Chapter 3, Item 59a
Astronomy
Astronomy and Astrology described.
They are of the Seven Liberal Arts and Sciences, which though they be of a double Name, yet their Art tends to one and the same thing, viz. the measuring of the Heavens, observing the course and motions of the Planets, with all the moveable Constellations, only in this the words differ, Astronomy teacheth the Art of measuring the Heavens, the course and motion, setting and rising of the Planets; and Astrology telleth the future effect of things by their Motions, Conjunctions and Aspect, &c. they are both in one figure described, viz. by Men, or Women, or both, with the Celestial Sphere before them with several instruments belonging to that Art, drawn on Tables, or lying on the ground, as Books, Sun Dials, Quadrants, Jacobs Staff, and the Astrolobe, with such like.
As for the Terms of Art used in Astronomy and astrology, I have formerly set them down (in some part) where I did speak of the Globe, or Celestial Sphere, to which I shall refer you, see lib.2. cap.1. numb.77. and shall only take occasion in this part to Treat so much of these Sciences as concern Heraldry and Antiquity, and that is the course of the Sun, Moon, and Stars, as they manifest unto us the Times and Seasons, Days, Months and Years, &c. the knowledge whereof I must confidently affirm to stand such in great use.
I shall begin first with the year, which consisteth of four Seasons or Quarters; each Quarter containing three Months, each Month four Weeks and some odd days; and every Week exactly seven days; every day being 24 hours, and every hour 60 minutes. Now how these several times were in former Ages distinguished, is the thing I am about to relate; and the ensuing Table will make to appear.
A Year hath by the course of the Sun 12 months, and by the course of the Moon 13 Months; of Weeks 52; and Days 365, except Leap-Year, and then it hath 366 days.
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Chapter 3, Item 59g
Geometry
Geometry.
The Noble Art and Science of Geometry or Measuring the Earth, is described by a Man or Woman in loose Garments (or as the Painter pleaseth) with Compasses in their hands, measuring the Terrestial Globe, with other sorts of Joyners, Masons and Carpenters Instruments of Working lying on the Ground, or laid on Tables, with Books and such like things; shewing thereby, that without Geometry no work can be brought to perfection, or have its due form and proportion; all Arts and Manual Occupations wholly depending upon it: Nevertheless, in this place I shall pass over all other Arts and Sciences which are and may be comprehended under this term Geometry, and only say so much in it, with the terms, as is usefull about the measuring of Land.
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Chapter 3, Item 59h
Measuring Land
Terms or Names given to several parcels of Land according to their largeness, Alphabetically.
Acre, is a certain quantity of Land 40 Perches long, and 4 broad, or to that quantity, be the length or breadth more or less; and others write that 160 Perches square, makes but an Acre.
Butt, is half the quantity of a Loon.
Bovatt of Land, is as much as 15 Acres, in some places 20 Acres.
Barony in Land, is 20 Knights Fees, each Fee containing 680 Acres in Land.
Barley Corn, is the length of 4 Poppy seeds, and 3 Corns make an Inch or a Thumbs breadth.
Carucate of land, or Carve of Land, is a Plow Land, and contains as much Land as may be Tilled and Laboured in a Year and a Day with one Plough. It is also called a Hyde of Land.
Cubit, is the length of the Arm from the Finger end to the Elbow; of some termed a Cube, or Ell, being counted in exact measure half a Yard, or two Spans.
Ell, is three foot nine inches in length, or a yard and a quarter.
Earth, the whole massy Globe is said to be 21600 miles in compass; but the thickness of it is no more than 6873 miles.
Farundell, or Fardingale, or a Farthendell of Land; it is the fourth part of an Acre. Furlong, is a quantity of ground, containing 20 Lugs or Poles in length, and every Pole 16 foot and an half; eight of which Furongs makes a Mile.
Fathom, is 5 foot, or as much as a Man can reach by extending both his Arms; some say 7 foot; the Sea men say 2 yards.
Foot, is 12 Inches in measure; three foot makes a yard. Fall of Land, is six Ells long and six broad is a superficial Fall of measured land; otherwise a Fall is a lineal or line measure of 6 Ells long.
Furrow, is as much as the Plow turneth up at a time, which may be broader or narrower as the Plow man pleaseth.
Fingers breadth contains 2 Barley corns long, or 4 broad laid side to side.
Headland, see Selion; it is the end of the Buts which the Plow in Plowing turneth upon.
Hide of Land, it containeth an 100 Acres of Land, some places make 160 Acres go for a Hide.
Hand Breadth, two make a Span in a true proportioned Man; otherwise 3 inches is taken for the lesser Hands breadth. See Span.
Inch, is the breadth of 3 Barley Corns measured from end to end; 144 square inches makes a square foot, 12 inches make a foot in length. Knights Fee in Land, anciently contained 8 Carucates, or 680 Acres of Land; of some 800 Acres.
Land, or Lond, or Launde, in some places called a Loone, it is as much as two large Buts.
League, is Sea Measure, and is 3 Mile in length.
Lugg, the same to Pole.
Mile in England is 8 Furlongs, every Furlong 40 Perches, every Perch 16 foot and a half, which is more than the Italian Mile by 56 Paces; but our ordinary Miles exceed both the Italian and true English Mile.
Nail of a Yard, is 2 inches and a quarter, which is the 16 part of a yard.
Ox gang of Land, or an Ox-gate, is 13 acres; of some it consists of 15 Acres; see Bovate.
Pearch, or Perch of Land, is 16 foot and a half long; some say 8, other 7 yards makes a Perch, and 49 a Perch square.
Pole is, is the same to Perch, some say 40 makes but a Furlong.
Pick of Land, is a parcel of Land that runs into a corner, containing half a Land.
Pace, is five foot, so that 100 Paces makes an Italian mile: but our English Pace is but 3 foot; see Step.
Plowland, is deemed to be the same in quantity as a Knights Fee; or as much as a Plough can Plow up in a Year, viz. 120 Acres.
Quarter of a Yard, is the 4 part of a yard, or 9 Inches in length.
Rood, is the 4 part of an Acre; a Rood in length is taken to be 8 yards; but a Rood of Land is as aforesaid 10 Fall in length and 4 in breadth.
Rod, see Perch, it is a Staff or Pole of Wood to measure Land withal, of 16 foot and a half long; but a Geometrick Rod or Gad, is but 10 foot, and in some places but 9 foot.
Raipe, is the same to Fall, or Rod.
Ree-an, is the distance between two Butts.
Selion of Land, is no certain quantity, it sometimes contains an Acre, sometimes half, sometimes more or less, it is taken for a ridge of Land lying between two Furrows.
