with a knife in the palme of your hand spread it over instantly lay on a piece of abortive parchment let it be prest in a book till it be almost dry then smooth it on the back-side To preserve Colours fresh grind them with the gall of a Neet To prepare White Excellently Take some Serus which being grosly bruised and White put into a fine earthen Bason put to it a good quantity of running water distilled wherein wash the Serus till it be throughly clean and purged which you shall know by the Taste of the water which is drained from thence Is made thus take of Oyl of Turpentine one Vernish pound Sandrake one pound Oyl of Spike one pound mixt the Oyles together and let all stand over the fire till the Sandrake be dissolved if the fire should chance to catch hold on this clap a pewter dish over it Concerning Wax-work or Moulding to make the Moulds Take a good big lump of plaister of Paris and The Mould burn it in a Cruciple till it be red hot let it cool then beat it very fine and searse it through a Tiffany Sieve be very cautious that the wind come not at it for that will hinder its hardening after it be tempered keep it wrapt up in a clean brown paper use it thus take any Earthen or Pewter Vessel that is shallow and put ten or twelve spoonfulls of fair water in it then prepare your fruit and bind a rag round it like a cord in a wreath long wayes on the fruit then take some linsed Oyle or which is more cleanly Oyl of sweet Almonds with which in a pencil besmear the Lemmon or what other fruit it be on the one side which lay uppermost your Lemmon thus prepared take some of your sifted plaister of Paris and temper it in the fore-mentioned water to a pretty thickness then as speedily as may be with the help of your spoon cast it on the oyled Lemmon lay it on very thick least the thinness of the Mould spoil the work when 't is hardned which will be in a small time take away your rag leaving the linnen still fast in it's half mould which done turn the hardned side downward then Oyl the other half of the Lemmon together with the edges of the mould which the rag did cover then wash your porringer or vessel where the former plaister was clean and prepared and cast on more plaister of Paris as before observe it must not be too thick when you cast it on and after 't is hardned you must put no more water to it for then it will crumble when you have done the moulds so and made a notch that one may fall fitly into the other tye them close together having before well Oyled them and keep them for use To cast in these Moulds Use the whitest and purest Virgins wax To cast To colour the wax answerable to the things you mould For a Raddish your ground is Serus which must To colour be afterwards painted over with Lake the top of the Raddish painted with Verdigrease all other such colours must be tempered with gum water gum water is thus made dissolve a lump of pure gum Araback about the bigness of a Walnut in two spoonfulls of fair water herewith temper your colours Note that every thing Mouldable is either all of one and the same colour as a Lemmon or striped and particoloured with different colours as a Pear Pearmain c. Now such as are of one colour may be easily cast all of the same colour but such as are varicated must be kept out afterwards by colours tempered with gum water as above you colour your wax by putting into it whilest it is hot and melted in a Gally-pot a little linnen bag of that colour you use provided that the colour be before bruised very fine As to particulars for the Lemmons or Apricocks take only Turmerick in a bag for Oranges turmerick and red Lead well tempered Apples Pears or Grapes turmerick and a little Verdigrease Wallnuts and Figs mix turmerick and English Ocur and Vmber all in a bag together Cucumbers or Hartichoaks Peescods or Filbirds turmerick verdigrease Eggs and Serus all put into several baggs and steept in the Virgins wax when 't is melting as before mentioned for Damason bruise Charcole Indigo and blew starch in a bag together for flesh colour white Lead and vermilion mixt c. To counterfeit Rochcandid sweet meats Dissolve the quantity of a walnut of gum Araback Rochcandy in two spoonfulls of clear water let it be very thick then take any piece of broken Venice glass the thicker the better beat it in a morter so small as you please that it may serve your occasion daub over some cast sweet meats with the fore-mentioned gum water strew this powder on them and t' will with much delight satisfie the expectation Additional Observations out of a Manuscript of Mr. Hilliards touching Miniture When you begin to Limn temper all your colours fresh with your Finger in your shell or on your pallat Pearl Your Pearl must be laid with a white mixture with a little black a little Indigo and Mastick but very little in comparison of the white not to the hundreth part that dry give the light of the Pearl with a little silver somewhat more to the light then the shadowed side then take a white allai'd with Masticot and underneath the shadowed side give it a compassing stroak which shews a reflection then without that a small