age
.
By
these
was
signified
the
four
seasons
of
the
year
,
the
vine
being
dedicated
to
Sol
,
in
whom
they
all
exist
.
V.
This
Picture
was
made
in
the
likeness
of
a
Bull
(
among
the
Cirenians
,
a
people
inhabiting
the
farther
part
of
Persia
.
)
The
reason
hereof
was
because
Proserpina
(
the
daughter
of
Jove
)
brought
him
forth
in
that
form
.
VI.
Philostratus
saith
that
Bacchus
was
oftentimes
drawn
clothed
in
womens
garments
,
and
in
a
long
purple
robe
;
wearing
upon
his
head
a
Coronet
of
Roses
,
with
companions
and
followers
,
all
in
like
loose
and
wanton
garments
,
fashioning
themselves
,
some
like
rural
Nymphs
,
as
the
Dryades
,
Oreades
,
&c.
some
like
Sea
Nymphs
,
as
Nereides
,
Syrens
,
&c.
some
like
Satyres
,
Fauns
,
and
Sylvans
,
&c.
The
womens
garments
shew
that
wine
makes
a
man
faint
,
feeble
,
and
unconstant
like
to
a
woman
.
VI.
Pousanias
saith
that
among
the
Eleans
,
the
picture
of
Bacchus
was
made
with
a
long
beard
,
and
clothed
with
a
long
gown
hanging
to
the
feet
;
in
one
hand
a
sharp
hook
,
and
in
the
other
a
boul
of
wine
,
and
round
about
him
many
Vine-trees
and
other
fruitful
plants
.
VII
.
The
Statue
of
Bacchus
also
,
was
sometimes
set
forth
and
adorned
with
Coronets
made
of
fig-tree
leaves
,
in
memory
of
a
Nymph
(
as
some
say
)
called
Syca
,
which
was
by
the
Gods
metamorphosed
into
that
plant
.
In
like
manner
,
the
Nymph
Staphilis
(
on
whom
Bacehus
was
in
like
manner
enamoured
)
was
transformed
into
the
Vine
,
from
whence
it
is
that
those
plants
are
so
exceeding
grateful
and
pleasant
unto
this
God
.
CHAP.
XXXI
.
How
the
Antients
depicted
Fortune
.
I.
FOrtune
was
depicted
by
some
with
two
faces
,
the
one
white
and
well-favoured
;
the
other
black
,
and
ugly
.
And
this
was
because
it
was
held
,
that
there
were
two
Fortunes
,
the
one
good
,
from
whom
came
riches
,
happiness
,
quiet
,
content
and
pleasure
:
the
other
bad
,
from
whom
came
wars
,
afflictions
,
crosses
,
disasters
,
calamities
,
and
all
other
miseries
whatsoever
.
II.
The
Thebeans
made
her
in
the
shape
of
a
woman
;
in
one
of
her
hands
a
young
child
,
to
wit
,
Pluto
or
Riches
.
So
that
in
the
hands
of
Fortune
,
they
put
the
disposing
of
Wealth
,
Honour
,
Glory
and
all
Happinesses
.
III.
Martianus
describes
her
a
young
woman
,
always
moving
,
covered
with
a
garment
of
the
thinnest
silk
;
her
steps
uncertain
,
never
resting
long
in
a
place
;
carrying
in
her
spacious
lap
the
universal
fulness
of
the
treasures
,
riches
,
honour
and
glory
of
this
world
;
which
in
hasty
manner
(
with
her
hand
)
she
offers
;
which
offer
,
if
not
instantly
received
,
was
utterly
lost
;
in
her
right
hand
a
white
wand
,
with
which
she
smites
such
as
offend
her
,
slight
her
kindness
,
or
are
not
nimble
enough
to
receive
them
.
Oh
cruel
Fortune
,
stepdame
to
all
joys
,
That
disinherits
us
from
sweet
content
,
Plunging
our
hopes
in
troubled
Sea's
annoyes
;
Depriving
us
of
that
which
nature
lent
!
When
will
thy
proudinsulting
humour
cease
,
T'
asswage
the
sorrows
of
an
only
one
?
That
free
from
cares
,
its
soul
may
live
in
peace
,
And
not
be
metamorphos'd
into
stone
.
But
why
entreat
I
thy
unstable
bea
rt
,
Knowing
thy
greatest
pleasure
,
thy
delight
Consists
in
aggravating
mortals
smart
Poyson'd
with
woes
,
by
venom
of
thy
spight
?
'T
is
what
thou
wilt
,
must
stand
,
the
rest
must
fall
,
All
humane
Kings
pay
tribute
to
thy
might
:
And
this
must
rise
,
when
pleaseth
thee
to
call
,
The
other
perish
in
a
woeful
plight
.
And
this
is
it
,
that
chokes
true
vertues
breath
,
Making
it
dye
,
though
she
immortal
be
:
Fruitless
it
makes
it
;
subject
unto
death
,
To
fatal
darkness
,
where
no
eye
can
see
.
Oh
come
you
wounded
Souls
,
conjoin
with
me
;
In
some
adumbrate
thicket
let
us
dwell
,
Some
place
which
yet
the
Heavens
ne'r
did
see
,
There
let
us
build
some
despicable
Cell
.
Strength
,
Beauty
,
perish
:
Honours
fly
away
:
And
with
Estates
,
Friends
vanish
and
decay
.
IV.
In
a
temple
in
Greece
,
Fortune
was
made
in
the
form
of
a
grave
Matron
,
clothed
in
a
garment
agreeable
to
such
years
,
whose
countenance
seemed
very
sad
;
before
her
was
placed
the
Image
of
a
young
Virgin
of
a
beauteous
and
pleasant
aspect
,
holding
out
her
hand
to
another
;
behind
these
,
the
Image
of
a
young
child
,
leaning
with
one
of
its
arms
upon
the
Matron
.
The
Matron
is
that
Fortune
,
which
is
already
past
;
the
young
Virgin
,
that
which
now
is
:
and
the
young
child
beyond
them
both
,
is
that
which
is
to
come
.
Quintus
Curtius
saith
,
that
among
the
people
of
Scythia
,
Fortune
was
depicted
in
the
form
of
a
woman
without
feet
,
having
round
about
her
at
her
right
hand
a
number
of
little
wings
.
Being
without
feet
,
shews
that
she
never
stands
firm
;
and
the
many
wings
shew
,
that
her
gifts
and
favours
are
no
sooner
given
,
but
are
presently
lost
,
and
do
as
it
were
fly
away
again
,
before
they
be
fully
possessed
.
VI.
Alexander
Neapolitanus
relateth
that
in
Greece
,
her
Image
was
made
wholly
of
Glass
;
to
shew
that
her
favours
are
brittle
,
and
subject
to
sudden
decays
.
VII
.
Cebes
the
Philosopher
resembled
Fortune
unto
a
Comedy
;
in
which
many
Actors
appear
often
as
Kings
and
great
Monarchs
;
and
presently
after
become
poor
fishermen
,
slaves
,
bond-men
,
and
the
like
.
VIII
.
Socrates
compared
her
to
a
Theatre
,
or
common
meeting
place
,
where
without
all
order
or
observance
men
take
their
places
and
seats
,
without
respect
to
the
dignity
of
any
.
Hereby
is
shewed
that
she
(
without
respect
of
birth
,
worth
,
merit
or
state
,
)
blindly
,
unadvisedly
,
and
without
any
order
or
reason
,
bestows
felicities
,
riches
and
favours
.
IX
.
In
Egira
,
a
City
of
Achaia
,
Fortune
was
drawn
in
the
shape
of
a
beautiful
woman
,
who
held
in
one
of
her
hands
a
Cornucopia
;
in
the
other
,
the
boy
Cupid
.
By
which
is
signified
(
as
Pausanias
saith
)
that
beauty
without
riches
avails
nothing
:
and
indeed
I
may
say
he
is
doubly
fortunate
,
who
in
his
love
enjoys
the
fruition
of
both
beauty
and
riches
:
but
he
is
happy
in
the
superlative
degree
,
who
with
the
other
two
meets
with
vertue
also
.
X.
Giraldus
saith
that
Fortune
was
with
some
depicted
riding
on
a
horse
galloping
;
with
which
swiftness
she
seems
to
pass
invisible
;
after
whom
followeth
Destiny
with
great
wrath
and
fury
,
holding
in
her
hand
an
Iron
bow
,
and
aiming
to
strike
Fortune
at
the
heart
.
By
her
swift
galloping
,
is
signified
her
mutability
.
See
the
fourth
Section
of
the
eighteenth
Chapter
of
the
first
Book
.
CHAP.
XXXII
.
How
Vertue
,
Truth
,
Peace
,
Honour
,
Fame
and
Opinion
were
depicted
.
I.
VErtue
in
Greece
was
made
in
the
form
of
a
Pilgrim
,
like
a
grave
and
austere
woman
;
sitting
alone
upon
a
four
squared
stone
,
melancholy
,
and
leaning
her
head
upon
her
knees
.
Being
a
Pilgrim
,
shews
she
hath
no
resting
place
,
secure
abode
,
or
certain
habitation
upon
the
earth
:
the
form
of
her
sitting
,
shews
her
life
to
be
full
of
troubles
,
dangers
,
crosses
,
and
miseries
.
See
the
first
Section
of
the
nineteenth
Chapter
of
the
first
Book
.
Haec
angusta
via
horrendis
scatet
undique
monstris
,
Et
vita
innumeris
est
interclusa
periclis
.
Sed
tamen
incolumes
hâc
virtus
ducit
alumnos
Extrema
ut
vitent
,
ne
pes
hinc
indè
vacillet
.
Proclamat
longè
spes
,
hic
sunt
digna
laboris
Praemia
,
et
excipient
mordaces
gaudia
curas
.
Pax
,
sincera
quies
nullo
temerand
a
dolore
,
Laetitia
hîc
habitant
longum
,
sine
fine
,
per
aevum
.
Fierce
Monsters
do
this
narrow
passage
bound
,
And
deadly
dangers
it
encompass
round
.
Yet
vertue
doth
her
Followers
safely
guide
,
Lest
they
should
go
astray
on
either
side
.
And
Hope
proclaims
afar
;
loe
here
you
shall
Have
joy
for
Sorrow
;
honey
for
your
gall
.
Here
Peace
and
joyful
rest
for
ever
dwell
,
Which
neither
cross
nor
time
shall
ever
quell
.
II.
Truth
,
saith
Hippocrates
,
was
framed
in
the
similitude
and
likeness
of
a
beautiful
woman
,
attired
with
gravity
and
modesty
:
Philostratus
saith
that
she
remaineth
in
the
cave
of
Amphiarus
,
cloathed
all
in
white
garments
of
a
beautiful
hue
:
Lucianus
saith
that
her
statue
was
made
in
the
form
of
a
young
woman
,
habited
in
rags
,
and
base
attire
,
with
a
superscription
over
her
head
,
how
she
was
wronged
and
abused
by
Fortune
.
III.
Peace
,
saith
Aristophanes
,
was
framed
in
the
shape
of
a
young
woman
,
holding
between
her
arms
the
Infant
Pluto
,
the
God
of
Riches
,
and
Ruler
of
the
lower
Regions
.
She
is
also
called
Concordia
,
and
is
a
special
friend
to
the
Goddess
Ceres
,
from
whom
comes
the
encrease
of
Fruits
,
Corn
,
and
other
nutriments
.
See
the
seventh
Section
of
the
eighteenth
Chapter
of
the
first
Book
.
IV.
Honour
is
depicted
with
two
wings
on
its
shoulders
;
which
as
Alciatus
saith
,
was
made
in
the
form
of
a
little
child
,
cloathed
in
a
purple
garment
,
having
a
Coronet
or
wreath
of
Laurel
about
his
head
;
holding
hand
in
hand
the
God
Cupid
,
who
leads
the
child
to
the
Goddess
Vertue
,
which
is
depainted
right
over
against
it
.
V.
Fame
is
painted
like
a
Lady
,
with
great
wings
,
and
seeming
to
proffer
a
flight
,
and
to
mount
from
the
Earth
,
and
rove
abroad
:
having
her
face
full
of
eyes
;
and
all
over
her
garments
an
infinite
number
of
ears
and
tongues
.
See
the
tenth
Section
of
the
eighteenth
Chapter
of
the
first
Book
.
VI.
Opinion
,
saith
Hippocrates
,
resembles
a
young
woman
,
not
altogether
so
fair
and
lovely
as
Truth
,
yet
not
deformed
,
or
ill
proportioned
;
being
rather
impudent
than
modestly
bold
in
her
demeanure
,
with
her
hand
stretched
forth
to
take
whatsoever
is
offered
and
presented
to
her
.
CHAP.
XXXIII
.
How
Night
,
Sleep
,
Silence
,
Pleasure
and
Fear
were
depicted
.
I.
NIght
(
the
mother
of
Sleep
and
Death
)
was
depicted
by
the
Antients
in
form
of
an
old
woman
,
having
two
great
wings
growing
on
her
shoulders
,
all
cole
black
,
and
spread
abroad
,
as
if
she
seemed
to
offer
a
flight
;
and
that
she
is
drawn
in
a
Chariot
,
whose
wheels
are
made
of
Ebony
:
having
a
sad
countenance
,
and
an
upper
garment
of
a
deep
black
,
spotted
all
over
with
silver
spots
like
stars
,
as
Boccace
saith
.
See
the
thirteenth
Section
of
the
thirteenth
Chapter
of
the
third
Book
.
II.
Sleep
(
the
brother
of
Death
)
saith
Hesiod
,
was
painted
of
a
most
sour
,
lowring
,
and
sad
aspect
;
aged
,
and
holding
in
her
left
hand
a
young
child
very
beautiful
;
and
in
her
right
,
another
child
,
of
a
most
swarthy
,
black
and
dull
complexion
,
with
legs
and
arms
very
crooked
.
Philostratus
in
a
Tablet
(
which
he
made
for
Amphiarus
)
makes
her
like
an
aged
woman
,
slothful
and
sluggish
,
cloathed
with
several
garments
,
the
under
black
,
the
upper
white
;
holding
in
one
of
her
hands
,
a
horn
pouring
forth
seed
.
By
the
garments
is
signified
night
and
day
;
by
the
seed
,
rest
,
ease
and
quiet
.
III.
Harpoerates
(
the
God
of
Silence
)
called
in
Greek
Sigaleon
,
was
made
,
as
Martianus
and
Apuleius
say
,
in
likeness
of
a
young
child
,
who
close
to
his
lips
held
one
of
his
fingers
as
a
sign
of
secrecy
.
Some
portraict
him
without
any
face
at
all
;
all
covered
with
the
skin
of
a
wolf
;
painted
full
of
eyes
and
ears
:
Shewing
it
to
be
good
to
see
and
hear
much
,
but
to
speak
little
.
IV.
Voluptia
or
pleasure
,
was
depainted
a
Lady
,
having
a
pale
and
lean
countenance
,
sitting
in
a
pontifical
and
majestick
chair
,
embroidred
and
embossed
with
stars
of
gold
,
treading
and
trampling
upon
Vertue
.
V.
Fear
,
saith
Pausanias
,
was
shaped
in
several
forms
by
the
Antents
;
sometimes
with
the
head
of
a
Lion
among
the
Grecians
(
as
on
the
shield
of
Agamemnon
:
)
and
sometimes
with
the
deformed
face
and
body
of
a
woman
.
The
Corinthians
dedicated
this
Picture
so
made
unto
the
sons
of
Medea
;
which
were
slain
for
bringing
such
fatal
gifts
to
the
daughter
of
old
Creon
,
whereby
she
,
and
all
that
regal
family
perished
,
and
were
for
ever
extinct
.
CHAP.
XXXIV
.
How
the
Antients
depicted
several
wise
men
and
Philosophers
.
I.
SIdonius
Apollinarius
in
the
ninth
Epistle
of
his
ninth
Book
,
saith
that
the
Philosopher
Zeusippus
was
painted
with
a
crooked
neck
:
Aratus
with
a
neck
bowed
downwards
:
Zeno
with
a
wrinkled
forehead
.
II.
Epicurns
was
painted
with
a
smooth
skin
:
Diogenes
with
a
hairy
rough
beard
:
Socrates
with
whitish
bright
hair
.
III.
Aristotle
was
painted
with
a
stretched
out
arm
:
Xenocrates
with
a
leg
somewhat
gathered
up
:
Hieraclitus
with
his
eyes
shut
for
crying
.
IV.
Democritus
with
his
lips
open
,
as
laughing
:
Chrysippus
with
his
fingers
close
pressed
together
,
for
numbering
:
Euclid
with
his
fingers
put
asunder
,
for
the
space
of
measures
.
V.
In
some
antient
Bibles
and
many
Pictures
,
Moses
is
described
with
horns
.
The
ground
of
this
absurdity
was
a
mistake
of
the
Hebrew
Text
,
in
that
of
Moses
descending
from
the
Mount
,
upon
the
nearness
of
the
words
,
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
Keren
,
Cornu
,
an
horn
;
and
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
Karan
,
Luceo
,
to
shine
.
The
vulgar
translation
(
of
Exodus
34.29.35
.
)
agrees
with
the
former
,
to
wit
;
Ignorabat
quòd
cornuta
esset
facies
ejus
.
Qui
videbant
faciem
Mosis
esse
cornutam
.
The
translation
of
Paulus
Fagius
is
otherwise
,
viz.
Moses
nesciebat
quòd
multus
esset
splendor
gloriae
vuliûs
ejus
.
Et
viderunt
filii
Israel
quòd
multa
esset
claritas
gloriae
faciei
Mosis
.
Tremelius
and
Junius
have
it
thus
,
ut
ignoraret
Mosche
splendidam
esse
factam
cutem
faciei
suae
.
Quòd
splendida
facta
esset
c●tis
faciei
Moschis
.
Agreeing
with
the
Septuagint
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
glorificatus
est
aspecius
cutis
seu
coloris
faciei
.
V.
Alexander
the
great
is
described
by
some
,
riding
upon
an
Elephant
.
The
reason
thereof
is
hard
to
be
discerned
;
for
as
much
as
I
find
not
in
history
,
that
ever
he
used
that
beast
in
his
Armies
,
much
less
in
his
own
person
:
except
it
were
for
that
remarkable
battel
,
which
he
fought
with
Porus
King
of
India
;
wherein
were
many
Elephants
:
In
which
himself
(
as
Curtius
Arianus
and
Plutarch
relate
)
was
on
horse-back
;
the
name
of
which
beast
yet
lives
,
and
is
famous
in
history
to
this
day
.
CHAP.
XXXV
.
Of
the
farther
Progress
of
these
Arts.
I.
AS
God
Almighty
(
who
is
the
Author
of
all
wisdom
)
was
the
first
institutor
hereof
,
so
also
was
he
the
promulgator
,
by
whom
these
Arts
have
made
progression
in
the
world
.
Certainly
,
saith
Philostratus
,
Picture
is
an
invention
of
the
Gods
;
as
well
for
the
painted
faces
of
the
meadows
adorned
with
flowers
,
according
to
the
several
seasons
of
the
year
;
as
for
those
things
,
which
appear
in
the
sky
.
What
wonderful
eloquence
is
this
!
that
in
so
few
words
,
this
Philosopher
should
clear
so
great
a
point
.
But
what
saith
Gregorius
Nyssenus
?
Man
,
saith
he
,
is
an
earthen
statue
:
and
Suidas
in
Oratione
primâ
de
Beatitudinibus
,
speaking
of
Adam
,
saith
,
This
was
the
first
statue
,
the
Image
named
by
God
,
after
which
all
the
art
of
Carving
used
by
men
receiveth
directions
:
Lot's
wife
was
another
,
turned
into
a
durable
pillar
of
Salt
,
of
whom
Prudentius
(
in
Harmartigenia
)
saith
,
she
waxed
stiff
,
being
changed
into
a
more
brittle
substance
,
she
standeth
metamorphosed
into
stone
,
apt
to
be
melted
,
keeping
her
old
posture
in
that
Salt-stone
Image
;
her
comliness
,
her
ornaments
,
her
forehead
,
her
eyes
,
her
hair
,
her
face
also
(
looking
backward
)
with
her
chin
gently
turned
,
do
retain
the
unchangeable
monuments
of
her
antient
offence
:
and
though
she
melteth
away
continually
in
salt
sweat
;
yet
doth
the
compleatness
of
her
shape
suffer
no
loss
by
that
fluidity
;
whole
droves
of
beasts
cannot
impare
that
savoury
stone
so
much
,
but
still
there
is
liquor
enough
to
lick
,
by
which
perpetual
loss
,
the
wasted
skin
is
ever
renewed
.
To
these
let
us
add
the
pattern
of
the
Tabernacle
shewed
unto
Moses
upon
mount
Sinai
:
The
Brazen
Serpent
made
by
the
express
command
of
God
:
the
Pattern
of
the
Temple
(
which
David
gave
unto
Solomon
)
after
the
form
which
God
made
with
his
own
hand
:
Ezekiel's
portraict
of
Jerusalem
with
its
formal
Siege
upon
a
tile
by
express
command
from
God
also
:
the
brazen
statue
of
our
Lord
Jesus
Christ
erected
by
the
woman
healed
of
the
bloody
Issue
,
as
is
mentioned
by
Photius
,
and
Asterius
Bishop
of
Amasa
,
and
other
Ecclesiastick
writers
:
the
Picture
also
of
our
Lord
made
without
hands
,
as
it
is
related
by
Damascenus
Cedrenus
and
others
:
the
Picture
of
Christ
in
a
napkin
or
towel
,
sent
by
our
Lord
himself
,
unto
Augarus
King
of
Edessa
;
together
with
many
more
too
tedious
here
to
relate
.
II.
By
vertue
of
this
divine
hand
it
was
that
many
Artists
of
old
attained
to
a
certain
kind
of
perfection
in
these
Arts.
We
will
only
refer
the
proof
of
this
to
the
examples
in
the
31
of
Exodus
of
Benaleel
and
Aholiab
;
of
whom
God
himself
witnesseth
,
that
he
called
them
by
name
to
make
the
Tabernacle
;
and
filled
them
with
his
spirit
,
not
only
to
devise
curious
works
in
Gold
,
in
Silver
,
in
Brass
,
and
in
Silk
;
but
also
gave
them
skill
to
teach
others
the
same
.
III.
Nature
also
bath
not
been
idle
,
but
hath
acted
a
master
piece
herein
.
To
pass
by
the
glory
of
flowers
,
the
excellent
comliness
of
beasts
(
as
in
the
spots
of
Leopards
,
tails
of
Peacocks
and
the
like
)
I
will
only
remark
the
same
of
a
Gem
,
which
Pyrrbus
(
who
made
war
with
the
Romant
)
had
;
of
which
Pliny
in
lib.
37.
cap.
1.
of
his
natural
history
,
reports
,
that
it
being
an
Agath
,
had
the
nine
Muses
and
Apollo
holding
of
a
Lute
depicted
therein
;
the
spots
not
by
Art
,
but
by
nature
,
being
so
spread
over
the
stone
,
that
each
Muse
had
her
peculiar
mark
.
See
Gaffaret
cap.
5.
IV.
