if too little it worketh ill and dries too fast if too much it will be bright and glister like oyl-colour which by any means avoid The five perfect Colours with their Lights and Shaddowes THe best for Limning is a Lake of it self of a Murray colour which is best made and to be had at Venice or in Flenders at Antwerp for if you make shift with other Lake adding blew to make it Murray it can never be good The former Lake is to be ground with Gum-Arabick water onely although when it is once dry in the shel it is hardly reduced into a condition to work well again Then grinde more and fresh 2. Red or Ruby IF you will make a fair Red for Limning take India-Lake with breaks of a Scarlet or Stammell-colour there are sundry Lakes which will shadow one upon another and some â—o black that they must be ground generally with Sugar-candy amongst the Gum and others with Sugar onely You cannot grind them too much nor need they washing Vermilion also is another Red which must be ground and wash'd 3. Blew or Saphire THe darkest and richest is of Ultra Marine of Venice but that is very dear in the place thereof we use Smalt of the best Blew Bises also of severall sorts paler then other of five or six degrees They may be ground but better to be beaten in a Morter of flint like Ammel very smooth with a Pestill likewise of flint or Aggat well stirred till it be fine with gum-water onely and well wash'd So have you many sorts and all good shaddowing Blewes or Litmus Indico blew Flory These need no washing nor Litmus any grinding but steeped in the lees of Soap-ashes Use Gum with discretion as aforesaid 4. Green or Emrauld GReen the best is Cedar-green in the place thereof take Tripall to draw with Pink is also needfull for Landskips mixed with Bise-ashes makes another Green so likewise with Masticoâ—e and Ceruse as you see cause For light-greens sap-greens flour dâ— Bise tauny-green needs nothing but steeped in water which is best 5. Yellow or Topas YEllow the best is Masticote whereof there are divers forts paler or deeper yellow Oker for want of better is another also and these wash'd not ground do best and must have a little Sugar amongst the Gum in tempering them Shadowing Yellowes are of the stone found in an Ox-gall ground with Gum-water not washed And yellow Oker made with white Roses bruised with a little Allom and strained neither of them needs grinding nor washing nor Gum You may make shift with fair Oker de rouse and Saâ—â—ron water Shadow your Masticote with yellow Oker deepen it with Oker de rouse And so have we done with the five perfect Colours An excellent Receipt to make Vltra-Marine TAke the broken pieces of Lapis Lazarilli the deeper blew or between black and blew with as little grains of gold upon them as may be put it into a Goldsmith's meltingpot covering it with a potsheard heat it hot about an hour upon a fire of charcoal then quench it with urine vinegar or water in some pot well leaded dry it in a fire-shovell upon coals the moisture quite dry then lay it upon a table and with pinsers nip off the hard part from it being gray and whitish Then boyl two spoonfulls of Honey in a pot of clean water and take the Lapis Lazarilli and grind it out with this water as fine as may be and so let it dry for use To make a Varnish TAke a pound and half of oyle Aspeck the best five ounces of Mastick as many of Sandrose put these together in a glasse boyling them in a pottle of water and putting a cloth in the bottom stir it often for three hours the longer the better and after it is cool let it stand in the Scum for ten daies An excellent Water for the preserving white-Colours and recovering them being dead or starved and generally for all Colours TAke Rosemary-water distilled and with a few drops thereof temper a shell of White so starved or dead and it shall instantly become perfect for a truth try one half of the colour and see the difference It hath also this quality of goodnesse that whereas all colours especially Whites and Umber in the grinding and tempering arise in bubbles very troublesome to an Artist a little of this water clenseth the colour and disperseth the bubbles and being tempered with your colour in the shell makes it flow and to work exceeding sharp The draught of a Landskip Mathematicall they that have leasure and desire thereto may make experiment SEt up a little black Tent in a field made easie portable and convertible as a Wind-mill to all quarters at pleasure capable of no more then one man with little ease exactly close and dark save at one hole an inch and half diameter to which apply a long prospective Trunck with a convex glasse fitted to the said hole and the concave taken out at the other end which extendeth unto about the middle of this erected Tent through which the visible radiations of all the objects without are intermitted falling upon a paper which is accommodated to receive them and so trace them with your