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Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
end_n	line_n	perpendicular_a	straight_a	1,765	5	14.0990	5	true

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A60739	Polygraphice, or, The arts of drawing, engraving, etching, limning, painting, washing, varnishing, gilding, colouring, dying, beautifying, and perfuming in four books : exemplifyed in the drawing of men, women, landskips, countries and figures of various forms, the way of engraving, etching, and limning, with all their requisites and ornaments, the depicting of the most eminent pieces of antiquities, the paintings of the antients, washing of maps, globes or pictures, the dying of cloth, silk, horns, bones, wood, glass, stones and metals, the varnishing, colouring and gilding thereof according to any purpose or intent, the painting, colouring and beautifying of the face, skin and hair, the whole doctrine of perfumes, never published till now, together with the original, advancement and perfection of the art of painting / by William Salmon ...	Salmon, William, 1644-1713.	1673 (1673)	Wing S445; ESTC R16620	189,914	371

then that being done right part the fingers according to the pattern with like faint stroaks then mark that place where any of the fingers do stand out from the others with a faint resemblance this done proceed to draw it more perfectly making the bending of the joints the wrists and other principal things more exactly and lastly go over with it again drawing every small bending or swelling of the fingers nails knuckles and veins so many as do appear II. Learn by good prints the just proportions of the hands with their equal distances observing this rule that according as it turns one way or another to shorten proportionally as they appear to the eye For so much as it turns away from our eye so much it loses in proportion yea sometimes a whole finger two or three or more is lost to our sight which you must accordingly answer in your draught III. In drawing of the feet the same rules which we even now enumerated at the first and second Section of this Chapter are to be understood here W Sherwin sc W Sherwin sc CHAP. VI. Of Drawing the whole Body I. FIrst begin with the head and be sure to give it its just proportion answerable to what you intend the whole body shall be then draw the shoulders in their exact breadth after them the trunk of the body beginning at the Arm-pits and so drawing down to the Hips on both sides observing withal the exact breadth of the Waste Lastly draw the legs arms and hands exactly to your pattern II. But first draw with a coal and that very lightly and faintly drawing nothing perfect that you may the easier mend it if it be amiss and then afterwards finish one thing after another as curiously as you can III. Let the parallel sinews muscles veins and joints be placed opposite one to another in a straight line as shoulder to shoulder hip to hip knee to knee c. for which purpose draw straight cross lines to guide you therein observing that which way soever the body turns or bows these lines may answer accordingly W Sherwin sc IV. Let all perpendicular joynts and parts also be placed in a right line one under another as they are in your pattern for which end draw a straight line if the body be straight from the throat through the middle of the breast and privities to the feet to which line draw all those particular points parallels that the body may not appear crooked or awry V. In bowings and bendings of the body let the extuberance of the outward part be just equal to the compression of the inward part making all things of an equal proportion that as opposite parts may be equal as the arm to the arm leg to leg c. so every part may be proportionable to each other as the hand not too big for the arm nor the arm for the body nor the body for the legs c. only with this difference that as the one part may appear fully to the eye or the other may turn away either in part or in whole or be seen side-way it be made so much less than the other by so much as it turns away from the sight VI. As you observe a just proportion in bigness so also in length that as every opposite part be of equal length so that each part may not be too long one for another but according to the proposed magnitude And in this case that if the body be a wry or any ways hid those parts may shorten accordingly to what is out of sight VII Lastly Observe the just distance of one thing from another for by that means you will be more exact in your draught and in short time perfectly imitate your pattern or nature CHAP. VII Of Drawing a Naked Body I. IN drawing after the life as there are variety of faces so no certain Rules can be delivered for the same yet the following precautions may be useful II. Draw out the head in an Oval one fourth part for the hair one