Selected quad for the lemma: life_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
life_n	body_n	soul_n	unite_v	6,137	5	9.8589	5	false

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

but one be wanting the whole work is defective A good invention affects the mind true proportion draws the eyes lively motion moves the soul exquisite colours beguile the phantasie and an orderly disposition wonderfully charms all the senses if all these unite and center in one piece how great an excellence and perfection will appear What a comely Grace this Grace it is which in beautiful bodies is the life of beauty and without which its greatest accomplishments cannot please the beholder For it is not so much the perfection of Invention Proportion Colours Motion and Disposition apart which affect the senses but all those perfections absolutely united which brings forth that comely Grace and highest Perfection which Art aims at and the Artizan strives after This Grace proceeds not from any rules of Art but from the excellent spirit of the Artificer it is easier attained by observation and a good judgment than learn'd by Precepts as Quintilian in his Institutions lib. 11. cap. 1. learnedly observes And this Grace is most graceful when it flows with facility out of a free Spirit and is not forced or strained out with labour and toil which quite spoils and kills the life of the work Now this facility springs from Learning Study and exercitation Art and Nature must concurr to the Constitution of this Grace Art must be applied discreetly to those things which we naturally affect and not to things which we loath lest we miss of that Glory which we seek after Errata sic emendanda PAg. 11. l. 10. read prints p. 29. l. 29. r. V p. 43. l. 25. r. 11 p. 57. l. 1. r. Chap. XXIII p. 60. l. 5. r. VI p. 60. l. 29. r. XI p. 61. l. 32. r. VII p. 110. l. 30. r. IV p. 119. l. 29. read the nightly bear p. 139. l. 7. r. XV p. 141. l. 10. r. II p. 141. l. 26. r. X p. 156. between l. 8. and 9. r. IV. Another for the same p. 165. l. r. r. Chap. XVIII p. 184. l. 22. r. VII p. 203. l. 16. r. IX p. 162. between l. 18. and 19. r. III. By some he is thus described p. 268. 126. r. VII p. 268. l. 32. r. VIII p. 271 l. 6 r. V p. 277. l. 5. r. VI p. 279. l. 16. ● Gaffarel p. 292. l. 27. and 28. are transposed p. 296. l. 31. r. XIV p. 309. l. 1. 1. are two only l. 2. and they are Antimony and Sulphur p. 312. l. 25. well Perfume p. 329. l. 3. Spirit of Urine INDEX A. ANgles and Arches 5 65 Antique 40 223 Arnus a river 51 Achelous a river 52 Aurora 55 138 Auster a wind 57 April 58 August 58 Appearances to describe 60 Active part perspect 61 Altitude 62 Aqua fortis 81 82 Aqua fortis to use 86 91 Arsenick 98 Ash-colour 100 128 Azure 103 133 Argentum musicum 106 Aurum musicum 107 Armour 116 Apollo 136 Astrea 138 Aeneas 140 Alexander 140 277 Arts to paint 142 Arithmetick 142 Astronomy 142 Audacity 144 Amel what 166 168 193 Amethysts artificial 191 Amber artificial 192 193 Azure to make 194 Azure colour to dye 203 Apelles 211 214 215 280 287 346 Analogy 219 344 Amethyst colour 229 Azure colour 229 Astarte 241 Apollo to depict 247 Aurora to depict 255 Aeolus to depict 260 Atropos 265 Aratus to depict 276 Aristotle 276 Adeps rosarum 330 Aqua Nansa 312 Aqua Moschata 312 Animal Perfume 328 Antimonial Perfume 329 Adulteration of Musk 329 Artificial pearl 335 Alcamenes 340 Action 347 B. BRows 9 11 Body to draw 18 Body naked 21 Breast 25 Birds to draw 35 Beasts to draw 35 Boreas a wind 57 Broken radiations 60 Burnishing Iron 73 Brush pencil 82 Burnisher 82 Blacks 96 124 129 131 165 Blews 96 103 124 128 129 Bole armonlack 98 Blew bice 99 Bay colour 100 Blew azure 102 Black sattin 104 Burnished gold and silver 106 Browns 124 151 Black complexion 127 Buff colour 130 Bacchus 137 267 Beza 141 Brazil 147 Buildings 153 Blackness to take away 160 Buckthorn berries 162 Brass to make 169 173 Brass to tinge 173 Brass to whiten 173 Brass to cleanse 176 178 Brushes 185 Brass to gild 196 Books to gild 197 Bones to dye 165 169 202 Bones to soften 203 Brown dye 205 Blew dye 205 206 207 Bow-dye 208 Banqueting rooms 224 Bed-chambers 224 Bacchus to depict 267 Bulls gall 292 Beautifyers which paint not 293 Berosus 284 Burning and scalding 301 Preath stinking 303 304 Baldness 305 Balsam odoriferous 321 Balsamum Moschatum 321 Bracelets 323 Burning Perfumes 327 Black Ink 332 Black Sealing wax 335 C. Comatice 1 Charcoals 2 Compasses 3 Circle 4 65 Cone and Cylinder 5 Concord 47 Calumnia 49 Cllo one of the Muses 55 Calliope 56 Catoptrica what 60 67 Centre 65 Croset to delineate 65 Chiromantical Signatures 68 Cushion 73 Copper plates to polish 74 80 Copoies to imitate 77 Colouring 345 Colours 93 95 97 100 124 Ceruse 97 Crimson 101 128 Crimson lake 101 Colours for Drapery 103 Carnation 104 128 Cloth of gold 