Selected quad for the lemma: honour_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
honour_n	colour_n	purple_a	trim_v	16	3	16.0645	5	false

Text snippets containing the quad

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

coloured Mantle a chaplet of red and white Roses Natural affection in Citron colour Envy in a discoloured green garment full of eyes IX Joy in a green robe and a mantle of divers colours embroidered with flowers a garland of Myrtle in her right hand a Crystal Cruise in her left a golden Cup Pleasure in light garments trimmed with silver and gold Laughter in several Colours X. Wit in a discoloured mantle Jollity in flame colour Pastime in purple trimmed with gold XI Opinion in black Velvet black cap with a white fall Impudence in a party coloured garment Audacity in blush colour XII Honour in a purple robe wrought with gold Liberty in white Safety in Carnation CHAP. XVII Of Colours for Painting Glass I. YEllow Take a very thin piece of pure fine silver and dip it into melted brimstone take it out with a pair of plyers and light it in the fire holding it till it leaves burning then beat it to powder in a brasen mortar then grind it with Gum Arabick water and a little yellow Oker II. Yellow Take fine silver one Drachm Antimony in powder two drachms put them in a hot fire in a crucible for half an hour and then cast it into a brassmortar and beat it into powder to which add yellow Oker six Drachms old earth of rusty Iron seven Drachms grind all well together This is fairer than the former III. White This is the colour of the glass it self you may diaper upon it with other glass or Crystal ground to powder IV. Black Take Jet and Scales of Iron and with a wet feather take up the Scales that fly from the Iron after the Smith hath taken his heat grind them with gum water V. Black Take Iron scales Copper scales of each one Drachm heat them red hot in a clean fire shovel then take Jet half a Drachm first grind them small and temper them with gum water VI. Red. Take Sanguis Draconis in powder put to it rectified spirit of wine cover it close a little while and it will grow tender wring it out into a pot that the dross may remain in the cloth the clear preserve for use This is a fair red VII Carnation Take tin glass one ounce jet three ounces red oker five ounces gum two drachms grind them together It is a fair Carnation VIII Carnation Take jet four Drachms tin glass or litharge of silver two Drachms gum and scales of Iron of each one Drachm red chalk one ounce grind them IX Green Take Verdigriese and grind it well with Turpentine and put it into a pot warming it at the fire when you use it X. Blew Provide the clearest leads you can get of that colour beat them to powder in a brazen mortar take Goldsmiths Amel of the same colour clear and transparent grind each by it self take two parts of lead and one of Amel grind them together as you did the silver The same understand of Red and Green CHAP. XVIII Of the way of Painting upon Glass I. THere are two manner of ways of painting upon glass the one is for oyl colour the other for such colours as are afterwards to be annealed or burnt on II. To lay oyl colours upon glass you must first grind them with Gum water once and afterwards temper it with Spanish Turpentine lay it on and let it dry by the fire and it is smished III. To anneal or burn your glass to make the colours abide you must make a four square brick furnace eighteen inches broad and deep lay five or six cross Iron bars on the top of it and raise the furnace eighteen inches above the bars then laying a plate of Iron over the bars sift through a five a lay of slack'd lime over the plate upon which lay a row of glass upon that a bed of lime and upon that lime another row of glass thus continue stratum super stratum till the furnace is full IV. Lay also with every bed of glass a piece of glass which you may wipe over with any Colour these are called watches and when you think