Selected quad for the lemma: woman_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
woman_n	head_n	old_a	paint_v	2,070	5	13.1683	5	true

Text snippets containing the quad

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

a darkish robe his beard and hair party-coloured CHAP. XIII Of the painting of some of the Heathen goddesses I. JVno Queen of the goddesses with black hair and eyes adorned with a sky-coloured mantle or pied wrought with gold and peacocks eyes like the orient circles in the peacocks trains II. Diana the goddess of chastity with yellow hair a grass green mantle trimmed with silver buskins silver bow golden quiver painted colours III. Pallas the goddess of wisdom with a blew mantle imbroidered with silver IV. Venus the goddess of love and beauty with gold yellow hair attired with black a scarlet or else dun-coloured robe V. Ceres the goddess of Corn and plenty with yellow hair and a straw-coloured mantle trimmed with silver VI. Tellus the goddess of the earth in a green mantle VII Vrania in a mantle of azure filled with Lamps VIII Aurora in a purple robe in a blew mantle fringed with silver IX Proserpine Queen of Hell in a black mantle trimmed with gold flames X. Vesta the daughter of Saturn in white garments filled with flames XI Astrea the goddess of justice in a crimson mantle trimmed with silver XII Flora the goddess of flowers in a mantle of divers colours XIII Night in a black mantle spotted with stars of gold XIV The Graces were always alike in silver robes like sisters Eccbo the goddess of the air and daughter of speech the entirely beloved of Pan is an invisible goddess Ausonius Gallus reporteth that she hath oftentimes disswaded and reprehended such who would undertake to depaint her and repeats the fame in an Epigram whose sence in English is this Surcease thox medling Artist thy endeavour Who for thy skill hast reap'd such long liv'd fame Strive not to paint my bodys shape for never Did any humane-eyes behold the same In concave caverns of the earth I dwell Daughter of th' air and of each tatling voice In woods and hollow dales I build my Cell Joying to re-report the least heard noise To grief-opprest and men disconsolate That tell each grove their Souls vexation Their dying agonies I aggravate By their dele accents iteration And he that will describe my form aright Must shape a formless sound or airy sprite CHAP. XIV The Painting of Law-givers Emperours and Kings and Queens I. MOses the Hebrew Law-giver with bright hair a very beautiful visage with radiant scintillations about his head in form of hoariness which in painting is called Glory II. Numa Pompilius with white hair crowned with a silver bend or Diadem his robe Crimson trimmed with Gold his mantle yellow trimmed with Silver his buskins watchet and Silver III. Aeneas the Trojane Prince in a purple mantle trimmed with Gold IV. David the King of Israel with brown hair and a ruddy complexion V. Alexander Magnus with brown hair and a ruddy complexion VI. Roman Emperors with yellow Carussers embroidered with silver the labels of their sleeves and short bases of watchet the under sleeves and long stockings white a Lawrel wreath with a silver jewel before and rayes of gold issueing from the wreath VII German Emperors with a violet coloured robe watchet or light coloured VIII Mahomet the Turks great Prophet in garments all of green IX Gustavus Adolphus King of Sweden with yellow hair X. Dido Queen of Carthage in a purple or Scarlet mantle her under garments Purple a Golden quiver her hair yellow tyed up with Spangs and Knots of Gold XI Elizabeth Queen of England pale faced light brown hair and gray-eyed CHAP. XV. The Painting of Philosophers and the Sybills I. PYthagoras in white garments with a Crown of Gold Empedocles in Violet Murry or Purple and so the rest of the Grecian Philosophers III. Erasmus Roterdamus yellow haired gray-eyed and somewhat pale IV. Beza is painted with white hair V. Sibilla Agrippa a woman in years in a roseal garment VI. Sibilla Libica an elderly woman crowned with a garland of flowers in purple garments VII Sibilla Delphica with a black garment a young woman with a horn in her hand VIII Sibilla Phrygia in red garments having an old Saturnian hard favoured face IX Sibilla Herophila a young woman very fair in a purple garment and head covered with a vail of Lawn Sibilla Europea a comely young woman having a high red-coloured face a fine vail on her head and clad in a garment of Gold work XI Sibilla Persica with a white vail and a golden garment XII Sibilla Samia a middle aged woman clothed in Willow weeds having a palm in her hand XIII Sibilla Hellespontica a young woman in green garments with a round lovely fresh coloured face holding in her left hand a Book and in her right hand a Pen. XIV Sibilla Tibur●ina an old woman in purple garments of a hard visage holding in her Apron the books of the Sibills These Sibills for their Prophecies of Christ are in high esteem they are ten in number as Varro saith yet others make twelve of which we are not satisfied Boyfardus in his Treatise of divination besides these ten addeth two others Epirotica and Aegyptia Some as Martianus will have but two Pliny and Solinus but three Aelian four and Salmasius but the first seven They are generally described as young women yet some were old as she that sold the books unto Tarquin from whence we conclude the Licentia pictoria is very large CHAP. XVI The Painting of Arts Vertues and Passions I. ARithmetick is painted in cloth of Gold Geometry sallow faced a green mantle fringed with silver and a silver wand in her right hand Aft●●nomy with a silver Cressant on her fore-head an azure mantle a watchet Scarf with golden Stars II. Faith is painted in white garments with a cup of Gold Hope in blew with a silver Anchor Charity in yellow robes on her head a tyre of Gold with precious stones her chair Ivory III. Religion in a silver vail with a mantle or garment of white Justice in a white robe and a white mantle with a Coronet of silver and white buskins Innocency in White wholly IV. Concord in a sky coloured robe and a yellow mantle Peace in white scattered with stars or a carnation mantle fringed with Gold a vail of silver green buskins and a palm in her hand in black Vnanimity in a blew robe mantle and buskins with a chaplet of blew Lillies V. Wisdom in a white robe blew mantle seeded with stars Law in purple robes seeded with gold stars a mantle of Carnation fringed with gold purple and yellow buskins Government in Amour VI. Watchfulness in a yellow robe a Sable mantle fringed with silver and seeded with waking eyes a chaplet of turnsole in her right hand a lamp in her left a bell Confidence in a party coloured garment Modesty in blew VII Eternity in blew seeded with Golden stars The Soul in white garments branched with gold and pearl and crowned with a garland of Roses Felicity in purple trimmed with silver VIII Love in Crimson fringed with gold a flame

full of eyes and all over her garments an infinite number of ears and tongues See the tenth Section of the eighteenth Chapter of the first Book VI. Opinion saith Hippocrates resembles a young woman not altogether so fair and lovely as Truth yet not deformed or ill proportioned being rather impudent than modestly bold in her demeanure with her hand stretched forth to take whatsoever is offered and presented to her CHAP. XXXIII How Night Sleep Silence Pleasure and Fear were depicted I. NIght the mother of Sleep and Death was depicted by the Antients in form of an old woman having two great wings growing on her shoulders all cole black and spread abroad as if she seemed to offer a flight and that she is drawn in a Chariot whose wheels are made of Ebony having a sad countenance and an upper garment of a deep black spotted all over with silver spots like stars as Boccace saith See the thirteenth Section of the thirteenth Chapter of the third Book II. Sleep the brother of Death saith Hesiod was painted of a most sour lowring and sad aspect aged and holding in her left hand a young child very beautiful and in her right another child of a most swarthy black and dull complexion with legs and arms very crooked Philostratus in a Tablet which he made for Amphiarus makes her like an aged woman slothful and