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ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A39003	The Excellency of the pen and pencil exemplifying the uses of them in the most exquisite and mysterious arts of drawing, etching, engraving, limning, painting in oyl, washing of maps & pictures, also the way to cleanse any old painting, and preserve the colours : collected from the writings of the ablest masters both ancient and modern, as Albert Durer, P. Lomantius, and divers others ; furnished with divers cuts in copper, being copied from the best masters ...	Dürer, Albrecht, 1471-1528.	1668 (1668)	Wing E3779; ESTC R22483	50,246	138

see Drapery expressed by lightning of of it with fine shell-Gold with which it must be hatched and washed what a lustre it gives to well-coloured Drapery either Crimson Green or Blew but much more if with the Ground it self you mix Gold when you lay it on SECT II. Of other Ornaments in Picture 1. IF the Body you are to draw be in Armor lay liquid Silver all over for your ground well dryed and burnished shadow it with Silver Indico and Umber work these shadows upon the Silver as the life directs you 2. For Gold Armor lay liquid Gold as you did the Silver and shadow upon it with Lake English-Oker and a little Gold 3. For Pearls your ground must be Indico and White your shadows Black and Pink. 4. For Diamonds lay a ground of liquid Silver deepen it with Cherrystone and Ivory-black CHAP. VI. Of LANDSKIP THE bounds and limits of Landskip are inexpressible they being as various as fancy is copious I will give you only some general Rules for painting of Landskip and so conclude this third Book In painting of any Landskip alwayes begin with the Sky the Sun-beams or lightest parts first next the Yellow beams which compose of Masticote and White next your Blew skies with Smalt only At your first colouring leave no part of your ground uncovered but lay your Colours smooth and even all over Work your Sky downwards towards your Horizon fainter and fainter as it draws nearer and nearer to the earth you must work your tops of Mountains and objects far remote so faint that they may appear as lost in the Air Your lowest and nearest Ground must be of the colour of the earth of a dark yellowish brown Green the next lighter Green and so successively as they lose in their distance they must abate in their colour Make nothing that you see at a distance perfect as if discerning a Building to be fourteen or fifteen miles off I know not Church Castle House or the like so that in drawing of it you must express no particular sign as Bell Portcullis or the like but express it in colours as weakly and faintly as your eye judgeth of it Ever in your Landskip place light against dark and dark against light which is the only way to extend the prospect far off occasioned by opposing light to shadow yet so as the shadows must lose their force in proportion as they remove from the eye and the strongest shadow must alwayes be nearest hand OF PAINTING in OYL The Fourth Book PAinting in Oyl is of most esteem of any other Painting and indeed it requireth the greatest judgement in the performance of any other kind of Painting I shall according to the weakness of my ability deliver unto you such Rules and directions as being well minded and practised may in a short time make you a good proficient therein Presupposing you have read the three foregoing Books especially the First and Third and that you understand Draught of any kind and also the nature if not the manner of working with Water-colours yet at least have read the Rules there delivered concerning the use of them you may fall to practise the Painting in Oyl in which observe the directions following CHAP. I. Of the Names of your Colours and how to Grind and order them Names of the Colours in Oyl BLACKS Lamp-black Seacoal-black Ivory-black Charcoal-black Earth of Colen WHITES White-Lead GREENS Verdigrease Terra vert Verditer BLEWS Rise Indico Smalt Vltamarine REDS. Vermilion Red-Lead Lake India Red. Ornotto YELLOWS Pink. Masticote English Oker Orpiment Spruse Oker Spanish Brown Burnt Spruse Vmber These are the chief Colours that are used in Painting in Oyl the most part of which are to be grownd very fine upon your Stone with a Muller with Linseed-Oyl some must be Burnt before they be Grownd others must be only temper'd upon the Pallat and not grownd at all The Colours to be burnt are these Ivory Spruse Oker and Vmber The Colours that are not to be Grownd at all but only tempered with Oyl upon your Pallat are these Lamp-black Verditer Vermilion Bise Smalt Masticote Orpiment Vltamarine All the rest are to be Grownd upon your Stone with Linseed-Oyl only White-Lead when you