pen in their naturall appearance turning this your little Tent round by degrees till you have design'd the whole aspect of the place There is good use hereof in Chorography but to make Landskips hereby were too illiberall Surely no Painter could exceed the precisenesse of these To make clean a fonl or old Picture in Oyle MAke clean the Picture with a spunge dipt in warm beer and then let it dry and afterwards wash it over with the liquor of the whitest Gum-dragon steeped or dissolved in water which will set a glare or freshnesse upon the Picture If you use blew starch or glare of eggs or other such trash as is very common it will take off the heightning and spoil the grace of the work Light bad for the eyes LEt not the aire be too lightsome excessive light scatters the spirits and causeth the sight to be lost Xenophons souldiers passing a long time in the snow became almost blind Dionysius the Tyrant shut up his prisoners in dark holes and sodainly bringing them to sun-shine took away their sight Some colours are not profitable for the sight which diffuseth the spirits drawing them to it Black makes them too grosse Not any colour does much comfort the eyes but Green Blew Violâ—t Saphir and Emerauld Flowers of Burrage and leaves of Burnet put into French-wine the colours comfort the eyes the property of the Herbs represse the vapour of the Wine and this Wine is most due to be drunk by an excellent Painter in which other persons may have leave to taste onely unlesse to drink his health unto The END Pen and Pensill described Of the five Senses Sight the best sense Sight compared with other senses Excellency of
it Every figure ought to represent therein by a speechless discourse the connexion in them Assigne therefore the principall place to the principall figures next to hand Other figures farther off Finish the Principall figures whilst your Spirits are fresh Frame not your Historicall Piece rude loose and scattered but rather in an equitable roundness of composition to be perceived by each observer to be liked of the most but to be judged only by the learned Neglects in disposition are soon discovered Pourtray in your excellent Pieces not only the dainty Lineaments of Beauty but shadow round about rude thickets rocks and so it yields more grace to the Picture and sets it out this discord as in musicke makes a comely concordance a disorderly order of counterfeit rudeness pleaseth so much grace doe mean and ordinary things receive from a good and orderly connexion All these together make that perspicuous disposition in a Piece of History and is the effectuall expression in Posture and Action the very Passion of each Figure the Soul of the PICTURE the Grace and Ayr of the Piece or the sweet Consent of all manner of perfections heaped together in one Picture And so have we done with an Example of all in One For Invention allures the mind Proportion attracts the Eyes Colour delights the Fancie Lively Motion stirs up our Soul Orderly Disposition charmes our Senses These prodnce gracefull Combiness which makes one fairer then fair and all together confirme us into Rupture N. B. T. This Grace is the close of all effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer not to be done by too mâ—ch double diligâ—nce or over doing a careless shew hath much of Art For additions to your Piece to adorn it or Parergia to your worke Some by Paintings are not amiss pretty draughts upon sheilds Sword hilts Pots brakes of Vines Ivy Cypress and such like devices we call them sweet seasonings of the Picture But then these do but adorn and must be dimme and carelesly drawn rather seemingly with a light ayre then actually done And these conclude the worke That all sorts of people wise and weak ignorant and Learned Men and Women one and all may find in it to be delighted which comes now to be a Wonder Our Antient Painters famous for Art Immortalized their works with all excellencies and thereby consecrated the Wisdomes of their hands as Donaries unto Delphis a sacrifice to Deityes Our late Painters strive for wealth by sale of Ordinary and quick work the bane of all Arts rather than labour for Fame and Glory the cause of many Pieces so common and few of Art For upon enjoying of Glory follows a confident boldness of Art incredibly advanced by success and repute Success is that veneration of Art by Kings and Nations In such a Man shamefastness is a vice causing our Wits to rust with too much secrecie The shunning of vice when it wants Art leads us into vice Be bold and know your merit and in Gods Name when you do well make others pay for it Art cannot be over-valued Conclusion of this first Part. TO reduce discipline my scattered Notes and Papers such indigested Collections as require a more formal Method and a better Pen hath been my pains and desire to effect Wherein perhaps I have been over prolix A fault pardonable and excusable from such as are any thing