sluggish cloathed with several garments the under black the upper white holding in one of her hands a horn pouring forth seed By the garments is signified night and day by the seed rest ease and quiet III. Harpoerates the God of Silence called in Greek Sigaleon was made as Martianus and Apuleius say in likeness of a young child who close to his lips held one of his fingers as a sign of secrecy Some portraict him without any face at all all covered with the skin of a wolf painted full of eyes and ears Shewing it to be good to see and hear much but to speak little IV. Voluptia or pleasure was depainted a Lady having a pale and lean countenance sitting in a pontifical and majestick chair embroidred and embossed with stars of gold treading and trampling upon Vertue V. Fear saith Pausanias was shaped in several forms by the Antents sometimes with the head of a Lion among the Grecians as on the shield of Agamemnon and sometimes with the deformed face and body of a woman The Corinthians dedicated this Picture so made unto the sons of Medea which were slain for bringing such fatal gifts to the daughter of old Creon whereby she and all that regal family perished and were for ever extinct CHAP. XXXIV How the Antients depicted several wise men and Philosophers I. SIdonius Apollinarius in the ninth Epistle of his ninth Book saith that the Philosopher Zeusippus was painted with a crooked neck Aratus with a neck bowed downwards Zeno with a wrinkled forehead II. Epicurns was painted with a smooth skin Diogenes with a hairy rough beard Socrates with whitish bright hair III. Aristotle was painted with a stretched out arm Xenocrates with a leg somewhat gathered up Hieraclitus with his eyes shut for crying IV. Democritus with his lips open as laughing Chrysippus with his fingers close pressed together for numbering Euclid with his fingers put asunder for the space of measures V. In some antient Bibles and many Pictures Moses is described with horns The ground of this absurdity was a mistake of the Hebrew Text in that of Moses descending from the Mount upon the nearness of the words 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Keren Cornu an horn and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Karan Luceo to shine The vulgar translation of Exodus 34.29.35 agrees with the former to wit Ignorabat quòd cornuta esset facies ejus Qui videbant faciem Mosis esse cornutam The translation of Paulus Fagius is otherwise viz. Moses nesciebat quòd multus esset splendor gloriae vuliûs ejus Et viderunt filii Israel quòd multa esset claritas gloriae faciei Mosis Tremelius and Junius have it thus ut ignoraret Mosche splendidam esse factam cutem faciei suae Quòd splendida facta esset c●tis faciei Moschis Agreeing with the Septuagint 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 glorificatus est aspecius cutis seu coloris faciei V. Alexander the great is described by some riding upon an Elephant The reason thereof is hard to be discerned for as much as I find not in history that ever he used that beast in his Armies much less in his own person except it were for that remarkable battel which he fought with Porus King of India wherein were many Elephants In which himself as Curtius Arianus and Plutarch relate was on horse-back the name of which beast yet lives and is famous in history to this day CHAP. XXXV Of the farther Progress of these Arts. I. AS God Almighty who is the Author of all wisdom was the first institutor hereof so also was he the promulgator by whom these Arts have made progression in the world Certainly saith Philostratus Picture is an invention of the Gods as well for the painted faces of the meadows adorned with flowers according to the several seasons of the year as for those things which appear in the sky What wonderful eloquence is this that in so few words this Philosopher should clear so great a point But what saith Gregorius Nyssenus Man saith he is an earthen statue and Suidas in Oratione primâ de Beatitudinibus speaking of Adam saith This was the first statue the Image named by God after which all the art of Carving used by men receiveth directions Lot's wife was another turned into a durable pillar of Salt of whom Prudentius in Harmartigenia saith she waxed stiff being changed into a more brittle substance she standeth metamorphosed into stone apt to be melted keeping her old posture in that Salt-stone Image her comliness her ornaments her forehead her eyes her hair her face also looking backward with her chin gently turned do retain the unchangeable monuments of her antient offence and though she melteth away continually in salt sweat yet doth the compleatness of her shape suffer no loss by that fluidity whole droves of beasts cannot impare that savoury stone so much but still there is liquor enough to lick by which perpetual loss the wasted skin is ever renewed To these let us add the pattern of the Tabernacle shewed unto Moses upon mount Sinai The Brazen Serpent made by the express command of God the Pattern of the Temple which David gave unto Solomon after the form which God made with his own hand Ezekiel's portraict of Jerusalem with its formal Siege upon a tile by express command from God also the brazen statue of our Lord Jesus Christ erected by the woman healed of the bloody Issue as is mentioned by Photius and Asterius Bishop of Amasa and other Ecclesiastick writers the Picture also of our Lord made without hands as it is related by Damascenus Cedrenus and others the

hand X. Calumnia a beautiful rich and young woman approaching towards a Judge gorgeous in her habit with an angry scornful and discontented look and red and firie eyes she holds in her left hand a flaming torch and with her right she by force draws a young man by the hair of the head XI Envie a wonderful lean old man with a pale and meagre face in whose withered cheeks Age hath wrought deep surrows and wrinkles XII Penitence a Woman in vile ragged and base attire infinitly deploring her being and bemoaning her self in passionate fits above all measure continually weeping CHAP. XX. Of Rivers I. HErein you ought to observe the Adjuncts and Properties of the same which consists in some notable Accident done near them some famous City trees fruits or reeds situate upon their banks some fish only proper to their streams or recourse of shipping from all parts of the world II. Therefore you had best place the City upon their heads their fruits in a Cornucopia reeds flowers and branches of trees in their Garlands and the like III. The River Tyber It is expressed in the Vatican in Rome in a goodly Statue of Marble lying along for so you must draw them holding under his right arm a she Wolf with two little infants sucking at her teats leaning upon an Urne or Pitcher out of which issueth its stream in his left a Cornucopia of delicate fruits with a grave Countenance and long beard a garland of flowers upon his head and resting his right leg upon an Oar. IV. The River Nilus It is seen in the Vatican cut out in white Marble with a garland of sundry fruits and flowers leaning with his left arm upon a Sphynx from under his body issueth its stream in his left arm a Cornucopia full of fruits and flowers on one side with sixteen little children smiling and pointing to the flood The Sphynx was sometimes a monster which remained by Nilus the Crocodile 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 from his hatred of Saffron the most famous monster of Egypt the the sixteen children the sixteen cubits of height unermost of the flowing of Nilus their smiling looks the profit of it which glads the hearts of the Sun-burnt inhabitants V. The River Tigris It was drawn like an old man as the rest and by his fide a Tiger This beast was given it as well for its fierce streams as for the store of Tigers which are there VI. The River Ganges It bears the shape of a rude and barbarous savage with bended brows of a fierce and cruel Countenance crowned with a palm having as other floods his pitcher and by his sides a Rhinoceros This River runneth through India and hath its head from a fountain in Paradise VII The River Indus It is drawn with a grave and jovial aspect with a garland of its country flowers by its side a Camel from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 it