are to use that for Linnen you must grind it with Oyl of Walnuts for Linseed-Oyl will make it turn yellow Those Colours that are to be Burnt you must put them into a Crucible such as Gold-smiths melt their Silver in cover the mouth thereof with clay and there let it burn red hot when it is cold you must grind it upon your Stone with Oyl CHAP. II. Of your Easell Straining-frame Cloth Pallat Pencils and Stay I Might here describe the form and fashion of your Easell and Pallat but I think I need not for he that ever saw a Painter at work must needs see these two Instruments but what they are I shall here describe An Easell is a frame made of wood not much unlike a Ladder only the sides are flat and full of holes on either side to put in two pinns to set your Work upon higher or lower at pleasure it is broader at the bottom than at the top and on the back-side there is a Stay by the help of which you may set in the middle of any room more upright or sloping at pleasure when you do not use it you may clap it together and set it behind any door or hang it against any wall out of the way A Pallat is a thin piece of wood and is necessary to be about twelve or fourteen inches long and nine or ten inches broad in form of an egge at the narrower end whereof is a hole made also of an oval form about an inch and a half in length and an inch broad this hole is to put in your thumb of your left hand upon which you must alwayes hold it when you are at work out of the side of your Pallat neer unto the thumb-hole is cut a notch by the side of which the Pencils which you hold in your left hand also may come through by which means you may take any of them out or put another in at pleasure These Pallats ought to be very thin and light especially at the broad end but toward the thumb-hole somewhat thick yet not above half a quarter of an inch the best wood to make them of is Pear-tree of Walnut-tree A Straining-frame is nothing else but a frame made of wood to which with nails you must fasten your Cloth that you are to paint upon of these Frames you should have of several sizes according to the bigness of your Cloths By your Cloth I mean Cloth primed I could teach you how to prime it but it is a moiling work and besides it may be bought ready primed cheaper and better than you can do it your self Few Painters though all can do it prime it themselves but buy it ready done Pencils what they are I need not tell you but what

21 SECT 2. To Draw a Fore-right Face Page 22 SECT 3. To Draw an Upright Head ib. SECT 4. Of the Inclining and Fore-shortned Face Page 23 SECT 5. Of the Nose Mouth and Chin. Page 26 SECT 5. Of Hands both Palm Back and Sides as also open and closed and likewise of Hands and Arms joyned Page 28 SECT 6. Of Feet in several Positions both with and without Measures as also of Feet and Legs joyned together Page 31 SECT 7. Of the Back Breast Secret members Thighes Shoulders c. Page 34 SECT 8. Of Whole figures from head to foot Page 36 SECT 9. Rules of Symmetrie or Proportion to be observed in Drawing the whole Body of Man or Woman Page 41 SECT 10. The Proportion of the Body of Man Page 46 CHAP. VI. Of Shadowing and Rules to be observed therein Page 47 CHAP. VII Of Drapery and Rules to be observed therein Page 45 CHAP. VIII Of Landskip and Rules to be observed therein Page 46 Of Etching and Graving the Second Book CHAP. I. Of Etching with Aqua fortis Page 48 SECT 1. To make Mr. Hollar's Ground and how to Etch in Copper and what Instruments ought to be used in the Practice thereof ib. SECT 2. How to prepare your Copper Page 49 SECT 3. How to lay the Ground upon the Plate Page 50 SECT 4. How to Transfer your design upon the Copper Page 51 SECT 5. How to wall about your Plate with Wax to lay on your Aqua fortis and to finish your Work ib. CHAP. II. Of Graving SECT 1. Of necessary Instruments belonging to Graving Page 53 1. Of your Oyl-stone ib. 2. Of Gravers Page 54 SECT 2. Of several wayes of Holding the Graver Page 55 SECT 3. The forms of Graving-tools as also the manner of Whetting your Graver Page 57 SECT 4. The manner how to hold and handle your Graver Page 58 SECT 5. The manner of holding your Hand in Graving Page 59 SECT 6. How to take off any Picture or Map-letters c. upon your Copper Page 61 Of Limning in Water-colours the Third Book CHAP. I. Of Necessaries belonging to Limning Page 64 SECT 1. Of Gum-waters used in Limning Page 65 Of Gum-Lake ib. Of Gum-Armoniack Page 66 Of Liquid Gold or Silver Page 67 SECT 2. Of your Grinding-stone and Muller ib. SECT 3. Of Colours ib. CHAP. II. Of Colours used in Limning their names and how to order them SECT 1. Of the Names of Colours and how every Colour is to be prepared whether Grownd Washed or Steeped