fourth part for the forehead and brows one fourth for the nose and the last for the mouth and chin III. Having drawn out the head measure out eight times the length of the head the head making one of the eight parts and draw a straight line from the top of the head to the sole of the foot IV. One heads length from the chin is for the breast the next eighth part reacheth to the navel the fourth part to the privities the fifth part to the middle of the thigh the sixth part to the lower part of the knee the seventh to the small of the leg and the eighth part to the heel V. The muscles you must observe to draw exactly as they are in the life the breadth of the shoulders is about two measures of the head the breadth of the hips two measures of the face the arms stretched out are just the length of the whole figure the breasts also accounted but without the breasts they are but six VI. The arms hanging straight down reach within a span of the knee the length of the hand is the just length of the face See the two figures following VII Observe first to draw the head exactly and next the shoulders in their just breadth then draw the trunk of the Body and the rest as at the first Section of the sixth Chapter VIII Be sure to place the joints sinews and muscles in their natural places and also proportionally in respect of Magnitude Similitude and Parts lest it seem crooked and deformed IX See that every parallel joint bend moderately so as to answer in nature its opposite W Sherwin sc W Sherwin 〈◊〉 CHAP. VIII Of Shadowing a Naked Body I. THe shadows of the neck in a child or young woman are very fine rare and hard to be seen In a man the sinews and veins are expressed by shadowing of the rest of the neck and leaving them white the shoulder is shadowed underneath the brawn of the arm must appear full and white shadowed on one side II. The veins of the back of the hand and the knuckles are made with two or three hair stroaks with a fine touch of the pen. III. The paps of a man are shewed by two or three stroaks given underneath in a woman with an orbicular shade somewhat deep the ribs retain no shadow except you represent one lean or starved IV. The belly is made eminent by shadowing underneath the breast bone and the flank The brawn of the thigh is shadowed by drawing small hair stroaks from the hip to the knee and crossed again overthwartly V. The knee is to be finely shadowed underneath the joint the shin-bone appears by shadowing one half of the leg with a single shadow VI. The ankle-bone appears by shadowing a little underneath as in the knees and the sinews thereof must seem to take beginning from the midst of the foot and to wax bigger as they grow nearer to the toes VII Lastly

the imitation of flowers as Roses Tulips Carnations c. Herbs as Rosemary Tyme Hysop c. Trees as the Oak Fir Ash Wallnut c. VI. The third practice of Drawing imitates 1. Beasts as the Lamb Elephant Lion Bear Leopard Dog Cat Buck Unicorn Horse c. 2. Fowls as the Eagle Swan Parrot Partridge Dove Raven c. 3. Fishes as the Whale Herring Pike Carp Thornback Lobster Crab c. of which variety of Prints may be bought at reasonable rates VII The fourth praxis imitates the body of Man with all its Lineaments the Head Nose Eyes Ears Cheeks hands Arms and shadows all exactly proportional both to the whole and one to another as well to situation as Magnitude VIII The fifth praxis is in Drapery imitating Cloathing and Artificially setting off the outward Coverings Habit and Ornaments of the Body as Cloth Stuff Silk and Linnen their natural and proper folds which although it may seem something hard to do yet by much exercise and imitation of the choicest Prints will become facil and easie IX In drawing of all the aforegoing forms or what ever else you must be perfect first in the exact proportions secondly in the general or outward lines before you fall to shadowing or trimming your work within X. In mixed and uncertain forms where Circle and Square will do no good but only the Idea thereof in your own fansie as in Lions Horses and the like you must work by reason in your own judgment and so obtain the true proportion by daily practice Thus Having the shape of the thing in your mind first draw it rudely with your coal then more exactly with your lead or pencil then peruse it well and consider where you have erred and mend it according to that Idea which you carry in your mind this done view it again correcting by degrees the other parts even to the least Jota so far as your judgment will inform you and this you may do with twenty thirty forty or more papers of several things at once having done what you can confer it with some excellent pattern or print of like kind using no rule or compass at all but your own reason in mending every fault giving every thing its due place and just proportion by this means you may rectifie all your errors