acquainted with the profoundness of this Art and Artificiall Mysteries The consideration enlightens my understanding and sits my mind with such a treasure of discourse as that with great difficulty I cannot be brief to distinguish or to devide This subject being so fruitfull that store makes me penurious And now with no more adoe I represent you with the Second Part. The Art of Limnâ—ngton Water Colours differing somewhat from Oyl-Colouâ—s In both the practice will easily distinguish The way and manner those directions before and what does follow will serve for either And so I put you forward to your Pallet and Colours The Use of the PENSIL In the most Excellent Art of LIMNING In WATER-COLOURS Part II. Of Limning in Water-Colours The True Order and Names of Colours the means to prepare them for the Pensill and to clense them from their corrupt mixtures wherewith they are Sophisticate We name them Seaven though in truth the first and last White and Black are no Colours but Elements Whites Ceruse White-Lead Greens Sap-green Pinck Bise-green Cedar-green Reds India-lake Read-Lead or Mene. Blews Indico Ultramanue Bise-blew Smalt Yellows Masticoate Oker of England Browns Umber Spanish-brown Terra lemnia or Cullins earth Blacks Cherry stones burnt Ivory burnt Lamp-blacke In this account or number of Colours I name not Vermilion Verdigreece Verâ—iters blew and green and severall other Colours frequent with Painter-stainers but in our work unnecessary useless dangerous both for their Minerall qualyties coorse and gross bodies not to be mixt with our Colours of a more fine subtile and transparent Quality We do not admit of divers others as Saffron Litmus Russet Brasill Log-wood nor of Colours extracted from Flowers juice of Herbs or Roots more proper for washing or Colourring Prints Cards Maps Of Whites FIrst in order the most excellent pure Virgin Colours are Ceruse and White leade the latter is the better for use and less subject to mixture yet both have these Inconveniences and thus to be prevented Ceruse after it is wrought will starve lavish and dye and being laid on with a Pensill a fair white wil in a few months become Russet Reddish or Yellowish White-lead If you grind it fine as all our Colours must be it will glister and shine both in the Shell and after it is wrought and if not ground it will not work nor be serviceable To prevent these Inconveniences of both Colours This is the only remedy Before you grind either of them lay them especially White-lead in the Sun for two or three dayes to dry which will exhale and draw away the Salt greasie com-mixtures that starve and poyson the Colour Besides you must scrape off the superficies of the White-lead reserving only the middle as the cleanest and purest Be carefull of your white being the ground and foundation of all your other Colours and if faulty all the work is marred The effect you may see at Rome in the Vatican Library and in the Silla of Cardinall Burgesse and in the Porta setimiane there where many excellent Pieces heightned with White-Lead unprepared are spoyled Russet and dead Being thus prepared grind it upon a Porphire Serpentine or Pebble-stone any of these are excellent some use Marble thick Glasse or Crystall But the first two are too soft and in grinding mixe with the Colour and spoyle them the latter is very good but hard to be got large enough I say grind it very fine and a
good quantity together in water without Gum then have in readiness a piece of thick white chalk make therein certain furrows or troughs in which instantly put the White-lead ground from the stone wet let it remain there till it be very dry the chalk will suck and drain up the filth salt and grease in the Colour Preserve it for use in a paper or clean Boxes When you intend to worke with it Take as much as conveniently will lye in a shell of Mother of Pearle neatly cleaned and burnisht wherein as in all Colours be curious and neat not to have the Room troubled with company where you grind for avoiding dust or Atomes which you will find troublesome in your working Put to this as to all Colours a little Gum-Arabick the best and whitest which you must have ready in powder very fine in a box or else dissolved in water and with a few drops of running water temper it with your finger to dissolve and mixe with your Colour Discretion and Practice will direct you Leave not your Colours too dry and liquid in your shell but somewhat thick and clammie cover them from dust till it be dry in the shell then draw your finger gently upon the Colour if none come off it is well if it do add a little more Gum-water if it be too much it will glister and shine in the shell then wash off the gumme with fair water or temper a new shell Observe in each particular what is directed in this Colour of washing grinding tempering A Rule for all the other Colours that are to be ground Some Colours are to be washt and ground and