Span, is as much as can be measured from the end of the Thumb to the end of the middle or little Finger extended, and is in a true proportioned Man taken to be a quarter of a Yard; yet in Geometrick measure 3 hands breadth or 9 inches is reckoned for a Span: This is termed the greater Hands breadth.
Step, or the lesser Pace, which is two foot and an half; termed also a Pace.
Stride, or the greater Pace, which is 2 Steps or 5 Foot; from these the Romans counted their Mile, that is Mille Passus, a Thousand Paces, but our English Mile is 56 Paces more.
Virge, or Virgate of Land is 20 Acres, in some places 24 Acres, and in some 30 Acres.
Wareland, it is as much Land as containeth three Lands.
Yardland is the same to Virgate, and containeth 24 or 30 Acres.
Yard, is a Staff to measure by, which is three foot in length.
Geometrical Terms for their Plots, Figures, with their particular Compositions or Lines. [not transcribed]
Geometrical Terms used in Surveying and Measuring of Lands [not transcribed]
Geometrical Figures [not transcribed]
Geometrical Solids [not transcribed]
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Chapter 3, Item 59j
Arithmetic
It is one of the seven Liberal Sciences, and is that by which a multitude of Unities is drawn up into a certain Number: Arithmetick diligently setteth, and seeketh out the reason of Numbers. And is described by a Man in loose Vestment according to the old mode, with Tables full of numeral Figures with Pen or Pencil in hand, Books about them, &c.
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Chapter 3, Item 59k
Philosophy
A Philospher, is a louer of Wisdom, Philosophy searcheth out the causes of things, what, whence, why and how everything is.
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Chapter 3, Item 60a
Painter's equipment
Instruments for Drawing, Limning, and Painting.
Charcoals, are Sallow Wood, or Withy Burnt and split into the forms of Pencils, and sharpned to a point.
Feathers or a Ducks Wing, or such like, which is to wipe off a superfluous score made in a draught by the Charcoal.
Black and red Lead Pencills, which are to draw over your design the second time more exactly.
Pens, made of Ravens Quills, which are to finish and shadow your draught.
Rulers, to draw streight, or Perpendicular Lines, Triangles, Squares and Poligons.
Compasses of Brass, with Steel points, by which is measured the proportion of all things; as also to make Circles, Ovals, and Arches withal.
Coloured Paper or Parchment to draw upon.
Pastils, are rouls of Plaster or Clay, made of divers colours, to draw withal on coloured Paper or Parchment.
Patterns or good Copies to draw by, without which it is impossible a young Artist should attain to any perfection in Drawing.
Gums, which are generally four, as Gum Arabick, Gum Lake, Gum Hedra, Gum Armonick, and Allome.
Colours of all sorts, the principal are these seven, White, Black, Red, Green, Yellow, Blew, Brown, out of which are made, mixed or compounded all sorts of colours.
Liquid Gold, and Silver, Leaf Gold and Silver, Gold Armoniack.
Grinding Stone and Muller, to Grind the colours upon, either in Water, with Gums, or in Oil; and a Lantern Horn or Knife to take them off.
Pencils of all sorts, big and little, and called by several names, as Duck Quill pointed and Fitched, Goose Quill pointed and Fitched, Swan Quill pointed and Fitched, Jewelling Pencills and Bristle Pencils, &c.
Brushes or Tools, are larger than Pencils, and are made of Bristles bound about Sticks, and Nicks of Sticks, Veining Tools.
Tables and Cloths, to Limn and Paint upon.
Size, is Glew made weak with Water.
Shells, Cups, Bladders, or Tins to put the Colours in after they are ground, according as they are to be used either in Water or Oil. An Easel, it is a frame of Wood made after the form of a Ladder, broader at the bottom than the top, with a Stay behind it; on this Frame Painters set their Cloth or Table while it is in working.
A Pallet, is a thin Board, on which Colours are laid for working, to temper them.
Streining Frame, is a Frame of Wood, to which with Nails is fastned the primed Cloth which is to be Painted upon.
Primed Cloth, is the Cloth to be Painted upon, which is first run over with any colour, which is called the Primeing.
Stay or Mol Stick, of some called a Rest; is a light yet strong Stick about a Yard long; it is to rest the Arm upon when working.
Stainshall, of some called a Smuch Box; it is a Tin with a bottom and three sides, in which Oil pencils are put with their points in Oil to keep them from drying.
A Cleanser, is a Tin or a Pot with a smooth edge, having Oil in it to make clean Pencils, that have worked colours in Oil.
Crucible of Earth or Iron to Burn colours in.
Oyls, as Nut Oil, Linseed Oil, Oil of Turpentine, Spike Oil, Varnish.
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Chapter 3, Item 60b
Painter's terms
Terms of Art used by all sorts of Painters, Limnes, Washers and House Stainers.
Arches, or Arch Work.
Angles, cornered Figures.
Artist, a Workman in his Calling or trade.
Arteries, representations of Veins and such things in Naked Bodies.
Anatomy, or anatomical figure, draughts or Pictures of the Skelletons or Bones of Creatures, either Men or beasts.
Aspect, of or belonging to the Face.
Antique, or Antick Work, is a Work for delight sake, being a general or irregular composition of all manner of compartments of Men, Beasts, Birds, Flowers, Fruit, and such like, without either Rule or Reason.
Active Prospective, is the right drawing of Prospective, by its Horizontal and Ichnographical and Geometrical Lines, without which the Active part of Prospective, must of necessity fail in its true proportions of things. Altitude, the height of any proportional things.
Almagrum, or Almagrium, a kind of red Earth for Painting.
Arsenicum, Ortment, a gold yellow.
Auripigmentum, the same.
Ash colour, a composition of much White and a little black.
Azure, a pure bright Sky colour.
Aquaducts, representations of Waters running in Rivers, or in falls from higher places.
Broken Radiation, a kind of By-light.
Base, the bottom or ground work of any thing.
Blew Black, Black made of Charcoal.
Brown red, a red Earth.
Bize, Blew Bize, a delicate Blew.
Bole Armoniack, a red much like a Brick Stone, much used by Gilders.
Backside Work, is a kind of Painting and Gilding upon Glass on one side, to be seen and looked upon on the other.
Black Chaulk, a good transparent shadowing Black.
Colour, or Colouring, is any sort of Colour of Work done with Colours, see Paint.
Circle, a round thing.
Coppy, is the drawing of one Picture or the like from another.
Cones, a thing that goes Spirall, as Spire Steeples.
Cylenders, things that are round and of an equal size at its length, as Pillars, Columns.