The
care
of
Parents
in
the
education
of
their
children
,
was
another
reason
of
the
progress
hereof
.
The
Grecians
,
saith
Aristotle
in
cap.
3.
lib.
8.
of
his
Politicks
,
did
teach
their
children
the
Art
of
Painting
;
and
Plutarch
saith
,
that
Paulus
AEmilius
had
Sculptors
and
Painters
amongst
the
masters
of
his
children
,
as
well
as
Philosophers
and
Rhetoricians
:
and
Pliny
saith
,
that
by
the
Authority
of
Pamphilus
,
this
Art
hath
been
ranked
among
the
liberal
sciences
,
and
that
only
free-born
children
should
learn
it
.
And
Galen
enumerating
several
arts
as
Physick
,
Rhetorick
,
Musick
,
Geometry
,
Arithmetick
,
Logick
,
Grammar
and
knowledge
of
Law
;
add
unto
these
,
saith
he
,
Carving
and
Painting
.
And
as
the
Grecians
were
the
first
,
that
taught
their
children
these
Arts
,
so
also
they
provided
betimes
for
them
choice
masters
.
V.
These
masters
by
their
carefulness
and
vigilancy
,
not
deceiving
those
that
put
their
trust
in
them
,
became
main
pillars
of
these
Arts
,
and
propagated
them
to
posterity
;
which
by
the
addition
of
considerable
gifts
and
rewards
had
an
honourable
esteem
in
the
world
.
Their
care
was
manifest
in
laying
down
solid
principles
of
Art
;
of
which
Quintilian
in
cap.
2.
lib.
12.
of
his
Institutions
of
Oratory
faith
,
though
vertue
may
borrow
some
forward
fits
of
nature
,
yet
she
must
attain
to
perfection
by
doctrine
.
Their
vigilancy
was
seen
in
watching
,
to
apprehend
their
scholars
capacities
,
that
they
might
suit
themselves
accordingly
;
as
in
Tully's
instance
of
Isocrates
,
a
singular
good
teacher
,
who
was
wont
to
apply
the
spur
to
Ephorus
,
but
the
bridle
to
Theopompus
:
And
their
reward
was
eminent
,
as
Pliny
noteth
in
Pamphilus
his
School
,
out
of
which
Apelles
and
many
other
excellent
Painters
came
,
who
taught
no
body
under
a
talent
(
which
is
about
175
pound
sterling
)
thereby
the
better
to
maintain
the
Authority
of
Art
.
VI.
Their
practice
exactly
agreed
with
their
precepts
.
As
with
Seneca
,
that
labour
is
not
lost
,
whose
experiments
agree
with
Precepts
;
so
with
Quintilian
,
those
examples
may
stand
for
testimonies
:
And
it
was
the
practice
of
Painters
of
old
,
as
Galen
witnesseth
concerning
Polycletus
,
who
hath
not
only
set
down
in
writing
the
accurate
precepts
of
Art
;
but
also
that
he
made
a
Statue
according
to
the
rules
of
Art
contained
in
those
precepts
.
VII
.
Those
precepts
which
they
taught
their
Scholars
,
they
delivered
in
writing
,
that
they
might
ever
accompany
them
wheresoever
they
went
.
Apelles
gave
the
precepts
of
this
Art
to
his
disciple
Perseus
in
writing
,
as
Polycletus
did
to
his
;
besides
an
innumerable
others
now
in
being
too
tedious
here
to
recite
.
The
like
did
these
following
,
Adaeus
Mitylenaeus
,
Alcetas
,
Alexis
the
Poet
,
Anasimenes
,
Antigonus
,
Aristodemus
Carius
,
Artimon
,
Callixenus
,
Christodorus
,
Democritus
Ephesius
,
Duris
,
Eupherion
,
Euphranor
Isthmius
,
Hegesander
Delpbicus
,
Hippias
Eleus
,
Hypsicrates
,
Iamblichus
,
Juba
Rex
Mauritaniae
,
Malchus
Bizantius
,
Melanthius
,
Menaechmus
,
Menetor
,
Pamphilus
,
Polemon
,
Porphyrius
,
Praxiteles
,
Protogenes
,
Theophanes
,
Xenocrates
,
and
many
others
,
the
chief
of
whose
works
are
now
lost
.
VIII
.
As
Arts
came
now
into
estimation
,
so
at
length
Laws
were
established
for
their
preservation
;
and
punishments
for
their
prevarication
.
The
beginning
of
these
Laws
was
first
at
Argos
,
Ephesus
,
Thebes
and
Athens
,
as
also
in
Egypt
,
where
a
workman
(
saith
Diodorus
Siculus
)
is
fearfully
punished
,
if
he
undertake
any
charge
in
the
Common
wealth
,
or
meddle
with
any
trade
but
his
own
:
the
which
Law
saith
Herodotus
,
the
Lacedaemonians
did
also
approve
of
.
By
means
of
which
Laws
it
was
,
that
the
Artists
of
those
nations
attained
to
such
a
perfection
of
Art
,
as
we
shall
hereafter
relate
.
IX
.
The
fervent
desire
,
and
love
of
emulation
to
excel
others
;
the
commendable
simplicity
of
Art
;
together
with
the
content
and
satisfaction
of
doing
something
well
,
gave
a
large
progress
towards
the
advance
of
Art
.
It
was
nobly
said
of
Scipio
Africanns
,
that
every
magnanimous
spirit
compares
himself
,
not
only
with
them
that
are
now
alive
;
but
also
with
the
famous
men
of
all
ages
;
whereby
it
appears
that
great
wits
are
alwayes
by
the
sting
of
emulation
,
driven
forwards
to
great
matters
;
but
he
that
by
too
much
love
of
his
own
works
,
compares
himself
with
no
body
,
must
needs
attribute
much
to
his
own
conceits
.
Dost
thou
desire
the
glory
of
swiftness
?
saith
Martial
(
in
Epigr.
36.
lib.
12.
strive
to
out
go
the
Tyger
,
and
the
light
Ostrich
;
it
is
no
glory
at
all
to
out-run
Asses
.
This
emulation
is
the
source
of
great
wits
,
whereby
our
imitation
is
provoked
sometimes
by
envy
,
and
sometimes
by
admiration
,
whereby
it
falls
out
,
that
the
thing
we
earnestly
seek
after
,
is
soon
brought
to
some
height
of
perfection
;
which
perfection
consists
in
exact
imitation
,
according
to
the
simplicity
of
Art
,
and
not
in
gaudy
appearances
,
which
adorns
the
shadows
much
more
than
ever
nature
adorned
the
substance
.
This
imitation
of
the
life
gave
the
Artizan
fame
;
which
fame
quickened
his
aspiring
thoughts
,
adding
more
fuel
to
the
flames
,
till
such
time
,
as
he
brought
forth
a
most
absolute
work
,
whereby
he
conceived
a
joy
,
content
and
satisfaction
,
as
durable
as
the
work
it self
,
upon
which
he
now
conceives
himself
a
happy
man
,
and
through
a
just
affiance
of
his
vertues
knows
himself
to
be
lifted
up
above
the
reach
of
envy
,
where
he
stands
secure
of
his
fame
,
enjoying
in
this
life
(
as
if
he
were
now
consecrated
unto
Eternity
)
the
veneration
that
is
like
to
follow
him
after
his
death
;
thus
an
honest
emulation
and
confidence
,
bringing
forth
works
of
general
applause
,
procureth
unto
its
author
an
everlasting
Glory
.
Now
what
a
comfortable
thing
is
this
,
to
have
a
fore-feeling
of
what
we
hope
to
attain
to
?
X.
Another
reason
of
the
Augmentation
of
these
Arts
,
was
the
manifold
uses
thereof
among
men
,
either
for
good
or
evil
purposes
.
As
in
natural
Sciences
,
where
words
come
short
,
a
little
picture
giveth
us
the
knowledge
of
beasts
,
birds
,
fishes
and
other
forms
,
as
well
inanimate
as
animate
;
In
the
Tacticks
,
how
should
a
General
know
how
to
set
his
men
in
array
,
unless
he
try
the
case
by
design
or
delineation
?
so
in
Architecture
to
pourtray
platforms
after
any
fashion
,
and
to
work
out
the
patterns
of
high
and
mighty
buildings
in
a
ltitle
wax
,
keeping
in
so
small
an
example
the
exact
proportion
of
the
greater
structure
:
In
Geometry
the
exactness
of
Lines
,
Angles
,
Surfaces
and
solids
:
In
Botonalogia
,
the
exact
shapes
of
herbs
,
plants
and
trees
:
In
Zoologia
,
the
shapes
of
all
living
creatures
:
In
Anthropologia
,
the
exact
description
of
all
the
parts
of
mans
body
both
inward
and
outward
:
In
Chymia
,
the
forms
of
all
chymical
vessels
and
operations
:
In
the
lives
of
illustrions
men
and
Princes
,
to
express
their
forms
and
shapes
to
the
life
,
that
age
might
not
prevail
against
them
,
deserving
thereby
(
as
Varro
saith
)
the
envy
of
the
Gods
themselves
:
In
Geography
,
to
describe
in
small
maps
Kingdoms
,
Countreys
and
Cities
,
yea
the
whole
world
:
In
Policy
,
as
Michal
in
saving
her
husband
David
;
Ptolomaeus
in
the
Image
of
Alexander
,
which
he
willingly
let
Perdiceas
catch
from
him
,
supposing
it
to
have
been
the
body
it self
,
thereby
avoiding
much
blood-shed
;
Cyrus
his
wooden
Persians
in
the
Seige
of
Sardis
,
by
which
the
towns-men
being
●●ghted
,
yielded
the
City
;
Epaminondas
at
Thebes
by
the
Image
of
Pallas
did
wonders
;
Amasis
King
of
Egypt
,
his
golden
Image
made
of
the
Basin
,
in
which
his
feet
used
to
be
washed
,
which
the
Egyptians
religiously
worshiped
,
whereby
he
brought
them
to
affect
him
being
now
a
King
,
who
was
of
an
ignoble
and
base
parentage
;
the
wooden
Elephants
of
Perseus
King
of
Macedonia
,
with
which
he
wonted
his
horses
,
that
they
might
not
be
frighted
in
time
of
Battel
.
The
Ornaments
of
Temples
,
Market
places
and
Galleries
,
places
both
publick
and
private
:
Julius
Caesar's
Image
in
wax
,
hideous
to
look
too
,
for
twenty
three
gaping
wounds
he
received
,
did
mightily
stir
up
the
Romans
to
revenge
his
death
.
Worthy
men
which
had
desserved
well
of
the
world
,
had
their
memories
conserved
with
their
Images
;
by
which
all
those
that
aspire
to
goodness
,
and
to
follow
their
steps
,
are
likewise
filled
with
hope
.
The
Athenians
have
erected
unto
AEsop
of
most
goodly
statue
,
saith
Phaedrus
,
and
have
set
a
contemptible
slave
upon
an
everlasting
base
,
that
all
might
unde
rstand
,
bow
the
way
of
honour
lieth
open
to
every
one
,
and
that
glory
doth
not
so
much
follow
the
condition
of
our
birth
,
as
the
vertues
of
our
life
.
Berosus
excelled
in
Astrology
,
wherefore
the
Athenians
for
his
divine
prognostications
,
erected
him
a
Statue
with
a
golden
tongue
,
set
up
in
their
publick
Schools
,
as
Pliny
saith
,
lib.
7.
cap.
37.
Publick
Libraries
were
furnished
also
with
golden
,
silver
and
brass
Images
of
such
,
whose
immortal
fouls
did
speak
in
those
places
.
The
provocations
of
vices
have
also
augmented
the
Art
;
it
hath
been
pleasing
to
engrave
wanten
lusts
upon
their
cups
;
and
to
drink
in
Ribauldry
and
Abominations
,
as
Pliny
saith
in
the
Proem
of
this
33
Book
.
XI
.
The
use
therefore
of
these
Arts
extending
it self
so
universally
to
all
intents
both
in
war
and
peace
,
it
came
to
pass
that
Artificers
were
honoured
by
all
sorts
of
men
;
which
themselves
perceiving
,
did
still
endeavour
to
encrease
this
enjoyed
favour
by
a
daily
advance
of
their
skill
.
By
Kings
they
were
honoured
;
for
Demetrius
,
whilest
at
the
Siege
of
Rhodes
,
came
to
Protogenes
,
leaving
the
hope
of
his
Victory
to
behold
an
Artificer
.
Alexander
the
Great
came
also
to
Apelles
his
shop
,
often
accompanied
with
many
Princes
.
It
was
his
will
that
none
but
Polycletus
alone
,
should
cast
his
Statue
in
Brass
,
that
none
but
Apelles
alone
should
paint
him
in
colours
,
that
none
but
Pyrgoteles
alone
should
engrave
him
.
The
estimation
of
the
Artists
were
also
understood
from
the
esteem
and
high
rates
their
works
were
prized
at
;
a
picture
of
Bularchus
,
a
Painter
,
was
valued
at
its
weight
in
gold
by
Candaules
King
of
Lydia
:
Aristides
was
so
singular
in
his
Art
,
that
it
is
reported
of
King
Attalus
that
he
gave
an
hundred
Talents
(
which
is
about
seventeen
thousand
and
five
hundred
pounds
sterling
)
for
one
of
his
Pictures
.
As
much
had
Polycletus
for
one
of
his
.
Apelles
had
for
painting
the
picture
of
Alexander
the
Great
,
three
thousand
and
five
hundred
pounds
given
him
in
golden
coin
.
Cafar
payed
to
Timomachus
eighty
Talents
;
(
about
fourteen
thousand
pounds
sterling
,
)
for
the
Pictures
of
Ajax
and
Medea
.
Many
more
examples
we
might
produce
,
but
these
may
suffice
;
at
length
no
price
was
thought
equal
to
their
worth
;
so
Nicias
rather
than
he
would
sell
his
picture
called
Necyia
to
King
Attalus
,
who
proffered
him
sixty
Talents
,
(
worth
near
eleven
thousand
pound
sterling
,
)
bestowed
it
as
a
present
upon
his
Countrey
.
XII
.
Art
meeting
with
such
Successes
,
created
a
boldness
in
Artificers
,
to
aixempt
even
the
greatest
matters
.
The
great
Colosses
of
the
antients
may
serve
here
for
an
example
;
Zeuxis
above
all
the
rest
,
hath
been
admired
for
his
boldness
:
Euphranor
also
excelled
Parrhasius
in
this
kind
,
in
that
the
Thesens
of
the
one
so
infinitely
excelled
the
Theseus
of
the
other
.
So
great
an
excellency
of
Spirit
arose
in
the
old
Artificers
,
as
not
to
be
daunted
by
the
authority
of
those
who
were
like
to
censure
their
works
it
was
agreat
mark
they
aimed
at
,
to
avoid
a
preposterous
shame
or
fear
.
And
this
they
accomplished
by
taking
care
,
not
only
to
give
them
content
,
who
must
of
necessity
be
contented
with
the
work
,
but
also
that
they
might
seem
admirable
unto
them
which
may
judge
freely
without
controul
.
So
they
heeded
to
do
well
in
the
opinion
of
accurate
and
judicious
spectators
,
rather
than
to
do
that
which
liked
themselves
.
And
therefore
whatsoever
is
dedicated
unto
posterity
,
and
to
remain
as
an
example
for
others
,
had
need
be
well
done
,
neat
,
polished
,
and
made
according
to
the
true
rule
and
law
of
Art
,
for
as
much
as
it
is
likely
to
come
into
the
hands
of
skilful
Artificers
,
judicious
censurers
,
and
such
as
make
a
narrow
scrutiny
into
every
defect
.
But
as
it
is
impossible
to
attain
to
an
excellency
,
or
height
of
any
thing
without
a
beginning
,
so
do
the
first
things
in
going
on
of
the
work
seem
to
be
the
least
;
the
height
of
Arts
,
as
of
trees
,
delighteth
us
very
much
,
so
do
not
the
roots
;
yet
can
there
be
no
height
without
the
roots
.
And
therefore
we
shall
find
that
a
frequent
and
continual
exercise
,
as
it
is
most
laborious
,
so
it
is
most
profitable
;
seeing
nature
doth
begin
,
hope
of
profit
doth
advance
,
and
exercise
doth
accomplish
the
thing
sought
after
.
In
summ
;
by
doing
quickly
,
we
shall
never
learn
to
do
well
:
but
by
doing
well
,
it
is
very
likely
we
may
learn
to
do
quickly
.
To
this
speedy
and
well
doing
there
belongeth
three
things
,
viz.
to
add
,
to
detract
,
and
to
change
.
To
add
or
detract
,
requireth
less
labour
and
judgment
;
but
to
depress
those
things
that
swell
,
to
raise
those
things
that
sink
,
to
tye
close
those
things
which
are
scattered
,
to
digest
things
that
are
without
order
,
to
compose
things
that
are
different
,
to
restrain
things
that
are
insolent
,
requireth
double
pains
:
for
those
things
may
be
condemned
,
which
once
did
please
,
to
make
way
for
inventions
not
yet
thought
of
.
Now
without
doubt
,
the
best
way
for
emendation
is
to
lay
by
the
design
for
a
time
,
till
it
seem
unto
us
as
new
,
or
anothers
invention
;
lest
our
own
,
like
new
births
,
please
us
too
much
.
XIII
.
Lastly
,
That
which
gave
the
greatest
and
as
it
were
the
last
step
towards
the
Augmentation
of
Art
,
was
that
free
liberty
which
Artizans
gave
every
one
,
to
censure
,
to
find
fault
with
their
works
,
and
to
mark
their
defects
.
It
was
the
opinion
of
Seneca
,
that
many
would
have
attained
unto
wisdom
,
if
they
had
not
conceived
themselves
to
be
wise
already
.
When
Phidias
made
Jupiter
for
the
Eleans
,
and
shewed
it
,
he
stood
behind
the
door
,
listning
what
was
commended
,
&
what
discommended
in
his
work
:
one
found
fault
with
the
grossness
of
his
nose
,
another
with
the
length
of
his
face
,
a
third
had
something
else
to
say
:
now
when
all
the
spectators
were
gone
,
he
retired
himself
again
to
mend
the
work
,
according
to
what
was
liked
of
the
greater
part
;
for
he
did
not
think
the
ad●ice
of
such
a
multitude
to
be
a
small
matter
,
judging
that
so
many
saw
many
things
better
than
he
alone
,
though
he
could
not
but
remember
himself
to
be
Phidias
.
But
yet
Artificers
did
not
from
hence
admit
their
judgments
generally
in
every
thing
,
but
they
followed
their
directions
only
in
such
things
as
did
belong
to
their
Pr●fession
.
As
when
Apelks
made
a
work
,
he
exposed
it
in
a
place
where
all
that
passed
by
might
see
it
;
hiding
himself
in
the
meantime
behind
the
Picture
,
to
hear
what
faults
were
maked
in
his
works
,
preferring
the
common
people
,
before
his
own
judgment
.
And
he
is
reported
to
have
mended
his
work
,
upon
the
censure
of
a
Shooe-maker
,
who
blaming
him
for
having
made
fewer
latchets
in
the
inside
of
one
of
the
Pantoffles
,
then
of
the
other
:
the
Shoot
maker
finding
the
work
the
next
day
mended
according
to
his
advice
,
grew
proud
,
and
began
to
find
fault
with
the
leg
also
;
whereupon
Apelles
could
not
contain
himself
any
longer
,
but
looking
forth
from
behind
the
Picture
,
bid
the
Shooe-maker
not
go
beyond
his
lost
;
from
whence
at
last
came
that
Proverb
.
He
is
the
best
man
that
can
advise
himself
what
is
fit
to
be
done
;
and
he
is
next
in
goodness
,
that
is
content
to
receive
good
advice
:
but
he
that
can
neither
advise
himself
,
nor
will
be
directed
by
the
advice
of
others
,
is
of
a
very
ill
nature
.
CHAP.
XXXVI
.
Of
Painting
the
Face
and
Skin
.
I.
TWo
wayes
there
be
of
adorning
the
Face
and
Skin
,
the
first
is
,
by
Painting
:
the
second
is
,
by
application
of
excellent
Cosmeticks
,
which
gives
a
most
natural
,
absolute
and
lasting
beauty
.
The
first
way
,
which
is
that
of
Painting
,
is
the
subject
matter
of
this
Chapter
.
Some
may
wonder
,
that
we
should
meddle
with
such
a
subject
as
this
,
in
this
place
;
but
let
such
know
,
the
painting
of
a
deformed
face
,
and
the
licking
over
of
an
old
,
withered
,
wrinkled
and
weather-beaten
skin
,
are
as
proper
appendices
to
a
Painter
,
as
the
rectification
of
his
errors
in
a
piece
of
Canvase
:
nor
is
there
any
reason
but
that
the
Artist
should
shew
his
care
in
the
one
,
as
well
as
his
skill
in
the
other
,
since
a
single
deformity
in
the
body
begets
a
complication
of
miseries
in
the
mind
,
and
an
unity
of
defects
,
a
multiplication
of
evils
.
And
though
some
think
the
Poets
did
not
much
amiss
,
to
fancy
the
Creature
to
be
hacht
in
Hell
,
by
reason
it
brings
with
it
such
a
torrent
of
dejections
;
yet
let
those
darkened
Souls
(
who
are
so
much
affrighted
at
its
cloudy
adumbrations
)
understand
,
that
if
it
was
conceived
in
hell
,
that
hell
was
in
the
center
of
their
conceptions
:
yet
we
confess
,
it
seeks
darkness
,
and
only
solaces
it self
in
obscurity
,
and
duskie
solitudes
.
For
such
whose
bodies
have
passed
the
stamp
with
some
faults
,
and
have
missed
the
impressions
or
reflexions
of
beauty
,
which
might
make
them
delectable
in
humane
society
,
ever
make
choice
of
darkness
as
their
chief
companion
.
Deformity
is
a
disease
esteemed
the
most
pernicious
,
and
its
issue
is
a
matter
of
dangerous
consequence
,
chiefly
obstructions
to
Ladies
Preferment
.
Now
to
prevent
this
danger
,
to
take
away
these
obstructions
,
and
to
deliver
you
from
the
embraces
of
so
hideous
a
monster
(
which
some
esteem
as
a
Furie
of
Hell
)
these
Cosmeticks
we
have
offered
upon
the
Altar
of
your
defects
;
protesting
that
the
use
of
these
beautifiers
,
will
make
you
as
fit
for
the
entertainment
of
Courtiers
,
as
ever
you
were
before
for
the
courtship
of
Grooms
or
Hostlers
,
and
make
your
rusty
skins
and
ill-look'd
faces
,
to
out-shine
with
a
radiant
lustre
,
the
most
splendid
of
all
the
Nymphs
of
Diana
.
Though
you
may
look
so
much
like
the
Image
of
death
,
as
that
your
skins
might
be
taken
for
your
winding
sheets
,
yet
by
our
directions
you
may
attain
such
a
rosid
colour
,
and
such
a
lively
chearfulness
,
as
shall
not
only
make
you
look
like
natures
workmanship
,
but
also
put
admiration
into
the
beholders
,
and
fix
them
in
a
belief
,
that
you
are
the
first-fruits
of
the
resurrection
.
