Selected quad for the lemma: water_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
water_n	green_a	put_v	quill_n	40	3	16.5540	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

Take Verdigriese ground finely one ounce put to it a good quantity of common varnish and so much oyl of Turpentine as will make it thin enough to work withal it is a good green And Verdigriese Alom of each one Drachm Logwood three Drachms boiled in Vinegar make a good Murry VII Gambogia Dissolve it in fair spring water and it will make a beautiful and transparent yellow if you would have it stronger dissolve some Alom therein it is good for Silk Linnen white Leather Parchment Vellom Paper Quills c. VIII To make Verdigriefe and Ceruse according to Glauber These colours are made with Vinegar in earthen pots set into hot horse dung but if you dissolve your Venus or Saturn with spirit of Nitre and precipitate your Venus with a lye made of Salt of Tartar and your Saturn with Salt water edulcorating and drying them the Venus will yield an excellent Verdigriese which will not corrode other colours as the common Verdigriese doth and the Saturn yields a Ceruse whiter and purer than the ordinary much better for Painting or Chirurgery IX Yellow Fustick benry Boil it in water or sleep them in Alom water it makes a good yellow for the same purpose X. Turnsole Put it into sharp Vinegar over a gentle fire till the Vinegar boil and is coloured then take out the Turnsole and squeeze it into the Vinegar in which dissolve a little gum Arabick it shadows very well on a Carnation or yellow XI Litmos Cut it into small pieces and steep it a day or two in weak gum Lake water and you will have a pure blew water to wash with XII Flory Blew Grind it with Glair of Eggs if then you add a little Rosset it makes a light Violet Blew mixed with White and Red Lead it makes a Crane feather Colour XIII Saffron Steeped in Vinegar and mixed with gum water is a good Yellow CHAP. XXI Of Compounded Colours for Washing ORange Colour Red Lead and Yellow berries make a good Orange Colour or thus take Arnotto half an ounce Pot ashes one Drachm water one pound boil it half away then strain it and use it hot It is good for white leather paper vellom quills parchment c. II. Green Take distilled vinegar filings of Copper digest till the vinegar is blew which let stand in the Sun ora slow fire till it is thick enough and it will be a good green Or thus Take Cedar green which is best of all or instead thereof green Bice steep it in Vinegar and strain it then grind it well with fair water and put to it a little honey and dry it well when you use it mix it with gum water III. To make fine Indico Take the blossoms of Wode three ounces Amylum one ounce grind them with Urine and strong vinegar of which make a Cake then dry it in the Sun and so keep it for use IV. A Blew to wash upon paper Take of the best azure an ounce Kermes two ounces mix them which temper with clear gum water and it will be a glorious Colour V. To make a Venice Blew Take quick lime make it into past with strong vinegar half an hour after put thereto more vinegar to soften it then add Indico in fine powder one ounce mix them and digest it in horse dung for thirty or forty days VI. Another excellent Blew Mix fine white Chalk with juice of elder berries full ripe to which put a little Alom water VII To make blew Smalt Take fluxible sand Sal Nitre and Cobalt mix them together VIII A lively yellow Dissolve orpiment in gum water to which put a little ground Vermilion grind them together and you shall have a very lively colour IX A light green Take Juice of Rew Verdigriese and Saffron grand them well together and use them with gum water Or thus Take sap green flower de bice or tawny green which steep in water Verditure and Ceruse mixe with a little copper green make a good light colour X. Blew Ultramine blew bice smalt and Verditure ground singly with gum water or together make a good blew XI Brown Ceruse red lead English Oker and pink make a good brown XII Spanish Brown To colour any horse dog or the like you must not calcine it yet not calcined it is a dirty colour but to shadow Vermilion or lay upon any dark ground behind a picture to shade berries in the darkest places or to colour wooden posts wainscot bodies of trees and the like it is very good being burnt XIII Flesh colour Mix white Indian lake and red lead according as you would have it light or deep and to distinguish a mans flesh from a womans mingle with it a little Oker XIV Colours of Stones Verdigriese with Varnish makes an Emerald with Florence lake a Ruby with Ultramanine a Saphyr XV. A never fading green Take juice of flowers of Flowerdeluce put it into Gum water and dry it in the Sun CHAP. XXII Of mixing Colours and shadowing I. IN mixing be careful not to make the colour too sad nor take the pencils out of one colour and put them into another II. In mixing colours stir them well about the water severally till they are well mixed then put them together making the colour sadder or lighter at pleasure III. Green is shadowed with Indico and yellow berries IV. Blew is shadowed with Indico Litmose and flory or any of them being steeped in lees of Soap ashes and used with gum water V. Garments are shadowed with their own proper colours or you may mingle the colour with white for the light and shadow it with the same colour unmingled or you may take the thinnest of the colour for the light and shadow with the thickest or bottom of the same VI. Sap green is only used to shadow other greens with and not to be laid for a ground in any garment VII Lake ought not to be shaded with any colour for it is a dark red but for variety you may shadow it with Bice or blew Verditure which will make it like changeable Taffata VIII The shadow for Yellow Berries is Umber but for beauties sake with red Lead and the darkest touches with Spanish brown and for variety with Copper green blew Bice or Verditure IX White sets off blews and blacks very well Red sets off well with yellows Yellow with reds sad blews browns greens and purples X. Blew sets off well with yellows reds whites browns and blacks and Green sets off well with purples and reds CHAP. XXIII Of Colours for Landskips I. GReen mixed with white pink bice masticot smalt indico or ceruse or blew verditure mixt with a few yellow berries makes a good green for Landskips II. For the saddest hills use umber burnt for the lightest places put yellow to the burnt umber for other hills lay copper green thickened on the fire or in the Sun for the next hills further off mix yellow berries with copper green let the fourth part be done with

Or you may black the Varnish with a candle as we taught at the second Section of the eighth Chapter and then warm it over the fire till the varnish begin to melt CHAP. XIII The way of Etching upon the soft Varnish I. THE way of Etching is the same with that in the hard Varnish only you must be careful not to hurt your varnish which you may do by placing on the sides of your plate two little boards and laying cross over them another thin one so as that it may not touch the plate on which you must rest your hand whilst you work II. Then place the plate on a Desk if you so please for by that means the superfluous matter will fall away of it self III. But if you have any design to transfer upon the plate from any Copy or Print scrape on the backside thereof some red Chalk all over then go over that by scraping some soft Charcoal till it mingle with the Chalk and with a large stiff pencil rub it all over till it be fine and eaven and so lay down the design upon the plate with a blunt Needle draw over the out stroaks and as you work you need not scratch hard into the Copper only so as you may see the Needle go through the Varnish to the Copper IV. Always be sure when you leave the work to wrap the Plate up in Paper to keep it from hurt and corrupting in the air which may drie the varnish and in Winter time wrap the Plate up in a piece of wollen as well as paper for if the frost get to it it will cause the Varnish to rise from the Copper in the eating An inconveniency also will accrew by letting the Varnish lie too long upon the Plate before the work is finished for three or four months will consume the moisture and so spoil all V. The marking of the design upon the soft varnish is best done with black Lead or Chalk if the ground is white but with red Chalk if the ground is black VI. Having graved what you intend upon the varnish take some fair water a little warm and cast it upon the plate and then with a soft clean Sponge rub upon the white Lead to moisten it all over and then wash the plate to take away the whiting and drie it VII Or lastly with Aqua fortis mixed with fair water wash it all over and by this means you may take away the whiting which then wash with common water and drie it and thus have you the plate prepared for the Aquafortis CHAP. XIV Of using the Aqua fortis and finishing the work I. PUt soft Wax red or green round the brims of the Plate and let it be raised above the varnish about half a Barley corns length so that placing the plate level the water being poured upon the Plate may by this means be retained This done II. Take common Aqua fortis six ounces Common water two ounces mix them and pour it gently upon the plate so that it may cover it fully all over so will the stronger hatchings be full of bubbles while the fainter will appear clear for a while not making any sudden operations to the view III. When you perceive the water to operate a small time pour it off into a glazed carthen dish and throw fair water upon the Plate to wash away the Aqua fortis then drie the plate and where you would have the Cut to be faint tender or sweet cover it with the prepared Oil and then cover the Plate again with Aqua fortis as before leaving it on for eight or ten minutes or longer then put off the Aqua fortis as before washing and drying the Plate and covering with the prepared Oyl other places which you would not have so deep as the rest Lastly put on the Aqua fortis again for the space of half an hour more or less and then pour it off washing the plate with fair water as before As you would have your lines or strokes to be deeper and deeper so cover the sweeter or fainter parts by degrees with the prepared oyl that the Aqua fortis may lie the longer on the deep stroaks Then IV. Take off the border of Wax and heat the plate so that the oyl and varnish may throughly melt which wipe away well with a linnen cloth then rub the plate over with oyl Olive and a piece of an old beaver roll'd up which done touch it with the Graver where need is V. But if any thing be at last forgotten then rub the plate aforesaid with crums of bread so well that no filth or oyl remain upon the Plate VI. Then heat the plate upon a Charcoal fire and spread the soft varnish with a feather upon it as before so that the hatchings may be filled with varnish black it and then touch it over again or add what you intend VII Let your hatchings be made by means of the Needles according as the manner of the work shall require being careful before you put on the Aqua fortis to cover the first graving on the Plate with the prepared Oyl lest the Varnish should not have covered all over then cause the Aqua fortis to eat into the work and lastly cleanse the Plate as before CHAP. XV. Of Limning and the Materials thereof I. LImming is an Art whereby in water Colours we strive to resemble Nature in every thing to the life II. The Instruments and Materials thereof are chiefly these 1. Gums 2. Colours 3. Liquid Gold and Silver 4. The Grindstone and Muller 5. Pencils 6. Tables to Limn in 7. Little glass or China dishes III. The Gums are chiefly these four Gum Arabick Gum Lake Gum Hedera Gum Armoniack IV. The principal Colours are these seven White Black Red Green Yellow Blew Brown out of which are made mixt or compound Colours V. The Liquid Gold and Silver is either natural or artificial The natural is that which is produced of the Metals themselves the Artificial is that which is formed of other colours VI. The Grinding stone Muller Pencils Tables and Shells or little China dishes are only the necessary instruments and attendants which belong to the practice of Limning CHAP. XVI Of the Gumms and their Vse I. THe chief of all is Gum-Arabick that which is white clear and brittle the Gum-water of it is made thus Take Gum-Arabick bruise it and tie it up in a fine clean linnen cloath and put it into a convenient quantity of pure spring-water in a glass or earthen vessel letting the Gum remain there till it is dissolved which done if the water is not stiff enough put more Gum into the cloath but if too stiff add more water of which Gum-water have two sorts by you the one strong the other weak of which you may make a third at pleasure But if you be where Gum-Arabick is not to be got you may instead of that use the preparation of sheeps leather or parchment following Take