your glass is burnt enough with a pair of plyers take out the first and lowest watch and lay it on a board and being cold try if you can scrape off the Colour if it hold fast on take out that row always letting it abide the fire till the colour will not scrape off CHAP. XIX Of Washing and the Materials thereof I. BY washing here we intend nothing else but either to set out Maps or Printed Pictures in proper Colours or else to varnish them II. The Instruments and materials of washing are chiefly six to wit I. Alom-water 2. Size 3. Liquid Gold 4. Pencils 5. Colours 6. Varnish III. To make Alom water Take Alom eight ounces sair water a quart boil them till the Alom is dissolved IV. To make size Take glew which steep all night in water then melt it over the fire to see that it be neither too strong nor too weak then let a little of it cool if it be too stiff when it is cold put more water to it if too weak more glew using it lukewarm V. Liquid Gold It is exactly made by the first Section of the 21 Chapter of the second Book VI. Pencils are to be of all sorts both fitch'd and pointed as also a large pencil brush to past Maps upon Cloth another to wet the paper with Alom water a third to starch the face of the picture withal before it be coloured and a fourth to varnish withal VII The colours are the same with those which we mentioned in Chap. 17. lib. 2. to which add 1. Of Black Printers black Franckford black 2. Of Red Vermilion Rosset 3. Of Blew Verditure Litmos Flory 4. Of Yellow Cambogia Yellow berries Orpiment 5. Brazil Logwood ground and Turnsole Cochenele Madder CHAP. XX. Of Colours simple for Washing I. PRinters black Vermilion Rosset Verditure and Orpiment are to be ground as we have taught at the fifth Section of the 22 Chapter of the fecond Book II. Brazil To some ground Brazil put small Beer and Vinegar of each a sufficient quantity let it boil gently a good while then put therein Alom in powder to heighten the Colour and some gum Arabick to bind it boil it till it taste strong on the tongue and make a good red III. Logwood Ground Logwood boiled as Brazil makes a very fair transparent Purple Colour IV. Cochenele Steeped as Brazil was boiled makes a fair transparent purple as thus take Cochenele and put it into the strongest Sope lees to steep and it will be a fair purple which you may lighten or deepen at pleasure V. Madder Take Madder four drachms ground Brazil one ounce Rain water a quart boil away a third part then add Alom half an ounce boil it to a pint then gum Arabick one ounce which boil till it is dissolved cool it stirring it often and strain it for use It is a good scarlet die for Leather VI. Verdigriese

slick-stone size it over with size and a little honey and let it dry then white it over once with whiting and size mixed with a little honey so is the cloath prepared on which you may draw the picture with a coal and lastly lay on the Colours Where note honey keeps it from cracking peeling or breaking out VII Pencils are of all bignesses from a pin to the bigness of a finger called by several names as Ducks quill fitched and pointed Goose quill fitched and pointed Swans quill fitched and pointed Jewelling pencils and bristle pencils some in quills some in tinn cases and some in sticks VIII The Stay or Mol-stick is a Brazil stick or the like of a yard long having at the one end thereof a little ball of Cotton fixed hard in a piece of leather of the bigness of a chestnut which when you are at work you must hold in your left hand and laying the end which hath the leather ball upon the cloath or frame you may rest your right arm upon it whilst you are at work IX The Colours are in number seven ut suprà to wit White Black Red Green Yellow Blew and Brown Of which some may be tempered on the pallet at first some must be ground and then tempered and other some must be burnt ground and lastly tempered X. To make the size for the primed cloath at the fifth Section of this Chapter Take