of the Body yield or turn something away from the Eye then you must decline that part which turneth according to proportion and likewise if any part of the Body do appear to the Eye to foreshorten as when it doth hinder the sight of the full Latitude of that part of the Body Therefore I say upon such occasions the Body or part of the Body must be made to decline and foreshorten according to that proportion that the Eye doth guess of it therefore be sure to observe your exact distances one from another how farre the one is distant from the other you must observe also how much one part of the Body sticks out beyond the other be carefull when you draw a naked Figure to draw nothing hard but to shadow it fine and soft as possible you can and not to draw the out-Circumferences sharp or stiff but as loose as possible A way to take the perfect out-Lines or Circumferences of any Painting or Print whatsoever Take a sheet of Venice Paper and dip it in Oyl or take a Feather and wet the Paper all over with Oyl of Turpentine then take a clean linnen Rag and after the Oyl is soaked into the Paper a while rub the Oyl clean off from the Paper as clean as you can for if the Paper be Oyly it will spoil any Print because that the Oyl will soak through Then having prepared the Oyl-Paper take it and lay it upon the Painting or Print which you intend to draw after and you shall perceive all the Painting very clearly through the Oyl-Paper Then you take a black lead Pensil and draw upon the Oyl-Paper all the out-Lines and Circumferences thereof then take a piece of Charcole or a piece of black Lead and scrape it upon the backside of the Oyl-Paper then take a Feather and rub it all over and shake off the rest this being done take a sheet of clean Paper and lay under the Oyl-Paper then take a Stift and draw all the same stroaks which you drew before upon the Oyl-Paper over again then take the Oyl-Paper off from the other and all the same out-Lines will be upon the clean Paper then if you think good you may finish it up according to the Painting or Print you draw it after A way to decline or bring any Painting or Print into a lesser compass If it be a Painting that you intend to decline then you take a pair of Compasses and divide the length of it into so many equall parts as you think convenient and the breadth also with the very same distances then you must take a piece of Packthread and chalk it then take that Line and strike upon all the parts which you divided with your Compasses so many strait Lines as there are parts in the length then strike them Lines that go in the breadth quite across them in the length so that it may be all uniformed so the like with that as you would have smaller or greater according to your intention and by the distances in the Chequers you guess to draw it smaller accordingly A further direction for Drawing Be sure to place all the Muscles in their right and proper places By the Muscles I mean the shadows that are caused by some dents or swellings in the face or body therefore labour to find out the reason of every Muscle that so you may proceed to work with the more judgement you shall perceive the most Muscles in old and withered faces First you must draw the principle of them and then place the features exactly in their right places observe to shadow them rightly and be sure not to make them too dark where they should be faint for if you should you can never recover it to make them light again the shadowes are generally fainter and lighter in a fair face then in a swarthy complexion And when you have finished your draught you must give it here and there a hard touch where it is darkest shadowed which will adde a great life and grace to it Certain choice Observations concerning Miniture or Limning ERe you begin to paint you must be exact at Design or Draught so as to be able to Copy any Picture in black and white with Cole-black Chalk Black Lead or the like The Colours to be painted with are thus termed White Cereus White Lead Red India lake Red Lead Mynne Yellow Masticot Yellow Ocur English Ocur Green Sap green Pink Blew Verdure Green Bice Terra Vert. Blew Indico Vltra marine Blew Bice Smalt Brown Spanish Brown Collins earth or Terra de Coloma Vmber Black Cherri-stone Ivory black Lamblack As for Vermillion Verdigrease Orpiment c. they are too course and gritty to paint in Water-colours Turnsoil Litmus blew Rosset Brasill Logwood Saffron are more fit for washing Prints then curious Limning Grisatrice Faint shade for the Face Mingle together white English Ocur Indico a little Masticot Deep shade White English Ocur Umber Dark shades in mens Faces India-Lake and Pink mixt Ruddy Compl. Mine Vermilion Lake Cereus Ana q. s. Mingle white Lead with all the shades Bise To Wash Bise Grinde the Bise first very purely then