shadovv of Seacole undermost of all But note your silver must be laid round and full The manner how to draw vvith Indian Ink. To draw with Indian Ink after the manner of vvashing or instead of Indian Ink take Lamp-black or Bread burnt temper a little of your Indian Ink with fair vvater in a shell or upon your hand your outlines being drawn with Cole or black Lead take an indifferent long sharp pointed pencil dip the point into fair vvater then dip the pencil into the Indian Ink and draw all your outlines very faint Note that all the temperature of Indian Ink must be thin and vvaterish and not too black when it is dry take a little crum of stale vvhite bread and rub out the outlines which you drew with the Cole if too black then dash on your shadows very faintly and deepen it by degrees as you think convenient then finish it with stipples it being most advantagious to any one that shall practice Limning beware of taking too much colour in your pencil which you may prevent by drawing the pencil through your Lipps in laying on your shadows never lay them to deep but deepen them down by degrees for if too deep you can never heighten them again How to prevent your colours from sinking in Take Roach Allum and boyle it in spring vvater then take a bit of a spunge and dip it into the vvater and wet the back-side of your paper that you
Bice allowing one quantity of Pinck to three of blew Bice to deepen this colour in Landskip or Drapery mix with it a little Indigo finely ground Vmber Brown This colour is somewhat greasy to cleanse it burn it in a Cruciple afterwards grind it and it will be good Indian Red. Dark Red Because this colour is very course you may use Vmber and a little lake tempered which is as good Black Black Ivory and Cherry-stone are both to be burnt in a Cruciple and so ground Cherrystone is good for Drapery for a black Sattin temper with it a little white Indian Lake and Indigo heighten it with a lighter mixture deepen it with Ivory black this was Hilliards way Ivory Black Black Grind Ivory with a pittance of white Sugar Candy which will preserve it from crackling out of your shel Indian Lake Purple Grind this with a little gum water and when it is ground fine before you put it into the shell mix a little powder of white Sugar Candy vvith it vvhich vvill preserve it from crackling after this temperature you may spread it thinly vvith your finger about the shell Observations in Grinding Leave not your colour too moist but thick and clammy if after your colour be dry in your shell you rubbing your fingers thereon shall find any to come off it must be better bound vvith gum and if too much gum it will shine and be apt to crackle off after it is used To wash Bice Blew Grind your Bice first very purely then fill a large shell with clean water put the Bice therein and stirr it then let it settle One hower take off the scum and powre off the water then reserve the bottome vvhen it is dry for use To deepen this use Litmus water How to choose your Pencils Choose such Pencils as are clear and sharp pointed not dividing into parts of these you must have in readiness a several Pencil for every several colour To prepare a Tablet to work on with Miniture for Pictures by the life Take an ordinary playing Card polish it with a Dogs Tooth and make as smooth as you can the white side of it cleansing it from all spots and extuberances then choose of the best abortive parchment a Piece proportionable to your Card which piece with fine and clean starch past fast on the card temper the starch before you past it on in the palme of your hand that it may be free from Knots let the card thus pasted dry then making your grinding-stone as clean as may be lay the card thereon with the parchment side downwards then with a Tooth burnish or polish the backside as hard as you can Note that the outside of the skin is best to Limne upon and must therefore be outmost The Ground colour for a Face Your card thus prepared you are to lay a ground or primer of flesh colour before you begin your work and that must be tempered according to the complexion of the Face to be drawn if the complexion be fair temper white red lead and lake if an hard swarthy complexion mingle with your white and red a little fine Masticot or English Ocur but Note that your ground ought alwayes to be fairer then the Face you take for it is a facile matter to darken a light colour but a difficult to lighten a deep one for in Limning you must never heighten but work them down to their just colour Your ground thus prepared you must lay it on the card ordered as before with a Pencil bigger then ordinary lay it on as smooth even and free from hairs of your Pencil as 't is possible which that you may do fill your Pencil full of colour rather thin or watrish then thick and gross and with two or three dawbes of your great Pencil lay it on in an instant the nimbler it is laid on the evener the colour will ly Note that you ought to cover rather too much then too little with this prime cover somewhat more of the card with the ground colour then you shall use for the Face This done take