Thus
we
teach
you
lippid
mortals
to
retrace
the
steps
of
youthfulness
,
and
to
transform
the
wrinkled
hide
of
Hecuba
,
into
the
tender
skin
of
the
Greatest
of
beauties
;
which
then
you
will
dull
by
the
advance
of
your
features
,
and
make
all
conceited
shadows
of
glory
,
to
vanish
in
your
presence
.
When
once
your
artificial
heat
shall
appear
,
others
shall
seem
pale
with
envy
for
your
perfections
;
and
their
natural
ruddiness
shall
only
serve
them
to
blush
,
to
see
their
features
clouded
by
your
splendor
,
who
will
seem
like
brown
bread
compared
with
Manchet
,
or
rather
like
wooden
dishes
upon
a
shelf
of
China
ware
,
or
as
another
once
said
,
like
blubberd
jugs
in
a
cupboard
of
Venice
glasses
,
or
as
earthen
piss-pots
in
a
Goldsmiths
shop
.
By
this
means
,
your
sparkling
Glories
shall
fire
Platonick
Lovers
,
so
that
none
though
as
cold
as
Saturn
,
shall
be
able
to
resist
your
actuating
flames
,
but
shall
force
the
stoutest
heart
,
to
be
a
Sacrifice
to
love
.
If
any
remain
unscorched
,
it
must
be
only
those
leaden
hearted
Cowards
,
who
dare
not
approach
your
flames
,
for
fear
of
melting
;
or
those
undeserving
soldiers
of
Venus
(
of
a
frigid
constitution
)
who
dare
not
so
much
as
look
upon
your
youthful
fire
,
for
fear
of
being
burnt
to
ashes
.
But
it
may
chance
that
some
Saint
or
another
,
may
condemn
your
hearts
for
evil
,
because
you
strive
to
make
your
faces
good
,
and
may
like
your
in-side
the
worse
because
your
out-side
may
look
so
well
;
yet
with
Benjamin
refuse
not
the
many
messes
of
Pottage
,
nor
yet
the
many
change
of
Raiment
(
although
one
might
well
enough
serve
your
turn
)
but
receive
them
from
the
hands
of
Joseph
,
though
all
the
rest
of
the
Brethren
be
angry
.
Avoid
not
company
for
want
of
beauty
,
when
art
affords
an
innocent
supply
,
but
with
confidence
crucify
that
evil
conscience
,
which
forbids
the
use
of
a
little
oyl
to
make
a
chearful
countenance
,
and
the
drinking
of
a
little
wine
to
make
a
merry
heart
.
Borrow
our
Artificial
beautifiers
,
and
become
splendid
,
that
you
may
be
fit
to
be
gathered
by
the
hand
of
some
metamorphosed
Hero
;
lest
in
the
garden
of
Deformities
,
growing
green
with
sickness
,
you
should
be
taken
for
thistles
,
and
so
crop'd
by
Asses
.
II.
To
cleanse
the
face
and
skin
.
Before
any
thing
be
used
to
paint
,
or
make
the
skin
beautiful
,
it
must
be
made
very
clean
thus
:
first
wash
with
warm
water
,
and
sweet
scented
wash-balls
very
well
;
then
rub
the
face
with
a
cloth
,
and
wash
well
with
water
in
which
Wheat-bran
is
boiled
;
so
is
the
skin
prepared
.
Or
thus
,
Take
Sublimate
one
ounce
,
glair
of
six
eggs
,
boil
them
in
a
glass
vessel
,
till
they
grow
thick
;
then
press
out
the
water
,
with
which
wash
the
skin
.
III.
To
make
a
white
Fucus
or
Paint
.
Take
Talk
and
powder
it
,
by
beating
of
it
in
a
hot
mortar
,
to
the
powdred
Talk
add
distilled
Vinegar
,
boil
it
at
a
gentle
fire
in
a
wide
glass
,
let
the
fat
froth
that
swims
at
top
,
be
taken
off
with
a
spoon
;
then
evaporate
the
vinegar
,
and
mix
the
remaining
cream
with
flegm
of
common
Salt
,
or
a
little
Pomatum
,
with
which
wash
or
anoint
the
face
,
and
it
will
beautify
it
much
.
IV.
Another
very
excellent
.
Take
Crude
Talk
in
powder
one
ounce
,
oil
of
Camphire
two
ounces
,
digest
till
the
oil
is
white
;
it
is
a
noble
Fucus
for
Ladies
faces
.
V.
To
make
the
aforesaid
oyl
of
Camphire
.
Take
Camphire
four
ounces
,
Bole
twelve
ounces
,
make
them
into
balls
and
dry
them
in
the
Sun
,
then
distill
them
in
sand
in
a
glass
retort
,
into
a
receiver
that
hath
distilled
rain
water
therein
:
first
there
will
come
forth
a
white
matter
,
which
melts
in
the
Alembick
,
and
falls
into
the
receiver
,
then
a
clearer
water
;
and
at
last
with
a
stronger
fire
,
the
oil
we
speak
of
,
sweet
scented
,
which
rectified
with
spirit
of
wine
will
be
yellow
as
Gold
.
VI.
Another
excellent
Fucus
made
of
Pearl
.
Dissolve
Pearl
in
distilled
Vinegar
;
precipitate
with
oyl
of
Sulphur
per
Campanum
;
then
sweeten
and
digest
with
spirit
of
wine
;
abstract
the
spirit
,
and
you
have
a
magisterial
Fucus
will
melt
like
butter
.
VII
.
To
make
the
best
Fucus
or
Paint
as
yet
known
.
Take
Venetian
Talk
,
cleave
it
into
slices
,
digest
it
in
the
heat
of
the
Sun
,
or
of
a
horse-dunghil
for
a
month
,
with
distilled
vinegar
,
made
of
Spanish
wine
,
adding
every
day
new
distilled
Vinegar
to
the
former
,
till
the
Vinegar
be
mucilaginous
;
which
then
distill
by
a
luted
retort
and
a
large
receiver
with
a
naked
fire
.
First
there
comes
forth
the
Vinegar
;
then
a
white
oil
,
which
separate
.
After
you
have
cleansed
the
skin
by
the
second
Section
,
then
first
wash
with
the
vinegar
,
after
anoint
with
the
oil
:
if
the
face
be
first
well
wash'd
from
all
impurity
,
this
one
anointing
may
hold
for
a
month
without
fading
.
This
Cosmetick
if
rightly
prepared
,
is
worth
about
five
pound
an
ounce
.
VIII
.
An
excellent
Fucus
made
of
a
Bulls
gall
.
Take
Bulls
galls
dryed
in
the
Sun
,
whose
tincture
extract
with
spirit
of
wine
,
with
which
besmear
the
face
,
(
being
cleansed
by
the
second
Section
)
leaving
it
on
for
three
or
four
days
,
without
going
abroad
,
or
exposing
the
skin
to
the
air
:
at
the
end
of
the
time
cleanse
the
face
by
the
second
Section
:
so
almost
to
a
miracle
,
the
skin
of
the
face
and
neck
is
rendered
most
gratefully
white
,
soft
,
delicate
and
amiable
.
This
is
the
Spanish
Fucus
which
several
Ladies
now
use
.
IX
.
To
make
an
excellent
red
Fucus
.
Make
a
decoction
of
red
Sanders
in
double
distilled
vinegar
,
adding
a
little
Alom
,
with
a
few
grains
of
Musk
,
Amber-griese
,
or
of
some
sweet
Spices
,
and
you
will
have
a
perfect
red
Fucus
for
the
face
.
X.
Another
very
excellent
.
Take
juice
of
Clove-gilliflowers
,
with
which
mix
a
little
juice
of
Limons
:
with
this
paint
your
face
,
and
you
shall
have
a
pleasing
red
colour
.
XI
.
To
do
the
same
another
away
.
Make
a
strong
infusion
of
Clove-gilliflowers
in
rectified
spirit
of
wine
,
adding
a
few
drops
of
oil
of
Vitriol
;
or
instead
thereof
a
little
Alom
,
and
the
juice
of
a
Citron
or
Limon
;
so
shall
you
have
an
excellent
colour
to
beautifie
the
face
with
.
XII
.
A
Fueus
or
Paint
not
easie
to
be
discovered
.
Take
seeds
of
Cardamoms
or
grains
of
Paradise
,
Cubebs
,
Cloves
,
and
raspings
of
Brazil
,
which
infuse
in
rectified
spirit
of
wine
for
ten
days
,
over
a
gentle
heat
;
then
separate
the
spirit
:
this
is
so
perfect
a
Fucus
,
that
it
may
deceive
any
man
,
for
this
clear
water
gives
a
fresh
,
red
,
and
lovely
colour
which
will
last
long
.
XIII
.
A
Fucus
or
Cosmetick
of
river
Crabs
.
Takes
of
the
flesh
which
remains
in
the
extremities
of
the
great
claws
of
river
Crabs
(
being
boiled
)
a
sufficient
quantity
,
which
dry
gently
,
and
then
extract
a
deep
tincture
with
rectified
spirit
of
wine
;
evaporate
part
of
the
menstruum
,
till
the
tincture
have
a
good
thickness
or
body
;
with
which
(
the
skin
being
cleansed
)
anoint
the
cheeks
first
,
applying
over
it
some
other
albifying
Cosmetick
.
XIV
.
Spanish
wool
,
wherewith
women
paint
their
faces
red
.
Boil
shearings
of
Scarlet
in
water
of
quick-lime
half
an
hour
,
of
which
take
two
pound
,
to
which
put
Brazil
two
ounces
(
rasped
)
Roch
Alom
,
Verdigriese
,
of
each
one
ounce
,
Gum
Arabick
two
drcahms
,
boil
all
for
half
an
hour
,
which
keep
for
use
.
XV.
To
do
the
same
another
way
.
Take
Spirit
of
wine
one
pound
,
Cochenele
half
an
ounce
,
rasped
Brazil
one
ounce
,
Gum
Armoniack
three
drachms
,
mix
and
digest
till
the
Gum
is
dissolved
;
then
boil
it
gently
,
and
strain
it
for
use
,
into
which
you
may
put
old
linnen
rags
,
or
Spanish
wool
at
pleasure
.
CHAP.
XXXVII
.
Of
Cosmeticks
which
beautifie
without
any
thing
of
Paint
.
I.
AN
excellent
Cosmetick
or
Liquor
of
Talk
.
Take
powder
of
Talk
(
made
by
rubbing
it
with
pumice
stones
;
or
beating
it
in
a
very
hot
mortar
;
or
filing
it
with
a
Goldsmiths
smoothing
file
)
eight
ounces
,
Salis
Tartari
sixteen
ounces
,
calcine
it
twelve
hours
in
a
wind
furnace
,
and
set
it
in
a
Cellar
,
separating
that
which
melts
,
from
that
which
doth
not
:
then
calcine
this
dry
Calx
added
to
four
times
its
weight
of
Salnitre
,
with
a
strong
fire
,
so
the
Talk
will
be
melted
into
a
clear
white
mass
which
being
set
in
a
Cellar
will
turn
to
a
clammy
liquor
.
This
wonderfully
whitens
and
beautifies
the
skin
,
and
takes
away
spots
and
freckles
from
the
face
:
but
you
must
not
leave
the
liquor
long
on
,
but
wash
it
off
with
decoction
of
wheat
bran
,
that
it
corrode
not
the
skin
.
II.
To
make
the
skin
soft
and
smooth
.
The
face
being
very
clean
by
the
second
Section
of
the
six
and
thirtieth
Chapter
,
wash
it
very
well
with
a
Lixivium
of
Salt
of
Tartar
,
and
after
that
anoint
it
with
Pomatum
;
or
which
is
better
,
oil
of
sweet
Almonds
,
doing
this
every
night
going
to
bed
.
The
Pomatum
we
have
taught
the
way
to
make
in
our
Synopsis
Medicinae
,
lib.
3.
cap.
58.
Sect.
2.
III.
A
water
to
cleanse
the
face
from
Scurfe
and
Morphew
.
Take
distilled
rain
water
six
ounces
,
juice
of
Limons
twelve
ounces
,
mix
them
,
and
wash
with
it
morning
and
evening
,
anointing
after
it
at
night
going
to
bed
with
the
oil
or
Pomatum
aforesaid
.
IV.
An
Vnguent
which
brings
the
skin
to
an
exquisite
beauty
.
Take
of
our
Pomatum
one
ounce
,
Salt
of
Tartar
one
drachm
,
Musk
twenty
grains
,
mix
them
well
,
and
(
the
face
or
skin
being
very
clean
)
anoint
morning
and
evening
.
V.
A
wonderful
Cosmetick
of
great
worth
.
Take
white
Tartar
twenty
ounces
,
Talk
,
Salt
,
of
each
ten
ounces
,
calcine
them
in
a
potters
furnace
very
well
;
then
grinding
the
matter
upon
a
marble
,
put
it
into
Hippocrates
his
sleeve
,
and
set
it
in
a
Cellar
or
other
moist
place
for
twenty
or
thirty
dayes
,
and
there
will
drop
from
it
a
precious
oil
;
which
being
rubbed
upon
the
skin
softly
with
a
linnen
cloth
(
the
skin
being
duly
cleansed
first
)
takes
away
all
kind
of
spots
,
and
makes
the
skin
soft
and
delicate
.
VI.
A
cheap
,
yet
excellent
Cosmetick
.
Take
Alom
in
fine
powder
,
and
shake
it
with
whites
of
new
laid
eggs
,
being
a
little
heated
,
till
such
time
as
they
grow
thick
to
an
ointment
,
with
which
anoint
the
face
morning
and
evening
three
or
four
days
;
and
it
will
take
away
spots
and
wrinkles
,
and
make
the
skin
grow
clear
and
fair
.
VII
.
An
excellent
Mercurial
Cosmetick
prevalent
against
most
deformities
of
the
skin
.
Take
Mercury
purified
from
all
blackness
half
a
pound
,
Mercury
Sublimate
in
powder
as
much
,
mix
them
in
a
stone
or
marble
mortar
;
put
them
into
an
Alembick
of
a
straight
Orifice
,
put
on
distilled
Vinegar
,
till
all
be
covered
three
or
four
fingers
,
letting
it
stand
four
dayes
,
daily
stirring
the
same
at
certain
times
,
then
it
extracts
a
whitish
powder
;
the
whitish
Vinegar
by
inclination
separate
,
rejecting
it
,
and
put
on
other
Vinegar
:
the
powder
at
bottom
keep
so
for
some
days
:
which
labour
you
must
so
often
reiterate
,
till
you
have
abundance
of
that
white
powder
,
which
dry
,
and
keep
for
use
:
anoint
with
it
,
by
mixing
with
it
a
little
distilled
rain
water
,
and
it
will
take
away
all
blemishes
of
the
skin
,
as
also
Tetters
.
Use
it
not
too
often
,
and
beware
you
touch
neither
eyes
nor
teeth
with
it
.
VIII
.
Another
of
great
estimation
.
Take
Mercury
Sublimate
,
Saccharum
Saturni
of
each
two
drachms
,
Rose
water
,
juice
of
Limons
of
each
two
ounces
,
mix
them
like
to
an
ointment
,
with
which
anoint
gently
at
night
,
and
the
next
morning
with
the
Pomatum
aforesaid
.
IX
.
To
make
a
kind
of
Lac
Virginis
,
an
excellent
Cosmetick
.
Take
distilled
rain
water
a
quart
,
Saccharum
Saturni
crystallized
one
ounce
,
mix
them
,
and
then
wash
with
the
water
,
being
settled
:
the
fine
white
powder
at
bottom
,
is
also
an
excellent
fucus
or
paint
,
which
may
be
laid
upon
the
skin
if
very
clear
:
note
,
some
use
Vinegar
instead
of
the
rain
water
.
X.
To
make
Oleum
Tartari
per
deliquium
.
Take
Salt
of
Tartar
,
which
put
into
a
bag
with
a
corner
in
a
moist
Cellar
,
and
the
oil
will
distil
therefrom
in
drops
:
with
this
oil
you
may
mix
a
little
fair
water
,
and
wash
your
face
at
night
going
to
bed
;
and
the
next
morning
,
the
face
being
very
clean
,
you
may
wash
with
the
aforesaid
Lac
Virginis
;
thus
continuing
for
some
days
,
you
may
create
an
exquisite
and
lasting
beauty
.
XI
.
A
compound
Cosmetick
esteemed
by
some
of
great
force
.
Take
of
the
aforesaid
Lac
Virginis
one
ounce
,
oil
of
Tartar
aforesaid
half
an
ounce
,
mix
them
,
with
which
wash
morning
and
night
for
about
a
week
or
more
,
as
you
shall
see
occasion
;
then
anoint
with
the
following
ointment
.
XII
.
To
make
the
Cosmetick
Ointment
aforesaid
.
Take
Musk
three
drachms
,
Ambergriese
two
drachms
,
Civit
one
drachm
,
grind
them
upon
a
porphyre
or
marble
stone
,
with
oil
of
Ben
and
Rhodium
of
each
three
ounces
,
with
which
anoint
as
aforesaid
:
note
,
some
instead
of
the
oil
of
Ben
,
use
oil
of
sweet
Almonds
.
XIII
.
A
vegetable
Cosmetick
.
Besmear
your
face
or
skin
at
night
going
to
bed
,
with
the
juice
of
Wake
Robin
;
it
is
excellent
.
XVI
.
An
incomparable
Cosmetick
of
Pearl
.
Dissolve
Pearls
in
juice
of
Limons
or
distilled
Vinegar
,
which
digest
in
Horse-dung
,
till
they
send
forth
a
clear
oil
,
which
will
swim
on
the
top
:
this
is
one
of
the
most
excellent
Cosmeticks
or
Beautifiers
in
the
world
:
this
oil
if
well
prepared
is
richly
worth
seven
pound
an
ounce
.
XV.
A
Cosmetick
ointment
of
great
worth
.
Take
of
our
Pomatum
aforesaid
six
ounces
,
Saccharum
Saturni
two
ounces
,
mix
them
,
and
anoint
morning
and
evening
.
XVI
.
Another
very
good
for
the
skin
.
Mix
Saccharum
Saturni
one
drachm
,
in
Vinegar
half
an
ounce
,
which
mingle
with
the
glair
of
eggs
,
and
anoint
with
it
.
XVII
.
A
Cosmetick
wonderful
to
make
a
pleasing
ruddy
complexion
.
Take
oil
of
Tartar
four
ounces
,
Alom
,
Sal
Gem
,
of
each
one
ounce
,
Borax
,
Camphire
of
each
half
an
ounce
,
beat
them
well
together
,
to
which
add
of
Briony
water
a
pint
,
distil
them
in
balneo
,
and
you
will
have
your
desire
.
XVIII
.
Another
for
the
same
.
Take
Madder
,
Myrrh
,
Saffron
,
Frankincense
,
of
each
a
like
,
bruise
and
steep
all
in
White-wine
,
with
which
anoint
the
face
going
to
bed
,
and
in
the
morning
wash
it
off
,
and
the
skin
will
have
a
gallant
pleasing
blush
.
XIX
.
To
make
the
Cosmetick
of
Myrrh
,
very
excellent
.
Boil
eggs
till
they
are
hard
,
slit
them
and
take
out
the
yolks
,
fill
them
up
with
powdred
myrrh
,
close
them
together
,
and
lay
them
in
a
moist
Cellar
,
and
the
myrrh
will
dissolve
into
oyl
.
XX.
To
make
a
very
good
Wash
to
whiten
the
skin
,
and
give
a
good
complexion
.
Take
Limons
,
hens
eggs
boiled
,
of
each
twelve
,
Turpentine
eight
ounces
,
distil
all
in
Balneo
Mariae
,
with
which
wash
:
when
you
wash
,
you
may
drop
into
it
a
drop
,
two
or
three
of
oil
of
Oranges
or
Cinamon
,
for
fragrancy
sake
.
XXI
.
A
Cosmetick
to
make
a
rough
skin
smooth
.
Take
sweet
Almonds
blanched
four
pound
,
moisten
them
with
spirit
of
wine
and
rose
water
mixt
together
,
of
each
two
ounces
,
beat
them
together
and
try
them
;
and
when
they
begin
to
smoak
,
put
them
into
a
bag
,
and
press
them
(
in
a
press
made
for
that
purpose
)
and
there
will
come
forth
a
very
clear
oil
;
which
put
into
rain
water
,
and
beat
it
till
it
is
exceeding
white
.
CHAP.
XXXVIII
.
Of
Cosmeticks
,
which
remedy
the
various
Vices
of
the
skin
.
I.
TO
take
away
Sun-burnings
.
To
glair
of
ten
eggs
put
Sugar-candy
one
ounce
and
anoint
with
it
going
to
bed
:
or
anoint
with
the
juice
of
Sow-bread
at
night
going
to
bed
;
&
in
the
morning
with
oil
Omphacine
.
The
like
effects
hath
our
Lac
Virginis
at
the
ninth
Section
of
the
seven
and
thirtieth
Chapter
,
as
also
Oleum
Tartari
,
and
other
things
of
like
nature
.
II.
To
take
away
redness
and
Pimples
.
First
prepare
the
skin
by
bathing
it
often
with
the
decoction
of
wheat-bran
,
and
applying
pultisses
of
bread
,
milk
and
oil
thereto
:
when
the
skin
is
thus
suppled
and
rarified
,
you
may
cure
them
either
by
our
liquor
of
Talk
at
the
first
Section
of
the
seven
and
thirtieth
Chapter
,
or
mercurial
Cosmetick
at
the
seventh
Section
of
the
seven
and
thirtieth
Chapter
,
or
our
Lac
Virginis
and
oil
of
Tartar
at
the
ninth
and
tenth
Section
of
the
seven
and
thirtieth
Chapter
,
or
by
often
washing
with
juice
of
Limons
.
III.
To
take
away
Freckles
.
Take
juice
of
Limons
,
put
it
into
a
glass
bottle
,
to
which
put
fine
Sugar
and
borax
in
powder
,
digest
it
eight
dayes
in
Sand
,
then
use
it
;
or
mix
Sal
Tartari
with
whites
of
eggs
,
and
apply
it
;
or
often
use
our
compound
Cosmetick
at
the
eleventh
Section
of
the
seven
and
thirtieth
Chapter
,
or
oil
of
Tartar
alone
,
for
some
weeks
;
but
if
all
fail
,
you
must
have
recourse
to
our
Liquor
of
Talk
at
the
first
Section
of
the
seven
and
thirtieth
Chapter
,
or
Mercurial
Cosmetick
at
the
seventh
Section
of
the
seven
and
thirtieth
Chapter
.
IV.
To
take
away
Spots
from
the
face
or
skin
.
This
is
done
by
anointing
with
oil
of
Tartar
for
ten
days
;
and
after
all
that
to
wash
it
with
a
Lixivium
of
Quicklime
in
which
Sal
armoniack
hath
been
dissolved
for
a
long
time
:
or
you
may
use
the
Cosmetick
at
the
third
Section
of
the
seven
and
thirtieth
Chapter
camphorated
.
V.
To
cleanse
a
scurffy
Skin
.