104 Colours to prepare 108 Colours to grind 108 Colours to steen 109 Colours to temper 109 151 Colours to calcine 109 Colours their signification 125 Colours to fit for Painting 126 Complexions 126 Colours for Velvet 127 Colours for Sattins 129 Colours for Taffatie 130 Colours for Cloth 130 Colours for Leather 130 Colours for garments 130 Colours for Metals and Stones 132 Colours for Landskip 133 153 Cupid 137 Ceres 138 Charity 142 Concord 143 Confidence 143 Colours for glass 144 Colours for washing 147 Cochenele 148 161 162 163 Colour to take away 164 167 Coral 165 Copper 166 167 Copper to tinge 174 Copper to whiten 174 175 Copper to soften 175 Casting the way 185 Casting Trough 183 Crucibles 184 Crystal to melt 188 Cement for glasses 188 Calcydon artificial 190 Carbuncle artificial 191 Chrysolite artificial 191 Corals artificial 191 Cloths to dye 207 Crimson dye 208 Choice of copies 221 Chambers 223 224 Colens earth 227 Cherry-stone black 227 Caduceus what 250 Charon to depict 264 Cloth● 265 Chrysippus 276 Cosmetick of crabs 293 Cosmeticks 293 Cosmetick of pearl 296 Cosmetick of Myrrh 297 Chops to heal 301 Cyprian powder 318 Candles perfumed 327 Civet to adulterate 330 Cloth to perfume 330 Consummation of these Arts 339 D. Drawing what 1 Drawing in general 4 Drawing of the face 7 Distance of its parts 9 Drapery 30 Diapering 40 Draught of a Picture 41 Demogorgon 44 Destiny 47 Dissimulation 49 Danubius a river 52 Dryades 54 December 59 Direct radiation 60 Dioptrica what 61 67 Distance in perspect 63 Diagonals 64 Deep purple 109 Diapering on gold or silver 107 Defects to help 109 Drapery to Limn 116 Diamonds to Limn 116 Diana 138 252 David 140 Dido 140 Diamonds artificial 189 190 Disposing of Pictures 223 349 Dining rooms 224 Design 226 Dead colour 231 Diana to depict 252 Diana's Nymphs 253 Diogenes 276 Democritus 276 Darkness 343 E. Eyes 9 11 Ear 13 Extreme parts to draw 15

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

body you draw be in Armour lay liquid silver all over for a ground well dried and burnished shadow it with Silver Indico and Umber according as the life directs you III. For Gold Armour lay liquid gold as you did the silver and shadow upon it with Lake English Oker and a little gold IV. For Pearls your ground must be Indico and white the shadows black and pink V. For Diamonds lay a ground of liquid silver and deepen it with Cherrystone black and Ivory black VI. For Rubies lay a silver ground which burnish to the bigness of a Rubie then with pure Turpentine temper'd with Indian Lake from a small wire heated in a Candle drop upon the burnished place fashioning it as you please with your Instruments which let lie a day or two to dry VII For Emeraulds or any green stone temper Turpentine with Verdigriese and a little Turmerick root first scraped with Vinegar drying it grind it to fine powder and mix it VIII For Saphyres mix or temper Ultramarine with pure Turpentine which lay upon a ground of liquid Silver polisht To make liquid Gold or Siver see the first Section of the twenty first Chapter of this Book CHAP. XXVII Of Limning Landskip ALL the variable expressions of Landskip are innumerable they being as many as there are men and fancies the general rules follow I. Always begin with the Sky Sunbeams or lightest parts first next the yellowish beams which make of Masticot and white next the blewness of the Skie which make of Smalt only II. At first colouring leave no part of the ground uncovered but lay the colours smooth all over III. Work the Sky downwards towards the Horizon fainter and fainter as it draws nearer and nearer the earth the tops of mountains far remote work so faint that they may appear as lost in the air IV. Let places low and near the ground be of the colour of the earth of a dark yellowish or brown green the next lighter green and so successively as they lose in distance let them abate in colour V. Make nothing which you see at a distance perfect by expressing any particular sign which it hath but express it in colours as weakly and faintly as the eye judgeth of it VI. Always place light against darkness and darkness against light by which means you may extend the prospect as a very far off VII Let all shadows lose their force as they remove from the eye always letting the strongest shadow be nearest hand VIII Lastly Take Isinglass in small pieces half an ounce fair Conduit water two quarts boil it till the glass is dissolved which save for use with which mix spirit or oyl of Cloves Roses Cinnamon or Ambergriese and lay it on and about the Picture where it is not coloured lest it should change the Colours but upon the Colours use it without the perfumes so it will varnish your Pictures and give them a gloss retaining the glory of their colours and take from them any ill scent which they