fill a shell with clean water put the Bise therein stir it and let it settle an hour then reserve the bottome and blow oft the top To deepen this use Litmus Water Deepest shade Umber Cullins earth Pink Lake Ana q. s. Observation in Grindeing Leave not your Colour too moist but thick and clammy if after your Colour be dry you rubbing your finger thereon finde any to come off it must be better bound with Gum Black Cherystone burnt good for Drapery Cereus White To make your Cereus or white Lead that it shall neither rust nor shine both which are no small inconveniences go this way to work before you begin to grinde either of them lay them in the Sun to dry two or three dayes which will exhale those greasie and salt humors that poyson and starve the Colours besides you must scrape away the superficies of the white Lead and only reserve the middle of it grinde it with fair water or Rosemary water with a Pebble on a Porphir When 't is ground have in readiness a Chalk stone with Furrows in it into which put the Colour while 't is wet and it will be exceedingly cleansed thereby After it is through dry reserve it in clean papers and when you would use it put it in a Muscle shell with Gum water made of the whitest Gum Arabick Colours to be ground are these Cereus white Lead India Lake English Ocur Pink Indico Umber Spanish Brown Cullins Earth Cheristone Ivory Colours to be washt are these Red Lead Minne Masticot green Bise Cedar green Ultra Marine blew Bise Smalt Verdure Sap green India Lake Purple Grinde this with Gum water when 't is ground fine before you put it in a shell mix a little powder of white Sugar Candy with it which will make it not crack after this Temperature you may
spread it with your finger thinly about the shell English Ocur Yellow This Colour lies even in the shell of it self and is of great use especially if well ground Pink Green The fairest Pink is best wherewith well ground and tempered with blew Bise makes an excellent green to deepen this Colour in Landskip or Drapery use Indico very finely ground Vmber Brown This Colour is somewhat greasie to cleanse which burn it in a Crucible afterwards grinde it and it will be good Spanish Brown Dark Red Because this Colour is very course you may use Umber and a little Lake tempered instead thereof which is as good Black Black Cherristone and Ivory are both to be burnt in a Crucible and so ground Cherristone is good for Drapery for a black Sattin temper with it a little white India Lake and Indico heighten it with a lighter mixture deepen it with Ivory black This was Hilliards way Ivory Ivory Grinde Ivory with Sugarcandy Colours to be washt and how Red Lead One Instance may serve for all and that shall be of red Lead whereof take as much as you will an Ounce or two put it into a Bason or earthen Dish full of fair water stir it a while together till the water be all coloured let it stand and you will soon perceive a greasie scum to arise which with all the water cast away put fresh water to it and do as before a second time but before the water be half setled pour all the water into a clean Dish to this water in your second Bason you must adde more clean water and mingle both together then let it settle afterwards pour out the water and that small pittance at the bottome is only good which after 't is dry must be taken off with a Feather and put up in papers for use To use it spread a little of it about the sides of a shell and with your finger temper it with Gum water Pencils Choose such Pencils as are clear sharp-pointed not dividing into parts of these you must have in readiness a several Pencil for every several Colour To prepare a Tablet to work on with Miniature for Pictures by the life Take an ordinary playing Card pollish it with a Dogs tooth and make as smooth as you can the white side of it cleansing it from all spots and extuberances then choose of the best abortive Parchment a piece proportionable to your Card which piece with fine and clean Starch paste fast on the Card temper the Starch before you paste it on in the Palm of your hand that it may be free from knots let the Card thus pasted dry then making your Grindeing stone as clean as may be lay the Card thereon with the Parchment side downward then with a tooth burnish or pollish the backside as hard as you can Note that the outside of the skin is best to paint upon and must therefore be outmost To Prime for a Face Your Card thus prepared you are to lay a Ground or Primer of flesh Colour before you begin your work and that must be tempered according to the Complexion of the Face to be drawn if the Complexion be fair temper white red Lead and Lake if an hard swarthy Complexion mingle with your white and red a little fine Masticot or English Ocur but note that your Ground ought alwayes to be fairer