of the shreds of white sheep-skins which are to be bad plentifully at Glovers or else of parchments one pound Conduit or running-water two quarts boyl it to a thin gelly then strain it whilst bot through a fine strainen and so use it II. Gum-lake it is made of whites of Eggs beaten and strained a pint Honey Gum-hedera of each two Drachms strong wort four spoonfuls mix them and strain them with a piece of spunge till they run like a clear oyl which keep in a clean vessel till it grows hard This Gum will dissolve in water like Gum-Arabick of which Gum-water is made in like manner it is a good ordinary Varnish for Pictures III. Gum-Hedera or Gum of Ivy it is gotten out of Ivy by cutting with an Axe a great branch thereof climbing upon an Oak-tree and bruising the ends of it with the head of the Axe at a Months end or thereabouts you may take from it a very clear and pure fine Gum like oyl It is good to put into gold size and other colours for these three reasons 1. It abates the ill scent of the size 2. It will prevent bubbles in gold size and other colours 3. Lastly it takes the fat and clamminess off colours besides which it is of use in making Pomanders IV. Gum Armoniacum It is a Forrein Gum and ought to be brought strained Grind it very fine with juyce of Garlick and a little Gum-Arabick water so that it may not be too thick but that you may write with it what you will When you use it draw what you will with it and let it dry and when you gild upon it cut your Gold or Silver to the fashion which you drew with the size or gum then breath upon the size and lay the Gold upon it gently taken up which press down hard with a piece of wool and then let it well dry being dryed with a fine linnen cloath strike off the loose gold so will what was drawn be fairly gilded if it was as fine as a hair it is called Gold Armoniack CHAP. XVII Of the seven Colours in General I. THe chief Whites are these Spodium Ceruse White-lead Spanish-white Egg-shels burnt This Colour is called in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 video to see because 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 whiteness as Aristotle said is the object of sight in Latine Albus from whence the Alps had their name by reason of their continual whiteness with Snow The Spanish-white is thus made Take fine Chalk three Ounces Alom one Ounce grind them together with fair water till it be like pap roul it up into balls which dry leisurely then put them into the fire till they are red hot take them out and let them cool it is the best white of all to garnish with being ground with weak gum-water II. The chief Blacks are these Hartshorn burnt Ivory burnt Cherry-stones burnt Lamp-black Charcoal Black in Latine Niger is so called from the Greek word 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which signifies dead because putrified and dead things are generally of that colour Lamp-black is the smoak of a Link Torch or Lamp gathered together III. The chief Reds are these Vermilion Red-lead Indian-lake Red-oker It is called in Latin Ruber 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 à corticibus vel granis mali punic●● from the Rinds or Seeds of Pomegranates as Scaliger saith IV. The chief Greens are these Green Bice Verdegriese Verditure Sapgreen This colour is called in Latine Viridis from Vires in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Grass or Green berb which is of this Colour V. The chief Yellows are these Orpiment Masticot Saffron Pink yellow Oker de luce This colour is called in Latine Flavus Luteus in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is Homer 's Epithete for Menelaus where he calls him 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 VI. The chief Blews are Ultramarine Indico Smalt Blew bice This colour is called in Latine Caeruleus in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 à 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the name of a stone which yields Ultramarine VII The chiefest Browns are Umber Spanish-brown Colens Earth It is called in Latine Fuscus quasi 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 from darkening the Light in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 CHAP. XVIII Of Colours in Particular I. CEruse Grind it with glair of Eggs and it will make a most perfect white II. White-lead Grind it with a weak water of Gum-lake and let it stand three or four days after which if you mix with it Roset and Vermilion it makes a fair Carnation III. Spanish-white It is the best white of all to garnish with ground with weak Gum-water IV. Lamp black ground with Gum-water it makes a good black V. Vermilion Grind it with the glair of an Egg and in the grinding put a little clarified honey to make its colour bright and perfect VI. Sinaper-lake it makes a deep and beautiful red or rather purple almost like unto a Red-rose Grind it with Gum-lake and Turnsole water if you will have it light add a little Ceruse and it will make it a bright Crimson if to Diaper add only Turnsole water VII Red-lead Grind it with some Saffron and stiff Gum-lake for the Saffron makes it orient and of a Marigold colour VIII Turnsole Lay it in a Sawcer of Vinegar and set it over a chafing-dish of coals let it boil then take it off and wring it into a Shell adding a little Gum-Arabick let it stand till it is dissolved It is good to shadow Carnation and all Yellows IX Roset Grind it with Brazil-water and it will make a deep purple put Ceruse to it and it will be lighter grind it with Litmose and it will make a fair Violet X. Spanish brown Grind it with Brazil-water mingle it with Ceruse and it makes a horse-flesh Colour XI Bole Armoniack It is a faint Colour its chief use is in making size for burnish'd gold XII Greenbice Order it as you do blew bice when it is moyst and not through dry you may diaper upon it with the water of deep green XIII Verdegriese Grind it with juyce of Rue and a little weak gum-gum-water and you will have a most pure green if you will diaper with it grind it with Lye of Rue or else the decoction thereof and there will be a hoary green Diaper upon Verdegriese green with sap-green also Verdegriese ground with white Tartar and then tempered with gum-gum-water gives a most perfect green XIV Verditure grind it with a weak Gum-Arabick water it is the faintest green that is but is good to lay upon black in any kind of drapery XV. Sap-green lay it in sharp vinegar all night put it into a little Alom to raise its colour and you will have a good green to diaper upon other greens XVI Orpiment Arsenicum or Auripigmentum grind it with a stiff water of Gum-lake because it is the best colour of it self it will lie upon no green for all greens white

and not with gum water XXVI To make a Yellow Green or Purple Buckthorn Berries gathered green and steeped in Alom water yield a good yellow but being through ripe and black by the eighteenth Section of the twenty first Chapter of the third Book they yield a good green and lastly being gathered when they are ready to drop off which is about the middle or end of November their juice mixt with Alom water yields a good purple colour CHAP. XX. Of Colours for Drapery I. FOR Yellow garments Take Masticot deepned with brown Oker and red Lead II. For Scarlet Take Vermilion deepned with Sinaper lake and heightned with touches of Masticot III. For Crimson Lay on Lake very thin and deepen with the same IV. For Purple Grinde Lake and Smalt together or take blew Bice and mix it with red and white Lead V. For an Orient Violet Grind Litmose blew Smalt and Ceruse but in mixture let the blew have the upper hand VI. For Blew Take Azure deepned with Indie blew or Lake heightned with white VII For black Velvet Lay the garment first over with Ivory black then heighten it with Cherrystone black and a little white VIII For black Sattin Take Cherrystone black then white deepned with Cherrystone black and then lastly Ivory black IX For a pure Green Take Verdegriese bruise it and steep it in Muscadine for twelve hours then strain it into a shell to which add a little Sap green but put no gum thereto X. For a Carnation Grind Ceruse well washed with red Lead or Ceruse and Vermilion XI For Cloth of Gold Take brown Oker and liquid Gold water and heighten upon the same with small stroaks of Gold XII For white Sattin Take first fine Ceruse which deepen with Cherrystone black then heighten again with Ceruse and fine touches where the light falleth XIII For a russet Sattin Take Indy blew and Lake first thin and then deepned with Indy again XIV For a hair Colour It is made out of Masticot Umber yellow Oker Ceruse Oker de Rous and Sea-coal XV. For a Popinjay green Take a perfect green mingled with Masticot XVI For changeable Silk Take water of Masticot and red Lead which deepen with Sap green XVII For a light Blew Take blew Bice heightned with Ceruse or Spodium XVIII For to shadow Russet Take Cherrystone black and white lay a light russet then shadow it with white XIX For a Skie colour Take blew Bice and Venice Ceruse but if you would have it dark take some blew and white XX. For a Straw colour Take Masticot then white heightened with Masticot and deepned with Pink. Or thus Take red Lead deepned with Lake XXI For Yellowish Thin Pink deepned with pink and green Orpiment burned makes a Marigold colour XXII For a Peach colour Take Brazil water Log water and Ceruse XXIII For a light Purple Mingle Ceruse with Logwood water or take Turnsole mingled with a little Lake Smalt and Bice XXIV For a Walnut colour Red Lead thinly laid and shadowed with Spanish brown XXV For a Fire colour Take Masticot and deepen it with Masticot for the flame XXVI For a Tree Take Umber and white wrought with Umber deepned with black XXVII For the Leaves Take Sap green and green Bice heighten it with Verditure and white XXVIII For Water Blew and white deepned with blew and heightned with white XXIX For Banks Thin Umber deepned with Umber and black XXX For Feathers Take Lake frizled with red Lead CHAP. XXI Of Liquid Gold and Silver I. LIquid Gold or Silver Take five or six leaves of Gold or Silver which grind with a stiff gum Lake water and a good quantity of salt as small as you can then put it into a vial or glazed vessel add so much fair water as may dissolve the stiff gum water then let it stand four hours that the gold may settle decant the water and put in more till the gold is clean washed to the gold put more fair water a little sal Armoniack and common salt digesting it close for four days then put all into a piece of thin Glovers leather whose grain is peeled off and hang it up so will the sal Armoniack fret away and the gold remain behind which keep Or thus Grind fine leaf Gold with strong or thick gum water very fine and as you grind add more thick gum water being very fine wash it in a great shell as you do bice then temper it with a little quantity of Mercury sublimate and a little dissolved gum to bind it in the shall shake it and spread the Gold about the sides thereof that it may be all of one colour and fineness which use with fair waters as you do other Colours The same observe in liquid Silver with this observation That if your Silver by length of time or humidity of the air becomes rusty then cover the place with juice of Garlick before you lay on the Silver which will preserve it When you use it temper it with glair of eggs and so use it with pen or pencil Glair of Eggs is thus made Take the whites and beat them with a spoon till that rise all in a foam then let them stand all night and by morning they will be turned into clear water which is good glair II. Argentum Musicum Take one ounce of tin melt it and put thereto of Tartar and Quicksilver of each one ounce stir them well together until they be cold then beat it in a mortar and grind it on a stone mix it with gum water write therewith and afterwards polish it III. Burnished Gold or Silver Take gum-lake and dissolve it into a stiff water then grind a blade or two of Saffron therewith and you shall have a fair gold when you have set it being throughly dry burnish it with a dogs tooth Or thus having writ with your pen or pencil what you please cut the Leaf Gold or Silver into pieces according to the draught which take up with a feather and lay it upon the drawing which press down with a piece of wool and being dry burnish it IV. Gold Armoniack This is nothing but that which we have taught at the fourth Section of the sixteenth Chapter of this Book V. Size for burnished Gold Take Bole Armoniack three drachms fine Chalk one drachm grind them as small as you can together with fair water three or four times letting it dry after every time then take glair and strain it as short as water with which grind the Bole and Chalk adding a little gum Hedera and a few blades of Saffron grind all as small as possible and put them into an Ox horn I judge a glass vessel better and set it to rot in horse dung for six weeks then take it up and let it have air and keep it for use It s use is for gilding parchments book covers and leather thus lay this size first upon the parchment then with a feather lay the Gold or Silver upon

