The whole art of drawing, painting, limning, and etching collected out of the choicest Italian and German authors : to which is added exact rules of proportion for drawing the heads of men, women and children , of what bigness soever / originally invented and written by the famous Italian painter Odoardo Fialetti, painter of Boloign ; published for the benefit of all ingenuous gentlemen and artists by Alexander Brown ...
Fialetti, Odoardo, 1573-1638.
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The whole art of drawing, painting, limning, and etching collected out of the choicest Italian and German authors : to which is added exact rules of proportion for drawing the heads of men, women and children , of what bigness soever / originally invented and written by the famous Italian painter Odoardo Fialetti, painter of Boloign ; published for the benefit of all ingenuous gentlemen and artists by Alexander Brown ...
Fialetti, Odoardo, 1573-1638.
Browne, Alexander, fl. 1660-1677.
[8], 54 p. : ill.
Printed for Peter Stint ... and Simon Miller ...,
London :
1660.
Translation of an unidentified work probably written in Italian.
Reproduction of original in British Library.
eng
Drawing -- Technique.
Painting -- Technique.
Etching -- Technique.
A41260 R6823 (Wing F844). civilwar no The whole art of drawing, painting, limning, and etching. Collected out of the choicest Italian and German authors. To which is added exact Fialetti, Odoardo 1660 17852 14 0 0 0 0 0 8 B The rate of 8 defects per 10,000 words puts this text in the B category of texts with fewer than 10 defects per 10,000 words.
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VARIETY
OF
EXCELLENT
SYMMETRICALL
RULES
of
Drawing
Limning
&c.
Invented
by
Odoardo
Fialet
and
others
THE
Whole
Art
OF
DRAWING
,
PAINTING
,
LIMNING
,
AND
ETCHING
.
Collected
out
of
the
Choicest
Italian
and
German
Authors
.
To
which
is
added
Exact
Rules
of
Proportion
for
Drawing
the
Heads
of
Men
,
Women
and
Children
,
of
what
Bigness
soever
.
Originally
invented
and
written
by
the
famous
Italian
Painter
Odoardo
Fialetti
,
Painter
of
Boloign
.
Published
for
the
Benefit
of
all
Ingenuous
Gentlemen
and
Artists
,
by
Alexander
Brown
Practitioner
.
London
,
Printed
for
Peter
Stint
at
the
Signe
of
the
white
Horse
in
Giltspurre-Street
,
and
Simon
Miller
at
the
Starre
in
St
Pauls
Church-yard
,
M.
D
C.
LX
.
TO
THE
Great
Cherisher
of
all
Ingenuous
Artists
.
Sr
WILLIAM
PASTON
Baronet
,
&c.
Honoured
Sir
,
IT
was
a
Fate
as
happy
as
accidental
,
threw
this
ensuing
Treatise
into
my
hands
,
ready
instructed
at
the
charge
of
a
Person
of
Honour
in
the
English
Tongue
,
and
by
him
preserv'd
as
a
Jewel
(
bound
up
together
with
the
Original
Prints
and
Italian
Comment
)
for
private
use
.
There
hath
been
no
Parallel
it'h
same
Species
ever
publick
in
this
our
native
dress
,
which
put
me
to
a
pause
,
till
the
remembrance
of
your
un●●served
favour
(
despairing
of
any
thing
of
my
own
,
worthy
your
acceptance
)
prompted
me
to
communicate
.
And
the
rather
,
because
I
find
my
Author
both
precedent
and
warrant
,
first
unlocking
this
treasure
in
his
Mother
tongue
.
Let
therefore
the
genuine
propensity
,
your
disposition
bears
to
Arts
of
this
nature
,
pardon
my
presumption
;
and
your
wonted
candor
,
not
only
curteously
entertain
this
Stranger
(
whose
noble
extract
shines
through
all
disguises
)
but
also
vindicate
him
against
incident
injuries
;
from
which
,
the
inscription
of
no
Name
I
know
,
can
better
protect
,
then
your
own
.
Sir
,
I
may
not
longer
detain
you
here
,
since
I
dare
hope
you
will
take
some
delight
in
the
Garden
,
though
this
passage
be
wholly
unpleasant
,
were
it
not
an
Inlet
,
and
the
only
conveyance
of
the
duty
and
observance
of
Your
Honours
most
humble
and
obliged
Servant
,
Alexander
Brown
.
THE
CONTENTS
.
SEverall
Observations
and
Directions
in
the
Art
of
Drawing
,
page
1.
7
The
Manner
of
Drawing
a
Head
by
the
Life
,
1.
45
How
to
Draw
a
naked
man
by
the
Life
,
2
,
3
How
to
perfect
the
out-Lines
of
any
Point
or
Figure
6
How
to
decline
any
Print
in
a
small
compass
,
ibid
Observations
in
the
Art
of
Limning
,
and
Painting
,
and
Tempering
Colours
,
8
,
9
,
10
,
11
How
to
prepare
a
Tablet
to
work
on
,
12
Rules
for
Shadows
in
the
Face
,
13
How
to
begin
a
Face
by
the
Life
,
14
Concerning
dead-Colouring
,
15
The
second
work
of
Painting
observed
in
the
second
Sitting
,
15
,
16
The
Manner
of
finishing
at
the
third
Sitting
,
17
Ornaments
in
setting
forth
a
Picture
,
18
A
Receipt
to
make
liquid
Gold
,
19
Rules
for
Landskips
,
ibid
Secrets
for
preserving
Colours
,
20
Generall
Observations
in
Painting
,
ibid
Instruments
to
draw
with
,
21
To
make
Wax-work
or
Moulding
,
22
,
23
To
counterfeit
Sweet
Meats
,
24
To
counterfeit
Pearl
,
ibid
Grounds
and
Rules
of
Etching
,
25
Instruments
used
in
Etching
,
25
,
26
How
to
make
the
Ground
,
27
How
to
lay
the
Ground
on
the
Plate
,
28
▪
33
How
to
draw
the
outmost
Lines
of
any
Print
on
the
Plate
,
ibid
Severall
Observations
in
Hatching
,
29
Necessary
Observations
in
Etching
Landskips
,
30
How
to
make
the
Wax-wall
round
about
the
Plate
,
to
keep
the
Aqua
fortis
from
running
off
,
ib
How
to
use
the
Aqua
fortis
,
ibid
How
to
know
when
it
is
eaten
deep
enough
,
31
To
lay
a
white
or
red
Ground
on
a
black
,
32
How
to
preserve
the
work
in
frosty
Weather
,
34
To
keep
the
Aqua
fortis
from
injuring
the
Plate
,
ibid
To
Etch
soft
or
hard
according
to
Nature
or
Art
,
ibid
Observations
in
Etching
Prospective
,
35
How
to
Grave
any
Hand
or
Letter
on
Copper
,
ibid
How
to
Polish
the
Plate
,
36
Fit
Instruments
to
be
used
;
and
their
use
,
ibid
Rules
of
Proportion
for
Drawing
of
the
Ear
,
38
Nose
,
Mouth
,
and
Beard
,
40
The
Head
upright
,
or
with
a
Triangle
,
41
,
42
The
Foreright
,
and
other
Positions
of
the
Face
,
48
The
Inclining
or
Foreshortning
of
the
Face
,
46
A
more
perfect
Foreshortning
,
44
The
upright
or
side-Face
without
any
Measure
,
50
The
Manner
how
to
describe
a
Head
every
way
without
Measure
,
52
Of
Childrens
Heads
,
54
THE
ART
OF
DRAVVING
.
Severall
Instructions
and
Observations
directing
to
the
Art
of
Drawing
.
BEcause
the
greatest
difficulties
and
principall
parts
of
this
Art
consist
in
some
part
in
Drawing
the
lively
Resemblance
of
a
Face
,
therefore
I
thought
it
very
necessary
to
add
this
as
a
further
direction
to
Draw
any
Face
after
the
Life
.
Severall
Observations
in
Drawing
a
Head
after
the
Life
.
Therefore
if
you
will
draw
any
Face
after
the
Life
,
that
it
may
resemble
the
Party
you
Draw
it
after
;
take
notice
in
the
first
place
of
the
Physiognomy
or
circumference
of
the
Face
,
whither
it
be
round
or
long
,
fat
or
leane
,
big
or
little
;
so
that
in
the
first
place
you
must
be
sure
to
take
the
right
Physiognomy
and
bigness
of
the
Face
,
and
in
case
it
be
a
fat
Face
you
will
perceive
the
Cheeks
to
make
the
side
of
the
Face
swell
out
,
add
so
make
the
Face
look
as
if
it
were
square
;
and
if
it
be
neither
too
fat
nor
too
leane
,
it
will
be
round
for
the
most
part
;
but
if
it
be
a
leane
Face
the
Jaw-bones
will
stick
out
,
and
the
Cheeks
fall
in
,
and
the
Face
will
be
long
and
slender
.
Observe
when
you
Draw
the
outmost
circumferences
of
a
Face
,
to
take
the
Head
and
all
with
it
,
or
otherwise
you
may
be
deceived
in
Drawing
the
true
bigness
of
a
Face
,
then
you
must
diligently
and
judiciously
observe
and
discerne
all
the
Gentlemaster
touches
,
which
gives
the
spirit
and
life
to
a
Face
,
and
discovers
the
graces
or
disposition
of
the
mind
,
wherein
lyeth
the
whole
grace
of
the
work
,
and
the
credit
of
the
Artist
,
you
may
easily
discerne
a
smiling
countenance
in
the
corners
of
the
mouth
when
they
turn
up
alittle
;
you
may
best
discerne
a
staid
and
sober
countenance
in
the
eye
,
when
the
upper
eye-lid
comes
somewhat
over
the
Ball
of
the
Eye
;
but
a
frowning
countenance
is
easily
discerned
in
the
Forehead
by
the
bending
of
the
Eyebrowes
,
and
some
few
wrinckles
about
the
top
of
the
Nose
between
the
two
Eyebrowes
▪
and
a
laughing
Countenance
is
easily
discerned
all
over
the
Face
;
but
an
angry
Countenance
is
discerned
by
extraordinary
frownings
;
there
are
also
some
touches
about
the
Eye
and
Mouth
which
you
must
diligently
observe
,
which
gives
the
spirit
and
life
to
a
Face
.
Some
generall
Rules
to
be
Observed
in
Drawing
the
Figure
of
a
Naked
Man
after
the
Life
.
A
standing
Figure
from
the
top
of
the
head
to
the
bottome
of
the
feet
is
eight
times
the
length
of
the
Head
,
and
because
you
ought
to
be
most
exact
in
Drawing
the
Head
,
because
the
whole
body
must
be
proportioned
correspondently
to
the
Head
;
therefore
I
shall
give
you
in
short
some
severall
Rules
and
Observations
to
Draw
a
foreright
Head
.
First
,
Draw
an
Ovale
,
then
devide
that
Ovale
into
four
equall
parts
;
the
first
is
for
the
Hair
,
the
second
for
the
Forehead
and
Browes
;
the
third
for
the
Nose
,
the
fourth
for
the
Mouth
and
Chin
,
as
afore
written
in
the
Book
of
Fielettoe
.
But
when
you
Draw
after
the
life
,
you
are
not
to
follow
this
Rule
exactly
,
because
some
Men
have
a
long
Nose
,
and
another
a
short
;
one
a
high
forehead
,
another
a
low
forehead
;
Therefore
if
you
look
upon
a
hundred
Mens
Faces
that
they
all
differ
one
from
another
,
the
eyes
must
be
placed
just
the
length
of
one
eye
the
one
from
the
other
.
Then
having
Drawn
the
Head
,
you
measure
out
eight
times
the
length
of
the
Head
,
then
the
Head
is
reckoned
one
of
the
eight
parts
;
then
you
must
Draw
a
straight
Line
from
the
top
of
the
Head
to
the
sole
of
the
Foote
,
one
Heads
length
from
the
Chin
,
you
must
Draw
the
Brests
the
third
length
reacheth
to
the
Navell
,
the
fourth
to
the
privities
,
the
fifth
reacheth
just
to
the
middle
of
the
Thigh
,
and
the
sixt
to
the
lower
part
of
the
Knee
,
the
seaventh
to
the
small
of
the
Legg
,
and
the
eighth
to
the
Heel
and
sole
of
the
Foot
:
But
observe
as
you
Draw
downwards
from
the
Head
to
place
the
Muscles
in
their
right
places
according
to
nature
;
and
because
there
are
no
certain
Rules
for
Drawing
the
Muscles
but
only
to
observe
them
exactly
as
they
are
in
the
Life
.
The
breadth
of
the
Shoulders
containeth
two
measures
of
the
Head
,
the
breadth
of
the
Hipps
two
measures
of
the
Face
,
and
the
Armes
stretched
out
are
eight
measures
of
the
Head
,
and
if
the
Brests
be
reckoned
unto
them
,
so
the
Armes
without
the
Brests
are
but
six
measures
.
And
note
that
when
an
Arme
hangeth
straight
down
it
reacheth
within
a
span
of
the
Knee
:
a
Hand
must
be
no
longer
then
the
length
of
the
Face
,
that
when
the
Hand
is
spread
abroad
,
it
must
as
it
were
cover
the
Face
and
no
more
;
It
is
very
necessary
for
one
that
intends
to
practise
to
Draw
Naked
Figures
to
Draw
after
good
Anatomies
of
Plaister
,
and
when
you
have
practised
a
while
,
it
will
learn
you
to
place
all
your
Muscles
according
to
Nature
or
Art
.
There
are
also
good
Books
of
Anatomies
with
Prints
and
instructions
to
them
,
which
are
very
usefull
for
one
that
intends
to
draw
a
good
Naked
Figure
,
which
you
can
never
be
eminent
at
,
without
you
understand
the
Anatomy
and
use
to
Draw
after
the
Life
very
much
.
Some
further
Observations
in
Drawing
a
Naked
Figure
.
Whatsoever
you
Draw
,
Draw
it
at
first
very
lightly
with
a
Cole
,
because
if
it
be
out
of
proportion
you
can
the
easier
mend
it
,
and
rub
it
out
,
and
Draw
it
again
anew
:
but
note
,
that
you
must
finish
nothing
with
your
Cole
,
before
you
see
every
thing
is
placed
right
according
to
Art
and
proportion
and
then
finish
it
the
one
after
the
other
as
exactly
and
curiously
as
you
can
possibly
in
the
Drawing
a
Naked
Figure
.