Page 68 SECT 2. Of those Colours that are to be Grownd how to Grind them Page 70 SECT 3. Of those Colours that are to be Washed and how to Wash them Page 71 SECT 4. Of Colours to be Steeped ib. SECT 5. Of those Colours that are to be Washed and Grownd and how to temper them in your Shells when you are to use them Page 72 SECT 6. Of Pencils and how to choose them ib. SECT 7. Of Compounded Colours Page 74 CHAP. III. How to prepare a Table for Picture in small for Limning to make use of your Light the manner of Sitting in respect of Position and Distance and what necessary Instruments are to lye by you when you are at work Page 76 SECT 1. How to prepare a Table for a Picture in Small Page 76 SECT 2. Of your Light ib. SECT 3. Of the manner of Sitting Page 77 SECT 4. Of such Necessaries as are to lye by you while you are at Work Page 78 CHAP. IV. Of the Miniture or Limning of a Face in Water-colours Page 80 SECT 1. At the first Operation or Sitting Page 81 SECT 2. At the second Operation or Sitting Page 83 SECT 3. At the third Operation or Sitting Page 85 CHAP. V. Of Drapery and other Ornaments belonging to a Picture in Miniture ib. SECT 1. Of Drapery in Limning Page 86 SECT 2. Of other Ornaments in Pictures ib. CHAP. VI. Of Landskip Page 87 Of Painting in Oyl the Fourth Book CHAP. I. Of the Names of your Colours and how to Grind and order them Page 90 CHAP. II. Of your Easel Straining-Frame Cloth Pallat Pencils and Stay Page 91 Names of several sorts of Pencils Page 93 CHAP. III. How to order your Colours upon your Pallat and how to temper Shadows for all Complexions ib. 1. For a Fair Complexion Page 94. 2. For a more Brown or Swarthy Complexion Page 95 3. For a Tawny Complexion ib. 4. For an absolute Black Complexion Page 96 CHAP. IV. What Pencils are usefull for the Painting of a Face and how to dispose them Page 97 CHAP. V. How to Paint a Face in Oyl-colours Page 98 CHAP. VI. Of Garments of several Colours and of their proper Colouring ib. CHAP. VII To temper Colours for several occasions Page 104 Of things meet to be known Page 105 The Discovery how to Cleanse any Old Painting so as to Preserve the Colours with Cautions to those that through Ignorance have instead of Cleansing quite Defaced or irrecoverably lost the Beauty of good Colours in and Old piece of Painting Page 106 Of Washing or Colouring of Maps and Printed Pictures the Fifth Book Page 108 CHAP. I. What things are necessary to be alwayes ready for Washing of Maps or Pictures ib. SECT 1. Of Colours for Washing ib. Colours to be used in Washing which are not used in Limning Page 109 SECT 2. Of other Necessaries ib. 1. Of Allum-water how to make it Page 112 2. How to make Size ib. 3. How to Temper Gold to write with a Pen or Pencil Page 113 4. Of Pencils Page 114 CHAP. II. Of other Colours for Washing both Simple and Compounded ib. 1. How to make a Green Colour of Copper Plates ib. 2. To make a Green another way ib. 3. Another Green Page 115 4. For a Light Green ib. 5. To Shadow Greens ib. 6. Greens for Landskips and Rocks ib. 7. To make a Blew ib. 8. Of Shadowing Blews Page 116 9. To make a Brown ib. 10. Spanish Brown ib. 11. How to make an Orange-colour ib. 12. A Flesh-colour Page 117 13. Colours for the Sky ib. 14. To make Colours for Precious Stones ib. 15. Colours for Landskips Page 118 16. Colours for Buildings Page 119 17. How to Shadow every Colour in Garments or Drapery ib. CHAP. III. General Rules to be observed Page 120 What Colours sets off best together ib. SECT 2. Directions for the Mixing of your Colours Page 121 These with several other Books are Printed for and to be sold by Dorman Newman at the Chyrurgeons Arms in Little Britain near the Hospital Gate Folio A Large Body of Divinity in ten Books wherein the Fundamentals and Grounds of Religion are opened all the contrary Errors refuted and all the Scriptures explained with the Addition of 200 sheets By Edward Leigh Esq M. A. Fourty Sermons by the Right Reverend Father in God Ralph Brownrig late Bishop of Exceter A Relation in form of a Journal of the Voyage and Residence of Charles the 2d King of Great

