A book of dravving, limning, vvashing or colouring of maps and prints: and the art of painting, with the names and mixtures of colours used by the picture-drawers. Or, The young-mans time well spent. In which, he hath the ground-work to make him fit for doing anything by hand, when he is able to draw well. By the use of this work, you may draw all parts of a man, leggs, armes, hands and feet, severally, and together. And directions for birds, beasts, landskips, ships, and the like. Moreover, you may learn by this tract, to make all sorts of colours; and to grinde and lay them: and to make colours out of colours: and to make gold and silver to write with. How also to diaper and shadow things, and to heighthen them, to stand off: to deepen them, and make them glitter. In this book you have the necessary instruments for drawing, and the use of them, and how to make artificiall pastels to draw withall. Very usefull for all handicrafts, and ingenuous gentlemen and youths. By hammer and hand all arts doe stand.
This text is an enriched version of the TCP digital transcription A28779 of text R17980 in the English Short Title Catalog (Wing B3705AB). Textual changes and metadata enrichments aim at making the text more computationally tractable, easier to read, and suitable for network-based collaborative curation by amateur and professional end users from many walks of life. The text has been tokenized and linguistically annotated with MorphAdorner. The annotation includes standard spellings that support the display of a text in a standardized format that preserves archaic forms ('loveth', 'seekest'). Textual changes aim at restoring the text the author or stationer meant to publish. This text has not been fully proofread
Approx. 93 KB of XML-encoded text transcribed from 22 1-bit group-IV TIFF page images.
EarlyPrint Project
Evanston,IL, Notre Dame, IN, St. Louis, MO
2017
A28779
Wing B3705AB
ESTC R17980
99825051
99825051
29421
This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of
Creative Commons 0 1.0 Universal
. The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission.
Early English books online.
(EEBO-TCP ; phase 1, no. A28779)
Transcribed from: (Early English Books Online ; image set 29421)
Images scanned from microfilm: (Early English books, 1641-1700 ; 423:2 or 1754:1)
A book of dravving, limning, vvashing or colouring of maps and prints: and the art of painting, with the names and mixtures of colours used by the picture-drawers. Or, The young-mans time well spent. In which, he hath the ground-work to make him fit for doing anything by hand, when he is able to draw well. By the use of this work, you may draw all parts of a man, leggs, armes, hands and feet, severally, and together. And directions for birds, beasts, landskips, ships, and the like. Moreover, you may learn by this tract, to make all sorts of colours; and to grinde and lay them: and to make colours out of colours: and to make gold and silver to write with. How also to diaper and shadow things, and to heighthen them, to stand off: to deepen them, and make them glitter. In this book you have the necessary instruments for drawing, and the use of them, and how to make artificiall pastels to draw withall. Very usefull for all handicrafts, and ingenuous gentlemen and youths. By hammer and hand all arts doe stand.
Dürer, Albrecht, 1471-1528.
Jenner, Thomas, fl. 1631-1656.
[2], 40 p. : ill. (plates)
printed by M. Simmons, for Thomas Jenner; and are to be sold at his shop, at the south entrance of the Royal Exchange,
London :
1652.
Recto of titlepage has a portrait of Dürer engraved by Francis Delarame, and the title: A booke of the art of drawing according to ye order of Albert Durer, Jean Cozijn, etc.
Compiled by Thomas Jenner.
Later editions under title: Albert Dürer revived, or, A book of drawing.
Item at reel 1754:1 incorrectly identified as Wing A875A.
Reproduction of the original in the Henry E. Huntington Library and Art Gallery.
eng
Drawing -- Study and teaching -- 17th century.
Painting -- Technique -- Early works to 1800.
Glass painting and staining -- Early works to 1800.
A28779 R17980 (Wing B3705AB). civilwar no A book of dravving, limning, vvashing or colouring of maps and prints: and the art of painting, with the names and mixtures of colours used [no entry] 1652 16423 11 0 0 0 0 0 7 B The rate of 7 defects per 10,000 words puts this text in the B category of texts with fewer than 10 defects per 10,000 words.
2000-00 TCP
Assigned for keying and markup
2001-09 Apex CoVantage
Keyed and coded from ProQuest page images
2002-06 Mona Logarbo
Sampled and proofread
2002-06 Mona Logarbo
Text and markup reviewed and edited
2002-07 pfs
Batch review (QC) and XML conversion
A
BOOK
OF
Dravving
,
Limning
,
Washing
Or
Colouring
of
MAPS
and
PRINTS
:
AND
THE
Art
of
Painting
,
with
the
Names
and
Mixtures
of
Colours
used
by
the
Picture-Drawers
.
OR
,
The
Young-mans
Time
well
Spent
.
In
which
,
He
hath
the
Ground-work
to
make
him
fit
for
doing
any
thing
by
hand
,
when
he
is
able
to
draw
well
.
By
the
Use
of
this
work
,
you
may
Draw
all
parts
of
a
Man
,
Leggs
,
Armes
,
Hands
and
Feet
,
severally
,
and
together
.
And
Directions
for
Birds
,
Beasts
,
Landskips
,
Ships
,
and
the
like
.
Moreover
You
may
learn
by
this
Tract
,
to
make
all
sorts
of
Colours
;
and
to
Grinde
and
Lay
them
:
and
to
make
Colours
out
of
Colours
:
and
to
make
Gold
and
Silver
to
write
with
.
How
also
To
Diaper
and
Shadow
things
,
and
to
heighthen
them
,
to
stand
off
:
to
Deepen
them
,
and
make
them
Glister
.
In
this
BOOK
You
have
the
necessary
Instruments
for
Drawing
,
and
the
use
of
them
,
and
how
to
make
Artificiall
Pastels
to
draw
withall
.
Very
Usefull
for
all
Handicrafts
,
and
Ingenuous
Gentlemen
and
Youths
.
By
Hammer
and
Hand
all
Arts
doe
stand
.
Infoelix
qui
Pauca
Sapit
,
spernit
que
Doceri
.
LONDON
.
Printed
by
M.
Simmons
,
for
Thomas
Ienner
;
and
are
to
be
sold
at
his
Shop
,
at
the
South
Enterance
of
the
Royal
Exchange
.
1652.
THE
TRVE
PORTRAITVRE
OF
ALBERTVS
DVRER
▪
THE
VERIE
PRIME
PAINTER
AND
GRAVER
OF
GERMANY
〈…〉
〈…〉
R
〈…〉
mer
▪
pinxit
▪
Francis
〈…〉
DeLa
〈…〉
sculpsit
A
Book
of
the
Art
of
Drawing
according
to
ye
order
of
Albert
Durer
▪
Iean
CoziIn
and
▪
other
Excellent
Picture-makers
describing
ye
true
proportions
of
Men
,
women
&
Children
.
Are
to
bee
sould
by
Thoma
〈…〉
Of
necessary
Instruments
for
Drawing
.
FOr
Implements
these
are
the
onely
necessary
ones
;
Pens
made
of
Ravens
quils
because
they
are
the
best
to
draw
faire
,
and
shadow
fine
,
and
smal
Charcoals
,
black-lead
,
white-lead
,
red-lead
,
a
feather
,
and
a
pair
of
Compasses
.
The
use
of
these
Instruments
.
FOr
your
Charcoals
,
They
must
be
slit
into
small
〈◊〉
peeces
,
and
then
sharpned
at
the
point
:
You
may
chuse
your
Charcoals
thus
,
they
are
finer
grain'd
then
others
,
and
smooth
when
they
are
broken
,
and
soft
,
and
they
have
a
pith
in
the
middle
of
them
,
which
is
the
best
token
to
know
them
by
:
The
use
of
them
is
to
draw
over
your
drafts
first
withall
,
because
if
you
should
draw
it
false
at
first
,
you
may
easily
wipe
it
out
,
which
you
cannot
so
well
doe
with
any
other
thing
.
Your
black-lead
is
to
draw
over
that
againe
which
you
drew
before
in
Char-coal
,
because
this
will
not
wipe
out
under
your
hands
when
you
come
to
draw
it
with
your
pen
;
and
if
you
shall
draw
it
with
your
pen
before
this
,
you
Charcoal
would
furry
your
pen
that
you
could
not
write
with
it
,
and
besides
you
cannot
so
well
mend
your
faults
with
a
pen
as
with
a
black-lead
,
for
what
you
doe
with
your
pen
you
cannot
alter
,
but
wherein
you
erre
with
your
black-lead
,
you
mend
it
with
your
pen
.
The
pen
is
the
finisher
of
your
work
,
with
which
you
must
be
most
exact
,
knowing
it
is
unalterable
,
therefore
you
must
be
sure
your
worke
is
right
before
you
draw
it
with
your
pen
.
Black-chalk
is
to
draw
on
blew-paper
with
,
which
is
not
to
be
used
till
you
be
pretty
perfect
in
drawing
.
White
lead
is
to
doe
the
lightest
parts
of
that
you
draw
before
with
black
Chalk
.
Your
Compasses
are
not
to
be
used
constantly
,
for
they
will
spoyle
you
that
you
cannot
draw
without
them
,
but
onely
when
you
have
〈◊〉
your
drawing
with
Char-coal
,
you
may
measure
if
it
be
every
〈◊〉
right
,
before
you
draw
it
with
your
black-lead
.
The
Fether
is
to
wipe
out
the
Char-coal
where
it
is
drawne
false
,
before
you
draw
it
again
,
and
this
you
must
be
sure
to
doe
,
or
else
you
will
be
confounded
with
variety
of
stroakes
,
so
that
you
shall
not
know
which
is
the
right
stroake
.
Having
these
Implements
in
readinesse
,
The
〈◊〉
practise
of
a
Drawer
must
be
readily
to
Draw
Circles
,
Ovals
,
Squares
,
Piramids
,
&c.
And
the
reason
of
exercising
you
first
in
these
,
is
,
because
in
these
you
will
be
fitted
for
the
performance
of
other
bodies
;
as
for
example
,
your
Circle
will
teach
you
to
draw
Sphericall
bodies
,
as
the
Sun
,
Moon
and
Stars
,
and
the
most
Flowers
,
as
the
Rose
,
Dazy
,
&c.
the
most
Vessels
,
as
Cups
,
Basons
,
Boles
,
Bottles
,
&c.
the
Square
will
fit
you
for
all
manner
of
comportliments
,
plots
,
buildings
,
&c.
your
Piramids
for
sharpe
Steeples
and
Turrets
,
&c.
your
Ovall
for
Faces
,
Shields
,
&c.
for
it
is
impossible
to
draw
the
body
of
a
Picture
before
you
can
draw
the
Abstract
.
When
you
can
do
these
,
practise
to
draw
Pots
,
Bals
,
Candlesticks
,
Pillars
,
a
Cherry
with
a
leafe
,
&c.
but
be
sure
you
be
perfect
in
the
out-stroake
,
before
you
goe
to
draw
the
shadows
within
.
How
to
make
Artificiall
Pastiles
to
draw
withall
.
TAke
a
great
Chalk-stone
,
and
make
deep
furrows
,
or
holes
in
them
,
two
of
three
inches
long
,
and
so
wide
that
you
may
lay
in
each
a
quill
,
then
take
white
Chalk
ground
very
fine
,
temper
it
with
oyl
or
wort
,
and
a
little
new
milk
,
and
to
make
pap
thereof
,
then
poure
it
into
the
furrows
of
Chalk
,
and
in
a
short
time
you
may
take
them
out
and
roul
them
up
,
or
let
them
lye
in
them
till
they
are
quite
dry
,
and
then
take
them
and
scrape
them
into
a
handsom
form
;
you
may
temper
lake
with
burnt
Alablaster
for
a
red
,
and
so
for
others
;
having
regard
to
some
colours
that
will
binde
over-hard
,
which
must
have
a
little
water
put
to
them
in
their
grinding
.
Directions
in
Drawing
of
a
Face
.
FOr
the
better
assisting
you
in
the
drawing
of
a
face
,
you
may
make
use
of
this
direction
;
when
you
have
drawn
the
circle
of
the
Face
(
which
you
must
doe
at
first
with
a
plain
〈◊〉
line
,
without
making
any
bendings
in
or
out
,
till
you
come
towards
the
finishing
of
it
)
you
may
make
a
stroak
downe
from
that
place
of
the
forehead
which
is
even
with
the
chin
,
coming
down
where
you
should
place
the
middle
of
the
Nose
,
and
the
middle
of
the
mouth
;
observe
that
this
stroak
must
be
struck
that
way
which
the
Face
should
turne
,
either
to
one
side
,
or
strait
right
,
and
then
this
stroak
will
exceedingly
helpe
you
to
place
the
features
rightly
,
that
they
may
not
stand
all
awry
,
but
directly
one
under
another
;
when
you
have
made
this
stroak
,
you
may
make
another
stroake
acrosse
to
guide
you
for
the
even
placing
of
the
eyes
;
that
one
be
not
higher
then
another
.
Now
if
the
face
turne
downwards
,
the
stroake
must
be
so
struck
that
the
eyes
may
turne
answerable
with
the
face
downward
,
when
you
have
done
that
make
anòther
stroake
for
the
length
of
the
Nose
,
where
the
end
of
the
Nose
should
come
,
and
another
stroak
for
the
mouth
,
that
it
be
not
made
crooked
,
still
observing
to
make
all
the
stroakes
to
turne
one
way
,
either
up
or
downe
,
according
as
the
face
turns
;
for
if
the
face
turne
up
or
downe
,
the
Eyes
,
Nose
,
and
Mouth
must
turne
with
it
:
when
you
have
made
these
stroakes
rightly
,
proceed
to
the
placing
of
the
features
as
in
the
rules
before
.