they are these Ceruse White-Lead India-Lake English-Oker Pinke Indico Umber Spanish-brown Colens-Earth Cherry-stone and Ivory black Other to be washt only are these Red-Lead or Mene. Masticote Blew-Bise Green-Bise Cedar-Green Smalt Ultra-marine Only Sap-green to be steeped in fair water The reason why these Colours are not to be ground as the others are because of a sandy substance loose gravelly and so heavy ponderous and solid bodies hardly to be reduced unto such firmness as is to be required in this Art for if you think to make them fine by grinding they instantly loose their beauty starve and dye Besides some of them as Masticote and Red-Lead become of a greasie and clammye thicknesse by reason of the agitation and tampering upon the stone and so utterly unserviceable to refine them therefore they must be washed There are but five perfect Colours white and black being none like the five precious stones perfect and transparent severall Colours The hard Topas for Yellow the Amethyst orient for Murray the Rubie for Red Saphire for Blew Emrauld for Green All which Colours are perfect different from mixture of white and are thus distinguished by Heraulds in blazoning of Arms of Princes Bearings And although what hath been said for grinding Ceruse and VVhite-Lead may serve for a direct order in all other grinding Colours Yet I shall for full satisfaction speak of them severally before I come to those that are to be washed Colours to be grinded THe next in order is India-Lake the dearest and most beautifull grinde it as the VVhites with the help of the Sun and with your finger spread it about the shel sides After it is dry you will find this Colour and some other as Amber subject to crackle and fall from the shell in pieces take care that this anâ— all others be fast smooth and firme which to effect take a little quantity of VVhite-Suger-candy with a few drops of fair water temper the Colour againe as it is in the shell with your finger till the Colour and Sugar-candy be throughly dissolved which being dry will lye fast and eeven English-Oaker is a very good Colour and of much use for shadows in Pictures by the Life for Haires and Drapery Rocks High-wayes in Land-skips and commonly lye eeven and fast in the shell and works beyond any other being well ground Get the fairest because with it and Blew you make the fastest Greens for Land-skips or Drapery for the Green-Bise and Sap-Green though good in their kind the first is of so coorse and gross a body and the other so transparent and thinne that in many things they will be unserviecable espetially where you have occasion to use a beautifull fair Green by mixing a little Indico with Bise and Pinke this Colour being ground fine worketh very sharp and neat of exceeding use if ground as the rest The next in Order is Umber a Colour greasie and foule hard to work with you must burn it in a Crusible or Goldsmiths Poâ— and being ground as the rest it works sharp and neat It is exceeding coorse and full of gravell of no great use for a little Umber Red-Lead or Mene mixed makes the same Colour Is easie to work when it is new ground very good to close up the last and deepest touches in the shadowed places of Pictures by Life and also very usefull in Landskips Are both to be burnt in a Crusible and so ground the first is very good especially for Drapery and black Apparrell but but if you make Sattin temper it with a little Indico only to make it appear beautifull glassshining lightned with a little mixture of more white In strong touches and deep hard reflections deepned with Ivory will shew marvellous fair this was the way of that famous Hilliard the English Limner in Queen Elizabeth's dayes Serves only for a deep Ivory black nor is it easie to worke without well tempering with Sugar Candy to prevent crackling and peeling And so much for Colours to be ground Colours to be washed and not to be ground I Shall follow the former Order by shewing how one Colour is to be prepared which will demonstrate all the rest Put an ounce thereof into a Bason or clean earthen dish full of fair water stir it sometime together with your hand or spoon till it be coloured then let it stand till the greasie scumme arise upon the superficies which with the water pour out fill it again with fresh water stir it often untill it be thick and troubled which presently pour out into another clean Bason or Vessell reserving behind in the first Bason the dreggs of the Colours which haply will be the greatest part and to be cast away for you are to seek the best not the most A little good Colour goes far in Limning and if a handfull of Red-Lead yield a shell or two in goodness it is enough so it be fine The troubled water being in the second Bason add more water wash them well together as before let it settle till it become almost clear but if you perceive a scumme to arise again upon the water pour it out and put in fresh till the Colour be clearer for the skumme is Chalk and other filth which washes out by