then the Face you take for it is a facile matter to darken a light Colour but a difficult to lighten a deep one for in Limning you must never heighten but work them down to their just Colour Your Ground thus prepared you must lay it on the Card ordered as before with a Pencil bigger then ordinary lay it on as smooth even and free from hairs of your Pencil as 't is possible which that you may do fill your Pencil full of Colour rather thin or watrish then thick and gross and with two or three daubes of your great Pencil lay it on in an instant the nimbler it is laid on the evener the Colour will lie Note Note that you ought to cover rather too much then too little with this Prime cover 〈◊〉 what more of the Card with the Ground Colour then you shall use for the Face This done take a pretty large shell of Mother-pearl or another shell and before you 〈◊〉 work temper certain little heaps of several Shadowes for the Face which you may dispose about the edges of the shell The Order of Shadowes for the Face Shadows In all your Shadows remember to mix some white exempli gratiâ for the red in the Cheeks Lips c. temper Lake red Lead and a little white for the blew as the Veines c. a little Indico and white for blew Bise is never used in a Face for the faintest and weakest Colour or Shades Lake-white a little Ocur and a little Indico adding thereto if you will a small pittance of Pink or Masticot for the deeper Shadows white English Ocur Umber for the darkest and hardest Shadows use Lake and Pink mixt with Umber Note that black must not by any means be used in a Face for other Shadows your own observation must direct you for it is impossible to give a general Rule for the Shadows in all Faces unless we could force Nature to observe the same method in Composeing and Modelling them so that one in every Punctilio should resemble the other Light For your Light to draw by a Northern is accounted best which if it fall sloping down from an high window is best of all Position Place your self so to your Desk that the Light may strike in sidelong from the left hand to the right and observe that in all your work it will shew to the best advantage when 't is turned and seen by the same Light it was drawn by Necessaries in Painting Let a Saucer or clean shell of fair water be ever on your right hand wherewith you may temper your Colours and wash your Pencils which you must have on your right hand too together with a brush-Pencil dry to brush and cleanse your work from dust also a sharp Pen-knife wherewith to take away such spots or hairs as may casually mix with your Colours or fall into your Card you may also conveniently cover your Picture with a piece of paper whereon to try your Pencils before you begin to work To begin a Face The first Draught Having these accommodations draw the Lines of Porphile i. e. the outmost stroaks of a Face with Lake and white mingled very faint by this you may conveniently mend the Draught if false with a deeper mixture of the same Colour the Lines being exactly drawn and true proportion observed which is the chiefest thing of concernment next observe the deeper and more remarkable Shadows and with the same faint Crimson Colour of Lake and white give some slight touches and marks somewhat roughly of these Shadows which afterwards you 'l finish The Order to be observed in drawing by
black must be deepned with Ivory-black with which mix a little Lake and Indico or Litmus-blew Thus much for the second Sitting The Manner of Finishing at the third Sitting Third Sitting The third will be wholly spent in giving the strong Touches and Observations necessary for the rounding of a Face which you will now better see to do the Apparel Hair and Ground being already finished In this Sitting curiously observe whatever may conduce to similitude which is the chiefest thing as Scars Moles c. glances of the Eyes descending and circumflexions of the Mouth never make your deepest Shadows so deep as they appear in the life Thus much of the Face and three Sittings For Ornaments thus Ornament Armour-Silver For Colouring Armour first lay liquid Silver flat and even which dryed and burnisht with a Tooth temper the Shadows with Silver Indico Litmus and a little Umber work these Shadows on the Silver as directed by the life Gold Armour For the Gold Armour lay Gold as you did Silver for the Shadow Lake English Ocur tempered with a little Gold Pearls To express the roundness and lustre of Pearls your ground must be white and Indico your Shadow black and Pink Diamonds Diamonds are exprest with a ground of flat liquid Silver the deepening is Cherristone black and Ivory the deeper the Shadow the fairer the Diamond Rubies Lay a ground of Silver burnish it to the bigness of the Rubie then take Turpentine of the best and purest and temper with it