There
is
this
three-fold
equall
proportion
usually
observed
in
a
Face
;
1
From
the
top
of
the
fore-head
to
the
eye-brows
;
2
From
the
〈◊〉
-
brows
to
the
bottome
of
the
nose
;
3
From
thence
to
the
bottom
of
the
chin
:
but
this
proportion
is
not
constant
,
for
sometimes
the
fore-head
is
lower
then
at
other
times
,
and
some
〈◊〉
noses
longer
,
other
shorter
,
and
therefore
this
rule
is
not
alwayes
to
be
observed
,
but
onely
in
a
well
proportioned
Face
.
The
distance
between
the
two
eyes
is
Iust
the
length
of
one
eye
,
if
it
be
a
full
face
,
but
if
it
turne
any
thing
aside
then
that
distance
is
lesned
accordingly
;
the
nostrill
ought
not
to
come
out
further
then
the
〈◊〉
of
the
eye
in
any
face
,
and
the
mouth
must
be
placed
alwayes
between
the
eyes
and
the
chin
,
Iust
under
the
mouth
.
Further
Directions
about
a
Face
.
BEcause
the
greatest
difficulty
,
and
principall
part
of
this
Art
lies
in
the
〈◊〉
〈◊〉
of
a
Face
,
I
thought
good
to
adde
these
further
Directions
to
make
〈◊〉
the
more
perfect
in
the
drawing
of
it
.
1
If
you
would
rightly
draw
a
Face
,
that
it
may
resemble
the
patterne
you
draw
〈◊〉
〈◊〉
:
you
must
in
the
first
place
take
notice
of
the
Visiognomy
or
〈◊〉
of
〈◊〉
〈◊〉
,
〈◊〉
it
be
long
or
round
,
fat
,
or
lean
,
big
,
or
little
,
that
so
you
may
be
〈◊〉
〈◊〉
the
〈◊〉
〈◊〉
,
to
draw
the
right
visiognomy
,
or
bignesse
of
the
Face
,
which
〈◊〉
〈◊〉
〈◊〉
〈◊〉
face
you
shall
perceive
the
cheeks
to
make
the
side
of
the
face
to
swell
out
,
〈◊〉
〈◊〉
make
the
face
look
as
if
it
were
square
;
if
a
lean
face
the
Iaw
bones
will
〈◊〉
〈◊〉
〈◊〉
the
〈◊〉
〈◊〉
in
,
and
the
face
will
look
long
and
〈◊〉
;
if
it
be
neither
〈◊〉
〈◊〉
,
nor
too
〈◊〉
,
the
face
will
be
round
for
the
most
part
.
〈◊〉
you
draw
the
utmost
Circumference
of
a
face
,
you
must
take
in
the
head
and
all
with
〈◊〉
,
otherwise
you
may
be
deceived
in
drawing
the
true
bignesse
of
a
face
.
Generall
Rules
for
the
Practise
of
Drawing
.
1.
HAving
your
charcoal
neatly
sharpned
,
you
must
at
the
first
in
drawing
of
a
face
,
lightly
draw
the
out-stroak
,
or
circumference
of
the
face
Iust
according
to
the
bignes
of
your
pattern
,
making
it
to
stand
fore-right
,
or
to
turn
upvvards
or
dovvnvvards
according
to
your
patterne
,
then
make
some
little
touches
vvhere
the
features
as
the
Eyes
,
Nose
,
Mouth
,
Chinne
,
should
be
placed
,
not
drawing
them
exactly
at
the
〈◊〉
,
and
having
thus
exactly
pointed
out
the
places
where
the
features
should
bee
:
begin
to
draw
them
more
exactly
,
and
so
proceed
,
till
the
face
be
finished
,
and
then
make
the
hair
,
beard
,
and
other
things
about
it
;
In
making
of
a
side
face
you
need
not
at
first
exactly
draw
the
nose
,
mouth
and
chin
that
stand
in
the
outmost
line
,
but
onely
make
it
at
first
but
a
bare
circumference
,
turning
this
way
,
or
that
way
,
according
as
the
pattern
doth
,
and
then
make
the
mouth
,
nose
and
chin
to
come
out
afterwards
,
in
the
right
places
and
Iust
proportion
.
2
The
Circles
,
Squares
and
Triangles
that
are
made
in
the
Print
,
about
a
face
,
are
to
guide
your
apprehensions
the
more
readily
to
the
framing
of
one
,
that
being
as
it
were
led
by
a
line
,
you
may
the
more
easily
know
where
abouts
to
place
the
features
,
as
eyes
,
nose
,
mouth
,
&c.
which
when
you
are
able
to
doe
without
them
;
these
are
of
no
use
at
all
,
but
onely
to
guide
you
at
the
first
to
the
placing
of
them
.
3
In
the
third
place
you
must
be
sure
to
place
the
musles
in
their
right
and
proper
places
;
by
the
musles
I
meane
all
the
shadows
that
are
caused
by
some
dents
,
or
swellings
in
the
face
,
and
be
able
to
find
out
the
reason
of
every
musle
,
that
so
you
may
proceed
to
work
with
the
more
Iudgement
;
you
shall
perceive
the
musles
most
in
an
old
and
withered
face
,
and
you
must
first
draw
the
principall
of
them
,
and
then
you
may
the
more
easily
draw
the
lesser
within
;
you
must
be
very
exact
in
the
right
placing
of
them
,
or
else
you
spoyle
your
draft
be
it
never
so
good
.
4
Observe
to
make
the
shadows
rightly
,
and
be
sure
not
to
make
them
to
darke
,
where
they
should
be
faint
,
for
if
you
doe
you
can
never
recover
it
to
make
it
light
again
,
and
〈◊〉
the
whole
face
will
be
mar'd
,
and
appear
unhandsome
;
the
shadows
are
generally
fainter
and
lighter
in
a
faire
face
then
in
a
swarthy
complexion
:
when
you
have
finisht
your
draft
,
you
will
do
very
well
to
give
here
and
there
some
hard
touches
with
your
pen
where
the
shadows
are
darkest
,
which
will
adde
a
great
life
and
grace
to
your
drawing
.
When
you
have
finisht
the
face
,
then
come
to
the
ears
and
haire
,
wherein
you
must
observe
this
rule
,
having
drawne
the
out-line
of
it
,
you
must
first
draw
the
principal
Curles
,
or
master-strokes
in
the
haire
,
which
will
guide
you
with
ease
to
doe
the
〈◊〉
curls
which
have
their
dependance
on
them
;
always
make
your
curle
to
bend
,
and
〈◊〉
exactly
according
to
the
patterne
,
that
they
may
lye
loose
and
safte
,
and
not
look
as
if
they
were
stiffe
,
stubborne
and
unplyable
:
When
you
have
drawne
the
curls
rightly
you
must
in
the
last
place
strike
in
the
loose
haires
which
hang
carelesly
out
of
the
curls
.
When
you
can
draw
a
face
(
which
is
the
principall
thing
in
the
Art
)
then
goe
to
hands
and
arms
,
legs
and
feet
,
and
so
to
full
bodies
of
men
and
women
,
which
are
the
most
difficult
things
,
which
if
you
can
attaine
to
performe
,
with
a
well
grounded
〈◊〉
,
nothing
then
will
be
difficult
to
you
,
but
will
be
most
easie
as
flowers
,
birds
,
beasts
,
〈◊〉
,
or
any
other
thing
that
is
to
be
drawne
by
hand
.
Of
Drawing
Hands
and
Feet
.
To
foreshorten
the
Hands
.
You
must
draw
the
perpendicular
lynes
from
the
Hands
seene
slopewise
or
a
syde
marked
with
their
proportions
and
measures
1.
2.
3.
4.
upon
which
the
shining
would
so
cast
them
downe
vnto
the
Dyagonall
marked
at
the
ende
with
O.
and
then
carry
the
reflexion
of
them
levelly
from
the
intersections
of
those
perpendicular
lynes
in
the
Dyagonall
aforesaid
untill
you
come
vnder
the
place
of
the
foreshortened
Hands
therby
to
gett
the
shaddowe
from
which
shaddow
you
must
perpendicularly
rayse
perpendicular
lines
vntill
then
may
meete
or
intersect
levell
lines
drawne
also
from
the
first
hand
seene
asyde
,
so
will
the
intersections
of
the
said
lase
named
levell
lines
and
raysed
perpendiculars
give
the
foreshortened
Hands
A.
B.
C.
D.
E.
Even
as
the
Eye
would
see
the
Sydewise
or
sloping
Hande
,
So
shall
the
workman
see
the
Hand
foreshortened
by
meanes
of
the
said
shaddow
.
The
actions
and
postures
of
the
hand
are
so
various
,
that
I
can
give
you
no
certain
rule
for
the
drawing
of
them
,
onely
take
this
for
a
generall
,
when
you
first
draw
it
with
charcoal
,
you
must
not
draw
it
exactly
,
that
is
to
say
,
to
make
all
the
Ioynts
or
〈◊〉
,
or
other
things
,
to
appear
but
onely
lightly
and
faintly
;
to
touch
out
the
bignes
of
the
hand
,
and
the
manner
of
the
turning
of
it
with
faint
touches
,
and
〈◊〉
with
hard
stroakes
;
then
if
you
have
done
that
right
,
part
the
fingers
asunder
,
or
close
,
according
to
your
pattern
,
with
the
like
faint
stroake
;
then
marke
that
place
where
any
of
the
fingers
do
stand
out
from
the
others
,
and
make
a
faint
resemblance
of
it
:
having
so
done
,
if
you
perceive
your
draft
to
be
〈◊〉
,
proceed
to
draw
it
more
perfectly
,
and
make
the
bending
of
the
Ioynts
,
the
rist-bone
,
and
other
principal
things
,
somewhat
exactly
.
And
lastly
goe
over
it
again
,
and
draw
every
small
bending
or
swelling
of
the
fingers
,
and
make
the
nails
,
knuckles
and
veins
,
so
many
of
them
as
appear
,
and
every
thing
else
that
you
can
discerne
.
Observe
this
rule
in
all
your
drawings
,
that
before
you
come
to
draw
your
draft
with
Black-lead
,
or
other
thing
,
you
must
blow
off
the
loose
dust
of
the
coal
off
from
your
drawing
,
or
faintly
to
whiske
over
your
drawing
with
a
fether
,
that
so
you
may
leave
it
faint
,
so
that
you
must
but
Iust
perceive
your
stroakes
,
and
by
this
means
you
will
the
better
see
how
to
draw
it
againe
with
your
black-lead
,
otherwise
you
would
not
be
able
to
discern
your
stroaks
.
For
the
proportions
of
a
hand
,
you
have
it
sufficiently
set
downe
in
the
print
,
by
lines
and
figures
,
which
shews
the
equalities
of
proportion
in
a
hand
,
and
how
many
equall
measures
there
are
in
it
,
which
you
should
endeavour
to
be
acquainted
with
,
that
so
you
might
know
when
a
hand
is
well
proportioned
,
with
Iust
and
equall
distances
;
but
I
would
you
should
take
notice
of
this
rule
,
or
exception
,
according
as
the
hand
turns
one
way
or
other
,
the
proportions
must
be
shortned
,
according
as
they
appear
to
the
eye
,
as
you
shall
see
in
the
fore-shortning
of
the
hand
in
the
print
;
so
much
as
the
hand
turns
away
from
our
sight
,
so
much
it
looses
of
its
ordinary
proportion
,
and
is
made
to
shorten
unto
that
proportion
that
the
eye
Iudges
of
it
,
nay
sometimes
a
whole
finger
,
sometimes
two
or
three
,
or
more
,
is
lost
to
our
sight
,
by
the
turning
of
the
hand
another
way
from
us
,
and
so
they
must
be
holy
left
out
,
and
not
made
.
For
feet
there
is
not
so
much
difficulty
in
the
making
of
them
,
as
in
hands
;
and
in
drawing
of
them
,
you
must
proceed
to
the
same
way
that
was
shewed
for
the
making
of
hands
.
When
you
can
draw
hands
and
feet
pretty
well
,
then
goe
to
arms
and
legs
,
wherein
is
little
difficulty
;
when
you
can
draw
the
hands
and
feet
,
afterwards
proceed
to
whole
bodies
.
Of
Drawing
the
whole
body
rules
to
be
observed
.
1
IN
all
your
drawings
you
must
draw
it
at
first
with
your
coal
,
but
very
lightly
and
faintly
,
for
then
you
may
the
easier
mend
it
if
you
draw
amisse
.
2
In
the
drawing
of
a
body
,
you
must
begin
with
the
head
,
and
be
sure
to
give
a
Iust
proportion
and
bignesse
to
that
,
because
all
the
body
must
be
proportioned
according
to
the
head
.
3
At
the
first
drawing
of
the
body
with
your
coal
,
you
must
draw
nothing
perfect
or
exact
before
you
see
that
the
whole
draft
is
good
,
and
then
you
may
finish
one
thing
after
another
as
curiously
as
you
can
.
The
proportion
of
a
Man
to
be
seene
standing
forward
.
In
this
figure
is
to
be
observed
that
from
the
top
of
the
head
to
the
sole
of
the
feete
,
is
8.
measures
of
the
head
,
and
the
head
4
lengthes
of
the
nose
,
the
which
measures
are
upon
a
perpendicular
line
.
〈◊〉
the
head
figured
with
1.
the
second
to
the
breasts
.
2.
the
3d.
to
the
navel
3.
the
4th
.
to
the
privities
.
4.
the
5th
.
to
the
midle
of
that
thigh
5.
the
6th
.
to
the
lower
part
of
the
knee
6.
the
7th
.
to
the
small
of
the
leg.
7.
the
eight
reaching
to
the
heele
&
sole
of
the
feet
.
8.