a pretty large Pallet of Ivory and before you begin to work temper certain little heaps of several shadowes for the Face which you must temper with your finger about the Pallet The Order of Shadowes for the Face In all your Shadowes remember to mix Shadows some white exempli gratia for the red in the Cheeks Lips c. temper Lake red Lead and a little white for the blew as the Veins c. a little Indigo and white for blew Bice is never used in a Face for the faintest and weakest colour or shades Lake and white a little Ocur and a little Indigo adding thereto if you will a small pittance of Pinck or Masticot for the deeper shadowes white English Ocur Vmber for the darkest and hardest shadowes use Lake and Pink mixt with Vmber Note that black must not by any means be used in a Face for other shadowes your own observation must direct you for it is impossible to give a general Rule for the shadowes in all Faces unless we could force nature to observe the same method in composing and modelling them so that one in every punctilio should resemble the other For your Light to draw by a Northern is accounted Light best which if it fall slooping down from an high window is best Place your self to your Desk that the Position light may strike in sidelong from the left-hand to the right and observe that in all your works it will shew to the best advantage when it is turned and seen by the same light it was drawn by Let a Saucer or clean Shell of fair Water be Necessaries in Limning ever on your right hand wherewith you may temper your colours and wash your pencils together with a brush pencil dry to cleanse your work from dust also a sharp penknife wherewith to take away such specks or hairs as may casually mix with your colours or fall into your card you may also conveniently cover your picture with a piece of paper whereon to try your pencils before you begin to work To begin a Face Having these accommodations draw the The first draught lines of porphile i. e. the outmost stroak of a Face with lake and white mingled very faint by this you may conveniently mend the draught if false with a deeper mixture of the same colour the lines being exactly drawn and true proportion observed which is the chiefest thing of concernment next observe the deeper and more remarkable shadowes and with the same faint Crimson colour of lake and white give some slight touches and marks somewhat roughly of these shadowes which afterward you 'l finish The Order to be observed in drawing by the life First you must only dead colour the Face The Order of drawing first sitting as the Oyl-painters do and not meddle with the rest and this first sitting commonly takes up two hours The
intend to draw on very thin whilest the vvater is hot in the vvetting of it be as nimble as you can and this will prevent it from sinking The manner how to draw vvith vvater colours upon Sattin Take Izing glass and steep it Four and twenty hours in water then boyl it in spirit of vvine untill it be very clammy which you will perceive by dipping your finger into it then after your outlines are drawn upon the Sattin take an indifferent big pencil and wash it thin over as far as your outlines are which will prevent your colours from sinking or flowing A farther observation in grinding of colours Observe in grinding ultramarine and other colours that your motion be not too swift but grind it gentle and slow because the swiftness of the motion causeth the stones to heat by which consequence your colour will starve or loose something of it's Lustre especially if it be a colour of no great Body as Pinck and Indigo c. observe in grinding white that you grind it not too much least it prove greasy or oyly or of a dirty colour How to prepare Vmber Take Vmber and grind it very fine put it into an earthen pot or gally pot of fair water cover it over and keep it from dust and in frosty weather let it freeze untill it thaws of it self then power off the water and when it is dry put it up in paper for your use And when you temper it in your shell use a drop or two of white Onyon water which will preserve it from crackling The Art of Etching The Grounds and Rules of Etching BEfore that you begin to Etch upon copper it is very necessary to practise the Art of drawing till you be able if need require to draw any head after the life or to draw a design for if you intend to practice the Art of Etching you will find it very profitable to draw after good prints which are well designed and graved and when you have practised so long that you are able to coppy any print or drawing very exactly then draw after good Heads of plaister or figures according to your own fancy which will learn you to shadow according to Art if well observed therefore be sure when you draw after plaister to observe very exactly to take the true outlines or circumferences and then take notice how the shadow falls then shadow it very faint and soft vvhere need requires The prints which I recommend unto you as absolutely the best to learn to Etch or Grave after be the prints of Henry Goldshis and Hermon Muller therefore it is very convenient