and step an Incredible way on to perfection CHAP. IV. Of Drawing the Face of a Man I. IN drawing of the face you are first to observe its motion whether upwards downwards forwards or sideways whether it be long or round fat or lean great or little For if it be fat the cheeks will seem to swell if lean the jaw-bones will stick out and the cheeks fall in but if neither too fat nor too lean it will be for the most part round II. Touch lightly the features where the eyes mouth nose and chin should stand having first drawn the circle or oval of the face then make a stroak down from that place of the forehead which is eaven with the Chin coming down where you should place the middle or tip of the nose and middle of the mouth which stroak must be made straight down in a full right face but arched or oval in an oblique face leaning that way towards which the face doth turn then cross the stroak about the middle of the Eyes either with a straight line in a right face or with a Curved either upwards or downwards according to the present action or posture of the face then make another answerable to that where the end of the nose should come and another for the mouth that it be not made crooked W Sherwin sc III. Then if the face look upwards toward heaven or downwards towards the earth let the Eyes Nose Mouth and Brows look accordingly with it and now proceed to the placing of the features IV. In a just proportioned face the distances 1. between the top of the forehead and the eye-brows 2. between the eye-brows and the bottom of the nose 3. between the bottom of the nose and the bottom of the Chin are equal V. In drawing the utmost Circumference of a face take in the head and all with it lest you be deceived in drawing the true bigness W Sherwin sc VI. Then consider all those chief touches which give life to a face adding grace thereto and something discovering the disposition of the mind So the mouth extended and the corners a little turning up shews a smiling countenance the eye-brow bending and the forehead and top of the nose between the eye-brows wrinkled shews one frowning the upper eye-lid coming something over the ball of the eye shews one sober and stayed with many other touches which give life and spirit to a face which in good paints by little and little and diligent observation you will at last find out VII The distances between the eyes is the length of one eye in a full face but in a three-quarted or half-face it is lessened proportionably and exactly underneath the corners of the eyes place the nostrils VIII Having given touches where the eyes nose mouth and chin should be placed begin to draw them more exactly and so proceed till the face be finished and then make the hair beard shadows and other things about it W Sherwin sc IX Be sure to make the shadows rightly and be sure not to make them too dark where they should be faint for that can never be made light again and so the whole face is marr'd The shadows are fainter and lighter in a fair face than in a swarthy X. When you have finished the face give here and there some hard touches with your pen where the shadows are darkest then come the ears and hair wherein having drawn the out-line draw the principal curls or master stroaks in the hair which will be a guide to you in the lesser curls whose dependance are on them always make the curls to bend exactly according to the pattern that they may lie loose or carelesly and not as if they were stiff and forced the curls being rightly drawn in the last place strike in the loose hairs which hang scatteringly out of the Circles XI In forming the Ear describe an Oval as it were and proceeding lightly joyn stroak to stroak in such manner as you see in the Figures so that the ear may be entirely formed without digressing from the bounds of Nature or Art XII Lastly having practised a little by rule and brought your hand in in drawing of any thing first strike the out-stroaks principal veins and muscles lightly and afterwards shadow them ever following exquisite patterns and prints which will both encrease your judgment and bring command to your hand W Sherwin sc CHAP. V. Of the Extremeparts I. IN drawing the hands draw not all the joints veins or other things to appear plainly but only lightly and faintly and strike out the bigness of the hand and the manner of its turning with faint touches and not with hard strokes