glew and boil it well in fair water till it be dissolved and it is done XI To make the whiting for the fifth Section of this Chapter Take of the aforesaid size mix it with whiting ground and so white your boards or cloath being made smooth dry them and white them a second or third time lastly scrape them smooth and draw it over with white Lead tempered with oyl XII To keep the Colours from skinning Oyl colours if not presently used will have a skin grow over them to prevent which put them into a glass and put the glass three or four inches under water so will they neither skin nor dry XIII To cleanse the Grinding stone and Pencils If the grinding stone be foul grind Curriers shavings upon it and then crumbs of bread so will the filth come off if the pencils be foul dip the end of them in oyl of Turpentine and squeeze them between your fingers and they will be very clean CHAP. II. Of the Colours in General and their significations I. THe chief Whites for painting in oyl are white Lead Ceruse and Spodium II. The chief Blacks are Lamp black Seacoal black Ivory black Charcoal and earth of Colen III. The chief Reds are Vermilion Sinaper lake red Lead Indian Red Ornotto IV. The chief Greens are Verdigriese Terra vert Verditer V. The chief Yellows are Pink Masticot English Oker Spruse Oker Orpiment VI. The chief Blews are blew Bice Indico Ultramarine Smalt VII The chief Browns are Spanish brown burnt Spruce Umber VIII These Colours Lamp black Verditer Vermilion Bice Smalt Masticot Orpiment Ultramarine are not to be ground at all but only tempered with oyl upon the Pallet IX These colours Ivory Ceruse Oker and Umber are to be burnt and then ground with oyl X. All the rest are to be ground upon the Grinding stone with Linseed oyl except white Lead when it is to be used for Linnen which then is to be ground with oyl of Walnuts for Linseed oyl will make it turn yellow And now since we are engaged to treat of colours it may neither be unnecessary nor unuseful for the young Artist to know their natural significations which take as followeth XI Blew signifieth truth faith and continued affections Azure Constancy Violet a religious mind XII Orange tawny signifies Pride also integrity Tawny forsaken Limmon jealousie XIII Green signifies hope grass-green youth youthfulness and rejoicing Sea green Inconstancy XIV Red signifies Justice Vertue and Defence flame-Flame-colour Beauty and desire Maidens-blush envy XV. Yellow signifies Jealousie perfect yellow Joy Honour and greatness of Spirit Gold-colour Avarice XVI Flesh-colour signifieth lasciviousness Carnation Craft Subtilty and Deceipt Purple Fortitude and Strength XVII Willow-colour signifieth forsaken Popingjaygreen Wantoness Peach-colour Love XVIII White signifieth Death Milk-white Innocency Purity Truth Integrity Black Wisdom Sobriety and Mourning XIX Straw-colour signifieth plenty Rust of Iron Witheredness Ermine Religion and Holiness XX. The White Black Red and green are colours held sacred in the Church of Rome White is worn in the festivals of Virgins Saints Confessors and Angels to shew their Innocency Red in the solemnities of the Apostles and Martyrs of Jesus Black in Lent and other fasting days Green is worn between the Epiphany and Sepiuagesima and between Pentecost and Advent CHAP. III. Of the fitting of Colours for Painting I. UPon the Pallet dispose the several colours at a convenient distance that they may not intermix first lay on the Vermilion then the Lake then the burnt Oker then the India Red Pink Umber Black and Smalt each in their order and lay the white next to your thumb because it is oftnest used for with it all shadows are to be lightned and next the white a stiff sort of Lake thus is the Pallet furnished with single colours for a face Now to temper them for shadowing various complexions do thus II. For a fair complexion Take White one Drachm Vermilion Lake of each two Drachms temper them and lay them aside for the deepest Carnation of the