Contraction, is the drawing of a thing into a less compass.
Crions, either White or Red Chalk cut into long pieces, and made sharp at the end to draw withall.
Circumference, the rounding or compassing of a thing.
Countenance of a Face.
Circular shadow, a shadow that turns round.
Contemplation of the Object, is the considering and well advising with ones self, how to do, or perform the working of such a piece, as is shewed.
Catoptrick, Catoptrica, it is a second kind of Prospective, and proceeds from a reflected light, as reflection of the Sun, Beams or Looking Glass, where the resemblance alters not from the Original.
Ceruse, a pure white ground, white Lead refined.
Center, the middle of any circumference or round figure.
Cherry Stone Black, ar the Stones Burnt.
Charcoal, Burnt Wood or Willow, or other soft Wood, which is used to draw withal.
Cullen Earth, a kind of dark brown Earth, Fullers Earth burnt.
Crimson colour, it is compounded of Lake and a little White.
Cataracts, falls of Water from high and steep places.
Catagraphy, is the Art of Painting.
Catagrapha, is the drawing of Pictures, so as that they are to be looked upon but one way, if turned they represent other forms.
Colour Man, he that sells Colours, or worketh Colours.
Cleanse, is the making clean either of old Paintings, or the making clean of the Muller, Grinding Stone and Pallet from their colours; or of the Pencils which have Colours in them.
Curved, is a thing drawn crooked or awry, and not according to its due station or proportion.
Cambugium, a kind of Gum of a pure yellow colour.
Cork, or Orchall, a Blew colour for Limning.
Carmaine, a rich Red far exceeding the Scarlet or Vermillion; it is a colour only for glassing.
Drawing, is that whereby in lines we represent the shape and form of any corporal substance.
Draught, is the thing so drawn in rude lines.
Drapery, is the imitating of cloathing, and Artificial setting off the outward coverings, habit and ornaments of the Body.
Drawing after the Life, is to draw the similitude of a thing from the thing itself, a Hand from an Hand, a Face from a Face, a Horse from a Horse, a Flower from a Flower.
Depict, Depicted, Drawn, Painted.
Distance, is the space of place between the painted work and the station of the Beholder. It is also taken and used in the working of Landskips, for to observe a due distance of things, and a universal measure in representing Nature.
Doesling, it is a certain besmearing of a draught with white or red Chalk sharp pointed, here and there, to set it off.
Dark, deep shadow, are shadows for inward parts of things, which are much from the Lights reflection.
Distances in a proportion, is the just length and breadth, of one thing from another, as one Member from the other, without which it cannot be an exact draught.
Double shadow, is when one Hatching or Stroke in a piece of Work crosses another. This is called also a Double Hatch.
Delineate, is to describe a thing in lines according to its apparent or visible proportion.
Direct Radiation, is the streight Light which passeth between the eye and the object looked at.
Diapering, is a tracing or running over a work (when it is finished) with Damask Branches, and such like; it is the counterfeiting of Cloth of Gold, Silver, Damask, with either Branches, Flowers, or other antick devices, in what fashion is most pleasing; it is termed also Damasking.
Dioptrica, it is a kind of Prospective, which is seen by a broken radiation, or Sun Beams; the Dioptick or broken sight is rightly seen in a Tub of Water where the surface is cut.
Diagonal Lines, or lines of distance, are such as are drawn from the point of distance to any other point higher or lower than the Horizon line.
Dead colour, is the first colouring of a piece of Painting.
Degrees of colouring, is colouring according to the various forms and complexions, as Infants and young Children to be painted of a soft and delicate complexion. Virgins and fair Women, as curious, having their Muscles and Veins more perfect. Naked Bodies are to be Painted strong, lively and exact, shewing each Muscle, Nerve and Vein, fixing each Artery in its due place, giving each Limb its proper form and shadow. And old and aged Bodies are to be set forth with eminent, exact, and curious shadows, and all the marks of Antiquity or Age to be very apparaent and formidable.
Design, is the depicting of a thing according to Fancy.
Designing Lines, are the first Stroaks which are made for the drawing of any piece of work, whether Life, History, or Fancy. Dragons Blood, Sanguis Draconis, is a perfect deep Blood red, and is a good Water Shadow for Vermilion and Red Lead.
Distemper work, it is a working the colours with Gum Water or Size, as Oyl colours are wrought. This is also called working in Great.
English Inde or Indicoe, a deep Blew.
Exercise or Practice.
Equidistant, of an even distance.
Edifice or Building.
Extention, the stretching out of a thing, Extend make larger.
Experience, is the knowledge of a thing often doing it. Practice brings Experience.
Emblem or Empress work, is drawing Faces from the Life, which is the most hard and difficult of all other works in this Art, and the most to be commended of all other works.
Foldage, is the folding of Garments in their natural and proper folds; or any thing that turns or crisps it self.
Folds, are the turnings and lapping over of any piece of Cloth in Vests or Garments; of which there are two sorts, the outward folds are them that lye outward and most in sight and to the light; the inward folds are such as have folds lying over them, and are most from the Light.
Figure, is any proportion of Man or Beast, either drawn or modelized. Also by Figures is understood the Geometrical Figures, called Angles, Triangles, Poligons, &c.
Fallings, either in loose Garments, as the folds fall of one from another; or in feathers, which in the falls bend themselves.
Flat, is in Painting and Shadowing, and the term is used when the thing painted comes not round off, or riseth not by its shadow, but lieth flat down, as if it were of no body or substance.
Faint shadows, are such shadows as are scarce seen or discerned.
Features, are the comely shapes and proportions of a face.
Face, is the known and chief part for Grace in any reasonable Creature, it is often used in the Art of Painting, thereby to express its manner and form, as a full face, when every part is seen at one and the same instant of time.
Three quarter Face, when one side and a part of the other side of the Face is only seen.
Half Face, when only the Nose and one side of the Face is seen.
Oblique Face, is when a part of the Face is not seen by reason of some motion, as looking back, upwards or downwards, sideways.
Flory Blew, a colour used by Limners and Washers of Maps.
Finish, is the compleating or ending of a piece of Work.
Foreshortning, is the drawing of things as they appear to the eye, not to the full proportion of each part, but to shorten it according as it is obfuscated or hidden by other parts.
Fore-right side, is that side (in a piece of Prospective work) in which the Artist stood when he drew it from the Place it self; the front of the Work.
Finitor, or Horizon.
Fancy, is a Work done according to a Mans own Mind or Pleasure, or as his own Genius leads him unto.
Fiction or Fantacy, is the making of such Creatures as never were or shall be, upon probable conjecture. Forced Figures to express a Novelty, as Centaurs, Satyrs, Griffins, &c.