Likewise
the
same
8.
measures
are
to
be
observed
from
the
end
of
the
fingers
of
the
right
hand
,
to
the
end
of
the
left
hand
fingers
:
the
breadth
of
the
shoulders
containeth
2
measures
of
the
head
,
&
the
breadth
of
the
hips
2
measures
of
the
face
as
appeareth
in
the
vnshadowed
figure
.
5
In
your
drawing
be
sure
you
place
the
paralel
Ioynts
,
sinews
and
musles
,
directly
opposite
in
a
strait
even
line
one
against
the
other
,
as
the
shoulders
,
the
arme-pits
,
the
wast
,
the
hips
,
the
knees
,
and
so
every
thing
else
,
that
one
may
not
be
higher
or
lower
then
the
other
,
that
the
body
may
not
seem
crooked
or
deformed
,
but
every
paralel
Ioynt
bend
&c.
may
directly
answer
the
other
that
is
opposite
thereunto
;
and
to
this
end
you
may
strike
a
strait
stroak
directly
crosse
the
shoulders
to
direct
you
to
place
them
even
and
strait
one
against
the
other
,
so
also
you
may
do
in
other
places
,
as
the
arm-pits
,
wast
,
hips
,
thighes
,
or
any
other
place
,
where
you
should
place
one
thing
even
with
the
other
;
for
you
must
have
the
same
care
in
all
parts
of
the
body
,
as
you
have
in
one
place
where
any
bendings
or
members
of
the
body
have
,
or
do
require
a
direct
opposition
one
against
the
other
,
you
may
make
use
of
this
help
and
direction
.
6
Observe
that
if
the
body
turne
one
way
or
other
,
then
this
stroake
must
be
so
struck
,
so
that
it
may
answer
the
bowing
of
the
body
,
as
if
the
body
stoop
a
little
downwards
,
the
stroak
must
be
struck
sloaping
or
sideways
,
and
so
you
must
then
make
the
shoulders
and
other
things
which
should
stand
strait
against
one
another
,
to
be
somewhat
higher
then
one
another
,
so
that
that
side
that
the
body
turns
upon
the
shoulders
and
other
things
that
otherwise
should
be
placed
even
one
against
the
other
must
be
made
somewhat
lower
the
other
side
,
more
or
lesse
,
according
as
the
body
stoops
more
or
lesse
.
7
As
you
are
to
be
carefull
in
the
right
placing
of
all
level
or
paralel
Ioynts
,
bendings
,
sinews
and
〈◊〉
,
so
you
must
look
exactly
to
all
perpendicular
Ioynts
,
musles
,
&c.
that
is
when
you
have
drawn
the
outmost
draft
,
and
are
come
to
draw
the
Ioynts
and
musles
that
are
contained
within
the
body
,
you
must
be
as
exact
in
placing
them
,
that
are
directly
Iust
under
one
another
,
as
you
are
in
placing
them
even
,
that
are
opposite
one
to
the
other
;
and
to
this
end
that
you
may
place
things
exactly
perpendicular
,
that
is
in
a
strait
line
under
one
another
;
you
may
strike
a
strait
perpendicular
line
from
the
throat
pit
downe
to
the
privities
,
Iust
in
the
middle
or
seam
of
the
body
,
where
you
may
discerne
the
parting
of
the
ribs
,
and
so
from
thence
strait
downe
to
the
feet
,
as
you
shall
see
in
the
print
of
the
man
,
the
line
will
direct
you
to
place
things
evenly
perpendicular
,
that
the
body
may
stand
strait
upright
,
and
not
appear
crooked
and
awry
.
8
Take
notice
of
the
bowings
and
bendings
that
are
in
the
body
,
to
make
that
part
that
is
opposite
to
that
which
bends
to
answer
to
it
in
bending
with
it
,
as
if
one
side
of
the
body
bend
in
,
the
other
side
must
stand
out
answerable
to
the
bending
in
of
the
other
side
,
if
the
back
bend
out
the
belly
must
bend
in
,
if
the
belly
come
in
,
the
back
must
stick
out
,
if
the
breech
stick
out
,
the
thigh
that
answers
to
it
in
opposition
,
must
come
in
:
so
also
,
in
any
other
part
of
the
body
;
as
if
the
knee
bend
out
,
the
hams
that
answer
to
it
must
come
in
,
and
so
for
any
other
Ioynts
in
the
body
this
rule
must
be
exactly
observed
,
otherwise
the
body
will
be
made
grosly
and
absurdly
,
and
will
be
very
gowty
without
any
proportion
.
9
Indeavour
to
make
all
things
of
an
equall
proportion
and
bignes
,
not
to
make
one
arme
bigger
then
the
other
,
or
one
leg
bigger
then
the
other
,
or
one
breast
bigger
then
the
other
,
or
any
one
part
of
the
body
in
an
unIust
proportion
,
but
as
every
thing
must
answer
to
the
bignes
of
the
face
,
so
one
member
must
answer
to
another
in
bignes
,
that
so
there
may
be
a
sweet
harmony
in
the
parts
of
the
body
,
that
it
may
not
have
broad
shoulders
,
and
a
thin
slender
waste
,
a
raw-bone
arme
,
and
a
thick
gowty
leg
,
or
any
part
disproportionable
from
the
other
,
unlesse
it
be
so
that
any
part
of
the
body
doth
turne
awry
from
our
eye
,
as
if
the
one
arme
should
be
seen
side-wayes
,
and
the
other
fore-right
then
the
one
arme
must
be
made
so
much
less
then
the
other
by
how
much
it
turns
away
from
our
sight
,
and
appears
lesse
to
our
eyes
,
and
so
if
one
legg
be
seen
full
or
fore-right
,
and
the
other
legg
be
seen
side-wayes
,
then
it
must
be
made
so
much
lesse
then
the
other
,
by
how
much
it
turnes
away
from
your
sight
.
The
proportion
of
a
woman
to
be
seene
afore
.
The
Proportion
&
measure
of
a
woman
to
be
seene
afore
,
is
like
the
〈◊〉
,
excepting
that
that
measure
of
the
breadth
betwene
the
shoulders
of
the
woman
〈◊〉
but
2
lengths
of
thē
face
,
as
appeares
by
that
pricked
line
athwart
the
breasts
and
from
that
Hippes
to
the
〈◊〉
.
2
lengths
of
the
head
,
marked
with
an
other
crosse
pricked
line
;
which
maketh
the
difference
betwene
the
man
&
that
Woman
and
you
must
make
the
Armes
Thighes
&
Legges
fatter
and
plumper
then
that
mans
,
euen
to
that
wrists
&
〈◊〉
Allso
you
must
not
make
that
muscles
as
of
that
man
.
The
Whole
figure
of
Mans
body
foreshortened
a
litle
&
seene
by
the
Sole
of
the
Foot
,
the
Back
upwards
.
Having
〈◊〉
〈◊〉
〈◊〉
〈◊〉
at
length
by
the
Syde
,
the
back
upwards
You
must
also
observe
the
measures
as
〈◊〉
in
the
levell
〈◊〉
〈◊〉
.
23.
4.
5.
6.
7.
8.
and
〈◊〉
up
the
〈◊〉
〈◊〉
and
proportions
by
the
〈◊〉
lynes
vpon
the
perpendicular
which
〈◊〉
the
〈◊〉
figure
and
the
Shadow
,
of
the
〈◊〉
〈◊〉
〈◊〉
〈◊〉
.
〈◊〉
to
make
the
figure
of
the
Shadow
you
〈◊〉
draw
a
Lyne
〈◊〉
in
〈◊〉
midse
of
〈◊〉
〈◊〉
therin
〈◊〉
〈◊〉
〈◊〉
&
measures
marked
1.
2.
3.
4.
5.
6.
7.
8.
The
〈◊〉
〈◊〉
〈◊〉
for
〈◊〉
〈◊〉
the
second
2
for
〈◊〉
Shoulders
and
so
consequently
of
the
rest
unto
〈◊〉
〈◊〉
measure
.
And
to
make
〈◊〉
shadow
as
〈◊〉
Sonne
〈◊〉
〈◊〉
upon
the
Back
.
And
to
make
the
〈◊〉
you
must
〈◊〉
perpendicular
lynes
.
proceeding
from
the
figure
stretched
at
length
.
&
seene
a
syde
by
the
coresponding
〈◊〉
of
which
and
〈◊〉
levell
〈◊〉
me
for
shortened
lynes
and
〈◊〉
of
the
same
seene
by
〈◊〉
〈◊〉
of
the
feet
,
the
back
upwards
is
described
as
appeareth
in
the
〈◊〉
of
this
present
〈◊〉
.
11
Observe
the
exact
distance
of
one
thing
from
another
,
how
far
distant
they
are
,
that
you
may
be
exact
in
your
draft
,
and
perfectly
imitate
your
patterne
.
12
Observe
how
much
one
part
of
the
body
sticks
out
beyond
the
other
,
or
falls
in
within
the
other
,
or
whether
it
stands
even
with
the
other
,
and
to
this
end
you
may
strike
a
small
stroake
downe
from
the
top
of
the
shoulder
along
by
the
out-side
of
the
body
strait
down
to
the
feet
,
and
this
will
direct
you
how
farre
one
part
of
the
body
should
stand
out
beyond
the
other
,
and
how
far
other
parts
should
come
in
;
let
nothing
be
done
without
a
rule
and
Iudgement
.
13
Let
nothing
be
done
hard
,
sharpe
or
cutty
,
that
is
,
let
not
the
bendings
that
are
either
in
the
body
,
or
in
the
Ioynts
be
made
as
if
they
were
〈◊〉
or
cuts
in
the
flesh
,
with
sharpe
corner
stroakes
,
but
finely
round
and
sloaping
,
like
bendings
,
and
not
like
cuts
in
the
body
:
this
is
a
common
fault
among
learners
which
they
cannot
chuse
but
commit
&
〈◊〉
you
should
be
the
more
careful
of
it
by
imitating
your
patterne
exactly
,
in
the
〈◊〉
manner
of
making
every
stroake
and
touch
,
and
indeavour
to
find
out
the
ground
and
reason
of
every
small
stroak
and
touch
that
is
given
,
for
nothing
must
be
done
without
Iudgement
.
Now
I
have
given
you
directions
for
the
drawing
of
the
body
;
I
would
in
the
next
place
give
some
instructions
,
wherby
you
might
have
some
Iudgement
in
a
good
draft
.
Of
Perspective
Proportion
.
PErspective
Proportion
differeth
much
from
the
former
,
for
according
to
the
〈◊〉
of
the
eye
from
a
thing
it
Iudgeth
what
proportion
it
hath
,
as
if
one
part
〈◊〉
the
body
come
neerer
to
the
eye
,
then
the
other
,
it
is
made
so
much
begger
then
the
other
part
of
the
body
,
which
turns
away
from
the
eye
,
as
if
one
legg
stand
behind
another
;
the
formost
legg
that
comes
first
to
the
eye
must
be
made
somewhat
bigger
,
and
longer
〈◊〉
the
other
,
because
the
eye
Iudgeth
so
of
it
;
and
so
it
is
for
any
other
part
of
the
body
,
the
〈◊〉
must
be
lessened
,
according
to
the
distance
that
it
is
from
the
eye
.
The
second
thing
in
good
drafts
,
is
gracefull
posture
,
and
proper
action
,
that
is
,
that
the
true
naturall
motion
of
every
thing
be
exprest
in
the
life
and
spirit
of
it
,
that
is
,
to
quicken
the
life
by
art
,
as
in
a
King
to
expresse
the
greatest
〈◊〉
,
by
putting
him
in
such
a
gracefull
posture
,
as
may
move
the
spectators
with
reverence
to
behold
him
;
and
so
to
make
a
Souldier
,
to
draw
him
in
such
a
posture
,
as
may
betoken
the
greatest
courage
,
boldnes
and
valour
;
and
so
to
make
a
Clowne
in
the
most
detestable
and
clownish
posture
;
and
so
for
every
thing
,
that
the
inward
affection
and
disposition
of
the
mind
be
most
lively
exprest
in
the
outward
action
and
gesture
of
the
body
.
Now
that
you
might
attaine
to
a
skill
herein
;
I
would
counsell
you
diligently
to
observe
the
works
of
famous
Masters
,
who
doe
use
to
delight
themselves
in
seeing
those
that
fight
at
cuffs
,
to
observe
the
eyes
of
privy
murtherers
,
the
courage
of
〈◊〉
,
the
actions
of
Stage-players
,
the
intising
allurements
of
Courtesans
,
and
those
who
are
led
to
execution
,
to
mark
the
contracting
of
their
brows
,
the
motions
of
〈◊〉
〈◊〉
,
and
the
carriage
of
their
whole
body
,
to
the
end
they
might
〈◊〉
them
to
the
life
in
their
drawings
and
works
.
The
third
thing
in
good
drast
is
,
loosnesse
,
that
is
,
that
the
body
be
not
made
〈◊〉
in
any
part
,
but
that
every
Ioynt
may
have
its
proper
and
naturall
bending
,
so
as
it
may
with
greatest
life
express
your
intention
,
that
the
figure
may
not
seem
lame
,
and
the
Ioynts
stiffe
,
as
if
they
were
not
plyable
or
capable
of
bending
,
but
every
Ioynt
and
limbe
may
have
its
proper
and
natural
moisture
,
according
as
it
may
best
suite
with
,
and
become
the
posture
in
which
the
figure
is
sett
The
fourth
thing
in
drawing
is
fore
.
shortning
,
which
is
to
take
things
as
they
appeare
to
our
eye
,
and
not
to
draw
the
full
length
and
proportion
of
every
part
,
but
to
make
it
shorter
,
by
reason
the
full
length
and
bignes
is
hid
from
our
fight
;
as
if
I
would
draw
a
ship
standing
fore-right
,
there
can
appear
but
onely
her
fore-part
,
the
rest
is
hid
from
our
sight
,
and
therefore
cannot
be
exprest
;
or
if
I
would
draw
a
horse
standing
fore-right
,
looking
full
in
my
face
,
I
must
of
necessity
foreshorten
him
behind
,
because
his
sides
and
flanks
appear
not
unto
me
,
wherefore
observe
this
rule
;
That
you
ought
rather
to
imitate
the
visible
proportion
of
things
,
then
the
proper
and
naturall
proportion
of
them
,
for
the
eye
and
the
understanding
together
being
directed
by
the
perspective
art
,
ought
to
be
the
guide
,
measure
and
Iudge
of
drawing
and
painting
.