face to part of the aforesaid mixture put a little more white for a light carnation and to part of that put more white which temper on the Pallet for the lightest colour of the face III. The faint shadows for the fair complexion Take Smalt and a little White for the eyes to part of that add a little pink and temper by it self for faint greenish shadows in the face IV. The deep shadows for the same Take Sinaper Lake Pink and black of each which temper together if the shadows ought to be redder than what is tempered add more Lake if yellower add more pink if blewer or grayer add more black thus shall the Pallet be fitted with colours V. For a brown or swarthy complexion The fingle colour being laid on the Pallet as before and tempered to the White Lake and Vermilion put a little burnt Oker for a Tawney and for heightning adde some Yellow Oker so much as may just change the colours The faint and deep shadows are the same at the third and fourth Section of this Chapter VI. For a tawny Complexion The colours are the same with the former but the shadows are different which must be made of burnt Oker and Vmber which will fit well if the shadow be not yellow enough add a little pink to it VII For a black Complexion The dark shadows are the same with the former but for heightening take White Black Lake and burnt Oker in tempering of which put in the white by degrees till you come to the lightest of

Envy to express 23 49 142 Eternity 44 142 Equality 46 Euterpe one of the Muses 55 Erato one of the Muses 56 Eurus a wind 57 Engraving 76 Engraving wood 78 Etching 80 85 90 Etching Varnish 80 Etching needles 82 Emeralds to Limn 117 Easle 181 Eccho 193 Emperors 140 Elizabeth Regina Angliae 141 Empedocles 141 Erasmus 141 Experimental observations 160 Emerald artificial 192 Emerald colour 228 229 Epicurus 276 Euclid to depict 276 Essences perfumed 315 Essence of Musk 315 Essence of herbs salts 316 F. Feathers 2 Fourth praxis of Drawing 5 Fifth praxis of Drawing ib. Feet 25 Fear to express 28 275 Flowers to draw 36 Fate 45 Fortune 45 269 Fame 47 274 Felicity 49 142 Fruitfulness 49 February 57 Foundation of Chiromancy 68 Figures upon wood Frane for etching 83 Flame colour 100 Feathers 105 Fire colour 105 Fair complexion 126 Face to paint 134 Flora 133 Faith 142 Fustick berry 149 Flory blew 149 Flesh colour 151 Flask what 184 Furnace 184 Frescoe 239 Faunes and Fairies 263 Fucus to paint the Face 29● Freckle● 299 G. Ganges a river 51 Galatea a Nymph 54 Glass 63 Graving 72 Gravers 72 Gravers to make 74 Graver to hold 75 Gums 93 94 Green colours 96 129 131 Green bice 98 Glass grey 100 Grey 100 Green 102 103 104 124 133 149 150 Gold cloth 104 Gold liquid 105 147 Gold armoniack 107 Grinding stone 110 123 Gold armour 116 Gold colour 132 Graces 138 Gustavus rex Sueciae 140 Geometry 142 Government 142 Glass to paint 144 145 168 Gambogia 148 Glass of Antimony 166 Gold 168 169 Gold to soften 171 Golden tree 181 Glass to make 189 Gilding 195 Glass to gild 195 197 Green dye 206 207 Galleries 224 Glaucus to depict 260 Galatea to depict 260 God the Author of these Arts 277 Gloves to perfume 331 Green Ink 333 Gracefulness 351 H. Hair 13 Hands 15 Humane proportion 28 Hercules 48 Ho●e 48 Horizontal line 63 Holding the Graver 75 Hard etching varnish 80 Hair colour 104 128 129 131 Hymen 137 Hope 142 Honour 144 173 High wayes 153 Hills 153 Horns to dye 165 169 204 Horns to soften cast 203 204 Hall 223 Honour to depict 273 Harpocrates to depict 275 Hieraclitus to depict 276 Hands swoln 302 Hair to beautify 305 Hair to take away 306 Hair to curl 306 Hair powder 320 Harmoge 346 I. Instruments of Drawing 2 Insects to draw 36 Justice 49 143 Iniury 49 Indus a river 51 Iris a Nymph 54 January 57 June 58 July 58 Judgment whence 60 Ichnographia 61 Jupiters signification 69 Instruments of Graving 72 Imitation of prints 77 Instruments of Etching 80 Instruments of Limning 93 110 Indico 99 150 Iron colour 132 Jupiter 136 Juno 138 256 257 Innocency 