good Gold in Aqua regia mixed with a due quantity of a deep blew solution of crude Copper in strong spirit of Urine produces a transparent green And so blew and yellow Amel fused together in the flame of a Lamp being strongly blowed on without ceasing produces at length a green colour VIII An urinous salt largely put into the dissolution of blew Vitriol in fair water turn'd the liquor and corpuscles which resided into a yellowish colour like yellow Oker IX Verdigriese ground with salt Armoniack and the like digested for a while in a dunghil makes a glorious blew X. The true glass of Antimony extracted with acid spirits with or without Wine yields a red tincture XI Balsam of Sulphur of a deep red in the glass shaked about or dropt on paper give a yellow stain XII If Brimstone and Sal Armoniack in powder of each five ounces be mixed with quick-lime in powder six ounces and distilled in a Retort in sand by degrees you will have a volatil spirit of Sulphur of excellent redness though none of the ingredients be so So also oyl of Anniseeds mixed with oyl of Vi●riol gives in a trice a blood red colour which soon decays XIII Fine silver dissolved in Aqua fortis and precipitated with spirit of Salt upon the first decanting the liquor the remaining matter will be purely white but lying uncovered what is subject to the ambient air will lose its whiteness XIV Sublimate dissolved in a quantity of water and filtred till it is as clear as Crystal mixed in a Venice glass with good oyl of Tartar per deliquium filtred three or four drops to a spoonful yields an opacous liquor of a deep Orange colour after which if four or five drops of Oyl of Vitriol be dropt in and the glass straight way be strongly shaked the whole liquor will to admiration be colourless without sediment And if the filtred solution of sublimed Sal-armoniack and Sublimate of each alike be mixt with the solution of an Alcaly it will be white XV. Spirit of Sal Armoniack makes the solution of Verdigriese an excellent Azure but it makes the solution of Sublimate yield a white precipitate XVI So the solution of filings of Copper in spirit of Urine made by fermentation gives a lovely Azure colour which with oyl of Vitriol a few drops to a spoonful is deprived in a trice of the same and makes it like fair water And so a solution of Verdigriese in fair water mixed with strong Spirit of Salt or dephlegmed Aqua fortis makes the greenness almost totally to disappear XVII Quick-filver mixed with three or four times its weight of good oyl of Vitriol and the oyl drawn off in sand through a glass Retort leaves a snow white precipitate which by affusion of fair water becomes one of the loveliest light yellows in the world and a durable colour XVIII Tin calcined per se by fire affords a very white calx called putty Lead a red powder called Minium Copper a dark or blackish powder Iron a dirty yellowish colour called Crocus Martis and Mercury a red powder XIX Gold dissolved in Aqua Regia ennobles the Menstruum with its own colour Silver Coyn dissolved in Aqua fortis yields a tincture like that of Copper but fine silver a kind of faint blewishness Copper dissolved in spirit of Sugar drawn off in a glass Retort or in oyl or spirit of Turpentine affords a green tincture but in Aqua fortis a blew XX. Vermilion is made of Mercury and Brimstone sublimed together in a due proportion XXI Glass may have given to it a lovely golden colour with Quick silver but it is now coloured yellow generally with Calx of silver yet shell silver such as is used with pen or pencil mixed with a convenient proportion of powdered glass in three or four hours fusion gave a lovely Saferine blew XXII Glass is tinged Green by the Glass-men with the Calx of Venus which Calx mixed with an hundred times its weight of fair glass gave in fusion a blew coloured mass XXIII Putty which is Tin calcined as it is white of it self so it turns the purer sort of glass metal into a white mass which when opacous enough serves for white Amel. XXIV This White Amel is as it were the Basis of all those fine Concretes that Gold-smiths and several Artificers use in the curious art of Enamcling for this white and fuseable substance will receive into it self without spoiling them the colours of divers other Mineral substances which like it will endure the fire XXV Glass is also tinged blew with the dark mineral called Zaffora and with Manganess or Magnessia in a certain proportion which will tinge glass of a red Colour and also of a Purplish or Murry and with a greater quantity into that deep colour which passes for black XXVI Yellow Orpiment sublimed with Sea Salt yields a white and Crystalline Arsenick which Arsenick coloured with pure Nitre being duly added to Copper when 't is in fusion gives it a whiteness both within and without XXVII So Lapis Calaminaris turns Copper into Brass XXVIII And Zink duly mixed with Copper when 't is in fusion gives it the noblest golden colour that was ever seen in the best gold XXIX Copper dissolved in Aqua fortis will imbuc several bodies of the colour of the solution XXX Lastly Gold dissolved in Aqua Regia will though not commonly known dye Horns Ivories and other bones of a durable purple colour And the Crystals of Silver made with Aqua fortis though they appear white will presently dye the Skin Nails Hair Horn and Bones with a Black not to be washed off CHAP. XXIX Of Metals I. TO barden Quick-silver Cast your Lead separated from its dross into a vessel and when it begins to cool thrust in the point of a stick which take out again and cast in the Argent Vive and it will congeal then beat it in a mortar and do so often when it is hard melt it often and put it into fair water doing it so long till it is hard enough and may be hammered II. To tinge Quick-silver of the colour of gold Break it into small pieces being hardned which put into a crucible with the powder of Cadmia stratum super stratum mixed with pomegranate peels Turmerick beaten fine and Raisons cover the crucible and lute it well dry it well and then set it on a fire for six or seven hours that it may be red hot then blow it with bellows till it run which then let cool whilest covered with coles and it will have the colour of gold III. To fix Quick-silver being hardned This is done with fine powder of Crystal glass laid with the metal stratum super stratum in a crucible covered and luted heating it all over red hot and then melting of it IV. To make Quick-silver malleable First harden it by the first Section then break the metal into small pieces and boil it a quarter of

in a day and night it will be done XII An Artificial Amethyst Take Crystal one pound Manganess one drachm mix and melt them Or thus Take Sal Alkaly three ounces powder of Crystal four ounces filings of Brass half an ounce melt all in a strong fire XIII An Artificial Jacynth Put Lead into a strong crucible and set it into a furnace let it stand there about six weeks till it is like glass and it will have the natural colour of a Jacynth not easily to be discerned XIV An Artificial Chrysolite Mix with melted Crystal a sixth part of scales of Iron letting it stand in a vehement fire for three days Or thus to the mixture of the Topaze add a little Copper XV. An Artificial Topaze To Crystal one pound add Crocus Martis two Drachms Red Lead three ounces first putting in the Lead then the Crocus XVI Artificial Corals Take the scrapings of Goats horns beat them together and infuse them in a strong Lixivium made of Sal fraxini for five days then take it out and mingle it with Cinnaber dissolved in water set it to a gentle fire that it may grow thick make it into what form you please dry and polish it Or thus Take Minii one ounce Vermilion ground fine half an ounce Quick-lime and powder of Calcined flints of each six ounces a Lixivium of Quick-lime and Wine enough to make it thick add a little Salt then make it into what form you please and boil it in Linseed oyl XVII An Artificial Emerald Take Brass three days Calcined in powder which put again into the furnace with oyl and a weaker fire let it stay there four days adding a double quantity of fine sand or powder of Crystal after it is something hard keep it at a more gentle fire for twelve hours and it will be a lovely pleasant and glorious green Or thus Take fine Crystal two ounces and an half Sal Alkali two ounces flas aeris infused in Vinegar and strained one ounce Sal Tartari one ounce and half mix and lute them into a crucible and put all into a glass-makers furnace for twenty four hours and it will be glorious indeed Or thus Take Crystal ten ounces Crocus Martis and Brass twice calcined of each one pound mix and melt them stirring them well with an Iron Rod. XVIII An Artificial Sapbyre To melt Crystal put a little Zaphora two Drachms to a pound of Crystal then stir it continually from top to bottom with an Iron hook till it is well mixed keep it in the furnace three days and it is done yet when it is well coloured unless it be presently removed from the fire it will lose its tincture again XIX Artificial Amber Boil Turpentine in an earthen pot with a little cotton some add a little oyl stirring it till it is as thick as paste then put it into what you will and set it in the Sun eight days and it will be clear and hard of which you may make beads hasts for knives and the like XX. Another way to counterfeit Amber Take sixteen yolks of Eggs beat them well with a spoon Gum Arabick two ounces Cherry-tree Gum an ounce make the Gums into powder and mix them well with the yolks of Eggs let the Gums melt well and put them into a pot well leaded then set them six days in the Sun and they will be hard and shine like glass and when you rub them they will take up a wheat straw as other Amber doth XXI To make yellow Amber soft Put yellow Amber into hot melted wax well scum'd and it will be soft so that you may make things thereof in what form and fashion you please XXII Another Artificial Amber Take whites of eggs well beaten put them into a vessel with strong white wine Vinegar stop it close let it fland fourteen days then dry it in the shade and it will be like to Amber XXXIII Another Artificial Amber Break whites of eggs with a spunge take off the froth to the rest put Saffron put all into a glass close stopped or into a Copper or brazen vessel let it boil in a kettle of water till it be hard then take it out and shape it to your liking lay it in the Sun and anoint it often with Linseed oyl mixed with a little Saffron or else being taken out of the Kettle boil it in Linseed-oyl XXIV To make white Enamel Take Calx of Lead two ounces Calx of Tin four ounces make it into a body with Crystal twelve ounces role it into round balls and set it on a gentle fire for a night stirring it about with an Iron rod till it is melted and it is done XXV The general preparations and proportions of Mineral Colours Plates of Copper must be made red hot then quenched in cold water of which five or six grains mixed with Crystal and Sal Tartari of each half an ounce and melted will colour a sea-Sea-green Iron must be made into a Crocus in a reverberatory fire of which eight or ten grains will tinge the said ounce of mixture into a yellow or hyacinth colour Silver is to be dissolved in Aqua fortis and precipitated with oyl of flints then dulcifyed with water and dryed of this five or six grains to an ounce gives a mixed colour Gold must be dissolved in Aqua Regis and precipitated with liquor of flints then sweetned and dryed of which five or six grains to one ounce gives a glorious Sapherine colour Gold melted with Regulus Martis nitrosus five or six grains to one ounce gives an incomparable Rubine colour Magnesia in powder only ten or twelve grains to one ounce makes an Amethyst Colour Granata in powder only ten or fifteen grains to one ounce will tinge the mass into a glorious Smaragdine Colour not unlike to the natural XXVI Lastly Common Copper makes a Sea-green Copper of Iron a Grass-green Granats a Smaragdine Iron Yellow or Hyacinth Silver White yellow green and granat Gold a fair skie colour Wismut a common Blew Magnesia an Amethyst colour Copper and Silver an Amethyst colour Copper and Iron a pale green Wismut and Magnesia a purple colour Silver and Magnesia an Opal and the like XXVII To make Azure Take Sal armoniack three ounces Verdigriefe six ounces make them into powder and put them into a glass with water of Tartar so that it may be somewhat thick stop the glass and digest in Sand in Horse-dung for eight or ten days and it will be good azure XXVIII Another way to make good beyond-sea Azure Beat common azure with Vinegar and anoint therewith thin plates of Silver and put the same over a vessel full of Urine which set over hot ashes and coals moving and stirring it till it looks like good azure CHAP. XXXIII The Ways and Manner of Gilding I. To lay Gold on any thing Take red Lead ground fine temper it with Linseed oyl write with it and lay Leaf gold on it let it dry then polish