rather opus Laboris quam Ingenii As you grind it adde more gum-Gum-water and though the Gold look never so dirty and black esteem it not the lesse worth and having wrought it to a competent finenesse take it off from the stone putting in more Gum-water wash it as cleane as you were told before and in the same manner as you did your Bise Smalt c. Being very clean adde to it a little Mercury sublimate on the poynt of a Knife with which you must temper with it a very little Gum to bind it in the shell and as it settles and begins to dry in the shell shake it together remove and spread the Gold about the sides thereof that it may be altogether one Colour and finenesse which when it is dry and fair as it will be if you carefully wash it clean Use it with fair water as you do your other Colours and this way you shall find your Gold fairer and more in quantity then you can buy for much more money To make Liquid-Silver THe same course take with Silver which you must use in the same manner Only with this observation that seeing the Silver either with long keeping or the moysture of ayre will become starved and rusty you must prevent this Inconvenience before you lay your Silver by covering over the place with a little juice of Garlicke It will keep it very faire and bright this secret I had from Mr. Hiliard Thus have I done with my first Division The second Division by Landskip The Tablet TAke some Vellome shave it upon a thinne frame fastning it with Starch Paste or Glue and pasting it upon a board which manner of making for Landskip or History is altogether used in Italy I mean thin Parchment with any Pastboard for your Tablet large or less size you intend for your Picture Green of all Colours is most delightfull to the Eye Not in all the Art of Painting such variety of Colour more pleasing then is the Prospect of a well-wrought Landskip espetially when your ingenious Industry hath already rendred you a Master of Art and contemplation If you draw a Prospect from the Life Take your Station upon the rize of ground or top of an Hill where you shall have a large Horizon And skore your Tablet into three divisions downwards from the top to the bottome set your face directly opposite to the midst of your Horizon and keeping your body fixed Observe what is comprehended directly before your eyes and draw that into forme upon your Tablet in the middle-Division Then turning your Head only not your body to the right hand draw likewise what is presented to your sight adjoyning it to your former Draught and frame it into the same And so also removing your sight to the left hand take that observation which will make a compleate PROSPECT And as all things appear in Distance and Truth Proportion and Colour so be carefull to express them Most Countrieâ— Southward Spaine and Italy afford wonderfull strange objects in Landskip Hills Dales Rocks Mountains Caâ—aracts Ruines Aquaeducts and alwayes a fair skie to discover far off which are rarely done there to the Life You cannot miss of many examples every where though less pleasing but in Holland none at all So then the Dutch in composing a Piece of Prospect of their own Fancie and Invention for want of the Life most grosly erre in Proportion Distance and Colour Now for the want of the Life and Nature if you will adventure on your fancie Go to work this way I cannot prescribe how to order your light in a piece of Landskip by the Life for according to the place as you look North or Southward East or West-ward as the time of the day and the Sun's declination so must you order your shadows as they appear But in all working of Painting by Fancie let your light descend from your left to your right hand So will it appear upon the work from the right to the left the more gracefull But when you paint a face to the life you must observe the parties face which differs some more perfect either to the right or left In making it First beginne with a large skie or Element and if there be any shining or reflection of the Sunne in which only the Dutch are neat and curious then you must be carefull by no meanes to mixe Red-lead or Mene in the purple of the skie or Clouds but only with Lake and White the Yellow and Whitish beams of the Sunne must be wrought with Masticoate and White which as soon as you have done lay by that Pensil For you must not mingle the blew Colours of the Clouds with any Pensil that hath touched Masticoate it will make the skie Greenish and discoloured Make up the blewish skie and Clouds with Smalt and not with Bise for it is too green and blew and nothing so proper for the purpose At the first working dead all your Piece over full and flowing with Colours suitable to the Aire and green Meadows and Trees or Ground not laying them on heaps but somewhat smooth Be not curious in your firsâ—dead-Colours do it slightly and hastily