the same flat XIX When these faces on a Crystal are turned towards a plain placed directly before it they separate themselves at a good distance on the plain because they are all directed to various far distant places of the same XX. But for the assigning to each of them a place on the same plain no Geometrick rule is yet invented CHAP. XXIX A Rational Demonstration of Chiromantical Signatures Added by way of Appendix to Chap. V. of this Book I. THe soundation of Chiromancie depends upon the true appropriation of the several mounts fingers or places in the hand to their proper stars or Planets II. The Ancients have assigned the root of the middle finger to Saturn of the forefinger to Jupiter the hollow of the hand to Mars the root of the ring-finger to Sol of the thumb to Venus of the little finger to Mercury and lastly the brawn of the hand near the wrist to Luna III. That line which comes round the ball of the thumb towards the root or mount of Jupiter is called Linea Jovialis or the life-line that from the wrist to the root or mount of Saturn Linea Saturnialis but if it points to the root or mount of Sol Linea Solaris if to Mercury Linea Mercurealis that which goes from Linea Jovialis to the mount of Luna Linea Lunaris or the natural line the other great line above it is called Linea Stellata or the line of fortune because it limits the mounts of the planets and is impressed with various vertues in those places according to the nature of the planet whose mount it runs under or sets a boundary unto Lastly the space between the natural line and the line of fortune is called mensa the Table IV. All other lines shall either proceed out of the sides of the former or else from some proper mount V. Every line great or small long or short hath a certain beginning or root from which it rises and a certain end or point to which it tends VI. The distance between both ends is the way of its passage in which way it either crosses some other line or else is crossed if it do neither its signification is continual and ought so much the more to be taken notice of VII Every mount hath a proper signification which it receives from the significations of its proper planet being abstractly considered the same understand of all the principal lines aforesaid VIII Saturn is the Author of Age Inheritances Melancholly Malice Sorrow Misery Calamities Enemies Imprisonment Sickness Diseases Perplexities Cares Poverty Crosses Death and whatsoever evil can befall humane life he signifies Fathers Old Men Labourers Dyers Smiths and Jesuits IX Jupiter is the Author of Health Strength Moderation Sobriety Mercy Riches Substance Goodness Liberty Religion Honesty Justice Modesty and all other things which may make a man happy he signifies Churches Church-men Lawyers Scholars Cloathiers and the like X. Mars is the Author of Strife Contention Pride Presumption Tyranny Thefts Murders Victory Conquest Infortunacy Boldness and Dangers he signifies Physicians Chirurgians Apothecaries the Camp all Military men and Preferments Edge-tools Butchers Carpenters Gunners Bailiffs and the like XI Sol is the Author of Honour Glory Renown Preferment Life Generosity Magnanimity Soveraignty Dominion Power Treasures Gold Silver and whatsoever may make the life of man splendid he signifies Kings Princes Rulers and all men in power Minters Goldsmiths long Life and Wisdom XII Venus is the Author of Joy Pleasure Mirth Solace Lust Uncleanness and Idleness she signifies Women-kind Sisters Ladies Whores Curiosities Lapidaries Silkmen Taylors Mercers Upholsters Pictures Picture-drawers the Pox and diseases proceeding from uncleanness XIII Mercury is the Author of Craft Subtilty Policy Deceit Perjury Study Hearing and Merchandizing he signifies Merchants Clerks Scholars Secretaries Ambassadors Pages Messengers Poets Orators Stationers Cheaters Thieves Petty-lawers Philosophers Mathematicians Astrologers XIV Luna is the Author of popular Fame both Good and Evil Joy and Sorrow Mutability and Inconstancy Affection and Disaffection Moisture and every affect which may be said to be common she signifies Waters Ships Seamen of all sorts Queens Ladies a Governess the Common people in general Neighbours Mothers Kindred Fishmongers Vintners Tapsters Midwives Nurses and Travellers This being known understand XV. First That the lines take their signification from the mount of that planet from whence they rise XVI Secondly That the place from whence any line rises shews the ground cause or original of the things fignified by that line the line or mount to which it points shews the issue to what the thing tends and what may be the end of the matter signified XVII Thirdly That whether the line signifies good or evil if it be cut or crossed by any other line that line so cutting it will at a certain time not only abate the good but also take away the evil if it so signified XVIII Fourthly That the nature and quality of that line thus destroying the signification of the former is known by considering from what place it rises and to what place it tends XIX Fifthly That a double judgment arises from every line by accounting its rise first from the one end secondly from the other XX. Sixthly That little lines rising out of the sides of any other line both augment the things signified by that line and also signifie new matter arising by