of some thickness with it and it will be waved like Marble dry it in the Sun II. To write golden letters on Paper or Parchment This may be done by the ninth tenth and twelvth Sections of the three and thirtieth Chapter of this Book or write with Vermilion ground with Gum Armoniack ground with glair of Eggs and it will be like gold III. To take out blots or make black Letters vanish in Paper or Parchment This may be done with Alom water or with Aqua fortis mixed with common water IV. To make Silver letters in Paper or Parchment Take Tin one ounce Quick-silver two ounces mix and melt them and grind them with Gum water V. To write with green Ink. Take Verdigriese Litharge Quick-silver of each a sufficient quantity grind and mingle them with Urine and it will be a glorious green like an Emerald to write or paint with Or thus Grind juice of Rue and Verdigriese with a little Saffron together and when you would write with it mix it with Gum water Or thus Dissolve Verdigriese in Vinegar strain it then grind it with common water and a little honey dry it then grind it again with gum water and it is done VI. To write on Paper or Parchment with blew Ink. Grind blew with honey then temper it with Glair of Eggs or gum water made of Isinglass VII To Dye Skins Blew Take berries of Elder or Dwarf-elder first boil them then smear and wash the Skins therewith and wring them forth then boil the berries as before in the dissolution of Alom water and wet the Skins in the same water once or twice dry them and they will be very Blew VIII To dye Skins into a reddish Colour First wash the Skin in water and wring it well then wet it with the solution of Tartar and Bay salt in fair water and wring it again to the former dissolution add ashes of Crab shells and rub the Skin very well therewith then wash with common water and wring them out then wash them with tincture of Madder in the solution of Tartar Alom and the aforesaid Ashes and after if not red enough with the Tincture of Brazil IX Another way to Dye them red Wash the Skins and lay them in galls for two hours wring them out and dip them into a colour made with Ligustrum Alom and Verdigriese in water Lastly twice dye them with Brazil boiled with lye X. Another way to Dye them Blew Take the best Indico and steep it in Urine a day then boil it with Alom and it will be good Or temper the Indice with red Wine and wash the Skins therewith XI To dye Skins Purple Take Roch Alom dissolve it in warm water wet the Skins therewith drying them again then take rasped Brazil boil it in water well then let it cool do thus thrice this done rub the dye over the skins with your hand which being drye polish XII To dye Skins of a sad green Take the filings of Iron and Sal armoniack of each steep them in Urine till they be soft with which besmear the skin being stretched out drying it in the shade the colour will penetrate and be green on both sides XIII To dye Skins of a pure sky colour For each skin take Indico an ounce put it into boiling water let it stand one night then warm it a little and with a brush pencil besmear the skin twice over XIV To dye skins of a pure yellow Take fine Aloes one ounce Linseed oyl two pound dissolve or melt them then strain it besmearing the skins therewith being dry varnish them over XV. To dye Skins green Take Sap green Alom water of each a sufficient quantity mix and boil them a little If you would have the colour darker add a little Indico XVI To dye Skins Yellow Infuse Woold in Vinegar in which boil a little Alom Or thus having dyed them Green by the fifteenth Section dip them in decoction of Privit berries and Saffron and Alom water XVII To dye them of an Orange Colour Boil Fustick berries in Alom water but for a deep Orange use Turmerick root XVIII A Liquor to gild Skins Metals or Glass Take Linseed Oyl three pound boil it in a glazed vessel till it burns a feather being put into it then put to it Pitch Rozin dry Varnish or Gum Sandrach of each eight ounces Aloes Hepatica four ounces put all in powder into the oyl and stir them with a stick the fire being a little encreased if the Liquor is too clear or bright you may add ounce or two more of Aloes Socratine and diminish the Varnish so the Liquor will be darker and more like Gold Being boiled take it and strain it and keep it in a Glass for use which use with a pencil CHAP. XXXV Of Wood Horns and Bones I. TO Dye Elder Box Mulberry-tree Pear-tree Nut-tree of the colour of Ebony Steep the wood in Alom water three or four days then boil it in Common Oyl with a little Roman Vitriol and Sulphur Where note the longer you boil the wood the blacker it will be but too long makes them brittle II. To Dye Bones green Boil the Bones in Alom water then take them out dry them and scrape them then boil them in Lime water with a little Verdigriese III. To Dye Wood like Ebony according to Glauber Distil an Aqua fortis of Salt-peter and Vitriol IV. To make Horns black Vitriol dissolved in Vinegar and spirit of Wine will make Horns black so the Snow white Calx of Silver in fair water V. To make Bones white They are strangely made white by boiling with water and Lime continually scumming of it VI. To dye Bones green Take white Wine-vinegar a quart filings of Copper Verdigriese of each three ounces Rue bruised one handful mix them and put the Bones therein for fifteen days VII To Dye Wood Horn or Bones red First boil them in Alom water then put them into tincture of Brazil in Alom water for two or three weeks or into Tincture of Brazil in Milk VIII To Dye them Blew Having first boiled them● in Alom water then put them into the Dissolution of Indico in Urine To Dye them Green like Emeralds Take Aqua fortis and put as much filings of Copper into it as it will dissolve then put the Wood Horns or Bones therein for a night X. To Dye Bristles and Feathers Boil them in Alom water and after while they are warm put them into Tincture of Saffron if you would have them yellow or juice of Elder berries if blew or in Tincture of Verdigriese if green XI To Dye an Azure Colour Take Roch Alom filings of Brass of each two ounces Fish glew half an ounce Vinegar or Fair water a pint boil it to the Consumption of the half XII To soften Ivory and Bones Lay them twelve hours in Aqua fortis then three days in the juice of Beets and they will be tender and you may make of them what you will To

barden them again lay them in strong White-wine Vinegar XIII To make Horns soft Take Urine a Month old Quick-lime one pound calcined Tartar half a pound Tartar crude Salt of each four ounces mix and boil all together then strain it twice or thrice in which put the horns for eight days and they will be soft XIV Another way to make them soft Take ashes of which glass is made Quick-lime of each a pound water a sufficient quantity boil them till one third part is consumed then put a feather into it if the feather peel it is sodden enough if not boil it longer then clarify it and put it out into which put filings of Horn for two days anoint your hand with oyl and work the horns as it were paste then make it into what fashion you please XV. Another way to soften Horns Take juices of Marubium Alexanders Yarrow Celandine and Radish roots with strong Vinegar mix them into which put Horns and digest seven days in horse-dung then work them as before XVI To cast Horns in a mould like as Lead Make a Lixivium of Calcined Tartar and Quick-lime into which put filings or scrapings of Horn boil them well together and they will be as it were pap tinge it of the colour you would have it and then you may cast it in a mould and make thereof what fashioned things you please XVII To make Ivory white If Ivory be yellow spotted or coloured lay it in Quick-lime pour a little water over it letting it lye twenty four hours and it will be fair and white CHAP. XXXVI Of Dying Yarn Linnen Cloth and the like I. TO Dye a sad Brown First infuse the matter to be dyed in a strong tincture of Hermodacts then in a bag put Saffron and ashes stratum super stratum upon which put water two parts mixed with Vinegar one part strain the water and Vinegar through hot fifteen or sixteen times in this Lixiviate Tincture of Saffron put what you would dye letting it lie a night then take it out and hang it up to dry without wringing which do in like manner the second and third times II. To Dye a Blew Colour Take Ebulus berries ripe and well dried steep them in Vinegar twelve hours then with your hands rub them and strain through a linnen cloth putting thereto some bruised Verditer and Alom Note if the Blew is to be clear put more Verditer to it III. Another excellent Blew Dye Take Copper scales one ounce Vinegar three ounces Salt one Drachm put all into a Copper vessel and when you would dye put the said matter into the tincture of Brazil IV. Another excellent Blew Dye Take calcined Tartar three pugils unslak'd Lime one pugil make a Lixivium and filtrate it to twelve or fifteen quarts of the same water put Flanders blew one pound and mix them well set it to the fire till you can scarcely endure your hand in it then first boil what you would dye in Alom water then dry it afterwards dip it in hot Lye twice or thrice then put it into the Dye V. A good red Dye Take Brazil in powder fine Vermilion of each half an ounce boil them in Rain water with Alom one drachm boil it till it is half consumed VI. Another excellent good Red Dye Take of the Lixivium of unslak'd Lime one pint Brazil in powder one ounce boil to the half then put to it Alom half an ounce keep it warm but not to boil then dip what you would dye first in a Lixivium of Red wine Tartar let it dry then put it into the Dye VII Another very good Red. Take Rosset with gum Arabick boil them a quarter of an hour strain it then first boil what you would dye in Alom water two hours after put it into the Dye VIII To make a fair Russet Dye Take two quarts of water Brazil one ounce boil it to a quart put to it a sufficient quantity of Granie and two drachms of Gum Arabick IX A good Purple Colour Take Myrtle berries two pound Alom calcined Brass of each one ounce water two quarts mix them in a Brass kettle and boil half an hour then strain it X. A Yellow Colour Take berries of purging Thorn gathered about Lammas day bruise them adding a little Alom in powder then keep all in a Brass vessel XI Another good Yellow Put Alom in powder to the Tincture of Saffron in Vinegar XII A very good Green Colour Take Sap green bruise it put water to it then add a little Alom mix and infuse for two or three days XIII To take out Spots Wash the spots with oyl of Tartar per Deliquium two or three times and they will vanish then wash with water Spirit of Wine to wash with is excellent in this case If they be Ink spots juice of Lemmons or Spirit of Salt is incomparable washing often and drying it so also Castle Soap and Vinegar CHAP. XXXVII Of the Dying of Stuffs Cloaths and Silks I. TO make a substantial blew Dye Take Woad one pound and mix it with four pound of boiling water Infuse it twenty four hours then die with it all white colours II. To make a firm black Dye First Wad it with the former Blew then take of Galls one pound water sixty pound Vitriol three pounds first boil the Galls and water with the Stuff or Cloath two hours then put in the Coperas at a cooler heat for one hour then take out the Cloath or Stuff and cool it and put it in for another hour boiling it Lastly take it out again cool it and put in once more III. To make an excellent Yellow Dye Take liquor or decoction of Wheat-bran being very clear sixty pound in which dissolve three pound of Alom then boil the stuff or cloath in it for two hours after which take Wold two pounds and boil it till you see the colour good IV. To make a very good Green Dye First Dye the Cloth or Stuff Yellow by the third Section then put it into the Blew Dye in the first Section of this Chapter V. To make a pure clear Red Dye Take Liquor or Infusion of Wheat-bran being strained and made very clear sixty pounds Alom two pounds Tartar one pound mix and dissolve them with which boil the Stuff or Cloath for two hours take it then out and boil it in fresh Wheat-bran liquor sixty pounds to which put Madder three pounds perfect the colour at a moderate heat without boiling VI. To make a very pleasant Purple Dye First Dye it Blew by the first rule of this Chapter then boil it in the former Red at the fifth rule hereof Lastly finish it with a decoction of Brazil VII To Dye Crimson in Grain First boil it in the Red at the fifth rule of this Chapter then finish it in a strong tincture of Cochenele made in the Wheat-bran Liquor aforefaid VIII To make a Bow-dye or Scarlet Colour Take water an hundred pounds Cremor Tartari and Aqua