to leaan to hatch vvith the Pen exactly after either of the aforesaid prints of Goldshis or Muller and when you have brought it to that perfection and can draw very well after plaister you may practise to draw after the life but before you draw after the life you must be very exact and true in your outlines or circumferences The Instruments with their particular names which are used to Etch withall A Copper plate polished a piece of ground bound up in a piece of Silk or Taffatae and preserved from any dust or grease and about twenty Needles of all sizes the best are made at Cleafe then take the Needles and set them indifferent deep into some round slender sticks about a span long with a Needle at one of the ends of the sticks and a pencil at the other a scraper a polisher and two or three good French gravers well ground and whetted and a pair of Compasses a Ruler some green wax a Bottle which holdeth some half a pound of single Aqua fortis stoped close with soft wax some white Lead a Stift a hand Vice to hold the Plate over the fire an Oyl stone The use and property of every particular Instrument The Copper Plate is the only matter to Etch upon the ground is to lay upon the Copper Plate when they are both warmed your Needles are to hatch withall upon the ground the pencil is to wipe away the bits of ground which rise when you hatch upon the ground with your Needles the scraper is to scrape out any thing that is amiss the Polisher is to make smooth any place that is rough so that you can mend any place that is amiss according to your own Mind the Gravers are to mend here and there a stroak where need requires But note that your Gravers must be ground and whet very sharp and smooth upon an Oyl stone before you use them your Compasses are of very little use in Etching except it be to measure a distance or strike a Circle the Ruler is used to hatch all the straight hatches or Lines upon the Plate The green vvax is used to make a Wall round about the edges of your Plate to keep the Aqua fortis from running off from the Plate the Aqua fortis is the finisher of the vvork vvhen you have hatched the design upon the Plate with your Needles The white Lead is used to scrape upon the back-side of the drawing or print that you Etch after The Stift is used to draw through all the outmost Lines or circumferences of the print or drawing which you Etch after The Oyl stone is to vvhet your Gravers upon having these things in readiness Note that if it be a black Ground that lyes upon the Plate then you must take white Lead and rub it upon the back-side of the print or drawing which you intend to Etch after but if it be a vvhite Ground then you must take black Lead or a piece of Charcole and rub on the back of your print as aforesaid The manner and way to make the Ground Take a quarter of a pound of Virgins wax and half a quarter of a pound of Expoltum burnt of Amber One Ounce of Mastick One Ounce Having all these materials in readiness you must take the Mastick and the Expoltum and beat them very fine in a mortar this being done take a new earthen Pot and put the wax into it and set it upon the fire let not the fire be too hot which if you do it will burn the ground therefore when they are throughly melted take it off from the fire and pour the ground out into a Pot of fair water and make it up into a Ball and preserve it from dust and when you will use it take a quantity of it and bind it up in a piece of Taffatae or Silk and use it as hereafter A red Ground Grind red Lead very well tempered with Vernish A white Ground Take of wax one Ounce Rosin two Ounces melt them together add thereto a quarter of an Ounce of Venice Serus finely ground A black Ground Asphaltum two parts Bees wax one part melt them Spaltum together being warm lay it thinly on with a Lawn rag Another Ground Grind red Lead with Linseed Oyl Note your ground must be laid very thin The manner and way to lay
from the Plate very clean then take some Oyl and rub over the Plate to clean it and if you perceive that the Aqua fortis hath not eaten as deep in some places as it should be then it must be helped with a Graver Observations by which you may know when it is deep enough When the Aqua fortis hath lain upon the Plate a little more then a quarter of an hour or half an hour there being no certainty in time because sometimes the Aqua fortis will work stronger then at another therefore when you think it is deep enough pour off the Aqua fortis from the Plate into a glass then wash the Plate with a little fairwater then take a Knife and scrape off a little piece of the ground where it is hatcht and may be least prejudicial to the Plate and if you perceive it not to be deep enough take a little candle tallow and melt it in a spoon and while it is warm take a pencil and cover the plate with it where you scraped the ground off then pour the aqua-fortis upon it again and let it lye till you guess it to be deep enough then pour the Aqua fortis from the Plate as aforesaid and at any time when you perceive that the Aqua fortis doth not work strong enough you pour off half the old