Frescoe, or Wall Painting; some call it seiling.
Festoons of Flowers or Fruit, are such things tyed or hung together in a long row, and so turned about Pillars, or set on the tops of seiled Work for Ornament.
Flowerages and Fruitages, are Flowers and Fruit hung and compact together, and proceeding out of an husk or bottom of a Cup Flower.
Fading Colours, such as will not continue long in their Beauty, but turn to another colour.
Fat or clammy, is when colours are old ground, and not fit for working.
Fat Oyl, is Linseed Oil grown thick, or made thick and clammy through Boiling.
Grotescoe, or Antique Work.
Gold Cise, is a colour made for to lay Gold upon.
Ground Plot, is the draught or design of a thing to be worked.
Geometrical Figures, are Lines, Angles, Circumferences, Ovals, &c.
Grind, is to make the colours fine on a Grinding Stone.
Green Bize, a green Colour used by Painters.
Green Verditer, a Welmish or Willow green.
Green Earth, a kind of green Clayie Earth used for a Colour.
Grey, a compound Colour made of much White, and little Black mixt.
Glazed, is to make a thing shine by Varnishing it. Gloss the same.
Ground or ground Colour, is the first Colour, called Primer.
Herbage, see Flowerage, Leaves and Herbs compacted together and hung along.
House Painter, such as only Paint Houses and Plastered Walls.
Hatches are stroakes of a Pen or Pencill, in imitation of a shadow, and they are threefold, as single Hatches, which is only one stroak; double Hatches, which is cross Hatches, for a deeper shadow, and a treble Hatch, which is three stroaks one crossing another, and is for a dark Hatch.
Hard shadow, is when a shadow is deep, or comes not smoothly off, but ends with an edge. Hard shadows.
Horizon, is used several ways, as a fair Horizon, when the Heavens are Painted with a large sight, and shewed with cloudy and clear Air; or else it is taken for the Line in Prospective and Landskip work, equal to the height of the Eye, to which all other parts of the Work both above and under it do tend.
Homogene, is to have a work continued throughout with one and the same kind, not of various matters, as in Diapering and Damasking.
Harts Horn Black, is the Horn burnt in a Luted Crucible.
History, is the Painting of Stories taken from Histories.
Heightening, is to touch up a deep colour with a lighter, to lighten any colour with White.
Herald Painter, is such as Paints Coats of Arms on Escochions, Shields, Tables, Penons, standarts, and such like.
Imitation, is to make one thing by and like to another.
Idea, a figure or form of a thing conceived in the Imagination.
Ichnography, Ichnographick, is the description of the plain, base, or bottom of any piece of Work or Building.
Ichnograpeick geometry, is that as gives the sight of the bottom of base of any Work or Fabrick; as a Circle is the base of a Column, and a Square of a Pedestall.
Ivory Black, it is burnt in a Crucible close stopped.
Indian Lake, a pure Blood colour. Indian Red, a kind of red Earth with Spraks of Silver in it.
Invention, the finding out of a thing, the first device of it, or the bringing out of that which was not before.
Indicoe, an hard, deep, or black Blew.
Inde Baudias, a kind of Indico or Blew colour.
Limning, Painting in Water colours with Gum or size.
Limner, a Painter in Water colours, whether by Life, or otherwise.
Lines, are long scores or stroaks made with Chalk or the like, having length only without breadth or thickness.
Lineaments, are the several parts of the Body.
Landskip, is that kind of Painting as represents the Heavens and the Earth, Trees, Houses, Waters, &c. 1. in their distance. 2. in their mutual position. 3. in visible aspect.
Light side, is that side of a thing where the Light takes it, and enlightens it by striking a lustre upon it, more there than elsewhere.
Lamp Black, it is the foot of Wood Burnt.
Lake, it is a Blood red colour.
Litmose, or Stone Blew, it is a dark filthy Blew.
Life, or Painting from the Life, or thing itself which we imitate.
Lines of distance, Diagonal Lines.
Lay in colours, is the Painting with a Pencill or Brush.
Modell, is a Figure of a thing in kind, being made to do the like by it, and that either in big or little.
Master strokes, are the out or principal lines of any thing to be drawn, or that is drawn.
Measure, the bigness of a thing.
Magnitude.
Mastick, or Masticote, a fair yellow finer than fine Sand.
Murrey, a compound colour of Lake and Smalt.
Napery, the working of Linnen in Painting according to the foldings thereof.
Ovals, are long rounds.
Originals are pieces made from the Life, having no other pattern to work them by; what are worked from them are Coppies from the Originals.
Out-schetches, are the out-lines of any draught, or piece drawn.
Oblique Face, a Face that looks any other way than streight forward, as upwards, downwards, sideways.
Obfuscated, is when one Part or Member is hid by another.
Opticks, is a Prospective term, and signifieth a direct or streight beam of Light, which pass between the Eye and the Object.
Object, is the thing on which we fix the Eye, or that Figure, Body, or edifice intended to be expressed in its proportion.
Orthography, Orthographick, is the sight of the foreright side of any plain or superficies, which lies equidistant to a right line; so that Perspective Orthography is the delineation of the apparent right plain, or plat of Building drawn out in that Figure and Order as the whole Work is, the Pillars behind the fore right side or front declining even to the Visual point.
Obliquely, crookedly, awry, sidelong.
Orchal or Cork, a Blew colour.
Ocar de Luce, an Earth of a bright Hair or Mouse colour, which is a good shadow for Gold or Yellow.
Operation, a working with the hands. Workmanship.
Ortment, a pure yellow, having glittering of Gold in it, called Auripigmentum.
Out-lines, see Master strokes.
Polygraphy, or Polygraphice, is the Art of imitating Nature with proportional lines, and answerable colours to the Life.
Painter, one that follows the Art of Painting, of which there are several sorts according to the Figures or things imitated, as the Painter by Life, History Painter, Landskip Painter, Prospective Painter, the Limner or water colour Painter; Herald or Arms Painter; Seiler or House Painter; Glass Painter; Backside-work Painter; Washer of Maps and Prints; Engraver that works on Copper Plates; the Etcher; and the Drawer for Needle Work and Embrauthery; all which may be famous in their way, and yet Ignorant and unskilful in one anothers Art of Painting, or Drawing.
Perpendicular lines, down right lines.
Poligons,
Practice, is the use of doing things, exercise in Drawing.
Paterns, Copies to draw by.
Polished, made smooth and shining.
Perspicous, that as is most visible and easie to be seen.