them V. Thirdly Naiades Nymphs of the floods Draw them beautiful with arms and legs naked their hair clear as Crystal upon their heads garlands of water-cresses with red leaves their actions powring out water They are so called from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to flow or bubble as water doth VI. Thet is a Lady of a brown complexion her hair scattered about her shoulders crowned with a coronet of Periwincle and Escallop shells in a mantle of Sea-green with chains and bracelets of Amber about her Neck and Arms and a branch of red Coral in her hand VII Galatea a most beautiful young Virgin her hair carelesly falling about her shoulders like silver threads and at each ear a fair pearl with a double string of them sometimes about her Neck and left Arm a mantle of pure thin and fine white waving as it were by the gentle breathing of the air viewing in her hand a spunge made of Sea-froth she is so called from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 lac milk VIII Iris a Nymph with large wings extended like to a semicircle the plumes set in rows of divers colours as yellow green red blew or purple her hair hanging before her eyes her breasts like clouds drops of water falling from her body and in her hand Iris or the Flower-de-luce Virgil makes her the messenger of Juno where she is taken for the air when he saith Irin de Coelo misit Saturnia Juno IX Nymphae Dianae Let them be cloathed in white linnen to denote their Virginity and their garments girt about them their Arms and Shoulders naked bows in their hands and arrows by their sides X. Aurora the Morning A young Virgin with carnation wings and a yellow mantle in her forehead a star and Golden Sun-beams from the Crown of her head riding upon Pegasus with a viol of dew in one hand and various flowers in the other which she scattereth upon the earth CHAP. XXII Of the Nine Muses I. CLio She is drawn with a Coronet of Bays in her right hand a Trumpet in her left a Book upon which may be written Historia her name is from praise or glory II. Euterpe Is crowned with a garland of flowers holding in each hand sundry wind instruments her name is from giving delight III. Thalia Draw her with a smiling look and upon her Temples a Coronet of Ivy a Mantle of Carnation embroidered with silver twist and gold spangles and in her left hand a vizard her Ivy shews she is mistriss of Comical Poesie IV. Melpomene Draw her like a virago with a majestick and grave countenance adorn her head with Pearls Diamonds and Rubies holding in her left hand Scepters with Crowns upon them other Crowns and Scepters lying at her feet and in her right hand a naked poniard in a Mantle of changeable Crimson Her gravity befits Tragick Poesie V. Polybymnia Draw her acting a Speech with her forefinger all in white her hair hanging loose about her shoulders of an orient yellow upon her head a garland of the choicest jewels intermixt with flowers and in her left hand a book upon which let it be written Suadere her name imports memory to whom the Rhetorician is beholden VI. Erato She hath her name from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Amor Love draw her with a sweet and comely visage her temples girt with Myrtles and Roses bearing an heart with an Ivory Key by her side Cupid winged with a lighted torch at his back his bow and quivers VII Terpsichore a chearful visage playing upon some Instrument upon her head a Coronet of Feathers of sundry Colours but chiefly green in token of the victory which the Muses got of the Syrenes c. by ●●nging VIII Vrania A beautiful Lady in an azure robe upon her head a Coronet of bright stars in her right hand the Coelestial globe and in her left the Terrestrial Her name imports as much as heavenly Vrania coeli motus serutatur Astra IX Calliope Upon her head draw a Coronet of Gold upon her left Arm Garlands of Bays in store for the reward of Poets and in her right hand three books upon which write Homerus Virgilius Ovidius The Muses had their names as Eusebius saith 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is to instruct because they teach the m●st bonest and laudable disciplines CHAP. XIII Of the four Winds I. EVrus the East-wind Draw a youth with puffed and blown cheeks as all the other winds must be wings upon his shoulders his body like a Tauny Moor upon his head a Red Sun II. Zephyrus the West-wind Draw a youth with a merry look holding in his hand a Swan with wings displai'd as about to sing on his head a garland of all sorts of-flowers 'T is called Zephyrus quasi 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 bringing life because it cherisheth and quickneth III. Boreas the North-wind Draw it like an old man with a horrid terrible look his hair and beard covered with snow or the hoar-frost with the feet and tail of a Serpent IV. Auster the South-wind is drawn with head and wings wet a pot or urn pouring forth water with which descend frogs grashoppers and the like creatures which are bred by moisture CHAP. XXIV Of the Months of the Year I. JAnuary must be drawn all in white like snow or hoar froast blowing his fingers in his left arm a billet and Aquarius standing by his side II. February is drawn in a dark skie colour carrying in his right hand Pisces or Fishes III. March is drawn tawny with a fierce look a helmet upon his head leaning upon a Spade in his right hand Aries in his left Almond Blossoms and Scions and upon his arm a basket of Garden-seeds IV. April is drawn like a young man in green with a garland of Myrtle and Hawthorn-buds winged in the one hand Primroses and Violets in the other Taurus V. May is drawn with a sweet and lovely aspect in a robe of white and green embroidered with Daffadils Haw-thorn and Blew-bottles on his head a garland of white red Damask-roses in the one hand a Lute upon the forefinger of the other a Nightingal VI. June is drawn in a mantle of dark grass-green upon his head a Coronet of Bents King-cobs and Maiden-hair in his left hand an Angle in his right Cancer and upon his Arm a basket of Summer fruits VII July is drawn in a Jacket of a light yellow eating Cherries with his face and bosome Sun-burnt on his head a garland of Centaury and Tyme on his shoulder a Sithe with a bottle at his girldle carrying a Lion VIII August is like a young man of a fierce look in a flame-coloured robe upon his head a garland of wheat upon his arm a basket of Summer fruits at his belt a Sickle bearing a Virgin IX September is drawn in a purple robe with a cheerful look and on his head a Coronet of white and purple grapes in his left hand a handful of Oats with a Cornucopia of Pomegranates and other