and refresh it with some new for when the Aqua fortis hath been upon the Plate about half an hour it will be much the weaker because the strength of it doth evaporate away and by a little practice you will come to the certain knowledge when the Aqua fortis hath eaten deep enough Another way to know when it is deep enough Take a little piece of a Copper plate and lay a ground upon it as you before mentioned and make a wax wall about it then hatch it with several hatches as you think best and when you pour the Aqua fortis upon the one pour it upon the other and when you think they be eaten deep enough pour the Aqua fortis from the little Plate and wash it with some fair water as aforesaid then take a Knife and scrape off a little piece of the ground from the little Plate where it is hatcht and in case you percieve it not deep enough cover the place again with some warme candle tallow and then pour the Aqua fortis upon it again till you guess it be enough then pour the Aqua fortis from the little Plate again and try as before and if you see it to be enough pour the Aqua fortis from the great Plate and wash it with a little fair water before you warm it or else the Aqua fortis will stain the Plate A way to lay a white Ground upon a Black First you must understand that most grounds are black and when you lay a white ground upon a black you must not smoak the black with a Link and you must lay the undermost ground the thinner when you lay a white ground upon it and if you would lay a white ground upon a black take a quantity of Serice as much as you think will cover the plate and grind it very fine with gum water and temper it very thin then take a pencil and wash the plate all over very thin and even The way to lay a red Ground upon a black Ground Take the red Chalk and grind it very fine with gum water then take a pretty big pencil and wash the plate all over with the red ground very thin and smooth as before mentioned A Receipt for a ground taken out of a Manuscript of Collots Take a quarter of a pound of Virgins wax and half a quarter of a pound of the best Expolium burnt of Amber and half a quarter of a pound of Mastick if it be warm weather because it doth harden the ground and preserve it from injury when you lean with your hand hard upon it if it be cold vveather then take but an ounce of Mastick this being observed then take an ounce of Rosin and an ounce of Shoomakers pitch and half an ounce of other pitch half an ounce of Vernish having all these materials in readiness take a new earthen pot and put the Virgins vvax into it and when it is melted stir it about and put in the other materials by degrees as before mentioned and when they are throughly mingled and melted take the pot off from the fire and pour it out in a clean pot of fair vvater and vvork it into a Ball and preserve it from dust and grease and when you have occasion to make use of it take a quantity thereof and bind it up in a piece of Silk and make use of it as before mentioned The Ground of Rinebrant of Rine Take half an ounce of Expoltum burnt of Amber one ounce of Virgins vvax half an ounce of Mastick then take the Mastick and Expoltum and beat them severally very fine in a Mortar this being done take a new earthen pot and set it upon a Charcole-fire then put the Virgins vvax into it and melt it then shake into it the Mastick and Expoltum by degrees stirring the Wax about till they be throughly mingled then pour it forth into fair vvater and make a Ball of it and use it as before mentioned but be sure you do not heat the plate too hot when you lay the ground on it and lay your black ground very thin and the white ground upon it this is the only way of Rinebrant The way to preserve any Ground which is laid upon a Plate in Frosty weather Take the plate and wrap it very warm in a wollen cloth and lay it in the warmest place you can convenient for if the frost is gotten into the ground it will break up when you pour the Aqua fortis upon it A way to preserve the Plate from injury of the Aqua fortis where the Ground breaks up If you perceive the ground to break up in any place pour off the Aqua fortis from the plate and wash it with a little fair water then take a quantity of Candle tallow and melt it in a spoon and while it is warm take a pencil and cover the Plate which is broken up with the said tallow and so far as the tallow is spread the Aqua fortis will not eat some make use of Vernish instead of tallow and when you have covered the place that is broken pour on the Aqua fortis again and let it lye upon the plate till you guess it hath eaten enough then pour the Aqua fortis from the plate and preserve it then take the wax Wall and preserve it also and wash the plate with a little fair Water then rub off your ground as aforesaid and for the places which the ground broak up in it must be helped with a Graver Therefore it will be necessary for one that desireth to learn this Art to practice graving a little so much