namely Mr. W. Hollar SECT X. The Proportion of the Body of Man FOR your further information and to direct your judgement in Drawing of whole Bodies observe these following Proportions A Man standing from the top of the Head to the bottom of the Feet is eight times the length of the Head The Arme hanging straight down it reacheth within a span of the Knee A Hand must be the length of the Face the Hand spread abroad must cover the Face and no more Note that in Drawing a Figure standing you must first draw that Leg which the Body stands firmest upon otherwise your Figure will yield one way or other as it were falling A Mans Armes extended is the just length of the whole Body The like proportion is observed for Women and therefore one example serves for both The Proportion of a Child according to our learned Author Lomantius consists of five lengths of the Head according to the Figure express'd in our Discourse for an example to the Practitioner CHAP. VI. Of Shadowing and Rules to be observed therein THE out-lines of any Draught or Picture give the Symmetrie or Proportion which is enough to a good judgement So the Figures before in this Book have only the out-lines and those are best to practise first by I say the Out-lines shew the Proportion to a good judgement but the Lines and Shadows give the lively likeness In Shadowing therefore of any Picture you must observe these Rules following RVLE I. Cast your Shadows alwayes one way that is on which side you begin to shadow your Figure either on the right or left side you must continue so doing through your whole work As in the figure of a Man if you begin to shadow his left Cheek you must shadow the left side of his Neck the left side of his Armes the left side of his Bodie the left side of his Legs c. Except the light side of the Figure be darkned by the opposition of some other body standing between the light and it As if three Men were standing together that Figure which stands in the middle must be darkned by the foremost except the light come between them RVLE II. All Shadows must grow fainter and fainter as they are farther removed from the opacous body from whence they issue RVLE III. In great Windes where Clouds are driven to and fro several wayes as also in Tempest at Sea where Wave opposeth Wave here contrary shadows must concur as striving for superiority here in such cases you must be sure to supply the greatest first and from them according to your judgement supply the lesser practice and imitation of good Copies will be your best director RVLE IV. All Circular bodies must have a Circular shadow as they have a Circular form and as the object of light which causeth shadow is Circular CHAP. VII Of Drapery and Rules to be observed therein AS in Naked figures you draw the Out-lines first the like you must do in Drapery leaving room within for your greater and lesser folds then draw first your greater folds and then break your greater folds into lesser contained within them the closer the Garment sits to the bodie the smaller and narrower must the folds be Shadow your folds according to the directions of the last Chapter the innermost harder and the outer more softer As in Shadowing so in Drapery good copies of Prints instruct best yet take these general Rules following RVLE I. Continue your great folds throughout your Garment and break off your shorter at pleasure RVLE II. The finer your Drapery is the fuller and sharper must your folds be and the shadows the stronger but yet sweet RVLE III. That part of any Garment that sits close to the body as the Doublet of a Man the Breasts of a Woman and the like you must not fold at all but rather with your sweet shadow represent the part of the bodie that lies under the Garment as a Womans Breast with a sweet round shadow c. CHAP. VIII Of Landskip and Rules to be observed therein LAndskip is that which expresseth in Picture whatsoever may be beheld upon the Earth within the species of Sight which is the termination of a fair Horizon representing Towns Villages Castles Promontaries Mountains Rocks Vallies Ruines Rivers and whatsoever else the eye is capable of beholding within the species of the Sight To express which and to make all things appear in Draught or Picture according to true proportion and distance there are several Rules to be observed of which take these few following RVLE I. In every Landskip shew a fair Horizon the Sky either clear or overcast with Clouds expressing the rising or setting of the Sun to issue as it were from or over some Hill or Mountain or Rock the Moon or Stars are never to be expressed in a fair Landskip but in a Night-piece I have often seen it as in a piece of our Sarinus being taken by night and in others As an Astronomer with his Quadrant taking the height of the Moon and another with his Cross staff taking the distance of certain Stars their Man standing at a distance with his Dark-lanthorn to see their Degrees when they had made their observation these things as taking of the Partridge with the Loo-bell and the like become Night pieces very well RVLE II. If you express the Light of the Sun in any Landskip be sure that through your whole work you cast the light of your Trees Buildings Rocks Ruines and all things else expressed within the verge thereof thitherwards RVLE III. Be sure in Landskip that