If
the
creature
be
fat
,
foment
first
with
a
Lixivium
of
Salt
of
Tartar
;
but
if
lean
,
make
a
fomentation
of
Borrage
,
Bugloss
and
Mallow
leaves
,
which
use
for
some
days
:
this
being
done
,
bath
the
place
where
the
scurff
is
,
with
Spiritus
Nicotianae
made
by
fermentation
,
which
being
dryed
in
,
anoint
first
with
oil
of
Tartar
,
then
with
oil
of
Almonds
;
repeating
the
three
last
works
,
so
often
till
the
scurff
goes
away
.
If
all
these
fail
,
you
must
have
recourse
to
our
liquor
of
Talk
,
or
Mercurial
Cosmetick
;
or
those
at
the
fifth
and
eighth
Section
of
the
seven
and
thirtieth
Chapter
,
which
without
doubt
will
peform
your
desire
.
VI.
To
free
the
Skin
from
Tetters
and
Ring-worms
.
Dissolve
Sublimate
one
ounce
in
a
glass
of
Red-wine
by
boiling
,
with
which
wash
the
place
morning
and
evening
,
letting
it
dry
of
it self
,
for
three
or
four
days
together
,
and
it
will
certainly
cure
:
if
they
be
not
inveterate
,
our
liquor
of
Talk
at
the
first
Section
of
the
seven
and
thirtieth
Chapter
,
or
Mercurial
Cosmetick
may
sufficiently
do
;
or
you
may
anoint
with
this
ointment
.
Take
Sal
Tartari
two
drachms
,
burnt
Alom
three
drachms
,
powder
and
incorporate
with
whites
of
eggs
:
or
this
,
take
Sulphur
vive
three
drachms
,
Camphire
one
drachm
,
Hogs-griese
two
ounces
,
mix
and
make
an
ointment
.
VII
.
To
take
away
wrinkles
from
the
Skin
.
Take
oil
of
Almonds
,
lees
of
oil
Olive
,
and
make
them
into
an
ointment
with
wax
,
powder
of
Camphire
and
Mastich
,
with
which
anoint
.
Oil
of
Myrrh
to
anoint
with
,
is
eminent
in
this
case
:
or
wash
with
a
decoction
of
Briony
roots
and
figs
of
each
alike
:
or
dissolve
Gum
Tragacanth
in
Lac
Virginis
,
and
wash
with
that
.
Excellent
good
is
a
strong
decoction
of
Pomegranate
pills
in
White-wine
,
to
wash
often
with
.
VIII
.
To
take
away
Warts
.
The
juice
of
the
greater
Spurge
with
Salt
anointed
,
takes
them
away
,
so
also
a
continual
washing
with
a
Lixivium
of
Quicklime
and
Salt
of
Tartar
.
The
juice
of
Verrucaria
performs
the
same
.
A
plaister
of
Cantharides
with
a
defensative
is
very
good
in
this
case
:
so
also
this
following
wash
:
take
Saccharum
Saturni
three
ounces
,
Sal
Armoniack
one
ounce
,
Vitriol
common
six
drachms
,
Quicklime
eight
ounces
,
boil
all
in
water
four
pound
to
the
consumption
of
the
half
,
with
which
often
bath
the
warts
,
and
then
wash
with
our
Mercurial
water
.
Black
Soap
hath
often
been
found
very
good
;
but
especially
a
plaister
of
Turpentine
.
IX
.
To
heal
Chaps
in
the
Skin
.
Our
Pomatum
in
this
case
is
most
excellent
:
yet
this
following
is
commendable
.
Take
Capons
griess
mixed
well
with
Camphire
,
and
anoint
with
.
Oil
of
Turpentine
two
drachms
,
mixed
with
Vnguentum
Populeon
two
ounces
,
is
very
good
.
So
also
oil
of
Roses
mixed
with
Sheep
Suet
and
wax
to
an
ointment
.
X.
To
heal
Burnings
and
Scaldings
.
Excellent
good
is
the
Vnguentum
Rubrum
in
our
Synopsis
Medicinae
lib.
3.
cap.
58.
Sect
1.
both
to
draw
out
the
fire
,
and
to
heal
.
To
draw
out
the
fire
also
,
glair
of
eggs
mixed
with
Rose
water
,
is
very
prevalent
:
so
also
is
Salt
,
raw
Onions
,
Soap
,
Yest
,
Oil
of
Tartar
and
the
like
.
To
hinder
the
rising
of
the
blisters
,
Hens
dung
three
ounces
,
mixed
with
hogs
griese
four
ounces
,
and
Salt
of
Tartar
one
ounce
is
very
good
;
so
also
a
cataplasme
of
Honey
and
crums
of
bread
;
but
best
of
all
a
plaister
of
strained
Opium
,
which
performs
all
the
intentions
to
admiration
.
If
the
blister
break
,
it
may
be
presently
skinned
by
anointing
with
oil
of
eggs
,
and
washing
often
with
Lac
Virginis
,
strewing
upon
the
sore
,
powder
of
Bole
,
Tutty
,
Ceruse
or
the
like
.
XI
.
To
take
away
scars
and
marks
of
the
Small
Pox.
Take
of
oil
of
Tartar
one
ounce
and
half
,
Ceruse
dissolved
in
oil
of
Roses
one
ounce
,
Borax
and
Sal
Gem
of
each
one
drachm
,
mix
and
make
an
ointment
,
with
which
anoint
.
Oil
of
Tartar
alone
performs
this
work
well
:
so
Salt
of
Tartar
,
mixed
with
powder
of
Mirrh
and
oil
of
Roses
.
XII
.
To
beautifie
the
Hands
.
To
make
them
soft
,
often
anoint
with
the
oil
of
Almonds
or
our
Pomatum
at
night
going
to
bed
,
washing
them
the
next
norning
with
decoction
of
wheat-bran
:
after
a
while
wash
them
with
Salt
of
Tartar
,
dissolved
in
fair
water
,
perfumed
with
oil
of
Cloves
,
Oranges
,
Rhodium
or
Cinnamon
.
Or
this
,
take
Venice
Soap
dissolved
in
juice
of
Limons
one
pound
,
Virgin-honey
four
ounces
,
Sublimate
,
Orice
root
,
Sugar
,
Salt
of
Tartar
,
Alom
,
Borax
of
each
one
ounce
,
Balsom
of
Peru
two
drachms
,
oil
of
Cloves
one
drachm
,
oil
of
Rhodium
and
Cinnamon
of
each
half
a
drachm
,
make
a
mixture
to
wash
the
hands
withal
:
Or
this
,
take
powder
of
Venice
Soap
one
pound
,
Orice
root
eight
ounces
,
A
mylum
six
ounces
,
mix
them
and
make
an
ointment
with
liquid
Storax
and
oil
of
Benjamin
a
sufficient
quantity
;
it
wonderfully
whitens
,
smooths
and
sweetens
the
hands
.
To
anoint
also
with
a
Bulls
gall
is
very
good
.
XIII
.
To
help
hands
which
are
swoln
,
and
look
red
or
blew
with
cold
.
What
we
even
now
said
(
in
the
last
Section
)
may
be
said
again
here
:
to
which
we
add
,
that
a
long
bathing
of
them
in
a
larther
of
Castle
Soap
,
is
very
good
if
it
be
done
:
or
if
a
repercussive
plaister
be
applied
made
of
barley
meal
,
Saccharum
Saturni
,
and
oil
of
Myrtles
;
washing
(
after
the
coming
off
of
the
Cataplasme
)
with
juice
of
Limons
or
white
wine
Vinegar
:
a
plaister
of
Turpentine
mixed
with
Salt
is
good
.
Often
to
anoint
the
hands
with
oil
of
Roses
,
Almonds
,
or
Pomatum
at
night
,
and
the
next
morning
with
the
Lac
Virginis
prevails
much
.
Oil
of
Anniseeds
,
Caraways
and
Fennel
prepared
chymically
,
as
also
Cloves
and
Oranges
,
mixed
with
oil
of
Almonds
and
often
used
,
are
eminent
above
all
other
things
.
CHAP.
XXXIX
.
Of
making
a
Sweet
Breath
.
I.
ASthinking
Breath
comes
from
one
of
these
four
causes
,
viz.
putrified
Lungs
,
defective
Teeth
,
a
distemper
of
the
Head
,
or
obstruction
of
the
Stomach
.
II.
To
remedy
a
Stinking
Breath
coming
from
putrified
Lungs
.
Take
Vnguentum
Nicotianae
one
ounce
,
Oleum
Succini
two
drachms
,
mix
them
and
anoint
the
breast
outwardly
;
inwardly
give
cleansers
,
(
as
oil
of
Sulphur
allayed
with
Rose
water
)
morning
and
evening
;
as
also
Antimonium
Diophoreticum
ten
grains
five
times
a
day
for
several
days
together
;
then
heal
by
giving
oil
of
Almonds
mixed
with
a
few
drops
of
oil
of
Cinnamon
,
or
Pills
of
Turpentine
:
Lastly
,
morning
,
noon
and
night
let
this
bolus
be
adhibited
;
take
Nutmegs
,
Mace
,
Ginger
,
of
each
fifteen
grains
,
honey
two
drachms
,
oil
of
Cinnamon
ten
drops
,
mix
them
,
and
continue
it
for
some
weeks
.
III.
To
help
the
defects
of
the
teeth
.
1.
If
the
teeth
be
furred
over
,
rub
them
every
morning
with
cremor
Tartari
in
powder
,
and
wash
them
with
White-wine
.
2.
If
the
teeth
be
black
;
allay
oil
of
Sulphur
or
Vitriol
in
Rose
water
,
and
scowr
them
well
therewith
,
with
the
end
of
a
stick
and
a
rag
,
till
all
the
blackness
be
gone
;
then
rub
them
with
oil
of
Almonds
perfum'd
with
oil
of
Cinnamon
.
3.
If
the
teeth
be
loose
,
first
rub
them
with
this
powder
,
take
Galls
,
Pomgranate
flowers
,
Sumach
,
Cyperus
,
of
each
one
ounce
,
Roch
Alom
half
a
pound
,
powder
them
all
for
use
:
then
use
this
Gargarisme
.
Take
Galls
one
ounce
,
Myrrh
,
Pomgranate
peels
of
each
half
an
ounce
,
boil
them
in
white
wine
vinegar
for
a
Gargarism
.
Lastly
,
morning
,
noon
and
night
wash
the
gums
with
good
red
Wine
;
by
this
means
the
teeth
will
be
fastned
and
the
gums
restored
.
4.
If
they
be
in
danger
of
rotting
;
take
ashes
of
Harts-horn
,
magistery
of
Corral
of
each
one
ounce
,
musk
,
or
instead
thereof
oil
of
Cinnamon
,
ten
grains
,
mix
for
a
dentifrice
to
rub
the
teeth
withal
,
it
will
keep
them
white
and
sound
.
5.
If
they
he
rotten
and
hollow
;
make
little
pellets
of
strained
Opium
,
Myrrh
and
oil
of
Cinnamon
,
and
put
them
into
the
hollow
tooth
.
6.
If
they
ach
;
use
the
aforesaid
pellets
,
or
make
little
ones
of
Laudanum
Paracelsi
,
and
put
them
into
the
hollowness
:
or
if
they
be
not
hollow
,
tye
a
little
pill
of
the
same
up
in
a
fine
thin
rag
,
and
hold
it
between
the
aking
teeth
.
7.
If
they
stink
;
often
wash
them
with
wine
or
spirit
of
wine
,
in
which
a
few
drops
of
oil
of
Cinnamon
and
adeps
Rosarum
is
dissolved
.
IV.
To
rectify
a
Stinking
Breath
arising
from
distemper
of
the
head
.
Consider
the
cause
of
the
distemper
,
whether
it
arises
from
the
Pox
,
Imposthumes
,
or
the
like
,
and
follow
the
method
instituted
in
the
Cure
of
those
diseases
,
and
then
the
cause
being
taken
away
,
the
effects
you
will
find
will
soon
cease
;
yet
nevertheless
these
following
pills
are
excellent
:
take
Calx
of
refined
Silver
made
by
spirit
of
Nitre
,
and
well
dulcified
by
washing
in
warm
rain
water
one
ounce
,
Resinae
Scammonii
one
ounce
and
half
,
mix
them
for
a
mass
of
pills
,
of
which
take
eight
or
ten
grains
at
night
going
to
bed
every
third
,
fourth
or
fifth
day
.
V.
To
rectifie
a
Stinking
Breath
arising
from
the
obstruction
of
the
Stomach
.
This
is
done
by
opening
and
cleansing
the
Stomach
thus
.
Take
every
morning
going
to
bed
half
a
drachm
of
Pil.
Ruffi
for
ten
or
twelve
days
together
:
or
thus
,
first
vomit
with
Vinum
Benedictum
one
ounce
or
more
,
according
as
Strength
requires
,
twice
or
thrice
;
then
take
Pilulae
Rudii
half
a
drachm
at
a
time
,
in
the
morning
fasting
,
drinking
after
it
some
warm
broth
or
posset
drink
,
which
repeat
every
third
or
fourth
day
four
or
five
times
.
VI.
To
rectifie
the
Breath
,
when
it
smells
of
any
thing
that
is
eaten
.
Chew
Coriander
seed
or
Zedoary
in
the
mouth
,
drinking
a
good
draught
of
wine
after
;
the
scent
of
the
wine
is
taken
away
by
eating
four
apples
or
Quinces
,
or
by
chewing
troches
of
Gum
Tragacanth
perfumed
with
oil
of
Cinnamon
.
CHAP.
XL.
Of
beautifying
the
Hair
.
I.
TO
Dye
the
Hair
black
.
This
is
done
with
the
Calx
of
Lime
(
made
by
Spirit
of
Nitre
)
mixed
with
fair
water
,
and
the
hair
washed
therewith
,
with
a
Spunge
:
it
is
the
most
excellent
thing
of
that
kind
that
is
yet
known
.
II.
To
keep
the
hair
foom
falling
off
.
Take
Myrtle
berries
,
Galls
,
Emblick
Myrobalans
of
each
alike
,
boil
them
in
oil
Omphacine
,
with
which
anoint
:
it
is
an
excellent
Medicine
,
yet
as
old
as
Galen
.
III.
To
remedy
Baldness
.
This
is
a
hard
thing
to
cure
,
yet
the
following
things
are
very
good
.
Rub
the
head
or
bald
places
every
morning
very
hard
with
a
course
cloth
,
'till
it
be
red
,
anointing
immediately
after
with
Bears
griefe
:
when
ten
or
fifteen
days
are
past
,
rub
every
morning
and
evening
with
a
bruised
Onion
,
till
the
bald
places
be
red
,
then
anoint
with
honey
well
mixed
with
Mustard
seed
,
applying
over
all
a
plaister
of
Labdanum
mixed
with
mice
dung
,
and
powder
of
Bees
:
do
this
for
thirty
days
.
If
all
the
former
fail
,
bath
with
a
decoction
of
Bur-dock
roots
,
made
with
a
Lixivium
(
of
Salt
of
Tartar
)
two
parts
,
and
muskadel
one
part
;
immediately
applying
this
Unguent
:
take
Thapsi
or
Turbeth
one
drachm
(
in
powder
)
bears
griese
one
ounce
,
mix
them
,
which
use
for
sixty
days
;
if
this
make
not
the
hair
come
,
the
defect
is
incurable
.
IV.
To
take
away
hair
from
places
where
it
should
not
grow
.
Take
Quicklime
four
ounces
,
Auripigmentum
one
ounce
and
a
half
,
Sulphur
vive
,
Nitre
,
of
each
half
an
ounce
,
Lixivium
of
Salt
of
Tartar
a
quart
,
mix
and
boil
all
so
long
in
a
glazed
earthen
pot
,
till
putting
a
quill
therein
,
all
the
feathers
peel
off
,
and
it
is
done
.
First
foment
the
place
with
warm
water
a
little
before
you
use
the
aforesaid
medicine
;
a
quarter
of
an
hour
after
wash
with
very
hot
water
;
then
anoint
with
the
aforesaid
Unguent
,
and
in
a
quarter
of
an
hour
it
will
do
the
work
:
when
the
hairs
are
faln
away
,
remember
to
anoint
with
oil
of
Roses
;
now
to
keep
them
from
ever
growing
again
,
anoint
for
some
days
with
an
ointment
made
of
the
juices
of
Henbane
and
Nightshade
,
Opium
and
Hogs
griese
.
V.
To
make
the
hair
curl
.
Wash
the
hair
very
well
with
a
Lixivium
of
Quick-lime
,
then
dry
it
very
well
,
that
done
anoint
it
with
oil
of
Myrtles
,
or
oil
Omphacine
,
and
powder
it
well
with
sweet
powder
,
putting
it
up
every
night
under
a
cap
:
if
the
party
be
naturally
of
a
cold
and
moist
constitution
,
the
washing
,
anointing
and
powdring
must
be
perpetually
used
once
or
twice
a
week
during
life
,
the
hair
being
put
up
every
night
.
VI.
To
make
hair
lank
and
flag
that
curls
too
much
.
Anoint
the
hair
throughly
twice
or
thrice
a
week
with
oil
of
Lillies
,
Roses
,
or
Marsh
mallows
,
combing
it
after
it
very
well
.
VII
.
To
make
the
hair
grow
long
and
seft
.
Distill
Hogs
griese
or
oil
Olive
in
an
Alembick
;
with
the
oil
that
comes
there-from
anoint
the
hair
,
and
it
will
make
it
grow
long
and
soft
:
use
it
often
.
VIII
.
To
preserve
the
hair
from
splitting
at
ends
.
Anoint
the
ends
thereof
,
with
oil
Omphacine
,
or
oil
of
Myrtles
,
they
are
eminent
in
this
case
to
preserve
the
hair
from
splitting
,
so
also
an
ointment
made
of
Honey
,
Bees
wax
and
oil
Omphacine
or
Bears
griese
.
CHAP.
XLI
.
Of
the
Art
of
Perfuming
in
general
.
I.
IN
this
Art
two
things
are
to
be
considered
,
viz.
1.
The
way
and
manner
of
making
of
Perfumes
.
2.
The
way
and
manner
of
Perfuming
.
II.
The
Perfume
it self
is
considered
,
1.
In
respect
of
its
Form
.
2.
In
respect
of
its
Composition
.
III.
The
Form
of
the
Perfume
is
either
Water
,
Oil
,
Essence
,
Unguent
,
Powder
,
or
Tablets
.
IV.
The
Making
and
Composition
is
taken
from
the
Form
and
matter
.
V.
The
Matter
is
either
Vegetable
,
Animal
or
Mineral
.
VI.
The
way
of
Perfuming
is
according
to
the
matter
to
be
perfumed
.
VII
.
The
matter
to
be
perfumed
is
either
natural
,
as
Hairs
,
Skins
,
Cloaths
,
Air
,
&c.
or
Artificial
,
as
Pomanders
,
Powders
,
Wash-balls
,
Soaps
,
Candles
,
and
other
things
of
like
nature
.
CHAP.
XLII
.
Of
the
Matter
of
which
Perfumes
are
made
.
I.
THe
ground
of
Vegetable
Perfumes
,
is
taken
from
Flowers
,
Seeds
,
Herbs
,
Roots
,
Woods
,
Barks
and
Gums
.
II.
The
chief
Flowers
for
this
use
,
are
of
Clove-Gilliflowers
,
Roses
,
Jasemin
,
Lavender
,
Oranges
and
Saffron
.
III.
The
chief
Seeds
or
fruits
are
Nutmets
,
Cloves
,
Carrawaies
,
Grains
,
Seeds
of
Geranium
Moschatum
,
and
the
Nut
Ben.
IV.
The
chief
Herbs
are
Geranium
Moschatum
,
Basil
,
sweet
Majoram
,
Tyme
,
Angelica
,
Rosemary
,
Lavender
,
Hysop
,
sweet
Trefoyl
,
Mint
and
Bay-tree
leaves
.
V.
The
chief
Roots
are
of
Calamus
Aromaticus
,
Ginger
,
China
,
Caryophyllata
,
Indian
Spicknard
and
sweet
Orrice
or
Iris.
VI.
The
chief
Woods
are
of
yellow
Sanders
,
Xylobalsamum
,
Lignum
Aloes
,
and
Rhodium
.
VII
.
The
Barks
and
Peels
are
of
Cinnamon
,
Mace
,
Oranges
,
Limons
and
Citrons
.
VIII
.
The
chief
Gums
are
Frankincense
,
Olibanum
,
Labdanum
,
Styrax
,
liquid
Styrax
.
Balsamum
Verum
,
Ambergriese
.
Styrax
Calamita
,
Benjamin
,
Amber
,
Camphire
.
IX
.
The
chief
matters
of
Perfumes
taken
from
Animals
,
are
Musk
,
Zibet
,
Cow-dung
and
other
turds
.
X.
Of
Minerals
there
is
one
only
,
which
yields
a
Perfume
,
and
that
is
Antimony
.
CHAP.
XLIII
.
Of
the
Oil
of
Ben.
I.
THe
little
Nut
which
the
Arabians
call
Ben
,
is
the
same
which
the
Latins
call
Nux
Vnguentaria
;
and
the
Greeks
Balanos
Myrepsta
;
out
of
which
is
taken
an
Oil
,
of
great
use
in
the
Art
of
Perfuming
.
II.
To
make
the
Oil
of
Ben.
Blanch
the
Nuts
,
and
beat
them
very
carefully
in
a
mortar
,
and
sprinkle
them
with
wine
,
put
them
into
an
earthen
or
Iron
Pan
,
and
heat
them
hot
,
then
put
them
into
a
linnen
cloth
,
and
press
them
in
an
Almond
press
;
this
work
repeat
,
till
all
the
Oil
is
extracted
,
so
have
you
Oil
of
Ben
by
expression
.
III.
In
like
manner
you
may
express
the
Oil
out
of
Citron
seeds
,
incomparable
for
this
purpose
,
to
extract
the
scent
out
of
Musk
,
Civit
,
Amber
and
the
like
,
because
it
will
not
quickly
grow
rank
,
yet
Oil
of
the
Nut
Ben
is
much
better
.
IV.
This
Oil
of
Ben
hath
two
properties
;
the
one
is
,
that
having
no
scent
or
odour
of
it self
,
it
alters
,
changes
or
diminishes
the
scent
of
any
Perfume
put
into
it
:
the
other
is
that
it
is
of
a
long
continuance
,
so
that
it
scarcely
ever
changeth
,
corrupts
or
putrifies
,
as
other
Oils
do
.
V.
To
make
a
Perfume
thereof
,
put
the
Musk
,
Amber
,
&c.
in
fine
powder
thereinto
,
which
keep
in
a
glass
bottle
very
close
stopped
,
for
a
month
or
more
,
then
use
it
.
VI.
Or
thus
,
Blanch
your
Nuts
,
and
bruise
them
,
(
Almonds
may
do
though
not
so
good
)
and
lay
them
between
two
rows
of
Flowers
,
suppose
Roses
,
Jasemin
,
&c.
or
other
Perfumes
;
when
the
Flowers
have
lost
their
scent
and
fade
,
remove
them
,
adding
fresh
ones
;
which
repeat
so
long
as
the
Flowers
are
in
season
;
then
squeez
out
the
oil
,
and
it
will
be
most
odoriferous
.