The
fifth
thing
in
good
drawing
is
,
That
every
thing
be
done
by
the
guidance
of
nature
,
that
is
,
that
nothing
be
exprest
,
but
what
doth
accord
and
agree
with
nature
in
every
point
;
as
if
I
would
make
a
man
turning
his
head
over
his
shoulder
,
I
must
not
make
him
to
turne
more
then
nature
will
permit
,
not
any
thing
must
be
foarst
beyond
the
limits
of
nature
,
neither
must
any
thing
be
made
to
come
short
of
nature
,
but
nature
though
it
is
not
to
be
strained
beyond
its
centure
,
yet
it
must
be
quickned
to
the
highest
pitch
of
it
,
as
if
I
would
expresse
a
King
,
I
must
expresse
him
in
the
most
MaIestick
posture
that
I
can
invent
;
and
if
I
would
draw
a
Clown
,
I
must
draw
him
in
the
most
clownish
action
that
can
be
,
yet
must
neither
the
one
nor
the
other
be
drawne
in
such
a
posture
as
will
not
agree
with
the
motion
of
nature
,
that
is
,
to
draw
such
a
posture
which
a
man
cannot
imitate
with
his
naturall
body
,
and
so
for
any
thing
else
whatsoever
nature
must
be
the
patterne
of
all
kind
of
drafts
.
Of
Drawing
Garments
.
WHen
you
are
able
to
draw
naked
drafts
well
,
you
will
finde
a
matter
of
no
great
difficulty
to
doe
bodies
with
garments
upon
them
,
yet
neverthelesse
it
will
not
be
amiste
to
give
you
some
directions
about
the
same
.
1
First
,
you
must
draw
the
outmost
lines
of
your
garments
lightly
,
and
in
this
you
must
be
very
carefull
,
for
the
whole
grace
of
a
picture
lies
in
the
outmost
draft
,
and
not
in
the
curious
work
within
.
Now
that
you
might
performe
this
exactly
,
you
must
suite
your
garments
to
the
body
,
and
make
them
bend
with
the
body
,
and
not
to
make
them
strait
there
where
the
body
should
bend
;
if
you
would
rightly
fit
the
garments
to
the
body
,
you
must
observe
which
part
of
the
body
bends
in
or
out
,
that
the
garment
may
answer
to
the
body
upon
the
least
turning
one
way
or
oother
the
garment
may
turne
with
it
;
you
must
also
observe
where
the
body
should
come
if
it
were
naked
,
and
there
draw
your
garments
in
the
right
place
,
making
it
bend
according
as
the
Ioynts
and
limbs
of
the
body
should
bend
:
Excellent
workmen
doe
make
the
body
appeare
plainly
thorow
the
garments
,
especially
where
the
garment
lyes
close
and
flat
upon
the
body
,
and
indeed
where
ever
the
body
bends
in
or
sticks
〈◊〉
in
any
one
part
more
then
other
,
it
should
be
showne
in
a
plaine
and
vifible
manner
through
the
garments
,
which
thing
you
must
take
notice
of
in
your
drawing
,
either
by
a
patterne
,
or
by
the
life
.
The
proportion
and
measure
of
a
Childe
standing
forward
containeth
but
fine
measures
of
the
head
,
to
〈◊〉
3
from
the
〈◊〉
of
the
head
to
the
priuities
,
〈◊〉
two
more
in
the
〈◊〉
and
legges
,
as
〈◊〉
in
this
figure
,
and
the
breadtis
〈◊〉
the
〈◊〉
is
the
lonath
of
a
head
and
a
halfe
,
as
apeares
by
a
〈◊〉
pricked
line
marked
〈◊〉
and
the
〈◊〉
of
the
body
aboue
the
〈◊〉
marked
also
with
a
crosse
pricked
line
is
the
〈◊〉
of
one
head
.
the
breadth
of
the
vpper
part
of
the
〈◊〉
marked
with
a
priked
line
oposite
to
the
〈◊〉
,
is
the
third
part
of
two
lengths
of
the
head
.
the
knee
marked
with
a
small
〈◊〉
pricked
line
and
a
little
†
at
both
ends
is
of
the
Iust
length
as
betweene
the
eye
and
chin
,
the
small
of
that
leg
and
the
brawne
of
the
arme
are
of
the
thicknes
of
the
〈◊〉
.
2
You
must
draw
the
greatest
folds
first
,
and
so
stroake
your
greater
folds
into
lesse
,
and
be
sure
you
let
one
fold
crosse
another
.
Directions
for
the
bestowing
of
your
lights
.
1
LEt
all
your
lights
be
placed
one
way
in
the
whole
work
,
as
if
the
light
fals
side-wayes
on
your
picture
,
you
must
make
the
other
side
which
is
furthest
from
the
light
,
darkest
,
and
so
let
your
lights
be
placed
altogether
,
on
one
side
,
and
not
confusedly
to
make
both
sides
alike
lightned
,
as
if
it
stood
in
the
midst
of
many
lights
,
for
the
body
〈◊〉
otherwise
be
lightned
equall
in
all
places
.
1
Because
the
light
doth
not
with
all
its
brightnesse
illuminate
any
more
then
that
part
that
is
directly
opposite
unto
it
.
2
The
second
reason
is
taken
from
the
nature
of
our
eye
,
for
the
first
part
of
the
body
coming
unto
the
eye
with
a
bigger
angle
is
seen
more
distinctly
;
but
the
second
part
〈◊〉
further
off
comes
to
the
eye
in
a
lesser
angle
,
and
being
lesser
lightned
〈◊〉
not
so
plainly
seen
as
the
first
.
By
this
rule
if
you
are
to
draw
two
or
three
men
standing
together
,
one
behind
another
,
though
all
of
them
receive
equally
the
light
,
yet
the
second
being
further
from
the
eye
must
be
made
darker
,
and
the
third
more
darke
.
2
That
part
of
the
body
must
be
made
lightest
,
which
hath
the
light
most
directly
opposite
to
it
,
as
if
the
light
be
placed
above
the
head
,
then
the
top
of
the
head
must
be
made
lightest
,
the
shoulders
next
lightest
,
and
so
it
must
loose
by
degrees
.
3
That
part
of
the
body
that
stands
furthest
out
,
must
be
made
lightest
,
because
it
comes
neerer
to
the
light
,
and
the
light
looseth
so
〈◊〉
of
its
brightnesse
,
by
how
much
any
part
of
the
body
bends
inward
,
because
those
parts
that
〈◊〉
out
doe
hinder
the
lustre
and
sull
brightness
of
the
light
from
those
parts
that
fall
any
thing
more
inward
,
therefore
by
how
much
one
part
of
the
body
sticks
out
beyond
the
other
it
must
〈◊〉
〈◊〉
so
much
lighter
then
the
other
,
or
if
it
fal
more
inward
,
it
must
be
made
〈◊〉
〈◊〉
.
Sattins
and
Silks
,
and
all
other
bright-shining
stuffs
,
have
certain
bright
〈◊〉
,
exceeding
light
with
sudden
bright
glances
,
especially
where
the
light
falls
brightest
,
and
so
the
reflections
are
lesse
bright
,
by
how
much
the
garment
fals
more
inward
from
the
light
.
The
like
is
seen
in
armour
,
〈◊〉
pots
,
or
any
glittering
mettals
,
you
shall
see
a
sudden
brightnesse
in
the
middle
or
centure
of
the
light
,
which
discovers
the
shining
nature
of
such
things
.
Of
Landskips
.
LAndskip
is
expressing
of
land
by
hils
,
woods
,
castels
,
seas
,
valleys
,
ruines
,
rocks
,
Cities
,
towns
,
&c.
and
there
is
not
so
much
difficulty
in
〈◊〉
,
as
in
drawing
figures
therefore
take
onely
these
rules
for
it
.
1
The
best
way
of
making
Landskips
is
to
make
them
shoot
away
one
〈◊〉
lower
then
another
,
which
hath
been
practised
by
our
best
workmen
of
〈◊〉
,
but
〈◊〉
have
run
into
a
contrary
error
,
by
making
the
Landskip
mount
up
higher
and
〈◊〉
,
till
it
reach
up
a
great
heigth
,
that
it
appears
to
touch
the
clouds
,
as
if
they
had
stood
at
the
bottome
of
a
〈◊〉
,
when
they
took
the
Landskip
which
is
altogether
improper
,
for
we
can
discerne
no
prospect
at
the
bottom
of
an
hill
,
but
the
most
proper
way
of
making
a
Landskip
,
is
to
make
the
neerest
hill
highest
,
and
so
to
make
the
rest
that
are
further
off
,
to
shoot
away
under
that
,
that
the
Landskip
may
appear
to
be
taken
from
the
top
of
an
hill
.
2
You
must
be
very
carefull
to
lessen
every
thing
proportionable
to
their
distance
,
expressing
them
bigger
or
lesse
according
to
the
distance
they
are
from
the
eye
.
3
You
must
make
all
your
lights
fal
one
way
,
both
upon
the
ground
and
trees
,
and
all
things
else
,
and
all
the
〈◊〉
must
be
cast
one
way
.
So
likewise
you
must
observe
the
motions
of
the
Sea
,
by
representing
the
〈◊〉
agitations
of
the
waters
,
as
likewise
in
rivers
,
the
flashings
of
the
waters
upon
boats
and
ships
floating
up
and
downe
the
waters
,
you
must
also
represent
the
motions
of
waters
falling
downe
from
an
high
place
,
but
especially
when
they
fall
upon
some
rock
or
stones
,
where
you
shall
see
them
spiriting
up
in
the
aire
and
sprinkling
all
about
.
Also
clouds
in
the
aire
require
to
have
their
motions
now
gathered
together
with
the
winds
,
now
violently
condensated
into
haile
,
thunder-bolts
,
lightning
,
rain
,
and
such
like
;
finally
,
you
can
make
nothing
which
requireth
not
his
proper
motions
,
according
unto
which
it
ought
to
be
represented
:
observe
this
rule
that
all
your
motions
which
are
caused
by
the
wind
must
be
made
to
move
one
way
,
because
the
wind
can
blow
but
one
way
at
once
.
Thus
much
for
directions
to
those
who
are
contented
to
take
some
pains
to
attain
so
noble
a
science
;
Now
there
follow
certain
directions
for
those
that
are
unskilful
,
and
have
not
spare
time
sufficient
to
spend
in
the
practise
of
those
directions
,
yet
are
desirous
upon
occasions
,
&
for
certain
ends
to
take
the
copies
of
some
lesser
prints
or
pictures
which
they
oftentimes
may
meet
withall
,
the
which
are
very
facile
and
easie
to
be
performed
.
How
to
take
the
perfect
Draft
of
any
picture
.
TAke
a
sheet
of
the
finest
white
paper
you
can
get
,
Venice
paper
is
the
best
,
〈◊〉
it
all
over
with
cleane
linsed
oyle
on
one
side
of
the
paper
,
then
wipe
the
oyle
off
from
the
paper
as
clean
as
you
can
,
then
let
the
paper
stand
and
dry
,
otherwise
it
will
spoyl
a
printed
picture
,
by
the
soaking
thorow
of
the
oyle
;
having
thus
prepared
your
paper
,
lay
it
on
any
printed
or
painted
picture
,
and
you
may
see
perfectly
thorow
and
so
with
black
lead
pen
,
you
may
draw
it
over
with
ease
:
after
you
have
thus
drawne
the
picture
on
the
oyled
paper
,
put
it
upon
a
sheet
of
cleane
white
paper
,
and
with
a
little
sticke
pointed
,
or
which
is
better
〈◊〉
a
feather
,
taken
out
of
a
Swallows
wing
,
draw
over
your
stroakes
which
you
drew
upon
the
oyled
paper
,
and
so
you
shall
have
the
same
very
prettily
and
neatly
,
and
exactly
drawne
upon
the
white
paper
which
you
may
set
out
with
colours
at
your
own
pleasure
.
Another
way
.
HAving
drawn
the
Picture
,
take
the
oyled
paper
,
and
put
it
upon
a
sheet
of
clean
white
paper
,
and
〈◊〉
over
the
drawing
with
a
pen
,
then
from
the
clean
sheet
that
was
pricked
,
pownse
〈◊〉
upon
another
,
that
it
take
some
small
coal
,
powder
it
fine
,
and
wrap
it
in
a
〈◊〉
of
some
fine
linnen
,
and
binde
it
up
therein
loosly
,
and
clap
it
lightly
over
all
the
〈◊〉
line
by
little
and
little
,
and
afterwards
draw
it
over
againe
by
little
and
little
,
and
afterwards
draw
it
over
againe
with
a
pen
or
pensell
,
or
what
you
please
.
Another
way
.
TAke
a
sheet
of
fine
white
paper
,
and
rub
it
all
over
on
one
side
with
black-lead
,
or
else
with
vermilion
tempered
with
a
little
fresh
butter
,
then
lay
this
coloured
side
upon
a
sheet
of
white
paper
,
then
lay
the
picture
you
would
copy
out
upon
the
other
side
of
the
coloured
paper
,
and
with
a
small
pointed
sticke
,
or
with
a
Swallows
quill
goe
over
all
the
〈◊〉
of
your
picture
,
and
then
you
shall
have
your
stroakes
very
prettily
drawn
on
the
white
paper
.