143 Jollity 143 Impudence 144 Joy 143 Iron to tinge 175 177 Iron to whiten 176 Iron to keep from rust 176 Iron to soften 176 Iron to solder 177 Instruments of Casting 183 Jacynth artificial 191 Iron to gild 195 198 Ivory to soften 203 Ivory to whiten 204 Invention 219 Imitation 225 Ivory black 227 Indian lake 228 Infants to paint 237 Jupiter to depict 242 Janus to depict 254 Juice of Macaleb 326 Ink to make 331 K. Kali an herb 189 Knives to gild 196 King Amasis 283 King Perseus 283 King Attalus 284 L. Love to express 28 Leaves of trees to express 36 Landskip 37 66 223 225 Line what 59 Linea Jovialis 68 Linea Saturnalis 68 Linea Solaris 68 Linea Mercurialis 68 Linea Lunaris 68 Linea Stellata 68 Luna her signification 70 Letters 78 Limning 93 113 230 Liquid gold and silver 93 105 147 Lamp black 97 Litmoss blew 99 Light green 100 Lead colour 101 Lake to make 101 Light blew 104 Leaves of trees to colour 105 Limning instruments 110 Light to chose 113 Limning drapery 116 Limning Landskip 117 235 Leather colour 130 Landskip colours 135 153 Law 143 Love 143 Laughter 143 Liberty 144 Logwood 147 163 Litmoss 149 163 Lapis Lazuli 159 Lignum Nephriticum 161 163 Liquor to make colourless 164 167 Lapis Calaminaris 169 Lead to purge 178 Lead to tinge 178 179 Linnen to gild 107 Leather 199 Letters silver 199 Linnen to dye Brown Blew Red Russet Purple Yellow Green 205 Luna to depict 252 Lachesis 265 Liquor of Talk 293 Lac Virginis 296 Lamp perfumed 327 Life 347 M. Mouth 9 11 Mixed forms 35 Meray 49 Mountain Nymphs 53 Melpomene 55 Months 57 March 57 May 58 Magnitude what 59 Mensa 68 Mars's signification 69 Mercury's signification 70 Materials of Etching 80 Masticot 98 Mixt colours 100 Murry 100 102 Molstick 122 Metal colours 132 Mercury 136 Minos Momus 137 Moses 140 276 Mahomet 140 Modesty 143 Madder 148 Mixing of colours 151 Marble to imitate 158 Mineral experiments 165 Mercurius Vitae 165 Metals 170 Metals to colour 180 Metals to melt 183 Medals 184 Matter of Gems 189 Metals to gild 198 Maremaids 221 Murus colour 229 Mars to depict 244 Mars his court and house 245 Mercury to depict 250 Minerva to depict 265 Magistery of Pearl 291 Morphew to cleanse 294 Mercurial Cosmetick 295 Marks and Scars 301 Matter of Perfumes 308 Muscardines red 321 Musked Soap 326 Macaleb juice 326 Mineral perfume 329 Musk to adulterate 329 Magnificence 343 Motion 347 N. Nose 9 11 Naked body 21 238 Nilus a river 50 Niger a river 53 Nymphs 53 Napae 53 Naiades Nymphs 54 November 58 Needles to etch with 82 Needles to whet 82 Neptune 237 Night 138 274 Numa 140 Natural affection 243 Nereides 221 Nymphs of Diana 253 Neptune to depict 259 Nemesis to depict 261 O. Oval 4 Outstrokes 13 October 38 Optice 59 60 Orthographia 61 Object 64 Oil stone 73 Oil prepared 81 Orpiment 98 Oker de luce 99 2●7 Orchal 100 Orange colour 129 131 149 Old paints to cleanse 136 O●thion 143 274 O●● of flints 182 Original of Painting 211 Original colours 228 Old bodies to paint 238 Ops to depict 258 Occanus to depict 260 Oil of Camphire 291 Oleum Tartari 296 Ointment Cosmetick 296 297 Oil of Ben 309 Oleum Imperiale 313 Oil of Cinnamon 313 Oil of Roses 313 Oil of Calamus Aromaticus 314 Oil of Rhodium 314 Oil of Benjamin Storax 314 Ointments perfumed 317 Orrice powder 319 Odoriferous Balsam 321 P. Polygraphice what 1 Pictura 1 219 Pencils 3 110 122 147 Pens 3 Pastils to make 3 Precepts of Drawing 4 Polygon 5 Paps 25 Passions to express 28 347 Picture to extend or contract 43 Powers to express 44 Peace 47 273 Providence 47 Piety 48 Penitence 49 Poor Padus a river 52 Polyhymnia 56 Perspective 59 Practice thereof 64 Perspective figure 66 Plates to polish 74 80 Prepared oil 81 Pink yellow 98 227 Purple 100 102 103 128 129 131 169 Popinjay green 104 Peach colour 105 Preparation of colours 108 Preparations for Limning 111 Practice of Limning 113 Pearls to Limn 116 Pictures to Varnish 118 Painting in Oil 121 225 Pallet 122 Primed cloth 122 Pear colour 132 Painting the Face in oil 134