Observe
first
that
you
draw
the
Head
very
exactly
,
and
next
the
Shoulders
in
their
just
breadth
,
as
before
mentioned
,
containing
two
measures
of
the
Head
;
Then
you
Draw
the
Trunck
of
the
Body
beginning
just
at
the
Arm-pits
,
and
you
may
leave
the
Armes
to
finish
till
afterwards
,
and
then
you
proceed
to
Draw
down
to
the
Hipps
on
both
sides
,
but
be
sure
that
you
exactly
observe
the
breadth
of
the
Wast
;
and
when
you
have
done
this
,
then
Draw
that
Leg
first
which
the
Body
standeth
firmest
upon
,
then
Draw
the
other
which
standeth
looser
of
the
two
,
but
be
sure
to
place
that
Leg
which
the
Figure
stands
upon
firmely
and
right
,
upon
the
straight
Line
which
cometh
down
from
the
Head
,
or
else
the
Figure
may
seem
to
yield
one
way
or
the
other
,
and
as
it
were
fall
;
and
lastly
you
must
proceed
to
Draw
the
Armes
and
Hands
.
A
further
Observation
.
When
you
Draw
a
Naked
Figure
you
must
judiciously
and
exactly
observe
to
place
the
Joynts
and
Sinews
and
Muscles
in
their
naturall
places
,
according
to
their
proportion
,
and
observe
that
one
Joynt
be
not
higher
or
lower
then
the
other
;
otherwise
the
Figure
will
seem
to
be
crooked
and
deformed
and
out
of
proportion
to
the
judicious
eye
;
see
that
every
parallel
Joynt
must
bend
moderately
according
to
Nature
,
and
answer
the
other
which
is
opposite
to
it
;
and
note
that
the
straight
stroake
must
be
struck
according
to
the
bending
of
the
Body
,
so
that
if
the
Body
bowe
,
the
stroke
must
bowe
also
,
and
if
the
body
stoope
downwards
a
little
,
you
must
strike
your
stroake
sloping
accordingly
;
then
make
the
Shoulder
,
which
ought
to
stand
straight
over
one
another
,
the
one
to
be
a
little
higher
then
the
other
,
on
that
side
which
the
body
turns
upon
the
Shoulders
and
the
other
Joynts
,
which
otherwise
ought
to
be
placed
one
even
against
another
;
you
must
make
them
to
yield
something
lower
then
that
side
the
Figure
stands
firmest
upon
,
more
or
less
,
answerable
to
the
stooping
of
the
Body
;
and
be
sure
to
be
very
exact
and
carefull
in
the
Drawing
your
outmost
circumferences
,
and
to
be
very
carefull
in
Drawing
your
Muscles
and
Joynts
which
are
in
the
body
;
therefore
because
you
should
place
things
in
their
right
and
natural
places
,
you
strike
the
straight
Line
from
the
Pit
of
the
Throat
straight
down
,
just
in
the
middle
of
the
Body
,
where
you
can
discern
the
parting
of
the
Ribs
.
From
thence
you
must
proceed
with
your
Line
quite
down
to
the
Feet
,
and
be
sure
to
observe
the
bowing
and
bendings
of
the
Body
,
and
to
draw
that
part
which
is
opposite
to
that
which
bendeth
,
to
yield
and
bend
accordingly
with
it
:
As
for
example
,
if
one
side
of
the
Body
doth
yield
or
bend
inwards
,
then
you
must
make
the
other
side
for
to
stand
out
answerable
,
and
according
to
the
bending
in
of
the
otherside
;
and
observe
whensoever
you
draw
the
Back
bending
in
,
you
must
make
the
Belly
to
yield
in
according
to
it
,
so
that
when
the
Belly
yields
in
,
the
Back
must
stick
out
according
to
proportion
;
and
also
if
the
Buttocks
stick
out
,
then
that
which
is
over
in
opposition
to
it
must
yield
in
equally
.
This
is
not
only
to
be
observed
in
these
parts
of
the
Body
,
but
in
all
the
other
also
;
as
when
the
Knees
bend
out
,
then
the
Hammes
which
answer
to
it
must
yield
in
accordingly
,
and
therefore
this
Rule
is
very
necessary
to
be
observed
very
exactly
in
all
the
other
Joynts
;
or
else
peradventure
the
Body
will
not
have
all
the
natural
windings
and
yieldings
,
which
give
the
greatest
looseness
to
any
Figure
whatsoever
.
Withall
be
sure
to
use
your
utmost
endeavour
to
make
things
of
an
answerable
and
equall
proportion
and
bigness
according
to
Art
,
that
is
to
say
,
not
to
make
a
Leg
or
an
Arm
or
any
other
Joynt
,
not
of
an
equall
and
suitable
bigness
,
but
to
make
one
bigger
then
the
other
;
therefore
observe
to
make
all
the
Joynts
of
an
equall
bigness
,
both
of
bigness
,
length
,
and
breadth
,
but
according
to
proportion
.
But
in
case
any
part
of
the
Body
yield
or
turn
something
away
from
the
Eye
,
then
you
must
decline
that
part
which
turneth
according
to
proportion
;
and
likewise
if
any
part
of
the
Body
do
appear
to
the
Eye
to
foreshorten
,
as
when
it
doth
hinder
the
sight
of
the
full
Latitude
of
that
part
of
the
Body
:
Therefore
I
say
upon
such
occasions
,
the
Body
or
part
of
the
Body
must
be
made
to
decline
and
foreshorten
,
according
to
that
proportion
that
the
Eye
doth
guess
of
it
;
therefore
be
sure
to
observe
your
exact
distances
one
from
another
,
how
farre
the
one
is
distant
from
the
other
;
you
must
observe
also
how
much
one
part
of
the
Body
sticks
out
beyond
the
other
;
be
carefull
when
you
draw
a
naked
Figure
to
draw
nothing
hard
,
but
to
shadow
it
fine
and
soft
as
possible
you
can
,
and
not
to
draw
the
out-Circumferences
sharp
or
stiff
,
but
as
loose
as
possible
.
A
way
to
take
the
perfect
out-Lines
or
Circumferences
of
any
Painting
or
Print
whatsoever
.
Take
a
sheet
of
Venice
Paper
,
and
dip
it
in
Oyl
;
or
take
a
Feather
,
and
wet
the
Paper
all
over
with
Oyl
of
Turpentine
,
then
take
a
clean
linnen
Rag
,
and
after
the
Oyl
is
soaked
into
the
Paper
a
while
,
rub
the
Oyl
clean
off
from
the
Paper
as
clean
as
you
can
,
for
if
the
Paper
be
Oyly
it
will
spoil
any
Print
,
because
that
the
Oyl
will
soak
through
.
Then
having
prepared
the
Oyl-Paper
,
take
it
and
lay
it
upon
the
Painting
or
Print
which
you
intend
to
draw
after
,
and
you
shall
perceive
all
the
Painting
very
clearly
through
the
Oyl-Paper
.
Then
you
take
a
black
lead
Pensil
,
and
▪
draw
upon
the
Oyl-Paper
all
the
out-Lines
and
Circumferences
thereof
,
then
take
a
piece
of
Charcole
,
or
a
piece
of
black
Lead
,
and
scrape
it
upon
the
backside
of
the
Oyl-Paper
,
then
take
a
Feather
and
rub
it
all
over
,
and
shake
off
the
rest
;
this
being
done
take
a
sheet
of
clean
Paper
,
and
lay
under
the
Oyl-Paper
;
then
take
a
Stift
,
and
draw
all
the
same
stroaks
which
you
drew
before
upon
the
Oyl-Paper
over
again
,
then
take
the
Oyl-Paper
off
from
the
other
,
and
all
the
same
out-Lines
will
be
upon
the
clean
Paper
;
then
if
you
think
good
,
you
may
finish
it
up
according
to
the
Painting
or
Print
you
draw
it
after
.
A
way
to
decline
or
bring
any
Painting
or
Print
into
a
lesser
compass
.
If
it
be
a
Painting
that
you
intend
to
decline
,
then
you
take
a
pair
of
Compasses
,
and
divide
the
length
of
it
into
so
many
equall
parts
as
you
think
convenient
,
and
the
breadth
also
with
the
very
same
distances
,
then
you
must
take
a
piece
of
Packthread
and
chalk
it
,
then
take
that
Line
,
and
strike
upon
all
the
parts
which
you
divided
with
your
Compasses
,
so
many
strait
Lines
as
there
are
parts
in
the
length
,
then
strike
them
Lines
that
go
in
the
breadth
,
quite
across
them
in
the
length
,
so
that
it
may
be
all
uniformed
;
so
the
like
with
that
as
you
would
have
smaller
or
greater
,
according
to
your
intention
;
and
by
the
distances
in
the
Chequers
you
guess
to
draw
it
smaller
accordingly
.
A
further
direction
for
Drawing
.
Be
sure
to
place
all
the
Muscles
in
their
right
and
proper
places
:
By
the
Muscles
I
mean
the
shadows
that
are
caused
by
some
dents
or
swellings
in
the
face
or
body
;
therefore
labour
to
find
out
the
reason
of
every
Muscle
,
that
so
you
may
proceed
to
work
with
the
more
judgement
;
you
shall
perceive
the
most
Muscles
in
old
and
withered
faces
.
First
you
must
draw
the
principle
of
them
,
and
then
place
the
features
exactly
in
their
right
places
;
observe
to
shadow
them
rightly
,
and
be
sure
not
to
make
them
too
dark
where
they
should
be
faint
,
for
if
you
should
,
you
can
never
recover
it
to
make
them
light
again
;
the
shadowes
are
generally
fainter
and
lighter
in
a
fair
face
,
then
in
a
swarthy
complexion
.
And
when
you
have
finished
your
draught
,
you
must
give
it
here
and
there
a
hard
touch
where
it
is
darkest
shadowed
,
which
will
adde
a
great
life
and
grace
to
it
.
Certain
choice
Observations
concerning
Miniture
or
Limning
▪
ERe
you
begin
to
paint
,
you
must
be
exact
at
Design
or
Draught
,
so
as
to
be
able
to
Copy
any
Picture
in
black
and
white
,
with
Cole-black
,
Chalk
,
Black
Lead
,
or
the
like
.
The
Colours
to
be
painted
with
are
thus
termed
.
White
Cereus
.
White
Lead
.
Red
India
lake
.
Red
Lead
.
Mynne
.
Yellow
Masticot
.
Yellow
Ocur
.
English
Ocur
.
Green
Sap
green
.
Pink
.
Blew
Verdure
.
Green
Bice
.
Terra
Vert.
Blew
Indico
.
Vltra
marine
.
Blew
Bice
.
Smalt
.
Brown
Spanish
Brown
.
Collins
earth
,
or
Terra
de
Coloma
.
Vmber
.
Black
Cherri-stone
.
Ivory
black
.
Lamblack
.
As
for
Vermillion
,
Verdigrease
,
Orpiment
,
&c.
they
are
too
course
and
gritty
to
paint
in
Water-colours
;
Turnsoil
,
Litmus
blew
,
Rosset
,
Brasill
,
Logwood
,
Saffron
,
are
more
fit
for
washing
Prints
,
then
curious
Limning
.
Grisatrice
.
Faint
shade
for
the
Face
]
Mingle
together
white
English
Ocur
,
Indico
,
a
little
Masticot
.
Deep
shade
]
White
English
Ocur
,
Umber
.
Dark
shades
in
mens
Faces
]
India-Lake
and
Pink
mixt
.
Ruddy
Compl.
]
Mine
,
Vermilion
,
Lake
,
Cereus
,
Ana
q.
s.
Mingle
white
Lead
with
all
the
shades
.
Bise
.
To
Wash
Bise
]
Grinde
the
Bise
first
very
purely
,
then
fill
a
shell
with
clean
water
,
put
the
Bise
therein
,
stir
it
,
and
let
it
settle
an
hour
,
then
reserve
the
bottome
and
blow
oft
the
top
.
To
deepen
this
use
Litmus
Water
.
Deepest
shade
]
Umber
,
Cullins
earth
,
Pink
,
Lake
,
Ana
q.
s.
Observation
in
Grindeing
]
Leave
not
your
Colour
too
moist
,
but
thick
and
clammy
;
if
after
your
Colour
be
dry
,
you
rubbing
your
finger
thereon
finde
any
to
come
off
,
it
must
be
better
bound
with
Gum
.
Black
]
Cherystone
burnt
good
for
Drapery
.
Cereus
.
White
]
To
make
your
Cereus
or
white
Lead
that
it
shall
neither
rust
nor
shine
(
both
which
are
no
small
inconveniences
)
go
this
way
to
work
before
you
begin
to
grinde
either
of
them
;
lay
them
in
the
Sun
to
dry
two
or
three
dayes
,
which
will
exhale
those
greasie
and
salt
humors
that
poyson
and
starve
the
Colours
;
besides
you
must
scrape
away
the
superficies
of
the
white
Lead
,
and
only
reserve
the
middle
of
it
;
grinde
it
with
fair
water
or
Rosemary
water
with
a
Pebble
on
a
Porphir
.
When
't
is
ground
,
have
in
readiness
a
Chalk
stone
with
Furrows
in
it
,
into
which
put
the
Colour
while
't
is
wet
,
and
it
will
be
exceedingly
cleansed
thereby
.
After
it
is
through
dry
,
reserve
it
in
clean
papers
,
and
when
you
would
use
it
,
put
it
in
a
Muscle
shell
with
Gum
water
made
of
the
whitest
Gum
Arabick
.
Colours
to
be
ground
are
these
.
Cereus
,
white
Lead
,
India
Lake
,
English
Ocur
,
Pink
,
Indico
,
Umber
,
Spanish
Brown
,
Cullins
Earth
,
Cheristone
Ivory
.
Colours
to
be
washt
are
these
.
Red
Lead
,
Minne
,
Masticot
,
green
Bise
,
Cedar
green
,
Ultra
Marine
,
blew
Bise
,
Smalt
,
Verdure
,
Sap
green
.
India
Lake
.
Purple
]
Grinde
this
with
Gum
water
;
when
't
is
ground
fine
before
you
put
it
in
a
shell
,
mix
a
little
powder
of
white
Sugar
Candy
with
it
,
which
will
make
it
not
crack
;
after
this
Temperature
,
you
may
spread
it
with
your
finger
thinly
about
the
shell
.
English
Ocur
.
Yellow
]
This
Colour
lies
even
in
the
shell
of
it self
,
and
is
of
great
use
,
especially
if
well
ground
▪
Pink
.