Another
way
.
TAke
a
piece
of
white
Lanthorne
horne
,
and
lay
it
upon
your
picture
,
then
with
a
hard
nipt
pen
made
with
a
Ravens
quill
draw
the
stroake
of
your
picture
upon
the
horne
,
and
when
it
is
dry
,
breath
upon
the
horne
twice
or
thrice
,
and
presse
it
hard
upon
a
peice
of
white
paper
a
little
wetted
,
and
the
picture
you
drew
upon
the
horn
,
will
stick
fast
upon
the
paper
.
Another
way
.
TAke
〈◊〉
sheet
of
white
paper
,
rub
it
all
over
with
fresh
butter
,
and
dry
it
in
by
〈◊〉
fire
;
then
rub
one
side
of
it
all
over
with
lamp-black
or
lake
,
or
any
other
colour
finely
ground
:
lay
this
paper
upon
a
sheet
of
〈◊〉
paper
with
the
coloured
sid
downwards
,
and
upon
it
lay
the
picture
you
would
copy
out
,
and
trace
the
stroak
over
with
a
fether
of
a
Swallows
wing
,
and
you
shall
have
your
desire
.
Another
way
.
TAke
some
lake
,
and
grinde
it
fine
,
and
temper
it
with
lin-seed
oyle
,
and
afterwards
with
a
pen
draw
with
this
mixture
,
instead
of
inke
,
all
the
out-stroake
of
any
paper
picture
,
also
the
musles
,
then
wet
the
contrary
side
of
the
picture
,
and
presse
it
hard
upon
a
sheet
of
cleane
white
paper
,
and
it
will
leave
behind
it
all
〈◊〉
〈◊〉
of
the
said
picture
that
you
drew
over
it
.
Another
way
.
TAke
Printers
blacke
,
grinde
it
fine
,
and
temper
it
with
faire
water
,
and
with
a
pen
dipt
therein
draw
over
the
master
stroakes
,
and
out-lines
of
the
musles
,
wet
then
a
faire
paper
with
a
spunge
,
or
other
thing
,
and
clap
the
paper
upon
it
,
pressing
it
very
hard
thereupon
,
and
you
shall
finde
the
stroakes
you
drew
left
upon
the
faire
paper
.
Another
most
easie
way
.
LAy
a
paper
print
upon
a
bright
glasse
window
,
or
paper
window
that
is
oyled
with
the
back-side
of
the
print
upon
the
window
,
then
lay
a
clean
paper
upon
the
print
,
and
draw
the
out-stroaks
upon
the
paper
,
which
may
visibly
see
you
,
it
being
sett
up
against
the
light
,
and
if
you
wil
shadow
it
siner
you
may
.
An
easie
way
to
lessen
any
Picture
that
is
to
draw
a
picture
from
another
in
a
lesser
Compasse
.
〈◊〉
take
a
ruler
and
a
black-lead
plummet
made
an
even
square
;
now
,
you
must
divide
〈◊〉
〈◊〉
into
divers
equal
parts
with
a
pair
of
compasses
,
and
draw
lines
with
a
〈◊〉
and
black
lead
plummet
quite
over
the
picture
,
make
also
other
lines
acrosse
,
so
that
〈◊〉
picture
may
be
divided
into
equall
squares
,
then
take
a
faire
paper
and
make
〈◊〉
〈◊〉
〈◊〉
upon
it
as
there
is
in
the
picture
;
you
may
make
them
as
little
as
〈◊〉
will
,
but
be
sure
they
are
equall
in
number
with
those
in
the
Picture
,
having
〈◊〉
drawne
〈◊〉
the
picture
and
paper
into
squares
;
take
a
black-lead
pen
and
draw
the
picture
by
little
and
little
,
passing
from
square
to
square
,
and
in
what
part
of
the
〈◊〉
〈◊〉
picture
lies
,
in
that
same
square
put
the
drawing
,
and
in
the
same
place
of
〈◊〉
〈◊〉
upon
the
paper
untill
you
have
finished
the
whole
,
then
draw
it
over
with
a
pen
,
in
which
second
drawing
of
it
over
you
may
easily
mend
any
fault
;
when
it
is
〈◊〉
it
over
with
the
crumme
of
white
bread
,
and
it
will
take
off
all
the
black
-
〈◊〉
stroakes
,
and
your
draft
onely
will
remaine
faire
upon
the
paper
.
An
easie
way
to
take
the
naturall
and
lively
shape
of
the
leafe
,
of
any
hearbe
or
tree
,
which
thing
passeth
the
art
of
man
to
imitate
with
Pen
or
Pensell
.
FIrst
take
the
leafe
that
you
would
have
,
and
gently
bruise
the
ribs
and
veines
on
the
back-side
of
it
,
afterwards
wet
that
side
with
linsed
oyle
,
and
then
presse
it
hard
upon
a
peice
of
cleane
white
paper
,
and
so
you
shall
have
the
perfect
figure
of
the
said
leafe
with
every
veine
thereof
so
exactly
exprest
,
as
being
lively
colored
,
it
would
seem
to
be
truly
naturall
.
Of
Washing
Maps
or
Prints
.
WAshing
Pictures
is
nothing
else
but
the
setting
them
out
with
colours
,
and
for
the
effecting
hereof
you
must
be
provided
with
store
of
pensels
,
some
smaller
The
3.
whole
Anatomique
figures
Before
Behind
&
Sydewise
.
In
these
three
whole
Anatomiques
are
represented
the
Muscles
aswell
Before
and
Behynde
as
Sydewyse
.
And
the
sayd
Figures
are
made
by
such
observations
and
measures
as
is
before
herein
declared
.
And
you
may
note
that
the
draught
of
the
Figure
for
before
serueth
also
for
the
Figure
〈◊〉
So
as
in
such
〈◊〉
that
in
the
makeing
of
the
one
you
also
〈◊〉
made
the
other
taking
the
opposyte
of
the
〈◊〉
and
the
〈◊〉
spaces
which
are
betweene
the
〈◊〉
are
the
〈◊〉
measures
and
〈◊〉
of
the
Head
which
are
to
be
obserued
in
Humane
〈◊〉
.
〈◊〉
〈◊〉
,
Allum-water
,
Gum-water
,
Water
made
of
Sope
ashes
,
size
,
varnish
,
〈◊〉
〈◊〉
of
good
colours
well
prepared
.
How
to
make
Allum
Water
,
and
the
〈◊〉
of
it
.
TAke
a
quart
of
faire
water
,
and
boyle
it
in
a
quarter
of
a
pound
of
Allum
,
seeth
it
untill
the
Allum
be
desolved
,
then
let
it
stand
a
day
,
and
so
make
use
of
it
.
With
this
water
you
must
wet
over
your
pictures
that
you
intend
to
colour
,
for
it
will
keep
the
colours
from
sinking
into
the
paper
,
also
it
will
adde
a
lustre
unto
the
colours
,
and
make
them
shew
fairer
,
and
it
will
also
make
them
continue
the
longer
without
fading
;
you
must
let
the
paper
dry
of
it selfe
after
you
have
once
wetted
it
,
before
you
either
lay
on
your
colours
,
or
before
you
wet
it
againe
,
for
some
paper
will
need
to
be
wet
foure
or
five
times
.
If
you
intend
to
varnish
your
pictures
,
after
you
have
coloured
them
you
must
first
size
them
,
that
is
,
rub
them
over
with
white
starch
with
a
brush
,
instead
of
doing
them
with
Allum
water
,
but
be
sure
you
size
it
in
every
place
,
or
else
the
varnish
will
sinke
thorow
:
Note
,
if
your
varnish
be
too
thick
you
must
put
into
it
so
much
Turpentine
oyle
as
will
make
it
thinner
.
How
to
make
Gum-water
.
TAke
cleane
water
a
pint
,
and
put
it
into
three
ounces
of
the
clearest
and
whitest
Gum
araback
,
and
let
it
stand
untill
the
gum
be
desolved
,
and
so
mix
all
your
colours
with
it
;
if
the
gum
water
be
very
thick
it
will
make
your
colours
shine
,
but
then
your
colours
will
not
work
so
easily
,
therefore
the
best
is
,
that
the
water
be
not
〈◊〉
too
thick
nor
too
thin
.
How
to
make
Lime
water
.
TAke
unsack't
lime
,
and
cover
it
with
water
,
an
inch
thick
,
let
it
stand
so
one
night
,
in
the
〈◊〉
power
off
the
clear
water
and
reserve
it
in
a
cleane
thing
for
your
use
;
with
this
water
you
must
temper
your
sap
green
when
you
would
have
a
blew
colour
of
it
.
How
to
make
water
of
Soap-Ashes
.
STeep
Soap-ashes
a
night
in
rain-water
,
in
the
morning
powre
off
the
clearest
.
This
water
is
to
temper
you
Brazil
withall
.
How
to
make
Size
TAke
a
quantity
of
blew
,
and
let
it
steep
a
night
in
water
,
to
make
it
the
readier
to
melt
in
the
morning
,
then
set
it
on
a
coal
of
fire
to
melt
,
which
done
,
to
try
whether
it
be
neither
too
stiffe
nor
too
weak
,
for
the
meanest
is
best
,
take
a
spoonfull
thereof
and
set
it
in
the
aire
to
cool
,
or
fill
a
musle
shell
with
it
,
and
let
it
swim
in
cold
water
,
to
cool
the
sooner
if
it
be
too
stiffe
when
it
is
cold
put
more
water
to
it
,
if
too
weake
then
put
more
glew
into
it
,
and
when
you
would
use
it
,
make
it
lukewarme
,
and
so
use
it
.
This
is
to
wet
your
cloaths
in
if
you
intend
to
paist
your
maps
or
pictures
upon
cloath
,
or
you
may
take
white
starch
and
wet
your
sheet
,
and
wring
it
out
,
and
so
straine
it
upon
a
frame
,
or
nail
it
stretched
upon
a
wall
or
〈◊〉
,
and
so
paist
your
maps
or
pictures
thereon
.
The
Names
of
all
the
Colours
Pertaining
to
Washing
.
Blews
.
Blew-bice
.
Indico
.
Blew-verditer
.
Reds
.
Vermillion
.
Lake
.
Red-lead
.
Whites
.
Ceruse
.
White-lead
.
pickt
.
Blacks
.
Printers
Black
.
Ivory
Burnt
.
Greens
.
Verdigreece
.
Varditer-green
.
Sap-green
.
Copper-green
.
Yellows
.
Yellow-berries
.
Saffron
.
Light-Masticote
.
Browns
.
Spanish
Brown
.
Umber
or
Haire
Colour
.
Of
the
tempering
your
Colours
.
SOme
colours
must
be
grownd
,
and
some
washt
:
such
colours
as
are
to
be
grownd
you
must
first
grind
very
fine
,
in
faire
water
,
and
so
let
them
stand
and
dry
,
and
afterwards
grind
them
again
in
Gum-water
.
Those
that
are
to
be
washt
must
be
thus
used
.
TAke
a
quantity
of
the
colour
you
would
have
washt
,
and
put
it
into
a
shell
,
or
earthen
dish
,
then
cover
it
all
over
with
pure
faire
water
,
and
so
stir
up
and
downe
for
a
while
together
with
your
hand
,
or
a
wooden
spoon
till
the
water
be
all
coloured
,
then
let
the
colour
sinke
a
little
to
the
bottome
,
and
before
it
be
quite
setled
,
pour
out
the
top
into
another
dish
,
and
so
fling
the
bottome
away
,
and
let
the
other
stand
till
it
be
quite
setled
,
and
then
powre
off
the
water
,
and
mixe
it
with
gum-water
,
and
so
use
it
.
What
Colours
must
be
Grownd
,
and
what
washt
.
Grownd
.
Indico
.
Lake
.
Ceruse
.
White-lead
.
Spanish-Browne
.
Vmber
.
Printers
Black
.
Ivory
Burnt
.
Washt
.
Blew-Bice
.
Blew-Verditer
.
Green-Verditer
.
Red-lead
.
Light-Masticoat
.
Steept
.
These
must
be
steept
only
till
the
water
be
sufficiently
coloured
.
Verdigreece
in
Vineger
.
Sap-green
in
Vineger
.
Yellow-berries
in
Allum
water
.
Saffron
in
faire
water
.
Copper-green
is
made
of
Copper
.
How
to
make
Copper-Green
.
TAke
Copper
plates
,
or
any
shreds
of
Copper
,
and
put
distilled
Vineger
to
them
,
set
them
in
a
warme
place
untill
the
Vinegar
become
blew
,
then
powre
that
〈◊〉
into
another
pot
,
well
leaded
,
and
poure
more
Vineger
upon
the
Copper
plates
againe
,
letting
that
also
stand
untill
it
be
of
a
blew
colour
,
then
poure
it
unto
the
former
liquor
,
this
may
you
doe
so
often
untill
you
have
liquor
enough
,
then
let
that
liquor
stand
in
the
Sun
,
or
upon
a
slow
fire
till
it
be
thick
enough
,
and
it
will
be
an
excellent
green
.
The
use
and
nature
of
every
particular
Colour
.
1
BLew-Bice
is
the
most
excellent
Blew
next
to
Ultermarine
,
which
is
too
good
to
wash
withall
,
and
therefore
I
leave
it
out
here
,
and
put
in
Blew-bice
,
which
will
very
well
〈◊〉
in
the
steed
of
it
,
and
indeed
you
may
leave
out
both
and
use
Smelt
in
the
〈◊〉
of
them
,
but
that
it
will
not
worke
so
well
as
Bise
;
no
Bise
is
too
good
to
use
upon
all
occasions
,
but
onely
when
you
intend
to
bestow
some
cost
and
pains
upon
a
piece
,
otherwise
you
may
use
no
other
blew
in
your
worke
then
blew
Verditer
,
with
which
you
may
make
a
pretty
good
shift
without
any
other
blew
,
I
meane
in
ordinary
worke
.