things signified by the line from whence they rise and the place to which they point shew to what they tend XXI Seventhly That the mounts or lines adorned with stars or small lines not crossed or pointing to evil places shew great good and happiness to the person by things signified by the same mount or line and on the contrary vitiated with crosses spots or knots shew much evil and perplexity XXII Lastly the beginning of the lines shews in the beginning or fore part of Life the middle in the middle part of Life and the ends of them the latter-part or end of Life so that if any evil or good be signified by any line you must hint the time according to the aforesaid reason 'T is true here we ought to enquire into the denominated times when the things signified should come to pass but because that matter is something long and abstruse being more fit to be handled in a particular tract wherein all its curiosities may be examined this our present work being a a subject of another nature and these things not essential to our purpose but only added by way of appendix we shall at this time forbear Notwithstanding although we have not here delineated every thing in particular yet we have laid as it were the ground and foundation of the Art out of which as out of a fountain the industrious student may at his own leisure and pleasure rear a stately fabrick POLYGRAPHICES LIBER SECUNDUS Of ENGRAVING ETCHING and LIMNING Shewing the Instruments belonging to the Work the Matter of the Work the way and manner of performing

well dissolved and mixed which will be in about half a quarter of an hour then cooling it a little pouring it into a basin of fair water all except the dregs and with your hands wet before it is cold form it into rouls VI. To make the prepared Oyl Take Oyl Olive make it hot in an Earthen pot and put into it a sufficient quantity of tried sheeps suet so much as being dropped upon a cold thing the oyl may be a little hardened and firm boil them together for an hour till they be of a reddish colour lest they should separate when you use them This mixture is to make the fat more liquid and not cool so fast for the fat alone would be no sooner on the pencil but it would grow cold and be sure to put in more oyl in Winter than in Summer VII To make the Aqua fortis Take distilled White-wine Vinegar three pints Sal Armoniack Bay-falt of each six ounces Vertegriese four ounces Put all together into a large well glazed earthen pot that they may not bo● over cover the pot close and put it on a quick fire and let it speedily boil two or three great walms and no more when it is ready to boil uncover the pot and stir it sometimes with a stick taking heed that it boil not over having boiled take it from the fire and let it cool being close covered and when it is cold put it into a glass bottle with a glass stopple If it be too strong in Etching weaken it with a glass or two of the same Vinegar you made it of There is another sort of Aqua fortis which is called Common which is exhibited in Synopsis Medicinae lib. 3. cap. 7. sect 4. pag. 656. But because that Book may not be in every mans hand we will here insert it it is thus Take dried Vitriol two pound Salt-peter one pound mix them and distil by a Retort in open fire by degrees VIII To make the Etching Needles Chose Needles of several sizes such as will break without bending and of a fine grain then take good round sticks of firm wood not apt to split about six inches long and as thick as a large Goose quill at the ends of which fix your Needles so that they may stand out of the sticks about a quarter of an inch or something more IX To whet the points of the Needles with the Oylstone If you would have them whetted round you must whet their points short upon the oyl stone not as sowing Needls are turning them round whilst you whet them as Turners do If you whet them sloping first make them blunt upon the oyl stone then holding them firm and steady whet them sloping upon one side only till they come to a short and roundish oval X. The Brush pencil is to cleanse the work wipe off dust and to strike the Colours eaven over the ground or varnish when laid upon the Plate XI The burnisher is a well hardened piece of steel somewhat roundish at the end Its uses are what we have spoken at the sixth Section of the first Chapter and the third Section of the second Chapter XII To make the Frame and Trough The Frame is an entire board about whose top and sides is fastned a ledge two Inches broad to keep the Aqua fortis from running off from the sides when you pour it on the lower end of this board must be placed in the Trough leaning sloping against a wall or some other thing wherein you must fix several pegs of wood to rest the plate upon The Trough is made of a firm piece of Elm or Oak set upon four legs whose hollow is four Inches wide and so long as may best