very neat a little India-Lake then taking a Needle or some small iron Instrument heated in a Candle lay or drop a little of the Composition upon the Silver fashioning the Stone in a round or square or what fashion you please with the point of your Instruments you must let it lye a day or two to dry if it be too long in drying adde to your other Composition a little powder of clarified Mastick this Receipt is not commonly known Emeraulds For any green Stone temper your Turpentine with Verdigrease and a little Turmerick root first scraped with Vinegar then let it dry then grinde it to fine powder and temper it Saphires Mix Turpentine with Ultra Marine c. Note that the ground to all must be liquid Silver polisht A true Receipt to make liquid Gold Liquid Gold Take of fine leaf Gold the value of 2s 6d grinde this Gold with a strong and thick Gum water upon a reasonable large stone which you must grinde very fine and painfully as you grinde it still adde more of your strong Gum water and though the Gold look never so black and dirty 't is never the worse having brought it to a competent fineness wash it in a great shell as you did Bise c. being very clean adde to it a little quantity of Mercury sublimate with the point of your Knife which you must temper with it and a very little Gum to binde it in the shell and as it settles and begins to dry in the shell shake it together and remove and spread the Gold about the sides of the shell that it may be altogether of one Colour and fineness use it with fair water as you do the other Colours Note So for liquid Silver only observe and 't is a Secret that when your Silver either with long keeping or moistness of the air becomes starvd and rusty you must to prevent this inconveniency before you lay the Silver Cover over the place with a little juice of Garlick which will preserve it Landskip Landskip In painting Landskip ever begin with the Skie and if there be any Sun-beams do them first Purple Clouds For the purple Clouds only mingle Lake and white Yellow The yellow Sun-beams Masticot and white Note 1. Work your blew Skie with Smalt only Note 2. At your first working dead-Colour all the Piece over leave nothing uncovered lay the Colour smooth and even Note 3. Work the Sky down in the Horizon fainter and fainter as you Draw near the Earth except in tempestuous Skies work your further Mountaines so that they should seem to be lost in the Aire Note 4. Your first Ground must be of the colour of the earth and dark yellowish brown green the next successively as they loose in their distance must also faint and abate in their colours Note 5. Beware of perfection at a distance Note 6. Ever place light against dark and dark against light that is that the only way to extend the Prospect far off is by opposing light to shadows yet so as ever they must loose their force and vigor in proportion as they remove from the eye and the strongest shadow ever nearest hand Dark green For a dark green for Trees mingle blew Verdure Pink and Indico the deepest shadowes of all in green are made with sap green and Indico A rare Secret to preserve colours Take Rosemary Water distilled and with a few drops of it temper your shell of White and you shall see it become instantly perfect White how ever dead and faded it was before Besides this Water allayes the bubbles in White and Umber which are usually very troublesome in the Grounding them Some generall Observations in Miniature 1. If your Colours peel or by reason of the greasiness of your Parchment will not lye on mix with them a very little Ear-Wax and 't will help them 2. Sit not above two yards from him you Draw by 3. Draw not any part in the Face of a Picture exactly at first neither finish a Mouth Eye or Nose till the rest of your work come up and be wrought together with it 4. When you have finished the Face make the Party stand up to Draw the Drapery by him 5. Let the Party you Draw be set in an higher Seat then your self that Draw To make Crayons or Pastils and Draw with them Pastils To instance one for all if you were to make a Pastill for a brown Complexion grind on your Stone Cereus red Lead or Virmilion English Ocre and a little Pink to this add a proportionable quantity of Plaister of Paris burnt and finely sifted mix this with the other Colours and you may role it up Note Mix white Cereus with all your other colours To use these Pastils Colour the Paper whereon you mean to Draw with a Carnation or flesh Colour with a wet Spunge Draw the out-lines faintly with red Chalk then rub in the Pastils finish and fill up all with black Chalk as you shall see occasion To make white Cereus Take two parts of ordinary Chalk and one part of Allum grind these together fine make them up in a lump burn them in a Crucible and use them To make white Lead White Lead Take a Gallypot whereinto put severall small plates of clean Lead cover them with white Wine Vinegar cover the Pot and dig an hole in a Cellar where let it abide for the space of six Weeks take it up and scrape off the White Lead from the plates To prepare