Leave a large skie which work-down in the Horizon faint and fair as you draw neer the Earth let the remote and far off Mountains appeare sweet and misty undiscoverable and almost indistinguishable mixing into the Clowds as it were lost in the Ayre Your next ground-Colour downwards must increase in bigness of proportions as neerer the sight and must be somewhat blewish as Sea-green and as you draw neerer the first ground let them decline sometimes into a Reddish otherwise into a Popinjay-green Your last ground Colour must be neerest the Colour of Earth a dark-yellow brown green easier to be done with the Pensil then described by the Pen The same Colour or neere the same must be your first Trees and alwayes as they come down neerest in distance they must increase towards their Naturall Colour in largeness and perfection somewhat suiting the Earth By any means let passengers people by the ways encrease neerer hand and be made bigger in their forme and Colour and evermore let every thing from left to the right hand in a Line be of the same equall bigness You might have seen Passengers in some Landskip who should be imagined four or five miles in distance from the Eye to be expressed neerer and as at hand which is a grosse errour The Trees must be made with great judgment the leaves flowing or filling one with the other some sticking forward others lost in shadows Let not your Landskip of land rise high and lift it self into the top of your Piece as hath been noted in the Prints of Albert Durar otherwise in his way an excellent Master rather let them lye low and under the eye which is most gracefull and more Naturall with a full skie The most generall and absolute
ounces of Lint-seed oyle six ounces of yellow Wax two ounces of white Mastick four ounces of Colophonia four ounces of Rosin-Depino Greaseo one ounce of Turpentine Melt all these together in a fair earthen pot or pan well leaded put not all in together but one quantity after another as they melt cut the waxe in pieces it will melt the sooner stamp the Rosin and Caliphonia this done let it be luke-warme in any wise not hot mingle there with as best you may with your hand the Lapis Loculi ground and work it up in a lumpe and so let it rest a day or two then take a faire earthen pan or a dry smooth Bason almost full of water so warme as you may well indure your hand in it Then take the massy Lumpe and work it between your hands so long as you can see it sweate out a cleer water of a blew Colour and the longer it is before the drops come forth the better When the water is well blewed set it away and take another Bason or Panne of clean water and worke it as before then take another Panne a fourth and a fift till no more drops will sweat out letting the ground remain and dry throughly then with a feather wipe it off the panne upon a paper and so put it up the first blew that sweateth is best and so the rest in degrees You may put the worser sort into the like new Pastill again and work it over as before It will be the fairer but less in quantity There are other wayes pretended Note also that the Pastill can never serve but once and afterwards to make Lincks and Torches You may get some of the broken pieces of Lapis Loculi of the Marchants of ALEPPO the deepest colour the best To work in Croyons or Pastills I observe three manners of wayes The first and worst is that of Monsieur de Mousters of Paris whose custome is to â—ub-in several Colours being first reduced into powder and set in severall small boxes upon the paper which commonly is the whitest and this he doth with severall stubbed Pensils the ends fitted with Cotton or Bumbaste His work is reasonable neate but not lasting there being nothing to bind on the Colours which commonly fall off and the work lost or defective The second is with Pastills the length of a finger or thereabout composed of severall Colours mixt and ground together of a good consistence and stiffnesse and so rouled up and laid to dry They have used to make them up with Milk Beer or Ale or new Wort others with old rotten size to bind the Colours together The last and best as I conceive is to Colour the paâ—er whereon you intend to draw the Picture with Carnation or flesh Colour neer the Person's Complexion you mean to draw Cover the whole paper for some complexion with Ceruse Mene and a little yellow-Oaker ground with Gum When you prepare one paper do so with many other papers to save labour and those with different complexions untill you have use of them Lay the Complexion with a sponge wet but let it be so bound as it may not come off with rubbing this done dry draw your outward lines with red-Chalke faintly Then with your several Pastills rubbe in the Colours with your fingers-end sweeten and mixe them together driving them one within another after the manner of the Oyl-Painters and because you cannot sharpen your Pastills as shall be needful you must