fit your use the hollow must be something deeper in the middle that the water running thither may fall through a hole there made for that purpose into an earthen pan well leaded The inside of this board and trough must be covered over with a thick oyl colour to hinder the Aqua fortis from eating or rotting the board CHAP. VIII The way and manner of using the hard Varnish I. HAving well heat the polished Plate over a chafing-dish of coals take some of the first varnish with a little stick and put a drop of it on the top of your finger with which lightly touch the Plate at equal distances laying on the varnish equally and heating the plate again as it grows cold keeping it carefully from dust or filth then with the ball of your thumb tap it upon the plate still wiping your hand over all to make it more smooth and equal And here beware that neither the varnish be too thick upon the plate nor your hand sweaty II. Then take a great lighted candle burning clear with a short snuff placing the corner of the plate against a wall hold the varnished side downward over the candle as close as you can so it touch not the Varnish guiding the flame all over till it is all perfectly black which you must keep from dust or filth till it is dry III. Over a fire of Charcoals hang the varnished plate to dry with the varnish upwards which will smoak when the smoak abates take away the plate and with a pointed stick scratch near the side thereof and if the varnish easily comes off hang it over the fire again a little so long till the Varnish will not too easily come off then take it from the fire and let it cool If the varnish should be too hard cast cold water on the back-side of the plate to cool it that the heat may not make it too hard and brittle This done IV. Place it upon a low desk or some such like thing and cover that part which you do not work on with a sheet of fine white paper and over that a sheet of brown paper on which may rest your hand to keep it from the varnish V. If you use a ruler lay some part of it upon the paper that it may not rub off the varnish and have an especial care that no dust or filth get in between the paper and the varnish for that will hurt it CHAP. IX The way and manner of Etching I. IN making lines or hatches some bigger some lesser straight or crooked you must use several sorts of needles bigger or lesser as the work requires II. The great lines are made by leaning hard on the needle its point being short and thick but a round point will not cut the varnish clear or by making divers lines or hatches one very close to another and then by passing over them again with a thicker needle or by making them with an indifferent large needle and letting the Aqua fortis lie the longer thereon The best needles for this work are such as are whet sloping with an oval because their sides will cut that which the round ones will not III. If your lines or hatches ought to be of an equal thickness from end

to seek it is like to the Analytical furniture in Algebra without the knowledge of which no notable thing can be performed IX Although the imagination may be easily moved yet this same excellency is not attained in an instant without the ability of expressing the conceived Images all the exercise of the Phancy is worth nothing X. The Art of Painting in its Infancy was so mean that the first Artist was forc'd as Aelianus saith in the tenth Chapter of the tenth Book of his History in Painting to write This is an Ox this is a Horse this a dog But as Tully saith in libro de claris oratoribus there is nothing both invented and finished at a time And Arnobius in libro secundo adversus Gentes saith the Arts are not together with our minds brought forth out of the heavenly places but are all found out here on earth and in process of time softned forged and beautified by a continual meditation Our poor and needy life perceiving some casual things to fall out prosperously whilest it doth imitate attempt try slip reform and change hath out of the same assiduous reprehension made up some small sciences of Arts the which it hath afterwards by study brought to some perfection XI The bare learning to imitate is not enough it is requisite that since we are not first in invention we should rather study to out-goe than to follow If it were altogether unlawful to add any thing to things formerly invented or to find out better things our continual labour saith Quintilian would be good for nothing It is certain that Phydias and Apelles have brought many things to light which their predecessors knew nothing of XII It is not enough to do all things with the Compleatness of Apelles but there is requisite also the inestimable grace of Zeuxis the indefatigable diligence of Protogenes the witty subtlety of Timanthes and the stately magnificence of Nicophanes It is a very good way to have recourse to the excellency