unfailably upon the Ground Severall Observations in Hatching First observe exactly and judiciously how your principle is shadowed and how close the Hatches joyn and how they are laid and which way the light falleth or cometh the light must fall all one way for if the light fall side wayes in your Print you must Hatch the other side which is furthest from the light darkest and so place your lights altogether on the one side and not confusedly to have the light come on both sides alike as if it stood in the midst of many lights for neither doth the light with all its brightness illuminate any more then that part that is directly opposite unto it Then observe exactly how close all the Hatches joyn and how they are laid and which way they twist and wind then follow them as exactly as possibly you can but before that you begin to Hatch or Shadow you must Draw all the outmost Lines with a Needle upon the Ground as Artificially as you can and then you must Shadow it with your Needles of severall sorts according to your principle and when you will make a broad stroake then break off the point of a great Needle and whet it upon an Oyl stone four square untill it comes to a point and if you will Hatch five stroakes then you must use five pointed Needles and if middle size then break off the point of a middle size Needle and whett it as beforesaid and so according to all sizes But some Masters when they make a bold stroake Hatch it fine at first and so by degrees make them broader Necessary Observations in Etching Landskips Observe when you Etch Landskips to make or hatch that which is nearest to the Eye darkest and so let it lose or decline its Shadows by degrees and that which is furthest off must be faintest and so lose equally by degrees the same observation must be in making the Skie for that which is nearest to the Eye must be the darkest shadowed but in general as faint and soft as possible and so also let it lose by degrees as before is mentioned and the nearer the Skie cometh to the ground the more it must lose and be fainter but when they as it were meet together the Skie must quite be lost and when you have hatched it as exactly as you can possibly with your Needles according to the print of Drawing that you do it after this being done compare them exactly and judicially together and if you finde it like the original take some green soft Wax and make a wall round about the edges of the Plate How to make the Wax wall round about the Plate to keep the Aqua fortis from running off from it Take some green soft Wax and temper it till it be warm then draw it into a long slender role as long as will reach about the Plate then flat it and fasten it about the edges of the Plate and let it be about half an inch high then take an old Knife and heat it in the fire and sear the Wax round about under the Plate very close otherwise the Aqua fortis will run out but be sure to fasten the wall as near to the edges of the Plate as you can conveniently then pour the Aqua fortis upon the Plate letting it lie till it be deep enough How to use the Aqua fortis on the Plate You must use single Aqua fortis Take a quantity of Aqua fortis and pour it into a Glass and mingle it with a little Vinegar to weaken it if it be too strong or a little Aqua fortis which hath been used before for in case the Aqua fortis work too strong it will make the work very hard and sometimes make the ground to break up and when you have tempered it very well pour it upon the Plate almost as high as the Wax wall the deeper the Aqua fortis lieth the harder it will eat and when you perceive it to be deep enough pour off the Aqua fortis from the Plate into a Glass and preserve it to mingle with other as aforesaid this being done take some fair water and wash the Plate and then take off the Wax wall and preserve it for the same use again then warm the Plate and take a clean linnen Rag when it is indifferent warm and rub off the ground from the Plate very clean then take some Oyl and rub over the Plate to clean it and if you perceive that the Aqua fortis hath not eaten as deep in some places as it should be then it must be helped with a Graver Observations by which you may know when it is deep enough When the Aqua fortis hath layn upon the Plate a little more then a quarter of an hour or half an hour there being no certainty in time because sometimes the Aqua fortis will work stronger then at other therefore when you think it is deep enough pour off the Aqua fortis from the Plate into a Glass then wash the Plate with a