plate then take a sharp Stift and trace out the outlines of the design you drew with the white Chalk and where you would have the light strike strongest take a burnisher and burnish that part of the plate where you would have the light strike as clean as it was when it was first polished where you would have the fainter light you must not polish it so much and this way you may make it either fainter or stronger according to your fancy As for the manner or shape of the Engin they are divers and if any ingenious person have a desire to have any made the Author will give them farther directions FINIS A Table of the Contents of this Book OF the Vertue and Praise of Proportion or Symetry Pag. 1. Of the Necessity and Definition of Proportion 3. Of the Head in Porphile or Side-vvayes 5. Of the Fore-right Face 7. Of a Head in Fore-shortning Ibid. Of the Side-Face vvithout any Measure 8. Of several Observations in drawing a Head after the Life 9. Of the Proportion of a Man of ten Faces 10. Of the Proportion of a Mans Body of ten Faces 15. Of the extravigant Proportion of ten Heads Ibid. Of the Proportion of a young Man of nine Heads 16. Of the Proportion of a Man of eight Heads 18. Of the Proportion of a Mans Body of seven Heads 19. Of the Proportion of a Woman of ten Faces 20. Of the Proportion of a Woman of ten Heads 21. Of the Proportion of a Woman of nine Faces 22. Of the Proportion of a Woman of nine Heads Ibid. Of the Proportion of a Woman of seven Heads 23. Of the Proportion of Children Ibid. The Definition of Painting 24. Of the Vertue of Light 35. Of the Necessity of Light 38. Of the Nature of Light 40. Of the Vertue and Efficacy of Motion 44. Of the Necessity of Motion 48. Of the Passions of the Minde their Original and difference 55. How the Body is altered by the passions of the Minde 56. Of the Motions procured by the seven Planets 58. Of Jupiter 59. Of Mars 60. Of Sol. Ibid. Of Venus 61. Of Mercury Ibid. Of Luna 62. How all the Motions may accidently befall any man though diversly 64. Of Divers others Necessary Motions 67. Of the Motions of all sorts of Cloth or Drapery 71. Of the Motions of Trees and other things that are moved 74. The Art of Miniture or Limning 77. Of the colours to be used in Limning Ibid. The way and manner of preparing colours 78. Of vvhite Lead Ibid. Colours to be vvashed and Hovv Ibid. Of Colours to be vvashed 79. Of Colours to be ground Ibid. Of the Nature of Colours in general Ibid. Observations in grinding 80. To vvash Bice Ibid. Hovv to choose your pencils 81. To prepare a Tablet to vvork on Ibid. The ground colour for a Face Ibid. The Order of shadovves for the Face 82. To beginn a Face 83. The Order to be observed in dravving by the life 84. Concerning dead Colouring Ibid. The second vvork of Limning 85. The Order of Limning in the second sitting 86. A Crimson ground 87. The manner of finishing at the third sitting 88. Concerning Ornaments Ibid. A Receipt to make Liquid Gold 89. Of Landskip 90. A Dark Green 91. A rare secret to preserve Colours Ibid. Some general Observations in Miniture Ibid. To make Crayons or Pastiles 92. To make vvhite Ibid. To make vvhite Lead Ibid. To prepare a Card for a Picture Ibid. To prepare vvhite excellently Ibid. Concerning Wax vvork or Moulding 93. To cast in Moulds 94. To counterfeit Roch Candid svveetmeets 95. To counterfeit Pearl Ibid. The manner hovv to dravv vvith Indian Ink. Ibid. Hovv to prevent your Colour from sinking 96. The manner hovv to dravv vvith vvater colour upon sattin Ibid. A farther observation in Grinding Ibid. Hovv to prepare Umber 97. The grounds and rules of Etching Ibid. The Instruments vvith their particular names to Etch vvithall 98. The use and property of every particular Instrument Ibid. The manner and vvay to make the ground 99. A red ground Ibid. A vvhite ground 100. A black ground Ibid. Another ground Ibid. The manner and vvay to lay the ground upon the Plate Ibid. The vvay to dravv the out lines of any dravving upon the Plate 101. Several observations in Hatching Ibid. Necessary observations in Etching Landskips 102. Hovv to lay a vvax vvall upon a plate Ibid. Hovv to use Aqua Fortis on the plate 103. Observations by vvhich you may knovv vvhen it is deep enough Ibid. Another vvay to knovv vvhen it is deep enough 104. A vvay to lay a vvhite ground upon a black 105. A vvay to lay a red ground upon a black Ibid. A receipt for a ground taken out of a Manuscript Ibid. The ground of Rinebrant of Rine 106. The vvay to preserve a Ground in Frosty vveather Ibid. A vvay to preserve the Plate from injury Ibid. A vvay to make Aqua Fortis eat soft or hard 107. Observations in Etching prospective Ibid. A vvay to grave any hand or letter upon a Copper Plate 108. The vvay to polish a Copper Plate Ibid. The Names of the Instruments used to polish 109. The use of every particular tool or Instrument Ibid. The manner or vvay of Mezo Tinto 110. The Pitkteer Shope From the Ould Bayly Industrious Man his Tallent To Maintaine Plots Strives Vp Early Late but All in vaine The Moon the World the Heavens so oft Doth Varie No Wonder Man doth Many times Miscarrie R Gaywood secit A.T. 1664 Are to be sold by Arthur Tooker Stationer at the Globe in the Strand ouer against Salisbury hous