and red lead and Ceruse stain it wherefore you must deepen your colours so that the Orpiment may be highest and so it may agree with all Colours XVII Masticot Grind it with a small quantity of Saffron in gum-gum-water and never make it lighter than it is it will endure to lie upon all colours and metals XVIII Saffron Steep it in Glair it may be ground with Vermilion XIX Pink-yellow If you would have it sad coloured grind it with Saffron if light with Ceruse mix it with weak gum-water and so use it XX. Oker de Luce Grind it with pure Brazil-water it makes a passing hair colour and is a natural shadow for gold XXI Vmber It is a more sad colour Grind it with gum-water or gum-lake and lighten it if you please with a little Ceruse and a blade of Saffron XXII Vltramarine If you would have it deep grind it with Litmose-water but if light with fine Ceruse and a weak Gum-Arabick water XXIII Indico Grind it with water of Gum-Arabick as Ultramarine XXIV Blew bice Grind it with clean water as small as you can then put it into a shell and wash it thus put as much water to it as will fill up the vessel or shell and stir it well let it stand an hour and the filth and dirty water cast away then put in more clean water do thus four or five times and at last put in Gum-Arabick water somewhat weak that the Bice may fall to the bottom pour off the gum-water and put more to it wash it again drie it and mix it with weak gum-water if you would have it rise of the same colour but with a stiff water of Gum-lake if you would have a most perfect blew if a light blew grind it with a little Ceruse but if a most deep blew add water of Litmose XXV Smalt Grind it with a little fine Roset and it will make a deep Violet and by putting in a quantity of Ceruse it will make a light Violet XXVI Litmose blew Grind it with Ceruse with too much Litmose it makes a deep blew with too much Ceruse a light blew grind it with the weak water of Gum-Arabick Take fine Litmose cut it in pieces lay it in weak water of Gum-lake for twenty four hours and you shall have a water of a most perfect Azure with which water you may Diaper and Damask upon all other blews to make them shew more fair and beautiful XXVII Orchal Grind it with unslak'd Lime and Urine it makes a pure Violet by putting to more or less Lime you may make the Violet light or deep as you please CHAP. XIX Of Mixt and Compound Colours I. MVrry It is a wonderful beautiful colour composed of purple and white it is made thus Take Sinaper-lake two ounces white Lead one ounce grind them together See the 24 Section II. A Glass grey Mingle Ceruse with a little Azure III. A Bay colour Mingle Vermilion with a little Spanish brown and black IV. A deep Purple It is made of Indico Spanish brown and white It is called in Latine Purpureus in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 a kind of shell fish that yields a liquour of that coulour V. An Ash colour or Grey It is made by mixing white and Lamp-black or white with Sinaper Indico and black make an Ash colour It is called in Latine Caesius and color Cinerius in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 VI. Light Green It is made of Pink and Smalt with white to make it lighter if need require VII Saffron colour It is made of Saffron alone by infusion VIII Flame colour It is made of Vermilion and Orpiment mixed deep or light at pleasure or thus Take red Lead and mix it with Masticote which heighten with white IX A Violet Colour Indico white and Sinaper Lake make a good Violet So also Ceruse and Litmose of each equal parts X. Lead colour It is made of White mixed with Indico XI Scarlet colour It is made of Red Lead Lake Vermilion yet Vermilion in this case is not very useful XII To make Vermilion Take Brimstone in powder one ounce mix it with Quicksilver a pound put it into a Crucible well luted and upon a Charcoal fire heat it till it is red hot then take it off and let it cool XIII To make a bright Crimson Mix tincture of Brazil with a little Ceruse ground with fair water XIV To make a sad Crimson Mix the aforesaid light Crimson with a little Indico ground with fair water XV. To make a pure Lake Take Urine twenty pound boil it in a Kettle and scum it with an Iron Scummer till it comes to sixteen pound to which add gum Lake one pound Alom five ounces boil all till it is well coloured which you may try by dipping therein a piece of linnen cloth then add sweet Alom in powder a sufficient quantity strain it and let it stand strain it again through a dry cloth till the liquor be clear that which remains in the cloth or bag is the pure Lake XVI To make a Crimson Lake It is usually made of the flocks shorn off from Crimson cloth by a Lye made of Salt peter which extracts the colour which precipitate edulcorate and dry in the Sun or a Stove XVII A pure Green Take white Tartar and Verdegriese temper them with strong white Wine Vinegar in which a little gum Arabick hath been dissolved XVIII A pure Violet Take a little Indico and tincture of Brazil grind them with a little Ceruse XIX A pure Purple colour Take fine Brimstone an ounce and an half Quicksilver Sal Armoniack Jupiter of each one ounce beat the Brimstone and Salt into powder and make an Amalgamie with the Quicksilver and Tinn mix all together which put into a great glass Goard make under it an ordinary fire and keep it in a constant heat for the space of six hours XX. To make a Yellow Colour Take the yellow chives in white Lilies steep them in gum water and it will make a perfect yellow the same from Saffron and Tartar tempered with gum water XXI To make a Red colour Take the roots of the lesser Bugloss and beat them and strain out the juice and mix it with Alom water XXII To make excellent good Greens The Liver of a Lamprey makes an excellent and durable grass green and yellow laid upon blew will change into green so likewise the juice of a blew Flower-de-luce mixed with gum water will be a perfect and durable green or blew according as it is used XXIII To make a Purple colour Take the juice of Bilberries and mix it with Alom and Galls and so paint with it XXIV To make a good Murry Temper Rosset with a little Rose water in which a little gum hath been dissolved and it will be good but not exceeding that at the first Section of this Chapter XXV To make Azure or Blew Mix the Azure with glew water

green verditure and the farthest and faintest places with blew bice or blew verditure mingled with white and shadowed with blew verditure in the shadows indifferent thick III. Let the high-ways be done with red and white lead and for variety yellow oker shadow it with burnt umber which you may use for sandy rocks and hills IV. Rocks may be done with several colours in some places black and white in other places red and white and in others blew and white and the like as you see convenient V. The water must be black verditure and white shadowed with green and blew verditure when the banks cast a green shadow upon the water and the water is dark shadowed then shade it with indico green thickned and blew verditure VI. Colour buildings with as much variety of pleasant colours as may be imaginable yet let reason be your rule in mixing your colours you may sometimes use white and black for the wall conduits or other things for Brick-houses and the like red lead and white if many houses stand together set them off with variety of colours as umber and white lake and white red lead and white and the like VII Lastly for the sky use masticot or yellow berries and white for the lowest and lightest places red rosset and white for the next degree blew bice and white for the other blew bice or blew verditure for the highest These degrees and colours must be so wrought together that the edge of each colour may not receive any sharpness that is so as that you cannot perceive where you began to lay them being so drowned one in another CHAP. XXIV Of the practice of Washing I. WIth the Alom-water wet over the pictures to be coloured for that keeps the colours from sinking into the paper and will add a lustre unto them make them shew fairer and keep them from fading II. Then let the paper dry of it self being washed with Alom-water before you lay on the colours or before you wet it again for some paper will need wetting four or five times III. The washing of the paper with the Alom-water must be done with a large pencil brush such as we have advised to at the sixth Section of the nineteenth Chapter of this Book IV. But if you intend to varnish your pictures after you have coloured them instead of washing them with Alom water first size them with new size made of good white starch with a very fine brush and this you must be sure to do all over for else the varnish will sink through V. Having thus prepared your work go to laying on your Colours according to the former directions suiting them as near as may be to the life of everything VI. The picture being painted you may with size at the fourth Section of the nineteenth Chapter of this Book paste your maps or pictures upon cloth thus wet the sheet of cloth therein wring it out and strain it upon a frame or nail it upon a wall or board and so paste your maps or pictures thereon VII Lastly if the picture be to be varnished having thus fixed it into its proper frame then varnish it with a proper varnish by the following rules and the work will be fully finished CHAP. XXV Of the making of Varnishes I. VArnish for painting in Oyl Take Mastich two ounces Oyl of Turpentine one ounce put the Mastich in powder into the Oyl and melt it over the fire letting it boil little or nothing lest it be clammy when it is enough you may know by putting in a hens feather for then it will burn it II. Varnish for painted pictures Take white Rozin one pound Plumb-tree gum or gum Arabick Venice Turpentine Linseed oyl of each two ounces first melt the Rozin and strain it very hot steep the Gum in oyl Olive oyl ben is better till it is dissolved and strain it to which put the Turpentine and Rozin and over a slow fire mingle them till they are well dissolved When you use it use it hot III. Another for the same Take Olibanum and gum Sandrack in powder which mingle with Venice Turpentine melting and incorporating them still over a gentle fire then strain it hot When you use it let it be hot and your Varnish will shine well it dries immediately IV. Another for the same Take oyl of Linseed which distill in a glass Retort one ounce fair Amber dissolved three ounces mix them over a flow fire and it is done V. A very good Varnish for Gold Silver Brass Iron Stone Wood Vedom or Paper Take Benjamin made into fine powder between two papers put it into a vial and cover it with Spirit of Wine four fingers above it and let it stand three or four days then strain it and it will be bright and shining drying immediately and retaining its brightness many years If you varnish Gold or any thing gilded before the straining you should put in a few blades of Saffron for colour sake but if Silver or any thing white you ought to use the white part of the Benjamin only VI. A varnish particularly for Gold Silver Tin or Copper Take Linseed oyl six ounces Mastich Aloes Epatick of each one ounce put the gums in powder into the Oyl into a glazed earthen pot which cover with another luting them together in the bottom of which let be a hole whereinto put a small stick with a broad end to stir withal cover them all over with clay except the hole set it over the fire and stir it as often as it seetheth for a little while then strain it for use First let the metal be polished then strike it over with this varnish VII A Varnish for Wood and Leather Take Tincture of Saffron or Turmerick in Spirit of Wine a pint prepared gum Lake a sufficient quantity dissolve the gum in the tincture and it is done This is a Varnish of great use to lay over Gold and Silver or any thing which is exposed to the Air. VIII To make the Common Varnish Take spirit of Wine a quart Rozin one ounce Gum Lake a sufficient quantity dissolve the gums in a gentle heat being close covered and let them settle then gently decant off the clear which keep in a close glass Bottle for use The thick which remains you may strain through a cloth and keep for other purposes IX To make a red Varnish Take spirit of Wine a quart gum Lake four ounces Sanguis Draconis in fine powder eight ounces Cochenele one ounce digest a week over a gentle heat then strain it for use X. To make a yellow Varnish Take spirit of Wine a pint in which infuse three or four days Saffron half an ounce then strain it and add Aloes Succotrina one ounce Sanguis Draconis two ounces which digest a week over a gentle heat close covered then strain it for use XI An Vniversal Varnish the best of all others Take good gum Sandrick but gum Anime is better dissolve it in the highest