is represented pleasantly grave as an Emblem of the Indian pollicy This is the greatest River in the world receiving into its channel threescore other great and famous Rivers and above an hundred lesser VIII The River Thamesis In the house of an honourable friend I saw the Thames thus drawn A Captain or Soldier lying along holding in his right hand a Sword and under his arm the August tower in the other a Cornucopia of all fragrancies with a Golden chain which held four Crowns and with this he encompassed the streams from under which bending of his left arm they seemed to flow his temples were adorned with Bays the River was empaled on one side with Anchors and on the other stood Caesar's Augusta IX The River Arnus It is a famous River in Italy drawn like an old man leaning upon his pitcher powring out water upon his head a garland of Beech by his right side a Lyon holding forth in his dexterp●w a red Lilly or Flower-de-luce the ancient Armes of the chief City of Tuscany By the garland of Beech is set forth the great abundance of Beech-trees growing about Fasterona in the Appennines where Arnus bath his head X. The River Po or Padus It is depicted with an Ox's face having a garland of Reeds or Poplar on his head It is so called from the Sister of Phaeton whom the Poets feign destroyed with lightning and drowned here the head of the Ox is from its horrid noise and roaring whose crooked banks resemble the horns thereof by the sides whereof grows much Reed and many Poplars XI The River Danubius In the ancient Medals of the Emperour Trajan it is depicted with its head covered with a veil It is so drawn because its head or first spring is unknown Ausonius saith Danubius periit caput occultatus in ore XII The River Achelous Ovid describes it with a garland of Reeds Willow and the like having two Urns or Earthen Pitchers the one empty the other casting out water and upon its head two horns the one whole the other broken This River as it is the most famous of all Greece so it divides Aetolia from Arcadia and then falls into the Sea This is fetch'd from the fable of Hercules who combated him in the likeness of a Bull and broke one of his horns for Deianiras sake there turning both its streams into one whereupon one of the Vrns is empty XIII The River Niger It is drawn like a black Moore with Glory or a Coronet of Sun-beams falling upon his Urne having by its side a Lyon By the Sun-beams and black is shewed the clime lying under the torrid Zone whose inhabitants are Blacks or Moors the Lyon is that which the Country Mauritania and Barbary breed being the fiercest in the World CHAP. XXI Of Nymphs I. ΝΎΜΦΗ Nympha a Bride from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 as it were a fresh or new creature or as some will have it from Nympha quasi Lympha by changing L. into N. after the Dorick dialect it is nothing else but an Allegory from the Vegetative humidity which gives life to trees herbs plants and flowers by which they grow and increase II. They are feigned to be the daughters of the Ocean the mother of floods the nurses of Bacchus and goddesses of fields who have the protection and charge of mountains herbs woods meadows rivers trees and generally of the whole life of man III. First Napaeae Nymphs of the Mountains Let them be drawn of a sweet and gracious aspect in green mantles girded about in the middle and upon their heads garlands of honey-suckles wildroses tyme and the like their actions dancing in a ring making garlands or gathering flowers They are so called from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the top of an hill or woody valley IV. Secondly Dryades Nymphs of the woods Draw these less fair than the former of a brown or tawny complexion hair thick like moss and their attire of a dark green They are so so called from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 an Oak having their beginning with trees and dying again with

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

one being withered and hoary shews time past the other youthful and beardless time to come II. Pliny saith that Numa King of the Romans caused the statue of Janus to be hewed out in such sort that the fingers of his hands appeared to be three hundred sixty five to shew that he was God of the year whereupon they called the first month of the year Januarius from Janus their God Under the feet of Janus is oftentimes placed twelve Altars shewing thereby the months of the year or signs of the Zodiack through which Sol makes his revolution III. The Phoenicians as Cicero and Macrobius report framed his Image in the form of a serpent holding her tail in her mouth and continually turning round IV. Some depicted Janus with four faces as were those statues which were found in divers places of Tuscany By the four faces was signified the four seasons of the year Spring Summer Autumn and Winter which some think to be Venus Ceres Bacchus and Vulcan and sometimes the winds with Aeolus their Commander CHAP. XX. How the Antients depicted Aurora I. HOmer describes her like a young Virgin having her hair disheveled and hanging loose about her shoulders being of the colour of the purest gold sitting in a golden chair with all her vestments of that hue and colour II. Virgil saith that upon the instant time of the sable nights departure she cometh with one of her hands full of Roses Gilliflowers and Lillies taken out of a basket which she carries in the other hand which she besprinkles on the marble pavement of the lower Heavens adorning the Sun with unspeakable beauty III. Others describe her holding in one hand a flaming torch and drawn in a gorgeous and star bespotted Chariot by winged Pegasus which favour she obtained of Jupiter by many importunate requests presently after the downfall of Bellerophon IV. She is as it were the Herald and Messenger of Phoebus who receives her being from the vertue of his beams and is no other but that rubicund and Vermilion blush in Heaven which Sol's first appearande worketh in the Orient and from thence descending beautifies our Hemisphere with such a resplendency See the tenth Section of the one and twentieth Chapter of the first Book CHAP. XXI How the Antients depicted Juno I. SHe was set forth by the Ancients like a middle aged woman holding in one hand a silver vessel in the other a sharp Spear and Homer saith she was drawn in a Chariot glistering with precious stones whose wheels were Ebony and their nails fine silver mounted upon a silver seat and drawn with horses which were fastned with chains of gold II. She is oftentimes depicted with a Scepter in her hand to shew that she hath the bestowing of Governments Authorities and Kingdoms III. Martianus depicts her sitting in a chair under Jupiter with a thin veil over her head with a Coronet upon it inchased and adorned with many precious Jewels her inward vestment fine and glittering over which depended a mantle of a sad and darkish colour yet with a secret shining beauty her shoes of an obscure and sable colour in her right hand a thunderbolt and in her other a loud noised Cymbal IV. Pausanias saith that in a temple in Corinth her statue made of Gold and Ivory was adorned with a glorious Crown on which was insculped the pictures of the Graces with a Pomegranate in the one hand with a Scepter on the top of which a Cuckow in the other for that Jupiter when he was first enamoured of Juno transformed himself into that bird Touching this story and others of like kind Pausanias saith that although he did not believe such things to be true nor any others which are so written of the Gods yet saith he they are not altogether to be rejected in that there were no such things reported but that they were impleated and filled with mysteries and carried in themselves an inward meaning and secret understanding the which no doubt some might by their writings have unshadowed if the tyranny of fore passed times had not destroyed and obliterated the same V. Tertullian writeth that in Argos a City in Grecce the statue of Juno was covered all over with the boughs of a Vine and underneath her feet lay the skin of a Lion which discovered the hatred and disdain she bare towards Baccbus and Hercules to whom as the Poets say she was step-mother VI. Some have painted her a middle aged