Pounce, is to prick holes in a Paper in any form, and then to dust the same with Lime or Charcoal (according to the ground colour, on which the Pricked Paper is to leave the impression of the thing Pricked) and being laid thereon and the Dust rubbed on the holes, leaves the Figure on the Paper or Cloth under it.
Proportion, is the giving each Figure drawn, its due shapes, not one exceeding another, but agreeing in magnitude, similitude and parts, lest it seem crooked and deformed.
Proportion at Distance, is to augment or lessen every thing to their distance from the Eye, making them accordingly.
Perspective, is the Art of well seeing, and is that by which we behold, contemplate, contract and draw the likeness of all Magnitude and great Bodies, just in the same form and manner as they appear to the Eye, as the inside of Churches Rooms, long Streets, and great Fabricks.
Prospect, or Perspect, is to see a Country round about, and at a great distance from us, a looking about.
Pinke, a kind of yellowish green; a colour used by Painters.
Purple, a compound colour of Red and Blew, Lake and Smalt.
Peeling, is the cracking and fretting of Colours in a Picture.
Primer, is the ground colour on which the Painting is wrought, a Primed Cloth is a Cloth made ready and fit to work on.
Painter Stainer, it is the general term given to him that any way dealeth in Colours, either in Selling, or working with them.
Paint seller, a seller of all sorts of Colours.
Portraiting, or Drawing.
Purfling, hatching with a Pencill, as Herald Painters finish up their Work. Finishing.
Prepare your Colours, is to grind them, and make them ready and fit to be used.
Rude Draught, the first drawing or touching out of a Frame, when there is a design to draw it: see Out-Schetches.
Rectifie, mend what is amiss, help the place in Painting where there is an error, or fault; make it more perfect.
Reflection, is returning of the light from one Figure to another.
Reflected Radiations, is when the beams or light, fall on any polished Body: and from thence conveyeth a shape in light to its opposite.
Radiation, is a beam of light conveying the likeness of a thing to the Eye or sight: and the knowledge thereof to the mind and understanding.
Return of the Fore-sight, this is a term in perspective, and is that side which declines from, or maketh an Angle with the right Line or Horizon, from the sight of the Eye.
Rayes, Sun light; see Visual.
Resemble, resemblance, is the likeness of one thing to another.
Red Lead, Lead burnt and made red by fire, and so becomes a colour.
Red Ocar, yellow Ocar burnt in a close Crucible or Iron Pot well luted.
Rosset, a Soft and fadeing colour which will not continue long, it is a rich Carnation, or Peach colour.
Ruines, Dicayed Houses, Monasteries, Towers, and Castles; Ruinous Places.
Squares, are Geometrical Figures with four corners.
Scale, is the square crossings of a Picture, with a Chalke, thereby to draw the like by the help of another Scale made on the cloath, paper, or tablet to be drawn upon. It helps the young Artist to draw a Figure bigger or lesser then the Pattern, and yet have in all parts its due form and proportion.
Schetches, are touches on a Paper with the point of a Charcoal in drawing out of any Figure, and so by little and little running over the whole Work. Some call these Touches, Out-Schetches.
Scatch, Scotch, the same: the out stroakes of a Figure or Draught.
Shadow, it is that as makes a Figure to rise, seem round, of which there are several ways of shaddowing, as faint, flat, deep, harsh and dark Shadows.
Shadow Lines, is to shadow by Lines, which are simple Hatching, double Hatching, and treble Hatching.
Skew, a term in Herald-Painting, which is with a Wing, or Hares foot brush away all the loose edges of Silver and Gold that remains of the working of them. Strike off the loose Gold or Silver. Brush off.
Superficies, in Painting terms, is a complication of Lines; that is, a length and breadth but without thickness.
Solid, is a complication of superficies; that is length and breadth, having depth or thickness.
Scenography, Schenographick; It is the description of a plaine, or other Figure that declines from the apparent or foreright plain: that is of that plain or part which makes Angles with the said foreright plain.
Scenographick Vision, is that a shews the side or a Body, or Edifice which declines from or makes an Angle with the right Line, appearing, rising obliquely to the same side.
Spodium, a kind of white Paint, or Soote rising from the fining or trying of brass.
Spanish white, is chalke and Allome burned together.
Sinaper Lake, is a kind of a deep blood colour, or purple.
Sap green, is the joyce of the Buckthorn berries.
Saffron, is a yellow for washing of Maps.
Smalt, some call it blew Starch; because much used by Landresses in their Starch to make it blew.
Spanish brown, or deep blood red.
Scarlet colour, the purest and best of reds.
Steeped colours, such as require no grinding, but only put into Water, Vinager, or Gum.
Slickned, polished, or glazed.
Skin, Skinning of colours; is the skin that groweth on Oyle colours, if they be not quickly wrought up.
Sweetning, is the working one colour into another with a soft Pencil: that they will look as one colour, though they be diverse.
Sweet Shadow, is so finely worked into another colour that it seems to be no shadow.
Seileing, is House Painting, where Plaister Wall are made to look like Wainscate, or outlandish Timber.
Section, or Glass; is a plain of transparent or perlucid Matter, raised upright upon the plain of a base set before you, parallel to a straight Line: through which passeth the convex Centers of both Eyes.
Spruce Occar, a reddish yellow or sand colour Clay or Earth much used in House Painting, some call it English Occar.
Second colouring, is the Painting of a Face after the dead, or first colouring of it.
Triangle, is a Figure with three corners.
Trick, is the drawing of any Figure or Coat of Armes with Pen and Inke for a Pattern to Engrave by.
Treble shadow, see Hatch.
Terra Vert, a green Earth used in Painting.
Turn-sole, died Raggs, which refuse in Waters make it a pure Violet colour.
Tawny, a compound colour of red and much yellow.
Tempering of colours, is mixing of them one with another: or tempering them on the Pallet with a Knife to make them fit to Work, or such colours as need no grinding, are said to be tempered on the said Pallet with Oyle.
Turmarick, a transparent Water yellow.
Visual Point, is a Point in the Horizontal Line, wherein all the Beams of the Eyes unite: the center or the Horizon Line.
Visual Rays, are those Lines which proceed from the Visual Point, to any point higher or lower then the plain of the Horizon.
Vermilion, a pure Scarlet colour, it is both Natural and Artificial; having the resemblance of Silver Ore, before it be Ground.
Verditer, a soft and pure blew.
Verdigrease, a Sea Water green.
Umber, an hair colour or brown Clayie-Earth.
Venice Berries, boiled in Water make a transparent yellow.
Ultramarine, the richest and purest of blews.
Washing, or Wash with colours; is Painting of Maps , Prints, and Papers with thin transparent colours: Some term it colouring.