2
Indico
is
a
dark
blew
,
and
is
used
principally
to
shadow
with
upon
your
other
blew
Indico
,
and
yellow
berries
mixed
together
make
a
dark
green
to
shadow
other
greens
with
in
the
darkest
places
.
3
Blew
Verditer
is
a
very
bright
pleasant
blew
,
and
the
easiest
to
worke
with
in
water
:
it
is
somewhat
inclining
to
a
green
,
and
being
mixed
with
yellow-berries
it
makes
a
good
green
:
this
blew
is
most
used
.
4
Verdigreece
is
a
good
green
,
but
subIect
to
decay
:
when
it
is
〈◊〉
upon
the
paper
it
wil
be
of
a
lighter
colour
then
it
is
when
you
lay
it
〈◊〉
on
,
therefore
to
preserve
it
from
that
fault
,
put
some
sap
green
amongst
it
to
dissolve
in
it
,
and
it
will
make
it
keep
its
colour
;
this
colour
is
of
a
poysonous
nature
,
and
therefore
you
must
be
carefull
how
you
use
it
,
that
it
come
not
neer
your
mouth
.
There
is
distilled
Verdigreece
to
be
bought
at
the
Coller-shops
,
that
is
a
far
better
green
then
the
other
,
but
it
is
somewhat
dear
,
and
the
other
will
serve
insteed
of
it
.
5
Verditer-Green
is
a
light
green
,
seldome
used
in
any
thing
but
in
colouring
of
I
andskips
,
those
places
that
should
show
a
far
off
,
and
it
is
good
for
such
a
purpose
,
because
it
is
somewhat
inclining
to
a
blew
,
but
you
may
make
a
shift
to
doe
any
thing
well
enough
without
it
;
for
a
little
blew
Verditer
mixt
with
Copper
green
and
〈◊〉
little
white
,
will
make
Iust
such
another
colour
.
6
Sap-green
is
a
darke
durty
green
,
and
never
used
but
to
shadow
other
greens
in
the
darkest
places
,
or
else
to
lay
upon
some
darke
ground
,
behind
a
picture
,
which
requires
to
be
coloured
with
a
darke
green
,
but
you
may
make
shift
well
enough
without
this
green
,
for
Indico
and
Yellow-berries
make
Iust
such
another
Colour
.
7
Copper-green
,
it
is
an
excellent
transparent
green
,
of
a
shining
nature
if
it
be
thickned
in
the
Sun
,
or
upon
a
softly
fire
,
and
it
is
most
used
of
any
green
in
washing
of
〈◊〉
,
especially
in
colouring
of
the
grasse
ground
or
trees
,
for
it
is
a
most
perfect
grasse-green
.
8
Vermillion
it
is
the
perfectest
Scarlet
colour
,
you
need
not
grinde
it
,
no
nor
wash
it
,
it
is
fine
enough
of
it selfe
,
onely
temper
it
with
your
finger
in
a
gally
pot
or
oyster
shell
,
with
gum-water
,
and
it
will
be
ready
for
your
use
,
if
you
put
a
little
yellow-berries
amongst
it
,
it
vvill
make
it
the
brighter
colour
,
this
is
principally
used
for
garments
.
9
Lake
,
It
is
an
excellent
Crimson
colour
,
vvith
it
you
may
shadovv
Vermilion
,
or
your
yellovv
garments
in
the
darkest
places
;
vvith
it
you
make
a
skie
colour
,
being
mixed
onely
vvith
vvhite
;
vvith
it
you
make
flesh
colour
,
sometimes
mixed
together
vvith
vvhite
and
a
little
red-lead
,
it
is
an
excellent
colour
of
it selfe
to
colour
garments
,
or
the
like
Indian
lake
is
the
best
lake
,
but
too
good
to
be
used
to
wash
prints
with
,
unlesse
you
intend
to
bestow
great
curiosity
upon
your
worke
;
but
the
〈◊〉
sort
of
ordinary
lake
will
serve
well
enough
for
ordinary
uses
,
but
that
also
will
be
somewhat
costly
.
Therefore
instead
thereof
you
may
use
Red-Inke
thickned
upon
the
fire
,
and
it
will
〈◊〉
very
well
for
your
purpose
,
and
better
then
Lake
,
unlesse
it
be
very
good
.
Note
if
you
would
make
a
light
skie
colour
of
your
red-inke
,
you
must
not
thicken
it
,
or
if
you
would
mix
it
among
your
〈◊〉
-
colour
you
must
not
thicken
it
,
you
should
rather
chuse
to
shadow
your
Vermillion
with
Spanish
browne
then
thick
red
Inke
,
which
will
serve
well
for
that
purpose
,
and
is
much
cheaper
,
but
it
is
not
altogether
so
bright
a
colour
and
cleare
.
10
Red
-
〈◊〉
is
the
nearest
to
an
Orange
colour
,
and
putting
a
little
yellow
〈◊〉
into
some
of
it
,
will
make
it
a
perfect
Orange
colour
,
but
if
you
mean
to
make
flesh-colour
of
it
,
you
must
put
no
yellow
,
but
onely
then
when
you
would
make
〈◊〉
Orange
colour
.
This
colour
is
used
for
the
colouring
of
buildings
or
high-wayes
in
Landskip
,
being
mixed
with
a
little
white
.
Also
it
is
the
onely
bright
colour
to
shadow
yellow
garments
with
,
to
make
them
show
like
changeable
〈◊〉
;
it
is
good
also
to
colour
any
light
ground
in
a
picture
,
taking
only
the
thin
water
of
it
,
and
so
for
severall
other
uses
as
you
shall
see
occasion
for
it
.
To
foreshorten
feete
seene
forwards
,
you
must
make
the
foote
〈◊〉
〈◊〉
his
proportions
and
measures
seene
on
the
insyde
of
the
foote
marked
A.
and
from
those
prepertions
and
measures
marked
1234.
drawe
downe
〈◊〉
vntill
they
cutt
the
Diagonall
,
and
conuey
thence
lines
Paralell
,
to
make
the
〈◊〉
foote
vnder
the
place
of
the
foreshortned
foote
and
from
the
said
shadowed
you
must
rayse
perpendiculars
vnto
the
place
of
the
saide
foote
to
be
shortened
which
there
meeting
with
the
〈◊〉
lines
that
proceede
from
the
first
foote
by
intersections
of
them
there
,
giueth
vs
the
said
foote
Gēometrically
〈◊〉
as
〈◊〉
heere
represented
wherein
the
toes
of
the
feete
are
marked
A
,
B
,
C
,
D
,
E
,
and
the
lyke
is
to
be
observed
for
the
foote
seene
by
the
heele
marked
B
,
and
also
for
the
foote
marked
with
C.
seene
on
the
foreparte
,
and
lastly
in
like
〈◊〉
for
the
foote
marked
D
〈◊〉
are
foreshortned
by
the
same
rules
as
the
former
.
11
Yellow
berries
,
it
is
most
used
in
washing
of
all
other
yellows
,
it
is
bright
,
and
transparent
,
fit
for
all
uses
,
and
is
sufficient
without
the
use
of
any
other
yellow
,
12
Saffron
is
a
deep
yellow
if
you
let
it
stand
a
pretty
while
;
it
is
good
principally
to
shadow
yellow-berries
with
,
instead
of
Red-lead
:
and
it
is
somewhat
a
brighter
shadow
,
but
you
may
make
shift
well
enough
without
this
colour
,
for
red-lead
,
and
yellow-berries
make
Iust
such
another
colour
.
13
Light
Masticote
;
It
is
a
light
yellow
,
Iust
like
yellow
berries
and
white
,
〈◊〉
therefore
you
may
shift
well
enough
without
it
,
only
for
the
saving
you
a
〈◊〉
to
mixe
your
yellow
berries
with
white
when
you
have
occasion
for
a
light
yellow
,
which
you
may
sometimes
make
use
of
to
colour
a
light
ground
in
a
picture
,
and
then
shadow
it
with
the
water
of
burnt
umber
,
or
red-lead
,
that
is
the
〈◊〉
part
of
the
colour
.
14.
15.
Ceruse
,
It
is
the
best
white
,
if
it
be
good
and
finely
ground
ready
to
your
hand
,
as
you
may
have
it
at
some
colour
shops
,
or
for
want
of
it
buy
white-lead
pickt
to
your
hand
,
either
of
them
will
serve
well
enough
;
any
of
these
being
minled
with
another
colour
,
they
make
it
lighter
,
and
the
more
you
put
the
lighter
they
will
be
,
as
you
shall
finde
in
the
using
of
them
.
16
Spanish
Browne
is
a
dirty
browne
colour
,
yet
of
great
use
,
not
to
colour
any
garment
with
,
unlesse
it
be
an
old
mans
gowne
,
but
to
shadow
Vermillion
,
or
to
lay
upon
any
darke
ground
behind
a
Picture
,
or
to
shadow
yellow
berries
in
the
darkest
places
,
when
you
want
Lake
,
or
thick
red
〈◊〉
.
17
It
is
the
best
and
brightest
colour
whrn
it
is
burnt
in
the
fire
till
it
be
red-hot
,
but
if
you
would
colour
any
hare
,
horse
,
dog
,
or
the
like
,
you
must
not
burne
it
,
but
for
other
uses
it
is
best
when
it
is
burnt
;
as
to
colour
any
wooden
post
,
bodies
of
trees
,
or
any
thing
else
of
wood
,
or
any
darke
ground
in
a
picture
;
it
is
not
to
be
used
about
any
garments
,
unlesse
you
would
colour
many
old
mens
〈◊〉
,
or
caps
standing
together
,
because
they
must
not
be
all
of
one
colour
of
black
,
therefore
for
distinction
and
varieties
sake
you
may
use
Umber
un-burnt
for
some
of
them
.
18
Printers
blacke
is
most
used
,
because
it
is
easiest
to
be
had
,
and
serves
very
well
in
washing
:
Note
,
You
must
never
put
any
black
amongst
your
colours
to
make
them
dark
,
for
it
will
make
them
dirty
,
neither
should
you
shadow
any
colour
with
black
,
unlesse
it
be
Spanish
browne
,
when
you
would
colour
an
old
mans
gowne
,
that
requires
to
be
〈◊〉
of
a
sad
colour
;
for
whatsoever
is
shadowed
with
black
will
look
dirtily
,
and
not
bright
faire
and
beautifull
.
19
Ivory
burnt
or
want
of
that
bone
burnt
,
it
is
the
blackest
black
that
is
,
and
it
is
thus
made
;
Take
〈◊〉
,
or
for
want
of
it
some
white
bone
,
and
put
it
into
the
fire
till
it
be
thorowly
burned
,
then
take
it
out
and
let
it
cool
,
and
so
slit
it
in
the
middle
,
and
take
out
the
lackest
of
it
in
the
middle
and
grinde
it
for
your
use
.
Directions
for
the
mixing
of
your
colours
.
IN
mixing
of
any
colour
,
you
must
be
very
carefull
you
make
it
not
too
sad
;
if
one
colour
be
sadder
then
the
other
that
you
mixe
with
it
,
put
in
but
a
little
and
a
little
of
the
sad
colour
,
till
you
see
it
be
sad
enough
for
your
purpose
,
〈◊〉
if
you
make
your
colour
too
sad
,
you
will
very
hardly
recover
it
in
mixing
,
and
if
you
lay
it
so
on
your
picture
,
you
can
never
recover
,
but
if
it
be
too
light
you
may
make
it
darker
at
your
pleasure
.
2
In
mixing
your
colours
you
must
be
very
carefull
that
you
put
not
your
pensell
out
of
one
colour
into
another
,
for
that
will
spoyle
and
dirty
all
your
colours
unlesse
you
wash
your
pensell
cleane
and
then
wipe
the
water
out
of
them
.
3
Black
is
not
to
be
mingled
with
any
colour
but
white
,
for
it
will
dirty
all
other
colours
,
and
make
them
look
unpleasant
.
Particular
Directions
for
the
compounding
of
Colours
or
mingling
one
Colour
with
another
How
to
make
a
Purple
Colour
.
TAke
Logg-wood
,
and
seeth
it
in
Vinegar
and
small
beer
,
in
an
earthen
pot
,
and
put
a
little
Allum
therein
,
untill
you
taste
it
to
be
strong
on
your
tongue
,
and
when
it
is
boyled
,
straine
the
Log-wood
through
a
clout
,
cleane
from
the
water
,
and
so
let
the
water
stand
and
cool
for
your
use
.
OR
,
YOu
may
make
purple
colour
with
mixing
bise
and
lake
together
,
or
if
you
want
bise
,
you
may
use
blew
Verditer
,
but
it
will
not
serve
your
purpose
so
well
as
blew
bise
,
but
thick
red-Inke
will
serve
at
all
times
as
wel
as
lake
in
washing
.
How
to
make
Red
Inke
.
BOyle
Brazill
as
you
doe
the
Log-wood
,
and
straine
the
brazill
through
a
clout
as
before
.
A
Flesh
Colour
.
IT
is
made
of
white
and
a
little
lake
,
and
a
little
red-lead
mixed
,
a
very
small
quantity
of
each
;
you
may
make
it
as
light
,
or
as
red
as
you
please
,
by
putting
more
or
lesse
white
in
it
shadow
in
the
cheeks
and
other
places
,
by
putting
in
a
little
more
lake
and
red-lead
into
it
,
if
you
would
have
it
a
swarthy
complexion
to
distinguish
the
mans
flesh
from
the
womans
,
put
a
little
yellow
Oker
among
your
flesh
,
and
for
your
shadow
put
a
little
more
lake
,
and
a
smal
quantity
of
burnt
umber
.