of variety of great masters that something out of the one and something out of the other may be as so many Ornaments to adorn our works and so many steps to lead us on to the door of perfection XIII Without doubt then there is some perfection of Art to be attained to and that it is as possible that we or thou or he may aswel attain it as any body else if we resolve to strive and take pains without fainting or fear of dispair XIV The Art of Painting saith Soerates is the resemblance of visible things and theref ore the Artist is to beware that he abuses not the liberty of his imagination in the shapes of monstrous and prodigious Images of things not known in nature but as a true lover of Art prefer a plain and honest work agreeing with nature before any phantastical and conceited device XV. Art is but one only thing yet there may be incomparable Artists excellent in one and the same Art which may almost infinitely differ one from another yet all alike praise worthy There is but one Art of Casting in which Myron Polycletus Lysippus have been excellent yet did one very much differ from an other and in Painting although Zeuxis Apelles Aglaophon differ very much yet none of them seems to lack any thing of Art Zeuxis did surpass all other Artizans in painting of womens bodies Apelles had a certain invention and Grace proper unto himself alone to which never any other Artificer attained Lysippus is most excellent in fine and subtle workmanship Polycletus made excellent statues upon one Leg Samius did excell in conceiving of Visions and Phantasies Dionysius in painting of men only Polygnotus most rarely expressed the affections and passions of man Antimachus made noble women Nicias excellent in painting of-women but most excellent in four-footed creatures chiefly dogs Calamis made Chariots drawn with two or four horses the horses were so exact that there was no place left for emulation Euphranor the first and most excellent in expressing the dignity and marks of Heroical persons Arestodemus painted wrestlers Serapion was most excellent in Scenes Pyreicus inferiour in the Art of Painting to none painted nothing but Coblers and Barbers Ludi● the first and most excellent in painting Landskips Apollodorus Aselepiodorus Androbulus Alevas were the only Painters of Philosophers c. XVI Simonides comparing Painting with Poesie saith that Picture is a silent Poesie and Poesie is a speaking Picture Upon the occasion of those words Plutarch saith The things represented by Painters as if they were as yet doing are propounded by Orators as done already Painters express in colours and lines what Poets do in words the one doth that with the Pencil which the other doth with the Pen. When Latinus Pacatus had made a full description of the miserable end of wicked Maximus he calls upon all the Painters to assist him Bring hither bring hither you pious Poets saith he the whole care and study of your tedious nights ye Artificers also despise the vulgar Arguments of antient fables these these things deserve better to be drawn by your cunning hands let the market places and Temples be filled with such spectacles work them out in Ivory let them live in colours let them stand in Brass let them exceed the price of precious stones It doth concern the security of all ages that such things might seem to have been done if by chance any one filled with wicked desires or purposes might drink in Innocence by his eyes when he shall see the horrid and deplorable monuments of these our times And Gregory Nyssen upon the sacrificing of Isaac saith I often saw in a picture the Image of this fact upon which I could not look without tears so lively did Art put the history before my eyes XVII It is reported that the Grecians were the first Painters and that their colours were in the infancy thereof only black and white But it appears more with reason and truth that the invention thereof should be ascribed to the Aegyptians who before the invent on of Letters signified their Conceptions by Hieroglyphicks of Figures Cyphers Characters and Pictures of divers things as birds beasts insects fishes trees plants c. And by tradition transferred the same to their children So they made the Falcon to signifie diligence and swiftness the Bee a King its honey mildness its sting justice a Serpent tail in mouth the revolution of the year the Eagle envy the earth a labouring beast as an Ox a Hare hearing c. XVIII It appears then that as the Aegyptians were the first inventors thereof so the Greeks brought it out of its rudeness to proportion and the Romans at last adorned it with Colours the Germans following them made their works more durable by painting in Oyl of whom the English Dutch and French are become mitators XIX About the time of Philip King of Macedon this Art began to flourish growing into great estimation in the days of Alexander and