Wash colours, are all transparent colours, so that Writing and Printed Figures are seen through them.
Washer of Mapps, is the Painter of Mapps and the like.
Working in great with Water colours; see Distemper Work.
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Chapter 3, Item 60c
Engraving
It is an Art which teacheth how to transfer any thing designed upon Copper, Brass, or Wood, by the help of sharp pointed and cutting Instruments. Now it is possible that a Man may be a good Painter, and yet not be able to draw well with the Pen; but it is impossible to be a good Graver or to Hatch well except he can draw well with the Pen, and have a curious and exact carriage of the Hand.
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Chapter 3, Item 60d
Engraver's equipment & terms
Gravers Instruments, and their Terms used in the Art of Engraving.
Gravers of all sorts, some call them Graving Tooles: some for hard Work, some for sweet work, some for smaller work, and some for greater work; some long, others short; some straight, others crooked; some formed square, others Loseng.
An Oyle Stone, to sharpen his Gravers on; and Oyle Olive.
A Sand Bagg, or round Cushion filled with Sand to Engrave upon; on which the Plate is turned at pleasure.
A Burnisher, is a smooth Iron, which is used to rub out scratches and specks, or other things in the Plate.
A Peece of Box or Hard Wood, to strike the point of the Graver into after it is sharpned, to take off all the roughness about the point, which was caused by wheting it on the Oyle stone.
Plates of Copper, Silver, Brass, and Pewter: but especially the two first, which must be exactly polished.
Pumice stone, and Charcoale.
Drawing Point, a Steele with a sharp point like a Needle to draw the Work designed on the Plate: a Needle fixed in a Stick.
Grinding Stone, to grind the Hammer stroaks out of the Copper-Plates.
Fine smooth Hoan, to rub the Plate smooth.
Smooth Charcoal, without Knots.
Planish the Plate, is to beat it on a smooth Anvile with a broad and smooth faced Hammer, to cause it to lie straight and flat upon the Table.
Annale, the Copper is to put it in the Fire several times at the beating of it out to keep it from cracks and flaws.
Polish the Plate, is to rub it smooth and bright that one face may be seen in it.
Hammer stroaks, are Marks which the Hammer leaves in the Plate at the plenishing of it: Dints or Marks of the Hammer.
Flaws in the Plate, are Scales rising up in the Plate, fire flaws.
Scratches, are slips of the Graver from the designed work, some term them slips of the Gravers.
Hatches, are stroaks or lines made with the Graver in the work designed, of which there are three sorts: the strong or largest Hatches, made by a square pointed Graver, the fine and delicate Hatches, made by a Losenge pointed Graver; and the faint and smallest Hatches, with a middle size or sharp pointed Graver.
Whet the Graver, is to sharpen it on the Oyle Stone, or to sharpen either the sides or points of the Graver, flat or sloping.
Soft or Hard, and without Pinholes; the Oyle Stone is not to be too hard or too soft, but between both, and free from holes.
Deep or Gross Graved stroaks, are black Lines.
Fine and Faint stroaks, are small Lines in Graving.
Burnish, or make the Plate bright, clear, and shineing.
Tough Graver, is one of a good temper, neither too hard, and so brittle: nor too soft, and so never keep a Point.
Clear, or Clean your Graver, is to strike it into a piece of hard Wood, to rake off all the roughness out of the point which was caused through whetting.
Scrape your stroaks, that is after you have done the Hatching, with the sharp edge of the burnisher, or back of the Graver: run over the Plate to take off the roughness of the stroaks.
Traced or Drawn, is the first draught on the Plate with the drawing Point, or Needle.
Carved or Graven on Wood, is Figures cut on Wood for Printing, it is termed cutting of Wood Prints.
Coppy, is the thing designed to be Engrave on the Plate.
Large stroaks, lines made by a square Graver: see Hatches.
Dilicate or Lively stroaks, such as are made by Loseng point Graver.
Hold your Graver, is to keep your Hand and Arm stedfast, and hold the Graver fast in turning the Plate to make crooked and winding stroaks. Guide your Graver, is to carry it rightly and even, that it makes no scratches with the Graver, called Slipps.
Hard Tempered, when the point of the Graver oft breaks, it shews it to be too hard tempered.
Blunt, is when the Graver becomes dull, and looseth its Edge, and yet breaks not, shews it to be nought and nothing worth.
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Chapter 3, Item 60e
Etching
It is an Imitation of Graving, but more speedily performed, being an Artificial way of Hatching or making stroaks in Copper Plates by the eating of aqua-Fortis; and things may be expressed to the Life thereby, but not so sweetly as by the Graver.
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Chapter 3, Item 60f
Etcher's equipment & terms
Instruments and Terms used in Etching.
Hard Varnish, to Varnish over the Plate to be Etched.
Soft Varnish, for the same purpose.
Prepared Oyle, is to preserve the back of the Plate and other places from Aqua-Fortis, that it hurt not the same.
Aqua-fortis, to eat the Hatchings into the Plate.
Needles of all sorts and sizes set in sticks, after the manner of Prickers: called Etching Tooles.
Brush Pencil, to cleanse the Work, and wipe off the dust.
A Frame to fix the Plate upon: wich is only a large Board.
A Trough to receive the Aqua-Fortis as it runs of the Plate.
Linnen Raggs to dry the Plate after its often washings.
A Board, with edges on three sides to lay the Plate upon; at the pouring on off the Aqua-Fortis: it must have six Wooden Peggs or Nails to rest it on.
An Earthen pot, well leaded, it is to pour the Aqua Fortis on the Plate.
Oyle Stone, Burnisher, and Copper Plates as is before said: and for the same use as in Graving.
Oval pointed Needles, are such as are ground sloping, and so fall to be Oval like: called also Oval points, which make large and thick stroaks.
Strike your stroaks, is to cut the Varnish through which is laid on the Copper Plate.
Tapping, is wipe or sliding ones hand upon the Varnish to make it smooth and even on the Plate.
Cover the plate, is to lay the prepared Oyle on those places where the Aqua-Fortis is to eat but faintly.
Wash the plate, to wash off with Water the Aqua Fortis that it may eat no longer into the Plate.
Ground, or Varnish, which is laid on the Plate.
Rub off the Ground, take the Varnish off the Plate, that the Etching may be seen.
Blacking the Varnish, is to hold it over the smoak of a large Tallow-candle.
Dry or Harden the Varnish, is to set the Plate (when Varnished) on four Andirons, and to make a Charcoal Fire about it, till the Varnish smoak and it is done.
Brittle or Hardned Varnish, is through over drying it on the Plate.