little fair water then take a Knife and scrape off a little piece of the ground where it is hatcht and may be least prejudicial to the Plate and if you perceive it to be deep enough warm the Plate and rub the ground off as before-written but if you finde it not deep enough take a little Candle-tallow and melt it in a Spoon and while it is warm take a Pensil and cover the place with it where you scraped the ground off then pour the Aqua fortis upon it again and let it lie till you guesse it to be deep enough then pour the Aqua fortis from the Plate as aforesaid and at any time when you perceive that the Aqua fortis doth not work strong enough you pour off half the old and refresh it with some new for when the Aqua fortis hath been upon the Plate about half an hour it will be much the weaker because the strength of it doth evaporate away and by a little practice you will come to the certain knowledge when the Aqua fortis hath eaten deep enough Another way to know when it is deep enough Take a little piece of a Copper plate and lay a ground upon it as you have been shewed before and make a wax wall about it then hatch it with several hatches as you think best and when you pour the Aqua fortis upon the one pour it upon the other and when you think they be eaten deep enough pour the Aqua fortis from the little Plate and wash it with some fair water as aforesaid then take a Knife and scrape off a little piece of the ground from the little Plate where it is hatcht and in case you perceive it not deep enough cover the place again with some warm Candle-tallow and then pour the Aqua fortis upon it again till you guesse it to be enough then pour the Aqua fortis from the little Plate again
and try as before and if you see it to be enough pour the Aqua fortis from the great Plate and wash it with a little fair water before you warm it or else the Aqua fortis will stain the Plate A way to lay a white Ground upon a black First you must understand that most grounds are black and when you lay a white ground upon a black you must not smoak the black with a Link and you must lay the undermost ground the thinner when you lay a white ground upon it and if you would lay a white ground upon a black take a quantity of Surice as much as you think will cover the Plate and grinde it very fine with Gum water and temper it very thinne then take a Pencil and wash the Plate all over very thinne and even The way to lay a red Ground upon a black Ground Take red Chalk and grinde it very fine with Gum water then take a pretty big Pencil and wash the Plate all over with the red ground very thinne and smooth as before is mentioned A Receipt for a Ground taken out of a Manuscript of Collots Take a quarter of a pound of Virgins wax and half a quarter of a pound of the best Expoltum burnt of Amber and half a quarter of a pound of Mastick if it be warm weather because it doth harden the ground and preserve it from injury when you lean with your hand hard upon it if it be cold weather then take but an ounce of Mastick this being observed then take an ounce of Rosin and an ounce of Shoomakers Pitch and half an ounce of other Pitch half an ounce of Vernish having all these materials in readiness take a new earthen Pot and put the Virgins wax into it and when it is melted stir it about and put in the other materials by degrees as before-mentioned and when they are throughy mingled and melted take the Pot off from the fire and pour it out in a clean Pot of fair water and work it into a Ball and preserve it from dust and grease and when you have occasion to make use of it take a quantity thereof and binde it up in a piece of Silk and make use of it as before-mentioned The Ground of Rinebrant of Rine Take half an ounce of Expoltum burnt of Amber one ounce of Virgins Wax half an ounce of Mastick then take the Mastick and Expoltum and beat them severally very fine in a Mortar this being done take a new earthen Pot and set it upon a Charcolefire then put the Virgins Wax into it and melt it then shake into it the Mastick and Expoltum by degrees stirring the Wax about till they be throughly mingled then pour it forth into fair water and make a Ball of it and use it as before-mentioned but be sure you do not heat the Plate too hot when you lay the ground on it and lay your black ground very thin and the white ground upon it This is the only way of Rinebrant The way to preserve any Ground which is laid upon a Plate in frosty weather Take the Plate and wrap it very warm in a woollen Cloth and lay it in the warmest place you can convenient for if the Frost is got into the ground it will break up when you pour the Aqua fortis upon it A way to preserve the Plate from injury of the Aqua fortis where the Ground breaks up If you perceive the ground to break up in any place pour off