Green
]
The
fairest
Pink
is
best
,
wherewith
well
ground
and
tempered
with
blew
Bise
,
makes
an
excellent
green
;
to
deepen
this
Colour
in
Landskip
or
Drapery
,
use
Indico
very
finely
ground
.
Vmber
.
Brown
]
This
Colour
is
somewhat
greasie
,
to
cleanse
which
burn
it
in
a
Crucible
,
afterwards
grinde
it
and
it
will
be
good
.
Spanish
Brown
.
Dark
Red
]
Because
this
Colour
is
very
course
,
you
may
use
Umber
and
a
little
Lake
tempered
instead
thereof
,
which
is
as
good
.
Black
.
Black
]
Cherristone
and
Ivory
are
both
to
be
burnt
in
a
Crucible
and
so
ground
.
Cherristone
is
good
for
Drapery
;
for
a
black
Sattin
,
temper
with
it
a
little
white
,
India
,
Lake
,
and
Indico
;
heighten
it
with
a
lighter
mixture
;
deepen
it
with
Ivory
black
:
This
was
Hilliards
way
.
Ivory
.
Ivory
]
Grinde
Ivory
with
Sugarcandy
.
Colours
to
be
washt
and
how
.
Red
Lead
]
One
Instance
may
serve
for
all
,
and
that
shall
be
of
red
Lead
,
whereof
take
as
much
as
you
will
an
Ounce
or
two
,
put
it
into
a
Bason
or
earthen
Dish
full
of
fair
water
,
stir
it
a
while
together
till
the
water
be
all
coloured
,
let
it
stand
,
and
you
will
soon
perceive
a
greasie
scum
to
arise
,
which
with
all
the
water
cast
away
,
put
fresh
water
to
it
,
and
do
as
before
a
second
time
;
but
before
the
water
be
half
setled
,
pour
all
the
water
into
a
clean
Dish
to
this
water
in
your
second
Bason
,
you
must
adde
more
clean
water
,
and
mingle
both
together
,
then
let
it
settle
,
afterwards
pour
out
the
water
,
and
that
small
pittance
at
the
bottome
is
only
good
,
which
after
't
is
dry
must
be
taken
off
with
a
Feather
,
and
put
up
in
papers
for
use
.
To
use
it
,
spread
a
little
of
it
about
the
sides
of
a
shell
,
and
with
your
finger
temper
it
with
Gum
water
.
Pencils
]
Choose
such
Pencils
as
are
clear
,
sharp-pointed
,
not
dividing
into
parts
;
of
these
you
must
have
in
readiness
a
several
Pencil
for
every
several
Colour
.
To
prepare
a
Tablet
to
work
on
with
Miniature
for
Pictures
by
the
life
.
Take
an
ordinary
playing
Card
,
pollish
it
with
a
Dogs
tooth
,
and
make
as
smooth
as
you
can
the
white
side
of
it
,
cleansing
it
from
all
spots
and
extuberances
;
then
choose
of
the
best
abortive
Parchment
a
piece
proportionable
to
your
Card
,
which
piece
with
fine
and
clean
Starch
paste
fast
on
the
Card
,
temper
the
Starch
before
you
paste
it
on
in
the
Palm
of
your
hand
,
that
it
may
be
free
from
knots
;
let
the
Card
thus
pasted
dry
,
then
making
your
Grindeing
stone
as
clean
as
may
be
,
lay
the
Card
thereon
with
the
Parchment
side
downward
;
then
with
a
tooth
burnish
or
pollish
the
backside
as
hard
as
you
can
.
Note
that
the
outside
of
the
skin
is
best
to
paint
upon
,
and
must
therefore
be
outmost
.
To
Prime
for
a
Face
]
Your
Card
thus
prepared
,
you
are
to
lay
a
Ground
or
Primer
of
flesh
Colour
before
you
begin
your
work
,
and
that
must
be
tempered
according
to
the
Complexion
of
the
Face
to
be
drawn
;
if
the
Complexion
be
fair
,
temper
white
,
red
Lead
,
and
Lake
;
if
an
hard
swarthy
Complexion
,
mingle
with
your
white
and
red
a
little
fine
Masticot
,
or
English
Ocur
;
but
note
,
that
your
Ground
ought
alwayes
to
be
fairer
then
the
Face
you
take
,
for
it
is
a
facile
matter
to
darken
a
light
Colour
,
but
a
difficult
to
lighten
a
deep
one
;
for
in
Limning
you
must
never
heighten
,
but
work
them
down
to
their
just
Colour
.
Your
Ground
thus
prepared
,
you
must
lay
it
on
the
Card
(
ordered
as
before
)
with
a
Pencil
bigger
then
ordinary
,
lay
it
on
as
smooth
,
even
,
and
free
from
hairs
of
your
Pencil
as
't
is
possible
,
which
that
you
may
do
,
fill
your
Pencil
full
of
Colour
rather
thin
or
watrish
,
then
thick
and
gross
,
and
with
two
or
three
daubes
of
your
great
Pencil
,
lay
it
on
in
an
instant
,
the
nimbler
it
is
laid
on
,
the
evener
the
Colour
will
lie
.
Note
]
Note
that
you
ought
to
cover
rather
too
much
then
too
little
with
this
Prime
;
cover
〈◊〉
what
more
of
the
Card
with
the
Ground
Colour
,
then
you
shall
use
for
the
Face
.
This
done
,
take
a
pretty
large
shell
of
Mother-pearl
,
or
another
shell
,
and
before
you
〈◊〉
work
,
temper
certain
little
heaps
of
several
Shadowes
for
the
Face
,
which
you
may
dispose
about
the
edges
of
the
shell
.
The
Order
of
Shadowes
for
the
Face
.
Shadows
]
In
all
your
Shadows
,
remember
to
mix
some
white
,
exempli
gratiâ
;
for
the
red
in
the
Cheeks
,
Lips
,
&c.
temper
Lake
,
red
Lead
;
and
a
little
white
for
the
blew
,
as
the
Veines
,
&c.
a
little
Indico
and
white
,
for
blew
Bise
is
never
used
in
a
Face
;
for
the
faintest
and
weakest
Colour
or
Shades
,
Lake-white
,
a
little
Ocur
,
and
a
little
Indico
,
adding
thereto
if
you
will
a
small
pittance
of
Pink
,
or
Masticot
;
for
the
deeper
Shadows
,
white
English
Ocur
,
Umber
;
for
the
darkest
and
hardest
Shadows
,
use
Lake
,
and
Pink
mixt
with
Umber
.
Note
that
black
must
not
by
any
means
be
used
in
a
Face
:
for
other
Shadows
your
own
observation
must
direct
you
,
for
it
is
impossible
to
give
a
general
Rule
for
the
Shadows
in
all
Faces
,
unless
we
could
force
Nature
to
observe
the
same
method
in
Composeing
and
Modelling
them
,
so
that
one
in
every
Punctilio
should
resemble
the
other
.
Light
]
For
your
Light
to
draw
by
a
Northern
is
accounted
best
,
which
if
it
fall
sloping
down
from
an
high
window
,
is
best
of
all
.
Position
]
Place
your self
so
to
your
Desk
,
that
the
Light
may
strike
in
sidelong
from
the
left
hand
to
the
right
;
and
observe
that
in
all
your
work
it
will
shew
to
the
best
advantage
,
when
't
is
turned
and
seen
by
the
same
Light
it
was
drawn
by
.
Necessaries
in
Painting
]
Let
a
Saucer
or
clean
shell
of
fair
water
be
ever
on
your
right
hand
,
wherewith
you
may
temper
your
Colours
and
wash
your
Pencils
,
which
you
must
have
on
your
right
hand
too
;
together
with
a
brush-Pencil
dry
,
to
brush
and
cleanse
your
work
from
dust
;
also
a
sharp
Pen-knife
,
wherewith
to
take
away
such
spots
or
hairs
as
may
casually
mix
with
your
Colours
,
or
fall
into
your
Card
;
you
may
also
conveniently
cover
your
Picture
with
a
piece
of
paper
,
whereon
to
try
your
Pencils
before
you
begin
to
work
.
To
begin
a
Face
.
The
first
Draught
]
Having
these
accommodations
,
draw
the
Lines
of
Porphile
(
i.
e.
the
outmost
stroaks
)
of
a
Face
with
Lake
,
and
white
mingled
,
very
faint
;
by
this
you
may
conveniently
mend
the
Draught
(
if
false
)
with
a
deeper
mixture
of
the
same
Colour
;
the
Lines
being
exactly
drawn
,
and
true
proportion
observed
)
(
which
is
the
chiefest
thing
of
concernment
)
next
observe
the
deeper
and
more
remarkable
Shadows
,
and
with
the
same
faint
Crimson
Colour
of
Lake
and
white
,
give
some
slight
touches
and
marks
somewhat
roughly
of
these
Shadows
,
which
afterwards
you
'l
finish
.
The
Order
to
be
observed
in
drawing
by
the
Life
.
The
Order
of
Drawing
▪
First
Sitting
]
First
you
must
only
dead-Colour
the
Face
,
as
the
oyl-Painters
do
,
and
not
meddle
with
the
rest
,
and
this
first
Sitting
commonly
takes
up
two
hours
.
Second
Sitting
]
The
second
Sitting
will
require
four
or
five
hours
,
in
that
time
you
are
to
go
over
the
Face
very
curiously
,
observing
whatever
may
conduce
either
to
likeness
,
or
judicious
Colouring
,
and
observation
of
the
several
graces
,
beauties
,
or
deformities
,
as
they
appear
in
Nature
,
or
else
in
smoothness
of
Shadows
,
or
close
and
sweet
Couching
the
Colours
.
Third
Sitting
]
The
third
Sitting
is
two
or
three
hours
work
,
and
is
spent
in
closeing
what
was
before
left
imperfect
and
rough
;
but
principally
in
diveing
to
every
deep
Shadow
,
the
strong
touches
and
deepenings
as
well
in
the
dark
Shadows
in
the
Face
,
as
in
the
Eyes
,
Eyebrows
,
Hair
,
and
Ears
,
and
these
touches
are
ever
the
last
part
of
this
business
,
and
are
never
to
be
done
till
all
the
Hair
and
Drapery
be
finisht
;
these
touches
(
if
well
done
)
adde
exceedingly
to
the
life
.
Concerning
dead-Colouring
.
The
dead-Colouring
of
a
Face
is
to
be
done
the
roughest
and
boldest
of
all
;
having
drawn
your
Face
with
Lake
and
white
(
as
before
)
you
must
take
to
the
said
Colour
a
little
red
Lead
,
tempering
it
to
the
Colour
of
the
Cheeks
,
Lips
,
&c.
but
very
faintly
,
because
you
cannot
lighten
a
deep
Colour
,
without
hazard
of
spoiling
the
Picture
.
To
begin
to
Paint
]
The
first
Colour
to
begin
the
Face
with
is
the
red
of
the
Cheeks
,
and
Lips
,
somewhat
strongly
,
the
bottome
of
the
Chin
,
if
the
Party
be
beardless
;
over
under
and
about
the
Eyes
,
you
will
perceive
a
delicate
and
faint
redness
,
and
underneath
the
Eyes
,
inclineing
to
purple
Colour
,
which
in
fair
and
beautifull
Faces
is
usuall
,
and
must
be
observed
;
the
tip
of
the
Ear
and
the
roots
of
the
Hair
are
commonly
of
the
same
Colour
.
All
this
you
must
do
after
the
manner
of
Hatching
,
with
faint
and
gentle
Stroaks
,
washing
it
all
along
.
In
short
,
in
your
dead-Colouring
you
must
cover
your
ground
with
the
aforesaid
red
,
and
the
subsequent
Shadows
.
Note
]
Be
not
too
curious
in
your
first
working
,
but
regard
a
good
bold
following
of
Nature
,
rather
then
smooth
Curiosity
,
the
roughness
of
the
Colour
you
may
end
at
another
Sitting
.
The
second
Work
of
Painting
.
The
second
Procedure
]
The
red
being
done
,
the
next
is
the
faint
blewes
about
the
corners
and
balls
of
the
Eyes
,
and
the
gray
and
blewish
under
the
Eyes
,
the
Temples
,
&c.
which
you
are
also
to
work
from
the
uppermost
part
of
the
Face
almost
all
over
,
but
exceeding
sweet
and
faint
,
by
degrees
sweetening
and
heightening
your
Shadows
,
as
the
Light
falls
.
And
in
going
over
the
Face
,
be
sure
to
mark
out
the
hard
Shadows
in
the
dark
side
of
the
Face
,
under
the
Nose
,
Chin
,
Eyebrows
,
&c.
as
the
Light
falls
,
and
somewhat
strong
touches
in
those
places
.
Bring
up
your
work
together
in
an
equall
roundness
,
not
giving
perfection
to
any
particular
part
of
the
Face
,
but
visiting
all
the
parts
curiously
,
and
in
a
kinde
of
randome
,
by
which
meanes
you
will
better
observe
the
likeness
,
roundness
,
postures
,
Colouring
,
or
whatever
else
is
requisite
to
the
perfection
of
your
work
.
The
third
Procedure
]
Having
done
the
fainter
or
slighter
Shades
,
and
somewhat
smoothed
and
wrought
them
into
the
red
,
you
may
go
over
the
Hair
,
disposing
into
such
Forms
,
Folds
,
or
Tramels
,
as
may
become
your
Picture
best
.
You
must
at
first
only
draw
them
with
Colour
as
near
as
you
can
sutable
to
the
life
,
and
after
wash
them
lightly
at
the
first
,
and
then
once
more
peruse
your
work
,
being
carefull
to
fill
up
the
void
empty
and
bare
places
which
are
uncovered
with
Colour
,
and
at
last
deepen
it
somewhat
more
strongly
then
before
in
the
deepest
shady
places
,
still
carefully
observing
the
life
.
Thus
much
for
the
first
Sitting
.
The
Order
of
Painting
in
the
second
Sitting
.
The
Party
being
set
just
in
his
former
seat
,
you
must
most
exactly
observe
and
curiously
delineate
with
your
Pencil
,
those
several
varieties
of
Nature
,
which
you
did
rudely
score
out
before
.