VII
.
Lastly
,
by
this
last
you
may
draw
a
sweet
scent
out
of
those
Flowers
,
out
of
which
you
cannot
distil
any
sweet
water
.
CHAP.
XLI
.
Of
sweet
Waters
.
I.
THe
first
sweet
Water
.
Take
Cloves
in
powder
two
drachms
,
yellow
Sanders
,
Calamus
Aromaticus
of
each
one
scruple
,
Aquae
Rosarum
Damascenarum
fifteen
pound
,
digest
four
days
,
then
distil
in
an
Alembick
;
to
this
new
distilled
water
put
in
powder
Cloves
,
Cinnamon
,
Benjamin
,
Storax
Calamita
of
each
one
drachm
,
distil
again
in
Balneo
;
lastly
put
the
water
into
a
glass
bottle
with
Musk
and
Ambergriese
of
each
ten
granis
,
keep
it
close
stopt
for
use
.
II.
The
second
sweet
Water
.
Take
Damask
Roses
exungulated
three
pound
,
Flowers
of
Lavender
and
Spike
of
each
four
ounces
,
Clove-gilliflowers
,
and
Flowers
of
Jasemin
,
of
each
two
pound
,
Orange-flowers
one
pound
,
Citron
peels
four
drachms
,
Cloves
two
drachms
,
Cinnamon
,
Storax
Calamita
,
Benjamin
,
Nutmegs
,
of
each
two
scruples
all
in
powder
,
Aquae
Rosarum
six
pound
,
digest
ten
days
,
then
distil
in
Balneo
:
to
the
distilled
water
add
of
Musk
and
Ambergriese
of
each
thirty
grains
.
III.
The
third
sweet
water
.
Take
Roses
,
Clove-gilliflowers
of
each
one
pound
,
Flowers
of
Rosemary
,
Lavender
,
Jasemin
,
Majoram
,
Savory
,
Time
,
of
each
three
ounces
,
dry
Citron
peels
one
ounce
,
Cinnamon
,
Benjamin
,
Storax
Calamita
,
of
each
two
drachms
,
Nutmegs
,
Mace
,
of
each
one
drachm
,
bruise
the
Herbs
and
Spices
well
,
digest
in
the
Sun
two
days
,
then
distil
in
Balneo
:
to
the
distilled
water
add
Musk
in
powder
one
scruple
.
IV.
The
fourth
sweet
Water
.
Take
Cloves
,
Cinnamon
of
each
one
drachm
,
Mace
,
Grains
,
Musk
,
Ambergriese
,
Citron
peels
of
each
half
a
scruple
,
Benjamin
,
Storax
Calamita
of
each
one
scruple
,
Aqua
Resarum
twelve
pound
,
digest
fifteen
days
,
then
distil
in
Balneo
.
V.
The
fifth
sweet
Water
.
Take
Rosemary-flower
water
,
Orange-flower
water
of
each
five
pound
,
Ambergriese
one
scruple
,
digest
ten
days
,
then
distil
in
Balneo
.
VI.
The
sixth
sweet
Water
.
Take
Roses
two
pound
,
Macaleb
half
a
drachm
,
Ambergriese
ten
grains
,
bruise
what
is
to
be
bruised
,
digest
in
sand
three
days
,
then
distil
in
Balneo
.
VII
.
The
seventh
sweet
Water
.
Take
green
peels
of
Oranges
and
Citrons
of
each
four
drachms
;
Cloves
half
a
drachm
,
flowers
of
Spike
six
ounces
,
Aquae
Rosarum
Damascenarum
six
pound
,
digest
ten
days
,
then
distil
in
Balneo
.
VIII
.
The
eighth
sweet
Water
.
Take
of
the
water
at
the
fifth
Section
six
pound
,
Musk
ten
grains
,
mix
and
digest
them
for
use
.
IX
.
The
ninth
sweet
Water
.
Take
Aquae
Rosarum
,
Aquae
Florum
de
J●semin
of
each
four
pound
,
Musk
one
scruple
,
digest
ten
days
,
then
distil
in
sand
.
X.
The
tenth
sweet
Water
.
Take
Dam●sk-rose
,
Musk-roses
,
Orange-flowers
of
each
four
pound
,
Cloves
two
ounces
,
Nutmegs
one
ounce
,
distil
in
an
Alembick
,
in
the
nose
of
which
hang
Musk
three
scruples
,
Amber
two
scruples
,
Civet
one
scruple
,
tyed
up
in
a
rag
dipt
in
bran
,
and
the
white
of
an
egg
mixed
.
XI
.
The
eleventh
sweet
Water
,
called
Aqua
Nanfa
or
Naphe
.
Take
Aqua
Rosarum
four
pound
,
Orange-flower
water
two
pound
,
waters
of
sweet
Trefoyl
,
Lavender
,
Sweet
Majoram
of
each
eight
ounces
,
Benjamin
two
ounces
,
storax
one
ounce
,
Labdanum
half
an
ounce
,
Mace
,
Cloves
,
Cinnamon
,
Sanders
,
Lignum
Aloes
of
each
one
ounce
,
Spikenard
one
ounce
;
all
being
grosly
beaten
,
digest
a
month
,
then
in
a
glass
retort
distil
in
Balneo
.
XII
.
The
twelfth
sweet
water
,
called
Aqua
Moschata
.
Take
spirit
of
Wine
two
pound
,
Musk
three
scruples
,
Amber
two
scruples
,
Civet
one
scruple
,
digest
in
the
Sun
twenty
days
close
stopped
in
a
glass
vessel
;
a
drop
of
this
water
put
into
any
other
liquor
,
will
very
perfume
it
.
So
may
you
extract
the
scent
out
of
sweet
Flowers
,
with
this
difference
,
that
they
lie
but
a
little
while
,
because
their
earthy
substance
will
make
the
spirit
ill-favoured
.
CHAP.
XLV
.
Of
Perfuming
Oils
.
I.
TO
make
Perfuming
Oils
by
infusion
.
II.
This
is
taught
fully
at
the
fifth
Section
of
the
three
and
fortieth
Chapter
aforegoing
.
II.
To
make
Oleum
Imperiale
.
Take
Ambergriese
four
drachms
,
Storax
Calamita
,
eight
ounces
,
Rose-water
,
Oleum
Rosatum
of
each
two
pound
,
Oil
of
Cinnamon
and
Cloves
of
each
half
a
drachm
,
put
all
into
a
glass
,
and
digest
in
horse
dung
twenty
days
:
this
done
gently
boil
all
for
a
quarter
of
an
hour
,
which
then
let
cool
;
with
a
spoon
take
off
the
Oil
which
swims
a
top
,
to
which
put
of
Musk
and
Zibet
of
each
two
drachms
,
digest
all
in
a
gentle
heat
for
twenty
days
,
and
keep
it
for
use
.
Where
note
the
Amber
and
Storax
at
bottom
will
serve
to
make
sweet
balls
of
,
to
lay
among
cloaths
;
or
beads
to
carry
in
ones
hands
;
or
for
a
perfume
to
burn
.
III.
To
make
Oil
of
Cinnamon
.
Digest
Cinnamon
grossy
bruised
in
spirit
of
Wine
,
sharpned
with
oil
of
Salt
,
in
a
glass
vessel
,
with
a
blind
head
closely
luted
,
in
a
gentle
heat
for
ten
days
,
then
distil
in
an
Alembick
as
we
have
more
at
large
taught
in
our
Synopsis
Medicinae
lib.
3.
cap.
47.
Sect.
1.
it
is
a
wonderful
Perfume
,
the
most
fragrant
and
pleasant
of
all
Oils
,
as
well
in
tast
as
smell
:
the
use
of
it
will
certainly
take
away
a
stinking
Breath
.
IV.
To
make
Oil
of
Roses
,
called
adeps
Rosarum
.
Take
Damask
Roses
,
pickle
them
with
Bay
salt
,
and
after
three
months
,
with
a
large
quantity
of
water
distil
in
ashes
with
a
gentle
fire
,
so
have
you
Oil
,
and
Spirit
or
water
,
which
keep
for
other
distillations
.
Weckerus
hath
it
thus
.
Rosarum
folia
in
umbra
aliquandiu
asservata
,
in
matula
vitrea
magna
ponuntur
,
cujus
sit
fundus
latus
,
&
ad
dimidium
vas
impletur
:
indè
affunditur
ipsis
Rosarum
foliis
tantum
aquae
rosaceae
stillatitiae
,
quantum
satis
fuerit
,
ut
optimè
madeant
:
appositóque
pileo
vitreo
caeco
,
stipatisque
optimè
rimis
cera
gummata
,
quindecim
diebus
equino
fimo
macerantur
:
sic
tamen
,
ut
mutato
,
cùm
frigescere
coeperit
,
fimo
,
calor
aequalis
servetur
.
Apposito
mox
matulae
rostrato
pileo
,
igne
moderato
cinerum
,
aqua
omnis
elicitur
:
quae
rursus
in
eadem
matula
,
optime
priùs
à
foecibus
mundata
,
ablutáque
ponitur
,
&
calentis
aquae
balneo
lentissimo
igne
elicitur
,
dum
tota
in
vas
recipiens
abeat
.
Nam
in
fundo
matulae
remanebit
oleum
rosarum
,
colore
rubrum
,
perspicuum
,
&
Moschi
odore
suaviter
fragrans
.
This
is
the
greatest
of
all
vegetable
perfumes
,
and
of
an
inestimable
value
.
V.
To
make
Oil
of
Calamus
Aromaticus
.
It
is
made
as
oil
of
Cinnamon
:
it
is
a
very
great
perfume
,
helps
a
stinking
breath
,
vomiting
,
weak
memory
,
&c.
VI.
To
make
Oil
of
Rhodium
.
It
is
made
as
oil
of
Cinnamon
;
is
a
very
excellent
perfume
,
good
for
the
head
,
breath
and
the
senses
.
VII
.
To
make
Oil
of
Indian
Spicknard
.
By
infusion
it
is
made
by
the
first
Section
;
by
distillation
,
as
oil
of
Cinnamon
.
It
is
an
eminent
Perfume
.
VIII
.
To
make
Oil
of
Benjamin
.
Take
Benjamin
six
ounces
in
powder
,
which
dissolve
in
oil
of
Tartar
and
Aqua
Rosarum
of
each
one
pound
,
which
distil
with
a
close
pipe
in
an
Alembick
.
So
is
made
oil
of
Storax
and
Labdanum
.
IX
.
To
make
oil
of
Storax
compound
.
Take
oil
of
Ben
,
or
sweet
Almonds
one
pound
,
Storax
grosly
beaten
four
ounces
,
Benjamin
,
Cloves
of
each
two
ounces
,
digest
(
till
the
Gums
are
melted
)
over
hot
coals
;
then
press
out
the
oil
diligently
.
CHAP.
XLVI
.
Of
Perfuming
Essences
.
I.
THe
way
to
extract
Essences
is
somewhat
difficult
,
viz:
by
Distillation
,
Calcination
,
Digestion
or
Menstruum
.
II.
If
by
Menstruum
,
use
not
a
watry
one
for
a
watry
essence
;
nor
an
oily
one
for
an
oily
essence
;
because
being
of
like
natures
,
they
are
not
easily
separated
;
but
on
the
contrary
,
chuse
an
oily
Menstruum
for
a
watry
essence
,
and
a
watry
Menstruum
for
an
oily
essence
.
III.
If
the
essence
of
any
metal
be
to
be
extracted
by
a
corrosive
menstruum
,
after
the
work
is
done
,
separate
the
salts
from
the
waters
,
and
use
only
those
salts
which
will
be
easily
taken
out
again
;
Vitriol
and
Alom
are
very
difficult
to
be
separated
by
reason
of
their
earthy
substance
.
IV.
To
extract
the
essence
out
of
Musk
,
Ambergriese
Civet
,
and
other
Spices
or
Aromaticks
.
Mix
the
perfume
with
oil
of
Ben
,
which
in
a
glass
bottle
set
in
the
Sun
or
Sand
for
ten
days
,
then
strain
it
from
the
dregs
,
and
the
essence
will
be
imbibed
in
the
oil
.
Then
take
spirit
of
Wine
,
and
distilled
fountain
water
,
which
mix
with
the
said
oil
,
and
digest
for
six
days
:
then
distil
in
sand
;
so
will
the
essence
and
water
ascend
,
(
the
oil
remaining
at
bottom
without
any
scent
)
that
essence
and
water
distil
in
Balnce
in
a
glass
vessel
,
till
the
water
be
come
off
,
and
leave
the
essence
in
the
bottom
in
the
form
of
oil
.
V.
Another
way
to
do
the
same
.
Infuse
the
matter
in
spirit
of
Wine
a
sufficient
quantity
,
digest
and
ferment
for
ten
days
,
then
distil
in
sand
,
as
long
as
any
water
will
come
over
(
but
have
a
care
of
buring
)
which
distilled
Liquor
draw
off
in
Balneo
,
with
a
very
gentle
heat
,
and
the
quintessence
will
be
left
in
the
bottom
,
of
a
liquid
form
.
VI.
To
extract
the
essence
our
of
Herbs
and
Flowers
,
as
of
Sweet
Majoram
,
Basil
,
Orange-flowers
,
Jasemin
,
&c.
Bruise
the
matter
,
and
put
it
into
a
glass
vessel
to
ferment
in
Horse-dung
for
a
month
;
then
distil
in
Balneo
;
set
it
in
dung
for
a
week
again
,
and
distil
in
Balneo
again
;
which
reiterate
so
long
as
it
will
yield
any
liquor
;
put
the
distilled
matter
upon
the
Caput
mortuum
,
distilling
thus
for
six
days
:
draw
off
the
water
in
Balneo
;
and
the
essence
remaining
express
in
a
press
:
which
being
a
week
fermented
in
dung
,
will
yield
the
perfect
scent
,
colour
and
vertues
of
the
matter
desired
.
VII
.
To
extract
the
essence
out
of
Salts
.
Calcine
the
Salt
,
and
grind
it
very
small
,
then
lay
it
upon
a
marble
in
a
moist
Cellar
,
setting
under
it
a
pan
to
receive
the
dissolution
;
therein
let
it
ferment
for
a
month
,
then
with
a
gentle
fire
distil
in
Balneo
:
cast
away
the
insipid
water
,
which
comes
from
it
;
and
set
that
which
remains
in
the
bottom
,
to
ferment
another
month
,
then
distil
out
the
insipid
water
as
before
;
repeating
this
work
so
long
as
any
insipid
water
may
be
drawn
:
then
evaporate
away
all
the
moisture
,
and
what
remains
is
the
quintessence
of
Salt
.
Where
note
1.
That
these
Saline
quintessences
as
they
may
be
used
,
will
draw
forth
the
perfect
and
compleat
essence
of
any
vegetable
whatsoever
.
2.
That
the
essence
of
Salts
thus
drawn
will
scarcely
come
to
two
ounces
in
a
pound
.
CHAP.
XLVII
.
Of
Perfuming
Vnguents
.
I.
TO
make
Unguentum
Pomatum
,
or
Ointment
of
Apples
.
Take
Hogs
Lard
three
pound
,
Sheeps
Suet
nine
ounces
,
bruised
Cloves
one
drachm
,
Aqua
Rosarum
two
ounce
,
Romwaters
pared
and
sliced
one
pound
,
boil
all
to
the
Consumption
of
the
Rose
water
;
then
strain
without
pressing
,
to
every
pound
of
which
add
oil
of
Rhodium
and
Cinnamon
of
each
thirty
drops
.
II.
To
make
a
compound
Pomatum
.
Take
of
the
Pomatum
aforesaid
,
(
without
the
oils
)
four
pound
,
Spikenard
,
Cloves
of
each
two
ounces
,
Cinnamon
,
Storax
,
Benjamin
of
each
one
ounce
(
the
Spices
and
Gums
bruised
and
tyed
up
in
a
thin
rag
)
Rose
water
eight
ounces
;
boil
to
the
Consumption
of
the
Rose
water
,
then
add
white
wax
eight
ounces
,
which
mix
well
by
melting
,
strain
it
again
being
hot
;
and
when
it
is
almost
cold
,
mix
therewith
oil
of
Musk
(
made
by
the
first
Section
of
the
five
and
fortieth
Chapter
)
then
put
it
out
,
and
keep
it
for
use
.
III.
Another
excellent
Ointment
.
Take
hogs
griese
one
pound
,
Saccharum
Saturni
two
ounces
,
mix
them
well
by
gently
melting
them
;
to
which
add
oils
of
Musk
and
Ambergriese
of
each
half
an
ounce
,
let
them
all
cool
,
and
beat
the
Unguent
well
in
a
mortar
,
and
keep
it
for
use
.
IV.
To
make
Vnguentum
Moschatum
.
Take
hogs
griese
one
pound
,
Ambergriese
,
Mosch
of
each
one
drachm
and
a
half
,
(
ground
with
oil
of
Jasemin
upon
a
marble
)
adeps
Rosarum
half
an
ounce
(
ground
with
Civet
one
drachm
)
mix
all
together
into
an
ointment
which
keep
for
use
CHAP.
XLVIII
.
Of
Perfuming
Powders
.
I.
TO
make
Powder
of
Oxe
dung
.
Take
red
Ox
dung
in
the
month
of
May
and
dry
it
well
,
make
it
into
an
impalpable
Powder
by
grinding
:
it
is
an
excellent
Perfume
without
any
other
addition
;
yet
if
you
add
to
one
pound
of
the
former
,
Musk
,
and
Ambergriese
of
each
one
drachm
it
will
be
beyond
comparison
.
II.
To
make
Cyprian
Powder
.
Gather
Musk
moss
of
the
Oak
in
December
,
January
or
February
,
wash
it
very
clean
in
Rose
water
,
then
dry
it
,
steep
it
in
Rose
water
for
two
days
,
then
dry
it
again
,
which
do
oftentimes
;
then
bring
it
into
fine
Powder
and
sierce
it
;
of
which
take
one
pound
,
Musk
one
ounce
,
Ambergriese
half
an
ounce
,
Civet
two
drachms
,
yellow
Sanders
in
powder
two
ounces
,
mix
all
well
together
in
a
marble
mortar
.
III.
Another
way
to
make
the
same
.
Take
of
the
aforesaid
powder
of
Oak
moss
one
pound
,
Benjamin
,
Storax
of
each
two
ounces
in
fine
Powder
;
Musk
,
Ambergriese
and
Civet
of
each
three
drachms
,
mix
them
well
in
a
mortar
.
IV.
A
Sweet
Powder
to
lay
among
cloaths
.
Take
Damask-rose
leaves
dryed
one
pound
,
Musk
half
a
drachm
,
Violet
leaves
three
ounces
,
mix
them
and
put
them
in
a
bag
.
V.
Another
for
the
same
or
to
wear
about
one
.
Take
Rose
leaves
dryed
one
pound
,
Cloves
in
powder
half
an
ounce
,
Spicknard
two
drachms
,
Storax
,
Cinnamon
of
each
three
drachms
,
Musk
half
a
drachm
,
mix
them
and
put
them
into
bags
for
use
.
VI.
Powder
of
sweet
Orrice
,
the
first
way
.
Take
Florentine
Orrice
root
in
powder
one
pound
,
Benjamin
,
Cloves
of
each
four
ounces
in
powder
,
mix
them
.
VII
.
Powder
of
Florentine
Orrice
,
the
Second
Way
.
Take
of
Orrice
root
six
ounces
,
Rose
leaves
in
powder
four
ounces
,
Majoram
,
Cloves
,
Storax
in
powder
of
each
one
ounce
,
Benjamin
,
yellow
Sanders
of
each
half
an
ounce
,
Violets
four
ounces
,
Musk
one
drachm
,
Cyperus
half
a
drachm
,
mix
them
:
being
grosly
powdred
,
put
them
into
bags
to
lay
amongst
linnen
:
but
being
fine
they
will
serve
for
other
uses
,
as
we
shall
shew
.
VIII
.
Powder
of
Orrice
roots
,
the
third
way
,
excellent
for
linnen
,
in
bags
.
Take
roots
of
Iris
one
pound
,
sweet
Majoram
twelve
ounces
,
flowers
of
Rosemary
and
Roman
Camomil
,
leaves
of
Time
,
Geranium
Moschatum
,
Savory
of
each
four
ounces
,
Cyperus
roots
,
Benjamin
,
yellow
Sanders
,
Lignum
Rhodium
,
Citron
peel
,
Storax
,
Labdanum
,
Cloves
,
Cinnamon
of
each
one
ounce
,
Musk
two
drachms
,
Civet
one
drachm
and
a
half
,
Ambergriese
one
drachm
,
powder
and
mix
them
for
bags
.
This
composition
will
retain
its
strength
near
twenty
years
.
IX
.
Powder
of
Orrice
,
the
fourth
Way
.
Take
Orrice
roots
in
powder
one
pound
,
Calamus
Aromaticus
,
Cloves
,
dryed
Rose
leaves
,
Coriander
seed
,
Geranium
Moschatum
of
each
three
ounces
,
Lignum
Aloes
,
Majoram
,
Orange
peels
of
each
one
ounce
,
Storax
one
ounce
and
a
half
,
Labdanum
half
an
ounce
,
Lavender
Spicknard
of
each
four
ounces
,
powder
all
and
mix
them
,
to
which
add
Musk
,
Ambergriese
of
each
two
scruples
.
X.
Pulvis
Calami
Aromatici
composuus
.
Take
Calamus
Aromaticus
,
yellow
Sanders
of
each
one
ounce
,
Majoram
,
Geranium
Moschatum
of
each
one
ounce
,
Rose
leaves
,
Violets
,
of
each
two
drachms
,
Nutmegs
,
Cloves
of
each
one
drachm
,
Musk
half
a
drachm
,
make
all
into
powder
,
which
put
in
bags
for
Linnen
.
XI
.
Another
of
the
same
.
Take
Calamus
Aromaticus
,
Florentine
Iris
roots
of
each
two
ounces
,
Violet
flowers
dryed
one
ounce
,
round
Cyperus
roots
two
drachms
,
adeps
Rosarum
one
drachm
and
a
half
,
reduce
all
into
a
very
fine
powder
:
it
is
excellent
to
lay
among
Linnen
,
or
to
strew
in
the
hair
.
XII
.
An
excellent
perfuming
Powder
for
the
hair
.
Take
Iris
roots
in
fine
powder
one
ounce
and
a
half
,
Benjamin
,
Storax
,
Cloves
,
Musk
of
each
two
drachms
;
being
all
in
fine
powder
,
mix
them
for
a
Persume
for
hair
Powder
.
Take
of
this
Perfume
one
drachm
,
Rice
flower
impalpable
one
pound
,
mix
them
for
a
powder
for
the
hair
.
Note
,
some
use
white
starch
,
flower
of
French
Beans
and
the
like
.
CHAP.
XLIX
.
Of
Perfuming
Balsams
.
I.
NAtural
Balsam
perfumed
.
Take
Balsamum
verum
one
ounce
,
Musk
,
Ambergriese
,
Civet
of
each
two
scruples
,
mix
them
,
for
a
Persume
:
it
is
the
most
fragrant
and
durable
of
all
Persumes
.