might otherwise retain Horat. Epod. 16. Vos quibus est virtus mulicbrem tollite luctum Etrusca praeter volate littora Nos manet Oceanus circumvagus arva beata Petamus arva divites insulas Reddit ubi Cererem tellus inarata quotannis Et imputata floret usquè vinea Germinet nunquam fallentis termes olivae Suámque pulla ficus ornat arborem Illis injussae veniunt ad mulctra capellae Refértque tenta grex amicus ubera Nec Vespertinus circumgemit ursus ovile Nec intumescit alta viperis humus Pluráque felices mirabimur ut neque largis Aquosus Eurus arva radat imbribus Pinguia nec siccis urantur semina glebis Utrumque rege temperante Coelitum Non huc Argoo contendit remige pinus Neque impudica Colchis intulit pedem Non huc Sidonii torserunt cornua nautae Laboriosa nec cohors Ulyssei Nulla nocent pecori contagia nullius astri Gregem aeftuosa torret impotentia Jupiter illa piae secrevit littora genti Ut inquinavit aere tempus aureum You nobler spirits hence with womens tears Sail from Etruscan confines free from fears The Earth encircling Ocean us invites Rich Islands Fields Fields blest with all delights Where Lands untill'd are yearly fruitful seen And the unpruned vine perpetual green Still Olives by the faithful branch are born And mellow Figgs their native trees adorn There milchy goats come freely to the pail Nor do glad flocks with dugs distended fail The mighty Bear roars not about the fold Nor hollow earth doth poysonous Vipers hold Add to this happiness the humid East Doth not with frequent showers the fields infest Nor the fat seeds are parcht in barren land The powers above both temp'ring with command No Bark came hither with Argoan oar Ner landed wanton Colchis on this shoar Cadmus with filled sails turn'd not this way Nor painful troops that with Ulysses stray Here amongst cattel no Contagions are Nor feel flocks droughty power of any star When brass did on the golden Age intrude Jove for the pious did this place seclude Libri Polygraphices secundi FINIS POLYGRAPHICES LIBER TERTIUS Of Painting Washing Colouring Dying Varnishing and Gilding Containing the description and use of all the chief Instruments and Materials the way and manner of working together with the beginning progress and end thereof Exemplified in the Painting of the Antients the washing of Maps Globes or Pictures Dying of Cloath Silks Horns Bones Woods Glass Stones and Metals Together with the Gilding and Varnishing thereof according to any purpose or intent CHAP. I. Of Painting in Oyl and the Materials thereof I. PAinting in Oyl is nothing but the work or Art of Limning performed with colours made up or mixed with oyl II. The Materials of Painting are chiefly seven 1. The Easel 2. The Pallet 3. The Straining frame 4. The Primed cloath 5. Pencils 6. The Stay 7. Colours III. The Easel is a Frame made of wood much like a ladder with sides flat and full of holes to put in two pins to set your work upon higher or lower at pleasure something broader at bottom than at the top on the backside whereof is a stay by which you may set the Easel more upright or sloping IV. The Pallet is a thin piece of wood Peartree or Walnut a foot long and about ten inches broad almost like an Egg at the narrowest end of which is made an hole to put in the thumb of the left hand near to which is cut a notch that so you may hold the pallet in your hand It s use is to hold and temper the Colours upon V. The Streining frame is made of wood to which with nails is fastned the primed cloath which is to be painted upon These ought to be of several sizes according to the bigness of the cloath VI. The Primed cloath is that which is to be painted upon and is thus prepared Take good Canvase and smooth it over with a

his successors from thence through all the series of times even to this day it hath received by degrees such wonderful advancements that it may now be said it is arrived at perfection XX. Lastly that from Time Form Magnitude Number Proportion Motion Rest Situation Imagination Similitude Distance and Light in a single and complicate consideration this Art hath its offence or being and at last had by the help of industrious and unwearied minds its Original production and manifestation Light is that only thing without which all those other things from which this Art springs would be useless without which the Art it self cannot be It is as Sanderson saith the Heavens Off-spring the eldest daughter of God fiat lux the first days creation it twinkles in a Star blazes in a Comet dawns in a Jewel dissembles in a Glow-worm contracts it self in a spark rages in a flame is pale in a candle and dyes in a coal By it the sight hath being and the imagination life which comprehends the universality of all things without space of place the whole Heavens in their vast and full extent enter at once