To
do
this
you
must
use
the
same
Colour
in
the
same
places
you
did
before
,
working
,
driving
,
and
sweetening
the
same
Colours
one
into
another
,
to
the
end
that
nothing
be
left
in
your
work
with
a
hard
edge
,
uneven
,
or
a
lump
together
,
but
all
so
swept
and
driven
one
into
another
,
with
the
point
of
somewhat
a
sharper
Pencil
then
you
used
at
first
as
that
your
Shadows
may
lie
soft
and
smooth
,
being
dispersed
and
gently
extended
into
all
,
and
towards
the
lighter
parts
of
the
Face
,
like
air
or
a
vapoury
smoak
;
but
before
this
you
must
carefully
observe
all
the
Shadows
and
Colours
.
The
ground
behind
the
Picture
]
For
the
ground
behind
the
Picture
,
it
is
commonly
blew
or
crimson
,
somewhat
like
a
Satin
or
red
Velvet
Curtain
:
If
blew
you
must
lay
it
thus
;
your
Bise
being
pure
and
clear
washt
,
temper
as
much
in
a
shell
as
will
cover
a
Card
,
let
it
be
all
throughly
moist
and
well
bound
with
Gum
,
then
with
a
small
Pencil
go
about
with
the
same
Colour
the
Porphile
,
that
is
the
utmost
Stroak
,
and
ambient
Superficies
of
the
Picture
;
this
done
take
a
greater
Pencil
,
and
therewith
wash
over
somewhat
carefully
the
whole
ground
that
you
mean
to
cover
with
a
blew
,
somewhat
thin
and
watrish
,
and
then
with
a
reasonable
big
Pencil
full
of
Colour
and
flowing
,
lay
over
that
place
with
a
thick
and
substantial
body
of
Colour
,
which
before
you
had
only
washt
over
.
In
the
doing
of
this
you
must
be
very
swift
,
keeping
the
Colour
moist
that
you
have
laid
,
not
permitting
any
part
to
dry
till
the
whole
be
covered
.
A
Crimson
Ground
]
If
you
would
have
your
ground
Crimson
like
Satin
,
you
must
with
India-Lake
mark
out
where
and
in
what
places
you
will
have
these
strong
and
hard
Lights
and
Reflections
to
fall
,
which
is
seen
in
Satin
or
Velvet
,
there
lay
your
Lights
with
a
thin
and
watrish
Lake
,
and
while
it
is
yet
wet
with
a
stronger
and
darker
Colour
of
Lake
thick
ground
,
lay
the
deepning
and
hard
strong
Shadows
close
by
the
other
lights
;
your
best
way
is
to
have
a
piece
of
Satin
before
you
to
imitate
.
For
Method
in
the
Touches
]
After
this
lay
your
linnen
with
a
flat
white
,
and
the
Drapery
likewise
flat
,
then
go
over
your
Face
again
,
endeavouring
to
reduce
each
Shadow
to
its
true
perfection
,
then
draw
the
Lines
of
the
Eye-lids
,
expressing
the
red
dark
Nostril
,
the
shadowy
entrance
into
the
Ears
,
the
deepness
of
the
Eye-brows
,
and
those
more
perspicuous
notes
and
marks
in
the
Face
,
with
a
Pencil
somewhat
more
curious
and
sharp
then
before
;
you
may
darken
your
ground
as
you
see
it
will
be
most
advantagious
to
the
setting
out
the
Picture
.
The
Hair
]
Next
go
over
your
Hair
,
heightning
and
deepning
it
as
you
shall
see
by
the
life
,
drawing
some
Locks
loosely
over
the
ground
,
which
would
otherwise
seem
unpleasant
.
Linnen
Shade
]
To
shadow
Linnen
use
black
,
white
,
a
little
yellow
,
and
less
blew
;
the
black
must
be
deepned
with
Ivory-black
,
with
which
mix
a
little
Lake
,
and
Indico
,
or
Litmus-blew
.
Thus
much
for
the
second
Sitting
.
The
Manner
of
Finishing
at
the
third
Sitting
.
Third
Sitting
]
The
third
will
be
wholly
spent
in
giving
the
strong
Touches
and
Observations
necessary
for
the
rounding
of
a
Face
,
which
you
will
now
better
see
to
do
,
the
Apparel
,
Hair
,
and
Ground
,
being
already
finished
.
In
this
Sitting
curiously
observe
whatever
may
conduce
to
similitude
,
which
is
the
chiefest
thing
,
as
Scars
,
Moles
,
&c.
glances
of
the
Eyes
,
descending
and
circumflexions
of
the
Mouth
;
never
make
your
deepest
Shadows
so
deep
as
they
appear
in
the
life
.
Thus
much
of
the
Face
and
three
Sittings
:
For
Ornaments
thus
.
Ornament
.
Armour-Silver
]
For
Colouring
Armour
,
first
lay
liquid
Silver
flat
and
even
,
which
dryed
and
burnisht
with
a
Tooth
,
temper
the
Shadows
with
Silver
,
Indico
,
Litmus
,
and
a
little
Umber
,
work
these
Shadows
on
the
Silver
as
directed
by
the
life
.
Gold
Armour
]
For
the
Gold
Armour
,
lay
Gold
as
you
did
Silver
,
for
the
Shadow
,
Lake
,
English
Ocur
,
tempered
with
a
little
Gold
.
Pearls
]
To
express
the
roundness
and
lustre
of
Pearls
,
your
ground
must
be
white
,
and
Indico
,
your
Shadow
black
,
and
Pink
.
Diamonds
]
Diamonds
are
exprest
with
a
ground
of
flat
liquid
Silver
,
the
deepening
is
Cherristone
,
black
,
and
Ivory
;
the
deeper
the
Shadow
,
the
fairer
the
Diamond
.
Rubies
]
Lay
a
ground
of
Silver
,
burnish
it
to
the
bigness
of
the
Rubie
,
then
take
Turpentine
of
the
best
and
purest
,
and
temper
with
it
very
neat
a
little
India-Lake
,
then
taking
a
Needle
or
some
small
iron
Instrument
heated
in
a
Candle
,
lay
or
drop
a
little
of
the
Composition
upon
the
Silver
,
fashioning
the
Stone
in
a
round
or
square
,
or
what
fashion
you
please
with
the
point
of
your
Instruments
,
you
must
let
it
lye
a
day
or
two
to
dry
;
if
it
be
too
long
in
drying
,
adde
to
your
other
Composition
a
little
powder
of
clarified
Mastick
;
this
Receipt
is
not
commonly
known
.
Emeraulds
]
For
any
green
Stone
,
temper
your
Turpentine
with
Verdigrease
,
and
a
little
Turmerick
root
first
scraped
with
Vinegar
,
then
let
it
dry
,
then
grinde
it
to
fine
powder
and
temper
it
.
Saphires
]
Mix
Turpentine
with
Ultra
Marine
,
&c.
Note
that
the
ground
to
all
must
be
liquid
Silver
polisht
.
A
true
Receipt
to
make
liquid
Gold
.
Liquid
Gold
]
Take
of
fine
leaf
Gold
the
value
of
2s
—
6d
,
grinde
this
Gold
with
a
strong
and
thick
Gum
water
upon
a
reasonable
large
stone
,
which
you
must
grinde
very
fine
and
painfully
;
as
you
grinde
it
still
adde
more
of
your
strong
Gum
water
,
and
though
the
Gold
look
never
so
black
and
dirty
,
't
is
never
the
worse
;
having
brought
it
to
a
competent
fineness
,
wash
it
in
a
great
shell
as
you
did
Bise
,
&c.
being
very
clean
adde
to
it
a
little
quantity
of
Mercury
sublimate
,
with
the
point
of
your
Knife
which
you
must
temper
with
it
,
and
a
very
little
Gum
to
binde
it
in
the
shell
,
and
as
it
settles
and
begins
to
dry
in
the
shell
,
shake
it
together
,
and
remove
and
spread
the
Gold
about
the
sides
of
the
shell
,
that
it
may
be
altogether
of
one
Colour
and
fineness
,
use
it
with
fair
water
as
you
do
the
other
Colours
.
Note
]
So
for
liquid
Silver
,
only
observe
(
and
't
is
a
Secret
)
that
when
your
Silver
either
with
long
keeping
or
moistness
of
the
air
becomes
starvd
and
rusty
,
you
must
to
prevent
this
inconveniency
,
before
you
lay
the
Silver
Cover
over
the
place
with
a
little
juice
of
Garlick
,
which
will
preserve
it
.
Landskip
.
Landskip
]
In
painting
Landskip
ever
begin
with
the
Skie
,
and
if
there
be
any
Sun-beams
,
do
them
first
.
Purple
Clouds
]
For
the
purple
Clouds
,
only
mingle
Lake
and
white
.
Yellow
]
The
yellow
Sun-beams
,
Masticot
and
white
.
Note
1.
]
Work
your
blew
Skie
with
Smalt
only
.
Note
2.
]
At
your
first
working
dead-Colour
all
the
Piece
over
,
leave
nothing
uncovered
,
lay
the
Colour
smooth
and
even
.
Note
3.
]
Work
the
Sky
down
in
the
Horizon
fainter
and
fainter
as
you
Draw
near
the
Earth
,
except
in
tempestuous
Skies
,
work
your
further
Mountaines
so
that
they
should
seem
to
be
lost
in
the
Aire
.
Note
4.
]
Your
first
Ground
must
be
of
the
colour
of
the
earth
and
dark
;
yellowish
,
brown
,
green
,
the
next
successively
as
they
loose
in
their
distance
must
also
faint
and
abate
in
their
colours
.
Note
5.
]
Beware
of
perfection
at
a
distance
.
Note
6.
]
Ever
place
light
against
dark
,
and
dark
against
light
[
that
is
]
that
the
only
way
to
extend
the
Prospect
far
off
,
is
by
opposing
light
to
shadows
,
yet
so
as
ever
they
must
loose
their
force
and
vigor
in
proportion
as
they
remove
from
the
eye
,
and
the
strongest
shadow
ever
nearest
hand
.
Dark
green
For
a
dark
green
for
Trees
,
mingle
blew
Verdure
,
Pink
,
and
Indico
;
the
deepest
shadowes
of
all
in
green
are
made
with
sap
green
and
Indico
.
A
rare
Secret
to
preserve
colours
.
Take
Rosemary
Water
distilled
,
and
with
a
few
drops
of
it
,
temper
your
shell
of
White
,
and
you
shall
see
it
become
instantly
perfect
White
,
how
ever
dead
and
faded
it
was
before
.
Besides
this
Water
allayes
the
bubbles
in
White
and
Umber
,
which
are
usually
very
troublesome
in
the
Grounding
them
.
Some
generall
Observations
in
Miniature
.
1.
If
your
Colours
peel
or
by
reason
of
the
greasiness
of
your
Parchment
will
not
lye
on
;
mix
with
them
a
very
little
Ear-Wax
,
and
't
will
help
them
.
2.
Sit
not
above
two
yards
from
him
you
Draw
by
.
3.
Draw
not
any
part
in
the
Face
of
a
Picture
exactly
at
first
,
neither
finish
a
Mouth
,
Eye
,
or
Nose
,
till
the
rest
of
your
work
come
up
,
and
be
wrought
together
with
it
.
4.
When
you
have
finished
the
Face
,
make
the
Party
stand
up
to
Draw
the
Drapery
by
him
.
5.
Let
the
Party
you
Draw
be
set
in
an
higher
Seat
then
your self
that
Draw
.
To
make
Crayons
or
Pastils
and
Draw
with
them
.
Pastils
.
]
To
instance
one
for
all
,
if
you
were
to
make
a
Pastill
for
a
brown
Complexion
,
grind
on
your
Stone
,
Cereus
,
red
Lead
,
or
Virmilion
,
English
Ocre
,
and
a
little
Pink
,
to
this
add
a
proportionable
quantity
of
Plaister
of
Paris
burnt
and
finely
sifted
,
mix
this
with
the
other
Colours
and
you
may
role
it
up
.
Note
.
]
Mix
white
Cereus
with
all
your
other
colours
.
To
use
these
Pastils
,
Colour
the
Paper
whereon
you
mean
to
Draw
with
a
Carnation
or
flesh
Colour
,
with
a
wet
Spunge
Draw
the
out-lines
faintly
with
red
Chalk
,
then
rub
in
the
Pastils
,
finish
and
fill
up
all
with
black
Chalk
as
you
shall
see
occasion
.
To
make
white
.
Cereus
.
]
Take
two
parts
of
ordinary
Chalk
,
and
one
part
of
Allum
,
grind
these
together
fine
,
make
them
up
in
a
lump
,
burn
them
in
a
Crucible
and
use
them
.
To
make
white
Lead
.
White
Lead
.
]
Take
a
Gallypot
,
whereinto
put
severall
small
plates
of
clean
Lead
,
cover
them
with
white
Wine
Vinegar
,
cover
the
Pot
,
and
dig
an
hole
in
a
Cellar
,
where
let
it
abide
for
the
space
of
six
Weeks
;
take
it
up
,
and
scrape
off
the
White
Lead
from
the
plates
.
To
prepare
a
Card
for
a
Picture
.
Wet
a
Card
all
over
with
a
great
Pencill
so
soon
as
the
water
is
sunk
in
burnish
it
smooth
on
the
backside
,
having
beaten
some
Starch
with
a
Knife
in
your
hands
palme
spread
it
over
,
instantly
lay
on
a
piece
of
abortive
Parchment
,
let
it
be
prest
in
a
book
till
it
be
almost
dry
,
then
smooth
it
on
the
backside
.
To
preserve
Colours
fresh
,
some
grind
them
with
the
Gall
of
a
Neate
.
To
prepare
White
excellently
.
White
.
]
Take
some
Cereus
which
being
grosly
bruised
and
put
into
a
fine
earthen
Basen
,
put
to
it
a
good
quantity
of
running
Water
distilled
,
wherein
wash
the
Cereus
till
it
be
throughly
clean
and
purged
,
which
you
shall
know
by
the
taste
of
the
Water
which
is
drained
from
thence
.
Vernish
.
]
Vernish
is
made
thus
,
Take
of
Oyl
of
Turpentine
one
pound
,
Sandrake
one
pound
,
Oyl
of
Spike
one
pound
,
mix
the
Oyles
together
,
and
let
all
stand
over
the
fire
till
the
Sandrake
be
●esolved
:
if
the
fire
should
chance
to
catch
hold
of
this
,
clap
a
Pewter
Dish
over
it
.
Concerning
Wax
work
or
Moulding
.
To
make
the
Moulds
.
The
Mould
.