II.
An
odoriferous
compound
Balsam
.
Take
of
the
aforesaid
Balsam
perfumed
one
ounce
,
oils
of
Rhodium
and
Cinnamon
of
each
two
drachms
,
mix
them
:
this
is
an
incomparable
Perfume
,
and
better
than
the
other
for
such
as
are
not
affected
so
much
with
musk
.
III.
Balsamum
Moschatum
.
Take
oil
of
Musk
one
drachm
,
oil
of
Cinnamon
half
a
scruple
,
Virgin
wax
one
drachm
and
a
half
,
melt
the
wax
,
and
mix
them
according
to
Art
.
IV.
Another
very
good
.
Take
Cloves
,
Cinnamon
,
Lavender
,
Nutmegs
of
each
two
drachms
,
oils
of
Cloves
and
Rhodium
of
each
half
a
drachm
,
Wax
three
drachms
,
Musk
and
Ambergriese
of
each
ten
grains
,
mix
them
into
a
Balsam
.
V.
Another
very
excellent
for
those
that
love
not
the
scent
of
Musk
and
the
like
.
Take
oil
of
Geranium
Moschatum
(
made
as
adeps
Rosarum
by
the
fourth
Section
of
the
five
and
fortieth
Chapter
)
adeps
Rosarum
,
oil
of
Cinnamon
of
each
one
drachm
,
Virgin
wax
six
drachms
,
melt
the
wax
,
and
mix
the
oils
for
a
Perfume
.
CHAP.
L.
Of
Perfuming
Tablets
.
I.
TO
make
red
Muskardines
or
Tablets
.
Dissolve
gum
Tragacanth
in
Rose
water
,
so
that
it
may
be
as
thick
as
Gelly
:
wich
make
into
paste
with
the
following
composition
.
Take
Amylum
one
pound
,
fine
Sugar
half
a
pound
,
Cochenele
two
ounces
,
Musk
three
drachms
,
all
being
in
fine
powder
,
mix
them
,
and
make
tablets
with
the
aforesaid
Mucilage
of
Tragacanth
,
square
,
long
,
round
,
or
of
what
form
you
please
,
which
dry
in
an
Oven
,
out
of
which
bread
hath
been
lately
drawn
:
but
be
sure
you
dry
them
till
they
be
as
hard
as
horns
.
II.
Another
fort
of
Red
Tablets
.
Take
of
the
aforesaid
composition
one
pound
,
Cloves
,
Cinnamon
,
Nutmegs
,
Ginger
of
each
two
ounces
,
Cochenele
one
ounce
,
all
being
in
fine
powder
,
make
into
tablets
,
with
the
aforesaid
Mucilage
,
and
dry
as
aforesaid
.
III.
To
make
yellow
Tablets
.
Take
Amylum
one
pound
,
fine
Sugar
half
a
pound
,
yellow
Sanders
four
ounces
,
Saffron
two
ounces
,
(
or
you
may
dip
the
Amylum
in
strong
tincture
of
Saffron
,
and
then
dry
it
again
)
Musk
four
drachms
,
all
being
in
fine
powder
,
make
the
mass
into
tablets
with
the
aforesaid
Mucilage
,
adding
oil
of
Cinnamon
in
drops
two
drachms
,
dry
them
carefully
in
the
shade
.
IV.
Another
sort
of
yellow
Tablets
.
Take
Amylum
dyed
with
tincture
of
Saffron
I
pound
,
Sugar
half
a
pound
,
Saffron
two
ounces
,
Nutmegs
,
Cinnamon
,
Ginger
of
each
one
ounce
,
Carroways
half
an
ounce
,
Musk
three
drachms
,
Ambergriese
one
drachm
,
all
in
fine
powder
make
into
tablets
,
as
aforesaid
,
adding
oil
of
Cinnamon
two
drachms
;
which
dry
in
the
shade
,
till
they
be
as
hard
as
Horns
.
V.
To
make
Muscardines
or
Tablets
of
any
other
colour
.
You
must
make
them
after
the
same
manner
,
only
adding
the
colour
you
do
intend
;
and
in
this
case
we
think
that
it
is
better
that
the
Amylum
be
dipt
in
the
tincture
;
and
dryed
first
before
you
use
it
.
Where
note
,
that
these
Tablets
when
used
are
to
be
held
in
the
mouth
,
in
which
they
will
dissolve
,
there
by
cheering
the
heart
,
reviving
the
senses
,
comforting
the
spirits
,
strengthning
nature
,
restoring
the
body
,
and
indeed
nobly
perfuming
the
breath
.
For
them
that
do
not
love
Musk
,
you
may
make
them
without
,
using
instead
thereof
so
much
the
more
oil
of
Roses
or
Cinnamon
.
CHAP.
LI.
Of
making
Pomanders
for
Bracelets
.
I.
THe
first
sort
.
Take
Orrice
powder
,
Cloves
,
Mace
,
Cinnamon
of
each
half
an
ounce
,
yellow
Sanders
,
Styrax
,
sweet
Assa
of
each
two
drachms
,
Ambergriese
,
Musk
of
each
one
drachm
,
Balsam
of
Peru
,
oil
of
Rhodium
of
each
one
scruple
,
Civet
two
drachms
,
all
being
in
fine
powder
(
except
the
Balsam
and
Oil
)
mix
together
,
and
make
into
paste
with
mucilage
aforesaid
,
of
which
form
Beads
,
drying
them
in
the
shade
for
use
.
II.
The
second
sort
.
Take
Storax
Labdanum
one
drachm
and
a
half
,
Benjamin
one
drachm
,
Cloves
,
Mace
,
Spicknard
,
Geranium
Moschatum
of
each
ten
grains
,
Musk
,
Ambergriese
of
each
six
grains
;
with
mucilage
make
a
Pomander
for
Bracelets
.
III.
The
third
sort
.
Take
Damask
Rose
leaves
exungulated
two
ounces
,
beat
them
impalpable
:
Musk
,
Ambergriese
of
each
two
scruples
,
Civet
one
scruple
,
Labdanum
one
drachm
,
with
mucilage
of
gum
Tragacanth
,
in
Rose-water
aforesaid
,
make
a
Pomander
for
Bracelets
.
IV.
The
fourth
sort
.
Take
Storax
,
Benjamin
of
each
an
ounce
and
a
half
,
Musk
two
drachms
,
oil
of
Cinnamon
one
drachm
,
with
Mucilage
aforesaid
make
a
paste
of
Pomander
,
very
excellent
.
CHAP.
LII
.
Of
Perfuming
Wash-balls
.
I.
TO
make
Barbers
Wash-balls
.
Take
purified
Venetian
Soap
six
ounces
,
Macaleb
four
ounces
,
Ireos
,
Amylum
of
each
seven
ounces
,
Cloves
two
ounces
,
Labdanum
,
Anniseeds
of
each
one
ounce
,
Nutmegs
,
Majoram
,
Cypress
powder
,
Geranium
Moschatum
,
Camphire
of
each
half
an
ounce
,
Storax
liquida
half
a
drachm
,
Musk
ten
grains
,
all
being
in
fine
powder
,
with
a
little
fine
Sugar
,
beat
all
in
a
mortar
,
and
make
them
up
into
Wash-balls
.
II.
To
do
the
same
another
way
.
Take
of
the
said
Soap
two
pound
,
juice
of
Macaleb
two
ounces
,
Cloves
,
Orrice
of
each
three
ounces
,
Labdanum
two
ounces
,
Storax
one
ounce
,
all
being
in
fine
powder
,
mix
with
the
Soap
,
of
which
make
balls
,
drying
them
in
the
shadow
.
III.
To
make
Balls
of
white
Soap
.
Take
of
white
Soap
five
pound
,
Iris
four
ounces
,
Amylum
,
white
Sanders
of
each
three
ounces
,
Storax
one
ounce
,
all
in
powder
,
steep
in
Musk
water
,
of
which
make
paste
for
Wash-balls
.
IV.
Another
sort
very
good
.
Take
of
white
Soap
four
pound
,
Orrice
six
ounces
,
Macaleb
three
ounces
,
Cloves
two
ounces
,
all
in
powder
mix
with
the
Soap
,
with
a
little
oil
of
Spike
,
Rhodium
or
the
like
,
of
which
make
Balls
.
V.
Another
way
to
make
them
of
Goats
fat
.
Make
a
strong
Lixivium
of
Pot-ashes
,
as
that
a
new
laid
egg
will
swim
thereupon
,
which
boil
with
Citron
peels
:
take
of
this
Lye
twenty
pound
,
Goats
fat
two
pound
,
boil
it
for
an
hour
,
then
strain
it
through
a
linnen
cloth
into
broad
platters
of
fair
water
,
exposing
it
to
the
Sun
,
mix
it
often
every
day
,
till
it
begins
to
grow
hard
,
of
which
you
may
form
balls
,
which
you
may
perfume
with
Musk
half
a
drachm
,
Civet
one
scruple
,
oil
of
Cinnamon
ten
grains
.
VI.
To
purifie
Venetian
Soap
.
Cut
it
small
,
to
which
put
some
Rose
water
,
or
other
perfuming
water
,
boil
them
a
while
,
then
strain
it
and
it
will
be
sweet
and
good
,
then
take
off
the
Soap
which
swims
a
top
with
a
spoon
,
and
lay
it
upon
a
tyle
,
and
it
will
presently
be
dry
,
being
white
,
free
from
filth
and
unctuosity
.
VII
.
Another
way
to
do
the
same
.
Grate
the
Soap
,
and
dry
it
in
the
Sun
,
or
an
Oven
,
powder
and
sierce
it
,
then
moisten
it
with
some
sweet
water
or
oil
of
Spike
,
which
dry
again
(
in
the
shadow
)
and
keep
it
for
use
.
CHAP.
LIII
.
Of
Perfuming
Soaps
.
I.
TO
make
white
musked
Soap
.
Take
white
Soap
purified
as
aforesaid
three
pound
,
Milk
of
Macaleb
one
ounce
,
Musk
,
Civet
of
each
ten
grains
,
mix
them
and
make
all
into
thick
Cakes
or
rouls
.
II.
Another
kind
of
sweet
Soap
.
Take
of
the
oldest
Venice
Soap
,
which
scrape
and
dry
three
days
in
the
Sun
(
purifying
it
as
aforesaid
)
two
pound
,
Ireos
,
Amylum
of
each
six
ounces
,
Storaxliquida
two
ounces
,
mix
them
well
whilest
hot
;
which
put
into
pans
to
form
Cakes
.
III.
To
make
soft
Soap
of
Naples
.
Take
of
Lixivium
of
Pot-ashes
(
so
strong
as
to
bear
an
egg
)
sixteen
pound
,
Deers
Suet
two
pound
,
set
them
upon
the
fire
to
simper
;
put
all
into
a
glased
vessel
with
a
large
bottom
,
set
it
in
the
Sun
for
a
while
,
stirring
it
five
or
six
times
a
day
with
a
stick
,
till
it
wax
hard
like
paste
.
Then
take
of
this
paste
,
to
which
put
Musked
Rose
water
;
keep
it
eight
days
in
the
Sun
,
stirring
it
as
aforesaid
,
so
long
as
it
may
be
neither
too
hard
nor
too
soft
;
then
put
it
up
in
boxes
or
pots
.
IV.
To
make
the
same
Soap
musked
.
Put
to
the
said
Soap
,
Rose
water
two
pound
,
fine
musk
in
powder
half
a
drachm
,
then
mix
the
said
water
as
before
.
V.
Another
exquisite
Soap
.
Take
of
the
aforesaid
Lixivium
or
oil
of
Tartar
per
deliquium
twelve
pound
,
oil
Olive
three
pound
,
mix
them
,
Amylum
two
pound
,
Roman
Vitriol
one
ounce
in
powder
,
Glair
of
eggs
two
ounces
,
put
all
together
,
and
stir
continually
for
four
hours
time
,
then
let
it
stand
the
space
of
a
day
and
it
is
done
.
You
may
perfume
it
as
before
;
this
makes
the
hair
fair
.
VI.
Another
exceeding
the
former
.
Take
Crown-soap
,
Vine-ashes
of
each
one
pound
,
make
it
into
Cakes
with
powder
of
Roch
Alom
and
Tartar
of
each
alike
,
which
you
may
perfume
at
pleasure
.
VII
.
To
get
the
juice
or
milk
of
Macaleb
.
Take
the
sweet
and
odoriferous
grains
of
Macaleb
,
which
beat
in
a
mortar
(
with
Rose
water
,
or
some
perfuming
water
)
till
it
becomes
like
pap
,
then
press
out
the
juice
or
milk
;
which
use
within
two
or
three
days
lest
it
spoil
.
CHAP.
LIV.
Of
Burning
Perfumes
.
I.
TO
make
perfumed
lights
.
Take
Olibanum
two
ounces
,
Camphire
one
ounce
,
beat
them
into
powder
,
of
which
make
,
with
wax
,
balls
or
rouls
,
which
put
into
a
glass
lamp
with
Rose
water
and
lighted
with
a
candle
,
will
give
a
fair
light
,
and
a
very
good
scent
.
II.
Another
for
a
Lamp
.
Take
sweet
oil
Olive
one
pound
,
Benjamin
,
Storax
in
powder
one
ounce
,
Musk
,
Ambergriese
of
each
one
scruple
,
mix
all
with
the
oil
,
which
put
into
a
lamp
to
burn
:
and
the
oil
will
yield
a
fragrant
odour
.
III.
To
make
perfumed
Candles
.
Take
Labdanum
,
Myrrh
,
Xyloaloes
,
Styrax
calamita
of
each
one
ounce
and
a
half
,
Willow
Charcoal
one
ounce
,
Ambergriese
,
Musk
of
each
ten
grains
,
make
them
into
paste
with
mucilage
of
Gum
Tragacamb
in
Rose
water
,
which
make
into
rouls
like
Candles
,
and
dry
for
use
.
IV.
A
perfume
to
smoak
and
burn
.
Take
Labdanum
two
ounces
,
Storax
one
ounce
,
Benjamin
,
Cloves
,
Mace
of
each
half
an
ounce
,
Musk
,
Civet
of
each
ten
grains
,
all
in
fine
powder
,
make
up
into
cakes
with
mucilage
of
gum
Tragacanth
in
Rose
water
,
which
dry
;
and
keep
among
your
cloaths
;
which
when
occasion
requires
you
may
burn
in
a
chafing-dish
of
coals
.
V.
Another
smoaking
perfume
to
burn
.
Take
Labdanum
two
drachms
,
Storax
one
drachm
,
Benjamin
,
Frankincense
,
white
Amber
,
Xylo-aloes
of
each
two
scruples
,
Ambergriese
,
Musk
of
each
five
grains
,
make
all
into
Cakes
as
aforesaid
.
VI.
Another
very
excellent
.
Take
Storax
,
Benjamin
of
each
one
ounce
,
wood
of
Aloes
half
an
ounce
,
Ambergriese
,
Musk
,
Civet
,
Balsam
of
Peru
,
oil
of
Rhodium
of
each
two
scruples
,
Ivory
burnt
black
a
sufficient
quantity
,
powder
what
is
to
be
powdred
,
and
mix
all
together
;
which
make
into
a
paste
,
with
the
Ivory
black
and
the
mucilage
aforesaid
;
make
little
cakes
and
dry
them
,
which
keep
in
glasses
close
stopt
for
use
.
VII
.
Another
very
good
,
but
of
less
cost
.
Take
Olibanum
one
pound
,
Storax
Calamita
and
Liquida
of
each
eight
ounces
,
Labdanum
six
ounces
,
Willow
charcoal
a
sufficient
quantity
,
with
mucilage
of
Tragacanth
,
make
a
paste
as
aforesaid
.
CHAP.
LV.
Of
Animal
and
Mineral
Perfumes
.
I.
THe
Animal
Perfume
of
Paracelsus
.
Take
Cow-dung
in
the
month
of
May
or
June
,
and
distil
it
in
Balneo
;
and
the
water
thereof
will
be
an
excellent
perfume
,
and
have
the
scent
of
Ambergriese
.
See
our
Synopsis
Medicinae
lib.
3.
cap.
75.
Sect.
5.
II.
Lard
muskified
,
a
great
perfume
.
Take
hogs
lard
very
pure
one
drachm
,
Musk
,
Civet
,
of
each
half
a
drachm
,
mix
them
well
for
boxes
.
III.
The
Mineral
Perfume
of
Antimony
.
Dissolve
Antimony
in
oil
of
Flints
,
Crystal
or
Sand
,
coagulate
the
solution
into
a
red
mass
,
put
thereon
Spirit
of
Wine
,
and
digest
till
the
Spirit
is
tinged
;
pour
it
off
,
and
put
on
more
,
till
all
the
tincture
is
extracted
;
put
all
the
tinctures
together
,
and
evaporate
the
Spirit
of
Urine
in
Balneo
;
and
there
will
remain
a
blood-red
liquor
at
bottom
;
upon
which
put
Spirit
of
Wine
,
and
you
shall
extract
a
very
pure
tincture
,
smelling
like
Garlick
:
digest
it
a
month
,
and
it
will
smell
like
Balm
;
digest
it
a
while
longer
,
and
it
will
smell
like
Musk
or
Ambergriese
.
Besides
being
a
perfume
,
it
is
an
excellent
sudorifick
,
and
cures
the
Plague
,
Feavers
,
Lues
Venerea
,
&c.
IV.
After
the
same
manner
you
may
make
as
substantial
a
perfume
of
Sulphur
or
Brimstone
.
The
making
of
the
oil
of
Flints
we
have
taught
at
the
seven
and
fiftieth
Section
of
the
nine
and
twentieth
Chapter
of
the
third
Book
.
CHAP.
LVI
.
Of
the
Adulteration
of
Musk
,
Civet
and
Ambergriese
.
BY
reason
that
these
choice
Perfumes
are
often
adulterated
or
counterfeited
,
we
shall
do
our
endeavour
to
discover
the
cheat
,
lest
any
being
deceived
thereby
should
suffer
loss
.
I.
Musk
is
often
adulterated
by
mixing
Nutmegs
,
Mace
,
Cinnamon
,
Cloves
,
Spicknard
of
each
alike
in
a
fine
or
impalpable
powder
with
warm
blood
of
Pidgeons
,
and
then
dryed
in
the
Sun
,
then
beaten
again
,
and
moistened
with
Musk
water
drying
and
repeating
the
same
work
eight
or
ten
times
;
adding
at
last
a
quarter
part
of
pure
Musk
by
moistening
and
mixing
with
Musk
water
;
then
dividing
the
mass
into
several
parts
,
and
rouling
them
in
the
hair
of
a
goat
,
which
grows
under
his
tail
.
II.
Others
adulterate
it
thus
:
By
filling
the
Musk
cods
with
Goats
blood
,
and
a
little
toasted
bread
,
mixed
with
a
quarter
part
of
Musk
,
well
beaten
together
.
The
cheat
is
discerned
by
the
brightness
of
the
Goats
blood
.
III.
Or
thus
,
Take
Storax
,
Labdanum
,
powder
of
Xylo-aloes
,
of
each
four
ounces
,
Musk
and
Civet
of
each
half
an
ounce
,
mix
all
together
with
Rose
water
.
The
cheat
is
discerned
,
by
its
easie
dissolving
in
water
,
and
its
different
colour
and
scent
.
IV.
Or
thus
,
Take
Goats
blood
,
powder
of
Angelica
roots
,
Musk
of
each
alike
,
make
a
mixture
.
V.
To
adulterate
Civet
:
Mix
with
it
the
Gall
of
an
Oxe
,
and
Storax
liquefied
and
washed
:
or
you
may
adulterate
it
by
the
addition
of
Honey
of
Crete
.
VI.
To
restore
the
lost
scent
to
Musk
,
or
Ambergriese
.
This
is
done
,
by
hanging
it
some
time
in
a
Jakes
or
house
of
Office
;
for
by
these
ill
scents
,
its
innate
vertue
and
odour
is
excited
and
revived
.
CHAP.
LVII
.
Of
the
way
of
Perfuming
Cloth
,
Skins
,
Gloves
and
the
like
.
I.
TO
Perfume
Skins
or
Gloves
.
Put
a
little
Civet
thereon
here
and
there
,
(
if
Gloves
,
along
the
seams
)
then
wash
in
Rose
or
musked
water
four
or
five
times
,
or
so
long
as
that
they
savour
no
more
of
the
leather
,
pressing
them
hard
every
time
;
then
lay
them
in
a
platter
,
covered
with
the
said
water
,
mixed
with
powder
of
Cypress
,
a
day
or
two
;
take
them
out
,
press
them
,
and
dry
them
in
the
shadow
:
being
half
dry
,
besmear
them
a
little
with
Civet
mix'd
with
oil
of
Jasemin
or
Ben
,
on
the
inward
side
,
chafing
them
with
your
hands
before
a
fire
,
till
you
think
that
the
Civet
hath
pierced
or
gone
through
the
leather
;
leaving
them
so
a
day
or
more
;
then
rub
with
a
Cloth
that
the
Gloves
or
Leather
may
grow
soft
;
leaving
them
so
till
they
are
almost
dry
,
being
drawn
and
stretched
out
;
then
hold
them
over
some
burning
Perfume
to
dry
,
and
wetting
them
again
with
Musk
water
,
do
thus
twenty
times
;
lastly
,
take
Musk
and
Ambergriese
a
sufficient
quantity
,
which
mix
with
oil
of
Jasemin
,
Benjamin
or
Ben
,
dissolve
at
the
fire
with
a
little
perfumed
water
,
with
which
(
with
a
pencil
)
strike
the
Gloves
or
Leather
over
on
the
outside
,
besmearing
the
seams
with
Civet
;
lasty
lay
them
for
six
or
eight
days
;
between
two
mattresses
,
so
will
the
Skins
or
Gloves
●e
excellently
perfumed
.
II.
Another
way
very
excellent
.
Take
three
pints
of
Wine
,
Sheeps
suet
or
fat
one
pound
,
boil
them
together
in
a
vessel
close
covered
;
this
done
,
wash
the
Griese
six
or
seven
times
well
with
fair
water
,
then
boil
it
again
in
White-wine
and
Rose
water
of
each
one
pound
and
a
half
,
with
a
small
fire
,
till
the
half
be
consumed
:
then
take
the
said
griese
,
to
which
put
pulp
of
sweet
Navews
roasted
half
a
pound
,
boil
all
in
Rose
water
half
an
hour
,
then
strain
it
,
and
beat
it
in
a
mortar
,
with
a
little
oil
of
Jas●min
and
Musk
,
with
which
besmear
your
Gloves
(
after
due
washing
as
aforesaid
)
rubbing
it
well
in
by
the
fire
.
III.
Another
way
for
Gloves
.
Wash
new
Corduban
Gloves
,
wash
them
well
three
or
four
days
(
once
a
day
)
in
good
White-wine
,
pressing
and
smoothing
them
well
;
lastly
,
wash
them
in
musked
water
,
letting
them
lye
therein
for
a
day
,
then
dry
them
with
care
.