through the Apple of the eye without any straitness of passage the Sight is a sense which comprehends that which no other sense is capable of it judgeth and distinguisheth between two contraries in an instant it considers the excellency and beauty of every object the spangled Canopy of Heaven by night the wandering cloud by day the wonderful form of the rainbow the glorious matutine appearance of Phaebus his meridional exaltation the golden rays which surround him the mutability of his shadows his Vespertine setting the lofty tops of mountains unaccessible and ridgy rocks profound valleys large plains which seem to meet Heaven green trees and pleasant groves delightful hills sweet and flowery meadows pleasant streams springing fountains flowing rivers stately Cities famous Towers large bridges magnificent buildings fruitful Orchards and Gardens shapes of living Creatures from the Elephant to the Ant from the Eagle to the Wren and from the Whale to the Shrimp the wonderful form of Insects the marching of Armies the besieging and storming of Garisons the insolencies of rude people the flight of the distressed the desolations and depopulations of Kingdoms and Countries the sailing of Ships terrible Sea-fights great beauty of Colours together with thousands of other things all which it digests and marshals in ample order that when occasion may be it may exert its store for the benefit advantage advancement and perfection of Art CHAP. II. Of a Picture in general I. IN every Picture there are always four principal considerations to wit 1. Invension 2. Proportion 3. Colour and 4. Life II. Invention must be free and flow from a general knowledge of Antiquities History Poetical fictions Geometrical conclusions and Optical considerations according to its Situation or Aspect either near or far off III. And this Invention must express proper and fit things agreeing to the Circumstances of Time Place Matter and Person and having respect to the modes of habits belonging to the Country or People whether Antient or Modern IV. Proportion Analogy or Symmetry which you please in that which limits each part to its proper bigness in respect to the whole Whatsoever differs from this recedes from beauty and may be called Deformity V. This Proportion is called by Artists the designing lines which are first drawn before the whole is painted These proportions or lineal designs draughts and scotches may be called Picture which being well done shew not only the shape but also the intent In lines only we may draw the Proportion of a Black More and such as shall be like him Now this Skill proceeds from the very highest principles of Art VI. Colour is that which makes the Picture resemble what we desire to imitate by mixing of various Colours together VII In making any thing apparent it is necessary to express its opposite or contrary So light and shadows forward set forth Paintings outwards as if you might take hold of them with your hand blackness makes things seem farther off and is used in things hollow as Caves Wells c. the more deep the more black VIII Brightness exceeds light sparkling in splendor It is used in the Glory of Angels twinkling of Gems Armory Gold and Silver vessels fires and flames IX In Painting of a man grace each limb with its proper and lively Colour the black make sincerely black the white pure with redness intermixt But to paint purely the exquisite beauty of a woman is never to be well done except it be by a very ingenious Artist indeed her rare complexion being scarcely possible to be imitated with Colours There is none really knows the exact mixture for such a Countenance X. Life or Motion is that from whence action or passion doth result which in coloured pictures is seen with a lively force of Gesture and spirit To do this it is necessary that the Artist be well acquainted with the nature manners and behaviour of men and women as in anger sadness joy earnestness idleness love envy fear hope dispair c. Every disturbance of the mind alters the Countenance into several postures XI The head cast down shews humility cast back arrogancy or scorn hanging on the neck languishing stiff and sturdy morosity of mind the various postures of the head shew the passions the Countenance the same the eyes the like and in a word all the other parts of the body contribute something to the expression of the said passions of the mind as is easily to be observed in the life In excellent pieces you may at a view read the mind of the Artist in the formality of the Storie XII Lastly Be always sure first to conceive that in your thoughts which you would express in your work that your endeavours being assisted by an intellectual energie or power of operation may at length render your productions perfect CHAP. III. Of the Choice of Copies or Patterns