]
Take
a
good
big
lump
of
Plaister
of
Paris
and
burne
it
in
a
Crucible
till
it
be
red
hot
,
let
it
coole
,
then
beat
it
very
fine
,
and
searse
it
through
a
Tiffany
Sieve
;
be
very
cautious
that
the
Wind
come
not
at
it
,
for
that
will
hinder
its
hardening
:
after
it
be
tempred
keep
it
wrapt
up
in
a
cleane
brown
Paper
.
Use
it
thus
,
Take
any
Earthen
or
Pewter
Vessel
that
is
shallow
,
and
put
ten
or
twelve
spoonfulls
of
fair
Water
in
it
,
then
prepare
your
fruit
,
and
bind
a
Ragg
round
it
like
a
Cord
in
a
wreath
long
wayes
on
the
fruite
:
then
take
some
Linseed
Oyl
,
or
(
which
is
the
more
cleanly
)
Oyl
of
sweet
Almonds
,
with
which
in
a
Pencill
besmeare
the
Lemmon
or
(
what
other
fruit
it
be
)
on
one
side
,
which
lay
upermost
:
your
Lemmon
thus
prepared
,
take
up
some
of
your
sifted
Plaister
of
Paris
and
temper
it
in
the
forementioned
Water
to
a
pretty
thickness
,
then
as
speedily
as
may
be
with
the
help
of
your
Spoon
cast
it
on
the
Oyled
Lemmon
,
lay
it
on
very
thick
,
least
the
thinness
of
the
Mould
spoile
the
work
,
when
't
is
hardned
(
which
will
be
in
a
small
time
)
take
away
your
Ragg
,
leaving
the
Linnen
still
fast
in
its
half
Mould
;
Which
done
,
turne
the
hardned
side
downward
,
then
Oyl
the
other
half
of
the
Lemmon
together
,
with
the
edges
of
the
Mould
,
which
the
Ragg
did
cover
;
then
wash
your
Poringer
or
Vessel
where
the
former
Plaister
was
clean
and
prepared
,
and
cast
on
more
Plaister
of
Paris
as
before
;
observe
it
must
not
be
too
thick
when
you
cast
it
on
,
and
after
't
is
hardned
,
you
must
put
no
more
water
to
it
,
for
then
it
will
crumble
;
when
you
have
done
the
Moulds
so
,
and
made
a
notch
that
one
may
fall
fitly
into
the
other
,
tye
them
close
together
having
before
well
Oyled
them
,
and
keep
them
for
use
.
To
Cast
in
these
Moulds
.
To
Cast
.
]
Use
the
whitest
and
purest
Virgins
Wax
.
To
colour
the
Wax
answerable
to
the
things
you
Mould
.
To
colour
.
]
For
a
Raddish
your
Ground
is
Cereus
,
which
must
be
afterwards
Painted
over
with
Lake
,
the
top
of
the
Raddish
Painted
with
Verdigrease
,
all
other
such
Colours
must
be
tempered
with
Gum-Water
.
Gum-Water
is
thus
made
,
Disolve
a
lump
of
clear
Gum
Arabick
about
the
bigness
of
a
Wallnut
in
two
spoonfuls
of
fair
Water
,
herewith
temper
your
Colours
.
Note
that
every
thing
Mouldable
is
either
all
of
one
and
the
same
colour
,
as
(
a
Lemmon
,
)
or
striped
,
and
particoloured
with
different
colours
,
as
a
Pare
,
Paremaine
,
&c.
Now
such
as
are
of
one
colour
may
be
easily
cast
all
of
the
same
colour
;
but
such
as
are
variegated
must
be
kept
out
afterwards
by
colours
tempered
with
Gum-Water
,
(
as
above
,
)
you
colour
your
Wax
by
putting
into
it
whilst
it
is
hot
and
melted
in
a
Gallypot
,
a
little
Linnen
Bag
of
that
colour
you
use
,
provided
that
the
colour
be
before
bruised
very
fine
.
As
to
particulars
,
for
the
Lemmons
or
Apricocks
,
take
only
Turmerick
in
a
Bag
;
for
Oranges
,
Turmerick
and
red
Lead
well
tempered
;
Apples
,
Peares
,
or
Grapes
,
Turmerick
and
a
little
Verdigrease
;
mixt
Wallnuts
and
Figs
,
Turmerick
and
English
Ocre
,
and
Umber
all
in
a
bag
together
;
Cucumbers
,
or
Hartichoakes
,
Peasecods
,
or
Filbirds
,
Turmerick
,
Verdigrease
,
Eggs
,
and
Cereus
,
all
put
in
severall
Bagges
,
and
steept
in
the
Virgin
Wax
when
't
is
melting
as
before
mentioned
;
for
Damsons
,
bruise
Charchoale
,
Indico
,
and
blew
Starch
in
a
Bag
together
;
for
flesh
colour
,
White
Lead
,
and
Vermilion
mixt
,
&c.
To
counterfit
Rochcand'd
Sweetmeates
.
Rochcandy
.
]
Disolve
the
quantity
of
a
Wallnut
of
Gum
Arabick
in
two
spoonfuls
of
clear
Water
,
let
it
be
very
thick
,
then
take
any
piece
of
broken
Venice
Glass
,
the
thicker
the
better
,
beat
it
in
a
Mortar
so
small
as
you
please
;
that
it
may
serve
your
occasion
,
daub
over
some
cast
Sweetmeats
with
the
forementioned
Gum-Water
,
strew
this
Pouder
on
them
,
and
't
will
with
much
delight
satisfie
the
expectation
.
Additionall
Observations
out
of
a
Manuscript
of
Mr.
Hilliards
touching
Miniature
.
When
you
begin
to
Paint
temper
all
your
colours
a
fresh
with
your
finger
,
in
your
shell
,
or
on
your
pallat
.
Pearle
.
Your
Pearl
must
be
laid
with
a
White
mixture
,
with
a
little
black
,
a
little
Indico
and
Mastick
,
but
very
little
in
comparison
of
the
White
,
not
to
the
hundredth
part
;
that
dry
,
give
the
light
of
the
Pearle
with
a
little
Silver
,
somewhat
more
to
the
light
then
the
shadowed
side
,
then
take
a
White
allaid
with
Masticot
,
and
underneath
the
shadowed
side
give
it
a
compassing
stroake
,
which
shews
a
reflection
,
then
without
that
a
small
shadow
of
Sea
Cole
undermost
of
all
.
But
Note
,
your
Silver
must
be
laid
round
and
full
.
The
Grounds
and
Rules
of
Etching
.
BEfore
that
you
begin
to
Etch
upon
Copper
,
it
is
very
necessary
to
practise
the
Art
of
Drawing
,
till
you
be
able
if
need
require
to
Draw
any
Head
after
the
Life
,
or
to
Draw
a
designe
;
Therefore
if
you
intend
to
practise
the
Art
of
Etching
,
you
will
find
it
very
profitable
to
Draw
after
good
Prints
,
which
are
well
designed
and
Graved
,
and
when
you
,
have
practised
so
long
that
you
are
able
to
Coppy
any
Print
,
or
Drawing
very
exactly
;
then
Draw
after
good
Heads
of
Plaister
or
Figures
,
according
to
your
own
fancy
,
which
will
learn
you
to
shadow
according
to
Art
,
if
well
observed
;
therefore
be
sure
when
you
Draw
after
Plaister
,
to
observe
very
exactly
to
take
the
true
out-lines
or
circumferences
,
and
then
take
notice
how
the
shadow
falls
,
then
shadow
it
very
faint
and
soft
,
where
need
requires
accordingly
.
The
Prints
which
I
recommend
unto
you
as
absolutely
the
best
to
learne
to
Etch
after
,
be
the
Prints
of
Henry
Goldshis
and
Hermon
Muller
.
Therefore
it
is
very
convenient
to
learn
to
hatch
with
the
Pen
exactly
after
either
of
the
aforesaid
Prints
of
Goldshis
or
Muller
;
and
when
you
have
brought
it
to
that
perfection
,
and
can
Draw
very
well
after
Plaister
,
you
may
practise
to
Draw
after
the
Life
;
but
before
you
Draw
after
the
Life
,
you
must
be
very
exact
and
true
in
your
out-lines
or
circumferences
.
The
Instruments
with
their
particular
names
which
are
used
to
Etch
withall
.
A
Copper
plate
polished
,
a
piece
of
Ground
bound
up
in
a
piece
of
Silk
or
Taffety
,
and
preserved
from
any
dust
or
grease
;
and
about
twenty
Needles
of
all
sizes
,
the
best
are
made
at
Cleafe
;
then
take
the
Needles
and
set
them
indifferent
deep
into
some
round
slender
sticks
about
a
span
long
,
with
a
Needle
at
one
of
the
Sticks
,
and
a
Pencill
at
the
other
,
a
scraper
,
a
polisher
;
and
two
or
three
good
French
Gravers
,
well
ground
and
whetted
,
and
a
pair
of
Compasses
,
a
Ruler
,
some
green
Wax
,
a
Bottle
which
holdeth
some
halfe
a
pound
,
of
single
Aqua
fortis
stopped
close
with
soft
Wax
,
some
white
Lead
,
a
Stift
,
a
hand
Vice
to
hold
the
Plate
over
the
fire
,
an
Oyl-stone
.
The
use
and
property
of
every
particular
Instrument
.
The
Copper
Plate
is
the
only
Object
to
Etch
upon
;
the
Ground
is
to
lay
upon
the
Copper
Plate
,
when
they
are
both
warmed
▪
your
Needles
are
to
Hatch
withall
upon
the
Ground
;
the
Pencill
is
to
wipe
away
the
bits
of
Ground
,
which
rise
when
you
Hatch
upon
the
Ground
with
your
Needles
;
the
Scraper
is
to
scrape
out
any
thing
that
is
amiss
▪
the
Polisher
is
to
make
smooth
any
place
that
is
rough
,
so
that
you
can
mend
any
place
that
is
amiss
according
to
your
own
mind
;
the
Gravers
are
to
mend
here
and
there
a
stroake
where
need
requires
.
But
Note
,
That
your
Gravers
must
be
ground
and
whet
very
sharp
and
smooth
upon
an
Oyl
stone
before
you
use
them
.
Your
Compasses
are
of
very
little
use
in
Etching
,
except
it
be
to
measure
a
distance
,
or
strike
a
Circle
.
The
Ruler
is
used
to
Hatch
all
the
straight
Hatches
or
Lines
upon
the
Plate
.
The
green
Wax
is
used
to
make
a
Wall
round
about
the
edges
of
your
Plate
,
to
keep
the
Aqua
fortis
from
runing
off
from
the
Plate
.
The
Aqua
fortis
is
the
finisher
of
the
work
,
when
you
have
Hatched
the
designe
upon
the
Plate
with
your
Needles
.
The
white
Lead
is
used
to
scrape
upon
the
backside
of
the
Drawing
or
Print
that
you
Etch
after
.
The
Stift
is
used
to
Draw
thorow
all
the
outmost
Lines
or
circumferences
of
the
Print
or
Drawing
which
you
Etch
after
.
The
Oyl
stone
is
to
whet
your
Gravers
upon
.
Having
these
things
in
readiness
,
Note
,
that
if
it
be
a
black
Ground
that
lies
upon
the
Plate
,
then
you
must
take
white
Lead
and
rub
it
upon
the
backside
of
the
Print
or
Drawing
which
you
intend
to
Etch
after
;
but
if
it
be
a
white
Ground
,
then
you
must
take
black
Lead
,
or
a
piece
of
Charchoale
,
and
rub
on
the
back
of
your
Print
as
aforesaid
.
The
manner
and
way
to
make
the
Ground
.
Take
a
quarter
of
a
pound
of
Virgins
Wax
▪
and
half
a
quarter
of
a
pound
of
Expoltum
burnt
,
of
Amber
one
ounce
,
of
Mastick
one
ounce
.
Having
all
these
Materials
in
readiness
,
you
must
take
the
Mastick
and
the
Expoltum
and
beat
them
very
fine
in
a
Mortar
;
this
being
done
,
take
a
new
earthen
Pot
,
and
put
the
Wax
into
it
,
and
set
it
upon
the
fire
till
it
be
just
melted
;
then
take
the
Mastick
and
the
Expoltum
and
shake
them
in
by
degrees
,
stirring
the
Wax
about
till
they
be
throughly
mingled
with
the
Wax
;
but
let
it
not
stand
too
long
over
the
fire
,
nor
let
the
fire
be
too
hot
,
which
if
you
do
it
will
burn
the
Ground
;
therefore
when
they
are
throughly
melted
,
take
it
off
from
the
fire
,
and
poure
the
Ground
out
into
a
Pot
of
fair
Water
,
and
make
it
up
into
a
Ball
and
preserve
it
from
dust
;
and
when
you
will
use
it
,
take
a
quantity
of
it
and
bind
it
up
in
a
piece
of
Taffity
or
Silk
,
and
use
it
as
hereafter
.
Etching
.
A
red
Ground
.
Grind
red
Lead
very
well
tempered
with
Vernix
▪
A
white
Ground
.
Take
of
Wax
one
ounce
,
Rosin
two
ounces
,
melt
them
together
,
add
thereto
a
quarter
of
an
ounce
of
Venice
Cereus
finely
ground
▪
A
black
Ground
.
Spaltum
.
]
Asphaltum
two
parts
,
Bees
Wax
one
part
,
melt
them
together
,
being
warme
,
lay
it
thinly
on
with
a
Lawne
ragg
▪
Another
Ground
.
Grind
red
Lead
with
Linseed
Oyl
;
Note
,
your
Ground
must
be
laid
very
thin
.
The
manner
and
way
to
lay
the
Ground
upon
the
Plate
.
Take
some
Charcole
and
kindle
them
,
this
being
done
,
take
the
hand
and
screw
it
fast
to
one
of
the
corners
of
the
Plate
,
as
near
to
the
edge
as
you
can
,
because
you
must
lay
the
Ground
all
over
the
Plate
;
then
take
the
Plate
and
hold
it
over
the
fire
,
till
it
be
so
warme
to
melt
the
Ground
,
then
take
the
Ground
which
is
bound
up
,
and
rub
it
to
and
fro
upon
the
Plate
till
it
be
covered
all
over
alike
;
then
take
one
of
the
stiffest
Feathers
out
of
a
Ducks
Wing
that
is
not
ruffled
,
and
spread
the
Ground
very
thin
,
and
smooth
every where
alike
upon
the
Plate
;
but
have
a
speciall
care
you
heate
not
the
Plate
too
hot
,
least
you
burne
the
Ground
;
which
if
it
be
,
the
Ground
will
break
up
when
you
put
on
the
Aqua
fortis
and
spoile
the
Plate
;
you
may
discover
when
it
is
burnt
,
by
its
rising
sandy
,
which
if
you
perceive
,
you
must
take
a
clean
Linnen
ragg
,
and
warming
the
Plate
,
wipe
the
Ground
cleane
off
,
and
lay
a
new
as
aforesaid
.