you lessen your bodies proportionably according to their distances so that the farther the Landskip goeth from your eye the fainter you must express any thing seen at distance till at last the Sky and the Earth seem to meet as the Colours in a Rainbow do There are many excellent pieces of Landskip to be procured very easily as also of Landskip and Perspective intermixed which pieces to me were ever the most delightfull of any other and such I would advise you to practise by they if they be good being the only helps to teach you proportion of Bodies in any position either near or a-far off I might here speak further of Damasking Antique ●risco Grotesco Tracery and the like but these are things that when you are expert in good Draught as by diligent practice and following the Rules and Examples before delivered I hope by this time you are these things will come of themselves and indeed no sooner heard of or seen but done And thus I conclude this first book of Drawing with the Pen and Pastils and shall now proceed to the second Book which teacheth the Art of Etching and Graving OF ETCHING and GRAVING The Second Book CHAP. I. Of Etching with Aqua fortis THere are several wayes for Etching and several Grounds of divers colours used by several men I shall deliver here onely one and that so familiar easie and true

that I believe there is not a better Ground nor a more accurate way performing the work intended than that which shall be here taught it being the only way so many years practised and to this day continued by that unparallel'd designer and incomparable Etcher in Aqua fortis Mr. Hollar the manner of performing the whole work is as followeth SECT I. To make Mr. Hollar's Ground and how to Etch in Copper and what Instruments ought to be used in the practice thereof TAke three parts of Virgins wax one part of Asphaltum one part of the best Mastick if you will you may take away a third part of the Asphaltum and put instead thereof as much refined Rosin that is transparent and clear for this will be better to see through the Ground to stop up what you have occasion for Beat your Asphaltum and Rosin together to powder and put your Wax into a clean Pipkin that hath never been used before and set it over a gentle fire and let it boyl then pour in the Asphaltum and Rosin into it and mingle them all together Then take a Porenger or such like thing full of clean water and pour that boyling stuff when all is melted into the water but pour not out the dregs then when it is cold work it up into a coal or ball and when you are to use it then take a clean rag and double it that no dregs or knots may come through the rag and tie it fast with a piece of thread so is your Ground prepared SECT II. How to prepare your Copper YOur Copper must be well planisht that it may lie level and before you lay on the Ground take your Plate and with a Charcoal well burnt coal it over with very clean water then wash it off with clean water never used before and set it sloping to run off when it is dry then scrape some Chalk fine all over it and with a very clean fine rag rub it over but let not your fingers touch upon the Plate till you have put the Ground on which you must lay on thus SECT III. How to lay the Ground upon the Plate PUt into some fire-pan some small-coal or coal-fire for charcoal is too hot then lay down the Copper over that so as the fire may have air then take your Ground it being in a cloth as a foresaid and rub up and down the Copper so as it sufficiently may cover the Plate not too thin nor too thick then take a Ducks feather of the wing and smooth it as well as possibly you can all one way and then cross and cross until it lie well to your eye but take heed that your Copper be not too hot for if it lie until the Ground smoak all the moisture of the Ground is burnt away and that will spoil your piece in Etching because the Ground will break or fly up this done let your Plate be cold then grind some White-lead with Gum-water and note that as much Gum as the bigness of a Cherry-stone will serve for a piece of White-lead as big as a Nutmeg but you must understand that you must put so much water that the white may be of convenient thickness to spread on the Copper Then you must have a large Pencil or small Brush as the Painters use of the bigness of a Walnut or more especially for a large Plate and with that strike over the Plate cross twice or thrice till you see it smooth Then you must have another Brush larger then the first but very smooth made of several Squirels tails with that you may smooth gently the White which you could not do with the other Brush and then let it lie till it be dry SECT IV. How to transfer your design upon the Copper