the Aqua fortis from the plate and wash it with a little fair water then take a quantity of Candle-tallow and melt it in a Spoon and while it is warm take a Pencil and cover the place which is broken up with the said Tallow and so far as the Tallow is spread the Aqua fortis will not eat some make use of Vernish in stead of Tallow and when you have covered the place that is broken pour on the Aqua fortis again and let it lie upon the Plate till you guess it hath eaten enough then pour the Aqua fortis from the Plate and preserve it then take the Wax-wall and preserve it also and wash the Plate with a little fair water then rub off your ground as aforesaid and for the places which the ground broke up in it must be helped with a Graver therefore it will be necessary for one that desireth to learn this Art to practise Graveing a little so much as to help a stroak where you think convenient A way to make the Aqua fortis eat soft or hard according to nature or Art First take Candle-tallow and melt it in a Spoon then with a Pencil cover that place so far as you will have it to be faint but note it to be after the Aqua fortis hath lain upon your Plate an indifferent while and so by degrees you must use the Tallow as you would have it fainter this is very necessary when you Etch Landskips which must lose and stand at a distance by degrees therefore when you Etch Landskips observe to stop off that place first which must be faintest and so by degrees stop it off and make it lose equally and note the nearer you come to the Eye it must be strongest and darkest shaded but not on that side from whence the light cometh for that side must be preserved as faint as may be but according to Art Observations in Etching Prospective Prospective is a thing that is one of the difficultest Arts to be rightly understood that is practised because it is not rightly understood but by a good Arithmetick otherwise you can never understand Prospective because you can never guess rightly how much a Pillar or a Figure or the like must decline or lose at their several distances according to Art and proportion therefore when you Etch a piece of Prospective after a Drawing or a Print observe these Rules beware of perfection at a distance and be sure to shadow that which is nearest to the Eye perfectest and strongest and the further from the Eye it must decline in length and breadth and heighth according to Art and proportion observe also to let it lose and be fainter by equall degrees A way to grave any Hand or Letter upon a Copper Plate Take some Charcole and kindle them then take a Hand-vice and screw it to the corner of the Plate and hold it over the fire till it be warm then take a piece of Virgins Wax and rub it all over the Plate untill it is covered every where alike this being done take a stiff Feather of a Ducks wing that is not ruffled and drive it even and smooth every where alike and let it cool then write the Hand or Letter which you intend to grave upon the Plate on a piece of Paper with ungum'd Ink then take the Paper which you have written and lay that side which is written downwards next to the Wax and fasten the four corners with a
little soft Wax but be sure to place the writings so that the Lines may run straight then you must take a Calves Tooth and rub the Paper all over which is fastened and not miss any place this being done take off the Paper from the Plate and you shall see the very same Letters which you wrote on the Paper hath left their perfect impression upon the Wax then take a Stift and draw all the Letters through the Wax upon the Plate and when you have done that warm the Plate and take a linnen Rag and rub the Wax clean off and you shall see all the Letters drawn upon the Copper then get some good French Gravers and grinde them as they should be very sharp towards the points upon a Grindestone and afterwards whet them very smooth and sharp upon a good Oyl-stone then grave the Letters with them The way to polish a Copper Plate At first you buy the Copper rough then you have it plenished if you cannot do it your self and when it is plenished then you polish it with these following Instruments The Names of the Instruments or Tooles which are used to polish a Copper Plate A Plain which cuts very well and of an indifferent bigness but not broad some pieces of Pumice-stones some pieces of Sand-stones and some Moulton-stones a soft blew stone and a Burnisher and Scraper and some Charcole The use of every particular Tool or Instrument First fasten your Plate with some small Nails to a place that is as high as your middle then make use of the Plain to shave all the roughness off from it and make it very even in all places alike and if you perceive any crackles or little holes upon that side which you shave then you must shave them