But
if
you
perceive
the
Ground
to
be
smooth
and
not
sandy
,
take
it
off
from
the
fire
,
and
when
it
is
cold
,
take
a
piece
of
Link
and
hold
under
the
Ground
till
you
have
smoaked
it
very
black
,
but
let
not
the
flame
touch
the
Ground
,
least
you
burn
it
;
this
being
done
,
if
the
Plate
be
cold
hold
it
over
the
fire
again
till
it
be
just
warme
,
to
let
the
smoake
melt
into
the
Ground
,
that
it
may
not
rub
off
under
your
hand
;
then
hold
it
off
from
the
fire
with
the
Ground-side
of
the
Plate
downwards
for
to
preserve
it
from
the
dust
,
otherwise
when
the
Ground
is
warme
,
dust
will
flye
therein
and
spoile
it
,
therefore
you
must
hold
it
with
the
Ground-side
downwards
untill
the
Ground
is
cold
.
The
way
to
Draw
the
outmost
Lines
of
any
Print
or
Drawing
upon
the
Ground
of
the
Plate
.
First
take
the
Drawing
or
Print
which
you
intend
to
Etch
after
,
and
scrape
a
little
white
Lead
upon
the
backside
of
it
,
then
take
a
Feather
and
rub
it
over
every where
alike
,
and
shake
off
that
which
remaines
,
then
take
the
Print
and
lay
it
upon
the
Plate
on
that
side
the
Ground
is
,
then
fasten
the
four
corners
of
the
Print
to
the
Plate
with
a
little
soft
Wax
;
this
being
done
,
take
the
Stift
and
Draw
upon
the
Print
all
the
outmost
circumferences
and
Lines
exactly
,
and
when
you
have
so
done
,
take
off
the
Print
from
the
Plate
,
and
all
the
same
out-lines
and
circumferences
which
you
Drew
upon
the
Print
with
the
Stift
,
will
be
exactly
and
unfailably
upon
the
Ground
.
Severall
Observations
in
Hatching
.
First
observe
exactly
and
judiciously
how
your
principle
is
shadowed
,
and
how
close
the
Hatches
joyn
,
and
how
they
are
laid
,
and
which
way
the
light
falleth
or
cometh
;
the
light
must
fall
all
one
way
,
for
if
the
light
fall
side
wayes
in
your
Print
,
you
must
Hatch
the
other
side
which
is
furthest
from
the
light
darkest
,
and
so
place
your
lights
altogether
on
the
one
side
,
and
not
confusedly
to
have
the
light
come
on
both
sides
alike
,
as
if
it
stood
in
the
midst
of
many
lights
;
for
neither
doth
the
light
with
all
its
brightness
illuminate
any
more
then
that
part
that
is
directly
opposite
unto
it
.
Then
observe
exactly
how
close
all
the
Hatches
joyn
,
and
how
they
are
laid
,
and
which
way
they
twist
and
wind
:
then
follow
them
as
exactly
as
possibly
you
can
,
but
before
that
you
begin
to
Hatch
or
Shadow
,
you
must
Draw
all
the
outmost
Lines
with
a
Needle
upon
the
Ground
,
as
Artificially
as
you
can
,
and
then
you
must
Shadow
it
with
your
Needles
of
severall
sorts
according
to
your
principle
;
and
when
you
will
make
a
broad
stroake
,
then
break
off
the
point
of
a
great
Needle
and
whet
it
upon
an
Oyl
stone
four
square
untill
it
comes
to
a
point
;
and
if
you
will
Hatch
five
stroakes
,
then
you
must
use
five
pointed
Needles
;
and
if
middle
size
,
then
break
off
the
point
of
a
middle
size
Needle
and
whett
it
as
beforesaid
,
and
so
according
to
all
sizes
.
But
some
Masters
when
they
make
a
bold
stroake
Hatch
it
fine
at
first
,
and
so
by
degrees
make
them
broader
.
Necessary
Observations
in
Etching
Landskips
.
Observe
when
you
Etch
Landskips
,
to
make
or
hatch
that
which
is
nearest
to
the
Eye
darkest
,
and
so
let
it
lose
or
decline
its
Shadows
by
degrees
,
and
that
which
is
furthest
off
must
be
faintest
,
and
so
lose
equally
by
degrees
;
the
same
observation
must
be
in
making
the
Skie
,
for
that
which
is
nearest
to
the
Eye
must
be
the
darkest
shadowed
,
but
in
general
as
faint
and
soft
as
possible
;
and
so
also
let
it
lose
by
degrees
as
before
is
mentioned
,
and
the
nearer
the
Skie
cometh
to
the
ground
,
the
more
it
must
lose
and
be
fainter
;
but
when
they
as
it
were
meet
together
,
the
Skie
must
quite
be
lost
;
and
when
you
have
hatched
it
as
exactly
as
you
can
possibly
with
your
Needles
,
according
to
the
print
of
Drawing
that
you
do
it
after
;
this
being
done
,
compare
them
exactly
and
judicially
together
,
and
if
you
finde
it
like
the
original
,
take
some
green
soft
Wax
and
make
a
wall
round
about
the
edges
of
the
Plate
.
How
to
make
the
Wax
wall
round
about
the
Plate
,
to
keep
the
Aqua
fortis
from
running
off
from
it
.
Take
some
green
soft
Wax
and
temper
it
till
it
be
warm
,
then
draw
it
into
a
long
slender
role
as
long
as
will
reach
about
the
Plate
,
then
flat
it
and
fasten
it
about
the
edges
of
the
Plate
,
and
let
it
be
about
half
an
inch
high
;
then
take
an
old
Knife
and
heat
it
in
the
fire
,
and
sear
the
Wax
round
about
under
the
Plate
very
close
,
otherwise
the
Aqua
fortis
will
run
out
;
but
be
sure
to
fasten
the
wall
as
near
to
the
edges
of
the
Plate
as
you
can
conveniently
;
then
pour
the
Aqua
fortis
upon
the
Plate
,
letting
it
lie
till
it
be
deep
enough
.
How
to
use
the
Aqua
fortis
on
the
Plate
.
You
must
use
single
Aqua
fortis
.
Take
a
quantity
of
Aqua
fortis
and
pour
it
into
a
Glass
,
and
mingle
it
with
a
little
Vinegar
to
weaken
it
,
if
it
be
too
strong
,
or
a
little
Aqua
fortis
which
hath
been
used
before
;
for
in
case
the
Aqua
fortis
work
too
strong
,
it
will
make
the
work
very
hard
,
and
sometimes
make
the
ground
to
break
up
;
and
when
you
have
tempered
it
very
well
,
pour
it
upon
the
Plate
almost
as
high
as
the
Wax
wall
;
the
deeper
the
Aqua
fortis
lieth
,
the
harder
it
will
eat
,
and
when
you
perceive
it
to
be
deep
enough
,
pour
off
the
Aqua
fortis
from
the
Plate
into
a
Glass
,
and
preserve
it
to
mingle
with
other
as
aforesaid
;
this
being
done
,
take
some
fair
water
and
wash
the
Plate
,
and
then
take
off
the
Wax
wall
and
preserve
it
for
the
same
use
again
;
then
warm
the
Plate
,
and
take
a
clean
linnen
Rag
when
it
is
indifferent
warm
,
and
rub
off
the
ground
from
the
Plate
very
clean
;
then
take
some
Oyl
and
rub
over
the
Plate
to
clean
it
,
and
if
you
perceive
that
the
Aqua
fortis
hath
not
eaten
as
deep
in
some
places
as
it
should
be
,
then
it
must
be
helped
with
a
Graver
.
Observations
by
which
you
may
know
when
it
is
deep
enough
.
When
the
Aqua
fortis
hath
layn
upon
the
Plate
a
little
more
then
a
quarter
of
an
hour
,
or
half
an
hour
;
there
being
no
certainty
in
time
,
because
sometimes
the
Aqua
fortis
will
work
stronger
then
at
other
;
therefore
when
you
think
it
is
deep
enough
,
pour
off
the
Aqua
fortis
from
the
Plate
into
a
Glass
,
then
wash
the
Plate
with
a
little
fair
water
,
then
take
a
Knife
and
scrape
off
a
little
piece
of
the
ground
where
it
is
hatcht
,
and
may
be
least
prejudicial
to
the
Plate
,
and
if
you
perceive
it
to
be
deep
enough
;
warm
the
Plate
and
rub
the
ground
off
as
before-written
;
but
if
you
finde
it
not
deep
enough
,
take
a
little
Candle-tallow
and
melt
it
in
a
Spoon
,
and
while
it
is
warm
take
a
Pensil
and
cover
the
place
with
it
where
you
scraped
the
ground
off
,
then
pour
the
Aqua
fortis
upon
it
again
,
and
let
it
lie
till
you
guesse
it
to
be
deep
enough
;
then
pour
the
Aqua
fortis
from
the
Plate
as
aforesaid
,
and
at
any
time
when
you
perceive
that
the
Aqua
fortis
doth
not
work
strong
enough
,
you
pour
off
half
the
old
,
and
refresh
it
with
some
new
,
for
when
the
Aqua
fortis
hath
been
upon
the
Plate
about
half
an
hour
,
it
will
be
much
the
weaker
,
because
the
strength
of
it
doth
evaporate
away
,
and
by
a
little
practice
you
will
come
to
the
certain
knowledge
when
the
Aqua
fortis
hath
eaten
deep
enough
.
Another
way
to
know
when
it
is
deep
enough
.
Take
a
little
piece
of
a
Copper
plate
,
and
lay
a
ground
upon
it
as
you
have
been
shewed
before
,
and
make
a
wax
wall
about
it
,
then
hatch
it
with
several
hatches
as
you
think
best
,
and
when
you
pour
the
Aqua
fortis
upon
the
one
,
pour
it
upon
the
other
,
and
when
you
think
they
be
eaten
deep
enough
,
pour
the
Aqua
fortis
from
the
little
Plate
,
and
wash
it
with
some
fair
water
as
aforesaid
,
then
take
a
Knife
and
scrape
off
a
little
piece
of
the
ground
from
the
little
Plate
where
it
is
hatcht
,
and
in
case
you
perceive
it
not
deep
enough
,
cover
the
place
again
with
some
warm
Candle-tallow
,
and
then
pour
the
Aqua
fortis
upon
it
again
till
you
guesse
it
to
be
enough
;
then
pour
the
Aqua
fortis
from
the
little
Plate
again
and
try
as
before
,
and
if
you
see
it
to
be
enough
,
pour
the
Aqua
fortis
from
the
great
Plate
,
and
wash
it
with
a
little
fair
water
before
you
warm
it
,
or
else
the
Aqua
fortis
will
stain
the
Plate
.
A
way
to
lay
a
white
Ground
upon
a
black
.
First
you
must
understand
that
most
grounds
are
black
,
and
when
you
lay
a
white
ground
upon
a
black
you
must
not
smoak
the
black
with
a
Link
,
and
you
must
lay
the
undermost
ground
the
thinner
,
when
you
lay
a
white
ground
upon
it
;
and
if
you
would
lay
a
white
ground
upon
a
black
,
take
a
quantity
of
Surice
,
as
much
as
you
think
will
cover
the
Plate
,
and
grinde
it
very
fine
with
Gum
water
,
and
temper
it
very
thinne
,
then
take
a
Pencil
and
wash
the
Plate
all
over
very
thinne
and
even
.
The
way
to
lay
a
red
Ground
upon
a
black
Ground
.
Take
red
Chalk
and
grinde
it
very
fine
with
Gum
water
,
then
take
a
pretty
big
Pencil
,
and
wash
the
Plate
all
over
with
the
red
ground
very
thinne
and
smooth
,
as
before
is
mentioned
.
A
Receipt
for
a
Ground
taken
out
of
a
Manuscript
of
Collots
.
Take
a
quarter
of
a
pound
of
Virgins
wax
;
and
half
a
quarter
of
a
pound
of
the
best
Expoltum
burnt
of
Amber
,
and
half
a
quarter
of
a
pound
of
Mastick
if
it
be
warm
weather
,
because
it
doth
harden
the
ground
and
preserve
it
from
injury
,
when
you
lean
with
your
hand
hard
upon
it
;
if
it
be
cold
weather
,
then
take
but
an
ounce
of
Mastick
;
this
being
observed
,
then
take
an
ounce
of
Rosin
,
and
an
ounce
of
Shoomakers
Pitch
,
and
half
an
ounce
of
other
Pitch
,
half
an
ounce
of
Vernish
:
having
all
these
materials
in
readiness
;
take
a
new
earthen
Pot
,
and
put
the
Virgins
wax
into
it
,
and
when
it
is
melted
stir
it
about
;
and
put
in
the
other
materials
by
degrees
as
before-mentioned
,
and
when
they
are
throughy
mingled
and
melted
,
take
the
Pot
off
from
the
fire
and
pour
it
out
in
a
clean
Pot
of
fair
water
,
and
work
it
into
a
Ball
,
and
preserve
it
from
dust
and
grease
,
and
when
you
have
occasion
to
make
use
of
it
,
take
a
quantity
thereof
and
binde
it
up
in
a
piece
of
Silk
,
and
make
use
of
it
as
before-mentioned
.
The
Ground
of
Rinebrant
of
Rine
.
Take
half
an
ounce
of
Expoltum
burnt
of
Amber
one
ounce
,
of
Virgins
Wax
half
an
ounce
,
of
Mastick
,
then
take
the
Mastick
and
Expoltum
,
and
beat
them
severally
very
fine
in
a
Mortar
;
this
being
done
,
take
a
new
earthen
Pot
and
set
it
upon
a
Charcolefire
,
then
put
the
Virgins
Wax
into
it
and
melt
it
,
then
shake
into
it
the
Mastick
and
Expoltum
by
degrees
,
stirring
the
Wax
about
till
they
be
throughly
mingled
,
then
pour
it
forth
into
fair
water
and
make
a
Ball
of
it
,
and
use
it
as
before-mentioned
;
but
be
sure
you
do
not
heat
the
Plate
too
hot
when
you
lay
the
ground
on
it
,
and
lay
your
black
ground
very
thin
,
and
the
white
ground
upon
it
.
