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. Oylſtone. 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 cornerwiſe, 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 Ʋſe.

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 〈 in non-Latin alphabet 〉 of 〈 in non-Latin alphabet 〉 , video, to ſee, becauſe 〈 in non-Latin alphabet 〉 , 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 〈 in non-Latin alphabet 〉 , 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, Redlead, Indian-lake, Red-oker. It is called in Latin Ruber 〈 in non-Latin alphabet 〉 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 〈 in non-Latin alphabet 〉 , 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 〈 in non-Latin alphabet 〉 , which is Homer's Epithete for Menelaus, where he calls him 〈 in non-Latin alphabet 〉 .

VI. The chief Blews are Ultramarine, Indico, Smalt, Blew bice. This colour is called in Latine Caeruleus, in Greek 〈 in non-Latin alphabet 〉 à 〈 in non-Latin alphabet 〉 , 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 〈 in non-Latin alphabet 〉 , from darkening the Light, in Greek 〈 in non-Latin alphabet 〉 .

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 Gumlake, 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. Ʋmber, 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. Ʋltramarine, 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 gumwater (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. MƲrry, 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 〈 in non-Latin alphabet 〉 from 〈 in non-Latin alphabet 〉 , 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 〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉 .

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.

Its 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 eyelids, 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.

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 Sunbeams) 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. Ʋmber 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 Sugarcandy, 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 Ʋltramarin • , 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 Ʋltramarine 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 Ʋltramarine.

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. VƲlcan 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 beart, Knowing thy greateſt pleaſure, thy delight Conſiſts in aggravating mortals ſmart Poyſon'd with woes, by venom of thy ſpight? 'Tis 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, 〈 in non-Latin alphabet 〉 Keren, Cornu, an horn; and 〈 in non-Latin alphabet 〉 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 〈 in non-Latin alphabet 〉 , 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 freeborn 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 ſurniſhed 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 fink, 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 Ʋnguent 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 Ʋnguentum 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 Ʋnguentum 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 Ʋnguentum 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 ſoment 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 Quicklime, 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 Ʋnguentaria; 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 Ʋnguents.

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 Ʋnguentum 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 whitewine, 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.