encreased so the purple colour shall be either lighter or deeper XIV A few Grains of Cochenele being mixed with the Lixivium of Quicklime in a due proportion makes a fading purple colour of the greatest glory imaginable in the world XV. The juice of privet berries with spirit of salt is turned into a lovely red but with a strong solution of pot ashes into a delightful green XVI Upon things red by nature as syrup of Clove-gilliflowers juice of Buckthorn berries infusion of red roses Brazil c. Spirit of Salt makes no considerable change but rather a lighter red but other salts turn them into a greenish especially juice of buckthorn berries XVII Juice of Jasmin and snow drops by a strong alcalizate solution was although of no colour turned into a deep greenish yellow XVIII Buckthorn berries being gathered green and dried are called sap-berries which being infused in Alom water gives a fair yellow which is used by Book-binders for the edges of their books and to colour leather also being gathered when they are black they are called sap green and make a green colour being put into a brass or copper vessel for three or four days or a little heated upon the fire and mixed with Alom in powder and pressed forth so put into bladders hanging it up till it is dry And being gathered about the end of November when they are ready to drop they yield a purplish colour XIX Tincture of Cochenele diluted never so much with fair water will never yield a yellow colour a single drop of a deep solution in spirit of Urine diluted in an ounce of fair water makes a fair pink or carnation XX. Oyl or spirit of Turpentine digested with pure white Sugar of lead yields in a short time a high red tincture which Chymists call Balsamum Saturni XXI Spirit of Salt dropt into a strong infusion of Cochenele or juice of black cherries makes immediately a fair red but dropt into the Infusion of Brazil a kind of yellow so the filtrated tincture of Balaustins mixed with good spirit of Urine or the like turns of a darkish green but with spirit of salt a high redness like rich Claret wine which glorious colour may in a moment be destroyed and turned into a dirty green by spirit of Urine XXII A high Infusion of Lignum Nephriticum mixed with spirit of Urine gives so deep a blew as to make the liquor opacous which after a day or two vanishes and leaves the liquor of a bright amber colour Where note that instead of Spirit of Vrine you may use oyl of Tartar or a strong solution of pot ashes XXIII Infusion of Logwood in fair water mixt with spirit of Sal Armoniack straight turns into a deep rich lovely purple two or three drops to a spoonsul is enough lest the colour be so deep as to be opacous XXIV Spirit of Sal Armoniack will turn syrup of Violets to a lovely green XXV Infusion of Litmoss in fair water gives in a clear glass a purple colour but by addition of spirit of Salt it will be wholly changed into a glorious yellow XXVI The Infusions and juices of several plants will be much altered by a solution of Lead in spirit of Vinegar it will turn infusion of red rose leaves into a sad green XXVII So Tincture of red roses in fair water would be turned into a thick green with the solution of Minium in spirit of Vinegar and then with the addition of oyl of Vitriol the resolved Lead would precipitate white leaving the liquor of a clear high red colour again XXVIII We have not yet found that to exhibit strong variety of colours there need be imployed any more than these five White Black Red Blew Yellow for these being variously compounded and decompounded exhibit a variety and number of colours such as those who are strangers to painting can hardly imagine XXIX So Black and White variously mixed make a vast company of light and deep Grays Blew and Yellow many Greens Red and Yellow Orange-tawnies Red and White Carnations Red and Blew Purples c. producing many colours for which we want names XXX Acid salts destroy a blew Colour Sulphurous Urinous or fixed restore it XXXI Acid and Alcalizate salts with many bodies that abound with Sulphureous or oyly parts will produce a red as is manifest in the Tincture of Sulphur made with Lixioiums of Calcined Tartar or pot ashes XXXII Lastly it may be worth tryal since it hath succeeded in some experiments so to take away the colour of a Liquor as that it may be colourless which in what we have tryed was thus first by putting into the Tincture Liquor or juice a quantity of the solution of pot ashes or oyl of Tartar per deliquium and then affusing a good or strong solution of Alom which in our observations precipitated the tinging matter or gathered it into one body like as it were curds and so left the Liquor transparent and clear as Crystal CHAP. XXII General Experimental observations of Mineral Colours I. SVblimate dissolved in fair water and mixed with a little spirit of Urine makes a milk white mixture in a moment which by addition of Aqua Fortis immediately again becomes transparent II. If Sublimate two ounces and Tin-glass one ounce be sublimed together you will have a sublimate not inferiour to the best orient Pearls in the world III. Silver dissolved in Aqua fortis and evaporated to dryness and fair water poured two or three times thereon and evaporated till the calx is dry leaves it of a Snow whiteness which rubbed upon the skin wetted with spittle water or the like produces a deep blackness not to be obliterated in some days With this Ivory hair and horns may be dyed in fair water of a lasting black IV. Coral dissolved by oyl of vitriol Sulphur or spirit of Vinegar and precipitated by oyl of Tartar yields a Snow whiteness The same of crude Lead and Quicksilver dissolved in Aqua Fortis So butter of Antimony rectified by bare affusion in much fair water will though Unctuous be precipitated into the Sn●w white powder which being washed from its corrosive salts is called Mercurius Vitae the like of which may be made without the addition of any Mercury at all V. Mercury Sublimate and precipitate yields with the spirit of Urine Harts horn or the like a white precipitate but with the solution of Pot ashes or other Lixiviate salts an Orange tawny And if on a filtrated solution of Vitriol you put the solution of a fixed salt there will subside a copious substance far from whiteness which Chymists call the Sulphur of Vitriol VI. If Copper two ounces be mixed with Tin one ounce the reddishness will vanish and if Arsenick calcined with Nitre in a just proportion be mixed with melted Copper it will be blanched both within and without VII Fine powders of blew Bice and yellow Orpiment slightly mixed give a good green and a high yellow solution of

melt it again and quench it in the juice of Celandine melt it again and quench it in salt water then in Vinegar mixed with Sal armoniack and lastly melt it and put it into ashes and it will be well cleansed XIV To make Lead of a golden colour Put Quick-silver one ounce into a Crucible set it over the fire till it is hot then add to it of the best Leaf-gold one ounce and take it from the fire and mingle it with purified Lead melted one pound mingle all well together with an Iron rod to which put of the filterated solution of Vitriol in fair water one ounce then let it cool and it will be of a good colour Dissolve the Vitriol in its equal weight of water XLVI To take away the ringing and softness of Tin Melt the Tin and cast in some Quick-silver remove it from the fire and put it into a glass Retort with a large round belly and a very long neck heat it red hot in the fire till the Mercury sublimes and the Tin remains at bottom do thus three or four times The same may be done by calcining of it three or four times by which means it will sooner be red hot than melt XLVII To take away the softness and creaking noise of Tin This is done by granulating of it often and then reducing it again and quenching it often in Vinegar and a Lixivium of Salt of Tartar The creaking noise is taken away by melting it seven or eight several times and quenching it in Boys Urine or else oyl of Walnuts XLVIII To take away the deaf sound of Tin This is done by dissolving it in Aqua fortis over a gentle fire till the water fly away doing thus so long till it is all turned to a calx which mixed with calx of silver and reduced performs the work XLIX To make that Tin crack not Take Salt Honey of each alike and mix them melt your Tin and put it twelve or more times into it then strain out the Tin and it will purge and leave cracking put it into a crucible which lute and calcine it four and twenty hours and it will be like calx of gold L. To take away the brittleness of any Metal First calcine it and put it under dung then do thus when it is red hot at the fire or melted quench it often in Aqua vitae often distilled or use about them Rosin or Turpentine or the oyl of it or wax suet Euphorbium Myrrh artificial Borax for if a metal be not malleable unctuous bodies will oftentimes make them softer if all these or some of these be made up with some moisture into little Cakes and when the metal yields to the fire by blowing with the bellows we cast in some of them and make them thick like mud or clear thenset the Metal to the fire that it may be red hot in burning coals take it forth quench it in them so let it remain half an hour to drink in Or anoint the Metal with dogs grease and melt it with it for that will take away much of the brittleness of it and make it so that it may be hammered and wrought LI. To colour Metal like gold Take Sal armoniack White Vitriol Stone Salt Verdigriese of each alike in fine powder lay it upon the Metal then put it into the fire for an hour take it out and quench it in Urine and the Metal will have the colour of gold LII To make a kind of Counterfeited Silver of Tin This is done by mingling Silver with Tin melted with Quick-silver continuing it long in the fire then being brittle it is made tough by keeping it in a gentle fire or under hot Embers in a Crucible for about twenty four hours LIII To Solder upon Silver Brass or Iron Take Silver five peny weight Brass four peny weight melt them together for soft Solder which runs soonest Take Silver five peny weight Copper three peny weight melt them together for hard Solder Beat the Solder thin and lay it over the place to be Soldred which must be first fitted and bound together with Wire as occasion requires then take Borax in powder and temper it like pap and lay it upon the Solder letting it dry then cover it with quick coals and blow and it will run immediately then take it presently out of the fire and it is done Note 1. If a thing is to be Soldred in two places which cannot be well done at one time you must first Solder with the hard Solder and then with the soft for if it be first done with the soft it will unsolder again before the other be soldred 2. That if you would not have your Solder run about the piece to be Soldred rub those places over with Chalk LIV. To make the Silver tree of the Philosophers Take Aqua fortis four ounces fine Silver one ounce which dissolve in it then take Aqua fortis two ounces in which dissolve Quick-silver mix these two Liquors together in a clear glass with a pint of pure water stop the glass close and after a day you shall see a Tree to grow by little and little which is wonderful and pleasant to behold LV. To make the Golden tree of the Philosophers Take oyl of Sand or Flints oyl of Tartar per deliquium of each alike mix them well together then dissolve Sol in Aqua Regis and evaporate the menstruum dry the Calx by the fire but make it not too hot for then it will lose its growing quality break it into little bits not into powder which bits put into the aforesaid liquor a fingers breadth one from another in a very clear glass keep the liquor from the Air and let the Calx stand still and the bits of Calx will presently begin to grow first swell then put forth one or two stems then divers branches and twigs so exactly as you cannot but wonder to see Where note that this growing is not imaginary but real LVI To make the Steel tree of the Philosophers Dissolve Steel in rectified spirit or oyl of Salt so shall you have a green and sweet solution swelling like brimstone filter it and abstract all the moisture with a gentle heat and there will distil over a liquor as sweet as rain water for steel by reason of its dryness detains the Corrosiveness of the spirit of Salt which remaineth in the bottom like a blood red mass and it is as hot on the tongue as fire dissolve this blood red mass in oyl of Flints or Sand and you shall see it grow up in two or three hours like a tree with stem and branches If you prove this tree at the test it will yield good gold which it draweth from the oyl of Sand or Flints the said oyl being full of a pure golden Sulphur LVII To make oyl of Flints or Sand. Take of most pure Salt of Tartar in fine powder twenty ounces small Sand Flints pebbles or