This
is
the
only
way
of
Rinebrant
.
The
way
to
preserve
any
Ground
,
which
is
laid
upon
a
Plate
in
frosty
weather
.
Take
the
Plate
and
wrap
it
very
warm
in
a
woollen
Cloth
,
and
lay
it
in
the
warmest
place
you
can
convenient
;
for
if
the
Frost
is
got
into
the
ground
,
it
will
break
up
,
when
you
pour
the
Aqua
fortis
upon
it
.
A
way
to
preserve
the
Plate
from
injury
of
the
Aqua
fortis
,
where
the
Ground
breaks
up
.
If
you
perceive
the
ground
to
break
up
in
any
place
,
pour
off
the
Aqua
fortis
from
the
plate
,
and
wash
it
with
a
little
fair
water
;
then
take
a
quantity
of
Candle-tallow
,
and
melt
it
in
a
Spoon
,
and
while
it
is
warm
,
take
a
Pencil
and
cover
the
place
which
is
broken
up
with
the
said
Tallow
,
and
so
far
as
the
Tallow
is
spread
,
the
Aqua
fortis
will
not
eat
;
some
make
use
of
Vernish
in
stead
of
Tallow
:
and
when
you
have
covered
the
place
that
is
broken
,
pour
on
the
Aqua
fortis
again
,
and
let
it
lie
upon
the
Plate
,
till
you
guess
it
hath
eaten
enough
;
then
pour
the
Aqua
fortis
from
the
Plate
,
and
preserve
it
,
then
take
the
Wax-wall
and
preserve
it
also
,
and
wash
the
Plate
with
a
little
fair
water
,
then
rub
off
your
ground
as
aforesaid
,
and
for
the
places
which
the
ground
broke
up
in
,
it
must
be
helped
with
a
Graver
;
therefore
it
will
be
necessary
for
one
that
desireth
to
learn
this
Art
,
to
practise
Graveing
a
little
,
so
much
as
to
help
a
stroak
where
you
think
convenient
.
A
way
to
make
the
Aqua
fortis
eat
soft
or
hard
according
to
nature
or
Art
.
First
take
Candle-tallow
,
and
melt
it
in
a
Spoon
,
then
with
a
Pencil
cover
that
place
so
far
as
you
will
have
it
to
be
faint
,
but
note
it
to
be
after
the
Aqua
fortis
hath
lain
upon
your
Plate
an
indifferent
while
;
and
so
by
degrees
you
must
use
the
Tallow
as
you
would
have
it
fainter
;
this
is
very
necessary
when
you
Etch
Landskips
,
which
must
lose
and
stand
at
a
distance
by
degrees
;
therefore
when
you
Etch
Landskips
,
observe
to
stop
off
that
place
first
which
must
be
faintest
,
and
so
by
degrees
stop
it
off
,
and
make
it
lose
equally
;
and
note
the
nearer
you
come
to
the
Eye
,
it
must
be
strongest
and
darkest
shaded
,
but
not
on
that
side
from
whence
the
light
cometh
,
for
that
side
must
be
preserved
as
faint
as
may
be
;
but
according
to
Art
.
Observations
in
Etching
Prospective
.
Prospective
is
a
thing
that
is
one
of
the
difficultest
Arts
to
be
rightly
understood
,
that
is
practised
;
because
it
is
not
rightly
understood
,
but
by
a
good
Arithmetick
;
otherwise
you
can
never
understand
Prospective
,
because
you
can
never
guess
rightly
how
much
a
Pillar
,
or
a
Figure
,
or
the
like
must
decline
,
or
lose
at
their
several
distances
,
according
to
Art
and
proportion
:
therefore
when
you
Etch
a
piece
of
Prospective
after
a
Drawing
or
a
Print
,
observe
these
Rules
;
beware
of
perfection
at
a
distance
;
and
be
sure
to
shadow
that
,
which
is
nearest
to
the
Eye
,
perfectest
and
strongest
;
and
the
further
from
the
Eye
,
it
must
decline
in
length
,
and
breadth
,
and
heighth
,
according
to
Art
and
proportion
;
observe
also
to
let
it
lose
and
be
fainter
by
equall
degrees
.
A
way
to
grave
any
Hand
or
Letter
upon
a
Copper
Plate
.
Take
some
Charcole
and
kindle
them
;
then
take
a
Hand-vice
and
screw
it
to
the
corner
of
the
Plate
,
and
hold
it
over
the
fire
till
it
be
warm
;
then
take
a
piece
of
Virgins
Wax
,
and
rub
it
all
over
the
Plate
,
untill
it
is
covered
every where
alike
:
this
being
done
,
take
a
stiff
Feather
of
a
Ducks
wing
that
is
not
ruffled
,
and
drive
it
even
and
smooth
every where
alike
,
and
let
it
cool
;
then
write
the
Hand
or
Letter
which
you
intend
to
grave
upon
the
Plate
,
on
a
piece
of
Paper
,
with
ungum'd
Ink
;
then
take
the
Paper
which
you
have
written
,
and
lay
that
side
which
is
written
,
downwards
next
to
the
Wax
,
and
fasten
the
four
corners
with
a
little
soft
Wax
;
but
be
sure
to
place
the
writings
so
,
that
the
Lines
may
run
straight
;
then
you
must
take
a
Calves
Tooth
,
and
rub
the
Paper
all
over
which
is
fastened
,
and
not
miss
any
place
:
this
being
done
,
take
off
the
Paper
from
the
Plate
,
and
you
shall
see
the
very
same
Letters
which
you
wrote
on
the
Paper
,
hath
left
their
perfect
impression
upon
the
Wax
;
then
take
a
Stift
,
and
draw
all
the
Letters
through
the
Wax
upon
the
Plate
;
and
when
you
have
done
that
,
warm
the
Plate
,
and
take
a
linnen
Rag
and
rub
the
Wax
clean
off
,
and
you
shall
see
all
the
Letters
drawn
upon
the
Copper
;
then
get
some
good
French
Gravers
,
and
grinde
them
as
they
should
be
,
very
sharp
towards
the
points
upon
a
Grindestone
;
and
afterwards
whet
them
very
smooth
and
sharp
upon
a
good
Oyl-stone
;
then
grave
the
Letters
with
them
.
The
way
to
polish
a
Copper
Plate
.
At
first
you
buy
the
Copper
rough
,
then
you
have
it
plenished
,
if
you
cannot
do
it
your self
;
and
when
it
is
plenished
,
then
you
polish
it
with
these
following
Instruments
.
The
Names
of
the
Instruments
or
Tooles
which
are
used
to
polish
a
Copper
Plate
.
A
Plain
which
cuts
very
well
,
and
of
an
indifferent
bigness
,
but
not
broad
;
some
pieces
of
Pumice-stones
;
some
pieces
of
Sand-stones
;
and
some
Moulton-stones
;
a
soft
blew
stone
;
and
a
Burnisher
and
Scraper
;
and
some
Charcole
.
The
use
of
every
particular
Tool
or
Instrument
.
First
fasten
your
Plate
with
some
small
Nails
,
to
a
place
that
is
as
high
as
your
middle
;
then
make
use
of
the
Plain
to
shave
all
the
roughness
off
from
it
,
and
make
it
very
even
in
all
places
alike
;
and
if
you
perceive
any
crackles
or
little
holes
upon
that
side
which
you
shave
,
then
you
must
shave
them
all
clean
out
;
and
wheh
you
have
shaved
it
even
and
smooth
with
the
Plain
,
then
take
a
piece
of
Sand-stone
,
and
wet
the
Plate
with
some
water
,
and
rub
to
and
fro
with
the
stone
upon
the
Plate
,
till
you
have
worn
it
very
smooth
and
even
every where
alike
;
but
be
sure
to
choose
the
so
ftest
stones
,
because
they
make
the
least
scratches
:
and
when
you
have
worn
it
even
and
smooth
with
this
stone
,
wash
off
the
Sand
from
the
Plate
,
and
take
a
piece
of
Pumice-stone
and
rub
to
and
fro
upon
the
Plate
,
quite
across
the
grain
of
the
former
stone
,
because
it
is
of
a
hard
sandy
nature
,
and
will
therefore
leave
some
scratches
;
therefore
the
Pumice-stone
is
of
a
more
softer
and
spungy
nature
,
and
is
alwayes
used
to
wear
out
the
former
scratches
:
and
when
you
have
worn
out
all
the
former
scratches
,
you
will
perceive
the
Plate
to
be
worked
into
a
finer
grain
;
then
wash
the
Sand
very
clean
off
from
the
Plate
:
and
then
make
use
of
the
Moulton-stone
,
and
work
with
it
quite
across
the
grain
of
the
Pumice-stone
,
untill
you
have
worn
it
quite
out
;
withall
be
sure
you
supply
this
and
all
the
other
stones
with
water
,
when
you
work
with
them
upon
the
Plate
:
and
when
you
have
worn
out
all
the
scratches
of
the
Pumice-stone
clean
out
;
then
for
the
fourth
,
make
use
of
the
soft
blew
stone
,
it
being
of
a
very
soft
grain
,
and
softer
then
any
of
the
former
;
then
work
with
that
quite
across
the
grain
of
the
Moulton-stone
,
till
all
the
grain
is
worn
out
;
but
if
you
perceive
any
scratches
in
the
Plate
here
or
there
,
rub
them
over
with
your
Burnisher
,
till
you
have
worked
them
out
;
but
in
case
they
are
very
deep
,
you
must
make
use
of
your
Scraper
,
and
scrape
them
out
,
and
burnish
it
afterwards
:
this
being
done
,
in
the
fifth
place
you
must
burnish
it
all
over
.
Sixthly
and
lastly
,
take
a
Charcole
which
is
throughly
burnt
,
and
scrape
off
the
Rine
;
then
put
it
in
the
fire
till
it
is
throughly
kindled
;
then
take
it
out
and
quench
it
in
Chamber-lee
,
and
make
use
of
it
as
of
the
former
,
till
you
have
glazed
the
Plate
;
then
wash
it
very
clean
with
fair
water
,
and
let
it
dry
.
Rules
of
Proportion
.
Of
the
Ear
.
CHAP.
I.
I
Have
observed
this
Rule
,
First
to
treat
of
the
Ear
,
in
a
manner
of
my self
invented
,
and
not
by
any
other
discovered
.
Being
then
desirous
to
forme
the
Ear
by
this
way
;
you
are
first
to
describe
an
Ovall
,
in
such
manner
as
I
have
represented
in
this
Figure
,
at
the
Number
1.
but
to
forme
that
in
more
perfection
,
and
as
easily
as
possible
may
be
therein
,
with
such
Method
and
Order
as
I
design
.
Proceed
lightly
joyning
Stroak
to
Stroak
,
in
that
manner
as
in
each
of
the
sequent
Ovalls
they
are
encreased
,
even
unto
the
8.
Number
.
So
imitate
every
Stroak
of
each
Ovall
,
that
the
Ear
may
entirely
be
formed
without
digressing
from
the
bounds
,
and
reasonable
termes
of
the
Art
.
This
Rule
serveth
not
only
to
forme
the
Ear
in
correspondent
proportion
to
Nature
,
but
also
with
due
proportion
and
perfection
for
every
greater
Head
,
without
any
reprehensible
Error
;
that
is
,
without
making
that
with
too
great
length
or
breadth
,
hetrogeneal
or
disproportioned
.
For
Observing
then
the
Rule
,
there
will
be
no
occasion
for
the
Spectator
to
say
(
as
often
it
hapneth
)
that
that
was
beyond
reason
,
exorbitantly
traced
,
and
made
without
the
bounds
of
reason
.
Of
the
Nose
,
Mouth
,
and
Beard
.
CHAP.
II.
FOrasmuch
as
I
think
that
necessary
,
to
make
a
brief
Discourse
upon
this
next
Figure
,
in
which
the
Nose
,
the
Mouth
,
and
the
Beard
is
described
,
to
give
thereof
certain
general
advertisements
;
and
that
I
may
further
define
all
the
difficulties
from
point
to
point
;
the
Nose
being
known
to
be
the
most
eminent
part
of
the
Face
,
and
therefore
first
seen
;
and
then
the
Eye
which
resteth
in
the
judgement
,
the
next
form
of
the
Face
:
therefore
I
will
demonstrate
two
of
the
most
easie
wayes
hath
hitherto
been
invented
,
which
may
serve
reasonable
capacities
from
Stroke
to
Stroke
,
to
make
the
same
well
.
Make
then
first
a
Stroke
like
that
in
the
1.
Number
,
which
hath
the
beginning
of
the
hollowness
of
the
Nose
:
and
then
proceed
to
the
2.
Stroke
of
the
whole
Nose
,
with
the
roundness
thereof
:
in
the
3.
the
hole
of
the
Nostrills
:
in
the
4.
the
Nostrills
themselves
:
in
the
5.
the
place
of
the
upper
Lip
:
in
the
6.
the
upper
Lip
:
in
the
7.
the
form
of
the
Mouth
:
in
the
8.
the
roundness
of
the
Beard
:
in
the
9.
the
under-Throat
:
in
the
10.
the
uniting
of
them
all
,
with
the
Stroke
of
the
finishing
of
the
Nose
,
the
Mouth
,
and
the
Beard
.
Describe
a
semi-Circle
downwards
,
which
is
in
the
1.
in
the
2.
make
the
holes
of
the
Nose
,
with
the
two
Points
on
each
side
,
and
how
each
are
placed
:
in
the
3.
the
addition
of
the
Nostrills
:
in
the
4.
the
forming
of
all
the
upper
Lip
:
in
the
5.
the
form
of
all
the
Mouth
:
in
the
6.
the
finishing
of
all
the
Strokes
of
the
Beard
and
Chin
.
This
for
frameing
the
Nose
is
necessary
to
be
explained
,
being
of
importance
to
describe
the
same
well
;
because
be
the
Head
never
so
well
done
,
the
Mouth
and
it
being
not
correspondent
,
that
will
be
but
disgracefull
,
and
give
great
distast
to
any
judicious
beholder
;
be
the
other
parts
never
so
well
and
fairly
done
,
that
will
rest
without
grace
and
unworthy
of
commendations
.
Of
the
Head
upright
,
or
with
a
Triangle
.
CHAP.
III.