I. HE that chuseth a Pattern ought to see 1. that it be well designed 2. that it be well coloured II. In the well designing be sure that it be true in every part and that the proportion of the figure be just and correspond to the life III. If the picture be a fiction see that it be done boldly not only to exceed the work but also the possibility of nature as in Centaurs Satyrs Syrens Flying-horses Sea-horses Tritons Nereides c. Alexander ab Alexandria saith that Theodore Gaza caught one of these Nereides in Greece and that in Zealand another was taught to spin these Tritons and Nereides are these which are called Maremaids the M●le and the Female IV. Natural figures shew property and are required to agree with the life forced Figures express novelty and are to be beautified by exorbitancies according to the fancy of the Painter without limitation novelty causes admiration and admiration curiosity a kind of delight and satisfaction to the mind These

work with Masticot and white V. Then with a fresh or clean pencil finish the blewish sky and clouds with smalt only at the first working dead all the work over with colours suitable to the Air green meadows trees and ground laying them somewhat smooth not very curiously but slightly and hastily make a large sky which work down in the Horizon faintly but fair and drawing nearer to the earth let the remote mountains appear sweet and misty almost indistinguishable joining with the clouds and as it were lost in the Air. VI. The next ground colour downwards must encrease in magnitude of reason as nearer the eyes somewhat blewish or Sea-green but drawing towards the first ground let them decline into a reddish or popinjay green the last ground colour must be nearest the colour of the earth viz. a dark yellow brown and green with which or some colour near it you must make your first trees making them as they come near in distance to encrease proportionably in colour and magnitude with great judgment the leaves flowing and falling one with another some apparent others lost in shadow VII Let your Landskip lye low and as it were under the eye which is most graceful and natural with a large and full skie not rising high and lifting it self into the top of the piece as some have done VIII Be sure to make your shadows fall all one way viz. to make light against darkness and darkness against light thereby extending the prospect and making it to shew as afar off by losing its force and vigour by the remoteness from the eye IX In touching the trees boughs and branches put all the dark shadows first raising the lighter leaves above the darker by adding Masticot to the dark green which may be made with Bise Pink and Indico the uppermost of all exprest last of all by lightly touching the exteriour edges of some of the former leaves with a little green Masticot and white the darkest shadows you may set off with sap green and Indico X. Trees and their leaves Rivers and Mountains far distant you must strive to express with a certain real softness and delicateness in making Cataracts great falls of water and rocks you must first lay a full ground near the colour then with a stronger in the dark places and slight heightning in the light remarking all disproportions cracks ruptures and various representations of infinitely differing matters the manner whereof is abundantly exprest in almost every Land-skip CHAP. X. Of the various Forms or Degrees of Colouring I. THere are four various forms or degrees of colouring viz. 1. Of Infants or Children 2. Of Virgins or fair Women 3. Naked bodies 5. Old or aged bodies II. Infants or young children are to be painted of a soft and delicate complexion the skin and ears of a ruddy and pleasant colour almost transparent which may be done with white lead lake and a little red lead shadowing it thin faint and soft letting the Cheeks Lips Chin Fingers Knees and Toes be more ruddy than other parts making all their Linnen very fine thin and transparent or perspicuous with strong touches in the thickest folds III. Virgins and fair Women are as curiously to be express'd as the former but their Muscles are to be more apparent their shape more perfect and their shadows to be of a whitish yellow blewish and in some places almost purple but the most perfect and exquisite direction is the life which ought rather to be followed than any thing delivered by rule IV. Naked bodyes are to be painted strong lively and accurate exactly matching the respective pairs of Muscles and Nerves fixing each Artery in its due and proper place giving each limb its proper motion form and scituation with its true and natural colour all which to do well may be the study and practice of almost ones whole life V. Old or aged Bodies ought to be eminent for exact and curious shadows which may be made of