Whetting the Needles, is to make the points sharp at the ends, either round or sloping.
Preserve the Varnish, is to cover that part of the Plate not working on, with Paper to keep it from dust and injuring.
Hatches, are lines of several sorts, some big, some small, some straight, some crooked.
Leaning hard on the Needle, is to make great thick stroaks in Etching.
Passing the Hatches over, is to make double stroaks crossing one another.
Stroaks in Etching, they are of three sorts, either all of bigness and thickness all along; or thick at one end, and small at the other; or else small at both ends, and thick in the middle.
Shaddow, or Shaddowing in Etching, is but a reiteration of the same stroaks close one to another, or crossing one another; which is termed a Deep or Dark Shadow.
Holes, or Scratches in the Varnish, cause the same in the Plate.
Oyley mixture, is Oyle and Grease melted together to cover the back of the Plate that the aqua-fortis touch it not.
Cast on the water, is the pointing on the Aqua Fortis on the Plate.
Wash off, is to poure water on the Plate to keep the Aqua Fortis for not eating any deeper into the Plate.
Faint Hatches, are small tender stroaks, of which there are several degrees and operations, such as represent a thing far off; then those as represents a thing somewhat nearer, which is done by stroaks yet less faint, or more blacker; and then such as shew a thing more plain and within the sigght [sic] of the Eye, which is by thicker stroaks, yet faint in respect of such which present things at hand, and near to sight.
Clots, or Pumples, are rising in the Varnish at the Grounding of the Plate therewith, if it be laid on too hot.
Border the plate, is to make a Brim of soft Wax either Red or Green about the Plate to keep the Aqua Fortis from running of the Plate. White Ground, is the making the Varnish white instead of black, which is dome by Ceruse mixt with Starch and laid upon the Varnish hot with a soft Brush.
Grave, or Re-grave, to mend with the Graver those stroaks omitted or not eaten with the Aqua-Fortis. Some term it, to Touch up, or Mend.
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Chapter 3, Item 60g
Glass Painting
Glass-Painting. It is contrary to all other ways of Painting, of which there is three manners of Painting, the one is with Oyle colours, the second is by Burning and Annaling; and the third in Water colours termed Backside work: and seeing these have a near dependency one to the other, I shall set both their Instruments and Term in the same, altogether in one Class.
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Chapter 3, Item 60h
Glass painter's equipment
Instruments for Glass-Painting.
--- is a brittle fastned in a stick, to draw on the Glass to shew how it must be cut. A Crucible, to melt the colours in.
A Pestil and Morter, to beat the colours and jett withal.
A Cerse, to take the grosse from the fine pounded: for there is but few of these Painters but they make their own colours.
A Copper Plate pollished, to grind these colours on; for they are so hard that they scratch other Stone. A Wooden Mullet, with a Glass simoned at the bottom of it, to grind the colours on the Plate.
Colours, of which there is only seven used in Glass Painting.
White, which is made of white Marble or Garden Stone burnt, and ground with powdered Jett, and Gum water.
Yellow, is made of Silver burnt in Brimstone, and ground with Gum-water, and six times as much yellow Ocar, or any other Earthy colour, which is only to Master it in the Annaling.
Blew, is made of the deepest and coursest Smalt, such as Painters call Strow blue, put to it a quantity of Salt-Peter and melt it in a Crucible, after bray it in a Morter, Cerse it and grind it as aforesaid.
Green, is made of Green Glass-beads, and Green Amel cersed, and ground with Gum-water: others make it of Red-Lead, Copper-scales, White Marble burnt and powdered, to which add a third part of Salt-Peter, melt all in a Crucible, then grind it as afore.
Red, is made of Red Chalk ground on the Copper Plate (with Gum-water) having in it a third part of Jett.
Purple colour, is made of brown Stone, white Marble burnt, and Salt-Peter as the Green before.
Black, called Painter by them; it is made of either Iron or Copper Scales (the latter best for a shaddow, the other for a black) Jett and Gum-water ground extraordinary fine, almost to an Oyle on the Copper Plate.
Jett, is a thing used in all colours save yellow, and is made of Red Lead, and White Marble, or fine Sand and Salt-Peter melted in a Crucible, like a piece of Glass.
Pencills of several sorts, and Bristle Pencills.
A Washer, it is a large soft Brush to sweeten the Shaddows in a piece of Glass-work.
Gum Araback, that holds the colour on the Glass till it is Annaled.
A Sharp pointed Stick or Skewer, much used to give an heightening to a Shaddow, and to Damask on any colour.
A Furnace, to Annale or Burn the colours on the Glass: it is a square thing made of Brick.
Slacked Lyme, to lie between each parcel of Glass in the Furnace.
Glass that is white and pure, and free from blobbs.
Patterns for the work, which are always drawn proportionable to the thing made on the Glass, upon which the Glass is laid, and so is drawn on the Glass by the draught of the patern.
Watches, pieces of Glass painted with several colours put into a hole in the Furnace side to take out to see and know if the colours be well burned on the Glass, or not.
A Tenedish, which is a piece of Lead made like a Muscle shell, in which the black (called Painter) is kept moist to work withal.
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Chapter 3, Item 60i
Glass painter's terms
Terms used in the Art of Glass-Painting.
Cut the Glass, make it suitable to contain the thing designed upon the several pieces.
Trace the Draught, draw out Lines of it on the Glass as it lies on the draught of the designed work. --------- after the draught is made, then the Workman with the Painter casts a thin watery colour like a mist on the Glass, which being dry, the Glass will receive a shadow on it.
Shadow, is to put a thicker painter or black in the light or dark places.
Sweeten your Shaddow, is to breath on the Glass, and strike it lightly over with the Washer-Brush.
Heighten the Shaddows, is to run it over with a deeper black Shaddow, which the darker they are the oftner they must be run over, and sweetned.
Touch up the lighter parts, is with the point of a stick, to scratch or scrape off the misty colour first laid on, that the plain and perfect Glass may be seen through, and thereby light in Shaddows do appear.
Lay in the colours, is to paint the several parts of the work with its suitable colours.
Annale, is to burn the Glass in a Furnace to make the colours stick fast on.
Lyme the Furnace, is to sift sleekt Lyme through a fine seive, on the Plate of Iron or blew stone laid in the Furnace.
Bed the Glass, is to lay the painted or wrought Glass on the said bed of Lyme piece by peice, but not to lie on one another, or touch.
Fill the Furnace, is to lay a bed of Lyme and a bed of Glass time for time one upon another till it be full.
Watch Hole, is a hole made in the side of the Furnace to put the Watch pieces of Glass in, which is as many pieces as you lay beds of Glass.