remember to close up all the worke with Red-Chalke and black-Chalke which with your Pen-knife sharpen at your pleasure I have seen a book of Pictures in this last manner of Croyon done by the hand of that incomparable Artist Hans Holben who was servant in Ordinary to KING Henry the Eighth They were Paintings of the most ENGLISH LORDS and LADIES then living and the patternes whereby he drew their Pictures in Oyle Many of those Pieces in the book were spoyled by the injury of time and the ignorance of such as had it in custody Yet there appear'd in those ruines and remaines an admirable hand and a rare manner of working in few lines with much diligence and labour in expressing the Life and Likenesse Many of them equalling his own Oyl-Pictures and alwayes excelling any other Artizan After a long time of Peregrination this Book fell into the hands of the late Earle of Arundell Earle Marshall of ENGLAND an eminent Patron to all PAINTERS and who understood the ART and therefore preserved this BOOK with his Life till both were lost together The Ordinary working in Croyon is upon blew-paper the Colour rubbed-in first with the Pensill and afterwards either with a stubbe-Pensill with your finger or with a little piece of paper or with a sponge or otherwise You may also work in Croyon upon Parchment exceeding neat and curious in that manner as these small Pieces to the Life done upon Velome Parchment and white Paper also by the admirable Artist and Graâ—er in Brass Henricus Jessius at Harlem in Holland The faces no bigger than a Jacobus in Gold coine His Pastills of the shape and bigness of a tackpoynt but longer they might compare with Limning and seemed so to the suddain view They were rubbed-in with small Cotten-pensills and were finished with sharp poynted Red-chalke and Black-chalk The true way of making the Pastill is the secret of the Art and so you may remember that I said some make them of Ale-wort and such trash to tell you the difference not to teach you those wayes for either they bind so hard that they will not mark nor score at all or else so loose and brittle that you cannot bring them to finenesse For tempering so many Pastills for change of Colours in the Face I Shall onely direct you in one COLOUR for example of all the other For a Brown Complexion Grind upon the stone Ceruse Red-leade or Vermillion for this is a more useful colour in this kind of work then in Limning English Oaker and a little Pinke you need not grind them very fine but onely to bruise and mixe them well together To these adde a reasonable quantity of Plaister of Paris burnt and finely sifted mixe and incorporate this with the other Colours thick and stiff like moyst clay then take it off the stone and roule it betwixt the palmes of your hand as long or as little as you list then lay it to dry in the Sun or Wind but not by the Fire In this manner and with mixture of Playster of Paris temper all the other shadows and Colours whatsoever the quality of this plaister of Paris is to binde the Colours together and to make them durable which otherwise would be loose and brittle With your Pen-knife scrape them being dry to a fine poynt so sharpe that you may with it draw a haires breadth and this Plaister makes the Colour so hard and drye that you may draw
lines upon Parchment or paper The Colour Crimson is most difficult to worke It is made of Lake which of it self is light and hard therefore instead of that use India Lake or Russet observing alwayes to mixe white Ceruse with all the other Colours or shadows whatsoever And when you are to mixe a Colour that is hard to worke as this Crimson which commonly you shall find brittle and hard then temper it with another Colour neer the same in Colour but more soft and gentle As if you mixe a little Vermillion with a good quantity of Lake it will take not much from the Colour and make it work very well In this manner you may make all manner of beautifull Greens for Landskips and all other Colours requisite for Rocks Waters Skyes and tempering the Greens with white Pinck Bise Masticoate Smalt Indico and to make them high deep or light as you please remembring where you are to temper fast and firm colours as Umber Oke Indico take the less plaister of Paris But where your colours are loose and sandy they bind the stronger and faster by adding more plaister And when your colours are dry before you begin your work sharpen them with a pen-knife according to the large or little proportion of your designe Having ground the white-lead to a sufficient finenesse put it together with the water with the which you ground it being sweet water distilled into a Silver or China-dish wherein hath been dissolved a good quantity of Gum-Arabick and strained The water becoming clear and the colour become setled poure the water away and let it dry inthe dishes and so receive it to your use The second washing will serve well to work withall and temper