woman holding in one hand a poppey flower or head with a yoke or pair of fetters lying at her feet By the yoke was meant the band of marriage which tyeth man and wife together and by the Poppey fruitfulness or the innumerable issue of children which are brought forth into the world signified by the roundness of the Poppey head and its numberless seeds therein contained From hence many suppose her to be the goddess of marriage CHAP. XXII How the Antients depicted Ops or Tellus I. MArtianus saith that Ops the wife of Saturn is an old woman of great bigness continually bringing forth children with whom she is encompassed and set round going in a green vestment with a veil over her body spotted with divers colours wrought with infinite curious knots and set with all sorts of Gems and Metals II. Varro out of Boccace thus describes her she is crowned saith he with a Crown insculp'd with Castles and Towers her apparel green overshaded with boughs in the one hand a Scepter in the other a Ball or Globe and near to her a Chariot of four wheels drawn by four Lions By the Crown is signified the habitationsof the earth by the greenness and boughs the increase thereof by the Scepter the Kingdoms and Governments of the world by the ball the roundness thereof by the Chariot the continual motion change and alteration of things by the Lions the wisdom and strength of mankind by which things are carried on and managed III. Isidorus saith that this Goddess was painted holding a key in one of her hands which shews that in the winter the bowels of the earth are locked up by reason of cold which at the approach of Spring and Summer is unlocked again IV. She was sometimes depicted in the form of an ancient woman having her head circumcinct with ears of corn holding in her hand a poppey-head drawn in a Chariot as Orpheus saith with two fierce and untamed Dragons V. The earth is also called Ceres which many have depicted with torches lights and fire-brands in her hands as Praxiteles in a temple seated upon a promontory of Attica CHAP. XXIII How the Anitents depicted Neptune and the Sea Gods I. NEptune among the Antients is depainted with several countenances sometimes with mild and pleasant looks sometimes with lowring and sad and at other times with a mad furious and angry aspect naked holding in his hand a silver trident or forked mace standing upright in the concavity of a great Sea shell forcibly drawn by two monstrous horses

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

drawn in a Chariot with two horses Fury and Violence driven with two churlish coach-men Wrath and Destruction IV. Isidorus saith that the Picture of Mars was depainted with a naked breast By which is signified that men ought not to be timorous in warr but valiantly and boldly expose themselves to hazards and dangers V. Statius saith that the house of Mars was built in an obscure corner of Thracia made of rusty black Iron the Porters which kept the gates were Horror and Madness within the house inhabited Fury Wrath Impiety Fear Treason and Violence whose governess was Discord seated in a regal throne holding in one hand a bright sword in the other a basin full of humane blood VI. Ariosto describing the Court of Mars saith that in every part and corner of the same were heard most strange Ecchoes fearful shrieks threatnings and dismal cryes in the midst of this palace was the Image of Vertue looking sad and pensive full of sorrow discontent and melancholy leaning her head on her arm hard by her was seated in a chair Fury in triumph not far from her sate Death with a bloudy stern countenance offering upon an Altar in mens skulls humane blood consecrated with coals of fire fetch'd from many Cities and Towns burnt and ruinated by the tyranny of War CHAP. XV. How the Antients depicted Phoebus or Sol. I. MAcrobius saith that in Assyria was found the Statue of Apollo Phoebus or Sol the father of AEsculapius in the form of a young man and beardless polished with Gold who stretching out his Arms held in his right hand a Coachmans whip and in his left a thunderbolt with some ears of Corn. The Tyrant of Syracuse Dionysius with fury pulled off the beard from the figure of Aesculapius saying it was very incongruous that the father should be beardless and the son have one so exceeding long II. Eusebius saith that in Egypt the Image of Sol was set in a ship carried up and supported by a Crocodile and that they before letters were invented framed the shape of the Sun by a Scepter in the top of which was dexterously engraven an eye The Scepter signified Government the eye the power which over-sees and beholds all things III. The Lacedaemonians depicted Apollo with four ears and as many hands By which was signified the judgment and prudence of God being swift and ready to hear but slow to speak and from thence grew that proverb among the Grecians IV. Herod●tus reporteth that the Phoenicians had the Statue of the Sun made in black stone large and spacious at bottom but sharp and narrow at top which they boasted to have had from Heaven V. Lactantius saith that in Persia Phoebus or Apollo was their chiefest God and was thus described he had the head of a Lyon habited according to the Persian custom wearing on his head such ornaments as the women of Persia used holding by main force a white Cow by the horns The head of the Lion sheweth the Suns Dominion in the sign Leo the Cow shews the Moon whose exaitation is Taurus and his forceable holding the Moons Eclipse which she cannot avoid VI. Pausanias telleth that in Patra a City of Achaia a metalline Statue of Apollo was found in the proportion of an Ox or Cow VII Lucianus saith that the Assyrians shaped him with a long beard shewing his perfection upon his breast a shield in his right hand a spear in the top of which was Victoria in his left hand Anthos or the Sun flower this body was covered with a vestment upon which was painted the head of Medusa from which dangled downwards many swarms of snakes on the one side of him Eagles flying on the other side a lively Nymph VIII The Egyptians composed the statue of the Sun in the shape of a man with his head half shaven By the head half shaven is signified that though his beauty or shining may be clouded for a time yet that he will return and beautify the same with his pristin brightness as the growing of the hairs which signify his beams to their full extent and perfection again may denote IX Martianus thus describes him upon his head saith he he wears a royal and gorgeous Crown inchased with multitudes of precious Gems three of which beautifie his fore-head six his temples and three other the hindermost part of the Crown his hair hanging down in tresses looks like refined Gold and his Countenance wholly like flame his vestment is thin subtil and wrought with fine purple and gold in his right hand he holds a bright shield and in his left a flaming fire-brand on his feet he hath two wings beset with fiery Carbuncles X. Eusibius writeth that in Elephantinopolis a City in Egypt the Image of Apollo was framed to the due likeness of a man throughout the body save only that he had the head of a Ram with young and small horns and his aspect of a Cerulean and blewish green not unlike to that of the Sea The head of the Ram signifies the Sun's exaltation in the sign Aries and the young horns the change or New of the Moon made by her conjunction with the Sun in which she looks blewish There might you see with greatest skill intexed The portraicture of Phoebus lively drawn And his fair Sisters shape thereto annexed Whose shining parts seem'd shadowed o're with lawn And though with equal art both were explain'd And workmens care gave each of them their due Yet to the view great difference remain'd In habit shape aspect and in their hue For one of them must give the day his light And th' other reign Commandress of the night CHAP. XVI How the Antients depicted Venus I. HEr Statue is framed in the shape of a most beautiful and young woman standing upright in a huge shell of fish drawn by two other most ugly and strange Fishes as Ovid at large noteth II. Pausanias saith she is drawn in a Coach through the airy passages with two white Doves as Apuleius also affirmeth which are called the birds of Venus III. Horace and Virgil affirm that the Chariot of Venus is drawn by two white Swans of which Statius also maketh mention who saith that those birds are most mild innocent and harmless and therefore given unto Venus IV. Praxitiles an excellent engraver in the Island of Guidos made her Image naked and without clothes as also did the Grecians By which was signified that all luxurious and licentious people were by their inordinate lusts like beasts deprived of sence and left as it were naked and despoyled of reason and understanding and oftentimes also stripped thereby of their riches goods and estates V. Lactantius saith that the Lacedaemonians framed and composed the Image of Venus all armed like a Warrior holding in one hand a spear in the other a shield or target And this was by reason of a certain Victory which the women of that place got over their enemies the people of Messenia which success they supposed