THen take your design or Copie after which you are to work scrape on the back-side thereof some red Chalk all over then go over that by scraping some soft small-coal till it mingle with the chalk then take a Hand-brush or great Pencil that is very stiff and rub it up and down till it be fine and even and so lay down the design on your Plate and with a blunt Needle or Point draw over the out-stroke you must have several Needles some bigger and some finer put them into a pencil-stick of the length of a writing-pen and on the other end keep one Pencil to wipe away the Ground that your Needle fetches off when you work To blunt your Needle point you must do thus blunt it on a Table or on the back-side of a Copper plate still holding the point downward and carry your hand circular that you keep the point round the finest Needles you must sharpen upon a fine Whet-stone and still turning it betwixt your fingers as you whet it as the Turners do their work to keep it round then after smooth it upon a table-Table-book leaf and as you work you need not scratch hard into the Copper only so as you may see the Needle go through the Ground to the Copper and alwayes when you leave your work wrap your Plate up in paper lest your Plate get scratches which it will be apt to do and the Ground will be apt to be corrupted lying open in the air and the moisture drawn out of the Ground and the same inconveniency will accrue by letting your Ground lie too long upon your Plate before you finish three or four moneths time will eat out the moisture of the Ground and in Etching it will seem broad and deep and when you think it eaten enough you will find it to be eaten little or nothing in Winter time wrap your Plate in a Blanket as well as Paper when you leave your work if the Copper get frost it will cause the Ground to rise up from the Copper in the eating with the Aqua fortis SECT V. How to wall about your Plate about with Wax to lay on your Aqua fortis and to finish your work YOur Plate being prepared your Ground laid on and your Design transferred upon your Plate when you are going to Etch then take green Wax and melt it in some little pipkin and with a Pencil cover round about the edges of the Copper first with the hot Wax stick it round about the Plate as a wall to keep in the Aqua fortis that it may stick fast let the same be of Green wax also which draw out into long pieces of the thickness of strong paste-board and as broad as a knife then fasten it about the edges with a little stick being broad on the end and sharp edged and with it thrust down the Wax to make it stick then if your work be fine take of Aqua fortis the third part of an ounce and break it with your other water that hath been used before twice or thrice and take at least two parts of the old to one part of the new In case you have no Aqua fortis formerly used take good

water and they will not skin nor dry If your Grinding-stone be foul grind Curriers shavings upon it afterwards crumbs of bread and it will fetch off the filth If your Pencils be foul dip the ends of them in Oyl of Turpentine and squeeze them between your fingers When you work in Oyl let a little pot of Oyl stand by you into which dip your Pencil and streak it by the side of the pot and the Colour will go out that is within it and you may use it with another Colour The Discovery How to Cleanse any Old Painting so as to preserve the Colours with cautions to those that through ignorance have in stead of Cleansing quite Defaced or irrecoverably lost the Beauty of good colours in an Old piece of Painting To Cleanse any old Picture in Oyl TAke your purest white Wood-ashes you can get and sift them very well in a fine lawn sieve or else some Smalt which is as some call it Powder-blew and with a fine Spunge and fair water wash the Picture you intend gently over but be sure you have a great care of the Shadows for by the ignorance of many persons many good Picture hath been abused but having carefully wash'd it as before mentioned take some of these Vernishes of which there be several but some are more prejudicial than others therefore choose those which may upon occasion be wash'd off again As Gum-water purely strain'd or pure Sizegelly or the whites of Eggs well beaten all these will wash off Your common Vernish will vernish over any dark part of a Picture But your distill'd Vernish is the best of all this will not wash off But observe that when you have wash'd the Picture you must dry it very well with a clean cloth very dry before you vernish it Divers there be which have pretended to be well skill'd or knowing in the Cleansing of Pictures and skill in Painting and have undertaken the spoyling of things they have been unworthy