This
done
,
steep
Musk
,
Amber
,
Bazil
of
each
one
drachm
in
a
quart
of
sweet
water
,
in
which
dissolve
gum
Tragacanth
three
drachms
,
boil
all
gently
together
,
and
in
the
boiling
add
Zibet
one
scruple
,
with
which
besmear
the
Gloves
,
rubbing
and
chafing
it
in
,
then
drying
them
according
to
Art
.
IV.
Or
thus
,
First
wash
the
Gloves
or
Skins
in
white-wine
,
then
dry
them
in
the
shade
;
then
wash
them
in
sweet
water
,
mixed
with
oil
of
Cloves
,
and
Labdanum
of
each
alike
:
lastly
,
take
Musk
,
Civet
,
Ambergriese
of
each
the
quantity
of
six
grains
,
oil
of
Musk
half
a
drachm
,
mucilage
of
gum
Tragacanth
fifteen
grains
,
mix
them
well
together
in
a
mortar
,
which
chafe
into
the
wash'd
Gloves
before
the
fire
.
V.
Cloths
,
Linnen
or
Woolen
,
Coffers
,
Trunks
and
the
like
,
are
best
perfumed
(
with
little
cost
)
with
the
●●oak
of
burning
Perfumes
.
CHAP.
LVIII
.
Of
making
various
sorts
of
Ink.
I.
TO
make
good
black
writing
Ink.
Take
ponderous
galls
three
ounces
in
powder
,
White-wine
,
or
in
place
thereof
rain
water
,
which
is
better
,
three
pound
,
infuse
them
in
the
Sun
or
in
a
gentle
heat
two
days
:
then
take
Roman
Vitriol
well
coloured
and
powdred
,
which
put
therein
,
and
set
all
in
the
Sun
for
two
days
more
;
shake
all
together
,
to
which
add
of
good
gum
Arabick
in
little
bits
one
ounce
,
with
a
little
white
Sugar
,
which
dissolve
over
a
gentle
fire
.
II.
To
make
red
writing
Ink.
Take
Raspins
of
Brazil
one
ounce
,
white
lead
,
Alom
of
each
two
drachms
,
grind
and
mingle
them
,
infuse
them
in
Urine
one
pound
,
with
gum
Arabick
eight
scruples
.
III.
Another
way
to
make
red
Ink.
Take
Wine-vinegar
two
pound
,
Raspings
of
Brazil
two
ounces
,
Alom
half
an
ounce
,
infuse
all
ten
days
;
then
gently
boil
,
to
which
add
gum
Arabick
five
drachms
,
dissolve
the
Gum
,
strain
,
and
keep
it
for
use
.
IV.
To
make
green
Ink
to
write
with
.
Make
fine
Verdigriese
into
paste
with
strong
Vinegar
,
and
infusion
of
green
galls
,
in
which
a
little
gum
Arabick
hath
been
dissolved
;
let
it
dry
,
and
when
you
would
write
with
it
,
temper
it
with
infusion
of
green
Galls
aforesaid
.
V.
Another
way
to
make
green
Ink
to
write
with
.
Dissolve
Verdigriese
in
Vinegar
,
then
strain
it
,
and
grind
it
with
a
little
honey
and
mucilage
of
gum
Tragacanth
,
upon
a
porphyry
stone
.
VI.
To
make
blew
Ink
to
write
with
.
Grind
Indico
with
honey
mixed
with
glair
of
eggs
or
glew
water
,
made
of
Ising
lass
dissolved
in
water
,
and
strained
.
VII
.
To
make
red
writing
Ink
of
Vermilion
.
Grind
Vermilion
well
upon
a
porphyry
stone
,
with
common
water
;
dry
it
and
put
it
into
a
glass
vessel
,
to
which
put
Urine
,
shake
all
together
,
let
it
settle
,
then
pour
off
the
Urine
;
and
putting
on
more
Urine
,
repeat
this
work
eight
or
ten
times
,
so
will
the
Vermilion
be
well
cleansed
;
to
which
put
glair
of
Eggs
,
to
swim
on
it
above
a
fingers
breadth
,
stir
them
together
,
and
setling
abstract
the
glair
:
then
put
on
more
glair
of
eggs
,
repeating
the
same
work
eight
or
ten
times
also
,
to
take
away
the
scent
of
the
Urine
:
lastly
,
mix
it
with
fresh
glair
,
and
keep
it
in
a
glass
vessel
close
stop'd
for
use
.
When
you
use
it
,
mix
it
with
water
or
vinegar
.
VIII
.
To
make
Printers
black
.
This
is
made
by
mingling
Lamp
black
with
liquid
Varnish
,
and
boiling
it
a
little
,
which
you
may
make
thick
at
pleasure
.
You
must
make
it
moister
in
winter
,
than
in
Summer
;
and
note
that
the
thicker
Ink
makes
the
fairer
letter
.
If
it
be
too
thick
,
you
must
put
in
more
Linseed
oil
,
or
oil
of
Walnuts
,
so
may
you
make
it
thicker
or
thinner
at
pleasure
.
IX
.
To
make
red
Printing
Ink.
Grind
Vermilion
very
well
with
the
aforesaid
liquid
Varnish
or
Linseed
oil
.
X.
To
make
green
Printing
Ink.
Grind
Spanish
green
with
the
said
Varnish
or
Linseed
oil
as
aforesaid
:
And
after
the
same
manner
,
may
you
make
Printers
blew
,
by
grinding
Azure
with
the
said
Linseed
oil
.
CHAP.
LIX
.
Of
making
Sealing
Wax
.
I.
To
make
red
Sealing
Wax
.
Take
white
Bees
wax
one
pound
,
Turpentine
three
ounces
,
Vermilion
in
powder
well
ground
,
oil
Olive
of
each
one
ounce
,
melt
the
wax
and
Turpentine
;
let
it
cool
a
little
,
then
add
the
rest
,
beating
them
well
together
.
II.
To
do
the
same
otherwise
.
This
is
done
by
taking
away
the
Vermilion
,
and
adding
instead
thereof
red
Lead
three
ounces
,
to
the
former
things
.
III.
To
make
green
Wax
.
Take
Wax
one
pound
,
Turpentine
three
ounces
,
Verdigriese
ground
,
Oil
Olive
of
each
one
ounce
,
complete
the
work
by
the
first
Section
.
IV.
To
make
black
Wax
.
Take
Bees
Wax
one
pound
,
Turpentine
three
ounces
,
black
earth
,
Oil
Olive
of
each
one
ounce
,
mix
and
make
Wax
as
aforesaid
.
V.
To
make
Wax
perfumed
.
This
is
done
by
mixing
with
the
Oil
Olive
aforesaid
,
Musk
,
Ambergriese
,
or
any
other
eminent
Perfume
,
as
oil
of
Cinnamon
,
adeps
Rosarum
,
or
the
like
one
drachm
,
more
or
less
,
according
as
you
intend
to
have
its
scent
extended
.
VI.
After
the
same
manner
you
may
make
Scaling
wax
of
all
colours
,
having
what
scent
you
please
;
by
mixing
the
scent
intended
,
with
the
Oil
Olive
,
and
putting
the
colour
in
,
in
place
of
the
Vermilion
.
CHAP.
LX.
Of
the
various
ways
of
making
Artificial
Pearls
.
I.
THe
first
Way
.
Dissolve
mother
of
Pearl
in
spirit
of
Vinegar
,
then
precipitate
it
with
oil
of
Sulphur
per
Campanum
(
not
with
Oleum
Tartari
,
for
that
takes
away
the
splendor
)
which
adds
a
lustre
to
it
;
dry
the
precipitate
,
and
mix
it
with
whites
of
eggs
;
of
which
mass
you
may
make
Pearls
,
of
what
largeness
you
please
,
which
before
they
be
dry
,
bore
through
with
a
silver
Wire
,
so
will
you
have
pearls
scarcely
to
be
discerned
from
those
which
are
truly
natural
.
II.
The
second
way
.
Take
Chalk
,
put
it
into
the
fire
,
letting
it
lye
till
it
breaks
;
grind
it
impalpable
,
and
mix
it
with
whites
of
eggs
,
of
which
form
pearls
,
boring
them
as
aforesaid
;
dry
them
,
then
wet
and
cover
them
with
leaf
silver
.
III.
The
third
way
.
Take
prepared
Crabs
eyes
,
ground
into
impalpable
powder
,
and
with
glair
make
Pearls
;
which
bore
,
as
aforesaid
;
dry
them
,
and
boil
them
in
Cows
milk
;
then
in
the
shade
(
free
from
dust
)
dry
them
well
;
they
will
please
.
IV.
The
fourth
Way
.
Take
potters
earth
,
and
make
them
of
what
form
you
please
;
dry
them
in
the
Sun
,
or
in
the
gentle
heat
of
a
furnace
;
then
wet
them
with
glair
of
eggs
,
lightly
coloured
with
Bole
armoniack
,
and
cover
them
with
leaves
of
filver
,
being
first
wet
with
water
:
when
they
are
dry
,
polish
them
with
a
tooth
,
and
they
will
be
Oriental
.
Then
take
bits
of
Parchment
,
and
wash
them
in
warm
water
,
till
the
water
grows
somewhat
thick
,
boil
and
strain
it
,
and
use
it
warm
:
then
fasten
each
pearl
through
its
hole
upon
a
fine
piece
of
wire
,
and
plunge
them
into
the
water
of
Parchment
,
taking
them
out
again
;
then
turn
them
round
,
that
the
glewy
liquor
may
equally
cover
them
:
thus
the
silver
whiteness
will
the
better
shine
through
,
so
that
the
pearls
will
seem
to
be
truly
natural
,
and
being
compared
,
will
rather
exceed
.
V.
The
fifth
Way
.
Calcine
Muscle
and
snail
shells
in
a
Crucible
,
till
they
are
very
white
,
even
as
snow
;
with
glair
make
Pearls
,
which
bore
by
the
first
Section
;
dry
them
in
the
Sun
;
dip
them
in
red
wine
,
dry
them
again
,
and
they
will
be
fair
.
VI.
The
sixth
Way
.
Take
Sublimate
two
ounces
,
Tin-glass
one
ounce
,
mix
them
,
and
sublime
them
together
,
and
you
will
have
a
sublimate
not
inferiour
to
the
best
orient
Pearls
in
the
world
,
of
which
with
glair
,
you
may
form
what
you
please
.
VII
.
The
seventh
Way
.
Take
any
of
the
aforesaid
particulars
,
and
mix
them
(
instead
of
glair
)
with
ground
Varnish
,
(
made
of
gum
Animae
,
and
the
Alcool
of
wine
)
of
which
make
pearls
;
these
will
in
all
respects
be
like
the
natural
;
for
these
will
no
more
dissolve
in
water
,
than
the
truly
natural
;
which
all
those
that
are
made
of
glair
of
eggs
are
unavoidably
subject
to
.
VIII
.
The
eighth
Way
.
After
dissolution
,
precipitation
,
edulcoration
,
siccation
and
formation
,
put
the
pearls
into
a
loaf
of
bread
,
and
bake
it
in
the
Oven
with
other
bread
,
so
long
till
the
loaf
is
much
burnt
,
then
take
them
out
,
and
wash
them
,
first
in
good
juice
of
Limons
,
then
in
clear
Spring
water
;
and
they
will
be
as
fair
as
the
truly
natural
.
Or
after
baking
,
give
them
to
pidgeons
to
eat
,
keeping
them
close
up
,
and
in
the
dung
you
will
find
the
pearl
exceeding
fair
:
where
note
,
you
must
give
the
pidgeons
nothing
to
eat
in
three
days
time
.
IX
.
The
ninth
Way
.
After
dissolution
of
small
oriental
pearls
in
juice
of
Limons
,
make
the
form
thereof
with
clarified
honey
,
moistning
your
hand
with
Aqua
Mellis
;
this
done
,
perfect
them
as
before
.
X.
The
tenth
Way
.
Take
filtrated
juice
of
Limons
,
powder
of
pearl
of
each
six
ounces
,
Talk
one
ounce
,
put
them
into
a
glass
,
and
stop
it
close
,
set
it
fifteen
days
in
horse-dung
,
and
it
will
be
a
white
paste
;
of
which
form
pearl
,
bore
them
,
and
dry
them
in
the
Sun
;
at
last
in
paste
of
barley
meal
(
viz.
a
barley
loaf
)
four
fingers
thick
,
stick
the
pearl
,
so
that
they
may
not
touch
,
stop
the
holes
,
and
cover
them
with
paste
;
set
it
into
an
Oven
,
and
bake
it
with
bread
,
and
you
will
find
them
hard
and
clear
.
XI
.
The
eleventh
Way
.
Having
formed
them
of
the
matter
intended
,
bored
and
dryed
them
,
put
them
into
to
Quicksilver
,
set
over
a
glowing
heat
,
stirring
them
well
about
,
that
the
Quicksilver
may
stick
to
them
;
then
dip
them
into
glair
of
eggs
,
upon
a
glowing
heat
,
and
they
are
done
:
or
being
dry
,
boil
them
in
Linseed
oil
,
and
wash
them
in
warm
water
.
XII
.
The
twelfth
Way
.
Take
pearl
three
ounces
,
prepared
Salt
one
ounce
,
filtrated
juice
of
Limons
,
so
much
as
will
cover
them
four
fingers
breadth
:
let
it
stand
so
long
till
it
be
a
paste
;
the
glass
being
very
close
stopped
,
shake
all
together
five
or
six
times
a
day
;
and
when
it
comes
to
a
paste
put
it
into
a
glass
with
strong
spirit
of
Vinegar
,
lute
another
glass
over
it
;
digest
it
three
weeks
in
a
cool
place
under
the
earth
,
so
long
till
all
be
dissolved
,
then
mix
it
with
a
little
oil
of
eggs
,
or
snail
water
,
till
it
be
like
pearl
in
colour
;
then
put
this
paste
into
silver
moulds
,
and
close
them
up
for
eight
days
;
after
which
take
them
out
,
and
bore
them
by
the
first
Section
,
and
put
them
again
into
the
mould
for
eight
days
;
this
done
,
boil
them
in
a
silver
porringer
with
milk
;
lastly
,
dry
them
upon
a
plate
,
in
a
warm
place
,
where
neither
wind
nor
dust
may
come
,
and
they
will
be
much
fairer
than
any
oriental
pearl
.
XIII
.
The
thirteenth
Way
.
After
the
preparation
of
the
matter
in
juice
of
Limons
,
or
Aqua
fortis
,
with
clean
hands
make
them
into
paste
,
and
wash
them
in
distilled
water
,
which
put
into
edulcorate
calx
of
silver
,
and
digest
in
Horse-dung
for
a
month
,
so
will
they
be
fair
and
very
oriental
.
XIV
.
The
fourteenth
Way
.
Dissolve
the
matter
in
Aqua
fortis
(
which
let
over-top
it
a
fingers
breadth
)
in
a
glass
gourd
,
till
all
be
incorporated
into
one
body
,
which
put
into
silver
moulds
,
which
have
holes
through
them
,
and
having
stood
one
day
,
bore
them
through
the
holes
,
as
they
lie
in
the
mould
with
a
silver
needle
:
being
quite
dry
,
take
them
out
,
put
them
into
a
glass
close
covered
in
the
Sun
,
till
they
be
quite
dry
;
then
put
them
upon
a
silver
wire
;
and
let
them
lie
covered
in
their
own
fat
(
that
is
,
that
fatty
substance
which
swims
on
the
top
of
the
menstruum
in
their
dissolution
)
so
long
till
they
are
very
fair
,
then
being
strung
,
put
them
into
a
glass
egg
,
and
let
them
stand
nine
days
in
digestion
,
and
they
will
be
as
fair
as
the
natural
.
XV.
The
fifteenth
Way
.
Take
Tobacco-pipe
clay
,
of
which
form
little
beads
(
by
the
fourteenth
Section
)
dry
them
in
the
Sun
,
and
burn
them
in
a
potters
surnace
;
then
cover
them
with
Bole
armoniack
,
tempered
with
whites
of
eggs
;
being
dry
,
dip
them
in
water
,
lay
on
leaf
silver
,
which
dry
again
,
and
polish
them
with
a
tooth
:
then
take
clean
shavings
of
parchment
,
cut
small
,
and
washed
well
with
warm
water
;
boil
them
in
a
new
pot
,
with
a
slow
fire
,
till
they
become
somewhat
thick
,
strain
it
,
and
being
warm
put
in
the
pearl
upon
a
needle
or
fine
wire
,
that
the
hole
may
not
be
stopped
,
take
them
out
,
turn
them
round
,
that
the
water
or
glew
may
not
settle
in
one
place
,
dipping
them
so
often
(
drying
them
every
time
)
till
they
be
thick
enough
,
and
they
will
appear
full
as
fair
as
the
truly
natural
.
CHAP.
LXI
.
Of
the
Consummation
or
Perfection
of
the
Art
of
Painting
.
I.
AS
Invention
gave
way
to
the
advancement
of
Art
;
so
the
advancement
of
the
same
made
way
for
its
Perfection
.
The
invention
arose
from
the
appearance
of
things
natural
,
conceived
in
Idea's
,
as
we
have
abundantly
signified
(
in
the
first
Chapter
of
this
Book
)
the
Advance
from
the
bringing
of
those
Idea's
to
light
through
practice
(
by
Chap.
35.
)
from
when
arose
things
very
excellent
for
greatness
,
very
good
for
their
usefulness
;
choice
for
their
novelty
,
and
singular
for
their
kind
.
II.
Ease
of
Invention
,
Plenty
of
Matter
,
and
Neatness
of
Work
,
were
steps
by
which
Art
was
consummated
.
For
ease
of
Invention
gave
Encouragement
,
Plenty
of
Matter
gave
Formation
,
and
Neatness
gave
Delight
,
all
which
so
conspired
together
,
to
put
so
much
of
emulation
into
the
Artificer
,
to
undertake
,
or
endeavour
to
do
those
things
,
which
in
their
kind
might
never
after
be
exceeded
:
this
indeed
was
their
aim
of
old
,
which
although
the
antients
of
this
Art
could
never
attain
unto
,
yet
did
they
make
such
way
,
that
some
of
their
followers
have
done
those
things
,
which
never
any
after
them
could
ever
mend
,
nor
themselves
scarcely
come
near
.
Easie
invention
springs
out
of
a
great
and
well
rooted
fulness
of
learning
;
by
being
conversant
in
all
sorts
of
studies
,
having
Familiarity
with
Antiqutities
;
the
knowledge
of
innumerable
historical
and
poetical
narrations
,
together
with
a
through
acquaintance
with
all
such
motions
and
Idea's
of
the
mind
,
as
are
naturally
incident
unto
men
:
for
the
whole
force
of
this
Art
doth
principally
consist
in
these
things
,
nothing
bearing
a
greater
sway
in
the
manifold
varieties
of
Painting
.
III.
It
was
the
opinion
of
Pamphilus
(
the
master
of
Apelles
)
that
without
the
knowledge
of
Arishmetick
,
Geometry
and
the
Opticks
,
this
Art
could
not
be
brought
to
Perfection
.
The
examples
of
Phidias
and
Alcamenes
is
pertinently
brought
here
;
The
Athenians
intending
to
set
up
the
Image
of
Minerva
upon
a
high
pillar
,
employed
those
two
workmen
,
purposing
to
chuse
the
better
of
the
two
;
Alcam●nes
(
having
no
skill
in
Geometry
nor
the
Opticks
)
made
her
wonderful
fair
to
the
eye
of
them
that
saw
her
near
.
Phidias
contrariwise
(
being
skilful
in
all
Arts
,
chiefly
the
Opticks
)
considering
that
the
whole
shape
would
change
according
to
the
height
of
the
place
,
made
her
lips
wide
open
,
her
nose
somewhat
out
of
order
,
and
all
the
rest
accordingly
,
by
a
kind
of
resupination
:
the
two
Images
being
brought
to
view
,
Phidias
was
in
great
danger
to
have
been
stoned
by
the
multitude
,
until
at
length
the
Statues
were
set
up
;
where
the
sweet
and
excellent
strokes
of
Alcamenes
were
drowned
;
and
the
disfigured
,
distorted
hard-favouredness
of
Phidias
his
work
vanished
(
and
all
this
by
the
height
of
the
place
;
)
by
which
means
Alcamenes
was
laughed
at
,
and
Phidias
much
more
esteemed
.
Of
like
perfection
is
Amulius
his
Minerva
;
the
Image
of
June
in
the
temple
of
the
Syrian
goddess
;
the
head
of
Diana
exalted
at
Chios
,
made
by
Bupalus
and
Anthermus
;
Hercules
in
the
temple
of
Antoma
,
&c.
An
Artificer
,
saith
Philostratus
in
Proaemio
Iconum
,
must
understand
the
nature
of
a
man
throughly
,
to
express
all
his
manners
,
guise
,
behaviour
,
&c.
he
must
discern
the
force
in
the
constitution
of
his
cheeks
,
in
the
turning
of
his
eyes
,
in
the
casting
of
his
eyebrows
;
in
short
,
he
must
observe
all
things
which
may
help
the
judgment
;
and
whosoever
is
thus
furnished
will
doubtless
excel
,
and
bring
things
to
perfection
;
he
then
may
easily
paint
a
mad
man
,
an
angry
man
,
a
pensive
man
,
a
joyful
man
,
an
earnest
man
,
a
lover
,
&c.
in
a
word
,
the
perfection
of
whatsoever
may
possibly
be
conceived
in
the
mind
.
IV.
Continual
observation
of
exquisite
pieces
(
whether
Artificial
or
Natural
)
nimble
conceptions
,
and
tranquillity
of
mind
,
are
great
means
to
bring
Art
to
Perfection
.
The
works
of
the
Antients
could
never
have
been
so
exquisite
in
the
expression
of
Passions
,
but
by
these
means
.
How
perfectly
did
Zeuxis
paint
the
modest
and
chast
behaviour
of
Penelope
;
Timomachus
the
raging
mad
fit
of
Ajax
;
Silanion
the
frowardness
of
Apollodorus
;
Protogenes
the
deep
pensiveness
of
Philiscus
;
Praxiteles
the
rejoycings
of
Phryne
;
Parrhasius
a
boy
running
in
Armour
;
and
Aristides
his
Anapauomenos
dying
for
love
of
his
brother
.
Bodius
his
Image
of
Hercules
is
of
the
same
nature
;
Themistius
shews
us
the
true
Image
of
feign'd
friendship
;
Agellius
a
most
lively
Image
of
Justice
;
Apelles
an
admirable
picture
of
Slander
;
thousands
of
examples
more
might
be
drawn
out
of
ancient
Authors
to
approve
these
things
,
if
these
may
be
thought
not
sufficient
.
V.
This
Perfection
also
lyeth
in
the
truth
of
the
matter
,
the
occasion
thereof
,
and
discretion
to
use
it
.
The
most
ancient
and
famous
Painters
did
make
much
account
of
Truth
,
and
had
rather
lose
the
neatness
and
glory
of
their
pieces
,
than
to
endanger
the
truth
of
their
story
;
which
indeed
is
the
great
commendation
of
a
Picture
,
for
as
much
as
Lucian
saith
,
that
nothing
can
be
profitable
but
what
proceeds
from
truth
.