THe
manner
to
make
the
upright
Head
by
just
and
safe
Rules
without
errour
,
is
thus
:
First
form
a
perfect
equall
Triangle
so
as
you
see
,
in
what
position
you
will
,
having
a
respect
to
the
Draughts
I
have
presented
with
the
Lines
that
form
with
the
Compasses
a
just
Equilaterall
Triangle
,
which
is
with
3.
Lines
just
and
equall
every
way
,
turning
the
Triangle
to
make
the
Face
upon
one
of
the
3.
sides
,
be
it
which
you
will
,
either
upwards
,
downwards
,
higher
or
lower
,
dividing
that
side
into
3.
equall
parts
,
as
in
the
sequent
Figure
.
The
1.
to
serve
from
the
lower
part
of
the
Hair
,
to
the
lower
part
of
the
Forehead
:
The
2.
thence
,
to
the
under
part
of
the
Nostrills
:
The
3.
to
the
lower
part
of
the
Chin
.
Now
having
framed
these
3.
Lines
,
as
I
have
shewed
Number
2d
draw
a
little
crooked
Stroke
with
a
Cole
or
Chalk
out
of
the
right
Line
,
that
that
may
reach
to
the
other
point
,
and
that
will
form
the
Forehead
,
From
whence
draw
a
waved
slope
Line
bending
at
the
end
,
to
form
the
Nose
either
long
,
short
,
gross
,
or
thin
,
as
you
would
have
that
;
ending
that
at
the
2d
point
,
where
the
Nostrills
end
.
Then
subdivide
the
remaining
3d
part
in
the
midst
,
where
the
Mouth
shall
be
placed
,
for
the
parting
of
the
upper
and
under-Lips
.
Then
frame
the
Chin
,
having
a
respect
to
the
perpendicular
Line
,
that
that
fall
not
out
of
the
middle
of
the
Chin
;
adjoyning
thereto
the
under-Chin
down
to
the
Throat-pit
.
So
with
the
other
two
dividing
Lines
,
the
one
from
the
top
of
the
Forehead
downwards
(
and
ends
in
the
midst
of
the
back
part
of
the
Ear
;
)
the
other
proceedeth
upwards
from
the
Chin
,
ascending
till
that
meet
with
the
superior
descending
Line
,
whose
intersection
directeth
the
Ear
,
that
the
Circumference
thereof
stretch
not
too
far
;
which
in
the
first
Chapter
I
formed
by
the
Rule
of
the
Circle
.
Thus
with
your
judgement
take
the
upper
part
of
the
Forehead
,
and
come
to
describe
a
great
Circular
Line
about
,
to
form
with
that
the
roundness
of
the
Head
,
unto
the
Nape
of
the
Neck
,
keeping
the
proportion
that
Nature
teacheth
;
and
from
thence
downwards
frame
the
rest
of
the
Neck
,
remembring
that
the
tip
of
the
Ear
doth
not
exceed
the
lower
part
of
the
Nostrill
.
So
you
may
have
the
Head
in
what
position
you
will
,
so
this
abandon
not
the
two
other
Lines
;
each
concurring
in
their
due
points
.
Of
the
Foreright
,
and
other
Positions
of
the
Face
.
CHAP.
IV.
HAving
demonstrated
an
easie
way
how
to
draw
the
upright
Head
;
it
will
be
also
necessary
to
shew
the
manner
how
to
draw
the
foreright
Face
,
and
in
other
Positions
.
Being
then
desirous
to
draw
the
foreright
Face
,
it
will
be
necessary
to
form
a
perfect
Ovall
,
as
I
shewed
in
the
Rule
for
drawing
the
Ear
;
which
being
made
,
divide
in
the
midst
with
a
Line
the
longest
way
,
which
must
from
the
lower
part
of
the
Hair
be
divided
into
3.
equall
parts
,
by
2.
Lines
as
you
see
.
In
the
1.
is
the
Eyes
to
be
placed
;
in
the
2d
the
Nostrils
:
then
the
lower
part
divided
;
in
the
midst
thereof
must
the
Mouth
be
formed
,
as
by
the
Figure
may
be
conceived
:
alwayes
remembring
that
the
Eyes
must
be
in
the
1.
Line
;
and
each
of
them
distant
from
the
other
,
the
length
of
one
of
them
:
and
that
their
inner
Corners
be
perpendicularly
over
the
outside
of
the
Nostrils
punctually
.
But
to
make
the
Ears
in
a
foreright
Face
,
the
Ovall
must
be
exceeding
narrow
,
yet
proportional
;
that
is
,
that
the
Ears
be
drawn
in
,
and
be
in
height
from
the
Nostrils
to
the
Eye-brows
:
and
then
adjoyn
the
Neck
with
the
Hair
,
in
such
sort
as
may
seem
most
pleasing
to
the
judicious
Eye
.
Of
the
Inclining
or
Foreshortning
of
the
Face
.
CHAP.
V.
IN
this
Figure
I
will
make
a
brief
Declaration
concerning
the
scituation
or
posture
;
and
being
respective
of
the
bigness
,
to
give
easie
wayes
to
observe
in
framing
the
altitude
of
the
Head
in
any
inclination
,
as
well
in
Foreshortning
or
other
postures
.
This
then
requireth
small
labour
;
and
yet
I
have
explained
the
same
,
that
the
manner
thereof
may
be
plainly
seen
;
and
the
path
infallible
by
the
Lines
,
as
they
turn
and
concord
together
.
Imitating
the
like
,
you
may
with
facility
draw
in
their
places
the
Nose
,
the
Mouth
,
and
all
the
parts
in
good
order
,
agreeing
correspondently
without
much
labour
;
as
I
will
shew
with
these
simple
Lines
;
which
with
a
little
practice
to
prepare
the
hand
and
judgement
thereto
;
all
which
may
be
absolutely
well
effected
thereby
.
Of
a
more
perfect
Foreshortning
.
CHAP.
VI
.
HItherto
have
I
treated
of
the
Head
,
both
foreright
,
and
in
other
positions
;
but
that
you
might
know
all
that
is
needfull
for
the
perfect
understanding
of
this
profession
,
it
is
necessary
that
I
specifie
the
Manner
how
to
draw
the
Face
by
an
easie
,
absolute
,
and
fair
way
.
Treating
thus
,
I
propound
to
you
Methodicall
meanes
therein
;
because
my
intent
is
to
facilitate
the
matter
in
that
manner
,
that
without
writing
thereupon
it
may
be
intelligible
:
For
a
Draught
well
made
hath
that
power
,
that
it
makes
itself
understood
without
any
Discourse
of
the
Author
thereon
.
But
I
alwayes
observe
both
the
one
and
the
other
also
;
instructing
by
the
Draught
the
intelligence
first
,
and
afterward
by
Discourse
thereupon
.
I
say
then
that
the
Foreshortning
which
is
made
only
with
Frets
,
Grates
,
Squares
,
or
with
Geometricall
instruments
,
breed
only
a
confusion
of
Lines
,
which
is
not
the
best
principle
of
expert
ingenuity
;
the
reason
whereof
is
,
that
it
can
hardly
be
measured
by
any
Rule
,
unless
the
whole
Body
be
framed
together
.
Therefore
I
will
shew
an
easie
Rule
,
very
like
to
that
of
the
foreright
Face
;
that
is
,
to
make
a
Circular
Draught
with
aspect
upwards
,
or
downwards
,
as
in
the
foreright
Head
,
where
the
Traverse
Lines
are
straight
;
but
these
go
Circularly
,
as
in
the
Figures
in
the
last
Chapter
going
before
may
be
seen
.
For
if
the
Heads
flye
upwards
,
the
Trace
,
Strokes
,
and
the
Divisions
,
must
be
raised
as
I
have
shewed
;
with
Caution
that
the
Ears
and
Eyes
fall
not
without
their
due
points
.
Of
the
upright
or
side-Face
without
any
Measure
.
CHAP.
VII
.
BEing
desirous
to
make
an
upright
Head
or
side-Face
,
without
any
Triangle
or
other
Measure
;
you
shall
not
need
alwayes
to
make
the
Triangle
,
but
with
a
little
care
and
practice
to
form
the
Eye
,
which
will
serve
for
direction
sufficiently
;
because
the
Head
and
other
parts
of
the
Body
are
to
be
proportionals
,
and
made
from
Measures
,
it
will
easily
follow
,
framing
many
with
one
and
the
same
Stroke
,
you
may
not
only
facilitate
it
by
the
Eye
and
Judgement
,
but
also
accommodate
the
Hand
to
trace
and
draw
all
things
right
;
for
it
is
true
that
the
Eye
will
have
his
place
.
And
I
have
proved
,
that
having
drawn
certain
Strokes
and
Draughts
from
the
life
of
Nature
,
and
reduced
it
with
the
Pen
and
Pencil
into
Oyl-Colours
,
I
have
found
it
to
come
off
punctually
right
of
a
correspondent
bigness
to
that
which
I
have
imitated
.
So
that
having
finished
my
work
,
and
measured
it
part
by
part
,
I
have
not
found
any
thing
disproportioned
,
but
have
alwayes
found
it
fall
out
right
,
as
I
would
have
it
.
Therefore
I
say
that
this
Rule
and
Measure
which
I
have
set
down
,
is
not
any
hinderance
to
the
excellency
of
the
Art
,
nor
will
weaken
your
worth
;
but
will
serve
as
a
general
Advertisement
,
being
once
possest
therewith
;
and
also
become
prevalent
when
occasion
will
require
,
to
make
a
Head
ten
times
as
big
as
the
natural
;
for
that
with
this
Measure
you
shall
readily
frame
it
right
by
any
great
Head
;
and
that
because
the
Understanding
therein
is
equally
extended
;
but
the
more
the
Capacity
is
wanting
,
the
more
my
labour
will
further
,
when
need
requireth
.
These
then
I
give
as
principal
for
the
first
Strokes
,
as
in
the
next
Figure
may
be
perceived
,
which
is
from
the
Forehead
,
as
I
have
already
said
,
for
the
beginning
of
the
Nose
;
that
is
from
the
lower
part
of
the
Hair
,
to
the
hollowness
of
the
Nose
and
the
Nostrils
,
and
from
thence
to
the
Chin
.
It
will
afterwards
be
necessary
to
proceed
accordingly
from
Stroke
to
Stroke
,
by
encreasing
the
Strokes
until
you
come
to
the
Head
,
Number
10.
and
so
make
it
to
be
divided
into
3.
parts
by
the
Eye
justly
,
without
the
help
of
Compasses
or
other
Measures
;
and
in
so
doing
,
you
may
easily
accustome
your
hand
,
in
such
sort
that
you
may
draw
all
you
would
,
without
any
labour
at
all
.
The
Manner
how
to
describe
a
Head
every
way
without
Measure
.
CHAP.
VIII
.
IT
will
not
be
needfull
alwayes
to
set
down
the
Measures
which
I
have
before
prescribed
,
because
it
will
be
too
troublesome
:
But
my
intent
is
to
shew
how
by
an
unusuall
manner
by
me
invented
,
you
may
form
in
the
Idea
,
the
just
Measures
and
Distances
of
all
sorts
of
Heads
;
and
in
all
Positions
,
having
the
knowledge
of
this
Rule
;
and
afterwards
making
some
Heads
without
any
Triangle
,
or
other
manner
of
Demonstration
,
knowing
the
errors
of
heights
,
lengths
,
and
divisions
,
into
which
you
may
otherwise
run
.
Therefore
I
shew
in
this
Figure
an
easie
manner
that
must
be
held
;
and
how
with
those
few
Lines
,
to
make
the
Head
in
what
manner
you
will
.
Of
Childrens
Heads
.
CHAP.
IX
.
IT
resteth
only
for
me
to
treat
of
the
manner
how
to
draw
the
Heads
of
Children
,
with
a
Rule
,
invented
by
me
,
and
not
yet
by
any
put
forth
in
writing
.
Being
then
desirous
to
form
the
Heads
of
Children
perfectly
,
and
of
what
imaginable
bigness
you
will
;
take
a
pair
of
Compasses
,
and
make
a
perfect
equilater-triangular
Triangle
,
and
upon
each
point
thereof
by
turning
the
Compasses
round
,
make
a
Circle
as
you
see
,
of
that
bigness
that
they
may
touch
each
other
:
The
like
done
on
each
,
you
shall
so
have
described
3.
Circles
,
whereof
2.
shall
be
even
upon
one
side
,
and
the
3d
behind
them
,
joyned
to
them
both
.
And
this
is
the
1.
demonstration
:
In
the
2d
,
upon
that
side
which
the
two
even
Rounds
are
,
the
one
of
them
shall
serve
for
the
Forehead
,
and
the
other
for
the
Throat
;
and
behind
both
where
there
is
a
space
,
you
shall
make
the
Nose
,
the
Mouth
,
and
some
part
of
the
Chin
,
with
a
Stroke
near
the
Throat
;
afterwards
adjoyning
the
Ear
in
the
place
which
I
shew
,
where
we
conclude
the
Triangle
,
and
under
those
two
Circles
,
joyn
a
little
of
the
Nape
and
the
Neck
;
and
so
will
the
Childes
Head
be
finished
in
the
side
Face
porfill
,
with
the
Crown
,
as
you
see
Number
3rd.
In
Number
4.
I
represent
what
force
a
real
Rule
and
Reason
hath
in
designing
,
as
if
in
these
3.
Circles
I
should
open
the
excellency
of
the
Art
;
because
as
you
see
,
there
is
no
point
nor
Circle
but
performeth
his
office
,
with
that
convenience
that
is
possible
;
I
make
you
3.
Heads
in
one
Demonstration
,
of
which
at
your
pleasure
you
may
leave
away
2.
and
take
the
3d
,
without
danger
of
committing
any
error
therein
.
But
as
I
use
the
Triangle
in
the
upright
or
side-Head
,
so
do
I
use
the
Square
or
Quadrangle
in
the
foreright
Face
;
which
being
first
described
,
will
be
a
guide
to
place
the
Circles
in
their
places
;
as
in
the
1.
Draught
I
shew
:
In
the
2d
falleth
the
Eye
,
the
Nose
,
and
the
Mouth
:
In
the
3d
I
finish
all
together
,
with
the
under-Chin
,
Hair
,
and
other
Circumstances
.
But
be
alwayes
advised
in
this
Face
,
where
and
how
to
place
the
points
and
bigness
of
the
Ear
;
and
to
situate
the
Eye
,
which
I
have
made
to
avoid
confusion
,
observing
the
Measures
in
practice
by
the
precedent
Demonstration
:
And
so
your
work
will
come
off
with
the
greater
life
and
judgement
.
FINIS
.