that youth IV. Charon Pluto's Ferriman which carries souls over the three rivers of Hell Acheron Cocytus and Styx is described old yet exceeding strong with a black mantle hanging loosely over his shoulders as Boccace and Servius say By Charon is understood time and whereas he is supposed to have the transportation of souls from the one side of those rivers to the other thereby is signified that time so soon as we are born and brought forth into the world doth carry us along by little and little unto our deaths and so setteth us over those rivers whose names by interpretation signifie sorrowfulness for that we pass this life with misery and adversity CHAP. XXVII How the Antients depicted the Parcae or Sisters I. THe Sisters which are called Parcae are said to attend upon Pluto which are three and are called Clotho Lachesis and Atropos II. Clotho takes the charge of the Births and nativities of mortals Lachesis of all the rest of their life and Atropos of their death or departure out of this world III. They are all three depicted sitting on a row very busily employed in their several offices the youngest Sister drawing out of a Distaff a reasonable big thread the second winding it about a wheel and turning the same till it becomes little and slender the eldest which is aged and decrepit stood ready with her knife when it should be spun to cut it off IV. And they are described to be invested with white veils and little Coronets on their heads wreathed about with garlands made of the flowers of Narcissus CHAP. XXVIII How the Antients depicted Minerva or Pallas I. MInerva as taken for Bellona Licophrones saith was depicted with a flaming fire-brand in her hand by the Antients II. Most writers have described Minerva in the shape of a young woman of a lively and fresh countenance yet of an angry look fix'd stedfast eye of a blewish green colour compleatly armed at all weapons with a long Spear in the one hand and in the other a Crystal shield or target upon her helmet a garland of Olive branches and two children Fear and Horror by her side with naked knives in their hands seeming to threaten one another III. Pausanias saith that in Greece the statue of Minerva was made with an helmet on the top of which was the shape of a Sphynx and on the sides thereof two carved Griffins IV. Phidias making her statue in Greece placed on the top of her Helmet the form of a Cock. V. She was also painted in Greece sitting on a stool and drawing forth little small threads from a distaff for that the Ancients supposed her to be the inventress of spinning and the like CHAP. XXIX How the Antients depicted Vulcan I. VVlcan is depicted standing working and hammering in a Smiths forge on the hill Aetna framing Thunderbolts for Jupiter and fashioning Arrows for the God of love The opinions which the Ancients had of Vulcan were various in which respect he is shaped sometimes in one form sometimes in another II. Some make him lame of one leg of a very black and swarthy complexion as it were all smoaky of a general ill shaped proportion in all his Lineaments and because that he is the husband of Venus often depicture her with him III. Alexander Neapolitanus relateth that in one place of Egypt was erected the statue of Vulcan which held in one of its hands the true and lively proportion of a mole and in his other hand a Thunderbolt The mole was so placed because they thought he sent unspeakable numbers of moles among them as a plague to them which did eat gnaw and destroy every thing which was good CHAP. XXX How the Antients depicted Bacchus I. PHilostratus saith that his statue was framed in the likeness of a young man without a beard of a corpulent and gross body his face of an high colour and big about his head a garland of Ivy leaves upon his temples two small horns and close by his side a certain beast called a Leopard or Pauther This description is drawn from the nature of wine of which as the Poets feign Bacchus is the God whose inventer and finder out was certainly Noah which not only Moses but also Josephus and Lactautius specially affirm wherefore some suppose him to be this God Bacchus II. Claudianus saith that his Image or Statue is made all naked thereby shewing the nakedness of those which abuse themselves with wine by which they reveal and open those things which ought to be concealed and kept hid III. Diodorus Siculus saith that Bacchus among the Grecians was depicted in two several forms the one of a very aged man with a long beard stiff and thick the other of youthful years of a pleasant and amorous aspect By the first is shewed the effects of the intemperate use of wine which overcomes nature and brings with it old age by the other how it cherishes and revives the heart used moderately IV. Mocrobius saith that Bacchus was framed sometimes in the likeness of a young child sometimes of a youth sometimes of a man and sometimes in the likeness of decrepit old age By these was signified the four seasons of the year the vine being dedicated to Sol in whom they all exist V. This Picture was made in the likeness of a Bull among the Cirenians a people inhabiting the farther part of Persia The reason hereof was because Proserpina the daughter of Jove brought him forth in that form VI. Philostratus saith that Bacchus was oftentimes drawn clothed in womens garments and in a long purple robe wearing upon his head a Coronet of Roses with companions and followers all in like loose and wanton garments fashioning themselves some like rural Nymphs as the Dryades Oreades c. some like Sea Nymphs as Nereides Syrens c. some like Satyres Fauns and Sylvans c. The womens garments shew that wine makes a man faint feeble and unconstant like to a woman VI. Pousanias saith that among the Eleans the picture of Bacchus was made with a long beard and clothed with a long gown hanging to the feet in one hand a sharp hook and in the other a boul of wine and round about him many Vine-trees and other fruitful plants VII The Statue of Bacchus also was sometimes set forth and adorned with Coronets made of fig-tree leaves in memory of a Nymph as some say called Syca which was by the Gods metamorphosed into that plant In like manner the Nymph Staphilis on whom Bacehus was in like manner enamoured was transformed into the Vine from whence it is that those plants are so exceeding grateful and pleasant unto this God CHAP. XXXI How the Antients depicted Fortune I. FOrtune was depicted by some with two faces the one white and well-favoured the other black and ugly And this was because it was held that there were two Fortunes the one good from whom came riches happiness quiet content and pleasure the other bad from whom came wars