An
Ash
colour
is
compounded
of
black
and
white
.
You
may
make
your
greens
lighter
by
mingling
it
well
with
yellow
berries
or
white
.
Colours
for
Buildings
.
IN
washing
we
doe
not
observe
the
natural
colours
of
every
thinh
,
as
to
expresse
variety
of
colours
and
pleasantnesse
to
the
sight
,
that
the
things
coloured
may
appear
beautiful
to
the
eye
,
yet
so
as
they
may
not
be
contrary
to
reason
,
and
be
accounted
〈◊〉
;
but
that
we
doe
somewhat
imitate
natural
things
,
and
here
and
there
adde
some
beauty
by
pleasant
colours
,
more
then
doth
usually
and
commonly
appeare
in
the
natural
things
themselves
,
so
that
although
the
naturall
things
themselves
doe
very
rarely
appear
in
such
beauty
or
with
such
kind
of
colours
,
yet
it
may
be
imagined
that
it
is
possible
that
at
some
times
they
doe
or
may
be
made
(
without
derogating
from
the
rule
of
nature
and
reason
)
to
appear
in
such
colours
as
you
have
exprest
them
in
,
by
this
rule
,
you
may
guide
yur
selfe
in
colouring
of
any
thing
,
and
principally
in
buildings
,
and
in
Landskips
,
therefore
when
you
would
colour
any
buildings
,
you
must
do
it
with
as
much
variety
of
pleasant
colours
as
the
utmost
extent
of
nature
and
reason
will
permit
,
yet
not
without
reason
,
or
beyond
the
limits
of
nature
.
In
colouring
buildings
you
may
sometimes
use
black
and
white
for
the
wals
,
conduits
or
other
things
,
where
you
think
fit
sometimes
,
you
may
use
red-lead
and
white
for
brick
houses
or
others
,
when
many
houses
stand
together
you
must
colour
them
with
as
many
various
colours
as
you
can
well
use
about
buildings
;
sometimes
you
may
use
umber
and
white
,
and
sometimes
lake
and
white
,
or
red-inke
and
white
,
for
varieties
sake
,
and
if
you
want
more
variety
,
you
may
put
here
and
there
in
some
places
Varditer
and
white
,
all
these
you
must
shadow
after
you
have
laid
them
on
.
Colours
for
Landskips
.
FOr
the
neerest
and
darkest
saddest
hils
lay
burnt
Umber
,
and
for
the
light
places
you
must
put
some
yellow
to
your
burnt
Umber
,
for
the
next
hils
lay
Copper
The
Whole
figure
of
Mans
body
〈◊〉
a
〈◊〉
on
the
Syde
and
〈◊〉
by
the
〈◊〉
of
the
head
the
back
〈◊〉
The
〈◊〉
〈◊〉
shall
〈◊〉
vs
in
this
figure
〈◊〉
〈◊〉
by
the
〈◊〉
of
the
head
,
〈◊〉
〈◊〉
〈◊〉
of
any
〈◊〉
for
the
〈◊〉
that
〈◊〉
〈◊〉
〈◊〉
〈◊〉
the
figure
of
the
〈◊〉
〈◊〉
the
〈◊〉
〈◊〉
of
the
first
figure
〈◊〉
A
their
〈◊〉
〈◊〉
〈◊〉
〈◊〉
our
figure
〈◊〉
,
〈◊〉
by
the
〈◊〉
of
the
Head
,
green
well
thickned
with
the
fire
,
or
in
the
Sun
;
in
the
next
hils
further
off
,
〈◊〉
some
yellow
berries
with
your
copper
green
,
and
let
the
fourth
degree
be
done
with
green
verditer
,
and
the
furthest
and
faintest
places
with
blew
Bice
,
or
for
want
of
that
with
blew
verditer
mingled
with
white
for
the
lightest
places
,
and
shadowed
with
blew
verditer
in
the
shadows
,
somewhat
thick
:
the
high-wayes
must
be
done
commonly
with
red-lead
and
white
,
and
for
variety
you
may
use
sometimes
yellow
Oker
,
and
shadow
it
with
burnt
Umber
,
which
colour
you
may
use
also
for
sandy
rocks
and
hils
;
the
rocks
must
be
done
with
various
colours
,
in
some
places
with
black
and
white
,
in
some
,
places
with
red-lead
and
white
,
and
some
must
be
done
with
umber
and
white
,
and
some
with
blew
and
white
,
and
other
colours
,
such
as
you
think
do
neerest
resemble
rocks
,
but
alwayes
endeavour
to
do
them
with
pleasant
colors
as
much
as
you
can
;
the
water
must
be
done
wth
black
varditer
and
white
,
sometimes
shadowed
with
copper
green
,
a
little
verditer
blew
,
when
the
banks
cast
a
green
shade
upon
the
water
,
at
other
times
it
must
be
shadowed
with
blew
verditer
alone
,
and
where
the
water
is
very
darke
in
the
shadows
,
it
must
be
shadowed
with
a
little
〈◊〉
,
some
copper
green
thickned
,
and
some
blew
verditer
:
the
bodies
of
trees
must
be
done
with
burnt
umber
,
and
the
leaves
must
be
done
with
such
greens
as
the
ground
is
,
and
the
whole
Landskip
must
be
shadowed
after
you
have
laid
on
the
first
colours
,
the
darker
greens
must
shadow
the
lighter
,
Spanish
brown
then
must
shadow
red
lead
and
white
,
and
so
the
others
as
before
.
Colours
for
the
skie
.
LIght
Masticote
,
or
yellow
berries
and
white
,
for
the
lowest
and
lightest
places
,
red-inke
not
thickned
,
and
white
for
the
next
degree
,
blew
bice
and
white
for
the
next
degree
and
blew
bice
alone
for
the
highest
of
all
:
insteed
of
bice
you
may
use
verditer
,
all
these
must
be
so
laid
on
and
wrought
one
into
another
,
that
you
may
not
receive
any
sharpnesse
in
the
edge
of
your
colour
,
but
that
they
may
be
so
layd
on
,
that
you
cannot
perceive
where
you
began
to
lay
them
on
,
they
must
be
so
drownded
one
into
another
.
For
Cloud-colours
,
you
may
use
sometimes
blew
verditer
,
and
white
shadowed
with
blew
verditer
,
sometimes
light
Masticote
shadowed
with
blew
verditer
,
and
sometimes
Lake
and
white
or
red
inke
,
and
white
shadowed
with
blew
varditer
.
What
Shadows
must
be
used
for
every
colour
in
Garments
.
TAke
this
generall
rule
,
That
every
colour
is
made
to
shadow
it self
,
either
if
you
mingle
it
with
white
,
for
the
light
and
so
shadow
it
with
the
same
colour
,
unmingled
with
white
,
or
else
take
off
the
thinnest
water
of
the
colour
for
the
light
,
and
so
shadow
it
with
the
thickest
bottome
of
the
colour
;
but
if
you
would
have
your
shadow
of
a
darker
colour
,
then
the
colour
it self
is
to
shadow
the
deepest
places
with
,
then
follow
these
directions
.
1
Blew
bice
is
shadowed
with
Indico
in
the
darkest
shadows
.
2
Indico
is
darke
enough
to
make
the
darkest
shadow
,
therefore
needs
no
other
colour
to
shadow
it
withal
.
3
Blew
verditer
is
shadowed
with
thin
Indico
.
4
Verdigreece
with
sap-green
.
Verditer
with
copper
green
,
and
in
the
darkest
places
of
all
with
sap-green
.
5
Sap-green
is
used
only
to
shadow
other
greens
,
and
not
to
lay
for
a
ground
in
any
garment
.
6
Copper
green
is
shadowed
either
with
sapgreen
or
Indico
and
yellow
berries
.
7
〈◊〉
million
with
lake
,
or
thick
red
inke
,
or
Spanish
browne
.
8
Lake
must
not
be
shadowed
with
any
other
colour
,
for
it
is
the
darkest
red
of
it
〈◊〉
,
but
for
variety
you
may
shadow
it
sometimes
with
bice
,
or
blew
verditer
,
which
〈◊〉
it
shew
like
a
changeable
Taffity
.
9
Red-lead
is
shadowed
with
Spanish
browne
in
the
darkest
places
.
11
Saffron
is
shadovved
vvith
thick
red
Inke
or
Lake
.
12
Light
Masticote
,
vvith
the
thin
vvater
of
Red-lead
.
13
,
14.
White
Ceruse
,
and
vvhite
lead
vvith
a
little
black
amongst
some
of
it
〈◊〉
.
15
Spanish
brovvn
vvith
black
,
but
that
is
not
used
in
any
bright
garment
.
16
Umber
vvith
black
mingled
vvith
some
of
it
.
17
Black
cannot
be
shadovved
vvith
any
colour
darker
then
it selfe
.
Directions
for
the
laying
on
of
your
Colours
.
1
YOu
must
lay
your
colours
on
of
such
a
thicknesse
,
I
meane
your
body'd
colours
that
you
may
see
how
to
shadow
them
to
perceive
where
the
shadows
are
,
and
not
lay
on
your
colours
so
thick
that
you
cannot
perteive
the
print
,
nor
how
and
where
to
shadow
it
,
2
You
must
always
lay
on
your
lightest
colours
first
,
and
then
shadow
them
afterwards
3
You
must
lay
on
your
colours
very
smooth
with
your
pensel
,
that
the
colour
may
not
lye
thicker
in
some
places
then
in
others
,
and
to
that
end
you
should
take
your
pensell
pretty
〈◊〉
of
colour
when
you
should
cover
a
garment
all
over
(
otherwise
not
)
that
so
you
may
lay
the
colour
smooth
before
it
dry
,
for
you
cannot
well
smooth
them
afterwards
when
they
are
once
dry
;
therefore
when
you
lay
them
on
be
as
quick
as
you
can
in
covering
the
garment
,
that
you
may
have
covered
it
all
over
before
your
colour
be
dry
in
any
part
,
for
by
this
means
you
shall
be
the
better
able
to
lay
it
smooth
;
some
colours
are
harder
to
lay
then
others
;
those
that
are
the
most
sandy
colours
,
as
varditer
,
bice
,
red-lead
,
&c.
are
hardest
to
lay
smooth
on
,
and
therefore
you
must
be
the
more
carefull
in
them
.
What
Colours
set
off
best
together
.
1
BLews
set
off
well
enough
with
red
,
yellows
,
whites
,
browns
and
blacks
.
They
set
of
best
with
reds
,
whites
and
browns
.
They
set
not
off
well
with
greens
and
purples
.
2
Greens
set
off
well
with
purples
,
reds
yellows
or
browns
.
They
set
off
best
with
purples
and
reds
.
They
〈◊〉
not
off
well
with
blews
or
blacks
,
nor
whites
,
unlesse
it
be
a
sad
green
.
3
Reds
set
off
well
with
yellows
,
blews
,
greens
and
whites
.
They
set
off
best
with
yellows
and
blews
.
〈◊〉
set
not
off
with
purples
browns
or
blacks
.
4
Yellows
set
off
well
with
reds
,
sad
blews
,
greens
,
browns
purples
.
〈◊〉
〈◊〉
off
best
with
reds
and
blews
.
They
set
not
off
well
with
light
greens
or
blacks
or
whites
.
5
Whites
set
off
with
all
colours
.
They
set
off
best
with
black
and
blew
.
6
Browns
set
off
very
well
with
no
colour
,
but
are
used
sometimes
upon
necessity
,
they
set
off
worst
of
all
with
black
,
because
they
are
so
neer
alike
.
7
Blacks
are
not
used
but
upon
necessary
occasions
in
some
things
that
doe
needfully
require
;
it
and
so
it
〈◊〉
off
well
enough
with
almost
any
colour
,
because
it
is
not
like
any
,
but
differs
somewhat
from
all
.
How
to
write
Gold
with
Pen
or
Pensell
.
TAke
a
shell
of
Gold
,
and
put
a
little
Gum-water
into
it
,
and
so
stir
it
about
with
〈◊〉
pensel
,
but
you
must
put
very
little
Gum-water
,
and
then
you
may
use
it
as
you
doe
other
colours
.
'
The
proportion
of
the
Hand
〈◊〉
of
3
measures
of
the
Nose
,
of
〈◊〉
:
you
are
to
make
the
three
equall
pricked
squares
,
marked
perpendicularly
1.
3.
2.
the
lowest
of
which
〈◊〉
is
〈◊〉
into
2
〈◊〉
parts
therby
to
adIoyne
a
halfe
making
a
third
part
unto
that
base
marked
also
〈◊〉
.
which
we
give
〈◊〉
the
Balle
of
the
Thumb
and
〈◊〉
〈◊〉
neare
unto
〈◊〉
.
〈◊〉
,
〈◊〉
a
pricked
line
perpendicularly
vp
unto
the
topp
of
the
right
hand
angle
of
the
square
marked
above
with
1
making
a
pricked
quill
,
within
the
which
the
said
Forefinger
is
〈◊〉
,
the
length
and
toppe
therof
exceeding
the
vpper
〈◊〉
of
the
Middle
finger
:
That
being
divided
into
3
equall
partes
the
two
equall
Ioynts
〈◊〉
the
two
upper
parts
shallbe
of
equall
hight
vnto
the
vpper
Ioynt
of
〈◊〉
〈◊〉
finger
.
as
appeareth
in
the
figure
of
〈◊〉
Hand
represented
at
B
And
the
Thumbe
shall
not
〈◊〉
〈◊〉
second
or
midle
〈◊〉
of
the
〈◊〉
.