Close or stop the Furnace, is to cover the top to keep the fire in, that it may burn the Glass both in the top, bottom and sides.
Fire the Furnace, soft Fire, is to make a fire Gently, and to heat the Furnace by degrees, for an hot Fire too suddenly, is apt to break and crack the Glass.
Draw the Watch, is to take the lower watch Glass out of the hole to coole.
Try the Watch, is to scrape the painting laid upon it, which if it stick fast to the Glass, it is Annaled enough: if it come off, it hath not sufficient Fire as yet.
Colours run, that is, they melt with the Glass, and so incorporate or joyn one to another.
Smelt together, the colours melt or run all at a time, else one that melts first is apt to be over Burnt and loose its colour, if the others be any long time before they run: for in this very thing lies the Art and Mystery of a good Glass Painter, so to order his colours as one may not be Harder then another, but all of an even Temper to burn and run together.
Coole the Furnace, is to withdraw the Fire from under the Furnace, and to let the Glass coole by degrees.
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Chapter 3, Item 60j
Inventors
Famous Men for Inventions, and Improvers of Arts. [Apart from the following, all those listed are classical or mythological and have been omitted.]
Johannes Guttenbergus, a German Knight, was the first that found out the Art of Printing.
Paulus Venetus, the first finder out of the Virtue of the Load-stone.
Perdir, was the first inventor of the Compass.
Pythus, the first inventor of many Games at Ball: I do not say of Gaff, Tennis or Paille-Maille
Bartholdus Swarth or Niger, a German Frier; first found out the way and use of making Gunpowder, whence sprung the original of Pistols, Muskets, Cannons, Morter pieces, and all kind of fire murthering Engines, about the Year 1470.
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Chapter 3, Item 60k
Painters
Men Famous for the Art of Painting.
Some disingenious Spirits will tell me, that Mechanical Arts, and those wrought with the Hand are for the most part base, and unworthy the practize of great Personage and Gentlemen: But let me tell such, that surely it can be no more a disgrace to a great Lord to draw a fair Picture, than to cut his Hawks Meat, or play at Tennis with his Page. Yea far more Honourable to exercise himself in this than to spend his vacant hours in the sinful practizes of wickedness which tend to nothing but disgrace and destruction.
Quintus Fabius (whose Family was one of the Noblest in Rome, who after had the surname of Pictores) with his own Hands painted the walls of the Temple of Salus, and wrote his Name under his own Work.
Pomponius Atticus, a Man of singular Wisdom, who after he had composed a Poem of sundry devises, beautified the same with Pictures of his own drawing.
The Emperour Constantine got his living a long time by Painting: as Siegebert in his Chronicle relateth.
Parrhalius most of all others in his time excelled in drawing in black and white.
Apollodorus among the Athenians was the first that did express the Life in colours.
Pyreicus was only famous for counterfeitings of base things, as Earthen Pitchers, a Scullery, Rogues together by the Ears, Swine tumbling in the Mire, etc. Whereupon he was Surnamed Rupographus, that is Painter of base things.
Metrodorus an Athenian, was so excellent in Painting that he was well-nigh Honored as a God.
Aristides, was the most excellent of his time for expressing Sense and Passion.
Protogenes, was the first that could lay his colours so Artificially, that one being worn off, a fresh would succeed to the number of four or five.
Apelles who lived in 1312 Opympiade, excelled all the rest, yet for Action he gave Place to Amphion.
Zeuris, L. Manlius, and Pacuvius; excellent painters who have made many Artificial pieces.
Nothing inferior to these rare Artists (in my Judgment) have been our Painters of late time viz. within these two Centuries, and many now living at this day in sundry parts of Europe, whose Works do and will remain as famous to Posterity, as Apelles or the best of them all have done to us.
Raphael Urbine, is ever to be admired for that excellent piece of his, in the Church of St Victore in Milane.
Michael Angelo, his fare Workmanship of the last Judgement in the Popes Chappel in Rome.
Hercole di Ferrar, his Noble Art is seen in Bononia, and the beautifying of the Church of Laterane in Rome.
Petro de Burgo, for Perspective
Albert Durer for Drapery
Goldzius, for good standing and bold Action.
Hans Holben, for Sense and the Life
Marcus de Siena, for Land-skips, with infinite others.
Andrea Mantega, so famious in his Art, that Pope Innocence the eight gave him 2000 Ducats for a Months Work.
Sir Anthony Van Dike, for Draught and good postures, and lively Painting, none before him.
Mr. Stennick, for Prospective Work.
Mr. Huck, for Figures and Prospective to be looked through a hole.
Vanderbus, for Pots and Kettles, etc. And Bassano, for Sheep, Cows, Doggs, etc.
Cornelius Johnson, for smooth Painting.
Adrian Hanyman, for a Face and smooth Painting.
Paulo Veroniza, Paulo Morello, Tician, Tintoret, Ruben, Zurst, Kneller, Swisick, and Miteins, all famous and great Masters for Invention and Painting.
Humphrey Cumber, for sweet shadows, and a true Complexion.
Van Colon, Van Somer, excellent for Flowers, Fruit, and Birds, etc.
Nor must I be unmindful of our own Countrymen who have been and are able to equal the best: as,
Mr. Hilliard and Isaac Oliver, inferiour to none in Christendom for the Face or Countenance in small.
Mr. Peak, and Mr. Marques, for Oyle colouring.
Sir Peter Lilly, for Womens Faces.
Mr. Housman, for Mens Faces
Mr. Hale and Mr. Wright, for fine curious Painting.
Mr. Richard Blackborne, for a fleshy Face scarce any before him, and an excellent Poet.
Mr. Blooker, for Country Swain and Clowns.
Mr. Walker, Mr. Dobson, who died in his prime, Mr. Fuller and Glathorpe, excellent Painters by the Life, with Inventions.
Mr. Smith for Fruite, Mr Moore, for generall painting. Pooley for a Face. Laforne, for Landskip. And Servile, for Drapery.
Mr. William Bumbury, Wilcock, Hodges and Hodgskis, all good Painters by the Life, and otherwise: Mr. Posnes for Draught and Invention.
Mr. Tho Arundel for good Draught and History painting: with many more unknown to me.
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Chapter 3, Item 60l
Mascy Tinter
This is a New and Late invention of taking from a Plate any form or shape of Creature without Etching or Engraving, and is performed by sooty shadows, as if the thing were painted or limed with black and white: Is is a very curious Art, and as report goeth, was first found out by Prince Rupert, Son to the King of Bohemia by the Princess Elizabeth, Daughter of King James the First of England.
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