afflictions crosses disasters calamities and all other miseries whatsoever II. The Thebeans made her in the shape of a woman in one of her hands a young child to wit Pluto or Riches So that in the hands of Fortune they put the disposing of Wealth Honour Glory and all Happinesses III. Martianus describes her a young woman always moving covered with a garment of the thinnest silk her steps uncertain never resting long in a place carrying in her spacious lap the universal fulness of the treasures riches honour and glory of this world which in hasty manner with her hand she offers which offer if not instantly received was utterly lost in her right hand a white wand with which she smites such as offend her slight her kindness or are not nimble enough to receive them Oh cruel Fortune stepdame to all joys That disinherits us from sweet content Plunging our hopes in troubled Sea's annoyes Depriving us of that which nature lent When will thy proudinsulting humour cease T' asswage the sorrows of an only one That free from cares its soul may live in peace And not be metamorphos'd into stone But why entreat I thy unstable bea rt Knowing thy greatest pleasure thy delight Consists in aggravating mortals smart Poyson'd with woes by venom of thy spight 'T is what thou wilt must stand the rest must fall All humane Kings pay tribute to thy might And this must rise when pleaseth thee to call The other perish in a woeful plight And this is it that chokes true vertues breath Making it dye though she immortal be Fruitless it makes it subject unto death To fatal darkness where no eye can see Oh come you wounded Souls conjoin with me In some adumbrate thicket let us dwell Some place which yet the Heavens ne'r did see There let us build some despicable Cell Strength Beauty perish Honours fly away And with Estates Friends vanish and decay IV. In a temple in Greece Fortune was made in the form of a grave Matron clothed in a garment agreeable to such years whose countenance seemed very sad before her was placed the Image of a young Virgin of a beauteous and pleasant aspect holding out her hand to another behind these the Image of a young child leaning with one of its arms upon the Matron The Matron is that Fortune which is already past the young Virgin that which now is and the young child beyond them both is that which is to come Quintus Curtius saith that among the people of Scythia Fortune was depicted in the form of a woman without feet having round about her at her right hand a number of little wings Being without feet shews that she never stands firm and the many wings shew that her gifts and favours are no sooner given but are presently lost and do as it were fly away again before they be fully possessed VI. Alexander Neapolitanus relateth that in Greece her Image was made wholly of Glass to shew that her favours are brittle and subject to sudden decays VII Cebes the Philosopher resembled Fortune unto a Comedy in which many Actors appear often as Kings and great Monarchs and presently after become poor fishermen slaves bond-men and the like VIII Socrates compared her to a Theatre or common meeting place where without all order or observance men take their places and seats without respect to the dignity of any Hereby is shewed that she without respect of birth worth merit or state blindly unadvisedly and without any order or reason bestows felicities riches and favours IX In Egira a City of Achaia Fortune was drawn in the shape of a beautiful woman who held in one of her hands a Cornucopia in the other the boy Cupid By which is signified as Pausanias saith that beauty without riches avails nothing and indeed I may say he is doubly fortunate who in his love enjoys the fruition of both beauty and riches but he is happy in the superlative degree who with the other two meets with vertue also X. Giraldus saith that Fortune was with some depicted riding on a horse galloping with which swiftness she seems to pass invisible after whom followeth Destiny with great wrath and fury holding in her hand an Iron bow and aiming to strike Fortune at the heart By her swift galloping is signified her mutability See the fourth Section of the eighteenth Chapter of the first Book CHAP. XXXII How Vertue Truth Peace Honour Fame and Opinion were depicted I. VErtue in Greece was made in the form of a Pilgrim like a grave and austere woman sitting alone upon a four squared stone melancholy and leaning her head upon her knees Being a Pilgrim shews she hath no resting place secure abode or certain habitation upon the earth the form of her sitting shews her life to be full of troubles dangers crosses and miseries See the first Section of the nineteenth Chapter of the first Book Haec angusta via horrendis scatet undique monstris Et vita innumeris est interclusa periclis Sed tamen incolumes hâc virtus ducit alumnos Extrema ut vitent ne pes hinc indè vacillet Proclamat longè spes hic sunt digna laboris Praemia et excipient mordaces gaudia curas Pax sincera quies nullo temerand a dolore Laetitia hîc habitant longum sine fine per aevum Fierce Monsters do this narrow passage bound And deadly dangers it encompass round Yet vertue doth her Followers safely guide Lest they should go astray on either side And Hope proclaims afar loe here you shall Have joy for Sorrow honey for your gall Here Peace and joyful rest for ever dwell Which neither cross nor time shall ever quell II. Truth saith Hippocrates was framed in the similitude and likeness of a beautiful woman attired with gravity and modesty Philostratus saith that she remaineth in the cave of Amphiarus cloathed all in white garments of a beautiful hue Lucianus saith that her statue was made in the form of a young woman habited in rags and base attire with a superscription over her head how she was wronged and abused by Fortune III. Peace saith Aristophanes was framed in the shape of a young woman holding between her arms the Infant Pluto the God of Riches and Ruler of the lower Regions She is also called Concordia and is a special friend to the Goddess Ceres from whom comes the encrease of Fruits Corn and other nutriments See the seventh Section of the eighteenth Chapter of the first Book IV. Honour is depicted with two wings on its shoulders which as Alciatus saith was made in the form of a little child cloathed in a purple garment having a Coronet or wreath of Laurel about his head holding hand in hand the God Cupid who leads the child to the Goddess Vertue which is depainted right over against it V. Fame is painted like a Lady with great wings and seeming to proffer a flight and to mount from the Earth and rove abroad having her face

of beauty when art affords an innocent supply but with confidence crucify that evil conscience which forbids the use of a little oyl to make a chearful countenance and the drinking of a little wine to make a merry heart Borrow our Artificial beautifiers and become splendid that you may be fit to be gathered by the hand of some metamorphosed Hero lest in the garden of Deformities growing green with sickness you should be taken for thistles and so crop'd by Asses II. To cleanse the face and skin Before any thing be used to paint or make the skin beautiful it must be made very clean thus first wash with warm water and sweet scented wash-balls very well then rub the face with a cloth and wash well with water in which Wheat-bran is boiled so is the skin prepared Or thus Take Sublimate one ounce glair of six eggs boil them in a glass vessel till they grow thick then press out the water with which wash the skin III. To make a white Fucus or Paint Take Talk and powder it by beating of it in a hot mortar to the powdred Talk add distilled Vinegar boil it at a gentle fire in a wide glass let the fat froth that swims at top be taken off with a spoon then evaporate the vinegar and mix the remaining cream with flegm of common Salt or a little Pomatum with which wash or anoint the face and it will beautify it much IV. Another very excellent Take Crude Talk in powder one ounce oil of Camphire two ounces digest till the oil is white it is a noble Fucus for Ladies faces V. To make the aforesaid oyl of Camphire Take Camphire four ounces Bole twelve ounces make them into balls and dry them in the Sun then distill them in sand in a glass retort into a receiver that hath distilled rain water therein first there will come forth a white matter which melts in the Alembick and falls into the receiver then a clearer water and at last with a stronger fire the oil we speak of sweet scented which rectified with spirit of wine will be yellow as Gold VI. Another excellent Fucus made of Pearl Dissolve Pearl in distilled Vinegar precipitate with oyl of Sulphur per Campanum then sweeten and digest with spirit of wine abstract the spirit and you have a magisterial Fucus will melt like butter VII To make the best Fucus or Paint as yet known Take Venetian Talk cleave it into slices digest it in the heat of the Sun or of a horse-dunghil for