Pink lake and Ivory black which make notable shadows in appearance like the wrinkles and furrows of the face and hand in extreme old age let the eyes be dark the aspect melancholy the hair white or else the pate bald and all the remarks of Antiquity or age be very apparent and formidable VI. But notwithstanding all the aforegoing rules the posture or form of standing and being either of the whole body or any of its parts ought diligently to be observed that the life may be imitated in which it only lyes in the breast and judgment of the Painter to set it off with such various colours as may best bent the respective complexion and accidental shadows of each accidental position or posture which are sometimes more pale sometimes more ruddy sometimes more faint sometimes more lively CHAP. XI Of Frescoe or Painting of Walls I. IN Painting upon Walls to make it endure the weather you must grind your colours with Lime water Milk or Whey mixt in size colouring pots II. The paste or plaister must be made of well wash'd lime mixt with fine powder of old rubbish stones the lime must be so often wash'd till all its salt is obstracted and all your work must be done in clear and dry weather III. To make the work endure strike into the wall stumps of headed nails about five or six inches asunder and by this means you may preserve the plaister from peeling IV. Then with this paste plaister the wall a pretty thickness letting it dry being dry plaister it over again about the thickness of half a barley corn very fine and smooth then your colours being ready prepared work this last plaistering over whilest it is wet so will your Painting unite and join fast to the plaister and dry together as a perfect compost V. In painting be nimble and free let your work be bold and strong but be sure to be exact for there can be no alteration after the first painting and therefore heighten your paint enough at first you may deepen at pleasure VI. All earthy colours are best as the Okers Spanish white Spanish brown Terrae Vert and the like mineral colours are naught VII Lastly let your pencils and brushes be long and soft otherwise your work will not be smooth let your colours be full and flow freely from the pencil or brush and let your design be perfect at first for in this there is no after alteration to be made CHAP. XII How the Antients depicted their Gods and first of Saturn IN Chap. 18. and 19. lib. 1. and chap. 12. and 13. lib. 3 we have something concisely handled this matter but because we have been there exceeding brief that what we have there delivered is too strict for ordinary use or practice being indeed only the preparative or foundation for a larger work we intend here in this fourth part to prosecute the same in such sort as to comprehend the various ways of the antients in depicting their Idols according to the

the knowledge of beasts birds fishes and other forms as well inanimate as animate In the Tacticks how should a General know how to set his men in array unless he try the case by design or delineation so in Architecture to pourtray platforms after any fashion and to work out the patterns of high and mighty buildings in a ltitle wax keeping in so small an example the exact proportion of the greater structure In Geometry the exactness of Lines Angles Surfaces and solids In Botonalogia the exact shapes of herbs plants and trees In Zoologia the shapes of all living creatures In Anthropologia the exact description of all the parts of mans body both inward and outward In Chymia the forms of all chymical vessels and operations In the lives of illustrions men and Princes to express their forms and shapes to the life that age might not prevail against them deserving thereby as Varro saith the envy of the Gods themselves In Geography to describe in small maps Kingdoms Countreys and Cities yea the whole world In Policy as Michal in saving her husband David Ptolomaeus in the Image of Alexander which he willingly let Perdiceas catch from him supposing it to have been the body it self thereby avoiding much blood-shed Cyrus his wooden Persians in the Seige of Sardis by which the towns-men being ●●ghted yielded the City Epaminondas at Thebes by the Image of Pallas did wonders Amasis King of Egypt his golden Image made of the Basin in which his feet used to be washed which the Egyptians religiously worshiped whereby he brought them to affect him being now a King who was of an ignoble and base parentage the wooden Elephants of Perseus King of Macedonia with which he wonted his horses that they might not be frighted in time of Battel The Ornaments of Temples Market places and Galleries places both publick and private Julius Caesar's Image in wax hideous to look too for twenty three gaping wounds he received did mightily stir up the Romans to revenge