and mix with the shadowes The third and last is good for heightnings lights and high touches and strong reflections But the first and coorsest in the bottom reserved in the first dish must be ground again and tempered with gum-water and is very good for laying grounds and carnations and complexions for Picture by the life It is good to mix Spanish White with your white-lead for it will bind it together and it is good to be heightned upon If you have no Spanish White make this mixture Take two parts of ordinary Chalk and one part of Allom grind these together to a good finenesse which being made up to a lump burn it in the fire and reserve it for use And so much for the work by Croyons or Pastills Of Frescoe THe way of Painting upon walls to endure weather the Colours must be ground with lime-water or milk or whey tempered and mix'd in pots as in Size-colouring Take the powder of old rubbish stones mixed with well-burnt flint-stones or lime and water wash out the saltnesse of the lime by often pouring out the water and put in fresh the oftner the better which makes the plaister or compost Avoid moist weather which hath influence upon the walls To do the work lasting strike into the brick or stone-wall stumps of head-nails about six inches assunder which will keep the plaister firm from peeling Then with this compost plaister the wall a good thicknesse letting it dry and your colours prepared ready and mingled plaister again over the former the thicknesse of half a crown of silver very fine and thin so much as you intend presently to work upon whilst it is wet Work your colours therein which will co-operate and corrob o rate into the plaister and so dry together as a perfect compost Work your painting quick with a free hand for there cannot be any alteration after the first painting and therefore make your painting high enough at the first You may deepen but not easily heighten Avoid Minâ—rall colours Earth colours are best as all Oker s Brown of Spain Terre-vert Spanish-white and such like Your Brushes and Pensills must be long and soft otherwise they will â—ake the work and raise the painting Your Colours must be full and flowing from the Brush your Designe perfect in the Image or paper-copy for in this work you cannot alter or add upon any colour To make excellent purâ— White-Lead PUt into a gallon pot certain plaits of clean fine leâ—d cover them with white-wine vinegar glewing the pot with clean Lome bury it in a Cellar a months space or six weeks then you shall find very good white-lead upon the plates which take off for use To make severall Colours BReak the best Verdigreeâ—e into fine powder in a mortar then having laid the ground with liquid silver and burnisht temper the Verdigreece with Varnish it makes an Emerauld as also with Florence-Lake it makes a fair Ruby and with ultra-Marine it makes a Saphire Let it rest a while upon your hand that the varnish thereof may diâ—solve the stone Make it little eeven and smooth upon the Card and it will dry â—n a day A Crimson-Velvâ—t TAke Indico-Lake well ground and strongly bound with Gâ—m and a little white-Sugar-candy Temper these with a little Turnsoil then lay it full and when it is wet with a dry Pensill wipe away the colour where you will have the heightning of the Crimson-velvet appear and the strong reflections will this way expresse it Excellent Receipts from Mr. Hilliard that old famous English Limner PEarl must be laid with a white mixed with a little black and a little India blew Mastick but ye ta very little in comparison of the white not the hundred part which being dry give the light of the Pearl with silver somewhat more to the light side than to the shaddow Then take White allayed with Mastick and underneath the shadow-side give it a compassing stroak which shewes the reflection then without that a small shadow of sea-coal undermost of all But note that the silver must be laid round and full Note that all Stones besides the Diamond must be glazed upon silver with their proper colours with a varnish An excellent Black THe best Black is black-Ivory burnt in a Crâ—cible well stopt with a tyle-shard or iron-plate and luted that the aire enter not Mix therefore the luting with a little salt heat it red hâ—r a quarter of an hour then being set by let it cool of it self the pot still close then open it grind it with Gum-water onely wash it in this manner from the Gum pouring water into it by little and little in some deep glasse stirring it with a feather and when it is as thin or thinner than Inck let it settle an afternoon then poure it from the uppermost of the matter which is but the scâ—m and foulnesse good to put into Inck the rest being very dry take it out of the glasse and keep it in paper or boxes for use But you must soft grinde it again or temper it again upon the stone with water adding Gum beaten fine into it with discretion for by use you will find the fault