a month with distilled vinegar made of Spanish wine adding every day new distilled Vinegar to the former till the Vinegar be mucilaginous which then distill by a luted retort and a large receiver with a naked fire First there comes forth the Vinegar then a white oil which separate After you have cleansed the skin by the second Section then first wash with the vinegar after anoint with the oil if the face be first well wash'd from all impurity this one anointing may hold for a month without fading This Cosmetick if rightly prepared is worth about five pound an ounce VIII An excellent Fucus made of a Bulls gall Take Bulls galls dryed in the Sun whose tincture extract with spirit of wine with which besmear the face being cleansed by the second Section leaving it on for three or four days without going abroad or exposing the skin to the air at the end of the time cleanse the face by the second Section so almost to a miracle the skin of the face and neck is rendered most gratefully white soft delicate and amiable This is the Spanish Fucus which several Ladies now use IX To make an excellent red Fucus Make a decoction of red Sanders in double distilled vinegar adding a little Alom with a few grains of Musk Amber-griese or of some sweet Spices and you will have a perfect red Fucus for the face X. Another very excellent Take juice of Clove-gilliflowers with which mix a little juice of Limons with this paint your face and you shall have a pleasing red colour XI To do the same another away Make a strong infusion of Clove-gilliflowers in rectified spirit of wine adding a few drops of oil of Vitriol or instead thereof a little Alom and the juice of a Citron or Limon so shall you have an excellent colour to beautifie the face with XII A Fueus or Paint not easie to be discovered Take seeds of Cardamoms or grains of Paradise Cubebs Cloves and raspings of Brazil which infuse in rectified spirit of wine for ten days over a gentle heat then separate the spirit this is so perfect a Fucus that it may deceive any man for this clear water gives a fresh red and lovely colour which will last long XIII A Fucus or Cosmetick of river Crabs Takes of the flesh which remains in the extremities of the great claws of river Crabs being boiled a sufficient quantity which dry gently and then extract a deep tincture with rectified spirit of wine evaporate part of the menstruum till the tincture have a good thickness or body with which the skin being cleansed anoint the cheeks first applying over it some other albifying Cosmetick XIV Spanish wool wherewith women paint their faces red Boil shearings of Scarlet in water of quick-lime half an hour of which take two pound to which put Brazil two ounces rasped Roch Alom Verdigriese of each one ounce Gum Arabick two drcahms boil all for half an hour which keep for use XV. To do the same another way Take Spirit of wine one pound Cochenele half an ounce rasped Brazil one ounce Gum Armoniack three drachms mix and digest till the Gum is dissolved then boil it gently and strain it for use into which you may put old linnen rags or Spanish wool at pleasure CHAP. XXXVII Of Cosmeticks which beautifie without any thing of Paint I. AN excellent Cosmetick or Liquor of Talk Take powder of Talk made by rubbing it with pumice stones or beating it in a very hot mortar or filing it with a Goldsmiths smoothing file eight ounces Salis Tartari sixteen ounces calcine it twelve hours in a wind furnace and set it in a Cellar separating that which melts from that which doth not then calcine this dry Calx added to four times its weight of Salnitre with a strong fire so the Talk will be melted into a clear white mass which being set in a Cellar will turn to a clammy liquor This wonderfully whitens and beautifies the skin and takes away spots and freckles from the face but you must not leave the liquor long on but wash it off with decoction of wheat bran that it corrode not the skin II. To make the skin soft and smooth The face being very clean by the second Section of the six and thirtieth Chapter wash it very well with a Lixivium of Salt of Tartar and after that anoint it with Pomatum or which is better oil of sweet Almonds doing this every night going

mind The casting down of the head sheweth dejection of mind being cast back arrogance hanging on either side languishing being stiff or sturdy churlishness by it we grant refuse affirm threaten or passively are bashful doubtful sullen envious c. by the motions of the Countenance appears sorrow joy love hatred courtesie courage dejection c. by the motions of the countenance are exprest the qualities of the mind as modesty and shamefastness or boldness and impudence but of all the parts of the countenance the eyes are most powerful for they whether we move or move not shew forth our joy or sorrow this is excellently exprest by the Prophet in Lam. 3.48 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 palge majimterad gneni gual sheber bat gnammi which Tremellius renders Rivis aquarum perfluit oculus meus propter contritionem filiae populi mei● and again 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 gneni niggerah velo tidma i. e. ●culus mens deflxit nec desistit For the same purpose it is that nature hath furnished them with tears but their motion doth more especially express the intention as meekness pride spitefulness and the like all which are to be imitated according as the nature of the action shall require as staring closed dull wanton glancing asking or promising something The eyebrows also have some actions for they chiefly command the fore-head by contracting dilating raising and depressing it wrinkled brows shew sadness and anger displayed chearfulness hanging shame elation consent depression dissent c. The Lips shew mocking scorning loathing c. The Arm gently cast forth is graceful in familiar speech but the arm spread forth towards one side shews one speaking of some notable matter without the motion of the bands all motion is maimed The hands as it were call dismiss threaten request abbor fear ask demand promise deny doubt confess repent number measure rejoice encourage beseech hinder reprove admire relate commend c. In admiration we hold the hand up bent somewhat backward with all the fingers closed In relating we join the top of the forefinger to the thumb-nail In promising we move it softly In exhorting or commending more quick In penitence and anger we lay our closed hand to the breast We close the fingers ends and lay them to our mouth when we consider c. It is not yet enough that the Picture or Image resembles the proportion and colour of the life unless it likewise resembles it in the demeanour of the whole body therefore Callistratus calls this Art the art of counterfeiting manners Vlysses is evidently saith Philostratus discerned by his austerity and vigilancy Menelaus by his gentle mildness Agamemnon by a kind of Divine Majesty Ajax Telamonius by his grim look Locrus by his readyness and forwardness The best Artists ever change their hands in expressing of Gods Kings Priests Senators Orators Musicians Lawyers c. Zeuxis painted the modesty of Penelope Echion made a new married but shamefaced woman Aristides painted a running Chariot drawn with four horses Antiphilus made a boy blowing the fire Philoxenus Ere●●ius depicted the Picture of Wantonness Parrhasius made the Hoplisides or Pictures of two armed men as may be seen in Pliny lib. 35. cap. 9. 