all clean out and wheh you have shaved it even and smooth with the Plain then take a piece of Sand-stone and wet the Plate with some water and rub to and fro with the stone upon the Plate till you have worn it very smooth and even every where alike but be sure to choose the so ftest stones because they make the least scratches and when you have worn it even and smooth with this stone wash off the Sand from the Plate and take a piece of Pumice-stone and rub to and fro upon the Plate quite across the grain of the former stone because it is of a hard sandy nature and will therefore leave some scratches therefore the Pumice-stone is of a more softer and spungy nature and is alwayes used to wear out the former scratches and when you have worn out all the former scratches you will perceive the Plate to be worked into a finer grain then wash the Sand very clean off from the Plate and then make use of the Moulton-stone and work with it quite across the grain of the Pumice-stone untill you have worn it quite out withall be sure you supply this and all the other stones with water when you work with them upon the Plate and when you have worn out all the scratches of the Pumice-stone clean out then for the fourth make use of the soft blew stone it being of a very soft grain and softer then any of the former then work with that quite across the grain of the Moulton-stone till all the grain is worn out but if you perceive any scratches in the Plate here or there rub them over with your Burnisher till you have worked them out but in case they are very deep you must make use of your Scraper and scrape them out and burnish it afterwards this being done in the fifth place you must burnish it all over Sixthly and lastly take a Charcole which is throughly burnt and scrape off the Rine then put it in the fire till it is throughly kindled then take it out and quench it in Chamber-lee and make use of it as of the former till you have glazed the Plate then wash it very clean with fair water and let it dry Rules of Proportion Of the Ear CHAP. I. I Have observed this Rule First to treat of the Ear in a manner of my self invented and not by any other discovered Being then desirous to forme the Ear by this way you are first to describe an Ovall in such manner as I have represented in this Figure at the Number 1. but to forme that in more perfection and as easily as possible may be therein with such Method and Order as I design Proceed lightly joyning Stroak to Stroak in that manner as in each of the sequent Ovalls they are encreased even unto the 8. Number So imitate every Stroak of each Ovall that the Ear may entirely be formed without digressing from the bounds and reasonable termes of the Art This Rule serveth not only to forme the Ear in correspondent proportion to Nature but also with due proportion and perfection for every greater Head without any reprehensible Error that is without making that with too great length or breadth hetrogeneal or disproportioned For Observing then the Rule there will be no occasion for the Spectator to say as often it hapneth that that was beyond reason exorbitantly traced and made without the bounds of reason Of the Nose Mouth and Beard CHAP. II. FOrasmuch as I think that necessary to make a brief Discourse upon this next Figure in which the Nose the Mouth and the Beard is described to give thereof certain general advertisements and that I may further define all the difficulties from point to point the Nose being known to be the most eminent part of the Face and therefore first seen and then the Eye which resteth in the judgement the next form of the Face therefore I will demonstrate two of the most easie wayes hath hitherto been invented which may serve reasonable capacities from Stroke to Stroke to make the same well Make then first a Stroke like that in the 1. Number which hath the beginning of the hollowness of the Nose and then proceed to the 2. Stroke of the whole Nose with the roundness thereof in the 3. the hole of the Nostrills in the 4. the Nostrills themselves in the 5. the place of the upper Lip in the 6. the upper Lip in the 7. the form of the Mouth in the 8. the roundness of the Beard in the 9. the under-Throat in the 10. the uniting of them all with the Stroke of the finishing of the Nose the Mouth and the Beard Describe a semi-Circle downwards which is in the 1. in the 2. make the holes of the Nose with the two Points on each side and how each are placed in the 3. the addition of the Nostrills in the 4. the forming of all the upper Lip in the 5. the form of all the Mouth in the 6. the finishing of all the Strokes of the Beard and Chin This for frameing the Nose is necessary to be explained being of importance to describe the same well because be the Head never so well done the Mouth and it being