his death Worthy men which had desserved well of the world had their memories conserved with their Images by which all those that aspire to goodness and to follow their steps are likewise filled with hope The Athenians have erected unto AEsop of most goodly statue saith Phaedrus and have set a contemptible slave upon an everlasting base that all might unde rstand bow the way of honour lieth open to every one and that glory doth not so much follow the condition of our birth as the vertues of our life Berosus excelled in Astrology wherefore the Athenians for his divine prognostications erected him a Statue with a golden tongue set up in their publick Schools as Pliny saith lib. 7. cap. 37. Publick Libraries were surnished also with golden silver and brass Images of such whose immortal fouls did speak in those places The provocations of vices have also augmented the Art it hath been pleasing to engrave wanten lusts upon their cups and to drink in Ribauldry and Abominations as Pliny saith in the Proem of this 33 Book XI The use therefore of these Arts extending it self so universally to all intents both in war and peace it came to pass that Artificers were honoured by all sorts of men which themselves perceiving did still endeavour to encrease this enjoyed favour by a daily advance of their skill By Kings they were honoured for Demetrius whilest at the Siege of Rhodes came to Protogenes leaving the hope of his Victory to behold an Artificer Alexander the Great came also to Apelles his shop often accompanied with many Princes It was his will that none but Polycletus alone should cast his Statue in Brass that none but Apelles alone should paint him in colours that none but Pyrgoteles alone should engrave him The estimation of the Artists were also understood from the esteem and high rates their works were prized at a picture of Bularchus a Painter was valued at its weight in gold by Candaules King of Lydia Aristides was so singular in his Art that it is reported of King Attalus that he gave an hundred Talents which is about seventeen thousand and five hundred pounds sterling for one of his Pictures As much had Polycletus for one of his Apelles had for painting the picture of Alexander the Great three thousand and five hundred pounds given him in golden coin Cafar payed to Timomachus eighty Talents about fourteen thousand pounds sterling for the Pictures of Ajax and Medea Many more examples we might produce but these may suffice at length no price was thought equal to their worth so Nicias rather than he would sell his picture called Necyia to King Attalus who proffered him sixty Talents worth near eleven thousand pound sterling bestowed it as a present upon his Countrey XII Art meeting with such Successes created a boldness in Artificers to aixempt even the greatest matters The great Colosses of the antients may serve here for an example Zeuxis above all the rest hath been admired for his boldness Euphranor also excelled Parrhasius in this kind in that the Thesens of the one so infinitely excelled the Theseus of the other So great an excellency of Spirit arose in the old Artificers as not to be daunted by the authority of those who were like to censure their works it was agreat mark they aimed at to avoid a preposterous shame or fear And this they accomplished by taking care not only to give them content who must of necessity be contented with the work but also that they might seem admirable unto them which may judge freely without controul So they heeded to do well in the opinion of accurate and judicious spectators rather than to do that which liked themselves And therefore whatsoever is dedicated unto posterity and to remain as an example for others had need be well done neat polished and made according to the true rule and law of Art for as much as it is likely to come into the hands of skilful Artificers judicious censurers and such as make a narrow scrutiny into every defect But as it is impossible to attain to an excellency or height of any thing without a beginning so do the first things in going on of the work seem to be the least the height of Arts as of trees delighteth us very much so do not the roots yet can there be no height without the roots And therefore we shall find that a frequent and continual exercise as it is most laborious so it is most profitable seeing nature doth begin hope of profit doth advance and exercise doth accomplish the thing sought after In summ by doing quickly we shall never learn to do well but by doing well it is very likely we may learn to do quickly To this speedy and well doing there belongeth three things viz. to add to detract and to change To add or detract requireth less labour and judgment but to depress those things that swell to raise those things that fink to tye close those things