10 and 11. Boëthius made a babe strangling a goose Praxiteles made a weeping woman and a rejoicing whore Euphranor drew the picture of Paris as a Judge a wooer and a soldier See Pliny lib. 34. cap. 8. where you may have many other examples It is worth our pains to see in Callistratus these descriptions at large whereby we may see it is a singular Perfection of Art X. The last step of Perfection is the right ordering and disposing of things This order or disposition must be observed as well in a picture consisting of one figure as in a picture of many figures The nature of man saith Xenophon in Oeconomice cannot nameany thing so useful and fair as order a confused piece of work cannot deserve admiration those things only affect us wherein every part is not only perfect in it self but also well disposed by a natural connexion It is not enough in a building to bring hair lime sand wood stones and other materials unless we take care that all this confused stuff be orderly disposed to the intent Nature it self seems to be upholden by Order and so are all things else which are subjugated to the same Law Now the way to attain to this true order of disposition is first to conceive the Idea of the history in the imagination that the presence of the things in the mind may suggest the order of disposing each thing in its proper place yet with that subtilty that the whole may represent one intire body Secondly that the frame of the whole structure of this disposition may be analogous to the things themselves so that we may at once represent things which are already done things which are doing and things which are yet to be done perfecting as Philostratus saith in every one of these things what is most proper as if we were busied about one only thing Thirdly an historical Picture must represent the series of the history which although the Picture be silent yet that the connexion might as it were speak putting the principal figures in the principal places Fourthly the parts must be connected easily rolling on gently flowing or following one another hand in hand seeming both to hold and be upheld free from all abruption well grounded finely framed and strongly tyed up together that the whole may be delightsome for its equality grave for its simplicity and graceful for its universal analogical composure Fifthly that most excellent pieces if the history will suffer it be shadowed about with rude thickets and craggy rocks that by the horridness of such things there may accrew a more excellent grace to the principal just as discords in Musick make sometimes concords from whence results a singular delight Sixthly that to these things be added perspicuity which as Lucian saith through the mutual connexion of things will make the whole complete and perfect Seventhly and lastly that the disposition of the preportion be observed in the due distance of each figure and the position of their parts of which we have said something Section seventh but in general Pliny lib. 35. cap. 10. saith that in this general disposition of proportional distances we have no rules our eye must teach us what to do to which Quintilian assents where he saith that these things admit no other Judgment but the judgment of our eyes XI Lastly For the absolute Consummation or Perfection of the Art excellency of Invention Proportion Colour Life and Disposition must universally concur and conspire to bring forth that comly gracefulness which is the very life and soul of the work the intire and joint Summe of all perfections It is not enough that a Picture is excellent in one or more of the aforesaid perfections but the consummation is that they all concurr for if

Painting of the Antients 136 Pluto 137 Pallas 138 Proserpine 138 Pythagoras 141 Philosophers to paint 141 Passions to paint 142 Peace 143 Pleasure 143 Pastime 143 Printers black 147 Practice of Washing 154 Putty what 168 Pipe for casting 184 Precious stones to counterfeit 188 Pearls artificial 190 335 Preparat proport of mineral colours 193 194 Paper Parchment 199 Purple dye 206 208 Proportion 219 344 Porch 223 Phoebus to depict 246 Pan to depict 262 Pluto to depict 263 Parcae to depict 265 Pallas to depict 265 Peace to depict 273 Progress of these Arts 277 Phidias 286 287 340 344 Painting the Face 288 Pimples 298 Perfuming in general 307 Perfuming waters 310 Perfuming oils 313 Perfuming essences 315 Perfuming unguents 317 Pomatum 317 Perfuming powders 318 Pulvis Calami Aromatici 320 Perfuming Balsams 320 Perfuming tablets 321 Pomanders 323 Perfuming Wash-balls 324 Perfuming soaps 225 Perfumes burning 327 Perfumes animal 328 Perfume of Sulphur 329 Printers Ink 334 Perfection of Painting 339 Q. Quicklime 162 Quicksilver 167 Quicksilver to harden 170 Quicksilver to tinge 171 Quintilian 213 214 344 R. Rulers 9 Rivers 50 Radiation what 60 Radiation reflected 60 Red colours 96 Red lead 97 228 Rosset 97 Russet Sattin 104 Russet to shadow 104 Rubies to Limn 117 Religion 143 Rocks 153 Red Varnish 157 Ruby artificial 190 Red dyes 206 208 Busset dye 206 Ruby colour 228 Red fucus 292 293 Redness Pimples 298 Ring worms 300 Red tablets 321 Red Ink 323 Right ordering 349 S. S●nare 4 Second practice of Drawing 5 Shadowing the face 13 Shadowing a naked body 25 Shadowing the rules 26 Sun to express 37 Security 49 Superficies what 59 Solid what 60 Stenographia 61 62 Subject to be seen 62 Section what 63 Saturns signification 69 Sols signification 69 Soft Varnish to etch with 81 Soft Varnish to use 89 Spanish white 97 Sinaper lake 97 Spanish brown 98 227 Sap green 98 Saffron 98 Smalt 99 Saffron colour 100 Scarlet colour 101 103 Sattin black 104 Sattin white 104 Silk 104 Sky colour 104 133 Straw colour 105 Silver liquid 105 186 Size for burnishing gold 107 Shadows for colours 110 151 Shells 111 Sitting 113 Saphire to Limn 117 Straining frame 122 Size for primed cloth 123 Shadows in colours 126 127 Swarthy complex 126 Satin colours 129 Silver colour 132 Sibyls to paint 141 Soul ●●● Safety 1●● Saffron 14● Stone colours 1●● Sublimate 165 167 Silver 165 167 168 Silver to soften 171 Silver to tinge 172 Silver to blanch 173 Silver to calcine 173 Steel to soften 177 Silver to counterfeit 177 178 180 Solder for silver brass or Iron 180 Silver tree 181 Steel tree 182 Sand 183 Skrew to cast with 184 Saphire artificial 192 Silver to gild 196 Steel to gild 196 198 Silk to gild 197 Skins to dye 200 201 Spots to take out 207 Stuffs to dye 207 Silks to dye 207 Scariet dye 208 Stair-case 223 Sommer-houses 224 Saturn to depict 140 Sol to depict 246 Signum pacis 250 Sylvans Satyres 263 S●●philis 269 Sleep to depict 274 Specates 276 Skin to paint 288 Scurf to take away 284 Sun-burnings 298 Spots Scurff 299 Sweet breath 303 304 Sweet waters 310 311 Soap 325 Soap musked 326 Skins to perfume 330 Sealing wax 334 Symmetrie 344 Sum of all Perfect 351 T. Triangle 5 Third pract of Draw 5 Time 45 Tyber a river 50 Tygris a river 51 Thamesis a river 51 Thetis a Sea Nymph 54 Thalia one of the M. 55 Terpsichore 56 Trough 1 83 Turnsole 97 147 Table to prepare 111 235 Tawny compl 127 128 Taffaty colour 130 Triton 137 221 Tellu● 138 258 Tortoise shell 158 159 Tin 167 Tin to harden 179 Tripoli 184 Tongs 184 Topas artificial 191 Tin to gild 198 Terra Lemnia 217 Topas a yellow col 230 Truth to depict 213 T●tters 300 Teeth defective 303 Tablets red yellow 321 Truth of the matter 342 V. Uncertain forms 6 35 Victory 46 Vertues and Vices 48 Urania one of the M. 56 Visual point 62 Visual Kayes 64 Venus significat 70 Use of the Oil-stone 73 Varnish hard to etch with 80 Varnish soft 81 Using the hard Varn 83 Varnish soft to use 89 Vermilion 97 101 168 Verdigriese 98 148 228 Verditure 98 Umber 99 227 Ultramine 99 Violet colour 100 102 Velvet 103 127 Vulcan 137 Venus 138 Urania 138 Vesta 138 Vertues to paint 142 Unanimity 143 Varnish to make 155 156 Varnish for Metals 156 Varnish common 157 Universal Varnish 157 Vegetable colours 160 Velvet Crimson 229 Ultramat to make 230 Various forms of Colouring 237 Virgins to paint 238 Venus to depict 246 Virgins of Diana 253 Vulcan to depict 266 Vertue to depict 272 Voluptia to depict 275 Uses of Painting 282 Value of Pictures 284 Unguentum Mosch 317 Venetian Soap to purify 325 W. Whole-body 13 Wood Nymphs 54 Winds 57 Way to engrave 76 Wood to engrave 78 Way of etching 85 90 Work to finish 88 91 Whites 95 124 129 White lead 97 228 Walnut colour 105 Washed colours 108 Whiting to make 123 Wood colours 133 Wisdom 143 Watchfulness 143 Wit 143 Washing 146 Water 153 Way of Varnishing 158 White Arsnick 169 Way to gild 195 Woods to gild 197 Woods to dye 165 169 Women to paint 238 Walls to paint 239 Wrinkles 300 Warts 300 Wash-balls 224 Wax to make 334 X. Xenocrates to dep 276 Xylobalsamum 308 Xyloaloes 327 Y. Yellow colours 96 124 Yellow pink 98 Yellow Velvet 128 Yellow Satin 129 Yellow garments 131 Yellow Varnish 157 Yellow wax to whiten 160 Yellow Orpiment 169 Yarn to dye 205 Yellow dye 205 207 Z. Zephyrus a wind 57 Zaphora to tinge glass 168 Zink to mix with Copper 169 Zeuxis 211 214 215 285 342 Zeusippus to depict 276 Zeno to depict 276 Zoologia 282 Zeodoary to chew 305 Zibeth 308 FINIS