to understand as with Sope or Ashes and a Brush and divers other inventions by their ignorance to deface and spoyl those things which otherwise might have been worth great value and in stead of hindering the Painter of his employment have indeed created them new work OF WASHING or COLOURING OF Maps and Printed Pictures The Fifth Book TO Wash Maps or Printed Pictures is nothing else but to set them out in their proper Colours which to perform well is a very fine thing I have seen a Printed Picture printed upon fine Parchment only washed with Water-colours which could hardly be distinguished from a Limned piece and there are many now in England very excellent at it If any ingenious spirit that delights in Picture and hath not time or opportunity to study to be a proficient in Painting in Oyl or Limning I would advise him to practise this which is very delightfull and quickly attained the manner of performing of it I shall here in this Book teach CHAP. I. What things are necessary to be alwayes ready for Washing of Maps or Pictures SECT I. Of Colours for Washing HHRE note that all the Colours that are mentioned in the Second Chapter of the Third Book concerning Limning in Water-Colours are all to be used in Washing or Colouring of Pictures wherefore provide your self of those Colours grind them wash them and steep and temper them according as you are directed in that Second Chapter I say you must have all these Colours in a readiness and for Colouring of Prints some other Colours namely these that follow which how to order I will anon shew you Colours to be used in Washing which are not used in Limning BLACKS Printers Black or Franckford Black to be had of the Plate-Printers REDS. Vermilion Rosset BLEWS Verditure Litmos Flory YELLOWS Gumbooge Yellow-berries Orpiment Also these Brazeel and Log-wood grownd and Turnsoil Of these Colours above mentioned Printers Black Vermilion Rosset Verditure and Orpiment are to be Grownd as is taught in the second Section of the second Chapter of the third Book page 70. and therefore I say Grind them as you are there taught Now for the other Colours above mentioned they are to be ordered several wayes as followeth And 1. Of Litmos how to order it Take fine Litmos and cut it in small pieces then lay it in steep the space of twenty four hours at least in a weak Water of Gum-Lake The making of Gum-Lake Water is taught before in the first Chapter of the third Book pag. 66. it will be a pure Blew Water good to Wash withall 2. Of Flory Blew Take Flory Blew and grind it with the white of an Egg beat the white of the Egg with a spoon in a Porenger till it become a clear Water Flory thus grownd if you add thereto a little Rosset it maketh a light Violet-colour If you mix with it both Red and White Lead it maketh a Crane-Feather-colour It and Pink Masticote or Gum-booge make a fair Green 3. Of Gum-booge Take Gum-booge and dissolve it in fair spring-water and it maketh a most beautifull and transparent Yellow 4. Of Yellow-Berries Take Yellow-Berries bruise them a little and let them steep in Allum-water all night in the morning you will have a very fair Yellow to Wash withall 5. Of Turnsoil Turnsoil is made of pieces of Linnen cloth dyed of a kind of Violet-colour Take a dish and put some sharp Vinegar therein together with your Turnsoil then set the dish over a gentle fire in a chafingdish till the Vinegar boyl and be coloured then take out the Turnsoil and squeeze it into the Vinegar to which put a little Gum Arabick to dissolve it is an excellent good liquor to shadow upon any Carnation or Yellow 6. Of Brazeel Take Brazeel grownd to which put a quantity of small Beer and as much Vinegar set them in a pan upon a soft fire and there let it boyl gently a good while then put therein some fine powder of Allum to raise the Colour as also some Gum Arabick to bind it boyl it so long till it taste strong on the tongue it maketh a very transparent Red. 7. Of Log-wood If you boyl Log-wood grownd in all respects as you did your Brazeel it will make a very fair transparent Purple-colour SECT II. Of other necessaries 1. Of Allum-water how to make it TAke a quarter of a pint of Allum heat it to powder and boyl it in a quart of fair Water till it be dissolved With this Water wet over your Pictures that you intend to colour for it will keep the Colour from sinking into the Paper and it will add a lustre unto the Colours and make them shew fairer and it will make them continue longer without fading you must let the Paper dry of it self after you have wetted it before you lay on there Colours of before you wet it again for some Paper will need wetting four or five times But if you intend to Varnish your Pictures after you have