Occasion
also
is
a
great
matter
;
the
Picture
of
Bacchus
may
here
serve
for
an
excellent
example
,
whose
passion
of
love
was
so
clearly
expressed
therein
;
casting
aside
his
brave
apparel
,
Flowers
,
Leaves
,
Grapes
,
&c.
Now
in
representing
things
truly
according
to
the
occasion
,
discretion
ought
to
be
your
guide
;
for
as
in
Tragedies
,
so
also
in
Pictures
all
things
ought
not
to
be
represented
;
let
not
Medea
(
saith
Horace
in
libro
de
Arte
)
murther
her
own
children
in
the
pesence
of
all
the
people
;
let
not
the
wicked
Atreus
boil
humane
flesh
openly
;
there
are
doubtless
many
things
,
which
had
better
be
left
out
,
though
with
some
loss
of
the
story
,
than
with
the
loss
of
modesty
;
wanton
,
unlawful
and
filthy
lusts
(
though
they
may
gain
the
vain
title
of
wit
,
yet
)
they
diminish
not
only
the
estimation
of
the
workman
,
but
also
the
excellency
of
the
work
,
debarring
it
of
perfection
.
Precepts
help
Art
much
,
in
propounding
unto
us
the
right
way
;
but
where
they
fail
,
our
wits
must
supply
,
by
warily
considering
what
is
decent
and
convenient
;
for
this
Art
requireth
studious
endeavours
,
assiduous
exercitations
,
great
experience
,
deep
wisdom
,
ready
counsel
,
veracity
of
mind
,
diligent
observations
,
and
great
discretion
.
VI.
To
the
former
add
Magnificence
,
which
gives
authority
to
things
excellent
.
Great
minded
men
are
most
of
all
given
to
entertain
stately
conceits
;
therefore
an
Artizan
ought
to
be
of
a
magnanimous
nature
;
if
not
,
yet
that
at
least
he
ought
with
a
determined
resolution
to
aim
at
magnificent
things
.
So
it
seems
that
nature
did
dispose
Nicophanes
to
a
high
strain
of
invention
;
Nicophanes
(
saith
Pliny
,
lib.
35.
cap.
10.
)
was
gallant
and
neat
,
so
that
he
did
paint
Antiquities
for
Eternity
,
whereby
he
was
commended
for
the
magnificence
of
his
work
,
and
gravity
of
his
Art
.
Such
Artificers
therefore
as
do
bring
any
thing
to
perfection
,
must
be
of
an
exceeding
great
spirit
,
and
entertain
upon
every
occasion
great
thoughts
,
and
lofty
imaginations
;
by
this
means
they
shall
gain
an
everlasting
fame
;
but
this
is
impossible
(
saith
Longinus
)
for
any
who
busie
the
thoughts
and
studies
of
their
life
about
vile
and
slavish
matters
,
to
bring
forth
any
thing
which
might
deserve
the
admiration
of
succeeding
ages
.
If
any
Artizan
be
not
naturally
of
so
great
a
spirit
,
let
him
help
himself
by
the
reading
of
History
and
Poesie
;
History
cannot
but
inspire
a
magnanimous
Spirit
,
when
she
represents
to
us
so
many
rare
exploits
,
and
the
examples
of
so
many
great
,
noble
and
valiant
souls
,
who
throughout
all
ages
,
in
the
midst
of
most
eminent
dangers
,
have
demonstrated
their
vertues
and
spirits
not
only
to
those
present
,
but
all
succeeding
times
.
Poesie
also
being
of
a
haughty
and
lofty
stile
,
doth
much
enlarge
the
mind
,
and
from
thence
many
excellent
things
are
brought
:
The
much
admired
Elean
Jupiter
which
Phidias
made
,
himself
confessed
to
be
formed
after
the
Image
of
Jupiter
described
in
Homer
.
From
the
same
Poet
did
Apelles
paint
the
Image
of
Diana
among
the
sacrificing
Virgins
.
It
is
not
the
present
age
,
but
the
sacred
memory
of
all
posterity
,
which
gives
unto
us
a
weighty
and
durable
crown
of
Glory
.
VII
.
Exact
Analogy
or
proportion
,
not
only
advanced
Art
,
but
also
brought
it
a
degree
nearer
Perfection
.
Philostratus
calls
it
Symmetrie
,
some
Analogy
,
others
Harmony
;
this
is
the
appellation
of
the
Greeks
;
what
the
Latins
called
it
scarcely
appears
(
as
Pliny
saith
lib.
34.
cap.
8.
)
yet
words
equivalent
in
power
thereto
are
found
,
as
Congruence
,
equality
,
and
Tully
(
libro
prima
de
Officiis
)
calls
it
Agreement
and
apt
composition
;
Vitruvius
,
Commodulation
;
Agellius
calls
it
a
natural
competence
;
Quintilian
approves
the
word
Proportion
;
by
which
saith
Plutarch
beautiful
things
are
perfected
:
it
is
one
of
those
things
which
the
most
High
used
in
the
fabrication
of
the
world
(
Wisd.
11.20
.
)
He
hath
disposed
all
things
in
measure
and
number
and
weight
.
The
first
giver
of
Symmetrie
or
Analogy
was
Parrhasius
,
Polycletus
,
who
was
a
diligent
observer
thereof
;
Asclepiodorus
,
an
exact
practiser
thereof
,
whose
admirer
was
Apelles
,
who
esteemed
it
to
proceed
out
of
some
perfections
in
an
Artificer
surpassing
in
Art
,
and
which
is
most
apparent
in
naked
and
undisguised
bodies
.
Strabo
saith
,
that
Phidias
exactly
observed
this
proportion
in
the
Image
of
Jupiter
Olympicus
sitting
.
The
same
Phidias
,
as
Lucian
reports
,
could
exactly
tell
upon
the
first
fight
of
a
Lions
claw
,
how
big
a
Lion
he
was
to
make
in
proportion
to
the
same
claw
.
Lineal
Picture
is
the
foundation
of
all
imitation
,
which
if
it
be
done
after
the
true
rules
of
proportion
,
will
lively
represent
the
thing
delineated
:
this
is
a
perfection
in
kind
,
which
yet
cannot
be
compared
to
the
perfection
of
a
coloured
Picture
.
VIII
.
This
point
of
Perfection
was
further
advanced
by
the
exquisiteness
of
Colouring
.
The
perfection
of
Colouring
ariseth
from
a
certain
right
understanding
of
each
colour
severally
,
without
which
it
is
impossible
to
mix
any
thing
rightly
,
as
Hermogenes
saith
.
The
Greeks
(
as
Porphyrius
)
call
this
mixtion
of
colours
,
corruption
,
which
word
Plutarch
also
used
when
he
said
that
Apollodorus
(
who
first
found
out
the
corruption
or
way
of
shadowing
in
colours
)
was
an
Athenian
.
Lucian
calls
it
confusion
,
where
he
saith
that
by
the
Art
of
Painting
,
Images
were
made
by
a
moderate
confusion
of
Colours
,
as
white
,
black
,
yellow
,
red
,
&c.
by
which
,
as
Philostratus
saith
in
Proaemio
Iconum
,
we
know
how
to
imitate
the
diversities
of
looks
in
a
mad
man
,
in
a
sad
or
chearful
countenance
;
the
colour
of
the
eye
,
as
brown
,
gray
or
black
;
of
the
hair
,
as
golden
,
ruddy
,
bright
,
or
flaxen
;
of
the
cloaths
,
as
cloth
,
leather
,
or
armour
;
of
places
,
as
chambers
,
houses
,
forrests
,
mountains
,
rivers
,
fountains
,
&c.
this
is
done
by
the
accurate
mixtion
,
due
application
,
and
convenient
shadowing
,
as
Lucian
saith
in
Zeuxide
;
through
the
observation
of
light
,
shadow
,
obscurity
and
brightness
,
as
Plutarch
will
have
it
.
For
this
cause
,
saith
Johannes
Glammaticus
,
is
a
white
or
golden
Picture
made
upon
a
black
ground
.
Light
is
altogether
necessary
,
seeing
there
can
be
no
shade
without
it
:
light
and
shadow
cannot
subsist
asunder
,
because
by
the
one
,
the
other
is
apparent
;
for
those
things
which
are
enlightned
seem
to
stick
out
more
,
and
to
meet
the
eyes
of
the
beholder
;
those
which
are
shaded
to
be
depressed
.
This
same
of
light
and
shadow
,
Nicias
the
Athenian
did
most
accurately
observe
;
as
also
Zeuxis
,
Polygnotus
,
and
Euphranor
,
as
Philostratus
saith
in
libro
secundo
de
vita
Apllonii
,
cap.
9.
Apelles
painted
Alexander
as
if
he
held
lightning
in
his
hand
;
Philostratus
observed
the
same
in
the
picture
of
an
Ivory
Venus
,
so
that
one
would
think
it
an
easie
matter
to
take
hold
of
her
;
Pansias
arrived
to
such
an
excellency
in
this
,
as
scarcely
any
after
could
attain
unto
,
as
in
the
painted
Oxe
,
saith
Pliny
,
which
he
made
inimitable
.
Obscurity
or
Darkness
is
only
the
duskiness
of
a
deeper
shadow
,
as
brightness
is
the
exaltation
of
light
:
if
white
and
black
be
put
upon
the
same
superficies
,
the
white
will
seem
nearest
,
the
black
farther
off
:
this
being
known
,
to
make
a
thing
seem
hollow
,
as
a
ditch
,
cave
,
cistern
,
well
,
&c.
it
is
coloured
with
black
or
brown
;
and
so
much
the
blacker
,
so
much
the
deeper
it
seems
;
extreme
black
representing
a
bottomless
depth
;
but
to
make
it
rise
,
as
the
breasts
of
a
maid
,
a
stretched
our
hand
,
&c.
there
is
laid
round
or
on
each
side
so
much
black
or
brown
,
as
may
make
the
parts
seem
to
stick
out
by
reason
of
the
adjacent
hollowness
;
brightness
is
sometimes
used
for
necessity
,
but
generally
for
ornament
,
(
as
in
the
pictures
of
Angels
,
Gems
,
Armour
,
Flame
,
Flowers
,
Gold
,
and
the
like
)
the
which
is
made
alwayes
with
a
mixture
of
light
;
which
mixtion
Painters
call
Harmoge
,
but
is
nothing
else
save
an
undiscernible
piece
of
Art
,
by
which
the
Artizan
stealingly
passeth
from
one
colour
into
another
,
with
an
insensible
distinction
;
this
Harmoge
is
most
perfect
in
the
Rainbow
,
which
containing
evident
variety
of
Colours
,
yet
leaves
them
so
indistinguishable
,
as
that
we
can
neither
see
where
they
begin
,
nor
yet
where
they
end
,
as
Boethius
observes
in
libri
quinti
de
arte
musica
capite
quarto
.
The
last
and
chief
perfection
of
colouring
lieth
in
the
out-lines
,
or
extremities
of
the
work
,
being
cut
off
with
such
a
wonderful
subtilty
and
sweetness
,
as
to
present
unto
us
things
we
do
not
see
,
but
that
we
should
believe
that
behind
the
pictures
,
there
is
something
more
to
be
seen
,
than
can
easily
be
discerned
;
thereby
setting
forth
,
as
it
were
,
those
things
which
are
really
concealed
;
this
was
Parrhafius
his
chief
glory
;
but
herein
Apelles
exceeded
all
others
whatsoever
,
as
Petronius
in
Satyrico
seems
to
affirm
.
IX
.
Action
and
Passion
is
next
to
be
considered
,
in
which
consists
life
and
motion
.
There
is
not
any
thing
that
can
add
a
more
lively
grace
to
the
work
,
than
the
extreme
likeness
of
motion
,
proceeding
from
the
inward
Action
or
Passion
of
the
mind
.
It
is
therefore
a
great
point
of
Art
,
which
leads
unto
Perfection
,
the
which
we
are
to
learn
by
casting
our
eyes
upon
nature
,
and
tracing
her
steps
.
Consider
all
the
gestures
of
the
body
,
as
the
head
,
by
which
is
expressed
the
affections
of
the
mind
.
The
casting
down
of
the
head
,
sheweth
dejection
of
mind
;
being
cast
back
,
arrogance
,
hanging
on
either
side
,
languishing
;
being
stiff
or
sturdy
,
churlishness
,
by
it
we
grant
,
refuse
,
affirm
,
threaten
;
or
passively
are
bashful
,
doubtful
,
sullen
,
envious
,
&c.
by
the
motions
of
the
Countenance
appears
sorrow
,
joy
,
love
,
hatred
,
courtesie
,
courage
,
dejection
,
&c.
by
the
motions
of
the
countenance
,
are
exprest
the
qualities
of
the
mind
,
as
modesty
and
shamefastness
,
or
boldness
and
impudence
;
but
of
all
the
parts
of
the
countenance
,
the
eyes
are
most
powerful
,
for
they
,
whether
we
move
or
move
not
,
shew
forth
our
joy
or
sorrow
;
this
is
excellently
exprest
by
the
Prophet
,
in
Lam.
3.48
.
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
palge
majimterad
gneni
,
gual
sheber
bat
gnammi
,
which
Tremellius
renders
,
Rivis
aquarum
perfluit
oculus
meus
,
propter
contritionem
filiae
populi
mei●
and
again
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
gneni
niggerah
velo
tidma
,
i.
e.
●culus
mens
deflxit
nec
desistit
.
For
the
same
purpose
it
is
that
nature
hath
furnished
them
with
tears
;
but
their
motion
doth
more
especially
express
the
intention
,
as
meekness
,
pride
,
spitefulness
,
and
the
like
;
all
which
are
to
be
imitated
,
according
as
the
nature
of
the
action
shall
require
,
as
staring
,
closed
,
dull
,
wanton
,
glancing
,
asking
or
promising
something
.
The
eyebrows
also
have
some
actions
,
for
they
chiefly
command
the
fore-head
by
contracting
,
dilating
,
raising
and
depressing
it
;
wrinkled
brows
shew
sadness
and
anger
;
displayed
,
chearfulness
;
hanging
,
shame
,
elation
,
consent
;
depression
,
dissent
,
&c.
The
Lips
shew
mocking
,
scorning
,
loathing
,
&c.
The
Arm
gently
cast
forth
,
is
graceful
in
familiar
speech
;
but
the
arm
spread
forth
towards
one
side
,
shews
one
speaking
of
some
notable
matter
;
without
the
motion
of
the
bands
all
motion
is
maimed
:
The
hands
as
it
were
call
,
dismiss
,
threaten
,
request
,
abbor
,
fear
,
ask
,
demand
,
promise
,
deny
,
doubt
,
confess
,
repent
,
number
,
measure
,
rejoice
,
encourage
;
beseech
,
hinder
,
reprove
,
admire
,
relate
,
commend
,
&c.
In
admiration
we
hold
the
hand
up
,
bent
somewhat
backward
,
with
all
the
fingers
closed
:
In
relating
we
join
the
top
of
the
forefinger
to
the
thumb-nail
:
In
promising
we
move
it
softly
:
In
exhorting
or
commending
,
more
quick
:
In
penitence
and
anger
,
we
lay
our
closed
hand
to
the
breast
:
We
close
the
fingers
ends
,
and
lay
them
to
our
mouth
when
we
consider
,
&c.
It
is
not
yet
enough
that
the
Picture
or
Image
resembles
the
proportion
and
colour
of
the
life
,
unless
it
likewise
resembles
it
in
the
demeanour
of
the
whole
body
;
therefore
Callistratus
calls
this
Art
,
the
art
of
counterfeiting
manners
.
Vlysses
is
evidently
,
saith
Philostratus
,
discerned
by
his
austerity
and
vigilancy
;
Menelaus
by
his
gentle
mildness
;
Agamemnon
by
a
kind
of
Divine
Majesty
;
Ajax
Telamonius
,
by
his
grim
look
;
Locrus
by
his
readyness
and
forwardness
.
The
best
Artists
ever
change
their
hands
,
in
expressing
of
Gods
,
Kings
,
Priests
,
Senators
,
Orators
,
Musicians
,
Lawyers
,
&c.
Zeuxis
painted
the
modesty
of
Penelope
:
Echion
made
a
new
married
but
shamefaced
woman
:
Aristides
painted
a
running
Chariot
drawn
with
four
horses
:
Antiphilus
made
a
boy
blowing
the
fire
:
Philoxenus
Ere●●ius
depicted
the
Picture
of
Wantonness
:
Parrhasius
made
the
Hoplisides
or
Pictures
of
two
armed
men
,
as
may
be
seen
in
Pliny
lib.
35.
cap.
9.
10
,
and
11.
Boëthius
made
a
babe
strangling
a
goose
:
Praxiteles
made
a
weeping
woman
,
and
a
rejoicing
whore
:
Euphranor
drew
the
picture
of
Paris
as
a
Judge
,
a
wooer
and
a
soldier
:
See
Pliny
lib.
34.
cap.
8.
where
you
may
have
many
other
examples
.
It
is
worth
our
pains
to
see
in
Callistratus
these
descriptions
at
large
,
whereby
we
may
see
it
is
a
singular
Perfection
of
Art
.
X.
The
last
step
of
Perfection
is
the
right
ordering
and
disposing
of
things
.
This
order
or
disposition
must
be
observed
as
well
in
a
picture
consisting
of
one
figure
,
as
in
a
picture
of
many
figures
.
The
nature
of
man
,
saith
Xenophon
in
Oeconomice
,
cannot
nameany
thing
so
useful
and
fair
,
as
order
;
a
confused
piece
of
work
cannot
deserve
admiration
;
those
things
only
affect
us
,
wherein
every
part
is
not
only
perfect
in
it self
,
but
also
well
disposed
by
a
natural
connexion
.
It
is
not
enough
in
a
building
to
bring
hair
,
lime
,
sand
,
wood
,
stones
,
and
other
materials
,
unless
we
take
care
that
all
this
confused
stuff
be
orderly
disposed
to
the
intent
.
Nature
it self
seems
to
be
upholden
by
Order
,
and
so
are
all
things
else
which
are
subjugated
to
the
same
Law
.
Now
the
way
to
attain
to
this
true
order
of
disposition
,
is
first
to
conceive
the
Idea
of
the
history
in
the
imagination
,
that
the
presence
of
the
things
in
the
mind
may
suggest
the
order
of
disposing
each
thing
in
its
proper
place
,
yet
with
that
subtilty
that
the
whole
may
represent
one
intire
body
.
Secondly
,
that
the
frame
of
the
whole
structure
of
this
disposition
,
may
be
analogous
to
the
things
themselves
;
so
that
we
may
at
once
represent
things
which
are
already
done
,
things
which
are
doing
,
and
things
which
are
yet
to
be
done
;
perfecting
,
as
Philostratus
saith
,
in
every
one
of
these
things
,
what
is
most
proper
,
as
if
we
were
busied
about
one
only
thing
.
Thirdly
,
an
historical
Picture
must
represent
the
series
of
the
history
,
which
although
the
Picture
be
silent
,
yet
that
the
connexion
might
(
as
it
were
)
speak
,
putting
the
principal
figures
in
the
principal
places
.
Fourthly
,
the
parts
must
be
connected
easily
rolling
on
,
gently
flowing
or
following
one
another
,
hand
in
hand
,
seeming
both
to
hold
and
be
upheld
,
free
from
all
abruption
,
well
grounded
,
finely
framed
,
and
strongly
tyed
up
together
;
that
the
whole
may
be
delightsome
for
its
equality
,
grave
for
its
simplicity
,
and
graceful
for
its
universal
analogical
composure
.
Fifthly
,
that
most
excellent
pieces
(
if
the
history
will
suffer
it
)
be
shadowed
about
with
rude
thickets
,
and
craggy
rocks
,
that
by
the
horridness
of
such
things
,
there
may
accrew
a
more
excellent
grace
to
the
principal
;
(
just
as
discords
in
Musick
make
sometimes
concords
)
from
whence
results
a
singular
delight
.
Sixthly
,
that
to
these
things
be
added
perspicuity
;
which
,
as
Lucian
saith
,
through
the
mutual
connexion
of
things
,
will
make
the
whole
complete
and
perfect
.
Seventhly
and
lastly
,
that
the
disposition
of
the
preportion
be
observed
,
in
the
due
distance
of
each
figure
,
and
the
position
of
their
parts
,
of
which
we
have
said
something
,
Section
seventh
;
but
in
general
Pliny
(
lib.
35.
cap.
10.
)
saith
,
that
in
this
general
disposition
of
proportional
distances
,
we
have
no
rules
;
our
eye
must
teach
us
what
to
do
;
to
which
Quintilian
assents
,
where
he
saith
,
that
these
things
admit
no
other
Judgment
,
but
the
judgment
of
our
eyes
.
XI
.
Lastly
,
For
the
absolute
Consummation
or
Perfection
of
the
Art
,
excellency
of
Invention
,
Proportion
,
Colour
,
Life
and
Disposition
,
must
universally
concur
,
and
conspire
,
to
bring
forth
that
comly
gracefulness
,
which
is
the
very
life
and
soul
of
the
work
,
the
intire
and
joint
Summe
of
all
perfections
.
It
is
not
enough
,
that
a
Picture
is
excellent
in
one
or
more
of
the
aforesaid
perfections
,
but
the
consummation
is
,
that
they
all
concurr
;
for
if
but
one
be
wanting
,
the
whole
work
is
defective
.
A
good
invention
affects
the
mind
;
true
proportion
draws
the
eyes
;
lively
motion
moves
the
soul
;
exquisite
colours
beguile
the
phantasie
;
and
an
orderly
disposition
,
wonderfully
charms
all
the
senses
;
if
all
these
unite
,
and
center
in
one
piece
,
how
great
an
excellence
and
perfection
will
appear
?
What
a
comely
Grace
?
this
Grace
it
is
,
which
in
beautiful
bodies
is
the
life
of
beauty
,
and
without
which
,
its
greatest
accomplishments
cannot
please
the
beholder
.
For
it
is
not
so
much
the
perfection
of
Invention
,
Proportion
,
Colours
,
Motion
and
Disposition
apart
,
which
affect
the
senses
;
but
all
those
perfections
absolutely
united
,
which
brings
forth
that
comely
Grace
,
and
highest
Perfection
,
which
Art
aims
at
,
and
the
Artizan
strives
after
.
This
Grace
proceeds
not
from
any
rules
of
Art
,
but
from
the
excellent
spirit
of
the
Artificer
;
it
is
easier
attained
by
observation
and
a
good
judgment
,
than
learn'd
by
Precepts
,
as
Quintilian
in
his
Institutions
lib.
11.
cap.
1.
learnedly
observes
.
And
this
Grace
is
most
graceful
,
when
it
flows
with
facility
,
out
of
a
free
Spirit
,
and
is
not
forced
or
strained
out
with
labour
and
toil
,
which
quite
spoils
and
kills
the
life
of
the
work
:
Now
this
facility
springs
from
Learning
,
Study
and
exercitation
.
Art
and
Nature
must
concurr
to
the
Constitution
of
this
Grace
;
Art
must
be
applied
discreetly
to
those
things
which
we
naturally
affect
,
and
not
to
things
which
we
loath
;
lest
we
miss
of
that
Glory
which
we
seek
after
.