'
Then
〈◊〉
a
4th
〈◊〉
for
〈◊〉
〈◊〉
which
is
the
measure
of
〈◊〉
Nose
the
base
or
lower
part
of
which
is
divided
into
4
parts
,
which
shall
serve
us
for
Hands
〈◊〉
on
the
syde
The
same
measures
are
observed
aswell
in
the
hand
〈◊〉
without
or
on
the
back
〈◊〉
〈◊〉
〈◊〉
〈◊〉
seene
or
〈◊〉
〈◊〉
〈◊〉
&
〈◊〉
marked
〈◊〉
〈◊〉
&
C
but
that
that
〈◊〉
seene
sydewise
〈◊〉
but
3
measures
of
that
base
of
that
Wrist
Appeareth
〈◊〉
that
figures
of
that
said
〈◊〉
marked
in
that
〈◊〉
page
in
that
〈◊〉
or
〈◊〉
lines
marked
in
the
ovall
formes
marked
1.
2.
3.
4.
under
that
wrists
〈◊〉
make
that
〈◊〉
plane
of
that
said
Wrist
.
Thus
by
a
little
practise
you
may
become
perfect
in
this
Art
,
and
learne
the
full
perfection
〈◊〉
it
.
How
to
lay
Gold
or
Silver
on
Gum-water
.
TAke
five
or
six
leaves
of
Gold
or
Silver
,
and
grinde
them
with
a
stiffe
gum-water
;
and
a
pretty
quantity
of
Salt
,
as
fine
as
possibly
you
can
,
then
put
them
into
a
〈◊〉
glasse
,
and
fill
the
glasse
almost
ful
of
faire
water
,
to
the
end
the
stiffe
water
may
dissolve
,
and
so
the
Gold
goe
to
the
bottom
,
let
it
stand
three
or
foure
houres
,
then
〈◊〉
away
the
liquor
from
the
gold
,
and
put
in
more
cleane
water
,
and
stir
it
about
,
and
let
it
settle
again
,
and
then
poure
the
same
water
to
this
so
often
untill
you
see
your
gold
or
silver
clean
washed
:
then
take
a
clean
water
,
and
put
thereto
a
little
〈◊〉
of
Sal
Almoniack
,
and
great
Salt
,
and
let
it
stand
the
space
of
three
days
in
a
box
made
of
wax
,
or
in
some
close
space
:
then
take
a
piece
of
Glovers
leather
,
and
pick
away
the
skin-side
and
put
the
gold
and
the
water
therein
,
tye
it
up
,
then
hang
it
on
a
pin
,
and
the
salt
will
fret
through
,
and
the
Gold
will
remain
,
which
you
shall
temper
with
the
glayr
of
an
egge
,
and
so
use
it
with
pen
or
pensel
.
You
〈◊〉
diaper
on
gold
with
lake
and
yellow
Oker
,
but
on
silver
with
Cerese
.
Let
your
Gum-water
be
made
good
and
stiffe
,
and
lay
it
on
with
your
pensel
where
you
would
guild
,
then
take
a
Cushion
that
hath
a
smooth
Leather
,
and
turn
the
bottom
〈◊〉
,
upon
that
cut
your
gold
with
a
sharpe
knife
,
in
what
quantity
you
will
,
and
to
take
it
up
draw
the
edge
of
your
knife
finely
upon
your
tongue
,
that
it
may
be
onely
wet
,
with
which
do
but
touch
the
edge
of
your
gold
,
and
it
will
come
up
,
and
you
may
〈◊〉
it
as
you
list
,
but
before
you
lay
it
on
let
your
Gum
be
almost
dry
,
and
being
〈◊〉
presse
it
down
,
hard
with
the
scut
of
an
hair
,
afterwards
burnish
it
with
a
dogs
tooth
.
Of
Limming
.
LImming
consisteth
not
only
in
the
true
proportioning
of
a
picture
,
but
also
in
the
〈◊〉
and
lively
colouring
of
the
same
,
whereby
the
worke
is
exceedingly
graced
,
and
most
lively
set
out
in
proper
colours
,
most
neerly
resembling
the
life
.
How
to
chuse
your
Pensels
.
LEt
them
be
clean
and
sharpe
pointed
,
not
cleaving
in
too
in
the
hair
,
they
must
be
full
and
thick
,
next
the
quill
,
and
so
descending
into
a
round
and
sharp
point
;
if
you
finde
any
one
haire
longer
then
other
,
take
it
away
with
the
flame
of
a
Candle
,
passing
the
pensel
through
the
flame
,
you
must
have
severall
pensels
for
severall
colours
.
Gum-Araback
.
AMongst
all
your
colours
you
must
mingle
gum
Araback
,
the
best
and
whitest
,
which
you
should
have
alwayes
ready
,
finely
poudred
(
or
dissolved
in
fair
water
)
and
so
with
a
few
drops
of
pure
water
,
mingle
it
with
your
colour
,
and
temper
them
together
til
the
gum
be
dissolved
and
incorporated
with
the
colours
.
How
to
grinde
your
Colours
YOu
must
grind
your
colours
either
upon
a
perphire
Serpentine
,
or
pibble
stone
,
which
are
the
hardest
,
and
therefore
the
best
to
grind
upon
;
grind
then
with
faire
water
onely
,
without
gum
,
and
when
you
have
ground
them
very
fine
,
put
them
upon
a
chalk
stone
,
and
there
let
them
dry
,
and
when
they
are
dry
take
them
off
from
the
chalke
and
reserve
them
for
your
use
,
in
papers
or
boxes
.
The
proportion
of
a
woman
standing
backe
;
The
same
maner
as
you
make
the
former
figure
,
you
must
use
in
this
backward
of
the
woman
,
without
altering
any
thing
of
the
measure
,
except
in
observing
the
muscles
,
which
are
marked
behinde
must
be
made
sweeter
&
smoother
then
the
mans
,
as
appeares
in
this
figure
.
The
Names
of
your
Colours
.
Whites
.
Ceruse
.
White-lead
.
Yellows
.
Masticote
.
Yellow-Oker
.
English
Oker
.
Greens
.
Sap-green
.
Pink
&
blew
bice
Green
bice
.
Cedar-green
.
Verditure
.
Blews
.
Indico
.
Vltermarine
.
Blew
bice
.
Smalt
.
Browns
.
Umber
.
Spanish-browne
.
Cullins-earth
,
Reds
.
India
Lake
.
Red-lead
.
Red-Oker
.
Blacks
.
Cheristone-burnt
.
Ivory
burnt
.
Lamblacke
.
What
Colours
must
be
Washt
,
and
what
ground
.
Ground
.
Ceruse
.
White-lead
.
Indian-Lake
.
English
Oker
.
Pink
.
Indico
.
Umber
.
Spanish-brown
.
Colens-earth
.
Cheristone-black
.
Ivory-blacke
.
Washt
.
Red-lead
.
Masticote
.
Green-bice
.
Coedar-green
.
Ultermarine
.
Blew
bice
.
Smalt
.
Verditer
.
Sap-green
.
Is
to
be
steept
in
water
.
How
to
wash
your
colours
.
TAke
some
blew
bice
or
other
colour
you
would
wash
and
put
it
into
a
dish
full
of
pure
water
,
stir
it
for
a
while
together
,
till
the
water
be
all
coloured
,
then
let
it
stand
a
while
,
and
the
corruption
will
fleet
upon
the
water
,
then
poure
away
the
water
,
and
fill
the
dish
with
fresh
water
,
and
stir
it
as
before
till
the
water
be
troubled
and
thick
;
which
done
,
before
it
be
halfe
setled
,
poure
it
out
into
another
dish
,
leaving
the
dregs
and
seethings
of
your
colour
in
the
former
dish
,
which
you
must
cast
away
,
the
troubled
and
coloured
water
being
poured
into
your
second
dish
,
put
more
water
to
it
,
and
wash
it
as
before
,
then
let
it
settle
till
it
be
clear
,
and
so
poure
off
the
water
,
washing
it
againe
,
and
again
,
if
any
scum
arise
,
which
may
make
foure
or
five
sorts
,
still
pouring
halfe
the
thin
water
into
another
dish
,
and
washing
it
as
aforesaid
;
when
you
have
washed
it
often
,
and
finde
it
well
clensed
,
poure
away
the
water
,
then
set
the
colour
in
the
Sun
to
dry
,
and
when
it
is
dry
,
strike
off
the
faintest
part
of
the
colour
,
lying
about
the
sides
of
the
dish
with
a
feather
,
and
so
use
it
for
your
finest
work
,
the
rest
will
serve
well
for
courser
worke
.
When
you
would
use
your
colour
,
take
of
it
as
much
as
you
can
well
spread
about
the
sides
of
a
shell
,
somewhat
thin
,
and
not
on
heaps
,
and
so
temper
it
finely
with
your
gum
as
before
.
To
avoid
the
cracking
of
your
colour
,
and
flying
from
the
shell
,
to
which
some
colours
are
subIect
;
take
a
little
fine
pouder
of
white
Sugar-candy
,
and
with
it
and
a
little
faire
water
temper
the
colour
over
againe
with
your
finger
till
the
candy
be
dissolved
.
Colours
for
Garments
.
To
make
a
Grasse-green
is
made
of
Pink
and
Bice
,
it
is
shadovved
vvith
Indico
and
Pink
.
Popinia-greeen
,
of
Indico
and
more
Pink
,
shadovved
vvith
Indico
.
French-green
of
Pink
and
Indico
—
Indico
Sea-green
,
of
Bice
,
pink
and
vvhite
—
Indico
The
proportion
of
a
Childe
behinde
.
The
former
rule
without
changing
any
thing
,
must
be
observed
in
this
present
figure
standing
backward
,
and
all
the
proportions
and
measures
which
are
observed
in
the
former
,
serve
to
this
likewise
.
Carnation
of
Lake
and
vvhite
—
Lake
Crimson
,
of
Vermillion
Lake
and
vvhite
—
Lake
Scarlet
Vermilion
—
Lake
Purple
:
Bice
Lake
and
white
—
Lake
and
Indico
Violet
:
Bice
and
Lake
—
Indico
Yellow
made
of
Masticote
,
pink
and
saffron
shadow
with
lake
and
Saffron
Straw-colour
:
most
pink
,
Saffron
,
white
and
Vermillion
—
Lake
Orange-tauny
:
Vermillion
,
pink
and
masticote
—
Lake
Ash-colour
:
Lam-black
and
white
—
Black
Skie-colour
:
Bice
and
white
—
Bice
Light
hair-colour
:
Umber
,
yellow-Oker
and
white
—
Umber
Sad
haire-colour
:
Umber
,
oker
and
black
—
Umber
and
black
Thus
by
a
little
practising
you
may
learne
to
mingle
and
compound
all
other
colours
whatsoever
.
The
manner
of
Working
.
1
THe
manner
of
working
in
Limming
,
is
by
little
smal
pricks
with
a
sharp
pointed
pensel
.
2
You
must
lay
your
colours
on
very
faint
at
first
,
and
so
make
them
deeper
and
deeper
by
degrees
,
for
if
you
lay
it
on
too
sad
at
the
first
,
it
is
impossible
you
should
well
recover
it
to
make
it
lighter
,
but
if
it
be
too
light
you
may
make
it
darker
at
your
pleasure
.
3
When
you
would
worke
,
you
must
first
lay
on
flat
primer
,
which
must
be
of
the
lightest
part
of
the
complexion
〈◊〉
〈◊〉
〈◊〉
make
,
so
that
you
may
not
need
to
heigthen
;
or
lay
a
lighter
upon
it
,
you
may
make
a
〈◊〉
complexion
of
white
lake
,
and
red-lead
〈◊〉
together
in
a
shell
,
if
it
be
a
〈◊〉
complexion
,
mingle
a
little
fine
Masticote
or
English
Oker
,
or
both
with
the
〈◊〉
;
having
laid
on
the
primer
which
you
must
doe
very
quick
and
smooth
,
〈◊〉
〈◊〉
the
〈◊〉
after
the
primer
is
dry
with
lake
and
white
very
faintly
,
and
so
proceed
〈◊〉
the
perfecting
of
it
by
degrees
.
Colours
For
the
Face
.
FOr
the
red
in
the
cheeks
,
lips
,
&c.
temper
lake
,
red-lead
and
a
little
white
together
,
for
the
faint
shadows
that
are
blewish
,
〈◊〉
〈◊〉
white
together
,
for
bice
is
not
used
in
a
face
,
nor
any
black
;
for
the
deeper
shadows
take
white
English
Oker
and
Umber
,
and
for
darke
and
hard
shadows
in
many
pictures
,
use
〈◊〉
and
Pinke
mixt
with
Umber
.
When
you
are
come
to
the
close
of
your
,
and
have
almost
finisht
your
face
,
you
〈◊〉
in
the
last
place
doe
all
the
〈◊〉
〈◊〉
,
smilings
and
glansings
of
the
eye
,
descending
and
contracting
of
the
mouth
,
all
which
you
must
be
sudden
to
expresse
with
a
bold
quick
and
constant
hand
,
or
〈◊〉
alwayes
not
to
depend
to
fast
.
Thus
by
a
constant
practise
Ioyned
with
these
〈◊〉
and
your
own
industry
,
〈◊〉
may
in
time
attaine
to
a
great
measure
of
perfection
in
this
art
of
limming
.
Be
patient
,
thou
that
seekest
for
this
skill
,
By
grace
and
art
:
so
mayst
thou
have
thy
will
.
FINIS
.
Notes, typically marginal, from the original text
Notes for div A28779e-360
Char-coal
.
Black-lead
.
Pen
.
Black-chalk
.
White-lead
.
Compasses
.
Fether
.
Perspective
〈◊〉
.
2
Gracefull
posture
.
〈◊〉
.
〈◊〉
.
Fore-shortning
.
5
Naturalnesse
.
Note
.
Ash-colour
.
Orange
.
Light-green