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

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

the hair and it will make it grow long and soft use it often VIII To preserve the hair from splitting at ends Anoint the ends thereof with oil Omphacine or oil of Myrtles they are eminent in this case to preserve the hair from splitting so also an ointment made of Honey Bees wax and oil Omphacine or Bears griese CHAP. XLI Of the Art of Perfuming in general I. IN this Art two things are to be considered viz. 1. The way and manner of making of Perfumes 2. The way and manner of Perfuming II. The Perfume it self is considered 1. In respect of its Form 2. In respect of its Composition III. The Form of the Perfume is either Water Oil Essence Unguent Powder or Tablets IV. The Making and Composition is taken from the Form and matter V. The Matter is either Vegetable Animal or Mineral VI. The way of Perfuming is according to the matter to be perfumed VII The matter to be perfumed is either natural as Hairs Skins Cloaths Air c. or Artificial as Pomanders Powders Wash-balls Soaps Candles and other things of like nature CHAP. XLII Of the Matter of which Perfumes are made I. THe ground of Vegetable Perfumes is taken from Flowers Seeds Herbs Roots Woods Barks and Gums II. The chief Flowers for this use are of Clove-Gilliflowers Roses Jasemin Lavender Oranges and Saffron III. The chief Seeds or fruits are Nutmets Cloves Carrawaies Grains Seeds of Geranium Moschatum and the Nut Ben. IV. The chief Herbs are Geranium Moschatum Basil sweet Majoram Tyme Angelica Rosemary Lavender Hysop sweet Trefoyl Mint and Bay-tree leaves V. The chief Roots are of Calamus Aromaticus Ginger China Caryophyllata Indian Spicknard and sweet Orrice or Iris. VI. The chief Woods are of yellow Sanders Xylobalsamum Lignum Aloes and Rhodium VII The Barks and Peels are of Cinnamon Mace Oranges Limons and Citrons VIII The chief Gums are Frankincense Olibanum Labdanum Styrax liquid Styrax Balsamum Verum Ambergriese Styrax Calamita Benjamin Amber Camphire IX The chief matters of Perfumes taken from Animals are Musk Zibet Cow-dung and other turds X. Of Minerals there is one only which yields a Perfume and that is Antimony CHAP. XLIII Of the Oil of Ben. I. THe little Nut which the Arabians call Ben is the same which the Latins call Nux Vnguentaria and the Greeks Balanos Myrepsta out of which is taken an Oil of great use in the Art of Perfuming II. To make the Oil of Ben. Blanch the Nuts and beat them very carefully in a mortar and sprinkle them with wine put them into an earthen or Iron Pan and heat them hot then put them into a linnen cloth and press them in an Almond press this work repeat till all the Oil is extracted so have you Oil of Ben by expression III. In like manner you may express the Oil out of Citron seeds incomparable for this purpose to extract the scent out of Musk Civit Amber and the like because it will not quickly grow rank yet Oil of the Nut Ben is much better IV. This Oil of Ben hath two properties the one is that having no scent or odour of it self it alters changes or diminishes the scent of any Perfume put into it the other is that it is of a long continuance so that it scarcely ever changeth corrupts or putrifies as other Oils do V. To make a Perfume thereof put the Musk Amber c. in fine powder thereinto which keep in a glass bottle very close stopped for a month or more then use it VI. Or thus Blanch your Nuts and bruise them Almonds may do though not so good and lay them between two rows of Flowers suppose Roses Jasemin c. or other Perfumes when the Flowers have lost their scent and fade remove them adding fresh ones which repeat so long as the Flowers are in season then squeez out the oil and it will be most odoriferous VII Lastly by this last you may draw a sweet scent out of those Flowers out of which you cannot distil any sweet water CHAP. XLI Of sweet Waters I. THe first sweet Water Take Cloves in powder two drachms yellow Sanders Calamus Aromaticus of each one scruple Aquae Rosarum Damascenarum fifteen pound digest four days then distil in an Alembick to this new distilled water put in powder Cloves Cinnamon Benjamin Storax Calamita of each one drachm distil again in Balneo lastly put the water into a glass bottle with Musk and Ambergriese of each ten granis keep it close stopt for use II. The second sweet Water Take Damask Roses exungulated three pound Flowers of Lavender and Spike of each four ounces Clove-gilliflowers and Flowers of Jasemin of each two pound Orange-flowers one pound Citron peels four drachms Cloves two drachms Cinnamon Storax Calamita Benjamin Nutmegs of each two scruples all in powder Aquae Rosarum six pound digest ten days then distil in Balneo to the distilled water add of Musk and Ambergriese of each thirty grains III. The third sweet water Take Roses Clove-gilliflowers of each one pound Flowers of Rosemary Lavender Jasemin Majoram Savory Time of each three ounces dry Citron peels one ounce Cinnamon Benjamin Storax Calamita of each two drachms Nutmegs Mace of each one drachm bruise the Herbs and Spices well digest in the Sun two days then distil in Balneo to the distilled water add Musk in powder one scruple IV. The fourth sweet Water Take Cloves Cinnamon of each one drachm Mace Grains Musk Ambergriese Citron peels of each half a scruple Benjamin Storax Calamita of each one scruple Aqua Resarum twelve pound digest fifteen days then distil in Balneo V. The fifth sweet Water Take Rosemary-flower water Orange-flower water of each five pound Ambergriese one scruple digest ten days then distil in Balneo VI. The sixth sweet Water Take Roses two pound Macaleb half a drachm Ambergriese ten grains bruise what is to be bruised digest in sand three days then distil in Balneo VII The seventh sweet Water Take green peels of Oranges and Citrons of each four drachms Cloves half a drachm flowers of Spike six ounces Aquae Rosarum Damascenarum six pound digest ten days then distil in Balneo VIII The eighth sweet Water Take of the water at the fifth Section six pound Musk ten grains mix and digest them for use IX The ninth sweet Water Take Aquae Rosarum Aquae Florum de J●semin of each four pound Musk one scruple digest ten days then distil in sand X. The tenth sweet Water Take Dam●sk-rose Musk-roses Orange-flowers of each four pound Cloves two ounces Nutmegs one ounce distil in an Alembick in the nose of which hang Musk three scruples Amber two scruples Civet one scruple tyed up in a rag dipt in bran and the white of an egg mixed XI The eleventh sweet Water called Aqua Nanfa or Naphe Take Aqua Rosarum four pound Orange-flower water two pound waters of sweet Trefoyl Lavender Sweet Majoram of each eight ounces Benjamin two ounces storax

twenty times lastly take Musk and Ambergriese a sufficient quantity which mix with oil of Jasemin Benjamin or Ben dissolve at the fire with a little perfumed water with which with a pencil strike the Gloves or Leather over on the outside besmearing the seams with Civet lasty lay them for six or eight days between two mattresses so will the Skins or Gloves ●e excellently perfumed II. Another way very excellent Take three pints of Wine Sheeps suet or fat one pound boil them together in a vessel close covered this done wash the Griese six or seven times well with fair water then boil it again in White-wine and Rose water of each one pound and a half with a small fire till the half be consumed then take the said griese to which put pulp of sweet Navews roasted half a pound boil all in Rose water half an hour then strain it and beat it in a mortar with a little oil of Jas●min and Musk with which besmear your Gloves after due washing as aforesaid rubbing it well in by the fire III. Another way for Gloves Wash new Corduban Gloves wash them well three or four days once a day in good White-wine pressing and smoothing them well lastly wash them in musked water letting them lye therein for a day then dry them with care This done steep Musk Amber Bazil of each one drachm in a quart of sweet water in which dissolve gum Tragacanth three drachms boil all gently together and in the boiling add Zibet one scruple with which besmear the Gloves rubbing and chafing it in then drying them according to Art IV. Or thus First wash the Gloves or Skins in white-wine then dry them in the shade then wash them in sweet water mixed with oil of Cloves and Labdanum of each alike lastly take Musk Civet Ambergriese of each the quantity of six grains oil of Musk half a drachm mucilage of gum Tragacanth fifteen grains mix them well together in a mortar which chafe into the wash'd Gloves before the fire V. Cloths Linnen or Woolen Coffers Trunks and the like are best perfumed with little cost with the ●●oak of burning Perfumes CHAP. LVIII Of making various sorts of Ink. I. TO make good black writing Ink. Take ponderous galls three ounces in powder White-wine or in place thereof rain water which is better three pound infuse them in the Sun or in a gentle heat two days then take Roman Vitriol well coloured and powdred which put therein and set all in the Sun for two days more shake all together to which add of good gum Arabick in little bits one ounce with a little white Sugar which dissolve over a gentle fire II. To make red writing Ink. Take Raspins of Brazil one ounce white lead Alom of each two drachms grind and mingle them infuse them in Urine one pound with gum Arabick eight scruples III. Another way to make red Ink. Take Wine-vinegar two pound Raspings of Brazil two ounces Alom half an ounce infuse all ten days then gently boil to which add gum Arabick five drachms dissolve the Gum strain and keep it for use IV. To make green Ink to write with Make fine Verdigriese into paste with strong Vinegar and infusion of green galls in which a little gum Arabick hath been dissolved let it dry and when you would write with it temper it with infusion of green Galls aforesaid V. Another way to make green Ink to write with Dissolve Verdigriese in Vinegar then strain it and grind it with a little honey and mucilage of gum Tragacanth upon a porphyry stone VI. To make blew Ink to write with Grind Indico with honey mixed with glair of eggs or glew water made of Ising lass dissolved in water and strained VII To make red writing Ink of Vermilion Grind Vermilion well upon a porphyry stone with common water dry it and put it into a glass vessel to which put Urine shake all together let it settle then pour off the Urine and putting on more Urine repeat this work eight or ten times so will the Vermilion be well cleansed to which put glair of Eggs to swim on it above a fingers breadth stir them together and setling abstract the glair then put on more glair of eggs repeating the same work eight or ten times also to take away the scent of the Urine lastly mix it with fresh glair and keep it in a glass vessel close stop'd for use When you use it mix it with water or vinegar VIII To make Printers black This is made by mingling Lamp black with liquid Varnish and boiling it a little which you may make thick at pleasure You must make it moister in winter than in Summer and note that the thicker Ink makes the fairer letter If it be too thick you must put in more Linseed oil or oil of Walnuts so may you make it thicker or thinner at pleasure IX To make red Printing Ink. Grind Vermilion very well with the aforesaid liquid Varnish or Linseed oil X. To make green Printing Ink. Grind Spanish green with the said Varnish or Linseed oil as aforesaid And after the same manner may you make Printers blew by grinding Azure with the said Linseed oil CHAP. LIX Of making Sealing Wax I. To make red Sealing Wax Take white Bees wax one pound Turpentine three ounces Vermilion in powder well ground oil Olive of each one ounce melt the wax and Turpentine let it cool a little then add the rest beating them well together II. To do the same otherwise This is done by taking away the Vermilion and adding instead thereof red Lead three ounces to the former things III. To make green Wax Take Wax one pound Turpentine three ounces Verdigriese ground Oil Olive of each one ounce complete the work by the first Section IV. To make black Wax Take Bees Wax one pound Turpentine three ounces black earth Oil Olive of each one ounce mix and make Wax as aforesaid V. To make Wax perfumed This is done by mixing with the Oil Olive aforesaid Musk Ambergriese or any other eminent Perfume as oil of Cinnamon adeps Rosarum or the like one drachm more or less according as you intend to have its scent extended VI. After the same manner you may make Scaling wax of all colours having what scent you please by mixing the scent intended with the Oil Olive and putting the colour in in place of the Vermilion CHAP. LX. Of the various ways of making Artificial Pearls I. THe first Way Dissolve mother of Pearl in spirit of Vinegar then precipitate it with oil of Sulphur per Campanum not with Oleum Tartari for that takes away the splendor which adds a lustre to it dry the precipitate and mix it with whites of eggs of which mass you may make Pearls of what largeness you please which before they be dry bore through with a silver Wire so will you have pearls scarcely to be discerned from those which are truly natural II. The second way Take Chalk